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Why Solo Dance Practice Sucks - Dance Comp Review

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Why Solo Dance Practice Sucks

I do my main solo practice every Sunday morning, and some weekends, it takes a lot of convincing to get me and my dance shoes to the studio. I know why I should practice on my own and the awesome benefits I’ll gain from it. But there are still a few factors that make solo practice a real drag.

Stephen Marino

It’s SOLO.

Thank you, Captain Obvious. Seriously though, we’re ballroom dancers. We dance with a partner! Dancing a soulful waltz or a sexy cha cha just isn’t as fun on your own. What is fun though is when you realize that because of your solo practice, you don’t need to hang onto your partner for balance or steal side glances at them because you have no idea what the next step in your routine is. You can actually enjoy the dancing!

Stephen Marino

It’s HARD!

No one said ballroom dancing was easy and practicing on your own is no exception. A routine I danced oh so beautifully with my partner is suddenly awkward and full of stops and stumbles when I attempt it on my own. Which way am I turning again? Is my partner to my right or my left in this part? If you’re a competitor, being able to dance your routines on your own gives you a huge advantage, but don’t be surprised if your invisible practice partner turns out to be a poor lead.

Stephen Marino

It’s TEDIOUS and BORING.

Technique drills, anyone? A lot of solo practice includes repetitive drills intended to cement a technique concept in your body so permanently that you engage your core in your sleep. Repetition is the mother of mastery, as one of my coaches says! I geek out on technique drills actually, but even I get bored. Until I feel the difference in my dancing and my connection with my partner….magic!

Stephen Marino

It’s LONELY

My solo practice gets especially lonely on the tough days. I don’t have anyone else there to encourage me to try one more time or help me figure out what the heck I’m doing in the video from my last lesson. That’s when I’ll take advantage of the worksheets in my Solo Practice Guide. (Currently 10% off for DCR readers) There are spaces for me to take notes and record questions for my teacher at our next lesson. So even if my partner isn’t physically with me in practice, he’s still a connected part of the process. I also get to feed my ego by playing the goody-two-shoes student at the next lesson. “Look, Teacher, I practiced just like you told me!”

Stephen Marino

It’s a TRICKY MIND GAME.

Since you’re the only one there, you have to be the one to motivate yourself and keep yourself accountable during your solo dance practice. After all, no one will really know if you did those drills in your living room like you said you did, or if you just thought about doing them while you binge watched a new show on Netflix. But you’ll know. You’ll also be the only one to know the moment you finally nail that double turn. Guess you can high five yourself? That leads me to the last sucky thing about solo practice…

Stephen Marino

The EFFECTS NEVER SEEM TO LAST until your next lesson.

There’s nothing like exclaiming to my teacher, “I finally did that step I could never get right at my practice this weekend!” and then failing miserably trying to reproduce my success. My teacher will smile and say, “ok, sure, let’s review that one more time.” “No, really, I did it! I swear!” I actually started propping my phone against a wall in the studio to record parts of my solo practice, just so I could show my teacher. Then of course, I’d learn all about the parts I was practicing wrong, which is a benefit, but also sucks at the same time.

Practicing on your own may not be the sparkliest part of ballroom dancing, but it is essential if you want to improve. If you could use some extra guidance on organizing your solo practice, check out the Solo Practice Guide for Ballroom Dancing, written by yours truly and designed to help you build an effective practice routine that maximizes the benefits and minimizes the suck.

A lot of blood sweat and tears went into the Solo Practice Guide. So, if you’re interested in checking it out, it can be found HERE. Be sure to use the link to get the 10% discount!

Happy practicing!

Author: The Girl With The Tree Tattoo Photography: Stephen Marino Photography Exclusively for Dance Comp Review

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Dancing while Deployed with the Navy - Dance Comp Review

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Dancing while Deployed with the Navy

When Two Worlds Collide – Dancing while Deployed with the Navy By Captain Jenn Jackson, Operation CARIBBE Public Affairs Officer and Ballroom Dancer.

When I practice ballroom and Latin dance, I plug into my mp-3 player, tie up my practice shoes, set my interval timer, and take a deep, cleansing, breath. Then I carve out some room on a bridge, avoid radars and boatswains cleaning weapons, and claim my real estate. I then allow the Royal Canadian Navy ship where I am practicing to slip away as I immerse myself in my dance exercises.

One of the things I love about my career as a Canadian Armed Forces (CAF) Public Affairs Officer (PAO) are the opportunities to participate in operations and tell the stories of the great work our military does both at home and abroad. Right now, I am currently deployed to the Eastern Pacific on the Royal Canadian Navy (RCN) Kingston-Class vessel Her Majesty’s Canadian Ship (HMCS) Nanaimo for Operation CARIBBE – the Canadian contribution to the US-led Operation MARTILLO which aims to intercept and disrupt the shipment of drugs from Central America to Canada and the United States.

In addition to being a CAF PAO, I am also an avid competitive ballroom and Latin dancer who usually trains up to seven hours a week. With more than two months on an RCN vessel, I am taking two usually separate aspects of my identity – the military member and the dancer – and merging them together on the high seas.

Navy Ship Obstacles

This is my first extended sail, so figuring out how to transform an area on a Navy ship into a temporary dance studio took some thinking. The ship on which I am deployed is only 55-metres long overall, and almost all of the spaces are small and cramped. The “gym” is located in the back part of the bridge and consists of a treadmill, rowing machine, some bikes, and free weights. Space is a luxury everywhere, and there certainly is no ballroom – or even wooden floors – on board.

The floors themselves are an obstacle. Instead of the smooth and shiny floors I am used to, maintaining safety at sea means that the decks have rough surfaces to keep sailors from slipping and sliding as the ship rocks and rolls with the waves. Finally, the heat – even though it is November, we are close to the equator and the average temperature is 28 degrees Celsius – before adding in about 75% humidity. There is some air conditioning on the bridge, but it is limited. There are days I feel I am swimming instead of dancing! A lot of challenges to overcome, but not impossible.

The Best Laid Plan…

I look at this deployment as an opportunity to really nail down some of the little details that have been on my dance ‘to do’ list. All the exercises I chose can be done in a small space without needing the floor to be too slippery – so on paper it works!

…Usually only Survives till First Contact

Well, that’s the plan, but here is the reality…

Kingston-Class ships move a lot on the open ocean! This adds an unexpected challenge to all my exercises – but on the other hand, the core work needed to maintain my balance is going to pay dividends when I get home. I have discovered there is a real art to doing Cuban motion on a platform that sways beneath you and rocks forward and back. The bonus is that there are handrails that act like Barres for stability.

Doh! Sea Sickness! My first couple weeks at sea were a little rough. I had to wear a sea sickness patch that made me feel pretty fuzzy in the head and a little dizzy. Since I stopped wearing it, I feel okay most days, but there are those few rougher days at sea where going my stomach is a little iffy as I dance. I have adjusted now, but it was rocky there for a while…

She is doing what? My fellow sailors, needless to say, were not sure what to make of a new officer on the ship doing somewhat odd exercises. Even my Commanding Officer, who knew I was a dancer ahead of time, took a few moments one of my first days to figure out that I was walking through dance routines on the forecastle (front deck of the ship). However, once it became a regular routine, the fact that I was doing rumba walks to the radar and back on the bridge didn’t seem unusual anymore. I became the same as everyone else working out in our little gym.

Needing to just dance. One of the hardest things is that there really is no space to just go and full out dance on the ship. Dance is a big part of my personal stress relief so when we get busy (and boy do we!) and I don’t get the opportunity to practice for a couple days, I start to feel a bit stressed, frustrated, and irritable. It usually resolves with a good practice to burn off the steam and disconnect from ship life but there are still times when I just want to dance full out.

One of the hardest things is that there really is no space to just go and full out dance on the ship. Dance is a big part of my personal stress relief so when we get busy (and boy do we!) and I don’t get the opportunity to practice for a couple days, I start to feel a bit stressed, frustrated, and irritable. It usually resolves with a good practice to burn off the steam and disconnect from ship life but there are still times when I just want to dance full out.

Keeping it Realistic till I get Home.

I came into this deployment knowing dance was going to be a challenge, and I am staying positive simply because I take time to look after myself and just dance. I may find myself stumbling around trying to keep my balance, but even the rockiest days at sea are great days when they are dance days.

