Rolfer, Dancer, Teacher

Archive for the ‘Dance’ Category

Following as Active Choice: An Experiment in Wording

A few years ago at The Experiment I had a conversation with a follow who said that while she felt like an equal partner in her marriage, she did not feel like an equal partner in dancing.  My experience dancing with a significant number of follows is that they view the dance as if their part is somehow less important or requires less attention than leading does.  While I have been aware of this issue for years, it has recently occurred to me that some of this attitude could result from the passive language that is often used in teaching follows, especially at early stages.

Over the last few months I have been working intently to  rewrite my teaching language to clearly present following as a role with equal importance in the dance.  I have found that a few key wording changes have produced very different results in the way student followers dance, at least in the short time that I have been experimenting with this.  While I’m aware that these results are by no means a clear indicator of long-term success, given the current national online conversation about gender relations in the swing scene, it seems beneficial to share what I have found so far.  Given the current experimental phase, I figured I would write this up like a high school chemistry experiment rather than a lecture.

I’d also like to give a quick thanks to everyone who has helped me work through how to talk about this, and to all the leads and follows who’ve given me feedback to help me refine ideas to this stage.

Examining Effects of Active Choice In Following

Introduction

Following in dance is often presented to beginners as a purely reactive role.  Analogies for following often involve passive objects on frictionless surfaces, and follows are told to “wait for the lead.”  More attention is given to leads in most classes and follows often receive praise for doing things as expected rather than for following what was actually lead.  After months or years of working to become a “good follow,” follows may suddenly be thrown the idea that they should start adding creatively to the dance, which can seem counter to the skills they have spent their early dance career developing.  It can be a treacherous cocktail of mixed messages about doing what you’re told while being creative and matching the lead, yet also being yourself.

But what happens if we teach following as a “choice” rather than a “should”?  Instead of presenting following as doing what the lead says, what if we present it as listening for the lead as a suggestion or invitation and choosing how to respond?  By altering language and presenting the role as equally capable of influencing the dynamic of the partnership (rather than exclusively reacting to the movements and signals of the lead) we hope to see a rise in confidence of the follows as well as a greater sense of “team” in dance couples.

Methods/Experiments

In teaching private lessons, both experienced and new follows were presented with the idea that following is a choice.  Of particular note is one follower with several years experience who, while commanding in her daily life, has always seemed to lack confidence in her dancing.  This student was asked to think of following as a matter of interpreting the lead and choosing to execute her interpretation as explicitly as she wanted (i.e., purely following), rather than thinking of following as doing it “right” or “wrong.”

In group classes, focus was placed on the follow’s ability to control their own side of the connection (i.e., their own arm) and their ability to suggest ideas in connection or pulse simply by altering their own movements.  Time was spent asking the leads to dance with no pulse or off time and for follows to exhibit strong pulse and rhythm to influence the lead into matching, bringing the couple on beat together.  Followers were presented with the idea of being able to use stretch in frame to generate energy for their own movement, and both lead and follows were taught that they could stretch their own frame individually and as a means of communication to their partner.

Test wordings and exercises were used over approximately 20 follows in 3 months of classes.

Results

In response to this style of teaching, follows have generally been very appreciative of the use of active wording.  They have also advanced faster and appear to be actively engaged in trying to understand how to follow movements rather than asking “what am I supposed to do?”

Follows have exhibited greater flow of motion and more willingness to put their own energy into movement, plus greater trust of support from the lead.  Multiple follows are also exhibiting spontaneous creativity in following and footwork within the first few months of learning to dance.

Dancesplaining has been nearly non-existent in the classroom setting during this experiment.  There has been more positive partner interaction in rotation, such as discussing how to make a move work rather than assigning blame if it doesn’t.

The most dramatic result occurred with a private-lesson student.  Immediately after introducing the idea of interpretation and choice, the follow’s movements became significantly more confident (or actually read as confident for first time that we ever observed); movements became fluid, and she began to smile and have fun.

graph

Conclusions

Presenting following as an active interpretation and choice to respond appears to help follows feel more confident in their dancing and less nervous about doing it “right.”  They also appear more comfortable with the idea of shared responsibility for creative aspects of the dance.  Preliminary results seem to indicate that they are also more interested in continuing to learn and improve than in past classes which used more passive wording.

