Category: 2012 Dance Travel

Sofia Underground Swing

This photo nicely illustrates this post about the Sofia Swing Dance scene. It exists, it’s been going on for a while, but until you dig, you may not know it exists. While this picture shows Roman ruins, Sofia swing scene has not been happening since the days of yore, but it is slightly underground. Several people were surprised I was teaching in Bulgaria, not knowing there was a swing scene. There is and let me tell you more.

Sofia is a unique city. Everywhere you turn, you’ll see a church, mosque or other religious center. Turn around some more and you’ll find the fifth place of worship, McDonald’s. There are so many McDonald’s here! There’s great Bulgarian food, but that’s another post, another blog.

I met the organizer, Yavor Kunchev, via a Facebook friend request in mid-June, 2012. This may have been spurred from a comment I made on a video posted on a Bulgarian swing dance group wall. Who knows? Facebook and YouTube bring people together in unusual ways. We kept in touch and I landed in Bulgaria for a week in late March.

First things first. Yavor knows how to take care of his instructors. I was set in two nice apartments with a great wireless connection (so important), two grocery stores nearby, and the city center within walking distance. Also, I was introduced to so much Bulgarian food. More and more organizers are realizing that I’m a food tourist. I appreciate this very much.

Along with finding the Sofia swing scene very friendly and helpful, they’re also crazy for swing dancing. The Smugglers Collective swing party was packed Saturday night. This is a very cool underground venue. They have so much happening below the streets here. I don’t know how the dancers stayed up so late. (Aside: Porto, Portugal might have competition. I’ll let the Sofia dancers attending the Porto Swing Jam Exchange decide that). I went home much earlier than the hardcore party people. Aerials were on my mind.

That weekend, I worked with two different follows, Stela for lindy and Valentina for aerials. They were great to easy to work with and dedicated to give me two extra hours of their time for training purposes. I even used Yavor for some in-class demonstrations. As a solo teacher, you must be prepared to lead, follow, and switch at any moment. The solo to partner class kept me really busy. There were definite points where I was footwork confused.

If you’re ever in this part of Europe, take the train or plane to Sofia. The airport is close to the city, the food is great, the city is lovely (free English speaking tour), and the dancers enthusiastic. Check it out.

What Level Am I? – Lindy Focus

During my first week teaching in Madrid, this couple walks into the Intermediate Lindy Hop class and approaches me stating “we’re not sure if we should be here.” I reply that the beginner level is probably too easy for them. Insulted, I hear “we’ve been dancing for 4 years”. They apparently desired entry into our advanced lindy hop class, so I kept my eye on them. They didn’t stand out enough from their peers, so I was content to leave them in intermediate. They never returned.

This past week, from December 26 through January 2, I was at Lindy Focus, the large US NYE lindy hop event. Plans included dancing, dining, hanging out, creating random fun, and volunteering. Since I used Sosh’s level testing application at the Atlanta Varsity Showdown, I was asked to assist the Lindy Focus crew during level testing.

Until you realize you’ll audition approximately 410 people within 3.5 hours, level testing seems easy. My possible duties included being on the audition team or live tracking the audition scoresheets making sure everyone received at least 3 judges votes. Michael, Jaya, and Sosh were intent on make sure the audition process was accurate, judicious, seamless and timely. It helped they provided us drinks and pizza. Through their online registration questionnaire, they were able to segment everyone into 4 tracked groups inside each of the 3 major audition groups and provide the judges with scoring notes for each heat. Michael organized and “unzipped”, Rob dj’ed, Jaya and Sosh monitored, others rotated and numbered everyone, ringers filled in, judges quickly judged using their iPad application.

The audition groups were relatively homogeneous. You danced with people near or at your level. Each group danced to warmup songs and then were judged within their peer group. It made our job easier. In the end, each dancer was scored by 3-7 judges. Averages were taken, badges reprinted.

