DanceInfo

April2000
mail me home

1. Weekend Holiday and Dance - Coral & Eddie
2. DanceInfo Bows Out - Jay
3. Current World Champion - Nicole Cutler Remembers SA
4. And the Lord spoke - Lynne Haldeman
5. The Good Old Dancing Days - Milton & Yvonne
6. Congratulate Cathy Gibbons - Cherie Scott
7. Just A Bit Of Advice - Wez Mayo
8. Expanding For The Enthusiastic Dancer - Elsa
9. Lindy Hop/Balboa/Collegiate Shag - Julie Trudel
10. River Dancing
11. Found a Latin Partner
12. Reply to Les Covarr - Cherie Scott
13. Wasn’t Trying To Down Paul - Ken Scott
14. Corrections
15. Square Dancing
16. Letters from Felix Moroder
17. The Rules - Cherie Scott
18. A Little Knowledge Is Dangerous - Sharon & Doug

When I started DanceInfo SA in 1995, I did so for several reasons;

1. to promote Ballroom & Latin (competitive and social), Spanish, Freestyle, Modern as well as any other form of dance - as a dancer's "talk forum"
2. to provide a regular magazine for a sport that truly deserved one, but never had one. "This magazine" I said, "must be a little different from the usual run-of-the-mill,  boring stuff. It must be chatty, honest, have a personal touch and should push for as much Dance Talk as possible. The kind of talk that every dancer understands and relates to"
3. to encourage dancers and officials to enrich DanceSport by communicating with each other, with the interest of the sport at heart
4. to get dancers to share their exhilarating dance activities and experiences with their fellow enthusiasts via print
5. to offer trainers the opportunity to give their top achievers public recognition and praise
6. to afford both the dancer and the official occasion to freely express their views and assert their grievances, i.e. to openly tell the truth
7. to announce and review SA dance events
8. to keep dancers informed and up-to-date with dance news and notices by helping officials convey info to all. This I hoped would solve some of the moles that unnecessarily besmear our sport
9. to provide contact numbers for partners, dresses, events, equipment, trainers, officials, studios, etc.
10. for the love of dancing and the enjoyment of writing. It wasn't my intention to typeset, look for advertisers and deliver the mag, but I tackled that almost single-handedly. That's how earnest I felt.
11. more importantly, not to work in opposition to dancers, officials or dance associations but rather to liaison between these parties as their impartial ambassador
12. and finally, to encourage someone in the sport to produce a smart colourful Dancer's mag for nationwide distribution.

By the way, DanceInfo SA now holds the SA record for publication longevity (50 months of prompt, consecutive issues.) Yes, no other dance magazine in South Africa lasted that long. History has it, all DI's predecessors fizzed after three months. What's more, it was the only Dancer's magazine that I know of in the world that had the nerve to publish contentious issues and last that long - and we stop on our own volition.

In my 5-year of scribing for the dancer, I discover, contrary to what I strongly believed at first, that there is no genuine interest by the majority of dancers for a Dance Magazine. The raw truth is taboo, dancers and officials definitely don't want that. I thought we should be open about our problems, which every sport has, and then strive to overcome them through discussion, but that the officials frowned on heavily.

During this spell I felt no compunction or had no regrets to reveal the truth, the burning passions and opinions of the dancer - the "trodden-ons" by the so-called untouchables. In fact, it was my great pleasure to help dancers say their say and I made no bones about egging them on.

As a result, and as an outsider to the competitive scene, I personally feel officials are too cloistered in their ways; petrified to divulge info or answer fair and reasonable questions posed by dancers. The only time they reacted fast is when someone jibed them personally or they could profit by the announcement. But voluntary info usually came only from the few who sincerely care about the sport. Dancers saw me as a friend and helper. The official saw fangs; "watch what you say to Jay the big bad wolf."

Every time I asked officials a plain, simple dancer's question, I always got the hairy tinge that they suspected me of affronting them; of trying to uncover a misdemeanour or that I was attempting to expose the conspiracy, their hidden secrets. Surely if they are innocent, there'd be no need for mistrust? I'd say to an official, "someone wants to know about…" no sooner had I quacked my Q than, "why the hell do these people always run to the magazine first, why don't they write to us first?" One dancer recently told me that when she phoned an official to find out something about the points system, the honourable officer got so upset that she slammed the phone down on her. I thought only poorly bred plebs with a mega migraine, an inferiority complex, a huge hang-up or a guilty conscience behave that way. Not the responsible people in authority to whom the people in the street must look to for advice, with respect and dignity.

Why do you get that creepy feeling that I have something against the officials? it's because I DO HAVE SOMETHING AGAINST THE OFFICIALS, they are too reticent, too verkrampt, too intransigent, too reluctant to furnish input, as if they are doing something surreptitious, something sneaky that the people who pay to keep the establishment wealthy, must not know. Even dancers are afraid to talk. I often felt wedged between the dark chambers of Auschwitz 2 & 3. I abhor this "shrouded in secrecy" SS system, this constant mission of theirs to evade the TRUTH, and the vile terror dancers have to speak out for fear of being prejudiced by the officials - and they have the audacity to call Jay the big bad wolf!

An official says, "Jay, we are having a meeting on Sunday to discuss important, exciting DanceSport matters, I'll let you have the details" I say, "great! give it to me, let me spread the news". The details I get go something like this, "a meeting was held by the so-and-so board. It was agreed that the members have a good working relationship and many positive and exciting things were discussed. Everyone is very optimistic about the future of DanceSport". That news is not worth the paper it's written on and our paper comes off toilet rolls. We WANT DETAILS not abstract, political hogwash. What are the positive, exciting, optimistic things? The words positive, exciting and optimistic mean sweet fanny Annie. Give us the definitions that qualify positive, exciting and optimistic. When I pick my nose, that's exciting, maybe not positive but exciting, and it has an optimistic future - a clean nose. More than that, it describes what really excites me.

A report arrives, "an absolutely superb Latin & Ballroom workshop held by world-renowned experts from abroad." I think, "WOW and WOOPY, now we're getting there". Details, "it's a pity not many dancers attended this excellent technique session which was conducted by the best dancers and adjudicators in the world. They told us what needs to be worked on in order to improve SA dancing. They physically demonstrated our flaws and showed the cures, etc." WHAT ARE THE DETAILS? Somebody PLEASE HELP, I'm drinking my bath water again. We want details. Are our Ballroom dancers slow foxing wide-legged? are our Latin couples poer, poering through the Hockeystick? What are our strong points? What did they say technically that will help improve our failings or make an indelible impression? And why did we pay them so much to give this workshop if there is no interest? But worst, when and where are these workshops held?… I KNOW NOTHING. I just work here as one of the main communicators for the sport and my middle name is Dumb. But forget not, I'm only as dumb as my "informers" make me.

4 couples were awarded SA Colours for the first time in the history of SA DanceSport. 3 weeks after this momentous occasion, I had to be told of the details by a casual dancer who happened to be in the neighbourhood… the officials didn't think it important to announce the event or they thought only the maid at the airport reads this magazine.

Here follows my constant wail to the authorities, "when you hold a meeting, give me the info you want dispensed, you know? that woolly waffle your secretary scribbles on a piece of paper during the meeting and I'll sieve out the cats from the canaries. What's more, when a dancer asks a question, answer it fully, in a mature, professional way - prompt, polite and with the expressed aim to enlighten and enrich the sport, to enrich the sport." That's all I yearned for, but my desperate appeals mostly landed on deaf ears.

"Words without deeds is like a garden full of weeds." That, in my spell of editing DI, sums up the credo from the Cape. Capetonian dancers are chronically inflicted with the worst overdose of lip-servicealitis this country knows and beware it's contagious. I'm sure it's that violent gust of wind which powers its way down Table mountain into the vineyards and across the regions, because their words are truly windy. I've seldom communicated with so many who so eloquently advise so much, "DI must do this, DI must do that, we'll do this, we'll do that" but deliver ZILCH and ZIPPO - not a stitch of action.

