19th UK Congress – Part 1

Posted on February 25, 2015February 25, 2015 by admin

Report by Jack Reavely courtesey of Dance News: Part One

Simona Fancello

The eager participants, and attenders too, at this year’s BDFI Congress were rewarded with some superb information, coupled to seeing just how good dancing should look and also the magnificence of seeing and hearing Sammy Stopford and Barbara McColl spilling information like confetti at a wedding into the ears of the listeners, as well as being able to see them dance once more on the large TV screen which showed them competing in days gone by.

There is more than a sufficiency of mediocrity in the world outside dancing, so I hope fervently that technical skills will continue to be cherished as today’s lecturers evidently do, so as to retain characterisation too.

Simona Fancello: ‘The Woman’ is the title of her lecture today and this young lady is absolutely ‘All Woman’ … all dancing and beautifully fervent and she conveys femininity and magnificent dance prowess too.

As she talks, I can hear her whisper to herself that women are important … course they are Simona … she seems to say ‘Si-Men-Mo’aning is not what a woman wants … Footwork must be clear and strong and a lady exponent must be absolutely sure of her input and also her output. A good lady must be able to dance on her own and her centre must be UP … She must not push her hips forward to the man or it will ruin her posture. Her knees are forward … Simona laughs and says that the first item which always seems to be so very important for the male species is that ‘You are heavy’ as a lady dance exponent. The lady of course must be balanced at all times. You can be connected to your partner without too much pressure … you are not glued together … and you must practice, practice and then practice again as much as you can … every day if possible if you wish to be welcomed to the upper strata of exponents. The men always ‘think’ they have perfect balance and a perfect silhouette too … poor dears … The man should use pressure into his standing foot to get a good stance, which would please Simona and who wouldn’t wish to please her?

The lady rotates her centre to her right to adopt it under the body and she can give a man the opportunity to complain to her if she isn’t balanced and doesn’t set up a flexible body stance, to which the man can respond … who would be brave enough to complain to Simona? … But I bet that she could name a few. A lady MUST be on her feet … “I am all alone but I want to dance Foxtrot” she said … I leaped from my seat but fell over my shoe laces before I could attempt to take advantage and be her partner. She smiled, not because of my fall but because of her escape from purgatory had she allowed me the pleasure.

Simona danced, I gasped and, as I watched her smooth action I was conscious of expertise beyond the capabilities of most, but acquirable through application and desire. Her feather finish was so fluid and yet still muscularly terrific. Taking big steps and moving centre is no good for a lady who wishes to become top class. Use your standing leg and knee and ankle, and the centre of gravity is moved by the man. Going forward, the lady’s body weight goes forward and body weight is used. ‘La Deeference’ of forward and back steps was succulently and seriously laid to the bones by Simona … She now has hundreds of extra admirers … It is as if she is playing a ‘Cello’ and ‘Fan’ning the flames for sure, so as to make the embers leap into a magnificent portrait of the demands of a lady dancer. I move my centre and my legs fall under it … I collect my centre and then move it … and you do not stick your legs forward to move forward. I must move my body weight to give the best possible help to my man of dance … All in English too … Sometimes, Simona wonders if her man is sometimes, just sometimes, not so perfect as he thinks he is … So ladies must perhaps ask him politely if he could improve the aspect which could disturb the lady … You must believe in yourself to dance well. Simona now blushes somewhat coyly and tells everyone that she used to fight a lot with her partner … but, since retiral her brain is much more relaxed … “Oh how I wish I could go back and do it all again” she says … Those words echo throughout the world of dance from those who used to and wish that they also could do so again.

Thank you Simona … It reminds me of a quote given by Sammy Davies Junior when he said after losing an eye … “If I can’t dance I don’t want to live”. A wee problem with music arrived just as Simona wished to dance a final solo Foxtrot … The audience sang to give her a rhythm and she danced to the leader’s voice … Marcus of course, the singing Champion of Dance. Matthew Cutler: “Wow, this isn’t intimidating at all” joked Matthew as he took stage and he instantly started to talk about how to produce good Latin dance. The upper body and its relationship to the rest of the body he finds to be vital, as he so often sees a lack of co-ordination and distortion between the body segments. You must create positions from which you can recover. Very often physical power is on show and over progression is another aspect which Matthew sees a lot of and some couples seem to be able to progress to an enormous distance in only a few steps … but it does not work. On comes Nicole … such a nice young lady and she hands Matthew a wee glass of water which he so appreciates.

