West Coast Swing for Followers


Attraction

WCS is quite different from the other dances that I know. These are the characteristics that I think make WCS attractive to local dancers.

· WCS can be danced to a very wide variety of music styles.
· WCS allows for lots of creativity.
· There are only a few basic patterns in WCS.
· Followers can take over the lead for periods of time.

Stopped and Moving

At any time, you, the follower, is either stopped, or moving. The leader indicates to the follower:

· When to start moving
· Which direction to move
· When to stop moving
· How far or fast to move
· Any direction of turning

When moving, the follower keeps moving, in the direction, and style, indicated by the leader, until the leader indicates to stop moving.

The leader can move anywhere around the follower. Do not misinterpret movement of the leader, to be leads. Much of learning to be a follower, is learning, by heart, how to respond to different leads.

The Slot

WCS is called a “slot” dance. The “slot” is a rectangular area of the dance floor, which can be used by a dancing couple, when dancing WCS. Sometimes the slot refers to only the area used by the follower. As you advance in your skill, you will learn to see the slot more as an hour-glass shape, than as a rectangular.

The leader can change the location of the slot. The leader can lead the follower outside of the slot.

A leader should align the slot to be parallel to the slots used by other couples on the dance floor. This allows many couples to dance in a limited area of dance floor.

The Track (Lane) and the Sidewalk

Although sometimes called the “slot”, the area used by the follower is more commonly called the track or lane. Again, this can be rectangular, or an hour-glass shape. The leader controls the location of the track, on the dance floor, and can move the location of the track.

(Sometimes a track refers to the path occupied by only one foot, instead of by the whole person. In such a case, each dancer is using two tracks, one for each foot.)

It is the responsibility of the follower to travel from one end of the track, to the other end.

The leader moves in and out of the track, as needed.

When out of the track, the leader is allowing the follower to pass by.

Next to the track, on both sides, is where the leader goes, when not in the track. These areas, used by the leader, are often called the sidewalks, per an analogy with a city street.

The follower does not leave the track to get around the leader.

If the leader is in the track, in the way of the follower, the leader is indicating to the follower that the follower should stop progress down the track.

The WCS Closed and Open Holds

The leader can hold the follower closely, or at more of a distance. When the leader has one or two hands on the torso of the follower, it is called a “closed” hold. When the leader holds only the hands and/or arms of the follower, it is called an “open” hold.

The Follower’s Home Position in the Open Hold

The follower should stand with the back stretched long. The arms are held to the side, with the upper arm parallel, or slightly forward of the torso. The forearms are approximately parallel to the floor, or slightly lower: near the height of the center of mass of the body. The elbows are away from the torso, a distance that is approximately the size of a large orange (fruit).

When dancing, the follower usually tries to return the arms to the Home Position.

The elbows should not be allowed to move far behind the plane of the torso, except for styling.

When the leader spreads the follower’s hands farther apart than the home position, the follower applies inward pressure on the arm(s), as if trying to return the arms to home position.

When the leader contracts the follower’s hands closer apart than the home position, the follower applies outward pressure on the arm(s), as if trying to return the arms to home position.

The palms of the follower’s palms are facing the floor. (The leader’s palms are facing inward, toward each other.)

When the leader has both of your hands, but at different levels (above the floor), generally the lower hand is the primary connection for leads.

Barbie Arms

In open hold position, you should allow the leader to easily move your hands up and down. When your arms are moved from side to side, your shoulders/torso should try to follow the hand.

Raise Arm Easy Button

When the leader places a hand on your left shoulder blade (back), it usually means you should raise your left arm. Usually raise your arm to your front, but, in any case, not so that it hits the leader.

When you subsequently see where the leader is, it might be obvious that you need to move your left arm over the leader’s right arm, into a closed position.
Do not raise your elbow first, into your leader’s face.

Connection in the Closed Position

Some part of your torso is touched in the Closed Position. It might be one of these:

· Leader’s right hand under your left armpit. The palm is on your side. The fingers are on your back.
· Leader’s right hand on your back, anywhere from your lower back, to the right or left shoulder blades.
· Leader’s right arm contacting your side or your back.

Bodies Close and Far Apart

When dancing WCS, the dancers generally alternate between being close and farther apart.