This style of wording also appears to reduce pressure on the leads by giving them time to integrate their own material while follows work on new material, and by presenting the dance as a shared creation rather than content purely dependent on the lead.  Leads are also able to focus attention in different places when follows are empowered to share responsibility for concepts like pulse and rhythm.

Overall, dances in this experimental mode have exhibited more teamwork and less “2 people holding hands and dancing around each other.”  Both roles seem more excited, less fearful of each other, and less worried about judgement.  Students appear to be approaching the dance and learning as a team rather than as isolated individuals.

While it remains to be seen how this will affect dancing in the longer term, preliminary findings show a great deal of promise.  Feedback from each side has been positive, both in terms of how students feel about the dance and how they feel about the instruction.

Losing My Collection

high_fidelity_rob_with_tapeTwo days ago while I was parked in downtown Durham for a show at a local bar when my car was broken into and my laptop was stolen, so I’m writing this from a friend’s laptop. While this loss is  distressing on a number of levels, it has been interesting to realize that the greatest feeling  of loss is for my collection of MP3s.  It has been approximately a 10 year project amassing my DJ collection of swing tunes and the amount of work that was just stolen in my cheap laptop is hitting me pretty hard.

My collection has been with me through 4 homes, 3 laptops, 3 cars, a radical career change, and a half dozen or more romantic relationships. I can remember when I first decided to convert my collection to  MP3 and after ripping everything at a lower quality, chose to start over and spend my free time for an entire week patiently sitting at my desktop transferring CD after CD in and out of the drive, hitting rip MP3s, and waiting to start the next disc.  Since then, I’ve spent countless hours acquiring music, ripping CDs, tapping out BPMs, and cataloging, tagging, and organizing my collection.  As much as I found the process tedious at times (and honestly, I think I had only managed to keep up with rating and tagging about 20-30% of my collection), I am realizing that it also created a bond that I didn’t fully recognize until now.

It has been a bit of a High Fidelity moment for me to realize how much of a role my music collection has played in my life.  If I hadn’t jumped into collecting music when I started, I’m not sure Rob Moreland would have ever asked me to start DJing so many years back.  When I was a year into dance and starry-eyed about Paul and Sharon’s dancing and teaching, my music collection was a way to connect with that and Sharon was the first DJ I emulated in style and collecting.  This lead to Chris Owens dubbing me “Bluesberry Muffin” when I DJ’d which lead to a great number of formative conversations about energy and drive in music.  Then there are forays into tango, getting deeper into vintage music, etc. etc.  I can effectively trace the 11 years of my dancing (even my burned out year) through my music collection.

And it’s not just a matter of my music mirroring my DJ trajectory, it has also driven my dancing.  As I found music I liked, I felt driven to learn to dance to it too.  It drove my dancing into trying to make my movements sharper or softer, helped me figure out pulse, and has recently been driving me to play with Charleston again.  My music (and a few excellent historians) have inspired me to learn more about the musicians who do these incredible recordings which in turn inspired me to start running RDU Rent Party dances with Laura Windley and to love just sitting and watching musicians play when I’m not dancing.  My music has shaped not just my movements, but where I have gone as a person.

In the last 2 days as I’ve shared my distress, a great number of DJs have offered to help by giving me music.  As much as I appreciate the support, it’s interesting to note how wrong it feels to think about accepting that help.  As much as I don’t relish the thought of re-ripping all the CDs I still have, that ritual seems like an important piece of rebuilding.  And the thought of DJing off someone else’s music seems akin to taking a friend’s girlfriend  to prom.  And while it’s nice to know I have the sort of friends who would make that offer, it occurs to me in a very visceral way that if I DJ with someone else’s music, then it’s no longer telling my story with my words (or songs, as it were).

