This page contains information of general interest to line dancers.

* * *

WALTZ OR ROLLING 8--HOW TO TELL THE DIFFERENCE

This is a very thorough explanation of a "rolling rhythm," written by Norm Gifford. The name may be familiar because Norm has choreographed more than 130 dances over 20 years, including A Love Worth Waiting 4 and A Little Love Worth Waiting 4, Hello Jo, Sway Me Now, and A Country High. His dance Burlesque was nominated for a Crystal Boot Award. In addition to being a choreographer and instructor, Norm is a musician, and has a degree in music education. He has performed with several semi- professional symphony orchestras, has taught instrumental music privately, and has over 63 years of trained musical background. Here's Norm:

By definition, waltzes are written in ¾ time and are counted 1-2-3, 1-2-3 with one beat per quarter note. They come in two types: fast waltzes and slow waltzes. The term "Viennese waltz" is taken from the world of ballroom dancing and defines a style, NOT a tempo. Therefore, it is incorrect to label any line dance as a "Viennese waltz."

Music in 4/4 meter can include triplet rhythms, where 3 eighth notes occupy one beat. When written as four groups of triplets in a measure, this can sound like a waltz to the untrained ear. 

The same can be said for 12/8 meter where every group of 3 eighth notes receives an accent on the first eighth note and the phrasing of the music or lyrics is felt in patterns of four. That constitutes many cases of what has been termed "rolling rhythm." 

The line dance "Rolling Rhythm" choreographed by Michele Burton and danced to Girl Crush is a perfect example of the correct interpretation of the music style, and is correctly labeled.

To more easily identify a slow waltz, listen for the heavy beat on count 1 of the first measure and a lesser accented beat on count 1 of the second measure. As we would count in line dancing, the heavy accent is on beat 1 and the lighter accent on beat 4. That corresponds to the stepwork of country couples waltzes, with the heaviest accent on the man's left foot. 

Remember: tempo does not determine the style of a dance. A Viennese Waltz is a ballroom style, and does not apply to line dance. Unfortunately, many line dance choreographers do not understand this.

A good site to check for dance speeds is: Tempo Recommendations for Dance Music - Hollywood Ballroom Dance Center, LLC  You will note the source references are reputable organizations.

Thank you, Norman!  As most of you know, I discuss the difference between waltzes and rolling 8 rhythms when I teach. I play music of both meters, and we listen to the timing, rhythm, and how the lyrics coincide with the counts. Here's an oversimplified method that line dancers of any level can use.

While listening to a song that you think may be a waltz, do some familiar waltz steps: forward and back basics, twinkles, etc. If you feel graceful and the dance steps flow, the song is a waltz. If your dancing feels frenetic and rushed, and you find you need to add holds or sweeps for 2 counts to MAKE it feel "waltzy," then chances are good that the meter is a rolling 8.

Happy dancing! (And that's why this website is called LEARN with Lisa.)

* * *

2015 HIGHLIGHTS

As we ring out the old year, here are some statistics Peter compiled.

• We were at Eisenhower on every single Thursday that the rec center was open throughout the year, and I taught 114 classes
  
• I taught 108 classes at Hibiscus and Pimlico and 49 classes at Canal
  
• I hosted three fun themed Sunday evening socials
  
• Peter and I hosted birthday parties for each other as we celebrated milestones this year, and are happy you shared those with us
  
• Peter and I hosted a "zombie apocalypse" Halloween party that was an amazing success thanks to your participation
  
• I organized two workshops, bringing in internationally- known celebrity choreographers and instructors John Robinson and Rachael McEnaney (100% of proceeds from ticket sales went to them)
  
• I organized an NTA training session attended by three local instructors, and I tested for and passed another accreditation level
  
• I wrote and published 15 new dances
  
• I made, edited, and published 16 line dance videos, including a Halloween party slide show
• I competed two of my dances in the choreography division at UCWDC World Championships
  
• My website had more than 3500 visits throughout the year

My estimate is that I average about 14 hours a week in teaching classes, and more than double that at home planning classes, downloading and editing music, learning and practicing dances at all levels, and updating my website. And I'm not even counting the hours writing dances and attending events <g>.

I can't think of any better way to spend my "retirement."  Peter and I look forward to more happy afternoons dancing with you in the new year.

* * *

For those of you who are new to The Villages and don't know the background, I began teaching here by splitting the year with Carol Simmons, who started the Monday (Hibiscus) and Wednesday (Pimlico) evening classes many years ago. My "term" is roughly May-October, and Carol's is roughly November-April, with a little overlap at each end due to her travel schedule.

Although amenities fees allow residents to attend any free class any time with no obligation, regular participants in various activities often choose to show their appreciation of their volunteer instructors by contributing to a group purse. Usually this occurs during the holidays.

Because Carol teaches during "the season," any gifts from the Monday-Wednesday students are presented to her in December, even though we split the year.

A couple of years ago, some of my students came up with the idea of celebrating my birthday, which is in September and occurs during my "term." These friends put out a card for my students to sign, and collected any contributions for ME in recognition of the time and effort I put into those two classes for six months. 

