troy lerum and whitney irene tear up the ... - sheer dancesheerdance.com/issues/2015-09-01.pdfsep...
TRANSCRIPT
Troy Lerum and Whitney Irene tear up the floor
at the Twin Cities Open. See more from TCO inside!
Photo by CJ Hurst.
2 • • 1 Sep 2015 SHeeRDANCe.COM[Get DANCiNG]
September 9 • Wednesday WCS Dance Party - Dancers Studio; 415
Pascal St N, St. Paul; 8 p.m.; $5Practice Party - Cinema Ballroom; 1560 St.
Clair Ave, St. Paul; 8 - 9 p.m.; $6Swing Night - Lee’s Liquor Lounge; 101
Glenwood Ave, Mpls; 8:00 lesson, live music 9 - 11:30 p.m.
September 10 • Thursday Late Night Swing - 301 Main St NE, Mpls; 10
p.m. - 1:30 a.m.; $6, $4 studentsVariety Dance - Dancers Studio; 415 Pascal St
N, St. Paul; 7:30 p.m.; $5Bachata Social - DanceLife; 6015 Lyndale Ave
S, Mpls; 9 - 10 p.m.; $5Blues Practice - Four Seasons; 1637 Hennepin
Ave S, Mpls; 10 - 11 p.m.; $3
September 11 • Friday Variety Dance - DanceLife; 6015 Lyndale Ave
S, Mpls; 8 - 9:30 p.m.; $10WCS Dance Club - 2100 Dale St N, Roseville;
7:30 lesson, dance 8:30 p.m. - 12 a.m.Milonga Flor de Luna - Four Seasons;
1637 Hennepin Ave S, Mpls; 9:30 p.m.; $7, $4 students
September 12 • Saturday Tango Practice Party - DanceLife; 6015
Lyndale Ave S, Mpls; 11 a.m. - 1 p.m.; $5Milonga - Costa Rica Ballroom; 816
Mainstreet, Hopkins; 8:30 lesson, dance 9:30 p.m. - 1 a.m.; $14, $7 students
September 13 • Sunday UTango Open Practica - 1219 University Ave
SE, Mpls; 6 - 7 p.m.; $3Rogue Tango - Loring Pasta Bar; 327 14th Ave
SE, Mpls; 6 - 10 p.m.Patty & The Buttons Live Jazz - 125 Main St
SE, Mpls; 11 a.m. - 2 p.m.; freeO’Hagan Orchestra Variety Dance - Cinema
Ballroom; 1560 St. Clair Ave, St. Paul; 6:15 lesson, dance 7 - 10 p.m.
September 14 • Monday Tango Desperados Practica - 2507 E 25th St,
Mpls; 7:30 - 9:30 p.m.; $5Rhythm Junction Lindy Hop - Four Seasons;
1637 Hennepin Ave, Mpls; 8 - 11 p.m.Salsa Social - DanceLife; 6015 Lyndale Ave S,
Mpls; 9:30 – 11 p.m.; $5
September 15 • Tuesday WCS Social - DanceLife; 6015 Lyndale Ave S,
Mpls; 9 – 11 p.m.; $5Tango Party - 3142 1st Ave S, Mpls; 9 - 11:30
p.m.; $5; 21+
September 16 • Wednesday WCS Dance Party - Dancers Studio; 415
Pascal St N, St. Paul; 8 p.m.; $5Practice Party - Cinema Ballroom; 1560 St.
Clair Ave, St. Paul; 8 - 9 p.m.; $6Swing Night - Lee’s Liquor Lounge; 101
Glenwood Ave, Mpls; 8:00 lesson, live music 9 - 11:30 p.m.
September 17 • Thursday Late Night Swing - 301 Main St NE, Mpls; 10
p.m. - 1:30 a.m.; $6, $4 studentsVariety Dance - Dancers Studio; 415 Pascal St
N, St. Paul; 7:30 p.m.; $5Bachata Social - DanceLife; 6015 Lyndale Ave
S, Mpls; 9 - 10 p.m.; $5Blues Practice - Four Seasons; 1637 Hennepin
Ave S, Mpls; 10 - 11 p.m.; $3
September 18 • Friday Variety Dance - DanceLife; 6015 Lyndale Ave
S, Mpls; 8 - 9:30 p.m.; $10Variety Dance - Cinema Ballroom; 1560 St.
Clair Ave, St. Paul; 7:00 lesson, dance 8 - 11 p.m.; $10
September 19 • Saturday Tango Practice Party - DanceLife; 6015
Lyndale Ave S, Mpls; 11 a.m. - 1 p.m.; $5Variety Dance - Phipps Art Center; 109
Locust St, Hudson, WI; 7:00 lesson, dance 8 - 10 p.m.; $12
September 20 • Sunday UTango Open Practica - 1219 University Ave
SE, Mpls; 6 - 7 p.m.; $3Rogue Tango - Loring Pasta Bar; 327 14th Ave
SE, Mpls; 6 - 10 p.m.Patty & The Buttons Live Jazz - 125 Main St
SE, Mpls; 11 a.m. - 2 p.m.; freeTC Rebels WCS Social - DanceLife; 6015
Lyndale Ave S, Mpls; 7 - 10:30 p.m.; $11, $7 students
Ballroom Dance Party - Tapestry; 3748 Minnehaha Ave, Mpls; 6:00 lesson, dance 7 - 9:30 p.m.; $10, $7 students
September 21 • Monday Tango Desperados Practica - 2507 E 25th St,
Mpls; 7:30 - 9:30 p.m.; $5Rhythm Junction Lindy Hop - Four Seasons;
1637 Hennepin Ave, Mpls; 8 - 11 p.m.Salsa Social - DanceLife; 6015 Lyndale Ave S,
Mpls; 9:30 – 11 p.m.; $5
September 22 • Tuesday WCS Social - DanceLife; 6015 Lyndale Ave S,
Mpls; 9 – 11 p.m.; $5Tango Party - 3142 1st Ave S, Mpls; 9 - 11:30
p.m.; $5; 21+
September 23 • Wednesday WCS Dance Party - Dancers Studio; 415
Pascal St N, St. Paul; 8 p.m.; $5Practice Party - Cinema Ballroom; 1560 St.
Clair Ave, St. Paul; 8 - 9 p.m.; $6Swing Night - Lee’s Liquor Lounge; 101
Glenwood Ave, Mpls; 8:00 lesson, live music 9 - 11:30 p.m.
September 24 • Thursday Late Night Swing - 301 Main St NE, Mpls; 10
p.m. - 1:30 a.m.; $6, $4 studentsVariety Dance - Dancers Studio; 415 Pascal St
N, St. Paul; 7:30 p.m.; $5Bachata Social - DanceLife; 6015 Lyndale Ave
S, Mpls; 9 - 10 p.m.; $5
September 1 • Tuesday WCS Social - DanceLife; 6015 Lyndale Ave S,
Mpls; 9 – 11 p.m.; $5Tango Party - 3142 1st Ave S, Mpls; 9 - 11:30
p.m.; $5; 21+
September 2 • Wednesday WCS Dance Party - Dancers Studio; 415
Pascal St N, St. Paul; 8 p.m.; $5Practice Party - Cinema Ballroom; 1560 St.
Clair Ave, St. Paul; 8 - 9 p.m.; $6Swing Night - Lee’s Liquor Lounge; 101
Glenwood Ave, Mpls; 8:00 lesson, live music 9 - 11:30 p.m.
Milonga - Krungthep Thai Cuisine; 2523 Nicollet Ave S, Mpls; $5, free for students
September 3 • Thursday Late Night Swing - 301 Main St NE, Mpls; 10
p.m. - 1:30 a.m.; $6, $4 studentsVariety Dance - Dancers Studio; 415 Pascal St
N, St. Paul; 7:30 p.m.; $5Bachata Social - DanceLife; 6015 Lyndale Ave
S, Mpls; 9 - 10 p.m.; $5Blues Practice - Four Seasons; 1637 Hennepin
Ave S, Mpls; 10 - 11 p.m.; $3
September 4 • Friday Variety Dance - DanceLife; 6015 Lyndale Ave
S, Mpls; 8 - 9:30 p.m.; $10Variety Dance - Cinema Ballroom; 1560 St.
Clair Ave, St. Paul; 7:00 lesson, dance 8 - 11 p.m.; $10
Variety Dance - Stark’s; 3125 Dodd Rd, Eagan; 7:30 tango lesson, dance 8 p.m. - 12 a.m.; $5
September 5 • Saturday Milonga en el Alma - Four Seasons; 1637
Hennepin Ave S, Mpls; 9 p.m. - 1 a.m.; $10, $5 students
Variety Dance - DanceLife; 6015 Lyndale Ave S, Mpls; 7:00 lesson, dance 8 - 10 p.m.; $10
Swing Dance - 301 Main St NE, Mpls; 7:30 p.m. - 12:30 a.m.
Tango Practice Party - DanceLife; 6015 Lyndale Ave S, Mpls; 11 a.m. - 1 p.m.; $5
September 6 • Sunday UTango Open Practica - 1219 University Ave
SE, Mpls; 6 - 7 p.m.; $3Rogue Tango - Loring Pasta Bar; 327 14th Ave
SE, Mpls; 6 - 10 p.m.Patty & The Buttons Live Jazz - 125 Main St
SE, Mpls; 11 a.m. - 2 p.m.; freeTC Rebels WCS Social - DanceLife; 6015
Lyndale Ave S, Mpls; 7 - 10:30 p.m.; $11, $7 students
Ballroom Dance Party - Tapestry; 3748 Minnehaha Ave, Mpls; 6:00 lesson, dance 7 - 9:30 p.m.; $10, $7 students
September 7 • Monday Tango Desperados Practica - 2507 E 25th St,
Mpls; 7:30 - 9:30 p.m.; $5Rhythm Junction Lindy Hop - Four Seasons;
1637 Hennepin Ave, Mpls; 8 - 11 p.m.Salsa Social - DanceLife; 6015 Lyndale Ave S,
Mpls; 9:30 – 11 p.m.; $5
September 8 • Tuesday WCS Social - DanceLife; 6015 Lyndale Ave S,
Mpls; 9 – 11 p.m.; $5Tango Party - 3142 1st Ave S, Mpls; 9 - 11:30
p.m.; $5; 21+
twin Cities Dance events
SHeeRDANCe.COM 1 Sep 2015 • • 3[Get DANCiNG]
Blues Practice - Four Seasons; 1637 Hennepin Ave S, Mpls; 10 - 11 p.m.; $3
September 25 • Friday Variety Dance - DanceLife; 6015 Lyndale Ave
S, Mpls; 8 - 9:30 p.m.; $10WCS Dance Club - 2100 Dale St N, Roseville;
7:30 lesson, dance 8:30 p.m. - 12 a.m.Salsa Fusion - Cinema Ballroom; 1560 St.
Clair Ave, St. Paul; 7:00 lesson, dance 8 - 11 p.m.
Mala Yunta Milonga - Four Seasons; 1637 Hennepin Ave S, Mpls; 9:30 p.m. - 1 a.m.; $10, $5 students
September 26 • Saturday Tango Practice Party - DanceLife; 6015
Lyndale Ave S, Mpls; 11 a.m. - 1 p.m.; $5Cafe Bailar - Costa Rica Ballroom; 816
Mainstreet, Hopkins; 7:30 lesson, dance 8:30 - 11:30 p.m.; $10
Milonga: Tango Fusion - DanceLife; 6015 Lyndale Ave S, Mpls; 9 p.m. - 1 a.m.; $10, $5 students
Shannon & Bill’s Sock Hop - 101 Glenwood Ave, Mpls; 8:30 lesson, live music 9:30 p.m. - 1 a.m.; $7, 21+
September 27 • Sunday UTango Open Practica - 1219 University Ave
SE, Mpls; 6 - 7 p.m.; $3Rogue Tango - Loring Pasta Bar; 327 14th Ave
SE, Mpls; 6 - 10 p.m.Patty & The Buttons Live Jazz - 125 Main St
SE, Mpls; 11 a.m. - 2 p.m.; freeO’Hagan Orchestra Variety Dance - Cinema
Ballroom; 1560 St. Clair Ave, St. Paul; 6:15 lesson, dance 7 - 10 p.m.
