GREENSBORO WESTIES - Blog

Beginner’s Guide to West Coast Swing in Greensboro, NC

Tue, 26 Aug 2025 15:52:56 GMT

✨ What Is West Coast Swing?West Coast Swing (often called “WCS” or “Westie”) is a smooth, modern partner dance that’s highly versatile. Unlike traditional swing dances, WCS is danced in a “slot,” which means partners move back and forth in a narrow line. This makes it perfect for crowded dance floors and adaptable to many music styles — from pop and R&B to blues, country, and even hip hop.

🎶 Music You Can Dance ToOne of the best things about West Coast Swing is the music. You don’t need special dance songs — you can dance to many of the hits already on your playlist. If you enjoy artists like Ed Sheeran, Bruno Mars, Dua Lipa, or Motown classics, you’ll love moving to them on the dance floor.

👟 What You Need to StartThe great news? You don’t need much to get started!

Shoes: Comfortable shoes with smooth soles (avoid rubber sneakers that stick to the floor).
Clothes: Anything you can move in — casual is fine.
Partner: Not required! At Greensboro Westies, we rotate partners during classes and socials, so you’ll dance with lots of people.

📍 Where to Learn West Coast Swing in GreensboroGreensboro is home to a growing dance community. At Greensboro Westies, we offer:

Beginner-friendly classes (no partner needed)
Weekly or monthly socials where you can practice what you’ve learned
Workshops and special events with guest instructors

👉 See our event calendar here

🙌 Why West Coast Swing Is Perfect for Beginners

Easy to Learn: Basic steps can be picked up in just one class.
Welcoming Community: Greensboro dancers are friendly, supportive, and love helping newcomers.
Low-Pressure Fun: You don’t have to be perfect — it’s about having fun and connecting through music.

✅ Take Your First StepIf you’re ready to try something new, make friends, and get active, Greensboro Westies is a great choice. Join us for a beginner class or social, and you’ll be surprised how quickly you’ll feel at home on the dance floor.

Greensboro Westies welcomes dancers of all ages, if you are under 18 years old admission to our workshops and dances are FREE.
👉 Join our next beginner class in Greensboro!

Discover 5 reasons to try West Coast Swing in Greensboro, NC

Tue, 26 Aug 2025 15:45:20 GMT

💃🕺 5 Reasons to Try West Coast Swing in Greensboro, NCAre you searching for a fun way to get active, meet new people, and enjoy live music in Greensboro, NC? If so, West Coast Swing dancing in Greensboro might be the perfect fit! Known for its smooth style, versatility, and playful connection, West Coast Swing (WCS) is one of the fastest-growing social dances in the world — and Greensboro is quickly becoming a hotspot for it.

Here are five reasons why you should try West Coast Swing in Greensboro:

1. You Can Dance to the Music You Already Love 🎶Unlike some traditional ballroom dances, West Coast Swing works with a wide variety of music — from pop and R&B to blues, Motown, and even today’s Top 40. Whether you’re into Ed Sheeran, Bruno Mars, or old-school soul, there’s a West Coast Swing groove for you. That means you’ll never run out of songs to dance to here in Greensboro.

2. The Community Is Friendly and Welcoming 🤝Looking for a place to meet people in Greensboro? Greensboro Westies offers a welcoming environment where dancers of all ages and skill levels can connect. No partner is required — we rotate partners often, so you’ll get to dance with everyone. Many dancers say their social circle has grown just by coming to class or a dance social.

3. It’s a Fun Way to Stay Active 💪🧠If the gym isn’t your thing, dancing is a fantastic alternative. West Coast Swing lessons in Greensboro give you a full-body workout, helping with balance, coordination, and stamina. At the same time, learning new moves keeps your brain sharp and engaged. It’s fitness for both the body and the mind — without feeling like “exercise.”

4. West Coast Swing Is Playful and Creative 🎭Once you learn the basics, you’ll discover how flexible and fun this dance really is. WCS encourages improvisation and musicality, so every dance is unique. Whether you’re laughing through a social dance or showing off at an event, West Coast Swing in Greensboro is about creativity and joy.

