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No means no!
Some leaders seem to feel that their machismo is in question if they don't dominate their follower on the dance floor by forcing them into drops, even if requested not to. It is incredibly irresponsible for a leader to ignore a follower's wishes, for example a lady follower might wish to avoid acrobatic moves if she suspects that she may be in the early stages of pregnancy.
Similarly, some leaders try to dance acrobatic moves without enough experience, etc. In particular, if your floor craft is not excellent when you are dancing normal (“non-acrobatic”) moves, then it is reckless to lead “acrobatic” moves on the crowded social dance floor — simply because a move has been taught in a class does not make its use acceptable66.
Both leading behaviours are obviously unacceptable and inherently dangerous, and potentially leave those dancers open to negligence claims if they cause injury, or worse.
Beginners won't necessarily understand about acrobatic moves and that they need to say no to avoid them, so the more experienced dancer should always ask. If your partner indicates that they aren't happy to dance acrobatic moves, i.e. dips, drops, lifts, or jumps, then there is absolutely no excuse for leaders to lead such moves (or indeed for followers to throw themselves into such moves).
All “acrobatic moves” are dangerous if performed incorrectly.
In terms of health and safety at work, most ladies (i.e. those over 25 Kg.) would be classed as at least a two-person lift — most men slightly more. So, be careful with jumps, leans and drops.
There is no stigma in avoiding acrobatic moves, so don't be afraid of avoiding them — simply agree with your partner beforehand what you will both do. In classes, you can often substitute other moves instead of drops — teachers may suggest replacements67 — learning a new move that you won't use, is not worth damaging your back.
Safety first!
I strongly suggest that you also read [Peter Phillips' Drops & Seducers Notes].
Thinking about safety before dancing acrobatic moves is the first obvious requirement. The suggestions below are not intended to be exhaustive, or authoritative — and should not replace the judicious use of your own common sense.
Acrobatic moves are not for the shy! The leader will often need to hold the follower against them (or as close as possible) to dance the move safely — so both partners must be comfortable dancing very close to each other.
Jewellery should be not be worn if you are dancing acrobatic moves.
High-heels are not suitable for aerials and jumps — make sure that you are wearing appropriate footwear, e.g. dance trainers.
Don't do any “acrobatic” move until you are thoroughly warmed up.
Make sure that both partners are prepared to dance acrobatic moves, i.e. you in effect have each other's permission. Talk the move through in detail if either of you are unsure of it. In particular, check that both of you are using the same timing, otherwise one or other partner may be injured.
Make sure that there is enough clear space around you, before performing a dip, drop, jump, etc.
Don't mix alcohol and acrobatics.
If partners are not correctly placed, either partner may slip, or be twisted awkwardly — so don't rush, wait until your partner is secure, and you are both in the correct position — it may be advisable to incorporate a pause (or break) into the move, for safety's sake.
Leaders should lower the follower and lift the follower with their legs, rather than using their back or arms. Leaders should also keep a straight back when lowering or raising the follower, and shouldn't bend forwards (or backwards) in a dip or drop, e.g. bending over their follower.
A way for a leader to check that their posture remains upright (without bending over) during a move is for the leader to hold their arms parallel to the floor and then dance the move on their own. If both of the leader's arms don't remain parallel to their floor during the move (after the lunge, or squat) then the leader is either bending over in the move or dropping their arms.
Leader and follower must be able to maintain a good grip, when dancing acrobatic moves. Similarly, any holds must also be secure — be careful that holds are secure if either partner is wearing loose or “slippery” clothing.
One handhold option is for the leader to grip the follower's wrist (rather than holding their hand), while the follower makes a fist (which also keeps their arm rigid in the drop or lean). The follower's hand should then be too large to slide through the leader's grip — this grip doesn't rely on keeping a handhold with sweaty fingers. However, if an acrobatic move relies on a hand to hand grip and you have sweaty fingers (or otherwise can't rely on a good grip) then the move is unsafe to dance.
Obviously, just because you are in a class or otherwise learning acrobatic moves, doesn't mean that you can ignore the general safety considerations. In fact, in a class situation it can be difficult to make sure that you have enough room, and if the move is taught at the beginning of a class then you may not necessarily have warmed up enough — so use your common sense as to whether it is safe to dance the move in the class.
Listen to your teacher!
Don't start a move until you've been fully briefed — it may be the last issue they explain that will cause you problems.
