Open Smooth Dancers enjoy competing at National Collegiate DanceSport Championships 2018. Photo by National Collegiate DanceSport Champsionships Photography Team.
2•
• 1 JUN 2019
[Get Dancing]
SHEERDANCE.COM
In This Issue [Get Dancing] Upcoming Competitions
3
Twin Cities Dance Events
4
Twin Cities Dance Contacts
5
[From the Community] Dance to the Music
10
Balancing Life and Dance
11
[Special Features] Westlake Legislation Signed into Law!
12
The USA Dance Tea Dance
14
USA Dance Nationals
16
[Recurring Columns] Touching People
18
Volunteer Report: Ravi Narayan
21
Follow the Leader
24
On the Radio
27
Is Dance a Relatable Art Form?
29
Results from Around the Country
32
Luke Newberg and Ali Crampton. Photo by Dance Fest Photography Team.
Brought to You By U Partner Dance, Inc. and:
Advertisers American Style Congress, Cinema Ballroom, Dance Fest, Grand Jete, Julia Leigh, Minnesota Ballroom and Latin Dance Camp, Minnesota Ballroom Blast, National Collegiate DanceSport Chaptionships, Rapit Printing, Sheer Dance, Stardust Dance Productions, StudioJeff, Twin Cities Open
Photographers Dance Fest Photography Team, National Collegiate DanceSport Championships Photography Team, Ravi Narayan, State Capitol Staff
Writers Kaylee Anderson, Miller Balley, Samuel Jawer, Katie from The Girl with the Tree Tattoo, Theresa Kimler, Jake Moe, Kai Petersen, Emily Pofahl, Jonathan Wolfgram
SHEERDANCE.COM [Get Dancing]
Upcoming Competitions
Sections Discussion This is a forum where people
1 JUN 2019 •
Events labeled NQE are qualifying events for the USA Dance National DanceSport Championships.
are invited to express their true
Gumbo Dancesport Championships - NQE
feelings about issues in the dance
New Orleans, LA; louisianadancesport.org
community (while still adhering
Twin Cities Open
to our submission guidelines) and propose solutions to the problems we often face. Statements made in the Discussion section do not necessarily reflect the views of Sheer Dance, even when written by one of our volunteer staff.
From the Community Unlike the other sections, there is no cohesive theme to From the Community; it is a catch-all for the unique gems that are submitted by people like you. Here you’ll find contributions
June 28 - 30 July 18 - 21
Minneapolis, MN; twincitiesopen.com
OKC Dreamcatcher Dancesport Championships - NQE
July 26 - 28
Oklahoma City, OK; dreamcatcherdancesport.com
Carolina Fall Classic DanceSport Championships October 4-6 Charlotte, NC; carolinafallclassic.com
MN Ballroom Blast
October 27
Minneapolis, MN; mnballroomblast.com
Chicago DanceSport Challenge - NQE
October 25 - 27
Chicago, IL; chicagodancesportchallenge.org
California State DanceSport Championships - NQE
November 16
usadance-norcal.org
like event recaps, interviews,
Southeastern DanceSport Championships - NQE January
tales from a far-off competition,
31 - February 2
and photos from a local dance
Dunwoody, GA; dancesportgames.com
event.
Royal Palm DanceSport Championships - NQE
Recurring Columns
28 - 29
We have a handful of generous writers who contribute regularly. Each explores a unique, overarching theme of their choice. Each month, in a volunteer report, one of our volunteers fills you in on what they’ve been doing to make the dance community a better place.
Special Features Some issues focus on a particular event or theme, and all content relevant to that theme belongs to the Special Features section. E
Fort Lauderdale, FL; royalpalmdancesport.org E
February
•3
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• 1 JUN 2019
June 1 • Saturday Milonga en el Alma-Four Seasons Dance Studio; 1637 Hennepin Ave., S., Mpls.; 9:30 p.m.-12:30 a.m. Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan; 8 p.m. Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $10 1st Saturday Swing-301 Main St. NE, Mpls.; 7:30 p.m.
June 2 • Sunday
Patty & The Buttons Live Jazz-125 Main St. S.E., Mpls.; 11 a.m.-2 p.m.; free 1st Sundays at the Eagles Rogue Tango-Eagles #34 Ernie Mattson Ballroom; 2507 East 25th Street, Mpls.; 7-11 p.m. Ballroom Dance Party-Tapestry; 3748 Minnehaha Ave., Mpls.; 6:00 lesson, dance 7-9:30 p.m.; $10, $8 Members, $7 Students
June 3• Monday
Rhythm Junction Lindy Hop-Four Seasons; 1637 Hennepin Ave., S., Mpls.; 8-11 p.m.; $6 Tango Desperados Practica-2507 E 25th St., Mpls.; 7:30-9:30 p.m.; $5
June 4 • Tuesday
Tuesday Milonga-3142 1st Ave S. Mpls.; 9-11:30 p.m.; $5 or what you can afford
June 5 • Wednesday
Practice Party-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; 8-9 p.m.; $10, $6 Students FREE GUEST DAY Social Dancing-Fallout Arts Co-op Studio; 2601 2nd Ave. S. Mpls.; 9-11 p.m. Country Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan; lessons 7:30, dance 8 p.m.
June 6 • Thursday
Swing Social-Wabasha Street Caves; 215 Wabasha St. S, St. Paul; lesson 6 -7 p.m., dance 7-10 p.m.; $8 cash only Swing & Lindy Hop Social-301 Main St. NE, Mpls.; EC Swing 7-8:15 p.m.; Lindy Hop 8:15-9:30 p.m.; $9, $7 Students Late Night Swing-301 Main St. NE, Mpls.; 10 p.m.-1:30 a.m.; $6, $4 Students Variety Dance-Dancers Studio; 415 Pascal St. N, St. Paul; 8-9:30 p.m.; $5
June 7 • Friday
WCS Dance-Starks Saloon; 3125 Dodd Rd., Eagan; lessons 7 p.m., dance 8 p.m.; Nightclub Dance Party-Dancers Studio; 415 Pascal St. N, St. Paul; 8:30-10 p.m.; $10, $5 Members Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $8 Under The Sea Summer Showcase-Dancers Studio; 415 Pascal St. N, St. Paul; 7-11 p.m.; $15 In Advance, $20 At Door
June 8 • Saturday
2nd Saturday Milonga-Four Seasons Dance Studio; 1637 Hennepin Ave., S., Mpls.; 9 p.m.-1 a.m. Student Showcase-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; 5-11 p.m. Practica-The Flying Pig; 6232 Lyndale Ave S, Richfield; 11 a.m.-2 p.m. Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan; 8 p.m. Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $10
June 9 • Sunday
Sunday Night Dancing W Jerry O’ Hagan-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; 6:15-10:00 p.m. Patty & The Buttons Live Jazz-125 Main St. S.E., Mpls.; 11 a.m.-2 p.m.; free
[Get Dancing]
SHEERDANCE.COM
Twin Cities Dance Events Rogue Tango-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; 6-9 p.m.
June 10 • Monday
Rhythm Junction Lindy Hop-Four Seasons; 1637 Hennepin Ave., S., Mpls.; 8-11 p.m.; $6 Tango Desperados Practica-2507 E 25th St., Mpls.; 7:30-9:30 p.m.; $5
June 11 • Tuesday
Tuesday Milonga-3142 1st Ave S. Mpls.; 9-11:30 p.m.; $5 or what you can afford
June 12 • Wednesday
Practice Party-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; 8-9 p.m.; $10, $6 Students Social Dancing-Fallout Arts Co-op Studio; 2601 2nd Ave. S. Mpls.; 9-11 p.m. Country Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan; lessons 7:30, dance 8 p.m.
