Showing posts with label Dancing Tips. Show all posts
Showing posts with label Dancing Tips. Show all posts

Tuesday, December 22, 2009

Dancing Tips...Food For Thought During This Happy Holiday Season


Dear Dancers,

The holiday season is already upon us. The party mood will soon set in, and our palates will be ready for good home cooking.

As a dancer, however, and for some of us, the thought in the back of our minds will be ‘TO INDULGE OR NOT TO INDULGE!”

As a professional who has experienced the dilemma of absorbing the proper amount of food for ultimate performance, I agree that overindulgence is not the way to go. However, without restraining yourself too much, you may take pleasure in savoring your holiday meal by being a bit selective.

One of the way to be efficient as a performer is to prevent the onset of iron deficiency in one’s body.

To paraphrase Nicolette Aisen, an expert dietician in the dance field, as a dancer we should attempt to:
  • Eat more iron rich foods such as lean red meat, skinless chicken, fish, eggs and legumes.
  • Include Vitamin C rich foods or drinks at each meal.
  • Eat more wholegrain breads and iron-fortified cereals.
  • Drink tea and coffee between meals rather than with them.

If you are vegetarian or restricting certain food groups from your diet, obtain further dietary advice to suit individual requirements.

If you manage to eat satisfactorily by enriching your body with the right ingredients as per the above tips, congratulations… If not? Forgive yourself and try to get back on track as soon as you can after the holidays.

Meanwhile my best wishes for this Holiday season and a happy new dancing year.

Stanley McCalla, Dance Board member and examiner, National Champion and adjudicator


Monday, October 19, 2009

Dancing Tips...How To Practice Cuban Motion!

By Stanley McCalla

One of the students who I started to coach on a regular basis is showing considerable progress. He now looks like a different dancer: his posture has improved, his legs and feet are looking decent, and his Cuban motion is on the way to being authentic.

Last time I coached him, I said: “J, you are improving very nicely! What are you doing differently?”

“Thank you,” he said, “I have been practicing the exercises that you’ve talked about and I’m starting to feel it.”

“I’m glad to hear that,” I said.

For those of you out there who are wondering about the exercises that J is talking about, I’m going to let you in on it (although the information isn’t any different from what your teacher is telling you). But, to satisfy your curiosity, I will list them here for you. It’s about Cuban motion and how you can practice it.

Cuban motion is described as the lateral motion of the hips, which occurs as a result of the flexing and straightening of the knees, never a conscious swing of the hips. You can use this technique in the Rumba, Bolero, Mambo, Cha Cha, Merengue, and Salsa, to name a few.

Stand with your back straight. Your shoulders should be lined up over your hips. Your center should be pulled toward your spine. Your feet should be together with toes turned out. You should feel that your weight is poised towards the balls of your feet. Imagine, for a moment, that your hips start at your rib cage and that you have extremely long legs.Start by bending one knee at a time, and then straightening it. You should allow your rib cage to move from side to side over the bent knee. While doing this, you should control the movement through the center of your body. In order to feel your center, tighten your stomach muscles as well as your plexus muscle. You should then feel the natural and lateral motion of your hips. If you don’t, then your posture is incorrect.

Once you feel the correct motion, try to use the same principle by taking a small step to the side with your left foot, then slowly closing your right foot to your left foot. All the while, remember your posture, your center, and the bending and straightening of the knees one at a time.
That’s it… now all you have to do is practice, practice, practice. Make sure that you confirm what you’re doing with your teacher.

Until next time, happy dancing!

Stanley McCalla
Fred Astaire National Champion
FADS National Dance board member examiner, coach and adjudicator
Available for coaching and examinations.

Thursday, June 11, 2009

Dancing Tips - The Thrill Of Competition

By Stanley McCalla

Judging a (New York, Fred Astaire Dance Studios) competition last August, I was pleasantly surprised by a senior Pro-Am male student who was jubilant on the dance floor. He was competing in a Bronze competition against three other male students. Watching him dance brought a nice grin to my face. Was it his technique…? His musicality…? His expression…? The latter was his prominent suit; in fact, his display of joy while performing was infectious. I don’t remember how he fared against his opponents but I think he did quite well.
Later that evening, having coffee with one of my colleagues, I noticed the gentleman in question sitting at the next table talking to some of his friends. Taking this opportunity, I went over, introduced myself and congratulated him on his performance.

"Thank you Mr. McCalla," he said, "I love every moment of it."

He went on: "Dancing has saved my life. It was either going to a shrink or going dancing, so I chose the latter. This is my first competition and I will do more of those because I realized that while on the dance floor I feel liberated from my problems and happy at the same time."

"Interesting," I said, "More people should know about your story."

He came back with, "Oh, yeah, I was rich once… my wife left me… my money is all tied up in a court dispute… needless to say, I have a lot of reasons to be depressed right now but I am not. Thanks to Fred Astaire Dance Studios, I found some new joy and happiness."

I chatted with J. for a few minutes before moving to my next judging session of the evening. I left with a nice feeling of satisfaction. His happiness at that time was genuine, and I felt there was a message there for all of us.

How many of you, like J., feels free on the dance floor? Perhaps you have taken lessons for a while, but have yet to experience this freedom that comes from performing. Maybe it is time for you to test the water and experience the thrill of competition.

I urge all of you who are reading this today to join us at AAC, our next National Competition to be held in Chicago this coming July. It is going to be fantastic, exciting, liberating and fun. Yes, we are experiencing a recession, but dancing amongst friends will keep you mentally and physically healthy.

Students, go to your teachers and ask them to sign you up. I hope to see you there. Until then, happy dancing.

Stanley is a Fred Astaire Dance Board Member & Examiner. He is available for coaching, judging, and examinations.

Monday, May 18, 2009

10 Tips for Ballroom Success

From virtualwayfarer.com:

By Alex Berger

I’ll be the first one to admit that my approach to dancing is a bit different than a lot of people’s. When I started the program at ASU in the fall of my sophomore year I took the Level I Ballroom/Latin/Swing class and was hooked. However, unlike most of the others in the class I didn’t pursue one of the two chief choices: stopping there or moving on to Level II. Instead I re-took the Level I class. I continued to learn and laid down the foundation for what has become one of my favorite, educational and most rewarding pastimes. By my third semester in the dance program, I finally decided to move into the Level II B/L/S class. I learned a lot, improved my dancing exponentially and enjoyed the class, but still found myself attending the Level I classes. By the time my third semester in dance wound down to a close I did the unthinkable. Instead of repeating Level II or moving up to Level III, I returned exclusively to Level I and that’s where I stayed for the remainder of my 4 years at ASU.

To be clear, it wasn’t that I couldn’t go on. I could have quite easily and was pressured fairly heavily to do so. Which isn’t to say I started out as a good dancer. Quite the opposite. In fact, I take a certain level of pride in just how horrible I was when I started. Clumsy, petrified of the girls I was forced into close proximity with, unable to hear the beat, unable to count out the steps - I was a complete dance disaster. About the only thing I had going for me was an awkward sort of charm and perseverance.

Over the last 4 years my dancing has come a long way. In fact, as a person I have changed a lot - and in no small part due to dance. My confidence has skyrocketed. Girls are now relegated to only being marginally scary (downgraded from petrifying). I can hear the beat about 95% of the time. I still can’t count, but I’ve figured out the rhythms. I haven’t dropped a girl and, through it all - somehow - I’ve been accused of moving smoothly and gracefully. I still have a long way to go but the transition from ugly duckling to swan has been an interesting and enlightening one.

I’ve had the opportunity to dance with and to get to know a lot of the incredible dancers that have come out of ASU. In the 3 years I spent in the program, and the year I’ve spent on it’s fringes since I graduated, I’m constantly amazed at the talent and thrilled to see the program grow. It’s truly amazing how things have changed in the last 4 years. When I started Ballroom was still taboo - something for “girls and queers”. Somewhere between the '60s and '70s it had fallen out of favor. That dead period has finally come to an end. Our generation is once again embracing dance and that is a really fun and exciting thing.

For those of you just getting into it or considering picking it up, I’m offering these suggestions as food for thought based on my experiences, approach, and what I’ve seen.

Dance is fundamentally about having fun. I’ve seen a lot of people get into it, push through the classes, and memorize routines with an all consuming focus on competing. For a lot of these people the drive to be the best comes at the cost of actually enjoying what they’re doing. Fundamentally, dance is about enjoying yourself and making sure your partner does the same. If you lose sight of this, none of the medals or fancy moves mean squat.

