How to do the yes dance

Event Information : Dance for a Chance : News & Events : Youth Emergency Services

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Dance for a Chance: Disco Nights was Thursday, October 13, 2022!

Stay tuned for our announcement of the 2023 date for Dance for a Chance!

The 2022 dancers were (listed alphabetically):

  • Paul Baltes -- Nebraska Medicine
  • Chrissy Cameron -- Nebraska Realty
  • Kara Cavel -- Nebraska Wesleyan University
  • Angela Peters -- Realty ONE Group Sterling
  • Jenny Powell -- Creighton University
  • Sandy Spady -- Entrepreneur
  • Sonya Markle -- Medical Solutions
  • Dan Cronin -- Fiserv
  • Kelly Staup -- Lindsay Corporation
  • Carmen Tapio -- North End Teleservices LLC
  • Chris Tooker -- Certified Financial Planner

The 2022 dance instructors/performers (many returning from past years) were:

  • Carolyn Ashton – Arts for All Inc.  
  • Leigh Chaves – JCC Dance Department
  • Jared Dominguez – Vintage Ballroom
  • Kaleb Duncan - Independent
  • Kat Fackler – Independent
  • Natasha Jade – Miss Natasha Jade Dance & Fitness Training
  • Kellen Nilles– Vintage Ballroom
  • Derek Pasqualetto – Vintage Ballroom
  • Rebekah Pasqualetto – Vintage Ballroom
  • Lucas Vargas – Vintage Ballroom
  • David Vieceli -- Vieceli's Dance Instruction

Similar to Dancing with the Stars, Dance for a Chance pairs up dancers with instructors, who then work together to create a dance, pick accompanying music and practice over the summer before competing in October.

At the same time, the dancers are working within their personal and professional networks – largely via social media – to raise awareness and money for Youth Emergency Services.

With this year’s theme being Disco Nights, dancers and instructors wore costumes from the Disco era and incorporated dance elements from that period in their performances. Attendees were invited and encouraged to dress in 1970s/Disco attire as well.

Lindsay Corporation returned as this year’s Presenting Sponsor, as did Medical Solutions as the YES Champion Sponsor. Media sponsors were Midlands Business Journal and metroMagazine, print sponsors; KMTV 3 News Now, TV sponsor; and iHeart Radio, radio sponsor.

KMTV anchor Serese Cole served as this year’s emcee. Former KMTV 3NewsNow Morning Blend teammates Mary Nelson, Mike DiGiacomo and Kayla Thomas sat on the judges’ panel.

Thank you to our 2022 Event Sponsors: 

Presenting Sponsor: Lindsay Corporation

YES Champion Sponsor: Medical Solutions

YES Partner Sponsor: Fiserv  North End Teleservices

Supporter Sponsors: AO E&A Consulting Lund-Ross Constructors Luma Services D. A. Davidson Valmont Security National Bank Werner Enterprises Mutual of Omaha Union Pacific

Media Sponsors: metroMagazine  Midlands Business Journal  KMTV3NewsNow  iHeart Radio

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What does it mean to dance musically | Dance studio «TDANCESTUDIO»

On March 9, regulars of clubs and music parties celebrated World DJ Day. For 16 years, on the initiative of two record companies, World DJ Fund and Nordoff Robbins Music Therapy, we congratulate on this day those who determine the atmosphere of any dance event and, in many ways, our mood at it. Dancers know better than most how important the choice of music is for the fullest expression in the dance. And good dancers still know what it means to dance musically. And do not hesitate: confidently finding the “one” count is not enough for this! nine0003

Of course, we all start with “one-two, three-four”. It is rhythm, the cornerstone of almost any dance. This is the basis, you need to be able to hit the rhythm (that is, step with your foot exactly on the count), and even at the initial level. Without the ability to find a strong beat and "calculate" the melody, it is difficult to learn the chords, drive out the variations. Yes, and the dance will always look "separate from the music." Therefore, teachers pay so much attention to the concepts of "dancing to the rhythm", "getting into the accent. " But this is only the first stage, which eventually develops into a different understanding of music. nine0003

Gradually, we begin to hear not only the count, but also the filling, and, reacting to it with our dance, we begin to dance MUSICALLY. It can be said that musicality is the ability to interpret and express with one's movement a more complex expression in music.

A couple of questions.

First: is it possible to immediately dance musically, without a “rhythm stage”?

