How can you make every dance special?

[doc martin]

Before too much tension builds up I'll give my opinion of the answer to this question. You can't :wink:

So why am I asking for people to take time to read this and give their opinion on something that I have already made up my mind about? Well, what I would really like advice about is how to make each dance more special and to talk about the reasons that decrease the specialness of many dances. But that didn't seem as catchy a title for the thread.:innocent:

I've been thinking about this because some of the threads that I have been reading here have been making me think about the dances I have been having at recent social evenings. Specifically issues relating to....


Dancing within your capabilities
The predominance of men at venues
Getting bored with the moves I do


The first point comes from many threads where I have read ladies opining that they prefer a lead to do the moves they are competent at, and do them with style, to being put through moves the lead hasn't mastered.

The second follows from MMs thread How do I get a look in? (http://www.cerocscotland.com/forum/showthread.php?t=6535) When there are more leaders than followers it is probable that the followers will be dancing at least as much as they would like to. That means that some dances they will be doing because they (men I mean here) are mostly lazy, good natured beasts who will take the path of least resistance and always dance when asked.

The third point comes from various comments FPs thread Improving - a double-edged sword? (http://www.cerocscotland.com/forum/showthread.php?t=6516) which made me think that "boredom with my current move set" is not uncommon for leaders and a comment from NG on another thread to the effect that the followers do not get bored with doing a small set of moves during one dance as they will do a different set of moves with the next lead. For me as the lead however, I know that in the next dance I will lead pretty much the same set of moves again.

So the consequence of these three points is that I will try to stick to moves I know I can get the lady to follow, I'll keep dancing, often on class nights dancing every track, and I will be racking my brains whilst dancing to try to remember other moves I can do. This leads to some dances where I just go onto autopilot, probably with a strange, distant looking frown :eek: . And that is not what I want and makes me feel I am selling my partner short.

Some things don't help; music I don't really like, ladies looking round the room in a bored fashion whilst dancing, spaghetti arms etc.:sad: , the same pet hates as discussed by many in many threads.

The opposite also applies, some ladies always fully engage my attention and I feel we are communicating for the whole dance.:clap: I want that to happen more and would like tips on how to make the chances of it happening higher.

A few things do occur to me. I need to keep changing the moves I do. That means that I need to know more moves than just enough to get me through one song. And that means that I need new moves and I need to practise them to get good at them. And, when I start practising them socially I won't lead them that well which sometimes breaks the flow of a nice dance. But hey! ladies it is for your own future good. You'll love it when I can lead it properly, so please bear with me til then.

I need to sit out a few more tracks. When I first started (I have been dancing just a year), I used to sit out and think about moves to try in my next dance. I found that once I had done a move once in a night it tended to stay in my repertoire for the rest of the evening. Also perhaps sitting out for a while would make me mentally more eager to put everything into the next dance. So, much though I love to keep moving, perhaps I need to discipline myself to leave the room at the end of a dance (no point trying to sit in the dance room) and relaxing for 5 minutes.

Really that's the only things that occur to me to make the dance experience better for both my partner and myself, so... any other ideas?

[robd]

Before too much tension builds up I'll give my opinion of the answer to this question. You can't :wink:

Agree. If every dance was special then none of them would be special.



The third point comes from various comments FPs thread Improving - a double-edged sword? (http://www.cerocscotland.com/forum/showthread.php?t=6516) which made me think that "boredom with my current move set" is not uncommon for leaders and a comment from NG on another thread to the effect that the followers do not get bored with doing a small set of moves during one dance as they will do a different set of moves with the next lead. For me as the lead however, I know that in the next dance I will lead pretty much the same set of moves again.


This has come up a bit lately. I am now getting a level of confidence in my dancing that means I am happy to do a very limited set of moves. Someone in another thread mentioned 10 baskets in a dance as being a bad thing - not to my mind it's not as there are so many little variations on the basket (and many other moves) that you can do - a caress, stop/start, etc, etc. What I think is different as you gain more experience is that you are choosing to do a small set of moves rather than being forced into it by that repertoire being the extent of your knowledge.



I need to sit out a few more tracks.


