As I have mentioned in the past, I view the dance as a conversation between a leader and a follower.
The means of communication in this conversation is the concept of connection.
It is always present in our dancing, regardless of skill.
In Dance: a Fundamental Philosophy, I have used the metaphor of language to describe connection.
Once the leader and the follower establish a basic connection, the leader manipulates the connection to give a lead, and the follower attempts to return to that connection to follow.
For example, in a side pass, the leader steps backwards, creating a tensile force in the connection. The follower feels a stretch and moves forward to relieve that tension. She continues the motion until she receives another lead. The leader will turn around as she passes, and the follower will feel the lateral tension, and turn around to face her lead again even as she continues her original motion. The follower continues moving, now in the backward direction until the leader leads her to stop by remaining in place and gradually producing the same tension that he led the movement with. The follower feels a tension theoretically identical to the initial lead, and relieves that by remaining in place as well.
The process by which all this communication occurs is complex and development of good connection requires many related concepts to be practiced.
The first concept that should be understood is center- possibly the most important concept of connection. The significance of center is that all contact-led movement should be theoretically led from the center. A better center leads to more stability, stronger connection, and clearer communication. An analogy I could give is that a ball of yarn is much easier to manipulate than when it is unraveled. The idea of a good center is to consolidate all of your weight and energy as small as possible into an area that can be connected with your partner. The general area is usually always somewhere in the torso, but specific locations are different for leaders and followers and for the style being danced. The location can be very specific for skilled dancers (for example, the powerhouse, the solar plexus, or the sternum, and the precise positioning of the center with respect to the legs or the head).
A few good methods to maintain a good center are moving your torso before moving your legs, and always keeping your center over your legs.
Now I have mentioned that we lead and follow with our centers, but how do we connect them to each other? Imagine how limited our motion would be in Lindy Hop if we could only connect our centers through direct contact! However, we can dance in other positions through the concept of frame. The way the center of two dancers can connect is the concept of frame. Lindy Hop frame is rather difficult both to explain and to achieve. The idea of good frame, albeit vague, is to present the clearest physical connection between our centers. In Lindy Hop, we are often in open position, connected by our fingers, which is a great distance along the arm and the body to the chest. The general concept of frame is not too difficult to grasp- it's simply providing something tangible for your partner to work with when he or she contacts you. However, fine-tuning the frame to be comfortable and comfortable is another matter altogether.
Lindy Hop utilizes a dynamic frame, in which the frame is not rigid, but fluid and flexible. Therefore, movements are not instantaneous, but led and followed through cycles of stretch and release and/or compression and release. This results in a necessary pre-lead, which is one of the characteristics that make the dance swing as well as allowing Lindy Hoppers to spontaneously improvise moves and styling with unfamiliar partners.
Like a jet plane has a frame to absorb the thrust of the engine, a follower has a frame to absorb the lead. The leader has to also provide a frame as well for the follower to work against. As the movements end, the frame
Tension is a very closely related concept of frame. Tension refers to the amount of potential energy stored inside the frame, much like the amount of tension required to manipulate a spring. Variations in this tension help communicate certain things such as the distance to be traveled or the speed at which moves are to be executed.
Tension is a very defining aspect of individual dancers. While tension does vary in the course of a dance, there is a general characteristic tension that each dancer will tend to gravitate towards in certain styles and music. That general "default" tension is classified as heavy or light, depending on if more or less energy is required to maintain the neutral connection and initiate movement, respectively.
The advantage of heavy tension is the obvious presence of a connection to both parties. The leader has clear and positive control of his follower and the follower has a very secure lead. The dancing is generally smooth and comfortable, as most extraneous movement contributes an insignificant amount of energy to affect the connection. This can be achieved with relatively little skill level and is useful for teaching concepts such as stretch and compression, and sensing weight changes of your partner. However, heavy tension comes with the price of lower stamina, especially at higher tempos, due to the greater amount of "overhead" energy required to maintain connection as well as initiate movement.
The advantage of light tension is greater freedom, responsiveness, and flexibility. The follower has more freedom to express herself, and the leader can provide more subtlety in his dancing. However, lighter tension typically requires a great deal of refinement and skill to dance well in this manner. Response time is less, as well as the energy to maintain connection, allowing for dancing at a greater range of tempos with greater stamina.
There is no "wrong" tension besides one that your partner is not doing.
Once center, frame, and tension are in place, the lead manipulates the connection to cause movement. A smooth way of doing this is moving his center.
Sunday, December 9, 2007
Tuesday, December 4, 2007
Glossary
Note: This article will be updated as necessary based upon my research and as people bring things to my attention.
With all this commentary about dancing, I feel that it is important to define some terms we may take for granted. While definitions may vary as you travel from scene to scene, the following definitions are what I have seen to be a general consensus among the professional community.
Beginning Dancer:
Learning the basic steps of the dance. Typically has less than 30 hours dance experience (i.e. dancing less than twice a week for two months).
Beginning-Intermediate Dancer:
Has grasped the basic steps of the specific dance being learned and is beginning to develop vocabulary of moves. Is beginning to grasp the fundamentals of the dance such as appearance, typical move patterns, and the connection.
