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What exactly is Chicago Steppin’ anyway? 02-16-15
Chicago-Style Stepping, (also known as Steppin’) is an urban dance that originated
in Chicago and continues to evolve while defining its unique style and culture within the context of mainstream Swing dance.
Chicago-Style Stepping has gained popularity, particularly, but not limited to, the urban neighborhoods of America. “Chicago-Style
Stepping” makes reference to other urban styles of dance found throughout the United States larger enclaves in cities
such as Detroit, Cleveland, Baltimore and Washington, D.C. Chicago-Style Stepping,
or steppin’ as it is also known, has its roots embedded in the traditional dance movements of Swing Dancing. It’s
birth and unique rhythm was born in the 1970s when Disco and New York Hustle was burning the social dance floor and seen in
movies and television across the USA. The swing dance known as Steppin’ is a part of the Western
Swing family. The parent dance “Chicago Bop” may have been more Eastern Swing but Steppin’ has characteristic
more towards the west; especially its usage of a lane or slot. Steppin’ has a 6 count basic pattern. This is equal to
1 ½ measures of music in 4/4. Its tempo ranges 70 to 100 Bpm. Its basic rhythm pattern consists of a double and two
syncopated triples. The patterns start traditionally on the downbeat of one. The leader’s footwork is normally started
on their left and finished on their right. The follower dances natural opposites. Note that the term “Bop” was
used to describe the dance form by Chicagoans until the early 1970s. Prior to that time “Bop” was the known term
and its origin began sometime between 1945 and 1950 to express music and dance. The dance known as Chicago Steppin’
was Bop and is more likely a derivative of the Jitterbug. No published syllabuses exist for the dance. 02-16-15 - "ONE STEP PRODUCTIONS WEB SITE (MY1STEPLLC.COM) skip to main | skip to sidebar 
QUESTION:…..You probably get this question a lot:
How can we get more men interested in this dance, those who really want to learn and master it? There are always more women
than men which, I think, is why we've started seeing more ladies learning how to leadANSWER:…..Unfortunately,
this is the question that I get more than any other question……and I’ve addressed it a couple of different
ways, but I still don’t see wide-spread change or progress in this area. But the way that I think is the best way to
create a more inviting atmosphere for Male Steppers is one that most women, in my opinion, just are not simply ready to commit
to…..I think that Steppin under the “New Skool” mentality has become increasingly selfish beyond the point
that dancing is already a selfish activity (meaning you dance for self-gratification, ie songs you like, etc)…and with
this being the case new dancers care more about themselves and being seen as the best rather than the collective progress
of the community as a whole.
Now, I don’t simply blame the women…I also blame the Male Instructors,
Wannabe Instructors & I-Wanna-Do-A-Workshop Fiends (though they don’t have a clue)….Individuals who fail
to realize that having a Steppin class or doing a workshop is not suppose to be about them or their ability, but should be
focused on the success or growth of their students as dancers…..BUT….for whatever reason besides finally getting
attention in the club & the all-of-sudden interest from women, and not to mention the little pocket-money to make them
feel like someone, for a change,….They have missed the point.
The reality is that if you are an Instructor
and CANNOT produce MEN who are AT LEAST moving toward or going in the skill direction of becoming “good” dancers,
moving toward…if not one day matching your own ability or progress, then you are a “Garbage Instructor”,
and should shut your class down and stop stealing people’s money today!!! And NO!!!...I don’t care how many women
come out of your class…BECAUSE….STEPPIN is a LEAD-based dance, so over time, EVERY woman has the advantage of
being as good as her LEAD!!!! That doesn’t make you a “Star Instructor”, because the more those women dance,
they will become better dancers simply because they are increasingly learning to relax & FOLLOW based on their experiences!!!
Your “instructing” ability may shorten the learning curve or provide her with information that she needs to get
better, but the FOLLOWER in the dance is like the person in the passenger seat of a car…they don’t need a license
to drive.
The problem is that classes and Instructors as a whole ARE NOT turning out MEN who can actually DANCE
& LEAD these Ladies/Followers….and women learning to lead is not an answer to the problem…In my opinion,
that’s a gimmick that I’m really not interested in or amused by. This dance is supposed to be a reflection of
Male/Female interaction & relationships illustrated by two bodies caught up in an emotional embrace, sprinkled with conversation
& laughter, while bound for a moment by musical expression…And you just can’t get that with the woman leading
or the man following,….so let’s stop even entertaining it as a viable alternative…
And just
for the record….I am not saying that men can only teach men & women can only teach women though several people
make good arguments that do support that opinion….But the reality is that if you intend on teaching both roles that
you must have the ability & information to properly teach that role to the advantage of your students…not simply
teaching “What You Do”, but provide them with those concepts that allow them to dance freely across the board…because
the REAL reality is that they are not paying you to teach them to just dance in your class and then go to the club and not
able to initiate or respond properly…neither are they intending on dancing only with people from your/their class…therefore
whatever the role you intend on teaching…its your job to ensure that you have the necessary skill set & ability
to inform and lead by example…so my comment above relates to any Instructor that’s aiming to teach the LEAD role.
SOoooo, back to the point!!! How can we fix it????
Women must learn patience with their
counterparts in class, and at the parties. Now I’m not saying that when you are in class that the ladies should expect
or accept simply being crash-test dummies for the men…You came to class to learn too & the Instructor should accommodate
you on that as well!!! But what you have to be aware of is that a lot of the times that many men shy away from classes &
the learning process because of the pressure to do well…RIGHT NOW!!! And Ladies,….I’m sorry, but a lot
of you want the men to “make it feel like the instructor”…RIGHT NOW!!! And that man has never danced or
seen that move before in his life,….and in reality, he kinda wants to walk off the floor as soon as he sees the move
done because of the impending ridicule, his own doubts – because it doesn’t look easy at first, or all the twisted
faces that you’re gonna make when he does it wrong.
Ladies!!! I don’t think that you really realize
how much we do & how far we as men are really willing to go just to impress you or make you feel good or satisfied with
us. We actually care how you feel and that you are pleased with our performances….Why do you think we ask you to come
to our basketball and softball games even though we know you ain’t into it like that…..Many of you call us dogs,
but do you realize that “your dog” would do anything for you just for a pat on the head, or for you to tell him
that he did good!!! Holla if you hear me!!!
So Ladies….we need you to create a “welcoming” and
encouraging environment in which to learn…even though some of us are difficult to dance with…..We also need
you to invite brothers to COME TO CLASS!!! And there’s another thing…I know that its really difficult to come
to a party and not get many dances…let alone “good” dances…But I’d like for you to Stop dancing
with Brothers who don’t wanna learn how to dance for real, and encourage them to come to class so that they can learn
how to do it right rather than just fumbling along….
Now with that being said, I’m not saying to run
out and beat men over the head while you yell out that Dave Maxx told me to tell you such n’ such, or for you to take
the opportunity to ridicule brothers who are actually trying or are slower on the learning curve. I’m talking about
those brothers who have “no clue” and ain’t tryin to know, but they wanna holla at you so they tell you
how they’re doin their own thing…or the classic line in Chicago, “I’m from the west-side” or
“I’m old school” knowing good & well that ain’t why ….they just can’t dance. You
take classes or put in time to learn to do the dance the right way…insist on Brothers giving you a legitimate dance
experience.
Now, on the other hand its classes and their format that keep a lot of men from going…or better
yet it keeps them from going back…….NOTE TO INSTRUCTORS!!!!! Students DO NOT come to your class to watch you
dance or to tell you how cold you are!!! So stop dancing through your sessions. Students come to your class because they already
know you can dance, someone recommended you, or you may be the only game in town…..but either way…YOU must realize
that its intimidating enough coming into a class setting to learn something that it seems so many people are grasping faster
than you. Now you have an Instructor that loves to dance more than he/she loves to teach, so now rather than just competing
with the other students who all seem to be doing it right…now I gotta compete with this guy too. It makes the student
even more self-conscious.
A few more points that need to be taken into consideration in formatting classes to attract
men is to teach concepts that actually work for STEPPIN!!!
1.....If you wanna do a Salsa class do a Salsa class…..If
you’re crossing genres or introducing elements or concepts that are excessive, you run the risk of alienating your students
when they dance with people who are not in your class….If it doesn’t work on everybody, don’t make it a
principal part of your classes….make it a tip or “extra” move….Guys don’t want concepts that
don’t work later when they’re on the spot.
2.....Do Not Shortcut or short-change male dancers…..Men
need to learn to dance the Basic Step and how to execute turns & combinations while doing so…Teaching them a rock-step
or to simply walk back & forth puts them at a dis-advantage…YES!!! It takes longer to learn, but are you trying
for speed or quality performance in the long run…Put your student’s success ahead of your stats!!!
3.....Inform
men that when things go wrong on the dance-floor, that in most cases it is their fault – Then show them how to do it
right…Plainly….without all the stylish mumbo-jumbo….Tell them to STOP TRYING TO BE AN INSTRUCTOR in class
or on the regular dance floor…..talking it out doesn’t make it better……EXECUTING the move properly
makes it better…then they don’t have to say….”You was suppose to come or go over there”…There
is NO suppose to in Steppin…If you didn’t LEAD it…IT DIDN’T HAPPEN!!!
4.....Teach them
to MASTER concepts & REALLY Learn them before going to something else….because if they do not have a good foundation,
they will only become frustrated later when more complex elements are introduced.
Make class more about learning
& less about show-time, and you will attract men who want to learn…..You can also try some of the promotional ideas
that I’ve mentioned in earlier articles which are listed on this site too…but the biggest thing will be creating
an environment that’s conducive to making advances rather than just playin around…..
QUESTION:…..What is steppin' music? Is it it's
own genre? How is it identified? How do you know when you hear something ripe for steppin'?
ANSWER:…..Wow! This is a unique question…..The best
way to describe Steppin must is to point out the obvious elements – a great bass-line is a must, but musicality &
REAL lyrics are a major part. Although we do dance to some instrumentals…the staple of Steppin has been emotional expression,
so its better to have a song that makes us think or something that we can relate too, whether it’s a fantasy or an old
experience good or bad. Steppin music is not bound by any single genre. Actually, that makes Steppin a really unique dance
genre….
Unlike other dances that have very specific styles of music, Steppin just needs consistent rhythm
to work effectively…..Hip-Hop, R&B. Neo-Soul, Jazz, Pop, some Rock, among others…..I think that the most
important element for Steppin music is that it “moves” the soul…it should make you feel something and at
the same time invoke passion, not necessarily from a sensual side, but it should really move you to get into yourself and
feel creative & expressive…….if it makes your whole body move, and its not to fast then its probably “ripe
for steppin”……Now a lot of purist say that Steppin music is just the old stuff or classic R&B, but
I think that Steppin music is bigger than that….as long as it moves the soul….. Written below is my response to a Video clip & Question that someone sent me….the video
was a clip from a documentary on Hand-dancing and the footage was done primarily in D.C. Also, a couple of the people featured
in the documentary have come to Chicago before to check out Steppin at a couple of different classes & parties….The
gentleman that spoke on Steppin made very general comments and may have been from here originally, but was not familiar…by
his dancing…with what goes on here. If I’m not mistaken, hopefully soon…Black Mary will be releasing some
very old footage from the early 70’s that show the Steppin/Boppin scene in action…..Anyway, this was my response
after watching the video……and Also, the question was, Why is Stepping called Stepping?