One thing few will accuse DI of is boredom. Think of it, DI spoke in one tongue only, DANCING. That could be very boring you know. If boredom did exist then it came from the tedious inertia of the officials or the lack of substance they supplied. For a tatty little paper it certainly produced a lot of action and DI never missed a beat or was ever late on D day. My only regret is that I couldn't manage to get dance officials to understand, that what I was doing, I was doing for dancing. All I needed from the officials was a little help, co-operation and communication, no financial reward. One of the sad tragedies is, it was beneath them to even subscribe to help me further the cause of DANCE. The OFFICIALS WAITED AT THE COMPS TO SCAVENGE THEIR FREE COPY FROM THE COPIES I SUPPLIED FOR THE UNDERPRIVILEGED PEOPLE OF THE DEVELOPMENT PROGRAMME.

A very popular word used frequently by both dancers and officials is POLITICS, which simply means CORRUPTION, the rot of the sport, and believe me the word politics is used often. If there is corruption in the camp and I came down on it, it was for the good of dance, not to work against the authorities (unless they have something to hide). To clean up the joint I needed their absolute assistance, which, when I didn't get it, smeared them horribly. Imagine what would happen to our country without the press.

The Freestyle image will stink for a long, long time to come, thanks to their officials who didn't have the guts or the pride to answer pertinent questions from their disgruntled dancers. At least, we now all know that the Freestyle dancers who accused the SADTA of all those nasty atrocities stand justified in their grievances.

When the authorities ignored questions from dancers or were afraid to give info, they became their own worst enemies. At one stage they even withheld comp result from me, that was a real baddy which I just couldn't accept or fathom. This isn't the Victorian era where chastity belts were used to keep the community pure, NOW is the modern age… we wear torn jeans to church, and the village people, the plebeians have a right to free speech; have a right to know where their money goes.

My biggest grumble as editor of the only SA dance mag to have ever gone the full hog is that, despite my initiative to faithfully promote dancing, the job no-one else wanted, the officials saw little value in making a special effort to help me in every way, and I mean every way. I was a perfect vehicle for them and the sport. I still haven't got a complete list of the SA Ballroom and Latin champions, not a soul in the country has records. Every other sport, from day one to the present time, knows who their champs are. We haven't a clue, it's an absolute disgrace. It just proves how little interest they have in tradition and history.

With the demise of DI, I can picture many authorities heaving a heavy sigh of welcome relief. In fact, from where I sit, their sounds of gladness have digital clarity, but relax not, I'll still be vigorously concentrating my efforts on upgrading and maintaining my DanceInfo SA website with the latest data as it arrives and I'll be zoomed in on the letters. The visits to my site are increasing rapidly each week. It seems as if more and more dancers are becoming web-wise. DI's website layout will be based on the magazine, except that the news will be fresh, instant and FREE.

Please note; DI's new website address is:
http://www.oocities.org/danceinfosa/ the old one still gets you there, but this address is shorter and more descriptive - BOOKMARK it. I have added a special link page to my site called "SA Quick Links". This particular page is specifically designed for South African information such as; restaurants, postal codes, emergencies, newspapers, travel, sport, cooking, dancing, jobs, cinemas, main SA search sites, etc. For quick reference, it's more direct - one click and boom you're there. If you can add to it GIVE.

My main and only inspiration
Finally, I must thank all my happy, willing helpers. The dancers and officials listed below are not the phoneys of the sport, they are the true supporters of dance. They helped DanceInfo SA achieve its huge popularity and they did it gladly.

No other dance magazine has ever managed to get dancers to talk so freely. On average each month, DI covered 16 pages of "Letters to the Editor" and dancers were clearly beginning to express their opinions and passions openly - we performed a miracle.

Although we didn't achieved half of what we strove for, we certainly got into the nitty-gritty of dance talk BIG-TIME. Pick up any other Dance magazine and what do they offer?; colour, dance cosmetics, ads for Africa and more ads, oh yes, there is an article somewhere, I saw it, and you'll be fleeced of R14 or more of your hard earned pay for each copy. We were an enormous service to the dance community, but that's not what the dance community wants; the majority wants colour, ads, dance cosmetics and that article, that's if they can find it. Our efforts went far beyond the shallow, plastic veneer, it had intrinsic DANCE value and I thank you all.

The heroes and heroines of DanceInfo SA;

1. Elsa Lakic, Pat Redelinghuys, Sandy Rust, Caroline Poley, Ryno van den Berg (reporters), Brian Schmidt, Johan Hayes, José Montoya, Martin Smith, Roy Bennett, Allan Hammond, Alan Sasnovski, Jason Kisogloo, Pam Smith, Gaby V., Tanz Café (Mareli), Paul & Sandra Steyn-Smuts, Ken & Cherie Scott (Zim), Les Cavarr (Zim), Felix Moroder who voluntarily supplied reviews and news in support of the sport.
2. Viva Espana, Ballet Barre, Lekker Dans, Dancelot (Brian Schmidt & Meryl Williams), Johan Hayes, José Montoya, Gaby V., Tanz Café, Lynne Haldeman for sponsoring the mag with regular ads.
3. Ursula Baumann for doing the heavy-duty postal chores.
4. Deon Smith and Charmaine of PNA for kindly printing DI at an affordable price for so many years.
5. To all you dancers who subscribed for years and often phoned me to say how much you enjoyed the magazine I say WOW! and WOOPY!

Cheers Jay

I don't know if you will remember me, but I am South African, which many people in South Africa forget, and am proud to be South African even though I am married to an Englishman!  People over here don't realise that I am from SA and believe me, I am very quick to put them right and inform them that I am and always will be!

Although I have finally made it to where I want to be in the danceworld, I just wanted to let someone know that I could not have done it if it wasn't for all the encouragement and support I had when I was still living and dancing in South Africa.  I will never forget where I am from and I only hope that South Africa is proud of me, even though I don't represent South Africa, I am in my heart and soul, every time I step onto that dancefloor!

So, thank you to SA for giving me what I have today!

Keep up the great work on the website… Dance-Sport  really needs it!

From Nicole Cutler (formerly Nicole Westdyk from Durban, South Africa)

Ed
 A great compliment, coming from someone who has made it right to the top of our sport, "Current World Amateur Latin-American Champion" WOW! that's an extreme honour. But more than that, I'm sure many South Africans will be happy and proud to know that you hail from Durbs.

In South African, just recently, we were treated to a series of top DanceSport competitions on TV and the Cutlers breezed through to comprehensively win them all - South Africa is indeed very proud on you.

I'd like to add you to my website list of "interviews with SA champs", and you can tell us where it all started, who were the people in South Africa that encouraged you, what it takes to become a champion and stay a champion and all the spills and thrills that happened to you on the way to accomplishing your goal.

I doubt whether there is another dance site on the web with as much dance information as mine. My Dancers' Dictionary alone is over 200 pages and there is still lots to come. At present, I am developing a South African Dancers' Directory, based on the concept of the Yellow Pages where SA dancers can connect and interact with everyone and everything to do with dance in South Africa.

Nicole, it was kind of you to let us know where your roots lie, and if you do have any dance news that you want to share with us GIVE, we love dance talk - thanks again, Jay.

A dance cabaret will be one of the highlights included in the weekend.
We have invited Steve Lovegrove from England to be our Compère. Steve is a Competitive Dancing Instructor and  an Adjudicator. He has also done many holiday and dance weekends overseas. It will be wonderful for all Ballroom dancers to come together. Here in Durban we hold approx. 4 ballroom and Latin socials a month. A tremendous interest  has been shown by the dancers here so... if there are any dancers out there who would like to join us   please e-mail us at edcoral@iafrica.com or write to PO. Box 50835 Musgrave Rd 4062 KwaZulu-Natal. Tel 031  2072424

We will gladly forward you with the cost of the weekend and all details, Looking forward to meeting other dancers.

Yours very sincerely in dance

Coral and Eddie.

I want you to save the righteous people like Jay and two of every kind of living things on the earth. Therefore, I am commanding you to build an Ark."

