Fred Astaire Dance Studios: Our Wish to You for the New Year

While I dance I can not judge, I can not hate, I can not separate myself from life.  I can only be joyful and whole. This is why I dance. - Hans Bos 

Dancing is just discovery, discovery, discovery. - Martha Graham

Discovering Joy Today and in Every New Year to Come

Dancing is a sport/art form/exercise/pasttime. 
It defies definition.

It is a paradox.

It is a prescription for healing without medicine.

It is freeing, not confining, though it constantly re-shapes.

It restores and re-vitalizes without a single smudge of makeup.
Carefully applied, it makes things whole again.

Dancing enlarges life

and the soul,

And its thrills last forever,

like memories of a bicycle ride, flying.

People together

beneath warm, bright lights

focus on learning

a new Dance of Life.

And from their efforts

discover a harmony 

that blends inside with out,
one they never thought was there.

The dancer who’s been properly taught

to think carefully about their steps
May then forget them all
to move joyfully and wholly,

with no second thoughts,

with respect for everyone around them, 
into what the next dance brings.

This word that defies the world's definitions
can define the world instead.

It can make it a better place. 

Wishing each of our dear Fred Astaire family members and the whole wide world a New Year filled with the benefits of dancing! 

How to FEAR NOTHING! (Even Asking a Woman to Dance), by Michael Amato, a Dance Student

{When Michael Amato, a student at Florida's Boca Raton Fred Astaire Dance Studio, sent us his thoughts on the great new life he's built for himself since he began his dancing lessons, he thanked us for asking him to tell about it: "Writing these words," he said, "further validates my choices and makes me proud to tell my story so that it might inspire others: fellow students, to show them that it is truly worth the investment and the effort, and instructors and studio owners, to show them that their efforts are appreciated and life-changing for us." We thank you, Michael, for your thoughtful, kind words.]

Michael Amato today, 'walking a little taller.'

I've always been fascinated by dancing. Whenever I went out I would enjoy watching others and I wished I could dance like them. But, like many men, I felt intimidated by it and was afraid I'd embarrass myself if I tried it.

  That all changed in January, 2013, when I met a woman who was a student at Fred Astaire in Boca Raton, Florida. She invited me to attend a guest party and after putting it off, I finally went on Valentine’s Day.

It was there that I met my instructor, Mariya-Khristina Shurupova, and from that moment on, my life was transformed. One of the things that I realized was how much fun it was! It was a slow start but my determination (and eventually, my enthusiasm) drove me to learn. Once I learned the basics of smooth and rhythm dances, I was on my way!

  My private lessons with Mariya and my second instructor, Sayra Vasquez, were the most fun I've had in years. Group classes and dance parties I attended helped me reinforce what I was learning. Soon I was feeling confident and brave! Asking a woman to dance was no longer an exercise in rejection, but one of joy and acceptance. I made great friends with the students in the studio, especially the women! They enjoyed dancing with me, which did wonders for my self esteem and confidence.

Mariya-Khristina Shurupova, Pro, and Michael
(his 3rd month of lessons)

  Then the weight started coming off. I think that was the best effect, one I never imagined would happen. People at work and the studio began to notice the change, not only in my physical appearance but in my attitude and how I projected myself. I would talk to my customers, friends, and family about my experience and they would always comment on how enthusiastic I sounded!

May 2013: At the beginning, a lesson with Shurupova

  Of course, the question of cost would come up and I would always point out that for me, the benefits of dancing lessons far outweighed the expense. How many of us go out and buy expensive clothes or cars thinking that will change things and make our lives better? Material things are satisfying at first, but once the novelty wears off, what are we left with? Learning to dance is something that stays with you for your entire life. It's a community of people who have fun and love what they're doing. My enthusiasm for, and devotion to, the craft impresses those I've shared it with, and I'm extremely proud of that.

 In August, 2013, I competed in my first dance competition. I danced nine times: the Rhumba, Cha-Cha and East Coast Swing. I was extremely nervous leading up to the first dance but just like my instructors told me, once the music started, the butterflies disappeared, and I danced with confidence, enjoying every minute! I placed first in seven dances and second in two, and I was hooked!

 The next big event was dancing in a production number at our showcase event in November. The rehearsals were a lot of fun and dancing in front of 350 people in the studio was more satisfying and enjoyable than I could have imagined. I'm looking forward to the next one with great anticipation, and I will dance with one of my instructors.

  What have I learned from this? FEAR NOTHING! Life is short, and I've wasted too many years wishing and hoping for something to come into my life that would make a positive difference. I've been a widower for the past 13 years and my wife loved to dance, so I can only imagine that wherever her spirit is, she's watching and smiling at me!

  Now that I've learned to dance I enjoy going to local ballrooms, knowing that I can ask a woman to dance and feel confident enough to carry myself on the floor. The proof of that was being asked to dance by women who saw me on the floor and wanted to dance with me! I find myself walking a little taller, with my head up, and filled with a feeling of accomplishment which carries over into my job. My only regret was not starting sooner, but fate and destiny made this moment the perfect time.