September 28 • Monday Tango Desperados Practica - 2507 E 25th St,
Mpls; 7:30 - 9:30 p.m.; $5Rhythm Junction Lindy Hop - Four Seasons;
1637 Hennepin Ave, Mpls; 8 - 11 p.m.Salsa Social - DanceLife; 6015 Lyndale Ave S,
Mpls; 9:30 – 11 p.m.; $5
September 29 • Tuesday WCS Social - DanceLife; 6015 Lyndale Ave S,
Mpls; 9 – 11 p.m.; $5Tango Party - 3142 1st Ave S, Mpls; 9 - 11:30
p.m.; $5; 21+
September 30 • Wednesday WCS Dance Party - Dancers Studio; 415
Pascal St N, St. Paul; 8 p.m.; $5Practice Party - Cinema Ballroom; 1560 St.
Clair Ave, St. Paul; 8 - 9 p.m.; $6Swing Night - Lee’s Liquor Lounge; 101
Glenwood Ave, Mpls; 8:00 lesson, live music 9 - 11:30 p.m.
StudiosAmerican Classic Ballroom 952.934.0900
550 Market Street, Chanhassenwww.acballroom.com
Balance Pointe Studios 952.922.86125808R W 36th Street, St. Louis Parkwww.balancepointestudios.com
Ballroom & Latin Dance Club 952.292.0524
1103 W Burnsville Pkwy, Burnsvillewww.ballroom-club.com
Ballroom & Wedding Dance Studio 612.371.0300
2717 42nd Street E, Minneapoliswww.myballroomdancestudio.com
Blue Moon Ballroom 507.288.0556 2030 Highway 14 E, Rochesterwww.BlueMoonBallroom.com
Cinema Ballroom 651.699.5910 1560 St. Clair Ave, St. Paulwww.cinemaballroom.com
Costa Rica Ballroom Dance Studios 952.303.3339
816 Mainstreet, Hopkinswww.costaricaballroom.com
Dahl Dance Center 507.252.1848 4204 North Highway 52, Rochesterwww.dahldance.com
Dance and Entertainment 651.605.5784www.danceandentertainment.com
Dance with Us America 612.564.5483 10 Southdale Center, Edinawww.dancewithusamerica.com
DanceLife Ballroom 612.345.42196015 Lyndale Ave S, Minneapoliswww.dancelifeballroom.com
Dancers Studio 651.641.0777 415 Pascal Street N, St. Paulwww.dancersstudio.com
Four Seasons Dance Studio 612.342.0902 1637 Hennepin Ave S, Minneapoliswww.fourseasonsdance.com
Latin Mambo 612.558.7190 2948 Chicago Ave S #308, Mplswww.latinmambodancestudio.com
Mill City Ballroom 612.562.2733 www.millcityballroom.com
Rendezvous Dance Studio 612.872.1562 711 W Lake Street, Suite B, Minneapoliswww.theplacetodance.com
StudioJeff 320.266.4137 701 St. Germain Street W, Suite 201,
St. Cloudwww.studiojeff.com
instructorsScott Anderson 612.816.4446
Nathan Daniels 763.464.1021Jennelle Donnay 651.357.2060Julie Delene 612.598.5355
Donna Edelstein [email protected]
Jennifer & Robert Foster 952.239.2984Shane Haggerty 612.702.3588
Lindsey Rebecca Hall 612.940.9546Julie Jacobson 651.261.6442Jay Larson 651.387.3886Kristina Lee 715.821.9039Deanne Michael 612.508.9255Monica Mohn 612.874.0747
Mariusz Olszewski [email protected]
Karin Rice 612.242.2188Lisa Vogel 651.208.0818
ClubsAqua Gliders Dance Club 612.869.3062Café Bailar
www.cafebailar.comCotillion Dance Club of Stillwater 651.388.1231
[email protected] Dance Club 651.439.3152
facebook.com/LaDanzaDanceClubLakeside Dance Club 320.763.6432
Linden Hills Dancing Club 651.636.9747www.lindenhillsdancingclub.org
MN West Coast Swing Dance Club 763.442.1618
mnwestcoastswingdanceclub.comREBELS Swing Dance Club 952.941.0906
www.tcrebels.comStardust Dance Club
[email protected] Dance Club 952.894.1412
www.suburbanwinterset.comTango Society of Minnesota 612.224.2905
www.mntango.orgTapestry Folkdance Center 612.722.2914
www.tapestryfolkdance.orgTC Swing 651.558.0562
University of Minnesota Ballroom Dance Club
Uptown Swing [email protected]
twin Cities Dance Contacts
4 • • 1 Sep 2015 SHeeRDANCe.COM
SponsorU Partner Dance, Inc. and:
AdvertisersBallroom Blast, Chicago Harvest Moon Ball Dancesport Championship,
Dance Fest, Rapit Printing
photographersAmy and Scott Anderson, Erik Anderson, CJ Hurst, Karin Lynn Photography
WritersHannah Alyea, Joseph Carey, Kyle Condiff, Elizabeth Dickinson, Alexzandra
Enger, Julie Johnston, Christine Trask, Yvonne Viehman, Chelsea Visser, Bryan Waznik, Nicholas Westlake, Seth Westlake
Brought to You By
in this issue
[Get Dancing]Twin Cities Dance Events 2
Twin Cities Dance Contacts 3
2015 Competitions 5
2016 Competitions 5
[participate]Volunteer Openings 6
About Us 6
Contribute 7
[Special Features]Standing Room Only 10
The American Style Congress 12
Enjoy the Mix 14
[Recurring Columns]Gaining Perspective 16
Life Through Dance 19
Results from Around the Country 20
Volunteer Report 24
[From the Community]The Love of Dance: Part One 26
Dahl Dance Center Turns Ten 28
Mastering the Inner Game 30
Falling into Dance 31
Show Off Your Moves 32
The Mystery of Dance 34
Meet the University of MN Ballroom Dance Club
Officers! 36
Better Management in Ballroom 38
Photo from the Twin Cities Open by Karin Lynn Photography
SHeeRDANCe.COM 1 Sep 2015 • • 5
DiscussionThis is a forum where people
are invited to express their true
feelings about issues in the dance
community (while still adhering
to our submission guidelines) and
propose solutions to the prob-
lems we often face. Statements
made in the Discussion section
do not necessarily reflect the
views of Sheer Dance, even when
written by one of our volunteer
staff.
From the CommunityUnlike the other sections,
there is no cohesive theme to
From the Community; it is a
catch-all for the unique gems that
are submitted by people like you.
Here you’ll find contributions
like event recaps, interviews,
tales from a far-off competition,
and photos from a local dance
event.
Recurring ColumnsWe have a handful of generous
writers who contribute regularly.
Each explores a unique, overar-
ching theme of their choice. Each
month, in a volunteer report, one
of our volunteers fills you in on
what they’ve been doing to make
the dance community a better
place.
Special FeaturesSome issues focus on a particu-
lar event or theme, and all content
relevant to that theme belongs to
the Special Features section. E
Events labeled NQE are qualifying events for the USA
Dance National DanceSport Championships.
New England DanceSport Championships - NQE September 25 - 27Waltham, MA; nedancesport.org
Carolina Fall Classic - NQE October 2 - 4Charlotte, NC; carolinafallclassic.com
Chicago DanceSport Challenge - NQE October 30 - November 1Chicago, IL; usadancechicago.org
California State DanceSport Championships NQE November 7San Jose, CA; usadance-norcal.org
National Collegiate DanceSport Championships November 21 - 22Columbus, OH; usadancencc.org
Snow Ball January 8 - 10Minneapolis, MN; thesnowballcomp.com
Manhattan Amateur Classic - NQE January 15 - 17New York, NY; macnyusadance.org
PDX Ballroom Classic - NQE January 30Portland, OR; nwballroomcompetition.org
Mid-Atlantic Championship - NQE February 20 - 21Bethesda, MD; usadancedc.org
Dance Fest March 5 - 6St. Paul, MN; udancefest.com
2016 National DanceSport Championships April 1 - 3Baltimore, MD; usadancenationals.org
Derby City DanceSport Championships - NQE August 5 - 7Louisville, KY; derbycitydancesport.org
Chicago DanceSport Challenge - NQE October 28 - 30Chicago, IL; usadancechicago.org
Sections 2015 Competitions
2016 Competitions
6 • • 1 Sep 2015 SHeeRDANCe.COM[pARtiCipAte]
About Us
Sheer Dance is an independent
publication that presents news
and information relevant to the
partner-dancing community in the
central United States and the nation
at large. It is intended to be an
accessible outlet for members of the
community to discuss their experi-
ences and opinions in a public forum.
Published monthly, Sheer Dance is run
by a group of skilled volunteers with
extensive experience in creating and
distributing successful partner-dance
publications.
This magazine is meant to serve
the community as a positive and uni-
fying force by addressing the needs
and desires of all groups within the
community. Sheer Dance:
• Provides amateurs with a conve-
nient way to share their dance
experiences, seek advice from
experts, and learn about events,
services, and other opportunities
in the wider ballroom community;
• Provides professionals with direct
access to their target audience,
spreading awareness of their
expertise, events, and services; and
• Provides the entire community
with a forum for discussion, coop-
eration, and problem-solving.
Sheer Dance is made possible by the
generous contributions of members
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ing this publication, please consider
contributing an article or photos,
making a donation, subscribing, or
volunteering your time and skills.
The staff of Sheer Dance can be
reached at [email protected]. We
hope to hear from you! E
Volunteer Openings
Assignment photographerIf you love taking photos and exploring the
partner-dancing world, throw in your hat to
become an official Sheer Dance photographer!
This volunteer will be provided topics and
events to cover with action-packed shots.
Assignment WriterLove writing but never sure what to write
about? We supply the topics every month; you
supply the articles. Excited, passionate writers
with a thirst for exploration are encouraged to
consider volunteering for this position.
ColumnistWe’re always looking for more people to
commit to writing an article every month that
addresses a particular idea or theme relevant
to partner dancing. You choose the topic!
Copy editorWe’re looking for a highly skilled linguist
with an intimate understanding of American
English spelling, punctuation, and grammar
to do the first pass of line editing on all arti-
cles. This is a very involved role that provides
excellent experience for anyone considering a
career in publishing.
Your Contribution HereHave an idea of how you could add value
to Sheer Dance that we haven’t thought of ?
Let us know! E
SHeeRDANCe.COM 1 Sep 2015 • • 7[pARtiCipAte]
Contribute
Submission GuidelinesSubmissions are due to
[email protected] by the 10th of the
month prior to publication. Submissions received
after the deadline may be used in the upcoming issue
or may be saved for a later month. You may request a
two-day extension if you include information regard-
ing your topic.
Content is published at the discretion of Sheer
Dance based on the policies outlined below. It is our
goal to publish all of the content submitted to us in
the issue for which it was submitted. Any rejected
advertisement or article will come with communica-
tion on how it could be edited to be appropriate for
publication, with a deadline extension when possible
to allow time to effect the necessary alterations.
AdvertisementsWe print at 300 dpi and accept PDF, PNG, and JPEG
file types. When buying a larger advertising pack-
age, you may swap in a different ad for each month
at no additional fee. Contact [email protected]
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Price Per Ad Price for 12 Consecutive Months
Full Page 7.5” x 10” $120 $1200
Half Page 7.5” x 4.75” $75 $750
Quarter Page 3.5” x 4.75” $50 $500
Business Card 3.5” x 2” $15 $150
photosWhen selecting photos to include in the magazine,
we try to feature different dancers in each picture,
when possible. We look for photos with good lighting,
a clear focus, and smiling dancers who are actively
dancing.
ArticlesAll articles must be clearly relevant to partner
dancing. There are no length requirements or limits,
but Sheer Dance may break up longer articles across
multiple issues when appropriate. While articles
may promote specific events, that cannot be their
primary function; they must have a broader applica-
bility to enlightening the dance community. Articles
must be respectful and productive. Harassment of
any kind will not be published.
Refuting the Central Point
Refutation
Counterargument
Contradiction
Responding to Tone
Ad Hominem
Name-calling
Explicitly refutes the central point
Finds the mistake and explains why it’s
mistaken using quotes
Contradicts and then backs it up with
reasoning and/or supporting evidence
States the opposing case with little or
no supporting evidence
Criticizes the tone of the writing
without addressing the substance of
the argument
Attacks the characteristics or authority
of the writer without addressing the
substance of the argument
Discourse like “The writer is
an imbecile”
editing policyContent submitted to Sheer Dance will be edited
for spelling, grammar, sentence structure, style, and
appropriateness of content.
Any kind of bigotry, inappropriate religious or
political statements, name-calling, verifiably untrue
statements, unreasonable and unverifiable claims,
and unpaid content that only serves to advertise
goods or services are all subject to removal. Content
that serves no appropriate purpose will not be
published.
