DanZen Time

Soulful Sensation

Soulful Sensation

Music moves us with a Harmonic Vibration

Dance is a Soulful Sensation!

Through Dancin’ David AMGD

Section 1

Acknowledgments Make Good Sense
Introduction Function
A Rhyme Saves Time
Dance, a Soulful Sensation
Confidence or Coincidence
Confidence
Can’t Can’t
Motivation Vibration
Opposites Attract and Retract
From Roots to Fruits
Competition Position
Edufficiency
Dance Sensations, Feel the Vibrations
Dancers Mantra
Connection Section
The Floor is Your Friend
Connection 4, Music Galore
Connection 3, a Partner and Me
Patterns and Pizzazz
Passionate Possibilities
Safe Sex
Giving Dance a Chance

Section 2

Dance Dictionary

Section 3

Frequently Asked Questions about Social Partner Dancing

Section 4

Dance Drillz for Skillz

Section 5

Student Response and Credits

1. Acknowledgements and Accomplishments Make Good Sense
The key players in the game of life,
are my parents, myself and of course, my wife.
We are all here, on earth right now,
often wondering, why and how.
With these words we write,
we will describe a perception of light.
Thank you God for creating energy,
that is in perfect balance and synergy.
Thank you Mom and Dad
for the vision of me you had.
Thank you David, for opening up
and seeing the full cup.
Thank you Dawn for believing in me, you, and us,
knowing full well, we’re all on the same big bus.

1. Acknowledgements and Accomplishments Make Good Sense

The key players in the game of life,

are my parents, myself and of course, my wife.

We are all here, on earth right now,

often wondering, why and how.

With these words we write,

we will describe a perception of light.

Thank you God for creating energy,

that is in perfect balance and synergy.

Thank you Mom and Dad

for the vision of me you had.

Thank you David, for opening up

and seeing the full cup.

Thank you Dawn for believing in me, you, and us,

knowing full well, we’re all on the same big bus.

2. Introduction Function

Expectations may be high or low.

They are what they are, you may know.

This writing is about our experience on earth,

a soulful connection to our birth.

We cover topics from ethics to pollution,

Including, finances and evolution.

We hope you enjoy and relate,

as we travel through life’s many gates.

3. A Rhyme Saves Time

You may have noticed by now this book will rhyme

It is our hope this will save you some time.

While the vibration hangs in the air

you will connect to the next line with flair.

Experience is not a difficult thing

remembering can be challenging.

So, when you’re wondering just what to do,

try a rhyme, it may help you too.

4. Dance, a Soulful Sensation

When was the last time you felt your soul

When was the last time that was your goal

Our soul is present in each moment

Listening to it will not make you lament

It’s up to us to hear its guidance

Sometimes it just says let’s dance

So when you hear a vibrant sound

Don’t hold back by looking around

When your soul jumps for joy

Go ahead dance and enjoy!

5. Confidence or Coincidence

Confidence is often misunderstood.

Is feeling strong, bad or good?

We believe in choice as the driving force,

confidence is the foundation of choice of course.

Accepting the present for what it is,

does not mean change would not be bliss.

If coincidence decided who did what, and when,

how are all these atoms connected then?

“We can do it,” is an affirmative phrase.

“It is done,” builds confidence for days.

Reinforcing acts of your own free will,

adds to your option toolbox and keeps you from standing still.

Life flows for the rivers, fish, and trees,

is it not that easy for you and for me?

6. Confidance

Our parents and teachers are showing us the best lessons they know how.

But sometimes we live in a culture very far from the moment of now.

How can we make such bold claims?

By watching fears take over before people begin to aim.

What if I’m not good enough or not accepted?

I am poor, weak, and so neglected.

We see these outlooks in many people we meet,

one solution can be found in your feet.

Finding the rhythm and movement within you,

will surely help your true self shine through.

I’ve seen it over and over again,

the smiles, the strength, that arise from within.

A timid spirit that first steps on the dance floor,

after a few lessons, is begging for more.

There is something about connection to music, each other and thyself,

it creates confidence and joy, it needs no help.

We are not saying that dance is the only way,

it is simply a toy, that helps you play.

Dancing through the game of life with mind, body and spirit,

listen to yourself, you will hear it.

The next time you find yourself tapping your toes, or humming along,

you are dancing to a familiar and exciting song.

Check in with yourself, are you smiling, happy and feeling good?

This is the first step of dance, hidden underneath your hood.

If you’d like to experience those feelings more and more each day,

read on my friend, we’ll show you the way.

7. Can’t Can’t

If you believe in the concept of can’t,

please meet Hunger and Eager the ants.

Hunger was hungry one day,

so he set out to find some food in the hay.

He searched high and low through every nook and cranny,

after hours of searching, he was tired and wanted his nanny.

He thought to himself, “I can’t find any food and I’m going to starve.”

Hunger was feeling weak; he felt his options weren’t large.

Then he heard a familiar sound,

it was the earth moving under the ground.

Up through the soil exclaimed Eager the ant,

“Thinking you can’t, will sure prove true,

if you think you can’t, you don’t even believe in you.”

Let’s take a look at our options today,

we can give up and starve, or keep looking in the hay.

“What would you prefer Hunger?” asked Eager the ant.

“Would you like to go hungry or believe in (that) can’t, can’t?”

8. Motivation Vibration

It’s time to find your fruit.

Is it confidence, social acceptance or maybe a new suit?

There are reasons we do things and results we want to get.

We consider the income, expenses and the net.

Surely we understand what you put in you also get out

But why we do anything is what this chapter is about.

Let’s make a list of all the benefits of Dance

I’m sure you’ll find your motivation vibration if only by chance.

Self-confidence is raised by virtue of accomplishments.

Social levels improve by meeting new gals and gents.

Fitness of the mind, body and spirit is raised.

You’ll look good too, and that’s worth the praise.

Something to look forward to is always fun

It’s more interactive than going for a run.

A new business network is gained

something to do even though it rained.

There are many benefits to dancing as you can see

Only you know your fruit, not me.

So choose a motivation vibration today

And then you will be on your way.

My Motivation Vibration, my fruit, why, I am dancing…

____________________________________________

9. Opposites Attract and Retract

Let’s be clear right up front,

there are many theories on how dance is done.

The truth is, energy cycles round and round,

and what’s good for you can only be found,

through your own experience, you will see,

the best methods to learn and be.

The goal is the same in the North and South.

They seem opposite but they’re just being themselves.

How you learn is important to know,

to get you on the path toward the show.

Which statement below best describes you?

a) I learn by doing, that’s what I do. (Kinesthetic)

b) When I hear something it sounds good to me. (Audio)

c) If I see it, my vision is clear. (Visual)

10. From Roots to Fruits

It may be helpful if we look at the learning process as a tree

Many of us have not been to school in a while, if you’re like me.

It takes time and patience to learn something new,

keeping that in mind will definitely help me and you.

Here’s how the learning process goes,

follow these steps and we’ll be ready for the show.

First we choose what kind of fruit we want and then pick the seed.

