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Don't assume that the follower knows the move50
If your leading is not working particularly well, it may simply be that you are tired — try taking a quick break. I often lead better earlier in the evening — once I've warmed up.
Leading well requires confidence, awareness, and concentration.
Leading is not difficult, per se — the main problem for leaders, especially when starting out is information overload: leading, moves, music, follower, etc.
Rather than thinking about the lead per se, put yourself in the follower's position and think how you might react to a given lead — or which lead would best achieve the desired response.
The angle of the forearm in an open dance hold will obviously depend on the relative heights of each partner — but generally the elbow, forearm, wrist should be form a straight line in the handhold (not necessarily exactly horizontal) at approximately right angles (90o) to the body, this means that any force generated at the hand (wrist) will be passed along the arm with little loss. Hence, to maintain a good connection, dancers should support the elbow so that it doesn't “sag” far below the hands; keeping a right angle or more between the forearm and the upper arm.
If the angle between the forearm and upper arm reduces from 90o it becomes increasingly difficult to prevent that angle collapsing under compression in the handhold.
From a technical viewpoint: if either, or both, the forearm or upper arm are held away from the body, then the connection may be reduced, and it may be difficult to keep the angle between the forearm and upper arm, or between the upper arm and the body constant under compression and tension. From a style perspective: if either, or both, the forearm or upper arm are held away from the body, then there may be a potentially unsightly gap between the body and the arm, which may not necessarily fit with graceful styling.
Generally elbows should be kept in on the same side of the body, as the hands. If the hands are in front of the body then the elbow should be kept in front of the body, etc. If an elbow begins to move past the line of the body, then this is generally a lead for a rotation. If both elbows begin to move past the line of the body, then this is generally a lead to move away from the leader.
Compression is a state where both ends of an arm (handhold) have a net force applied towards the centre, i.e. an inwards “push”51.
“Static compression” is generated if both partners maintain “form” in their arms (while keeping the handhold still) and lean towards each other to generate the “push”. A larger angle of inward lean will generate a greater degree of force towards the joint handhold, and consequently a greater degree of compression. For example, if you place your hands on a wall and lean towards it you will generate compression in your arms. Developing a good sense for static compression can help leading and following static moves that require leans, etc.
“Dynamic compression” is generated if both partners maintain “form” in their arms and move so that there is a net velocity towards each other, i.e. either both partners are moving toward each other, or one partner is moving faster toward their partner than their partner is moving away. A larger magnitude net velocity toward each other will generate a greater degree of force towards the joint handhold, and consequently a greater degree of compression. For example, if you place your hands on a wall and “fall” slightly towards it, you will generate an increasing dynamic sense of compression in your arms. Developing a good sense for dynamic compression can help leading and following moves that require acceleration and deceleration, etc.
Tension is a state where both ends of an arm (handhold) have a net force applied away from the centre, i.e. an inwards “push”52.
“Static tension” is generated if both partners maintain “form” in their arms (while keeping the handhold still) and lean away from each other to generate the “push”. A larger angle of outward lean will generate a greater degree of force away from each other, and consequently a greater degree of tension. For example, if you hold on to a wall and lean away from it you will generate tension in your arms. Developing a good sense for static tension can help leading and following static moves that require leans, etc.
“Dynamic tension” is generated if both partners maintain “form” in their arms and move so that there is a net velocity away from each other, i.e. either both partners are moving away from each other, or one partner is moving faster away from their partner than their partner is moving towards them. A larger magnitude net velocity away from each other will generate a greater degree of force away the joint handhold, and consequently a greater degree of tension. For example, if you place your hands on a wall and “fall” slightly away from it, you will generate an increasing dynamic sense of tension in your arms. Developing a good sense for dynamic tension can help leading and following moves that require acceleration and deceleration, etc.
The compression and tension exercises can be mixed so that partners practise the feeling of moving from compression to tension and vice versa. Since the amount of compression and tension depends on the size and weight of the partners, it is a good idea to swap around to get a better idea of how this can vary.
The compression and tension exercises are described as partner exercises, but they can be extended to say four partners arranged as the sides of a box leaning towards or away from the centre.
