2.6 On Body Leads

概要

この章では、ボディリードとはなにか、ボディリードの重要性ややり方について説明している。
また、スタンダード種目だけではなく、ラテン種目やジルバのようにボディコンタクトをしない種目においても、ボディリードが必須だということも説明をしている。





対訳



2.6 On Body Lead
   ボディリードについて

Proper leading is accomplished by leading with the body, not the arms.
適切なリードはアームでなくボディによって達成される。

If you maintain a proper arm-body connection, when the leader's body moves, the body-arm arm-body connection causes the follower's body to move.
もしあなたがた(リーダーとフォロアー)が適切なアーム/ボディのコネクションを保つならば、リーダーのボディが動いた時、(リーダーの)ボディ/アーム対(フォロアーの)アーム/ボディのコネクションがフォロアーのボディーを動かすことになる。

tama注:以下のパラグラフはウェストコーストスイングのことなのでもう少し勉強してから^^
In West Coast Swing, this requires the leader to move (backwards) in the same direction as the follower on beat 1; the leader typically moves (forward) in the same direction as the follower on beat 4.

A typical improper lead in an underarm pass occurs when the man moves sideways while pulling the lady forward. (Except in the authentic Texas push/whip style where the lead *is* a pure arm lead.)

Try leading side pass/underarm pass/etc. by facing cross-slot with your feet tight together and just move your upper body ("lean") to lead.

That's a real body lead. You will often see moves, like 'sleaze' moves and rhythm changes, and think that they must have been choreographed because they just couldn't possibly be led.

But as your body-leading abilities improve you will find that you can indeed lead more of these apparently choreographed moves.

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Leading with the arms instead of the body is not only wrong from a basic lead/follow standpoint, but it results in bad body lines, which will make your dancing look awful.
ボディーの代わりにアームでリードするということは基本的なリード・フォローの観点から誤っているだけではなく、ボディラインをゆがませ、ダンスをみっともなく見せる。

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I follow on a regular basis and I will argue that body leads ARE easier to follow.
わたしが常々そうし、これからもそう主張し続けるだろうが、ボディリードに対してはフォローがやりやすいのである。

And in most cases less painful.
そしてたいていの場合は苦痛をより少なくする。

It's possible to lead with only the arm exactly as if leading with the body, without the leads being painful.
あたかもボディでリードしているかのように、痛みを伴わずに、正確にアームだけでリードすることは可能ではある。

But, this is _so_ much harder to do than it looks that many (most?) teachers recommend against it.
しかしそうすることは大変難しい。多くの(たいていの?)教師がそうしないように勧めるであろうが。

Watch the people around you.
あなたがたの周りを見てみよう。

People are used to waving their hands around at speeds in excess of 20 MPH.
20マイル以上の早さで手をひらひらさせることに慣れている人たちがいる。

If you try to lead with your hands you will probably move them far faster than you can move your tummy.
もしあなたが手でリードしようとしたら、おそらく自分のボディーをうごかせるよりもずっと早く動かすことになる。

Since this is also faster than your partner can move her body, if she tries to stay connected to her hand then something will get pulled apart and this is where pain can occur.
これは当然パートナーが自分自身の体を動かすより早く(リード)することになるので、もし彼女が自分のアーム/ボディコネクションを保ったままにしようとすれば、どこかが引っ張られて、そこに痛みを生ずることになる。

You probably don't notice how fast you move your hands.
あなたがたはおそらく自分がどれだけ早く手を動かしているか気が付いていないのだろう。

If you learn to follow, you *will* notice how fast other leaders try move their hands (as well as a lot of other problems that can occur with leading in general.)
もしフォロー(の技術)を身につけた時、あなたがたは間違いなくほかのリーダーがどれだけ早く手を動かそうとしているか気づくだろう(同様にそのリードでその他多くの問題が起きることになる)。

If you lead with your body, then your lead will automatically be scaled to an acceleration and velocity at which humans can comfortably move themselves.
もしあなたがたがボディでリードするならば、あなたがたのリードは、自然に、人間が楽に自分自身を動かすことのできる、加速度と速度の範囲に収まることになる。