Latin, Jazz, Swing or Rock Music, a decision we’ll need.

Pick one that resonates with you,

This is the dance you’ll want to do.

To plant the seed, we set aside time each week.

Time to learn and grow in the wisdom we seek.

Now we have the music and the time to learn this new hobby

Let’s find a teacher to begin the jobby.

Now we remember which way we learn best.

Let’s choose a teacher that meets that test.

Rick Righty, teaches with skill and speed,

to learn from him your ears you’ll need. (Audio learners)

Lucy Lefty, specializes in fun

for easy steps, she’ll show you how it’s done. (Kinesthetic learners)

Lou Lefty, teaches visually,

he’s your guy if you learn by watching, like me. (Visual learners)

Rita Righty, uses all the tools in the book

She’s for you if details are your hook.

It’s time to take a closer look at the fruit to choose

Swing or Latin dancing you really can’t loose.

Wherever you choose to begin

remember we’re flexible and sure you’ll fit in.

How long it takes to enjoy your fruits

depends on how much you water your roots.

It’s good to set goals and timelines

A ship without a captain is sure to stay near the shorelines.

In 4 weeks I will be able to______________________

In 8 weeks I will be able to______________________

In 12 weeks I will______________________________

This commitment is between you and you

So you may want to think it through.

Just one reminder from someone who’s been there

Goals with purpose are better than “I don’t care.”

11. Competition Position

We believe, like all wise men do,

the best competition exists within you.

Trying to beat someone else

can get tricky and sometimes smells.

Being the best you can be,

is about you, not me!

Yes, others efforts do spur us along,

providing a yardstick to measure on.

But 1st, 2nd or third place,

none of these is a reason to hide your face.

We are always being the best we can be.

Understand this and you will feel free.

So remember, keep the competition with you

and you’ll be more realistic about what you can do.

12. Eduficiency

The rate at which you learn

will effect how much time and money you burn

Input over output is the efficiency equation

the answer is different for each situation

Taking a few moments to map out your path

will surely help you understand at last

Let’s look at the input side:

Money, time, effort and pride.

Divide that by the outputs we desire

Dance, confidence and maybe a romantic fire

Good news for you, learning is mostly done on your own

Practice, practice you can practice at home.

You’ll pay for the course and materials at first

but the money input is minimal to quench your thirst

Let’s look at time and how much we’ll require

It takes 30 days to form a habit with desire

So give yourself a month for each concept below.

You’ll be on track, according to the records we know.

Dance is a mind, body, spirit, thing,

so it may take a little longer than a one night fling.

Let’s put our best effort into the mix

30 minutes a day, I guarantee, you’ll learn some new tricks.

Focus on each step one at a time,

remember if you need help there’s always a rhyme.

Pride is something that grows as we learn,

as we accomplish, we’ll take pride in each turn

Now, let’s look at what we get out.

Learning dance is what this book is about.

How will you know when you’ve reached your goal?

The first piece is feeling strong, confident and whole

Next we’ll learn how to connect with the floor

We’ll know we’re there when moving isn’t a chore.

Connecting with your partner, there is no blame.

We simply do this using our frame.

Music is the last root of our tree.

Harmonize with the music and you’ll move with glee.

Connect with self, floor, music, and partner, and you will dance.

Please read on, here is your chance!

13. Dance Sensation, Feel the Vibrations

What is dancing exactly?

Is it different for you and me?

We all interpret the music in our unique ways,

yet the cause of the movement is the same all days

The results can be different, with many changes

We have many options throughout the vibration ranges.

You see, our bodies receive a signal from the music

Our brain picks a muscle group and we use it.

Feeling the vibration makes us wiggle,

sometimes in funny ways, and we giggle.

The musical notes affect us in several ways,

but we all receive them, just like the sun’s rays.

Dancing is tuning in your senses to feel

vibrations in the air and make them real.

What I am trying to say is this:

Dancing is a result of sensation bliss.

14. Dancers Mantra

Today we are the best we can be

We’re here to learn and be friendly

Let’s dance around the big dance floor

Back again let’s dance some more

Dance is fun and challenging

Watch us meringue, salsa and swing!

15. Connection Section

Here we are at Day 1 of dance class.

Congratulations, you’re here and ready to have a blast.

First, you must know there are 4 basic connections in dance:

yourself, the floor, your partner, and music of chance.

Connection with yourself is where we begin.

It is here that we dig down deep within.

Let’s put our heels together and our toes apart.

Stand tall with a smile and we’re ready to start.

We’ll roll our bodies down as if we are touching our toes.

Let our arms relax in this bent over pose.

We’ll stand up by unrolling our vertebrae.

You can do it, remember the ants in the hay!

When you get to the top and your chin comes parallel to the floor,

let out a sigh of relief, you’ve come through the first door.

If your ears line up with your shoulders, hips and toes,

you have good posture and everybody knows!

To ensure this alignment while we dance around,

our shoulders are centered and down.

Then engage your glutes, abs and lats,

feeling strong and confident, we’re almost ready for Cats!

Next, we’ll create our frame with our back and arms,

this is how we send our partner our dancing charms.

Your frame comes from the energy in your front and back,

it flows right out your fingertips and that’s a fact.

Pretend you’re holding a big beach ball full of air,

it’s big, round, and yes people may stare.

Carry it with energy and hold it steady,

the frame is key to being partner ready.

Let’s check our work to be precisely sure

we’ve connected with ourselves and not some mystic lure.

Hold in one hand a shoe by the laces,

now move your weight from side to side in two places.

If the shoe swings in rhythm with your weight,

congratulations, you’ve connected yourself, great!

This section was about keeping your balance and being on time.

This is the core of our teachings, they work every line.

We’re almost ready to move on to root 2 of our dance tree,

if you have trouble come back here and review this lesson for me.

16. The floor is your friend

The floor is your friend.

To connect with it, your knees must bend.

Let’s start with our knees locked back,

now we try to move in a straight track.

We probably feel awkward, and on top of the floor.

That is ok, this is not the connection we’re going for.

Let’s unlock our knees just a bit,

almost as if we’re getting ready to sit.

Next we’ll turn out our toes, so our feet are at 45 degrees.

Then move our hips forward so our toes are under our knees.

Now, we put our weight on our right foot,

and push into the floor, grounding our leg like a root.

Moving to the left we feel our body glide,

it feels good, your smile you cannot hide.

To practice connecting your energy down into the floor

continue pushing off until you feel confidence galore.

You can also practice moving forward and back,

this is a little trickier, so we’ll help you get the knack.

When we move forward we naturally land on our heel,

this applies to dancing as well, it should have a natural feel.

Then we roll through our foot from heel to toe

that’s it like that, you’re putting on a great show.

We remember to keep our knees slightly bent

this provides the power and control to move elegant.

Moving backward it’s our toes that will lead

they land first, feeling the floor, grounded indeed.

Once we’re able to move side forward and back,

keeping our balance and posture intact.

17. Connection 4 Music Galore

Music, Music, everywhere!

