Hazel Fletcher

Text by Hazel Fletcher

By kind permission of the McDonald family the Embassy BDFI congress has been held annually during the Embassy festival for many years. The congress took place on the 2nd day of the 5-day dance festival and was enthusiastically received.
First on were;

NICK CHEREMUKHIN & VIKTORIJA – AMERICAN SMOOTH

Nick and Viktorija’s partnership formed in March of 2013. Within their first year Nick and Viktorija became finalists in all major competitions in the United States. They have a strong Ballroom and Latin background, as well as modern jazz ballet and contemporary dancing. This they believe has been a huge contribution to their success.

Nick and Viktorija’s latest accomplishments are:
Three times Open Professional Smooth National Champions, Twice Open British Blackpool Smooth Champions and 3 times World Open Professional Smooth Champions.

Closed position vs Shadow position

They explained that they believe the “Rise and Fall,” Swing and Footwork are mainly the same in both positions but with a few minor differences. What is important is the retention of a common centre on the right side in normal Closed hold and in Shadow, whilst maintaining the same frame for the man constantly. Nick stated that his elbow line should not change when the Lady turns to Shadow, the only small difference is from the wrist. Viktoria explained the differences of her shaping of the head and upper body which has to change.

They then suggested detail in the transitions between Close Shadow, more Open Shadow, switching from Closed to Shadow position and back. They emphasised that in Open Closed hold how important it is to maintain the centre and palm for the man the same distance apart. They explained the 2 pendulums when switching from right Shadow to left Shadow, with Nick always maintaining an excellent frame. “I lead the girl first and then I follow” stated Nick so it is not always about the man leading and the lady following!

The summary was that there are more similarities in both positions than differences.

I found this an interesting lecture highlighting how imperative it is to use International Ballroom principles constantly maintained to promote the beauty, character and fluidity to enhance the title of the style = Smooth.

RUFUS DUSTIN

American rhythm

BDFI Congress at the Embassy

Rufus’ resume includes being a 2-time World Exhibition/Cabaret Champion, 2-time United States National Professional American Style Champion both in Rhythm and Smooth, North American Latin Champion, North American 10- Dance Champion, United States Champion and British Open Blackpool Dance Festival Exhibition Champion. He had 5 partners and will be remembered most for his success with Sharon Savoy and Marianne Nicole. His roots lie in ballet, before continuing into Dance sport, winning his first American Style DanceSport Championship in 1974.

His lecture was entitled “MAMBO OUR ROOTS” four legs. This mirrors my personal history in the same year!

When asked what took him away from ballet, Rufus revealed he was drawn to the magic of Ballroom Dancing. While ballet is self-focused, Ballroom Dancing requires its partners to move as one body with

Rufus retired from competing when he was 42 years old. He currently resides in Miami, Florida. He coaches Professional competing couples and occasionally high- end Amateur and Pro-Am couples and adjudicates all over the world. Rufus is a multi-time Lecturer at the World Ballroom Dancing Congress in Blackpool, England.

Firstly, Rufus gave a history lesson in where the Mambo developed from. Machito came to New York from Cuba in the 1930’s and changed the face of music, he was a conga drum player. In 1937 he had a band called the Afro Cubans. The music sounded very primitive. The style of music fused jazz with the Cuban music of the time. The original Mambo music was faster. Modern times has slowed down the tempo. Rufus explained that the original Mambo style and tempo cannot be danced in competition today because it is too socially orientated.

Mambo has several basic rhythms.

The forward half basic with only pressure on the front foot but not full weight defines the typical Mambo delayed weight change. The next version is the same for 2 and 3 but has an earlier straightening of the knee on 4. Then there is Double Mambo where a step is taken on every beat, and the opposite which is half time Mambo where 2 beats are given to each step. Cross body lead is very popular. Rufus explained in detail that the lady should be offset and not square in front of the man. After the back break for Lady the man leads the lady to step across on Her Left foot Forward swivelling from the standing foot rotational quality combined with incredible smoothness, shade and light, level changes and the use of isolation.

