The Dance Review – Insights from John Kimmins at the International Championships 2024

In a shift from our usual reporting style, I had the unique opportunity to sit with John Kimmins as he observed and shared his thoughts during the International Championships 2024. John’s depth of knowledge and insight, shaped by conversations with legends, provided a fresh perspective on the evolving styles and technical nuances in both ballroom and latin disciplines. What follows is a detailed account of John’s observations, which I had the pleasure of transcribing in real time. His insights provide an interesting look into today’s competitive dance scene and how it connects to the past. John pointed out how the foundations laid by earlier generations continue to influence modern trends, showing us the lasting impact of dance throughout the years. This blend of tradition and innovation highlights the vibrant nature of competitive dance, reminding us to appreciate both the artistry of today and the rich history behind it.

I have definitely seen a change in style with some of the couples. I had some interesting chats with Anthony Hurley in Blackpool and some of his observations reminded me of things I had been overlooking. His chief considerations in ballroom… he loved to see beautiful leg and foot lines. Couples could be paying more attention to this, especially the women. They need extension through torso, legs and ankles. That used to be the overall consideration of who was best, I have to agree with Anthony on that.

Looking at youngsters, juveniles, the basic groups they can do only enhance the dance and give it more character. I wish the older couples would copy this and put more basics in their routines. I often wonder if there was no music playing if you would be able to tell which dance the couples were dancing. The steps they do should exemplify the dance they’re trying to portray. A good example of that is Viennese Waltz, which is restricted to basic content. Sometimes in a big championships with a lot of couples, during the early round it’s easy to tell who can dance at the highest level by watching their Viennese Waltz. The same goes in the early latin stages for rumba. In Viennese Waltz particularly, lots of couples lack proper side step direction, this must be clear and visible as a side step, sometimes we miss that.

It’s particularly nice to see the emergence of some different countries in semi and finals. For instance in juvenile here in the semi-final we have a couple from Malta. There is a lot of talent in this little country. In the junior devision we have couples from all over plus Kazakhstan.

Number 12 in the Junior Ballroom, David and Angelina from Ukraine, are on of the best young couples I have seen in a very long time. They are an outstanding talent.

Another point from Anthony Hurley. In Slow Foxtrot he missed curve and I thought to myself, yeah, the contrast and also turning left and turning right. Beautiful curves, feather, wave, we need to see more of these!

Next here we have children dancing basic quickstep. One of the key ingredients is a loping action, not everything should be jumping and skipping. It’s fine to have the dexterity of jumps and skips but I want to see a running finish and a quick open reverse. It’s also great to see good dancing from someone who can do a very nice rumba cross, where the girl can actually cross rather than closing her feet.

Anthony Hurley had lessons from Josephine Bradley as did Richard and Anne Gleave and Michael and Vicky Barr but I don’t know of anyone else who had lessons with her who is still involved in the dance world now. She insisted on everything being properly balanced. Victor Barrett was current number 3 and decided to dance with 17 year old Doreen Freeman, who was very inexperienced at the time. Doreen said she went to Miss Bradley because she was Victor’s teacher. For three months she had to walk around the studio and up and down the stairs with perfect balance. This was her instruction from Josephine Bradley.

Bobbie Irvine told me a story about Josephine Bradley, who was her close friend. They were at the Star Championships where she was chair of judges. A reporter asked her about her marks as she marked Victor Barrett first in Foxtrot and Wally Fryer first in Tango. Her answer was great “In foxtrot I could see Victor’s heels  and in Tango I could not see Wally’s". Which I found very amusing indeed because it makes so much sense!

Ah here is one of my pet hates, a straight arm from the lady! It’s not the lady’s fault though, the gentleman has her too far over on his right side and she has no choice but to have a straight arm.

Spacing is another important factor. It must be consistent from the man’s right side of his face to the woman’s face. It should be constant and consistent throughout. When we watch couples, we get distracted because of space changes, especially in rotation. I admire couples who can keep great space. Sonny Bennick was very good at that when he taught the men. He taught them to give the women great space.

It’s interesting though that Sonny was such a good teacher of men. He was taught by Jimmy Holly who was champion with Elsa Wells. He was also Len Scrivener’s main teacher so he must have been something quite special.

Sonny had a wonderful way to explain to a man what you actually do when you dance. He said there are four types of steps, forward steps, backwards steps, side steps and turning steps and there can’t be any hybrids! With this in mind, the boys must be very clear about what step they’re doing. For instance a telemark has a forward step, a turning step and then a side step. So many couples keep turning rather than showing a distinctive side step. That is a very very important part of dancing and Sonny was so good at it.

Sonny was actually British Professional champion with two different women, Joyce Hayward and Sally Brock so he was really a great man dancer. Interestingly from the women's side, the only woman to be champion with two different men was Brenda Winslade with Peter Eggleton and Desmond Ellison.

One of the important things for woman when dancing a backward step is that she uses the toe at the extent of the stride before using the ball, it makes such a difference to the leg line. Through the torso as well. When she gets to the toe first she maintains the torso connection to the man. Eric Hancox expressed this. He was Bill and Bobby Irvine’s main teacher and he could really teach women to take beautify strides, that was one of the main things he focussed on... very important.

It was a delight to see Eric dance. He wasn’t a young man and he was small in stature but he covered the floor so beautifully, he was a fine dancer. He goes back to the old school too as his main teacher was Henry Jaques who was champion in the late 1930’s and made a move to Australia. He was a very famous coach in the early days.

John Kimmins' observations during the International Championships 2024 give us a fresh look at the world of competitive dance. His insights into the importance of strong fundamentals, the evolving styles, and the rising talent from various countries really highlight how the dance scene is changing while still respecting its roots.

As we look forward to the individual competition reports, be ready for more detailed analyses of the standout performances and unique styles showcased by the dancers. Our expert insights will bring even more depth to the exciting moments from this year's championships. Stay tuned...

Image credit: Gilbert Wu