But my other teacher said…
The problem
It is not uncommon in the modern dance journey to benefit from the knowledge of multiple instructors. These instructors, having varied backgrounds and preferences of their own, may provide guidance that seems at odds. What are we to do when our previous understanding of our craft is challenged by new perspectives?
New information is not a threat
We dancers tend to value the progress that we’ve labored so intensely to achieve. That being so, we become an opinionated sort of animal. Perhaps overly so. But to react defensively to challenging information is to rob oneself of opportunities to find deeper truths. There is often nuance in what we do. Communicating the particularities of our various concepts and techniques is time-consuming and often inaccurate or incomplete.
Be an empty cup
There’s an old proverb, popularized here by non-other than the Cha Cha king of Hong Kong, called “empty your cup.” This is illustrated by the tale of an expert martial arts student, who visited the classroom of another teacher and, because his own teacher had taught him differently, proceeded to contradict each thing this other teacher said.
So after class, the teacher invited the student for tea. After pouring each of them a cup, the teacher then began pouring the tea from his own cup into the students cup, causing it to run over. The now-distressed student told the teacher to stop pouring because the cup was already full. “Exactly,” said the teacher, “in order to receive, you must first empty your cup.”
The TLDR here is that as students, we need to develop the empty cup mindset, and check our preconceptions at the door when it’s time to learn. If the information we receive contradicts or previous understanding, there will be room to reconcile the new information with the old after class.
Which do we choose?
So we listened dutifully, and now have two competing theories for the same thing. Which is right? As I often tell students, be able to do both, but you get to choose your preferences for your art.
Sometimes, that answer isn’t satisfactory, especially to your primary coach who taught you a specific way for a reason. In such situations, it’s probably best to a) find out the motivations behind each competing theory (which might involve asking “why” at the appropriate time), and b) defer to your coach’s judgement until such a time that you understand the nuance and are competent enough to take on a method of your own.
Do we even have to choose?
Sometimes, multiple perspectives describe the same thing. There’s a pretty popular meme floating around out there that looks like the following:
Teachers default to relaying information in the order that they originally received it as students. Often, multiple learning paths will lead to the same place when given enough time, so be patient with the process, and be slow to label an approach as “wrong.”
Finally…
Any good teacher should be able and willing to field questions about the material they relay, and even make adjustments when better ideas are brought to them. Don’t be afraid to ask them why one idea should win out over another. If you see two teachers on a regular basis that disagree, it may be productive to connect them to each other so that they can work out a common understanding, even if that understanding is limited to how to teach you, specifically.
The Awesome Soundtrack of Umbrella Academy
Umbrella Academy has been a relatively popular offering on Netflix, and one significant factor contributing to that popularity has got to be the soundtrack.
Since the entire series is basically a continuous stream of well-placed accompaniments, it’s hard to nail down a list of “the best” selection. Nevertheless, here we summarize our favorite tracks from the series (so far), and because we’re a Ballroom group, we’ll suggest a few partner dances to go along with each one.
A Spotify playlist is available at the end.
Note: must be logged in to Netflix for Netflix links to work correctly.
1. I think we’re alone now
Aside from the fact that this track has maintained a timeless classic sort of quality since it’s release in the 80s. (A bit of fun trivia, the Tiffany version released in the 80s was actually a cover of the original 1977 single by the Rubinoos).
Why it’s cool
It resonates with the plot because the main characters have just been confronted with the news that their adopted father has died. Now adults, the newly orphaned group travel back to their childhood home and see each other for the first time in years.
The sequence offers a sense of the apt and the ironic. The children are now newly fatherless (“alone now”), and yet brought together by tragedy. Adding to this effect is the fact that while they are all dancing to the same music in this scene, they do so isolated in their own separate rooms, dancing together and yet apart.
Ideal partner dances: Hustle, Triple-time Swing
2. Bad guy
Performed by The Interrupters, this is a more energetic cover of the popular song by Billie Eilish.
Why it’s cool
Of course the song is a catchy, upbeat backdrop to an action sequence, but it has the extra quirk of being set to a battle between two of the more villainous characters of the ensemble. It’s hard to say whether that was an intentional choice.
Ideal partner dances: Tango, Triple-time swing
3. Dancing with myself
This classic from Billy Idol / Generation X is upbeat and fun, and provides a backdrop for a sequence of both action and levity.
Why it’s cool
The song is “kicked” off during a confrontation between two incarnations of the character “Number 5.” When Number 1 tries to intervene, he finds himself clutching his pearls, while the camera pans around him to capture a freaky fight sequence utilizing teleportation in-between various attacks.