:yeah: Watch and learn - see what parts of other lead's dancing you can appropriate for yourself. In addition to watching from the sidelines I often see someone doing a particular move alongside me whilst I am dancing, think 'yes, I remember that one' and hey presto, it is sneaked into my dance.

Robert

[doc martin]

Agree. If every dance was special then none of them would be special.
Maybe I was using the wrong word. I probably meant something a bit more nebulous, along the lines of make every dance feel as if you have connected with your partner and given her the best dance you are capable of. But then that is a bit waffly :confused:


This has come up a bit lately. I am now getting a level of confidence in my dancing that means I am happy to do a very limited set of moves. Someone in another thread mentioned 10 baskets in a dance as being a bad thing - not to my mind it's not as there are so many little variations on the basket (and many other moves) that you can do - a caress, stop/start, etc, etc. What I think is different as you gain more experience is that you are choosing to do a small set of moves rather than being forced into it by that repertoire being the extent of your knowledge.
I guess I think of the variations as being different moves. From what I remember about that quote, the guy sounded like he was talking about straight, normal baskets.

Maybe it is a confidence thing as you say. I am not confident enough to think that I am leading an interesting dance if I keep repeating moves. Maybe I should set myself a challenge (although anyone else is free to take it up :whistle: ) and try to dance a whole track doing nothing but first move variations! There must be enough of them.


:yeah: Watch and learn - see what parts of other lead's dancing you can appropriate for yourself. In addition to watching from the sidelines I often see someone doing a particular move alongside me whilst I am dancing, think 'yes, I remember that one' and hey presto, it is sneaked into my dance.

Robert
:yeah: at least to the bit about watching from the sidelines. I don't think I have ever noticed what moves someone else is doing whilst I am dancing... usually more worried about not dancing into them/keeping them from dancing into me.

[bigdjiver]

Sadly, I have just realised that I do a few dances on auto-pilot. I danced with a pair of neglected beginners, one after the other, the other week. As I delivered the second back to her friend she was giggling, and her friend was laughing, and I could not remember what I had done to elicit that response. I think that this is sad, and am hoping that this thread can teach me something.

[doc martin]

I could not remember what I had done to elicit that response.
That reminds me of a quote from An Ideal Husband, the Oscar Wilde play.

Lord Caversham is talking to his son and says "Do you always really understand what you say, sir?".

To which his son replies, after some hesitation "Yes, father, if I listen attentively."

I know what you mean about the beginners and it is sad because you could have enjoyed the dances more and they may have got more of a feel for what dancing MJ can offer if you had. Still, at least you had the decency to notice they were not being asked and took both out onto the floor. I guess now that this has occurred to you that you will pay them more attention next time they turn up in your venue.

[Gadget]

Before too much tension builds up I'll give my opinion of the answer to this question. You can't :wink: :tears: You don't think so? Unless I really screw up and do something stupid, I think that every dance is special.


The first point comes from many threads where I have read ladies opining that they prefer a lead to do the moves they are competent at, and do them with style, to being put through moves the lead hasn't mastered. A slight shift in perspectve: The lady's don't seem to mind being put through one or two moves that the lead hasn't mastered, as long as the rest of the moves are well led.
Stick to the basics you know and throw in a complexity once in a while untill you've got it - it then can replace/be included in your "basics" and another one can be worked on.


The second follows from MMs thread ...I don't get this one.


The third point ~ "boredom with my current move set" is not uncommon for leaders ~ For me as the lead however, I know that in the next dance I will lead pretty much the same set of moves again.See the comments against the first one: by constantly working on one move or variant, your repertoir is changing.

Re: sitting out dances - the inspiration, ideas and enthusiasm gained from watching is probably a good thing, but but I'm not sure that it will help making every dance special.


