To Move Someone Else, You must First Move Yourself

Donnie Burns To move others you must first move yourself

I was watching a very long dance lecture that featured Donnie Burns as the speaker. He said something that was so great that I have to share it with you! “You must move yourself, before you can move others.” This statement is really a double entendre.

In a lead and follow situation the leader should be focused on moving his own body from his center and connecting to his follower’s center so she knows to move herself, following his center’s movement. Blah blah blah…I know you have heard this statement formed in an infinite number of ways to explain what we all know to do (even if we never do it correctly).

Looking at Donnie’s statement from an artistic stand point. How can we expect to move/impress/inspire anyone with our dancing if we ourselves are not moved/impressed/inspired by our own dancing? Dance for your self, practice for yourself, move yourself every single day and you will foster that little rockstar that is in you. Once you do it for you, you can feel confident in showing it off to “them.”

Sunday, June 18th
6:00pm  2-Step Lesson w/Mr. J
6:45pm WCS Lesson w/Mr. J
7:30pm General Dancing  DJ/Mr. J
Longfellow’s Club JoEllen
524 Boston Post Rd
Wayland, MA
According to Wikipedia

Donnie BurnsMBE was born in HamiltonSouth LanarkshireScotland in 1959, where he attended Holy Cross High School. He is a Scottish professional ballroom dancer, specialising in Latin dance.

He and his former partner Gaynor Fairweather were 14-time World Professional Latin champions: this is by some way the record for this title.[1] They were also eleven times International Latin American Dance Champions, and this is also a record.[2] On their competitive retirement both were honoured by appointment as MBE. Donnie was undefeated in any competitive dance contest for nearly 20 years of continuous competition, a record in any major category of ballroom dance; this is now in the Guinness Book of Records. During this period he won major titles in countries throughout the world.

He is now[when?] President[3] of the World Dance Council.[4] He is a winner of the Carl Alan Award for outstanding services to dance and is widely considered the “Michael Jordan” of ballroom dancing.[citation needed] In 2008, Burns married swing dance and International Latin dancer Heidi Groskreutz.

Burns was the hero of the character Mr. Aoki in the 1996 Japanese film Shall We Dance?.

Burns also appeared during week 7 of the 12th season of Dancing with the Stars.

A little musical background to the concept of swing an Essay by Justin Locke

Who Is Justin Locke?

Justin Locke has been a swing dancer in the Boston Community since I can remember. He spent 18 years playing bass in the Boston Pops, and his music education programs for children are performed around the world.  Next week his “Peter VS the Wolf” will have its Polish premiere and I am honored to have him authoring an article on my website.

Justin Locke On Swing:

