The following information is published with ROUNDALAB's permission from the ROUNDALAB Reference Manual compiled by Richard & Jo Ann Lawson, 1987.

Styling - What Is It and Is It Necessary?

Monette Courtney - North Hollywood, California

(Article taken from: Round Dance Teachers Clinic, San Antonio, Texas, February 29 - March 1 & 2, 1980)

"Styling is a characteristic mode of presentation in any of the fine arts... a manner deemed elegant and appropriate" ...Webster

Surely Round Dancing is a fine art and I believe that every person participating should be a stylist; defined by Webster as "one who is careful of his style"... I have been asked to offer suggestions for more enjoyment in this great pastime of ours. These are MY OWN OPINIONS and are not to be misconstrued as set rules.

To present a manner deemed elegant, one must be at ease. Relaxation should be imparted to a group by its leader or instructor. You see a tranquil teacher, who has prepared and is sure of his teaching, and you see happy, relaxed pupils. A frenzied, impatient teacher can expect to lose the floor because of tense, frustrated dancers. An instructor who is a stylist is careful of his teaching as well as his dancing. I say "A teacher must be somewhat of a philosopher, diplomat, advisor, musician, psychologist, and MUST HAVE BROAD SHOULDERS." All this helps to keep you calm and tolerant.

My theory is that styling should be taught, beginning with the first lesson of the basic class; whether it be beginner dancers or advanced dancers learning new basics for various types of dancing that is being introduced to Round Dancing. HOW? Keeping in mind the definition above, I use that last word, "appropriate" for styling taught. I begin the teaching of it by bringing to a pupil's attention his posture. Good posture is the number one factor in good dancing! If the class is taught to refrain from watching the feet, this will straighten the spine, helping them to stand tall. Not only is this the beginning of styling, but also it allows partners to dance comfortably; gives more body balance, and lungs are given more room for expansion for proper breathing. I (and you) have seen man who are exact in their footwork - who are devoted to Round Dancing - lose their distinction as a stylish dancer because of poor posture. With shoulders thrust forward, hips projected backward, they form an angle of their bodies, causing their partners much discomfort. The lady who bends her body backward looks equally distasteful.

If the dance positions have been carefully (stylishly) taught, and are applied, surely this is styling! Were they not created for comfort and beauty? Along with correct body position, hand and footwork has to be taught with care to finish the picture that all want to look at!

So - touching on "little" things that deem a dance elegant, I proceed...

Likened unto a duck that walks flatfooted, "slapping its feet", so a dancer must "waddle" if he tries to dance sliding feet flatly over the floor. On the other shore is the Gooney bird that lifts his feet as if they were stuck in glue. The floor should be "skimmed", feet held close to the floor, but not sliding or dragging. I like to use synonymously, the ball of the foot as a shock absorber. When a person rises on the ball of the foot, elevating heels SLIGHTLY, he is giving spring to his foot action, converting walking to dancing. Some of the feminine dancers prefer to dance high up on their toes. This creates tension in leg muscles, causing improper balance and a stiff, strained appearance. Flat feet and toe dancing are both obstacles to smooth dancing, unless called for in the choreography, such as heel turns and lifts; also used in Latin and English style.

Now, with the first instruction of standing tall, heels off floor, in correct dance position, the pupil is STYLED to begin the dance!

In every field of this fast-changing world of our, woman can equal man, and sometimes surpass, but in Round Dancing, only the man can be the leader! This should swell the ego of every male and help him to be a strong leader (STRONG, NOT ROUGH!). A lady can help her partner become a better leader if she will refrain from leading and "let" him guide her. From the man's theory, he cannot lead a partner that is "limp". Teaching partners to offer resistance to each other is of utmost importance. This sounds contradictory to the foregoing comments, but it is not! If there is nor firmness in the lady's right arm, the man certainly cannot push against it to "turn" his lady!

Teamwork is THE word that produces good dancing. Likewise, the left arm of the lady should be resting on the man's right arm and her hand against his shoulder, not behind his neck nor grasping his upper arm; of course, stature must be taken into consideration. I am speaking of the Closed Position. If the arms make contact, leadership will become simple and pleasurable.