Intermediate Dancer:
Has a working knowledge of the fundamentals of the dance such as appearance and typical move patterns. Is developing a grasp for the finer points of connection as well as a fluency in vocabulary of moves. Begins to seeks knowledge in associated dances and applying related principles and analogous moves. Typically has had at least 60 hours social dancing experience (Ex. dancing twice a week for 2 months.
Intermediate-Advanced Dancer:
Begins to pursue the theory behind the dance. Is familiar with connection but is limited in flexibility of use. Fluent in standard move patterns and is developing a distinct personal style consistent with and appropriate to the dance. Is developing an extensive vocabulary of moves and dances earned through many hours of practice and dancing.
Advanced Dancer:
Marked by a strong grasp of fundamentals and basics, as well as the presence of a distinct style consistent with and appropriate to the dance. Is fluent with and applies connection as an inherent part of dancing. Explores the dance and the music, calling upon the knowledge of theory behind the dance and music, rather than calling upon the moves associated with the dance.
Active Dancer:
At least two nights (at least 3 hours each) of social dancing a week.
With all this commentary about dancing, I feel that it is important to define some terms we may take for granted. While definitions may vary as you travel from scene to scene, the following definitions are what I have seen to be a general consensus among the professional community.
Beginning Dancer:
Learning the basic steps of the dance. Typically has less than 30 hours dance experience (i.e. dancing less than twice a week for two months).
Beginning-Intermediate Dancer:
Has grasped the basic steps of the specific dance being learned and is beginning to develop vocabulary of moves. Is beginning to grasp the fundamentals of the dance such as appearance, typical move patterns, and the connection.
Intermediate Dancer:
Has a working knowledge of the fundamentals of the dance such as appearance and typical move patterns. Is developing a grasp for the finer points of connection as well as a fluency in vocabulary of moves. Begins to seeks knowledge in associated dances and applying related principles and analogous moves. Typically has had at least 60 hours social dancing experience (Ex. dancing twice a week for 2 months.
Intermediate-Advanced Dancer:
Begins to pursue the theory behind the dance. Is familiar with connection but is limited in flexibility of use. Fluent in standard move patterns and is developing a distinct personal style consistent with and appropriate to the dance. Is developing an extensive vocabulary of moves and dances earned through many hours of practice and dancing.
Advanced Dancer:
Marked by a strong grasp of fundamentals and basics, as well as the presence of a distinct style consistent with and appropriate to the dance. Is fluent with and applies connection as an inherent part of dancing. Explores the dance and the music, calling upon the knowledge of theory behind the dance and music, rather than calling upon the moves associated with the dance.
Active Dancer:
At least two nights (at least 3 hours each) of social dancing a week.
Sunday, April 15, 2007
Private Lessons
Most, if not all dancers have probably have heard of the wonders of private lessons (also known as privates) from early on in their dancing life. Most of those that have taken private lessons took them because of a recommendation or from reaching a plateau somewhere.
Privates can be very expensive but pay off very quickly with the amount you learn in a fraction of the time, and with the learning of certain concepts that can only be effectively taught individually with someone who already understands them. You may not be able to afford group lessons simultaneously as private lessons, so you may have to give them up temporarily. But whatever you choose, do not give up your social dancing regimen. Again, I emphatically stress that regular attendance of social dancing is the most important thing you can do to improve your dancing. If social dancing is the only thing you can afford, choose to go social dancing over taking lessons. It is critical you never lose sight of the purpose for which you are learning (seriously, why learn to dance if you're not going to do it?).
Private lessons can be very addicting, as the rewards are virtually immediate (and continue to increase) as you return to the dance floor. But as you are investing a great deal of money into learning, make sure you start with the right teacher. If you are fortunate to live in an area with a big city, you can ask around and find out who are the well-known and reputable instructors around (However, I personally recommend that if you don't know who the good instructors are, you probably should not take privates yet). If there are no well-known instructors, or you would like to choose for yourself, finding a teacher can be a more difficult task. A good instructor will focus on teaching you how to dance, not how to perform moves and tricks. You can judge for yourself if one has a good fundamental understanding of the dance by watching them dance Lindy Hop.
After you have researched and found a suitable teacher (preferably you have found several), approach one for private lessons. Do not shower them with compliments; a simple honest comment on what you like about their dancing as well as a request for a private lesson is sufficient and appropriate. They will arrange a time with you, tell you how much they cost, and some will inquire if there is anything you desire to learn in particular. Private lessons are usually an hour long, and have a median and mode cost of $50-60 with one instructor (ranging from $50-65), or $80-100 for two (instructor and partner). They may usually ask what you wish to learn. Don't ask to learn moves, or you'll be wasting your money. If you are unsure of what you desire to work on, ask to work on your basics and the swing out (and continue to learn as much about the swing out as you can). There are many concepts that you will learn in the development of your swing out, especially connection, frame, and center, so remember to look at the swing out as a reflection of your skills, not as simply a move. It has been said that when an instructor teaches an advanced workshop, he or she can work on the swing out for every class for an entire weekend, and a mature and advanced dancer will look forward to such a focused learning opportunity.
