Saturday, January 05, 2013
Sunday, June 24, 2007
Music Review: Puppini Sisters
The Puppini sisters are a new sensation now hitting the airwaves. They are a musical trio specializing in 1940s-style close harmony vocal music.
The members are Italian Marcella Puppini and English Stephanie O'Brien and Kate Mullins. Although the three are not related, they chose their name in tribute to The Andrews Sisters. Puppini first studied Fashion Design at St Martins School of Art, and later joined Stephanie O'Brien and Kate Mullins at Trinity College of Music in London.
I first heard their interview on NPR with their version of "I will survive" by Gloria Gaynor. I loved it right away. Then again recently I heard them again in SiriusDisorder. This time they sang without any of their band members. They sang their songs in harmony and sounded fantastic.
They certainly cannot compete with the Andrews Sisters but I do like some of the versions of their songs. Form their album Betcha Bottom Dollar
, they have a few song s that are quite dancable and few that are just for easy listening.
The members are Italian Marcella Puppini and English Stephanie O'Brien and Kate Mullins. Although the three are not related, they chose their name in tribute to The Andrews Sisters. Puppini first studied Fashion Design at St Martins School of Art, and later joined Stephanie O'Brien and Kate Mullins at Trinity College of Music in London.
I first heard their interview on NPR with their version of "I will survive" by Gloria Gaynor. I loved it right away. Then again recently I heard them again in SiriusDisorder. This time they sang without any of their band members. They sang their songs in harmony and sounded fantastic.
They certainly cannot compete with the Andrews Sisters but I do like some of the versions of their songs. Form their album Betcha Bottom Dollar
, they have a few song s that are quite dancable and few that are just for easy listening. I am the kind of person who dislikes CD where you get only one or two good song. With this CD you will not be disappointed. I hope you like it as much as I do.
Rating: Thumbs up!
Wednesday, January 10, 2007
The lady is a stamp!
Ella Fitzgerald, "The First Lady of Song," remains an unsurpassed icon to music lovers of all backgrounds. Her amazing vocal range, combined with her gift for pitch, rhythmic sense and flawless diction, made her a favorite of fans, songwriters and other singers. The U.S. Postal Service commemorates her legacy and contributions to American music with a stamp based on a photo that captures the joy and excitement that Fitzgerald brought to music.Ray Brown Junior is Ella Fitzgerald's son. BROWN SOUNDBITE:
THERE WAS A TRUE LOVE AND ELEGANCE THAT MY MOTHER EXPRESSED EVERY TIME SHE SANG. A FLAWLESS VOICE, REALLY LIKE A GIFT FROM GOD, EXTREMELY WELL DISCIPLINED. I APPRECIATED HOW SHE WAS ABLE TO CAPTURE BOTH LOVE AND HEARTACHE WITH THE SAME GRACE AND NUANCE AND THAT'S PART OF WHAT I'LL MISS MOST ABOUT HER.
Wednesday, January 03, 2007
This Year Resolve to Exercise Your Brain
(HealthDay News) -- Getting in shape tops many New Year's resolution lists, but the Alliance for Aging Research is encouraging Americans to boost their brain health, too.
"There is a lot we can do to keep our brains healthy and potentially prevent or lessen the cognitive decline that often comes with aging," Daniel Perry, executive director of the nonprofit Alliance for Aging Research, said in a prepared statement. "We are encouraging people to take steps to improve brain health as part of their overall fitness regimen for the New Year."
The Alliance for Aging Research recommends these 10 steps for improving your brain health.
1, Eat a Brain-Healthy Diet. A diet rich in omega-3 fatty acids (commonly found in fish), protein, antioxidants, fruits and vegetables and vitamin B; low in trans fats; and with an appropriate level of carbohydrates will help keep your brain healthy.
2, Stay Mentally Active. Activities such as learning a new skill or language, working on crossword puzzles, taking classes, and learning how to dance can help challenge and maintain your mental functioning.
3, Exercise Regularly. Exercising often can increase circulation, improve coordination, and help prevent conditions that increase the risk of dementia such as heart disease, stroke and diabetes.
4, Stay Social. Spending time with friends, volunteering, and traveling can keep your mind active and healthy.
5, Get Plenty of Sleep. Not getting enough sleep can have a negative impact on brain health.
6, Manage Stress. Participating in yoga, spending time with friends, or doing other stress-relieving activities can help preserve your ability to remember and learn.
7, Prevent Brain Injury. Wearing protective head gear and seat belts can help you avoid head injury, which has been associated with an increased risk of dementia.
8, Control Other Health Conditions. Maintaining a healthy weight, exercising, eating a well-balanced and nutritious diet, and controlling stress can help reduce your risk of diseases that affect your brain, including diabetes, heart disease, high blood pressure and hypertension.
9, Avoid Unhealthy Habits. Smoking, heavy drinking and use of recreational drugs can increase the risk of dementia and cognitive decline.
10, Consider Your Genes. If your family history puts you at risk for developing dementia, work with your doctor to find ways to maintain your brain health to help avoid or slow the progression of cognitive decline.
"There is a lot we can do to keep our brains healthy and potentially prevent or lessen the cognitive decline that often comes with aging," Daniel Perry, executive director of the nonprofit Alliance for Aging Research, said in a prepared statement. "We are encouraging people to take steps to improve brain health as part of their overall fitness regimen for the New Year."
The Alliance for Aging Research recommends these 10 steps for improving your brain health.
1, Eat a Brain-Healthy Diet. A diet rich in omega-3 fatty acids (commonly found in fish), protein, antioxidants, fruits and vegetables and vitamin B; low in trans fats; and with an appropriate level of carbohydrates will help keep your brain healthy.
2, Stay Mentally Active. Activities such as learning a new skill or language, working on crossword puzzles, taking classes, and learning how to dance can help challenge and maintain your mental functioning.
3, Exercise Regularly. Exercising often can increase circulation, improve coordination, and help prevent conditions that increase the risk of dementia such as heart disease, stroke and diabetes.
4, Stay Social. Spending time with friends, volunteering, and traveling can keep your mind active and healthy.
5, Get Plenty of Sleep. Not getting enough sleep can have a negative impact on brain health.
6, Manage Stress. Participating in yoga, spending time with friends, or doing other stress-relieving activities can help preserve your ability to remember and learn.
7, Prevent Brain Injury. Wearing protective head gear and seat belts can help you avoid head injury, which has been associated with an increased risk of dementia.
8, Control Other Health Conditions. Maintaining a healthy weight, exercising, eating a well-balanced and nutritious diet, and controlling stress can help reduce your risk of diseases that affect your brain, including diabetes, heart disease, high blood pressure and hypertension.
9, Avoid Unhealthy Habits. Smoking, heavy drinking and use of recreational drugs can increase the risk of dementia and cognitive decline.
10, Consider Your Genes. If your family history puts you at risk for developing dementia, work with your doctor to find ways to maintain your brain health to help avoid or slow the progression of cognitive decline.