Matthew Cutler & Nicole

Together they then showed some of the grotesque shapes which can so spoil it all. Once again the very endearing sense of dry humour is clear to hear and it is coupled to extreme expertise which is on show, The BDFI sure ain’t lacking in foresight, which enables them to choose world class lecturers. The depth of knowledge from the chosen lecturers has been gained by many years of study and an absolute commitment to portray class dance, which eventually took them to the top results, reserved for those whose intellectual skills enable them to surmount the difficulties. How to prepare to dance through use of posture. A concise explanation of creativity to induce posture, without restricting your breathing. A lovely explanation of the use of hips and legs and a feature was the unobtrusive, but so beautiful, way in which Nicole used her wrists and hands as they danced … As Matthew talked, his and Nicole’s body too illustrated his words and it was utterly clear that, if knowledge is power, they are a powerful force within dance and the years of lessons, practice and contemplation has produced their enormous talents. I can hear and see Alan and Hazel Fletcher’s minds whirring with delight, as they had so much of an input into the production of excellence we saw and heard today. A’sinking-in’ relaxation is necessary before taking a step and this was shown and epitomised so much of what Latin dance is all about. To propel yourself, you have to settle your weight towards the floor. The connection of the hands, from man to lady, coupled to rotation, hip movement and then weight transference. Simply beautifully illustrated, with the silence of the lambs betraying utter interest as attenders gulped down the information and treated it as an gourmet meal of dance which it was. “So that’s what I love to see” said Matthew … “So do we”. The whole body should move without stopping, flexibly and also as an individualist as well … you must use your body to dance if you wish to convey excellence. Matthew and Nicole danced, just for those in attendance, a Rumba and it was simply mesmerically beautiful. The muscular usage in Nicole’s legs from knee to ankle and her neatness of foot closure or spin action … pheew … juicylicious indeed. If you wish to see these lectures get in touch with DSI as I understand they were filmed, along with the great interview with Sammy Stopford and Barbara McColl which followed on from these lectures. Fred Astaire in the film ‘Follow the Fleet’ showed his business card and it was ‘Baker and Martin (Fred and Ginger) ‘High Class Patter and Genteel Dancing’ … Just as we were served up with today, courtesy of the BDFI.

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4th HKBDFI Cup in HK

Posted on February 24, 2015February 24, 2015 by admin

With the endorsement from the Ballroom Dancers’ Federation International (BDFI), the Hong Kong Ballroom Dancers International (HKBDI) organized its 4th HKBDFI Cup on 15th February 2015.

Lawrence Chan, BDFI International Director, who formed HKBDI in 2011 with the guidance of BDFI, organised its inaugural HKBDFI cup in 2012. The event have since grown in success year on year.

This year’s HKBDFI Cup was for the first time held in Hotel Regal Riverside Hotel. The venue is not as spacious as TST Kaifong Welfare Association Hall, where last year’s event was held, but never the less it is a more glamorous venue.

The Lunar Chinese New Year was this year celebrated on 19th February. Traditionally people go away for holidays or have New Year dinner gathering during the period approaching Chinese New Year. As a result, registration of only 111 adult couples were recorded a few days before the competition. Having said, and beyond all expectations, 123 Solo dancers had registered which broke all previous records!

At last year’s HKBDFI Cup an innovative brand new event of “HK Permanent Resident Amateur Standard” (HKPRAS) was added. The expiry of one year’s test period for this special & unique event in Hong Kong came to the conclusion and has proven to be very successful.

The 5th HKBDFI Cup will be held on the 27th March 2016 and will see the birth of 2015 All Year Round Champions of HKPRAS. They will be sponsored with air fares to compete overseas under the banner of HKBDI together with All Year Round Champions of HK Amateur Standard & Latin, HK Professional Standard & Latin, Open Amateur Standard & Latin, Open Professional Standard & Latin.

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UK Congress 2015

Posted on December 22, 2014December 23, 2014 by admin

UK Congress 2015

Ballrom Dancers’ Federation International proudly pesent The 19th UK Congress (By kind permission of Dance News Ltd.) On Monday 19th January 2015 in the Tregonwell Hall, Bournemouth International Centre, Bournemouth

Doors Open 3.00pm

Featuring Lectures commencing at 4.00pm: Matthew Cutler, Simona Fancello.

Simona Fancello

Matthew Cutler

… and also featuring an audience with Sammy Stopford and Barbara McColl.

Barbara McColl

Sammy Stopford

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

BDFI Congress at the Embassy Ball – 2014

Posted on October 26, 2014October 26, 2014 by admin

Hazel Fletcher

Hazel Fletcher reports from Irvine, California.

Four lectures, each of thirty minutes duration, is the annual format as part of the five day Embassy Ballroom Championships, Irvine, California and this year taking place in the Grand Ballroom following the matinee session on Thursday. Greg Smith, Chairman of the BDFI, opened the lecture session with announcing it will be a star studded cast. First on was Taliat Tarsinov – Former Russian Professional Latin, Ten Dance, Latin Showdance, Ballroom Showdance and Exhibition Champion. He lives in New York.

Since retiring from competition with wife and dance partner, Marina,he has become a specialist in Showdance choreography and choreographed for World and European Showdance Champions and more than forty World showdance finalists. He has also been a choreographer for theatre and T.V shows. His title was ‘There Is No Business Like Show Business’. This was a Showdance lecture.

Taliat opened by explaining he had googled the word ‘Show’ – A display for public entertainment was one answer. He stressed as a performer how important it is to be aware of what you are going to bring to the audience and ensure that you always deliver a clear message. This lecture contained so many tips which were very thought provoking and certainly showed Taliat’s passion and deep understanding for this dance form.

When it comes to Showdance there should always be a theatrical element. Dancing is not a science it is an art form and therefore dancers should always allow the quality of emotion to be perceived. Every single show should have clear three parts – the entrance to set the mood of the show must intrigue. The middle part of the show should portray a clear substance throughout. The ending has to be a definitive conclusion that should also be very clear to the story. The choice of music and the personal connection to the song is paramount. Body language needs to be understood. Actions speak louder than words, every movement and every gesture must reveal emotional content non stop. Selecting the type of body lan- guage to the music. The use of props must be carefully considered. Taliat ex- plained he often feels props are brought on without any real meaning or use and quoted a line from Chekov: ”One must never take a loaded rifle onto the stage if you don’t intend to fire it!” You must give a sense of what the story is about right from the initial entry.

