This is a whole new page talks about dancing.. Dancing is a good dating game between boys and girls. Tap dance, folk dance, modern dance, square dance, and lambada... are very popular today. To all those party animals, dancing is a very attracting game to them.
Boys and girls get to know each other by dancing. A girl would dream to have a handsome, tall, and smart guy dancing with her in the center of ballroom. She would be the next Cinderlla. A boy would be proud to have the most beautiful girl dancing with him in the party. However, every boy and girl should know how to dance....
A lady has to learn how to follow. A man has to learn to lead. Leading requires that a man know first, exactly what he wants to lead and then conceptualizing how to convey that message clearly and comfortably to his partner. Then out onto the dance floor for practice, practice, and more practice. The mission for the man is to understand foot patterns as well as body positioning and proper timing of the steps. He must know precisely where he wants his lady to go when lead. It is the man's mission to learn how to convey that lead so that any and all the ladies he dances with can follow him. Do keep the length of your stride short while you are trying to master new patterns. Then as you begin to master the pattern (or combination) and are more sure of yourself you may choose to lengthen your steps in smooth dances. In rhythm dances you must concentrate on timing and dancing to the beats of the music and the timing of your leads. It is the goal of the lady to be able to successfully follow any man's lead. It is more important for a man to lead only what he is absolutely confident of. Trying to lead fancy or complicated patterns that you haven't the foggiest idea of how to lead should be considered a "felony". Ladies subjected to such abuse should be able to press charges.
It is entirely possible that your basic skills which differ between the Smooth dances and the Rhythm dances are quite dependent on your personal tastes. These personal tastes will vary not only from person to person but also as your age and developmental motor skills change. You can pretty well recognise and categorize smooth dances by their moving or progressing across the floor while in closed dance position. Foxtrot, Quick Foxtrot (Quickstep), Peabody, Waltz, all require that you and your partner move around the dance floor (generally in the Line of Dance) as opposed to staying in one particular part of the dance floor. In most social ballroom situations the length of your steps will not be longer than that of a comfortable stride of walking. Side steps much longer than the width of one's shoulders are not required. It has been said that all you need to know in order to learn how to dance is to know how to walk. Do not let anyone kid you with this vague and trite generalization. Walking out on the street or where ever you must use this form of locomotion a pied is a different skill than the dance walk. Stop and observe a public place where many people are walking by; you will note that the style of walking differs significantly from person to person. The net objective of walking usually is to "get from here to there" (and perhaps back). People walk differently because it is not deemed necessary that something so "natural" as walking be required to standardize or work on after you have passed the toddling stage. Once you have ceased to fall down and/or are able to walk around without bumping into stationery objects or other people, the walking skill seems to be one that generally does not receive further attention as to whether you are walking "properly" or not. Since you want to appear smooth in your "smooth dances" you must address the problem of learning how to move your body smoothly across the dance floor. There is an additional mission in ballroom dancing and that is the necessity of learning to walk backwards and sidewards as well as forward These skills are usually not learned until you are confronted with the requirement of smooth movement using forward and backward and sideward steps on the dance floor. One of the first things that you must learn is to differentiate the dance walk from one's so called naturally acquired street walk.
Immeasurable hours, months and perhaps years of kinesiological analysis have been dedicated to and consumed by analytical types to arrive at some "break-down"or articulate verbalization of exactly what one's muscles are doing or need to be doing while one dances smoothly across the floor with one's partner. Oh yes! I almost forgot! The success of smooth dancing requires that you move smoothly with one's partner! Moving smoothly by yourself is only "half the battle" Since bodies are quite closely "connected" in high level smooth dancing, there is not only a requirement to move your body smoothly but to coordinate its movement with that of your partner's smooth movement. When you see two "super dancers" moving smoothly together there is an illusion of floating along smoothly with effortless grace. Do not feel badly if you cannot reproduce this "illusion" immediately. There seems to be quite some long list of prerequisites for the achievement of "the illusion of effortless grace". You must not only grasp the concept but you must give it much "floor time". First try to imitate the smooth movement of some one who is smoothly moving. You will discover that there is considerable discipline and self control required to recreate this smooth movement. Conscious effort in the use of the feet, ankles, legs, and torso during the learning process might be of some use to the analytical. Too much analytics, however, is likely to result in choppy, mechanical or robotic-like movement. At first simply remember some of the following general rules:
Skim and Land
No matter which direction you are going in it is more desirable to keep some part of the foot in close proximity (skimming) with the dance floor. When you place your foot it should come in for a gradual landing rather than a vertical placement. There should always be a softness as well as a strength in the transfer of weight from one foot to the other. This requires the proper coordination in the use of muscles of the feet, ankles, legs..... all the way up through the thighs and hips.
When moving forward in the Foxtrot on a slow step it is a fairly standard and accepted rule that you may use a "heel lead." That does not mean that you curl up your toes and land grotesquely on the heel of your moving foot. Also, excessive spring in your landing may result in a jolt. While you are learning, make a conscious effort to step more softly and eliminate "this jolt". The slow forward step therefore, is described as HT or (heel-toe). When you add quicks to your "slows" (usually following a slow forward HT step) you have reached that point in your dancing when rise and fall enters the dance picture. In taking the next quick forward (for the man) you should step forward on to the "front part of your foot" (often referred to as the toe, sometimes confused as the ball of the foot). This technicality is not of great importance unless you are getting deeply immersed in the extremely finely tuned international style rules of technique and the extraordinarily beautiful execution of "rise & fall". When descending from a toe step (from an "up position") the footwork must be Toe-heel (TH). This will help to remove the "jolt" which is the result of the missing transitional footwork and coming down directly onto the heel.
Maintaining a Good Frame
The torso must be carried erect but not militarily stiff. Maintain your frame and that includes the arms and hands in self supporting but not stiff position. Check to see that your arms and hands are devoid of "stress". There is a fine line between firm flexible self support and tenseness that results in a stiff look.
Hold Your Head high
Better balance is obtained if your head is consistently held and kept centered over the shoulders rather than tilted in one direction or another. Proper head position contributes immeasurably to body balance. (Body balance is one of the keys to successful leading and following.) The general rule in clsosed dance position, is that the man looks over his partner's right shoulder (to his left) and the lady looks similarly over the man's right shoulder to her left.
It is all right as a raw beginner to look down at your feet to determine just what they are doing. Don't let this fascination with feet become a permanent habit. A mirror adjacent to the dance floor might accomplish this purpose better. You must (early on in your learning) abondon this "looking down" so that you make a better appearance on the dance floor. Looking at one's feet (either yours or your partner's) serves no useful purpose. You must also eventually stop looking at your self in mirrors. Once these habits are acquired they are difficult to shed.