June 13 • Thursday
Swing Social-Wabasha Street Caves; 215 Wabasha St. S, St. Paul; lesson 6 -7 p.m., dance 7-10 p.m.; $8 cash only Variety Dance-Dancers Studio; 415 Pascal St. N, St. Paul; 8-9:30 p.m.; $5 Swing & Lindy Hop Social-301 Main St. NE, Mpls.; EC Swing 7-8:15 p.m.; Lindy Hop 8:15-9:30 p.m.; $9, $7 Students Late Night Swing-301 Main St. NE, Mpls.; 10 p.m.-1:30 a.m.; $6, $4 Students
June 14 • Friday
Milonga Costa Norte-Four Seasons Dance Studio; 1637 Hennepin Ave., S., Mpls.; 9:30 p.m.-1 a.m. Line Dance Party-Starks Saloon; 3125 Dodd Rd., Eagan; 7 p.m. Nightclub Dance Party-Dancers Studio; 415 Pascal St. N, St. Paul; 8:30-10 p.m.; $10, $5 Members Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $8
June 15 • Saturday
Alternative Tango-T’ai-Chi Ch’uan Studio; 2242 University Avenue, Suite 207 St. Paul,; 9:30 p.m.-1 a.m.; $10 Practica-The Flying Pig; 6232 Lyndale Ave S, Richfield; 11 a.m.-2 p.m. USA Dance Monthly Social Dance-America Classic Ballroom; 1495 Steiger Lake Lane, Victoria; lesson 7-8 p.m., dance 8-11 p.m.; $10 general; $8 members Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan; 8 p.m. Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $10
June 16 • Sunday
Patty & The Buttons Live Jazz-125 Main St. S.E., Mpls.; 11 a.m.-2 p.m.; free Rogue Tango-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; 6-9 p.m. Ballroom Dance Party-Tapestry; 3748 Minnehaha Ave., Mpls.; 6:00 lesson, dance 7-9:30 p.m.; $7 Everyone
June 17 • Monday
Rhythm Junction Lindy Hop-Four Seasons; 1637 Hennepin Ave., S., Mpls.; 8-11 p.m.; $6 Tango Desperados Practica-2507 E 25th St., Mpls.; 7:30-9:30 p.m.; $5
June 18 • Tuesday
Tuesday Milonga-3142 1st Ave S. Mpls.; 9-11:30 p.m.; $5 or what you can afford
June 19 • Wednesday Practice Party-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; 8-9 p.m.; $10, $6 Students Social Dancing-Fallout Arts Co-op Studio; 2601 2nd Ave. S. Mpls.; 9-11 p.m. Country Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan; lessons 7:30, dance 8 p.m.
June 20 • Thursday
Swing Social-Wabasha Street Caves; 215 Wabasha St. S, St. Paul; lesson 6 -7 p.m., dance 7-10 p.m.; $8 cash only Swing & Lindy Hop Social-301 Main St. NE, Mpls.; EC Swing 7-8:15 p.m.; Lindy Hop 8:15-9:30 p.m.; $9, $7 Students Late Night Swing-301 Main St. NE, Mpls.; 10 p.m.-1:30 a.m.; $6, $4 Students Variety Dance-Dancers Studio; 415 Pascal St. N, St. Paul; 8-9:30 p.m.; $5
June 21 • Friday
Out of This World (Sci-fi Party)-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; 7 p.m. Bolero lesson; dance 8-11 p.m.; $10, $6 Students Puro Tango Milonga-Four Seasons Dance Studio; 1637 Hennepin Ave., S., Mpls.; 9:30 p.m.-12 a.m.; $10 WCS & Variety Dance-Starks Saloon; 3125 Dodd Rd., Eagan; 7:30 p.m. Nightclub Dance Party-Dancers Studio; 415 Pascal St. N, St. Paul; 8:30-10 p.m.; $10, $5 Members Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $8
June 22 • Saturday
Tango con~Fusion-The Flying Pig Studio; 6232 Lyndale Ave S, Richfield; 9 p.m.-1 a.m. Practica-The Flying Pig; 6232 Lyndale Ave S, Richfield; 11 a.m.-2 p.m. Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan; 8 p.m. Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $10
June 23 • Sunday
Sunday Night Dancing W Jerry O’ Hagan-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; 6:15-10:00 p.m. Patty & The Buttons Live Jazz-125 Main St. S.E., Mpls.; 11 a.m.-2 p.m.; free Rogue Tango-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; 6-9 p.m.
June 24 • Monday
Rhythm Junction Lindy Hop-Four Seasons; 1637 Hennepin Ave., S., Mpls.; 8-11 p.m.; $6 Tango Desperados Practica-2507 E 25th St., Mpls.; 7:30-9:30 p.m.; $5
June 25 • Tuesday
Tuesday Milonga-3142 1st Ave S. Mpls.; 9-11:30 p.m.; $5 or what you can afford
June 26 • Wednesday
Practice Party-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; 8-9 p.m.; $10, $6 Students Social Dancing-Fallout Arts Co-op Studio; 2601 2nd Ave. S. Mpls.; 9-11 p.m. Country Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan; lessons 7:30, dance 8 p.m.
SHEERDANCE.COM [Get Dancing]
June 27 • Thursday Swing Social-Wabasha Street Caves; 215 Wabasha St. S, St. Paul; lesson 6 -7 p.m., dance 7-10 p.m.; $8 cash only Swing & Lindy Hop Social-301 Main St. NE, Mpls.; EC Swing 7-8:15 p.m.; Lindy Hop 8:15-9:30 p.m.; $9, $7 Students Late Night Swing-301 Main St. NE, Mpls.; 10 p.m.-1:30 a.m.; $6, $4 Students Variety Dance-Dancers Studio; 415 Pascal St. N, St. Paul; 8-9:30 p.m.; $5
June 28 • Friday
Salsa Fusion-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; 7 p.m. Salsa & Bachata lesson; dance 8-11 p.m.; $10, $6 Students Mala Yunta Milonga-Four Seasons Dance Studio; 1637 Hennepin Ave., S., Mpls.; 9:30 p.m.-1 a.m.; $10, $5 Students Line Dance Party-Starks Saloon; 3125 Dodd Rd., Eagan; 7 p.m. Nightclub Dance Party-Dancers Studio; 415 Pascal St. N, St. Paul; 8:30-10 p.m.; $10, $5 Members Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $8
June 29 • Saturday
Practica-The Flying Pig; 6232 Lyndale Ave S, Richfield; 11 a.m.-2 p.m. Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan; 8 p.m. Duende Social-Duende Dance Studio; 5808R W 36th Street, St. Louis Park; Salsa lesson 7 p.m., Dance 8-11:55 p.m.; $10 Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $10
June 30 • Sunday
Patty & The Buttons Live Jazz-125 Main St. S.E., Mpls.; 11 a.m.-2 p.m.; free Rogue Tango-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; 6-9 p.m. Ballroom Dance Party-Tapestry; 3748 Minnehaha Ave., Mpls.; 6:00 lesson, dance 7-9:30 p.m.; $7 Everyone
1 JUN 2019 •
•5
Twin Cities Dance Contacts Studios
American Classic Ballroom 952.934.0900
Instructors
Scott Anderson
612.816.4446
Ballroom & Wedding Dance Studio 612.371.0300
Nathan Daniels Donna Edelstein
763.464.1021 612.910.2690
Bloomington Ballroom 952.392.9631
Jennifer & Robert Foster 952.239.2984 Shane Haggerty 612.702.3588
1495 Steiger Lk Ln, Victoria 55386 www.acballroom.com
2717 42nd Street E, Minneapolis www.myballroomdancestudio.com
3701 W Old Shakopee Rd, Bloomington www.bloomingtonballroom.com
Cinema Ballroom
1560 St. Clair Ave, St. Paul www.cinemaballroom.com
651.699.5910
Costa Rica Ballroom Dance Studios 952.303.3339 816 Mainstreet, Hopkins www.costaricaballroom.com
Dahl Dance Center 507.252.1848 2625 Hwy 14 West Suite E, Rochester www.dahldance.com
scottadance@gmail.com www.scottadance.com
donna@donnaedelstein.com www.donnaedelstein.com
shanehaggerty@hotmail.com www.shanehaggertydance.com
Julie Jacobson Yulia Kornilova
651.261.6442 708.506.2697
Jay Larson Julia Leigh
651.387.3886 612.562.6870
Monica Mohn
612.874.0747
yulia.v.kornilova@gmail.com
julialeighmccreight@gmail.com monicamohn@juno.com www.monicamohn.com
Dance and Entertainment 651.605.5784
Mariusz Olszewski 612.242.5159
Dance with Us America 612.564.5483
Karin Rice Lisa Vogel
612.242.2188 651.208.0818
Miriam Ziven
847-340-6854
www.danceandentertainment.com
10 Southdale Center, Edina www.dancewithusamerica.com
DanceLife Ballroom 612.345.4219 4444 W 76th Street Suite 200, Edina dancelifeballroom@gmail.com www.dancelifeballroom.com
Dancers Studio
415 Pascal Street N, St. Paul www.dancersstudio.com
651.641.0777
5808R W 36th Street, Saint Louis Park www.dancewithduende.com
Four Seasons Dance Studio 612.342.0902 1637 Hennepin Ave S, Minneapolis www.fourseasonsdance.com
Fred Astaire Dance Studio South Metro 651.451.6300 1975 Seneca Rd #700, Eagan www.fredastairemn.com
612.558.7190
2948 Chicago Ave S #308, Minneapolis www.latinmambodancestudio.com
Mill City Ballroom 612.562.2733 www.millcityballroom.com
nMotion
miriam.ziven@gmail.com
Clubs
