6th HKBDFI Cup

Posted on April 20, 2017April 20, 2017 by admin

6th HKBDFI Cup

The BDFI International Director & Hong Kong Ballroom Dancers International (HKBDI) President, Mr Lawrence Chan, has been organising and assisting over 70 days of Ballroom & Latin-American competitions since his first competition on 11th April 1993 (1^st Come Dancing Cup). The 6^th HKBDFI Cup on 9^th April 2017 was a memorable, special and unique moment for him as it was the first time he organised a competition on his birthday!

100 solo dancers and 84 couples had entered on this day. This was exactly half of the overflowing entries to 18^th Best of Best HK Open DanceSport Championships organized by Lawrence on 25/12/16, alleviating Lawrence’s pressure of timing the events in a smaller venue at Hotel Regal Riverside Ballroom. He felt blessed and delighted with the spectacle of quality dancing on his special day.

Three best of best Pro-Am couples in Hong Kong – Qing Shui & Angel Kwok, Yu Lan & Amanda Lau, Lau Suk Yee & Chen LingJun, danced a Waltz tune of “Happy Birthday” to create celebration mood and electric atmosphere during the evening dinner party, on top of the three Grand Finals – Open Professional Latin, Open Amateur Latin & Open Professional Standard, and some ceremony of HKBDI. The 7^th HKBDFI Cup will be held on 1^st April 2018.

Result

	Open Amateur Standard	Open Amateur Latin	Open Professional Standard	Open Professional Latin
1^st	Johnston Lim & Nicole Tam (Malaysia)	Declan Taylor & Victoria Akhurst (Australia)	Michael Reilly & Amy Reilly (England)	Anton Shoev & Patrizia Ranis (England)
2^nd	Dovano Bacani & Chow Cheuk Ying (HK)	Cheung Cheuk Him & Ho Hei Man (HK)	Tamai Hidetake & Saya Ishii (Japan)	Tamai Hidetake & Saya Ishii (Japan)
3^rd	Wang Lei & Christita Ng (HK)	Johnston Lim & Nicole Tam (Malaysia)	Hong Chung Kin & Wong Chun Loi (China)	Bernard Lim & Carmen Choo (Malaysia)
4^th	Lan Yu & Amanda Lau (HK)	Oscar Ng & Kitty Kong (HK)	Edmond Zhao & Judy Hsu (Malaysia)
5^th	Lee Lam Yin & Pak Wai Sze (HK)	Choi Ting Fung & Chau Yinn (HK)	Zhang FengXin & Anna Leung
6^th	To Kam Yuen & Lee Chui Bik (HK)		Emmanuel Reyes & Rebecca de Leon (Philippines)

Gallery

US Congress at the Embassy – 2016

Posted on October 26, 2016October 26, 2016 by admin

BALLROOM DANCERS FEDERATION INTERNATIONAL CONGRESS at the EMBASSY by Hazel Fletcher.

Chairman of the BDFI Greg Smith opened the BDFI congress held in the Ballroom during a break between competitions on the second day of the 5 day festival at the Embassy Championships, Irvine, California. The format was 4 lectures in Ballroom, Latin, Smooth and Rhythm.

Text by Hazel Fletcher

First on was former American Rhythm Champion EMMANUEL PIERRE-ANTOINE lecturing on AMERICAN RHYTHM.
Emanuele is originally from Haiti and now lives in New York. He retired recently after a successful career with several different partners, the last one being Liana Churilova.
Emmanuel’s credits are =
3 x UNDEFEATED WORLD AMERICAN RHYTHM CHAMPION
2 x AMERICAN RHYTHM NATIONAL CHAMPION
8 x ARTHUR WORLD RHYTHM CHAMPION
BEST OF THE BEST AMERICA’S BALLROOM CHALLENGE CHAMPION
2 X AMERICAN RHYTHM SHOW DANCE CHAMPION

His title was ” AWARENESS AND CONSCIOUSNESS OF BODY MOTION FOR THE PURPOSE OF SELF-DISCOVERY.”

Emmanuel started with explaining that as a rhythm dancer, he thinks it is all about bones, joints and muscles. He asks himself what “What makes me move?” “What is the first thing people see when you walk on to the floor?” The answer is posture which is all about bones, and then to create balance the connectivity of joints comes in. Muscles are when you want to move. He used a couple of analogies – “The bottom of a tree is solid and the branches can always sway in the wind.” “The key of the car is his brain to tell the engine to move the wheels.”
A dancer who is not connected to the floor with his feet does not really understand. He explained what he feels is the difference between contact with the floor and actually “feeling” the floor. Next one needs to be “Present” in the body, connecting with the music and then the partner.

Emmanuel Pierre-Antoine

The importance of understanding the difference between tension and tone. Emmanuel believes too many dancers are over tense in the upper body, and also not toned enough in the feet. It is important to know the difference between relax and release! Tension should come from the bones in the feet.Tense connection through the feet from the floor then toned muscles in the body is the correct preparation.
Rhythm of the body must always precede the timing of the moving foot and there should always be a difference of tension in the standing foot and the free foot.
“Parity of opposites” – If the free foot needs to move forward you need to understand what moves back first.
Feet should always stay under the hips to be able to create rhythm.
Emmanuel believes the pressure of truly understanding your body and the mechanics of moving the body takes a long time to really understand. – Dancing is internal – What you see is only a projection of what is actually going on inside the body.
He feels there are 3 centres of the body, the centre of the emotion, the acceptance to the music and the centre of the silence.
Every time you dance with the partner you should be aware of the difference between connection and contact relating to hold. Then what kind of relation does one want make with the partner, then with the floor, and then with the the music.
This is just a summary of so many excellent tips that could also be applied to Latin.

Next on was MAZEN HAMZA & IZABELLA JUNDZILL with a lecture on AMERICAN SMOOTH.

Mazen Hamza & Izabella Jundzill

Mazen was born in Lebanon. He moved to America at the age of 4. He grew up mainly in Dallas, Texas, where he began his dancing in the collegiate ballroom dance team. He has danced for 20 years in American Smooth, International Ballroom and International Latin. His best achievement was winning the World Professional Smooth Showdance Championship in 2007. Izabella commenced dancing at the age of 6 in her home country of Poland. During her dancing career in Poland she won many prestigious competitions in International Latin and International Ballroom. In 2004 Izabella moved to the U.S.A. She won numerous Showdance competitions and was an Open International Latin finalist on many competitions. In 2009 Izabella began her professional partnership with Mazen Hamza in the American Smooth style of dance. Since the beginning of their dance partnership, they have ranked in the top three at the national and World level. Currently they rank 2nd in the Nation and in the World. They were one of the U.S couples that danced in Blackpool in May 2015 and 2016 bringing Smooth for the first time to Blackpool during the British Open festival.

“BEYOND STEPS” was their title.

