Ahh, summer. Get your fill of sunshine and beach time, BBQs and campfires, and (best of all) outdoor dancing. Perhaps you are lucky enough to live somewhere with year-round warm weather but for those of us who have to cope with long, harsh, blustery winters, summer is definitely a saving grace.
Once the temperature starts to rise, invitations pop up for swing in the park, bachata beach party, salsa by the lake, etc. Many dance communities offer outdoor social dance events and in this humble writer’s opinion, these are the best summer gems.
Here are a three reasons why you should attend and/or host as many outdoor socials as you possibly can!
The New Faces
Typically, social dance events are filled with friendly, welcoming people but if you aren’t invited or you don’t seek out dance opportunities, it is unlikely you will encounter them on your own. Outdoor events provide an open atmosphere which is enjoyable for people of all ages and abilities. Often, passersby will hear the music and come check out an event they wouldn’t have known about if it had been held indoors. Hosting an event in a public, outdoor venue allows for newcomers to be introduced to the dance scene, even if they just happen to be walking by. These positive interactions will contribute to the growth of your dance community.
The Fresh Air
I have been to a number of indoor events this summer and although they were fun, they all had one thing in common: no air conditioning! One small, oscillating fan is not enough to provide relief from the heat. Although it’s hot outside as well, the open air is much more comfortable than a stuffy room. In addition, there is something so beautiful about dancing outdoors–the scenery and gentle breeze make for a memorable experience.
The Limited Time
Here in Saskatchewan and in many other locations around the world, the summer season is very short and therefore precious. Why not take advantage of the window of opportunity to spend more time outside? As soon as spring hits, I start counting down the days for the first salsa event at City Square Plaza in Regina (shout out to the Regina Salseros for running this awesome event every week in the summer). Although the season is brief, you can make the most of it through dance.
If you are heading to an outdoor social in your community, be sure to come prepared. Most of these events do not have a dance floor, so you’ll be dancing on grass, sand, pavement, cobblestone, or the wood panels of a gazebo or dock. Leave your fancy shoes at home; instead, wear footwear in which you know you can dance comfortably. I recommend wearing runners, canvas shoes, or sandals with secure straps. I would also suggest bringing a handheld fan, bottle of water, and an ice pack just in case the wind isn’t quite enough to keep you cool. Some dance companies sell water at their events, so be sure to support the community that supports you.
I would like to say a huge THANK YOU to all of the dance companies and individuals who provide outdoor social dance opportunities. It takes a lot of work to organize these events–just setting up the music and speakers can be difficult–and your hard work does not go unnoticed. Feel free to comment below with information regarding outdoor social dancing in your community. Get out there and enjoy those summer nights while they last!
Elisa Cavi is featured in this edition of the Dance Spotlight. Elisa is a popular latin dance instructor in DFW and serves as Co-Director of the Ritmo Sensual dance team (along with Arturo Garcia). Check out some fun facts about Elisa including her favorite dance partners! Want to nominate someone? Contact us!
Where are you from?
Lima, Perú
Favorite DFW Dancers?
I choose my favorite dancers based on their charisma, connection, and leading techniques. I’ll name some of them: Arturo, my dance partner, of course, Vijay, Greg, Daniel, Chino, George, Christopher, Rashon and many many more.
Favorite DFW Socials/Places to Dance?
Sensual Social, every 1st Saturday of the month
Salsa con Bachata hosted by Clave Fina every 1st Friday of the month
Pura Dallas and Fort Worth
Los Lupes Every Sunday
Dance Pet Peeve: (Hygiene, No connection, People who teach while dancing, etc)
Sweat shirts and bad smell
Bad Breath
Bossy/Rough/Chattie Leaders
Favorite Dance Moment?
Dancing a free style with Arturo Garcia at Los Lupes Christmas party last year.
What movie title describes your attitude while dancing? Why?
I don’t have a title for movie at the moment, but what I can say about my personality when I dance is that I love to have fun and feel sexy.
Janeen Harrison is in the Dance Spotlight! Janeen can be found dancing at a variety of socials across the DFW area and is a member of the Ritmo Sensual dance team. Check out some fun facts about Janeen including her dance pet peeves! Want to nominate someone? Contact us!
Where are you from?
I moved a lot being born into an Air Force military family, but I tell people I’m from Queens, New York since I lived there for more than 10 years. My mom is from there and lives there now.
Favorite DFW Dancers?
So many!! Here are the honorable mentions, though: A&E!!(Arturo and Elisa) They are the Supreme Maestros of Bachata and their techniques are impeccable; Arturo Garcia can leave you breathless and spoiled for anyone else. Elisa Cavi is the ultimate feminine dancer – I wanna be like her! All my Ritmo Sensual people, especially my partner Jairo Andres Rojas – when we dance, we always have fun and laugh every time; Oliver Aljawad gives you such wild dance time; David Bergner brings creative new moves when we dance; Vijay Kumar is technically superb he challenges you with stimulating moves and pushes you to the next level; Qchuchaman Chevelon aka Eddie has such a unique style of dancing I have yet to see in anyone else! and Jesus Bachatero y Salsero, our bachata tango dancing inspired me to take my dancing to the next level and join the Ritmo Sensual Dance group, I pray for his speedy recovery! Be sure to dance with them my DFW people, I guarantee you will enjoy a great dance experience!
Favorite DFW Socials/Places to Dance?
Sensual Socials at Clique Studios every first Saturday of the month; Pura Dallas, Hot Bachata Nights at Los Lupes and my living room! lol.