I usually keep my military and dance identities separate, but since I live where I work on this ship I have had to find a way to blend them together. In many ways my overall understanding of who I am is growing with each nautical mile we travel. I firmly believe that as people we are always changing and evolving and most limits we encounter are those we place on ourselves. I came on board not knowing how these two parts of who I am would come together. It was a personal challenge to take those first dance steps on the bridge – but I am proud that I did and that I figured out how to be a truly military dancer.

I’ll be home in time for Christmas, and I am looking forward to getting back inside a studio and working with my instructor again. But until then, I am absolutely loving what I am doing onboard HMCS Nanaimo for Operation CARIBBE. From telling the stories of my fellow sailors to snapping photos of the Gnaval Gnome, I am slowly and surely dancing my way through my Navy days at sea.

Oh, I should mention that I am actually in the Royal Canadian Air Force… but that’s another story…

Author: Captain Jenn Jackson Exclusively for Dance Comp Review

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The 8 Sacred Rules of a CHAMPION - Dance Comp Review

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The 8 Sacred Rules of a CHAMPION

Have you ever asked yourself what it takes to become a champion? To be the next Zharkov and Olga or the future Yulia and Ricardo? Think about that for a few seconds. About what this undertaking truly means and what this challenging quest entails. What steps should you follow? What does and don’ts should pave the way? What possibilities will arise and what impossible tasks will you meet? All the answers come down to one very important fact: champions are not born, they are made.

And this is what a C.H.A.M.P.I.O.N is made of:

Maggiore Fotografico

C – COMMITMENT

“Attitude is the librarian of the past, the speaker of your present and the prophet of your future.” (John Maxwell).

It takes a distinguished and powerful character and a great deal of courage to whole-heartedly commit yourself to the dance life and, even more, to the creation and becoming of a champion. This is what an unwavering commitment is about. When you are determined to do something, there’s no turning back. It becomes your responsibility. And you’ll need to hold yourself accountable to every single action you do or don’t do, every single time, day-in and day-out, throughout your career path. It’s a pact your past self has signed with your future self. And there is much solemnity, loyalty and honor in this oath. Daily, this oath must be to activate your commitment to become the champion of your dreams.

How committed are you?

Maggiore Fotografico

H – HUNGER

“Passion is energy. Feel the power that comes from focusing on what excites you.” (Oprah Winfrey)

Hungry is stronger than passionate. It’s an insatiable quest for a life of your choice and a future of your creation. It’s much more than a want, it’s a physical and mental need that comes bursting from within. It’s more than an emotional passion; it’s an emotional, physical and intellectual experience altogether, so much it is akin to pure obsession.

This eagerness for dance, for progress, for greatness, is what will keep you going through the inevitabilities of the ups and downs of life. Without it, the foundation will be fragile and the construct will crumble and fall. With it, however, you’ll find within you enough power to move mountains.

How hungry are you?

Maggiore Fotografico

A – ACTION

“Personal power is the ability to take action.” (Anthony Robbins)

You can dream of greatness and pretend you live by it for as long as you like, you’ll stay in the illusion of progress. The one and only way to achieve anything, both in dance and in life, is by taking action. Make a plan, follow it and adjust it. Ask for advice and apply it. Search for opportunities then grab them by the horns. Train more and harder. Create new habits and let go of bad ones. Do your planks, work your basics…

Action verbs are full of possibilities; they keep the blood flowing through the body of your dreams. It all boils down to whether or not you are taking action. And this requires presence and focus, or your efforts will fall through. So don’t mistake movement with progress: the former is busy but stagnant, the latter is efficient and result oriented.

How are you taking action?

Maggiore Fotografico

M – MINDSET

“The greatest story of living lies not in never falling. But in rising every time we fall.” (Nelson Mandela)

The path to success is filled with failures and roadblocks, with seemingly insurmountable difficulties and moments of deep and strong doubts. It’s tough. It’s rough. And it’s exactly how it is supposed to be. The sooner you accept that and nurture the muscles of your mental strength, the more powerful and less affected by life and dance misfortunes you will be.

More often than not, you will not nail that step or that choreography from the first try. If you believe that this doesn’t make you good enough of a dancer, you’ll be slowed down by every challenge, so much you’ll eventually feel blocked. The alternative is the belief in the value of hard work and practice. This is what makes the difference between a fixed mindset and a growth mindset.

How strong is your mindset?

P – PERSEVERANCE

“Grit is having stamina. Grit is sticking with your future, day-in, day-out. Not just for the week, not just for the month but for years. And working really hard to make that future a reality.” (Angela Lee Duckworth)

If you’re committed and hungry, you take action and you have a powerful mindset, all this will automatically speak of your passion-driven ability to pursue your goals in face of the worst odds. Perseverance takes you to the end of the finish line, to the end of that practice session and to the end of that competition. It takes you to your goal, that of becoming the champion of your dreams. Angela Lee Duckworth, researcher and psychologist, calls it “grit” and grit is what makes the difference between amateurism and mastery. It’s about courage, endurance and excellence in achieving your goals.

Do you have that indomitable grit?

Maggiore Fotografico

I – INTENTION

“Setting goals is the first step in turning the invisible into visible.” (Anthony Robbins)

A life without goals might be enjoyable in its extreme lightness at first, but it will become unbearable as one explores its lack of meaning. In the same way, dancing can be fun and engaging when starting out, but the more you dive in and commit, the higher the need for objectives: yearly goals, monthly goals, daily goals, result-driven goals. But if an intention is driven towards the future, it remains deeply rooted in the present and in your presence. You should include it everywhere: in your planning, during your practice, with your partner and throughout your performance. Intention acts like a filter; it hones your focus and directs it. And by removing the noise, it refines the message you are sending through your dance.

What is your intention?

Maggiore Fotografico

O – OPPORTUNITIES

“Only those who risk going too far can possibly know how far one can go.” (T.S. Eliot)

Life is full of them, if you know how and where to look. You can find opportunities between the lines of your plan, in your team, with the help of your partner and in collaboration with your coach, through your community, online and offline, traditionally or through innovative means, etc.

“Impossible” simply doesn’t exist in a champion’s dictionary. A champion sees opportunities where others see difficulties, like a challenging choreography or a highly competitive International Open. When most meet the end of a road, only a few create new paths. And the same obstacle that might knock someone down can inspire another, may it be a failure at a competition or illness in the family. In the same time, great leaders need to be realistic: opportunities are not dreams, they are real actions taken within a context.

What opportunities are your grabbing?

Maggiore Fotografico

N – NO’S

“I stopped pretending to myself that I was anything other than I was, and began diverting my energy into finishing the only work that mattered to me.” (J.K. Rowling)

A champion knows when to say “yes” to an opportunity and when to say “no” to a hindrance, whatever that is. It could be a party on a practice night. It could be a new pair of normal shoes because dance shoes are more of a priority on a limited budget. It could be negative thoughts that weigh you down. But it could also be something extremely positive, like a fantastic job offer that is not aligned with your dance career.

So, learn to say “NO” to tempting things, to events and sometimes even to friends. Most importantly, say “NO” to what brings you down, for commitment to a life of excellence requires you to choose excellence on a daily basis. And this means sacrifice. The word seems like a burden, but when your priorities are clear and your motivation is high, it will appear much lighter. It will clear the way from the unimportant and thereby offer more space to what really matters.

Commitment, hunger, action, mindset, perseverance, intention, opportunities and no’s: that’s what a C.H.A.M.P.I.O.N is made of. There is no doubt that the path is difficult, but at the end of the day, it’s all worth it if it matters to you. You have to be willing and eager to go all the way.

So tell me, what are you made of?

Author: Alexandra Kodjabachi Photography: Shakilov Neel – Maggiore Fotografico Exclusively for Dance Comp Review

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Gift Guide for Ballroom Dancers - Dance Comp Review

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Gift Guide for Ballroom Dancers

So here’s the situation: a special somebody in your life has recently fallen down the wondrous rabbit hole that is ballroom dancing. They’re tired all the time, and you think you can hear them muttering ‘slooooow, quick-quick’ under their breath at odd moments. They’ve begun talking about some sort of whisk that isn’t used for mixing, and hockey sticks apparently do something entirely different in their world…

What’s worse, the holidays are now upon you! When they were obsessed with fidget spinners at least you knew what to get them, but a dancer? How are you supposed to get a gift for someone who’s main dopamine hits come from moving with another person to the music?

Well, never fear, I’ve got you covered. Here’s a handy-dandy gift guide for all of your ballroom dancing friends, partners, children, dogs, lovers… you get the picture(line).

