Dance journey, passion, desire, life and so much more…

Dance journey, passion, desire, life and so much more…

Who defines the body beautiful, and how has this definition been affected by feminism, multiculturalism, mass media and new technologies? If beauty is in the eye of the beholder, what kinds of images still have the power to produce such sensory experience?

All of these questions have very simple answer – the art of dance!

For me there’s no question about beauty in life, beauty in art, beauty as existence. When I experience something that is fully what it is — when it doesn’t present itself as being something but just is — then I feel I’m witnessing beauty. Galloping horses are beautiful, but the horses are not galloping and thinking, ”Oh, we are so graceful.” If they were thinking this, then they might not be beautiful.

I think that good art is autobiographical. This is about perception. It’s personal. There is a way that both the ugly and the beautiful can coexist. But the pendulum keeps swinging back and forth — you’ve got to look like this, now you’ve got to look like that. Well, let’s talk about what is good art, how do you make good art, and what is integrity in craftsmanship.

Creating energy and motion in dancing is absolutely incredible but without passion, desire and a sip of love it simply feels dry.

What does the audience want, and what are we creating? We lose the audience when things slow down and become a little more like nature. This is connected to the state of the world now, and the destruction of nature. It’s impatience with things that take time.

Deciding to be in a position to think bigger then you could ever imagine yourself being is one of the most important things for every dancer (regardless the level). It took me a while to to give myself permission to play much bigger role in my own life then I’ve ever imagined and I blame/thank dancing for that!

Dreams exist for a reason… Dreams are things that you have not achieved yet, but you want so much, that there’s no sacrifice you are not willing to make!

Passion to be a dancer and so much more is the best thing in this world for me and I thank God for every day I can take a dance step!

Co-Owning a Dance Studio in one of the most beautiful places in Illinois and having my Annual Dance event is a privilege in my life that I cherish and feel extremely happy with!

There’s no passion without love, there’s no desire without dreams, there’s no future without goals….

“A journey of a thousand miles begins with single step” – Lao Tzu


#thinkbig #nsdsbonev #playbigger #goals #visionboard #yesican #inspiration #iwantthis #iamworthit #entrepreneur #millionaremindset #dance #dancer #ballroomdancing

Dancing – Make your future self happy

In the late 2009 I had to go through one of the hardest moments in my life, when I was told to leave the dance practice floor at the place I first started dancing…. To say that was a hard breaking may not be enough, at the end of the day that was my home, my dream, my passion, my love, my everything… The reason to be ask to leave was, that I missed 2 major dance events due to surgery of my right toe (my teacher didn’t exactly care, since that created too much stress on finding a guy to dance instead of me). After feeling absolutely miserable and disappointed, I tried to pull myself back and in the next 2 months I did my best to prove to everyone how good I was, how talented and so forth. At the end I was able to get back my place into the dance school, without realizing that I was simply trying to prove something to other people, to make other people proud and happy…. At that time, I forgot what really matter to me – the art of dance, the joy of being on the floor, the pleasure of expressing myself with variety of movements. In 2010 i was selected to dance in a TV show “Bailando” with at that time, the youngest female in the Bulgarian parliament (apparently she was the star). The final price for whoever wins the show was to make your dreams come true (in my case, I was dancing for my very best friend, who was in a major accident and is disabled after that). 











That was probably the real turning point in my life, because I was able to see the other side of dance, the other side of my career in general. Since that time, I promised myself that regardless of any circumstances I will dancing, I will be happy and successful (subjective and not trying to compare). Will never stop dreaming big, never stop progressing and making MYSELF happy and proud of who I am…

Dancer, competitor, teacher, dreamer…

In the mid 2011 I won a lottery for Green Card to US and the rest… The rest is that dream that i will continue working towards, every single day…Because the best is yet to come…

My suggestion to all students is to dream big, practice your dancing every day and be happy…. Nothing else matters

Don’t ever be in a position to regret about unused opportunities…


Aleksandar Bonev – Co-Owner of

North Shore Dance Society Glencoe

660 Vernon Ave

#dance #love #dancepassion #dancestudio #glencoeillinois #nsdsbonev #lovetodance #danceclass #glencoe #chicago #salsa

What dancing means to me…

Dance for me is like the air. Without dancing, I wouldn’t be able to leave… If you start dancing once, it is forever. The body and the soul suffer if you deprive them of it. Dancing is love…

For me, dance is an inspiration, feeling, rhythm and way of life. By learning to understand and communicate through dance, you learn much more about the movement, as such, in all its forms, and you get a different kind of aesthetics and perception of space

For me, dancing is a total example of occupation and art, bringing happiness and completeness, because it can combine form and content directly. Only in the bosom of dance the form and the content are not distant and our effort to unite them is only a question of sincerity. It is the articulation of reality and its notion of it without intermediaries such as language, logic, culture, etc., that is, in its primacy it is expressed in a tight and sufficient way, without need of context and conditionality.

