In order to relate the criteria of the evaluation, it is necessary to say that the final verdict is formed by the judge based on a comparative analysis. The pairs that are on the track (those who participate in a specific tournament) are compared to each other, and not each of the couples with an ideal model that the judge has in mind. There are eight basic evaluation criteria, four of which are strictly professional, and the final decision on those criteria can only be taken by the «line» judge or, in moments of dispute, the main judge of the competition. The criteria 5 – 8 are those of the public – that is to say that is what the spectators like. With the rest of the same conditions, the judge can take into account the criteria of the public. That is, if the professional criteria do not give an answer to the question «who is the best?». The valuation according to the criteria is issued as a percentage.
Criterion № I – Musicality (20%)
1. The movement to time (5%) – that is, the basic accent of the dance (the most marked movement) coincides with the basic accent of music (the most marked sound of music).
2. The success of the basic rhythm (5%) – that is, that the movements performed between the accents of the dance coincide with those times that mark the basic musical character of the dance.
3. The ability to reflect the additional rhythm (5%) – the use of intermediate movements to more vividly reflect the rhythm, for example the dance syncopation, etc.
4. The use of contrast rhythms (5%) – with this concept we refer to periodic changes of the main rhythm by the opposite rhythm, that is to say to make a slow movement instead of a fast one and vicecersa, to use pauses, etc.
The judge must place in the last place the couple that dances outside the music or that has finished dancing before the melody is finished (it is an extract of the judge’s obligations).
Thus, if a couple does not dance according to the music or ends up dancing before the melody is over, they do not even take it into account in that round (although there are sometimes situations of competition between several couples dancing outside the music).
Criterion №II – The technique (20%)
The «technical» concept refers to the more rational use of movements to express the main idea of choreography.
1. The technique of the legs (5%)
2. The technique of the arms (5%)
3. The technique of the body (5%)
4. Driving and interaction (5%)
We can find a classic example of a rational footwork in the manuals of Alex Moore (the Standard program) and Walter Laird (the Latino program).
About the arms it is said that «the arms in the Latino program work gesticulating in a natural way». It’s a bit vague, but you can not say it better. In the Standard program the arms are fixed in a certain position, but that does not mean that they do not work. Many figures have some allowable range of movement of the arms, necessary for the conduction and maintenance of balance, and also for the construction of harmonious lines. In addition we must not forget that the arms and legs make up the basic rhythmic background of the dance, and its rational (technical) movement allows the dance to be lighter and more showy.
The work of the body is very important both in the dances of the Standard program, as in the Latin, but the meaning of that work is different. In the Standard program that work is basically related to the swing of the couple, while in the Latino, besides that, the body is another dynamic component.
Driving and interaction is the part of the judge’s note that reflects the «rapport» of the couple. Evaluating the conduction and / or interaction the judge answers the question, is there in the couple the understanding about physical movement ?, or in other words, is there contact ?. Driving and interaction are not the same. The driving is used to change the direction of the movement of the driver, and the interaction, to increase the functional possibilities of the couple. And although they may be two very similar actions, the objectives are very different. If the boy takes the girl (in most cases it is like that), he indicates the direction of the next movement, but the girl moves herself. However, if the child wants the girl to do something different (for example, go faster, etc.) or the girl needs the help of her partner, then that is an interaction. Driving and interaction depend on many factors. I would like to highlight two of them:
1) The contact. It can be physical, psychological or musical (in time).
2) The balance. That, on the other hand, is divided between the own balance, the balance of the pressure and the balance of the tension. The proper balance is the state in which each of the dancers can be balanced without using the other. The pressure balance is the position in which the force is directed towards the center of the couple. The result of the pressure balance will be repulsion. The balance of the tension is the position in which the force is directed from the center of the couple. The result of the tension balance will be the attraction.