The next morning, the non-instructor judges and Sosh showed up at 8am to  filter the late arrivals. Having seen the previous night’s 12 groups, we were able to sort everyone relatively quickly in groups of 3-4 couples. If people were unhappy with their placements from either testing session, they were asked to attend that day’s classes and come to the appeals that evening.

This brings me to my other duties, class evaluations. I was asked to attend every class and evaluate the levels, looking for any outliers. I took notes on the different levels, so I would be prepared for that night’s appeals. I was also on call with Sosh in case anyone showed up at registration and needed immediate placement. My notes, ranging from “roughly fluid, still slightly hitchy” to “fluid, body still thinking a bit or holding back”, helped me individually evaluate that day’s 10-15 extra class takers. Thank goodness I can lead or follow on different surfaces. Overall, I was pleased with every class’s participants. Between the online registration process and level testing, the results averaged out quite well.

Even so, you will always have people that think their level is too easy for them, want their significant other with them, or are hopeful they might get into a higher level. Therefore, the appeals process exists with limited spaces, a kind Sosh, and a bad cop Jo. Enter at your own risk, stand out among your other hopeful peers. We evaluated 100+ dancers that night. Less than 10% achieved their goals.

Overall, I thought the Lindy Focus level testing was successful. Each student danced with 5 different people to 5 different songs and were scored by 3-7 different judges. And, as I said before, classes were homogeneous.

My random thoughts:

Swingouts matter. Dance fluidity and body mechanics matter. Momentum matters. If dancing was speaking, aim to “Speak softly and carry a big stick; you will go far”.

The pace the teacher sets influences the students’ self-evaluation. I received the most level questions from high level students in a slow moving class.

Some teachers demand, others coddle, some monotone, others make conversation, some waste time, others drill, some engage, others distract with short shorts. Each teaching couple is different in philosophy, work ethic, and teaching mechanics. Be open minded students and assume they’re talking about you.

If you want personal feedback after level testing, we spent about 5-15 seconds looking at you. I suggest getting a private lesson. They’re worth it.

In the end, it’s not how long you dance that determines your class level. It’s how you dance that determines your level.

Rocking Personal Style – Adventures in Porto

You ready? This is Guedes. Sometimes, like tonight, he goes by his pseudonym DJ Joe. He’s rocking the plaid, a bow tie, and fierce facial hair. The music was in good hands after he took over from Abeth and the Mean Swing Machine, carrying the party until 4am.

I was in Porto, Portugal teaching an aerials workshop with Helena Cardia and coordinating with Lindy Hop Portugal for promotions. The aerials workshop was a great success, bringing 40 dancers from Porto and Lisbon. We taught 7 different aerials in 4.5 hours at an amazing acro gymnastic facility.

During my short stay, I was reminded that I miss Porto’s crazy winding streets, riverfront, towering bridges (abandoned and otherwise), and the dancers.

Two things stood out for me at the Saturday night party. I wrote the following in my Notepad: “have good fashion style, solid dancers”. It’s not that they are wearing fashion labels, fancy footwear, or dressing vintage/retro/classic. It’s that the clothes fit their personal style so well, embodying their characteristics as a person and a dancer. They are put together.

They are also put together dancers. Abeth has done a great job developing Portugal’s scene. And a good portion of Portugal’s dancers have really invested themselves into swing dancing. It shows, especially on the dance floor. Just as you have many fashion flavors, you also have many dance flavors and styles reigning on the dance floor. They have a big small scene.

I had a great time dancing with everyone that night. Eventually, my back started stiffening (4.5 hours teaching plus 3.5 hours training) and I had to rest. Fortunately, Daniel was making a recovery brunch the next afternoon. Always say yes to a Daniel meal. Trust me.

That wraps up Portugal. Hopefully, I’ll return soon for more adventures.

Flow, Parkour, Functional Movement – Thoughts After London

Aerials aren’t easy, but they can be with the right training, introspection, and dedicated practice. What is the relation between aerials and parkour? They both require timing, precision and breathwork (I get caught holding my breath in both). They both utilize powerful movement and synchronization across several muscle groups. Both require you pay attention to your environment, whether it’s a wall, vault, dancers around you, and your partner. Finally, both should be supplemented with extra training aimed towards perfecting your movements.