Wherever it is you’ll find dancing there.

You may wonder why we’re going to connection 4 instead of 3?

We believe it’s easier to move by yourself, like me.

Once you have a sense of what your body can do,

it’ll be much more enjoyable to have a partner with you.

To understand music, we’ll first explore

the type music that is written in four, four.

Beginning on the first beat we count to eight.

If you missed it, don’t worry your not too late.

You see, the “one” comes around every eight beats,

the cycle keeps going and repeats.

We’ll call this group of 8 a musical phrase,

it is the first step in understanding musical ways.

In dancing the music can be broken down in sections of two,

we’ll call them rhythm units to make it easy for you.

A dancer can dance, with several rhythm choices

to learn single, double and triple rhythms we’ll use our voices.

A single rhythm means one movement in two beats,

it is said slow, slow, slow, slow and repeats.

In our first phrase of 8 we’ll move 4 times

this is single rhythm movement, hey you’ve got great lines!

Let’s put our hands out, palms facing each other,

we’ll count to 8, let’s help one another.

Now we’ll clap the hands on the even numbers

2, 4, 6, and 8 these are up beats, not cucumbers.

If you’re counting to eight and clapping 4 times,

you’ve got it, your moving in the rhythm of single time!

The next rhythm we’ll learn is called double time.

It is two claps in two beats, you’re doing fine.

As we count the numbers 1 through 8.

clap on each beat and you’re doing great!

Triple rhythm is three movements in two beats,

to do this you have to be quick on your feet.

First, we ensure our weight is slightly forward,

this makes it easier and not so awkward.

Now we count 1 & 2 in each rhythm unit

clapping three times, you’re doing it!

Now we understand how the rhythms relate to the beat.

Next let’s move our bodies and our feet.

First, we put our feet shoulder width apart,

putting our hands on our hips, is a good place to start.

Move the hips left and right in single time,

you’ve got it you remember the rhyme!

When you’re ready to move on try double rhythm movement

side to side on each beat, keeping the knees bent.

The triple rhythm requires faster hips,

you may find it helpful to count it out with your lips.

Simply say triple step, triple step and your body follows your voice,

it listens to your brain, it has no other choice.

As you feel comfortable with each rhythm, move your feet close together,

you can dance anytime no matter what the weather.

Dance to rhythms you hear everywhere,

then with others, the joy, you can share!

We’re ready to move on to the next piece of the puzzle,

let’s connect with our partner to dance and to snuggle.

18. Connection 3, a Partner and Me

Connecting with your partner can be a challenging task,

getting it right, will feel good at last.

It’s most important to be clear and be patient,

it’s almost like when pitching a tent.

The poles go up in a certain order,

then we put the stakes around the border.

To connect with our partner, we first connect with ourselves,

then we create our frame, arms up on our shelves.

The leader defines space for the follower to be in,

the follower connects into it and then we begin.

Start by moving slowly from side to side,

let your internal connection be your guide.

When he feels her weight transfer with his,

it’s time to get movin’, enjoying sweet bliss.

As you move around the dance floor,

the leader guides the movement by opening the door.

She accepts the invitation and fills the open space,

dancing and smiling with her skillful grace.

In the event a misunderstanding occurs,

more smiling and joy, no sorrys are heard.

When the dance is over, a pleasant thank you is nice,

we’ll dance again, at least once or twice.

19. Patterns and Pizzazz

Each piece of music has its own style and feel,

some music makes us dance back on our heels.

Once we are connected we can do almost any pattern we please,

moving to the music comes to us with ease.

Patterns are learned to help our brain and muscles get in the mood,

they are not what has to be done, they are like eating good food.

A little bit of this and some parts of that,

makes the dance more interesting and that’s a fact.

The first pattern we learn is often a box,

to this we can add rotation and even some locks.

Next is a turn to make her dress flare,

he gets to watch as she turns and brushes her hair.

Together we move around the dance floor,

it feels so good we want more and more.

It’s the leader’s job to choose appropriate patterns,

helping the follower feel comfortable and ease her concerns.

Sometimes a pattern is lead and the follower is unsure,

this is how we learn; there is no need for a cure.

Keep in mind connection and fun is what dancing is about,

we’ve move through each mis-step with a smile, not a shout.

Pizzazz will happen once you’re in the groove,

it’s best to learn patterns and then start to move.

When you’re comfortable you can add your own style,

let the Artist come out, you’ll enjoy it for a long while!

20. Passionate Possibilities

With the lights dimmed down low,

two bodies, move together in the flow.

Connecting deeply with their eyes,

feeling heat, between their thighs.

Slow, and fast, they move around,

enjoying every moment, up and down.

Mystery, creativity, and possibility,

Dance, passion, let it be!

21. Safe Sex

When I hold you in my arms

When you smile at my charms

Our bodies move to the beat

Back and forth, I feel the heat

My endorphins are activated

There’s no stopping, I’m captivated

Safe sex, I’ll take a chance

I can’t wait till’ again we dance!

22. Giving Dance a Chance

Learning new behaviors is essential to keep us alive.

Along this path we commit to and strive.

Music moves us with a harmonic vibration

Dance is, a soulful sensation!

About the author.

Dancin’ David trained as an electrical engineer and dance educator. Combining these worlds enabled this unique perspective of harmony that is created when people move and create together in the Art of Dance.

David’s goal is to help humanity reconnect to it’s roots and therefore to all it’s levels through an understanding of Energy.

DANCIN’ TIME Dance Dictionary

By Dancin’ David

January 2009

Dance

Your body, mind and spirit creations when you experience harmonious sounds.

Your natural response to music.

Dancing

Step 1. Your conscious control of your response to the music.

Step 2. Your unconscious co-creation with the music.

Dance Connection

A link between two or more body parts or a body part and another object like the floor, a partner or the music.

Self Connection

How muscle groups, thoughts and imagination are connected within a dancer.

Floor Connection

How your body is connected to the floor.

The best use of muscle groups and bone structures to move your body.

Partner Connection

How a dancer is connected to their partner.

Music Connection – Musicality

How a dancer connects to music.

1. Basic Rhythms

2. Phrasing: Major and Minor Phrases

3. Rhythm variations

4. Breaks

5. Accents

Compression

A partner connection where the dancers are toward each other, causing a slight compression of the muscles they are connecting with.

Stretch

A partner connection where the dancers are away from each other, causing a slight stretch in the muscles they are connecting with.

Rotational Compression/Stretch

Compression or stretch created by a rotation between dancers.

Lead (verb)

To go before. To initiate movement. Communicating the next movement to a partner by physical, visual or verbal connection.

Leader

Person who is leading.

Follow

To go after. To respond to the information given by the leader and create the movement he/she has initiated.

Follower

Person who is following.

Beat

A consistent sound. The drums and bass usually provide underlying beat that all the other instruments build on and form the basis for the rhythm of the dance.

Rhythm Unit

Two Beats of music.