T-Shirts

Who doesn’t want an awesome tee to rock while they’re going about their everyday lives? A clever shirt is both a self-esteem boost and a conversation starter. There are many to choose from, but we recommend starting at Feather Three’s clever collections to find a fun shirt for your dancer! To be perfectly transparent I happen to own this brand. I also wouldn’t create or recommend something I don’t believe in, so please give it a look!

Dance Lessons

(But be careful!) This one can be pretty tricky, so approach with extreme caution! Does your dancer take lessons with someone on a regular basis? That’s a pretty safe bet! That said, if you’re not acquainted with the pricing structure of dance lessons, you may find that this option is out of reach for all but the closest of friends and relatives. In any case, we’d suggest checking with the dancer first, to make sure that the lesson and instructor align with their goals! Then you can pull the trigger on this wonderful gift.

Portable Music

Dancers generally like moving to music! Finding good ways to bring your music with you can be difficult though. Bluetooth speakers and headphones are wonderful tools for dancers, as they let us jam out to our favorite jive wherever and whenever we want! There are tons of brands in the market, with plenty of quality options and price points to peruse. We personally love Bose SoundSport Headphones and our UE Boom2 Speaker, but shop around, you can find something for nearly any budget.

Shoes

This one, like the dance lessons, can be quite tricky. You’ll likely find that your special someone has a particular brand, style, and color that they prefer. In addition, dance shoes can be quite expensive, so this one is best to talk over with the person before pulling the trigger!

Dance Notebooks

Every dancer should have a special place to record their practices, choreography, goals, and frustrations. Some prefer to do this digitally, but most of the dancers we know are very physical, tactile people, and they, therefore, tend to prefer something they can lovingly run their fingers over. Our favorite is this classic blank Moleskine, but feel free to branch out and find something with a fun, unique cover!

Massages!

If your dancer is anything like the dancers I know, their body has been through some serious stress. Part of the joy of dancing is pushing ourselves to the limit! Though we might not be great about treating ourselves to it, massages go a long way towards relaxing and relieving a body that has been pushed for the sake of art. Check out local places for your dancer, or possibly look into a gift card on a service like Soothe or similar.

Warm-Ups

At some point in our dance careers, we all begin to understand the importance of bringing the body up to operating temperature before putting it through lots of stress. A great way to help your dancer achieve this is to grab them some warmups! My friends and I love leg warmers, jackets, beanies, and pretty much anything else that will help them get their body into optimal condition before the real work starts! I’m going to go ahead and shamelessly plug for Feather Three again here. Sweatshirts and Hoodies work really well for this!

Ask them to tell you about dance. Okay, this one may seem a little soft, but every dancer I’ve met does it because they love it for some reason. Just talking about how dance makes them feel and why they have the desire and drive to continue doing it month after month can be a wonderful gift in and of itself! And, what’s more, after talking to them for a little while you’ll probably have a good idea about which of the aforementioned gifts might suit them best! Double win!

I hope that gives you a few thoughts on what your dancer might like! Whatever you end up choosing, it’s always the thought that counts, so let that dancer how much you care about them!

I’ll see you on the floor!

Author: Joel Torgeson Exclusively for Dance Comp Review

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Dance Instructor Upgrade - Dance Comp Review

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Dance Instructor Upgrade

The reasons why people participate in ballroom dancing are as varied as the people themselves. In some cases, and this is true especially for men, it’s because their wives or significant others insist. They may also be influenced, though this is becoming progressively less so, by programs such as DWTS. They may have friends who are active ballroom dancers and at one time or another have been invited by them to attend a dance. Having done so, they might have gotten hooked, and decided to participate themselves. In most cases, the woman leads the way with the man following. I know of only one case where the husband continued to participate very actively in DanceSport competitions, while the wife dropped out. This is very rare.

Stephen Marino Photography

Insofar as there are a plethora of reasons for why both men and women participate in this activity, there are relatively few reasons for why they stay, especially for those who are active dance sport competitors. The main reason why, is because of the progress they perceive in their abilities.

“Every now and then, for some competition-focused students, a different situation develops…”

For the majority of amateur dancers, their first instructor is quite often their last, mainly because of the very high level of proficiency and teaching ability that most professional dancers have acquired. The teacher is able to guide the student all way from the first few beginner steps to the point where a student is able to absorb, retain, and perform choreographically sophisticated and visually exciting dance routines in several different dances. The student participates actively in competitions, and is rewarded with progressively better results. The student is very capably guided by the dance instructor and the studio in making his or her choices regarding what routines to dance and what dance competitions in which to participate. This, for the most part, is the experience of almost ballroom dance students.

But every now and then, for some competition-focused students, a different situation develops. The students find themselves in a studio that seems to be less and less capable of meeting their needs.

• The studio appears to be organized primarily for social dancing

• The studio loses instructors frequently, and those that remain have not yet reached the level of proficiency that the competition-focused dancer needs.

Stephen Marino Photography

This is usually the time when the student dancers begin to feel that they need to leave. However, the environment in the studio is still very inviting, and friendly, and supportive, and the people there are fun to be around. The dancer has made a lot of new friends, and in many cases participates with them in activities outside the studio. This makes the decision to leave very difficult, and the student might feel that if they scaled down their expectations, they could continue to remain with that studio. However, the students, having been exposed to dance sport activities, feel the frustration of staying at the same level of dance. This finally ends in the student dancers realizing that results in competitions are not going to get much better if they remains at the studio, and that they HAVE to leave. There does not appear to be any other option.

“To avoid having to make the decision to leave in the middle of an active dance program, it is beneficial…”

Leaving their first dance studio maybe easy for some dancers, but very difficult for others. For dancers living in the large metropolitan areas of the country, there may be several choices of dance studios with more proficient teachers. But in other cases, the student dancer may have to travel a considerable distance in order to be able to find the teacher and the studio that are at the caliber the dancer needs.

To avoid having to make the decision to leave in the middle of an active dance program, it is beneficial for the beginning ballroom dancer to know how to pick a dance instructor in first place. Here are some suggestions, listed in no particular order of importance:

• The dance instructor should be willing to participate in private classes.

• The dance instructors should agree with and wholeheartedly support the student’s goals.

• The dance instructor should be willing to accompany the student to Pro-Am competitions.

• The dance instructor should be willing to devote the time required to assist the student to continuously improve proficiency.

• The Dance instructor should demonstrate the knowledge & understanding required to assist the student to perform at a national championship level.

• The dance instructor should have specialized in one of two styles, American or International.

• The dance instructor should be available at a studio that is within an hour driving distance.

• The dance instructor should be willing to choreograph routines for competitions & showcases.

• The dance instructor should have a pleasant personality and be easy to deal with.

Stephen Marino Photography

Additionally, the criteria above is useful for finding the appropriate dance instructor whether the student intends to fully participate in dance sport activities, or is content to remain competent social dancer only. If the guidelines described above are followed, the student is likely to be with an instructor who can guide the student in any direction, social, competition or some combination of both.

It is important for the student to realize that the majority of dance studios cannot be run exclusively for competition students. The bread and butter of the dance studio is social dance, and every studio will have a wide variety of programs to bring social dancers in the door and to keep them coming back. There are some studios in the country for which the majority of students are there for competitions, but this is comparatively rare and it is is unlikely that such a studio is within a short driving distance from every student. What this means is that a certain level of flexibility is called for from the student. The dance student must be able to adapt their schedules in order to fully benefit from what the instructor has to offer.

Author: Kevin Santamaria Photography: Stephen Marino Photography Exclusively for Dance Comp Review

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Six Benefits of Solo Dance Practice You Haven't Thought Of - Dance Comp Review

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Six Benefits of Solo Dance Practice You Haven't Thought Of

Pro-am dancers, we all know that in order to improve our dancing, we need to practice. If you didn’t know, then you’ve learned something new today! It’s easy to practice during a private lesson or a group class. We have a partner to work with, be it our teacher or another student. But practicing on our own is just as important.

It may sound strange at first to think that you can improve your skills in partner dancing by practicing by yourself. I was skeptical. Besides reviewing my steps, how was I supposed to practice without my partner? What was I supposed to practice? Not knowing these, it was hard for me to see how solo practice could benefit me as much, if not more, as working with my teacher.

