It is great pleasure to introduce to you a fabulous dancer, teacher, and performer from NYC, Mr. Thomas Guerrero, the director of the wonderful dance team, "SANTO RICO DANCE COMPANY"!

Our Interview...

JJ:      First of all, let me ask you: How did you get started teaching? And Did you ever have a mentor that sort of really got you involved with it?

I started dancing socially in 1992, and was recruited in 1995 from the social scene by my friend, mentor and then director of Santo Rico, Wilton Beltre. To say the least, Wilton introduced me to a whole new world and perspective of dancing and music by teaching me how to count through learning his choreography.

JJ:      Do you believe that a really good dancer doesn’t necessarily make for a really good teacher?

Absolutely…  just because you’re good at one trait, it doesn’t mean you have it all.  You can be a very good instructor and a not-so-good dancer, and a very good performer even, and a not-so-good instructor, or dancer.  However, I believe that all who represent the business should be good at all 3, e.g., instruction, dancing, performing, in order to be able to market and represent themselves and the business more effectively.  This also sets a standard for all those aspiring to eventually do the same.

JJ:      What’s the hardest thing to teach a beginner student?

Timing & Clave – most beginner students start taking classes with a more fun and social approach.  They don’t imagine how much more is involved in becoming a student of the art altogether, which is the most important aspect of all.  Hence, when you try to teach a student numbers and theory they’re shocked because usually they don’t imagine that music has so much to offer and so much to learn about.

JJ:      What advice can you give a beginner teacher?

That the most important aspect of dancing and music is respecting and understanding where it comes from, hence learning the history, in order to provide clear knowledge and insight to their students.  In a nutshell, becoming fundamentally sound, which begins with learning theory - the instruments, the history, the timing, etc.  This is what makes the student eventually a dancer and a professional from within.

JJ:      How do you create a good student?    And what I mean by that is, I’ve been told that when someone gets a student and you want to be able to maintain them, you want them to stay interested; so what is it that teachers can do or should do to create someone who’s a student that will learn well and get them to stay consistent? Are there any tricks or certain things that we should know?

This response is similar to my previous one.  In addition, an instructor also needs to keep things simple enough for students to understand, digest and maintain, and always provide a goal for your students to reach.

JJ:      Being a studio owner, you deal with other instructors. Is there any advice you can give to teachers or anything that you would like to see teachers do that you don’t see often?

To begin with, all of my instructors have to take a mandatory 2-day training, and within that training I stress that they primarily have to become students of the music before becoming actual instructors, by doing research and educating themselves.  I also always tell my instructors to develop a method for themselves based on the fundamentals in order to convey what they’re teaching their students with utmost clarity and effectiveness, not rushing and misleading due to lack of knowledge.

JJ:      Can you give any advice on how to teach a group class?

All instructors should develop a system/method to teach.  Also, always maintain a disciplined format for your students to follow in order for them to always stay challenged and stay focused on the goals you set for them.  I usually require for all my students to attend class consistently and I teach them how to practice at home in the event that they have to miss class.

JJ:      How important do you think it is to count as a student? Then as a teacher?

I explain to all my students that the count is only a guide that should be exercised until it becomes second-nature, but their ultimate goal should be to feel the music by way of the clave, which then eliminates the need for them to count.

As a teacher, one should always count and make their students count to illustrate the different kinds of counts within each step, from a basic count to a syncopated count.

JJ:      What are some pointers on how to be a successful dance group and can you give us the positive side as well as the negative side?

The most important aspect of being successful at having a dance team is always remembering that you’re dealing with different people from different walks of life, with different personalities and characteristics.  This makes for the most difficult part being getting all those different personalities on the same page or on a common working ground upon getting together to rehearse, perform, travel together, etc.  The easiest part is paying them when they work hard for you and the team.

JJ:      There’s a lot of salsa congresses these days, can you give some advice how one could get involved with performing or teaching at these events?