Friday, December 22, 2006
If you need a fix of nostalgia, head to New York
Retro doesn't come cheap anymore but it does make you wonder how things were in the 30's, 40's and 50's when a) you weren't born, b) you were born but didnt care or remember, or c) you start to reminisce. Well if you need a fix of nostalgia then why not head to New York and visit some places where you can get a feel for life back then. And if you have any spare change you could buy a thing or two.
Visit here for A Day in the Thirties!
Visit here for A Day in the Forties!
Visit here for A Day in the Fifties!
Have a Happy Holiday and a Happy New Year!
Visit here for A Day in the Thirties!
Visit here for A Day in the Forties!
Visit here for A Day in the Fifties!
Have a Happy Holiday and a Happy New Year!
Tuesday, December 19, 2006
30's, 40's, Lindy Hop, Hip Hop, Broadway -- Its all in "The All Night Strut!"
BY HEDY WEISS Theater Critic
Think of it this way: It's a 1940s USO dance hall extravaganza full of lindy-hoppers; it's a smoky jazz club of almost any vintage; it's a Latin dance party with more sizzle than a jalapeno; it's "42nd Street," the Cirque du Soleil, "Stomp!" and a hip-hop competition all rolled into one; and on top of everything else, it's a riff on that hit TV series "Dancing With the Stars."
Yes, all this in one faster-than-the-speed-of-light two-hour show -- a crazy, metabolism-boosting danceathon-with-vocals that opened Wednesday night at the Marriott Theatre bearing the misleadingly nostalgia-tinged title "The All Night Strut! (A Fascinatin' Rhythm)."
Based on a revue by Fran Charnas that dreamily charted the mood in America as it moved through the rich songbook of the 1930s and '40s (a show created in the 1970s and staged at the now-defunct Drury Lane Theatre in Evergreen Park in 1999), the piece now has been almost totally transformed by director-choreographer Marc Robin and his team (including co-conceiver Aaron Thielen), so that it moves like an express train bound for this very moment.
The whole thing is now far more of a Las Vegas-style spectacle in a variety-show state of mind than a standard-issue Broadway revue. But Robin has given each of the individual segments a great snap, crackle and pop, even generating some real dramatic heat along the way. And he gets loads of help from his six highly creative musical arrangers; a group of "specialty" dance choreographers; a corps of dancers who might just be breaking aerobics records; a group of singers who swing, swing, swing, and a band (several of whose fine musicians even brave the stage) that matches them beat for beat.
He also has threaded all the pieces of this dance quilt together with Coda (deft work by Matt Schwader), the sort of naughtily zany and graceful Cirque-like clown guide you either love or want to hit with a cream pie.
All the music of the 1930s and '40s is still there (Doug Peck is the superb musical director, Patti Garwood the conductor). A stunning swing-dance opener to "In the Mood" gets things flying courtesy of bravura dancers Beverly Durand and Mark Stuart Eckstein (who later will leave burn marks with a sensational Latin duet), Nia Gregory, Joe Komara, Pia Manalo, Tommy Rapley, Lisa Rumbauskas and Christopher Windom. (Other fine dancer-singers include Matt Raftery, Kristy Luehm, Allison Stodola, Ian Liberto, Dara Cameron, Nicole Famighetti, Buddy Reeder, Tucker Ty and Lucy Carapetyan, who soars as the aerial artist on silk ropes in "White Cliffs of Dover").
The principal singers -- Susie McMonagle (a terrific comedian and a performer who could easily pass for a clone of one of the Andrews Sisters), Susan Moniz (an actress of fierce emotional power), Stephen Schellhardt and Jim Weitzer -- follow up with such songs as "Chattanooga Choo Choo," "Minnie the Moocher" and a series of golden World War II-era songs that ring evocatively for the soldiers of our own time, too.
The show ends with a flashy reprise of "Lullaby of Broadway," but there is nothing "sleepy" about this or any other part of this high-octane entertainment engine.
hweiss@suntimes.com
You can catch the show at the Marriott Theater in Chicago http://www.marriotttheatre.com/musicals_strut.asp
Think of it this way: It's a 1940s USO dance hall extravaganza full of lindy-hoppers; it's a smoky jazz club of almost any vintage; it's a Latin dance party with more sizzle than a jalapeno; it's "42nd Street," the Cirque du Soleil, "Stomp!" and a hip-hop competition all rolled into one; and on top of everything else, it's a riff on that hit TV series "Dancing With the Stars."
Yes, all this in one faster-than-the-speed-of-light two-hour show -- a crazy, metabolism-boosting danceathon-with-vocals that opened Wednesday night at the Marriott Theatre bearing the misleadingly nostalgia-tinged title "The All Night Strut! (A Fascinatin' Rhythm)."
Based on a revue by Fran Charnas that dreamily charted the mood in America as it moved through the rich songbook of the 1930s and '40s (a show created in the 1970s and staged at the now-defunct Drury Lane Theatre in Evergreen Park in 1999), the piece now has been almost totally transformed by director-choreographer Marc Robin and his team (including co-conceiver Aaron Thielen), so that it moves like an express train bound for this very moment.
The whole thing is now far more of a Las Vegas-style spectacle in a variety-show state of mind than a standard-issue Broadway revue. But Robin has given each of the individual segments a great snap, crackle and pop, even generating some real dramatic heat along the way. And he gets loads of help from his six highly creative musical arrangers; a group of "specialty" dance choreographers; a corps of dancers who might just be breaking aerobics records; a group of singers who swing, swing, swing, and a band (several of whose fine musicians even brave the stage) that matches them beat for beat.
He also has threaded all the pieces of this dance quilt together with Coda (deft work by Matt Schwader), the sort of naughtily zany and graceful Cirque-like clown guide you either love or want to hit with a cream pie.
All the music of the 1930s and '40s is still there (Doug Peck is the superb musical director, Patti Garwood the conductor). A stunning swing-dance opener to "In the Mood" gets things flying courtesy of bravura dancers Beverly Durand and Mark Stuart Eckstein (who later will leave burn marks with a sensational Latin duet), Nia Gregory, Joe Komara, Pia Manalo, Tommy Rapley, Lisa Rumbauskas and Christopher Windom. (Other fine dancer-singers include Matt Raftery, Kristy Luehm, Allison Stodola, Ian Liberto, Dara Cameron, Nicole Famighetti, Buddy Reeder, Tucker Ty and Lucy Carapetyan, who soars as the aerial artist on silk ropes in "White Cliffs of Dover").
The principal singers -- Susie McMonagle (a terrific comedian and a performer who could easily pass for a clone of one of the Andrews Sisters), Susan Moniz (an actress of fierce emotional power), Stephen Schellhardt and Jim Weitzer -- follow up with such songs as "Chattanooga Choo Choo," "Minnie the Moocher" and a series of golden World War II-era songs that ring evocatively for the soldiers of our own time, too.