In a flash of lightning, God delivered the specifications for an Ark. In fear and trembling, Noah took the plans and agreed to build the Ark. "Remember" said the Lord, "You must complete the Ark and bring everything aboard in one year.

Exactly one year later, fierce storm clouds covered the earth and all the seas of the earth went into a tumult. The Lord saw that Noah was sitting in his front yard weeping. "Noah," He shouted. "Where is the Ark?"
 "Lord, please forgive me! cried Noah. "I did my best, but there were big problems. First, I had to get a permit for construction and your plans did not meet the specifications. I had to hire an engineering firm and redraw the plans.

Then I got into a fight with Occupational Safety people over whether or not the Ark needed a fire sprinkler system and flotation devices.

Then my neighbour objected, claiming I was violating zoning ordinances by building the Ark in my front yard, so I had to get a variance from the city planning directorate. Then I had problems getting enough wood for the Ark, because there was a ban on cutting trees to protect the Spotted Owl.

I finally convinced the Department of Forestry that I needed the wood to save the owls. However, the Department of Environmental Affairs won't let me catch any owls. So, no owls.

The carpenters formed a union and went out on strike. I had to negotiate a settlement with the National Labour Relations Board before anyone would pick up a saw or a hammer. Now I have 16 carpenters on the Ark, but still no owls. When I started rounding up the other animals, I got sued by an animal rights group.

They objected to me only taking two of each kind aboard. Just when I got the suit dismissed, the Department of Water Affairs notified me that I could not complete the Ark without filing an environmental impact assessment on your proposed flood. They didn't take very kindly to the idea that they had no jurisdiction over the conduct of the Creator of the universe.

Then the City Engineer demanded a map of the proposed new flood plain. I sent them a globe. Right now, I am trying to resolve a complaint filed with the Equal Employment Opportunity Commission that I am practicing discrimination by not taking godless, unbelieving people aboard the Ark.

The Receiver of Revenue has seized my assets, claiming that I'm building the Ark in preparation to flee the country to avoid paying taxes. I just got a notice from the Licensing Department that I owe them some kind of tax and failed to register the Ark as a "recreational watercraft."

Finally, the Constitutional Court issued an injunction against further construction of the Ark, saying that since God is flooding the earth, it is a religious event and therefore unconstitutional.

I really don't think I can finish the Ark for another five or six years" Noah wailed.

The sky began to clear, the sun began to shine and the seas began to calm.

A rainbow arched across the sky. Noah looked up hopefully. "You mean, You are not going to destroy the earth, Lord?"

"No," said the Lord. "I don't have to. The government already has." This could apply in any country!  Hope it made you smile!

He said, "This person will gather food for you, cook for you, and when you discover clothing she'll wash it for you.  She will always agree with every decision you make.  She will bear your children and never ask you to get up in the middle of the night to take care of them.  She will not nag you and will always be the first to admit she was wrong when you've had a disagreement. She will never have a headache and will freely give you love and passion whenever you need it. Adam asked God, "What will a woman like this cost?" God replied, "An arm and a leg."

Then Adam asked, "What can I get for a rib?"

Jay, I suppose you are wondering what has happened to me? Well I am living in a beautiful small town with a population of 10,000 people.  I am in the middle of the Rocky Mountains and have these huge snow-capped mountains on all sides.

Here people live in wooden houses that are plastered inside.  Many different styles and an exceptional knowledge of wood architecture.

They do not know what burglar proofing is, and do you know they had a robbery at the Town Centre? (about 60 people had keys, and they did  not have a list of them)  You put petrol into your car and then you go and pay.  There are no garage service attendants - but nobody drives away without paying. Oh, yes, there was one 'car accident' since I have been here - more a car 'bump' The cars ALL drive slowly and if you want to cross in the middle of a block, they stop for you.

I live in a 'condo' , which is like a town house complex.  It is very handy as we have our driveway and roads cleared of snow for us. The weather has been unusually warm (for winter) with occasional days of snowing - it is really lovely when it snows!

I have nearly caught up with all the things that are necessary when you move to a new country - bills to be paid, ways people do things, etc. We have a great deal of family support, which makes this possible for both my Mother and I.

With Love,

Lynne Haldeman

Ed
We were wondering what had happened to Lynne Haldeman and her dance Academy. Peacefully nestled in the green meadows of a Canadian valley, surrounded by three snow-tipped Rocky Mountains inside a warm wooden log condo with no burglar proofing and only slow drivers, makes all of us in sunny SA and Zim more than very envious. Slow drivers give me the jitters though, whether it be on a dance floor or in the streets. They disrupt the rhythm, cause traffic congestion and are the result of irrepressible road rage, so I think I'll stay put in the wooden log cabin. Once Noah gets his Ark organised, I'll probably emigrate to the Rockies.

But, in the meantime, how are the Canadians shaping with the Toyi-Toyi? The moment you have settled in completely, send us lots of dance news.

The Good Old Dancing Days

Maybe some of the younger folk would like to know what dancing was like 40 years ago.
In 1953 I danced my first competition. This was called the “Carona” Festival and was named after a cruise liner of the same name, which regularly visited Durban. They had a resident professional on board (John Cullip), who adjudicated this event.   In those days all competitions seemed to have been sanctioned by the SADTA.

Unlike today where the lower level of dancing consists of your medal / star grades progressing to Novice, Pre-Champ. and then Championship, and possibly professionalism. The lowest event in those days was Novice “C” progressing to “B” and then Novice “A”. Once you had won a section you were entitled to move up a grade. There wasn’t a point system, as there is today. Once you had won Novice “A” you progressed to Pre-Amateur and then to Amateur “C”, “B” and finally to “A”.   In this section those not lucky enough on the night to make the final were able to dance in a “Consolation” final.

Once you were lucky enough to win an Amateur final the next step was Rising Star and then Advanced Amateur.   I am unsure regarding these two and they might have been the other way around!
In those days my wife and I danced for a Studio called “The Smith / Martin Dance Studio”. The principals were Syd Smith and Betty Martin. Betty was my teacher and she was very strict regarding the basics of dancing, especially the placement of feet and the posture of both partners.

The standard of dancing I feel was very much higher than it is today and, in fact, the teachers in those days would not allow you to dance competitively if they felt that you were not ready and/or fluent enough on the floor to satisfy the adjudicator. On this point I am sure there are some teachers still around who were active dancers in those days and who would agree, people like Hennie Nortje, Jimmy Johnson, Fred McCann.

In Durban alone at that time there were many great dance studios, such as the Andrews Studio Micklebusts, Smith / Martin, Kincaids, etc. and when there were competitions there was great sporting rivalry between them. Unlike today there would be as many as 10 or 15 couples per studio dancing in various sections and each studio would occupy a section of the seating around the floor (not those booked or set aside for paying audience) and a lot of banter and/or encouragement was shouted out from these dancers to those on the floor. The practice of whistling as evident today, which is so annoying, was taboo.

Once you had danced everyone returned to their respective studio group. There was always a sense of excitement as one waited to hear if you had made it into the semi-final or final. In those days the numbers were called out and you took your place on the floor from the area where you were sitting and not from a marshalling area, as we have today.

Most sections as I can recall, would have as many as 30 plus couples entered. Again as we have today, quarter finals, semi-finals and finals were danced, but the difference being that, whereas today we have six in a final and all receive a trophy, in those days only the first, second and third were rewarded. In some instances, if the adjudicators felt that no one was worthy of a first place, only a second and third were awarded.

I was fortunate to progress to Amateur status in those days, whereas my wife never progressed from Novice as she left to go overseas for a while.   We were not going out as a couple during our dancing days neither were we dancing partners.   We only came together later when she returned from overseas. We met again when she returned and we were married in April 1959.

I was fortunate enough during my dancing career to team up with a partner who was also keen on Latin American. (Samba, Rumba, London Jive) and with her I was lucky enough to get a second in the Winter Festival.

The Cha Cha and Paso Doble only came into being later - 1959 / early 1960 and the London Jive gave way to the jive as it is today.

