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 some time now I have been noticing the similarities between martial arts and dance. If you have read my free e-book, then you will have heard me talk about this. However, I have not until now shared my observations on how these similarities can be used to help you dance better. In this blog I am going to highlight a few similarities that I have noticed so that you can see what I mean. Then I will talk about how being aware of the similarities can help make you dance better.
The similarities
The first time I noticed a similarity between dance and martial arts was when I was learning the waltz spin turn. It is a bit like a spin back elbow in Muay Thai. Take a look at the video below.
Notice how you step to the side and then turn. When I was thought that move, there was an extra step with the turn to get extra force. Also notice ion the video how much of the instruction juts feels like that in a dance lesson.
Now notice how in the video below of a waltz spin turn that the 2nd and 3rd steps of the turn (at around the 6 second point) have a similarity to the foot work of the spin back below.
The next time I noticed that similarity was when learning the cross body lead in salsa. Take a look at the video below.
It is a lot like the side step used when you need to evade a charging opponent and get at an angle where it is easier to attach them. See the video below and notice the similarity with the foot work. The guy in the red uses a similar side step to evade his opponent. It is effective, but I think the salsa dancer does it more gracefully.
However, it is not all about foot work. Simply leading has a lot of similarities with much of grappling. Take a look at the Krav Maga video below at 4:04. Notice how the person on the receiving end is given such a clear lead that they have no choice, but to move in the desired direction.
This is a very clear lead.
Another similarity was a little less obvious. However, it almost seems that the Latin hips used in the related dances is designed to help with the isolation that a good fighter needs to be able to deliver a powerful blow. Take a look at the video below and notice the way each part of the body moves differently to manage the flow of force.
I notice the similarity most when doing samba and the isolated hip movement that is needed. See the video below and notice the need for this ability to move the hip separately from the body, but still in conjunction.
Perhaps the best example of similarity between dancing and combat is Capoeira a combat style from Brazil that includes dance moves and partner dance like interaction with others. See the video below for an example.
What does this mean?
Mostly, the parallels between dance and combat are interesting. Despite the similarities, I know few who regularly engage in both. It could be because we live in a time poor society, and we can only have so many pass times. However, I suspect that people interested in one are likely to have an aversion to the other. Therefore, few of us will really get a chance to experience the similarities first hand.
It might also be of interest to consider if this contributes to the sexist nature of dance that some argue about. Typically, men lead in partner dance and many of the similarities with combat are congruent with the lead subduing the follow. I don’t contend that this means that dance is sexist, but this comparison does show that if one exaggerates the lead follow relationship, then there would be misogyny within one’s dance. This is something to be aware of.
However, the real advantage of considering this similarity is that it can provide you with a new perspective on dance that can help with learning. If you think of your partner has a combat opponent, then:
You will be more likely to lead so that their direction of movement is only as desired. If you have the mindset that the follow is an opponent, then you might think more about leading them to where you would need them to be.
You will understand the need to be out of you dance partner’s way when needed. If you think of your dance partner as an opponent, then you will ensure that you make space for them to move into (so that can’t attack you) – this can help with both leads and follows.
You will better appreciate the need to be aware of where your “opponent” is, what they are doing and how you should respond. The heightened sense of awareness that can come from pretending you’re in combat could help either a lead or a follow.
You can express greater character in your dance if it is one that needs extra aggression in its performance. Some dances are about conflict, and expressing that can help. This is especially so if you are exhibiting.
Certainly do not expect fisticuffs next time you dance, but taking this perspective might help at times.
If you have been trying to dance the Waltz and you’re having some troubles, then this post will help.
The following covers the essentials of the Waltz and gives a few pointers to help you waltz better. It is not a complete lesson in itself, but it is a good guide to support the lessons that you are getting in Waltz. There is no substitute for a proper lesson. The following is excellent support for when you are practicing or if you need to double check your understanding of the Waltz.
The basic waltz
First, I should point out that I am talking about the standard Waltz (also called the English Waltz because its later form was developed in London). This is not about the Viennese Waltz.
Timing
Unlike most other dances the Waltz has 3/4 timing. That is, each bar has three beats and each beat has a ¼ relative period (crotchet). I am sure you know that now, but it’s good to get the basics covered off.
The basic figure
Posture
The Lead – upright with the waist fixed. Imagine someone is resting a hand on your head and you need to push against is while your feet stay flat and your knees very slightly bent (slightly softened). Shoulders should be relaxed and the centre of your weight should be over the positon just behind the balls of your feet.
