Welcome to Social Dance Network Ireland, a resource for dancers, organisations, djs, bands, teachers and dance professionals.
Use Social Dance Network Ireland to find dance events in your area or when you are travelling. If you run dance events why not list them with us so dancers can find you.
by danceclu | August 19, 2010 | In Dance Courses, West Coast Swing | No Comments
What is West Coast Swing? Click here
Venue: Morosini-Whelan, Parnell Square, Dublin 1
Start Date: Wednesday 29th September
Cost: €120 (bring a new man and get 2 for the price of 1)
Time: 20:15-21:15
by danceclu | July 20, 2010 | In Dance Auditions | No Comments
Davina McCall will once again host the competition where you could win the life-changing sum of £250,000!
Ashley Banjo, Kimberly Wyatt & Adam Garcia will return as Judges
For your chance to become ‘Got To Dance’ Champion 2011 and win £250,000
Apply Now at:
www.sky.com/dance
Open to ALL ages and ALL styles of dance
There are auditions in Dublin on August 14th. The location of these auditions has yet to be confirmed.
by danceclu | July 5, 2010 | In West Coast Swing | 1 Comment
by danceclu | June 6, 2010 | In Newsletter Subscription | No Comments
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by danceclu | March 24, 2010 | In Dance Articles | 2 Comments
From the blog, Matching Resistance in Closed Ballroom Position, comes this blog post on matching resistance:
“In the closed position—the most common position used in partner dancing—the leader places his right hand over the lower portion of the follower’s left shoulder blade. To create the connection the follower must match the leader’s resistance by pulling her left shoulder back and down, pressing into the leader’s hand. If the follower does not match the resistance, the leader finds it much more difficult to lead.
It’s common for teachers to describe the process of matching resistance as meeting a push with a push and a meeting a pull with a pull. Beginners find that a difficult process as it’s counterintuitive; beginners tend to yield to a push or a pull, not resist them. Skippy says, “The resistance is not actually pushing or pulling. It is a matching reaction to the action of the lead. The natural tendency to yield to a lead rather than to match the natural resistance is a real problem for many dancers.”
I wish every follower would watch this video again and again. If you don’t press back into your leader’s right hand, you give us nothing to work with.”
From the blog of Skippy Blair comes more on Matching Resistance
“In this video Skippy Blair shows how the leader and follower can create a dance “connection” in the “closed position” by “matching resistance.” This is a very important video for followers!
“To create a “connection” with your partner in the closed ballroom position, it’s important for the lower part of the follower’s left shoulder blade to “match the resistance” into the leader’s right hand. The follower can accomplish this by pulling her left shoulder back and down, pressing into the leader’s hand. If the follower does not match the resistance, the leader finds it much more difficult to lead.
“Matching the resistance”, is also known as The Law of Opposition. It tells us that every action has an equal and opposite reaction. A push meets with a push. A pull meets with a pull. In dance, the resistance is NOT actually pushing or pulling. It is a matching “reaction” to the “action” of the lead. The natural tendency to “yield” to a “lead” rather than to match the natural resistance is a real problem for many dancers.”
From Skippy Blair’s Dance Dictionary
“OPPOSITION (Law of) -
(1) The Law of Opposition tells us that “Every ACTION has an equal and opposite REACTION.”
(2) A Push meets with a Push. A Pull meets with a Pull. Pressing Down pushes the body Up
(3) This “Law of Physics” is one of the fundamental Rules of good Dance Movement.
(4) The Law of Opposition is sometimes stated in dance as “Matching the Resistance.”
(also see: ACTION, CPB, MOVEMENT, PRESS, REACTION)”
by danceclu | March 22, 2010 | In Dance Articles | 4 Comments
Every social dance in the world was inspired by music that made people want to move, and most cite music as one of the aspects of dance they find so exciting. The most enjoyable dancers know the music so intimately that they are able to express it with their bodies. Even at the beginning level, it is crucial to become familiar with the rhythm. The rhythm is the common language that allows you and your partner to communicate and dance together.
The best way to feel the music when you dance is to listen to that type of music as often as you can. Get a danceable CD from your instructor, the bookstore, or online, and listen to it in your car, at home, and while you work out. A great way to get the music into your body is to practice the basic steps of the dance to music at home. Walk around the room to the beat without any patterns or moves. If you practice this often enough, you will be better able to feel the music when you dance and will catch on to more complex moves, syncopations, and concepts faster.