Styling means good timing. This comes natural for some, while others are not blessed with this gift. The latter must learn first by listening. A piece of music with a definite "beat" should be introduced to a class of beginner dancers for this purpose. After listening, they should be urged to count aloud and then taught to step to the beat, then to dance! I think of the rhythm band of kindergarten days, - not much music, but lots of beat!

Timing can be taught easier if basics are taught with short steps. Sometimes, we as teachers, emphasize a particular basic by exaggerating the step, and then forget to correct the situation when some of our dancers keep on exaggerating it! If that's all we forget, God bless us! By teaching with short steps, it will help the man to adjust his steps later, to those of his partner. Steps must match if styling is to be accomplished. A couple will become as one - resulting in smooth dancing, only if the pivots, turning waltzes and two-steps are blended, by stepping "IN BETWEEN" partners' feet and not in front of own feet, which again, depends on proper timing.

Preparation for the next sequence of steps will reward the dancers with graceful maneuvers... e.g.: If in "face to face" position, begin turning on the last half of the third count, preparing to move into "back to back" position. A good habit is to point or turn foot toward direction of next step.

A very common error is made during "Walk/Twirl"... the man should be straight in LOD, not sideways. The twirl should begin (if progressive) with first step forward into LOD, preparing for turn by turning foot right. The grapevine series can be a rhythmic routine, by stepping directly behind the opposite foot instead of crossing far behind. Even, smooth, and short steps will prevent a scramble of off-balance jumps;

Another spot for easing is the "Roll Across" for the lady. Instead of halting or stepping backward to allow the lady to cross in front - (courteous), if the man will continue to move forward stepping between the lady's feet as she begins her roll, the flow of the dance will not be interrupted. A tip for styling is to point toe downward when swinging forward or across, or lifting. It also looks nicer to rise slightly on supporting foot, and "falling" easily onto free foot for next step. Let body weight control the blending of the dips, twirls, lifts, locks and cut steps.

The hands express their owner. They can add to or detract from the beauty of the dance. They can make an ordinary dance seem to be one of elegance. This, too, should be taught from the beginning. Dance habits are made early. If the hands are squeezed, grasped, or hung onto - if they hang uselessly, or flung or waved, - the best planned dance looks distasteful. In CP, the gentleman's left hand should be help upward, arm slightly curved, with partner's hand resting in his, held gently. His right hand should be held about midway between lady's waist and shoulder, to the side, not middle of her back, and turned with fingers pointing down. This position makes it more comfortable for the man to keep his arm "up", easier to propel the lady into the turns. Aforementioned, strong leadership is required, but I waive this need when teaching the twirl. I find that if the man holds his hand/arm high enough for the girl to twirl under, and keeping his hand steady in place, he can guide her along LOD, helping her to maintain her balance. I never instruct the fellows to direct the girl by pushing her at the waist or turning her arm in the direction she should go. It is difficult for a young dancer to refrain from "shoving" the girl, causing her to stumble. In ballroom dancing, the lady must rely solely on her partner to direct her; but in Round Dancing, the pattern is set, and if the lady knows the routine, she can execute a much prettier twirl if she is allowed to twirl when her feet are in proper position. I use the word contact, for the handhold while twirling; the hands should perform as a swivel, similar to a ball and socket.

We usually apply the word "graceful" only to women, describing the masculine half of the dance team as good, smooth, terrific, etc. He, too, is graceful if he applies the mannerisms deemed elegant. His free hand may either be held down to side, arm slightly curved, or held away from body, with curved arm and flexed wrist. A gentleman always considers the comfort of his lady, and in Round Dancing, he will be careful to adjust the position of his arms to the height that will be comfortable for his partner: Butterfly, Varsouvienne and Skaters Position. The lady is a compliment to her partner and lives up to it by making a pretty picture using her hands gracefully and appropriately. During a twirl, her free hand held close to her side with arm slightly curved and palm of hand turned out; or - in front, elbow bent with hand held at waist level (not against body, but close) with flexed wrist and palm of hand turned away from body, expresses the poise and beauty of femininity. This, too, will help in the momentum needed.