Compression and Tension

When dancing WCS, the dancers generally alternate between being in a state of tension and compression.

Tension has the feeling of being pulled toward the partner.

Compression has the feeling of being pushed away from the partner.

Generally, there is tension when the dancers are farther apart, and there is compression when the dancers are close together.

The contact maintained by compression or tension enables communication between the leader and follower.

In open hold, in tension, the connection between dancers is mostly in the ring finger(s), and especially in the middle finger(s).

In open hold in compression, the connection between dancers is mostly between the palm(s) of the follower, and the back of the finger(s) of the leader. The wrist(s) of the followers are more or less “broken”, meaning bent backward.

The leader could position the index fingers on the edges of your hands, near the pinkies.

Starting Positions

The leader selects the starting position. These are common starting positions:

· Close, similar to the Closed Position of the East Coast Swing. There can be many points of connection. These include the leader’s right hand on your back, the leader’s right arm (forearm and/or upper arm) on your back or side or arm or shoulder, the right side of the leader’s torso, the leader’s right leg, the leader’s right foot, the front right side of the leader’s torso, the leader’s left hand, and part of the leader’s head or shoulder. The leader can start in any direction, and is polite to softly put you on a known foot (right or left).

· Apart, with an initial tension, as if trying to expand the dancers’ space. The tension originates from near your center of mass or closer to your hip(s). Usually, your right foot will be available to take a step. The leader usually starts with the left foot.

Resistance to Start Moving

When you are invited to start moving, you will provide some resistance. Try to feel how much resistance the leader feels most comfortable with.

Rolling the Feet

When walking forward, roll your feet from the heel to the toe (flat). Spend time doing the roll, and enjoy it. The heel plants on the floor at the beginning of the musical beat. Similarly, when going backward, land with the ball, at the beginning of the musical beat, and roll easily to the heal (flat).

Rise and Fall

There are varying styles, regarding rise and fall. Some teach keeping the top of your head at a constant height above the floor. The style I like best includes down=down=up. It allows more flexibility and more creativity.

Playing

There are a small number of basic patterns, and many variations. The leader might spend the entire dance leading such patterns. Other leaders might spend the most time “playing” with you. You are encouraged to also play.

Hijacking and Taking Over Control

There will be times when you will be able to take over control of the progression of your dance. A leader might relinquish the lead for an extended length of time. Enjoy the chance.

Taking over control of a beginning leader might befuddle the leader. Only do it with the appropriate partners.

Good Leaders Follow

There should be times when the leader is following you.

Strength of Lead is Negotiated

The amount of force that is used in the tension and compress between dance partners is negotiated during the beginning of the dance. I prefer a very light lead. Both dancers are carrying their own weight, are responsible for their own turns, and are free of interfering outside forces, from the partner.

While you are in the “moving” state, a light touch should be able to “guide” you.

I am of the impression that the top competing dancers prefer quite a strong connection.

Anywhere Can Be a Point of Connection

Anywhere you and the leader are touching can be a point of connection. You will learn how to feel whether or not a contact is a connection. Attempt to keep such a connection, usually by following your partner around the room, thus keeping the contact.

You will learn the feeling of the leader breaking a connection. The separation is quicker than in lead-follow mode.

Keep Facing the Leader

At times you should keep facing the leader, especially with the upper body. Sometimes your right front side should face the leader’s right front side. There are many times when this is impossible, such as the basic left side pass. You will learn when a particular strategy is appropriate.

The “Sugar Push” Pattern

At parties that are dark and noisy, the first thing I teach is the “sugar push”. In such settings, I cannot convey all the information in this document, to prepare the student in the preferred order.

The pattern of the sugar push is:

· One two, one two three, one two three
· One two three and four, five and six
· Slowly slowly quick quick slowly quick quick slowly
· Forward forward slower slower backward step step backward
· Right left, right left right, left right left

There are other beginning patterns that use the one two, one two three, one two three timing.

Walk Walk

One basic following skill is to stop on the foot desired by the leader. The leader should also be able to stop you with a finer resolution, for example: with you just starting to lower your right foot but have not yet applied pressure.

We will practice walking forward, and backward, slowly-slowly, starting and stopping. You will also try leading someone in this manner, to better understand what to feel like, as a good follower. You will need this skill for hijacking.

Copyright 2017 Martin Grosz

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