Developing Floorcraft

[pygmalion]

Okay, you leads out there. People have been referring to this for months, without much explanation. Now it's time. For new leads like myself. What is good floorcraft? How does it look? How do you develop it? Experience only? Or are there some good rules of thumb? Can follows help? And is good floorcraft different with different types of dances? Oh yeah, and is it different between social and competitve dance? Hmm?

http://www.eijkhout.net/lead_follow/floorcraft.html

[youngsta]

In my dance world good floorcraft involves the following things:

1. Protecting your partner - Yup I said it! That's the #1 thing every lead needs to do. Keep on the lookout for reckless couples. Take the hit if it's to late to move away from oncoming danger.

2. This next one depends on what dance you're doing. Space management. In salsa I normally dance in a 4'x 4' slot (unless I'm dancing rueda or with a follower that is used to more circular styles). Making sure we stay in our slot makes protecting the partner that much easier (in MOST places)

3. Song Management (for lack of a better term) - This is the hardest to learn. Don't do pattern after pattern after pattern just for the sake of doing it! Each song is a brand new story. Each partner is a brand new character in the story. If you're dancing the same way to every song with every new partner...you're wrong! Each time should be a new interpretation and if you give each follower time to bring what's different about their style to the song you allow that to occur.

[Spitfire]

Where I find the greatest problem with collisions is while doing waltz and any other where you are suppose to follow the line of dance. I just look at some couples around me who seem to want to move with little or no heed of who's around them.

I have never seen a line of dance that was followed perfectly by everyone; just too many people moving faster and slower for it to be consistant.

[Sagitta]

#1 No collisions. Protecting your partner. This can apply to both. While it is primarily the leader's responsibility as he/she is leading I feel that the follow can definitely help out.

This definitely comes with experience. I started out with some collisions... then coming to an abrupt halt so that there would be no collisions...and now instinctually moving in one spot or using a move to get out of the way.

[SDsalsaguy]

As follow up to the line of dance/no collision issue... just following the line of dance is not, on its own enough. Part of the proper etiquette involved includes slower moving couples (often including newer dancers) staying closer to the center and leaving the outside track for the faster moving couples that can use more room per stride, etc.

This rule is generally applicable to both competitive and social floors as well. Notice in competitions, for instance, how competitors head into the center to hit various picture lines, etc., and then swing back into the line of "traffic" to continue progressing around the floor.

[Adwiz]

What is good floorcraft? How does it look? How do you develop it? Experience only? Or are there some good rules of thumb? Can follows help? And is good floorcraft different with different types of dances? Oh yeah, and is it different between social and competitve dance?

Huge issue, especially in the standard dances. Even in high levels of competition you see collisions that you know could have been avoided.

One of the big issues is to avoid "routine-itis" which I think every couple goes through. When people are so focused on the routine that they basically forget that there are other people on the dance floor.

The follower can help. In a superb competition this weekend I noticed one couple during the Slow Fox avoid an imminent collision in the most classical move I've seen yet. Both men had their backs to each other and were moving back. Without breaking her poise or moving the fingers of her left hand (I was watching and her two raised fingers didn't even flinch), the follower of the one just seemed to give a signal with the connected hand and he elegantly moved into a check step without seeing what was behind him. Coolest thing I ever saw in that regard.

On the other hand, one couple that made it into the finals (at a lower level of competition) amazed me because their floorcraft was so bad everyone around me was commenting on it. I'm stunned that the judges didn't notice. He was not only bumping into people repeatedly, but didn't lower his hand, almost nailing someone in the ear, and was also getting into the way of people that he could have easily avoided. I believe he was just too nervous to really pay attention, but it should have kept him from moving through four heats into the finals.

Performances can be much more difficult than social dancing because you are thinking of a million things, a bit nervous, in "competition" mode and less capable of seeing around you the way you do when you are more relaxed. I doubt anything short of experience can help with that.

Yet even competitively there are some dancers who are just so arrogant that they "claim their space" as if they own it and force the other dancers to get out of their way. This is just poor sportsmanship. I've seen this in Latin and Standard. Also a common problem in Latin performances is when couples bunch up in front of judges claiming that as their turf, which again is nothing less than poor sportsmanship.

[Vince A]

No collisions if possible. If not possible, protect the lady, then myself.

If a collision is emminent, let the other guy get into the collision with me . . . he shouldn't have put them there, but it happens. Protect your partner at all costs . . .

Almost every lady that I dance with nows knows how to signal with her left hand on my shoulder to indicate "someone is there" - if in a closed position. And in Swing, they also know how to not give any of the "rubber band" in the arms back to me, also indicating "don't back up."

It's all pretty common language, as in competition, but if you cause the collision, you get the points deducted. So we learn how to communicate non-verbally.

