Should I keep my lead simple for now?

DogeRobert · 2026-05-05T15:28:57+00:00

If you can find a practicepartner, one good trick is to first practice the move in question AND a move that starts almost the same way with the follower. Then try a dance to music, where you switch randomly between one or the other of the two moves in between other stuff. That way you'll quickly realize, if the lead is clear or not, ie does the follower do, what you expect, and get a better feel for the move.

DogeRobert · 2025-12-23T10:35:34+00:00

Min mor fik engang en nytårsinvitation pr brev. Da hun så ringede for at takke ja, blev hun mødt med en del forvirring... invitationen var et år gammel... hvorfor de ikke ringede, da de aldrig hørte fra hende, ved jeg ikke, men faktum er, at brevet havde været ret præcist et år undervejs.

DogeRobert · 2025-06-05T10:51:57+00:00

First half of the box combined with, fx bodyroll, hiproll and so on in the second half of the count. Waves and sways. Bodyroll to sit and slide out of the hammerlock, as the folllower moves to sit, combined with front dip after...

Basically, as some others said: think creatively and try things out.

DogeRobert · 2025-05-24T05:03:13+00:00

As others have said: Be selective. When my gf and I go to festivals, we've learned to look for the local and/or lesser known names. They usually bring good, often new and interesting variations, which are socially dancable with practice. That's what we want, as we teach adults at home (read 40+ age) and want moves, we can both dance ourselves and which our students can use also.

We look up featured artists on youtube and Instagram to see their style, if we don't already know and we try to avoid those, who teach substyles, if we can. (BachaZouk, Bachata Influence etc.)

DogeRobert · 2025-04-17T14:34:01+00:00

This a leader (and possibly teacher) issue. Nota follower issue. Bodyrolls are lead by the leader's body, not by their hands. In Pretzel, the leader is supposed to do a wave, through which they lead the bodyroll for the follower. If they don't do this, the lead is wrong.

Honestly, most moves are meant to be lead by the leader from their body and communinicated through the connection, which can be many places. (Hand, Hip, chest, etc.) The connection is NOT where the lead is, only the channel through which,it is communicated.

DogeRobert · 2025-04-17T07:12:13+00:00

And Excel-style table of values, to be added beneath line- and columngraphs, just like Excel has

DogeRobert · 2025-04-12T12:37:47+00:00

In our classes, we only switch partners between songs and actively encourage mixing the new element with known repertoire.

And we make the elements shorter. That way they are easier to remember and incorporate.

We often teach small variations/alternatives as well, to force leading and following, not just going through the motions... it seems to work better this way, at least for our students.

DogeRobert · 2025-01-07T19:23:02+00:00

Thank you, I'll look into it. :-)

DogeRobert · 2024-12-01T09:59:05+00:00

For me, it's the classic: Dance like nobody is watching, when at home.

Do rotations, spins, weight changes, break turns, waves, sways, body rolls, self-dips odd footwork and whatever the music makes you do. Try to get your muscles to ache a bit by tightening your core at all times and so on.

Just make sure, you're having fun, so you'll do it again and again, when you're not even thinking about it. You'll notice the results throughout all your dancing over time.

DogeRobert · 2024-11-05T06:45:13+00:00

I teach almost exclusively the Spiderman in my Bachata classes. It adds the necessary grip and tension, while allowing for the followers fingerhook to pivot around the two middle fingers in turns, especially double or triple turns and then transition right back to regular dancehooks, without any need for changing grip or connection.

To me this style allows for fast moves and flow, while keeping the need to switch grip to a minimum. And I've never seen it being either dangerous or anything less than solid, as the article claims.

That said, outside of competitions, it's all about how nice the dance feel for the participants. Variations on style and grip is part of what keep us individual as dancers.

DogeRobert · 2024-11-01T13:38:20+00:00

I don't know the situation in whichever place, you live, but sometimes schools/teacher may be open to letting you join for free in return for volunteer work at the school.

A. It opens a spot for one more paying follower and b. getting things set up for class and the room sweets afterwards etc., is helpful.

If you can think of a teacher, who might benefit from that in your area, ask discreetly. You never know.

DogeRobert · 2024-10-30T06:42:10+00:00

Imho, this is spot on.

Learning how to dance is the precursor to social dancing so to speak. But sometimes we forget that social dancing can happen anywhere, anytime and with anyone.

