Hi Jay
I would like to address two issues raised by this dancer. Firstly, it must be remembered that various Dance Bodies such as FEDANSA, SADTA, RDTA, ADA, UNITED and others are involved in running
competitions. FEDANSA (Federation of DanceSport South Africa) is the amateur body looking after the dancer's interest. Any questions or queries should be channelled through the local committee without any fear of reprisal or prejudice as they will take these issues up on behalf of the dancers with the professional body concerned.

Secondly, as far as the SA is concerned, this competition together with the Provincial Championships is run under the auspices of DANCESPORT SA. This is a combined committee consisting of six representatives from the Professional body namely SANCBD and six members from FEDANSA (amateur body).
For the past three years DANCESPORT SA have simply mandated the local regional committee to organise the SA. One must bear in mind that at this
point RAMA (the official sponsors) and the Television crew get involved and make life extremely difficult for the organisers as they dictate the venue and various other aspects to suit the lighting and television production.

DANCESPORT have recognised and acknow-ledged that a lot could be done to improve the situation, and bearing in mind that the delegates all have their own jobs and businesses to run, a more effective means had to be found. The good news is that a contract is being negotiated with a company called IMG who are extremely involved in DANCESPORT overseas as well as numerous other sports where they act as marketing agents as well as event co-ordinators. So their function will be to look for sponsors on the one hand and negotiate television rights as well as be totally responsible together with the National DanceSport office for the actual event co-ordination. Remember we are charting new territory and the next SA  CHAMPIONSHIP which will be held in MMabatho this year should be the best yet.

I sincerely hope that this time next year our "keen dancer" will have only good things to say about the SA Championships.

Allan Hammond (National Pro: FEDANSA)

Ed
The one good thing that seemed to have emerged from the problems caused at the SA comp, is that the sponsors and the organisers are now keen to co-ordinate and consider the competitor and the spectator. Without the action created by competitors nothing else is relevant.

Allan, the most important message in your letter is that officials and organisers are there to help, but more than that, when officials turn a blind eye and a deaf ear to the disgruntlements of the dancer, heavy suspicion looms. Thanks for taking the trouble to explain what happened, who did it and what’s being done to correct it.

My husband and I took lessons in two-step, waltz and swing for 6 months and he still can’t lead me. If I don’t push and pull him nothing happens. Can you give us some advice?

Trudi van Zyl.

Ed
Yes, but this might sound unorthodox, LEAD HIM. Some men are born followers, they need a woman who is assertive, who is domineering, who can take the initiative and show the way. If you wear the breeches at home and he accepts it willingly then there is nothing wrong with you wearing those same breeches socially on the dance floor.

Most of the points that I score in squash are won by hitting off the wrong foot. Everyone says it’s incorrect and unorthodox, and I suppose it is, but I rehearse hitting off the wrong foot as much as I do hitting off the right foot. To me there is no wrong or right foot if both are healthy and I am able to use each equally well and feel comfortable doing so.

Trudi, think about it. What’s wrong with you leading him if you do it well together and he likes following? Furthermore, if you both agree that from now on you’re the “baas van die plaas” and he’s the follower, you guys are going to have a gas.  If your hubby likes cooking and washing the dishes, would you interfere? probably not. I say, take the reigns and rock him wildly.

Another reason why you shouldn’t over-worry about leading, is that female teachers do it all the time, you can almost hear their lead. A very irritating habit for males who know how to lead or prefer to do the steering. It’s a strange anomaly in ballroom dancing; most men don’t want to be lead, yet make it impossible for their partner to follow by holding their arms limp, in jellyfish fashion. As a result, and out of total frustration, females yank their partners to the beat. I call it “frustrated tugging”. To properly explain the techniques of leading, I’d need at least 12 pages but here’s a few important tips in a nutshell.

A good lead/follow is like a good conversation - you don't have to yell, you only need to talk. As you get better, all that’s really required is a whisper and when that’s accomplished, body language does the rest.
Leading is not to be misinterpreted as "pushing or pulling". Though poor followers often say, "If I have a strong leader I can follow", true, but it takes the force of a Rambo to move them across the floor and it is hellishly uncomfortable. Equal sympathy goes to followers who get stuck with a leader who hasn't the foggiest of what he's trying to lead and can't move rhythmically to any music; doesn't know a slow from a quick and has no conception of what misery he is inflicting on his poor partner.

It's not a leader’s job to haul the follower around the floor every second, nor is it the followers job to just hang there like a sack of mielies and be dragged. Leading and following is a dynamic process that requires a great deal of effort on the part of both members of a partnership. It is possibly easier to lead a woman through a fairly intricate step that she doesn't know without using force. Possible, though it is not within the powers of most men. Leading takes skill, not force, and to acquire the skill, there are a few basic rules that must be followed.

If your husband knows more than five variations in each of the three dances you learnt during the six months, and the two of you attended at least one lesson a week and he still can’t lead, then it can be said that you wasted your time and money taking lessons. You were not taught and DRILLED on the first basic principle to good leading and following, that is, to maintain a firm frame. The man’s arms must be a united extension of his body, not two independent jellyfishes, and both must tuck in the tummy and tail and keep it that way throughout. Anything else will cause a slump in the movement, and there is no way a partnership can move in unity or “two-gether” when slouched… or are the two of you slouches?  The firmness in the torso and arms is also known as body and arm tone which has an in-depth theory on its own.

Although step-patterns and variations are the wheels that get you mobile in dancing, without a steering wheel (a firm frame, body/arm tone) you have little hope of guiding or directing your well-pumped wheels around the floor. In fact, you will have very little hope of even getting kick-started – kicked, yes, but started no.

Suggestion two; initially, avoid learning too many steps, three or four basics per dance are more than ample. Beginners often tend to become step-happy. It’s better to understand and know a few variations well, than to be befuddled by dozens. Here’s how you consolidate. Stand up straight, pull in the tummy and the buttocks, the way models do it – create a stance – you’re a dancer Trudi, a model, not a Sunday morning pedestrian or casual stroller.

Be sure there is no dangling or wangling of the arms, and do that every time before you start dancing. Eventually the dancer’s attitude will set in and this new-found firm posture of yours will become a natural part of you. At this stage your firm frame and united arms are more important than the three or four wheels you have. So always apply this #1 essential to good leading and following before taking your first step. “Hello! Hello! Anybody out there listening? you’re cracking up, Hello! Hello! I thought not”. I’ve said this so many times, but maybe it’s because I talk too fast that few understand. Let me try it one more time  s l o w l y. The arms in partnership dancing are an extension of the body, the communicators of the body which transmit the leader’s intentions from the body through the arms to his partner. If there is no unity between arms and body there can be no transmission, no communication, no partnership, no leading, no following. Patterns are merely the words in this body language, but they need a communicator to arrange them into sensible phrases and paragraphs, otherwise, what should be poetry in motion is all mumbo-jumbo. Tension in the arms also prevents the male from having to hold his partner in a vice-like grip.

Trudi, you and Hubby-love are now ready to dance, that’s right, not just do, DANCE the three steps you know. Hubby, you’re slumping again! That’s better, get that tummy off your knees and keep those jellyfish arms up and firm; dancing is supposed to be fun not an infliction of pain on your partner. You are now ready to do the unimportant things… those three step-patterns. Steps only become important once a dancer overcomes the ooouPA, ooouMA, glug-glug stage and is able to dance with pure body talk.

For a full record and without stopping, you dance steps 1 to 3, but all you concentrate on is your firm frame, nothing else. Now for another full record and without stopping, reverse the order, dance steps 3 to 1 concentrating on that firm frame, nothing else. The next exercise you do in firm frame, is let your partner dance the three figures at random and follow him. Should he decide to dance step one 5 times, follow him, etc. Do these exercises for six months regularly and I can assure you, you will achieve in six months what normally takes years to perfect – the basic art to leading and following.

This repetitive stuff sounds all very boring, like heavy hard work, but it saves tuition fees and ultimately brings comfort and joy to the partnership. The difference between a winner and a loser is that a winner does the things a loser doesn’t like to do, the things we all don’t like to do PRACTISE, persevere, do it over and over, exercise, eat less, study, save, get up early in the morning, think positively. Those are the things we all don’t like to do, but winners do them to achieve and enjoy the fruits of their labour, while losers prefer the ease of the moment and to heck with the fruits… let’s eat and be merry – stay fat and lazy, spend all we haven’t earned yet, laze around doing zilch. Hubby, your arms are sagging again, get them up, that’s much better – now the two of you look like dancers and soon you’ll be the best in the west.

Final tip for females. When the male is equipped with an average or better lead, don’t try to anticipate what he is going to do. Always be a fraction behind. Let him assist you in keeping your central balance. Let him guide you gently and firmly through the movement – DON’T BE AN IRRITANT, it just makes you heavier both physically and mentally, for the one who’s trying to show you off.

NOTE: the male prerogative. A female who cannot follow a male that holds a firm frame and leads reasonable well, whether he is doing the patterns RIGHT or WRONG, is not following, she is either leading or anticipating, but she is definitely not following. And here I am not referring to an experienced male leader, I am talking about a reasonable lead. Females must learn to adapt, improvise, that’s her role – relax and enjoy.

