7 Tips for a Great First Dance

You don’t have to be on "Dancing with the Stars" to enjoy your first dance together as husband and wife. Use these tips…

1. Choose a meaningful song. Select a song you both love and one that keeps an easy beat, especially if you’re beginning dancers. When your song lasts longer than the usual three minutes, ask your DJ to fade the ending. Remember: frazzled dancers don’t dazzle.

2. Take a couple of dance lessons. Group lessons can be intimidating, but private lessons remove the pressure of dancing for an audience. Your instructor will teach you according to your ability level. With private instruction, beginners can quickly master the basics with confidence. Dancing, like music, lifts the spirit and is so much more enjoyable when shared with your significant other.

3. Decide who leads and who follows. Gender no longer has anything to do with your decision. Choose the pattern that makes you comfortable. There’s nothing wrong with following a simple lead. The object of dancing is to enjoy the dance! Being able to follow the leader creates confidence in the follower and makes a more pleasurable dance for the leader, too. If you’re feeling brave and brassy, create a dance that switches leads once or twice during the routine.

4. Learn a couple of exciting steps. A pre-planned (choreographed) dip or a twirl makes a splashy statement without the tricky toe work of Fred Astaire and Ginger Rogers. These moves are not only easy, but they offer impressive photo opportunities for still shots and videographers. When you look at them in the future, your photos will take you back to these moments with pride and a satisfied chuckle.

5. Plan your entrance and your exit. Will you clasp hands and kiss before you begin your dance? Will you sashay in from the left and leave to the right? Whatever you decide, be sure to tell your camera operators where and in what direction you will start and finish your dance, as well as any choreographed moves you plan to make. That way, they can prepare to capture the moment in its best light and with the correct angle.

6. Familiarize yourselves with the dance floor. Check out the floor you will dance on. Make sure you know its dimensions. Some styles of dancing (like Foxtrot) require a bigger space. Other styles like nightclub two step don't require much space. Have a good idea of the size and shape your wedding reception dance floor will be so that you can practice and get used to dancing in that amount of space.

7. Practice, practice, practice. Practice on a busy dance floor in a public place. You can also practice at home, of course, (preferably in front of a large, floor-length mirror), but you also need the experience of dancing in front of an audience. Practice your routine at least a couple of times per week, for several weeks, until your feet seem to move without much help from your mind. Concentrate on having fun during your first dance, and your guests will jump to join you on the dance floor.

About the Author

Mike Staff is the owner of Mike Staff Productions an award winning Wedding DJ, Entertainment and Videography Company.

Kathakali: The Confluence of Dance, Music, Theatre and Visual Art

Kathakali, the consummate confluence of dance, music, theatre and visual art, is one of Kerala’s prime cultural contributions to the world. The word Kathakali is a combination of two words: ‘Katha’ meaning story and ‘Kali’ meaning dance. Over the years, Kathakali has evolved into an intricate and highly stylized classical dance-drama form complete with elaborate make-up, luxuriant costumes, detailed hand gestures and body movements, performed with traditional percussion in the background. The striking green countenance of Kathakali has come to symbolize the global face of Kerala.

The origin of Kathakali dates back to the 16th century A.D to two precursor dance-drama forms ‘Ramanattam’ and ‘Krishnanattam’. Kathakali has derived a major share of its techniques from these two art forms besides other ritualistic and traditional art forms like ‘Koodiyattom’, ‘Ashtapadiyattom’ and to a lesser extent, folk arts like ‘Porattunatakam’. ‘Kalaripayattu’, the martial art of Kerala has had a significant influence on the body language of Kathakali. Along its evolutionary course down the centuries, many of the rituals and practices unique to these and many other traditional art forms have become integral to Kathakali as we know it today.