He closed his lecture with a Mambo demonstration by the current USA and World rhythm Champions Nazarov Norov & Irina Kudryashova.

MARAT GIMAEV & ALINA BASYUK

followed with their lecture on International Ballroom.

Marat and Alina both started dancing in 1980, Alina in her hometown of St. Petersburg in Russia and Marat in Moscow, where in 1999 they began dancing together. As Amateurs they became a total of 9 times Russian Champions in Ballroom and 10 Dance, 3 times World 10 Dance Champions, and after switching to competing exclusively in the Ballroom style, made multiple Grand Finals of Worlds, Blackpool, United Kingdom and International Championships. In 2011 they moved to America to compete as Professionals – in pursuit of a high competitive environment and started representing the United States. Domestically they became 5 times US National Professional Ballroom Bronze medallists. Internationally they became Worlds, Blackpool, United Kingdom and International Professional Ballroom Grand Finalists. They retired as competitors at the British Open Championships in Blackpool at 2017. They reside and teach in New York and also perform demonstrations and adjudicate as National and World Class Judges.

MUSIC MATTERS

Marat commenced with the statement “We react to music on a subconscious level.”
He stated that there are 3 major departments when it comes to musicality = The structure of music. The simple understanding of phrasing. And hearing the “Question and Answer” in the music.

When he demonstrated Foxtrot I found it most commendable to hear Marat say “Quicks and Slows” and not numbers. This then produced a more musical and lyrical definition.

He said the dancer needs big ears to produce musical movement. He demonstrated the use of ankles and feet, legs and knees to truly use the music. Emotion makes the quality of dimension musical. Another illustration was dancing simple Waltz counting 123, then adding &1&2&3. Then &a1a&a2a&a3a&a etc. Now the audience could witness fuller musical nuances continuously. The defining factor for the movement is to become motion and musical. Movement must never stop, always continue to flow.
His summary was “We don’t dance to music, we become the music!”
This was a most charming lecture full of tips for even dancers who may not be naturally musical but how to develop that aspect.

The final lecture on International Latin was presented by Alan Fletcher.

Alan’s credits include being 5 times former Professional World and European Latin Champion.

THE DANCERS CONUNDRUM

Alan commenced by defining the word Conundrum, which means problem, dilemma or puzzlement. He then explained that he believes many dancers have confusion as to what should be their best personal direction. Time has developed into the seeking of advice from the many experts our business has to offer whilst in years gone by the dancers tended to have far fewer opinions and direction tended to be clearer. The consensus of opinions should then be more adhered to as the way forward and guide to development. When unsure couples tend to follow fashion and become at times lost within the masses thereby losing personal identity.

Alan stated that 4 main words need to be understood relative to clarifying intension = Look or Feel, Quality or Quantity. Relating the words Look or Feel, couples in general want the overriding aspect of “Feel” to be more to the forefront as internal emotion does obviously relate to dance. Feeling without substance can appear often unreal. The Look being the presentation of ones physique is the priority, like it or not, the visual appearance is what a judge would acknowledge more.

Quality is the connection of all components that make up integral and external actions. Quantity can be over packaging of choreography, many times based upon fashionable steps and actions that to the onlooker can appear too similar and overly congested and no allowance for subtleties, impact being the priority. Dance characteristics can be lost.

To demonstrate his points Alan introduced Massimo Arcolin and Laura.
First in Rumba the understanding of spine, core, shoulder and hip alignment and horizontal rotation. Especially for Ladies the shoulder blade to heel connection and diagonal stretch, plus heel usage in contact with the floor through rotation. Elbows and hands pulled back to enhance the understanding of correct posture; the connection of arms and hands to one’s personal centre. The resistance allowing for gravitational release can allow for muscular freedom to enhance musical activation. Interplay creates the required atmospherics plus the use of accents to develop energised changes of energy.

Alan then related the required elements necessary for Paso Doble = Timing, Posture, Framing, Shaping and Resistance plus Passion, and the extreme importance of head position to adhere to character.
His final thought-provoking line = Somebody once said, “Simplicity is Genius.”