Hope you can join us for a night of great dancing and socializing for our Valentines Dance at the Ballroom. It’s a terrific venue, dance floor and atmosphere. We will have a ‘mixer dance during the evening and try to wear something GREEN. We’ll supply some snacks and as is our FloorPlay custom everywhere, anyone wishing to bring a dish or dessert to share is certainly more than welcome.

Mark & Beth Nelson will be teaching the WCS Workshop before the dance beginning at 7:30

We will be giving away 2 passes to the dance and workshops by Demery Strickland coming up the first Saturday in May during our raffle..

Sat. March 10th
Workshop at 7:30pm
Dance immediately following till ?
$10. Includes workshop, dance, PIZZA, snacks, soft drinks and drawing for prizes.

Directions:
From Orlando take I4 East to I95 north…about 1 ½ miles to LPGA Blvd. exit…go east (right) approx: 2 miles to 4th light, Nova Rd…turn left (north) and go about 3 miles to the Renaissance Professional Center on the right.
( Also applies to Melbourne from I95 )

From Jacksonville I95 South to Ormond Bch. Rt.40 exit. Go east about 2 ½ miles to Nova Rd. (RT5)…turn right (south) about 1 mile to the Renaissance Professional Center on the left.

THANKS! For your support
Mark Traynor
Floorplay Dance Club
www.floorplayswing.com
407-973-9674

Who is Mark Traynor?

Mark has been involved with the Dance Industry in every capacity for over 35 years. Since concentrating primarily upon West Coast Swing (WCS) for the past 21 years he has helped establish many techniques now being taught and used throughout the WCS circuit nationwide. Because he has never been a competitor on the circuit it took some time for his Floorplay concepts to spread and take hold across the nationwide West Coast community but now can be seen and are used everywhere by dancers and instructors alike, possibly without ever knowing where they originated.

Mark has suggested for years that because of the ever expanding possibilities, as well as techniques already utilized and accepted by the WSDC, NASDE and the dance community in general, WCS should be re-classified as another dance form completely. Aficionados of the dance will tell you that what we’re doing today, and have been doing for quite some time is not classic WC anymore but a much more advanced, all inclusive form of Swing that has evolved far beyond its original intent and syllabus.

Today, Mark continues to be an innovative force thru his Floorplay Dance Clubs and teaching concepts. Here are several that have helped make today’s WCS a much easier dance to learn, execute and understand as it continues to evolve.

Read Mark’s Articles

Various Steps, Patterns and Movements
The Extended Count
The ‘Play’ Set-Up

Movie information and synopses found and researched at www.imdb.com.

I recently was exposed to a ‘West Coast Swing Mixer Dance’ idea by Bobby Caudill of Tampa. This is a concept that hundreds of dancers around the country have probably thought about at sometime but never took the time to develop. Well, the time has come!

After studying his original step pattern for the mixer, I felt that while the concept was long overdue for our West Coast world, it should be a 32 (not 34) beat ‘phrased’ pattern, the ladies should be able to move around the floor and the partner transition should be much smoother than it was. Like any mixer or even line dance, these elements are essential for any potential growth and continued participation by the dancers to stay interested. So, I made a few minor adjustments to hopefully help the concept become the future popular dance that could help attract many new dancers to our ever growing West Coast Swing Community.

As far as music for the ‘Swing Shift’ goes? It would be nice to have a particular song that dancers would recognize as ‘the’ song to use as the mixer so they could ‘take the floor’ when it is played. However, I think, and feel all true WC dancers would agree, that after a short period of time, we would bore of the same song just as we always do in our quest to continually find new music to dance too. So, my thought, and recommendation is that in any area where the local dancers may hang out, those who learn the mixer simply start with 3 or 4 couples to ANY song they decide may work well, and get it started among themselves, welcoming any others who wish to join the circle. As many more variations of the mixer are designed over time, it becomes more intricate, interesting and fun as the ‘leader’ of an areas group can make ‘calls’ to integrate a new 32 beat step pattern. Very similar to the concept behind Salsa Casino, the variety of introduced ‘phrases’ would keep it interesting and exciting. Imagine the possibilities! And also imagine this happening in clubs all over the country where all the other club patrons see it happening and wanting to get involved. I think WCS classes, and therefore dances and events everywhere would experience a surge in popularity among the general public that is long overdue yet has eluded WCS for much too long.