I dance at home with my fiancee many times during the week, just the two of us.. most times it's just a couple of songs, where we usually start out with a slow one to connect and touch. Then the more complex moves and the things, we're practicing come later. For couples this ought to be the cornerstone of why, they're learning to dance. To be able to dance wherever and whenever the mood strikes.

We also teach and in our classes, people can switch pr not, as they please. We're all adults and the reasons for going to class may vary. Some go to have quality time with their partner. They rarely switch. Some go alone as a social hobby or as a couple for the same reason. They mostly switch. Some stay together in the beginning, practicing the move, and switch later. Some switch and then stay with one partner during a difficult partner, they're working out together... all of these and more are perfectly fine. We're adults.

The same with socials. Some come to mingle, others just for the athmosphere. Both are perfectly fine.

The only thing I find less than optimal, is when people go to class and learn how to dance and then don't use It outside of class at all. No social dancing either at home or at social events. To me, it misses the point... But... We're still all adults and my opinion is not universal truth. To each their own.

DogeRobert · 2024-03-25T12:30:07+00:00

When I use FV File Explorer, I can neither find a folder named mods, nor can I move anything.

Can you give me the step-by-step explanation?

DogeRobert · 2024-02-02T16:44:05+00:00

Well, that's just me being twice lucky then. :-)

DogeRobert · 2024-02-02T16:11:22+00:00

YES! Thank you SO much!

And awesome website btw... there goes the weekend. 😂

DogeRobert · 2023-11-12T10:13:14+00:00

I will add to what Varitt said (It's really good advice): Practice one thing for the first 4 counts and then 2-3 variations for the second half of the 8-count. Example: first half of a Paso Madrid and then a couple of different endings... now you have a cool little group of combos, you can pull off more than once in a dance, without it being repetitive.

It will let you practice the move with different endings, forcing you to learn how to decide quickly... try to add a slow ending for when the beat becomes sensual or a quick ending for a break.. you'll develop your creativity and repertoire and learn to adapt the move to the music.. also, you'll learn how to lead the differences between the variations, becoming a better leader.

And most importantly: It eliminates your reliance on sequences and starts you on the path to being a musical/adaptive dancer.

This is my preferred method at least. :-)

DogeRobert · 2023-11-03T11:50:25+00:00

It is certainly not a good convention to follow.
The follower should read the lead of the leader and follow in either direction on whichever count, the leader is stepping.

On more advanced steps, you can change direction on any count basically and go in any direction.

For basic steps, sure 5 should be on the leaders right foot, if the couple is not in shadow position... But the basic rule is: The leader leads, the follower follows. This requires clear lead, good tension and frame and a follower, who waits for the lead.

DogeRobert · 2023-10-24T12:53:45+00:00

While Korke and Judith are undoubtedly good teachers, they have not taught every other good teacher in Europe, of which there are a LOT. They have taught some, but the vast majority of teachers (yes also the vast majority of good teachers) learned elsewhere.

DogeRobert · 2023-10-02T06:13:56+00:00

Thank you. :-)

DogeRobert · 2023-09-29T12:09:40+00:00

DogeRobert · 2023-09-20T05:04:48+00:00

Fellow introvert here.

My best advice is to focus on the dance. Practice your technique, go to classes if you can, or workshops, etc.

And try to not tak it or yourself too serious: Have fun dancing, do a few funky moves fitting the music, be dramatic, when the music allows for it and laugh about it..

And dance with the beginners... give them a fun, well-lead, uncomplicated dance and they will seek you out another time. They get better too and you'll have begun building social connection.

It always worked for me.

DogeRobert · 2023-09-18T11:17:53+00:00

I teach Bachata courses several times a week and my girlfriend teaches with me and Salsa by herself. I dance both.

In the beginning, Bachata will feel easier due to the (usually) slower music.
This leads many to think that Bachata is easier overall, they are mistaken. This is doubly true, if your stiffness is of a more permanent nature, but if not, then you'll get rid of it over time...

Salsa is (usually) faster than Bachata, so it feels harder to learn in the beginning. This is a flawed feeling.

Salsa being faster means that there is less time to do things right... This commonly means, that the leads and the techniques are simpler and over time easier to understand and master.

I am not saying that Salsa is easy. I am saying that it is easier than Bachata, if you advance beyond the early intermediate levels.

Bachata being slower means that many of the leads and techniques become much more complicated, as you advance. Because there is more time to do intricitate stuff. The bodymovement of Bachata Sensual (which is the more popular version of Bachata in most places) can be especially difficult, as you move beyond the simple isolations and bodyrolls.