LaDanza Dance Club 651.439.3152 Loring Pasta Bar
612.378.4849
327 14th Avenue Southeast, Minneapolis lpbtestingdomain.info
MN West Coast Swing Dance Club info@mwcsdc.com www.mwcsdc.com
Tango Society of Minnesota 612.224.2905 www.mntango.org
Tapestry Folkdance Center 612.722.2914 www.tapestryfolkdance.org
TC Swing
info@tcswing.com www.tcswing.com
651.558.0562
651.357.2060
Twin Cities REBELS Swing Dance Club 952.941.0906
320.266.4137
University of Minnesota Ballroom Dance Club
7988 Universtiy Ave NE, Fridley www.awakeneddance.com
StudioJeff
lmvogel27@gmail.com
facebook.com/LaDanzaDanceClub
Duende Dance Studio 612.805.3516
Latin Mambo
modance4u@gmail.com
701 St. Germain Street W, Suite 201, St. Cloud www.studiojeff.com
Uptown Swing
612.217.1087
The Flying Pig
612.598.1094
1617 North 2nd Street, Minneapolis www.uptownswing.net 6232 Lyndale Ave S, Rhichfield www.tfpstudio.com
www.tcrebels.com
bdc@umn.edu umnbdc.com
6•
• 1 JUN 2019
[Participate]
Volunteer Openings Assignment Photographer If you love taking photos and exploring the partner-dancing world, throw in your hat to become an official Sheer Dance photographer! This volunteer will be provided topics and events to cover with action-packed shots.
Assignment Writer
SHEERDANCE.COM
About Us Sheer Dance is a monthly independent publication that presents news and information relevant to the partner-dancing community in the central United States and the nation at large. It is intended to be an accessible outlet for members of the community to discuss their experi-
Love writing but never sure what to write
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about? We supply the topics every month; you
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consider volunteering for this position.
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Columnist
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eration, and problem-solving. Sheer Dance is made possible by the generous contributions of members of the community. If you enjoy reading this publication, please consider contributing an article or photos, making a donation, subscribing, or volunteering your time and skills. The staff of Sheer Dance can be reached at info@sheerdance.com. We hope to hear from you! E
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1 JUN 2019 •
•7
Contribute Submission Guidelines
productive. Harassment of any kind will not be pub-
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Articles All articles must be clearly relevant to partner dancing. There are no length requirements or limits, but Sheer Dance may break up longer articles across multiple issues when appropriate. While articles may promote specific events, that cannot be their primary function; they must have a broader applicability to enlightening the dance community. Articles must be respectful and
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8•
• 1 JUN 2019
[Volunteer Team]
SHEERDANCE.COM
Volunteer Team Taylor Wall
Olivia Wicker
A lifelong dancer, Taylor started ballroom dancing with the University
Olivia is a fresh face in dance and design. A life-long martial artist,
of Minnesota Ballroom Dance Club. She has been volunteering in the
her love of competitive sports and artistic creation drew her to study
Minnesota dance community since 2011, where she is a board member
kinesiology and graphic design at the University of Minnesota. Now
of U Partner Dance and Volunteer Coordinator for the local amateur
she’s enjoying the adventure of ballroom dancing. She designs and
competitions Dance Fest and Minnesota Ballroom Dance. Taylor over-
develops the layout, graphic elements, and content of Sheer Dance and
sees production of Sheer Dance from beginning to end each month,
guides creative decisions.
EDITOR IN CHIEF
working closely with the acquisitions, editing, and design teams to craft an exciting and interesting magazine you can look forward to reading each month! Email her at info@sheerdance.com.
Uzo Wamuo
COMMUNITY LIAISON Uzo Wamuo is a student at the University of Minnesota with a Neuroscience major and a Spanish minor. He is on the University of Minnesota Ballroom Dance Competition Team and is an avid dancer who loves going out for social dances and meeting new people. Uzo was born and raised in Plymouth, MN with his parents, his older brother and twin brother and enjoys spending his past time playing piano, cooking, and playing video games.
DESIGNER
Theresa Kimler
SUBSCRIPTION COORDINATOR A seven-time USA Dance open smooth champion, nine-time rhythm champion, and four-time nine-dance champion, Theresa is an undisputed, long-standing champion of dance. Mechanical engineer by education, black-belt project manager, owner of Total Project Consulting, and lover of quadrupeds, Theresa graciously lends her expertise to Sheer Dance for the betterment of the dance community as our Subscription Coordinator.
Alexzandra Enger
ACQUISITIONS EDITOR When she’s not busy dancing, volunteering, or studying, Alex will
Jonathan Wolfgram
likely be found—coffee in hand—spending time with her friends,
ADVERTISING EDITOR
conquering video games, discovering new music, and whipping up
Jonathan is the Vice-President of the University of Minnesota Ballroom
delicious meals and desserts. She wants to travel the world, dance
Dance Club and serves the Sheer team as advertising editor and
as often as she can, and be happy. As Acquisitions Editor of Sheer
columnist. Although his athletic background is in martial arts, he fell
Dance, Alex is responsible for gathering all content for the magazine.
in love with dance when he moved to the Twin Cities and joined the
If you’ve got articles or photos to share, send them to Alexzandra at
UMNBDC Competitive Team his freshman year. He is studying Finance
submissions@sheerdance.com.
and the Philosophy of Mathematics and is very excited to apply himself to helping the greater ballroom dance community.
Kaylee Anderson COPY EDITOR
Kaylee is a recent graduate of the University of Minnesota, and was a part of their Ballroom Dance Competition Team for three years. She is thrilled to be an essential part of Sheer Dance’s team and to gain experience in the field of copy editing, putting her knack for grammar to good use in her monthly column.
Paris Becker COPY EDITOR
Paris has a diverse background in dance that spans more than 20 years. When she is not dancing, Paris is usually spending time with friends and family, watching a sitcom, or showing off pictures of her pets (they are really cute). As a graduate of the University of Minnesota, she is excited to put her writing and grammar skills to good use as a Copy Editor for Sheer Dance.
Isabella Armour
Emily Pofahl
Isabella is a student at the University of Minnesota studying Plant
Emily Pofahl is a sophomore at the University of Minnesota, dou-
Biology and Sustainability. She was a competitive figure skater for
ble-majoring in Journalism and Theatre Arts. Emily started dancing
twelve years before coming to college and joining the University of
at the age of three as physical therapy, and never stopped. In her free
Minnesota’s competitive ballroom dance team. She is very excited to be
time, she reads, makes coffee, and spends time with friends. Emily
a part of the Sheer team as the Community Correspondent and hopes
is so excited to join Sheer’s team, and is grateful for how much the
to help the ballroom dance community become more accessible and
experience is teaching her about professional journalism.
COMMUNITY CORRESPONDENT
inviting to all people!