For some dances yes, for others yes, but difficult. For example, when we just have fun and dance from the heart at some party, fortunately, it doesn’t even occur to us to bother with some terms - we just dance as we hear, as the music prompts at that very moment. And most likely, at this moment we are much more musical than diligent students in a dance class. Why? Because we don't think WHAT and HOW we dance. We dance how we want. And in the class we perform a certain task, which "distracts" us from the music until we master it. nine0003

Second question: is it necessary to dance musically? Who needs it and why? Well, a person steps into the rhythm - maybe that's enough?

You can dance any way you like, of course. But the non-musical dancer will never get as much pleasure from dancing as the one who hears and expresses with his dance not only “one-and-two”. So why deprive yourself of joy?

This is true even for social dance: if you hear music, its shades, secondary sounds, you a) look like you want to be watched, b) enjoy your own dance. nine0003

And if you have chosen a dance that has competitions and you plan to participate in them, then the jury's score is added to the pleasure of the dance: the judges will never highly appreciate a dancer who dances non-musically. Even if it gets into the rhythm.

#aviapark #airpark #tdancestudio #musicality #rhythm

12 life hacks to quickly learn how to dance from Mamita Dance


Author: Pavel Sobiray
psychologist, teacher of salsa and tango


Author: Pavel Sobiray
psychologist, teacher of salsa and tango

At the start, you always want to get a quick result. When it doesn't happen, the hypothesis arises that everything takes time. After a conditionally acceptable time, humility comes to mastering pair dances, which, perhaps, is not given, and I will just do what I learned somehow.

This is the most common story of those who believe that the mere act of attending pair dance classes is enough to learn how to dance. nine0035 Absolutely not. If you want to really dance well, you have to make an effort outside of the dance class. A good teacher will definitely be needed, but the initiative should be on your side.

1. Listen to music

The most common and accessible advice that is given already in the first lessons. And it definitely works. Music creates a certain atmosphere of the dance and intuitively you want to move to it. It doesn't matter where you listen to music - in the car, on headphones while walking or doing household chores. nine0003

An addition that will help you dance better is your active participation in the music. Sing along, dance or simply beat musical accents with any free parts of the body. In the subway, for example, it is enough to tap out bright moments with your fingers, in the car to sing along with sounds, and at home you can jump for pleasure.

2. Watch videos of good dancers

It's complicated, but also obvious. It’s more difficult, because without recommendations from more experienced dancers, unfortunately, it’s not so easy to find a good quality video on the net (I mean not the resolution quality, but the content itself). nine0003

Meaningful viewing of the video is to form an understanding of HOW the dancers make this or that impression on the partner or the viewer. Technology is at the heart of everything. Understanding how the pros do it is a big step forward.

It is important to distinguish between a show and a disco dance, a choreographed performance from an improvisation, a stylized dance from an authentic one, etc. Ask for recommendations and dance instructors will always upload a couple of videos of worthy landmarks. nine0035

Tango Z. Showreel.

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3. Dance in salsatecas/milongas/discotheques

A very delicate moment when it is worth coming to the first party. From a technical point of view, most students in 1-3 months have a sufficient set of figures and techniques to come and dance calmly. Psychologically, the same moment can be stretched out for an indefinite time. After all, it is imperative to “not lose face”, “learn more figures” and be sure what to do in case “there is an unfamiliar movement”. nine0003

In fact, the partygoers don't really care (except for a small layer of non-professional teachers who want to help inexperienced dancers by treating them as customers in the future). It is important to come and try dancing after a month of classes. You can only with friends or guys from your group. This will be enough to feel the adrenaline and inspiration from the dance.

4. Dance with partners or partners not of your level

The conventional wisdom that you need to practice in groups of your level does not stand up to the test of experience. Perhaps now your eyes widened in surprise, and you want to meaningfully read the phrase again. Yes, you saw everything correctly: when you dance with a partner of your level, you don’t grow anywhere. nine0003

It's important to understand that not only does it work one way and you have to dance with cooler dancers, but it works even more effectively the other way. It is no coincidence that teaching pair dances dramatically raises the level of the teacher himself. You have an endless stream of very beginner dancers.

How it works. A more experienced partner needs to be "stretched". It's easy and obvious. With beginners, you need to take more initiative on yourself, see the general pattern of the dance more widely, turn on and insure more, try to be an example and be more careful. The quality of interaction begins to grow significantly. And wonderful partners too. nine0003

Dancing with partners of your level doesn't make you grow. Dance with beginners and more advanced dancers

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5. Learn to dance for a partner and for a partner

Turks and Argentines are one of the best partners in the world. In Russia, partners are highly valued. Why? The answer is simple. In Argentina and Turkey, it is not questionable for men to ask another man to lead in one piece or another and give feedback on the quality of the lead. For them, it will be a great shame to hear moralizing from a partner, or even more so to be known in the community as an insecure partner. nine0003

In Russia, due to the constant, often far-fetched, opinion that there are more women in pair dances, partners calmly get up and study their partner's part. Such partners then grow into very cool dancers and teachers. In no case do this at parties, only in class. Here we are talking only about the learning strategy. At parties, be yourself.