At this point, I’m adjusting to the idea that I’ll have to redo all this work, that it won’t ever be the same, but I can rediscover myself and my music again.  I’ll plan better for backups and keep one in a separate place, get a chance to rethink how I organize things, and get to play things I may not have played in 8-10 years.  It’s a great loss in some ways, but it is also an opportunity to try new things and see what from my past fits me and what I have moved on from.  And it seems appropriate to end on a quote from High Fidelity:

Books, records, films — these things matter. Call me shallow but it’s the fuckin’ truth

In Defense of the Rotator Cuff

This post is being written at the request of a lovely Aussie follower who has suffered multiple rotator cuff tears in the course of her dance life. While not all dancers suffer from rotator tears, it’s a fair bet that almost every dance will run afoul of their shoulders at some point. The following ideas should help you minimize your chances of injury in those moments of potential crisis. Note that while I will give some specific lead or follow examples, all of these should hold mechanically true for both leading and following.

A quick note before anyone jumps up to tell me that their instructor told them to do it differently, I’m speaking here from a biomechanical and injury-proofing standpoint, not an aesthetic or stylistic standpoint. I personally find that solid body mechanics tends to translate to great aesthetics for me, and I try to base my dancing first and foremost on things that I think will allow me to keep dancing for the rest of my life. These are the best safe & effectively connecting body mechanics that I have come up with in 11 years and if I develop or encounter a better idea, I’ll definitely post about it.

Anatomy Time!

rotator cuffThe rotator cuff is the group of muscles connecting the top of the upper arm bone (humerus) to the shoulder blade (scapula).  The reason these are important is that the shoulder blade is a relatively mobile and therefore unstable joint. The surface of the shoulder joint (glenoid fossa) is essentially a very shallow bowl that has been overfilled with the head of the humerus. This makes the joint very mobile, but also vulnerable to sliding around or out of the socket (one of the reasons shoulder dislocations are far more common than, say, hip dislocations). The muscles of the rotator cuff are all oriented closely around the joint to rotate the humerus in the joint, provide stability, and protect against injuries like dislocations.

Dancing Based on Natural Angle

Based partly on the rigors of modern life, most of us have become habituated to some less-than-natural positions for our arms. The arms-straight-ahead position that most of us spend a lot of time in (driving, typing, etc.) rolls the shoulder in a way that compresses the front of the joint and, over time, tends to make the shoulders stick forward even when our arms are at our side. Many people, either by instruction or habit from daily life, learn to dance with their arms straight in front of them, reinforcing this compression, and putting the shoulder in an unstable position to deal with strong pushes or pulls. I feel that opening the shoulder up to a neutral and balanced position makes it both more stable and far more functional at handling the demands of swing dancing.

To reacquaint yourself with this position, first hold your arms up around belly button height then slowly move them from reaching straight ahead to straight out to the side. As you swing through this range, you should notice that the level of tension in the shoulder lessens as you move towards the middle of the arc, hits a point of minimal tension, and then the tension starts to increase as you continue towards the end of the arc. You should also notice the position of tensions shift as you pass to either side of that middle point. This point of minimal tension is what I refer to in classes as the natural angle of the shoulder. It is the angle at which the rotator cuff is most relaxed and therefore most able to react to various forces. The exact angle varies from person to person but typically falls somewhere between 30-60 degrees from straight out front and places the hands in a position wider than the shoulders.

When I’m dancing, part of protecting my shoulder is that I consider this angle to be home base for how I orient to my partner. I remember as a newbie being taught things like spotlighting or to “square off” to my partner and it always felt a bit forced. I have found orienting myself to my partner based on the natural angle of my shoulder to be far more connected and comfortable and consequently safer for my shoulder. My hand and arm move to follow or lead my partner and I adjust the angle of my body to keep my shoulder in an open, relaxed and ready position. It can be counter-intuitive to the way many of us orient to our hands, but once you get used to it, it should make a lot of sense for your body.

Chest Up, Shoulders Down

The other typical position that can compromise the rotator cuff is the overhead lift of leading and following turns. Many dancers don’t just bring the hand and forearm up when they turn, they also raise the shoulder blade. Lifting the shoulder blade off the ribs puts the shoulder in a vulnerable position by disconnecting it from the support of the ribs. Without the support of the ribs, it becomes much easier for a pull at the wrong time to bend the shoulder into an angle that will injure it. I have found the next two concepts to be exceptionally helpful in keeping the shoulder in a safe position during spins and turns.

