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Swango Blues FAQ’s!         Updated 03/29/08

 

Q: Do you have to know all three dances to learn Swango Blues?

Chris: Not really, but it would certainly help to know as much as you can about all the individual dances that influence Swango Blues. In my classes I teach the fundamental elements of each dance, and then progress to show how they can be connected together at that level. This is different than just learning to combine patterns of movements. Then I highly recommend further study in each dance, with a variety of qualified local instructors. As you progress as a dancer, it is also a good idea to start taking workshops or privates with national and international pros in each dance style. Taking as many classes and workshops as you can will give you a variety of perspectives on the same type of dance movements, which will in turn give you more choices for developing your own style of dancing. And don’t be surprised if some high level dance professionals differ, or even contradict each other, in how they teach their technique. Dancing is a life long journey, and people take different routes to get where they want to go.  

 

Q: Is this Ballroom dancing?

Chris: No, I’ve never actually done much ballroom dancing. Ballroom versions of Swing and Tango are significantly different in connection, posture, movement, and styling than the historical or “street” versions of these dances. The dedicated versions of these dances, as taught in each of their respective scenes, are also more relaxed, improvisational, and complex than the ballroom versions, and often require more time to learn. Swango Blues is a fusion of the modern dedicated versions of these dances, and retains the same essential qualities even though I have modified them to better combine them.

 

Q: Who have you learned from or taken classes with?

Chris: I have taken classes, workshops, or privates with the following local Orlando instructors: Rob & Dawn (Lindy), Adam & Marcie (Lindy), Mark Traynor (WCS), Shawn & Donna (WCS), Johnny & Lisa (WCS), Jen Deluca (WCS, was local, but now she has gone national pro), Richard & Mariel (Tango), and Roberto Hoyas (Tango).

 

Some of the national or international instructors I have taken classes, workshops, or privates with are (in other words, I recommend all these instructors): Frankie Manning (Lindy), Kevin & Carla (Lindy), Yuval & Natalie (Lindy), Steven & Virginie (Lindy & Blues), Ryan & Jenny (Lindy), Marcus & Barble (Lindy), Eric & Sylvia (Lindy), David Reim (Lindy & Balboa), Sylvia Sykes (Lindy & Balboa), Nick Williams (Lindy & Balboa), Doug Silton (Lindy & WCS), Jordan & Tatiana (WCS), Michael Kielbasa (WCS), Mary Ann Nunez (WCS), John Lindo (WCS), Mario Robau (WCS), Fabian Salas (Tango Nuevo), Miriam & Hugo (Tango), Fernanda & Guillermo (Tango), Colette & Richard (Tango), Eddy & Veronica (Tango Nuevo), Bill Borgida (Blues and Lindy), Solomon Douglas (Blues), Charlie & Heidi (Blues), Ogden & Amanda (Blues), and Jerry & Kathy (Blues).  

 

Q: What kind of music can you dance Swango Blues to?

Chris: The nice thing about this combination of dances is that it can be danced to a variety of contemporary music. It works best danced to slow through medium tempo Swinging Jazz, Blues, Soul, and modern Tango and WCS style remixes. I’ve even enjoyed dancing it to 70’s style Funk (Parliament, Rick James, etc), and 80’s style Goth music (Depeche Mode, The Cure, etc). Because Swango Blues combines a range of smooth style dances, however, you can vary the amount of each dance style you mix in based on the song style. This gives you a variety of fun and challenging dance choices. But I have also found this combination doesn’t work very well to vintage Swing, Hot Jazz, or classic Tango. For these types of songs you will probably want to dance traditional Lindy Hop, Charleston, Blues, or Tango.

 

Q: Do you dance Swango Blues in a slot like in West Coast Swing, or in the line of dance like in Tango?

Chris: Not necessarily, but you can if you want to. In my opinion, these are artificial rules that developed with these dances, but are not required elements to practice these dances, unless you are in a competition. You can slot some of your movements if you want, or break or re-arrange the slot if you want. You can travel in the line of dance if you want, or not. Using a slot can be essential for some Swing movements, and is a useful teaching device, so I often slot my dancing. However, I also like to do over-rotated whips from Lindy Hop, which do not follow a slot. In Argentine Tango, most demonstrations and performances do not follow the line of dance. They maneuver around the floor however they want. Most people believe these rules were integrated into these dances to help manage crowded dance floors. Eventually they became part of each dance. However, neither Lindy Hop or Blues dancing is slotted or follows any line of dance, and people have been successfully dancing these styles on crowded dance floors for years. The main thing is that you avoid bumping into other dancers when you travel across the floor. As my dancing has developed over the years, I’ve become more and more adverse to imposing artificial rules on any kind of dancing. I even think counting and standard step patterns should be dropped for pure movement based on rhythms in the music. Blindly following artificial rules eventually limits your creativity both kinetically and musically.

