University of Minnesota Ballroom Dance Club …sheerdance.com/issues/2017-06-01.pdf2017/06/01 · University of Minnesota Ballroom Dance Club Rocks at USA Dance Nationals 2017. Photo

University of Minnesota Ballroom Dance

Club Rocks at USA Dance Nationals 2017.

Photo by Joel Torgeson.

2 • • 1 Jun 2017 SHEERDAnCE.COM[GEt DAnCinG]

June 8 • Thursday Swing Night-Lee’s Liquor Lounge; 101 Glenwood

Ave., Mpls.; 8 p.m. lesson, live music 9 p.m.-12 a.m.

Bachata Social-DanceLife; 6015 Lyndale Ave., S. Mpls.; 9-10 p.m.; $5

Swing Social-Wabasha Street Caves; 215 Wabasha St. S., St. Paul; lesson 6-7 p.m., dance 7-10 p.m.; $8 cash only

Late Night Swing-301 Main St. NE, Mpls.; 10 p.m.-1:30 a.m.; $6, $4 Students

June 9 • Friday Swing Social-Wabasha Street Caves; 215 Wabasha

St. S, St. Paul; lesson 6 -7 p.m., dance 7-10 p.m.; $8 cash only

Swing & Lindy Hop Social-301 Main St. NE, Mpls.; EC Swing 7-8:15 p.m.; Lindy Hop 8:15-9:30 p.m.; $9, $7 Students


Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $10

Milonga Flor de Luna-Four Seasons Dance Studio; 1637 Hennepin Ave., S., Mpls.; 9:30 p.m.-1 a.m.; $10, $5 students

Variety Dance-DanceLife; 6015 Lyndale Ave., S. Mpls.; 8-9:30 p.m.; $10

Line Dance Party-Starks Saloon; 3125 Dodd Rd., Eagan; lessons 7 p.m., dance 8 p.m.;

Mill City Ballroom Variety Dance-Dance With Us America; 10 Southdale Center, Edina; 8-10 p.m.; $10

Salsa & Bachata Party-DanceLife; 6015 Lyndale Ave., S. Mpls.; 9:30 p.m.-12 a.m.; $5

Variety Dance-Dancers Studio; 415 Pascal St. N, St. Paul; 8-9:30 p.m.; $5

June 10 • Saturday 2nd-Saturday Milonga-Triune Masonic Temple;

1898 Iglehart Avenue, St. Paul; lesson 8:30 p.m., dance 9:30 p.m.-1 a.m.; $10, $5 Students


Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan; 8 p.m.

Spring Hanger Dance-TC Swing; 310 Airport Rd, South St Paul; lesson 7 p.m., dance 8 p.m.-12 a.m.; $17

June 11 • Sunday Variety Dance-DanceLife; 6015 Lyndale Ave., S.

Mpls.; lesson 7 p.m., dance 8-10 p.m.Rogue Tango-Loring Pasta Bar; 327 14th Ave., S.E,

Mpls.; 6-9 p.m.Ballroom Music Party with Jerry O’Hagen-Cinema

Ballroom; 1560 St. Clair Ave., St. Paul; lesson 6:15 p.m., dance 7-10 p.m.; $12, $8 students

June 12 • Monday Patty & The Buttons Live Jazz-125 Main St. S.E.,

Mpls.; 11 a.m.-2 p.m.; freeSalsa Social-DanceLife-6015 Lyndale Ave., S. Mpls.;

9:30-10:30 p.m.; $5June 13 • Tuesday Tuesday Milonga-3142 1st Ave S. Mpls.; 9-11:30

p.m.; $5 or what you can affordIntro to Ballroom and Practice Party-DanceLife;

6015 Lyndale Ave., S. Mpls.; 7-8:30 p.m.June 14 • Wednesday Rhythm Junction Lindy Hop-Four Seasons; 1637

Hennepin Ave., S., Mpls.; 8-11 p.m.; $6Practice Party- Cinema Ballroom; 1560 St. Clair

Ave., St. Paul; 8-9 p.m.; $10, $6 StudentsCountry Dance Social-Starks Saloon; 3125 Dodd

Rd., Eagan; lesson 7:30, dance 8 p.m.Social Dancing-Fallout Arts Co-op Studio; 2601 2nd

Ave. S. Mpls.; 9-11 p.m.June 15 • Thursday Swing Night-Lee’s Liquor Lounge; 101 Glenwood

Ave., Mpls.; 8 p.m. lesson, live music 9 p.m.-12 a.m.

Bachata Social-DanceLife; 6015 Lyndale Ave., S. Mpls.; 9-10 p.m.; $5




June 16 • Friday Puro Tango Milonga-Four Seasons Dance

Studio; 1637 Hennepin Ave., S., Mpls.; 9:30 p.m.-12 a.m.; $10







WCS Party-Starks Saloon; 3125 Dodd Rd,. Eagan; lesson begins 7:30 p.m.


Variety Dance-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; 7 p.m. foxtrot & swing lesson; dance 8-11 p.m.; $10, $6 Students

June 17 • Saturday Variety Dance-DanceLife; 6015 Lyndale Ave., S.

Mpls.; 8-9:30 p.m.; $10Alternative Tango-T’ai-Chi Ch’uan Studio; 2242

University Avenue, Suite 207 St. Paul,; 9:30 p.m.-1 a.m.; $10


Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan; 8 p.m.

June 18 • Sunday Rogue Tango-Loring Pasta Bar; 327 14th Ave., S.E,

Mpls.; 6-9 p.m.TC Rebels 3rd Sunday Dance-DanceLife; 6015

Lyndale Ave., S. Mpls.; 7 p.m.-10:30 p.m.; $11, $7 Students

Ballroom Dance Party-Tapestry; 3748 Minnehaha Ave., Mpls.; 6:00 lesson, dance 7-9:30 p.m.; $10, $7 Students


Mpls.; 11 a.m.-2 p.m.; freeBallroom Dance Party-Tapestry; 3748 Minnehaha

Ave., Mpls.; 6:00 lesson, dance 7-9:30 p.m.; $10, $7 Students

Tango Desperados Practica-2507 E 25th St., Mpls.; 7:30-9:30 p.m.; $5

Salsa Social-DanceLife-6015 Lyndale Ave., S. Mpls.; 9:30-10:30 p.m.; $5

June 20 • Tuesday Tuesday Milonga-3142 1st Ave S. Mpls.; 9-11:30





Rd., Eagan; lesson 7:30, dance 8 p.m.Social Dancing-Fallout Arts Co-op Studio; 2601 2nd

Ave. S. Mpls.; 9-11 p.m.

June 1 • Thursday Bachata Social-DanceLife; 6015 Lyndale Ave., S.

Mpls.; 9-10 p.m.; $5Tango Desperados Practica-2507 E 25th St., Mpls.;

7:30-9:30 p.m.; $5Swing Social-Wabasha Street Caves; 215 Wabasha

St. S., St. Paul; lesson 6-7 p.m., dance 7-10 p.m.; $8 cash only




June 2 • Friday Milonga Alquima-Triune Masonic Temple; 1898

Iglehart Avenue, St. Paul; 9:30 p.m.-1 a.m.; $10, $5 students

West Coast Swing Dance-Starks Saloon; 3125 Dodd Rd., Eagan; dance 8 p.m.;


Swing & Foxtrot Social; 1114 American Blvd., Bloomington; 8 p.m.




Variety Dance-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; 7 p.m. tango & rumba lesson; dance 8-11 p.m.; $10, $6 Students

June 3 • Saturday Variety Dance-DanceLife; 6015 Lyndale Ave., S.

Mpls.; 8-9:30 p.m.; $10Salsa Dance-Loring Pasta Bar; 327 14th Ave.,

S.E, Mpls.; $10Milonga en el Alma-Four Seasons Dance Studio;

1637 Hennepin Ave., S., Mpls.; 9:30 p.m.-1 a.m.Dance Social-Starks Saloon; 3125 Dodd Rd., Eagan;

dance 8 p.m.; $5Swing & Foxtrot Social; 1114 American Blvd.,

Bloomington; 8 p.m.Winter Showcase-Cinema Ballroom; 1560 St. Clair

Ave., St. Paul; 7-11 p.m.1st Saturday Swing Dance; 301 Main, Mpls.; lesson

7:30 p.m.-12:30 p.m.Astaire Witch-Fred Astaire South Metro-Wellstone

Building: 179 Robie St. E., S. St. PaulJune 4 • Sunday Rogue Tango-Loring Pasta Bar; 327 14th Ave., S.E,

Mpls.; 6-9 p.m.Variety Dance-DanceLife; 6015 Lyndale Ave., S.

Mpls.; 7-10 p.m.; $10TC Rebels 1st Sunday Dance-DanceLife; 6015

Lyndale Ave., S. Mpls.; 7 p.m.-10:30 p.m.; $11, $7 Students

Ballroom Dance Party-Tapestry; 3748 Minnehaha Ave., Mpls.; 6:00 lesson, dance 7-9:30 p.m.; $10, $7 Students


Mpls.; 11 a.m.-2 p.m.; freeTango Desperados Practica-2507 E 25th St., Mpls.;

7:30-9:30 p.m.; $Salsa Social-DanceLife-6015 Lyndale Ave., S. Mpls.;






Rd., Eagan; lessons 7:30, dance 8 p.m.Social Dancing-Fallout Arts Co-op Studio; 2601 2nd

Ave. S. Mpls.; 9-11 p.m.

twin Cities Dance Events

SHEERDAnCE.COM 1 Jun 2017 • • 3[GEt DAnCinG]

June 22 • Thursday Bachata Social-DanceLife; 6015 Lyndale Ave., S.

Mpls.; 9-10 p.m.; $5Variety Dance-Dancers Studio; 415 Pascal St. N, St.

Paul; 8-9:30 p.m.; $5Swing Social-Wabasha Street Caves; 215 Wabasha



June 23 • Friday Mala Yunta Milonga-Four Seasons Dance Studio;

1637 Hennepin Ave., S., Mpls.; 9:30 p.m.-1 a.m.; $10, $5 Students

Line Dance Party-Starks Saloon; 3125 Dodd Rd., Eagan; 8 p.m.



Salsa Fusion-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; Salsa & Cha Cha lesson 7 p.m, dance 8-11 p.m



June 24 • Saturday Dance Social-Starks Saloon; 3125 Dodd Rd.,

Eagan; 8 p.m.Salsa Dance-Loring Pasta Bar; 327 14th Ave.,

S.E, Mpls.; $10Tango con~Fusion-DanceLife; 6015 Lyndale Ave., S.

Mpls.; lesson 9 p.m., dance 9:30 p.m.-1:00 a.m.June 25 • Sunday Rogue Tango-Loring Pasta Bar; 327 14th Ave., S.E,

Mpls.; 6-9 p.m.Ballroom Music Party with Jerry O’Hagen-Cinema

Ballroom; 1560 St. Clair Ave., St. Paul; lesson 6:15 p.m., dance 7-10 p.m.; $12, $8 students

June 26 • Monday Rhythm Junction Lindy Hop-Four Seasons; 1637

Hennepin Ave., S., Mpls.; 8-11 p.m.; $6Salsa Social-DanceLife-6015 Lyndale Ave., S. Mpls.;

9:30-10:30 p.m.; $5Tango Desperados Practica-2507 E 25th St., Mpls.;



6015 Lyndale Ave., S. Mpls.; 7-8:30 p.m.Daytime Variety Dance-DanceLife; 6015 Lyndale

Ave., S. Mpls.; 1-2 p.m.; $10June 28 • Wednesday Practice Party-Cinema Ballroom; 1560 St. Clair

Ave., St. Paul; 8-9 p.m.; $10, $6 StudentsSocial Dancing-Fallout Arts Co-op Studio; 2601 2nd

Ave. S. Mpls.; 9-11 p.m.Country Dance Social-Starks Saloon; 3125 Dodd

Rd., Eagan; lesson 7:30, dance 8 p.m.June 29 • Thursday Bachata Social-DanceLife; 6015 Lyndale Ave., S.

Mpls.; 9-10 p.m.; $5Variety Dance-Dancers Studio; 415 Pascal St. N, St.

