Lead and Follow: Part 4 – The Frame

Frame

Frame

frame is the key to good lead and follow, but it’s also the responsibility of both partners.   Although good frame and/or connection is critical to all dances, this article is focused mainly on smooth, closed position dances such as Waltz or Foxtrot.  So how do we establish a good frame?

First, Good frame starts with your arms, keeping them up and toned.   I have been occasionally asked what I mean when I say toned and the best way I can describe it is to say it’s just enough tension in the muscles to hold the arm in a given position.  This means that it is very light, but firm enough to communicate to the partner.

Second,  Good frame means your bodies relative position is slightly to the right of each other.   If you stand in front of your partner, the buttons on the man’s shirt should be close the lady’s shoulder.   Imagine the space between the Ladies head and right shoulder as your window and try to look out that window at all times.    You may be tempted to look into her eyes, but in so doing, you will have a tendency to drift back in front and into her space.

Third, The man’s arm should be around the lady, with his wrist high under her shoulder and his right hand on her left shoulder blade.  Keep the fingers together and pointed down slightly.    The ladies’ left arm should be placed on top of the man’s arm with her left hand resting softly on his shoulder.  Fingertips on the outside and thumb on the inside, but not gripping the man’s arm.

Fourth, The Man’s left arm should be extended from the side with the hand positioned at a height which is comfortable for the lady.  Due to my height, I sometimes have a tendency to raise my hand at a level that can be uncomfortable for some women so I have to remain conscious of this at all times.    The upper arm should be sloped down slightly and the upper arm slightly up.   The lady’s palm shoud rest in the man’s palm with her fingers between his fingers and thumb, then both fold fingers over the others hand (GENTLY).   Each partner should keep their wrists straight and support their own weight.

Fifth,  The lady should settle into the mans left arm comfortably providing the necessary connection.  The lady should feel a light connection with the man’s hand on her back.

Finally, Maintain good posture stretching your body upwards, fill your lungs and keep your shoulders back and hips in.

With the proper frame, the man’s intention are easily understood by the lady through both arms and the torso position of the man.   Maintaining a good frame through proper tone and a stable upper body will greatly improve both yours and your partner’s enjoyment.

The Eight Dance Commandments

I found this and thought I would share it with everyone.   It was written from a country dance perspective, but most of it applies to all dancing. 

From linked article…

When I first started dancing, I had the pleasure of attending the Country Dance World Championships.  At my first “Worlds”, I did not know very much.  I could dance East Coast Swing, a little West Coast Swing, Waltz and Two-Step.  But I was very much still learning how to dance. I wanted to be a better dancer, so I took lots of workshops in swing dancing, country dancing and line dancing.  So many workshops in fact that my brain felt like it turned to mush, but I kept on dancing.  But, the lessons that have stayed with me all these years I did not learn out on the dance floor or in a learn how to dance workshop.

The Eight Dance Commandments – Read More….

West Coast Swing – Critical Connection

Light Connection

Without a doubt, connection is important in all dances.  It’s the medium we use to communicate with our partner.   In West Coast Swing (WCS), connection is absolutely critical.    WCS is mostly danced from the open position so there is no frame to rely on for good connection.   This means we have to rely on just the hand connection to communicate our lead and follow to our partner.

UCWDC World Champions Sam and Denise Miller state that connection and energy transfer creates synergy.   How?

Arm Position and Tone

Arms should remain in position with the elbows never moving behind the body.  This breaks connection and creates a chicken wing appearance.

Tension in arms should be developed using the lateral muscles of the shoulder.  Muscles in the arm should be relaxed.

Constant connection

Strong Connection should be maintained throughout the dance (with a few exceptions such as free spins).  Strong does not mean heavy, but it does mean consistent, solid and understandable by your partner.

Although the connection is constant it is also flexible flowing smoothly from compression to leverage as a bungee cord not like a rope which is either taut or slack. 

Connection should be light.  A heavy connection has a tendency to rely on your partner for balance.  Some instructors disagree with this but the majority of the swing community agrees that a light lead is better.

Summary

Give this a try.  If I were to suggest one thing for anybody to work on, it would have to be their connection.  No connection, no communication.

