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In rehearsals, practices and classes, teachers and choreographers teach combinations to music.
They take movements and put them to music. They take the movements and create an art
form. How do they do that? Choreography involves skills that you can learn. To start, look at the
elements of time, energy and space. Using those components as you choreograph will give a
new perspective to your dance pieces.



Time encompasses rhythm, speed and syncopation of movements. Using time in different
combinations to music can create intricate visual effects. Using ideas such as quick, quick, slow
or stop movements are examples.

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Energy relates to the quality of movement. This concept is recognizable when comparing ballet
and tap. Some types of choreography are soft and smooth, while others are sharp and
energetic.

 

Space is the area the dancer is performing in. Space has levels; low floor moves, medium
standing moves and high leaping and lifting moves. Space also refers to how the dancers move
through the area. Direction of movement can be straight, curved, diagonal or changing.

 



By using these three elements in combinations, many variations in movements can be created.
Variety will keep the audience engaged. Define the energy of movements. Articulate when
movements are meant to be slow, fast, in a wave or hit. Use rhythm to change movements.
Stop and start; use movements to emphasize elements in the music. Use levels of space in
combinations, dancers doing movements high, medium and low at different times in different
combinations. Once the combo is finished, you can play with how to use it. Try things faster,
slower or a combination of the two. Try starting movements at different times. Place dancers
facing away from the audience for some movements. Add leaps and turns to parts of a
combination. Use one combination in repetition to create an interesting piece with many
variations. Try dancing with different emotions: sad, happy, angry, etc. By using time, energy
and space, create beautiful effects and impressive choreography can be created.

 
  


Dance Floor Courtesy is a beneficial tool for dancing on any ballroom floor, however, Off the
Floor Courtesy is also a welcome tool.

If all dancers were to observe dance floor etiquette and technique, the dance floor would be
able to accommodate up to its maximum capacity and still permit movement and more
enjoyment. When the dance floor is overcrowded, all dancers should refrain from "performing"
and participate in "social" dance, or perhaps even choose to politely sit some numbers out to
ease the situation.

  
 are classified as either progressive or spot dances. In progressive dances such as
foxtrot, waltz, etc., the rule is to move around the floor only in a counterclockwise direction.
This also includes the patterns that take the man backwards.

 
, such as the swing, cha cha, rumba, etc., the couple should try to keep as much
as possible in and around the small area where they began dancing. Other dancers' space
should be respected.

When the dance music is such that it permits more than one type of dance, such as a foxtrot or
swing, the swing dancers should go towards the center of the dance floor thereby making it
possible for the foxtrot dancers to move freely around the outside of the dance floor. Dance
patterns in which the forward movement is temporarily suspended should be executed in the
centre or fringes of the dance floor, unless one is sure the dance flow will not be impeded. This
courtesy also applies to newer dancers, moving towards the centre allows the experienced
dancers to really move around the outside of the floor.

Dancers getting on the dance floor should not interfere with those already dancing, simply
because it is convenient to start in a particular spot. Watch out, and move onto the floor with
respect for the people moving towards you. Couples should not stop on the dance floor to
make conversation, argue or discuss the working of a dance pattern in such a way that they
block others from continuing to dance. If you are trying to get to the other side of the dance
floor, walk around not thru the dancers.

The way one dances and the selection of dance patterns should be governed by the size of the
dance floor and the traffic. It is incumbent upon all dancers to be alert and watch out for others
when changing imaginary lanes or executing a maneuver that may put them in someone else's
path. Like in driving, dancers should use good judgment.

Good manners dictate that you apologize when you accidentally bump or kick someone. It is
quite annoying to be cut off, bumped, or hurt by overly enthusiastic or inconsiderate dancers
who do not observe good dance floor etiquette and technique.

Off the Floor etiquette consists of some basic human courtesies. When asking others to dance,
ensure you ask and do not guilt or force an individual into dancing with you. Be polite, careful
not to interrupt conversations but to wait for a break in the conversation and indicate that you
would like to ask the person to dance with you.

If you attend a dance as a single, be careful not to over occupy another person's partner in
asking them to dance more than twice in an evening. Ladies, refrain from asking every man in
sight to dance with you ... if you are polite, you may find that they will ask you. If you'd really
like to dance with a particular person, ask them ONCE, then allow them to make the decision to
ask you the second time. Men, when you're asking a lady to dance be courteous, if she
apologizes for saying no and requests that you ask her later in the evening -- do so! Often times
there is a good reason for her answer. Also for you, men, don't over occupy another man's
female partner unless he has decided to finish dancing for the evening and she wishes to
continue. Be conscious of another person's feelings -- this applies to both sexes!

Also, men if you take a lady onto the floor to dance please escort her back to her seat at the
end of your time together. This will ensure that you have been a gentleman, also that she
returns to her seat without slipping and falling on the floor
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