Connection in Latin

[Dance4Ever]

I've been wondering about the dynamics of connection in the arms for a while. A good example of this is the basic Rumba walks. When the man leads a change of direction (let's say a forward check), there should be a distinct tone/pressure in the arms which transmit the change of direction of his center. In effect, the connection becomes a "pull connection". My question is does this connection remain (perhaps reduced) after the direction is changed and regular rumba walks are resumed? Or is there no connection (ie no push or pull) at all? Some people argue that there should be no pressure/connection at all during until there is another change of direction but how can your partner feel the movement of your center effectively if there is no connection in the arms at all?

 

[fenixx]

I will say it depends on your level. If you are a beginner dancer, your arms aren't even properly connected to your back, so trying to use them to connect with your partner is useless - thus dont be limp, but dont try to "push" or "pull" at all; just be there. As you improve and you connect your arms to your body and your you can channel your movement from your center, then you will connect your body to hers via the point of contact you have at that time, ie the arm. Her arm should be almost totally extended and yours should be flexible. If you are truely connected, then you will not need to push or pull, simply properly change your weight and the "connection" will give her the proper signal. By being connected, you will feel her weight, which will tell you where she is and allow you to decide when to move, etc.

 

[Anna]

I've been taught that in rumba walks (with a one-handed connection), the connection is supposed to alternate at each step between the insides of the fingers, and the back of the fingers of one person to the palm of the other. That does make a sort of push and pull feeling, but I think it's a consequence of proper weight transfer and body position, not something that makes sense to force (since it would probably make your arm tense rather than toned). The idea is that you're loosely hooked together, not grabbing each other's hands, so that you can feel small changes in your partner through his/her hand.

 

[Nik]

On the (and) count between the 2 and 3 my lead goes down to set the ladys hip on her heel so she can work it, then when I move my leg back for the 3 i take my hand with me and catch the lady.

Nothing should ever push or pull but if you know just to refer to that as the direction of your hips and arm together then it would be: 4-1-2 push, and down, 3 pull, and the 4 coming back is resist so your lady does not enter your space, then you do lead her back, so continue pull but not actually pull her.

 

[Dance4Ever]

I will say it depends on your level. If you are a beginner dancer, your arms aren't even properly connected to your back, so trying to use them to connect with your partner is useless - thus dont be limp, but dont try to "push" or "pull" at all; just be there.

ITA. I've learnt that if the back muscles are correctly utilized, it actually increases the pull connection in the arms and makes it easier for the guy to reverse the lady.

Her arm should be almost totally extended and yours should be flexible.

I am assuming this is mainly true during the forward check on the "&" after "2". But after the change of direction, the arms return to neutral position in which the forearm is parallel to the floor and the upper arm is approximately vertical. There is also a constant tone in the arm so that the weight changes of the man and lady are clearly communicated. Please correct me if this is inaccurate.

 

[Dance4Ever]

On the (and) count between the 2 and 3 my lead goes down to set the ladys hip on her heel so she can work it,

Please could you explain what you mean by your "lead goes down"? I thought the forearm remains more or less parallel to the floor. Or do you mean the lead is similar to that used to close the lady's feet in the entry into the hockey stick?