It is natural to want to look at your feet when you are learning a new dance. However, this is one of the biggest stumbling blocks to learning and developing muscle memory. Dancing is not about seeing, but about feeling and enjoying. It is important to be able to feel the movements in your body instead of relying on visual cues alone. In fact, advanced dancers in any social dance are able to lead and/or follow a great number of moves and patterns with their eyes closed.
So where do you place your focus, if not on your feet? First, focus on the dynamics of the steps: feel the shifting of weight that takes place, the changes of direction, and the patterns that make up the dance. Second, pay attention to your relationship with your partner in the basic movements of the dance and how the man and the woman complement each other with their steps. Third, listen to the music and feel how it expresses itself in your body. And finally, it’s your dance! Let your mind wander where it will during the dance. Notice everything about how you feel, how your partner feels, how the music feels. Everyone finds something different in the dance; the most important thing is to experience it fully in whatever form it may take.
If you are learning to dance with a spouse or friend, it is tempting to dance with just that person. There is a degree of safety in dancing with someone you know and feel comfortable with. However, it is best to dance with many different people, especially when you are just starting to learn the dance. Everyone leads and follows differently, and dancing with other people will show you different ways of communicating with a partner and interpreting the music. Oftentimes people get used to certain partners and begin to develop “signals” that tell the other person when to lead or follow a certain move. Dancing with different people will force you to truly feel the lead or follow and engage in a conversation.
Beginners are often concerned that they will end up dancing with someone who is either very unsure of their steps or the music, or someone who is much more advanced than they are. However, both of these situations are an opportunity for learning that you will not find if you dance with only one person. Dancing with someone that you may consider “boring” to dance with is a great opportunity to practice your technique, focus on the music, and learn how to be a sensitive leader or follower. Dancing with someone who is very advanced, on the other hand, offers a great opportunity for you to keep the rhythm regardless of the moves you are doing, focus on the technique and connection that will allow you to lead and/or follow well, and do moves that you might not be able to do with your regular partner. Focus on each dance as a conversation with your partner and the music, and make each dance an opportunity for learning.
I once read that there are two qualities that distinguish a truly enjoyable dancer from the rest of the pack: musicality and connection. It is encouraging to know that regardless of the number of moves you have in your repertoire, you can have an enjoyable dance with anyone if you are attentive and responsive to your partner and the music. And of course you will be enjoyable to your partner if you are in the moment and absorbed in that particular dance with that particular person to that particular music. So relax, and enjoy!
by danceclu | March 19, 2010 | In Dance Articles, West Coast Swing | 2 Comments
Have you heard of Rolling Count before? Have you tried it? How did it impact your West Coast Swing?
Skippy Blair who is considered to be the queen of West Coast Swing developed many of the concepts we consider foundational today. One of these concepts is Rolling Count.
Rolling Count creates the appearance of perpetual motion.
I have included links to two articles that explain rolling count. If you can apply Rolling Count to your West Coast Swing, you will be amazed at the difference it will make.
These are PDF documents so you will need Adobe PDF Reader to view them. If you don’t already have it, click here to install it.
• Rolling Count
• Syncopating Rhythms Using Rolling Count
This clip requires QuickTime to view it, if you don’t have it, click here to install it
Skippy Blair – Counting Sets of 8 using Rolling Count (Right-click and save target as)
Jordan Frisbee & Tatiana Mollman – Rolling Count
by danceclu | March 19, 2010 | In Dance Articles | 3 Comments
I believe that there are three necessary legs to learning to dance well; group lessons, plus private lessons, plus group practice with different partners.
Since I am an advocator of both private and group lessons, I believe both are equally important in a students learning process. While individual attention in a private lesson is invaluable, only so much information can be absorbed at one time without getting fully frustrated – making group lessons a great avenue to allow a student to get more information at an unstressed level with others in class – that can be more developed in a private lesson at a later time.
Group Lessons are the most cost effective way to learn new patterns and get exposed to new ideas. Group lessons could probably satisfy both desire to communicate with people who have similar hobby (dancing) and learn some dance steps and may be basic technique.
While group lessons are valuable in the learning process, if you are serious about reaching a good/decent level of dancing, you will need personal (private) instruction. And group lessons just simply can’t give much individual attention.
The more lessons, whether group or private, a student takes and the more times you see and here the information the more questions that will develop and the deeper the understanding becomes.
In addition to group lessons and group practice, I would recommend 1-2 private lessons a week for at least 3 months. During those first 3 months have an open mind and just learn, absorb, practice, feel and experiment the dancing world. Hopefully after that you will see that learning how to dance is a process that cannot be measured with time.