I only celebrate my September birthday in the Monday and Wednesday classes because I am not there during the holidays.  

 * * *

DOES ANYBODY ELSE FIND THIS TROUBLING? (addendum)

There was a discussion thread about dance floor etiquette in Carol Craven's newsletter recently, but some of it relates to my comments about how we look when we dance. This is what John Robinson had to say:



Here's the original thread from Talk Of The Villages.

I associate line dancing more with an aerobic exercise class or a Zombie apocalypse than dancing.
--------------------------
As a non line dancer, but an avid observer, if the zombies would only smile, laugh, or even pretend they enjoy line dancing, one could tolerate the music that line dancing is done to.
--------------------------
I see nothing wrong with line dancing: good exercise, promotes mental acuteness, etc. But nobody looks happy. No interaction between participants. No smiles.
--------------------------
It's actually pretty boring watching it, and the look on the faces of the individuals Line Dancing they all look like they lost their best friend or worse yet about to face 20yrs to life.
--------------------------
they all look like they have had Facelift sort of like a combination of Barry Manilow and Joan Rivers, afraid to show any emotion perhaps for fear of their facelift coming apart...

Is this the impression we want to give? Granted, for the most part these comments refer to people dancing on the squares, where dancers have to concentrate to keep their footing and also avoid the "happy hour" dancers. If you dance on the squares, I hope you'll keep these comments in mind, and try to convey the enjoyment you derive from line dancing.

Yes, we concentrate or count when we try to remember the steps. But we don't have to LOOK like we're in pain, right? When (not if) we make mistakes, it's not the end of the world. Nobody's going to throw us out of class or ban us from the square. Remember what I say in class--the mistakes don't show in your feet, they show in your FACE.  If you're smiling, anybody watching thinks either you're perfect or that the mistakes don't bother you, which should be true!

Whether you're in class or on the squares, don't worry so much about the steps that you forget to smile and have fun.

Be like Snoopy--make every dance a happy dance!

* * *

THE LARYNGITIS SAGA--THE END

Finally saw an actual M.D., which was a total waste of time-- and I'm not just referring to the 75 minutes we spent in the big and little waiting rooms! She looked in my ears and looked down my throat (mirror only, whew!), said there's nothing wrong with my vocal chords or larynx or throat. She recommended speech therapy so I can "learn to use my voice." I wonder what I've been using, lo these many years.

Well, there may be some merit in training myself to speak for two hours or more without fatiguing my voice. So I looked online and found several useful videos on YouTube. I'm going to try the breathing/relaxation exercises before class and see if they help, and will try to drink a bottle of water BEFORE class, and a second DURING class. If these don't help, then we'll all just have to get used to my croaky voice. It could be worse!

  * * *

MEETING NEW PEOPLE

I'm sure that all of my students have heard me talk about the benefits of line dancing, which is great physical and mental exercise: what could be better than moving to music in a relaxed and happy environment among friends? I also remind my beginners especially to smile and get to know the people dancing next to you--wearing a name tag is a big help.

Once you've been going to classes for a while, you are familiar with the faces of the other dancers on the floor, and it's obvious when a new person joins the class. Be friendly and helpful if you can, and make a point to smile and say hello. Recently in an intermediate class, I noticed a couple who came in late. He sat and watched, but she found a spot in one of the front lines and gave it a go. She didn't know the dances, but she picked up most of the steps and did as well as the rest of us when a new dance was taught.

After class I introduced myself and asked if they were new to The Villages. Their names are Tania and Frank, they live in Belgium, and they were renting a house near Spanish Springs for a month. We chatted for quite a while after class and I gave them my card so they could email me. I was pleased that they did, and I told them about other classes and activities. They tried to do a lot in their time here, and had a busy schedule which also included trips to Orlando and St. Pete, and hosting visitors of their own.

While they were here, we went out to breakfast and lunch, and after class we and two other students went to World Of Beer at Brownwood. Man--those pretzels are amazing, and Frank introduced me to a delicious Belgian brew. I even convinced Frank to try dancing for the first time in my beginner class at Eisenhower.

When we go to classes, we stand in the same place and speak to the same people--it's our routine and we enjoy it. But I hope everyone also will keep an eye out for newcomers and make them feel welcome. You really DO meet the nicest people that way!

   * * *

TYRANNY ON KICKIT

Kickit is a step sheet archive website.  I have used it for many years, and have been a longstanding subscribing member. When choreographers submit their step sheets for publication on Kickit and click "agree" to the terms and conditions, they authorize Peter Blaskowski, who runs the site, to make any changes he deems necessary.  In 2012, Peter decided that all step sheets posted on his site would be correct--according to HIS idea of correctness.

In the case of my step sheet, he made several changes, including redesignating (erroneously) the RHYTHM of the music I used. In protesting, I compared the rhythm to the music for two other dances which he did not change, and after telling me that he "didn't listen" to the songs I mentioned, he made this reply, printed in its entirety (the underscores are mine):

  * * *