FORCE POINTS

Every movement involves  the lead of the Center Point of Balance so that the body and all its parts know exactly where the weight is -- on either foot, or balanced on both feet. 
       The specific actions done by other parts of the body, all controlled and coordinated with each other, either balance off each other or enhance the overall look, feel, symmetry and balance of each move. Our dance classes utilize the following exercises for warming up before the strenuous class lessons as well as practice routines to isolate, focus on, and control individual parts of the body. For more specific classes, though we also warm-up with simple dance styling moves.
      Only by first isolating and focusing on individual body parts can a new dancer start the process to control and coordinate simultaneous movements of the body. 

WARMING -UP EXERCISES
Let's start off with a few simple exercises. 

THE HEAD AND NECK
Head Tilts and Rolls help unclog neck stiffness and stretches the neck muscles. 

Tilt the head towards the left on every count from 1 to 8; repeat on the right; then forward, and finally back. Now, roll the head to the left on every other count. Roll it to the right on every other count. 
       Double the tempo by rolling the head to the left and then to the right on every count. Be careful not to lower your head beyond comfort. Also, fight the urge to raise your shoulders while rotating your head. 
       Double the tempo by rolling the head to the left and then to the right on every count. Be careful not to lower your head beyond comfort. Also, fight the urge to raise your shoulders while rotating your head. 

THE SPINE
There are two spots on the spine that can actually bend. We are all familiar with the spot at the waist. But the flexibility of the other spot, centered between the shoulder blades, is the main factor that helps us exude that controlled but flexible look, which readily separates the amateur from the professional. 

Think into the spine at the waistline. Lean back, bending at the waistline. 

You will find it difficult to breathe, and you will feel a strain at the neck. Regular dancing in this position will surely give you a bad back. 

Now ‘think up’ into the point of the spine between the shoulder blades and bend back slowly. 

As you do so, you will notice that it releases the lung area and makes breathing easier. The shoulders will then be free to sway in any direction. The top of the body feels centered in the CPB. 

Thinking into your CPB, push to the right and then to the left. Alternate directions to music and gradually build up your flexibility. 

THE SHOULDERS
Shoulder movements,  whether carrying them at ease or emphasizing with a sharp move, add much character to dances such as the Tango, Foxtrot, and Paso Doble. But make sure they are deliberately controlled and look good. Practice such movements in front of a mirror before trying them out in public. 
       Many dancers of my dad’s generation, thinking they look great, overdo their shoulder  moves while dancing the Cha Cha Cha. These days, we refer to their style as the “Cha cha’ng Bayan.” 
       Try to differentiate the following moves from each other, as they may look the same to an untrained eye. A photograph effect of each move may seem the same, but the feeling and actual look will be different. This exercise is particularly important for both partners in Tango. 

Push the  right shoulder forward on every count from 1 to 8. Pull the left shoulder back on every count. 
Push the left shoulder forward on every count. Then pull the right shoulder back on every count.
Push the left shoulder forward on every count. Then pull the right shoulder back on every count.

FORCE POINTS
       How many times have we observed dancers on the floor, and wonder why one dancer looks "sharp" while to other looks "ugh" as they do the same moves? Why does one look so controlled and coordinated while the other looks awkward? 
       The key I discovered is the understanding and use of force points. 
        It is important to know which part of the arm or leg to use as Force Points and at what portion of the movement to use them, because this makes the major difference. Extensive practice is necessary to finally get this properly. 
       A Force Point acts as the origin of an arm or leg movement. It is the controlling portion of the actual movement. 

THE ARMS, HANDS, AND FINGERS 
The arms, hands and fingers figure prominently in dance as they not only provide additional body balance but also can help enhance the character of each particular dance. Effective arm movements necessitate a Force Point, as demonstrated in the following practice movements. 

Place your right hand in front, pointing to the far left. Thinking into the hand itself, point and place the fingertips to the extreme right on Count 1; hold on Count 2. 

 The Force Point has been the fingertips. 

Now place the right hand to the far left again and think into the elbow. Force the elbow to the far right, and let the rest of the arm follow. 

The elbow has now become the Force Point. 

Repeat the same process, this time using the shoulder as the Force Point, and let the whole arm follow through. An entirely different effect has been created. 
       Once the elbow is midway to the side, think into it and force it to the far right. Then think into your wrist, and force it to the far right. Your hand and fingers will follow the direction of the wrist but your shoulder and elbow are left in the same position. Finally, point your fingers to the far right. Now your whole arm is extended to the right. 
       Once the elbow is midway to the side, think into it and force it to the far right. Then think into your wrist, and force it to the far right. Your hand and fingers will follow the direction of the wrist but your shoulder and elbow are left in the same position. Finally, point your fingers to the far right. Now your whole arm is extended to the right. 

To do so, you had to use various force points at certain portions of the whole motion of extending your whole right arm to the right. 
       The shoulder as the force point initiates the movement of the bent arm from the front of the body to the side. But  before the arm reaches the side, the elbow gradually takes over for the rest of the lower arm to the fingers to follow. Then the wrist takes control, and then the fingers to end in a smooth relaxed level on the side. 
       The breakdown of this particular motion is seldom discernible in actual dance, especially when the moves are fast. But when you utilize the right force points,  the audience sees, and the dancer feels, the difference in effect. 
       Different dances and styles use different arm movements. Different arm movements use different force points. Thus it is particularly important to know what arm movement and which force point to use. Practice makes this perfect. When trying out a new arm movement, practice first in front of a mirror. 

THE LEGS
The same rule on force points applies to leg movements, especially when doing kicks, lift breaks, and in actually stepping to the beat. 
       In a dance walk, the motion starts with the hip as the force point, gradually shifting to the knee, then the ankle, the heel, the sole and the toes. 

THE HIPS
The hips too act as a force point, especially for the Cuban Hip Movement characteristic of some Latin dances. 

Keep the upper part of your body very still and move the hips on every count, from left to right. Next try hitting the same side twice, an alternate sides. 

 End with the following exercise for the hips. 

With feet together, release the heels and let them swing with the hip movement. Give your lower spine a workout  by using the HIPS  as a FORCE POINT.  Keep the upper part of the body very still and move the hips on every count.

THE FEET
Finally, get total control of the entire foot and overall balance on each step. 

Think into the center of the sole of your foot (that point beside the ball and below the gap between the big toe and the next toe). Step side on your left foot and hold it for 4 counts. On Count 2, lift and touch your right foot to the left ankle. Then change feet on the next 4 counts. Practice until you can actually stand on one foot without wobbling.

Continue to use these exercises as warm-up routines in each of your practice sessions, even if the movements already feel like second nature when you dance. With full understanding of basic dance movement, control and conscientious practice, the beginner dancer will sooner than most be able to attain that elusive professional look.