PACT 155

Instruction of Social Dance

Excerpts from DANCE A WHILE

2010 Revision

MacEwanBookstore.com
Copyright Acknowledgments

Pittman, Anne M., Waller, Marilys S. & Dark, Cathy L. (2009}. Dance a
While {10th Edition). Pearson Education. 13-18, 29-32, 49-59, 412-431, 456-
494, 496-500, 509-513.

This material is copied by permission of Pearson Education.

Resale or further reproduction is strictly prohibited.
 demonstration occurs or the critical elements Dance structure refers to the component parts or
that are to be observed. basic elements that make up a dance. For most
2. Better: "The student will be able to dance the two­ dance forms, these elements are basic step, position,
step with the beat of the music:' The instructor formation, nationality, degree of difficulty, and mu­
can observe whether or not the student executes sical meter. In square dance, these elements are pat­
the two-step to the beat of the music (criteria), ter, singing, basics, and figure type.
but there is still no description of the situation.
3 . Best: "The student will be able to dance the two­ Lesson Plan
step (task) with a partner around the dance floor
An average dance lesson plan will include five
for two minutes (situation) and demonstrate the
sections:
ability to execute the critical element of the foot
work, step together step with the beat of the 1. Warm-up Act ivities. Have the music playing as the
music (criteria):' This objective is measurable and students enter the classroom, allowing them to
observable with all three parts identified. begin dancing on their own. Start the class with
as little instruction as possible, using simple (if
applicable, non-partner) previously learned
Assessing Group Variables dances. A written prompt on a board close to the
Assessing skills, knowledge, attitudes, and character­ entrance may help to encourage students to start
istics is an important first step in formulating objec­ dancing. The primary purpose of the warm-up
tives and selecting learning experiences. Some com­ section is to give students immediate activity. At
mon group variations and suggested adaptations this time, the instructor should move around the
follow. classroom and interact with students. Greet
them, reinforce students' behavior, and generally
Range of Skill and Motor Ability set the tone for the class. In addition, the instruc­
tor may take roll quickly and efficiently.
Skill is seldom distributed evenly in a group. Al­
2. L esson Focus
though it may be clustered at one end or the other
a. Review. Review is a formal or informal coverage
of a continuum, it will still represent a range. In an
of previously learned materials. The review may
advanced group, the range is as apparent, although
be conducted as a formal part of the lesson by
not as formidable, as in a beginning group. Materi­
the instructor or it may be an informal student­
als should be selected to accommodate all skill lev­
participation session. The review serves two pur­
els and, at the same time, provide for sequential
poses: to refresh the students' memory of mate­
progression toward a minimum standard of accom­
rial from earlier classes, which often provides
plishment for all. Dances involving locomotor skills
students with immediate success, and to help
can keep the level of participation and incentive
students who have been absent. Formal review
high until the skill range of a group is narrowed to
does not necessarily have to be part of every
a manageable range.
lesson. Holding the review at the beginning of
the class period is more of a tradition than a
Range of Experience and Association
requirement. The review session may be inte­
Experience implies formal learning, such as a class grated into the warm-up phases.
or a club membership. Informal experiences like b. New Mat erial. This section of the lesson is for
imitating dance movements without formal instruc­ the introduction of material not covered in pre­
tion and/or participation in rhythmic activities­ vious lessons. It is often a good idea to describe
such as marching in a band or a drill team, twirling to the students the obj ectives (i.e., what they
a baton, or reacting to television or radio music­ should be able to do as a result of this lesson) of
represent a type of association that constitutes a the new material, which helps improve their
viable background for dance. focus on the tasks. This is a technique referred to
as anticipatory set. Several anticipatory ideas for
dance are listed under Setting the Stage, on page
Content Selection
1 6. New materials may be in the form of a fun­
After diagnosing group needs and formulating ob­ damental step (such as the polka), a new square
j ectives, the teacher must search dance literature for dance figure, a swing dance variation, or an en­
specific dance materials with which to build content. tire folk dance. New materials may also appear
The search for dance content is more efficient and in the form of an adaptation of a dance, such as
need-serving when the teacher selects materials in the conversion of an individual routine to a
terms of dance structure. partner dance. The new material section may be

CHAPTER 2 • EFFECTIVE GROUP I NSTRUCTION

 Lesson Plan Example: Saturday Night Fever Line Dance

Equipment Needed Instructor: K. Mucha

Stereo, fitness cue CD, fitness cards, headset Grade: U£2£2er Elementar1/Middle School
microphone, dance CD (Staying Alive)
Date: 2/4/07

Page: 1of2 Lesson: 2 of 5

Expected Student Objectives/ Movement Content/ Organization/

Lesson Outcomes Experience Teaching Hints

1 . Warm-Up Activities Warming up the body and Using several different Grouping: Scattered.
preparing mentally and tempos of popular music, ask
Safety: Students moving at
physically to dance. students to move to the beat.
safe speeds, in control of
their bodies, keeping eyes
up to watch for peers.

