Treat Your Feet Like the Pro Athletes They Are!

I hope you’re taking good care of your feet because they work hard for you on the dance floor! 💃🕺

Here’s a little behind-the-scenes secret: I ice my feet for 15 minutes every night after line dancing, whether I taught one class or danced for hours at the Cotton Eyed Joe.

You’ve seen pro athletes in ice baths… well, if you dance with me, you’re a pro athlete too. Line dancers often skip stretching and recovery, but if we want to keep up with those 80 year old line dancers, we need to take care of our feet!

Why should dancers ice?
✔ Reduces soreness and inflammation
✔ Speeds recovery
✔ Helps prevent foot cramps (if I skip it, I regret it in the middle of the night!)

BONUS:  Icing can also reduce stress, boost mood (hello, endorphins!) and build mental toughness.

Try: The Happy Feet Cool-Down 

• Fill a foot bath (or bucket) with cold water. 
• Add ice gradually to keep the water cold (Have 2 cups of ice at the ready).
• Sit comfortably, set a timer for 15 minutes, and relax. (Read a book, or phone a friend)
• Dry feet well — don’t walk right away! You can’t!
• When feet thaw enough to walk, take a hot shower. 
• Apply a moisturizer and slip on some warm socks

Icing is not comfortable, but it works — and it keeps us dancing longer and stronger. Take care of your feet so they can take care of you! 👣💙

 The Rock Step (also known as Rock Recover on step sheets) is just two weight changes in opposite directions over two counts—but don’t let its simplicity fool you. This little move does a lot of heavy lifting in line dance.

⬆️ Forward Rock — Step Counts 👣
Count 1: Step Right foot forward in 5th position, weight on the ball of the foot (Yes, the back foot can lift a little. It’s not cheating.)
Count 2: Replace weight to the Left foot
Delay the weight change, straighten the knee, and voilà--Cuban motion.

Fun fact:
👉 No matter which way you rock—forward, back, side, or cross—your weight stays on the front of the foot.

•  Heels are innocent bystanders. Leave them out of it.
•  Think Latin dance energy as opposed to stomping. 

⬇️ Back Rock Reality Check 

• Don’t lean back on a back rock. This is dancing, not a trust fall.
  
  

➡️ Side Rock Styling 

• Side rocks stay close to the body—no dramatic lunges.
• Always roll around the ball of the foot, easier on the joints and looks hot! 

Forward Rock + Back Rock = ??
You guessed it, that cozy little 4-count combination is called a Rocking Chair. It’s smooth, musical, and feels fun. Despite the name, there is no actual sitting involved. We rock, we recover, and then we do it again in the opposite direction.

Rocking Chair — Step Counts 👣
This step uses the same good habits as a proper Rock Step: 5th position, weight on the ball of the foot, and controlled Cuban motion.

• Count 1: Step Right foot forward
• Count 2: Replace weight to the Left foot
• Count 3: Step Right foot back 
• Count 4: Replace weight to the Left foot

💡 Good news: The left foot is not glued to the floor. It may lift slightly as the weight changes. Teachers will often tell students to keep their left on the floor so they can figure out the Rocking Chair, but that’s a tool, not a rule!
 
🎵Rocking Chairs Aren’t Always Relaxing 🎵
Especially not when they are danced syncopated: 

• 1 & 2 & - Same steps. Same technique. Just a little extra sass in the timing. Those & counts tell us this rocking chair is moving quickly

 
Rocking Chair Check List 😄 

• Stay upright—this is a rocker, not a recliner
• Keep the steps under your body 
• Weight stays on the ball of the foot, not the heel 
• Use smooth Latin motion

Danced properly, your Rocking Chair will look relaxed, musical, and effortless—just like you. 

Nothing sounds quite as satisfying as a room full of line dancers hitting the floor together at the same time. 🌩️ That thunder?  Glorious.
But is that rolling thunder being created by a  Stomp or a Stamp?
Both stomps and stamps use one foot on one beat of music, but what happens to your weight makes all the difference!
Stomp
A stomp is a strong step with weight. You step down firmly onto a flat foot and commit your weight to it. The floor knows you’re serious.
Stamp
A stamp is a stomp without a weight change—also known as a stomp up. The foot hits the floor, makes noise, and immediately comes back up. Loud? Yes. Weighted? No.