The classical elements of fine arts that make up the essence of Kathakali are ‘Natya’ (enactment-histrionics), ‘Nritham’ (Dance), ‘Nrithyam’ (Expressions) while ‘Geetha’ (Song/Vocal accompaniment) and ‘Vadyam’ (Percussion) play a supplementary role in creating a wholesome theatrical spectacle. Traditionally the stories enacted in Kathakali are adapted from the great epics of Ramayana and Mahabharata though the advent of globalization has led to western classics like ‘King Lear’ and ‘Othello’being adapted to give it a global appeal. Though traditionally, Kathakali performances are known to extend throughout the night, shorter versions are the norm these days to cater to today’s time-conscious aficionados.

The intricate and elaborate make up of Kathakali, called the ‘chutty’ is an entire art form in itself, focusing on enhancing the dramatic element of Kathakali. Various predominant shades are used to symbolize the various ‘Gunas’ (qualities) in its characters like ‘Saatvika’ meaning Godliness symbolized by green, ‘Rajasic’ meaning Violence symbolized by red, ‘Tamasic’ meaning evil symbolized by black. A Kathakali performer has to undergo years of intense training to achieve the immense concentration, physical stamina and skill that this art form demands. Its subtle nuances are better appreciated with a basic knowledge of the ‘Mudras’ (gestures) and a general awareness of the tale being narrated. The Kathakali recital is a visual and aural treat for the layman and connoisseur alike and and for many it is the true essence of Kerala, Gods Own Country.

www.banasura.com– Discover Nature. Re-Discover Yourself.

Preparing Chaine Turns For Ballet Dancing in Pointe Shoes

But pointe work depends on the accuracy of your ballet teacher, your basic classical ballet training, and the accuracy of your own class work. And the ballet positions for chainee turns are very simple.

Beginning at the barre, your postural plumb line, turnout and general placement must be correct and strong. It doesn't matter what kind of body you have. Posture can be correct, turnout can be held regardless of your flexibility, and placement can also be correct. I'm just saying that to encourage you. I know it is discouraging if others can do ballet more easily than you. If you are not flexible enough to get the legs extended above 90 degrees without losing placement, you do your best, and work on gaining strength so that you are not straining.

You see, once you get on pointe, any tiny incorrect ballet position is going to throw you off your pointe. You can struggle and overcome that, but you don't have to, you can fix anything.

For chaine turns, rise onto demi pointe in first position, sideways to a mirror. If you are standing straight, neutral pelvis, neutral spine, and turnout held, that's a good position.

Can you turn your head to the mirror to see yourself without tilting? If not, you need to do some stretching and relaxing for your neck muscles. You do this by tilting your head slowly, letting the muscles stretch a little, for three deep breaths, and then slowly bringing your head upright. 3 times 3 times a day, each side. Also, take a deep breath and then turn your head to one side, exhaling. Then try to turn a little farther, being careful not to tilt. Slowly bring it back to the front, and do the other side. 3 times, 3 times a day. Relaxing your neck is going to help with your spotting.

Being weak in your posture or turnout is going to make you tense your neck and shoulders, therefore throwing off a good turn.

Once you have established that your posture is good, and your turnout held, do a series of chaine turns along the barre, keeping your legs tight in first position. You do not step out. Practice this until you get the feel of it. This establishes correct muscle memory.

When you do the turns in the center your preparation will give you the push to get started. If you chassee into it, or step out from a plie, you then close the legs and they do not come apart at all after that.

There is always ongoing discussion of when someone should start ballet in pointe shoes. Regardless of age, ballet history or growth plates, your basic technique has to be strong, not just your feet. If you have to wait another six months or a year to correct your technique, you will enjoy pointe work a lot more once you start, because you will be able to do things. You won't be struggling.

Once in pointe shoes, chaine turns are a lot easier, as far as the turn goes. It's easy to spin. But your position and how well it is held will determine whether or not you can stay in a straight line, control the speed, and end the sequence gracefully.

Watch your favorite ballerina do chaine turns - they are tight, quick, and end quickly. You'll see how her ballet positions are perfect - and her control is perfect.