He then introduced Mikhail Avdeev and Olga Blinova to dance their Waltz Showdance to the music of “Je Suis Malade” with the story line of – “she cannot live without him but he makes her feel miserable,” so the mix of love and despair has to be shown through the body language and to show the conflict of emotions. He analysed and translated some of the words and showed how he would choreograph a movement to fit. His lecture was brought to a conclusion by Mikhail and Olga performing their Show Waltz superbly.

The second lecturer was Rufus Dustin who commenced dancing at the age of five as he had been diagnosed with Hyper Activity Disorder and dancing was recommended to his parents. He commenced with Ballet and then continued into Ballroom and Latin. He danced as a soloist with the Boston Ballet when he was seventeen years old and then progressed to become a teacher with Fred Astaire dance studios. Because of his incredible energy after a busy teaching day he would go dancing at night in the Latin clubs. He then progressed to Roseland Dance palace, Copa Cabana and the Palladium and then met John Lucchase and Joe Nobels where he first learnt all the moves in Mambo which was the title of his lecture. His credits include American style Champion with Donna Van Camp,Inter- national Style Champion with Marianne Nicole and British and World Exhibition Champion with Sharon Savoy.

Rufus commenced by saying that he believes Mambo is the most misinterpreted Latin Cuban dance. He gave us the history of Mambo and its origins and stated that most Latin music is a fusion of Afro-Cuban. Mambo as we know it now is a direct result of a gifted musician named Machito who was the early leading band of 1937 even before the legendary Tito Puente. He brought his music from Cuba into Miami where his band could not get work and eventually moved North to New York and played for some time before they were allowed to play in ‘White only clubs’. His instinct was to bring the more primitive sound of West African music combined with European influence of orchestral Classical instruments. Bands at that time accented the ‘1’ beat. With the use of different drums Machito was the first person to set the increased importance on the ‘4,1’. Until that time dancers broke forward and backward on the 1 beat dancing steps on 1,2 and 3 and holding 4. With the addition of clave beats the style changed to breaking forward on 2 and making ‘4,1’ a slow beat.

Rufus stated “Music came first, humans created movement to express what the sounds gave them.” He then said music should be created from the centre of the body and not commenced from the feet. Weight should not get completely to every foot for the majority of the time. The timing of the knee straightening is different from International style Rumba and Cha Cha. The basic steps should always be designed to be con- stantly turning. The space between the partnership in hold should promote a look of intimacy.

Rufus explained that the basic skill of turning at the correct time in steps like the cross body lead are not evident enough as the influence of International style Rumba Hip Twist has become the favoured option. With Shirley Ballas he showed the correct way of the ladies turn emanating from the compact hold and reaction to the Man’s body turn. He then showed how awkward it is for the lady when she is trying to dance two step actions forward as in International style. His summary was “Maintain a compact base and all steps should be very small.”

Massimo Giorgianni & Alessia Manfredini

Massimo Giorgianni from Italy lectured next. Massimo commenced dancing at the age of nine and from the age of fourteen danced with Alessia Manfredini. Together they became eighteen times Italian Champions in Youth, Amateur and Professional. They were three times Amateur World Ballroom Champions and as Professionals they won the European. They also were successful in Showdance winning the World Championship title six times. They now reside near Milan and have three sons.

The title of his lecture was ‘Movements and Sensations’. Massimo opened by saying “To be aware of what you do, you have to open the sense of awareness.” We are made by our senses. We can see, we can hear, we can touch, feel, taste.” His target is that you have to be conscious of all senses when you dance.A step is just an option, it is a nothing. Timing is a sense, the experience to decide when to step should not be just timing.

He advised “Open your senses, you all have it, but we all forget it and don’t use the senses to make all the performance alive. He demonstrated a simple Waltz se- quence correctly but without really using all the senses. His quotes: “Don’t listen to your brain, listen to your body. To be aware, don’t worry about others, just do it – switch on, never switch off during any movement. Too much thinking takes over and that creates a problem. All movements should need a sense of fun, risk, enjoy- ment.” A group of eight dancers from the audience were asked to dance Basic Waltz Change Steps. He asked them to dance firstly without awareness – and then asked them to develop as a result of the physiology, and then show the moment when the senses are truly aware. It is not fun – it is not serious, it should be serious fun! Expression is not about smiling it is about feeling. Often we see empty expression and then it all looks false. He related to counting and how to count with expression, and not just speak numbers evenly.

Alertness, passion, sense of being alive. Be aware of what you really see and what people see when they look at you. Make the thoughts more beautiful and they will open your senses. To put life in movement with the power of all senses. Massimo finished by dancing alone move- ments from several dances showing both the simple fundamentally correct way and then how he would like to see those same movements breathe and really come alive. This lecture was superb for its knowledgeable content but also wonderful sensitive entertainment.

The final lecture was given by Paul Killick: Early in his dance career, Paul Killick was invited to join and study at the famous Royal Ballet School in London, but chose instead to enter into the world of competitive Ballroom and Latin American Dance. Among Paul’s partners were Inga Hass, Oksana Forova, Vibeke Toft, Karina Smirnoff, Ekaterina Lapaeva and Hanna Karttunen. Paul and Hanna danced together for five years and were consistently ranked as one of the best couples in the world. They won numerous world titles including the United Kingdom Open, International, World Series, World Masters, Dutch Open, United States Open, Asian Open, Kremlin Cup and Paul was many times British National Cham- pion with different partners. Paul retired from competitive Latin dancing in 2004.

