International Steppers Association
Internationalsteppersassociation@yahoo.com
Date: 14 October 2010
Whoever wishes to foresee the future must consult the past; for human events ever resemble those of preceding times. This arises from the fact that they are produced by men who ever have been, and ever shall be, animated by the same passions, and thus they necessarily have the same results. Machiavelli
President’s Corner: Commentary
The history of vernacular dance is well documented. I used to believe that the origins of social dancing stemmed from the early 1900s influence of the Swing community alone. I was not only incorrect I was short sighted in nature partly because I had taken the verbal word of a few social historians. This was a big mistake. After conducting some careful research on my own I found not only that my beliefs were false and based on social norms and hearsay I found a wonderful and robust accounting of dance from historians who have done a wonderful job of documenting not only dance but the extended cultures which compliment communities and genres from all societies.
Steppin is truly the beneficiary of many cultures. The contributions of Africa, Europe and Asia can be found in our technical movements, rhythmic forms, cultural beliefs, values and attitudes. History has a way of making one big circle of life in which we have a tendency to rename revelations that come to our awareness for the first time. This is quite natural and it happens continuously as the next generation begins to repeat what has already gone before. A great case in point is the moon walk made popular by Michael Jackson. There are many accounts of the shuffling and soft shoe movements he performed as far back as the late 1800s. We don’t always give proper credit to our progenitors of dance who actually performed vernacular movements at a higher technical degree than our modern dancers. We see this as well in music and instrumentation. The impact of the drum and drummer in African-American culture and dance cannot be understated. Drumming was the ultimate communication voice for wars, funerals, weddings and culture rituals. Today the drummer has been replaced by the DJ however the importance of the central rhythm is just as important.
Have you heard of the Calinda (Calenda), Juba, Jig, Shango, Stair Dance, Black Bottom, Texas Tommy, Congo or Bomboula? There are so many more dances to name but they are all there for the knowing. Steppin is not new. Its movements are very similar to the aforementioned that its eerily like a déjà vu. It’s just renamed with a few derivatives of the past mixed in to the present. Steppin’s foundation has already been laid waiting on a new generation to give it life in books, video and other recordings. Its syncopation and polyrhythm’s were formed on the Western banks of the Sub-Saharan continent. Its box patterns can easily be seen in the 3 / 4 time Waltz and Marsuka patterns of Europe. We are all connected by dance. Lets us not forget that dance that gave exercise, strength and confidence during the long nights during the voyage of struggle across the Atlantic. Without dance, many more would have perished but dance gave life through exercise on the deck of ships to our forefathers and mothers. We have to embrace the extended past of our forefathers and recognize their contributions are significant to what we call ours today. It’s okay to advocate our pride, our culture, our dance and our community however we should not claim ownership to the body of dance because it was given to us freely long before we knew our mother and ourselves.
The ISA is one of a long line of organizations and individuals formed to do our small part in documenting the continuance of dance. We have embraced the popular term “Steppin” to capture the overall essence of urban social dance today. Sure Swing is the popular international naming convention for all social dances however it is important that we solidify the cultural contributions of urban areas such as New York, Chicago, Detroit, Philadelphia, Atlanta, Los Angeles, Milwaukee and many more that are keeping essentially the culture alive and well. It is the contribution of many people, some known and others not so known, that are making Steppin what it is today. There are many facets to our urban culture. All cultures are important and significant in their own way. It is not just the proper counting and learning tools that we are attempting to improve and standardize but the recognition of the culture that is so heavily debated.
Steppin is a technical movement first but it is just as important to realize that its cultural is just as important. Words such as smooth, jazzy, soulful and way of life are characteristics of the dance and if not provided in a contextual format we often end up describing a myriad of activities. We as a group of Steppers must come together and systematically name the movements and recognize those formal names that are universal recognized in the international dance community. If we do not, they will be named for us. You as a Stepper and dancer must get actively involved. To ensure possession we have to be the possessors of knowledge. Without this deliberate confluence and agreement we cannot blame anyone but ourselves. Someone has to come away from the dance floor for air and breathe life in to the documentation to ensure that our forefathers do not become a historical rumor or has been. That is essentially what the ISA is attempting to accomplish. Surely everyone will not understand it completely now but it does not take everyone just a few who will leave the lesson for everyone. The key to knowledge is not to know everything it is to contribute a small piece to the body of knowledge. As they say, the whole is great than its parts. The key is to get involved either culturally or formally or both but do get involved.
If you are interested in joining the ISA, please do not hesitate to contact Ms. Anissa Guyton for more information.
