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For most dancers, summer is the time for vacations and meetings. It is a good time to review the results of the year and prepare for the next season or even to try something new. On our website we had already had the discussion about the correlation between sports and social dance, and we decided to develop the theme and present an article by professional dancer Michael Kaufmann, who tells us how the dancers of different social dances see the representatives of the sports dance. Having a great experience in the world of competition and social dance, Michael prepared his material especially for a German site dedicated to social dance.


Comparing social and Dancesport is the same as comparing apples and pears. They are two different things, with different qualities and properties. The question, what is better? It must not even exist. Much better sounds the question, what is better for me personally? Because it’s just a matter of taste.

Each one must decide for himself what is most interesting and motivating. It does not matter if it’s Latin, European dance (Standard), salsa, bachata, hip-hop or any other dance, they all allow us to develop. And the how to do it, whatever one decides.

Even so, the social and competition dancers compare these two varieties with great enthusiasm. Actually, the main difference between these two areas lies in the way and the way of practicing dance. The competition dancers train at least three times a week, take private classes, attend group classes or exercise their mastery alone.

The contest dance is an achievement sport. Here it is about resistance and strength. A dance can include 200 steps per minute, which can be equated to a 400-meter run. Dancesport tires a lot, but it should be seen as the easiest thing in the world. And that means ambition, training, desire to go towards the goal and improve your skills, your aptitude to compare yourself with others.

But that’s not the only aspect of Dncesport that makes it peculiar. Thanks to sports, I learned to use my body in a more direct and controlled way. My fixation on goals was perfected as were my ways of avoiding failures. The competition dance taught me a lot: to work on myself not only physically but also mentally, to improve as a person. However, Dancesport does not have to be compulsory for everyone. It’s just a specialization in a small dance area. When other people probably want to try other aspects of the dance. As it is well said: for tastes, color. It is impossible to compare them.



1-The competition dance is only for people with talent for the technique.
Occasionally it happens that I arrive at my dance school and I ask my students, Have you ever thought about trying to dance in competitions? And sometimes I hear answers like that: «No, I’m too bad for that», «No, it’s too hard».

Well, no. Who has said that a beginner’s dance should be like a professional’s dance? For some reason, people think that they must have certain aptitudes to start dancing. Yes, of course you will have an advantage if you already have some previous preparation. But does it necessarily have to be like this? Of course not.

2-In competition dancing there is no place for pleasure.
This is simply ridiculous. Of course it is not always fun to go to training and practice the same movement again and again. But I do not think that the contest dance is only about the reflections on the work of the feet. It’s just a way to achieve the goal without which you will not progress. But for me, pleasure is a very important factor in the success of the sports dancer. Someone may be perfect from the point of view of technique, but it does not show joy in the dance, and then the audience is not going to follow it as much as someone who shows their real emotions.

3-The contest dancers are haughty.
This stereotype is one of the most frequent with which the dancers meet. But the people who throw those reproaches will probably not know many dancers personally. Of course on the track we present ourselves in the best possible way. Because we are constantly being compared among ourselves, and we must stand out from the rest. If you lower your eyes to the ground you will not get anything good. So instead of the word «haughty» it is better to use the word «self-confident». But that does not mean that you should have that quality before you start in the world of sports dancing. On the contrary, sport helps you to develop not only physically, but also psychologically.

4-Competition dancers are not musical.
«They simply dance their choreographies, they do not listen to music at all.» I’ve heard that reproach more than once. And yes, in the contest we are linked to our choreography. And it can be quite difficult to adjust it spontaneously to the accents of the music. Although of course, there are exceptions that are capable of doing so. I have a lot of respect for those parekas. But that does not mean that dancers do not listen to music in a tournament. Quite the opposite. But we must concentrate more on the rhythm than on loose moments of the song.

5-Competition dancers do not know how to «guide».
And again we talk about the execution of a choreography. «They do not know how to guide since they dance their own choreographies». That phrase will make any sports dancer furious. Yes, we have our choreographies where both dancers of the couple must know the sequence of steps. But the dance will never work well or be felt if we do not dance together. Because we will not listen to what our partner wants to tell us with their body. Especially this is evident in open choreographies, which are almost impossible to dance harmonically without knowing how to guide well.

What can we teach each other

This part of the article is especially important to me. No, it’s not worth comparing sports dancing with social dance, but we can teach a lot of things to each other. It is clear that the contest dancers are the «gentlemen» of the technique. Without that quality it is impossible to compete. Most of the time in our sports career we dance with the same partner, until we learn to fully and absolutely reflect each other. Those who dance social dances are more accustomed to dancing with many people, so they learn faster to listen and to accept the other person.