Paint the Fence (aka NO ROTATION)

???????????????????????????????????????????????????????????????????????A common stressor that many dancers put on their shoulder is trying to rotate it out as they lift. While I realize it is a fairly common cue, I find the “checking your watch” method of leading turns does not make kinesthetic sense to me. Rotating the arm to look at your wrist forces the elbow above the shoulder blade which then pulls the shoulder up with it. The more the elbow flairs away from the body, the more the shoulder separates from the ribs, reducing both stability and connection.

A far more effective method of raising the arm comes in an approximation of Mr. Miyagi’s paint the fence exercise from The Karate Kid (the original, not the remake). Keeping with the natural angle of the shoulder, the motion of the arm is basically just “Uuuup…, Dooown…” and the torso moves to create the turn.

[youtube http://www.youtube.com/watch?v=R37pbIySnjg]

Unlike Daniel-san, for dance purposes you’ll want to let your elbow be loose, relaxed, and weighted so that it stays low as your arm comes up. But notice in the motion of the movie that this is a whole body motion. You can see the muscles of the chest flex and relax with the motion and you should be able to feel them activating. If you try to same “look at your watch” motion, and feel your pecs, you’ll notice they have almost no activation. Keeping the arm rising and falling and making adjustments with the torso rather than the shoulder rotation will put you in a much safer position and typically keep you more connected to your partner (which also helps you be safer). By maintaining the connection of the arm to the torso, you can also effectively lead turns by initiating small rotations from the chest and spine rather than large motions from the arm.

Scapula as Counterweight (or Turns and Trebuchets)

The other issue I often see putting shoulders in harm’s way is the tendency to think that everything needs to go up. People become so focused on their hand that they forget there is a wrist, elbow, shoulder, and ultimately, spine attached to that hand. So if your only awareness is the hand needs to go up, everything else in that chain tends to go with it. Again, the shoulder rises and you are suddenly in the vulnerable position of having your hand above your head with only your rotator cuff actively holding the shoulder in the socket.

trebuchetWhat has served me best is to bring an awareness of my shoulder blade and to think of it as a counterweight to the arm, similar to but not quite as unbalanced as the counterweighting found in a trebuchet. When I want my arm to rise, I don’t think about taking my hand up, but rather, I think about initiating by allowing the scapula to slide down (inferior) my back and away from my head. This serves to stabilize the shoulder in several ways. One, it insures that my arm does not come up without my scapula being solidly in touch with my ribs and it additionally eases some of the effort of lifting my arm, meaning my hand goes up with less muscular effort and I have more freedom to adjust in case of emergency. One of the easiest ways to experience this is to stand with your back against the wall and try both lifting your shoulder blade as your arm rises or letting it slide downward as your arm rises. With the downward slide, you should feel more of the engagement in your chest and back and your arm should feel much lighter and floaty than when you lift the shoulder blade with it.

incline_pulleyThe counterweight idea is not only useful for turns, but can also be applied to protecting the shoulder from collapsing forward when stretching out in swingouts, tossouts, rocksteps, etc. In a stretch where the arm is not going to come up above shoulder level, think of the shoulder blade as a counterweight to the front of the chest and allow the chest to rise and open as the shoulder blade descends. In the inclined pulley illustration, think of M as the shoulder blade and m as the arm. So long as M is weighty enough, it will resist being pulled up and over the top by m. But if the force of m wins out, then the shoulder blade (M) will be pulled up over the top of the pulley and it will all tumble down the slope. By letting your shoulder blade remain weighty when stretching (at a natural angle) it will prevent a lot of potential strains and sprains that can occur from collapsing and hyper-extending the shoulder.

Keep it Personal

There is no one right way to do this. There is a great deal more variability in human anatomy that a typical textbook will not show and as such, there is a great deal of variability in function as well. The safest angle for one dancer may feel very unstable for another and so on. The more you can create ease in your body, the more ready your muscles will be to keep itself in safe and comfortable positioning. Similar to the non-Newtonian frame concept, the more you are in a fluid, rather than rigid, state to start, the more readily you will be able to react both to potential threats and to communications from your partner. In addition, the safer your body position feels, the more it will free up your attention to try more awesome things. Use the above as suggestions to play with your own angles and ways of conceiving of motion and use whether it feels more tense or less tense as the metric for more vulnerable or less vulnerable.

