The Partnership

There are different schools of thought on some of this... some will tell you connection in the hips or thighs is not really connection, but contact, and is more incidental, depending on the amalgamation you're dancing. For others, hips are the core of their connection. Some will tell you hands are the most important points of connection. I've heard a lot of instructors talk about these connections and points of contact. I feel it's actually best to digest where they are coming from, experiment, and then find what works best for any given partnership. For instance a couple with a larger height difference may find different connections work better for them, than a couple that's closer in height. And the build of the dancers can play a role as well.

Also I think the discussion of what's "most important" is somewhat irrelevant... at least to me, and you're right, it is arbitrary. We don't dance with one part of our body, we dance with our whole body. Maybe more relevant is "where to start", and arms and hands are a good place. Dancing socially, some followers will only have contact through the arms, so it's good to know how to lead with those connections. But to be a good, well-rounded dancer, all tools in our arsenal are important to understand.
Yes. In the old time, hips were considered an important connection point, but nowadays it is no longer a connection between partners. Try to lead or follow partners by the hips will actually make movement more difficult. I am just going to talk that issue in my next post.
 
2. The Techniques of Partnership

d. Two Common Mistakes that Must Be Avoided

1. Man’s right hip and lady’s left hip were traditionally seen as a connection point, and even seen as a point that has a leading and following function. But this is incorrect. In fact, man’s right hip and lady’s left hip not only do not have a leading and following function, but their contact should be also very light, or even no contact is necessary as long as there is no visible gap between them. If the man tries to use his right hip to lead his partner or the lady tries to use her left hip to follow her partner, then he or she will not only inappropriately use the hip power that should not be used, but also affect their partner’s dancing to a certain extent. These parts of body of the man and lady actually can be used for verification, verifying whether the couple work together well. If they work together very well, then there will be no visible gap between these parts of body at any time, otherwise there will be often a gap to be seen. Especially when dancing without a routine, if the coupe has different levels or both are inexperienced, then it is better for each of them to try to avoid a contact at these parts of body otherwise the lack of cooperation that cause bumps by their hips will greatly affect each other's dancing.

2. Many dancers likes to hold their frame when doing solo practice. This is actually a bad habit. Such practicing will not only not allow dancers to concentrate fully on the practice, but also make their frame worse. Solo practice is not for practicing the frame and practicing the frame is unnecessary for solo practice, so what is the need to hold the frame? When doing solo practice, if the dancer often pays attention to the frame that he is holding, then he will not be able to focus on what he is practicing; and if the dancer does not care about his frame that he is holding, then the frame that he is holding will inevitably deform itself because it has no support from the frame of a partner. Even if the dancer always pay attention to his frame, it is still difficult to keep the frame always correct because there is no support from a partner. More importantly, the feeling of a frame with or without a support is absolutely different. The former does not have at all the resistance of the latter made by the mutual support of a couple’s frames. Long-term solo practice with a frame will inevitably make the dancer difficult to produce a resistance in the mutual frame when doing partner dancing. Therefore, except for demonstration, never put your arms up when you do solo practice unless you are working on the frame.

(The end)
 
Try to lead or follow partners by the hips will actually make movement more difficult.
This is certainly one school of thought: all upper body, no base. It is not the only school of thought, nor is it more valid or "better" than others.

It seems that you have not yet encountered leading with the hips and experienced the power, precision, nuance, shaping, and stretch, as well as transfer of information back and forth between partners, that results from leading from the base.

Do you dance within the WDSF?
 
I think you get confused with concepts of connection and contact. See what this video said:



and try to google "dance hold connection".
As I said above: this is certainly one school of thought; it is not the only one, nor is it more valid nor "better" than others. You might find it interesting to look at the recent FB posts on different hand holds as taught and practiced by some of the most famous names in Ballroom (Irvine, Hurley, Eggleton, Gleave). They're on the page of BASE, https://www.facebook.com/BASE-BODY-for-Artistic-Standards-of-Excellence-636650823172878
 
Yes. In the old time, hips were considered an important connection point, but nowadays it is no longer a connection between partners. Try to lead or follow partners by the hips will actually make movement more difficult. I am just going to talk that issue in my next post.
Wouldn't this depend on the school or the philosophy?
 
This is certainly one school of thought: all upper body, no base. It is not the only school of thought, nor is it more valid or "better" than others.

It seems that you have not yet encountered leading with the hips and experienced the power, precision, nuance, shaping, and stretch, as well as transfer of information back and forth between partners, that results from leading from the base.