If you are dissatisfied with any edits made by
Sheer Dance, you are welcome and encouraged to
compose a Letter to the Editor, which, so long as it
meets the submission guidelines, will be posted in
the Discussion section of the subsequent issue with
a response from Sheer Dance. Sheer Dance retains the
right to discontinue public editorial discussions
when they no longer add value for the dance com-
munity at large, though private exchanges may
still be relevant. E
8 • • 1 Sep 2015 SHeeRDANCe.COM[VOlUNteeR teAM]
Mary Beth BeckmanEXECUTIVE EDITOR
Mary Beth Beckman is the fearless leader of the Sheer Dance team, guiding the
vision and scope of the magazine as well as editing the content to ensure its
consistency with Sheer Dance’s official style. She has been volunteering in the
partner-dancing community for over five years and prides herself on being an
excellent communicator and organizer of tiny scraps of data. Mary Beth can
typically be found drinking buckets of coffee, engaging in fandom, improving her
physical fitness, or watching sci-fi. She welcomes your questions and feedback at
patrick SeverinEVENTS EDITOR
Patrick Severin tried ballroom once, and it quickly became their favorite hobby.
As Events Editor, they ensure dancers in the Twin Cities can always make it out
to a social dance, because nothing makes Patrick smile like a floor full of happy
dancers. When the dancing shoes are off, Patrick is developing software for hospi-
tals and nonprofits, paddling a kayak in Lake Monona, commuting by bicycle, or
hammering out letters on their Remington typewriter. They do freelance software
consulting and enjoy philosophical chats; if either of those things interest you, feel
free to email them at [email protected].
Chelsea VisserPROOF EDITOR
Chelsea Visser is an English and journalism student at the University of Minnesota
and enjoys competing with the ballroom dance team as well as dancing socially
around the Twin Cities. As Sheer Dance’s Proof Editor, Chelsea reads each issue
cover to cover to ensure all the finer details are exactly as they should be. Questions,
comments, and concerns can be sent to [email protected].
Alexzandra engerACQUISITIONS EDITOR
Alexzandra Enger is treasurer of the University of Minnesota Ballroom Dance Club
and a member of the competition team. When she’s not busy dancing, volunteer-
ing, or studying, Alex will likely be found—coffee in hand—spending time with
her friends, conquering video games, discovering new music, and whipping up
delicious meals and desserts. She wants to travel the world, dance as often as she
can, and be happy. As Acquisitions Editor of Sheer Dance, Alex is responsible for
gathering all content for the magazine. If you’ve got articles or photos to share,
send them to Alexzandra at [email protected].
SHeeRDANCe.COM 1 Sep 2015 • • 9[VOlUNteeR teAM]
Nicholas WestlakeCREATIVE DIRECTOR
Nicholas Westlake crafts the look and feel of Sheer Dance. He oversees our design
and publishing teams, building impactful visuals while ensuring each aspect
of the publication complements the image and style you know and love. In the
wild, he’s also a passionate ballroom competitor, an avid dance instructor, and a
no-nonsense system designer.
Julie JohnstonDESIGNER
Julie Johnston is, by day, a senior digital production specialist in the field of edu-
cational ebooks for iPads, etc. She has spent her entire career in print publications
from catalogs to textbooks and is responsible for the layout of Sheer Dance. Julie
has participated in Israeli dance and is in the beginning stages of learning the joys
of partner dancing.
Hannah AlyeaADVERTISING EDITOR
Hannah Alyea is rarely seen without a smile on her face and loves to spread the
good news of ballroom dance. Originally from South Dakota, she has recently
become the vice president of the University of Minnesota Ballroom Dance Club
and is a member of the competitive ballroom team. Her favorite styles of dance
are American rhythm and smooth and international standard. As Advertising
Editor, Hannah is responsible for ensuring that Sheer Dance readers can connect
with the vendors, products, and events of interest to them. If you’re interested in
advertising with Sheer Dance, email Hannah at [email protected].
theresa KimlerSUBSCRIPTION & MAILING COORDINATOR
Theresa Kimler has been an active member of the dance community for over twenty
years. A seven-time USA Dance open smooth champion, nine-time rhythm cham-
pion, and four-time nine-dance champion, Theresa is an undisputed, long-standing
champion of dance. Mechanical engineer by education, black-belt project manager,
owner of Total Project Consulting, and lover of quadrupeds, Theresa graciously
lends her expertise to Sheer Dance for the betterment of the dance community as
our Subscription & Mailing Coordinator. Subscribe today to receive a gorgeous
magazine in your mailbox every month, courtesy of Theresa’s work.
10 • • 1 Sep 2015 SHeeRDANCe.COM[SpeCiAl FeAtUReS]
Standing Room OnlyAn evening on the Sidelines of the twin Cities OpenBY ALEXZANDRA ENGER
AS A COMPETITIVE AMATEUR and
collegiate dancer, I’m almost always
behind closed doors—or more accu-
rately, doors that are constantly swing-
ing wide open to grant passage to cos-
tumed ballroom dancers on their way
to the warm-up room or on-deck area.
My usual haunts at a competition are
the dressing room and the dance floor.
Only after I’d finished competing would
I, with full hair and makeup still intact,
venture out to see bejeweled costumes
(the same ones I’d seen up close and
personal only moments before in the
dressing room) twirl and fly gracefully
across hardwood floors.
My experience at the Twin Cities
Open, however, was very different.
Beautiful dress, check. Sparkling jew-
elry, check. Makeup applied? Sporting a
hairdo that took at least an hour to per-
fect? Check and check. As a ballroom
dancer, I’d assume someone fitting
this description would be preparing
to perform. My dress, though, wasn’t
bejeweled or made of deceptively
stretchy fabric. My adornments were
not necessarily designed to be seen
across a floor, nor were they in my hair.
I wasn’t wearing false eyelashes, and
my hair flowed down my back in curls.
This time, I had dressed up to spend
my evening admiring and enjoying the
dancing of others.
We arrived in downtown
Minneapolis at the Hyatt Regency
Photos from the Twin Cities Open by Karin Lynn Photography
SHeeRDANCe.COM 1 Sep 2015 • • 11[SpeCiAl FeAtUReS]
Hotel on Saturday evening shortly
before the professionals were sched-
uled to take the floor to compete.
When I first entered the lobby of the
ballroom, all my senses were imme-
diately assaulted. Tango music drifted
in from the warm-up room. The scent
of coffee wafted through the room as
Starbucks-bearing dancers strode past,
their elaborately stoned dresses send-
ing twinkles of light in all directions.
As my party and I made our way to
the check-in table, we walked past the
Doré display. My eyes couldn’t help
being drawn to the endless racks and
mannequins dressed better than I was.
“One day...” I thought, picturing in my
mind floats swirling around a tail-suit-
clad partner.
After getting our tickets, we made
our way into the ballroom, which was
packed to the ceiling with dancers and
spectators alike. As every possible seat
was filled with an eager dance enthusi-
ast, we resigned ourselves to standing
along the sidelines. As anyone who has
ever worn non-ballroom high heels
knows, your feet can only take so much
before the urge to find a seat becomes
overwhelming. However, despite
nearly all of the women in attendance
wearing some kind of height-enhanc-
ing shoe, not a single one had endeav-
ored to find a place to rest for even a
moment. I was in that same club. In
awe of the sight before our eyes, that
familiar dull ache resigned itself to the
backs of our minds.
As the current top three rhythm
couples were in attendance, expec-
tations for the evening had been set
high before we’d even walked through
the doors. We quickly realized that we
would not be disappointed. Rhinestones
flashed, fringe snapped, and wrists
flicked. This was a world-class perfor-
mance before our eyes. No less enter-
taining were the smooth, standard,
and Latin performances. Comparing
the Latin dances to the rhythm dances
became a special sort of game for me,
as I currently dance all the styles except
for Latin. Having such perfect demon-
strations of the finest dancing in each
style certainly made it an easier task
to appreciate each dance in each style
for what they were at the core. I found
the standard show to be a particularly
special treat, in part because of the
flawless foxtrots, intense tangos, and
bright quicksteps. I’ve got a soft spot
for beautiful standard gowns, so I have
to admit that I found the aesthetics of
the standard portion of the evening
immensely appealing as well.
Eventually the evening wound down
to a close. Awards were distributed, a
beautiful tribute to the competition’s
twenty-fifth anniversary this year was
presented, and dancers made their
way off the hardwood floors and back
into the dressing rooms. Spectators
mingled and slowly drifted out of the
ballroom, out of the lobby, and down
into the bright streets of Minneapolis
to venture off.
My party and I made our way back
home with the skyline of downtown
Minneapolis falling behind us and
the energy of the Twin Cities Open
still around us. E
12 • • 1 Sep 2015 SHeeRDANCe.COM[SpeCiAl FeAtUReS]
the American Style CongressSix lectures from Ballroom Dance SuperstarsBY ALEXZANDRA ENGER
THIS SUMMER I HAD THE GREAT for-
tune and immense pleasure of attend-
ing the American Style Congress,
which came to Minneapolis along with
the Twin Cities Open. I’d never been to
the American Style Congress before,
so I had no personal experience off of
which I could base my expectations.
I’d never attended a ballroom dance
lecture before, either; all of my instruc-
tion had come from in-person group
or private lessons. I’d heard about the
Congress before, of course, as several of
my fellow dancers from the University
of Minnesota attended in years pre-
vious, so I’d heard a few stories about
what to expect.
“You probably won’t do any actual
dancing,” one said, “It’s basically a
lecture on ballroom dance. Sometimes
they have demos, but that’s about as
interactive as you’ll get.” I’d sat through
countless hours of college lectures, so
I figured this wouldn’t really be much
different.
“Take lots of notes; they fire infor-
mation out at you pretty quickly.”
Again, sounds a little bit like a college
lecture but way more fun because it’s
about ballroom.
“Watch out for Sam Sodano’s lec-
ture. That one’s pretty much guaran-
teed to be pure gold.” This seemed to
be a common thread amongst all the
people I’d talked to. My fellow danc-
ers, dance mentors, and coach had all
remarked on how particularly special
Sam’s lecture would be.
Photo from the Twin Cities Open by Amy and Scott Anderson
SHeeRDANCe.COM 1 Sep 2015 • • 13[SpeCiAl FeAtUReS]
Soon I’d find out just how much
truth laid behind these tales.
I arrived just before the Congress
was slated to begin; I’d just been there
the night before for the professional
show, so I didn’t waste any time trying
to find my way to the ballroom. I col-
lected my tickets—one for the morning
session and one for the afternoon ses-
sion—and determined to get the most
out of this opportunity I could, I found
a seat in the front row. Notepad and
pen in hand, I settled in and prepared
myself for the impending inundation of
knowledge.
There were six lectures in all, cov-
ering both smooth and rhythm. Two of
the professionals from the night before,
Andre and Natalie Andre Paramonov,
held a captivating rhythm lecture on
the cruciality of precision and con-
nection, with some Cuban motion
sprinkled in for good measure. Edward
Simon’s smooth lecture emphasized
the importance of proper body motion
for building shape and volume in order
to deliver the beautiful, expressive
emotion that draws you into a dance.
All through the day, magnificent danc-
ers and teachers poured knowledge out
onto the floor for eager dancers to soak
up.
The headliner was Sam Sodano’s
lecture. I’d actually call this more of
an interactive discussion; Sam had a
special way of engaging the crowd. At
more than one point, the entire room
was on its feet, dancing along to Sam’s
Cuban motion instruction. Sam went
back to basics with his lecture, but he
did so in a way that didn’t make you
feel as though you were doing a basic
rumba box step a million times over.
The foot placements and weight shifts
were so precise that every time you
watched the professionals demonstrat-
ing, you’d notice something completely
new about such a simple motion as a
rock step.
Even though I’d been in the same
room for upwards of seven hours, I
didn’t want it to end.
As I walked out of the ballroom for
the last time this Twin Cities Open
season, I reassessed my prior expecta-
tions about the Congress.
Did I dance very much? Well, not
nearly as much as I would have had
it been a group class, but then again,
I hadn’t come for a group class. I had
been expecting to soak all the informa-
tion up with my ears, eyes, and pen, so
the several occasions we were encour-
aged to rise and try the motions out for
ourselves were special treats. I hadn’t
been expecting to dance, and I regret-
ted not donning my practice shoes
after the first instance of kinesthetic
learning.
Did my pen blaze a fire across my
notepad? Oh, most definitely. Except
for the times I was dancing, my writing
hand didn’t stop moving. By the end of
the day, I’d mastered the art of writing
in a straight line without so much as a
glance at the paper.
How gold was the golden egg Sam’s
lecture was promised to be? My sto-
rytellers from before the Congress
couldn’t have under-exaggerated any
more. Engaging, humorous in all the
right places, and active, Sam’s lec-
ture was the perfect piece to cap the
American Style Congress.