Making Better Use of Your Lats

It’s another one of those often used, but tough to execute, pieces of advice, “use your lats.” I hear it a lot in the swing dance world and in the fitness world and while it seems to be a simple idea, many people struggle with it. Often, the issue is not that the lats aren’t active, but that other muscles are preventing the lats from fully activating. So here’s a quick run-down on how you can gain better access to this muscle.

lat-extensionWhat are Lats?

Just a quick definition for those of you unfamiliar with them, your lats, or latissimus dorsi, are the main power muscle involved in retracting the arm from an extended postion.  So if you are is out in front or above you (flexion) and you want to pull it into back towards a neutral position by your side (extension), that’s the job of the lats. The lats are also used for a few other movements but pulling in (extending from flexion) is a primary issue in dance and athletics.

Extending to Activate

When attempting to engage their lats, most people (and most of their instructors, coaches, trainers, etc.) try to go at it directly. “Find your lats and squeeze them” can work, but most people struggle with this version. I have found that taking a more 3-dimensional, indirect approach helps many people to more effectively engage their lats, allowing them to get greater power and range of motion out of the muscle.

The basic idea is to think about expanding the muscles of the anterior (front) chest and sides (pectoralis major, pectoralis minor, and serratus anterior). Instead of focusing on your back and trying to squeeze from there, put your attention on the front of the body and allow the chest muscles to expand as you pull. Rather than initiating from the back, imagine the force starting from the chest and wrapping around and under the armpit and through to the low back. As you do this, be aware of the head and neck which have a tendency to push forward in response; keeping the head upright will help the chest to expand, enhancing the engagement of the lats.

wide-lapels-bow-tieIt also helps to work on keeping the space around the clavicles (collar bones) spacious and wide.  Imagine wearing a jacket with extra wide lapels that extend into the space of the shoulders.  The more the shoulders settle wide and back, the more it will help you to engage the lats when using your arms.

Why Extension Helps

The rigors of modern life (computers, driving, etc.) frequently put us in an arms forward position for extended periods of time. This means that their chest muscles are often stuck in a contracted position. As a result, many people become habituated to a posture that involves some level of collapsing in at the chest.  So when they attempt something like a lat pull or retracting in from extension, the anterior chest muscles tend to stay contracted.

metal-pulleyThis contraction of the front muscles causes an inhibitory effect in the lats. This response, known as reciprocal inhibition, causes muscles with opposing actions to be prevented from contracting at the same time. Similar to how you can only move a pulley rope by pulling on one end at a time and allowing the other end to move, a joint only moves effectively when muscles on one side expand, giving the opposing muscles room to contract. By focusing on expanding the chest, you allow room for the lats to contract and prevent the reciprocal inhibitory effect.

Beyond Just Lats

This expansion tactic can be used to aid in movements throughout the body. By lengthening the antagonist muscle to a movement, you can provide more space for the acting muscle to contract, adding to both potential for power and mobility. The more you work with activating your body in a 3-dimensional fashion this way, rather than isolated muscles, the more freely you will be able to move across all your joints. So the next time you are having trouble executing a motion, try finding the opposing muscles and allowing them to expand, using space over effort to move.

Video

Jamming

This is a really well put together video on jazz as a metaphor for sex and using lessons from musical jam sessions as a way to inform how we approach sex.  Anyone who’s been in my classes for very long knows that I use dance & sex as crossing metaphors a lot.  So, to me, this video makes perfect sense for dance as well.  You get better with practice (both solo and partnered), just because you danced once doesn’t mean you get to dance every time, and it’s not ok to force a move.

This ties into something I’ve been noticing in dance lately too that people seem to think social norms don’t apply just because someone agreed to dance with them.  For instance, it’s generally considered not ok for me to berate a woman into doing something for me, yet I’ve come across plenty of leads who seem to think it’s ok to just crank up the power if a follow doesn’t do what they expected on the first attempt to lead a move.  I think the more we view music, dance, and yes, sex, as a collaboration instead of a give and take, the more amazing things can happen.

