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Skippy Blair's Dance Dictionary
"Dance Terminology Notebook" "a" COUNT - (1) Professional DANCERS use the "pick up" count, the "&a" that is danced before the Downbeat. Musicians frequently speak of "Rolling the Count" - or the “Dancers Count” ("&a1 &a2"). This is an upper level count for Musicians, but a vital necessity, even at a BASIC level, for serious dancers. (2) Most musicians are more familiar with “Straight Count” - "1-e-&-a 2-e-&-a" - where the "&a" comes after the beat. Pit Musicians (those who play for professional stage dancers) are more familiar with Rolling the Count. (3) Professional Dancers usually learn to "Roll" the Count very early in their training. Teaching Note: Referred to by Skippy Blair in the 1980s as "Magic Count", because of the difference it made in one’s dancing, Rolling Count has become part of the "Essence" of Classic West Coast Swing. Rolling Count creates a more rhythmic performance in ALL forms of Dance. It is an essential foundation element in both Samba and West Coast Swing. (Noted by SB in 1978) (see "AND" COUNT, ROLLING COUNT)
ABSOLUTE PATTERN - ADJUSTED PATTERN - A. ABSOLUTE PATTERN - (1) An ABSOLUTE PATTERN is one that is danced alone. It is the precise footwork that places the "Center Point of Balance" (CPB) in the RIGHT PLACE at the RIGHT TIME with the least amount of expertise. (2) It is important to note that the term "Absolute" does not refer to any specific Style or Discipline of dance. It simply represents any precise dance pattern that you wish to do, danced alone, without the complication or adjustment to a partner. (3) When any two people dance together we are observing an Adjusted Pattern. B. ADJUSTED PATTERN - (1) The "Adjusted" Pattern describes what we see when any two partners dance together. The "Adjusted" Pattern changes slightly from the "Absolute" with every Partner. (2) Keeping the Absolute Pattern in one's mind creates better form for both partners. (3) The use and understanding of Absolute & Adjusted Patterns in the training of West Coast Swing dancers, produces an excellence that is worth the effort. This technique works for every dance, but is most easily observed in Classic West Coast Swing. Teaching Note: When TEACHING, it is important to review the "Absolute" pattern before teaching a variation. When Dancers copy material from a Video, they are copying an adjusted rather than the "absolute" pattern. Knowing, and being able to apply, "Rules of Movement" & "Rules of Music" allows a dancer to recreate an absolute pattern, having only observed an adjusted pattern (also see: RHYTHM VARIATION, STYLE VARIATION)
ACCENT - (1) "Emphasis" or "Stress" on one particular sound in the MUSIC. The most easily recognized ACCENT in MUSIC is when the accent occurs at the start of a new measure. However, it is usually even more noticeable on the first beat of a new phrase. (2) A Dancer can ACCENT (emphasize) any part of any step pattern in order to interpret what he hears or feels in the Music. The dancer is not required to accent every accented beat in the music. (3) Accents are individual “Hits” that do not interfere with the regular PULSE of the dance. Accents are “in addition to,” but not “instead of,” pulsing the dance. (also see: CHARACTERISTIC, ESSENCE, PULSING)
ACROBATIC or GYMNASTIC maneuver - (1) A term used for Swing Competitions (and other dance forms) to describe those moves which are sometimes illegal in some Classic or Traditional competitions. (2) This includes dropping to one or both knees, deep splits, backbends, cartwheels, handsprings, lifts and flips. (also see: DROP, SPLIT, LIFT)
ACTION-REACTION - (1) In Partnership Dancing the "ACTION" of the leader is felt and reacted to by the follower. (2) In West Coast Swing the primary lead takes place on the "&a" before count "1" of the next pattern. The reaction of the follower is to land on the beat of the music for count "1." (3) Action/ Reaction also takes place if the follower does an unexpected syncopation which takes more time than the leader expected. It is then the leader's responsibility to react in a way that both compliments, and accommodates that action.
ADJUSTED PATTERN - see ABSOLUTE PATTERN
ADVANCED RHYTHMS - (1) Includes all of the more difficult Syncopated Rhythms. (2) Any Rhythms that are more complex than the Primary and Secondary Rhythms. (also see: PRIMARY RHYTHMS, SECONDARY RHYTHMS)
AERIAL -
(1) A
move whereby one partner lifts the other into the air with a rotational movement
that is primarily completed by momentum.
AIR SHUFFLE - (1) An "Out & Back" move like a shuffle in Tap Dancing, except that the foot does not hit the floor. (2) Say "&a Kick and Step-Step" to a Count of "&a 1&a2.” (3) Air Shuffles are used to precede a "Shorty George" (Swing, circa late 1930s). (4) Most little "Kicks" in Swing Syncopations (if they are well executed) are actually "Air Shuffles." (also see: KICK, SHUFFLE)
AMALGAMATION - (1) A series of patterns that flow from one to the other. (2) Ideally, this "series" of patterns will fit into major phrases of the music
Teaching Note: (also see: LINK, PHRASING, RHYTHM BREAK)
AMERICAN "COUPLES" DANCING - (1) American Couples Dancing runs the gamut from basic Social Dance to Competition & Performance level. The distinguishing word here is "American". (2) American style, according to Golden State Dance Teachers Association, refers to a style of dancing that moves easily from "open" foot position to "closed" foot position patterns, at every level of training.
Teaching Note: Author's Note: There are certain styles of training where foot positions are “open” at one level and “closed” at another level. That method can slow down the development of the dancer. Foot position selection is NOT what determines the level of performance. “American Couples Dancing” brings Laure' Haile to mind. As National Dance Director for Arthur Murray Studios in the 1950s, LAURE' influenced thousands of dance instructors. It was a footnote of Laure's that gave validation to my wanting to change the way patterns were being counted in Swing. Laure’s Footnote simply read: “When teaching a Whip, even though the ladies Walk-Walk takes place on “5-6” - in Private lessons, I find it extremely helpful to count that “Walk-Walk” as “1-2.” That statement made me realize that my thoughts and ideas on COUNTING had been correct all along. The Universal Unit System® was the result of that realization and changed the way many dances would be counted - particularly SWING. (To thousands of us who trained under Laure’ - she will always be our "First Lady of the Dance").
AMERICAN DANCES - See: FOXTROT, CHA-CHA, RUMBA, SALSA, SAMBA, SLOW DANCE, SWING, TANGO, WALTZ, WEST COAST SWING, NITECLUB TWO STEP and HUSTLE
ANCHOR (or ANCHOR UNIT) - (1) An Anchor is NOT a foot position and not a Rhythm. It is a partner connection in West Coast Swing, achieved when both partners place their CPB (Center Point of Balance) behind the heel of the forward foot. (2) An Anchor is danced on the last two beats (last Unit) of each basic, fundamental Step Pattern in West Coast Swing. (3) A feeling of body leverage that balances the resistance of both partners. (4) Each partner is responsible for establishing their own individual anchor. Historical Note: The term "ANCHOR" was coined by GSDTA in the early 1960s to clarify the difference between the "resistance" desired at the end of a West Coast Swing Pattern, and the lack of resistance caused by the 1961 version of a "Coaster" Step. This is one of the major milestones that changed the face of West Coast Swing. (also see: COASTER STEP)
“AND” COUNT ("&" COUNT) - (1) The Dance Count that comes half way between the beats when counting Straight Count: “&1&2- &3&4- &5&6- &7&8.” (2) In Upper level Counting (Rolling Count: “&a1 &a2 - &a3 &a4,” etc.) the location of the “&” count CHANGES to encourage the CPB to move on the "&" count, allowing the weight change to take place on the "a" count in a Triple.
Teaching Note: (also see: "a" COUNT, BODY FLIGHT, COUNT)
ARBITRARY LABEL - (1) A name we assign to something that we want to remember, usually when we think that a name does not already exist. (2) In DANCE we often assign names to patterns or moves that we do not know by name. (3) In COUNTRY LINE DANCES, someone sees an unfamiliar Line Dance and gives it a name. Usually, the dance already HAS a name! (4) Proper use of an arbitrary label is when we name a “move” after a place or a person. (5) "Sharlot's Strut" was a valid "arbitrary label" because Sharlot Jansen (now Bott) designed and performed a pattern that everyone recognized as "Sharlot's Strut". In California's West Coast Swing community, SHARLOT JANSEN BOTT, ANNIE HIRSCH, MARY ANN NUNEZ and TATIANA MOLLMANN, ( to name a few) have perfected moves that carry their names. (6) "Kenny's Shag," once an "Arbitrary Label" for a form of St. Louis Shag, was made popular by the late Choreographer/ Dancer/ DJ/ MC, KENNY WETZEL. KENNY'S SHAG is now known throughout the country. (7) Many Arbitrary Labels, through continued usage, have become standards. SHORTY GEORGE SNOWDEN, a New York City dancer in the 1930s, was responsible for the "Shorty George." That name is now a Classic move for Jitterbuggers, Lindy Hoppers and Swing dancers of all styles and ages. (also see: SAILOR SHUFFLE, SHAG, SHORTY GEORGE)
ASSIMILATION PERIOD - (1) The time it takes for the mind to absorb, and the muscle memory to execute, that which has been taught. (Can be several days, weeks, or even months according to what has been taught.) (2) The "mileage" (practice time and absorption time) between lessons. (3) The name that many teachers use to describe the "5 or 10 minute" (observed and assisted) practice session - usually half-way through the class hour.
Teaching Note:
ATTITUDE - (1) A synonymous term for "style", "essence" and/or "presence" of a dancer. (2) A Ballet leg position (Back Attitude) where the foot, calf and outside of the knee is bent and pressed upward.
Teaching Note: (see:: ESSENCE, STYLE)
BACK - A direction that calls for a 4th foot position or an Open 3rd., stepping behind the current weighted foot. (see: FOOT POSITIONS, FORWARD, SIDE)
BALANCE STEP - (1) A Balance Step in Waltz is SINGLE RHYTHM in 3/4 time. The dancer steps on count "1" and, staying on that same foot, the body rises slightly on count "2" and slightly more on count "3". The free foot, on counts "2" and "3" touches the floor in 3rd foot position in order to "balance" the position. (2) A Balance Step in Samba is SINGLE RHYTHM in 4/4 time, and is called a Balancete’. The dancer steps on count “1” - does a slight lilt on “&” - and points the free foot back on count “2.” (see: SINGLE RHYTHM)
BALBOA - (1) Balboa is a Rhythm Dance composed of "8-Beat" patterns and "4-Beat" rhythm breaks. Standard Basic Step: "Back, Forward, Forward, touch - Forward, Back, Back, touch" - This original form of EASY Basics has a "touch" on count "4" and count "8". (Rhythm Pattern: "Double, Single, Double, Single." ) Balboa is a product of the late 1930s and early ‘40s and originated in Southern California on Balboa Island. (2) The Advanced Rhythm Pattern: "Double, Delayed Single, Double, Delayed Single" ("Back-Forward, touch-step, Forward-Back, touch-step) - with the touches on count "3" and count "7" of the "8-Beat” pattern. This is the current recommended basic being taught as a preference of style. (3) Balboa has a Movement Unit of "Down-Down" - a rhythmic lilt that is really more felt than seen.
Teaching Note: Historical Note : (A) The advanced form with a touch or kick on counts "3" and "7" - became the STANDARD in the 1980s, through the efforts of JONATHAN BIXBY and SYLVIA SYKES, two dedicated teachers from Santa Barbara. This is the most popular form today. Jonathan and Sylvia credit LOLLY WISE and MAXIE DORF, two top Balboa aficionados, for working with them on re-constructing the patterns. (B) Balboa came out of the BALBOA PAVILION at a time when the music was fast and the floors packed. Fred Christofferson, Bart Bartolo, Natalie Esparza, Willie Desatoff, Harry Berlin, Sam & Dottie Dominguez and Ed & Inez Thompson all come to mind as "Balboa Greats" who were still dancing in 1997 - on the second update of "Disco to Tango and Back." Several were still at it in the year 2007 at a Reunion at the Balboa Pavillion. AUTHOR'S NOTE: Balboa dancers fell easily into the rhythmic, subtle bounce of the Balboa because they had been dancing Lindy and Truckin’, popular moves of the 1930s and ‘40s. (see: DANCE IDENTIFICATION CHART, SHAG, TRUCKIN')
BALL OF THE FOOT - (1) The padded area behind the toes, meant to cushion the joints. . (2) A frequently misused term that results in putting too much weight on the padded area of the big toe.
Teaching Note: (see: 3-TOE BASE, POWER POINT)
BALL CHANGE -
(1) A
TAP DANCING term which means to make a quick weight change on the Ball of
one foot, followed by an accented, loud, FLAT-footed landing, on the
OTHER foot. The Free Foot is in the air as the dancer assumes a momentary "pose." (2) This term is used in the
Universal Unit System®
only in TAP dancing and MODERN JAZZ.
(3) The Rhythm of the move is a “Delayed
Teaching Note: (see: DELAYED RHYTHMS, HITCH KICK)
BALLROOM DANCING -
(1) A term generally used to describe the Social
Dances of the day. (2) AMERICAN BALLROOM DANCING,
and particularly American Social Ballroom dancing, has made dramatic
changes in the teaching of Dance. The most significant changes have taken
place because of the discoveries of "Rules of Music" and "Rules of
Movement." American dancing concentrates on musicality and interpreting
"feeling" in the music. (3) International BALLROOM Dancing is taught
mainly for Competition and has it's own unique style that does not lend
itself as well, to social dancing.
BALLROOM SWING - A form of West Coast Swing that is different from that used by the general West Coast Swing dance community. Ballroom Swing usually refers to a STYLE of West Coast Swing that uses a "Coaster" step at the end of each pattern, seen mainly in the Ballroom community. (also see: COASTER STEP)
BAR - A MUSICIAN'S term to denote the line that separates the measures in sheet music. It is a synonym for Measure. (1) When Musicians refer to a “12 Bar Blues” - they are describing 12 measures of music - or a dancer’s six “Sets of 8.” (also see: MEASURE of MUSIC)
BASIC RHYTHM PATTERN - see PATTERNS
BASIC STEP PATTERN - see PATTERNS
BASKET WHIP - see LOCK WHIP
BEAT (of Music) - (1) In Social dance, one beat of music refers to one "quarter note", which is how time signatures are measured. 4/4-time means that there are 4 quarter notes to one Measure of music. (2) Most forms of Social Dance: Ballroom, Latin, Salsa, Swing, Hustle, Nightclub Two Step, Line Dancing, etc. are all danced to 4/4- time music. There are 2 beats of music in every Dance Rhythm in each of those dances. There are 2 DANCE RHYTHMS to each measure of 4/4-time music. (3) WALTZ is the exception and is danced to 3/4-time music. One beat of 3/4-time music still equals one quarter note. There are 3 beats of music in one Measure of 3/4-time music, which translates to one "3-Beat" Dance Rhythm. (also see: COUNT, MEASURE, RHYTHM UNIT)
BEATS Per MINUTE versus MEASURES Per MINUTE - (A) BEATS per minute (BPM) refers to the tempo (speed) of the music, determined by counting the number of beats of music in 60 seconds. (B) MEASURES per Minute (MPM) - is a commonly used tern, but is not as accurate a method to measure the tempo of the music. Teachers Note: Someone trained to hear “Beats per minute” will soon be able to determine a sizable range of tempos, in both 3/4 and 4/4-time music. Those trained to hear Measures per minute have a difficult time because 3/4 time music has only 3 beats per measure. The ear cannot determine tempo in measures per minute because measures are different with different time signatures. Also, the range of accuracy is much tighter with beats per minute, than with measures per minute.
BLANK RHYTHM - (1) Two Beats of Music with no weight changes. (2) The dancer needs to identify what is taking place on each of those two Beats of Music. Example: "Kick &a Point" or "Touch &a Hold", etc. (3) A Blank Rhythm is in the family of EVEN Rhythms because it ends with the Same Foot Free. (also see: EVEN RHYTHM) BODY FLIGHT - (1) The "lifted" look of a dancer who has achieved a connection between the "sending foot" and the "receiving foot" - to a point where the CPB seemingly “floats” across the floor. (2) That indescribable feeling of "two people” moving as one. (3) The "airborne" look, visible when two people achieve a connection through action and reaction. (4) In West Coast Swing, the action that follows the "elastic band" feeling of a properly executed anchor. (5) In Waltz, Body Flight is visible when two partners are "centered" - either moving down LOD or as they execute a turn.
