Felix is a swing dance instructor, performer, and choreographer based in Stockholm, Sweden. Like any other Swedish dancer he started in the Swedish Competition Scene at the age of nine with “bugg” as his main style. One year later he took his first basic six count step in Boogie Woogie and has never stopped.
At the age of 16 he made his first visit to Herräng Dance Camp in Sweden and fell in love with the African American social dances of the swing era such as Lindy hop, Vernacular Jazz, Charleston and Tap. Since then, he has tried to learn everything he can in order to develop his dancing, music, and teaching skills. He wants to pass on this knowledge to people all over the world. He is a strong believer of the freedom and the authentic style of the dance and the connection you create with your partner and the music.
It motivates people by giving them a great goal to work towards. Even if you don’t think you’ll get to the podium, you still have to go out knowing that you will get watched and judged, and at the end you’ll get feedback on your performance. I get extremely excited about the feedback because it shows me how I can improve.
I always have this idea when I dance with a person, I am dancing for that person. That’s everything: make them look good, don’t show off your ability to lead complicated moves, give them space for variations, try to be connected to the person in front of you, and try to hear the music together. Sometimes it works perfectly, and sometimes we are on a different page. That doesn’t mean I stop dancing myself, but my priority is showcasing my Follower.
“At the competition, you can’t do anything more than you already have trained.”
Not really, because I’m so focused. But maybe that’s just a way of taking care of the nervousness. I rely on the training that I’ve done (in the sports scene). At the competition, you can’t do anything more than you already have trained. You can’t do anything extra. You have the routine and you aren’t going to do it much better than at the last practice.
The only time I got nervous was for Wilma last year in the Pro/Am at ILHC. I wanted to make sure that she got to shine. I didn’t want to ruin her experience because I messed up! When we rehearsed, we kept missing things, but we knew that we’d fix it out on the floor.
Generally, I’m relying on the work I’ve already done. If it’s not a choreography, then I try to rely on myself.I might get nervous because of the other people on the floor – I want to show my best for them – so I focus on being the best version of myself. That can help calm my nerves.
The Team at ILHC 2016. We had a really tough year building the choreo and making it work. The first time we choreographed as a team, we decided that we weren’t going to go to ILHC as a team if we couldn’t win. There were rumors circulating that we were going to come, and we wanted to get something great together, but it wasn’t until we finished the choreography that I felt like we had something really successful.
And then when we won, it brought the group closer to each other. That will always be a memory that we can carry forever.
I think the favourite one will always be the main Boogie Woogie Finals at the Swedish Championship. That’s always something special, and I can’t explain why. It’s something that you have to experience.In the social scene I would say J&Js or Pro Classic. And now in the last two years, it’s been amazing to watch the comps at Savoy Cup (Montpellier, France) and taking part in it as well: Vintage Routine, Cabaret, Chorus line, etc. … so many different things that really shows the true spirit of the dance.
My partner and I would learn the format and try to create choreo that would fit. Some years the choreography just wouldn’t fit. Now I do more social dancing to lots of different tempos with my partner. I don’t get stuck trying to pair things together. I’ll have a small piece of choreo, but I don’t rely on it. It’s really important to dance at higher tempos so you don’t fumble when the music gets fast.
For the Showcase: Usually for the Swedish Championships, we start with the idea of a song about 6 months in advance, and then about 5 months before the competition we’d start organizing it. Before we listened to your podcast, we would try to map out the song (what we like, small details, hits, instruments, sounds we like), but after we listened to your podcast, we filmed ourselves social dancing, decided to cut our music, figure out the theme AND THEN map out our song. By filming ourselves social dancing, ideas came spontaneously, which made creating choreo so much easier!
Boogie Woogie. In terms of practice, it’s even harder than Lindy Hop. It’s a lot of time and entails a lot of high tempo work: social dancing at high tempos and performing at high tempos. We do 3-4 rehearsal set like that. When were done with rehearsal, we are exhausted.
In the last 3 weeks, I traveled to Vilnius, Lithuania to work with Egle Regelskis (Thurs-Mon) and we rehearsed every day from 11am-6pm to make a Classic for Savoy Cup. It was super fun. The week before that I was in NY rehearsing with Michael Jagger to do something at Jazz Roots.
Normally, if I’m at home for a week, I’ll train my dancing every day. Maybe do a show with Hannah and Mattias, a rehearsal with Mikaela or Anders on Boogie, Lindy, Tap, Jazz, or whatever we feel like. We train body work. It all depends on what the week/weekend has in store. Life for me is only about dancing!
My body is still young, so I’m doing what I can with what I have. And there are so many good dancers in Stockholm who want to rehearse! The only downside for other dancers in Stockholm is that there is a great divide between the us and the students, and we are extremely busy training with each other — so its difficult to break into that world. That being said, this last year and a half I’ve starting traveling more and more and it’s been harder to keep the standards up regarding training every week. And I miss that a lot! So I need to start planning that better and so I can do something about it!
If you want to go somewhere new and find people to rehearse with, I think the best place is either Vilnius, Barcelona, or Seoul. In all of these places there are a lot of dedicated dancers!
I’ve always told myself: “one more time.” I just run these things and over again. Again. Again. Again. I would say I rehearse a lot.