ACQUISITIONS EDITOR
10 •
• 1 JUN 2019
[FROM THE COMMUNITY]
SHEERDANCE.COM
Honestly, I can’t remember what
Dance to the Music
my answer was then, but the question has stuck with me as I’ve continued to
BY SAMUEL JAWER
dance this semester, and it’s one I have continued to ponder. Each is a fundamental part of the essence of ballroom
Early
this semester,
I
went to
more experienced members of the
dancing as an activity, and it would
dinner with some soon-to-be friends
group asked me a question: “If you had
truly be a loss to have one without the
after a Tuesday ballroom practice.
to choose between dancing with a part-
other. I realized that while I had been
After we had finished dinner and were
ner and dancing to music for the rest of
forced to learn how to communicate
walking back to the dorms, one of the
your career, which would you choose?”
and work with each partner, I had yet to learn how to truly work with and implement the music in my dancing. Of course, I had been shown how to count it and stay on time, but beyond that I found I was at something of a loss as to what music truly meant to my dancing. Perhaps this is one of the reasons I decided to try my hand at being the music coordinator for the University of Minnesota Ballroom Dance Club this upcoming year: I wanted to learn what it means to actually dance to the music, rather than dance to a beat. I wanted to learn to make the music another partner of sorts, and be able to express myself in that partnership in the same way I express myself to each of my human partners. To do that, I knew I would need to learn each part of music: the pacing and beat, of course, but also the energy, emotion, and elegance that each can bring to a dance. I’m still young in my dancing career, and I have a long way to go as I’m sure any of my partners can attest to. It will be a long time before I can truly say that music is my partner, but I think that if I ever make it there, it will have been worth every second. E
Sydney Kuran and Samuel Jawer. Photo by Dance Fest Photography Team.
SHEERDANCE.COM [From the Community]
1 JUN 2019 •
• 11
schedule always all over the place. To help keep my time more balanced and organized, I started having regularly-scheduled practices each week with my partners, and left some openings where if there was enough time to dance we could, but if not it was no big deal. This helped me to budget my time throughout the week while still practicing as much as I could. Having a consistent and reliable schedule helps a lot, but sometimes things still come up and you need to reprioritize your schedule and free time. It can be a bit of a hassle, but won’t be a huge problem as long as you effectively communicate with your partners. It’s important to let them know what you have going on, but as long as they are aware of these issues it gives you time to plan and reschedKelela Puranen and Jake Moe. Photo by Dance Fest Photography Team.
ule. Cancelling a practice is never fun, but it happens, and it’s much easier to cancel it in advance instead of getting overwhelmed and doing so last-minute.
Balancing Life and Dance BY JAKE MOE
Having good communication with your partner and an understanding of what they have going on makes you easier to work with, and will make scheduling easier and dancing more fun.
When I
first started ballroom
to deal with these conflicts. To help bal-
dancing in September of last year, I
ance your life with ballroom, you want
found it to be a great way to take my
to be consistent and organized, com-
mind off of the other things I had
municate well with your partner, and
going on and as a healthy little break
set limits for yourself to ensure you are
in my day. As I became more seriously
still accomplishing all you need to do.
involved, I noticed finding a balance
Once I started practicing with my
between dancing and everything else
partners one on one, it was never on
was sometimes hard to do. With so
a consistent schedule and often con-
much to learn about something I truly
flicted with other events or deadlines.
enjoyed doing, it was hard to not dance
This was difficult to work with as I
as much as I could, especially when I
never truly knew when it was and
had competitions coming up shortly
wasn’t time to dance, and the amount
ahead and what felt like not enough
of time I committed to dance each
time in the day. I found myself having
week varied between just twice a week
to choose between preparing for com-
and every day of the week. That, along
petitions or studying for midterms and
with varying amounts of coursework,
writing essays, but quickly learned how
meetings, class, and exams, made my
At the end of the day, dance is just a hobby for (most) of us and shouldn’t be the highest priority in your life. Sometimes you need to set limits for yourself and put other things in your life first. They might not be as fun or exciting, but the sooner it’s out of the way the sooner you can get back to dancing. Even if you have a big event coming up soon and don’t feel quite ready for it, it’s important you limit your stress from other factors first before you focus as much as you can on your dancing. Once everything is out of the way, it’s much easier to have meaningful and helpful practices. E
12 •
• 1 JUN 2019
[Special Features]
SHEERDANCE.COM
Westlake Legislation Signed into Law! BY THERESA KIMLER
The
senseless and tragic loss
days. The new law creates accountabil-
Protected by liability caps, they refuse
of Nic Westlake left his family and
ity and visibility for light rail operators
practical change and will apparently
friends looking for answers as to how
with the hope they will drive more
have to be forced to reason by further
losses like this could occur and why
responsibly and conscientiously, mak-
legislative action. With a level of deter-
light rail operators are able, with gross
ing the light rail system more safe.
mination that Nic would often exhibit,
negligence, to kill people and return
The passage of the legislation rep-
to work three days later without con-
resents a good and remarkable change
sequence. They found that a portion
made in Nic’s name. Though very grate-
Though not like dance, Nic loved
of the problem was badly written
ful for this result, family and friends
the light rail and believed in it. The
legislation.
his family and friends will aggressively pursue further change.
want more. Any one of more than
hope is that among the many gifts
Tireless family efforts and efforts
5 simple, inexpensive, easily imple-
Nic bestowed upon us, making the
of Neli Petkova, Nels Petersen, and
mented safety upgrades to the light
light rail a safer and more publicly
Ember Reichgott Junge, along with
rail would have prevented Nic’s death
responsive part of our community
kind State Legislators Carla Nelson
and the severe injuries caused to Neli
will be another. E
and Cheryl Youakim, passed legislation
Petkova. Normal, usual, and prudent
that started some of the needed legal
business practice would call for instant
repairs. Passing legislation is a very dif-
implementation of these changes. The
ficult and challenging thing to do these
Metro
Transit
operates
differently.
MN Governor Tim Walz, Peter Westlake, MN Legislators Carla Nelson and Cheryl Youakim, and MN Lieutenant Governor Peggy Flanagan. Photo by State Capitol Staff.
14 •
• 1 JUN 2019
[Special Features]
The USA Dance Tea Dance BY MILLER BALLEY
SHEERDANCE.COM
a big part of many people’s lives, decades after they first began to dance. I hope that dance is something that I continue to enjoy for many years, like so many of them. After brunch there was social dancing, and we performed
I
I
had the
ballet, but this was the first time that I
about halfway through it. It took place
opportunity to perform at the USA
would be performing in ballroom and
at the LaFayette Club in Minnetonka,
Dance Tea Dance at the end of April. It
not receiving marks or critiques from
and
was different from any other event that
judges. Even though I always have fun
beautiful. It overlooked the lake and
I have been a part of so far in the world
when I am competing, I was excited
there was plenty of space for us to all
of ballroom dance. Before the National
to have the main focus of my dancing
do our Smooth choreography. It was
Collegiate DanceSport Championships,
be on enjoying myself and connecting
a very fun environment to dance in,
my partner and I, along with another
with the audience.
with so many people clapping for and
am so grateful that
the
ballroom
was
absolutely
couple on our team, were asked if
I have never been to a tea dance, so
complimenting our dancing. I enjoyed
performing at the Tea Dance would
I did not really know what to expect.
interacting with, and performing for,
be something that we would be inter-
The morning began with a lovely
so many people who were happy to be
ested in doing. We agreed, as we both
brunch and we socialized with many
dancing at all stages of life, and I look
love any opportunity to dance for an
of the USA DAnce chapter members
forward to the many fun opportunities
audience. Usually when we dance, we
in attendance. We discussed how we
that ballroom dance will bring me. E
are competing. This time however,
became involved in ballroom and it
we would just be performing. I used
was great to see so many people that
to perform all the time when I was
share such a love for dance. I was
younger because I was very involved in
excited to see that ballroom was such
Daniel Korus and Miller Balley. Photo by Dance Fest Photography Team.