Criterion № III – The shape (Shape) (20%)
1. The creation of individual positions and lines (10%)
– Positions (5%)
– Lines (5%)
2. The creation of positions and lines of the couple (10%)
– Positions (5%)
– Lines (5%)
Criterion № IV – Tactics (track use) (10%)
1. The own displacement by the track (5%).
2. The correct displacement with respect to the other pairs (5%).
Criterion № V – The choreography (10%)
1. The correspondence of the figures made with the level of the couple (5%).
2. The originality of the choreography (5%).
Criterion № VI – Style (10%)
1. The mutual correspondence between the images created by the dancers of the couple (if there is harmony within the couple?) (5%).
2. The correspondence of the media and artistic methods chosen with the image of the dance created (5%).
Criterion №VII – The costumes (5%)
The correspondence of the suits with the regulations of the organization, the level and the style of the couple.
Criterion № VIII – Self-presentation (5%)
The correspondence of the image and the movements with the aesthetic norms.
Based on the criteria of the «Norwegian» valuation system developed by Espen Salberg. Translated and expanded by the director of the complementary art education center of Sakhalin State University, Maxim Borovskiy.
Source: Dancesport Dancers Group
Why go to a Training Camp and Which International Training Camps are the most famous for Dancers?
In addition to daily training, specific preparation for a Competition or for a season is essential for an athlete. Usually, before the competition season starts, there are several Training Camps organized by great dancers or clubs. What is pursued by attending a Training Camp level is to closely observe other couples how they execute their technique and also receive valuable details of the main international coatches in thematic group classes, and in case you choose a particular class, get the «tailor-made» advice of a coach specifically understood in what you want to improve.
The aim of the Training Camps is therefore to help each athlete to become a better dancer through mastery of the technique and learn the key principles of Dancesport from the best teachers.
In recent years, we have seen a significant change in the Dancesport Approach. Currently you have the opportunity to be observed, analyzed and corrected by the world’s leading specialists. You just have to know what you want to improve and which teacher is ideal for you.
A level Training Camp must be well planned, structured. Group classes must touch different aspects and each teacher must contribute that subject or aspects in which it is more specified. The role of the organizer is essential by selecting the most suitable and elite International Coaches Panel. Not only choose specialists in Latin and Standard. There are coatches specialists in pure technique, others in the artistic manifestation, others scan you and tell you clearly in which aspects of the many that there are more lazy and you should improve, or in which dance you are below the others, perhaps because the choice of some figures that are not correct for your characteristics as a dancer. Sometimes the characteristics of the boy as a dancer are not ideal for dancing with the girl with whom he dances or vice versa. This happens because there are different «types» of dancers and sometimes in the couple «he is not for her and vice versa».
This has two solutions: that someone who understands you say it – difficult because it is a delicate matter – or be in the hands of a great specialist who knows how to look for the right figures and the correct execution of them to try to «join the water with the oil».
There are international teachers like Ilya Danilov who is a living Scanner. That is why they call it «ORACULUS». If he wants and you ask him, he can revolutionize your life in an instant. I could tell you: he is not for you or you are not for her. In 1 minute of your dance vision, he will know more about you than you can ever imagine. I could also tell you which figures are not for you and configure a program according to your characteristics. But be careful if you ask for maximum sincerity: you can leave a class confused with him.
It is better that you go with the very clear ideas of what you want to ask the teacher. The 45 minutes run very fast and are very expensive. The best thing is something specific, convey what you need in a specific way in the first minutes of the class. Before you, you must have made a reflection of the most important thing you need and the exhibition begins must be clear and concrete.
If you do not go with the concrete ideas, the teacher will give you a generic class that may be more successful or less, and you will know little by little. It’s up to you that the class is worth it.
A great international coach (not everyone) knows how to do this, but of course, it will not be easy to be offered or offered at the first. It is something that goes out of the ordinary, you will need an approach to that teacher to enter that field.
The normal dates to attend a Training Camp is in summer to prepare the competition season that begins in August-September. Also at Christmas-New Year. But there are other Training Camps at other times of the year that are very interesting to attend.
In a few years, we have moved from a few closed camps, focused on training, to several camps each month with the best teachers and couples from around the world.