2a. Lesson Focus: Review the steps of the Quick verbal review of the Grouping: Students in lines,
Review Electric Slide and gain Electric Slide. Perform similar all facing forward.
confidence in performing it. dance movements to transfer
Safety: Arm distance apart.
Prepare students to learn skills students know into new
new material. dance.

2b. Lesson Focus: Students will be able to per- Steps to Saturday Night Grouping: Students in lines,
New Material form the steps of the Fever line dance: all facing forward.
Saturday Night Fever line 1. Walks forward and back
Anticipatory Set: Last Safety: Arm distance apart.
dance. (counts 1-16)
class we talked about
Continuous teacher
rhythm and how to find ·back (1-4)
scanning and adjusting to
and move to a beat in ·forward (5-8)
monitor student learning.
music. Today we are ·back (9-12)
going to learn a new •forward (13-16)
dance and practice .
Practice move 1 as a
moving on beat with group.
the music. How many
2. Walks side, turn side
of you have seen the
(counts 1-16)
movie Saturday Night
• walk right (1-4)
Fever? Some of the
· walk left (5--8)
moves in the dance we • turn right (9-12)
will learn today are in
· turn left (13-16)
that movie. You may
.
Practice move 2 as a
remember that in the
group.
movie when the
dancers are learning a . Practice moves 1 and two
new dance they count together.
the beats aloud to help
(Continue with steps 3-5 in
them stay on rhythm.
the same manner.)
Today when we are
practicing the dance
we are all going to
count aloud to help us
stay on beat.

CHAPTER 2 • EFFECTIVE GROUP I N STRUCTI O N

 Lesson Plan Example: Saturday Night Fever Line Dance, continued

Instructor: K. Mucha

Page: 2of2

Expected Student Objectives/ Movement Content/ Organization/

Lesson Outcomes Experience Teaching Hints

3. Activity Psychomotor Objective: Practice the Saturday Night Grouping: Students in lines,
Students will be able to Fever line dance in its all facing forward.
move on beat with the entirety.
Safety: Arm distance apart.
rhythm of the music while
performing the Saturday Continuous teacher
Night Fever line dance. scanning and adjusting to
Assessed through teacher monitor student learning.
observation during practice.
Do students move their
body on the appropriate
beat of the music for two
moves of the dance (see
next column for dance
moves)?

4 Closure Cognitive Objective: Ask students to turn to a Teacher notes informal

Students will be able to partner and tell them the assessment of learning
verbalize the sequence of sequence of the five moves in objective.
five moves in the Saturday a row for the Saturday Night
Night Fever line dance to a Fever line dance.
partner when prompted.
Ask students to close their
Affective Objective: Have eyes and show their level of
students show their level of enjoyment with a thumbs up,
enjoyment of the rhythmic down, or sideways.
activity.

5. Lesson Reflection Did all or most of your Could they perform the task
(Instructor}- students meet your according to the criteria you
Content objectives? set?

How well did the

content you planned
and delivered match
your students? Did the
content challenge your
students? In what
ways?

