Rainhill DanceSport Club

Rainhill DanceSport Club Learn to dance Waltz, Rumba and many other social dances - for fun, getting married or as a sport.

18/01/2025

Hello all. And Happy New Year to you. Unfortunately Rainhill Dancesport Club will be finishing during the 1st half of this tear as I am moving to Suffolk to live near my son and his family.

The club has been nine existence since the 1970s but I have had a lot of fun teaching local and not so local people for almost 50 years. .

Whether I continue teaching in Suffolk has yet to be decided. But I would just like to thank everyone that came to my classes and still do.

Until I officially close you are welcome to come along. Just get in touch.

10/08/2024

How are DanceSport competitions judged. Well, I suppose that depends on who is running them. If run by supporters of the British Dance Council and the World Dance Council then (unless they've changed, which I doubt) they are still judged using an outdated and potentially unfair system whereby in early rounds of a competition judges choose who they like. And if the competitors get enough 'marks' the proceed to the next round. Finalists are placed in an order of preference from 1st to say 6 (6 is the normal number to reach a final). Scrutineers then work out how many 1sts, 2nds etc each competitor gets and eventually find the winner. An uneven number of judges are also needed as the decisions are based on majority voting.

I competed under this system and while it seems fair it is prone to bias. In just the same way that Skating could be as although they were marked, competitors were also placed. Skating had the sense to change their system as the World DanceSport Federation who use a similar kind of marking system that every IOC recognised sport does.

In the case of competitions run by the WDSF this is what happens. In the early rounds of heats (say 8 in a heat) 4 judges are used with each judge being responsible for judging just on criterion out of 4 criteria. They judge each competitor and grade them according to a clearly defined scale with fractions allowed in between each grade. Competitors dance for 2 minutes giving the judges sufficient time to judge properly.

When competitors reach the final (usual 6 but could be more) they have to dance 3 solo dances and 2 group dances (ie all finalists at the same time as in the heats). I am not sure if all 12 judges judge the final or just 4. Either way, all competitors throughout the event are marked fairly and their marks as say in Gymnastics are publicly shown.

Also the top and bottom marks are removed in order to enable an average mark to be created for each competitor.

The winner is the one with the top average mark. However I am unsure when it the top average over say 5 dances or if the winner is the couple or person who wins a majority of dances. I will have to check.

In summary, the former 'skating system' bases its marks on a comparison of competitors. The WDSF system however bases its marks on an absolute score. This is by any stretch of imagination a much fairer system and cannot be affected by favouritism or potential corruption.

10/08/2024

With the Olympics here (albeit nearly over) Break Dancing is the first DanceSport discipline to be included in this year's event.

While this is great news, the biggie disciplines are still not included even though they draw the crowds far more than any of the other sports I believe. I suspect one of the reasons for not being included is the continual rift between professionals and amateurs plus the surfeit of governing bodies.

The ONLY governing DanceSport body that is recognised by the IOC is the World DanceSport Federation. So, with that in mind I have copied a history of how the WDSF came about and how it became part of the IOC family of sports.

How It All Started
1920 - 1999
Throughout the 1920s, several European nations were the pioneers in the gradual emergence of dance as organised sport. They defined the norms and launched the concept of its worldwide governance. In 1929, British dance teachers defined the standards for an “English Style” that was soon adopted everywhere. The German Imperial Association for the Fostering of Social Dance was the initiator of the Fédération Internationale de Danse pour Amateurs (FIDA). Founded by nine European countries on 10 September 1935 in Prague, CZE, it staged the first world championship truly deserving of such title in Bad Nauheim, GER, one year later. FIDA existed for 20 years – a period marked by World War II as well as feuds between the amateur and professional camps – before it suspended activities in 1956.

Otto Teipel
Germany assumed the lead once more and immediately proposed to regroup in a different organisation. At the Wiesbaden home of German Dance Champion Otto Teipel, eight European nations started the International Council of Amateur Dancers (ICAD) on 12 May 1957. The delegates to the founding assembly elected Teipel as President. With four more nations joining one year later, ICAD registered growth in Europe – but also faced persisting difficulties in the attempt to reconcile with the organisation of the professional dancers.

Otto Teipel eventually stepped down – worn out by the quarrelling – and was succeeded by Heinrich Brönner and Rolf Fincke, who both held office for a short time. In June 1965, a young and ambitious Detlef Hegemann was elected ICAD President. He was to bring great vision and relentless drive to the organisation for many years to come. Just four months after his election, Hegemann signed a landmark agreement with the International Council of Ballroom Dancing (ICBD), led by Alex Moore at the time.

The “Bremen Agreement” of 3 October 1965 established that ICAD was henceforth to grant and control international championships for amateurs – and that ICBD was to do the same for professionals. The Joint Committee set up through the agreement drafted the terms for co-operation between the two bodies, which then allowed ICAD Adjudicators to officiate at international competitions, although only in a 3:4 minority.