The show ends with a flashy reprise of "Lullaby of Broadway," but there is nothing "sleepy" about this or any other part of this high-octane entertainment engine.
hweiss@suntimes.com
You can catch the show at the Marriott Theater in Chicago http://www.marriotttheatre.com/musicals_strut.asp
Sunday, December 10, 2006
Lindy Wins the US Open Showcase Champion
There's a bit of a rivalry between Lindy Hop and West Coast Swing. Hoppers, as Lindy Hop dancers are sometimes called, claim that West Coast Swing is slow and for old people, while the West Coast Swing dancers (sometimes referred to as westies) claim that Hoppers lack technique and smoothness). The rivalry is mostly playful, but it is playful in a Cold War kind of way. Well, the best thing for both styles of swing dance happened this weekend: A Lindy routine won the Showcase division of the US Open of Swing Dance.
To read more and see the results click here: aworldofdance
To read more and see the results click here: aworldofdance
Wednesday, November 29, 2006
What dancing is all about
So you think you know all about dancing? Well read this to know more!
People dance socially mostly for the pure joy of it. For the dancing enthusiast, nothing compares to the thrill of moving with grace and harmony to a beautiful piece of music with that wonderful partner of the moment.
But anyone who has ever been to a social dance notices that not everyone is having a good time, or at least not equally so. While some sit out many dances, others are constantly in demand. These fortunate dancers seem not only to have a great time, they also transfer their sense of joy to others around them. There is something about these individuals that transcends good looks and dancing skill. How do they do it? What are the personal qualities, habits, and skills that lead to success on the social dance floor? This article explores answers to these questions.
Etiquette and Beyond
Success in a social activity requires awareness of accepted norms of behavior. The importance of dance etiquette to the social dancer can hardly be overstated. Etiquette is important everywhere, but especially in dancing, a delicate activity where unpleasantness has no place.
Dance communities tend to be fairly small, giving a nice self-enforcing characteristic to dance etiquette. Inconsiderate individuals may temporarily enjoy themselves at other dancers' expense. But they quickly develop a reputation, mostly unbeknownst to them, and become outcasts. A good reputation, as a considerate and enjoyable partner, is a social dancer's best asset.
In the following we touch on a few of the more important aspects. For more details see the accompanying article ``Elements of Dance Etiquette.''
Never blame your partner for anything that may happen on the dance floor. Not if you want him/her to dance with you again.
A request for a dance must be accepted under almost all circumstances. If you decline a dance, you yourself cannot dance until the end of that song.
No unsolicited teaching on the dance floor! There is a good chance this will make your partner feel small and humiliated. Not exactly a great way of encouraging him/her, or others, to dance with you.
Do not monopolize a partner on the dance floor. Dancers are polite and rarely say no to a dance, but this is no carte blanche to impose on their kindness. Dance with everyone, and let everyone dance.
On the floor, be considerate of the other couples. Exercise good floorcraft; do not cut other couples off; no aerials or choreographed steps on the dance floor.
What we discussed so far is usually considered the domain of dance etiquette. Anyone who consistently violates the rules of dance etiquette will eventually be shunned in the local dance community, so the first step towards success in dancing is to follow the rules of dance etiquette. Once we have mastered the etiquette, it is time to move beyond it and learn what else can we do to become popular in the dancing circles. The remainder of this article is dedicated to that topic.
Make Your Partner Happy
The single biggest secret of success in social dancing is to make your partners happy. Once you succeed at this task, your popularity will soar and you will never have a shortage of willing and enthusiastic partners to dance with.
Realization of this fact is an important first step. Then, one needs to master the skills needed to actually implement this policy. There are many ways you can make your partner happy, among them:
No uncomfortable leads: Cranking your follower's arm to make her turn, pushing and pulling to bring her into position, and other forceful leads will not be appreciated. If she is not doing what you want, then probably your lead was not skillful enough. Unless you know a pattern well, do not execute it on the social dance floor. Keep it for classes and practice time, until you have mastered the pattern, then bring it on the social dance floor. If the lead is good and the follower is still not following, again the leader is at fault, because he is leading a pattern too difficult for his follower.
No back-leading: When you ask or accept to follow someone in a dance, you implicitly agree to let them lead. While this doesn't mean you have to be a perfect follower, or even a particularly good one, it does mean that you should not try to lead them. It is disrespectful and disturbing to your partner when you steal the lead; you are rejecting their contribution to the partnership.
Protect your partner: For the leader this has two aspects. The first is floorcraft. Anticipate the movement of other dancers, and match your figures to empty spaces on the floor, so that you do not run your partner into other couples. Secondly, if there is imminent danger of collision, pull your partner close and turn, so that you absorb the blow. The follower can also protect her partner by keeping an eye out behind his back. If a couple is approaching from his blind spot, a small pressure on his shoulder or hand can warn him of possible collision.
Entertain your partner: You are there not only to have a good time yourself, but also to entertain your partner. This means, among other things, making him/her comfortable, dancing at a level that is enjoyable for both, and maintaining a good sense of humor if something goes wrong. If you are a perfectionist in your dance studies, leave it behind in social dancing. Own up to mistakes if yours, but do not dwell on them either way. Playfulness and lightheartedness in dancing also goes a long way. Look at your partner and smile (except in dances one is not supposed to). Focus not on yourself, but on your partner.
Make your partner feel appreciated: The most popular dancers are not necessarily the most skillful, but rather the ones who make clear to each partner how much that person's company is appreciated and enjoyed. Most people would rather not dance with someone who acts bored or put upon, no matter how amazing their dancing is.
The annoyance factor: There are many things that may be acceptable in everyday situations, and yet can be very annoying when done at very close proximity, as one has to be while dancing. In particular, avoid humming to the music, counting the steps, or chewing gum while dancing.
It is worthwhile to repeat once more the cardinal rule of social dancing: You are happy when your partner is happy.
Who is Popular?
At this point you are a considerate social dancer who always puts his/her partner first. But building a reputation takes time. What makes someone popular at first sight? If you look around a dance hall at the start of a song, you will see dancers going around, scanning the crowd, looking for their next partner. Surely, you think to yourself, they don't all know their potential partners. Then what are they looking for? Here are some answers:
Good dancers are in demand: This is by far the most effective way of becoming popular in the dancing circles. Regardless of everything else, good dancers are always in demand. This should serve as a powerful incentive to try and improve your dancing. There is no need to know a million patterns; but one needs to have good technique and lead/follow. Practice, practice, practice! Then practice some more.
Dancers seek dancers: Dancers are more likely to seek those they see dancing on the floor. Only as a second choice do they turn to those sitting on the sidelines. Maybe this is due to a feeling of confidence that someone seen on the floor is actually a dancer, or a pleasant dancer, or is less likely to decline a dance. Whatever the reason, if you are seen dancing on the floor, you have a better chance of getting the next dance. Think of it as a form of dancers' inertia. Getting over this inertia will help you have a pleasant night of dancing. Do your best to get the first few dances once you arrive at a dance event; it gets easier afterwards.