 

Q: What inspired you to start combining these three dances?

Chris: During the first few years of learning Lindy Hop I took a bunch of classes, and traveled a lot to workshops and camps. At one of Steven & Virginie’s Lindy Hop workshop weekends I was introduced to Blues dancing, and was also inspired to start learning Argentine Tango. S&V recommended broadening your dance vocabulary by learning other dances and then by incorporating some of those movements in your Swing dancing. They specifically focused on Blues, Fox Trot, and Argentine Tango. Shortly thereafter I started learning Tango from a local Argentine teacher, and began traveling to Tango and Blues workshops. At some point, I also started learning West Coast Swing, mainly because we had a mixed statewide Swing event, and the WCS dancers were noticeably better than the Lindy dancers on a technical level. No one was really combining these dances yet, so I studied them separately for several years. I danced in each of these separate scenes, and rarely saw the same people at different dances.

 

Then a couple of years ago I started experimenting with combining the Argentine Tango into the Blues. I did this mainly to expand the complexity of leading weight changes while Blues dancing. I was teaching basic Lindy Hop and Blues classes at that point, and I kept getting the complaint from students that the Blues movements were too simple. They wanted more moves like they were used to getting in Lindy Hop. Argentine Tango is quite developed in leading-following a variety of complex weight changes, so it seemed to be a good fit. I thought this was especially true of the cross-foot weight changes known as Ochos, and the turning movements known as Molinetis. These movements also get you traveling around the floor, which I prefer. Many people still Blues dance primarily in place, doing micro-blues or contact improve, with very little maneuvering around the dance floor. I’m Ok with doing this for short periods, but I find it boring to do this for an entire song. To me, dancing means floor craft.

 

One global change that occurred in my dancing from learning Argentine Tango is what rhythms in the music I focus on. Tango got me dancing more to the melodies in songs, and off the main tempo. At this time I was also dancing to a lot of Blues music because I was running a weekly Blues dance at Café Annies in downtown Orlando. I started hearing a lot of the other rhythms in the Blues music other than the main beat, and started to experiment dancing to these rhythms. Many of the accent rhythms and melodies in slow Blues music are double time to the main beat. Dancing to these other rhythms automatically allowed me to switch to the Swing movements that I was used to dancing to in faster music. This was the start of mixing Lindy Hop and West Coast Swing into my Blues and Tango. Eventually I purposely broke down the Swing movements to leading them as single-step weight changes at slow tempos. This allowed me to switch my movements to any rhythms in the music without losing connection to my partner. Now my goal is to dance to any prominent rhythms I perceive in the music, which I call dancing to the phrasing in the music. This allows me to vary the tempo of my dancing constantly as the song progresses, making my dancing more musical. When you get proficient at this, you don’t have to try to hit breaks and accents in the music; it happens automatically.          

 

Q: Why not just keep these dances separate, and only dance them in their own respective scenes? Why create a new fusion dance and scene?

Chris: Well, if you really learn these dances separately, I think it is a natural progression to start combining elements at some point. At least, it is for me. The thing is, most people never branch out to learn different dances in the first place. As I mentioned, I rarely saw the same dancers in different scenes in my area. Many people seem to get comfortable with one thing, and stick with that out of habit. Eventually they start to identify with that one thing, and everything else becomes undesirable. I noticed this traveling between the scenes that many people dislike other dances without ever really trying them. At one point, I even tried to bring people from the different scenes together by hosting some local crossover events. But inevitably, only dancers from one or the other showed up. I couldn’t get them together in the local Orlando scene. However, I highly recommend learning multiple dances because every dance has strengths that will make you a better overall dancer if you learn them thoroughly. Lindy Hop has some fantastic jazz footwork and slides, Blues has unique isolations like Snake Hips, West Coast Swing has intricate technical patterns, Salsa has amazing spins, and Tango has beautiful leg adornments and is the best for leading-following weight changes. Learning any of these dances will make you better in one of these areas, but learning all of these dances will make you better in all these areas. And honestly, unless you are learning them as a strict historical exercise, you are at some point going to start seeing connections, and going to naturally start blending some of the elements. And by doing this, you open up worlds of new movement possibilities when dancing to any given music. Otherwise, if you are dancing for a lifetime, you are going to eventually get bored with one style. Learning to integrate other styles dance into your technique is the best way I know of re-invigorating your dancing interests. 