Dance Pet Peeve: (Hygiene, No connection, People who teach while dancing, etc)
I have 5 types and the last one should be banned from the dance scene!
SSSS – Super Sweat Soaked Shirt (self-explanatory),
Fade Away – just leave before song is over, average song about 3 minutes, its rude – you can fake it through!
Bossy/Talkie – lead by dance not by mouth please!
Kung Fu Fighter – competing with my steps, I feel like I’m wrestling and left tired and frustrated.
Worst! the Molester – inappropriate sneaky brushing/touching private parts and/or forcing a move that emulates a sex act. I. Hate. That.
Favorite Dance Moment?
My last dance performance with the Beginner Advanced Ritmo Sensual Team at Clique Studios: I was a nervous wreck, but it was sooo thrilling – ready to perform again!
Favorite Dance Genre?
Argentine Tango is my 1st love but right now Bachata Rules!!
What movie title describes your attitude while dancing? Why?
“Strictly Ballroom.” I am a sucker for romantic comedies and this movie is hilarious!! The message of the movie describes my attitude while dancing rather than the title. My favorite scene is when the handsome champion ballroom dancer wants to add flashy new steps to his winning routine much to the chagrin of the ballroom community. The only one who believes in him and is willing to dance this way is a purposely portrayed plain, nondescript beginner student who keeps trying to give her input, but he continues to pompously cut her off over and over again. She gets frustrated and finally shuts him up and which astonishes him. She breaks out in quick flamenco like dance steps that she had been privately choreographing on her own with such heartfelt passion, fire and clarity of what the dance truly means. At that moment, the instructor humbly became the student and the student became his instructor. I want to hopefully achieve the technical skills of an expert dancer, but maintain the attitude and humble heart of a student that’s always willing to grow and stay open to anyone who can passionately inspire me.
Favorite dance video you’d like to share?
I’m obsessed with anything recorded by Daniel y Desiree. I binge watch their videos sometimes! This promo video is my favorite.
I don’t know about you, but two words I hate to hear associated with my dance community are drama and politics.
Although we all claim not to want anything to do with drama, even though we generally say we want to stay out of scene politics, they seem inevitable. Think you’re untouched? Go to Facebook and enter “kizomba drama,” “bachata politics,” “salsa conflict,” or something similar, then click “Posts.” See how many of your friends are complaining about these issues.
It seems to me that both of these problems come down to broken or toxic relationships, whether among dancers or between scene leaders.
Of course, it’s normal that sometimes we won’t get along with someone in the dance scene. We have all experienced a falling out at one time or another. There may also be some people that we prefer not to spend much time with. I’m not saying we need to be the best of friends with everyone in the dance scene.
However, if perfect unity isn’t our goal, peaceful coexistence should be. If we want to avoid descending into gossip-fueled conflict or resentment-filled competition – or worse yet, making some people give up on the dance scene entirely – there are some strategies we can consider.
Let’s be clear though: there are definitely situations that extend beyond simple drama, especially involving safety. Nobody should submit quietly just to keep the peace in the scene. We’ll come back to that. In the Heat of the Moment
Your heart is pumping, there’s a roaring in your ears, and you feel your skin heating up. You’re ready to yell, hurl insults, or plot revenge. “THIS ISN’T RIGHT!” screams a voice inside you.
It’s perfectly natural to have strong emotions when something hurts or offends you. I’m in favor of allowing yourself to feel them, acknowledging them – but not letting them dictate your actions in the heat of the moment.
Regardless of what the situation is, the first thing you should do is get some space. Go somewhere quiet where you can process your own side of things.
You probably already have some techniques for dealing with anger or frustration. Practice some self-care. Take a shower. Listen to some (perhaps not dance-related) music. Write down what you’re feeling.
Reflect
When you feel ready, start thinking through the situation. Try to identify what the conflict or offense is really about and whether it might have another side. Are you offended that someone insulted you or a person you love or admire? Or are you feeling insecure about your place in the scene? Are you angry that someone made a move on your partner or “stole” your dance crush? Or are you feeling afraid of being alone? Are you indignant that someone would dare advise you to resign from the performance team? Or are you feeling ashamed of your recent lack of effort or commitment to the group? Are you fed up with another organizer scheduling events that conflict with yours? Or are you reluctant to make room for others to take a leadership role in the scene?
It’s rare for any conflict to be truly black and white. They very often result from unmet expectations, careless words, crossed boundaries, and miscommunication. But it’s a lot more comfortable to be angry or indignant or self-righteous than to look at our own fears and insecurities.
Once you’ve got some perspective on your own feelings, try to look at the situation from the other point of view. What matters to them? What are they trying to achieve? How might their own fears or insecurities have come into play? Are they inherently spiteful and mean, or are they so hungry for validation that they put others down to feel better? Are they sexist or do they lack perspective about the weight of their words? Are they all about sexual conquest or do they enjoy the self-esteem boost of flirting? Are they engaging in power plays or genuinely concerned about the success of a performance? Are they trying to undercut established nights or looking to offer something new and different?
If we can recognize our own human needs and those of others, we can stop vilifying them and work towards understanding. A little compassion can make all the difference.
If you’re having trouble getting perspective, it might be helpful to ask for advice from someone you trust. But be careful not to use this as license to gossip. Choose someone who is outside the situation and can really help you think it all through.
The last step here is to imagine what a healed relationship would look like. Imagine forgiving them, even if they don’t apologize or change. What do you have to lose? How would it affect your friends and the dynamic of the scene?
