| To experience a great dance partnership, it is just as | | | | in holding your "block" and arms in one piece.) In the |
| important to develop following skills as it is to | | | | next section "intent and movement", we will continue |
| develop leading skills. Therefore the myth: "All I need | | | | to talk about the arms and elbows and suggest a |
| is a good leader, and I can follow anything" - is only | | | | simple exercise. |
| partly true. Only if we have good following skills can | | | | Focusing on the difference between "Intent" and |
| the leader dance with power and strength - thus | | | | "Movement" |
| allowing the couple to maintain balance and control | | | | When the leader is preparing to move forward, he |
| and assuring that both partners enjoy the dance. | | | | will first compress his supporting foot downwards. |
| Frequently you will hear the man (also referred to as | | | | This, in turn will begin adding pressure to his upper |
| the leader) say: "Stop trying to lead - just follow." | | | | body, thus indicating an intent to move the lady |
| Well that works only if the lady (also known as the | | | | backward. Take note here that this should simply |
| follower) knows "how" and "what" to follow. | | | | "indicate an intent" to the lady. This is the critical point |
| There are two basic aspects to following: | | | | where many followers misread the lead. Once they |
| - The "How" - Developing our Frame and Connection | | | | feel this intent - they instantly move. Instead, when |
| - The "What" - Focusing on the difference between | | | | the lady feels the intent, she should stay on her |
| "intent" and "movement" | | | | supporting foot and compress towards the man until |
| Developing Our Frame and Connection - Smooth | | | | he commences to move. This is worth repeating. Do |
| Dances (Closed Position) | | | | not move when you feel the pressure or "intent" to |
| The actual frame (or closed position) is made up of | | | | move; rather, stay on the supporting foot and press |
| three points of contact - a triangle between the | | | | forward (and upward) and wait for the actual |
| couple: | | | | movement. |
| 1. The lady places her right hand in the man's left | | | | Simple Exercise |
| hand. | | | | At this time, we will again discuss the lady's core, |
| 2. The man places his right hand on the lady's left | | | | arms and shoulders. When the man is indicating intent, |
| shoulder blade | | | | many times the follower will collapse the elbows and |
| 3. The lady places her left hand just below the man's | | | | or shoulders. (Remember the follower's role is to |
| right shoulder. | | | | simply hold her own body forward in one solid piece.) |
| This triangle has a closed side and an open side. It is | | | | To understand this concept, try this simple exercise: |
| important here to point out that the follower should | | | | Stand with your feel about 9" from a wall or closed |
| resist "falling" to the right or open side of the triangle. | | | | door - weight towards the balls of the feet. Bring |
| This can be corrected by becoming aware of keeping | | | | your sternum forward (slightly separating your |
| our "block" - (hips, ribcage and shoulders - aligned and | | | | ribcage) and place your hands on the door or wall. |
| head over the left wrist.) Also check that your right | | | | Notice you are simply supporting your own body - |
| toe is not turned in. | | | | not really pressing the door. This is how comfortable |
| The "connection" is a little bit more illusive and | | | | your body should feel when you are in dance |
| complex than building the frame or embrace. First, | | | | position. Just simply stay forward and support your |
| let's discard the notion that we should give the man | | | | own weight. It is important to impress upon the |
| "resistance." Instead, the follower should concentrate | | | | follower that this position does not make you feel |
| on holding the elbows slightly in front of the hips, and | | | | heavy - but rather gives the leader the leverage to |
| the hands forward and upward at all times. Another | | | | move forward with power and confidence. |
| really important aspect of the connection is activating | | | | These concepts require a little thought and practice; |
| the "core". (If you have participated in palates | | | | but when you finally understand "how" and "what" to |
| classes, you are aware of your core; if not, work on | | | | follow, both you and your partner will enjoy the |
| strengthening your stomach and sternum so that you | | | | dance! |
| are following through your center - thus assisting you | | | | |