THE GREAT DIVIDE

When it comes to ballroom dancing, Americans and Canadians are an island unto themselves. The way we were taught by the Arthur Murrays and the Fred Astaires is not the way the rest of the world do their dancing.

In North America we make a distinction between American Style and International Style. In the rest of the world, there is just ballroom dancing. American style does not exist.

While I'm far from being an expert, I watch a lot of dance competitions in both styles. My impression is that American style dancing allows more innovation and spontaneity. In American Smooth, there is no requirement for continuous body contact, leaving the door open for underarm turns, parallel turns, spins, etc. There is no strict national syllabus, only basic guidelines. It's flashier. I can make up my own variations and teach them as part of my syllabus, and so can any other teacher. Or I can improvise on the dance floor without fear of breaking any rules.

In international style, the syllabus seems to be very strict and somewhat limited. Body contact must be maintained at all times.You can dance in any country and everybody will do exactly the same steps. Much greater attention seems to be given to style, footwork, comportment, leading, following, and body contact. Thus, international style dancers at any given level of accomplishment seem to be better trained in dance fundamentals and therefore, on average, look better on the dance floor than their American counterparts.

I understand that attempts have been made to eradicate American style ballroom dancing in favor of international style dancing. However, the fierce resistance of American dance professionals, so far, has thwarted any such move.

Proponents on both sides are fiercely defensive of their dance styles. But considering that America are a fiercely independent people, it seems reasonable to assume that, as far as their ballroom dancing is concerned, they will be equally determined to resist any fundamental change in their dancing habits.

N.B.
Sadly, I recently learned that things have changed in Canada. Proponents of International Style dancing have succeeded in perpetuating their view that American Style is second-class. They are now calling American Style "social dancing", suitable only for beginners' classes.

On the same subject, a former 6th ranked European competitor wrote me the following::

"I was not talented enough for the top...
I did dance Latin and Ballroom, but in the end got fed up with the restrictions that the International Ballroom and Latin 'technique' puts on the dancer (as long as you are not the world champion, you have to dance 'by the book', which may then all of a sudden change, so you will have to change your technique), that is what got me into swing and salsa...."

I recently visited a U.K. website, www.dancesport.uk.com/articles/amsmooth.htm and found to my delight that the appeal of American style dancing seems to have strung a chord in England. Here is an excerpt from their article.

How A Dance Competition Is Judged

by Dan Radler L.I.S.T.D. Ballroom and Latin
© Dan Radler, 1998, revised by Ben Radler, 2003

I would like to attempt to answer an oft-asked question of interest to both spectators and competitors at dance competitions: What factors does a judge weigh in assessing a couple's performance?

The criteria that a judge might choose to consider are actually too numerous to examine individually in the brief time allotted, since at least six couples are being judged simultaneously. Therefore, the judge must rely on the impression each couple makes relative to the others . The experienced judge, having seen and studied dancing at all levels, can quickly assess these factors collectively:

POSTURE - one of the most important aspects. Good posture makes you look elegant and exude confidence. It improves balance and control, and allows your partner to connect well to your body in the smooth dances. One's competition result is often directly proportional to one's postural correctness. Hence the old adage, "Persistent practice of postural principles promises perfection."

TIMING - if a couple is not dancing on time with the music, no amount of proficiency in any other aspect can overcome this. The music is boss.

LINE - by this we mean the length and stretch of the body from head to toe. Attractive and well- executed lines, either curved or straight, enhance the shapes of the figures.

HOLD - the correct and unaffected positioning of the body parts when in closed dancing position. For instance, the line of the man's arms should be unbroken from elbow to elbow. Also, there should be symmetry of the man's and woman's arms coming together to form a circle, which, although changing in size, should remain constant in shape so that the dancers remain in correct body position relative to each other. The silhouette of the couple should always be pleasing.

POISE - in smooth dancing, the stretch of the woman's body upwards and outwards and leftwards into the man's right arm to achieve balance and connection with his frame, as well as to project outwards to the audience.

TOGETHERNESS - the melding of two people's body weights into one, so that leading and following appear effortless, and the dancers are totally in synchronization with each other.