I beyond satisfied with my experi-
ence at the American Style Congress,
and I highly recommend that if you
have the opportunity to attend, you
take it! I promise, you won’t come
away with anything less than a dance
bag filled with invaluable notes, a giant
smile on your face, and a special, ball-
room-dance happiness. E
Photo from the Twin Cities Open by Amy
and Scott Anderson
14 • • 1 Sep 2015 SHeeRDANCe.COM[SpeCiAl FeAtUReS]
enjoy the MixFun at the twin Cities OpenBY NICHOLAS WESTLAKE
YOU WILL ALWAYS FIND FAMILIAR
faces at a dance competition. The higher
you climb up the competition ladder,
the more you’re surrounded only by
people who have dedicated significant
time and energy to their personal study
of dance. This makes for a nice reunion
vibe at each competition, which fits
right in with the competition elements
you get accustomed to: unpacking
in the dressing room, sharing space
on the practice floor, lining up in the
on-deck area, etc. When every event is
highly structured by design, I find the
little differences from one competition
to the next really stand out.
My dance partner and I had the
pleasure of competing earlier this sum-
mer at the Twin Cities Open (TCO) in
downtown Minneapolis. TCO was an
exciting destination for us because it
came with some features we rarely get
to enjoy. Many of our friends and fam-
ily were cheering in the audience, and
we had the (surprisingly) uncommon
opportunity to see couples we coach
competing live instead of on YouTube.
(We’re proud to say Przemek and Ligaya
won their events!)
One thing stood out that I didn’t
expect to notice: variety. I frequent
amateur-centric competitions, so I
don’t see many instructors competing
with their students. I also don’t see
pro/am couples sharing the floor with
am/am couples. Plus, I don’t often see
different age levels sharing the floor.
At TCO, I saw all three, and it made for
one engaging heat after another.
It’s heartwarming to see how instruc-
tors fill so many roles as they dance
Photos from the Twin Cities Open by Karin Lynn Photography
SHeeRDANCe.COM 1 Sep 2015 • • 15[SpeCiAl FeAtUReS]
with their students. Each instructor
made their entrance to the floor as the
the perfect complement to their stu-
dent. Throughout the first dance, the
instructor would stay a cool, calm pro-
fessional, even if their partner started
to show strain. Between dances they’d
take on a mentor-like encouraging role.
It was easy to see looks pass between
the partnership that said, “We’re just
fine. We’ve only got three dances to go.
Let’s finish strong.” By the end of the
round, the floor was filled with a sea of
instructors making I’m-so-proud-of-you
faces (not to mention students clearly
pleased with their work).
Also mixed in were some youth and
junior couples. If you want to see a pow-
erful, dominant tango performance,
check out a five-foot-tall tween couple
working to hold their own on a busy
floor of adult competitors. They dance
out with a visible awareness that they
need to display a high degree of power
and clarity to even be seen, much less
marked well.
Despite all the diversity of visuals
on the floor, I was impressed by how
often I forgot I was watching a batch
of heats sharing the floor. Each couple
would have their moment of intensity
that drew my attention. From one
dance to the next, a couple would go
from being a passing background fix-
ture to being the main event. It was a
pleasant reminder that everyone has
their strengths.
So let this be a friendly reminder
that there are many facets of the
dance and competition experience to
have fun with. Enjoy the routine, and
enjoy the surprises. E
Photos from the Twin Cities Open by Karin Lynn Photography
16 • • 1 Sep 2015 SHeeRDANCe.COM[ReCURRiNG COlUMNS]
Bryan Waznik is a recent graduate of Luther
College in Decorah, Iowa, where he spent
the last four years with the Luther College
Ballroom/Swing club. In his free time, Bryan
can be found binge-watching dance videos,
drinking tea, and generally making a fool of
himself on the dance floor. Feel free to contact
him at [email protected].
IN LAST MONTH’S ISSUE, Kevin Lam
wrote a great article advocating against
the heteronormative structure of
social dance, and called for a less rigid
assignment of roles in partner dancing.
So what now? You’ve seen those ste-
reotypes reinforced and thought, “Hey,
what gives?” and you’re ready to shake
things up a bit. Or perhaps you’re not
quite convinced yet, and this article
will persuade you ... or not. Whatever.
I’m not here to tell you what and what
not to think, but I am here to tell you
that mixing things up will improve
your dancing and give you a richer
perspective of social dancing (see what I
did there?).
Why you may want to learn to lead
and follow:
to Know MoreIf you’re like me, you want to learn
everything, especially when it comes
to partner dancing. International style?
Great, what else? West coast? Cool,
what now? Polka? Oom-pah for days.
Merengue? .... Okay, that’s my one
exception.
The point is, even if I learn every-
thing there is to know about how to be
the best lead in every dance (fat chance),
I will still only have learned half of
those dances. The purpose of learning
both parts isn’t to upstage people with
your superior ballroom knowhow but
to develop a more nuanced understand-
ing of the partnership and how each
role complements the other. This also
leads to you becoming a more effective
teacher.
Gaining perspectiveMan, i Feel like a Woman, and So Can You!BY BRYAN WAZNIK
to Check Your egoEverything is on the wrong foot!
Wait, I have to pick where we go?
Am I leaning right?
How the heck do I lead this figure?
Why am I always spinning?!
Leading and following are both very
specialized skills that take time to prac-
tice and refine. When we spend all our
time working on our part, it’s easy to
become overly critical of the mistakes
of others, especially when those same
demands don’t apply to us. Don’t be
that person; give the other part a shot. I
guarantee it’s much more difficult than
you give it credit for, and your appre-
ciation for your partner(s) will grow.
Learning the other part is a great way
to see dancing from a different side and
humble yourself.
to Rediscover Your Addiction to learning
The best part of going back to square
one is that it gives you a chance to fall
in love with partner dancing all over
again. Think back to your first dance
lesson (yep, that one where you did a
box step forever and thought it was
the coolest thing), and then remember
getting hooked into something that
you never expected to discover; each
new step or concept was revolutionary.
If you were in college, you probably
went with some new friends back to
your dorm to practice those basics for
another hour or two before finally real-
izing that you should have been doing
homework the whole time. Learning
the other part allows you to enjoy
learning to dance in a new, fresh way
SHeeRDANCe.COM 1 Sep 2015 • • 17[ReCURRiNG COlUMNS]
and gives you room to have fun while
making a few mistakes along the way.
It will force you to stop taking yourself
too seriously and make you more open
and receptive to constructive criticism
in your everyday dancing.
to improve Your Connection and Communication
Want to know what makes a good
lead? Follow! Want to experience first-
hand the qualities of a good follow?
Lead! I went to a west coast swing event
last month where I danced with a cer-
tain lead who shall remain unnamed.
Three things happened. First, I learned
very quickly which parts of my leads
had become completely superfluous,
and in some cases destructive, to my
primary partnership. Second, I got to
experience a lead drastically different
from my own and got to feel what was
helpful and what confused me. Some of
those things, both good and bad, were
habits I had also internalized, while
others were foreign to me. Following
his lead gave me a chance to evaluate
my own leading, validating what I
do well and exposing what I need to
improve upon in a way that directly
reinforces the importance of those
habits. Finally, because the roles of
lead and follow were not set between
us, we would switch off throughout the
dance, forcing me to be both articulate
and receptive in my dancing. In newer
dancers, there can exist a mentality that
the lead is the only one that speaks and
the follow’s role is solely to listen, but
in reality, it’s a dialogue. Yes, there is
a tendency that fits traditional norms,
but if you don’t do both, your dancing
will be one-sided and your connection
to your partner will be severely lacking.
it’s More Fun at partiesWe’ve all been at a dance where
there weren’t enough leads, and some
of us have had the surreal experience
of an overabundance of leads (yes, it
does happen from time to time). While
generally I much prefer leading to fol-
lowing, as is my cisgender privilege, I
also prefer dancing to ... well, not danc-
ing. If you’re going to get all cleaned
up and nice-looking for a social dance,
competition, etc., you might as well
get the most out of it and get on the
floor, regardless of which partners are
available. Being flexible means you
have double the partners to choose
from. Side note: it’s also really fun and
comical to make up things you don’t
know on the floor, provided you’re not
putting anyone around you at risk of
an arm to the face.
So do you need to lead and follow
50/50? Of course not! You do you. But
stepping out of your comfort zone will
be more fun, develop understanding
in your partnership, make you more
approachable, and revolutionize your
dancing.
Is there something I forgot? What
are your thoughts? E
Photo from Dance Fest by Erik Anderson
SHeeRDANCe.COM 1 Sep 2015 • • 19[ReCURRiNG COlUMNS]
Elizabeth Dickinson is a life/executive coach
and amateur ballroom dancer. If you enjoy
her writing and would like to receive her
weekly emailed coaching newsletter, visit
www.pursueyourpath.com and sign up.
life through Dancethe Whole pictureBY ELIZABETH DICKINSON
ONE OF THE MOST CHALLENGING
aspects of taking private dance lessons
is the money required. If you enter pro/
am competitions, this seems to be true
no matter your income or background.
Okay, there are a few exceptions; stop
reading this if you’re one of them!
For me, the conflict lies between
Responsible Self and Passionate Self.
Responsible Self looks like a cross
between angry mother, old-fashioned
spinster librarian, and CPA. She spends
most of her time saying things like:
“This is a boatload of money you’re
spending.”
“How can you justify this? Nothing
is tax-deductible.”
“You’re addicted. You know what
happens to addicts: you end up living
on the street with your cat, sharing her
food, and trying to sell the crystals that
fell off your gown.”
And if Responsible Self shows up in
a lesson, she’s insufferable.
“Why aren’t you learning this faster?
Do you realize how much money you’ve
spent on this technique?”
“Does your teacher realize how
much pressure you’re under to pay for
this? Why the hell is he talking about
anything non-dance-related?”
Occasionally, Responsible Self pan-
ics and issues ultimata.
“You’re going to have to give this
up, you know.”
Passionate Self looks like a cross
between Glinda the Good Witch and
Wonder Woman. She says:
“You feel so much better when
you’re dancing.”
“Look at the shape you’re in!”
“What will you talk about if you’re
not dancing?”
“If you don’t dance, you’ll wither
inside and die. You’ll look like Miss
Havisham, dressed in a ballgown with
missing crystals, clutching faded pho-
tos of your dancing days.”
“Just a few more lessons, and think
how good you’ll be!”
“Dancing is inspirational.
Terpsichore was the dancing muse.
Imagine the goddess’s wrath if you give
it up.”
Passionate Self is often louder than
Responsible Self, and her images are
much more compelling. So Responsible
Self sits on the sidelines, covering her
eyes while Passionate Self dances, occa-
sionally looking at financial statements
and shuddering. Clearly neither side
sees the whole picture.
My own life coach (yes, I do have
one myself ) recently challenged me
to imagine what would happen if
both selves worked together. In future
issues, I’ll let you know how that works
out.
May we pursue our paths, making
peace between our passionate and
responsible selves and dancing within
the whole picture. E
20 • • 1 Sep 2015 SHeeRDANCe.COM[ReCURRiNG COlUMNS]
L-A Pro/Am Closed Bronze Rhythm Scholarship
1st - Tyra Anderson with Gordon Bratt
2nd - Lynn Stankowski with Tom Neterval
3rd - Nicole Bottelson with Eric Hoyer
4th - Isabella Christensen with Shane Haggerty
5th - Noelle Ness with Gene Bersten
6th - Lillian Main with Benjamin Welch
7th - Kim Herrig with Darren Franco
8th - Breanna Warneke with Spencer Loufek
8th - Thomas Jersett with Tiffany Sullivan
L-B Pro/Am Closed Bronze Rhythm Scholarship
1st - Kelsey Noyes with Gene Bersten
2nd - Nicole Anderson with Darren Franco
3rd - Julibeth Lauren with Gordon Bratt
4th - Patricia Nicinski with Brent Hyskell
5th - Michele Madsen with Douglas Wallock
6th - Sara Rentmeester with Jay Morth
7th - Mark Querna with Nadine Messenger
8th - Jill Gibson with Eric Hoyer
9th - Stephanie Hester with Derrick Murray
9th - Mary Gummerson with Spencer Loufek
11th - Jayme Hartman with Tiffany Sullivan
11th - Brad Kuzel with Andrea Kuzel
L-C Pro/Am Closed Bronze Rhythm Scholarship
1st - Peggy Lavinski with Aleko Khutsidze
2nd - Darlene Wolfe with Darren Franco
3rd - Mary Cederberg with Jeff Nehrbass
4th - Kimblerly Simenen with Gordon Bratt
5th - Paula L’Esperance with Jay Morth
6th - Sharon Gentling with Gary Dahl
7th - Maggie Arzdorf Schubbe
with Dustin Donelan
8th - Larry Wittig with Caitlin Rose Foster
9th - Sandy Haydon with Charlie Drenth
10th - Kathryn Stolp with Eric Hoyer
10th - Katherine Engel with Douglas Wallock
12th - Gwen Gonsorowski
with Martin Pickering
12th - Sandy Nelson with Spencer Loufek
L-A Pro/Am Closed Silver Rhythm Scholarship
1st - Alina Huang with Slash Sharan
2nd - Veronica Quinones with Jonathan Chen
Here you’ll find the results of Minnesota amateurs, professionals, and pro/am cou-
ples from events around the country. We’re proud of how skilled and dedicated the
Minnesota dance community is, and we’d like to share their successes with you.Results from Around the Country
twin Cities Open Ballroom ChampionshipsCongratulations to those who competed at the Twin Cities Open! Below is the list of closed and open scholarship placements. Full detailed results on all
events are available on the Twin Cities Open website.