Rhythm

The number and timing of beats in a rhythm unit. In dancing the rhythm of your body is the number of weight changes or movements in two beats of music (rhythm unit). There are three basic rhythms and many more sub rhythms.

Single rhythm

One weight change or movement per rhythm unit.

Double rhythm/Double

Two movements (weight changes, body movements) per rhythm unit.

Triple rhythm/Triple

Three movements (weight changes, body movements) per rhythm unit.

Complete Weight Change

Transferring 100% of the body’s weight from one foot to the other.

Partial Weight Change

Transferring less than 100% of the body’s weight from one foot to another. This is often done when dancing a syncopated rhythm or doing other forms of styling.

The & count

And is the beat exactly between two whole beats. For example 1 & 2 & 3 & 4.

The a count

a is the point in time between the & count and the beat. i.e. 1 & a 2 & a 3 & a 4. This is often used by the dancer to fill up the beats with body movement.

Accents

Musical notes lasting less than 2 beats.

Breaks

Periods in the music where some or all of the instruments are quiet for 2 or more beats.

Frame

The space and connections created when a dancer holds his/her arms in a shape.

Frame defines a dancer’s space as well as their connection to themselves and to their partner’s center.

Frame can be generally defined with wrists outside the hips and the elbows in front of the dancer’s center.

Center

The point around which an object balances. Each person’s center is in a slightly different location depending on their body type, but in general it is between the groin and the belly button. As we move our center moves slightly within our body, this is similar to how the center, balance point, of a water bottle moves as the water shifts within the bottle.

Proper Posture

Spine stretched straight from the tip of the head to the bottom of the sacrum. The head over the shoulders, over the hips over the toes. The chin parallel to the floor so that the spine and chakras are completely in line.

Poise

Where your weight is distributed in your feet. Your poise could be forward in the balls or back in the heels or other places depending on the style and purpose of your movement.

Turn

Rotate while transferring weight from one foot to the other.

Spin

Rotation without a transfer of weight.

Heel Lead

Landing on the heel first.

When the heel is the first part of the foot to take weight during a weight transfer.

Toe Lead

Landing on the toe first.

When the toe is the first part of the foot to take weight during a weight transfer.

1st position

Feet: Heels and toes touching. Open first is the heels touching with toes pointed at 45 degree angles.

Arms: Hands in front of stomach with elbows to the side.

2nd position

Feet: Feet shoulder width apart.

Arms: Hands to the side.

3rd position

Feet: Heel of one foot to the instep of the other with feet at angles.

Arms: Hands above the head.

4th position

Feet: Heel of one foot to the toe of the other foot with feet at angles.

Arms: One hand above the head and one to the side.

5th position

Forward

The space in front of the dancer.

Back

The space behind the dancer.

Side

The space to the immediate right or left of the dancer.

In-place

Without traveling.

Syncopation

A movement on the time between the whole beats in the music. For example a triple step is a syncopated movement because there is a specific movement on the & count between the beats.

Ball change

A triple rhythm foot and leg movement, that only uses two weight transfers. The movement is a kicking of one foot, a placement of partial weight onto that foot and then a weight transfer onto the other foot. The kicking action can be in any direction. The kick could be replaced with a point or touch.

Sailor Shuffle

A triple rhythm movement consisting of crossing one foot behind the other, stepping to the side in the direction of the uncrossed foot and stepping to the other side on the original foot.

Coaster Step

Stepping back together and forward or forward together and back.

Isolation

Moving one muscle or group of muscles without moving others.

i.e. shoulder rolls are an isolation of the shoulder muscles.

Line of Dance

The generally accepted direction of movement for progressive dances.

Most of the time the Line of dance is counterclockwise.

Promenade

A position where dancers are 45 degrees from square. For example, facing the corner of the room.

Choreography

A planned order and style of movements that correspond to a given piece of music. Choreography is generally done to reflect a song’s essence.

Attire

Each style of dance has traditional clothing styles. Ballroom is traditionally formal, a tie for the men and a dress for the ladies. Latin and street dance attire is sophisticated and sexy.

Etiquette

The appropriate way to act during a lesson or dance.

It is always proper etiquette to thank your partner after you have danced with them.

Performance

Presenting to an audience.

Competition

Performance that is judged and ranked against other performers.

Section 3

Frequently Asked Dance Questions

What is dancing?

Very simply, dancing is what happens when your body moves to music. Examples of dancing could be as simple as tapping your toes or snapping your fingers. We are all born with a natural physical, emotional and spiritual response to music. Dance is the experience of allowing that response to come out while enjoying the process.

What is partner dancing?

Partner dancing is a general term used to describe two people dancing together and physically touching each other. One of the partners is leading the movement and the other is following the lead. At higher levels of dancing the follower has opportunities to lead and add on to the movement through embellishments and decorations such as arm, leg and head movements.

What is Social Dancing?

Social Dancing is dancing in a social setting. To put it another way, it is non-competitive dancing. Social dancing benefits include; exercise, meeting new people, being a part of a community and connecting with other people. Many styles of movement are enjoyed by social dancers. Ballet is not social dancing, it is almost always done as a performance.

What is competition dancing?

In competition dancing, dancers are judged and ranked against their peers.

Competition dancing benefits include: challenge the physical and mental fitness of the dancers, joy, accomplishment and teamwork. Dancers are judges based on established standards of accepted techniques, styles, patterns and attire.

How long will it take me to learn to dance?

As with all learning, the time it takes is dependant on the student, teacher, and amount of time on a given topic. We believe you can feel comfortable social dancing after a four week course with at least one practice session between classes. It’s important to remember that dance is an art form, like playing the guitar or painting. So there are many layers of progress and comfort. Learning involves patience, time, and an understanding. Also, there is no right or wrong, there is only what you create.

Which dance do I start with?

We recommend you start learning to dance with music you already enjoy listening to. Dancing can be done to most any style of music.

Do I need a partner to learn to dance?

There are many forms of dance, not all require a partner. It is sometimes better to learn to dance on your own so that when you begin dancing with another person it is much easier. Line dancing is a great way to feel great with the basics of dancing, then you will easily be able to move with a partner.

How do I find a place to dance where I live?

Chances are there are several places to dance socially where you live. Check our website for dances in your area (www.DANCINTIME.com). If there is not a dance within a convenient distance, you always have the option of starting your own dance. We’ve included a guide to starting and running a social dance in the appendix of this book.

Can I learn to dance online?

Partially, yes… and you have found the only comprehensive start to finish dance education system. It includes online and offline features using text, video, and audio. You cannot learn all the aspects of dance on your computer that is to say that dance is a physical activity as well as a mental one. Fortunately, we have created the world’s first easy to follow portable dance education system. So you will be able to learn whenever you want, wherever you are!

What kind of shoes do I wear for dancing?

Your shoes are your connection to the dance floor, they are important to make you feel comfortable and for your safety. Improper shoes will not allow your body to turn properly and therefore can be an opportunity for injury. Soft soled shoes with smooth bottoms are best. For women pumps will work to get you started. For men typical Sunday shoes with smooth leather bottoms are a good starting point. Avoid shoes with rubber bottoms or designs for traction.