Paul; 8-9:30 p.m.; $5Swing Social-Wabasha Street Caves; 215 Wabasha



June 30 • Friday Salsa & Bachata Party-DanceLife; 6015 Lyndale

Ave., S. Mpls.; 9:30 p.m.-12 a.m.; $5Salsa Dance-Loring Pasta Bar; 327 14th Ave.,

S.E, Mpls.; $10Mill City Ballroom Variety Dance-Dance With

Us America; 10 Southdale Center, Edina; 8-10 p.m.; $10

Variety Dance-DanceLife; 6015 Lyndale Ave., S. Mpls.; 8-9:30 p.m.; $10 E

twin Cities Dance Contacts

StudiosAmerican Classic Ballroom 952.934.0900

550 Market Street, Chanhassenwww.acballroom.com

Ballroom & Latin Dance Club 952.292.0524

1103 W Burnsville Pkwy, Burnsvillewww.ballroom-club.com

Ballroom & Wedding Dance Studio 612.371.0300

2717 42nd Street E, Minneapoliswww.myballroomdancestudio.com

Blue Moon Ballroom 507.288.0556 2030 Highway 14 E, Rochesterwww.BlueMoonBallroom.com

Cinema Ballroom 651.699.5910 1560 St. Clair Ave, St. Paulwww.cinemaballroom.com

Costa Rica Ballroom Dance Studios 952.303.3339

816 Mainstreet, Hopkinswww.costaricaballroom.com

Dahl Dance Center 507.252.1848 4204 North Highway 52, Rochesterwww.dahldance.com

Dance and Entertainment 651.605.5784www.danceandentertainment.com

Dance with Us America 612.564.5483 10 Southdale Center, Edinawww.dancewithusamerica.com

DanceLife Ballroom 612.345.42196015 Lyndale Ave S, Minneapoliswww.dancelifeballroom.com

Dancers Studio 651.641.0777 415 Pascal Street N, St. Paulwww.dancersstudio.com

Four Seasons Dance Studio 612.342.0902 1637 Hennepin Ave S, Minneapoliswww.fourseasonsdance.com

Fred Astaire Dance Studio South Metro 651.451.6300

1975 Seneca Rd #700, Eaganwww.fredastairemn.com

Latin Mambo 612.558.7190 2948 Chicago Ave S #308, Mplswww.latinmambodancestudio.com

Mill City Ballroom 612.562.2733 www.millcityballroom.com

Rendezvous Dance Studio 612.872.1562 711 W Lake Street, Suite B, Minneapoliswww.theplacetodance.com

StudioJeff 320.266.4137 701 St. Germain Street W, Suite 201,

St. Cloudwww.studiojeff.com

Superior Ballroom 218.348.1928 21 N Lake Ave, Duluthwww.superiorballroomdance.com

instructorsScott Anderson 612.816.4446

[email protected]

Nathan Daniels 763.464.1021Jennelle Donnay 651.357.2060Julie Delene 612.598.5355

[email protected] Edelstein 612.910.2690

[email protected]

Jennifer & Robert Foster 952.239.2984Shane Haggerty 612.702.3588

[email protected]

Lindsey Rebecca Hall 612.940.9546Julie Jacobson 651.261.6442Jay Larson 651.387.3886Deanne Michael 612.508.9255Monica Mohn 612.874.0747

[email protected]

Mariusz Olszewski [email protected]

Karin Rice 612.242.2188Lisa Vogel 651.208.0818

[email protected]

ClubsAqua Gliders Dance Club 612.869.3062Café Bailar

www.cafebailar.comCotillion Dance Club of Stillwater 651.388.1231

[email protected] Dance Club 651.439.3152

facebook.com/LaDanzaDanceClubLakeside Dance Club 320.763.6432

[email protected]

Linden Hills Dancing Club www.lindenhillsdancingclub.org

MN West Coast Swing Dance Club 763.442.1618

mnwestcoastswingdanceclub.comREBELS Swing Dance Club 952.941.0906

www.tcrebels.comStardust Dance Club

[email protected] Dance Club 952.894.1412

www.suburbanwinterset.comTango Society of Minnesota 612.224.2905

www.mntango.orgTapestry Folkdance Center 612.722.2914

www.tapestryfolkdance.orgTC Swing 651.558.0562

[email protected]

University of Minnesota Ballroom Dance Club

[email protected]

Uptown Swing [email protected]

4 • • 1 Jun 2017 SHEERDAnCE.COM

in this issue

[Get Dancing]Twin Cities Dance Events 2

Twin Cities Dance Contacts 3

2017 Competitions 5

[From the Community]Life Lessons From Heart of Dance 10

DJ Discoveries 13

Social Dance Principles in American Style

Foxtrot 14

W.T.F. is Ballroom Dance? 15

Following Is Not Easy 17

[Special Features]University of Minnesota Ballroom Dance

Program Rocks the Dance World 18

USADance National DanceSport Championships 21

Indiana Challenge 2017 22

Dancers Studio Swing Into Spring Showcase 24

[Recurring Columns]Follow the Leader 28

On the Radio 31

Post-Comp Lesson and Planning Through Fear 32

Gaining Perspective 34

Beginning Steps 38

Middle-Aged Moves 40

Volunteer Report 42

Results from Around the Country 43U Partner Dance, Inc. and:

AdvertisersDance Fest, Dancers Studio, Grand Jete, Meghan Anderson, Minnesota Ballroom

Blast, Studio Jeff

PhotographersJeff Achen, Cody Arndtson, James T. Ebert, Audrey Haugen, C.J. Hurst, Lisa

Hyatt, Theresa Kimler, Christina Kyllo, Neli Petkova, Zeyi Shen, Joel Torgeson, McKenzie van der Hagen, Taylor Wall, Uzo Wamuo, Dance Fest Photography Team

WritersKaylee Anderson, Eric Dahlman, Jackson Fossen, The Girl with the Tree Tattoo,

Joseph Gotchnik, Michael Kasinkas, Ember Reichgott Junge, Rochelle Lockridge, Paul Stachour, Joel Torgeson, Taylor Wall

Brought to You By

Troy Lerum and Kay Klasse

at Dancers Studio Swing Into Spring Showcase. Photo by James T. Ebert.

SHEERDAnCE.COM 1 Jun 2017 • • 5

2017 Competitions

Events labeled NQE are qualifying events for the USA Dance

National DanceSport Championships.

NJ Dancesport Summer Sizzler NQE Jun 11-12 Hackensack, NJ

Gumbo Dancesport Championships NQE Jun 23-25 Baton Rouge, LA

Kansas City Dance Classic Sep 9 Overland Park KS

Georgia Dancesport Competition Sep 16 Sandy Spring, GA

DiscussionThis is a forum where people

are invited to express their true

feelings about issues in the dance

community (while still adhering

to our submission guidelines) and

propose solutions to the prob-

lems we often face. Statements

made in the Discussion section

do not necessarily reflect the

views of Sheer Dance, even when

written by one of our volunteer

staff.

From the CommunityUnlike the other sections,

there is no cohesive theme to

From the Community; it is a

catch-all for the unique gems that

are submitted by people like you.

Here you’ll find contributions

like event recaps, interviews,

tales from a far-off competition,

and photos from a local dance

event.

Recurring ColumnsWe have a handful of generous

writers who contribute regularly.

Each explores a unique, overar-

ching theme of their choice. Each

month, in a volunteer report, one

of our volunteers fills you in on

what they’ve been doing to make

the dance community a better

place.

Special FeaturesSome issues focus on a particu-

lar event or theme, and all content

relevant to that theme belongs to

the Special Features section. E

Sections

6 • • 1 Jun 2017 SHEERDAnCE.COM[PARtiCiPAtE]

About us

Sheer Dance is a monthly inde-

pendent publication that presents

news and information relevant to

the partner-dancing community in

the central United States and the

nation at large. It is intended to be an

accessible outlet for members of the

community to discuss their experi-

ences and opinions in a public forum.

Published monthly, Sheer Dance is run

by a group of skilled volunteers with

extensive experience in creating and

distributing successful partner-dance

publications.

This magazine is meant to serve

the community as a positive and uni-

fying force by addressing the needs

and desires of all groups within the

community. Sheer Dance:

• Provides amateurs with a conve-

nient way to share their dance

experiences, seek advice from

experts, and learn about events,

services, and other opportunities

in the wider ballroom community;

• Provides professionals with direct

access to their target audience,

spreading awareness of their

expertise, events, and services; and

• Provides the entire community

with a forum for discussion, coop-

eration, and problem-solving.

Sheer Dance is made possible by the

generous contributions of members

of the community. If you enjoy read-

ing this publication, please consider

contributing an article or photos,

making a donation, subscribing, or

volunteering your time and skills.

The staff of Sheer Dance can be

reached at [email protected]. We

hope to hear from you! E

Volunteer Openings

Assignment PhotographerIf you love taking photos and exploring the

partner-dancing world, throw in your hat to

become an official Sheer Dance photographer!

This volunteer will be provided topics and

events to cover with action-packed shots.

Assignment WriterLove writing but never sure what to write

about? We supply the topics every month; you

supply the articles. Excited, passionate writers

with a thirst for exploration are encouraged to

consider volunteering for this position.

ColumnistWe’re always looking for more people to

commit to writing an article every month that

addresses a particular idea or theme relevant

to partner dancing. You choose the topic!

Copy EditorWe’re looking for a highly skilled linguist

with an intimate understanding of American

English spelling, punctuation, and grammar

to do the first pass of line editing on all arti-

cles. This is a very involved role that provides

excellent experience for anyone considering a

career in publishing.

Your Contribution HereHave an idea of how you could add value

to Sheer Dance that we haven’t thought of ?

Let us know! E

SHEERDAnCE.COM 1 Jun 2017 • • 7[PARtiCiPAtE]

Contribute

Submission GuidelinesSubmissions are due to [email protected]

by the 10th of the month prior to publication. Submissions

received after the deadline may be used in the upcoming

issue or may be saved for a later month. You may request

a two-day extension if you include information regard-

ing your topic.

Content is published at the discretion of Sheer Dance

based on the policies outlined below. It is our goal to

publish all of the content submitted to us in the issue for

which it was submitted. Any rejected advertisement or

article will come with communication on how it could

be edited to be appropriate for publication, with a dead-

line extension when possible to allow time to effect the

necessary alterations.

AdvertisementsWe print at 300 dpi and accept PDF, PNG, and JPEG file

types. When buying a larger advertising package, you may

swap in a different ad for each month at no additional

fee. The chart below features our introductory rates,

which are subject to change as the publication grows.

Contact [email protected] for more information.

Layout Dimensions (width × height)

Price Per Ad Price for 12 Consecutive Months

Full Page 7.5” x 10” $120 $1200

Half Page 7.5” x 4.75” $75 $750

Quarter Page 3.5” x 4.75” $50 $500

Business Card 3.5” x 2” $15 $150

PhotosWhen selecting photos to include in the magazine,

we try to feature different dancers in each picture, when

possible. We look for photos with good lighting, a clear

focus, and smiling dancers who are actively dancing.

ArticlesAll articles must be clearly relevant to partner danc-

ing. There are no length requirements or limits, but

Sheer Dance may break up longer articles across multiple

issues when appropriate. While articles may promote

specific events, that cannot be their primary func-

tion; they must have a broader applicability to

enlightening the dance community. Articles must

be respectful and productive. Harassment of any

kind will not be published, nor will articles that

fall below Contradiction on the scale of productive

argumentation.

Refuting the Central Point

Refutation

Counterargument

Contradiction

Responding to Tone

Ad Hominem

Name-calling

Explicitly refutes the central point

Finds the mistake and explains why it’s

mistaken using quotes

Contradicts and then backs it up with

reasoning and/or supporting evidence

States the opposing case with little or

no supporting evidence

Criticizes the tone of the writing

without addressing the substance of

the argument

Attacks the characteristics or authority

of the writer without addressing the

substance of the argument

Discourse like “The writer is

an imbecile”

Editing PolicyContent submitted to Sheer Dance will be edited

for spelling, grammar, sentence structure, style, and

appropriateness of content.

Any kind of bigotry, inappropriate religious or

political statements, name-calling, verifiably untrue

statements, unreasonable and unverifiable claims,

and unpaid content that only serves to advertise

goods or services are all subject to removal. Content

that serves no appropriate purpose will not be

published.

