Ballroom teachers needed - no experience required

Discussion in 'Ballroom Dance' started by pygmalion, Aug 6, 2004.

  1. Terpsichorean Clod

    Terpsichorean Clod Moderator

    I do see the merits of the floor-rental system, as all my training comes through there now. But if everyone were to do as you advise, would we be left with a world without dance studios? Without floating floors? Without comp regulation size floors? Without floors big enough for even a feather/reverse/three? Without even rectangular spaces? Instead, a world of exercise facilities and school gyms and...:gasp:...linoleum? :razz:

    I get to practice at some really nice studios - some quite beautiful, or modern, or with floors of just the right speed. I'm pretty sure they aren't paying their rent with my floor fee ($2 for the whole day). As much as I might feel aggrieved at students being charged $100/hour for lessons with a trainee, their fees are paying for the floor that I enjoy so very much.
     
  2. tangotime

    tangotime Well-Known Member


    To " skim" the floor, is to ensure that the heel, particularly in backward actions, does not create overtly downward pressure, which creates a "heaviness " look to the leg action .
     
  3. latingal

    latingal Moderator Staff Member

    I believe that is referenced later in my post.

    You misunderstand my usage I believe, a line is a line with it's own energy flows and muscular usage, whether it be standard to ballet technique or not. To understand and hold a line or behavior through a dance, whatever form it is - ballet, modern, or ballroom, is a skill that you develop as a dancer (modern dancers know this well). I believe that most people think of line as an empty thing without specific use or energy flow, but even in ballet, the energy flow of the body must be maintained in a certain way to create the outward line/shape you see.

    And that is why I put my word "nebulous" in quotes. If you can find the right teachers, who can communicate clearly the concepts you seek, a trained dancer will pick up faster in most instances than an untrained dancer. The problem seems to be finding the right ballroom teacher. There seem to be a minority that really understand and can explain what is happening in the body in ballroom technique....as referenced in your post.

    Seems we agree on much.
     
  4. pygmalion

    pygmalion Well-Known Member



    Amen.
     
  5. pygmalion

    pygmalion Well-Known Member

    I guess that my bottom line,here, is that it's NIMBY for some people. People want a good deal on a great teacher. Fair enough. And, at least right now in the US, the way it works is that the system is subsidized by studios that use trainees to teach lower-level students and by pro-ams who pay a premium to dance with professionals.

    Right or wrong can be debated (although I probably wouldn't participate. That's a no-win conversation, IMV.)

    Bottom line, again IMV, is that the only way to change dance teacher training (if that's the right thing to do, which is not by any means agreed) is to make a fundamental cultural change within the ballroom community. Good luck with that.

    Saying that one should exploit the system by using resources on the cheap while someone else is paying big bucks for those same resources is a short sighted argument at best. My two cents.

    And ntm reminds me of a retired Dfer. Just sayin.
     
  6. tangotime

    tangotime Well-Known Member



    I had the same feeling .
     
  7. nottomention

    nottomention New Member

    No, there are two alternative approaches which have little dependence on each other. Most of the good deals to be had did not depend on exploiting trainees or their students do get where they are, because they were not part of that system.
     
  8. DL

    DL Well-Known Member

    Uh-oh....

    I'll just say that I think there is more than one "right" direction.
     
  9. nottomention

    nottomention New Member

    There is more than one type of dancing. People who approach ballroom from a perspective of choreography rather than partnering make a performance rather than socisl dance form of it.

    If that is their goal, then it's a reasonable approach to achieving it.
     
  10. DL

    DL Well-Known Member


    If you're here to preach the One True Way To Learn Ballroom Dancing, I don't think it will lead us anywhere good.
     
  11. nottomention

    nottomention New Member

    I am here to point out that the qualities you achieve are those you prioritize.

    If being comfortable to your partners is not a key priority, then don't worry about it.
     
  12. Casayoto

    Casayoto Member

    There's a lot about dance that isn't comfortable. If you're talking about social dancing, then yes, the priority should be on both of you being comfortable and having fun.

    Competitive dancing, however, isn't about feeling great, it's about looking great. That's not to say that there isn't any overlap. There are many actions that if they feel bad, you're probably doing them wrong, and they probably look bad. But there are many aspects of dancing, partner dancing included, that look a lot worse if you try to do them the most "comfortable" way.
     
  13. nottomention

    nottomention New Member

    This is untrue - there is ultimatey no more fundamental guide than mutual comfort - but you have to be willing to really study that to realize the benefit.

    The temptation you speak of is towards personal comfort at the expense of partner.
     
  14. samina

    samina Well-Known Member

    Which reminds me of one of my favorite quotes from another Top 6 standard dancer...the 3 most important rules in competitive or performance ballroom:

    1. Look Good
    2. For a Long Time...
    3. Feel Good

    :)
     
  15. danceronice

    danceronice Well-Known Member

    I think you're missing Cayasoto's point. It's not about one or the other person's comfot at the expense of another. It's that the goal of the partnership is not about each other's comfort at all. It's about producing the best-LOOKING product compared to your competitors. It's not a social issue for competitive dancers.
     
  16. Casayoto

    Casayoto Member

    I try to stay away from blanket right vs. wrong statements.(Unlike some people, I recognize there are multiple paths and different methods of doing and learning)

    But seriously ntm, The fundamental guide to good dancing is mutual comfort??? You have got to be kidding me. You know what's really comfortable? Dancing in a practice hold, with no real poise, while just doing a basic box. Couldn't get more comfortable than that. But no one is going to win Blackpool doing it.

    Love the quote Sam. :)
     
  17. latingal

    latingal Moderator Staff Member

    I too believe that people learn and understand differently, and that there is no one true way that works for all....there may be some that work better than others for a majority of individuals, but really in the end I believe the best teachers are those that guide a student to explore and understand the subject matter rather than take a rote answer just because it is being told as fact.
     
  18. nottomention

    nottomention New Member

    Of course it is.

    Now the average student is not going to go about independently reinventing the entirity of dance technique from that first principle. But its quite useful to examine the established technique through that perspective - you will soon discover that its ultimately where it comes from: facilitating comfortable capability.

    Sure, because you discard the stress resulting from your remaining problems in understanding how a comfortable hold works.

    Ballroom technique is what makes a feather ultimately a heck of a lot more comfortable than the rather contrived figure that is a box.

    Seriously, name an example of where you think that competitive technique and comfort are at odds - so that I can clarify how they actually aren't, when the technique is accurately applied.
     
  19. ash_sk8s

    ash_sk8s Member

    Wow, look at the discussion I spurred...sheesh!
     
  20. drejenpha

    drejenpha Member

    You're walking onto the floor after the music has started and someone dancing jive puts a heel into your calf. Competitive technique is to continue onto the floor and dance your dance, bleeding or not.

    In a more generalized sense, I was taking a group lesson in latin from a high level (not going to say top, I don't pay attention) competitive pro, she focused on me because I wasn't doing it right and kept telling me to do more/whatever. In trying to do the technique right I pulled something and spent a day barely able to stand. Personal comfort and technique can be at odds if the body isn't tuned for the technique.
     

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