 

This brings me to the best reason for starting a new fusion scene like Swango Blues by naming, categorizing, and teaching it systematically; to get more people dancing this specific combination of dances. Many people won’t have the same dance history as me, and even if they did, only a handful will evolve to combine the dances in a similar way. If I waited for it to occur naturally, I would only be able to dance this combination with a few follows at best. By naming the dance style, teaching it, and having fusion oriented dances like Underground Swing, I can get others to start doing this combination. Hopefully this will generate a dance scene that will more frequently allow me to lead elements from my favorite dances. As you can see, my reasons are strictly selfish! I am happy to say that there are other similar fusion scenes popping up around the country, including in Seattle, Portland, Knoxville, San Francisco, Toronto, Austin, New York, and St Louis. I even hear they are starting to do a version of Swango in Buenos Aires. So who knows? Maybe in the future I will be able to lead this combination of dances anywhere I travel. That would be cool. 

 

Q: What about some critics that claim these dances are too different to combine successfully, musically, kinetically, and historically; and that you are disrespecting cultural traditions by even attempting to combine them?

Chris: When I started combining these dances, I didn’t think of it as anything controversial. It is just what I do in all areas of my life. I study something thoroughly, both historically and technically, and then at some point start to deconstruct and reinvent it to suit my tastes. I’ve learned over the years as an artist and a teacher that I have one main talent; that I can see connections between things that other people have a hard time seeing. I have used this ability to create new things in art and culture throughout my personal and professional life. Actually, I really don’t have a choice; it’s my nature as an artist to continuously be creating new works of beauty and insight. Years ago I did the same thing in the martial arts world, in which I had studied a variety of styles since I was eight years old. I always gravitated towards smooth styles that had a lot of rhythmic movements, such as Chinese Wing Chun Kung Fu, Filipino Kali, Indonesian Silat, Tai Chi Chaun, Aikijujitsu, and Western Boxing. I also took Bruce Lee’s Jeet Kune Do conceptual approach of taking movements from any style to make your own personal style. Basically the idea is to incorporate any martial arts movement that works for you into your own personal style, based on your unique physical traits and talents, and discard everything else. Today this is usually called Mixed Martial Arts, and it is quite popular with the public through competitions like the UFC. My particular combination of styles I called Rhythm Fist, because of my interest in rhythmic flow drills for both empty hands and weapons fighting. As you can see from my approach to dancing, I have repeated this same process to create Swango Blues.  

 

When I posted about my Swango Blues web site on a Lindy discussion board, a handful of Blues dancing traditionalists in the Blues-Lindy scene expressed an extreme negative reaction to the very idea of dance fusion. They want to keep these dances separated into their historical niches, while I take a modern approach of integrating them. They see these dances as being incompatible. I, on the other hand, see the similarities. All the styles have African roots, are improvisational street dances, and were integrated with European dance movements to create a new dance form. They did evolve into separate dances to separate types of music at their height in the 40’s and 50’s, but things have changed since then. Both the music and the dances have spread across the globe to be adopted by people in a variety of cultures, who are integrating them into their cultural and aesthetic backgrounds. Anyone can see the truth of this in music by looking at the wide variety of recognized Blues, Jazz, and Tango artists in the world today. World fusion music is becoming very popular, and is creating new variations or mutations of Swing, Blues, and Tango. Just go to any Barnes and Noble and look in the International section to see lots of examples. Dance is an equally creative art form, and it makes sense that there are some dancers out there combining forms in the same way as musicians are doing it. And since this is what the originators of these dances did in the first place to create them in the early 20th century, from combining elements of both African and European traditions, how can anyone say I am disrespecting them by doing the same thing today?

