MINNESOTA DANCER an Official Publication of USA Dance Minnesota Chapter #2011 - July 2014

MINNESOTA DANCER An official publication of USA Dance Minnesota Chapter #2011 - July 2014

Bye-Bye Bonnie! Instructor Bonnie Inveen and Pete Langworthy at Dancers Studio Showcase

______

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2 MD / July 2014 www.usadance-minnesota.org ______

Play hard! Join USA Dance!

Join the FUN at USA Dance Minnesota Chapter #2011 today for $25! Get benefits valued at $333!

 Project Dance: Members, 48 Sunday afternoon free beginning group lessons: Value $240

 Reduced cost of admission to all 12 USA Dance monthly dances: Value $36

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 If you join at a USA Dance Monthly Dance, free admission to that dance: Value $10

 No chapter dues

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Visit: www.usadance-minnesota.org or [email protected]

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Join us for USA Dance Minnesota’s DANCER’S NIGHT OUT UPCOMING DANCES Want to dance? Dancer's Night Out lists social dance events in Minnesota. Want to see your JOIN dance listed here? Email the details to [email protected]. USA DANCE MINNESOTA AT OUR DANCE AND GET IN FREE! www.usadance-minnesota.org Weds 7/2 Cinema Ballroom Practice Par- Thu 7/10 Twin Cities Open Ballroom ty, 8–9, 1560 St Clair Ave, St Paul, Championships, Hyatt Regency Mpls, www.cinemaballroom.com www.twincitiesopen.com

Dancers Studio WCS Party 9-10, 415 Dancers Studio Dance Party 8–9, 415 Pascal St N, St Paul, 651-641-0777, Pascal St N, St Paul, 651-641-0777, JULY www.dancersstudio.com www.dancersstudio.com Saturday, July 19 Thurs 7/3 Dancers Studio Dance Party 8– Social Dance Studio Late Night Swing 7–8 pm lesson 9, 415 Pascal St N, St Paul, 651-641- 10pm-2am, 3742 23rd Ave S, Mpls, Instructor: Paul Botes 0777, www.dancersstudio.com www.socialdancestudio.com 8–11 pm Variety dance music Social Dance Studio Late Night Swing Fri 7/11 Twin Cities Open Ballroom $7 USA Dance members 10pm-2am, 3742-23rd Ave S, Mpls, Championships, Hyatt Regency Mpls, $10 non-members www.socialdancestudio.com www.twincitiesopen.com

American Classic Ballroom Fri 7/4 DanceLife Ballroom Dance Party, 7 DanceLife Ballroom Dance Party, 7–9:30, 550 Market Street, Chanhassen, MN –9:30, 6015 Lyndale S, Mpls, 612-345- 6015 Lyndale S, Mpls, 612-345-4219,

4219, www.dancelifeballroom.com www.dancelifeballroom.com

Cinema Ballroom Variety Dance, 7–11, Sat 7/12 Twin Cities Open Ballroom 1560 St Clair Ave, St Paul, 651-699- Championships, Hyatt Regency Mpls, AUGUST 5910, www.cinemaballroom.com www.twincitiesopen.com Saturday, August 16 Sun 7/6 USA Dance Minnesota Beginner Café Bailar Dance Party, 7:30-11:30, 7–8 pm lesson Waltz Lesson; 2:00 PM; Free! Danc- Balance Pointe Studio, 5808 W 36th Instructor: Gene Bersten ers Studio, 415 Pascal N, St Paul, St, St. Louis Pk, www.cafebailar.com 8–11 pm Variety dance music www.usadance-minnesota.org

Social Dance Studio Club Swing, 7- $7 USA Dance members First Sunday Dance at Tapestry, 6–9:30, $10 non-members 11, 3742 23rd Ave S, Mpls, $7–$10, Argentine Tango lesson, Eliecer www.socialdancestudio.com Dance With Us America Ballroom Ramirez, 3748 Minnehaha Ave S, Mpls, 10 Southdale Center, Edina, MN www.tapestryfolkdance.org Sun 7/13 USA Dance Minnesota Beginner Waltz Lesson; 2:00 PM; Free! Dancers TC Rebels Swing Dance at Social Dance Studio, 415 Pascal N, St Paul, Studio 7–10:30, 3742 23rd Ave S, www.usadance-minnesota.org Mpls, www.socialdancestudio.com SEPTEMBER Mon 7/14 Social Dance Studio West Coast Saturday, September 20 Mon 7/7 Social Dance Studio West Coast Swing Social, 9:30–11, 3742 23rd Ave S, Swing Social, 9:30–11, 3742 23rd Ave Mpls, www.socialdancestudio.com 7–8 pm lesson S, Minneapolis, 612-353-4445, Instructor: Jeff Nehrbass www.socialdancestudio.com Wed 7/16 Cinema Ballroom Practice Party, 8–11 pm Variety dance music 8–9, 1560 St Clair Ave, St Paul, 651-699- Wed 7/9 Cinema Ballroom Practice Par- $7 USA Dance members ty, 8–9, 1560 St Clair Ave, St Paul, 651- 5910, www.cinemaballroom.com $10 non-members 699-5910, www.cinemaballroom.com Thu 7/17 Dancers Studio Dance Party 8–9, Balance Pointe Studios Dancers Studio WCS Party 9-10, 415 415 Pascal St N, St Paul, 651-641-0777, 5808 W 36th St, St. Louis Pk, MN Pascal St N, St Paul, 651-641-0777, www.dancersstudio.com www.dancersstudio.com

4 MD / July 2014 www.usadance-minnesota.org ______Social Dance Studio Late Night Swing Cinema Ballroom Salsa Fusion, 7–11, USA Dance 10pm-2am, 3742 23rd Ave S, Mpls, Cinema Ballroom, 651-699-5910, www.socialdancestudio.com www.cinemaballroom.com Who Are We?