The follower faces the leader at a distance of about two cubits53, with a double handhold at approximately (the shorter partner's) shoulder height, both hands have a palm to palm grip, feet are about a shoulder width apart. The leader and follower lean slightly forwards without bending (towards each other), but keep the dance hold “locked” so that their weights are balanced by compression within their hands, arms and shoulders, i.e. elbows should not be pushed backwards, etc. Both partners can increase the compression by leaning forwards, but should stop if they feel their heels starting to lift off the floor. Ideally, both partners should be able to release the handhold and remain balanced, i.e. neither partner should have to step forwards when the hands are released.
The amount of compression indicated in the exercise should be ideal for the leader to use as an unambiguous lead for the follower to move backwards.
The (non-zero) amount of compression that takes the slack out of the handhold so that both partners are prepared to move immediately can be considered as that suitable for both partners to retain a connection with each other without moving.
The follower faces the leader at a distance of about two cubits, with a double handhold at waist height, both hands have a standard grip, feet are about a shoulder width apart. The leader and follower lean slightly backwards without bending (away each other), but keep the dance hold “locked” so that their weights are balanced by tension within their hands, arms and shoulders, i.e. elbows should not be pulled forwards, etc. Both partners can increase the tension by leaning backwards, but should stop if they feel their toes starting to lift off the floor. Ideally, both partners should be able to release the handhold and remain balanced, i.e. neither partner should have to step backwards when the hands are released.
The amount of tension indicated in the exercise should be ideal for the leader to use as an unambiguous lead for the follower to move forwards.
The (non-zero) amount of tension that takes the slack out of the handhold so that both partners are prepared to move immediately can be considered as that suitable for both partners to retain a connection with each other without moving. For example, many West Coast Swing moves include an “anchor” step, which partners use to reestablish a strong dance connection, so that the lead can be immediate in the next step, without having to take up any slack.
The follower faces the leader; the follower keeps their (right) arm relatively rigid, and places their (right) hand on the leader's upper chest. The follower closes their eyes, so that they can concentrate solely on the information from the lead, i.e. the compression in the handhold. The leader mixes walking forwards (possibly with gentle turns) and stopping, as the follower follows the leader's movements by walking backwards. In a class, the leader should stop/move to avoid collisions, as couples meander around the floor mixing about. Ideally, the follower's hand should never leave the leader's chest, there should be no collisions and the leader should be able to direct the follower's movements easily. Leader and follower can swap roles to experience the difficulties the other may find.
Other practise positions are possible, if followers find that it is too intimate to place a hand on the leaders chest (or vice versa), although other positions may increase the number of “joints” in the dance hold. For example, followers can place both hands on the leader's shoulders, or use a practise hold, i.e. the leader's arms are outside the follower's arms and both partners hold each other's left forearm in their right hand (below the elbow).
The follower is on the left of the leader; the follower keeps their (right) arm relatively rigid, and places their (right) hand in the small of the leader's back. The follower closes their eyes, so that they can concentrate solely on the information from the lead, i.e. the connection in the handhold. The leader mixes walking forwards (possibly with gentle turns) and stopping, as the follower follows the leader's movements by walking forwards. In a class, the leader should stop/move to avoid collisions, as couples meander around the floor mixing about. Ideally, the follower's hand should never leave the leader's back, there should be no collisions and the leader should be able to direct the follower's movements easily. Leader and follower can swap roles to experience the difficulties the other may find.
One lead and follow exercise is for the leader to lead the follower to face them, at a distance of about two cubits changing the handhold to a palm to palm grip. The leader leads the hands to describe a large vertical circle (from waist height to shoulder height) exactly halfway between both partners, without any pressure pushing, or pulling the hands. Both partners' movements should be exactly mirrored, as if they were synchronising cleaning both sides of a window. Ideally, both partners will remain in place, and the only movement will be the hands — if the leader exerts too much pressure, or the follower anticipates, then the follower may dance a turn (under the joint handhold). This exercise helps the leader practise a “quiet” lead, it helps the follower to keep from anticipating, and can help both partners build a strong connection as they concentrate on the lead and follow, and on mirroring each other.
Obviously, this exercise can be varied by the leader changing handholds, or by mixing several deliberate turns with “wax on, wax off” figures.
One exercise is for leader to effectively stay on the spot, e.g. keeping on an old vinyl LP record cover or tabloid newspaper, while leading the follower. This requires accuracy in the lead and subsequent follow, as the leader cannot move to compensate for any inaccuracies in their lead or in the follower's movements.