16 •
• 1 JUN 2019
Photos by Dance Fest Photography Team
[Special Features]
SHEERDANCE.COM
Uzo Wamuo and Brittney Heisserer
and oranges of the canyon and white
USA Dance Nationals
snow. There we ate lunch at the park and I even got to try the park’s famous
BY KAI PETERSEN
Elk chili, which reminded me a lot of venison. From there we spent our
This year I was fortunate enough
Standard they choose to have only one
to be able to attend the USA Dance
heat run at a time, meaning that I was
Amateur Nationals for the second time.
competing on a floor almost twice as
However, this year was much different
big as I’m used to. As I walked out on
than before. The venue, located at Utah
to the floor I felt like a goldfish in a
Valley University, was much larger
pond. Yet even with this large of a floor
than before. Both the dance floor as
there was still plenty of floor-crafting
well as the physical space of the venue
to be done. Of course for me, ballroom
at least doubled in size, leaving plenty
dance competitions aren’t all about the
of room for this event to grow.
dancing.
One benefit of having such a large
I had the privilege of spending the
dance floor was that two events were
weekend competing with my amazing
able to run at the same time. For
dance partner, and exploring Utah’s
example on one floor you would have
beautiful national parks with some
Bronze Smooth, while on the other
of my closest friends. We first went
was Senior III Smooth. This was very
to Bryce canyon which still had snow
advantageous in keeping on time and
covering parts of it, creating this stun-
overall it felt smoother. However, for
ning contrast between the rich reds
second day over in Capitol Reef doing day hikes. Here we were able to see a diverse range of attractions, from deep gorges, to walking through narrow passes, to seeing petroglyphs and a natural land bridge. As an avid fan of hiking, Utah was one of the most awe-inspiring experiences I have ever had. From being surrounded by the Rocky Mountains to hiking through gorges with my friends, I am grateful I was able to attend this year’s nationals. Weekends like this remind me of why I started to like dance, and in part why I continue dancing: because of the people. E
March 7-8, 2020
udancefest.com facebook.com/udancefest
18 •
• 1 JUN 2019
[Recurring Columns]
SHEERDANCE.COM
Touching People
The Remarkable Intimacy of DanceSport BY JONATHAN WOLFGRAM
Many
of us dance with other
But if we open with the line “Would
day-to-day life. Not only do we hold
people several times per week, if not
you like to dance?” the intimacy that
hands and brush thighs, but we com-
every day. We move, our partners
would be creepy in any other context
mit to these actions and focus on con-
move, and this idea of dancing together
is cherished. We touch total strangers
necting with our partner, giving them
has become so natural to us that we
with an intimacy that we avoid in
private information about how fast our
think little of it. This idea of touching another person is just a part of the sport that, through countless hours of social dancing or practice, we’ve been desensitized to. Rather than talk about goals or motivation or practice methods this month, I’d like to step a step back to ponder that concept. When we dance, we’re touching another person. Another human being. With thoughts, feelings, and a conscious perspective of the dance that is totally independent of our own. That’s crazy! We hold hands with them, we grab their backs and their arms, we brush our thighs together. All of these things are expectations of how we touch other people when we ask them to dance, but things we might not even consider until we’re on the third date with someone we met on the street. I’m not insinuating that dancing together is inherently romantic or sexual by any means, but it is intimate. We don’t let strangers touch us in any of these ways; it’s not a typical aspect of communication nor is it allowable in regular social interactions. We, as people, are private, personal, and often defensive. We don’t want other humans to come take our hands or to stand too close to us, and even times when there is no breach of consent, we consider it
Isabella Armour and Jonathan Wolfgram. Photos by National
weird, touchy, and abnormal behavior.
Collegiate DanceSport Championships Photography Team.
SHEERDANCE.COM [Recurring Columns]
1 JUN 2019 •
• 19
legs are moving, how much tension is
streets because we have no trust what-
of these forms of touching, balancing,
in our shoulders, and other qualities
soever in the other party. We have no
moving together, and even forfeiting
of our current state of being that seem
idea who they are or where they come
some control over our own bodies for
too personal to reveal to the rest of the
from. Even if we do know them and it’s
the betterment of the dance. We trust
world.
a coworker or a friend, we may not be
that they won’t knock us over or push
Why then, are we so comfortable
close enough with them to be comfort-
into a wall, and even moreso, we trust
letting other human beings, strangers,
able trusting them with this intimacy.
them enough to be comfortable touch-
nonetheless, touch us in such intimate
When we agree to dance with a person,
ing them and letting them touch us.
ways? Because we’ve opened dancing
through many hours of conditioning
as an avenue for trust.
and association, we establish some
time,
We hate when people stand too
form of trust that says “You can hold
Sharing that trust with another human
close to us or brush up against us in the
my hand.” That trust encapsulates all
being is a special experience and not
That’s magical, and at the same it’s
extremely
vulnerable.
something to be taken lightly. I’ll close by asking you to think back to when you first started dancing. See if you can remember your very first dances when one second you were on the side of the room and the next, there was another person in your arms. Maybe it was weird. Awkward. Scary. Uncomfortable. Any number of emotions might come to mind to describe the dances you had before you learned to establish this line of trust, or before you were desensitized to how weird this all is. Remember that feeling and how that’s the way we naturally behave when we’re this touchy with another person this fast. Compare that to how you feel now when you touch your partner, and hopefully, you’ll have some appreciation for the magical thing that seems normal now. So next time you dance, remind yourself that there is a person, a living human being, in your arms. Lead or follow, there is another person with a conscious experience that is trusting you in this moment. To me, that never gets old. E
Isabella Armour and Jonathan Wolfgram
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SHEERDANCE.COM [Recurring Columns]
1 JUN 2019 •
• 21
share a lot of the responsibility, so I
Volunteer Report: Ravi Narayan
became the vice president, and I also
USA Dance National Volunteer of the Year
became the DJ. We were also losing
BY EMILY POFAHL
cations – a newsletter.”
members, so I started email communiOut of all of the volunteer work Narayan does for USA Dance, running
Within our own social spheres, our own jobs, and our own challenges, we
of work he puts in cannot fit into one title.
the K-12 program is his favorite. “I mean, if I had someone else to
sometimes forget about our commu-
“We joined the board in 2008, and
do some of the other things I would be
nity – how much it does for us, and
then soon after we started the K-12
happy just running the program,” he
how much we could be doing for it in
program,
laughed.
return. Ravi Narayan of the USA Dance
twice a week for three hours,” said
I asked him what his least favorite
Honolulu chapter brought me to this
Narayan. “Typically the USA Dance
part of the volunteer work was, and his
realization when I sat down with him
K-12 Coordinators only coordinate the
long, thoughtful pause almost made
to discuss receiving the USA Dance
classes -- they don’t teach; but in our
me think he couldn’t think of one.
National Volunteer of the Year title
case we ended up being instructors as
Narayan loves his work. He did eventu-
earlier this week. Unfortunately, I was
well.”
ally discuss his administrative role.
which
involves
teaching
unable to meet with him in person,
Narayan then explained to me how
“Probably just the administration.
as he lives in Hawaii, but something
else he is involved in the chapter, and
Keeping up with some of the time sen-
about his enthusiasm made me believe
how he was unexpectedly thrown into
sitive things is difficult. I’d say that’s my
that he truly cares about the work he
those roles.
least favorite because when publicizing
“About a year ago, four out of the
a workshop or something like that, you
Narayan is heavily involved in the
nine members of our board retired,
have to stay on top of it, which I am not
USA Dance Honolulu Chapter, and
including the president and the DJ of
able to do along with everything else.”
has been since 2008. As a teacher,
many years. So, as a result we had to
does, and about his community.
competitor, and administrator, he is no stranger to the local and national dance community. “I started ballroom dance about 19 years ago. My wife saw a sign for classes,” he said. “We have been teaching ballroom for about 10 years now, only for kids. We started the K-12 program for the USA Dance Honolulu chapter – mostly for Prita.” For the Narayans, ballroom dance is a family affair. Narayan’s daughter Prita started the K-12 program along with her parents when she was young, and still is active in ballroom dance today. There is only one USA Dance chapter within the state of Hawaii, but the members are nearing the thousands, and the people of Honolulu have a lot of interest, according to Narayan. Narayan’s role in the chapter is largely undefined, solely because the amount
Photo provided by Ravi Narayan
22 •
• 1 JUN 2019
[Recurring Columns]
SHEERDANCE.COM
Narayan and his wife both have full
chapter has banded together to find
Week, and the chapter took home the
time jobs in addition to their involve-
stability. Narayan’s next mission, and
award for Best Video.
ment with the Honolulu Chapter.
hope for the future of their chapter, is
From our discussion, I realized that
Narayan
to interact with and bring in younger
Narayan is a role model for cheerfully
with his daughter Prita at USA Dance
students
giving time and effort back to the com-
Nationals. Being heavily involved in so
community.
also
competes
each
year
to
the
ballroom
dance
munities that do so much for us. There
many activities and professions can be
You can check out a fun-filled per-
is so much to be gained personally
a balancing act, so I inquired after how
formance by the USA Dance Honolulu
and socially from being active in the
he does it.
