77:
179:
36:
368:, 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
375:
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
379:
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
337:
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
301:
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
261:
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
306:
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.
376:
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.
319:
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.
350:, the dancers are pulling away from each other with an equal and opposite force. The arms do not originate this force alone: they are often assisted by tension in trunk musculature, through body weight or by momentum.
387:
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.
438:
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.
334:
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.
302:
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
942:
262:
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.
384:
moving closer together and further apart are fundamental to the dance, requiring flexion and extension of the arms, alternating compression and tension.
94:
49:
380:
for differences in the connection. In some dances the separation distance between the partners remains pretty constant. In others e.g.
240:
222:
160:
63:
189:
1364:
1298:
504:
141:
113:
98:
1235:
998:
120:
364:
In swing dances, tension and compression may be maintained for a significant period of time. In other dances, such as
1263:
932:
360:
In a neutral position, the hands do not impart any force other than the touch of the follower's hands in the leader's.
270:, especially (but not exclusively) those that feature significant physical contact between the dancers, including the
204:
1240:
1213:
1103:
922:
429:
Novack, C. J. (1990). Sharing the dance: Contact improvisation and
American culture. University of Wisconsin Press.
782:
200:
127:
87:
1303:
852:
109:
1168:
963:
947:
895:
524:
55:
1218:
702:
315:
Following and leading in a partner dance is accomplished by maintaining a physical connection called the
842:
767:
263:
1273:
1133:
1128:
1093:
865:
727:
1308:
1225:
1053:
988:
978:
497:
1230:
1193:
1188:
1178:
1163:
1148:
1098:
1078:
993:
983:
777:
469:
411:
1245:
1198:
1123:
1108:
1043:
1018:
1013:
630:
134:
1338:
1323:
1268:
1158:
1143:
1003:
968:
927:
907:
880:
860:
827:
797:
655:
625:
529:
461:
287:
283:
1283:
1208:
1153:
1068:
1048:
1038:
1033:
1023:
885:
750:
660:
570:
539:
406:
338:
provide the connection, which may be one of three forms: tension, compression or neutral.
331:
295:
271:
267:
254:
1343:
1313:
1288:
1255:
1183:
1138:
1083:
1073:
1058:
1028:
973:
917:
745:
640:
534:
490:
365:
279:
1358:
1333:
1318:
1293:
1278:
1203:
1118:
1008:
958:
832:
812:
792:
670:
635:
575:
565:
560:
473:
396:
324:
316:
291:
1328:
1173:
1113:
1063:
875:
817:
772:
712:
707:
645:
617:
605:
590:
585:
465:
1088:
807:
762:
685:
650:
600:
381:
303:
76:
17:
912:
902:
890:
802:
735:
697:
680:
675:
595:
580:
555:
401:
837:
717:
665:
369:
275:
327:
and closed dance positions (also called "open frame" and "closed frame").
787:
690:
452:
ED: a framework for teaching Swing and Blues dance partner connection".
266:). Connection refers to a host of different techniques in many types of
740:
207:. Statements consisting only of original research should be removed.
822:
755:
513:
372:, the tension may become quite high without initiating movement.
486:
172:
70:
29:
482:
196:
448:
DeMers, Joseph Daniel (2013). "Frame matching and ΔP
1254:
941:
851:
726:
616:
548:
101:. Unsourced material may be challenged and removed.
498:
357:, the dancers are pushing towards each other.
8:
64:Learn how and when to remove these messages
505:
491:
483:
241:Learn how and when to remove this message
223:Learn how and when to remove this message
161:Learn how and when to remove this message
422:
7:
99:adding citations to reliable sources
25:
45:This article has multiple issues.