NOTE: the female prerogative. To a male who does not lead or hold his arms up and firm, say; "IF YOU DON'T LEAD ME, I'M NOT GOING TO MOVE!" and "DON'T USE ME AS A RAMROD!" Girls remember, no matter how well you can dance or follow, you can only dance as well as your partner can lead you. If he leads not, that is about as far as you will get.

Trudi, I still say, lead him, and by following all the firm-frame theories set out above, except, in your case, where you reverse the role, then soon the two of you will be whirling and twirling and enjoying all the fun that goes with good leading and following.

Thanks for the line.

Secondly, I have a problem. Often I feel real stupid learning to dance, and I pity my poor teacher who strains his patience. What I want to know is, are there those who will never learn to dance, I really mean never? And do some people have zero rhythm? Be honest, surely there are those who won't make it regardless?

Darlene Louw (Witbank)

Ed,
"Be honest" tells me that I usually lie, and that now, for a change, you would like the truth from me. The truth is, you will never make it, you are too stiff and clumsy, you have too many left feet, too many negative thoughts, too many hang-ups and you are painstakingly slow on the intake and retention levels. You galumph ponderously around the floor like a trudging camel struggling to negotiate a lonely little sand dune somewhere on the outskirts of the Sahara - my girl, you and many others as stupid as your lovely self, will never make it.

Is that the truth you want to hear? Of course not. Darlene, the truth you desire is hope, inspiration, encouragement, you can, you will, you must and you are much better than you think you are. That's the real truth we all want to hear, not how decrepit we are or how slender our chances are of reaching our burning desires.

You like stories? Here's a true, inspirational one that happened in our studio a few years ago which I always remember when feeling hard done-by. For charity, an instructor of ours offered to teach Ballroom and Latin to a group of 7 blind couples. Imagine this, they couldn't see the dance or patterns he demonstrated, so the only way our mentor managed to get them to master the moves was to physically put their limbs into position step for step. During the many years that they took lessons (then paying customers), all went on to pass their bronze medal with highly commended results, and a few even performed several outstanding exhibitions on stage.

The point of this story is, during all those years, never did we ever hear a negative comment from our impaired couples. Never did they question their own ability to achieve. "I can't" or "I don't know how" or "I will never get it right" or "that's too difficult" was not part of their learning vocabulary. It was always in the affirmative, "is my foot right?", "can we do that again?", "will you just show us again?", "now we know what to practise", "it feels better, but let's do it again", "don't worry, WE WILL GET IT RIGHT". Never a pessimistic pitch from their lips... everything they uttered aimed towards progress, it was a treat to behold. In the army "I can't" means "I won't".

Darlene, I know a couple; he danced out of time, she was as stiff as a poker, and they wanted to become SA champions. Even Jay had his serious misgivings of their aspirations and divine imagination. Within two years they ruled the roost and went on to become one of South Africa's best Ballroom champs of recent times - the Champions of Champions. You might have heard of them, the honourable Brian Schmidt and Meryl Williams.

The Q is, can you walk? can you see? can you hear? can you think? can you hum a tune? tap your foot to the beat of the music? can you breathe? GOOD, you have all the vital, GRATEFUL, essential ingredients needed to achieve whatever you set your mind and feet on, and even without a few of these healthy, vital luxuries you can still do it. You are worth millions, yes millions, with your two good legs, sparkling eyes, radar-sensitive ears, animated, waving arms, and alert mind, because, I know you wouldn't exchange your eyes for a million or two, or your legs and mobility for a million or two or any other healthy part of your anatomy; no, you would rather spend millions keeping them healthy and operating.

Help your mind to use your healthy body-parts to the full, i.e. while they are alive and kicking, because the day you land in a wheelchair or lose a limb, that's the day you'll regret not having made the best of what all the wisdom of the universe so kindly endowed you with. My point is, the world is riddled with negative, gloomy, healthy people. So many die at 30 but are only buried at 70. If your body is totally functional don't fret, be happy, be grateful. Don't let your brain do a check-turn on you. Force your facilities to help your body get co-ordinated - become physical, PRACTISE, push for improvement and... enjoy your good health, smell the air, hear the sounds, feel the energy of life and health... DANCE

My favourite pupils are slow learners, not those who learn fast and forget just as fast. I like slow learners, they're an inspiration, a challenge to every good teacher. They make every outstanding mentor feel like a sculptor who has created a work of art. See Darlene, you are a work of art. Have faith, we'll get you over that dune soon, don't panic, push for progress.

But let's talk facts. Being a slow learner means various things (this is going to sound like my horror scope). For one, slow learners are generally slow because of their meticulous minds which makes them deliberate in their ways - it's an asset not a liability. They like to take one step at a time. They must be sure of a single element before going on to the next. Slow learners need methodical instruction to pave their way, and they need more time, patience and practice than faster learners. Slow learners can and will ultimately achieve as much as fast learners. What you must understand is that most Ballroom, Latin or Freestyle champions aren't fast learners, they are determined learners who are obsessed with a mission to accomplish, a will to win, a mind that has no doubt or fear for obstacles or practise, and most importantly, they use their God-given, healthy bodies and minds to the full.

A prerequisite to happy, healthy dancing, whether you are slow or fast, is thorough practise of the basic figures and elements. For instance, if you had to repeat your basic cha-cha for 8 hours (the time our champs put in each week when they are taking it very easy) then you would definitely feel more confident and proficient in that dance, wouldn't you? Try it. Select a pattern or style that gives you grief and repeat it for 8 hours. If you still can't master it, then do it for another 8 hours... so what! It's good exercise and there's more fun dancing patterns you know well than there is scratching for fleas and feeling stupid and awkward with those that give you grief.

Don't pity your poor teacher. Your feeling of being slow and awkward isn't necessarily your fault, it could be your teacher not adapting to your rate of learning, by giving you too many instructions at once. Maybe he has a one-way system which he applies relentlessly to all abilities. Or talks too much, or has forgotten how stupid he was at the outset, yet expects you to do it like he does it now after all these years. In our studio we say, "stupid teacher, stupid pupil" which simply means pupils are only as clever as the teacher makes them feel.

If you understand your teacher, that's a pat on the back for both of you. It means he is communicating his instruction in an understandable way and that you have received his message clearly. If you keep encountering problems then it's definitely not your fault - change your Dr.

Few realise that every human being whose heart beats regularly, whose normal walk or stride is stepped at regular intervals, has perfect, natural rhythm - it's a native instinct we all posses. Not being able to dance in time to the music is often confused with lack of co-ordination. Life is rhythmic, routine is life. Rhythm is an inborn potential. Rhythmic co-ordination is something else. It's what physically distinguishes the slow learner from the fast learner. In some it's a natural gift; others have to be taught, they have to work at it, but it can be developed in every "normal" human being (like Jay). Africans are known for their superior, spontaneous rhythmic co-ordination.

When a learner lacks co-ordination, it's then a matter of systematically developing the co-ords by repeating a pattern or movement over and over until the limbs do it without thought. Only then must the physical action (the pattern or movement) be co-ordinated with the inborn rhythm to the beat of the music, by counting the time out loud and moving to it. This is an exercise on its own, mainly for those who feel they don't naturally connect with the music. The only time our little exercise won't work is if you can't tap your foot or hand in time to the beat of the music, or your heart pumps in fits and starts, or when your natural walk is quick, &, slow, quick, quick, &, &, cha, cha, slow, &, quick. That's when you quit dancing for darts.

Darlene, thanks for the note, but, whatever you do, DANCE, DANCE, DANCE and whenever you feel stupid and despondent, think of the blind. Being stupid is of little consequence to them, their big issue is, HOW THEY WILL BE ABLE TO DO IT when totally au fait... Dance Your Life Away - Amen

I would like to add to this by stating that in the almost 25 years I have been a dance teacher, I have come across many, many students who immediately tell you: “I have no rhythm and I have 2 left feet”. I have taught autistic children as well as children who have difficulty in concentrating at school and lack co-ordination.  Today I am still a firm believer in the fact that everything is possible.

As a teacher, I would never turn away a student because he doesn’t display immediate natural musicality and rhythm. I also have absolutely no age limit. I will take that student through the paces step-by-step, and you will be amazed at the development. Here I want to stress how immensely important the teachers function is. How you handle this student: whether you run him down, ignore him in favour of the talented ones, tell him he’ll never do it;  or take the time and effort to show him that he CAN, will affect the entire spectrum of his life.  In other words, the teacher can make or break a student: he is the one who has to recognise the potential and work on it with patience.

A dance teacher is like a psychologist. You have to analyse and know how to handle each individual, and you will be amazed how the duck with the hang-ups turns into a beautiful swan!
I, myself was a slow learner. At school I had also been put into a special class because I was a slow learner: but that was maths – I wanted to be an artist.