🚨Now, a friendly public service announcement:
While stomps and stamps do use force, please don’t be a **Stompin’ Steve**. Stompin’ Steve attacks a perfectly good wooden dance floor like it owes him money—and his shins eventually file a formal complaint. Excessive stomping can lead to sore joints, shin splints, and unhappy venue owners.

⚠️ Important note for dancer safety: Dancers over 60, especially those dancing in boots, should avoid stomps and stamps altogether. This may sound dramatic, but dancers with osteoporosis have been known to fracture bones in the foot or shin from repeated impact. If you *must* channel your inner Stompin’ Steve, sneakers offer more cushioning—for both you **and** the floor.

🎯 Bottom line:
Know whether the choreography calls for a stomp or a stamp, use just enough energy to make the sound, and remember—precision beats power every time.
Your joints (and the dance floor) will thank you.

How do you let your students know if a stomp takes weight or not? Leave a comment!

God Bless the V-Step. It’s nice, easy, calm - like a place of rest. Wait, was I supposed to do syncopated splits there?! Those are like playing the floor is lava! How could anyone possibly confuse the two? Maybe because they are both  called using the same terminology. 👀 below.

V-Step

1 - R steps diagonally forward to the R
2 - L steps diagonally forward to the L
3 - R steps home where it began
4 - L steps home

This combo is often called “out-out-in-in”…
🔥 and that’s not a problem… UNTIL…

Syncopated Splits a.k.a. Syncopated Jacks

& - R foot steps side R
1 - L foot steps side L
& - R foot returns home
2 - L foot returns home

🧐 So how do you know which “out-out-in-in” they mean if you can’t see the instructor's feet?

✨ If the move fits 4 beats, you’re doing a V-step.
⚡️ If it fits 2 beats, you’re doing syncopated splits.

SIMPLE! ✔️ 

📣 And this, my friends, is why counts matter.

Without clear counts, you’re left discerning between:
“out_out_in_in” 🤔
or
“OUTOUTININ” 😳​

Your feet deserve clarity.
Your brain deserves peace.
Your dancing deserves counts + cues! 💃🕺

​During this holiday season, I couldn’t help but think of my line dance family. This season of gratitude always reminds me just how blessed I am to dance through life with such an amazing community. You bring joy into my world—whether it’s during the good times or those tougher days when we all need a little extra encouragement.
My heart genuinely lights up every time I spot one of your familiar faces on the dance floor. I love the eye rolls when that dance comes back around, the run to the floor when your favorite song starts, and the high-fives when you finally nail that tricky step at the Cotton Eyed Joe. These moments—our moments—are what make this community so special. Thank you for letting me share them with you.
I also want to give a warm, grateful shout-out to those who have purchased lessons, made donations on my YouTube channel, or even patiently sat through those YouTube ads. You may not realize it, but your support is what keeps all of this going.
Your contributions fund my newsletter, website hosting, domain fees, ASCAP/BMI/SESAC music licenses, Apple song purchases, K&K insurance, studio rental at the Senior Center and PSTCC, Canva for video editing, Virtual DJ (so we can slow those fast songs down!), upgraded microphones, iCloud storage, my desk chair, cables and equipment, and my ability to attend workshops so I can continue to improve as a dancer and instructor.
Every dollar you invest in me becomes something larger—a class, a resource, a tutorial, a video, a sense of community for dancers near and far. Your support stretches far beyond our local dance floor. It reaches dancers in rural areas, seniors who don’t have a nearby center, beginners who are learning from home, and seasoned dancers who just want to keep growing. You’re helping me teach, create, and spread joy in ways you may never fully see—but I do, and I’m deeply grateful.
Thank you for believing in the work I do. Thank you for allowing me to show up, create, and help you chase your line dance dreams. It’s an honor to be part of your journey.
From my family to yours, 
Merry Christmas and a season full of joy, warmth, and wonderful dancing.