Chapter on YouTube by typing in
community.
“It’s very difficult,” he said with a
“Flash Mob Vid 2.0” by Brooke Johnson.
“It feels good to give back, and it’s a
laugh. “It’s almost like going from one
Narayan organized and taught the
way of connecting with the community
to the other, and then training for com-
flash mob for National Ballroom Dance
in a positive way.” E
petitions, with no breaks.” Narayan works for a technology company locally in Honolulu, and also teaches at the university there. It’s Narayan’s commitment to the Honolulu Chapter and USA Dance, on top of his commitment to everything else he’s got going on, that really makes him shine as USA Dance’s National Volunteer of the Year. “The president and secretary nominated me primarily because when we lost several members of the board, there was a lot of uncertainty with the organization. In fact, we thought we would have to close down the chapter. We were not really sure we could continue. We were down to five volunteers, and two out of the five were also already thinking of retiring at that point. Luckily they stayed on, but that’s part of why I was nominated. We were able to turn it around in the last year -- we were able to keep the organization going. The perception among the community is that we have been doing a decent job since then. We managed to keep the dances going, and we kept the revenue coming in. I’ve also been trying to keep more communication with Nationals, because we have competitors and we know some of the folks there -- which has not always happened in the past.” The award was presented to him in his home town at the chapter’s anniversary dance, and since last year, the
Photos provided by Ravi Narayan
24 •
• 1 JUN 2019
[Recurring Columns]
SHEERDANCE.COM
Follow the Leader
Opening our Minds to Dance Diversity BY KAYLEE ANDERSON
I’ve
heard it said by many that
required to be the sexy, tempting prey,
everything in ballroom boils down to
and the lead must be the insatiable
emphasizing the inherent contrast
predator. I’ve seen plenty of choreogra-
between “the two genders.” To some,
phy reflecting that dynamic, including
women have an inherent allure that
pieces that are rehearsed but appear
draws in an audience as they dance,
non-consensual—such as a man peek-
and that’s why people enjoy watching
ing under a woman’s skirt as she turns
ballroom dancing. While I agree that
around, pretending to be shocked.
that can and does happen, I’m not sure I’m 100% on board.
Another way sexual choreography can make things uncomfortable is when
I can see validity in the traditional
a male-female couple with a huge age
“tempting woman” act that permeates
gap are dancing together. If I’m danc-
Competition Team for three years. She is thrilled
a lot of professional dancing. The lady
ing with someone who’s old enough
to be an essential part of Sheer Dance’s team and
in her tall heels, perfectly tanned skin,
to be my father, if not my grandpa, I
to gain experience in the field of copy editing,
and toned body struts across the floor
would be extremely uncomfortable if
putting her knack for grammar to good use in
like a sex object, her man drooling at
he were to act like he were chasing my
her monthly column.
the sight of her booty like a cartoon
skirt or admiring my figure. Likewise,
character who can’t quite keep his
I’m sure my male counterparts don’t
hands to himself. It’s tradition, sure,
love being sexualized by follows who
but I don’t find it to be very original—
are also their parents age. While this
and it certainly doesn’t seem to be
is not as much an issue in the profes-
required.
sional world, it still emphasizes that
Kaylee is a recent graduate of the University of Minnesota, and was a part of their Ballroom Dance
At a professional event I got to see
not every dance between a lead and a
last summer, one of the most enter-
follow needs to be sexualized in order
taining things I witnessed was a profes-
to be entertaining. I’ve seen plenty of
sional lead enjoying himself immensely
showcase dances over the years that
with his partner. He wasn’t worshiping
have raised an eyebrow or two!
her body like she was a goddess, and
As much as I love ballroom, it’s hard
she wasn’t shaking her butt in his
to argue that it’s at all progressive,
face—the gentleman was acting like he
especially when a large population of
was having an amazing time grooving
people who dance it are older and less
to the music. He even snatched one of
receptive to change. Even for teachers,
the wine glasses from a nearby woman
using the terms “lead” and “follow” in
and took a sip, setting it down with a
a class instead of “men” and “ladies”
wink before continuing to Mambo.
can seem strange or unnecessary. The
Ballroom dance always seems to
reality is that if we want more young
perpetuate society’s ingrained gender
people to enjoy ballroom dance and
binary, not because there are suppos-
carry on the sport, we have to stop
edly only two genders, but because a
with this idea that only women and
lot of us don’t see past the traditional
men dance together, and that all dance
partnership. The female follow is
chemistry is sexy and heterosexual.
SHEERDANCE.COM [Recurring Columns]
1 JUN 2019 •
• 25
Why do we always seem to laugh and
Don’t believe me? At a recent com-
landed smack-dab in the middle of the
cheer more when men dance together,
petition I got to watch Championship-
pack. The judges absolutely could have
especially? Is it because under our own
level Standard dancers compete, and
ranked them last if they so chose, but it
self-confining rules, one must act male
in contrast to bronze Standard, it’s
was obvious that their composure and
and one must act female? Is a man who
usually tailsuits and frilly dresses as
skill made them a highly competitive
“listens” as the follow now effeminate,
far as the eye can see. Usually. But this
team. I couldn’t have told you who
and that is what amuses us so much? Is
time there was a breath of fresh air—a
the other couples on the floor were,
it that the concept of affection between
female same-sex couple, walking onto
because I was so entranced by the
two men is so alien that it can’t be
the floor with their heads held high.
energy of the all-lady power couple
taken seriously?
The lead was wearing black pants and
that I had no reason to look away.
There are many ways to interpret
a black quarter-sleeve shirt, covered
In that same competition, I saw
how partners relate to each other
in slashes of Swarovski rhinestones.
two young gentlemen dancing with
besides wanting to “get it on”. There’s
Her sleeves were a little flowy as well,
one another at the Silver level and was
the flirtation and the allure like we’ve
which added a beautiful feminine qual-
consistently impressed by their skill
discussed before, but there’s also two
ity to her outfit. She wasn’t in a tailsuit
and how they chose to explore their
friends sharing a moment together,
with perfectly slicked-back hair, but
partnership without the predefined
strengthening
I
she still had the look and air of a lead,
male-female relationship that would
don’t see much of a difference between
their
relationship.
and her feminine but quiet outfit didn’t
be expected of them if they were a het-
best friends having a “girls night out,”
outshine her follow’s at all.
erosexual couple. I wouldn’t describe
dancing in a club together, and them
They held their own brilliantly
the follow in that partnership as being
dancing a Salsa or a Tango. They’re still
against the other competitors and
more feminine, although that in itself
dancing together, aren’t they? Sure there are rules to their dancing, where their feet go and what beat they’re supposed to step on, but they’re still experiencing the song together, laughing as they lose their balance or strike a pose at the right time. Coming from a collegiate amateur background, audiences will often see female-presenting people dancing with other women during competitions, and often those people will win over male/ female couples. You can argue that they had better technique, or better posture than the other couples, but in competitions where the difference in execution between the top couples is tight, I don’t think the “heterosexual image” the other dancers present is giving them the advantage. If we put more effort into training same-sex couples at higher levels, there’s a very real chance they could be competitive, especially if biased judges can look past their prejudices and see the dancers for who they are, not the rule-breakers they appear to be.