Five great books that highlight dance:
Jooking - Katrina Hazzard Gordon
Steppin on the Blues - Jacqui Malone
The Black Dancing Body - Brenda Dixon Gottschild
Black Dance 1619 to Today - Lynne Fauley Emery
Frankie Manning: Ambassador of Lindy Hop – Frankie Manning
Date: 14 October 2010
Whoever wishes to foresee the future must consult the past; for human events ever resemble those of preceding times. This arises from the fact that they are produced by men who ever have been, and ever shall be, animated by the same passions, and thus they necessarily have the same results. Machiavelli
President’s Corner: Commentary
The history of vernacular dance is well documented. I used to believe that the origins of social dancing stemmed from the early 1900s influence of the Swing community alone. I was not only incorrect I was short sighted in nature partly because I had taken the verbal word of a few social historians. This was a big mistake. After conducting some careful research on my own I found not only that my beliefs were false and based on social norms and hearsay I found a wonderful and robust accounting of dance from historians who have done a wonderful job of documenting not only dance but the extended cultures which compliment communities and genres from all societies.
Steppin is truly the beneficiary of many cultures. The contributions of Africa, Europe and Asia can be found in our technical movements, rhythmic forms, cultural beliefs, values and attitudes. History has a way of making one big circle of life in which we have a tendency to rename revelations that come to our awareness for the first time. This is quite natural and it happens continuously as the next generation begins to repeat what has already gone before. A great case in point is the moon walk made popular by Michael Jackson. There are many accounts of the shuffling and soft shoe movements he performed as far back as the late 1800s. We don’t always give proper credit to our progenitors of dance who actually performed vernacular movements at a higher technical degree than our modern dancers. We see this as well in music and instrumentation. The impact of the drum and drummer in African-American culture and dance cannot be understated. Drumming was the ultimate communication voice for wars, funerals, weddings and culture rituals. Today the drummer has been replaced by the DJ however the importance of the central rhythm is just as important.
Have you heard of the Calinda (Calenda), Juba, Jig, Shango, Stair Dance, Black Bottom, Texas Tommy, Congo or Bomboula? There are so many more dances to name but they are all there for the knowing. Steppin is not new. Its movements are very similar to the aforementioned that its eerily like a déjà vu. It’s just renamed with a few derivatives of the past mixed in to the present. Steppin’s foundation has already been laid waiting on a new generation to give it life in books, video and other recordings. Its syncopation and polyrhythm’s were formed on the Western banks of the Sub-Saharan continent. Its box patterns can easily be seen in the 3 / 4 time Waltz and Marsuka patterns of Europe. We are all connected by dance. Lets us not forget that dance that gave exercise, strength and confidence during the long nights during the voyage of struggle across the Atlantic. Without dance, many more would have perished but dance gave life through exercise on the deck of ships to our forefathers and mothers. We have to embrace the extended past of our forefathers and recognize their contributions are significant to what we call ours today. It’s okay to advocate our pride, our culture, our dance and our community however we should not claim ownership to the body of dance because it was given to us freely long before we knew our mother and ourselves.
The ISA is one of a long line of organizations and individuals formed to do our small part in documenting the continuance of dance. We have embraced the popular term “Steppin” to capture the overall essence of urban social dance today. Sure Swing is the popular international naming convention for all social dances however it is important that we solidify the cultural contributions of urban areas such as New York, Chicago, Detroit, Philadelphia, Atlanta, Los Angeles, Milwaukee and many more that are keeping essentially the culture alive and well. It is the contribution of many people, some known and others not so known, that are making Steppin what it is today. There are many facets to our urban culture. All cultures are important and significant in their own way. It is not just the proper counting and learning tools that we are attempting to improve and standardize but the recognition of the culture that is so heavily debated.
Steppin is a technical movement first but it is just as important to realize that its cultural is just as important. Words such as smooth, jazzy, soulful and way of life are characteristics of the dance and if not provided in a contextual format we often end up describing a myriad of activities. We as a group of Steppers must come together and systematically name the movements and recognize those formal names that are universal recognized in the international dance community. If we do not, they will be named for us. You as a Stepper and dancer must get actively involved. To ensure possession we have to be the possessors of knowledge. Without this deliberate confluence and agreement we cannot blame anyone but ourselves. Someone has to come away from the dance floor for air and breathe life in to the documentation to ensure that our forefathers do not become a historical rumor or has been. That is essentially what the ISA is attempting to accomplish. Surely everyone will not understand it completely now but it does not take everyone just a few who will leave the lesson for everyone. The key to knowledge is not to know everything it is to contribute a small piece to the body of knowledge. As they say, the whole is great than its parts. The key is to get involved either culturally or formally or both but do get involved.