Ideal partner dances: Jive, Jitterbug
4. Love is Blue
This Marty Robbins song accompanies the tragic backstory of Agent Lila.
Why it’s cool
This song highlights the sadness of Lila’s history, and paints her as a downtrodden figure who had found solace in the company of her adoptive mother. The classic nature of this song adds a nostalgic tint to the mood.
Ideal partner dances: Bolero, International Rumba
5. Major Tom - Coming Home
One of the best story telling sequences in the entire series takes place at the opening of the 2nd season’s 5th episode, set to a special cut of Peter Schilling’s original. Pogo is reintroduced to the viewer as a baby chimpanzee, and his backstory is chronicled for us, consisting of his cognitive development, near-fatal journey to space, and miraculous saving by Professor Hargreaves.
Why it’s cool
This sequence is rife with good moments. The slow build in the beginning, the selective presence of the snare drum during moments that are meant to feel fast-paced, along with several time changes make it all very dynamic.
Pay special attention to the incorporation of sounds and lyrics into the action taking place:
“Watching in a trance,” as the professor is awe-struck by Grace
The overlay of the launch broadcast with the song, as the broadcaster counts down from 10, and the vocalist completes the countdown by singing out “5,4,3,2,1,” before launching into an explosion of tempo and amplitude.
A similar energy spike when the shuttle malfunctions
The steady, rhythmic pulse of the bass drum while Grace administers chest compressions
The bass guitar that scales up and down anytime the professor comes into play
Honestly, if this song wasn’t released in 1983, one might think it was custom made for the show.
Ideal partner dances: Jive
6. This Year’s Love
Performed by David Gray, this is an absolutely beautiful track that flows back and forth, just so, so well.
Why it’s cool
This song is about love, hurt, and loss. It’s fitting, therefore, that it was utilized as the backdrop for the loss of Diego’s former love.
Ideal partner dances: Viennese Waltz
Honorable mentions
There are lots of other catchy selections that provide excellent atmosphere to their scenes, but don’t have that deeper meaning. They’re still worth listing for the simple reason that they’re really good songs.
In Hell I’ll Be in Good Company - The Dead South
The closing song from S2E6. The official music video. Makes you smile. https://www.youtube.com/watch?v=B9FzVhw8_bY
Ideal partner dances: Country Two-step
Sister of Pearl - Baio
An bright, invigorating song that plays when Ben experiences the world around him again on Klaus’s commune.
Ideal partner dances: West Coast Swing, Cha Cha
Polk Salad Annie - Tony Joe White
#5 doing what #5 does. Songs like this are usually played to make the dark things he gets up to seem more light-hearted. This one’s got a nice Southern, Bluesy charm to it.
Ideal partner dances: West Coast Swing, Triple-time Swing, Country Swing
Essential Dos and Don’ts for Good Social Dance Etiquette
Social dances are, well, social. That is to say they are made up of people, interacting physically with each other, in large groups. This can be a recipe for unwanted and unnecessary drama. It is especially difficult for newcomers to a dance scene to have awareness of all the ins and outs of ideal behavior that will increase their acceptance into a culture, and help them avoid embarrassment.
Below, we’ve compiled a list of behaviors, some of which to pursue, and some to avoid. It would be too bold to claim any list of this nature to be comprehensive, but the major considerations have been outlined below.
Do explicitly ask your partner to dance, every time
By not explicitly requesting the next dance with a partner, one risks coming off as entitled or arrogant, and trivializes the importance of consent within a dance community. If there is so much noise as to make it impractical to ask verbally, as happens sometimes during a social night, making physical signals is a good secondary approach. Simply grabbing someone by the hand, or extending your own hand without making eye contact do not count as acceptable means of invitation.
Don’t correct, teach, or talk down to your partner on the dance floor
This is a huge one.
People have different motivations for attending a dance night. Some are still in training mode, looking to practice technique or try new experiments, while others are just there to enjoy time with friends and blow off some steam. Neither of those are bad. In fact, we hope each dancer that comes through our doors spends time in both of those mindsets.
That being said, it is the height of rudeness to call out your partner for doing something that you perceive as wrong during a dance, unless it is a matter of safety or physical boundaries. Additionally, we notice that the majority of people who behave this way are inexperienced and don’t always know what their partner is experiencing. Often, the complainant is, in fact, the source of the error.
Correcting your partner is a sure-fire way to look like a total noob.