ICAD membership grew steadily over the next 25 years. More and more national amateur bodies joined the organisation that itself set out to become part of the global sports movement. In 1990, ICAD decided to change its name to International DanceSport Federation. Embracing its interpretation of dance as sport in the new name helped to secure wider acceptance almost immediately. Good strategy and persuasive lobbying were the other pillars in a campaign to correct erroneous perceptions in the minds of many. In 1995, IDSF was accepted as a member of the General Association of International Sports Federations, the umbrella organisation for all world sports governing bodies. The International Olympic Committee recognised DanceSport. IDSF became a member of the Association of IOC Recognised International Sports Federations and of the International World Games Association. The determination of President Hegemann and the lobbying efforts by Presidium members had brought about significant change.

When Detlef Hegemann chose not to stand for re-election, he left a fundamentally reformed and thriving International Federation to his successor, the Swiss Rudolf Baumann. Membership had arrived at 65 national member bodies, the financial situation was excellent and, above all, the young federation had established an impeccable track record in fulfilling its statutory mission. Hegemann was elected as IDSF Honorary Life President in recognition of his visionary leadership over 33 years. Baumann took the baton and ran with it … into a new Millennium!

How It Continued
2000 - 2010
Bassano, ITA - 2 February © Roland The IDSF Presidium under Rudolf Baumann kept up the pace in the new Millennium too. A representation agreement between IDSF and the International Management Group IMG had secured global television exposure for the main DanceSport championships. To improve this television product further, subtle changes to the competition format were implemented over the next years. Solo dances in the finals, a new judging system and other amendments to the traditional way of conducting the contests met the approval of athletes and spectators alike.

IDSF’s participation in The Sixth World Games 2001 Akita, JPN, was an unqualified success. DanceSport ranked first in revenues generated from ticket sales among all 36 sports on the programme. Rock ‘n’ Roll – whose governing body WRRC had joined IDSF as an Associate Member – featured alongside the Standard and Latin disciplines in The Seventh World Games 2005 Duisburg, GER.

The creation of an IDSF Anti-Doping Commission and the adoption the Anti-Doping Code made the federation fully compliant with the stringent norms imposed by the World Anti-Doping Agency (WADA).

The 2002 Olympic Programme Commission Report confirmed DanceSport’s eligibility for admission to future Olympic Games and defined the criteria that will need to be met by candidate sports in the review process undertaken by the IOC at intervals of four years.

In 2003, IDSF elevated select International Open tournaments in Latin and Standard to a “Grand Slam” status, with record purses awarded to the athletes directly by IDSF. The altogether ten Grand Slam tournaments have since become annual fixtures on four continents and make up the International Series that culminates in the IDSF Grand Slam Finals.

The International Dance Organisation (IDO) opted to become an Associate Member of IDSF in 2004, bringing its nearly 50 styles to DanceSport and contributing to making the sport's constituency as diverse as dance itself. The United Country and Western DanceSport (UCWDC) is the most recent Associate Member, joining IDSF in 2008.

The IDSF Annual General Meeting approved the establishment of an independent Disciplinary Council and an Athletes' Commission in 2006 and 2007, respectively, thus filling two gaps in its governance structure. The IDSF Athletes’ Commission is a consultative body, submitting opinions held and requests articulated by the active athletes in DanceSport directly to the Presidium.

DanceSport's spectacular growth and popularity led to the Olympic Council of Asia (OCA) include it on the programmes of the Asian Games and the Asian Indoor Games. Furthermore, IDSF became a member of the International Masters Games Association (IMGA). From 2011 athletes in the Senior I to III grades will be able to compete in their very own international multi-sport games.

IDSF sternly supported the community of professional dancers in their effort to set up an independent body, the International Professional DanceSport Council (IPDSC). In December 2007, an agreement was entered into by IDSF and IPDSC, providing for both organisations to co-ordinate dates and other matters pertaining to their competitions, and to work cooperatively in developing, implementing and enforcing the WADA-compliant rules of DanceSport. Since then, IPDSC was dissolved and became the IDSF Professional Division in 2010.

In October 2008, IDSF entered into a formal co-operation agreement with the International Paralympic Committee (IPC). Under the terms of this agreement, the two bodies pledge to jointly develop and promote Wheelchair DanceSport, and to work towards establishing a single governing body for DanceSport, including Wheelchair.

From 2007 IDSF worked incessantly on an ambitious development plan, VISION 2012, and it set out to bring even further unity and diversity to DanceSport at long last. On 14 June 2009, the IDSF Annual General Meeting held in Macau, CHN, unanimously passed the following motion.

"That this meeting directs and encourages the Presidium to continue working on VISION 2012, and to establish a working group including representatives of Associate Members, representatives of key IDSF Member Bodies and representatives of other dance disciplines."