Dance shoes: Dancers look for dancers, but how does one spot a dancer (unless you see one dancing)? The answer is: dance shoes! At a dance event where people don't know each other, you will see experienced dancers scan the crowd, not looking at faces, but rather looking at the feet! Making an investment in a pair of dance shoes is a sign of enthusiasm for dancing. Dancers know that, so wearing dance shoes will increase your chances of getting asked to dance.
Dancers seek those who say ``yes'': Being turned down for a dance is never fun. Besides, it is a waste of time: with only a few seconds between songs, if one gets turned down once or twice, the next song is a loss. If you decline dances, or if you look stern, or hard to please, your chances of being asked to dance will be reduced, which brings us to the next point.
Eagerness, willingness to dance: Stand close to the edge of the dance floor. Watch the dancers on the floor, tap your foot to the music. Smile. Dancers will be attracted to you if they feel you want to dance. Better yet, don't wait to be asked. Go ask someone to dance! What is the worst that can happen? Even if you are turned down, you have demonstrated your willingness to dance.
Sense of humor, pleasantness: Be nice to your partner. He/She was certainly nice enough to ask you to dance, or agree to dance with you, so return the favor. Remember, you are there to have fun, so have fun! Have, or at least emulate, a pleasant demeanor. Most importantly, smile!
Physical attraction: This is the one factor that is somewhat out of our control, but it is undeniable that in dancing, as everywhere else, good-looking people have an advantage. Men, especially, will gravitate to pretty women. Women, while lamenting the shallowness of men, generally behave no better.
That said, for the most of us who are not endowed with movie-star looks, there is good news. Good looks might help in getting the first dance, but in the long run, personality, sense of humor, and most importantly good dancing skills, trumps good looks (at least on the dance floor).
Dance Partners
We already know about not monopolizing a partner. Dance etiquette has ruled that no more than two consecutive songs be danced with the same partner, so that everyone can find a diversity of partners to dance with. To do this is not only fair, it is smart: you will get to dance with everyone and improve the prospects of your social dancing.
Dancing with a wide set of partners is a cornerstone of social dancing. This general principle applies to everyone, including dancers who are romantically involved. A romantic pair that dances only with one another undermines the structure of soical dancing by refusing to contribute to it.
Romantic couples who refuse to dance with others often act out of fear and inhibition: fear of damaging the romance by dancing with someone else, or feelings of insecurity when their sweetheart is dancing with someone else. These negative emotions are unfounded, and arise from completely invalid notions of social dancing. Requesting or accepting a dance carries no commitment outside of the duration of a song, typically 3-5 minutes. Think of it as a brief chat with someone in a cocktail party, before moving on to the next conversation. Going to a dance and declining to dance with everyone is as boring and pointless as going to a party and not speaking to anyone. We will say more about this topic in the section on Dancing and Romance.
A great way to increase one's circle of dance acquaintances is to ask beginners to dance. I still fondly remember the advanced dancers who with some degree of regularity asked me to dance when I was a novice. Dancing with beginners is not only an excellent way to develop your lead/follow, but also is a great human investment that will pay off handsomely, because novice dancers don't remain that way for long. Don't think of dancing with a novice as charity, you are doing yourself a favor.
On the other hand, be judicious about asking those more skillful than you. If everyone was constantly seeking dance partners better than themselves, virtually no dancing would take place. Dancers are nice, so the skillful partners that you seek may not decline at first, but if you continue to hunt them down, they will start avoiding you. My rule of thumb is: the frequency of asking someone to dance is inversely proportional with their level of dancing. If someone is far more skilled than you, then ask them only sparingly (of course feel free to accept whenever they ask you, which could be often). If someone is equally or less skilled than you, ask them more often.
How do you get dancers, especially better dancers, to dance with you? Just be a considerate, warm, fun-loving partner, and keep improving your dancing.
Finally, on the subject of regular dance partners: whether or not to have a regular partner depends on many factors. The obvious advantage of a dance partnership is having someone to take classes and practice with, or to go out dancing with, especially to places not frequented by dancers. However, dance partnerships present unique challenges, and may complicate other parts of your life. A dance partnership is a very special kind of relationship, with a delicate balance, whose maintenance is highly nontrivial. The interaction of dance partnerships with your personal and romantic life is especially something to be carefully considered.
There are many arguments both in favor and against regular dance partnerships; the validity of each of these arguments varies greatly according to the personalities involved. Like any other relationship, a dance partnership requires care, consideration, and expenditure of time and effort. Before getting into a partnership, make sure you are willing to make the personal investment necessary to make it a success.
It is worth noting that one has no claim on the regular dance partner during a social dance. In a social dance, everyone dances with everyone, with the exception of the first and last dance of the evening, which can be reserved.
The Dance Community
Shortly after starting to dance, you will have come across most of the ``regulars'' who make up the backbone of the local dance community. Dance communities are fairly small. The dance community is like a family, and its members are like family members. Friendships come and go over time, but family is there forever. That is why maintenance of relationships within a family is critical: few of us ever choose new parents or siblings. Once a relationship within a family has soured, its effects are long-lasting and painful. In the same vein, it pays to maintain good relationships in the dance community, because as long as you go dancing in the same geographical area, you will run into the same people over and over again, and awkward situations will remain, well, awkward.
Avoiding unpleasant situations is easy, especially because most dancers are easygoing, nice people. Just don't go out of your way to aggravate anyone. Easily done, because there is so much dancing going on, there is hardly time for anything else. All one has to do is to observe elementary social graces. Despite this, there are a few situations where dancers are prone to get in trouble.
One of these sticky situations involves dance etiquette. Everyone seems to agree to dance etiquette in abstract, but there is a wide variation in what individuals believe applies to them in practice. When you see someone who is, in your opinion, in violation of dance etiquette, it may be awfully tempting to go and give the offender a piece of your mind. Or at least, to try and politely point out the mistake. Don't give in to that temptation!
It is very difficult, in fact next to impossible, to change people. Few of us have that magical combination of tact, insight, and charisma to be able to change someone's behavior in a meaningful way. You are likely to generate resentment without accomplishing anything. Furthermore, you will look a silly busybody to onlookers. The exception is the case of a close friend, whom you feel obligated to help out. In that case, any related conversation had better take place tactfully and in private. But in general: Etiquette, yes. Etiquette police, no!
Does this mean that etiquette offenders go scot free? Not really. Etiquette has a wonderful self-enforcing mechanism. Consistent violators will find themselves more and more isolated, and thus problems usually take care of themselves.
In some cases more direct action may be needed, especially when the violator puts others in serious immediate discomfort or danger. Action should then come not from the average dancer, but from someone official, for example the emcee or DJ. In that case it is very important that the rules are stated unambiguously and enforced uniformly. Your job, however, is finished once you bring a violation to the attention of emcee or DJ.