CHAPTER 2 • EFFECTIVE GROUP I NSTRUCTION

 presented in any part of a class period. Begin­ or recommendations for the teacher can be
ning the lesson with new material is a means of placed here.
varying class procedure and providing a longer
segment of the class time for presentation and
practice. Ending with new material is possible, if Orientation to
the material is short, energetic, and especially
designed as a fun ending to the class period.
the Dance Class
3. A ct ivit y. This is the section of the lesson plan in Setting the Stage
which the new material is practiced in its en­
Dance is typically and culturally consistent when
tirety, emphasizing fun and enjoyment, which
taught with traditional male/female roles. Participa­
encourages student development in the affective
tion and promotion should be encouraged by both
learning domain. Dancing for fun will help to
male and female faculty. Group participation in
ensure a feeling of success for both the student
planning the dance unit enhances understanding
and teacher. This part usually takes place at the
and creates greater enthusiasm.
closing of the class. The students should leave
Several items should be discussed prior to begin­
with a sense of accomplishment and a feeling of
ning the dance unit. Good preparation elevates stu­
anticipation for the next lesson. If the dance
dent interest and helps maintain the flow of the class.
movement has been physically demanding (e.g.,
a fast swing or a high-paced folk dance) and the I. Emphasize to the students that they will be able
students are returning to other classes, ending to use their new skills at the next dance event.
with a calming dance (e.g., a slow waltz) is 2. Try to relate dancing to current movies, dancing
suggested. on TV, or famous people. If they have seen it
4. Closure. The instructor should summarize the somewhere else, it helps to validate their opinion
lesson, compare class performance to the objec­ of dancing.
tives, and lead a closing activity. Closure may 3. Discuss personal hygiene with all age groups.
include a favorite dance or checking cognitive Nothing is more uncomfortable than dancing
concepts. Instructors may evaluate students' with or next to someone who has an unpleasant
progress based on their ability to meet class ob­ odor.
jectives. The students should leave with a posi­ 4. Let the students know that nonparticipating
tive feeling. students (sick students or those with specific
5. L esson Reflect ion. When the lesson is over, the in­ religious beliefs against dancing) will be assigned
structor can reflect on the content, programming, to do other tasks. They should not be allowed
student interaction, and practice opportunities of strictly to observe. Bored spectators can be
the lesson. Did the students meet the planned disruptive.
obj ectives? What could have been done to in­
crease their success? Etiquette
Refer to Dance A W hile website for more resources Simple good manners and courtesy are part of help­
on lesson plans. ing everyone in a group have a good time. It is the
teacher's responsibility to create the kind of atmo­
Procedure and Organization sphere that contributes to easy social adjustment
The material from the five activity sections of a les­ and relationships among members of the dance
son plan can each be divided into three subcate­ group. Assisting members in becoming acquainted
gories. Use columns to accomplish this task The with each other and learning to mix are the most
three subcategories are: important social responsibilities, and they add to
the fun and pleasure of the occasion. Etiquette is
1. Expected Student Objectives/L esson Outcomes: See the
everybody's responsibility.
discussion under Objectives/Student Outcomes
The teacher's language (his or her choice of
on pages 1 2-13.
words and phrases) can remind group members of
2. Movement Cont ent/Experience: This section lists the simple courtesies. Gentle admonitions are helpful;
movement that will be taught in the lesson, criti­ for example, "thank your partner for the dance and
cal elements and specific verbal cues, and the invite another lady to be your new partner;' "get
sequence of instruction and practice scenarios. together with the couple nearest you, introduce
3. Organization/Teaching Hints: This section provides your lady and exchange partners;' "escort your lady
points for efficient delivery of the content in­ off the floor and introduce her to someone who is
cluding class structure and groupings. Any notes sitting out;' and "there are a few extra ladies (men),

CHAPTER 2 • EFFECTIVE GROUP I NSTRUCTION

and so between dances will the ladies (men) who hers. This can be uncomfortable for some people and
are dancing take turns trading out so that everyone requires students to learn material that will not be
will get a chance to dance:' These simple pleasant used often. Using the concept of "Mr. or Ms. X" pro­
directions set the tone for interpersonal relation­ vides an efficient technique for working with uneven
ships necessary in the dance group. numbers. At the beginning of class, people without
The following are a number of techniques for partners should be interspersed around the circle and
bringing about social intermixing to provide oppor­ assigned the "ghost partner" of Mr. or Ms. X. As the
tunities that gradually develop into pleasant habits. class proceeds, either males or females are selected to
rotate (move around the circle to the next person, or
Social Aids "ghost partner") at intervals determined by the in­
structor. When a student encounters Mr. or Ms. X, he
The use of an attractive name tag helps people to
or she should be instructed to continue working on
get acquainted and feel at ease. Square dance and
his or her own role. At the next rotation, the student
folk dance clubs use them with tremendous success.
returns to a real partner. Rotating partners fairly often
They are equally welcomed by students in a class.
ensures that no one student is with a ghost partner
Still another successful idea has been the ap­
for very long.
pointment of a host and hostess for each session.
When teaching traditional male/female partner
They have the responsibility of seeing that everyone
dancing with same-sex classes, it is necessary to
has a chance to dance, that name tags are ready,
divide the class in half and assign lead and follow
that visitors are included in the activities, and that
roles. The instructor can then refer to "lead" and
guests are met and made to feel welcome. In a large
"follow;' rather than "male" and "female;' positions
group, members can take turns playing host or
and steps. St,udents should stay in their assigned
hostess so that everyone has an equal opportunity
role for the duration of the class.
to participate in the dancing.