Instead of the banal moniker of being a ‘mixer’, and since it could suddenly happen to any worthy song, and since it will lend itself to limitless possibilities of added phrases as well as the standard ones being ‘dressed up’ by the more experienced WC dancers, I think maybe the term “Break-Out’ as in … “Let’s start a Break-Out” would be an appropriate ‘call to the floor’ whenever a group decides to get a ‘switch’ started. It would be easily picked up by any other WC dancers who wish to join in any time due to the phrasing. There is a very basic phrase that I hope Instructors in every dance community will learn and teach to get their dancers started. From there, the possibilities, like the WCS itself, are endless. Even the standard phrase can be ‘mixed and matched’ depending on your partner as long as the phrasing ends the same time.

Good Luck….it’s time to ‘Break-Out’!

The Basic pattern:

The Setup: Man on the inside of the circle (Keep about 4 feet between couples)

1. A sugar push
2. Left side pass
3. Underarm turn (right-side pass)
4. Whip
5. Shift Partner Step*

*The Shift Partner Step which is walks in place on 1, 2 (with a slight torque lead), a release lead to the ladies left on the 3&4 that carries her left a few feet facing the crowd with a ‘french cross’ while the man steps to his left on the 4, and an anchor in place before beginning again with your new partner.

Even this very basic pattern has many variations of styles. As a quick change of look, we use an open tuck turn instead of left side pass, whip with an underarm turn and ladies full turn left as they shift on 3&4 on every other phrase.

The Blues version: Same as above but after the whip you add an open tuck turn and 6 beats of ‘play’ coming back before the lady exits on 3&4 and anchors…THEN you do the shift…the play can be anything but I show a kick-ball-change three times…the man sets up on his rail during the tuck turn on 5&6 and mirrors the ladies play, or can add his own for 6 beats. This effectively extends the ‘shift’ to 48 beats…Blues phrasing.

After intensive study on the ‘Swing Shift” idea, I’ve now designed a new Teaching System I believe will be the best way forward to learn this great Dance form in a group lesson or workshop format.

I’m hoping and expecting that as this method proceeds it will accelera’e the WCS learning process. I had used my previous system for the past 14 years with great success, constantly upgrading as new elements and theories were added over the years. THIS new concept however, I think will be an upgrade over anything currently being used in group lessons or workshops for the following reasons, and I probably haven’t thought of them all :

• All steps and patterns are good to use as partners without using as a mixer
• Helps dancers remember steps better thru levels by number and/or ‘theme’ recognition
• Shorter sessions to ‘target’ needs’
• Each Levels elements won’t have so much information crammed together
• Clearer understanding
• Allows more changing of partners in class without stopping
• Solidifies better execution thru more repetition during practice
• Promotes slot control and distancing
• Step pattern transitions get practiced more
• Leaders get accustomed to using basics between moves
• Reduces cramming moves into the dance
• Followers can concentrate more on their own ‘look’
• If short on leaders, followers will have a partner only 32 beats later
• Adds more FUN to learning
• Allows partners to integrate ‘styles’ independently without disrupting the pattern or phrasing
• Will help tremendously in learning ‘musicality’ as all elements are naturally ‘phrased’
• Still allows for and requires proper teaching technique so as not to detract from the essence of WCS
• Will help followers more quickly recognize ‘play’ opportunities and use them
• I will get to take the followers role more often to feel the leads

The Basic ‘Break-Out’ is fun…learning through the Swing Shift Method will be fun AND quickly rewarding.

• I found it best to teach the Shift immediately after the Sugar Push. This way, even after just learning a sugar push, students can keep switching partners after a few repetitions, but is always the last step for switching partners
• Instructors may add appropriate level ability variations in each level, teaching proper techniques throughout.
• Each level is designed as a 4 week group class.

• Level 1 – Open Basic & Whip
• Level 2 – Tucks & Turns
• Level 3 – Cuddle & Closed
• Level 4 – Sweetheart & Count extensions
• Level 5 – Play & Breaks

• These are the 5 Levels used to cover all of the standard elements utilized in WCS
• Many other Levels are used to add all moves, patterns, variations, styling, syncopations and the endless variety of steps and play that are constantly being added as this great dance form continues to develop.

I have been involved with the Dance Industry for over 26 years in every capacity possible. From Ballroom to Disco, Country, Latin & Swing, I’ve been an Instructor, competitor, Judge, DJ and Event Director. I’ve always supported, respected, been a major advocate of dance and watched all of the dance trends come and go over the years. My fear now is the direction WCS may take as it’s popularity grows across the country.