While dancing, the gesture itself is already an expression. It is the reality of this art that must make sense. As far as it is Primary Reflection of Reality (how unintelligible these two concepts combine to dance), it is absolutely necessary to have a way to work with our energy and to be happy.

Dancing is a very good thing. Movement is  everything. Even if you’re still, you’re still moving. Your heart jumps from inside and sings and you are such a high and bright, calm, because you are alive, otherwise you can not move if you die, though. Besides, it’s nice, because moving is the best…

If you move, because inside you wants to and you can not do it, then you dance because you want because you feel because you breathe. The dance comes from the inside out, not from outside – for me it is quite simple. Love = dance. The other is parliament and gymnastics. Soul is important. Without a soul there is no dance. A movement with soul makes your dancing different

Dance has excited me long before I entered the competition floor and figured out what a technique, class, stand, pace … as I was small, it was just the inspiration to mimic this energy that makes the dancers move and the audience to does not look away from them

Dance was and is an opportunity – to find yourself in front of others and at the same time to put on a mask and not to be judged. Opportunity to experiment, explore, demonstrate, be free or limited in your own fears. Ability to overcome yourself. It satisfies many needs. To me, it is very often the “tweaking” of the ego – they all look, want, explore, and thus create a particular energy field that you can experience only there “on stage, in the dark or under the spotlight

In the dance you have to feel free and then it shows a new world. I do not know if the emotion moves the dance or the dance moves the emotion, but they can not do without one another. Going through different styles, I understand that the technique is necessary for dance like the words of speech, but without “filing” you can not write a bestseller, only the lyrics of a song – all understand and sing, but never bark or tear, build a relationship, and give the performer that mystical energy. Dance is not climbing the ladder to some glory and grandeur, but opening and closing the door, collapsing and flying

The dance has always made me feel like a toddler – boldly and indiscriminately and with very poor coordination. Because the dance is immense and rebellious. You can never be good enough.

Creativity is a mysterious inner process that remains closed for connoisseurs. We can not see Michelangelo working. We can only imagine the very process of the great artists and sculptures, while in the dance we have been given the unique opportunity to witness the creation of a masterpiece, a living masterpiece that is happening in front of the audience. And I still think that dance is a state of mind and is embedded in us as the primary expression of emotion, just as the smile, just some gesture of joy or of another emotional state

Of course, I’m talking about his most primitive existence within us, not about the good and great virtuosos in the ballet, for example. The dance has developed a lot over the years in the thousands of dusty halls around the world, but I think that before going into the hall and the opera has come out of ourselves. With its therapeutic property, dance becomes a drug for dancers, dance can heal, we all know it and that’s why we dance

With love for dance…


Article by Aleksandar Bonev 7/15/2018

North Shore Dance Society – Glencoe, IL

660 Vernon Ave

#nsdsbonev #americansmooth #ballroomdancing #socialdancing #dancegroupclass #glencoeillinois #dance #music #privatedancelessons

When We Dance…

When we dance, we make our essence…. This is the very best way to express ourselves.

The way you move along the dance floor can reveal a lot about what kind of person you are. Your movements just seem at first glance spontaneous. Behind them are hidden features of your character. Dancing makes you more or less extrovert, closed or distant. Experts have analyzed the movements of amateur dancers, then subjected them to a psychological test. The result are categorical – the way you are on the dance floor is probably similar to the person in your normal life. Thus, the relationship between gestures, movements of body parts (pelvis, legs, neck and arms) is made with the speed of movement – fast, energetic, flexible, chaotic and bouncing. The dance recognizes the dominant features in the mores – whether you are shy or emotional, abstaining and magnetic … We offer you four types – judge who you fall.

With many movements

You curl your head and arms actively, turn your hips and shoulders – this shows that you are energetic and self-confident people. This way of dancing is typical of extrovert natures that are very mobile both on the dance floor and in life. You love being among people, having fun, being in the company and being surrounded by friends. Easily communicate with strangers and tie up new acquaintances. This coincides with the impression you create around others – you want to be in the spotlight and focus, be active. Your favorite dances are probably Jive, Swing, Mambo, Salsa, Bachata & Quick Step. This style of dancing with many movements speaks of a dynamic and social nature, a heart-seeking and active person looking for sensation and realization.