Fun with Cutting In Teaching Students with Special Needs

In almost every mixer, there is a break during which By Krist ina Waller Golden, Laguna Hills, CA
an extra person can step in and steal a partner,
The prevailing philosophy in the consideration of
which automatically puts someone out. This can be
individuals with disabilities in the United States is
good fun if everyone gets into the spirit of it. If the
one of inclusion, the notion that all people have
leader shows the group how and encourages steal­
the right to be included with their peers in all
ing partners during the mixers, the problem of ex­
age-appropriate activities throughout their lives.
tras in a group is reduced.
Educators may hear terms such as mainst reaming,
Cutting in is a fun technique also used in square
integrat ion, and inclusion. Each term has its origins in
dancing. However, it should be stressed that the skill
the aim to bring individuals with disabilities into
of cutting in lies in the ability to cut the other per­
environments with their typical peers, and each
son out and yourself in without breaking the conti­
accomplishes that end, though the means may vary.
nuity or rhythm of the figure.
In any event, regardless of what this "bringing to­
In social dance, cutting in can also be made into
gether of all people" is called where you live, there
a fun situation; for example, use one or two couples,
will be people with disabilities that will participate
give the girls a peach, the boys a lemon, and they
in dance, and will want to learn.
cut in by passing the peach or lemon to another
One needs to consider vision, hearing, physical
boy or girl.
abilities, cognitive abilities, and behaviors. However,
one needn't be a trained "special educator" to in­
Uneven Numbers: Creating
clude people with disabilities in dance activities and
a 11Ghost Partner11
have success. Therapeutic professionals use dance as
For club and party dances, uneven numbers are a one activity in the rehabilitation of certain disabili­
rather common occurrence and often are considered ties. Objectives of rehabilitation programs can be to
a problem. Event organizers need to be particularly eliminate the physical disability, to reduce the phys­
alert and resourceful in handling this imbalance. An ical disability, or to retrain the person to perform
extensive repertoire of nonpartner dances, dances within his or her physical disability.
for threes, and simple partner-exchange mixers will There are three key areas to consider: physical
allow everyone to participate. inclusion, social inclusion, and instructional
During classroom instruction of traditional male/ inclusion. A teacher can ensure that inclusion will
female partner dancing, people are commonly paired occur when planning addresses all three areas.
up with the same sex to balance out uneven num-

C HAPTER 2 • EFFECTIVE GROUP I NSTRUCTION 1

Physical Inclusion Is the learning environment nated with the rest of the class to avoid collisions.
physically accessible to everyone? Will a person Keep in mind that each individual is different.
with limited physical mobility need a helper? Are Not all adaptations will work for all individuals.
there safety issues for a person with limited vision, W hen in doubt, ask the student. The student knows his
or, does everyone understand what a wheelchair can or her body the best, and may have some ideas on
do when it spins around? Consider these kinds of adapting the dance to fit his or her abilities. Peers
points as you assess physical inclusion. may also have suggestions for adapting the dance
for a fellow student. This is inclusion at its best!
Social Inclusion Dance educators are often sensi­
tive to this phenomenon, since it is natural in our Students With Visual Impairments Rhythms are
culture for dance learners to feel excluded (e.g., a great activity for people with visual impairments.
those unsure of their physical abilities, those inse­ The students can use the auditory cues and music to
cure with the opposite sex). Good dancers also tend find the beat. They may also benefit from a tap on
to group or partner together, creating more exclu­ the shoulder to indicate the beat or direction of
sion of those less adept. Keep in mind that this may movement. These reminders can be offered by the
be compounded for a person with disabilities. Some teacher, teacher's aide, or peer tutors. Another con­
peers may feel that a person with a disability is sideration when teaching basic locomotor move­
helpless or unapproachable. Of course this is not the ments to people with visual impairments relates to
case, and the teacher can be key in helping to pro­ body positioning: they may not feel comfortable
mote interaction, even talking about the person's raising their feet from the ground in a j ump, hop,
disabling condition in such a way to help everyone leap, etc. Instead, have the students mimic the mo­
gain understanding, and thus opening the doors to tion without leaving the ground by bending their
social inclusion. Dance has a wonderful way of knees before raising up, or shuffling their feet across
making people feel part of a group. the ground. Students with visual impairments may
also experience difficulties in balance.
Instructional Inclusion As with any group, choose
material that is appropriate to the class members' Students With Cognitive Disabilities Students
skill level and adapt the teaching as necessary so with mental retardation or dyslexia may have diffi­
that everyone can participate. This may involve use culty in following the direction of steps or following
of an interpreter for a hearing-impaired student, a a fast-paced lesson. Take care in slowing the pace of
buddy for the visually impaired, more copying the instruction to allow the students to cognitively un­
movements for those who are visual learners, pair­ derstand the movements. Check regularly to be sure
ing up a student with one who has already caught they are accurately following the dance (e.g., "What
on. Let the students brainstorm ways to help include is the next step after we walk forward 4 counts?"). If
an individual in a dance. Allow for small successes the direction of the movement or the side (right or
and praise results. All participants experience a pos­ left) of the body performing the movement doesn't
itive effect and benefit. It's a "win-win" for everyone. make a large difference in the dance, simplify the
It is a helpful bridge to the real world in which we dance by not specifying which direction or side to
live. move. (Note: If performing a line dance, be sure the
students have enough space to move in any direc­
General Adaptations for Teaching Dance tion without hitting a peer.)

