How to Have More Fun in Group Classes

Quick Tips for leaders:

1) Best way to help your follower, is to lead to her ability – do not force the move for the sake of the move.

a. At the end of the day, we’re dancing with her. For instance– if she’s not a good spinner, slow down the move.

b. No pushing, shoving, pulling. It’s not our job to do the move for her. Give her a directional lead, and trust that she will go in that direction.

c. Dance close enough to smell her perfume. She can feel the lead better if you are no farther than 1 arm’s length apart.

d. Be patient. If she is not following, just let go (or stop) and see what happens.

2) Allow enough lead time for your follower to respond.

a. Dancing isn’t a 1-size-fits-all activity. And that’s what makes it fun.

b. Instructors normally call out the practice moves and count. These are “suggestions” for the LEADERS. But – different followers respond differently. Some may need some additional time to recognize the signal, interpret it and then properly respond. Some need very little “wind-up”. Therefore, we can’t dance the same way with every follower (and that’s a good thing). Also – we can’t dance the same way with the same follower (they will have improved the next time they get to you).

c. When driving, you normally apply the breaks slowly to stop the car, shift in reverse, then you apply the gas slowly. Apply the same techniques when leading. Provide enough “lead time” so that follower can respond.

d. The call-outs are merely suggestions. Leaders should take slight deviations and license with it – to better learn the move and protect their follower. Sometimes the move is complicated, and we slow it down as to not hurt our follower. Sometimes it takes us an extra basic or an extra few counts, to get our heads around the move. Therefore, the lead may not actually occur at the same phase/beat/count as the instructor’s call-out. This is good.

e. Be assured that the followers are doing our very best. The follower may fall slightly behind. If the leader is forcing to execute the move exactly as the instructor is calling – and their follower is falling behind…. well…. the results are never very pretty.

3) DO NOT focus on you getting through the move. Instead learn how to properly and safely get your follower through the move.

a. While it’s very useful to understand the way the move is “supposed” to be executed, not every couple is the same. We have height differences and skill levels to consider. Our tough job is to figure out how to lead this particular lady. So - focus on the getting the follower through the move – NOT you getting through the move.

b. And it isn’t easy to realize that we’re not actually leading our follower. Often times the follower is leading themselves, and we think we’re doing great job. Then we come to a lady that doesn’t know the move – and we assume it’s their fault because they can’t get through the move smoothly. We often try to INSTRUCT them by saying “You are supposed to do XYZ”. When, in truth – they are doing exactly what you are leading. And, in truth, WE were the ones that were supposed to do ABC.

c. Avoid instructing the followers. If they didn’t execute the move as you expected – figure out what you need to do to adjust your leading. Experimentation is the fun part of dance. Try to get your partner through the move without words.

4) Watch your follower

a. Many leaders watch the instructor as they practice the new move, and subsequently pop the follower on the head, or twist an arm. That’s not the best way to be remembered. By paying attention to the follower, you’ll realize how tall she is or if you are about to turn her in a hurtful position.

b. Cars respond differently depending on the make, model and year. You don’t drive an ’89 Honda the same way you drive a 2008 Jaguar. Pay close attention to the follower to figure out her response time and drive accordingly.

c. Once again – it’s not your job to get you through the move. Your job is to get your follower through the move. So, pay attention to the follower. You’ll have more fun and be more successful.

5) The move doesn’t really matter that much.

a. Class is supposed to be fun.

b. Everyone is learning at their perfect pace.

c. So, don’t be too concerned with what she is “supposed to be doing”.

d. Focus on “what you need to do”. And everything will turn out well.

Quick Tips for Followers:

6) Best way to help your leader learn the move – is NOT TO HELP.

a. We learn best by doing. That’s why we leaders need some time to figure out the move ourselves. Although not their intentions, when helpful followers that tell us what we’re supposed to do, or execute the moves on their own, leaders loose the chance to learn for ourselves. This slows down our learning process.

b. The best way we followers can help, is to be patient and just wait for the lead. Our handsome partner will let us know if he needs a hint or two.

c. If the lead is unclear or nonexistent, best advice is to stand still and quiet. Just like in a real conversation, we can listen and feel the lead better if we’re calm and quiet. This gives them the chance to actually lead the move.