I don’t have much of a choice though. With only an hour and a half per week with my teacher, who is also my only dance partner, there isn’t enough time to improve my dancing with partner work alone. Slowly, with encouragement and guidance from my teacher, I’ve built up a solid solo practice routine. I started with reviewing my choreography and then added a small collection of technique drills. The more I developed my solo practice, the more I realized how many benefits there were to practicing on my own, beyond just knowing my choreography better and improving my technique.

Here are six benefits I’ve gained from practicing on my own.

Stephen Marino

1. I’m a stronger dancer, both physically and mentally.

When I practice on my own, I’m forced to figure things out on my own. I learn to maintain my balance without having someone to hold on to. I learn my steps without having someone to lead me through them. It’s like taking off the training wheels, and the effort I put in not only makes me a stronger dancer on my own; I have found that it makes me a stronger partner when I dance with my teacher.

Stephen Marino

2. I save time in my private lessons.

Who hasn’t gone to a dance lesson and forgotten what they learned by the next lesson? I know I have! I would feel so sure about what I learned during a lesson, but by the time the next lesson came a few days later, it was like someone hacked into my brain and deleted the file. Then I would feel stupid and frustrated as my teacher would have to spend time re-teaching what he taught me last time instead of adding to it. It feels like a waste of time.

Of course, it’s natural to forget some things, especially as you’re learning new ones. But when I take notes and homework assignments from my teacher at the end of a lesson, and then review them and practice on my own in between lessons, I don’t need to spend as much time during the next lesson to review the things I forgot. Instead, I can arrive at the lesson with specific follow-up questions that we can clear up quickly and then move on to newer concepts and the things that really require a partner.

Stephen Marino

3. I save money!

All the time I spend in lessons reviewing over and over again the things I keep forgetting because I’m not practicing on my own is time that I’m paying for! So when I practice on my own, I’m not only saving lesson time, I’m saving money too. For someone who budgets to the penny to afford ballroom dance, this benefit is HUGE!

I figure I’m also saving money in the long term because I’ll advance faster as a dancer with lessons and solo practice compared to just lessons. So instead of paying for two years’ worth of lessons to go from one level to the next, for example, I may only pay for one year before reaching that goal. Of course, we all know that the saved money is just going right back into dance, but now I’ll have more options to spend it on (like an additional competition or a new dress).

Stephen Marino

4. I’m more confident.

Our teachers can only do so much with the time we pay them to work with us. Outside of that time, it’s up to us. By making the decision to practice on my own and actually acting on it, I’m taking control and responsibility for my dance journey. When I take ownership, I’m showing myself (and those inner demons of fear and self-doubt) that I can succeed on my own. I can dance on my own two feet! Whether I’m conscious of it or not, that knowledge instills an inner confidence that can’t be taken away. Plus, I love it when I go to a lesson and my teacher says, “I can tell you’ve been practicing!”

Stephen Marino

5. I’m a happier dancer!

It shouldn’t be a surprise that after the hard work, saved time and money, and increased confidence and strength, I find myself feeling more positive! When I’m able to stop worrying so much about whether I’m dancing correctly (because I practiced!), I can start to relax and actually enjoy my dancing. I also feel a sense of pride and accomplishment as a result of taking ownership of my dancing, working hard and reaping the rewards of that work. When new challenges come up (and they always do), I feel more capable of handling them. I feel like a dancer!

6. My partnership is stronger.

One of the things I love about ballroom dance is the partnership. Two people connecting and moving together to music creates something greater than the sum of its parts. Due to the nature of the pro-am partnership, it is unbalanced as far as knowledge and skill go, but it doesn’t need to be unbalanced in effort and commitment. When I put in my best effort, my teacher responds with the same. Putting more work into my dancing on my own shows him that I’m committed to learning and improving. Our partnership is strengthened by the show of effort and commitment on both sides, which results in a stronger performance on the dance floor.

These benefits feed and magnify each other. When I don’t feel like I’m “wasting” time or money in my lessons reviewing things I think I should already know, I don’t get frustrated. Instead, I feel good about being able to continue moving forward. Feeling myself become stronger, such as being able to stay balanced in a move I stumbled through a week ago or being able to control my momentum when the movement gets fast, gives me confidence. That confidence loops around and motivates me to work harder and become even stronger. All of this progress makes me (and my teacher) happy!

Author: The Girl With The Tree Tattoo Photography: Stephen Marino Photography Exclusively for Dance Comp Review

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On Private Videotaping At Comps - Dance Comp Review

New Post has been published on http://dancecompreview.com/on-private-videotaping-at-comps/

On Private Videotaping At Comps

Recently on social media there has been a lot of discussion in pro/am groups about private videotaping. A lot of frustration is being expressed and there is even talk of organizing a boycott against competitions or vendors who do not permit it.

So what is the big deal?

Many competitions contract a video vendor who then has exclusive rights to videotape the event. Any competitor who wishes a video of their performance can only obtain one by purchasing the video from the vendor directly. Typically, dancers fill out a form listing their heat number, competitor number, and dress colour for each event they would like filmed, paying for each video separately. The vendor then works to capture the video based on the information provided, compiles all the heats together and either provides a memory stick, DVD or online link to the videos, usually after the event concludes to allow for processing and sorting. Any private videotaping by anyone in the ballroom is then not permitted.

What are the complaints?

The most frequent complaint with this process seen on social media is from dancers who receive videos that either don’t actually feature them, or they are told after the fact that no cameras were available for their videos. Another common complaint is that the quality of the videos provided are much worse than what a friend could have captured on their cell phone. The cost of these videos is also another point of contention. Usually paid per heat or event, price ranges can vary, although it is quite difficult to find any pricing online. The last competition I did where videos had to be purchased they were $35 per event. When you add that to the entry fees, ticket prices and packages, in some cases the price of videos starts to seem like a bridge too far. Another common complaint is that when issues are identified, it becomes difficult, if not impossible to secure a refund for videos that are not up-to-snuff. Some vendors in particular are mentioned as being more difficult to deal with.

Thankfully, this does not seem to be as much of a problem in Canada as in the U.S.

Beyond complaints, a lot of frustrations are expressed with this process. Many dancers have specific preferences for what they would like in their videos to ensure it meets their intent. Competitors will often use videos as training aids, some will use for showing to family and friends after the event and others like them as souvenirs. With a private vendor, you are more or less stuck with accepting whatever video they provide and are limited in the direction you can provide.

Why are videos important?

Personally, I use videos for training. I prefer them to be zoomed so that I can be seen from head to toe with a little extra space on each side, and then have the camera track my coach and I as we dance. I do not like videos that zoom in and out, and I have received videos that cut off the feet or in which my coach and I are blocked the entire time by another couple, making the video almost unusable. I have also received videos that followed another couple for 45 seconds of a 1- minute heat before finding me on the floor. Considering the cost of the videos, I find it quite frustrated when what I receive is not helpful for me, or I have paid for something that is not what I was promised.

Is there a solution?

I don’t know. I do hear many students complaining and wanting to do their own videos. Some students appeal to organizers directly to ask for permission to do their own videos. Others have their own made despite the prohibition. Some have expressed frustration at having to just accept videos that don’t meet their needs. If all comps allowed private videotaping, would there be no use for vendors? Personally, I don’t think so. The problem with making your own videos is that you cannot film yourself while you dance. If you travel to a competition on your own, it is possible that you will not have anyone to film your heats for you. I also believe there will always be those who prefer to use the vendors and not have to worry about arranging for their own videos.

How common is it for competitions to allow private video?

In Canada, it appears to be about half. In our research for proamdancecanada.com, of the 21 CDF sanctioned competitions that include pro/am on our website, as far as we can tell 13 permit private video taping and some openly encourage it as well as posting and tagging photos and videos on social media. Of those who do permit it, several of them also provide a vendor. Of all those that require the use of a vendor, our research has not been able to find cost information.

Author: Anonymous Dancer Photography: Egorich.ca DanceSport Exclusively for Dance Comp Review

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From Dancing to Education: Going Beyond Disciplines - Dance Comp Review

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From Dancing to Education: Going Beyond Disciplines

Last month, Erin was celebrating her birthday with family, friends, flowers and her favorite fluffy cat, a gray tabby Main Coon with expressive emerald eyes. She’s from Richmond, Virginia, but lives in New York, with her husband and daughter, where her talent for the multidisciplinary merges two worlds: one where the body tells stories and another where letters dance. Or is it the same?

She is a ballet and ballroom dancer, a dance teacher, a writer of now three novels and an editor at a non-profit digital magazine. Everything seems to fall into place under the overarching mighty spirit of dance.