177:
75:
34:
1299:Dance in mythology and religion
86:needs additional citations for
53:or discuss these issues on the
1:
466:10.1080/14647893.2012.688943
454:Research in Dance Education
203:the claims made and adding
1381:
323:Connection occurs in both
520:
1365:Partner dance technique
110:"Connection" dance
355:compression connection
264:contact improvisation
1264:Dance and disability
95:improve this article
1309:Dance on television
348:leverage connection
188:possibly contains
1352:
1351:
1304:Dance occupations
1241:Wallis and Futuna
251:
250:
243:
233:
232:
225:
190:original research
171:
170:
163:
145:
68:
16:(Redirected from
1372:
1339:History of dance
1324:Dance technology
1269:Dance and health
1219:African-American
507:
500:
493:
484:
478:
477:
445:
439:
436:
430:
427:
288:West Coast Swing
284:East Coast Swing
246:
239:
228:
221:
217:
214:
208:
205:inline citations
181:
180:
173:
166:
159:
155:
152:
146:
144:
103:
79:
71:
60:
38:
37:
30:
21:
18:Leverage (dance)
1380:
1379:
1375:
1374:
1373:
1371:
1370:
1369:
1355:
1354:
1353:
1348:
1284:Dance etiquette
1250:
1009:Burma (Myanmar)
949:
945:
937:
886:Lead and follow
847:
783:Country–western
722:
703:Novelty and fad
661:Hoochie coochie
612:
571:closed position
544:
540:List of dancers
516:
511:
481:
447:
446:
442:
437:
433:
428:
424:
420:
407:Lead and follow
393:
332:closed position
313:
296:ballroom dances
272:Argentine Tango
268:partner dancing
255:partner dancing
247:
236:
235:
234:
229:
218:
212:
209:
194:
182:
178:
167:
156:
150:
147:
104:
102:
92:
80:
39:
35:
28:
23:
22:
15:
12:
11:
5:
1378:
1376:
1368:
1367:
1357:
1356:
1350:
1349:
1347:
1346:
1344:Women in dance
1341:
1336:
1331:
1326:
1321:
1316:
1314:Dance research
1311:
1306:
1301:
1296:
1291:
1289:Dance notation
1286:
1281:
1276:
1271:
1266:
1260:
1258:
1252:
1251:
1249:
1248:
1243:
1238:
1233:
1228:
1223:
1222:
1221:
1211:
1206:
1201:
1196:
1191:
1186:
1181:
1176:
1171:
1166:
1161:
1156:
1151:
1146:
1141:
1136:
1131:
1126:
1121:
1116:
1111:
1106:
1101:
1096:
1091:
1086:
1081:
1076:
1071:
1066:
1061:
1056:
1051:
1046:
1041:
1036:
1031:
1026:
1021:
1016:
1011:
1006:
1001:
996:
991:
986:
981:
976:
971:
966:
961:
955:
953:
939:
938:
936:
935:
930:
925:
920:
915:
910:
905:
900:
899:
898:
888:
883:
878:
873:
868:
863:
857:
855:
849:
848:
846:
845:
840:
835:
830:
825:
820:
815:
810:
805:
800:
795:
790:
785:
780:
775:
770:
765:
760:
759:
758:
753:
743:
738:
732:
730:
724:
723:
721:
720:
715:
710:
705:
700:
695:
694:
693:
688:
683:
678:
673:
668:
663:
658:
653:
643:
638:
633:
628:
622:
620:
614:
613:
611:
610:
609:
608:
603:
598:
593:
588:
583:
578:
573:
568:
558:
552:
550:
546:
545:
543:
542:
537:
535:List of dances
532:
527:
521:
518:
517:
512:
510:
509:
502:
495:
487:
480:
479:
440:
431:
421:
419:
416:
415:
414:
409:
404:
399:
392:
389:
362:
361:
358:
351:
312:
309:
249:
248:
231:
230:
185:
183:
176:
169:
168:
151:September 2014
83:
81:
74:
69:
43:
42:
40:
33:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1377:
1366:
1363:
1362:
1360:
1345:
1342:
1340:
1337:
1335:
1334:Dancing mania
1332:
1330:
1327:
1325:
1322:
1320:
1319:Dance science
1317:
1315:
1312:
1310:
1307:
1305:
1302:
1300:
1297:
1295:
1294:Dance in film
1292:
1290:
1287:
1285:
1282:
1280:
1279:Dance costume
1277:
1275:
1272:
1270:
1267:
1265:
1262:
1261:
1259:
1257:
1253:
1247:
1244:
1242:
1239:
1237:
1234:
1232:
1229:
1227:
1224:
1220:
1217:
1216:
1215:
1214:United States
1212:
1210:
1207:
1205:
1202:
1200:
1197:
1195:
1192:
1190:
1187:
1185:
1182:
1180:
1177:
1175:
1172:
1170:
1167:
1165:
1162:
1160:
1157:
1155:
1152:
1150:
1147:
1145:
1142:
1140:
1137:
1135:
1132:
1130:
1127:
1125:
1122:
1120:
1117:
1115:
1112:
1110:
1107:
1105:
1102:
1100:
1097:
1095:
1092:
1090:
1087:
1085:
1082:
1080:
1077:
1075:
1072:
1070:
1067:
1065:
1062:
1060:
1057:
1055:
1054:Faroe Islands
1052:
1050:
1047:
1045:
1042:
1040:
1037:
1035:
1032:
1030:
1027:
1025:
1022:
1020:
1017:
1015:
1012:
1010:
1007:
1005:
1002:
1000:
997:
995:
992:
990:
987:
985:
982:
980:
977:
975:
972:
970:
967:
965:
962:
960:
957:
956:
954:
951:
944:
940:
934:
931:
929:
926:
924:
921:
919:
916:
914:
911:
909:
906:
904:
901:
897:
894:
893:
892:
889:
887:
884:
882:
879:
877:
874:
872:
869:
867:
864:
862:
859:
858:
856:
854:
850:
844:
841:
839:
836:
834:
831:
829:
826:
824:
821:
819:
816:
814:
811:
809:
806:
804:
801:
799:
796:
794:
791:
789:
786:
784:
781:
779:
776:
774:
771:
769:
766:
764:
761:
757:
754:
752:
749:
748:
747:
744:
742:
739:
737:
734:
733:
731:
729:
725:
719:
716:
714:
711:
709:
706:
704:
701:
699:
696:
692:
689:
687:
684:
682:
679:
677:
674:
672:
671:Neo-Burlesque
669:
667:
664:
662:
659:
657:
654:
652:
649:
648:
647:
644:
642:
639:
637:
634:
632:
629:
627:
624:
623:
621:
619:
615:
607:
604:
602:
599:
597:
594:
592:
589:
587:
584:
582:
579:
577:
576:open position
574:
572:
569:
567:
566:close embrace
564:
563:
562:
559:
557:
554:
553:
551:
549:Participation
547:
541:
538:
536:
533:
531:
528:
526:
523:
522:
519:
515:
508:
503:
501:
496:
494:
489:
488:
485:
475:
471:
467:
463:
459:
455:
451:
444:
441:
435:
432:
426:
423:
417:
413:
410:
408:
405:
403:
400:
398:
395:
394:
390:
388:
385:
383:
377:
373:
371:
367:
359:
356:
352:
349:
345:
341:
340:
339:
335:
333:
328:
326:
321:
318:
310:
308:
305:
299:
297:
293:
289:
285:
281:
277:
273:
269:
265:
260:
256:
245:
242:
227:
224:
216:
206:
202:
198:
192:
191:
186:This article
184:
175:
174:
165:
162:
154:
143:
140:
136:
133:
129:
126:
122:
119:
115:
112: –
111:
107:
106:Find sources:
100:
96:
90:
89:
84:This article
82:
78:
73:
72:
67:
65:
58:
57:
52:
51:
46:
41:
32:
31:
19:
1329:Dance troupe
1274:Dance awards
1169:Pontic Greek
876:Dance theory
870:
866:Choreography
778:Contemporary
460:(1): 71–80.
457:
453:
449:
443:
434:
425:
386:
378:
374:
363:
354:
347:
343:
336:
329:
322:
314:
300:
294:, and other
258:
252:
237:
219:
213:January 2016
210:
187:
157:
148:
138:
131:
124:
117:
105:
93:Please help
88:verification
85:
61:
54:
48:
47:Please help
44:
1159:Philippines
1144:Netherlands
1134:Middle East
686:Table dance
651:Go go dance
631:Competitive
382:Modern Jive
311:Lead/Follow
304:Ilya Vidrin
1226:Uzbekistan
994:Azerbaijan
903:Musicality
871:Connection
828:Postmodern
798:Historical
681:Striptease
676:Pole dance
626:Ceremonial
581:slow dance
418:References
412:Musicality
402:Dance move
259:connection
197:improve it
121:newspapers
50:improve it
1231:Venezuela
1194:Sri Lanka
1189:Singapore
1149:Nicaragua
1079:Indonesia
984:Australia
853:Technique
751:formation
666:Lap dance
474:144054392
370:Lindy Hop
276:Lindy Hop
201:verifying
56:talk page
1359:Category
1246:Zimbabwe
1199:Thailand
1124:Malaysia
1109:Kiribati
1019:Cameroon
1014:Cambodia
1004:Bulgaria
979:Assyrian
948:national
943:Regional
923:Spotting
918:Sequence
896:glossary
843:Two-step
788:Flamenco
773:Breaking
768:Boogaloo
746:Ballroom
691:Twerking
656:Grinding
641:Ecstatic
391:See also
1256:Related
1236:Vietnam
1209:Ukraine
1119:Kurdish
1089:Ireland
1069:Hungary
1059:Georgia
1044:Denmark
1034:Croatia
999:Belarus
989:Austria
974:Armenia
964:Albania
928:Turnout
813:Lyrical
793:Hip-hop
636:Concert
561:Partner
530:Outline
353:During
344:tension
342:During
195:Please
135:scholar
1204:Turkey
1184:Serbia
1179:Russia
1174:Romani
1164:Poland
1129:Mexico
1094:Israel
1064:Greece
1049:Europe
1024:Canada
959:Africa
950:dances
908:Pointe
881:Graham
861:Ballet
818:Modern
741:Ballet
728:Styles
713:Street
708:Sacred
646:Erotic
618:Social
606:square
591:contra
586:circle
472:
280:Balboa
137:
130:
123:
116:
108:
1139:Nepal
1114:Korea
1104:Japan
1099:Italy
1074:India
1029:China
933:Turns
891:Moves
833:Swing
823:Polka
808:Latin
763:Belly
756:waltz
601:round
525:Index
514:Dance
470:S2CID
397:Frame
366:Latin
317:frame
292:Salsa
142:JSTOR
128:books
27:Dance
1154:Peru
1084:Iran
1039:Cuba
969:Arab
913:Pole
803:Jazz
736:Acro
698:Folk
596:line
556:Solo
325:open
114:news
838:Tap
718:War
462:doi
346:or
330:In
253:In
199:by
97:by
1361::
468:.
458:14
456:.
298:.
290:,
286:,
282:,
278:,
274:,
257:,
59:.
952:)
946:(
506:e
499:t
492:v
476:.
464::
450:T
244:)
238:(
226:)
220:(
215:)
211:(
193:.
164:)
158:(
153:)
149:(
139:·
132:·
125:·
118:·
91:.
66:)
62:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
