October 13, 2024

Dance: Tango is fun when you are not limited by techniques and skills (Tulsa milonga 9/29/2024, Fernanga Ghi WS weekend 10/4-6/2024)

 As in the title, Tango is fun when you are not limited by techniques and skills.


I went to Tulsa for a milonga, hosted by friends Sergio and Irina. They were Stage Tango dancers in the past and it still shows.


Stage tango dancers are usually great at social dance, too (if they choose to social dance, anyways. With cabeceo rules, you can be choosy). The techniques and skills they have are so good that we can just enjoy dancing.

In normal social dance, lack of techniques and skills do get in the way and robbing some fun, like needing to support her shaky balance so that my options can limited at times, or "suggest, wait and hope to happen" some music-matching embellishment (which is not always leadable. It is her job), but nothing happens.


When you want to use "energy flow lead" (i.e., instead of micro-managing her steps, the lead can be done by directing the track, momentum and speed. She does her part. Especially important in Vals.), the difference between stage-level dancers and enthusiasts is even more obvious. Stage dancers do their steps nearly automatically. I'd say the amount of practice they've done makes it possible. 




When I was once discussing "naturals" in West Coast Swing, the naturals are the dancers who can "just dance it and think about it later".

Stage Tango dancers have a similar feel, although, instead of pulling off something funny on the moment, they follow the lead in more structured and predictable manner, as such is the Argentine Tango dance with tighter input-output/lead-follow relationship.



Irina is probably the best Tango follow in this state. She was so fun to dance with. Much appreciated.



The next week, Hazel was inviting Fernanda Ghi from Boston to OKC for Workshop, practica and milonga weekend.


Quoting the event ad:

"Fernanda Ghi is a true legend in the world of Argentine tango.
Ghi performed in countless shows and exhibitions, and became the World Argentine Tango Champion in 1999 ( IDO)
Ghi and and her partner were the first non-Asians ever invited to perform at the Imperial Theater in Tokyo and were the feature dancers on the PBS special ‘Tango Magic’ with Pablo Ziegler and the Orpheus Orchestra.
Ghi has performed in concert with several Symphony Orchestras (New Mexico, Long Beach, Costa Mesa) and was commissioned the creation of a tango ballet for the Tulsa Ballet Dance Company
Directed and Choreographed the famous Opera Maria de Buenos Aires, several times.
In 2017 and 2018, Ghi served as a judge at the ‘Tango Mundial,’ the World Competition for Argentine Tango.
Ghi’s new Dance company creates a fusion between Argentine Tango and other art forms, such a theater, visual arts, opera and other styles of dance.
Ghi is the founder of Boston-based academy that trains amateur and professional dancers.
Fernanda Ghi Dance Academy


Fernanda maintains that tango is based on three fundamental pillars: a clear definition of the partners’ roles; a constant and active embrace; and a common axis of the dancing couple.
The starting point is the music, which determines the dynamics of expression, and thus creates a “style”, but the “style” is never the starting point. A clear understanding of the mechanics ensures that no undue stress is placed on the body and each movement is a response to a partner’s movement. The Tango that Fernanda teaches is based on a deep understanding of the essence of the dance, and allows each student to find their own personal manner of expression, without losing the universal language of Tango and the culture from which it comes."

(quote ends)


Impressive career indeed.


I thought the name was familiar. That was because she was the performer in the PBS Tango Magic video. I collected a few Tango videos before the internet era and explosion of online Tango information, both performance and instruction. The VHS video is still around, although I have not watched anything in VHS for quite a while.


I had an opportunity to dance a few Vals with Fernanda. Yes, she was also a dancer who allowed us to just enjoy the dance.


Her teaching was well-received in OKC tango people. I am certainly hoping to see difference in their dance in the near future.



Good dance is by itself a rewarding experience. Happy to have had opportunities to dance with awesome dancers.



[(left) with Irina and Sergio at the Strictly Ballroom dance studio. (right) event ad]



September 26, 2024

Dance: Axis, lines, alignments, extension, plus "tea ceremony" approach for aesthetically-pleasing Argentine Tango

 About 2 weeks ago I went to Dallas for back-to-back milongas. Nice to dance with different people. 


A different environment can facilitate thoughts. While I was there, I was thinking what makes Argentine Tango dancers look good, and how we can break down the factors so that we can teach it if we want to.


Of course, people who do not want to learn are unteachable. And, although I do a lot of dance diagnostics while I dance and watch, I usually do not give unsolicited advice (saves a lot of trouble). 


That said, here is a thought on the factors that make Argentine Tango dancers look good.


Partner dances including Argentine Tango come with two layers; (1) what an individual dancer can do with his/her body's ability and techniques, and (2) how he/she interacts to create a good partner dance as a couple (i.e., partner skills).

I'll start from the individual aspect. 