Private lessons with a good teacher allow you to learn partnership and get immediate feedback on problems you are having. However, unless the only person you want to be able to dance with is your instructor, you need to practice your lead and follow with the real people you want to go out dancing with.
How do you adjust your lead to a beginner and help them become better dancers? How do you lead or follow an advanced dancer? The most cost effective approach is all three together with reputable teachers helping you all the way.
by danceclu | March 19, 2010 | In Dance Articles | 1 Comment
Myth number one is that you have to be born with some extraordinary natural ability to dance, that if you cannot immediately pick it up, you are forever doomed. In reality, the only things that matter are hard work and dedication.
Learning how to dance is really not as ambiguous as people think. During your dance lessons, your instructor will break down the various dance principles such as foot placements, timing of music and other techniques. You will find that the instruction is actually quite black and white, a step by step process that requires no innate ability.
In fact, the naturally talented ones may have it worse. They may be so used to learning dance quickly and easily, that when confronted with a challenge, they become frustrated and discouraged. Their improvement slows down because they are not used to putting in the work. They are, of course, experiencing the normal learning process.
The only sure way to consistently progress is through hard work and dedication. So forget about how talented you are or are not and instead practice, practice, practice.
Myth number two is that you can be really good from just taking group Lessons. As a professional dance instructor, I am here to tell you that group classes alone will not get you far.
The reason is that you do not get enough personal attention and critique. Individual attention is crucial in the dance learning process for developing the right habits and eliminating the wrong ones.
Your group lesson could be level specific, the instruction could be very informative and thorough, and still your progress is minimal. Having you and an x number of other students in the same class diminishes the time your teacher can allocate to correct any mistakes that you may have.
Most of the class time is spent on general information for the entire group with a few minutes for individual corrections. If you really want to dance well, you should strongly consider doing private dance lessons to supplement your groups for consistent improvement.
I am sorry to let you know that you cannot really learn how to dance properly in 1 month. Can you learn how to play an instrument in 1 month? Or learn how to speak a new language? Of course not! Dancing works just the same.
Besides dance steps and patterns, there are many technique elements to learn such as: posture, footwork, lead and follow techniques, music/timing, character and more. With all the information, it takes time for the body to develop muscle memory.
One month will introduce you to a few basic dance steps and concepts but it is not enough to make you an adequate dancer. People who have a set time frame for learning how to dance are naive and do not fully understand the learning process. The best thing you can do when you decide to learn how to dance is to take dancing lessons consistently.
by danceclu | March 18, 2010 | In Dance Articles | No Comments
(webmaster’s note: many of my students ask me this as a question; namely, ‘how can I get the most from my dance lessons?’ Whether you are a beginner or a competing amateur, maximizing the results is always a good idea. After all, why spend time and not make progress? Paul’s ideas are sound; they all are good ways to make sure that your coaching does not ‘dead end’. I find that working towards showcases inspires me to do better, because my dancing will be seen. Knowing that someone would see it made me work harder…)
Like so many things in life, you get out of dance lessons what you put into them.
Simply showing up at your lessons is not enough.
The time and energy you spend between dance lessons as well as during the actual lesson will can make a great difference in the results you achieve. Following are some tips on how to maximize your dance lesson experience. By approaching your lessons in a consistent, well thought-out manner, you will progress quickly towards your dance goals. If you have invested your time, energy and money in dance lessons, it is worthwhile to take steps to maximize your outcome.
Before you even begin your dance lessons, you should spend some quality time considering what it is you want to get out of them. By having clear goals, you can then work towards achieving them. Too many people come into dance lessons without having given much thought towards what it is they really want to get out of them. Your dance goals should be formed with your instructor. Letting him or her know what you are trying to accomplish will enable them to provide you with the instruction you need.
When your lessons begin, it is important that you have the right mindset for each and every lesson. You should be well rested and focused for your lessons. Coming in tired and distracted will not make for a positive learning experience. You need to take good care of your body if you want to dance, because it is a physical activity. You also need to be able to put aside any problems of the day and focus on the task at hand. Maintaining that focus and concentrating throughout the lesson can be a large determining factor in your achieving your goals.
It is a good idea to come to your dance lessons at least fifteen minutes early. This will allow you to get yourself focused, warm up and practice some of last week’s steps before the lesson starts. By the time the lesson begins, you will be fully prepared and ready to make the most of it.
As you progress in your dance lessons, it is important not to get ahead of yourself too quickly. The best dancers keep their minds open to new information and know that there are always things they can learn to do better. Remember that your instructor is an expert and let them teach you. When the instructor demonstrates a new pattern or concept, let them finish it before you attempt it. If you do not understand something, speak up because chances are, others in the class did not understand it either. When the instructor asks questions, answer them. This allows you to be more actively engaged in the learning process.