The Follow – upright with the waist fixed. Imagine someone is resting a hand on your head and you need to push against is while your feet stay flat and your knees very slightly bent (slightly softened). Then tilt your head back slightly and turn it slightly to the left. The centre of your weight should be over the positon just behind the balls of your feet.
Hold
The lead orients to be slightly left of the follow while the lead and follow are essentially facing each other.
The lead raises both arms out until slightly diagonal from the horizontal. With palms facing the follow.
The lead bends the right elbow to place the right hand just under the follows left shoulder blade.
The follow places the left hand just below the lead’s right shoulder (on the top side of the arm). This is one of five common positions; you might have a preference for another position.
The lead bends the left elbow slightly to have the left hand at about eye level.
The follow places the right hand in the lead’s left hand
The lead inclines the left forearm slightly forward and has the hand in line with the forearm.
The free hands will be between the lead and follow with little push or pull
The follow’s fingers on the free hand will be more vertical and between the thumb and fingers of the lead and lead’s fingers more horizontal and to the side of the follows hands
Position
The starting position has the lead at a diagonal to the line of dance (the average direction the couple will take as the travel along the dance floor) and facing the wall (or outside) of the floor (on a diagonal). The following will be facing away from the wall and to the inside of the dance floor diagonally to each. The exact angle depends upon the space to be taken in the figure (as discussed later). However, 45o is a good choice given no other constraints and is assumed in the explanation below.
Steps
The thing that I find most interesting about the Waltz is that you take a step on each beat. There are no slows or quicks; it’s a simple 1, 2, 3 (and 4, 5, 6 if you count in bars of two). That, I think, is one of the best things about the Waltz; it’s more like walking than many other dances.
So make sure that you are taking a step with each beat (note that there is a total of 4 bars here – 12 beats).
Beat
Lead
Follow
1
Lower with bending knees as you step forward with the left foot and then start to rise (lift with the ankles and the knee – knees will not be fully straight).
Upon feeling the lowering and forward movement of the lead, lower with the knee and step back with the right. Start to rise with the ankles and knees
2
Step to the right and a little forward of the left foot with the right foot and continue to a rise. Incline your upper body away to the left (away from movement) to give you some sway.
Step to the left with the left foot. It should also be slightly backward of the right foot. The amount will be influenced by the lead, but make it only slight when practicing alone. Incline your upper body to the right to give some sway as you step. Continue to rise.
3
Bring the left foot to the right foot as you straighten (remove sway) and finish rising. Settle at the end of this beat back to flat feet and softened knees.
You should be in the starting posture.
Bring the right foot to the left foot and straighten to remove the sway and finish the rise. Then lower by softening the knees and lowering your heel.
You should be in the starting posture.
4
Lower with bending knees as you step forward with the right foot and then start to rise (lift with the ankles and the knee – knees will not be fully straight) and start to turn to the right.
Step back with left foot and lower as you feel the lead. The start to rise with the knee and ankle as you start turning to the right.
5
Step to the left and a little forward with the left foot and continue to a rise and turn. Incline your upper body away to the right (away from movement) to give you some sway.
Step to the right and a little backward of the left foot with the right foot. Incline your body with the lead to your left to give some sway. Continue to turn.
6
Bring the right foot to the left foot as you finish the turn (90o) finish the rise and then lower to the heels and bend knees slightly.
You should now be in the starting posture, but facing the wall of the dance floor diagonally and have you back to the direction of dance (diagonally).
Bring your left foot to the right foot as you finish turning 90o. While doing this finish the rise and then lower with the heel and knees. You should now be in the starting posture; however, you be facing the line of dance and away from the wall (both diagonally).
7
Lower with bending knees as you step backward with the left foot and then start to rise (lift with the ankles and the knee – knees will not be fully straight).
As you feel the lead induce you forward and lower, step forward on the right and lower through the knee to then start rising with knee and ankle. You will not fully straighten the knee.
8
Step to the right and a little backward of the left foot with the right foot and continue to a rise. Incline your upper body away to the left (away from movement) to give you some sway.
Step to the left with the left so that the left foot is also slightly backward of the left foot. Sway by inclining your upper body away (to the right) from the direction of dance and continue to rise.
9
Bring the left foot to the right foot as you straighten (remove sway) and finish rising. Settle at the end of this beat back to flat feet and softened knees.
You should be in the starting posture.
Bring the right foot to the left foot. Remove the sway to straighten. Lower through the knees and onto the heels. You should be in the starting posture.
10
Lower with bending knees as you step backward with the right foot and then start to rise (lift with the ankles and the knee – knees will not be fully straight) and start to turn to the left.
Once again you are induced forward by the lead. Step with the left and lower through bended knee as you begin to turn to the left. Then start to rise.
