I began dancing while in Europe in my early teens. Fast forwarding to the early 1980's, while continuing in the International, I began to study the American syllabi while teaching at theJohn Saionz school in New York. My principle coaches continued to beIrene Donaghey, Peter Eggleton, andVernon Brock. After studying mostly under Armando Martin, I finished the American with Dagmar Jarvel.
Like everyone else, I have had many other great coachings along the way, yet I attribute all that I am to these masters.
I have been coaching and judging since completing my adjudicatorship with John Morton in the early '90s. I have owned and operated 2 very successful studios in Alaska and Hawai`i, and have assisted many others across the U.S. in the opening and operating of their studios as well.
My partner and I had won, or placed no less than third in, many competitions including; Ohio Star Ball, Western Star Ball, Whippany Classic, the M.U.S.T., and others. However, my training in Ballroom, Latin, Classical, and Broadway Style Show Jazz, was telling me that something was missing from our dance; that it was more than rote expression of a prescribed syllabi of steps and patterns, but an intricate, controlled, yet freed form of natural movement put to a specific rhythm, timing, and styling.
My parents, who were in forensics and coronary care, were also dancers and musicians, and urged me to study music as well as kinesiology (the study of muscle movement through time and space). I came to understand the relationship of these elements in a way that the average student/teacher usually does not. It was this that gave me a competitve edge, and allowed me to become known as more than a competitor, but as an expert in movement and dance.
It was this, also, that led me to write a book, and design the teaching series which we call, "DanceKinesis: The Missing Dimension In Ballroom & Latin Dance".
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