BODY LEAD -
BODY POSITION CHART - Chart for Body Positions is not available in this printing, but will be available in the new set of Charts being prepared. Target Date: June 2008.
BOLERO - see MAMBOLERO
BOOGIE BACKS - (1) A popular 1940s move in Jitterbug and Lindy. The Verbal Pattern is : "Back Together &a Kick" - "Back Together &a Kick" etc. (2) The RHYTHM PATTERN is: "Syncopated Double - Syncopated Double" (3) The "Count" is "&a1&a2 - &a3&a4" . Boogie Backs are part of the SHIM SHAM and are also used in Lindy and other forms of Swing. Boogie Backs fall into the category of "Rhythm Breaks.”
BOOGIE HIP - see CAMEL HIP
BOOGIE WALKS - Traveling forward with diagonal 2nd foot position steps. The hip is a Camel Hip that projects to the same side as the stepping foot. (The opposite of Cuban Walks).
BOUNCE - (see: LILT, MOVEMENT UNIT)
BOX (Box Turn) - (4/4 time) (1) A term used to denote a SQUARE floor pattern. (2) It is danced in Foxtrot, Waltz and Rumba where the actual Floor Pattern is in the shape of a Box. (a Square) (3) Example: Mans Rumba Box is: "Side together, forward & hold - Side together, Back & hold." - 8 beats of music. Sometimes called as: “&a Side Together Forward & hold - &a Side Together Back & hold”
Teaching Note:
BOX RHYTHM - (4/4 time) (1) "Box Rhythm” alternates Double and Single Rhythm in any order. The Rhythm Pattern for GSDTA is: “Double - Single - Double - Single.” (2) Box Rhythm, in 4/4- time, requires 8 beats of music.
BPM -
An abbreviation for “Beats per Minute”
BREAK DANCING - Popular in the 1970s, Break Dancing is a "Solo" dance with young dancers performing clever moves to music. This includes floor-spins on one's back, as well as robot-like moves. Intricate isolations and acrobatic moves are performed with great musical interpretation. Today, 2005, Hip Hop dancing has become more popular than Break Dancing, but each compliments the other.
BREAK ENDINGS - A term used in the 1950s to define three simple, but specific, Rhythm Variations. Historical Note: At Arthur Murray’s in the early 1950’s, this is what was being taught: as Break Endings: (1) 1st Break Ending: "Kick & Step-Step" to replace a "Walk-Walk" in what was then known as Western Swing. (2) 2nd Break Ending: "Step Point, Step Point, Step" could replace the second triple in that style of Swing. (3) 3rd Break Ending: simply the 2nd break ending, followed by the 1st Break Ending.
Teaching Note: (see: RHYTHM CHART, SYNCOPATION)
BREAK (Flash Break) - (1) DANCE term used to describe outstanding moves that are not standard, but which accent specific parts of the dance for "show" appeal. FLASH BREAKS were popular in the 1970s and are described in detail in the 1978 dance textbook "Disco to Tango and Back"
BREAK (Hitting the Breaks) -
(1) In dance music, musical "Breaks" sound as if
someone had actually stopped the music. (2)
It may sound like the music stops, but the beat continues. Musical Breaks
usually occur toward the end of a major phrase (2) "Hittin'
the Breaks" is a phrase that became popular in the early 1970s, but gained more
popularity in the 1990's as more and more dancers
studied the music and started learning how to "Hit the Breaks."
Teaching Note:
BREAK (Latin Breaks) - (1) A change of direction in: Cha-Cha, Mambo, Salsa, Contemporary Bolero, Mambolero, and International Rumba.) (1) An action where the "receiving foot " lands, ball of the foot first, returning the "Center Point of Balance" (CPB) to it’s origin. (2) In all of the dances listed above, with the exception of SALSA, the LEADER breaks on his LEFT foot on count "2" and on his RIGHT foot on "6." Salsa breaks on “1” and “5.” (also see: CHANGES of DIRECTION, CHECK, LUNGE, ROCK)
BREAK TURN - (1)
A change of direction that
includes a turn in the opposite direction of the forward foot.
Example: Step forward on the Left Foot, turn right and step forward
again on the Right Foot. Verbal Call: "Forward Left, and Turn Right."
Teaching Note: (also see: PIVOT, PIVOT TURN, TORQUE TURN)
BREATH - (1) The "Breath" on the "&a" before each Downbeat is a term that was used predominantly in the 1960s in the early days of the Universal Unit System®. (2) It is still used to denote the "space" between the Rhythms. (Like the "space" between words to identify the words in a sentence.) Today that “breath” has become the “&a” at the beginning of each new Dance Rhythm. (also see: PULSE, RHYTHM UNITS)
BRUSH - (1) A "follow through" where one knee brushes lightly past the other. (2) This “Brush” can take place on a beat of music, on an "&" count or on an "a" count, according to the styling and desired result for a particular dance. (3) Where the brush takes place differs with every dance and helps clarify the "essence" (characteristics) of each dance.
Teaching Note: (also see: ESSENCE, TAP)
BYU “BRIGHAM YOUNG UNIVERSITY” - Well known for its comprehensive dance program in both American and International Dance. LEE WAKEFIELD, Director of the award winning Brigham Young Formation Team, is known for his ability to connect to the music. GSDTA is proud to have been part of Lee's early training in the Universal Unit System. His first competition was at a Golden State Ball. Lee was part of Lenore Hughes’ Cotillion in Modesto, California.
"C" FRAME - A slightly rounded frame that still maintains "connection" with a partner. Used in Swing and the Latin dances for specific styling. JACK CAREY of Corona Del Mar, California is noted for perfection of the "C" Frame in West Coast Swing.
CALIFORNIA SHUFFLE - (1) A popular, repeatable Syncopation in West Coast Swing. The RHYTHM is a Syncopated Double and is one of several "Rhythm Breaks.” The Verbal Call for this pattern is “& Step Point & Step Point”. The Count is : "&a1 &a2". The knee lifts are on the "&" count, the steps are on the "a" counts, and the "points" are on the beats of the music. (2) In the early 1980s, a simple form of Swing , repeating that particular Rhythm Pattern over and over, was called "California Shuffle." Soon, the dance disappeared, but the name stayed as a Rhythm Break in standard Swing and also as a standard term in Line Dance terminology. (also see: SYNCOPATION )
CALL - (1) The "Call" for any specific pattern in any dance tells you "What to do." "Walk-Walk, Side Together Back," etc. is a Description of what takes place. (2) There can be a variety of calls to aid in teaching a pattern. The "Caller" can call out actual BEATS of music - or direction - or any accent that seems in need of calling. (3) "Call" is sometimes used as a synonym for "Cue." (also see: CUE, VERBAL PATTERN )
CAMEL HIP (Boogie Hip) -
(1) A
projection of the HIP to the SAME Side as the "Weighted" Foot.
(see: BOOGIE WALKS, CUBAN HIP, HIP CONTROL, SHORTY GEORGE)
CAMEL WALK - see BOOGIE WALK
CAN of WORMS - (1) Opening a "can of worms" is really "looking into areas that need more clarification." (2) When it comes to EDUCATION, the Rules of the Universal Unit System® allow us to explore all sorts of areas and come up with concrete solutions that would not have been possible without the discoveries that are the backbone of the “Universal Unit System". (3) The "Can of Worms" has become the Hallmark of GSDTA Teachers Training. The ARTWORK on the GSDTA Can of Worms is that of Seattle artist and dance teacher, DON BUTLER. (also see: CAN of WORMS Caricature)
CANTER PIVOTS - see CANTER RHYTHM
CANTER RHYTHM - (3/4 time) (1) Canter Rhythm is DOUBLE RHYTHM in 3/4-time. It was a popular Waltz Rhythm in the 1930's, but is seldom used today except in PIVOTS. (2) CANTER PIVOTS step on count "1" and count "3" of the Waltz measure. Stepping BACK on the left foot, the dancer pivots to the Right on count "1", rides through count "2" and steps on count "3." The pivots can continue through "4," ride the "5" and step on "6." (3) DOUBLE RHYTHM in WALTZ steps 2 times to 3 beats of music. DOUBLE RHYTHM steps on count "1" and on count "3" when dancing in 3/4 time.
Teaching Note:
CAROLINA SHAG - (1) A highly stylized form of SWING, spawned in the early 1940s in the Carolina's. The Basic RHYTHM PATTERN is the same as in standard Swing. "DOUBLE - TRIPLE - TRIPLE." (2) This "mirror opposite" basic has both partners mirroring each other on the basic pattern. Both partners do a “Rock Step” on the 1st Rhythm, followed by traveling forward toward each other on the 1st Triple (a "Forward & together Back"). The 2nd Triple (Counts 5&a6) has a unique styling that is characterized by a "Step, Cross in front, Step", often described as a “Soft Shoe” Triple. (3) Quoting Charlie Womble and Jackie McGee, from Atlanta, Georgia: "In the early days this was a man's dance. He did all the turns and fancy footwork and her job was to make him look good." Charlie added that things are different today and both partners now have a more balanced role.
Teaching Note: AUTHOR'S NOTE: Feather Award recipients in 1994, CHARLIE WOMBLE and JACKIE MCGEE had been undefeated Shag Champions more than 10 years. In 2005, they are still fantastic dancers and are known as the Good Will Ambassadors for the Shag Community. (see: DANCE IDENTIFICATION CHART, UNIVERSAL COUNT)
CBM - see CONTRA BODY MOVEMENT
CENTER of GRAVITY - see CENTER POINT of BALANCE note #3
CENTER of MASS - see CENTER POINT of BALANCE note #3
CENTERING - (1) Individual "Centering" is the ability to maintain perfect balance by controlling the "Center Point of Balance" (CPB) in relationship to the “Unit Foot.” The CPB moves prior to the weight change from the “sending” to the “receiving” foot. (2) Couple "Centering" is the ability to connect the CPB of both partners - to each other. (also see: FLASHLIGHT TECHNIQUE, POINT of CONNECTION)
CENTERING KNOB - (1) The Knob where the base of the neck meets the spine. (2) Sometimes referred to, with tongue in cheek, as the “Goddess” Knob.
Author's Note:
CENTER POINT of BALANCE (CPB) - (1) The Solar Plexus is the “Center Point of Balance” from which all dance movement projects. (2) To locate your own CPB try this exercise: Stand with your feet together. Isolate your hip or abdomen or derriere, or even your head, and push any one of them about 6 inches to the left or right or in any direction. You will find that you can still maintain balance. If you move your Solar Plexus even 4 inches left or right - you will find that you must move your foot, because you have relocated your own center (CPB). (3) Although Martial Arts and other disciplines speak of Center of Mass and Center of Gravity, the above exercise will tell you why we chose to coin the term “Center Point of BALANCE.” The CPB is crucial to the Dancer. (3) A popular TV phrase in body shaping these days is “strengthening the Core.” Their description of “Core” is the same as our “Center.” (CPB)
Teaching Note: (see: CORE, UNIT FOOT)
CENTRIFUGAL FORCE - (1) "The force tending to pull a thing outward when it is rotating rapidly around a center." (Webster's New American Dictionary) (2) This action takes place in several areas of dance. "Flyin' Lindy" - Swing - Spot Turns in Rumba and Cha-Cha are all prime examples..
Teaching Note: (see: C-FRAME, FLYING LINDY)
CERTIFICATION - (1) "The act of certifying, by certificate or other means, to the validity of a persons qualifications" (from Webster's Abridged) (2) GSDTA Certification is a 3rd level of accrediting that attests to the fact that more than 200 hours of training has taken place, written examinations have been passed, and ability has been verified by video presentation of classes in action. Further accrediting is available to those who have passed the examinations and are teaching at Convention level. They have also passed an oral exam and have demonstrated the knowledge of how to break down any pattern in any dance by simply observing that pattern danced to music. (3) Certification is worth whatever the organization that "Certifies" says it is worth. Whatever constitutes Certification is signed by someone who attests to the fact that those qualifications have been met. (see: CREDENTIAL)
CHA-CHA - (1) A Latin Dance, with an "8 Beat" Rhythm Pattern that "Breaks" on count "2" and count "6." The real MUSICAL COUNT and the DANCE COUNT for Cha-Cha is "&a1 2 - 3 4 - &a5 6 - 7 8." (2) UCWDC, the leading Organization for Country Western Competition, made "breaking on 2" mandatory for competition starting in 1994. (3) American-style competition CHA-CHA has been "Breaking on 2" since the birth of Cha-Cha in the early 1950s. (4) COWBOY CHA-CHA and “COLLOQUIAL” CHA-CHA alternate Double and Triple Rhythm and they Break on "1" and "5." The Count is "1 2 - 3&4 - 5 6 - 7&8." This count is NOT acceptable in competition. Historical Note: Cha-Cha is an outgrowth of Mambo and was first introduced as "Triple Mambo" in the late 1940s.. In order to "Break on 2" most Studios had a Count of "2,3 - 4&1". This count was used for many years and still continues in many areas today. However, with the discovery of the "8-Beat" count, in or around 1971, came the successful use of the full "8-Beat" mini-phrase. The unprecedented interest in Technique and Education in the ‘90s, launched the discovery of the true "Rhythm Pattern" for Cha-Cha and made dance history. The COUNT, as listed in (1) above, allows dancers to be aware of the foot placement of each count in the music.
Teaching
Note: (see: DANCE IDENTIFICATION CHART, MAMBO, MAMBOLERO)
CHAINÉ TURN - A Ballet term that describes a style of execution that fits several different turns. Chaine' refers to the action of opening and closing the feet -as in the making of a CHAIN.
Teaching
Note: (see: PIVOT TURN, TORQUE TURN)
CHALLENGE (Shine Position) - (1) An OPEN Dance Position whereby one partner dances a Rhythm Break and the other either mimics the same step or does something else to TOP the first move. (2) The "Challenge" game started with CHA-CHA in the 1950s, but West Coast Swing soon adopted it. That form is found in many routines today. In 1994 this "style" of advanced Swing renewed it's popularity through the efforts of GSDTA Syncopation Specialist MARY ANN NUNEZ of Southern California.
CHANGES of DIRECTION - (1)
A Step that reverses the flow of
the CPB and returns it "Home". "BREAK" - a Change of Direction that stops the CPB, half way to the "breaking" foot and then returns it "Home." "CHECK" - a more severe Change of Direction where the CPB is stopped one quarter of the way from the "checking" foot, by leaning slightly away from that foot, as done in Hustle, Samba or Peabody. Foot placement is on a 3-Toe Base, on an "a" count. “LUNGE” - a forward or side weight change where the CPB centers completely over the weighted foot. "ROCK" - requires TWO distinct weight changes. The CPB moves either Back and Forward - Forward and Back - or "Side and Return" to original position. Each is done with a rocking action. The CPB only travels two thirds of the way toward point "B" before being returned "Home.”