We are a nonprofit organization formed to promote Fri 7/18 Cinema Ballroom Variety Dance, Mill City Ballroom Dance Party, 9-10, ballroom dancing, both as an art and a healthful 7–11, 1560 St Clair Ave, St Paul, 651- 2382 Hampden Ave, St Paul, MN, sport. The Minnesota chapter, USA Dance Minne- 699-5910, www.cinemaballroom.com www.millcityballroom.com sota Chapter 2011, was formed in 1991. Membership in USA Dance is open to dancers of DanceLife Ballroom Dance Party, 7– Sat 7/26 Café Bailar Dance Party, 7:30- all levels. There are several categories: Social, 9:30, 6015 Lyndale Ave S, Mpls, 11:30, Costa Rica Ballroom , 816 Main Competitor, Junior (17 and under), Collegiate, and Associate (professional/instructor). www.dancelifeballroom.com St, Hopkins, cafebailar.com USA Dance Minnesota Chapter #2011 sponsors Mill City Ballroom Dance Party, 9-10, Sun 7/27 USA Dance Minnesota Beginner monthly dances and other special dance events. Members receive discounts on admission to month- 2382 Hampden Ave, St Paul, MN, Waltz Lesson; 2:00 PM; Free! Dancers ly dances, as well as other benefits including access www.millcityballroom.com Studio, 415 Pascal N, St Paul, to a great network for meeting other dancers. www.usadance-minnesota.org Social Dance Studio Club Salsero, 7- For more information, call the USA Dance Minne- sota Chapter 2011 HOTLINE: 651-483-5467. 11, 3721-23rd Ave S, Mpls, Mon 7/28 Social Dance Studio WCS Social, www.socialdancestudio.com 9:30–11, 3742 23rd Ave S, Mpls, The Minnesota Dancer is published monthly by the www.socialdancestudio.com USA Dance Minnesota Chapter #2011, providing information and news about ballroom dancing. Sat 7/19 Monthly USA Dance Minnesota, Wed 7/30 Cinema Ballroom Practice Party, 7–11; $7–$10; Lesson: Paul Botes; Editors/Layout: Bonnie Burton, Leland Whitney American Classic Ballroom, 550 8–9, 1560 St Clair Ave, St Paul, 651-699- Advertising/Editing: Bonnie Burton 952-454-4620 Market St, Chanhassen, 5910, www.cinemaballroom.com www.usadance-minnesota.org Mailing: Committee member Thu 7/31 Dancers Studio Dance Party 8–9, Sun 7/20 USA Dance Minnesota Beginner 415 Pascal St N, St Paul, 651-641-0777, Contributors: Paul Botes, Kate Bratt, Bonnie Bur- www.dancersstudio.com ton, Elizabeth Dickinson, Donna Edelstein, Marty Waltz Lesson; 2:00 PM; Free! Danc- Faeh, Karen Maldonado, Jack Munday, Deborah J. ers Studio, 415 Pascal N, St Paul, Nelson, Monika Volkmar, Leland Whitney www.usadance-minnesota.org Social Dance Studio Late Night Swing 10pm-2am, 3742 23rd Ave S, Mpls, Contributions: Articles submitted may be edited TC Rebels Swing Dance, Social Dance www.socialdancestudio.com for length, clarity, and content. Photos should be high-resolution jpg, png, or pdf files. Email sub- Studio, 7–10:30, 3742-23rd Ave S, missions to: [email protected]. Mpls, www.socialdancestudio.com Subscriptions: $22/year. Make checks payable to Inside the Dancer USA Dance Minnesota #2011; send to Jane Phipps, Mon 7/21 Social Dance Studio WCS So- 9650 Waterstone Pl., #402, Minnetonka, MN cial, 9:30–11, 3742 23rd Ave S, Mpls, Dancer’s Night Out …………………… 4 55305 www.socialdancestudio.com President’s Corner…………………….. 6 Leland Whitney, President, 651-690-9367 Board Meeting Minutes..……………….. 6 [email protected] Wed 7/23 Cinema Ballroom Practice Kate Bratt’s Column….………...……... 8 Party, 8–9, 1560 St Clair Ave, St Paul, Bonnie Burton, Vice-President, 952-454-4620 The Dancing Life………………………. 11 [email protected] www.cinemaballroom.com Good Costume Design Gone Bad ...... 12 Jane Phipps, Treasurer, 612-859-5245 Thu 7/24 Dancers Studio Dance Party 8- [email protected] 27th Wisconsin State DanceSport ..…….. 14 9, 415 Pascal St N, St Paul, 651-641- Quickstep at Project Dance…...……….. 16 Leslie Whitney, Secretary, 651-690-9367 0777, www.dancersstudio.com [email protected] Ask Dr. Dance…………………………. 17

Social Dance Studio Late Night Swing Dance Compensation Patterns…………. 18 USA DANCE MINNESOTA 10pm-2am, 3742 23rd Ave S, Mpls, June Showcase Review……………….. 20 HOTLINE www.socialdancestudio.com Gentlemen Lead……………………….. 22 651-483-5467 Dance Partner Wanted Ads…………….. 23 Fri 7/25 DanceLife Ballroom Dance Party, www.usadance-minnesota.org 7–9:30, $10, 6015 Lyndale Ave S, Mpls, Competition Calendar………………….. 24 www.dancelifeballroom.com Dance Contacts………………………… 25 Call for information on dance events. Leave a message for membership infor-

5 MD / July 2014 www.usadance-minnesota.org ______PRESIDENT’S CORNER By Leland Whitney, President, USA Dance Minnesota Chapter #2011

New USA Dance members and reten- the availability of social dance opportu- tion of current members are critical to nities through the efforts of community our mission. based Chapters.

A $25 annual membership is valued at USA Dance is not a social dance club $333 (see page 3 of this newsletter). but rather is a broad based National But there’s much more! Organization serving as a catalyst to establish a great variety of dance relat- USA Dance members are GIVERS not ed programs and encourage more peo- TAKERS! They give in the form of ple to become involved and enjoy the sharing with others the joys and bene- At the time of this publication, Leland many benefits of dancing - - fun, fitness fits of ballroom dancing. They are dedi- and Leslie Whitney will driving home and social interaction. You will make cated to the promotion of ballroom from competing at the 2014 Gumbo many great friends while dancing and dancing and in providing a legacy to DanceSport Championship in Baton also have the time of your life. So don’t the youth of the country. While sup- Rouge, LA wait another moment! Join us now! █ porting DanceSport (competitive dancing), USA Dance also works to increase

4. General Election Committee Ap- 10. Budgets: Status, discussion and ac- USA Dance-MN Chapter pointments tions #2011 Board Minutes -The board is in the process of recruiting -Tabled until the May meeting. members for this committee. Tuesday, April 8th, 2014 11. By-Laws and Policies 5. Monthly Dances Submitted by Leslie Whitney -Tabled until May meeting. -The monthly dance in April is at the Ameri- In attendance: Lee Whitney (President), can Classic Ballroom. Bonnie Burton (Vice-President), Leslie 12. Coordinator Updates

Whitney (Secretary), Zhuojing Liu, -Tabled until the May meeting. Marty Faeh, Dan Fitzgerald, Gary 6. Project Dance-May

Stroick, Greg Warner - Kate Bratt will handle the group without the presence of a board member due to the Next Meeting: scheduled Tea Dance. Location: Dancelife Ballroom Studio, Tuesday, June 10th, 2014 6015 Lyndale Ave S. Mpls., MN, 55419 DanceLife Ballroom 7. Tea Dance Call to Order -The sound system will be handled by Lee 6015 Lyndale Avenue South, Mpls., MN Winterwold. 55419 █ 1. Agenda

-The agenda was approved with the tabling of #3 Treasurer's report and #10, Budgets. 8. 2015 Star of the North Committee

-This committee has met, with the next scheduled meeting for April 30th. 2. March 2014 Minutes -There will be a more detailed report at the -The minutes were approved. May board meeting.

3. Treasurer's Report 9. Spending limit approval and signature -Jane was absent and will give a financial requirements report for April at the May meeting. -Tabled until the May meeting.