Although in a few areas (primarily California) there has always been a core WCS following, it’s nationwide growth is perhaps just a dozen or so years old. It is also safe to say that about 50% of those who have joined WCS Clubs or begun to attend the many Events across the country have entered the WCS dance community within just the past 5 or 6 years. We’ve witnessed the number of WCS Events grow by at least 4 fold over that same time period and reached a critical saturation point. As attendees experience the WCS dance “circuit”, they discriminate more as to which events they choose to attend. This is where the “Politics” begins.

Event coordinators will hire a few, or several, of the “top name competitors” to come to their event to teach workshops, compete, emcee, judge etc. to have this “top name” entertainment & recognition on hand. Those regarded as these top “Pro” competitors, have had a stranglehold on those positions and been able to control who gets regarded in their ranks. Rest assured it has not all been determined based on talent alone. Now I’m not saying those enjoying the spotlight don’t deserve their positions. On the contrary, I believe all are very talented dancers and most are very qualified
instructors. But there IS a major problem or two that permeates the Pro ranks. Many times we have one group of pros judging another group of pros in competition. Then we have that group who were just judged, judging those who just judged them…or WILL judge them at another event….you follow? It’s obvious these pros are going to judge their friends much more favorably than those they hold no allegiance to. Simply put – it’s “who you know” including the judges who don’t compete when it comes to competition placement. Over the years, this practice has helped establish a definite “inner circle” and other talent has been routinely overlooked. This does not encourage anyone who would like to compete, or has but was the victim of favoritism themselves or seen it happen to others, want to continue to put in the time, effort, travel expenses, event admission and competition fees to try again knowing you won’t be judged fairly. This practice alone is the first step in discouraging the competition. I’ve spoken with many other pros and talented dancers who realized that by entering a Pro contest, all we were doing was adding to the pot for the eventual established name winners. How is anyone supposed to be encouraged to compete when experience tells you only the names survive regardless of performance? And even among themselves we see certain recent favorites winning even when they’re off. Do the Judges think we’re all blind? Many times it’s obvious who received the preferential treatment. Judging is primarily a subjective exercise in dancing and should be handled by those qualified, but it’s NOT the “intricate scientific equation” we are led to believe. And even the choice of WHO judges is controlled. Well, sometimes you’re on and sometimes you’re off and ALL should be judged accordingly.

As Events go? With all due respect to the West Coast, we know you have the greatest concentration of good WC dancers. We know you have the most WC Instructors, Judges, Clubs and Events and therefore the most influence on the dance and who gets preferential treatment. As the rest of the country gets educated and learn for themselves though, they are less and less impressed with the pretentious attitudes that are so prevalent in the Pro competition ranks. More and more dance events are being directed toward the aspect of enjoying the open dance time with the other attendees instead of sitting around much of the time watching the Pros swap partners and placements in THEIR various competitions. Workshops are nice, but there are usually plenty of Instructors available in local markets that Event organizers can draw from and not spend a fortune to get them there. Many are more qualified to teach than the pro competitors we are told  to consider the best, who may be great dancers but very average instructors. Jack n’ Jill competitions are nice too, but we don’t need our weekend filled with different pro level comp’s simply designed to line the pockets of the chosen few who have favor with the “inner circle”. The general audience of competitors are limited to competing in a choice level of J n’J, while the rest of the comp’s – Classic, Showcase, Strictly Swing and a “Champions” J & J of their own now, are all geared toward the same group. And it’s even more disturbing to see them all just change partners amongst themselves in order to compete in every category possible. Yes, the lower level J & J comp’s (even advanced) are nice to give everyone an opportunity to compete and gain a sense of accomplishment, but in the big scheme of things, the pros know these people are no threat to them or their positions as “selected Champions” no matter how they perform, and therefore no threat to be regarded highly enough to take some of their jobs on the Dance Event circuit. THAT is what much of this comes down to. It’s no wonder they want to keep their ranks small.