A couple of tips that {IMHO} help make a dance special:
Enjoy it. And show that you enjoy it. You are dancing with someone. They wanted to dance with you. Appreciate the attention and have fun with them.
Use a couple of moves that on-one else does. Even if someone always does it, take that move, perfect it, every little detail, make it your move. Think on it as your move and grin when you pull it off perfectly.
Dance to the music. (Yea, everyone dances to the music: that's what dancing is. :rolleyes: ) What I mean is try to find the breaks and highlights in the music; it's brilliant when you time something just right with the music.
End at a dramatic point. Actually 'finish' our dance rather than let it fade out. It dosn't have to be a lean, dip or drop; a simple pose or wrap/basket (or whatever bit of the move extended to be 'big') , held, works just as well.
eye contact and smiling. A lot has already been said on the forum about this. {footnote: just had to say that one of the best dances I had tonight, I had my eyes closed throught all of it :D thank you :flower:}
Don't dwell on the things a partner does badly or moves they fail to get - there is almost always something positive that they do well. I have found that the worst technical dancers (beginners) seem to be the ones that enjoy it most: huge grins and getting lost within the dance. If that's not special...
Laugh at and use "mistakes". No such thing as a mistake - just a move you didn't know. Don't dwell on them or show your partner where they went wrong (unless they ask - then just lead it again) Smile and move on - don't let it break the flow of the dance.



Maybe I should set myself a challenge (although anyone else is free to take it up ) and try to dance a whole track doing nothing but first move variations! There must be enough of them.You've not seen me dance, have you? :whistle::innocent:


I danced with a pair of neglected beginners, one after the other, the other week. As I delivered the second back to her friend she was giggling, and her friend was laughing, and I could not remember what I had done to elicit that response.Probably a comb. Personally, I find that it's quite a good 'wow' move for a beginner that has provoked this response once or twice for me.

[doc martin]

:tears: You don't think so? Unless I really screw up and do something stupid, I think that every dance is special.
Thanks for this reply Gadget. I really like the attitude it expresses, right from the very first sentence here. I think that if I am able to approach my dancing with as much positivity as you show here I will get more from every dance and so will my partners.


A slight shift in perspectve: The lady's don't seem to mind being put through one or two moves that the lead hasn't mastered, as long as the rest of the moves are well led.
Stick to the basics you know and throw in a complexity once in a while untill you've got it - it then can replace/be included in your "basics" and another one can be worked on.
That is what I was missing. I was seeing it all a bit black and white, which nothing ever is. I know from experience that the ladies are very forgiving of a few mistakes in a dance (I give them plenty of opportunity to practise and perfect their forgiveness) and it doesn't seem to ruin the whole dance for them, so I should have been looking at incorporating new moves in this way already. I suspect it will take a bit of organisation and discipline, but I'll see how I get on.

I don't get this one.
What I'm getting at is that I appreciate that, when there are more ladies than men, the ladies may not be getting as many dances as they would like. Therefore I wouldn't refuse a dance when asked even if, for various reasons, I didn't really want to dance that particular track. Then, if I'm not feeling too enthusiastic to start with, I don't concentrate well, I'm not getting into the flow of the music and I therefore don't lead that good a dance.

See the comments against the first one: by constantly working on one move or variant, your repertoir is changing.

Re: sitting out dances - the inspiration, ideas and enthusiasm gained from watching is probably a good thing, but but I'm not sure that it will help making every dance special.

hmmm... OK, perhaps more than watching others the main benefit of a little sit out is time to gather my thoughts and remind myself of how I am going to approach the next set of dances and what points I am trying to work on that night.


A couple of tips that {IMHO} help make a dance special:
{list of good tips}


These are exactly the sort of tips I was hoping for when starting this thread:cheers: Most of the things are points that I was aware of, but putting them down like that crystallizes them for me in such a way that I think I can probably remember them whilst dancing.


You've not seen me dance, have you? :whistle::innocent:

I think I may get an opportunity to next weekend?

Many thanks and much respect for all that. You can rest assured that your time thinking and typing was not wasted as I am going to put your attitude into practise starting Monday.:worthy: :worthy:

[Gadget]

What I'm getting at is that I appreciate that, when there are more ladies than men, the ladies may not be getting as many dances as they would like. Therefore I wouldn't refuse a dance when asked even if, for various reasons, I didn't really want to dance that particular track. Then, if I'm not feeling too enthusiastic to start with, I don't concentrate well, I'm not getting into the flow of the music and I therefore don't lead that good a dance. Aaaah: sitting out a dance. Forign concept. A "difficult" partner is an opportunity to practice skills. A "poor" track is an opportunity to practice moves. Every negative that you start the dance with could actually be an opportunity trying to present it's self.
What you initially thought of as "undancable" becomes a challenge to see if it truley is. Occasionally you are plesantly surprised.


hmmm... OK, perhaps more than watching others the main benefit of a little sit out is time to gather my thoughts and remind myself of how I am going to approach the next set of dances and what points I am trying to work on that night. Re-ignites the spark and creates the inspiration again. I would recommend sitting out the track after what you would consider a "poor" dance to watch, forget and re-charge.