6 MD / July 2014 www.usadance-minnesota.org ______GUEST COLUMN: 6-MONTH DANCE BOARD RECAP By Bonnie Burton, Vice-President, USA Dance Minnesota Chapter #2011

The USA Dance Minnesota Chapter appointing a new website administrator. Nadine Messenger; Cinema Ballroom. #2011 board of directors works hard to The new site is easy to navigate; in- March–Waltz; Paul Botes; American make dance fun, affordable, and availa- cludes .PDF versions of Minnesota Classic Ballroom. April–Cha-cha; ble in the Twin Cities. We’re a non- Dancer for download or review; and has Eliecer Ramirez; Costa Rica Ballroom; profit group, and we rely completely on an easy-to-use calendar of major dance May–Tango; Kate Bratt; Mill City Ball- volunteer talent. We have a new dedi- events. Please check us out at room; June–Quickstep; Shinya McHen- cated volunteer base, with active board www.usadance-minnesota.org ! ry; DanceLife Ballroom. participation and support. There has been less emphasis on the politics and Monthly Dances. USA Dance Minneso- The board will continue to offer these more emphasis on supporting the mis- ta continues to sponsor and host a month- free dance lessons throughout the year, sion of USA Dance, which is to im- ly dance on the third Saturday of the however they’re considering a change to prove and increase the quality and month. The dances are held at a different where the lessons would be free only to quantity of ballroom dance. studios each month, and are well attend- current USA dance members. Non- ed, averaging 80-90 dancers. (Our high members would be charged a nominal fee Here is a midyear review of 2014 USA attendance dance this year was February of $5, which is still a great price. Cur- Dance Minnesota accomplishments. with 118 dancers at American Classic rently, we welcome voluntary contribu- Ballroom.) There is always a free lesson tions on a donation basis. All proceeds go Newsletter. Minnesota Dancer Maga- before the dance, and chapter members to support Project Dance. zine made its debut in January 2014. get a discounted admission price. Although it has characteristics of the Membership – We cannot have a suc- old Dancing Times, it’s new and im- Special events: Tea Dance. USA Dance cessful dance club without the support of proved; averages 28-32 pages each Minnesota sponsored and hosted over you, the dancer! We’re thrilled to report month, has glossy color covers and the 100 guests at a fun and successful brunch that we've increased our membership full support of our advertisers. Minne- and dance event at the classic Lafayette base by a whopping 50% between Janu- sota Dancer has a new editorial and Club in Wayzata. ary and June of this year. Several new layout staff that includes elected board members join at each dance and there members. Lastly, we now mail the Special Events: Sunday Project Dance. appears to be renewed interest in partici- newsletter to all current USA Dance The chapter continues to sponsor free pating in USA Dance Minnesota. Minnesota members, as a benefit of dance lessons every Sunday afternoon! local club membership. Project Dance is held at a different stu- If you have comments, questions, or ideas dio, with a different professional instruc- for dance events or activities, or would Website. USA Dance Minnesota also tor, teaching a different dance each like to volunteer, please let us know at has a new website. The board decided month. Here's what we’ve had thus far: [email protected] or contact to make substantial website changes at January–Jive; Gene Bersten; at Dance any board member. We look forward to the beginning of the year, including With Us America. February–Rumba; hearing from you! █

7 MD / July 2014 www.usadance-minnesota.org ______A LITTLE EXPLANATION OF JUDGES’ MARKS:CHARACTERISTICS OF THE DANCE By Kate Bratt

I'm sure you're all familiar with this:

Kate Bratt is co-owner of Mill City Ball- room in the Twin Cities, a professional ballroom dancer and instructor, and writer at www.riotandfrolic.typepad.com .

Let's say you've conquered the correct to quarterfinals and semifinals, I want timing, posture, and footwork for a to see some extras: dance. Physical Characteristics WHAT ELSE COULD THERE POSSI- BLY BE?! body flight in the swing dances (God, no, not like West Coast and Lindy; Well, if you ever want to be more than WALTZ, FOXTROT, AND an average dancer (definition: an ade- VIENNESE... because they have quate social dancer; more talented than swing... and sway) a beginner, but less talented than some one who wins), there are many, many no body flight in Tango things. Latin motion in Rumba Characteristics of the Dance

If you're in a huge heat of dancers, the hip swing in (wait for it) Swing first three areas of critique are MUY IMPORTANTE. They are nec- blah blah blah [read: I'm not your essary. But once you're getting down teacher {maybe?!}; get thee some learnin']

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Performance Characteristics

romantic looks/gestures in Rumba, and Bolero

sass in Foxtrot

unadulterated joy in Viennese blah blah blah [see previous]

NOTE: these characteristics have to enhance your already established correct timing, posture, and footwork.

Please do not work the pyramid top to bottom.

Pretty please? █

The June monthly USA Dance was held at Mill City Ballroom and it was Hot! Hot! Hot!

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Donations are welcomed to support Project Dance.

10 MD / July 2014 www.usadance-minnesota.org ______THE DANCING LIFE WHEN DANCE LOOKS LIKE MAGIC

By Elizabeth Dickinson

It’s been said that any sufficiently ad- I was quickly disabused of that notion, vanced technology (think Star Trek), when I got steeped in the dance learn- can look like magic to a less-technically ing curve. What once seemed so sim- evolved species. ple turned out to have layers and layers of technique embedded in it. I’ve had a similar experience in dance many times. Watching the pros grace- A Twin Cities dance teacher once said fully execute some gravity-defying, that learning to dance was a journey. balance-defying, flexibility-defying move can fill me with a kind of wonder. Seems like the only “destination” is when you’ve decided you don’t want Some kind of supernatural force must to learn any more. Elizabeth Dickinson is a life/ be at work. How the heck do they do those moves? And there’s always something further executive coach and amateur ball- to master, if you continue the journey. room dancer. If you enjoy her Early on, I could imagine myself doing writing and would like to receive some of it. They make it look so Kind of like life. her weekly emailed coaching news- easy. How hard could it be? To dance mastery and dance magic. █ letter, please send an email to: [email protected].

11 MD / July 2014 www.usadance-minnesota.org ______HOW TO MAKE A PERFECTLY GOOD DANCE COSTUME DESIGN GO BAD! © Deborah J. Nelson/Satin Stitches Ltd.

As the saying goes, “Once a fashion de- opening, make it more vertical, as ver- signer, always a fashion designer.” But it tical design lines are ALWAYS more can sometimes be a hazard, as I am al- flattering than non-vertical. I’ll admit ways scrutinizing people’s outfits and that I am not proud of my upper arms, costumes. My eye is always critiquing and I would always make an attempt to what I see. And that includes the good minimize calling attention to them. and the bad. This dancer’s costume would be much more flattering with less emphasis on I was recently scouring a dance studio’s the upper arms. The overall design Facebook page, looking for photos of a looks great on the dancer. dancer wearing her Satin Stitches’ costume, which I eventually found. But Photo #2 shows a great design, with along the way, I viewed hundreds of unfortunate fabric choices. Generally Deborah J. Nelson is the founder, ‘action’ and posed photographs of the prints are risky. This red and black on studio’s recent invitational. I saw MANY white print is workable, but the sheer president, and head designer of beautiful dancers and their fabulous cos- fabric used on the neckline and bodice Satin Stitches Ltd. See more costumes. But I also saw a few costumes shows a different color (more pinkish) tuming tips at: that were unfortunate. than the red in the print and the red in www.satinstitches.com the skirt godets. This makes it distract- With a designer’s eye, I cringed at what I ing. Sheer red over white will always saw, and not because the costumes were ‘read’ as pink. Obviously the skirt red really bad, but because with just minimal was not over white, but just over red. I changes, they would have been truly think the dress could have been more beautiful. They weren’t bad because of elegant if it were a solid color, or with a bad workmanship either, but because of a monochromatic color combination, misfortunate decision on a minute detail such as red with pink, or light blue with or two, of the design or fit of the cos- medium blue. So on this costume, it tume. was a lovely design, was flattering and fit well, but just not the best choice of I have cropped the photos so that hope- fabrics. fully, no one will be able to connect these costume examples with the ball- Photo #3 shows a really well construct- room dancers. I don’t wish to humiliate ed men’s shirt. The rhinestone detail is or disparage any dancer, but I’m just exquisite. What is my beef about this? trying to educate and be able to point out This gentleman has a really white chest. some design and fitting tips to help eve- A better look for him and this shirt, ryone in their future costume design se- would have been a minimal spray tan to lection. And if any of you do recognize bring his chest’s color up to his face the dancers, please don’t harass them. tone, or perhaps choice a color for the shirt to not mimic his chest color, as it Photo #1 shows a lovely costume, with was just too much white. Another op- just a minor flaw: the cut-out portion of tion, would be to limit the opening and the upper arms accentuates the largeness create more of a narrow, deep front of the dancer’s upper arms, rather than opening, rather than the wide and deep flattering them. chest exposure. Color and cut could The fix? Instead of scooping out the have vastly improved this costume.