And perhaps my favorite idea in here is that pleasure is a renewable resource. 🙂

No Dancesplaining, Please

scolding_child

Dancesplain

  1. To provide negative, and typically unsolicited, feedback to a dance partner with an attitude of superiority. Can be given on or off the floor by men or women and conveys that the recipient of the feedback is the sole cause of any problems in the dance.
  2. The gender-neutral equivalent of mansplaining in a dance context

This past weekend, I was teaching a beginner Lindy workshop with my partner, Lindsay. About halfway through the class, she leaned over and whispered to me “there are a lot of guys telling the follows what to do, can you say something?” I got on my soap box for a minute, made a little speech about it, and class moved on. But given the number of times someone has mentioned something like this to me in the last month, I figured it was worth putting into post form.

Let me preface this by saying I do not think this behavior is limited to men. I have seen women do the exact same things in a dance, and other contexts. It just so happens that I have heard complaints on at least 4 or 5 separate occasions in the past month of leads, without establishing any permission, telling follows they are doing a move wrong. I will give some benefit of the doubt and say that this may sometimes be people thinking they are being helpful, but it’s rarely as helpful as they think it is.

And a caveat, the following ideas should be superceded in cases of physical danger.  If someone is hurting you, you have every right to tell them without asking permission and if they don’t listen, I believe you have every right to end the dance immediately.  That said, there are still more and less effective ways to have that conversation that will be discussed below.

The Issue

I think there is an underlying fallacy that “If I know better than my partner, then I should help by telling them they are doing it wrong.” The problem with this is that it assumes you are doing things perfectly. This assumption is just inherently incorrect, you can always do things better. And the better you do something, the more naturally it sets you partner up to do their part better. For instance, I spent years watching body flight (ie. continuing momentum) be drilled into dancers and thinking it was just something follows had to be told to do. In recent years, I have started to recognize that there are ways to follow through that even most complete beginner follows interpret as “keep going.” If I hadn’t continued to refine my leading, I would have just kept assuming that every partner I danced with would have to be told to travel through. It reminds me of something Michael Mathis had said to me years ago, “I find that as I become a better lead, my partners just seem to magically be better.”

One_way_signsIn addition, immediately blaming your partner builds a wall between you. Rather than two people having a conversation, things become a lecture. And the typical accompanying tone of these lectures is scolding. When you tell someone, unbidden, that they are doing it wrong, you break down the partnership and lose out on hearing what your partner has to say.

I find blaming your partner and teaching on the floor tend to happen more often with dancers (and teachers) who have stopped growing. If you are a very predictable lead, your regular partners knowing your moves can make it easy to think that you have totally nailed leading them. And if you are a follow with the attitude of “I can follow perfectly if I have a good lead,” you may not notice that those good leads are making a lot of subtle adjustments to make the dance work with you. Both of these archetypes place blame squarely on their partner and, in a sense, minimize the importance of skill in their own role. Approaching  dance with this sort of attitude turns it into a binary system of “one person is right and one is wrong,” with a corrolary of “I always do it right, so guess who the wrong is…”

The Underlying Issue

Similar to mansplaining, I think the underlying issue here is abuse of a power differential. That is to say a perceived difference in skill (I’m the better dancer) is used to keep the other person down (You’re doing it wrong) rather than help them to be on the same level (could you try this, I would appreciate X, etc.) The sad part to me is that it happens often enough around me that it made sense to come up with a word to shorthand it. I have had follows come to me saying they had 6-8 guys in a night tell them they are doing something wrong. And before you think this is limited to bad dancers, I’ve seen rockstar dancers treat their partner or students similarly at times too.

I think the core of this is typically that when something doesn’t work, the conscious mind goes into overdrive trying to figure it out. The job of the conscious mind is to parse things down and put them in boxes with labels. A couple of the more readily available labels for problem situations are me/them and right/wrong. Since it doesn’t feel good to put the wrong label on me, we look for somewhere else to put it. Having someone dancing a different role right in front of us makes it that much easier to slap the “wrong” label on them, saving the embarrassment of putting it on ourselves. What we forget in doing this is that partner dancing is not just a me/you dance, but it’s an us dance and if we start using me/you labels, then we break the us. And in breaking the us, we often end up giving ourselves permission to crap on the newly labeled them.

Creating a Better Way…

So how can we move towards creating a shift? When I look at how mansplaining is being approached, I mostly see a continuation of the us/them mentality. It’s easy to lash out and call a dancesplainer an asshole and perpetuate the cycle. It is challenging but potentially much more productive to address the issues in a way that leads back to an “us” solution. With that in mind, here are a few communication skills I think are particularly effective in enhancing my own learning and effectively communicating with dance partners when there is an issue.