As spectators, we can attend one big competition event each year, pay the inflated admission price, and see the privileged do their thing and pick up their trophies. Or simply buy the video. Otherwise, if we’re going to spend money on travel, hotel and admission to attend an event, we’ll opt to enjoy a friendly atmosphere of dancing with those who will dance WITH us and give each dance their best effort. Event patrons don’t want some “pity” dance. Many pros now feel they are only present to dance FOR us. I’ve heard many dancers say they’ve been turned down a dance from these “pros” who will then turn around and dance with their friends. I heard from a few very reliable sources that the “inner circle” of pros had actually had a meeting and discussed how they felt they should get paid for “floor time” with event patrons! Most event promoters already add a provision in the pro contracts that requires them to spend a few hours of open dance time with the patrons because it was noticed some time ago that they tend to disappear. Or, they just spend their time off in some remote corner of the dance floor dancing with each other. Egos are high to be sure and the demands of the hired pros have grown in proportion with the notoriety they receive. Another reason they want their ranks small – supply and demand.

Which brings me to the next point. I have great respect for the 8 year old World Swing Dance Council. Under it’s excellent leadership I trust they will bring some stability and “guidance” to the WCS community. However, I hope that “guidance” prevails over “control”. As the council consolidated it’s power, the direction of the dance has come under the influence of a very small number of people. They are very capable to be sure, but they are few and represent a single point of view. Although the dance and the council are West Coast based, the dance is thriving because it’s a nationwide movement. As with other dances, different areas adapt slightly different styles and being the unique, free form dance it is, let’s hope it remains as such. Not some “canned” product of what the few feel it should be. The beauty of WCS is it’s versatility to allow creative expression in thinking as well as execution.

I recently read an article in “In the Swing” magazine about the uproar by some of the pros over newly proposed rules for the different competition divisions. Their complaint wasn’t as much toward the rules as it was NOT being consulted as to what the rules should be. Putting restrictions on creativity ultimately only serves to hurt the dance. But, WCS has added different divisions over the years and they do need to be defined. No other dance circuit has “divisions” for the same dance. Example: on the Ballroom circuit is there Classic Cha-Cha, Showcase Cha-Cha, Strictly Cha-Cha etc.? No, there’s Cha Cha – period and so on. In this case the pros are right to protest not being consulted. But, why aren’t ALL or at least a panel of judges and respected dance instructors from across the country consulted? It was first left to only 3 people to decide what the rules would be. Wow! How did THEY get such power? Think about it – 3 people decide what the rules will be – teachers begin teaching their students based on these rules – it becomes more difficult to social dance unless you all dance by their rules – you must compete by their rules – suddenly the dance becomes nothing but what these 3 people decided it should be. Let’s hope WCS doesn’t get bogged down in rules and regulations for the sake of contest results to be decided by a few people as to what THEY think should be acceptable. If this happens, the dance will ultimately suffer. Gee, sounds like exactly what happened to Country. For example: 22 years ago when I began teaching Two-step, it was a lead and follow dance. open to spontaneous interpretation. Not any more and hasn’t been for quite awhile. That all changed when “a few” people made up the rules for the C & W Contest Dance circuit and put so many restrictions on what was allowed it took much of the fun and spontaneity out of it. Teachers all taught based on what was acceptable for competition. Did it make the dance better? How could it when you’re restricted in how you would interpret a song? “Whoops, can’t do that, the rules don’t allow it” Whose rules? Who are these people that they suddenly get to decide what a dance should be in THEIR eyes? Two-step now is really nothing more than a collection of standard turns and twirls and “amalgamations” executed without any regard for what the song is telling you to do. Every dance looks, and I imagine must feel the same – how exciting to go through the motions! And look what has happened to the amount of participation and attendance at C & W events. If not for line dancers and swing people showing up they’d all be out of business. But I digress…..What DOES worry me with WCS is if they take off (as they’re suggesting) the rule requiring a certain percentage of WC movement & timing. Without it, the dance in the competition arena is destined to become a montage of lifts, drops, spins and poses to be as flashy as possible while eschewing the essence of what our dance is – Lead & Follow/ Music Interpretation. The mistake is that the political influences of dancing make decisions based on what is best for their business, NOT what’s best for the dance. The vast majority of your average dancers want to learn enough to be proficient and have fun, NOT to learn how to compete. I contend that if you promote the dance as “user friendly” so that demand grows, the supply side (lessons, events, contests etc.) naturally follows.

