1.4 On What Can Be Led Or Followed

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対訳



1.4 On What Can Be Led Or Followed
   何をリード・フォローするのか

Another aspect of leading/following is what can be led to whom.
リード・フォローに関するもう一つの側面は、誰に対して何をリードしうるかと言うことである。

Someone taking lessons and only getting to a dance once a month is probably learning how to take lessons more that they are learning to dance.
レッスンを受け、ひと月に1回ダンスパーティに行く程度の人は、おそらくはダンスの踊り方を習得するというよりレッスンの受け方を習得するということになるだろう。

But, those people are still a lot more fun to dance with than the ones who only get to a dance once a month with no lessons in between.
とはいえ、その間レッスンを受けずにダンスパーティにだけ行く人たちよりは、ずっとダンスを楽しむことができる。

One local coach (Michael Gillon) had three categories for dance patterns:
あるコーチはダンスパターンを三つのカテゴリーに分類した。

   tama注: ここでは「ダンスパターン」という言葉は、「フィガー」という用語に近い意味で使っていると思われる。以下フィガーと訳す。

  1. Those that could be led to anyone (presumably someone off the street);
    誰に対してでもリードが可能なフィガー(おそらくは近くの通りから引っ張ってきた誰に対しても)
     
  2. Those that could be led to a follower knowledgeable in the style of dancing but not that particular pattern; and
    そのダンスのスタイル(tama注:ダンスの種目)を知ってはいるが、その特定のフィガーは知らないフォロアーに対してリードが可能なフィガー
     
  3. those that could be led to a follower trained in that particular pattern.
    その特定のフィガーについて教えられたフォロアーに対してリードが可能なフィガー

It is important to categorize the figures you lead when you are dancing with different partners so that you don't crash and burn upon attempting to lead type 3 figures on a type 1 follower.
いろいろなパートナーと踊っている時に、リードするフィガーを上記のように区別することは、特に、タイプ1のフォロアーにタイプ3のフィガーを仕掛けて衝突したりトラブルを引き起こしたりしないようにするためには、たいへん重要である。


____


One of my teachers gave me some sound advice on dancing with those less skilled than you:
ある先生は、自分よりも技量の劣った人たちと踊ることについて、私に明確なアドバイスをしてくれた。

      • Accommodate their imperfections so they look good but do not minimize your technique.
        彼らが上手に見えるように彼らの欠点をカバーしてあげなさい。しかし自分の技術を出し惜しみしてはいけません。

      • Become aware of their balance at all times because when they unbalance you it is because they are falling out of balance.
        どんな時も彼らのバランスに注意すること。というのは、彼らがあなたのバランスをくずすときと言うのは彼ら自身がバランスをはずしそうになっているからです。
        If you can feel this happening then greater compression on your part is needed.
        もしこれがおこることを感じたら、あなたのほうで、大きめの力で支えることが必要です。

      • Reframe the dancing--heck if I can dance with those ladies and make them feel good then the easy to lead dancers are a snap.
        もし私がそういった女性たちと踊って彼女たちを気分よくさせられたら、リードしやすいダンサーなんてわけないことです。
        It then becomes a challenge rather than a chore.
        そうなったらリードというのは煩わしいことではなくてチャレンジしがいのあるものになります。

      • Create situations whereby the lady has no doubt about your intentions: i.e. overstate the case.
        女性があなたの意図について何の疑問も持たない状況を作り出すこと、たとえば事件を大げさに説明するなどのように。


I used to think that only when you can smoothly lead *any* partner through every step are you ready to move on, but that is wrong.


If you are dancing to compete, then you need to be able to lead your competitive partner well.
もし競技ダンスをやっているならば、競技のパートナーを上手にリードできることが必要である。

She may be (probably is) better than the average social dancer, and therefore does a better job with a worse lead.
パートナーのほうは平均的な社交ダンスの踊り手よりも上手だろうし、下手なリードでも上手な仕事をするだろう。

My partner and I agree that social dancing is the real test of your technique and proficiency, but just because I can't do a throwaway oversway with anyone on a social floor doesn't mean we shouldn't have that figure in a routine!
私のパートナーとは、以下の点で意見が一致した。