7) Follow your leader, not the instructor

a. Instructors normally call out the practice moves and count. These are “suggestions” for the LEADERS. Unless the instructions are specifically for the followers, it’s best for the followers to just “tune out” the instructors during these practice times.

b. The call-outs are merely suggestions. Often the leaders need to take slight deviations and license with it – to better learn the move. Sometimes the move is complicated, and we slow it down as to not hurt our follower. Sometimes it takes us an extra basic or an extra few counts, to get our heads around the move. Therefore, the lead may not actually occur at the same phase/beat/count as the instructor’s call-out.

c. Be assured that we are doing our very best. We leaders may fall slightly behind and even eliminate a section to catch up (which is actually quite superb). If the follower is executing the move exactly as the instructor is calling – and their leader is deviating to better learn the move then…. well…. the results are never very pretty.

8) DO NOT focus on learning the move. Instead learn how to RESPOND to the move.

a. While it’s very useful to understand the way the move is supposed to be executed, the follower doesn’t really execute the move. Our tough job is to figure out how to RESPOND to the move. We don’t actually execute the move. So - focus on the feel and the movement, while your leader focuses on the move itself.

b. And it isn’t easy to realize that we’re not following. I’ve discovered that “following” is never “a done deal”. In the beginning, I thought I was following (that I wasn’t anticipating or executing the move on my own). But then, as I got better at following, I realized “Darn -- I wasn’t really following before.” But if you were to have asked me back then – I would have sworn I was following. (And we probably would have even gotten into an argument over it.) But as I practice more and more, my following continues to improve. So - does that mean that I wasn’t following before? Well - I think it just means we get better.

9) Watch your leader, not the instructor

a. Many follower bend over backwards to watch the instructor as they practice the new move. This is not necessary and is actually detrimental to your dancing. While you are giving your full attention to what your instructor is doing during your practice time – you are missing the dance/conversation your partner is trying to have with you.

b. Once again – it’s not our job to execute the move. So, you don’t need to visually verify that the right move is being executed at the right time. You’ll have more fun, if you just focus your senses on how the move feels.

10) The move doesn’t really matter that much.

a. Class is supposed to be fun.

b. Everyone is learning at their perfect pace.

c. So, don’t be too concerned with what he is “supposed to be doing”.

d. Focus on “following and the feel of the move”. And everything will turn out well.

lWhat if…

What if I have a leader that pushes and pulls with their arms? And what if their arms are all over the place, do I match his arms?

- Well, if I am dancing with a “wild man” -- I normally keep a very tight frame. By keeping my frame and posture a little tighter, this restricts his ability to move his arms. It also gives me a little more structure to “hear his lead”, while protecting my shoulders and arms.

- I can’t fix his frame, by matching “non-existence” frame. But I can reduce the effect of it, but keeping my frame.

You said not to refuse anyone, but what if the guy is really a rough lead and yanks your arm.

- Yes – we all have our favorites to dance with, and our “not so favorites”. If we remember that last dance we had with this person was painful, it’s really hard to say “yes”. But – remember – everyone is getting better. This person may be a better dancer today. Or, maybe he was having a bad day last time and that last dance was very uncharacteristic. Give the fellow another chance, but also install your shock-absorbers (tighten your frame to protect yourself). You might also want mention that your shoulder or elbow is a little tender today. Most guys will automatically step into the protective role and be very attentive and gentle.

What if I have a follower that is just walking through all the moves, and not really following? She’s all over the place.

- Yep. That does happen a lot. It happens because it’s hard to realize that we’re not really following. We recognize the first two steps as a pattern we learned last week – and we execute the full 18 count series on our own. Problem is, the lead is a totally different 12 count move. But, as leaders, we don’t want to push, pull or strong arm her to “follow”. We can’t make them into good followers by doing that. And we compromise our good leading techniques. So – stay true to your good leading skills. Change your strategies to close moves or moves where you have both arms around her (like cuddles, closed position moves) and/or stick with the basics. Don’t struggle with advanced moves. You’re not going to be successful – and no one will be having much fun. If she’s not following – stay in close proximity and carry on a nice conversation while you are leading the basics. That’s much less frustrating and she’ll remember what a nice dance she had with you.

What if she misses a lead or particular move?

- If she’s been following great up until this move, chances are that we need to work on our leading skills on this particular move. Try the move one more time, with focus on improving your lead. Followers often appreciate a second chance at something. If she didn’t get it the second time, don’t lead it again (unless she requests to try it again).

- Avoid instructing or saying “you’re supposed to do XYZ”, unless she’s asked or you know her well. Once again – chances are that we didn’t lead it clear enough.

- If the move is a long series of moves, just lead the first part of the move to test the waters. If she gets the “short-hand” version, then you can give her the unabridged version.