​Let’s be honest: if you’ve ever line danced, you’ve grapevined right and left, weaved, rolled, and turned those vines. These combos are the bread and butter of line dancing! Because these moves are “beginner,” we can take them for granted and get sloppy with them.
So today, we’re going to get into the weeds🌿 — or should I say vines — and untangle these classic steps for smoother💃, safer, and ✨better-looking dancing! 
​
🍇 The Grapevine (a.k.a. “Vine”)
The grapevine is a three-count combination that travels sideways with three weight changes. Most instructors just call it a vine — because who has time for all those syllables while calling a dance?
Grapevine:
1️⃣ Step R foot to the right side.
2️⃣ Step the ball of your L foot behind the right.
3️⃣ Step R foot to the right side again.
 
👉 Pro tip: Keep that “behind” step on the ball of your foot — not flat!
 If you put your heel down, you’ll slow your momentum and risk stepping into the dancer behind you. The toes of the L should be near the heel of the R, keeping your steps small, and under your body.
 
Count 4 is usually a touch, but depending on the dance, it could also be a stomp, kick, scuff, brush, cross, or whatever the choreography calls for.

👉 Pro tip: Absolute beginners and older dancers can find vines and weaves tricky, there’s no shame in simplifying to “side-together-side.” Safety first, always! 💃❤️
 
🔄 Turning Vines
Ready to change direction? Let’s turn those vines!

¼ Turning Vine:
1️⃣ Step R to the side.
2️⃣ Step L ball of foot behind R.
3️⃣ Turn ¼ right on L ball and step R forward.
 
½ Turning Vine:
1️⃣ Step R to the side.
2️⃣ Step L ball of foot behind R.
3️⃣ Turn ¼ right, step R forward on the ball.
4️⃣ Turn another ¼ right, step L to the side.
 
👉 Remember: your heel is your brake! Stay on the balls of your feet to keep it smooth, stylish, and just enough turn to keep things interesting!
 
💫 Three-Step Turn (The Rolling Vine)
For dancers who love to twirl, you can often swap a grapevine for a Three-Step Turn. The 3-step turn is a progressive turn — not stationary — that travels down the line of dance (like a Chainé).

Three Step Turn:
1️⃣ Step R ¼ right on the ball of foot in the direction of the turn.
2️⃣ Draw the L foot under your body as you Step L ball of foot ¼ right.
3️⃣ Draw the R foot under your body as you turn ½ right stepping R to the side, completing the turn.
 
🕺 Tip: Match your turn speed to the music.
 Fast song? Fast turn. Slow song? Slow turn.
 If you finish your turn early and just stand there waiting for the beat… you’ve gone too fast!
 
🧵 The Weave (Vine’s red-headed step-Cousin)
Here’s where it gets interesting — and a little controversial!
According to the NTA Dance Terminology Booklet (p. 66), a weave is “a continuous grapevine pattern crossing behind and in front, taking at least 8 counts or beats of music.”
But… many instructors (myself included!) define it differently.
 
💡 My take:

• If the combination starts with a step to the side, it’s a grapevine.
• If it starts by crossing in front, it’s a weave.
• If it starts behind, we’ll often call it behind-side-cross. 

For example: 

• “Side-behind-side-cross” I would call “Vine-Cross” 
• “Cross-Side-Behind-Side” I would call “Weave -2-3-4”
• “Behind-Side-Cross” I would call “Behind-Side-Cross”  

So, if a new instructor calls a weave, be ready to cross both in front and behind, usually for at least four counts, maybe starting to the side or across. You will have to discern what this instructor means by “weave”.
 
💬 Your Turn!
 
How do you call these moves?
Have you heard other terms used for vines or weaves?
Which terminology makes the most sense to you?
 
Drop me a message — I’d love to know how your dance community talks about these classic line dance steps!

Ahoy, dancers!
🚢 The Sailor Step is one of those moves that brings swagger and personality to your dancing. Picture a happy, slightly drunk sailor weaving down the dock — that’s the feel we’re after! It’s got a smooth ball-ball-flat foot pattern and a gentle rotation.
The rhythm is 1 & 2, often called behind-side-side.
⚓ Common Pitfalls
Some dancers turn this move into a back rock or a sharp jab behind — yikes! If it looks like you’re stabbing the floor or rocking back, you’ve lost that smooth sailor groove. The trick? Stay light on the balls of your feet through counts 1 &, then flat foot it on 2.
✨ Pro Tip: Practice in front of a mirror and watch your hips and shoulders naturally twist open as your foot goes behind. Then let them square back up on the & step. 
Think smooth sailing, not stormy seas!