I think I may get an opportunity to next weekend?Indeed. :D:D:D

[MartinHarper]

"dancing within my capabilities" sounds like an effort to consciously restrict myself. That sounds serious, and unfun. Instead, I prefer to relax and not try too hard. It has much the same effect, but it's more enjoyable.

It's nice if my partner is having fun, but I don't take responsibility for that. Trying to force someone to be happy is direspectful and unfun. Let it be.

[bigdjiver]

"dancing within my capabilities" sounds like an effort to consciously restrict myself. That sounds serious, and unfun. Instead, I prefer to relax and not try too hard. It has much the same effect, but it's more enjoyable.

It's nice if my partner is having fun, but I don't take responsibility for that. Trying to force someone to be happy is direspectful and unfun. Let it be.Making my partner happy is always my main motivation. I had not even considered that it might be considered "disrespectful". A thought to ponder upon. Trying to extend my capabilities and partners are frequent goals. There are usually only two or three times a night when the right partner and right track coincide, and I can just relax and enjoy the dance.

[jivecat]

Dancing within your capabilities
The predominance of men at venues
Getting bored with the moves I do
[/LIST]

The first point comes from many threads where I have read ladies opining that they prefer a lead to do the moves they are competent at, and do them with style, to being put through moves the lead hasn't mastered.

I find it frustrating when a lead tries lots of complex moves that haven't been mastered yet, and ruins the flow of the dance, but flattering when he says, "I just can't get this move right, can you help me with it?" Being trusted to help someone with moves they find difficult makes a dance special for me.


The second follows from MMs thread How do I get a look in? (http://www.cerocscotland.com/forum/showthread.php?t=6535) When there are more leaders than followers it is probable that the followers will be dancing at least as much as they would like to. That means that some dances they will be doing because they (men I mean here) are mostly lazy, good natured beasts who will take the path of least resistance and always dance when asked.

So, in other words, the guy will be dancing, not because he really wants to, but because he is a kind and courteous person who will deservedly be deeply appreciated by all those followers trying to get a look in. Thanks for making the effort - that's special.



The third point comes from various comments FPs thread Improving - a double-edged sword? (http://www.cerocscotland.com/forum/showthread.php?t=6516) which made me think that "boredom with my current move set" is not uncommon for leaders and a comment from NG on another thread to the effect that the followers do not get bored with doing a small set of moves during one dance as they will do a different set of moves with the next lead. For me as the lead however, I know that in the next dance I will lead pretty much the same set of moves again.

The moves that you do may be the same, but you will be dancing them to completely different music, with a different person.



The opposite also applies, some ladies always fully engage my attention and I feel we are communicating for the whole dance.:clap: I want that to happen more and would like tips on how to make the chances of it happening higher.

This is also my idea of a special dance. 50% comes from me and the attitude I bring to the dance - usually positive, sometimes more so than at others:blush:. The other 50% comes from the music & my partner.




A few things do occur to me. I need to keep changing the moves I do. That means that I need to know more moves than just enough to get me through one song. And that means that I need new moves and I need to practise them to get good at them. And, when I start practising them socially I won't lead them that well which sometimes breaks the flow of a nice dance. But hey! ladies it is for your own future good. You'll love it when I can lead it properly, so please bear with me til then.



We will! Meanwhile, one thing to bear in mind is not just increasing your repertoire but doing more with the moves you already know well. For example, matching them to the music, and putting them together in unexpected ways. This, more than anything helps to keep me focussed on my partner, because I'm never quite sure what is going to happen next, so there's less chance of anticipating or back-leading. There's also a sense of shared listening and being immersed in the music together if the moves interpret the music well, which I really love. Oh, and eye-contact, of course, that always makes a dance feel special.