The guy is just doing fancy move after fancy move, while I’m struggling to keep up. It’s almost as those he wants to illustrate that I’m not good enough to dance with him. Or punish me for asking him to dance.

- Yes. While it’s nice to be challenged, trying to keep up with one complex move after another does not make for a pleasant time.. I classify dancers into three major categories: Beginners (which we all are when we’re learning something new), Good Dancers (those that enjoy dancing with all levels, pays attention to their partner to makes sure they are dancing to their partner’s level, and it’s obvious that they are having fun), and those that Think They Are Good Dancers (or those that are dancing for themselves and not really with their partner). It’s really easy to have great fun with 2 of the three categories.

- During a difficult dance -- If you feel up to it – start a friendly conversation while dancing. Ask him about himself. It’s difficult to do one complex move after the other, when you’re telling your follower how long you’ve been dancing and where you most like to dance.

- If that doesn’t work – just stay pleasant. Keep your frame and your smile in place. You’ll be surprised how many people will notice how patient, friendly and good-natured you were while you were dancing with a jerk. People will want to dance with you, just because of your calm presence.

Keeping Track of all those Neat Moves:

One general complaint is that over the course of weeks, months and years of dancing, we forget a lot of the moves that we once knew and liked.

Idea: Take notes on the moves that you learn and like. Do not let “I don’t know how to describe the move” to stop you. It doesn’t matter how you describe the move. Just take a stab at it. You will find that, as you make notes, you will naturally come across a code/short hand of your own. It only has to make sense to you.

Bring your dance notebook to your dance and randomly pick two or three moves to specifically practice throughout the night.

p.s. – Don’t sweat over the details of the move. Ambiguity leads to creativity. If you keep your description high-level, you’ll find that you’ll create lots of variations based on that high level theme. If you document every detail – you’ll have the perfect description of one move.

What’s the proper attire for beginning group classes?

Go for comfort. If you’re comfortable in heels, that’s fine. Low heels (less then 1 inch) or “no heels” work the best when first learning. Don’t spend a lot of money on your first pair. Shoes should have leather or suede soles for easy glide across the dance floor. Avoid backless shoes like flip-flops. Although they may be comfortable, it’s best to have shoes that strap or tie to the foot. This assures that your shoes stay with you when you spin, kick and hop. Bowling shoes fit the criteria quite nicely and are very affordable.

To keep your dance shoes lasting longer, wear them only on the dance floor (or on the bowling lanes). This is why many people change their shoes at dances and classes. They are switching from their “street shoes” to their “dance shoes”.

Follow the “go for comfort” rule on clothing as well. Folks often ask about shorts. Shorts are great, as well as slacks, jeans, skirts. At the beginning level, we will not be doing any dips or aerials, but we will be doing turns and spins. Therefore, if you’re nervous about wearing a skirt that flares “too high”, many wear sport or biking shorts underneath. This allows you to spin without worry.

Starting on the Right Foot

In every dance you have two partners: the one standing in front of you, and the music.

To get the most from the dance experience, we experiment with both.

Dance Partner: The first thing people ask is “Do I need a partner?” Well, this is not Noah’s Ark. You don’t be a couple to attend any of the dance events in the area. In fact, it’s encouraged to dance with everyone. The more partners and styles you experience, the better leader and follower you become. You will find that the majority of the instructors and classes in the area rotate leaders (or followers) after each taught move. This allows everyone to dance with each member of the class. The instructors in the area are also very good at advertising the many dance practices, clubs and dance events in the area. Take advantage of these many opportunities to polish your craft.

Dance Music: If one is just starting to dance, what type of music should one practice with?

I recommend getting a compilation CD of various artists. This allows you to experience different speeds, pitch and styles without spending a lot of money.

Some compilation CD’s I like are:

West Coast

Sophisticated Swing Vol. 1

Sophisticated Swing Vol. 2

Blind Pig Records’ 25^th Anniversary

Blind Pig Records’ 20^th Anniversary

25 Blues Master 4

Salsa

Salsa Around the World
Putumayo Presents: Latin Groove

Congo To Cuba

Other ways to build your dance music library:

1) Ask your dance instructors what they would recommend

2) Ask the DJ when you hear something you really like

3) Google/web search places like USASwingnet.com for the Top DJs selections. Then purchase just that one song from iTunes or Amazon.com mp3 downloads.

Dance Etiquette

The following guidelines are gathered by several dancers from various dance communities. They are simple recommendations to make your dance experience a pleasant one for yourself and for others who share the same dance floor.