3rd - Oncu Er with Julie Jacobson
4th - Amy Anderson with Gordon Bratt
L-B Pro/Am Closed Silver Rhythm Scholarship
1st - Darcy Adamczyk with Gary Dahl
2nd - Annabel Bavaud with Shane Meuwissen
3rd - Ligaya Carlos with Jeff Halverson
4th - Carla Weibel with Jay Morth
5th - Mark Lange with Nadine Messenger
6th - Heather Polivka with Gordon Bratt
L-C Pro/Am Closed Silver Rhythm Scholarship
1st - Marie Abraham with Slash Sharan
2nd - Carla Johnson with Jason Shearin
3rd - Rosemary Rocha with Jonathan Chen
4th - Cindy Andren with Gordon Bratt
5th - Carolyn Kurzoja with Val Ganiev
6th - Rallerino with Stefan Dobrev
7th - Jan Blakeslee with Jean-Paul Gronek
8th - Tom Schubbe with Nadine Messenger
9th - Terrie DeRoller with John Abrams
10th - Randy Williams with Ashely Mayer
10th - Kim Schmutzler with Tom Neterval
Photos from the Twin Cities Open by Karin Lynn Photography
SHeeRDANCe.COM 1 Sep 2015 • • 21[ReCURRiNG COlUMNS]
12th - Elayne Gassett with Markus Cannon
12th - Lee Ferguson with Kate Bratt
12th - Don Kovorik with Ashley Eresh
15th - Jeff Hartzler with Susie Murray
15th - Tom Tinkham with Julie Jacobson
L-A Pro/Am Open Rhythm Scholarship
1st - Georgie Anderson with Jonathan Chen
2nd - Madie Ragatz with John Abrams
L-B Pro/Am Open Rhythm Scholarship
1st - Eileen Arcilla with Golden Parker
2nd - Anna Trull with John Abrams
3rd - Anna Gilbertson with Tom Neterval
L-C Pro/Am Open Rhythm Scholarship
1st - Randi Zedeck with Stefan Dobrev
2nd - Dee Iannone with Markus Cannon
3rd - Darlene Wolfe with Darren Franco
4th - Marie Abraham with Slash Sharan
5th - Carolyn Kurzoja with Val Ganiev
6th - Dawn Elm with John Abrams
7th - Suzanne Kirkegaard with Dustin Donelan
L-A Pro/Am Closed Bronze Smooth Scholarship
1st - Aimee Neuman with Martin Pickering
2nd - Riyan Mendonsa with Nadine Messenger
3rd - Lynn Stankowski with Tom Neterval
4th - Teal Langseth-Schmidt with Spencer Loufek
5th - Tyra Anderson with Gordon Bratt
6th - Nicole Bottleson with Eric Hoyer
7th - Lillian Main with Darren Franco
8th - Noelle Ness with Gene Bersten
9th - Jonathan Reznick with Audra Erkelenz
L-B Pro/Am Closed Bronze Smooth Scholarship
1st - Madelyn Harvieux with Eric Hudson
2nd - Nancy Wang with Jay Larson
3rd - Corinne Rao with Jason Shearin
4th - Patricia Nicinski with Brent Hyskell
5th - Sara Rentmeester with Jay Morth
6th - Kim Herrig with Spencer Loufek
7th - Julibeth Lauren with Gordon Bratt
8th - Michele Madsen with Douglas Wallock
8th - Mark Querna with Rachel Damiani
10th - Dan Stankowski with Heather Wudstrack
11th - Stephanie Hester with Derrick Murray
11th - Doug Hyland with Diane Sullivan
11th - Brad Kuzel with Andrea Kuzel
L-C Pro/Am Closed Bronze Smooth Scholarship
1st - Mary Cederberg with Jeff Nehrbass
2nd - Carol Jacobson-Blietz with Krystian Grabowski
3rd - Julie Karlsen with Matt Cawston
4th - Kimberly Simensen with Gordon Bratt
5th - Sharon Gentling with Gary Dahl
6th - Peggy Lavinsky Aleko Khutsidze
7th - Kathryn Stolp with Eric Hoyer
8th - Paula L’Esperance with Jay Morth
9th - Grace Thornhill with Jonathan Chen
10th - Darlene Wolfe with Spencer Loufek
11th - Darla Miller with Chris Kempainen
12th - Katherine Engel with Douglas Wallock
13th - Sandy Hadon with Charlie Drenth
13th - Dan Flath with Nadine Messenger
15th - Al Horner with Heather Wudstrack
16th - Jim Carter with Andrea Kuzel
17th - Larry Wittig with Caitlin Rose Foster
L-A Pro/Am Closed Silver Smooth Scholarship
1st - Georgie Anderson with Shane Meuwissen
2nd - Amy Anderson with Gordon Bratt
3rd - Emily Habisch with Martin Pickering
4th - Danielle Delaney with Shane Haggerty
L-B Pro/Am Closed Silver Smooth Scholarship
1st - Elizabeth Rocco with Eric Hudson
2nd - Tracy Hemauer with Gordon Bratt
3rd - Zhuojing Liu with Gene Bersten
4th - Anna Gilbertson with Tom Neterval
5th - Tanya Taksar with Michael Shultz
6th - Darcy Adamczyk with Gary Dahl
7th - Anna Trull with John Abrams
8th - Toni Tallerino with Stefan Dobrev
9th - Heidi Martin with Nichy Vegas
10th - Mary Gummerson with Spencer Loufek
L-C Pro/Am Closed Silver Smooth Scholarship
1st - Charlene Proctor with Michael Choi
2nd - Chris Newcomb with John Abrams
3rd - Carla Johnson with Jason Shearin
4th - CeCe Swanson with Eric Hudson
5th - Yuping Zheng with Jonathan Chen
6th - Randy Williams with Ditas Mayer
7th - Cyndi Andren with Gordon Bratt
8th - Barb Pease with Paul Botes
8th - Toni Tallerino with Stefan Dobrev
10th - Ed Kadletz with Julie Jacobson
11th - Tom Schubbe with Nadine Messenger
12th - Jan Blakeslee with Jean-Paul Gronek
13th - Kim Schmutzler with Tom Neterval
14th - Carolyn Kurzoja with Val Ganiev
15th - JoAnn Demoss with Martin Cawston
15th - Jeff Hartzler with Derrick Murray
15th - Lee Ferguson with Kate Bratt
18th - Don Kovorik Ashley Eresh
L-A Pro/Am Open Smooth Scholarship
1st - Yuko Taniguchi with Mariusz Olszewski
2nd - Brittany Winek with Eric Hudson
3rd - Madie Ragatz with John Abrams
L-B Pro/Am Open Smooth Scholarship
1st - Elizabeth Rocco with Eric Hudson
2nd - Tracy Hemauer with Gordon Bratt
3rd - Zhuojing Liu with Gene Bersten
Photos from the Twin Cities Open by Karin Lynn Photography
22 • • 1 Sep 2015 SHeeRDANCe.COM[ReCURRiNG COlUMNS]
Photos from the Twin Cities Open by Karin Lynn Photography
4th - Anna Gilbertson with Tom Neterval
5th - Tanya Taksar with Michael Shultz
6th - Darcy Adamczyk with Gary Dahl
7th - Anna Trull with John Abrams
8th - Toni Tallerino with Stefan Dobrev
9th - Heidi Martin with Nichy Vegas
10th - Mary Gummerson with Spencer Loufek
L-C Pro/Am Open Smooth Scholarship
1st - David Schmit with Michelle Hudson
2nd - Randi Zedeck with Stefan Dobrev
3rd - Charlene Proctor with Michael Choi
4th - Elizabeth Dickinson with Jeff Nehrbass
5th - Richard Weinberg with Tommye Giacchino
6th - Kris Larson with Eric Hudson
7th - Dee Iannone with Markus Cannon
8th - Judi Landon with Slaveyko Baylov
9th - Sandra Helinski with Martin Voight
10th - Carolyn Kurzoja with Val Ganiev
11th - Deborah Leonard with Spencer Loufek
L-A Pro/Am Closed Ballroom Scholarship
1st - Noelle Ness with Gene Bersten
L-B Pro/Am Closed Ballroom Scholarship
1st - Annabel Barvaud with Shane Meuwissen
2nd - Corinne Rao with Jason Shearin
3rd - Mark Querna with Michelle Hudson
4th - Jana Gerken with Tony Karadzhov
5th - Carrie Gallagher with Darren Franco
L-C Pro/Am Closed Bronze Ballroom Scholarship
1st - Yuki Wierterlak with Martin Pickering
2nd - Mary Cederberg with Jeff Nehrbass
3rd - CeCe Swanson with Eric Hudson
4th - Carol Jacobson-Blietz
with Krystian Grabowski
5th - Carol Ferrell with Gene Bersten
6th - Kim Schmutzler with Tom Neterval
7th - Kathryn Stolp with Eric Hoyer
8th - Patrick Moriarity with Nadine Messenger
8th - Mary Gummerson with Darren Franco
8th - Elayne Gasset with Markus Cannon
L-B Pro/Am Closed Silver Ballroom Scholarship
1st - Sisi Sun with Kris Kasperwicz
2nd - Darcy Adamczyk with Gary Dahl
L-C Pro/Am Closed Silver Ballroom Scholarship
1st - Joyce Hooks with Matt Rivers
2nd - Dee Iannone with Markus Cannon
3rd - Jane Taylor with Shane Meuwissen
4th - Barb Pease with Paul Botes
5th - Scott Skinner with Michelle Hudson
6th - Ed Kadletz with Julie Jacobson
7th - Jan Blakeslee with Jean-Paul Gronek
8th - David Zaleske with Kristina Lee
L-B Pro/Am Open Ballroom Scholarship
1st - Tanya Taksar with Michael Shultz
2nd - Darcy Adamczyk with Gary Dahl
3rd - Anna Gilbertson with Tom Neterval
G-C Pro/Am Open Ballroom Scholarship
1st - Dee Iannone with Markus Cannon
2nd - John Snyder with Yulia Kornilova
3rd - Richard Weinberg with Tommye Giacchino
4th - Joyce Hooks with Matt Rivers
5th - David Zaleke with Kristina Lee
L-A Pro/Am Closed Bronze Latin Scholarship
1st - Noelle Ness with Gene Bersten
2nd - Jan Carter with Darren Franco
L-B Pro/Am Closed Bronze Latin Scholarship
1st - Lauren LaPointe with Louis Bar
2nd - Lisa Mohr with Shinya McHenry
3rd - Marty Williams with Therese Clarke
4th - Amanda Rose Jason Shearin
5th - Diane Sullivan with Darren Franco
L-C Pro/Am Closed Bronze Latin Scholarship
1st - Peggy Lavinsky with Aleko Khutsidze
2nd - Joan Endres with Gene Bersten
3rd - Mary Cederberg with Jeff Nehrbass
4th - Jill Kaiser with Darren Franco
5th - Maggie Arzdorf Schubbe with Dustin
Donelan
L-A Pro/Am Closed Silver Latin Scholarship
1st - Elizabeth Brahnam with Mariusz
Olszewski
L-B Pro/Am Closed Silver Latin Scholarship
1st - Kathy Uy with Sergey Smolin
2nd - Jana Gerken with Tony Karadzhov
3rd - Echo Huang with Gene Bersten
L-C Pro/Am Closed Silver Latin Scholarship
1st - Kris Larson with Eric Hudson
2nd - Carol Ferrell with Gene Bersten
3rd - Susan Hervey with Mariusz Olszewski
4th - Jan Blakeslee with Jean-Paul Gronek
5th - Patti Muxlow with Jason Shearin
6th - David Zaleske with Kristina Lee
L-A Pro/Am Open Latin Scholarship
1st - Ashley Cooper with Gene Bersten
2nd - Sara Wedding with Shane Meuwissen
L-B Pro/Am Open Latin Scholarship
1st - Adel Jaena with Gene Bersten
2nd - Elizabeth Rocco with Eric Hudson
3rd - Margarita Yoblokova with Tony Karadzhov
L-C Pro/Am Open Latin Scholarship
1st - Zhuojing Liu with Gene Bersten
2nd - Janie LaFavor with Mariusz Olszewski
3rd - Mary Young with Tony Karadzhov
Would you like to see your results or your studio’s results at an event here? Email us at [email protected] with the name of the event, some pictures,
and your results, and we’ll be sure to include them!