5. The Greensboro West Coast Swing Scene Is Growing 🌟The dance community here is thriving! With regular socials, beginner lessons, and workshops, there are more opportunities than ever to learn and dance in Greensboro. Whether you’re brand-new or an experienced dancer, Greensboro Westies provides a place to grow your skills and meet others who share your love of dance.

✅ Ready to Start Dancing in Greensboro?Come join us at our next West Coast Swing beginner class or social dance in Greensboro, NC. You don’t need a partner — just bring comfortable shoes and a smile.

👉 Check our upcoming events here

New to West Coast Swing? check out our beginner’s guide
Learn more about Greensboro Westies

Centering as an Individual by Skippy Blair

Thu, 20 Feb 2025 19:02:43 GMT

Centering as an Individual

Skippy Blair

Skippy Blair © Rev. 3-02, 8-03, 8-04, 7-07, 3-11, 7-13
Lifetime Special Achievement Recognition Skippy Blair’s dance resume is formidable: co-founder of the World Swing Dance Council, Feather Award recipient, founder of the Golden State Teachers Association and developer of the Universal Unit System® a complete system of dance notation that allows dancers to “read” a dance much like musicians read music. Skippy Blair has been a significant figure in the world of dance and, particularly, West Coast Swing since the early 1950s. She is generally credited with popularizing “West Coast Swing”. In 1958 she opened her first studio and started training Champion Dancers and Teachers. In 1974 she inaugurated National Dance Teacher Intensives which involved detailed, comprehensive training in dance knowledge, teaching and judging. Even today Skippy continues to be extremely active in the dance world and has coached some of the leading swing dancers in the country.

Excercise we call "Sqeezing the Banana"

The Number of Centers in an individual dancer has become more clear since TV started airing “CORE” demonstrations. Logic tells us that an object has only one Center - and in my study of the “Psychology of Learning”, as well as Body Mechanics, I was fascinated with how those same Rules carried over into the dance.

We learn SO MUCH faster when we have only “one definition for one word.” That was my thinking - even before my detailed study. This same study confirmed my belief that simplicity is the key to fundamental learning. Many times, I have been asked to make a dance decision - deciding WHO was right and who was wrong. Fortunately, I am able to observe that both parties are frequently saying the same thing - but simply expressing it in a different way. NOTHING we do is technically wrong if we accomplish what we set out to do. The flip side of that coin is that “what we set out to do” might frequently be, less than the level of accomplishment that we are personally capable of achieving.

When it comes to Centering - or any other concept – MY main concern is seeing to it that we are making progress. In identifying a new concept, it is important that the student is able to immediately apply that concept, as soon as it has been presented or demonstrated.

We (GSDTA) have identified Four Body Zones: We actually recognize only ONE Center. However, we do acknowledge, and regularly refer to, four separate Body Zones:

Head Zone: Covers the entire head and neck, down to the Centering Knob.

Shoulder Zone: Covers the area from the top of the shoulder to the bottom of the rib cage.

Hip Zone: Starts at the top of the hip bone and ends where the legs connect to the hip.

Center Zone: (Core) Overlaps the lower edge of the rib cage - down to the upper edge of the hip bones. Center Zone provides stability by connecting the Shoulder & Hip Zones together.

Let’s assume that you have a wide support belt around your waist. (or - actually purchase one at your local drug store). Place this support belt tightly around your waist, with the top of the belt barely covering the lower ribs, as well as barely covering the top of the hipbones. This Center Support has now pulled the body all together into one dynamic Dance Machine.

Once the whole Center Zone is under control, you can confine the concentration to the top of the Center Zone (Center Point of Balance - CPB - Core). Concentrating on your Center, you will be able to MOVE your body from that center. You will start to feel the effect of controlling your Center Zone. This secure feeling is amazing when you first experience it. It’s as if you have suddenly gained a great deal of power & control over your entire body.

Using a support belt, you can experience this feeling rather quickly OR you can experience this same feeling (after training) simply by pulling all of your abdominal muscles up into your Center. This process takes a little time but I can guarantee you - It is worth the effort. We call this exercise “squeezing the banana”. It feels like someone squeezes all of your Center area - forcing your center upward & your shoulders back & down.