I’m sure the current top level pros are intent to keep their exclusive group intact as long as possible, and who could blame them? They’ve enjoyed their status through this growth period and have no reason to want to share the prestige or monetary rewards. I can appreciate the hard work these pros (at least most of them) put into teaching, practice, choreography and workshop preparation. What they need to realize is that the WCS community continues to grow because of the dance, the music, instructors and promoters everywhere, and the fun friendly atmosphere it creates. NOT  because THEY made it popular. Want a wake up call? The pros need to understand that their presence isn’t even needed to insure a successful dance event. What’s more important at ANY given event, a top name to perform, compete and teach?…..or a good dance floor and DJ? In a recent article entitled “Why can’t we all just get along?” published in 5678 Magazine, these two MOST IMPORTANT aspects weren’t even mentioned as a “cornerstone” to a successful event! Instead, the entire theme of the article centered around catering to the pro competitors, competition rules, watching the competitors, judging the competitors, pleasing the competitors so they’ll attend your event, even being “lucky” enough to actually get to dance with one of the competitors! All that pandering made me queasy! The fact is, if we have a good floor and good music, we’re ready to go! For example: An event I attended in New Orleans had NO “name” pros present. Yet there were several qualified Instructors on hand from the local areas who presented good workshops that were well attended. The event drew about 450 people and it was great fun! The patrons come for the dance, the music and the social atmosphere, not because “so and so” is there.

Don’t get me wrong. It’s great to have Pros there as entertainment, inspiration and trend-setters. But there are many more very talented pros out here on the fringe, teaching and performing in their local markets whose students see THEM as all these things. Our students trust us to be honest, educated, experienced and friendly in our presentation and we Professionally oblige. Yes, we too have talent, creativity and innovative ideas and just because we don’t hail from California or aren’t accepted into the inner circle doesn’t mean we don’t belong there.

Also, has the Pro level ever had a REAL J & J competition? These people know each others moves as if they were partners anyway. And this bears repeating -  these pros travel the circuit together and practice amongst themselves constantly so it’s no surprise to see them all dancing so well together. The “Champions” J & J is beginning to look more contrived and choreographed than spontaneous. This recently invented “Champion of Champions” J & J competition, where it’s by “invitation only” is just one more evidence of the intent to separate themselves from the rest. Now, there is NO chance for a deserving Pro to get a chance to compete with the top names. You have to be invited. It’s curious to me that without a Champions level J & J at the GNDC in Atlanta (for example), these Champions chose not to participate in the Open Division. Why was that? They did in the past. The fact is, they will no longer subject themselves to possibly having to compete with “no-name” dancers even though many of these dancers could stay right with them. By placing with a no-name, it helps build that persons reputation and opens the door for more dancers to get noticed and invade their private domain. Gee, we can’t have that! Have to maintain that distinction! It was an Open Division. Was it in the rules that the Champions couldn’t compete in it? If so, why?

Watching how WCS has changed and evolved over the past several years has been truly exciting and the influence of other dances is very evident. Fact is, it has changed SO much, it should be considered under a different name to encompass all the styles it has adopted. It certainly isn’t traditional WCS anymore. Similar the Hustle days when Latin, New York and various other forms melded into the “Street Hustle” that we still do today, perhaps something like FREE, STREET or OPEN Swing would be more appropriate. (I swear I just heard a collective “HA- NEVER” coming from California). Hey, just a thought. But it is – a street dance, free form, spontaneous, creative, expressive and especially lead & follow – music interpretation.

“Now I don’t want to get off on a rant here….” But make no mistake, the WCS Elite have been chosen. Except for those who established themselves 5 years ago or more, the only new talent that seems to be given consideration are the younger set who are embraced immediately at the first sign of potential talent. What we all  need to do as a collective dance society is use any and all resources at our disposal to try to bring WCS to the attention of the general public and receive the recognition it deserves as the fastest growing, most popular, musically adaptive social dance form for everybody!  We, and our Clubs are in place, ready to serve and teach the many thousands who are yet to be introduced to our dance. Let’s embrace ALL of the new talent  that joins our ranks and give them the opportunity to learn, dance, teach and compete on a “level” dance floor. The WSDC adopted a “Fairness Doctrine” for just that purpose finally  this past year. Let’s hope it really takes effect soon.