Communicate
There won’t be any resolution unless there is communication, so don’t hesitate to make the first move. Reach out to them and ask for an opportunity to talk with them. Rather than ambushing them and demanding a response, set up a time that’s specifically to work out the issue in question.
Avoid the temptation to try to handle everything by text message, Facebook thread, or e-mail exchange. While it might feel safer to use a medium in which you can edit your words before sending, it’s also far too easy for miscommunication to occur. We need tone of voice, body language, and maybe even the ephemeral “vibes” or energy to arrive at genuine communication.
Take responsibility first for your part in the situation. That could mean admitting to inconsiderate action or just having ignored them. It could mean confessing some of your own insecurities. It might entail an apology if appropriate.
Whatever the case, be sure that you then explain your side without accusing. You’ve probably heard this advice before: use “I” statements rather than “you” statements.
“I feel like I am robbed of self-worth when I hear someone make comments about the shape of my hips or the way I style.”
“I feel like I don’t deserve my partner. When someone comes on aggressively, I worry that I’ll lose the most important person in my life.”
“I really value being part of this performance team. I absolutely want us to succeed. I don’t want all the work I’ve put in to feel like a waste.”
“I’ve put in a lot of effort to create a dance night that will welcome everyone. I feel frustrated when people are put in a position of having to choose between this party and someone else’s.”
The next important step is to listen. Ask for their perspective and listen to what they want to say. They will probably also have some emotions to express. They may not have spent as much time in reflection. They may not reciprocate your openness or apology.
Even so, listen carefully. Believe that they have good intentions. Give them the benefit of the doubt. Articulate your appreciation for positive aspects of their interactions with others or gratitude for the good they do in the scene. Empathy will build a bridge between you.
This heart to heart, even assuming perfect communication, probably won’t resolve everything. Try to make a plan for rebuilding trust and good feelings between you. It’s okay to make a request, but you also need to be open to theirs. What will it take for you to work well together again? Or at least be in the scene together without conflict?
But what if…
I absolutely support everyone’s right to protect themselves and set their own boundaries. I stand against sexual aggression of all kinds. I know that sexual assault and rape are rampant in the dance world and are largely silenced. If you have a story you’d like to share anonymously, I provide a space for that. I also provide resources and support for dancers who are trying to establish codes of conduct or who are wrestling with the question of banning someone from the scene. I do not support keeping quiet about people who harm others, regardless of their standing in the scene. No one should keep silent simply to avoid drama.
Yes, there are other kinds of situations that result in broken relationships that can’t be mended. Sometimes boundaries are trespassed in ways that can’t be forgiven. Some people really do care for nothing beyond their egos. Sometimes we have to break things off completely.
I think we are too quick to jump to assuming we’ve reached a point of no return, though.
Consider very carefully whether there is truly no way forward. Do you have to publicly denounce this person? Or will you just choose not to dance with them, or not to attend events they organize or work for? Does the community need to require recompense? Is a public apology necessary? Could someone intervene to try to help educate them about appropriate behavior? Or must they in fact be banned?
I do believe that people sometimes cause even serious hurt or distress unintentionally. That does not excuse them from consequences, but it might mean that they can learn to behave differently. I would far rather see someone apologize and change rather than be kicked out of the scene to go forth and perpetrate similar harm elsewhere.
In other cases, we may not be able to mend the relationship, but we can avoid rupturing others. Rather than badmouthing someone who insulted or criticized us unfairly, we can choose to avoid them. We can speak with our money and choose whom we support.
CONNECTION
No matter what, I believe that engaging in communication is far better than the alternatives: at best, living with the awkwardness of always trying to avoid someone; at worst, getting embroiled in conflict or leaving the scene altogether.
It might take effort to establish that communication. It almost certainly will take time to rebuild trust. Yet I know when I think of my dance community, I think of the shared love and ties that we have to the dance. It’s all about the connection we create together.
Cover photo by Devon Rowland Photography.
Special thanks to David Hendershot for his contributions to this article.
I want to dive into the topic of coaching on the social dancefloor. It can get a little touchy and you’ve probably either done it yourself or been on the receiving end. The big question is this: should we be coaching our dance partners? Let’s dig in.
You’re out on the floor dancing to one of your favourite songs, but things just aren’t going well. All of a sudden you have a growing urge to tell your partner what they’re doing wrong.
Stop. Right. There.
If you’re not qualified to teach, don’t do it.
When your dance feels like it’s falling apart, coaching your partner might seem like a great idea, but it ain’t. Here’s why:
1) You might give out poor information
If you don’t give someone good information you’re just going to make the problem worse. Habits are sensitive things and if you’re contributing to making a bad habit worse that’s no bueno. On the flip side, maybe it was you who was doing something wrong and you’re attempting to give your partner advice to cover up a mistake on your end without knowing it. Also not helpful.
But what if your certain you know exactly what’s going wrong, you ask? Well, think about this before you speak up…
2) You might offend your partner
Ego is a tough pill to swallow and if your partner isn’t keen on taking some constructive criticism, he or she will probably get a little annoyed. They haven’t requested your help and you’re probably not qualified to give it. If someone isn’t ready to receive feedback it won’t be helpful, just harmful.
Behaviour psychologist B.J. Fogg from Stanford dropped a gem on us at the Design for Dance conference in 2014 (and I paraphrase):
In order for behaviour change to occur two things need to be present:
The ability to change (in this case, this one is probably present )
The willingness to change (this one probably isn’t)
If your partner hasn’t requested advice, chances are they lack sufficient motivation or desire to change what they’re doing. It’s not going to happen. And they might get pissed. Worst case scenario is they may not want to dance with you again.