What was the dress like in those days? Well whether you danced Novice, Amateur or Professional, you all wore tails, with a “dicky” shirt, waistcoat and white bow tie. Both the “dicky” shirt and the waistcoat were starched as were the cuffs of the shirt. The collar of the shirt was not as wide as those of today, which to me look very uncomfortable, and no one would have dared to wear a shirt of colour other than white under their tails as some dancers do today. I have seen coloured shirts peeking out recently. Your teacher would have had a word to say if you had tried that trick. Shoes were always of the shiny patent leather type and spotlessly clean.

The ladies in those days wore ball gowns of 6 to 8 layers of tulle or a type of nylon net on which sequins were glued in beautiful designs and which looked very elegant and beautiful. They do say that there is no such thing as an ugly woman and I agree – some are just prettier than others! (Did you hear that, my reporter, she said, HEAR! HEAR!)

In most cases the ladies wore shoes of the same colour as their gowns or gold/silver. There were no objections to the ladies wearing jewellery in those days and in fact it only enhanced, not only the person wearing it, but also to see all those ladies dancing by with the glitter from these adornments, was something to behold. The new ruling today when even small flashy diamond or diamante earrings and necklaces are banned to me detracts from the occasion.

Some of the great dancers of those times are still around – Jimmy Johnson, Henny Nortje, Fred McCann, Ms Hammond, to name but a few. We even had a Miss South Africa dancing in those days – she was then Norma Vorster. There were also great dancers like Bill and Bobby Irvine, Sandy Sundolowitz, Michey Micklebust, Syd Smith, Gertrude Walsh and the Potters. I imagine a lot of the latter have passed on as they were my senior in those days by 10 – 15 years. We heard that our teacher Betty Martin is still teaching!
In most cases when competitions were held adjudicators came from other provinces to judge,;  this also eliminated the grey area of bias or favouritism. Judging was strict and very fair, which is the reason why I feel the standard of the dancing was so high, you had to impress the judges. Another thing not evident so much today, but which was in those days, was that the adjudicators were constantly on the move and not standing in one place as can be seen at the competitions a lot today.

Sadly we no longer have formation / team dancing, where teams from the different provinces competed against each other. These events formed part of the competitions. Hennie Nortje was a member of the then Transvaal team and I am sure he could tell you more about this form of dancing should you wish to know.
Well that is all I can remember at the moment of the days gone past! My memory may have got a few things wrong but I don’t think so.

Thank you for giving me the opportunity of putting pen to paper and to bring back some wonderful memories.

Kind regards

MILTON DEMMER

PS: Jay, just as an extra titbit - Milton is one of 13 - he and another brother competed against each other and this brother gave up just a few years ago. His mother also brought up a cousin who also competed against him.

He had an elder sister who competed but she had already given up (I think) when Milton started.  She wanted to partner Milton when we moved to the Transvaal, but as we had small children and living in Pretoria I didn't think it a good idea - spoil sport hey!

Many thanks for the interest.

Milton has such interesting tales to tell of his days of dancing!
 It is kind of you to send us an update of the info on your website but unfortunately I am unable to access the web.
 We are going to dance in the next comp. in Natal and through this comp. have contacted an "old" friend. I wonder how many more we will meet.

It is wonderful to think that dancing has opened up a whole new world for us - one we thought we had long left behind - and forgotten!

Incidentally, we won on Saturday night and we were ASTONISHED at the applause!  It was magic!!

Your kindness means a lot to us.

Lots of love

Yvonne Demmer

Ed
Yvonne, "interesting tales" that's what we've tried to specialise in right from the start, the DI chronicle, otherwise known as Dance Talk. At the beginning, when I pondered over what to name the magazine, it was a toss-up between DanceInfo and DanceTalk. In retrospect, I think DanceTalk would have been the better choice, though DanceInfo covers more.

I heard the thunderous applause for your magical win at the Wits Technikon Festival, plus I saw it in the results on my website - CONGRATS. Regarding DI's website, I will regularly notify dancers listed in my mail address book whenever I upgrade the pages, unless they request otherwise.

Your problem of accessing by clicking on my web address from your mail window does some-times cause hassles, it's a Microsoft or Netscape problem. Rather copy my web address and paste it into the search window of one of the worldwide search browsers such as Microsoft Explorer, Yahoo, Netscape. And the best time to surf in South Africa is early in the morning.

To save money while surfing the net, you download all the pages you want to read, but make sure they download completely, then disconnect from the net and use the forward and back arrow to waltz from one page to the other while you read to your heart's content, and without paying. Weekend surfing is also cheaper and faster. The quickest way to get to a site is by bookmarking it to your favourites, that way it parks the page in a temp file for immediate access.

Milton, thanks for reminiscing. There's nothing like a good old tally-wag about the good old days. I know many readers, young and old, will find your letter fascinating. This is what I've been pushing for all along; for dancers to share their feelings, their experiences, their love and passion of the sport with fellow-dancers.

Many people I know in their 50s and 60s haven't the energy to Waltz with their walking stick, let alone do it competitively. One of the many advantages of dancing is that there is no real age limit. You probably remember the late Jack Calder. He was still going strong in his 80s. Another benefit is that you and Yvonne share the hobby you both adore, which few sports offer. In our studio we teach several wives who take up dancing for exercise and as a hobby because their hubby prefers to sit at home and blob - I'm sure you both appreciate your good fortune, Enjoy! Enjoy! and aim for the Worlds.

Few also realise just how thoroughly dancing exercises the body. You just need to start up after a break to find out how many muscles actually get churned, and the older your muscles become, the better dancing is for them. Both the Ballroom and Latin sections give your back, leg and arm muscles a complete workout, and competitive dancing keeps the brain cells toned.

I like, "In most cases when competitions were held adjudicators came from other provinces to judge,;  this also eliminated the grey area of bias or favouritism. Judging was strict and very fair, which is the reason why I feel the standard of the dancing was so high, you had to impress the judges." In my 5 years of doing DI, this judging issue has been the main bone of contention. That so many dancers feel the system is unfair must say something for the flaws in the procedure. I reckon, the way they used to do it seems to be the answer. If that can't be applied, then something else must be done, but the now way is definitely not doing much good for the sport.

Milton spare not the many tales, I'll have them on the net in a jiffy.

For now I would like to congratulate Cathy Gibbons on her wonderful informative letter. It is written with true Professionalism and dedication. She does stress however that it is her opinion. I was also given the same advice in my earlier years but it ended like this “when they stop then you are no longer of interest.”
Cathy has officiated many times in Zimbabwe as our Chairman of Adjudicators and I have worked with her as the scrutineer.  She knows the rules and enforces them no matter what.  We sincerely hope she will be able to come again in the future.  How about coming to our Grand Prix comp in September, Cathy.  We will accommodate you and the children.

I have had many discussions with Cathy and I was often at the point of  “giving up”, but she advised me not to.  I am still in there Cathy but I often wonder why I bother.  Dancing has been my life through three generations of my family, so I will continue to aim for my goal, which is “fair play and rules that apply to all”.

Felix Moroder, I see you are the P.R.O of FEDANSA Gauteng. I hope there are a lot more like you on the committee who will speak out and get DanceSport on the right track.

Cheers Jay

CHERIE SCOTT
ZIMBABWE

Ed
Cherie, Jay concords wholly, "your magazine Info is what we all need. We are all now getting what we want — Answers and opinions." Thanks for your email.

Just A Bit Of Advice

The fact that they approach your car to show you their goods however, does allow them ample opportunity to survey the inside of your vehicle, and assess your level of preparedness and awareness of your surroundings.

The other result of your decision to buy the goods, is that you often then transfer your wallet, purse or handbag onto your lap, in order to pay for
the goods.

Whilst the majority of these vendors are genuinely selling goods, we are aware of several incidents where under the guise of vending, motorists who open their windows to buy goods, or sample fruit being offered to them etc. are then surprised to find the "vendor" produce a weapon and carry out either a robbery or hi-jacking on the spot. The fruit seller guise specifically offers you a free sample of the fruit, in order to get you to open your window. In addition, the suspicion of passing motorists is not aroused because it is so common to see these vendors at car windows.