Paul Killick now resides in Los Angeles running the Arthur Murray Beverly Hills Dance centre and together with his co-partner in competition organisation – Shirley Ballas they organise the Killick Klassik held annually in August in the USA. Paul stated that he deems in today’s dancing and together with his co-partner in competition organisation – Shirley Ballas, they organise the Killick Klassik held annually in August in the USA.

Paul Killick

Paul stated that he deems in today’s dancing it is too much all about the steps. He believes there is often a lack of a real story between the man and lady. It should be a story of question and answer between them. He thinks of himself as a conductor and able to lead his lady. It should be about teamwork and he was brought up to believe that the man can make the lady look even better than she can on her own. He strongly feels there is too much solo dancing today and it should be about two people using each other’s body weight. He loves the situation of ‘partnering.’

Often he finds too much use of sensual movements from the Ladies that do not include the man. He likes the lady to be feminine and classy. The man has to be clear on what he wants from his partner. Paul informed us that he learned that the woman has to give herself completely to her man and then she can release herself from thinking and simply respond. Paul wants to be involved in every part of the movement that the lady dances.He illustrated that on a simple hip twist in Rumba dancing with Shirley Ballas. The theme followed on from Massimo as the whole lecture was about illustrating giving yourself to the dance. Paul also quoted, don’t think, simply sense. The hold – the man must always be round her and nothing should feel hard or cold in structure. He finished by dancing some basic Rumba with Shirley without frills or gimmickry but pure sensitivity and class and it was most enthralling.

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Posted on October 17, 2014October 17, 2016 by admin

3rd HKBDFI Cup in Hong Kong

Posted on March 21, 2014March 21, 2014 by admin

3^rd HKBDFI Cup in Hong Kong

Last year I was bold enough to move this new competition to Bangkok. Though the response was not bad, it is still my responsibility to uphold the name of Hong Kong BDFI Cup! As Hong Kong Ballroom Dancers International (HKBDI) was born on 14^th February under the influence of BDFI, I try to organize the HKBDFI Cup near it’s birthday, so 3^rd HKBDFI Cup was held on the Sunday – 16th February 2014.

The venue – TST Kaifong Welfare Association Hall, was not commonly used for DanceSport competitions in HK, despite the fact that it is spacious with good shoe connection. 106 Solo dancers and 101 couples from Malaysia, Indonesia, Japan, USA, Russia, China & HK took up the number tags. Most of them were complacent that the well-organized schedule & the atmosphere allowed them dance to their best standard. 60 events were enlisted in the Entry Form with 55 of them put in force – the record number of events from my 22 years of organizing competitions in HK or elsewhere .

The four major events were mostly dominated by foreign couples as follows :

	Open Amateur Latin	Open Amateur Standard	Open Professional Latin	Open Professional Standard
1^st	Alexander Andreichev & Kristina Nikiforova (Russia)	Diego Arias & Ekaterina Ermolina (Russia)	Vander HinLon & Zhao ShanShan	Nikita Novikov & Dovile Sutaite (USA)
2^nd	Cedric Chan & Jennifer Tin	Roberto Masanque & Joey Wong	Nicholas Tse & Mabel Wan	Mac & Vesta Ko
3^rd	Veroy Ng & Lo Weng Che (Malaysia)	Wang Lei & Chrissie Ng (China)		Nukrop Charoensaard & Anyarin Tantiakkarasak (Japan)
4^th	Anson Au & Christie Chan	Raymond Tam & Teresa Siu		Huang Biao & Doris Chan
5^th	Tye Jian Jin & Cindy Law (Malaysia)	Wong Cheung Chak & Liu Suet Fun		Jacky Ma & Ling Chin
6^th	Choi Ting Fung & Choi Tsz Yan	Wong Wai Lap & Chow Suk Ping		Liu Yi Ho & Nina Lee (China)

Adjudicators found it not difficult to find the winners from three of these four events, only Open Amateur Latin’s 1^st & 2^nd couples were really close that the top honour would easily be reversed in their next encounter!

2013 HKBDI All Year Round Champions Trophies & Price Money were presented in the evening dinner party. The “Open Amateur”& “Open Professional” All Year Round Champions were awarded two returned Air Tickets to compete overseas under HKBDI Flag in 2014. The 4^th HKBDFI Cup is fixed on 15^th February 15 at Hotel Regal Riverside, a smaller but more elegant venue!

Lawrence Chan

President, HKBDI

UK Congress 2014

Posted on October 14, 2013January 7, 2014 by admin

UK Congress 2014

Ballrom Dancers’ Federation International proudly pesent The 18th UK Congress (By kind permission of Dance News Ltd.) On Monday 20th January 2014 in the Tregonwell Hall, Bournemouth International Centre, Bournemouth

Doors Open 3.00pm

Featuring Lectures commencing at 4.00pm: Bryan Watson, Michael Barr, Colin James, Jonathan Crossley

Congress Comperes: David Sycamore and Nicola Nordin

Free admission for all

BDFI UK Congress 2013

Videos from last year’s congress can be viewed in full below. They are Klaus Kongsdal, Lorraine Barry and An audience with Donnie Burns MBE & Gaynor Fairweather MBE.

2013 BDFI Congress At The Embassy Championships

Posted on October 14, 2013October 14, 2013 by admin

2013 BDFI Congress At The Embassy Championships

By Hazel Fletcher

Donnie Burns & Gaynor Fairweather

For the 2013 Embassy BDFI Congress three lecturers presented their specialist styles. The Congress is presented annually during the Embassy Championships, and this year took place on the Thursday afternoon in the Pavilion on the hotel grounds.