With tenderness and grace 

Flexibly twist your neck, arms and head, giving the impression that you are sliding on the dance floor. In your dance there is an idea, a thought and a state. You are open to the associations and boldly experiment. There is a lot of charm in this choreography and it speaks of an optimistic and joyful temperament, of a sincere and dedicated personality. You feel equally well with heels and sneakers because you are casual and gentle. Your loved one will spend a wonderful evening with you…

With sharp gestures

You touch your legs and arms in all directions. The feeling is that your movements are abrupt and chaotic, and this creates the feeling that you are emotionally unstable.  These mad gestures characterize you as an anxious person, a person with an independent and free-loving temper. The bad thing is that your mood is constantly changing and you are prone to stress. You need a sentimental support.

Quickly, but subtly

You move mostly your hands, and your legs move slightly, as if sliding on ice. This style of reasoning, without giving the rhythm, speaks for a lack of imagination but also for very positive qualities. In fact, you are a serious and organized nature, very precise and savvy. It’s about a conscientious person who can be relied on.

At North Shore Dance Society – Glencoe , we recognize the different personality dancers and always try to redirect and improve the experience of everyone.

We teach Ballroom, Latin & Night Club Dances.


Article by North Shore Dance Society – Glencoe,Il 660 Vernon Ave

#nsdsbonev #glencoeillinois #4thofjuly #ballroomdance #dancestudio #danceglencoe


Flexibility And The Splits in Ballroom and Latin Dancing

Flexibility And The Splits in Ballroom and Latin Dancing

Whatever your goal is in dancing, flexibility is critical. Without it, you are much more prone to injury. With it, you have more options for anything from cleaner looking lines to dramatic splits. Consider these 5 tips for flexibility and the splits to help you with your goals.The first thing to keep in mind is that with care and commitment, almost anyone without a medical restriction can become more flexible that they already are.  Your goal at the start may not be full splits, but having a bit more stretch than you have now. Just keep in mind, it will not happen by just dancing more. Like most things in life, you have to have a not only a goal and but also a plan.

1. Plan a specific and regular time to work on your overall flexibility

~Always warm up before stretching or you will risk injury. Ten minutes of light activity is all you need, or you can do your stretches after your dance practice as part of your cool down.
~You can start with simple extensions of every part of your body:
~Roll your neck while you think of stretching it. Do this by moving your head from side to side while drawing a half circle in the air from one shoulder to the other with your nose. If you want, you can then go a bit further by thinking of drawing as big a circle as you comfortably can with the top of your head. Just remember to keep the neck extended while doing so.
~Reach your arms in every direction as far as they will go. Keep your body still and your shoulder blades down, to isolate the stretch in your arms.
~Extend your legs in various directions while sitting on the floor or on a chair. Keep your hips in a square position with your sides at right angles to the ground, and the base of your pelvis flat, not tilted up or back. Alternate between pointing your toes and flexing your ankles.
~Stretch your sides by turning your upper body while your hips remain square and facing front, and your head remains still. Think of pointing one elbow exactly in front of you and the other exactly behind, then switching.
~Try extending your torso by thinking of lengthen your spine by an inch. Do this with your shoulder blades down and your spine flat. To make sure that your spine is flat, start by standing with your back against a wall if you need to, making sure that there are little or no spaces between your back and the wall. It is interesting how many people feel awkward with a truly straight spine, so do not be surprised if it takes a while before this feels natural to you.
~Hold each extended position for at least a minute to start, and increase the time as you can.

2. Try to get those feelings of stretch when you dance, and in your daily life

~The simple stretches noted above should feel great to you, and will make it clear to you how little we actual stretch our bodies in daily life.
~There are several easy stretches that are great. Each of the ones selected are simple enough to do anywhere and can be used as you dance, to enhance your look.
~Consistency in stretching is key. You need to focus time on this at least 10 mins everyday in addition to incorporating your stretching into your daily life. Any effort that is inconsistent, will not yield much benefit. Even starting at 5 mins every day is better than 15 mins every once in a while. The more consistent you are, the better you will feel, and the faster your flexibility will build.

3. Once the general stretches are comfortable, you can set a specific goal that is within your reach.

~Do not set you goal nor measure your progress based on what you see in someone else. Everyone is born with slightly different types of flexibility in addition to different levels. As well, just because you are flexible in one area of your body, does not necessarily mean that you will be just as flexible in another.
~If you are not sure where to start for your specific goal, ask your coach what would benefit you the most.
~Many people have goals of greater flexibility in hips and hamstrings to do high kicks, long strides and splits, so we will cover that next.

