2.10 On Tips For Followers

概要





対訳


2.10 On Tips For Followers
フォロアーのためのこつ


1. Clear your mind and concentrate on your partner.
1.頭の中をすっきりさせて、パートナーに神経を集中させること

Especially at the beginning of the dance, listen to the music generally but avoid counting beats or analyzing the music until you get started.
特に、踊りを始めるときには、基本的に音楽を聴く必要はあるが、スタートするまではカウントを数えたり、音楽を分析するのは避けること。

Stop analyzing anything except the signals your leader is conveying.
リーダーが発する信号以外は何も分析してはいけない。

Don't think of anything specific - if you have to think consciously about step patterns, you are not yet at the level of thought process that enables you to follow "effortlessly". 
特定の何かのことを考えないようにすること - 仮にあなたが足型のことを意識的に考えなければならないとすれば、あなたが楽にフォローできるだけの思考プロセスのレベルに達していないということである。

Open your mind to the messages that are being sent to you by your partner, first and foremost.
パートナーからあなたに示されるメッセージに対して心を開きなさい。それが真っ先にやることである。

(If you are not getting any messages you've got a problem!)
(もしあなたが何のメッセージも感じることがないなら、そこですでに問題を抱えている!)

One aspect of dancing is communication:
ダンスの一つの側面はコミュニケーションである:

if the lady "has beans in her ears" she cannot follow no matter how clearly the man "speaks".
もし女性が両耳に豆を詰め込んでいたら(耳をふさいでいたら)、どんなに男性がはっきりと喋っても、彼女は話についていけない。

A follower "listens" many different way to her partner:
フォロアーは様々な方法でパートナーのメッセージを聞き取る:

his body motion, hand pressure at her back/side, visual cues from his feet and where he moves a free hand; that is a tremendous amount to keep track of and respond to in a short time.
彼の体の動き、彼女の背中/脇での彼の手の圧力、彼の足からの視覚的合図、そしてどこで彼がフリーハンドを動かすか;それらは、それらを追従し、かつわずかな時間で応答すべき、膨大な量のメッセージである。

In addition to the body leads and signals coming through the arms and hands, signaling happens with subtle movements of eyes, head, etc.
そういったボディリードや両腕や手を介して届けられる信号に加えて、信号の伝達は、両眼や頭、その他部位の微妙な動きでも行われる。

As women gain dance experience and knowledge of their partners, they tend to pick up the finer signals and respond without even thinking about it.
女性は彼女らのパートナーたちの経験や知識を得るにつれて、より精密な信号をピックアップし、そしてそれらについて全然考えなくても応答するようになる。

A good follower will compliment the dance style of the leader she is dancing with.
すぐれたフォロアーは、彼女が踊るリーダーのダンスのスタイルに敬意をはらっている。


2. Once the dance starts and you are reasonably comfortable with the fact that you are following be on the lookout for 'CHANGE".
2.いったんダンスが始まったら、あなたはフォローしているという事実を受け入れて、「変化」に注意を払うようにしなさい。

Do not get complacent to the fact that you are following a particular pattern -
ある特定のパターンをフォローしているという事実に自己満足してはいけない。

keep your mind completely open to the next (logical) thing that your leader will convey but do not anticipate either the change or the new pattern that is coming.
あなたのリーダーがもたらす(論理的に)次に来るはずのことに心を完全に開くこと。ただしその変化や、新しいパターンが次に来ると決めつけないこと。

A follower must have a "receptive" state of mind; no heavy thinking allowed.
フォロアーは、心を受容状態に置かなければならない; 考え込んではいけない。

Keeping your mind ready and open so you can follow takes practice.
あなたがフォローできるように、心を前もって開きつつ、練習すること。

It is particularly difficult if you have had a disturbing event happen immediately preceding your dancing.
もしあなたがダンスをする直前に気にかかる物事が起こった場合は、それは特に難しい。

Passionate thoughts do not help your following... avoid them at all cost!
感情的な思考はあなたのフォローに対してなんの助けにもならない、なんとしてでも、それらを避けること