By Kelly Mucha, Portland, OR Students With Hearing Impairments Students

with hearing impairments may have difficulty in
Good teaching is adaptive teaching! Adaptations are
finding the beat of a dance because they may not
not just for people with disabilities; all individuals
hear the music or verbal cues well. At the beginning
have unique needs. Progressing slowly and offering
of the lesson, place students with hearing impair­
alternate steps to the class as a whole can help all
ments where they can follow the movement of the
learners as well as promote the inclusion of people
teacher or a skilled student. Taps on the shoulder or
with disabilities into the educational setting.
upper back indicating the rhythm or tempo of the
When adapting a lesson, consider its objectives. If
movement may also be helpful. For examples of a
you are teaching rhythms for fun, exercise, or social
dance adaptation, see the Hip Hop or Saturday
inclusion, it is probably not necessary to have all
Night Fever line dance.
students perform the same steps. If the dance (e.g., a
line dance) allows, invite your students to add their Students Using Wheelchairs Refer to Fundamen­
own character (adaptation) to the steps. Keep in mind tal Locomotor Movements, Wheelchair Adaptations,
that safety is an issue. Remind students that when pages 33-38.
adapting steps they need to be adequately coordi-

CHAPTER 2 • EFFECTIVE GROUP I N STRUCTI ON

 Note Values

0 whole note 0

d half note d d
j quarter note j j j j
) eighth note ) ) ) ) ) ) ) )
}1 sixteenth note }1 }1 }1 }1 }1 }1 }1 }1 }1 }1 }1 }1 }1 }1 }1 }1
dotted quarter or dotted eighth notes

I
A dotted note increases the value by one-half. Therefore the dotted note
equals one-and-a-half value of the original symbol. A dotted quarter note,
then, is equal to a quarter plus an eighth; a dotted eighth is equal to an
eighth plus a sixteenth.

I
triplet
A group of three notes played in the usual time of two similar
notes. It would be counted one-and-a for one quarter note.

Accent
Accent is the stress placed on a beat to make it stronger or louder than the others.
The primary accent is on the first beat of the music. There may be a secondary accent.

When the accent is placed on the unnatural beat (the off beat), the rhythm is
syncopated.

4/4 u jj j
Measure
A measure is one group of beats made by the regular o ccurrence of the heavy
accent. It represents the underlying beat enclosed b etween two adjacent bars on a
musical staff.

Meter
Meter is the metric division of a measure into parts of equal time value and regular
accents. Meter can be recognized by listening for the accent on the first beat.

CHAPTER 3 • DAN CE FU N DAME NTALS

 Time Signature
Time signature is a symbol (e.g., 2/4) that establishes the duration of time. The
upper number indicates the number of beats per measure, and the lower number
indicates the note value that receives one beat.

2/4 111 2 I
Two beats to the measure-accent on first beat-quarter
note gets the beat.
I

3/4 111
1 2 3 I
Three beats to the measure-accent on first beat-quarter
note gets the beat.