This almost guarantees a more comfortable lead.
これが、よりゆったりとしたリードを保証することになる。

The situation where it's useful for the leader to move his lead hand separate from his body is where he is moving his hand *less* than his body, e.g. maintaining a stable balance point while doing a solo body syncopation or ripple.
なおリードするほうの手をボディと別に動かすことがリーダーにとって有用な場合と言うのは、自分だけでボディシンコペーションないしリップルを行いつつ、かつバランスを保つように、手をボディより小さく動かす場合である。

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Body leads ARE easier to follow. And in most cases less painful.
ボディリードはフォローしやすく、そしてたいていの場合痛みをより軽減する。

Body leads do NOT inherently extend the slot in WCS! Body leads, like arm leads, can be light or strong.
ボディリードがそのまま、たとえばウェストコーストスイングにおけるスロット(訳注:行きつ戻りつする動きの幅のことか?)を広げるというわけではない。ボディリードはアームリードと同様に軽くも強くもできる。

A "light" body lead does not have to extend the slot.
「軽い」ボディリードがスロットを広げるのではない。

The size of the backstep and the body placement determines the strength of the lead.
バックステップの大きさとボディを置く位置がリードの強さを決める。

As a matter of fact the better you get at body leads the smaller your steps become.
実際あなたがたがボディリードが上手になればなるほどステップは小さくなる。

As a dancer first learns to use his body to lead, his steps will be longer and larger.
ダンサーは最初ボディリードを身につけるにつれ、彼のステップはより長く、大きくなる。

This will make for a much longer slot... in the beginning.
最初のころはこれがずっとおおきなスロットを作り出す。

As the leader grows in skill and really learns to use his body rather then his arms, he will find that the length of his step is not as important as where his body is in relation to his foot.
さらに技術が向上しアームよりボディを使うことを真に身につけると、彼はステップの大きさがボディと足の関係ほどは重要ではないことに気がつくだろう。

Hopefully his body is over his foot, and that his foot is in the proper position (in his slot, not his neighbors slot)
願わくばボディが足の上に完全に乗って、かつ足が適切な位置に置かれていることを。


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I believe that most people will find, when they examine how they do arm leads in a short slot, that they use a body lead to get the follower moving for the first few inches, and then they take up the rest of the slack by bending the arm more.
私は、大部分の人は、ショートスロットにおいてどのようにアームリードを行うのか自分で試してみたとき、
フォロアーを最初の数インチ動かそうとするときはボディリードを行い、さらにアームを曲げて(二人の間の)緩みをなくすようにしているのに気がつくだろうと信じている。

It's conservation of momentum, equal and opposite force, etc.
それは運動量保存、作用・反作用などの法則である。

If the leader accelerates the follower toward him, then an equal force will also accelerate him toward the follower.
もしリーダーが自分に向けてフォロアーを加速しようとしたとき、同等の力がフォロでアーに向けて自分を加速する結果になる。

If he doesn't pre or post compensate, then he will crash into her.
もし、リーダーがそれに対して後にせよ先にせよ釣り合いをとらなければ、フォロアーに衝突してしまうことになる。

One way to precompensate is to first use the floor to accelerate himself backwards and then transfer this momentum to the lady, e.g. a body lead.
あらかじめ釣り合いをとる方法の一つは、最初にフロアを利用して自分自身を後ろに向けて加速してから、その後その運動量をボディリードにより女性に伝達するやりかたである。

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Various types of hand-on-waist checks in WCS, Cha-cha, and other dances, involve -- at first glance -- the leader moving in one direction while he leads the follower to move in the opposite direction.
ウェストコーストスイング、チャチャ、またその他のダンスにおける、さまざまな、hand-on-waist checks(訳注:腰の動きに連動したチェック動作)は、一目でわかるが、リーダーのある方向への動きとそれに対してリーダーがフォロアーを反対方向にリードする動きとがかかわっている。

Once again, careful examination shows that the person who leads well performs a brief body lead, moving in the same direction as the follower for a few inches, and then changes direction and completes the lead with the arm.
もう一度繰り返すが、注意深く試してみると、上手にリードするリーダーは、まず数インチフォロアーと同じ方向に動き、そのあと動く方向を変えてから、アームによりリードを完了するようにして、ボディリードを行うことがわかってくる。

