This blog deals with techniques that can be used by students of partner dance (Swing, Latin, Ballroom etc.) to improve their speed of learning. It's all about being a better student, and learning faster.
For the past month or two I have been dancing a lot socially with as many follows (mostly women) as I can. I have been taking note of those I enjoyed dancing with and then asking them about how they dance and how they practice. This was all in an attempt to find out what makes for a good follow.
There were common things that came up that you are probably aware of already:
Feeling the lead as opposed to trying to predict what it will/should be
Not worrying if you get it wrong
Using all the senses to feel the lead
Knowing numerous figures so that the different leads were familiar
Moving yourself as opposed to being expected to be pushed
However, within the context of more advanced dancing – where both lead and follow are experienced – there was one extra attribute that really separated the excellent follows from the good follows.
Musicality!
When dancing at a higher level a couple will change the nuances of their dance to reflect the music. I can vouch from personal experience that a follow who picks up on the way they lead is expressing the musicality, and then do the same or even better add to it, is pretty much the best follow you can dance with.
If you feel that your ability to follow has plateaued then it might very well be that you’re ready for the next step – following musicality. Next time you are dancing with a lead that you notice has strong musicality, then try picking up on their expression and then adding to it. You will find the experience much more enjoyable.
If you need to, then there are plenty of techniques that you can use to improve your musicality. Learn more about improving your musicality via the following:
There are many different attributes from dancer to dancer. Some like to dance for fun, some like to dance for competition, some will dance with anyone, some are shy, some will only go group lessons and some will only do private lessons. All these attributes vary regardless of how good the dancer is. However, there is an attribute that is common to all the good dancers and the opposite is common to all the poor dancers.
Make sure you have this right attribute and one way or another (no promises on how fast) you will be one of the better dancers.
For the past few years, as you will know if you are a regular reader, I have been researching methods that can be used to make you a better student of dance, and thus a better dancer. To do this, I have also paid attention to those dancers who improve quickly and those who have not improved considerably no matter how long they have been dancing for. I would talk to people about the amount of practice they engaged in, how often they had classes, if they danced socially, if they took lessons elsewhere. The idea was to look for what was common to the better dancers, then codify it and share it with you – after testing it myself.
While I got a few good pointers from people there was very little that was consistent.
The only thing that was consistent was none of the following:
Lesson per week
Practice time between lessons
Confidence
Happiness
Sociability
Intelligence
Fitness
Age
Some of these things helped, but they were not consistent amongst all good dancers. The only thing that was consistent was an attitude toward improvement.
Good dancers want to be good dancers and take some action to be better.
Poor dancers on the other hand were inclined to:
Talk themselves down and identify as a poor dancer
Stick to slower dances that were less challenging
Not invest in proper dance wear (especially shoes)
Listen to others talk about how they improved, but not show any intention of trying it
Assume their talent was dictated by genes
Shy away from confronting their weaknesses
If you tend to do any of the above, then there is a good chance that you will be one of those people who remain at the level of dance that they basically started at.
On the other hand, if you decide that you will confront each obstacle that is between you and being a better dancer, then you will be one of those better dancers.
If you need to work on this better attitude then try the following:
If you have trouble with faster dancers, then don’t say ‘I need to focus on the slow dances’. Instead say ‘I need to work on my speed.’
Buy proper dance wear so that you feel like a dancer. If you show up to lessons or competitions in regular clothes, then you are sending a message to yourself that you do not take improvement seriously. No need to go overboard here, just enough to make you feel like you take it seriously.
When you are at a social dance event don’t decide to not dance with others because you are not good enough. Decide to dance with others to make your dance better.
Don’t avoid a competition because you feel you are not ready for it. Set the date and work towards it.
The common theme to the above is that you take a more positive attitude toward improvement and you identify yourself as someone who is becoming a better dancer. This is just a few ideas, but it should now help you reflect upon things you do that reinforce a complacent attitude toward improvement and how you can change these things to develop a better attitude.
The good news out of this is that it is in your control. If you want to know more about how you can take control and be better at dance, then take a look at the text to the right. If you want to know more about simply being better at anything, then check out the book via the link below.
This post is inspired by an experience I had when learning Viennese Waltz. For those who do not know the Viennese Waltz, or Waltz as the Germans call it, it is actually a very repetitive dance. Take a look at the video below to see what I mean.
You can do a few extra figures to liven it up a bit, but on the whole you are usually doing the basic figure in one of two directions. This means that you mind can start to wander. It certainly means that for me. I need to then find something to concentrate on. At first this felt like effort; however, it opened something up to me that I had not yet experienced.
I felt the music much more deeply.
The music was all that I really had. If I did not anchor on the music, then I would lose focus, and something would go wrong. This is not to say that the Viennese waltz is an easy dance. Take a look at the video below and notice how much time the presenters spend explain how to do the basic right. It has a lot of subtle nuances. This is another characteristic of the Viennese waltz: subtlety.
However, for this post I am focusing on my experience with music and what this could mean for you if you want to gain an extra insight into your dance experience.
So you already know from the above that I was learning Viennese waltz and after a while my mind wondered. Basically, I was bored! I was doing the same thing over and over – perhaps some pointers from the teacher and I would have had more to focus on, but I was also meant to be solidifying what I had learned before progressing. Thus I was in a way stuck, but I needed to make this a bit better.
That’s what made me decide to focus on the music. If you have read about musical appreciation, either by me or elsewhere, then you know that an aspect is letting the music induce emotions in you and then feeling those. That’s what I did while I danced and I let the feelings influence my dance.
The feedback from my teacher was positive. My mind was more engaged, and I danced better. However, for me it was even better. It was good to know that I was dancing better, but now that I was focusing on the music so much (the repetitive dance allowed that) I was able to let go more and have my body guided by the music. It was a bit existential in fact, and I started to understand why some people talk about the hypnotic state dance causes in them. I was no longer trying to dance or trying to focus. I had entered a new state of consciousness where I was relaxed and calm, but still able to move in a manner required for dance.
The best thing was that once this was opened to me, I could take it to other dances (which have a greater suite of skills) and get more from them. In fact, I could get more from them without feeling the need to do a large number of figures. Instead, I could connect with the music more and change the style to express the music.
What does this mean for you?
If you would like to work on your ability to feel the music, express the music or you just want to get more from the experience of dance (at least one of these would be useful regardless of your interest in any of dance sport, exhibition or social dance) then you could simply do some Viennese Waltz. You could also choose the dance you want to get better at and do only the basic. This will get boring, once it does, try focusing on the music and get into it (almost lost in it). You will start to notice a transition in the way you feel and the way you dance.
The above assumes two things:
You are competent in the basic
You have a partner who will do this with you (you can do it alone, but that might not be as enjoyable for you and having a partner will help you ensure proper posture and such while you do this)
Give it ago and see how it changes your dance experience.