  The attached pictures reflect the changes in my appearance (backwards, actually). The third was taken during a lesson with Mariya back in May at 245 pounds! The second is with Mariya in August at the competition. The first was taken this week: now 215 pounds! The last picture is of the custom plate I had made for my car to express my new-found passion.

 The journey of the rest of my life has started and I'm off on the right foot (or should I say the left foot LOL!) I don't know where it will lead me, but I know I'll enjoy the trip. The next thing would be to find the right partner to share this with, and thanks to my new found dancing skills, I know she will be the next love of my life.

Appreciatively yours,

Michael Amato  

(P.S. DANCE ON!)

New Book Affirms FADS Dance Teachers are Professional 'Unstickers'

We first posted this article for you here more than a year ago. Back then it was called “Dancing with the...," by Karen Amster-Young, a warm, witty, tongue-in-cheek account of Karen and her husband’s first dance lesson at Fred Astaire Dance Studio in Manhattan. 

We are thrilled to announce that “Mr. and Mrs. Clueless” (the term Karen herself uses to illustrate their lack of dance knowledge), and their fabulous experience with us have now been immortalized in a wonderful book called The 52 Weeks, by Amster-Young and Pam Godwin!

Renamed “Dancing With My Star,” our story begins on page 3, and it is surrounded by other stories Amster-Young and Godwin acquired through “a year of discovery.” There are more great pieces in the book by guest writers, and we also get expert advice on how to live a life of discovery from a psychiatrist, a nuclear cardiologist, and a half-dozen more highly-educated professionals.  

In ‘Note to the Reader,’ the authors explain that “The 52 Weeks was conceived as a fun idea between two good friends. Our plan was to get going again, get unstuck and just feel better….,”

Sound familiar, Fred Astaire Dance Studios teachers? And, teachers, whether it was your intent or not, we know that because much of your life’s work involves new students, you often need to address this exact theme:  how to help people “get going again, get unstuck, and just feel better.”

Know that what you do matters. And know that what you do, you do very well. It takes dedicated people with high levels of skill to bring about positive change for people, which is why we, at Corporate, dedicate this story to you.  All the good you do doesn't stop at the edge of the ballroom floor, ladies and gentlemen — we know that, and we thank you.

‘Dancing with the...’ first appeared October 13, 2011 on Amster-Young and Godwin’s co-authored blog, The 52 Weeks. The book by the same name resulted from a collection of their blogs, drawn from their experiences as they tried out “one new thing every week for a year — from test-driving Maseratis to rock climbing to dance lessons.”

So glad that dance teacher was in the Manhattan studio that day, ready and eager to help!

 Read 'Dancing With My Star' below...

The 52 Weeks: the authors — Karen
Amster-Young (L) & Pam Godwin

'Dancing With My Star'

‘You write better than you dance,’ my husband joked as we awkwardly tried to do the Rumba. The last time we took a dance lesson was the obligatory, “I am twenty-something,” pre-wedding dance lessons 100 years ago. Let me put it this way:  the year I got married the average price of gas was 1.05 per gallon, Princess Diana and Prince Charles separated and Gotti was sentenced to life in prison.  Back in 1992, our first dance as Mr. and Mrs. Clueless was Eric Clapton’s ‘Wonderful Tonight’ and I didn’t need anything even remotely similar to SPANX Shapewear. And just by coincidence, Scent of a Woman was released in the theaters and we all watched as Pacino danced the Tango at the Plaza.

Mr. Sometimes-still-Clueless is a closet Dancing with the Stars fan.  On the rare occasion when he isn’t working and has a few moments before his ridiculously early bedtime, my daughter and I will catch him watching the show. He used to try to hastily switch channels to hide his addiction; he finally just relaxed about it when the newest season made its debut. I actually find it pretty endearing:  a pretty big, football-watching guy glued to an addictive dance show on television to unwind.  I am glad he finally ‘owned’ it so I could write about it.

Coincidentally, I’ve been wanting to take dance lessons… again, if you count 1992. ‘Mr. Dancing-with-the-Stars’ seemed okay with it, actually; it was finding the time together that was difficult. I wanted to do something as a couple that was new, active, fun and out of our ‘couple comfort zone.' I also wanted to learn a few moves that would surprise my body and give me a sense of accomplishment.  The fact is, like most people, we’re ‘average’ dancers – if that. Of course, over the years, mostly in our 20’s and 30’s, there were some tequila-infused moments when we actually thought we were pretty good but  the Salsa? No way. The Tango? Yeah, right.  I just wanted to know what these dances were all about. Would they feel sexy? Would I feel like a fool?  Was I 20 years too late?  So I called Fred Astaire Dance Studio in Manhattan. When in doubt, think Fred and Ginger, I thought to myself when I booked the lesson.