We are also aware (particularly in the Sandton area - Grayston Dr and Rivonia Rd for example) that the Flower sellers are selling dagga and harder drugs, to their regular clients who stop under the guise of buying flowers from the vendor. These "vendors" are often quite aggressive in the attempts to recruit new clients. We have passed this information on to the local Police, who have
from time to time made arrests.

Please be aware of these risks, and avoid any inter-action with traffic light vendors, regardless of the time of day or the area you are in.

Regards

Wez

Ed
The latest is, in heavy traffic and in broad daylight, the one slings a sparkplug attached to a string through your car window (the string is there so that they don't lose their missile, otherwise they have to find another brick), the other grabs your cell phone or whatever is there advertised to be plucked, and both run like hell while you sit hemmed in. I hope they don't ever try that with me, they'll be permanently sorry. We are living in a classy country. My warning is, keep everything out of sight except your sawn-off shotgun.

Thys, organiser of the “Lekker Dans”  evenings hopes to see all the familiar, as well as plenty new faces at the smart new venue, Lion’s Club Hall in Umgazi road (just off 26th street) , Menlo Park.

The following dates have been confirmed: 26th April, 3rd May, 10th May, 17th May, 31st May, 7th June, 14th June, 21st June.  Eventually, as the hall becomes available, Thys intends to entertain you at the Lion’s every Wednesday night of the year, so put on those dancing shoes!

Judging by the popularity of the other venues, we would suggest that you  phone Thys to book. on 083 442 4325.

Lindy Hop/Balboa/Collegiate Shag

Julie Trudel

Ed
 Julie, the Cape people are dead slow, a little more dead than slow, so this is going to take a  long, long time, but luckily we've got until next year sometime, and even that I can't guarantee.

About a year ago, a friend of mine spun bottles in a Cape bar, I think it was called the SAROC, which stands for South African Rock Cape - a rock-swing. The place is a bar-cum-studio, a great venue for the kind of dancing you're looking for. The couple who teach are stunning, energetic and very enthusiastic.

Will keep you posted, but be patient or you could  become a patient.

Thank you very much

Flippie du Plessis

Ed
Phone the Irish Dancing Association @ 011 - 803 2577, they teach it.

I'd also like to change my Partner Wanted ad to: Hi I'm Frans Coomans. I am dancing Competi-tive Adult Ballroom and Latin. I am dancing Ballroom in the adult silver section.  I'm looking for a Ballroom  Partner (I have already found a Latin Partner SORRY!) that is extremely dedicated and LOVES dancing.  I am dancing @ Tango Latino with Mark Dooley as instructor.  Bronze and Silver Dancers are welcome to contact me.  If you want to go all the way to the top... contact me on (h) 744-3122 (w)914-3244/5 or
(e-mail) fcoomans@hotmail.com

Reply to Les Covarr

10. When I mentioned that we had 15 Professionals in Zimbabwe I was stating a fact not fiction. Her statement I am afraid is not true.  Some are Qualified and are Teaching competitive couples and none are not teachers at all. Here is a list of the others
Doug Clarke
Sharon Robinson
Basil Franklin
Cheryl Waldmeyer (nee Bulpitt)
Pat Phiri
Lovemore Mativi (Gweru)
Ken Scott
Cherie Scott
Sherryl Scott

In my calculations 6 + 9 = 15. We also have Ewen McColl who is retired but an Honorary Member of the Professional Body. Five of the others are qualified and still teaching. Lovemore is teaching in Gweru both black and white couples and will be adjudicating at our FUN festival and bringing some of his couples. Pat unfortunately now lives in Botswana and teaches there. She is still a Member of Grand prix and Alliance and is still prepared to assist when in Zimbabwe. We are all members of either a Professional body or Grand Prix or both. The Scotts do not teach any more but are still very active in the DanceSport scene. I for one would love to be teaching Classical Sequence but my health does not permit, the mind is willing but the lungs say no! Ray Bulpitt is not actively teaching at the moment. All his couples went to Lesley Clift.
Freda Johnson is one of our oldest teachers and although her health is not so good, she is still teaching. For this she should be greatly admired.

11. Yes we lack Qualified teachers in Zimbabwe but you can’t pull them out of a hat unfortunately. So where are the advanced Amateurs who according to ZADSA rules are allowed to teach and you say they are on your committees? The dancers who have given up as I said were dancing at a studio and getting professional tuition so you cannot say this is the reason. I have spoken to a lot of the dancers who have given up and they claim it is the system. They are not prepared to be dictated to by people who don’t even dance and they feel there are too many loopholes in the rules, which benefit only the chosen few.
Can you explain here how you accept the fact that an unqualified Amateur is accepted as a teacher but an unqualified Professional who was a top Amateur dancer in all styles of dance sport and has already had experience in teaching, knows the syllabus, knows the steps and can read scripts and also knows how to scrutineer, is not acceptable to your amateur body. I cannot understand your logic.
These Professionals I have listed above, although not all still teaching, are still very active on the DanceSport scene and are willing to assist at competitions, at any time but you choose to ignore them. Can you explain why?

12. I will refer back to this section in my next letter as there is one point that I will not accept as yet. I am still waiting for proof. Lesley does not have the knowledge to give her views on how many letters I have written or how many replies I have received. Only I know this. I would say the last line of no 12 refers to the members of ZADSA more than to me.
I have pointed out to ZADSA many times on the following rules but you refuse to accept fact. I on the other hand will not accept hearsay and certainly not from misinformed non-dancing amateurs.

1. Judges may not adjudicate members of their own family. (IDSF have included this in their rules now so I am sure you believe it now). There should not be more than one judge from each studio on a panel.
2. Only the Chairman of adjudicators and the scrutineer have access to the mark sheets until the comp. is over. ZADSA slipped in their rulebook the following line: results should be made available to the designated ZADSA representative during the competition.  This is totally incorrect.  Having seen Cathy’s letter I hope you will believe me now.
3. Combining sections: Beside myself Cathy has also told you how a combined section should be marked but ZADSA continues to ignore facts.
4. Everyone is entitled to see the mark sheets.  This is not the sole property of the Amateur body and has never been.

Cheers for now

CHERIE SCOTT
ZIMBABWE

Ed,
 We may have differences but we all have one love in common… DANCING

Wasn’t Trying To Down Paul

I wasn’t trying to “down” Paul – I just found some of his comments a bit curious.  Yes – we do appreciate the help that we have been given by the S.A. Professionals.  Here I pay special tribute to Cathy Gibbons who back in 1982 we had here with Chris Yates when they were S.A. Latin Champions.  After that she virtually became one of our “resident” adjudicators and has judged many of our competitions.  She was a pleasure to have with us.  Similarly, in more recent years, we have had super support from Pam and Erica Smith and their pupils.  My association and I will always appreciate what they have done for us – and hopefully our association will continue.

Paul – we did meet when you judged at Ray Bulpitt’s competition.  My only comments to your reply is that, rather than correspond with each other behind the scenes, Dance Info is doing an excellent job – so why not let our views be expressed in the open via their magazine.

I accept that where credit is due let’s give it.  Tom and Trish Bailey are the founder members of the Amateur body in Zimbabwe and put in a lot of time to develop Dancesport here and they don’t push themselves into the limelight.  Les Covarr is also very actively involved.  All three assisted with this last Amateur event in Bulawayo and deserve a mention too.  Congratulations to Tom and Trish on the arrival of their daughter.

Cheers

KEN SCOTT
G.P.D.A.
ZIMBABWE

Ed
Ken, that wasn't a rap over the knuckles, it was just my interpretation of what Paul & Sandra said, as an outsider who has little inside knowledge of what actually happened. At least it has given you a grand opportunity to sprinkle lavish praise - I really appreciate your reply. One of our problems in the dance arena, or is it ring, is that dancers seem over-impulsive to take umbrage at the least suggestion or insinuation.  You summed it up sweetly, "My only comments to your reply is that, rather than correspond with each other behind the scenes, DanceInfo is doing an excellent job – so why not let our views be expressed in the open via their magazine." Exactly Ken, that's how we make friends and become wiser.

