November Group Class and Events Calendar for Arthur Murray Dance Studio of Dallas and Plano Texas

Dallas Calendar

Plano Calendar

September Group Class and Event Calendars for Arthur Murray Dallas and Plano Dance Studio

Plano Studio Calendar 

Dallas Studio Calendar

Arthur Murray Dance Studio of Dallas and Plano Group Class and Event Calendars for April 2014

Arthur Murray Dance Studio of Plano Group Class and Event Calendar for April 2014

 Arthur Murray Dance Studio of Dallas Group Class and Event Calendar for April 2014

Manager's Forum: We asked the executives at Arthur Murray Dallas and Plano "What are the benefits of working with a team of teachers?"

One of our core philosophies at Arthur Murray Dance Studios of Dallas and Plano is that students benefit from working with multiple instructors. We asked our executives to explain why we feel this is so beneficial.

Ian: Who wouldn't love having people fight over your time and attention, and clamoring to work with you?  That's exactly what students get by working with multiple teachers!  Plus students get to benefit from different perspectives and teaching styles.  The teachers, working as a well oiled unit, teach the same material, but in very different ways depending on their personalities and experience.  Everyone of us has something wonderful to offer all of the students, so why would you limit yourself to just one instructor? 


Sarah: Having multiple teachers is the best way to learn for a multitude of reasons! A few of my favorites are;

1) Everyone communicates differently and receives information differently. It's best to hear things from different people. 

2) When learning to social dance it is important to be able to "drive many types or cars". So when you get to practice leading different people who can help guide you, you'll be a better social dancer than if you only know how to adjust to one "car". 

3) Have you heard the phrase, " two heads are better than one" ? Well, from a teacher perspective, we can provide better quality and service to our students when we have more than one dance-nerd-brain working on a program. 

One of my favorite things about Arthur Murray instructors, is how committed they are to adjusting to the specific needs of each individual student. It makes learning and teaching fun and easy!! 

Lindsey: There are numerous benefits to working with multiple instructors and this method is what has helped Arthur Murray produce some of the best dancers in the world. Learning anything new is much more powerful when it comes from multiple sources because everyone processes information differently and learns by a variety of styles. I'm all about analogies for this one and I have two ideas I relate to for this topic.

#1) I relate this method much to that of college education. When you're in school, you typically have two types of classes: lectures and labs. One teacher may be amazing at explaining the theory and concepts in a strategic way so that comprehension is easy and effective. While the other teaches you how to practically apply the information for real life scenarios. This produces a harmonious blend of understanding and helps the information to stick effectively. Both styles allow for those "ah hah!" moments and help the student to master the whole topic of the course. In dancing, your teachers are well versed and certified in all topics. In some cases, your teaching team may take turns being each style of educator and as a team, always help you to learn each dance effectively.

#2) My second analogy relates to the relationship of a doctor to his/her patient. You have your regular doctor who knows your history, but occasionally calls on a specialist for a second opinion or to meet a specific need at that current moment. This is much like having a coaching lesson. The coach comes in to assist in a specific need like: needing a 3rd set of eyes, choreography for a special routine, or even introducing a higher level technique. Both the teacher and the coach are all working toward the same goal which is "what's in the best interest of this patient right now?"

Either way you look at it, the teaching team and the coaches are all here to serve the needs of the students and help them achieve their dancing goals to the fullest.

Amy: Aside from all of the very important reasons listed above, there is a more practical reason for working with multiple instructors and it is all about your progress! One of the best things about learning to dance at an Arthur Murray studio is the total continuity among not only all the teachers, but also all the studios. You are here to learn a skill, and we feel that your learning shouldn't have to suffer or be put on hold if your teacher is unavailable for some reason. Maybe they're sick, maybe they had a flat, maybe they inadvertently double booked themselves...whatever happened, at Arthur Murray, any of our instructors can pick up your syllabus and see right where you are and pick up where your other teacher left off. You'll get to continue your learning without delay, AND you'll get the added benefit of getting another viewpoint or an alternative explanation.  We never have to cancel your lesson because your teacher is ill, so we can keep your schedule running smoothly, and we never have to cancel a group class because there is always someone who can fill in. 

Team teaching allows you to learn faster because you are hearing the information explained in several ways. I can't even begin to tell you how often a student has looked at me after a coaching or exchange lesson and said "How come you never told me that?" It's a moment that tests the resolve of every teacher...to not just laugh out loud! Because, guess what? We have said it before, probably multiple times. But, it wasn't until you were ready to hear it, until it was said in a way that made complete sense to you, that you were able to really learn the concept. It's like when a mom tells the kids to clean their rooms over and over again, and they don't do it, but then dad comes home and says the exact same thing, and it gets done. A different voice, a different twist, a different viewpoint is sometimes all it takes to drive it home! 

February 2014 Group Class and Events Calendar for Arthur Murray Dance Studio of Plano and Dallas Texas

Manager's Forum: "Tips for Couples Learning to Ballroom Dance"

Our Arthur Murray Dance Studio of Dallas and Plano management team has years of experience teaching couples to dance together. We asked them what their top tips would be for couples who are learning or want to learn to dance! Here is what they recommended:

Justin: Couples experience both unique challenges and rewards during their dance journey. It is important to 

keep in mind some of those ideas to avoid unnecessary stress in the process. For instance, we view couples as "3" separate students. The needs and learning styles of the man, the woman, and the couple may all be different. So it's valuable to address those needs in different ways. Also, the learning curves are often not parallel. Aside from the general rate that the man or woman may absorb and apply the material, they usually feel success at opposite points in the learning process. A woman is usually engaged and enjoying the challenging part of learning, and is bored at the plateau. On the other hand, men are often frustrated while they are learning the new material, but feel success when they reach the point that they can repeat the movement or concept consistently. 

