![$vboptions[bbtitle]](images/master_col.bmp)
Reply With QuoteDon't transfer control.Originally Posted by Chef
Follower plays whenever she can do so.
Leader plays whenever he can do so.
*gets out calculator*
Hmmm....
Nup, as long as I know she's going to switch back on the 1 then it's not a problem (besides by that point I've a fairly good idea of what she's going to end with....). It's also much more likely for there to be an accent on the "1" to make the transition on, than there is on the "7".
Don't transfer control.
Follower plays whenever she can do so.
Leader plays whenever he can do so.
I started a cross body lead the other night. The lady styled out the first two steps then styled out a few more. Simple choice on my part - let her take the third step forwards and abandon the move or lead her round anyway and hope she abandonned her play.
Some women don't understand how a cross-body move works - no matter how well you lead it, they don't have the "vocabulary" to understand what they should be doing (the same applies to ochos, I've found).
In that case, I find the best way to lead it, is to do a simple "switch places" version first (so you both do a 180 degree anti-CW turn) to get them used to the idea and the motion.
Then, repeat that, but "accelerate" the turn to produce a 540 degree turn to do a "proper" cross-body lead.
Or go with it, and create a new move?
Franck teaches lots of stuff in this area. (You should take the chance to go to his workshops at Utopia in March, though they don't seem to be covering this particular area...)
I think the important thing is that the follower signals a change by making a very noticeable change in the connection. This can vary depending on what the follower wants to do.
Certainly it's important that the lead is back in control before the 1 to lead a move on the 1, and so the follower must have finished "doing her thang" before then with sufficient time to transfer the lead back smoothly.
That said, if you're both sufficiently aware of the connection and the music to know when the 1 is coming and that control will be returned then, this process could maybe happen a lot faster.
Let your mind go and your body will follow. – Steve Martin, LA Story
She was the one who taught me how to do it in the first place
Hmmm, well if it's not her fault, there's only 1 other possibility...She was the one who taught me how to do it in the first place
She looked good - I was happyHmmm, well if it's not her fault, there's only 1 other possibility...
Seeing as though my name has been mentioned in this thread by 2 different leads (thanks trousers and robd - your reward /penance is a dance with me next time i see you) I thought I'd better at least post something here.
As for the whole when and where do you improvise I am well known (not sure this is a good thing) for improvising wherever I feel the music needs it. Before I get flamed an berated a lot of my improvisation will not interfere with any lead that I am given. I play with the end of the move and add accents in before the lead comes for the next move. A lot of follows will only improvise when given the opportunity in a kind of 'I've thrown you out and hit the break and wiggle woman'. You can just go through the moves and wait for the lead to give you an opening or you can add your own individual style by improvising between leads or follow part of a move and then will morph it into something else.
Several people in this debate have already mentioned that the lead given is an invitation I'll refer to David Barker - who has previously said ' Dance is an invitation, the leader leads and it's up to the follower to accept that invitation'
This especially true in WCS as Lory and Chef have stated - the leader leads only the direction and movement - it's up to the follow how they get there. The same can be taken in Jive - the invitation is there - I may decide to follow it or amend the move to something else. Take for example a travelling return, you can accept the full invitation as the lead is expecting or you can break it into something else, what about not turning to face the lead and holding for a beat staying facing away then turning in time for them to lead forward, or as you're travelling past him stop and hit an accent in the music- there are many variations. I will admit some of this takes practice and requires the follow to indicate to the lead that they are doing something different.
As for the leads are the frame and follows the picture and the leads are the artists Hmmm- that may be true in part but as Straycat stated sometimes the follows have a better idea of the whole picture. I can't talk for leads in general but I am actively sought out as leads know I will interpret their ideas and will improvise upon them to come up with a blending of the two ideas. In effect a partnership.
Onto the what beat should a follow hand back the lead debate- well musically you probably should be handing it back through 7-8 so the lead realises you've stopped your improvisation for now, a lot of this is to do with connection - however as long as the lead is aware you're returning the lead to him it shouldn't matter (unless he's counting the beats).
Oh well enough of my opinions back to the grindstone. Angel xxx
PS: RobD I'm still not sure whether death my musicality is a compliment or not
There are currently 1 users browsing this thread. (0 members and 1 guests)
Posting Permissions
Bookmarks