It is also a good idea to avoid old, tired, and unresolvable arguments, dance-related or otherwise. For example, there is nothing original left to be said (if there ever was any) about the superiority or inferiority of International vs. American style, Swing vs. Jive, Country Western vs. Swing vs. Ballroom, and so on. More often than not, these are questions of taste, people have made up their minds, and will not be swayed by anything that you have to say. Enjoy the dance and the company of your dancing friends; don't put them down.
A phenomenon one sometimes sees in social dancing is dance cliques, groups of individuals that only dance among themselves, and implicitly or explicitly discourage others from dancing with them. There is very little you can do if you come across them. But if you are part of them: do yourself a favor, lighten up!
Dancing and Romance
Dancing by its nature is a romantic activity. It involves music, and the close proximity of (usually) the opposite sex. For most of us, this is part of the attraction of dancing. Where else is the opportunity of having an attractive stranger in your arms within a few seconds of meeting them? However, the connection of dancing and romance can unfortunately also lead to misunderstanding and unhappiness.
Much of this unhappiness can be avoided by awareness of the basic premises of social dancing. Social dancing is exactly that, social. Once again I will use the metaphor of a cocktail party: a dance is like a brief chat in a cocktail party, after which one moves on to the next conversation. Each of these conversations may in turn be funny, heated, professional, elegant, or provocative. Nevertheless, they are nothing but brief conversations, enjoyable at the moment, but certainly not signifying or requiring a long-term interaction.
The same principle applies to social dancing: Each dance is a brief, and hopefully enjoyable, social encounter. Newcomers to dancing sometimes have a hard time understanding this, but to ask or accept a dance does not necessarily indicate a personal interest, even though the dance itself might look passionate or provocative.
Dancing is about fun and fantasy and make-believe. It often involves imagination and the telling of a story: the majesty of Waltz, sensuality of Tango, aristocratic nobility of International Foxtrot, or the irreverant fun attitude of Swing. A particular dance may look alternatively elegant, provocative, strong, or sexy, but it is only a role-playing game. Correspondingly, a social dance event is a safe haven where one can play these games and have a degree of uninhibited fun, with the understanding that our actions on the dance floor, especially during a dance, are not to be interpreted according to the more serious (and conservative) standards of the outside world.
The common understanding of the dance community makes this level of fun possible; it has been agreed that we come together, enjoy our dancing, and that our dancing activities have no implications beyond the dancing itself. To read more into what happens on the dance floor would be a mistake.
Two facets of this mistake that can be particularly hurtful: The first is to misread the attention and mannerisms of a partner, during dancing, as genuine romantic interest. While romances do develop in the dancing community (as anywhere else), be careful about making any assumptions. You will save yourself from an awkward moment, or worse, endangering your dancing friendships.
The second facet of this problem involves romantic partners that both dance. The key to their dancing and romantic happiness is, once again, that dancing is merely role-playing, and that what happens on the dance floor is not for real. Each of them should feel free to dance with other members of the dance community. Realizing this, they can spare themselves much pain and anguish, and build a stronger relationship.
Despite the fact that much of dancing is fantasy and make-believe, and that many dancers keep their romantic and dancing lives separate, there is nothing against looking for romance in the dancing circles. If that is your purpose, best of luck! Don't forget to learn dancing and have fun along the way.
Looking Inside
When all is said and done, your happiness in social dancing depends more on you than anyone else. If you are determined to have a good time, and have a good attitude, you have a good chance of enjoying your dancing experience.
The first ingredient of a good attitude is a sense of humor. Take all that comes to you in stride. If you are not asked for dances, or are turned down a few times, don't be bothered. If a particular dance does not go well, if you misstep in a pattern or two, let it pass. You can do no better than your best. Be nice to other dancers, continue to improve your dancing, and you will have a progressively more enjoyable dancing experience.
Dancers are in general a likeable bunch. But in dancing, as elsewhere, you will come across all types. Sooner or later, someone may rub you the wrong way, or even worse, be directly obnoxious to you. You may see gigantic egos, unsightly ambitions, and plain unkindness. Especially if you are a novice dancer, these circumstances can be frustratingly difficult to deal with. Thankfully these situations are rare, but at such times it is especially important to look inside and draw on your strength of character.
The key to enjoyment in dancing is awareness of your goal: to enjoy dancing. Enjoyment is contagious and cumulative. People like to be around individuals who enjoy themselves. Be one of those individuals. Be determined not to let small things spoil your evening of dancing.
To enjoy dancing, you must enjoy the music. If you are not already a musical person, develop an understanding and appreciation of the music. It will also help your understanding of the dance.
Active, outgoing personalities have an advantage in social dancing. Even if you are not naturally that way, try and cultivate a pro-active approach to your dancing. If you like a song and want to dance, if you like a partner and want to dance with him/her, don't hesitate to go and ask. Make friends in the dancing community. You would be surprised how much an occasional smile and salutation can do. There are virtually hundreds of individuals out there waiting to be friends with you. All it takes is a minimum level of effort from you.
Ultimately no-one and nothing can make you happy or unhappy. Only you can make you happy. Dancing can help.
Source: Beyond Dance Etiquette: Success and Enjoyment in Social Dancing
Copyright (c) 1999 Aria Nosratinia. All rights reserved.
People dance socially mostly for the pure joy of it. For the dancing enthusiast, nothing compares to the thrill of moving with grace and harmony to a beautiful piece of music with that wonderful partner of the moment.But anyone who has ever been to a social dance notices that not everyone is having a good time, or at least not equally so. While some sit out many dances, others are constantly in demand. These fortunate dancers seem not only to have a great time, they also transfer their sense of joy to others around them. There is something about these individuals that transcends good looks and dancing skill. How do they do it? What are the personal qualities, habits, and skills that lead to success on the social dance floor? This article explores answers to these questions.
Etiquette and Beyond
Success in a social activity requires awareness of accepted norms of behavior. The importance of dance etiquette to the social dancer can hardly be overstated. Etiquette is important everywhere, but especially in dancing, a delicate activity where unpleasantness has no place.
Dance communities tend to be fairly small, giving a nice self-enforcing characteristic to dance etiquette. Inconsiderate individuals may temporarily enjoy themselves at other dancers' expense. But they quickly develop a reputation, mostly unbeknownst to them, and become outcasts. A good reputation, as a considerate and enjoyable partner, is a social dancer's best asset.
In the following we touch on a few of the more important aspects. For more details see the accompanying article ``Elements of Dance Etiquette.''
Never blame your partner for anything that may happen on the dance floor. Not if you want him/her to dance with you again.
A request for a dance must be accepted under almost all circumstances. If you decline a dance, you yourself cannot dance until the end of that song.
No unsolicited teaching on the dance floor! There is a good chance this will make your partner feel small and humiliated. Not exactly a great way of encouraging him/her, or others, to dance with you.
Do not monopolize a partner on the dance floor. Dancers are polite and rarely say no to a dance, but this is no carte blanche to impose on their kindness. Dance with everyone, and let everyone dance.