6. Do not memorize the links

Always try to look deeper and understand the through principle and idea of ​​movement. Understanding what and how is done will make it possible to independently generate any sequences and chips. nine0003

Human memory is limited and there will always be a moment when something will escape and your repertoire will be limited by the size of RAM.

In Argentine tango, for example, there are seven levels of movement construction that, when mastered, will allow you to make millions of combinations. And how many dance sequences can you really remember? In rueda, more than 150 figures dance in a rare circle. It's hard to keep more in mind.

7. Develop your body

Many years of experience in teaching couple dance shows that as soon as everyone pairs up in a class, any progress in individual style ends. But it is the individual style that distinguishes everyone at the disco: partners change, and style is always with you. nine0003

The body as the main instrument of dance must be very plastic, responsive and emotional. Surprisingly, not all pair dance schools have a general physical warm-up. It is vital to tune the body and understand how it works.

You can always train extra and concentrate more on the basic steps, as their true value is as body work. The sequence of steps is, in fact, the simplest thing that can be in pair dancing. The quality of individual performance determines the craftsmanship. nine0003

8. Try on the images of inspiring dancers

A psychological life hack for those who have already mastered the steps, but still feel that there is not enough brightness and drive. Most are terribly afraid of being someone else's "clone". Here the action is the same as under the influence of hypnosis - the more you resist, the more you plunge into an altered state of consciousness.

With a high degree of probability, you are already dancing like someone else's "clone". A meaningful fitting of someone else's image is that you mentally take the image of the one who inspires you (inspiration is critical in this case) and "put on" yourself. Then you start dancing and trying to feel in general how it is to be able, for example, to be the best partner or the sexiest partner in a disco. This is much more difficult than it seems. But it works extremely efficiently. nine0003

9. Dance to offbeat music

Habitual rhythms keep you tight. Tango salon or speedy timba leave little room for experimentation and fantasy. Pattern dancing is always noticeable and is reserved for beginners.

The truly new is born outside of the usual. Look for places to experiment. If there is no place, organize self-training. The main thing is not to get carried away, because music determines the style. We bring something new to pair dances, rather than trying to change them. nine0035

Search, improvise, don’t be afraid to go beyond, develop in different directions, be inspired by music atypical for the style

10. Try your hand at basic dance directions

dances exist according to their own non-choreographic laws.

This is the deepest delusion, which has turned into a ceiling for the qualitative development of partner dances. After all, all professional dancers, for example, in salsa or bachata, build their ideas on the basic choreographic principles. nine0003

Do not think that choreography is only applicable on stage. Any meaningful movement of the body can be choreographic. In general, try classical or modern choreography. Basically, hip-hop can work too.

11. Look for battle sensations

Pair dances return us to an active position of manifestation of our body. As in the days of our ancient ancestors, we impress the members of the opposite sex by how dexterous, hardy, sexy, etc. we are. Modern laws of the jungle in the entourage of large cities. nine0003

If you look around the dance floor, it becomes clear that the majority are clearly herbivores (not in the sense of vegetarians, but in relation to those around them). I am sure that predators are always more interesting in terms of the attractiveness of the image - try to find a counterbalance among herbivores, for example, a cat woman or a lion man.

The conversation is about an internal position, not about aggressiveness. Lability and lack of control are inherent in adolescents, and not in adult self-sufficient people.

Accordingly, even a training or friendly battle gives, on the one hand, practical skills - to make a bright sequence of movements, bring an idea to a climax, show a spectacular feature, on the other hand, develops the psychological basis of the dance - self-confidence, resistance to extraneous attention, self-control and self-control in complex elements. nine0035

12. Communicate with professionals

The environment shapes the internal position. Basically, real passionaries of the dance community are ready to openly talk, discuss and support the development of dance in every possible way. Universal principles and the ideas they articulate have a much longer and more practical perspective than meets the eye.

Accept that, for example, behind the words "listen to your partner" is not only a beautiful metaphor, but also a practical skill to literally listen to your partner. At the same time, always treat every thought, even the most respected teacher, as a private opinion. nine0003

Your skill will lie in finding the scope of the idea even in conflicting opinions. Most often, the contradiction is speculative and the truth lies in the angle of perception or situationality.

Your dancing growth will stop sooner or later. This can happen at the level of three basic steps or years of experience in teaching and show performances.

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