Floorcraft. Has it become a lost art within the competitive world?

I was recently reminiscing on my enjoyable 2024 British Championships in Blackpool and many points came to mind from watching the competitions, so it prompted me to record some observations. Some are good and some not so good. I was horrified that on several occasions I witnessed couples dancing up the wrong side of the Ballroom, so technically they were dancing against the Line of Dance.

The top of my list, therefore, would have to be the subject of Floorcraft, as my heading suggests, it has unfortunately become a lost art, especially in the Youth and early rounds of the Amateur Championships. It was always a priority during my competitive years both as an Amateur and a Professional.

I delved into my archive library and found an article I first wrote in 2014. I make no apologies for bringing it out into the open once again with some updates, in the hope it will at least set competitors and coaches thinking about the importance of this integral aspect of competing.

In my opinion two factors are paramount in the subject. Fixed routines with couples placing their choreography exactly the same place every round, plus the complex selection of figures that sometimes are too stationary for too long, plus the attitude of many competitors that the adjudicators expect everyone to be moving at maximum speed and circumnavigating the floor as many times as possible are, I believe, to be the main reasons for bad collisions, and the lack of respect to one’s fellow competitors.

Furthermore, I wonder if coaches are approaching the subject. Surely it is part of sensible coaching in lessons. Also, when a couple request new figures, make sure they understand the alignments intended. In making this point I was aware that some of the modern choreography appeared to be designed against the Line of Dance, creating problems.

Without a doubt, a sound knowledge of the basic and standard figures are the pathway to good floorcraft. Couples can, without detriment to their performance, attractively include them to avoid collisions, even if it includes a Hover action, as it certainly does not help one’s performance or that of your immediate rivals, if there are regular collisions.

Adjudicators are more impressed to see first-class floorcraft when assessing a couple’s competitive performance.

Therefore, what are the requirements and essential ingredients for good floorcraft?

1. Good eyesight and awareness of space.

2. A reasonable knowledge of the basic and standard figures.

3. Correct natural postures with a good weight connection, enabling the Lady to react to directional preferences- this may be a sudden change of direction or perhaps a beautiful Hover action to avoid any possible collisions. Danced correctly will not detract from a fine performance or musicality.

4. The art of hesitation- To hesitate when avoiding another couple. Use these moments to listen to the music before you set off in your new direction. Perfect these attributes and you will naturally commence in phrase with the music.

5. The ability to anticipate other couples’ directions on the floor and find alternative space to continue with the next desired figure.

6. Understand what is meant by the Line of Dance. L.O.D. is an imaginary line with the wall always on the man’s right side. Generally, we should always travel in an anti-clockwise direction around the floor. Although there are some minimal acceptable exceptions.

The qualities listed above should be uppermost in one's mind even when practising at your local school, studio or club- even in lessons when other teachers and couples are sharing the floor.

I often think that perhaps today’s competitors are at a disadvantage, in that they do not have the opportunity that my era had to practice in public dance halls where social and competitive dancers shared the floor and usually enjoy the live music of two orchestras. These conditions certainly made one aware of being polite on the floor.

I would love to think that today’s younger coaches and competitors take on board the importance of the above in their teaching methods. For sure you will produce a better class of competitor.

One last thought for everyone to consider. When Fay and I were Amateurs and practising at my parent’s studio, I would ask my father to slide chairs at us. This action required us to Hover or dance a Check action to change our direction and keep the music alive.

Believe me, it was worth the effort.

Anthony Hurley.