LOCATING YOUR OWN “CENTER POINT OF BALANCE” (CPB)
Unlike a Center of Mass (used in martial arts for a lower base stance) - or a Center of Gravity (which changes location with different body types) - our Center Point of Balance is located in the exact same place on every person. It is located in the Solar Plexus (in your Core). It is nestled in the soft area, just below where the ribs come together. Let’s do the exercise:

Stand with your feet together and you will find that you can move your “derriere” 4 inches forward - backward or sideways and still not lose your balance or have to move your feet. You can do the same with your head - shoulder - arm - foot. But NOW - Move your CENTER four inches in ANY direction - and you will find that you MUST move a foot. Moving your Center moves your entire body to a new location. You have moved your “Center Point of Balance,” and BALANCE is the whole point of Centering.

Try this: Another way to identify the location of your Center is to assume that your body is a mannequin. Place a fist into the Solar Plexus - that’s the area just below where the rib cage meets - well above the waistline - and well above the naval. Placing a fist in the Solar Plexus area - we could lift the mannequin a few inches off the floor. The feet would fall directly under it’s Center and the head and shoulder area would stay upright. If we placed a fist in the lower abdomen of the mannequin, the top half would fall over. If we placed a fist in the shoulder area - it would immobilize the shoulders - producing a total lack of flexibility.

INDIVIDUAL CENTERING
Being Centered, lines up the Power Point of the foot - through the knee - through the Center Point of Balance - and on up through the chin - in one coordinated movement. This allows the body to land precisely ON the beat of the music. Individual Centering produces great posture and a sense of strong Body Dynamics. It creates a look of confidence and a feeling of professional performance. The next time you have the opportunity to observe social dancing, where upper level dancers are simply enjoying the dance, pay close attention. You will be able to identify that extra element of centering by the tingle it creates in your own spine. I call that the “Goosebumps” reaction.

In evaluating the performance of a Ballet Dancer - or a Jazz Dancer - the same degree of professionalism exists. Movement is classified by how well the dancer moves from their Center. They are not evaluated by how fast they dance - or how complicated the material. They are judged by how well the body moves from the center. FOOT follows FRAME. The center moves first. Once you can control your center, moving on the “&a” just prior to a weight change, you will find that moving from the Center becomes the focal point for ALL movement. That one fact alone - immediately adds an extra “Dynamic” to your dancing. You will actually be able to FEEL the difference. It takes a little time before you can maintain the feeling - but just feeling it ONCE, allows you to know that the experience exists.

PARTNER CENTERING: - If the individuals involved are not well Centered as individuals,it is a bit more difficult to perfect Partner Centering. However, one partner that is well centered can have a positive influence on the centering and total performance of the other partner. This technique can be mastered by practicing in Stages.

STAGE ONE in learning Partner Centering is what we call the Flashlight Technique - This simply teaches each partner to aim their center either toward each other - or toward a destination. This will help even basic dancers to start the centering process.

LEADER: His “Flashlight” (Center Point of Balance) will be aimed either at his partner - or in the direction that he wants the partner to travel. This makes a strong connection - without the necessity for arm leading - and also maintains a sharper slot. (A wonderful feeling for the follower.)

FOLLOWER: Her “Flashlight” will aim at her partner’s chin. This tends to lengthen her upper torso - which in turn develops better posture and centers her whole body toward her partner’s center. As she rotates in various patterns, her “Flashlight” will return to him as quickly as the tempo of the music allows. This one technique alone can elevate any performance that lacks proper centering.

STAGE TWO of Partner Centering requires more control of each partner’s individual Center. More than having each partner simply face each other - a certain degree of leverage (based on a tight control of the 4 Zones and a lifted Center) - develops a more professional attitude. This is the hallmark of the upper level dancer. When two partners are really Centered to each other, an astute observer becomes aware of each action that takes place in one split second. If you are part of the partnership - you should be able to feel each action. The leader’s Center moves on the “&a”- and the follower Reacts to that lead. This allows both partners to land - at the same time, precisely on the beat of the music. Both partners may choose to dance different rhythms - even different syncopations - and still be totally Centered. They are connected from one partner’s Center to the other partner’s Center, as if by an invisible rope.