"SUSTAINED CHECK" - used in really
well performed Nightclub Two Step. The Back Steps
CHARACTERISTIC - (1) A distinguishing trait of a specific dance. (2) An outstanding feature that helps to identify the essence of a dance. (also see: ESSENCE)
CHARLESTON - (1) Charleston - is a popular Rhythm Dance of the “Roarin' 20s" and early 1930s. The Charleston is an American “Classic.” It is characterized by High Forward Kicks, followed by Low Back Kicks. (2) Two Basic "Looks" are seen in the Charleston. One was danced as "and Step and Kick and Step and Kick" and the other as “and Kick and Step and Kick and Step.” (3) The standard Rhythm Pattern is "Single - Blank - Single - Blank.” Charleston has an "8 beat" pattern, with a rhythmic bounce on every beat. (4) The Movement Unit is a "Down-Down" rhythmic lilt. (also see: DANCE IDENTIFICATION CHART, MOVEMENT UNIT)
CHASE - (1) A Cha-Cha Pattern where one partner does a "Break Turn" and the other follows, as if they are chasing each other. (2) The Follower has 4 beats of music to see what the Leader has done and then mimics the pattern. (also see: CHALLENGE)
CHASSÉ (Pronounced Shah-say) - (1) A "Side Together" using two beats of music, stepping once on each beat. (2) A Chasse’ is DOUBLE RHYTHM. (3) Step to the Side in 2nd foot position on count "1" and bring the feet together in 1st foot position on count "2.” (4) Chasse' means "to chase." The closing foot chases the moving foot. (5) In International Dance terminology, a Chasse' refers to a "triple" (3 weight changes), a "side together side.” (also see: FOXTROT, SLOW DANCE)
CHECK - (1) A tight "Change of Direction" on an "a" count, where the dancer's Center Point of Balance (CPB) is sent out, but the receiving foot catches the body, and becomes the “Sending Foot” as it lands - and sends the body back. (2) Checks are always done on “Toe Base”. Heel does not hit the floor. (also see: CHANGES of DIRECTION, BREAK, ROCK)
CHOREOGRAPHER - (1) One who puts Routines together. (2) A stricter sense of the word refers to those who make their LIVING doing choreography.
Teaching Note: (also see: ROUTINE)
CHOREOGRAPHY - (1) The "content" of a Routine or a grouping of patterns, planned in a way that someone can repeat them at a future time. (2) The WORKS of a Choreographer. (3) Moves that are spontaneous and not planned, but fit the music well, are sometimes referred to as "spontaneous" choreography.
CHUG - (1) A "2-Foot" move where both feet move forward at the same time and then back at the same time. (2) Place the Force Point in the bent knees to "Chug" forward and in the back of the knees to pull backward. Chugs are a popular move in the Charleston. They can be danced alone, or danced in parallel position with a partner. (see: SCOOT)
"CLASSIC" DANCE - (1) In SOCIAL DANCE, the "CLASSICS" are those Dances which have made an impact on society and have withstood the test of time, having developed standard, recognizable step patterns and teaching techniques. (2) These dances become part of our dance heritage. (3) Charleston, Twist, the Stroll and the Conga are all dances that started out as Fad dances, and with time became Classics. Foxtrot, Waltz, Rumba, Samba and Tango have long been considered Classics - and at this writing (2005) Salsa is well on it’s way to becoming a time honored "Classic.” (also see: FAD DANCES, STANDARD DANCES)
CLOSED POSITION - A standard dance position with the Lady facing the man, with his right hand placed on her back, just below (but not on) the shoulder blade. Her left hand is placed at the appropriate level for the dance being done. His left hand holds her right hand halfway between the two partners at her chin level for most dances and at her elbow height for Swing. (also see: DANCE POSITIONS, DANCE POSITION CHART)
COASTER STEP - (1) In Swing Dance Clubs, and more specifically in Swing groups that define themselves as "WEST COAST SWING", a Coaster Step has been replaced by an “ANCHOR.” (2) In "BALLROOM SWING" a Coaster Step is referred to as any “Back Together Forward.” (3 This one simple term has become the dividing line for two very different, identifiable forms of SWING. The "Coaster" is still used in many venues of "Ballroom Swing." Competitions seldom overlap mostly because of the decided difference in the appearance and style of the dance. Historical Note: The history of the "Coaster" helps us to understand why it has been replaced. In the early 1950s, The Long Beach, California Arthur Murray Studio boasted a staff of top Swing dancers. Karma Haltom would "Coast" at the end of a pattern, turning her body on an angle as she swiveled back left and forward right before walking in toward her partner. To teach that style, the easiest form was to swivel the body and do a "Back together forward,” and then swivel to face your partner before walking forward into a new pattern. The term "COASTER" applied to the movement and not the rhythm OR the direction of the feet. Arthur Murray Studios adopted this style as part of its National Curriculum. Over time, with revisions of teaching manuals, more and more technique was eliminated until finally, the SWIVEL was no longer in print. The basic styling of the pattern was lost. The definition began to include any "Back together Forward" and remains so in many places today.
Teaching Note: AUTHOR’S NOTE: I thought it was important to include some of the processes of GSDTA not using the term “Coaster” in the GSDTA curriculum. Many teachers asked “If you don’t use the term “Coaster” - what will you call a “Back Together Forward?” My answer was “What do you call a “Side Together Side” or a “Forward Hook Forward?” We should not name the direction of every Triple. Calling the placement of the feet is a much clearer “Call” for teaching. (also see: ANCHOR, BALLROOM SWING, FLOATING ANCHOR)
COLLOQUIAL - (1) A dance term that refers to a style that is danced by the masses, but not in the form accepted by formal competition. (2) Colloquial Cha-Cha is a good example. This popular form of Cha-Cha “Breaks” on count “1” and “5” in the music. (3) Colloquial refers to doing whatever is happening in your particular dance environment. (also see: CHA-CHA)
COMPASOS - (1) A pattern in Samba that is a repetition of crossing one foot over the other, followed by backward traveling, pulling moves. The "Call" is "Kick &a Cross - and step pull and step pull - and step pull and step pull - through 8 beats of music. (2) Although this started out as a Samba move, it has become a standard syncopation in Swing, Cha-Cha and several other dances.
COMPETITION - (1) There are different levels of DANCE COMPETITIONS, determined by the size of area location. Example: The local weekly Nightclub Club contest, the monthly (more or less) CLUB contest, the State or Regional Championships, and National and International Championships. (2) The real benefit of participating in competition is having a deadline to improve your craft. AUTHOR'S NOTE: It is important to plant seeds of good sportsmanship early in the competition game. Competition can be a grand experience or it can be a destructive nightmare. Not everyone is cut out to be a Competitor. (also see: JUDGING PANEL)
COMPRESSION - (in Dance) (1) Resistance toward each other, with enough "Action" that the move requires a "Reaction". Example: In West Coast Swing, a PUSH BREAK requires COMPRESSION on count “3.” This allows the Follower to match the resistance and create many style variations that are not possible without compression on the "3&". (also see: PUSH BREAK, RESISTANCE)
CONNECTION - (1) In couples dancing, particularly SWING, the feeling of resistance between partners that makes action and reaction a possibility. (2) Although Swing partners may be connected through the hands, there is also a visible "connection" that extends from one partner's center (CPB) to the other partner's center. (also see: CENTERING)
CONTEMPORARY SOCIAL DANCE - (1) Those Dances currently being danced by the general public in any specific "Era". Whenever we read the word "Contemporary,” we must determine the year of the observation. (2) The 1990s could easily consider "Country Dance" as Contemporary Social Dance. (3) The TWIST Era and the "BOP" Era, along with the JITTERBUG Era, all were considered Contemporary Dance at the peak of their popularity. (4) In every era and in every geographic location there is a "Contemporary" form of Foxtrot. The DANCE scene changes with time, but consists of the same basic Rhythm Units danced to 4/4-time music. (also see: FOXTROT, SALSA, TWO STEP)
CONTRA-BODY MOVEMENT (CBM) - (1) An exaggeration of a normal walking step. (2) Example: The Left Shoulder pulls back slightly as the Left Foot moves forward. The Right Shoulder pulls back slightly as the Right Foot moves forward. (3) CBM is most easily visible in Tango, but is present in all forms of dance.
Teaching Note:
CONVERSATION POSITION - A Dance Position where both partners are traveling forward at the same time, hinged at the hip. (also see: DANCE POSITIONS, DANCE POSITION CHART)
COORDINATION - "A harmonious adjustment or action as in muscles producing complex movements." (Webster's New American Dictionary)
Teaching Note:
COORDINATION SKILLS - (1) Those moves that demonstrate the ability to walk with the body upright, to a measured beat, arms swinging in the opposite direction of the moving foot. (2) Those skills that show dexterity of hands, feet and body.
Teaching Note:
COPA - A SAMBA pattern that is Single Rhythm with a "Call" of "Forward - Point back - Forward - Point back" The "Point back" presses the big toe into the floor, eventually creating a "Subtle Triple.” (also see: SAMBA, SUBTLE TRIPLE)
CORE - (1) A popular word in exercise circles in 2004, 2005 & 2006. Located in the area of the Solar Plexus, it includes the muscles that surround that area. Exercises are taught to “strengthen the core” feeling the muscles pulling inward, toward the solar plexus, from all directions. Author's Note: The excitement in Dance Dynamics circles is that the description of "Core" (frequently used on TV) corresponds with our description and location of Center Point of Balance (CPB). (also see: CENTER POINT OF BALANCE)
CORTE' - (1) A Dip - The Leader steps back on his left foot, lowering the weighted leg by bending the weighted knee. His Center Point of Balance (CPB) stays centered over the weighted foot. His free foot is extended forward. (2) The Follower does a “Natural Opposite,” stepping forward on the right foot, lowering onto a bended knee, as her left foot stretches straight back. (3) Medio Corte' refers to a lesser degree of a dip. Partner dances Natural Opposite. (see: DIP)
COUNT - There are different LEVELS of Counting for specific purposes. Dancers, Choreographers, Social Dancers, Teachers, & Musicians all need to understand and use real musical count, rather than resorting to counting weight changes. However, musical count also has choices:
(1) The FIRST LEVEL of Counting is simply counting the actual Beats of Music
as they are written and heard: "1 2
3 4 5 6 7 8" - These are referred to as "Sets of 8" or "Beat Count." Dancers should first
learn to count these "Sets of 8" in the music, in order to establish the
location of Downbeats and Upbeats. (Musicians call these "Sets of
8" the Dancers count). Most Pit orchestra musicians on Broadway are familiar with counting "Sets of 8" instead
of "Measures." However, most musicians think in
4-beat
MEASURES.
COUNT - MUSICAL COUNT - (1) The MUSICAL COUNT refers to both Level ONE and Level THREE descriptions of counting. (see above). (2) It is counting the actual BEATS of MUSIC in a specific tune: "1 2 3 4 5 6 7 8." (3) Every piece of music has a specific number of BEATS in each measure, based on the Time Signature of the music: ( 4/4 time for most Social Dances. 3/4 time for Waltz. (see Waltz). There is also a specific number of beats of music in each Step Pattern, in every dance.
Teaching Note:
COUNT - ROLLING COUNT (Rolling Triple) -
Author's Note: It is important to note that saying a Rolling Count, leaving out the "&" will not actually produce a Rolling Count in the dancer. Saying: "1-a2 - 3-a4" etc. will still produce straight count in the dancer's body.
COUNT - STRAIGHT COUNT (1) Counting BEATS of MUSIC using the "&" count between the beats. "&1&2 -&3&4 -&5&6 -&7&8" Straight Count also includes "e&a1- e&a2 - e&a3 - e&a4 etc." This last one is a very "busy" count for a dancer and develops a "rushed" or "busy" look in West Coast Swing. It frequently gives the impression that the dancer is off- time. STRAIGHT count puts a ceiling on the level of performance of any dancer. It also does not allow rhythmic interpretation for Triples & syncopations.
COUNTRY SWING - (1) "Country Swing" can be interpreted in many different ways, according to where you live and who you ask. (2) The standard recognized Swing forms for an OPEN Swing Dance Competition includes: any style of East Coast or West Coast Swing. (3) There is also a "4-Count" Swing and a Rodeo Swing that are sometimes referred to as "Country Swing" but these are not allowed in competition. (also see: EAST COAST SWING, WEST COAST SWING)
COUNTRY TWO STEP - (1) A dance that is composed primarily of "6-Beat" patterns which travel Line of Dance around the floor. The RHYTHM PATTERN is "Double, Single, Single” and, unfortunately, the most popular "CALL" (in 2007) is still "Quick-Quick - Slow --Slow.” (2) Country Two Step is part of the Foxtrot "family" but is distinguished by the constant changing of the Lady's position as she is moved from "Closed" to "Cuddle" to "Sweetheart" to "Promenade" and back to Closed position, while she and her partner continue to travel Line of Dance. Underarm Turns and Spins further characterize the dance.
Teaching Note: (also see: DANCE IDENTIFICATION CHART)
COUNTRY WALTZ - see WALTZ
COUNTRY WESTERN DANCING - (1) The most popular Couples Country Dancing includes: Country Two Step, Waltz, East Coast Swing, West Coast Swing and Cha-Cha. Country Dancing started its rise to popularity as a "contemporary" dance about 1978 -'79, with the popularity of the JOHN TRAVOLTA Movie "URBAN COWBOY.” (2) Country Dancing also includes LINE DANCING. (3) By 1994, Country had become the dance of the decade. Local and National Competitions, Conventions, the UCWDC, CWDI, ATCDA, GSDTA, NTA and NACDI had all contributed to the fact that COUNTRY DANCING was a major influence in Social Dance during the 1990s. (4) At the 1994 FEATHER AWARDS, three Country Personalities received awards. DAKOTA DAVE GETTY, for choreography; STEVE ZENER, UCWDC President for the best event of the year; and TOM MATTOX, for having the most impact on Country Western Dancing. Tom is credited with introducing West Coast Swing into Country Competition and is also known for having the largest “Country” Dance Club membership in the Nation. Historical Note: COUNTRY CALENDAR was a popular Dance Newspaper, read Coast to Coast. Monthly columns by Skippy Blair kept teachers Up to Date in an “Ask the Teacher” column. Ernie Wheeler, owner and editor, served the dance community by also maintaining an 800 Information Line. (also see: TWO STEP, WALTZ, SWING, LINE DANCING)
COWBOY CHA-CHA - Same Foot -Western Line Dance. Sometimes referred to as Cha-Cha breaking on “1.”
CPB - see CENTER POINT OF BALANCE
CRADLE - see CUDDLE
CREDENTIAL - (1) "To give credence to" - (from Webster's Abridged.) (2) Certificates are issued to attest to the validity of what the credential states. (3) Someone checking the credentials of an individual - be it by Certificate or by personal representation - should contact the organization or person who signed the credential to ascertain what the credential represents. (also see: CERTIFICATION)
CRITICAL TIMING - (1) When a dancer is ON TIME, not just at the start of a pattern - or on the Breaks - but on time ALL of the time, all the way through each pattern. (2) Except in rare circumstances, Critical Timing requires a Rolling Count. (3) The CPB transfers the weight precisely on the beat of the music. Simply having the foot hit the floor, in time with the music, does not qualify as being critically on time. (also see: ROLLING COUNT, DOWNBEATS, UPBEATS)
CRITIQUE - (1) “Critical analysis or evaluation of a subject” (from Webster’s New World Dictionary). (2) Dance Critiques from Dance Dynamics and GSDTA: An analysis that seeks out elements that can immediately upgrade the level of performance. Historical Note: GSDTA initiated the practice of Dance Critiques in the year 1985. They started out as a tool to add to the dance education of those taking GSDTA Teachers Training. Later they became more commonplace at competitions to advance the knowledge of competitors. In the year 2004, Critiques were added to the Certification process of the Judges Training through the National Dance Dynamics Certification Board, (NDDCB).
Author's Note:
Although I spent many years working on the
development of Judges Training, I find that doing Critiques is more rewarding
than judging for me personally.. A good Critique can help a dancer develop skills to a new
level. Judging is always painful for me because I have to evaluate one person’s
development over another. I get excited over any dancer taking a step up - rather than scoring higher than someone else. CROSS -
(1) A
FOOT POSITION that represents a weight change. The Free Foot crosses over
the weighted foot, landing toe first next to the arch of the other foot. This is
a backward crossing action. (also see: CROSS in BACK, CROSS in FRONT, GRAPEVINE)
CROSS BEHIND -
(1) A
"Call" for a diagonal DIRECTION ( NOT a Foot Position) as in
teaching a Grapevine.
CROSS IN FRONT -
(1) A
"Call" for a diagonal DIRECTION ( NOT a Foot Position) as in
teaching a Grapevine.