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The leader should be leading with his body.
リーダーはボディでリードをしなければならない。

The follower shouldn't be watching his body (look at his face, even if his body might be better lookin' :^), but instead reading his body lead from whatever you have in contact, which is usually just some fingers.
フォロアーは相手のボディを見てはならず(たとえ彼のボディがかっこよくても(微笑)、そのかわり接触している彼の体の一部から伝わるボディリードを読まなければならない。通常それは数本の指にすぎないが。

One handed leads (physical contact in one hand, such as is the case most of the time in swing) can be done as body leads, just as dance frame leads (by which I mean about five points of contact, as in strict international style waltz/foxtrot/quickstep) can be.
片手でのリード(片手同士の物理的コンタクトでのリード。スイングダンスでほとんどの時間においてそうであるようが)は、ボディリードとして行うことができる。それはちょうどダンスフレームリード(ここで私が意味しているのは厳密なイングリッシュスタイルのワルツ・フォックストロット・クイックステップにおける5コンタクトのことである)がボディリードとして行うことができるのと同様に。

While either set of contact(s) can be led from the center or with the arms and hands, leading from the center is clearly preferable.
どちらのコンタクトであっても、(ボディの)中心から、あるいは両腕と両手によってでもリードすることは可能であるが(ボディの)中心からリードするほうが明らかに好ましい。

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As far as leading in general, I (Debbie Ransey) have to side with those that consider leading with your body (center, frame) to be the most efficient and clear lead there is.
一般的なリードに関する限り、わたし(Debbie Ramsey)はボディによるリード(ボディの中心、フレーム)が最も効率的であり、かつ明確なリードであると考える人たちの側に立つ。

tama注:
Debbie Ranseyは、米国のスイングダンスの数度にわたるチャンピオンシップを獲得。女優であり、かつ映画やショーのダンス振付師として、有名な男優女優などの振付を担当。

I do not believe that you can get the same results with a hand lead (either one or two hands) as you can with a body lead (I think hand leads can be very confusing).
わたしは片手であろうが両手であろうがハンドリードでボディリードと同じ結果が得られるとはまったく信じがたい。
(ハンドリードということば自体非常に混乱していると考えている。

Those who truly believe that hand leads are better could try blindfolding their follower and see if she can follow the lead... I use this as another form of learning how to lead.
本当にハンドリードのほうがすぐれていると考えている人間は、ためしにフォロアーを目隠しして、ハンドリードをフォローできるかどうか見ればよい。私はこの方法を、リードの方法を習得させる別な方法の一つとして用いている。

If you can lead someone through a pattern using just the lead and feel, then it's working (unfortunately this method won't work well if the follower isn't following).


After almost 20 years teaching I have found that the body leads (using the center) (in any dance) work much more often and are not only clearer but much more pleasurable to follow.
ほぼ20年にわたる教育ののち、ボディリード(体の中心を用いた)のほうが(どんなダンスにおいても)はるかに多くうまく働くということ、そして(そのリードが)単により明確だというだけでなく、フォローするのにずっと心地よいものだということを、理解している。

"You must receive to believe"


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Lead/follow cues, in the smooth dances, come from the man's body position and the direction of his movement, and a bit from the rest of his frame, including arms.
スムースダンスにおいては、リード/フォローの合図は、男性のボディの位置と彼の動く方向から来る。また、両腕を含む彼の残りの(ボディ以外の)フレームからわずかながら来る。

(note: he does NOT just push his partner around with his arms!)
(注意:彼は両腕を使ってパートナーを単に押して回るわけではない)

In Latin, the lead comes from a strong connection through the arms, and eye contact/visual cues are extremely important and are used as a lead technique as well.
ラテン種目においては、リードは、腕(男女両方の)を介した強いコネクションからくるが、さらに、アイコンタクトと視覚的な合図が極めて重要であり、同様にリードのテクニックとして用いられる。