This location was pretty close to Bloomingdale’s. As we arrived for our first lesson, I was glad it was 9:30 at night and the store was closed. I may have been tempted, just for a minute, to beeline to the Lancome counter.

After an elevator ride to the 5th floor, we were greeted at the studio door by Desi. She was terrific on the phone, so it was no surprise she was the same in person.  I looked around at the big dance floor, lights and huge photo of Fred and Ginger and started to feel a bit hesitant.  Thankfully, we were soon greeted by a cheerful, pretty instructor named Gala.  She was warmly friendly and immediately made me feel comfortable.  We chatted for a few moments on the dance floor, then she casually inquired about our wedding song and before we knew it, it was playing.  Okay, this was a bit corny but it did the trick: we laughed and started following her confident lead, doing the Rumba and stepping a bit on each other’s toes. I had selected a “sampler” private class so we went from the Rumba to the Hustle to the Tango and Salsa all within 45 minutes.  When necessary, she danced with each of us and never made us feel uncomfortable or awkward.  I loved it.  I loved doing this with my ‘oh-so-busy’ husband and I loved not being on the treadmill or doing my usual tedious stuff.

By the end of the session we were moving a little less awkwardly and smiling, showing a little more spunk in our steps despite the fact that it was past a certain someone’s bedtime. That is what mattered most – our moods.  I am definitely considering doing this again. Certainly with Gala as our teacher and definitely when Bloomingdale’s is closed.

Knight's Take

Do You Have the Competitor's Edge?

by Stephen Knight

Stephen Knight,
Co-National Dance Director,
Fred Astaire Dance Studios

In October, I was at the Fred Astaire National Dance Championships in Orlando, Florida, with three very exciting nights of professional competition to look forward to! 

One of the most amazing things I noticed while I was watching all the swirling, smiling competitors is that there are many up-and-coming talented new couples hitting the dance floor. Since the West Coast Dance Championships in sunny San Diego are just around the corner (January 16-18) and CCDC (in Atlanta for the first time) will be here before we know it (April 22-26) this is probably a perfect time to educate our new competitors and, perhaps, even some of our seasoned ones, on what it really takes to be really good at competition.

Really good at competition, like these people
(if you so choose)! 

1. It starts with rehearsals – good ones.

 “Rehearsal“ means a minimum of practice 2 hours a day at least 6 days a week. “Good” means working with your partner as a member of a team, and not arguing about what he or she or you might have done wrong. Remember, your dance partner does not make mistakes on purpose; that’s the reason why we practice and rehearse! Try treating your partner like you expect to be treated, and you will find you’ll get to your goals a lot faster without the wasteful setbacks that arguing causes.

We all put on our dance shoes one foot
at a time...

2. The next most important thing you need is a super support team. 

That may consist of your management team at the studio, coaches you have chosen to work with, the people who design and create your costumes and anyone else you feel you need to help you get to your desired goal. At times, you may need a personal trainer to help keep you at the physical level that your sport requires, so don’t hesitate if this is the case. I had a trainer most of my career because it kept me physically and mentally stronger, which allowed me to be more prepared and capable when I competed. It paid off, believe me!

A support team like the folks at FADS (these wonderful people are from
 our Madison, WI, studio) can make a huge difference in your
dancing career -- and your life's happiness!

3. Now I'm going to address the never-ending battle of grooming. 

This is so important because of the impression it makes on the judges. Costuming can make or break any couple in a competition. So, if you are going to invest the time and finances it takes to rehearse, be coached, cover entry fees, buy airline tickets, and pay for hotels, let's make sure that grooming is the very last problem we could possibly have! “Properly groomed” simply means we’re in costumes that enhance our bodies, with makeup and hair done correctly. There are plenty of professionals in these areas who are at your disposal, and they will love to help make you look like a champion, so invest just that little bit more for their services, then watch it pay off in a grand way!

"You are so pahfect, my dahling!"

4. The last qualification for being a great professional competitor is good sportsmanship. 

Obviously, in any competition there will be winners and losers. It is so important to lose gracefully!  But I have seen far too many times when couples act unprofessionally due to a particular result and I'm here to tell you FOR SURE that it does not fare well with the judges. That impression of you will stay with them for a long time. So, do yourself a favor when you don’t like what you’ve heard: go up to your room and have your pity party there, out of sight of anyone who could form a bad image of you!! The players and the results will change all the time, so just learn from your mistakes and move on. Remember, this is not just about being a good dancer; you must also be a good winner and a good loser — to put it in a nutshell, a good person! That alone, my friends, will take you a long way in this industry and help assure you a long and prosperous career.

You? A sore loser? No way! You'd better just
get over yourself, now, y'hear me? 

So keep dancing, everybody, pay attention to the words of wise dancers (like Fred here), and no matter where you are in your ride right now, enjoy your trip to the top!!

He's Not Just Dedicated -- He's 'Fred"icated!