I made a large leap when I began to trust leaders more and learned that it was not the follower's role to "know" every pattern.
もっとリーダーたちを信頼しはじめ、そしてすべてのパターンを知ることはフォロアーの役割ではないということを悟った時、わたしは大きな飛躍を遂げた。

In fact, thinking that I knew this stuff was almost more a handicap than dancing with the assumption that I *didn't* know what was coming up.
実際のところ、次に何が来るかわからないという前提でダンスをするよりも、これがなんだか知っていると考えることのほうが、かなりハンディキャップなのである。


3. In addition to the above mental state of mind, you must be constantly balanced so that you can respond to your partner's lead
3.上に述べた心の状態に加え、あなたは、パートナーのリードに反応できるように常にバランスした状態でなければならない。

(needless to say, the state of being "balanced" is one of the absolute criteria that enables you to respond when your partner leads.)
(言うまでもないことだが、「バランスした」状態というのは、あなたのパートナーがリードするときに、あなたがそれに応答できるための絶対的な条件の一つである。)

Balance is very difficult to teach to a student who lacks it.
バランスをとるというのは、それが欠けている生徒に教えるのは大変難しい。

Dancing independently until you are capable of keeping your body moving easily, and wearing sufficiently flexible, well fitting, comfortable dance shoes will help.
あなたが、十分フレキシブルでぴったりフィットした楽なダンスシューズを履いて、自分のボディを楽に動かすことができるまで一人で踊ることは、あなたの助けになるであろう。

The best way to keep from sliding when coming onto a foot is to already have the body weight over the foot when the foot stops moving.
片方の足に乗るときに滑らせないようにするベストの方法は、その足が移動するのを止める時にはすでに体重がその足の上に乗った状態にしておくことである。

In other words, when you step forward, move forward with the body, rather than sticking the leg out first.
言い換えるならば、前進してステップするときは、脚をまず突き出すのでなく、ボディで前進するようにすること。

Then, just place the foot underneath where the body ends up.
それから、移動したボディの真下に足を単に置くこと。


4. In her workshops, Beth Emerson recommends committing your weight immediately each time you step on a foot rather than having your weight split between feet for a moment, which is what we tend to do when walking.
ベス・エマーソンは、彼女のワークショップにおいて、われわれが歩いているときにするように体重をある時間両足に分けて支えるよりは、片足にステップする都度すぐにその足に体重をかけることを確実にすることを推奨している。

This makes the follower much more ready to follow instantly.
このことはフォロアーに、より十分に、瞬時にフォローする準備をさせることになる。


5. In ballroom dances, a good follower uses her eyes to make herself keenly aware of alignments in the ballroom.
5.ボールルームダンスにおいては、優れたフォロアーは、自分自身(の向き)がボールルームの中でどの方向を向いているかということをきっちりと認識するために、視覚を用いる。

She uses her current alignment to narrow the logical choice of figures available while simultaneously keeping her mind open to the leader's next choice of figure
彼女は、自分の向きによって、その瞬間(その次に)論理的に使えるフィガーを絞り込み、その一方、フィガーに関するリーダーの次の選択肢に対して心を開き続けるようにする。

- it is a technique the leader uses also.
 - それは、リーダー側も使うテクニックである。

In summary, there are THREE LAWS for Followers:
要約すると、フォロアーのための三つの法則は

1. Never hold on
1.つかまってはいけない(リーダーに依存してはいけないという意味か?)
  
2. Never let go
2.放りっぱなしにしてはいけない(リーダーのなすがままにしてはいけないという意味か?)

3. Don't think, do it.
3.考え込むな、実行せよ


tama注:
以下の段落はウェストコーストスイングに関するものなので省略する。

I think we need some refinement of the laws specifically for WCS

1a.) Never hold on
 1b.) Never let go
  2.) Don't think, do it... but use some common sense
 3a.) Spot down the slot
 3b.) Keep an eye on your leader


The leader has to think about floorcraft, choreography and musical interpretation.
リーダーはフロアクラフト、コレオグラフィ、そして音楽の解釈を考えなければならない。

