Online Workshop: Techniques and Concepts of Leading (and Folowing)

[Gadget]

TECHNIQUES AND CONCEPTS OF LEADING (AND FOLLOWING)
INTRODUCTION.
Initially this text was going to be something else, but the prologue took on a life of it’s own and became something in it’s own right.

The following concepts and exercises are designed to help people communicate through the lead. The most common complaints in dancing are of followers gripping or over-enthusiastic leads wrenching shoulders. This should encourage dancers to loosen up, lighten up and become smoother in their dancing. (And help you combat these things in your partner)

It is aimed at people who know the basics, but want to learn some of the secrets that make a dancer in constant demand. If you’ve asked yourself “What have they got that I haven’t?”, then part of the answer is probably a good lead. By the end of this workshop you should at least have a better understanding of what this involves and how to do it.

Little of what this document contains hasn’t been said before. The techniques involved are not the pinnacle of leading but steps to progress you towards it. Use what works, amend what doesn’t.
"The ultimate goal isn't technique, it's expression--technique is the backbone that allows you to fully convey yourself. But if you're worrying about technique all the time, you probably won't be able to express anything--the trick is making it a part of what you do automatically." - SaturnLeia


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Feedback (both positive and negative) welcomed

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[Magic Hans]

Honest Feedback? Honestly??

Well ... here goes, and please bear in mind that any critisicism (or feedback) can never seperated from the critic!

Some really good points in there:

- Lead with clarity and confidence
- Lead with consistency and smoothness
- Be aware of where you are leading your partner
- Balance
- Lead with your whole body

and

Bouncing
Heavy partners
Gibbon grip
Hi-jacking

Personally for me, the Introduction part is the most important, and critical. It deserves more emphasis. Should that connection element be fully mastered, this creates a solid foundation upon which the building of other skills become almost trivially easy (IMO).

However, in order to connect with another, I must first connect with myself. This may sound crass and maybe patronising, but in a world where most of us seem to spend more and more time at a desk, in front of a computer or a television, I believe that we risk losing connection with our own body ... men in particular. [Maybe those who do yoga, tai chi, sports or more manner of massage could verify this or otherwise]

I would suggest a preparatory (5-10 mins) exercise of closing eyes, and taking focus into breath, noticing how it rises and falls, how deep or shallow it is, and specifically what parts of the torso is moving, and how. Step 2: go through every part of the body, starting with toes, and maybe moving, or simply tensing/relaxing them, up to and including eye brows and forehead.
Step 3: Now, to (slowish) music start moving in context to that music, preferably using entire body, and not just feet.

Hopefully this exercise has now taken me away from my desk/computer/tv/shopping list, and into the here and now, and my body.

Now I have that connection to my body, I'm ready to build a connection to another. Apart from a bit of jargon that might not be initially grasped, I'd say that your exercise would be very useful. Personally, I'd go for a less structured approach. Simply using a double palm to palm position/hold move around the floor using the music as a context - simply for the beat. Play with it! See what works (eg feels good/comfortable/right). Find out doesn't work (or grates). This is even better if there are a number of obstacles to maneouvre around. It gives the lead a responsibility. As a follow, I would see how much I could allow myself to trust my partner. How internal can I go? Can I trust my partner enough to close my eyes?

Finally - swap and do it again!! [Really really really important, even at this stage (IMO)]

Again, once mastered confidently with a number of partners, I believe that such a connection provides an unbreakable foundation upon which any dancing skill can be learned.