CROSS SWIVEL - (1) A popular Swing PATTERN where the weighted foot swivels in the direction that the free foot is headed. The free foot then crosses over to execute a weight change. The name is actually descriptive, except that the SWIVEL comes BEFORE the CROSS. (2) A common "CALL" for this pattern is "&a Cross, &a Cross", etc. The swivels take place on the "&a" counts. (also see: CROSS, STRUT, SWIVEL)
CROSS TURN - (1) Facilitating a Cross Turn relies heavily on "Turn Technique.” (2) Example: In a LEFT CROSS TURN, the Right foot crosses over the Left foot, landing toe first, parallel to, and almost touching, the Left foot ( the Right knee is slightly bent). Pressing the heel of the Right foot and the Toe of the Left foot down into the floor forces the calves together as the right knee straightens. This action initiates a rotation of the body to the LEFT. (3) This rotation will take the body three fourths of a complete turn. To complete the turn, the heel and toe pressures reverse.
CUBAN HIP - (1) A projection of the HIP to the OPPOSITE SIDE of the Weighted Foot. (2) If the Feet are marching forward or in place, and the "CALL" is to step “LEFT RIGHT, LEFT RIGHT" the Hip will project "RIGHT LEFT, RIGHT LEFT.” (3) Cuban Hip is frequently referred to as OPPOSITE HIP Movement. (4) Cuban Hip is used in Upper level, American style, Rumba, Cha-Cha, Mambo, Mambolero and several styles of Swing. (5) An International Latin Hip is a cross between a Cuban Hip and a Camel Hip. (also see: BOOGIE HIP, CAMEL HIP)
CUBAN MOTION - (1) The smooth, controlled movement that takes place when a dancer uses a Cuban Hip action, staying centered over the Unit Foot. Cuban Motion allows to the body to move freely without the head going up or down. All of the hip action takes place in the abdominal area and is not governed by the knees. (2) An International Latin Hip is a cross between a Cuban and a Camel Hip.
CUBAN WALK - (1) Walking a straight line, single tracking, using Cuban Motion.
CUDDLE - (1)
A Dance Position that places the Lady to
the man's side by looping one hand over her head and wrapping that arm around
her. Neither hand lets go. (2) This position is popular in numerous (see: DANCE POSITIONS, DANCE POSITION CHART)
CUE - (1) Calling out the name of a pattern before the pattern starts. (2) In a Line Dance, a "Cue" could be the naming of the next set of moves, called out on the last 2 beats of the previous set. Routines are often “Cued” during instruction. (see: CALL)
CURRICULUM - (1) In Dance, part of the Curriculum consists of a series of Step Patterns that show what is being taught at a particular establishment - or by a specific organization. (2) In GSDTA it also includes a series of Modules that represent the various areas of dance that are included in specific classes or Intensives.
DALLAS PUSH - (1) A form of Swing, popular in Texas, that does a "Double Resistance" on the end of each pattern. (2) TERRY RIPPA, noted dance authority in Texas-style Swing, describes the form of double resistance as a Syncopated Body Rock. (3) He describes the Basic level as doing a regular "anchor", followed by a "Hitch and Go" on counts "1&2" of the next pattern. (4) The more advanced styling of this dance uses a very highly evolved Rhythm Variation on both the "anchor" of the previous pattern and the 1st Unit of the new pattern. The "Anchor" for the Lady only steps twice: Once on count "5" and again on the "&" count before "6.” Her next step is on the "&" count before "1.” She holds back for count "1" and steps on the "&" count before "2" and also on count "2.” The entire move is a continuous body ripple. (see: DANCE IDENTIFICATION CHART, HITCH, SYNCOPATION)
DANCE (DANCING) -
(1) A
series of physical, rhythmical moves that set up a "feeling" of musical flow
even if no music exists. A Dancer can dance to the rhythm of any sound or even an imagined sound.
DANCE COUNT - (1) "&a1 &a2 &a3 &a4" etc. (2) This "rolling count" makes dancers FEEL the music at an early stage in their dance development. (also see: "a,” "AND,” COUNT)
DANCE ETIQUETTE - see ETIQUETTE
DANCE MUSIC - see MUSIC
DANCE POSITIONS - (1) The position of One Partner in relationship to the placement of the other Partner. There are primarily only 9 or 10 BASIC Dance Positions. Everything else is a slight variation of one of those positions. It is important to remember that NAMING these positions is an effort to help the student to learn and help the teacher to teach, not to confuse them by listing every possible position that can be made. (also see: DANCE POSITION CHART, CLOSED POSITION, CONVERSATION, CRADLE, ONE-HAND POSITION, OPEN DANCE POSITION, PRETZEL, PROMENADE, SHADOW, SIDE BY SIDE, SKATERS, SWEETHEART, TWO-HAND POSITION)
DANCE RHYTHMS - (1) The Rhythm Units that make up ALL Dance. (2) Every Dance Rhythm that can be danced to 4/4-time music is made up of the same two beats of music: One Downbeat and one Upbeat. (3) Fundamental Rhythms include: Single Rhythm (one step to two beats of music) - Double Rhythm (two steps to two beats of music) - and Triple Rhythm (three steps to two beats of music). (4) All of the various Rhythms, danced to 4/4-time music, as well as those danced to 3/4-time music can be seen on the Dance Dynamics, GSDTA Rhythm Chart. Historical Note: In the 1950s, the closest thing to “Rhythms” were called: Single Time, (Step touch) - Double Time ( Tap Step) - and Triple Time (Step 3 times). That was a start, but did not cover the spectrum of Dance Rhythms as we know them today. There was no name for stepping twice. That was called a “quick-quick.” With the publishing of “Disco to Tango & Back” - the Universal Unit System made it’s first national distribution of the discovery of the Dance “Rhythm Units.” These Dance Rhythms have now become standard for thousands of dance teachers all over the world. (also see: DANCE RHYTHM CHART, RHYTHM UNIT, TIME)
DANCING VOCABULARY - (1) The patterns and moves which a Dancer has committed not only to memory, but really OWNS. (Those patterns danced without special thought). (2) The actual knowledge, concerning dance, of an individual dancer or teacher. (also see: MUSCLE MEMORY)
DEE JAY (DJ) - (1) Dee Jay is short for "Disc Jockey" referring to the person who plays the music. (2) The term may have started with records, but remained through cassette tapes and CDs. And now the term “DJ” continues no matter what form the music takes: MP3’s - and more recently the “IPOD” - which allows hundreds of songs to be carried in a small computer. (3) The better DJ’s have learned to not only make good selections for competition music, but have learned how to shorten the long introductions. Some have even adjusted the tempo of the music and re-recorded it - if it gives a better result for competition.
DELAYED RHYTHMS -
(1) In 4/4-time,
those Rhythms which delay the weight change until after Count "1" - but
still complete the appropriate number of weight changes by count "2.” (2)
DELAYED SINGLE: ( "Tap Step" ) delays count "1" and steps only on count
"2.” A popular Rhythm replacement for Triples in West Coast Swing. (3) DELAYED DOUBLE:
( “Kick & Step-Step” ) In 4/4-time,
a Rhythm that has NO step on
count “1,” but steps on the “a” and the “2."
Teaching Note:
DIAGONAL -
DIAMOND - (1) A Rhythm Break in Swing or an individual pattern in Jazz or Line Dancing. Can be danced in all DOUBLE RHYTHM or all SINGLE RHYTHM. (2) The "Call" is similar to a Jazz Square, but the Floor Pattern is in the shape of a Diamond. The "CALL" is "Forward, Side, Back, Cross." (also see: JAZZ SQUARE)
DIG - (1) A forward move of the free foot, stronger than a "tap" but not a full weight change. (2) A "DIG" usually takes place on the beat of the music.
DIG STEP - (1) A forward move, stronger than a "tap" but not a complete weight change. (2) The RHYTHM for a "DIG STEP" may resemble a "Delayed Single," but is actually a “Subtle Triple.” (3) “Call” can be “&a Dig &a Step” -There is a very subtle weight change on the 2nd “a” count. (also see: SUBTLE TRIPLE, TAP STEP)
DIP - (Corte’) - (1) An action where the leader's CPB is lowered, by lowering the supporting leg while extending the free foot straight forward or to the side. (free foot presses into the floor to maintain posture, control & balance). Lady does the natural opposite, doing a lunge toward partner, with bent knee, while back foot is pushed straight back and down.
DIRECTION - (Basic to Complex)
DISCO - (1) Originally a term to describe a "Place" (A Discotheque) popularized in France in the 1970s. (2) Soon the term grew to include the MUSIC. (3) Later, it referred to the Dances that were danced to that Music -- Disco Two Step (now called Nightclub Two Step -1994) and Freestyle Disco, etc. (4) The dance text "Disco to Tango & Back,” 1978, includes a full spectrum “View” of the Disco era. (see FREESTYLE, HUSTLE)
DISCO to TANGO and BACK -
(1) 1st
printed in 1978, this Dance Text Book put the Universal Unit System®
on the MAP.
DISCOVERY - (1) In Dance, discoveries are made by studying minute details that unlock the secrets of excellent performance. Look at a landscape, and it is not difficult to see the tall trees. But a bird in flight lends charm to the picture, and a tiny red lady bug adds color and contrast. It is frequently the tiny details that set something apart from the average.
Teaching Note:
DOT (A Solid Black DOT) - The Annotation for a weight change (a Step) in the "Rhythm Annotation" of the Universal Unit System ®. (see RHYTHM CHART, SHEET MUSIC for DANCERS)
DOUBLE RESISTANCE - (1) A Two hand, "out & in" Rhythm Variation in West Coast Swing. It covers 4 beats of music which includes the "2 beat" anchor of one pattern and count "1&a2" of the next pattern. (2) In Dallas Push and Texas Whip "Double Resistance" is at the end of every pattern. It is the main characteristic of the dance. (see DALLAS PUSH, TEXAS WHIP)
DOUBLE RHYTHM - (1) In 4/4-time: Two weight changes to two beats of music, stepping on the Down-Beat and again on the Up-Beat (as in Marching). (2) "Double Rhythm" starts with one foot free and ends with the Same foot free. (3) It is an "EVEN" Rhythm. (4) Double Rhythm in 3/4-time (Waltz) - steps on count "1" and count "3" of the 3 beat Rhythm (Canter Rhythm). (see CANTER RHYTHM, RHYTHM CHART)
DOUBLE TIME - (1) Dancing twice as fast as the tempo of the music. "Double Time Two Step" (Rodeo Two Step) developed when dancers who ONLY danced Country Two Step were faced with very slow music. Dancers made their Two Step fit the music by dancing twice as fast as the music was playing. (2) Historically, the term "Double Time" once referred to dancing a "Tap Step" instead of a Triple in Swing. At that time (early 1950's through the 1960's) that "Tap Step" was referred to as "Double Time.” Many people referred to "Double Time Swing" as a form that was danced as: "Rock Step - Kick Step - Kick Step." (3) Swing has advanced in technical knowledge and development to a point where a "Tap Step" is now referred to as a "Delayed Single.” (4) In today’s terminology Double RHYTHM refers to two weight changes to two beats of music, and Double TIME means dancing twice as fast as the music. (see HALF TIME, RODEO TWO STEP)
DOUBLE-TRACKING - (1) Walking Forward or Backward as if there were two "Tracks" on the dance floor instead of one. (2) Double Tracking takes place when traveling forward or backward, if there is no Contra Body movement.
Teaching Note:
DOWNBEATS & UPBEATS - DOWNBEAT: IN 4/4 TIME:(1) The 1st beat of any DANCE RHYTHM (2) The 1st and 3rd beats of a Measure of 4/4-time Music. (3) Every "2-Beat" DANCE RHYTHM is composed of one "DOWNBEAT" and one "UPBEAT.” (4) In 4/4-time, counts 1, 3, 5, and 7 are the Downbeats in an "8 beat" mini-phrase. DOWNBEAT: IN 3/4-time: (1). counts 1 and 4 are the Downbeats in a Waltz, “6-Beat” Mini-phrase.
UPBEAT: IN 4/4 time: (1) The 2nd and 4th beats of Music in a MEASURE of 4/4-time music. (the 2nd beat of each “2-Beat” Dance Rhythm). (2 ) Counts 2, 4, 6, and 8 are the Upbeats in 4/4 time music.
UPBEAT: IN 3/4 time: (1) The 2nd and 3rd beats
of music in each “3-Beat” Dance Rhythm -. (also see: MEASURE, DANCE RHYTHMS)
DRAG - (1)Pressing the free foot into the floor as the body continues to move, producing a firm resistance between the foot and the floor. (also see: SLIDE)
DRIVE - (1)The foot action that connects the "Sending" foot to the CPB. (2) "Drive" is a "Horizontal" move. (level, smooth, no up or down Movement Unit) (also see: PRESS, TRACTION, VERTICAL RHYTHM)
DROP - (1) When a Single Performer drops to the floor, head below normal waist level, as in a "sit" drop. (2) In a Couple Routine, when one partner supports the other who is being lowered toward the floor. (3) 2005 Note from WSDC suggests that Drops are no longer considered an acrobatic move and drops should not be eliminated from basic competition, even when no lifts are allowed.
EAST COAST SWING - (1) A generic term that covers an entire "family" of Swing Dancing where both partners do a “Back - Forward” - rocking away from each other (opposition resistance) on the "rock step.” (2) A Rhythm Dance that has "6-beat" patterns, "8-beat" patterns and "4-beat" Rhythm Breaks, originally danced to Big Band Music. Today, East Coast Swing is danced to more than just Big Band music. It is danced to Contemporary music, Country, and Rock & Roll. The latest trend is to also dance it to slower music (like the Blues), and to add syncopations at the slower tempos. Historical Note: East Coast Swing was originally called "Eastern Swing" by the Arthur Murray Studios, who first recognized and organized the concept of uniform teaching. East Coast Swing (name evolvement between 1975 and 1980), became the new name, following the change of "Western" to "West Coast" in the early 1960s.
(also see:
DANCE IDENTIFICATION CHART, LINDY,
ELASTIC RESPONSE - see RUBBER BAND EFFECT
ELEMENT - (1) "A component, part or quality that is basic or essential." (Webster's New World Dictionary)
ELEMENTS of MOVEMENT - (1) The essential, individual components of MOVEMENT that create excellence in the dance. (2) A "GSDTA" Teaching Module that isolates the "Elements" that have to do with how each movement of the body either contributes to, or detracts from, our dancing capabilities. (also see: CENTERING, COMPRESSION, CONNECTION, FOOTWORK, LEVERAGE, PRESS, RESISTANCE, SWIVEL)
ELEMENTS of MUSIC and TIMING - (also see: COUNT, DANCE MUSIC, PHRASING, RHYTHM, TIME SIGNATURE, TIMING)
ENTRANCE -
(1)
Refers to the Choreography of the first few bars of music, prior to an
actual routine. (also see: ENTRY)
ENTRY - (1) A "One Unit" or "Two Unit" preparation that precedes a specific pattern. (2) A "transition" unit that allows partners to get into (or out of) a "SAME FOOT" Pattern for a "Side by Side." (3) Could also be a synonym for entrance. (also see: ENTRANCE)
ESSENCE - Webster’s Collegiate Dictionary ( August, 1994 edition) states: (1) "That which makes something what it IS." (2) "The inward nature or true substance of anything.”. (3) Intrinsic, fundamental nature, or the most important quality. (4) The indispensable conceptual characteristics and relations of anything.
ESSENCE of a Dance -(Skippy Blair interpretation) - (1) The quality that allows us to identify the dance, even if we could not hear the music (2) In DANCE, we define "Essence" as that particular "Look" or "Feeling" that separates one dance from another (3) The feeling that the dancer experiences when he connects to a piece of music, while executing the specific dance form that matches that specific music. . (4) Many dances have similar Step Patterns,, but it is the difference, not the similarity of the dance that identifies it's "Essence." (5) Essence defines the "flavor,” "excitement" and "individuality” of a specific dance.
