Dr. Richard Rowray, a former professor/administrator in higher education and now a Learning Facilitator for Kirkwood Community College (Iowa City, IA), teaches several Ballroom/Social Dance classes as a hobby and civic contribution. In his five years with Kirkwood, there have been over 3,000 registrations for his classes with many of those representing individuals who have taken more than one class. He teaches for Kirkwood three nights per week, with Carol Mitchell (wife/partner) assisting him with most of the classes. A fourth night they dedicate to providing instruction in other locations.

Dr. Rowray is an Affiliated Member of the NBEA, representing "Dance Ambassadors of Unforgettable Music". After completing a four-course sequence in ballroom/social dancing, Dr. Rowray's class participants receive the designation 'Dance Ambassador of Unforgettable Music'. A Dance Ambassador represents and supports live big band music and doesn't demand a performance level. They often see themselves as volunteers to advance the interests of partner dancing, big bands, and ballrooms. Their overall goal is to be able to dance to any music on any dance floor with enjoyment and respect. They have the underlying desire to have others see the importance of partner social dancing ass they do-an activity that is life-long, and contributes to one's physical, mental, and emotional well-being.

Dr. Rowray was the featured speaker at the recent NBEA Big Band Weekend/convention in Davenport, IA. For those of you that were unable to attend we want to present some of the observations that Richard presented to our membership. (These observations were predominately directed at ballroom/social dancing and getting new dancers into the ballrooms, however you can easily relate these observations to country and other dance programs.)

Observation I: We have made ballroom/social dancing too complicated for the general public. The more complex the dances are, results in more time to learn, more money, more skills to acquire, and therefore fewer people willing to commit to learning and participating. We must simplify-eliminate the "overkill" approach to teaching ballroom/social dancing.

Observation II: Because of the complexity of ballroom/social dancing, we have a delivery system (i.e. dance classes) that requires the expenditure of large dollars to those who participate. The current delivery system will never deliver the number of people necessary to adequately support big bands and ballrooms. The type of delivery system offered will be dependent upon what is expected of dancers by the big bands and ballrooms. While we try to emulate the music of the big band era, how different are the expectations of the dancers?

A question for Big Band Leaders: 'What dances (skills) must be known by those who come to dance to your must?'

A question for Ballroom Managers: 'What will your advice be to the bands you hire in regard to the needs and wants of your supporters/dancers?'

Observation III: We, as instructors, inform those in our classes that the greatest courtesy they can extend to others is not to request music that they know the majority cannot dance to-nor should they dance in such a manner as to intimidate others-both actions force people off the dance floor. If folks are not on the floor dancing for fun and enjoyment, they will not return-it is that simple.

Observation IV: One way to inform dancers that they can handle a variety of 4/4 music is that they can easily substitute their standard fox trot, one or two step-their basic dance to the rumba, tango, and other 4/4 music. Why do we need 10+ different dances to dance to 4/4 music? Again, we need to find this and other means to simplify in order to reach larger numbers of dancers. If a couple is enjoying themselves doing a foxtrot to a tango, who should care or comment? At least they are on the dance floor.

Observation V: There is great confusion as to what is ballroom/social dancing. Is it what is presented on TV? In dance magazines? In sports dance? Who is providing an accurate picture of the type of ballroom/social dancing that can, and should, occur in order to keep big bands and ballrooms alive? Who is addressing the wants and needs of those who have the possibility of joining us on the dance floor for fun and pleasure and not for performance?

The preceding article is excerpted form the November 2002 edition of the N.B.E.A. Newsletter, Published by National Ballroom & Entertainment Association - 2799 Locust Road - Decorah, Iowa 52101-7600 - 563-382-3871 - www.nbea.com email: nbea@oneota.net

Article is used with the kind permission of Editor John Matter.