| When the male dancer leads his partner into her | | | | "push" and resistance or "pull," and good arm tension |
| basic, triple step footwork in the closed position, or | | | | conveys accurate lead and follow instructions. To |
| he uses a two-hand lead in the open position either | | | | conclude my Barbie analogy above, if the female |
| to turn her, or to cause her to travel side-to-side, he | | | | dancer gives her partner too much arm tension then |
| uses his "body frame" to move her. Frequently, | | | | she may be said to have a "Barbie Doll Arm" like the |
| however, the male dancer must lead his partner | | | | doll's stiff, plastic little arm! Her excessive arm tension |
| without the stability of two points of hand contact; | | | | is detrimental because it overwhelms her partner's |
| that is, without using his "body frame." In this | | | | intended lead and leaves her confused. To be a good |
| instance, which is typified by the male dancer holding | | | | "follower," the female dancer has to relax her arm |
| his partner with a one-hand lead in the open position, | | | | just enough to be sensitive to her partner's leads |
| he must rely upon her "arm frame" to transmit his | | | | without being too relaxed. If she does relax her arm |
| subtle, tactile cues. | | | | too much then she gives her partner what dancers in |
| The female dancer's "arm frame" is shaped like a | | | | St. Louis call "spaghetti (or noodle) arm" which also |
| very narrow, vertical rectangle that extends above | | | | inhibits her from sensing, and thus responding to his |
| and below the centered, neutral position of her hand | | | | leads. |
| that the male dancer holds with his lead hand. | | | | Finally, the male dancer, or "leader," must remember |
| Whenever he moves her hand to the left or to the | | | | that because the neutral position for his partner's |
| right, outside of this narrow, vertical frame, she | | | | proffered hand is always tabletopped within her "arm |
| should move her body in response. Swing dance | | | | frame" at waist level, he must hold her hand |
| instructors sometimes dub this the "Barbie Doll | | | | accordingly and not raise his lead hand too high above |
| Response" because you can move the toy doll's arm | | | | his waist. To be proficient, it is important that both |
| up and down, but you cannot move it left or right, | | | | dancers learn proper arm position and tension! If you |
| without moving her body. In other words, if the | | | | want to learn more about the follower's arm frame |
| female dancer moves her arm either backwards so | | | | or her partner's hand leads then you may buy |
| that her elbow travels beyond her body, or to the | | | | "Dancing Barbie" on the internet and try pumping her |
| left or to the right of center without moving her | | | | for more information. Alternatively, you may want to |
| body in the same direction then she is "breaking | | | | resume taking the dance classes offered by your |
| frame" and not giving her partner the necessary arm | | | | club. You know, those lessons which you dismissed |
| tension that he needs in order to lead her into her | | | | awhile back as being an unnecessary redundancy in |
| turn. | | | | your life because you already know how to swing |
| Arm tension has two components: compression or | | | | dance, Right? Right! |