[TiggsTours]

I find it frustrating when a lead tries lots of complex moves that haven't been mastered yet, and ruins the flow of the dance, but flattering when he says, "I just can't get this move right, can you help me with it?" Being trusted to help someone with moves they find difficult makes a dance special for me.

Off the thread a bit, I know, but I must say that it annoys me (wrong word, but can't think of a better one) when a guy asks me to dance and then goes on to explain that he wants to try a few things with me! I have no objection whatsoever in helping someone to master a new move (I'm talking about when I'm not taxi-ing here) but I do wish he'd tell me before leading me on to the floor! It may be my favourite track, I may just want to dance to it! If he were to say to me, "would you mind if I grab you at some point to try a few things out" I'd say "sure, how about now?" or "sure, but I really like this track, do you mind if we just have a dance, and you can try your new moves out on the next one" or even just "sure, I'm just going to have this dance with so-and-so, I'll come a grab you in a bit", and then go and grab them later.

[El Salsero Gringo]

If he were to say to me, "would you mind if I grab you at some point to try a few things out" I'd say "sure, how about now?" or "sure, but I really like this track, do you mind if we just have a dance, and you can try your new moves out on the next one" or even just "sure, I'm just going to have this dance with so-and-so, I'll come a grab you in a bit", and then go and grab them later.Even more off-topic, how about not grabbing but asking?

[jivecat]

Even more off-topic, how about not grabbing but asking?


(Shakes head, tuts) These pedants! It would have been a reciprocal grab, does that not cancel it out?

Tiggs Tours,:yeah: sensible refinement of the "trying out new moves" point.

[TiggsTours]

Even more off-topic, how about not grabbing but asking?
Picky, picky, picky! That's all I can say.:what:

[doc martin]

much interesting stuff
Meanwhile, one thing to bear in mind is not just increasing your repertoire but doing more with the moves you already know well. For example, matching them to the music, and putting them together in unexpected ways. This, more than anything helps to keep me focussed on my partner, because I'm never quite sure what is going to happen next, so there's less chance of anticipating or back-leading. There's also a sense of shared listening and being immersed in the music together if the moves interpret the music well, which I really love. Oh, and eye-contact, of course, that always makes a dance feel special.
This is something I have been thinking about. It doesn't seem to get taught in the general classes (although it could easily be going over my head if it is), but I am hoping that some of the workshops at the BFG and Franck's new Stirling classes will cover this.

[Sheepman]

Oh, and eye-contact, of course, that always makes a dance feel special. :yeah: and a smile helps!
But I think this can show how it isn't possible for every dance to be special, (even with Gadget's use of the word!) If you're on a packed dancefloor, with flailing limbs everywhere, taking care of your partner has to be more important than eye contact, so there can be no time for that eye contact, as you're too busy checking where the next move can go.

If the track that's playing is one that you really don't like, or just doesn't inspire you, then it's hard not to have the feeling that, "I'm just going through the motions here." The result is just a sequence of moves rather than reacting to the music. (I sometimes just go around in blues circles & chat when this happens, that can be special, but it doesn't have much to do with dancing :blush: )

Then if you're tired, or just off form, where even the usual moves aren't working well, it's far from special.

So the starting point for me has to be that there is space, great music, and I'm on form. Then to be really special might just take some small thing in the music that makes you both react the same way, the feeling that "my partner knew what I was going to do before I knew it." Or perhaps you're both hearing a track for the first time, but everything works. :drool:

Oh and going back to the eye contact thing, it is more special if there is passion involved, if it feels like my partner really wants me. That doesn't seem to happen too often to me! :tears:

More from the followers point of view, at Rebel Yell recently, Sarah Van Drake was talking about how to make every dance interesting, and how to see even an awful lead as a challenge, making what you can out of the dance. If I remember correctly she was talking about circumstances where you would have to "decipher" his lead through all the "noise" that was going on, so the following itself is a challenge, but also adding to the dance, by listening to the music and improvising. Maybe one of the ladies who were there can explain this better.