If you are dissatisfied with any edits made by

Sheer Dance, you are welcome and encouraged to

compose a Letter to the Editor, which, so long as it

meets the submission guidelines, will be posted in

the Discussion section of the subsequent issue with

a response from Sheer Dance. Sheer Dance retains the

right to discontinue public editorial discussions

when they no longer add value for the dance com-

munity at large, though private exchanges may

still be relevant. E

8 • • 1 Jun 2017 SHEERDAnCE.COM[VOluntEER tEAM]

taylor WallEDITOR IN CHIEFA lifelong dancer, Taylor started ballroom dancing with the U of MN

Ballroom Dance Club. She’s been volunteering in the dance community

for five years. She oversees production of Sheer Dance from beginning

to end each month, working closely with the acquisitions and editing

teams to craft an exciting and interesting magazine you can look for-

ward to each month. Email her at [email protected].

nicholas WestlakeCREATIVE DIRECTORNicholas crafts the look and feel of Sheer Dance. He oversees our design

and publishing teams, building impactful visuals while ensuring each

aspect of the publication complements the image and style you know

and love. In the wild, he’s also a passionate ballroom competitor, an

avid dance instructor, and a no-nonsense system designer.

Olivia WickerDESIGNEROlivia is a fresh face in dance and design. A life-long martial artist,

her love of competitive sports and artistic creation drew her to study

kinesiology and graphic design at the University of Minnesota. Now

she’s enjoying the adventure of ballroom dancing. She designs and

develops the layout, graphic elements, and content of Sheer Dance and

guides creative decisions.

Alexzandra EngerACQUISITIONS EDITORWhen she’s not busy dancing, volunteering, or studying, Alex will

likely be found—coffee in hand—spending time with her friends,

conquering video games, discovering new music, and whipping up

delicious meals and desserts. She wants to travel the world, dance

as often as she can, and be happy. As Acquisitions Editor of Sheer

Dance, Alex is responsible for gathering all content for the magazine.

If you’ve got articles or photos to share, send them to Alexzandra at

[email protected].

uzo WamuoCOMMUNITY LIAISONUzo Wamuo is a student at the University of Minnesota with a

Neuroscience major and a Spanish minor. He is on the University of

Minnesota Ballroom Dance Competition Team and is an avid dancer

who loves going out for social dances and meeting new people. Uzo was

born and raised in Plymouth, MN with his parents, his older brother

and twin brother and enjoys spending his past time playing piano,

cooking, and playing video games.

Kaylee AndersonCOPY EDITORKaylee is a student studying English at the University of Minnesota and

has been a part of the University of Minnesota Ballroom Dance Club

for two years now. She is very excited to become an essential part of

Sheer Dance’s team and to gain experience in the field of copy editing,

putting her knack for grammar to good use in her monthly column.

Brittney HeissererADVERTISING EDITORBrittney just completed her freshman year as a nursing major at the

University of Minnesota, Twin Cities. She is excited to dance over the

summer before she starts her third semester with the Ballroom Dance

Club this fall. As Advertising Editor, she ensures that readers have

the opportunity to connect with the vendors, products, and events of

interest to them. If you’re interested in advertising with Sheer Dance,

email her at [email protected].

theresa KimlerSUBSCRIPTION COORDINATORA seven-time USA Dance open smooth champion, nine-time rhythm

champion, and four-time nine-dance champion, Theresa is an

undisputed, long-standing champion of dance. Mechanical engineer

by education, black-belt project manager, owner of Total Project

Consulting, and lover of quadrupeds, Theresa graciously lends her

expertise to Sheer Dance for the betterment of the dance community as

our Subscription Coordinator.

Hannah AlyeaADVERTISING EDITORHannah is rarely seen without a smile on her face and loves to spread

the good news of ballroom dance. She is the president of the University

of Minnesota Ballroom Dance Club and an active competitor. As

Advertising Editor, Hannah is responsible for ensuring that Sheer

Dance readers can connect with the vendors, products, and events of

interest to them. If you’re interested in advertising with Sheer Dance,

email Hannah at [email protected].

Now Teaching in the Twin Cities…

Meghan Anderson

Igor Afonkin x Certified Professional Dance

Teachers in ALL STYLES!

x Professional competitors in the American Smooth style

x Trained to work with “social/beginner” level dancers to top competitive dancers

x Have worked with the top coaches in the country on the current “trends” in dancing!

Available for Private Instruction at various locations in the Twin Cities

612-816-5904 [email protected]

10 • • 1 Jun 2017 SHEERDAnCE.COM[FROM tHE COMMunitY]

SAM, A FIFTH GRADER AT WINDOM

Dual Immersion School in Minneapolis,

was excited when he was selected to

dance with his school team in the May

7 Dancing Classrooms all-school Colors

of the Rainbow Team Match, hosted by

the nonprofit Heart of Dance. But his

friend, Luis, was really “bummed out”

when he didn’t make it. “I thought he

should have made it,” said Sam. “So I

offered to give up my spot for him. I

thought well, I’m going to be happy

dancing, but I’m also going to be

life lessons From Heart of DanceBY EMBER REICHGOTT JUNGE, CO-PRESIDENT, HEART OF DANCE

happy seeing him dance, so it’s like a

win-win.”

So Luis joined the team and came

to the elegant ballroom ready to dance

for Windom. He learned that another

team, from Learning for Leadership

Charter School in Minneapolis, was

short a few gentlemen. So he and

another Windom teammate also vol-

unteered to dance a few dances with

the ladies of Learning for Leadership,

though they had never met.

The ballroom was filled with par-

ents and families cheering on the ten

Twin Cities schools fifth-grade teams

as they danced the merengue, tango,

rumba, waltz, foxtrot, swing and heel-

toe polka. Professional ballroom dance

judges Amy Anderson, Nathan Daniels,

Donna Edelstein, and Shinya McHenry

judged dancers not only on dance

steps, but on their display of Respect,

Elegance and Teamwork—the funda-

mentals of Dancing Classrooms. As

judges scores were tallied, every school

team received a trophy and every fifth

grader a medal.

Luis jumped for joy when Windom

placed second in the Team Match,

proudly holding the trophy with his

teammates. He texted the news to Sam.

“I thought, WOW!” Sam told a lun-

cheon audience two days later. “Out of

ten schools that’s pretty good. I helped

them, even though I gave up my spot.

Maybe he did better than I would have

done.”

And then the first place team

was called—Learning for Leadership

Charter School! Luis and his Windom

teammate were invited to join them for

the first place team photo. Said Sam,

“I found out that my friend was one of

Photos by C.J. Hurst.

Photos by Jeff Achen, courtesy of The Saint Paul Foundation.

SHEERDAnCE.COM 1 Jun 2017 • • 11[FROM tHE COMMunitY]

two Windom gentlemen to dance with

the Orange Team and help them win

first place. It was pretty amazing that

they did that. I had a bunch of happy

feelings all at once.”

Add to this story that the first place

team members were 90% Somali, and

you have a complete picture of how

Dancing Classrooms develops gender

and multicultural respect among fifth

graders.

Two days later, both teams per-

formed together before 215+ people at

the “Dancing with Heart” luncheon for

Heart of Dance, celebrating two years

of Dancing Classrooms. Sam shared

his story, concluding, “and now I get

to come here and dance with my team

after all.”

The pictures tell the rest of the

story. If you want to bring Heart of

Dance to a student or school you love,

volunteer as a Classroom Assistant,

sponsor a classroom, or audition

to be a Teaching Artist, contact

[email protected] or go to

www.heartofdancemn.org. E

Judges Shinya McHenry, Donna Edelstein,

Nathan Daniels, and Amy Anderson.

Photos by C.J. Hurst.

BALLROOM DANCING CRITIQUED

ALL DAY. SOCIAL DANCING AND

MUSIC ALL EVENING.

BEGINNERS WELCOME(AND PREFERRED)

Dance your heart out.

Get critiqued by pros.

Have a blast.

DANCERSCoffman Memorial Union

Great Hall

300 Washington Ave SE

Minneapolis MN 55455

WHERESPECTATORSSee some great dancing.

Show off your moves.

Rock out.

Admission only $5/session.

Day Session: 9 AM to 5 PM

• Critiqued dancingEvening Session: 6 PM to 10 PM

• Performances & social dancing

WHEN

facebook.com/ballroomblastMORE INFORMATION AT MNBALLROOMBLAST.COM


THE UNIVERSITY OF MINNESOTA Ballroom Dance Club recently hosted

their end-of-semester social dance,

themed as a 50’s themed Sock Hop.

As the club’s music coordinator, this

presented me with a new and unique

challenge: build a ballroom social

dance playlist with the added restric-

tion of limiting choices to pre-1970’s.

I learned a lot in this endeavor, what

follows is a summary of what I learned

for those thinking of attempting some-

thing similar.

Being restricted to music from a

specific period drastically alters the

availability of good songs from dance

to dance. As one might expect, there

was no shortage of Foxtrots to be had,

nor traditional Swing/Quickstep music.

However, once thing I noticed almost

immediately that caused trouble in my

search was that Rock and Roll was only

just getting started in the 50’s. The

majority of the subgenres of rock and

its derivatives (Hard Rock, Alternative,

Punk, Heavy Metal, etc) had yet to be

developed, which translated into a

DJ DiscoveriesRevisiting Vintage Music for themed DancesBY JACKSON FOSSEN

significant stylistic reduction in song

choices. A particularly annoying and

consistent result of this was the lack

of heavy, driving bass lines that clearly

present the ever-crucial beat dancers

listen for. Weak bass made it espe-

cially difficult to find good Cha Cha

music that didn’t sound like Rumba.

Eventually, I changed my perspective

a bit and studied what has historically

been considered appropriate Cha Cha

music and made things work. I also

found myself sorely missing the influ-

ences of later Rock music when look-

ing for Triple Swing. Swing music had,

of course, been well-established by the

1950’s and plenty of music featured

the signature shuffle beat of triple step

swing, but I realized much of my Triple

Swing music relied heavily on hard

rock and contemporary rock music.

This too led to an adjustment of my

perception of Triple Swing music, and

the result was what I consider “lighter”

selections for Triple Swing.

Two dances that weren’t difficult to

find music for: Waltz and Tango. Waltz

music has been around for at least

200 years, so there was no shortage of

that. Many popular singers from the

Sock Hop era also recorded ballads

in ¾ time, which helped enforce the

Sock Hop theme in addition to being

chronologically appropriate. Tango,

as a dance and style of music, had

similarly been around for decades. In

addition, Tango music is comparatively

consistent relative to other ballroom

dances, so modern tango music doesn’t

sound all that different compared to

that of 60 years ago.

Two dances that suffered quite a bit:

West Coast swing, and Hustle. One can

dance West Coast to nearly any music,

but a lot of the good West Coast music

I prefer didn’t come about until much

later. Hustle, though technically a

swing dance, didn’t come about until

the advent of Disco in the 70’s. This

fact was the primary reason I decided

to split the playlist up and play Sock

Hop-esque music in the beginning, and

then switch to modern ballroom music

later in the dance.

Though I heard from several people

that they liked the era-appropriate

music, I remain hesitant to use it exclu-

sively even for a historically-themed

dance such as a Sock Hop because of

one observation. Once I began playing

modern music, I noticed the energy of

the group pick up markedly (partially

due to, I think, the heavy bass used by

much of modern music). As fun as it is

to dance to old music, it’s not quite the

same when you really want to let loose.

I enjoyed the challenge the Sock Hop

presented me, and it expanded my

views of what constitutes danceable

ballroom music. A few selections I

found will remain in my regular music

library. However, this task has renewed

my appreciation all the music that has

developed since the 1950’s, and made

me look forward to what develops

in the future. E

West Coast Swing dancers

at Dancers Studio Swing Into Spring Showcase. Photo by James T. Ebert.


Social Dance Principles in American Style FoxtrotBY MICHAEL KASINKAS AND TAYLOR WALL

Michael enjoys teaching a variety of different combinations.

Taylor, on the other hand, likes to stick with what she knows

and played Michael Buble all month long. Early in the month, we

focused on fun combinations transitioning between promenade

and closed dance position.

We were lucky enough to have five Tuesdays in May to really dive

into the Foxtrot and learn a ton of cool social dance steps. Join us for

more fun as we develop the Viennese Waltz, Tuesdays in June! E

We love meeting new students! Classes were so big this

month that we had to move to bigger ballrooms.