💃 Proper Sailor Step
Count 1: Step the ball of the L foot behind the R foot, allowing the upper body to turn slightly with it.
Count &: Step the ball of the R foot to the right side, squaring the body forward.
Count 2: Step the L foot flat to the side - near it’s place before count 1 (take full weight) facing forward.
I usually call this: behind-side-side, but it might be more helpful to call it a "behind- ball-change",
Smooth, anchored, and balanced — like a sailor who’s been here before!

🌊 1/4 Turning Sailor Step
Count 1: Step the L foot behind and turning 1/4 left, toes facing the new wall. Let your torso rotate with it.
Count &: Step the R ball to the right side, facing the new wall. Shoulders square up to new wall.
Count 2: Step the L foot flat to the left side, weighted, facing the new wall.
🌀 It’s a sailor with a new direction — smooth turn, same swagger!

🌪️ 1/2 Turning Sailor Step
Count 1: Step the L foot behind 1/4 left, rotating your torso with the foot.
Count &: Step the R ball to the side, turning another 1/4 left to face the new wall. 
Count 2: Step the L foot flat to the left side, weighted and shoulders square with the new wall.
⚓ Half a turn, double the style — make it seamless, not seasick!

🎶 Final Thought
Let your dance tell the story of that carefree sailor swaying home after a good night out! Embrace the gentle rocking motion of the sailor step. Watch this become your new favorite move!

Whether you're a brand new or seasoned dancer, a smooth night on the dance floor comes down to respect, rhythm and common courtesy. Here's how to keep the dance floor flowing and welcoming for everyone:
​
🧼 Wipe Your Feet - Protect the floor (and your spins) with clean shoes. Consider changing into dedicated dance shoes after you arrive at your venue.

✨ 1. Step Off If You’re Not Stepping In
Not dancing? That’s okay! But please take your chats, filming, and practice off the main floor so dancers have room to shine.

✨ 2. Keep Food & Drinks Off the Floor
Spills = slips. If you do spill, wipe it up right away so nobody’s two-step turns into a tumble.

✨ 3. Bumps Happen—Be Kind
If you bump someone, just smile and apologize. A quick “oops, sorry!” keeps the good vibes flowing.
✨ 4. Welcome New Faces
Visitors and newcomers may not know all the moves—be encouraging and help them feel at home to keep our community growing.

✨ 5. Respect the Flow
Think of the outside lane like a dance highway—those two stepping around it have the right of way. Don’t block their route!

✨ 6. Adjust for Crowds
More people = smaller steps. Help prevent pileups and keep the dance looking clean.
✨ 7. Pocket That Phone
No texting, scrolling, or filming from the middle of the floor. Dance first, updates later.

✨ 8. Enter & Exit Gracefully
Use the nearest exit, then circle around the outside to get back to your seat. And please—no cutting across the dance floor mid-dance.

✨ 9. Join Smoothly
If you’re hopping into a dance already in progress, take the nearest open spot instead of weaving through dancers.

✨ 10. No Road Rage
If someone breaks the “rules,” shrug it off. We’re here for fun, not floor feuds.

👏 Show Some Love​ - Clap to thank the DJ or instructor and let them know you enjoyed the dance.

A Lock Step is a triple step counted 1&2, where the foot in motion locks in front of, or behind, the weight bearing foot. All the action happens below the waist — your upper body remains upright and isolated.
​
The magic happens when your feet lock, like your legs are giving each other a quick little hug. This lock creates a tight cross in 1st position (feet together) — perfect for that crisp, clean line dancers love. Sometimes feet lock in 2nd position (feet parallel apart).