Don't rush! Don't worry about keeping in time with the music (or teacher) — keep yourself safe.
If you are learning a new move, especially dips and drops, start small — you won't have to move quickly to perform the move, and any problems should be reduced if you don't get the technique right first time.
For example, rather than dancing a full lunge, simply take a step to the side (slightly over shoulder width) and then transfer your weight to that foot.
Face the same direction as the teachers in classes (or the direction the teacher indicates) — if neighbouring students face opposite directions there may be collisions.
The crowded social dance floor is never an acceptable place to practise acrobatic moves.
Complex acrobatic air steps (aerials) should only be performed after instruction from professional trainers. Make sure that your practise environment is quiet, well lit, and that you are away from any other dancers — you may also need to enlist the help of “spotters” to help you land safely. Opinions differ on the use of crash mats — obviously they can cushion falls, but be careful that they don't make you complacent as to the potential risks.
It is possible to practise moves à la “Dirty Dancing” in water — which may make them less intimidating — although there will be less grip and the water may change the general feel of some lifts, etc. Alternatively, it may be possible to practise at venues that have specialist aerial harnesses.
If you share a private lesson with another couple, you can alternate the dancing and spotting roles.
Spotters need to be attentive — an inattentive spotter is worse than useless. Spotters will not generally be able to catch a falling dancer, but they can help to protect the vulnerable parts of a falling dancer from impact when a move fails. Obviously, spotters should try and keep the falling dancer's head (and neck) from hitting the ground — although in some circumstances it may be safer to support their back or shoulders, rather than trying to catch their head and neck directly.
Most leans, i.e. those where both partners lean together in the same direction and those where both partners lean apart in opposite directions balancing their respective weights, are safer if the leader's foot is pressed against the follower's foot — if there is a gap, then the leader should slide their foot to close that gap. Keeping the feet braced together prevents partners slipping during the lean — which can be the case if there is a gap (and there is nothing to lean against). Keeping the feet close together also ensures that the follower is in line with (and not in front or behind) their leader. Similarly, leaders shouldn't twist the “blocking” foot when the follower places their foot against it, as this may “twist” the follower — possibly pulling them off balance.
Generally in leans, both partners are side by side with the follower braced against the leader, so that when the leader steps out to the side their follower will move to the side with them, so that the follower is supported by and leans against the leader's side.
Leaders (and followers) should try to have full contact all down the side that the follower is leaning on, there should be no gaps — the leader should press their upper body, hip, leg and foot towards their follower (and vice versa), so that the leader fully supports their follower without any gaps between both partners — even when lunged out in a lean.
Leaders must step out directly to the side with their free foot, i.e. the leg that the follower doesn't lean upon. If the leader takes their free foot forwards or backwards will “twist” the lean, possibly pulling the follower off balance.
Start small. Leaders need to keep themselves stable in a lean — otherwise there is no chance of keeping their follower stable. As the step to the side gets larger, it will transform into a lunge. If the leader cannot keep the heel of their “lunging foot” on the ground — then the lunge is too large, and the leader's lean position will be unstable.
If a follower wants to avoid a lean, or simply feels unstable, then it is perfectly acceptable to “escape” the lean.
Escape before the lean: if the lead is light enough, then the follower can adjust their placement to be slightly in front, or slightly behind the leader and then to dance the move so that the follower lunges with the leader. Hence, the follower will end so that they shadow the leader's lunged position — rather than the follower leaning on the leader.
Escape during the lean: the follower can place their outside foot on the floor, by taking the outside leg slightly forwards and crossing it over their inside leg, i.e. the leg next to the leader, so that the outside foot and leg acts as a stabiliser for the lean.
In a lean apart, both partners lean sideways away from a notional joint vertical axis — balancing their weight against each other, while keeping a foot braced against their partners foot. Ideally, both partners will lean symmetrically — however, when partners are very different sizes the larger partner will necessarily lean less than their smaller partner.
A lean apart used to be taught as part of the original catapult move; in this case when the follower was behind the leader, the leader would lean forwards and the follower would also lean backwards.
Dips and drops can look impressive if danced slowly (and safely), rather than “leaving you, or your partner in an undignified, injured heap on the dance floor”. A slow dip, or drop, gives more chance for people to appreciate the move. Hence, dips and drops are better suited to slower music, rather than trying to rush them to fit faster tracks.