Men - Beyond fancy turns or quick spins, focus on your ability to lead. If the girl can’t follow you, you aren’t doing your job.
Girls - Work on your ability to follow. Don’t cling to him, listen to his suggestions, and let his body lead you.

Find the music. This one is more difficult for some of us than others. As someone who to this day fights with the beat in some dances, I can’t over emphasize the importance of listening to the music in your spare time and figuring out a system that works for you. Mix it up. The way they told you to count it may not be the best for you. I had major issues with Salsa until I started matching up “Quick, Quick, Slow” to the music in my head. No numbers, no this on that beat. Just a simple rhythm I could match and follow. To this day it’s what I use and it’s allowed me to break away from the standard Salsa formats and embrace a more South American/natural style.

Be humble. It’s easy to get cocky. It’s also really easy to get frustrated when dancing with someone at a totally different skill level. The reality is, you sucked once. Not only did you suck once, but you’re probably a lot less skilled right now, at this moment, than you think you are. You just won’t realize it until you reach the next skill level. Always make time to dance with a beginner, take the time to be patient, teach them the basics, offer a tip, and be supportive. Guys - in the long run, I promise a smile and a little support will leave the girl feeling like you were a much better dancer than a horribly executed Level III move designed to show her how good you are.
Be careful who you turn down. To this day there are girls I won’t dance with because they were rude. There are others that I won’t dance with because of the way they treated my friends. Also, girls - quite often the guys who have the roughest time at the start end up being some of the best and most prolific dancers. Likewise - guys, it takes a lot of courage for a girl to ask you to dance. If you have the energy, go for it. Even if they intimidate you or you really don’t have any desire to dance with the person. One of my biggest goofs was turning down a phenomenal dancer who approached me about partnering with her on ASU’s competition team. In my shyness, I was intimidated by her and felt severely outclassed skillwise. That combined with my policy at the time not to compete (and frankly my lack of interest in competing) led to a hasty no. That no wasn’t delivered with nearly enough grace or consideration and is something I’d take back in a heartbeat given the opportunity.

If you’re just starting, don’t let the skill of the dancers you see keep you off the dance floor. Anyone who’s going to judge you isn’t worth your time to begin with. Also, it took me about a year to figure it out - but the better dancers typically don’t tend to dance in the more visible locations. So, it’s probable that the dancers dancing along the edge of the dance floor right at the entrance, etc. are probably some of the best dancers at the club. Just push on in to the middle or find a quiet corner where you’re comfortable and have fun.

Don’t stop. Even if you totally blow it and get lost - just push through and have fun with it. Crack a joke, make a funny face, and keep going. Remember, you’re out there to dance. Not to be a robot carrying out pre-programmed moves. Besides, how do you think some of the best moves were created?

Thursday, April 16, 2009

Dancing Tips - Why You Should Do Your Medal Test

By Stanley Mc Calla

Last month, after conducting a medal examination for a few students at a studio, one student, with an inquisitive look, approached me and asked: “Excuse me Mr. McCalla, Do you think that doing the medal test is going to make me become a better dancer?

“Well absolutely” I replied. “How do you feel now that you have done the test?”

She said: “ I feel that I understand and have a better grasp of my elements”

She went on to tell me that she came from a ballet background and that she had to learn so much of the technique through a relentless series of exercises, before even experiencing the joy of moving to music. She added that by going through studying the medal test at Fred Astaire, she had experienced some similar technique as the feet position, even though the feet do not turn out as much in Latin and not at all in Ballroom. She also learned, at the same time, the different body positions as close, promenade, fallaway, open and parallel position etc…

So I said: “Miss C., you’re absolutely right! Not only that you are educating yourself in the proper Ballroom and Latin technique, but you are also learning to dance on your own two feet , action that will make the partnership between you and your teacher or any other leader more agreeable. For when you perform either in a showcase or a competition, you will pleasantly dazzle your audience and command attention.”

I personally think that Miss C. is on her way to becoming an outstanding dancer partly due to her pursuit of technical knowledge. I also think and strongly suggest that all of you should study and take your medal test regardless of your level. By doing so, I can guarantee that you will improve faster on becoming the dancer that you want to become.

If you haven’t done one medal test yet, I recommend that you ask your teacher about training for one.

You belong to a great Fred Astaire Dance Studio and organization that provides the best certified instruction in the world. You should go ahead and avail yourselves of one of the great benefit that your studio and teacher has to offer.

Until next time, happy dancing.

Stanley McCalla
Fred Astaire Dance Board Member & Examiner
National coach and adjudicator
Fred Astaire National Champion


Monday, April 13, 2009

Caring For Dancing Feet

From khsltv.com:

When you see a ballerina twirling gracefully, or watch Fred Astaire sweep Ginger Rogers across the dance floor in an old movie, you probably don't think about the stress their feet are undergoing. But dancing puts an enormous strain on feet and ankles. Sprains, stress fractures, corns, calluses and blisters are all among the unfortunate consequences of dancing without proper attention to the feet. The first thing to keep in mind is that your shoes should be comfortable. If they're painful when you put them on, you can be sure that they'll be worse after a night of dancing. There are shoes specially designed for aerobic dancing. No matter what type of dancing you'll be doing, pick appropriate footwear. Do some warmup exercises to loosen up your feet and ankles before going out on the town for a night of dancing. It pays to get your feet used to the activity. Finally, have your feet checked by a foot specialist. Tiny abnormalities can become big problems if they're not identified and corrected ahead of time.

Thursday, January 15, 2009

Quick Before The Music Stops

It took Janet Carlson over a year of writing every Saturday and Sunday, eight hours each day, but the outcome was well worth it. Her recently published memoir, “Quick, Before The Music Stops” describes how ballroom dance rejuvenated every aspect of her life.

Carlson, currently a student at a Fred Astaire Dance Studio and dancing with studio owner and former Standard Dance Champion Darius Mosteika, found herself in a rut a few years ago. Although “on paper,” it seemed as if she had it all – a successful career as Health and Beauty editor for a high-end magazine, mother, and wife – there was something crucial missing from her life. She was, in her own words, in a “sleepwalking state.”

Ballroom dance changed all that. Having been a competitive ballroom dancer in her 20s, Carlson came back to life when she started dancing again in her 40s. As she rediscovered her love of dance, she also rediscovered her passion for life. While she was in the dance studio, taking notes on her lessons, she began writing down other observations on the parallels between dance lessons and life lessons, and the idea for a book was born. The result is a wonderful memoir of her midlife renewal found in dance, and how the lessons she learned in the studio transcended the dance floor.

“Quick Before The Music Stops” has been very well-received, reviewed by such notable publications as USA Today, the New York Post, and the Los Angeles Times. Bruno Collins, Fred Astaire Dance Studios National Dance Board Director, commented: "With insight and humor, Janet Carlson shares the joy, exhilaration and self-revelations that ballroom dancing has brought her. She draws the reader into her lessons, her partnerships, her life, and reveals how ballroom dancing reflects life and transforms it. Ms. Carlson captures the essence of ballroom dancing and how it intoxicates and captivates its participants like nothing else.”

How many of us, especially women, can relate to Carlson’s predicament? Trying to succeed at work while balancing the demands of family? Dashing around town after work to make sure your daughter gets to ballet on time and your son makes his football practice? Staying up until midnight making cupcakes for the third grade Halloween party? Needing to work late but knowing someone has to get home and pay the babysitter? A lot of women wonder - what happened to my own needs? My own interests? What happened to my sense of myself?

Maybe the answer is as simple as walking into a studio, and dancing out! In Carlson’s book, dancing is used as a metaphor for life, inspiring readers to find their center and balance. “It hasn’t been easy to make room in the schedule for my passion, but I have done it, because I’m certain now that it is necessary for life. This new period is rich – as rich in some ways as having my two children, because it has been a kind of birth – but it has also been painful thanks to the self-examination that dancing has provoked in me. And so, because of dance, I can say, unequivocally and gratefully, that I am alive at last,” she writes.

Dancing Tips - Dancing Did It For Me! What About You?

By Stanley McCalla, Fred Astaire dance board member & National coach and adjudicator

I started dancing some 25 years ago when I was 12 ha-ha… I wish. Anyway, before this all started, I saw a couple performing a dance show at a club during a Christmas Holiday party.

They were rhythmic and proficient, and I thought for a moment that I perhaps could some day do that as well. After offering my congratulations, I asked them where they learned their fantastic craft. “Fred Astaire” came the reply from the male partner. To which I responded naively, "Who is that?” I was so young and so unknowledgeable these days, coming from a different country and all. The couple continued bragging about the Fred Astaire Dance studio on 5th Avenue in New York City.