So, What Should I Do if My Dance Has Turned Into a Disaster? Should I Coach Then?
No, silly. I thought I told you that already?
If you’re in the middle of a bad social dance…
Smile, suck it up and make the best of the situation. Most important of all, be respectful and finish it all the way through.
If you’re dancing with a beginner remember you were there too and they need to struggle and mistakes to improve. To your best to be supportive and nurture that process by being considerate and helpful – it’s the people who do that, that make up a supportive salsa community.
If you don’t want to dance with the person again after this dance — that’s cool — but never abandon someone in the middle of a dance because you’re not satisfied with their skill level. If they’re harming you or you’ve asked them to stop doing something and they don’t that’s another story.
If you’re at a salsa class…
Take advantage of the fact there’s a qualified instructor in the room that can answer any question you or your partner have. Don’t start correcting your partner, because you could be giving them “tips” that aren’t correct. Don’t be a part of the problem. Be patient (I know it’s hard – I’ve been there!) and wait for the teacher to come around and help you.
If group classes end up being too slow for you or you feel like you need more personal attention, try setting up a private lesson.
Warning: Coaching Your Significant Other Can Get Messy
Ever been in a relationship? Then you know how easy it can be to rub someone your close with the wrong way. Learning a new skill is stressful enough, so if your partner is already struggling, a couple misplaced comments are all that’s needed to turn the situation sour and have them projecting their frustration directly at you.
From experience, Patrick and Scarlet recommend completely avoiding any sort of back and forth coaching between intimate partners. They’ve seen things go very wrong in the past – consider yourself warned! Break-ups have happened.
Let the Q&A Begin…
Q: How do you recommend people with a significant other to learn to dance? How do professionals manage to improve when they’re partner is their significant other?
A: (by 3x Canadian Salsa Champ, Patrick Moriarity)
A dance partnership is not unlike any other relationship. Typically those involved communicate their individual and shared needs and wants and come up with an agreement. Maybe your needs and wants align, maybe they won’t. Maybe it will include a dance partnership, maybe it won’t. Maybe it will include sharing suggestions, maybe it won’t. When you know what both you and your partner want it is so much easier to have clearer working guidelines. Ultimately you define your own partnership.
Here are a few simple tips:
Don’t be a know it all
Be open to suggestion
Have a coach
There’s a time for talking and a time for doing
Accept your current level of ability and knowledge
Be patient, encouraging and have a positive attitude
If you get upset, apologize.
Keep it fun
As for Scarlet and I, we compete and perform and have several lofty goals. In light of this it is paramount we communicate to one another our strengths and weaknesses and at times this may fall under “coaching” but we don’t see it, nor receive it that way. We are a team and we strive to make our product better. We care for one another and for what we are doing. We both bring value to the team and trust suggestions are given for the good of the team, thus making it easier for us to be relaxed and open to suggestion. And yes, there are times we get frustrated and upset but we are very conscious about communicating and apologizing quickly.
Q: What’s your advice for when someone gives you advice that is unhelpful or just wrong in the middle of a dance?
A: (me, Robin)
If someone who clearly knows less than me, tries to coach me to fix “issues” that they’re likely causing, then a quick “Thanks, I’ll keep that in mind” makes them feel better, while getting them off your back.
I’ll also avoid that person in the future. I’m not a fan of people who are unaware of themselves and are quick to teach others. The trick is to be aware of yourself and make your best attempt at realizing when you might to adjust your technique.
That said, I’ve also received feedback during a dance and during workshops, that’s been awesomely helpful, but that I didn’t ask for. The most recent was a Kizomba workshop, from a girl I knew had a lot more experience than me, so I was super grateful she was sharing. Because of the value I place on learning, I love that and I can push my ego aside.
In the end it depends on the receiver’s openness to feedback. Often times it’s really difficult for the receiver to check their ego, listen, absorb and utilize the feedback. That’s why we caution people about giving advice, because more often than not, it can harm relationships with people.
Q: Is it ok to give advice when dancing socially if you’re an instructor?
A (me, Robin):
If I’m an instructor here’s how I’d handle the following situations:
If I’m social dancing the intention is to have fun and socialize, not learn. In this case, unless someone has asked me, I would definitely not give any advice. I would simply try and lead to the follow’s level and be as clear as possible in my signals.
If I’m in a class environment but I’m not the teacher, and my partner is having trouble following something or I know she’s doing something wrong, I’ll ask the teacher something like, “Hey I’m having trouble leading my partner through ____, can you take a look?” The teacher can then review us both, and assist as needed.
If I’m in a private practice environment with friends or other people who are learning I will suggest to my partner up front, “Hey, I’d love it if we could exchange feedback both ways, so we can help each other improve. How does that sound?” By setting the expectation up front that feedback is going to be given, the other parties will be A LOT more receptive too it.
Q: How do you know when you are qualified to give advice? Does one need a degree or what sort of certificates are there out there that one should have or what is a reasonable time to know when its ok?
A (me, Robin):
Unfortunately degrees and certificates don’t guarantee you’re knowledge and how well you teach as an instructor – they’re just pieces of paper, and many dances and art forms don’t have them. A lot of people who have pieces of paper also totally suck at teaching.
Teaching is a skill that is cultivated from being an incredible student and continuing to learn forever, always replacing the information you have with better information as you receive it and test it out.