Another important consideration is that in a couple, both are learning- when an individual student dances with a teacher, the teacher can compensate for the student's shortcomings along the way, allowing for success more quickly/often. When an amateur couple dances with each other, they aren't usually able to compensate for each other, so that feeling of success may be much more elusive. It is so important for couples to remember that it may take 3-6 months or more to feel like they can dance with each other without a teacher calling things out along the way. Be patient and give yourselves a chance before deciding you can't learn this dancing thing. 

The last thing to share is an anecdote ("The Tango Story") that I hope will allow some of you to avoid running into the same tree I did. To make a long story short, I was in a situation where I did the typical guy thing of puffing up in front of another guy/dancer that I thought was "trying to show me up." As a result... let's just say my partner did not appreciate being pushed around by my overzealous efforts. What Nikki had to explain to me is that women don't usually care how us guys dance, only that we are dancing with them. What I learned about myself (and have learned is an extremely common guy thing) is that guys tend to try harder with those who are most important to us- i.e. spouse, girlfriend, etc. The problem is that the harder we try, the more we get in our own way, and it usually is counterproductive. On the flip side, what can be even more frustrating is that it will seem like we dance better with everyone else but her. It is because we "don't care" about their opinion that we don't try too hard, and often have better success. The best solution to all of this is to remember your priorities. Most likely, you are both here to enjoy dancing with each other. Don't put unnecessary pressure on yourself to be perfect. Lady's, be as encouraging and positive as possible, and guys, just remember she's happy you're holding her in your arms.

P.S.- The best advice I ever received was to not fix each other. Either get a third party, objective perspective involved, or at least use this formula to bring up a point of feedback. "It feels like this (figure, technique, etc.) isn't working. What can I do to help/fix it?" It can keep your partner from becoming instantly defensive from finger pointing ;-)

Sarah: Tip # 1: Be THANKFUL your other half is learning something with you - News Flash! We all are frustrating at times and none of us are perfect, especially when we are learning something new. 

Tip # 2: Be PATIENT because everyone learns at different speeds and in different ways. Refer to Tip # 1.

Tip # 3: Be TRUSTING to your other half! ESPECIALLY WOMEN! Stop trying to control and "help" him...Give him the chance to do it, he WILL mess up but that is the only way to learn. He's got this! You'll enjoy dancing with him much more in the long run if you do this. 

Tip # 4: Look for COMIC RELIEF during the frustrating lessons! Dancing is not Brain surgery, no one is going to die if you mess up. So remember why you wanted to spend more time with your other half and find it in you to laugh a lot. (Yes at each other but also at yourself!)

Tip # 5: Get INVOLVED in all the studio functions you possibly can TOGETHER. Group Classes will only make you better for each other. Parties will give you a chance to practice and have a fun date night. And all of our Events are a great way to have a dance-vacation without having to leave your home town. And what couple wouldn't benefit from a romantic weekend in Hawaii, Argentina or some place exotic and romantic!?

Tip # 6: Always COMMUNICATE the positive things to your other half when they do something well and ASK FOR HELP from your teacher if you are struggling with something. NEVER EVER CORRECT EACH OTHER! You came to learn form a professional for a reason... Best to keep it that way. :-)

Ian: Learning to dance as a couple definitely presents it's own set of challenges and rewards.  First of all, the couple has to openly communicate both with each other and with their teachers.  They're going to have different priorities and different views on things.  So, to make sure that dancing stays fun and exciting, they need to make sure they can honestly say what they think as an individual to help the overall couples experience be as positive as possible.  Also, patience is paramount.  As they progress at different paces, they need to make sure that they're not holding the other person responsible for being where they are as an individual.  Lastly, they need to make sure it's all about fun.  It's not about being the best, the flashiest, or the most advanced.  They came to Arthur Murray looking for something fun to do to help them grow and progress as a couple, and ballroom dancing is fun!  So, they need to let us worry about the teaching, and they can just relax and enjoy spending time together that they more than likely wouldn't get outside of the studio.

Nikki: Couples learning together are really special students to teach...  But they can also be the most challenging for a teacher.  The reason being is because so much more is at stake.  What I mean by that is, when a single person comes in for lessons, they expect to be uncomfortable, to make mistakes, and to maybe not look so cool while learning.  And all that is ok for them because nobody that they really care about is there with them to point out those things.  For a couple, however, there is someone right there to potentially show you all your shortcomings...  As a teacher, I believe my job is to not only teach dance, but to act as a translator while the couple is learning, so that everyone has a great experience.

One of the first things I teach my couples is that they are only allowed to speak positively to each other.  That does not mean saying, "I'm positive you messed that up!"  People learning to dance together do have to learn to communicate what is working and what isn't working, BUT in the beginning, those things are often miscommunicated.  For example, the follower may say, "You are pushing on me!"  The truth about this statement is, the leader's hands are behind the follower in dance frame, so how can the leader really be pushing?  They aren't.  What the teacher has to translate from that statement,and help the couple understand is, that when the leader's center of gravity is too far forward, over the follower, it FEELS like there is pushing.  But without that understanding, the leader will probably just over compensate and turn into a light lead...  That in turn would then elicit a new response of, "I can't feel you!"  Now we have a frustrated couple. SO...  When there IS something that we need to correct with one person or the other, ONLY tell the teacher.  That way the correct translation can be made, and we can continue to have a couple that WANTS to dance together.

