The Rolerotation Podcast - Equality and Awareness in Social Dances

Episode 1 – Is RoleRotation Just for Gays or a Safe Space for Everyone?

Welcome to the RoleRotation Podcast

Hello, Role Rotators Around the World! We are Felipe and Tiago, joined by our host, Tine. Our mission? To end discrimination in the social dance world—one conversation at a time.

Is RoleRotation Only for LGBTQ+ Dancers? Debunking the Myth

In this episode, we discuss one of the biggest misconceptions about RoleRotation: “Is it just for gays?” Spoiler alert: It’s a safe space for everyone. But where does this assumption come from?

Why Do People Think RoleRotation is Only for LGBTQ+?

Because we are two men dancing together, people jump to conclusions.
LGBTQ+ dancers have historically had no choice but to learn both roles to dance with their partners.
The dance scene often assumes two people dancing together must be a couple, reinforcing stereotypes.

But RoleRotation is not about sexuality—it’s about freedom, equality, and connection.

Breaking the Assumptions

A great example? Two men dancing together in a social—we assumed they were a couple. Turns out, they were brothers.

Another example? Two women joined a class together, and we assumed they were dating. In reality, they had been best friends since childhood and just wanted to dance together.

We all have preconceptions. The key is to break them.

Why RoleRotation Attracts LGBTQ+ Dancers (But Isn’t Just for Them)

Yes, RoleRotation is popular in the LGBTQ+ community—because it allows them to dance freely. Many traditional dance schools still separate partners by gender, forcing same-sex couples to dance apart.

However, the reality is that most people who practice RoleRotation are straight. We see more and more heterosexual dancers embracing both roles, proving that this is not just an LGBTQ+ thing—it’s the future of social dance.

How Did RoleRotation Begin? The Surprising Origin Story

Most people assume that RoleRotation started because we are a gay couple. But in reality, it all began with a straight couple.

The Story of the First RoleRotation Class

Tiago was teaching a couple.
They struggled with a move and started blaming each other aggressively.
To settle the argument, Tiago made them switch roles.
They couldn’t even do a basic step in the other role.
This was the moment Tiago realized: you can’t call yourself advanced if you only know 50% of the dance.

From that day forward, Tiago made every student switch roles—and RoleRotation was born.

The Evolution of RoleRotation: From a Teaching Method to a Global Movement

Initially, we just called it “role reversal”, but it didn’t stick.

Felipe suggested the name “RoleRotation”, which became our brand.
We began developing a structured teaching method for role-switching.
As we traveled, more people started identifying with the movement.

Now, RoleRotation is a global phenomenon—a methodology, an activist movement, and a philosophy for social dance.

Why RoleRotation Fixes So Many Problems in Dance

Students improve faster when they understand both roles.
Teachers become better instructors when they can explain both perspectives.
Social dancers have more fun when they aren’t limited by rigid roles.
Festivals become more inclusive and no longer suffer from leader-follower imbalances.

The Power of Asking: “Lead, Follow, or Both?”

The simplest way to normalize RoleRotation? Ask the question: “Lead, follow, or both?”

Why This Question Changes Everything:

It challenges assumptions in the dance world.
It opens up new possibilities for dancers.
It empowers people to explore their full potential.

Even if someone says, “No, I only follow,” you’ve planted the idea that they could do both. Many dancers come back a year later and say, “Now I can lead too.”

The Future of RoleRotation

The dance world is evolving, and RoleRotation is no longer a niche concept—it’s a necessary shift.

Dancers worldwide are embracing it.
Festivals are adapting their structures.
Even competitions are changing.

RoleRotation is not just a dance method. It’s a movement.

Final Message: RoleRotation is for Everyone

If you take one thing away from this episode, let it be this:

👉 RoleRotation is not just for LGBTQ+ dancers. It’s for anyone who wants to experience dance in a more connected, free, and equal way.

💬 Start asking: Lead, follow, or both?

🌎 Join the movement, change the dance world.

Follow Us for More!

📌 Stay updated with the RoleRotation Podcast. 📌 Follow us on Instagram: @felipeytiago_official 📌 Join the global RoleRotation community!

Episode 2 – Sold out for Women

Hello, Role Rotators around the world! 🌍 We are Felipe and Tiago, and Tine is your host.

We are here to end discrimination in the entire social dance world – one conversation at a time.

Welcome to the RoleRotation Podcast. 🎙️

The Problem with Festival Ticket Sales

💡 What does “Sold Out for Women” mean?

At many dance festivals, tickets are sold under a gender-based system:

Men’s Full Pass (Leader)
Women’s Full Pass (Follower)

Organizers claim this is to maintain the balance between leaders and followers. But this outdated system is causing major problems.

👉 Some festivals now mark “Sold Out for Women”, stopping women from buying leader passes.

👉 Even worse – some organizers have started checking attendees’ gender at the door to prevent women from purchasing men’s full passes.

❗ This is problematic for many reasons:

It assumes all men lead and all women follow.
It ignores dancers who do both roles.
It actively discriminates against women who lead.
It excludes LGBTQ+ dancers and non-binary individuals.
It’s based on outdated gender stereotypes rather than actual dance roles.

🚨 Some festivals have even sent emails warning that they will check people’s gender upon entry.

This is not just unfair – it’s absurd.

A Better Solution for Dance Festivals

💡 Instead of selling gender-based tickets, festivals should sell tickets based on dance roles:

✔️ Leader Full Pass
✔️ Follower Full Pass
✔️ Both Roles (RoleRotation) Full Pass

✨ Why this works better:
✅ Allows women to register as leaders and men to register as followers.
✅ Ensures true balance between leaders and followers.
✅ Includes dancers who rotate roles (which actually helps balance classes).
✅ Avoids discrimination and outdated gender norms.

🔍 Example: RoleRotation Festival
At our festival, we never have a problem with leader-follower balance because we use:

🎟 A Three-Pass System – Leader, Follower, and RoleRotation.
🎟 Bracelets with colors for each role so dancers can change roles at any time.
🎟 A natural balance – dancers in the Both Roles category help adjust ratios automatically.

💡 Did you know? At our last festival, 80% of attendees danced both roles! 🎉

Why Are Organizers Still Stuck in the Past?

Many festival organizers still refuse to change despite:

❌ Seeing thousands of dancers embracing both roles at events.
❌ Watching social dances where men follow and women lead.
❌ Hearing complaints from dancers being rejected due to gendered tickets.

⚠️ Some festivals claim they need “gender balance” – but gender does NOT determine dance roles!

We don’t understand how, in 2024, organizers are still making this mistake. The dance scene is evolving, but outdated ticketing policies are holding us back.

What Can Dancers Do to Change This?

💪 How to Take Action:

1️⃣ Call it out! If a festival only offers gendered tickets, message the organizers.
2️⃣ Ask to buy a pass for your preferred role. If they refuse, show them proof that you lead or follow.
3️⃣ Use social media. Post about these issues, tag events, and raise awareness.
4️⃣ Support events that sell Leader/Follower passes, not gendered passes.
5️⃣ Encourage role rotation! The more dancers who rotate, the easier balance becomes.

💬 One email or message can make a difference – but imagine if hundreds of dancers demand change.

Success Stories: The RoleRotation Movement is Growing!

🌟 In Germany: A dancer who started as the only RoleRotator in her scene now sees 80% of her local community dancing both roles.

🌟 In France: A group of teachers said RoleRotation “wasn’t possible.” Within two weeks, they started regular RoleRotation classes and outdoor socials.

📢 Representation matters! The more people dance both roles, the more the movement grows.

Final Message: Stop Selling Tickets by Gender!

Dance roles are NOT defined by gender. Festivals that continue to sell “Men’s” and “Women’s” tickets are excluding dancers and losing money.

💡 The solution is simple:
✔️ Leader Pass
✔️ Follower Pass
✔️ RoleRotation Pass

It’s time to stop making assumptions and start selling tickets the right way.

👀 Next time you buy a festival ticket, ask: “Do you sell tickets by role or by gender?”

🗣️ Let’s keep pushing for change – together!

🎧 Thank you for listening to the RoleRotation Podcast!
We’ll be back soon with another episode.

💬 What do you think about festival ticketing policies? Comment below or share your story with us!

🔗 Want to experience a festival that does it right? Check out www.terralivredancefestival.com

📲 Follow us on Instagram: @felipeytiago_official

Episode 3 – Sexist Jokes between Shows – Funny or Problematic?

Welcome, Role Rotators Around the World!

We are Felipe and Tiago, and Tina is your podcast host. Together, we are here to end discrimination in the social dance world—one conversation at a time.

Today, we dive into a controversial but crucial topic:

💬 Sexist jokes at dance festivals.
❌ Why are they still happening?
🎤 Do festival hosts have a responsibility to create a safer space?
👀 How can dancers and event organizers push for positive change?

Let’s talk about how these jokes impact dancers, the hidden discrimination behind them, and what we can all do to make social dancing more inclusive.