その点とは、ダンスを社交の場で踊るということが自分の技術や習熟度の真のテストであるが、しかしそれは単にそういったフロアで誰とでもスローアウェイ・オーバースウェーを踊れないというだけのことであって、それが、我々がルーティンでそのフィガーを踊ってはいけないということを意味するわけではない。

When I was sticking to the "I want to lead anyone" attitude towards lessons, we weren't progressing very quickly as a partnership.
もし私がレッスンに向けて「誰でもリードできるようになりたい」という態度に固執していた間は、パートナーシップというものをそれほど速くは育てることはできなかった。


I think a leaders skill at a figure can be broken down into four levels:
わたしは、あるフィガーにおけるリーダーの技術は4つのレベルに区分できると考えている。

  1. basic understanding (can do with professional instructor)
    基本的なことは理解している (プロのインストラクターとならできる)
     
  2. understanding (can do with a good amateur partner who also knows the step)
    理解している (そのステップを知っている上手なアマチュアのパートナーとならできる)
     
  3. good understanding (can do with an amateur partner who doesn't necessarily know the step but is a good dancer)
    良く理解している (必ずしもそのステップを良く知っているとは言えないが上手なダンサーとならできる)
     
  4. mastery (can do with virtually anyone)
    精通している (実際上は誰とでもできる)


____


Interestingly enough, I have had the most success with when dancing with non-dancers in Swing and V. Waltz.
大変興味深いことであるが、私はスイング(tama注:ウェストコーストスイング、イーストコーストスイングなど)とヴェニーズワルツでダンスを知らない人たちと踊るときに最も成功を収めた。

Swing has a sufficiently flexible hold to permit close control of what the lady is doing.
スイングは、女性のパートを密にコントロールすることが可能なように十分にフレキシブルなホールドをすることができる。

Viennese waltz is so fast the lady doesn't have time to make a mistake.
ヴェニーズワルツは、女性が間違ってしまう時間がないほど速い。

It's the slower dances, where the lady has time to think and to try to do something that she thinks is right (rather than moving naturally) that are tough to lead beginners through.
大変なのはもっと遅いダンスで初心者をリードすることである。その場合、女性は考える時間があるので、自分が正しいと思う何かをしようとする(自然な動きでなく)。

____


Mario Robau surprised me by telling me that he would happily give up his two US Open trophies to be able to dance well with any woman out on a dance floor.
Mario Robauは「ダンスフロアで、どんな女性とでも上手に踊れることができるなら、自分が得たUSオープンのトロフィー二つを喜んで手放すよ」と言って私を驚かせた。

One of the most difficult skills in dancing is the ability to dance well with anyone.
ダンスにおいてもっとも難しい技術の一つはだれとでも上手に踊れる能力である。

This not only requires being able to adapt your leading/following style to that of your partner, but also being able to adjust your repertoire of moves to your partner as well.
この能力は、単にあなたのリード(フォロー)のスタイルを相手のフォロー(リード)のスタイルに合わせるだけでなく、同様にあなたのムーブメントのレパートリーを相手に合わせることもできなければならない。

Mario told me that when he dances with a woman for the first time, he leads her through "test" moves, easy moves that she can follow but which give away her following ability.
Marioは私にこう言った。初めての女性と踊るときは、テスト的ムーブメント、すなわち、彼女がフォローできるけれど、彼女のフォローの能力を明らかにするようなやさしいムーブメントにリードする。

Afterwards, he selects only those moves which he knows she will be able to follow.
そののちに、彼は彼女がフォローできることができるであろうと自分が理解したムーブメントだけを選ぶ。

A woman who is a beginner need never fear dancing with Mario; he will always make her look good (and himself as well).
初心者の女性は、Marioと踊るのに恐れを持つ必要はない。彼は常に彼女が上手に見えるよう(もちろん彼自身も同様に)踊る。

____


One of the most common leader mistakes is trying to lead a less experienced follower through complex moves.
もっともよくあるリーダーの間違いの一つは、より経験が浅いフォロアーを複雑なムーブメントに導くことである。

Intermediate and advanced dancers should start simply and work up to more complicated moves as the tenderfoot follower is ready.
中級程度ないし上級のリーダーは、最初簡単なものから始めて、そのうえで足元のおぼつかないフォロアーが準備ができたとき、もうすこし複雑なムーブメントに導かなければいけない。