SHeeRDANCe.COM 1 Sep 2015 • • 23[ReCURRiNG COlUMNS]
Professional Rising Star Smooth
1st - Adrain Dydynski and Hannah Dydynski
2nd - Sergey Smolin and Anna Tomasini
3rd - Matt Rivers and Maliwan Diemer
4th - Igor Afonkin and Rachel Mercedes
5th - Chris Germain and Mila Popovich
6th - Mykyta Serdyuk and Anna Krasnoshapka
7th - Martin Pickering and Natalie Botes
8th - Dustin Donelan and Rachel Damiani
9th - Nick Haklin and Sarah Ford
10th - Douglas Wallock and Nicole Piechowski
10th - Jay Morth and Heather Wudtrack
10th - Johnny Francoviglia and Kayla Sloan
10th - Vance Mabry and Samantha Simmons
Professional Rising Star Rhythm
1st - Erwin Rybczynski and Iwona Rybczynski
2nd - Christopher Wayne and Juanita Simanekova
3rd - Joel Thomas and Chloe Obrzut
4th - Tim Polaschek and Katherine Hutchinson
5th - Dustin Donelan and Rachel Damiani
6th - Darren Franco and Tiffany Sullivan
7th - Troy Lerum and Whitney Irene
8th - Del Dominguez and Laura Flores
Professional Open Smooth Championship
1st - Mazen Hamza and Izabella
2nd - Adrain Dydynski and Hannah Dydynski
3rd - Eric Koptke and Chelsea Farrah
4th - Sergey Smolin and Anna Tomasini
5th - Mark Short and Alyssa Kark
6th - Igor Afonkin and Rachel Mercedes
7th - Chris Germain and Mila Popovich
8th - Matt Rivers and Maliwan Diemer
9th - Mykyta Serdyuk and Anna Krasnoshapka
10th - Martin Pickering and Natalie Botes
11th - Dustin Donelan and Rachel Damiani
11th - Vance Mabry and Samantha Simmons
13th - Nick Haklin and Sarah Ford
14th - Johnny Francoviglia and Kayla Sloan
15th - Jay Morth and Heather Wudtrack
16th - Douglas Wallock and Nicole Piechowski
Professional Open Rhythm Championship
1st - Emmanuel Pierre-Antoine and Liana Churilovka
2nd - Nazar Norov and Irina Kudryshova
3rd - Andrea Paramonov and Natalie Paramonov
4th - Ilya Velednitskiy and Mirya Ilchenko
5th - Mykyta Serdyuk and Anna Krasnoshapka
6th - Aaron DeSoto and Iryna DeSoto
7th - Andrei Abrashin and Mariia Gavylova
8th - Erwin Rybczynski and Iwona Rybczynski
9th - Christopher Wayne and Juanita Simanekova
9th - Slash Sharan and Meghan Anderson
11th - Joel Thomas and Chloe Obrzut
11th - Tim Polaschek and Katherine Hutchinson
13th - Dustin Donelan and Rachel Damiani
14th - Darren Franco and Tiffany Sullivan
15th - Troy Lerum and Whitney Irene
16th - Mateo Catalan and Anna Strojek EPhotos from the Twin Cities Open by Karin Lynn Photography
24 • • 1 Sep 2015 SHeeRDANCe.COM[ReCURRiNG COlUMNS]
Volunteer ReportBehind the Scenes at the twin Cities OpenBY SETH WESTLAKE
or money; everyone who commits to
being a volunteer does so selflessly. The
reward for their efforts, beyond the
thanks of the competition’s organizers
and patrons, is the knowledge that
they’ve helped involve more people in
the appreciation of dance.
Time and time again, we owe thanks
to the many volunteers out there.
Without promise of payment or a sever-
ance of any kind, amazing people come
forward to work on the most gargan-
tuan of tasks. The registration for hun-
dreds of competitors, as an example, is
nothing short of fifty man-hours.
Seeing the beautiful results of their
labors come to fruition is a sight that
too many people, including myself, take
for granted. The next time you talk with
someone volunteering, make sure to
thank them for the hard work. When
the competition organizers recognize
the volunteers with a round of applause,
clap even harder, because without these
people, there would never be anything
to applaud for. E
Seth Westlake is the Publicity Manager
for the University of Minnesota Ballroom
Dance Club and a dedicated member of
the competition team.
world-class competition stage has
become increasingly complicated. The
size and complexity of an event such
as the Twin Cities Open will, ideally,
inflate—much like the value of a dollar.
It’s with this growing complexity that
organizers must compensate by arrang-
ing for more volunteers to be part of the
process.
What draws people to this kind of
work, and where do more volunteers
keep being found? The first step in
answering these questions starts with
understanding the power of the ball-
room community. Hundreds of partic-
ipants reside in the Twin Cities, most
of whom are committed to sharing and
promoting dancing. Giving up their
free time and energy, these people cer-
tainly aren’t doing this for the glamor
STANDING IN THE GRAND BALLROOM
of the Hyatt Regency Hotel, I watch
as the equivalent of my entire college
tuition walks by in the form of twen-
ty-some beautifully crafted ballroom
dresses. Professional dancers from
every corner of the United States stride
past me in perfectly measured steps,
side by side with their partners. Every
spectator, including myself, has fallen
to the hypnotic spell. A moment such
as this, one that reaches the peak
of human awe and inspiration, is a
moment seen and produced in only
the best of competitions. However, as
a spectator or competitor, you’d never
stop to think about the work it takes to
produce it. The cost in dollars and man-
hours is only truly realized by the peo-
ple behind the scenes. Competitions,
like ballroom dancers, require many
hours of preparation before even a sin-
gle event, but whereas dancers run on
food and water, competitions instead
run on volunteers.
The process of going from an empty
hotel ballroom to a bright, beautiful,
Photo from the Twin Cities Open by
Karin Lynn Photography
26 • • 1 Sep 2015 SHeeRDANCe.COM[FROM tHe COMMUNitY]
Christine Trask is an avid social dancer who loves to go new places and meet new people. Email her
at [email protected] if you’d like to do some dancing in Naples, Florida.
the love of Dance: part Onelearning About Maxine BarratBY CHRISTINE TRASK
STANDING IN THE DOORWAY of
Bravo’s, an Italian restaurant in Naples,
Florida, on the evening of June 12th,
taking in the delightful aroma of garlic,
I watched a sunny, glorious, ocean-blue
sky turn quickly into a rainstorm, com-
plete with crackling lightning. Shaking
off the cool raindrops, I gazed at my
surroundings—lavish, white Roman
columns and large ornate light fixtures
which cast a warm glow of welcome to
the room. My aunt Darlene was waiting
for me in a round, black leather booth,
and soon, her very dear, longtime
friend Liz appeared. We ordered our
favorite happy-hour drinks and clinked
our glasses in a toast dedicated to
friendship.
As an icebreaker, I suggested we
go around the table and each share a
story about ourselves. Aunt Darlene
shared the story of when she was sev-
enteen and wanted a summer job at a
popular Greek restaurant in Appleton,
Wisconsin, owned by two Greek broth-
ers. She applied for the job and was
told they didn’t want to take the time
to train her because they felt she would
SHeeRDANCe.COM 1 Sep 2015 • • 27[FROM tHe COMMUNitY]
leave them soon to go on to college.
Persisting, Darlene said, “You don’t
have to train me; I have waited on my
three older brothers and father my
whole life.” She was hired, and within
a couple of weeks, she was running the
restaurant and training the waitresses.
My new friend, Liz Elledge, shared
her story of being eleven years old in a
small New York town, when she and her
father made a bargain that if she kept
up her grades, he would pay for her
attendance at the elite eastern school
of Wellesley College. Liz’s father said,
“You will have to make all As, and I will
have to make a lot of money,” to which
Liz replied, “I will if you will.” They
shook hands on the deal, and Liz pro-
ceeded to earn her degree at Wellesley
in the field of psychology, teaching and
counseling for many years.
The love of dance inspired me to tell
a story about an article I wrote for the
September 2009 issue of the Minnesota
Dancing Times. The article was about
meeting Carole Bradley, the owner of
Maudie MacBride’s Prom and a profes-
sional dancer in the movie Bye Bye Birdie
featuring Janet Leigh, Dick Van Dyke,
and Ann-Margret.
Each of our anecdotes led into
another fun story. When Liz told us
that she was friends with Maxine
Barrat—a famous show-biz ballroom
dancer who was a personal friend of
Ginger Rogers—I excitedly asked Liz to
arrange a meeting.
Exchanging hugs, we left the restau-
rant quite full and happy, and Liz
suggested I read Dancing with a Star: The
Maxine Barrat Story by Kristin Baggelaar
prior to meeting Maxine.
In the book, Baggelaar portrays
Maxine as a young ballerina who
danced every chance she could. In her
early teens, Maxine would go to Radio
City Music Hall to watch and learn
from Ginger Rogers and Fred Astaire.
Maxine set out to fulfill her child-
hood dream of dance and found her
perfect dance partner in international
costume designer Don Loper. Their
unique Brazilian dance move to
“Tico-Tico no Fubá” at the glamorous
Monte Proser’s Copacabana—the top
entertaining supper club of the 1940s—
became an international hit.
This “Tico-Tico” dance was even fea-
tured in the 1943 film Thousand Cheers,
a Gene Kelly movie made to boost the
morale of World War II soldiers and
their families. I purchased the last VHS
from Amazon, and it has become one
of my favorite classic movies.
Baggelaar describes Maxine as
a humble, fun-loving person who
surrounded herself with friends that
included Clark Gable, Fred Astaire,
Ginger Rogers, Katharine Hepburn,
Gene Kelly, Kathryn Grayson, Mickey
Rooney, Judy Garland, Eleanor Powell,
Lucille Ball, Red Skelton, Lena Horne,
and others. Even Mrs. Brady of The
Brady Bunch, Florence Henderson, had
only kind things to say about Maxine:
she once said she hoped everyone
would know Maxine.
I was fortunate enough to meet
the warm, beautiful Maxine Barrat.
Be sure to read the October issue of
Sheer Dance to find out about my special
interview with Maxine! E
28 • • 1 Sep 2015 SHeeRDANCe.COM[FROM tHe COMMUNitY]
Dahl Dance Center turns tenHow i learned to love Ballroom in Four AnecdotesBY JOSEPH CAREY
studio, but the studio didn’t want it, so
in six short weeks, April and Gary got
Dahl Dance Center started.)
I sign up for a class, and I get hooked.
We perform. We go to social dances.
We go to Star of the North in the Cities
and to one of the last Twin Cities Rebels
west coast swing competitions. Being
a ridiculous high schooler, I ask April
to come teach at a high school dance,
which she readily indulges. (Taking
classes with April taught me about
being a dancer, but just as importantly,
her willingness to come and teach at
something as small—and arguably a lit-
tle obnoxious—as a high school taught
me about being a teacher.)
Fast-forward a couple of years. The
Luther College ballroom team is just
getting started. We have less than no
clue what we’re doing. I send April a
panicked note trying to figure out how
we can learn enough to compete—and
how we can afford to bring in the
knowledge we need. I ask if one of her
students might consider doing it for
the pittance we can afford.
Back to Rochester: Dahl Dance
Center is booming. They have rented
the space next to theirs and expanded,
adding three studio spaces. April,
beyond teaching, is busy helping
cofound the Tango Society of Rochester,
which has incubated at Dahl Dance
Center. The studio is preparing for
WHEN SHEER DANCE EXECUTIVE
Editor Mary Beth Beckman first
approached me about writing about
the tenth anniversary celebration at
Dahl Dance Center, I was ambivalent.
Dahl Dance Center, in my hometown of
Rochester, Minnesota, was and is hugely
important to my growth as a dancer,
but on the other hand, I was worried.