I interviewed her and published the piece on my blog, but I thought the outcome was worth sharing once again.

So here a few espresso shots of what lessons we can learn…

LESSON #1 – BE CURIOUS

 “I’ve always been naturally curious.”

It’s crucial never to stop learning: talk to experts, study their work, gain more insights. Then, you can share the marrow of your discoveries through your experience of dance. Never forget that the interest people carry for your craft mirrors the attention you put into it.

LESSON #2 – LIVE WITH PASSION

“My passion has been, currently is, and probably always will be dance.”

Living with passion is about ceasing the opportunity, directing one’s energy towards it and transcending it. The same way curiosity shows your interest, passion tells your story. Both are crucial to step beyond all limitations.

LESSON #3 – CONNECT THE DOTS

 “Dance is unique in that it, just by its very nature, is a cross-disciplinary activity, both in practice and performance […] I’ve trained myself to seek connections between what can be, at first, disparate elements.”

Dance embodies the physical, the mental, the emotional, the intellectual and the existential. It can have even an influence beyond its circle, from life lessons to learning strategies. The limitlessness of the craft carries in its practice an intensity and a wisdom that narrow paths cannot achieve.

LESSON #4 – REINVENT YOURSELF

 “My passion-centered life is a direct result of being willing to reinvent my place in the dance world.”

Unexpected obstacles, like injuries, and personal changes, like new interests, can make it or kill it. It can nurture the passion and multiply it, only if one knows how to reinvent the self. It’s your capacity to sail through the stormy changes that will get you to port.

Last words…

“Be open to reinvention: yourself, your dancing, your goals, your life.”

Interested in reading the full article? Check it here.

Author: Alexandra Kodjabachi Exclusively for Dance Comp Review

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Accountability & Transparency in Pro-Am Competitions - Dance Comp Review

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Accountability & Transparency in Pro-Am Competitions

Competing at any Pro-Am competition is expensive. Period. For many competitors, the cost of one competition, especially if it is not local and requires plane travel, can cost more than 1 month’s salary. It’s a huge commitment that requires careful thought and research to ensure that the money being spent has the best value for you and your goals, especially if it is the ONE competition you can afford to attend in an entire year.

I am a Canadian Pro-Am competitor who used to compete in the U.S. until the rising prices combined with the increasing exchange rate made it cost-prohibitive. I now try to limit myself to Canadian competitions, but even that takes a lot of pre-thought and planning.

Stephen Marino Photography

“No Prices for Students”

I, along with other Pro-Am competitors, regularly sift through competition information available online to try to determine what competition might be best to attend. The process can require hours of searching through websites, and more often than not it turns out the information is just not openly available—it has either been taken down with previous year’s information, or you see something similar to this:

“Wholesale package prices are not publicly posted. It is customary for Studios, Teachers & Professionals to add a surcharge to the standard pricing to compensate for the loss of income and teaching time due to the attendance at the competition. These fees may vary and are encouraged and supported by the organizers of this competition.”

I want to be clear and up-front. As a Pro-Am student, I 100% support the practice of charging to compensate for loss of income, it just makes sense. However, what I do object to is the implication that competition prices are kept private to enable studios, teachers and professionals to inflate them without any accountability.

Stephen Marino Photography

Personal Experience

Early in my competing career, I fell victim to this. It does happen. For me, it came down to naivety of the Pro-Am system and a lack of understanding about how competitions are priced. While I batted an eye at the rather large package price, it didn’t occur to me that the studio had inflated the price on top of their other listed fees to compensate for work and lost time. It took two competitions costing me much more than $10,000 each before I started doing research and asking questions. What I learned, shocked me. Needless to say, I no longer dance at that studio.

Stephen Marino Photography

Small Progress

That was more than 5 years ago, and I am happy to report that I have seen some changes in this area. More and more competitions are openly posting their prices or making them available to whomever asks without question (despite their website saying differently), and research shows it is more common for prices to be openly available in Canada than the U.S. Even 3 years ago, if I requested wholesale prices I would have been grilled about my status (Are you a Pro-Am student? What studio do you represent? Do you have a registration number?) and even denied access as a Pro-Am student.

“Our Events are Always Well-Contested”

Another area where it is commonly difficult to find information, especially in Canada, is previous year’s results. If you are similar to me, you prefer to have an idea of whether or not you are likely to be contested at a competition before signing on the dotted line. However, it appears to be common practice in Canada for organizers to remove previous year’s results from their website about 3 months after a competition is over, and especially when registration for the following year is open. Those familiar with compmngr by Richard Douglass will also know the frustration of trying to find results for a specific event vice an individual competitor.

I have heard examples from credible sources of instances where students are assured by their instructors (via the organizers) that a competition is well contested (5-6 couples or semi-finals) only to arrive and find themselves virtually uncontested in every event. In talking with some American competitors, a negative experience such as this has led or would lead them to rule out competing anywhere in Canada again. It’s disappointing to hear this when there ARE fun, strong, and well contested competitions out here in Canada that are attended by some of the top pro/am competitors in North America (many of whom live and train in Canada). The actions of a few have the potential to undermine the system as a whole.

Stephen Marino Photography

Being Part of the Solution

How can organizers be held accountable for the transparency and honesty of information related to their competitions? I used to be part of the group complaining about the lack of transparency and accountability, and felt that as a Pro-Am student, I was powerless to do anything to address these issues. But I refused to accept that, and instead I decided to take some action.

My solution has been to create a website – ProAm Dance Canada, that compiles and organizes information in one place for all Canadian Pro-Am competitions that is available YEAR ROUND, regardless of what happens with individual competition websites.

I have also begun compiling entry number information for multi-dance events into easy-to- read charts on each event’s page. The information is openly available without cost or need to ask for it. Pro-Am in Canada is growing. Good things are happening. It’s hard work and a huge investment to train and compete in Pro/Am, wherever you do it. Be openly and honestly informed. Here is the website again, and can’t wait to hear from fellow Pro-Am competitors!

Author: Anonymous Pro-Am Dancer Photography: Stephen Marino Photography Exclusively for Dance Comp Review

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The 5 Equations of Partnership - Dance Comp Review

New Post has been published on http://dancecompreview.com/the-5-equations-of-partnership/

The 5 Equations of Partnership

If ballroom dancing is the journey, then partnership is the ride. And for a greater journey, we need an equally great ride. Days will otherwise fade in lame resemblance, as dancers flounder on their path towards seemingly unobtainable goals. And performances will faint in the shadow of a lost potential. Of two lost potentials, to be exact.

But at the other end of the spectrum, where the dance floor blazes with fire, a couple dances and grabs the attention. Dancers share much more than beautiful choreographies and sharp technique. They exude with energy, harmony and with their own unique identity. This is only possible when dancers embrace the art of synergy.

So, how does that happen?

It all starts with Michael and Elsa – two random dancers. Each one of them has a unique dance imprint that reveals individual power. Let’s call these “Power (M)” for Michael’s and “Power (E)” for Elsa’s.

The two dancers are partners. How they perform together can make the dullness or the greatness of the dance. And the possible results of that performance can be mathematically modelled and explained – yes, sometimes, (basic) math actually makes sense.

Maggfoto

Result #1 = The Negative Sum of Both

Equation = 0 – [Power (M) + Power (E)]

Michael and Elsa are in a state of war on the battlefield of dance. Each one tries to bring out the best of his/her individual power, at the expense of the other. Michael wants to show how big and strong his moves are but Elsa seeks to reveal the sharpness of her technique. He puts her off balance and she blocks him. In the end, they both end up losing their energy in the fight, instead of joining forces for the dance.

Maggfoto

Result #2 = The Gap Between the Two

Equation = Power (M) – Power (E) OR Power (E) – Power (M)

Elsa and Michael are both on the dance floor. And they are not fighting! But it feels that only one of them is dancing, because someone is outshining the other who is lagging behind. What people see from the outside is the empty space between two powers, as if each dancer lived on a different planet. The unbalanced nature of the performance stings the eye. And the result is a failure to communicate the spirit of harmony that should emanate from the dancing.

Maggfoto

Result #3 = Their Average

Equation = [Power (M) + Power (E)] / 2

Michael and Elsa perform the dance together, but they still lack some harmony. Although no one is outshining or fighting with the other, they are both so focused on themselves that they forget that the dance is not just about each dancer independently, rather about the couple as an entity. Their sense of independence, although admirable, reveals a lack of communication. The initial success is that each one is seeking to master one’s part without hindering the role of the partner. But this is just half a success, because the absence of interdependence takes away the magic of the dance.