The hard part is there is no obvious threshold you’ll pass when you think you’re ready to teach. It’s easy to get caught up in listening to beginners tell you “Oh you dance so well, you should teach!”
For myself, I ensure I study the dance for years (and in my case it was breakdancing before salsa), and deeply understand it as best I can, it’s traditions, grooves, vocabulary, community and it’s competitive/performance side. I think the feeling of being ready to teach comes from within.
There are times when you will be a relative expert who knows more than anyone else in the area, and at those times, it does feel helpful to pass on what you do know, to help that scene grow further, or just have some FUN!. But in the presence of more knowledgeable instructors, I tend to let them nurture the scene to grow, and only pass on the things I’m 100% sure of to closer friends.
Always be learning, always be growing.
To Summarize…
The reason we tend to advise against giving advice, is because it might offend someone – they may not want to hear it, or might just not be in the mood to learn.
If you haven’t agreed to exchange feedback with your partner, or if someone hasn’t asked you directly, try not to give unsolicited advice.
If someone asks you for advice while dancing, or says “oh I totally messed up, what was I supposed to do there?” then sharing the best advice you can is no problem. If you’re not 100% sure on the answer, let them know and suggest they check it out with an instructor.
If you’re in a practice environment and haven’t talked about exchanging feedback yet, ask, “would you like a suggestion? I think I know something that could help.” Or agree how, or if, you’ll give each other feedback.
Have You Ever Received Unsolicited Advice?
I’m super curious if anyone out there has a good story about a time when they’ve been unwillingly coached? I know it happens all the time, so go ahead and spill the beans and leave a comment.
Enjoy this post and want to learn more? Try a sample lesson with 3x Canadian Salsa Champs Patrick and Scarlet at TheDanceDojo.com. We make learning salsa easier.
Did men really danced Tango with each other during the early 1900’s?
Yes indeed! There were more men than women in Argentina at the turn of the 20th century, so men used to dance socially with each other, and no one said a thing.
In PART TWO of this series “Tango: The other Latin dance” we talk about how Tango became popular, and how it reached Europe and took it by a storm.
A man in a titanium-framed wheelchair holds his hand out to a woman and leads her out onto the dance floor. As the claves and congas hit, he deftly moves through a series of Salsa steps, perhaps to his partner’s surprise. At the end of the song, he leads her back to her seat, where she gushes to her friends— “He was awesome.”
The scenario above is a typical night out for avid dancer Paul Thompson. The New Jersey- based project manager got into social dancing about ten years ago and did his first Salsa performance this year at the Baltimore Salsa Congress. Paul, and many others around the world, are working to make the Latin dance floor an inclusive space.
Paul says that getting into dance was an easy choice, not just because of his background in theatre.
“It was Darwinian evolution. If I wanted to keep up with the ladies to socialize, I had to learn to dance.”
His initial exposure to social dance was with a group in Philadelphia that teaches wheelchair ballroom dancing. There he learned Rumba, Waltz, some Tango, and Foxtrot, and used that foundation to help him when he went to a Latin dance event.
After a break from social dancing, he came back with renewed vigor to just Latin dance, going with friends to different clubs and studios.
“I met all these different instructors…basically I would challenge them. Show up and say ‘I’m here to learn,’” says Paul. “Most of them have said ‘The first time I saw you I didn’t know what you would do, then I saw what you could do.’”
Paul has had to get creative with his lead.
“Since I’m not using my feet to plant myself and spin, I have to use the momentum of my partner or the hand position to do so,” he says.
But for him, the most challenging part hasn’t been adapting the steps. It’s been getting to the venues.
“A lot of people invite me to places in Philly that have been around for a long time…before ADA [Americans with Disabilities Act] was around. There are dance clubs on a second floor or in a basement with no elevator. Or if there’s a large crowd in a small studio or it’s crowded I can’t go to them. It takes up a lot of space to dance with a chair,” he says.
Paul wishes more people with disabilities would try dancing and uses a performing arts company he cofounded, Able Arts, to help spread his love for dance, music, comedy, theatre, and more.
“Unless you try, you’re not going to learn, to find out if you can or not. You might not be at the same level as someone else, but you never know until you try.”
Many people are unaware that there are options for dancers with disabilities to learn in an environment tailored to their needs. Boston-based Kerry Thompson (no relation to Paul) has created an inclusive dance company, Silent Rhythms, so that people with disabilities can discover the joy of dance.
Thompson, who identifies as Deafblind, started taking Salsa lessons with a friend at a club called Sophia’s in Boston, but didn’t get really hooked until she discovered Rueda.
“Rueda was really what really started my passion for Salsa. In Rueda, every dance move has a hand signal so that when the caller calls out the move, s/he also gestures with the hand signal. That made me feel on the same page as all the other hearing dancers. They couldn’t hear over the music and I couldn’t hear period,” she says.
After a few years of taking classes, Kerry began performing with Boston Rueda Dance and MetaMovements.
“The other people who were in those classes or performance team were terrific in helping me. Nearly ten years later, I am still friends with many of those from the early days. We formed a strong bond and some of them had never met a person with a disability or someone who was Deaf, so they learned about that world as they got to know me and see the world through my view,” says Kerry.
In 2008, Kerry founded Silent Rhythms when she realized there was a need for more inclusive dance classes.
“As more and more Deaf people approached me about learning to dance or bemoaned that they could not dance due to their deafness, I realized that there was a need to have a dance program that could be accessible to all. I knew how hard it had been for me to learn and that was because I was Deaf but being taught as if I were hearing,” she says.
