Whether you’re a social dancer or competitor (at any level), there are five primary things that seem to come up more often than any other. Here are some tips on how to solve them.
Read More
We all know about hip rotation in Latin, but just how much rotation is frequently misunderstood or not applied. Here’s a look at how important it really is.
Researchers at Johns Hopkins University discovered that how you practice dance can double the speed of your learning process compared to traditional approaches for practicing motor skills.
This post explores six ways that music can influence your choreography. When you understand these aspects of musicality, you should be able to create more musical dancing.
All of dancing is about one primary quality. Without that aspect, all the technique in the world is empty, having no practical value. Here’s what you need to know.
Understanding the four power sources in dance can make your dancing more dynamic, with more speed and volume while at the same time requiring less effort to achieve.
The Viennese Waltz is the origin of all ballroom dancing. In its pure form it is a pure, flowing presentation of the beauty of partner dancing. But in the past couple of years the WDSF has changed this dance in a disturbing way. Here’s how I see it.
Ballroom dancing is about two people moving together to music. That involves technique. Here’s how to keep technical thinking from paralyzing your dancing.
During storm season, dancers can find themselves with no electricity when there’s a power outage. Here are five things you can do when there’s little space, no video, no music and less than ideal lighting.
I recently came across a series of notes I had made while attending the Professional Congress Workshops at the Embassy Ball a few years ago. I especially appreciated the clarity and power of message from Barbara Ambroz, a top adjudicator and one of the presenters.
This week, as the IOC voted on 26 sports vying to be considered as new Olympic medal sports, ballroom dancing was the first one eliminated from consideration. It’s time we put an end to this nonsense and get back to the art of dance.
Most competitors wonder what it is that judges see or don’t see. This is especially an issue when they see themselves marked lower than couples who might have worse technique or less experience. Here is some insight to what a few top judges look for.
With the Delta dance community growing steadily, George and Wendy are adding two unexpected new dance styles to the excellent dance program covered at Delta’s two locations.
Ballroom dancers are always striving to improve their dancing, but in my observations as a teacher there is one mistake commonly made that’s more severe than all the others, and it seems to affect dancers at every level. This post explores that particular challenge.
Multi-time professional Latin World Champions Michael Malinowski and Joanna Leunis demonstrate just how effective the element of surprise can be in this performance from Britain’s version of Dancing With the Stars, “Strictly Come Dancing.”
Instructor George Pytlik examines why ballrooms have not seen huge surges in dance students despite the popularity of television shows like Dancing With the Stars.
Wendy and I just completed an exhausting 3-day workshop upgrading our knowledge of the technique of the ballroom dances. These 18 hours of instruction were designed to make us better and more accurate teachers.
Dance For Me is a wonderful documentary film about two young and deeply passionate dancers where the ambition of success overshadows everything else. Well worth watching.
I love the Slow Foxtrot. It’s considered the most challenging of the Standard dances because of the control required to dance well, but everything about it, from the music to the quality of the movement, is beautiful. Here’s some more insight into this dance.
Paso Doble is a dramatic dance with sharp footwork and beautiful body shapes. It’s based on the bull fight where the man represents the matador, and his lady the flowing cape.
Liminal space, or liminality, is a three-part process we all go through as we transition from one phase of life or knowledge to another. This article explains how dancers can make the most of it as they grow in their skills.
Did you ever wonder how ballroom dancing got to where it is today? Ballroom Icons is a stunning book that explores the history of the most influential figures who shaped the development of the ballroom dance world.
Mirko Gozzoli and Edita Daniute, 3-time professional world champions under the WDSF umbrella, demonstrate how beautiful Bronze-level steps can look in this honor dance.
Season 19 of Dancing With the Stars is underway, and it’s a show we can connect with because the experiences of the stars are so real. Especially this season.
This clip of the Tango scene from Rudolph Valentino’s 1921 film “The Four Horsemen of the Apocalypse” shows how little has changed in the Tango in nearly 90 years of dance progression. We still see all the characteristics of Argentine Tango.
The Samba, Brazil’s sexy Latin dance, dates back to 1914, when it was known as the Maxixe. It has a unique character and several different rhythms. Here’s more info on the Samba.
Self confidence is a powerful tool for athletes and dancers alike. Here’s some powerful empirical research proving the value of confidence in achieving goals in any activity, whether a sport or learning new ballroom dance steps.
Even with two decades of Latin development since their sensational run as world champions, the dancing of Donnie Burns and Gaynor Fairweather still stands tall as an excellent example of what Latin dancing should look like: two people moving together as one to tell a story to music.
One of the most challenging things for most people when they start to get serious about dancing is finding the beat. Since moving in harmony with the music is the whole reason for dance, this is important. Here’s some helpful advice.
In dance music you’ll often hear references to “Strict Tempo.” What does that mean, exactly? We take a look at how this works in ballroom dancing.