The next thing I want all couples to understand is that, they will always dance better with someone else, than with each other, and it is unfair (and unwise) to say, "It works when I dance with..."  The reason for this is, when in a relationship, we care about what the other person thinks about us, and what we are doing.  The LAST thing we want is for our partner to think we aren't good enough for them, or to let them down in anyway.  Because of that, we often put SO much pressure on ourselves to be perfect for our partner, and we forget to just ENJOY the dancing.  To give an example of this, I only have to look at my husband and myself...  We are both professionals, both hold several advanced degrees in dancing and teaching, were competitive partners for YEARS before we were dating, etc.  You would THINK that if ever there was a couple that could learn together, it would be us.  However...  As soon as we did start dating, it was like we had never danced together before.  All of the sudden nothing worked.  We fought, we pushed and shoved, we stepped on each other, we looked at each other like the other one was TRYING to make our lives difficult...  Too make it worse, when I had to step out of the competitive ring, and he took on a new partner, everything worked perfectly for them!  We can laugh about it now, but we had to figure out WHY things worked when he danced with his new partner, and why things suddenly didn't work with us.  Here's what we realized: because he now cared about his image (though subconsciously) with me, but not with her, he felt freer to make mistakes with her.  So...  What can you learn from our story?  Things will always work better, when learning, with someone that you aren't romantically involved with.  Give each other a break.  And don't think that your partner is the problem when things work with someone else.

We all look at the little old couple that moves together on the floor and think to ourselves, "I want to be like that when we get older!"  You can, I promise!  If, when you are learning with your other half, you can keep those two things in mind, you will find learning to dance together incredibly rewarding!

The Arthur Murray System of Teaching Dance makes learning to dance fast, fun and easy! What makes it so special? We asked the studio managers at the Dallas and Plano studios.

The Arthur Murray System of Teaching Dance makes learning to dance fast, fun and easy! What makes it so special? We asked the studio managers at the Dallas and Plano studios. Here is what they said:

Sarah: The Arthur Murray System (or 4 basic movements) are the building blocks of any dance and/or pattern you will ever want to learn. What the Arthur Murray system has done is broken down "dancing" into 4 of the most BASIC movements that most people probably normally do day to day and created a map to turn those "normal" movements into dancing! How cool is that!?! Without these basic movements it would be like someone telling you to go build a sand castle without giving you the pail, shovel or any other tools to complete the task. Once you have taken your very first lesson at Arthur Murray, you have been given ALL the tools (movements) you need to know to be able to learn ANY dance or pattern you desire! It's like Arthur Murray made a system called "Ballroom for Dummies" :-) So, enjoy how easy it is to learn where to put your feet and how quickly you can learn by using the Arthur Murray System! (**Attention Dance Nerds** - It is also very fun to break down patterns and dances you already know into the 4 basic movements! Try it!)

Justin: Everyone knows the acronym KISS: keep it simple silly. The four basic movements allow us to digest even the most complicated or elaborate figure with a 4 letter "alphabet."  It doesn't get much simpler than that, and it lets all of us feel success more quickly. Once you have the basic structure of the figure down, we can go back and add layers of technique, but even that is easier once you have the foundation laid.

Nikki: My favorite people to teach are the people who tell me that they have 3 left feet and 4 right ones, and that we won't be able to help them at all...  The reason they are my favorite is because they are the most surprised when we DO help them!  You have to remember that no one just KNOWS how to do a physical activity.  Everyone has to be taught.  However, HOW someone is taught makes a HUGE difference in how easy someone believes an activity is.

Think WAAAYYY back...  Back to when you learned to read, or when you helped a young child to read.  How did that process start?  For many of us, it started with learning the ABC's, then it moved into simple words, then more complex words, next was simple sentences, complex sentences were next, paragraphs followed, and on to books.  We, as adults, see that as a natural progression, and don't even question that idea of learning.  The truth is, when learning anything, breaking it down to the ABC's is always the best, fastest, and easiest way to go.  Some teacher's however, try to start with teaching someone words, or even sentences, before the student even understands what is making up those words or sentences.  That's why the Arthur Murray systems have been around for over 100 years, and why they have worked for those 100 years!  Each part of the systems have been purposefully implemented and particular times so that anyone can learn to dance!

The beginning system, the 4 basic elements, is the ABC's of dancing.  Without them, how do you know what makes up a box step?  And maybe you think, "well, I get a box step, that's not so hard!"  Ok, maybe it isn't.  But when you start trying to put it into more complex figures, or you need to abandon it mid-stride to avoid a dance floor accident, without a true understanding of which direction each foot can go, and how to move in and out of a box successfully, you will probably find yourself just stopping what you are doing, standing there for a bit, then  trying to restart all over again.  That would be like trying to read a book, not knowing what a word is, stopping for a moment, then going all the back to the beginning of the book, and starting it over again.  How would you ever find success in reading that way?  And all too often, that is why people don't feel success in dancing.

Trust me...  You want those 4 basic elements, and you want to know them well.  You will always go back to them, and they will always help make sense of even the toughest figures.

Ian: The four basic movements are in place to make it easy for EVERYONE to be able to learn to dance easily despite your experience or skill level.  By being able to reduce every step you could ever need (all the way from Bronze to Gold), it's always easy to go back to your basics and learn without feeling overwhelmed or "not good enough".  Plus, it makes everything easier to remember (I don't know about y'all, but I couldn't definitely use help remembering things now and then!).