I am convinced that the results of the SA National Freestyle Championship 1999 would have been completely different if a fair panel of adjudicators would have been in place. It is the committee, or should I say certain individuals from SADTA (not FEDANSA) Gauteng Branch who compiles the panel of judges for all their competitions.

Pro Dance Academy's correct address is Pro Dance Academy, 88 Woburn Avenue, Benoni, 1501. fax 011- 421 8627. and not No. 8 Woburn Avenue, Benoni, 1501.

Dancelot Results - Incorrect Names
Our Apologies to the following dancers whose names had been interfered with by a fax’s gremlin, in the results from Dancelot published last month. The names should have been:

Bronze Silver & Gold Ballroom
Annalien van der Westhuizen - Commended
Gold Ballroom
Warren Lawlor - Commended
Bronze Ballroom
Nicky Rivet - Highly Commended

Square Dancing

First of all, square dancing is a lot of fun, it's challenging and it's a very active folk dance, which is danced worldwide.

Just imagine, if you will, four couples holding hands in a circle then flatten four sides a bit then you'll be left with a square, now all the movements of the dance will be done within the square but lets just go back to the beginning again. Square Dancing is an American folk dance, the farming folk would come to town over the weekend and do their business and stay for the weekend dance. A band with guitar, a fiddle; perhaps a banjo and a drummer would strike up a song and the "caller " would direct the dancers through various "movements" of which the sequence was not known by the dancers; they have only learned the movements not sequence.

Still confused? Lets square up and go thru a basic square dance You, your partner and three other couples in a square, the music starts up and the caller starts with the song "Boot Scoot Boogie" and he calls "bow to your partner and corner too, that's the person on the other side of you, join hands and circle left, circle right back to place. Couples 1 and 3 promenade 1/2 way round the square, into the centre and do sa do with your opposite, same 2 put right hands in and make a right hand star once around, with your partner promenade % way back home. Then the same for couples 2 & 4. This piece contains five movements already, the sequence can be changed by the caller which makes it unpredictable but that is where the fun part comes in, when one knows a hundred to one hundred and fifty the sequence possibilities become endless.

In most cases the women progress from their partner to the other gents in turn and back to their partners again, so in this aspect square dancing becomes a social activity. One can go to just about any country: in the world and dance with any club there and participate in there dancing.

My wife and I have danced in America at a convention with a bold eight or nine thousand other square dancers all forming squares of four couples each, this was an awesome experience. On the local scene we also have most enjoyable get-togethers with lots of fun. We really want to share our fun with others.

Regards

Tony Tweehuysen from the Pretoria Promenaders Square Dance Club

Letters from Felix Moroder

Everyone is aware that SADTA Gauteng introduced for this year six Freestyle World Trial Events as Qualifying Competitions (Men and Ladies 16/Over and Showdance Couples) for the participation at the World Championship 2001, to be staged in S.A.

We all welcome this announcement! But there is another issue, which few only know about!
As some of you realized, the SADTA Gauteng Ballroom Branch staged on the 21st March 2000 a Freestyle World Qualifying Heat in Krugersdorp, whereby only certain “qualified” dancers were invited.

According to SADTA those few dancers qualified during 1999.

Now lets get this straight!
Did anyone ever recall any freestyle competition in 1999, which was run as a qualifying World Trial Event? I don’t!

Did anyone ever see Men 16-18 and Men 19/Over or Ladies 16-18 and Ladies 19/Over compete against each other? I don’t!

So, my question: How can the SADTA announce the 5 major freestyle championships in 1999 as World
Qualifying Events?

Who took this decision? Was it Mrs. Gloria Fish, who is the official IDO representative in S.A.? Was it Mrs. Pam Smith, who organizes most of the major events? Or was it the committee of SADTA Gauteng Ballroom Branch?

Is there any official from those organizations, who has got what it takes to answer my questions publicly?
Here is my letter, dated 16th March 2000, addressed to the committee of SADTA Gauteng
Ballroom Branch.

Felix Moroder
PO.Box 751029
Gardenview 2047
South Africa
Tel/Fax: 0027-11-4554789

To Johannesburg, 16th March 2000
The Committee of the SADTA Gauteng Branch
Fax: 011-4201331

Re: Freestyle World Trial Event 21st March 2000-Krugersdorp

Dear Sirs
Thanks for your fax received on the 15th March 2000.

I would like this letter to be tabled at your next SADTA Gauteng committee meeting.

I hereby ask the Chairlady Mrs.Carole Solomon to insure that all members will attend.

Let us recall the results of the 5 major freestyle championships of 1999 (Eastern Champs, Battle of the Giants, KwaZulu Natal Champs, Dancer of the Year and S.A.Champs) which you propose as qualifying parameters, then I have to stress the following:

I personally disagree, that those competitions have been accepted as Qualifying World Trials and I am convinced that this decision is clashing with international ruling, because the proposed “qualified” dancers did at no time compete against each other in a qualifying round!

Whoever is going to be nominated to represent South Africa in Finland 2000 will be a misrepresent-ation!

You all know that I am striving for a Fair and just panel of adjudicators at all times.

It is my opinion, that at those five championship competitions on four occasions the panel of judges was manipulated to suit certain individuals, and to top it all three events were privately organized.

Perhaps I should also run private competitions, employ my “friend” judges and I am sure that my studio will be a winner.

Excellent way, obviously within the system, of getting my dancers to represent South Africa at the World Championships!

Let me make this very clear to this committee.

Please open your files on the Men Solo Division, you will acknowledge the following:

1. Eastern Champs judges: Genetia, Sheila, Joan, Fiona, Megan (Fair representation!)
2. Battle of the Giants judges: Diana, Beryl, Pam, Neville, Kedibotse
3. KwaZulu-Natal judges: Amber, Anna Jones, Sheila, Neville, Erica
4. Dancer of the Year judges: Daniel, Anna Jones, Genetia, Craig, Kedibotse and Steven, Maxine, Genetia, Megan, Kedibotse
5. S.A.Champs judges: Samantha, Karen, Diana, Beverly, Beryl and Samantha, Karen, Genetia, Pam, Nicki

Are those panels of judges a fair represent-ation of all studios?

THERE SHOULD NOT BE AT ANY TIME TWO JUDGES FROM ONE STUDIO OR TWO FAMILY MEMBERS OR ANY INTEREST GROUP ON ANY PANEL OF ADJUDICATORS!

And please don’t tell me we have Interna-tional Adjudicators.

We all know, who invites those judges from abroad and which studios they favour!

(Recall my letter to you dated 20th October1999)

Let me take this opportunity to say:
I am not against the SADTA Gauteng Branch as an organization, but certain elements in your committee should step down and allow those members, who care about all the amateur dancers in S.A., to have the equal democratic vote as the old stalwarts. I am going to keep a very close eye on the progress and developments of your organization.

Reading your fax dated 14th March 2000 and acknowledging your statement and I quote:
“Points earned at the final heat will be added to the existing total to determine S.A. representation” end of quote and the mere fact of Non Publication of the Panel of Adjudicators, gives me no choice, seeing the hidden agenda, but to

BOYCOTT THIS COMPETITION

Daniel and Martin Moroder will not compete at the Freestyle World Trial to be held at Krugersdorp on the 21st March 2000.

This letter will be publicized!

I would like to appeal to the International President of IDO, to the S.A. official IDO representative and to the President of the SANCBD to assure that the Qualifying Freestyle World Trials 2000 in S.A. are going to be monitored and controlled by a neutral amateur committee who

1. COMPILES THE PANEL OF ADJUDICATORS
2. IMPLEMENTS DOPING CONTROL TESTS

Felix Moroder

For acknowledgment to the:

1. International President of IDO Mr. Nils-Hakan Carlzon
2. S.A. IDO representative  Mrs. Gloria Fish
3. President of the SANCBD Mr. Albie Matthews
4. National President of FEDANSA Mr.Ace Kika

1. Announcement (by Felix Moroder) subject to amendment

Dear dancers
On the 28th February 2000 I wrote a letter to the SADTA and RDTA Gauteng Branches, requesting the names of their committee members, which I think is the constitutional right of all amateur dancers.