 

The arguments of these traditionalists just don’t hold up to any intelligent scrutiny. It’s funny really, that they are enshrining the things that the original Swing, Blues, and Tango dancers didn’t even care about. Those historic dancers of the 1920’s-40’s were just dancing, and making it up as they went along, without a care if it fit any particular historical dance. The traditionalists today universally complement them on their original styling and innovations, while condemning contemporary dancers for doing their own thing. Some of the same traditionalists even claim that historically acknowledged American fusion dances like Tap, Charleston, Jazz, Lindy Hop, etc… were invented accidentally, and the fact that we are trying to consciously fuse these dances today dooms us to failure. First, I have never seen a shred of historical evidence that those dances were accidentally discovered, or were some natural evolution of a dance of that time. There is no historic documentation on exactly how any of these dances were formed; just a few film clips of the dances after they were gaining in popularity. But it was documented that many early 20th century dancers saw each other at Vaudeville shows, which were popular variety shows of the day. Tap, for instance sprung out of this environment, and was a combination of African and Irish dance movements. As far as I know, the inventors of early tap were not renowned African or Irish dancers, but talented obscure dancers working on these new mutations on the edge of that scene. My guess is that they were consciously creating something new, even if they didn’t know where it would end up. It wasn’t until later, when the new dance form was evolved to a tipping point, that these dancers gained popularity. I have heard Frankie Manning say that he went out to Vaudeville and circus shows to watch acrobats in order to consciously fuse those movements with Lindy Hop to create the first air steps in Swing.    

 

Personally, I think it is a good thing to examine the roots of each dance style, and learn as much as you can about its history and techniques. But I recognize there will always be a minority of traditionalists who will never like a fusion approach that changes any dance from its historical origins; and that’s OK with me. I will still support their efforts to promote the history of each dance, even if they don’t support my efforts to create something new. I will say this, however; when some closed-minded traditionalist dance instructors try to keep others from exploring their own interests, then they are clearly on a ego-power trip, and their students should run in the other direction. There are some Lindy Hop, WCS, Tango, and Blues instructors on both the local and national scene who have used their teaching status to coerce their students into giving up non-traditional dance interests, with the shallow excuse that they only want to prevent their students from being misled down the wrong path. They arrogantly claim to know what is best for their students, and have both disrespected their student’s intelligence and their fellow instructor’s integrity in the process. I saw this attitude a lot in the martial arts world as well, and it was as easy to see through their arguments as it is in the dance world. It is high time dance students stopped supporting and following such negative instructors, no matter how good of dancers they are. They are just a bad influence for any dance scene.

 

I always encourage students to explore other styles, learn from whoever they want, and try to help them create their own style of dancing if they want. I believe even a beginning level student has the intelligence and right to make up their own minds on what appeals to them, and no instructor has the right to tell them they are wrong in doing so. The only time a dance instructor should tell their students that something is wrong, is when the student is doing something that may physically harm someone. Otherwise, it is just dancing, and they should be able to creatively explore making the techniques work for them. Rules are important for competitions, but filling student’s heads up with too many rules just blinds them to creative options.  The proof is when we frequently go out and dance Swango Blues to a live Blues band, and a pack of non-dancers track us down to ask us what we are doing, and where they can learn it. They are usually very specific that they want to learn our style over other more traditional styles on the dance floor. They don’t know what it is, and really don’t care if it breaks any traditional dance rules; but it looks modern, cool, and fun to them, and that is all that matters.

 

Q: And what about other traditional critics who say you are losing the essences of the individual dances when you combine them, and that it can make the dancing too generic?

Chris: What is truly the essence of dance? To me, it is your personal interpretation of music through movement. To put it in a style is to use the movements of that style to interpret the music. I don’t think the essence is some ethereal feeling, or attitude, or cultural associations, or a historically accurate recreation of another cultures dance. I am a modern dancer in a modern integrated culture, and I like my dancing to reflect this. Do I have to dress in 1940’s vintage clothes, and speak Hep Jive, and make wild faces like in the old movie clips to be dancing Lindy Hop? I don’t think so. That’s not the essence, but a slice of history (and in some cases, it just ain’t cool anymore). If you want to do that as a vintage performance, or just because you think it is fun, fine. But the dance has evolved to be something different to different people from different backgrounds, even though it is still recognized as versions of Swing, Tango, and Blues. So what I believe defines the real essence of any dance is the essential movements. If you look at any of my Swango Blues clips, you will see these movements from all three dances. I would say the essences are still intact in my dancing, only modified slightly to suit my needs as a fusion dancer.