✨ Two Types of Locks:

• Cross Lock – foot crosses in front
• Hook Lock – foot crosses behind

▶️ How to Do a Forward Lock Step (1&2):
1-  Step R foot forward
&- Cross L foot behind R foot (tight lock!) 
2-  Step R foot forward again

◀️ How to Do a Back Lock Step (1&2):
1-  Step R foot back
&- Cross L foot in front of R foot (tight lock again!)
2-  Step R foot back again

🚫 What a Lock Step is Not:

• Crossing Shuffles and Crossing Triple steps aka: Cross-Side-Cross combos are not lock steps — those should be crossing in 5th position, not locking in 1st or 2nd position. (5th position-toes of back foot near heel of front foot in slight diagonal)
• The Wizard Step differs from a lock step because it locks on count 2, not the “&” like a true lock step.

Toe Struts: Can move forward or backward, counted 1-2
1️⃣ Touch that **toe** to the floor like you’re testing the water...
2️⃣ Then drop your foot flat and transfer your weight


👉 Heel Struts: Moving forward: counted 1-2
1️⃣ Plant your **heel** first like you mean it...
2️⃣ Then let the rest of your foot follow and shift that weight!

🚫 Not a Tap Dance, Y’all!
If you're tapping that toe or heel and *then* stepping in place, that's a **tap-step**, not a **strut**. Cute? Maybe. Correct? Nope!

1️⃣ Touch that **toe** to the floor like you’re testing the water...
2️⃣ Then drop your foot flat and transfer your weight

👉 Heel Struts: Moving forward: counted 1-2
1️⃣ Plant your **heel** first like you mean it...
2️⃣ Then let the rest of your foot follow and shift that weight!

🚫 Not a Tap Dance, Y’all!
If you're tapping that toe or heel and *then* stepping in place, that's a **tap-step**, not a **strut**. Cute? Maybe. Correct? Nope!

You may have heard this move called the Dorothy Step, inspired by Dorothy skipping down the Yellow Brick Road to meet the Wizard of Oz. But in NTA, we call it the **💫 Wizard Step**.
🟢 It’s a diagonal forward locking triple step, counted “1-2&”.
1 - Step diagonally forward on the right foot, slightly pitched forward (think chest leading).  
2 -  Slide the left foot to lock behind the right.  
& - Step diagonally forward again with the right foot.
🚫 Two Common Mistakes
1. Doing a triple step (1&2) instead of a wizard (1-2&).  
2. Stepping to the side on count 1 instead of moving diagonally forward.
Am I doing it right?
Dance the triple step and the wizard step in front of a mirror. The Wizard Step should look and feel distinct.
✅ Wizard = count 1- step diagonal/pitched forward | count 2- slide into lock
❌ Triple = count 1- step forward/upright body posture | count & - step to close

🔧 Fix It With These Tips

• Be intentional: hold count 1 before shifting to the 2 count.  Use that time to slide.
• Say it out loud as you dance, “1 – 2 – &”,  “2 - &” are fast—move those feet like it’s hot!  

Why This Really Matters
My biggest concern? Mimic dancers stepping to the side on count 1 while trained dancers step diagonally forward. It’s a recipe for a floor collision.

Unfortunately, quality line dance technique isn’t always easy to find online. So, dancers copy what they see—and often, it’s incorrect. But together, we can do better. Let’s keep learning, practicing, and dancing with confidence and care. Stay sharp,  💃🕺

3️⃣ The Triple Step is a three step Polka Pattern. You will often hear instructors call it a Shuffle Step, Chassé or Cha Cha Step because in line dancing it’s all the same thing: “Step-together-step, counted 1&2”. Those steps can be taken, forward, sideward, backward, diagonal, or in place using 3 weight changes for 2 beats of music. The proper way to perform a triple forward is to: 1- step your R forward , &- the L comes behind into 3rd position, 2- the R steps forward. (1-Forward, &-beside, 2-forward = flat dancing in 4th position).
👯 In dance at large, a shuffle step is a basic tap dance movement that involves brushing the toe forward and back and then taking weight on that foot. This is a stationary combination counted 1&2.
As Country Western line dancing was taking off dancers were creating their own terminology like: buttermilks, limp step, swiggle, fancy feet…..and thus Shuffle step became the most commonly used term for a triple step. There even emerged Shuffle Dances that utilized triple steps. Not to be confused with modern shuffle dancing. Dance, like language, seems to be constantly evolving and changing meaning.
When calling dances, I prefer the term triple step because it is less ambiguous, Aaaand NTA makes me say it. 😂