So you understand that you can get a good Training Camp. I mention below the pros and cons of a Training Camp point of view of a dancer:
1. Time saving
You can have lessons with many teachers in the same place. You save money and time, compared to the previous system in which we needed to fly or drive each teacher separately.
2. Increased motivation
You can find a larger group of dancers to train. Your presence will inspire you and motivate you to do better. You will hardly find elsewhere the same adrenaline and energy you get during resistance training in a training camp.
3. Expand your device
You can expand your group of favorite teachers. In fact, it can sometimes happen that I book a lesson with a teacher just because he / she is on the training camp list. But in the end, you can get an unexpectedly surprising lesson. Then you wonder why, until that moment, you have never considered studying with that teacher.
You can also read our other article on how to find the right teacher for you here.
4. You will be noticed
Compared to competitions, the atmosphere in a training camp is generally more relaxed. The people around you have more time and will look at you with different eyes. If you really are a good dancer, but you still don’t have a large audience, during training camps people will notice you and start taking you into account.
5. Make friends
In a training camp, dancers can let others see how they really are in normal life. Teachers and other dancers can sometimes have a distorted idea of you if they only met you during competitions. During a training camp, you have a good chance to turn your enemies into friends.
6. Level up!
It is very common to see a couple improve their level day by day during a training camp. Be it the amount of information, the quality of the lessons or the contagious emotion, the truth is that the training fields help you grow and improve. The truth is that it happens often and that is one of the main reasons why so many dancers attend training camps.
1. A training camp can be really expensive
A training camp can be quite expensive. If your budget is not large enough to be free-minded and simply take and leave, try to plan ahead. Start saving money!
The actual price you will pay per lesson may be higher than usual. In fact, most of the time, you will have to pay an additional price that goes directly to the organization … This surcharge allows organizers to pay for plane tickets, accommodation and transportation for teachers.
3. The energy level.
The quality of the private lesson you get can vary greatly. As teachers are working up to 12 or 14 lessons per day. At the end of a long day, your teacher may not be able to give his 100%.
4. It will affect your program
As a training camp is generally not planned for weekends and lasts several days, it can be a problem for those who cannot easily get free time or reorganize their schedule.
5. Contradictory information
The amount of information you are going to get is huge and everything happens in a very short time. This will usually create some problems. Sometimes the information you receive is contradictory. A teacher will say one thing, and the other exactly the opposite. The funny thing is that both things may be true, but it is difficult to combine the information. You have to let the knowledge be absorbed.
In addition, it may not be easy to practice all the knowledge you acquired before starting the next lesson. Therefore, you can easily forget what you just learned.
6. Too easy? Too hard?
Very often you will see that there are different levels of participants, from juniors to seniors, from beginners to advanced. The teacher has to find a way to run a workshop that is interesting for everyone. But, this is going to be a problem for you.
Sometimes, they organize different groups for younger students or for older people. However, sometimes this is not happening and the group lesson ends up not being useful. For example, if you are a beginner and the teacher is playing a topic that is too difficult to understand or, conversely, if you are a high-level couple and the topic is too simple for you, time and money are you investing It won’t be worth it.
Once analyzed what can be useful to attend an International Training Camp, we will mention below the main International Training Camps both WDC and WDSF.
1. THE CAMP – Wuppertal, Alemania
But what makes this Training Camp so good?
First, it has some of the best teachers in the industry and the location, the Historic City Hall, is absolutely stunning. Everything is very well thought out and the purpose is to leave Wuppertal inspired and focused.
Here is the list of teachers of the 2019 edition
2. Dancing Superstars Festival – Bremen
In 2019, the Dancing Superstars Festival will be in its sixth edition and is announced better than ever. The coaches who will organize the workshops are some of the greatest legends: Slavik Kryklyvyy, Catia Vanone, Fabio Selmi or Julie Fryer, to name a few.