For example, critical factors Ballet students should develop are turnout, alignment, and extension. With the concepts, they build their body.


For Argentine Tango dancers, important factors that you can work on your presentation of your body are (i) Axis (plural Axes), (ii) Line(s), (iii) alignment(s), and (iv) extension.


Now, you can check these four factors for your own presentation. 

 (i) Are your axes straight and stable, so you can use for pivoting gracefully?

 (ii) Are your lines straight and balanced?

 (iii) Are your lines well-aligned?

 (iv) Are your axis and lines well-extended when you move?


In addition, there are aesthetically-pleasing ways of dancing Tango. Think the "sandwich and walk over" move. The move is done in a particular sequence with a particular stylized body usage.


Learning the particulars is what I call "tea ceremony approach". The knowledge makes a huge difference in the dance appearance.


When I was at the afternoon milonga in Dallas, I saw two followers doing the "tea ceremony", out of 20 followers. Although these two were not exactly advanced dancers, they naturally stood out by showing "they know what they are doing".


There are "veteran beginner" dancers whose dances do not look trained, even after many years of dancing. The main causes are the lack of (a) body usage (for Tango, demonstrate skillful uses of axes, lines, alignments and extension) and (b) demonstration of knowledge.


Judging from watching many dancers, few people want to work on these "basics". Most want to "improve" by accumulating patterns. From the standpoint of an instructor, it is an easy way to have classes with happy students.


Although patterns are important part of your dance knowledge, if you want to stand out, you need to work on the "basics".

I am kind of a fundamentalist about that.



[Japanese tea ceremony "The hostess fills the bowl with green tea powder and then pours hot water into it and stirs with a bamboo whisk." (Wikipedia image)]





August 29, 2024

Science: School is starting. Time to pick up active learning.

 Today there was a research retreat of our cancer center. Main audience were fellows (trainees to be MD) and junior faculties.

I checked out the talks on zoom/remote. The contents were educational, something like an orientation for the audience to start up their research careers.


Manty of the speakers were presenting their own career development, so that we can see them as relatable life stories, or learning materials for success and for life at the clinical setting. 

Knowing the rules of the game early is terribly important.


An important thing to play the game is that we need a go-getter's mindset.


For example, in our research lab, for high schoolers and undergraduates, we spoon-feed things.

A major transition we anticipate to occur in the graduate school students is to practice active learning. 

Instead of waiting patiently for teachers, mentors and colleagues to feed them, graduate school students should acquire the methods to actively construct their learning on the subject of their interest.


Certainly, active learning is a methodical approach to find, study, and make progress in the subject of interest. Active learning can speed up your progress so much.

PhDs need it. To some extent, MDs (or research-minded success-conscious MDs), too. But unfortunately in practice, MD candidates can be too busy acquiring all the medical knowledge, and they may not always get active learning skills.


Active learning methods include how to select resources and materials. This knowledge can make you somewhat resistant to manipulations by others (politician, strangers in internet, biased media, etc. Opinions are cheap. Baseless lies can even be harmful. You got to be selective about the sources).

That is why I thought the old buzz phrase "I did my research" was so laughable. Really depends on who is saying and what the "research" actually is.


Another important notion is critical thinking. But for today, I'd emphasize the importance of active learning here. 


You can apply the active learning approach to anything, like your hobby. 


I am still using the approach to my ballet, too (hehe).








August 21, 2024

Dance: The "trained look" is not only for elite Ballroom or Ballet dancers.

 When I mentioned the "trained look" in a past entry on 6/5/2024, I was thinking where the dancer's "trained look" comes from.


Most community dancers of Salsa, Bachata or Kizomba don't have it. Most WCS "improvisational" dancers don't have it.

Hip Hop dancers? Recreational Ballroom dancers? Tango dancers at milonga? Hit or miss.


To my eyes, very few community dancers have it. 

An easiest way to make the call is that, you imagine yourself as a producer of a Broadway show, and if you'd hire the dancers for the show. 

Amateurish-looking or -moving dancers are out.


Yet, certainly, I see the "look" more often in elite Ballroom dancers and Ballet dancers.


So what makes the difference in the look? I list a few factors.


(1) Body, posture and line. (And their upgraded version; "presence").

How you hold yourself, and how you present your lines, are immediately noticeable. Ballet dancers add extension and turnout; all are advantageous in this regard.


(2) Basic training focus is on the look and execution, rather than how they feel about dance.

This mindset difference is huge. As long as you are dancing like no one is watching, you will not develop the "trained look". Expression comes later when you have good tools.


(3) The dance style itself is designed for theater or show.

For example, kizomba is fun social dance. But it is not showy, or designed for theater to be seen from a distance. Motion range (=effective viewing range) is small. Good luck organizing a Kizomba show on Broadway. May work in a small room or in a close-up video filming, though.

I am not against Kizomba or anything. But some dances are not designed for or friendly to theater shows.