Look to Yourself First

One of the most effective tools for advancing my own dancing has been the idea that I can always do something better. As I lead, I look for where I may be miscommunicating or temporarily stopping/losing communication with my partner. Early on it was easy to get so wrapped up in what I was doing that I had no spare attention for my partner. The more I have worked on finding the holes in my connection, the more it has also made me better aware of what I am actually leading versus what I assume myself to be leading.

The same things goes for following. “He’s not leading it,” is legitimately true sometimes, but it also can become an easy out from figuring out how to connect better. When I’m working on following, my general goal is to work on sensitivity and reaction. If a move isn’t working, I do my best to follow what I perceive in the lead so that we can get a sense of where things are breaking down. The same way I have found holes in my connection as a lead, I’ve been able to find and improve on my communication as a follower by focusing on what I can do better first.

I try not to think of things in dance as your fault or my fault. In a sense there is only our fault. Looking to what you can fix first is not a matter of taking blame, but rather looking for what you can contribute to improve the situation.

Establish Permission

It’s generally kind of shocking to be dancing along and have someone, out of nowhere, tell you you need to fix something. Not only that, but it can easily shatter whatever happy bubble you’ve had yourself in, which has a tendency to piss people off. So even if your intent is to be helpful, unsolicited feedback often raises the fight or flight response and runs a risk of coming off as an asshole. We all blurt things out occasionally, and I know I’ve had occasion both to irritate and be irritated by friends when one of us just assumed feedback was welcome. It can help a great deal to find ways to prep for feedback and allow it in without breaking the happy bubble.

Both as a teacher and as a student, I have found it is often really helpful to approach first with a question along the lines of “Can I make a suggestion?” If he or she says “yes,” then we can proceed to having a discussion about it. If he or she says “no,” then I keep my opinion to myself unless that person is causing serious harm (in which case I might have led with something more direct like “I need to talk to you”). The act of asking for permission can feel a tad cumbersome but it respects the other person’s boundaries and gives them a moment to adjust to a state of readiness to hear feedback. It is the dance class equivalent of inviting someone to a performance evaluation rather than barging into their office and telling them they need to shape up or ship out.

Use Positive & Open Language

Even a cute bunny does not make this a fun statement to hear

Even a cute bunny does not make this a fun statement to hear

“You’re doing this wrong,” is a rather unhelpful statement and has a strong tendency to make the recipient feel lousy. It also introduces a level of certainty into the conversation that very few of us can truly live up to. Again, the conscious mind looks to be able to slap a label on something, but if you convince yourself you already have it figured out, then you shut down the opportunity to learn. Instead of approaching with a “You are/aren’t doing X,” wording, you can open a dialogue by describing what you feel or simply expressing that something doesn’t seem to be working. “I feel like we are losing connection here” or “I think we are are behind the beat” are far more friendly wordings that invite your partner to explore the issue as an equal.

If you approach things as equals then you can give feedback as a potential experiment rather than a command. “What happens if you lean back more?” is a sentence full of possibility and potential avenues for learning. “You need to lean back more,” shuts down the possibility that anything other than your idea could be correct. When you use an open question or statement, it creates space for both you and your partner to learn together. When you make a closed statement, you not only are shutting down your partner’s opportunity to explore, but you are effectively saying you have nothing to learn from the situation.

Building Something Beyond Yourself

We all dancesplain occasionally. I’ve certainly done it and times and had it done to me. The world we live in is rife with opportunities to make one group right and the other wrong. But when we do this, we drive a wedge between ourselves and our partner. Judgmental feedback can cause people not just to take issue with us, but to fear judgement from every lead or follow they dance with. If you want to help your partner grow, then help them to feel safe and free to play and grow and you will reap the rewards of having great partners to dance with. And if you can’t say it with respect and love, then please don’t say anything and ask for help from someone more skilled in giving feedback, because the fear of judgement has a far more potent effect on most people’s dancing than any bodily technique point you can offer them.