Mazen commenced with a thought provoking quote from Michael Barishnikov = “The body does not lie, you cannot be somebody else onstage no matter how good of an actor or dancer or singer you are. When you open your arms, move your finger, the audience knows who you are.”

He stated dancers need to train themselves to work on the techniques learned for years and all the physical aspects of dancing. The clarity of action practiced for hours can then allow the performance aspect to develop.
Mazen and Izabella believe in telling a story through what they choose to do. It is a priority to “touch” people emotionally in specific ways.
He suggested first determine a set of steps, a routine and then ask yourself what is the meaning of what you want to show In order to produce a real performance. You have to work on the Man/Woman aspect and need to show on each step your individual roles.

They used a piece of their Waltz choreography repeatedly showing four different thoughts under the headings = Me, You, Us, and the World around us.
“ME” Firstly danced with Mazen dominating but also understanding the difference between the lady being the supporter and not just being inferior.
“YOU” Then with the Izabella being the main feature.
“US” where they met in the middle and related more to one another.
“WORLD AROUND US” They then danced as a unit sensing all around.

Too much of one thing becomes monochromatic. It is about using different texts, the couple should decide before on which steps they use the above story lines. The illustration was then danced with Mazen calling out “me, world, us, her, us, etc. The combination of the ideas creates more interest leaving the audience wanting more, wondering what happens next and also keeps the dancers on their toes!
A quote from Don Miguel Ruiz “Relationship is an art. The dream that two people create is more difficult to master than one” was the final piece of advice before they finished their lecture with a Smooth Waltz demonstration highlighting all the facets they had lectured on.

KLAUS KONGSDAL was next with a Latin lecture.

Klaus Kongsdal

Klaus hails from Denmark. He started dancing at the age of 2 as his grandmother told his mother it was time to enrol him! He moved to London in 1995. He danced with Mette Georgio for 4 years and they won the Worlds under 19 Latin, and then he danced with Viktoria Franova for 13 years. He has lived in Denmark, London and Hong Kong and now resides in London.

Klaus’s credits include =
Finalist in all major LATIN championships as amateur and professional.
European Champion and 6 times undefeated Danish champion.
Serving on the board of WDC education department.

His lecture title was “WHAT, WHEN, HOW and WHY”

Klaus explained his background. He originates from a small country with only 5.5 million people. He acknowledged that a considerable number of Danes have become Champions at the highest level. He explained that is partly due to as a nation they are a very organised people. Debatably they are rated as No 1 of the happiest people in the World! Klaus said they like to have organised fun and always search for creating a system out of everything. Striving for depth is what he believes has produced so many great dancers from Denmark.

“What” relates to what we do which is an action – stretch, bend, twist, travel etc.
What we do should take for 90% of the practice time.
“When” relates to timing – Mans body timing, woman’s timing and how to fit that together.
Changing direction. He used a couple to showed a simple back basic, never really move at the same time is his teaching. The man moves first, the lady moves later and yet they should arrive together. He thinks many of the arguments between a couple of “too heavy or too light, pulling or pushing” can be fixed with relating to understanding each persons timing.
“How” is to do with the energy of the step…. Every movement has a sense of energy and dynamic.
Slow/quick, sustained/sudden, bound/free, direct/flexible, light/strong.
Klaus then reintroduced the couple to demonstrate the same mechanics but with varying energies.
“What and When” has no style, it is always mechanics. Studying mechanics feels like setting up boundaries.
He thinks freedom with boundaries works, and freedom with no boundaries creates chaos.
“WHY” is about something to say…. Intention, the more choices you make the more personal your style becomes.

Rather than counting simply numerically it is best to sing the rhythm.
What is the story between man and woman – Idiosyncratic, (unique to the individual).
Closeness, touch, the passing, the following. Klaus talked story lines, very similar to the previous Smooth lecture.
Study first over and over. If your What and When are not truly in place you cannot get to How and Why.
Knowledge creates freedom. The more you know the more you have the possibility to create your own individual choices.

ARUNAS BIZOKAS & KATUSHA DEMIDOVA

Arunas & Katusha

Arunas and Katusha both started dancing at the age of 7. Arunas was born in Lithuania and Katusha in Russia. They now reside in and dance for the USA. After previous successful partnerships they started dancing together in October 2007 and immediately became an unstoppable force. After only one month together, Arunas and Katusha swept the Ohio Star Ball Championships, and then two months later participated in the UK Open Championships where they placed second amongst all the best dancers in the world.

Arunas and Katusha won their first World Professional Ballroom Championship title in September 2009, after dancing together for less than two years. Arunas and Katusha are also reigning International, UK, and British Champions and have been undefeated for 7 years.

Their subject was = “HOW WE APPROACH THE COMPETITION?”

They shared the secrets of what they have done to culminate in their wonderful successful career. This was summarised into 3 points of view.
1. Ongoing development and the attempt to improve what they do on a daily basis.
2. In the lead up to a major competition the intense preparation which includes dancing “rounds” without stopping as necessary during a competition. Then analysing feedback from each other, plus receiving opinions from the experts. This is generally for a month before the majors.
3. The day of the competition their check list = visual aspect of how they look, then the quality of the movement and then how to connect it all to the music.

Arunas said their first priority is Balance. They need to feel flexible and comfortable together. They
danced a Foxtrot Feather and Reverse without music to show how they need to be balanced together and can pause between steps and must always be in perfect balance and harmony individually and as a couple.

Choreography – they explained they must not be slaves to their routines. They have structures that can change depending on other couples, and how they must always be available to change direction and timing at any given moment.

They explained it is important to them how the figures flow together. Also too many same speed figures merely create an impression of monotony.

Quickstep they found with too many syncopated chasses they felt they could not produce their best action, so they need to be flexible to change. With trial and error they find what suits them best.
Choreography – they explained it can change from when there are many couples on the floor and then how it may be different when only 6 or 12 couples are on the floor.

Floor craft. They asked 10 people to come onto the floor and move around. They danced Waltz constantly having to check and change their routine and direction without ever stopping and it was really an education for those aspiring dancers who are often slaves to their routines. They explained “It must still look good when others are in your way!”

Finally on the day of the competition they both have their own set of exercises. Katusha explained that they have no idea what each other does in that way as a preparation. An hour before they dance they will go through their routines, side by side, not in hold and simply visualise how it is going to look when they will compete together. Then just before going on the floor, they take hold and do just a few figures together.

Their excellent lecture was finished with their Tango demonstration which earned them an immediate standing ovation not only for the brilliant performance but also the gems of secrets they shared with those lucky enough to be present. It was most evident why they are such supreme Champions.

Pictures

By Mark Luftig

BASE – Committee meeting – June 2016

Posted on August 15, 2016August 15, 2016 by admin

BASE COMMITTEE MEETING June 2016.