This difference also applies to stage tango and social tango. We need to accept that they are two differently evolved dances.


(4) Existence of solid syllabus, aesthetics, and training structure to follow.

Ballroom dance has standardized curriculum/syllabus. It is easy to see if the dancers know them or are performing them. Strong aesthetics exist (e.g., Rumba walk, Cuban motion) for each dance style, which further strengthen the "trained look" of practice outcomes.

Ballet dancers (esp. classical ballet) train themselves to perform the theatrical art of Ballet. The art even requires you to conform to it, not the other way around. No wonder Ballet dancers develop the "trained look" (if they can use it in a partner dance is another story).

Some theatrical dances have "correct answers". Many other community dances have looser standards (or they are not for show at all).


(5) Consistency and reproducibility.

Once a basketball player learns a good form to shoot, he will use the form many times over with good outcomes. Having a good form as your default, and not straying from it unless by choice, is critical.

Good dancers should always, consistently, and reproducibly, look good. 



...........Off the hat, there are five. And if you apply these to your dance, it would be easier to develop the "trained look" in your own dance.


Here is a thought. Give it a try.


For your reference, here is a video that gives us some ideas about how professional Ballet dancers train. Royal Ballet in London (UK) is one of the most famous Ballet company in the world.

They start out from basics-warm up exercise on barre. This unapologetic practice of basics is what best professionals do.




[Royal Ballet morning class - barre and centre #WorldBalletDay 2021]









July 30, 2024

Dance/Life: Tulsa trip (WCS party with Maria , Philbrook museum, Argentine Tango party at Coffee Grinder with Irina and Sergio) 7/27-28/2024

 There were two dance events in Tulsa last weekend. So I went. About 2 hour drive one way.


West Coast Swing (WCS) dance community at Tulsa was inviting Maria Bileychik from Dallas for workshops, party and private lessons for the weekend. 

She is an active competitor in WCS dance circuit, and All Star Jack and Jill winner at the Wild Wild Westie 2024 (just 3 weeks ago).



[Their winning dance on YouTube]

[I was watching the contest at the WWW event. I thought the guy was trying to emphasize athleticism. I guess that worked well with judges.]


Her workshops were popular. At the party, she was social dancing with everybody, which was very nice.

I danced 3 songs with her. Such fun dances they were.


All WCS follows at all star and above level can move well and each has a good intuition, so never get caught awkward (unless the lead guy do really stupid things). In addition, each has developed her own character. Some are athletic, others are playful, infusing other dances, and so on.

Usually in partner dance, women are better dancers than men. Or, men can get away with it if he can at least be a solid lead, but competition is tougher for women. (I digress).


I thought her dance was a playful kind, with a lot of tricks she can use according to the song. An interpretative artist-type dancer? She would thrive in Jack and Jill situations.



The next day I stopped by Philbrook art museum, a private mansion of a rich family turned to a public museum on 1939. 

They have eclectic mix of collections; contemporary arts, Egyptian artifacts, religious paintings, Wyeth family paintings, Southwestern Native American arts and pottery, Glassware and sculptures, etc etc.

I thought the museum might be small, but there was a lot to see.


I was particularly impressed by the  "little shepherdess".  When I walked in the room, the painting, especially her face, just popped out. I was spending for, like 30 minutes in front of the painting to figure out why the painting was so impressive to me (no answer yet).

I did not really prepare for the museum visit nor did research beforehand. But it was good to know later that the painting was a featured, famous piece of the museum. I was not alone to be impressed by the painting. The art (or NEN) was strong with it.




I had whole afternoon at the museum before I moved on to a coffee house where my Argentine Tango friends, Irina and Sergio, were teaching beginner class and hosting a milonga.

Irina and Sergio were stage tango dancers. I remember they were great. I had not seen them for quite a while (since 2016?), though. 

It was nice to see them after all these years. They are still good dancers. Their dance looked good, and her dance felt good. Their kid (who was a baby) is now a young musician, playing tango for the party.


There were about 20 people from ballroom dance club, who were new to tango.

Tulsa tango community, too, shrank quite a bit during the covid time. They are hoping to build it back.
 

Building dance community, and having good dance skills and enjoying the dance by our own, are two different businesses. They can go well together (ideally). I hope the ideal be achieved by them.


Nice mini vacation weekend for me.















July 14, 2024

Dance: Wild Wild Westie 2024 (7/5-7/2024)

 I went to Wild Wild Westie 2024, an West Coast Swing (WCS) event at Hyatt Regency DFW international Airport Hotel, Dallas. The same place as the Holiday Tango event last year.


Instead of reporting event details, following is my thoughts that came up during the event.

WCS is a rapidly evolving dance. I was curious what kind of changes I would observe this year.


I. 

The energy level of the floor was high, with many dancers in their 20's and 30's. Although WCS events have become contest-focused events, there was plenty of time for social dance with willing partners.