Maggfoto

Result #4 = The Sum of Both

Equation = Power (M) + Power (E)

The couple finally understood that the two need to work together to harvest the energy of the partnership. They have also started to understand each other’s needs and seek to fill the gap, like in a puzzle. Instead of just doing their part, they support each other. Their dancing shows some cohesion. And the interaction between the two feels like the tide, a gentle flow that fills the movement with content. This stems from a collaboration where partners join forces.

Yet, there’s still one more step.

Maggfoto

Result #5 > The Sum of Both Squared

Equation = [Power (M) + Power (E)]2

Not only are Michael and Elsa complementing each other’s movements, but they are also transcending them. They embody the dance, claim it as their own and inhabit every part of it, together. The performance is no longer a puzzle, but a seamless perfect picture of who they are and what they do. As for the interaction between the dancers, it is no longer limited to the tide; it is the entire ocean in action. The dancing finally distinguishes itself with an identity that is larger than the sum of the parties.

This… is Synergy!

So, what kind of dance partnership are you living today? And what should you do next?

Author: Alexandra Kodjabachi Photography: Egorich.ca DanceSport Exclusively for Dance Comp Review

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Why This Dance Sucks: Rumba - Dance Comp Review

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Why This Dance Sucks: Rumba

Remember that dance you’ve spent $100,000 [ahem, MINIMUM] on? Or do you block it out during rounds and pretend it doesn’t exist? Maybe it never quite clicked with your psyche? Or it just keeps getting more difficult, no matter how much you practice? Maybe it’s that dance that your coach sighs heavily during. Or the one that always scores five places lower than your other dances.

Sometimes that dance is Rumba.

And here’s why Rumba sucks:

IT’S A WOLF IN SHEEP’S CLOTHING

“It’s so easy,” they tell you when you begin dancing. It’s the slow one, the romantic one, the one that’s easy to apply technique to. But then seven years later, you’re still practicing those Rumba walks, and not doing them correctly.

IT IS NOT SLOW

I’ll take into account American Style first: Rumba clocks in at 32-36 measures per minute, where Cha Cha is at 30-36! So, have fun showing those delayed hip actions in your snappy box.

Let’s say we’re doing International. Sure, you get a nice, moseying tempo of 27 measures per minute, but you’ve also got some “shuck-a-duh-ba—POW” moments and your Slow is expected to last 2.999999 beats so you’re following Quick can be .000001 beats long (like that Fan Position all the cool kids are doing).

I’M A PURITAN

I’m from the American Midwest, which is to say I have a strong Puritan streak and OMG RUMBA IS SO SEXUAL. My parents cannot watch this and maybe my dress needs a higher neck line.

SO MUCH ACTING

Dancing is probably great therapy for the emotionally repressed (see above). Taking the proverbial Paso bull-by-the-horns seems fun and engaging, and getting your love/hate action on during Tango is fierce, but being all romantical up in my partner’s face seems so… vulnerable. While I love my partner, I don’t LOVE my partner, you know? Even if some of us “like like” our partners, we aren’t literally in the midst of foreplay EVERY TIME we’re performing.

SO MUCH TECHNIQUE

If you’re learning some new twist on your Latin or Cuban motion, you can be sure it’s in Rumba and you can be sure you will doing Rumba in front of the mirror for the foreseeable future. And everyone knows that it’s SO EASY to translate your Rumba skills to Cha Cha and the like… [side eye]

Now that I’ve ruined Foxtrot and Rumba for you, what can I throttle next?

Author: Kate Bratt – Riot & Frolic Photography: Elena Anashina Exclusively for Dance Comp Review

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Dancing VS Banking - Dance Comp Review

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Dancing VS Banking

So, my boss knows that dancing is my life off work and during a small talk at the office the other day he asked me how it influenced my day job. I gave him this long explanation on how banking and dancing correlate… but then it hit me! I thought that it’d be cool to put together my correlating experience of banking and dancing, hoping it could be useful and fun for others.

1. Style and Dress Code

Ballroom dancers are very stylish! Ladies in gorgeous gowns with ostrich feathers and dazzling rhinestones, gentlemen in sharp tailcoats and shiny shoes. Everyone tries to look their best and show themselves off. The business-banking situation is quite similar. We have an office dress code as, of course, we try to impress colleagues and clients with our looks, but, obviously, no stones. So I decided to join the two and now have an evening dress with ostrich feathers for business, and a ballroom dress with a tie and cufflinks.

2. Analysis

Dancing is not only about emotions but also closely associates with science and mathematics (at least for me). We think about timing, lines, directions, positions etc. Moreover, we have the ability to analyze what we do. The precision of coaching methods, depth of our progress and if our dancing is competitive enough compared to other couples. Just like in business, there is no exact formula for success that will suit everyone, but general principals and rules definitely exist. Analysis is the key element in business and in banking – analysis is everything!

3. Partnership

This, probably, is the most important element in both. The principal “only business and nothing personal” does not work (even though some of you might think that this is exactly how it works in banking). An individual approach makes a huge difference! We are not robots and our emotional vulnerabilities actually make us attractive. If you think of your dance partner as a stepping stone to a higher position, your partnership will most likely end in quarrels and irritations. But if you are caring, interested and giving – bingo! You both will gain from it!

The story with banking is exactly the same. We do a bit more than what our business partners expect from us. We offer not only good service, we add personal touch to make every client feel special and important. We know when our customers’ birthdays are, where they spent their vacations, and etc.. and in the end, in case they need to make a choice, they will most likely choose us over our competitors.

4. Quantity & Quality

I’m sure everyone knows of the philosophical law that quantity will transfer into quality. It is not always the case, but if the quantity is used with proper directions, it shall transition into quality. The way it works in dancing – the more you repeat the difficult element, the more chances you have for it to finally look good on the floor. In the office life, quantity of deals, customers, and interesting projects will also result into quality – the quality of your performance, leads and a few extra benefits at the end of the year.

5. Being Well-Organized

To tell the truth, not all dancers are well-organized and have inner discipline. When being creative and emotional it could be rather hard to make yourself obey some boring rules. But it’s necessary to be punctual, have goals, plans and structure your activities in order to hit your dance targets. In business – you do the same! Goals, plans, TARGETS!

6. Persistence

I think the hardest part is not to quit when you’re down. It could be your results, your personal feelings towards your dancing, or not so flattering comments from your coach, or maybe even some partner issues. In business life we also have bad days! (duh!) Deals don’t seem get closed, irritated customers, arguing colleagues… But, you know, the sense of purpose usually helps to find inner strength to keep going and never mind difficulties. You just need to remind yourself how much you love dancing and your job and how many wonderful people you encounter with. Most of all you, you do this for yourself!

I wish everyone to find their favorite job and a lovely hobby, to make your life bright and full of colors! But since you’re here reading this, I bet your job or hobby have already been found.

Author: Anna Pechenova Editor: Egor Shalvarov Cover Photography: Elena Anashina Exclusively for Dance Comp Review

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Why This Dance Sucks: Foxtrot - Dance Comp Review

New Post has been published on http://dancecompreview.com/why-this-dance-sucks-foxtrot/

Why This Dance Sucks: Foxtrot

Let’s face it, we all have a favorite dance. And that favorite dance changes from time to time, but that also means we have a LEAST favorite dance. You know, one that comes on and you suddenly need to use the restroom. AKA, the dance you hate.

My first hated dance was Foxtrot. (And I’m talking about American Foxtrot, not even the dreaded Slow Fox of International style.) It was at the bottom of the list for a long time, for a variety of reasons as I learned more and more about the dance.

Here’s why Foxtrot sucks:

IT’S SO BORING

OMG. It is WALKING. Walking! I came here to dance and I am almost literally walking around the room. The “conversation step” can take it’s dialogue somewhere else.

IT’S SO SLOW

After a good Cha-Cha, Foxtrot seems like a good time… for a NAP. Besides just wandering around Line of Dance, I am SLOWLY wandering around Line of Dance.

IT’S NOT WHAT YOU SEE “THE BIG KIDS” DOING

“What are those people doing?” As I yawn and mosey through my basic Slow-Slow-Quick-Quick, THOSE PEOPLE are definitely doing something way more fun.

The basic walk-walk-side-together variations look (and feel) a far cry from, well, everything else in Foxtrot. Once I saw a Grapevine and BE STILL MY HEART an Open Left or Right Box, my Beginning Bronze repertoire was DIRT. DIRT, I tell you!