MICHAEL KASINKAS AND TAYLOR WALL started off May

right at the Dancers Studio Swing Into Spring Showcase

on May 5th!

Michael Kasinkas and Taylor Wall dancing in the Professional Show at Dancers Studio

Swing Into Spring Showcase on May 5th. Photo by James T. Ebert.

Michael Kasinkas and Taylor Wall chat with Dancers Studio students before class.

Photo by Cody Arndtson.

Students learn the Foxtrot in Michael and Taylor’s class. Photo by Taylor Wall.

Taylor specializes in turns, and we were little tornadoes in class. Photo by Taylor Wall.


W.t.F. is Ballroom Dance?BY JOSEPH GOTCHNIK

DANCE? I BELIEVE THAT’S WHERE one flails like a car dealership AirDancer

only on certain occasions: high school

formals, weddings, and while waiting

in line for the bathroom—or so I once

thought.

To start, I joined the UMN ballroom

team this semester as an oblivious, yet

curious, dancer with three or four left

feet. The only knowledge I had of ball-

room dance was from the movie Take

the Lead (a 2006 film about a group

of problem kids learning to ballroom

dance), which gave me hope that any-

one can start ballroom dancing. I knew

it took two to Tango but I had no idea

what a Tango was; so I knew nothing

about ballroom dance.

That said, I still remember the first

time I danced, UMNBDC’s Spring into

Dance, as if it was only a few months

ago. Those Cha-Cha and Rumba cir-

cles gave me the heebie dancies as

follows one by one back led me with

smiles and laughs at my attempt to

move to “Smooth Operator.” My hands

must have been unbelievably sweaty.

Even so, it was a grand ol’ time, but I

wouldn’t be coming back. Or so I once

thought.

The following Tuesday I was at the

rec center buying a climbing pass and

decided to come to tryouts with a few

nudges from Josh Dowell and Jackson

Fossen. It was again those Rumba and

Cha-Cha circles. The thrill of learning

this new foreign language was exhil-

arating, but then it happened. Yeah,

you know what I’m talking about: the

twist.

“Cooooome on baby… Let’s do the

twist” said Chubby Checker.

“Say no more Chubby” I thought to

myself.

I love the twist because it’s the

one dance I can actually do. The twist

also spreads happiness like wildfire,

and I don’t care if anybody disagrees.

However, I have now learned that

the twist is just a gateway to cuban

motion—which is not easy whatsoever.

After twisting at tryouts, I figured

I’d come to club lessons. It’d be useful

knowledge to know a few moves, but

there was no way I’d make the team.

The next day I was skiing at Theodore

Wirth with the Nordic Club. My head-

phones were in, and I couldn’t remem-

ber what song I was listening to (prob-

ably “The Twist”) when I received a

phone call. Fumbling to take my poles

off, I missed the call and the unknown

number left a voicemail.

“Hey Joey, it’s Hannah from the

ballroom team. I just wanted to con-

gratulate you on making the team and

I’ll see you tomorrow! PS your voice-

mail is pretty darn awesome.” I swear

Photo by Dance Fest Photography Team.


I laughed out loud because I thought

either Josh or Jackson were playing

some joke on me. Nope. The only joke

was my actual dancing.

So I took the risk and never looked

back. Up until college, athletics were

definitely the biggest part of my life.

I’ve learned more about dance than

I ever thought possible in these past

few months, but still haven’t broken

certain habits—namely that leading

with your head and sitting into athletic

position does not fly well in ballroom

dance.

There are plenty of similarities,

however, like the mental game of ten-

nis, or the fine details of a football play

relating to a united Viennese Waltz

going down a long wall. Touchdown or

well-counterbalanced spin turn in the

corner, it’s all the same. It all stems

from the “you get out what you put in”

mantra, the old give and go.

On the other hand, the musicality of

dancing left me in the dust. Whether it

was “quick quick slow” or “get get go

Joey” I still didn’t know. Trying to hit

the one beat was like trying to find the

right piece of hay in the haystack—and

don’t even get me started on Samba

or Bolero. Also, why is every follow

able to hit it perfectly? On top of that,

it’s pretty hilarious when I would ask

someone how to improve my timing,

in which they would respond “give

it time.” But it’s true. With time, my

timing has improved. I just wish they

would allow me to wear a watch during

competitions.

Overall, ballroom dance has really

broadened my horizons both physi-

cally and mentally. Seriously amping

up my wardrobe is one example.

Traveling to Notre Dame for the first

time was an all-around amazing expe-

rience, but Dance Fest was the perfect

way to start my dance career—it blew

off my Sunday shoes. From seeing the

open levels compete, to competing in

a great atmosphere, to a dance floor

full of people doing the twist, it really

confirmed my suspicions of continuing

dance.

Although after reflecting on my new-

found knowledge, I strongly believe it

should be Waltz Twist Foxtrot—what a

competition that would be. Maybe next

year at Dance Fest? I guess I can only

hope.

Anyways, I know most of the dances

at this point (not that I can dance them),

and even though I first asked “Waltz

Tango Foxtrot is ballroom dance?” I

can now confidently tell another that

Waltz Tango Foxtrot (WTF) is ballroom

dance. Period, not question mark.

In the meantime, I’ll be trying to

improve my dancing, because I don’t

even know what I don’t know. But that’s

the beauty of ballroom dance (and life

really)—there’s constantly new ground

to be covered and one will never stop

learning. I may have learned a lot from

first questioning what ballroom dance

even was, but the amount I still need to

learn far outweighs the latter. And the

best part? It’s so much fun. E


Following is not EasyPart 3: leader’s Observations of Paul as a FollowerBY PAUL STACHOUR

I KNOW THAT, FOR A LEADER, IT can be much more challenging to lead

someone who does not yet follow well

than someone who can perceive what

is being led, and interpret that lead

appropriately. To summarize from

previous months’ installments, I know

that I need to work on perception, con-

nection, and rotation in the follower

role. However, that is not the full story.

What would the typical leader who has

danced with me say that I need to work

on? They might answer: “Anticipation,

Connection, and Displacement”.

First, when one is partner-dancing

in the follower role, one should not

anticipate. Unlike competitive or

exhibition dancing where the moves

are choreographed and known, in

partner dancing the moves are not

known in advance. This is both part of

the fun and part of the problem. As a

follower, I should not dance before the

beat, nor should I anticipate the next

pattern to be led. It is easy, especially

when beginning in a group lesson set-

ting, to just dance what one knows is

coming next. But it is not correct for a

follower to do so. I have been accused

of anticipating by numerous partners; I

have excused myself by indicating that

I was not anticipating, that I was just

not paying close enough attention. OK,

OK. Whether it was anticipation on my

part, or lack of perception on my part,

the fault is mine.

Allow me to provide an example

from Cha-Cha. The leader leads a cross-

body lead. When I put my left foot

down and rotate on beat two, I must be

careful to not put my right foot down;

not even the right foot’s toe. If I do, I’m

breaking the turn/rotation, thus pre-

venting the leader from the option of

giving me a longer (whee!) rotation. E

Photos by Dance Fest Photography Team.

18 • • 1 Jun 2017 SHEERDAnCE.COM[SPECiAl FEAtuRES]

university of Minnesota Ballroom Dance Program Rocks the Dance World

THE USA DANCE NATIONAL Championships were held in

Baltimore, Maryland on March 31-April

2, 2017. While many results were

posted in Sheer Dance’s May 2017 issue,

it took a compilation of those results to

realize how completely the University

of Minnesota Ballroom Dance Club

(UMNBDC) and its recent graduates

dominated the American Style syllabus

divisions. In the American Rhythm and

Smooth Bronze and Silver Divisions,

11 of the top 12 award placements

(first place through third place for

each of the four divisions) came from

the UMNBDC program. The final

rounds of these events were filled

out by 18 UMNBDC-trained couples,

leaving only seven finalists from all

other programs combined. In Gold,

both the American Rhythm and

Smooth divisions were won with half

of the top 6 award placements taken

by couples who were UMNBDC-trained.

Though non-dominant, UMNBDC-

trained couples also made the final

in all Standard Syllabus divisions as

well as made in-roads in Novice and

Championship divisions. Never before

has an organization produced such

dominating results.

Nels Petersen is Head Coach for the

number 3 nationally ranked UMNBDC

Competition Team. He also happens to

be the most winning amateur ballroom

dancer in the history of DanceSport,

having 24 Open National Am-Am titles

and 24 Open division Pro-Am titles to

his credit.

Why the historic results?

The first three advantages the

UMNBDC program has are the brilliant

contributions of local great profes-

sionals Kate Bratt, Elena Bersten, and

Michelle Hudson. Their extraordinary

efforts create instant social dancers

and build a strong foundation for

those who try out for a spot on the

UMNBDC Competition Team. The

Dance Champions Nels Petersen and Theresa Kimler. Photo provided by Theresa Kimler.

Nels Petersen, head coach of UMNBDC, and Theresa

Kimler, dance consultant to UMNBDC. Photo pro-

vided by Theresa Kimler.

SHEERDAnCE.COM 1 Jun 2017 • • 19[SPECiAl FEAtuRES]

fourth advantage is the consistent

presence and the team’s access to

Theresa Kimler. She is the most-deco-

rated female competitor in the history

of USADance. She is show business

embodied in a person.

Nels’ strong business management,

hockey playing, and coaching back-

ground have led to unconventional

training methodologies in the turn-

style college market. Students are at

the peak of their ability to learn, gen-

erally in good physical shape, and need

not be treated like most retail dance

clients. The students can be pushed

pretty hard. They are taught that dance

is only a part of competing successfully.

Social skills, goal theory, personal and

partnership managerial skills, nutri-

tion theory, exoskeletal health, neu-

ro-associative theory, group interactive

skills, visual sport theory, public speak-

ing, public service, music theory, and

discipline are sold to them wholesale.

Accelerated learning methodology is

incorporated, including rapid, frequent

testing, rapid topic change, and recall/

repetition technique. They are taught

that winning at dance and winning

in life may not always be within your

control. You can control a lot of factors

that optimize your chance to win: go

have at the tools to do that.

The UMNBDC is also fortunate to

have the non-profit U Partner Dance,

Inc. (UPD) as its majority sponsor and

support group. With collegiates being

relatively transitory, UPD provides not

only funding but continuity and consis-

tency for the collegiate organization.

The gracious, giving, big picture and

long-term thinking UPD Board consists

of University of Minnesota alumni and

benefactors of the UMNBDC program.

They include Joel Torgeson, Rosemary

O’Connell, Taylor Wall, Nels Petersen,

and Daniel O’Connell. Their belief in

and commitment to the future of dance

has now produced historic results.

Kate BrattIt is often said that you will hear

Kate Bratt long before you see her.

Kate’s fun-loving personality, animated

gestures, attention to detail, and copi-

ous supply of knowledge make her

the ideal instructor for both new and

experienced dancers. Kate has been

teaching ballroom dance for fifteen

years, after having gotten “too old” for

elite gymnastics. During her matricu-

lation at the University of Minnesota

studying the über-useful history of

art, she heard some salsa music on

the radio and ran to the nearest dance

studio. For several years, she competed

as a student in pro/am competitions

and in strictly amateur events as well,

placing at the top of the nation in

smooth, rhythm, and standard. After

winning the scholarship division at

the prestigious Holiday Classic in Las

Vegas, she turned pro and danced the

American rhythm style for six years,

making finals at most competitions

around the nation. When she met

Gordon and decided to partner (and get

married), they committed to dancing

both American rhythm and smooth in

the well-rounded American nine-dance

division. Kate and Gordon, along with

three lovely daughters, travel the coun-

try dancing while running the new Mill

City Ballroom in St. Paul, MN. Kate also

composes content for the blog “Riot

and Frolic” to keep sleeping hours to

a minimum.

Kate Bratt - UMNBDC Coach.


Elena BerstenAt the age of 10, Elena Bersten

learned rhythmic gymnastics and

became Russian gymnastics champion

in 1995. At the age of 12 Elena started

learning ballroom/Latin dance. In the

summer of 1998 Elena and her mother

(former champion of Russia) opened

dance studio “21 century”. Elena at age

16, went to school for choreography. In

her dancing career Elena won numer-

ous awards for her dancing abilities

and won many prestige Russian cham-

pionships and titles. At the age of 18

Elena won the Russian formation team

competition.