Ron (Cuddles) Bailey's 'Fred Tat'

My name is Ron "Cuddles" Bailey. I first walked into the Youngstown Fred Astaire Dance Studio Sept 29th, 2011, with my future daughter in law, Anna. I wanted her and me to have a special dance for their June 2012 wedding. Kristin Dobson was our instructor. From that moment  to now, my life has had the wonder of dance in it. 

My wife, Chub, had been sick, in and out of hospitals and nursing homes a lot. In February of 2012, I completed in my first mini match. Chub was attending. She and Anna arrived, and Travis Manero [Youngstown's owner] personally escorted Chub in, making sure she had a very good seat. I completed 22 dances with Kristin and Chelsea Cherie. Later, Anna told me that Chub was in awe. She said, “Ronnie is always happy, but now he is in a complete new world.” She loved watching me dance.

March of 2012 was not a good month for Chub. She was in ICU most of the time and on a ventilator. In between working and visiting her, I would spend time at the studio. By now the studio had become more of a chapel to me. By now the instructors and fellow student had become very special to me. My love for dance and their support was getting me through a difficult time. Plus, I was having my own health issues with pulmonary fibrosis.   

On October 1, 2012, I lost my loving Chub. Almost 400 people attended her calling hours. Among them were Travis and Kristin, plus several of my fellow Fred Astaire students.

The following month, I was in my first Regional competition. Kristin and I preformed my first solo dedicated to Chub and me. That same month, the studio held a Zumba Thon benefit for pulmonary fibrosis.

I have now attended several Regionals. I not only had a wonderful time dancing, but through them, have now met more wonderful Fred Astaire instructors and fellow students. I am truly blessed to have so many fellow dancers as friends. 

Cuddles, having a blast at a Competition

I have never had a tattoo. I never got one until I was 60 years old. I have four now, and each one has a very special meaning. I got my first in 2010 when I lost my dad. In 2012, I got one for my beloved state of Iowa. My third was for my dear Chub, who was also a veteran of the USAF. My fourth I got in February of 2013. This I call my Fred Astaire Tat. I am proud of each of my tattoos. Each one holds a special place in my heart.

Travis Manero, the owner of Fred Astaire Dance Studios,Youngstown, first contacted inStep about Cuddles' tattoo. At that time, Travis said of Cuddles: "Wait until you talk to this gentleman. Everyone at the studio absolutely loves him."  Well, Travis, we talked with him and it's clear why you said that. And his story about what everyone at your studio has done for him, and what dancing has done for him...well, it made our day!

Dancing: It's the Gift of a Lifetime

Stanley McCalla is a US Ten Dance Finalist, Fred Astaire National Smooth Champion, FADS National Dance Board Member, & National Coach and Adjudicator.

Dear Readers,

A few months ago on a Saturday night, I visited a salsa club in my area known for its sizzling Latin music and electric atmosphere.

After sitting down with a drink, I found my attention drawn toward a dancing couple that was executing some rhythmic moves and interesting turns.  They were musically fluid and their rhythm was catching.  They used intricate steps that were well blended together, and a nice communicative dynamic transpired through these two individuals.

Then I realized that they were using some steps taught at our studios, and they were technically quite efficient. I was still trying to figure them out when all of a sudden, they spun in my direction, looked toward me, and smiled.  I suddenly recognized them. 

Mark and Jenny were students at my studio, and a year ago, I had the privilege to coach them. I was very happy to see them together dancing so well and exuding so much harmony and fun on the dance floor.

The song ended and, as he shook my hand vigorously, Mark told me that taking lessons at Fred Astaire Dance Studios was one of the best investments that he ever made. Jenny added this (and I quote) —all because of our dancing the quality of our entire lifestyle has changed for the better, and we love it! Thank you so much!—(unquote).

That encounter certainly made my night! In fact, it made my week!

I had the feeling then that these people 'had it made,' too—that Fred Astaire Dance Studios had impacted their lives in really powerful ways, and that is—it really is—exactly what our studio and all the Fred Astaire Dance studios in the nation are about: to make a difference in people lives by teaching them how to dance. It sounds simple, and it is, but what an incredibly positive change it makes!

If everyone danced, we would all bring the world to a happier and healthier state of being, literally one step at a time. So, I think it is really important to pass on the message of dance. It's the gift of a lifetime.

If you know a friend or a loved one that could use a lift, a new social direction, more exercise, or a great place to belong, think about directing them our way. Your gesture might just be the push they need to bring them into a life that is filled with fun, friends, music, and dance.  

What could be better?

I'm raising my hat to you and to your future dancing friends --

Stanley McCalla

Dance Director, Fred Astaire Dance Studio Mamaroneck

"I Never Would Have Believed!": A Student Reflects on His NDC Experience

L to R: Yasmeen Sahira, Pro, Dave Forecki, and Dajana Stanic, Pro
  

Fred Astaire Dance Studios of Greenfield, WI, would like to thank Dave Forecki for representing the studio so well at his first National Comp! Dave made the Greenfield studio extremely proud when he won the Top Bronze Showcase Male award with his number, “I Wanna Be Evil”. What a great job, Dave!! 