Kerry uses a variety of methods to convey the information to her students.
“When I teach dancing, I do so in sign language and use props like resistance bands and paint tape to help create a visual. For example, if I am teaching a right turn or cross body lead, I want them to understand that they have to return to their starting position and “keep the line.” To help them understand that, I put paint tape on the floor to help them see the line and what I am talking about. My teaching style is to be flexible, creative, and above all patient.”
For Kerry, dance is a way to express herself in ways she can’t do every day.
“Dancing lets me feel the freedom of movement. In my daily routine, I have to take slow, measured steps and use my white cane to get from point A to point B. When dancing, I feel like I can let go of the shackles of being blind as I spin, turn, and pivot in time with the rhythm of the music. Dancing is an unspoken language. I do not have to worry about conventional forms of communicating with hearing people. When I dance with a hearing person who does not sign, we can still communicate without saying or signing a word,” she says.
She loves the community aspect of dance and says that Silent Rhythms can bring together the deaf and hearing, blind and sighted communities. However, she is only one person and can only reach so many people— she hopes that dance teachers will be more inclusive, incorporating sign language and other aids into their teaching.
Kerry Thompson leading a crowd in what she calls “deaf applause.”
Certified Wheelchair Dance Instructor and recreation therapist Vanessa Lopes is working to bring inclusivity to dance as well. She works in New York City at a nursing home, using dance and movement to rehabilitate patients. Vanessa is passionate about letting people with disabilities know about the options available to them for dance.
“A lot of the times the reason people with disabilities don’t dance is because there’s no education. The opportunities out there are limited. [We] need to advocate and promote knowledge,” she says.
The dance floor is open to anyone ready to get out on it. There are no limits, just endless opportunities for connection, movement, and enjoyment. Keep an eye out in your dance community for ways to make it truly limitless.
These are just a handful of stories from individuals around the country, we’d love to hear yours!
On May 25, 2017, the Salsa world lost a most important person. Over the past 25 years, Albert Torres had become a recognized name, a brand associated with Salsa dancing, with live music, and with dance “congresses” of worldwide reach. Having kept his health conditions private, he fell ill unexpectedly (to most of us) and passed away on the eve of what should have been his 19th Salsa Congress, or Salsa Fest, in Los Angeles.
Albert was born in Brooklyn, New York, and at age 12 moved with his family to Puerto Rico, where the love for Salsa that his mother had instilled blossomed. In 1993 he was cast as a dancer in both the movie Mambo Kings and for the Oscars’ show. Four years later he had similar participations in the films Out to Sea and Dance with Me. In 1998 he held the first Salsa Congress in Los Angeles and more recently he’d started The World Latin Dance Cup, which provides a platform for over 1,000 dancers from more than 41 countries to compete with their choreographies.
His passing shocked the global Salsa scene. Grieving comments poured on social media from every corner of the world. Dancers thanked him for the chance to shine that he gave them, musicians for the doors he opened around the world, and his friends mourned him at deep and personal levels.
I met Albert 18 years ago, when I was quite new to the Salsa scene in Los Angeles, and when I first volunteered to put in a few hours of work in exchange for access to the Salsa Congress. Debby Farley was in charge of the volunteers, who were assigned to various administrative jobs, such as tending to the ticket booth, moving boxes from one place to the next, or whatever was needed to make the event work smoothly. To newbie me, Congress looked like a well-oiled machine. In retrospect, I was part of Albert’s only second Congress, a rather new endeavor.
In preparation for this article, I asked Debby about her memories of Albert. “I met Albert almost 30 years ago at Club Miami Spice,” she said. “We all went to the same places then because there were only a few, so we would run into each other often. At the first Congress 19 years ago at the Hollywood Park Casino, I noticed a backlog at the door so I jumped in to help. Three hours later I was still there, so I told him I could get things organized. He took me up on it and for 10 years I was in charge of volunteers and registration, until I retired. I met wonderful people who remain my friends to this day. That was part of Albert’s magic – connecting people from everywhere. I know his vision changed the lives of thousands of folks around the world. We were close friends who shared amazing dances, crazy jokes, and just wonderful times. It’s really hard to express how much love I had for this man and I will miss him forever,” concluded Debby.
Over the years my own involvement with Salsa grew. I started a website dedicated to Salsa in Los Angeles (VidaSalsera.com), developed a closer interaction with Albert, and started to advertise and sell tickets for Congress. For several years, in the months just prior Congress, we would meet at a coffee shop to exchange moneys and name-lists and he would tell me about his immediate upcoming trip, be it to Japan, Dubai, Canada, or wherever else the next Salsa Congress brandishing his name would be. I grew to know him as a man bursting with energy and one without prejudices, who loved people, literally, from every place in the globe. His eyes shone brighter when we talked about the musicians that would be performing, or about the youngsters from a far away country who would be traveling to LA for their first dance show. We would be dealing with the Congress due to happen in a few months, but he already had an entire plan in his head for the Congress of the following year. He had an unmatched spirited determination.
It’s been only three weeks since his passing, and his memory remains fresh with us in Los Angeles. He was in our minds this week in particular, as June 14 would have been his 61st birthday. Two events are scheduled to celebrate Albert’s life. The first will be held on June 24, at 10 am, at the Agape International Spiritual Center in Culver City, Los Angeles (see flier below).
A second event will be held on July 20 at Club Mayan in DTLA, when a group of LA’s best musicians will collaborate in his honor.
Albert’s course on Earth may be complete, but his legacy must remain. He would like you and me to continue to dance and to gather to the music that he loved – Salsa. So let’s dance.