To make a long story short, I called the studio two months later and registered for some lessons. For the first six months however, although I was learning and felt good about my progress, I was afraid of showing up at a Guest Party or taking part in a showcase for that matter. Why? Because I truly was concerned about not making a fool of myself in front of other people.

Well, that changed!

My teacher at the time - the most beautiful blond that I can remember - took me to her supervisor Mr. Pike, who in turn made a deal that changed the course of events: I was offered 2 free entries to the regional competition if I registered in the next small program. With Dorothy holding my arm gently and with her smiling blue eyes that could melt me any minute, I chose to say yes.

The competition went great, that is, I did not black out, succumbing to my fears. However, noticing 6 couples on that floor besides us, I could not stop my trembling cheeks, nor prevent my lips sticking to my teeth. By some divine intervention, I managed to win both the Rumba and the Meringue that I signed for. Needless to say, my confidence shot up to Mt Everest… well not quite. The result of this competition was such that four young female students at the studio lined up to partner with me at the next National Competition in Miami Beach, Florida, an event that was equally successful for me.

Every year that Fred Astaire holds an event of that caliber, I reminisce and thank my teachers and supervisor for having giving me the nudge since I don’t know if I would be where I am today without it.

This coming April, Fred Astaire is holding their biggest ever competition at the Luxor in Vegas. I am here to proudly encourage you all to join and be part of this historic moment. If you are still undecided about joining, if you think that you are not ready yet, or that you are too much of a beginner, or just like the younger me, you are afraid of testing the waters, my advice is: JUST DO IT. You will have a great experience and an historic time. And who knows, just like me, your life could change for the better.

Happy New Year to you all!

Stanley McCalla

Thursday, December 11, 2008

My Golden Dancers

The Sprinkling Can of Hope and the Mary Jane Shoes

By Elita Sohmer Clayman

When I was growing up, we did not have spare money for extravagant items. If it was in the clothing line, my brother or I did not wear hand me downs. We got new clothes, but they did not cost lots of money and they certainly were not designer brands.

Mom took me to a children’s shoe store called Dantzics. They had this x-ray type machine where you put your feet in and you looked down and there were the insides of your feet appearing in this slot. They gave you a balloon or a little pencil case if you bought your shoes there that day. Years later, it was revealed that those x-ray shoe places could be harmful. We did not know from harmful in those days. We knew it was fun to buy shoes at Dantzics. Mr. Dantzic was a nice and friendly store owner and he had an adequate selection of up-to-date shoes for kids. Mom picked out a pair of black patent leather called Mary Janes. They had a little strap and were bright and kind of cute. However, I did not like them and I informed Mom I did not want them. Mom said that I would learn to love them, if not enjoy them. All of the way home on the streetcar, I told mom in my little sweet voice that I would never wear them. She said that I would as I looked lovingly at my new and bright pencil case.

You see I loved sharpened pencils that came right from the manufacturer and I had very good handwriting for a child of about eight. I always got excellent next to handwriting on my report card. So the shoes were put in the cupboard to be worn on Saturdays or Sundays or special occasions. The shoes were never worn by me. I had informed Mom of that on the purchase day and Mom did not think I would carry out my words. As a minor threat, yet it was valid in my eight-year-old mind.

Holidays and special events came and I never would put on the black patent Mary Janes. They sat on the shelf gathering dust and I would brush them and they still sat there. They were bright and shiny and ugly in my mind.

Many years later when I was an adult, I purchased my first ballroom dance shoes from a dance shoe store in Virginia via the mail and catalogue system. In the brochures, there was a picture of a Mary Jane style dance shoe all bright and shiny and ready to be purchased. I laughed when I saw them and they looked so comfortable that on impulse I ordered a pair in my shoe size and eagerly awaited their arrival via United Parcel Service.

Now the white box addressed to me arrived from Virginia. I opened it up and there in my senior hands were the Mary Janes quite similar to the shoes from many years ago. They were bright and shiny and black and of course in a much larger size than those of the little eight- year-old kid who had a mind of her own way back then.

I tried them on. They were very comfortable with their suede dance soles and I thought to myself, 'Momma, you should see me now. It may have taken sixty years for your daughter to learn to like the Mary Janes, but they sure were comfortable and even not as ugly as I remembered them.' I wore them often and mainly for practice or to take dance lessons with. I would look down at my feet and think of how when Mom wanted me to wear those shoes I would cry and say, 'I hate them,' 'They are ugly,' 'You should not have bought them, etc.' When I, as an adult, looked down at them at this point in time, I thought that they made my bunion and hammertoe feet look much slimmer than they now were. I even thought they were kind of attractive in an odd way.

One day I was appearing in a showcase at the dance studio and my bunions and hammertoes were hurting. I decided to wear my Mary Janes doing the dance with my coach. I came out to applause and somehow the shoes moved with grace and determination as I danced and flowed across the dance floor with him. They became like my magic slippers (There was a dance movie years ago called Red Slippers). I felt as if I was a ballerina in my red slippers (though these were black) and that I could accomplish anything in these dance shoes at that moment. I did very well in the showcase exhibition and I certainly did credit those shoes with my performance. The Mary Janes had come through for me all these decades later.

Mr. Dantzic and Mom would have been proud of me if they were alive to see me dancing in those shoes. Mom would have said something like this, 'My darling, I told you that you would like these shoes eventually. ' Mr. Dantzic would have said that they fit me well because the x-ray machine showed my feet looking fine in them.

To Mom and the shoe store owner, I say: Yes, you were right. I did not ever make my son or daughter wear anything they did not like because of my black shoes, though they may remember it differently. I hope I recall that correctly because the black shoes certainly were a recollection of mine and now I can laugh about it and think of it with humor. Mom, you were right, I did like them and it only took all these years.

When we wear our shoes for dancing, we float out on the smooth floor, feeling as if we are famous stars walking on the red carpet before a congratulatory show given by Hollywood. Shoes may seem a minor fact to someone who does not dance. They think of them as good, old, plain shoes. We dancers know better than that.

There is an expression that states ‘it’s what inside that counts,’ meaning that inner beauty is as important as or more so than outer beauty. Expressions or slogans are not always necessarily accurate. The way we feel about our self is as significant for the sanctity of the mind as eating properly or getting exercise daily. When we are satisfied with our own personal being, then we are more content.

Ballroom dancing is a great enhancer of a happy attitude about our body and mind. When we go out to dance or take a lesson, we are accomplishing a task that becomes no burden after a few minutes inside the studio or dance facility. We are away from our home which is our castle. There was a slogan used many years ago spoken by a politician in his quest for a political job here in Maryland. He used that wording that your ‘home is your castle’ and therefore he meant that home and house are where we go to be peaceful and content. The slogan was not liked by the community and he lost the race; however, I remember the true meaning of what he meant and he was right on it.

The studio is another place where we seek solitude. Charles Cotton said, “Solitude is the soul’s best friend.” I have found that the studio means more than that.

When you are there you become a second person, removed from everyday tasks and happiness or sorrow of daily existence. The studio is another place for you to grow and thrive. Like a flower , we need water to survive and the flower of dancing needs reinforcement of liquid in the form of encouragement and desire to excel at this dance opportunity. Oliver Wendell Holmes said a 'home is where we love.'

Elbert Hubbard said the home is the abode of the heart. The studio becomes another abode of the heart because there we are - one of a bunch of flowers to be watered and nourished and encouraged to become someone new. That is our professional dance teacher’s job to use the watering can of hope, work and accomplishment by sprinkling us with the mist of joy and anticipation in learning to dance at any age.

When Mom said I would learn to love my black Mary Jane shoes, she said that out of necessity because we were not financially able to afford another pair of shoes. She bought them with confidence thinking she would sway the child into learning to like them. She did not know her child would be stubborn and never put them on until her late adulthood.

To the little girl who never knew then that the Mary Janes would play a part in her later life: the castle is your everyday home and the blessed studio where we escape for a few hours several times a week. The meanings of the word castle are many. Castles are where dreams are aspirations and yes, we do aspire and wish for great fulfillment in our dancing days. These days dancing become months and many times years and they have got to be the most beautiful days of our lives. We are full of spirit and goal reaching and can be proud to say we are BALLROOM DANCERS and we have transcended our expectations when we decided to try this exercise, sport, fun and ambitious moment in our existence.

People some time ask me what “I do.” Other than being a wife, mother, grandmother and daughter to my late parents, I proudly proclaim that I dance. Dance, they ask, what kind? I reply “the best there is and it is called ballroom.” Ballroom means excitement, exhilaration, excellence and most of all perfection. Perfection to the point of being the epitome of the embodiment of attainment. My neighbor once asked me what the word “Dancing” on my vanity license plate meant. I replied, “that it means I do something so special, it cannot be explained in one word.”