On the floor, be considerate of the other couples. Exercise good floorcraft; do not cut other couples off; no aerials or choreographed steps on the dance floor.
What we discussed so far is usually considered the domain of dance etiquette. Anyone who consistently violates the rules of dance etiquette will eventually be shunned in the local dance community, so the first step towards success in dancing is to follow the rules of dance etiquette. Once we have mastered the etiquette, it is time to move beyond it and learn what else can we do to become popular in the dancing circles. The remainder of this article is dedicated to that topic.
Make Your Partner Happy
The single biggest secret of success in social dancing is to make your partners happy. Once you succeed at this task, your popularity will soar and you will never have a shortage of willing and enthusiastic partners to dance with.
Realization of this fact is an important first step. Then, one needs to master the skills needed to actually implement this policy. There are many ways you can make your partner happy, among them:
No uncomfortable leads: Cranking your follower's arm to make her turn, pushing and pulling to bring her into position, and other forceful leads will not be appreciated. If she is not doing what you want, then probably your lead was not skillful enough. Unless you know a pattern well, do not execute it on the social dance floor. Keep it for classes and practice time, until you have mastered the pattern, then bring it on the social dance floor. If the lead is good and the follower is still not following, again the leader is at fault, because he is leading a pattern too difficult for his follower.
No back-leading: When you ask or accept to follow someone in a dance, you implicitly agree to let them lead. While this doesn't mean you have to be a perfect follower, or even a particularly good one, it does mean that you should not try to lead them. It is disrespectful and disturbing to your partner when you steal the lead; you are rejecting their contribution to the partnership.
Protect your partner: For the leader this has two aspects. The first is floorcraft. Anticipate the movement of other dancers, and match your figures to empty spaces on the floor, so that you do not run your partner into other couples. Secondly, if there is imminent danger of collision, pull your partner close and turn, so that you absorb the blow. The follower can also protect her partner by keeping an eye out behind his back. If a couple is approaching from his blind spot, a small pressure on his shoulder or hand can warn him of possible collision.
Entertain your partner: You are there not only to have a good time yourself, but also to entertain your partner. This means, among other things, making him/her comfortable, dancing at a level that is enjoyable for both, and maintaining a good sense of humor if something goes wrong. If you are a perfectionist in your dance studies, leave it behind in social dancing. Own up to mistakes if yours, but do not dwell on them either way. Playfulness and lightheartedness in dancing also goes a long way. Look at your partner and smile (except in dances one is not supposed to). Focus not on yourself, but on your partner.
Make your partner feel appreciated: The most popular dancers are not necessarily the most skillful, but rather the ones who make clear to each partner how much that person's company is appreciated and enjoyed. Most people would rather not dance with someone who acts bored or put upon, no matter how amazing their dancing is.
The annoyance factor: There are many things that may be acceptable in everyday situations, and yet can be very annoying when done at very close proximity, as one has to be while dancing. In particular, avoid humming to the music, counting the steps, or chewing gum while dancing.
It is worthwhile to repeat once more the cardinal rule of social dancing: You are happy when your partner is happy.
Who is Popular?
At this point you are a considerate social dancer who always puts his/her partner first. But building a reputation takes time. What makes someone popular at first sight? If you look around a dance hall at the start of a song, you will see dancers going around, scanning the crowd, looking for their next partner. Surely, you think to yourself, they don't all know their potential partners. Then what are they looking for? Here are some answers:
Good dancers are in demand: This is by far the most effective way of becoming popular in the dancing circles. Regardless of everything else, good dancers are always in demand. This should serve as a powerful incentive to try and improve your dancing. There is no need to know a million patterns; but one needs to have good technique and lead/follow. Practice, practice, practice! Then practice some more.
Dancers seek dancers: Dancers are more likely to seek those they see dancing on the floor. Only as a second choice do they turn to those sitting on the sidelines. Maybe this is due to a feeling of confidence that someone seen on the floor is actually a dancer, or a pleasant dancer, or is less likely to decline a dance. Whatever the reason, if you are seen dancing on the floor, you have a better chance of getting the next dance. Think of it as a form of dancers' inertia. Getting over this inertia will help you have a pleasant night of dancing. Do your best to get the first few dances once you arrive at a dance event; it gets easier afterwards.
Dance shoes: Dancers look for dancers, but how does one spot a dancer (unless you see one dancing)? The answer is: dance shoes! At a dance event where people don't know each other, you will see experienced dancers scan the crowd, not looking at faces, but rather looking at the feet! Making an investment in a pair of dance shoes is a sign of enthusiasm for dancing. Dancers know that, so wearing dance shoes will increase your chances of getting asked to dance.
Dancers seek those who say ``yes'': Being turned down for a dance is never fun. Besides, it is a waste of time: with only a few seconds between songs, if one gets turned down once or twice, the next song is a loss. If you decline dances, or if you look stern, or hard to please, your chances of being asked to dance will be reduced, which brings us to the next point.
Eagerness, willingness to dance: Stand close to the edge of the dance floor. Watch the dancers on the floor, tap your foot to the music. Smile. Dancers will be attracted to you if they feel you want to dance. Better yet, don't wait to be asked. Go ask someone to dance! What is the worst that can happen? Even if you are turned down, you have demonstrated your willingness to dance.
Sense of humor, pleasantness: Be nice to your partner. He/She was certainly nice enough to ask you to dance, or agree to dance with you, so return the favor. Remember, you are there to have fun, so have fun! Have, or at least emulate, a pleasant demeanor. Most importantly, smile!
Physical attraction: This is the one factor that is somewhat out of our control, but it is undeniable that in dancing, as everywhere else, good-looking people have an advantage. Men, especially, will gravitate to pretty women. Women, while lamenting the shallowness of men, generally behave no better.
That said, for the most of us who are not endowed with movie-star looks, there is good news. Good looks might help in getting the first dance, but in the long run, personality, sense of humor, and most importantly good dancing skills, trumps good looks (at least on the dance floor).
Dance Partners
We already know about not monopolizing a partner. Dance etiquette has ruled that no more than two consecutive songs be danced with the same partner, so that everyone can find a diversity of partners to dance with. To do this is not only fair, it is smart: you will get to dance with everyone and improve the prospects of your social dancing.
Dancing with a wide set of partners is a cornerstone of social dancing. This general principle applies to everyone, including dancers who are romantically involved. A romantic pair that dances only with one another undermines the structure of soical dancing by refusing to contribute to it.
Romantic couples who refuse to dance with others often act out of fear and inhibition: fear of damaging the romance by dancing with someone else, or feelings of insecurity when their sweetheart is dancing with someone else. These negative emotions are unfounded, and arise from completely invalid notions of social dancing. Requesting or accepting a dance carries no commitment outside of the duration of a song, typically 3-5 minutes. Think of it as a brief chat with someone in a cocktail party, before moving on to the next conversation. Going to a dance and declining to dance with everyone is as boring and pointless as going to a party and not speaking to anyone. We will say more about this topic in the section on Dancing and Romance.