Also, is this the ONLY Answer...NO! But in my opinion its the best info available
from people who were there & are still here to say so....
Garbage!!!.....That
guy on there was doing D.C. Handdance, I've seen the entire documentary & don't know him from Adam......True the term
Steppin has been used to relate to "Going Out" or being in the street for years even prior to it being used as a
term to describe the Chicago Bop. Also, the attempt to try to "intellectualize" the dance by calling it "Step"
is also WRONG it is Chicago Steppin...there is no plural or grammatically correct way to say it..its what we do as black people...we
create alternative terminology.
Gettin back to the point...there are two prevalent stories here that are supported
by the people who were here at the time, who were the dancers & promoters of the day....1...As told by William Barnett,
the first Mega-promoter - In the late 60's/early 70's, the dance was known as the Bop...(and each region had their own version
based on Jitterbug/Lindy)....the Bop is a dance which is more side-to-side. At that time you also had a movement to what we
do now, slightly forward & back that was called the "New" Bop...and the two formats IN CHICAGO can be done together,
though depending on the dancer may be very slightly off....
The term "Stepper" came to be used to describe
people "Steppin" in & out of the "Set"/party.....The dance was still the "Bop", but over
time that name gave way to the new terminology as "Steppers" began calling their intented activity at the party
as "Steppin", and thus the name stuck. So, in reality the dance, as done today is really the "New Bop"
& the people who do it are "Steppers". There are still Old-Skool dancers who refuse to use the "New"
term and still call it Boppin, though it is the same dance.
The other story is given by one of the "Original"
Steppin DJ's, Bob Simmons, who stated that when he & Sam Chatman used to spin at the parties that there was a gentleman
who would come out and very loudly say..."Play something I can Step to..." Which of course alludes to the way the
term was used in those movies/cartoons as an "out on the town" experience....we have to recall that the nightlife
experience has not always been a bright spot in American culture, but was seen as a dark, or embarrassing activity....so 'Steppin'
out has had a different connotation......In the Black community, we have always had tendency to take negative terms and create
a positive or "endearment" term out of it. Bob said that the tendency to use the term "Steppin" became
popular along with the other tendency to describe "Steppers" and what they were doing on the dance floor.
Calvin Barnes & another old DJ, Skip Jones told me about a guy who would go to the parties and yell out..."Step,
Step..." at certain points in the song.....they couldn't remember what the impact was though it drew a laugh...but thats
the REAL DEAL in Chicago......I really don't like that people try to lump all of the "GENIUS" of Black Social dance
into the same bucket as the "same thing" when in actuality its not the same...they are different dances, that can't
be done together unless you BS to try to make it work.....
In every region, black people created dances which reflected
the people, era, fashion, style, slang, demeanor, & preferences of the people in that region...we need to give props &
respect their ingenuity instead of ignoring the accomplishment. all too often people take away from the "standard"
that exists in our community even in "mistakenly" belittling what we've done as no big deal and thus we have accepted
this that will do mentality...when it WON'T DO!!! We need to look a little closer and see the Standard and adhere to it!!!
skip to main | skip to sidebar QUESTION:…..What is
the difference between the 6-count & 8-count? Which is the real count & which works better? I'm trying to make sure
I'm doing the right thing, and I'm tired of being told what I'm not gonna be able to do depending on which one I choose. is
count method really this important - HELP!!!!!!
ANSWER:…..The
ideology that making the choice to attend a dance class or work with an Instructor based on whether that class or Instructor
teaches using the 6-count as opposed to the 8-count method, or vice-versa, will make you a better Stepper or increase or decrease
your ability to dance with other people is a RIDICULOUS SCAM!!!.....And
its still being run!!!
Chicago Steppin is a smooth form of swing dance deviating from the Lindy
Hop…which also gave birth to the Jitterbug, and then to the regional dance, Chicago Bop, the parent/sister of Steppin.
Chicago Steppin consists of 8-Steps…PERIOD…...which are performed in a specific “order and pattern”.
There is no difference in the performance of this collection of steps, whether in rhythm, beat, or foot placement when either
method (6 or 8-count) is applied to teach the Basic Step or pattern. When searching for an Instructor or class, a student
should be in search of the class where he/she is most comfortable, and where the Instructor has the ability to break down
the movements illustrated in a way where the student is able to understand what he/she is executing. The student should also
be taught to understand the what, where & how of their body movements & placement while completing the movements,
not just doing it "because I (the Instructor) said so". NONE OF THESE ACTIONS HAS ANYTHING TO DO WITH COUNT METHODOLOGY!!!
Better yet, it doesn’t matter which or what kind of elements are used as reference points to attach to the various steps.
WHAT DOES MATTER IS THE INSTRUCTOR THAT IS TEACHING THE STEPS!!!
In recent months I have had a more than normal
increase in the number of students, who regularly attend other classes, attend my sessions and who upon immediately walking
onto the floor declare…”I can dance,…but I do 8-count, or I learned the 6-count over here.” My response
is not to send them to the Beginning section for “re-training”, but to ask them to do the Basic Step without counting
out loud…after which I have 2-3 other students begin to do the steps with them in unison. After a little of the song
plays, I stop them all and ask the “new” student to tell me which students were doing 6-count & which students
were doing 8-count. No one has ever been able to tell me….and the reason behind that is simple, NO ONE KNOWS!!! The
only thing that they are able to see is that they are ALL doing the Basic Step for Chicago Steppin. They are not “6-counting
or 8-counting”, but simply Steppin. All on the same beat and the proper corresponding foot, whether dancing on the Lead-side,
or the Follow-side. ANY Instructor who claims to know what count method a dancer is using by simply looking at them is a SCAM
ARTIST!!!
It is possible to do a “smoke and mirrors GUESS” by watching the student dance to figure
if that student bears the characteristics of a certain class or Instructor, and then make a determination based on knowing
that Instructor of that classes preference, if it is openly known. Otherwise….it is impossible to determine. Why? -
Because Count Method is NOT a factor in learning or teaching Chicago Steppin. Count Method for teaching is a matter of personal
choice, not a determination of right or wrong,….and the argument of which is better is pointless.
The true
gauge to getting better at this dance form is based on too invariable factors…1 – the desire & determination
of the student, with consideration to physical ability or disability, & 2 - the knowledge, experience, and ability of
the Instructor to adequately illustrate and teach those pertinent concepts necessary to grow as a dancer. Furthermore, the
“1 & 4” steps in the 8-Count Method, and the “2 & 4” steps in the 6-Count Method are exactly
the same and are performed the same way, and on the same beats. They are simply executed using different “Types”
of reference points. If an Instructor used the alphabet instead of numbers, the system he used would be CORRECT, if the movements
executed were properly performed in the correct pattern and placed/executed on the proper beats or rhythms. It’s that
simple!!!
Count Systems do not and should not produce different results in developing student dancers; neither
should the steps performed look different. What is also a clear fact is that the Basic Step IS the Basic Step and the only
ACTUAL difference is that you have a different number attributed to the exact same foot movement & placement, so there
is no REAL difference. Therefore, the concerns when a student enters a class SHOULD NOT be the count system, but whether or
not the Instructor is competent and can relate to his/her personal preferences and effectively break down the illustrated
moves during the session. Students should adequately research their Instructors, and their claims rather than simply accepting
them as “Top” or “Accomplished” teachers……because the ability and insight of the theory
of the dance is what will truly determine the Student’s path of development.
What is ironic is the fact that
EVERY COMPETENT Instructor encourages their students to learn to “Feel the Beat” of the music in an effort to
get away from having to continuously count, and to develop a “feel” for the dance. In addition, this “Transformation”
allows the student to develop their “individual style” of dancing. Well – if the goal is to get away from
counting, then what difference does it make which counting method is used to learn the Basic Steps and how to follow the rhythm
of the music. Thus, both methods achieve the same goal!!! The development of the student’s ability, again, larger depends
on the work ethic of the student and the skill level of the Instructor to develop that student while introducing concepts
for the student to master and grow as a dancer.
Up until the late 1990’s there was NEVER an argument over
Count Methods. You just didn’t hear the question….”So what count do you dance on?”, because no one
paid attention to them or widely used them, yet they still danced and most never even considered if there were numbers associated
with the steps…..and danced with no problem. The entire argument over Count Method started as a marketing ploy among
Steppin Instructors to garner students with “claims” that one count was better or more widely used, or that 6-count
dancers & 8-count dancers couldn’t dance with each other. In actuality, the problem that existed at the time was
not the count methods, but simply the predisposition of Instructors that their personal preferences could exist as standard
theory for Steppin across the board.
In other words, in some classes students were taught to execute moves only
as they were taught to them, in accordance with the Instructor’s personal likes and dislikes, as opposed to learning
the moves in their standard formats…learning to properly lead or follow their partners without a preponderance toward
the Instructor’s style. So when students danced at parties and in the clubs with other dancers, whether from other classes
or from other eras, they interact properly. The problem was NOT the Count Method, it was the Instructors!!! And some of those
Instructors are still pushing these lies because it’s profitable for them to do so.
But getting back to the
subject specifically, Can anyone tell me if, when they attend parties, they have ever asked for dances contingent on which
count a person learned – if they learned using one, or did you care more about whether or not the person dancing used
the proper Basic step, and did so smoothly and on beat. I’ve been dancing since 1994, and have yet to preface asking
for a dance with, “Are you a 6-count or 8-count dancer?” or “Do you dance Old School or New School?”
– (but that’s a whole other subject). Before 1990, if you asked a Stepper what count they were on, they would’ve
looked at you like you were crazy, because it was irrelevant!!!
REAL Dancers were concerned with control, foot
placement, adherence to the beat, and the ability to properly lead or follow…not with count method or how many turns
you knew. And those are the factors that weighed most in choosing or accepting dance partners, and it is what should be the
measuring stick of today’s dancers. Don’t get caught up in the scam by seeking out Instructors based on which
count methodology is used, as it is even a personal choice for the Instructors too…each has his or her own personal
reasons for choosing which. Besides, some Instructors switch between the two depending on which is most popular & profitable
at the time.
Research potential Instructors by asking pertinent questions, and finding out their true ability,
experience, and exposure to all the different parts of the dance. Get specifics on where, and in most cases from whom they
learned the dance & where they have actually honed their skills – this tells the exposure of the Instructor. If
you care that they’ve won contests, ask what competitions they have actually won, they should have proof. BE ADVISED!!!
All good Instructors have not won a competition or even competed…..and if they claim to have trained Champions or some
of the “Top” dancer’s, get the student’s names and verify it. Some Instructors claim to have taught
someone, but have only taught them a few turns or only had the person in one workshop – or the person had been dancing
for years prior to ever meeting that Instructor. Also, if the Instructor claims to be a “Master” Instructor, ask
“why?” they describe themselves as such, and what accomplishments have afforded them that title….it shouldn’t
be because they recently won the “Beginners”, or any other title…or have been dancing just a few years.
It should be a “resume” of pertinent accomplishments, contributions, and years of Instructing at all levels…otherwise
THEY ARE NOT MASTERS, but may be a good instructor. The term “Master” should not be used lightly…..