Do women learn to dance faster than men?

Many women experience dancing in their childhood with ballet, tap or jazz classes and performances. Due to this experience they often seem to learn faster when in a group or private partner dance class. In addition, many men feel they can’t dance or don’t have any rhythm, this thought often hinders their progress, whether or not it is true.

In partner dancing the man is often the leader and therefore has more information to process in the beginning stages of learning to dance. The leader is responsible for planning ahead, choosing the next pattern while leading the current pattern and being aware of other dancers on the floor. The follower has only to focus on the current pattern.

To the man’s advantage, many men are right brained and therefore understand the technical aspects of dance (like math and physics) with a little more ease than women.

Why do I feel uncoordinated?

While math and science are mostly understood by the brain, dance, like most arts requires physical muscle control. The more we focus on moving our muscles the better we get at it. It is common to feel unclear about how to make your foot do this or your arm do that at the right time. With our self-paced method of learning dance, you can review each lesson as many times as you like and move on when you feel comfortable. The only one pushing you is you.

What makes a good social dance partnership?

Similar goals. It is helpful before you begin practicing together to be clear and honest about why you are practicing. Is it to teach the other person? To learn for yourself? To become a competitive or show dancer? The Ability to work together and accept mistakes makes for a good social dance partnership.

What do dancers wear?

Good question. In most social dancing it is common to wear casual attire. Certain genres of dance have a tradition of specific clothing and shoes. Argentine Tango dancers for example typically wear black clothes. While lindy hoppers have fun keeping the originality of the roaring 20’s in their closet and on the dance floor.

Is line dancing for country music only?

Due to the massive popularity of country line dancing in the 1990’s, it is commonly thought that line dancing refers to country line dancing only. Actually, line dancing is an age old tradition taking on many styles of movement. Country is both a style of movement and a type of music. Often times today’s “Country line dancers” are dancing to popular hip-hop, swing and Latin music.

What make s a good competitive dance partnership?

Desire to compete. Similar skill levels and ability to learn. Willingness to travel and room together.

Dance Foundations – 3 month Ground Up Program.