Although I loved dancing and my goal was to dance, I was not fortunate enough to have the means to start till I was 20 years old. I was then told that I would never do it. I was too old, I had no ballet background, I had no financial support: but my whole being was determined to do this. By this time I knew all the Ginger Rogers, Fred Astaire and Gene Kelly routines off by heart from having sat through their movies over and over in the Café Bio, or ‘sopkombuis’, as it was also known!

So I want to say to you “Stupid”: “Just hang in there, and much to your amazement you WILL be able to dance – soon you will be gliding across the floor with effortless ease.”

Here I also want to add that dancing is the best therapy around. When you put that foot on the floor or stage, you forget all the aches and pains, the daily grind, the problems facing you at work: for that time you are in another world totally. Make use of it.

Thanks for a great magazine, and by the way Jay, if you will allow me to publish your answer to that letter in our Spanish journal, and I would also like to stick it up in my studio for those who think they can’t achieve.

Yours gratefully

José Montoya

Ed
José,  glad you found my letter of value, and it’s an honour for me to hear it from a dancer and teacher of your high esteem. One who has trained so many of the best dancers in South Africa and who has staged so many major, spectacular shows.

The fact that you too were a slow learner and raised your standards to the pinnacle of teaching, validates everything I said in my reply. If that letter inspires just one despondent, unsure learner to WANT to improve in 1999, then it deserves a place in every studio, because the aim of this mag is to spread and motivate confidence in all who partake in this great sport.

Your sentence, “I was then told that I would never do it. I was too old, etc” amazes me. That so many teachers haven’t the horse sense to realise that most of what they achieve through their teaching depends solely on themselves. How they encourage and bring the best out of every learner. So what if your pupil is slow. So what if they forget a step or two, but if teachers can make the majority of their pupils feel that they are better than they think they are, then the service they render to the trade is completely justified.

I just can’t understand, and it happens so often,  how anyone who is paid and appointed to improve the physical or mental skills of others can say “you will never make it”, “you’re too slow, too old, too clumsy”.
Their job is to wave away the natural doubt embedded in most learners, not emphasise the fear. We all fear making a fool of ourselves when trying something new. Be it learning an advanced variation, a new dance, or about computers, or playing golf, etc. but deep down we still know and think we can do it. It’s for the teacher to suppress the natural doubt and raise the hidden hope so as to get the learner psychologically receptive to the physical part of accomplishing the task. Once the learner feels there’s hope that’s when inspiration sets in and the mind opens up its doors to receive, and when the mind is ready the body follows.

Empathy is the subtle understanding and strength between tutor and learner, established by the tutor through his/her resolute aim to COMMUNICATE improvement. Empathy disregards what hasn’t or cannot be done. It’s being totally and positively focussed on developing the full capacity of the ability in hand, thus overlooking or being altogether oblivious of the negative. Empathy is a two-way attitude with a one-way aim – PROGRESS. It’s taking the mind-set from the “I can’t” zone and transforming it into the “I can” mode of operation.

Empathy is cute and contagious; it makes others believe in themselves when things feel foul. It’s the friendly, indispensable tutor-pupil rapport which accelerates the learner’s progress and lengthens his/her life-span in a studio.

When a pupil finds a step or technique difficult to gasp, then every teacher should ask these questions, “how would another teacher have handled this?”, “Would this pupil understand someone else better?”, “how did I as a learner do it when I started?”, “how can I make it easier for the pupil to grasp?”.

Talking about slow, my experience in training teachers in the social world of dance is that, more often than not, teachers who themselves are slow, generally have a greater EMPATHY for the learner – they’ve been there. But when you do get the rare trainee who is fast and empathic, that’s unique.

José, thanks for sharing your thoughts and experience with the dancer. Every letter, be it from the expert or the novice, has a “sharing” value. It dispenses the thoughts of the dancer to the dancer, often wakening the dancer’s dormant ideas into action, those we so frequently take for granted. It's communication… the tool that sets us apart from the lower animal that says, “I’m a human, not a donkey, I think, I talk, I share” – amen.
----

I just think that you could be more civil, more diplomatic in your replies, or are you pushing for sensation?

Bertha Hanghes.

Ed,
Bertha, YES! YES! YES! I am pushing for sensation because nobody else wants to help me, not even Playboy. Dancers phone to express their unhappiness about something and the first thing they say is,`please don't quote me." ... I WANT TO QUOTE. There is too much diplomacy, too much tact. That's the reason why so many citizens don't understand what the hell is going on in the country.

That's why so many leaders can't get through to their subordinates, and then wonder why they are so defiant or ignorant. Teachers of all types, often talk way over the heads of those in their class, then blame the stupid pupils.

The government moves in with their bulldozers, demolishing the entire squatter camp to a pulp. Then proceed to chase the populace off the land with their whips and shambucks. Their spokesman's diplomatic answer to the media is, "In order to propitiate and facilitate the inhabitants of the area, we have performed an operation of temporary evacuation until alternative accommodation can be arranged."

What's wrong with, "we brutally drove these peasants off the land with our whips and shambucks. We then left them homeless by wiping out their entire village with our bulldozers and now we don't know where they are going to live?". The first version is impressive because we didn't understand what they were talking about, thus making the bad guys look good and sound learned. The second sounded crude because it told the tnrth - exactly what happened. Which do you prefer? Or should I say, which one made the deepest impression on you or tells the real story?

Here I am, the one good Samaritan, who only sometimes says it raw because he too fears being feathered and tarred for telling the truth, must now mostly say it with honey and roses just to please. Bertha, I'm not trying to win a popularity contest. I'm trying to get our dancers' feelings and messages across, and somehow the raw way is quicker and makes more sense to most.

By the way Bertha, telling me I'm tactless and uncouth wasn't very nice, it hurt my feelings. Shouldn't you have rather said? "I believe you could have handled the situation with more sensitivity, or with a dash of pure propriety." But, what the heck, TACTLESS and UNCOUTH, that's the language I understand. Words clouded in abstraction block my comprehension and make me mistrust the waffler... I still think "depressed" is a twit, and as for you, I'll be diplomatic, and not say what I think - you see, I am a nice guy, and it's all so hypocritical.

Thanks for saying your say, others wouldn't have.

 I can understand if males are forced to dance alone because they do the steering, but why should a female dance ballroom alone. I'm not the only one in our studio that hates school figures, many do.

Diane Smith

Ed,
Diane, there are a few drawbacks to females dancing on their own, but the advantages far outweigh the disadvantages. When a female knows the patterns too well, and females are generally much sharper and faster than males in this respect... you like me? I thought so... oh! You like me a lot? I also thought so. Where was I? That's right, sharp and fast females doing their steps too well, tend to lead their partner or anticipate his lead.

This often transmits impatient vibes and suggests a pushiness which all males dislike. Or they have been taught a distinct rise and fall which they apply, come hell or high water, as per instructions, leaving poor Johnny boy flat-footed and flustered. That once happened to me when my partner religiously rose and fell all around me while I sedately tried to woo her with my wonder Waltz.

By dancing on your own you develop lightness and control which gives you confidence in what to do. Why feel foolish dancing on your own, Ballerinas do it, Freestyle dancers enjoy it, Spanish dancers stamp it, Rave and Heavy Mettle dancers Mosh it. Aerobics and Line Dancing are also done in shine position and my mother used to do it in the kitchen.

It's nothing new to the whirling world of dance. Make a game of it. Think of it as your exercise programme. Do it to your favourite tunes and let the music take control. Start your school figures slowly then gradually increase the speed until you hit a speed-wobble. Stop and start again. Do this during TV commercial breaks, and while you're at it hold your arms up (for balance), tuck your tail and tummy in, relax your knees, breathe in deeply - invigorate your soul, mind and body. Time yourself, do one action for five minutes non-stop, then give yourself a break, you'll feel great, you'll come alive. It will put a smile on your dial and a smile radiates happiness. Dancing around on your own is much better than sitting on your circulation developing a TV tummy - bounce up and boogie.

School figures as an exam for females I don't agree with. More learning time could be spent on how to use and stretch her ankles, how to step back from the waist and roll her weight over the supporting foot. How to wait for her partner's lead - developing a sensitive response to his indications. Contrary to what most think, girls who delay their movement a fraction are much lighter and easier to lead than those who try to help by anticipating or by grabbing the steering wheel. What I'm saying is, it's more difficult and heavier for the man to hold his partner back, than it is when she gives him slight resistance or waits for him to lead her - it sounds illogical but it's a physical fact.

For the last few months I've received training privately in social dancing (Ballroom and Latin-American). I would like to teach socially and competitively;

1. What are the requirements to qualify for each type of teaching?
2. What are my options?
3. What are the opportunities?
4. What procedure must I follow?
5. Who must I contact?
6. Must I do the teachers' course through the South African Dance Teachers' Association or can you do the course through one of the dance studios here in Pretoria? and where in Pretoria can I go for classes?
7. What will it cost me to do this course?
8. What career opportunities do I have?
9. What percentage of the students fee will I as teacher receive from the dance studio? Will there be a difference in the percentage fee with or without a contract?

I'm not afraid of hard work and long hours - but still I do want to know! I would appreciate it very much if you could forward me this information! Thank you for all the great articles published in DI, especially the one in which you explained how the point system works. Enjoy your day!

