OVERVIEW

It is a lead-follow partner dance that involves rhythmic, syncopated, and often sensual movement.

With the resurgence of Lindy Hop during the 80's and 90's, a Slow/Smooth Lindy style developed that shares a musical tradition with West Coast Swing (WCS) and original Blues dancing. This set the stage for a recent spread of contemporary Blues dancing and the evolution of Blues Fusion.

While open-connection Blues dancing has much in common with WCS (minus the anchors) and Slow Lindy (minus the swivel hips) - unlike WCS, Blues dancing is largely unstructured, without a "standard" basic pattern. There are no basic steps - although "pulsing" is an aesthetic common to all Blues dancing.

Blues dancing is entirely about musicality and connection with your partner - which is achieved primarily through weight changes, breathing, and visual/physical connection through the partners' emotive core (sternum) - and less through ballroom "frame".

Blues dancing has three physical frames of connection: Close Embrace, Closed Connection, and Open Connection.

MY BLUES PHILOSOPHY - THE EMOTIVE CORE

Likewise, Blues dancing has a pulse that emulates that heartbeat - and movement comes from what I call the Emotive Core (at the sternum, near the heart). I make a distinction between the Emotive Core, and what ballet dancers would call their Power Core (the pivot point between upper and lower body isolations). Your Power Core provides the strength in your movements; your Emotive Core is what communicates your intent.

In Blues dancing, movement (and particularly the lead) comes from the emotive core. If movement is does not originate from the emotive core, then it's not readily communicated to your partner, leading to a break in connection.

By listening to the pulse in the music (it may be implied, particularly in blues-fusion music), then moving from your emotive core (letting your body/frame follow) - your partner (if they are listening) will automatically do the same.

CLOSE EMBRACE

Leads keep their torso and head upright, generally with knees bent. Follows keep their torso upright, or slightly leaned in; their head may be upright, or resting on the Lead's shoulder/chest (depending on height). A common error for novice Follows is to lean back or press their hips in - this breaks connection, causing the Lead to either lean over, or press their hips into their partner's in order to regain connection.

CLOSED CONNECTION

OPEN CONNECTION

A common error for novice Leads in partner dancing is to 1) step, 2) pull/push their partner, then 3) move their bodies. Instead, 1) lead by moving your core, 2) driving your legs, then 3) by maintaining frame your arms will follow. Your Follow should move with your core - not your arms.

WEIGHT CHANGES and MOMENTUM

While Blues may be danced in a slot, it often is not; in a crowded dance floor, the Lead may send the Follow into any open space, which may be in a diagonal direction.

Since Blues dancing is largely unstructured, it relies heavily on two "rules": clear/complete weight changes, and momentum: the Follow keeps moving/turning until decelerated/stopped or redirected by the Lead, and generally stays stopped, until accelerated/led by the Lead.

Squaring up and standing with split weight (common in old-school WCS, but not contemporary WCS) makes it difficult for the Follow to know what's coming next - as you can start with any foot/direction in Blues dancing. Instead, zipper your feet, such that the Follow's right foot is generally between the Lead's feet.

You should (with very few exceptions) always be able to lift up your unweighted foot and balance on just your weighted foot - at any point in your dance. It helps to keep your knees slightly bent, feet grounded, chest/head upright.

Weight changes should be distinct/clear enough that your partner is aware of it visually without touch, or with their hand on your shoulder with eyes closed. That's not to say that weight changes need to be exaggerated (they can be subtle), but they must be distinct.

This is accomplished by: a) bending the weighted leg, (b) letting the unweighted leg hang (or collect) beneath your body, and c) moving from your emotive core first.

PULSING

Pulsing generally involves planting weight on one foot, shifting slightly without a real weight change, then replanting weight on the same foot.

Nor does Blues dancing generally involve emphasized hip patterns in Open Connection common to Lindy. In Blues dancing, hip movement is led by the emotive core, rather than from the hips or arms.

A NOTE TO WESTIES

Blues dancing emphasizes musicality - and the song, or simply a moment between the partners, will suggest a pause (not necessarily an accented break), where you just maintain weight on one leg - either still (feeling each other's breath), pulsing, or doing a light shimmy or sway. The music or mood may also suggest switching to quarter, half, or double-time. Follows from a Westie tradition must pay particular attention to the Lead's weight-shifts - as they may decide to just hang out in place for a bit. The beat does not dictate a step - think of your dance as another layer of instrumentation over the music.

A fundamental feature of WCS is the anchor - and while anchors may be used in Blues Open Connection (often called stretch), they often are not. The interpretation of the music may suggest an un-tensioned pause, or a bounce (lateral, not vertical) from full extension. Westie Follows will need to listen closely to interpret their Lead's intention; Leads need to be very mindful in using acceleration/deceleration to indicate their intent.

BLUES FUSION DANCING

In fact, as long as you maintain clear weight changes, lead with intension, and follow with momentum, you can really integrate technique from any dance tradition. It's a matter of musicality, with each dancer listening to the "voice" of their partner. Note, however, if you wish to maintain a Blues aesthetic in your fusion dance, remember to express your pulse.

- Bob Free, Founder of South Bay Fusion