It’s been quite a while since I last posted, but a conversation I had recently with a fellow Shag dancer from Denmark inspired me to delve deeper into a phrase I had been given in a conversation a few years ago, and also share my thoughts. Now I have only ever entered two dance competitions, so I shouldn’t in anyway be considered an expert in competition camaraderie, but from the little experience I have had, I can vouch for its existence, and here’s a little glimmer into why it is important.
My Danish friend and I, had both ended up entering the Munich Shag Battle, with our respective partners, and we were chatting about our nerves prior to the competition. It was then that I recalled a conversation I’d had with another Shag dancer at the Hot Rhythm Holiday weekender in Texas. I’d been asked why Sharon and I hadn’t entered the Shag competition there. I’d probably given some excuse about going up against the awesome competition or something similar when the rebut was, “you’re not competing against other dancers; you’re competing with other dancers”. It was a subtle, but very powerful turn of phrase that penetrated deep into my psyche.
Now coming from the UK where competitive swing dancing is almost non-existent, I’m not sure if that phrase is common knowledge elsewhere, but it struck a chord with me. I think it also did the same for my Danish friend, which caused me to think about it a little deeper.
Competing “against” other dancers implies a selfish wish for them to fail, for us to be better than them, and as such we close our minds to what they can offer us or our community. When we compete “against”, we cease to cooperate for the common good and just seek to defeat our foe.
Competing “with” other dancers implies a partnership, where each and every one can learn from each other. Dancers compete “with” by sharing their patterns and techniques on the dance floor and testing capability. If accepted by other dancers those patterns and techniques can be adapted and improved upon. This in turn benefits the entire community further. Competitors who compete “with” do not seek the failure of others; they support and encourage participation, best performance, and success for all.
This cooperative competition is what makes the swing dance community so strong. It’s how the dances developed back in the day, and it’s how we will all continue to improve to be the best we can, no matter what level we’re dancing at; competitive or not.
When you’re next at a dance, take a look around the dance floor and check out the people who are smiling as they dance. To me it’s obvious why they are smiling. They’re sharing a moment with their dance partner, whether that moment is a piece of conversation; an interesting “variation”; or simply the pure joy of experiencing the moment when all things come together, your partner, the dance, the music. I say simply because moments like that come naturally.
It’s My Way Or Any Other Way That Suits Really
Although this is primarily a blog about about Shag, I guess this post could relate to any dance style.
The last couple of years has seen a slow but steady stream of US Shag teachers arrive in the UK to meet an every increasing demand for top class shag tuition. You cannot believe how happy I am that this is happening. It helps break the cycle of repeated beginners workshops, and moves our favourite dance onwards and upwards into a more mature domain. That’s got to be a good thing.
Over the years, Sharon and I have been fortunate to have been able to travel across Europe, Canada and the USA, to take classes and workshops from the best Shag dancers and teachers in the world. Its given us a great opportunity to enhance our Shag specific teaching skills and understand what makes those great dancers so great. However the opportunity to learn from a multitude of the best does not come without it’s own challenges. You see what works for teacher A, may not necessarily work for teacher B, or C, or D for that matter, and that means that their teaching methods and advice may on occasion conflict with each other. Students From around the country have brought this to my attention over the last 12 months, and its something Sharon and I learned to deal with many years ago.
The simple fact is the conflict doesn’t matter. What teachers are teaching works for them. Their experience, fitness, technique all come together to make them the great dancers they are, right? So if you copy exactly what they tell you to do, you will be a great dancer too right? Well maybe. What works for them may not necessarily work for you. Your experience, fitness and technique make you a slightly different dancer. The important thing to find when learning from multiple teachers is what works for you best; what are you most comfortable with; and use that. I’ve found over the years a pick and mix approach works best. A hand full of stuff from class A, with sprinkling from workshop B, including a little je ne sais quois from watching teacher C in that awesome performance they did on YouTube.
The fact is, all those teachers are correct even when they are wrong for you. You just need to find who’s correct for you, when.
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