Though I’m back home now, I had been
away for eight years, intersecting only
occasionally. I wasn’t convinced my
anecdotes could do justice to the good
the studio has done in Rochester.
But what the hell?
I first hear mention of Dahl Dance
Center during a piano lesson, of all
things. My piano teacher is Gary Dahl’s
mother, and when I mention that I’m
interested in lessons, she tells me
her son and his wife, April, have just
started a studio. I decide to support
people I know and try it out. (I later
found out they had literally just started
the studio—April had been running a
very successful program at another
SHeeRDANCe.COM 1 Sep 2015 • • 29[FROM tHe COMMUNitY]
an annual cabaret fundraiser. Despite
this busyness, April answers my note,
then gives me a call. Not only does
she have ideas but she’s going to come
down herself—and keep it affordable.
(Saturday morning lessons with April
taught me about being a competitive
dancer, but going out of her way to
help lost college kids, basically at cost,
taught me about humility.)
Forward again. Same bit, different
school. The fledgling University of
Northern Iowa ballroom group sends
an officer and me up to Rochester.
April has agreed to meet with us to
help us get connected in our area and
answers some questions and panics we
have. I drive, but the address is differ-
ent. Dahl Dance Center has moved—
partially to get a full long wall but also
because business is booming. April
and Gary are preparing to dance with
the Beyond Ballroom Dance Company
in Minneapolis. They’re also helping
run a major new fundraiser in town,
Dancing for the Arts. The Tango Society
of Rochester has spun off into its own
fully grown organization. (Despite
being based far enough away that there
was no way we could end up bringing
her in to teach at UNI, April gave us two
hours of conversation. She also threw
in a little time working on our dancing
and an incidental lesson on generosity.)
Present day. I’m back in Rochester.
Dahl Dance Center is doing as well as
ever. They are regularly bringing in
high-level coaches across the styles of
dance—an opportunity the Dahls had
when they were younger and want to
pass on to Rochester. The most recent
Dancing for the Arts fundraiser raised
$100,000. They are expanding and have
hired two new staff members. They’re
looking forward to celebrating their
ten-year anniversary as a studio on the
September 5th with a trip up to the
Caves.
I ask April how it looks now com-
pared to how she thought it might
look in ten years, back in 2005. Is it
drastically different? Close to what she
expected?
Somewhere in between, she says.
On the business front, she has been
honored and humbled by the opportu-
nities that have presented themselves.
For her own dancing, it’s been unex-
pected: Argentine tango has opened up
a lot of doors, as has Rochester itself.
The best part has been the change in
her teaching perspective:
“Just for me to see how dancing
changes people’s lives. When I started
this ten years ago, that wasn’t so much
in the forefront of my mind. It was: I
was going to teach people to dance
because I really love dancing. And now,
when I look at the impact it’s had on so
many people’s lives, it’s always amaz-
ing to me. That’s become more of the
focus.”
(Hopefully I still have space for this
one more lesson.) E
30 • • 1 Sep 2015 SHeeRDANCe.COM[FROM tHe COMMUNitY]
Mastering the inner GameBY KYLE CONDIFF
PROFESSIONAL ATHLETES, regardless
of sport, play at their best when they
think less about what they are doing.
Sports psychologist W. Timothy
Gallwey argued that the cause of this
effect is the conscious mind’s tendency
to get in the way. The premise of his
1974 book The Inner Game of Tennis is
that a quiet mind allows more efficient
performance. The inner game in the
title involves avoiding distractions to
maintain in-the-moment awareness of
the outer game, which is the activity or
sport being played. Although the title
mentions tennis, Gallwey mainly uses
the sport for anecdotes and examples
in order to discuss the inner game as
applied to any activity.
Gallwey gives the name Self 1 to
conscious thoughts and calls the sub-
conscious Self 2. He analogizes Self 1 to
a coach, commanding and criticizing,
and Self 2 to an athlete who already
knows the motions and listens to the
coach for directions. In activities like
tennis, where there is little time for
reaction, Self 1’s job is to maintain
awareness and supply Self 2 with
updated information, and Self 2’s job
is to move the body.
If Self 1 does not trust Self 2 to do
its job and tries to micromanage, then
awareness is lost. A tennis player must
be aware of the locations, momenta,
and spin of the ball and the racket,
and trust their body to respond the
way they have practiced. In ballroom
dance, each dancer must be fully
aware of their partner’s position as
well as their own, and on the dance
floor, there is too little time to simul-
taneously focus on technique during
each movement. Movements must be
learned and practiced by Self 2 before
they can be applied in the outer game
with awareness.
According to Gallwey, new tennis
students commonly come to him
frustrated because other instructors
have told them specifically what they
are doing wrong but they are unable
to fix it. In essence, Self 1 knows what
the problem is and unsuccessfully tries
to force the body to move correctly.
Gallwey’s solution is to help Self 2
learn on its own by supplying Self 2
with imagery of correct technique.
He tells his students to watch his
racket strokes and then watch their
own racket strokes in a mirror. This
technique of visualization has become
a common tool in sports training. It is
especially relevant to ballroom dance,
where movements are frequently too
complex for Self 1 to comprehend and
control all aspects, and where the goal
is often to be visually appealing.
Self 1 must also refrain from judg-
ing the success or failure of outcomes.
Such judgment provokes emotional
responses. If Self 1 notices a failure,
then it may doubt Self 2, leading to
timid hesitation or wasting energy
with tenseness. If a tennis student
continually hits the ball into the net
and judges it as a failure, the student
will begin to either second-guess
themselves or overthink their strokes
in hopes that consciously controlling
everything will work. On the other
hand, if Self 1 notices success, then it
may try to determine how to replicate
the outcome, which can have similar
consequences. Simply observing what
your body is doing, without judgment
or preconceived ideas of what you are
doing wrong, allows your body to make
adjustments without interference.
The inner game requires Self 1 and
Self 2 to work together, each doing its
own job. Since Self 1 is the part we are
conscious of, its job of maintaining
impartial awareness is what we should
think of in any activity we perform. Self
2 is the part that must learn the move-
ments, and since it operates at the sub-
conscious level, we must help it learn
by providing the imagery and feelings
of movement without overthinking or
attempting to control everything. E
SHeeRDANCe.COM 1 Sep 2015 • • 31[FROM tHe COMMUNitY]
Falling into DanceBY CHELSEA VISSER
this move proved a bit more difficult
than originally anticipated.
I was paired up with someone
named Grant, who was nearly a foot
taller than I was and had a little more
dancing experience under his belt. As
we went through the cuddle, me spin-
ning towards his side, I tripped over
his shoe and went tumbling backwards
against him, nearly taking both of us
out.
I apologized profusely, and he
waved me off—we would get another
chance.
Step, step, rockstep, step, turn—oh,
god.
I tripped again, just barely man-
aging to catch myself. I’m pretty sure
he laughed again, me bright red with
embarrassment, and sent me along
to the next person in line as we all
switched partners. That’s it, I decided.
Dance isn’t my thing.
I tell that story a lot when I’m
talking about ballroom dance. My
friends tell me they’re clumsy, or they
can’t dance, or they’d make an idiot
out of themselves. I tell this story, and
they laugh, and then I continue with
this:
Even after that—even after stum-
bling and tripping and getting my
feet stepped on in turn—I went back.
I tried again, and again, and again, and
again, and now I wouldn’t give this up
for the world. E
I’VE TALKED A LITTLE BIT ABOUT
how I first discovered ballroom dance:
Welcome Week, demonstrations, a
post on the Facebook page, et cetera, et
cetera. I don’t think I’ve mentioned my
first time dancing, and that’s the story
I’m going to tell today.
The University of Minnesota
Ballroom Dance Club puts on an event
every year in the first days of the semes-
ter. My freshman year, it was on Labor
Day. I had been planning on going to
the State Fair but had never actually
bothered getting tickets. Ballroom
seemed like an interesting enough way
to spend my afternoon, so that day, I
swung my Welcome Week bag over my
shoulders, walked across the bridge to
the student union, and followed the
music down the stairs to the Great Hall.
There were tons of people crowded
into the room, including a few faces I
recognized from the last few days. We
all stood, shuffling around nervously,
as the club members running the event
first made every move look effortless
and then broke down the steps beat
by beat. We all box-stepped around
the floor, one-two-three, in a stilted
imitation of a waltz, stepping with the
wrong feet. There were a lot of giggles,
a lot of apologies.
We learned rumba next, switching
one-two-three for slow, quick-quick.
Cue more stumbling.
My most vivid memory of Fall into
Dance was the last dance: swing. I had
gotten the basic down pretty easily—
step, step, rockstep—and was pretty
excited to be doing something even a
bit faster than a waltz. That’s where
things started to get a bit tricky.
The cuddle is a pretty easy swing
move and looks pretty impressive for
its simplicity. However, for someone
like myself, who, as has been men-
tioned at least once or twice before, is
not exactly what one would call graceful,
32 • • 1 Sep 2015 SHeeRDANCe.COM[FROM tHe COMMUNitY]
Show Off Your MovesUpcoming Dance Demo OpportunitiesBY YVONNE VIEHMAN
EVER WANTED TO DANCE ON A REALLY
big floor just for the sheer fun of it? No
airline tickets to purchase, no entrance
fees to pay, and no judges to critique your
performance.
Join us at the Mall of America on
Wednesday, October 28, 2015, from 7:30
to 8:30 p.m. as we take to the rotunda
floor and dance the night away.
We’ve got opportunities for dancers to
perform cha cha, rumba, swing, bolero,
mambo, west coast swing, waltz, tango,
foxtrot, Viennese waltz, quickstep—
whatever your dance craving, we’ll pro-
vide the space!
Bring your friends, family, smiles, your
boundless energy, and your costumes,
too!
The dancing doesn’t stop at the MoA!
Here are opportunities during the holi-
day season to demonstrate your abilities:
• Sunday, November 29, 2015
1 p.m. and 2 p.m. - Rosedale Mall
• Sunday, December 6, 2015
1 p.m. and 2 p.m. - Maplewood Mall
• Sunday, December 13, 2015
Rosedale Mall
• Sunday, December 20, 2015
Maplewood Mall
Contact Yvonne Viehman at
[email protected] or (763) 553-1202 for
more information. We’re also in need of
on-deck captains and costume assistants.
Thanks for volunteering your time
and talents! E
Photos from the Twin Cities Open by
Karin Lynn Photography
BALLROOM DANCING CRITIQUED ALL DAY.SOCIAL DANCING, GAMES, AND MUSIC ALL EVENING.
BEGINNERS WELCOME (AND PREFERRED)
24 OCTOBER 2015
MORE INFORMATION AT MNBALLROOMBLAST.COM
Dance your heart out.Get critiqued by pros.Have a blast.
DANCERS
North Star BallroomSaint Paul Student Center2017 Buford AveSaint Paul MN 55108
WHERE
SPECTATORSSee some great dancing.Enjoy the games.Rock out.Admission is $5 per session.
Day Session: 9 AM to 5 PM• Critiqued dancingEvening Session: 6 PM to 10 PM• Dance performances• Social dancing & games
WHEN
MINNESOTABALLROOMBLAST
34 • • 1 Sep 2015 SHeeRDANCe.COM[FROM tHe COMMUNitY]
the Mystery of DanceBY JULIE JOHNSTON
lacking in a social sphere, I didn’t
find many occasions to dance “Hava
Nagila (Let Us Rejoice)” on a regular
basis. My further adventures included
soul line dance. The class consisted
of fewer than a dozen white people
standing out amongst much more
rhythmically inclined black attend-
ees. Next to their moves, I imagined
myself looking like Elaine from
Seinfeld, whose dance was described as
a “full-body dry heave set to music.”
For several years, I contented
myself with an occasional dance
event and my extensive collection
of dance movies (some of them old
enough to be in VHS format)—until
February 2015, when this mysterious
desire for dance led me to a Dance
Lite class, introducing me to the joy
of partner dancing. I’ve never been
a quick learner, and some physical
challenges keep me from being
naturally graceful. However, I’m
persistent, and within a short time,
I received a glimpse of what a waltz
could feel like if paired with a strong
lead. In that dance, I experienced
a short interval of what felt like an
effortless glide across the floor, the
feeling of letting go and putting my
trust in someone else to lead. Unlike
many contributing writers in Sheer
Dance who start ballroom in their
college years or earlier, I begin this
endeavor of partner dancing at over
fifty years old.
While learning ballroom dance, I
have come across many documented
benefits of partner dancing for those
with impairments or who are more
mature in age. One example is Dance
for PD, a joint project between the
Mark Morris Dance Group and the
Brooklyn Parkinson Group, aids peo-
ple with Parkinson’s disease. Patients
learn from movement experts how
they can use their senses and brains
to control movement.
