There seems to always have been a ‘disconnect’ between what is taught and what is actually used and generally accepted as proper lead technique. This is as true in whip as many other steps. While whip has been taught primarily as a ‘center’ or body lead by the man stepping off to his left and slightly back before leaning back forward and angling toward the lady on the 2 (or more advanced at 2&), Mark found early on that a side and slightly forward step for the man and a full ¼ turn right with feet slightly split gives the man a much better balanced position as well as a better indicator to the lady a whip is coming. This requires an arm lead to bring the lady forward on 1 and again to open her up on the 2&….The argument against this technique has always been that it is an arm lead. Marks argument back is…”so what”. Once you get beyond a few of the basics and into the many extensions, patterns, turns and play etc., a majority of what is led becomes through the hands, wrists and arms. Many may try to claim otherwise but just watch them. Most is quite obvious.

If body and center leads were predominant most of ‘what we do’ would have to be much longer and/or wider steps and patterns. Therefore, since most of what we do (at least half), is led through the hands (face it, it’s a fact), why must whip be led thru the body if using a hand lead makes it, or any given step as much fluidity and simply makes more sense because of better positioning and precision? The side & back step is fine too but like most things in WC there is no ‘absolute’. (Except of course staying anchored on 6&)

4/10  I am happy to announce that the ‘Play set-up’  is no longer a component of WCS standard elements. Ladies ‘play’ should be implemented during side passes, open tuck turn and push break steps only. It is not necessary to ‘open the slot’ for ladies to add enhanced styling or movements to extend timing for phrasing. This can and should be accomplished through basic steps. It is STILL considered ‘bad form’ for the lady to ‘hijack’ the mans lead. The following description however, though outdated, can still be used in social circles as a way to ‘dress-up’ a ladies part if she desires the opportunity.

Mark T

 Still today, many leaders step onto their ‘rail’ on 1, raise the left hand with a slight resistance and use this action as the indication they are inviting the follower to ‘play’ across the slot. Well, yes they have.

The problems with this are, the follower has already committed to the 1, is suddenly surprised for a now expected ‘play’, and has used a portion of her play ‘space’ before she can put a play into action. A skilled dancer very much in touch with the music can quickly adapt and spontaneously add an appropriate and/or attractive play of some sort. Much like extending a common side pass with a musicality styled interpretation, which is the follower’s prerogative at any time…known as an ‘Adderuption’. (see below)

But an intentional play set-up shouldn’t be a surprise. Mark has taught that the leader should set up on his rail on the 5&6 prior to the play, ideally with a sailor shuffle without any lead on the 1. This allows the follower ample opportunity to formulate an appropriate play for the music and the full slot to execute it.

A simple but very effective concept the followers really appreciate.

• Along with this concept is the idea that every side pass ‘play’ is followed by the normal 3&4 5&6 exit and anchor. Easy in, easy out. No need to guess how to finish.
• Also was the teaching concept and understanding that EVERY push break, right or left side pass and Open Tuck turn was an open invitation for the lady to ‘Enhance’ the move and/or extend timing for the purposes of phrasing.  This extends the original intent of the lead but doesn’t interfere due to the positions and minimal amount of lead being used. This is important because many ladies are known to ‘steal’ or ‘hijack’ the lead at other inopportune times. Knowing when its appropriate or not is important.