After each class, it is a good idea to take down notes of what was covered in that class. Doing this immediately after you finish, when everything is still fresh in your mind, can be a valuable tool to progressing towards your goals.
The time you spend between classes can be as valuable as the time during class In addition to going over your notes; you can use time between classes to practice on your own. It does not require very much space. Simply practice a sequence using smaller steps. Even visualizing the steps will be helpful later. You could use the time while you are standing in line at the grocery store to run through a sequence of steps. Much of the time that is lost in each dance lesson is spent re-learning what was taught the week before and forgotten. It is up to the students to minimize this.
Another way to take advantage of the time between classes is to listen to your dance music. By listening to the music you dance to regularly, you will develop a better sense of its rhythm. In turn, you will be able to dance better. When you listen to it, pay attention to the beats, count them out and visualize yourself moving to beats.
As your dancing improves you may want to expand on your dance program. Taking different classes can help you grow and expand. Additionally, private lessons give a level of personalized attention that cannot be achieved in group lessons. Apart from other kinds of lessons, most dance schools offer a weekly dance session for all their students. This is a great way to practice and is also a good opportunity to dance with other partners.
It is up to you to make the most of your dance lessons with clear goals, the right mindset and practice.
by danceclu | March 15, 2010 | In Dance Articles | No Comments
Dance Heaven. That’s a destination that most of us are trying to find. That perfect partner for that perfect dance. WE all have ideas about the kind of partner that makes the dance perfect. We think that we might have those qualities that make us desirable as dance partners. Do we really know for sure? Some readers have asked that question because they wanted to do what they could to improve their chances of getting themselves placed at the top of someone’s dance card. Of course, I made them also tell me what they didn’t want.
“Acknowledgement from the Partner”
“One particular ‘peeve’ is being acknowledged by your partner. I especially appreciate finding/dancing with a partner who dances with me as opposed to the follower/leader who uses his leader/follower as a prop for her/his own showboating. A little eye contact goes a long way towards this, too.”
“Trust”
It’s nice to know that if I make a mistake, my dance partner will back me up and cover my mistake. If we lose contact, my partner will continue dancing as if we were still connected and will eventually find my hand without my moving out of position or stopping.
“Someone Who Dances on Their own Weight.”
“Someone who wants to dance with me and seems to be enjoying himself, even if I make mistakes.”
“Someone who doesn’t dance too high above my level”
“Someone who doesn’t dance under my level.”
“Someone who dances to the beat.”
“An ideal partner knows where the beat is” (extremely important)
“Someone who doesn’t jerk me around with a hard lead or pump my arms up and down.”
“Someone who is aware of the other dancers around us and keeps me away from people who are out of control and dangerous.”
“Someone who will warn me before we get on the dance floor if he just learned how to do the intro lesson and really doesn’t know how to dance.
“An ideal partner SMILES!!”
“…makes eye contact more than once in a while.”
“A firm, clear, decisive lead.”
“personal style”
“connects with the music and dances to it (breaks, etc.)”
“Spagetti arms”
“Someone who pulls me off my feet”
“Someone goes off and on the beat.”
“A stranger who tries to do sexy moves, like pulling you in very close, getting very close to your face, and gazing at you.”
by danceclu | March 14, 2010 | In Dance Articles | 1 Comment
This is one of the most important things that I’ve ever heard while taking classes! If you’re a leader, never blame your partner for blown leads. Think of it this way: it’s possible for a good leader to manage to lead a bad follower (just dance around the follower). It’s nearly impossible to follow a bad leader. The follower can not read minds (well, maybe…) and she can’t tell what to do if it happens to be a bad lead. Maybe it was a pretty mushy lead; I’ve done that plenty of times myself. Maybe your partner is not as advanced as you are. I tend to tone down the leads until I know my partner is comfortable with them. Note that this strategy does NOT stop you from dancing!. Ultimately, this reduces the number of arguments on and off the dance floor (Yes, dear…). The whole point is to make the two of you look like you’ve been dancing together for years. Get on with the rest of the dance.
I can’t stress this enough. Unless solicited, it’s bad enough that it’s impolite to teach on the dance floor when you’re supposed to be enjoying the dance. Imagine your embarrassment if your partner had blown your lead because of a mistake you made and you decided to stop to teach her to read your lead AND she turned out to be a dance teacher? There’s a guy whom we nicknamed “Twinkle-Toes” (swing is never danced high on the toes, guys!) who would always stop a dance to show his partner the move he screwed up because she couldn’t figure out his lead.
