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Original posting February 2017 NASSPDA Newsletter
Posted: January 6, 2022 By: Benjamin Soencksen Our world of partner dancing has many topics that are considered controversial or hot button issues, such as gender identification, pros and cons of equality dancing (changing lead and follow within one dance), the choice of costumes, etc. Discussions of these topics are influenced not only by questions of what constitutes better dancing, but also by social changes and changing perceptions or what is today deemed politically correct. But we also pick up and continue discussions that stem from the mainstream and competitive world of partner dancing, some of which are as old as the early days of competitive dancing, which can be set as early as the start of the 20th century. One of these topics is the development, usefulness and application of a syllabus. A syllabus sets the basic language of a dance by establishing characteristic step patterns, technical execution and rhythmical interpretation, which to our understanding defines each dance. This understanding is typically based on the observations of several years of development of the dance, preceded by the musical evolution that triggered the invention of the dance. There are different types of syllabi for the various dances we still dance today, some are more and others are less restrictive in their interpretation of the basic language and some vary greatly in style, such as the same dances that are described within the International, American, Country Western or other styles of dancing. Typically, these variations are more about the addition of step patterns further interpreting the very basic pattern, the technical execution and the rhythmical application. The diversity, created over decades enjoying these dances and their various style interpretations, has also triggered calls for consistent standards when we are competing to be the best in that dance or style. Style categories have been created, organizations have formed around one style, syllabi have been established to firm up that style, establishing parameters excluding other styles and subsequently creating a standard for that style and dance. The structure of these syllabi further changed when they were used to influence the development of a dancer by subdividing a syllabi into levels of achievement. It is widespread believed that a dancer garners better dancing skills, if initially restricted by levels of patterns that are deemed simpler in the beginning stages of the learning process and then get more complicated as we grow into higher levels of accomplishment. That is at least the theory. In reality, many people are drawn to partner dancing by examples of high level dancing, which they want to experience with the very first steps they learn. That typically leads to a learning curve less desirable, but mostly unavoidable. One rushes through the preliminaries of learning a dance to get to the more complicated, intricate patterns that tempted us in the first place, at which point we are made to realize that our skill set isn’t adequate to the challenge and that we need to get back to the basics. That is the moment when a dancer starts to become truly a dancer. In order to promote learning by application of a syllabus and therefore from the start the development of better dancers, the mainstream world has applied syllabus restrictions on the lower levels of competitions and established a system of points and/or amounts of placements that would elevate one to the next higher level. During the very first same-sex dance events, no such or any other system was applied to separate couples into specific levels of experience, but rather couples made their own choices. It was quickly realized that in all fairness some system would be needed, but that, especially with international events and when encouraging dancers of all levels to participate, such as the Eurogames or the Gay Games, a syllabi restriction to define the various levels won’t quite work and would be too restrictive. Instead, as has been done now for almost two decades, our community has taken to the grading system developed by the Europeans, through which at each event every participating couple is newly classified in comparison to all other couples before the actual competition takes place. This practice has found even in mainstream many admirers, since it establishes anew each time a fairer playing field. It has also allowed a couple to organically grow into higher levels of the competition circuit through improving their skill set(s) and not by collecting points and/or placements, which could easily be an arbitrary result depending on who one was competing against at the time. Whether learning by syllabus and being restricted when competing in one’s first stages develops better dancers is in my opinion quite debatable. I personally have experienced competing in both, a system that didn’t have any syllabus restrictions, which then was changed to that restriction, and I have witnessed no betterment in the learning curve or level of competition. This means to me that even though I recognize that a syllabus can be a very helpful learning tool, it isn’t the only answer to a better level of dancing.
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By: Lee Fox
I don’t think there is one simple answer to that. Both parts have their share of responsibilities to the partnership, so I believe it all has to do with the individual. Some people find it easier to learn the leader’s part. The leader has a lot to think about. They have to learn their own patterns, understand the follower’s part and ability, keep the timing and the rhythm going, communicate to the follower what is expected of them, watch for other dancers on the floor, and, in the cases of the progressive dances, maneuver the partnership around the floor while choosing the next move they are going to execute based on all of the above. The leader does not have to be the more dominate personality (I’ve seen and danced with my share of dominant followers) but should be more of a multi-tasker. Some people find it easier to learn to follow. Following is more about reacting to the leader’s silent messages. They don’t have to “know” their patterns as the leaders do though I believe they become even better followers if they do (provided they remember to let the leader lead). They need to learn to go where the leaders go and understand the signals given through the leader’s hands and frame. Of course in the beginning they should learn the basic patterns, the basic rhythms and the basic characteristics of the individual dances. After that it’s about the reacting. I usually tell people in the beginning to pick one and not to try to learn both parts yet. Get a little bit of experience under their belts (or in their shoes) first. Learn how to move with a partner before trying the other role, and I don’t mean next week unless you’re dancing 24/7. I personally enjoy both roles and, with the right partners, switching roles in a dance is fun. Originally published in April 2016 NASSPDA Newsletter
