I am getting conflicting information from two well trained teachers in Int. Latin. With delayed walks in Rumba, and to create a sharp snappy look in Cha Cha with speed--one teacher uses a lot more pressure with his hands and body than the other. One teacher uses momentum and has a very light lead and the other has a very firm lead and applies more pressure on his partners hands.

The teacher with the light lead says that it is important not to push, pull, or use your arms much or you will get the lady off balance and she can't do her steps. The other teacher doesn't push or pull, but has timing with much more pressure.

I have watched the top pros with their speed, quickness, snaps, and have concluded that it is all about timing with not much pressure. However, some teachers do use much more pressure than others. How much pressure do you use with leading and is a light lead with very good timing what one should strive for?

Anonymous. Once you have applied pressure ,ease off . Its like opening a door for the lady. You should not have to push here through. Opening the door should be enough. With the lady in the Fan Position . If you want her to draw her RF to the LF a little bit of pressure that should be all that's needed to close. If you then want her to step out with the LF a little pull is enough and so on. Nothing looks worse than an arm wrestling contest.This I have been told. That doesn't mean you have an arm with no tension in at all. It is what goes on at the end of your arm that can be looked at.

In a discussion about leading on another dance forum, I read something that might help here. The consensus seemed to be that the very best leaders were always aware of where the woman's weight and balance were and led in ways that supported her balance and her moving her weight from foot to foot. My guess is, if you can do that, you can use any degree of pressure you want.

But, speaking as a follower, I prefer a light, but clear lead. The best leader I ever danced with, I had no feeling of being "led" at all--just a feeling of connection and an almost magical sense of being exactly where I needed to be at all times. In retrospect, I think it was that he was guiding my transfers of weight extremely skillfully.

Ellen,

This is exactly what my teacher has been working with me on. Some of ladies that dance with him say that it feels like they are dancing with air. In my lesson this weekend we worked more on feeling the ladies balance, steps, and movements and leading accordingly. However, some figures had more pressure or stronger leads than others. For example, a closed hip twist in rumba required more lead or power than leading out of a fan. It also helps if you can dance or know the ladies part well--then try to just feel her balance and movement. Every lady is different and one needs to really concentrate to feel all of this. Most of the leads are very light with the leader using her momentum.

I tried this in the smooth dances with a light but firm frame and with no pulling or pushing--just let the lady dance like you weren't there--except for some very gentle leading. It does take some concentration on the guys part, but it does work for me.

This is sort of the Zen elightment level of leading. Very slow going in lessons and subtle when being taught, but well worth it when you finally put it together.

West Coast Swing challenges all of this more since it is a improvised dance with the lady taking over the lead at times and the guy sometimes making up figures according to the music. A pure lead and follow dance. Ag. Tango has some of the same principles too.

Other ladies--what does a good lead feel like to you?

Anonymous,

That's funny. My sister and I (both dancers) talk about the "Zen of following"!

Also, Anonymous, your story is a great example of the value of taking lessons from a pro of the same gender (or dance role, anyway). It would take a very, very experienced female teacher to know as much as most male teachers do about leading, so you are getting subtleties that you might not get the same way if your instructor was female.

If any of you are fortunate enough to have a Slavik tape it might be a good idea to focus on the hands and the amount of tension in the arm that is leading. Whilst developing a light hand hold don't transfer that to the foot pressure which should be strong and into the floor. Karina's demonstration of having a napkin under each foot gives a fair idea of the pressure needed. Very important but often neglected.

Anonymous's. I can't think of a better excercise for leading from the man in this case a Rumba. Lady. Back Basic . Hip Twist with a 1/4 turn to the left and a 1/2 to the right. Send the lady to the Fan Position. Bring her out and on 4 1 turn her a 1/2 turn to go back to the Fan again. Bring her out again and turn her anti clock wise into a type of cuddle hold. A few movements of the hips to suite and back to the fan again. Finish with a Hocky Stick. Nine bars of Music including the hip movement. This is an easy group but can become a mess if the lead through the hand isn't done properly by the man because of the subtle movements of the man's hand and the quick turns by the lady on 4 1. Three in all.
That whole group ladies steps can be done as a solo excercise by the man to music. Can be a bit of a party piece if done side by side with partner with few arm movements added.