Aljaž Škorjanec Sara Davies Foxtrot Dream a Little Dream of Me

by Felix P: Dance

Foxtrot ranks among the most demanding and refined entries in the ballroom repertoire. The dance relies on a continuous gliding motion that creates an illusion of effortless travel across the floor. This style differs significantly from the waltz. While the waltz features a vertical rise and fall, Foxtrot unfolds in a smooth horizontal flow. A characteristic Slow-Quick-Quick rhythm drives this movement. It allows dancers to stretch specific moments while keeping the overall motion unbroken. The frame serves as the heart of every successful Foxtrot. Partners maintain a clear closed hold. The man’s right hand rests firmly yet gently on the woman’s back. Their free hands connect at a comfortable height. Body contact through the upper torso is essential. It enables the leader to communicate direction and timing. He uses subtle shifts of weight rather than arm pressure. The woman’s posture remains elongated. A soft inclination of the head completes an elegant top line. Aljaž Škorjanec and Sara Davies demonstrate this connection seamlessly. Aljaž leads with quiet authority from the center of his body. Sara responds without visible tension or hesitation. Her reaction shows no sign of uncertainty. This mutual understanding makes their partnership appear fluid. Footwork forms the technical foundation of the dance. On slow counts, the dancer places the heel first. They then roll through the foot to the ball. This action creates a long, grounded step. Quick steps travel more lightly. Dancers often move on the ball of the foot. Yet they never lose contact with the floor. The free leg swings naturally under the body. It avoids being forced into exaggerated positions. Clean heel leads and precise placement give the movement its signature polish. Sara’s footwork in this routine received particular praise. Critics noted its clarity and consistency. Aljaž carefully calibrated the length of each step. He matched his stride to his partner’s. Rise and fall in Foxtrot remains deliberately restrained. The body lowers slightly at the end of one figure. It then rises gradually through the knees and ankles during the slow step. Dancers sustain that height through the quicks before easing downward again. Excessive lift would destroy the gliding quality. Sway complements this action. It allows the torso to incline gently on turning figures. This produces soft, curving lines. These elements combine to create a sense of continuous momentum. The dance does not appear as a series of separate poses. Classic figures supply the vocabulary for the choreography. The feather step, three step, natural and reverse turns, and various weaves are standard components. When linked skillfully, they generate an unbroken phrase of movement. This phrase travels around the floor. Aljaž constructed the choreography with restraint. He selected patterns that suited the dreamy tempo of "Dream a Little Dream of Me". He also considered Sara’s developing ballroom skills. The result never felt hurried or overcomplicated. Every transition served the music’s gentle, nostalgic character. Musicality and shared intention elevate a Foxtrot from competent to memorable. The slow counts invite the dancers to linger in the sound. The quicks provide quiet propulsion. When technique, partnership, and musical understanding align, the dance acquires a floating quality. It seems almost weightless. In this particular performance, the combination of Aljaž’s precise leading and Sara’s attentive following produced exactly that effect. The result was a polished, lyrical Foxtrot. It felt both technically secure and emotionally sincere. #Dance