So, fun was still there for someone like me who is interested in dancing with anyone, but not interested in doing contest with random partners of varying preparedness for dancing for entertainment/viewing pleasure. Too much of the luck of the draw.


II. 

Social dance was good. I loved it. 


III. 

On the social and contest floor, what I saw was;

(a) swing dance with more 3-dimensional swing orbit, compared with previous (classical?) 2-dimensional swing motion on a linear track/slot, and 

(b) leads with unattractive, overactive frame.


I liked the 3-D swing motions, but not the look of leads with overactive frame, who were about 95% of all leads.

I don't think I'd use overactive frame style any time soon. Not for me. Aesthetic choice.


IV.

Direction of social dance evolution is influenced by a number of factors including; (i) how the dance is taught, (ii) how current champions dance, and (iii) how easy or fun it is to do it.

Regarding (iii), there are highly athletic top pro-followers who can merge gymnastic moves to WCS. Their ways of dancing are unlikely to be done by the most, simply because the moves are too difficult for the most. 


(iv) Another detail is more widespread inclusion of axis-based moves.

I've thought that merging axis-based dances (we see the moves often in Ballet and Tango) with WCS is tricky, because WCS basics are one-two and triple, with moving feet and hovering center.

But moves like one foot spin (taking time to "dance" instead of keep moving) opened the possibility of adopting and merging axis-based moves from Tango or Ballet. (My opinion). 


Moves formerly frowned upon in "classical WCS" (e.g., non-linear slot, showy moves from other dances, intentional disconnect/reconnect) can be done in "modern WCS".

That is wonderful (provided that they are done well and looking good).



[My attire: Gold shoes and shiny shirt]


PS 1

I noticed that some of the moves recently introduced to WCS can be refined. A WCS move in which she stands on an axis in a lunge and he runs around to present her, is basically a layman's version of the same axis, pivot spin of stage Argentine Tango.

 I am hoping to see someone bringing refinements in the move to WCS contests.


PS 2

As my summer project is ballet, I checked out a "modern ballet" class in the event. 

There was an outstanding ballerina. I loved the way she move and thought she was a real deal. In the world of sport (including dances), stars who can attract eyes exist. This kind of awe is what I really love. 



June 28, 2024

Dance: 2024 Summer project=Ballet

 I picked Ballet as my 2024 Summer project. I am "doing my research on" various but select aspects of the art of Ballet.


When I investigate an art, I do my research with a focus on (a) Basics, (b) the highest outcomes/performances, and (c) how the art is taught (teaching and culture).


For research purpose, I bought some materials (planning to add more as needed).


Books:

For Basics, Children's books:

   Ballet for Beginners (Marie-Laure Medova)

  The Ballet Book; the young performer's guide to classical dance (Bowes and Kain)

  The Ballet Book (Darcy Bussell)


For theories and detailed technical manuals:

   The Cecchetti Method of Classical Ballet: Theory and Technique (Beaumont and Idzikouski)

   Basic Principles of Classical Ballet: Russian Ballet Technique (Agrippina Vaganova)

(Vaganova and Cecchetti were big bosses of Russian and Italian schools of Ballet. Their books would be worth checking out.)



For learning teachers' viewpoints and dance culture

   The Ballet Book: Learning and Appreciating the Secrets of Dance (American Ballet Theater)

   Be the Dance Teacher They Remember: From Dancing to Teaching, Classical Ballet Pedagogy in Practice (Candace Egbert)

   Auditions, Competitions, and Intensives: Why, When, What to Expect (Dawn Crouch)


Others:

There is a Ballet-themed manga "Dance Dance Danceur".

Mangas usually don't work well to pick up techniques and skills, but can be great at learning culture, and are great for enjoying the characters and the story. The manga is ongoing one, but so far is quite enjoyable. I learned "Caught" idea there.



Videos: Performing art can be learned best from performances.
  New York City Ballet workout

  Performance videos in YouTube, both classical (Tchaikovsky etc) and contemporary (Bejart, Polunin). Research can be a numbers game.


I understood a few points, including that (a) leg turnout is a critical "body building" for Ballet, (b) the leg turnout allows clean extended lines, balance, and leg motions from the hips characteristic to Ballet, (c) when combined with foot styling and pointe shoes, Ballet dancers can really extend their limb lines for a theatrical effect, and (d) great number of Ballet moves are built on the basic Five positions.


That would mean, I will have to work on the five positions and basics first, until I can do them clean on Bar (with support) and on center of the floor (without support).


 Hence, I set my summer project goal for just that; clean five positions and basic moves.


 My current turnout is about 150 degree. While I work on turnout, I'd also pay attention to leg lines in straight and in bent positions (plie/demi-plie).

Ballet poses are highly influenced by natural body type and built-in anatomy. I acknowledge my genetics and anatomy. 