If you are a student of the dance in another city, then you should not be basing joining a class because the Instructor
is from Chicago. There is no way of knowing if that person was ever a part of the Steppin community here before they moved
to your city. When classes started to boom in other cities, all of a sudden people who saw the opportunity to claim their
prior residence to claim expertise….but I have seen too many people making the claim who don’t have a clue what
the dance is really about. What you should be looking for is an Instructor who has a REAL connection to a “qualified”
Teacher or Master of the dance in Chicago, and that makes regular trips to Chicago to keep their skills pertinent to what’s
going on, and so that they can develop as Instructors as well. Too many Instructors are making up information and claiming
Chicago, when they haven’t been there in 20 years and never really danced when they did live here, although they may
know the old dance spots. For Instructors that honed their skills as Instructors before they left here really don’t
apply to this situation, but there are literally only a couple of them that I am aware of. These are some of the important
points in selecting a class that fits you and will provide you with a competent Instructor to really enjoy this dance for
years.
Oh!!! And for the record,.....I teach using the 6-count method, but all 6-count's are not the same....I
prefer it because I feel that it is more melodic and easily adjusts to musicality standards whereas the 8-count seems more
cadencs-based and with some dancers makes them more rigid than flowing...one other reason is that when I started my class
it was more popular and I know that people like to go to different classes so I didn't want them to be confused or feel left
out or be told that they couldn't dance because they didn't do the same count.... i also like that the version that I use
doesn't count all the steps and gives a "directional order" to tell you what to do in the middle of it all.....BUT....In
my classes, we stop using numbers in the intermediate section and start learning to get accustomed to dancing to the song
thats playing and making the right adjustments to reflect that artist's mood.
As far as my own development, I was
fortunate that I was able to learn the dance from one of the Greats….Calvin Barnes..., using the “original”
8-count method (123,123,12 – which was the frame for the 8-count people use nowadays…NO, it wasn’t created
in the last 20 years), and I learned dancing traditional male/female positions. I got into the “follow side” leading
option messing around with a few of my peers, but later realized that the Lead needed to be in an “antagonistic position”
often for the dance to work properly, so I got into using both directions.
I really took to learning how to follow
with Angie Faine & Leanna Richard with tips from many others on how it needed to really be done. Angie also got me into
the whole “trouble-shooting” problems thing, and I excelled at it. As far as Walking, Boppin & Slow-Bop….I
learned those from Calvin & worked more on the Walking later with Casper, Ice Ray (who I worked on the High Steppin with),
Leanna Richard & Pat Evans from the Foxettes with a sprinkle of style from Adrian Haywood & Don Vic. I’ve gotten
countless tips and history from an incredibly large group of people who were movers & shakers that were there when steppin
was taking shape…. some of whom come out, some who don’t, and some who have passed on.
This is my
Steppin education, and I’m proud of it because it is LEGITIMATE and what I learned isn’t Old School, New Skool,
or anchored to a count….I WAS TAUGHT TO DANCE!!! And I can get down with the best regardless of where they are from
or what they claim….but I can also enjoy a dance with a new Beginner just the same. That is what makes your learning
experience good. Learning to enjoy music & truly be able to express yourself…..Look for that in a class & the
Instructor who leads it….not someone touting count methodology….because that is simply a waste of time!!! Good
Luck in your search!!!
| | Before We Introduce SIS...... Lets Talk
About Chicago Style Steppin
|
| |  Not to be confused with fraternity or sorority
stepping, 'Chicago Style Steppin' is a partner dance whose origins date back to urban Chicago communities during the 1970's.
Historically, however, Steppin' can be traced further back to the unique African American social dances of the 40's and 50's.
Consisting of two or more partners dancing in synchronization, Steppin' is based on a 6 or 8 count pattern of movement called
"the basic." Steppin' is a combination of "the basic" done with turns and footwork to the beat of many
musical genres such as R&B, Jazz, Neo Soul, and even Hip Hop. Steppin' branched outside of Chicago to the national
stage in 2003 with the release of the R&B mega hit "Step In the Name of Love" by R. Kelly. With the song's
explosive popularity came an explosion in steppin' classes, events, seminars and the like being hosted in such major cities
as Detroit, Atlanta, New York, Houston, Milwaukee, LA, Oakland, Seattle, and as far away as the United Kingdom. Steppin'
is truly an art form that offers the individual an invitation into a unique social and cultural community where all newcomers
can have a good time, hear some good music, and have fun!
|
| Introducing and Presenting |
Chicago
native and Steppin' instructor, Charnice Simmons (bottom row, left center), has been a part of the Steppin' community
for well over 20 years and began instructing 10 years ago. Her teaching expertise and knowledge have yielded invitations from
Steppin' communities across the nation.. In Ms. Simmons travels she saw a void, in reguards to female reprensentation,
and used this as motivation to form Sistas In Sync (SIS). She felt a group of women could bring a unique perspective on style,
grace, integrity, etiquette and history to Steppin'. Each member of SIS was hand-picked by Ms. Simmons for their individuality,
personal style, dance and professional skills. Together, this group of 7 women has a combined history of 60
years of Steppin', 30 years of teaching, as well as a unified and dedicated passion to the national steppin' community.
MEMBERS Charnice Simmons Founder, CEO, Lead Instructor (bottom row, left center) Cheryl
Powe 2nd Instructor (bottom row, far right) Deon Farr 2nd Instructor (bottom row, far left)
Melanie Fields Aministrator, Assistant Instructor (top row, center) Sharon Bolden Accountant, Class Assistant (top row, left)
Natisa Dill Marketing & Promotions,
Class Assistant (top row, right) Event Planner, Class Assistant (bottom row, right center)
|
| | | It is SIS's
mission to promote and educate the dance community across the country about Chicago Style Steppin'. Our organization
is built upon five cornerstones: STYLE, GRACE,
INTEGRITY, ETIQUETTE
and HISTORY. These are the five principles we incorporate into our
promotion and education of this beautiful dance art-form. SIS is committed to maintaining the rich heritage, supporting
a continual evolution and the advancement of steppin' as an integral part of dance-art community both nationally and
internationally.
|
SIS will provide instruction on the fundamentals of Chicago Style Steppin' utilizing the basic
steps of an 8 count ~ 123, 456, 78. New students will learn "the basic" pattern and turns. Females will
learn to follow their male partner and males will learn to lead their female partner in the dance. SIS will focus
on maintaining the integrity of the dance while performing it with style and grace.
|
Coming to a City Near You! |
Sistas In Sync is excited to present Chicago Style Steppin'
to your city! The instructional workshop series will be conducted by Charnice Simmons, Lead Instructor, and up to 2 assistants.
SIS will provide instruction at all dance levels. The bi-weekly or monthly workshop series are designed to introduce the art
form of Steppin' in a well-taught, structured, easy, and fun format. SIS looks forward to the opportunity to
present Chicago Style Steppin' to you and your city!
|
To
bring SIS to your city log onto 773.250.4368 Designed by
Natisa Dill |
|
|
|
| | |
|
Sistas In Sync, SIS | Designed by Natisa L. Dill | natisadill@yahoo.com |
510 685 1961 | West Coast | CA | 94501 |
***DANCE
Etiquette - Why won't he/she play my song?
DJ Please Pick Up Your Phone I'm On The Request Line. REQUESTS. First
off, DJing is NOT an easy job.
You have many people with different tastes (R&B, old school, new school, neo
soul, dusties, rap, etc.). The DJ's job is not to play every song on your iPod Top 40 playlist, but to set the vibe by creating
an atmosphere using music as the base st...ructure to connect with everybody on the set by playing music for Steppers to dance to by trying hard to please the
crowd (although, it is "extremely hard to please everybody"). Therefore, screaming requests at the DJ will not only
distracts him/her from their job, but it also frustrates them. Sarah Teagle 03-17-13
Realize that EVERY song is not gonna be YOUR song. If a song is played you don’t like, sit that one out, take a break,
cool off, introduce yourself to someone, buy a drink, order some food, etc. But whatever you do, please DO NOT complain to
the DJ during the set. While you might not like that ONE song, someone does and is enjoying it, even if you are not.
And, although it may look like all the DJ is doing is clicking buttons, there is much more going on than meets the eye.
He/She is focused and concentrated on how to keep the party jumping by trying to read his/her audience. So the next time you
make a request, be KIND. Your song may or may not fit in with the current playlist. If he/she can make it happen, they will
play your song. If the DJ does a good job, let them know…or if you really want your song(s) played >** TIP **<
the dj in appreciation. I assure you that your song will be played the next time you come on the set.
Suggestion:
If the DJ opens the request line before the set, take advance of it and get your songs in and it will already be in the playlist,
waiting for you when you get to the set.
DANCE Etiquette: How To Choose An Instructor Part 2
Watch instructors
as they dance. By observing how teachers dance – on the sets – you will pick up clues about their teaching styles.
Certain techniques may be more appealing to you than others. You'll notice some instructors who are precise and dramatic,
while others appear equally proficient, yet more relaxed and conservative in their moves. Also notice how they treat other
steppers they dance with; this is how he/she will be as your instructor. Sarah Teagle 03-22-13
***DANCE Etiquette: Choosing An Instructor | Part 3
Attend a class or
workshop conducted by the Instructor. This is a great way to obtain an overview of his/her teaching skills.
Take
a private lesson. This is a chance to "test" your potential instructor and get and overview of how you feel about
their instruction. Sarah Teagle 03-25-13
***DANCE
Etiquette: Choosing An Instructor | Part 5
You have chosen your instructor and you go to class. 1. You and your
instructor should be on time, relaxed, and ready to go! 2. There should be an orientation process (welcoming you with an overview
of what to expect). 3 You should have a notepad (this is CLASS, take notes {to help you remember what you learned}). 4. ***VERY
IMPORTANT: You shoul...d be given
a lesson plan as to what you will learn (a syllabus). No lesson plan? Well, how will he/she measure your progress? What will
be taught and what will I learn? Sarah Teagle 03-27-13
Side Note: If you still can't
decide on an instructor, research your options. Use the Internet and social media, like Facebook, to expand your search for
recommendations or websites and online newsletters often contain instructor profiles. Most instructors maintain their own
sites or Facebook pages.
 "ASK THE DANCE DOCTOR!!!" featuring 09-23-09 Dave Maxx I am now doing a regular blog that will include some
additional in-depth essays - questions & topics, in addition to past questions that I've done here on the
Dance Doctor Column...so continue to catch me here every week as well and become a subscriber to my blog...CHECK IT OUT!!!.....
http://dance-doctor.blogspot.com/
Well, Well, Well,......Once again we know that the "Contest
Season" is upon us, when in the few days after the contest there is "mayhem & confusion"...and everyone
who didn't think you or your friend/instructor won is a hater. And although its a dirty shame,....No One does "mess"
better than "US"....and I hope you know what I mean when I say "US". We need to make a real effort at
change people...because this foolishness is beyond ridiculous! Simply put, the Stepper's community is becoming the perfect
example of "Crabs in a barrel" actions & rejection of standard for doing things properly, and
replacing it with "That Will Do" mentality, when it won't....This is nothing to be proud of!!! We as a whole are
abandoning the very elements that we claim are what Steppin is all about....Class, Respect, Sophistication, Maturity, True
Sexiness, and FUN!!! And it needs to change before we run more people away from this dance than we attract to it.....
Anyway,....This weekend we saw it ALL, & I do mean WE SAW IT ALL!!!...LOL!!! We've also heard a lot of verbal noise,
some legitimate, and some by people who need to be quiet and learn about...#1...this Art Form....(Steppin,
not old school or new school or some hybrid featuring all kinds of things from other styles - STEPPIN), #2....the
actual traditions...(not simply our instructors opinions, or what you heard - don't just repeat what the preacher
says, you gotta read your Bible for yourself & in Steppin you must look for yourself to gauge if you are on the right
page), #3....the actual RULES & GUIDELINES of the dance....(NOT the rules that you wished
existed, or what made you holler or entertained you best)...., and do these things BEFORE becoming scholars on things
that you haven't taken the time to learn about before running off at the mouth.