PTSD

This is totally a personal reason, but during a social dance, a very lovely partner stepped on my foot in the weirdest way possible and ripped off my toenail (in closed toe shoes!). These crazy social situations seem to turn people off to a lot of dances, though, so I am completely justified in my logic.

IT’S NOT RHYTHM

When I started dancing, I was “Rhythm or Bust!”, and Foxtrot was the antithesis of all that fun latin motion I was learning. No hip motion = no fun.

IT’S NOT INTERNATIONAL, BUT…

The nerd in me loves International, but I do American style, so hey! the steps are very different and yay! There’s arms and woohoo! there’s turns and wheeeee! there’s side by side work and WHAT?! I STILL NEED TO HAVE GREAT FRAME?! DAMMIT!

IT’S NOT JAZZ

So, I need to have beautiful Standard-worthy frame AND be able to kick myself in the face doing some Gene Kelly-esque choreography. Cool cool. *attends jazz class* But not too much jazz. It IS NOT jazz. It is Foxtrot.

And Foxtrot sucks…

Sometimes I think back on those days of anti-Smooth and laugh. Other times, I nod my head in agreement. Especially when Foxtrot is on the schedule.

Author: Kate Bratt Photography: Elena Anashina Exclusively for Dance Comp Review

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How to Prepare for a DanceSport Competition - Dance Comp Review

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How to Prepare for a DanceSport Competition

You’ve done it! You and your partner have committed to attending that dancesport competition you’ve always dreamed of. The date is on the calendar and you’ve already requested off work. This is happening!

“But wait,” you say to yourself, “how do I get ready for a DanceSport competition?” Follow this simple guide and you’ll be prepped and primed in no time.

1. Let Yourself Get Excited!

As shivers of excitement run down your spine, enjoy them! Anticipating the competition is one of the universal joys of Dancesport, experienced by professionals and amateurs alike. Many dancers say they feel a tingle of energy when thinking about their next opportunity to get out on the floor. Take that energy and use it to fuel your preparations!

In your practices, remind yourself of how exciting it will feel to perform out on the floor, and let that thrill brighten your eyes and lift your frame. Imagine your partner’s smile of anticipation before taking the floor. It’s okay to feel a little scared; this is all part of the process. By pushing the boundaries of your comfort zone you will be making leaps and bounds as both a competitor and dancer. Don’t believe me? Watch this!

Just like a road trip, getting there is half the fun of the competition. Enjoy the ride!

2. Set Your Goals

Still riding that surge of motivation, set some goals. Spend time alone developing your personal goals and then work with your partner to set partnership goals based on your shared values. Partnerships work best when the personal goals of both partners complement the goals that are set as a partnership.

Your goals needn’t be grandiose! “Make one audience member smile” is a great, simple goal that nobody should feel ashamed to have.

A Word of Caution: Keep in mind what you do and do not have control over in Dancesport. “Win the Rhythm Scholarship” may be a poor goal because there are so many factors that you cannot control. There will always be some dancers who are better than you, and some who are not. Depending on who decides to register in your level at the competition, you may be at the top or bottom of the heap. Importantly, that doesn’t say anything about you as a dancer. What does say something about you is your ability to have fun, perform, and improve over time.

“Smile during every dance of the Rhythm Scholarship” turns out to be a great goal, because not only does it have to do with your dancing, it is measurable (look at your videos after the competition!) and it actually makes you more likely to win the Rhythm Scholarship as well. Win-win!

Wherever possible, focus on the process of dancing (“I want to nail every heel lead in tango!”) rather than the product (“I want to win tango”) and you will find yourself having more fun and, not surprisingly, placing better as a result.

3. Take Care of Reservations & Planning.

The more you do in advance, the more fun you will have at your Dancesport competition. Start by making a plan for yourself that addresses the following six categories:

Registration – Make sure you and your partner are registered! There are often early-bird rates, so get in as early as you can. If you find the registration confusing, feel free to ask a friend or email the registrar. Once you’ve got your registration taken care of, the rest will be simple.

Transportation – If your competition is in another city you will probably need to make travel arrangements (flights, rental cars, etc.) well in advance. Taking care of these reservations early will make for a relaxing, fun trip.

Lodging – Just like transportation, it pays to do this well in advance. Many competitions are held in hotel convention centers and room blocks can go quickly, especially at larger competitions. Reserving your space now is just one phone call away.

Costume – Plan out what you are going to wear and make sure it is in good condition before the competition. If any repairs or cleaning is needed, plan to get this done at least two weeks in advance. If you have questions about what you should wear or have never danced at a competition, ask your professional instructor–they’ll point you in the right direction for your age and category. If you still have questions, look here for a fun guide. Aim to have your competition costume and shoes ready to go two weeks before the competition. You’ll need them for practice.

Food – Though it may not seem as immediate as the first four, it pays to have a plan for your meals. Will you eat at the hotel restaurant or go out on the town for food? What kind of snacks will you bring to make sure your energy peaks on the competition floor? Keep in mind sound nutritional principles. I’ve personally gotten a lot of mileage from the ketogenic diet but your mileage may vary.

Packing List – It may seem cheesy, but a packing list is the best way to ensure you and your dance shoes don’t end up 500 miles apart on the day of the competition (and yes, I have actually seen that happen!). There are some general items that everyone will need to bring, but packing lists are usually very specific to the individual. The act of creating the packing list itself will make you far less likely to forget anything important. Eventually you’ll tweak your packing list to fit your style and the competition. For an example packing list, click here.

Taking these steps will set you up for a smooth, enjoyable competition experience.

4. Plan your Practice and Practice your Plan

In the weeks leading up to the competition you should plan to practice slightly more than normal. Work with your professional coach or instructor to determine the amount of practice you’ll need to achieve your goals, then set your schedule accordingly. It is important to practice both technique and performance skills leading up to the competition. Your routines should feel comfortable but not boring. The best performers (that’s you!) push the boundaries of their comfort zone while enjoying the act of dancing.

As the competition draws closer, practice your plan for the competition itself. Find example rounds of the dances you will be doing on Youtube and practice walking on the floor, dancing, re-positioning, and acknowledging the audience with a smile as the cheers and music play in the background. It’s important to rehearse these seemingly minor aspects of the dance in order to perform well–you don’t want an awkward transition tarnishing an otherwise skillful dance. In addition, see if you can find opportunities to perform in front of a live audience prior to the competition. Local showcases often work well for this. Work on eye contact, facial expression, and relaxed focus in the presence of others. Practicing the competition the way it will be run will give you peace of mind and a leg up on the competition! Here’s an example round:

https://www.youtube.com/watch?v=o4hp1J_QjMA

During the last two weeks of preparation, make sure you wear your competition shoes to break them in and get used to them and do at least one dress rehearsal where you try your costume, makeup, hair, and performance all at once. Take notes on what could work better and, if needed, feel free to do more dress rehearsals until it feels right.

5. Relax and Have Fun!

When you’ve done everything above, the best thing to do is relax. You’re ready! Go out social dancing or watch some competition videos if you need to let off some competitive steam. Dancesport competitions are meant to be enjoyed, not worried about.

When the big day arrives, use your packing list to get everything in order, and then head out to the competition via your chosen mode of transportation. When you get to the hotel, check in and confirm that your reservation is accurate, then head upstairs and unpack your things. If you are rooming with your partner, this is usually a good time to review your goals for the weekend and get excited together! Execute your well-practiced plan on the competitive floor and have a great time. Don’t forget to stick around and watch other dancers–Dancesport is a visual sport after all! The dancing you see throughout the weekend will inspire you to new heights.

See you out on the floor!

Author: Joel Torgeson Photography: Maggiore Fotografico Exclusively for Dance Comp Review

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"Samba" - Full Lecture by Riccardo & Yulia - Dance Comp Review

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"Samba" - Full Lecture by Riccardo & Yulia

Every dancer who ever tried samba knows, that it is one of the hardest dances to get ingrained into your body. Here is a 7-part full lecture with Riccardo Cocchi & Yulia Zagoruychenko, for those who need more basic information (or a re-visit) on this Brazilian subject matter.