“There are experiences that remain forever in your memory, says Dave. "After receiving a free dance lesson to Fred Astaire Studio from a wedding expo which I attended with my son and his fiancée a year and a half ago, I never would have believed I would be competing at a National Dance Competition, much less winning ‘Top Bronze Showcase Male’. 

"The grandeur and splendor I viewed, the grace and talent I observed, the comradery and support I received from the instructors and students from my region and the confidence I developed are some tangibles I experienced at the NDC in Orlando which will be the impetus for me to become a better dancer. It is an experience that is truly life shaping. As one of my instructors said, it's like a regional competition —on steroids!” 

Dave performed at  NDC with Greenfield Pros Yasmeen Sahira (to Dave's right)
and May Lee (to his left). The trio is shown here with Luann Pulliam
 and Joe Trovato

No ice ice baby?

“Somewhere along the line, the concept that ice facilitates healing became conventional wisdom. Sorry, that wisdom is wrong." 

Joshua J. Stone has so many letters after his name, his diplomas could probably double as wallpaper. He’s an MA, ATC, NASM-CPT, CES, PES, and FNS…but, other than FNS (which means Fitness Nutrition Specialist), we didn’t examine every impressive credential. However, we did learn that he’s a former sports medicine program manager for the National Academy of Sports Medicine who, he says, has provided “rehabilitation and performance training for many Olympic and pro athletes.” 

Joshua Stone recently blogged “Why Ice and Anti-inflammatory Medication is NOT the Answer,” about the overuse of cryotherapy, or ice for injuries. He posted a similar subject back in July. “The controversy surrounding the topic,” he later wrote, made his July post “one of the most popular blogs I’ve written” — which is why we’re presenting his latest comments here. This is not our recommendation, folks, but just one person’s opinion. You should always consult your doctor for any injuries you have. 

According to Stone, “Ice, compression, elevation and NSAIDs [which stands for Non-Steroidal Anti-Inflammatory Drugs, such as aspirin, ibuprofen and naprosyn] are so commonplace that suggesting otherwise is laughable to most. Enter an Athletic Training Room or Physical Therapy Clinic: nearly all clients are receiving some type of anti-inflammatory treatment (ice, compression, massage, NSAIDs, biophysical modalities, etc). I evaluated a client the other day and asked what are you doing currently – ‘Well, I am taking anti-inflammatories and icing.’” But Stone doesn’t agree this therapy is always best. “Why do you want to get rid of inflammation and swelling?” he asks, and he asks it for both long-term cases, as occurs with arthritis, as well as for acute [sudden] injuries.

Stone quotes Dr. Nick DiNubile, The Physician and Sports Medicine Journal’s editor-in-chief, who “once posed this question: ‘Seriously, do you honestly believe that your body’s natural inflammatory response is a mistake?’ Much like a fever, inflammation increases body temperature to kill off foreign invaders; inflammation is the first physiological process to the repair and remodeling of tissue. Inflammation, repair, and remodel. You cannot have tissue repair or remodeling without inflammation.” 

Pointing to the results of a study at the Cleveland Clinic, Stone notes that cells in damaged muscles automatically respond to acute injury through engulfing and destroying foreign bodies, such as bacteria, that could threaten the organism as it heals. A sudden injury also  causes muscle cells “to produce a high-level of Insulin-like growth factor, which is required for muscle regeneration” and prevention of muscle cell death. He notes a 2010 study by two researchers from the department of Biochemistry and Molecular Biology at the University of Medicine and Dentistry, which concluded that “‘overwhelmingly, NSAIDs inhibit or delay fracture healing.’ And you want to stop this critical process of healing by applying ice, because inflammation is ‘bad’?,” he asks.

“Somewhere along the line,” Stone explains, “the concept that ice facilitates healing became conventional wisdom. Sorry, that wisdom is wrong. I had someone tell me the other day, 'We need to ice, because we need to get the swelling out.' Really? Does ice facilitate movement of fluid out of the injured area? No, it does not.”

But the human lymphatic system, Stone says, does. “’The lymphatic system is a ‘scavenger’ system that removes excess fluid, protein molecules, debris, and other matter from the tissue spaces.’” Swelling tells the lymphatic system to go to work, a natural control that’s important to maintaining the body’s equilibrium.

“If swelling is accumulated,” Stone says, “it is not because there is excessive swelling, rather it is because lymphatic drainage is slowed. The thought that ice application increases lymphatic flow to remove debris makes no sense.” He offers this analogy by the author of “Iced! The Illusionary Treatment,” Gary Reinl: “Take two tubes of toothpaste, one is under ice for 20 minutes, the other is warmed to 99 degrees. In which tube will the toothpaste flow fastest? It does not take an advanced physics degree to know that answer.