Teaching Note:
ETIQUETTE - (Dance Etiquette) - (1) Correct Social Interaction at a place where people dance. Good manners should prevail in any social situation. (2) MEN: If you ask a girl to dance and she does not do well, cut back on your level of difficulty. A dance should start out with something very basic and progress only at the rate that she seems to be able to follow. It is unacceptable behavior to "instruct" her on how to follow you, or criticize ANY part of her dancing. If she does something other than what you led, smile and take credit for the pattern. No matter what - Be a gentleman. (3) WOMEN: Accept a dance gracefully. Good, bad or indifferent, make those "3 minutes" memorable. In class, or out, it is unacceptable behavior to "teach" someone something unless you are the teacher and he is the student. Even then, do NOT teach on the social dance floor.
Teaching Note:
EVEN RHYTHM - (1) An EVEN number of WEIGHT CHANGES. Two beats of music that start with one foot free and end with the same foot free. (2) "Double Rhythm" and any form of Double Rhythm (Delayed, Syncopated) are all EVEN RHYTHMS. A "Blank" Unit is also an "EVEN RHYTHM" (Same Foot free at the end of the rhythm). "Even” Rhythms are interchangeable with any other "Even” Rhythm. (3) DOUBLE RHYTHM is an Even Rhythm. In Basic Double Rhythm, the CPB centers over each foot individually. (also see: ODD RHYTHM)
EXIT - (1) The last few bars of music when the dancers end their routine leaving the floor. (2) A "Two Unit" Exit sometimes refers to the last four beats of a specific pattern. This is necessary when a pattern needs an “exit” to return to the proper foot, or to segway into another dance pattern.
EXCHANGE - (SEE RHYTHM EXCHANGE) -
EXTENDED RHYTHMS - (1) Putting 2 additional weight changes in any PRIMARY RHYTHM UNIT. (2) "Extended" Rhythms are all Syncopations, but they are "Named" syncopations, which allows them to be more easily identified. (3) An "EXTENDED DOUBLE" = FOUR steps to 2 Beats of Music. An EXTENDED TRIPLE = FIVE steps to 2 Beats of Music. There is no Extended Single because an Extended Single would become a "TRIPLE." (also see: RHYTHM CHART)
EXTENDED STEP PATTERN - (1) Refers to making a "6-Beat" Pattern into an "8-Beat" Pattern (or more). Extended Patterns "extend" in increments of 2 Beats each. (2) A Continuous Whip is an extended pattern that places the extension within the framework of the pattern. The extension starts on the third rhythm in the pattern. The third rhythm is DOUBLE RHYTHM (“5-6”) and can be repeated several times. (3) An Underarm Turn usually extends at the END of the pattern. Either partner can place a firm hand during the anchor on “5&a6” and then push themselves away for a tight “&a7-hold 8.” (4) Extensions are a comfortable way to phrase to the music.
FAD DANCES - Those dances which enjoy a SHORT period of popularity. (Usually classified in a particular ERA). Charleston, Twist, Hustle, Disco, Bossa Nova, Lambada etc. (Some dances, such as Cha-Cha, start out as a "Fad" dance, but their popularity stays and they become Standards). Hustle, after several years of metamorphosis, has actually achieved "Standard " status. (also see: CHA-CHA, CHARLESTON, LAMBADA, HUSTLE)
FAKING - (1) A term used when someone actually does a legitimate move, but does not understand what took place. (2) Being able to understand what takes place, allows you to repeat the move at a future time. (3) Example: Going from an Opposite foot move to a Same foot move requires doing a RHYTHM CHANGE for one of the partners. Exchanging an ODD RHYTHM for an EVEN RHYTHM does the job. (4) Many great pattern variations are produced from someone who creatively “Fakes it.”
FAN - (1) A circular sweep of the free foot on the floor. It can be an independent move initiated from the leg, or a total body move, where the connection of the leg to the CPB rotates the body into a Pivot turn. (also see: HEEL FANS, TOE FANS)
FEATHER AWARD - (1) The annual Award Ceremony that honored dancers from all over the world - some for their dedication to the dance, some for their expertise, and some for exceptional performance. (2) These awards, nominated by a prestigious panel, were voted on by the general dancing public. (3) CAY CANNON, originator of the Awards, made an invaluable contribution to the dance world with this magnificent, star-studded event. (see Author’s Feather Award (Skippy Bio) at conclusion of Terminology Notebook)
FIGURE FOUR - A move that places the free foot near the knee of the weighted foot forming the appearance of a FIGURE FOUR.
Teaching Note:
FLASH BREAKS - (1) Special "Stops" - "Poses" - "Drops" - "Lifts" - "Freezes" (2) Dramatic pauses in the dance that coincide with the dramatic pauses in the music. (also see: BREAKS)
FLASHLIGHT TECHNIQUE - (1) A "Centering" technique, particularly helpful in WEST COAST SWING, for learning flexibility in the dance. (2) It also teaches the Follower to stay Centered to her partner, even at a very BASIC stage of development. The same technique relates to many dances.
Teaching Note: (also see: CENTERING)
FLAT - (1) A term used to denote that all of the body weight is distributed over the entire foot by the time the weight change has taken place (Like landing on all 4 wheels of a roller skate). (2) Many "Triples" are danced "Flat and toe flat", as in Samba or Swing. (also see: HEEL LEAD, TOE LEAD)
FLEA HOP - (1) A series of little hops where the Left foot hops to the RIGHT and the Right foot hops to the LEFT. The "CALL is: "Hop Step & Hop Step" to a count of “&a1 &a2.” (2) Flea Hop was originally made popular in the 1940s by Hollywood comedian PINKY LEE. (also see: HOP)
FLEXIBILITY - (1) The degree of movement exhibited in the joints and muscles.
Teaching Note:
FLICK - (1) An ACTION of the ankle of the Free Foot. (2) An extended Free Foot gives an extra "flip,” from the ankle, making an upward move on a beat of music. (also see: STRIKE)
FLOATING ANCHOR - (1) A form of anchor in West Coast Swing (usually done by a follower but acceptable for either partner or both) that swivels on a diagonal on counts "5&a6" and then swivels again to face your partner before starting a new pattern. (2) Old-timers would recognize this style variation as the original "Coaster Step,” before the coaster step became a simple "back together forward." (also see: COASTER)
FLOOR CRAFT - (1) The ability of a competition or show dancer to make use of the floor in a way that enhances the dance. (2) Being able to dance around the floor without interfering with other dancers on the floor.
FLOOR PATTERN - see PATTERN
FLYING LINDY (Flyin' Lindy) - (1) A step pattern done in West Coast Swing, East Coast Swing and Lindy. It gets the name "FLYING" from the fact that the combination of centrifugal force and speed propels the body into a circular motion that forces a series of hops and leaps to replace the standard rhythm of the Whip. This "lifted" action makes the partners seem literally “airborne.” (also see: LINDY)
FOLK DANCING - (1) Routines of various cultures that have been handed down from generation to generation, danced to traditional music from the country of origin.
FOLLOW (Following) - (1) The act of moving a fraction of a second later than the leader, and yet still be on time. (2) "Following" is accomplished in different ways for different dances, but certain concepts remain the same. Reaction to a "Lead" is the act of following. (also see: LEAD)
FOOT PLACEMENT - A deliberate "action" that results in a weight change that ideally falls into a correct foot position. (also see: FOOT POSITIONS, FOOTWORK)
FOOT POSITIONS - (1) How the feet are placed in relationship to each other. (2) The Five Basic Foot Positions and their extensions make a big difference in the level of performance of ANY kind of dancing. 1st: Feet Together, Heels touching and toes about a thumb's-width apart. 2nd: Direct Side, Feet apart with the same extra distance between toes, rather than the heels. 3rd: Heel to Instep at an angle that allows both knees to face forward when (and if) they are bent. 4th: A Walking Step, one foot in front of the other, with a line through the center of the heel and the center of the big toe. 5th: Toe of one foot placed behind the Heel of the other foot. (2) Hook and Cross are also Foot Positions. (3) Ballet Foot Positions use the same description, except that the turnout is extreme. (4) Jazz foot positions sometimes use the opposite extreme. In Jazz, 1st foot position frequently has both heels and toes touching each other.
Teaching Note: (also see: CROSS, FOOT POSITION CHART, HOOK, LOCK)
FOOTWORK - (1) The proper use of FOOT PLACEMENT (Foot Positions) that takes place between one foot placement and the next. (2) Control of the FREE FOOT is as important as the placement of the weighted foot in assessing a dancer's footwork. (also see: FOOT POSITION CHART, FREE FOOT)
FORCE POINT - (1) The part of the anatomy that initiates the action. (2) Putting power into a foot or a hand or a hip to isolate the driving force and energy that gives precision and form to a movement. (also see: CENTER POINT of BALANCE)
FORWARD - A direction that indicates 4th foot position directly in front of - or directly behind - the currently weighted foot.
Teaching Note: (also see: BACK, SIDE)
FOXTROT - (1) In any given Era, the Basic SOCIAL DANCE, danced to 4/4 time Music, alternating or mixing “Single Rhythm" and Double Rhythm,” or danced with one rhythm alone. (2) There are many varieties and styles danced at any given time, but the basic "Rhythm Patterns" will be similar for "American,” "International,” "Latin,” "Country,” "Niteclub" or "Ballroom.” Foxtrot will assume various names, according to the country of origin and the era. Slow Dancing, Two Step, Peabody, Westchester, Salsa, Slicker Dancing, etc. all fit the criteria. (3) AMERICAN Foxtrot uses BOX RHYTHM (alternating Double and Single Rhythm) and BASIC RHYTHM ( one Double Rhythm and two Single Rhythm Units), PLUS Rhythm Breaks of all DOUBLE or all SINGLE Rhythm. (4) INTERNATIONAL SLOW FOXTROT is a competition form of Foxtrot and uses a "CALL" that involves Quicks and Slows. However, the term "SLOW" in an International sense does not always fit with the standard terminology for a SLOW. In International terminology a SLOW sometimes steps on the Downbeat, but frequently steps only on the Upbeat. (5) COUNTRY TWO STEP is a form of Foxtrot to Country Music. The CALL is "Quick-Quick, Slow, Slow,” with a toe lead on the Quicks and a Heel lead on the Slows.
Teaching Note: Historical Note: "FOXTROT" is so named because of the influence of Harry Fox, a New York Vaudeville entertainer. In 1913-14, Harry starred in a Flo Ziegfeld production and his little "Trotting" steps were a show-stopper. However, Oscar Duryea, a popular Dance Instructor of the day, actually introduced the dance to the public. He used Fox's routine from the show, but added some Walking steps (Single Rhythm) in order to make it more danceable and less exhausting. (also see: DANCE IDENTIFICATION CHART, NITECLUB FOXTROT, QUICK-QUICK, SLOW, TWO STEP)
FRAME - (Dance Frame) (1) The term used to describe a firm posture that connects the dancers arms to the trunk of the body, in order to form one solid but flexible base. (2) Proper frame requires the shoulder blades to be pulled back and DOWN. (The Key word here is DOWN). The "Down" movement lifts the CPB and places the shoulders in the back of the body. (3) Correct "frame" helps to telegraph the "lead" to a partner. Teaching Note: The reason teachers say "Up -Back and Down" is to unlock the shoulder muscles, allowing the shoulder to roll back in order to get to the back of the body. (Rather than dropping forward.) (also see: CENTERING, CONNECTION, RESISTANCE)
FREE FOOT - (1) The un-weighted foot. (2) The foot that is about to leave the floor. (3) "Even" Rhythm Units leave the same foot free. "Odd" Rhythm Units leave the opposite foot free.
Teaching Note:
FREE STYLE - (1) Dancing alone, or DANCING with a partner in front of you, but not in contact.
FREEZE - (1) A complete stop or “pose.” (2) In the SHIM SHAM, the 2nd time through, the dancers "FREEZE" all of the breaks until counts "7&8.” (3) There are several LINE DANCES, (some old - some new) that incorporate "poses" for as long as 3 or 4 beats of music. (also see: SHIM SHAM)
FRENCH CROSS - (1) A "Side Cross Back" in the "Followers" part of a "6 count" pattern in West Coast Swing. (2) This name and description was popular in the 1960s.
Teaching Note:
GLIDE - (1) A smooth, projected movement, with the free foot barely skimming the floor as it moves toward the next foot placement. (2) An "ESSENCE" description of how to do the technique for SLICKER DANCING. (also see: SLICKER DANCING)
Golden State Dance Teachers Association - (GSDTA) (1) A “not for profit “ organization dedicated to the education and development of Dance Training through research and discovery. The organization focuses on "Rules of Movement" and "Rules of Music and Timing". The pursuit of that knowledge led to the discovery and development of the "Universal Unit System"®. (2) GSDTA currently provides on-going "Up-Date" Training and optional testing for Teachers and Judges (since 1961) . Certification is accepted by many Colleges, Park Districts, the Dance Dynamics Certification Board and the World Swing Dance Council . (3) National Headquarters for GSDTA has been in Downey, California since 1961 and continues to run it's offices from that location. Member "Associates" are all over the world. (4) GSDTA and teachers associated with GSDTA are responsible for the information and dissemination of information that made this publication possible.
GRAPEVINE - (1) A series of steps that travel to the side, alternating "Cross Behinds” and “Crosses in front.” Example: "Side - Cross Behind, Side - Cross in Front.” Repeat until the desired number of beats of music has been completed ( Partner will be dancing Natural Opposite. (2) A Grapevine requires both a Back Cross and a Front Cross to be complete. It requires 4 weight changes. Grapevines are considered a natural RHYTHM BREAK and are used in some form in a variety of social dances. (also see: RHYTHM BREAK, VINE)
HALF-TIME - (1) Dancing half as fast as the Music. (2) Particularly in West Coast Swing, dancers will "Half Time" a very fast piece of music by counting only the Downbeats as a count. (3) Example: A Whip is an "8 Beat" pattern. Dancing in "Half Time", the same pattern would take 16 beats of music to complete.
HEAVY MEASURE - (1) The 1st measure in a Mini-Phrase of 8 beats of 4/4-time music. (2) The 1st measure in a Mini-Phrase of 6 beats of 3/4-time music. (also see: LIGHT MEASURE, MEASURE, MINI-PHRASE)
HEEL CLICKS - An action where the weight is on the balls of both feet and the heels lift from the floor and hit each other. (also see: HEEL FAN)
HEEL FAN - A move where the weight stays on the ball of the foot and the heels move out and back. (also see: TOE FAN)
HEEL LEAD - A heel lead places the FORWARD half of the heel onto the floor and then transfers the weight onto the rest of the foot.
Teaching Note: (also see: TOE LEAD)
HEEL PIVOTS - (1) A move where one foot steps back behind the other foot to initiate a pivot that will turn in the direction of the forward foot. (2) Heel Pivots only occur when stepping back. (3) Some Heel Pivots require bringing both feet together and turning on the heels of both feet at the same time. This is usually done in Foxtrot and Waltz. (4) Heel Pivots are currently (2005) popular in West Coast Swing because of the interest in Whip Pivots. (also see: PIVOT)
HEEL-TOES - (1) A traveling move (either Left or Right) where the weight alternates between being on both toes and then moving onto both heels. This move was popular in the 1940's in Jitterbug and also became popular in LINE DANCES.
HESITATION - (1) A "Pause" on one foot that takes more than one beat of music. Frequently called a "Balance" Step. (2) Any "Single Rhythm" Measure in WALTZ. (3) Hesitation sometimes refers to a specific School Figure. (also see: SINGLE RHYTHM, RHYTHM CHART)
HIP CONTROL - (1) Control of muscles in the abdomen that are connected to the hip. (2) There are 3 levels of HIP CONTROL, the most difficult being NEUTRAL. In addition to NEUTRAL, there is a CUBAN HIP and a CAMEL HIP. In the training of dancers, loose hips are the hardest to control. NEUTRAL is the most difficult and is a preferred effect in many dances.
Teaching Note: (also see: CAMEL HIP, CUBAN HIP, NEUTRAL HIP) HISTORICAL In this Publication, Historical references include bits of information that are directly connected to fostering better understanding of the changes that have taken place in the Teaching and the Dancing of today.