3. Summer Dancecamp – Dinamarca
What is a summer without this Training Camp? Well, the perfect one would be Summer Dancecamp. Why is it perfect? They are, as they say on their website, an «independent dance camp for federations, dance schools, clubs and organizations: all are welcome regardless of their affiliation.»
World champions Kristina and Peter Stokkebroe and Frank Høgh are in their eighth year organizing this camp for all dancers of any level to come and learn from the best. For us, it seems the perfect environment where every dancer will feel welcome.
4. Edita Daniute International Training Camp – Trakai
It is organized in Lithuania between July 14 and 21, this Training Camp is organized by Edita Daniute, one of the best names in the world of Standard, is intended to develop all aspects of the Standard. You will have morning jogging, aerobic exercises and stretching, conferences and resistance practice.
Coaches: Edita Daniute, Mirko Gozzoli, Fabio Selmi, Pietro Braga, Salvatore Todaro, Catia Vanone, Alexey Silde, Alessandro Firmo, Marek Chojnacki, Michele Bonsignori, Anastasia Titkova.
5. Team Vivo Latino with la Grande Orchestra Italiana – Italy
Between July 19 and 21, in Italy, Team Vivo Latino is organizing the largest Training Camp for international training and competition in southern Italy. The Training Camp and the sson competition in Mariotto, which is 30-40 minutes away by car or transfer from Bari-Palese airport.
The Vivo Latino Team Training Field has one of the best coach selections.
- Hans Galke
- Sergey y Melia
- Paul Killick
- Andrej y Melinda
- Viktor Nikovskiy
- David Yin
- Goran Nordin
- Jukka y Sirpa
- Maurizio Vescovo
- Joanna Leunis.
6. S&F Camp – Moscow
The Training Camo S&F is organized by Alexey Silde and Anna Firstova, mainly dedicated to Latin. It is held at the Crocus Expo usually in early January and the second time is at the end of August and lasts 5 to 6 days. During these days, the schedule looks like this: in the morning you have stretching sessions, around 4 PM you will have general physical preparation and in the evening there are practice sessions.
7. ZK Camp – Moscow
The ZK camp is organized by Dmitry Zharkov and Olga Kulikova and is dedicated only to standard dancers. Like the S&F Camp, it is celebrated in Moscow at the Crocus Expo. The first ZK camp is in early January and the second time is in September and usually lasts 3 to 4 days.
The schedule of the day is divided into two parts: physical preparation and practice sessions at night. In addition, there are separate groups for children up to Junior II and separate groups for young people. In charge of these groups are the teacher assistants: Matteo del Gaone, Evgeny Nikitin and Anton Besedin.
🔵🔴⚪️ZK SUMMER DANCE CAMP ⚪️🔴🔵Every Tuesday 10:00-2:00pmAge 3-6 WelcomeHoly Cross Church Hall, CH49 7LS£10 per child Contact Zacc for more information ZK SMASH THE SUMMER 2016 ☀️☀️☀️
8. International Championships Preparation Quality Camp – Warsaw
It is organized by Lukasz and Aleksandra Tomczak from September 13 to 16 in Warsaw, Poland. As the name implies, this Training Camp is dedicated to those who are preparing to do their best in the International Championship that normally takes place in October of each year.
9. Mabo Training Camp – Italy
The third week of September you can usually participate in the Mabo Training Camp and receive valuable information from some of the biggest legends in the industry.
10. Transylvanian Grand Prix
The Transylvania Grand Prix is one of the most important dance events in Romania. The best WDSF couples from around the world attend and fight for a place in the final. The best thing about this event is the Transylvania Training Camp, which brings together teachers such as William Pino, Pietro Braga, Barbara Ambroz, Giordano Vanone, Colin James and many others.
11. Royal Dance Summer & Winter Camp Spain
Organized in the first week of January in winter, and in the first week of August in summer, the famous international coatch Karina Rubio organizes one of the most outstanding Training Camps, which also advances in prestige at times.
The cast of teachers that come is fantastic. It is a Training Camp especially prominent for Latin dances and very well organized.