First on was Bob Powers, who was twelve times USA Rhythm Champion and three times World Mambo Champion, with his partner and wife of twenty-one years, Julia Gorchakova. They live in Scottsdale Arizona. They are members of the International Dance Board of Arthur Murray International and the World Dance Arts Foundation. Bob has danced for 37 years. He has developed an aerobic Latin Dance fitness program entitled “Core Rhythms” and travels extensively as a coach consultant and adjudicator.

Bob commenced his lecture by asking the audience for answers to the question “What is the difference between International style and American Rhythm style Rumba?” Some of the replies included – bent knee action instead of straight – the tempo, which in American style is faster, usually played at 32 Bars per minute – and even “there is no difference!” Food for thought!

His first suggestion is you should never step without prior commencing with a body action that starts in the back and works downwards. Rhythm should always be seen continuously in the body. Bob stated that the step should always be taken on a slightly flexed knee not a straight one but without losing height or dipping into a press line type action.

He explained that there was a differing opinion amongst coaches regarding the timing of transfer of the weight. Some feel the action should commence with split weight and after shift weight. Others believe the weight change onto the flexed knee should be immediate.

The hip action is a compressed figure of 8 with one hip rotating forward and the other backwards. Bob advised dancers to listen to the music and in action describe the 8 “tics” in each bar of music relating to half beats and then dance steps on 1, 5 and 7. On the numbers 4, 6 and 8 is the only time when you should be over 2 straight legs. Bob illustrated this in the basic Rhythm Rumba box step.

During this congress some of the audience were visiting the USA for the first time so had not previously witnessed American style Rhythm. This lecture provided a clear and concise explanation of what Bob feels makes American Rumba unique from International style Rumba.

David Hamilton was three times US American Smooth Champion and three times World Show-dance finalist. He has danced for thirty-five years. He lives in Nashville Tennessee and is the owner of Dance World of Nashville studio and is also the organiser of Nashville Stars Ballroom Championships.

He commenced his lecture by stating that the American Smooth Ballroom style of dance is like the American constitution – Freedom of speech – Freedom to show what you personally want in your performance. To create the best Smooth the solution is to take many different styles of dance and generate a great mix. ʻTen dancersʼ have the potential to make great Smooth style dancers but the dancer needs to recognise many different aspects.

Alike the American constitution Freedom of speech is encouraged and allowed but it is preferable to not offend anyone. This applies also to the dance style; the characteristics of each dance must never offend the judge. David also believes a Classical Ballet upbringing helps.

In Smooth an understanding of Staccato and Legato mix is most necessary. He advises – Do not play on one layer of music constantly, play on different sounds and actions. Swing and sway versus vertical to create variance of interest, but both in the Slow Waltz and the Viennese Waltz it is necessary to maintain the character of Waltz through- out. Then in Foxtrot and Tango all kinds of varying atmospheres in selecting your choreography and style should be employed to show their individual characteristics.

Tango Doble was a name given to American Smooth Tango to assist with the dramatic characteristic of combining both Tango and Paso Doble dance emotions to create gender role play.

Different coaches can add so much variance to the Smooth style…. he advises dancers to take all possible varying information to assist. In choreography David suggests you have to find yourself, in order to make the creation of an individual identity.

This lecture gave a lot of information and food for thought for the attendees of the congress, whether they were familiar with the style of American Smooth or not.

The final lecture was Donnie Burns MBE and Gaynor Fairweather MBE. Donnie hails from Scotland where he began his dancing under the guidance of Harry Rollins. Later he moved to Manchester and was partnered up, by friend and Coach, Sammy Stopford, to Gaynor Fairweather. Donnie and Gaynor became fourteen times World Professional Latin American Champions and World Showdance Champions on the only occasion they entered. They were later awarded the MBE for their service to Dance.

After their legendary successful competitive career they now travel the World coaching, adjudicating and lecturing. Donnie is also the President of the World Dance Council. Donnie now lives in California and Gaynor splits her time between her homes in Hong Kong and the United Kingdom.

Donnie commenced with explaining that to prepare for this lecture he and Gaynor had got together, put on their dance shoes, created a piece of Rumba choreography and actually had been rehearsing at 5am for several days to present something visual for the audience, true Professionalism! Donnie commenced with the question – “What is dancing all about?” His answer was – “To use mechanical principles in a way that move you, your partner and then hopefully the onlooker.” Mechanics, music and emotion as a mix are essential. He suggested start by looking beautiful, perfect centred posture was most evident from them both, and then the next stage in movement is compression of body weight which then becomes the lead. This then should be followed by co-ordinating the movement of two spines in order to move as one unit.

The importance of timing is paramount. This Donnie and Gaynor illustrated in showing the basic forward movement. “Focus, be in a bubble. The creation of mood starts at the very beginning, breathe together, tune in to one another.” This statement drew the large audience present into their demonstration of simple but emotionally charged characteristic choreography showing pure Man/Woman storyline continuously.

Donnie made a comparison to the dance floor suggesting that most concentrate on the larger square metre of floor, but the very narrow metal edges between the squares are the important factor. Like in dance – the in-betweens make up the whole package. They illustrated this by dancing a Basic Rumba Sliding Doors figure mixing fluidity with a little syncopation as a contrast, “breathe”….. Said Donnie, make it poetic.