The Rock Step consists of two weight changes in opposite directions to 2 beats of music. This dance move is typically called, “Rock Recover” and is useful for changing directions. Did you know that no matter which direction you rock (cross, side, back, front) your weight remains on the forward part of the foot-never the flat foot or heel.
Rock Steps forward and backward are the same as Break Step in Latin dances. The feet should remain beneath the body in 3rd or 5th position using a cuban motion. The magic of cuban motion is waiting until the last moment to shift your weight and straightening the knee as the weight is shifted.
 If you lower your heel performing a back rock, you should still keep your weight on the forward part of your foot. For your safety, do not lean back when dancing a back rock, keep an upright body posture with weight distributed between your feet. You may need to watch yourself do a back rock in the mirror to see if you are in the habit of leaning back. If you are leaning back, take the time to correct it to prevent future injury.
Side rocks are performed in 2nd position and the feet are kept close to the body so as not to throw the dancer off balance. The weight remains on the front part of the foot even when stepping to the side. Dancers will talk about rolling around the ball of the foot on a side rock. Try it out!

​A Paddle Turn is usually a 360 degree turn utilizing 7 weight changes on the ball of the foot while leaning in the direction of the turn. 
1 - Left foot steps 1/4L
& - Right foot side R
2 - L 1/4L
& - R side R 
3 - L 1/4L
& - R side R 
4 - L 1/4L
The Push Turn is a variation of the Paddle Turn with one definite weight change and six partial weight changes. Following the above pattern you step your left foot 1/4L on count 1 and the ball of that foot remains on the dance floor and the heel is elevated to allow the turn as you push yourself around on the & counts.
Do you differentiate between a Push Turn and a Paddle Turn in your danicng? I like a Push Turn, but if the floor is sticky; or, I'm dancing on a rough surface, I  substitute a Paddle Turn to protect my joints.
*NTA Dance Terminology Booklet and Study Guide 2019

If you’ve ever been line dancing, you’ve probably heard of the “jazz box.” But have you ever stopped to wonder why it's called that when, well, it doesn’t actually make a box? Let’s take a deeper look at this dance move, and how it relates to the often-forgotten term “jazz triangle.” Spoiler alert: It might change the way you think about this classic step!​
How do you perform the jazz box*?
The jazz box is created by stepping: 1 - forward, 2 - across, 3 - back, 4 - side. To hit the four corners we step: R foot to top L, L foot to top R, R foot to bottom R, L foot to bottom L. Notice your feet begin and end apart.
How do you perform the jazz triangle*?
The jazz triangle is created by stepping: 1 - across, 2 - back, 3 - side, 4 - together (close). To touch all three corners you step: R across L, L back L, R side R, L next to R. Notice your feet begin and end together.

Honestly, I don't use the term jazz triangle as I should. It is the most common dance move in line dancing but I am hard pressed to find the term jazz triangle on modern step sheets. I should say, "jazz triangle" because it's 4 syllables to match the 4 counts, but honestly, when I'm calling, I just say "jazz" because I want 3 counts to catch my breath!
What terminology do you use and how do you call the most common move in line dancing?

*Reference: NTA Dance Terminology Booklet and Study Guide 2019

What keeps you from improving? Is it lack of formal education or training? Lack of resources or opportunities in your area? Is it just not knowing what to do next? Consider asking someone to mentor you. Be specific in your request with what you hope to accomplish and a time frame. You may be surprised how many possible mentors would say yes. 

I recently became aware of my need for a mentor. September 20, 2019 I participated in the Vegas Dance Explosion Choreography Competition. I've been line dancing weekly for about 3 years now and really enjoying myself. I had a song stuck in my head and just needed to choreograph something to it. I went to enter the dance into the VDE competition, but the division for that dance was full!  Ugh. I wanted to see how the dance would do. It's one thing for friends to like your dance, but would strangers? I had a little over a week to create a new dance and I was stuck because I had poured out my heart and soul into this dance.

In college, I had a professor, who would say creating art is 1% inspiration and 99% perspiration. I would get so mad at him because he didn't seem to understand I couldn't do the 99% without the 1%! You can create good conditions for the 1%, but you can't force it. Also, 99% work that has 0% inspiration is just....uninspired! Fortunately, my husband had the 1% inspiration and came up with a great contra line dance idea. He also had a beginning and an end, I just had to come up with a middle and just like that we had a dance to submit for the competition.