Lindsey: The Arthur Murray system is completely foolproof, which is what makes my job so easy and fun. Reason being, it makes it learning for my students easy and fun. The system is based off of the 4 basic elements which are (in case you're new to this whole dancing thing) : walking forward and backwards, side steps or chasses, rock steps, and triple steps. Through different combinations of these elements, dictated by the music, a teacher can simply AND efficiently teach any student, at any level, any dance. For me, this system was an enlightenment for my teaching ability and understanding as a fellow dancer because in the dance world that I came from, no such thing exists. So dancing was a time consuming and arduous task. However, now I have the tools to teach any pattern or technique, from newcomers to gold, and have maximum effectiveness for each of my students, including myself.


Adriann:  The 4 basic movements (walking steps, rock steps, triple steps, side steps) make it simple for anyone, with any background, at any dance or ability level to understand any dance. It's like being given a puzzle with 4 pieces that can be rearranged in any number, in any order to make thousands of different pictures.

We asked the managers at Arthur Murray Dallas and Plano the following question: What is a check out and why is it Important?

You've all heard the buzz in the studios about the upcoming Medal Ball celebration. Your teacher has probably mentioned checking out to you. This week, we decided to ask our esteemed panel of managers for an explanation of what all the fuss is about. Read on...

Sarah: Think of Checkouts like a final exam and graduation mixed with a quality-control check and coaching! Wow, sounds like a lot of great stuff doesn't it?! IT IS! 

   Ever want to know how you are doing? Would you like to keep track of exactly what you're learning and why? Do you ever want to know WHEN you'll actually OWN what you've been learning!? Checkouts do exactly that, plus a graduation celebration when you're through! 

   From the day you stepped in to the studio, your teachers have been preparing you for the real world. In order to do that, you must learn patterns that will help you navigate in any social situation you'll find yourself in. Our Chart is compiled of a list of patterns chosen and ordered by a team of "Jedi Masters of Dancing" that are constantly working to know what's cutting-edge socially. (I guess I have a lot of Star Wars examples (-: ) From lesson number one, you are being taught exactly what you need and in an ingenious order to make life easy for you. The teachers will prepare you to be able to show the patterns to a third party (your supervisors/managers in the studio who have had many many years of experience learning, teaching, and preparing students of their own for this checkout). You will show the pattern without the aid of your teacher, so don't miss your group classes! The supervisor/manager will then give you feedback and a couple pointers on how to make it even better/easier. 

Once you have completed your checkout you are signed up for an honor dance at our graduation party called MEDAL BALL. This is a social, congratulatory, fun event centered around your achievement! 

   Why is this so valuable? Think about school with no tests. Or a road trip with no billboards or mile markers. All of a sudden, what was intended to be a growth enriched and progressive process becomes aimless and ineffective. And if we are being honest with ourselves, we all grow when we have to study, press in, and be under pressure to complete something. Just like when you clean your house for special company versus just picking it up slightly when you get home after a long day of work and no one to impress. The outcome is completely different, isn't it? You will remember more when you HAVE to. And when you can remember something and execute it successfully, you OWN it! Mission Accomplished! 

THAT, ladies and gentlemen, feels GREAT and every student, no matter how "good" they want to get, deserves to feel this level of accomplishment! Enjoy the Journey!

Ian: Checkouts are a great was to demonstrate to yourself how much you've learned in a way that you can actually see and feel!  Knowing that you did it and mastering the steps that you never thought you could when you walked in the door is monumental!  And once a year, the Arthur Murray family joins together to celebrate our achievements in the studio with our annual Medal Ball. Whether you're a brand new student who finally stepped outside your comfort zone and joined the studio, or you just lost the last of those 10 pounds you were trying for, or you reached Silver (at last!), Medal Ball is a time to celebrate your graduation from one milestone to another in your dancing career!  

Nikki: I get asked all the time if a student HAS to do a check-out or if they have to do a check-out in order to go to Medal Ball...  The short answer to both questions is No.  HOWEVER, I do highly recommend doing a check-out as you progress through your levels.

The main reason for my recommendation is so that you can prove to YOURSELF that you know what you are doing.  It's easy in the chaos of life and dancing to actually realize that you are learning something along the way.  A lot of students view themselves as the non-dancer they have always been, no matter what their team of teachers or executives say.  And the reality is, we can only say so much before we turn into the Peanuts Parents and students just don't hear us at all.  A check-out gives you an opportunity to be in the moment, do a figure to the best of your ability, and to recognize that maybe your teachers were correct when they said, "you got this!"  I have NEVER seen a student upset after a checkout, but I have seen 100% of students smile, stand a little taller, and feel great about beginning the next level in their learning!

Ok, so that's all great, but what is a check-out exactly?  The check-out is a time when the student needs to demonstrate that they have an understanding of what step the examiner is looking for.  It isn't a vocabulary test, so it isn't important that you memorize step names, and to be perfectly honest, as an examiner myself, we also aren't looking at how you begin the figure, or end it (as long as that isn't the component we are making sure you know!)  Each figure is there to teach you something important that you will need in your future dancing, and as long as you can show us THAT component, you are good to go.  For example, if I ask to see Promenade Swivels in Rumba, I am looking to see that somewhere you do Swivels in Promenade position...  But lets be honest, dancing isn't about doing each step off the syllabus exactly the way it's written, it's about being about to do different components and having FUN with them!