What’s Happening With Sexist Jokes in Festivals?

When you attend a dance festival, there’s usually a host introducing shows and entertaining the crowd between performances. Unfortunately, a common trend has emerged—festival hosts relying on sexist or over-sexualized jokes to get laughs.

🚨 Common examples of sexist jokes at dance festivals:

“Turn around so the audience can see how good your leggings look!” (Instead of complimenting dancing, the focus is on a woman’s body.)
“Ladies, let’s do a photo for my OnlyFans!” (Reducing female dancers to sexual objects.)
“Are you sure you’re leading? You’re a woman!” (Invalidating women’s ability to lead in social dances.)

Even worse, some male dancers imitate female dancers in exaggerated and sexualized ways—turning what could be a showcase of skill into a joke at women’s expense.

💡 Why is this a problem?

These jokes reinforce harmful stereotypes, making it less comfortable for dancers to explore different roles—especially for men who want to follow and women who want to lead.

The Viral Incident That Sparked This Discussion

Recently, a viral social media post showed two male dancers imitating a male-female couple’s performance—but instead of simply showcasing their skill, they over-sexualized the routine, ending with an unnecessary “almost kiss” moment to get a laugh.

📢 Why is this problematic?

Instead of showing that men can also follow, it turned the idea of two men dancing together into a joke.
Reinforces homophobic stereotypes—suggesting that men dancing together is something to laugh at.
Prevents more men from trying the follower role, fearing they’ll also be mocked.

And the worst part? The artists blocked Felipe and Tiago from seeing the post.

🤨 If they knew it was okay, why did they block the main advocates for equality in social dance?

Why Do Festival Hosts Keep Making These Jokes?

🙄 “It’s just a joke. Don’t take everything so seriously!”

This is the common excuse used when people point out the problem.

But here’s the reality: Jokes have consequences.

🔴 A real-life example:
At one festival, a trans dancer in the audience had to leave because a host’s joke about men dressing as women made them feel extremely uncomfortable.

💡 If a joke makes someone feel unsafe or unwelcome, is it really worth it?

How Can We Make Festival Hosting More Inclusive?

✅ Alternatives to Sexist Jokes:

Make jokes about the festival itself—talk about the crazy schedules, the sleepless nights, or funny behind-the-scenes moments.
Joke about the organizers! (At Felipe & Tiago’s festival, their host often makes fun of them instead of targeting vulnerable groups.)
Create fun, engaging commentary without targeting gender or sexual orientation.
Encourage more women to become festival hosts—representation matters!

🚀 At Terra Livre, the RoleRotation Festival, they’ve already changed the game!

Instead of outdated gender-based hosting, they:
✅ Use non-sexist humor
✅ Encourage more diverse hosts
✅ Let the dancers’ skills shine instead of relying on cheap jokes

The Future of Comedy in Dance Festivals

🎭 Can we ever make these kinds of jokes acceptable?

Yes—but only when representation is strong enough that people understand it’s satire.

Right now, the dance world still has a discrimination problem. Until that changes, these jokes will only push people away from trying new roles and feeling safe in the community.

💡 If you want to joke about RoleRotation, then be part of the solution first!
✔️ Show real videos of yourself dancing both roles seriously
✔️ Support gender equality in dance
✔️ Promote representation before you turn it into a joke

Final Thoughts: What Can Dancers Do?

💬 What can YOU do to fight against sexist hosting?

✔️ Call it out when you see it. If a festival promotes this kind of humor, message the organizers and tell them why it’s problematic.
✔️ Encourage more women and non-binary dancers to become festival hosts!
✔️ Support events that prioritize inclusivity.
✔️ If you’re a dancer, challenge these stereotypes by rotating roles and showing that dance is for everyone.

Closing Thoughts & A Fun Question!

🎉 Let’s end on a positive note!

👉 What’s your favorite part of a dance festival?

👀 Felipe & Tiago’s answer:
🎶 The last hour of the party—when everyone is sweaty, tired, and dancing purely for the love of it.

💡 For dancers new to festivals—pay attention to that last hour. You might just find the best dances of the night!

Final Words: The Message of This Episode

💡 “Don’t do to someone what you wouldn’t want done to you.”

✅ If you’re a dancer, don’t let these jokes scare you away from rotating roles.
✅ If you’re a festival host, be responsible with your platform.
✅ If you want to joke about dance, make fun of discrimination, not the people fighting against it.

👏 Let’s work together to make dance festivals a truly inclusive space!

🎙️ Thanks for tuning in to this episode of the RoleRotation Podcast!

📢 Do you agree that festival hosting needs to change? Share this episode with your dance friends and let’s start the conversation!

Episode 4 – Does Masculine and Feminine Really Exist in Dance?

Welcome, Role Rotators Around the World!

We are Felipe and Tiago, and Tina is your podcast host. Together, we are here to end discrimination in the social dance world—one conversation at a time.

💬 Today’s topic:

Masculine vs. feminine movement—does it make sense?
Why “men’s styling” and “lady’s styling” are outdated.
A better way to categorize styling classes.
How to choose the right class for you—without limiting yourself.

Let’s get into it! 🎙️

Bonus Question: What Exactly Is Role Rotation?

Before we dive into today’s topic, let’s define RoleRotation for anyone new to the concept.

🔥 RoleRotation in social dance means:

In any social dance (Bachata, Salsa, Kizomba, etc.), one person leads, one follows.
RoleRotation means switching roles in the middle of the same dance.
Instead of sticking to one role for the entire song, dancers can rotate as many times as they want.

💡 Why is RoleRotation important?
✔️ It feels like a conversation, rather than just one person leading.
✔️ It removes pressure—when you run out of moves, just rotate!
✔️ It makes dancing more dynamic and engaging.

“The goal is to have fewer rules, not more.”

Breaking the Gender Binary in Movement: What Does “Masculine” and “Feminine” Even Mean?

💭 What does masculine and feminine movement mean to you?

🎭 Masculine and feminine movement is a social construct.

These ideas change from culture to culture—what’s considered “masculine” in one country might be “feminine” elsewhere.
Example: In Portugal, boys are encouraged to play football, while girls are encouraged to dance. But dance and sports have no gender.

🚨 The problem with gendered movement in dance:

Stretching an arm is “feminine”? Why?
Strong footwork is “masculine”? Why?
Ballet has been teaching both movements for centuries—why are they suddenly gendered in social dance?

⚠️ The Issue With “Men’s Styling” vs. “Ladies’ Styling” Classes

Men’s styling classes = Mostly footwork, some body movement if you’re lucky.
Ladies’ styling classes = Arms, head movement, hips, spins, footwork—everything!
Result:
- Women learn way more technique than men.
- Men are unfairly limited in their dance skills.

👉 This is why social dance often reaches a point where female dancers have WAY more control over their bodies than male dancers.

The Big Question: If Not Masculine/Feminine, What Categories Should We Use?

💡 A better way to categorize styling classes:

1️⃣ Call it “STYLING”—without assigning gender.
2️⃣ Divide by levels: Beginner, Intermediate, Advanced.
3️⃣ Describe the focus: Footwork, body movement, spins, arm styling.
4️⃣ Give students options: Instead of “masculine vs. feminine,” say Option A or Option B.

🎯 Why this works:

It puts the focus on movement, not gender.
Students choose based on what they want to learn, not social expectations.
It’s already how it works in Hip Hop, Jazz, Contemporary, and other dance styles.

🚨 Teachers, take note! If you rename your class from “Men’s Styling” to just “Styling,” you don’t need to change your content—just open the door for more students to learn from you.

💡 “No movement in the world is gender-specific.”

Should You Take a Styling Class That’s Not Labeled for Your Gender?

YES! Here’s why:

✔️ You learn more skills.
✔️ You improve your body control.
✔️ You get variety in your dance.

🛑 But what if I get side-eyes from other students?

🔥 Answer: Your learning is more important than their judgment.

💬 “I paid the same full pass as you. If you don’t like me in this class, YOU go to another room.”

🙌 For those who don’t feel safe going to gendered classes yet…

Online classes are a great option!
RoleRotation Academy offers styling classes without gender labels, so you can learn at your own pace.
You don’t need permission to move the way you want.

🎯 Check out RoleRotation Academy for gender-free styling classes!

Final Takeaways: What Should Change?

💡 The dance world doesn’t need “Men’s Styling” and “Ladies’ Styling.”

✔️ Call it “Styling.”
✔️ Categorize by levels and movement types.
✔️ Let students pick what suits their personal style and body movement.

🚀 Students: Take the class YOU want.
🚀 Teachers: You don’t need to change your class, just your marketing.
🚀 Organizers: Offer styling classes without gender labels to attract more dancers.

🙌 No movement in the world is gender-specific.

💬 If someone tells you a move isn’t for your gender—tell them they’re wrong. Because they are.

🎙️ Thanks for tuning in to this episode of the RoleRotation Podcast!

📢 What do you think? Should styling classes remove gender labels? Share this episode and let’s start the conversation!