Posting: January 6, 2022 By: Benjamin Soencksen Our small, but growing community, whether we are socially and/or competitively engaged, needs and deserves the commitment of all of us at every level, if we indeed desire growth and more opportunities. Many involved socially in our same-sex dance communities are hesitant or even flat out refuse to consider competing. One of the main reasons often given focuses around winning. For me that was actually never the impetus to join couples on the competitive dance floor, though once I did, it was, of course, an added goal. When I was in my teens, I was asked to join the very first youth competition in my area. It was clear to me that I wouldn’t have a winning chance, but it also occurred to me that by participating I would help build momentum for bringing Dancesport to more young people and lend greater importance to any win of any couple participating. So, my dance partner and I borrowed outfits, persuaded our parents to pay our dues as well as entry fees and drive us to the event. We had a blast! There were kids as young as 5 years old as well as the maximum age 18 (sometimes, the younger disappeared below the petticoats of the older couples). We had no idea that so many kids enjoyed this sport/activity as much as we did. We did our best, slipped and fell in the Quickstep, got entangled with and bumped into other couples, made a mess of some dances (3 Latin and 3 Standard dances in the same outfits), and excelled in others, and made the first cut out of over 40 couples. We didn’t win, but we had an unforgettable experience and the knowledge that we contributed to the meaning of the first place of that event and the formation of a youth movement, which resulted into a multitude of opportunities for young dancers. In my opinion therefore, the impetus for competing in any kind of sport should always be foremost about participation, not about winning any glorious titles or shiny medals. And in my experience, every participant in a same-sex dance competitions gets everywhere and at any event, whether it be the Gay Games in Sydney, April Follies in Oakland or the Pink Jukebox Trophy in London, a very warm and appreciative welcome by all in attendance. Of course, one can spend a lot of financial resources on this sport to make it as much as possible a winning prospect, but one doesn’t have to and it will still be a very satisfying and exhilarating experience, helping with one’s growth in one’s own dancing. Even though I’m no longer competing myself, I’m still trying to stay involved, because I believe that it is vital for us all to have opportunities for expression and enjoyment. It is my hope that you all enjoy being part of the social and/or competitive same-sex dance scene in your area and help to spread the word or, even better, get further involved in whichever way you can. A brief history of NAEDA (formerly known as North American Same-Sex Partner Dance Association)10/24/2021 Originally published in Topline Magazine (American International Dance Association, USISTD.org)
Posted: October 24, 2021 By: Lee Fox In 1998, the Gay Games were held in Amsterdam (the first time it was held outside of the North American continent) and the first time that Dancesport was included as an official event (it had been a medaled side event at the previous Gay Games in 1994 in New York City). Over 200 couples from Europe, the Americas, Africa, Asia, and Australia were in attendance competing in the International Standard and Latin styles of dancing as well as Wheelchair Dancing. I’m proud to say that my ballroom partner and I competed in the Standard and made it to the top 6. Four years later, the Games were held in Sydney and again we made the top 6. It was a year after the games in 2008, a quadrennial event, that a group of competitors participating at the annually held same-sex event called the April Follies in California met and decided that it was time to form an organization for the sole purpose of creating a standard by setting up rules and regulations to help with the organization of same-sex competitions in North America, pretty much at the same time that the European Same-Sex Dance Association (ESSDA) was formed. Thus NASSPDA was founded. The North American Same-Sex Partner Dance Association is a membership organization committed to the promotion and expansion of social and competitive same-sex partner dancing, which includes Ballroom, Latin, Argentine Tango, Country Western, and other partner dances, as well as different styles within those terms, such as International and American styles. Even though NASSPDA acknowledges and celebrates its origins in the LGBTQ+ community, it is open to all and we have a wonderful mixture of gays, lesbians, bisexuals, and transgender people as well as straight allies and non-binary people participating in our events. NASSPDA’s goals are to establish and continue to improve consistent definitions, guidelines and standards for same-sex partner dance competitions in North America. We support functions and venues for social as well as competitive same-sex dancing and encourage making them accessible and affordable. Our board of directors and officers meet on a monthly basis to conduct businesses such as rule changes, sanctioning of dance competitions and adjudicators, funding opportunities for the promotion of dancing to the LGBTQ+ community, and communicating with same-sex dance organizations world-wide. To date we have sanctioned up to five different North American competitions a year in California, Ohio, Pennsylvania, Massachusetts, New Jersey, Rhode Island, Quebec, and British Columbia. We have established rules and regulations for these competitions and created categories in all styles of dancing for all male couples and female couples as well as opposite sex couples (including reverse role where the female leads and the male follows) divided into adult and senior categories as well as Student/Teacher categories, where only the student gets judged, and non-Student/Teacher categories, where any two people can get together to compete without declaring themselves pros or amateurs), and additionally, Showdance and Formation Teams divisions. You can learn more about the North American Same-Sex Partner Dance Association by visiting the web site at http://www.NASSPDA.org. Membership is open to all. Join us if you like to learn more about our events, want to support our goals and have a voice. By: Benjamin Soencksen
(Originally published in NASSPDA October 2015 Newsletter) There always will be different points of view on issues in our community, as in every community, that can divide us or bring us together. One of these focuses around social versus competitive dancing, which can cause heated and passionate discussions. It is generally believed that we need to foster social dancing, in order to grow interest in competitive dancing. However, many social dancers are dead set against competing, for various different reasons, which range from “believing that you got to be really good” to “competition, as a sport, takes the art out of dancing.” It is my belief that one supports the other and therefore validates both. Though it is true that your first steps with a partner will be most likely on the social dance floor and that there is a kind of shared enjoyment with other couples on the floor, which can get lost in a competitive frame work, it is the competitive dancer that becomes the best marketing tool within the non-dancing world. In other words, just as the competitive circuit draws “new blood” from the social dance scene, the social dance circuit gets fed “newbies” that have been inspired at a competition or show presentation. This is why I believe that both, social and competitive dancers, should support each other in whichever way they can, helping to grow our community. |
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