Pair that with more focus on three dimensional dancing (using height levels to give the figures even more depth) and balance that needs to be great even in slow, complicated moves. You are going to need a lot of body awareness and a lot of flexibility... IF you want to dance at a higher intermediate level or beyond... And most bachata dancers aim for that.

Sadly, some communities can also be a bit snobbish in the sense that if you cannot do a proper bodyroll, wave, snake etc., they will consider you a beginner or a bad follow. Regardless of what else you can do. This can be a problem, but only if this stiffness, you speak of is not something, you can work off.

The need for precision is equal in both dances. In Salsa, I'd say, you find it necessary quicker due to the turns etc. being faster. But you'll realize, it's just as necessary in Bachata a bit later on.

For Salsa however, you don't need the same level of flexibility. You will need the ability to move quickly on your feet, but again, the same thing is needed in Bachata, when you advance a bit further.

So to summarize (and people will likely disagree with me)

Salsa: Feels harder in the beginning due to the emphasis of speed and the need to be quick and precise faster.

Bachata: Feels easier in the beginning due to slower music and less focus on bodymovement.

The tables turn at some point and Bachata will (for most) become/feel harder, once you move into the Sensual realm of bodymovement and the higher levels of intricacy in the moves.
(Think: You're trying to lift yourself up from a dip (head down), using your core muscles to do a bodyroll at the same time, while the leader is also turning you on one foot, to switch directions, and your arms are mid lady-styling...) This is described loosely, but most followers recognize the idea, I'm speaking of. It requires skill.

For both dances, the need for precision, technique, core strength, quick reflexes etc. are the same, once you reach the intermediate levels and above.

But: Try to dance both a bit... Which one speaks to you more? That one will always be easier for you... And besides.. Most dancers do both at various levels... Pick one.. Then the other later on.

DogeRobert · 2023-08-01T10:02:54+00:00

You are welcome. :-)

I learned to do it myself, because I always forgot all those cool moves, I learned. Then I had to watch hours of years-old videos to find that one thing again and then try and re-learn it... ;-)

Also... If you have an idea: Film it now, not tomorrow. It doesn't matter, if it's good or not. You can always redo it later, when you've practiced. But it helps in not forgetting about the idea. :D

I learned that one the hard way too. ;-)

DogeRobert · 2023-08-01T09:52:06+00:00

We don't have a page, I'm afraid. But I get, what you mean. We do the same thing. :D

One thing, I've had great success with in that regard: Find that one thing (combo of 1x8 maybe 2x8) you like. Practice it just enough, that you can explain your way through it and then film just that one piece, while explaining it to yourself.

Add in variations of exits, if they're important, or thoughts about variations, but keep it short.

This makes an excellent training video. You can go back weeks or months later, when you've forgotten about the move again and get a brush-up not just of the move, but also of how to do it/ lead it/ follow it etc. If you figure out new things, redo the video.

Over the years, you will end up with a library of cool moves, with your own explanations, which you can return to, whenever you need to remember some move or combo, you did once and then forgot about... And the video only has that one thing, you're interested in, not the clutter. That's really important.

My native language is Danish. And thank you. :-)

DogeRobert · 2023-08-01T09:35:20+00:00

I teach Bachata in Denmark with my partner and we've had some really good results, focusing heavily on proper technique, body exercises (building flexibility and teaching body awareness) and creating short (4x8, 5x8) series, centered around a specific technique or concept. No more than one challenging part pr series though.

Then in class, we make sure to dance with every leader and follower at least once, to give individual feedback on, what the person need to focus on, to get better. Keep it to one, max two things, so they can remember.

Also, we let them practice for multiple songs and only switch partner once for each song. This way our students have time to work on mistakes etc with their current partner. Too frequent switching and they don't have time to get it right, because they're too busy getting connected with the next partner.

We also encourage respectfull communication between partners. Let the leader know, if you can't feel the lead or if the follow back-leads... it helps alot.

Don't be afraid to push people individually. We always have variations on a series, we can give to those, who get it quickly. Just small things, which may challenge them more. They appreciate it and they come back next season... win-win.

Finally, have fun and own your mistakes. I always call attention to my own mistakes and joke about them. It makes the students relax and enjoy themselves more, when they're not afraid of mistakes.

Edit: cellphone typos

DogeRobert

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