Regards,

Sanet Botha (North Gauteng)

Ed,
I like that, "Good Day Jay" it has a special rhythmic ring to it.

As far as becoming a social or competitive dance teacher in Ballroom & Latin-American is concerned, there is no hard-and-fast rule. Many top competitive dancers teach without the endorsement of an official body. The SADTA do, however, provide an examination for a dancer to qualify as an adjudicator, which is the proper procedure every aspiring teacher should follow, since the steps and styles for competitive work is what his/her students will need to know. To do such an exam you would have to be taught by a trainer who was tested and approved as an adjudicator by the SADTA.

Regarding competitive dancing there are 3 levels of adjudication, Bronze (Associate), Silver (Member or Licentiate) and Gold (Fellow). So the first thing you would have to learn is the International competitive Bronze Ballroom & Latin figures and techniques. The Bronze patterns are very basic but the technique requires many hours of study and practise, and the better you can perform and understand these fundamental techniques (footwork, arms, posture, directions, body movements, etc.) and figures, the better you'll dance and teach.

I have helped many competitive dancers, who lack the convenience of a regular trainer with my Bonze, Silver and Gold International video tapes. These tapes are excellent because they include all the basic and advanced figures and techniques (footwork, arms, posture, movement, directions, body actions, etc.) necessary for these three levels in both ISTD and IDTA Syllabi. For the full set (Bronze, Silver and Gold), including the tapes, and there are six 3-hour tapes, it costs R1050, but these can also be ordered per individual dance at R34 a dance.

To be trained privately by a well-known competitive teacher, it will cost you in the region of R250 an hour. Most competitive teachers are ex-champs or very experienced in Latin & Ballroom, so they have the name, which puts them in demand. The best person to contact in Pretoria re competitive training is Johan Hayes @ 082 925 7984.

Social dance teachers get their training from within their studio, based on the American system, and although their methods differ from studio to studio, most of the patterns and techniques they teach are fundamentally the same. The social syllabi also include Bronze, Silver and Gold and one or two studios offer the laid-down International standard. To qualify as a teacher in a social school, you would need to learn the male's and the female's part of every step-pattern they teach. Many social studios also train their staff on how to present their product, how to make teaching easy, how to get on with and handle people, how to stay positive and sociable, as well as the theoretical side of the dancing. For an hour's private lesson you could pay between R56 and R300, and let it be known, the cheaper ones are definitely not cheaper in quality, so shop around.

Many social studios train their teachers free with a proviso that they will teach for them for at least 2 years after qualification. This means, you sign a contract and should you break it, the fine is heavy (R20,000). The best person to contact in Pretoria for social dance training is Ursula Baumann @ 012-3433747.

Dance teachers only get paid for what they teach. If they teach nothing they earn nothing, regardless of how much time they spend in the studio. International teachers hardly ever employ teachers to work for them. They are not interested in wet-nursing others to do the job they could do better, so their fees are based on what they are worth, which is R200 to R300 an hour.

Let's say our ex-champ is in great demand, and charges R250 an hour, teaches 6 hours a day, 5 days a week; R30,000 a month is what we are looking at - minus all studio and personal expenses. Some international teachers share the premises and cost of another teacher's studio. Others migrate from studio to studio using the same sharing principle. Social Dance Studios who employ teachers, pay out 43% to 60% of what they collect, in salaries, and then still have to pay the rent, which can be as high as R14,000 p.m., the lights, the phone, the advertising, etc. A full-time teacher, depending on his/her popularity and stamina, can earn between R3000 and R10,000 a month and more.

To earn a good salary as a full-time dance teacher there is only one prerequisite... you have to be a good teacher and to be a good teacher you need to do and be the following ALL THE TIME, not some of the time, ALL THE TIME;

1. Have an insatiable love for dancing.
2. A burning drive to improve in every aspect of teaching and dancing, i.e. a thorough theoretical and practical knowledge of the product.
3. A radar-like conscience for people.
4. Meet every promise you make.
5. Have a strong urge to help others improve and believe that every pupil can become much better than they think they are, regardless of talent.
6. Have the stamina to physically teach at least six to seven productive hours each day.
7. Maintain a cheerful, lively, positive, happy attitude at all times.
8. Have confidence in yourself so that you can inspire confidence in others.
9. and above all, must teach every pupil in the same way that you yourself would like to be taught.

What has always motivated me as a trainer, is seeing my pupils develop, particularly the slow ones. When they start doing it better than I do it... that's the big prize. The fault with most dance teachers is, once they have reached the competent, confident stage in their dancing, they forget how stupid they were when they started, and many don't really understand the true meaning of a "FUN lesson". Those who do, earn lots.

Dancing is music, people, energy, fun, exercise, excitement. A dance studio is not a sick-bay or a hospital. There is no room for depressed, moody, morbid, tired teachers. Pupils take lessons to be pepped up physically, inspired mentally, motivated totally; not listen to the teacher's problems. Making every pupil think and feel he or she is your only pupil, takes a special character, a special temperament, a special person... if you've got it Sanet! go for it! And if doing the same, boring, routine, day in and day out, watching the clock tick over to tea-time and then on to chaile-time, is not your scene, then teaching dancing is definitely the job for you. You'll meet many interesting people. The adrenaline flows frequently when dancing exams, competitions or creating exhibitions. Very few jobs offer the excitement and stimulation a dance teacher gets through teaching others and participating in the many different activities it provides.

Sanet, the above attributes are only some of the realities required for being a successful, well-paid dance teacher and it's a great and lucrative career, only if you are certain that you will definitely be a round peg in a round hole.

Thanks for the Q, I'm sure many will find it of interest.

Hi Jay,
At this stage there is nothing to stop anyone from "turning professional" and teaching dancing.

That is the sad fact as there is no quality control at all and what concerns me the most is that the good teachers are the ones not charging enormous fees. I wish I earned with my qualifications R250 an hour. Where am I going wrong? If this is the rate for teaching, my students will be getting quite a surprise shortly when my fees are doubled.

With regard to qualifications, The South African National Council of Ballroom Dancing controls all professional examinations be they international or local. Anyone wishing to qualify applies in writing six weeks prior to the date of intended examination to the local provincial council. This council then passes the request on to the National Secretary who appoints the examiner. The provincial council contacts the examiner to arrange the time and place convenient to both parties. The fees are paid directly to the examiner who submits the report, fees etc to SANCBD. The candidate on completion of the examination is free to choose any association to be a member of but it is an SANCBD rule that you have to belong to an association.

The examinations offered are student teacher, associate, licentiate and fellowship. The associate and student teacher can be done immediately. However, there are waiting periods between the other qualifications.

1. Knowledge and confirmation that you actually have the knowledge.
2. A license to adjudicate at the level which you have qualified.

My advice to teachers, students, parents is to look carefully at the studio/teacher and see what is offered to suit your needs. Social dancing requires a fun atmosphere, easy learning methods, a teacher with a good personality and disposition.

Medal training requires a qualified technician, as this is a "specific" and disqualification occurs in competition if incorrectly taught. A good sound basic, guarantees a good dancer and champion.

Open competition work - various teachers are required. Some teachers can provide everything - good choreography, technical training, presentation of the dance. Sometimes couples need more than one teacher to get the required results. Certain teachers work together, which complements the training given. Do not go to teachers to gain marks at competitions. Go to a teacher to gain knowledge and improve your dancing.

In the end, you cannot mark down a good dancer.

Finally,

Eastside College
Eastside College has opened enrolment for 1999

Not only is Ballroom dance available as a subject but also the following courses:

Computer Studies
Business Studies
Popular Music
Adult Education

Please do not hesitate to contact us for more information.

Cathy Gibbons: 011-6144125/6149831
SUBJECT HEAD: DANCE

Ed,
Cathy, thanks for your response, effort and input. This is the stuff the dancer wants to know. Particularly when it comes from someone like yourself - HIGH AT THE TOP.

In your August issue I read that couples received their Provincial Colours. How do dancers qualify for provincial colours? If dancers knew, this would be a tremendous incentive for them to push for points or whatever.

In August our children competed in the Natal Gold Cup, which I'm proud to say they won and I must congratulate the Natal organisers on running a very well disciplined comp. Lateness for a section was totally unaccepted. If a couple arrived late, they were discounted, but it really was a treat to be at a comp that ran so smoothly and with so much discipline. The only thing that worried me in Natal was that most of their dancers seemed to dance out of time with the music.

As a parent, and I am definitely not alone in saying this, we would like to know who to contact when not sure of something. And can your magazine not list all meetings, workshops or changes made to the calendar of events?

Jay, thanks for a very interesting and informative magazine, it's a marvellous way of keeping every dancer in touch with the sport. The officials should make much more use of your paper to spread news and information. All I can say is that every time the magazine comes out the whole family fight over who is going to read it first.

An amusing thing; when my 9-year-dd daughter received a standing ovation in Natal, she asked, "mummy, why's everyone standing?"

