davethesmooth
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Re: C o n n e c tion - lets get together
Sure pole-dancing comes in particularly useful in WCS - helps with posture, balance, poise??
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12/Sep/2007, 12:31 am
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Corporal Whip
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Re: C o n n e c tion - lets get together
Hmm, I think we are losing the connection with the thread here, semi-clad in diamontes sliding down a chrome pole into the abyss.
Sure it has its merits.
I guess that closes out unless there's more to share.
I shall pick up on the technical side of connection in Fundamentals where there's time to revisit the basics of wcs.
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23/Sep/2007, 4:20 pm
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oooMatron
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Re: C o n n e c tion - lets get together
quote:
davethesmooth wrote:
Sure pole-dancing comes in particularly useful in WCS - helps with posture, balance, poise??
Yes I think you r right, the way the American pros are dancing it these days has changed - from funky style to sexy & slinky (well that goes for followers anyway). That is what Tat said @ Southport during my private lesson with her anyway
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3/Oct/2007, 12:45 pm
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Corporal Whip
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Re: C o n n e c tion - lets get together
So here’s an opportunity to discuss some other ideas alongside connection.
At the moment its’ been discussed as ‘tension and elasticity’ between dancers.
The tension here is about the level of force between the two. This varies between people, and varies within the dance as the music ebbs and flows. It assists acceleration and breaking. However this force is not being overall subjected on the partner its about the message, say, ‘we are going to speed up here’ or ‘we are actually slowing into something’.
So a signal rather than a harsh physical force.
Back to basics for a moment: If there is no frame, there is not tension. Without tension, elasticity and connection cannot be built.
Simple examples, feel a broken open half whip when the Lead simply substitutes the first pass down the slot and makes a simple open forearm hold with their right hand instead. As the follow turns out with their left forearm extended they are building tension and elasticity.
This tests the quality of the frame as the good ones do not break and do not then allow a step back with their left foot. The release on this foot would be allowed by the Lead releasing the frame sufficiently. (I will not bang on about the frameless style ‘turn outs’)
The Lead here controls the speed of the setting out of the release, building the tension with the frames engaged.
At the end of the elasticity there is the momentary change of direction where the force is sent back the other way. Just like a spring.
If this is done right actually there is minimum force from the lead bringing the arm and frame forward by shifting their body forward onto the right foot. This should send the Follow back along the slot nicely.
This is one example and not the ‘Kodak’ moment break. The swing look is about continuous movement, akin to the movement of fluids
So the elasticity is the give in the tension, too much and the dance looks block staccato, too little frame and tension and the connection is lost.
So where and how is it got right.
The tools one can use are as follows;
Social dancing, play around with your own tension, lock it up and see what difference it makes, go noodle arms. Now find the middle ground plus a little towards the lock up, so it’s like a firm spring.
The difficult thing is compensating for the ‘other’ and next dancer and the skill here is the continuous compensation we make to our partners. Consider steering a vehicle most of us familiar with the technique of continuous correction. The consequences otherwise would be havoc on the road. At least we just restrict it to the dance floor.
Next keep it at the right height (& width): To high and wham bam, the US follower is under the arm at warp factor 5 spinning like Taz’ devil.
Watch out for the bicep grip frame: Often the first concepts of frame in newbies is at an arm level. Please refer to the threads on core and frame.
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7/Dec/2007, 12:35 pm
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