The connection between partners is usually one or more handholds, each of which has a number of joints that can be locked and unlocked, i.e. leader's shoulder, leader's elbow, leader's wrist, follower's wrist, follower's elbow and follower's shoulder. In Modern Jive as in many swing dances, the shoulder, elbow and wrist joints are usually kept locked in position, so that the lead is generally a “body” lead, e.g. from the pectorals (chest), that is transferred through the locked shoulder keeping the elbow locked at a fixed angle (close to and slightly in front of the body) through to the hands and thence to the follower. Using a “body” lead can help smooth the lead e.g. if the leader's shoulder or elbow joints are unlocked and they create the lead by moving their elbow backwards. Leading from the upper body provides the steady arm necessary for leading well, and also means that the arm can “absorb” (and return) some of the follower's compression or tension without the leader's elbow being pushed or pulled too far backwards or forwards (and vice versa). Obviously, different moves may require the shoulder, elbow, and wrist joints to be unlocked to differing extents, but the joints should be locked in the normal waist level handhold.
As the lead is driven from the upper body, in more advanced moves the arm movements or footwork can be separated from the direction of the lead. For example, the leader can provide a static base for the follower to swivel against, and hence there is no direct relationship between the leader's footwork and the lead.
Limbs in the body are generally controlled through pairs of muscles. One set of muscles takes the limb away from the body (abductors) and one set of muscles takes the limb towards the body (adductors) [The Muscle Book] — rotational joints are more complicated, but muscles will tend to occur in pairs to balance each other.
In this document I'm deliberately describing the ideal dance hold as robust (in the sense that it can withstand change) rather than describing it as being locked, or rigid. To me a locked dance frame is one that is rigid because of the position of bones, rather than muscles. Be careful not to make your dance frame rigid by locking it into a static position in the sense of joints limbs being hyper-extended, or joints being opened (or closed) to the end of their travel.
In a robust dance frame both sets of muscles in the arms should be working, i.e. both the abductors and the adductors — acting against each other even when “relaxed”. A robust dance frame is fixed in the sense that it can resist movement in any direction — but which is sufficiently malleable that it can be changed rapidly because the muscles can be relaxed quickly. Hence, a sudden change of lead direction shouldn't have a large impact on the follower's handhold and dance frame. For example, if the lead places the handhold under tension and only the abductor muscles are used to pull, and then the lead switches the handhold to compression there will be a period while the abductor muscles relax (from pulling) and the adductor muscles take over to push. For example, if the lead places the handhold under compression and only the adductor muscles are used to push, and then the lead switches the handhold to tension there will be a period while the adductor muscles relax (from pushing) and the abductor muscles take over to pull. Obviously, a robust dance frame should be robust in all three dimensions, so that the arms shouldn't be “weak” in any direction; be it left, right, away, towards, up or down.
The effect of using both sets of muscles can be contrasted in the following exercises:
Imagine a target in front of your arm, at waist height about a cubit away, and then catch it in your hand. You probably managed this instinctively, using just the sets of muscles in your shoulder, arm and hand that move your hand and arm away from your body (abductors). There might also be a slight tendency to overshoot, and correct after catching the target.
Imagine the same point as above, but think about moving your shoulder, hand and arm using both sets of muscles, i.e. using the same set of muscles you used previously to move your arm away from your body (abductors), while also (paradoxically) trying to slow (but not quite stop) the movement down by using the opposing set of muscles (adductors) to keep the arm down at your side. If you find visualisation techniques help, then imagine moving the arm through pitch, or treacle. The motion of your hand and arm should be completely controlled through all points of its journey, and not just at the start and end points — the overall motion may be slower, but it should be smoother than just using one set of muscles. There should be less tendency to overshoot (and correct) to catch the imagined target.
The technique of using both sets of muscles can be used to smooth movements can be applied to all your dancing to achieve a more graceful effect, e.g. to generate a smooth movement when making arm lines, etc.
Aside from floor craft, leaders also need to lead safely, releasing hold quickly if there is any indication that the follower may be hurt, e.g. if there's an unexpected resistance in the handhold.
In competitions, you want to catch the judge's eye as a potential winner from the first opportunity — at least until you start dancing.