Ø If you are not dancing, if it courteous to stay clear of the dance floor

Ø If you are not dancing, avoid walking through the busy dance floor.

Ø If you are trying to show your partner a new step, move to a distant corner of a non-dance area for your demonstration and discussion.

Ø Unsolicited teaching and/or correcting your partner is rarely appreciated. Therefore, we recommend working out stuff at practices or classes, not at social dances.

Ø Avoid uncomfortable accessories such as belt buckles that protrude and remove large key chains and coinage in pockets.

Ø It is dangerous to shortcut or race someone else to the person you with to dance with.

Ø Avoid apologizing for dance mistakes that did not cause personal injury. Just dance your best.

Ø Followers, ask permission before backleading.

Ø When asked to dance, there are a few acceptable responses:

§ “Yes, thank you” (if you elect this response, you must complete the dance).

§ “I would love to dance with you, but I’m sitting this one out.” (If you elect this response, you must sit it out. Although not mandatory, it would be nice to reciprocate the invitation when you do feel like dancing again.)

§ No, thanks anyway but I’m sitting this one out. (If you elect this response, you must sit it out).

Ø The dance is a social interchange. It is the experience of dancing, communicating and the giving/receiving of signals and messages through movement, gestures and expressions. In the end it doesn’t matter if you succeeded in doing your own fancy steps if your partner hasn’t been lead (or followed) well and is not having a good time.

Floorcraft

The leader is responsible for protecting the follower from collision. While some small collisions are unavoidable, it is ideal for followers to feel confident their partner will not lead them into a dangerous situation. However, it takes time for beginner leaders to do this. It takes awareness of the traffic and to be able to move with that traffic. Since followers are not preoccupied with what moves come next, they can help their partner by being aware of those around. Here are a few tips:

Ø Leaders: leave enough space in front of you in case you and your partner need to escape.

Ø Followers: If a collision is approaching from behind your partner, a slight pressure against his arm or hands will indicate that someone has not left him enough room to maneuver. Do not backlead to maneuver around the floor. Not only does it make leading more difficult, but is also makes it more difficult for the leader to avoid collisions.

Ø Leaders: When you feel as though you’ve been “cut-off”, avoid using your partner to gain additional space (battering ram technique).

Ø Leaders: the more crowded the dance floor, the more contained and small your patterns must be. In other words, the more crowded the dance floor, the more slots/lanes there will be. The more slots or lanes mean each lane is narrower and shorter.

Ø In crowded situations, both partners keep their feet and movement small. Avoid wide or high moves, and keep your “embellishments” under control such that you don’t hurt or intimidate other dancers on the dance floor.

Ø In crowded situations, both partners keep their feed under your torso and avoid wide sweeps and kicks. No one likes being kicked, run into or stepped on, so on a crowded dance floor, avoid aggressive movements, sweeps and leg extensions.

Ø West Coast moves in slot, East Coast is typically circular; Lindy has examples of both circular and slot dancing. Be aware of each potential for movement

Ø In crowded situations where there is multiple styles of dances, position the slot dances to the outside edges and the circular style dances toward the center.

Best Kept Practice Secret

Ask a beginner to dance. They are the best source of Social Dance Practice that one could ever ask for. You can practice and hone your style while leading or following the basics: push-break, left-side passes, tuck turns and basket-whips. While you are practicing your syncopations and styling, you are making a new friend. This person will always remember you as someone that danced with them, when they were not very good. As this beginner becomes an excellent dancer, you’ll forever have a place on their dance card.

Practice Tips:

Purpose: We all gravitate to either the first style we learn or the style we’re most comfortable. East Coast and Savoy Lindy are high energy dances with a definite hop or bounce. West Coast is a cool and sexy dance. The West Coast movements are smooth and graceful, gliding across the floor.

Removing the “sock hop bounce”:

1) Instead of leading steps with “heal-toe”, slide ball of foot across flour.

2) Stay grounded, knees bent, straight posture, continuous contact with floor

3) Single tracking. Step on foot in front of the other, keeping yourself well grounded, and knees bent

4) Don’t force hip sway. Single-tracking will give your line a natural “model-like” quality without additional effort on swaying hips. Unlike forcing hip-action, this motion is both natural and graceful.

Schedule some alone time for leisurely walks. Take music with you, and single track walk, listening and moving to the crescendos and accents of the music.

Purpose: West Coast movements are smooth and sexy. A dance between partners is actually a conversation. When we lead with our arms, then our contact points are limited to only the hands. And it’s difficult to feel and respond through just that connection. As a result, leaders feel they need to exaggerate their arm leads because the followers aren’t picking up on the signals. The exchange looks heavy-handed and with much effort.

