University of Minnesota Ballroom Dance Club …sheerdance.com/issues/2017-06-01.pdf2017/06/01 ·...
Transcript of 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 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
Late Night Swing-301 Main St. NE, Mpls.; 10 p.m.-1:30 a.m.; $6, $4 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
Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $8
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
Variety Dance-Dancers Studio; 415 Pascal St. N, St. Paul; 8-9:30 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 16 • Friday Puro Tango Milonga-Four Seasons Dance
Studio; 1637 Hennepin Ave., S., Mpls.; 9:30 p.m.-12 a.m.; $10
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
Late Night Swing-301 Main St. NE, Mpls.; 10 p.m.-1:30 a.m.; $6, $4 Students
Variety Dance-DanceLife; 6015 Lyndale Ave., S. Mpls.; 8-9:30 p.m.; $10
Mill City Ballroom Variety Dance-Dance With Us America; 10 Southdale Center, Edina; 8-10 p.m.; $10
Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $10
WCS Party-Starks Saloon; 3125 Dodd Rd,. Eagan; lesson begins 7:30 p.m.
Salsa & Bachata Party-DanceLife; 6015 Lyndale Ave., S. Mpls.; 9:30 p.m.-12 a.m.; $5
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
Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $8
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
June 19 • Monday Patty & The Buttons Live Jazz-125 Main St. S.E.,
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
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 21 • 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 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
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
Late Night Swing-301 Main St. NE, Mpls.; 10 p.m.-1:30 a.m.; $6, $4 Students
Variety Dance-Dancers Studio; 415 Pascal St. N, St. Paul; 8-9:30 p.m.; $5
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.;
Salsa & Bachata Party-DanceLife; 6015 Lyndale Ave., S. Mpls.; 9:30 p.m.-12 a.m.; $5
Swing & Foxtrot Social; 1114 American Blvd., Bloomington; 8 p.m.
Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $10
Mill 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
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
June 5 • Monday Patty & The Buttons Live Jazz-125 Main St. S.E.,
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.;
9:30-10:30 p.m.; $5June 6 • 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 7 • 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; 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
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 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.
Variety Dance-DanceLife; 6015 Lyndale Ave., S. Mpls.; 8-9:30 p.m.; $10
Salsa & Bachata Party-DanceLife; 6015 Lyndale Ave., S. Mpls.; 9:30 p.m.-12 a.m.; $5
Salsa Fusion-Cinema Ballroom; 1560 St. Clair Ave., St. Paul; Salsa & Cha Cha lesson 7 p.m, dance 8-11 p.m
Mill City Ballroom Variety Dance-Dance With Us America; 10 Southdale Center, Edina; 8-10 p.m.; $10
Salsa Dance-Loring Pasta Bar; 327 14th Ave., S.E, Mpls.; $8
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.;
7:30-9:30 p.m.; $5June 27 • 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.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
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 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
Nathan Daniels 763.464.1021Jennelle Donnay 651.357.2060Julie Delene 612.598.5355
[email protected] Edelstein 612.910.2690
Jennifer & Robert Foster 952.239.2984Shane Haggerty 612.702.3588
Lindsey Rebecca Hall 612.940.9546Julie Jacobson 651.261.6442Jay Larson 651.387.3886Deanne Michael 612.508.9255Monica Mohn 612.874.0747
Mariusz Olszewski [email protected]
Karin Rice 612.242.2188Lisa Vogel 651.208.0818
ClubsAqua Gliders Dance Club 612.869.3062Café Bailar
www.cafebailar.comCotillion Dance Club of Stillwater 651.388.1231
[email protected] Dance Club 651.439.3152
facebook.com/LaDanzaDanceClubLakeside Dance Club 320.763.6432
Linden Hills Dancing Club 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
University of Minnesota Ballroom Dance Club
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
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community (while still adhering
to our submission guidelines) and
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From the CommunityUnlike the other sections,
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From the Community; it is a
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like event recaps, interviews,
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Recurring ColumnsWe have a handful of generous
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relevant to that theme belongs to
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Sections
6 • • 1 Jun 2017 SHEERDAnCE.COM[PARtiCiPAtE]
About us
Sheer Dance is a monthly inde-
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news and information relevant to
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the central United States and the
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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
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
SHEERDAnCE.COM 1 Jun 2017 • • 13[FROM tHE COMMunitY]
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.
14 • • 1 Jun 2017 SHEERDAnCE.COM[FROM tHE COMMunitY]
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.
SHEERDAnCE.COM 1 Jun 2017 • • 15[FROM tHE COMMunitY]
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.
16 • • 1 Jun 2017 SHEERDAnCE.COM[FROM tHE COMMunitY]
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
SHEERDAnCE.COM 1 Jun 2017 • • 17[FROM tHE COMMunitY]
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.
20 • • 1 Jun 2017 SHEERDAnCE.COM[SPECiAl FEAtuRES]
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.