HITCH - (1) A "Body Action" that "pulls back" like the pulling of a rubber band . It is part of several dance forms. Swing "Calls" include "Hitch and Go" or "Hitch Step-Step" or "Hitch and Run". (also see: HITCH KICK, FORCE POINT)
HITCH KICK - (1) A popular Rhythm variation in West Coast Swing. The "CALL" is "Kick & Step-Step" or "Hold & Step-Step" (The Hitch refers to the Body Action - the fact that the body pulls back slightly, before it releases to step forward on the "Step-Step.”) It can replace any DOUBLE RHYTHM in several dances. The name of the RHYTHM is a DELAYED DOUBLE.
Teaching Note: (also see: DELAYED DOUBLE)
HOLD - (1) A beat of music where there is no weight change. (2) A Hold refers to the FREE FOOT and what the free foot is doing for that beat of music. (3) In a "2 beat" Unit, the hold can be on count "1" or count "2.” Example: In RUMBA there is a "hold" on the 2nd beat of every SINGLE RHYTHM UNIT. In West Coast Swing, it is possible to "hold" count "1" and step twice on “&a2.” This is a "DELAYED DOUBLE". (also see: DELAYED RHYTHM, RHYTHM CHART, SINGLE RHYTHM)
HOME - (1) A reference point in the dance. To "return Home" is to return to where the pattern started, or where that particular move started. (2) A popular call also used in Square Dancing and in LINE DANCES. (3) A return to a starting point in a specific Style Variation.
HONKY TONK - (1) A type of Country Dance Hall. (2) A type of Music that is played in Honky-Tonk Bars. (3) A form of Country Competition where the contestants can not do Routines and are not allowed to wear fancy costumes. (also see: JUST DANCE)
HOOK - (1) A foot position that places one foot behind the other in a way that requires the toe of the "hooking" foot to come in past the heel and nestle near the outside of the arch of the other foot. (also see: FOOT POSITION CHART)
HOOK TRIPLE - (1) A popular move in Swing, Line Dances and Jazz Dancing. The CALL for a Hook Triple is: "Hook & Side Replace" counting "1&a2 - 3&a4.” (2) The HOOK is an actual "Hook" (also see: foot positions). The SIDE refers to stepping to the side (2nd foot position) with very little weight, on the “a” count.. The REPLACE means placing the free foot where the forward foot has been. (3) EXAMPLE: Pick ONE SPOT on the floor. Place your Right foot ON THAT SPOT. HOOK the LEFT foot behind the RIGHT foot on "1.” RIGHT foot moves out to the side (very little weight) on the "a" count. Move the LEFT foot directly onto the original SPOT on the floor on count “2.” (3) The Rhythm Pattern for a Hook Triple is "Triple-Triple.”
Teaching Note: (also see: "a" COUNT, SAILOR SHUFFLE)
HOP - (1) A "HOP" is executed on ONE FOOT. Standing on one foot, the body elevates (leaves the floor), either in place or moving, and lands again on the SAME Foot. (2) Annotation for a "HOP" is an OPEN CIRCLE, rather than a solid DOT. (also see: ANNOTATION CHART, JUMP, LEAP, SKIP)
HORIZONTAL RHYTHM - (1) Movement to a specific count, driving Forward, Backward or to the Side, in a smooth line, propelled by the "Sending" foot. (2) Vertical Rhythm that has been stretched "out" rather than "up". (also see: BODY FLIGHT, PRESS, VERTICAL RHYTHM)
HOUSTON WHIP - (1) A form of Swing, popular in Texas, that does a "Double Resistance" on the end of each pattern. (2) MARIO ROBAU, noted dance authority in Texas-style Swing, describes the form as double resistance with a circular hip roll for the Lady, as she executes a "Syncopated Body Rock". (3) He describes the Basic level as being the same as DALLAS PUSH. (4) The more advanced styling of this dance uses a very highly evolved Rhythm Variation on both the "anchor" of the previous pattern and the 1st Unit of the following pattern. The "Anchor" for the Lady only steps twice: Once on count "5" and again on the "&" count before "6". Her next step is on the "&" count before “1.” She holds back for count "1" and steps on the "&" count before "2" and also ON count “2.” The entire move is a continuous circular body ripple. (also see: DALLAS PUSH, HITCH, RIPPLE, SYNCOPATION)
HUSTLE - (1) The Line Dance that started it all in the movie "Saturday Night Fever.” The Hustle Line Dance was danced to the music “The Hustle”. (2) The various forms of "Couple Hustle" that evolved in the 1970's included the Latin Hustle, New York Hustle, L.A. Hustle, Street Hustle, Same Foot Hustle and finally, the "3-Count" Hustle. (3) The "3-Count" Hustle was probably born out of the fact that there were several pieces of Hustle Music that were written in 3/4-time in the late 1970s.
Teaching Note: AUTHOR'S NOTE: Counting Hustle in “2-Beat” rhythms achieved wide popularity through the early efforts of GSDTA through Jamie and Gail Arias, and Tom Mattox. Unfortunately, in 2008, dancers are still count in 3/4 time to 4/4 time music. (Check out the article "The Hustle effect" to find out what happens when you dance 3/4 time to 4/4 time music.) (also see: MELANGE, NEW YORK HUSTLE, PULSE, SAME FOOT HUSTLE)
HYPER-EXTEND - (1) Bracing the knees back or bracing the elbows back too far produces hyper-extension. Straightening the knee does not mean hyper-extend. Straighten means to stretch them out, but not back.
IMPERIAL SWING - According to the words of MARIE COOK, a 22 year veteran of the St. Louis Imperial Dance Club, Imperial Swing is a highly stylized form of East Coast Swing. The identifying characteristic is the 1st Triple which travels forward in 3rd Foot Position. (also see: East Coast Swing, Dance Identification Chart, Swing)
INSIDE ROLL (Inside Turn) - (1) A variation of a Whip in West Coast Swing. On count "3" of a Whip, the man places his Left hand upward toward his Right shoulder. That leads the Lady into a Left Turn, under her own Right Hand. (2) The word "Inside" implies a direction and that direction is clear in the case of the Whip. (3) Used in other situations some definitions describe the Inside Roll as any time the man's hand comes between him and his partner to lead her into a turn (Inside Turn). Some describe the action of turning to the center of the room as an "Inside Roll.”
Teaching Note: (also see: RULE, TOOL, TURN)
INTERNATIONAL DANCE - (1) There is a whole world of International dance that is geared to International Competition. It is a highly technical form with performances geared to technical precision. (2) This subject is included here to acknowledge those who participate in this particular discipline. AUTHOR'S NOTE: International Dance has a discipline all it's own. This book is devoted to American Ballroom, Latin, West Coast Swing, Motion Study and Line Dancing. International dancers however, have gleaned a lot of information that is not only compatible, but also helpful in every aspect of their discipline - particularly in the area of critical timing. (also see: FOXTROT, TANGO, WALTZ)
INTRO - Short for "Introduction." The start of the Music, and/or the opening of a dance routine (usually 8 or 16 beats of music). In choreography, it is very acceptable to dance an entirely different style for the INTRO. Example: a "16-Beat" Charleston "Intro" before a Quickstep routine, or a "32-Beat" JAZZ "intro" for a SWING Dance Routine. (also see: EXIT)
INVERTED UNITS - (1) Inverted Units, described in the 1st edition of "Disco to Tango & Back" are no longer part of the Universal Unit System. The INVERTED Unit started with the Upbeat first (Inverted Units were necessary to accommodate counting “2 3 - 4&1” - a popular method of teaching Cha-Cha in the 1950s and '60s). That count graduated to "2 3 - 4&5 - 6 7 - 8&1.” Unfortunately, that count is still in use today and is still a popular choice for teaching dancers how to START on count "2.” GSDTA no longer uses or needs Inverted Units. PLEASE read the following Teaching Note.
Teaching Note: (also see: CHA-CHA, MAMBO, MAMBOLERO)
JACK & JILL - (1) A form of Swing Dance Competition where the dancers do not know in advance who their partner will be. A name or number is randomly drawn to determine the partnership. It is called "Luck of the Draw.” (2) In 1994, the Jack and Jill Competition reached National Championship status. The stakes were high and the "Luck of the draw" was interpreted in a different way. Most Championships now allow two draws for individual "Call Backs" in the Preliminaries. Finalists are usually judged as couples. Historical Note: At HANK & STANS in NORWALK, California (circa early 1950s), JACK CAREY ran weekly Swing Dance Contests. The top dancers always won, and pretty soon the contestants narrowed down to 3 or 4 top couples. They always won all of the money. New dancers were difficult to recruit. Jack wanted to encourage a variety of new dancers to participate. He had them put their names in a hat and draw for partners.. He called this new kind of contest a “Jack and Jill.” They have now been around more than 50 years.
JAZZ SQUARE - (1) A square-shaped Floor Pattern that has four weight changes on the corners. (2) Example: "Cross Right over Left, Back Left, Side Right, Forward Left" and repeat. The pattern can start at any point of the square. The two basic forms include:. (2-a) "Forward Left, Cross Right over Left, Back Left, Step Side Right" (2-b) “Forward Right, Cross Left over Right, Back Right, Step Side Left” (see: DIAMOND)
JITTERBUG - (1) A bouncy form of East Coast Swing, danced to Big Band Music. (2) Popular in the early 1940's, this dance is immediately recognizable in old movies by the “Flyin’ Dutchman” - lifting the girl onto the man's right hip, then left hip, then down between his legs, followed by straight up in the air. (3) Jitterbug is frequently described as the “athletic” form of swing dancing. (4) This style persisted into the 1950s with a slight change of music, becoming more Rock & Roll style Swing. (5) In the 1990s, that style was perpetuated by the "Rhythm Hotshots" from Sweden and the Lindy Hoppers from New York City. Historical Note: The 1940s era saddle shoes and the 1950s poodle skirts are synonymous with the term "Jitterbug.” AUTHOR’S NOTE: The late 1930s and early’40s was my introduction (Revision pending) (see: DANCE IDENTIFICATION CHART, EAST COAST SWING)
JIVE - (1) An International style of Swing from the family of EAST COAST SWING. It has a "Bouncing Rhythm" that is danced to fast Swing Music. (2) A highly stylized form of Swing, developed abroad for International style Competitions. Historical Note: "Jive" had it's origin in America in the Jitterbug era. However International Jive mixes the jumping "JIVE" style, usually reserved for teenagers, with Las Vegas style Latin Costumes and High Heels - a very different look and different dance than any other form of swing. (see: DANCE IDENTIFICATION CHART, SWING)
JUDGING PANEL - (1) A group of people that have been trained to place contestants in order of level of performance. In many instances they are even required to justify their decisions. (2) All Dance Organizations have a judges training program. Golden State Dance Teachers Association trained dance judges for more than 20 years. In 2003, the Dance Dynamics Certification Board (NDDCB) was formed specifically to conduct Certification Training for Judges. This was approved by the World Swing Dance Council and supported by GSDTA. (3) ANNIE HIRSCH, the most sought after "Chairman of Judges" for Swing competitions, is also chairman of the World Swing Dance Council. She is one of the pioneers who pushed toward better training and fairness in judging Swing Competitions.
Teaching Note: (also see: ELEMENTS of MOVEMENT, ELEMENTS of MUSIC)
JUMP - A movement whereby the body leaves the floor either starting or ending on BOTH feet. (see: HOP, LEAP, SCOOT)
JUMP SWING - a form of Swing that became popular during the era of the GAP commercials. The commercial featured Swing dancing with lots of action, aerials, and jumps. (1) We called it "Retro Swing" for the first year but when young people called on the phone asking for SWING, they would describe the GAP commercial as "Kicks and Jumps." We changed the name to JUMP SWING and further clarified the dance by choreographing the basic patterns to end each major phrase with a "Jump and Hold" on the last 2-beats of the phrase.
JUST DANCE - (currently being replaced with the term “Strictly Swing”) (1) A popular form of COMPETITION where all of the couples dance at the same time to the same music. Costumes and Routines are not allowed. This is a popular form for "entry level" competitors who would rather not learn routines (see: STRICTLY)
KENNY SHAG (Kenny "Speed Shag") - see ST. LOUIS SHAG
KEY UNIT - (1) The most difficult Unit in any dance pattern. (2) The “Key” that unlocks the secret of what makes that specific pattern work.
Teaching Note: (also see: UNIT) KICK - (1) In Social Dance Terminology a "Kick" means a movement with the FREE FOOT, usually projecting out from the knee, but staying close to the floor. (2) The FORCE POINT for a "Kick" is in the big toe, pointing DOWN for good footwork. (3) There is also a kick that requires a free swing from the hip. (as in a Push Break "variation" in West Coast Swing).
Teaching Note: (also see: AIR SHUFFLE, FOOTWORK, PUSH BREAK)
KICK SWIVEL - (1) A KICK with the free foot, followed by a swivel on the weighted foot. This allows both knees to be facing the same direction before changing weight. (2) Kick Swivels are used in SWING, CHA-CHA, LINE DANCES and many other forms of dance.
Teaching Note: (also see: SWIVEL)
KICK WHIP (Carey's Whip) - (1) A specific style of Whip in West Coast Swing, made famous by JACK CAREY of Corona Del Mar, California. (2) ). LEADER’S Pattern: "Back Left, turn Right" on "1 2" - "Lift the Left Knee" on "3" and step "Side Left" on "4" - "Stay in place and kick Right foot forward" on "5" - "Rotate Right" (centered over the left foot) on "&a" before "6" and "Kick back Right" on "6" - "Anchor" on "7&a8.” The FOLLOWER dances a standard WHIP: "Forward, Forward" on "1 2" - (turn right on "&a"), "Back, Together, Forward" on "3&a4" - (turn right on "&a"), "Back, Back" on "5 6" - "Anchor in Place" on "7&a8." It is important that she really move "Back" on count "5,” as this action turns the man around. (also see: RELEASE WHIP)
KNEE BRACE - (1) The "action" of pressing the back of the knees backward, without hyper-extending. This action is used in the Moon Walk and certain patterns in West Coast Swing. (2) The "brace" action tightens the leg as it braces the knee. Pushing the knee back too far can injure the knee. (also see: KNEE POPS, MOON WALK)
KNEE POPS - (1) A stylized move, popular in LINE DANCES and in Swing stylings. (2) BOTH knees "pop" forward on the beat of the music. (3) In Alternating Knee Pops, one knee "pops" forward while the other braces back. (also see: KNEE BRACE, MOON WALK)
LAMBADA - (1) A "Fad" dance that had a bright but short life in the late 1980s and early 1990s. (2) The RHYTHM PATTERN is " Double - Single - Double - Single". The "Call" is “Step Together - & Step hit -Step Together - & Step hit.” (3) The "Essence" of the dance was the Hip Styling which used a smooth Cuban hip on each "Step Together" and then a combination hip on the "Step Hit." Each "Single Rhythm" had a Cuban hip (on counts “3” and “7” - followed by an accented "Camel Hip" on counts “4” and “8.” AUTHOR'S NOTE: Lambada was a beautiful dance that was short lived. First, there was not enough Lambada music to make it viable. Second, media exposure focused on untrained dancers who portrayed the dance as vulgar and ugly. Larry Kern and I made a Lambada Video that was very popular, portraying the musicality and beauty of the dance. (also see: DANCE IDENTIFICATION CHART)
LAMINU (Lambnu) - A Slow-Tempo Dance, popular with Dance Teachers in the 1950s. The Movement Unit is "Down-Down" with a rhythmic lilt like that of Samba. The Rhythm Pattern is "Double-Triple-Double-Triple.” The Step Pattern is: "Back Left-Forward Right & Forward Side Together " - "Forward Right-Back Left & Back Side Together.” (also see: DANCE IDENTIFICATION CHART)
LATIN DANCES - Standard Latin Dances include Bolero, Cha-Cha, Mambo, Mambolero, Merengue, Rumba, Samba, and Tango. Salsa has recently entered the arena as a standard Latin Dance. Tango is the only Latin dance that is not a Rhythm Dance. (also see: CHA-CHA, MAMBOBOLERO, MAMBO, MERENGUE, RUMBA, SALSA, SAMBA, TANGO)
LEAD - (1) A LEAD is an INDICATION of direction. (2) A "Lead" should come from "Body Resistance" and connection of Frame (CPB), rather than strength from arm leads. (3) Most "leads" take place on the "&a" count prior to the beat. Some leads actually start on the Rhythm Unit before the move. (also see: FOLLOW, SIGNAL)
LEAP - A movement where the body leaves the floor, propelled by the "Sending Foot," and ends solidly on the "Receiving Foot". (also see: SENDING FOOT, RECEIVING FOOT, HOP, JUMP)
LEFT SIDE PASS - (1) A Swing Pattern that leads the Lady from front to back, past the man's Left side. (2) A "6-Beat" Step Pattern with a Basic Rhythm of "Double, Triple, Triple".