4. Preparing your body to do the splits.

~Generally speaking, it is easier to start with the kind of splits where one leg is in front of the other as opposed to both legs out at each side. With this, it is best to start with the front splits.
~Only try the side splits when your hip flexors and hamstrings are both extremely flexible and very strong. You will know when you are ready for this when the front splits are very easy for you, no matter which leg is in front.
~Lunges and squats are a great way to start preparing for the front splits and training you to keep your hips square and facing front as you stretch.
~It is also beneficial to stretch the quadriceps. You can do this by pointing your bent knee to the floor and holding your foot behind you.
~When you are ready to get into the split position, lower your body as far as you can without pain, while keeping your legs straight or knees slightly soft (not bent) and your hips facing forward.
~To progress, you need to push to the point of being uncomfortable, but never, ever, ever to the point of pain.
~Hold the position for at least 2 minutes. You might need to work up to this, but the 2 minute point is the point where you will get the most benefit.
~Stay completely still. Never bounce. It will not help you and you may injure yourself.

5.  Use it or lose it

~No matter what level of flexibly you have, you can keep it for a lifetime if you are in good health and you practice your flexibility consistently.
~You can also lose even great flexibility very quickly if you don’t actively do things to maintain it.
~Flexibility truly does protect your health as well as enhance your potential in dancing. With this, it is a good investment of a few minutes of time and effort every day.


Author: Miss P [Celebrate DanceSport]


North Shore Dance Society

Seven Tips On Ballroom & Smooth Dancers

Seemingly small things make a world of difference in how you look and how you feel when dancing. Perfect technique is a life long journey. Whatever path you take on that journey, these super 7 essential tips on Ballroom & American Smooth will help you along the way.

1.   Make stable and clean looking moves by controlling the path of your legs

When Dancing, Track your feet under your body, brush your thighs, however you want to say it, save ronde moves for true rondes in choreography, and never compromise your look or balance with a wayward leg.

2. Take large steps by not stepping

~Bend your knees low and forward before you move.
~Think of sliding instead of stepping, and travelling by moving your hips and torso across the floor, which will keep your legs moving in time with your body and not before.
~In heel leads, delay lifting your heel for as long as you can and you will look more powerful without looking like it is an effort.

3.  Keep your swing dances smooth by keeping your feet on the ground

Keep both feet in contact with the floor at all times for continuous elegant movement. This will reduce clunks and jerks, and will make a world of difference how refined your dancing appears.

4.  Maintain poise and posture by straightening the natural curves of your spine, which will then elongate you

~Keep your belly button pulled in, your hips up not pushed back, your shoulder blades down, and chest down, collected and flat, not puffed out.
~Add a firm core and you are good to go.

5.  Hold your partner, rather than simply attaching yourself

~In typical holds and hugs, your arms are in a rounded position to extend around another person.
~Continue to think “round” in your ballroom hold,  and never squeeze, pull or push.
~Always keep your arms in front of you.
~Your elbows should be strong and in a static position relative to your arms.
~This will keep your connection more stable and your partner much happier.

6.  Side leads will help you glide

~Objects that are designed to move well and maneuver quickly are designed to be aerodynamic, not boxy or flat.
~Think of making yourself more aerodynamic on the floor as well. With this in mind, moving with a side lead will be your only realistic option.

7. The followers’ stretch truly is a stretch, not a bend

~Shoulders are down, sides are elongated and only the top of the spine is extended back.
~This extension is amplified to a beautiful stretch by keeping your neck long, straight and positioned over your left arm, and your nose positioned in line with your left elbow.
~It is such a beautiful position, you will want to be able to do it for a lifetime. By doing it correctly,  you will do it safely, and will show this beautiful line for a long time to come.

There is so much more that can make a ballroom dance beautiful, and more that can be said about each of these points. Remembering each one of the points here will give everything else a great base.

Author: Miss P


North Shore Dance Society

Ballroom & Latin Dancing – Sports Massage

massage dancing ballroom latin social salsa waltz tango

Just knowing you have an appointment with your favorite massage therapist can be an incentive to get through a long day in the studio. Achy muscles and tension will soon melt away and be replaced with that lovely sense of blissful relaxation.

Luckily, a massage is more than just a guilty pleasure. It can actually increase circulation, reduce muscle tightness and relieve stress. But while massage therapy has many positive benefits, it’s not exactly the panacea some dancers wish it were. Before you skip the doctor, make sure you know both the benefits and limits of a good rubdown.

How Massage Works

Massage is not just about relaxation. Massage therapists look at how to make a muscle, joint and tendon fire more effectively and even decrease spasm.

There are several types of massage therapy. Dancers most often get a Swedish massage, which helps create a relaxation response in the body, or deep-tissue massage, which helps to reshape patterns of tightness by working on fascia (the connective tissue that wraps each muscle and groups of muscles, much like the casing of a sausage).

Massage also helps to prevent injury. After dancing, massage can reduce tension in the soft tissue as well as stretching the muscles to prevent injury; massage also helps to relax the mind. Deep tissue massages are very popular amongst ballet, ballroom & latin dancers as these improve posture and relax the muscles.


Can Massage…

…Prevent Injury?