But what if you’re asked for feedback? Even providing feedback when asked is wandering into a gray area. There is no mal-intent here, but imagine what this interaction looks like from the outside. Would someone say, “Oh, this (possibly well-respected) dancer is doing it. It must be okay for me, too.” There’s nothing wrong with soliciting feedback from someone you know, but keep in mind that sometimes people just want to dance, and not play the teacher. Consider waiting until the dance night ends for feedback, or at least receiving it away from the dance floor, so as not to be an obstacle for other dancers.
Do dance to your partners level
If your follow doesn’t spin well, don’t spin them, or allow extra time for spins to complete. This may require modifications to the patterns you know, but this is also a great skill to develop.
If your lead panics when you add a lot of embellishments to your movements, tone it down. It’s better to start basic and slowly ramp it up than it is to start full-tilt and hope for the best.
Make sure you are employing movements that your partner can match, or at least participate in. It’s much more enjoyable for them than just watching you do something “fancy” on your own.
Don’t be offended if you are told “no” when asking for a dance
People have a variety of reasons why they might not want to dance, and it may not be related to you at all. They may need a breather. They may have already agreed to dance with someone else next.
Even if it does have something to do with you, don’t make it a thing and turn it into a confrontation. Let it go. There are other partners, and other nights.
Do practice good hygiene
Deodorant is a must. Avoid excessive fragrances such as perfumes and colognes. Keep in mind that a person with asthma is probably already breathing more than normal. Consider bringing an extra shirt (or mask, these days) to change into in the event you get sweaty and need a quick change.
Don’t stalk a dance partner
It is super uncomfortable for both partners of a dance when there is another person standing a few feet away staring. Wait off to the side of the dance floor for the next song to end. If someone swoops in and occupies your intended partner before you get there, you have a few seconds to approach them and ask if they would be willing to find you for the next song.
Do be gentle with your partner
Assume that your partner may have an injury that you don’t know about.
Leads, be careful with rotations that involve frame-dependent torque (i.e. shoulders). Don’t force your follow into moves such as weight-supports like dips or fallbacks.
Follows, don’t put yourself into weight-supported moves. You can seriously injure your lead if they’re not ready to receive your weight. Remember that your lead is also vulnerable, to a greater or lesser extent, to all the things that might cause you injury or discomfort (e.g. pulling too hard).
Don’t be hostile to other forms of dance, or afraid of trying them
We’ve seen this too many times to count…
“That’s not real dancing.”
...
“My dance style is so much better.”
…
“I’m too inexperienced at that dance to do it.”
Never—never—insult someone’s art. You’re not into square dancing? Fine, but don’t tear it down in front of a square dancer. Don’t make them feel like less of a dancer than you. It’s okay to have preferences—we all do—but this shouldn’t be a war between styles.
And please try new things. You don’t need to be good at every style that you attempt. In fact, it is entirely common to find the new-and-different more entertaining than the familiar-and-safe. Dancing another style isn’t a commitment to start training in that style. It’s just a dance.
Variety, as they say, is the spice of life.
Finally…
Do express gratitude for the dance to your partner
People judge themselves silently far more often than they let on. Help reassure them that you enjoyed the dance. You might end up being the deciding factor for someone as to whether they give up dance out of frustration or lack of confidence.
It helps to facilitate this if you walk with your partner off the dance floor, especially when ending the dance early. Leaving your partner standing there sends a signal that you didn’t enjoy the dance, and they will be left there wondering what they did wrong. It’s also embarrassing to them, because they will feel like people are looking at them in judgment.
Blast from the past…
By Kris Haney
Guys, this will be the most fun thing you’ll see and hear all day. If this doesn’t get you excited for swing, nothing will!
Waltz
By Carlye Stone
When looking for Waltz music, you should seek out songs that are on the slower side. These songs will have about 84-90 BPM (beats per measure). Waltz has 3/4 timing, meaning each measure will consist of 3 beats. When listening to a song, listen for a pattern to emerge that starts over again every 3rd note. This is a good indicator that you are listening to a Waltz song. If you manage to count to 4 before the pattern repeats, you are most likely listening to a song with 4/4 timing, which is not considered to be Waltz.
East Coast Swing
By Liz Watkins
East Coast Swing is often danced to a Big Band style of music. In addition to this, you will see ECS danced to Jazz and Blues music that has a "swung rhythm". The dance itself is characterized by high energy, big tricks and the strong desire to bounce! Enjoy our playlist we put together to practice your swing!