On the contrary, the follower must learn not to think about those things independently, but rather to follow.
その反対に、フォロアーは、それらについて(リーダーと)別個に考えないようにむしろフォローすることを身につけなければならない。

Suspending the impulse to worry about where you are going and what you are doing and how the timing ought to be is the first great challenge in learning to follow.
どの方向に進もうとするのか、何をしようとするのか、どのようなタイミングですべきなのかということを気にする衝動を抑えることは、フォロー技術を習得するうえで、最初に克服すべき重大な挑戦である。


原文


出所:

2.10 On Tips For Followers
1 Clear your mind and concentrate on your partner. Especially at the beginning of the dance, listen to the music generally but avoid counting beats or analyzing the music until you get started. Stop analyzing anything except the signals your leader is conveying. Don't think of anything specific - if you have to think consciously about step patterns, you are not yet at the level of thought process that enables you to follow "effortlessly". Open your mind to the messages that are being sent to you by your partner, first and foremost. (If you are not getting any messages you've got a problem!) One aspect of dancing is communication: if the lady "has beans in her ears" she cannot follow no matter how clearly the man "speaks". A follower "listens" many different way to her partner: his body motion, hand pressure at her back/side, visual cues from his feet and where he moves a free hand; that is a tremendous amount to keep track of and respond to in a short time. In addition to the body leads and signals coming through the arms and hands, signaling happens with subtle movements of eyes, head, etc. As women gain dance experience and knowledge of their partners, they tend to pick up the finer signals and respond without even thinking about it. A good follower will compliment the dance style of the leader she is dancing with.

2. Once the dance starts and you are reasonably comfortable with the fact that you are following be on the lookout for 'CHANGE". do not get complacent to the fact that you are following a particular pattern - keep your mind completely open to the next (logical) thing that your leader will convey but do not anticipate either the change or the new pattern that is coming. A follower must have a "receptive" state of mind; no heavy thinking allowed. Keeping your mind ready and open so you can follow takes practice. It is particularly difficult if you have had a disturbing event happen immediately preceding your dancing. Passionate thoughts do not help your following... avoid them at all cost! I made a large leap when I began to trust leaders more and learned that it was not the follower's role to "know" every pattern. In fact, thinking that I knew this stuff was almost more a handicap than dancing with the assumption that I *didn't* know what was coming up.

3. In addition to the above mental state of mind, you must be constantly balanced so that you can respond to your partner's lead (needless to say, the state of being "balanced" is one of the absolute criteria that enables you to respond when your partner leads.) Balance is very difficult to teach to a student who lacks it. Dancing independently until you are capable of keeping your body moving easily, and wearing sufficiently flexible, well fitting, comfortable dance shoes will help. The best way to keep from sliding when coming onto a foot is to already have the body weight over the foot when the foot stops moving. In other words, when you step forward, move forward with the body, rather than sticking the leg out first. Then, just place the foot underneath where the body ends up.

4. In her workshops, Beth Emerson recommends committing your weight immediately each time you step on a foot rather than having your weight split between feet for a moment, which is what we tend to do when walking. This makes the follower much more ready to follow instantly.

5. In ballroom dances, a good follower uses her eyes to make herself keenly aware of alignments in the ballroom. She uses her current alignment to narrow the logical choice of figures available while simultaneously keeping her mind open to the leader's next choice of figure - it is a technique the leader uses also.

In summary, there are THREE LAWS for Followers:

 1. Never hold on
  2. Never let go
  3. Don't think, do it. 

I think we need some refinement of the laws specifically for WCS

  1a.) Never hold on
   1b.) Never let go
   2.) Don't think, do it... but use some common sense
   3a.) Spot down the slot
   3b.) Keep an eye on your leader

The leader has to think about floorcraft, choreography and musical interpretation. On the contrary, the follower must learn not to think about those things independently, but rather to follow. Suspending the impulse to worry about where you are going and what you are doing and how the timing ought to be is the first great challenge in learning to follow.



  • 最終更新:2012-01-23 23:38:37

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