Ritmo Tips (C) - Send your questions or comments to frankritmo@aol.com

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Ritmo Tip: Where are your eyes when you dance?  Are you looking at your partner or someone else's partner? Focusing your eyes on your partner is one of the most important key to leading and following.  Looking elsewhere will make you seem conceited,  disinterested or bored and it will send mixed signals.  If you can't look someone in the eyes then look at the top of their head or their nose. At least keep your head up, nose to nose and shoulders squared with each other.  If you made the effort to ask or accept then continue the effort on the dance floor!

Comment: Dancing with people you can only dance with is a disservice to yourself.  Take on the challenge! - dance with someone that has a different style or even someone that is at a different level.  If you are bored while dancing with someone that is not at the same level of experience or has a different style than you - then perhaps that is the time to show off your styling, body movement or footwork.  However if all you know how to do is turns or spins, then you are at fault for being bored. I applaud those that are at higher levels of dancing - and can dance with everyone.  It is their personality and confidence that takes them to that level.  A great Mambo Pioneer once said "Dance with attitude, let them see your confidence."  To clarify, he meant attitude on stage while performing - not with a bad attitude on the dance floor at a social event or club.  If you know who this pioneer is then ask him yourself.  Note: New tips and Q&A's are posted monthly.

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Question from Queens (Unknown): How do you accentuate timing in your teachings? 

Frank Ritmo Answers: I [not only] use numbers.  I follow the music by verbally emulating a drum beat to the 123, 567 count.  Sometimes I will use Left Right Left, Right Left Right.  This forces the students to listen and feel the music.

Question from New York (Paul): Can you explain what you mean by lead hints and body language?

Frank Ritmo Answers: I cannot cover full details in one email, however I can give you an example and you can determine what a lead hint is and what I refer to as body language.  Let's take for example a single turn.  There is a hint to leading a single turn - some refer to it as a "springing effect" - like a rubber band.  On a single turn - depending on the method taught - you may be going forward or back stepping. If you are going forward then the momentum of your body is pushing your partner back and as you are stepping back, your  partner is coming forward.  That momentum is key to a single turn "lead hint".  It works very similar to the method of the leader doing a back step - except that the "springing" affect in that lead is better recognized by your partner.  Body language is one of the most important aspects of communication.  If your partner looks at you dead in the eyes and moves with conviction, then you know that they will follow well.  There are different types of body movements that will give you an idea of what type of dancer you are dealing with. If your hand is firmly placed on your partner's back, then you should be able to tell. Dancers that are very expressive to the music may be harder to lead because they lose themselves to the music and they lose your lead as well.

Question from Chicago (Esteban): What if you run out of turn patterns and shines, what happens then? :-]

Frank Ritmo Answers: Do the electric slide. :=]

Question from New York (Jose): Frank, Can you give any advise on double turns?  I have a hard time leading more than one turn. Sometimes I [don't] stop her on time or she gives me that confused look in the face?

Frank Ritmo Answers: Hi Jose, turning your partner multiple times is tricky and is risky.  A bad double, triple or multiple turn gone bad sets the tone for the dance - it's over after that.  There are different styles and techniques on spinning.  So you have to be confident and lead that single or double with conviction.  Try a single turn and a double first.  Feel your partners dance and find out if she is a spinner.  If on a double turn it almost feels like she could have done several more then - she is a spinner.  Most spinners will even whip around on a single turn and style out to the rest of the timing.  Don't be intimidated.  Stick to your dance and make sure that you are leading with conviction.  Some ladies that spin well can over spin too.  They are used to doing four or more spins across the floor or in place. So they may over spin on you and that's ok.  Don't change your style because someone else has a different style.  You have to meet in the middle.  There may be an opportunity there to practice leading multiple turns - make sure you are confident.  You may want to ask your current instructor's opinion.  See what she or he says.

Question from Queens (Juan): Hi Frank, I am a beginner in New York On2.  I want to [get] to advanced [quickly] do you think privates will help?

Frank Ritmo Answers: Juan, privates will help you get the material quicker, but it will not help unless you put it to use.  Learning a curriculum of any type requires you to practice.  The best way - in my opinion - to become a better dancer is to build experience.  So you have to go out on the dance floor and practice what you learned in class or in your private sessions.  Put in your time and the results will show.

Question from Bronx (Betu): Hi, How do you know which style a lady dances before asking her to dance?

Frank Ritmo Answers: You don't know - but asking can be rude. I have used the following method and it has been very effective. If you want to dance with someone, stand close to where they are dancing and watch them dance.  Usually you will be able to tell from their footwork and timing what style they dance (this works both for ladies and gents).  If you already asked her to dance then try this: Under arm walk through "Under the bridge". Once you pick up the arm and build the bridge, she will walk under your arm across the floor; if she steps on her left foot first and does a 1/2 turn she probably dances Palladium Style (On1 or On2).  If she steps on her right foot and 1/2 turns on that same right foot she dances NY On2. This works well for guys.  Ladies unfortunately have to deal with the element of surprise.

Question from Boston (Unknown): Hi Frank,  When do you feel is the right time to let your go and break into shines? and i always feel retarded when I am doing my shines - i hate it :(?