Alma Annandale

Ed,
The only time I ever received a standing ovation was when a prop held up a clap cue and the audience had to stand because there were no chairs. So, tell your daughter from me, hers was a very special, spontaneous moment.

Your first Q "how exactly does the point system work at competitions?" Alma, you have no idea of how many studio and club principals and trainers I phoned to find out about the points system, and they all said the same thing, "I don't know, but I can tell you how many points a couple needs to qualify for the various promotions." Personally, I just don't understand why the point system must be clouded in so much mystery. Every dancer should be totally connected with the system.

Beverley Hammond and the Freestyle officials hold the key to a perfect point system. Each result is punched into the computer and every dancer immediately receives an upgraded print-out of their status card showing details pertaining to their points, position and standing. Their Freestyle status card also stipulates the rules of the contest and explains how points are earned. This way no-one is left in the dark... I like that - mystery-free and immediate.

Back to the ballroom and Latin system. According to Avril Bennett (the unsung Gauteng heroine at comps) who has the unenviable, daunting job of collating and finalising the points, says that the easiest and quickest way to add and understand the system is; points are acquired in the final only, and a couple earn 2 points for themselves and 2 points per dance for every couple they beat. Based on this theory and the results set out below, here's my tabulation:

The Results of a Contest

Place Couple Waltz Tango Foxtrot Q-step Total
  1st   A     1st   2nd    3rd    1st    7  (1st x 2)
  2nd   B     2nd   1st    2nd    2nd    7
  3rd   C     3rd   5th    1st    5th    14 (1st x 1)
  4th   D     4th   3rd    4th    3rd    14
  5th   E     5th   6th    5th    4th    20
  6th   F     6th   4th    6th    6th    22

Couple Self Waltz Tango Foxtrot Q-step Total
  A      2    10    8      6       10    36
  B      2     8    10     8        8    36
  C      2     6    2      10       2    22
  D      2     4    6      4        6    22
  E      2     2    O      2        4    10
  F      2     O    4      O        O    6

The above computation is a basic account of the point system but, just when you thought you new what was going on, a few feathers hit your fluffy fan. Should the final only have 3 couples dancing, then there are fewer couples to fleece for points, and if you are the only couple in the final you get zippo, despite having won. I think the latter rule sucks.

Why should a couple who worked just as hard to earn points, and made the effort to attend and pay an entry fee, be denied the points, regardless of the reason for lack of entries. Who knows, maybe the other couples heard that they would be competing and politely threw in the towel. For that alone, our lone rangers deserve extra credits. Give them 2 points for their endeavour and 10 points for effort, bravery AND THEIR WIN. If a tennis player is two sets down in the final at Wimbledon and his opponent breaks a leg, he still receives the winner's award and the fat cheque that goes with it, despite being creamed at the time of he accident. Why can't this default rule apply in dancing as well? I say, give these sole survivors a break and the points.

But wait, I'm not finished yet, a couple earn even less points when there are only two dances (Waltz & Quickstep) in the final and that the size of the comp also plays a part in how points are earned.

Alma, your query, "a couple came 3rd and received 27 points while another couple took 1st, 6th and 7th places and only gained 19 points". The 27 points for 3rd I'd say could be, with 6 couples and at east 4 dances, but the second sum seems unlikely, since the maximum number of couples allowed in a final is 6, so 7th place is definitely the Martian that won't earn points - unless I missed something in the translation. What's more, 6th place gets minimum which leaves us with a 1st for a maximum of 12 points but, to know what really happened, we'd need all the results of that final.

NOTE: Readers of other provinces must realise that the point system differs from province to province because of each province's special circumstances. Here's an Update on the lastest point system

Your second Q "How do dancers qualify for, provincial colours?" Colours in ballroom dancing is till in the prenatal phase. Those who recently earned their provincial colours were chosen by our National officials, who based their selection on the number of major wins these couples enjoyed during the preceding 12 months. So there is no set procedure yet. I agree with you that knowing the criteria for earning colours would be a tremendous incentive to dancers. Let's ask FEDANSA to devise a system and post it to all the school and club heads. But are they allowed to? I thought there is a special sports body, with strict rules, that govern "colours" for sportsman/woman.

Re your proposals, "we would like to know who to contact when not sure of something. And can't your magazine list all meetings, workshops or changes made to the calendar of events?" Alma, DI's first and last priority is to serve the dancer, to inform the dancer, to give the dancer the opportunity to air and exchange views, ask questions, argue vociferously, to enlighten, and most importantly, to talk DANCNG, DANCING, DANCING.

Unfortunately, in the past, some officials saw our paper as a vicious ploy to expose the naked truth, the NEGATIVE side of dancing. With their blinkers on, they couldn't see the cats for the canaries, or should I say, they were unwilling to accept the real dance world which is riddled with so many uninformed dancers. A letter like yours to me would have raised a furore.

The fact that so many top dancers and authorities don't know how the point4 system works is a glaring example of how badly informed the dancer is. Presently I thank Allan and Bev Hanmmond, Cathy Gibbons, Bill Toseland and Ray & Avril Bennett who have no qualms in helping us get news and important information to the dancer.

My advice (for the sake of all dancers and the officials) is, FIRST CONTACT ME. This way we eliminate thousands hassling the already overloaded authorities. I then make one call for the majority of dancers and clarify it on behalf of the authorities. Click here to contact the Officials

. But at present it's a case of the blind misleading the blind, which is the main cause for much of the unnecessary confusion and dissension taking place in general.

As far as the meetings and workshops go, these are arranged two weeks or a month before the time, and not a year in advance, so it's often difficult for us to publish the dates in time. We do, however, try to alert all whenever possible. Meetings and workshops make excellent reviews. During a meeting last year a heated discussion took place between parents and adjudicators, e.g. why a certain adjudicator always placed her child 6th when the other adjudicators scored 1sts and 2nds, and apparently, many of their differences were sorted out at this meeting. The only problem is that the people who should have been there to face the music, you know, the BIG MOUTHS, arrived not.

Dancers say, "we never get told about the meetings," organisers say, "very few attend these meetings." I say, "there should be three official meetings a year, set up by the organisers as part of the dancer's calendar of events and with the agenda published in DI." This way no-one has an excuse for ducking or diving, not even the hippo chomps.

Very seldom is a change made to the calendar of events. The one mishap that occurred recently, when the venue was double-booked, and the organisers spent hours phoning to alert every entrant, and there were hundreds, must be chalked as a freak accident. The letter confirming that booking was perceived by the organiser as confirmed, when actually, it was being cancelled.

The letter read "there is a booking on the so-and-so date" meaning that there is a booking for someone else on that date, not as the organiser understood it to be, that there is a booking FOR THEM on that date. The letter should have read, "unfortunately for you suckers, on that date, our venue has been booked by a much bigger, much more important company than yours, called the Ford Foundation Federation, sorry, so take a hike." This diplomacy stuff is getting to me now.

Alma, thanks for all your questions, you're a true envoy to the sport. Even though we might not have answered these fully, it's a grand starting points. If only more dancers would speak up or ask out, DI could begin to clarify much of the murkiness that besets the dancer, and thanks for subscribing to DI - you're a star.

There are a couple of items that need some comment from here - like the promo point system (DanceInfo - Sept edition)

In Natal we feel that we have a far easier Points System as far as understanding is concerned and we would like to see this in use around the country. It has been put forward to FEDANSA National executive but the other Provinces, especially Gauteng, feel that it is too easy for couples to be promoted using this method.

The way our system works is as follows:-

1. Couples earn points according to their final placing in the section - not individual dances.
2. They earn more points for bigger sections, i.e. 1st overall from 6 finalists earns 20 points but 1st overall from 3 finalists only gives you 5 points.
3. Couples need 40 points to move from Bronze to Silver and 40 again from Silver to Gold. From Gold to Novice they must acquire 50 points and then a further 60 to gain promotion to Pre-Champ. Finally 80 points are needed to move into Championship.
4. We are currently purchasing a lap top and have people in training to ensure that the couples points are updated at competitions, much like the freestyle events. This is why we have concentrated on a simple system.

I am on the organising committee for the 1998 RAMA National DanceSport Championships which will be held at the University of Durban-Westville Sports Bureau on Saturday 5 December 1998. I enquire on behalf of the committee whether you would be willing to publish the 2-page entry form in the next edition of Dance Info.

Many thanks

Chris Manning

Ed,
Chris Manning? Now I remember. Martin Smith gave me your # and said you are the best person to contact in Natal re comp results. Which I did. Your wife answered, but I don't think she took too kindly to my golden, velvet voice. I detected a note of scepticism, because I was emphatically told the matter would have to be put to the board. I said to myself "how are you ever going to find a way of publishing comp results (which our dancers love), if no province on the SA planet has a system that can guarantee I'll get these readily and regularly?". It suddenly dawned on me that the job is too huge, too cumbersome without the friendly, new fangled thing called a computer, "Jay!" I say, "you are flogging a dead donkey here." And I wasn't going to opt for the hit-and-miss method.

