Sometimes the best dance of the night comes from the least suspecting partner! While attending the Fresno Dance Classic, I asked a young man in a ball cap to dance. My bad, I didn’t introduce myself before asking him to dance, sorry about that JD. Luckily, even tough he introduced himself to me, I did not realize that he was a Champion dancer! Had I known, I would never have asked, and would have been terrified to dance with him.

As it turned out, it was the best dance of the weekend for me! It wasn’t until we had established a connection and danced through the basics  that he ramped up the material and led me through some of the most amazing 2 Step patterns that I have ever danced!

My saving grace was that I kept my basic rhythm and timing of the dance, my arms relaxed and my lats engaged so he could lead me, and my mind focused! Sometimes I even amaze myself!

While dancing it is imperative to stay connected, however this does not refer to a death grip!

Leaders place your hand firmly on the followers shoulder blade, up underneath her arm, not in the middle of her back. Give her enough support to allow her to settle back into your hand and  form a connection. Followers do not “lean” back to establish this connection.

Followers, place your hand lightly upon the leaders shoulder, arms touching and connected without expecting the leaders to hold up your arm. Do not grip their shoulder. Place your hand  into the leaders hand and gently close, do not grip tightly.

Both Leaders and Followers must hold up their own arms. While turning, followers should create a cup with your hand so that the leader is able to freely move his fingers within your cup.

Of course there are different frames for different dances and you must make adjustments accordingly, but the above rules still apply.

I am sure that all West Coast Swing dancers do whips. The question is, do they really “whip”, or are they just going through the motion.  Last night at our weekly class, we spent the entire class doing nothing but two whips and honestly almost everyone was struggling.it wasn’t that they weren’t going through the motion and footwork correctly, it was that they were missing a key ingredient that actually creates the whip itself.

To create an actual whipping motion, both leader and follower need to have compression in the connection of the followers right arm and the leaders left. I am not sure exactly how to explain a “feeling”, but done correctly there is actually a whipping motion. Once you have experienced a whip done properly you will never go back to just walking through a whip again!

In the beginning is typical for both leaders and followers, to have Spaghetti Arms. Limp and loose. We then tend to go to the opposite extreme, a stiff and rigid frame. Finding that happy medium is the challenge.Your arms should move your entire body, you should move as a whole unit, not arms, and then body. Ladies, as a brand new dancer, there is much to remember, so just try and take a deep breath and realize that you are dependent on “feeling” where and what, a leader is asking your body to do. Leaders, remember that you are the driver, you need to maintain that solid firm, I’m in control authority. Be deliberate with your movement and lead.

I suggest that you find someone that you are familiar and friendly with. Someone that is able to laugh and experiment. Start by both of you having very weak limp spaghetti arms. You will feel the lack of connection immediately. You will realize that neither one of you will be able to communicate through your frame. Two people without frame will find it very difficult to move around the dance floor and execute any style of dance.

Next, one of you should be the noodle, the other, a stiff, strong, rigid frame. As you will notice, this does not work well either. The strong person will likely be shoving the other person off balance and the person with no frame will stumble around not knowing where he/she should be, or how to get there. Take turns being both extreme. You will begin to adjust and find a happy medium. One that works for both of you. You will understand and feel what it is like to dance with Mr. or Mrs. Vermicelli and you will NOT want to be that person! It is an absolute chore to dance with someone with no frame. Your arms become weak and tired, just from trying to hold up the others arms, during a dance. It is not fun and is well worth the practice to find and maintain your frame. Once you find your frame, you will be able to adjust to most any dancer.

You can practice this equal and opposite resistance with anyone, they do not have to be a dancer. I found that I was able to even get my 15 year old son, who would rather cut off his feet than dance, to match my resistance and create a stable frame. I was able to move his body through his frame and he was able to move mine. For him it came naturally, for me, it did not!

So, a few tips. Stand opposite of each other. Hold each others hands and create an oval. Take turns “moving” each other. Observe what you are doing and how the other persons’ body reacts. Do not allow your elbows to collapse and keep them in front of you. Learn to allow your frame to move your body.

I believe that we all vacillate from one extreme to the other, before finally feeling or understanding what Dance Frame truly is. Giving up is not an option, and all of your hard work will be rewarded this first time that you spin flawlessly across the dance floor.

Good Luck and keep fine tuning your Dance Frame, the more adept you become, the more fun dancing will be!

Establishing a quiet, stable dance frame, is a goal that all dancers should aspire to, enabling them to achieve that essential connection with their dance partner, allowing them  the luxury to not only listen to, but enjoy, the music that they are dancing to.