MUSICALITY AND EXPRESSION - the basic characterization of the dance to the particular music being played and the choreographic adherence to musical phrasings and accents; also the use of light and shade to create interest value in response to these accents and phrases. For instance, in foxtrot, the stealing of time from one step to allow another to hover; or a quick speed of turn in an otherwise slow rumba; or the snap of a head to suddenly freeze and then melt into slowness in tango.

PRESENTATION - Does the couple sell their dancing to the audience? Do they dance outwardly, with enthusiasm, exuding their joy of dancing and confidence in their performance? Or do they show strain or introversion?

POWER - Energy is exciting to watch. I've noticed that, in a jive, it always seems to be the most energetic couple that wins this dance. But the energy must be controlled, not wild. For instance, powerful movement is an asset in waltz or foxtrot, but only if it is channeled into the correct swing of the body, and not just by taking big steps. The lilt of the music must be matched by the action of the body. In a waltz for instance, the dancers' body action must clearly show the influence of the one down beat and two up beats. So the release of power into the beginning of a figure must be controlled and sustained during the rise at the end of the figure.

FOOT AND LEG ACTION - the stroking of feet across the floor in foxtrot to achieve smoothness and softness; the deliberate lifting and placing of the feet in tango to achieve a staccato action; the correct bending and straightening of the knees in rumba to create hip motion; the extension of the ankles and the pointing of the toes of the non- supporting foot to enhance the line of a figure; the sequential use of the four joints (hip, knee, ankle, and toes) to achieve fullness of action and optimal power; the bending and straightening of knees and ankles in waltz to create rise and fall; the use of inside and outside edges of feet to create style and line all fall under this most important of categories.

SHAPE - Shape is the combination of turn and sway to create a look or a position. For instance, in Paso Doble does the man create the visual appearance of maneuvering his cape? Does the lady simulate the billowing flow of the cape through space? In foxtrot, does the man use the appropriate shape on outside partner steps to enable body contact to be maintained?

LEAD AND FOLLOW - Does the man lead with his whole body instead of just his arms? Does the lady follow effortlessly or does the man have to assist her?

FLOORCRAFT - This refers not only to avoiding bumping into other couples, but the ability to continue dancing without pause when boxed in. It shows the command of the couple over their choreography and the ability of the man to choose and lead figures extrinsic to their usual work when the necessity presents itself.

INTANGIBLES - such as how a couple "look" together, whether they "fit" emotionally, their neatness of appearance, costuming, the flow of their choreography, and basically whether they look like "dancers"; all have an affect on a judge's perception and therefore on his markings.

Different judges have different predilections in what they want to see, and weight these factors differently. One judge, for instance, might be especially interested in technique, while another wants to be moved by musicality and expression. While both factors are obviously important and need to be considered, it can result in couples getting widely disparate markings. Couples wondering what a judge saw to give them a particularly high or low mark should know that any one of the many factors listed in this article could be responsible. The use of a heel when a toe is warranted can just as easily hurt you in a judge's eyes as a meticulous closing of feet can help. Because the judge sees each couple for only a few seconds, anything that draws the attention, either positively or negatively, could very well be the deciding factor on how you are marked.

Competitors, please be assured that virtually no qualified adjudicator will mark you for any reason other than his or her honest evaluation of your performance. Most judges hold their own opinions highly, and try to do a conscientious job. Anyway, no one judge can make or break you. The use of a panel of these experts usually insures that the end result is the correct and equitable one.

Did you know.......

That what you wear on the dance floor affects your dancing??

Gentlemen
Not only are proper shoes important for dancing, but your clothes can greatly affect your dancing. This week we'll look at clothes from a gentleman's perspective.

Gentlemen, care should be taken when choosing clothes to wear to dance activities. Private lessons and group classes can be very active therefore choosing lighter weight clothes, possibly short sleeved shirts is very appropriate. It is always a good idea to wear an undershirt to protect your outer shirt from excessive perspiration -- remember, dancing can become quite athletic.  Overly tight fitting slacks are never an appropriate choice for social dancing. Always wear socks.  Another picky but important point to remember is to always wear a belt or suspenders when appropriate.   The general rule of belt matching shoes, while still very valid, is sometimes overlooked in the dance world because there are precious few brown dance shoes.

