The Partnership

[Julius Zhou]

1. The Importance of Partnership

The partnership of the Modern Dance discussed here is more about the lady’s side. A high-level man dancer is already a good leader if his body is stretched, his movement is powerful, his actions are standardized, and if he has a good sense of rhythm. What does he need to do for the rest are just the hold and his reaction to lady’s following. A high-level lady dancer must be very sensitive to all the details of man’s dancing in the entire dance process in addition to having all the above advantages of a high-level man dancer. The lady must always dance in the exact same way as her male partner regarding moving direction, action timing, step size, rhythm, body shape, speed change and change of power strength in addition to maintaining good body connection with the man. Any inconsistency with her partner in these aspects will more or less affect the performance of her partner's dancing. A man with ten marks of dance skills will only get nine marks of performance if his female partner only has nine marks of her following. So it can be said that the quality of lady's following determines to the greatest extent the performance of man’s dancing. One can imagine how important it is for the lady to follow the man.

It seems that there are more requirements for ladies than men in the Modern Dance, but it does not mean that it is more difficult for ladies to learn the Modern Dance than men. In the Modern Dance, men are the dominant side, so men often have higher requirements in all aspects of dancing techniques. Among them, the technique of partnership is relatively easy, especially for high-level dancers. Regarding partnership, although the requirements for ladies appear to be more than those of men, the skills of partnership for men are in fact more difficult to master than those of ladies. In addition to leading the lady very clearly, the man must also react to lady’s following. If the lady is not a good follower or fails to follow well sometimes, the man needs to not only try his best to dance as well as possible, but also try any possible way to help the lady to follow himself better. From this point of view, the man is not only a leader but a follower as well.

（to be continued）

 

[opendoor]

Hi Julius, you have posted this in the ballroom section of DF. I am not a "ballroomer", as I was concerned with Argentine tango in the most important period of my dance life. But as I use a wide concept of "ballroom" (not only std, lat, rhy, sm, form, sequ..), and as I got my first dance education in a ballroom dance school which was bound by associations, I think I should share my response:

..high-level man dancer is already a good leader if his body is stretched, his movement is powerful, his actions are standardized, and if he has a good sense of rhythm.."

Why don't you add that the high-level dancer should also be taught in basic leading-following-technique? Why don't you add that also psychological features are required. My mantra still is, that any follower can follow as long as the lead considers the basic rules of weight change and projecting. But additionally, the leader should also be decided. On a crowded dance floor (social dancing) or in a sticky situation near the judge's board (competition) one thing simply is essential: floor craft. And floor craft means an intuitive connection of leading technique and decidedness.

..A man with ten marks of dance skills will only get nine marks of performance if his female partner only has nine marks of her following..

The reason why I would contradict this statement simply is: the leader has to lead, and the follow's part only is to be open for leading impulses. Following does not work as long as she is involved in anticipating, reproducing, or foreseeing.

 

[Greybeard]

A man with ten marks of dance skills will only get nine marks of performance if his female partner only has nine marks of her following.

It is equally true to say "a woman with ten marks of dance skill will only get nine marks of performance if her male partner has only nine marks of his leading."

Actually, the whole post works pretty well swapping all references to leader with follower.

 

[IndyLady]

You guys are way more charitable than I am.

This reads like just another long-winded "evil women are the downfall of otherwise good men". Adam and Eve re-writ.

 

[Julius Zhou]

Hi Julius, you have posted this in the ballroom section of DF. I am not a "ballroomer", as I was concerned with Argentine tango in the most important period of my dance life. But as I use a wide concept of "ballroom" (not only std, lat, rhy, sm, form, sequ..), and as I got my first dance education in a ballroom dance school which was bound by associations, I think I should share my response:

Why don't you add that the high-level dancer should also be taught in basic leading-following-technique? Why don't you add that also psychological features are required. My mantra still is, that any follower can follow as long as the lead considers the basic rules of weight change and projecting. But additionally, the leader should also be decided. On a crowded dance floor (social dancing) or in a sticky situation near the judge's board (competition) one thing simply is essential: floor craft. And floor craft means an intuitive connection of leading technique and decidedness.

The reason why I would contradict this statement simply is: the leader has to lead, and the follow's part only is to be open for leading impulses. Following does not work as long as she is involved in anticipating, reproducing, or foreseeing.

Hi, first of all, thank you for your response.

1. It is true that many dancers need to be taught in basic leading-following-technique when necessary, but at high levels, the leading-following-technique is very subtle, so high-level dancers need master it more through dancing, feeling and thinking than through to be taught.
2. Weight change is normally not an issue for the high-level dancers and bad weight change will unlikely happen if a dancer can dance powerfully.
3. The floor craft will be discussed in another title.
4. The detailed technique of partnership will be discussed in the second part of the title.

 

[Julius Zhou]

It is equally true to say "a woman with ten marks of dance skill will only get nine marks of performance if her male partner has only nine marks of his leading."