Photo by Dance Fest Photography Team
SHEERDANCE.COM [Recurring Columns]
love showing the bond that my partner
see. They chose to display mutual
and I have without making his girl-
affection and respect for one another,
friend in the audience uncomfortable.
a softer energy than the fiesty predator
Large dance organizations trying to
men are usually expected to portray.
oust same-sex couples from their core
Seeing men in dance be vulnerable and
set of competitors is regressive and
trusting is something I would love to
frustrating, and hopefully with time
see more of, as it’s a way of presenting
and the influence of forward-think-
itself that can still be alluring without
ing dancers, those organizations will
being sexual or stereotypical.
realize their errors. I can’t wait to
choreography
see the ballroom community learn to
that’s playful, that shows how dancers
I
love
watching
celebrate and encourage its diverse
relate to one another without making
couples, especially with June being
overly-apparent sexual advances at
pride month. There’s no time like
one another. I love dancing with my
the present to make ballroom dance
friends and having a good time, and I
a welcoming community! E
ON THE
RADIO Break out your ballroom moves to these Top 100 songs
On the Radio
would be a dynamic I would love to
1 JUN 2019 •
Viennese Waltz Incredible James TW
West Coast Swing Earth
Lil Dicky
Samba I Don’t Care Ed Sheeran, Justin Bieber
Rhythm Rumba Hundred Khalid
Hustle Before I Let Go Beyoncé Ziqing Lin and Esther Foo. Photo by Dance Fest Photography Team.
• 27
SHEERDANCE.COM [Recurring Columns]
1 JUN 2019 •
• 29
Is Dance a Relatable Art Form? Part 2
BY THE GIRL WITH THE TREE TATTOO
Welcome
back, dancers!
discussed, this lack of relatability could
for the entertainment of the audience.
Last month, I told you about a pod-
be a major factor in how publicly suc-
They need that audience to fulfill their
cast I had listened to that really got the
cessful dancers can be, compared to
purpose.
gears turning in the brain. I pondered
actors or singers.
the question, “why isn’t dance as relatable as other performance art forms
So how can we make dance more relatable?
A dancer’s purpose can vary, though one general thing popping into my head is a dancer’s purpose is to connect
like acting or singing?” I concluded
Once again, my Vulcan side wants to
movement to music in a way that’s
that connection and shared experience
take the logical approach. We need to
rhythmical and inspires an emotional
were key. It’s easier for an audience
make this performance art more relat-
response. You don’t need an audience
to connect with actors and singers
able, so let’s look at how the others
to do that because even the inspired
through a shared experience. Dance
make themselves relatable. I already
emotional response can come from
has a dualistic experience that happens
wrote in Part 1 how audiences get to
the dancer. So I think the first step for
externally and internally at the same
share in an actor’s or singer’s experi-
dancers to take if we want to make
time, and dancers don’t need an audi-
ence. That connection is important.
our art more relatable to the audience
ence in order to feel fulfilled in their
I think another important factor is
is include them in our purpose. If a
dancing. If a dancer isn’t able to bring
the purpose behind the performance.
performing dancer is only considering
the internal part of the experience out
An actor’s purpose for example is
the dance itself and their own experi-
so the audience can connect to it, the
ultimately to entertain their audi-
ence, the audience will find it harder
audience won’t be able to connect and
ence, whether that’s through comedy,
to connect.
relate to the dance performance. As
horror, drama, etc. They portray a
the panelists in the podcast episode
character and bring a story to life, all
Photo by Dance Fest Photography Team
In
my
competition
routines,
moments to connect with the audience
30 •
• 1 JUN 2019
[Recurring Columns]
SHEERDANCE.COM
are actually included in the choreog-
I think there needs to be a purpose
dances for the camera. He didn’t create
raphy. Whether it’s simply facing the
beyond the dancer for their movements
a dance and then film it. He designed
audience so there is opportunity for
in order for the audience to relate.
the dance to work with the film equip-
eye contact or a gesture in the arm
Thinking back to that story about the
ment and be enhanced by these non-
styling that invites the audience to
b-boy, I would want to know why he
dance tools. In doing so, he was able to
come along with us, connection with
wanted to do a whole series of power
create a connection with an audience
the audience is one of the factors used
moves instead of just one. If it was only
who wasn’t present at the time of per-
in designing the routines. The dancing
because he loved those moves or loved
formance. The camera represented the
isn’t dependent on the connection with
how he felt doing those moves, and
audience and he was sure to include
the audience however. Moments when
there was no additional purpose, mes-
them.
Teacher and/or I face the audience are
sage or story, then I would agree that
“If the camera is to make a contri-
also moments meant for us to face away
the audience wouldn’t understand.
bution at all to dance, this must be the
from each other. The routine is just as
They can’t relate to the skill or tech-
focal point of its contribution; the fluid
good in an empty studio as it is at a
nique it takes to execute those moves,
background, giving each spectator an
competition, but the point is we create
so their connection to the dance won’t
undistorted
space for the audience to connect with
come from there. It will come from the
view of dancer and background. To
us, should they be present.
message or story driving those moves.
accomplish this, the camera is made
and
altogether
similar
Storytelling is another important
At the end of the day, if we’re talking
fluid, moving with the dancer, so that
factor. Just like actors take their audi-
about dancers getting paid to dance as
the lens becomes the eye of the spec-
ences on a journey through the story
much as A-list actors get paid to act
tator, your eye.” -Gene Kelly The other
they’re telling, Teacher and I have built
(which was part of the original ques-
possible connection an audience can
specific stories, or at least characters,
tion posed to the panel on the podcast),
make is to the dancers themselves.
around our four Open Smooth routines.
then they need to make their purpose
I’ve been drawn to ballroom dancers
So the reason behind a particular move
similar to an actor’s and entertain their
at a competition who weren’t the
is more than it looks cool or it fits with
audience. Certain actors get paid mil-
best dancers on the floor, but some-
the timing. That move represents a part
lions of dollars for their work because
thing about the person made me feel
of the story we’re telling. The audience
the collective audience market will pay
connected. That something is always
may not be able to fully understand the
that much for those actors.
their authenticity. It bothers me when
story we’re telling, but just like when a
Entertained audiences will ask for
I see an overly rehearsed performance.
movie opens in the middle of an action
more. Confused or uninspired audi-
Even professional ballroom dancers are
sequence, we give enough to let them
ences will go home and watch Netflix.
guilty of putting on two to three facial
know, “something is happening here
That doesn’t necessarily mean dumb-
expressions on repeat throughout their
and you should keep watching to see
ing or watering down a dance perfor-
performance.
Closed-mouth
what happens next.”
mance, but it does mean including the
Open-mouth
smile.
audience in the creation process.
smile. Open-mouth smile. Are you
Being open to the audience sharing in the dance experience and being clear
Gene Kelly did groundbreaking and
about what story or message that dance
innovative work in choreographing
is conveying will have a huge impact on the audience’s ability to relate and connect to the dancer. I emphasize owning who you are as a dancer, but that doesn’t mean you isolate or cut yourself off from others. You can step onto a dance floor or a stage in full ownership of who you are, and also be open and inviting to your audience to join you on the journey you’re about to start.
smile.
Closed-mouth
enjoying the dance or slowly gasping for air?
SHEERDANCE.COM [Recurring Columns]
1 JUN 2019 •
• 31
When a dancer is truly in the
So maybe that b-boy could do his
With more and more dance showing
moment, letting their natural expres-
series of power moves if he was also
up in our movies, tv shows, and even
sion come through, and is inviting the
able to communicate with the audience
commercials, now is a great time to
audience to share in what they’re feel-
about how much he enjoyed doing
make these shifts. If Gene Kelly could
ing, that creates a connection for me
those moves. Then, the audience could
create a 17-minute ballet sequence in
as an audience member. Their smile
connect with his joy and sense of fun.