How important is it to be the best dancer? On the professional circuit, very important. On the social scene? Not at all! The goal is “be the one with whom everyone else wants to dance“. Your task, as a dancer, is to make the dancing enjoyable for your partner. If your partner has a great time dancing with you, that energy will carry over to your own dancing and you’ll both have a good time. Let me tell you a secret: the dance experience that stands out most in my mind was with someone who had never taken a swing lesson before!
All it takes is one person to:
- Never teach on the dance floor
- Make their partner feel like every step they do is in sync with the lead/follow
- Concentrate on making their partner look better
Then all the other dancers are in trouble. Once followers find a leader with a smooth supportive lead, the other leaders who toss their partners around and are non-solicited teachers will find themselves sitting out and more importantly left out of non-dance activities. Ya know, I think we should have kept this last one our little secret. 
This is another comment I picked up years ago from my dance teacher. I was told a story by a woman who was dancing with this guy and she missed a lead. He immediately stopped the dance and told her, “That’s not what I led!”. He thought she was deliberately dissing him or trying to make him look bad. Let’s face it, guys: she’s dancing with you because she wants to, not because she has to. She’s entitled to do something different as long as it doesn’t interfere with the lead. And everyone makes a mistake once in a while. Again, whose fault is it really? (see above). Spend your time dancing instead of wasting time worrying about a blown lead.
There are times when people make mistakes on the dance floor. That’s okay! What should you do? Smile and pretend that it’s what you had wanted to do in the first place and then continue dancing. Most of the time, people on the sidelines are looking at so many different couples dancing that the time they spend looking at you is only a split-second. Will they notice your mistake? Maybe. Will they care? I doubt it. As for your partner, don’t bother with saying sorry; just keep smiling and dancing.
“If you’ve just led a move and the follower says she doesn’t like it, or winces, grimaces, groans, or some such, DON’T lead it again. Don’t assume she only needs “practice” to get it. As in so many other cases, no means no!” Unless the follower says, “Do it again!”, I usually figure that she doesn’t know the move and I will try something else. If the leader persists, I usually tell the followers to grab their arms, fall down, and scream “OWWWW!”, but no one’s taken that advice yet. :^)
Pay attention to the people around you and how much space you have. It’s incredibly rude to run into other people because you were careless and it doesn’t improve your partner’s disposition if you throw/spin her into someone else. It’s okay to abort your move if you see danger in the adjacent space.
This applies to both men and women, regardless of skill level. Usually women outnumber men at dances and they get tired of chasing down dance partners all the time. Some people are less assertive than others or less confident of their abilities. Some guys, especially in my case, might not have continued beyond the first dance party if we hadn’t been asked to dance by a sympathetic follower; some of us are quite shy. I’m still shy about asking strangers to dance, even after 8 years of dancing (and one of these days I’ll get the nerve to ask Ms. Ramsey or Ms. Hobby to dance…).
NOTE: “Asking” someone to dance means walking up to that person (around two feet apart is about right) and actually ask that person for a dance. DO NOT stand out on the dance floor and signal for someone to meet you out there. That is extremely rude and tells your potential dance partner that they’re not important enough for you to walk over to invite out to the dance floor.
Everyone likes to be appreciated so don’t forget to smile and thank your dance partner for a nice dance (what you actually think is your own business). People remember kindness (or rudeness) forever and it may be important if you ever ask that person for a future dance. That clumsy beginner might become the next touring professional.
It seems strange to write this one down since it should be common sense but some people forget that dancing is supposed to be fun. Some people have forgotten how it was to be a beginner; beginners need encouragement so they’ll come back and continue dancing. Some guys are extremely sensitive about moving their bodies to music in front of other people and can be scared off by criticism. It was hard enough to get them out on the dance floor! That follower who was just criticized will remember you if you ever ask her for a dance in the future.
Be aware of the unspoken criticism. If you ask someone (particularly a beginner) how long they’ve been dancing, do NOT respond with a saddened “oh” because that implies that you’re disappointed either with their progress, their level, or how long they’ve been dancing. Always answer with a positive (encouraging) tone and message in your voice.
Some of you tend to forget that dancing is supposed to be fun! I was asking Susie who were her favourite partners. She mentioned the obvious guys whose dancing I noticed, but she made it a point to mention this one particular guy “because he smiles”. If you’re smiling because you’re having fun, your partner will be encouraged to dance with confidence because they know they’re dancing well enough to make you have a good time.