When you show off the nifty move you learned at the last workshop, and the follower can't cope, you both look terrible...
もしもあなたが一番最新の勉強会で覚えたかっこいいムーブメントを見せびらかそうとし、しかしフォロアーがうまく処理できなかったら、両方ともひどくへたくそに見える。

when you do simpler moves with elegance and confidence, and the follower is happy and on the beat, you both look fabulous.
しかしあなたがもっとシンプルなムーブメントを優雅にしかも自信をもって踊り、かつフォロアーが(そのムーブメントを)楽しんでかつビートに乗れているならば、あなた方両方とも素敵に見えるだろう。

If the follower loses the beat on an underarm turn, it is very likely that she will be lost on the subsequent pattern, so make sure she is on the right foot before you continue.


原文



1.4 On What Can Be Led Or Followed
Another aspect of leading/following is what can be led to whom. Someone taking lessons and only getting to a dance once a month isprobably learning how to take lessons more that they are learning to dance. But, those people are still a lot more fun to dance with than the ones who only get to a dance once a month with no lessons in between. One local coach (Michael Gillon) had three categories for dance patterns:

 1. Those that could be led to anyone (presumably someone off the street);
  2. Those that could be led to a follower knowledgeable in the style of dancing but not that particular pattern; and
  3. those that could be led to a follower trained in that particular pattern. 

It is important to categorize the figures you lead when you are dancing with different partners so that you don't crash and burn upon attempting to lead type 3 figures on a type 1 follower.

One of my teachers gave me some sound advice on dancing with those less skilled than you:

  * accommodate their imperfections so they look good but do not minimize your technique.
   * become aware of their balance at all times because when they unbalance you it is because they are falling out of balance. If you can feel this happening then greater compression on your part is needed.
   * Reframe the dancing--heck if I can dance with those ladies and make them feel good then the easy to lead dancers are a snap. It then becomes a challenge rather than a chore.
   * Create situations whereby the lady has no doubt about your intentions: i.e. overstate the case. 

I used to think that only when you can smoothly lead *any* partner through every step are you ready to move on, but that is wrong. If you are dancing to compete, then you need to be able to lead your competitive partner well. She may be (probably is) better than the average social dancer, and therefore does a better job with a worse lead. My partner and I agree that social dancing is the real test of your technique and proficiency, but just because I can't do a throwaway oversway with anyone on a social floor doesn't mean we shouldn't have that figure in a routine! When I was sticking to the "I want to lead anyone" attitude towards lessons, we weren't progressing very quickly as a partnership.

I think a leaders skill at a figure can be broken down into four levels:

 1. basic understanding (can do with professional instructor)
  2. understanding (can do with a good amateur partner who also knows the step)
  3. good understanding (can do with an amateur partner who doesn't necessarily know the step but is a good dancer)
  4. mastery (can do with virtually anyone) 

Interestingly enough, I have had the most success with when dancing with non-dancers in Swing and V. Waltz. Swing has a sufficiently flexible hold to permit close control of what the lady is doing. Viennese waltz is so fast the lady doesn't have time to make a mistake. It's the slower dances, where the lady has time to think and to try to do something that she thinks is right (rather than moving naturally) that are tough to lead beginners through.

Mario Robau surprised me by telling me that he would happily give up his two US Open trophies to be able to dance well with any woman out on a dance floor. One of the most difficult skills in dancing is the ability to dance well with anyone. This not only requires being able to adapt your leading/following style to that of your partner, but also being able to adjust your repertoire of moves to your partner as well. Mario told me that when he dances with a woman for the first time, he leads her through "test" moves, easy moves that she can follow but which give away her following ability. Afterwards, he selects only those moves which he knows she will be able to follow. A woman who is a beginner need never fear dancing with Mario; he will always make her look good (and himself as well).

One of the most common leader mistakes is trying to lead a less experienced follower through complex moves. Intermediate and advanced dancers should start simply and work up to more complicated moves as the tenderfoot follower is ready. When you show off the nifty move you learned at the last workshop, and the follower can't cope, you both look terrible... when you do simpler moves with elegance and confidence, and the follower is happy and on the beat, you both look fabulous. If the follower loses the beat on an underarm turn, it is very likely that she will be lost on the subsequent pattern, so make sure she is on the right foot before you continue.

  • 最終更新:2011-06-25 07:00:11

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