Dance Through a Professional’s Eyes

Meet Bonita Brockert

My journey with Bonita started with a VHS tape—an instructional video by American Express /Arthur Murray that revealed the secrets of the Cha-Cha in ballroom dancing. When Bonita appeared on screen, her graceful movements and engaging teaching style drew me in. I soon found out she was just thirty minutes away, teaching at Dance Plus Studio in Grandview Heights, Ohio.

Walking into Dance Plus for the first time felt like entering a new rhythm of life. The studio radiated a warm energy that reflected Bonita’s passion. It was conveniently located beside what became my favorite coffee shop. Before each lesson, I would enjoy a rich cup of coffee, eagerly looking forward to learning the intricacies of dances like the Waltz and Cha-Cha. What began as a simple interest in dancing grew into a cherished ritual, all sparked by that VHS tape and the talented dancer who brought it to life.

Out of curiosity, I asked her how she started in dance. She explained that she often received encouragement from dancers to pursue the art form, while artists advised her to focus on dance. Bonita had been accepted into an art program at a state college known for its fine arts and spent a year there. However, with only one modern dance class available, she realized she needed to prioritize dance, knowing she could explore art later in life.

To support herself financially, she responded to an advertisement for a position at the Harrisburg Arthur Murray School that summer. Although she knew nothing about ballroom or social dancing, she believed she could learn and applied for the job. At 19, she started her career while still exploring other dance styles. However, after attending the world championships with her fellow instructors, she realized that ballroom dancing was her true passion.

She went on to win the United States National Silver Medal in American Smooth  and the Bronze Medal in Rhythm. Additionally, she secured both championship titles at the prestigious La Classique du Quebec with Chuck Bannister. Together, she and Bannister represented the American Smooth professional division at the United States Grand National Championships. Bonita was also a finalist in the United States Smooth Championship with David Hamilton.

Throughout her career, she won the Boston Cup three times with two different partners in three distinct styles. With David Vanderzell, she became a U.S. Open semifinalist in both the Standard and Latin Championships and won the Rising Star Standard title at the Ohio Star Ball.

Bonita volunteers yearly for Dancing Stars fundraisers, introducing new faces to ballroom dancing and promoting it within local communities. She taught in public schools through United Way and Families Forward, where her students showcased their skills in a spring arts concert, demonstrating proper technique and good grooming as they presented their partners.

Every year, with her husband, she taught the Young Marines how to perform a few dances, how to ask a lady to dance, and escort her back to her seat. She did this in preparation for their annual Marine Corps Birthday ball.  It teaches them both manners and dance skills.

In my opinion, etiquette is the sine qua non of ballroom dance—the essential thread that binds tradition, grace, and mutual respect. It’s not just about rules; it’s about honoring the heritage of the art form and creating a space where dancers move with intention and dignity. From the first invitation to the final bow, etiquette transforms movement into meaning.

Many dancers today lack proper knowledge of dance etiquette. A significant problem in dance environments is breaking the line of dance. This can occur when some dancers opt to perform a line dance routine in a traditional dance setting. It can also occur when dancers talk on the dance floor, or even worse, when drinks are carried and spilled on the floor!

(Bonita teaches her students about the line of dance in the appropriate dances and what kind of material is expected in social settings. She uses amalgamations in Smooth dances to help men learn to adapt and move instinctively.)

Questions for Bonita.

What are your thoughts on dance floor etiquette?

“They (dancers) need agility to change patterns and shift directions smoothly. It’s essential that they adjust their style and patterns based on the floor size and event to blend in and avoid collisions or appearing showy. Before events, I set up small floor setups in the studio to demonstrate how to bring hold and movement into compact forms. Then, we practice, because just showing isn’t enough to build replication and confidence. I stress the importance of knowing how to dance a social foxtrot and waltz on small floors. Many hobby dancers develop an unhealthy attitude toward the bronze social syllabus, which can hinder their ability to dance appropriately in real-world spaces. Every dancer should have those basic patterns in their toolkit and not expect to perform twinkles with partners who are new or in spaces where patterns need to be compact.”