If you are interested in joining the ISA, please do not hesitate to contact Ms. Anissa Guyton for more information.
Five great books that highlight dance:
Jooking - Katrina Hazzard Gordon
Steppin on the Blues - Jacqui Malone
The Black Dancing Body - Brenda Dixon Gottschild
Black Dance 1619 to Today - Lynne Fauley Emery
Frankie Manning: Ambassador of Lindy Hop – Frankie Manning
Note: All the above books can be located on Amazon.com and are great resources of educating the reader on vernacular dance. There is a great review of history, culture and music inside each offering. You can find elements which have impacted Steppin from the musical, dance and culture aspects.
Steppin: A few tips for instructors and dancers
By Buford G. Collins
http://mistalocks.com/
*Instructors should always be patient with students to help them move forward. As beginner it may take you a while to pick up the overall style and culture of Steppin. Your teacher should move at a pace that you can keep up with and be open to helping you with any questions.
*Instructors should create a positive and cool atmosphere. Beginners are often nervous when they first begin. Your teacher should be personable and friendly, establishing a learning environment that learning and fun to take place simultaneously.
*Instructors should challenge your intellect and curiosity to strive for a higher level of understanding concerning dance and Steppin in particular. You should personally strive to reach the next level even if it is beyond you’re a level that you thought possible to achieve. Your instructor should encourage you that is a level agreeable.
*Breaking down choreography by using acceptable standards of counting. Basic Steppin patterns are comprised of either six beat or eight beat sequences. Systematic counting using critical timing is key to learning and advancing by understanding the dance and rhythms. Your professionally trained instructor will guide you through basic patterns easily making it easy to learn how to dance. Critical timing is the universal system of counting for all dances and music.
*Stay focused and entertained throughout class. You instructor should be energized and excited throughout your class. As the leader of the class and first line of offense in learning it is vital that a positive learning experience is the primary concern.
*Your overall experience should be fun and educational. You are ultimately responsible for enjoying your time. Your resources should be well spent. Steppin should be one of many dances you participate in. As you continue your learning experience you will be able to expand on the knowledge you learn from a variety of dances. Steppin’ should be a step towards an enjoyable world filled with dance.
For these and other tips contact me at mistalocks@yahoo.com
Why organize?
The ISA is organized primarily because we can effectively and efficiently meet needs of the Steppin community with structure. The community is asking for standards, education, training, youth programs and community participation. In order for the Steppin community to successfully address these issues and ensure that the international dance community recognizes our efforts to be legitimate, they (World Dance Council, DanceSport, World Swing Dance Council) will only recognize organizations that have a viable and recognized governance strategy. Communication will be easier when the entire Steppers community is at the forefront of the agenda. Team members should be neutral and operate on behalf of its members and non-members. It means that every member is provided the same level of respect for rules and regulations, understanding and freedom of speech without hindrance or fear of retribution. Organizations also protect the financial resources of members and corporate sponsors who may risk their reputation and resources by investing. By taking an iterative approach the ISA is putting the Stepper first and foremost regardless of whether they participate as an ISA member or are simply enjoying an evening of dance. The ISA is acting on behalf of all Steppers 100% of the time.
Training Manual 1-1
ISA Training Manual 1-1 is the first informational product the ISA will deliver to the dance community. It will be a product which can be utilized by instructors and dancers in an effort to understand common terms and phraseology. The manual will combine universal terminology, phraseology and cultural aspects with the Steppin community in mind. This is a necessary element that is missing in our community. The ISA will continue to update the information periodically so that dancers will be able to understand the changes that occur in the community and simultaneously advance their level of knowledge. We anticipate completion of the manual shortly and will ensure that members are provided a copy of the ISA Manual accordingly. If you would like to participate in this process, please contact the Education and Training committee for more information.
ISA Scholarship Criteria
ISA will provide the opportunity for youth to obtain scholarships in the near future. The first scholarship nomination opportunity will be 2011-2012. The nomination criteria will be available on the ISA website in 2011. Submissions must come from ISA members and all applicants must meet academic qualifications accordingly.
The ISA is committed to increasing the participation of youth, young adults and Steppers up to the age of 29. The ISA economic survey showed that programming for youth was in dire need. Offering youth programming and scholarships should add additional focus on this critical area. Without future efforts from the ISA and other organizations Steppin will continue to decline in interest and participation at the formal and competitive levels.