Check-outs aren't nearly as scary as we think they are...  Sometimes we just put too much pressure on ourselves to get steps JUST RIGHT, and really, there isn't any need for that.  Have some fun, know that it's just about proving things to yourself, not to us, and relax!!!

Justin: A checkout is a benchmark of progress in your dancing journey. To fill in that picture, let's look at the Arthur Murray program.  The Arthur Murray system is called the Medalist System because the levels progress through Bronze, Silver, and Gold. As you learn your Bronze 1 material, you will cover both figures and techniques that serve as the basis for building other levels. The syllabus is designed to inter-relate between the dances and levels, but it's important to recognize the progress you make as you work. It's very easy to get caught up in wanting to be a "good dancer," and to always want to "be better." But as you work towards your ultimate goals, you have to acknowledge the steps you achieve along the way.  Consider a marathon- obviously you want to complete the 26.2 miles that represent the race as a whole. But if you beat yourself up as you run, because you aren't at the finish line yet, what good does that do you? Or you only recognize how much you haven't covered yet, instead of focusing on the fact that you have 5 miles completed, then it can become discouraging or overwhelming. So a checkout serves as a structured reminder of the measurable progress you make on your way to becoming the type of dancer you want to be. That being said, at the point that your teacher says you're ready for the checkout itself, you already know what you need to know. The actual checkout is usually more about proving it to yourself then the teacher checking you. It is often more like a mini-coaching, with feedback to use in your next level. Celebrate your progress with a checkout, and then party with your fellow students at Medal Ball, where we get to recognize your achievement with everyone!

Did You Know? Featuring Arthur Murray Dallas Instructor Ryan West!

Meet Ryan West

Ryan has been an instructor at the Arthur Murray Dance Studio of Dallas for 2 years. His great sense of humor and friendly demeanor have quickly made him a favorite among the students. (Not to mention the little rumor that he looks uncannily like Flynn Rider from Disney's "Tangled"!) Ryan is quite the joker, as you'll see from his answers to our questions...but, did you know?

Favorite Color: Green

Favorite Animal: Sloth

Favorite Candy: A giant Whitman's Sampler Box

Favorite Dance: Mazurka

Ryan started dancing at the age of 8. His first job was as a Physical Therapy Technician. He says if he could do anything other than what he does today, he would be a Movie Producer!

Ryan says one thing that is unique about him is that he has Heterochromia! His idol is Willy Wonka (thus the giant Whitman's Sampler mentioned above!). He would love to visit the Bermuda Triangle someday!?!?! And he says if he were a Disney character, he would be the Mad Hatter! Great stuff!

Ryan obviously is a people person! His answers to what makes him laugh, cry, scared and inspired were all the same..."People". The thing he loves most about his job at Arthur Murray is that he gets to impact people's lives.He loves to read and his favorite quote is:

Did You Know: Featuring Arthur Murray Dance Studio of Plano manager Nikki Holland!

Meet Nikki Holland

Nikki has been an integral part of the Arthur Murray family in DFW since 2002! She started as an instructor in Dallas, working her way up through the ranks to become Manager. She recently switched to the Plano studio where she is currently leading the troops! She's a fiery redhead who uses a drill sergeant's whistle on her lessons...but did you know...

Favorite Color: Yellow

Favorite Food: Sushi

Favorite Movie: Wild Hearts Can't Be Broken

Favorite Animal: Horse

Nikki's first job ever was Concert Security! She's a tough cookie - she says the bravest (or maybe dumbest) thing she ever did was ride a 3.000 pound bull just to prove she could! She is inspired by dedication and hard work, and has a fear of losing!

Those rhinestones go great with those spurs!

She says if she could do any other job other than what she does now, she would be a party planner! (If you've been to any of our events, you know this is right up her alley!) She enjoys reading, horseback riding, and playing music. She loves to laugh at stupid jokes, and says everything makes her cry, especially since she's pregnant!

If Nikki could visit anywhere in the world, she would go to Ireland! She prefers tea over coffee, loves Christmas-time, and idolizes her mother! Her favorite thing about teaching is seeing students have those "lightbulb moments". She says if she were a Disney character, she would be Tigger!

Nikki has a unique talent, too. She can cry like a baby without anyone knowing its her! Might have to ask her to show you!

Nikki's quote to live by is:

Manager's Forum: Why do I need to learn Cuban Motion if I only want to be a social dancer?

In this week's Manager's Forum, we asked a very popular question that we hear from a lot of students! Why do I need to learn Cuban Motion if I only want to be a social dancer? Our managers at Arthur Murray Dallas and Plano gave us some great feedback! This should clear things up for you!

"Cuban motion in the simplest definition is traditionally “proper hip movement” ... Cuban Motion is what the body does naturally to maintain balance and control when shifting weight from one leg to the other." - Joe Donato

Let's hear from our female managers first:

Sarah: You need to learn Cuban Motion BECAUSE you want to be a social dancer! Well, wait. Maybe I should ask if you want to be the kind of social dancer that no one wants to dance with and that looks stiff and awkward trying to do a bunch of steps? OR if you want to be a well-rounded, fluid, fun-to-dance-with and can clearly feel and hear the music kind of social dancer? I am guessing you want the latter. 

Imagine this; You are walking in to get your relaxing full body massage, it's cold outside and you are very tense... You go into the room and you get on the table, ready to relax and feel a physiological change. Next thing you know, a clumsy, awkward and stiff metal robot walks in and a recording says, "I will be performing your full body massage today." The robot robotically dims the light and clunks over to you like C3PO and begins your massage... I have one word for that.... "YIKES!!" This is what NOT learning Cuban Motion does to your dancing and "YIKES!!" is the word everyone around you will be thinking when watching you dance "Socially".