I've listened
and heard a lot. So, before getting into the question that I chose this week, let's take a look at a few of those statements,
followed by minor rebuttal.....
The contest would be boring if it was done how they're are
tryin to do it - This contest started 20 years ago, when most of the people complaining didn't have a clue about
Steppin & it was ALWAYS entertaining & EVEN WITHOUT TRIO, which is not a part of ORIGINAL STEPPIN...it was just a
great entertainment feature!!!
There was a conspiracy...it was rigged...they only had one new school judge
up there - Last time I checked, most New Schoolers were still takin classes and have just started doing the dance in the
last few years...Where is the experience to be able to determine what is what? How many of them have had the drive to get
up there again - even after they don't win? How many call for "special" concessions or more categories
just to get better odds to win?....but wanna claim fabulous titles such as "master & top" instructor?
We, the contestants, should be able to pick the judges - When many of the contestants are willing to cheat, lie,
complain and even step down in category level to attempt to avoid real competition just to win.....WHY THE HELL WOULD
ANYBODY TRUST YOU PICKIN A JUDGE!!!
They started TOO late and it wasn't organized - On this one
I gotta throw Pete under the bus...BUT...I also realize that its VERY
VERY difficult to pull off an event of this size while trying to depend on other people to help you, who may not be as clear
as they need to be on how to get it done the way you want it, or be as savy as Pete is in handling problems. Its impossible
to "clone" yourself and do ALL the jobs and make it a GREAT event that has no inconsistent moments...it just doesn't
exist. But to say that the event was horrible is not fair.
Also, what many should realize is the fact Pete
is not an Event Planner, he's a Stepper who became a promoter, saw an opportunity and put himself on the line when others
didn't,....to make a contest that was DEAD & GONE, come back to life. The event is not perfect, but you have to admit
that it is one of the grandest events taking place in Steppin. In addition, it takes a lot of money & personal frustration
to make things happen, and just tossing money to get more help isn't always an option when building the event.....I've
done events that are no where near as large and have wanted to choke people as EVERYONE around wants to talk or complain to
you and only you.....and you know how we are when we think that we are special. In my opinion, this was actually one
of Pete's better events, though it did not fulfilled everyone's personal desires.....but with time I'm sure that things
will improve.
QUESTION:
If you haven't done
so already, can you publicly address your opinions on some of the events that occurred at this weekend's World's Largest Competition
in Chicago? Specifically I'm referring to a few things:
- The result of the 1st, 2nd & 3rd place category in the New
Skool Category. I'm assuming that because of the boos from the crowd, many people disagreed with who took first place.
- The
1st place winners of the Masters Category. Many people thought the winners were not "show stoppers",
so they should not have won
- The lack of "appropriate" attire on several of the contestants.
- The overall judging of the contest. I heard later that evening that
several "heavy hitters" felt that parts of the contest were not judged fairly or correctly. I overheard
one "heavy hitter" said the contest was "rigged."
- Any other feedback you have on the overall contest itself.
Although I enjoyed myself thoroughly this weekend, I
heard many out-of- towners say they would not come back to the WLSC after some of the events I described above.
ANSWER:.....NEW SKOOL Category - MAJOR SIDEBAR....Let
me say that I hate that name...it should be ORIGINAL STEPPIN - Open Division, (This would better account
for people's styles who fit better with younger dancers). Using those other terms only creates a division that SHOULD NOT
exist among Steppers. Not only that, but Steppin has always been something that drew us closer, bridging the gap between older
and newer while "welcoming" new & younger dancers into a more mature realm. Steppin has effectively reflected
cultural traditions respectfully, while not throwing those traditions on the fire in hopes of changing it all
in the name of progress, or to make an excuse for outright changing something and calling it innovation, when its
actually copping out.
Whether you like it or not, the dance that many New Skool instructors are teaching
is a Steppin hybrid, that includes so many "made up" elements that the real dance
is getting lost with watered-down BS & personal preferences being served up as legitimate format, and its making the dance
sloppy. New Skool dancing increasingly focuses on men never learning to dance, but simply walking around while spinning the
woman repeatedly...much like salsa rather than "true' Steppin which is based on foot movements, and not flurries of turns....and
women being so attached to basic that they are never let go, or allowed to learn to do REAL footwork instead of those BS routines
panned off as footwork.
Keeping the dance smooth doesn't mean that you can't do turns or be exciting...but there is a real
difference between turning and repetitive spinning....Claudell Jackson is one of the greatest dancers around and uses a lot
of turns, but those turns are in control and tempered along the format of Steppin not based on another dance. And he actual
uses footwork to embellish the dance rather than just walking around and continuously turning his partner. I think
the misconception is that Steppin can't have turns & still be ORIGINAL...they can be included,
but should be developed to go across style lines & be executable regardless of era, body shape or size, where
you live or even by who & where you learned, but should rather be hinged on the actual BASIC principles of STEPPIN! Steppin
is a 'social' dance which encourages social interaction during the dance & true appreciation of music for ALL who endeavour
to enjoy it....
"ASK THE DANCE DOCTOR!!!" featuring Dave Maxx 09-13-09 I am now doing a regular blog that will include some additional
in-depth essays - questions & topics, in addition to past questions that I've done here on the Dance Doctor
Column...so continue to catch me here every week as well and become a subscriber to my blog...CHECK IT OUT!!!.....
http://dance-doctor.blogspot.com/
QUESTION:.....Considering your statements
on counting & learning to dance in your last article.....Is learning the count is still important? Or, are you saying that
using numbers as a "reference point", or early "auditory learning tool" is no longer valid? I've
always thought that you need to 'know the count' to aid in developing movement memorization, and now it
seems that I'm reading you stress that learning a count as not being important.
ANSWER:.....Even
though EVERYONE does not learn to dance using a count, in today's Steppin Era....Most people do!!! Which somewhat causes a
rift between those who do & those who don't...or at least leads to a misunderstanding of the learning process because
they've entered the dance community via different paths, yet it really isn't important how you learn, but what is important
is that the Basic FORMAT is consistent & the same. Much to the dismay of the masses, there are also Classes &
Instructors here in Chicago, where they do not use numbers to teach in the traditional format, or according to what people
expect...but the FORMAT & TIMING of the dance is consistent.
Now, as it relates to students of the dance
who are learning in this Era in classes where "Counting" is the "base method' being used to teach the dance......Learning
the count is ESSENTIAL to learning the basic. If you go back in my articles you will find that I laid out the level of mastery
necessary to move to the next or intermediate levels. In addition, when the student is able to do the BASICS in
that manner, they are more apt to be able to "let go" of the numbers.
Numbers are, or rather SHOULD BE, used
in initial BASIC drills & in "introducing" the "primary/fundamental" turns and footwork because the
student is still early in the learning process, and in most cases will still need "reference" points to relate when/where
movements should be executed. The student is moving into an area of learning that is executed with the upper-body, but which
is precisely reflective of the action performed in the lower body. Most dancers will need something to help them build a transition,
which is the numbers. But, just like in learning the Basic Step....the students must be weaned off of the numbers so that
he/she can relate ALL movements to the song playing and everything away from the "crutch/numbers"....its the equivalent
of taking off the training wheels on a bike.
This is why its so critical for students to take their TIME &
pay attention early on, and to not simply reproduce the fundamental turns & movements introduced, but to "practice
& master" the movements so that he/she can make conscious decisions that are also effective and consistent while
styled to be reflective of the music being played. The idea of starting students out with a lot of movements, in my opinion, is
ill-advised because they are learning to reproduce, not make good or definitive decisions or even understand what they are
doing or be able to ariculate the concepts which make up the different "building blocks" of executing those turns
or footwork.
The key to this dance is to MASTER the "primary or fundamental" elements & concepts
and then learn to transition & bridge those concepts to creatively create combinations and develop styling....but those
PRIMARY elements should be explained or introduced with numbers, initially.
The student has effectively learned
the turns or footwork, when he/she does not count and doesn't need too....just like in Basic they should be able to call out
the movements, describe and execute the turns, ALL while holding a conversation and/or sing the song playing.....at this
point, they are ready to create bridges, transitions, etc...aka...Combination turns, as well as be able to actually implement
footwork moves at appropriate times, but ALL of this is being executed in a logical, controlled, and effective manner.
The MOST IMPORTANT element to know & understand is Steppin is the Rhythm of the song....and the rhythm defines
the BEAT........
QUESTION:.....What
can I do to get the most out of my trip to Chicago for the World's Largest Stepper's Contest this coming weekend? Its
my first time coming out there, and I want to see as much of the REAL community as I can?
ANSWER:.....Well, this weekend is a blessing and a curse for getting a well-rounded feel for
what is really going on in the Stepper's community because there is a lot going on, and you can't get it all in. But
the biggest thing that I would encourage you to do is to come with an open mind, and to clear your head of a "heaven-like"
experience. Steppin here is good, but if you expect too much, you're gonna disappoint yourself.
But here are a
couple of suggestions..........
Don't just go to the World's Largest sponsored events -
Steppin IS NOT determined by the World's Largest...it is not the "go-to, include-all" thing going on here....
They do a good job of bringing things together, but at the same time, it is not attended by everyone, so you need to move
around to get a look at the community as a whole.
Find some additional events & parties to go
to - Make the most of your time here!!! I think that every student coming into this dance shouldn't be
laying claim to old or new school, but rather should be embracing the dance. To do this you have to go to venues and dance
with people that may not include your guide or instructor's preferred venues to hit. Two MAJOR places
that I suggest to go to are Leanna Richard's "3rd Friday Set at the 50 Yard Line"
- This party is attended by several of the REAL LEGENDS (not us New Jacks) and Stars of Steppin that you
have probably never heard of. They play all of the music...do all of the dances of Steppin....and the party kicks off at 5pm
- GET THERE EARLY, before you go to the big party at Mr. G's...it is definitely worth the visit...BUT....Here, you MUST
follow the RULES of Steppin & Etiquette....Stay in your lane, Dance to the actual song thats playin, This ain't the
contest don't do all those turns - At this party you gotta DANCE...and they will let you know if you are wild!!! If you go,
tell Leanna that I sent ya over....
LADIES!!! There are several of the BEST female dancers at this party if
you wanna pick up some styling tips....
Also, go to the EAST of the RYAN late on Friday after
the Mr. G's party...its an underground spot, but there is a lot of good dancing & music over there. If you stay through
Sunday, Check out my party at the Dorchester in Dolton with Just Us Productions with Mellow Khris on
the box...it is an early set, and after that I'll be heading over to 3G's for the Late Show with DJ Eric
Taylor & Lady Margaret
Check out different classes or take a workshop....BUT Don't go overboard
- When you're in the Chi, don't overdose on the classes and get into all the debates and stuff....You're here to
have FUN, so do that.....After more than two sessions with a couple of different instructors, you are not retaining anything
& just wasting money.....Take the time to see our city and enjoy the weather before its gone.......No I haven't decided
if I'm doing a workshop or not, but if I do, it'll be Saturday afternoon......to keep in the know, send me your cellphone
number to maxx@davemaxx.com, and I will text you all the info by Friday evening (If I do it, it will be a humdinger!!!....and
yes, it'll include Walking, but I am not sure)
If you have the chance to meet some of the popular
Steppers that you've heard of, or are a Fan...let them know and introduce yourselfeven if you've done it before!!! -
Pick the brains of these people if you have questions, and broaden your understanding of the dance......We DO NOT all have
the same opinions or philosophies, but thats OK...take the time to listen and figure out what makes sense to you, and what
you see as logical and that works for you.... All of the dancers that I know are very friendly and open to meeting and talking
to you....don't worry about what you heard, introduce yourself and find out for yourself!!!...You will be surprised!!!