Episode 5 – Masculine Leaders and Feminine Followers – Is That All There Is?

Welcome, Role Rotators Around the World!

We are Felipe and Tiago, and Tina is your podcast host. Together, we are here to end discrimination in the social dance world—one conversation at a time.

💬 Today’s episode:

Do leaders have to be masculine? Do followers have to be feminine? (Spoiler: NO!)
How to express yourself authentically in social dance.
Where to find more diverse dancers in your area.
Discovering the RoleRotation map—a game-changer for dancers worldwide!

Let’s get into it! 🎙️

Where Is the Diversity in Social Dance?

🌍 If RoleRotation is spreading, why do so many festivals still feel stuck in old-school gender roles?

Short answer: The diversity exists, but you have to know where to look!

🔥 How to Find Role Rotators Near You

✅ Check out the RoleRotation Map!
📍 There is an online map where you can find other RoleRotation dancers in your area!

💡 How it works:

Go to www.rolerotation.com
Click on “Map” in the menu.
Find RoleRotation dancers, teachers, and schools in over 35 countries!
Sign up for free and connect with dancers who share your values.

🎒 Perfect for traveling dancers!
Going to a new city? Use the map to find locals who practice RoleRotation and avoid events that might discriminate.

👉 Even if you haven’t seen RoleRotation in your scene yet, it’s growing—worldwide!

Want More Visual Representation? Find It Online!

👀 Search “RoleRotation” on Instagram, YouTube, and TikTok!
💃🏼🕺 You’ll find:

Feminine leaders leading with confidence.
Masculine followers dancing their way.
People dancing both roles without changing their energy.

📢 Follow these accounts to see it in action:

@rolerotation → The main RoleRotation page
@felipeytiago_official → Felipe & Tiago’s official page
RoleRotation country accounts (e.g., RoleRotation UK, RoleRotation France)

📸 Use the hashtag #RoleRotation to share YOUR videos!

Representation matters. If you don’t see someone like you in dance videos, BE the representation!
All levels are welcome—beginners, amateurs, professionals.

💡 The more people post, the easier it is to see that RoleRotation is already everywhere!

Why Is It Still Hard to Just Be Yourself in Dance?

🤨 Because society still pressures men to be masculine and women to be feminine.

🚀 But change is happening!

Every time someone dances the role they want—without changing their personal style—it creates space for others to do the same.
Example: A woman leading at a party normalizes it for other women. A man following without “acting feminine” makes it easier for others to follow naturally.

💡 The best way to change things? Just dance how you want, where you want.

🎯 Your local dance scene is waiting for someone to break the mold. Why not you?

The Truth: You Can Dance However You Want

You don’t have to be a masculine leader.
You don’t have to be a feminine follower.
You can be BOTH—or neither!

✅ All movement is valid.
✅ Your style is YOURS.
✅ You don’t have to “act” a certain way based on your role.

💡 What if I want to mix it up?

One song, you might want to move more “masculine.”
Another song, you might feel more expressive and fluid.
It’s up to you—dance is freedom!

What’s the Solution? How Do We Make Dance More Inclusive?

💡 What needs to change:
✔️ More visibility for diverse dancers.
✔️ More teachers creating open spaces for all styles.
✔️ More dancers dancing how they want—without apologizing!

🎯 What YOU can do:
🚀 Just dance however you want.
🚀 If people judge—ignore them. It’s YOUR dance.
🚀 Connect with others who share your mindset (use the RoleRotation map!).

🎙️ Final Takeaways:
💡 “If you can’t find representation—BECOME it.”
💡 “No movement is masculine or feminine. Just move how you feel.”

🙌 The dance world is changing, and YOU are part of that change.

🎧 Love this episode? Help us spread the movement!

📢 Share this episode with your dance friends.
📢 Post a video using #RoleRotation.
📢 Check out the RoleRotation Map to connect with dancers near you.

🚀 See you next time on the RoleRotation Podcast!

Episode 6 – “You Dance Better than the Girls”

Welcome, Role Rotators Around the World!

We are Felipe and Tiago, and Tina is your podcast host. Together, we are here to end discrimination in the social dance world—one conversation at a time.

💬 Today’s episode:

Why telling someone, “You dance better than the girls (or guys)” isn’t really a compliment.
How gender comparisons reinforce stereotypes.
What to say instead to give a meaningful compliment.
How to remove gender filters when watching and appreciating dance.

📢 If you dance both roles, share this episode with your local dance community to spread awareness!

Let’s get into it! 🎙️

Festival Check-in: Where Have Felipe & Tiago Been?

Before jumping into today’s topic, a quick check-in!

📍 Last festival: Bachata Explosion Festival – Berlin
🔥 A personal favorite, packed with RoleRotation dancers, amazing energy, and next-level dancing.

📍 Next stop: Bachata Experience – Tallinn, Estonia
🔥 First time teaching there! Excited to see the RoleRotation community grow in new places!

🎶 The life of traveling dance teachers is a crazy one, but it’s a privilege to spread this movement worldwide!

The “You Dance Better Than the Girls” Compliment

👀 Have you ever heard this?
💬 “Wow, you even dance better than the girls here!”
💬 “You lead better than the guys!”
💬 “That was such a good lady split!”

🙄 Sounds like a compliment, right? Well… not really.

Why Is This NOT a Compliment?

1️⃣ It reinforces a gender filter.

People don’t just see you dance—they see your gender first, then your skills.
Instead of appreciating the dance itself, they compare it to stereotypes.

2️⃣ It assumes men and women should dance differently.

Movements aren’t gendered! A split is just a split. A spin is just a spin.
No one says, “Oh, you spin better than other humans.”

3️⃣ It dismisses individual skill.

Instead of saying, “You’re an amazing dancer,” they compare you to an entire gender.
Dance is not a competition between men and women!

💡 Example:
✅ GOOD compliment: “Your spins are so controlled and smooth!”
❌ BAD compliment: “You spin better than the girls!”

Where Do These Gender Comparisons Come From?

🚧 Why do people instinctively compare dancers by gender?

1️⃣ We are used to seeing men and women taught differently.

Women are often trained in fluidity, body movement, and arm styling.
Men are often trained in footwork, power moves, and strength-based tricks.
This isn’t about anatomy—it’s about teaching bias!

2️⃣ People don’t see enough diverse examples.

Most dance videos still show feminine women following and masculine men leading.
When people see something different, their brain automatically compares it to what they already know.

3️⃣ It’s a subconscious habit.

Most people don’t realize they are making gendered compliments—they mean well.
That’s why we need to talk about it and bring awareness!

How Do We Stop Comparing?

🎯 The key to breaking this habit? More Representation!

1️⃣ See dance first—NOT gender.

Before reacting, ask yourself: Would I say this about another man/woman?
If the answer is no, rethink the compliment.

2️⃣ Use gender-neutral language in compliments.

Instead of: “You dance better than the guys!”
Say: “You have such great control in your dancing!”

3️⃣ Expose yourself to more diverse dancing.

Watch videos of men following, women leading, and dancers breaking stereotypes.
Follow RoleRotation dancers on Instagram & TikTok (use the hashtag #RoleRotation!).

4️⃣ Ask this simple question before a dance:
💬 “Lead, follow, or both?”

This normalizes seeing all genders in all roles—so dance stops being about gender!

🚀 The more we see it, the less we’ll compare it!

What’s the Solution?

💡 If it’s not a competition, stop comparing!

🎯 What you can do starting TODAY:
✅ Just compliment the skill. Instead of “better than,” just say what’s great.
✅ Record yourself and others dancing. More visibility = Less stereotypes.
✅ Be intentional about how you phrase compliments. Words shape perception!
✅ Help spread this awareness by sharing this episode.

🙌 Let’s make social dance a space where people are valued for their talent—not compared by gender!

🎧 Love this episode? Help us spread the movement!

📢 Share this episode with your dance friends.
📢 Follow @RoleRotation & @felipeytiago_official on Instagram!
📢 Use #RoleRotation when posting dance videos to increase representation.

🚀 See you next time on the RoleRotation Podcast!

Episode 7 – Can You Name One Solo Female Artist? with Jessica Latham

Hello, Role Rotators Around the World!

We are Felipe and Tiago, and Tina is your podcast host. Together, we are here to end discrimination in the social dance world—one conversation at a time.

💬 Today’s episode:

The struggles and challenges of female solo artists in the Bachata scene.
Why male solo artists are more commonly booked—and how this needs to change.
How students, teachers, and organizers can support female solo artists.
A list of amazing female artists you should follow, book, and learn from!

📢 Share this episode to help support the talented female solo artists in social dance!

Let’s get into it! 🎙️

Meet Our Guest: Jessica

Today, we have a special guest: Jessica, a professional dancer and instructor from the UK, currently based in Barcelona.

🎭 Background:

Over 10 years of experience in Bachata and other dance styles like ballet, jazz, contemporary, and commercial.
Teaches and performs as a solo artist, leading and following in role rotation.
Travels worldwide sharing her expertise in both roles of Bachata.