A great way to increase one's circle of dance acquaintances is to ask beginners to dance. I still fondly remember the advanced dancers who with some degree of regularity asked me to dance when I was a novice. Dancing with beginners is not only an excellent way to develop your lead/follow, but also is a great human investment that will pay off handsomely, because novice dancers don't remain that way for long. Don't think of dancing with a novice as charity, you are doing yourself a favor.
On the other hand, be judicious about asking those more skillful than you. If everyone was constantly seeking dance partners better than themselves, virtually no dancing would take place. Dancers are nice, so the skillful partners that you seek may not decline at first, but if you continue to hunt them down, they will start avoiding you. My rule of thumb is: the frequency of asking someone to dance is inversely proportional with their level of dancing. If someone is far more skilled than you, then ask them only sparingly (of course feel free to accept whenever they ask you, which could be often). If someone is equally or less skilled than you, ask them more often.
How do you get dancers, especially better dancers, to dance with you? Just be a considerate, warm, fun-loving partner, and keep improving your dancing.
Finally, on the subject of regular dance partners: whether or not to have a regular partner depends on many factors. The obvious advantage of a dance partnership is having someone to take classes and practice with, or to go out dancing with, especially to places not frequented by dancers. However, dance partnerships present unique challenges, and may complicate other parts of your life. A dance partnership is a very special kind of relationship, with a delicate balance, whose maintenance is highly nontrivial. The interaction of dance partnerships with your personal and romantic life is especially something to be carefully considered.
There are many arguments both in favor and against regular dance partnerships; the validity of each of these arguments varies greatly according to the personalities involved. Like any other relationship, a dance partnership requires care, consideration, and expenditure of time and effort. Before getting into a partnership, make sure you are willing to make the personal investment necessary to make it a success.
It is worth noting that one has no claim on the regular dance partner during a social dance. In a social dance, everyone dances with everyone, with the exception of the first and last dance of the evening, which can be reserved.
The Dance Community
Shortly after starting to dance, you will have come across most of the ``regulars'' who make up the backbone of the local dance community. Dance communities are fairly small. The dance community is like a family, and its members are like family members. Friendships come and go over time, but family is there forever. That is why maintenance of relationships within a family is critical: few of us ever choose new parents or siblings. Once a relationship within a family has soured, its effects are long-lasting and painful. In the same vein, it pays to maintain good relationships in the dance community, because as long as you go dancing in the same geographical area, you will run into the same people over and over again, and awkward situations will remain, well, awkward.
Avoiding unpleasant situations is easy, especially because most dancers are easygoing, nice people. Just don't go out of your way to aggravate anyone. Easily done, because there is so much dancing going on, there is hardly time for anything else. All one has to do is to observe elementary social graces. Despite this, there are a few situations where dancers are prone to get in trouble.
One of these sticky situations involves dance etiquette. Everyone seems to agree to dance etiquette in abstract, but there is a wide variation in what individuals believe applies to them in practice. When you see someone who is, in your opinion, in violation of dance etiquette, it may be awfully tempting to go and give the offender a piece of your mind. Or at least, to try and politely point out the mistake. Don't give in to that temptation!
It is very difficult, in fact next to impossible, to change people. Few of us have that magical combination of tact, insight, and charisma to be able to change someone's behavior in a meaningful way. You are likely to generate resentment without accomplishing anything. Furthermore, you will look a silly busybody to onlookers. The exception is the case of a close friend, whom you feel obligated to help out. In that case, any related conversation had better take place tactfully and in private. But in general: Etiquette, yes. Etiquette police, no!
Does this mean that etiquette offenders go scot free? Not really. Etiquette has a wonderful self-enforcing mechanism. Consistent violators will find themselves more and more isolated, and thus problems usually take care of themselves.
In some cases more direct action may be needed, especially when the violator puts others in serious immediate discomfort or danger. Action should then come not from the average dancer, but from someone official, for example the emcee or DJ. In that case it is very important that the rules are stated unambiguously and enforced uniformly. Your job, however, is finished once you bring a violation to the attention of emcee or DJ.
It is also a good idea to avoid old, tired, and unresolvable arguments, dance-related or otherwise. For example, there is nothing original left to be said (if there ever was any) about the superiority or inferiority of International vs. American style, Swing vs. Jive, Country Western vs. Swing vs. Ballroom, and so on. More often than not, these are questions of taste, people have made up their minds, and will not be swayed by anything that you have to say. Enjoy the dance and the company of your dancing friends; don't put them down.
A phenomenon one sometimes sees in social dancing is dance cliques, groups of individuals that only dance among themselves, and implicitly or explicitly discourage others from dancing with them. There is very little you can do if you come across them. But if you are part of them: do yourself a favor, lighten up!
Dancing and Romance
Dancing by its nature is a romantic activity. It involves music, and the close proximity of (usually) the opposite sex. For most of us, this is part of the attraction of dancing. Where else is the opportunity of having an attractive stranger in your arms within a few seconds of meeting them? However, the connection of dancing and romance can unfortunately also lead to misunderstanding and unhappiness.
Much of this unhappiness can be avoided by awareness of the basic premises of social dancing. Social dancing is exactly that, social. Once again I will use the metaphor of a cocktail party: a dance is like a brief chat in a cocktail party, after which one moves on to the next conversation. Each of these conversations may in turn be funny, heated, professional, elegant, or provocative. Nevertheless, they are nothing but brief conversations, enjoyable at the moment, but certainly not signifying or requiring a long-term interaction.
The same principle applies to social dancing: Each dance is a brief, and hopefully enjoyable, social encounter. Newcomers to dancing sometimes have a hard time understanding this, but to ask or accept a dance does not necessarily indicate a personal interest, even though the dance itself might look passionate or provocative.
Dancing is about fun and fantasy and make-believe. It often involves imagination and the telling of a story: the majesty of Waltz, sensuality of Tango, aristocratic nobility of International Foxtrot, or the irreverant fun attitude of Swing. A particular dance may look alternatively elegant, provocative, strong, or sexy, but it is only a role-playing game. Correspondingly, a social dance event is a safe haven where one can play these games and have a degree of uninhibited fun, with the understanding that our actions on the dance floor, especially during a dance, are not to be interpreted according to the more serious (and conservative) standards of the outside world.
The common understanding of the dance community makes this level of fun possible; it has been agreed that we come together, enjoy our dancing, and that our dancing activities have no implications beyond the dancing itself. To read more into what happens on the dance floor would be a mistake.
Two facets of this mistake that can be particularly hurtful: The first is to misread the attention and mannerisms of a partner, during dancing, as genuine romantic interest. While romances do develop in the dancing community (as anywhere else), be careful about making any assumptions. You will save yourself from an awkward moment, or worse, endangering your dancing friendships.