“What might surprise you,” he continues, “is that ice actually reverses lymphatic drainage and pushes fluid back” into areas of injured tissue. In fact, a 1986 study showed that when ice is applied to a body part for a prolonged period of time; it affects the lymphatic system in such a way as to actually increase the amount of local swelling and slow the body’s removal of unwanted cell debris.

Stone sure isn’t crazy about ice, so it’s no surprise that his view on RICE (Rest, Ice, Compression, Elevation) is that it, too, “is bogus.” In his opinion, the “I” for ice is not its only problem: “Rest is not the answer. In fact rest causes tissue to waste.”  Stone asserts that the evidence shows that injuries heal better through exercise or another form of movement that actually promotes protein, gene, and collagen formation.

“I ask health care professionals to do one thing, just try it,” suggests Stone. “Pick one client with chronic musculoskeletal pain, skip the ice, skip the NSAIDs and try to use light exercise as a repair stimulus. Then, try skipping the ice on a client with an acute mild injury. The outcomes might surprise you.”

"Dear Deborah...", A Thank You from Molly MacDonald, Pink Fund founder

'Thank You for the Courage and Joy You Demonstrated by Dancing'

Dear Deborah,

I am one of the thousands who have watched in awe your joyful dance just before undergoing your double mastectomy.

As a Survivor, I know all too well the combination of anxiety, stress, relief, fear, anger, sorrow etc., that fills us as we face surgery!

I, for one, was frankly pissed off!  Crying, complaining and generally unhappy as I lay in the pre-op room waiting for surgery. 

I wish I had thought to dance. It would have relieved all of my anxiety about the surgery!

I think about it a lot now, because the organization I founded and have the privilege to head, The Pink Fund, had our first Dancing with The Survivors event in September with Fred Astaire Dance Studios. Five breast cancer survivors danced with joy with professional partners from Fred Astaire. (They had the benefit of private lessons, donated by Fred Astaire Dancer Studios in Bloomfield Hills, MI.)

I know you are just a few days out of surgery, but I wanted to reach out to you and thank you for the courage and joy you demonstrated by dancing and asking others to do the same.Your spirit and the video will inspire others to find courage and joy in their own breast cancer journey. And of course, it speaks volumes about you!

When you are feeling better, and if you are so inclined, I would like to invite you to dance next year with a professional partner from Fred Astaire Dance Studios for our Dancing With the Survivors event. I have copied our partners with Fred Astaire, so they too can pass on your "dance."  

Warmly and with gratitude!

Molly

Molly MacDonald

Founder, President

877-234-PINK (7465)

Molly MacDonald, President of the Pink Fund, shares a moment of 'joyful dance'
with Evan Mountain, the owner of Fred Astaire Dance Studios, Bloomfield Hills,
at the Pink Fund's 'Dancing With the Survivors' event in Warren, MI on 9.26.13.
The studio's efforts helped raise over $60,000 for The Pink Fund.

Knight's Take - A Pro's Look at Ballroom Dancing

Forever dancing...

Stephen Knight, FADS Co-National Dance Director

When it comes to learning to ballroom dance, the possibilities are endless. Those who want to succeed at higher and higher levels must possess two very important qualities above all: patience and the ability to follow the learning systems in place.

In my travels to FADS studios all over the country, there’s that question that arises on so many lessons, whether it’s a professional couple or a Pro/Am partnership. That question is: “When am I going to be a good dancer?” My answer to that is: “Your definition of ‘good’ will keep changing because the longer you study, the more knowledge you’ll gain. Therefore, you’ll continue to want to perfect some new technique you just learned.”

Keep reminding yourself of the fact that, yes, you are learning new things! Learning takes learning. And that’s totally positive.  Each small step you make in your learning tells you that you really are getting better, and soon you’ll be ready for new information on your quest to being the best you can be!

My other advice involves following the systems that Fred Astaire Dance Studios has in place for a very simple reason: they were designed to get dancers to their goals. Too many times dancers find themselves backtracking as a result of skipping something earlier that was crucial to the whole learning process. For example, two problems I often see are a lack of ankle and foot strength. 

Dancers should work on their feet and ankles at the very beginning of the Bronze Program. Studying foot and ankle actions eliminates movement issues, balance concerns, commitment problems, speed, and problems with confidence. Too many times when I’m training a dancer, they will say to me, “I have no balance. Why not?” The reason is that their feet and ankles are untrained, so they’re weak.

Again,  this type of frustration that can be avoided simply by following the order of our systems. As long as dancers keep to the systems, they’ll make progress at a maximum rate. 

And never minimize the importance of patience. It’s not only a virtue in reaching for higher levels of achievement:  it’s a requirement!  Think about it: ballroom dancing is so many things to many people. It’s been called an art, a sport, a science, exercise, and a hobby.  It’s complex and it’s personal. Just the fact that dancing can is described in so many different ways tells you it’s going to take some time to find your groove! 

