Yesterday, I published an article about why some artists may not social dance all night at parties. Several dancers responded, and said they felt it was a near-mandatory part of an artist’s job because social dancers are their “employer”. Some also felt that it wasn’t an obligation, but not social dancing makes you a ‘dick’. Others stated that since it can be a highlight for attendees, artists should do it. I can understand where these feelings come from, but this is why I disagree with these ideas. “Social Dancers are the Artist’s Employer” Social dancers are not the employer. I know…
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Many social dancers go to events for the opportunity to dance with their favourite pros. In some places, the most sought-after dancers can have a line-up of people waiting for their “3-5 minutes of heaven”. But, there are some pros who social dance very little – or seem to social dance ‘too much’ with other professionals. Are they breaking a rule? Should there be a ‘requirement’ or ‘expectation’ that a professional social dance as much as possible -and with everyone at an event? My answer? Usually, no. Which pros are we talking about? This article is primarily directed towards the ‘top tier’ of…
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In many Western cultures, the idea of the 7 Deadly Sins is a common way we frame undesirable attributes. They capture habits that are easy to fall into – but may create havoc in our personal or professional lives. In dance, we have our own ‘Sins’ that can sabotage our dance experience. Some of them are primarily interpersonal problems; they affect our relationships and reputation. Others are primarily personal; they affect our own internal experience – and can even cause us to leave dance forever. Lust The dance sin of Lust is using social dancing solely as a mechanism to make…
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It seems that in every workshop, there’s some very recognizable dancers who come out to play. Whether it’s in weekly classes or congresses, you’re sure to find these dancers around the world and in every style. 1. The Questioner You guessed it – the Questioner has a question about everything. Whether it’s foot placement, connection, or some tiny detail about which muscle engages on count 2.5 of the pattern, they will have a question (or 10). Sometimes, the questions are so obscure or off-topic that the teachers are not able to answer them. But, every once in a while, the…
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Practice partners are a frequently underused resource in dance education and practice. Some people fear that a practice partner will entrench bad habits. Others feel like they can’t ‘learn enough’ working independently without a teacher. Others just get flat-out bored. But, those who have one (or two, or three) swear by them. Are you ready for a practice partner? Most people immediately start thinking about who they would ask to be their practice partner. But, the first thing to ask is if you would make a good practice partner. Until you are ready to really commit to having a practice…
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In dancing, there are three stages where most dancers deal with deep feelings of frustration or apathy – and sometimes even leave the scene. Some dancers get stuck in these for a long time – while others may only spend a short time there. But, it’s rare to bypass a stage completely. I call these stages the three circles of Hell for dancers: Beginner’s Hell Plateau Purgatory Snob Inferno Circle 1: Beginner’s Hell Beginner’s Hell is what happens when you first start learning a dance – but nothing quite works yet. It’s also the only hell a dancer will always encounter each time…
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“In a culture of isolation, be the invitation to everything.” – Vera de Chalambert* As dancers, we know the meaning of an invitation. Or rather, we think we do. We invite each other to dance. Leaders invite followers into patterns and movements. Dancers invite each other into a connection and embrace. But, beyond the invitations we give our dancers in the context of the dance-relationship, are we truly inviting them in? Anonymous Dancers We usually think that if we know someone’s name they are no longer anonymous. But, a name is not the only indicator of anonymity. Anonymity in its broadest sense is tied to a lack…
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Today is the third time in under a month that a story of sexual assault by a prominent dance figure has arrived in my newsfeed. That is extremely maddening. To be clear, I’m not taking a legal stance on whether or not the assaults in question ‘actually happened’, though my personal opinion is that the facts presented seem rather plausible in all three situations. But, that’s not my point today. My point today is to talk about how every person in our community has an obligation to always ensure they have a willing partner in every sexual encounter they have. No…
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There are two groups of dancers most of us have heard of: the incompetent dancers who think they’re amazing, and the brilliant dancers who can’t understand the struggle of others. On face value, these two groups couldn’t seem more different. One group is typically very good at what they do, and a pleasure to dance with. The other is full of ego and a sense of superiority – even though most dancers would rather avoid them. But if we dig a bit deeper, they’re two sides of the same coin. They’re both based on an inability to understand their relative…
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I was once the girl who though I danced better than I actually could. And you know what? Most of you probably were, too. Several of you probably still are. Yes, there are a few people who are (sometimes too) humble. I’ve had students where I just wish they could get a shred of self-confidence to go with their dancing. But, I’d say it’s not the majority. Most students go through a period of know-it-all-ness. It’s just the way things work. (I like to refer to this as the ‘teenager’ dance period.) So, let’s go through a personal case-study of me, who thought she could…
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Do any of these phrases sound familiar? “I’m heavy, so people won’t dance with me – even though I’m an awesome dancer.” “If I was younger, people would dance with me more.” “They’re only dancing with her because she’s hot. She can’t dance.” “If she wasn’t a dance snob, she’d like dancing with me.” “She only dances with super-flashy, ‘advanced’ dancers. She has no appreciation of my solid basics!’ “I’m a beginner, so no one will dance with me because I’m not good enough.”
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I want you to imagine an absolute beginners walking into their first dance social. They see all these people moving together on the floor – nothing like what they’ve seen at a dance club. Their first impulse? “Wow! Everyone here is an amazing dancer!” Meanwhile, their advanced dancer buddy may look at the room and think how wrong that beginner is. To them, out of the 40 dancers in the room, at least 20 of them aren’t good partners.
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Do you consider yourself an open person when it comes to hearing about what you can improve? Funnily enough, most of us do consider ourselves open to feedback. Yet, from external experience, we know that there are quite a few dancers who do not take feedback well. This means that there are some dancers who consider themselves quite open to feedback – but who actually take feedback relatively poorly.
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Social Dancing: the perfect space for safe, physical contact with partners. The place where it’s OK to be super close to your partner, with no romantic or sexual inclinations. For most people who have been social dancing for a long time, the close, physical contact between dance partners can feel like a very natural space. In some dances, that closeness even becomes a symbol of the magnificent ‘great connection‘ we are always chasing.
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Workshops and classes are one of the building blocks of the dance community. They’re what allow us to grow, learn, and be exposed to new concepts most effectively. They support new generations of dancers, and hone the tools of more experienced dancers. But, it’s also important to make sure that we’re using workshops and classes effectively. This is both in terms of what *we* take out of the workshop – and what we can do to help others who are learning in the same class.