It´s interesting to advise to students to dedicate some afternoons to studying social dance. First, to forget about the competition situation and feel joy of learning, to dance with other people. Any type of dance as it has been said before has its peculiarities, and all of them have the right to exist. And each one of us must invest in the dance just as much as he wants and in the way he wants.

It is your choice. Just dance!


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The Fifth World Title for Zharkov & Kulikova: Continue to Reign



Dmitry Zharkov – Olga Kulikova (RUS) continued to reign convincingly in Leipzig on Saturday. Again they broke all records, as the 2019 WDSF PD World Championship Standard marked them the fifth World title in five years, and the first one in WDSF Professional Division. The outstanding scores over 39.2 points in each dance were awarded to the couple, and the last dance, Quickstep, earned them close to the perfect scores, 39.6 out of maximum 40.

The same trio took over the podium as in the European Championship a week ago. Nikolay Darin – Natalia Seredina (MDA) won the silver medals and Andrey Motyl – Ekaterina Kim (RUS) won the bronze medals. The ambiance both in the spectator stands and on the dance floor kept growing towards the end, and by the look of scores Quickstep turned out to be the best dance for all couples in top three.

Zhao Peng – Wang Qi (CHN) ranked fourth, Eros Sciamanna – Anna Angelika Jaglinska (POL) ranked fifth, and Alessandro Ilarioni – Aurora Sbardella (ITA) ranked sixth.

2019 WDSF European Championship Youth Standard QF | © Roland
In Kyiv (UKR), the 2019 WDSF World Championship Youth Ten Dance gave us a glimpse of how another page on the history book is in the making. Vladislav Untu – Polina Baryshnikova (MDA) have won all the three European Youth titles (Standard, Latin, Ten Dance) this year and the couple continued their strong year by winning the World Championship Youth Ten Dance title aswell. With two more World title events to go, the couple is going strongly towards the historical six out of six titles in 2019.

German Pugachev – Ariadna Tishova (RUS) won the silver medals and Karolis Burneikis – Izabele Sekaite (LTU) won the bronze.

In non-title events, the two WDSF World Open Latin winners of the week were Edgar Marcos Borjas – Alina Nowak (POL) in Amsterdam-Almere (NED) and Alexandru Miculescu Ionut – Andra Pacurar (ROU) in Kyiv (UKR). The WDSF World Open Standard winners were Madis Abel – Aleksandra Galkina (EST) in Amsterdam-Almere and Marco Sirocchi – Kilin Dora (ROU) in Kyiv.

The two WDSF International Open Latin winners of the week were Lars Olav Eltervaag – Paraskevi Zygouri (NOR) in Trencin (SVK), and Konstantin Gorodilov – Dominika Bergmannova (EST) in Prienai (LTU). The WDSF International Open Standard winners were Evaldas Sodeika – Ieva Zukauskaite (LTU) in Prienai and Matej Stec – Elena Popova (SVK) in Trencin.

Congratulations to all the winners and finalists, also of the WDSF Open competitions! It is again the start of a GrandSlam week, and this year the World Championship Ten Dance is included in the programme in Moscow (RUS). World Cups in Rock’n’Roll and Boogie Woogie are also taking place on Saturday, which means it will be another busy week in DanceSport!




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The choice of a coach for a dancer is one of the most important issues. A lot of articles on the subject have already been written, you can also find a lot of material in magazines, digital media, dance forums.

Some say that the coach should also be a professional dancer and that the rest is secondary. Others think that the most important thing is the talent of pedagogue, which does not have anyone.

Ilya Danilov (Latin)

Everyone exposes their point of view. But that does not help to have more promising couples or more champions. And we are in a vicious circle …
Speaking of the work of the coach, we think first of all of his ability to present the information correctly, make it reach the recipient and control the result.
The more details and details explained by the coach, the better. However, observing «from within» the work of most of the coaches I want to say that 80% of them or more lack an extremely important and even essential capacity from my point of view, which is the ability to motivate their students .
Yes, in today’s world there is a lot of information about what motivation is. On the internet we can find many workshops from different organizations on «How to motivate employees correctly» / «5 steps to successful motivation», etc.

So why is this topic almost untreated in the world of sports dancing? Why do not they talk about it in professional seminars or conferences? Coaches are limited to two-three sentences about the need to encourage students.

Mauricio Vescovo (Latin)

Is it that we ourselves, the people involved in the world of sports dancing, are simply not interested in the success and development of that sport?
I have observed the work of many coaches of all levels and couples with whom they work. And I can say with certainty that none of them had the idea of ​​approaching the learning process from another point, that is, SIMPLY UNDERSTAND THE MOTIVATION of the people they teach.
It is not a secret that each of us is unique, and we need different treatment.