Part 1

https://www.youtube.com/watch?v=GsMMQUw_OTQ

Part 2

https://www.youtube.com/watch?v=WyJcotQcekg

Part 3

https://www.youtube.com/watch?v=cGV26sfcSkM

Part 4

https://www.youtube.com/watch?v=OU1NzJ3AF0g

Part 5

https://www.youtube.com/watch?v=0kNoPLUBlyo

Part 6

https://www.youtube.com/watch?v=oQpg-Yc0aqE

Part 7

https://www.youtube.com/watch?v=3tLjzxNZHgY

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2017’s WDSF Latin Hairstyle Trends - Dance Comp Review

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2017’s WDSF Latin Hairstyle Trends

Looking at 2017’s hairstyle developments and trends, the freedom of creativity was striking. The Ladies showed everything from slick to curly, from braided to twisted, and from rhinestone covered to just plain.

To help you get a grasp of the diversity and to provide you some more straight-forward inspiration for your next comp-look, I have it here for you – neatly put together in a list: Every hairstyle that shines brightest on the 2017/2018 dancefloor! Let it inspire you and provide you with some ideas that will add just the right touch to your next competition-style!

Let’s start with the Ladies:

Sleek Short Hair

We still see a lot of girls with pixie cuts. So that trend has not yet faded, but more and more ladies slick their hair back or drape it artfully on their head. Lots of gel and hairspray is used to create a strong look that underlines facial features and directs the focus of the viewer to eyes and lips and away from the flying hair. Platinum blonde seems to be the favorite color when it comes to this style, as we see on Kristina Moshenska and Sandra Sorensen. What Joanna Leunis has been rocking for years is now becoming popular in WDSF amateur dancesport. Who would have thought…?

The Melnikova-Bun

When I see this hairstyle, it reminds me of the great performances of Anna Melnikova and that is why I like to call it the Melnikova-Bun. The sleek bun is the queen of latin hairstyles and of simplicity: Hair pulled back into a low bun, perfectly clear. There are no additions, like waves, braids or rhinestones. This year, the more “traditional” hairstyle seems to be celebrating a revival, altthough it has never been “gone”. More and more girls come back from their Pixies or French Bobs and relive their early years in dancesport with the perfectly styled, tightly slicked back hair with no flyaways allowed whatsoever.

The “Finger Wave”

I am personally a great fan of this hairstyle, because it makes your look elegant, feminine and sophisticated and it takes away the “my-forehead-is-huge”-feeling, that I always have with the Melnikova-Bun. What I am talking about, is the neatly laid out front section of hair in form of a wave, reaching from the forehead to the back of the head. Finger waving was in style in the 1920s and 30s and is now blooming in dancesport. It looks classy, but still has the flavor of cheeky and also works great on short hair, especially to pimp the previously mentioned sleek look. If you want your own “Finger-Wave”-Wave, I would suggest you just take a look at different Youtube-Tutorials and practice a little bit before the competition. Trying this for the first time on competition day (like everything else), might get you in serious trouble.

Braids

Not only in Dancesport, but also in Everyday-Fashion, braids have become a fashion-statement. Indeed, on the dancefloor braiding your hair is a great tool to make things more interesting, to add some detail and to create a more edgy look. There is really no end to creativity, when it comes to braids. Let me tell you, going wild with braids is stylish at the moment! The cornrow-look (where all your hair is braided in rows from front to back) is one of the hairstyles that guarantees attention. I never had this look myself, but I imagine it to be very comfortable. Definitely have to give it a try soon! Anastasia Novikova rocked that look at the Grand Slam in Stuttgart this year. But since cornrows are a more exotic look, it is also very understandable, if you don’t want to go full on straight away. Just having a braided bun is also very stylish. Here, the hair on top of the head is neatly styled back and then the bun is consisting of braids. Very nice are also “Braid-Crowns”, which is a similar look to the Finger-Wave, but the hair is braided across the forehead or back.

Ponytail with a Twist

Another very popular hairstyling is the ponytail with a twist: Long hair in the back and something fancy on top of the head. Very often the top hair is twisted to the back, so it gives a very textured, interesting look, almost as if the hair comes in stripes or in different layers. This look of course also goes well with a bun. If you are interested in spicing up your ponytail, you could think about dying the ends in a different color, like Louise Heise and Anna Matus did.

The Queen’s Crown

Another very common hairstyle has become the “Crown”. Basically it means: Whatever you think is beautiful – put in on your head. Whether it’s your own hair draped on top of your head, rhinestones glued on or some fancy headband, go for it! Especially, rhinestones have a “Crown” comeback. Braids, twisted rope styles, finger waves are being decorated with stones. Often hair partings are pimped with rhinestones or ribbons. Again here, creativity knows no limits, but be careful to not overdo it. It has to be well thought through, because if it is not quite right, it takes the viewer’s focus off the dance. Then the blinking thing on the head is all there is left to see. If you wear it right though, you literally look like a queen!

The Gentlemen’s choices:

Classic to an Undercut + “Can you feel the air tonight?”

The military undercut is the general theme for men’s hair in 2017. The hair around ears and neck is cut short and left much longer towards the top of the head, where it adds volume and can be shaped. In contrast to what we have seen for years now, the hair on top is often more loosely styled. Personally, I think, it’s great to see that some men let their scalp at least get a little air and that the helmet look is slowly, but surely making its way off the floor.  

The “Parting” Party

What previously has been more common in Ballroom, now latin guys are also celebrating: the parting. Hair is not as often slicked to the back anymore, but parted sideways or even in the middle. It gives a more elegant, maybe less “macho” feeling, but often suits the Gentlemen quite well and underlines pretty faces. Timur Imametdinov, Gabriele Goffredo and Marius Balan are great examples. Don’t you agree?

What do you think? Did I miss anyone?

Author: Sophia Wedel Cover Photography: Maggiore Fotografico Exclusively for Dance Comp Review

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How To Stop Sweating On A Dance Floor - Dance Comp Review

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How To Stop Sweating On A Dance Floor

Perfect hair, perfect make up, smooth tan and a perfect outfit. Now pray it won’t be too hot so you don’t start sweating! Did you ever worry not to dance too much so that you don’t destroy your look? This article will give you some ideas on how to deal with sweating at a competition or one of your social dance evenings.

You watch top professional and they look perfect from start to finish. They somehow don’t seem to sweat. Well, every dancer sweats but some more than others. In general perspiration is a good thing because it helps to cool down our bodies but we all wish we didn’t sweat at all, right?

It is individual how much everyone sweats and I am one who in fact sweats a lot when dancing. Throughout my dancing, it has always been a nightmare but I discovered different ways to deal with it. Here they are:

1. Face Creams

Use light, water-based creams on your face. They form a layer on your skin allowing it to “breathe” more. Here is a list of some moisturizers you may want to try.

2. Cooling down your feet

In between rounds start cooling off your feet first. Take your shoes and socks off and find a cold non-carpeted floor to rest your feet on. You may notice that when your feet are cold, the rest of the body will cool down faster too. Just make sure you have enough time to do it 🙂

When you buy socks, always get those that are made from 100% natural fibres. It makes a small difference but every little helps.

3. Antiperspirant vs. Deodorant

Use antiperspirants instead of deodorants. Did you know there is a difference? Well, deodorants only mask the smell but nothing else. Antiperspirants on the other hand are supposed to reduce how much you sweat (these with aluminium chloride do).

4. Change Your Shirts Frequently

Bring a spare shirt with you to a social event. When you feel your top is getting too sticky, go and change it. You will feel fresh again.

5. Stamina Practice

If you feel you start sweating straight after you started to dance, then maybe your body also needs more practice. In preparation for competitions make sure you get your stamina up to scratch and practice your “finals” full out. This way your body will get used to the hard work. Check out the article I wrote on type of finals you can practice.

6. Medicated Antiperspirant

There is one product which is widely used for the treatment of excessive sweating on feet, palms and underarms. It literally stops you from sweating wherever you apply it. The product contains Aluminium Chloride Hexahydrate at variable strengths (usually 20%) (Anhydrol Forte, Odaban or Driclor). I already recommended it to many dancers and it literally changed their lives. “Imagine no more sweaty stains under your arms and destroying expensive dresses or shirts with other antiperspirants and no more sweaty palms” However, before you use it, read patient information leaflet.

Ballroom dancing can be a highly energy demanding activity so you are just bound to sweat. You and your dance partner should understand it and never make fun of it. However, most importantly – NEVER dance less because you are worried you sweat too much!

If you liked this post, please share it on Facebook or Twitter because there are many dancers who are very self-conscious when it comes to sweating.

Author: Marcin Raczynski Photography: Maggiore Fotografico Exclusively for Dance Comp Review