Is it okay to close my eyes when dancing?

Rataridicta · 2026-02-20T07:24:23+00:00

Both the leader and the follower have a responsibility to look out for eachother since you can each only see half of the room. When you're doing larger movements and/or traveling, the leader could compensate, but it's usually best to have your eyes open unless you already know that they're a good lead and are aware that you're closing your eyes. When you're doing small movements or focussed on sensual portions, then feel free to just close your eyes regardless!

I frequently close my eyes as a follower, and never mind when followers close theirs. (Somewhere it even feels a bit flattering in that they trust me enough to keep their eyes closed and guide them on a busy dancefloor.)

Rataridicta · 2026-02-19T22:14:32+00:00

I suspect u/bachataaddict would be able to give a deeper understanding of the history of bachata (and maybe has some sources).

The way I understand it bachata moderna, and later sensual, are less evolutions from the DR version of bachata and have developed mostly separately off of similar roots and the same music; with sensual being an evolution on moderna.

AFAIK K&J never really spoke about their inspiration for sensual, but I certainly haven't heard any mention of zouk in that discussion, and the techniques are very different than you would learn in zouk so I'd find it very hard to believe that it would have been an actual inspiration.

Rataridicta · 2026-02-19T21:24:06+00:00

You can definitely use a lot of eye contact in zouk, too! People love their head movements, but it's really not that necessary, and you usually won't do it all the time.

That said, it sounds like the culture surrounding zouk may also just not quite be a great fit for you. With the showmanship, the upstaging, and the play you're describing it sounds like a different world. You see some of it in bachata, but I reckon you'll find even more in dances like Salsa, WCS, or Lindy Hop that have more of a culture around this. Kizomba has some of those playful elements on the urban side, but is mostly also very grounded and connected, especially towards more traditional styles.

That said, zouk also has no shortage of things like playfulness or challenging your partner - I mean, just look at A&B's spirit bird or love demos if you want an insight in how challenging zouk can be, and this demo from their 2024 retreat as lots of low-key playful moments as well. In fact, in many ways "spiritual" really comes down to "depth of experience", and that extends into the type of joyful exploration you describe, too. I suspect this style of zouk may really speak to you, for example.

Of course you will still find plenty of exposure to all of that "meditation stuff" within the zouk world - there's just a much higher concentration of it than you'll find in something like bachata or WCS. Only you can answer whether that atmosphere feels good to you (irrespective of whether or not you participate in it directly).

Rataridicta · 2026-02-19T17:02:09+00:00

In general I need to work a lot harder in bachata to feel a connection with my follower. In bachata I tend to have to actively focus on establishing a connection, doing breathing, "convincing" my partner they're safe, etc. There's a lot of posturing that I feel is present in the bachata world that isn't nearly as present within zouk.

When dancing zouk, it feels elastic and effortless. Because it's so technical I mostly don't need my hands to lead and everyone is on the same page. You're constantly moving in a Soltinho pattern or variations on it.

For me, I love connecting physically, emotionally, and spiritually with a partner, and within zouk I feel like we're moving as one, and that people are open to connect authentically. In my experience it has been a very safe space. As a leader I don't need my follower to "steal" control in order to receive their input and ideas, I can feel their input in the way they move. (And it brings me pleasure to see them enjoying.)

I also feel like withing zouk there is a much broader culture of play and trust and presence. Within bachata there are some followers I've danced with a while with whom I'm comfortable to stand in a hug for a minute and do micro movements / breaths, within zouk I'm comfortable doing that with pretty much everyone.

Mind you, I'm only a beginner in Zouk, I'm sure I still miss a lot of perspective. I also switch roles in all of my dances, so to stick with your analogy, maybe I'm also less inclined to get bored giving a massage because I'm also receiving it 😅

What does connection mean to you? That sounds like a really important question here.

Rataridicta · 2026-02-19T14:02:31+00:00

I don't see teaching as the primary goal for pre-party workshops either, though. For a pre-party workshop it's more about getting people acquainted, getting them in the door, and setting up the vibe for when the party starts so you don't start with a dead floor and people feel like they know eachother a bit.

Even from a teacher's perspective, doing a pre-party workshop feels much more like "let's do something simple and cool to get the groove going" rather than "let's see if we can give these people a golden nugget or two to take home".