The list below from L to R is: Nicola Nordin, Stephen Hillier MBE, Janet Gleave, Hans Galke, Denise Weavers, Jukka Haapalainen, Lynn Harman, Michael Barr, Carmen, Kenny Welsh, Hazel Fletcher, Espen Salberg, Loraine Barry, Colin James, Alison Fulham and Meryem Pearsson. Missing from the photo but fellow members of BASE are Richard Gleave OBE, Anthony Hurley, Evelyn Hoermann, Caterina Arzenton and Peter Eggleton.

This meeting followed the British Open Championships In May 2016 and this is a summary of the .
overall opinion.

The committee were in total agreement that in both Ballroom and Latin competitions, Professional, Amateur, Youth, Rising Star and Senior dancing was superbly outstanding in depth.

MUSIC

The music from the Empress Ballroom Orchestra gave a wonderful performance all week, which included new tunes and some exciting and different rhythms. Arguably the orchestra is considered one of if not the best orchestra in the world for Ballroom and Latin dancing. It was thought that if some authentic instruments pertaining to the character of the dances being played could be also included it could enhance the music even further.

GROOMING

Tanning make up from more than 50% of the competitors was considered totally unbecoming. Colours from Green, Dirty Bronze and Black were commonly on show, which it was agreed did not enhance the look of the competitive dancer. Mens latin shirts began being discoloured too often creating a very dirty look on the floor. Competitors should keep this in mind as rewards could be gained if this distraction was not evident. Men wearing lipstick was also considered to be a little strange!!!

HYGIENE

Certain aromas for a number of reasons continue. It was felt that should this continue then the audience and adjudicators alike may wish to say something which could be passed onto the competitors causing embarrassment all around.

LADIES SHOES

It was thought that many of the ladies shoes were dirty and had worn out heel tips which looked messy. We have been informed by a major dance shoe manufacturer the ladies heels no longer have a nail in the centre that can damage a floor, therefore alleviating the necessity to have heel protectors!

LADIES INAPPROPRIATE UNDERWEAR

There was much concern that a few of the Latin ladies wore underwear that was revealing slightly more than was necessary. Maybe if those ladies were made aware that it is in bad taste and considered to be improper behaviour they would rethink the cut of their costumes. It was felt that the Latin Ladies could learn something from the ladies who dance Exhibition. Those ladies are to be commended for the way their brief costuming allows them to show everything, but nothing!

TAIL SUITS

As far as we know other than the competitors, no one else likes the present fashion of skin tight arms and body. The thought of it takes us back a few years when the Latin competitors wore cat suits! We have a varied opinion of expert Latin and Ballroom opinions on this committee. All of them are unanimous in the thought that a proper tailored jacket would create a more elegant image, thus enhancing the characteristic of the Ballroom style.

BALLROOM ETIQUETTE

Definition = “The customary code of polite behaviour in society or among members of a particular profession or group”. The committee agreed that unfortunately proper behaviour was not adhered to during many rounds of the Ballroom and Latin competitions and especially in early rounds at times a rather rough attitude of several competitors to each other was very noticeable. In Ballroom there were elbows cutting across fellow competitors throats! Often people sitting in the front row seats being threatened by stationary lines which for some obscure reason could not be performed other than, on top of some one sitting down? Hands were taken out of hold to push other competitors out of their way. This occurred in Latin as well. We feel that the competitors should be made aware that this does not go unnoticed by the adjudicators. In the Latin style many of the competitors almost fight for the space at the end and edge of the dance floor, thus resulting in a competition as to who can stop the other from claiming edge of floor presentation. We feel this could be considered invasive of both the adjudicators space and that of the audience sitting in the front row. How embarrassing is it to stop some one in the audience from having a clear view of other couples whilst having hips gyrating not only at face level, but in their faces!

In conclusion it was thought that a complete package would have far more beneficial advantages if attention to detail was endorsed regarding costumes, clean shoes, tan, hygiene and etiquette.

The committee applauded the British Open Championships for including the Jive from the first round for many years. It was thought a shame that not all Championships throughout the International dancing industry also include it from the first rounds, although we do understand time constrictions play a major part in deciding when or if the Jive should be included. We feel the Jive is an integral part of the Latin competition, therefore should be equally valued. A letter was sent to Sandra Wilson from the committee that we have the greatest respect for the traditions of the British Open Championships held in Blackpool. We therefore feel the Jive should remain in the Championships from the first round, unfortunately we have since heard that will not happen in 2017.

BASE Press Release

Posted on May 4, 2016May 4, 2016 by admin

BASE PRESS RELEASE

These are the findings of the inaugural meeting of BASE (Body for Artistic Standards of Excellence). This is a body of experienced Professionals formed as an independent group not connected to any particular organisation. The meetings are for discussion and sharing of opinions for the betterment of our art form to uphold its values and offer helpful information and free advice of our accumulated experiences.

A situation regarding the recent British Open Junior Championships was the first most interesting item. The winner of the Juvenile Ballroom Championship apparently repeated only an 8 bar dance routine in all their dances which astounded the judges and the audience alike due to the total package of quality, technique, musicality etc. Such was the excellence of their dancing that they were asked to do an honour dance after the result. This was the very first time at these Championships that a Juvenile competitor presented a demonstration and what a delight it must have been for them. This is most commendable proving that is was not what they did but how they did it.

The next topic was the use of “Head Rolls” and the “Ironing Board” Step in the Ballroom Dances! The use of “Head rolls” and the laying of the ladies head on her man’s shoulder is a relatively new fashion that is now deployed by many couples.

The “Ironing Board” step nicknamed for its picture of the lady creating a horizontal line from her head to her toe kicking her inside leg high outside the man whilst leaning back means that she has no longer retained the correct body contact with her man. All of these figures the Base group agreed that they find undesirable effects demising the classic beauty of the required silhouette.

“Excessive use of syncopations” in all Ballroom Dancers is creating a look of “Running” around the floor. This has somewhat demised both the individual characteristics of the dances and the restriction of having “time” to display precision and beauty of the use of the feet.

“Is Samba losing its identity?” Agreed opinion is that Samba is the Latin dance that is removing itself furthest away from its’ characteristic intentions. Activity and dynamics are replacing body rhythm and the wonderful expression of a Samba pulse, tick and bounce action. The general consensus of opinion is that the understanding and use of Samba music together with its various rhythms & nuances requires the dancer to coordinate feet, knees, pelvis & body. This will help to enhance the flow of movement. Sadly due to the demise of the use of foot action and to a certain extent some choices of choreography the dance has become flat and characteristics are lost.

The topic of “Untidy Footwork” was the final debate. Many valid points were raised by all present = Weight in feet, pressure, tracking, shaping, emotional awareness of both the standing foot and the free moving foot, timing, articulation, synchronization of 4 feet in the partnership; the use of the standing foot and then the continuation of dancing through the standing leg should be a priority in all 10 dances. Someone once said the dancer should “Show on their face what they should be feeling in their feet!” As a related point to this topic the mention of the present fashion of a lack of stirrups by the male Latin dancers certainly does not help. Even on the best dancers good footwork can appear most messy and untidy when the trousers are flapping up and down!