It may sound strange but I see some similarities to body building. We all got genetics and unique body to work with. Much like going to gym and lift to build muscles, after practicing the art, I'd want to see some visible difference in my movements.


Arabesque is one of my "nice to have" Ballet poses. On trial, the pose was not easy for me. I can lift a leg to 45 degree. After engaging back muscle, I can take it up to 90 degree (close to parallel to the floor). But Mrs. Vaganova says "no less than 90 degree". I'll see how I can progress from there.




What I am not going to do for this summer project is to be too ambitious.

No injury-prone moves like Polunin-style high leap (might try in swimming pool, though). No pointe shoes or tutu (they are for girls anyway). No joining Summer camp by professional ballet (OKC Ballet is having a workshop for adult, but no).



While I learn the theories, practice the basic moves, and watch impressive performances, I'll have better appreciation for the art of Ballet. 

That is the outcome I am aiming at for this summer project.




To be honest, Ballet dancers do not always make great social partner dancers (by social partner dance, I mean something like ballroom and party Latins, not Pas de deux). 

Ballet dancers are great at "ability and techniques" to move their own body. But "interactive and improvisational" social partner dance skills are not central to the art of Ballet, it seems, and that can come as a weakness. "Interactive and improvisational" belong to a different domain of dancing.

Of course there are all around great dancers among ballet pros. As trained athletes, they are not "regular people" at all.






  

 




June 12, 2024

Dance/Science: 6/1 WCS workshop and dance with Keerigan Rudd and Felicia Hoeppner; 6/10 Summer volunteer medical student arrives

 OKC swing dance club is mostly social dance club. But there are a few dancers who actively go to West Coast Swing (WCS) events for competition.


Glenda is one of such active competitors in the club in the Masters category. When I saw her dance at the last year's Wild Wild Westie event, I thought she was working on precise foot placement, which was visible from a distance. I guessed someone taught her that for competitive edge (I may be wrong).

What dancers work on is going to show.


Glenda invited Keerigan Rudd and Felicia Hoeppner from Texas for WCS workshops and dance. They are up-and-coming competitors.


WCS styling has changed a lot in 2010's, from more upright slotted dance to the "modern WCS" with influences from freestyle/zouk/fusion/blues, using active frame and more contact/leading points.

Regardless of styles, there are good dances as well as poorly done dances. 

Social dances evolve and styles change. But good dance/poorly done dance are a matter of execution, which is heavily dependent on each of the dance couple.


That said, Keerigan and Felicia are users of the "modern WCS" style. As not many people around here are using the style, I was curious.


And the dance night was fun. There demo was good with clean lines, and they both had good feel/energy flow in social dancing ( I happened to dance with both). No wonder they are "up-and-coming" in the WCS competition ladders.

Actually, a part of my ways of having fun in social dance is to appreciate the dancer's feel and their ways of "care" for the dance. Even better if the partner knows how to make the dance look good. 

They had good "care" and energy flow in their dances. I liked it.






And the WCS dance night was 11 days ago already. 

Starting this week (6/10-), we are working with a volunteer medical student for summer research activities.

Students in early career come in different degrees of preparedness. But he is pretty good (or so far so good).

When we take students, we assign a (part of a bigger) project that can get possibly published in the future. We use a "buddy system", so that he is not going to be left alone. I've even given the student an authorship when his/her results make it in the manuscript as a figure. That way, summer volunteer research may become something tangible that can help their career move.

He'll be around for the next 8 weeks. We'll find out how it would go this year.





June 5, 2024

Dance: Milongatown Milonga 5/25 Dallas, International Tango Show 5/26 Fort Worth

 Hugo and Celina are Argentine Tango dancers/instructors/event organizers, currently based on Dallas, TX. I met them on 2013 when we invited them to OKC.


Since then, they successfully built and integrated in Argentine Tango community in Dallas. There are several Tango groups in Dallas. But as stage performers, they are one of stand outs.


They were inviting live Tango band and having a milonga on 5/25 Saturday. 

Dance with a live band is a lot of fun. Dancers are a part of the song, interpreting the music to the dance moves. Musicians can challenge dancers by tweaking rhythm, tempo, ending and the like. Dancers can answer by our moves. I am always hoping that she is up to it. 


The next day, they were presenting a theater show at the Artes De La Rosa Theater in Forth Worth with the International Tango group, which is a stage tango performing group they were producing, as well as with invited Tango pros. 


A friend of mine invited me to the milonga and show. 

The inviter (Yoko) was working in Oklahoma, but now came back to Japan. She joined the international tango femme group while she was in the US. Thanks to the internet, she can work on the stage routines from Japan. 

And she flew all the way from Japan for the show. How could I turn the invitation down?


Stage Tango in theater setting is a very different dance from social tango. 

