Look no hands -- developing body leads

[pygmalion]

One of my former teachers told me once of the training seminars he'd attended where, by way off learning body leads, all the teachers, lead and follow, were required to dance with no hands, in body contact. This was supposed to devlop their ability to lead with the body, not the arms. Thoughts on this, anybone? Have you ever used this technique? Good idea? Bad idea? Or are there other techniques you use to develop body leads?

[etchuck]

I think it depends on the dance. Our west coast swing class did that fairly recently to emphasize that one goes into compression with body weight rather than with arms. At least to that point it works really well.

If you want a visual image of this, the women put their hands on the men's chests going into the sugarpush basic; the men keep their hands away from contact with the women. No, the men don't reciprocate in this exercise... 8) :wink: :roll:

So I guess if you have dances where you must learn compression (salsa, ECS, WCS), it's an interesting concept.

[twnkltoz]

I think that's a great idea. I've done that exercise before and it's very effective. With my beginners, I have them get a two-handed, palm-to-palm hold with a partner (like playing patty cake), about shoulder level or so of the shorter person. Then I have the leaders walk forward, backward, and side to side, concentrating on using their body to steer their partner rather than pushing or pulling with the hands. Then I have the man put their right hand on their partner's shoulder blade, like they would be in dance position, without any other hands touching (his or hers), and repeat. This helps them to understand the role of the frame and the body in leading and following.

[Vince A]

I think that's a great idea. I've done that exercise before and it's very effective. With my beginners, I have them get a two-handed, palm-to-palm hold with a partner (like playing patty cake), about shoulder level or so of the shorter person. Then I have the leaders walk forward, backward, and side to side, concentrating on using their body to steer their partner rather than pushing or pulling with the hands. Then I have the man put their right hand on their partner's shoulder blade, like they would be in dance position, without any other hands touching (his or hers), and repeat. This helps them to understand the role of the frame and the body in leading and following.
I do have my students do a very similar exercise, but am experiencing trouble getting through to the followers on their part.

Question: If they are hand-to-hand, and are going from dide-to side, let's say, going to the his right, and the guy leads with his rib cage to go right (hands stay still, his rib cage slightly rotates (clockwise) to the right) . . . correct??? The problem is that the followers always tend to rotate their
ribcages to the left, as in a lead. Is this correct? You'd think, that if they are followers, the followers ribcage should go right, as if flollowing.

Does this make sense . . . or am I going to far with this exercise???

[borikensalsero]

Sorry to butt into the world of ballroom but I LOVE doing this in Salsa. I'm sorry here I go again with the salsa thing...

I find it amazing to be able to do what I wish without the hands... CBL, make the girl spin left or right without the use of the arms. Ahhhh, its amazing, it's like the mating ritual of snakes minus the bodily touches. Ahhhhhhhhhh, I wanna dance.

When the ladies don't get that I want them to spin, I start the lead with the body then use my head and eyes to signal her to go. Ahhh, now we are talking....

[twnkltoz]

I do have my students do a very similar exercise, but am experiencing trouble getting through to the followers on their part.

Question: If they are hand-to-hand, and are going from dide-to side, let's say, going to the his right, and the guy leads with his rib cage to go right (hands stay still, his rib cage slightly rotates (clockwise) to the right) . . . correct??? The problem is that the followers always tend to rotate their
ribcages to the left, as in a lead. Is this correct? You'd think, that if they are followers, the followers ribcage should go right, as if flollowing.

Does this make sense . . . or am I going to far with this exercise???

Hm, I'm not sure I'm following you. If he's just moving side to side, shouldn't the hands be going with him? In which case, she should feel that.

[Vince A]

I thought it was a mouthful even when I read it back to myself!

Yes, he is going from side-to-side (his right in this example), and yes, the hands are going with him, and . . . yes, she will feel this. But, if it is fully a body lead, is his trunk (not shoulders) rotating somewhat CW (as looking down on top of him)? And my question was, if his trunk is slightly rotating CW, is her trunk rotating CW or CCW???

Sorry, Jennifer, it's the best I can do to explain what I get from the students who had trouble with this - as simple as it is.

[dancin_feet]

Yes! This helped me enormously with closed dance position in smooth. No hands, just take the leads from the body movement. And the lead stops from time to time to see if you are anticipating!!

Learnt a lot from this exercise - would definitely make it a compulsory exercise for private smooth classes.

[twnkltoz]

I thought it was a mouthful even when I read it back to myself!

Yes, he is going from side-to-side (his right in this example), and yes, the hands are going with him, and . . . yes, she will feel this. But, if it is fully a body lead, is his trunk (not shoulders) rotating somewhat CW (as looking down on top of him)? And my question was, if his trunk is slightly rotating CW, is her trunk rotating CW or CCW???

Sorry, Jennifer, it's the best I can do to explain what I get from the students who had trouble with this - as simple as it is.

Hm, I don't make it that complicated when I do it. Because they're beginners, they're just moving straight forward, back, side, etc. I don't have them worry about rotating or anything like that.

[Vince A]

I missed your reply . . . thanks . . . just what I needed to hear . . .