12. Master Evolution Benidorm -Spain
Organized by a group of teachers such as Piegro Braga, Valeri Ivanov, Frederic Mosa, etc. (Dance Sport Team), a very special Training Camp is organized in Benidorm in January, just before the prestigious DANCESPORT CUP International Competition.
The organization works to create 2 specific events within the Training Camp itself: Mater Evolution Latin and Master Evolution Standard.
The cast of top-tier coatches is spectacular.
13. Gold Camp Bilbao -Spain
In the middle of October of each year the Bilbao Dancesport Cup International Competition is held in Bilbao- Spain.
Just a few days before, a prestigious Training Camp is also organized, which every year enjoys a presence of couples and category.
Por Frank Gascón – DancesportNews.info
Interview to Mr. Andrius Kandelis international trainer, and organizer of INTERNATIONAL SUMMER CAMP KANDELA
Please Andrius tell us about you when did you start to be a part of the Dancesport world?
I started dancing when I was 6 years old. In the beginning it was just a fun for me, till the moment when I started to win competitions. Results went up when I was in the Youth group.We were Champions in Lithuania in Youth and semifinalist in world championship. Since then I continued my career as an amateur. We were finalists of the World Championship, won 4th place in European Championchip and 2 times became world Cup winners.
Tell us something about your work in Dancesport Club KANDELA and your professional activity.
I am the owner of dance sport club Kandela. Different age groups of dancers practice here. Children start at the age of 4 and the most successful reach the professional level. With those who are interested we always go to compete in the international competitions around the world. Apart from sport dance, in KANDELA we also have Joga, gimnastic, salsa, ballet classes.
Explain please to the audience about your Club, your couples
Dance studio Kandela was established in 2008.
Since then, we have won many champions in a different categories. They were representing Lithuania at the World Championships and European Championships. Dance sport club Kandela is one of the biggest club in Lithuania.
Andrius, when did you start to organize International Training Camp KANDELA?
The International summer dance training camp KANDELA was started to be organized in 2011. The best teachers from all over the world come here to share their professional knowledge and develop participants‘ dancing skills. Every year, the camp is gaining new momentum and better quality.
Do you organize any event or competition else?
Yes, I organise the winter dance camp in Lithuania every year befor the national Lithuanian championship. The idea of competition is in my near future.
When the next Training Camp KANDELA be held? Is the registration already open?
The next International summer dance training camp KANDELA will be held in 2019 July 1st up to 2019 July 6th. It will be one of the biggest dance camp in the world. There will be about 20 teachers from different countrys. REGISTRATION IS ALREADY OPEN.
How many couples do you expect this year?
We expect about 100 couples to arrive. The organisers guarantee high level of coaching. Lecturers and practitioners have great experience in winning.
There are several Camps organized in the area, how is your event different from the others?
This International summer dance training camp KANDELA will stand out with great physical preparation. Also, there will be exclusive Standard and Latin coaches in the camp. The agenda will start early in the morning and continue until the evening. Jogging, ballet, lectures, privat sessions, will be present in INTERNATIONAL SUMMER DANCE TRAINING CAMP KANDELA 2019 1st – 6th of July.
EVERYBODY IS WELCAME TO THIS AMAZING INTERNATIONAL SUMMER DANCE TRAINING CAMP KANDELA 2019 IN LITHUANIA
REGISTRATION IS ALREADY OPEN
THE SPEED AND THE «SPECIAL EFFECTS» ENEMIES OF ADVANCEMENT IN DANCESPORT. ANALOGIES PIANO vs TENNIS vs DANCESPORT
Go ahead the recognition that, even enthusiastic follower and apprentice of this our magnificent discipline, the DANCESPORT, I do not pretend because I can not teach anyone. But I can collaborate, I think, promoting reflection.
In other disciplines that I do know more thoroughly, such as Piano and Tennis, share the same basic principles to which I am going to refer for DANCESPORT: the PRECIPITATION at the time of proceeding to the stage of making the movements in a FAST, EXPLOSIVE way, without -not much less-, being the chosen moment mostly the appropriate one.
