It's always difficult to know where to start, at the very beginning it was Saturday morning classes as a child (very popular with many parents in England, allowing them to go shopping in peace !) at about 8 years old. A natural progression from these first classes was additional lessons in the week, then having a goal to work towards in the form of Medal tests. I don't remember the names of these first teachers but I do remember when we moved house starting lessons with Jean Mason in Broadstairs, Kent. Another move meant a change again to Ron & Jo Fergerson in Ramsgate, who encouraged me into competitions.

Around this time I also tried formation dancing but it did not work out as I wanted to move better or faster than the other couples - competitions and further medal examinations were of more interest. Competitions became more and more a part of my life, more training, more lessons, more money spent on outfits. Just before I moved up into the adult grade I had a new partner (the first one that did not live locally) also for the first time having different teachers for the Ballroom/Standard to the Latin American.

I transferred to Tony & Jan Lord in Canterbury. Tony impressed upon me the importance of quality in my Ballroom, my strongest memory is of the "Stand & Swing" principle for Waltz. For Latin we went to Len Goodman a great inspiration and wonderful sense of humor (with a serious intent underneath).

It may seem that I've been to many teachers, perhaps I have, I don't feel the need to defend it. You pay the money and you have the right to make the choices.

The following paragraphs will try to give you an impression of my feelings and a little of what a learnt and from whom. The list is very roughly in chronological order.

Len Coyler

Len has this wonderful way of solving difficult problems with consummate ease. You may be practicing an oversway all week, unable to make it work, go in for a lesson, tell Len the problem, dance the step and he would say something like "just turn your shoulders more" (the problem was instantly fixed) and Len would say "what did you want to work on today ?".

As a trainer of many former champions and a great dancer in his competitive days many years ago he has a wealth of knowledge. I was lucky enough to see an old "Black & White" film called "Dance Hall" starring Petula Clark filmed at the Hammersmith Palais, London. Although the dance section was awfully short it was fascinating, the emphasis appeared to be quality of movement and complexity of steps. Also in the film was Henderson & Henshall and Bob Burgess (more on Bob later)

Perhaps Len's biggest contribution to my dancing was in opening my eyes to floorcraft. He did not teach floorcraft directly but more usefully explained its methods. "You can only move up or down, forwards or back, left or right, spin on the spot - but the combinations are endless" I will always be very grateful for my time with Len.

Mike Stylianos & Lorna Lee

With Mike's talent for choreography and Lorna's accent on technique I had many great lessons with these two.

Bob Burgess

Bob's methods are rooted in the traditional approach, principles still very applicable to today's competitive dancing. He also runs one of the best practices in London

Richard & Janet Gleave

Richard's keen analytical mind has considered many aspects of dance. The mathematics of motion, the structure of music, the principles of learning (as well as teaching) Just recently I've been trying Tai Chi - many years ago I did a little Ballet - so much of what Richard analysed could be related to these and I'm sure many other sports/arts. Dancing with Janet was wonderful, she would not let you get away with anything and can dance equally well as man. Often faults were reported as well humored put-downs, getting the point over immediately. I think I learnt most about the technique of dancing from Richard (not the same as technique in the sense of professional exams). Understanding unfortunately did not help me produce what was needed - purely my fault not theirs.

Bill & Bobbie Irvine

What an inspiration this couple was to me. As dancers they were multiple champions in both styles, as teachers they excel in the ballroom/standard field. No other teacher had more influence on me as regards to Tango as Bill. His skill and knowledge are incredible, little gems such as when dancing a link "You can crack a whip but you can't crack steel". Bill will always stay in my mind as a major influence. Read the book of their early years and the great battles between them and Peter Eggleton & Brenda Winslade.

Bobbie is a wonderful woman teacher, fabulous to dance with a even less forgiving manor than Janet Gleave in that respect. You just had to try and dance your best when dancing with Bobbie. Once I made the mistake of putting my hand too quickly on her back and pulling slightly - "I'm not a handbag" Bobbie exclaimed, then added "If I was then I better be a Gucci !"

Joan Knight

Joan's straightforward, no-nonsense, logical approach to Latin American dance appealed to more than the esoteric/emotional approach taken by some teachers. She just has to put her hand on your back to correct a posture problem and you feel a million dollars.

Kenny & Marion Welsh

For such a superb competitive couple together they are very different in their teaching methods. I always loved their musical approach to dancing. Both are very knowledgeable, good humored, and patient - all the features you should look for in a coach.

Nina Hunt

Going down the steep narrow steps into Nina's Studio always was an awe-inspiring experience. Smothering the walls were photo's donated from all the couples she had trained over the years, I lost count of the number or World and British champions. Always driving her couples hard to give of their best, a feature of all lessons was a 2 minute coffee break towards the end, there were many times when that break could not come soon enough ! Nina was able to sort-out problems in choreography but it was performance that she strived to improve.

Anthony Hurley

What a wonderful dancer & teacher Anthony Hurley is, able to dance almost as well as lady, he's very good across all five dances. I had to wait for almost a year for my first lesson, it was well worth the wait. Solutions to dance problems that work and stay with you.

Sarah Francis

Sarah was as much a great friend as a great teacher, totally dedicated to those few she would let get close to her, not afraid to speak her mind (and what a wonderful analytical mind) she was a constant motivation to me. If I had to choose just one Ballroom/Standard teacher to go to it would be a very close contest between Sarah and Anthony Hurley.

June McMurdo

June's simple yet very effective approach to the technique of Latin American dancing has helped many couples over the years, you could always get a good lesson each time and something you could apply right away. June was able to teach many different levels of pupil not something that you would see very often.

John & Nadia Effterdal

John's masculine approach and Nadia's use of rhythms I found most helpful, I wish I had more time with them. John helped enormously strengthen up my leading and helped me understand about anticipation of lead.

Updated 27/12/98

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