Consideration for your partner is very important. Consideration for the people around you is almost just as important. I saw this guy (we now call him Mr. “I-own-the-dancefloor“) walk through the middle of a packed dance floor, totally ignorant of all the people he was interrupting. What was so important that he couldn’t walk around the edge of the dance floor and not interrupt the dancing couples?
Also, it is the leader’s responsibility to think about where to place the partner. Do NOT throw her into nearby dancers or spectators. If she hits someone, it’s the leader’s fault. The follower should not step on the feet of a spectator standing on the sidelines because the leader should not put her there.
And finally: Never end up in the middle of a dancing couple. If I can’t see my partner anymore because you’re dancing in between us AND I’m still holding her hand in open facing position, that means you’re in the wrong place. Figure out your turf and stay there. Do not interrupt other people’s dancing and stay out of their way.
If you’re a dance teacher, particularly a new one, you should understand that the dance community is VERY small. You might not know or remember everyone, but they know YOU and they talk to each other. Everything you say and do will get passed around, especially the bad stuff. As the tales get spread around, they get magnified. In every class, the teacher should be polite and professional: do not insult the student (in class or in private) and do not tell the student that you can’t do anything for him or her. If they’re holding up the class, offer to work with them after the class. Perhaps a change in teaching approach or the lack of an audience might help. Remember, it takes at least 20 “attaboys!” to equal 1 “you jerk!” so it’ll take a while to recover from one bad impression (and you can bet there’s a reason why I wrote this)
by danceclu | March 14, 2010 | In Dance Articles | No Comments
Some women like to concentrate on dancing instead of trying to figure out all the moves that you have in your repertoire. There are some cool moves that you have to do, but they’re supposed to be there to make her or the two of you look good, or they’re supposed to make the dance more enjoyable or interesting. She isn’t there to make you look good in front of your adoring fans. Ease up on the complex fancy stuff unless you know your partner knows them. Simple moves done well, look better than complex moves done badly.
If you’re not performing and you’re not dancing with your partner from your swing acrobatics class, don’t endanger your partner by trying to flip her over your back. Definitely don’t do that to a beginner! (unless your liability insurance is all paid up). I don’t care what they did in the GAP commercial; it’s pretty damn dangerous. Any guy doing acrobatics and aerials on a social dance floor is immediately identified as a jerk while his partner is considered an idiot for letting him do it to her.
Most of the women I’ve danced with seem to prefer a smooth dancer. What? You mean they don’t like getting their arms yanked out of their sockets? Being called a “smooth dancer” should be the goal of every leader on the dance floor. A smooth dancer does not pull or push their partners: they lead. If your lead is smooth, your partner won’t have to be a mind reader to figure out what you’re trying to do and it keeps her from having her back in pain all night long. If the move feels jerky, then that’s probably what your audience sees.
“A move is not a move unless it’s done to the music.” Unfortunately, many of today’s dancers do not have the patience to practice and learn to dance with the music. Such lack of enthusiasm discourages teachers from holding dance technique classes where people can concentrate on dancing instead of just learning new moves. There are so many dancers who would benefit from them. I personally have a hard time remembering all the moves I’ve learned over the years so I spend more time making the ones I do remember feel better. One thing you should be asking yourself: Are you dancing or are you just performing dance moves?
by danceclu | March 12, 2010 | In Dance Articles | No Comments
For those of us who have been around the dance world a while, we’ve all met “Jack.” Jack only wants to dance with the best followers, and he even has some “favorite” followers, such as “Jill.” Jack believes that only these dancers equal his own dancing skills, thus making him “look good.” So he turns away the beginner dancers who he considers below his skill level.
But Jack does not understand that better followers compensate for his mistakes, while all the time smiling graciously through his untimely leads and false frame. And then there’s Jill! Well, Jack and Jill look great together!! They both know the same complicated patterns, same fancy footwork, even the same arm movements … and the crowd applauds!!!
Poor Jack envisions himself as a “top dog.” He continues to ask the better dancers and his “favorite” followers to dance, because he thinks he “looks good,” and avoids the beginners who just don’t know the right tricks.
Dancers like Jack shield themselves from the pain of reality. If only better followers and those who learned the same patterns can follow you, you might consider the reality that your fundamental technique of leading could use some attention.
Dancing with better followers DOES allow you to work on the “art” of dancing–styling, footwork, and “playing” to the music. Dancing with less experienced dancers, or dancers from other areas, is the best way to develop the “art” of leading. Your weaknesses are obvious with a beginner. Therefore, ask yourself why a certain pattern or move did not work. When you determine the necessary changes and blend them into your dancing, you begin to grow.