You should know that I'm not really competitive. I don't like competition. It doesn't thrill me, it rather terrifies me because I put way too much pressure on myself. I try to relax and tell myself it doesn't matter but my body seems to have a mind of its own. So why compete? At some point, I need feedback on how I'm doing and where I can improve, so I have to put myself out there.

I survived the competition on 4 hours of sleep and a headache. I was a little disappointed in how everything went, but mostly, relieved that it was over and I somehow made it through. I came in third place with our dance. I think third was the best I could do on my own. I don't have a local person who is better trained in line dance than I am. The locals couldn't tell me how to set the level of the dance or properly write up the choreography. I had to teach myself. After receiving my competition results from the judges I shared my frustrations with the choreography competition coordinator. I told her that based on the judges scores I know I've done things wrong, but I don't know what I did wrong or how to improve. I don't have anyone to help me fix my mistakes. She was so kind to listen to my dilemma and then she offered to mentor me. She explained that's how she won the competition once upon a time, she had a mentor who helped her. I'm so glad she offered because I wouldn't even have thought to ask? The mentoring will have to be done via Skype because she lives in the Bay area and I'm in L.A., but I'm so glad to have a way forward in improving my skills as a well rounded line dance instructor.

Is there something you want to improve in your life? Some skill you'd like to take to the next level? My 1% inspiration for you is this: "Seek out a mentor." Now the 99% work is up to you. Good Luck!

Here is the third place dance  to "A Nightmare on My Street" by DJ Jazzy Jeff and the Fresh Prince. Enjoy it at your Halloween party this year. Find the video teach here: A Nightmare on my Street 

Saturday, July 20th at Christian Assembly Church in Los Angeles I taught for their Country Western Night.  The dances were:

Boots Do Boogie, Choreographed by Erin Hoxie to Boot Scootin' Boogie by Brooks & Dunn and Friday Night by Eric Paslay
Claire's Dance, Choreographed by Dianne Evans to Achy Breaky Heart by Billy Ray Cyrus and I Want Crazy by Hunter Hayes
A Little Sweet, Choreographed by Dan Albro to Roller Coaster by Luke Bryan
Electric Slide to Man I Feel Like a Woman by Shania Twain and Suds in the Bucket by Sara Evans

Friday July 12th at the Elk's Lodge in Pasadena, CA I taught the dances:
A Little Sweet, Choreographed by Dan Albro to the song Sugar by Maroon 5
Power Jam (San Diego Version), Choreographer unknown to the song Don't Stop 'Til You Get Enough by Michael Jackson
Pitbull, Choreographed by Micaela Svensson Erlandsson to Echa Pa'lla by Pitbull
We also danced that night:
The Electric Slide to Elvira and New York, New York to the song of the same name.

A good pair of dance shoes will prevent injury and reduce joint pain but you don't have to spend a lot of money for a shoe that will dance well.  Read on to learn from my experiences with synthetic soles, sandals, leather boots, dance sliders, split soled shoes, and more. 

The quick answer to what makes a good dance shoe is good support and a leather sole. Leather is long wearing and allows for beautiful turning without wrenching your knees. If you have a pair of leather soled shoes in your closet shine them up and start there. Start with what you already have so you can figure out what you like and dislike about dancing in that kind of shoe.  

I've seen dancers in everything from flip flops to work boots and instructors wearing everything from Tom's to high heel dance sport shoes. All I can say is, "Just because you can, doesn't mean you should." I have gone through many shoes in an attempt to live blister free and avoid joint pain while dancing for hours on end. 

Pro Tip: To avoid blisters, I now baby powder my feet before I put on moisture wicking, seamless toe socks that I slip into shoes that are well ventilated. Works Wonders!