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A man's leads originate with his body, NOT with his hands nor arms.
男性のリードは、ボディから発するものであり、彼の手や腕によるものではない。

The hands and arms provide 1) the connection to the body and 2) fine tuning (i.e. indication of a loop or an arch, to continue or to stop spinning, etc.)
手および腕は、
1)ボディ同士をつなぐ
2)微調整(たとえば、ループやアーチの指示、スピンを継続するかやめるかなど)
の役割を果たす。

In open facing position (in most any ballroom dance) the man provides the lead by having a solid (but not stiff) frame and tone in his arms (slightly relaxed and not tensed muscle).
向き合ったポジション(多くのボールルームダンスにおいて)では、男性は、しっかりした(solid)、しかし硬直していない(not stiff)フレームで、かつ適度に張りをもった(tone)腕(幾分かリラックスししかし筋肉は緊張しすぎない)によりリードする。

The "gross" leads are made with the body (i.e. position, direction, distance) and the "fine tuning" is done with the arms (only minimally with the hands).
リード全体はボディリード(たとえばボディの位置、進む方向、距離)によって行われ、微調整を腕で行う(手で行うのは最低限)。

Granted, in beginning east-coast swing, most patterns involve mostly "fine tuning" since it is often done in a relatively small spot on the dance floor.


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Leaders or followers should never lean back or forward except in figures such as a lunge or contra-check.
リーダーもフォロアーもランジやコントラチェックのようなフィギュアを除いて、後傾したり前傾したりしてはならない。

However, a slight body angle backwards or forwards is used to create a pulling or pushing force.
しかしながら、押す力あるいは引く力を起こすためにほんの少しボディを前後に傾ける方法が用いられる。

West coast swing has a slight body angle backwards to create the connection between partners.
ウェストコーストスイングでは二人の間のコネクションを作り出すために、ほんの少し後ろにボディを傾ける。

By the way, to get the proper feeling of "hanging back", stand straight up in front of a counter/table/door, etc.
just so you can hold it while standing straight.
ところで、「ハンギングバック」(ほんの少し後ろにボディを傾ける)の適切なフィーリングを得るために、カウンター/テーブル/ドアなどの前にまっすぐに立って、その状態でカウンターなどをつかむ。

Then move your feet 4" forward keeping your body in the same place.
それから、ボディを同じ位置に保ったままで、両足を4インチ(約10センチ)前進させる。

Your arm will have a slight tone, and your arm and body will be connected all the way to your feet.
そうすると腕が幾分張りをもち、そして腕とボディが両足に対してずうっとコネクションを持つことになる。

Good connection on the anchor-step will allow both bodies move together as a single connected unit on count 1.
そのアンカーとなる足の上にうまくコネクションを持つと、双方のボディが、つながれた一つのユニットとしてカウント1で同時に動くことができるようになる。

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A lead always comes from the body - i.e. the leader moves his center of gravity (cg), and the follower will follow providing there is good frame on both parts.
リードは常にボディから起こる。たとえば、リーダーが自分の重心を動かすと、フォロアーはそれにフォローすることになる、ただし双方に良いフレームが存在するという前提だが。

The arms just connect the bodies.
彼らの腕は単に二人のボディをつなげる役割を果たす。

From closed position as in waltz, if the leader moves his cg forward, his feet will move, and the follower will also start to move, her cg (body) and then feet.
ワルツでのクローズドポジションから、リーダーが自分の重心を前進させると、彼の足は動き、そしてフォロアーも自分の重心を動かし始め、そして足も動かすことになる。

To start from open position as in WCS, if the leader moves his cg backward, his feet should follow.
WCS(ウェストコーストスイング)でのオープンポジションからスタートするために、リーダーが自分の重心を後ろに動かすと、当然足もそれに追従する。

The moving of his whole body (starting at cg) should be the lead for the follower to move forward, not the pulling of the arm.
(重心からスタートしつつ)彼の全身が動くことが、フォロアーが前進するためのリードであり、腕でもって引っ張ることがリードではない。

You often see a WCS leader pulling (leading) the woman down the slot while he is moving immediately to the side.