Don't just buy music from the DJ's....Talk to them - Understanding the music and learning about what
you're listening to, and what really is classic steppers music and what is a fad is important to know and learn about....whether
anyone really realizes it...the DJ controls the party, and needs to be interviewed to understand what is REAL Steppin music
and what is just hot for the next 6-weeks!!!
Go to Harold's Fried Chicken - If you don't
know or ain't heard, you're missing it!!!
Go to Gino's East, Giordano's or Lou Malnati's Pizza
- Cause its Chicago Baby!!!
.....and last of all HAVE FUN!!!!
- Yes the World's Largest is a competition, but this event has gotten away from what it once was, because
people see it as a means to be better than someone else. I wish all the dancers GOOD LUCK!....BUT....whether you win a title
or not, DOES NOT define you as a person or a dancer. Several people have won who are still subpar dancers who don't have
a clue...AND...Most of the BEST OF THE BEST DANCERS have NEVER bothered to even get in the contest because it never mattered
to them....so getting in the contest doesn't make you better than anyone else, or a scholar on this dance should you win....So
enjoy the weekend for what its worth - Good Fun & Competiton without all of the hating & drama....and thats coming
from someone who has a few WLSC trophies in his living room!!!
"ASK THE DANCE DOCTOR!!!" featuring 09-10-09 Dave Maxx Q:.....With
all the variations of the dance being taught, various schools of thought, methodologies, frameworks (and lack thereof), what
can a student do to ensure that they can take their dance across the country and be able to roll? A:.....HHhhhmmm......Tough
Question - One of the most difficult things to do as a "Student" of this dance is to figure out what is "legitimate"
info and what is garbage. The first thing that anyone should do is ask the Instructor that they are vetting is, WHAT is your
philosophy on Steppin, and teaching or learning it? If that person's response claims a school of thought like.....I'm New
School, and I teach New School...Be Advised that you most likely will only be able or be more conditioned to dance at new
school venues, to faster music, and will ostracize yourself from an entire style of dance. What I am seeing being introduced
a lot across the country is a lot of "contest" moves...meaning moves that violate the basic principles of the dance. If you are learning moves that CANNOT be done in a standard
lane-space, then it does not work across the board (Steppin is a controlled dance where you must exist & perform in a
contained area)....If you are learning a Basic step that is long, wide, or sends you into your partner’s space, then
it does not work across the board (By overextending the Basic in any direction, you are hurting the dance & cutting the
Lead Dancer short)....If you are learning "phantom" turns, meaning those that take place without being lead...ie:
"I moved out of the way or my spot, so you are supposed to just go over there," then it does not work across the
board (ALL Turns/Moves in Steppin should be Lead...there is no telepathy in Steppin, and everybody didn't take the class you
took . . . Every dancer has different preferences, but if you learn to cater to the preferences of a particular instructor
then you cut yourself off from being able to effective dance with people who don't have the same philosophies) . . . If everything
you learn is geared toward fast music, then it will not work across the board (Steppin is NOT a fast dance . . . It’s
a smooth dance that can be performed fast, at times). In addition to simply realizing, what fits into the Steppin framework, also ask the Instructor about his REAL
ability . . . If he/she is saying that Steppin came from the Bop . . . can that Instructor show you the Bop . . . is that
Instructor aware of and able to perform the other styles of Steppin or are they simply able to tell you about them . . . Ask
them if they attend different types of parties and clubs, both old & new school (If that Instructor only goes to one type
of venue, then they probably only do one style of the dance) . . . If an Instructor claims to be a MASTER Instructor, but
doesn't know how to Walk, and walk for real, what makes them a "Master" . . . ASK QUESTIONS!!!! There is NO SINGLE WAY to tell what will prove to be
pertinent information in Steppin. There are too many people who are using this dance as a means to hustle money, become popular,
or achieve their own goals to know one way of flushing out the BS. I have met more people supposedly from Chicago in the past
few years, who can't tell me where they went to school here, or where the school is to shake a stick at . . . And I've seen
more "Master" Instructors who've been dancing less that 5-10 years than I've ever seen (At 5 years I was dancing
5-6 days a week and wasn't a master). There is a lot a BS out here, and some of it is attached to popular names too . . .
The BIG question you must ask, IF YOU REALLY CARE (everybody doesn't) is: Does this fit into the framework of Steppin? Not
a school of thought or a count method...Steppin should bridge gaps, not create them . . . And the other thing that I really
suggest is that you come to Chicago & go to different types of parties that play different types of music and have dancers
of varying age groups. When you can exist in ALL of these environments and have a good time, then you are implementing dance
concepts that are legitimate . . . I feel like my answer is a little incomplete, but I hope that this prescription helps!!! Q:.....I learned how to step through the 8-count method. I've been
steppin for about three three years and I have had mostly old school steppers and some advanced steppers tell me that they
can tell that I'm counting. (I count in my head and not out loud, especially with advanced dancers or people I've never danced
with before). How do I either get better as not to appear counting or learn how to just "dance" to the music? I've
also had men tell me not to count, just "look sexy and dance." A:..... (Immediate
Sidebar - Steppers, please stop referring to yourselves as 6 or 8 count dancers . . . It does not matter on any level!!! The
idea that it does, is a LIE! And ANY Instructor who says that it matters is a scam artist. I learned using the original 8-ct
format, which is 123,123,12...which was reborn in the 90's as 123,456,78. I teach using the 6-ct method because I like it
better. I could use the 8-ct method, but I don't like it...better dancers are produced based on the ability, talent, and knowledge-base
of your Instructor, not the count method he or she uses. Announcing what count method used tells an Instructor or anyone else
for that matter, NOTHING. I have NEVER asked or not asked, not enjoyed or enjoyed, a dance based on the count method that
person used or learned with . . . I didn't even know . . . BUT . . . I have done those things based on how the person performed
the BASIC STEP!!! Also, certain Instructors teach certain elements that can be seen a mile away, so another dancer may be
able to tell where you learned based on some habits, but NO Instructor can tell what count method you're using unless you
are giving it away by some other habit that you have.) Now, to directly answer your question . . . In my opinion, one of the shortcomings of most of the
instructional methods out here, is that the entire curriculum that most instructors use is entirely based on counting. The
problem with this is, that students learn to dance to numbers, rather than learning to dance to the song that’s playing.
This is evident by the fact that many dancers appear to be off beat or NOT dancing to the song that’s playing. These
dancers tend to listen to the beat of the song to establish where they will start counting as opposed to listening to the
song for enjoyment & expression. What
should happen is that the student learns the BASIC formats using a reference system such as the 6 or 8 count methods, or some
other method, then the student should be weaned off those numbers "early" in the learning process so that they can
learn how to apply those steps to the elements taking place in the song that’s playing, particularly the main drum beat,
rather than reciting numbers. Most dancers prior to 1990, never used a count system at all to learn how to Step . . . they
learned by learning the steps or basic format, and then learned where to execute those steps to perform the dance, then, they
learned how to style those movements developing a "style." Although this method took considerably longer to get
better at the dance, it developed a deeper understanding of the dance as well as an appreciation for it. All too often people say that they enjoy Steppin because
it allows them to express themselves or to enjoy some good music . . . Well, how can you learn, listen to, or appreciate good
music when you're counting through the whole experience?!?! I don't see how you can even hear the song really, or truly get
into what the Artist is trying to share with you. How does this all relate to you, and your issue? .....When you are dancing, you "tip your hand' so to
speak by your facial expressions, body language, breathing patterns, how you focus you eyes or attention & several other
factors . . . When these elements of "YOU" are not relaxed, comfortable, or relating to the music, they tell your
partner who may not be counting that you are not really comfortable with dancing or are not really enjoying the "ACTUAL"
song but are simply listening to the beat because your dance is lacking "emotional value or expression" . . . in
other words, you're focusing on something other than the song or having FUN!!! This effort is usually buried in the desire
to NOT MAKE MISTAKES . . . but Steppin is mistake-friendly, but people have become so focused on being "good" or
"contest-caliber" that you never get a chance to really "relax." My suggestion is that you STOP COUNTING, and learn to perform the BASIC step in comfort and without
the worry of "messin up" . . . I mess up all the time, and I never apologize for it. This is dancing, and it’s
for FUN!!! Listen to the beauty of the music . . . relate to it and allow yourself to be free to mess up and fix it all at
the same time without missing a beat . . . This is the true genius of the Steppin genre. Learn to move based on popping your
fingers or the main beat. "Moving sexy..." means to allow yourself more freedom, but stay in control while dancing....when
the song is pretty be pretty, when its happy & bouncing, move free & happy. Letting go of the numbers is okay!!! Anyone
who advises you differently has yet to TRULY understand or even really do this dance the way it was intended. Hope this prescription
helps . . .
"ASK THE DANCE DOCTOR!!!" featuring Dave
Maxx 08-10-09
Q: I followed your advice about asking Brothers to dance.
It worked a little, and it didn't work as well as I wanted it too. I don't mind asking a man to dance, but I really don't
like getting turned down. It takes a lot for me to even ask, but why is it that a guy thinks he's all that to the point that
he can turn me down, its not like I'm ugly or that I can't dance. What do you have to say now Dr.?
A: Well!!!.....Let me bring you into the world of a man
attending a social dance party....At this party, its like most parties...a lot more women than men. Upon entering the
party, a Gentleman speaks to a couple of people he knows...stands around a little to soak up the aura & vibe in the room,
then sees a lady that he'd like to dance with. After a couple of songs, he sees someone he knows who is motioning to him to
dance, and he obliges her. After a couple of more songs he leaves the floor and goes to the bar for his beverage of choice,
but while standing there someone comes up and asks for a dance...he puts his drink on hold and returns to the dance floor
once again. As he's leaving the floor, he notices someone from the class that he's taking is motioning that she wants to dance...so
he "has" to dance with her.....and after he finishes this dance begins to head back to the bar to get that drink.
He makes it to the bar and gets his drink and is then approached again by a friend who loves the song that’s playing,
so he puts the drink down at her table with her friends and heads to the floor once again. When he gets to his drink, which
is a little watered down, he enjoys the moment before finally hearing a song that he likes. He sees a lady that he's really
been wanting to dance with and walks over and asks her to dance and is refused. He retreats to an open standing spot and "waits
till later". After "his" song ends a lady walks up and asks to dance just as his buddy stopped to talk, he
shortens the conversation and accepts the dance request, and again while leaving the floor gets another request after which,
he sees someone else from his class that wants to dance. This cycle goes on all night.....at the end of the night , this man
had one watered-down drink, danced with 20 women, talked to none of his friends, didn't dance on any of his songs, and got
turned down repeatedly all night and didn't complain but took it in stride even though some of the sistas was a lil rude.
The BIG question is did this man have a good time or was his "recreation" making sure that other
people had a good time?