Start the lead and follow dialogue early (even before the music) as you lead your follower onto the dance floor — if you can't wow them with your dancing, perhaps you can impress them with your confident approach.
All moves (even the first) start with a preparation phase, which is often (but not necessarily) a counter movement. The lead for a move also means leading the preparation, a good leader will incorporate the preparation for the next move towards the end of the current move. The follow for a move means following from the preparation phase, not waiting until the current move finishes.
Leaders should give followers enough time to “decipher” and follow the lead. Hence, leaders must decide on the next move (fragment) and lead it as early as possible. The worst idea for leaders is to change their minds at the last moment, even if it seems to be a much better idea — a follower may sense the leader's indecision — regardless, the lead will be too late to determine which move was eventually led.
Gentlemen, make sure that the lady finishes first.
Leaders should make sure that the follower has been led clearly, before dancing their own part of the move.
When possible, build the lead up smoothly fractionally before the follower should take some action. For example, build the tension or compression slightly before leading the follower to move — rather than pulling or pushing them abruptly — so that they already have an idea what move you want them to dance.
If you are dancing with a new partner, don't immediately start with your most complicated moves — take it slow — and gradually see how far you can both take the dance. If you want to lead a complicated move, try leading a simpler (more conventional) variation first to see if that is recognised. For example, before leading a Cronin Spin with a right-to-right handhold, try leading the move with the more conventional left-to-right handhold, to check that the simpler move can be led and followed well.
Moves where the follower travels across the dance floor, e.g. a Travelling Return, will obviously breakdown if the leader obstructs the follower — so leaders need to lead the follower into space, and move out of the follower's path, i.e. move off the follower's line.
Leaders can also turn 90o (so that they are at right angles to the follower) which should increase the amount of space for their follower — assuming that the leader's breadth (front-to-back) is less than their width (left-to-right). Some Modern Jive teachers term this technique as the leader “opening a door” as the leader comes off of the follower's line and rotates to open a gap, and “closing a door” as the leader comes back onto (and block) the follower's line and rotates back to face. This technique is used in several slotted dances, including: West Coast Swing , and cross-body salsa.
Moves where the follower starts in dance hold, turns in place, and is then taken back into dance hold, e.g. a First Move Salsa, need leaders to provide room for the follower to give them the maximum opportunity to successfully follow the move, i.e. so that their movement is not slowed, or otherwise restricted.
Leaders can clarify the lead by limiting the follower's movement options, by obviously blocking areas of the dance floor with their (i.e. the leader's) body.
Good floor craft and a smooth, clear, consistent lead with few “surprises”54 will help give a follower confidence in their leader's abilities — an unrecognised move may cause a hesitation, if your leads are unclear. Clarity in leading is essential in earning a follower's trust.
Think about the difference between linear and a circular leads — how the leader's hands should move (and follow through).
Use the clearest lead, not the most forceful, for example, “following through” the leading motion can help make the lead clearer. Reduce any noise in the lead — remove any movements that might make it more difficult to follow, e.g. to move the follower in a straight line, the lead must first be in a straight line.
Keep hand, body and foot movements separate.
The beat is always present in the music, so there is no need to beat out the musical beat by bouncing the hands. A bouncy handhold is the dancing equivalent of hiccoughs55 (some people term it cocktail shaking). Just as hiccoughs make conversation difficult, bouncing hands impede the lead and follow connection. The bouncing motion may not only shake your partner, but will probably cause them to make their dance frame less rigid (as they will allow the joints in the hand, arm, and shoulders to twist to accommodate the bouncing movement) which will make leading and following more difficult. Also the up and down bounce may overwhelm any other leading motion in the handhold (or mean that other leading motions have to become more forceful, so that they can be “heard” above the “noise” of the bouncing hands). Lastly, a bouncy handhold is simply tiring to lead or follow, it's a habit that is best avoided when possible.
Leaders should lead all of their partner, e.g. not just their hand, or arm.
Followers place a large amount of trust in their leaders when they are led, and move backwards without looking.
In whips and other moves where the leader leads the follower backwards in a cuddle (basket) hold, the leader should indicate how far they would like the follower to travel. For example, while the leader holds the follower's hands in their fingers, the leader can use the heel of their hands (or their thumbs) behind the follower's back as a guide to slow and stop the follower, so that the leader leads the follower to travel the desired distance backwards.