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Photo #4 shows a really nicely designed defy the laws of physics, but if a sheer tractive for anyone. It is too low. and constructed costume, but the design panel could have been employed, it details did not accentuate the dancer to would have helped the opening to keep a How would I improve this design? I her best advantage. When a dancer is not tighter fit and thus, keeping the collar would change the position of the waist, tall and lithe, horizontal details are not from stretching out to show a ‘V’-shaped probably change the color of the skirt the best choice. The wide belt effect opening instead of an ‘O’-shaped open- to black, and perhaps line the bodice, across her stomach area should have been ing. This would have been a much more below the cleavage area, for a classier avoided. An accent at her hip, at one side, flattering detail. and more flattering look. could have been a beautiful focal point to As I mentioned, out of hundreds of draw the eye down from the neckline Photo #5 shows a beautiful rhinestone dance costume designs, I picked out detail, to the side hip and then down to pattern on a sheer black mesh bodice. these five photos to illustrate some the hemline. The rhinestone open collar I’m not sure if the dancer is pregnant (I common areas in costumes that could with peak-a-boo bra is a very current suspect she is) or not, but the waistline be avoided with minimal design or fit trend and could have worked for this position is most unfortunate. I think it is changes. Anyone is welcome to email dancer, if it created a diagonal line, rather great that pregnant woman keep active, your sketches to me, to evaluate the than a horizontal line. This is probably but seeing this woman’s belly, cupped ‘flattering-ness’ of potential designs more of a fitting issue. Imagine the collar beneath it with the skirt waistline is just that you are considering. Let’s make exposing less of the bra, creating less of not attractive. I don’t think that the posi- the world a prettier and more flattering an opening, and then going to a more ‘V” tion of the waistline of the satin skirt and place for all! █ shaped point on her midriff. This would sheer mesh bodice would have been at-

Photo #1 Photo #2

Photo #3 Photo #4 Photo #5

13 MD / July 2014 www.usadance-minnesota.org ______27TH ANNUAL WISCONSIN STATE DANCESPORT CHAMPIONSHIPS By Marty Faeh

I can’t believe it is April already and I I arrived at the world class Pfister Ho- am packing up, hoping not to forget tel. My first time staying here and it is anything, as I prepare for a road trip to so beautiful. I parked my car, and compete in Milwaukee, Wisconsin. walked into an absolutely wonderful I’ve practiced 5-10 hours a week, had suite. I just laid on the bed for 10 a lesson or two a week, had coachings, minutes, so comfortable, feeling the participated in group technique class, excitement build, hearing the dance purchased outfits. Yes, I’m as ready as chatter in the hallway. To heck with I will ever be. unpacking, I headed straight for the dance floor, to be a part of it, hear the After recovering from a stress fracture music, see many friends, and start the last October, I called up Kate Bratt and process of preparing for my American discussed dancing competition Ameri- smooth debut with Kate at 8am the can smooth and rhythm once I was next morning. Bronze dancers get to back up and running. Our rhythm was dance first each day, which is perfect in competition form already so we put for me as I am usually at work by 7am; our energy primarily into smooth; it’s I am at my peak, warmed up and ready a process of learning partnership, to go. I think it is tougher for the pro- movement, patterns, leads, and a zil- fessional instructors who are used to lion other things. And now there was working afternoons and evenings, but no more prep time, no more lessons, Kate is always raring to go with her no more practice in front of the mirror. addictive smile. It was show time, something competition dancers live for. Haircut, tanning Finally, I drag myself away to unpack booth, all the competition outfits, so- my things, meet up with the Mill City cial outfits, practice outfits, beverages, Ballroom Crew for some chow, bever- dance shoes, snacks, shoe laces, super ages, a few laughs, and then a few glue, oh, and gas in the car. Yes, time quick rounds to give my pro-partner to go. Please, please, don’t let me for- some peace of mind! Probably the get anything. toughest thing to do is relax the night before and get a good night’s rest. I This is my third trip to this competi- usually survive on 4-5 hours a night. tion and my second actually competing Anything less and I will pay dearly, so here. Kate and Gordon have prepared I plan things in the evening to slowly me well. I don’t get nervous like I used wind down; no caffeine, and so forth, to. I take advantage of the four-hour to ensure I get at least 4 hours of good drive to chill, clear my mind, focus on sleep. Sometimes it works, sometimes what’s to come. I drive chunks of not. This time however, my King size miles at a time, going through my bed was so darn comfortable I could dance routines over and over, and be- have slept for a week. Awesome! fore I know it, a hundred miles have gone by and I don’t even remember It’s 5am, I’m wide awake and hop out them, except for the when the phone of bed. It’s always cold in the ball- buzzes, Garmin squawks, or yes, the room, so I put on warm practice radar detector starts screaming at me. clothes and head out to practice a few I love the road trips! rounds, meet Kate for breakfast, and 14 MD / July 2014 www.usadance-minnesota.org ______

am ready to go first thing. As I was but I did it, we regrouped and started I could go on and on, for I love to practicing my waltz box step, Dan over on fire and maintained a strong dance and I love to compete. I hoped Messenger walked by and said, “Nice finish. to paint a glimpse of what it is like to rumba”. It took me a second, then we step onto a competition dance floor both laughed and laughed. What a That hiccup taught me so much as a and give it all you’ve got. It was a goofball, but that’s the vibe of this dancer about how to cope with the very successful and rewarding event competition. Fun, high energy, profes- stress that comes with making such a and I look forward to the next one. sional, first class, stress free, just fabu- decision live on the floor while every- lous for the students of dance here. I one else is flying by you. I wanted to What’s next? Why the Twin Cities was warming up as other students share a bit of what it’s like on the com- Open in July of course! Good Day! █ came around, looking at each other, petition floor. Things happen, we will wondering who the competition is. never dance perfectly, we will forget These days I just focus on my dance, things, I will challenge my pro by add- just like it is another lesson with Kate, ing a step we have never even practiced I don’t really see others around me. I before. Unpredictable things happen, focus on what I need to do, all those the key is to maintain your composure things my instructor has taught me: and have fun. smile, look at the audience, manage Kate and I had a great competition, all the floor traffic, engage the judges, our hard work paid off! We won both don’t forget you have a partner, don’t the Men’s C Bronze Smooth and fall down and don’t stop, no matter Rhythm Championships and placed 5th what. Well, I did break that rule danc- of 16 in the Smooth Scholarship finals. ing one of my cha-cha’s. I lost my It was exciting to be the only male stu- timing and stopped cold and rebooted, dent to make it to the finals in our which felt like an eternity, and started group. over. It’s not something you plan for,

Photos by Ed Soltis and Marty Faeh

Marty Faeh competed at the Wisconsin State DanceSport Championships with his professional partner Kate Bratt.