Action and timing should create the character which should be the BASE of everything….

UK Congress 2016 – Part 2

Posted on April 12, 2016April 12, 2016 by admin

UK Congress 2016 – Part 2

‘An Audience With Anthony And Fay Hurley’

by Jack Reavely

The great John Kimmins and Greg Smith were in their usual roles using questions galore during ‘An Audience With Anthony and Fay’ and whose combined knowledge of dance and its requirements is mesmeric.

Greg paid tribute to the magnificent assistance which John gives so that the Congress and Audience With are able to be organised … we are all very lucky to be able to bask in the ambience of the surroundings and are to be given an insight, into both the production of top class dance, and also through the Interview a glance back in time to some of the golden moments enjoyed by Anthony and Fay …

Although Fay was unable to travel the long distance from Australia, where she and Anthony now live, the magic of DVD filming was magnificently presented by the BDFI fanatics, as they arranged questions and answers to be filmed in Australia and transported to the BIC for everyone who attended to see and it was wonderful to see and hear Fay, to whom we all send our very best wishes … One part of the film showed her sitting comfortably on a sandy beach, showing a blue sky and a warm sunny day … it was freezing cold outside the BIC, but the warmth from Anthony and Fay today made everyone glow with anticipation and eager beavers were not even trying to hide their excitement.

John Kimmins, Anthony Hurley & Greg Smith

encouragement and assistance that I started scribbling notes about dance … he even gave me a typewriter which I used for so many years, that it is now an antique. Another couple were winning all the competitions all the time and Tony and Fay gritted their teeth in some frustration, wondering what they

In 1960 they were married and won their first Amateur British Open Amateur Championship at Blackpool … the thrill of thrills … at that time they were taking lessons from Frank Alback, Elsa Wells and Josephine Bradley and the cost for a half hour was sixty- two pence in today’s money … very expensive don’t you think? For example with the ultra famed Josephine they had to learn to walk round the floor, both solo and also together and learn how to use every part of each foot, so that they looked sophisticated and under their control … as well as using them also to induce rise and fall … they were not allowed to stray from parallel floor boards, so that they practised what they call foot tracking … an essential for dance Champions to acquire … and they also had to learn just how vital the use of ankles was, if they wished to climb the ladder to utter fame.

The fantastic sound of Billy Ternent and his superb dance orchestra filled the air as Tony walked to the stage … John Kimmins and Greg Smith were singing “Aussie, Aussie, Aussie”, as they watched the film and it was John’s amazing assistance, which made this terrific interview possible … Thank you John and don’t blush too much … you deserve praise from all dance lovers world wide … The famed Arthur Murray studios world wide are lucky to have John as their president and we are lucky that he eats, sleeps and lives for dance … I can hear Fay saying in the Gold Coast … “It’s a hard life folks, but someone has to do it and why not me” …

Fay started dancing at the tender age of 21⁄2 and she did ballet and tap and the Ballroom … She danced her first com- petition, which was an All Girl and with her partner Mavis they won … Tony Collard was her next partner and with him, she won the great Star Junior Championship … This was a fantastic event and one of the venues was the Earls Court Arena which was simply fantastically presented. Tony started late … he was all grown up at six years of age … His mum was a Professional and in his early days, he did lots of ballet and tap … he said that when he was at his peak as a tap dancer, hefelloffthetapinthesink…He reckons, quite rightly, that the early training was of great assistance to him and helped his future in Ballroom events, and also in Latin. In 1952 Tony danced with a young lady called Pamela Curtis, who herself came from a great dancing family. They went to a wonderful man called Frank Alback for lessons and also a famous Champion, Wally Fryer … gosh my memory bank can see both of them and believe me, they were ultra famed and in fact Frank became one of the greatest friends I ever had, and it was through his encouragement and assistance that I started scribbling notes about dance … he even gave me a typewriter which I used for so many years, that it is now an antique. Another couple were winning all the competitions all the time and Tony and Fay gritted their teeth in some frustration, wondering what they could do, to close the gap and beat them … Guess who the other pair were? … No less than our Len Armstrong who at that time danced with Elaine Welch and they were a formidable team indeed. Tony decided that many top expon- ents were wearing watch chains so he thought perhaps, as he wasn’t, if he acquired one and wore it then it would make such a visual difference, that he could win … it didn’t change anything and Len kept winning … On the day of Tony’s 15th birthday there was a competition at Richmond … the result was announced and Tony and Fay had at last beaten Len and Elaine … To Tony’s utter disbelief, the next day he received a phone call, telling him that there had been a scrutineering error and the winners should have been Len and Elaine … They gave the trophy back to Len …

The Star Championship day came along and that was one of the major events, with no less than four orchestras, playing from early morning to late in the evening … Tony’s eyes glazed over as he spoke, so affectionately, about that simply wondrous day of dance

Hugh Carter, himself a Euro- pean Professional Champion suggested to Fay that she should have a try out with Anthony … “But he is still a Junior” said Fay. Hugh replied that he was ultra promising and Fay agreed to the try out … Fay saw the potential and they teamed up … According to Fay, after sixty-one years she is still giving him a try out … Fay’s mum and dad bought a hairdressing salon for Fay as she was a hairdresser and Tony decided after being used to sweep up and look after the premises etc to himself qualify also … and he succeeded and tells us that he was rather good at it too … no end to the talent eee? grrr …..

Then they went to a famous exponent, Henry Kingston, who was rapidly making himself in such demand as a coach of eminence, that couples even took lessons at midnight, so that they could avail themselves of his expertise … Tony says that Henry was different and clapped his hands to show timing, instead of talking it out … It was all about rhythm for Henry and he became a great mentor to Tony and Fay and many other couples. Henry himself was a Professional Champion, and I remember vividly that he wore shoes which seemed heavier than most, and they always attracted my attention. Henry’s wife and great partner was Joy Tolhurst and they were a married couple, whose daughter Cherry, had the privilege of dancing with our Len Goodman.

1960-1962 Tony and Fay won almost everything, including the 9 dance Championship and their most special win for them, was that first British Amateur Championship title.

A lovely reminiscence of which Anthony is extremely proud is that he was a teacher to both Greg and John … Greg was dancing with Marion Alleyne who eventually partnered and married Kenny Welsh, and in one lesson, our Greg, wildly anxious and so fervent, spun our Marion outwards and she lost balance and her knees crashed to the floor … Greg decided that today was the right time, so he apologised profusely to Marion, who perhaps privately replied it was ok as it made her knees much tougher for all the competitions to come.