The VISION 2012 Working Group met for the first time in Sant Cugat, ESP, in October 2009 to discuss the proceedings in trying to have IDSF evolve into the World DanceSport Federation, a body. A joint declaration was drafted between the representatives of the different organisations at the conclusion of the meeting, all expressing their support of VISION 2012 under the declaration's title "DanceSport as the Unifying Force."

For me I am proud to call the WDSF my governing body. It is just a pity those bodies in Britain who purport to govern my sport still choose to create division rather than working with the WDSF.

20/12/2023

Hello All.

I've been very quiet on here for a while. I've had a lot going on my my life over this past 12 to 18 months. But with 2024 fast approaching I felt the need to get things moving again with the Dance Club.

With that in mind I will keep you up to date with what I am doing over the coming weeks and months.

1. I am currently digitising all my books, scripts etc I've amassed over the past 48 years or so. Once I have finished and catalogued it all I will be offering digital copies for anyone who might like something.

2. I'm in the process of redoing my website

3. With the demise of Dance News there is possibly a need for a digital magazine. This is just circulating in my mind at the moment.

4. Like all small businesses I have to advertise what I am doing. Being restricted in premises and time trying to figure out the best way forward is not very easy. But in the New Year I will be publishing a new leaflet.

5. Writing has always been another passion of mine. But i have never written any dancing books. Physical copies however are expensive not to mention finding a publisher or printer. Digital books are a much less expensive, not to to mention easily produced. So I will probably go down this route. My first project is compiling my own Latin in Line Dance scripts. If possible I am hoping to be able to video the dances and upload to YouTube or Vimeo.

That's all for now.

Have a great Christmas and a fantastic New Year.

See you all in 2024!

10/01/2023

Looking for something new to do this year?

30/03/2022

In the last post, I said that there were 3 basic ingredients dancers needed to work out which particular music is suitable for a particular dance. The first was Time Signature ie the number of beats per bar of music.

The 2nd ingredient is Tempo.

Tempo is simply the speed at which music is played. This is different for each dance (or almost which will be explained in the next post).

Tempo for musicians and others is measured by the number of beats there are in a minute. However sport dancers and sport dance teachers measure tempo or time in a different way, namely the number of bars of music in a minute. For instance, Waltz is 30 bars, Samba is 50 bars per minute.

There is an important reason for this. When constructing a routine (or program as it is called in Skating) it is important to know the number of bars of music in order to work out how long a routine is or should be.

For instance, competitive dancers will often dance what is a called a 1 1/2 Chorus. This is 48 bars of music. A Chorus is 32 bars while a Sequence is 16 bars. The latter is important for those performing what is called Sequence Dancing.

How do you count bars of music?

Quite simply, you start with the first beat of the bar say with 4/4 time signature. It would be counted as follows:

1234....2234....3234....4234...5234....6234....and so on. The first number at the end of the count gives the number of bars. You do this for either one minute or 30 seconds and double the figure or for 15 seconds and quadruple the answer.

Knowing the tempo is important for another reason. Competitive dancing in particular is played at a particular tempo or a very small range of tempi eg Rumba should be played at 25 bars per minute or a range of 24-26. This is called Strict Tempo.

Strict Tempo (as in Strictly Come Dancing) isn't some strange made up for TV thing. It is a vital component for dancers.

ST was devised originally for one reason - comfort. In the early days many bands played music which was either too fast or too slow for people to dance to. So dance teachers formed a committee to determine which tempi were suitable for particular dances. Over the decades these tempi have been slowed especially for competitive dancing as DanceSport has developed from the gentle pastime it was in the early 20th century to the more athletic pursuit it is now.

In Latin dancing, particularly where body action is really important, it would be near impossible to perform the actions at a faster tempo.

Hopefully, you have enjoyed this little thread so far. Do let me know what you think or have any questions.

16/03/2022

DanceSport Tips

Have you ever wondered how dancers are able to differentiate the different dances we perform? Well, it is all about the music. But there are three things to consider:

1. The time signature of the music
2. The speed of the music
3. The rhythm of the music

It all starts with the music - always.

It might be useful over a few posts to look at each in turn.

Time Signature

This refers the construction of the bars of music in a piece of music.

The basic or Common Time has 4 beats in every bar of music. It is the commonest time signature and each bar of music has 4 beats.

Here is how to work it out.

Put a piece of music such as Boyzone's Life is a Rollercoaster or Bryan Ferry's Dance Away or more modern music such as Ed Sheeran's Shivers.

Listen carefully and try and work out the first beat of the bar - usually the strongest beat.

Now start counting 1234.....1234.....1234 and so on

Get counting to your favourite tunes either on an mp3 player, record, player, CD, tape (if you still have on) or on your favourite music station on the radio.

See you next time

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Scout Hut
Rainhill
L354NW

Opening Hours

Tuesday 10:30am - 11:30am
Thursday 8pm - 10:30pm

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0800 298 4229

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