In 2000-2005 Elena attended the

university Culture of Arts in Orel,

Russia, and received a special certif-

icate as a Ballroom instructor. Elena

also attended the Russian university

for choreography. Natalia Nesterova

(Moscow). In 2003-2006 Elena was

invited as a dancer for European

renowned “Moscow’s Starlight

Dancers”. Elena toured in Finland,

Sweden, Monte Carlo and Cyprus.

Elena also performed with many

celebrities including Lou Bega, Patricia

Kass, Boney M, Touch and Go, and many

other great performers. Elena per-

formed is some of the most prestigious

stages in Moscow and St. Petersburg.

In 2006- Elena created her own dance

show “21 century dance.” And in 2008-

2010 Elena was invited to perform with

Burn the Floor as the main couple.

Elena is the co/owner of Dance Sport

competition “Trophy Mayor” Elena is

a recognized official judge of Russian

Federation DanceSport, and USTA/

NDCA certified as a highly qualified

“Member” adjudicator in American

Rhythm and Smooth, and International

Ballroom and Latin. Elena trained many

of the junior and youth champions of

Russia in her Ballroom/Latin club “21

vek” in Orel, Russia.

Now Elena, currently dancing

with her husband Gene, is the Co/

Owner and Director of “Dance With

Us America,” which is considered to

be one of the best Ballroom and Latin

dance studios in the Midwest. She is

also the choreographer of “Dance With

Love,” creating dance shows here in

Minnesota and all over America, such

as the show, “Behind The Mask”. Elena

grows in her dancing everyday by con-

tinuing her education, performing, and

adding to the dance community with

her wonderful performances, dancing,

teaching and passion

Elena Bersten- UMNBDC Coach.

Michelle HudsonMichelle Hudson is co-owner, Dance

Director and Principal instructor of

Cinema Ballroom, one of the largest

independently run studios in the

United States. In addition to teaching

out of Cinema Ballroom, she travels

all over the country to coach, com-

pete Pro/Am with her students and to

judge as a registered Championship

Level Adjudicator with the NDCA.

With her husband Eric Hudson she is

a United States professional Rising Star

American Smooth Champion as well as

an Open Professional United States and

World American Smooth finalist. E

Michelle Hudson- UMNBDC Coach.


uSADance national DanceSport Championships

Audrey Haugen and Josh Dowell

Photos by Christina Kyllo

Daniel Korus and Christina Kyllo

Minnesota Dancers travel to Baltimore

Nicholas Westlake and Neli Petkova

Uzo Wamuo, Brittney Heisserer, Hannah Alyea, and Kyle Condiff


indiana Challenge 2017BY ZEYI SHEN



Joel Torgeson and Jenessa Deanne

Ladies Formation Team

Dancers Studio Swing into Spring ShowcaseBY JAMES T. EBERT


Nicholas Westlake and Mirna Vela

Paris Becker and Cody Arndtson

John Burns and Elena Bersten

Rhythm Formation Team

Karen Pavloff and Troy Lerum


Danielle Larson and Shane Haggerty Photos by James T. Ebert

Rhythm Formation Team at Dancers Studio Showcase. Choreography by Jay Larson and Donna Edelstein. Dancers: Paula Lammers, Jay Lammers, Catherine Bell, Terry Tucker,

Tom Kouri, Patty Kouri, RaNae Murphy, Jack Ng, Leslie Koepke, Susan Iverson, Gary Norman, Brian Dawley, Lynette Dawley. Photo by Theresa Kimler.


Kristine Alswager and Troy Lerum

Jordan Lanassa and Bob Anholt

Paris Becker and Al Micklin

Photos by James T. Ebert

28 • • 1 Jun 2017 SHEERDAnCE.COM[RECuRRinG COluMnS]

I HAVE A LOT OF EXPERIENCE WITH

sewing, especially in the realm of

alterations. I was in the Summer Youth

Program at Lakeshore Players in White

Bear Lake for seven years, up until I

graduated high school, and they taught

me everything that I know about tai-

loring clothes. The first half of our day

was rehearsing, but the second was

tech. About a quarter of us sat in the

cool basement of the theater, ironing

and hand-stitching, putting in zippers

and making entire pieces from scratch.

We spent days digging through all of

the costume rooms, diving through

racks and digging deep in enormous

plastic boxes for costumes we knew

would fit the roles of the actors in our

play. It was hard work, and increas-

ingly complicated the older I got as

Follow the leaderSay Yes to the teamstress: Part OneBY KAYLEE ANDERSON

the lead costumer MaryBeth Gagner

trusted me with more and more tasks,

but every moment of the time I spent

there trained me for my new role come

college: Teamstress.

When I first started dancing in

the University of Minnesota Ballroom

Dance Club, I was having the time of

my life learning new moves. When

the Halloween dance came around my

Sophomore year, I was determined to

make the best costume I could possible

come up with, as long as it was highly

danceable. I went home for an entire

weekend in order to use my mom’s

old sewing machine, and I spent all

of my waking hours on a full skirt, a

corset, an undershirt, and my friend’s

matching vest. When I showed up to

the Halloween dance post-Ballroom Kaylee is a student studying English at the University

of Minnesota and has been a part of the University

of Minnesota Ballroom Dance Club for two years

now. She is very excited to become an essential part

of Sheer Dance’s team and to gain experience in the

field of copy editing, putting her knack for grammar

to good use in her monthly column.

Photo by Dance Fest Photography Team

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Blast all decked out as Rapunzel with

Pascal on my shoulder and my friend

dressed up as Flynn Rider, people were

surprised when I told them I had made

it all on my own. In fact, they were

impressed—though if they had looked

closer at some of my sub-par seams

and silly mistakes, they might have

changed their mind.

Nevertheless, as I progressed

through the ranks and ended up on

competition team, I was met with con-

tinual surprise whenever my response

to a clothing-related compliment was

“Thanks, I made it myself !” Sewing

was something I had taken for granted

up until this point because I was

trained in it from middle school, and

it seemed to me like my skills weren’t

that advanced, but the reactions of my

teammates gradually convinced me

otherwise. When Seth Westlake came

to me one day asking me if I could help

take in his pants, I was equally excited

and afraid. On one hand, I was so happy

knowing that someone trusted my

skills enough to ask me for my help.

On the other hand, I was terrified that

I would mess something up so horribly

that he’d never ask for my help again.

Dance pants are extremely expensive,

and if I accidentally did something

irreparable, I was convinced I would

never be able to make eye contact

again. I stifled the voices of doubt and

took the job, and boy was I glad I did!

Everything went off without a hitch,

and the best part was that they fit per-

fectly. It didn’t hurt that I got a little

money out of the deal too.

That summer I interned at the

Children’s Museum as their Costume

and Props intern under Lisa Conley,

and I learned so much in those short

three months. I had a lot of tasks that

were repetitive and a little boring, like

hemming the sleeves shorter on a mil-

lion little raincoats for an upcoming

exhibit, but they helped me develop

skills that I found to be even more

imperative when it came for school to

start again. I was also given plenty of

time to work on creating my own little

costumes for other nooks and crannies

in the museum. I made a bunch of

adorable little hats for the snowmen

exhibit, and I even got to design my

own awesome little capes for another

part of the museum that wouldn’t

reopen for at least another six months.

The combination of creative thinking

and repeated tasks together gave me

the skills I needed to take my sewing

to the next level. I picked up a bunch

of little tips that lead to “ah-ha!”

moments and miniature revelations,

and I came out of that internship with

more in my back pocket than I ever

thought possible.

Post-Children’s Museum, things

kicked into high gear on Competition

team. After what I’d done for Seth, oth-

ers started coming to me with quick

fixes: “Can you take in my shirt? The

sleeves are way too baggy” and “My

skirt doesn’t fit me anymore; can you

make it smaller?” were common prob-

lems I addressed. Because my clientèle

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Cha ChaJust Hold OnSteve Aoki & Louis Tomlinson

were solely college students, I gave

them a choice: either feed me, or pay

me minimum wage per hour of work.

Everyone was surprisingly cool with

that, and nearly everyone came away

happy when I returned their clothes.

Needless to say, with every new piece I

was hesitant. I’d never technically done

it before, but did that mean I couldn’t

do it? As with every other situation,

I told my anxiety to take a backseat

and pulled myself farther and farther

outside of my comfort zone. Soon I was

fixing really nice Standard dress shirts

and actual ballroom dresses with nary

a hesitation, and I was so very proud

of myself for being able to promise

something and deliver it with minimal

mistakes. I was even more happy that

my teammates trusted me with their

things and allowed me to test the

limits of my skills with their awesome

clothing. The smiles and happy hugs

I received for my work were totally

worth the hours spent cursing at my

ancient sewing machine and nicking

myself with needles.

Currently, I’m really enjoying the

niche I’ve carved out for myself as the

“Teamstress.” I’m also happy that there

are other people on team with similar

skills that I can talk to about working

on projects and problem-solving. Being

on the UMNBDC team has given me so

many opportunities to develop not only

my dancing skills, but complementary

ones as well. With the help of others,

we are well on our way to becoming the

best-dressed team in the Midwest! I’m

so grateful to have had both MaryBeth

Gagner and Lisa Conley as my mentors

while growing as a seamstress, and I

know that both of them have taught

me skills that have made my life eas-

ier as well as given me the emotional

support I needed to believe I could do

it. Most of all, I’m extremely grateful

to my teammates for their unyielding

trust and support. I would never have

been able to improve without using

you all as my guinea pigs, and I will be

forever thankful for that. Knowing that

we’re all learning together in a variety

of ways really solidifies the companion-

ship I’ve come to know and love in my

years dancing with everyone.

All of the things I learned altering

costumes for other people also helped

me gain the confidence to start making

my own ballroom dresses as well. How

did they turn out? Tune in next issue to

find out! E


Fittingly, Francisco Gella posted this

on Facebook on Saturday:

“The power is always in the per-

formance not in the award. In the

end, if you are taking a dance to com-

pete–whether ballet or contemporary

or whatever–it is in the end STILL a

performance. The primary purpose of

a performance is to create memories

and to allow others to feel something

deeply. So don’t hold back. Don’t

choose perfection over impact. Take a

risk. Go big.”

My chest caves and my arms look

stiff because I’m afraid. I’m afraid to

take a risk and go big. Not just a little

afraid or uncomfortable: anxiety-at-

tack afraid. My teacher wanted me to

dance the shadow part of our waltz on

Saturday, while expressing (or trying to

express) joy through my face and arm

styling, because that was the emotion I

came up with when asked to associate

the movement with a feeling. Despite

my assertion that the beginning arm

styling in my shadow movement was

supposed to project joy, I immediately

started having chest pains and had to

blink back the beginnings of tears.

No matter how many high place-

ments I bring home or how many

people praise my dancing, I still have

trouble believing I’m good enough. Ok,

yes, I’m a “good” dancer. But good is a

relative term. A good beginner dancer

is not the same as a good advanced

dancer. Just because I was good, or

even great, at the bronze level, does

not mean I’m good or great at the silver

level. Ok, yes, I’ve done well at my two

silver comps. I don’t plan on stopping

at silver though. I want to move into

Open. I want to find an amateur part-

ner to compete with too, even compete

professionally.

I’M RETURNING TO SHARE THE details of my first post-Beach Bash

lesson and my plans for what’s next.

I would have normally had my lesson

on Friday, the day after we competed

(no, I wasn’t going to take the day off ),

but my teacher asked if I would move

to Saturday so he could fit in other

students’ lessons he had to cancel on

Thursday. No problem, I’ve been there!

So I took the opportunity on Friday to

go out to a celebratory dinner instead

(if I have to take a break, it may as well

include delicious food!).

With the celebrating over, I was

ready to get back to work—as well

as fighting some demons. The post-

comp blues were starting to kick in

on Saturday and that meant my focus

was turning to the mistakes I made and

doubts that I’d ever be able to correct

them.

I found myself wavering between

a determination to work even harder

than I have been and a fear that no

matter how hard I worked, I wouldn’t

improve. It sounds ridiculous and even

my teacher couldn’t help but laugh

when I verbalized it, but I have this

fear that won’t stop poking me that

I’m reaching my “peak.”

