7 Anchors

4. DOUBLE RESISTANCE

A. The anchor is engaged by 4&a. On the “&a” after 5, the resistance is released and the anchor goes away for a moment. The resistance/anchor is then re-engaged on the 6.This can cause a back and forth action between the partners. It can be soft & smooth, possibly with a waving action, or straight and more staccato.

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B. The anchor is engaged by the 4&a. On the “&a” after 5, the resistance is released, or relaxed. The resistance/anchor is then re-engaged on the & after 6, right before the lead of the next pattern. This is very similar to the previous, but can be more subtle if the resistance is relaxed rather than completely released. It allows for a bit of drifting after the initial post with more time to the second post since it’s delayed until the & after 6. This particular version, with a relaxed rather than released anchor, is similar in feel and possible effect as the Floating Post too.

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C. The anchor is engaged by the end of four and kept on 5&a. The resistance is released, or relaxed on the 6 and re-engaged on the & after the 6. Although not the standard or optimal way to get the stretch of WCS, this can be an effective way to force the characteristic elasticity

Some instructors actually consider this connection as bad technique. Admittedly when done poorly, this is very uncomfortable and jarring. This type of connection can also cause dancers to do a pronounced twist of the arm during the anchor in an effort to reconnect that resistance and get ready to lead the next pattern. I call that the “Here we go lead.” But, done well, I think this connection is another useful tool in your bag of tricks and can enhance the dance.

5. DOUBLE RESISTANCE with COMPRESSION

This is similar to the Double Resistance as above, but instead of just releasing the resistance, the connection is brought to compression before returning to resistance. In order to get to compression between the two resistance connections, it helps to anchor a bit early on 4 to get a subtle “bounce” reaction in the connection. The anchor is engaged by a little earlier than standard--right on 4. On the “&” after 5, the resistance is released. On the “a” the partners compress. The resistance is re-engaged on the 6 or the & after the 6.

If they allow their centers to move dramatically towards the post it will cause a distinct back and forth action between the partners. This was a common feature in some classic styles of WCS, and would lend itself to a hitched start of the next pattern, where a kick ball change would be danced in place of a walk walk. A modern version of this connection keeps the compression more towards the fingers - especially of the lead, as well as a more subtle and smoother center movement towards the post - thus with less forward and back motion. The modern styling often is used to move the couple a bit to the side (lead’s right) after the compression into the second resistance.

6. COMPRESSION POST

These last two... I’ve debated not including. They are a bit tricky, and I’ve had some tell me that these are used in other regional varieties of swing, not true WCS. Nevertheless, I feel they are legitimate connections for dancers to be aware of, and used sparingly and smartly can enhance your WCS, even if you choose to not include them in the formal definition of WCS.

Use an Underarm Turn pattern (some call it an Underarm Pass or Right Side Pass), as the pattern when applying the following:On count 4, compress with your partner. Release the compression during the “&a” after the 4 and then apply any of the other anchors above from beat 5 through 6&. In order to lead compression on count 4, the lead must slow down the follow’s momentum using his connecting arm and hand through count 3--similar to leading a cut-off or reverse whip pattern, close his hand and bring his center towards the connection.

Then the leader and follower should move their center towards the post. Compressing on 4 brings the partners closer together and creates a connection that has a lot of potential energy. It can be a powerful tool to either keep your partnership in a more intimate distance during an open position, or can accentuate the dramatic difference between compression and anchor as the compression is released and the anchor engaged. Combining this compression on 4 with each of the other anchor variations will give you a different look and feel. Combining this with a Double Resistance With Compression will result in extra back and forth (two compressions and two resistances), so it could be very obnoxious and downright painful. But, skillfully -- and sparingly -- done, can be a tool to use for funky and contrasting movements.