For example, I still haven't received the Sun City results and I think it is pathetic. The year 2000 is upon us; computers have been around since the early 80s; dancing is the 3rd most popular sport in South Africa and still the bush-telegraph system of communication goes on. What's wrong with this country and the dancer? The rest of the world can't do without email, Internet and computers, yet the average South African thinks it's Aladdin's porno cave... and pleeeeaaase don't ask the dancer to email you something, that's far-out science fiction.

The two of us have been communicating by email, it's blissful - within minutes, at local phone rate, you've sent me the details and the entry forms of the National DanceSport Championships which will be held at the University of Durban-Westville Sports Bureau on Saturday 5 December 1998 and I'm ready to roll - no retyping, no messy facsimiles, no scanning, no waiting for the postman, no fingers in our mail, no being overcharged - it's cool, real COOOOL... what are the dance officials waiting for... the next ox wagon to pass through?

Calculating the points requires a very simple dBase programme. All we need are a few fields for each couple's registration details; their unique number, names, the section, a field for immediate, accumulative and promo points, where they hail from, etc. The registration would be a one-shot input into the master file, except when couples divorce or are promoted; and even promotions can be automatically assigned at given point levels.

During a comp, the couple's number is called up, the scores typed in, and PRESTO! at the press of a button, the computer does the rest; the placings, promotions, etc. But more importantly, all this info can be emailed, hassle-free, to Jay for immediate publication. I am, therefore, over-the-moon with your "laptop", "Freestyle computer system" news. Natal doesn't need to opt for a simple system when dealing with computers, computers make it simple. Give your specifications to a guru (and there are many dancers who are computer gurus). He/she designs a standard programme for comps, and Bob's our auntie. The average citizen is of the inane notion that dancers think only with their feet, true, but what they don't know is, that's where our grey matter is lodged.

It took me two years, starting 1989, to customise our studio's very complicated system, when none of the so-called computer gurus of those days could help me. I now have accumulated 1798 programmes to do the job. These days, with all the sophisticated applications available, that's not necessary - it's so easy, you just enter and operate. Welcome on board. If you have only started reading our mag recently, then you definitely have missed out on a lot of the action, the fun, the controversy and the debate we've had with the dancer. A reader (Louis Fourie) recently said "I never knew there was so much happening in the dance world before subscribing to DI." And we haven't even tipped the iceberg, but we will get there. The idea is to argue for the dancer, and defend the hard-working officials who control the sport. Although this magazine is not for the faint-hearted or the sensitive reader, children enjoy it most. It must be the horror effect it has on them, and we don't even supply graphics to illustrate our point.

Thanks for pointing out the boner I made in the September issue regarding the comp placings. Unfortunately, I am frequently left to theorising. Help from the dancers at the top is painfully slow. When a reader wants to know something, to which nobody can give an immediate answer, I then, based on what the experts have told me, resort to thumb-sucking and personal speculation. This I do just to supply the dancer with something immediate to mull over in their minds. Thereafter, it's down on my knees praying that someone in-the-know, like yourself, will offer mouth-to-mouth resuscitation. You gave my article the kiss-of-life - thanks. And Chris, you have no idea how grateful our readers were for my version of the point system. The article, at least, helped many dancers under-standing the points point system better; backed-up with yours, IT'S DEFINITELY A GEM - you're a star.

I like Natal. Martin and Graham Smith always supply megga shark news, and our readers love it.

Thank you for a wonderful magazine and everything you are doing for the sport.

Eleanor Annedale

Ed,
Eleanor, I know I am the best, I'm a dancer, I have an attitude! Seriously, I now have two fans, you and my mother. I was always her blue-eyed boy, and her favourite tale to strangers is that Jay won 1st prize (a cake) at a "pretty baby" show. But, what she somehow never remembers to explain to the guests is that her son was the only contestant. I mean, you should see that photo of me lying nude and blue in my cot, even the Pope would blush.

Harry Burns

Ed,
It's a loooong sad, sorrowful story and I know you don't really want to hear it, but I'll tell it all the same; besides, I owe our readers an explanation, so Harry, thanks for the jolt.

In May this year, I emailed the complete dictionary (160 pages) to be checked for the final time before sending it to the printers. Instead of the system transferring a copy of the data to the recipient and leaving mine where it was, it moved the entire dictionary out of my file. The term "move" in computer talk says "this file is emigrating from your country for good" which means it was zapped, zippoed and a gonna from my computer to another destination. Only after a lengthy search for "which way did it go George?" did I desperately contact my able assistant Elsa Lakic (the recipient), hoping she still had a copy in her computer. Elsa politely depressed me with the news that only a part of the dictionary she received had arrived. The remains started from "Hockey Stick" to "Z", the rest was hieroglyphics.

Before bursting into tears, I thought, "Ah! I made a backup". Found the backup, but that dejected me one more time; the date read "last backup, February 1998." That's when I drank my bath water, because many additions and changes were made since then. My service provider says the corruption to my file was due to an over-large package.

Being the strong, courageous, intrepid masculine gender I am, I wiped my eyes dry, disgorged the tub water, changed my nappy and bravely leopard-crawled through the fierce firing line unscathed to recovery - happily, the dictionary is now almost salvaged and ready for perusal, but this time, re the deadline, I won't stick my lily, licking neck out. What I will say, "it's on its way."

I deliberately released extracts of the dictionary each month, just to chirp, "hello readers, the Dict is still alive and well." Please bear with me, I'm as anxious to get it launched as anyone, because the Dancer's Dictionary (the only one of its kind in the world) will be a great purchase to both teacher and student of International, Social or Freestyle dance. Many readers have told me they cut out these extracts each month and store them for reference. Soon you'll have them all in one handy reference guide.

PS: VOILLA... "The Complete Dancers' Dictionary" is now available on the net.

I am not saying that the teachers must be total teetotallers! They must just be a bit more considerate towards their students, who have in any case, paid for sober time. I am sure that the students will not be offended if alcohol is consumed in moderation.

1. some students are very young and are then exposed to the teacher's alcoholic breath.
2. the cocktail aroma of alcohol and perspiration is not very pleasant and can be associated with the smell of a skunk (a smelly creature).
3. all feelings of respect and pride for your teacher goes "waltzing" out of the door.
4. disappointment lingers instead of fulfilment and enjoyment.

Ed,
NNNPd, even if a very "social" studio has no rule forbidding teachers from drinking during student examinations, I think, every self-respecting professional should abstain until all his/her pupils have performed their act. There is just no way teachers or pupils can give of their best, alcoholicly - it seems so senseless, so futile. A lovely student I know, with an excellent ability, would spend thousands on dressing up for an exhibition, and would take many extra lessons preparing to excel, then on the day, arrives more than a little inebriated. In one quick swoop she wipes out all the good work done by messing up the culmination, the big moment - the moment that really counts.

If a student overindulges, that's an individual affair, but a professional is responsible for many pupils who are all extremely excited to do well and who have spent a lot of money, thought, time and effort rehearsing for the special occasion. That is a serious felony, tantamount to drunken driving where the innocent becomes the victim of the wanton.

The expression, "he's as drunk as a skunk" refers to the alcoholic stench that envelops and pervades the indulger, and polluting the immediate neighbourhood in the same way a skunk would. To reek of alcohol and then huff and puff it all over innocent little children is not very nice; apart from the delirious effect it has on the poor child, the pupil, and the teacher's performance.

Talking about exuding foreign aromas; a sure show of disrespect for your partner is to reek of raw sweat, garlic or any highly seasoned food. Here we are standing belly-to-belly poise in a close, classical waltz pose. I lift my arms up, directly under your nose. You lift your arms up, directly under my nose. What greets our nasal passages will depend largely on how much affection or repulsion we have for each other and the opposite sex, because, in this raised-arm, aroma-emission position we will be treated to that particular bouquet for quite some time. Our own whiff won't be detected because we are too close to ourselves but the other's, will linger long.

No-one will say it, except to your friends and then have a good giggle over your stinky breath, or you have that onion-ring, under-the-arm-pit, sweaty, hamburger smell about you, and you won't even know that you do. For example, I play squash; my opponent walks onto the court and blasts me with his TNT garlic breath. Within seconds the court is filled, totally saturated, polluted to the hilt. I say, "had a garlic party last night?" he says, "a little, why, can you smell it?". The over-powering stench almost catapults me off the court, impregnating my clothes and kit with stale garlic, I miss the ball a few times as a result, and my opponent says "why, can you smell it?".

Dancing is a sophisticated close-contact sport which deserves a few social finesses - we owe it to our partners if not to ourselves. And what about the stale smoke smell, mixed in alcohol, with a touch of pure sweat, covered in garlic... huffing and puffing - you need a sure-fire repellent? you've got it. These are the things nobody wants to talk about, but they do offend, and they offend the non-indulger in particular. A colleague of mine, a great guy, suffered from an acute, unnatural dose of halitosis. Behind his back, the other staff called him the village skunk and every time he came near they would disappear, but nobody had the guts to tell him. I thought this very unfair, because he was totally oblivious of the problem, so I suggested he see Dr Spock, which he did... problem solved. He couldn't thank me enough afterwards. Millions of humans have a hell-of-a-tosis problem, it's just that it seems more prevalent in the wonderful world of dance, because of the mouth-to-nose contact we make.