Slotted moves are clearer to lead than other techniques — as the lead is in a single clear direction forwards or backwards, rather than turning, or rotating the follower.
Slotted moves can be learnt, or practised, near to a wall (so that it is parallel to one edge of the slot and prevents the dance drifting.
Blocks should brake the follower smoothly and early in the move by building resistance quickly, rather than leading them as if the follower suddenly hits a brick wall. Leads (especially blocks) are clearest against rigid body parts, e.g. wrists, hips, shoulders and arms — rather than leading the block against fingers (hands) which can flex, making it harder to follow as the lead will be reduced as it is absorbed.
Single-handed moves can be prepared as the double-handed version, so that the move starts with a lead using both hands to clarify the initial stage of the move, releasing the “extra” hand shortly afterwards. For example, a Travelling Return can be prepared as a double-handed version where the extra left-to-right handhold is released shortly after the initial lead is given, making the move clearer for the follower.
Moves are often described (as in this guide) as a step away and offer, to achieve a double-handed position — but this means that there is only one step and one chance to get into that double-handed position. Where possible try to get into the next (double-handed) position as early as possible, e.g. if the follower is dancing a Return or Travelling Return the leader can place their free (right) hand on the follower's left shoulder as the follower turns, letting it slide down the followers left arm until the double handhold is acquired — this technique means that there is more time to take up a double-handed position, and if the catch is missed the free hand can be offered as “normal” when stepping away from each other.
The leader can “sneak” a right-to-left handhold using a similar technique to that used in getting a double handhold, by leading a Return or Travelling Return on a left-to-right handhold and the leader can place their free (right) hand on the follower's left shoulder as the follower turns, letting it slide down the followers left arm (as the left-to-right hands are released) so that the right-to-left handhold is acquired.
When leading a double-handed move, lead with both your left hand and your right hand, rather than only leading with your preferred hand (and not leading at all with the other) — this has the benefit that the lead will be twice as clear, the leader will practise leading with their other hand and the follower will also get some idea of following with their other hand.
Don't just release the hand when you go from a double-handed move into a single-handed one, e.g. from a loophole into a Return. Use the hand that you are releasing to provide an extra lead before your release it, e.g. if releasing the follower's left hand and the next move has a clockwise rotation, then take the follower's left hand out to their left to start them rotating clockwise (almost like a spin) — which will reinforce the lead from the other hand.
On a right-to-right handhold the lead to enter a Sway position from facing is to draw a (mirrored) “J”-shape, initially pulling the hands forwards to start the follower moving, and then taking the hands to the leader's right, towards the leader's right hip, to rotate the follower.
Maximise the lead, e.g. in a Sway or Basket use the entire arm pressing against the follower's back to lead the follower when exiting, rather than just leading with the hand.
In a “man-sway” position, the leader can lead the follower to circle (with them) clockwise, by pushing the follower's right arm backwards with their back. Similarly, the leader can lead the follower to circle (with them) anticlockwise, by pushing the follower's left arm forwards with their tensed stomach muscles.
In complex wraps, e.g. the Flingy Flung, the follower should have their spare hand available when wrapped in, i.e. over the top of the handhold — leaders should encourage this by leading the wrap so that the joint handhold is kept low (slightly under waist height).
Take clear definite steps when walking so that your partner can feel how and when you move — don't shuffle or drag your feet.
When the follower is in a Teapot position on the leader's right side, the leader can encourage the follower to walk around them clockwise — by releasing the follower's right hand (so that the remaining left-to-right handhold is across the leader's back), the leader can then subtly rotate their shoulders clockwise, which pushes against the follower's right arm, leading them to walk around the leader.
Where possible the hammerlock should be “set up”, by keeping the follower's hand that will bend behind their back, close to the hip on the same side — it is more difficult to bend an arm into a hammerlock if it is initially held to one side, i.e. away from the body. The hammerlock should be led low (under waist height) to differentiate it from other moves, and to encourage the follower to “break their shoulder”. The leader can encourage the arm to bend into the hammerlock by slightly rotating the handhold.
When leading a hammerlock move, the leader should ensure that they bring the follower's hand lower than her elbow. If a hammerlock is lead with the follower's hand at the same height as their elbow, then their forearm will be horizontal and effectively block the follower from turning in to the hammerlock position.