15 MD / July 2014 www.usadance-minnesota.org ______BEGINNER QUICKSTEP A SUCCESS AT PROJECT DANCE! By Karen Maldonado, USA Dance Minnesota Board Member

Quickstep is normally not a dance I had many people come up and thank taught for beginners in a large group me for adding quickstep to the Project setting. After all, quickstep is regarded Dance list. A few of these people had as a more difficult dance, and one that is done quickstep before, but only a little not danced socially very much. Yet, bit and therefore did not feel confident everyone needs to start somewhere dancing it. Many others had danced when it comes to a new dance, difficult before, but stayed away from quickstep or no. because it seemed intimidating. Either way, Shinya did a fantastic job with the Last month in June, Project Dance (the classes, getting everyone to move free Sunday dance classes) had its very around the dance floor. first rotation which taught quickstep, led by Shinya McHenry. The result? A large thank you to Shinya and every- Around 40 dancers were introduced to a one who attended the classes! I hope new style of dancing! to see a lot more quickstep dancers at the next variety dance! █

June Project Dance Photos by Bonnie Burton

16 MD / July 2014 www.usadance-minnesota.org ______

ASK DR. DANCE Submit your questions to Dr. Dance at [email protected].

It seems like it would be pretty easy to string together a bunch of patterns to create a ballroom dance routine. What makes ‘good’ choreography? How is good choreography different for competition Q: dancing, showcases, and social dancing? Donna says: Paul says: In terms of choreography for showcases In my opinion, choreography is used You could think of a dance step or pat- versus competition, remember that in a for competition and performances. tern as a vacuum cleaner hose. It has many attachments, but some of them showcase you have a captive audience. Social dancing should be an expression work better in certain situations than oth- Everybody's eyes are on you. This means of what you feel in the moment, so ers. First and foremost, a good choreog- that intricate steps or tricks that might choreography would be the antithesis rapher knows that for any given step, get lost on a big floor amongst five or of social dancing. some steps work better than others to more other couples are seen and appreci- precede or follow it. This not only has to ated. Competition choreography has to Good choreography showcases the do with proper technique and alignment, make an impact on not only the audi- attributes of the couple, exemplifies the but also the structure of that particular ence, but the judges as well. This means character of the dance, and is interest- dance. that more movement and greater dynam- ing enough to capture the viewers’ ics are required to stand out among your attention. If I gave you a puzzle to build with all competitors. Good choreography that is the edges and corners removed, took the personalized for you should maximize In a showcase or performance there is picture away and told you to proceed, the your strengths and disguise your weak- more flexibility in the level of subtlety task would seem insurmountable. No nesses, while at the same time showing you can portray because you are the place to start, the pieces might fit but the each required component of the dance only couple on the floor and all eyes colors are wrong, or the colors are right (swing, frame, connection, quality of are on you. but the pieces don't fit. You get the pic- movement, musicality, character, etc.) at ture! This is what it would be like to just each moment. In a competitive environment your chore- throw steps together. Good choreography ography needs to move around the floor, has a clear picture. You see it and it In terms of social dancing, it should al- catch the eye, turn so judges can see your makes sense. It is visually appealing and ways be lead and follow and easy number, and show up well against other it draws the observer in. enough that the follower doesn't get lost. competitors. After all, you want to have fun and be Secondly, each dance has a different able to dance, regardless of whether or Ultimately good choreography is artistic, character and storyline. A good choreog- not the other person knows your routine. memorable, tells a story, and helps the rapher keeps in mind the character of the couple look natural in their movements. dance, as well as each couple's ability Even though it is possible to throw a level and personality. This is why some- routine together yourself, you will not be one else's choreography might not work as happy with the results as if you have as well for you as it does for them. It is professional help. It is the difference not a 'one size fits all' endeavor. Keep in between something that 'works', and mind that choreography is an art, not just something that is art. █ throwing steps together. Ultimately, if you do not connect emotionally with the audience, you miss the point.

Donna Edelstein is a coach, Paul Botes is a dance in- judge, and organizer of the structor, coach, choreogra- Snow Ball DanceSport pher, and judge. He is an Competition. owner of American Classic [email protected] Ballroom, located in 763-557-6006 Chanhassen, MN.

17 MD / July 2014 www.usadance-minnesota.org ______

TOP 5 DANCE COMPENSATION PATTERNS THAT CAUSE INJURIES By Monika Volkmar

Dancers rely primarily on kinesthetic I’ve heard of this referred to as being phragm to contract, and stay contracted, intelligence, and for us, this is having in a “limbic“, or “sympathetic” state. in an attempt to give you stability. The heightened body awareness. One of the diaphragm has fascial connections with most important things to be aware of to The purpose of this article is to tell you the psoas and the abdominal wall keep your body in business longer, is to about some common compensation pat- (making it very easy to compensate for know your compensation patterns. This terns many dancers use. There is power their functions). Because your dia- knowledge can help you perform better in knowing how YOU specifically tend phragm isn’t supposed to be used pri- technically and keep you injury free. to cheat to accomplish challenging marily like an ‘ab’, this can cause many dance moves. The secret weapon is that other muscles to function poorly, Dance requires you to compensate a lot. knowing your cheats allows you to re- though most commonly it’s the core To create the beautiful spirals and bal- verse them. muscles (abdominals, psoas, and ances, in awkward positions, with ex- glutes). treme ranges of motion, you need to But if your compensations are helping cheat. It’s impossible to do these ex- you dance, why try to reverse them? In dance, if something is hard, you’ll traordinary physical feats AND stay probably hold your breath to make it Knowing that dance requires compensa- perfectly aligned- neutral, symmetrical, easier. Breathing is always a good place tion patterns, it is better, safer, and more balanced. The illusion of perfect bal- to start if you’re unsure what your productive to perform these compensa- ance and grace demands the creation of cheats are. We all hold our breath and tions starting from a more neutral state muscle imbalances. often the diaphragm is KING of dance than from a positions riddled with mus- injuries. Even at the mental level, to accomplish cle imbalances and dysfunction. this, you have to go to a different place. 2. Forward head alignment This is stuff I wish I’d known years ago, A mental place that says, “Hey, this before the lower back, hip, neck, and position isn’t normal and kind of feels I am guilty of this right now. Sitting at a hamstring injuries that eventually forced bad, but it looks pretty cool so I’m gon- computer is the devil. In a dance set- me to slow down. na keep doing it!” I think this mindset is ting, dancers who lack core strength to stabilize their bodies will often com- the PRIMARY compensation pattern Reversing postural dysfunction and pensate by holding their head slightly leading to injury: The brain compensat- movement compensation patterns can be forward causing the muscles of the neck ing for every muscle, by overriding the as simple as adding a few specific exer- to tighten up and act as a ‘core’. Much concept of what is “best”. cises to your dance warm-up/cool- like the diaphragm is not an ab, the down, and embracing a balanced full- So while dancers pride themselves for neck muscles are not abs and should not body strength training program. having heightened kinesthetic intelli- be working harder and be getting more gence, perhaps the prize jewel of this 5 Common Compensation Patterns toned than your real abs. intelligence is getting into a mental state in which the body’s able to completely 1. Breath holding. I have assessed many dancers who can- ignore signals of pain and discomfort in not activate their abs without help from order to optimize performance. Holding your breath causes the dia- either the neck flexors or extensors.