Flashmobs are everywhere!
If you have not seen the recent uptick in FLASHMOBS you may want to pay attention. Flashmobs are not new but technology is allowing a group of like minded people (dancers, protestors, organizers) to collectively impact a central area of interest unbeknownst to the general populace. Recently, in Seattle, thousands of dancers showed up at the famous Seattle fish market and performed a prearranged routine. The exercise was a smash hit and very effective in bringing attention to their dance. Likewise, thousands convened on Washington DC’s celebration of the National Dance Day July 2010. For over three minutes, thousands danced a line dance routine simultaneously and in separate cities. The routines are designed for a temporary purpose and to impact or bring attention to the dance. With the advent of cell phones and iPhone technology communities are not meeting at coordinated times at a moment’s notice and dancing collectively. The ISA is working on a choreographed routine that we can forward to instructors, dancers and others so that we might be able to bring attention to Steppin at a future date. Stand by for more information to come from our Training, Education and Standardization committee.
http://en.wikipedia.org/wiki/Flash_mob
Volunteers are needed…….
The ISA needs Steppers, organizers, individuals, trainers, promoters, competitors, dance troupe’s and DJs to join the organization. There are a myriad of leadership and social opportunities available for interested individuals to lend a helping hand (see agenda items). The purpose and priorities of the ISA are simple; 1) develop a curriculum of standards, education and training; 2) provide and/or improve youth programming to continue the historical legacy of Steppin; 3) promote community programming through chapter affiliation and partnerships. Without volunteers and members the ISA has to rely solely on internal sources and members to address a host of issues impacting our community. Our intent is to include everyone who has a heart for improving the availability of formal Steppin programs while ensuring that Steppin is documented through formal meetings which address issues in the international, national and local dance community. If you would like to become a volunteer or member please contact Anissa L. Guyton for more information at isa.vpofmembership@yahoo.com.
Volunteers are needed…….
The ISA needs Steppers, organizers, individuals, trainers, promoters, competitors, dance troupe’s and DJs to join the organization. There are a myriad of leadership and social opportunities available for interested individuals to lend a helping hand (see agenda items). The purpose and priorities of the ISA are simple; 1) develop a curriculum of standards, education and training; 2) provide and/or improve youth programming to continue the historical legacy of Steppin; 3) promote community programming through chapter affiliation and partnerships. Without volunteers and members the ISA has to rely solely on internal sources and members to address a host of issues impacting our community. Our intent is to include everyone who has a heart for improving the availability of formal Steppin programs while ensuring that Steppin is documented through formal meetings which address issues in the international, national and local dance community. If you would like to become a volunteer or member please contact Anissa L. Guyton for more information at isa.vpofmembership@yahoo.com.
August 30, 2010
A chronological Review of a 3-Day Intensive, exploring all of the angles of developing the best attributes of Steppin’, in an effort to make it easier to teach, and provide a platform for competition.
Earlier this year, a fine young man who loved “Steppin’” contacted me and wanted to find out how to codify this special dance – and how to identify the similarities and the differences, in order to be eligible for National Swing competitions. After numerous telephone calls and LOTS of E-mails, Timothy Wilson flew to California to attend 3 days of the GSDTA March Intensive, 2010. (The Intensive included various social dances with emphasis on learning the Universal Unit System.) Tim had a ball at the Intensive and we all loved his appetite for information – and his dedication to “doing things right.”
Class ended each day at 5:30pm, and then we would start working on Steppin’. It took us 3 days to decipher & clarify the count, & begin to understand the essence of this unique, fun dance. In the meantime, Tim was developing into an even more accomplished dancer. His dedication paid off. Tim and I set up a 3-Day Steppin Intensive, through ISA, to further the exploration and come up with some solid ground rules. Target date: August 27, 28, 29, 2010. We planned on 10 participants, one of which would be a well known teacher of Steppin’ who owned his own studio in Detroit. Tim and I continued our phone calls and emails and I now have quite a collection of E-mails. We left no stone unturned. More emails and more phone calls added to the mix with Buford Collins, the studio owner, who contributed hours of experimentation and study of the GSDTA website. I was amazed at how much he learned, on his own, from articles on the website – and discussions we had on the phone. I was impressed.