Frank Ritmo Answers: It depends on the music and where the dance is going. The leader has to build the dance and make his partner feel comfortable. If and when he decides to break into shines it could be because his turn pattern itinerary has run out or the climax of the music is reached and he decides to release you and take a break from the turn patterns and use a different form of expression to the music. Leaders have to consider their partner; so if he sees that she is not really participating in the climax of the music, it's his job to feel that and pick up on the partnering. 

I used to feel the same way. This happens when you are thinking too much - suzy q and three point step and hesitation cross over and this and that step; uugh. Let the music sink into your heart and soul and let your body and feet move to that feeling. Steps taught in classes are foundation steps - if you start thinking about which one you are doing first and next, you are no longer feeling the music but dancing to a program that only works in class.  So throw in that Suzy Q but do it while feeling the music, it may not be on the timing you were taught in class but foundation is taught through timing, so that's ok. Take that foundation to a different level and do it to the feel of the music.

Question from New York (Paul): How do you know what type of lead is best?  Some girls prefer a [soft] lead others prefer a stronger lead. What is your take?

Frank Ritmo Answers: You answered your own question.  Communication is not only numbers, lead hints and body language but feeling as well.  You have to feel your partner first (and vice-versa) before you can begin leading her successfully.  Making your partner feel comfortable is 1/2 the dance.

Question from New York (Jose): Frank, in your tip you saying that resistance is important so how what do you do when your partner does not give you resistance?

Answer: Hi Jose.  When your partner does not give you resistance, it is difficult to execute some turn patterns.  The more basic ones you may be able to accomplish.  However, as the turns increase with spins and exchange of direction, executing them may be an exercise in futility (it isn't going to work).  When I run into situations such as these I tend to go back to the basics.  There are many basic turns you can work with and still make the dancing fun and look good.

Question from Queens (Unknown): what is the difference between on1 and on2?  i think on1 feels more natural. which one is better?

Answer: I will try to do my best. 

On1: On1 breaks direction on the first beat of the musicians count.  Music is actually counted as such: 1234, 1234 (eight counts).  This is the musicians count and it was also the original count method taught in dance. A dancers count is as such: 1234, 5678.  Breaking on the one means that your body is breaking direction forward and back on the count of one.  So on the first set; the 1 of the 2,3,4 -- you are breaking direction back and on the second set; the 1 of the 2,3,4 -- you are breaking forward.  This however can be confusing when you are taught to dance on 1,2,3,4,5,6,7,8 because you are breaking on the 1 and on the 5.  Breaking on 1 also has a rock step where your weight is rocking in a motion on the foot that is breaking back and the foot that is breaking forward.

On2: On2 breaks direction on the second beat of the musicians count.  I am not sure which On2 you are referring to because there are two styles.  One is the Son Montuno style (234,678) and the other is New York On2 which steps on (123,567) - both break On2.  Son Montuno is more similar to the On1 style because they both break back with the left foot and break forward with the right.  However, the Son Montuno style breaks on a different count within the music, there is no rock step and it begins on the upbeat of the music.  New York On2 in my opinion, is made up of the best of both these styles.  This style steps back on the 1 but breaks forward on the 2 (with the right foot) and steps forward on the 1 and breaks back on the 2 (with the left foot).  So you have two steps that you take before you break forward and back.  This style is danced in a slot and is a more of a club style in comparison to Son Montuno.  The fact is that it encompasses the flow of On1 and the power of On2, so I guess you can say that it "Flows With Power".  There is a relationship between the dances and the "Clave".  I will not explain what the "Clave" is or describe the relationship.  Here is a website with a good definition of the "Clave".

Here are my thoughts: "What feels natural to you is what you already know; what you don't know does not feel natural. fg"  I am sure you frequently dance on the 1 and that is great, however it is a preference.  Once you are used to a style of dance, starting from the beginning on a different style can be frustrating.  Give it a chance, learn the other style well and then think about which one is better.  I can guarantee you that there is no "this one is better than that one."  It is a different style - a preference.   When I dance, I enjoy myself just the same when I dance On1, On2, On3, On4 etc., I also enjoy the fact that I can dance with anyone. 

Question from Queens (Alina): Frank, how do i improve on my spins?

Answer: Hi Alina, spins take allot of practice.  From my experience, I have seen ladies improve their spins when they decide to let go and not try to control the leader or use their arms and upper body to control the spin.  For instance your arms, shoulders, and frame have to stay in position throughout the turns. Primarily your turn is coming from the base which begins around the waste. Your upper body should be stationary.  This depends on whether your spin is a spiral in place or traveling across the dance floor.

One way to practice your spins is to keep it simple.  Practice your single turns while looking in the mirror. Imagine that you are looking at your dance partner.  Try to keep your eyes on the mirror while doing your right turn as much as you can and follow through after your base. Spotting is the foundation of spinning.  Practice while doing a single right turn and this will evidently improve your spinning overall.  Here is a link to a website with pretty good information: Spinning Technique.