As for John who was dancing with Carol Kimmins, Tony tells everyone that poor Carol was no wilting flower … no fear, the sun- shine in Australia had ensured that she was a rejuvenated lady of dance, whose carriage and superb mid body tone also carried in her ability to give poor John ‘the look’. At that time John struggled to discipline his left arm position and was continually told “You won’t win the British with that left arm position”. Carol would merely give ‘The Look’ without speech and instantly John would at least know he was once again transgressing … Eventually Tony showed John a film of his dancing and as soon as John saw it he said, “Oh dear” or words to that effect, and he fixed the arm because he was convinced by the film.

As the interview continued we were treated to Fay on film and Anthony on stage, to laugher and tears too, of nostalgia and of course Tony is and has always been utterly unafraid to voice his opinions … His sense of humour was lovely.

Hazel Fletcher reluctantly joins the stage

“We all did Latin you know” Tony said and he cajoled the great Hazel Fletcher to the stage without prior notice … on she came and without any rehearsal, Hazel followed as if it was her routine … simply marvellous and Tony I am sure congratulated her and thanked her for being braver than the brave.

A very clear film of some of the 1960 Star Championship was shown and the commentary was by the great Peter Millen ex manager of the Hammersmith Palais, who so encouraged good Ballroom dance at that famed venue.

On one great occasion when the Anglo-Danish team match was a great highlight of the dance year, the British Team travelled to Denmark and they were bowling along on a coach, with lots of luggage and bags tied on the top. They checked and a case had been lost … everyone looked to check and it was Fay’s case … The eagle eyes of Michael Houseman travelled to a river which flowed nearby and he yelled “There it is, floating down the river”. Eric Donaldson, a great dancer and a paratrooper during his army service said “Leave it to me” and he leaped over a wall to get to the river and landed in two feet of snow … he looked like Father Christmas, but the case was rescued. At one time Tony and Fay had to make a decision between paying the milkman or using the money to have a lesson .. the lesson won and the poor milkman lost out for a small time.

After turning Professional their first event was the Midlands Championship and they made the Grand Final and were delighted to come 6th in a great quality event … the winners were that wondrous pair, Benny Tolmeyer and Sylvia Silve.

In 1969 Anthony and Fay won the British Open Professional Championship at Blackpool after a monumental struggle, with the couple who epitomised sheer elegance, Michael and Monica Needham … it was very close and required a tie to split by Rule 11. Fay of course came to the stage at the BIC throughout the day and her thoughts were eagerly swooped upon and digested by the audience from the TV screen.

Tony then lets us into a wee secret that he was friendly with the band leader at Blackpool, whose name was Charles Barlow and Tony asked him what tunes he was going to play on the Friday evening … Charles said “Do you have some favourites” so Anthony instantly named them and they were played … Mrs Ida Ilett was the organiser at Blackpool and she knew everything that happened during the festival … She went to Tony after his win, and retiral and said “You’ll be judging next year but, as a judge you won’t be able to choose the music” … Tony was mystified as to how she found out, and still is.

Some pointers from lessons taken by Anthony and Fay … Victor Barrett the great exponent, whose lovely partner was Doreen Freeman, influenced Tony and Fay a great deal. He was a lovely leader and when he danced he said that the lady should feel your inner emo- tion and also your feel from inside the music you hear. Josephine Bradley the ‘Pioneer’ was a stickler for progression on a straight line and she always said that she liked to see what you left behind your body as a leg line … Henry Kingston was great on inventing new groups and he gave you fabulous con- fidence in your own ability … Sonny Binick gave magnificent lessons and Tony always checked Sonny’s ashtray and, if it was full, you received a great lesson. Sonny could see the problems you had, before you even mentioned them, and his explanations were simply terrific … Sonny always said you must listen to the melody and the music and go with it. Eric Hancox … you sometimes have to visit for lessons from someone you feel is perhaps not quite right for you … Tony had not been for a lesson, but kept getting marked sixth by the famed Eric when all the others were marking him first … Off he went for a lesson … Eric instantly

said “I expect you are here to find out why I mark you last in Tango?” … “Yes please”. “You use far too much physical energy” … For two hours, the Tango was broken down and analysed … next competition they lost the Tango … but they had been warned by Eric to persevere and they did … took six weeks to gain the action etc which Eric had demanded, but suddenly it all felt much better, as they coupled his reflex to Fay’s reaction and that is what was necessary. They retired in 1973, although Fay said that it was an extremely difficult decision to make. Josephine Bradley told them … “You may now call me Jo”. Gosh wasn’t that nice? and she insisted that Tony should stand for the ISTD Ballroom Committee and he was elected and then served on the faculty and assisted with a revision of the revised technique, to further clarify the famed aspects, which made this country so pre- eminent in the analysis of dance.

Anthony sharing his anecdotes

With Anthony’s major connection to the competitive world, he wasn’t quite satisfied mentally, so he stood down from the ISTD. Tony eventually became Chairman of the Ballroom Dancers Federation and he also worked like a trojan to get he BDFI floated, so that other countries could be integrated and it worked out magnificently. There were £10,000 in the bank when Tony took over and there was £250.000 when he left.

Tony and Fay had a great dance studio in Guildford and Tony was in great demand all over the world … all the girls always said that dancing with Tony was like sitting in a comfortable armchair … The great man says that a girl is a physical extension of everything he dances … and he reckons that he sees too much ‘open leg to open leg’ dancing today.

Fay completes by telling everyone the fantastic JFK (John Kimmins) was a wee bit wild in his younger days and when she was asked what makes a Champion, she replied “It’s the couple with the best movement”.

This proved to be a lovely interlude, prior to the commence- ment of the United Kingdom Cham- pionships and everyone was leav- ing the venue, with a smile on their face as they had been cascaded with so much knowledge, so much humour also and they received an insight into the minds of two of the greatest Champion Ballroom ex- ponents of all time … “Good on you Anthony and Fay” and we so hope fervently that we shall see you both, and talk to you, in time to come … You have given us today, a taste of the Australian sunshine, courtesy of John Kimmins who, with Greg, coped superbly with the fast moving interviews and they at times roared inwardly with laughter as you Tony deviated a little from the script… don’t all Champions? I am sure they do,

UK Congress 2016

Posted on April 1, 2016April 7, 2016 by admin

UK Congress 2016

By Jack Reavely

Everyone is greeted on entry with a gorgeous picture on a large TV screen of Anthony and Fay Hurley in lunge position …Anthony’s right hand position encompassing Fay’s backline and the style allowed Tony to enhance the dance, as it was impeccable in the time scale of dance progress. So, the scene was set and anticipatory relish filled the venue with ambience … Then the TV picture changes to a picture of Tony and Amanda Dokman … young, fervent and his glasses transmitted intelligence … in dance of course as he will show in his lecture as will also Amanda … the power behind the dance Prince, as are all the ladies of excellence.

Tony & Amanda Dokman

Tony and Amanda Dokman: So, the audience settle and the first lecture is announced as being Tony and Amanda Dokman. How could I know that I was going to be entertained, and also educated, by one of the finest lectures it has been my pleasure to attend. The sheer warmth, the undoubted terrific knowledge, the thrilling enunciation and the twists and turns were simply terrific. It was for me wonderful also that this young pair of exponents mentioned in many instances from where the information had come … from their previous coaches who had instilled into them some of everyone today.