The Positive Changes in the Dance Scene

💡 Before we dive into the struggles, let’s start with something positive!

1️⃣ Post-COVID Unity in Dance Communities

✅ More collaboration and less competition between dancers.
✅ People appreciate social connection more than before.
✅ Dance communities feel more inclusive and welcoming.

🎭 What about different Bachata styles?

There’s still some resistance between styles, but people are starting to accept fusion styles.
The Bachata-Zouk crossover is gaining popularity—some Zouk dancers love it, others still resist.
Overall, styles are blending more than ever, and that’s a great sign of progress!

The Reality of Being a Female Solo Artist in Bachata

Jessica shares her experience as a female solo artist.

🤔 How often do festivals book female solo artists?

Some do, but many still expect female dancers to have a male partner.
Male solo artists are hired more often—even those with less experience.
If a woman teaches alone, she often gets paid less.

💬 “It’s frustrating to see men booked as solo artists—even when they don’t know both roles—while female artists who can lead, follow, and teach role rotation struggle to get hired.”

Why Aren’t More Female Solo Artists Hired?

🚧 What’s going on in an organizer’s mind when they book teachers?

1️⃣ Outdated traditions:

Historically, men were the “leaders” in dance and women were the “followers.”
Many organizers subconsciously still believe that structure should remain.

2️⃣ Unequal visibility:

Male dancers are more often promoted as solo artists.
Women are seen as secondary or part of a duo.

3️⃣ Microphone inequality in classes:

Some follower teachers aren’t even given a mic!
The male leader explains everything—even the follower’s role.
Students leave without ever hearing the female teacher’s voice.

💬 “I took a class where the female teacher never spoke. I don’t even know what her voice sounds like. That’s how bad it was.”

What Needs to Change?

🎯 How do we fix this?

✅ 1️⃣ Organizers: Start booking female solo artists!

Women can lead entire classes alone.
They bring knowledge, passion, and expertise—in BOTH roles.
Pay them the same as male solo artists.

✅ 2️⃣ Students: Demand diversity!

Ask festivals to book female solo artists.
If you attend a festival, recommend female artists for the next year.
Share and promote female artists on social media.

✅ 3️⃣ Teachers: Use your platform!

If you have influence, recommend and support female solo artists.
Collaborate with them—but don’t take over the class!

Which Female Solo Artists Should You Follow & Support?

💃 Here are some incredible female solo artists who deserve more visibility:

🔥 Nora Bachatera

Works completely solo, does NOT need a partner.
Inspiring teacher with powerful leading skills.

🔥 Lisa (Ukraine)

Does not have a fixed partner but is incredibly skilled in leading & following.

🔥 Fiorella & Linda (Amsterdam)

A female dance couple that promotes RoleRotation and gender equality in dance.

📢 Follow them, share their work, and request them at your local festivals!

How Can You Help?

🎯 What can dancers, teachers, and organizers do?

✔️ Students:

Attend classes from female solo artists.
Recommend female teachers when festivals ask for artist suggestions.
Like, share, and promote their content online.

✔️ Teachers & Influencers:

Promote female artists to festival organizers.
Pass the mic! Make sure women get an equal voice in classes.
Collaborate—but don’t take over their space.

✔️ Festival Organizers:

Book female solo artists—and pay them fairly!
Make sure both teachers have microphones.
Recognize experience over gender when choosing artists.

Final Thoughts: Why This Change Matters

💬 Jessica’s final words:

🎙️ “If you haven’t learned both roles yet—start now. You’ll see how hard following actually is and how important it is. The more we understand both roles, the more respect we’ll have for each other in the dance world.”

🚀 The future of Bachata should be equal, diverse, and inclusive. Let’s make it happen!

🎧 Love this episode? Help us spread the movement!

💃 Follow & support the female artists mentioned today!

🚀 See you next time on the RoleRotation Podcast!

Episode 8 – Filming in Socials – Please Stop Making These Mistakes!

Filming at Socials: The Good, The Bad, and The Rules

Hello, Role Rotators Around the World!

We are Felipe and Tiago, and Tina is your podcast host. Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode:

Why do people record themselves at socials? 📱
When does filming go too far? 🚫
What are the unspoken rules of filming at a social dance? 📸
Our favorite recorded dance in a very special place 🌍

📢 If you dance RoleRotation, make sure to tag @RoleRotation on Instagram to help increase representation!

Let’s get into it! 🎧

Do Felipe & Tiago Ever Ask to Be Filmed?

🎤 Tina: When was the last time you asked someone to record your dance?

😆 Felipe & Tiago: …We don’t remember!

Tiago: Maybe three years ago? Maybe never?
Felipe: Once this year, but only because someone had a phone in their hand, and I felt bad.

📢 Why?

We started dancing before phone recordings were a thing!
Filming wasn’t common when we began—phones didn’t have good cameras!
Today, people film constantly, but we never developed the habit of asking.

📷 Instead, we focus on the dance itself rather than filming it.

Why Do People Record Themselves at Socials?

📌 There are some great reasons to record a social dance:
✅ Memories: A special dance you want to remember.
✅ Improvement: Watching yourself dance can help refine technique.
✅ Social Media: Sharing your dance journey online.
✅ Building Confidence: Seeing progress over time.

💬 Tiago: “There are dances I’ve had where I think, ‘Oh, I wish I had recorded that!’”

When Filming Goes Too Far

🚫 Here’s where it becomes a problem:

💡 1️⃣ It Changes the Atmosphere of the Social

Too many cameras create pressure and fatigue—especially for artists.
The energy shifts from social dancing to performance mode.
Flashlights and cameras disrupt the vibe of the dance floor.

💡 2️⃣ It Becomes Disrespectful

Some people ask to dance just to film, not to connect.
They leave to get their phone, making their partner wait while rejecting others.
They interrupt others’ dances to ask for recordings.

📢 Worst Experience?
🚗 Tiago was literally pulled outside of a social to dance in better lighting!

💬 Tiago: “She grabbed my wrist, pulled me out of the room, and made me dance outside because she wanted better lighting. I should have said no.”

The Unspoken Rules of Filming at Socials

🎯 If you’re going to record, follow these rules!

✅ 1️⃣ Position Yourself Correctly

Film from a corner so you’re not in the way.
Avoid blocking dancers or pushing people aside.

✅ 2️⃣ Be Ready in Advance

Have your phone and person ready.
Don’t stop a dance mid-song to grab a phone.

✅ 3️⃣ Respect Artists’ Time

Don’t ask an artist to record multiple times in one night.
If they’ve already done several filmed dances, give them a break.

✅ 4️⃣ If You’re Just Learning, Prioritize Dancing Over Filming

Socials are for practice, not just for Instagram.
Filming is great—but don’t let it take over your night.

✅ 5️⃣ Consider the Festival’s Videographer

Many festivals hire professional videographers for social dancing.
Ask them to record instead of disrupting the dance floor with personal cameras.

RoleRotation & Filming – A Special Note

📢 If you dance RoleRotation, please film it and upload it on Instagram!

💡 Why?

We need more representation of dancers who lead and follow.
The more people see it, the more normalized it becomes.

🎯 Use #RoleRotation and tag @RoleRotation on Instagram!

🚀 But remember:

Don’t film at the expense of others’ experience.
Be mindful of who you’re asking to film with—and when.

Tiago’s Honest Take on Role Rotation Dancers at Socials

🗣️ Tiago: “I can’t post videos of myself just leading—it’s my brand. But most people only ask me to lead!”

🎯 What RoleRotation dancers need to know:
1️⃣ If you dance both roles, ask us to dance first!
2️⃣ Don’t feel self-conscious—social dancing is practice.
3️⃣ If you only dance one role, there are plenty of other artists—let role rotators get priority.
4️⃣ Rotation dancers don’t ask enough. Many sit out because they’re “too nice” or feel intimidated.

💬 Felipe: “We teach role rotation to 300 people during the day, but only get 5 social dances with rotation people at night. What happened?”

The Best Locations We’ve Ever Filmed a Dance

📍 Tiago & Felipe’s favorite recorded dances!

🏔️ 1️⃣ Stopping Traffic in the Mountains (La Vecina Challenge)

Filmed in the mountains at sunrise.
Stopped our car in the middle of the road and danced in front of an amazing view.
Had to move every time a car passed! 😂

📍 2️⃣ Dancing on Top of the Alps

Snow-covered peaks but warm summer air.
Surreal experience dancing in shorts while surrounded by snow.

🏰 3️⃣ The Royal Palace in Austria

An epic setting for a wedding dance video.
One of the most beautiful places we’ve ever danced.

🎥 Watch the Mountain Dance Challenge here: La Vecina Challenge – Felipe y Tiago

Final Thoughts: Filming With Awareness

💬 Felipe: “Filming isn’t bad. It can be beautiful. But when it’s constant, it changes the atmosphere and makes artists exhausted.”