Actually in this move, the lead is the very first part of the move; the leader's cg initially moves straight back before he steps to the side.
この動きについては実際には、リードはその動きのごく最初の部分である;リーダーは、横にステップする前に、最初に重心をまっすぐ後ろに動かす。

From a purely lead and follow standpoint the leader's cg (and body) must actually be moving backwards to start.
純粋にリード/フォローの観点からすると、スタートするためにはリーダーの重心(それとボディ)がまず実際に後退しなければならない。

Then after the follower is moving, he can step to the side.
そして、フォロアーが動き始めた後で、横へステップすることができる。

(The step to the side will be back a bit also).
(横へのステップは同時にほんの少し後退する。)

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I find that, for me, body leads start turning into arm leads when followers don't power themselves down the slot.
フォロアーがスロットの方向へ自分で推進力を与えないと、ボディリードがアームリードに変わっていくということに、私は気がついた。

When a follower feels like a dead weight, she starts to get treated like one, being pushed and pulled instead of led.
フォロアーがただの重りであるかのようにふるまうと、そういった扱い、すなわち、リードされる代わりに引っ張られたり押されたりするようになっていく。

(I'm not saying this is right, but it is what happens under "combat conditions".)
(私はそれが正しいと言っているのではなくて、それが、お互いに張り合うような状態のもとで起こることなのである。

Unfortunately, once arm leading starts, it tends to carry over to the next dance.
残念なことに、一度アームリードが始まると、それが次のダンスにも持ち越される傾向にある。

Even if follower #2 is responsive, so it feels better to the leader, SHE still feels my high arm tension and may stiffen up in response.
たとえ次のフォロアーが(リードに)よく応えてくれるフォロアーで、リーダーにとってそれがよりよいと感じたとしても、その女性が、私の腕のテンションが強いと感じ、リードに対するレスポンスが固くなってしまうかもしれない。

Now she is harder to lead and the leader may apply more muscle.
そして彼女をリードするのが困難になると、さらにリーダーはより強い力をかけることになる。

A hard cycle to break.
崩すことが困難な悪循環が始まる。

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Oh, one thing about leaders learning to follow: unless they are being led by members of the Russian weight lifting team, there is no way most men will ever feel the intimidation women commonly experience.
それともうひとつ、リーダーがフォローについて学ぶべきこと;すなわち自分がロシアのウェイトリフティングのチームのメンバーにリードされるのでもない限り、女性陣が普通に経験する威圧を男性が経験することは未来永劫ないだろうということである。

And if it's a leader/follower role reversal -- well, how man guys worry about being woman-handled?
そしてもしリーダー/フォロアーの役割が交換されるとしたならば、そうですね、男性連中が女性にリードされることをどれだけ心配するだろうか?

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Unfortunately, there is often positive reinforcement of bad dancing habits.
残念なことに、そういった悪いダンスの習慣によって強化されてしまった例がしばしば見られる。

When I've danced with women whose regular partners favor arm leads, these women don't respond quite as well to body leads (i.e., she won't recognize it as a lead unless she feels the leader's arm contract).
アームリードを好む男性といつも踊る女性たちと踊ったとき、彼女たちはボディリードに十分反応しないのである。
(たとえば、彼女たちは、リーダーが腕を縮めたりするのでなければボディリードをリードと認識しない。)

Then if her regular partner tries body leads, she doesn't quite follow, he gets frustrated and reverts to the arm lead that she responds to.
そして、彼女のいつものパートナーがボディリードを試みても、彼女が十分にフォローできないため、彼はいらいらして、またまた彼女が反応するアームリードに戻ってしまうのである。

It's a great argument for dancing around with a lot of different people.
そのことが、いろいろな人たちといろいろなところで踊ることに関して大きな論争の種になっている。


原文


出所:

2.6 On Body Leads

Proper leading is accomplished by leading with the body, not the arms. If you maintain a proper arm-body connection, when the leader's body moves, the body-arm arm-body connection causes the follower's body to move. In West Coast Swing, this requires the leader to move (backwards) in the same direction as the follower on beat 1; the leader typically moves (forward) in the same direction as the follower on beat 4. A typical improper lead in an underarm pass occurs when the man moves sideways while pulling the lady forward. (Except in the authentic Texas push/whip style where the lead *is* a pure arm lead.) Try leading side pass/underarm pass/etc. by facing cross-slot with your feet tight together and just move your upper body ("lean") to lead. That's a real body lead. You will often see moves, like 'sleaze' moves and rhythm changes, and think that they must have been choreographed because they just couldn't possibly be led. But as your body-leading abilities improve you will find that you can indeed lead more of these apparently choreographed moves.