In terms of dance skills, the most demanding settings are for stage shows by professionals for which audience pay big money to see it, like, Ballet, Blackpool-level Ballroom, Broadway show, and Musicals (including Stage Tango). These have to have an appeal even to lay people, and the performers must have the "trained pro" look.


Many other community dances come with different degrees of standards and skill levels.


This show had an aspect of student showcase, and I could see some differences in skills and stage presence between pros and trainees from my front row seat. Yet, I enjoyed the theatrical production of Tango. For theater dance, dance skills are not necessarily all of the game.


I have watched many stage dances, on theater and on YouTube. Yet, when your friends are dancing, the viewing experience is different. Besides, I had no need to be critical or anything. I just sat back and enjoyed the show.


I saw a lot of work went in the show. Kudos to Hugo, Celina, and all the dancers.



PS  When I was doing some interviews with professional Tango dancers as a part of a project, I asked them about how many choreographed routines they have. One of them told me that they have 30-40. Another told me that they have about 5-7 "active" ones that they can perform with little brush up.

Yoko was dancing in 9 numbers. Talk about hard working.




May 22, 2024

Science: One thousand pre-cancer lesions in pancreas of pancreatic cancer patients

 Our group investigated prevention methods for pancreatic cancer, using transgenic mice models.

Relevant to the line of work, there was a new paper on precancerous lesions in pancreas. The paper appeared in Nature, a prestigious scientific journal.


So I checked out the paper.


The authors' group was from Johns Hopkins. They recently developed a new methodology that they call CODA. 

Basically, the method can generate 3-dimensional imaging model from a stack of histopathology slides, visualizing tissue structures (fat, duct, smooth muscle, epithelia, etc) as well as precancer lesions and cancers, in a high resolution.

Use of AI was involved in figuring out histopathology from images (e.g., assigning which part is precancer, cancer, or normal part).

By combining microdissection and DNA/RNA extraction, they can analyze genetic/genomic alterations occurring in cancer and precancer lesions.


Nature journal editorial office seems to like papers using new technology to answer old questions. 

In this case, they revealed precancer lesions in normal-looking pancreas from pancreatic (and other) cancer patients with 3D microanatomy and information on genomic mutations.


Precancer lesions in humans are difficult to study. 

 (a) The size is small (<5mm for pre-pancreatic cancer lesions), thus hard to find. 

 (b) Normal(-looking) human tissues are hard to come by for research purposes in general.

 (c) In many cases, precancer lesions do not grow to cancer. As such, treatment may not necessarily be prioritized in clinic.

These were hurdles to investigate precancer lesions.


We did a journal club at our worksite, and the paper's contents were presented.


A few surprises in the report include;

(1) Pancreatic precancer lesions (called PanINs. Another type of lesion called IPMNs was not included in this study) are many, estimated about 1000 (!) in pancreas.

(2) PanINs carry different sets of mutations, suggesting their independent origins. Implicating that they grow like mushrooms in a field.


Below are my impressions. The authors did not spend much of the writing on speculations and translational/therapeutic implications.


(3) As another implication, the various mutations can help PanINs to evade specific mutation-targeting drugs.


Pancreatic cancer (Pancreatic Ductal Adeno Carcinoma PDAC) has been a difficult cancer with 5-year survival rate of 5-8%.


It was known that over 90% of PDAC have a mutation in an oncogene called KRAS, and that the mutation is a driving force for PDAC development. 

Naturally, researchers made efforts to develop drugs inhibiting mutated KRAS. KRAS G12D and KRAS G12C are among most commonly occurring oncogenic mutations, and these mutations were targets to develop specific inhibitors.  After years of struggle, they succeeded in this past few years. 

Specific inhibitors for KRAS G12D and G12C are available, and showing success at laboratory level. There is a hope of using the new drugs for KRAS-mutated cancers (not only for PDAC) in clinic.

Yet, the new results implies that, at least for pancreatic cancer, efficacy of a mutation-specific drug can drop, once cancer or precancer lesions adopt to the specific mutation-targeting drug.

Or, in another scenario, non-responsive cancer/lesions to the drug may start to grow. For example, G12D-specific drug can be overridden by other mutations, rendering the drug ineffective.


The new results indicate that normal-looking parts of pancreas from PDAC patients can carry 1000 PanIN precancer lesions. After treatments, the PanINs, with a mix of different mutations, may develop to another PDAC. 


Perhaps, PanINs work like Hydra's heads, growing back to another PDAC, contributing to the difficulty to beat PDAC in clinic.


Sounds like trouble? Indeed. Well, knowing novel aspects of human precancer lesions will help us to beat them, eventually.


Whether normal people, not cancer patients, have many precancer lesions/PanINs or not is an open question.

Personally, I don't want to believe I have hundreds of PanINs.


Also, the "field effect", whole pancreas developing precancer lesions, was peculiar.  It looks as if entire pancreas is a field to grow precancer lesions and/or cancers.