There is no definitive classification of what is a dip and what is a drop, but for the purposes of discussion it is assumed that in a dip the following apply:
The follower will support most of her own weight.
The leader will be supporting the follower's body.
The follower's head will remain at or above the leader's waist height.
Otherwise, the move will be considered to be a drop.
Ladies remember your mother's advice — “Never throw yourself at a man — oh, and keep your legs/knees together”.
Followers must have a healthy sense of self preservation when it comes to relying on their partner to take their weight — followers must not dip or drop until the leader obviously leads the move, since the leader could be leading something completely different. If a follower dips or drops unexpectedly, the leader will be off-guard and may not be able to support them. The jolt from catching a follower unexpectedly can easily jar the leader's back. If a follower “throws themselves” into a dip or drop, then the extra velocity will increase their momentum — making them seem “heavier” to the leader, and reducing the safety for both partners.
If, as a follower, you feel compelled to lift a leg off the floor in a dip or drop, a safer option is to slide the foot you would have lifted along the calf of the other leg — as this will generate less momentum, and be more graceful.
Similarly, followers must minimise their momentum (i.e. the motion of their centre of gravity) in dips, or drops. Swinging a leg into the air, or throwing the head backwards, will move a follower's mass abruptly — so that the leader will be forced to cope with a large change in momentum, making it more difficult to lower the follower safely — or indeed raise them back upright.
From an æsthetic viewpoint, styling options are reduced if either partner hurries a dip or drop — the leader has no opportunity to add extra musicality by adding pauses, or leading a slower version of the move, and the follower has less chance to create dramatic arm or body lines.
Leaders should maintain a strong stance when dancing dips and drops — since shifting around during the move is possibly unsafe and definitely worrying to your follower.
It can be unsafe, and uncomfortable for the follower if they are twisted as they are lowered. Hence, the leader should only dip (or drop) the follower so that the follower is lowered along the follower's line, i.e. the leader lowers the follower parallel to the follower's hips (and shoulders).
Leaders and followers must keep the follower level (horizontal across their width) when dropped or dipped — the leader will not be able to support the follower well (without twisting) if the follower starts to roll away from them.
Leaders must not bend their knee under a dipped (dropped) follower, unless they are supporting the follower on that leg (or thigh). The follower will be hurt if they are accidentally dropped onto a knee, and they may be severely injured if their spine collides with the leader's knee.
Followers, putting a hand down to protect yourself from impact from the floor is a great idea if the leader is ignoring your wishes and dancing dips or drops without your consent.
However, followers should not generally stop the dip or drop before the leader leads it — the leader may be leading something completely different. If a follower stops the drop unexpectedly, e.g. by the follower bracing against a dip by placing their hand on the floor, then the leader will be off-guard and any jolt from the follower stopping unexpectedly could easily jar the leader's back. If you don't trust the leader to dip or drop you safely, then you should make that clear to them before dancing.
Followers must keep good body tension in a dip or drop; maintaining a straight back during the move, i.e. keeping their hips and shoulders parallel.
Followers should try to bring their “centre of mass” over (or as close as possible to) their supporting leg(s) in a dip, or the leg(s) that they will raise up on from a dropped position. Followers should also try to bring their weight up through their hips and pelvis to assist the leader in raising them from a dipped or dropped position.
The dipped or dropped partner must be brought back to a vertical position, before leading them into a turn, or spin.
When leading fast, abrupt dips leaders should use their free hand (when available) to support the follower's upper back to reduce the possibility of the follower suffering whiplash.
When a free hand is available, leaders should keep it loosely behind the follower's head as extra protection against collisions when dancing socially.
The leader must take care to support the follower carefully, e.g. holding the follower's upper back. If the leader only supports the follower at waist height it can place the follower into a painful “back bend”.
Most dips and drops can not be led safely if there is a (large) gap between partners, as the follower will tend to fall and roll away from the leader. For example, most dips are performed in the “T-position”, where the follower is at right angles to and touching the leader — leader's body is the horizontal stroke of the “T” and the follower's body is the vertical stroke. Hence, in a typical backwards dip to the leader's left:
The leader faces the follower's ear.
The follower's right shoulder should be in line with the leader's chest.
The follower's right hip will be in the hollow just to the left of the leader's right hip, so that the follower will be lowered on and against the leader.
The use of the word “drop” is misleading — the follower should never be dropped, they should be lowered, i.e. a follower should never experience free-fall while freestyling.