If you overestimate your own ability, and abandon the pursuit of proper lead and frame technique, you will struggle in your attempt to move to the next level. Over time, without proper focus, your leading skills will gradually deteriorate, and you will find yourself relearning these skills you left behind.
If leaders only dance with better followers, or those who know the same patterns, they won’t develop their leading skills, because they won’t “need to.” Beginners require a GOOD lead—and, they ARE leadable. You just have to be better at leading than they are at following. (Yes, you have been challenged!) Of course you can always just dance with Jill…she doesn’t mind doing the same patterns over and over and over and…
by danceclu | March 12, 2010 | In Dance Articles | 2 Comments
Various comments have been made regarded the “sharing” of dance advice in class and on the dance floor. Social dance etiquette can be breached even by the best intentions. Whether you are the ask-ee or the ask-or on the social dance floor, leave your advice off-stage. And as a student, never correct other students in the rotation.
Particularly on the social floor, it is not acceptable to offer your opinion or “show” someone how to “do it right” while on the floor. This is social dancing, not practice, not lessons. If, and only if, your partner asks you for help or an opinion, walk to an area off the floor. Although, not as offensive, asking for help while on the social dance floor may also not be a good idea. This is social dancing, not lessons.
In the classroom, some students may consider themselves a “helper,” and provide advice to the newer dancers. However, talking while the instructor is trying to teach creates a disturbance for those around you who are trying to listen, and your words of wisdom might not be the correct ones. Beginner students DO often ask the more experienced dancers for their input. Here are a few suggestions when asked for your opinion or help:
Explain what you are “feeling” during the move or “what you need” in order to improve the move or connection for yourself. Avoid the word “you.” For example, a follower might say, “I feel like I turned a little late.” Or, “I need a bit of an earlier lead to get through that turn.”
Go with the new dancer (together) to the teacher and explain the difficulty. Help the teacher get the new student through the explanation. Such as, “We are having problems with her footwork in the spin. Can you watch us and see what we need to do?”
In a small class, openly ask for help, since others might also be experiencing the same problem.
Limit your suggestion to one piece of information. One thought. ONE sentence, not an editorial.
Sometimes, just say, “I’m not really sure.”
Above all, FIRST assume that you could do something to improve the move yourself, before you offer advice.
Most of us started dancing for the social interaction. Dancing can earn you many friends, or it can isolate you from the very people you would like to know. Enjoy your time in class and on the social floor and let others enjoy their time as well.
Remember there are many people out there who are not obsessed about dance (unlike some of us who compete). They just like to spend a few hours every now and then moving to music, having fun, and socializing. They don’t care about correct steps or proper technique or the slot or whatever. Do what you can, and enjoy what you do, and put “fun” first.
by danceclu | February 28, 2010 | In Dance Styles, Salsa Suave (LA Style) | No Comments
Salsa Suave is one of the most popular Salsa styles around the world today. This style of Salsa has been popularised by well known dancers such as Josie Neglia, the Vasquez brothers, Edie the “SALSA FREAK” and Salsafix Dance Studios.
It is a style that has borrowed extensively from other dance styles. It has been influenced by Cuban & New York style Salsa, Jazz, Swing and even Ballroom dancing. From these influences, the modern dancers of this style have further refined it to produce a distinctive range of turn patterns.
Most LA style moves are based on the “cross-body lead”, where the man leads the woman across his body in a linear motion. This basic dance component is shared by other dance styles like Cuban and New York styles. All three dance styles share many other common turn patterns as well. For example, the Cuban style “Setenta” is also known as “Hammer-lock” in LA & New York style.
To start with, it does not focus on the complicated arm movements normally associated with the basic Cuban style. Additionally, the LA style turn patterns are normally “slotted”, as opposed to “circular” in the Cuban style. LA style differs from the New York style in that the timing is more relaxed. New York style requires distinctly precise timing to execute all the checks and catches. Most importantly, however, is that many of the LA style moves are sexy and flamboyant, with lots of dips, spins, drops…enough to dazzle any spectator.