Greg

[Andreas]

By making your dance partner feel there is no other place you'd rather to be during those three minutes. Then it does not really matter how complex your moves are, simple will do just great! :flower:

[Piglet]

But I think this can show how it isn't possible for every dance to be special, (even with Gadget's use of the word!) If you're on a packed dancefloor, with flailing limbs everywhere, taking care of your partner has to be more important than eye contact, so there can be no time for that eye contact, as you're too busy checking where the next move can go.

I know what you mean cos I really don't enjoy dancing in the middle of the dance floor anymore - I'm more worried about who I'm going to bump into or who's going to hurt me.

One way to reduce the risk however, is to dance at the edge of the dance floor - going onto the carpeted area rather than the dance floor if need be. (It's a bit similar to advanced driving - your safest lane is always one on the outside cos then you minimise your risk of being hit by a numpty!)

Hopefully this tip will help you enjoy your dances more too (unless you have already discovered this subtle but ideal place to dance):flower:

[Daisy Chain]

If every dance were special, every dance would seem very ordinary.


Daisy

(An Extra Ordinary Little Flower) :flower:

[bigdjiver]

I must have danced with around hundreds of first timers. Lately those dances may be more special for them than for me. The last thing I want is to become robotic, to be following a formula. I suppose the first step is recognising the danger, but I have not aquired the second step yet ...

[Gadget]

If every dance were special, every dance would seem very ordinary.
if every dance was the same, every dance would seem very ordinary.

[CJ]

Can I just throw something into the mix...

A first move, or a basket, midway through a verse is a very different first move to one which hits a break just at a chorus.

The dynamic is different, the mood is different, the musical expression is different.

Put that same first move with the same partner and a different song: the changes are even bigger.

THEN, the same first move to a different song with a different partner.

After that, we can add slight variations... then, major variations...

Each scenario is different, individual, to be treasured, special.

[doc martin]

Hmmmm... I think my use of the word special in the title may have been a mistake :blush: It is clearly a very subjective word and I get the feeling from the replies here that forumites are taking it to mean everything from "special - a dance that is enjoyed by both people dancing" to "special - a dance so good that you will never be able to forget it".

I have no wish to limit how people interpret my original question as all the answers from different perspectives have been of use and interest to me, but I would like to say what I was originally getting at. I would like to but, looking back at other peoples interpretations, I have trouble remembering what I was thinking when I wrote the first post :confused:. I will, however, try to give an idea of what I think special means to me in light of the other posts:nice:

I like to think that most of my dances are perfectly nice; no yanking the ladies around; most of the moves suitable for the (perceived by me) level of the follower with a few thrown in that I think they may not know to keep their interest/make sure they are paying attention. That sort of thing. And I do enjoy these perfectly nice dances, even on the occasions that I have gone onto autopilot a bit.

But some dances really work for me and, judging from their reaction, for my partner of the moment too. I make a good connection with my partner, both physically and mentally. I get into the music, and recently that has meant more and more that I pick moves which seem to suit the music and sequences that fit into phrases of the music. I feel that I am more dancing than doing moves. And that to me is special.

It doesn't happen with beginners. Then I am concentrating on keeping them out of trouble if the dance floor is crowded (and before anybody says, I do try to do this for all dances, but beginners do tend to travel further so you have to plan a bit more carefully) and trying to lead as clearly as possible. I enjoy this sort of dance, but I wouldn't describe it as special.

I also have problems with some of the ladies I perceive as being much more experienced than I. On the few occasions I pluck up courage to ask them to dance or that they grab me as I wander around blankly trying to remember where I left my towel, I tend to, well, not quite panic but maybe tense up would be a better description.

It's the thing many men worry about in other intimate situations, fear of inadequate performance :whistle:. And don't tell me, I know perfectly well that it is a downward, positive feedback spiral in those situations. Luckily most of the ladies are good at breaking the spiral with a friendly smile or word and the dance usually gets better as it goes on (for me anyway).

These dances are special in a way. It is a privilege and a pleasure to dance with someone who moves really well and I learn loads in such a situation. But it isn't quite what I meant by special.