In the last two years I have talked to a lot of long-term intermediate/advanced dancers and noticed a great trend towards self judgement and less talk about loving the dance. I know this doesn’t apply to everyone, but I think the more we treat each other with respect and love, the more the dance will grow. If we treat each other with judgement and fear, noone’s going to want to dance with us. That said, I’d like to leave you with a talk from one of the great lovers of this dance, Dawn Hampton (click the link below to hear Dawn deliver this as only she can):

I really want you to love the dance, to love the music, to love yourself. The only thing that I can say to you is when you get out on the dance floor, is let go.

The Power of Reflective Practice

Lodge_cameraIt’s an idea many of us have heard or even expressed ourselves in learning to dance: it’s important to tape yourself. While it’s an easy concept to understand, I have never seen it illustrated so clearly as I have recently with a couple of new students. Working with them has been a great education for me in seeing how powerful the idea of taping yourself can be.

Dr. Lodge McCammon and soon-to-be-Dr. Brandy Parker joined my classes at The Lindy Lab about 3 months ago. Lodge is an educational expert who helps teachers flip their classroom and introduce the idea of Reflective Practice to student’s learning skills. The essential idea is to tape yourself performing the skill or talking about the material you are studying and then review the tape of yourself to connect with your own progress.

3 Weeks

Lodge and Brandy started with one Lindy class on their first week and were pretty much hooked from the get-go. Lodge has described it to me as finding something he feels like he should have been doing all his life. After the first week, they upgraded to an unlimited class package and were practicing, like most beginning dance students, based on feel alone and occasionally going dance.  After 3 weeks of that and a total of 13.5 classroom hours, they decided to tape themselves for the first time and posted this video:

It was after this first taping that they realized that Lodge’s work with flipped classrooms and reflective practice could be applied to their dancing as well.  Following the taping of this first video, they began spending more of their practice time taping and reviewing their dancing.  Lodge has said that this taping was actually a great tool for building confidence as he found his taped dancing looked a lot better than he would have expected it to.

6 Weeks

A few more weeks passed and we were into the Christmas break.  Lodge and Brandy were stoked to keep learning so we switched to doing a couple of private lessons to bridge the gap until January classes.  At their request, we taped the entirety of each private lesson and Lodge and Brandy would review the lesson later, practice a bit, then send me a video talking about what they were working on before the next private lesson (Click here for an example recap video).  They have both commented that these videos were extremely helpful, noting that they often picked up some major concepts from rewatching the videos that had not landed for them during the lessons.

After a few more weeks of dancing and about 5 hours of private lessons, Lodge and Brandy recorded and posted the following video, dancing to a tune they wrote and recorded by themselves.

For a difference of 3 weeks, the shifts in fluidity and energy are pretty impressive.  They also changed where they were dancing because we figured out that Lodge was originally ducking his head a lot to avoid hitting the ceiling fan in the middle of the room.  My favorite thing about this video is that at 6 weeks, Lodge and Brandy’s own creativity and personality are already coming out in their dancing.  The choreographed break away parts are things I hadn’t taught them, so it’s awesome to see them already starting to show off their own ideas.

At this point, Lodge and Brandy asked me to add that teaching style has had a lot to do with their ability to integrate reflective practice into the growth of their dancing.  In the past year or so, I have focused classes on first principles of motion with an emphasis on encouraging creativity, musicality, and general experimentation with one’s own motion.  Lodge and Brandy both feel that emphasis on creativity and personal experimentation have helped a great deal in inspiring them to move forward in their dancing and to try mixing in their own educational models.

10 Weeks

January group classes were a bit more Charleston heavy and Lodge and Brandy took everything again.  They also had one extra private lesson with me and one from Nelle Cherry while she was in town.  At this point, they’d taken on a lot of information and were spending more time on integrating, so towards the end of 10 weeks they were starting to slow down on classes and ease up on practicing a bit.  At about the 10 week mark, they recorded another original song and posted this video:

I think it’s best to let the last video speak for itself.  Especially in comparison from Week 3 to Week 10, the difference is really impressive.  Working with Lodge and Brandy has inspired me to start taping myself again and to get a camcorder setup for the dance studio to make this kind of practicing available to other students.  If you are interested in learning more about Lodge’s work on education and practice, check him out on facebook at FIZZ Education.

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