FAQ’s – John Hamman School of Ballroom Dancing
Why learn to dance?
For starters, it is a lot of fun! Fun aside, dancing has so much more to offer than just a good time. Exercise, stress relief, self-confidence, social poise, and a creative outlet are amongst the many benefits you can receive from dancing.
I’ve got two left feet – is that a problem?
Well one of them is right anyway. The beginner course is absolute basics to a few of the popular dances. The atmosphere and teaching style in this class is very relaxed and I always have an assistant to help attend to everyone. Even if you have "two left feet" and "no rhythm"! Mr. Fred Astaire himself is quoted as saying "some people seem to feel that good dancers are born. All the good dancers I’ve known have been taught or trained."
What must I wear?
Sneakers/takkies are not the best since they stick to the floor and limit your mobility in certain dances. Your best option is to wear something similar to what you would wear when you go out dancing. Other than that, just dress comfortably. For the ladies latin course you can wear normal gym attire, for shoes you may weara high heel of any flat soled shoe that you can turn comfortably in (e.g jazz shoe).
What after the beginners
If after the beginner’s course, you are hungry for more I have a follow one course, namely “Improvers” where we add 2 new dances to your repertoire and add steps to the ones you already know.
Where can I go and dance
I hold social dance evenings on Friday or Saturday nights (in Rondebosch), where you can come along and practice what you’ve learnt in a fun relaxed environment. There are also other venues in Cape Town (PWP – every 2nd Saturday, UCT ballroom – once a month) This link has more info on the times and dates of their socials: http://www.ballroom.org.za/schedule/
We’re getting married, what would you suggest?
If you are getting married and can make the beginner course dates and times, then I’d suggest you do the course to get a good feel for a few of the popular dances (which you can use anywhere) and then perhaps book a few private sessions to work on an opening dance for your wedding day. The beginner course might spark some ideas as to which dance you like and may want to do at your wedding.
Do I need a partner for the beginner course?
It is preferable to have a partner for the course. If you are a single and let me know in advance I can arrange for equal numbers of men and woman. I also have a ladies latin dance class, which is a solo class to different Latin routines, it also makes a great workout.
What if I/We miss a lesson?
If you miss one of the lessons during the course, you can always catch up during the Wednesday practice nights or at the recap session at the end of the same course. If you are worried that you may miss 2 or more sessions, then perhaps book for the following course.
Hope this helps. If you have any other questions feel free to email me.
Saturday 6 September 2008
Sunday 20 April 2008
TANGO... How and Why?
Dear John,
I have a few questions to ask in relation to Tango position.
1.Why feet are in offset position not like other standard dances in closed feet position?
2.Why knees are kept flexing throughout dancing?
3.Why lady's left four fingers are closed together with thumb underneath?
4.Why man's right arm placed diagonally cross the lady's spine?
I'd really appreciate your answer.
Kind regards,
Mark
.........................................................
Dear Mark,
I am glad you posted those questions in your e-mail. In order to understand the Position, Poise and Posture of any dance, one must know something about the history of that dance. Top coaches emphasize something that they call the "Character of the Dance." This character develops from the origins and the historical developments of that dance. Lets discuss the Tango here.
Tango development:
As we are told, Tango originated in the brothels of Argentina. Buenos Aires is known for these hot spots where the Latino Cowboys (I don't know what you call them) will go and socialize with "these women." This will be a romantic, seductive and sexual extravaganza. The club will be crowded and hardly any space to dance therefore the Hold of the dance will become "tight". They would even sometimes dance on table tops. For most right handed men, it would be more natural to move the lady to their right side and therefore the man's right hand will go more across her spine (Q-4). This will also necessitate the lady to wrap her left arm around man's right arm and therefore it will look more graceful with her fingers closed and palm facing downward with thumb not sticking (Q-3).
In order to feel the woman's body and lead her, he will lower himself and flex his knees (Q-2). He will kind of grasp her right leg between his 2 legs. As for her to follow, she will stay to the right side of him more or less blocked by his right leg.
This awkward hold will naturally result in typical offset feet positions of both partners feet (Q-1). Most Natural Turns are started in promenade position for the same reason.
Many other nuances of Tango can be explained by the history of this "creepy" dance which of course was looked down upon by the civilized world for a long time. It then became a Tea Dance for the French and then somehow it found it's way in the more civilized (?) Western/European societies.
Hope this helps,
Yours in dance,
John
I have a few questions to ask in relation to Tango position.
1.Why feet are in offset position not like other standard dances in closed feet position?
2.Why knees are kept flexing throughout dancing?
3.Why lady's left four fingers are closed together with thumb underneath?
4.Why man's right arm placed diagonally cross the lady's spine?
I'd really appreciate your answer.
Kind regards,
Mark
.........................................................
Dear Mark,
I am glad you posted those questions in your e-mail. In order to understand the Position, Poise and Posture of any dance, one must know something about the history of that dance. Top coaches emphasize something that they call the "Character of the Dance." This character develops from the origins and the historical developments of that dance. Lets discuss the Tango here.
Tango development:
As we are told, Tango originated in the brothels of Argentina. Buenos Aires is known for these hot spots where the Latino Cowboys (I don't know what you call them) will go and socialize with "these women." This will be a romantic, seductive and sexual extravaganza. The club will be crowded and hardly any space to dance therefore the Hold of the dance will become "tight". They would even sometimes dance on table tops. For most right handed men, it would be more natural to move the lady to their right side and therefore the man's right hand will go more across her spine (Q-4). This will also necessitate the lady to wrap her left arm around man's right arm and therefore it will look more graceful with her fingers closed and palm facing downward with thumb not sticking (Q-3).
