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For the Lead and Follow to interact with each other, communication needs to occur between the dance couple. Because it's not practical to discuss moves verbally, physical contact is the most effective means. More advanced dancers will take many cues from each other through this connection, with the Follow using it to communicate feedback to the Lead just as the Lead uses it to suggest moves to the Follow.
The most accomplished dancers use connection as a line of communication which allows the Lead to incorporate the Follow's ideas, abilities, and creative suggestions into their own styling and selection of moves. In many partner dances, the Lead's steps differ from the Follow's.
In face-to-face positions, the Follow generally "mirrors" the Lead's footwork. For example, if the Lead begins on their left foot, the Follow will begin on their right foot. In choreographed pieces and other situations where the Follow is in a tandem position or shadow position, the Lead and Follow will use the same footwork. Usually both partners move together as a unit, but in some dances the partners move in opposite directions - together and apart again.
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In partner dancing, dancers seek to work together to create synchronized or complementary movements. The Lead is largely responsible for initiating movement, whereas the Follow's role is to maintain this movement though they may choose not to. This process can be described as involving the initiation of momentum or 'energy' by the Lead and then the subsequent maintenance, exaggeration, decreasing or dissolving of this momentum by both partners. This momentum or energy may be manifested as movement in its most obvious formor in a range of more complex interactions between partners: Compression where each partner 'compress' the energy by bending joints and moving towards or 'into' their partner, to varying degrees ; Leverage where one partner - usually the Lead - exploits the development of compression or connection to shift their Follow's weight or to 'ground' develop 'compression' downwards, with the contact their feet make with the floor themselves more thoroughly before initiating movement ; Tension is the opposite of compression - partners moving away from each other but still in contact It is also helpful for dancers to regard their partners in terms of their points of balance to help the Lead initiate movements for their Follow partners.
- Lead and follow
These points of balance include the front-facing side of the shoulders, the front facing side of the hips, and the Follow's center the abdomen. If the Lead wants to bring the Follow close, the Lead is to apply tension and draw the hand in and down toward the Lead's own hip; to send the Follow away, the Lead would guide the hand toward the Follow and add compression, signaling the move away.
Obstruction avoidance[ edit ] A general rule is that both Lead and Follow watch each other's back in a dance hall situation. Collision avoidance is one of the cases when the Follow is required to "backlead" or at least to communicate about the danger to the Lead. In travelling dances, such as Waltzcommon Follow signals of danger are an unusual resistance to the Lead, or a slight tap by the shoulder.
In open-position dances, such as Swing or Latin dances, maintaining eye contact with the partner is an important safety communication link.
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Weight transfer[ edit ] For partner dancers, using weight transfers is a way for a Lead to communicate a 'lead' for a dance step to a Follow. Our online magazine advises you how to build an attractive profilegives tips on writing the first message to someone new and even helps you prepare for that all important first date. More dating advice Online dating sites: It is subsequently important to select a serious dating site that enables and facilitates your search for the person that suits you best; a dating site that allows you to clearly define your priorities for your next relationship.
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