When I first became serious about line dancing  I wore my super cute cowboy boots that had a synthetic sole and moved well on the dance floor. I loved these boots . . . until I started dancing in them. I had to buy a gel insert for the ball of my foot because there just wasn't enough padding there. The good news, I didn't blister. The bad news is it just doesn't feel great dancing in these shoes for more than one hour.  I still wear them when I want to look cute and will only be dancing for 90 minutes. Verdict: Okay Update: The synthetic sole moves well for me on the dance floor, I have attempted to insert cushion for ball of foot and heel, really I can dance no more than 90 minutes in these. I wear these when I’m hired to teach at a Country/Western event. (6/11/2024) Update again LoL: These boots are in the shop. I teach so much I've busted the heel and created a hole in the ball of the foot. My clients love these boots so I took them to the cobbler who will glue on a new leather sole and replace the heel - all for $45 dollars!!! Totally worth it. I still only wear these boots when I'm getting paid, but I get paid a lot these days.(7/31/2025)

One week during the summer, when it was very hot,  I tried dancing in my orthopedic, leather sandals. While my feet didn't sweat, or blister, I totally stretched out my sandals because of all the side to side and forward and back motion. Verdict: Don't ruin a good pair of shoes with the wrong activity. Update: I have since learned that dancers with bunions or bone spurs like to dance in sandals. They often slip dance socks right over their favorite shoe. (6/11/2024)

I decided to invest in a nice pair of Justin leather boots from Boot Barn before going to Montana's Country Night Club. While these boots look fantastic and move well on the dance floor they also rub one of my ankle bones to the point of bruising. The seam on these boots buckles in toward my ankle and it is painful. My body literally will not let me put these on again because it remembers the pain. Verdict: You cannot enjoy dancing in shoes that pain you. Shoes may feel fine dancing in the store but will rub you raw after a half hour of dancing. You can't know until you try.  Follow up: Because these are leather, I stuffed them with newspaper to try to pop out the part that rubs my ankle. It worked for a little while. (1/13/2020) Update: I have given these boots to a friend because the last time I wore them I got a blister on my ankle bone. I have literally tried on every boot in my size at Boot Barn and French's Boots and cannot find a boot that doesn't rub. I need soft sided boots to come back in fashion because I can't get the stiff leather to work for me.(10/15/2022) Still on the quest for the perfect leather boot. (6/11/2024) My friend gave the boots back to me, I'll probably wear them August 7th for a music video. (7/31/25)

I wanted a pair of split soled shoes like I saw so many people wearing at line dance class so I went online and bought two pair for a great price. These shoes did not dance well at all. They stuck to the floor when I turned and had absolutely zero arch support because of the split sole. However, they received many compliments and envious glances for their cuteness. I know a lot of dancers who love their split soled Capezios but I just don't see the attraction.  Verdict: You do not need split soled shoes for line dancing. Shoes that stick are no good even if they are cute. You can't dance on compliments.   Follow up: I bought a sheet of adhesive suede that I cut and put on the bottom of these shoes. They are now useable. The split arch doesn't provide enough support for me so I also include an orthotic. Update:  I have given away these shoes because they simply didn't offer enough support for hours of dancing. 

I recommend buying a sheet of adhesive suede to cut to fit the sole of your favorite shoes. I have friends who have put the suede on the bottom of their favorite trainers and dance in those each week as their go to dance shoe.  (6/11/24)

I have considered, but not yet tried, bowling shoes. My parents danced for years in their bowling shoes because they have a leather sole, are comfortable, and provide great support. One of my dance students wears bowling shoes to class and loves them. (6/11/24) Verdict: Good enough for Mom and Dad, I'm willing to try it, I just haven’t found a pair cute enough to tempt me.

May 13th I taught 3 beginner line dances as a guest instructor at Rita Turner's Wow! Dance on the Move class at Jackie Robinson Community Center, 1020 N Fair Oaks Ave. Pasadena, CA 91103. They meet Monday nights 6-7:30pm where Rita teaches soul line dancing.
That night I taught the dances:
I'm Free
Choreographed May 2017 by Raymond Sarlemijn and Roy Verdonk from the Netherlands and Jill Babinec from USA 
To the song Love my Life (Adam Turner and James Hurr Remix) by Robbie Williams.

Tush Push
Choreopgraphed by Jim Ferrazzano
To the song Just a Gigilo by David Lee Roth

Power Jam (San Diego Version)
Choreographer unknown
To the song Don't Stop 'Til You Get Enough by Michael Jackson