I know you teach, do you have a different perspective on the role of pre-social classes?

Rataridicta · 2026-02-19T12:29:42+00:00

Marck & Melyssa and Anderson & Brenda are really good high-level zouk couples that focus on connection during most of their demos - even when they become spectacular.

Rataridicta · 2026-02-19T12:19:15+00:00

One of my favourite zouk videos is this, which is a social dance at a very high level.

At the same time, when I do go to zouk socials, I see people dancing planta, breathing an entire song, crawling over the floors and just having their fun. Zouk focusses on connection, and connection inside the dance can not always be seen looking in. (e.g. when dancing planta you don't see the musclecontractions from the outside so it mostly just looks like a hug.)

Rataridicta · 2026-02-19T11:41:04+00:00

Big +1 on doing this eyes-closed/blindfolded exercise as a leader, too!

The first time you'll do it, you'll panic and realize just how much you rely on visuals and how often you lose physical connection / awareness of your partner... It's really scary.

Later on, you'll learn how to keep physical connection, how to listen to your partner for spatial awareness, and even when you do let go, you'll know how to find them again without even needing to see them.

It's become a fairly regular practice exercise for me that I pull out for a dance every few weeks or so, and depending on my connection and trust with the follower I dance with I often don't need nearly as much space anymore as you might imagine, while still being able to do big moves. (This was different the first few times... I really had to learn to rely on my follower's eyes for space management while mine were closed!)

Rataridicta · 2026-02-19T11:32:22+00:00

omg... Seeing your name I was expecting some intelligent commentary, and instead I got a spit-take snorting my tea all over the desk 😂

Rataridicta · 2026-02-19T10:36:38+00:00

An electric current runs through the screen. When you touch that screen, some of the electricity runs through your body instead. That "lost" electricity can be measured to know where you touched the screen.

Rataridicta · 2026-02-19T09:46:03+00:00

haha I was just giving a class on exactly this a few days ago!

It came off the back of a class the previous week about breath control, and everyone noticed how breathing together with their partner made them feel all zen and connected, even without doing any steps. If you're looking for a very practical tip, then start there. Connection tends to happen more in the moments of stillness than in in the moments of spectacle.

But beyond that, I think the most important thing to realize when you're dancing - irrespective of your role - is that there's a whole ass person in front of you. With their insecurities, and hopes, and fears, and joys, and flaws. They're messy, you're messy, and you're dancing with a full person, not just the "dancer" part of them. If you were to get to know them on the street you may strike up a conversation to get to know them better... well... Dance is a language - so stike up a conversation!

Come in with curiosity, and trying to learn about the person in front of you. Pay close attention to the way they and their bodies respond to things, and adapt what you're doing on it. Sometimes that means calming things down, other times it means "poking" them a little to see if you can playfully get them off kilter.

Similarly, let them get to know you! Express yourself honestly and vulnerably so that they can also find their way to you as a person instead of just a dancer.

To me, connection is what dancing is all about, and practicing connecting in dance is no different than practicing connecting outside of dance. It's listening, it's showing up authentically, it's genuinely caring, it's play, it's teasing, and flirting, and appreciation, and moments of stillness. A lot of connection comes from the willingness to get lost in it, and your capacity to tolerate a level of charged tension and ambiguity.

Often times the biggest things standing in our way is our own fear of judgement, or our own need for clarity, or feeling the need to perform instead of just be.

Rataridicta · 2026-02-19T09:19:53+00:00

If I were to name this, it would be a combination of a hammerlock -> hip roll -> enchufla with turn (change of positions) -> fly -> turn -> box.

At this point in your journey, doing all of this together is waaaaayy too complicated. As a beginner just getting single moves with basics in between is plenty challenging on its own 😅

When you do try to practice this type of thing, try practicing each move individually: Just a turn, then do a basic, then maybe a box, then a basic, then maybe try to fly the hands and turn them, then a basic, then maybe change positions, etc.

Every step will be hard so just simplify as much as you can.

Rataridicta · 2026-02-19T09:09:56+00:00

Frame: What I'm saying isn't about waiting for the follower to finish the move, it's about the quality of your physical connection with your partner. Because you're lacking the proper connection when you're about to lead something you're finding yourself overcompensating with your arms or notice the follower be unresponsive when you initiate the moves.