Actually, the whole post works pretty well swapping all references to leader with follower.

"It is equally true to say ……“ It should be much more of that.

I think that if a man is a beginner dancing with a lady who is a high level dancer, then the lady will dance like a beginner too regarding movement, rhythm etc. unless she dances as a leader, although she will still have very good posture, footwork etc.

As the beginning of the title, I mentioned that the topic of partnership will be discussed more about the lady’s side.

 

[opendoor]

..first of all, thank you for your response..

You don't have to say "thank you", you better should accept my criticism! Your answer was not quite appropriate or detailed. I doubt you are even competent to write about these things, are you?

 

[ProgressNotPerfection]

3. The floor craft will be discussed in another title.
4. The detailed technique of partnership will be discussed in the second part of the title.

So that readers may assess the value of your posts and decide whether to read more, it would be helpful if you would provide some information about your dance background. For example, are you a teacher, student, professional, amateur; what style(s) of dance have you studied and over what period of time; plus any other information you think might be relevant to your credibility.

A high-level man dancer is already a good leader if <snip> his reaction to lady’s following. <snip> The lady must always dance in the exact same way as her male partner <snip> in addition to maintaining good body connection with the man. <Snip> A man with ten marks of dance skills will only get nine marks of performance if his female partner only has nine marks of her following. So it can be said that the quality of lady's following determines to the greatest extent the performance of man’s dancing. One can imagine how important it is for the lady to follow the man.

This is written from such an old-fashioned, gender-heavy viewpoint it’s difficult for me to read. Men are not the only leaders. Leaders are not only men. Ladies are not the only followers. Followers are not only ladies. Women can lead. Men can follow. A dance partnership can consist of two men, where a man leads and a man follows. A dance partnership can consist of two women, where a woman leads and a woman follows. If you are genuinely interested in posting your thoughts on “The Partnership,” you might reach a wider audience if you avoid the use of gender references. Any skill that is important for a male leader to learn is equally important for a female leader to learn. Any skill that is important for a female follower to learn is equally important for a male follower to learn.

Just sayin’.

 

[wahoo_foxtrot]

Define high-level, please. Where is the cut-off?
You discussed a lot about what high-level dancers can do. Is the important question really "what high-level people can do?". You are kinda asking "What Michael Phelps can do? What Secretariat can do?" Wouldn't a better question be "what is the path to be a better dancer"?

Segue: I also do not appreciate what you say about powerfulness. The top pros that win most comps or become runner-up in most NCDA events I observe appear to be the most effortless couple(s) on the floor. They also teach how to find ways to save energy or redirect energy. In addition to being extremely effortless, they are also the most artistic couples.

 

[Cal]

So that readers may assess the value of your posts and decide whether to read more, it would be helpful if you would provide some information about your dance background. For example, are you a teacher, student, professional, amateur; what style(s) of dance have you studied and over what period of time; plus any other information you think might be relevant to your credibility.


This is written from such an old-fashioned, gender-heavy viewpoint it’s difficult for me to read. Men are not the only leaders. Leaders are not only men. Ladies are not the only followers. Followers are not only ladies. Women can lead. Men can follow. A dance partnership can consist of two men, where a man leads and a man follows. A dance partnership can consist of two women, where a woman leads and a woman follows. If you are genuinely interested in posting your thoughts on “The Partnership,” you might reach a wider audience if you avoid the use of gender references. Any skill that is important for a male leader to learn is equally important for a female leader to learn. Any skill that is important for a female follower to learn is equally important for a male follower to learn.

Just sayin’.

Took the words right out of my mouth!

 

[Julius Zhou]

Define high-level, please. Where is the cut-off?
You discussed a lot about what high-level dancers can do. Is the important question really "what high-level people can do?". You are kinda asking "What Michael Phelps can do? What Secretariat can do?" Wouldn't a better question be "what is the path to be a better dancer"?

Segue: I also do not appreciate what you say about powerfulness. The top pros that win most comps or become runner-up in most NCDA events I observe appear to be the most effortless couple(s) on the floor. They also teach how to find ways to save energy or redirect energy. In addition to being extremely effortless, they are also the most artistic couples.

“appear to be the most effortless” does not mean dance effortlessly at all. For example, if you try to dance Waltz very smoothly, you have to try to best use of your body energy.

 

[Warren J. Dew]

So that readers may assess the value of your posts and decide whether to read more, it would be helpful if you would provide some information about your dance background. For example, are you a teacher, student, professional, amateur; what style(s) of dance have you studied and over what period of time; plus any other information you think might be relevant to your credibility.

Personally, he'd get a lot more credibility with me if he wrote in a more reasoned way, supporting his assertions. The way they are currently expressed, the assertions are either obvious, or they lack any credibility at all, regardless of his credentials.