Competition Observation: Centering yourself toward the judges is not considered good taste. There are times when Centering to the judges is part of the natural unfolding of the routine (when both partners are actually facing the judges). However, there are times when either the Leader or the Follower seems to center their “Flashlight” toward the judges instead of toward each other when it is not appropriate. In judging circles, we refer to that as “Mugging the Judges”. It is particularly noticeable if the lady faces the judges on every anchor instead of facing her partner. It not only detracts from the performance - but also loosens the connection of the partnership.

Teaching Technique: I frequently use slightly flexible ropes to show how the Center, rather than the arm, does the leading. The lady holds on to the end of the rope while the rope is wrapped around the man’s Center. He finds that he can move the lady easily, simply by moving his Center in the direction that he wants her to go. (hands are not connected- & yet it works.)

In the real world, the lady frequently compensates for an arm lead just by knowing where she is expected to go. However, the fault is not always his. Many ladies strong-arm their partners. It is sometimes impossible to determine who did what to whom. Arm leading leads to arm following and perpetuates the problem from both sides. MOST patterns are best led with body leads, coming directly from the leader’s Center.

Phone: (562) 869-8949 Email: Skippy@SkippyBlair.com Website: www.Swingworld.com
Golden State Dance Teachers Association

A Guide To West Coast Swing Solo Practice by Riley Anderson

Wed, 19 Feb 2025 15:52:08 GMT

A Guide To West Coast Swing Solo Practice
The exact strategies I used to get from Novice to Advanced in 29 months

Riley Anderson dancing West Coast Swing

Overview
Why solo practicing is important?
Who’s this guide for:
✅ West coast swing dancers that are looking for more efficient and effective ways to practice
✅ Passionate social dancers
✅ Aspiring competitors

If you have ambitions to be good at a particular activity whether it’s: dancing WCS, playing guitar, playing tennis, etc., consistent practice is absolutely crucial to your growth. Not just any kind of practice…a deliberate and mindful approach that is focused, goal oriented, and progress driven.

Whether it’s footwork, connection, musicality, understanding how phrasing works, etc., these are skills that simply cannot be relied on solely with a partner, so it’s important that we work on these skills individually.
Don’t get me wrong, while having a regular practice partner is a plus and can be a useful part to one’s growth, you can absolutely make plenty of progress on virtually every skill of WCS even without a partner. It’s a myth that you need a partner to get better as a west coast swing dancer.

True story, I took a connection bootcamp back in spring of 2024. During that time my partners were not as available as I would have liked, and so I wasn’t able to do the partner drills of the Bootcamp so I stuck with all the solo drills which involved using Therabands, and other tools to simulate the feeling of connection. By the end, just about every follower I danced with felt a huge difference in my connection and some were especially amazed how much my connection improved with 99% being from solo practice.

While this is my own personal experience, every great dancer I know has experienced similar breakthroughs in their dancing from solo practice.

What does it mean to practice?
When we practice, we want to be in a conscious state at all times, and be aware of what it is we are trying to achieve. For example, if working on foot rolling technique, you will want to slow down and break the movements into smaller chunks “toe, ball, arch, heel, knee, straight” while thinking to yourself “I need to think about gradually moving my foot down to avoid my foot flopping to the floor too quickly.”

By being this aware when practicing, overtime it will start to automate into your body which will slowly start to show up in your social dancing more easily because you’ll no longer have to consciously think about it.

Pro Tip: if you’re having to consciously think about certain concepts in your social dancing whether that’s timing, footwork, etc. you haven’t spent enough time on that area yet, and it requires more practice.

Practice makes progress
As artists, we tend to have this motive to be “perfect” at what we do. However, perfection is simply unattainable, and can often leave us feeling discouraged, like failures, and ultimately never feel satisfied.
Instead, I like to educate students on practicing mindfully, meaning: to practice deliberately with focus, intensity, and total concentration, with the goal of making progress and growth each time they practice vs trying to master the skill in that moment.
I found this to be a much healthier perspective on improving not only as a WCS dancer, but with anything we do.

FAQ’s
“I’m worried about practicing something wrong, Should I still do drills on my own?”
Great question and very understandable concern! The answer is ABSOLUTELY YES and here’s why:
If you have access to a mirror, that’s amazing because you can watch what you’re doing and compare yourself to the video you’re watching, and make the necessary changes on the spot.