💬 Tiago: “If you love RoleRotation, ask us to dance first. Don’t wait—get the practice you need!”

🎯 Main Takeaways:
✔️ Filming can be great—if done with respect.
✔️ Follow the rules to avoid disrupting the social.
✔️ If you want more RoleRotation content, record & share!
✔️ Role rotators—ASK US FIRST! Don’t be afraid to dance with us!

🎧 Love this episode? Help us spread the movement!

🚀 See you next time on the RoleRotation Podcast!

Episode 9 – We Made a Mistake

We are Felipe and Tiago, and Tina is your podcast host. Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode:

A mistake we made in our first festival that actually contributed to inequality. 😨
How we handled it once we realized the issue.
What we did to ensure it never happens again.
How students, teachers, and organizers can work together to prevent similar mistakes.

Let’s get into it! 🎧

The Mistake: What Happened?

🎤 Tina: I’m so excited that you guys are willing to talk about this. Tell us—what was the mistake, and why are you coming forward about it?

💬 Felipe & Tiago: We’re sure we’ve made many mistakes, but this one was particularly bad because it went against everything we fight for. And it happened at our very first festival.

What happened?

1️⃣ We hired a couple to teach at our festival.
2️⃣ A few weeks before the event, the male teacher called us, saying:

“Hey, I’m coming alone because my partner and I broke up, and she stopped dancing.”
3️⃣ We believed him without questioning it.
4️⃣ On the morning of the festival, the female teacher called us:
“Hey, I know I’m not teaching anymore, but can I still come to the social?”
5️⃣ We told her what we had been told:
“We thought you stopped dancing?”
6️⃣ Her response shocked us:
“No, I didn’t stop dancing. He just tells organizers that so he can keep the bookings.”

🚨 We realized we had just contributed to the exact discrimination we are fighting against.

We had unknowingly hired a man and taken a woman’s job away from her—simply because we didn’t double-check.
This happens all the time in the dance industry.

💬 Tiago: We had just launched a festival focused on gender equality… and we fell into the same mistake we criticize in others. We felt awful.

How Did We Fix It?

✅ Step 1: We immediately covered all her travel and expenses so she could still attend the festival.
✅ Step 2: We apologized and made sure she knew we would take responsibility for the mistake.
✅ Step 3: We hired her for the next edition of the festival.
✅ Step 4: We changed our hiring process permanently.

What We Do Differently Now

🎯 Today, whenever a teaching couple splits up:
1️⃣ We NEVER take only one person’s word for it.
2️⃣ If one person calls us, we always call the other one to hear both sides.
3️⃣ If they both still want to teach, we hire them separately—or hire both and let them teach alone or with someone new.
4️⃣ We actively question why male teachers are more often retained after breakups.

💬 Felipe: We realized this wasn’t just our mistake—this is a systemic issue. The majority of dance couples break up, and the male teacher almost always keeps the jobs while the female teacher disappears. We will NEVER contribute to this again.

How Students & Dancers Can Help

📢 This is NOT just an organizer issue! Students and dancers can also help make the industry more equal. Here’s how:

1️⃣ Pay Attention to Who Disappears

🔎 Did you see a couple advertised for a festival, and suddenly only one person is in the lineup?
✔️ Ask questions! “Hey, what happened to [Female Teacher’s Name]?”
✔️ Even a simple comment like “Did you check with her directly?” can push organizers to think twice.

2️⃣ Give Organizers a Gentle Nudge

🙋‍♀️ If you notice something unfair, send a respectful message:

“Hey, I was looking forward to seeing [Teacher’s Name] at this event. I noticed she’s not in the lineup anymore. Did you confirm with her?”

📌 Why this matters:

Sometimes organizers are just too busy to notice these patterns.
Your message might make them double-check something they overlooked.

3️⃣ Speak Up for Representation

💡 Notice a lineup with very few female solo artists? Or a styling class labeled as ‘Lady Styling’ when the teacher welcomes all genders?
✔️ Ask the organizer to rename it or clarify the class is for everyone.
✔️ If you feel uncomfortable, you’re probably not the only one!

💬 Tiago: “If we don’t speak up, nothing changes. A simple message can make a huge difference.”

Final Takeaways

✅ Organizers: Always double-check when a dance couple separates. Don’t assume one person’s word is the full story.
✅ Dancers: If you notice someone disappearing from a festival lineup, ask why.
✅ Teachers: Be transparent about your availability—don’t let others erase your presence in the industry.

💬 Felipe: “Everyone can contribute to making social dance more equal—whether you’re an organizer, a student, or a teacher. Awareness is key.”

🎯 If you see something, say something. Always from a place of love and respect, but don’t stay silent.

🙌 Thank you for listening! See you in the next episode!

Episode 10 – Mindset of a Pro – How to Build your Confidence with Jessica Latham

Hello, Role Rotators Around the World!

We are Felipe and Tiago, and Tina is your podcast host. Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode:

What is high technique, and how can it help you improve?
How to connect better with your partner through technique.
The biggest game changers in dance improvement.
How to stay motivated to train and progress.

Our guest today is Jessica Latham, an international bachata dancer and teacher known for her expertise in high technique. Enjoy this episode! 🎧

What is High Technique?

📌 Jessica’s definition:

“I don’t like the term ‘lady styling’ because my classes are for everyone. High technique is about body control, musicality, and creativity—regardless of gender.”

🎯 Key elements of high technique:
✔️ Body control & balance
✔️ Musicality & expression
✔️ Creativity in movement

💬 Jessica: “If you learn how to control your body when dancing alone, your partner work will improve dramatically.”

How to Improve Your Dancing

💡 Jessica’s Game-Changing Tips:

1️⃣ Focus on Connection, Not Just Moves

Improvement isn’t just about fancier moves—it’s about better connection with your partner.
If you can react and adapt seamlessly, every dance will feel smoother.

2️⃣ Learn How to Dance Alone First

If you can’t control your own movements, you won’t be able to connect properly in partner work.
Solo drills and isolations are key.

3️⃣ Record Yourself & Track Progress

Use mirrors or videos to see how your body moves.
Track your progress—seeing improvement is huge for motivation.

How to Stay Motivated

🎯 Jessica’s #1 Tip:

“Remind yourself why you started dancing. Stay inspired by dancers you admire—but don’t compare yourself to them. Your only competition is yourself.”

🙌 Find joy in dancing, no matter where you are in your journey.

💬 Jessica: “Dancing is about expressing yourself. Keep growing, but never lose the enjoyment.”

🎧 Loved this episode? Follow @RoleRotation & @felipeytiago_official for more! See you next time! 🚀

11 – Surprise! Interviewing International Dancers at Terra Livre Festival

We are Felipe and Tiago, and Tine is your podcast host.
Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode: Role Rotation, Terra Livre, and Voices from the Dance Floor

This episode is different.
There is no sit-down conversation.
No debate. No theory.

Instead, this is a raw, unfiltered collection of voices from the dance floor.

What does role rotation feel like to the people dancing it?
Why do so many dancers describe Terra Livre as life-changing?
And what happens when a festival creates real freedom, safety, and belonging?

In this special episode, Tine interviews dancers from all over the world at Terra Livre Festival near Madrid. The audio is intentionally unedited—you hear the music, the energy, the laughter, and the emotion. These are the voices of dancers sharing why role rotation matters to them.

🔍 What you hear in this episode

Why dancers fall in love with role rotation
What it means to swap roles mid-dance
How dancing both roles changes connection, empathy, and creativity
Why Terra Libre feels safe, welcoming, and deeply human
How role rotation supports gender equality and self-expression
Why dancers feel less pressure, less judgment, and more joy
How community grows when everyone is allowed to dance fully
What freedom in social dance actually sounds like

🎤 “Role rotation is not a technique—it’s a right”

Across dozens of voices, dancers describe role rotation as:
– Freedom of expression
– A conversation instead of choreography
– A way to feel seen, safe, and whole
– A creative reset when dancing becomes repetitive
– A form of social dance activism
– A return to why they started dancing in the first place

🧠 Why this matters for dancers, teachers, and organizers

Dancers reconnect with their bodies and emotions
Leaders and followers understand each other deeply
Teaching shifts from hierarchy to dialogue
Festivals become spaces of trust instead of pressure
Social dance becomes inclusive, creative, and alive

🛠️ How you can take action

Listen—really listen—to the dancers in this episode
Try the other role, even socially
Support festivals that allow freedom of roles
Create safe spaces in your local dance scene
Share this episode with dancers who feel limited or unseen

💬 Final takeaway

This episode doesn’t explain role rotation.
It lets dancers speak.

And what they say is clear:
Role rotation gives people back their right to express themselves through dance.

If you want to feel what freedom in bachata, salsa, and kizomba sounds like, this episode is for you.

🎧 Listen now and experience Role Rotation on the RoleRotation Podcast.

12 – Are RoleRotation Dancers still a Minority?

