| FOLLOW
THE LEADER  Partner connection is
the most important element of partner dancing. This holds true for both competitive and
social dancing. Partner connection is even more important than posture, balance and centering,
weight
change, foot positions, styling
and technique.
Partner connection is primarily achieved through appropriate and
logical leads which enable the follower to execute the intended move precisely.
Knowing many different dance steps is pointless unless the man can lead his partner in
them -- or unless the lady can follow the man’s leads. Although it often appears as
if partners are moving simultaneously, actually the man moves a fraction of a second ahead
of his partner, giving her a cue to follow. The assumption is that the man leads and the
lady follows, even if this is not the case all the time.
LEADING AND
FOLLOWING
Both leading and
following are highly developed skills which require true intelligence, cognitive abilities
like learning, pattern recognition and non-verbal communication and a full understanding
of how the body moves. These skills also require that both partners have good
posture,
correct body and foot positions, body frame and tone, and common centering while
maintaining individual balance. Without these, the leader is difficult to follow, just as
the follower would be difficult to lead.
A good lead/follow should not be tiring,
because only a very
subtle force is used for both. It is more like conversation where the partners communicate
with each other with respect -- no shouting, pushing or pulling -- through body signals,
eye contact, and sometimes with whispered words.
We have personally found that improvised dancing resulting from
good leading and following is much more enjoyable both in competition and social dancing,
than knowing and executing a series of fancy but memorized step patterns and sequences. We
are constantly exhilarated by the prospect of executing unexpected combinations of
patterns, without being overly concerned with our posture and image.
GOOD
LEADING
A good lead is not a force, but a skilled
cue for the follower to execute an intended move. (Note that the led intention is a
'move', not necessarily a step pattern, because a lead can be a pause, indicated by the
leader's firm non-movement.) Leads should not be tiring, because it does not require
the use of brute force. No pushing, pulling, arm-twisting, slapping or hauling (a sack of
rice).
The good lead is firm and
precise, indicating exactly what the leader wants his partner to do -- whether to change a
step pattern, rhythm, position, or direction. Leads are given through the subtle movements
of the leader's body or small movements of fingers, hands, arms, chest, or by shoulder
movement.
The good lead does not give the follower any
other choice but to execute the intended movement, in the intended direction, stepping at
the intended distance.
ALL
LEADS ARE BODY LEADS
Although the chest,
shoulder, arm, and hand may be used to give signals to the partner, it is important to
remember all leads emanate from the body, thus you hear of teachers referring to
body leads. Even if the only physical connection
between you and your partner is through the hands, the source of the lead is still
the body. To be more precise, the source is the solar plexus, or the
diaphragm, that
small round muscle at the bottom of the ribs. In dancing, this is known as the
Center Point of Balance or CPB.
Being
able to lead a simple pattern is more important
than learning the fancy pattern for the week.
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TIPS
FOR LEADERS
Expectedly, a good leader has to be
able to do a lot of things all at the same time. He has to listen to the music and
keep to the timing and phrasing, decide what patterns to do and how to do them, mind his
own body movements and also his partner's, watch out for other couples on the floor.
The good leader has to be creative,
choreographing the interpretative sequences on the spot while keeping to the musical
timing and dance rhythm.
He has to be considerate so he does not back
his partner into another couple, or get slapped by another dancer's extended arm,
compensate when the partner is not able to follow properly or ends up to far from him.
He has to know his partner's part to
be able to lead her properly, and understand floor craft to be able to navigate ingeniously
in a crowded dance floor.
Before starting the dance, the
Man should set the dancing space clearly and the dancing position in Closed or Two-Hand
Position. This helps the couple “settle in”, feel the rhythm and the music, in
preparation for the dance.
A real tough job to be a leader. Here
are a few more points to note.
- The lead must be given at the right time
-- just before the phrase of music which marks the change of position, direction, or step.
If it is too early, it may confuse the lady; if it is given too late, she will not receive
it in time. Improperly signaled and mis-timed leads for turning normally are a cause of
trouble. The leader should make sure the follower has her weight on the foot she will turn
on. Otherwise, the follower could react by resisting strongly with her body, which could
put unnecessary strain on her shoulder, arm or ankle.
- Before giving a lead, the man should be
very sure of the rhythm of the music; if necessary, he should either wait before starting
at all, or do a very simple step that his partner can follow easily while both adjust to
the rhythm.
- In general, it is better for a man to
lead a number of easy steps that his partner can readily follow, before attempting more
complicated ones. He should also lead each combination at least two or three times in a
row, rather than move abruptly from pattern to pattern.
- The man should never count audibly, or
give his partner verbal directions.
- Throughout the dance, leads should be
strong and confident, but not so much so that the lady feels she is being overpowered or
‘manhandled’.
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LEADING
TECHNIQUES
GOOD FOLLOWING
Good following however is no less easy than good leading.
'Reading' and interpreting body and eye signals requires the same skills as leading the
dance.
A good follower should be sensitive to the various possible body
leads of her partner, which could be manifested through his chest, his arms, his palm, his
fingers, at times from from his thigh or knee.
The follower should never anticipate the leader's leads and
intentions, even if the start of the pattern looks familiar. However, the follower should
be able to read the lead and follow it on the next beat. This means that the follower
should also know at least the basic patterns. However, intermediate and advanced dancers
can actually follow proper leads to unfamiliar patterns, since proper leads seldom give
her any other choice but to move as intended. The follower is expected to maintain an
encyclopedia of possible moves applicable to possible leads, and be instantaneously ready
for any of them. This skill is based on spatial and pattern-based thinking.
The follower has the responsibility to maintain the
connection with her partner. As the leader extends a force (no
matter how subtle) or action, the follower extends a reaction (sometimes referred to as
resistance). This makes both partners sensitive to each other's body movements, and makes
leading and following easier. She should be relaxed and ready for
whatever steps her partner is planning to lead. This means that she is sensitive to the
signals. As a man begins the lead, the lady must hold back, or resist it, very slightly,
so that he is forced to offer real pressure; then the lead becomes unmistakable. This
“resistance” should last only a fraction of a second.
Levels of reaction vary with the moves; the
resistance exerted to be stronger or lighter depending on their body position, distance
from each other, the readability of the lead, and several other factors.
While the leader is mainly responsible for
floor craft, the follower has to be constantly aware of their surroundings too. This is a
partnership, remember. So when the leader has to move backward and is about to
back walk
into the another couple behind him, the follower should let him know to avert the crash.
One way is to squeeze his hand, upper arm or shoulder. Another way is to shorten her steps
forward, to which the leader reacts by shortening his steps too.
Being
able to follow a weak leader
is the mark of a good follower. |
More insight
on following at FAQ
on Tips for Followers
A much more extensive discussion on leading and following may be
found in Dance FAQs.
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Side Steps