The one word goes back to the Mary Janes which always looked a bit like a dance shoe even in those olden days when I was age eight. It means I have realized that dancing is like being a princess or prince living in a castle and since home is where love and the heart are, then dancing is full of love. It is the soul’s best friend and the flowers are constantly being sprinkled with hope and fulfilled desires.

Always keep on dancing

Wednesday, December 10, 2008

10 Benefits Of Dancing

From Dancescape (http://www.dancescape.org/), Barbara Craddock writes about 10 benefits of dancing:
  1. Forever young. Dancing is tremendously beneficial in keeping us young. It retards the aging process. It benefits our heart, cardiovascular system and increases our lung capacity. The muscle exertion and breathing rates of dancers performing in one dance competition is equivalent to those of cyclists, swimmers and an Olympic-level 800-meter runner.
  2. Strong bones, lubricated joints. Dance aids in the prevention and treatment of osteoporosis, which is a major concern for women, especially during post-menopause because of the significant drop in estrogen that occurs at this stage. A decrease in our estrogen levels stops calcium from being absorbed into our bones. Dance also keeps joints lubricated, which helps prevent arthritis.
  3. Calorie blaster. Dance exercises our bodies to allow for increased circulation. It helps us burn calories while improving our stamina. Dance burns from 5 to 10 calories per minute depending on speed and intensity. For example, swing and mambo burn more calories than a slow waltz.
  4. Better blood. New research has discovered that it is necessary to measure both good and bad cholesterol levels when determining our health. Dancing aids in lipid control, which raises our HDL (good cholesterol), and lowers our LDL (bad cholesterol). Dancing is also great for diabetics because it aids in blood sugar control.
  5. Mental mastery. Dance improves our memory by making us recall steps, routines and dance patterns making it a great mental exercise for our brains. The big benefit is that increasing mental exercise keeps your mind young, quick, alert and open.
  6. It's all about balance. Balancing yourself in one position may be easy, but balancing in the numerous types of positions involved in dancing is much more difficult. Dancers have mastered the ability to balance themselves in a number of positions. This strengthens our stabilizer muscles, while protecting our core and keeping us less prone to injury in our daily lives. Dancing also aids in coordination and helps strengthen our reflexes. It is a great way to keep our central nervous system in tip-top shape by improving the connection of our bodies to our mind.
  7. Socially satisfying. Dancing is recreational and entertaining. It creates a social life for us, while affording us the opportunity to make new friends. Friends helps us grow, make us laugh and support us as we learn.
  8. Culturally diverse. Dancing has no cultural barriers. People from all parts of the world, with different ideologies, meet on the dance floor. Cultural interaction improves our health by expanding our mind and sharing our spirit!
  9. Groomed to perfection. Dancing is not only fun and romantic, but it helps promote good grooming because everybody wants to look his or her best while they dance.
  10. A happy self. Dance elevates our mood by raising our endorphin levels. This is what allows us to heal stress and depression — two of our immune system's biggest enemies! It helps us establish our self-confidence and self-discipline. It improves the harmony between our mind and body, giving us a sense of well-being.

Monday, December 08, 2008

My Golden Dancers

Restringing the Necklace


Ethan, age three years and one and half months, goes to preschool, which used to be called nursery school when his father went there. He had been there for the third time yesterday and on the first day he had a tear or two when Mommy left. The teacher told my daughter-in-law to go in the hallway and they would see what would happen. She did and she saw he was fine and she left and when she picked him up three hours later, he was happy to see her and had a good time.Yesterday his daddy dropped him off and Ethan saw a classmate with tears and his nose was running. So darling sweet Ethan got a Kleenex and wiped the running nose to comfort his friend. The teacher told my son that was the sweetest thing she had ever seen in a young child of that age. She has been teaching pre-schoolers for over twenty years.


Ethan shows already at his young age the compassion and kindness that I taught my children and that his parents are teaching him. Of course, all grandparents think their grandchildren are smart, articulate, beautiful and kind. I know for a fact that my three grandsons are all of that and more and Ethan, who is the youngest grandson, exhibited it yesterday. Ava, his one-year-old sister, will be doing the same when her time comes for school and social contacts.


Grandparenting is different than parenting because we are so much older and we can stand aside and absorb the wonderful light that shines upon us because of who we are now in this later senior life and be proud of the excellent mission we have accomplished. Grandparenting almost in a way can be analogous to ballroom dancing. How in the world can that be? Here is how. Having a new grandchild or first grandchild is new, exciting, fresh and bewildering. So can starting to dance at a later age, as is grandparenting. It is exciting, fresh and quite full of bewilderment. We look at it as a challenge and we realize that as we progress (as the baby gets older) we have this wonderful thing in our hands and we can be ecstatic in learning all about it.


We are proud and one day when we watch the baby without his parents there, we are cognizant of what has just happened.We did it and we had fun and so it is with dancing. We did it, we had fun, and we are proud of our self. So having a grandchild is certainly more important than ballroom dancing, but the two of them are delightful moments, hours, and days in our life. Life is full of learning experiences, some great, others not so special.

We can take good moments and secure those in our minds to ease the bad times when they happen. It will simply outweigh the difficult times and our tears will be tears of joy, not tears of sadness. We have grown from this experience, whether sad or happy. We have flourished, strived, and matured.


We can wipe a tear from a fellow dancer (so to speak) by trying to establish in their minds that they can learn to dance at any age whether advanced or young. Some people, when starting out, feel that it is too late to learn ballroom dancing. A reader of my columns by the name of Steven Behr living in Washington State wrote me of the spreading of dancing he and his partner do. He is a member of the Steilacoom Dance Company, a group of seniors directed by Mary Peterson who is the teacher and choreographer. The dance company goes to hospitals and nursing/retirement homes to celebrate their dancing modes. They perform tap, ballroom, and Polynesian dances at these establishments.

For the last 19 years, Mary and Steven have been going to Hawaii, sharing the love of dance they have at hospitals, nursing homes and senior and community centers. The couple goes there at their own expense; the others in the group do not due to the cost of traveling.

There is a facility they went to called Regency at Pua Kea on the island of Kauai where they taught two lessons; on the third session, they came to an actual dance. Steven DJ'ed the music and he danced with several ladies and Mary danced with some of the men.

He asked a petite lady named Matsuko, who had been sitting for the entire session, to dance with him. She told him she had not danced for 50 years. He got her to dance by coaxing her a bit, and he moved around with her in place. He said she had good balance, and they started with a basic Foxtrot step. Very soon thereafter she told him she was 104 years old. The people stopped dancing and started to clap. Steven thought they were clapping for him but it was for Matsuko. Of course, Steven is modest; they were applauding both of them. She became the queen of the ball. He asked her about her longevity and she said it was "attitude." I guess her attitude was one of good health, good feelings, and being blessed with excellent genes.

Mary and Steven believe that "the glass is half full and that each day brings many opportunities for growth, sharing and fun." They feel that they are role models wherever they go to spread their love of dancing. In Hawaii, they are considered ohna which means family; the Hawaiians share the aloha spirit with them. Steven and Mary are both semi-retired seniors.

Half full and half empty is a lovely expression that we all use. There was a famous pianist that lived in Baltimore, Maryland where I am from who lost the use of his right hand in playing the piano due to an illness. He in turn learned to play with his other hand and gave concerts doing so. Many years later through therapy and operations, he was able to use both hands in the normal manner. He always said that his glass was still half full when he lost the use of that hand. His name is Leon Fleisher.

So to the pianist and the 104 year young lady, they needed no tear to be wiped from their eyes. Their eyes were and are wide open and they can see the depth of the ethereal time on this earth we all have. Our journey here is exquisite and we all can make the most of what we are given and even if some of it is taken away, we can still be drinking the full glass of crystal-clear times and we can help those who may not be fortunate as we are to accomplish new things and special moments. That is why I write these columns to inspire people to go dance and to be full of light in their senior and not yet senior lives. People are living longer and healthier lives now and we all must take the time to mind the word aloha which means hello and goodbye as does the Hebrew word shalom which also means the same thing. Hello to ballroom dancing and Goodbye to sadness. We are dancers and we are special

So attitude can be beneficial to our minds and thoughts. A lady here in Baltimore, Maryland named Esperance Sutton said in a newspaper article that "Life gives you a broken necklace, you just restring the beads." What a good line. When things go wrong, it is like the non-functioning of something important and you go ahead and rehabilitate and rejuvenate the bad happening. From there, you start anew and go forward. You have wiped the tear from your face or mind, and you have courage now to function in a most desirable manner. You have restrung the damaged jewelry and wear it now proudly because it is your jewel of life.