Recently, I’ve been teaching many aerial workshops, each time with a different partner. This typically involves 2-4 hours training and 4-8 hours teaching each weekend.  I appreciate the women who step up to teach with me, but I miss my Colorado regulars. Training and learning in the ultra-competitive environment of 23 Skidoo created fierce follows. Talk about timing, technique, and teamwork.

The elements needed to achieve an ideal lindy flip (or other aerials) are similar to DemonDrill‘s climb up progressions 1-4. Depending on the aerial, oftentimes students learn the struggle up version, the Level 1. You know where to place your feet and hands, but not all the elements work together fluidly. You push or jump with isolated parts. Level 2 is a great achievement, it’s smoother yet still choppy, the wasted movement needing further elimination. Level 3 is when the dancers subconsciously work together to achieve a smooth flow, an airstep. Muscle groups are working together, you understand how to drive through your legs, lift your vertical center, link your legs, chest, and arms in a powerful movement. Level 4, well, that’s when you wear a bad ass smile afterward.

I’m happy more and more dancers are learning aerials. They are relatively accessible to the masses under the right circumstances and environment. If you want to get better, here are a few suggestions:

  1. Practice aerials once a week. Do 5-10 repetitions of each aerial
  2. Practice jumping and landing. This can be broadjumps, tuck jumps, hopping up or down stairs, skip jumps, jumping on park benches.
  3. Practice climb ups, deadlifts, squats or any multi-dimensional exercise.
  4. Improve your mobility.

If I had my way, every aerial student would learn basic parkour skills. Since I want you to learn aerials, the parkour training must occur in the dynamic warmup. While you’re training, use power only when you need it. Too many aerialists exert too much effort on the down motion. This prevents a good elastic jump. Other aerialists try using their arm too soon. This means girls get really heavy early or guys aren’t using their legs. Conserve your energy and practice good form. In the meantime, I have another aerial workshop to plan. Porto is next!

Game Management – Aerials in Barcelona

Coaching aerial workshops is much like refereeing fútbol or soccer, for my American friends. You must be constantly aware of the players, the flow, anticipate their movements, and pay attention to your crew, your fellow teacher(s). After the parkour influenced warmup, the class begins with the rules. Think of it as the captain conference in the middle of the field, except everyone is responsible for themself and their classmates. 1. The flier’s safety comes first. 2. Communication is important. Don’t get ahead of the teachers. Make sure you, the flier, and your spotters agree to what you will do next whether prepping or “going over. Fliers can say “no”.

Then the teaching begins. We start with basing technique, trust exercises, jumping and landing technique. Once the aerials begin, we start off small, moving as slow or fast as we need, giving everyone time for repetitive movements, giving the couples lots of personal attention. Gradually, as aerials get more complex, we use spotters for the up preps and going overs. Oftentimes, we used Pol of Spank the Baby. Otherwise, we used volunteer couples to spot us or we spotted them. It’s a hands-on experience.

From there, you need to trust the students to take care of each other. Hopefully, they’ve paid attention to your techniques, instruction, and visual examples. Then it’s a matter of scanning the room, anticipating who needs special attention, and listening for questions. Sometimes I’ll see an error, but I see the students making an analysis of it or self-correcting. Play on. Other times, class must be stopped, advice handed out through generalities or gently pointing out corrections to specific partnerships that apply to others. I want you to learn and be successful, but most importantly, I want the students to achieve these aerials safely.

Aerials are fun and accessible. Aerial workshops are great because they have a way of making the hard seem easier. Aerials are rarely easy, but through the right training, outside support (exercise, fitness training), attention to detail, you can make them more effortless looking. It’s a different level of teamwork and partnership.

 Special thanks to Daniela de Zabaleta and Pol Prats Ferrer of Spank the Baby for having me teach at their studio, Sara Planas for teaching with me, and 23 Skidoo for helping me develop as an aerialist specialist.