When we are lead through our center, we have better connection with ourselves, as well as our partner. Our entire body is engaged in the exchange. Since it’s easier to feel and respond to our movement, the exchange looks effortless, natural and sensual.

Leading with center:

1) Start with good posture, keeping head, shoulders, knees and feet aligned with center (near bellybutton).

2) Position arms parallel, and perpendicular to body. Keep arms level to the follower’s center (near bellybutton).

3) Face each other, and without moving feet – experiment with leverage and compression by just moving your center forward and back – matching your partners level of pressure.

4) Signal center forward and back with only closing and releasing fingertips.

5) Staying the same distance apart, move across the floor forward and back.

6) Move into a single-hand, open position. Clasp the free hand on the elbow of the other. Lead-follow without breaking your frame and moving your arms away from your center.

For “Alone practice” – use a barstool and chair with wheels. Pretend your arms are in a perpendicular cast such that you don’t move your arms away from your center.

Purpose: One of the attractions of West Coast is the elastic, in/out movements in steps like the push-break, whips and basket-whips. The key to the back/forth glide is the leverage and compression connection.

Compression practice:

1) Face a wall with palms facing wall.

2) Take your 1,2,3& push-break forward as you push (compress) against the wall.

3) As you start to take your 4 count away from the wall, continue to push against the wall. This emulates that both you and your partner are still in compression.

4) As your 4 counts completes, push away from the wall and complete your anchor step (5&6). This emulates the timing of the leverage portion of the sequence.

If you are practicing with a partner, experiment with leverage and compression techniques by just using your center (no arms, just fingertip signals). Don’t always lead the following in (stay in place for a measure), to mix it up.

Purpose: Basic push-break.

1) 6-count step 1,2,3&4, 5&6.

2) Step forward on 1,2; compress on 3 &, change directions and leverage on 4, anchor on 5&6.

3) ‘Anchor steps’ means no traveling.

Purpose: Left side pass lead, essentially leader steps out of slot, waits for lady to pass, then returns to the slot.

1) Step out of the slot on count 1.

2) Bide time on 2,3& -- while lady walks pass

3) Step 4 back into slot,

4) Anchor 5&6 in front of lady.

Purpose: Left side pass follow, essentially follower steps length of slot until she runs out of arm and is forced to turn and anchor in place.

1) Step forward 1,2,3&4.

2) Continue to walk in the same direction until your direction is changed (by running out of arm).

3) 5&6 are used to turn and anchor in place

Purpose: Syncopation can mean many things. But it’s essentially playing with the accents in the music (or musicality).

1) 1) Add a beat (or tap) to change 1,2,3&4, 5&6 into 1,2&3&4, 5&6

2) Remove a beat like 1,2,(hold 3&) 4, 5&6

3) Shoulder roll when feet and heat are silent

4) Move head when body and feet are silent

5) Keep head and shoulder quiet when feet are syncopating.

Purpose: Even though West Coast Swing is danced in a slot, with nice lines of movement, small and controlled steps are key. With small steps one can effortless stay in beat whether the music is fast or slow. Small steps allow us more time to play and express ourselves with syncopation and body styling/flare; because we’re not rushing to just complete the pattern.

Small Step exercise:

1) With good posture, keep arms bent and perpendicular to for – never extending arms straight.

2) Run though typical West Coast moves keeping couple close.

3) Tie scarf or tie around ankles to remind of small strides.

Purpose: When we’re partnered with someone at a different heights (a large gap between partner’s heights), we compensate incorrectly. Often times we hunch over or bend at the waste toward our partner. But will we have trouble with our moves, and we look awkward at the same time. The reason for this, is – in order the hunch over or bend toward our partner – we need to stand farther away from them. This gives us the needed distance to bend over without hitting them. When we stand far away from our partner and put more distance between us, we’ve actually increase the length gap (we’ve made it worse). In addition, when we step away and bend over, our posture is off and we’re no longer moving from our center. We need to compensate for the height differential without compromising our poise and frame.

Height Compensation:

1) Keep head, shoulders, waste, knees and ankles in line and centered.

2) Stay close to partner and grounded.

3) Just bend the knees and your height differential is solved without compromise.

Purpose: West Coast is a smooth, cool dance. The key to looking cool is to make everything look effortless, especially when it’s not.

The Effortless mirage:

1) Minimal arm movement when leading. Lead through center instead of arms.

2) &n