With understanding and practice you can do it too.

Click here and find out how a would-be ballerina and men in ballet get exactly the right fit in ballet shoes and pointe shoes, prevent dance injuries, get The Perfect Pointe Book, The Ballet Bible, and details about classical ballet technique. Dianne M. Buxton trained at The National Ballet School of Canada, The Martha Graham School of Contemporary Dance and Toronto Dance Theater.

Best Known Dance Films

Ever since Al Jolson spoke the first words on screen in 1927’s The Jazz Singer, singing and dancing have been a big part of the movies. Here are some of the best-known films involving dancing over the years:

Saturday Night Fever (1977): John Travolta became an icon in this tale of a working-class Brooklyn guy who comes alive when he hits the dance floor each night. The Bee Gees-saturated soundtrack became one of the best-selling albums of all time, and Travolta’s white disco suit was later purchased by film critic Gene Siskel. Travolta has since become known for dancing in many of his biggest hits, including Grease and Pulp Fiction. A sequel to this film, Stayin’ Alive, was directed by Sylvester Stallone, though it proved unsuccessful with critics and audiences.

Flashdance (1983): Jennifer Beals became a star in this story of welder who burns off steam as an exotic dancer by night, all while dreaming of becoming a ballerina. Ironically, Beals didn’t do her own dancing in this film; clever editing and photography let several doubles, including a gymnast and a man, perform her most complicated moves. Like Fever, this had a hit soundtrack, highlighted by the Oscar-winning “What a Feeling.”

Footloose (1984): Though Kevin Bacon has gone on to play many other types of roles (and starred with nearly every other actor in Hollywood in the process), for many fans, he’ll be best-known for this peppy tale of a teen who finds himself in a small town where a zealous reverend (John Lithgow) has outlawed dancing. This had yet another hit soundtrack, which spawned two number-one hits and sold 15 million copies.

Dirty Dancing (1987): This surprise hit about a young woman (Jennifer Grey) who finds love on the dance floor with a fleet-footed dance instructor (Patrick Swayze) while on vacation also won an Oscar for best song (“I’ve Had the Time of My Life”) and became a sensation, inspiring a short-lived TV series and a live stage show. It was also responsible for boosting attendance in dance classes across the country. Ironically, Grey and Swayze had worked together before on the action film Red Dawn – and couldn’t stand each other.

Save the Last Dance (2001): Julia Stiles and Sean Patrick Thomas star in this tale of a former ballerina who gains the inspiration to dance again when learning the style of a local dance club. The film became a huge hit with fans of MTV, which produced the film. It wound up grossing nearly 10 times its budget in the U.S. alone.

Step Up (2006): Despite little advance hype, this story of a dancer (Jenna Dewan) who becomes involved with a street tough sentenced to do community service at the Maryland School of the Arts, became a surprise hit, grossing almost double its budget in its first weekend. A sequel, Step Up 2 the Streets, was released in early 2008, featuring different characters but set against the same backdrop. It’s enjoyed similar success so far – meaning that more Step Up films might be on their way soon.

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How Do I Become A Dancer in Music Videos?

You see the dancers on TV dancing behind Britney or Justin Timberlake. You're inspired to take up dancing so that you can become just like your idols. And you find that pretty soon, you wouldn't mind being up there yourself dancing with your very idols.

Sounds cool doesn't it? Dancing in music videos or doing backing dancing is the dream of most aspiring dancers and if you're reading this probably yours as well. After all when you've danced in a music video, that's when you know you've made it, right? But how do you actually do it and find yourself on TV screens across the country?

Well there are a variety of ways. Some of them super glamorous such as being spotted by a very intelligent scout who obviously knows talent when they see it and says that’s you.

If this happens to you, congratulations, you've truly had it made. But for the rest of the people out there, there are ways to appear in a music video that are within your control. Being scouted is generally the exception rather than the rule.