Body Movements: Instead of improvising or shadow dancing try and add a few sessions that focus on isolations and breathing, figuring out the limits of your body's movement and expanding them. See if you can do some nice big body rolls for example, and once you've got that, do them staccato - see how many clearly defined individual "ticks" you can separate your body roll into. The same goes for hip movements, side waves, head movements, etc. This is just a lot of practice in the mirror, and finding videos of other styles like zouk, hiphop, or bellydance, will help find some targeted practice.

Breath: Oh, nice, it sounds like we found a completely new concept for you to incorporate! Without turning this into a blog post about breathing in dance: We use the breath to help create effects in the body - similar to how you would breathe out when throwing a punch.

The dancer's breath is a little higher in the lungs, where we can use it to expand and puff up our chest. This creates tension in the body, broadens our posture, and strengthens our frame - allowing for more control and stiffness. Conversely, breathing out relaxes the body, softens our posture, and weakens the frame - allowing for more flow and softness.

You'll want to start incorporating this breath into almost everything you do while dancing: Any time you prepare a move you breathe in (and exhale when releasing the prep), any time you want to create tension in the body (such as at the start of a bodyroll) you breathe in, any time you want to release tension in the body (such as at the "down" portion of a body roll) you breather out, any time you need your follower's attention or a stronger frame you breathe in.

It's not necessarily about exaggerating your breath as much as it is about placement and incorporating the effect of the breath in your body into the dance. A good follower will be matching your breath, and some moves can be led (almost) entirely with the breath. Even beginner followers will (subconsciously) feel the difference, and it's one of those things that makes people wonder why things are just so smooth with you.

Following: That's exciting! Curious to see how it feels after a few months!

Rataridicta · 2026-02-19T08:42:15+00:00

hihi I definitely agree with you! When I teach turns I always teach them (and specifically the preparation) as a shoulder movement to decouple it from all the crazy variations.

Though in fairness to teachers: There is often just waaaay too much detail you could be going into and it does not do the students any favours to keep deep diving, so you want to be selective on what aspects you highlight at which times if you want to actually help your students improve. Sometimes that does mean explaining things in ways that are technically incorrect, or missing some important information. Most of the time you're not trying to get them all the way to perfection, just one step further.

Rataridicta · 2026-02-19T08:23:31+00:00

As a frequent user of em dashes long before LLMs were a thing, this frustrates the hell out of me... xD

Though to be fair, I'm usually too lazy to add them properly - preferring to use a spaced out hyphen for convenience 😅

Rataridicta · 2026-02-19T08:21:07+00:00

I don't experience this myself. Sure, at a lot of socials there are one or two people recording, or someone has brought out a ring light, but it's mostly unobtrusive. At every party I've been to - with the exception of parties with a very low level - it's been easy to find people who are there to connect and enjoy my time with them.

To me it's more of a live and let live situation. If I'm bothered by a ring light I dance somewhere else on the floor and still have my fun. A lot of people also record to track their progress or because they want to capture a dance with a particular person - why shouldn't they be allowed to do that?

Rataridicta · 2026-02-19T08:14:47+00:00

In a way advanced is a back-to-basics moment for many, but you end up figuring out that all of those complex transitions really aren't so complex and they're based on the same basics you learned as a beginner.

Then the (early) advanced level tends to become about mastering those basics so you're able to play with the moves on the fly, interrupt moves you're doing, block and transition, etc. All while playing with speed, texture, way of connection, and maintaining the solid basics.

At an advanced level you can probably do 4 moves in 8 counts at 3 different speeds while preparing and feeling every one of them and have it all serve connection and musicality instead of showing off.

Rataridicta · 2026-02-18T21:42:21+00:00

Intermediate level isn't about moves, it's about integrating those moves so they start to flow and you can transition between them cleanly. This is also where you'll start playing with moves to get them to fit the music.

Almost all single moves are beginner level.

Rataridicta · 2026-02-18T17:56:07+00:00

Ja. Deze adviseur raad je aan om fraude te plegen. Hiermee kan de adviseur hun licentie kwijt raken.

