Pulsing: Heartbeat of the Dance
  Skippy Blair  © 2/02 Rev. 8-02, 8-03,  2-06

 Every once in a while, I review a few of the 2003 critiques from the US Open.  Having so many, and being able to watch the videotape, it is amazing how much I continue to learn..  (You know you have ceased to grow, when you feel you have nothing more to learn).  I always suggest to contestants - that they study their own performance on videotape.  They should view it as if the performers were someone else.  You can pick out many things that need improvement when you are pretending it is someone else.  The same elements elude us when we view ourselves. 

Viewing recent competitions, pulsing seems to be the one element that could take everyone’s level of performance up a notch.  In order to add Pulsing to your dance, it is important to know what pulsing is NOT - as well as what it is.  Pulsing is described as a recurring Accent that is in the essence of the dance.  Few dancers seem to realize that if the Swing music they have chosen accents the Downbeats, (1, 3, 5 & 7), that does not mean that the dancer should do the same.  All forms of Swing take on an added excitement and a more professional look when the Pulse can be observed (and felt) as emphasizing the Upbeats, (2, 4, 6 & 8 in the music).

There are those who understand a little bit about Pulsing, but do not practice it enough in their everyday social dancing to make a difference. I can guarantee you that Pulsing the dance will not occur in a performance unless it has become an integral part of the dancer during regular social dancing.  Pulsing is not a bounce.  It does not require going up on your toes or making a loud noise.  It is simply the firming of the muscles around the Center Point of Balance (solar plexus) on every Upbeat, (2, 4, 6 & 8 in the music). 

There are two different concepts that are often mistaken for each other.  Pulsing is that underlying basic rhythmic movement of the CPB, within the framework of the body.  It is a subtle, but “constant” heartbeat of the dance. Musical Interpretation is the added spice that connects the body to a variety of interesting, often syncopated, sounds in the music. 

The correct use of Pulsing adds contrast, variety, and drama to every performance.  We all know what happens when a person does not have a pulse.  Without a pulse we experience what we call a flat-line.  It is possible to view a performance that is actually very interesting - even borders on being exciting - and yet leaves the audience wondering what was missing.  The missing element is often Pulsing.  A pulse gives life to a performance.  If you were to stand still and contract the muscles in the abdomen - up into the Solar Plexus on every Upbeat, you would begin to experience the feeling that something more is happening than just keeping time.  Pulsing more closely connects the dancer to the music. 

Pulsing is not a quick fix. It takes time to develop, but is well worth the effort. I have never seen a performance that did not move up a notch, simply by adding the element of Pulsing

Famed cellist, Yo Yo Ma, on a television interview, was asked what he did with the notes that made his music the best in the world.  He said that it was not the notes that he played, but the quality of the spaces between the notes that made the difference.

 

 
In dance, I would say the same thing is true - as it relates to Pulsing.  Pulsing the Upbeat in Swing allows the body to come alive - breathe -  by holding the Pulse through the “&a” following each Upbeat.  Currently, Pulsing has become a big part of the on-going Teachers Training, as well as all local and out-of-state Intensives.