“The combination of mechanics, Cuban motion and togetherness is what it is all about.” “The non touching togetherness should be as much together emotionally.” “Find each other’s hip weight then you have a chance to dance together.” “The small nuances of moody moments need to move people.” “What is good about today’s style is the use of all the body parts, if it can move – use it.” “If you want to move people don’t be in a race.” “Charisma and communication are not created from speed.”- So many thoughts sprung from Donnieʼs mind constantly to highlight the picture.

Gaynor was asked to add her thoughts “Keep it simple – endeavour to make the normal look simply magnificent.”

For those present this was so much more than a lecture, it was a totally absorbing forty minutes of sensitive, classy, deep emotional dedication and passion presented in pure dance, that was just magical.

UK Congress 2013

Posted on February 25, 2013February 25, 2013 by admin

An audience with Donnie Burns & Gaynor Fariwheather

Two of the MBEs in dance

Text by Jack Reavely

Donnie Burns & Gaynor Fairwheather

I remember so well, when Donnie was a wee boy dancing in Scotland and his posterior was no bigger than one of my shirt buttons … But boy, could he dance … I’ll say, and there was an ‘aura’ surrounding him, coupled of course to many mischievous moments in time. Our Donnie, in fact, at some of the competitions in Scotland used to disappear, in the company of my own son, and when I eventually managed to find them, they always seemed to be surrounded by admiring girls … and they were Juveniles at that time. Donnie had a self imposed sense of utter discipline within dance, and his quest to be the best of the best was added to by his wonderful inquisitiveness, as he wished to learn and learn and learn. His utter enthusiasm used to burst out as if a strong ray of sunshine, within an overcast sky.

Yes sirree, it is ‘Dolce and Gabbana’ ‘D and G’ … Donnie and Gaynor on stage today and John Kimmins and Greg Smith had the great job of allowing the interview to swing along like a song … and they did so unobtrusively and beautifully … It is nice also for me to be able to thank John for his support towards the BDFI Congress yearly, which is, I can assure him, most appreciated.

Gaynor wears tan shoes which are an exact match to her dress colour and the soles of the shoes are red … showing her passion for dance which has never diminished to this day, and will not in the years to come.

Gaynor tells us that she had around eight partners before Donnie and she was unable to say that she was utterly kind to them during the time they danced … of course she blushed instantly at the time she said this, as undoubtedly she went back in time within her memory as she talked … Donnie said that at first he didn’t think that he needed a partner at all until his teacher, Harry Rollins, told him that he had to, so he did. Donnie was also reminiscing within his mind the times when Harry and his wife, Helen, guided him onwards, and were his mentors every inch of the way within dance. Donnie says that he had four partners prior to Gaynor.

How did they get together? Sammy Stopford had advised Gaynor not to tell the whole truth if that question was asked but she did … She was dancing with Robbie Gray, a young man who had terrific potential as a ballroom exponent in London, but she decided to go back to Manchester and Sammy said “I have a good boy” … it was The Don … Sam then told Don that he had a great girl for him … When he saw her, she instantly impressed him … He was then told he would have to move to Manchester … so it was all down to and thanks to the great Sammy … he will be blushing when he reads this … he doesn’t like people to know that he is really gentle and kind … the secret is out Sam … play it again … The Bob Dale Studio in Manchester … a home of dance … with Bob himself being perhaps one if the best dancers of Old Time I have ever seen and when he danced with Rita Pover it was simply stunning … He was also an expert in Ballroom and Latin, so the Don and Gaynor were under strict supervision.

The studio was alive to dance … including such personalities and wondrous dancers such as Marcus Hilton with Janet Wild and then subsequently with Karen … Sammy Stopford with Lyn Aspen, then with Shirley and then with Barbara … Gosh he knew how to pick them did Sam … wondrous ladies of Latin indeed that they were … and still are.

Marcus and Donnie were persuaded, at the end of a gun, to join Bob’s Formation Team … you’ll never guess … they lasted two weeks … by design of course … naughty young lads that they were … Perhaps the ladies in the Latin team, sighed, either with relief or disappointment … we will never know and Marcus and Donnie will never tell … They were ‘asked’ to leave … I wouldn’t even speculate as to why … would you? … Donnie and Gaynor found that Bob seemed somewhat depressive and they needed Sammy who was always winding them up, and causing uproarious laughter… so they found that they all balanced each other and became a so happy band of ‘Bobs’ … Bob used to actually encourage our Donnie to get on a bus and go back to the jungle in Scotland, where he came from … The affection for him was tremendous, and to this day so many remember Bob as a friend and mentor.

Off they went to London and to the great Nina Hunt for lessons … According to Donnie and Gaynor she was a vampire, spending from 8am to 10pm daily teaching for fourteen hours … She ate chocolate bars and consumed coffee and she told them they would have to wait for two years before making the finals and then told Donnie that he simply had to get a haircut … perhaps that’s why we never know these days, exactly what style he will be wearing next time we see him … shades of David Beckham eeh? … Nina produced them into much more efficient engines, but somehow the relationship did not produce the finality that Donnie and Gaynor craved beyond all else.

Then they found the famed Espen Salberg and Walter Laird and Michael Stylianos and a transformation was created to Gaynor … even although, at that time, she felt that she was the weak link. Gaynor said that Espen for example, gave her wonderful jingles to assist and Michael Stylianos did the same. Then John Delroy became a great influence on them and they considered him, especially in Paso, to be a genius. Donnie wished fervently to dance a cape number … John said “Okay, let’s do 7.30am on Sunday … I have the capes”. Then he said “That was the good news” … “But I have some bad news” … “I can’t get the studio as it’s booked but don’t worry, we can use the park” … “After all, it is a big space, so you’ll get mega inspiration there” … Off they went and guess what, the capes were the curtains from John’s bedroom and the hooks were still in them … Can you see them in the park? … The birds were swooping around them, probably wondering if three eagles had landed in their space.