We are Felipe and Tiago, and Tine is your podcast host.
Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode: Are Both-Role Dancers Really a Minority?

Are dancers who lead and follow still just a small minority—or has the reality already changed?

In this episode, Felipe and Tiago unpack one of the most common arguments used against role rotation in social dance: “But both-role dancers are such a small percentage.” Together with Tine, they challenge this assumption and explain why relying on imagined numbers does more harm than good.

Rather than debating percentages, this conversation focuses on mindset, lived experience, and what actually happens on dance floors, in classes, and at festivals around the world.

🔍 What we talk about in this episode

Why there is no real data on how many dancers know both roles
Why “minority vs. majority” is the wrong question to ask
How many dancers already know the basics of both roles—even if they don’t identify as “both-role dancers”
Why you can’t judge someone’s skills or roles by their gender or appearance
How cultural norms make women leading more visible than men following
Why men are often discouraged from following in classes and socials
How both-role dancers constantly adapt and accommodate one-role dancers
Why advanced role rotation dancers often get held back in classes

🧠 A key mindset shift: Assume capability, not limitation

One of the central ideas of this episode is a radical but simple mindset change:
Instead of assuming dancers can only do one role until proven otherwise, assume everyone is capable of leading and following—until they tell you they’re not.

Just like we assume people at international festivals can speak English until they say otherwise, we can approach dance with curiosity instead of assumptions.

💬 Stories from festivals, classes, and competitions

Felipe and Tiago share real-life examples from:

Role rotation festivals like Terra Livre
Jack and Jill competitions
Teaching experiences where advanced both-role dancers ask for higher-level content
Students who once hated role rotation and later competed in both roles
Moments where assumptions about gender and skill led to exclusion or insult

These stories reveal how invisible role rotation often is—and how quickly dance floors change when just a few people start rotating.

🎤 Why this matters for dancers, teachers, and organizers

Dancers feel less judged and more confident to experiment
Teachers create more balanced, flexible classes
Organizers build safer, more inclusive events
Communities move away from gender-based assumptions
Social dancing becomes more playful, human, and creative

💡 Final takeaway

Whether both-role dancers are a minority or not is beside the point.

Even if it were only 1%, those dancers still deserve access, respect, and representation.
And in reality, there are far more dancers capable of both roles than most people think.

The future of social dance isn’t about forcing everyone to rotate—it’s about stopping assumptions, opening possibilities, and letting dancers choose freely.

🎧 Listen now to this episode of the RoleRotation Podcast and start assuming capability instead of limitation.

13 – RoleRotation Classes – Struggles and Solutions

We are Felipe and Tiago, and Tina is your podcast host.
Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode: Role Rotation, One-Role Classes, and Becoming a Better Social Dancer

How can dancers practice role rotation when their local classes still separate leaders and followers?
What tricks and tips help you maximize your learning in single-role classes?
And how can you develop both leading and following skills—even if your city doesn’t have rotation classes yet?

In this episode, Felipe and Tiago share strategies for learning both roles, practicing role rotation, and taking your social dance to the next level. They explore how to get the most out of traditional classes, the best ways to practice rotation, and why learning both roles is a key skill for modern social dancers.

🔍 What we talk about in this episode

How to practice both roles in a one-role class without disrupting the teacher
Why starting with your less experienced role gives the fastest learning
Partner strategies after class for quick role swapping and mirroring
Going one level down in your secondary role to accelerate learning
Learning styling for both roles, even when only practicing one
How festivals and online resources can accelerate role rotation skills
Real-life stories from Madrid, Berlin, and Prague classes and festivals
The mindset shift: absorbing all information in class, not just what applies to your current role

🎤 “Start with your less experienced role, rotate with purpose”

Felipe and Tiago introduce a practical approach for 2025:

Begin the class with the role you’re least comfortable in to absorb all the instructions.
Swap roles mid-class or after the circle with other rotation dancers.
Practice with partners who can teach or mirror the role you’re learning.
Take advantage of online courses and festival workshops focused on rotation techniques.

🧠 Why this matters for dancers, teachers, and organizers

Dancers become versatile and adaptable, ready for any social dance scenario
Teachers can support both-role learners without disrupting their class structure
Social dance communities grow more inclusive and collaborative
Festivals and events gain dancers who understand both perspectives, improving overall quality

🛠️ How you can take action in 2026

Rotate roles with multiple partners in class or after class for practice
Start beginner classes in your secondary role—don’t wait for a “perfect” course
Use online resources or festival workshops to deepen your rotation skills
Encourage your friends, students, and fellow dancers to learn both roles
Bring this mindset into your social dancing and parties

💬 Final takeaway

Learning both roles and practicing rotation isn’t just a technical skill—it’s a mindset. It opens doors to versatility, empathy, and full engagement in the social dance world. By training both roles, you contribute to a more dynamic, inclusive, and exciting dance community.

If you want to improve as a social dancer, gain confidence in both roles, and master role rotation, this episode is for you.

🎧 Listen now and start rotating on the RoleRotation Podcast.

14 – Competitions – Finding the Best Social Dancer?

We are Felipe and Tiago, and Tine is your podcast host.
Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode: Jack and Jill Competitions, Role Rotation, and Social Dance Activism

Why do most Jack and Jill competitions still separate dancers by traditional gender roles?
How can role rotation competitions uncover the best social dancers—and not just the best leaders or followers?
And how can we, as a community, push for more representation and equality in dance competitions in 2025?

In this episode, Felipe and Tiago share their experiences judging and competing in Jack and Jill competitions around the world. They dive into the differences between single-role and role rotation competitions, the challenges of gendered assumptions, and the importance of representation for followers and leaders of all genders.

🔍 What we talk about in this episode

The difference between traditional Jack and Jill competitions and role rotation competitions
Why single-role competitions can limit dancers’ full skill sets
How role rotation competitions help find the most versatile social dancer
Judging skills, not gender: why organizers and judges need to focus on technique over tradition
Real-life stories from Tel Aviv, Berlin, and Thera festivals
The social and collaborative side of competitions—why competitors sometimes teach each other moves to level up
The history and evolution of “Jack and Jill” and why the name may need an update

🎤 “Judge skills, not gender”

Felipe and Tiago introduce an activist movement for 2025: dancers who know both roles are asked to compete in their less traditional role at least a few times this year—men as followers and women as leaders—to increase representation and challenge outdated competition rules.

🧠 Why this matters for dancers, teachers, and organizers

Followers gain visibility and validation in leading roles
Leaders expand their empathy and understanding of social dance
Organizers learn the value of inclusive competition rules
Social dance communities become safer, more dynamic, and more inclusive

🛠️ How you can take action in 2025

Compete in your non-traditional role at least 2–3 times this year
Use the hashtag #JudgeSkillsNotGender to share your participation
Encourage friends, students, and fellow competitors to join the movement
Vote with your participation and support competitions that prioritize skill, not gender

💬 Final takeaway

Competitions aren’t just about winning—they’re about growth, learning, and representation. Role rotation and challenging traditional gender roles help social dance evolve into a more inclusive and exciting world.

If you want to see more dancers leading, more dancers following, and competitions judged purely on skill, this episode is for you.

🎧 Listen now and join the conversation on the RoleRotation Podcast.

15 – Fiorella y Linda – Recognise, Communicate & Respect Boundaries in Social Dancing

We are Felipe and Tiago, and Tine is your podcast host.
Together, we are here to create safer, more respectful dance floors—one conversation at a time.

🎙️ Today’s episode: Recognize, Communicate, and Respect Boundaries in Social Dancing

How can dancers know when a partner’s boundaries are being crossed?
Why is it so hard to speak up—or even notice—on the dance floor?
And how does respecting boundaries make bachata, kizomba, and salsa more enjoyable for everyone?

In this episode, we share the recording of a powerful online masterclass with Fiorela Ilindas, a role rotation dance educator, who breaks down how to identify, communicate, and honor boundaries in social dance.

🔍 What we talk about in this episode

How to recognize physical and emotional boundaries while dancing
Why dancers often hesitate to communicate discomfort
The role of consent in social dance and the FRIES model explained
How power dynamics and experience levels shape interactions on the dance floor
Practical tools for both leaders and followers to respect boundaries
How role rotation can foster empathy and safer dancing

🎤 “Boundaries make dancing better for everyone”

Fiorela explains that consent and communication aren’t optional—they’re essential. Dancers who recognize and respect boundaries create more enjoyable experiences, reduce misunderstandings, and contribute to a healthier dance community.

🧠 Why this matters for dancers, teachers, and organizers

Followers feel safer and more confident in classes and socials
Leaders learn to be more attentive, empathetic, and responsible
Organizers build trust and attract more dancers to their events
Everyone enjoys a more respectful, inclusive, and fun social dance environment

🛠️ What we can actually do about it

Dancers: speak up, set your own boundaries, and notice your partner’s signals
Teachers: explicitly teach and model respectful communication
Organizers: create guidelines and environments where consent and boundaries are prioritized
Communities: normalize discussions about boundaries and respect

💬 Final takeaway

Respecting boundaries isn’t about limiting fun—it’s about enhancing it. It’s about creating social dance floors where everyone feels safe, valued, and free to enjoy the music.