On Aug. 25th, Buford arrived in California. We picked him up at the train station (the Greenline) and we spent a few hours going over the things we planned on working on for the scheduled 3 days. Others were arriving also – so we decided to get together one day sooner than the scheduled starting date. That was a great idea. It gave us a head start. We actually got together on Thursday at 1pm and it was electric from day one. Here we had two languages when it came to counting. We put all of our effort into communication. We had a mission. All over the world, for many years, people have been counting weight changes until little by little, they started discovering Musical Count. After all, musicians count music – and as dancers, we must match that count as we become part of the music. Our whiteboard looked like a strange language, and the Unit Cards were a mystery. Dots and Slashes and numbers through 6 and sometimes 8. This was getting exciting. What was exciting to me was the fact that, bewildered though we might have been at the start, everyone was intent on understanding each other – and pursuing the process. Lots of dancing – questions – experiments – and all of a sudden it was Friday.
I had already alerted GSDTA specialists, Mary Ann Nunez and Lance Shermoen, that we had Steppers arriving on FRIDAY. I invited both of them to participate in the exploration of Steppin’. Lance & Mary Ann were the original winners of both 1st and the 2nd U.S. OPEN – some 27 years ago. Lance joined us all day Friday . We had 4 Steppers & 4 GSDTA staff aboard on Friday. We worked mostly on communication: Learning the 2- Beat Dance Rhythms that make up every dance that exists – along with the fact that the DOWNBEATS are always on count “1-3-5 and 7” and the UPBEATS are always on count “2-4-6 and 8.” We did some Rhythm Drills that are used in other dances, just to make the body respond to music with appropriate counts to music. We laughed a lot. Friday was a day of dancing and laughing and getting familiar with the Universal Unit System®. On Friday night the Steppers went dancing in L.A. and on Saturday morning, we were all back in the Training Room, ready to go again. Both Mary Ann and Lance were with us all day Saturday.
Watching Mary Ann simply follow Buford was exhilarating for all of us. First, because she is an amazing dancer and an accomplished GSDTA Teacher – and also, because we had deciphered the count of the Dance Rhythms that make us able to “read” the dance. Having learned the Rhythm Pattern (Double – Syncopated Triple – Syncopated Triple) she could easily repeat that Rhythm Pattern and follow Buford around the room in all kinds of changing patterns. It was fascinating.
On Aug. 25th, Buford arrived in California. We picked him up at the train station (the Greenline) and we spent a few hours going over the things we planned on working on for the scheduled 3 days. Others were arriving also – so we decided to get together one day sooner than the scheduled starting date. That was a great idea. It gave us a head start. We actually got together on Thursday at 1pm and it was electric from day one. Here we had two languages when it came to counting. We put all of our effort into communication. We had a mission. All over the world, for many years, people have been counting weight changes until little by little, they started discovering Musical Count. After all, musicians count music – and as dancers, we must match that count as we become part of the music. Our whiteboard looked like a strange language, and the Unit Cards were a mystery. Dots and Slashes and numbers through 6 and sometimes 8. This was getting exciting. What was exciting to me was the fact that, bewildered though we might have been at the start, everyone was intent on understanding each other – and pursuing the process. Lots of dancing – questions – experiments – and all of a sudden it was Friday.
I had already alerted GSDTA specialists, Mary Ann Nunez and Lance Shermoen, that we had Steppers arriving on FRIDAY. I invited both of them to participate in the exploration of Steppin’. Lance & Mary Ann were the original winners of both 1st and the 2nd U.S. OPEN – some 27 years ago. Lance joined us all day Friday . We had 4 Steppers & 4 GSDTA staff aboard on Friday. We worked mostly on communication: Learning the 2- Beat Dance Rhythms that make up every dance that exists – along with the fact that the DOWNBEATS are always on count “1-3-5 and 7” and the UPBEATS are always on count “2-4-6 and 8.” We did some Rhythm Drills that are used in other dances, just to make the body respond to music with appropriate counts to music. We laughed a lot. Friday was a day of dancing and laughing and getting familiar with the Universal Unit System®. On Friday night the Steppers went dancing in L.A. and on Saturday morning, we were all back in the Training Room, ready to go again. Both Mary Ann and Lance were with us all day Saturday.
Watching Mary Ann simply follow Buford was exhilarating for all of us. First, because she is an amazing dancer and an accomplished GSDTA Teacher – and also, because we had deciphered the count of the Dance Rhythms that make us able to “read” the dance. Having learned the Rhythm Pattern (Double – Syncopated Triple – Syncopated Triple) she could easily repeat that Rhythm Pattern and follow Buford around the room in all kinds of changing patterns. It was fascinating.
On Saturday, several GSDTA teachers joined us: Janet Diaz teaches children in public schools in the Valley. She is in charge of the entire School District, after school Dance Program.