An American in Paris that moviegoers
makes me smile! Their fierce expres-
This is starting to get long enough
ate up, then I think dancers today can
sion makes me feel fierce. I’ve had
to need a Part 3, so I’ll conclude here.
easily attract more audiences to their
complete strangers come up to me at a
If we want people to be able to relate
art form. Maybe we just need the next
competition to say they loved watching
to and connect with our dances, we
Gene Kelly to step up and show us E
me dance. They weren’t dancers, and
have to first be open to that connection
still, I was able to connect with them
by being authentic and inviting our
on some level that made them want
audience in. We have to dance for more
to keep watching AND seek me out
than just ourselves; we have to dance
afterwards.
for them too.
32 •
• 1 JUN 2019
[Recurring Columns]
SHEERDANCE.COM
Results from Around the Country Congratulations to all who competed in the month of May!
Wisconsin State Dancesport Championships Dancers Studio
Cody Arndston & Joan Laes 6th (of 6) - L-B1 Pro/Am Closed Bronze Smooth 3-Dance Championship (W/T/F) 7th (of 8) - L-B1 Pro/Am Closed Bronze Rhythm 3-Dance Championship (C/R/S) 4th (of 5) - Closed Bronze American 6 Dance ‘B’ (W/T/F/C/R/S) Cody Arndston & Jenessa Scherb 2nd (of 3) - L-A1 Pro/Am Closed Silver Smooth 3-Dance Championship (W/T/F) 2nd (of 5) - L-A Pro/Am Closed Silver Smooth Scholarship (W/T/F)
Dance With Us America Gene Bersten & Maggie Arzdorf-Schubbe 1st (of 5) - L-C2 Pro/Am Closed Bronze Ballroom 3-Dance Championship (W/T/Q) Gene Bersten & Noelle Ness 1st (of 1) - L-A1 Pro/Am Closed Bronze Ballroom 3-Dance Championship (W/T/Q) 1st (of 1) - L-A Pro/Am Closed Bronze Ballroom Scholarship (W/T/Q) 2nd (of 2) - L-A1 Pro/Am Closed Bronze Latin 3-Dance Championship (C/R/J) 2nd (of 3) - L-A Pro/Am Closed Bronze Latin Scholarship (C/R/J) 1st (of 1) - Closed Bronze International 6 Dance (W/T/Q/C/R/J)
Gene Bersten & Lisa Mohr 4th (of 6) - L-C1 Pro/Am Closed Silver Ballroom 3-Dance Championship (W/T/Q) 4th (of 6) - L-C Pro/Am Closed Silver Ballroom Scholarship (W/T/Q) 3rd (of 5) - L-C1 Pro/Am Closed Silver Latin 3-Dance Championship (C/R/J) 1st (of 7) - L-C Pro/Am Closed Silver Latin Scholarship (C/R/J) Gene Bersten & Julie Ann Greif 3rd (of 6) - L-C Pro/Am Open Latin World DanceSport Series (C/S/R/P/J) 3rd (of 6) - L-C Pro/Am Open Latin Scholarship (C/S/R/P/J) Gene Bersten & Isabella Bersten 1st (of4) - L-Y Pro/Am PT Closed Latin Scholarship (C/S/J) Mishe Long & Isabella Bersten 1st (of 2) - Amateur Closed Bronze Ballroom 3-Dance Championship (W/T/Q) 5th (of 6) - AC-Y PT Closed Amateur Ballroom Scholarship (W/T/Q) 1st (of 4) - AC-PT1 Amateur Closed Bronze Latin 3-Dance Championship (C/R/J) 2nd (of 7) - AC-Y PT Closed Amateur Latin Scholarship (C/R/J)
Dahl Dance Studio
Gary Dahl & Darcy Adamczyk 1st (of 2) - L-B1 Pro/Am Closed Silver Smooth 3-Dance Championship (W/T/F) 3rd (of 6) - L-B2 Pro/Am Closed Silver Smooth 3-Dance Championship (W/T/F) 6th (of 6) - L-C Pro/Am Closed Silver Smooth Scholarship (W/T/F) 4th (of 6) - L-C Pro/Am Open Smooth World DanceSport Series (W/T/F/V) 3rd (of 5) - L-B2 Pro/Am Closed Silver Ballroom 3-Dance Championship (W/T/Q) 1st (of 2) - L-B1 Pro/Am Closed Silver Ballroom 3-Dance Championship (W/T/Q) 3rd (of 6) - L-C Pro/Am Open Ballroom World DanceSport Series (W/T/V/F/Q) 6th (of 6) - L-C Pro/Am Closed Silver Ballroom Scholarship (W/T/Q) Gary Dahl & Sharon Gentling 6th (of 6) - L-C1 Pro/Am Closed Silver Smooth 3-Dance Championship (W/T/F)
March 7-8, 2020
udancefest.com facebook.com/udancefest
34 •
• 1 JUN 2019
5th (of 6) - L-C2 Pro/Am Closed Silver Smooth 3-Dance Championship (W/T/F) 6th (of 7) - L-SR Pro/Am Closed Silver Smooth Scholarship (W/T/F) 3rd (of 6) - L-C2 Pro/Am Closed Bronze Rhythm 3-Dance Championship (C/R/S) 1st (of 7) - L-C1 Pro/Am Closed Bronze Rhythm 3-Dance Championship (C/R/S) 2nd (of 8) - L-SR Pro/Am Closed Bronze Rhythm Scholarship (C/R/S) 3rd (of 5) - L-C2 Pro/Am Closed Bronze Ballroom 3-Dance Championship (W/T/Q) 5th (of 6) - L-C1 Pro/Am Closed Bronze Ballroom 3-Dance Championship (W/T/Q) 1st (of 6) - L-SR Pro/Am Closed Bronze Ballroom Scholarship (W/T/Q)
Cinema Ballroom
[Recurring Columns]
SHEERDANCE.COM
Mark Lang & Michelle Hudson 2nd (of 2) - G-B2 Pro/Am Closed Silver Ballroom 3-Dance Championship (W/T/Q) 3rd (of 3) - L-B Pro/Am Closed Silver Ballroom Scholarship (W/T/Q) 1st (of 1) - G- Pro/Am Gents Closed Latin Scholarship (C/R/J) 1st (of 1) - G-B2 Pro/Am Closed Silver Latin 3-Dance Championship (C/R/J) 3rd (of 4) - L-B Pro/Am Closed Silver Latin Scholarship (C/R/J) 3rd (of 3) - Closed Silver International 6 Dance (W/T/Q/C/R/J) Patrick Moriarity & Michelle Hudson 1st (of 1) - G-C2 Proficiency Pre Silver Waltz 1st (of 1) - G-C2 Proficiency Pre-Silver Tango 1st (of 1) - G-C2 Proficiency Pre-Silver Foxtrot 1st (of 1) - G-C2 Proficiency Novice Silver Waltz 1st (of 1) - G-C2 Proficiency Novice Silver Tango 1st (of 1) - G-C2 Proficiency Novice Silver Foxtrot
Eric Hudson & Yuping Zheng
Ist (of 1) - G-C2 Proficiency Novice Silver V. Waltz
4th (of 6) - L-B Pro/Am Open Smooth Scholarship (W/T/F/V)
1st (of 1) - G-C2 Pre-Silver Waltz
2nd (of 6) - L-C Pro/Am Closed Silver Rhythm Scholarship
1st (of 1) - G-C2 Pre-Silver Tango
(C/R/S) 1st (of 4) - Open American 9 Dance (W/T/F/V/C/R/S/B/M) Eric Hudson & Annabel Bavaud 2nd (of 6) - L-C Pro/Am Open Smooth Scholarship (W/T/F/V) 2nd (of 6) - L-C Pro/Am Closed Silver Ballroom Scholarship (W/T/Q) Eric Hudson & Corynn Harvieux 1st (of 1) - L-Y Pro/Am JR Closed Rhythm Scholarship (C/R/S) Dan Browning & Michelle Hudson 3rd (of 5) - G-C1 Pro/Am Closed Silver Smooth 3-Dance Championship (W/T/F) 2nd (of 1) - G-C1 Pro/Am Closed Silver Ballroom 3-Dance Championship (W/T/Q) 3rd (of 3) - G- Pro/Am Gents Closed Ballroom Scholarship (W/T/Q)
Photo by Dance Fest Photography Team
1st (of 1) - G-C2 Pre-Silver Foxtrot E
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