11
Step to the left and a little backward with the left foot and continue to a rise and turn. Incline your upper body away to the right (away from movement) to give you some sway.
Step to the right with the right foot and place the right slightly backward of the left. Incline to the left as you do so for sway. Continue rising and turning through this beat.
12
Bring the right foot to the left foot as you finish the turn (90o) finish the rise and then lower to the heels and bend knees slightly.
You should now be in the starting posture and position, but further along the line of dance.
Bring the left to the right foot as you complete the turn by 90o. Finish the rise and then lower through knees and lowered heels as you turn.
You should now be in the starting posture and position, but further along the line of dance.
Specifics
The path taken
The Waltz basic figure will make a zigzag as you travel along the line of dance. Nominally, the zigzag is 45o. The location of each step/beat from the table above is shown on a diagram below relative to the zigzag pattern. The numbers seem the right way up to the person who is facing the line of dance. If you’re facing against the line of dance, then the numbers should be upside-down.
If you ever need to travel faster along the dance floor then increase angle of the zigzag. This will mean that you will need to rotate more than 90o when turning. If you need to slow down, then reduce the angle of the zigzag. This will mean you need to turn less than 90o.
Forward step
The leg swings forward from the hip
When the foot moving forward is behind the other foot, the ball of the moving foot slides along the floor
When the heel of the moving foot is in front of the toe of the other foot:
the heel of the moving foot will start to skim the floor
the toe of the moving foot will rise
the heel of the stationary foot will start to rise
When the stride is at the maximum length:
the weight will be on the heel of the front foot and ball of the back foot
the weight will also be equally distributed between the two feet
the front knee will be straight and the back knee will be slightly bent
the front toe will then lower and the weight will move forward
Back step
The leg swings backward from the hip
When the forward foot is first pulled back, the heel slides along the floor
When the foot moving backward is behind the other foot:
the ball of the moving foot slides along the floor
the front heel be lowered and the weight will move backward – this must be done with control
the toe of the front foot begins to rise
When the stride is at the maximum length:
the weight will be on the heel of the front foot and ball of the back foot
the weight will also be equally distributed between the two feet
the front knee will be straight and the back knee will be slightly bent
Turning steps
When taking a step with a turn, turn the shoulders with the step. This is more so for the lead; the follow should do the same in response to the lead.
Notes
The knees will always be bent to some extent – even when raised. You might need to play with this at the start to be able to rise without having you knees locked.
Leads can play with the time, such as holding for a period on a beat. However, still make sure that you are not too far off the beat. At the early stages, it is good to try to be on the beat, which might mean trying to get there a little early. Follows need to listen to the music and feel the lead to get this, but can play with it too. That’s up to you and the lead. Still, at this stage, just trying to be on the beat is a good goal.
Some sources will have you start with the step described at beat 4 above. The end effect is the same and you may start there and finish on 3 after continuing to beat 1 after beat 12.
The above has continued counting beats and steps continuously. It is assumed that this will make it easier to understand. However, you may wish to think of the beats differently. For example:
1,2,3, 1,2,3, 1,2,3, 1,2,3
1,2,3, 2,2,3, 3,2,3, 4,2,3
1,2,3, 4,5,6, 1,2,3, 4,5,6
In the table above, it is assumed that the couple are nominal at a 45o angle t the line of dance. However, as mentioned above, this can change. Therefore, in those beats when a turn of 90o is mentioned above, you might need to turn more or less depending upon the nominal angle you are using.
Other figures
This has only covered the basic figure. There are of course many other figures: Too many to cover here in detail have been developed since the Waltz was formalised in the 1920s. However, the pointers here for the basic will carry over other figures. If you can do the basic better, and naturally, then you will start to perform other figures better too.
References
The above is based on the experience of the author and is also a collation of the content of the following references. If you want more to read about the waltz, then any of them would be a good addition to your dance library.
This is a pretty good video on Waltz,
But if you really want a good video reference on Waltz, then I can recommend the following. Click the image below to learn more.
Louis gives excellent and well balanced advice on how to dance many dances - inlcuding the waltz. If you're starting out with dance, then this video collection is invaluable. Click the image above to learn more.
Getting even better
The above has specifically been about the Waltz. There are numerous techniques that you can use to better dance – no matter the dance you’re trying.
If you want to have better timing, better posture and learn to dance better faster, then take a read of my free e-book. It’s full of techniques that will make you a better dancer straight away. Juts enter your details in the respective form below and hit the ‘Submit’ button. I will then email the e-book to you straight away, and you will be dancer better in no time.
It costs nothing and it's got the best stuff I have learned about dancing so make sure you get a copy now.