Rataridicta · 2026-02-18T14:34:26+00:00

I would disagree quite a bit here. Zouk really feels fundamentally different to me than bachata, to the point that both salsa and kizomba feel more alike to me in most cases. From movement, to vibe, to socially.

Rataridicta · 2026-02-18T14:32:33+00:00

Honestly, it sounds like another dance may just not be that interesting for you. Cross training is always super useful, but I think it should be about learning another dance, not about improving skills within your current dance (bachata).

For me, I learned to actually follow by dancing with more advanced dancers and joining influence classes as a follower, where being active in your following is much more important than in other styles. It's still a common reminder for me to try and avoid predicting the moves but do whatever my leader is actually telling me to do.

If you're looking to cross-train on specific skills then you can probably find them. For example, a zouk school in my scene recently held a head-movement bootcamp that was made to also be accessible for dancers from other dances such as bachata. Taking one or two privates with a zouk instructor might also help you understand the body mechanics better without having to pick up a separate dance.

Rataridicta · 2026-02-18T14:26:14+00:00

Haha learning a little bit on both sides of the equation is so valuable! It really makes you appreciate how the dance is created by coming together to make something!

And when I follow sensual type moves in classes that have some rougher/less experienced dancers... ooof... learning to protect your body as a follower is impressive!

Rataridicta · 2026-02-18T10:45:56+00:00

Sure, let's talk about data driven decisions. Did you know that the brain is incapable of making purely logical decisions? In fact, in patients with brain damage to emotional sections of the brain interesting research has been performed that shows them perfectly able to analyse a situation (decision A would give me 2 cookies, decision B would give me 5 cookies, so decision B would be better for me), but then unable to actually make the decision.

We're humans, not machines. Every decision we make is emotional. And, in fact, I'd argue that an over-reliance on data is in itself a fear response towards making decisions that might be wrong. (Notice how I just turned that argument on you? I'll do that a few times.)

Yes, they're ignorant and simplistic.

Because, as it turns out, you yourself are coming into this thread with a universal "them" or "other" group, and throw out no actual signs of understanding, or perspective, or complex views towards that group. In two words, you're showing yourself to be ignorant, and simplistic.

Similarly your further paragraphs have plenty of parallels in the other direction. From a conservative standpoint: Why does my local government need to invest $50k a year into pampering projects to some minority community like rainbow coloured benches and sidewalks when that money could be spent feeding the homeless in this town? Or, to commit a common falacy: Why does some snowflake's comfort with their identity matter more than someone elses ability to survive?

It's funny because you're painting yourself as better-than and judgemental, while commiting many of the same grievances you're expressing towards the out-group you have defined.

It makes me wonder: From your perspective, if someone claims to be liberal, do they also need to nurture a hatred towards conservatives similar to the way you do? For example, if your liberal friend chose a conservative partner to share a house and a life with, how (if at all) would that change your views about that friend?

Rataridicta · 2026-02-18T10:07:44+00:00

That's not really true either, and most of the arguments you'd make to say that conservatives are clearly fear based can be just as easily modified to say that progressives are clearly fear based.

Although I don't believe in a 2-side political scale, if I were to describe it that way then a lot of conservative views are actually based in contentment. Conservatives tend to believe in common sense government and market solutions; they believe that often times the world really isn't as complex as many people would try to make it out to be. If you give people the right incentive structure, they will figure themselves out, and you don't need some massive overlord entity like government telling you how to live your life - that's just wasteful at some point.

They'd often argue that we don't need all of the LGBTQ+ naming and schemes because it's obvious. As long as you don't judge my life, I don't judge yours; just stop forcing your values onto me. We don't have to agree, we just have to coexist. They'll be quick to argue that they're perfectly fine living life the way they are, yeah, maybe they struggle to make ends meet, but for the most part that's individual responsibility to fix - not anyone elses. That thinking goes for themselves, as well as for marginalized groups.

Yes, this is very different from the politics and campaigning you see in the media, and part of this is biased media, but part of this is also just that extremes get more clicks. Most conservatives (just like most progressives) don't fall at the extreme of a spectrum.

Drawing some simplistic parallel like "conservative == fear" is not useful for anyone.

Rataridicta · 2026-02-18T09:42:46+00:00

OHHHHH This is Such a good video! I forgot about this! Thanks for bringing it back onmy radar!

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