I see in Dancesport what I see also in many pianists and tennis players apprentices or in delevoping process They want to be fully employed immediately, and play as a professional.
That is precisely the seriuos mistake of which I humbly claim attention. SPEED -for developing athletes- is the ENEMY not only of PERFECTION, but also of PROGRESSION.
With the SPEED, EVERYTHING is PRECIPITATIVE, and the technique is «DIRTIED AND DAMAGED».
In the learning of a movement it is necessary to take to the limit the CONCEPT OF NEAT REPETITION, knowing what one does, controlling the movement deforms slowly and mentally «recording in the mind its execution». For this it is necessary to develop the movements in a SLOW, PAUSED manner and NOT PRECIPITATE THE QUICK EXECUTION PHASE UNTIL YOU HAVE SET THE MOVEMENT TECHNIQUE TO THE SACITY AND BEYOND, THROUGH THE REPETITION!
Speed can only and should arrive at Dancesport as a result of control and mastery of the technique.
DIDACTICS AND METHODOLOGY IN THE PIANO´S WORLD
I will start by trying to explain using what happens with the practice of piano.
Imagine a piece of high speed. For example, the Revolutionary Study of Chopin, in C minor Op. No. 10.
It is an EPIC piece, highly complex, mainly due to its high speed. The composer said that Tempo should be ALLEGRO CON FUOCO !!! Alegro with fire! (It is called Revolutionary because the author transmitted in the piece his willingness to support the Revolution of the Polish Cadets against the Russian authority in which he could not participate because of his health problems).
The complexity of the piece is to play it at such speed, taking into account also that the protagonist of the piece is mostly the left hand that has literally «to fly» with millimeter precision playing dozens of notes in fractions of a second.
The Musical Tempos marked by a composer in a musical work, from slow to fast, may be the following:
Largo 40-60 beats per minute (usually black (quarter) note).
Chopin’s piece, being ALLEGRO CON FUOCO, is within the maximum range of ALLEGRO, that is, over 168 blacks (quarter) per minute.
Normally a Pulsation is equivalent to the duration of a quarter note in a compass. The Revolutionary Study of Chopin is written in a Compass 2/4, that is, each compass lasts 2 blacks. And if we look at the Score almost all the notes are SEMIQUAVER (Semi-eighth notes)
In one minute of ALLEGRO CON FUOCO, 84 measures, 168 blacks, 772 SEMIQUAVERS notes.
This means that approximately 11-12 different notes per second are pressed with different fingers!
For their learning, good connoisseurs of the learning methodology know that not only do they have to learn at low speed. You have to «FASTEN» the learning also at low speed and repeat and repeat hundreds of times until you generate «an independent finger memory» in the fingers of each hand, an «automatic and precise automatism».
Low speed is for example half, 168 would be 84 blacks per minute.
Evgeny Kissin, great russian concert pianist, always betting on the best technique refined since childhood, when he already gave concerts and highlighted
(Piano: Evgeny Kissin. For me one of the best perfomances of these piece).
In the second phase, that speed must be increased slowly:
The next week’s trials at 90 speed always starting at 84 the first few times.
The next week to 96 always starting at 84. And so on until reaching 168 several months later.
But the piano players know that even if they are able to play the piece at maximum speed, they should always try it at low speed and play it only a couple of times at maximum. Why? Because the repeated practice at maximum speed messes up the interpretation in the medium term.
DIDACTICS AND METHODOLOGY IN TENNIS WORLD
Not willing to extend too much.
But I am going to refer here to another important collateral aspect in the development of children as future tennis players and we are going to draw an analogy with the development of dancers in Dancesport.
The importance of the technique at early ages.
Tennis is a technical discipline, but in my opinion less than the Dancesport. The difficulty of tennis is to «adapt» body to an external element: the ball. Although for different types of hits (drive and backhand) and subtypes (cut, flat, topspin), and several kind of grips, finally only 4-5 are the «hinges corporations that have to adjust to accommodate the ball and perform the chosen hit».