Ballroom dancing is like no other sport. When you are connected to the person you are dancing with now, then you and him or her become almost one. You may be strangers not even knowing one another's names but you have one thing in common. You are both out there on the wooden dance floor trying to accomplish something solid for at least three to four minutes. You are doing so to speak a routine of feet and arm and hand movements to music usually coming from a disc jockey and DVDs. You may make some small talk about this and that and then you as the lady proceeds to try and figure out this language of dance, which truly is a language of a different sort. He, as the leader, is thinking what he will do next and prays that you, as the stranger, will be able to decipher his movements with his hands. It is truly a language of unusual components. There is a fundamental list of factors in the dance language which must be interpreted by both parties.

Once a person figures what the partner wants (the leader), then she follows and almost is overwhelmed that she understood his movements. When a couple dances almost always together, it is easier to know what the other is meaning and to be confident in what they are doing and you are completely at ease. As one dances again and again with that same person, the dancing becomes exciting and fun and the couple has a fine time that day. Some teachers do not connect with a particular student because they do not have the ease in teaching. Others are so adept at imparting the knowledge that after only one or two lessons, the student is enthralled with this dancing hobby and keeps coming back for more. There will be no tear to wipe from the eye or from the heart because they are already installed in this form of exercise and delight.

To any one attempting the thought to go out and dance and then hesitates, do not let the cogitation leave you. Shakespeare said "thoughts are dreams till their effects are tried." Surely, we have to try our dreams out and see the effects become reality. Thoughts are like strands that become a necklace we wear around our heart. Our heart leads us unto this journey down or rather up a road of unbelievable lanes. The lane leads to an avenue of beautiful homes. The home is what dancing becomes to us; a home of bountiful beliefs that we can attain happiness by moving our bodies, no matter how old or young into very desirable rooms of euphoria. We need not restring the necklace because it is already looking very pretty.

Thomas Jefferson said “Happiness is occupation and tranquility.” When we are occupied with our dancing, we are surely feeling serene and peaceful. Our glass is completely full and any tears we may have are ones of joy and completion. The necklace lies right near our heart.

Always keep on dancing.

Tuesday, November 25, 2008

My Golden Dancers

Bringing Brass to Gold

By Elita Sohmer Clayman

On a television show, a young man was bringing a bouquet of flowers to the young lady he was taking to dinner. He looked at her all dressed up and appearing so pretty and said: “Bringing these flowers to you is like bringing brass to gold.” He meant that the flowers were inexpensive like something that is made from brass, and she was as beautiful as gold.

Many times in our lives we start out with brass and it turns into gold. Plenty of things we do emanate from inexpensive accoutrements to become golden to us. So many folks start ballroom dancing by taking one or two group lessons with lots of other people they do not know. Then they perhaps advance to taking lessons with only one partner or by themselves with their teacher as their partner. Finally, all this turns into something golden. Gold being the high standard of jewelry other than platinum is what we want when we buy good jewelry. What we want when we dance is to be golden in our perception of our self and our partner. We want other people to look and say ‘Wow, they dance so well. They must have been dancing for years.’ Dancing is something that always stays with you and like typing, bowling, or driving a car, it never leaves your brain.

I have been to lots of dances where you see a couple who have advanced since the last time you saw them months ago. Some people dance and others are not dancers. The ones who dance are looked upon as being unique and exciting. They are admired, appreciated, and applauded.

John Travolta was revered in many movies because he danced well in them and people thought of him as the young kid in 'Welcome Back Kotter,' an old television show. He was on 'The View' and said he turned down several movie scripts in the past that went onto be big hits. He was sorry he had not taken the opportunity to be in those movies. He said he did not think he could do the show or movie and later realized he would have done well in them and he regretted it. The movie 'Hairspray' was given to him and he turned it down at first and then knew it was for him - lo and behold, it was a mega-hit.

Some of us turn down doing things because we feel we cannot handle it now because we are seniors. I have always felt that the word 'seniors' did not conjure up a very impressive meaning about us. When I was in high school, I could not wait to become a senior. When I was in college, I could not wait to become a senior. As I approached any thing, I wanted to do it in a senior manner, meaning a superior manner. Now the word 'senior' is another word for an elderly person.

We seniors should be called something else. We could be named 'elegant elders,' 'respected retirees,' or 'super sages.' Senior citizens mean we are oldsters and citizens of this earth. We are people who have reached this age, hopefully with some wisdom, and become grandparents. Some are travelers and others excel in a hobby like ballroom dancing. Many are satisfied to sit on their tushies, watch television and munch and become sedentary. Many of us combine grandparenting, traveling, and also practice our ballroom dancing weekly.

That is not what we elegant elders want to be known as. We want to be recognized as respected sages with lots of wisdom earned through living, loving, liking, and doing. We desire to be looked up to and not looked down at because we are older. In Asian and European countries, elders are more honored than in our country. Many seniors here are looked upon as burdens to their families rather than exquisite persons of vision for the memories they tell their children from the days of yore.

When I was a youngster, I never cared about hearing much of my parents’ past or the ‘olden days.’ Now the olden days are my past and my children are very interested in hearing stories from yesteryear. Lord Byron said the past is the prophet of the future. I am the last member of my immediate family which consisted of mom, dad, brother and me. They are gone and I have stories and family tidbits stored in my senior brain. My daughter loves to hear all the information I have about these events. My nephew who lives in California wanted me to write down family history so he could pass it on to his son.

Memories need not be enhanced. Most of them are so interesting when you look back on them, though nothing much worthwhile to you at that time long ago when they happened. Now it appears to be bringing brass to gold. The brass being the past and the gold being now and the future. By retelling these stories of the passage of time, we relive those moments and they may not have been so golden then but retelling them now makes it a happening. We can learn from the past and can beautify our present and our future remembering how it was then. We did not have control over things then as we have now with all this modern technology. My older grandsons can go on their computers and converse and play games with friends. They are in their homes and their friends are in their homes and the two meet via the computer. Who would have thought this amazing happening would transpire?
I worked 50 years ago as an administrative assistant to the president of a printing firm. We were amazed when they got the first Xerox copy machine. The artist who worked in our place need no longer make two copies of any artwork. Before, he required one for his office and one for the client. So he labored hard to make identical copies. It took hours of work. When the machine was delivered, we all stopped to admire this piece of modernization. Howard, the artist said: 'Amen.' His work was easier, more precise, and less time consuming. Modern miracles had happened at this printing facility.
I remember the day I spent $25 and bought my mom and dad an electric can opener. It cost so much money they did not want to accept the gift. We oohed and ahhed over the cans automatically and neatly being opened. My dad took the empty can and turned it over and opened the underside just for fun - to see it move. I can see it as if it happened yesterday.

We were so thrilled at these small wonders. Look how things are now with computers, iPods, DVDs, videos, cell phones, etc. We super sages and elegant elders can help our children, grandchildren and friends by relating what life was then. We survived, we were happy, and most of all we respected each other and our elders. Now we are the elders and we are elegant and super and we want our younger population to realize that. We were brass and now we are golden and we have lots of time left to continue being golden. When we dance before younger people, we show them that gold is better than brass and age is ageless.

Regardless of whether you are a senior now or will be a senior soon or even if you are in your 30s, 40s, 50s, you can learn to dance and to dance beautifully. Dancing not only enhances your thoughts about yourself and your ability to learn, it becomes a distinctive part of your existence. John Dryden said, “Dancing is poetry of the foot.” Not only is it lively legs, it is an instance of pure movement.

My fifteen-month-old 4th grandchild, Ava Maya, turns on her toy machine and out comes some very pretty music. At her young age, she sits on the floor and moves her body to the music she hears. It is as if it is inborn to her to know that she can shake and move because of what she hears. Perhaps it is in her genes because her Grammie loves to dance.

So go out and take some dance lessons, engage in dance activities at the studio, and become so involved that you have something down on your weekly calendar showing that you are participating in the dance world.

Dear seniors - or shall I say elegant elders, respected retirees and almost seniors and just everybody out there - remember and realize that we are still valuable, vigorous, and full of vision regardless of age. We have the vision for now and the vision of the past. Both the now and the past make us golden persons moving to platinum. In jewelry, platinum is the ultimate and we will remain so all the days of our lives.

If dance is poetry of the foot or feet, then it is also a depiction of our body. The movement of our bodies with its parts and our feet and legs becomes
a ladder for us to climb. As we reach the top rung, our hearts are full of happiness, our mind is full of mental activity, and our souls are replete with fulfillment of this accomplishment we have attained. Someone once said the body is a machine that winds its own springs.

