Followers, learn to speak up

Hi all – I’ve created a Facebook group for Naked Basics where we can all gather to connect with others who read or post to this blog. Start putting faces to names and getting to know others who share a love of dance – and an intellectual discussion of dance. And please spread the word about this blog and the Facebook group to anyone you think would be interested. Thanks! – Eric

Two weeks ago, I began this discussion about communication between the partners, and last week I picked on the leaders for overleading (which, perhaps not surprisingly, was rather well-received by followers).

Yes, a large part of the problem in partner communication is the failure of the leaders to not listen and to not provide the opportunity for the follower to participate. However, another big problem is the failure of the followers to properly communicate with the leaders.

In my experience and observations, I’ve noticed that often when followers try to participate in the dance (e.g. play, extend patterns, change speed, etc.), they end up tightening up their frame, or else pushing or pulling the leader. And this happens suddenly, without warning, as the follower interrupts the leader to express herself. Sometimes it disrupts what the leader is trying to accomplish, either ignoring what he was trying to lead or ignoring him altogether. To use the conversation analogy, it’s as if the leader is talking and mid-sentence the follower suddenly yells something out loud – sort of a dancing version of Tourette’s syndrome.

Let’s face it, followers: You don’t like it when leaders throw things at you suddenly. You don’t like it when they tighten or use their arms to communicate with you. And you don’t like when they ignore you or interrupt what you’re trying to do. So why is it okay for you to do the same to the leader? Bottom line: it’s not.

The truth is that while leading and following are different and distinct roles with their own rules of engagement, communication – and the means of communication – are the same for both partners. There’s no double standard here: leaders can’t do one thing while followers do another. Just as it is in our every day lives, there are proper and appropriate ways of communicating, regardless of who is involved in what roles.

For followers, I would propose that there are three basic principles for you to keep in mind when trying to communicate with the leader – the same principles that hopefully guide how leaders lead:

  • Use your body – not your arms. I think it’s fair to say that arm leads stink. Well, so do arm follows. There’s no need to tighten up or squeeze or pull or push to tell me something (unless we’re about to bump into someone and it’s a defensive move, and even then, do it as nicely as possible). Your arms are a means of transmitting information, but the message should originate with your body. Again, it’s the conversational difference between talking and yelling.
  • Give advanced notice before you do something. You know those leaders – the ones whose leads seem to happen at the last second, if not late? You know how those sudden signals throw you off balance, both physically and mentally? Same is true for leaders when followers suddenly do something unexpected, especially if they’re still actively leading. Just as a good leader gives you a prep or starts leading a little in advance so that you are prepared and can successfully execute a movement on time, good followers who are properly communicating will signal their intent to the leader in advance. This is the driving equivalent of signaling before changing lanes and the conversational equivalent of saying “excuse me” to interrupt the speaker before speaking yourself.
  • Make sure you use clear signals, which means getting your partner’s attention, usually by doing something different. Leaders give signals to tell you what they’re leading, but these signals are only effective if they are clear enough for you to read them. As followers, you not only have to be clear, but you have the added challenge of overcoming the standard dynamic (that he speaks and you listen) and getting him to listen (or at least stop talking). There are several different signals you can use to get his attention (all relating to changes in connection), but these signals need to be clear and used consistently.

Communication is key for any relationship, including a partnership in dance. Good followers know how to properly – and thus effectively – communicate with their leaders. I find that too often the conversation in dance classes is about the content of what the follower does (the footwork variations, the body styling, etc.) and not about how to communicate what the follower does to her partner. What results is a bunch of followers unsuccessfully participating in the dance because they do not know how to communicate what they’re doing to their leaders – or even that they’re trying to do something at all!

Followers, how do you try to communicate with your leaders? Leaders, what do followers do that get your attention and let you know what they’re doing? Teachers, how much do instruct followers on how to communicate to their leaders when teaching a variation for followers, especially one that changes the timing or execution of the pattern? How important do you think this idea of communication is for followers to learn and at what stage in their development should they start learning these skills?