When a muscle is “tight,” it can be a sign of overuse or strain, and circulation can be decreased and compromised, making the fascia dehydrated and sticky, which in turn creates adhesions. These adhesions can become painful to stretch and they limit movement, reinforcing dysfunctional movement patterns. “Massage can help break up these fascia adhesions, allowing for improved circulation to the muscle and restoration of full movement.”

By allowing the muscle to work more freely, massage helps prevent imbalances that lead to injury. Massage is one part of injury prevention and rehabilitation, along with exercise, nutrition and sleep. “The massage therapist is part of the dancer’s whole physiological team.”

…Reduce Muscle Soreness?

Massage can increase your circulation, which helps improve recovery. The relaxation effects can also improve your perceived level of fatigue. If a dancer relaxes after a rehearsal while their body is being worked on, they’ve already started the body’s healing process. “That sets them up to feel better, which means they can perform better.”

…Increase Your Range of Motion?

Massage won’t make your muscles more flexible, but it can help relax them. It won’t elongate the muscle, but if you are more relaxed, you will be able to move the limb or joint more easily, and that could increase your range of motion. 15-minute session before an important rehearsal or performance if they have a tight muscle. Dancers feel they have their range back, but it all depends on how fatigued they are and what else is going on with their body.

…Flush Toxins?

If you want to get rid of toxins, you’re better off focusing on hydration than massage. Drinking water right after a massage to rid the body of lactic acid is a myth, as a massage generally does not release built-up lactic acid. “But staying hydrated will help your body function better.”

…Relieve Inflammation?

Lymphatic drainage is proven to decrease inflammation, but that work requires a very light touch. Since a dancer’s schedule is often packed, inflammation is more efficiently treated through electrical stimulation, icing and medication than massage.

…Provide Stress Relief?

Massage has been proven to help reduce both physical and mental stress. The best thing massage can do for you is to help you relax your body. It is also known to improve sleep and help decrease depression and anxiety.

The Bigger Picture

Everyone has muscle imbalances, and staying injury-free is all about maintaining balance in your body. Dancers need to remember that massage is just one possible aid. “Be careful not to rely too much on restorative therapies that only help you ‘feel better.’ Adding stretching and strengthening to correct muscle imbalances is vital to help you get better, too.”

3 Tips for Self-Massage

• Try a lacrosse ball. It’s a good size for a lot of body parts, it’s only about $2 and it’s rubber

• Remember what your therapist does and try to re-create that, making sure it is never so painful that you hold your breath.

• If an area is too sore for pressure, try massaging your face, hands or any surrounding area. That will help decrease the body’s overall muscle tension, which in turn will help decrease tension in the sore spot.

Time It Right

If you have a rehearsal or performance later in the day, massage work should be more superficial, as deep-tissue techniques can leave you feeling too relaxed, loose, a bit sore and unresponsive. A 2006 study published in the British Journal of Sports Medicine found a decrease in muscle-force production immediately following a lower-limb massage.

#ballroomdancing #socialdancing #salsadancing #competitivedancing #ballroom #latindancing #Chicago #Evanston #Northfield


Dance With Feeling

Dance With Feeling
“What is a dance? At one level, it is the dance position, the steps, the timing, the coordination, and the athletic strength to accomplish the steps.

Are you able to do a forward, lock, forward; or another combination of forward and locking steps; or even running forward locks in quickstep — without tripping?
Can you assume banjo position — not the side-by-side, hip-to-hip variety, but hips together in a closed position and only turned a little left so that you can step outside partner, upper bodies not square to line, but sliced, angled, man line and wall? Can you accomplish that little bit of contortion comfortably?
Dance is these things, but it is also your feelings about those steps, about the music, and about your partner.


As you move through a particularly sweet music passage are you walking or do you soar?
When you cuddle, do you just assume the position or do you show some cuddly feeling?
Is your caress perfunctory or does it linger just a little and include some eye-contact?
Is your arm work half hearted? A drooping arm projects a different feeling than one that rises and extends, even through the palm and fingers. Do you look and feel low and droopy or up and glad?
A dance is a physical performance, getting the movements right, but it is also communication of feeling and emotion and an interaction with your partner, even a celebration. A great athletic performance can be robotic, rote, and mechanical, the moves correct but cold. Or it can be human and emotional, not necessarily big and melodramatic, but real — movements not for their own sakes but with feeling behind them.