Leading with the arms instead of the body is not only wrong from a basic lead/follow standpoint, but it results in bad body lines, which will make your dancing look awful.

I follow on a regular basis and I will argue that body leads ARE easier to follow. And in most cases less painful. It's possible to lead with only the arm exactly as if leading with the body, without the leads being painful. But, this is _so_ much harder to do than it looks that many (most?) teachers recommend against it. Watch the people around you. People are used to waving their hands around at speeds in excess of 20 MPH. If you try to leadwith your hands you will probably move them far faster than you can move your tummy. Since this is also faster than your partner can move her body, if she tries to stay connected to her hand then something will get pulled apart and this is where pain can occur. You probably don't notice how fast you move your hands. If you learn to follow, you *will* notice how fast other leaders try move their hands (as well as a lot of other problems that can occur with leading in general.) If you lead with your body, then your lead will automatically be scaled to an acceleration and velocity at which humans can comfortably move themselves. This almost guarantees a more comfortable lead. The situation where it's useful for the leader to move his lead hand separate from his body is where he is moving his hand *less* than his body, e.g. maintaining a stable balance point while doing a solo body syncopation or ripple.

Body leads ARE easier to follow. And in most cases less painful. Body leads do NOT inherently extend the slot in WCS! Body leads, like arm leads, can be light or strong. A "light" body lead does not have to extend the slot. The size of the backstep and the body placement determines the strength of the lead. As a matter of fact the better you get at body leads the smaller your steps become. As a dancer first learns to use his body to lead, his steps will be longer and larger. This will make for a much longer slot... in the beginning. As the leader grows in skill and really learns to use his body rather then his arms, he will find that the length of his step is not as important as where his body is in relation to his foot. Hopefully his body is over his foot, and that his foot is in the proper position (in his slot, not his neighbors slot)

I believe that most people will find, when they examine how they do arm leads in a short slot, that they use a body lead to get the follower moving for the first few inches, and then they take up the rest of the slack by bending the arm more. It's conservation of momentum, equal and opposite force, etc. If the leader accelerates the follower toward him, then an equal force will also accelerate him toward the follower. If he doesn't pre or post compensate, then he will crash into her. One way to precompensate is to first use the floor to accelerate himself backwards and then transfer this momentum to the lady, e.g. a body lead.

Various types of hand-on-waist checks in WCS, Cha-cha, and other dances, involve -- at first glance -- the leader moving in one direction while he leads the follower to move in the opposite direction. Once again, careful examination shows that the person who leads well performs a brief body lead, moving in the same direction as the follower for a few inches, and then changes direction and completes the lead with the arm.

The leader should be leading with his body. The follower shouldn't be watching his body (look at his face, even if his body might be better lookin' :^), but instead reading his body lead from whatever you have in contact, which is usually just some fingers. One handed leads (physical contact in one hand, such as is the case most of the time in swing) can be done as body leads, just as dance frame leads (by which I mean about five points of contact, as in strict international style waltz/foxtrot/quickstep) can be. While either set of contact(s) can be led from the center or with the arms and hands, leading from the center is clearly preferable.

As far as leading in general, I (Debbie Ramsey) have to side with those that consider leading with your body (center, frame) to be the most efficient and clear lead there is. I do not believe that you can get the same results with a hand lead (either one or two hands) as you can with a body lead (I thing hand leads can be very confusing). Those who truly believe that hand leads are better could try blindfolding their follower and see if she can follow the lead... I use this as another form of learning how to lead. If you can lead someone through a pattern using just the lead and feel, then it's working (unfortunately this method won't work well if the follower isn't following). After almost 20 years teaching I have found that the body leads (using the center) (in any dance) work much more often and are not only clearer but much more pleasurable to follow. "You must receive to believe"

Lead/follow cues, in the smooth dances, come from the man's body position and the direction of his movement, and a bit from the rest of his frame, including arms. (note: he does NOT just push his partner around with his arms!) In Latin, the lead comes from a strong connection through the arms, and eye contact/visual cues are extremely important and are used as a lead technique as well.