Less is More

Last week, I wrote about how the expectations of leaders and followers tend to create a dynamic where the leader talks without listening and the follower listens without talking – usually leading to a disconnect between the partners. In the group class I taught this week, I returned to this topic with my students in an effort to change this dynamic and demonstrate what can happen when we do.

For me, there are two main issues to deal with: 1) leaders who “overlead” – giving too many signals for too much of the time; and 2) followers who don’t actively participate – either because they are too busy defending themselves from bad leads (defense mode), are awestruck by good leads (awe mode), or don’t know how or what to communicate (“I don’t know what to do” mode).

It seems to me that there is a philosophical schism in the West Coast Swing community with regards to how much a leader leads: the “constant lead” camp vs. the “lead-and-release” camp. I don’t like the implication of either label: “constant lead” suggests there’s no room for following while “lead-and-release” sounds like you get the follower going and then let go completely (and it sounds creepily like the fishing term “catch and release”). I’ll pass on commenting further on these two philosophies (for now) but I will mention that while these two are the dominant philosophies, there are other possible variants on the spectrum between the two.

Still, I focused the first half of the class dealing with the first issue: overleading. Overleading primarily results from two things: bad leads and nonstop leading. Bad leads are any leads that create too much force – a force that makes it difficult for the follower to stay balanced and comfortable – usually created by arm leads but sometimes by giving two or more leads at once (another topic for another time). Nonstop leading, or what I affectionately refer to as “Energizer Bunny” leading, is when leaders just keep leading move after move after move without any break – or any relief – for the follower. Of course, nonstop leading goes hand-in-hand with the problem of not listening, but what is there to listen to if you’re always talking?

At the beginning of class, I put on music and told the leaders to lead minimally – give only the leads that are really necessary. Naturally, some leaders just stopped leading altogether, and I had to clarify: only lead as much as you have to in order to get the move done – and nothing more. And then we talked about what happened.

First I asked the leaders how they changed their dancing (if they changed it) and – though the leaders were at first silent – there was general agreement that they the main thing they did was relax. A couple also noted that they moved around less and one or two more consciously tried to lead with their bodies.

Then I asked the follower about their experience: what did it feel like when the leaders minimized their leads? Their responses? “I felt more in control.” “I felt comfortable.” “I didn’t feel any arm leads.” “I felt like I could participate and do more.”

This, of course, comes as no surprise. There’s a difference between yelling nonstop at someone (overleading) and talking with someone in a way that makes the other person feel comfortable and opens the possibility of dialogue (minimal leading). The leaders in class were able to achieve the latter by limiting their leading to body leads and only the movement that was necessary.

Is overleading a problem where you dance? Followers, how do you handle it? What do you prefer and why? Leaders, have you noticed followers responding differently to different degrees of leading? And teachers, what kind of dynamic are you encouraging when you teach leaders?

Great Expectations?

Hi all – My apologies for the two-month hiatus, but unfortunately other priorities in life meant I had to step away from this blog for a bit. That said, weekly posts are back on! Please read, enjoy, post your comments, and spread the word to other dancers! Thanks – Eric

I taught a class this week on how to communicate with a partner. The idea is that communication works both ways, regardless of whether you are a leader or follower. However, while the tools and methods are the same, the context and use of these tools may differ greatly. We had a brief conversation in class about the expectations followers have of leaders and vice versa, and it was one of the most interesting I’ve had in any class.

The leaders in general expected followers to, well, follow – to pay attention, to follow momentum, and to follow through. The followers in general expected leaders to make them feel comfortable – no arms leads, dance at the appropriate skill level, and adjust to the follower’s physical capabilities.

What’s most interesting to me is how these expectations reinforce a certain dynamic: leaders speak, while followers listen. Leaders say, “I’ll tell you what to do, you just have to do it.” Followers say, “Tell me nicely, and I’ll do it.” Unfortunately, in my opinion, this often means that partners detach from one another: leaders don’t pay attention to followers and followers only pay attention when they want to (or have to). Except I don’t think this is how we want it to be, or how we think it should be.