In order to feel the woman's body and lead her, he will lower himself and flex his knees (Q-2). He will kind of grasp her right leg between his 2 legs. As for her to follow, she will stay to the right side of him more or less blocked by his right leg.
This awkward hold will naturally result in typical offset feet positions of both partners feet (Q-1). Most Natural Turns are started in promenade position for the same reason.
Many other nuances of Tango can be explained by the history of this "creepy" dance which of course was looked down upon by the civilized world for a long time. It then became a Tea Dance for the French and then somehow it found it's way in the more civilized (?) Western/European societies.
Hope this helps,
Yours in dance,
John
Wednesday 2 January 2008
You never really go back in ballroom dancing
That might sound like a sweeping statement, but allow me to explain. There are essentially two parts to this explaination. You may have heard me saying "Keep your nose over your toes and you won't step on hers." When you walk forward you want to keep your weight in the balls of your feet and your body slightly in advance of your feet. In other wrods we don't want to stick our legs and feet out before we make and advance through our body, which will lead the lady.
The lady also has an important role to play when going back. Once you feel a lead through the man's body start to take your leg back, but think woring underneath your body so as to keep the closeness between you and your partner. Remember to extend back from the top of your leg (which starts as high as the top of your hip). You want to feel as though you are going forward by extending over the knee of your standing leg and drawing back from the top of your moving leg - this action creates a beatuful long line and the appearence of a "big" sweeping step. This is what creates the long gliding strides seen in high quality dancing - and not trying to take big steps!
As a lady dancer you want to imagine yourself as a trolley that will only move when a gentle force is applied. The mans job is to lead you through his body and its your job to respond by moving at his pace without separating too much in the hip area. Try to imagine that your legs are always working underneath and behind your body, otherwise you open yourself to bruised toes and fights with your partner.
Hope this helps,
John
The lady also has an important role to play when going back. Once you feel a lead through the man's body start to take your leg back, but think woring underneath your body so as to keep the closeness between you and your partner. Remember to extend back from the top of your leg (which starts as high as the top of your hip). You want to feel as though you are going forward by extending over the knee of your standing leg and drawing back from the top of your moving leg - this action creates a beatuful long line and the appearence of a "big" sweeping step. This is what creates the long gliding strides seen in high quality dancing - and not trying to take big steps!
As a lady dancer you want to imagine yourself as a trolley that will only move when a gentle force is applied. The mans job is to lead you through his body and its your job to respond by moving at his pace without separating too much in the hip area. Try to imagine that your legs are always working underneath and behind your body, otherwise you open yourself to bruised toes and fights with your partner.
Hope this helps,
John
Tuesday 1 January 2008
Timing is everything!
Two people dancing in time to the music, in time with eachother is what ballroom dancing is all about! Dancing through the music, ahead, behind or not having a sense of timing between you and your partner can hamper your progress. When your sense of timing is better you begin to apprectiate the music and dance a whole lot more. The slower dances such as the Waltz and Rumba are good examples where innacurate timing doesn't allow you to enjoy the fullness of the rythym.
Timing occurs when the foot touches the ground; if you wait till you hear the beat and then start to move your feet to the final destination, you will be late. This sounds very obvious but I often notice students not working exactly to the music. Here are a few practical tips to help you improve your timing both individually and as a couple:
Listen to muisc - listen to a variety of ballroom and latin songs and try to clearly count in beats (not just slows and quicks!). The more music you listen to and count out loud to, the better your understanding will become. You could even shout out the strong beats, e.g. in waltz - 1! or cha cha-1! or Rumba - 4! Also try to imagine your steps to the count. Also try to count the "in betweeners" e.g. in Rumba. 1 "and" 2 "and" 3 "and" 4 "and".... by counting the "ands" you will develop a better sense of timing and know when to hold your movements and exactly when to begin the next movement. You can also use these "and" to pass your feet and prepare through the body for the next step. Do this excercise as a couple as well.
Brush your feet - brushing your feet gives you something to do to the music, which will improve the look and timing. normally done on the "ands" eg. in cha cha basic : 1 "and-brush" 2 "and" 3 "and-brush" 4 "and" 1... Speak to me if you are unclear where and when you need to be passing or brushing in each dance.
hope this helps,
John
Timing occurs when the foot touches the ground; if you wait till you hear the beat and then start to move your feet to the final destination, you will be late. This sounds very obvious but I often notice students not working exactly to the music. Here are a few practical tips to help you improve your timing both individually and as a couple:
Listen to muisc - listen to a variety of ballroom and latin songs and try to clearly count in beats (not just slows and quicks!). The more music you listen to and count out loud to, the better your understanding will become. You could even shout out the strong beats, e.g. in waltz - 1! or cha cha-1! or Rumba - 4! Also try to imagine your steps to the count. Also try to count the "in betweeners" e.g. in Rumba. 1 "and" 2 "and" 3 "and" 4 "and".... by counting the "ands" you will develop a better sense of timing and know when to hold your movements and exactly when to begin the next movement. You can also use these "and" to pass your feet and prepare through the body for the next step. Do this excercise as a couple as well.
Brush your feet - brushing your feet gives you something to do to the music, which will improve the look and timing. normally done on the "ands" eg. in cha cha basic : 1 "and-brush" 2 "and" 3 "and-brush" 4 "and" 1... Speak to me if you are unclear where and when you need to be passing or brushing in each dance.
hope this helps,
John
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