Category Archives: Dance Tips

Post Auditions – Standing Out

It’s after auditions and you already think you were erroneously placed. What can you do? It really depends on the event, but the first step should be taking your classes and standing out.

Each level has stratification between low, middle, and high skillsets. Some students think that merely doing the moves the instructors are teaching is enough, but it isn’t. If you truly want to stand out, you should strive to emulate the teachers as much as possible. This means their:

  • quality of movement
  • connection
  • ease of leading and following
  • smooth transitions
  • ability to create rhythms and other variances on top this pattern or theme
  • enjoyment of the dance

I hope you appreciate some of these ideas and try to incorporate them next time you’re trying to be noticed during auditions, post-auditions, or appeals.

 

 

Competition Tips: Know Your Partner’s Abilities

Have you watched Fog City Stomp’s Invitational Social (random partner draw) competition yet? Watch until near the very end and you’ll see Anthony & I working (it) together.

Above is an example of two guys knowing the other spoke westie. Two hand left side pass with a lunge break = a playful moment. In this case, it equated to a ginormous body roll.

Moments later, and people were asking what Anthony and I were talking, we threw a pancake aerial. According to my recollection, the conversation went like this:
A: Pancake?
K: What?
A: Pancake
K: (thinks about this blazer’s armholes before leading a tuck turn as the setup) Pancake

That’s a good example of Anthony making an excellent call based on what he knew of my skills.

Bottomline: It’s good to know your partner’s skillsets. Even if you don’t know them personally, that’s the benefit of the beginning all-skate, the start of a dance, or just asking what the other is best at.

Letting the Path Choose You

I was recently hiking near Breckenridge. Like most hikes, you had to pick your way across mud, water, and rocks. As much as I’d like to scout my path, rock to rock or dry patch to dry patch, I’m always willing to go with the flow that the loose rock dictates.

Rather than fighting for balance, I’ll flow the direction given and try to best choose the next step given where I’m now heading. Sometimes I’ll land with grace. Other times I find myself constantly hopscotching until I regain balance and control. Even with all my childhood training playing in the woods, I do land in the mud.

I find this philosophy even applying to my social dancing. Between Point A (beginning of the song) and Point B (end of the song), most of what will happen is unknown until it happens. I find this balance between known and unknown to be where the most fun resides.

More Jazz Hands!

I had an epiphany recently after asking my chiropractor about my wrists that occasionally pop. He suggested that I give my hands the occasional self-massage and to spread them out like… Jazz Hands!

My wrists used to be much stronger through parkour. After damaging my right wrist from repeated poor technique on a swingout tossout, this was a good change. I had partially attributed this change to all the impact from parkour – vaults, qm, etc. Now, I think I was strengthening my wrists by being on my open palms so much and working those unused muscles – those I use when holding a dance partner’s hand, moving a mouse, or typing on a keyboard.

Food for thought. Enjoy this QM video.

The Limitation Game


We played some fun games with our Swing 2 students last week and I’d like to share what we did. There’s a demonstration of some options here:

Our plan was to limit them to 8-count patterns, then 6-count, X role can only use right hand or left hand, breaks on 7, no triple steps. In the past, I’ve found that limiting what I can do can expand my vocabulary if given creative tools, expose vocabulary and technique issues, and spark questions. You should give it a go!

Emphasizing the 2&4

Have you ever seen this video before?

This is the breakdown of this video here where Harry Connick, Jr adjusted for the crowd’s offbeat 1, 3 clapping to bring them to the 2 & 4. If you look closely in the original video, you’ll also notice a brief moment where the drummer cheers him!

As The Andrew Sisters sing “If you want to keep the rhythm pumpin’, Bounce me brother with a solid four,” you’ll want that solid four as a dancer. Clapping on the 2 & 4, emphasizing the 2 & 4, etc.

Juan Villafane even went into further detail when teaching a Fast Charleston class at Stompology one year. He had working on dropping into the 2 & 4 more during our Charleston basics and then our Squat Charleston. He really wanted that emphasis to connect us into the music and our roots.

This also means that us teachers, bringing up the next generation of dancers, should also be emphasizing the 2 & 4. This could be through clapping out the rhythm. We can make sure we’re fully scatting the rhythm and emphasizing the 2 & 4 vocally. We also need to be picking appropriate swing tunes that swing hard and answer “yes” when you ask “would I dance to this on the social floor?”

SWING KIDS, Robert Sean Leonard, Tushka Bergen, 1993
SWING KIDS, Robert Sean Leonard, Tushka Bergen, 1993

The Expert Witness

back-to-backOn January 13, 2014, I was asked to be an expert witness for a personal injury case concerning a man who flipped a woman and grievously injured her. The lawyers found my aerial recap videos on YouTube, looked me up via my website, and emailed me. We talked that day and the next morning at 7am I sent them questions for their upcoming deposition.

Over the next 16 days, I spent 25+ hours on this project. I analyzed the written deposition, picking apart the defendant’s language; critiqued the video deposition where the defendant demonstrated how he performed the back-to-back aerial; videotaped the aerials using his technique and mine, comparing and contrasting the two through captured stills; and writing a best practices document along with my deposition analysis.