Additionally, an Albert Einstein
College of Medicine Study, indicated
those over age seventy-five have a sev-
enty-five percent reduction in demen-
tia due to dancing frequently (even
better than those who do crossword
puzzles). In short, benefits of dance
include:
WHAT IS IT ABOUT DANCE, so akin
to walking—after all, it’s just moving
your feet—that can make the heart soar,
inspire self-confidence, reduce stress, and
more? I may not be able to answer what it
is about this mystery of dance, but I’d like
to share my story.
As far back as I can remember, I’ve
always wanted to dance. It didn’t even
matter what kind of dance. But being
a child of divorced parents, out of town
every weekend, I was unable to partici-
pate in anything that involved weekend
commitments or practice time. Divorce in
itself can develop trust issues in a child,
a lack of trust in those who should have
your best interests in mind.
As a child, my most prized possession
was a Dancerina ballerina doll. At twen-
ty-four inches tall with a knob on the top
of her head, in the middle of her pink
crown, you could make her do pirouettes
or walk on her toes. (They are now consid-
ered vintage if sold on eBay.)
For one year in my early teens, I par-
ticipated in dance line for school. We
performed at halftime for one basketball
game; the rest of our time was practice
after school. A strict budget meant we had
to sew our own costumes. My sewing skills
produced the required patriotic red skirt
and blue vest that went over our white
turtlenecks—all made out of unbreathable
pleather. Fortunately no photographic evi-
dence exists of this era.
As I grew into an adult, I tried a variety
of dance through community education
classes. My dance opportunities consisted
of sessions of tap, ballet, and some swing
classes, but I was never partnered consis-
tently with someone who was a strong
lead. I signed up at community classes
touted as no partner required and spent most
of the time dancing with the instructor,
and a great deal of time standing around.
Following that, I did three years of
Jewish/Israeli dance. Practicing a folk
dance style meant I could dance with no
partner. However, being introverted and
Photo from the Twin Cities Open by Karin Lynn Photography
SHeeRDANCe.COM 1 Sep 2015 • • 35[FROM tHe COMMUNitY]
• Reduction in stress and depression
• Increases in energy and serotonin
• Increased mental capacity through
exercising cognitive processes
• Creation of new neural paths due to
rapid-fire decision-making
For myself, I’ve discovered the fol-
lowing benefits:
• I get to buy new shoes.
• It’s fulfilling to my nature as
a lifelong learner.
• It increases my self-confidence.
• As an introvert, it provides
connection to others that enjoy
the same interest and a topic
to start conversations.
• As a single person, I experience
human (nonsexual) touch and
its proven benefits.
• I invariably find some reason to
laugh at myself.
• It creates a greater
awareness of posture.
• Listening to a song at work that I’ve
danced to can whisk my stressed
mind to a place of enjoyment.
My dancing has increased from once
a week to an average of two classes and
one variety dance each week. I enthu-
siastically administer two meet-up
groups where I encourage others to
join the fun.
But within the mystery of dance
can be greater lessons you may not
expect to learn. You may think you’re
learning cha cha, waltz, rumba, etc.,
but you may be learning much more.
For myself, I feel like in addition, God
is teaching me spiritual lessons. With
me, he tends to use life as an example
when he needs to get through to me.
This unconsidered area regarding
spiritual advantages came through
a Facebook post from KV Ministries:
“Life is a dance that demands rhythm
and balance. We can get so self-aware
that we lose our sense of being God-
centered, which ultimately leads us to
become self-centered.”
Cindy Taillefer shared her experi-
ence of learning ballroom dance in
response: “It involves an intentional
putting of your trust in someone else
to lead you—and that person’s pur-
pose is to create beauty through your
movements.”
In light of that, I hope to grow in
learning the greater life lessons God
wants in my relationship with him
regarding surrender and trust:
• Trust in someone else, through
knowing them, to have my best
interest in mind
• The advantage in allowing someone
who knows more to lead
• Surrender of my independence (and
the pressure of it) to allow someone
stronger to be in charge
Dance is a large part of many
cultures and celebrations in life.
Armenian folk dance is considered an
expression of love and yearning for the
homeland as a central theme of their
dances. Hebrews 13:14 states: “For this
world is not our permanent home;
we are looking forward to a home yet
to come.” If I, too, am just passing
through, like the Armenians, I choose
to enjoy the pleasure of dance as I long
for my homeland in heaven.
So remember next time you’re danc-
ing with someone of a more mature
age: they may step on your toes or put
an elbow in your ribs as they learn,
but remember you’re young and you’ll
heal. For me, I could be increasing my
neural pathways, longing for home,
learning to trust, or learning even
more of the many advantages to this
mystery we call dance. E
Photo from the Twin Cities Open by Karin Lynn Photography
36 • • 1 Sep 2015 SHeeRDANCe.COM[FROM tHe COMMUNitY]
Meet the University of MN Ballroom Dance Club Officers!
THIS FALL, THE UNIVERSITY OF Minnesota Ballroom Dance Club is
welcoming in a new officer board.
These dedicated individuals volunteer
their time to improve the Ballroom
Dance Club and bring a fun and wel-
coming ballroom dance environment
to the U of M campus. All of the
officers, in addition to holding these
elected positions, are full-time stu-
dents and active members of the Twin
Cities dance community.
Hannah is rarely seen without a smile on
her face and loves to spread the good news
of ballroom dance. Originally from South
Dakota, in addition to her role as vice
president, Hannah is a member of the com-
petitive ballroom team. Her favorite styles
of dance are American rhythm and smooth
and international standard.
Hannah AlyeaVICE PRESIDENT
Rosemary has served as the travel coordi-
nator for the Ballroom Dance Club for the
last four years. When she’s not dancing or
volunteering in the dance community, she
can usually be found working on her PhD
in mathematics, playing oboe in the campus
orchestra, reading, or hiking.
Rosemary O’ConnellTRAVEL COORDINATOR
When she’s not busy dancing, volunteer-
ing, or studying, Alexzandra will likely be
found—coffee in hand—spending time
with her friends, conquering video games,
discovering new music, and whipping up
delicious meals and desserts. She wants to
travel the world, dance as often as she can,
and be happy. She’s also a member of the
competitive ballroom team.
Alexzandra engerTREASURER
Rachel is a senior majoring in microbiology
with a minor in Spanish. She spent the past
summer working in a virology lab and learn-
ing Portuguese. This is her second year as the
safety and facilities officer for the Ballroom
Dance Club, and she enjoys the musicality
and fun dancing offers. When not dancing,
you can find her doing research, learning
about microbes, or reading a book.
Rachel MarusinecSAFETY AND FACILITIES COORDINATOR
Lizzie can be found furiously taking notes at
officer meetings or finding a fun way to be
sure that the university’s dance community
is always in the loop. When not attending
to officer duties, Lizzie is often making silly
faces at her teammates across the floor, chat-
ting with prospective members of the club, or
dancing ridiculously by herself to the music.
elizabeth WeaverSECRETARY
SHeeRDANCe.COM 1 Sep 2015 • • 37[FROM tHe COMMUNitY]
John is a senior at the University of
Minnesota and will graduate this year with
a B.S. in computer science. Though he enjoys
programming, his primary focus is how to
improve human-computer interaction. John
is currently the fundraising coordinator for
the Ballroom Dance Club and treasurer for
the university’s sailing team. Additionally, he
was recently awarded the Goldwater schol-
arship for his research on using cell phones
for indoor navigation. While away from
these activities, John can be found hanging
out with friends, eating grapes, or napping.
John O’learyFUNDRAISING COORDINATOR
Kevin is a senior at the University of
Minnesota studying computer science with
a focus on the theory of programming lan-
guages. In addition to dancing with the club’s
competitive team, Kevin enjoys learning for-
eign languages and practicing photography.
Kevin ViratyosinWEBSITE COORDINATOR
Jackson is a social and competitive dancer
with a great sense of humor who plans to
double-major in math and computer science.
He likes science and really enjoys a nice nap.
Jackson FossenMUSIC COORDINATOR
While Elizabeth just recently discovered
dancing as a hobby, she has loved every
minute of it. Elizabeth’s newfound passion
for dance was preceded by over a decade of
passion for music performance. Life outside
of dance for Elizabeth includes studying food
science at the University of Minnesota and
serving as a community advisor for UMN
Housing and Residential Life. She spends
her free time playing oboe, trying out board
games, and binge-watching Netflix with
friends (and her seven cats).
elizabeth WanningerDANCE COORDINATOR
This fall will mark the beginning of Seth’s
second year as publicity manager and his
third year with the Ballroom Dance Club.
Originally from South Dakota, Seth has made
a home out of the Twin Cities while he attends
the University of Minnesota. Currently work-
ing towards a degree in statistics, Seth hopes
to develop his career as a statistician and to
continue dancing competitively. E
Seth WestlakePUBLICITY COORDINATOR
Since first getting involved in ballroom his
freshman year, Joel has worked to promote
dance and personal development in every
area of his life. As president of the Ballroom
Dance Club, he’s overseen the development
of one of the strongest young ballroom
programs in the Midwest and nurtured
the ever-expanding social club. Joel is an
excellent student and Rhodes Scholar nom-
inee at the University of Minnesota who
enjoys studying anthropology.
Joel torgesonPRESIDENT
38 • • 1 Sep 2015 SHeeRDANCe.COM[FROM tHe COMMUNitY]
Photo from the Twin Cities Open by
Karin Lynn Photography
Better Management in BallroomBY HANNAH ALYEA
gained a new understanding of my
responsibility to the Ballroom Dance
Club. I now appreciate that things
such as communicating and making a
goal clear and even recognizing when
someone has done something right are
values that I can relate to partnerships
in dance. How many times have clear
goals in a partnership been discussed?
Or letting your partner know that
double-reverse felt really nice? In my
experiences so far, it has probably been
more infrequent than it should be.
If you would like to better under-
stand how to use people skills in large
groups, or even partnerships, I recom-
mend First, Break All the Rules and The
New One Minute Manager. If anything,
they are a very insightful look into
enriching the power of success in
business or dancing. E
THIS SUMMER HAS BEEN A REAL
learning curve for me in the art of man-
agement skills. I have recently become
the vice president of the University of
Minnesota’s Ballroom Dance Club, and
it comes with the responsibility of mak-
ing sure everything in the Club runs
smoothly and that people are happy.
My initial thought of being a good
manager was that it was all about the
ability to tell people what to do and
have them do it without complaint.
First, Break All the Rules by Marcus
Buckingham and Curt Coffman and
The New One Minute Manager by Ken
Blanchard and Spencer Johnson were
recommended reads on my journey to
discover what a good manager really is,
which I was pleased to find were very
insightful and helpful learning tools.
First, Break All the Rules is full of pro-
cesses good managers use to produce
incredible results in sales, production,
and customer service, and also to
maintain top-notch performance in
their employees while keeping them
happy. It advocates for finding people’s
strengths and weaknesses and, instead
of trying to fix someone’s weakness,
utilizing their strengths in a way that
helps them achieve their full potential.
This really stuck with me as I
read, because many people (including
myself ) have probably, at one point
or another, tried to fix someone and
make their weaknesses disappear. But
why change someone to fit the every-
day mold? Why don’t we utilize more
of people’s strengths, acknowledging
that everyone has something they are
better at than others? We get so busy
trying to fix people that we miss out
on the chance to set people up for suc-
cess, which is where The New One Minute
Manager comes in.
One-minute management is all
about setting people up for success.
Now that strengths have been fleshed
out, the objective is to put people in a
place where they’re going to succeed. I
personally can be a huge micromanager
at times because I grew up with the
mentality of “if they can’t do it right,
do it yourself.” This book really opened
my eyes with the idea of giving people
the right tools for them to succeed.
It’s really hard for a fisherman to fish
without a fishing pole, and in the same
manner, it’s very difficult to expect
people to get things done if they don’t
have the tools required for success.
In one-minute management, a
manager’s goal is to set someone on
the right track but letting them solve
problems on their own. First, give them
the right tools for success (training, a
good team, supplies, etc.)and gently
nudge them in the right direction.
This process is done by communicating
and making goals very clear. The best
part? It should really only take about a
minute or two to lay out the plan for
success. This is followed by recognizing
when people are doing things correctly
(something that doesn’t happen often
enough in life) and, when something
goes wrong, a one-minute redirect to
get back on the right path toward the
common goal (much more encouraging
than being punished for doing some-
thing incorrectly).
But why is this girl going on and on
about management skills in a dance
magazine? Reading these books, I have
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