Spaghetti Arms, or lack of Dance Frame, is a common problem for new dancers. It is one of the most important building blocks in becoming an accomplished dancer. It is also one of the most difficult skills for a new dancer to master. It is equally  important for the leader and follower to both have, and maintain, a good, constant and continuous dance frame. I often hear a leader complain that a follower doesn’t have frame, and therefore he is unable to “lead” her. This, of course, is an accurate statement. It is possible, however, that these “leaders” have yet to develop their own solid dance frame themselves.

Sometimes when leaders  refer to their “frame”, they are actually mistaking “frame” for a lead, such as in, turn NOW! If there is no prior connection, with constant and continuous framework already established during the dance, the follower is just receiving “frame” when the leader is trying to initiate a pattern, a turn, or a change of direction. That often leads to confusion for the follower and a missed lead. So leaders, remember that frame must be “quiet” and “continuous” throughout the entire dance, in order for the follower to react when you initiate your intention.

On the other hand ladies, it is our responsibility to offer our leader a stable frame. One that is a constant, toned resistant, and equal to that of our partner. It is typical when we first begin dancing to have Spaghetti Arms. Limp and loose. We then tend to go to the opposite extreme, a stiff and rigid frame. As a brand new dancer, there is much to remember, so just try and take a deep breath and realize that you are dependent on “feeling” where and what, a leader is asking your body to do. Your arms should move your entire body, you should move as a whole unit, not arms, and then body. Leaders, this goes for you, too.

Spaghetti Arms

Spaghetti Arms! aka Dance Frame, or lack there of it. This has to be one of the most important, yet difficult skill for a new dancer to master. And much to the disagreement of many, BOTH partners must have Frame. I often hear a leader complain that a follower has no frame and therefore he is unable to “lead” her. Which of course, is an accurate statement. However, I have danced with these “leaders” just to realize that they do not have “frame” either.

What they are referring to as their “frame”, is merely a lead, as in turn NOW! There is no constant tension or framework during the dance and the follower just receives “frame” when the leader is trying to initiate a pattern, turn or change of direction. So leaders, remember that frame must be “quiet” and “continuous” throughout a dance.

On the other hand ladies, it is our responsibility to offer a stable frame. One that is a constant, toned resistance, equal to that of our partner. It is typical when we first begin dancing to have Spaghetti Arms. Limp and loose. We then tend to go to the opposite extreme, a stiff and rigid frame. When you are a brand new dancer, there is just so much to remember, just try and take a deep breath and realize that you are dependent on “feeling” where and what a leader is telling your arms to do. Your arms move your body as one, not independently. Leaders, this goes for you, too.

I suggest that you find someone that you are familiar and friendly with. Someone that is able to laugh and experiment. Start by both of you having very weak limp spaghetti arms. You will feel the lack of connection immediately. You will realize that neither one of you will be able to communicate through your frame. Two people without frame will find it very difficult to move around the dance floor and execute any style of dance.

Next, one of you should be the noodle, the other, a stiff, strong, rigid frame. As you will notice, this does not work well either. The strong person will likely be shoving the other person off balance and the person with no frame will stumble around not knowing where he/she should be, or how to get there. Take turns being both extreme. You will begin to adjust and find a happy medium. One that works for both of you. You will understand and feel what it is like to dance with Mr. or Mrs. Vermicelli and you will NOT want to be that person! It is an absolute chore to dance with someone with no frame. Your arms become weak and tired, just from trying to hold up the others arms, during a dance. It is not fun and is well worth the practice to find and maintain your frame. Once you find your frame, you will be able to adjust to most any dancer.

You can practice this equal and opposite resistance with anyone, they do not have to be a dancer. I found that I was able to even get my 15 year old son, who would rather cut off his feet than dance, to match my resistance and create a stable frame. I was able to move his body through his frame and he was able to move mine. For him it came naturally, for me, it did not!

So, a few tips. Stand opposite of each other. Hold each others hands and create an oval. Take turns “moving” each other. Observe what you are doing and how the other persons’ body reacts. Do not allow your elbows to collapse and keep them in front of you. Learn to allow your frame to move your body.

I believe that we all vacillate from one extreme to the other, before finally feeling or understanding what Dance Frame really is.

Good Luck and keep fine tuning your Dance Frame, the more adept you become, the more fun dancing will be!

I recently received an email regarding Dance Frame and a Weak Lead, and know that it expresses the problems of many, so I thought that I would answer it here.