10 Signs You Are Addicted to West Coast Swing

I found this fan page on facebook and loved it. I must admit, i’m guilty of some of this….ok, maybe more than some. There are many more listed but these are my favorites. If you think of any others, add a comment on this post. Would love to hear them.

You MIGHT be addicted to WCS if…..

  1. When every song you hear, you ask yourself “Can I dance WC to this?”
  2. You are at a ballroom dance trying to figure out which fox trots, salsa or cha cha music you can dance West Coast Swing to.
  3. When you spend more time dancing in your kitchen than you do cooking in it.
  4. when your schedule for the week revolves around when and where you’ll dance.
  5. When you buy shoes, you wonder if you can dance in them – even though you have a closet full of dance shoes…what happens if you are out at a non-dance function, wearing non-dance shoes? Then, you keep a pair of dance shoes in your car as well- just for “emergencies.” :)
  6. When you freeze as you hit the music break in the song…. no matter where you are.
  7. When your spare time becomes consumed by watching dance videos on youtube.
  8. When you start rating stores at the mall for music and wood flooring.
  9. When clothes shopping, you always stop and think, “Can I wear this dancing?” When you hear music in a store and think, “I could WC to this.”
  10. and my favorite:   When you have to explain to the insurance adjuster why he MUST get those dance shoes out of the crushed trunk of your car because “they’re broken in”!!

 Read all the submissions here….

Don’t forget to add your own.

Shoes – Dancing with Heart and Sole

DON’T LET YOUR SHOES WEAR OUT!!!!!

 

Ok, so I recently started having trouble with foot pain.   The entire ball of my right foot was bruised and felt like it had been beaten with a stick.   I took a couple of weeks off from dance to let it heal and it did, but as soon as I went back I started hurting again.  It wasn’t long before I could barely walk. 

Being the bright and perceptive person that I am, it only took me a matter of weeks to figure out that my shoes were worn out.    ok….not so bright, not so perceptive. 

I had actually worn all the suede off the bottom and most of the sole as well.   I was very upset.  I loved those shoes.  Although not much to look at they were perfectly broken in with just the right amount of slide on the floor.   It was like they weren’t even there.   Well, they pretty much weren’t. 

One new pair of dance shoes later and guess what happened?  Yep,  the pain and bruising went away.   I honestly think it was a coincidence but that’s just my humble opinion.

Anyway,  check your shoes and replace them as needed.  I’m finding I get just under a year out of my shoes, but your mileage may vary.

Lead and Follow: Part 3 – I Lead, You Follow, but who's in Charge

Ballroom dancing is a combination of one leader and one follower working together as one.    Oops….did i just give away the ending?   Maybe a little but I really have a different point to make.

Yes, the leader makes the decisions on the patterns and steps to be taken and the direction of the dance, but is he really in charge.   Leading is by invitation (or at least it should be).   The leader can’t force the follower to do anything so is he really in charge?   As the follower, you have all the control.  If you choose not to follow, there is not much the leader can do about it.

I have heard some teachers say that in dancing, you have to “let the man be in charge”.   I find this statement extremely amusing.  Why?  The very statement contradicts itself.

If you “allow” or “let” the man be in charge, you have chosen to do so and ultimately have the control.

Author Andre Maurois is quoted as follows:  The most important quality in a leader is that of being acknowledged as such.

This is especially true in dance.  If the follower does not acknowledge the leadership of the leader, then…well…..it’s not going to be much fun for either.

So when it comes down to it.  Men, you can’t push a rope and you can’t make your partner to do what you want by force.  Lead gently and with authority and you will be acknowledged as such.

West Coast Swing – Accepted WCS vs. ballroom WCS

West Coast Swing technique as it’s frequently taught today, was documented by Arthur Murray Ballroom Dance Studios and many ballroom studios today still teach from this material (not all ballroom instructors use this material). 

Two Main Differences

Coaster Step

The biggest point of contention from the West Coast Swing dance community is the Coaster Step.

A Coaster Step (for the leader)  takes place on there 5&6.    The right foot is placed behind the left (on 5),  the left is a step in place (on &) then  the right is placed beside the left again(on 6).  Variations on this exist so descriptions may vary.