Line of dance, having courtesy, and getting away from "stupid" dancers can help save you or your parnter from an injury.

[SwinginBoo]

I REALLY need to work on this subject when I lead. Last week I was dancing with Swing Kitten and I led a move without checking to see who was around me and we both grazed an unsuspecting boob. Yikes...how humiliating :oops: :lol:

[Vince A]

Boo, that happens, and it's happened to me a couple of times. I remember this one dance, as I made a turn around with my dance partner, my hand actually grabbed another older lady's "boob." I immediately said "I'm sorry," and she graciously replied . . . "Oh, no problem. Thank you. It was the most sex I've had all weekend."

[bouncybouncyweee]

Boo, that happens, and it's happened to me a couple of times. I remember this one dance, as I made a turn around with my dance partner, my hand actually grabbed another older lady's "boob." I immediately said "I'm sorry," and she graciously replied . . . "Oh, no problem. Thank you. It was the most sex I've had all weekend."

HAHAHAHAHAHAHAHA. I love amusing older women! eeeee... well, at least if she said it in and amusing tone, not a "want some more?" tone.

mmm... dancers can be sooo glorious

[Vince A]

Absolutely love those older women and their "quick" comebacks . . . ah, just some of the good memories of dancing . . .

[Taita]

Hmmm.....

Interesting topic. This is one of those topics that could evolve into an essay unto itself. Here are just some of my random thoughts on it...

Floorcraft is one of those things that is extremely difficult, if not impossible, to teach. People just 'get' it. To me, good floorcraft can mean many things. It starts with awareness. Awareness of yourself, your partner, and the other couples around you. Awareness can also be increased greatly with a good follower. A good follower will often not just follow but also keep an eye out for my blind spots and let me know with a gentle tug when trouble is coming.

It is also a game of etiquette. Starting with etiquette: while learning competitive ballroom technique, students are taught to present as large a frame as possible for standard/smooth. Latin students will tend to shoot their arms out in all possible directions while dancing. These are all fine socially as long as 'the coast is clear'. Naturally, in a crowded, social situation, one must be flexible and considerate of those around you.

Like everyone else here says, it starts with the goal of no collisions. Any moves done should be done while 'the coast is clear'. However, sometimes collisions are necessary to protect your partner. Usually this would happened while dancing something relatively stationary, like swing. Sometimes a nearby couple would be having fun dancing, totally oblivious to others around them in such a way that a potential collision could occur. In such a situation, I would subtly position myself between them and my partner to absorb any such collisions. TIP: Social Dancing near an edge of the floor (even better, a corner!) means you probably won't have to worry about bumping into other couples on at least one side.

A good follower will help the leader by looking out where the leader can't see (like behind his head). The best followers I've had will often give a very subtle non-verbal que (no, the 'face of terror' does not count! :wink: ) when trouble's coming and will thus give me an opportunity to make an adjustment. If it's so crowded that doing any moves is impossible, this is where the 'social' aspect of social dancing comes into play. Just chat with your partner while doing basics :wink:

Competition floorcraft is a bit different. In a competition, the goal is to be seen and to stand out. Basically, the idea is to continually move to open areas of the floor to be seen apart from other couples. However, even competion floorcraft requires a basic awareness of your surroundings. Once, I saw 12 high-level amateur couples dancing open standard at a competition. The floor and venue were flawless and the skill of the competitors was breathtaking. As skilled as they were, collisions were common. There was, one couple that did catch my eye. Through three rounds, they stood out for their skill and their perfect floorcraft. While everyone else was bumping into each other, this couple effortlessly glided across the floor as if they were the only ones on the floor (there were times when I swore the lady's feet never touched the floor!). As crowded as the floor was (12 couples dancing open standard is definitely crowded! :shock: ), they never broke stride or even seemed to be aware of any other couple! To me, it was like watching someone so aware of their environment that they were so completely centered, they allowed openings to present themselves (kinda like being in a 'zone' :wink: ).

Till next time....

[Spitfire]

After all, this is dancing and not roller derby. :mrgreen:

[SDsalsaguy]

Taita...some great observations there, and I think judges really need to take more responsibility for how they mark this. Too many times I've seen couples marked despite really major floorcraft violations – i.e. the only couple on the floor using lots of choreography that goes against the line of dance and having bumped into every other couple on the floor still being marked 1st or 2nd , etc.

Till next time....
YESSSSSSSS :!: Finally :!: You didn't say "back to lurking"... :wink: :lol:

[Swing Kitten]

It's always comforting to see my lead consistantly look over his shoulder before leading a swingout-- very nice. I also enjoy the "near misses" where a bump was avoided do to our connection -- we both know what's going on and we can share a litte "phew" moment which enhances connection and a smile-- that's enjoyable in it's own way.