Effective leaders are excellent listeners, responsive to the needs and interests of those they lead. And effective followers aren’t just passive bystanders, but proactive and vocal participants. Imagine what this dance would look like if leaders expected followers to participate more actively, and if followers expected leaders to listen and pay more attention to them? What would the dance look like if leaders listened and gave more opportunities for followers to participate and if followers proactively communicated and engaged their leaders?

What are your expectations for the opposite role? And what do you think expectations should be in order to create the ideal dance?

Fade to Black

I admit it: I’m a music snob.

That comes as no surprise to those of you who know me. I like some music and other music, I just don’t like. I admit it, I realize some people may not like it, but I don’t see anything wrong with it. In fact, it’s sort of a rite of passage for some – when you pass from loving any song you can dance to to being selective about which songs you want to dance to and which you find completely uninspiring, either because you’ve been around long enough to hear them one too many times or because you’ve developed a sense of taste that reflects your personal preference and dance style.

Anyway, there’s a whole Pandora’s box to be explored concerning music, and for the moment, I’d like to pick just one item: cross-fading.

Cross-fading, as any user of iTunes knows, is when the end of one song overlaps with the beginning of the next – one fades out as one fades in. Personally, I really, really dislike it.

As a dancer, I like a beginning and an ending to my songs – a complete story to my dance – and cross-fading deprives me of both of those. Plus, I like time to finish with one partner, thank her and escort her off the floor, and ask another partner and guide her onto the floor before I’ve missed too much of the next song.

Honestly, I don’t know who thought or still thinks cross-fading is a good idea, but every now and then there’s a DJ who does it, and it irks me to no end. (Of course, waiting more than a second or two between songs irks me as well – where’s the music? why are you letting the energy die?)

So am I alone? Anyone else out there snobbish enough to care about things like cross-fading? Anyone have a personal preference for song transitions? (Song selection? Another topic for another time…) Anyone out there a DJ and have an opinion on this?

The Only One

Part of the joy of dancing is discovering how it relates to the random things that you come across in your everyday life. As someone in nonprofit communications, I read a lot of literature on how to communicate effectively and I never cease to be amazed at how appropriate the principles apply to dancing.

The latest gem actually comes from a book about successful people in the workplace. The author states that the difference between a “good” leader and a “great” leader is not just the ability to listen, but listening to people as if they are the only person in the room at the time. (Bill Clinton is apparently an excellent example of this – part of his charm as well as his ability to manage a presidential administration.)

I always teach that any good leader is also a good follower: one who responds to his partner, allows her to express herself and finish her intentions. But I’m curious by this idea of a great leader being one who dances with his partner as if she’s the only one in the room.

When I used to dance lindy hop, there was a certain leader who made every follower swoon. After noticing his magical charm on all the women, I asked some of the followers, “What is it about this guy?” And they all said the same thing: “He dances with you as if you’re the only one in the room.” They all knew that he did this with all the women, working his way around the room with equal flirtation for them all. Still, they loved dancing with him because for those few minutes, they experienced that feeling for themselves.

Then I think about competitive swing dancing, which is so much about showing off yourself, flirting with the audience, acknowledging that your partner is just one of many in the room. Most competitors win with this outward audience-focused energy, while few can draw people in with a partnership-focused energy. Angel and Debbie Figueroa’s “Sometimes” routine is an excellent example of how two partners can be so into each other, as if they were the only two in the room, that to watch is so captivating. In fact, it’s almost uncomfortable, as if you shouldn’t be watching such an intimate dance between two people. Personally, I think that kind of dancing is a real art, but few can master it, and few try.

But what about the social dance floor? How often do we really invest all of our attention and focus into our partner? How often do we treat our partner like he or she is the only person in the room? How easily are we distracted by our own issues, our dance “homework” and the many people around us? And if connecting with a partner is the ultimate goal, shouldn’t every dance have some of that partnership-focused intimacy?

Have you ever experienced the feeling of a partner treating you like you were the only person in the room? What was it like? And how do you think we we create that more often? Would you rather see an intimate routine or an audience-mugging one? Which would you say is “better” dancing?