Back to the drunk..., I was going to say professional, but that would belie the true, your drunk partner who is paid to bring the best out of your dancing. NNNPd, if the culprit is the one teaching you, then don't hesitate, COMPLAIN. Go to the manager and MAKE A FUSS, or is it the manager who is spying in the bottle? It's your right to demand sober time, sober time (I like that). Maybe they'll even proscribe drinking during exams. Your particular problem, I'd say, is an isolated incident to the dance profession, but the aroma trip is an affectation ubiquitous to most sports. But, what dancers and wrestlers desperately need is "shield for sportsman" to soothe the olfactory sense of those who are physically connected to them for more than two minutes at a stretch.

We South Africans are too gullible, too docile, too resigned to incompetent, inadequate service, accepting a rip-off at every turn. Always saying nothing when things disturb us because we are afraid others might not like it. When we do complain it goes something like this, "I never complain, but..." the word NEVER bears testimony to the fear we have for complaining. Why must we wait until things reach desperation point - the ugly stage. Valid complaints are to a business what a drink is to a drunk, it stabilises the system - the barometer that says "beware! there is conflict in the camp... listen up."

On the other hand, we remain reticent when it comes to praising others or to showing appreciation for the things we enjoy, as if it might undermine or humiliate us. Tell your teacher he/she is great; never drinks, never smokes or sits down during lessons, and never comes late or wastes your lesson-time with incessant chatter. Is very patient and understanding, uses every minute of your lesson honestly and productively, is good looking, intelligent, has a sparkling personality, smells delightfully fresh and clean, is always in a happy, energetic mood, peps you up on every lesson. Dresses neatly; is friendly. Demands that you do your steps and style properly. Praises you at the slightest improvement; wants you to be the best, regardless of the consequences.

If your teacher is all or many of the above... SAY IT. If not, then you have LOTS to complain about - better still, get rid of your teacher.

On the subject of alcohol, let's drink a toast to your brave, outspoken article. May it throw a sober light on the positive things in dancing. I bet you were in 4 minds before sending this one to me - it makes a valid point, thanks, and with my blessing, who cares if a few don't like it.

How often have I not felt totally despondent just before a dancing exam or exhibition when I am confronted with the fact that I HAVE NOTHING TO WEAR! I am not gifted with the ability to design and/or make my own dancing outfits. Twice I was in the right place at the right time and was lucky to buy a few second-hand dresses. They were real bargains! After giving them a good face lift ... it was WOW look at me now!

Consider the following:

1. Outfits and accessories must still be in a good condition.
2. The price must be reasonable and affordable.
3. The shop must be open at least once a week (after hours).
4. The original owners of the outfits will only receive payment once their goods have been sold.
5. The studio must put a mark up on the outfits.

Cheers

Sandy Rust (Pretoria)

Ed,
It's a great idea. So Sandy, why haven't you started a second-hand dress shop for dancers in your distressed area? Many wear their stunning outfit once only. It cost them a fortune and will now probably yield nothing, except occupy space in their cupboard for the moth's ball. Even if a dancer has worn the outfit many times, it can, as you say, be altered, and WALLA, "look at her now." Take most of the theatrical costumes we see on stage, in daylight they are drab, bedraggled and dusty but on stage under the floodlights it's razzle, dazzle time.

Some years ago, aware of this problem because of the many requests, yours truly, then at his brilliant best, made the stupid suggestion that studios hold a jumble sale for hand-me-downs. I advertised the idea loudly and boldly in DI, thinking it would cause an avalanche. The result... not even a trickle from the apies... zilch, zippo plus naught. Why? Beats me. Here we have many like yourself who would love to trade for bargains, and others who never wear the same dress twice. Children outgrow their shoes, clothes, etc. Adults outgrow their costumes. Some lose weight, others would just like a change, but there is a real, on-going market out there, just waiting for someone like your sparkling self to start the action - Sandy, Go! Go! Go! It's the land of opportunity.

Anonymous (for legal reasons)

Ed,
That's what I call a wholesale wipe-out. Management collects as much cash from the customers as possible, and then elopes to the Bahamas, never to be traced. As I see it you've got two chances of recouping what's due to you, and believe Jay, they are both in the negative.

After this incident, many dancers phoned me. One TC teacher complained that she seldom received her wage at the end of the month. Another member said the franchisee was converted; became a new born Christian, but that one I'd have to question with the way she made off with the fixed assets. I then phoned Penny Maré who managed TC, and her version of the disappearing act dittoed with the rest. Penny, however, has made the best of a raw deal, by retaining the premises, and has offered to accommodate all the motherless TC children. The new name of her studio is Lemon Tree. Stella, the franchisee, I haven't been able to contact. The only reply I get from the numbers I have of her is "gone south for the winter".

There are also very interesting articles on social studios and dancing. You also give us a view of what is the norm in the International world. Thank you most sincerely.

I would like to please make a request to place a small ad in the classified section.
Could you include the following:

"Male 1,90m tall, Novice in Ballroom and Latin, looking for suitable partner to do competitive with. Contact 082-305-7141.

Thank you for your dedication to dancing with the dancer in mind.

Kind Regards

Eckhardt.

Ed
Your request is granted, and without charge... that's how caring I am. Thanks for expressing your appreciation for what we are doing for the dancer.

Personalities, on the SA current scene, who have genuinely and regularly helped me promote dancing are Martin Smith (Natal), Johan Hayes (Pretoria), José Montoya (Pretoria), Graham Smith (Natal) and Allan Hammond (Pretoria). These experts are great ambassadors to the sport and the student of the sport. I call them the protagonists of our South African dance scene. To them, it's no heavy mission to supply info through DI for the dancer; their intentions and DEEDS are earnest, willing and helpful and I am sincerely indebted to them for their contributions.

As you say, "Your part in promoting dancing in Southern Africa is without equal." Yes, our BIG aim is to boost DANCING and "that this paper of the DANCER, by the DANCER, for the DANCER shall not perish from this planet" is what I think Abe Lincoln said about our mag in 1864.

Eckhardt,

Thanks for emailing. I hope you find the dream partner you are looking for.

Depressed.

Ed
What I am about to say to you is what Andy Capp would say to his wife Flo whenever she utters something dumb, you're a twit... those are Andy's words.

The trouble with you social dancers is, you think that reaching a respectable level of social dancing takes one or two lessons. THAT is not just an old wives' tale, that is a very decrepit, ancient, old wives' tale, called baloney. When you are learning a muscular-mental co-ordination such as dancing, you are not supposed to be having fun, unless you have a great teacher who can make learning to dance fun without a yardstick. But while learning, you are supposed to suffer, sweat and concentrate with total conviction and direction. That's the time you spend preparing for the fun to come; the fun you are going to have when you are competent and completely co-ordinated in mind, body and rhythm.

Exams inspire the trainer and the learner to concentrate; it motivates serious practising; it instils confide me; it displays the quality of that teacher's teaching and the learner's progress; it brings the best out of every dancer's potential, and most importantly, it gives direction to his/her progress and earns a diploma to show for it. cams force you to progress much faster than you would. But if you take lessons just to dance, that's a different matter, because what you are then actually doing, is HIRING a partner, not LEARNING to dame.

We all loath exams. In my school days there were 2 abnormal wackos who liked exams, and I am convinced that those 2 were 2 dillies more than any other school in Africa had on their list. You see, you are not alone in your feelings. In this cruel world nothing comes easy and remember, it's not what we LIKE doing that makes us better, it's what we DON'T LIKE doing that makes us better.

The tragedy of most female's party life is, VERY FEW MEN CAN DANCE. Too many men are sissies on a dance floor. Ever watched rugby players at a party, yes! those big guys who mostly sit around drinking because they can't dance; the guys who have the gall to call dancers sissy. Check them out, they hold their partner in a sheepish, limp, wimp way looking down demurely at their feet with the hope to stupefy those dumb hang-tens into action. But while burly brute is doing this, his partner, mother Jane, feels the pain.

Depressed, this is personal, when I teach, I love every minute of it - I thrive on it I get swallowed up by it, but don't give me a student who doesn't want to dance exams. The scenario; Pupil walks on to lesson, Teacher says; "what should we do today?" Pupil replies "I don't know, what do you think we should do" Teacher "I don't know, you tell me" Pupil "let's do anything" Teacher "OK, we'll sing". No direction, no incentive to progress forward - BORING!... boring in the extreme and utterly futile, unless your name is Helmut Lotti or Jay.

Be glad your studio offers exam facilities, because studios that don't, normally close down soon after delivery and the reason... there is no motivation, no spur-on for pupils and teachers to get the full benefit from taking or giving dance lessons. Dancing an exam shows pride. Your teacher would never want to put you through an exam if she wasn't proud of you and your dancing - it's a COMPLIMENT not a NAG. Proud teachers love displaying their pupils' progress. Teaches who don't do exams aren't proud of their teaching, they are too ashamed, too embarrassed to present their work or their pupils' dancing. So depressed, you have lots to be undepressed about, your teacher thinks the two of you are great - it's a pat on the back for both.<

Depressed, cheer up.., of the 4 who actually read this mag, 3 will agree with you. At least, you are doing the MANLY thing by improving your dancing. I call it respect for the opposite sex, and on the subject of sex, when it comes to social things, the weaker sex is the stronger sex because of the weakness of the stronger sex for the weaker sex, so knowing how to dance protects you from the stronger side of the weaker sex... if you get my drift... YOU'RE SAFE.