18 MD / July 2014 www.usadance-minnesota.org ______

You can tell who these people are because their necks look JACKED. Forward head posture can also be indicative of glutes that do not activate properly; using the weight of the head as a counterbalance, rather than stabilizing with your glutes.

3. Excess lordosis and anterior pelvic tilt

Don’t have core and hip strength but need to lift your leg high- er? Don’t have glute strength but need to propel yourself forward? Arching your lower back will help you do those things (the illusion of, anyway). It will also help increase your chanc- es of back pain and hamstring injuries, so I don’t recommend lumbar extension and anterior pelvic tilt as a means to perform athletic movements. Getting stability from excess lower back extension is another sign that the abdominals, glutes, and other important muscles aren’t activating properly. It can also can cause and/or exacerbate compression in the hips, SI joint and spine.

4. Shoulder impingement

Dancers tend to use larger ranges of motion than they can truly control. When flexibility and control aren’t balanced, things can become easily smushed together. This can happen at almost any joint that has hypermobility, like the shoulder.

Think of dancers as overhead athletes: They lift people over head, and move hundreds of times per day through unloaded overhead positions, without motor control and strength. If you lift your arms up over your head without control, then bones, nerves, bursae, tendons, and so on, in the shoulder area might get smushed (impinged). Often dancers lack stability of the scapula to balance the mobility in their shoulder, and are capa- ble of lifting their arms completely overhead without even moving the scapula. Doing this arm lift over and over means little activation of the mid and lower traps. Then god forbid you have to do a push-up, or catch yourself from a fall.

5. Toe pointing

The pointed-foot aesthetic has a way of facilitating your calves like CRAZY. If you dance, you are a toe pointer for life. Eve- rything is easier with pointed feet. Even sitting. Embrace it.

These 5 patterns are not the only ways to compensate, but the ones that just oozes off my dance clients anymore. Cleaning up these common compensations will go a long way in im- proving your technique, strength and preventing injuries. █

Gently edited and reprinted with permission from Monika Volkmar, a Canadian dancer, personal trainer and founder of The Dance Training Project, http://danceproject.ca

19 MD / July 2014 www.usadance-minnesota.org ______JUNE SHOWCASE REVIEW By Bonnie Burton, Vice-President USA Dance Minnesota #2011

Their program was a mix of talented Cinema Ballroom has a balcony and students dancing in the first half of the they offered VIP status to those who show (perhaps only the highest paid an upcharge on their admission. achieving students were participants); The view from there is fantastic: swirl- while the performances after the inter- ing colorful skirts and graceful danc- mission included professional show ers, like a Busby Berkeley musical. dances by Russian champions. The VIP ticket holders are treated to deli- performances were exquisite, and cious appetizers, and beverages, in- included International Standard (or cluding beer and wine; and at 10 PM ballroom), jazz and lyrical perfor- two dozen Domino's pizzas arrived! mances, and of course, electrifying Latin performances. Cinema offered professional performances by Rising Star couples Dustin une was showcase month at the ball- The professional performers included Donelin and Kirsten McCloskey, and J room dance studios. Four studios owners Gene and Elena Bersten, Nadine Messenger and Jonathan Chen. held showcases; we attended three of brother Alan Bersten, (a finalist on the There were also dance-party related them (the fourth occurred after dead- television show ‘So You Think You games, and a mini-merengue lesson by line time). We saw a delicious variety Can Dance’), and studio instructors owner Eric Hudson, but the real em- of showcase performances! Vasilii Platonov and Irena Panfilova. phasis of the evening was the students, One of my favorite performances was who were dressed in full regalia and Ballroom dance studios generally hold ‘Passion Skirt’, a lyrical number dancing their hearts out. showcase events a few times each year. where five professionals danced to Showcases are not competitions, but haunting music, with a massive red The third and last showcase attended are a way for ballroom studios to satin swath of a material the size of a was at Dancers Studio, where the ‘showcase’ and present their students’ gigantic bed sheet! showcase theme was Disco Fever. accomplishments. Showcases often The decorations and staff costuming have a theme, and are basically a dance The Berstens and their performances are fit nicely with the theme. recital on a grander scale. Students can a local treasure we’re lucky to have in Dancers Studio showcase also served perform for family and friends; and the Twin Cities. The admission price hors d'oeuvres, which were included in perhaps practice their moves for up- was the most expensive showcase of the the very reasonably priced general coming competitions. Showcases are three that we toured, but well worth the admission ticket. There were not as also a revenue enhancing opportunity price. many students dancing in this show- for the studios, who may charge stu- Next up was the Cinema Ballroom case, however it was the only produc- dents $15-$20 per entry, in addition to showcase. The theme of their June tion that seemed to encourage inde- booking extra lessons to prepare for the showcase was a Luau, and the hosts and pendent instructors to participate with showcases. ballroom were decorated accordingly. their students. The first showcase we saw was pre- The happy and energetic atmosphere at Dancers Studio also had many amateur sented by Dance With Us America Cinema reminded me of a good old- couples participating and demonstrat- studios. Instead of holding it in their fashioned wedding dance. This is a big ing their considerable skills; including studio, as is the custom, in an impres- ballroom with lots of students; the event the current USA Dance Adult Champi- sive move, they rented the Music Box was crowded, rowdy, undignified, with on couple Nels Petersen and Theresa Theater in Minneapolis for their show- everyone having a heck of a good time! Kimler, who danced a full American case, ‘Behind The Mask’, This was Cinema anecdotally had 700 to 800 Smooth performance round, to the one of the most stylish and sophisticat- entries. With large numbers of partici- delight of the spectators. ed showcase presentations I’ve seen. pants, the showcase went until almost midnight.

20 MD / July 2014 www.usadance-minnesota.org ______

Another highlight of the evening was a Also, at this showcase, Dancers Studio jazzy professional group performance said goodbye to one of its finest long- to the disco classic ‘Boogie Fever’. term instructors, Bonnie Inveen; while simultaneously welcoming a new gener- In a clever marketing move, Dancers ation of ballroom instructors. █ Studio was also able to pair its showcase with the grand opening of the Met- ro Green Line light rail. The studio obtained local sponsor participation and they were scheduled to dance at the grand opening ceremonies.