Hero Worship, ( which many of the newer or younger dancers who join the WCS ranks do at first), will only carry a Pro so long. When the initial fascination wears thin, the Champions are just another group of great dancers who are interesting to watch, as are a few hundred others. If you expect people to pay you for a lesson or workshop, you better know what you’re doing. The dancers want their Dance Gods to be professional, polished and courteous, not whine at a 4th place finish in your controlled environment. And if they DO ask you to dance, they expect the same effort you give your friends and not some insulting skate thru the motions. It’s offensive and insulting to be treated with such condescension, which is why many don’t even bother to ask anymore. We wonder sometimes if some of you have maybe just forgotten how  to Social dance. You are so accustomed to posing and playing to the judges knowing what the other will do, perhaps you’ve just forgotten how to lead & follow. And here you thought they were just intimidated by your magnificence. If you DO get hired to make money at any event, you should expect to spend a little floor time with the general audience for FREE or you may not get the job again. Promoters and attendees are wising up. You think the patrons want a dance with you knowing you’re only doing it because you’re paid to? You will gain a persons respect and admiration by displaying your talent with dignity, class and enthusiasm – not attitude and ego. The Events will go on because of any given areas local support. There are good, popular, qualified instructors in any given market or at least within driving distance who would be happy to show up, do a workshop, an exhibition and bring their own group of Club members for support and spend some time dancing with everybody. They earn  their private lesson students thru a respected reputation, not just name recognition.

As originally stated, this article was written to address what many witness happening and speak about in private, but never get to have said publicly. But more importantly, to hopefully help future competitors find a more level  competition arena,  protest allowing a few  to dictate what the dance should be, and toward many of the privileged Pros selfishly enjoying their reign at the top with no sense of gratitude. Enjoy the spotlight while you have it and treat your Profession with respect and dignity. In this business, fame and ability are judged subjectively much like ones character. I believe even the Pros know of whom I speak among them. Titles and trophies are great to show the grandkids but will tarnish in short order if not polished often. Maybe the friendly Judges will help let you get away with it for awhile, but in our eyes, an arrogant, ungrateful, egotistical stars spotlight will burn faster than a joint at a Grateful Dead concert. So, in the words of Dennis Miller…..”Of course that’s just my opinion, I could be wrong”.

Good dancing to you ALL,

Mark Traynor

Floorplay Dance Clubs Founder

It is a difficult enough business to earn a decent living exclusively without having to contend with amateurs who decide to anoint themselves as instructors based solely upon their ability to execute and understand some of the concepts of whatever dance they’ve managed to become proficient in, and then market themselves openly to unsuspecting beginners who have no basis to judge their qualifications. Usually, these are males whose ego, need to make a few ‘easy’ extra dollars and/or recognize the effect of being a respected Dancer / Instructor has on the opposite sex and how it would greatly enhance their social life, whom decide to take advantage of it. These are some of the same behavioral scandals that have plagued respected Dance Studios and reputable independent Instructors thru the years – “Take their money and take advantage of the women if you can” is a common charge and suspicion that continually has to be overcome because of the few who give the title Dance Instructor a bad rep and cheapens the profession.

Although most “chain’ studios have been known to put a hard sell on it’s prospective clients while offering an ‘Introductory Course’, these Ballroom oriented studios also usually offer the most qualified Instructors because of their extensive training courses. Instructors are drilled and tested thru several dances to learn both the mans & women’s step patterns with ‘school figures’, danced and tested thru all of the steps in both parts and trained in timing, lead & follow, posture, styling and the nuances adherent to each individual dance. If they’re lucky, they’ve also been trained in the mechanics of, as well as all of the intricacies involved in choreography. And if they’re really lucky, they were tested by having to watch their coach dance with others and expected to pick out what went wrong, why, and how it should be corrected. This is an exercise not utilized enough. As well as how to relate to the several different ways people learn and process information. Yet it is still up to the individual Instructor to take their profession seriously, respect it and continually strive to perfect their craft.

Unfortunately many do not, but fortunately, they are the ones who don’t survive in the profession for very long. But until they, and the ‘self-anointed’ teachers are exposed for the inept frauds they are, they manage to take advantage of unsuspecting new students for a period of time, almost always in the social dance world and usually in whatever dance(s) happen to be the current ‘craze’. I’m not saying that such intense training is necessary to be an effective Instructor, but many of these imposters have done nothing more than take some workshops and/or bought some other Instructors videos and copied their teaching techniques. Dancing in its many forms constantly evolves and the smart Instructor evolves their teaching practices along with them. But certain aspects remain constant and a complete understanding is required to be a well informed, effective, qualified Instructor. None of us will ever know it all, and as students you may find you relate to one Instructors’ methods better than another. And there’s no doubt you’ll be able to learn something from each of them, even the frauds, but eventually you’ll find the best teacher for you and when you do stick with them. They have your best interests at heart, not money, not the prospect of sex, and once they are able to determine how you best process information given, they can more easily and quickly help you improve.