Teaching Note: (also see: CONTROL, DRIVE, LEVERAGE)
LEFT SINGLE - (1) A "Step Touch", "Step Kick", "Step Hold" or any step on the Downbeat that is followed by an action on the Upbeat. (2) Two beats of music, in 4/4-time, with only one weight change that takes place on the Downbeat (count "1") of the “2-Beat” Rhythm. (also see: LEFT UNIT)
LEFT TRIPLE - (1) Three steps to two beats of music, starting and ending on the Left foot. (2) A Left Triple begins with the Left foot free and ends with the Right foot free. (also see: ODD RHYTHM, TRIPLE RHYTHM )
LEFT UNIT (Left Rhythm) - (1) A "Left Unit" keeps the Center Point of Balance (CPB) over the Left foot for the entire two beats of music. (2) At a Basic level, a Left Single or a Left Triple. (3) At an advanced level, an Extended Double could be a Left Unit, if the Center Point of Balance stays over the Left foot for the entire Dance Rhythm.
Teaching Note: (also see: CENTERING, "ODD" RHYTHM, UNIT)
LESSON PLAN - (1) A written plan that includes the objectives as well as the Patterns to be used to teach the class. (2) A chart that keeps track of what the students are expected to learn, along with the process that will accomplish the objectives. (3) Part of the lesson plan should include the music that will be used for the lessons - and the breakdown (phrasing) of that music.
LEVERAGE - (1) An away action that requires a "reaction.” (2) Leverage is the point at which an "Away" resistance makes each partner's balance is dependent upon the other. (3) Correct Leverage can produce Body Flight. (see: BODY FLIGHT, COMPRESSION, RESISTANCE, TENSION)
LIFT - (1) In Partner Dancing the term refers to fully supporting a partner, usually placing the partner in the air at shoulder height or above. (2) For an Individual Dancer, it refers to the "Lifting" of the CPB to obtain correct posture and Body Flight.
Teaching Note:
LIGHT MEASURE - (1) The 2nd measure of an "8 Beat" Mini-Phrase or the 2nd Measure of a "6 Beat" Mini-Phrase. (2) A Musician thinks in terms of MEASURES, but the dancer relates to the “8-Beat” MINI-PHRASE. (also see: HEAVY MEASURE, MINI-PHRASE, MUSICIANS NOTE)
LILT - (1) (revision pending)
LINDY (Lindy Hop) - (1) Today’s "Lindy", by definition and classification, belongs to the "family" of East Coast Swing. Classic Lindy has "Back Rocks” for both partners and travels in a circular pattern. (the circle sometimes resembles more of an oval which gives the illusion of a wide slot) (2) The Basic Rhythm Pattern is: "DOUBLE - TRIPLE - DOUBLE - TRIPLE", and the Count is "1 2, 3&a4, 5 6, 7&a8.”
Teaching Note: AUTHOR'S NOTE: FRANKIE MANNING of New York City, a top performer since the early 1930's, was brought out of retirement to tour the country to promote the dance and share vital Dance History with Swing fans. He is an American Legend. (also see: DANCE IDENTIFICATION CHART, NEW YORKER, SWING)
LINE DANCING - (1) Country LINE DANCES swept the nation in the 1990's. They are often composed of a series of "Sets of 8" beats of music (The easiest are 4 "sets of 8"). (2) LINE DANCES have been part of our dancing culture for many years. From the SWING DANCE SCENE, the SHIM SHAM goes back to the late 1920’s and is still being danced today.
Teaching Note: Author's Note: I have personally enjoyed choreographing hundreds of Motion Study routines and Line Dance Routines. Tom Mattox and I, under contract with the record company, choreographed the original Boot Scootin’ Boogie.
LINE of SLOT - (1) A term created for West Coast Swing to determine the direction of the slot. Many teachers were using the term "Line of Dance" to determine the direction of the slot. That blurred the use of the term "Line of Dance." (2) At one time, the direction of the slot was thought to be a fixed slot - one direction, without change. With years of competition behind us and performances as prevalent as social dance, the slot is no longer fixed. West Coast Swing uses a shared. controlled, and ever-changing slot. Socially, it is still considered good etiquette (particularly on a crowded floor) to use a fixed slot, in order to give people room on the floor without incident.
LINE of DANCE (LOD) - (1) LOD means traveling (dancing) counter-clockwise around the room. ( skating, horse races, car races, etc. all travel LOD) Smooth dances progress LOD. Rhythm dances are usually danced in a smaller area of the floor.
LINK - One extra Rhythm Unit (2 beats of music) that has been inserted between one pattern and the next pattern to form an amalgamation that phrases to the music or just to provide better continuity from one pattern to another.
LOCK - A Dance Position where the lady is directly in front of the man and her arms are "locked" firmly around her mid-section. Her Right Hand is on her Left Side and her Left hand is on her Right Side. The man holds her Right Hand in his Left Hand and her Left Hand in his Right Hand. (also see: DANCE POSITIONS, LOCK WHIP)
LOCKS - (1) A Dance Pattern, recognized by the stylized Forward or Backward, traveling move in Foxtrot, Tango, Waltz, Quickstep, etc. where one foot "Hooks" behind the other to form a "Lock" (Forward, Hook, Forward). Traveling backward, it is a series of "Back, Cross, Back.” (2) A Step Pattern where the forward traveling partner is repeating a series of forward "Hooks" and the backward traveling partner is doing multiple "Crosses.” see CROSS, HOOK)
LOCK WHIP (Basket Whip) - (1) A Lock Whip is an "8 beat" pattern in West Coast Swing. The "Follower" has both arms crossed and "locked" in front, and the "Leader" is holding on to both hands from behind.
LOD - see LINE of DANCE
LUNGE - (1) A Forward or Side change of direction where the forward knee lowers the body slightly and the CPB travels all the way to the receiving foot before returning "Home.” The travel of the CPB is farther than a "Rock.” (2) A lunge does not move backward because it would become a Dip. (also see: CHANGE of DIRECTION, CPB, DIP, HOME, RECEIVING FOOT, ROCK)
MAJOR PHRASE - see PHRASING
MAMBO - (1) A fast Latin Dance, popular in the late 1940s and early ‘50s. Mambo was the forerunner of "Cha-Cha". (2) An "8 Beat" Pattern that "Breaks on count "2" and count "6" of the 8 beat pattern. Mambo Music has a definite Heavy Measure followed by a Light Measure which together make up the "8-Beat” Mini-Phrase. (3) The "Rhythm Pattern" for Mambo alternates "Delayed Single - Double - Delayed Single - Double.” The "Verbal" Pattern" is: "Lift Step - Step-Step - Lift Step - Step-Step.” (4) The "Count" for MAMBO is "1-2, 3-4, 5-6, 7-8.” (also see: CHA-CHA, DANCE IDENTIFICATION CHART, SALSA)
MAMBOLERO - (1) A Latin Dance, blending the musical interpretation of Mambo and the feeling and tempo of Bolero. The Rhythm Pattern is the same as Mambo: :"Delayed Single - Double - Delayed Single - Double.” Surfacing in the late 1970s, its popularity continues to grow. (2) Mambolero, American Open Rumba and International Rumba all have characteristics that overlap. They all "Break" on count "2" and count "6" of the music. They all accent, or "pulse" the Downbeat, and are danced to medium Slow Rumba and Bolero Music.
Teaching Note: Historical Note: LARRY KERN, Feather Award recipient as the most popular male teacher in the USA in 19___, did much to spread the beauty and joy of Mambolero through Videos and in choreographing so many national winning routines. (also see: DANCE IDENTIFICATION CHART)
MARCHING - Stepping on every beat of the music with precise placement of the feet. Marching can be done at a basic level with no accent , or we can bring it up a level by accenting either the Downbeat or the Upbeat, according to the music being played, or the dance being portrayed. (also see: ACCENT, DOWNBEAT, UPBEAT)
MEASURE of MUSIC - (1) With the exception of Waltz, most SOCIAL DANCES are danced to 4/4-time music. 4/4-time music is written with four quarter notes to a measure. The Dancer breaks those four beats into "2-Beat" increments which identify the individual Dance Rhythms. (2) One Measure of 4/4-time music contains four "Quarter notes" or two "Dance Rhythms" ( 2 Units) each containing One Downbeat and One Upbeat. (3) WALTZ is written in 3/4- time. There are three quarter notes to a measure, and each Dance Rhythm is composed of three Beats of music. (One Downbeat & two Upbeats). (also see: DOWNBEATS, RHYTHMS, UPBEATS, MUSICIANS)
MEASURED MOVEMENT -
MEASURES per MINUTE - see BEATS per MINUTE
MELANGE® - (1) A Two-Hand Rhythm Dance that steps on every beat of the music. "1 2, 3 4, 5 6, 7 8." (2) The "Rhythm Pattern" is "Double - Double" and the "CALL" for the Basic Step is: "Rock Step and Walk-Walk". (3) Country Music makes the dance look like Country Swing. Hustle Music makes the dance look like Hustle. Salsa music makes it look like a Two Hand Salsa from the 1970s.
Teaching Note: also see: DANCE IDENTIFICATION CHART)
MERENGUE - (1) A popular Latin Dance in Arthur Murray's in the 1950s that featured a curious up and down motion, (straight leg - bent leg) - popularized by the story that it was the dance of a famous pirate ship captain with a peg-leg. (2) The Rhythm Pattern for Merengue is "Double - Double - Double - Double." (stepping on every beat of the music. Recent referrals to Merengue are really talking about a Latin dance in Salsa circles that also steps on every beat of the music. (also see SALSA VALIENTE')
MINI-PHRASE - (1) In 4/4 time a Mini-Phrase is "8 beats" of music. (2) In 3/4-time a Mini-Phrase is six beats of music. (3) The use of "Mini-Phrases" for Dancers identifies a specific number of beats of music. This is particularly helpful for any dance counted in “8’s” : Swing, Salsa, Line Dancing, Cha-Cha, Tango, Rumba, etc. (also see: PHRASING)
MINOR PHRASE - (1) A semi-complete musical thought that is part of a Major Phrase. (2) Minor Phrases vary in length. (also see: PHRASING)
MIRROR OPPOSITE (Mirror Image) - A dance move where if one partner steps back on the LEFT foot, the other partner will step back on the RIGHT foot, just as it would look if you were facing a mirror. The "Back Rock" footwork of a basic step in East Coast Swing is considered mirror image. (also see: NATURAL OPPOSITE)
MOON WALK - (1) A move made popular by MICHAEL JACKSON in the 1980s. This move can be seen in old movies by tap and jazz dancers, but Michael made the move and the NAME of the move popular in the 1980s and ‘90s. (2) The Moon Walk looks as if someone is walking forward in slow motion, although the dancer is actually traveling backward.
Teaching Note: (also see: KNEE BRACE)
MOVEMENT UNIT - (1) Webster's New American Dictionary describes Movement as "A shift in Position." (2) A Movement UNIT is a shift of position of the CPB, within the framework of "2 Beats" of Music. If the CPB lowers on count "1" and rises on count "2,” it is a "DOWN-UP" Movement Unit. (also see: HORIZONTAL RHYTHM, VERTICAL RHYTHM)
MOVIES (Influence of) - The Musicals of the 1940s, particularly those starring FRED ASTAIRE and GINGER ROGERS, contributed to the popularity of tap dancing but also to "Partner Dancing." "Ice Castles,” featuring VERNON AND IRENE CASTLE popularized Ballroom Dancing across the country. Musicals also contributed to the popularity of the Lindy, Jitterbug, and other forms of what we now call Swing. It is interesting that Charleston is popular in Mexico today because of the old movies of the 1930s that are shown every day in the theaters and parks. The HUSTLE flourished after JOHN TRAVOLTA appeared in "Saturday Nite Fever" - and MAMBO had a short flurry when "Dirty Dancing" hit the screen. Country Dancing spread like wildfire following the release of "Urban Cowboy.” AUTHOR'S NOTE: Very DEFINITELY people are influenced by the movies they see. Movies do not reflect what already is. They might reflect the impressions of a FEW people, but MOVIES influence thousands of people. Fred Astaire did not tap dance because I did. I danced because I saw HIM dance. We need more Movies about DANCE and less horror stories!
MUSCLE MEMORY - (1) What the Muscles "remember" and can do "on their own.” Education and practice combine to make a dancer “OWN” a move. It is possible to understand many techniques that we are not yet capable of performing. Sometimes what we have learned intellectually has not yet become part of our muscle memory. Practicing a new technique that requires changing a former discipline requires "retraining" the Muscle Memory. (also see: ASSIMILATION PERIOD)
MUSIC (Social Dance music) - (1) Any Music in 4/4-time or 3/4-time that is danceable. There are specific pieces of music that fit specific dances. (2) There is also music that encourage dancers to dance. (3) Some music is considered fun to dance to socially but is NOT acceptable for competition.
Teaching Note: AUTHOR'S NOTE: The question arises many times where someone asks "Is this a Cha-Cha or a Rumba?" It is important to know the differences, but it is also important to know that many songs have a "crossover" sound. In the real world, the music will not always sound like it does in class, or at a competition. YOU are the dancer. Socially, do what you feel. There are times when you will see a CHA-CHA, a MAMBOLERO, a SALSA, a RUMBA and a WEST COAST SWING all being danced on the same floor to the same music. SOCIALLY, Who Cares ? Enjoy what you do! HOWEVER, it is important in Competition to have music that not only pleases the dancers, but is musically sound for the competition being danced. (also see: DEE JAY, TEMPO)
MUSICAL COUNT - see COUNT
MUSICAL INTERPRETATION - (1) How dancers hear the music influences how they dance. (2) Most Competitions score a dancer on Musical Interpretation. Sometimes dancers concentrate only on the "Breaks" in the Music, while others concentrate on Phrasing. There are many different ways of expressing what one hears in the music. Each element of music and movement that "connects" the dancer to the audience creates a better performance.
Teaching Note: (also see: PHRASING, PULSING)
MUSICIANS NOTE: - (1) For the purpose of clarity, the following notes deal only with 4/4-time music. (1) Musicians have their own sheet music and "Rules" that apply to playing music, writing music, and reading music. (2) Dancers have a different set of Rules and require different sheet music in order for them to create more professional performances. Their sheet music allows them to write their dances and be able to read (or have someone else read) what has been placed on the sheet music. (3) Although dancers dance to the music, they work with a different but accurate count. The dancers count matches (but is not identical to) the musicians count. (4) Musicians think in "Measures" and Dancers dance to “2-Beat” Rhythms and Mini-phrases called "Sets of 8” (8 beats of music). The dancer differentiates between the Heavy Measure and the Light Measure, which together form the dancers "Set of 8.” (5) The Musicians "&" counts come after the beat. The dancer dances to a "rolling count" that demands movement just before the beat. Result: The dancers count "&a1 &a2." Every move the dancer makes must begin with the "&a" before each beat of music.