I've found the floorcraft in CT (where I've been anyway) to be quite exceptional-- some bumps but nothing major. Whereas I've never been stepped on so much as when I danced in Sacramento which was considerablt tighter quarters but also many of the leads didn't even seem to look around... I only had it hurt once and my lead didn't seem to care. :?

[Taita]

I've found the floorcraft in CT (where I've been anyway) to be quite exceptional--

SK, you may change your opinion after dancing with me :wink: .

And just for you jonathan....

back to lurk mode..... :P

[SDsalsaguy]

And just for you jonathan....

back to lurk mode..... :P

Noooooooooooooo! :shock: :x :(

[msc]

Part of the proper etiquette involved includes slower moving couples (often including newer dancers) staying closer to the center and leaving the outside track for the faster moving couples that can use more room per stride, etc

That's the theory, at least. In practice, welllll ...

TIP: Social Dancing near an edge of the floor (even better, a corner!) means you probably won't have to worry about bumping into other couples on at least one side.


Depends on the size of the crowd, but in general, I haven't found this to be true. Due to traffic blockage, I once had to stop on the middle of the long side on the edge of the floor (I think it was a Tango, so you just do drum beats for a while.) A particularly obnoxious fellow backed down the line of dance and clipped my follow with a ronde. Unbelievable. Actually the same guy banged into another of my follows while I was in the corner.

Ah well, I'm about to ditch social ballroom anyway.

[SDsalsaguy]

TIP: Social Dancing near an edge of the floor (even better, a corner!) means you probably won't have to worry about bumping into other couples on at least one side.


Depends on the size of the crowd, but in general, I haven't found this to be true. Due to traffic blockage, I once had to stop on the middle of the long side on the edge of the floor (I think it was a Tango, so you just do drum beats for a while.) A particularly obnoxious fellow backed down the line of dance and clipped my follow with a ronde. Unbelievable. Actually the same guy banged into another of my follows while I was in the corner.

I think the original comment was more geared toward stationary dances, no?

[Vince A]

msc,
But you Waltz so well!!!

For the same reasons that you stated, I do not social Waltz either!!!

And for the same reasns, some of the other venues that I attend, I try not to social dance those that travel around the floor . . . to many rude people, too many that do not know dance floor etiquette, too many Pros who think that we must get out of "their way," etc.

[msc]

I think the original comment was more geared toward stationary dances, no?

Whoops, you're right. Anyway, there's really no safe place in a traveling dance, and when it's crowded and a scrum starts to form, it can get to be a bumpy ride.

Vince,
I'll still be working with my instructor on the ballroom/Latin dances, but honestly I'm really starting to appreciate WCS and Salsa as social dances. I'd rather perform or compete Standard/Latin, though.

[tsb]

In my dance world good floorcraft involves the following things:

1. Protecting your partner -
first & foremost

2. Space management.
an awareness of all inanimate as well as animate objects in terms of where they are AND the likelihood that they will be where you expect them to be while you execute the figure you want to do next - there is a gentleman within my dance circles whom i shall not name. he doesn't get into many collisions, but only because the rest of us know where he is at all times...

3. Song Management (for lack of a better term) - .
i would include a component of lyricism, such as hitting breaks, and phrasing figures to go with the music, i.e., put your dip/chasse on the last note, vs. 2 measures beforehand and leaving her dangling...

i would add:

- learning techniques to deal with worst case scenarios. this would include things like mastering alternate figures/moves that you can employ when the space you had planned to occupy or put your partner into unexpectedly becomes unavailable (despite your enhanced level of awareness), knowing the best ways of supporting a partner's weight (and your own) should, heaven forbid, something cause her to lose her balance. i mean, sure jump into the path of the incoming dance "rhino" if you must, but better to be prepared to do a move that smoothly takes you both out of harm's way...

- being responsive to the feedback of your partner. a good partner can really help you look good, especially if you do a lot of open position and especially release moves; in a release the leader may suggest a direction but a great follower can override that suggestion by going in a direction that offers you more space alternatives at the end of the figure.

at its best, floorcraft is not recognizable as such

[SDsalsaguy]

at its best, floorcraft is not recognizable as such
I really like the sound of that tsb!

I would say that this does depend on what you, as an observer, see and recognize as floorcraft, but I get your drift.

[tsb]

at its best, floorcraft is not recognizable as such
I really like the sound of that tsb!

I would say that this does depend on what you, as an observer, see and recognize as floorcraft, but I get your drift.

i do make a point of telling a guy later "nice save" if i see one.

in a salsa context, i might start a CBL, look and see that i can't send her out, instead of over or under-rotating the cross body move, i might lock her in place at the end of her 'lean' on 4, go into a "check her out " stance and proceed to display her while she shines in place until the space frees up before i complete the CBL. the trick is practice it on other occasions that so it looks like you meant it the whole time when you really need to do it.

p.s. what am i not getting on the quotes?