 

[Julius Zhou]

2. The Techniques of Partnership

a. The Three Types of Power

In the Modern Dance, three types of power must be used: first, moving power; second, stretch power; third, muscle power (muscle tone). The first is the most important power, which the dancer use to move the body forward, backward or to side. The second is the power used to stretch the body and its main purpose is to make the soft part of the body (mainly refers to the belly and waist) solid, so as that the power (mainly for the movement) can act effectively throughout the whole body. The third type is the power that makes the dancer's muscles stronger. Among these three types of power, except for the second type, which always remains unchanged, the first type and the third type always keep changing, and the third type always increases or decreases with the increase or decrease of the first type. The first and third types always maintain the same degree of power with each other.

b. The Muscle Tone

When partners hold each other but have not yet begun to dance, both should maintain the same degree of the minimal muscle tone. As soon as dancing has begun, their muscle tone must increase correspondingly with the increase of the step size and moving speed otherwise it will not only greatly affect their step size and moving speed, but also greatly affect their shape and body lines. Of course, the over increase of muscle tone is also not good and it will make the dancer's body stiff. The stiffness of the dancer's body is caused by the fact that the increase of the muscle tone exceeds the need of the increase of the step size and moving speed. Therefore, the muscle tone must be absolutely consistent with the moving power all the time.

Then, when the dancer moves with the biggest steps or at the fastest speed, what muscle tone should he maintain? Sorry, I cannot answer this question because it cannot be quantified. And it is also because different dancers have different capabilities. The higher the dancer’s level, the stronger the moving power and the faster the moving speed will be, so their muscle tone is correspondingly stronger. Although the muscle tone during dancing cannot be quantified, dancers can feel it. The only thing to remember is that the body cannot have the slightest stiffness or softness to affect movement to a certain extent. The body must always be stretched to same extent, and the strength of muscle tone always keeps changing.

What can be quantified is the muscle tone when partners hold each other but have not yet begun to dance. What muscle tone is that? Facing a wall, stretch your right or left arm so that your fingertips are about an inch away from the wall; then let your body fall to the wall and spring back to stand straight again. If you succeed, it means that you muscle tone is just right; if your body falls to the wall, it means that your muscle tone is less than needed; and if your body falls back, it means that your muscle tone is stronger than needed.

(c. The Hold - to be continued)

 

[ProgressNotPerfection]

2. The Techniques of Partnership

a. The Three Types of Power

In the Modern Dance, three types of power must be used: first, moving power; second, stretch power; third, muscle power (muscle tone). The first is the most important power, which the dancer use to move the body forward, backward or to side. The second is the power used to stretch the body and its main purpose is to make the soft part of the body (mainly refers to the belly and waist) solid, so as that the power (mainly for the movement) can act effectively throughout the whole body. The third type is the power that makes the dancer's muscles stronger. Among these three types of power, except for the second type, which always remains unchanged, the first type and the third type always keep changing, and the third type always increases or decreases with the increase or decrease of the first type. The first and third types always maintain the same degree of power with each other.

b. The Muscle Tone

When partners hold each other but have not yet begun to dance, both should maintain the same degree of the minimal muscle tone. As soon as dancing has begun, their muscle tone must increase correspondingly with the increase of the step size and moving speed otherwise it will not only greatly affect their step size and moving speed, but also greatly affect their shape and body lines. Of course, the over increase of muscle tone is also not good and it will make the dancer's body stiff. The stiffness of the dancer's body is caused by the fact that the increase of the muscle tone exceeds the need of the increase of the step size and moving speed. Therefore, the muscle tone must be absolutely consistent with the moving power all the time.

Then, when the dancer moves with the biggest steps or at the fastest speed, what muscle tone should he maintain? Sorry, I cannot answer this question because it cannot be quantified. And it is also because different dancers have different capabilities. The higher the dancer’s level, the stronger the moving power and the faster the moving speed will be, so their muscle tone is correspondingly stronger. Although the muscle tone during dancing cannot be quantified, dancers can feel it. The only thing to remember is that the body cannot have the slightest stiffness or softness to affect movement to a certain extent. The body must always be stretched to same extent, and the strength of muscle tone always keeps changing.

What can be quantified is the muscle tone when partners hold each other but have not yet begun to dance. What muscle tone is that? Facing a wall, stretch your right or left arm so that your fingertips are about an inch away from the wall; then let your body fall to the wall and spring back to stand straight again. If you succeed, it means that you muscle tone is just right; if your body falls to the wall, it means that your muscle tone is less than needed; and if your body falls back, it means that your muscle tone is stronger than needed.

(c. The Hold - to be continued)

What is your dance background? Are you a teacher, student, both, neither? Are you a professional, amateur, both, neither? What style(s) of dance have you studied and over what period of time? What is your purpose in writing these posts?

The way they are currently expressed, the assertions are either obvious, or they lack any credibility at all, regardless of his credentials.

Amen.

 

[opendoor]

Hi Julius, I find it could be useful to link these three types not only to linear movements, but also to circular (swivels, pivots) ones. My students found the concepts of the moving, standing, and shared axis quite helpful.