Sherri Juarez is featured in this edition of the Dance Spotlight!. Sherri is a very active dancer in the DFW dance community and is a member of the Ritmo Sensual dance crew. Check out some fun facts about Sherri including her favorite DFW dance partners! Want to nominate someone? Contact us!
Where are you from?
I am from Denver, Colorado, and lived there all of my life until I moved to the DFW area about six months ago. I have rheumatoid arthritis so the cold weather and the altitude in Colorado was not good for me. Moving here to Texas has been great for my health!
Favorite DFW Dancers?
My favorite DFW dancers are Arturo Garcia, Elisa Cavi, Luis Loredo, Jose “El Fluffy” Hernandez, Christian Acosta, and Roberto Lay, plus many others. I met Luis and Roberto almost 3 years ago in Vegas, before I knew what great Sensual Bachata was all about. Luis introduced me to Arturo, who soon became one of my closest friends and my Bachata teacher. From there, I also had the honor of meeting the amazing Elisa, everybody’s friend, Christian, and the awesome, Jose. They have all inspired me to grow as a dancer and always strive to do more for the dance community.
Favorite DFW Socials/Places to Dance?
I chose to move to DFW so I could experience more Bachata and Kizomba. You can find me at Los Lupes for Bachata Sunday and the Sensual Social at Cliques Studio on the first Saturday of the month for Bachata and Kizomba! I also love being a part of the Kiz community here and seeing it grow.
Dance Pet Peeve: (Hygiene, No connection, People who teach while dancing, etc)
My pet peeve has to be lack of connection. I fell in love with partner dancing because of the connections I have made, so I want that connection to continue with each new dance. If you can’t take the time to connect, then the dance is missing an important factor.
Favorite Dance Moment?
My favorite dance moment was bringing my favorite Dallas instructors to Denver last year to teach some Bachata workshops. Arturo, Elisa, Roberto, Luis, and Belle were loved in Denver and I had my first real successful dance weekend that I ran on my own.
Favorite Dance Genre?
My favorite dance genre is Bachata with Kizomba as a close second.
What movie title describes your attitude while dancing? Why?
“How Stella Got Her Groove Back” – I feel like I have grown so much as a person because of dance. I did not realize how much I was missing out on because of past issues in my life. Dance has helped me to overcome so many things and breakdown walls that I had built up. Because of dance, my life is so full of great things now.
Favorite dance video you’d like to share?
Here is one of my few dance videos I have of me dancing and this one happens to be with the famous Daniel of Daniel & Desiree.
I’ve been doing social dancing for more than ten years now in a variety of different scenes, and I’ve seen amazingly different expectations related to photography and videography. Within most dance scenes, the established norms aren’t questioned; they are perceived as positive at best, unavoidable at worst. As Eva in Chicago put it: “There are many photos of me that I sure wish weren’t out there, but they are, so not much to do about it.”
My experience has shown me that there are many ways of handling this. More than that, it has pushed me to want to create a dialogue on this topic. There are many questions to consider, whether you are an organizer, a teacher, a photographer, or a member of a social dance community.
Why are we taking photos and videos? Are there any reasons not to?
Usually dancers like having photos of themselves social dancing. These photos give us a chance to show off a favorite activity to our friends, they remind us of good times, and they help us feel part of the scene. Assuming they are flattering photos at good moments, of course. Sydney from Ann Arbor explained: “I appreciate when there are photographers at events because I think it’s fun to see me dancing somewhere and to be able to share that on social media.”
Organizers need photos for a different reason: advertising. They want to show that there are lots of happy people engaged in their events. “Photography and videography should be understood as definite marketing tools that will be used to promote said festival and workshop for future years,” said Brooklyn organizer Marc. Likewise, teachers like having photos of and with their students in order to promote their classes and get hired at festivals.
Most dancers accept this as necessary, but some scenes acknowledge that there are certain times and places when photography shouldn’t occur because it will get in the way of dancers being full engaged. And a few communities even respect that certain dancers don’t want to be photographed at all.
So there are several concerns to balance when creating a policy for a studio or event. We need marketing material to promote classes and parties in the future, but we want students to be able to focus and learn. We want to remember the good times, but we want dancers to have fun and feel comfortable.
When and where is it suitable to take photos and/or videos?
No policy is going to be perfect, but I think it’s important to be intentional about crafting one, rather than just letting the interests of a few overshadow the rest.
I was at a festival this year that had 3 or 4 photographers. In every single workshop hour, we got at least 2 different photographers. Personally I found it very distracting – not just the fact of someone walking around with a camera rather than participating in the class, but also because then I was worried about what I looked like rather than what I was trying to learn. I believe classes should be a safe space for people to try things out, taking ideas to extremes to figure out the limits of what can work for them. None of us want to be tagged publicly looking ridiculous, but sometimes we need to try ridiculous things as part of the learning process.
That’s not to say photography should never happen in class, though – it just helps to be unobtrusive. “I don’t like photographers during workshops; I am always wearing my concentrating face and am usually not a fan of the photos. I like it when I don’t know I am being photographed,” shared Lauren in Charleston.
Most teachers prefer that video be taken only at the end of a class. Personally, I ask students to put away their mobile phones and focus on the instruction, because I don’t believe you will learn as well just from checking videos later. There’s also concern over proprietary instructional material being publicly posted. Steve Ciki in NYC urged: “Ask teacher permission. Instructions during class constitute confidential materials owned by the teacher(s). Instructors under contract very often are required to sign a clause giving right to the organizer to record and use these contents. But even there it does not mean the full content of a class or routine could be used by an organizer.”