Cuban Motion gives you a quality that can either help you FIT IN to the social crowd or if you'd like, you can "Wow!" people and stand out in a good way. In addition to all the logical reasons why we need Cuban Motion like stronger lead, sound style of dances, feel for the music and control/understanding of your body in movement, Dancing is a 'Human' thing. Dancing is NOT a Robotic thing. Dancing involves emotions, feeling, MUSIC, connection and communication with another person that has to constantly change and adjust to any and all outside influences... Rigidity will fail in these situations. Einstein said, "The measure of intelligence is the ability to change." Social dancers MUST be able to adjust.You can't predetermine who will be at the club, what songs they will play or what kinds of scenarios you may have to face on the dance floor. Flexibility in your body is necessary to be a great social dancer, a comfortable, strong, fun, "Human" social dancer. Like a lava lamp or a Volcano, you can be stubborn with your structure, your frame and your lead/follow, but when it comes to your body moving; Be infinitely FLEXIBLE and constantly AMAZED. 

Nikki: I get asked a lot why someone, especially men, need to learn Cuban Motion...  And while there is an aspect of "looking the part", the answer is actually much more simple.  It is the lead needed to communicate with your partner.  I'm speaking mostly to men, as many women are willing to let their body move naturally and so they are ok with body movement happening.

As men, there aren't many times in their life when they have had to move easily with motion, so there aren't many practice opportunities.  However, there ARE things in real life that will help everyone to understand why Cuban Motion is so important to the rhythm of dancing.  If you are on a sail boat, and need to walk from one end to the other, and you try to do it stiff legged, and without adjusting to the motion of the ocean, what happens?  IF you make it down the boat without falling over, it was a really rough ride, right?  Dancing is the same.  Using at least some Cuban Motion allows for a "smoother" ride along the dance floor.  And it allows your partner to have a good sense of what you are doing, and what you are going to do next, which allows THEM to have better time with you.  Now, do you need to learn competitive Cuban Motion?  No.  Only high competitors need that.  Everyone else will be just fine with an understanding of how to move their body easily, and then translate that into something their partner needs.  Your teacher will likely work on the concept of Cuban Motion quite a bit, maybe more then what you think you might need, but what they are really working on is your ability to move your body easily and freely.  And often, we need to exaggerate things in the beginning,  and then we can tone it down later.

Hang in there, Cuban Motion is necessary.  We promise.  And it isn't to turn you into a competitive dancer, it's to make YOU a better partner to everyone else!

And now the men:

Ian: Well, cuban motion is the whole reason they're called RHYTHM dances.  The body action used to make the dances recognizable is also what makes them both feel and look good. To look your most beautiful or feel your most studly on a dance floor, you need to look relaxed and fluid.  And let's be honest, no one ever watched a robot move, and said, "Hey, those moves are hot!".  And feeling good comes from feeling in control of your body so that you can relate how the music makes you feel and how much fun you're having to your partner without having to literally say, "Wow, this is so much fun" (said in that really awkward and nerdy voice only heard in movies).  Cuban motion isn't for competitive dancers only; it's for anyone who wants to look and feel great while they dance, both for themselves and for their partner. 

Justin: Cuban motion helps you look better AND feel better. It is definitely not one of the most natural things we do as dancers (at least not to start) but the more familiar we get, the more it helps it helps our dancing. In terms of how our dancing looks, cuban motion is what puts the body rhythm into our "rhythm dances."  It allows us to express the music through multiple layers in our body.  As we develop those layers, we'll look at how we use our feet, knees, hips and torso. It will eventually lead to more fluid movement, even though in the beginning it feels like even more to keep track of. When we start our rumba, for instance, the box step often feels choppy. As we add cuban motion, the dancing can feel like your teacher asked you to play twister while walking.  We promise, it will become less awkward and more connected, creating a better feel as we dance. It also will help the guys lead better, through clearer weight transfer.

All of this does require you to be patient- none of this happens overnight. Most of us didn't grow up doing cuban motion, and we don't walk through the grocery store doing it (most of us), so the limited practice means you need to cut yourself some slack. And unlike many other techniques that only have a couple layers, cuban motion has many layers. So you should expect to continue developing it for a long time- no rush, and no beating yourself up unnecessarily! Have fun with it, and you'll find cuban motion really does enhance your dancing!

Arthur Murray Dance Studio of Plano Events Calendar Groups, Parties December 2013

Manager's Forum: What is the Difference Between "Using the Floor" and "Floorcraft"

Are you ready to learn something? For this week's manager's forum question, we asked the managers AND the Dance Director's at the Arthur Murray Dallas and Plano studios for their explanation of the difference between "using the floor" and "floorcraft". What we ended up with were these awesome answers!

Ian & Sarah at the 2012 Texas Showdown

Ian: "Using the floor" simply means pushing off the floor with your feet so that you can move more easily and with more fluidity.  "Floorcraft" is actually how you get around the floor.  In both smooth and rhythm, but more so in smooth, you really have to be able to navigate your way around the floor so that you can fully get into the dance and truly express all of it's characteristics without running into other couples.

Adriann at the 2013 Cancun Showcase

Adriann: When your teacher says "use the floor", he or she is referring to the way you use your feet against the floor to move yourself. Like jumping, your feet pushing against the floor, uses the floor as leverage to move your body. "Floor-Craft" is, essentially, driving. Remember, when you're dancing, you're the only car on the road, so don't run yourself or your partner in to anyone else. 

