Gift giving should always come from the heart. BUT since you asked.....
How long have you been with this instructor? Just started, I would say maybe not. Been there for a year or more, like what you are learning - why not a gift card to the local coffee shop or Subway? If you like to bake, some cookies would be nice.
I don't think you need worry about the 'emotional side of dance' until you have mastered the basics. You say you have been only dancing a few months so work on the steps, footwork, posture, turns and walks before worrying about anything else. Arms in latin can be very expressive but they take work not to look mechanical. Often women don't want to put the work in. Your 'inner tigress' can be released when you can dance.
One of the earliest books written on the Technique of Dancing was in by a Thoinot- Arbeau published in 1588 called Orchesographie. He incidentally was a priest. It wasn`t till the Seventeenth century when Louis X1V founded his Academie Royal de Musique et due Dance that hard and fast rules for the execution of each dance were laid down. Ballet Technique lingered on for two centuries until the Victorian Era. Its pretty safe to say that somebody in all that time must have used a Viennese Cross in a Reverse Movement. If you asked who introduced the Double Reverse Spin. Or the Throwaway Oversway. Or the Natural Turn in the Waltz. These are all well known.
Who on earth told you that Tempo doesn`t matter. You can find the correct Tempos by going to Dancesport USA. U.K. or Dancesport Australia. Any Dance music recorded by the leading orchestras will be correct. A Foxtrot for instance will be played at 30 Bars per Minute with a 4 Bar Introduction. From there on it will be 8 Bar Phrased. Think of it this way. Each single page of a book represents one bar of music, There are Eight pages to each Chapter. There are usually Eight Chapters on a disc. Which is of course 64 Bars of Music. Each bar of music has four beats. The Waltz has three and is played at the same Tempo as the Foxtrot. Latin. If this is played too fast the first thing that would go is the correct movement of the hips. Rumba is 25 Bars per Minute. This is only the beginning. There is a lot more than meets the eye in understanding correctly played Dance Music. If you don't understand what dancing in Rhythm as well as dancing in phrase means. Then find out.
Re: waltz Posted by ladydance 12/9/2013 1:16:00 PM
It is too fast for a waltz but will work as a Viennese waltz. If you're really good, you could pull it off. Difficult to stay on beat otherwise.
The following was written by a band leader who also dances:
Here are the rules that in spite of my best efforts MOST of our local bands seem to use for dance gigs:
1. Tempo doesn't matter. The dancers will deal with all tempos somehow.
2. Since tempo doesn't matter, NEVER use a metronome to set time in a dance tune. Using a crutch like that will just make you look bad. ALWAYS set the tempo from the seat of your pants. Anything else will damage your ego.
3. The drummer should always play dance tunes using the style of drumming he's most comfortable with. For example a nice 4/4 swing beat really works well with all "latin" numbers.
4. It works even better if you play in a jazz style with all tops and no bass drum at all. Let the dancers listen to the hihat to get the beat.
5. Remember that there are only two kinds of music: The stuff the band always plays and "latin". Any "latin" tune will do. A couple of generic "latin" numbers for the evening ought to keep the dancers happy! Bossa Nova is always a good choice.
6. Always end the dance with some super fast rousing swing tune. That will end the evening with a nice bang (and make sure you never get hired for a boring dance gig again).
7. Even better find a cheap hall and start holding "dances" yourself. Don't worry. Any cement floor covered with sticky "old people wax" will do. Hell, the "premiere" "dance club" in our town regularly holds "dances" out on their blacktop and don't even bother to sweep the stones off. (the wood floors out there are for people to stand around on with their drinks). The best thing about holding your own dance is you can tell all the damn hoofers who $%&*@! about your music to piss off.
8. And Oh yeah, never forget: Tempo doesn't matter.
nloftofan1: Thanks much for sharing your thoughts. I'm still confused.
I guess the safest way is to ask the prospective DJ or band leader if they understand that ballroom dance music has a different dance style than non ballroom dance music (i.e.country for instance). Or perhaps to just include a listing of dance styles (i.e. foxtrot, waltz, tango etc.)will be less confusing. ????
"Rhythm" has a perfectly well defined meaning. In simple terms, it's the patters of slows and quicks. I'm not quite as certain about "style," but it may refer to the character of the type of dance (for example Foxtrot and Tango may share some foot positions but if you dance them properly they look different).
Of the two terms you mention, "dance styles" may be a better terminology. Or why not just say "dances"? It all depends on what concept you are trying to convey to the bands.
I want to know how to not just know the steps, but also how to play up the emotional drama of dance.
This discussion was started on a thread about falling for your dance instructor. I've only been dancing for a few months and as someone new to the scene, I was totally blind-sided by the emotional side of dance. I didnt realize that there was an emotional game going on where dance partners (and in particular dance teachers) were using manipulation to keep dancers coming back. I fell for my instructor at first because I believed the act, but after going on the previous thread and understanding what was going on I realized that I wasnt in love with him, I was in love with the way he was making me feel. Now that I know, I'm not at all put off by the fact that it was just dramatic play (AKA emotional manipulation) because this game sounds like much more fun than trying to have an actual relationship with my dance teacher! So, now I want to know how to play the game. So far I've been the sweet, shy, unsure of herself elementary school teacher. I want to get in touch with the tigress inside. So, help me! How do I play the game (without getting hurt or hurting anyone else, of course)?
As a ballroom dance chapter president, I am responsible to select DJ's or bands to play for our Ballroom dances -- I make all prospects aware of the music that is mandatory to play at our ballroom dances. I use the term ballroom "dance rhythms" and typically identify the dances (waltz, foxtrot, rumba cha cha, ECS, WCS etc) that I want as primary and played more often than those I classify as secondary (samba, salsa, bachata, VWaltz, quickstep etc.)for the evening. I was recently advised that the use of "rhythms" was not correct but that I should use the word 'dance styles' --- Your thoughts and help Bob Romeo
I also think VenusRose's question is very important. If someone would reply in a new chain as not to derail this one, but both I would follow avidly as someone who is trying to get into dance and thinking of one day trying pro.
This has been extremely helpful! As someone new to the scene, I was totally blind-sided by the emotional side of dance. Now that I understand what's going on, I don't feel confused and embarrassed any more. I've realized that I'm not actually in love with him, I'm in love with the way he made me feel. Now that I know, I'm not at all put off by the fact that it was just dramatic play (AKA emotional manipulation) because I'm not actually interested in developing a real relationship with my dance teacher. This game sounds like much more fun! Two can play at this, and I want to know how! So far I've been the sweet, shy, unsure of herself elementary school teacher. I want to get in touch with the tigress inside. So, help me! How do I play the game (without getting hurt or hurting anyone else, of course)?