People tend to be less bothered by photography and videography during a social, but it still shouldn’t be invasive. “I think it’s important to understand that anyone at an event, whether they directly participate or not, have an influence on the mood, the flow, the good times,” shared a good friend of mine in NYC. Professional photographer Devon Rowland elaborated: “I think anyone with a camera walking around out on the dance floor is disruptive and I don’t do it.”
Shows and performances are probably the most recorded moments in our dance communities. Even this could do with a dash of common sense, though. I’ve been at festivals where it was impossible to see the stage over all the raised arms recording. In response to that problem, certain competition events in the swing world go so far as to ban amateur photography or recording, instead publishing high quality photos and videos from the professional team.
Even the pros can get in the way of the experience sometimes. Frances Tee in Seattle explained: “I was at a performance with a live camera man videotaping and it was quite annoying to see the camera going on and off the stage to get a better shot. That is distracting and detracts from the performance.”
As for spontaneous moments of performance, like in jam circles or lineups, some dancer would prefer to leave them as ephemeral, amazing experiences that are appreciated fully only in the moment. An inspiring dancer I know in London opposes constantly filming the action, saying of her favorite performance: “You had to be there. A video would be an insult to the spontaneous genius you just witnessed.”
Who are we allowed to capture in photos and video? Should we ask anyone’s permission? Should there be a form to sign?
When I started teaching kizomba, I took this very seriously. I created a media release form for students to sign if I was going to be recording during class and made class photos optional. “It is always best to get consent (written or verbal). In smaller settings it is much easier to do so,” agreed Kimberly in NC.
Ephraim, a professional photographer in Germany, suggests, “At the start of a lesson someone tells the group there will be some shots made for documentation of what has been done today. Whoever doesn’t want to be in the photographs only needs to tell the photographer and then they can be excluded, pixellated or whatever in the end.”
Of course at larger events it wouldn’t be practical to ask everyone’s permission individually. Braden Nesin, a professional photographer in Boston, explains: “From a US legal standpoint I have every right to take photos/video/audio so long as you have no reasonable expectation of privacy (and at a dance event on the social floor or in a group class you do not.) I can publish those photos, I can sell prints and downloads, and I can sell them to newspapers and magazines, but I cannot use them for advertising without the permission of anyone both featured and easily recognizable in the photo (so big group shots don’t count, but a photo of your face front and center while you’re dancing does.) Events cannot use them for fliers or other advertising without your permission. Many events post notice or have you sign a waiver stating that your likeness may be used commercially, but if they don’t they’re on the hook. You do not get any rights to the photos.”
The legal situation varies internationally, but just following the law isn’t necessarily going to create the best environment at a dance event. Another professional photographer shared with me: “I think it sucks that attendees have to decide between doing the fun thing they enjoy and not wanting to be photographed for promotional use. I think an event should get individual permission for photos they use on fliers, fb covers, etc for their event even if they have a signed release from their registration.”
In the meantime, you can always approach a photographer and ask for them to try to avoid capturing you. You could also suggest this nonverbally: “I have seen people turn their head and hold their hands up to their face when they don’t their picture taken and I think that’s the best way to send a message to the photographer,” said Dennis in Seattle.
When it comes to informal photos and videos, a little bit of respect goes a long way. Greg in DC shared, “When I’m being videoed I think it is common courtesy to ask me in advance. A few years ago, a woman’s friend took a video of her dancing with me and it felt invasive since she did not ask my permission.”
Where should these photos and videos be posted? Which photos shouldn’t be posted?
Well, we’ve been over the legal issues for public use of photos at dance events. My personal policy has been to share photos to the Facebook event or local Facebook group, unless I have permission to share more broadly. Keya in California said, “I think it depends on the setting…if it’s in my local community with people I know, then I am ok with someone taking photos and sharing with the community.”
The biggest complaint about photography is the indiscriminate publication of photos that the dancers featured don’t like. Our very own editor Jason Haynes shared, “I think its a problem when you have amateur photographers who take pics and post everything they’ve shot. Many times their lack of skill leads to the dancers being captured with awkward facial expressions and poses.”
It’s not only the amateurs at fault, though. “There have been many bad photos of me and others posted dancing,” says Courtney in VA. “It is also detrimental to promotions, if the photos chosen to represent the dance are awful.”
Nancy in Philadelphia suggests a simple rule of thumb: “If you think the photo is questionable or that someone may be offended, either don’t post it or ask first.”
Do you want to change the policy in your scene?
I had a very uncomfortable standoff at a kizomba event in Germany this year. On Sunday morning as I was walking into the workshop venue, I was confronted with a large man with a large camera. I put up my hand and tried to just keep walking – I wasn’t interested in being photographed just then. I had just a few minutes to get to an African dance class. He blocked my way and tried to speak coaxingly to me. I insisted that I did not want to be photographed, and he suggested that I would not be let past until I was. I finally put my bag between myself and the photographer and edged past until he gave way.
Kizomba events are well-known for being strongly focused on marketing, but I just don’t understand this kind of behavior. What does a coerced solo shot off the dance floor provide to the event or photographer? I’m sure there were plenty of others who were intimidated into unwanted photos that morning as well.
What about you? Is there something you’d like to see done differently in your dance community’s approach to photography or recording?
Let’s consciously choose our photography practices and policies, rather than blindly continuing whatever our scene’s current habits are.