Sarah Grusmark is an adjunct professor at the University of La Verne, where she teaches the Universal Unit System® credit courses. There were 12 of us there on Saturday. The patterns, exercises and Rhythm Drills would be hard to describe, but the constant taking patterns apart and putting them back together is what it takes to OWN a pattern – OWN a dance. We worked hard and the results were starting to show. We danced and danced, changing partners frequently and taking notes every step of the way.
THEN came Sunday – Little things started looking smoother – sharper – a little more professional, without changing any patterns or abandoning the familiar characteristics of the dance. Sunday was just family – four Steppers, Sarah and I. We were down to real business. As we went back over the different drills, clarifying the rhythm pattern and the essence of the dance, all of us were looking more like Steppers. It was exciting! Even Anissa, C J, and Zakeeyaw were looking more professional than when they arrived. The excitement, and the education, lasted all day. 5:30 PM was quitting time, and they were all going dancing at Top Cats. We all laughed because at 6:45 PM we were still discussing last minute questions. This may have been a small Intensive, but it was one of the most fun, productive, events I have ever seen where we were exploring the depths of a new dance – new to GSDTA. I am looking forward to a brilliant future for Steppin.
Reported by Skippy Blair, National Dance Director, Golden State Dance Teachers Association (GSDTA) Education Coordinator, World Swing Dance Council (WSDC)
More Exciting Steppin Info from the August 2010 Intensive
The discoveries we made were like opening up a treasure chest. It always amazes me when we find that Rules from the Universal Unit System® keep helping us discover new facts that drastically improve the performance, the teaching, and even the look of EVERY form of dancing.
Discoveries we made about Steppin’ will be familiar to many Steppers, but actually eye opening to many more. For instance: There are several Starter Steps - ALL of which work equally well:
6-BEAT Starter Step: (Rhythm Pattern: Double - Delayed Single – Delayed Single)
4-BEAT Starter Step: (Delayed Single – Delayed Single)
2-BEAT Starter Step, that starts on count 7-8 of the music, with The Follower doing one
Delayed Single by holding count “7” and stepping Side Left on count “8”, leaving her Right foot free to step on count “1” of the 1st pattern.
MOVEMENT UNIT: Rhythmic Lilt (NOT a bounce) - pulsates throughout the dance, Movement of CPB (Center Point of Balance) is “Down &a Down” -
(Similar to Balboa & Jump Swing)
KNEES kept close together: Identifiable look that also - drastically improves the artistic lines of the Follower.
FOOT Positions include a “Soft 3rd” ( Back foot is not as extreme as standard 3rd)
TIMEKEEPERS: Traditionally, the women are considered the Timekeepers.
LEVERAGE and COMPRESSION make just as much difference in Steppin’ as they do
in all other forms of swing dance. SHUFFLES are done on the “&a” prior to a Step that lands ON the Beat of music. (These air shuffles are a characteristic of smooth Steppin’).
FOOTWORK: Ladies should not be entirely on toes. Flat foot on the Beats – On Toes whenever the weight changes is on an “a” count.
PULSE: Strongest accent is a Check or Push Off on count “6” of a 6-Beat Pattern, and “8” of an 8-Beat pattern. Steppin’ Pulses the UPBEATS.
SENDING FOOT: Pressing into the floor – a “Push Off” or “Bump” on Count 6 or 8.
UPBEATS: Hold the “2& - 4& and the 6&”
DRILLS: Designed to heighten technique:
PADDLE Turns for practicing the Lilt of a “Toe Flat and a Flat”
CORNER LILT: “& Side Left - & Side Right – &a Forward – &a Back” to practice the firmer, smoother landing on the UPBEATS.