They mentioned the ‘Moment of Truth’ as being so vital in dance and they explained many of those moments also that attenders were delighted to lap up the information. Very cleverly, they used visual aids as a means of transmitting much of the information and because of this, the information that they imparted was slotted into the minds of spectators as the aids were most unusual and will bring back the memory of the fundamental action that they were intended to emphasise, and they sure did … A large wicker basket appeared on stage, carried by Tony and it had in large letters on the side F and M … could it be the famous Fortnum and Masons? Well believe me, the lecture was just as succulent as is the famous food from that famous store in London. It was full and magical … the taste buds of dance were amplified and their efforts were magnificently presented … humour abounded, but did not mask the underlying and obvious ‘Moments in Truth’ in dance which they presented … Already it felt as if I had five numbers on the lottery and was waiting for a sixth … and along it came … Gosh … A tennis racquet appeared and Tony explained how it was a ‘Moment of Truth’ as it determined the outcome … It is the same in Golf or Football and even a pianist because pressure creates a different level of sound from the notes played. Then Tony produces a large basin and says that you should stand with both feet in it … and it is full of cement … then practice … don’t use your feet or your head weight or you will fall … You should then move your knees to go outside the bucket … practice one knee inside the bucket and one knee outside it and then change the knees over and do the same again … Already gasps of astonishment and glee were reaching my ears and the warmth being created was fun fun fundamentals … Practice as if you are moving from promenade position and again ensure that you use your knees … Tony yells that our knees can move diagonally forward, so you can have contrary *Bucket* Movement (CBM) … Information is cascading to the audience and surely they are allowing it to flood into their memory banks because, if they do and then if they try to emulate the illustrations given by Tony and Amanda, they could leap into much better contention, as they will improve their dance prowess.

Posture and movement from the great Benny Tolmeyer … he said he only used his knees to bend to go forward but not to go backwards, and by the way the use of the bucket was from the fantastic Peter Eggleton. Bobbie Irvine used to tie a man’s tie between his legs and yank the tie upwards … this ensures that the body did not drop and collapse and Tony and Amanda had great fun showing this to roars of laughter from the audience … Tony and Amanda say that a long body contact is essential and the man must not attack the lady from his top line … you must displace your base before you move your face and you must also keep a calm face, to transmit the character of the dance. Put a cup and saucer on your head … keep your head calm and dance without dropping the saucer. A torch was then used, tied to Tony and so that the beam showed clearly on the floor and he explained how it should when your knees move … such an informative lecture … they surely will become Stars of the lecture circuit, because they encapsulate exactly the requirements … ‘education and entertainment’ combined with the terrific undertone of giving beautifully clear messages, so that those who saw and heard them, will be able to attempt their recommendations … This is like finding a pearly reward in an oyster you open for lunch … they cascaded information as if confetti at a wedding … wonderfully … and their almost final words were “If you allow choreography to get in the way of the ‘Moment of Truth’ … it is no good” … I look forward immensely to this young couple becoming in demand world wide if they can continue to give lectures of this calibre … I congratulate them most warmly indeed … simply terrific.

Sergey Surkov and Melia

Sergey Surkov and Melia … ‘The Art of Partnering’: On comes ‘Houdini’ Surkov and Melia, and Sergey immediately announces that you have to like your partner before it can all work well … of course this means a love match between him and Melia as it sure worked for them and they gave some magnificent performances of Latin dance in Championships all over the world, and produced headaches to judges, as they were so good the judges had to contemplate them for the highest possible placements. Two active bodies are required and the frame must show a body set up to create a ‘presence’ on the floor. However, although you must retain the presence you must also discover and use freedom … As Sergey showed and explained this he transmitted as if he was a member of the Royal Ballet … and a top class one too.

Before you start any movement, you must have two bodies which are absolutely alive or it will not work … So the inferences are already quite clear and it is that postural maintenance, coupled to freedom, are essential if you wish to be in the ranks of top class exponents of Latin dance. The man should lead through the use of hands and then it was explained that the body must be used to create presentation and co-ordination and it all starts from body movement. The man’s body must activate first, before he dances his lady of Latin. The silence of footfall in the Rumba, which they now showed was superb and Sergey says that he always tries to fill up space with his body. The use of free foot positions shown, was, by itself, an object lesson for the production of sheer beauty … it was mesmeric and could and should inspire watchers to try to emulate and it is the combination of many aspects which creates excellence. Melia says that she always tried to be dramatic and to transmit that into visuality and an emotional transmission. Practising for excellence is rather like driving a car … timing, direction of your bodies … you must know your final destination and exactly what you wish to show and produce when you dance … How very true. Through the legs to the centre and up to the upper body you must use body motion and this leads your lady of Latin and ‘allows’ her to accentuate and emphasise the actions that you dance.

It is easier when one is active and the other passive, but you both have to show activity and it fills the musicality and the transmission of, for example, an emotional Rumba.

Tone Nyhagen was their main teacher and she so very sadly passed away recently and as well as a teacher, she was also their mentor … Their sadness still allowed them to give a very moving tribute to Tone’s memory and they said that without her, there would not be us … As a tribute to Tone, they danced a Rumba which conveyed nostalgic memories, sorrow, passion, speed and ooze which gave a beautiful conclusiveness and enhanced body structures. If Tone was able to see this, she will be smiling and shedding a tear too as did many of the audience … a sad but so warm memory was left and we think of Tone as young 1963 to 2015 but remember forever and a day.

Today’s dancers are so very lucky because through the hard work and courtesy of DSI-London, the two Congress lectures and the whole of the Celebrity Audience with Anthony and Fay Hurley is available for everyone to see and to relish. Don’t miss it and you too will revel both in the principles of Ballroom and Latin and also the sheer fervour incited by John Kimmins and Greg Smith will fill our ears and your eyes with so much historical information, which applies equally to today as it did in yesteryear … We must profusely thank Malcolm and Gerald for their continued fervour in using their equipment and taking the time to allow their films and also their streaming direct from the event to satisfy the eager requirements of those unable to travel personally to the events they cover. A record of performances is available for all to cherish and will give years of pleasure to those who purchase … Look for the advert in Dance News. I understand that, in addition to the streaming already done, DVD’s are available covering the competitions as well as The Congress and An Audience with Anthony and Fay.

HKBDFI Cup 2016

Posted on March 31, 2016March 31, 2016 by admin

The 5th HKBDFI Cup, organized by BDFI International Director Lawrence Chan as President of Hong Kong Ballroom Dancers International (HKBDI), fell into Easter Holiday on 27/3/16. Quantity of couples (to be exact 100 Solo competitors & 84 couples) & guests could not exceed last year due to the fact that many Hong Kong people were out of town. Nevertheless, quality of dancing was better than expected with adjudicators & couples coming from China, England, Indonesia, Italy, Luxembourg Philippines, Singapore.