So the next time he comes out he decides prior to coming out that he doesn't want
to dance the whole night, but rather just wants to have a couple of drinks, actually talk to his friends, listen to the music,
mellow out...then dance here and there. In the process, he turns a couple of women down...its not personal, he was just enjoying
"his" moment of RECREATION.
What must be realized is that when a guy (or lady) comes out that
they can't be held accountable for making sure that you have a good time. It’s not fair, because then they don't enjoy
their moment. Asking a man to dance and getting turned down is not the end of the world. We deal with it all the time....we
even regularly get to be turned down then watch that same lady who said she was tired dance with another guy on the same song.
But we ask someone else.....It may be necessary to ask the guy who you don't know that well, who isn't one of the best
dancers or ain't the cutest guy in the room...if you need more dances.
BUT!!! The idea or suggestion is not
"full-proof"...I can't give you something that’s going to guarantee that you have a good time....every
time, but if you're willing to reach out, I'm willing to bet that you will dance more than you have been dancing, but you
have to be open to the reality that men come out to enjoy their evening too. Being told no doesn't mean that you are not an
attractive dancer or that the man thinks he's all that, it simply means that that dancers "moment" didn't happen
at the same time as yours. As more men get into dancing it should get better, but you can't wear-out the men who are
there now.
Q: I
am an intermediate level dancer, but I find myself getting frustrated when I dance with someone after they dance with a more
skilled dancer. I get excited when I see a dancer having a good time, then I want to dance. But when I do, I don't
get the same reaction from the lady and it makes me self-conscious and I don't want to dance anymore. We are doing the same
moves, but I don't think we look the same? I want the same reaction - the smile, the laugh, the kind look, but it’s
not happening. How do I get the same reaction so that I can have fun too?
A:
One of the most important factors in being a good dancer is accepting that "TIME" is a major factor in how well
you execute moves. People who have been dancing & practicing are able to also add "flair" to the way they have
been executing moves...they didn't always do it like that...and there is NO SUBSTITUTE for TIME. Skill comes with time!!!
Also, another problem that newer dancers have is that they compare their performance and execution of moves
to what others are doing......DO NOT DO THAT!!! Dancing is about "individual" performance & expression....meaning
that you have to learn to get comfortable and accepting of you and how you relate to the music and the way it makes you feel
and want to express. If you are comparing or trying to emulate someone else all the time, you take that ability to self-express away.
Enjoy the "ride" of learning to dance...by putting more time into it and having FUN you will put yourself
in a position to get better and develop that ability to "pull smiles" as your skill level get s better. If you take
it too fast, the smile you're looking for can become smug looks and getting turned down because you lack the skill to properly
execute...the best dancers are those who "KNOW" what they are doing and bring it not by how flashy the move is,
but by how much control and direction they bring when executing the movements....TAKE YOUR TIME!!!
"ASK THE DANCE DOCTOR!!!" featuring 08-03-09 Dave Maxx I'd really like to THANK everyone who has been reading my column. I really appreciate the feedback,
kind words, and those who have taken the time to send in questions. I'd also like to give a BIG shout-out to some
of the Vegas Steppers who attended the Step On Unlimited Event in L.A. two weeks ago. They made me my workshop
hilarious & more FUN... while really convincing me that what happens in Vegas really does stay in Vegas, so I can't
wait to get back out there!!! Also, I apologize for the week off...but my travel schedule was nuts over the last month &
exhaustion set in. But let's get down to business....this weeks question and commentary is long, but its something to really
look at and think about.......you may not agree with all that I have to say, but at least ponder it and do your part
to erase the division that exists.
Q:
I've been hearing about the difference between old school and new school. What's the difference? Where are the old school
people anyway? I've only heard about the Majestic Gents party, and as far as the clubs, just the 50 Yard Line or Club D'Elegance.
I'm interested in learning more about the old school, but how?
A: There are several differences....
One of the most glaring is "Steppin" age
(which generally also determines how you learned), or to better describe it..."How long you have been dancing" -
If I'm not mistaken, the Old Schoolers cut off with those who started dancing in the late 80's give or take a couple
of the early 90's years. So we're talking about people who have been dancing at this point, at least 20 years. This group
tends to be a little more mature, in actual age, as it also includes those dancers who continue to term
"Steppin" as "Boppin", whether it be the old or new Bop. (Don't know what I mean?...that means you need
to visit an Old Skool set next time you're in the Chi...and its worth the visit)
Also, this Era
of Dancer, generally DID NOT learn how to step on ANY count or in a class. They learned from a parent or at the side of the
dance floor....by listening to the music, learning the Basic "cadence", and then learning how to develop style and
footwork as they became more familiar with the dance. Old Schoolers "by practice" have a serious respect for
the primary tenets & purity of the dance and its history....ie: Etiquette (Stay in your lane, wait - its too crowded on
the floor, go around the dancing couple not through them, excuse me for over-stepping my lane or bumping you); Fashion (No
jeans at ballroom venues, no gym shoes/timberlands, shirt with a collar - not a white tee, remove your hat when dancing, ladies
dressed like women going out - not to shoot pool); Conversation (Its a social dance - conversate and have FUN, get to know
the person you're dancing with...just dancing doesn't mean you know them); Chivalry (Be a gentleman); Meaningful Music (This
style embraces music describing life experiences that generally moves at a pace that allows you to express through movement...though
it has its places for showmanship); and, Styling (This dance has always held stedfast to intricate & cool footwork
with turns included, its about controlled expression of emotion). Ego (Generally adheres to the thought that it doesn't take
all that to be seen....if you do it well, you will be seen and acknowledged but dancing ain't about being a star...its about
finding out more about yourself and tuning into the expressions of others).
Old Schoolers, tend to embrace
"remember when"....the ability to create memories while upholding the cultural & historical value of Steppin,
and not its potential to create a reputation or popularity via contests or any other means. To them, it is uniquely seen
as an Art Form to be mastered slowly and.....They do not value contest participation or victories in the same vain
as newer dancers. They participated for the FUN of it (though they were competitive and wanted to win - it was the joy of
competition). They generally see it as a passing accolade that covered one night that could've been a lucky break, rather
than a forever standing declaration of talent.
New School Steppers are generally those who came onto the
scene after the influx of younger dancers in the mid-90's and includes the "children/students" of this era of dancer(those
who have come into steppin in the last 10 years). These are the dancers who started to test the flexibility of the dance &
created a "new" spotlight on the dance because of their flair...some say that it was the influence of hip-hop and
house music because a lot of us from this "Era" identified with those elements, but had an appreciation for "classic"
style as well. The whole introduction of "New School" as I remember didn't really come from this group
of younger dancers, but rather came from those who learned the dance from this group.
It was this original
group of "New/Younger" steppers that created a new "focus" in steppin because they quickly became high-profile
members of the community,...both because of their love for the dance, but also because they were a sort of "new blood". the
energy created by these dancers hit the community like a shockwave...but attention that they generated wasn't really focused
on the same elements attracted them to the dance but moreso focused on the "buzz" or "spotlight"
that they created. The challenge to dancers who followed after them became, yes about dancing, but the focus had
shifted to getting the spotlight & being "known" as opposed to simply enjoying the fun & beauty
of the dance.
Unlike their counterparts....New Skool Dancers generally learn to step via a class and on a
count, but they are divided based on method..the ol' 6 vs 8 thing, rather than simply adherring to the fact that its an 8-step
dance not bounded by counts but rather by the "vibe" of the music. In addition, New School Steppin found the need
to introduce the influence of other styles of dance into Steppin...particularly salsa and ballroom dance, which
greatly altered the the integrity of the dance...although its claimed that there's an appreciation for steppin as an original
art form. By introducing these other genres, along with a change in attitude toward the dance....Following the general tenets
of steppin became quite difficult, which caused a riff between those who were here already and those coming onto the
Stepper "Set".
(Sidebar)...I'm still waiting for salsa & ballroom to feel the need to
inject steppin into what they do...but I really don't see that happening...Steppin had everything you needed in
it, if you were willing to take the journey, however long, to "get it"....
In the eyes of the Old
Skoolers, the New Stepper had an attitude of "entitlement" based on skill as oppose to a reputation earned
over time through actual experience...Steppin became about the move rather than about the music. This new
development got away from the music and focused more on counting steps that it did about relating to the music, more about
turns, which were introduced for "flash" value, and less about real footwork. the new elements were exciting, but
they threw caution to the wind in relation to what was there already....ie: Etiquette (Staying in your lane is not a staple
in this era...its more about as much space as you need which is paramount considering the new turns which don't adhere to
small space...and if its a hot song, "I'm gettin on the floor and you get off if you have too, because its my moment
to shine...also, because of the influx of trio dance...people just jump in with out even asking...I've even done it...LOL);
Fashion (anything goes...its more about the moves than it is about dress...yes, new Schoolers do dress, but its not the same
pride of style thats held by the Old Heads...jeans is dressing up); Conversation (Its a social dance - but you generally don't
have time to talk because there are so many back-to-back turns...except when the guy is constantly trying to be your "new"
instructor on the floor cause he thinks thats impressive); Chivalry (Its just not the same....I don't even think we need to
hit this one. Gentlemen at least take your hat off); Meaningful Music (New school music is more about showmanship, so it tends
to be faster and includes more instrumentals); and, Styling (This style is about turns, simply put. Footwork is talked about,
but rarely "actually" seen...I'm sorry to have to say it, but the men now-a-days don't even know how to move their
feet & style...they just walk back n' forth. Its all about the next move, so the dance rarely slows down). Ego (Generally
adheres to the thought that I'm trying to be "the best", who is the best, and about who has a trophy...Its ALL about
being "known".. A contest is all that matters because 'that will catapult me into exposure' or maybe I need
to start a class...although I'm still taking them, or have only been dancing a year, because teachers are popular).
Other differences are that Old Skoolers do all of the dances that make up the Steppin genre at their parties....Steppin,
Boppin, "real" Walkin, "real" High-Steppin...even a little Slow-Bop...and I'm not talkin about made up
stuff.....New Schoolers usual just do Steppin.....
You generally find New School Steppers at Club D'Elegance,
Orbies, Klub Karma, the Gent party (though its been around a long time), and now at the 50's Afternoon brunch on
Saturdays, etc...while you find the Old Heads actually "In the City" - Some of the groups to look for....New
Distinguished Friends, Good Times Productions, Black Mary's Original Old Timers, Leanna Richards 3rd Friday at the 50, The
Dancettes at the 50, East of the Ryan on Friday nights, Events by Don Vic & Solomon, Just Us Productions & Bernard
Shannon's Men's Hat Club where men must wear a blazer...these are just a few. This is where you will find the "real" Legends
of the dance (and that may not include your curent fave instructor or dancer) and see who "doesn't come out anymore,
supposedly". The Old Schoolers retreated from the "popular or mainstream" events to be at events and venues
that tended to stick to the "original" style of music and the dance.
This comparison does not mean
that being a New Schooler is a bad thing....but it has created some questionable elements in my opinion....doing things
differently is cool...but we can't sacrifice the original at the same time, all in the name of progress or
"changing times".
gettin older doesn't mean that it gets useless...you just gotta learn how to work it.....