In other organs like in colon, numbers of precancer lesions are usually much lower, unless there are genetic predispositions.

We saw that hepatocellular carcinomas (liver cancer) develop from heavily fibrotic (cirrhosis) liver. But such "field effects" come into play after healthy liver was affected in some ways, like hepatitis virus infection, aflatoxin (fungus toxin) exposure, alcohol abuse, or fatty liver with inflammation, over many years.


I wonder if environmental carcinogen or virus are in effect for pancreatic cancers as well. 


The paper was, by nature, descriptive. But was also rather thought provoking. 



Braxton et al., "3D genomic mapping reveals multifocality of human pancreatic precancers".

Nature 2024, May 1. online ahead of print.

https://pubmed.ncbi.nlm.nih.gov/38693266/




[Figure 1 from the paper]






May 14, 2024

Dance: BachAmor Bachata night at Resonant Head 5/11/2024

 Resonant Head is a small (250+ capacity) music live house/event venue at South OKC (400 SW 25th st). 

The venue is well-booked for concerts. It seems they have concerts coming almost every (or every other) night.


A Latin (Salsa/Bachata/Kizomba) party was held there on 5/11/2024. I was curious about the place (never been there), so I went.


There was an elevated stage area, a "mosh pit" floor area where people can dance, a Bar, a DJ booth, and a recessed seating area. 

Not too big, but a neat, nice venue.



[The "Resonant Head" venue. Photos are from their website]



The DJ was Angel from Adelante, and the people seemed to be the same people coming to Adelante party (OU students and former students, I'd say). There were 50-70 people dancing, I think.


The dance was fun. Most people there got basics for Latin social. The "mosh pit" had a good hardwood floor to dance.

I tried out the stage area to dance as well. The stage floor might be of a painted concrete (?) and was a little sticky, but fair for dancers. Glad I brought my shoes with leather sole, instead of suede sole.



About 10 days ago I went to Groovy's, a night club, with my friends' invitation. The place was like Disco of sort, people dance solo to 80's-2000's songs (Vanilla Ice and Shakira, anyone?). Not much of dance skills are required, to be honest. But certainly a fun place.


Latin parties are for partner dances, but for "fun" social dance. Mostly for dancers wanting to have fun for themselves. 

They are mostly beginner-intermediates. Yet, it is fun and amusing to meet someone "energy flow-sensitive".


Community dances infused with contest or show culture would be more technical (something like West Coast Swing, Argentine Tango, or Ballroom).

For these technical dances, dancers' mindsets start to differentiate. Social dancers dancing for fun, or entertainer-dancers who aim at appealing dance (e.g., appealing to judges for contest, appealing to audience for dance as a sport or an art).



There was a recent occasion that made me think about the mindsets. I'd write about it later.










May 9, 2024

Dance: Gotta be easier on my knees (=Work on better usage, use braces and icing, and take supplements.)

 This past month was somewhat eventful. 

Although I did not go to San Diego for American Association for Cancer Research annual meeting this year, in OKC we had two symposium (geroscience, web of life). There were two two-day online webinar courses. I was finishing up writing two manuscripts. Oh, my.


I have been attending dance parties on weekends as well. I am fine while dancing. But I am making changes in how I treat my knees.


For a couple of months, it went like this.

 (a) On weekend I dance for a couple of nights, 3-4 hours/night. Enjoying it.

 (b) But afterwards, my knees hurt. Not with full on swelling or anything, but a nuisance. 

 (c) I give them some rest for a few days. 

 (d) The pain goes.

 (e) I can dance for the next weekend. 

 (f)  Back to (a).


Obviously, this is not a great cycle. I got to change my way of using my knees.


The cause is simple; strain to ligaments/tendons by overuse.


My body usage for dancing is based on two dances; (1) Argentine Tango (plant on axis and pivot) and (2) West Coast Swing (walk, for which weight shift to the other weight-carrying leg in the end of given two counts, and triple step, for which you stay on the same weight-carrying leg).


Argentine Tango is the dance I practice more. AT is more technical dance and requires fine balancing and controlled pivoting on my axis leg. 


When you want to take a step, a key is how you shift your own body weight. One way to do it efficiently is to relax knee and use the body weight to "fall" toward the direction I want to go.

The fall-based "walk" is an efficient body usage and is used by many athletes (esp. basketball, soccer, martial artists).


But the thing is, if you relax your knee and fall to wrong (or suboptimal) direction for too many times, it can give strain to tendons and ligaments in the knee.


Unlike muscles that are easily gotten tired, tendons and ligaments are connective tissues and transmit mechanical force through them without much complaints. But with overuse or with stretching to suboptimal direction, they can take microinjury, inflame, and hurt.


My knee sending warning pain is likely because my preparation for pivot is insufficient. With the diagnosis, I am working on adding extra caution to position my foot correctly for cleaner pivot on my forefoot, so that I do not strain my knee while pivoting.