When it comes to Parties and social outings, you must consider the type of occasion.  For dressy casual evenings a dressy shirt and slacks will put you in good stead on the dancefloor, for those more dressy occasions, choose a shirt and tie.   While this may seem somewhat constrictive for dancing, wearing a shirt and tie will allow you a great opportunity to practice carrying your "head weight" properly. Always try to feel your neck against your the back of your collar while dancing. Not only will your clothes make you look dapper, but this new found "posture practice" skill will make you look great on the dance floor.  Remember also the temperature of the rooms in which people dance varies.  Usually in studios and at competitions  the temperatures tend to be cooler to accommodate the athleticism of dancing, so you may want to wear a sweater when coming in to the studio until you warm up.  Other venues (like at social dances) may keep the temperature a bit higher.  When attending an event where coat and tie is required, it is usually in good form to wear your coat for the first few dances of a set before taking it off. 

In competitive dancing, the general norm for dancing smooth (Foxtrot, Waltz etc) is a black vest (with a full back), tux shirt and tux pants with patent leather shoes.  One should avoid "off the rack" jackets as they ride up in the shoulders during dancing and create an unflattering shoulder and neck line for the gentleman. A black tie (either a bow tie or a longer "Euro Tie") is in good taste here.  Many costume designers are now making custom made vests, shirts and pants.  The advantage of having custom made attire is that it fits your body, the shirts generally are built onto a body suit which will prevent the shirt-tail from coming out, there are "gussets" in the underarm area allowing you to raise your arms (as in leading underarm turns etc.) without the cuffs riding up the forearm, also the tailored pants are generally more high waisted and some even have "stirrups" to assure no "high water" effect in the hem line while dancing.  In the International style divisions, the men still wear the traditional white tie and tails.   Very formal and again custom made.  These outfits fit like a glove and are designed totally for each individual.  The jackets have inserts across the shoulders to prevent a rise in that area.  The shirts have a detachable collar, which is higher than the normal shirt, thus keeping the head back in a good position. 

While dancing in the rhythm and Latin categories high waisted black slacks (which can be more snug and form fitting here so as to accentuate body rhythm <and the lady's like 'em too<  is the norm. The shirt should be of a light weight material and can be either a button down or (although waning in popularity) pull over "muscle tee shirt" look.  It is usually considered good form to wear a black shirt as this extends the body lines.  The shirts can be long or short sleeves.   When choosing any sleeves for competition be sure the sleeves won't ride too far up causing an unflattering look.  One should avoid "see through" shirts unless worn over a tight fitting tee shirt. The amount of skin revealed by the male should be indirect proportion to the physical/athletic shape of his body. And is the case in the women's categories, too much skin exposed is considered in bad taste   by judging panels and audience.  While this division is generally alot flashier, sequins and stonework for the gentleman is acceptable at higher levels, but should be considered very carefully and only with the guidance of a very experienced costume designer. 

The only thing I can add to David's excellent guide to proper attire is "Gentlement, empty your trouser pockets!". Rene.

Ladies
Ladies have a somewhat more complicated task here compared to men because of the many choices afforded them in clothing. A couple of things should be considered in choosing attire for lesson however. A skirt is always an excellent choice. If you have a "practice skirt" (one that is a larger "circle skirt" or one that is made with inserts to increase flow and volume) this is an excellent choice when working on Smooth dances (Foxtrot, Waltz, Tango, Viennese Waltz, Quickstep) because it affords you the opportunity of feeling the dance in a flowing skirt AND the chance to practice "skirt work" styling. Wearing a skirt is also important during lessons as it gives you and your instructor the opportunity to see your leg action. As you know the use of your knees and ankles is important in all of the dances and wearing a skirt allows this to be seen. One work of caution. Remember that skirts do tend to fly out and up during quick turns, so be sure to wear "dance pants" or cheerleader pants under your skirt. These are available at any dance supply store and/or athletic supply house. They can be purchased in most colors. Be sure to get a pair in every color (except white) and wear them to all of your dance occasions. As for tops, be sure to dress for your "temperature tolerance." Many venues for lessons are chilly in the beginning. As you dance you may become warmer. If you are a warm natured person dress to be cool, if you are a cold natured person dress accordingly. It is a good idea to bring a sweater or lightweight jacket to keep warm during your warm up dances. Another point to remember is about sleeves. You will want to wear something so that you will be able to use your arms freely. Sleeves that constrict movement are a "no -no" and will make learning to dance uncomfortable for both you and your partner.