It was intense. We even discussed that they might need me and an aerial partner at the hearing to demonstrate. That was to happen the day I was supposed to fly to Grenoble. Fortunately, this case never went to trial. They settled out of court thanks mainly to my work.

Here are some takeaways from this case:

  • If you’re inebriated, don’t do aerials. Don’t offer, don’t suggest, don’t accept.
  • If you’ve never done aerials before with this person and you’re both sober, do preps before going over. Build trust.
  • If the trust isn’t there and you’re compromised in some manner, do not fly and do not throw.
  • If you’re wearing compromising clothing or footwear, do not fly or throw. This could be a tight shirt limiting arm movement or stiletto heels.
  • If you successfully threw a gymnast for your first aerial, it’s totally them and not you. Same thing goes for tiny children. In the scheme of things, doing an aerial successfully with gymnasts and tiny children doesn’t count.
  • As a base, you should always have a sense (visual or physical) where your flyer is. If you don’t, re-establish it quickly and get ready to become a landing pad.
  • As a flyer when doing connected throws and landing, you should also have a physical sense where your base is. If you don’t, re-establish quickly or get your arms out quickly for a crash landing.

Straight Leg Challenge

The number one goal during my ACL rehab is getting my leg straight. It’s looking better when lying down, but as soon as I start walking, I’m a bit more bent due to my hamstring muscles seizing and tightening up. So I do my exercises and every time I step, I’m supposed to be consciously pushing through my right leg for extension. If I’m to move on to more physical activities (like dancing, perhaps), that straight leg is required.
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How To Be A Good Spotter

How To Be A Good Spotter by Chelsea Rothschild

At my team’s practice this week, I got a compliment from our coach for good spotting. I’ve also had the honor of being specifically requested as a spotter by teammates and friends, because they feel especially safe with me. I take a lot of pride in that ability to make people feel safe, and I thought it might benefit the community if I shared three foundational principles I’ve learned/developed over my 25+years as a spotter. (I started waaay back when I was just a little girl in gymnastics classes.)

 1) Know for sure how to spot the trick. It’s not enough to vaguely plan to grab someone’s shoulders if you see them taking a headfirst dive. Think about the trick, decide where you can provide the most help as a spotter (it usually involves contact around the hips and/or shoulders), and test your spotting technique on an experienced acrobat. Whenever possible, learn the proper spot technique from someone who’s successful at it, rather than coming up with your own.

Bad spotting can happen, even when everyone involved knows better.
 
2) Communicate with your acrobat. If it’s your first time spotting this person doing this trick, be explicit about how you’re going to spot them. Demonstrate the spot while they just stand there, eg, “I’ll have your right shoulder like this, and my other hand will be here, on the back of your hips.” If you’ve spotted this person doing this trick a thousand times, at the very least verbally confirm whether they want an aggressive spot, a passive spot, or just a reassuring presence. Here’s how I define those options:
  • Aggressive Spot: I will place my hands firmly on the acrobat, whether they appears to need help or not. I will base with my own body, expecting to take  a significant amount of the acrobat’s weight. I will expect to help them complete any necessary rotation, achieve necessary height, etc. If the trick goes wrong, I should be able to keep the acrobat from falling quickly to the ground. They may fall, but they’ll fall slowly and be at minimal risk for injury.


Fantastic Aggressive Spot: The two primary spotters have the acrobat’s shoulders, with one more spotter available to stop her from over-rotating and sitting the landing.

  • Passive Spot: I will place my hands lightly on the acrobat, whether they appears to need help or not. I will be prepared to take on some of their weight, but I won’t presume that will happen. I expect the acrobat will provide all the necessary height, speed, rotation, etc. If the trick goes wrong, I should be able to protect the acrobat’s head, neck and spine. If they fall, they may get bruised, twist an ankle, etc., but should be protected from serious injury.


Both Passive Spotters make brief contact with the acrobat; they’re prepared to intervene or let the trick succeed as necessary.

  • Reassuring Presence: I will not touch the acrobat unless I see they’re in danger. I will plan to have my hands and arms within their field of vision and within their reach, so that they may reach for me if they need a little stability. If the trick goes wrong, I’ll do what I can to protect the acrobat’s head an neck.  


Here the spotter keeps her hands available to the acrobat, without touching her unnecessarily.

3) Prioritize what you protect. Even after establishing proper technique and communicating with your acrobat, it’s challenging to make smart choices in the chaos of a failing trick. So remember, it doesn’t really help the person you’re spotting if you prevent a sprained ankle at the expense of a broken neck. Your top priorities should be the head, neck, and spine. It bears repeating that this is usually best accomplished by supporting shoulders and/or hips. Conversely, it’s almost never a good idea to grab someone’s arms, legs, feet, or hands, all of which they can instinctively use to break a fall or even pull off a weird-yet-safe landing.

Great spotting technique has almost as much nuance and difficulty as great acrobatics, so I could go on at length! But with these three principles, anyone should be able to contribute to a safer environment for their friends and teammates. Happy spotting, everyone!