Then the tale re the ultra famed Bobby Short’s trips overseas … an entire book could easily be written regarding these … Bobby’s fervour for dance was never diminished throughout his entire life … Switzerland included a Ballroom competition during a week of competitions there … Quickstep music filled the ears and The Don and Gaynor were flashing round, and they were delightedly sur-prised to hear their number being called out vociferously, by almost the entire crowd … They beamed with sheer pleasure and added even more what they fondly imagined was charisma to their performance of the dance. The crowd went even wilder … yelling their names and number … They thought they had cracked it and were in dance heaven … The music stopped, and they decided to take a bow … Horror of horrors … there had been a large plant with cactus style leaves, attached to the back of Gaynor’s dress, for the whole dance and the crowd were thrilled at the somewhat unusual spectacle and that is why they yelled for more … the bubble in their minds burst … wouldn’t yours too? … They had thought that they had perfected split beat tipple chasses in their Quickstep so wondrously that the crowd were really appreciative … so they had given them more and more input .. Walter Laird … in a lesson on a tiny floor … first time … “So, what do you want from me”, said the great man … They produced a list which contained many aspects that they wished Wally to consider and sort out for them … “Let’s forget all that” said Wally … “I’ll just teach you to dance”. Wally adored Gaynor and he was very much into leading … he said that “You’ll never be a champion until you learn to lead your girl properly … it is vital”.

After their first win Donnie and Gaynor were never beaten again and with fourteen World Champion-ships, eleven Internationals, for example, as well as Blackpool titles galore … gosh.

They retired for two years and decided they would like to come back for the World Professional Championship in South Africa, but when they danced a routine they felt awful and they thought it was a much bigger task than they had imagined … They were men-tally whirring … So they phoned Espen Salberg, and he flew instantly from Italy to see them … They explained that their plan was horrendous in the routines usage, so he asked to see it all … After contemplation Espen then said “If you can hold that, go … if you cannot then don’t go” … They went and won and the rest is History.

Clips of them dancing were shown of course, and there was one from Blackpool of Gaynor dancing with David Adamson in the Ballroom event and then Donnie and Gaynor dancing in Denmark full dances, and showing much talent in that idiom too …

Prestigious awards galore … including the very special MBE’s which utterly delighted them … The Queen told them “Mama loves to dance the Reel”. When they were practising at the Semley the telephone rang … June McReady said that there was a call for them … Donnie answered and it was a girl with a cockney accent … “This is 10 Downing Street” … She asked why they had not replied to a letter re receiving MBE’s … Donnie thought it was Ron Gunn joking with him … and replied “I never answer important letters from 10 Downing Street” … The lady asked him to call back … he did … and it was No. 10 … He almost died.

The legend will continue, through Donnie and Gaynor’s presence and their coaching abilities … It has been a privilege and a happy one indeed to be able to attend and to report upon a small part of their lives in dance.

The Lectures:

Klaus Kongsdal

Klaus says that partnering is very personal and different for every couple as they are indivi-dualists and the physical, mental and then emotional levels are so necessary. We must be connected ‘in’ our individual body … It seems to me that this young man of dance has studied the psychology of the mind. Klaus then asked a young man called Sam, who showed a press up position and then lowered and still retained the body position through muscular control and, without losing the balanced body structure. Counter balance was then shown, being the production of forward body weight from each other, by going towards each other, and still not being heavy. As this lecture continued, it became clear that Klaus has attempted to create new pathways to create a con-trolled body weight, backwards or forwards.

A young lady called Irena assisted both Klaus and Sam, perhaps she thought she was in Casablanca and said “Dance It Again Sam” … “Time after Time”. So ‘Santa’ Klaus had so evidently given lovely presents to them.

Lucidity was so evident as Klaus explained rotational speed in Rumba. The silence of the lambs was evident, both in audience interest and also in the silent foot placements being used, to illustrate dance. Silent feet are good feet is an old principle of such merit, and it was portrayed today. It was a sudden release of a whiplash motion … mesmerisingly so.

The development of funda-mental understanding of motion is an ‘absolute’ and it is utterly apparent that Klaus has used his entire life in Latin dance to gain knowledge of ‘How’ to produce dance action which instantly transmitted expertise.

“What do you want to feel?” … “How about mental affinity on and off the floor” … Gosh it is so nice that Klaus is a member of the club of dance fervour. “It’s OK, don’t worry” Klaus tells his lady, but not a word is spoken … It is all through the contact of one hand to her. He is like a violin virtuosa in the music of dance.

Klaus then danced with both Sam and Irena at the same time and it was fascinatingly wondrous. Thank you ‘Santa’ … You have given us the gift of ferocious fervour, coupled to fearless fundamental understanding created by your thought application on many aspects. Klaus concluded by saying “If it is difficult, should I just give up?” … “Of course not, I must ‘acquire'” … He talked today as if he was ‘a choir’ of dance angels … Do you think I enjoyed it all? … I sure did.

Loraine Barry

Those who think it is easy to acquire the so many aspects of dance production quickly, soon find out that there are no short cuts and that the production of top level dance is acquired over many years.

Loraine shows how exercises can be used to prepare the body for the production of dance at the highest level of the capability of your individual body. Domen Krapez and Monica Nigro were the fabulous assisters for Loraine.