There’s one more very important point. Be your own judge of your own progress.  Forget all about comparing yourself to others because (thankfully) we are all different!

To happily dance, you’ve got to enjoy your own ride.

John Monte Award a Proud Legacy for Fred Astaire Dance Studios

FADS' Impact on Ballroom History

L to R: Martin Chiang, Jack Rothweiler and Wayne Eng, USDC 2013

Jack Rothweiler was taken by surprise at USDC 2013 on Saturday evening, September 7, when USDC CEO and President, Martin Chiang and Executive Vice President, Wayne Eng, called Jack to the stage to receive the John Monte Award. This honor is one of two service awards USDC gives each year to recognize one individual’s contributions to the dance world above all other people in the business.

The John Monte award is a tremendous honor in the field of dance, and its history is tied closely to our company.  Monte himself died in 1990, so our details about him came through the memories of someone in our business who actually worked with him: Richard LaValle.  LaValle was a member of the original Fred Astaire Dance Board, as well as a USBC Open American finalist with two dance partners in the Monte years:  Diana Montez (1972-1974) and Linda (Douglas) Joy (1975-1976).

John Monte’s life is woven into our history, as well as the history of the USDC.  In fact, we can thank Monte for the original United States Ballroom Championships, or USBC, which was eventually re-named the USDC. USDC determines the United States’ national Professional and Pro/Am Ballroom Dance Champions. Under Monte’s leadership, the first USBC took place in 1971 and was held annually at the Waldorf-Astoria Hotel in New York City through 1974.

That year, 1974, also brought John Monte a monumental honor. The 1974 USDC program features a photo of Princess Margaret presenting him the Carl-Alan Award, 'the only American to receive this honor for his outstanding contribution to the popular entertainment field in Great Britain.' That contribution was bringing ‘Touch Dancing’ back to ballroom at a time when dances like the Twist and the Mashed Potato were keeping partners at arm’s length. *

Monte first set foot in the dance business as a Fred Astaire student when he was about 16. Like Astaire, Monte began as a tap dancer in an age when jazz and tap were king. His FADS company career began in 1954, about 7 years after Fred Astaire’s original dance classes began. 

The Fred Astaire Main Office was located at 487 Park Avenue in New York City at the time. The company's decision-makers gathered here to organize a 1958 ballroom convention at the nearby unfinished Park East Studio. During that 2-week convention, about 150 Fred Astaire people from around the country packed the studio which had no proper floor. LaValle recalls seeing John Monte here for the first time. 'A little guy on a raised platform with a piano,' the future Company leader sat square in the middle of the ballroom. It was his job to provide the dancing music for the convention!

In approximately 1960, John Monte replaced Frank Pagliaro as FADS’ National Dance Director. Monte became President of the National Council of Dance Teachers Organization (NCDTO) in the United States (the NCDTO evolved into today’s NDCA). NCDTO work called for Monte and his assistant, Dagmar Jarvel, to travel to Fred Astaire Dance Studios all over the country to provide teacher competition training and dancing tests.

By 1969, there were too many studio requests for Monte and Jarvel to manage by themselves.  Monte came to a Chicago FADS convention and announced he was putting together a company called “Dance Service Department” to help.  His idea was that Fred Astaire people from the various areas would support FADS dance teachers’ training sessions and promotions. Thus, the FADS Dance Board system was born!  (Monte himself assigned LaValle the Midwest region.)  The new regional format was highly successful in meeting the studios’ needs.

Mary Molaghan was the talented manager of the New England region. She and Monte formed a close partnership, and in 1971, they founded the American Ballroom Company (ABC) whose purpose was to establish U.S. ballroom champions, for there were none in those days.

At that time, the ABC was granted a charter from the NCDTO to run the official United States Ballroom Championships (USBC), now known as the United States Dance Championships (USDC), in all styles and divisions for Amateurs, Professionals, and Pro/Am. The charter, revised in 1975, is the same today.

Monte and Molaghan set about creating the USBC. LaValle remembers it was Molaghan who really 'put the USBC together' when, in early 1971 at a Regional Competition he attended in in New York, she entered a hotel room where Monte was holding a routine Dance Service meeting. Mologhan made the earth-shattering announcement that she and Monte were creating the first-ever U.S. national competition.  FADS had no official U.S. dance representatives in the ballroom world. The format she described would include an International Latin Style competition and an International Ballroom Smooth (then called American Standard). 

To everyone’s further astonishment, Mary announced that this competition would recognize all the top dancers in the United States, regardless of their company affiliation. This meant including Murray and the independents, too!  Furthermore, their competition would include a Pro/Am division to recognize those who were tops in the U.S., as well as one for top Amateur Couple.  Other than the winners of International Style, who would become U.S. Representatives to the World Championships, all would be recognized U.S. Champions.  Donna Smith, a FADS Dance Board Member who was there, said, “Mary, it sounds wonderful, but it could be a conflict of interest for us to promote this independent activity that is not just about Fred Astaire. What’s in it for us?” Mary’s reply became her legacy:  “Don’t worry kids, you’ll all get a piece of the rock.” 