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ISA General Information
Timothy D. Wilson (President) **
Anissa L. Guyton (Membership) **
Zakeeyaw Toney (Public Relations) **
Crystal Johnson (Treasurer) **
Mary Laidler (Secretary) **
Andrew Smith (Sergeant at Arms) **
Buford Collins (Education and Training Committee) *
Jim Berry – Corporate Development
Deborah Hunt –Business Development
Seanta McClendon – Awards and Scholarship Committee
Sarah Teagle – ISA Convention Planning Committee **
22 current paid members
** Life Member * Charter Member
Membership Fees: (until 26 June 2010)
Life Member: $300;
Voting Member: $50 ($10 donation towards Youth Scholarships)
Non-voting member: $35 ($10 donation towards Youth Scholarships)
Local Chapter Membership: $100 (must have 7 voting members)
Important national dates:
November, 25-28, 2010
World Swing Dance Championships (Anaheim, CA) http://www.usopenswingdc.com/aboutus.html
June 24-26, 2011
ISA International Convention (Chicago, IL)
Steppers Intensive
Sunday, 17 October 2010
Proposed Agenda
Time: 7:00 PM EST
Special agenda topic: Future of International Steppers Association
Committee Reports
Member participation
June Convention committee
Chapter Affiliations
Business Activities
• Non-profit status 501 c 3
• Website
Committees (Awards, Dance Competition, Scholarship, Youth,
Community)
2011 Annual Meeting and Convention
Open Items
November 2, 2010 next meeting
Meeting Adjourns
NOTE: International Steppers Association Conference Call
Phone: 218-862-1000 Access Code: 307375#
*recorded
Scholarship opportunities for our youth Steppers who are scholastic achievers and future leaders. Please the
forward the information below to our future generation of leaders:
Sarah Grusmark is an adjunct professor at the University of La Verne, where she teaches the Universal Unit System® credit courses. There were 12 of us there on Saturday. The patterns, exercises and Rhythm Drills would be hard to describe, but the constant taking patterns apart and putting them back together is what it takes to OWN a pattern – OWN a dance. We worked hard and the results were starting to show. We danced and danced, changing partners frequently and taking notes every step of the way.
THEN came Sunday – Little things started looking smoother – sharper – a little more professional, without changing any patterns or abandoning the familiar characteristics of the dance. Sunday was just family – four Steppers, Sarah and I. We were down to real business. As we went back over the different drills, clarifying the rhythm pattern and the essence of the dance, all of us were looking more like Steppers. It was exciting! Even Anissa, C J, and Zakeeyaw were looking more professional than when they arrived. The excitement, and the education, lasted all day. 5:30 PM was quitting time, and they were all going dancing at Top Cats. We all laughed because at 6:45 PM we were still discussing last minute questions. This may have been a small Intensive, but it was one of the most fun, productive, events I have ever seen where we were exploring the depths of a new dance – new to GSDTA. I am looking forward to a brilliant future for Steppin.
Reported by Skippy Blair, National Dance Director, Golden State Dance Teachers Association (GSDTA) Education Coordinator, World Swing Dance Council (WSDC)
More Exciting Steppin Info from the August 2010 Intensive
The discoveries we made were like opening up a treasure chest. It always amazes me when we find that Rules from the Universal Unit System® keep helping us discover new facts that drastically improve the performance, the teaching, and even the look of EVERY form of dancing.
Discoveries we made about Steppin’ will be familiar to many Steppers, but actually eye opening to many more. For instance: There are several Starter Steps - ALL of which work equally well:
6-BEAT Starter Step: (Rhythm Pattern: Double - Delayed Single – Delayed Single)
4-BEAT Starter Step: (Delayed Single – Delayed Single)
2-BEAT Starter Step, that starts on count 7-8 of the music, with The Follower doing one
Delayed Single by holding count “7” and stepping Side Left on count “8”, leaving her Right foot free to step on count “1” of the 1st pattern.
MOVEMENT UNIT: Rhythmic Lilt (NOT a bounce) - pulsates throughout the dance, Movement of CPB (Center Point of Balance) is “Down &a Down” -
(Similar to Balboa & Jump Swing)
KNEES kept close together: Identifiable look that also - drastically improves the artistic lines of the Follower.
FOOT Positions include a “Soft 3rd” ( Back foot is not as extreme as standard 3rd)
TIMEKEEPERS: Traditionally, the women are considered the Timekeepers.
LEVERAGE and COMPRESSION make just as much difference in Steppin’ as they do
in all other forms of swing dance. SHUFFLES are done on the “&a” prior to a Step that lands ON the Beat of music. (These air shuffles are a characteristic of smooth Steppin’).
FOOTWORK: Ladies should not be entirely on toes. Flat foot on the Beats – On Toes whenever the weight changes is on an “a” count.
PULSE: Strongest accent is a Check or Push Off on count “6” of a 6-Beat Pattern, and “8” of an 8-Beat pattern. Steppin’ Pulses the UPBEATS.
SENDING FOOT: Pressing into the floor – a “Push Off” or “Bump” on Count 6 or 8.
UPBEATS: Hold the “2& - 4& and the 6&”
DRILLS: Designed to heighten technique:
PADDLE Turns for practicing the Lilt of a “Toe Flat and a Flat”
CORNER LILT: “& Side Left - & Side Right – &a Forward – &a Back” to practice the firmer, smoother landing on the UPBEATS.