 

I’ve even heard the criticism that it is not really fusion dancing because we don’t merge all three dances all the time throughout a dance. Again, that would just limit our dancing with unnecessary rules. I want to have the freedom to use the entire range of styles whenever I choose while dancing. The moments of fusion come when we create seamless transitions between the dances. I have made a conscious effort to modify the fundamental technique of each dance so the posture, connection, and movement is consistent as we transition between them at any point in our movements. I believe we have successfully achieved a strong basic structure for true dance fusion that can be built upon. What people may also be seeing when they say fusion is making the dancing more generic is that I purposely stripped down some of the styling to get at the essential movements, in order to find the connections between the styles. But as this fusion evolves, more styling can be put back in place wherever we want, whenever we want. Or maybe we will choose to be more minimalist. A lot of it depends on the music and our reaction to it.

 

Q: And lastly, what about other critics who say you are doing nothing new with your style, and that people have been dancing this combination for years?

Chris: This just shows that these critics don’t have a leg to stand on. If their arguments don’t work, then they just try to discount what you are doing by saying it is nothing new. I freely admit that anyone with ample knowledge in all three dances, could have made the same choices as me in combining them, and would obviously come up with the same style of fusion dancing. However, you would think there would be some evidence of it somewhere. If so many other people were doing it for years, there would be some YouTube videos out showing it. I’ve done quite a few searches, and never found someone that dances just like me. My answer to those critics is show me a video from before 2004 when I started combining these dances that is the same as Swango Blues, and I will acknowledge that it has been done before in the exact same way I am doing it. It is possible, but I just haven’t seen it anywhere. I attended Cheap Thrills back in 2005, taking the advanced Blues track with Steven & Virginie, and didn’t see anyone who danced in this same style. People have come up with different versions, though. The West Coast dancers who developed their version of Swango do not have the Lindy and Blues background, so their dancing looks distinctly different than mine. The Lindy-Blues-Tango dancers developing their fusion style do not have the West Coast background, so their dancing looks significantly different as well. As far as I know, the way I have systematically designed and teach my style is unique, and in this sense is definitely a “new” hybrid fusion style.

 

Q: You specify that you are combining modern styles of these dances. Is there one main common element that you see as the key to fusing these modern styles?

Chris: One big difference between modern styles of Swing and more traditional Swing styles is the smoothness of the movements. Many traditional Lindy Hoppers, who come from the Savoy-Frankie Manning style, have a noticeable bounce, especially when dancing at slower tempos. You also see this in a lot of Blues dancers who come from the same Lindy Hop background. I prefer the non-bouncy style of Swing as seen in California-Hollywood style Lindy Hoppers and West Coast Swing dancers. West Coast dancers like Jordan & Tatiana have really smoothed this out. Because I prefer this smooth styling, I have purposely tried to remove most vertical bouncing from my Swing dancing. And even though I still sink in my legs when doing Blues movements, I extend and emphasize the horizontal movement to minimize the bounce. I feel this also brings the movement closer to Tango, because unless you are dancing Milonga style, Argentine Tango doesn’t bounce. As far as how modern styles of Tango differ from traditional styles of Tango, it is mainly in the flexibility of the connection. Traditional styles of Argentine Tango tend to have a constant embrace, usually close, that only has a barely noticeable gear effect on the torso. I gravitate towards modern styles like Tango Nuevo that emphasize a very flexible embrace that also achieves a rubber band or sling shot effect in closed position. To do this effectively, Tango Nuevo dancers also constantly vary the size of their steps, sink into their legs, and adjust their connection.  

 

In fact, the main thing that I believe makes these dances compatible is their elasticity, both in connection, movement, and timing. This is especially true of the modern versions of Swing and Tango that I like, where there are a lot of stretch and timing delays to create leverage and compression throughout each movement. To be more specific, one of the main qualities of West Coast Swing is to achieve a rubber band effect at the ends of the slot. We do this with the anchor step to vary the timing to create more stretch, then speed up to achieve more momentum or compression in the middle of the movement, and then slow down at the end to repeat the process like a rubber band. Smooth Lindy Hop has a similar approach to create a sling shot effect in the over-rotated whip. There is slow-stretch at the beginning, speed to achieve momentum, a moment of slow-torque in the turn, and then speed in the send out to achieve the sling shot effect. Tango Nuevo also specializes in the same type of elasticity to create a rebound type effect that is utilized to produce the modern colgada and volcada movements. Blues movements also have some of this elasticity, especially in relation to body isolations where you speed up and stop abruptly to create a popping effect (I consider Break Dancing’s Popping and Locking a direct descendent of some traditional Blues movements, so I categorize it under Blues). The elasticity of the movement in these dances comes from playing with tension and relaxation, as well as with leverage and compression in the dancer connection. This movement mirrors the elastic variations in complex contemporary music, which often have a lot of tempo changes throughout a song.