Fabio Selmi (Standard)

So why those professors who proclaim to the four winds that they are very talented pedagogues, who aspire to create champions, why do not they apply such effective methods in their work? This question obviously remains rhetorical at the moment.
Being a coach and working with different types of people in matters of the construction of their professional career, of personal effectiveness, the achievement of life goals, I mean that a person, when he is aware of his objectives, and only for that reason, motivates to reach them.
And the coach only has one easy task in that sense – which is to constantly maintain those goals in his students. What are the teacher’s ways to achieve it?
The answer is surprisingly easy – we must preserve in the person the assurance that he is progressing well towards his goal (even if it is slower than the coach would like).

Dirk Heidemann (Latin)

It is also very important to assess the positive achievements of the student, their successes, and fix their attention on it. But of course, this refers to the people for whom achieving success and the coach’s attention are motivating factors.
Hence, any coach who takes his work seriously and wants to achieve success, must be interested in addressing the question of motivation in the right way. (On the types of motivation and ways of motivating, he had written the article called «Motivation in the world of dance: how to create a champion»).
Based on my own experience, I can safely say that positive motivation, ie a detailed evaluation of all the intermediate results, and the emphasis on the achievements on the way to the goal, are motivating factors for more than 90% of dancers. Even for those who do not like to be praised.

Siscu Pérez (Latin)

I will tell you about my observations, giving as an example two situations, the evaluation of the work of two high level coaches.
Ivan (not his real name – aut.) Trains a couple of initial level, both dancers are already adults, have finished their university careers and recently began in the world of dance.
The girl had previously taken individual classes with another teacher and for several motives decided to try another coach, higher level. In the first class the new teacher asks what he wants to get from his classes. You will agree with me that it is a good question and you can see that the coach is really a professional.
And the girl lets go of what she really thinks: «I want to be the champion of Russia.»


Karina Rubio (Latin)

And the girl lets go of what she really thinks: «I want to be the champion of Russia.»

Do you think he is too ambitious? Sure, some might laugh and say it’s impossible. I will not argue, there may be some reason for that. But I want to talk about something else. The coach’s reaction was to shut up and start with the steps and the explanation of figures.

This detail at first glance could be overlooked and forgotten. But if we think about the situation well, what did the professor do? He showed his student that he does not believe in the real possibility of fulfilling his dream, and in that way the demotiva to see him as a real coach and may even have taken away the desire to grow in his dance.

Alexey Silde (Latin)

Of course it is not a fact that that girl can be Russian champion, although who knows. Because it is also said that «by the laws of physics bees can not fly. But they do not know it and that’s why they fly. »

Observing the work of that coach later on (over several classes) my suspicions became certainties: he did not do any form of evaluation of the results of his students, he did not communicate his results, his changes in the dance.

Viktor Nikovski (Latin)

As expected, the students soon stopped taking classes with that teacher, perhaps without realizing the reason for their own dissatisfaction.
I wonder how a coach can create a successful partner without believing himself in his future. And if we examine that situation even in more detail we will see that first of all the coach does not believe in his own success as a teacher.

Pietro Braga (Standard)

The skeptics will surely not agree with me and say that you can not build a sandcastle and believe in the success of people who almost certainly can not achieve good results.

Well, I do not agree with that. Read stories of the lives and careers of people who really reached unthinkable peaks in their fields. Most of them were told at some point that it would be impossible. But they ignored, BELIEVED IN THEMSELVES AND IN SUCCESS, they just kept doing what they did approaching their goal.

Ruud Vermeij 

To finish I’ll tell you another example. A couple, also adult people, have been training with a teacher for about a year. Their results are rather regular. I went to his classes and what did I see?

That the teacher himself, without a doubt a dancer of a very-very high level, moved around the track in an enviable way. But throughout the whole class (and they were more than one) he did not once say anything positive to any of the dancers. However I write down all your mistakes and failures, putting a lot of emphasis on those negative details.

Lasse Odegaard (Standard)

Of course, already for half of the class, the faces of the boys no longer reflected any desire to move forward, develop and grow. Of course the teacher explained exquisitely the technique of hip movement in rumba bolero, the dissociation of the torso, but for some reason the work was slow and tense.

Surely then the teacher did not know, and will still not know, that motivating his students well for the execution of the dance, you can «turn on» the natural movement of the body so that it moves to the beat of the music, just as it should be done. according to all the technical standards of the execution of the Rumba bolero dance steps.

Alexander Melnikov (Standard)

Because the inhabitants of the country where that lyrical dance was born, when dancing it, surely they did not think of someone who was next to them with a stick and criticizing their steps, but simply moved according to the indications of their souls, trying to express their feelings …

Because they did have His Majesty’s Motivation – to like your partner, to have dozens of other people choose him.