How music moves us
Choosing the right music and dance for yourself
Social and Competition dancing
Dance vocabulary
Shoes and Tools
1. Choosing a shoe style
2. Caring for your shoes
3. Connectors – Hand, Core Muscles
4. Dance Surfaces
5. Media Players
6. Song Assist
Connections
1. Self-connections
  1. Posture
  2. Frame
  3. Physical fitness – Muscle, Cardio strength
  4. Mental fitness – IQ, EQ, Creativity Strength
  5. Desire
2. Floor Connections
  1. Alignment
  2. Grounding and stretching
  3. Poise
    1. Moving forward and backward
    2. Moving side to side
    3. Lilt
  4. Poise for each dance
3. Music Connections
  1. Down and Up beats
  2. Rhythms
  3. Time between the beats
  4. Bar/Measure
  5. Minor Phrase
  6. Major Phrase
  7. Tempo
  8. Styles – Jazz, Big Band, Latin, Pop, Country, Funk
4. Partner connections
  1. Compression
  2. Stretch
  3. Rotational Compression/Stretch
  4. Latin Hold
  5. Ballroom Hold
  6. Swing Hold
  7. Open Position
  8. Closed Position
  9. Close embrace
  10. Leverage move connections
  11. Leading
  12. Following
  13. Hand height
Rotating
1. Poise
2. Alignment
3. Turning
4. Spinning
5. In place
6. Traveling
7. Hand connections
8. Spotting
Latin Motion
1. Poise
2. Knee movement
3. Hip and abdomen movement
4. Upper body movement
5. Styling
Etiquette
1. Polite
2. Respectful
3. Hygiene
4. Line of Dance
5. Dress
6. Team
Performing
1. Preparation
2. Partnering
3. Choreography
4. Audience
5. Styling
6. Tricks
Line Dances
1. The Way You Move – 32 Count Phrased
2. Electric Slide
3. Got to be Funky – 48 Count Phrased
Partner Dances
1. Merengue
2. Rumba
3. Salsa
4. Cha Cha
5. Nightclub Two-Step
6. Waltz
7. Fox Trot
8. East Coast Swing
9. Two-step
10. West Coast Swing
Choose music style
Terminology
Shoes and Tools
1. Choosing a shoe style – Your shoe style will depend on the style of dance you are doing. It is always important to choose a fit that is comfortable, you’ll be enjoying them for many hours. Some dancers choose different shoes for practicing then social dancing and certainly for performing. Please select one of the following dance styles and read on about the type of shoes that work best for that style.
  1. Country – As you may imagine Cowboy Boots are the traditional style of shoes worn in Country dancing. They fit the look and this style of dancing suits them well. For comfortable good looking cowboy boots please check out Evening Star Country Dance Boots, they are lightweight and comfortable. Alternatively, I wore my Bloch Jazz sneakers for many years while country dancing. They are durable, lightweight and easily adapt to many different surfaces. The feature I enjoyed best about them though was their cushion in the soles. I can dance in them for hours on many surfaces and not have sore feet.
  2. Ballroom – As we know there are two subcategories of Ballroom dancing Smooth and Rhythm, the rhythm section is handled under Latin, here we’ll talk about smooth dancing footwear. For the leaders the shoes are similar to what we may call a Sunday shoe, generally black with a small 1/2″ heel. Followers tend to wear 1-2″ heels. it is helpful at first to wear lower shoes with enclosed toes until you gain some experience getting those toes out of the way if you know what I mean. This website is a good source of ballroom dance footwear for practicing, social dancing and performing.
  3. Swing – Swing dancing can be high impact, much like aerobics, therefore many swing dancers often choose to wear sneakers with suede, felt or mole skin attached to the front half of the bottom of the shoe. An example of this is a typical bowling shoe, very much like a sneaker with a low friction front half and high friction rubber for the heal. Alternatively, Swing shoes are also very popular, these are more like Sunday shoes but with the white tips like you see in the movies. Click here for great deals and service on swing shoes.
  4. Latin
2. Caring for your shoes
3. Connectors – Hand, Core Muscles
4. Dance Surfaces
5. Media Players
6. Song Assist
Connections
1. Self-connections
  1. Posture – Your posture is the foundation of your dancing. It is the seed from which all progress grows. Good posture allows the body to be strong and sturdy yet flexible and fun. Posture is how your body is aligned and connected with itself. Good posture is experienced when our ears are over our shoulders, our shoulders are over our hips and our hips are over the balls of our feet, see picture. To keep this alignment while moving we engage our glutes, abs, and lat muscles and reach for the sky with the back crown of our head. This creates a sturdy energized spine that is ready to move in any direction or simply to stand still (standing still is an important part of dancing, especially when you look good doing it!). Please watch the posture video to help align yourself. While posture is important, it also requires a lot of practice. Many of us are not used to being aware of our body alignment. The good news is you can practice good posture everywhere you go! Good posture will help you feel better, more confident and secure. Trust me this pays off big time and feels good too. You can do it!
  2. Frame – Our frame is the transmission line through which we send and receive information while dancing with another person. It is created using the muscles in our core, back, arms and fingers. We can compare our frame to a telephone system, here’s how it works. You can think of your body, your center your core as your thoughts in the system, it is the place where the information starts from. When your center moves it is turning that thought into words, expressing itself so that others can hear it. Those words are carried from your center, through your back to your arms. Your arms are like the telephone wires, they carry the signal from one person to another. Where your arms meet your partners body is like the switch in a telephone system. In the old days there used to be a person at the switchboard connecting the calls. The keyword here is connecting. There are two basic types of switches, connections, in dancing, they are stretch and compression. We’ll talk more about these in the section on partner connections, for now let’s focus on ourselves. Please watch this video to better understand the concept of frame.
  3. Muscle strength – Muscle tone and strength are often misunderstood in dancing. Frame does not require tension in the arms. It does require energy flow from your core trough your back to your arms. Let’s think about how big and strong our back muscles are compared to our arms, doesn’t it make sense to use our back instead of our arms? Don’t get me wrong, it is helpful to be fit, in fact dancing is one of the best fitness and strength building activities you can do. This is not the same strength used in lifting weights though. It is more of an energetic flow to the muscles created by will power rather than resistance of gravity due to moving an object. Watch this video to see an example of what I mean.
  4. Mental Strength – There will be mistakes. Things that don’t go the way you want. There is a lot of teamwork and patience involved in dancing. The key to success is setting realistic goals, rewarding yourself when you reach them and looking back to understand why you did not reach them. All this requires mental strength which in turn provides persistence. The joy of dancing is so immense, it is worth it. After a few successful dances you will feel and know what I mean.
  5. Desire – We think of a lot of options in life. What makes us do something is desire. The very fact that your reading this means somewhere deep inside or maybe near the surface you have the desire to dance and enjoy life to it’s fullest. Congratulations you are on your way!
2. Floor Connections
  1. Poise – Where your weight is distributed in your feet. Imagine a car with the weight on the outside edges of the tires. This would not work very well. Your body obeys the same laws of physics as your car. Where the weight is distributed and the architecture are very important. A slight turn out of the feet provides more surface area for you to balance on and puts your weight over the structural part of your foot that is best designed to move you – the inside edges of the front half. Each dance and movement requires it’s own poise but this a good fundamental starting point.
  2. Grounding & Stretching – The act of sending energy down into the floor. Keeping your body energized from head to toe will feel good and provide the strength and structure to move well. Grounding is the process of sending energy down into the floor from your waist down. Stretching is the process of sending energy up from your waist up. Grounding and stretching enable you to move powerfully and stay connected with yourself throughout your movement.
  3. Moving forward and backward – Just like when you are walking down the street you should allow your heel to land first when you are moving forward and your toe to land first when you are moving back. There are some dances that deviate from this styling but for the most part it is correct.
    1. When moving forward it is important to focus on pushing off with the foot you are standing on instead of reaching with the foot you are moving to. You want to push off with the inside edge of the ball of the foot and land on the middle of the heel of the next foot.