Anonymous (for courteous reasons)

Ed
HURT HIS FEELINGS! Otherwise, you are not only behaving stupidly in your dancing, but also in your money-matters... you know, that hard earned cash you toil day in and day out for. Anonymous, when you enrol for dance lessons, you are not buying bananas or "joke a minute" entertainment; you are buying TIME, i.e. the studio's EXPERTISE bundled into units of half-hour or hour lessons, and every minute of those units of "time" that you buy from the studio, must be spent learning something that will add progress to your dancing. If your teacher wastes 10 minutes, of a 30-minute unit, by talking trivialities, he is in reality, stealing your money and you are allowing him to do it - that's how stupid you are.

Let me put it another way. If you had to buy a bottle of Coke and the assistant handed you the bottle half-full, would you accept it in the same way you are accepting half-lessons? No! you wouldn't you would probably swear at him. But lets talk turkey, the subtleties of time-wasting on lessons. If you are the chatty type, you could be the cause of your time being wasted by initiating the conversation, and before you know, half your lesson is a gonna. A teacher can very easily get into a "talking" trend, if allowed by the student or even subconsciously. Arriving late or leaving the lesson early is an obvious time-waster. Learning too much on a lesson or too little hardly helps. By looking for music to dance to, during a lesson, earns no return. Concentrating or hammering on one thing for too long is also a pilferer of time, and depending on the studio system, the list can go on and on. .

Every good dance teacher is very conscious of lesson-time and knows that the best, basic way to segment a lesson and use its time wisely is as follows;

• Start with a warm-up dance, a dance you like or do well. It gets the office out of you and puts your limbs mind into a dancing mood, and gives you a chance to socialise without wasting time. That's when talking is a benefit.
• Review what you had learnt on the previous lesson.
• Get stuck into the new material - steps, styling, technique, etc.
• Break away from the new work with a casual dance - a brain-breather.
• Recap new material.
• End with a "fun" dance - socialise, laugh, tell jokes.

If that's not your style, talk to the supervisor or manager of the joint, he/she will appreciate your concern because, how can management right the wrong if the sad client stays mute. No matter how fond you are of your teacher, by doing nothing about it, you are going to lose interest in the sport you so dearly love and eventually you'll give up. Maybe his other students feel the same, and like you, don't want to hurt the culprit's feelings, so the crime goes on and you are an accomplice in the act.

Anonymous, thanks for writing; at least you've made a brave, positive start by declaring your problem. I'm sure there are others who have a similar predicament but accept it as the norm. It's not the norm, it's illegal and you are entitled to expect full value for what you pay - GO FOR THE JUGULAR.

I can understand if males are forced to dance alone because they do the steering, but why should a female dance ballroom alone. I'm not the only one in our studio that hates school figures, many do.

Diane Smith

Ed
Diane, there are a few drawbacks to females dancing on their own, but the advantages far outweigh the disadvantages. When a female knows the patterns too well, and females are generally much sharper and faster than males in this respect… you like me? I thought so… oh! You like me a lot? I also thought so. Where was I? That's right, sharp and fast females doing their steps too well, tend to lead their partner or anticipate his lead.

This often transmits impatient vibes and suggests a pushiness which all males dislike. Or they have been taught a distinct rise and fall which they apply, come hell or high water, as per instructions, leaving poor Johnny boy flat-footed and flustered. That once happened to me when my partner religiously rose and fell all around me while I sedately tried to woo her with my wonder Waltz.

By dancing on your own you develop lightness and control which gives you confidence in what to do. Why feel foolish dancing on your own, Ballerinas do it, Freestyle dancers enjoy it, Spanish dancers stamp it, Rave and Heavy Mettle dancers Mosh it. Aerobics and Line Dancing are also done in shine position and my mother used to do it in the kitchen.

It's nothing new to the whirling world of dance. Make a game of it. Think of it as your exercise programme. Do it to your favourite tunes and let the music take control. Start your school figures slowly then gradually increase the speed until you hit a speed-wobble. Stop and start again. Do this during TV commercial breaks, and while you're at it hold your arms up (for balance), tuck your tail and tummy in, relax your knees, breathe in deeply - invigorate your soul, mind and body. Time yourself, do one action for five minutes non-stop, then give yourself a break, you'll feel great, you'll come alive. It will put a smile on your dial and a smile radiates happiness. Dancing around on your own is much better than sitting on your circulation developing a TV tummy - bounce up and boogie.

School figures as an exam for females I don't agree with. More learning time could be spent on how to use and stretch her ankles, how to step back from the waist and roll her weight over the supporting foot. How to wait for her partner's lead - developing a sensitive response to his indications. Contrary to what most think, girls who delay their movement a fraction are much lighter and easier to lead than those who try to help by anticipating or by grabbing the steering wheel. What I'm saying is, it's more difficult and heavier for the man to hold his partner back, than it is when she gives him slight resistance or waits for him to lead her - it sounds illogical but it's a physical fact.

Ed
Maggie, we come into the world stupid and go out senile, so any intelligence we gain between the stupid and senile period is mostly acquired by asking questions. If we don’t ask questions or seek answers to the things that fog our brain cells, then we remain stupid and senile throughout the intelligent part of our lives. The only advantage of staying stupid all the way to the senile part is that we never have to worry about becoming senile, isn’t that wonderful?

But let me say right away, your questions are not stupid. 3¼s of those who teach and those who dance, even many of our top dancers, would have a problem answering your two questions. The next time you chat to a dancer or teacher, casually ask, what does BPM, MPM, LOD, CBM stand for in dancing? or what is Pendulum Motion, Level Progression, Time Signature or even Vertical Motion?. Better still, ask your teacher. Then while he is dumb-struck, slip in the two he keeps confusing you with. A dance teacher who uses technical terms without explaining their meanings very clearly and slowly, I’m sorry to say, is not much of a teacher.

To answer your first question, here’s how it is described in my Dancers’ Dictionary: BARS PER MINUTE (BPM) and MEASURES PER MINUTE (MPM). A Bar or Measure, in dance music, usually contains 2, 3 or 4 beats, and the number of bars or measures per minute determine the speed or tempo at which the music is played. 55 BPMs/MPMs = fast, while 25 BPMs/MPMs = slow.

To make it easier to understand, we’ll select Waltz music which has 3 beats to its bar/measure. Here’s how we count the number of bars per minute in Waltz music; play the music, and as the second’s hand of the clock passes the 12, start counting to the beat of the music 1, 2, 3 - 2, 2, 3 - 3, 2, 3 - 4, 2, 3 - 5, 2, 3, etc. (the first digit (red) in each bar denotes the number of bars counted). When the second’s hand of the clock makes a full circle and you’re on 33, 2, 3 that indicates 33 bars/measures per minute (a tune of medium tempo).

The answer to your second question, “what is CBMP?” (as per my Dancers’ Dictionary): CONTRA BODY MOVEMENT POSITION (CBMP) is a term used when the body is not turned, but the leg placed across the front or back of the body, giving an appearance of CONTRARY BODY MOVEMENT. Therefore, CBMP is the position attained when either foot is placed across the front or the back of the body without the body turning. It is a foot position, but in some cases Contrary Body Movement is used at the same time.

Even the novice should remember that every step taken outside partner, or with the partner outside, must be placed across the body in CBMP to ensure that the two bodies are kept in close contact. Contrary Body Movement Position occurs frequently in the Tango and in all Promenade figures. In social dancing, CBMP occurs when stepping in Conversation (Promenade), Parallel (outside partner, or partner outside) or Fallaway (backward conversation) positions.

What I have always found peculiar as a dancer, is that you can ask any fishing enthusiast about the different hooks, seafoods, baits, tackles, etc… of angling and its techniques they know everything. Talk to a rally driver or motorcyclist about the mechanics of their sport and hobby and they will give you elaborate detail with keen enthusiasm. Ask a golfer or cricketer about their sport or hobby and they’ll tell you lots and more and to a fancier, please don’t call a pigeon a dove.  They are well-read in the subject of their love, BUT DANCERS, THEY JUST DANCE. The other day I asked a keen dancer of umpteen years, “how many beats are there to a slow in Foxtrot music?” and his answer was huuuh!

Maggie, you would have a “field day” on the internet once my Dancers’ Dictionary is linked. Say you looked up the word Acceleration and came across Syncopation in the description, but didn’t quite know the meaning of Syncopation, then all you do is click on Syncopation and Walla! it takes you to its meaning. Once satisfied, click back to Acceleration.

Thanks for your e-mail. I know many dancers will appreciate your questions and even if they don’t, it’s good to talk shop once in a while. Dancing has some very fascinating theories and tales.