The leader can maximise the lead in “gliding moves” by dragging their hand lightly across the follower's back, to indicate how both partners are travelling relative to each other, and also as a cue that the leader may take up a new handhold (by continuing to slide their hand down the follower's arm).
Don't lead the follower to perform steps, rather lead the follower's body, i.e. their centre of mass56.
To lead the follower to place their weight onto their left foot, move their weight / centre of mass over their left foot.
To lead the follower to step to the left move their weight slightly “past” their left foot, the follower will step left with their weight to “compensate”, etc.
Similarly, moving the follower's weight in other directions, e.g. right, forwards, backwards, etc., should encourage the follower to move, or step in that direction.
“Larger” leads will encourage the follower to move further, but still keeping weight on their left foot, e.g. as a triple-step, etc.
If the leader lifts the follower's weight slightly up towards one side, then this will encourage the follower to lift their leg / foot on that side.
If the follower's weight is moved sideways during a slight lift / lower, then this should encourage the follower to lunge in the led direction.
When moves are taught or demonstrated (as in this guide) the lead is considered as a single entity per step, or per beat — however, you may find that considering the lead as a gradual process, or as a series of subtle “sub-leads” (micro-leads) may be more useful.
A fingertip lead, i.e. keeping contact in a “handhold” by just overlapping one or two finger joints, will effectively lengthen the handhold. This technique is useful for moves that involve a multitude of twists and turns — as the hands will “disconnect” easily, should there be a problem. Additionally, this technique can be useful for moves such as baskets, and moves that require the handholds to wrap around the follower's/leader's body.
Lead the entire move or sequence — even if you only know one ending, your partner may know dozens — so don't assume that just leading the start of a move will be enough for them to follow what you “meant”.
Don't restrict yourself to leading the move that you intend — if the move can be confused with other moves, then provide extra feedback to avoid confusion. For example, in a First Move Sway: as the follower comes into the leader's right side they transfer their right hand into his right hand, still keeping it in the small of the follower's back. To avoid the follower over-turning (e.g. into a Backhander) the leader can keep hold behind the follower's right hip.
Followers are individuals (with individual physical characteristics) and need to be led individually — the amount and type of lead will differ (even for the same music and moves)57.
The follower can follow the leader without a handhold by keeping “square” to the leader, i.e. keeping their body parallel to the leader's chest, and by moving to keep their body parallel to the leader's chest, and maintaining definite eye-contact. One example in Modern Jive is the Glider. Some dancers term this “flash-lighting”, i.e. keeping a torch (in your chest?) aiming at your partner — this technique is used by followers dancing Argentine tango, where it's called “dancing heart to heart”.
It's rumoured that even dips can be led without a “real” handhold, since the follower should support their own weight — as they would even when led “normally”.
Leading without a “real” handhold.
It's sometimes useful to ask the follower to take some action, e.g. I tend to ask the follower to stand still if I'm doing a Half Nelson to avoid embarrassing collisions!
Of course if your partner isn't used to this level of intimacy you might find yourself blacklisted — try to introduce the idea — especially if your partner hasn't similar moves before.
In close dance styles such as Blues, Ballroom Tango, etc. where the leader's legs and the follower's legs are “meshed”, the leader can use upper thigh (or knee) contact to provide a slight pressure to lead the follower to move their leg.
A “fun” blues move, is for the leader to move their right “inside” knee repeatedly left and right — slightly knocking the inside of the follower's right and left knees in alternating fashion — literally a knock-knee'd move.
Similarly, you can block the follower's foot with yours — but some followers may hate it — one friend says that she feels that I may trip her, although I haven't yet.
If you have a good relationship with your partner, you can use your foot to lead theirs. For example, from a Blues' dance hold you can use the right (inside) foot to slide out the follower's left foot out to your right — be careful if you can side-lunge further than your partner. You can then use your left (outside) foot to drag the follower's right foot to your right — so that both of you close your feet together, as you move to the right. This is somewhat similar to sandwiches and other footwork in Argentine tango.
Ideally, leaders will use a selection of different leads, rather than concentrating on a single variety of lead — varying the leading style will help maintain interest in the dance for both partners.