It is a stunning consummation of the learning process regardless of age. Age is only a number and numbers add up to total success. Success is what we all strive for from the beginning of our knowledgeable years. Children cannot wait until they are older. They often tell their age as six and a half, ten and three quarters, because they yearn to be older. Older people sometimes fib about their age; others are proud to say they are so many years old, etc.

The ultimate compliment one likes to hear is: ‘You do not look that age.’
The paramount tribute to our self is to participate in our own life, not in someone else’s life. Turn the ordinary into the extraordinary because people climb a mountain in different ways. We all accomplish the goal.

So move your body like my little darling granddaughter does; have poetry with your feet; leave the brass behind and become platinum in your dancing. Climb that mountain and reach the top because your life will be quite meaningful every day as you dance to higher pinnacles than you ever thought possible.

Always keep dancing.

Thursday, November 20, 2008

My Golden Dancers

"Angles, Angels and Dance"



Leeza Gibbons, a television personality, was on a show and she was talking about a sick relative and how hard it is to care for them. She said she needs kisses from angels to help her cope with the situation. Many times we feel we may need a kiss from an angel. I never believed in angels and many years ago I had an experience with an angel of sort.

My husband had a large pharmacy for almost twenty-four years. It was an independent store, not affiliated with a big chain grocery store. Just an old-time, family run business. I used to work there two days a week at the store and did book work at one time at home by hand long before there were computers to use doing that type of work.

We knew our customers by name and always greeted them graciously even for the smallest of a sale. It was a homey type business and every one knew everyone. The clerks, the pharmacists, the customers were like one big and happy group. There was a little old man that came in daily. I guess he was about sixty something and of course I was forty something so I thought him elderly. He looked at me longingly and would call me angel. Everyone would laugh and he chuckled too and he continued to call me that. From the front of the store, my husband who was on duty that day would call out to him 'hi' and he would ask “where is my angel?” meaning me. It was cute and sweet and I would go along with the jocund attitude because it was that type of relationship with customers, owners and sales clerks.

I even bought myself a key chain that had the word angel on it. I got to believe that somehow there might be angels around and if this man thought I was one (jokingly) that it was proper and fine and I would enjoy the moments. One day I realized that I had not seen Mr. Garland for several weeks and I asked the clerks if had they seen him. They replied that they heard that Mrs. Garland was ill and he was no longer arriving daily at the store since he was caring for her. They were of modest means and had no children to help them in their health care needs.

So I got the address from the records and I got together a box and filled it with sweet things, household things and items he may need to help in her care and I sent it with our driver when he made deliveries to Mr. and Mrs. Garland. I signed it 'Angel and husband Jerry.' I knew they could use the items and I got back such a sweet note. In the note he said “Thank you, my angel, the Mrs. and I appreciate your angelic deliverance and I always knew you were an angel.” Not too long passed and Mrs. Garland died and he stopped coming in to the store.

Everyone missed Mr. G, not for the little business he gave us but for the smiling and loving personality he possessed. He was of such meager earnings in whatever he did, but he always had a smile and a joke and a beautiful charm. He always referred to me as 'angel' but in truth he was the angel. I was just the messenger. We can be angels to others on this earth and many of us can do this in our ballroom dancing. I am always preaching that we should inspire everyone we can to participate in dancing and of course the interest has spiraled since the dancing television shows of these years.

When we encourage folks to go out and dance now they should not perceive it as the way it was shown on the Dancing with the Stars show. They need not have expensive gowns or suits, they need not take dozens of lessons and they need not practice excessively like it was portrayed on the shows. They only need the willingness to learn, to study and to love it and to enjoy it. They need to realize that the television show was a bit of hype and that in real life one can learn ballroom dancing and not be so enamored of it that they invest too much money or even time that they may not have at the present moment. There are ways to learn that are not costly. Some group lessons are not expensive and the social climate of a group lesson can be helpful by meeting and greeting and being seated with others at the dance party or the dance lesson. They only have to dress nicely and the clothes do not need to be expensive or designer names. They can learn at their own pace and someday if they want to compete, they should consider the cost, the time, and effort and can do so at their own free will when they desire it.

Dancing with the Stars is not representative of real life ballroom dancing. The voting by the public was more of a 'who has more fans' type of thing and not representing who was the best and most talented dancer. Many who remained on should have been taken off weeks before they were voted off and many who were voted off should have remained and been given a chance at winning. Television shows are not always the true reality of our lives. In this instance, it does help to promote dancing and that is good and shows that with hard work anyone can learn.

Angels come in all sizes, all nationalities, and all ages and even if you do not have financial reserves, you can be an angel here on earth and you can give kisses as an angel without doing the actual deed. You can stimulate the thoughts in people who may be inclined to go out and dance and you can initiate the desire in their hearts.
L’Oreal, the cosmetic company, had a contest for Women of Worth where you were encouraged to nominate someone who does worthwhile deeds. There are many out there- I call them People of Worth who deserve to be noticed because they help others to share in their love of dancing and promote the concept of dancing by enticing men and women to ballroom dance in their communities. I know of a few folks who drive single men and women to dances because these people no longer drive and would be sitting home because they had no transportation. There are other folks who will pick up someone who cannot get around easily and bring them in to take a dance lesson and that gives the person a chance for exercise and social times. These people are angels of the day. They wait for the lesson to be over and return the student to his or home. They have given a shut-in the opportunity to go out into a community place and to be with others enjoying themselves and also a learning experience.

William Arthur Ward said: “The good teacher explains, the superior teacher demonstrates and the great teacher inspires.” The good friend dancer will help his fellow dancers to excel and to be happy in their dancing activities. They will ignite the flame of desire to become an excellent participant in this lovely activity of mind and exercise.

There are two words that you can change the letters back and forth. They are 'angle' which means viewpoint or standpoint among some of its meaning and the word 'angel' spelled with the same letters. Angel means benefactor in one of its meanings. To have an angle of a viewpoint on ballroom dancing and to be an angel and help someone are two words to have when we dance. The angle is our thought on dance and the angel is what we can be to a new dancer and we can use both words to help and encourage dancers who are always a bit apprehensive in starting their dance ‘career.’

Many years ago in the 1970s, when we first started to dance, there was an obnoxious older lady who had been dancing for about thirty years. When we would come to a social dance at the studio, it was difficult to figure out which song was a Waltz or Foxtrot. We would stand there or sit until we figured it out. She would yell out seeing our lack of knowledge and security in knowing this; she would say: "Jerry, it is a Waltz" in a tone like we were stupid. "Jerry, it is a Foxtrot." One day, I said to her very politely (though she did not deserve my respect), "Jean please do not tell us, we will figure it out." I never forgot her for her lack of kindness towards new students. I vowed I would never do that to any new person like she did to us. It is a wonder we did not walk out and never come back to ever dance again. We were lucky that we had the fortitude to eliminate her intimidating voice and actions and to go on and do our dance thing.

People of Worth do not need L’Oreal cosmetic company to acknowledge them with monetary rewards. People of worth know that they are that and they give kisses every time they respond to others with giving them the responsibility to go out and learn to fill their time and life with a hobby such as dancing. People of Worth are angels and as Mr. Garland used to yell across the Alameda Pharmacy way back in 1980-something “Where is my angel?” (meaning me), we can speak out and say "Here we are, we are your angel, we are your mentor and we will help you to sustain your love for ballroom dancing. We will be the stars of the dancing and we need no television show to exclaim this or to enhance our worth. We are the angels and we need no row of judges to tell us how good or how poor we did. We are people of worth and we know it."
We older dancers are here to help the first time dancers and to encourage them with our help, our kindness, our confidence, and our willingness to motivate these folks to continue on dancing because they will find great happiness in accomplishing this motivation to be happy from doing this.

So, as Leeza Gibbons said, she needs a kiss from an angel; we can be that angel who plants an imaginary kiss on someone as we instill in them this thought that they too can dance, learn new steps, be happy at the studio learning and most of all keep their minds active.

The activity to the brain is as important as doing the steps well. You will feel unbelievably wonderful not only with your feet but with your mental acumen. You will have been kissed by the angel who had the angle to bring you into the family of dance because after a while, the other dancers become like your second family. A family that is away from your immediate home family. A dance family consisting of all of us who simply love to dance. We continue on as kin. George Santayana said: “Family is one of nature’s masterpieces.”
Our dance family is a dynasty of performance. Perform we do in the most showing way of beauty. We dance for ourselves first and our hearts benefit from this love of this delightful portrayal of emotion and movement. That is a masterpiece and a jewel in a crown of regal realizations. We are dancers and we are really full of spirit and as someone once said: “We have that inward flame; a lamp that never gets put out.”