To conclude, here’s how they compare: Dance With Us America’s showcase at the Music Box Theatre was the most stylish, sophisticated, and frankly, most professionally talented showcase of the three; Cinema Ballroom gets a prize for the largest event in terms of student participation, the longest-running event (5 hours), and the best food; and Danc- ers Studio shined at encouraging inde- pendent instructor participation, and Dancers whirl at Cinema Mini-dance lesson at Cinema Ballroom presenting talented amateur couples.

Leslie & Leland Whitney at Dancers Studio ‘Passion Skirt’ at Behind the Mask

Boogie Fever at Dancers Studio The final bow at Behind the Mask

21 MD / July 2014 www.usadance-minnesota.org ______GENTLEMEN LEAD By Jack Munday

I have written another novel, still look- dress and dance with it again. “Well I ing for a publisher. It is set in the will give it a try. Trust. We have to 1860s and tells the story of a young trust each other. Does that make us woman named Sara Haines, who more or less equal? The dance will be wants to be an artist. She knows Wins- interesting, at the least.” low Homer, who some say is the best American artist of all time. Here is a Actually, Helena’s cousin Matthew scene from the middle of the book, showed up before I even took my danc- John S. Munday is a writer who lives in where Sara is at a boarding school. ing dress to my room. Helena led us Isanti County, Minnesota, with his wife downstairs to a living room with a hard- Fran. Jack is a student of Monica Mohn. * * * wood floor that served as a dance floor. Matthew held out his right hand and I Jack’s book, Beauty in Partnership, A Earlier, Helena had said to meet her in Memoir of Ballroom Dancing, is available her room. When she came in, she had put my left hand on top of his. He led me to the center of the floor. He bowed, from Jack at www.johnsmunday.com and at a full gown in her arms. “This is for put his hand on my back, and then had several dance studios. you, Sara.” She waltzed with the me rest my hand on his right shoulder. dress, then put it on the bed. “Mother He closed his fingers on his other hand says that you should be going to the dances with us. It’s a great opportuni- around my other hand. I felt him lock ty to find out how people are doing. his shoulders down over his ribs, so my elbows stretched to define a line. I It’s like a social network, and you shook my head in disbelief at the com- might even hear some interesting gos- munication reaching from our joined sip.” hands through his arm, across his chest, “But I don’t know how to dance. My into my arm, across my shoulders, then father sees it as another path leading back to our hands again. I felt him lift straight to hell.” his left foot, guide our center forward for one step, then push to the side, then “My cousin Matthew is coming here rise up and bring our feet together like later today. He’ll show you what you where we started. He said this was the need to know. You do understand that basic pattern or box step of the waltz. I the gentleman leads and the lady fol- effortlessly mirrored his movement. lows?” When he stepped back, he bowed, saying “I believe you are a natural dancer.” “The gentleman. Always in charge.” * * * “No, not at all. He trusts you to follow and you trust him to lead. You go While the novel is mostly about art, and backward so he can see where the oth- Sara eventually is a model for one of er dancers are. It’s a partnership.” Homer’s famous paintings, I guess dance is a permanent part of my life. █ I thought she was going to pick up the

22 MD / July 2014 www.usadance-minnesota.org ______

DANCE PARTNER WANTED ADS Looking for a practice partner? Compose an ad letting potential partners know what you’re looking for and how to contact you. Submit ads of a maximum of three lines to [email protected]. Please include area code with any phone number.

►Vee Hammond 651-206-9890 vee. ►Jeff Ringer 320-266-4137 [email protected] [email protected] Follow, 5’ 2”, seeks practice partner for Lead/Follow, 5’10”, seeks male partner for same-sex dance bronze/some silver-level Latin and smooth competitions such as the Gay Games, April Follies, and performance. styles. Takes private lessons periodically. Semi-professional, has own studio, takes coaching regularly. Loves to perform. Possible lesson sharing, Will travel to Cities. showcases, or competitions.

►Justin Sundberg 612-964-1741 ►Yeun Chou 651-738-1506 [email protected] [email protected] Lead, 5’10”, 28, seeks practice partner for Lead, 5’7”, seeks practice partner for Standard and Latin, smooth, rhythm, and WCS. Open to all styles any level up to open gold, possible lessons or competition. 7 years’ and possible lessons or competition. 3 years’ experience. Will provide floor time at a studio. experience. Will provide floor time at a major studio.

23 MD / July 2014 www.usadance-minnesota.org ______COMPETITION CALENDAR

July 10–12, 2014 Nov 22–23, 2014 Twin Cities Open Ballroom Championships National Collegiate DanceSport Championships Hosted by Scott and Amy Anderson, Minneapolis, MN Hosted by USA Dance National, Columbus, OH

July 26, 2014 Jan 10–11, 2015 Mid–Summer Classic The Snow Ball DanceSport Competition Hosted by Southern Star FL USA Dance chapter #6038, Tampa, FL Hosted by Donna Edelstein, Minneapolis/St Paul, MN

Aug 1–3, 2014 Jan 18, 2015 (DATE NOT YET FINALIZED) Derby City DanceSport Championships – NQE Manhattan Amateur Classic (MAC) – NQE Sponsored by Greater Louisville USA Dance Chapter #2021 in Louis- USA Dance Chapter #3004 at Manhattan Center in Manhattan NY ville, KY. Qualifying event for 2015 Nationals. Jan 30–31, 2015 Sep 6, 2014 Southwest Regional DanceSport Championships –NQE Kansas City Dance Classic WDSF Open Standard & Latin Organized by Matt & Ellen Pansing in Overland Park, KS. This event Orange County CA USADance chapter #4018 in Culver CA will not accrue proficiency points and may not follow all rules in the rulebook. Jan 31, 2015 Winter Frolic Sep 20, 2014 Royal Palm USA Dance Chapter 6016 in Coconut Creek FL New England DanceSport Championships – NQE Hosted by MASSabda USA Dance Chapter #3002 in Waltham, MA. Feb 14–15, 2015 Mid–Atlantic Championships – NQE Sep 20, 2014 Hosted by Mid-Eastern USA Dance Chapter #6001, Bethesda, MD. Quest for the Best To be held in Lynwood, WA. Mar 27–29, 2015 2015 National DanceSport Championships Sep 20, 2014 To be held in Baltimore, MD. Rocky Mountain Chapter 2014 Fall Competition Hosted by Rocky Mountain CO USA Dance Chapter # 5006 in Denver.

Oct 3–5, 2014 Carolina Fall Classic – NQE WDSF Senior I Standard & Latin Organized by Wayne & Marie Crowder in Charlotte, NC

Oct 11–12, 2014 Northwest DanceSport Championships – NQE SUPPORT THE Hosted by Portland, OR USA Dance chapter #1006

Oct 31–Nov 2, 2014 MINNESOTA DANCER! Chicago DanceSport Challenge – NQE The MINNESOTA DANCER is created every month Hosted by Chicagoland USA Dance Chapter #2001, Chicago, IL. by the volunteer efforts of people across the Minnesota Nov 15, 2014 dance community. Help us continue to distribute this California State DanceSport Championships – NQE publication by advertising in the DANCER or by donat- Hosted by NorCal USA Dance Chapter #4004, San Jose, CA. ing to our printing fund. Contact Bonnie Burton at 952.454.4620 or [email protected] to learn more about advertising opportunities in the DANCER.