There is some evidence, however

weak, to support my fear. The main

things that I need to work on, i.e. keep-

ing my chest up and forward, and my

arm styling, are the things I’ve been

working on for the 3+ years I’ve been

dancing with my teacher. Over three

years, and I still can’t get them right!

It’s frustrating because I expect perfec-

tion from myself. It’s also frustrating

because the main reason I can’t get

these things right is my fear and lack

of confidence.

Post-Comp lesson and Planning through FearBY THE GIRL WITH THE TREE TATTOO

Nicholas Westlake and Neli Petkova. Photo

from Dancers Studio Swing into Spring

Showcase by Lisa Hyatt.


I know the higher up in level I go,

the harder it will be. What I’m afraid of

is that I won’t be good enough to make

it as far as I want to go. My fear is what

holds me back, and even though I seem

to be able to succeed anyway, at some

point, it won’t be enough. I will reach

a point when the only way I can grow

as a dancer is to take the risk, let go

of the fear and go big. So I’m stuck in

this repeating loop of being afraid that

I won’t be able to let go of the fear in

order to become the dancer I want to

be. I’m afraid I’ll be too afraid. It’s fun

inside my head, right?!

Of course, I’ll always at least try,

even if I have to push through an anxi-

ety attack to do it. I danced the shadow

portion of the waltz on Saturday and

tried to think about how happy danc-

ing makes me when I’m not so afraid.

My teacher said I was already looking

better.

Looking back over the 3+ years with

my teacher, it’s true that I still need to

be reminded about keeping my chest

up. It’s also true that the number of

times I need to be reminded is fewer.

My overall frame has improved. My

arm styling has improved. I’m dancing

silver-level choreography instead of

bronze. I have become a better dancer!

All of that improvement came despite

the fear that still follows me around

like a stalker.

Anxiety gets worse when I can’t do

anything, like when I have to just sit

around and wait for something. So I’ve

decided to change up the way I train

and give it more structure. My practice

time is currently very loose and flexi-

ble. I’ll do little bits nearly every day,

in between other tasks, and less often,

I’ll set aside a larger chunk of time to

practice the full dances. I also get to my

lessons early so I can practice before

we begin.

I don’t think it’s going to be enough

to reach the next level and break these

fear chains though. I’ve overcome fears

to this point through repetition. I keep

forcing myself to do something until

I build up a tolerance to whatever is

triggering anxiety. Then the anxiety

isn’t triggered anymore. If you’re in

a room full of inflated balloons and

someone has a needle, you might jump

at the sound of the first balloon being

popped. But after awhile, you get used

to the loud, sudden pop and it doesn’t

bother you as much.

That’s what I need to do. I need to

keep exposing myself to anxiety trig-

gers until they don’t bother me. I’ll

need my teacher’s help, which means I

also need to work harder to drill those

technique mistakes out of my body,

so we don’t need to keep focusing on

them. The other reason my chest caves

is I start focusing on something else

and my body forgets. The muscle mem-

ory isn’t strong enough. Repetition will

help me there too.

The next competition goal is the

Desert Classic in July. We might even

do Smooth and Rhythm, if all the stars

align properly. I have a LOT of work to

do if I want to be ready to compete in

nine dances. I’m not sure yet if it’s fea-

sible, since I can still only afford two

lessons a week no matter how lofty

my goals are. My teacher and I are still

figuring that out. No matter what we

decide–one style or two–my plan is to

create a solo practice schedule, one that

is actually written down. That way, I’ll

know what to work on each day, like

choreo or technique drills or styling

work, and I’ll be able to keep myself

more accountable by tracking what

I actually complete. Then my teacher

and I can work on bigger picture things

during the few lessons we have.

I sense that I’m turning a corner

in my journey. The road is going to

get a little steeper and rockier. If I

worked hard before, now is the time

to amp it up. If this was Lord of the

Rings, it would be the transition from

the Fellowship of the Ring to the Two

Towers. Tighten the belt again and

adjust the straps of your pack. It’s all

uphill from here! E

Troy Lerum and

Lisa Martin. Photo

from Dancers

Studio Swing into

Spring Showcase

by Lisa Hyatt.


Gaining PerspectiveGetting the Most from Group ClassesBY JOEL TORGESON

Joel Torgeson is a former president of the

University of Minnesota Ballroom Dance

Club and enjoys dancing both socially and

competitively. If you have feedback for Joel or

would like to pitch an article idea, email him

at [email protected].

OVER THE COURSE OF THE LAST 4 years, I’ve taken many group classes

and taught many as well. Through

these experiences I have noticed

positive themes in the way the best

students make use of group classes,

so this month I’d like to share them

with you here. My goal here is not to

chastise anybody, but to provide tips

for getting the most out of classes that

you, as a consumer, have paid for. Best

of all, better group classes lead to bet-

ter dancing, which is always more fun!

Win-win-win.

Without further ado, 5 tips for get-

ting the most out of your group classes:

1. Experiment and prepare to be

wrong. No single factor determines

a student’s capacity for learning

than their willingness to learn, and

being wrong is integral to this pro-

cess. As dancers, we are constantly

unlearning old habits to establish

new ones, habits that we will

eventually unlearn as even better

technique is presented. Put another

way, dance is a process, not a prod-

uct. Open your mind to the universe

that the instructor is creating for

you, even if you disagree with it in

the long run.

It’s clear that the best teachers in

the world are able to draw this learn-

ing quality out of nearly any student.

Less often acknowledged is the corol-

lary to this: the best students are those

who are able and willing to suspend

their beliefs about dance in order to

get to a higher plane of ability via their

instructor.

Many students have asked me what

to do when one instructor’s teachings

conflict with another instructor’s. The

implication seems to be that one must

be right and the other wrong, and that

they must choose one or the other.

Though there are some absolutes that,


if diverged from, indicate poor instruc-

tional quality, for the vast majority of

such differences of opinion a different

approach works better: try to under-

stand and see the dance from both

instructor’s perspectives. The move-

ment of the body is a complex, holis-

tic activity that generally defies any

one form of explanation or another,

especially as it relates to dance. This

manifests itself in wildly divergent

teaching techniques that all bring

students towards the same ultimate

goal. Rephrased: there are many ways

of saying the same thing, so don’t get

caught up in the semantics, get caught

up in the world of movement that the

instructor is inviting you into.

2. Leave your troubles at the door

and focus. When you enter class,

leave all of your troubles behind

you and immerse yourself in the

class. This includes things as simple

as making sure your cell phone is

turned to silent and or as serious

as making peace with your per-

sonal life before it spills over onto

the dance floor.

On a subtler level, give your full

attention to what is going on in and

around your body during the class.

Far too many of us (myself included!)

glaze over as an instructor discusses

a technique point that we’ve heard

before. Dig into that moment! Sure,

you may have heard it, but have you

fully applied it? Are you sure? These

are golden opportunities to work fur-

ther into techniques you may only be

superficially familiar with.

This kind of focus is usually not a

part of our modern lives. Bombarded

by distraction on a minute-to-minute

basis, we give up. If you’re looking for

a way to cultivate this focused atten-

tion, I’d suggest reading my article on

meditation written in July of 2016, or

read Josh Waitzkin’s book The Art of

Learning.

3. Look, Listen, and Feel. Much

research has been done on the

differing ways in which people

learn. Some are tactile, others

visual, and still others work best

with verbal instruction. My advice

here is two pronged: First, learn

where your dominant strength lies.

Second, and more importantly,

utilize all channels.

Take 10 minutes and go fill out a

learning style inventory online. Just

google ‘learning style inventory.’ Go

ahead and do it, I’ll wait here.

Great, with those results in hand,

what is your gut reaction? Does that

match with what you thought it

would be? Some people find that they

are strongly dominant in one of the

three categories, whereas others (like

myself ) find that they tend to be evenly

balanced across the three. For the

latter group, skip a paragraph; for the

rest, read on.

For those of you with a clearly dom-

inant learning style, think about how

this affects your experience in a class.

If you’re primarily tactile, you may get

less from the instructor’s voice than

you do from feeling your partners and

body working through the movements.

Dig into that strength! You’ll likely find

yourself walking away from class with

more learned and retained. If you learn

best visually, closely study what the

instructor and others in your class are

doing in order to get the movements.

For my auditory learners, listen closely

and apply what is said. If you start your

class by focusing in on your strength,

Michael Kasinkas and Taylor Wall. Dancers Studio Swing Into Spring Showcase. Photos by James T. Ebert.


you’ll find yourself better able to digest

and integrate the material.

Once you have focused on your

strength, allow that knowledge to be

learned in a different way to compound

and expand your results. Auditory

learners should attempt to apply what

they have heard to what they are see-

ing and feeling, and vice versa. Once

information has been processed in one

way, actively attempt to process it in

different ways as well. Visual learners

will often close their eyes in order to

focus on hearing and feeling, while

tactile learners may have to actively

keep their attention in their eyes or

ears in order to progress. By cross-ap-

plying your strong learning style with

your weaker ones, you will build the

strongest neural pathways and, thus,

the best dancing.

4. Take notes, usually after class. The

best students record what they have

learned in order to solidify it and

give themselves material for review.

There is a plethora of research out

there to back this claim up, just goo-

gle ‘taking notes’ and scroll around.

Much of the benefit of notes, as it

turns out, is in the act of creating

them in the first place. I usually do

this an hour or two after the group

class has happened, in order to be

sure I am applying and solidifying

the most important and memorable

parts of each lesson.

Many people profess to have the

‘perfect’ system of taking notes, be it

for dance or school. In reality, the per-

fect system of notes is the one that you

are going to stick with. If that means

taking an audio recording of yourself

re-capping the lecture, do that. If you

need to take a video, do that. I per-

sonally like a pencil and paper or my

Evernote notebook, but go wild.

5. Review and Apply. To nobody’s

great surprise, reviewing your notes

and memories from class will reap

you great rewards. I personally still

go back to my notes from certain

classes to refresh myself on what I

was working on. What you review

you will not forget. In addition, it’s

important to treat your review like

you did the initial lesson itself, with

an open mind and plenty of atten-

tion. If you learned from the class in

a relaxed, focused state but practice

with tension and distraction, you’re

unlikely to see the benefits.

Group classes are excellent oppor-

tunities to engage with new material

and instructors in a low-cost, low-risk

format. They’re the bread-and-butter of

the dance world for a reason. Now, get

yourself to one and apply!

As always, I’ll see you on

the dance floor. E

Dancers Studio Swing Into Spring Showcase. Photo by James T. Ebert.

dance. competition. fun.

udancefest.comfacebook.com/udancefest

3-4 March 2018


IN TODAY’S WORLD WHERE WE have a camera on basically every lap-

top and phone, it’s been easier than

ever to film your dance progression.

While most people know the impor-

tance of watching videos from a pre-

vious competition, many dancers shy

away from using tech during their

average practices. This is a common

mistake. By filming segments of your

practice or choreography rehearsal, a

dancer is able better visualize their

movements in order to improve.

What you think you look like and

what actually look like are often two

separate entities. We’ve all seen those

memes comparing the two. While

you might feel like a movement such

as an arm styling looks amazing as

you practice, viewers may have a

completely different perception. Of

course, this is why it’s important to

practice with mirrors. We all know

that! However, it’s harder for mirrors

to help during moves and routines

that involve more traveling or

Beginning StepsAre You Filming Yet?BY ERIC DAHLMAN

turning. You can’t stare at yourself in

a mirror during those. You can watch

it afterwards on a camera though.

From there, you are able to critique

your moves. What did you do well,

what didn’t you do, etc… Overall,

watching your short video clips

creates a better vision of what your

movement looks like.

So if camera are an almost ‘mir-

rors 2.0,’ why are people always

so reluctant to film? While there

are multiple answers, I personally

believe that we’re just being self con-

scious. We’ve all had that moment

where we’ve felt good looking at

our faces in the mirror, only to

cringe at a photo of ourselves right

after. There’s a similar effect when

you film yourself ballroom dancing.

Another aspect that I see is that we

are nervous to film ourselves because

we know we aren’t perfect. We know

that our movement doesn’t flow as

we want it to, so we don’t want to see

it on camera. It’s a relatable feeling,

but it’s also a very backwards mind-

set. If we know that we are doing

something wrong, doesn’t it make

more sense to try to improve it?