The Area people began promoting this new event, the USBC, in their travels. The first USBC was held on Labor Day weekend, 1971, in the Waldorf-Astoria’s spectacular Grand Ballroom. Richard LaValle was 31 at the time. Still, he can recall the names of every Fred Astaire Dance Studios Champion in each division that weekend (and all the way up to the present day, in fact!)  “FADS,” he proudly recalls, “with the exception of 1983 and 1984, held the American Championships from 1971 to 1990.”

John Monte also served two 6-year terms as President of the NDCA (1975-80 & 1982-88). During that time he was elected Vice President of the International Council of Ballroom Dancers (ICBD). He was the first North American on the Presidium and the Joint Committee (ICBD/ICAD).

We’re proud of John Monte, which is why his name represents the second division of FADS’ SWAR report. But we’re even more proud that independent companies like the USDC recognize the important role he had in the history of ballroom dancing. Very few people have had the impact that John Monte had on the ballroom dance world. Jack Rothweiler, though, is one of those few.   

Martin Chiang credits Jack Rothweiler with 'rescuing FADS from bankruptcy to become one of the largest dance studios organizations and expanding overseas.' And though these accomplishments alone are remarkable enough, we are thankful he has done so much more.

The John Monte Award is reserved only for the greatest dance business leaders in the world. Our heartfelt congratulations go out to you, Jack Rothweiler.  And thank you so much.

Jack Rothweiler’s Contributions to the Fred Astaire Franchised Dance Studios Organization

In 2002, Jack’s first days as President were spent analyzing years of company statistics in order to build our stronger future.  The list of his further accomplishments takes up two full pages, so we have only included some highlights below.

Today, in addition to his duties as President, Jack successfully oversees the largest region in our franchise system, serves as Vice President on the WDC’s Board of Directors (since 2008), and is an active registrant of the NDCA (since 2003). 

Jack’s focus has always been to make Fred Astaire Franchised Dance Studios the biggest and best franchise operation in existence.  The entire company has grown and profited tremendously throughout the years of his leadership. This profit has come in many forms, but it is our financial security, collectively and individually, that Jack still works the hardest to secure. His ultimate aims are to give his employees —studio owners, area people and office staff alike — every financial opportunity that is available to them and to help them enjoy their working lives, as well as their retirements. That explains why Jack’s long-term goal as President has been to change the previous FADS mindset, the one that said,  “I am a dancer who happens to own a studio” to “I am a successful business owner who also excels in dancing.” Jack’s devotion to this proactive new mindset and the results it has brought now offer every Fred Astaire family member unparalleled opportunities in the world of dance.

Partial List of Jack's Achievements

·         Created the FADS Corporate Mission Statement

·         Increased and modernized our focus on education through creating H.O.T, a library of business, motivational and marketing materials, and studio staff training manuals.  

·         Produced an entire system of manuals to help structure our current franchise system and serve multiple training purposes.

·         Added trademarks and copyrights that have strengthened our company and protect our trade name.

·         Created a Business Council to aid in developing studios and enlarged the Board of Directors.

·         Re-designed and created new job positions to improve oversight of key areas of the company.

·         Created the Checkouts database and the Astaire Management Program, and upgraded SWAR’s functionality.

·         Developed data tracking systems to improve studio’s abilities to better their numbers: Not Ups, ATD interviews, and KPIs, for example.

·         Created our .info website to provide studio owners with practically everything they need to run their businesses, from archived TOP Seminar speeches to the newest studio products.

·         Developed the Studio Locator, an interactive map on the national website that provides full contact information for every Fred Astaire Dance Studio in the world.

·         Assisted in developing bigger and better FADS Championships, as well as a greater FADS presence at U.S. National Championships.

·         Created FADS logo products and logo-wear, and produced our own shoe line to further brand our name and secure additional revenue streams.

·         Developed a dress line for our newer competing students to make their competition attire more affordable.

·         Secured advertising in national periodicals (Dance Beat, Blackpool Project, and other regional publications).

·         Increased the number of our studios from 82 to 153 (as of this writing) and expanded Fred Astaire Dance Studios overseas. W now have a presence on 4 continents.

* Other Carl-Alan Award winners include the Beatles, Nancy Sinatra, and Donnie Burns (now President of the WDC) with Gaynor Fairweather (they won the award twice).  Other John Monte Award Winners Include:  Judi Hatton (2012); John Morton (2011); Frank Regan (2010); Rickey Geiger (2009); Rufus Dustin (2008); Jim Donaghey (2007); Pete Taylor (2005); Betty Silvers & Larry Silvers (posthumously, 2004); Brian McDonald (2003); Miranda Tang (2002); Fran Rogers (2001); and Sam Sodano (2000).