Skirtwork is lovely when handled properly. I suggest looking in a full-length mirror before leaving for the dance. Lift the skirt: without bending, drop hand to side and gently pick up skirt with fingers, turn palm up; keep elbow close to body and bend out and up. This method is comfortable and can be held without tiring. Look to see if skirt pulls across hips tightly, and if not pretty when held, it is better to leave skirt alone and use the arm and hand to best advantage. If skirtwork is used, I think it unbecoming to flip, wave, or "clutch" dress in a wad. Let your hands and arms move with your body and tempo of dance. Keep in mind: CURVES INSTEAD OF ANGLES, unless dance calls for such. Please, try, with your best ability and understanding, to carry out the correct styling set forth by a choreographer.

We are blessed with hundreds of stylish dancers, but once in awhile a couple dances by, and all eyes follow them around the circle of dance. They may be no better dancers perhaps not even knowing the more advanced dances, - not elaborately dressed or even easy on the eyes, - but somehow they stand out from all the rest. Why? I believe their countenance tells us the first ingredient - happiness! They smile and appear to be enjoying each other as well as the dance. I'm sure they dare to inject into their good dancing just a little bit more.

Again referring to Webster, they show their own characteristic mode of presentation. Could it be the "dip" that looks so pretty when the man appears to lean back by twisting upper half of body slightly left with arm raised high? - with partner fitting with his position with her left foot held back, turned sideward to point toe toward floor? looking over her left shoulder toward pointed toe? It could be the way he waits for her to twirl into his arms instead of reaching or grabbing for her. Whatever it may be, it is a pleasure to see, and I believe that is because they have found the gift of expressing personification jointly.

So: summed up, my definition is: STYLING IS GOOD CHOREOGRAPHY, STYLED APPROPRIATELY BY GOOD DANCING.

For dancing and teaching I have made these rules - perhaps you will disagree, but I find that anything worth doing is worth doing well:

1. DON'T OVERSTYLE: Mechanical maneuvers or posed positions will gain you the title of mannequin, which means a model made of wood or wax.
2. DO BE PLEASANT: Acknowledge your partner by smiling; show him that you are having a good time.
3. BE COMFORTABLE: In styling a special way, if you are not comfortable, DON'T DO IT. Why do something just for show? Enjoy your styling to make your dancing easier.
4. BE CONSIDERATE: If your partner is unaccustomed to your style, refrain from your specialities, perhaps placing your partner in an embarrassing situation by using styling foreign to him.
5. BE UNIQUE: If you can't create your own styling, copying is fine, but do be careful. Be sure that YOU are "right" for that particular mode of styling. By "right" I mean in stature and agility. A tall person, sweeping his lady into a deep corte may look as though that dance were written especially for him; whereas, if the same styling was applied by a short, stockily built person, it might make the choreographer regret that his name was attached. A willowy, elegantly and tall lady may lift her foot high in a "lift" or "dip" and grace a dance; a shorter, pleasingly(?) plump lady looks better balanced if her foot caresses the floor.
6. STYLE APPROPRIATELY: Feel the dance! Don't style a fun two-step as you would a dreamy waltz!
7. RELAX: Do not be afraid to be yourself - HAVE FUN!
8. BE TOLERANT: Not everyone may be as "gifted" as you, so do be kind when your partner "goofs" or is a poor dancer. Remember, you too, had to improve.
9. BE GRATEFUL: Dancers: Love your teacher, for the long hours he usually puts in his daily work and then rushes home to eat a bite only to start learning the routine that he presents to you that evening. Please don't be too hast to criticize if he tells you to turn left when it should be right! He is only a human being, capable of and allowed to make a few mistakes!
10. TEACHERS: Love your dancers - for listening to your mistakes; for struggling with another "left-footer" (new dancer); for having faith in you that you can teach them to dance when they feel as though they have even forgotten how to walk; for the times that you forget and "push" them too fast; or the bit of encouragement, that as a teacher, with routines, timing, styling and many other things on your mind, you sometimes overlook. Love your pupils for that spark of enthusiasm that drives you on and on and on and on!