I am sure that, by this point, you are all thinking "When is he going to get on and say what he does mean", but I suspect that you also know that I am going to disappoint. Perhaps the fact that I can't put my idea of special into words means that I haven't really thought it through well enough yet or maybe it is a rather nebulous concept which may well explain why other posters seem to be talking at cross purposes at times.

Whichever it is, I hope it does not stop people discussing what they see as making dances special for them as I am getting lots of food for thought from all your ideas:flower:

[Daisy Chain]

if every dance was the same, every dance would seem very ordinary.

No, no no. I did mean that if every dance were special, all dances would seem ordinary as one would expect a "special" dance every time and it would become the norm.

Think back to how special that very first night at Ceroc felt. As time goes by, you have to search for something extra to feel that it is any thing out of the ordinary. eg, visit venues further afield, frequent freestyles, attend weekenders, book dance holidays. Then you come home and one's local Ceroc night all seems a tad...........................ORDINARY.

Anyway, I know what I mean :flower:

Daisy

(A Special Needs FLower)

[doc martin]

No, no no. I did mean that if every dance were special, all dances would seem ordinary as one would expect a "special" dance every time and it would become the norm.

Think back to how special that very first night at Ceroc felt. As time goes by, you have to search for something extra to feel that it is any thing out of the ordinary. eg, visit venues further afield, frequent freestyles, attend weekenders, book dance holidays. Then you come home and one's local Ceroc night all seems a tad...........................ORDINARY.

Anyway, I know what I mean :flower:

Daisy

(A Special Needs FLower)
Wow Daisy, do you realise how like a junky you sound with this description?:eek:

[Gadget]

No, no no. I did mean that if every dance were special, all dances would seem ordinary as one would expect a "special" dance every time and it would become the norm.:wink: I knew what you meant, this was just my obtuse way of dissagreeing :flower:

Personally, I think every dance is special: just think on the coincedences that led to us being on the dance floor together at that time - location in the venue when looking for a partner, the fact you were looking, or available when someone else was looking,.. and all the factors that went into these.
All that happens is that the gap between "phenominal" {do do de do-do} dances and special dances lengthens in terms of time and shortens in terms of quality.

[Little Monkey]

:wink: I knew what you meant, this was just my obtuse way of dissagreeing :flower:

Personally, I think every dance is special:
:yeah:

Yeah! You get special(ly)good, special(ly) awful, special(ly) painful, special(ly) smooth..... Och, I could go on forever!:D :whistle: :rofl:

[Gojive]

:yeah:

Yeah! You get special(ly)good, special(ly) awful, special(ly) painful, special(ly) smooth..... Och, I could go on forever!:D :whistle: :rofl:

And special(ly) fried rice :) ....now that's given some food for though eh? :na:

[Daisy Chain]

Wow Daisy, do you realise how like a junky you sound with this description?:eek:

Praps I should change my name to Poppy

(An Opiate Little FLower)

[Sheepman]

(unless you have already discovered this subtle but ideal place to dance):flower: Thanks, yes, I've been doing this for years, and at one venue there is sometimes even a big space down the middle as everyopne else is doing the same! But I am talking s p a c e freedom to do whatever you want with no concerns about others on the floor, and that is a rare ocurrence!

Greg

[KatieR]

I dont think every dance you ever have can be special. I think it was mentioned earlier that if every dance WAS special it would take the 'specialness' away... You can only dance with good dancers and only ask and accept dances from certain people you like dancing with but you would be missing out on a lot of experiences and practice.

I try making something special out of each dance by concentrating on who I am dancing with, how I can interpret the music I am dancing to, am I feeling the music? what is my connection like.. is there something I could be doing to improve this dance .. so the next time I dance with that person, it can be better.

I think I have only ever had 2 REALLY SPECIAL dances in the last few months where I have just gone ... that was just so unbelievably amazing, or where I have not perhaps been feeling my happiest and I have danced to one of my favourite tracks with someone I always dance well with and it has just been a smooth stylish and well executed dance.

I think for me there is nothing quite like the feeling of when someone does a really tricky move and you land if perfectly not really knowing how (Im a dead giveaway when I do this because you usually cant wipe the grin off my face!):D