Leaders must not drop the follower, they should lower them — once the follower starts accelerating in free-fall it is very difficult to absorb their momentum and prevent them hitting the ground.
Drops are an order of magnitude more dangerous, simply because the follower's head is so much closer to the ground. Ideally, both partners will take care so that the follower's head will not impact the ground.
Leaders must leave enough clearance for the follower when performing a drop. For example, if the leader is stood upright, then ideally the leader should not lower their hands below waist level — which should leave enough room for the follower to have their own arms extended straight in the drop. Obviously, if the leader is in a lunge, squat, or other position where there is less ground clearance, then the leader must keep their hands relatively higher.
However, there will be situations where a leader may not be able to cope with the follower's momentum in a drop, and will not be able to keep their hands high enough. Obviously, if both partners finish with extended arms, then it is likely that the follower's head will hit the floor. Therefore, the follower should treat drops “defensively” and should never naively extend their arms in a drop. It is much safer for the follower to straighten their arms once it is clear that the leader is supporting them and that there is enough height to do so.
If you are dancing outside of the normal social freestyle conventions, e.g. competition and want the dipped partner to make an impressive line by arching backwards or throwing their head backwards then obviously agree this beforehand — and make sure that they arch back / toss the head back slowly and high in the drop — obviously it is unsafe to wait until the dipped partner is close to the floor for them to arch / toss their head back. Similarly, arm lines that will be lower than the body should be extended while high in the drop to avoid hitting the floor, although slightly more for aesthetic rather than safety reasons.
If a follower arches backwards and is accidentally dropped, their lowest part will hit the floor first — it is not recommended that this is your head! Remember that if you throw your head back in drops, then your skull may collide with the floor if you or your partner have long arms, or have otherwise reduced the amount of ground clearance.
Don't add styling, until you can dance dips and drops safely.
Dips and drops are generally consistent with a smooth styling, and the dipped partner can make a graceful line by keeping their toes pointed and in contact with the floor — rather than flexing the foot in a dip, i.e. with the heel in contact with the floor and the toe in the air, which will “break” an otherwise graceful leg line.
In dips (seducers) the leader can use their spare arm to caress the follower's body — although obviously leaders should keep a suitable distance between their hand and the followers body when gesturing.
Followers can style their arms in leans and dips with a stylish arm line, or drawing it down their body, etc. However, any arm movements should be in the same vertical plane as their body — taking an arm forwards or backwards can unbalance the move. To get an overall sense of dancing together both partners can mirror each other's arm lines.
Landing from a lift or jump flat footed can jar your back. Try and land on the toes and ball of the foot, so that you absorb the impact from landing as you drop on your heels and bend your knees.
Leaders must be secure and grounded for lifts, jumps and throws (catches) — check that you shoes will provide enough grip for the given floor. A slightly squatting, wide, grounded position with slightly flexed knees and a low centre of gravity, similar to a tai-chi stance, should provide a secure base.
The leader must place the follower on to the ground gently in lifts (and carrying moves), because the follower cannot adjust to cushion their landing if they are dropped from a height, as they don't know the height that leader is holding them.
In the monkey swing the follower travels between the leader's akimbo legs. The follower swings on one of the leader's hands from behind the leader to under the leader's legs, and then switches the handhold as they swing from under the leader's legs to in front of the leader.
One key point is that the follower needs to lean backwards and most importantly keep their head tilted back as they swing between the leader's legs — if the follower tries to look up as they swing through, then this can cause obvious technical difficulties.
The “layback” is effectively a modification to a closed dance hold, where the follower arches their upper body backwards, i.e. away from the leader who adjusts their stance to counterbalance the follower's pose. Both partners tend to be in a close hold (in the mush), with bent knees to give them enough flexibility for the layback position — in a deep layback the follower may use the leaders right leg to clamp or hook onto with their legs. The leader can hold the follower's waist in their left and right hands. Alternatively, the leader can hold the follower's shoulder blades — in which case it is the leader who provides enough room for the follower to layback, by lowering their hands and hence giving the follower room to lean their shoulders backwards — it is not the leader who makes the follower arch backwards.
66Similarly, simply because a particular teacher always teaches say three standard moves and one acrobatic move, doesn't mean that every fourth move on the social dance floor must be an acrobatic move.
67If the teacher doesn't suggest a replacement, you can often simply wiggle in place — but agree it in advance with your partner.
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