How odd. I *always* sing in my head when I dance and humm the tune if I know/suspect that the leader doesn't mind. I stop singing in my head when I am NOT enjoying the dance.
Hope you don't mind me saying so but I find this extremely . . . odd!
This is the most connected partner dance of all yet as a follower you
are choosing which part of a multi-layered tune to individually and
separately concentrate on. Surely you should be "listening" (silently!)
to your partner and the tune.
In my experience people who sing in my ear are not connected with me
and by such singing are overriding my interpretation of the music. In jive
such intrusion to connection is sometimes called "noise" even when it's
silent (bouncing arms for instance), your singing is noisy "noise"!
So please don't sing in my ear but concentrate on working out what
part of the tune your partner is dancing to, if he's musical it will keep
changing during the dance and you'll be kept plenty occupied.
Interesting that Joaquin Amenabar believes that singing while dancing is a crucial tool in teaching people to dance musically
I have no experience of him but singing while dancing isn't crucial at all -
it's off-putting - but
listening when dancing
is crucial.
However, whatever it takes to develop connection with the music is fine.
I'm never sure that an academic approach is appropriate nor musicality
being taught by musicians who have an analytical and technical perception
that dancers dancing in the moment don't need.
Lots of listening away from the dance floor is key for me.
It's an alien music to most of us when we first hear it, when argentines
started dancing they already were familiar with it and presumably those
who started dancing were
moved to dance by the music. In other words
they had dance and musical connection within them.
So first you have to find your way of connecting to the music and then
when and if the music moves you to move, move on your own.
To move with a partner, first you have to be able to move yourself.