 

I believe this elasticity is the flexible glue that has the potential to profoundly bind these styles into an exciting fusion dance. Even though I have been exploring the connections between these dances for some time, I only truly realized this main ingredient recently, and currently you can only see a hint of this elasticity in our dancing. But I’ve seen a vision of what this dance can become, and now it is just a matter of realizing it in our dancing. This will be my goal to achieve over the next few years. 

 

Q: How do you see Swango Blues evolving in the future?

Chris: I really don’t know exactly how it will evolve. In the end analysis this is just my personal style of dancing, so it will evolve as I evolve as a dancer. Right now I have established all the basic connections between the three dances, and smoothed out the transitions. I consider this Swango Blues version-1, which I believe is a true fusion style. I can see the next step in the evolution is to explore the elasticity in movement and timing to refine the basic technique. This should take me to Swango Blues v-2, which should be significantly different than version 1. After that, I have no idea where it will go. Also, if more people start dancing it, I expect it may evolve it into something totally different. In addition, I intend on continuing to study all the individual dances to keep refining my technique, and then integrate those movements into the mix. But I have no desire to ever go back to dancing any one particular style exclusively.

 

There are other interesting dance styles that I may eventually start adding more elements from, such as Soul, Hip Hop, Carolina Shag, Salsa, and DC Hand dancing. There is a whole world of dancing out there to explore, and a whole world of good music out there to also explore. In addition to the Jazz, Blues, Soul, and Funk music we currently like to dance to, we are heavily getting into partner dancing to contemporary Goth/Alternative music by The Cure, Depeche Mode, Radiohead, Nine Inch Nails, Muse, Vast, The Feint, Soul Coughing, etc… We call it Dark Swango, and Swango Blues technique works really well with it.

 

Q: What is Underground Swing?

Chris: This is a new musical format I am using for my Swango Blues dances that transitions over the night from more traditional Swing and Jazz to classic and modern Blues, Soul, and Funk, to contemporary Indie, Goth, and Neo-Tango. The one-hour sections are called Kick’it Old School, Funky Blue Soul, and Dark Swango. This format was designed to have a lot of variety while still having some structure and musical flow. More traditional dancers may prefer songs earlier in the evening, while more experimental Swango dancers may prefer songs later in the evening. At any rate, it gives most levels and styles of dancers some music they are used to, as well as something new that they may not have tried dancing to. It is meant to be experimental and fun, and so far, people seem to like it!    

 

Q: Do you consider yourself an expert?

Chris: Absolutely not. I am a student, dancer, and teacher. I have learned a few things over the years, and I like to share that knowledge with other open minded individuals. That is all.

 

Q: If you’re not an expert, why are you producing a Swango Blues Fundamentals DVD?

Chris: Mainly because I think it is the best way I can give back to the developing fusion dance scene, and share my joy of this type of dancing. I will be selling the 2 hr DVD cheap (probably $20 to download, or $25 plus shipping in the mail). That’s less than most classes or workshops, so I’m not doing it to make a lot of money. The important thing for me is to get what I call Swango Blues version-1 out to as many people as are interested in it. And even though I’m not done evolving it, I think the fundamental connections are pretty solid at this point. I believe it is time to put it out there, and see what other creative and talented dancers do with it.

 

Q: Does Swango Blues have a Basic Step?

Chris: Yes, Swango Blues has a 8-count Basic Step that integrates movements from all three dance styles. Swango Blues also has 5 basic patterns that do the same, which can be combined with the Basic Step to make many variations. Once anyone learns how these basic patterns are being designed, the concept should be clear how you can combine any movements from these three dance styles. This is all taught on the Swango Blues Fundamentals DVD.

 

To learn more about Swango Blues click here…