The most common route is to go and find a good agent or agency who will find dance auditions for you. Most top dance jobs come through agencies who will put you forward for jobs that match your skills and attributes.

The first rule of thumb when applying for dance agencies is to make sure you're good enough. There is no point in auditioning for agencies if you've just stumbled into the industry and just picked up 1 or 2 dance moves from a dance class. Auditions are tough and you'll need to be good to go through.

Different agencies work differently. Most will ask you to send through your CV and professional pictures. If they like the look of you and what you have to offer they may offer you a place on their agency immediately. Especially if you've done a lot of high-profile work or are otherwise a well-known dancer.

It's more than likely though that most agencies will invite you to an audition to become represented by their agency. There are often many dancers at these auditions, especially for the well known agencies where it's not unusual to have several hundred auditionees.

If you do well at the audition they may then decide to take you on. And then they'll start putting you forward for work and sending you to auditions where you're auditioning for specific jobs such as music videos.

There are some agencies which will insist that you do not need any experience. You should be cautious with these agencies. By all means have a look to see what they have to offer, but exercise special caution. Many operate on the basis that you give them some money to get a place on their agency books, and then they won't send you on any auditions at all. Generally you should not pay to join an agency, if you do make sure they have a good record and send their people to good auditions.

There will also sometimes be open auditions and castings which means that you do not need to be with any agency and anyone is free to attend the audition. Open auditions can be very packed, but if you don't have an agent yet then you'll have to go to these auditions to start building up your CV and if you want to find work. They can be advertised in newspapers, websites and notice boards.

So all in all, it is possible to succeed and get work without being represented by an agent or agency, but a good agency can help your career tremendously by sending you out on a lot of quality music video auditions which can only be attended via an agency.

Ryan Heddik has enjoyed a successful dance career dancing on TV numerous times and is the author of the groundbreaking e-book' Dance In A Pop Video.' The book teaches aspiring dancers the exact process they can follow to find work in music videos with tried and tested principles that actually work. Find out more about it at http://www.boxdancer.com

Build Strength For Long and Lean Ballet Muscles - Highly Effective Tips

To build strength for the long and lean muscles every dance student wants, here are some highly effective tips to achieve optimum results. The finer details are both physical and conceptual, and will improve all your ballet exercises. These tips will also help your pre-pointe homework exercises.

Length is the goal in ballet, and here are some ways to think of it as a realistic goal.

For example, when you start a demi plie, you pull up. But to make that an extra pulled up strength, think of bending your knees, maximum turnout, and not lowering your body for a second. That's right, pull up the lower abs so that your belly button moves up your torso and stays there!

This is different from pulling in your stomach into a bundled knot. Whether or not you succeed in bending your knees and staying up, you will stretch your lower abs long and flat. To practice, open and close your knees a little several times and try to stay up at the same level. Then, when you sink down into that plie, keep the lower torso long and flat, still pulling up and away from the motion, still letting your calves relax, turnout held, and your feet flat on the floor, heels firm. If you do this every time you do a plie, it will make a huge difference in the lengthening feeling.

Another place to feel a lengthening is from the top of a press up. You've reached the top of your demi pointe or full pointe. As you lower the heels, pretend you are not lowering. You pull the heels down, away from your hips and torso. Your thighs stretch out long, in your mental image, like a stretchy band (which they are). You keep trying to stay up even as your heels touch the floor.

At this moment, if you are continuing into a demi plie, you again hold the lower abs long and up, as you open the knees, as if you are not lowering.

Here are just two places that will make a tremendous difference, if you do the lengthening technique every time you do a plie or pull down from a press up.

This helps control the pelvis, posture, and turnout, and you'll get the best you can in developing long and lean muscles and build strength.

At The Ballet Store you'll find more articles on technique with the finer details, The Perfect Pointe Book, The Ballet Bible and much more information.