SHEERDAnCE.COM 1 Jun 2017 • • 21[SPECiAl FEAtuRES]
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
22 • • 1 Jun 2017 SHEERDAnCE.COM[SPECiAl FEAtuRES]
indiana Challenge 2017BY ZEYI SHEN
SHEERDAnCE.COM 1 Jun 2017 • • 23[SPECiAl FEAtuRES]
24 • • 1 Jun 2017 SHEERDAnCE.COM[SPECiAl FEAtuRES]
Joel Torgeson and Jenessa Deanne
Ladies Formation Team
Dancers Studio Swing into Spring ShowcaseBY JAMES T. EBERT
SHEERDAnCE.COM 1 Jun 2017 • • 25[SPECiAl FEAtuRES]
Nicholas Westlake and Mirna Vela
Paris Becker and Cody Arndtson
John Burns and Elena Bersten
Rhythm Formation Team
Karen Pavloff and Troy Lerum
26 • • 1 Jun 2017 SHEERDAnCE.COM[SPECiAl FEAtuRES]
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.
SHEERDAnCE.COM 1 Jun 2017 • • 27[SPECiAl FEAtuRES]
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
LIKE WHAT YOU SEE?Support your dance community and don’t miss a single issue:
Get Sheer Dance delivered to your door monthly.A full year is only $22!
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Street Address
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Make your check for $22 out to our publisher “Rapit Printing” and mail to:
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Have questions about subscribing to Sheer Dance?Email [email protected]
30 • • 1 Jun 2017 SHEERDAnCE.COM[RECuRRinG COluMnS]
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
Photo by Dance Fest Photography Team
SHEERDAnCE.COM 1 Jun 2017 • • 31[RECuRRinG COluMnS]
On the RadioON THERADIO
Break out yourballroom moves to
these Top 100 songs
ColdMaroon 5 featuring Future
Salsa
Issues
Nightclub Two Step
Julia Michaels
American RumbaI Believe In YouMichael Buble
Charlie Puth
West Coast SwingAttention
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
32 • • 1 Jun 2017 SHEERDAnCE.COM[RECuRRinG COluMnS]
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.
SHEERDAnCE.COM 1 Jun 2017 • • 33[RECuRRinG COluMnS]
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.
34 • • 1 Jun 2017 SHEERDAnCE.COM[RECuRRinG COluMnS]
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
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,
SHEERDAnCE.COM 1 Jun 2017 • • 35[RECuRRinG COluMnS]
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.
36 • • 1 Jun 2017 SHEERDAnCE.COM[RECuRRinG COluMnS]
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
38 • • 1 Jun 2017 SHEERDAnCE.COM[RECuRRinG COluMnS]
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.
40 • • 1 Jun 2017 SHEERDAnCE.COM[RECuRRinG COluMnS]
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.
SHEERDAnCE.COM 1 Jun 2017 • • 41[RECuRRinG COluMnS]
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
42 • • 1 Jun 2017 SHEERDAnCE.COM[RECuRRinG COluMnS]
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
SHEERDAnCE.COM 1 Jun 2017 • • 43[RECuRRinG COluMnS]
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
3-Dance Scholarship (WTQ)
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
3-Dance Scholarship (WTQ)
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.
44 • • 1 Jun 2017 SHEERDAnCE.COM[RECuRRinG COluMnS]
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
3-Dance Championship (WTQ)
4th (of 14)–L-C Pro/Am Closed Bronze Ballroom
3-Dance Scholarship (WTQ)
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
3-Dance Scholarship (CRJ)
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
3-Dance Championship (WTQ)
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
3-Dance Championship (WTQ)
Tony Guinta & Elena Bersten
8th (of 8)–L-B Pro/Am Bronze Latin
3-Dance Scholarship (CRJ)
Misha Long & Isabella Bersten
5th (of 5)–AC-PT Closed Bronze Ballroom
3-Dance Championship (WTQ)
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.
SHEERDAnCE.COM 1 Jun 2017 • • 45[RECuRRinG COluMnS]
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
46 • • 1 Jun 2017 SHEERDAnCE.COM[RECuRRinG COluMnS]
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
3-Dance Scholarship (WTQ)
Mark Lange & Michelle Hudson
4th (of 4)–L-B1 Pro/Am Closed Silver Ballroom
3-Dance Championship (WTQ)
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
3-Dance Scholarship (WTQ)
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.
SHEERDAnCE.COM 1 Jun 2017 • • 47[RECuRRinG COluMnS]
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
7th (of 10)–Jack and Jill Intermediate West Coast Swing
Sean Eaton & Adela Su
2nd (of 15)–Strictly Swing Intermediate West Coast Swing
Scott Jennen & Ariella Pilato
8th (of 10)–Jack and Jill Intermediate West Coast Swing
Scott Jennen & Leah Rathe
7th (of 15)–Strictly Swing Intermediate West Coast Swing
Brad Gallow & Srinidhi Murali
9th (of 10)–Jack and Jill Intermediate West Coast Swing
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
92 White Pine Road • Lino Lakes, MN 55014
www.rapit.comBill Dessert • 651-633-4600 • Dale Severson
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