At the end of a dance, the cue is “apart, point.” Do you step back, settle, and collapse? “Whew, that’s over.” Do you look around, wondering what’s next? Or do you ease reluctantly apart from your delightful partner, poignantly release fingertips and truly point — something — in acknowledgement? Point your toe, your finger, your gaze — to say, “thanks, that was great.”

dance lessons, ballroom dance, dance classes, salsa, latin dancing

Foxtrot and ChaCha are light flirtation.
Rumba is more earthy seduction.
Jive and Quickstep are play.
Samba is the Rio Carnival.
Waltz is a 19th century formal ballroom and Jane Austin.
Dance is a partnership between two individuals, not a performance by separate individuals. It is built on indication and response, trust and cooperation, and surrender. It is a display of a relationship between two people.

Switching Grapevine
We could probably pick any figure and think about ways in which we could dance it less mechanically and separately, and more emotionally and together, but let’s look at a newish and not so common one — the Switching Grapevine.

In American Foxtrot, the vine is often referred to as a grapevine, and the Switching Grapevine is very American: done in open position, perhaps both facing wall, both with right feet free. Briefly, we do a front vine 4 moving toward line of dance, the woman rolls 4 in front of the man to left open position still facing wall, we do another front vine 4, and then the man rolls in front of the woman back to open position again.

This figure is not a Standard. It can begin in left open position, so the man would roll across first. It can begin with the roll across and end with both dancing a front vine. It can begin with the left feet free and progress to reverse, or facing center, again with either foot free. The pattern can continue for five, six, or even more measures.

We are not in closed position. We are not even facing each other, but at least we are holding hands. How else can we add to the expressiveness of the figure? We are moving pretty fast down line. The steps are all quicks, but let’s not make it a furious rush. We can stay close instead of at arms’ reach and keep our steps compact — flowing together instead of one dragging the other along. We can think about where we are looking and where we are focusing or aiming our bodies. It seems that the pursuer should be angled a little toward and looking at the one being chased. The pursued might look back to urge the pursuer on, or she might play a coyer, more flirtatious role. But do something. Don’t just plod along.

You might think that the one doing the rolling across is the one doing most of the work during that measure, and so the other might be tempted to take it easy until it is his turn, but both need to dance during every measure. While one does the roll, the other dances a “cross, recover, side, recover.” Don’t just dance in place, and certainly don’t just stand there like a lump. The initial crossing step especially has feeling to it. You cross in front and so draw on your partner, pulling him or her toward you. It’s an expressive gesture, a part of the flirtation — “come to me, baby.” The second recovering step let’s your partner catch you. Then the final “side, recover” specifically allows her to float on past. We chase once more. Play that role: pull her to you and then let her go. Put that feeling into your hand-hold, into the elasticity of your connection, and into your expression and attention.

It is easy to become emotionally distant from your partner. You’ve been dancing for years, thousands of dances. So, here she is again, posing, stretching, and lifting into a great Develope, and you are just standing there, waiting for your next step. Or you might be standing tall, chest swelled, as the matador in a paso doble, and she is focusing not on you but on her own movements and footwork. But, dancing together, you can go beyond the physical performance and reinforce and complement each other. Your dance can be more than the sum of its parts, or it can be only those parts. Any dance can include attitude, mood, emotion, feeling … Without these, it is just steps.”
by Harold & Meredith Sears

A version of this article was originally published in the Dixie Round Dance Council (DRDC) newsletter, November 2010; reprinted CRDA Round Notes, March/April 2015.


From Risk to Recovery Ballroom & Latin Dancers

Don’t get waylaid by these five common dance injuries.

No matter how careful you are, sporadic overuse injuries are an occupational hazard of professional dance. “Dance looks great because it’s an unusual movement—it’s not natural to the body, so your body may react negatively to it over time,” says Johann Howard, physical therapist at the Harkness Center for Dance Injuries at New York University Langone Medical Center. Fortunately, you can minimize the occurrence of chronic problems if you recognize the warning signs and are prepared to let your body heal effectively.

~FHL Tendonitis

Also called “dancer’s tendonitis,” flexor hallucis longus tendonitis is an inflammation or tear in the tendon that travels under your calf muscle, inside the ankle bone and along the bottom of the foot to help point the big toe. “This is one of the few tendons that passes through a bit of a tunnel, so when it’s swollen and inflamed, it can get stuck,” says Nancy Kadel, MD, orthopedic surgeon and chair of the Dance/USA Task Force on Dancer Health. “Ballet dancers with FHL tendonitis will generally feel pain when going from demi-pointe to full pointe, since that bends the big toe down.” FHL tendonitis can also cause a “trigger toe,” meaning the big toe clicks or gets caught, sometimes requiring straightening out with your hand.

Risk factors: FHL tendonitis comes from repetitive pushing off with your foot during jumps or while going from plié to relevé. “The key is to have balanced strength and flexibility all around your ankle,” says Kadel, who adds that it can be helpful to be evaluated by a physical therapist to be sure you’re not overstretching or compressing the tendon while dancing.

