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Articles of Interest » Great Partnering - Part 2

Great Partnering - Part 2

Richard Powers (Stanford University)
Date Published:
June 23, 2013
*Great Partnering - part 2
Richard Powers - Stanford University
Knowing many dance steps and figures is fun, but the true art of social dancing, and its greatest pleasures, lie in great partnering. The nonverbal lead-follow connection between partners is the essence of social dancing. And the best dance partnering is not only a matter of skill, but also of attitude.
In writing about "leading" and "following," I first want to clarify that I'm not especially fond of the term "following." Yes, I often use the term, but it's a bit problematic for two reasons.
Reason #1: The Dark Ages of Ballroom Dance
The less important reason is that for many people, the term "following" still carries a negative connotation left over from the early 20th century.
The original ballroom emphasis toward partnering was best, as reflected in these quotes from the 19th century:
Recollect that the desire of imparting pleasure, especially to the ladies, is one of the essential qualifications of a gentleman. The truly polite man is always mindful of the comfort of those around him. — Prof. D. L. Carpenter, Philadelphia, 1854
True, genuine politeness has its foundation deeper than in the mere conformation to certain rules, for it is the spontaneous and natural effect of an intelligent mind and kindly heart which overlooks annoyances in consideration for the happiness of others. — Edward Ferrero, NY, 1859
Unfortunately, the 1920s through 1950s saw the emergence of a particularly disagreeable phase of ballroom dance, when the term lead meant "command" and follow meant "obey".
Soon after American women won the right to vote, many dance manuals changed their tone, proposing that the man was still the "boss" on the dance floor, while the "weaker sex" had to "submit entirely" to the man. Advice for women was that, "she must not have a mind of her own," and that "you don't have much to say in the matter at all."
You might be amused to read these quotations, which are here: Partnering Before and After the Vote.
But that was a long time ago — the "dark ages" of ballroom dance. Fortunately we've become much more enlightened since then, as friendliness and respect have returned to the dance floor.
Reason #2: It Isn't Accurate
The main reason I don't care for the term "following" is that it doesn't accurately describe the role.
Women do not "follow." They interpret signals they're given, with a keen responsiveness that is not at all passive.
As with a language interpreter at the United Nations, a dancer's ability to interpret signals benefits from intelligence and experience. Leads, if you want to make a good impression on your partner, show her that you respect this intelligence and experience. How? If she does something that you didn't intend, recognize that she still made a valid alternate interpretation of the signals you gave her. She didn't make a "mistake".
No, don't just recognize it. Show her that you know she didn't make a mistake, by flowing along with her during her valid alternate interpretation. She's dancing — try to keep up with her.
Unlike language translating, interpreting a dance lead can also include the woman leaving her own stamp of individuality, adding flourishes and flair which her partner admires. Sometimes, she can even invent her own footwork variations that harmonize with her partner's footwork.
Friendly but clear:
Leads, I probably don't need to state the obvious, but you must give her a clear lead to interpret. Just as a language interpreter can't translate mumbling, she can't interpret a mumbled lead. And forceful leading is no more helpful than is the shouting of unintelligible mumbling. Israel Heaton of Brigham Young University wrote, "When a girl does not react readily to her partner's lead, he should hold her firmer and give a stronger lead." But I disagree.
Clear leading is the physical equivalent of quiet perfect diction, not shouting.
Better yet, great Leads have learned to "speak" in a friendly warm tone with their partnering. Guys, be clear and precise, but also warm and friendly with your leads. And instantly flexible when she comes up with an alternate interpretation of your signals.
Flow state
The Follow role is mentally and physically active, like the flow state in sports.
In sports, we admire the players who zigzag brilliantly across the field, completely aware of their surroundings and responding instantly to each moment, rather than those who slavishly follow a game plan that is no longer working. The nimble, intelligent player is in the flow state of relaxed responsiveness, paying highly active attention to possibilities. The Follow role in social dancing does the same — paying highly active attention to possibilities.
But don't you still use the term follow?
Yes, I don't wish to change the dance world's use of the terms Lead and Follow, and some dancers take the opposite role, so saying men and women doesn't always apply. So I use the terms, but I want to clarify what I mean by following.
And leading?
That has also changed since the dark ages of ballroom dance. The best dancers now know that a part of great leading is following.
I prefer the term tracking — he leads a move, then tracks her movement and stays with her. He is perceptive and responsive to her situation, as he watches where his partner is going, where her feet are, where her momentum is heading, which steps flow smoothly from her current step. He knows and he cares what is comfortable for her, what is pleasurable or fun. He dances for his partner's ability and comfort.
A good lead clearly suggests an option, which is different from controlling her. He proposes, not prescribes, a certain way of moving. If his partner does not go with his proposal (does not 'follow'), he refrains from exerting more power to press her to accept the proposal.
And as with the Follow role, the aware Lead also enjoys the flow state of relaxed responsiveness. Both roles benefit by paying highly active attention to possibilities. Both remain flexible, constantly adapting to their partner.
The flow state in sports has often been described as ecstatic. Social dancers often describe their flow state the same way.
As we dance, we constantly discover new opportunities , which open doors to possibilities, as opposed to rules and restrictions that close doors. We generously adjust our own dancing to be compatible with our various dance partners, rather than insisting that they conform to us. We enjoy the individuality of our dance partners, and we continually modify our dancing to maximize their comfort and pleasure. Doing so then doubles our own enjoyment of social dancing.
Then once we discover the benefits of this awareness on the dance floor, we find that it applies to our other activities and relationships as well.