Always Keep On Dancing.




Thursday, November 13, 2008

My Golden Dancers

Dancing for the Meat Bones

By Elita Sohmer Clayman

November 13, 2008

When I was a little girl of about seven, I would go with Momma to the various stores for the food items. There was a grocery store, small and compact, where we got the necessities and the fruits and vegetables called Shapiro’s Mart. There was the butcher shop where we got the meat for the week. There were no freezers yet until I was about twelve. The butcher shop was called Rodman’s and Mr. R. was a nice and elderly man. Momma would give her list and then she would say, “Can you throw in some meat bones” and very meekly say “not charge me for them?”

Mr. Rodman would say “only if the little one (meaning me) will dance for me.” Momma must have bragged once to him that I liked to tap dance in the solitude of our home. I had no tap shoes, no routines, and no lessons and so I made up my own steps. No one saw me do it except Momma and sometimes Dad. My brother Herbert was five years older than me and was in high school and he would have probably laughed at my dancing. So Mr. R. told me he would give Momma the bones for free and I pretended to know what I was doing and did my one minute routine. He clapped and gave Momma the wonderful bones for free so she could make good vegetable soup.

Financially, things were very tight in those days, and Momma even went to work part-time in an office to help with the finances. Mr. Shapiro’s food store was in the basement of a house across the street from our row home and the butcher shop was up the street from him. There were no malls in those days; all the department stores were located downtown on two or three blocks and that is where we went to do clothes and shoe shopping. So you got to know your merchants because they were a stone’s throw from your home and they were like your neighbors. They also lived not very far from their businesses and often walked to their shops.

So I thought myself a star because I danced for Mr. Rodman and got Momma the free meat bones. As I got a bit older, I declined going with her to Mr. R's and Mr. S’s stores. I wanted to be more independent and Momma went herself to do the shopping. We could not afford tap dancing lessons, though we did take piano lessons. The reason being was that the piano teacher was Aunt Bessie and she was married to my father’s brother. He owed my dad lots of money from loans Dad had made when Dad was prosperous and he never paid Dad back. So Aunt Bessie gave my brother and me “free” piano lessons as kind of some sort of payment. When you look back, it was a meager payout for lots of money owed. My brother and I did not like Aunt Bessie and did not like the lessons. I played the piano better than I tap danced because I had professional coaching.

When I was about fourteen, we moved to an apartment house and on the first floor there was a ballet school. It was run by Miss Ellen Gniadowski and I would peer in to see all the little girls in their ballerina costumes being coached and groomed by Miss Ellen. She seemed to be a caring and considerate teacher and I kind of envied the little ones learning from her. She was so different than Aunt Bessie that I was really jealous that Miss Ellen had not owed my Dad money and then we could have gotten free ballet lessons.

So I had a little bit of knowledge of tap dancing, a little bit of seeing ballet and lots of piano learning and practicing. I saw that teachers like Miss Ellen can make a difference in a child’s life rather than teachers like Aunt Bessie. Aunt Bessie knew she was giving us coaching as a somewhat payout for her husband’s loans and as a duty also. She did not care to instill in us the desire, the love, the caring for the piano while Miss Ellen was very caring to her little girls, always encouraging them and telling them they were doing well. I could hear her do this through the open door and the hallway as I would go up the stairs to our apartment. I loved Miss Ellen even though I only waved at her and she finally knew my name because we were tenants in the same building. I never asked Momma to give me ballet lessons because I knew that we could still not afford even the small prices Miss Ellen charged.

One day, Miss Ellen was going into her downstairs studio and she saw me staring into the glass window. She said that I should come in and watch the girls for awhile. I ran upstairs and told Momma where I would be and I was enchanted viewing these lovely youngsters learning ballet. Miss Ellen, we heard, had been an up and coming ballerina and gave it up to marry and to have children. This was her way of continuing on with something she loved and still she had a home life with her husband and daughters. I told Miss Ellen that someday I would do dancing when I was older and could afford it.

Miss Ellen said she was sure I would accomplish this. She said no matter when you start, it will not be too late. So I heeded Miss Ellen and my husband and I started ballroom dance lessons when I was forty-two and he was forty-six. I always remember Miss Ellen versus Aunt Bessie. Miss Ellen was a delightful coach, an admiring friend and a competent human being. She instilled in these young and hopeful ballet students that they could handle and accomplish anything they wanted. At the end of the sessions, twice a year, she had a recital.

So the moral of this story is that a good coach is also a good friend. A good friend will nurture you and encourage you and be proud of you. So as Mr. Rodman thought I was a good tap dancer and he knew nothing at all about it, he still encouraged a little girl to dream and think she could tap dance. I thought I was special because Momma got her free meat bones to make a special veggie soup and I dreamed I could dance. Miss Ellen made these girls think they could do and would do better if they practiced and came for their lessons. The Aunt Bessies of this world only go about and do their jobs because they have to or need to and they never reach the heights of being called a great friend or teacher. The Miss Ellens of this world are the spirit that makes our children feel high up unto the sky and these children go on to achieve and accomplish and become happy citizens. Hopefully, we can all be more like the Miss Ellens than the old biddy Aunt Bessies. We can encourage our children, our friends, and even our senior citizens that there is always time to learn something new, to appreciate the new things we learn and to help others accomplish their dreams. Whether the dreams are even out of our reach, we can lift ourselves up high on an imaginary step stool and grab them and enjoy them and love them.

When my grandson Brock was about six or seven, he let a balloon given to him by the restaurant where we had eaten lunch fly high into the heavens. He said it was for my mother (his great grandmom) to hold onto while she was in Heaven. So we should all hold onto something up that is very high and try to achieve it whether we are six, sixty, or older. Hold onto your dreams and they will come true because the Miss Ellens are right here alongside of us encouraging us.

Senior citizens are now living sometimes until almost one hundred years old. I saw an article about a lady who is a PHD and she goes to nursing and retirement homes and she encourages the residents to do for themselves. She said that pushing them in their wheelchairs is not as good as teaching them to do it themselves. Her philosophy is that their minds need to be active to achieve better health; helping them to be invalids just because they are older is not really saving them. Her name is Dr. Barbara Resnick and she is a registered nurse and teaches nursing at the University of Maryland nursing school. She also works at a continuing care retirement community in Baltimore, Maryland She motivates seniors to stay as active as possible because once someone reaches about eighty years of age, there is a good chance they could live to be one hundred years old. If they are not exercising and doing physical activities, their last years will not be meaningful. She inspires them to live better independent lives and she motivates them to help themselves. She is a cancer survivor so she knows what she speaks of for seniors to triumph. This can be applied to everyone whether sick or well; we need to be functioning and industrious all the time.

So to all seniors, I call upon you to go out and dance as much as you can if you indeed like or even love ballroom dancing as I do. When I am at a social dance or even taking a dance lesson, I am in another world. That world does not include worries, problems and difficulties doing things, or illness. The dancing world is made up of happy moments, good music, dear friends and, most of all, glorious surroundings which include the wooden floor, the chairs, the tables, the food table with the goodies on it and the most important ingredient of all--- me because I came, I danced, I exercised and as my grandson Brock said several years ago “I have something to hold onto.” I am holding onto my life which is certainly fulfilled with achievement and satisfaction that I am here doing what I love-BALLROOM DANCING AND I WILL HAVE OVERPOWERED OLD age.

There is a columnist here in Baltimore, Maryland that wrote a stupid column on ballroom dancing. He said when he goes to weddings he is overcome by himself and others who do not dance well because they never thought they could or would. He said he needs a drink of whiskey or maybe two to even get up the nerve to try to dance. He criticized Cloris Leachman to even think she could go out there and dance on Dancing With The Stars. Instead of applauding her for trying and succeeding as much as she did, he disapproved and belittled her for her attempt at this endeavor. No one is ever too old or even too young to attempt to learn ballroom dancing. The Fred Astaire Dance studios that are located all over our states are a good place to start your dance ‘careers.’ When one goes to a dance studio and they find a teacher like Miss Ellen (rather than an Aunt Bessie), they have accomplished the beginning of their learning process. I have been lucky with the several teachers we have had during these thirty years and my first coach was a young man in his early twenties. We were in our forties and so I guess to him we were oldsters. He treated us with kindness and respect and gave us his knowledge and caring; to him we owe that we continued on for these many years. He moved away and started his own place in Maine and his name is Laurence E. Miller. He was a Miss Ellen type of teacher who not only stimulated our desire to excel, he energized us and showed us that we could and would be the recipients of the glory of this learning.