Another likely cause is (hate to admit but) my knees are getting old and can take less strain than before. I got to be easier on my knees.


In addition to work on the usage, I bought a few knee braces and testing which ones work well for dancing or for extra support. Also bought gel ice packs for icing after dancing or walk/jog.

 

Read controversy on supplements, but I picked up a bottle of Glucosamine and Chondroitin anyway. 


I have to use my body to dance. Got to be kind to my body, so that it can serve me well.












 




April 5, 2024

Dance: Tulsa Spring Swing 2024. What exactly is dance as entertainment?

 My knee was okay, so I drove to Tulsa last Saturday (3/30) for Tulsa Spring Swing, a regional West Coast Swing dance event finally coming back from covid break.


The Saturday night session had Newcomer Strictly Swing, Pro Am routines, All Star Jack & Jill, Invitational Jack & Jill, and Jeanne's Jackpot Jack & Jill (funtest). As customary to WCS events, in-between each contest session was social dances. After all the contests, late night social dance followed until 4AM.

It was very nice to see my old WCS friends and also meet new people.



[End of late night social dance at 4AM of Easter Sunday. Lovable idiots and the DJ]


There are dances for entertainment, mostly by highly-skilled professionals. Think Broadway shows, Dance Sport (competitive Ballroom dance at a high level), Stage Argentine Tango, and dance companies for Ballet or Contemporary.

Then there are other community dances including WCS, Lindy Hop, Party Latins (Salsa, Bachata, Zouk, Kizomba etc), recreational Ballroom dance, Tango dancers at milonga, Country Western, and so on. Each of the community dances may have competitions or larger scale (regional/national/international) events. 

Some of the dancers in the community dances are really good. But whether the "good dancers" achieve refinements in their dance at entertainer-dancer level, thus show broader appeal, depends on each of the dancers' aim, ability, technique, skills, and environment (and luck, too).


What I was reminded of while watching the Tulsa Spring Swing event and competitions was that, dance as entertainment is not necessarily by dance ability, techniques, skills or overall appeal alone. 

You don't have to be at the level of Broadway dancers to be entertaining to the audience there. 


I am not saying that the dancers are not good. On the contrary, as WCS is a technical dance, event-attending WCS dancers are far better (or know what they are doing much better) than, say, average people in local social party.

It shows in many levels, especially in body usage and knowledge in the dance. Whether they are initiated for "show dance" (or competitions) also change the game.

Dancing a technical dance with better-skilled dancers is a very different kind of fun from dancing with "passionate but crude" dancers (which is also fun, or more precisely, interesting or amusing). 



I enjoyed watching the event and had good laughs. I had fun in social dances. I was entertained. I appreciate it.


Community dances are returning after years of covid hiatus. So are events, entertainment and fun.


March 24, 2024

Dance: notable upcoming dance events in March-April 2024 (Tulsa Spring Swing, Argentine Tango Jack&Jill, OK Dance Rush)

 Just like the title says, there are dance events lining up in March-April in OKC (+Tulsa, Dallas).


3/29-3/31  Tulsa Spring Swing

This is a West Coast Swing event on Easter weekend, coming back from covid hiatus. An WSDC registry event, which should be good for point-hungry WCS competitors as well as spectators who want to be entertained by more interesting WCS dancers.


https://www.facebook.com/events/371505728876575

DoubleTree by Hilton Hotel, Tulsa, Warren place





4/5-4/7  2nd Annual Argentine Tango Jack & Jill competition, milongas and workshops


They had this event last year on 6/2-4/2023. This year it is earlier by 2 months. A little friendlier to nice dresses and suits. Early June was quite hot already last year.

My understanding, from watching this event last year, is that for men he has to be a solid lead first and foremost and then also should look elegant or effortless. For women, she has to be able to add to the dance and has some appeal in her dance. For both, overall as a couple the dance should look together. 

I was under impression that unlike for professional contests, for this contest "interests and appeal" are more "nice to have" than necessity. After all, it is not competition for professionals, who are supposed to be at a level of entertainer-dancers, not recreational dancers. 

Well, I may be asking too much for Jack & Jill. It is a difficult format after all.

But it was fun to watch. 


With milongas and workshops, it will be a fun event with broader appeal.

https://www.facebook.com/events/7583104275072932

Studio 22, Dallas


4/11-4/14  Oklahoma Dance Rush


This is mainly a Country Western and Ballroom event (plus some West Coast Swing). It is a part of national Country Western dance circuit. Most contests are pro-am format. There were a few pretty good dancers last year.


https://www.facebook.com/events/2804537786378197

Embassy Suites by Hilton Oklahoma City Downtown Medical Center



That said, I strained my knee last week and still nursing it. Last night I checked my recovery. It was okay, but I better be careful. 

I am hoping to fully recover soon and be able to attend the above events all.