Even if you don’t have a mirror, we are in this day and age where we have cell phones with cameras so we can record ourselves with ease. Additionally, there are apps where we can have side by side videos to compare and contrast.
Let’s say you’re working on a drill you got from a digital course. Record yourself doing the given drill, and watch back comparing to the video you were watching and take note. This is training you to analyze yourself more thoroughly, see more details and nuances, develop more awareness of your movements, thus becoming your own teacher.

I cannot stress, recording is an AMAZING and invaluable tool that EVERY dedicated WCS dancer should use. It can be reassuring and give us moments of “oh I’m doing that a lot better than I thought” but equally (haha) can give us brutally honest feedback and make us cringe and go “oh I thought I was doing something cool but that looks so awkward.” I recommend recording yourself at least 2-3 times a week so you can start to analyze and take note of your dancing.
Remember, practicing is a skill just as much as learning to dance WCS. The only way to get good at practicing, is to continually learn and train yourself to practice. At first you will make mistakes just like learning any skill, this is totally normal. Overtime, you will become a much better teacher for yourself!

“Where can I find solo drills to work on?”
There are several pros that have online WCS programs, memberships, and courses that include solo drills for different areas. A quick youtube search can lead to some free drills, and of course your own local teachers can provide drills.
Additionally, virtually anything can be l broken down into a drill providing it’s mindful, deliberate, and is designed to achieve a certain goal.

Pre Practice
Here’s a quick step by step process to plan your practice sessions for optimal progress.

Establish Your Goals
Assess Where You’re At In Your Journey
Find Solo Drills That Address Your Given Weaknesses, And Have Goals For Each Of The Drills
Establish How Much Time You’re Gonna Dedicate To Practicing. (I recommend 10-15 minutes at a time, or even 2 minutes here 2 minutes there. Start low before you go high so you can build new habits and not overwhelm yourself and burn out too quickly)

Note: A local teacher can help you with some of this as well

The Burst Method
-For improving any physical, technical and agility skills
Steps:

2 minutes on a given drill, set a timer
Start the timer and practice deliberately at a speed which allows you to be fully aware and conscious of your movements, as well as keeping the quality in check “am I rolling through my whole foot, toe ball arch heel knee straight” “am I maintaining my pitch” “am I pushing through the floor as I collect my foot” etc
Timer goes off, you can move onto another drill repeating step 2. OR in a later practice session do the same drill again.

Tip: You can also do 1 minute intervals instead of 2, and do this continuous with a few different drills over 5-15 minutes for a more “workout” type practice that promotes repetition

Musicality/Creativity Practice Method
-For practicing musicality and creativity skills that involve exploration, discovery, study, etc.
Steps:

Spend 2-5 minutes on given musicality/creative drill allowing more time for exploration and discovery. Example: you want to work on using your shoulders in expressive ways, and so you play a song and explore the different ways of using your shoulders to the music, not worrying about perfection or looking refined, instead embracing the awkwardness and moving out of your comfort zone.
Timer goes off, take a break or move on to the next set of drills

Note: Between both drills, the reason for shorter durations is because I want you to think of it like a sprint. It’s easier to practice intensely for a short time before you move on to the next thing.

Practice Routine Example
This is just an example, not an end all be all. You can modify to what fits better for you

Goal of improving foot rolling
2 min: Foot Rolling Exercise straight timing
2 min: Foot Rolling in various directions straight timing
2 min: Foot Rolling in various directions using triple timing
2 min: Foot Rolling in variation directions using triple timing to slow music
2 min: Foot Rolling in variation directions using triple timing to fast music
*In total a 10 minute practice session

OR More broken up version

-First thing in the morning-
2 min: Foot Rolling Exercise straight timing

-While waiting for morning coffee-
2 min: Foot Rolling in various directions straight timing

-During lunch break-
2 min: Foot Rolling in various directions using triple timing

-After work-
2 min: Foot Rolling in variation directions using triple timing to slow music

-While dinner is being made-
2 min: Foot Rolling in variation directions using triple timing to fast music

Thank you for reading! I hope you found this free guide helpful in your solo practice sessions.
If you would like some additional help or clarification, you can reach me at info@rileyandersonguitaranddance.com

Download the guide below right here, and happy practicing dancers!
https://docs.google.com/.../1-qDmjjHyc9BCb2lu4bX.../edit