Teaching Note: (also see: "a" COUNT, "AND" COUNT, DANCERS COUNT, PHRASING)
NATURAL OPPOSITE - If a pattern states only the LEADER'S PART, it is assumed that the FOLLOWER’S part is a NATURAL OPPOSITE. If HE steps FORWARD, on his Left foot, SHE will step BACK on her Right foot. (also see: MIRROR OPPOSITE)
NEUTRAL HIP - A lifted, controlled hip that uses neither Camel nor Cuban Hip Movement. This is sometimes more difficult that moving the hips. (also see: HIP CONTROL)
NEW YORKER - (1) A style of East Coast Swing popular in the 1940s. Verbal Pattern: "Rock Step - Step Touch - and Step three times." Some of the dancers did all Delayed Singles, with a Verbal Call of "Rock Step - Tap Step, Tap Step." (2) New Yorker, Lindy and Jitterbug were the three names that were bandied about at that time and patterns overlapped in each dance. Everyone was considered a street dancer because very little instruction was available. The dancers taught each other. AUTHOR'S NOTE: (A) This is one of the first dances I learned as a teenager on the Steel Pier in Atlantic City, New Jersey in 1938. The New Yorker and Lindy were the popular dances of the day. The Dance Contests were called "Jitterbug" Contests. Dancers had no difficulty dancing with each other and although the styles looked a little different they all FELT the same - and the different styles were compatible. (also see: EAST COAST SWING, LINDY, STREET DANCER)
NITECLUB TWO STEP - (1) Originally called DISCO TWO STEP, this dance has become a Standard under the name Niteclub Two Step. (2) The Rhythm Pattern is "TRIPLE - TRIPLE.” The Step Pattern Call is "Back &, Forward SIDE - Back & Forward SIDE” to a count of: "&a1&a2 - &a3&a4.” (3) The "Essence" of the dance is the Pulsing of the Upbeat (on counts “2” and “4”), with a subtle upward lilt of the body on EVERY single beat of the music.
Teaching Note: AUTHORS NOTE: Buddy Schwimmer of Orange County California, was single-handedly responsible for the subsequent popularity of this dance. He was part of the Skippy Blair Dance Team when this dance first came out of New York and he was in on the ground floor of its development. (3) One important personal observation was that each pattern started with the back step on count “1.” (4) Somewhere in the mid 1990s, because of the slow tempo of some of the contemporary Country Music, Niteclub 2-Step entered the country scene in a different form. The sound is different and the dance is a totally different dance. The patterns have a kinship to many Rumba patterns. Each Pattern consists of eight beats of music instead of four. (also see: DANCE IDENTIFICATION CHART, NITECLUB FOXTROT, SLOW DANCE)
NOTE VALUE - (1) The actual KIND of note that equals a given amount of time. One Quarter Note equals one BEAT of music in 4/4-time. (2) Dance Rhythms are made up of “2-Beat” Rhythms that are composed of two quarter notes. (3) Two Quarter notes = one Half note. Four Quarter notes = one Whole note. (4) #3 is NOT vital information for a dancer. The DANCER needs only to know the value of a Quarter note. (also see: TIME VALUE, TIME PLACEMENT)
"ODD" RHYTHM UNIT - (1) An UNEVEN number of weight changes within the framework of the “2-Beat” RHYTHM. (2) All forms of SINGLE and TRIPLE RHYTHM are “ODD RHYTHMS.” (3) An ODD RHYTHM begins with ONE foot free and ends with the OTHER foot free. (4) Odd Rhythms can be referred to as either a LEFT Rhythm or a RIGHT Rhythm. (also see: "EVEN" RHYTHM UNIT)
ONE-HAND POSITION (Open Position) - (1) Partners are joined with His Left hand holding Her Right hand - facing each other - but with some distance in between (as in open Swing). (also see: DANCE POSITIONS, DANCE POSITION CHART)
OPEN BREAK - (1) An "away" move where both partners are stepping back, away from each other, and then returning to each other. (2) All of the Latin Dances use Open Breaks. They are also used in Niteclub Two Step.
Teaching Note: (also see: MIRROR IMAGE, POINT of CONNECTION)
OPEN DANCE POSITION - (1) In SWING, Open Position refers to a "One Hand" position, with the Lady at the end of the slot. This position is the same for Rumba or Cha-Cha when "Open Breaks" are indicated. Partners are connected by one hand. (also see: DANCE POSITIONS)
OPPOSITION (Law of) - (1) The Law of Opposition tells us that "Every ACTION has an equal and opposite REACTION.” (2) A Push meets with a Push. A Pull meets with a Pull. Pressing Down pushes the body Up (3) This "Law of Physics" is one of the fundamental Rules of good Dance Movement. (4) The Law of Opposition is sometimes stated in dance as “Matching the Resistance.” (also see: ACTION, CPB, MOVEMENT, PRESS, REACTION)
OUTSIDE ROLL (Outside Turn) - (1) A variation of a Whip in West Coast Swing. On count "4" of a Whip, the man places his Left hand upward and around as if moving a "Jump Rope.” That leads the Lady into a Right Turn, under her own Right hand. (2) The word "Outside" implies a direction, and that direction is clear in the case of the Whip. (3) Used in other situations, some definitions describe the Outside Turn as any time the man's Left hand leads to the Left or his Right Hand leads to the Right. Some describe the action of turning to the outside wall as an "Outside Turn."
Teaching Note: (also see: RULES, TOOLS, TURN)
PADDLE TURN - (1) This term refers to a form of turn that centers the CPB directly over one foot while the other foot executes little "pushing" movements that keep the body turning. (2) There is a "Lilt" of the CPB that allows the CPB to stay over the weighted foot. There is a lilting Movement Unit of "Down - Down.” (3) Paddle Turns frequently start with a "Pivot" and then move into a paddle turn. (4) The Count is 1&a2&a3&a4, etc. with the centered, flat foot being on the beats of the music and the “paddle” foot being on the “a” counts.
Teaching Note: (also see: PENCIL TURN, SPIN)
PARALLEL - (1) A "Body Position" that is on a diagonal, allowing one partner to step "outside" the other partner without getting side by side. (2) Right or Left Parallel can be demonstrated by having partners touch the outside of one partner's RIGHT Knee to the outside of the other partner's RIGHT Knee while staying "Centered" to each other. This produces a Right Parallel Position (3) Right Parallel requires the Right shoulder of both partners to be pulled slightly back as the right foot is placed forward. The Left shoulder is slightly back for a Left Parallel.
PASS - (1) Any one-hand move that takes the Lady past her partner either from front to back, or from back to front, without either partner going under an arm or spinning or rolling. (2) A pass is simply a pass - not a turn, tuck or roll. (also see: LEFT SIDE PASS, RIGHT SIDE PASS)
PASO DOBLE' - (1) An exciting Latin dance, popular in International Competition. (2) It is characterized by a feeling of marching to the music and portrays the man as the matador and the lady as the cape.
PATTERN - (BASIC PATTERN, FLOOR PATTERN, RHYTHM PATTERN, STEP PATTERN - VERBAL PATTERN) A. BASIC PATTERN - (1) The Foundation "Step Patterns” in any given dance. (2) Basic Dance Patterns include the basic Rhythm Pattern, various directions (Step Patterns) and the "Essence" of the dance. (3) A Basic Dance Pattern is synonymous with "Step Pattern" and/or "School Figure."
Teaching Note: B. FLOOR PATTERN - (1) The Pattern as it would appear if it were stationary. A Waltz Box is first demonstrated as a Square Box that does not move. However, once the dancer understands the diagram, it is pointed out that the box is danced with a gradual TURN and is not actually danced as a SQUARE. B. RHYTHM PATTERN -
(1) A
combination of two or more Rhythm Units where no direction is stated or
needed. (2) The RHYTHM PATTERN refers to the number, kind, and order of
Rhythms within the framework of the whole Pattern. (3) The actual
"sequence" of "RHYTHMS" that go to make up the weight changes
Teaching Note: C. STEP PATTERN - (1) A combination of the Rhythm Pattern, Direction and Foot Positions. (2) A "School Figure" - Any identifiable "Named" Pattern is a "Step Pattern." (3) The smallest Step Pattern in any dance, danced to 4/4 time music is four beats of music. (contains a starting rhythm and an ending rhythm). D. VERBAL PATTERN - (Verbal Call) (1) The Verbal Call is: What we "SAY" to describe the pattern being danced: "Walk-Walk" and "Step Three Times." - "Side together Forward and Side together Back." (2) A variety of verbal calls can work for calling the same pattern. We can "call" by counting - by direction - by accent, or whatever the teacher wants to emphasize at that moment.
PATTERN EXTENSION - (1) Any Pattern can be extended by adding an "Even,” "2-Beat" Rhythm at the end of the pattern. A "6-Beat" underarm turn in Swing can be extended to 8 beats by adding a "California Shuffle" (Step Point & Step Point) onto the end of the pattern. (2) Some patterns can also be extended by inserting, within the pattern, a series of Double Rhythm Units. A "Continuous Whip" is simply an extension of a Whip. Counts "5-6" have just been repeated to extend the pattern.
Teaching Note:
PEABODY - (1) A very fast form of Fox Trot that was popular in the New York area in the 1940s. The dance was composed of mostly Double Rhythm Units with a few Triples thrown in and was characterized by the abrupt "checking" action of the changes of direction. (2) King of the Peabody in New York City in the 1950s and ‘60s was JOHNNY LUCHESSE, then President of the Dance Educators Association in New York City.
PENCIL TURN - Turning in place on ONE foot while the other foot (the free foot) stays pressed close to the weighted foot - in 1st foot position - without really touching the floor.
PHRASING - (1) All music is made up of different kinds of phrases that join together to make a complete song or musical presentation. (2) A "Mini" Phrase ( in 4/4-time) is one "Set of 8" beats of music. (3) A Minor Phrase can be 16 beats or any smaller amount than 32 that completes a musical thought inside a Major Phrase. (4) A Major Phrase is a specific number of "Sets of 8" that have combined to form a "Chorus," "Bridge," “Verse,” or any other Musical grouping that is a complete musical thought. (While most dance music in 4/4 time phrases to sets of 8, occasionally there is an extra four beats or two beats within the phrase.
Teaching Note: (4 "Sets of 8"). (B) Standard "Blues" Phrasing is 6 "Sets of 8". Most songs today have “mixed” phrasing (random sets of 8 that are other than standard.) There is also music that has “irregular” phrasing where there may be sets of 8 - then maybe 4, 2, or any mixed numbers. ALL Music phrases to some specific Musical Skeleton. Learning how to hear and break down the phrasing in a piece of music allows the dancer unlimited creativity. This is vital information for a Competitor, Teacher or Choreographer. (also see: MEASURE)
PIVOT - (1) Half a turn (180 degrees), turning in the direction of the forward foot. (2) Verbal Call: "Step forward - Step Back" as each step pivots for 1/2 a turn. (3) Partner Pivots require BOTH partners to be in 4th foot position, and to understand balance and leverage in order for them to travel down Line of Dance. Anything less than 4th foot position half turns is a "Pivot Turn," rather than a complete Pivot.
Teaching Note: (also see: BREAK TURN, PIVOT TURN, SPIN)
PIVOT TURN - (1) The same movement as a Pivot, but does not require a full half turn. (2) Pivots can be danced in 4th foot position or in open 3rd. When traveling forward, the dancer steps forward LEFT turning LEFT - and steps back RIGHT to continue rotating LEFT. (also see: BREAK TURN, PIVOT)
POINT - (1) The FREE foot (pointing foot) touches the floor with the toe, as in "California Shuffle.” (2) Frequently used in Swing Syncopations, the "POINT" is on the beat of the music and the STEP is on the "a" count before the beat. (also see: CALIFORNIA SHUFFLE, SYNCOPATION)
POLKA - (1) Standard, traditional POLKA has always been "Side Together Side & Side Together Side" with a little "lift" or "hop" on the "&" counts between the TRIPLES. GSDTA teaches Polka with the following Call: “Hop- Step together Step - Hop- Step together Step ( to a count of: “&a1&a2 - &a3&a4” ) The Hops occur on the “a” counts before each Triple Rhythm. (2) COUNTRY POLKA developed out of what was once called "Stop and Go" Polka. Later, Country POLKA became the common term for what many dancers call "Shuffles." Shuffles are simply dancing traveling Triples, alternating Left and Right "TRIPLES." Teaching Note: (also see: DANCE IDENTIFICATION CHART)
POINT OF CONNECTION - (1) “Post” technique. (2) The area that stays still while both partners move to it or from it. (3) The invisible stationary point that connects partners with varying degrees of connection, leverage, or compression. (4) Example: The Leader has a small post in his hand (like a short Ballet Bar) and the Follower is holding the same bar. The Follower is behind the Leader and as he steps forward he takes the bar with him for count “1.” The bar stays in place for count “2” and count “3.” She has been led into a Right Side Pass and so SHE moves the bar (post) with her as she steps back on count “4.” The net result is that he has not pulled her on count “2.” (5) Post technique was first credited to Carolina Shag notable, Charlie Womble. (also see: CONNECTION)
PONY - (1) A Country competition Dance, popular in the 1980s and early ‘90s. (2) MOVEMENT UNIT is "Down-Down" and the Rhythm Pattern is made up of Although the upper part of the body resembles SWING moves, the Rhythm Pattern does not qualify this dance as a form of Swing. (3) It is a RHYTHM DANCE and the Basic Pattern is an "8 beat" count that can be extended to 16 beats.
Teaching Note: AUTHOR’S NOTE: I remember years ago - teaching at a Country Competition in Las Vegas when the Pony was a brand new competition dance. The current champions were in my Teachers Training Seminar and demonstrated the dance for me. They stated that it was all danced on the Left foot for the Leader and the Right foot for the Follower. I stated that if the dance was going to survive, it would soon be danced on equal sides, alternating Left Patterns and Right Patterns. They let me know that this is the way the dance was done and they were the Champions. The dance “Scientist” in me would not let it go. I said that there are Rules of Movement and Rules of Music that will prevail, and if not today - the change would come tomorrow. That weekend, a new couple fro m the East Coast danced the Pony alternating Left Patterns and Right Patterns and took FIRST PLACE. RULES prevail. (also see: DANCE IDENTIFICATION CHART, RHYTHM CHART)
POSITIONS - see FOOT POSITIONS, DANCE POSITIONS
POWER BASE - (also see Center, Centering Knob)
POWER POINT -
(1)
An indentation on the sole of your foot, located between the big toe and the
next toe - just below the ball of the foot. Just imagine a marble placed in that
spot . You want to feel a rolling pressure start in the center of your heel and
progress forward, through the Power Point, to propel your body forward. (2)
There is also a Power Point in your hand. That spot is the
indentation in the palm of your hand, located between the pointer finger and the
middle finger. It is this area that creates a firm lead in closed position dances, without the need for fingertip leads or heel of the hand leads.
PRESS - (1) Refers to the pressure exerted into the floor, pressing the balls of the feet DOWN - to move the body UP or propel the body "out." (2) The "press" is done by the "sending" foot. (3) There is also a "Press" by the non-weighted Foot that is used to maintain balance by pressing the floor. Example: In Tango, when the man does a "Dip" he also presses the free foot into the floor to maintain balance and assure that he is not going back too far. The lady Lunges forward, but "Presses" her back foot back and down into the floor to stabilize the position.
Teaching Note: (also see: "a" COUNT, SENDING FOOT)
PRETZEL - (1) A Dance POSITION where the Man faces forward and the Lady, positioned on his Right side, is facing backward. Her Left hand is behind her back and connected to His Right Hand. Her Right Hand is across in front of him, connected to His Left Hand. (2) This position can reverse to the man's Left side and her Right arm will be behind her back, etc. (3) A popular Dance PATTERN that includes several arm loops and wraps, some form of Pretzel is found in most dances. (also see: DANCE POSITIONS, DANCE POSITION CHART)
PRIMARY RHYTHMS - (1) Those Basic Rhythms which are the easiest to learn and should be learned first: SINGLE RHYTHM, DOUBLE RHYTHM, TRIPLE RHYTHM, and a BLANK. (also see: ADVANCED RHYTHMS, SECONDARY RHYTHMS)
PROMENADE - (1) Sometimes danced in Skaters Position, Conversation Position, or Side by Side Position. "Promenade" refers to two people traveling down LOD with the Lady on the man's right side.
Teaching Note: (also see: DANCE POSITIONS)
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