Want
to hear it from the Old Skoolers? Click here
"ASK THE DANCE DOCTOR!!!"
featuring
Dave Maxx
"ASK THE DANCE DOCTOR!!!" featuring Dave Maxx 07-20-09
Q:What is your perspective on women's 'styling'? Can there be too much
& if so, how much is too much? And, how does it affect the overall dance with a partner? There seems to be a trend here
where the ladies are styling so much that the basic step no longer looks like the basic step. And a lot of them really look
the same. I'd really like to know your thoughts on this? A:I have always loved watching women dance who can actually STYLE
(not re-create a routine) while they are dancing...a few of the best, & my faves are Leanna Richard, Angie Faine, Cynthia
Shanks, Darlinda Russell, Charnice Simmons, Jackie Dace and Linda of the Foxettes. What makes these women so unique is that
they have developed the ability to reflect the feel & style of the dance that each individual partner gives them, while
also finding their own place & relationship with the song that they are dancing to. What also happens...is that they are
able to do this within the framework of the lane and the Basic "Pattern" which keeps them in line with spacing,
etiquette, etc. In addition they realize their role in the dance....which is...TO FOLLOW!!!....NOT...to know the turn, to
do footwork & styling, or to get a workout into a sweating episode,...but rather to reflect and follow what the Lead is
doing, AND while performing this task, to be the ultimate embellishment of the dance. YES!!! The job of the follower is difficult
and requires an "I'm Every Woman Attitude", but when done properly can be a very beautiful performance to watch. How does that
take place? First of all, the Follower must learn where the prime opportunities are to do Styling....the primary job of the
person following is that they be available to perform the requests of the Lead. Which means the Follower should not ever be
saying, "Wait, I'm not finished doing my footwork or my special move!" Doing footwork or special moves is not your
job, so you have to figure out how and where it goes...its like being on Facebook at work, you can't always do it...but if
you do, you must fit it in around your real job...LOL!!! Also, some footwork & special moves are bogus...if you have to
announce it, either it doesn't work or doesn't fit. Just like the LEAD shouldn't have to talk you through a turn, you should
FEEL where you're suppose to go....you have to FEEL when its time to fit styling or footwork in. Styling should not impead
the Lead, but add to what he is doing....so if it is, its too much. If the Lead lets you go, you only have as much time until
he reaches for your hand again...NOT wait till I'm done, I got a routine over here to finish. Any Styling, Footwork, Pausing,
etc should fit in the the BASIC "directional" framework of slightly up & back, and inside the lane - on your
side of the lane. One of the biggest compliments to any dancer is to see something that someone does that you consider
to be worth mimicking or puttin in your own 'bag of moves".....YET...you never want to reproduce that move exactly like
the person you got it from. Steppin is about "self-expression", and although a lot of us do the same moves, its
more about our own interpretation of that movement than the move itself. If you do everything exactly the way someone else
does it, then all people see is the person you got the move from, especially if they are popular...they never get to see YOU.
This is something to keep in mind when learning or picking up new moves take a little of it and then "WORK" on the
move to make it yours and so that it can reflect you...otherwise you and whoever else liked that move all look the same. The
Ladies that I mentioned above ALL have different styles...and are all very smooth, but while they do a lot of the same moves,
they all have their own angle by which they perform them....Take Note of that in your practice & prep for the dance floor. Q:I live in an area where there are only a handful of decent or intermediate male steppers now. Most
of the females here have to travel to attend sets/parties/workshops in order to get dances with better steppers in other cities.
How can an intermediate female stepper get "up to speed" with the likes of Lady Margaret, Sherri Gordon, Candace
Hinton, Sarah Teague, Sunshine, etc (sorry if I left other female "heavy hitter" names out. These are the first
names that came to mind.) if we only have beginner/intermediate men locally to dance with?
A:
PATIENCE...PATIENCE...PATIENCE...PATIENCE...and more PATIENCE!!!!!!! What is wrong with dancing and growing with the men who
are dancing on the level you are dancing at? Learning to Step, and getting better at it is not a race!!! Furthermore, by disregarding
the men in your community, eventually you work your way out of the minds of the men who one day will not be beginner/intermediate...then
the question is what do I do to get a dance? It becomes a cycle. You say that you have to travel to dance with better dancers,
but you have to stop looking over the fence to the yard thats been growing a little bit longer than yours. What makes those
other dancers better is only the fact that they have been dancing longer. 2 out of the 5 women you mentioned above have been
Steppin over 10 years, and a couple of them have been doing other forms of social dance since they were kids. I remember when
ALL of them started dancing, and they were NOT great dancers or dancing with the best dancers right out of the gate...they
developed their skills over time dancing with the men on their level and then drew the attention of better dancers.
You get better at this dance not simply by dancing with the best people, but by dancing more often. Getting better at Steppin
is rooted in repetition and practice...not in WHO you dance with. What you should realize is, that there are more "regular
joes" than there are "stars" in Steppin. I know the whole world is probably considered a "heavy hitter"
as soon as they start a class or get in a contest...but even with that there are only so many 'better than average" dancers.
With that in mind, it means that most of us are going to spend the majority of our time dancing with the regular guy. If thats
the case, you need to spend as much time as possible dancing with the guy thats learning...who may not always indicate properly
what he wants, may turn a little off, may misguide at times, or have little habits that you have to figure out...Dancing with
this partner actually makes you better because its a challenge that makes you pay attention! The more seasoned dancer isn't
gonna make those mistakes and is gonna put you exactly where he wants you....there is no real challenge there beyond paying
attention, which you learned to do with the average dancer. This takes off some of the pressure & its FUN to have the
experience because you can easily realize what he wants & now have the ability to contribute in that dance because you
understand better.
You have to ask, how many dances are you gonna get with a great dancer?...not many...Therefore
it is imperative that you dance with the men who are growing and developing so that you can learn to better respond to that
"regular"level of dancer (which can still be good) because that is who you spend more of your time dancing with.
Getting a dance with someone "heavy" is a treat, but not a requirement for getting better. Steppin is a male/lead-centered
dance, and you have to be committed to the men in your community in order for it to grow & create a larger pool of "good"
dancers, otherwise you're just going broke (travel expenses) to lay claim to whats going on somewhere else and only gettin
a couple of dances in in the process.
"ASK THE DANCE DOCTOR!!!" 07-15-09 featuring Dave Maxx From
Lana Reid's column "Whats Lana Saying This Week dated 07-15-09
Q:Why are there so many Brothers that want to lead the dance but don't
want learn how to follow when dancing? Do you think that in learning to follow that you will improve the rhythm and timing
for you and your partner? A:As learning to Step has become more popular, its become increasingly enticing to cut corners to becoming
a better dancer. I call it "Microwave Steppin"...short on the fundamentals. For instance, a lot of men are now told
that they don't need to learn Basic, so you end up with a bunch of guys who can't really dance, but who can pull out 1,000
turns at the drop of a hat. The reality is that most women don't wanna be turned 1,000 times or be the person "doin all
the work" during a dance, while the Lead is just pacing back and forth...BUT...Women deal with it because they want to
dance. The truth is, that learning to "Dance" AND "Lead" is harder to do and takes more time, so its a
road less travelled...BUT, it turns out better dancers that don't need a lot of turns to remain interesting and, who can really
actually enjoy the ART of dancing along with their partner, and not just walk around.
On the other hand...learning
to "follow" does not Guarantee that a man is going to be a better lead or dancer. Many of the BEST male dancers
DO NOT follow....though some do, most of the Legendary Steppers that I know follow very little. But what they did do was to
allow TIME to be their best teacher which has allowed them to grow over time, and which is something that "new"
dancers tend to reject because they "want it all now". Men who don't have a desire to follow can be just as good
or aware a Lead as men who do learn that Art. Reasons for avoiding it range from its not always seen as macho -to- not being
interested in Trio dancing, which is really why most of the men who do it learn in the first place. In reality, its not practical
to learn to follow unless you want to Trio or are an Instructor.
Now, in my opinion, learning to Lead & Follow
does open up a better understanding of the dynamics of the dance because you should naturally develop an appreciation for
and better relate to the role that the other person plays in the dance...it also makes for more FUN...but there's no guarantee
that its gonna make timing or rhythm better. I have danced with guys who follow terribly and lead the same way. I am convinced
that it will help you make better transitions while dancing and it helps to cover mistakes. Learning to Follow is like learning
more about anything else, you now have more options to get things done...it may even open your eyes to some things and help
you make some improvements, but you can't see it as a key to making you better. If that were the case, we'd
be all playing basketball at the pro-level cause we do some new drill. Q:What is your opinion on Brothers that talk a
good game when it refers to the Art of Steppin because it is an art indeed? To be more clear, Brothers sound real good when
talking about the Craft but when you see them dance they don't look appealing at all.....What do you think is the motivation
for such behavior?
A: Going back to the basketball thing....Brothers traditionally talk a good game all the time (...and
it doesn't matter what the game is). But how many men have taken the time to be diligent and really apply themselves to be
good at it.....to develop a good jump-shot, dribble with both hands & hustle on D'. Very few!!!...cause when I was playin,
I was trying to figure out on many days if this Brother really meant that he could play basketbal...not shoot marbles. I mean
did this man not realize he was a "busta".
The Steppin Game has a lot of the same issues for Brothers!
Like basketball, we (Brothers) are expected to be able to dance, but a lot of the times our egos get in the
way of us really putting in the hard work it takes to be impressive, and dance lessons isn't the desired way to get there
for men. We aren't wired to think of dancing as something that you need lessons for...or for that matter that we need more
than a few lessons if we agree to go.
Then you add to that the pressure of performing for our Sisters (who ain't
always easy to please - makin faces of displeasure & turning down the Brother who ain't that sexy or popular) and it gets
that much harder. Add to that the Super Instructor who tells you about a hot new short-cut, all the while tellin you how great
you look (especially if you're a clone), or giving you info that doesn't work across the board, and its off to the races.
And don't forget the Brother "doin his own thang" who created his own method, cause he mixin' it all up. Pick a
reason!!!
I believe that every Brother desires to be a good dancer and not just talk a good game, but Brothers
need to be encouraged and allowed to "slow-cook to perfection" rather than "flash-fried to crispy oblivion".
We all desire to satisfy our dance partner's hunger for enjoyment and social interaction, but some things need to change to
take away the pressure and instill the FUN of being able to enjoy each other on such an artistic level as this. We have to
get back to "Steppin to Enjoy" instead of "Steppin to Impress". Because, just like in basketball...most
of us will never be 6'5", have a 50-inch vertical leap, or rain from three without regard to who's playin D' or wear
a championship ring....We gotta put in the work to be fundamentally sound and in control for the FUN of it!!!
When
Brothers are shown that this can be FUN and not be a constant contest to be acknowledged or accepted, but appreciated...then
I think that you'll see more Brothers less concerned about being top dog and actually LOOK GOOD dancing....because what makes
it appealing is watchin a Brother comfortable is his skin, cool & in control!!!
"ASK THE DANCE DOCTOR!!!" featuring Dave Maxx 06-29-09
Q: How will you know when you have your basics down and are ready
to move to the next level?
A:To answer this question directly,....A Beginning Student
is NOT ready to move to the next level until they can perform the Basic Step, Primary Turns (Right, Left, Half), and have
learned to keep their weight forward over the balls of their feet and off of their heels. Also, they should be able to perform
all of these movements WITHOUT COUNTING, (whether 6 or 8 makes no difference - basic step, is basic step), and while able
to hold a conversation and not get side-tracked. There are several reasons
that its necessary to learn it this way.....BASIC Steppin "alone" is simply a foot-based exercise, but that is simply
"the beginning". Once you get over this hurdle, it'll be necessary to take your focus off simply performing steps
and adapt to the influence of someone else...you'll be in the position where you have to lead or follow, and need to focus
your attention there....all while your feet need to react on "auto-pilot"....responding to the rhythm of the song
being played....NOT repeating numbers over and over. Dancing is an emotional experience.