Before committing yourself to a certain Instructor, ask questions of others they have taught, or tried to teach, or even just some people who may know them. Find out some background and experience. Begin with some less expensive group lessons at first and use privates to really fine tune proper techniques and styling etc. The cost of private lessons may seem extreme at first but the benefits, although initially intangible, you’ll find to be very rewarding whether you’re doing it for yourself or as a couple.

Dancing is an extremely fun, healthy, ever evolving hobby you can take with you everywhere and continuously improve at naturally just by doing it more often. It offers exercise without having to join a gym, therapy without paying a therapist, the opportunity to fully enjoy music, an art form and a friendly social life just by showing up to enjoy yourself! It’s really the most enjoyable thing anyone can do – in public. But be on the alert for those who masquerade themselves as Instructors without the benefit of proper training. Most are ‘moonlighting’ because they’ve found it’s an easy way to supplement their income and/or social life deficiencies.

True Professionals are not motivated by money. If they were, they wouldn’t be Dance Instructors because of the difficulty to earn a livable wage as such. There is nothing more disturbing to those of us who have dedicated ourselves to this profession than some imposter who has decided to market themselves as a Professional to take advantage of money, women or simply because their ego demands they need more attention. They cheapen and insult the profession and should all be exposed for the unscrupulous imposters they are.

Only you give it flight.
Be an instrument in what you hear
Not just sounds in your ear.
Be the drums and tap out, keep the beat but don’t shout
Are you a symbol of change or a cymbal unclear?
Will you recognize echo or remain in a snare?
Should you move to percussion?
Are you in the discussion?
Is conduction construction? reduction? obstruction?
In between each note
. . . . . . . .

Are you there?
Put yourself in the song
Keep your character strong
When piano leads plead, feel and follow the keys
Take the time to enjoy each refrain.
Should the bass call you out let it take you somewhere
Will you steal each lead?
Do the words seem to bleed?
Thru your heart, thru your soul
Let the story untold, unfold, and behold!
At the time to believe

Will you see?
Follow rhythm thru measure
Each phrase is a pleasure.
Every chorus repeated, enjoyed then defeated
Make them yours, give it meaning each time.
Do the horns blowing groove you?
Are there strings that behoove you?
that move you along, or lead you astray?
Each stanza you hear
isn’t far, isn’t near
It is here, in this moment

Embrace it that way.
There’s a symphony always playing
Listen well to what it is saying
If you lead or you follow, the journey is hollow
If not learning you’re only displaying.
Instinct is distinct, don’t leave it alone.
Do your steps flow like water?

or seem set in stone?
Is natural progression, instruction? discretion?
A lesson of choices as more than a chance?
Find your place on the floor,
It’s your dance.

by Mark Traynor, 2001

Renowned WCS Instructor of Instructors, Skippy Blair, who is known to have actually named WCS around 1958  and credited with inventing the ‘anchor step’ sometime ago, is a wealth of knowledge and information on WCS whom I admire and respect tremendously. However, none of us know everything and over the past 20 years many WCS dancers and instructors are credited with new innovations. Skippy’s anchor step in 3rd position was brilliant in that it required the ladies to remain in place on the ‘& ah ’ before being led forward on the 1. This helped combat a long abused problem of the ladies improperly executing a coaster step and moving toward the man on 6.

The problem with using the 3rd position footwork for the anchor is that after taking 2 steps forward on 1 2, there is only one step back on 4 before anchoring in 3rd position. This isn’t practical without constantly adjusting the size of the walks and/or backstep on 4 which shouldn’t be necessary.

Mark recognized this problem and corrected it by teaching a ‘back, in place’ for the anchor basic while still holding the ‘& ah’ before moving forward on 1. This is the common action that most dancers now use as basic although they may not teach it as such. He has (as Skippy herself finally explained in response to a question involving competitions in April of 2005) been explaining since ’98 that the anchor is an action, not a foot position. The anchor in fact, can, and is executed dozens of different ways properly. The idea is to teach the proper connection through anchoring to be so important to all WCS execution. Skippy’s 3rd position footwork for the anchor IS a great way to teach ‘making the proper connection’ but by no means the only way and, as stated, not really practical footwork overall.