24 MD / July 2014 www.usadance-minnesota.org ______DANCE CONTACTS A collection of businesses and clubs of interest to Minnesota dancers. If you’d like to be listed on this page, send your contact

DANCE WITH US AMERICA USA DANCE, MINNESOTA STUDIOS 10 Southdale Center, Edina CLUBS CHAPTER 2011 612-564-5483 651-483-5467 AMERICAN CLASSIC BALLROOM www.dancewithusamerica.com AQUA GLIDERS DANCE CLUB www.usadance-minnesota.org 550 Market Street, Chanhassen 952-934-0900 612-869-3062 Instructors: www.acballroom.com Elena Bersten, Gene Bersten CAFÉ BAILAR

Instructors: www.cafebailar.com DANCELIFE BALLROOM SERVICES Natalie Palmer Botes, Paul Botes 6015 Lyndale Ave S, Minneapolis Whitney Irene, Benjamin D. Wagner COTILLION DANCE CLUB OF 612-345-4219, www.dancelifeballroom.com LYNNE’S DANCE NEWS STILLWATER www.organizeronduty.com ARTHUR MURRAY DANCE STUDIO P.O. Box 102, Stillwater, MN 55082 Instructors: Contact: Lynne Schulz 534 Selby Avenue, St. Paul 651-388-1231 Shinya McHenry, Laia Oliver [email protected] 651-227-3200 [email protected] Services: Weekly listing of dance events Contacts: DANCERS STUDIO BALANCE POINTE STUDIOS Scott and Maggie Paynter 415 Pascal Street N, Saint Paul MADE FOR MOVEMENT 5808 W 36th Street, St. Louis Park 651-641-0777 952-595-0003 952-922-8612 LADANZA DANCE CLUB www.dancersstudio.com www.made4movement.com www.balancepointestudios.com Stillwater, MN 651-439-3152 Contact: Marsha Wiest Hines Instructors: Instructors: Facebook.com/LaDanzaDanceClub Services: Costume design, production, Jeff Halverson, Cindy Nehrbass, Jeff Nehrbass Contacts: tailoring. Troy Lerum, Marcy McHenry Mark and Wanda Bierbrauer

BALLROOM & WEDDING DANCE OH SEW SPECIAL FOUR SEASONS DANCE STUDIO STUDIO LAKESIDE DANCE CLUB 7300 South France Avenue, Suite 1637 Hennepin Ave S, Minneapolis 1717 42nd St E, Minneapolis 320-763-6432 323, Edina 612-342-0902 [email protected] 952-746-5539 Instructor: www.fourseasonsdance.com www.lakesideballroom.org www.ohsewspecial.net Tom Larson Contacts: Contact: Susan Richardson Instructors: Barbara Benson Services: Tailoring, alterations, redesign Bruce Abas, Rebecca Abas BLUE MOON BALLROOM

2030 Hwy 14 E, Rochester LINDEN HILLS DANCING CLUB SATIN STICHES LTD. FRED ASTAIRE DANCE STUDIO 507-288-0556 Lake Harriet United Methodist 11894 Round Lake Blvd NW, 1975 Seneca Road, Suite #700, www.BlueMoonBallroom.com Church, Minneapolis Eagan, MN 55122 4901 Chowen Ave S, Minneapolis 763-323-9507 651-451-6300 CINEMA BALLROOM 612-285-7894 1-800-48SATIN www.FredAstaireMN.com 1560 St. Clair Ave, St. Paul www.lindenhillsdancingclub.org www.satinstiches.com

651-699-5910 Contact: Deborah J. Nelson MILL CITY BALLROOM www.cinemaballroom.com MN WEST COAST SWING DANCE Services: Custom-designed dancewear 2382 Hampden Ave, St. Paul 612-562-2733 CLUB www.millcityballroom.com Instructors: B-Dale Club, 2100 N Dale St.,

Jonathan Chen, Dustin Donelan, Instructors: Roseville Eric Hudson, Michelle Hudson, Kate Bratt, Gordon Bratt 651-487-6821 INSTRUCTORS Kirsten McCloskey, Nadine mnwestcoastswingdanceclub.com Messenger, Shane Meuwissen, NORTH STAR DANCE STUDIO Scott Anderson………...... 612-816-4446 Martin Pickering, Dipendra Thakur, Bloomington, MN REBELS SWING DANCE CLUB Wanda Bierbraurer.. …….. 651-439-3152 Douglas Wallock 612-799-4147 952-941-0906 Rachel Damiani ……...... 612-718-6823 www.tcrebels.com Facebook.com/northstar.dancestudio Nathan Daniels ……...... 763-545-8690 COSTA RICA BALLROOM DANCE Jennelle Donnay……...... 651-357-2060 STUDIOS Instructor: STARDUST DANCE CLUB Julie Delene…………...... 612-598-5355 816 Mainstreet, Hopkins Michael D. Bang Dine and Dance Donna Edelstein……...... 612-910-2690 952-303-3339 [email protected] Jennifer Foster………...... 952-922-8316 www.costaricaballroom.com RENDEZVOUS DANCE STUDIO Robert Foster…………..... 952-922-8316 711 W Lake Street, Suite B, SUBURBAN-WINTERSET DANCE Esther Granbois………..... 612-872-1562 Instructors: Minneapolis CLUB Lindsey Rebecca Hall...... 612-940-9546 Rachelika Baruch, Sayoni Haldar, 612-872-1562 Woman’s Club of Minneapolis, David Hanson………...... 218-722-0742 Tchad Herderson, Aiden Mamedov, www.theplacetodance.com 410 Oak Grove Street, Minneapolis Julie Jacobson………...... 651-261-6442 Eliecer Ramirez, Rebecca Rae 952-894-1412 Jay Larson……………..... 651-387-3886 Ramirez, Alex Spencer SOCIAL DANCE STUDIO www.suburbanwinterset.com Kristina Lee…………...... 715.821.9039 3742 23rd Ave S, Minneapolis Deanne Michael……...... 612-508-9255 612-353-4445 TANGO SOCIETY OF MINNESOTA Monica Mohn………...... 612-874-0747 DAHL DANCE CENTER www.socialdancestudio.com 612-224-2905 Mariusz Olszewski…...... 612-242-5159 4204 North Hwy 52, Rochester www.mntango.org Karin Rice……………..... 612-242-2188 507-252-1848 Instructors: Mary Rosenstiel……….... 612-720-2584 www.dahldance.com Joy Davina, Todd Paulus TAPESTRY FOLKDANCE CENTER Char Torkelson…………. 612-709-6399 3748 Minnehaha Ave, Minneapolis Lisa Vogel……………..... 651-208-0818 DANCE AND ENTERTAINMENT STUDIOJEFF 612-722-2914 James Wood…………...... 651-605-5743 651-605-5784 701 St. Germain St W, Suite 201, www.tapestryfolkdance.org [email protected] St. Cloud www.danceandentertainment.com 320-266-4137 www.studiojeff.com UNIVERSITY OF MINNESOTA Instructors: BALLROOM DANCE CLUB Tricia Wood Instructor: Jeffrey Ringer [email protected] Is.gd/umnbdc 25 MD / July 2014 www.usadance-minnesota.org ______

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27 MD / July 2014 www.usadance-minnesota.org ______MINNESOTA DANCER An official publication of USA Dance Minnesota Chapter #2011

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