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.

West Coast Swing – Centering

Skippy Blair is considered by many to be the queen of West Coast Swing.   Skippy developed many of the concepts we consider foundational today.  Concepts such as Rolling Count,   Centering Knob* and   3-Toe Base.

Her writings are very detailed and a must read for anybody interested in West Coast Swing.

* requires Adobe PDF Reader

Excerpt from article…..

Unlike a center of mass (used in martial arts for a lower base stance) – or a center of gravity, which changes location with different body types  – the“Center Point of Balance” is located in the same place on every  person, regardless of size or shape.  It is located in the Solar Plexus – right in your center – just below where the ribs come together.

www.swingworld.com/articles/centering.htm

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.

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.

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)

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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

Lead and Follow: Part 2 – Responsibilities of the Follower

Lead and Follow

Lead and Follow

 In Part I, we discussed what I believe are the basic responsibilities of the leader.   As the follower, you also have some equally important responsibilities. 

Both the leader and follower are equals on the dance floor.    If the follower is not fulfilling her responsibilities then neither dancer will enjoy the dance any more than if the leader is not fulfilling his. 

 

The Follower is Responsible for:

  1. listening – Listening is simply paying attention to his lead.  Watch his chest and shoulders.  Be attentive of his hands/arms and where he is looking.  These are all indications of his intentions.
  2. not anticipating – Anticipation is simply another word for Leading.  If you think you know what he is going to do next, you will begin to back lead.  
  3. maintaining a connection – Actually both are responsible for the connection.   Maintain a good frame, keeping your arms slightly in front of you.   Keeping your weight forward on the balls of your feet will also help you maintain connection.
  4. maintaining tone in your arms -  A Barbie Doll is the perfect example of tone.  Barbie’s arms are slightly bent in front of her body and when you move her arms, you move her body from the waist up.

Every lady loves to dance with a man who is a good lead.  Every man loves to dance with the lady who knows how to follow.  Put them together and amazing things happen.

I’m sure there are a few others that I haven’t mentioned here.  What makes a great follower?

Use Every Leg

 

When we are dancing we must remember that every time we change weight, we need to be active through the standing or weighted leg. We need to activate the leg we are standing on to either push or pull our bodies to the next step.

Read Use Every Leg

Lead and Follow: Part 1 – 6 Responsibilities of the Leader

fred-astaire-2This will be the first in a series of posts covering aspects of a good leader and follower.   This started as one post, but I quickly found that there are volumes to be said about this subject. 

In the past, I have talked about qualities of leadership, but when a man takes a woman onto the dance floor what are his responsibilities?  In your everyday life, you usually know your responsibilities.   At home, it may be things like yard work, bills, vehicle maintenance, etc.  At work, most of us have clearly defined job responsibilities.  These were given to you before you were even accepted into the position.   As a prospective employee, these requirements were reviewed to assure you knew what would be required of you the first day on the job.  

Well, dance is no different.   Each time a man asks a lady to dance we are applying for the position of leader.   (Not to scare anybody new.  Ladies are kind and understanding and want to help new dancers. )  

Although your leadership responsibilities are not defined for you….  you are expected to fulfill them.    With that in mind, I thought it would be a good idea to list what I believe are the responsibilities of the leader.

 The Leader is Responsible for: 

  1. presenting his lady – A man can show his skill at leading by making the lady look a flower in a vase.  Many dances were created with the idea that the movements presented the lady to the room with a flourish.  Waltz is a perfect example. 
  2. taking his time while following the music-  Allowing the lady to complete all her actions before going to the next steps.
  3. leading with the correct amount of guidance and direction – A good leader does not push or pull which will disturb the balance of the lady.  A little lead goes a long way - the words torque, force, twist, etc have no place in Ballroom Dance.
  4. floor control and the safety of the Lady - Much of the time, your partner will be traveling backwards and cannot see what is behind her - It is your responsibility to keep her from running into other dancers or obstacles. 
  5. allowing the lady to enjoy the dance- Face it, they dance with us because they want to have fun.  If they aren’t having fun, they probably will not want to dance. 
  6. have Fun – All that responsibility can seem like hard work, but don’t forget why you dance.  You dance for the same reasons as the ladies.  I’m sure at least one of those reasons is the have some fun yourself. 

 I’m sure there are other responsibilities that I haven’t listed here, but in my mind, these are the most important.  If there are others you think are important, leave a comment.

Ballroom Dance – Don't Forget To Breathe

Don't Forget to Breathe

Don't Forget to Breathe

For a balllroom dancer, what’s the single most important muscle in your body? The diaphragm. It is probably the most ignored muscle as well. Breathing should be a part of every dance movement.

You have probably heard someone make the statement: He/She is so light on their feet?   Whether the dancer realizes it or not,  they are light on their feet largely due to good breathing. 

  Importance of Breathing

Why is it important to breathe correctly?

  1. We breathe in air, to fill up the lungs, and then exhale, allowing the body to fully stretch.    Arms and legs will appear to breathe…. and they are.  
  2. Holding your breathe or breathing erratically has an adverse effect on your posture
  3. Good breathing techniques create smooth motion in your movements. 
  4. Breathing maintains strength

Effects of not Breathing

I learned early that if I’m going to dance, I must breathe.  I say I learned, but that’s not entirely true.  I still find myself occasionally holding my breath when performing a new or difficult movement.   It may have only been for a few seconds, but the effect can be surprising.  Just a few seconds can cause dramatic muscle fatigue.  Breathing strengthens you.  

A simple exercise can illustrate this effect.  Hold your arm out to your side and hold your breathe.  How long can you hold it there?   Now do it again, but take deep steady breaths.  How much longer can you hold your arm there before fatigue set in?  

Deep Breathing Exercises

Exercising the diaphragm is important for any dancer.  It doesn’t matter if you are a competitor or a weekend social dancer.  Spend a few minutes each day and do some simple deep breathing exercises.  Practice breathing while you dance.  You will be surprised by the results.

How has breathing affected your dance?