Below are some features of this BDFI endorsed DanceSport championship in Hong Kong :

Characteristics :

The only & unique event of “Hong Kong Permanent Resident Amateur Standard” in Hong Kong (created by HKBDFI Cup 3 years ago) was vastly welcomed by the HK born Amateur Standard couple
Presentation ceremony of HKBDI 2015 All Year Round Champions

2016 Creativities :

Last two events of the afternoon session – alternating HK Professional Standard final & Open Professional Latin final, the atmosphere was terrific & electric, the audience loved this arrangement;
There were as many as 67 Solo & Couple events, some of them were only registered by one entry. These one entry Solo & Couple events were combined with other events, which allowed the single Solo or Couple to dance without being disappointed or embarrassed.
2016 Coincidence : Senior 4-Dance Latin event had two Champions as both couples received exactly the same marks from 10 adjudicators. Mr Scott Todd from UK did not show up & organizers did not find any replacement adjudicator saw this rare result to be materialized !

Open Professional Latin Champions Anton Sboev & Patrizia Ranis (England) did the Honour Dance prior to two finals (Open Amateur Standard & Open Professional Standard) in the evening dinner party. Nobody could imagine that Patrizia had just recovered from bronchitis as their performance was mesmerizing !

All couples, adjudicators, guests, supporters, helpers had an enjoyable day, see you at 6th HKBDFI Cup on 9th April 2017 !

BASE

Posted on February 6, 2016May 4, 2016 by admin

BASE = Body for Artistic Standards of Excellence

PRESS RELEASE

Five members of the now dissolved WDC Coaches Commission wish to continue their excellent constructive work and have reformed in a new group called BASE (Body for Artistic Standards of Excellence)

The body is a fully independent organization that will focus exclusively on maintaining and furthering the highest Standards for Ballroom and Latin Dance.

BASE has been formed by five members of the former commission, them being Loraine Barry, Carmen, Hazel Fletcher, Denise Weavers and Kenny Welsh.

The body proposes to meet several times a year around major UK competitions to discuss and make constructive comment and recommendations. Their findings will be published on various websites and media outlets to ensure transparency and provoke debate on the continual artistic improvement of Ballroom and Latin Dance.

The inaugural body has expanded to include other specialists within the field of Ballroom and Latin dancing namely Caterina Arzenton, Michael Barr, Alison Fulham, Hans Galke, Janet Gleave, Jukka Haapalainen, Lynn Harman, Colin James, Nicola Nordin and as special consultants Peter Eggleton, Richard Gleave OBE, Evelyn Hoermann Anthony Hurley, Espen Salberg and Meryem Pearson.

UK Congress 2016

Posted on October 5, 2015October 6, 2016 by admin

Ballroom Dancers’ Federation International proudly present The 20th UK Congress (By kind permission of Dance News Ltd.) On Monday 18th January 2016 in the Tregonwell Hall, Bournemouth International Centre, Bournemouth

Doors Open 3.00pm

Featuring Lectures commencing at 4.00pm: Sergey Surkov – Melia and Tony – Amanda Dokman

Sergey Surkov & Melia

Tony & Amanda Dokman

… and also featuring an audience with Anothony & Fay Hurley

Anthony & Fay Hurley

Congress Comperes: David Sycamore and Nicola Nordin

Free admission for all

For your FREE tickets please apply to: Fredric Frennessen, Secretary BDFI, Tumbleturn, Copped Hall Drive, Camberley, Surrey GU15 1NP. England. Please include a self addressed envelope. Or apply using our contact form. On-line ticket requests can be collected on the door

19th UK Congress – Part 2

Posted on April 5, 2015April 5, 2015 by admin

Jack Reavely’s Report.

Sammy and Barbara … Some years ago I gave Sammy and Barbara the names Superman and Wonderwoman and they have, over the years, travelled to the upper echelons of the dance business and their expertise in dance is indisputable. There is no doubt whatsoever that, in Sammy, we have a man who is utterly convinced that what he thinks is correct and he has no inhibitions whatsoever about saying what he thinks. The entire proceedings were filmed by DSI and can be purchased of course … and the money spent will be rewarded with information galore when coupled also to the prior lectures. Greg Smith and John Kimmins as always, host the show and on comes Barbara wearing six inch heeled black shoes with a silvery heel to contrast, a black suit with luxurious fur collar, red finger nails and a sleek as an otter hairstyle and a necklace sparkling with diamonds … Sammy soberly dressed in a lovely suit, shirt and tie.

An audience with Sammy Stopford & Barbara McColl

First question: “Sammy, is it true that your start in dance was created through a bet?”“Yes” replied Sammy, “I was deputy head boy at school and one of the lads said” … “You are very clever at everything aren’t you? Sammy replied “Yes” and the other lad lad said “Bet you can’t dance.”. Sammy replied “Yes I can” and off he went to a dance studio to learn as he didn’t have a clue at that time. The boy who told our Sammy that he couldn’t dance believe it or not turned out to be a dance teacher at the studio, so Sammy lost the bet to his chagrin and disappointment. In his very early days when he became a fanatic Sammy made a forecast and said “I will win Blackpool’s ‘Open To The World’ Latin Championship in ten years” and guess what, he did just that and to that time scale as well. Sammy said that he did Ballroom, as well as Latin, with Lyn Aspenand he tells everyone that he was good at it, but was not appreciated which he simply couldn’t understand at all … so the underlying humour was the dry type so endearing to those who use it. Lyn’s Mum and Dad had a dress shop so her Dad was at all the markets and so Lyn always had new dresses. They went to a competition in the Grafton Rooms in Liverpool and they had received a lesson from the great Bob Dale a few days before, when Bob had insisted on a highlight figure where Lyn was on the floor, that our Sammy would not look downwards at all when they danced it, as it would spoil the look. Bob went on and on to Sammy until he realised the importance and when they danced it in the competition, our Sammy was delighted, because the audience roared with approval and delight just as he danced that figure and he kept his eyes where Bob had instructed him to…

Later on he was told that Lyn’s dress had a halter neckline and an accident occurred which showed her double breasted picturisation in the flesh and this is what had wowed the crowd to our Sammy’s consternation. The International for the first time and they didn’t get a recall … The following year they made the final so Sammy said that quite obviously they had made a mistake the year before. Scottish Open Amateur Championship and Sammy didn’t think that he could beat the top couples at that time. Bobby Short the visual and creative genius said to Sammy … “I agree that you cannot beat those above you quickly but there is an answer … turn Professional and, by the time, those Amateurs turn Professional you will have consolidated yourself into the upper strata and you won’t have to worry about them at all, as you will be established and you will beat them” … How true this turned out to be.