[Sagitta]

To get quotes you can choose quote on the posters message that you want to quote, so when your reply window opens up the mesage is already in quotes. Then you can delete the parts of the previous poster's message that you don't want, only leaving the parts that you are referring to.

Also, while in the reply window you can go to the topic review window and copy and paste what you want to quote. Then while having this text highlighted choose the "Quote" tag option. To have a person's name show up in the opening tag you put ="name of person" so to have a quote be attributed to me you would have:

text being quoted

Last step is choose the preview message option to make sure you have got the message right before posting.

[SDsalsaguy]

To get quotes you can choose quote on the posters message that you want to quote, so when your reply window opens up the mesage is already in quotes. Then you can delete the parts of the previous poster's message that you don't want, only leaving the parts that you are referring to.

Also, while in the reply window you can go to the topic review window and copy and paste what you want to quote. Then while having this text highlighted choose the "Quote" tag option. To have a person's name show up in the opening tag you put ="name of person" so to have a quote be attributed to me you would have:

text being quoted

Last step is choose the preview message option to make sure you have got the message right before posting.

AND make sure that the box marked "Disable BBCode in this post" (the first one under your text entry field), is NOT checked.

[tsb]

AND make sure that the box marked "Disable BBCode in this post" (the first one under your text entry field), is NOT checked.

ahh.... :oops:

[SDsalsaguy]

ahh.... :oops:

...it's all good! :lol:

[KevinL]

I've found the floorcraft in CT (where I've been anyway) to be quite exceptional-- some bumps but nothing major.

Where do you dance in CT? I danced in East Lyme at Shoreline Swing dances back in 98-00.

[SDsalsaguy]

i do make a point of telling a guy later "nice save" if i see one. [...] the trick is practice it on other occasions that so it looks like you meant it the whole time when you really need to do it.
This is actually the type of thing I actively look for when I'm assessing those on the floor. Sure, Hot Shot Flash might know the latest and greatest double-whirly-bird-super-special-half-flip-whoopty-doo move, but can he lead it in traffic and, if not, does he know better than to try and do so? Aside from already knowing that this just isn't the type of person I want to hang out with later on, it also clues me in on who I want to try and stay away from when I'm on the floor.

[NeoDevin]

latest and greatest double-whirly-bird-super-special-half-flip-whoopty-doo move

Now that's one I've gotta learn :D

[MadamSamba]

Jenn, one website describes good floorcraft as "sharing and using space parsimoniously," (http://www.eijkhout.net/lead_follow/floor_use.html) (interesting term) but as a female who follows and, as most of you said, I think it's about making the dance enjoyable and safe.

This is usually accomplished by protecting your partner and making the three minutes pleasant, be it through a routine that's enjoyable to follow or just being exactly what you are, a "partner". ( Ehem...comparisons might be made between good floorcraft and good bedcraft? *he he he*)

But it's not just about protection. The other night I saw a guy elbowed because he whisked his partner around with great finesse ...she was impressed, but his good deed was negated by the fact that he went off his nut and abused the guy who'd slammed into him, rather than taking it as an honest "bump" made during a quickstep.

It spoiled the dance for the lady, for the couple who accidently bumped into him and my partner and I who were watching, stunned. I didn't realise until I started writing this, but having seen his ill-mannered floorcraft I sub-consciously decided to avoid dancing with him.

Similarly, doing a flashy routine that shows of your own skills isn't a sign of good floorcraft. Plenty of leads grab a gal and do whiz-bang moves that highlight their own skills as a dancer, rather than that of the couple.

I know it does matter, but it shouldn't: good floorcraft is good floorcraft, whatever the reason you're dancing, be it for a comp or social dancing.

[tsb]

This is actually the type of thing I actively look for when I'm assessing those on the floor. Sure, Hot Shot Flash might know the latest and greatest double-whirly-bird-super-special-half-flip-whoopty-doo move, but can he lead it in traffic and, if not, does he know better than to try and do so? Aside from already knowing that this just isn't the type of person I want to hang out with later on, it also clues me in on who I want to try and stay away from when I'm on the floor.

that goes more into what constitutes a good lead IMO. but i agree that i'm not likely to think much who acts like that on the floor, nor recommend that type of guy to my female friends as someone to dance with.

[tsb]

I know it does matter, but it shouldn't: good floorcraft is good floorcraft, whatever the reason you're dancing, be it for a comp or social dancing.

this article suggests some differences in the two:

http://home.pacifier.com/~usabda/dancetips.html

[pygmalion]

Those are some great articles, tsb. I'm going to print them out to study; I think the author did a good job of pointing out differences and similarities between social and competition floorcraft. Thanks.