Given a degree of tone in each partner's arms (and hence in the overall dance frame), a good leader will impart little extra force into a lead other than that provided by the follower — but will simply reuse and redirect it as needed. This “judo” approach to leading makes leads smoother and less staccato, matching the force to each follower — as the follower provides most of the energy in this approach, it can help the leader save energy, dance longer, and possibly even “look cooler”.
Vary the “force” in the lead, rather than keeping it constant. It can be interesting to see how small a lead can be and still be followed successfully.
An exercise that can help partners focus on each other, is for the leader to gradually reduce the magnitude of the lead to its absolute minimum, i.e. the lead becomes “the merest suggestion of a whisper”, than a “rebel yell”.
Leaders can often be prescriptive in their leads — varying the tone of the lead will make your dance more interesting. Some examples include:
tell: a “normal” assertive lead, where the lead is a direct invitation for the follower.
sell: an “encouraging” lead, the lead is less assertive and relies more on the follower's implicit following. The leader can “fake” an offered hand, leading the follower to move to take it. For example, “faked” moves, e.g. a “Classic” False Pretzel, rely on the leader encouraging the follower to move (implicitly) to take an offered hand, rather than relying on explicit direction.
delegate: the leader provides a lead that indicates to the follower (e.g. by pausing slightly) that they can improvise for a while. For example, the leader may lead a Comb letting the follower improvise, until they indicate that they have finished, or reach a point where they can be led.
Try varying the leading style: both to fit the follower, and the music — it reflects the leader's dance style, but also affects the lead. A more enthusiastic leading style (think Tigger from “Winnie the Pooh”) may fit fast music, whereas a more aloof (cooler) lead may be more appropriate for slower Blues music.
One leading style is for the leader to make the look bigger by moving the hands in the opposite direction during a preparation phase. For example, in the first step of the American Spin when led with a left-to-right handhold the leader can prepare by bringing the hands to the left — initiating a slight anticlockwise preparation for himself (and slight clockwise preparation for the follower), so that the next step is bigger (and more impressive) — this preparation phase also makes the lead clearer.
It is possible to lead an injured follower and have enjoyable dances, if both partners are careful — shadow leading doesn't require a handhold.
If the follower has a single injured hand then a large number of moves can be danced successfully — obviously leads should start the dance using the uninjured hand — the main difficulty lies in ensuring that the leader doesn't accidentally catch the “wrong” hand — it helps a lot if the follower remembers not to offer their injured hand.
Depending on the locality of the injury it may be possible to modify moves that normally involve a hand catch or block, so that the leader catches a shoulder or other part of the arm with the injured hand; or possibly another area on the same side of the follower's body, e.g. a hip.
If the follower's right hand is injured, then the leader may also need to mirror “standard” moves, so that the dominant handhold used is right-to-left rather than the conventional left-to-right handhold.
One powerful technique in social dancing is for the leader to learn to “follow the follower” — if something goes awry with a lead and the follower doesn't necessarily move as expected, then the leader compensates by following the follower so that the move keeps flowing. For example, if the lead for a follower to step towards the leader is missed, then the leader can simply move themselves to close the gap between them and the follower. Similarly, if a follower doesn't complete an exact 360o spin, then the leader can simply step around so that the move still ends with both partners facing each other.
50Even if a follower knows a move, they may not be able to recognise it from your particular leading style. A missed move reflects adversely on both the follower's following technique and on the leader's leading abilities.
51Strictly, if an arm has an outwards force applied at one end (i.e. a pull) and an inwards force applied at the other end (i.e. a push) then the arm will be under compression if the magnitude of the push is greater than the magnitude of the pull.
52Strictly, if an arm has an outwards force applied at one end (i.e. a pull) and an inwards force applied at the other end (i.e. a push) then the arm will be under tension if the magnitude of the pull is greater than the magnitude of the push.
53A cubit is an ancient measure of length, from the tip of the longest finger to the elbow.
54Note the led move can surprise the follower! Rather, the term “surprises” means that the lead should be consistent and shouldn't surprise the follower, i.e. and hence the lead and follow will be consistent with each other.
55An alternative analogy, is to think that the bounce per beat is like listening to a child read aloud as it moves its finger to each new word or syllable along a line of text. With practise the reading becomes much more fluent, and the use of the finger to mark each new item is no longer required.
56The centre of mass is approximately a hands width below the navel in the centre of the body.
57This can be quite an effort if you have successive dances with followers who have radically different physiques, or following styles.
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