I sincerely believe, however, that in Dancesport the number of «body hinges» is much greater. Even some of those «hinges» are almost unknown in the movements of a normal life. The Dancesport BIOMECHANICS is extremely complex.
Therefore, I consider that DANCESPORT is the most technical discipline of all the sports I know.
Like all competitive sports, children want to win, parents want their children win, but coaches want to train future champions. However, they are pushed by the «resultadist dynamics». And many of them give in and allow the young players away from the technical purism in order to get good results instantly: win the games.
In fact, until 10-11 years playing competitive games, at least very often, it is worse than better, because to win you end up hitting the ball in a less orthodox way, moving away from the technique that is less still entrenched in the boy.
-Bread for today, hunger for tomorrow-.
The purified Technique is the only KEY or GUARANTEE that the advance in a discipline is infinite.
Only the refined technique will allow the more you train the better you play.
When a tennis player for the sake of winning forgets to hit with the correct technique even if he fails, he will win that match and many more in the next few years, BUT A MOMENT WILL ARRIVE AND THERE will be no evolution.
However, other players who lost but who continued to invest in PURISM Y TECHNIQUE, will reach that level and surpass those who bet on RESULTS and will see them years later «through the rear-view mirror».
In the present, International Dancesport has recognized worldwide the dedication to the refined technique naming Latin World Champions to Armen Tsaturyan & Svetlana Gudyno (main trainer Ilya Danilov) and in Standard dances to Dmitry Zharkov and Olga Kulikova.
Both couples are from Russian school, strongly characterized by betting on the most refined technique and working hard from early ages. That’s where the quality of dance and results comes from.
DANCESPORT & TECHNIQUE
In DANCESPORT, in my opinion, the same thing happens.
In early phases it is ESSENTIAL TO BET FOR THE PURISM, BY THE TECHNIQUE.
Since you start dancing with 4-5-6-7 (Juvenile) years until you are at least 16 years old and you reach YOUTH the priority should be «sow and then collect».
However, in most cases it is not like that.
As DANCESPORT is a competitive sport and you want to win, young dancers tend to perform movements with great energy and speed, without realizing that SPEED MASKS TECHNICAL FAULTS AND PROVIDES THEM AT A TIME.
We see many parents excited about their children seeing «the amount» of dance but not the «quality», because not only do they not understand it, but as a consequence, they are not able to see it. And they encourage their children to make an effort by dancing «loud» «fast» and if it is with «special effects» then better yet. «Bread for today, hunger for tomorrow».
At early ages it is impossible to combine speed and energy, with technique, quality and precision in movement. And it happens just like in the world of tennis. There comes a time that no matter how hard you train, for many hours that you dedicate to it, you will reach a level from there, there will be no possible evolution: bad technique makes further progress impossible. You have reached the border of your capacity because of your lack of technical qualification.
Other dancers in their initial stages, perhaps pressured by the parents or environment, before learning the basics begin to exaggerate the postures and gestures (special effects). It is something that anticipates what is substantial and what makes the focus lose.
I have to admit that I have fallen as a father in that temptation sometimes, but I have the great good fortune to have a son´s teacher who has even more clear than me the principle that I am proposing.
I am aware that in some competitions we have won some couples who danced with a lot of energy (Latin) or that fell more than us but they dismounted up and we did not (standard) and I have not gotten it well, but thanks to our coach we are beginning to collect the fruits of these appropriate didactic and methodology. Be patient, run away from the speed of the moment and bet all the chips of the casino by the Technique. So the future can be yours. Thank you Valera Zaiko for having it so clear and so methodical with my son!
Alex Gascón & Alexandra Zaiko, several times Spanish juvenile and Junior 1 champions and several International Open WDSF Latin & Standard champions.
If you are parents and want the best for your children as dancers of Dancesport, my advice is that you invest everything you can in good teachers and classes.
by Frank Gascón
Next article I will try to investigate and write about «The Ages Learning; Phases».