Filming yourself practice can help do

that, but yet we’re afraid to see our

mistakes. To get over this anxiety,

simply remind yourself that it’s only

practice. Yeah, you have you dancing

badly on film, but you were still

dancing that way regardless of the

camera. Now you at least know what

went wrong. You’ll fix it faster after

seeing the video than you would only

telling yourself, “I’ll improve that

later.”

Filming yourself isn’t turning in

a final exam. Regardless of how your

practice goes, you’re the only one

who needs to care. Start thinking

of filming moves as you work on

being as natural as when you use

mirrors. There’s no real reason to be

self conscious, but the benefits are

immediate. We have cameras avail-

able on everything now. Use them to

your advantage and get a better idea

of what your movement looks like!

Plus, after you’ve been filming for a

while, you can always look back to

your previous attempts and see how

far you’ve come. E

Photos by Dance Fest Photography Team.


Rochelle Lockridge, her Research and

Development job at 3M eliminated after 26

years, is embarking on a new journey that

has landed her back at school earning her

high school chemistry teaching license. It was

when Rochelle was in high school herself that

she enjoyed dancing Disco, English Country,

and a little Ballroom. 30 years later the

sweet siren song of partner dance has once

again ensnared her. She looks forward to

sharing her continuing dance journey from

a middle-aged perspective. You’ll find her on

Twitter @Rockylou22.

Middle-Aged MovesDeflecting Dancing DisastersBY ROCHELLE LOCKRIDGE

This article has been reprinted from

the October 2016 issue of Sheer Dance.

See all past issues of Sheer Dance at

www.sheerdance.com.

I HAD BEEN PLANNING FOR THIS

night for a year. I’d practiced and

practiced, knew my stuff, and was

ready to dance a West Coast Swing

solo with my private instructor at

the Dancers Studio Fall Showcase.

Then disaster struck. The hostess at

the hotel spilled ketchup all over

my white outfit. I ran back to the

room, found the room key in my

pocket and frantically began pulling

together a new outfit for the perfor-

mance. In the background I hear the

music playing for one of my friends,

who is obviously already out on the

dance floor performing her own solo

routine. I find a new top and a pair

of gold pants that I can just barely

squeeze into. “This will have to do,” I

say to myself. I see that I’m not wear-

ing any jewelry and quickly realize

I’d left it at home. I run back to the

waiting area and to my horror- I’d

forgotten my pants! I check the dance

schedule and was met with an overly

complicated cross-referenced table

where I was designated as an A/B in

one location and an upside down “T”

in another, which I was supposed

to use to identify which heats I was

scheduled to dance in. Losing my

cool, I angrily blurt out, “Just tell

me when I’m supposed to dance!

I need to know if I have time to go

back to my room and get my pants.”

Then poof I wake up. It was just a

nightmare! Thank God I don’t have

to actually figure out that insane

dance table. The real showcase isn’t

until this evening and the program

will clearly indicate when I will be

dancing. Oh…and Rochelle? Don’t

forget your jewelry. While we’re at

it, anything else you need to remem-

ber? Perhaps a checklist is in order?

Feelings of panic still racing

through my body, I decide it would

be fun to share my disaster dream

with my fellow showcasers with a

quick text:

8:30 am- To: L, J, M & G: Big

nightmare! Hotel lady spilled ketchup all

over my dance costume. Had to rush back

to room to get new one. Ran back… put

new outfit together. Ran back to show in

progress, forgot pants, couldn’t figure out

complicated call sheet to see when I was on

and whether I could go back and get my

pants. Thankfully* woke up relieved

Troy Lerum and Rochelle Lockridge. Dancers

Studio Swing Into Spring Showcase.

Photos by James T. Ebert.


it was all a dream & didn’t have to

panic anymore.

L: LOL. I thought your outfit was gone.

Can’t wait to see it. I am really nervous

about tonight. What time are you going

over to studio?

Me: I’m going early at 5pm to warm

up. Troy usually starts his 10 min. warm

ups for each lady at 6pm. I didn’t know

how many ladies he had this time so I

wanted to be there plenty early to be sure

he had time to dance with me before the

show.

J: #showcase nightmares. You poor

girl!

M: Wow, that one was a doozey =D/

the old, oh my god I don’t have any pants

on dream!

G: Hahahaha. Too funny. You got

me panicking thinking the show was

yesterday and I missed it. Hahahaha.

I’ve been up since 5 couldn’t sleep. Better

than dreaming I guess. Banana. I meant

hahahahaha

Me: LOL! (On banana too) Sorry about

that. I woke up at 3 and couldn’t get back

to sleep until 6. I just woke up from the

nightmare.

G: The lot of us!!!! I bet M and K are

cool calm and collected. We’ll have to ask

them!!!!!

Me: M seemed a bit panicked last

night. Her dress was too low in the front

and she was still practicing new routines.

K was calm though. Doing only a social

round and WCS solo like me.

G: Bless their hearts both of them.

Wow. I hadn’t expected such a

response from everybody.

Although not usually combined,

no pants and frantically trying to

figure out where I’m supposed to

be next are disturbing yet familiar

nightmares. But shaking this one

off wasn’t made any easier when I

show up for my 10 a.m. hair appoint-

ment, check in with the front desk,

and I’m nowhere to be found in the

system. (Yes, this all really happened.

No dream here. Another potential

dancing disaster still lurking in the

shadows of my mind.) The reception-

ist asks if I can hold on for a minute

while she checks with my assumed

stylist. I try to calm myself, “It’s okay

Rochelle. Don’t panic. You can make

something else work. But wait...

what about these grey roots? They

don’t fix so easily…” Crisis averted.

The young woman returns with the

good news that Deanna can squeeze

me in between appointments if I’m

okay with that. I assure her this is

more than okay and that I had come

prepared with my iPad anyway to

write my monthly dance column

(which was already a week late). I sit

down to begin typing and discover

my Bluetooth® keyboard is dead. No

charger in sight, my ever-optimistic

problem solving skills kick in. I’ll

write it longhand with a borrowed

pen and paper from the front desk.

Two hours later, my column is under-

way, my roots are covered, my hair

trimmed, straightened, styled and

adorned with a jaunty set of crystals

and I’m looking forward to what new

adventures (or good column fodder)

awaits me before the big night is

over.

Me: New development. I get

to my hair appointment and they

don’t have me on their books. Panic

averted when stylist says she’ll fit me

in if I can take longer this morning.

All good stuff for this month’s column. I’m

writing it while waiting for the next phase

of hair appointment. What will the rest of

the day hold? Stay tuned.

M: The thrills and chills of dancing!

Good luck!

Except for losing my glasses some-

where in the house during the after-

noon, (still haven’t found them) and

obsessively checking to make sure

that I didn’t forget my pants, the rest

of my day turned out to be happily

uneventful. But flirting with disaster

is always in the air when it comes to

dance day. Another lady lost (and later

found) her glasses; a fellow dancer

showed up with mismatched shoes;

there was a giant bruise peeking

out from under a very short rhythm

dress and no spray tan on hand for

a quick cover-up. Calm, cool and

collected first-time showcase danc-

ers were suddenly panic-stricken

as they walked out onto the dance

floor, then returned wondering if Miriam and Joey


Joel Torgeson and Jenessa DeanneDancers Studio Swing Into Spring Showcase. Photos by James T. Ebert

IN MY LAST VOLUNTEER REPORT, in the May 2017 issue of Sheer Dance,

I spoke to the idea of volunteering in

general, as a way to keep connected

to the ballroom dance community

even when you may not be on the

floor yourself.

This month, I’d like to speak to

volunteering more specifically: as a

Copy Editor for Sheer Dance!

As you may remember from the

Volunteer Spotlight that ran in our

April 2017 issue, our Copy Editors

Cameron Meyferth and Bethany

Seavers Templeton recently moved

to Texas. Joel Torgeson, who has

Volunteer ReportBY TAYLOR WALL

graciously stepped in to fill two roles:

as a writer and as a copy editor, will

soon be moving to California. And

Kaylee Anderson, our current Copy

Editor Extraordinaire, will be spend-

ing part of this summer studying

abroad in France.

Are you good with words? Find

yourself shaking your head at our

tipos typos that somehow still make

it into print? Feel like sticking

around the Twin Cities for a while?

We want you!

Our team is looking for fun and

friendly faces to join our ranks! With

just a couple hours each month, you

can help create and ensure the high

quality of Sheer Dance. Your work can

reach over 30,000 readers in our

dance community and beyond!

Of course, we are also always

looking for people excited to con-

tribute as writers (whether as a

regular columnist or as an assign-

ment writer highlighting local

events) or photographers. Email

[email protected] to share how

you would like to contribute today!

Internship options are available. E

they’d even danced or not. Ladies so

excited about watching their friends

dance that they missed their own

entrances and had to jump in on the

next heat. A shoe caught in the hem

of a gown was quickly removed and

a waltz gracefully continued. And

with no time allowed for a quick

costume change, a smartly choreo-

graphed all black dance number was

unexpectedly sporting a single white

tie… oops. And there were undoubt-

edly more mistakes and forgotten

choreography than any of us would

admit to—-my West Coast Swing solo

among them. (Which I’ll report went

well, even though we forgot the final

dramatic Corte at the end.)

Disasters? Nah… Maybe panic,

major and minor inconveniences,

embarrassing and funny stories to

tell later, but no real dancing disas-

ters struck. We all survived—-in spite

of our nightmares and misadven-

tures. If the bounty of support, cama-

raderie, talent, cheers, and smiles I

also witnessed throughout our dance

community was just a dream, that’s

the kind of dream I never want to

be woken from. E


Results from Around the Country

Here you’ll find the results of Minnesota amateurs, professionals, and

pro/am couples from events around the world. We’re proud of how

skilled and dedicated the Minnesota dance community is, and we’d like

to share their successes with you.

Congratulations to all those who competed in the month of

May!

Wisconsin State DanceSport ChampionshipsScott Anderson & SuzAnne Kierkegaard

7th (of 7)–L-C Pro/Am Open Latin Scholarship (CSRPJ)

7th (of 8)–L-C Pro/Am Open Rhythm Scholarship (CRSBM)

Scott Anderson & Amy Anderson

5th (of 9)–L-C Pro/Am Silver Latin 3-Dance Scholarship (CRJ)

2nd (of 3)–L-B2 Pro/Am Closed Silver Latin

3-Dance Scholarship (CRJ)

3rd (of 10)–L-B Pro/Am Silver Ballroom 3-Dance Scholarship

1st (of 4)–L-B2 Pro/Am Closed Silver Ballroom

3-Dance Championship (WTQ)

Scott Anderson & Cathy Casey

2nd (of 7)–L-C Pro/Am Silver Ballroom

3-Dance Scholarship (WTQ)

2nd (of 8)–L-C1 Pro/Am Closed Silver Ballroom


2nd (of 6)–L-C1 Full International Waltz

5th (of 6)–L-C1 Full International Tango

2nd (of 6)–L-C1 Full International V. Waltz

2nd (of 6)–L-C1 Full International Foxtrot

2nd (of 6)–L-C1 Full International Quickstep

Scott Anderson & Rosemary Rocha

3rd (of 7)–L-SR Pro/Am Bronze Ballroom


2nd (of 3)–L-C2 Full Bronze International Waltz

2nd (of 3)–L-C2 Full Bronze International Tango

2nd (of 3)–L-C2 Full Bronze International Foxtrot

2nd (of 4)–L-C2 Full Bronze International Quickstep

1st (of 2)–L-C2 Full Bronze International V. Waltz

2nd (of 5)–L-SR Pro/Am Open Rhythm Scholarship (CRSBM)

Scott Anderson & Jillene Rupp

7th (of 7)–L-B2 Intermediate Bronze International Waltz

7th (of 7)–L-B2 Intermediate Bronze International Tango

4th (of 6)–L-B2 Intermediate Bronze International V. Waltz

5th (of 7)–L-B2 Intermediate Bronze International Foxtrot

6th (of 7)–L-B2 Intermediate Bronze International

Quickstep

Scott Anderson & Sally Lee

6th (of 6)–L-B2 Pro/Am Open Rhythm Scholarship (CRSBM)

Scott Anderson & Jamie Lund

1st (of 4)–L-C1 Intermediate Bronze West Coast Swing

1st (of 5)–L-C1 Intermediate Bronze Hustle

1st (of 3)–L-C1 Intermediate Bronze NightClub 2 Step

Scott Anderson & Brenda Barr

2nd (of 4)–L-B2 Full Bronze Salsa

1st (of 3)–L-B2 Full Bronze NightClub 2 Step

3rd (of 4)–L-B2 Full Bronze West Coast Swing

2nd (of 5)–L-B2 Full Bronze Hustles

Mill City BallroomGordon Bratt & Amy Anderson

1st (of 6)–L-A2 Intermediate Bronze Waltz

2nd (of 6)–L-A2 Intermediate Bronze Tango

1st (of 6)–L-A2 Intermediate Bronze Foxtrot

2nd (of 4)–L-A2 Intermediate Bronze V. Waltz

3rd (of 6)–L-A2 Full Bronze Waltz

3rd (of 6)–L-A2 Full Bronze Tango

3rd (of 6)–L-A2 Full Bronze Foxtrot

3rd (of 4)–L-A2 Full Bronze V. Waltz

2nd (of 8)–L-A Pro/Am Bronze Smooth

Wisconsin State DanceSport Championships. Photo by Zeyi Shen.