Film was shown on a giant screen throughout the show and it was simply mesmeric to see the dancing from the past shown on screen … With Shirley Ballas, whom Sammy had trained into a superb exponent of Latin and who so protected and still protects the fundamentals of Latin dance through the beauty of use of foot and ankle. After the first round exit at the International in 1979 the Star Ball came along in 1980 and they were third, and they won so many competitions and Championships including believe it or not the British Open Disco Championship. Sammy tells us that his main achievement was winning the British Open Professional Latin Championship as it was his main purpose in life to do so and he thinks of that as his major achievement with Shirley in 1983 and after that he won three more times with Barbara McColl. In addition of course to so many other events as well but the accolade of Blackpool was his main aim to achieve.

Coaches and Mentors … Sammy considers Bob Dale a genius and those who saw Bob dance were privileged I can tell you because I was able to see and to appreciate, his simply staggering performances in the Old Time field, where with Rita Pover,he brought to the floors of dance a use of musicality and elegance, coupled to flowing beauty seldom seen before or after his time scale. Sammy says that Bob had the unbelievable ability to change how a dancer looked and Sammy said that he was very lucky to meet Bob because he had run away from home and was living on the streets. He asked Bob if he could sleep in his ballroom. Bob’s Mum had suffered a stroke so a deal was made that, if Sammy looked after his Mum, he was welcome to stay and he did. Bob taught Sammy to dance and Sammy cleaned tables, and assisted in many ways. Sammy won a competition and Bob asked him why he thought he had won it … Sammy replied because he was so good … Our Bob then said “No Sammy, you won it because there was no one else better” … That was the beginning surely of Sammy’s own lateral thought process, which enables him to assist so many couples in their quest to be the best.Bob sent Sammy and Shirley to Doris Lavelle and Sammy thought she was simply terrific. Nina Hunt, the great Latin coach of that time, made it clear that she wanted Sammy as a pupil, but it was not possible to go to both Doris and Nina at the same time … Sammy and Barbara decided on Nina and to her great credit Doris said “Of course I am very unhappy but you will always be a favourite of mine”. Now with Barbara … Barbara until she was five years old spoke Spanish as she was born in Ecuador … she started to dance in an All Girl partnership and was trained at the famous Harry and Helen Rollins Dance Studio in Glasgow. They turned up a partner for Barbara in the shape of the current Junior Scottish Latin ChampionPaul Cairney and they won the Junior Scottish. At that time, Donnie Burns and Gaynor Fairweather were kind of idols of hers. She moved to England to dance with Alan Winter and Sammy had given our Barbara lessons … One day out of the blue he asked her to go for lunch and asked her during that lunch if she would consider becoming his dance partner. Barbara thought it was a great honour to be asked and said “Yes” … but she had to detach herself from icons Donnie and Gaynor and turn to Sammy … It was a great opportunity and of course Barbara, before confirming to Sammy, discussed all the implications with her Dad. Barbara’s impression of Sammy was when at the age of fourteen she saw him dance at Blackpool with Lyn … she also saw Alan & Hazel FletcherandPeter Maxwell & Lynn Harman and calmly and concisely said to herself “I am going to be there one day too” and the rest of course is History. Their initial try out was all secret and Sammy reckoned there was so much wrong with Barbara’s dance performance but they teamed up and Sammy’s coaching prowess which is world renowned, was accepted by our Barbara like a cat licking the cream and she became the pride of Scotland through her wonderfully expert dance performances. Sammy told her “Just remember when you walk on to that floor to dance that you have something the other girls don’t have … ME” … Sammy’s belief in Barbara’s potential became more than fully justified. Shirley and Sammy had split only six-eight weeks before the World Championship was to be held and Donnie Burns and Gaynor were the beneficiaries said Sammy. When Donnie heard this he instantly said to Sammy “Bite the bullet and go back to Shirley and you will win the World Championship” and Donnie and Gaynor were the ones who, by Sammy’s absence would win … what a wondrous gesture from Donnie eeh? “Sammy always upfront and saying exactly what he thinks roared with laughter and said that Alan Winter had got rid of Barbara as a partner because he didn’t think she was good enough. In 1985 for the United Kingdom Championship Sammy wanted a really special outfit and he searched and searched for a very special and exclusive colour for it … Being delighted with the result by purchasing white fabric and having it dyed a very special colour, Sammy was delighted even though it has cost a fortune … In walked Donnie at the competition … wearing exactly the same colour which our Sammy had thought impossible because of the high cost of the special dyeing etc … “Where did you get that outfit” asked Sammy … “Och” said Donnie “we dyed it in the bath” … Sammy and Lyn used to do many demonstrations at Blackpool in various venuesand they got to know the band leaders and players

very well … Sammy ‘knew’ what the Blackpool dance orchestra would play for Rumba in the Professional Championship and all was planned accordingly … On they walked to the floor Our Sammy and Barbara … ready for the dance to commence … The orchestra struck up the wrong tune compared to the one Sammy thought to be a certainty … which had been Phantom of the Opera. “Oh my goodness this is horrendous” was their thoughts … He had to think of something instantly … walked to floor … “Have you thought of anything yet” yelled our Barbara … They took up a basic stance … They heard Bryan Allen say “Stopford’s going to dance a basic Rumba” … So Sammy and Barbara did just that and the crowd went mad. Paso came along with no audience response … Basic Rumba danced again and they had moved to the other end of the floor … surrounded byMarcus & Karen Hilton and David Sycamore & Denise Weavers … David was the first to start … Sammy then decided he would walk backwards dancing Rumba basic all the way from one end of the Blackpool floor to the other with Barbara of course dancing her famed forward Rumba walks … the legend had been formed … The final … they were urged to go back to their choreographed original programme, but didn’t and continued with basic Rumba and they won the dance. Barbara danced on a famous occasion wearing black stockings and suspenders and as Sammy remembered this chuckling he said “There is no such thing as bad publicity”. They won so many titles including twenty majors for example five times British Open Latin Professional Champions, World Professional Champions etc., etc., etc. Sammy had a blood disorder and was sleeping twelve hours a dayunable to get on with his life because of the disorder. He woke up to reality in a January and said “We are going to dance Blackpool in May” … the target was just to get to the competition and compete … His life was back in order. In 1988 Young Sammy Stopford was born and it was their joy and pride and this changed Sammy and Barbara’s life forever. Success is down to yourselves and there is almost an animalistic issue which shines from inside people and Sammy can’t teach people to be Champions, but a coach can stop a couple from becoming great by telling them the wrong things says Sammy … The celebrity profile is nearly concluded but the end produced a straight from the shoulder opinion from Sammy which was fearless in his opinions regarding present differences between world dance bodies. Never one to mince words Sammy can presumably be heard and seen talking about this if you purchase a copy of the DVD from DSI … You will not be disappointed and you will possess a record which, in years to come will be used to illustrate some of the thought process which is necessary for you too to become great Champions of Dance. Thank you ‘Supersam and Wonderwoman’.