Basic LA moves are based on the cross body lead and rely on a strong foundation of basic dance principles. Learning LA style Salsa will therefore provide you with a strong grounding in the basic fundamentals of dance, allowing you to diversify into other styles later on (such as Cuban, Miami or New York styles)
7-Week Course starting on Wednesday 14th April, more details here
Contact: alan@danceclub.ie for more information
Salsa Dancing L.A. Style
by danceclu | January 8, 2010 | In DJs, Rockabilly | No Comments
Music Styles Played: rock & roll, R&B, rockabilly, Swing and Jump blues but also Country, 60′s garage, Northern Soul and even some alt 80′s
Gigs are subject to change without notice – Social Dance Network accepts no responsibility for cancelled gigs – always check with the DJ before attending a gig.
Venue: Dice Bar, Queen Street, Dublin 7
Every Sunday, 8pm with DJ Oona
Admission: Free
Rock n Roll, Swing & Honking Rhythm and Blues
- Support Oona & The Devils
- Special Guest DJ, Miss Aloha (Hula Boogie, London)
Venue: The Sugar Club, 8 Lower Leeson Street, Dublin 2
Sat 16th Jan, 7:30pm
Admission: €17.50 each (or 2 for €30) in advance: Tickets
by danceclu | December 23, 2009 | In Organisations | 7 Comments
Website: http://www.shebeenchic.ie
Address: 4 South Great Georges Street, Dublin 2
Shebeen Chic is a restaurant, bar & music venue with live entertainment 7 nights a week.
Upstairs the restaurant serves simple, seasonal, locally sourced, tasty Irish food in a lively bohemian space. A private dining room off the ground floor has one large table and its own kitchen sink! making it the perfect spot for a private party. Upstairs the long bar serves perfect pints & smashing cocktails with live entertainment every night from Trad to Jazz……
The downstairs music venue is home to some of the best comedy, cabaret & live gigs on the Dublin scene.
Gigs are subject to change without notice – Social Dance Network accepts no responsibility for cancelled gigs – always check with the organiser before attending a gig
Tue 22nd Dec: Garret Baker, 9pm, Admission: €5
Tue 22nd Dec: Niall C Lawlor, 9pm, Admission: Free
Wed 23rd Dec: Ukulele Xmas Party, Window 6pm
Wed 23rd Dec: DJ Scott Mc Naughton, 9pm, Admission: Free
Sat 26th Dec: The Recession Club, 9pm, Resident Host DJ Kev
Sun 27th Dec: The Jazz Globetrotters, 9pm, Admission: Free
Mon 28th Dec: Trad Sesuin, 9pm, Admission: Free
Tue 29th Dec: Niall C Lawlor, 9pm, Admission: Free
Wed 30th Dec: Scott Mc Naughton, 9pm, Put your dancing shoes on
Thu 31st Dec: Shindig New Years Party Tunes for Party People, 9pm, Admission: Free
by danceclu | December 22, 2009 | In Bands, Ska | 5 Comments
Bebo: http://www.bebo.com/Profile.jsp?MemberId=9885160725
Pressure Drop an 8 Piece 2-Tone/Ska Band was established in the summer 2009, consisting of:
• Kevin (lead vocals/ trumpet) – Kevin was lead swinger with Ska Express” from Wexford
• Markie (bass) – Markie is an ex-member of the Dublin Ska Outfit “Gangsters”
• Mark (lead guitar/ backing vocals)
• Con (tenor sax/ guitar)
• Neicy (alto sax)
• Cyril (trumpet)
• Derek (drums)
• Steve (keys)
Having played in numerous popular and succesful Ska bands the lads (and woman!!!) decided to come together. With rehearsal’s currently going strong the group are looking forward to hitting the scene with a bang later in the year. Bringing you the best of the best in ska with an energy filled show not to be missed!!!
Genre: Ska, Reggae
Influences: Ska, Punk, Rocksteady
Gigs are subject to change without notice – Social Dance Network accepts no responsibility for cancelled gigs – always check with the band before attending a gig.
Jan 23rd Halfwayhouse Ballycogley Co. wexford.
Jan 29th WhiteWater , Newbridge Co. Kildare.
by danceclu | December 17, 2009 | In Links | 5 Comments
Website: www.djolledrummer.com – Dublin Session Drummer
Dublin based drummer with many years of experience in different styles and genres, can provide you proffessional drumming service, tailored to your needs.
Works with both originals and covers bands, currently available for recording and gigging sessions, tours, drum tution.
Closing the successful year highlited with multiple perfomances on Knockanstockan festival, Electric Picnic, Absolut Fringe Festival, residencies in Whelans and Tripod, you can check him out on 31.12.09. in The Village, preforming on New Years Show in 3D.
Each audience member will be given 3D glasses to experience the awesome power of the “3D Opti-Tron”, a newly developed form of 3D, using multiples screens at different angles. Be prepared to be taken to a new dimension!