As we mentioned in an earlier article dance shoes are a very important part of your dance wardrobe. Care should be used in choosing shoes and a pair of shoes in taupe or "nude" color are a must. These shoes can be worn with any type of outfit and look fabulous, but also they increase the length of the leg line and will not call attention to the feet while dancing. Also wearing "nude to the waist" panty hose (unless you have very tanned legs) is generally considered in good taste.

When it comes to Parties and Social outings, you do have a bit more choice. Once again wearing a skirt or dress gives a more formal look and feel, HOWEVER it is becoming more and more acceptable for ladies to wear dressy slacks and even a feminine tuxedo to more formal occasions. If the occasion calls for "semi - formal" attire you have many choices ranging from a "church type" dress, very dressy pant-suit, to a cocktail dress. For formal occasions, it is generally acceptable to wear cocktail dresses or longer dresses. Tea Length is acceptable (the hem falling somewhere just above the ankle). Floor length gowns are a no-no for dance occasions. One must be careful not to wear anything in which the heel may get caught in the hem during a backwards movement.

In competitive dancing and/or exhibition dancing, there are some general guidelines in which to adhere. As a "Newcomer" or your first competition, dance costuming is generally frowned upon. In dancing in the Smooth category a nicer semi formal dress with a flowing skirt is preferred (please note many costume makers are now designing "basic" dresses for use in this category that can be stoned for use in more advanced categories later - a GREAT money saving tip!). In the Rhythm categories (Rumba, ChaCha, Swing etc.) A shorter cocktail dress that allows the judges to see the knees is recommended. Please remember YOUR body type when picking dresses and it is often a good idea to bring several to your lessons, try them on for teacher approval and see how they move.

As you progress in competition you will want to try a dress especially made for dancing in the Smooth and Rhythm categories. These gowns are made for ease of movement and to draw attention to you and your partner on the competitive floor. The rule of thumb here is to have a gown that looks "hand crafted, not home-made." There are several very reputable dress designers that can personally tailor a gown based on your body type, competitive/dance goals, your budget and design a dress that accentuates your strengths in dancing while hiding flaws in your body type and dancing habits. There is nothing like the feel of a garment made especially for you. Also when having a gown tailor made by one of the bigger design firms you have a garment with "trade -in" value. Once you have a gown from a design firm you can usually turn it back in as partial payment on a new dress. This being said, there are many wonderful gowns available "off the rack" that have been turned in by other amateurs and professionals alike. In fact there is one vendor that ONLY sells consignment dresses and at times (after the larger competitions) has some very trendy dresses at very competitive prices. You don't need to pay "haute couture" prices for a ballgown, however remember the adage 'you get what you pay for.'

When choosing a competitive dress for any style get the opinions of several people and listen to your body. If don't feel comfortable in a dress you won't dance well in a dress. Always try a few steps while in the gown to see how it moves and feels. If you have a gown custom made and it doesn't feel right, any reputable designer will take the gown back and make it right or do a new one for you.

Once again the rules about "dance pants" are of utmost importance (unless your gown/dress has built in dance pants). Also the sheer to the waist panty hose, or "fish nets" for the rhythm/latin categories in a nude or suntan color (unless you have very tanned legs). A nude color shoes. This is especially important in competition as colored shoes or overly stoned shoes will draw the judges attention to your feet -- so if you have absolutely PERFECT footwork, go for it.

As we mentioned for the Gentlemen, the Rhythm/Latin categories tend to be flashier so there are generally a few more stones and a little less fabric. Great care should be taken when choosing dresses for these categories. While a little "two piece" or bare midriff dress cut down to the waist in the back may look great on one person, it may NOT on another. Consult a trusted friend, your teacher/coach, and a good designer when choosing dresses for this category. A general rule of thumb is: The amount of skin revealed is in direct proportion to the physical/athletic shape of the body. Too much skin exposed is considered in bad taste by judging panels and by the audience.

Dance attire, whether it be for social or competitive dancing, should make you feel like dancing and accentuate your movements. When you look good --- you dance good!