Justin & Nikki competing

Justin: To me, "using the floor" deals with how your foot interacts with the floor, where "floorcraft" deals with navigating and direction of movement around the floor.  

So when we talk about using the floor, we want to be aware of what part of our foot touches the floor, how we slide or roll along the floor with our foot, and how we use friction with the floor to move against it. For instance, pushing the edge of your foot against the floor to move in the opposite direction is an example of using the floor.  This is why it's important to keep your shoes brushed, as we need texture to create friction between the foot and floor.  This is also what we are referring to when we talk about dancing on top of the floor versus "using the floor." Cuban Motion, for example, should be a result of your feet and legs interacting with the floor, not just a lot of movement near the surface.

Floorcraft, on the other hand, will relate to where you face on the floor, and how you move around it. Room alignments, like Line of Dance, help you aim your traveling figures.  Understanding that certain figures serve specific purposes--like traveling, rotating, or picture steps-- will help you choose which figure to use next.  It's important for men especially to develop skills to protect his partner from other less-aware couples, as well know how to brake quickly or "shoot the gap."  For both men and women, it's important to know etiquette for dancing on a crowded floor compared to an open floor with more space between dancers.  Size of step and arm styling can effect floorcraft because it concerns your neighbors on the dancefloor.  

The less-dance-nerdy version is that using the floor is pushing on the floor with your feet to make your dancing more comfortable and balanced. Floorcraft is making sure you don't run in to people when you're dancing. Clear as mud, right?

Lindsey & Ian at the
2013 Texas Showdown

Lindsey: Using the floor vs floor craft

To me, I have a mental image when it comes to these topics. Picture this:

1) imagine one of your favorite movies where the scene depicts a king preparing for battle by seeing an areal view of the landscape and sees how his chess pieces can move in the most strategic way.

For a man on the dance floor, his teacher is his trusted advisor that intentionally created the flight plan  for his most successful and skillful  route around the floor. You can see this skill by observing the plan from an areal view and see how it maps out to your advantage. This is the art of using the floor.
But scenario 2 comes into play when the actual battle begins and plan turns into action. For example:

2) The man is aware of what he needs to accomplish and then he himself realizes that there will be obstacles that will try to thwart the plan. Imagine this idea:

You are actually on the battlefield in the front line. In that moment, the leader is in the moment, knows what he is supposed to do, however must adjust his strategy to what the reality is and find the best way to maneuver through the unknown. This is the art of floor craft.

Therefore, there should always be a plan to what a leader wants to accomplish, but also have a fine balance between strategy and what reality will throw at you.

Nikki & Justin at the 2012 Showdown

Nikki: The difference between "using the floor" and "floorcraft" is a huge one when I am teaching...

I can certainly see where "using the floor" can mean using all corners and such; however, if I'm teaching, I'm referring to your feet on the actual floor.  A lot of times when I see people dance I see surface movement, meaning that they are using the big muscles in their legs, but no muscles in their feet.  When you are dancing, it should actually be the tiny muscles in your feet that work to move you from foot to foot, and across the floor...  Not your thighs, or head weight.  Imagine standing on one foot with the other in the air...  (or actually try it!)  then pushing from the leg you are standing on, jump onto the one you just had in the air.  Using the floor is very much like that.  Another analogy is to think of the old school tread mills...  The one's that weren't motorized.  In order to start them, you had to push hard with your feet into the belt and then make it slide backwards.  That's also "using the floor."  One last thought for those of you that used to be in marching band.  Do you remember how to roll your feet to move across the field so that your instrument didn't bounce?  That is also "using the floor."  If you can look at your feet, point your toes and notice little muscles pop up from being flexed, good job!  You are "using the floor!"  If you can't, just keep working!  It will come.

Now, as for "floorcraft..."  Well, I think this the most important skill that a man can develop in dancing.  This is the road map that a man will use to get around the floor.  "Floorcraft" is often looked at like a chess board.  How is each piece moving, and which piece is moving at a particular time.  However, since I am terrible at chess, I have to think of it as driving on a highway.  Back in the old days, before GPS, we all had to plan our own trips based on maps.  Then, if we ran into traffic, we had to do some quick recalculating of our own and find a new route.  Dancing is the same way.  We can set out on doing a specific set of steps, and traveling a specific way, but if there is traffic, an accident, or a lane closure, we have to be will to adjust, and adjust quickly.  This is often pretty easy if we are dancing rhythm, as we are not trying to move around the floor...  But in smooth, we have to make sure that we are not the car waiting till the last minute to try and get over, or the car that ignores the caution signs and ends up as part of the problem.

Both techniques make dancing a much more enjoyable experience for all involved, so make sure you are studying both!

Sarah at the 2013 Cancun Showcase

Sarah: What a wonderful question! All the true dance nerds will surely eat this up and get very excited about it! So here it goes;

Floor craft is like driving a car in traffic. Sometimes the traffic is heavy, sometimes it's light but you can learn how to drive you and your partner around like a Ferrari! Most times you start like a Mack truck and as you learn different patterns you can begin to grow your agility, your response time becomes faster and you handle the turns and breaks better! FUN! 

"Using the Floor" is how you use the relationship between your feet and the only constant thing in dancing ( the floor) to move your body. Using the floor with your feet is the same as how a tire uses tread. It gives the car traction, groundedness, control and a smooth strong ride. So yes, they both have to do with the QUALITY of movement, but in two very different ways. Floor craft = quality of movement in a crowd or in the "big picture". 

