It's impossible to pinpoint one exact thing... most leaders will say that followers have to empty their mind or (my most hated...) "just relax and follow" for the 3 minutes per dance etc.. but that's complete rubbish. To follow correctly, you have to be focused, not on thinking about "moves" more ignoring "moves" all together and focusing on each beat in turn, getting your balance & tension right on each beat... I never think more than the present beat ahead because there's just no point... You need to ignore the future & concentrate on the present.
Multitasking...
Last edited by JCB; 2nd-September-2007 at 07:39 PM. Reason: Sorry, can't rep you
Dancing with me? Only about a dozen times a track I reckon
Classic examples of my fave moves are various variations built on cross-body leads, straightjackets, West Manhattans, etc - none of them are standard moves.
Oh, and my current personal favourite: my RH on lady's R waist, leading a Manhattan then into a cross-body step into a change-direction sway and walk
I am indeed
Interesting.
One could make a case that MJ in general is a move-based dance, and as such it might be best to - in general - stick to the moves, and simply attempt to construct the best dance one can in that way.
I assume that's what happens in ballroom social dancing?
The advice Connie received is very good so far, and her experience very common. Moving from the limited repertoire of Beginners classes to the seemingly limitless variations of Intermediate classes and Freestyle can be confusing and daunting.
My advice to Connie and any improving follower is to work on her 'inner connection' i.e. building a consistent frame between her shoulders, elbows and torso so that her movement is predictable to the leader and rather than emptying her mind, focus her attention on the connection point(s) with her partner - typically the hand - making sure she follows the hand / lead smoothly. It won't be easy as all leaders are not equal and place different expectations on their partners.
Franck.
There's an A.P.P. for that!
An interesting question! When asked, many followers would easily tell us how predictable we are. They do know what's coming and anticipating might be difficult to avoid. I still believe it's ultimately a bad thing to do, even if in the short-term it can smooth out the dance. Men get used to leading less as followers anticipate more and the dance still works, but bad habits set in.
My approach to leading un-expected or unusual patterns is to anticipate the anticipation and not take the 'ha, I'm going to catch you out!' attitude with my partner. Instead, I would position myself to open the correct path for her, increase or decrease the intensity of my connection to make her aware of an upcoming change and finally make sure I use her momentum (in the direction she's expecting) and take account of her current weight distribution so that she's on the correct foot for the variation I'm leading.
Using that approach, I have found very few anticipating followers and can pretty much lead anything without trouble or confusion / fear from my partner.
Franck.
There's an A.P.P. for that!
I think it looks scarier in writing that it is in real life. In practise, it is not as hard as some leads / teachers would make it out to be. There is no mystique. At the Focus Technical bootcamp week-end we spent a few workshops on connection, body placement, musicality, spacial awareness and body leads and in just a few hours, all the leads & follows who were there (and the average experience was between 6 months and a year) were transformed and able to achieve what I described above.
It is not rocket science and neither is it some magical, wooh-wooh metaphysical concept. I don't subscribe to the 'connection is like love' school of thought and neither should it be confused with lust on the dance floor. Connection is simple physics and anyone can achieve it with any partner. All you have to do is find a teacher who can introduce you to the few basic concepts and practise...
Franck.
There's an A.P.P. for that!
Cool.. I could do with this .. and not just in my dancing! As anyone who's seen me "walking though a door" and bouncing off the door frame will testify.
Hmm.. that reminds me of something I should post on the "Blondest Moment" thread
- this is the best bit in my opinion; when things go slightly wrong and you have to improvise to get things back on-track. The biggest trick is simply making the mistakes look intentional
{Unfortunatly I went the other way and most of my dancing looks like a mistake - you can't differentiate between the 'real' mistakes and my 'normal' dancing }
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