Whatever age you are, young, middle aged, senior or even a senior plus like Cloris, do not let anyone dissuade, discourage or detour your ambitions to try and learn this fabulous and enjoyable entity called dance. You are never too old and never too late to absorb the concept of dance.

Ballroom dance is exciting and stimulating to your brain and your brain needs the incitement and spark to keep it going. When your brain is scintillated and encouraged, then you will definitely feel better physically and mentally whether you are twenty or seventy.

My doctor told me I should go to a physiatrist. I do not mean a psychiatrist. A physiatrist is a medical doctor who specializes in physical therapy for aches and pains without needing surgery. I will go in a few weeks when the appointment was given to me and then with her help, I and we will be back on the dance floor. The dance floor is the best floor in the whole world. That is where we can do our thing, be a star and, most of all, get the best exercise there is for our young or older bodies. The dictionary meaning of the word 'floor' is base. Base is foundation and foundation is support. Support is what we strive for from our teachers and an excellent one gives us the desire to hold onto it just as the balloon did for my mom.

So, as Miss Ellen told me way back when I was a young girl, it is never too late. Never say never, say instead: 'My dancing is everlasting and eternal and I will enhance my life by being a dancer.'

Shakespeare said in Sonnet 42 “But here’s the joy; my friend and I are one.” We can say that about our dancing - our dancing and I are one. It is the best friend we can have and it stays with us forever.

Dancing for the meat bones does not sound exciting, but it was and dancing for ourselves is the most rewarding activity we can strive for in this lifetime. It is our JOY.


Tuesday, September 23, 2008

Dancing Tips - Cuban Motion

By Stanley Mc Calla, US 10 Dance Finalist, Fred Astaire National Smooth Champion, Fred Astaire National Dance Board Member, Coach and Adjudicator, Fred Astaire Dance Board Examiner

Hello there! I hope everything is well with you. A competition that I recently judged gave me the inspiration to revisit an article that I had submitted to you in the past.

While judging during that weekend of competition, I found myself rocking from foot to foot to an array of rhythmical melodies that were simply infectious to the soul. The energy projected and the fun expressed by the dancers brought me a nostalgic feeling that I couldn’t control. All the while I felt my essence swaying my body from left to right along with the competitors at the same time I was unconsciously wanting to help some of them with a better use of foot, leg and body action.

That’s why today I want to talk to you about Cuban motion and how you can practice it.

Cuban motion is described as the lateral motion of the hips which occurs as a result of the flexing and straightening of the knees and never a conscious swing of the hips. You can use this technique in the Rumba, Bolero, Mambo, Cha Cha, Merengue, and Salsa, to name a few.

Stand with your back straight, your shoulders lined up over your hips, your center pulled toward your spine, feet together with toes turned out. You should feel that your weight is poised towards the balls of your feet. Start by bending one knee at a time, and then straighten it. While doing this, you should control the movement through the center of your body. In order to feel your center, tighten your stomach muscles as well as your plexus muscle.

You should then feel the natural and lateral motion of your hips. If you don’t, then your posture is incorrect.

Once you feel the correct motion, try to use the same principle by taking a small step to the side with your left foot then slowly close your right foot to your left foot. All the while, remember your posture, the center, and bending and straightening your knees one at a time.

Make sure that you confirm what you’re doing with your teacher.

Until next time, happy dancing!

Cheers,

Stanley McCalla

Tuesday, September 02, 2008

Sure, Dancing Is Fun...But Is It A Good Workout Too?

Most people think dancing is something you do at weddings or in clubs with friends. You might work up a sweat and have a lot of fun but is it really a workout? The answer is a resounding...yes! Just ask any dancer and they will agree! In this article by Sheri Reid, Associate Executive Director of the Mid-Shore Family YMCA, the various physical benefits of dancing (ballroom, line, and zumba) are explained in detail.

Tuesday, June 24, 2008

The Dancing Life - Judging & Coaching In NY, FL, and AZ

By Stanley McCalla, US Ten Dance Finalist, Fred Astaire National Smooth Champion, FADS National Coach and Adjudicator, FADS National Dance Board Member

During a span of ten days, I judged a beginner’s competition in White Plains, spent a few days in Boca Raton, Florida coaching, and finally ended in Scottsdale, Arizona for Antoinette Benevento’s June competition. I’d like to share my experiences with you, which was nothing less than perfect… oh well, maybe close.

White Plains Beginner’s Competition

It has been awhile since I judged one of those and I must say that I was pleasantly surprised. The students and their teachers were literally having a ball in a packed, spacious room full of rowdy spectators. The highlight of the day for me was the Trophy Ball where at least 10-15 students received their certifications after being showcased by their teachers. The Trophy System is, no doubt, at the core of our business. As a person who has gone that route, I strongly encourage all of our students to get their certification through the Trophy System as this will surely help improve their dancing.
This event was superbly organized. To Laura and Armando Martin, I say: “WELL DONE.”

Boca Raton, Florida

Coaching in Boca was like working in paradise, if there is such a thing. Although it wasn’t the first time that I’ve been to that spacious studio, I felt that my job was the best in the world as the owners, Jean-Marc and Pam Casanave, greeted and treated me like royalty. The teachers were very professionals and eager to learn, which is an excellent attitude for success. The students were like sponges…they wanted knowledge. I loved them all.

To the students there, I say: You belong to a great studio. Listen to your teachers and the managers as they will take you to the path of brilliance.

To the teachers and owners, I say: “Bravo.”

Scottsdale, Arizona

The Hilton Hotel, which housed the two-day dance competition, was by all standards a five-star hotel with amenities to boot. Antoinette Benevento, with the help of Tim Bohnett, did nothing but live up to her legendary reputation as an organizer and host. The competition itself was well run, even running ahead of schedule sometimes. I judged some very good talent within both the student and teacher ranks.

Saturday evening’s festivities included three Closed Professional competitions and a delightful show by a top United States Latin couple, Jurga Pupelyte & Vaidas Skimelis. I was personally floored by their rendition of passion (a medley of modern and Latin). To me, this competition was a great example of how Fred Astaire is taking the lead in the dance business industry, through personalities like Antoinette Benevento.

To Antoinette, Tim Bonhett, Bill - who incidentally did a great job MCing, the DJ, and many others not mentioned here, I say: I take my hat off to you (chapeau bas).

To the teachers and students, I say: Congratulations! Come and show your stuff at the National Competitions. The rest of the country needs to see what Arizona is made of.

Sunday, July 01, 2007

Dancing Tips - Cuban Motion


By Stanley McCalla

Hello there! I hope everything is well with you & that you have made use of the exercises mentioned in the previous articles.

Today I want to talk to you about Cuban motion and how you can practice it.

Cuban motion is described as the lateral motion of the hips which occurs as a result of the flexing and straightening of the knees and never a conscious swing of the hips. You can use this technique in the Rumba, Bolero, Mambo, Cha Cha, Merengue, and Salsa, to name a few.

Stand with your back straight, your shoulders lined up over your hips, your center pulled toward your spine, feet together with toes turned out. You should feel that your weight is poised towards the balls of your feet.

Start by bending one knee at a time, and then straighten it. While doing this, you should control the movement through the center of your body. In order to feel your center, tighten your stomach muscles as well as your plexus muscle.

You should then feel the natural and lateral motion of your hips. If you don’t, then your posture is incorrect.

Once you feel the correct motion, try to use the same principle by taking a small step to the side with your L.F then slowly close your R.F to your L.F. All the while, remember the posture, the center and the bending and straightening of the knees one at a time.

Make sure that you confirm what you’re doing with your teacher.

Until next time, happy dancing,

Cheers,

Stanley Mc Calla
US Ten Dance Finalist
Fred Astaire National Smooth Champion
FADS National Dance Board Member Coach and Adjudicator
FADS Dance Board Examiner
jsmccalla@mindspring.com

Wednesday, May 23, 2007

History Of The Waltz

The Waltz dates back to the country folk dances of Bavaria, more than 400 hundred years ago, but it was not introduced into society until 1812 when it made its appearance in English ballrooms. When the Waltz was first introduced, it was met with outrage! People were shocked to see a man dancing with his hand on a lady's waist! So different from the stately dances of the artistocracy, the Waltz was considered to be a wicked and improper dance! But it gained in popularity and quickly became one of the most popular of all dances. This easy and flowing dance is still commonly seen at weddings and other social events.

The basic compoments of the Waltz are walking steps and side steps. Styling characteristics such as "Sway" and "Rise and Fall" highlight the smooth, lilting beauty of the Waltz.