Work hard, very hard to make your product known by doing good shows and offering a different perspective of your overall style of dancing and teaching.

JJ:      A lot of dance teachers are coming up with their own dance groups these days … I’ve heard some teachers feel it’s now necessary to have a dance group in order to be seen and get students… do you feel this is true or at least necessary?

It’s true and to some extent necessary, but this concept shouldn’t be abused, it should be done diligently and correctly.  The most effective way to get students and to promote yourself is to show what you can do and what you have to offer.  However, putting together a dance group isn’t something that should be taken for granted just because you want to get students, because it’s not getting students it’s keeping them interested and returning to you.  Putting together a team should be done when you’re trained and have acquired an ample amount of experience and knowledge in order to launch a good professional product.

JJ:      Here’s a good one.   – I get a lot of questions, people write to me all of the time and I’ve had several of this particular question from other teachers; and they basically have said, “Jami, I love teaching my advanced students, I have such a great time and I’m really comfortable with it, but then I get someone who’s a really slow beginner, and I have a tough time teaching them.  What can I do to make it better?” Because it’s like, they find themselves either getting frustrated themselves or whatever.   So are there any tips that you may have or things that --?

Do your classes by levels.  Get your students use to a schedule.  Unfortunately, you won’t be able to please everyone according to their schedules, but if you offer them organization and a good product to learn from, everyone will eventually get use to it and make the time to come see you.

JJ:      It’s been presented to me since I’ve been running this Instructor’s Forum that people have asked about having certified instructors. And I’ve been in the process of creating something like that … So I guess what I’m asking is… what do you think about this and what advice can you give me to go about creating such a thing?

I think this is fabulous idea!!  This will provide direction and prestige to a business that needs it desperately.  I think, like in every business or art, there should be a criteria or a protocol for everyone to go by in order to maintain professionalism and make sure that everyone is getting their money’s worth by learning from someone who’s qualified and who has done their part in acquiring the appropriate knowledge and certification in the art-form they’re involved with from a teaching aspect.

JJ:      Last but not least…Are there any sayings that you have, that you always say to your students? Is there a motto that you’ve run through? I have a little column, and it has “Advice from the Legends,” just little blurbs that someone can read and say, “Oh yeah, that’s a typical Santo Rico saying.” Is there anything that you have?

Saying: “it’s more about quality than quantity” cause anyone can learn quantity, but looking good doing (correctly) it is another story.  Motto: “I can teach anyone how to dance correctly with two conditions, 1) practice at home and 2) come to class consistently.”

Bio...

F. Thomas Guerrero started dancing socially in 1994. He was recruited in 1995 from the social scene by his friend, mentor and then director of Santo Rico, Wilton Beltre, eventually becoming one of the original members of Santo Rico Dance Co. Upon being recruited Thomas had no prior dance training. Most of his training came through learning choreography and eventually performing with Santo Rico.

As a professional dancer Thomas, now Director and President of Santo Rico Dance Inc., has danced solely for and with Santo Rico, since their first local performance at "Gozamba," a Dominican Festival in Washington Heights, NY, to teaching and performing at several venues across the country and all over the world, spanning 3 continents and more than 11 countries. Thomas' achievements involve, becoming one of the leading stars of the world famous off-Broadway Comedy Dancical, "Latin Madness," and performing alongside several Salsa superstars like, Tito Puente, Marc Anthony, Gilberto Santa Rosa, Victor Manuelle, Raulin Rosendo, Jose Alberto "El Canario," Johnny Pacheco, Norman Headman, and performing and choreographing for Hip Hop Superstar Eve's video of her hit single, "What Y'all Want" in 2000. Most importantly, Thomas is also the pioneer and creator of the famous "Santo Rico" spin technique, used by most female dancers all over the world.

Thomas and Santo Rico Dance Co. recently returned from their tour in Tokyo, Japan, and are preparing to embark on other prestigious world tours in 2005.

Thanx Thomas, your the best!