Recovery: It usually takes four to six weeks (or longer for a tear) to recover, as long as you don’t ignore the pain and seek medical treatment. “If your pain is above a 3 out of 10, don’t dance,” Howard says. “Instead, ask your physical therapist for safe strengthening exercises.” Kadel has her patients gradually return to class, perhaps leaving out pointework, grand pliés or jumps until pain has completely subsided. She may also recommend ice massages to reduce inflammation, or sleeping in a night splint to keep the foot in a neutral position.

Prevent relapse: Dancers should be able to avoid relapse as long as they maintain proper foot alignment and continue strengthening and stretching the area throughout their career.

~Stress Fractures

In dancers, stress fractures—tiny cracks in the bones due to repetitive overloading—are often found in the metatarsals (the long bones of the foot). “Dancers will describe a toothache-like pain on the top of the foot that gets worse when jumping or turning,” Kadel says. “In the beginning, you may not see any swelling or bruising, but it will gradually become more painful.”

Risk factors: Kadel suggests thinking of the long, thin metatarsal bones like wire hangers. “It won’t break the first time you bend it, but after bending it 50 times, it may,” she says. “Every time you load the bone beyond its limit, it has a reaction and then heals itself, but with overuse, you’re not giving that bone enough time to heal, so it cracks.” Stress fractures become more likely during periods of increased activity—like in preparation for a big performance or during a summer intensive—or for dancers with weaker bones due to poor nutrition.

Recovery: Katie Lemmon, certified athletic trainer at Athletico Physical Therapy in Chicago, says this injury may land you in a boot for several weeks, especially if it hurts to walk. “Dancers with stress fractures shouldn’t be doing weight-bearing activity, but I’ll often give them other strengthening exercises like Pilates, so it’s only a modified rest,” Lemmon says. You’ll be able to monitor your recovery by how much pain you feel, but you should still be under the care of a medical professional to determine when it’s safe to return to different stages of dancing. It may take three weeks or more before you’re able to try jumping on two feet, and longer before you’re able to safely perform grand allégro.

Prevent relapse: “Since stress fractures are often caused by a muscle imbalance, use the recovery time to look for the underlying cause, which will prevent it from happening again,” says Lemmon. As long as you listen to your body, bone heals without scar tissue, so relapse is unlikely.

~Lower Back Pain

Dancers are at especially high risk for straining their lower back muscles. This pain feels like a dull ache or discomfort on one or both sides of your spine (not directly on it), and may feel especially painful in arabesque.

Risk factors: “Lower back pain often comes when dancers are trying something new, whether it’s new choreography or a different style of dance, and when dancers have weakness in their core muscles,” Kadel says. “For example, dancers’ back muscles may get overwhelmed by all the penchées on one leg while rehearsing La Bayadère.” Too much repetition on muscles that aren’t quite strong enough may lead to the muscle fibers being stretched, torn or inflamed.

Recovery: Strains in the lower back can take quite some time to heal—according to Howard, up to two or three months. Depending on the injury, you may be able to take modified class throughout your recovery or need to suspend all dancing to allow for proper healing. When appropriate, a physical therapist may help you stretch the affected muscles and offer back and abdominal strengthening exercises, like planks and movements that target the lower abs.

Prevent relapse: “With lower back pain, you can almost guarantee it will come back,” Howard says. “So it’s important to self-manage and come back to physical therapy when you anticipate something will aggravate it or if you start feeling pain.”

~Ankle Sprains

“A sprained ankle means you’ve partially torn one of the ligaments between your ankle bones,” Kadel says. “They’re often caused by fatigue, and are by far the most common injury I see.” While ankle sprains usually happen suddenly, the precursors are often dwelling for some time.

Risk factors: The biggest risk factor for spraining an ankle is having done it before. Others include higher-arched feet, very flexible ankles and, like most chronic injuries, muscle imbalances. Kadel encourages dancers to spend just as much time strengthening the outside muscles as the inside muscles of the ankle—those you use for winging and sickling.

Recovery: Sprains are generally graded on three levels, with the least severe healing in about three weeks and the most severe taking up to 12. For bad sprains, Howard says dancing at all may be off limits, and you may have to wear a boot for a few weeks. “Some ankle sprains are so painful that there’s no way you could dance even if you wanted to,” he says. “In physical therapy, we’ll slowly start to introduce perturbation exercises, which means balancing on a pillow or wobble board to build ankle strength.”

Prevent relapse: Your physical therapist may recommend core workouts to build strength to help prevent future sprains. “Even after you heal, it’s important to keep doing those physical therapy exercises like a religion,” Howard says. Once you’ve had one sprain, you’ll always be at a higher risk to get another.

~Shin Splints

Shin splints, or medial tibial stress syndrome, describes a generalized pain on the inner edge of the shin bone (tibia). Shin splints may feel worse with certain movements, like jumping or pointing your foot.