Do you dance within the WDSF?
No hip connection and only hip contact is an improved thought as I have always heard and employed. Hips have no leading or following function. The body should work as a whole piece in the Modern Dance and hips are only a part of the body. So do not try to use your hips individually and they always work together with the whole body. Hips will twist when your body have a spiral shape such as CBM, underturn, overturn, OP, Promenade, but this is not achieved just by a hip action and only by a power throughout the body from the heels to shoulders. Only in this way, I think your body line will not be broken, your movement and action will be more effective, and the base will be very stable and firm.
 
Two Common Mistakes that Must Be Avoided
1. Man’s right hip and lady’s left hip were traditionally seen as a connection point, and even seen as a point that has a leading and following function. But this is incorrect.
<Snip>
2. Many dancers likes to hold their frame when doing solo practice. This is actually a bad habit.
The things described in this post as mistakes are just one person’s opinion of what a mistake is. Opinions differ widely on how to define "mistake." If one has been told by one's teacher, for example, that one's hip should connect to one's partner’s hip, then one should probably not follow advice on an online forum that says otherwise, without first checking with one's own teacher.

As to hip contact, my teacher has emphasized that he does want and expect that contact; although it is my right hip, not my left, that is supposed to connect to his right hip. Interestingly, a quick google search using the terms “american smooth ballroom dance hold closed position hip contact” turns up several results saying that the leader’s right hip should connect to the follower’s right hip (just like my teacher told me). However, I understand that the correct points of contact/connection can be completely different in different dances and different styles. In my case, I choose to follow my teacher’s instructions, because I trust his many years of dancing and teaching experience more than my own google research (and certainly more than any opinions stated in this thread that appear to be unsupported by any evidence).

As to holding one’s frame during solo practice - again, I have been instructed by my teacher that I should do this. The reasoning is that it helps me maintain my balance; it strengthens the muscles in my shoulders and arms and back; and it creates a habit for me of self-supporting my upper body, which ensures that I won’t “hang” on my partner when we dance together. I am certainly still a beginner in the world of ballroom dance (less than 2 years of lessons), but even in such a short period of time, my personal experience is that those reasons have proven to be valid. My frame, and my ability to dance while holding my own frame, have improved tremendously as a result of my solo practice.

When most of us share our experiences and opinions, our posts usually include disclaimers where applicable, such as, "from what I've been told," or "according to what my teacher has told me specifically about XYZ" or "when I personally tried to do it this way, here's what happened." It is jarring to me to read posts that continue to assert opinions as though they are The Only Real Truths, with no acknowledgement that anyone else's experience or opinion might possibly be valid.
 
To lift the ribcage or to stretch the body, one has to use a little of body energy and I consider this as one of three powers a dance has to use during dancing. It is no need to increase this power any time during dancing. The moving power must increase when you move faster, and the muscle tone (third power) will automatically increase too. How to use the moving power or how to best use the body energy is another big topic and it not an issue to discuss in the topic of the partnership.
What you call stretch energy is clearly not power. Muscle tone is also not power. I realize as open door suggested you may have your own unique terminology. But when I read what you wrote it just seems confused.
 
What you call stretch energy is clearly not power. Muscle tone is also not power. I realize as open door suggested you may have your own unique terminology. But when I read what you wrote it just seems confused.
When he says "stretch" he seems to be referring to posture and poise. When he talks about muscle "tone" he's actually referring to antagonist muscle contraction. I'm pretty sure when he talks about "power" he means "force".

I think he could usefully learn what muscle tone really is, since it has a very specific meaning that's relevant in ballroom dance. Misusing terms like "power", "force", and "pressure" is pretty much par for the course in ballroom, though.
 
Warren,
My experience with individual teachers is that there is some misuse of terms, but not quite as extreme as here. Also: I give a lot of slack to misusing terms in informal conversation. I can deal with context. But I find it very confusing when written communications that include chapter and section heading (e.g. 2.3, 2. 4....) misuse terms. But even worse, I find it very confusing if there are three "types" of power, but one type of "power" is a "force", another type is "energy" and yet another type is (who knows what? Pressure? Momentum? Work? Posture? Poise? Torque? )

I'm not going to say what he writes is wrong. I'm not going to say it's right. But I am going to say it's sufficiently confusing that I'm not going to spend any more time reading it and trying to read the "tea leaves" to figure out what the write up is trying to communicate.
 

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