A man's leads originate with his body, NOT with his hands nor arms. The hands and arms provide 1) the connection to the body and 2) fine tuning (i.e. indication of a loop or an arch, to continue or to stop spinning, etc.) In open facing position (in most any ballroom dance) the man provides the lead by having a solid (but not stiff) frame and tone in his arms (slightly relaxed and not tensed muscle). The "gross" leads are made with the body (i.e. position, direction, distance) and the "fine tuning" is done with the arms (only minimally with the hands). Granted, in beginning east-coast swing, most patterns involve mostly "fine tuning" since it is often done in a relatively small spot on the dance floor.

Leaders or followers should never lean back or forward except in figures such as a lunge or contra-check. However, a slight body angle backwards or forwards is used to create a pulling or pushing force. West coast swing has a slight body angle backwards to create the connection between partners. By the way, to get the proper feeling of "hanging back", stand straight up in front of a counter/table/door, etc. just so you can hold it while standing straight. Then move your feet 4" forward keeping your body in the same place. Your arm will have a slight tone, and your arm and body will be connected all the way to your feet. Good connection on the anchor-step will allow both bodies move together as a single connected unit on count 1.

A lead always comes from the body - i.e. the leader moves his center of gravity (cg), and the follower will follow providing there is good frame on both parts. The arms just connect the bodies. From closed position as in waltz, if the leader moves his cg forward, his feet will move, and the follower will also start to move, her cg (body) and then feet. To start from open position as in WCS, if the leader moves his cg backward, his feet should follow. The moving of his whole body (starting at cg) should be the lead for the follower to move forward, not the pulling of the arm. You often see a WCS leader pulling (leading) the woman down the slot while he is moving immediately to the side. Actually in this move, the lead is the very first part of the move; the leader's cg initially moves straight back before he steps to the side. From a purely lead and follow standpoint the leader's cg (and body) must actually be moving backwards to start. Then after the follower is moving, he can step to the side. (The step to the side will be back a bit also).

I find that, for me, body leads start turning into arm leads when followers don't power themselves down the slot. When a follower feels like a dead weight, she starts to get treated like one, being pushed and pulled instead of led. (I'm not saying this is right, but it is what happens under "combat conditions".) Unfortunately, once arm leading starts, it tends to carry over to the next dance. Even if follower #2 is responsive, so it feels better to the leader, SHE still feels my high arm tension and may stiffen up in response. Now she is harder to lead and the leader may apply more muscle. A hard cycle to break.

Oh, one thing about leaders learning to follow: unless they are being led by members of the Russian weight lifting team, there is no way most men will ever feel the intimidation women commonly experience. And if it's a leader/follower role reversal -- well, how man guys worry about being woman-handled?

Unfortunately, there is often positive reinforcement of bad dancing habits. When I've danced with women whose regular partners favor arm leads, these women don't respond quite as well to body leads (i.e., she won't recognize it as a lead unless she feels the leader's arm contract). Then if her regular partner tries body leads, she doesn't quite follow, he gets frustrated and reverts to the arm lead that she responds to. It's a great argument for dancing around with a lot of different people.

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This file is part of the lead/follow FAQ list. These are articles compiled from the newsgroup rec.arts.dance by Mark Balzer. Html-isation by Victor Eijkhout, victor at eijkhout dot net. See also the Rec Arts Dance FAQ list Copyright 1996/7/8/9 lies with the compiler, the maintainer and the contributors of various parts.

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It goes without saying that the maintainer and compiler of this FAQ take no responsibility for any inaccuracies in the information presented here or for any use or abuse of this information. They are neither a doctor nor a lawyer.

  • 最終更新:2012-01-24 18:42:05

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