If you want to level up your bachata, kizomba, or salsa dancing while making the scene safer and more respectful, this episode is for you.

🎧 Listen now and join the conversation on the RoleRotation Podcast.

16 – How to Say No to a Dance

We are Felipe and Tiago, and Tine is your podcast host.
Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode: Saying No to a Dance — Boundaries or Discrimination?

There’s a lot of talk in the social dance scene about “saying no to protect your boundaries.”
But is saying no always about boundaries?
And when does it quietly turn into discrimination?

In this episode, we unpack a topic that is far more nuanced than social media often makes it seem.

🔍 What this episode is really about

We clearly separate two often-mixed topics:

Saying no to a dance
Maintaining boundaries

Today’s focus is only on the first one:
When is saying no healthy, and when is it harmful—to yourself, to others, and to the dance community?

✅ Good reasons to say no to a dance

We start with an important reminder:
👉 It’s your body, your dance, and you never owe anyone a reason.

That said, there are reasons that are widely considered fair and healthy, such as:

You’re tired, injured, in pain, or need a break
You already danced several times and want to include others
You don’t like the song
You’ve promised the next dance to someone else
You know the person has a history of unsafe, harmful, or disrespectful behavior
You’re healing from a past experience and need to protect yourself

In these cases, saying no is about self-care and safety, not exclusion.

⚠️ When “boundaries” become a cover for discrimination

This is where the conversation gets uncomfortable—and important.

We talk openly about reasons that are not okay:

Saying no because of someone’s gender
Body type or weight
Race or ethnicity
Age
Sexual orientation
Assumptions based on appearance or stereotypes

Even if it’s framed as:

“It’s my body, my boundaries”

Felipe and Tiago challenge this directly:

Having the right to do something doesn’t automatically make it ethical.

🧠 Intention vs. impact in social dancing

A key reflection in this episode:

Saying no might feel small to you
But it can be deeply impactful for the person asking

Especially for:

Beginners
Dancers in smaller communities
People who already feel excluded

We remind listeners:
👉 You were a beginner once too.

💃 Why dancing with beginners matters

Saying yes to beginners:

Builds a healthier, more welcoming scene
Improves your own technique and clarity
Strengthens empathy and connection
Prevents elitism and hierarchy in social dancing

Avoiding beginners isn’t neutral—it shapes the culture.

🌍 Seeing dancers as dancers

One of the core Rolerotation values is emphasized again:

See dancers, not categories.

Not:

“Male dancer / female dancer”
“Overweight dancer / skinny dancer”
“Beginner / advanced”

Just dancers.

Judging actions, values, and behavior is fair.
Judging bodies, identities, or assumptions is not.

🧩 Practical tips for socials

For dancers who don’t want to dance a song:

Step away from the dance floor
Sit down, go to the bar, don’t signal availability

For dancers asking others to dance:

Read non-verbal cues
Respect tiredness, breaks, and space

And if you say no:
👉 Say it kindly.
👉 Remember you could be on the receiving end one day.

🎯 Final takeaway

Yes, you have the right to say no.
But with that right comes responsibility.

Ask yourself:

Am I protecting my well-being?
Or am I acting from prejudice, comfort, or habit?

Discrimination doesn’t disappear just because we call it “boundaries.”

🎧 In the next episode, we go deeper into the second half of this topic:
How to actually maintain boundaries within a dance.

Thanks for listening. See you next time.

17 – Combo Classes – Boring or Effective?

We are Felipe and Tiago, and Tine is your podcast host.
Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode: Combo Classes in Bachata — Helpful Tool or Harmful Habit?

Why are bachata classes so often built around long combos?
Do combo-heavy classes actually help dancers become better social dancers—or do they limit musicality, connection, safety, and inclusivity?

In this episode, we respond to a thoughtful listener question from Sweden and take a deep dive into the “combo culture” of bachata, exploring its benefits, risks, and how students, teachers, and organizers can do better.

🔍 What we cover in this episode

Why combo classes became the dominant teaching format in bachata
The business and psychological reasons dancers “want” combos
How combo classes can help beginners—but hurt long-term development
Why combos often train choreography instead of leading & following
How combo culture affects followers, leaders, and role-rotating dancers
The link between combo classes and gendered role division
Why “don’t teach on the social dance floor” matters so much
How to get real value from combo classes—even if that’s all you have

✅ The value of combo classes (yes, they do have benefits)

Felipe and Tiago explain why combos exist:

They give dancers a sense of achievement
They feel fun, usable, and motivating
They help beginners “speak” basic dance sentences
They allow cultural exchange at festivals (different countries, styles, flavors)

Combos are not the enemy—but how we use them matters.

⚠️ The big problem: confusing choreography with dance

Key issues with combo-focused teaching:

Leaders learn sequences instead of adaptability
Followers are treated as passive receivers
Dancers repeat movements without understanding why they work
Muscle memory replaces listening and connection
Social dancing turns mechanical and stressful

A powerful insight:

If you only learn combos, your body learns to finish things—even when the lead changes.

Improvisation suffers when dancers are trained to “complete” instead of respond.

🧠 Dance as a language: grammar vs. sentences

Felipe and Tiago compare dance to learning a language:

Combos = full sentences
Technique = grammar
Social dancing = conversation

Without grammar:

Every lead becomes a memorized reaction
Small changes break the dance
Safety and clarity disappear

🕺 Practical advice for leaders on the social floor

One simple but powerful tool:

Always start a dance with basic + a turn

Why?

It instantly tells you what your partner can comfortably follow
It helps you adapt instead of forcing combos
It prevents “blaming the follower” for failed movements

And please:
❌ Don’t stop a social dance to teach
❌ Don’t ask “do you know this combo?”

💃 How followers can use combo classes to grow

Even in combo-heavy classes, followers can:

Listen to leader explanations to anticipate variations
Train alternative stylings (without disrupting class)
Learn the most when leaders mess up

Key takeaway:

When the combo breaks, real following begins.

🌍 Combos, gender & inclusion

Combo classes can unintentionally reinforce inequality when:

Roles are divided by gender instead of function
Students feel pressured to choose the “expected” role
Height, body type, and gender differences aren’t addressed

Missing tools:

Adapting moves for different bodies
Teaching that every move works for every height—with adjustments
Normalizing role switching inside regular classes

🧩 What to do if your town only has combo classes

Practical strategies:

Deconstruct combos into smaller parts
Mix first, second, and third eights in new ways
Practice puzzle-style recombination
Ask your teacher questions—they often do know the technique
Learn technique online to understand what’s hidden inside combos
Find a practice partner who shares your mindset

🎓 Advice for teachers & organizers

For teachers:

Combos should reinforce technique—not replace it
Teach students how to enjoy technique classes
Use combos as application, not the foundation

For organizers:

Avoid scheduling only combo classes
Offer parallel rooms: combo + technique/styling
Ask teachers to balance their content

💬 Final takeaway

Combos aren’t bad.
But combo hegemony is.

Better social dancing comes from:

Understanding technique
Adapting to your partner
Letting go of choreography
Valuing connection over completion

And as always, remember:

🗣️ When you ask someone to dance, ask:
“Lead, follow, or both?”

🎧 Thanks for listening. See you in the next episode.

18 – How to Stop Dancers from Making Fun of RoleRotation and Get Them to Learn the Other Role

We are Felipe and Tiago, and Tine is your podcast host.
Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode: When Role Rotation Feels Awkward, Ridiculous, or Frustrating

What should we do when role rotation on the social dance floor feels… uncomfortable?
When men follow but turn it into a joke?
Or when leaders switch roles without actually knowing how to follow?

In this deeply honest episode, Tine brings two personal social dance experiences to Felipe and Tiago—and together, we unpack the emotional, social, and pedagogical layers behind them.

🔍 What we talk about in this episode

Why men dancing together is often treated as a joke in social dance spaces
How “comic relief” is used to avoid insecurity and social pressure
Why laughing doesn’t always mean disrespect—but often fear
How role rotation can feel triggering for dancers who already feel marginalized
Why many men start following without taking follower classes
The safety issues that arise when advanced leaders follow without training
How to give feedback without teaching on the social dance floor
How to support the movement without burning yourself out

🎭 “Comic relief” and why men make role rotation ridiculous

Tiago introduces the concept of comic relief:

A tool people use to reduce pressure when a situation feels socially risky
Especially common when men dance together under public attention

Key insight:

Men are often not afraid of dancing with men—they’re afraid of what others will say about them.

Turning the dance into a joke becomes a shield against judgment.

💡 A powerful response: kindness instead of confrontation

Instead of calling people out, Felipe and Tiago suggest:

Dancing seriously with them afterward
Giving positive reinforcement about their following
Showing, through action, that following is valid and respected

This kind of quiet activism:

Builds confidence
Reduces the need for comic relief
Changes behavior without shame

🕺 When men follow badly—and why that’s different

The second topic is clear:
👉 Men who follow without training are not doing anything wrong—they are beginners.