The RDTA replied immediately (member list below).
The SADTA refused to reply, so I personally compiled the following list to the best of my knowledge:

SADTA Gauteng Ballroom Branch: Tel. 011- 4224545  Fax: 011- 4201331
Committee members:
Carole Solomon - Chairlady
Beverly Hammond - Vice-Chairlady
Winsome Watts - Secretary
Bev Ross - Points Secretary
Adelaide Rosenberg  (National President)
Diana Moore
Cathy Wicks
Genetia King
Erica Smith
Megan Sim
Nicki Truter
Debbie Maidwell

RDTA Gauteng Branch: Tel. 011- 6162469
Committee members:
Brian Schmidt - Chairman
Cathy Gibbons - Vice-Chairperson
Elisabeth Rundle - Secretary
Jimmy Johnson - Treasurer
Hennie Nortjie
Gaylord Buthalezi
Fred Mc Cann
Tracey Held
Louis Fourie

2. Announcement
Please contact for all competition entries or inquiries for:
FEDANSA competitions: Avril Bennett Tel. 011-9163371
RDTA competitions: Elisabeth Rundle Tel. 011-6162469
SADTA competitions: Winsome Watts Tel. 011-4224545 or Bev Ross  Fax: 012-9933049

The Rules

Sorry my reply is so long. I am not a typist and only use two fingers. It took a long time for me to type so I hope your readers will take the time to read it.

If all the statements made by Mrs Covarr were true, what a pleasure but I am afraid they are not.

Further to my previous letter replying to Lesley Covarr.
 

1. True but also includes a few Professionals who use the Amateur Body to achieve their own goal. It is a matter of “You scratch my back and I’ll scratch yours.”
2. First part is true. Second part, unfortunately the 99% consists mainly of children in the Bronze grade whose parents vote on their behalf. For the administration part this is fine as parents know who they would like to work with and who will do the work that is required. When it comes to Rules and other important issues then experienced mature adult people are required, with a full understanding of what they are talking about or voting on. They should be able to answer any queries put to them without having to consult with another person.
3. This is not true. The same reasons as above the members are not qualified to make these decisions.  Referring to the introduction of the Pre-Bronze section, this was introduced in the middle of last year and is on the agenda to be ratified at the Z.A.D.S.A AGM, which is only being held at the end of this month. Majority of the Professionals have submitted their objection to this rule being introduced.
4. Again children’s votes against Professionals this is not acceptable.
5. It is common knowledge that everyone is too scared to speak out.
6. We have so few adult amateur dancers so this is again 95% children and parents who have a vote. Most of our adult dancers don’t even bother to attend meetings.
7. I speak for most of the dancers because they are too scared. If you have been reading Info you will know that the same situation exists in S.A. We are so small in comparison to S.A and don’t have many studios so it’s a matter of put up with it or give up.  I have mentioned before that if someone did object they are humiliated in front of everyone. I have experienced a lot of two-faced people who phone me up about what is going on, run down the teachers, criticise the committee members and say they are sick and tired of what is going on in the dancing world. The next minute they are bending over backwards to assist these same people.
8. If Lesley wants to believe that this is the reason for introducing this section then so be it.  The Professionals are not so blind and don’t wear blinkers. There is only one couple that has advanced to the silver section. This couple should have been downgraded according to the reasons given but they were not because they would have won it and that is not what the teacher wanted. If the Juveniles are going up too fast (which they are not) then increase the number of points to go to the next section. At the moment 50 points only are required to advance to silver but in the Pre-Champ section 140 are required to advance to the Champ section. This is not right for our situation in Zimbabwe. We have so few Pre-Champ couples compared to bronze couples so it should be the other way round. Another way is to stop running so many status comps. in the year. Only one teacher was told about this section in Bulawayo. Her pupils did not enter the Pre-Bronze section because she did not approve of it. Her pupils were the only other entries in that competition and only one studio has entered their couples in this section since. Lesley please inform us who all the other Professionals were. You say you always answer questions.
9. I have already informed you who is on the National and Provincial committees in Zimbabwe so we will leave it to the readers to say if they think these people are qualified to make such decisions. No professionals are asked for their opinions. I have proof of dancers going up and down grades all you have to do is apply. The last paragraph of number 9, I will give you a few examples: Z.A.D.S.A. has just approved an application for an Adult female dancer to take a 14 year old boy from the Gold Junior section to dance with her in the Adult Pre-Championship ballroom section. The mother of this young lady was the Chairman of ZADSA Mat. Branch as well as Vice-Chairman of ZADSA national body, Mrs Enid Wrench.  If an application was made in the proper manner I have no idea.  Allowing this to happen broke four of the IDSF rules and existing ZADSA rules.
1. A dancer may only dance in the adult sections when they have had their 15th birthday. (He had only turned 14 in April 1999. He was not even in the youth section).
2. A dancer may only dance one grade up or one grade down. (This boy has jumped two grades, from Gold to Pre-Champ).
3. When taking on a new partner you must dance the higher grade of the partnership. (In the Latin Section Kate had progressed to Pre-Champ. with her previous partner, this boy was Junior gold. She was allowed to down grade to Novice and he was upgraded to novice.)
4. A dancer may dance one age group higher with an older partner (this was two age groups up). I think they were allowed to drop all previous points as it was a different partnership, different grade I am not sure as I am not allowed the mark sheets any more.

I will now remind Lesley of a previous application made by an Adult couple in Harare.  They had been graded silver by their teacher when we first started the grading system. When they found out they could only do three dances instead of the four and could not dress up they asked to be put in the Novice section.

There was no reason why they should not have been granted this request as many changes were still being made. They were turned down and believe it or not Mrs. Wrench was the biggest objector and the rest just follow her decisions. The outcome resulted in this couple withdrawing from the Competition. They have since given up which is such a pity, as they were a very promising couple.

Another incident that happened last year: An adult male had taken on a new partner for the Novice Latin, my granddaughter in fact. He put in a request to keep the points he had lost previously as he had been stuck in Novice for so long due to having to keep changing partners and losing all his well earned points.

This would not have affected any other couple but themselves so there was no reason why his request could not have been granted. He was turned down and he was told that is the rule. (Only people on the committees are privileged.)

I can prove what I am saying and would never put something down on paper that I could not substantiate. I will now leave it up to the readers to see where I am coming from.

I have already answered No 10 but I think it is worth mentioning that although Mr Chooks Campbell is not qualified he and his wife Edie have run a studio for years, he is still teaching now. They were one of our top Advanced Amateur and then Professional competitive couples. This adds another Professional to the 15 that I first mentioned.
I have answered No 11 and now to complete No 12.

I have received one answer to the Topic in Question that Lesley is referring to from outside Zimbabwe. My Daughter received the other one after she wrote to Jay for verification of a rule that she asked for through Info. She had written to Mr Toseland and never got a reply. The problem now concerned her daughter so she had every right to have it clarified. Mrs. Wrench had sent her a copy of a fax she had received from S.A. confirming that we were wrong and she was right. Mrs Wrench had enforced this rule in Zimbabwe for her own daughter's benefit and to date her daughter is the only one that has benefited from it. Mrs Wrench is not an official on this subject and when I told her to look it up in The British Council Rules she replied that they no longer applied as they were obsolete and only the IDSF rules were in force.
This remark proves my point on what type of person controls our Amateur Body.

 Unfortunately all the answers came from one person Mr. Bill Toseland in S.A. Mr Toseland’s remarks in the fax proved nothing. I still have a copy of this fax if Lesley would like to see it. To date I have still not seen their reply in any rulebook, and I have obtained every rulebook I can lay my hands on over the years and study them from cover to cover. I like fact not one persons opinion.