If you go way way back to the beginnings of written music, well, in Europe, for centuries most of the music written for the church.  This music, as well as folk music and military marches, was all “square,” that is to say, on the beat.  If a basic musical bar is 1-2-3-4,  most early European music was all ‘on the beat, i.e., ONE,, two, THREE, four.  You can see this in most national anthems, Gilbert and Sullivan, and in virtually all early American (Caucasian) folk music.   For example: (1)GLOR-, y (3) GLOR -y Hal-le (1) LUH (3) JAH; or, “I’ve been Work- in’ on the Rail Road . . .”
My own personal theory (Justin Locke) is that European music was designed primarily to serve Monarchs as a unifying / obedience inducing rhythm, that made people more obedient to a martial marching beat.
But then you start importing Africans for slave labor, and their musical traditions are not at all like European march beats.  Instead, it’s all syncopated, i.e. the accents are all on the “off” beats.   I can give you dozens of examples of African American “Spiritual” music which has enormous emphasis on off beats (a.k.a. back beats).  It’s about joy of moving (not to mention more overt expressions of sexuality), not about marching in lock step to battle.  This evolved into American pop music, first with ragtime, and eventually into jazz, boogie woogie, swing, and rock ‘n’ roll.
A definition: Why do we call it “swing”?  Well, remember as a kid getting on a swing set?   It is just fun to fly all the way to the end of an arc, where your weight is drawn first by gravity and then by  inertia.  When you get to the end of a forward arc, now your weight “swings” back to the other side.
Swing dance music is a very similar idea, in terms of physics.  Making your weight swing from one point to another is what makes it FUN.   And there is much delicate rhythm involved in being on a swing, or pushing someone else who is.     Here Is a Great Example of Two Pros Swing Dancing
So, when you combine African off-beat rhythms with off-beat movement, and you get . . .  Swing music.
On an actual playground swing, you alter your position relative to the chains on the swing to cause gravity to swing you back and forth.  In swing dance, you do the same thing;
On the ONE, you put your foot out to invite gravity to pull you,
and then in response, you swing to the furthest arc on the TWO, a.k.a. the OFF beat.
So in a basic WCS step, we all know walk-walk triple-step triple-step, but that rhythmic count of steps only applies to the movements of the FEET.  The “swing’ is rhythmically elsewhere.  Here, using the word AND as the moment of the “swinging” of your CENTER from the top of one foot to another, a true WCS swing beat is walk AND walk AND triple step AND triple step AND.
What is even more fun about West Coast Swing is, the “swinging” is not even.  Sometimes there is one beat between swings (walk walk) and sometimes there is a two beat duration (triple step) between “swings” of weight/center.
The real fun of swing dance is, unlike a playground swing set where you swing pretty much by yourself, in WCS (and ECS too of course) you are “swinging” from one side to the other in rhythmic unison with someone else.
However, to do this, the music must provide a “rhythm bed” of clear downbeats, and more importantly, off beats, so that both people involved have a clear idea of when to swing weight.  The music also provides us with essential permission to move in ways that, were there no music, would seem odd.
If the music becomes too abstract, if the main beats or the off-beats become erratic or vague, then it becomes harder and harder to coordinate with your partner.  Without that permission and timing instruction, you go into “H” mode of not being in (shared balance) A or V coordination with your partner.  At that point, even thought you are holding hands, you are then dancing alone, not with your partner.
Theoretically, you can WCS to virtually any music, including a waltz and Brahms’ First Symphony.  But the music that works best for swing is music that abets the intrinsic motion of the dance, which initiating the footstep swing motion on the beat, then moving your center swinging back and forth at precise off-beat musical moments.
Now let’s face it folks– swing music is old.  90 years?  Rock music is old.  65 years?  Hip hop is old.  35 years?  While the 20th century saw the creation of ragtime, blues, boogie woogie, swing, rock and roll, disco, funk, and hip hop, for various reasons there has not been a new dominant pop music/ dance idiom created in a long time.  I can understand the hunger for something new, in part to give identity to the latest generation.
But no matter what you do, the fundamentals of beat have to be respected, otherwise you careen into abstract “art” that is only “art” because someone is telling you it is, otherwise you would not have any reaction to it at all.  You can only subtract just so many of the off-the-beat rhythmic pulses from a piece of music before it stops being swing music.
The old age of our current pop music idioms is inviting much experimentation.  In the process, it is very common for certain kinds of abstract art to become fashionable.   It becomes so arcane (see John Cage’s “4’33″”) that only the cognoscenti can appreciate it, and it allows one to make outsiders feel inferior, and this has enormous appeal.  There is also a market motivation to sell new music by saying the music you currently have is no good.  Also, the way music royalty payments are structured, it is more profitable to write a new song than re-do an old one.  But the real test is, does it make me want to get up and dance?
True art of any kind exposes our true deep human vulnerability, and this is frightening, but it is also delicious, as it permits the interpersonal connection we all so desperately seek.  Giving 200+ otherwise shy reserved people permission to get up and gyrate in public is a lot harder than it looks.  And this is what great dance music is.

Is Our Dance, West Coast Swing, Going Too Contemporary?

I just read and engaged in a thread on Facebook about a dance attendee complaining that her style of music was not represented well at a local dance. The dance was a themed event called “The R&B and Blues Review” and after a night of dancing on a packed dance floor surrounded by happy dancers she felt the need to bash the event’s not having a enough “contemporary” music. This poor girl was upset that too much swing music was played at a swing dance! Continue reading “Is Our Dance, West Coast Swing, Going Too Contemporary?”

The “Look” vs the “Feel” Building Confidence in WCS From Within

Building Confidence in WCS from Within

How many of us as little kids covered our eyes and said “You can’t see me!” and really believed that because we couldn’t she them that they couldn’t see us? Of course we lost our innocence sometime after Santa wasn’t real any more and realized that the act of being seen has little to do with our own seeing. Regardless of dance level, we all have a little kid inside us that has his/her eyes covered while we are dancing.  Sometimes in order to walk out on that dance floor, all we have is the hope that no one is watching.  What if you could be building confidence nearly overnight?

Continue reading “The “Look” vs the “Feel” Building Confidence in WCS From Within”

Off to Cuba!

I am packing my bags and heading to Cuba for a week or so and Donna is filling in for me. When I return we are going to break down our advanced basics and take them to the next level. With last week’s class came so many excited leaders and followers, pumped to have put a touch more polish on their stock patterns.

Sunday Night February 26th


6pm Two-Step Donna Shea

6:45pm WCS Donna Shea

7:30pm – ? California Mix w/Donna Shea

Longfellow’s Club JoEllen

524 Boston Post Rd

Wayland, MA

Call, text, or email question to me directly 603 475-1391.

30 for $30 for 2017!

These 30 minute lessons have been working out so well that I am changing how I teach privates going forward. Each lesson will be 30 minutes long and be focused on one dance. I love that we have enough time to get into some deeper concepts but the lesson is short enough to stay fun! If you would like to book a lesson shoot me an email, text (603-475-1391), or reach out to me in person on Sunday nights. Lessons book first come first serve so don’t wait!