Comment from Unknown (I had to post this one): I don't' think there is anything wrong with turning someone down on the dance floor.  If you don't know the person or you just don't feel like dancing with that person then it is freedom of choice. This is a free country and we have the freedom to choose who to dance with and who not to dance with and it doesn't makes us bad or whatever...

Answer: Thank you unknown for your comment. You are right to say that you are free to choose who to dance with. I am not saying that you shouldn't dance with those that you enjoy dancing with.  And If you feel that turning someone down is saving you from an aching shoulder or an injury then, I would agree with you for turning that person down.  It is the way certain individuals turn down a dance.  I have witnessed dancers - who I believe are decent and can hold their ground - turned down for less than better reasons.  I have spoken to those out there with that experience and have seen it when it has happened.  Here is my stand on this: Give that person a chance, then be honest.  Let your experience speak for itself. Tell that person why you feel that his lead or the way she follows is awkward or incorrect.  Perhaps you can recommend some classes with an instructor you feel is suitable or maybe you are an instructor yourself - Here is your opportunity!!

*** Now to be FAIR - you can not justifiably say that someone can't dance because of the following ***

1. They don't execute the same exact "Choreographed" turn patters that you are used to.

2. They dance a different style or have a different style of dancing. Sometimes people choose to be unique.  It gives them a sense of individuality.  If you can't follow or lead someone with their own unique style, then you are not following or leading are you?  A good leader or follower should be able to adapt to anything.

3. If you are too tired or too sweaty then be honest and say so. But then don't turn around and dance with someone else.

4. He or she is not attractive to you.

Question from New York (Louis): Hi Frank,  I attend classes at [studio not mentioned] and i like the instructor but many times I walk out of the class and I feel like I didn't learn anything? Should i continue to try different instructors? i am thinking of attending your classes too, can you send me information?

Answer: Hi Louis, don't give up on your current instructor just yet.  Don't hesitate to ask the instructor to stop and explain something to you during the class. I realize that you feel you may be slowing down the flow of the class, but it is not your job to manage the learning flow of the class - you paid for your lesson; it's ok to ask.  If you feel that you are absolutely not learning the lesson, then ask the instructor if you can work with one of the more advanced students in the class.  It is better to have someone that can help you than to have no one at all.  Unfortunately if there is one instructor and no assistant, then an advanced student will suffice. It is difficult for the instructor to concentrate on you or anyone else during the class - not to mention unfair to the rest of the students.  It is difficult to keep everyone happy in the class - give us a chance to accommodate you - please communicate with your instructor. It is a good practice to try different instructors because each one offers a technique or method of execution that another instructor may not bring across during their teachings. Keep in mind that each instructor has their own style, so don't make comparison based on style -- see which one you prefer and go with it.  Thank you for considering my classes; you are more than welcomed to attend - however don't give up on your current instructor.  I would not want any of my students giving up on me. 

Question from New York (Jose): Mr. Ritmo, why is it that I feel that sometimes I can't dance with some girls, but with others I do well?

Answer: Occasionally, I go through the same too. There are several reasons from my experience why this happens.  1. You or she may not be feeling the music.  2. Many dancers are used to dancing with a particular crowd or a particular range of turn patters (style) and cannot break away from that.  3. Some dancers just don't feel each other.  The lead that they are used to is different from your lead.  The best thing to do is go back to your basics and try to make it fun for both of you.  Put some footwork into your turn patterns to make it look stylish - break away and do some shines - then try to build the dance from there.  If it still does not happen for you and her then at the end of the song; politely say thank you and move on to the next partner.  However, if you see him/her again - the next time around can be a better dance than the last time.

Question from Miami, Florida (Karen): I am a good dancer, but guys wont ask me to dance only a few ask me.

Answer: Nowadays it's ok to ask guys to dance - it is just dancing.  This is a tough question to answer.  My experience has been that guys can be intimidated.  I know that at one point I was intimidated by certain dancers or cliques.

Comment from Queens, NY (Manuel): i hate the fact that there are girls who won't dance with you because they think they are better than you.  this only happens to me in the on2 scene. what's up with that?

Answer:  I know what you mean and it is shameful.  Please do not label the style of dance, the scene or everyone in that scene because of individuals who are only popular amongst their peers.  There are those out there who are pioneers of this scene and they are very approachable and have a great attitude.  This is why they are pioneers, because they have accomplished what others are not able to do.  Those that condone this type of attitude or are rude to other dancers are tainting this that we call "On2".  They are tainting all the work that the pioneers of this dance have put into; they are ruining it for instructors who make a living out of teaching this dance and they are killing it - very much like the way hustle, freestyle and other styles of music and dance have deteriorated. Those that get a bad taste because of an experience with this type of individual decide to dance some other style of dance and shun this scene. Then that person tells their friend and so a network builds and gives us all a bad reputation. Instructors should remind their students that this scene is supposed to be welcoming and to keep the rudeness out of the dance floor.  After all is said and done, this is what we love to do and it is a source of income.

 

All comments or statements made on this site, are statements made from my own experience and not a representation of any dance community or organizations outside of Asuritmo.com.  If you asked a question or asked for a tip then I will do my best to answer your question. After all it is free.