The second facet of this problem involves romantic partners that both dance. The key to their dancing and romantic happiness is, once again, that dancing is merely role-playing, and that what happens on the dance floor is not for real. Each of them should feel free to dance with other members of the dance community. Realizing this, they can spare themselves much pain and anguish, and build a stronger relationship.
Despite the fact that much of dancing is fantasy and make-believe, and that many dancers keep their romantic and dancing lives separate, there is nothing against looking for romance in the dancing circles. If that is your purpose, best of luck! Don't forget to learn dancing and have fun along the way.
Looking Inside
When all is said and done, your happiness in social dancing depends more on you than anyone else. If you are determined to have a good time, and have a good attitude, you have a good chance of enjoying your dancing experience.
The first ingredient of a good attitude is a sense of humor. Take all that comes to you in stride. If you are not asked for dances, or are turned down a few times, don't be bothered. If a particular dance does not go well, if you misstep in a pattern or two, let it pass. You can do no better than your best. Be nice to other dancers, continue to improve your dancing, and you will have a progressively more enjoyable dancing experience.
Dancers are in general a likeable bunch. But in dancing, as elsewhere, you will come across all types. Sooner or later, someone may rub you the wrong way, or even worse, be directly obnoxious to you. You may see gigantic egos, unsightly ambitions, and plain unkindness. Especially if you are a novice dancer, these circumstances can be frustratingly difficult to deal with. Thankfully these situations are rare, but at such times it is especially important to look inside and draw on your strength of character.
The key to enjoyment in dancing is awareness of your goal: to enjoy dancing. Enjoyment is contagious and cumulative. People like to be around individuals who enjoy themselves. Be one of those individuals. Be determined not to let small things spoil your evening of dancing.
To enjoy dancing, you must enjoy the music. If you are not already a musical person, develop an understanding and appreciation of the music. It will also help your understanding of the dance.
Active, outgoing personalities have an advantage in social dancing. Even if you are not naturally that way, try and cultivate a pro-active approach to your dancing. If you like a song and want to dance, if you like a partner and want to dance with him/her, don't hesitate to go and ask. Make friends in the dancing community. You would be surprised how much an occasional smile and salutation can do. There are virtually hundreds of individuals out there waiting to be friends with you. All it takes is a minimum level of effort from you.
Ultimately no-one and nothing can make you happy or unhappy. Only you can make you happy. Dancing can help.
Source: Beyond Dance Etiquette: Success and Enjoyment in Social Dancing
Copyright (c) 1999 Aria Nosratinia. All rights reserved.
Wednesday, November 22, 2006
Lindy Exchange
I am sad I missed pittstop lindy exchange this year and over the last two years. And every time I keep hearing how great it was! I had no excuse and could have gone and am sure I would have had a great time too! I did go to pittstop 1 and 2, years back and the first two time I went had a very good time. But somehow I still got cold feet. Maybe I wasn't really sure if I would have enjoyed it as much as I thought I would.
I think I figured out why I had cold feet and ultimately also figured out what going to an exchange means to me. It certainly took a couple to figure it out. To me lindy exchange is not really about dancing non stop 2-3 days in a row, or looking to dance with the "most excellent" follow every guy is talking about (of course to me that’s Mo but I’m just saying), or looking for that zen swingout (at least I know one person, who shall not be named, is still looking for it). I think it is about making new friends and catching up with old ones if you happen to meet them. It is after all a social event. But a dance scene can also be very cold. You can dance with 100’s of people and still not feel welcome. A couple of bad experiences can ruin the whole weekend. This is where the energy of a lindy exchange scene can make a huge difference.
A lindy scene that is friendly and welcoming actually makes everyone visiting friendly and welcoming as well. A scene that has an atmosphere not just for dancing but as a gathering of people from different background from hundreds of different places who somehow all know the same dance and share in it. That’s the exchange I’m looking for.
In almost every scene, I have noticed there is always that “clickish” tight knit group that usually hangs out together. A few have their nose stuck up in the air so high it can pop a balloon if they are not careful. You cannot avoid it and is probably the nature of any social group and I avoid them like a plague. But the rest of the group are always friendly and this is where the energy of the lindy exchange scene can make a difference.
Maybe why I got cold feet was I missed that element the first two times I went. But as pittstop is maturing and from reading in the blogosphere, it appears that may be changing. I'm glad and now I certainly plan to go next year.
The one scene I really enjoyed and met some really cool people was at Orange County Lindy Exchange (OCLX). Kudos to the people there and hope you have a great one again soon. I hear Seattle lindy exchange is also nice and hope to make that trip too in the near future. DCLX to me is getting a little “blah”. Boardwalk boogie mini exchange was one of my best! But, each to their own.
I think I figured out why I had cold feet and ultimately also figured out what going to an exchange means to me. It certainly took a couple to figure it out. To me lindy exchange is not really about dancing non stop 2-3 days in a row, or looking to dance with the "most excellent" follow every guy is talking about (of course to me that’s Mo but I’m just saying), or looking for that zen swingout (at least I know one person, who shall not be named, is still looking for it). I think it is about making new friends and catching up with old ones if you happen to meet them. It is after all a social event. But a dance scene can also be very cold. You can dance with 100’s of people and still not feel welcome. A couple of bad experiences can ruin the whole weekend. This is where the energy of a lindy exchange scene can make a huge difference.
A lindy scene that is friendly and welcoming actually makes everyone visiting friendly and welcoming as well. A scene that has an atmosphere not just for dancing but as a gathering of people from different background from hundreds of different places who somehow all know the same dance and share in it. That’s the exchange I’m looking for.
In almost every scene, I have noticed there is always that “clickish” tight knit group that usually hangs out together. A few have their nose stuck up in the air so high it can pop a balloon if they are not careful. You cannot avoid it and is probably the nature of any social group and I avoid them like a plague. But the rest of the group are always friendly and this is where the energy of the lindy exchange scene can make a difference.
Maybe why I got cold feet was I missed that element the first two times I went. But as pittstop is maturing and from reading in the blogosphere, it appears that may be changing. I'm glad and now I certainly plan to go next year.
The one scene I really enjoyed and met some really cool people was at Orange County Lindy Exchange (OCLX). Kudos to the people there and hope you have a great one again soon. I hear Seattle lindy exchange is also nice and hope to make that trip too in the near future. DCLX to me is getting a little “blah”. Boardwalk boogie mini exchange was one of my best! But, each to their own.
Sunday, November 12, 2006
The parody - classic!
Anyone remember the parody dance of the two french dudes? It was quite amusing and appears to have happened at Chevy Chase ballroom in DC. I must have missed that night because I was frequently traveling to DC then. Since the context of the parody was actually from Kevin and Carla's dance I figured I would link both these clips here. Watch Kevin and Carla's first then the French guys. Enjoy!
Kevin and Carla's Routine
French Guys: Max and Thomas parody
Kevin and Carla's Routine
French Guys: Max and Thomas parody
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