    2. When moving backward it is also important to focus on pushing off with the foot you are standing on and landing on the inside edge of the foot you are moving to. It is helpful to move from the hip joint more so than the knees.
  4. Moving side to side – When moving to the side in latin dances we typically push off and land on the inside edges of the feet. In smooth dances we land on the whole length of the inside edge of the foot.
  5. Lilt – Lilt describes the height of your body in reference to the neutral position of standing. Lilting up would mean that you are bending at the ankles and toes to raise yourself up. Lilting down would mean that you are bending at the knees to be lower than the normal standing height.
  6. Poise for each dance – Each movement has a best foot location from which to move. Sometimes having your weight on the ball of the foot is preferred as in turning. Sometimes the heel is preffered as in scuffing. Poise can differ to achieve proper movement technique and also styling.
3. Music Connections
  1. Down and up beats – The down beats are the odd beats 1, 3, 5, 7 The up beats are the even beats 2, 4, 6, 8 Sometimes bodies want to naturally move down on the down beats and up on the up beats.
  2. Rhythms – there are three basic rhythms and many more advanced rhythms. The three basic rhythms are single, double and triple time. In single rhythm we move or change weight one time per two beats. In double rhythm we move or change weight two times per two beats. In triple rhythm we move or change weight three times per two beats.
  3. Time between the beats – The time in between the beats can be counted in several ways. It can be in half as in 1 & 2. It can be in thirds as in 1 e & a 2. It can be in 16^th or 32^nd . In dancing we typically use the first two versions to move our body to.
  4. Bar/Measure – A bar or measure is 4 beats of music in 4/4 time. Or 3 beats in ¾ time.
  5. Minor Phrase - A phrase is a section of music that goes together. Minor phrases can be 2-16 beats. We’ll typically talk about 8 count phrases.
  6. Major Phrase
  7. Tempo – The tempo is the speed of the music. It is typically measured in beats per minute or BPM. A rumba may be 100 BPM while a swing may be 160 BPM. Appropriate dances
  8. Style/Genre : Jazz, Big Band, Latin, Pop, Country, Funk
4. Partner connections
  1. Compression - A style of partner connection where the partners are toward each other causing a slight compression of the muscles they are connecting with.
  2. Stretch – A style of partner connection where the partners are moving away from each other causing a slight stretch in the muscles they are connecting with.
  3. Rotational Compression/Stretch – Compression or stretch that is created by a rotation between the partners.
  4. Latin Hold – A closed position where the leaders left forearm and the followers right forearm touch. The leader’s right hand is on the follower’s left shoulder.
  5. Ballroom Hold – A closed position where the elbows are high and the frame is round.
  6. Swing Hold – Similar to latin hold except the leaders; left hand is down at the center height between the dancers and the follower’s right hand is on top of the leaders left hand.
  7. Open Position – Connecting with the hands only.
  8. Closed Position – One hand embraced around the partners back and the other hand in an open hold.
  9. Close embrace – A term mostly used in Argentine Tango where the dancer’s bodies are touching.
  10. Leverage moves – When one or more partner’s body weight is beyond the point of self balance and they are relying on the other person’s weight to remain standing.
  11. Leading – Going first and guiding the follower where you would like.
  12. Following – Going after and being responsive to the lead.
  13. Hand height – The height of the hands. There are four basic hand heights. Waist, shoulder, neck and head. Each position symbolizes a different connection and preparation for a new pattern.
Rotating
1. Poise – the poise for turning is generally the inside edge of the balls of the feet.
2. Alignment – The best alignment for rotating is spine aligned with poise forward over the ball of the foot. Arms and legs may be placed in different locations for styling or to control speed of the rotation.
3. Turning – Rotating while changing weight.
4. Spinning – Rotating without changing weight.
5. In place – without traveling.
6. Traveling – moving from one place to another.
7. Hand connections – The basic hand connection for rotating is two of the leader’s fingers inside the follower’s cupped hand. During outside turns his hand is on the thumb side of her hand. During inside turns his hand is on the pinky side of her hand.
8. Spotting – The process of looking at one spot while the body turns underneath the head. Spotting helps keep focus, momentum and reduces dizziness.
Latin Motion
1. Poise
2. Knee movement
3. Hip and abdomen movement
4. Upper body movement
5. Styling
Etiquette
1. Polite – Please and thank you are expected. Would you like to dance with me? Thank you for dancing with me? Would you please go a little slower for me?
2. Respectful – Everyone has different expectations of themselves and others. It’s very important to understand and respect another person’s choices for dancing or not dancing.
3. Hygiene – It’s very important to wear deodorant and brush your teeth before going dancing. Remember you will be very close and face to face with another person. It is also important to wash your hands after using the rest room. It’s likely you’ll be touching several other people and it’s not nice to spread germs. While perfume and cologne can be attractive many people don’t like them and are allergic to them. It’s best not to wear them in a social dance setting.
4. Line of Dance – The direction of dancers around the floor. The line of dance is generally counterclockwise for circular dances. Dancing against the line of dance would cause confusion and possibly collisions.
5. Dress – Each style of dancing has it’s attire. Ballroom dancing usually involves a flowing gown for the ladies and dress paints and a button up shirt for the men. Nightclub dancing is more casual and country dancing certainly feels good to wear jeans, a button up shirt or nice blouse and of course a cowboy hat. It is true that you get what you give. This is a good point of reference when considering what to wear to a dance. Another important consideration is that you will be moving around a lot, so you’ll want clothes that stay on your body when you move. Not all women’s tops are designed this way.
6. Team – Social partner dancing is a team sport. It takes two to tango as they say. It is helpful to consider the other person’s level of comfort with closeness as well as their dance ability. In general being present and kind is a good rule of thumb.
Performing
1. Preparation
2. Partnering
3. Audience
4. Styling
5. Tricks
Line Dances
1. The Way You Move – 32 Count Phrased
2. Electric Slide
3. Got to be Funky – 48 Count Phrased
Partner Dances
1. Merengue – Merengue is the simplest of dances. Double time is kept throughout the song. Merengue is mostly a stationary dance with some traveling. It is known for it’s speed, sexy latin hip motion and patterns that involve a lot of turning. Beats per minute: 110-160.
2. Rumba – Rumba uses a combination of single and double time. Rumba is mostly a stationary dance with some traveling. Rumba is known for is sexy latin hip motion, intimate connections and stylish leg lines. Beats per minute: 85-110.
3. Salsa – Salsa uses a combination of single and double rhythms. Salsa is mostly a stationary dance with some traveling. Salsa is similar to rumba. Salsa is faster and more street like in styling and patterns. Salsa is known for speed, sexy latin hip motion and turning.
4. Nightclub Two Step – NC2S uses a combination of single and double rhythms. NC2S is mostly a stationary dance with some traveling. NC2S is similar to rumba in tempo but moves around the dance floor like waltz. NC2S is known for its elegance and adaptability to many songs. Beats per minute: 60-95. NC2S music includes ballads from any genre like “Lady in red” by Chris DeBurgh and “Let’s make love” by Faith Hill.
5. Waltz – Waltz uses a ¾ time rhythm with a slow, quick, quick feel. Waltz mostly moves around the floor with some stationary patterns. Waltz is know for its elegance, style and movement. Waltz music can be any genre and time frame from Doris Day’s Whatever will be will be to the Eagles Take it to the limit to Anita Baker’s Body and Soul.
6. Fox Trot – Fox Trot uses single and double time rhythms. Fox Trot mostly moves around the floor with some stationary patterns. Fox Trot is know for its elegance, style and movement. Fox Trot music includes big band songs like The way you look tonight by Frank Sinatra and Come fly with me by Michael Bubble. Beats per minute: 110-150.
7. East Coast Swing – Also known as the Jitterbug and GI, east coast swing is a fun upbeat dance that uses double and triple rhythms. East Coast Swing is mostly a stationary dance that rotates in a circle. East Coast Swing is known for it’s fast pace, fun patterns and uplifting energy. Well known east coast swing songs include: Rockin’ Robin by Bobby Day and Zoot Suit Riot by Beats per minute: 125-190.
8. Hustle – Hustle uses a syncopated and double time rhythm. Hustle patterns are a combination of stationary and traveling. Hustle is known for it’s classic disco styling,
9. Samba
10. WCS

