one of the ways i started leading was in a stagger formation, meaning, you have two rows, and the back row is staggered so that each person in the back is between two of the dancers in the front row, so everyone can see themselves in the mirror. the lead is one step further up from the front line, on the left. when the lead person is done, they step back and to the right, into the next position in the front line, as the person furtherst to the left in the back line steps forward into the lead position. everyone else in the stagger adjusts accordingly, with everyone in the front row moving one position to the right, and everyone in the back row moving one position to the left.

each person takes a turn moving into the lead and leading a combo of whatever steps were taught that night. it's short and sweet, and gives everyone a chance to lead in a fairly non threatening situation.

I use both of the strategies by Wendy and Sandy. But one of the main things I address is students attempting to lead movements that they haven't yet mastered (they are harder movements) or before they can successfully lead the most basic combos. I want to see that they lead this combo or this move at least 6 out of 8 trys successfully over time before they add more. In the Heavy Hips repertory all of our dance movements are categorized as Level 1, 2, 3 and 4 for technical difficulty. So a dancer must be able to successfully lead and follow all level 1 moves before adding in level 2 etc.

So........ I will often print out in really big type on 3 or 4 sheets stuck up on the mirror or wall at eye level, the movements I want them to use in their improv. I give only 5-6 moves to choose from - this way they repeat and drill the same moves over and over, but they can mix up the order as they please so still have creative liscense. This insures a blanket success across board of the group getting improv skills consecutively over time working up from basic and simple movements to adding more complex repertoire.

I also have different ATS skills set up for each level. In a level 1 class students are learning cues and how to follow by following me in the Level 1 repertory. In level 2 that is also the case and I begin to drill with them basic combos that are the first learned in ATS. Its not until Level 3 that I actually begin drills of leading and following. My main reason for this is because is the technical mastery of the dance steps themselves that will lead to successful ATS. If you don't have a group that has internalized every nuance of hand gesture, head, weight shift and style of the movement repertory, they will all "lead" the movements just a little bit differently. It is critical that the actual step is understood, learned and manifested exactly the same in order to have the most mesmerizing ATS pods and groups.

For my eye nothing looks worse than a group that is supposed to be unified and identified as one organism with every hand, wrist, foot and hip moving in perfect synchronicity but in reality is a jilted, creaky, just slightly off and everyone doing the move a bit differently out of sync blob. You can nip this early by really creating a dedication and committment to a clean repertory with very explicit style and technique protocols, then insure all your students drill and learn this before you introduce the actual leading and following. My experience leads me to think the actual leading and following are more advanced skills to be introduced after the relative technical mastery of the groups repertoire.

I also have a philosophical approach to ATS that I've written in essay form which I explore with my students before beginning official ATS training. They've all come to really respect ATS because I hold it out as an advanced skill - one they get to explore and learn after a certain dedication and time investment in developing basic technique and mastering Level 1 and Level 2 and part of the Level 3 repertory. For the average dancer that is a minimum of a 2 1/2 year investment of weekly practice. Its like what I learned in ballet - you don't get to pirouettes or explore point until you've mastered certain skills, theoretical undestandings and the basics like plies, which by the way are still drilled and perfected at the master level.

Blessings, p.

Not really, it's been going on for a few years. Double check the posts and you'll see the one right under this is Mar 09.

It's so helpful, it keeps coming back.

Bingo - if the attitude and support from the senior dancers is positive, it's a lot easier to lead and grow. If the senior dancers have long since forgotten what it's like to be learning this dance, and if they thrive on pulling out fancy stuff to make themselves look good, it intimidates newer dancers and makes them feel less willing to take a risk. I've seen it happen both ways and seen the results of each. I second the suggestion to encourage senior dancers to be mindful of newer dancers and help them along in a positive way.