HELP!

My husband and I have always had a problem with his “weak” lead. Even though we are in a closed position, I find that I am doing the steps myself because I don’t feel his leading. This sometimes causes conflict because then he asks if I KNOW what I’m doing or he says I’m leading.

I’ve tried to explain how important his right hand positioned on my left shoulder blade (or just beneath) is. But most of the time I can barely feel it. Then he tries to drag me around with his left arm. It certainly doesn’t make for a fun time.

What can we do to make this a better situation?

Thanks!

Dear Confused on which way to go……..vs…..going THIS way NOW!

This one’s for all of you that are a bit confused on which way to go, and desperate to find the connection! A weak lead is sometimes the fault of familiarity. If you dance mostly with one partner, you can both become so familiar with each other, that you become a bit “lazy” or “relaxed”. You begin to “know”, or think that you “know” what the other person is going to do, enabling a weak lead, even in a closed dance frame.

What can you do to help correct this problem?

First of all, do you only dance with each other, or do you belong to some sort of club where you have the opportunity to dance with others? If you haven’t branched out and danced with others, I encourage you to do so. Seek out others with a passion for dance and broaden your dance experience. Look for your local USA Dance Chapter, or Swing Dance Club. This will enlighten and empower you as a dancer. Each of you will have to totally depend upon a new persons’ lead and follow. Without the anticipation that comes from the familiarity of dancing with someone that you are accustom to, a leader will truly have to “lead”, (or the follower will have no clue what she is supposed to do) and a follower will have to respond to only what is led, not what they “think” is being led. It is likely to be an eye opening experience for the both of you.

Secondly, if you are already dancing with others, or that is not an option, what you CAN do (if your partner is willing) is have him lead you through an entire dance with your eyes closed. This can be scary…….but is VERY effective! No peeking!

You must also settle in, and “fill his hand”. Just keep looking for that connection until he returns it. (do not lean back to achieve this) I have been known to keep backing up until the follower stops me. This usually causes a wide eyed expression, as in Whoa! But it usually works.

A good way for you to practice is to place your left hand against a wall and press outward, with your shoulder blade, not your hand. Create a “handle”, tell him to feel for it, and to hold on! And once you find that connection, have him lead you with only his right hand, completely from the connection on your back. This is also difficult, but very good practice. He should be able to lead you through an entire dance with just that connection. Our instructors at LearntoBallroomDanceOnline are very thorough when explaining the lead.

Another thing to try, which may be difficult, is to ONLY react when led, do NOT respond to a weak lead, even if you “know” what you are supposed to do. If you don’t feel the lead……….DON’T respond, just keep doing what you are doing until the lead is distinct. This all takes practice and is a very difficult balance, one that I am sure that you both can master.

The MOST IMPORTANT thing to remember is to keep it lighthearted and FUN! Dancing is meant to be a joy, not a stress in your life. I am sure that you will come up with some creative way to humor your guy into becoming a better leader!

Please keep me posted, and let me know your progress, and any creative ideas that you come up with.

Happy Dancing,

Michele@learntoballroomdanceonline.com

Frame

Tonight was a a true test in my ability to follow. The most difficult
skill I have finally been able to master. You see, one of my favorite
dancers has a elbow injury to his left arm. And as a true dancer, I
know that you will understand, you can only stay away from dancing
for so long. This is where my ability to follow, with him just
leading with his right hand comes in to play. If done correctly, a
leader is able to lead a follower around the dance floor with just
that connection. To my amazement, I passed the test!

To create that “connection” with your partner in the closed ballroom
position, it is important for the lower part of the follower’s left
shoulder blade to “match the resistance” into the leader’s right
hand. The follower can accomplish this by pulling her left shoulder
back and down, pressing into the leader’s hand. If the follower
does not match the resistance, the leader finds it much more
difficult to lead. Without any connection with the shoulder blade,
dancing would be nearly impossible.

“Matching the resistance”, is also known as The Law of Opposition.
It tells us that every action has an equal and opposite reaction. A
push meets with a push. A pull meets with a pull. In dance, the
resistance is NOT actually pushing or pulling. It is a matching
“reaction” to the “action” of the lead. The natural tendency to
“yield” to a “lead” rather than to match the natural resistance is
a real problem for many dancers.

Once you have master this connection, you will be able to dance
beautifully with anyone that has mastered the art of leading.

Please share your experiences with our other members in our blog
discussion area:
www.learntoballroomdanceonline.com

Happy Dancing,

Michele@learntoballr