Important distinctions:

Advanced leaders ≠ advanced followers
Many men have never taken a follower class
Unsafe habits (arms, turns, anticipation) often come from lack of training

For the sake of the movement, Felipe and Tiago say:

Sometimes, you endure—and then you guide.

🛠️ Practical tools for safer, better role rotation

Concrete advice from the episode:

Treat role-switching leaders as full beginners
Use simpler movements when leading them
Drop small hints like “In class, followers usually…”
Encourage follower classes without lecturing
Suggest festivals or full weekends spent in the follower role
Give feedback only when invited—and keep it light

🎓 A powerful exercise for advanced dancers & teachers

Felipe and Tiago recommend:

One full festival attending classes only in the other role
Social dancing can still rotate—but classes should be committed

Why this works:

Builds empathy
Improves safety
Deepens understanding of connection and timing

💬 Final takeaway

Role rotation is not always elegant.
It’s sometimes awkward, messy, and emotional.

But:

Ridicule often hides fear
Bad following often hides lack of education
Kindness and patience change more than confrontation

If we want safer, more inclusive social dance spaces,
we have to hold both compassion and standards at the same time.

🎧 This episode is essential listening for role rotators, bachata dancers, teachers, and anyone navigating inclusion on the social dance floor.

🙌 See you in the next episode.

19 – How to Teach a RoleRotation Workshop

We are Felipe and Tiago, and Tine is your podcast host.
Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode: Can You Teach Role Rotation If You’re Not a Professional Dancer?

In this episode, we answer a question many dancers secretly ask themselves:
“Am I allowed to teach… even if I’m not a professional?”

Tine has been invited to teach her very first role rotation pre-party workshop—and she’s nervous. She’s only been dancing for two years, isn’t a professional teacher, and wants to do things right: inclusive, fun, and respectful.

This episode is a practical, honest, and empowering guide for anyone thinking about teaching role rotation for the first time.

🔍 What we cover in this episode

Whether you can teach role rotation without being a professional dancer
Why small dance scenes need people to take the first step
The difference between being a good dancer and a good teacher
Why teaching methodology matters more than fancy combos
Whether you’re allowed to use the term “Role Rotation”
What values the Role Rotation movement actually stands for
How to design a role rotation class that feels safe, fun, and accessible
How to reduce resistance around same-gender dancing
Simple strategies to create comfort, hype, and curiosity in class

🧠 “Anyone can teach” — but with responsibility

Felipe and Tiago explain:

In many towns, if nobody starts, there will never be a scene
You don’t need to be the best dancer—just more experienced than the group
Teaching means committing to continuous learning, not perfection

A key recommendation:
👉 Learn pedagogy and teaching structure, not just moves.

🏷️ Can anyone call their class “Role Rotation”?

Yes—with conditions.

Felipe and Tiago clarify:

They don’t own the action of rotating roles
They protect the values behind the movement, not the technique
Anyone can use the name Role Rotation as long as they don’t discriminate

Core values include:

Inclusive language (leader/follower, not man/lady)
No gender restrictions on who dances with whom
Styling and technique classes for all genders

🧩 How to structure a beginner-friendly role rotation class

This episode offers very concrete teaching tools, including:

Why students should start in their stronger role
How to simplify the second half of the class after role switching
When to teach both roles without rotating yet
Why role rotation is an advanced action, not the starting point

🎶 How to make the class FUN (even if you’re nervous)

Some practical highlights:

Use recognizable, happy music to set the tone
Start with a hype warm-up (even non-bachata songs work!)
Less explaining, more dancing
Let music help you relax as a teacher

Warm-up favorites mentioned:

Gimme Gimme Gimme – ABBA
Me Too – Meghan Trainor

🦸‍♀️ The “three-group system” (a powerful inclusion tool)

A key strategy to reduce resistance and fear:

Leaders
Followers
“Heroes” — dancers who’ve tried both roles

Why this works:

Reduces same-gender dance anxiety
Creates social proof and safety
Makes role rotation feel normal before it even starts

💬 Final takeaway

You don’t need to be fearless.
You don’t need to be perfect.
You just need to care, prepare, and show up with the right intentions.

Role rotation grows because people like you dare to try.

🎧 This episode is essential listening for dancers, community organizers, and first-time teachers who want to build safer, more inclusive bachata spaces.

🙌 See you in the next episode!

20 – Female Leaders Need to Talk

We are Felipe and Tiago, and Tina is your podcast host.
Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode: Who Leads When a Woman Teaches With a Man?

In this episode, we tackle a subtle but powerful issue in the bachata world:
Why do female teachers so often step into the follower role when they teach with a man—even when it’s their class?

Starting from Tina’s real-life dilemma about choosing a teaching partner, we dive deep into representation, power, and visibility in social dance education.

🔍 What we talk about in this episode

Why female solo artists often adapt their role depending on their teaching partner
How teaching choices reinforce gender norms—even unintentionally
Why women leading men on stage still matters so much
How habit, marketing, and fear shape who gets seen as “the main teacher”
Why male followers are still treated as rare—even though they exist everywhere
How Instagram content and posters influence who gets hired for festivals and schools
Why representation directly affects women’s job opportunities in dance

🎭 The core issue: women adapting, men staying the same

Felipe explains a recurring pattern in the bachata scene:

When women teach with women, they lead
When women teach with men, they follow

This constant adaptation places power with men by default and sends a harmful message:

A woman can only lead if there is no man present.

We discuss how this affects:

hiring decisions
class dynamics
long-term careers of female solo artists

🎤 Fear, masculinity, and male followers

We also address a common concern:

Are men afraid to follow publicly because they might be seen as weak?

Our take:

If a teacher isn’t comfortable teaching both roles, they shouldn’t be teaching
Following does not make men weaker—it makes them more complete dancers
Male teachers who lead and follow are perceived as more skilled, not less

As Tiago puts it:

“When I see someone teaching both roles, I just assume they’re a great teacher.”

🛠️ What needs to change (practically)

Female teachers: don’t stop talking or leading just because a man is next to you
Male teachers: use your privilege to support—not overshadow
Organizers & schools: pay attention to marketing, name order, and representation
Everyone: create and share content showing all role combinations

Representation doesn’t happen by accident—it’s a choice.

💬 Final takeaway

This episode is a call for visible, intentional representation:

women leading men
men following proudly
teachers showing full role competence

Because without representation, fear stays.
And without change, inequality stays.

🎧 Listen to this episode if you care about inclusive bachata, role rotation, and a fairer social dance world.

🙌 See you in the next episode!

21 – Female Teachers Don’t Get Microphones!

We are Felipe and Tiago, and Tina is your podcast host.
Together, we are here to end discrimination in the social dance world—one conversation at a time.

🎙️ Today’s episode: Who Gets the Microphone in Bachata Classes?

Why do follower teachers—especially women—so often stay silent in bachata classes?
Why are they called assistants instead of teachers?
And how does this affect the entire social dance scene?

In this episode, we are joined by Natalie, a Rolerotation-certified bachata teacher and science communicator from the UK, to talk about power, gender, and voice in partner dance education.

🔍 What we talk about in this episode

Why follower teachers often don’t get a microphone in bachata classes
How traditional teaching structures reinforce sexism in social dance
The parallels between gender inequality in science and in dance
Why followers often stop taking classes—and why that hurts the whole scene
How unequal teaching creates disrespect on the dance floor
Why leaders complain about “bad following” while followers are never taught
The real cost of treating followers as props instead of students

🎤 “The follower is not an assistant”

Natalie explains how calling female follower teachers assistants strips them of authority, visibility, and professional respect—and how this dynamic benefits male leaders long-term when couples split up.

This episode dives deep into:

Why leaders speaking for followers is a problem
How power dynamics in class shape behavior on the social dance floor
Why equality in teaching is not just ethical—but essential for quality dancing

🧠 Why this matters for dancers, teachers, and organizers

Followers stop attending classes when they’re not taught anything
Leaders get frustrated because followers were never trained properly
Organizers lose money and community trust
The scene becomes less safe, less respectful, and less fun

As Natalie puts it:

“Until everyone is having fun, I will continue to be difficult.”

🛠️ What we can actually do about it

Female follower teachers: speaking up does shift the room
Male leader teachers: use your power to make space—not take it
Organizers: listen to feedback and hire teachers who teach equitably
Dancers: vote with your time and money—don’t attend classes that exclude you
If speaking up feels unsafe: find allies, staff members, or send a message later

Change doesn’t require shouting—it requires collective awareness and action.

💬 Final takeaway

Equality in bachata teaching is not about taking anything away from leaders.
It’s about adding voices, improving learning, and creating safer, more respectful social dance spaces for everyone.

If you’ve ever felt invisible in class—this episode is for you.

🎧 Listen now and join the conversation.