And therefore, the purpose of dancing is to enjoy the music...its tones, breaks, pauses, instruments and voices...how do you
do that and count at the same time? One of the GREATS...Ice Ray says, "You can't dance to a song that you don't know!"
Yet, that doesn't simply mean not to get on the floor because you don't know the words. You always hear how Steppin allows you to enjoy the music and express yourself....you can't do that
and count over and over. Music changes and adjusts as it flows and our dancing should do the same if we take the TIME to learn
the little things that set a good foundation for us to really get better...learn the steps like you learn a song a little
at a time and it will be so much more enjoyable. Getting to the "next level"
in Steppin seems to be the primary goal of every Beginning student, so much so that they miss the FUN of learning to dance
and of really getting their "fundamental foundation" set. So much focus is put on "Getting Your Game Up"..."Dancing
in the World's Largest"... "Getting Known & Being a Heavy-Hitter"..."Not Ever Making Mistakes"...etc.
Many people try to figure out what makes Chicago natives look so smooth....we took our time, learned the basics, and learned
the songs so that we had something to express and the tools to express it. P.S. And don't just learn the NEW songs...Steppin was built on the CLASSICS, and that’s where
your REAL skill as a dancer is challenged. Anybody can dance fast all night, but to slow down and develop style....to learn
to express yourself to music that has passion is what separates the dancers from the Steppers.... Hope this prescription helps!!! Q:Where
do I get women's comfortable, but sexy stepping shoes?
A: One of the problems that Steppers face is that
we need good equipment that allows us to follow the rules...and one of those rules is to look good...not just look nice, but
to be "razor sharp" at all cost. The problem with that is that there are no "qualified" shoes that serve
that purpose and allow us to follow that rule. generally you "luck" up on a shoe that’s comfortable or your
favorite, but that pair doesn't set off the alarms. Standard Ballroom and Salsa dance shoes provide some of the best support
and comfort levels available when dancing. The down-side is that they are not "Stepper Sexy" and they cannot be
worn outside because they have suede soles. Unfortunately you have a choice to make in this area...which is more important
for you: comfort or fashion. Jimmy Choos & Santana's are off the chain, but they were made to be looked at and not be
functional on a dance floor. One thing I do suggest is "dance sneakers" when you're practicing and doing classes.
They offer a lot of support and your feet can handle hours of dancing while wearing them and not be worn out afterwards.
"ASK THE DANCE DOCTOR!!!" featuring Dave Maxx I'd like to thank everyone who expressed their excitement
and sent well-wishes through the week on me joining Lana's weekly newsletter. I really appreciate the support. I'd also like
to thank Lana for being interested in getting more information out to the dance community about Steppin so that dancers don't
have to continue to "shoot in the dark". I hope that the information that I share here is helpful to your development
as a Stepper and assists in making your dance experience more enjoyable...so let's get to work!!!
Q:
How do you politely tell your dance partner that he/she needs a tic tac?
A:Wow!!! This
isn't one that I expected, but here goes.....The one way that I can think of to politely remedy this problem isn't to say
something, but to offer a solution to the problem rather than to simply point it out. Offer that dance partner a mint, and
if they turn it down...offer them an alternative; gum, candy, etc. Being politely forceful in offering should get them the
message without creating an embarrassing moment. Q:Is it
proper for a man to wear a hat on the dance floor?
A: In one word...NO!!!! A man should NEVER ask a "LADY"
to dance and then be disrespectful by keeping his hat on during the dance. His hat should be removed and placed on the table
if the couple is dancing/steppin, or if they are Walking, the hat should be given to the Lady who holds the hat during the
dance...its actually sexy to see that done. All too often we throw common courtesy to the wind. You don't see men stand when
women enter a room anymore. Guys don't make sure that they walk curb-side when walking with a Lady. And men don't even give
their seats to women that they know that are standing. Steppin is a dance based on ETIQUETTE...ask for a dance, stay in your
lane space, hold the lady this way, apologize when you bump someone, so GENTLEMEN, Please remove your hats on the dance floor...its
not cute!!! From
"What's Lana Saying This Week? " (June 21, 2009)
==============================================================
Footwork or Just
Steppin New schoolers say
that during the dance, when you break away from your partner how imperative it is to remain on the count.
Old schoolers have said just feel free to dance and when you return
to the count, it's the lead's responsibility to find out where you are. This allows more freedom and creativity.
I came to learn that the more you understand the dance and perform
it for the pure enjoyment of its art form, then you will develop your footwork skills become a DANCER.
Therefore, dance to music that has meaning to you, dance to music that sounds good to you, dance to music that makes you feel
good.
I honestly feel that footwork
is a feeling, like when you dance at home in the mirror or cleaning up, which is your comfort zone and what you feel your
best. This is what you want to put in your foot work.
Old skoolers tend to let the music count for them, allowing them to dance on whatever beat they choose.
When you put yourself in to the music everything
else falls into place and your creativity juices are that much more plentiful!
Until then, you will just be STEPPIN’ ….. That’s not
a challenge!
What's your perspective?
Let us know unitedsteppers@gmail.com
Yes. Dancing is good for
health…part 2 Dancing is a good form of exercise. We dance to enjoy and relax. Dancing is fun. Dancing to your
favorite tune is what you would most desire. We may dance for pleasure, but dancing has health benefits too. What are they? Dancing has physical and psychological health benefits. Physically,
you are more fit, and psychologically more cheerful and self-confident. It is beneficial both for the young and the old. It
is therapeutic in nature. Dance to your favorite tune and keep good health as well.
How Dancing is good for Health - Dancing is good physical exercise. It is good
way to burn off excessive fat. It tones up the body
- It makes you feel energetic and vibrant. Listening to good music and
dancing to it can be exciting
- Psychologically, it is relaxing. It makes feel good. Your mood improves. It can make
you feel good if you are depressed and lonely
- Dance reduces stress. You forget
your days tensions when you dance
- For those who are figure conscious, it is good form of exercise
- It
improves the muscles and coordination
- Lowers risk of coronary heart disease
- Strengthens the bone hips and
those of the legs
- It can decrease the risk of Alzheimer’s disease and many other forms of
- Dementia among the elderly
- It
enhances the blood flow to the brain
- Relieves
you of toxins through sweat
- Reduces blood pressure and lowers cholesterol
- One develop strong social ties,
which is good for psychological well-being
United Stepper News 
================
Dance Tips....Tip # 1
To avoid bouncing, do the dance
like your walking and let your natural sway come out.
Tip # 2
Powder or dance wax on the dance floor does help with the turns and all that. But at the end of the night, your
shoes and for some women, your legs have powder all on them. Some club owners don't want you to put powder on their
floor because if someone slips and falls guess who will be sued??? So some peoplehave suggested to me packing tape. That's right you put that clear packing tape on the bottom of your shoe
and you will spin like a top. I know because I have some in my Steppin' Bag. (LOL)
Tip # 3
Turning
To avoid getting dizzy
when executing turns, make sure you always spot. Spotting entails finding one object to focus on throughout the completion
of your turn(s). This will keep you from becoming dizzy or lightheaded when you are put through several turns on the
dance floor.
Wikipedia Definition:
A technique used during turns. The dancer chooses a reference point (such as his or her partner or a distant point along
the line of travel) and focuses on it as long as possible. When during the turn it is no longer possible to see it, the head
flips as fast as possible to "spot" the reference point again. This technique guides the body during the turn, makes
it easier to determine when to stop turning, and helps prevent dizziness.
send us your tip..email it to "unitedsteppers@gmail.com"
Milwaukee Dancers
Got Swag? Touch on those Intangibles - "What I would like to put in my cart is a pleasant greeting from club members
and Men asking more women to dance at each set. Actually a smile, a greeting, a nod or Hell, even a dance from anybody at
the parties would be nice. LOL!!! I have found that people can be so nasty and rude at times and so unpleasant to one another
and that’s really sad. Come on People we come to step and have FUN! Let’s leave our unpleasant attitude and issues
at HOME!! Let’s step and have FUN!! LOL!!! And if you are not a regular, forget about IT!! Just sit back, relax, and
enjoy the music for the rest of the night, because you are not getting a dance!!! LOL!!! If you are not a familiar face, a
regular, or if you don’t look Beyonce” or, if you are not dressed to impressed, or if you are not dress hal! f
naked, or if you are not cool, you really are not getting your step ON!!! LOL!! Forget about IT, it isn’t happening!!!!
LOL!!! I noticed in the past 30 years of going out to the parties occasionally, that men or women don’t want to be on
the floor with someone less than what I just described. You find that Men and women will dance with the same people over and
over again and it really gets boring watching them!!! LOL!!! However, women are not as discriminating as men. Men can be azzholez!!
LOL!!! Why not Spread happiness to each other and ask other folks to dance once in a while. Give a person a chance, they may
surprise you. I know steppers are serious about their craft, but loosen up it’s only a dance. This should be a fun experience
for everyone. Let’s not take it too serious. Spread happiness and love, LETS STEP!!!" I've seen exactly what
is mentioned on the dance floor at virtually every event I've ever been to. Of course, the way ind! ividuals act really is
no different id it's a steppers event o! r anothe r type of event. If CHANGE is the operative word both men and women must
realize it's the 21st century and it should be quite alright to ask anyone to dance regardless of their gender or status.
www.unitedsteppers.com
FOR MORE
A Gentleman or a Gorilla Stepper?A Gentleman Stepper is one who leads
that woman to the dance floor and is very gentle when he starts the dance off with the woman. A Gentleman Stepper becomes
in tune with his partner, reading her, getting a feel for what she can do. A Gorilla Stepper is one who snaps at that
woman to get her to dance. His opening position is extremely fancy and rushed. A gorilla stepper trys to execute every move
he's ever known or just saw from a DVD, within the first two minutes of a dance. He misses the point of being in tune
with his partner. He executing moves that HE wants to do rather than gage what she can handle. Send
us your comments - unitedsteppers@gmail.com
Dance Tips- Stepping is about footwork...
Original footwork, Nothing else!
- Floor Etiquette is so essential on the floor
when social dancing. Therefore your must always be aware of your surrounding to best protect you and your partner. Apologize
and Excuse yourself when you bump into someone rather it's your fault or not. This practice can only make more of a pleasant
night out.
- Dance with confidence in yourself
Send us your comments - unitedsteppers@gmail.com
. Are
you a Clone?An instructor can instruct, but it is up to an individual to add
his/her own style and its too bad if his/her own style doesn't complement the instructor. If
an instructor knows he/she has provided quality instruction and attention this shouldn't matter (I think) unless the instructor
is out to make stepping clones. I've seen people and I can tell who they are stepping like, there is little originality to
their step. Send us your comments - unitedsteppers@gmail.com
Featured Article
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On the dance floor in the club....as long as you stay in your lane & your partner is cool with all of the changes....innovate all you want, but don't expect to be called a genius for it. And if you intend to teach people or want to compete, you need to learn how to do the dances properly, not make stuff up and call it good enough or make the claim that its your style. Style in Steppin does not mean change the dance...it means to actually be innovative enough to embellish on whats there, without making it something else. And yes, that is hard to do....its not suppose to be easy!!!