Section 4 Dance Drillz for Skillz

As with any art form, a solid foundation will help you improve faster, enjoy it more and be safer. Dance drills also provide intense focus that enables you to become stronger in a specific area, faster. This section describes dance drills that get very good results. They are listed in the order I recommend them.

Roll down, roll up – This dance drill helps you align and stretch your spine, set your poise forward, engage your glutes, abdominals, and lateral muscles.
1. Begin with your feet touching.
2. Point your toes to the corners of the room, 45 degrees.
3. Move your body so your weight is on the front half of your foot.
4. Begin to roll your body down from your head as if you were going to tie your shoes. Try not to bend your knees. Relax for a moment. Begin to roll your body back up by engaging your glutes (butt muscles) and abs (stomach muscles). Slowly roll up, stacking one vertebrae on top of the other until you are standing tall with your spine aligned. Be sure your chin is parallel to the floor and feel the energy flowing up your back. Take a deep breath to enjoy this quality posture that feels really good.
5. To keep this posture stretch the back crown of your head up and keep the abs, glutes and lats engaged.
Frame setting – This dance drill connects your frame to your core muscles so you can lead and follow well.
1. Start with the roll down, roll up dance drill and as your shoulders begin to fall into place allow the energy in your lat muscles to expand your upper arm away from your body. Continue the energy flowing down your arm until your hands are hip level and slightly outside your elbows.
Core connection/shoe dance drill – This dance drill builds your feeling of connection between your core muscles and your frame.
1. Begin with proper posture and frame.
2. Hold a pair of shoes by the laces in one hand.
3. Stand with your feet shoulder width apart.
4. Move your weight from your left foot to your right foot and back again. Watch as the shoe swings back and forth and feel how your muscles from your center to your back to your arms are connected to enable the shoe to swing.
5. Slowly move your feet closer and closer together as you shift your weight.
6. When your feet are together focus on using your abs to move your hips from side to side to keep the shoe swinging. This requires that your knees bend slightly.
7. You can rotate your hips in a circle to get the shoe to swing in a circle.
8. Note: your hand should not be moving very much. The shoe is moving from the energy of your core muscles.
Center first – This dance drill helps you move your center first. This is the way we normally move through life but often times when we dance we create the habit of moving our feet first.
1. Stand with your feet together with your weight on your right foot.
2. Start to fall to your left by moving your center that way.
3. Catch yourself by moving your left foot underneath yourself.
Walk walk up – This dance drill builds your balance.
1. Walk three steps forward, bring your feet together and rise up on one foot while keeping the not weighted leg straight.
2. Repeat
3. Try this going backwards.
4. Note: This will help your posture and body control.
Military turns – This helps keep your posture when rotating.
1. Stand tall with your feet together and your arms in frame.
2. Step forward with your right foot.
3. Pivot ¼ turn to the left, while keeping your frame and shoulders aligned with your hips.
4. Bring your feet together and start again.
5. Note: It is common in the beginning to not keep your elbows in front of your body or let your shoulders lag slightly behind your hips. This dance drill will help you be aware if you are doing that and help correct it.
Bean bag squeeze – This dance drill helps strengthen your inner thigh muscles and help you move gracefully by taking small decisive steps that are driven from your core.
Paper slide – This dance drill helps you have a stronger connection with the floor, grounding.
1. Place a small sheet of paper under each foot.
2. Move side to side and front to back keeping the paper under your foot.
Draw in and rotate – This dance drill helps build core muscle strength, poise, posture and balance.
1. Stand on your left foot with your right foot out to your side.
2. As you draw the right foot into the left rotate 90 degrees clockwise.
3. Repeat
4. Note: The goal is to keep your body aligned and keep the weight on the ball of the foot you are rotating on.
5. Try to rotate 180 degrees and 360 degrees as you get more comfortable.
6. Be sure to do it on the other foot as well.
7. You can close your frame so your hands are touching while you are turning.
3^rd position counterclockwise traveling rotations – This dance drill helps you learn to keep your poise, posture and balance while doing traveling turns.
1. Begin with your right foot behind your left in 3^rd dance position.
2. Put your weight forward on the ball of the left foot.
3. Keeping your feet in 3^rd dance position rotate 180 degrees counterclockwise, landing on the ball of the right foot.
4. Continue to rotate to the counterclockwise 180 degrees with each weight change, while keeping the feet in 3^rd dance position.
5. Note: Turning counterclockwise when your weight is on the ball of the right foot is challenging, remember to power your turn with your hips by thinking of moving your core first. You can do it.
3^rd position 8 count traveling rotations – This dance drill helps you maintain poise and posture while traveling and turning in both directions.
1. Begin with your feet together.
2. Rotate your right side forward so your right foot is in front of your left and your body is angled toward the left corner. Your feet will be in 3^rd position.
3. Rotate your left side forward so your left foot is in front of your right and your body is angled toward the right corner. Your feet will be in 3^rd position.
4. Keeping your feet in 3^rd dance position rotate 180 degrees counterclockwise, landing on the ball of the right foot.
5. Keeping your feet in 3^rd dance position rotate 180 degrees counterclockwise, landing on the ball of the left foot.
6. Rotate your right side forward so your right foot is in front of your left and your body is angled toward the left corner. Your feet will be in 3^rd position.
7. Rotate your left side forward so your left foot is in front of your right and your body is angled toward the right corner. Your feet will be in 3^rd position.
8. Rotate your right side forward so your right foot is in front of your left and your body is angled toward the left corner. Your feet will be in 3^rd position.
9. Keeping your feet in 3^rd dance position rotate 180 degrees clockwise, landing on the ball of the left foot.
10. Keeping your feet in 3^rd dance position rotate 180 degrees clockwise, landing on the ball of the right foot.

Appendix

Order of line dances to learn

Start Here by Dancin’ David

Beginner 32 count, 4 wall line dance.

1-8 Step in place, stepping on each beat of music

2-16 Toe taps to the right and left, tap right to right, return home, tap left toe left, return home, repeat

17-24 Dance back and forward: Dance back R, L, R, L; Dance forward R, L, R, L

25-32 Heel touches: Tap right heel forward, return home, tap left heel forward return home, repeat.

Robert Royston’s line dance – 32 count, Song – Let the good times roll.

1-16 Right foot tap step, Left foot tap step

18-24 Right foot side and home, left foot side and home.

25-32 – Left hold, & switch, right hold, 4 quick switches, &5 &6 &7 &8

Electric Slide

Cotton Eyed Joe

Kansas City

Booti Call

Slappin’ Leather

Cha Cha

Tush Push

Got to be funky

My Inspirations, Aspirations, Reflections, and Revelations of Beginning Ballroom Dance after reading Dancin’ David’s “Soulful Sensations”

By Sharon Crofoot

“Music moves us” is so much more than great dancing lore.

It made me laugh, and made me cry,

With your wisdom and wit, I wouldn’t wonder why

I’ve always loved to dance, no matter how so.

Ballroom dance was a wish quite sometime ago.

Then we went to watch Lorrain and Gerry at Temple Beth-el.

I danced with David and was under the spell!

Ballroom dancing I was going to do,

Even though it took a while, the years numbered two

Finally, I put on my dancing shoes.

A wonderful teacher amazing in your shoes

Of course the charm, wit, and good looks are nice too.

Tonight is the night, hurry out the door.

It’s time to learn and dance some more.

Your dancing lessons are so much fun.

Like a bright summer day and shining sun.

Practice those steps when you get home

Keep them in your head, for later when you read your notes,

You’ll wonder what was said?

Just relax and bend your knees

Have your hips follow your wrists if you would please

Now keep your frame, do it right.

Pretend there is a string, pulling your head up tight.

And dance, dance, dance have fun tonight.

And don’t forget a favorite line,

What time is it…it’s DANCIN’ TIME!

In my sleep to hear quick, quick slow and 1,2,3

Must get them installed in my memory.

My confidence soars, can I really do that?

Of course I can, as a matter of fact.

I’m absolutely sure, all the women do say

“Dear God, please send, a zillion David’s here today.”

Than you for the lessons, in dance and in life.

You really are “Saint David” and “King” if you like.

You are an exceptional person with a sensational gift.

You share it with everyone, even these adrift.

So take it from me, with all the sincerity,

The steps and the messages will always be,

There to be remembered by eternity.

The message should go far and wide

About the feelings of the dance that words cannot describe.

Dawn is so incredibly sweet, she shares you with all of us every week

She is an exquisite dancer in her very own right.

And some dance nights we have her wonderful insight.

To watch the two of you dance around the floor.

A vision of love and so much more.

Your dance is a fascinating one, the most beautiful and heartfelt

I’ve ever seen done.

David and Dawn, an enchanting song.

I certainly could go on and on

With a never ending tribute to David and Dawn.

There are some things that never end,

Special people and special friends.

May your dreams and visions all come true.

It’s a happy gift to be “connected”, with both of you.

Thank you,

In love,

Sharon

Soulful Sensation Credits

Thank you to all those who have reviewed and provided excellent feedback and inspiration for this energy flow.

My first inspiration was from an experience I did not want to promote, the life of escaping through alcohol. I see dancing as a new path for escape that can give each person a place of harmony with themselves and their environment. And of course it is constructive, unlike the tradition of habitual alcohol consumption from which I come.

Thank you to Sharon Crofoot for her spirited response to Soulful Sensation.

Thank you to Angela Barone for her wisdom in editing.

Much appreciation for my loving wife Dawn for spurring me to follow my creative energy.