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Usually in October the biggest tournament organized in Russia take place. That event has helped to choose the theme for this article. Crowd of spectators, a large number of participants, a demanding graphic of the competition, all this has created the atmosphere of a very important competition and great responsibility.
With this, from the professional point of view attracted a special attention the way in which the dancers, both small and old, prepare to enter the track. The topic of preparation for the competition is very broad, so in today’s article only part of the topic will be discussed. That in which recommendations will be given to encourage and support the athletes depending on their mood before the tournament or between rounds.
In the tournaments we can see tears of young dancers, apathy, nervous tremors that prevent concentrating and dancing, aggressiveness towards everyone else, paralyzing fear and even hysteria.

The reaction of most parents, partners and coaches is one: stop, be an athlete, concentrate, etc. That strategy in most of the time does not lead anywhere. The task is to adequately assess the state of mind and depending on this provide the necessary support.

Aggression or agressivity can be caused by several causes – by the character of the dancer, by its defense mechanism, etc. The important thing is not to look for the reason (this can be left to us, the psychologists), but to choose the appropriate way to react. First of all, you must avoid the accumulation of people. You have to let the dancer «let go of the rage». Saying everything that goes through your mind, dancing a tango or a double step is also a good option. Try to show good intentions. It is not worth entering into discussions with accusations and criticism, even if you do not agree. A good solution is to describe the emotions and try to relax the environment. For example – «you are angry, you feel anger, you feel like releasing everything you think or destroying everything around. We will try to find a solution. » Aggression can also be stifled by the threat of punishment.

Apathy is a state of indifference in which all interests, emotional reactions, are reduced or lost. It translates into inappetence, indifference towards oneself and others, towards what happens around, in a lack of interest and desire. In two words, it is a lack of emotion. The most likely is that you see that state long before the tournament, and during it will reach its peak. How can you help? It is best not to leave that person alone. Take her to a quiet place, help her get comfortable, take off her shoes. It is advisable that you can sleep a little. In the event that there is no possibility of resting, take him by the hand, speak, ask something to which he has to answer in detail, involve him in a joint activity, be close in the breaks between the dances. Pay attention to your breathing: you have to breathe with passive inspiration and active expiration.

Crying is a normal state, which is seen very often, but can considerably lower the level of dance performance. It is important to be next to that person, you can hold her hand, pat her head or pat her on the shoulder. He has to avoid the desire to reassure the deportee. In that situation it is better to listen to him, to give him the opportunity to speak. And while, agree with the head, show understanding, you can repeat some of their sentences. You can give advice or ask questions only if they ask you. Remember that crying makes worries more bearable.

Fear is an inner state that is caused by a future misfortune, real or imagined. We are all afraid The difference is that some know how to control it and others succumb to it. I will tell you more about the fears of the dancers in one of the following articles. From the point of view of the help to mitigate the effect of fear, I can highlight the following: put the dancer’s hands on your wrists, feel your pulse calm. Pay attention to the athlete’s breathing – it is important that you take the calm and regular rhythm. It would be nice to massage his tense muscles. With all your attitude you must show your understanding and the desire to hear and help him. To control your own fear, you have to normalize your breathing – inspire and expire deeply and then return to normal rhythm.

Psychological tremor from a psychological point of view can be a reflection of different states. The tremor is shown in different degrees in various parts of the body: in the hands, feet, fingers, etc. The first thing that most people want to do in that situation is to hug that person, but just that it must be avoided. The most effective is to make the tremor stronger so that it happens sooner. If you yourself set the tremor, you must also intensify it. The tremor will pass and you will be able to enter the track completely prepared.

Hysteria reflects an uncontrollable external emotional state, which is accompanied by crying, nervous tremors, laughter, etc. Hysteria in an athlete can be a reaction to failure, a symptom of fear, or a desire to draw attention to their concerns, etc. Hysteria belongs to the group of states that most negatively affects the result. What are the psychological recommendations in those cases? A quiet place, relaxed atmosphere, that is to say that it is important to «eliminate the spectators» in order not to provoke the increase of that state. And do not give in to the wishes of the affected person. Speak to him in a firm way, with short, imperative phrases, such as «wash your face», «drink a little water», etc. Or change the focus of your attention with an unexpected action – drop something, splash it with water, yell something suddenly and things like that.

If you often find yourself with those moods in yourselves as dancers or in your son in the tournaments, I recommend that you consult a psychologist to find ways to help and solve that problem.
Only you yourselves direct your state,

Your psychologist

Anastasia Fedorushkina 


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