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357:, tension and compression may be used as indications of upcoming movement. However, in both styles, tension and compression do not signal immediate movement: the follow must be careful not to move prior to actual movement by the lead. Until then, the dancers must match pressures without moving their hands. In some styles of
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The general rule for open connections is that moves of the leader's hands back, forth, left or right are originated through moves of the entire body. Accordingly, for the follower, a move of the connected hand is immediately transformed into the corresponding move of the body. Tensing the muscles and
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Instead of just tensing the arms, connection is achieved by engaging the shoulder, upper body and torso muscles. Movement originates in the body's core. A leader leads by moving himself and maintaining frame and connection. Different forms of dance and different movements within each dance may call
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When creating frame, tension is the primary means of establishing communication. Changes in tension are made to create rhythmic variations in moves and movements, and are communicated through points of contact. In an open position or a closed position without body contact, the hands and arms alone
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Other forms of communication, such as visual cues or spoken cues, sometimes aid in connecting with one's partner, but are often used in specific circumstances (e.g., practicing figures, or figures which are purposely danced without physical connection). Connection can be used to transmit power and
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is physical, non-verbal communication between dancers to facilitate synchronized or coordinated dance movements. Some forms of connection involve "lead/follow" in which one dancer (the "lead") directs the movements of the other dancer (the "follower") by means of non-verbal directions conveyed
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argues that connection between partners involves norm-based communication that include “a physical exchange of information on the basis of ethically-bound conditions” (proximity, orientation, and points of contact) which constrain agency and predictability.
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locking the arm achieves this effect but is neither comfortable nor correct. Such tension eliminates the subtler communication in the connection, and eliminates free movement up and down, such as is required to initiate many turns.
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that allows the leader to transmit body movement to the follower, and for the follower to suggest ideas to the leader. A frame is a stable structural combination of both bodies maintained through the dancers' arms and/or legs.
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The connection between two partners has a different feel in every dance and with every partner. Good social dancers adapt to the conventions of the dance and the responses of their partners.
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Vidrin, I. (2020). Embodied Ethics: Conditions and Norms of
Communication in Dance Partnering. In Thinking Touch in Partnering and Contact Improvisation: Philosophy, Pedagogy, Practice, 240.
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with body contact, connection is achieved by maintaining the frame. The follower moves to match the leader, maintaining the pressure between the two bodies as well as the position.
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energy as well as information and signals; some dance forms (and some dancers) primarily emphasize power or signaling, but most are probably a mixture of both. Philosopher of dance
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through a physical connection between the dancers. In other forms, connection involves multiple dancers (more than two) without a distinct leader or follower (e.g.
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moving closer together and further apart are fundamental to the dance, requiring flexion and extension of the arms, alternating compression and tension.
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for differences in the connection. In some dances the separation distance between the partners remains pretty constant. In others e.g.
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In swing dances, tension and compression may be maintained for a significant period of time. In other dances, such as
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In a neutral position, the hands do not impart any force other than the touch of the follower's hands in the leader's.
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Novack, C. J. (1990). Sharing the dance: Contact improvisation and
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Following and leading in a partner dance is accomplished by maintaining a physical connection called the
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provide the connection, which may be one of three forms: tension, compression or neutral.
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and closed dance positions (also called "open frame" and "closed frame").
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ED: a framework for teaching Swing and Blues dance partner connection".
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DeMers, Joseph Daniel (2013). "Frame matching and ΔP
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202:January 2016
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82:Please help
77:verification
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36:Please help
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1148:Philippines
1133:Netherlands
1123:Middle East
675:Table dance
640:Go go dance
620:Competitive
371:Modern Jive
300:Lead/Follow
293:Ilya Vidrin
1215:Uzbekistan
983:Azerbaijan
892:Musicality
860:Connection
817:Postmodern
787:Historical
670:Striptease
665:Pole dance
615:Ceremonial
570:slow dance
407:References
401:Musicality
391:Dance move
248:connection
186:improve it
110:newspapers
39:improve it
1220:Venezuela
1183:Sri Lanka
1178:Singapore
1138:Nicaragua
1068:Indonesia
973:Australia
842:Technique
740:formation
655:Lap dance
463:144054392
359:Lindy Hop
265:Lindy Hop
190:verifying
45:talk page
1348:Category
1235:Zimbabwe
1188:Thailand
1113:Malaysia
1098:Kiribati
1008:Cameroon
1003:Cambodia
993:Bulgaria
968:Assyrian
937:national
932:Regional
912:Spotting
907:Sequence
885:glossary
832:Two-step
777:Flamenco
762:Breaking
757:Boogaloo
735:Ballroom
680:Twerking
645:Grinding
630:Ecstatic
380:See also
1245:Related
1225:Vietnam
1198:Ukraine
1108:Kurdish
1078:Ireland
1058:Hungary
1048:Georgia
1033:Denmark
1023:Croatia
988:Belarus
978:Austria
963:Armenia
953:Albania
917:Turnout
802:Lyrical
782:Hip-hop
625:Concert
550:Partner
519:Outline
342:During
333:tension
331:During
184:Please
124:scholar
1193:Turkey
1173:Serbia
1168:Russia
1163:Romani
1153:Poland
1118:Mexico
1083:Israel
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1038:Europe
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939:dances
897:Pointe
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1103:Korea
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1063:India
1018:China
922:Turns
880:Moves
822:Swing
812:Polka
797:Latin
752:Belly
745:waltz
590:round
514:Index
503:Dance
459:S2CID
386:Frame
355:Latin
306:frame
281:Salsa
131:JSTOR
117:books
16:Dance
1143:Peru
1073:Iran
1028:Cuba
958:Arab
902:Pole
792:Jazz
725:Acro
687:Folk
585:line
545:Solo
314:open
103:news
827:Tap
707:War
451:doi
335:or
319:In
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188:by
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