The Coaster Step was predominate in the early days of WCS when the dance closely resembled Lindy.   As the dance evolved, it was determined that the Coaster Step was a hindrance to the critical connection between partners.    The anchor step soon replaced the Coaster Step for both partners.

Unfortunately, many ballroom studios still teach WCS with a Coaster Step simply because it has been taught that way in ballroom since it was first introduced.

Tap Step vs Triple Step

Tap Step is simply a tap on 3 (forward for leader, behind for follower) and then a step with the same foot on 4.

In place of Tap Step, many teach a triple Step ( ‘trip – le – step’) on the 3 & 4 count.

And, hopefully not causing too much confusion here,  a variation of the triple step can be done called a Moving Triple Step on the &3, 4 but we can save that for another day.

Tap Step Issues

Momentum – Basics of Connection says the follower should keep moving in the direction led until they are stopped, run out of arm, etc. Tap Step teaches the follower to stop their own momentum.

Balance – More often than not,  I see this done flat footed with the leaders weight firmly on the heal of the weighted (right) foot.  Weighted this way it is possible for the follower to push the leader off balance.

Compression – This posture can cause a couple of things to happen.   If the leader is off balance, there will be no compression.  Also, the leaders elbows may have a tendency to drift behind again affecting compression and connection.

Flexibility – It prohibits, or severely limits, cross slot patterns

So  is Tap Step wrong?  No it is not wrong, but it should be taught with the stipulation that it is not the norm, but executed when led.

The Hard Way

As I mentioned, I had an experience that really punctuated the differences for me.  Last year I attended a Saturday workshop taught by a nationally known instructor.   It was an intermediate class so I felt confident I would be able to handle it.

Up to this time, all my WCS instruction had been from classic ballroom instructors and less than ten minutes into the class I knew I was in trouble.  I could barely get started with the pattern that everyone else was learning with no difficulty.  Why?   In place of my tap step and Coaster step, they were doing triple steps.   I struggled for the entire hour and finally got it with the help of a couple of very kind ladies.

After that, I sought out instructors from the swing community to help me correct this.   My next group class was much more productive.

Conclusion

I’ll be the last person to say that Tap Step and Coaster Step are wrong, but they are clearly a limitation to the dance and should be taught after a student has learned to dance with triples and anchors.

Considering a Dance Cruise

 If you are considering a dance cruise then read this article before you decide on which cruise to take.

http://www.ras-this.com/dance-cruise/

The group was small enough that everyone became familiar with everyone else and by the end of the week we became a dance family. Dancers also received much more individual attention during workshops.

I'm BACK!

It’s been a little while since my last post, but I am here to say, I’m BACK.   I spent Thanksgiving Week in Austin Texas, visiting family and while there, I was fortunate to have the opportunity to learn from several professional West Coast Swing instructors.  I’ll be sharing some of my experiences over the next few days. 

I look forward to your comments.

Sam and Denise Miller at Memphis Swing Dance Club

samedenisemillerI attended this workshop last year and had a great time.  Sam and Denise are great instructors and put on several excellent workshops and the critique class was worth twice the price.   

If you get the chance,  don’t miss it this year!!!

 

Sam  and Denise Miller

and

Jeannette Jeffries

November 6, 7 & 8th  2009

______________________________________________________

Friday

Memphis Swing Dance Club Party

7 pm - Senses Night Club (2866 Poplar Ave)

_____________________________________________________

Saturday

Gallery Ballroom  (400 S. Front )

5 Workshops

10:30 – 11:30 am – Jeanette Jeffries  WCS     $10.00

12:00 – 1:00 pm – Sam and Denise WCS        $15.00

1:30 – 2:30 pm – Sam and Denise WCS           $15.00

Pizza Break

3:00 – 4:00 pm – Critique Class                        $15.00

4:30 – 5:30 pm Sam and Denise Night Club 2 Step        $15.00

6:00 pm Dinner and Party at Superior Bar (159 Beale St)

**** $10.00 OFF IF YOU BUY ALL WORKSHOPS

_____________________________________________________

Sunday

Private Lessons by appointment:  Call: 901-486-8176

Visit the Website of Sam and Denise

More Information at Memphis Swing Dance Club Website