3-Dance Scholarship (WTF)

4th (of 7)–Closed American 6 Dance “B” (WTFCRS)

4th (of 5)–L-B1 Pro/Am Closed Silver Rhythm 3-Dance

Championships(CRS)

4th (of 7)–L-A Pro/Am Bronze Rhythm

3-Dance Scholarship (CRS)

4th (of 6)–L-A2 Inermediate Bronze Cha Cha

4th (of 6)–L-A2 Inermediate Bronze Rumba

4th (of 6)–L-A2 Inermediate Bronze East Coast Swing

3rd (of 4)–L-A2 Inermediate Bronze Bolero

3rd (of 4)–L-A2 Inermediate Bronze Bolero

Dance With us AmericaGene Bersten & Lisa Mohr

3rd (of 7)–L-B2 Full Bronze International Waltz

2nd (of 7)–L-B2 Full Bronze International Tango

3rd (of 7)–L-B2 Full Bronze International Quickstep

2nd (of 5)–L-B2 Pro/Am Closed Bronze Ballroom


4th (of 14)–L-C Pro/Am Closed Bronze Ballroom


1st (of 7)–L-B2 Full Bronze International Cha Cha

1st (of 7)–L-B2 Full Bronze International Rumba

1st (of 7)–L-B2 Full Bronze International Jive

1st (of 5)–L-B2 Pro/Am Closed Bronze Latin

3-Dance Championship (CRJ)

1st (of 11)–L-C Pro/Am Closed Bronze Latin


Gene Bersten & Nina Starchook

1st (of 1)–L-J1 Full Silver International Waltz

1st (of 1)–L-J1 Full Silver International Tango

1st (of 1)–L-J1 Full Silver International Quickstep

2nd (of 2)–L-JR Pro/Am Closed Silver Ballroom


2nd (of 2)–L-J1 Full Silver International Cha Cha

2nd (of 2)–L-J1 Full Silver International Rumba

2nd (of 2)–L-J1 Full Sivler International Jive

2nd (of 2)–L-JR Pro/Am Closed Silver Latin

3-Dance Championship (CRJ)

John Burns & Elena Bersten

3rd (of 4)–G-C1 Full Bronze International Waltz

3rd (of 4)–G-C1 Full Bronze International Tango

3rd (of 4)–G-C1 Full Bronze International Quickstep

3rd (of 3)–G-C1 Pro/Am Closed Bronze Ballroom


Tony Guinta & Elena Bersten

8th (of 8)–L-B Pro/Am Bronze Latin


Misha Long & Isabella Bersten

5th (of 5)–AC-PT Closed Bronze Ballroom


5th (of 5)–AC-PT1 Closed Novice Bronze

International Cha Cha

4th (of 4)–AC-PT1 Closed Novice

Bronze International Samba

4th (of 4)–AC-PT1 Closed Novice

Wisconsin State DanceSport Championships. Photos by Zeyi Shen.


Bronze International Rumba

3rd (of 3)–AC-PT1 Closed Novice Bronze International Jive

Dancers StudioJeff Halverson & Ligaya Carlos

4th (of 8)–L-B2 Intermediate Silver Waltz

4th (of 8)–L-B2 Intermediate Silver Tango

4th (of 8)–L-B2 Intermediate Silver Foxtrot

4th (of 7)–L-B2 Intermediate Silver V. Waltz

5th (of 6)–L-B1 Intermediate Silver Waltz

4th (of 6)–L-B1 Intermediate Silver Tango

4th (of 6)–L-B1 Intermediate Silver Foxtrot

4th (of 6)–L-B1 Intermediate Silver V. Waltz

5th (of 7)–L-B1 Full Silver Waltz

5th (of 7)–L-B1 Full Silver Tango

3rd (of 7)–L-B1 Full Silver Foxtrot

3rd (of 6)–L-B1 Full Silver V. Waltz

4th (of 8)–L-B2 Pro/Am Closed Silver Smooth

3-Dance Championship (WTF)

3rd (of 4)–L-B1 Intermediate Silver Cha Cha

3rd (of 4)–L-B1 Intermediate Silver Rumba

3rd (of 4)–L-B1 Intermediate Silver East Coast Swing

2nd (of 4)–L-B1 Intermediate Silver Bolero

3rd (of 4)–L-B1 Intermediate Silver Mambo

3rd (of 4)–L-B2 Full Silver Cha Cha

3rd (of 4)–L-B2 Full Silver Rumba

3rd (of 4)–L-B2 Full Silver East Coast Swing

3rd (of 4)–L-B2 Full Silver Bolero

3rd (of 4)–L-B2 Full Silver Mambo

3rd (of 4)–L-B2 Pro/Am Closed Silver

3-Dance Championship (CRS)

Troy Lerum & Grace Khouri

5th (of 7)–L-C1 Novice Bronze Waltz

5th (of 7)–L-C1 Novice Bronze Tango

5th (of 7)–L-C1 Novice Bronze Foxtrot

5th (of 6)–L-C1 Novice Bronze Cha Cha

5th (of 6)–L-C1 Novice Bronze Rumba

6th (of 6)–L-C1 Novice Bronze East Coast Swing

Cinema BallroomTom Schubbe & Michelle Hudson

1st (of 4)–G-C1 Pre-Silver Waltz

2nd (of 4)–G-C1 Pre-Silver Tango

2nd (of 4)–G-C1 Pre-Silver Foxtrot

3rd (of 4)–G-C1 Pre-Silver V. Waltz

3rd (of 5)–G-C1 Intermediate Silver Waltz

3rd (of 5)–G-C1 Intermediate Silver Tango

3rd (of 5)–G-C1 Intermediate Silver Foxtrot

3rd (of 4)–G-C1 Intermediate Silver V. Waltz


2nd (of 4)–G-C1 Open Intermediate Silver Waltz

2nd (of 4)–G-C1 Open Intermediate Silver Tango

2nd (of 4)–G-C1 Open Intermediate Silver Foxtrtot

2nd (of 3)–G-C1 Open Intermediate Silver V. Waltz

Pat Moriarity & Michelle Hudson

3rd (of 4)–G-C2 Intermediate Silver Waltz

3rd (of 4)–G-C2 Intermediate Silver Tango

3rd (of 4)–G-C2 Intermediate Silver Foxtrot

3rd (of 4)–G-C2 Open Intermediate Silver Waltz

3rd (of 4)–G-C2 Open Intermediate Silver Tango

3rd (of 4)–G-C2 Open Intermediate Silver Foxtrtot

Pat Moriarity & Grace Peterson

4th (of 4)–G-C1 Pre-Silver Waltz

4th (of 4)–G-C1 Pre-Silver Tango

4th (of 4)–G-C1 Pre-Silver Foxtrot

4th (of 4)–G-C1 Pre-Silver V. Waltz

4th (of 5)–G-C1 Intermediate Silver Waltz

4th (of 5)–G-C1 Intermediate Silver Tango

4th (of 5)–G-C1 Intermediate Silver Foxtrot

Pat Moriarity & Georgie Anderson

4th (of 4)–G-C1 Pro/Am Closed Bronze Rhythm

3-Dance Championship (CRS)

5th (of 5)–L-SR Pro/Am Bronze Rhythm 3-Dance Scholarship

Scott Skinner & Michelle Hudson

2nd (of 4)–G-C1 Open Gold Waltz

2nd (of 4)–G-C1 Open Gold Tango

2nd (of 4)–G-C1 Open Gold Foxtrtot

2nd (of 4)–G-C1 Open Gold V. Waltz

3rd (of 7)–L-C Pro/Am Silver Ballroom


Mark Lange & Michelle Hudson

4th (of 4)–L-B1 Pro/Am Closed Silver Ballroom


8th (of 10)–L-B Pro/Am Silver Ballroom 3-Dance Scholarship

Dan Flath & Grace Peterson

2nd (of 4)–G-C2 Intermediate Silver Waltz

2nd (of 4)–G-C2 Intermediate Silver Tango

2nd (of 4)–G-C2 Intermediate Silver Foxtrot

1st (of 3)–G-C2 Intermediate Silver V. Waltz

1st (of 4)–G-C2 Open Intermediate Silver Waltz

1st (of 4)–G-C2 Open Intermediate Silver Tango

1st (of 4)–G-C2 Open Intermediate Silver Foxtrot

1st (of 3)–G-C2 Open Intermediate Silver V. Waltz

4th (of 7)–L-SR Pro/Am Bronze Ballroom


Swing Dance AmericaPin-Chen Huang & Vivian Willis

1st (of 6)–Jack and Jill Newcomer West Coast Swing

Wisconsin State DanceSport Championships. Photos by Zeyi Shen.


Shari Anderson & Clovis Colley

3rd (of 6)–Jack and Jill Newcomer West Coast Swing

Wally Markovic & Leah Rathe

9th (of 13)–Jack and Jill Novice West Coast Swing

Jiffy Sarver & Mary Hill

11th (of 13)–Jack and Jill Novice West Coast Swing

Joel Torgeson & Gudrun Nyut

3rd (of 10)–Jack and Jill Intermediate West Coast Swing

Joel Torgeson & Jennifer Czech

3rd (of 15)–Strictly Swing Intermediate West Coast Swing

Joshua Creel & Erica Robinson

4th (of 10)–Jack and Jill Intermediate West Coast Swing

Joshua Creel & Brianna Andrade

4th (of 15)–Strictly Swing Intermediate West Coast Swing

Sean Eaton & Jennifer Czech


Sean Eaton & Adela Su

2nd (of 15)–Strictly Swing Intermediate West Coast Swing

Scott Jennen & Ariella Pilato


Scott Jennen & Leah Rathe

7th (of 15)–Strictly Swing Intermediate West Coast Swing

Brad Gallow & Srinidhi Murali


Christopher Moy & Bonnie Inveen

10th (of 10)–Jack and Jill Advanced West Coast Swing

Niko Salgado & Tessa Antolini

6th (of 10)–Jack and Jill All Star West Coast Swing

Niko Salgado & Shanna Pocari Nysen

11th (of 12)–Strictly Swing Advanced/All Star West Coast

Swing

Niko Salgado & Mary Hill

5th (of 14)–Pro/Am Strictly Swing-Novice Followers

**Niko Salgado & Allison Hoffman

13th (of 14)–Pro/Am Strictly Swing-Novice Followers

Niko Salgado & Sean Easton

3rd (of 5)–Pro/Am Strictly Swing-Intermediate Leaders

Hieu Le & Melanie Jennings

10th (of 10)–Jack and Jill All Star West Coast Swing

Hieu Le & Heather Fronczak

1st (of 12)–Strictly Swing Advanced/All Star

Kent Conway & Gail Jacobson

9th (of 10)–Jack and Jill Masters West Coast Swing

Michael Anderson & Rachel Bonarek

11 (of 15th)–Strictly Swing Intermediate

Randolph Peters & Christine Miller

14th (of 15)–Strictly Swing Intermediate E

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Documents

University of Minnesota Ballroom Dance Club …sheerdance.com/issues/2017-06-01.pdf2017/06/01 · University of Minnesota Ballroom Dance Club Rocks at USA Dance Nationals 2017. Photo