The Question is: Can a JUNIOR dancer advance to the ADULT age groups with an older partner and at a later date return to compete in a JUNIOR section again.

To the ordinary person there does not appear to be a problem with this and Mr. Toseland said it was acceptable in S.A. In his fax he used the words “Cover yourselves” and “Put it in your constitution” Now why would you have to cover yourselves if the ruling was fact and you do not put rules in a Constitution?

He is entitled to his opinion and so am I but it is not our opinions that count, we need fact. This is one of the worst rules that will harm a partnership if it is wrongly interpreted.  I have only been able to find three rulebooks that cover this and I prefer to accept the WDDSC and BDC, which are both the same. The IDSF rules (Just taken off the internet) only gives you a top line. The other two explain in detail. If this is acceptable in S.A. then why is it not stated in FEDANSA rules so all the dancers are aware that they can do this if they want to. There is no rule book that states a dancer may apply to be DOWN AGED.

IDSF Page 11 Age restriction -- The following age division is obligatory in all international competitions and championships.

Juvenile 1: reach 9th birthday or less in the calendar year.

Juvenile 11: reach 10th and 11th birthday in the calendar year.

Junior 1: reach 12th and 13th birthday in the calendar year.

Junior 11: reach 14th and 15th birthday in the calendar year.

Youth: reach 16th, 17th and 18th birthday in the calendar year.

Adult: reach 19th birthday or more in the calendar year.

Senior: reach 35th birthday or more in the calendar year.

Putting two age groups together, such as Juvenile 1 and 11 as well as Junior 1 and 11, is optional. (This does not mean that you can combine Juvenile 1 with Junior 1.  It means instead of having two Juvenile age groups you can have just one Juvenile section i.e.: Competitors under 12. The same applies to the Junior section. Can be 12 to 15 years inclusive).

Youth couples are allowed to participate in Adult competitions. (Now what is meant by this one line? Is the Youth section a Junior section or an Adult Section?)

Countries have different rules about when you reach the age of majority. In the U.K. it is 16. In S.A. and in Zimbabwe it is 18. If the Youth section is a Junior section then the 18th birth-day should not be included. If it is an Adult section then it is correct.

In all age sections one partner of a couple can be younger, except in the seniors.
There is no further information on this subject. No further explanation. So as far as I see it the IDSF rules on this topic are no different to the BDC rules.

On page 14 of the IDSF rules it states: The national member associations are responsible for compliance with IDSF COMPETITION RULES in their respective countries and should use them as a guide-line for their own rules.

The ZADSA committees in Zimbabwe read this as: If you don’t like the rules and they don’t fit in with you or your children then just change them but don’t forget to cover yourselves.

WDDSC and BDC age groups:  (BDC rules pgs 10-12 dd. 1.01.2000 to 31.12.2002)

Juvenile : Competitors under 12 years (same as IDSF)

Junior : Competitors from 12 to under 16 (same as IDSF)

Now they state : ADULT :  16 years and over.

Youth: 16 years to 19 years) In the U.K. these two can be combined – Youth with Adult: 16 years to 21 years.) young Adult.

They are both Adult sections.
Adult 16 years to 35 years.
Adult 35 years and over.
Adult 50 years and over.

There is really no difference except they state that the youth section is an adult section. If we call our youth section a junior section it will make no difference if our couples compete in the U.K. as long as their ages fit in with the section they are competing in. However if we infringe this next rule then we will jeopardize our couples.

Rule 8b 1: A competitor who is 15 years old who wants to compete with a partner who is 16 years old or older in adult competitions must first notify the appropriate national amateur DanceSport association. Once a competitor has competed in adult competitions with an older partner he may not in any circumstances revert to junior competitions but must remain in the higher age group

Rule 5c: The same thing refers to a juvenile who opts to dance in a junior section. They protect the dancers in the younger age group.

They have made a statement and even a child can understand it.

For the readers benefit let's refer to the couple I mentioned (Boy only 14 in adult section.)
Kate Wrench has now gone overseas and the boy no longer has a partner. I am quite sure he will find one but he is still 14 years old, only turns 15 in April. He is still a junior so according to Bill Toseland he will be able to return to a junior section as long as the partner is in the same age category. He has probably already been told he just has to put in an application to the Amateur body, and it will be all right. I say this because this is what my daughter was told she could do if her daughter went adult with an older partner.

No matter what anyone says I would never do this as I would consider the other couples that would be affected by this. It would not be fair on them. How can you allow an adult dancer who had won to come back and compete against a child?

Jay let's ask the people who read Info to put in their views. Come on dancers, parents and officials write in and give us your feelings on the subject or any other topic that you want answers to. Please feel free to write to me at my e-mail address cassent@telconet.co.zw and I will reply to Info – no names mentioned if you prefer.

Thanks again Jay for printing my letters.

Regards

CHERIE
Zimbabwe.

Ed
You never need to apologise for writing another letter to DI. This mag is not a superficial, cosmetic dance display, it's an action mag, a talk paper.

I thank you for your valuable and honest contribution, particularly re the rules. Most arguments in every sport stem from a misinterpretation of the rules or the wrong application thereof.

That is one of the reasons why SA rugby is in the doldrums; the players don't know the rules, or the coaches don't know how to interpret them. And our players have the uncanny ability to wait until, on the rare occasions they do get possession of the ball, or when they are in front of their own posts, before transgressing the rules - it's like clockwork.

Although our names are not mentioned, we assume we are among the “remaining 8” you refer to. We have never got in any wrangling or back-stabbing, but this time we feel we cannot allow people such as yourself (obviously with little knowledge) to make statements which are not factual.

You are obviously unaware of FACTS. We first qualified in 1981, and then opened our studio. (We did not teach until we were qualified.)  We have subsequently taken more examinations and got reports and certificates from 2 other Associations, including the UKA. We did not have our certificates posted to us, or collected on our behalf, we did exams.

Over the years we have taught numerous competitive couples, including many children, and at present have several couples who, in our opinion, are of a higher standard than some of the competitors who currently ‘feature’ in competitions.

If we are sent entry forms for any competition, they are distributed to our pupils for them to enter if they so wish. We have never discouraged any pupil from entering any competition. However, they have made it quite clear that they do not enter for the following reasons:

1. They have no objection to registering for record purposes, or paying an entry fee to dance, but they resent being forced to join an association and having to pay a subscription to an association they do not wish to support.
2. Whilst they competed for many years pre-viously, they are thoroughly disgusted at the blatant cheating currently being experienced .

They are not in agreement with the points system as it is, as it appears to be adjustable for the elite few, and badly managed.

As we have never spoken to one another, and you have certainly never been to our studio, could you make

it public where you got your information from?
We have been invited to adjudicate, demon-strate, and lecture in Botswana on numerous occasions, and have done countless workshops in Harare on behalf of the National Arts Council.

We suggest that in future you make sure of your facts before writing to a magazine or before discussing us with anybody. We have no objections to anyone referring to or talking about us provided the know the FACTS, and speak the TRUTH.

Although not at our studio, we take this opportunity to inform you that Basil Franklin ( a very highly qualified and experienced Gent) also teaches competitive couples.

If you had bothered to look back in old records, you would see just how many dancers we have lost, and many of them stopped when the cheating started. From the early 1980’s to the early 1990’s, there were numerous competitors in all competi-tions, across ALL sections from Tiny Tots to Pro-fessionals, and there were fewer teachers then. At the last competition held at the Large City Hall in Bulawayo, (which we attended), there was only a handful of competitors of which the majority were Juvenile/Junior, and only about 150 spectators, most of whom were probably Parents/Grannies etc. In years gone by, we sold 575 seats, and had to limit the standing to 200 people! FOOD FOR THOUGHT!

It would be interesting to hear your definition of a ‘dedicated teacher’ and how YOU know how dedicated they are!

Yours faithfully

Sharon Robinson & Doug Clarke

Ed
Unfortunately your letter arrived very late. Couldn't have it checked and your fax wasn't too clear. Just hope it's OK - thanks