“You must know and under-stand your body, the technique, the balance and the mechanics of motion” … “Join them all up and you can create artistic expression as an ‘individual’” says Loraine and she wishes to see more indivi-dualism, but also maintaining of course, the technical aspects which are vital.

As she continues there is a glow coming from that stage … it is as if we are seeing a rainbow, cascading its colours towards us and ending on stage, as it sur-rounds Loraine with its ambience.

Your feet, yes those at the end of your body to the floor … You must be very aware of them … they should pull or push the floor boards under your feet. If you wish to go sideways then the right foot pushes you to the left and you step to the left and you are moving and using the floor all the time … I hope your eyes are wide open when you read these aspects … just imagine, you are receiving a free lesson from one of the top ladies in the world of dance, who is simply steeped in the production of expertise of move-ment and artistic enhancement too. Loraine tells everyone that the men are lucky because the shape and design of their shoes makes it easier for them to dance than is the case for a lady … The ball of a foot is vital to be used as are also the toes … You should push down into your feet if you wish to rise up and push up to go downwards … Gosh it is as if we are at a high society wedding, and confetti is floating in the air, with each small piece covered with information of how to dance better.

Exercises galore were shown to enable you to develop your understanding and also our capability, to be able to dance better … For example you should warm up the top of your spine before dancing, by turning it and as you do so, it will then be alert and able to assist your dance prowess. You must prepare all of your body joints so that you can dance without stress and strain being evident … We all have two shoulders and you cannot move both of them in one space, so ensure that you shape them and you will lubricate your dances. Practice standing still and allow one shoulder to go back and the other one to go forward this of course is counter rotation, the same as you use naturally when you walk … practice it however, so that it becomes natural when you dance.

Loraine tells everyone that she has studied anatomy … as if it wasn’t utterly apparent as she talks eeh? … Then eyes open wide, ears too and minds glisten with fervour, because Loraine talks about the ladies’ stances … A lady must produce curve and a beautiful one is what is an essential to create. These days Loraine reckons that so many ladies attempting to obtain a big shape are taking away from the beauty. The lady’s upper spine must support her head she must have active feet and she has to produce a forward frontal plane for her spine.

Sway … ask yourself how much you can do … then once you decide this and you attempt it, you have to realise that there is of course a boundary, and this is the maintenance of balance … absolutely vital.

Loraine continues and at the BIC in Bournemouth today, it as if we are in a cave, illuminated by only one light with low output … Suddenly, a shaft of sunlight illuminates, and we see a sparklingly fizzy golden pile of sovereigns … ten feet deep and fifty feet long … We marvel at the scene … Our eyes gleam as we realise we have found a treasure beyond price … You are first of all in awe, then you would find yourself flying towards the bullion, you would pick some up and allow them to cascade to the floor through your fingers. Then you would laugh uproariously and you would thank the purveyor of such treasures … as I thank Loraine, because she shared a treasure trove with everyone … It was as if we had sipped from a glass of pink champers, allowed its delicacy to flavour our tongues and then to refresh our inner feelings … The Champagne of Dance indeed, fizzing and sizzling, within a beautifully cut crystal glass, whose facets had been cut impeccably by a craftswoman like Loraine …

It was so lovely, that both lecturers today concentrated on facets necessary to dance enhancement, and did not attempt merely to portray self indulgence and gratification, without the impartation of some of the deep knowledge so necessary … I commend them so much and look forward to hearing them again in the future.

Pictures

HKBDFI Cup

Posted on February 8, 2013September 28, 2014 by admin

HKBDFI Cup

Lawrence Chan
International Director – Hong Kong

Hong Kong Ballroom Dancers International (HKBDI) was born on 14 Feb 11. Two promotion Parties were organized under the new name of HKBDI in 2011. Three Ranking DanceSport Championships all run by Come Dancing Studio Academy (CDSA) were registered in 2011. In 2012, there was 100% increase of 6 Ranking Championships, 3 of them by CDSA, 1 by International (HK) Dance Association & 2 by HKBDI.

HKBDI had her inaugural Championships in HK on 19/2/12 at the Tsim Sha Tsui Kaifong Welfare Association Hall, Kowloon. This first ever Championships organized by HKBDI was fortunate enough to be endorsed by BDFI and named as 1^st HKBDFI Cup, the quality & quantity of competitors of which were beyond satisfaction.

Mr Lawrence Chan, the HKBDI new President in the new term of office from February 2013 to January 2015, moved a brave step by organizing the 2^nd HKBDFI Cup in Bangkok, Thailand on 3^rd February 2013. The HKBDI 2012 All Year Rounds Champions (for different categories) Prize Presentations were held in the evening Dinner Party. The recipient couples from Hong Kong were over the moon to receive their Awards in another country! The highlight of this special & unique event was the first time ever four Nations’ Invitational Professional & Amateur Team Match. All four team leaders – Uapan Snidvongs (Thailand), Aleena Tan (Singapore), Richard Kang (Malaysia) & Lawrence Chan (Hong Kong) had designed an Opening to please the audience. The Thailand team was awarded the Most Entertaining Award adjudicated by three independent judges – Dima Novikov (Russia), Barry Winters (UK) & Shiromi Perera (Sri Lanka).

Lawrence did not know how to thank the strong assistances & support by the two Thailand organizations – Dancing For Health Association & Uapan Dance Academy. Both of them urged Lawrence & HKBDI to fix the date of next championships in Bangkok as soon as possible !