Risk factors: Shin splints often occur during an increase in activity, which overworks the muscles, tendons and bone tissue. Hard floors can exacerbate the pain. Shin splints can be more likely in dancers with very high arches or flat feet. “We also see shin splints caused by dancers gripping their toes too hard on the floor,” Lemmon says. Teenagers are particularly at risk: When dancers grow quickly, their lower leg bones often grow faster than their muscles, which can lead to discomfort.

Recovery: With proper care, rest and ice, the pain of shin splints should subside in two to four weeks. “In physical therapy, we’ll work on core exercises, calf stretches and hip-strengthening exercises so dancers aren’t using their toes to keep their balance,” says Lemmon. “Usually we’ll start with less-weight-bearing exercises and progress to more-weight-bearing exercises over time.” Dancers can take a modified class, but as with any chronic injury, any movement that causes pain is preventing your body from healing and should be avoided.

Prevent relapse: Continuing physical therapy exercises and stretches long after you’ve healed can prevent relapse.

North Shore Dance Society, Ballroom, Latin, Social & Competitive Dancing

Ballroom dance Evanston social competitive Latin Salsa WCS Argentine Tango


Article from dancemagazine.

Too Sore To Move? Ballroom Dancing!

Every ballroom dancer knows the pain of delayed-onset muscle soreness. Both eccentric muscle contractions—where the muscle fibers lengthen as they contract, like while landing from jumps—and concentric muscle contractions—like doing too many relevés—can bring it on. The aching feeling that sets in after 12 to 24 hours is a side effect of the repair process as your body heals microscopic muscle-fiber tears. But what are the best ways to deal with it so you can get back to dancing pain-free?

Snack Smart

Certain foods have been proven to decrease the duration and intensity of muscle soreness: Nutritionist Heidi Skolnik recommends adding cinnamon, ginger and cherry juice or tart cherries to your diet regularly—even before you get sore.

Don’t forget to stay adequately nourished and hydrated during challenging rehearsals. “How well does a dry sponge work compared to a nice moist one?” asks Green. “Apply that to your muscles.” Keep snacks in your bag to eat whenever you get a break.

Within 30 minutes after dancing, reach for a combination of carbohydrates and protein. “It helps to repair your muscle tissue,” . Having a snack like yogurt, chocolate milk, a peanut butter sandwich or cottage cheese with pineapple on or before your commute home. “Don’t worry about saving your calories for dinner,” . “If your snack is nutritious, it’s okay if it makes you less hungry and in turn have a smaller dinner.”

Stay Loose

Addressing your particular tight spots with regular bodywork, such as massage or acupuncture, can help prevent soreness by keeping your muscle fibers mobile. If you can’t afford private appointments, at least make sure your dance bag is packed with self-massage tools, like a foam roller, rolling stick and tennis ball.

Rehearse Strategically

When you’re in an intense rehearsal, pace yourself. “You know your body best,” . “Are you tired or stressed, or are you able to push yourself right now? Figure out how to use your energy so you don’t get too depleted, especially at the end of the day.” Working smart is as important as working hard. “If you are doing a movement that uses new muscles, there is a normal amount of time the body needs to acclimate to it.”

Cool Down

Although it’s just as important as warming up, cooling down often gets overlooked. “If you don’t stretch out, bring your body temperature down and do some self release at the end of a rehearsal or show, everything that follows in your commute, evening and sleep will conspire to make you tighter,” . “When you wake up the next morning, the tightness and soreness will feel 10 times stronger.”

Decrease Swelling

Once you get home, elevate your legs. “When you work the muscles really hard, the body responds to those microtears in the tissue by bringing blood to the area, which is inflammation,” . “While it marks the beginning of the healing process, it can also create swelling.” Experts debate whether icing, which can interrupt the inflammation process, is helpful. So far, research remains inconclusive, so experiment to find out what feels best on your body. If ice is not reducing the soreness, try alternating it with heat, or perhaps trying heat alone. “As a person and as a PT, I can’t imagine not icing,” . “I have never seen it work against someone.” She cautions against overusing ibuprofen (Advil) and naproxen (Aleve), as they can mask injury and prolong necessary treatment.

Go to Bed

Your muscles have their best chance at recovery when you’re sleeping. Without enough rest, they might not fully heal, which means you’ll continue pain

to strain muscles that are already weakened by microtears. So hit the pillow early, and avoid caffeine and alcohol so that you can get quality sleep.


Find what works for you

“Each individual knows his or her body best,” . “One remedy may be great for one person but useless for another.” Figure out what works best for you and don’t be afraid to try new strategies as your body or dance schedule changes.

Original Article at dancemagazine