How do you make a new student comfortable?

“With a new student, I want to make them comfortable before we do anything else. If they don’t have a request, I always start with the Waltz since it’s the easiest for them to get moving and feeling like they are dancing. We may also dance the underarm turn if things are going well. Then we do Rumba so we can see the interrelated system of dance elements, which allows us to use the same patterns with different timing and music style. This way, they can feel a sense of good progress. With most students, I can also do an introduction to Swing. If they come with a specific dance request or a wedding song, of course, we start with that. Some people only want to do one dance or just something for the wedding, so I go with that. When I have a Dancing Star contestant, we have a limited time frame and must produce a routine. In that case, I will teach the basic patterns of the dance we are going to do. This helps them feel at ease and provides a foundation to understand the dance, rather than jumping right into a routine. It also allows me to assess the candidate’s ability and personality, so I know what material to plan and how to choreograph it for their best result.”

How do you progress with an intermediate student?

“Discussing an intermediate student is, of course, very variable. This depends very much on the goals. If my student is competing and wants to pursue that path, I will begin teaching them the International Ballroom style when they are dancing a good quality intermediate Bronze Smooth. They must have mastered a solid and smooth presentation to do so. If so, the international training will enable them to advance their skills more quickly. Whether they want to compete or stay in the social realm, I will start developing the Latin action in the appropriate dances, as well as more challenging patterns. I add dances, patterns, and style/technique as they become more proficient. Single students will also need more emphasis on how to approach dancing with someone they are not familiar with and how to use a weight shift to feel their partner’s balance and degree of comfort, making it easier to get started.”

Who Do I Prefer to Dance With?

“I prefer to dance with someone who is respectful and courteous, and who dances appropriately in social situations. I don’t enjoy someone who takes a competitive approach to social dancing. This is usually someone who is not accomplished or particularly skilled, but may imagine they are, or perhaps can only perform routines. I don’t want to dance with someone who tries every intricate move they learned in a group lesson or that they do with a partner in a showcase. I only mention this because it happens too often. Students also complain of being injured by these encounters. My favorite thing is a partner who has a wonderful embrace and a sensitive lead, who is dancing for the enjoyment of both of us and not to be seen.”

What Inspires You to Continue Teaching?

“I love to teach. I love to see people who cannot dance when they walk into the studio, and then minutes later, they are waltzing. Seeing a couple who can’t dance at the start execute a lovely dance at their wedding is very special. All levels are inspiring to me, and the physical interaction of teaching dance creates a special bond.”

What is Your Favorite Ballroom Dance and Why Do You Love it?

“My favorite dance is usually the one I’m doing at the moment, provided the music is wonderful.”

Can You Share a Memorable Moment You’ve Had with a Student?

“I have too many moments with students even to recall. So I will share one that happened during a competition around Halloween. My student slipped a pair of fake Dracula teeth in as we were dancing our Tango. I didn’t see this until we turned into the promenade. I was aware of everyone laughing as we went by, but had no inkling that they were laughing at us. Everyone in the ballroom had a huge laugh, and I could barely continue the dance. Of course, in these situations, the student’s personality adds so much more to the fun than could ever be understood in recounting the story. The same student lost his toupee during the Mambo at the Ohio Star Ball and broke everyone up.”

What is Your Dream for the future of Social Ballroom Dance?

“I hope that social dancing will be reignited at some point. In niche circles, such as Salsa, West Coast Swing, Tango, and Lindy, the social dance scene is still very alive, although I can see some erosion in Swing, as competing styles seem to be gaining dominance. Perhaps the focus of many teachers on competition, combined with the focus of many students on patterns, has likely diminished the quality of social dance. A good social dancer requires a significant amount of quality training to move well and provide a partner with a positive experience. After all, a social dance is all about how we feel toward one another, and comfort and ease are not acquired without effort. I hope more people will desire their partners to enjoy dancing with them more than the number of routines and patterns they perform. I also hope that more teachers apply their efforts toward developing lead and follow skills, comfort, and placing value on social dances.”