Different Holds & Embraces

Understanding different holds allows dancers to transition between positions fluidly and opens up the vocabulary of possible movements.

Embraces & Holds Preamble

As a rule of thumb, embraces and holds are always offset slightly. This allows feet to slide between other as you move back and forth together.

Consent

It is important to understand that the embrace needs to have consent. Although with experienced zoukers it is generally already implied that you will start in close embrace (basically, a hug), it is generally accepted that both the lead and follow are subtely checking in with each other to make sure that they are comfortable with the embrace. Neither should force themselves into a close position. Generally speaking, the lead invites close embrace through relaxing their frame and opening their body language. The follow can choose to reciprocate or not. This kind of consent is pretty much only needed for close embrace, however.

Open arm connection

In terms of the control arm - the lead’s left arm and follow’s right hand - this is generally placed at shoulder height.

In zouk, this outer open hold arm is by default very relaxed. It is not used to steer. There is only a small amount of energy. It is used for communication, however, so it’s not just a floppy appendage. But don’t confuse communication with steering. Steering requires rigidity to have the lead directly apply physical energy through the body. Communication is about receiving information rather than energy from the connection point so that the follow can understand the intention of the lead. Big difference! More information on this can be found on Communicating With FrameCommunicating With Frame.

This is different to other dances such as bachata where the outer arm is used more to steer the follow.

Different Embraces

Close embrace

Normally, being a Brazilian dance, close embrace is considered to be normal and expected. This frontal body-to-body contact involves chest and hip connection. It’s not really a “special” position but rather the base from which the dance stems from. It really allows you to feel your partner’s body and understand them. Actually, a good dance starts in close embrace as it gives the opportunity to learn about your partner. It’s much easier to learn about your partner in a close embrace rather than starting with just hands or in open hold.

This is of course not say that the dance should be entirely done in close embrace. The beauty of zouk is that it allows a wide dynamic range, from big and expressive to intimate and close. This allows you express your musicality in different ways.

Close embrace instructions

Close embrace can be understood first by giving your partner a slightly offset hug. It is not the kind of hug where you stick your butt out, nor is it the kind of hug where you loom over with your head. You are standing with a straight but relaxed posture.

The lead’s right hand reaches around the back of the follow, under their arm. The left hand of the lead connects with the follow’s right hand, and held around shoulder height. The follow’s right hand reaches on top of the lead’s left. Depending on personal preference and size/height differences, the follow’s left hand can reach all the way almost to the lead’s left shoulder. And the lead’s right hand can reach all the way almost to the follow’s right shoulderblade. This gives a proper “hug” feeling that can feel quite cosy when you’re comfortable with someone.

There are many other variables of close embrace. For example, you can have both arms fully hugging. The possibilities are endless, but the idea of the connection point being front of the body is the same.

Cheek-to-cheek connection

It is not uncommon in close hold to have cheek-to-cheek connection. This is where the lead and follow touch their cheeks together. It is a way to increase intimacy and connection in the dance. This kind of connection however should definitely be consensual. Definitely do not force it.

Open embrace

Open embrace is one step removed. There is now space between the lead and follow - no frontal connection - and the connection point is through the arms and hands. The rest is similar, however it is obviously not possible to reach as far back around with the follow’s left arm and lead’s right arm, and so they slide into a comfortable position. Usually, the lead’s right hand is on the follow’s back somewhere near their left shoulderblade, and the follow’s left hand reaches behind the lead’s shoulder blade.

The arms should have contact throughout, and the follow’s right hand should generally be placed right behind the shoulder. If the follow places the hand on top of the shoulder, it can weigh down on the lead’s right arm and become uncomfortable.

Note! For the arm connection (lead’s right and follow’s left), the most important thing is that there isn’t a “gap” between the arms. The follow should be like an octopus, sucking her arm against the lead’s arm. If this means the hand lands closer to the triceps as for a tall lead, so be it!

The energy in this is more about the connection along the arm and the back of the follow. More about will be described later in Communicating IntentionCommunicating IntentionUsing body structure and energy to transmit movement information..

Open hold

Open hold is one step more removed. Now the connection points are in the hands of both. We use the relevant and appropriate Hand HoldsHand HoldsThe different kinds of ways we can hold each other's hands.. This allows for more space and freedom of movement for the lead and follow. Regardless of the open hold, we still do not put very much energy in the hands.

WiFi

Wifi hold means having no connection physical points. The frame is completely disconnected, and we rely solely on the torso to communicate. This also allows for a lot of artistic license on the follow’s part. This, again, is explained in more detail in Communicating IntentionCommunicating IntentionUsing body structure and energy to transmit movement information..

Transitioning Holds

Ideally when transitioning, you don’t want sudden jerky movements. Oftentimes there is a way to transition holds that flows with a movement. For example when transitioning from Basic Back and ForthBasic Back and ForthAdding forward-and-back to the basic step pattern. to LateralLateralA side-stepping movement that creates a lateral travelling pattern across the floor., as a lead, you can allow your arm to slide gently as the follow passes you. It’s nice to find opportunities like this to allow for a gentle transition between holds.