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ISA General Information
Timothy D. Wilson (President) **
Anissa L. Guyton (Membership) **
Zakeeyaw Toney (Public Relations) **
Crystal Johnson (Treasurer) **
Mary Laidler (Secretary) **
Andrew Smith (Sergeant at Arms) **
Buford Collins (Education and Training Committee) *
Jim Berry – Corporate Development
Deborah Hunt –Business Development
Seanta McClendon – Awards and Scholarship Committee
Sarah Teagle – ISA Convention Planning Committee **
22 current paid members
** Life Member * Charter Member
Membership Fees: (until 26 June 2010)
Life Member: $300;
Voting Member: $50 ($10 donation towards Youth Scholarships)
Non-voting member: $35 ($10 donation towards Youth Scholarships)
Local Chapter Membership: $100 (must have 7 voting members)
Important national dates:
November, 25-28, 2010
World Swing Dance Championships (Anaheim, CA) http://www.usopenswingdc.com/aboutus.html
June 24-26, 2011
ISA International Convention (Chicago, IL)
Steppers Intensive
Sunday, 17 October 2010
Proposed Agenda
Time: 7:00 PM EST
Special agenda topic: Future of International Steppers Association
Committee Reports
Member participation
June Convention committee
Chapter Affiliations
Business Activities
• Non-profit status 501 c 3
• Website
Committees (Awards, Dance Competition, Scholarship, Youth,
Community)
2011 Annual Meeting and Convention
Open Items
November 2, 2010 next meeting
Meeting Adjourns
NOTE: International Steppers Association Conference Call
Phone: 218-862-1000 Access Code: 307375#
*recorded
Scholarship opportunities for our youth Steppers who are scholastic achievers and future leaders. Please the
forward the information below to our future generation of leaders:
1) Bell Labs Fellowships for Under Represented Minorities
http://www.bell-labs.com/fellowships/CRFP/info.html
2) Student Inventors Scholarships http://www.invent.org/collegiate
3) Student Video Scholarships http://www.christophers.org/vidcon2k.html
4) Coca-Cola Two Year College Scholarships http://www.coca-colascholars.org/p rograms.HTML
5) Holocaust Remembrance Scholarships http://holocaust.hklaw.com/=2 0
6) Ayn Rand Essay Scholarships http://www.aynrand.org/contests/ 7) Brand Essay Competition http://www.instituteforbrandleadership.org/IBLEssayContest-2002 Rules.htm
8) Gates Millennium Scholarships (major)
http://www.gmsp.org/nominationmaterials/read.dbm?ID=12
9) Xerox Scholarships for Students
http://www2.xerox.com/go/xrx/about_xerox/about_xerox_detail.jsp
10) Sports Scholarships and Internships
http://www.ncaa.org/about/scholarships.html
11) National Assoc. of Black Journalists Scholarships (NABJ)
http://www.nabj.org/html/studentsvcs.html
12) Saul T. Wilson Scholarships (Veterinary) http://www.aphis.usda.gov/mb/mrphr/jobs/s tw.HTML
13) Thurgood Marshall Scholarship Fund
http://www.thurgoodmarshallfund.org/sk_v6.cfm
http://www.bell-labs.com/fellowships/CRFP/info.html
2) Student Inventors Scholarships http://www.invent.org/collegiate
3) Student Video Scholarships http://www.christophers.org/vidcon2k.html
4) Coca-Cola Two Year College Scholarships http://www.coca-colascholars.org/p rograms.HTML
5) Holocaust Remembrance Scholarships http://holocaust.hklaw.com/=2 0
6) Ayn Rand Essay Scholarships http://www.aynrand.org/contests/ 7) Brand Essay Competition http://www.instituteforbrandleadership.org/IBLEssayContest-2002 Rules.htm
8) Gates Millennium Scholarships (major)
http://www.gmsp.org/nominationmaterials/read.dbm?ID=12
9) Xerox Scholarships for Students
http://www2.xerox.com/go/xrx/about_xerox/about_xerox_detail.jsp
10) Sports Scholarships and Internships
http://www.ncaa.org/about/scholarships.html
11) National Assoc. of Black Journalists Scholarships (NABJ)
http://www.nabj.org/html/studentsvcs.html
12) Saul T. Wilson Scholarships (Veterinary) http://www.aphis.usda.gov/mb/mrphr/jobs/s tw.HTML
13) Thurgood Marshall Scholarship Fund
http://www.thurgoodmarshallfund.org/sk_v6.cfm
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