When you go to your private lesson, bring a notebook as well as your normal dance preparation (shower, brush your teeth, bring mints, etc.). Wear form-fitting clothing so that your teacher can easily view your frame and posture. Come with a mature and open mind, and trust what your teacher tells you.
You (hopefully) will be spending most of your time learning basics, with a little time spent on lecture and philosophy. You will learn a lot, so write down notes in your notebook. After your lesson, go social dancing as soon as possible so that you may put your hard work to use! Try to work on just one thing you learned each night you go out dancing. Once that is finished, work on another.
Do not expect miracles. You may not always click perfectly with your instructor, as an hour is such a short period of time that the instructor has to grow accustomed to you, decide what you need to improve on, and discover how to teach you effectively. After your lesson, if you have difficulty learning from your instructor, try taking a few more lessons, and try approaching another one. Just as any two people may not necessarily get along immediately (or at all), it may take a few more lessons for your instructor to figure out how to teach you effectively in an hour’s time.
On the other hand, after your lesson, if it seems like the heavens have opened up, shined upon your dancing, and you are now possessed with the spirits of lindy hoppers past, stay with that instructor.
If and when you stay with an instructor for continued learning, trust your teacher in the process of learning- he or she will guide you down the right path.
Privates can be very expensive but pay off very quickly with the amount you learn in a fraction of the time, and with the learning of certain concepts that can only be effectively taught individually with someone who already understands them. You may not be able to afford group lessons simultaneously as private lessons, so you may have to give them up temporarily. But whatever you choose, do not give up your social dancing regimen. Again, I emphatically stress that regular attendance of social dancing is the most important thing you can do to improve your dancing. If social dancing is the only thing you can afford, choose to go social dancing over taking lessons. It is critical you never lose sight of the purpose for which you are learning (seriously, why learn to dance if you're not going to do it?).
Private lessons can be very addicting, as the rewards are virtually immediate (and continue to increase) as you return to the dance floor. But as you are investing a great deal of money into learning, make sure you start with the right teacher. If you are fortunate to live in an area with a big city, you can ask around and find out who are the well-known and reputable instructors around (However, I personally recommend that if you don't know who the good instructors are, you probably should not take privates yet). If there are no well-known instructors, or you would like to choose for yourself, finding a teacher can be a more difficult task. A good instructor will focus on teaching you how to dance, not how to perform moves and tricks. You can judge for yourself if one has a good fundamental understanding of the dance by watching them dance Lindy Hop.
First and foremost, do not be deceived by flashiness.
A good dancer is not determined by the moves one does, but by his or her basics.
Watch the teacher and note his or her feet with each step. Does the teacher dance on the balls of his or her feet without rolling back on the heels? Does he or she push off from the ground to move instead of simply picking up his or her feet? Does the teacher have visible and clear weight changes? These are good signs that the teacher may have strong basics, and may possess the skill to teach you. However, good dancers do not immediately make one a good teacher.
After you have researched and found a suitable teacher (preferably you have found several), approach one for private lessons. Do not shower them with compliments; a simple honest comment on what you like about their dancing as well as a request for a private lesson is sufficient and appropriate. They will arrange a time with you, tell you how much they cost, and some will inquire if there is anything you desire to learn in particular. Private lessons are usually an hour long, and have a median and mode cost of $50-60 with one instructor (ranging from $50-65), or $80-100 for two (instructor and partner). They may usually ask what you wish to learn. Don't ask to learn moves, or you'll be wasting your money. If you are unsure of what you desire to work on, ask to work on your basics and the swing out (and continue to learn as much about the swing out as you can). There are many concepts that you will learn in the development of your swing out, especially connection, frame, and center, so remember to look at the swing out as a reflection of your skills, not as simply a move. It has been said that when an instructor teaches an advanced workshop, he or she can work on the swing out for every class for an entire weekend, and a mature and advanced dancer will look forward to such a focused learning opportunity.
When you go to your private lesson, bring a notebook as well as your normal dance preparation (shower, brush your teeth, bring mints, etc.). Wear form-fitting clothing so that your teacher can easily view your frame and posture. Come with a mature and open mind, and trust what your teacher tells you.
You (hopefully) will be spending most of your time learning basics, with a little time spent on lecture and philosophy. You will learn a lot, so write down notes in your notebook. After your lesson, go social dancing as soon as possible so that you may put your hard work to use! Try to work on just one thing you learned each night you go out dancing. Once that is finished, work on another.
Do not expect miracles. You may not always click perfectly with your instructor, as an hour is such a short period of time that the instructor has to grow accustomed to you, decide what you need to improve on, and discover how to teach you effectively. After your lesson, if you have difficulty learning from your instructor, try taking a few more lessons, and try approaching another one. Just as any two people may not necessarily get along immediately (or at all), it may take a few more lessons for your instructor to figure out how to teach you effectively in an hour’s time.
On the other hand, after your lesson, if it seems like the heavens have opened up, shined upon your dancing, and you are now possessed with the spirits of lindy hoppers past, stay with that instructor.
If and when you stay with an instructor for continued learning, trust your teacher in the process of learning- he or she will guide you down the right path.
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