Using the Floor = quality of movement in your own body from your feet and how you feel, just to your partner. 

What I really love about doing this post each week is that you can very clearly see the benefit of learning from as many of our instructors as possible. Everyone interprets, understands, and explains things just a little differently, and when you take all that information in and let it simmer for awhile, what comes out will be a amazingly well-balanced dancing! 

Dallas Event Calendar, Group classes, Parties for Arthur Murray Dance Studio

How to Be A Good Dance Partner Part 3: "Do You Hear What I Hear?"

So far, we have talked about making sure you don't smell bad and what you should say to your dance partner. Today, we are going to talk about listening! Dance is a partner activity. It requires an awareness on the part of both dancers in order to be an enjoyable activity. You must LISTEN to what your partner is telling you! A few tips:

1) Listen to what they say about themselves, respond, and remember! When you remember small details about someone, such as their kids or pets names, it validates that they are important to you. It also makes you a great conversationalist, which everyone loves! Try to avoid spacing out and not paying attention to the person you are dancing with. It makes you seem rude, boring, and inconsiderate, and no one wants to dance with that kind of person!

2) Listen to their body language! This is very important for 2 reasons: you can gauge their comfort level with you, and you can tell a lot about how you should adjust your lead/follow. Pay attention to whether they are dancing closely or if they are holding themselves away from you. This is a good measure of their comfort level (or interest level) in you. Please, respect the physical space boundary they set. It is never fun to feel like there is a tug of war happening on the dance floor, where she sets her comfort zone and he keeps trying to pull her closer and she keeps trying to reestablish her space. Trust me, it is not fun, and it won't help, so just accept and respect the space that your partner is setting.

Now, it is important to keep in mind that this ALSO tells you about their dance ability... Someone who sets a wide personal zone may be a less experienced dancer and may be worried about their feet stepping on yours/being stepped on or whether or not they can lead/follow you. If they seem to tense up when you try to spin them, take that as a sign and take it easy on the twirling. I once danced with a guy who literally picked my feet up off the ground and crushed me against him every time he spun us around. No matter how hard I tried, he wouldn't stop. I honestly felt like I was bruised after that song ended and I DID NOT dance with him again.

Your goal when dancing with a partner is to make sure that you BOTH are having a good time. So be a gracious and kind partner and heed what your partner is saying both verbally and physically!

3) Listen to the music! This seems like an obvious one, but don't get so caught up in counting, trying to remember steps, or zipping through traffic that you forget about the music! Relax, take your time, and have fun!

If you are interested in learning to dance, contact your local Arthur Murray Dance Studio today!

Arthur Murray Dance Studio of Dallas November Group Class and Event Calendar

How To Be A Good Dance Partner! Part 1: "Winning By A Nose"

Learning to dance is one thing, but being a good dance partner is a whole other ballgame. You can take dance lesson after dance lesson and practice until you are blue in the face, but unless you heed these guidelines, you may not have anyone to try out your dance moves with!

Winning by a Nose: 

1) Let's first talk about Oral Hygiene. We all know that bad breath (also known as Halitosis) is offensive. Partner dancing (Ballroom, Latin, Swing, Country Western, Salsa) means you will be in close proximity to the other person's face and mouth. Your dance partner is particularly susceptible to noticing if you have bad breath. There are many things that can cause bad breath like garlic and onions, rotten or decaying food stuck in your teeth, cigarette smoke, alcohol*, or just plain old mouth bacteria. So, if you don't want your potential dance partner to pass out when you breathe "Hello" at them, here are a few tips:

- brush & floss your teeth regularly
- avoid foods that are heavy with garlic or onions for several hours before dancing
- refrain from smoking before dancing
- Buy some of those Wisp disposable toothbrushes and keep them with you in your purse of dance bag
- Gum or mints can help in a pinch, but they only mask the issue, they don't solve it.

*a note on alcohol - many ballroom dancers prefer to refrain from drinking when they are dancing as it can inhibit their physical stamina and mental clarity. Although a social drink at a dance is perfectly acceptable, just remember that moderation is key and no one wants to dance with the guy who smells like he took a bath in whiskey and is too drunk to stand up on his own. Again, moderation is key!

2) Next up, Body Odor. No one likes to talk about Body Odor, but here's the scoop. Make sure you don't smell. I'm not talking about overdosing on Axe body spray either.

- shower regularly
- use a deodorant that is strong enough (some people may need a prescription strength)
- if you are a heavy sweater, wear an undershirt, and bring a change of clothing to the dance
- don't douse yourself in cologne/perfume, that can be just as bad as B.O.
- don't forget about your feet/ dance shoes - use deodorizing pads/sprays if need be
- as mentioned above, refrain from garlic and onions for at least 12 hours before the big dance. (Did you know the smells from these foods can come through your pores for hours after you've eaten?)

Overall, when it comes to smell, keep in mind that how you smell DOES matter! You might be the best ballroom dancer in the place, but if your breath reeks of garlic and cigarette smoke, you smell bad, and you have sweated through your clothing, your first dance with Ms. or Mr. Dreamy might very well be your last!

Dance is a social activity and requires that you take into account how you are perceived by your potential dance partners. It may not be easy to hear, or to admit that any of this applies to you, but take this advice seriously and watch your dance card fill up!

Next time: "Say what?" How you talk can make or break you as a dance partner.

Interested in learning to dance? Check out your local Arthur Murray dance studio for more information!