Continue from: Leading and following with no effort………………….
Leading/following implies a one way connection (man to lady) but in really good dancing both partners are putting various different energies into the dancing at different times, and even though the leader is (usually) in control of things like floor direction, timing, and choreography, his awareness of the actions of his partner (how far did she go…is she finished with her line yet…is her weight over the foot I’m about to turn her on, etc.) are vital. Women follow, but men must lead _and_ follow; i.e., men must watch to see what the women are doing and compensate. The leader, who is in creative control, needs pattern-based thinking, with frames of reference that can include the whole dance floor, the space occupied by the couple, the spatial relationships between the two dancers, and the patterns of connection between the two. It seems that followers are mainly concerned with the last frame of reference, i.e., they react to the patterns of connection. Following is more fun than leading, because you (a) have much less responsibility for navigating and (b) don’t know what’s going to be lead next, so each dance is something of a “magical mystery tour”. I think the best part about being a follower is being led in patterns or syncopations that I don’t know! When led well, good followers execute moves that are totally unexpected or unpredictable but incredibly fun.
Wearing the clothing to the part you are dancing makes the dancing that much more exciting. Red high heeled ballroom dance shoes look great while dancing a Tango.
Some leaders complain about how boring it gets to only do the same repertoire over and over all night long. They say followers have more fun because they’re doing different dances all night. But another leader writes: “A good leader never dances the same way with every person. The way you do the same dance changes from one partner to the next. Were you to see me dancing with a beginner, it would be difficult for you to tell that I’m other than a good beginner. Were you to see me dancing with one of the Champions (with whom I’m comfortable) you would see something quite different. Were you to see me dancing with someone I know well and with whom I’ve been dancing for years, you’d see something different.” In addition that learning the figures in the first place can be as analytical for the follower as it is for the leader, though the habitual execution of them might not be. Also, there is an added dimension for the follower, which is that you must have in your head the *entire* menu of movement possibilities at every point, not just the one you’re going to use. Since you don’t know what the guy is going to lead, you have to be ready to do *everything* and very rapidly react to the situations and signals you get to eliminate the things you’re not being asked to do. This is a skill that relies as much on spatial or “pattern-based” thinking as floorcraft, albeit in a less linear way. Note that the lady does not “lead” when she is stepping forward. The lady does not change the direction of a step unless a collision is imminent (and not always then), and the gentleman is then responsible for getting out of whatever position she got them in to if she does take control for a moment. Rather than saying that the lady ‘leads’ when going forward, it might be better to say the gentleman ‘follows’ when going back. The man always initiates direction of movement, but the person moving forward dictates the size of the step. They always step on the floor before the person going backward, therefore leading the way. And, while the ‘lead’ that determines the length of the stride is different from the ‘lead’ that determines what figure to do, the ‘follow’ associated with each of these is the same. For an example that lasts longer than a half bar of pivots or a bar of Viennese waltz, try continuous waves in Foxtrot. The lady can be going forward indefinitely in this figure, and she determines the distance traveled. However, she should not decide when to end the figure and go into, say, an impetus turn, just as in Viennese waltz she should not decide to start a flecker instead of a reverse turn.
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