4/4 1111 2 3 4 I
Four beats to the measure-accent on first beat­
quarter note gets the beat.

Cut time plays the accented beats of the measure.

¢ I Speed is often faster. Two beats to each measure.

Same as fast 4/4 or 2/2 time.

I
Six beats to the measure-accent on first
6/8
beat-eighth note gets the beat.

Line Values
Whereas the musical notation establishes the relat ive value of beats, these same relative
values can be represented by lines:

one whole note

two half notes

tou r quarter notes

eight eighth notes

sixteen sixteenth notes

Phrase
A musical sentence, or phrase, can be felt by listening for a complete thought. This
can be a group of measures, generally four or eight measures. A group of phrases can
express a group of complete thoughts that are related just as a group of sentences ex­
presses a group of complete thoughts in a paragraph. Groups of phrases are generally
16 or 32 measures long.

Tempo
Tempo is the rate of speed at which music is played. Tempo influences the mood or
the quality of music and movement. Sometimes at the beginning of the music or the
dance, the tempo is established by a metronome reading. For example, metronome
1 28 means the equal recurrence of beats at the rate of 1 28 per minute.

C HAPTER 3 • DANC E FU N DAMENTALS

Rhythm Pattern
The rhythm pattern is the grouping of beats that repeat for the pattern of a dance
step, just as for the melody of a song. The rhythm pattern must correspond to the
underlying beat. Example: meter or underlying beat 4/4.

414 I )) )--)--
--
l_ I
l_ -- rhythm pattern
underlying beat

Even Rhythm
When the beats in the rhythm pattern are all the same value (note or line value)-all
long (slow) or all short (quick)-the rhythm is even. Even rhythms can be performed
in movements such as, but not limited to, the walk, run, hop, jump, leap, waltz, and
schottische.

414 l_ .L.L l_
s s s s
rhythm pattern
rhythm cue1
Q Q Q Q Q Q Q Q
underlying beat
2 3 4 counts 1 and 2 and 3 and 4 and

Uneven Rhythm
When the beats in the rhythm pattern are not all the same value, but are any combi­
nation of slow and quick beats, the rhythm is uneven. Uneven rhythms can be per­
formed in movements such as, but not limited to, the walk, run, jump, or leap, or in
step patterns such as the two-step and the fox-trot.

Two-Step Foxtrot Box Step

414 L.LL
quick quick slow
rhythm pattern
rhythm cue
LL.L
slow quick quick

l_ .LL.L
2 3 4
underlying beat
counts
l_ .L l_ .L
2 3 4

A dotted beat borrows half the value of itself again. Examples: skip, slide, gallop.

2/4 �� ��
s Q s Q
rhythm pattern
rhythm cue

L L ah 2 ah
underlying beat
counts

1. S =Slow; Q =Quick

CHAPTER 3 • DAN C E FU N DAMENTALS 1

 When the note comes before the bar, it is called a pick-up beat.

Polka

2/4 rhythm pattern

rhythm cue
ah a a s ah

ah
LL and 2 ah
underlying beat
counts

Counting Rhythm
At times, listening to the teacher verbally count out the rhythm can be helpful. For
each note, a number or sound should be made. The example below is for two quarter
notes, two eighth notes, and four sixteenth notes.

4/4
rhythm pattern
2 3 and 4 e and ah counts

Analysis of a Basic Rhythm

A teacher should thoroughly understand the complete analysis of each basic dance
step to be taught. The following example shows the eight related parts of an analysis.
Each basic dance step has been analyzed in this manner (including the basic steps of
social dance in Chapter 8).

Two-Step name
meter 2/4
accent
I
2/4 step close step step pattern
--- --- ------
rhythm pattern
quick quick slow rhythm cue
underlying beat
and 2 counts
uneven rhythm type of rhythm

Fundamental Locomotor Movements

Easy movement has three variables : time, space, and force. Time involves the tempo
or rate of speed, or duration (fast, moderate, or slow). Space involves the direction
taken, distance covered, level, dimension (large, small), path (straight, twisted), and
focus. Force involves the energy (power) expended, quality of movement; adjectives
like brisk, quiet, hard, or gentle might apply.
Movement that travels through space is called locomotor movement. Movement
that does not travel, like bending, twisting, pushing/pulling, is called nonlocomotor
movement.
The following locomotor steps are simple ways to transfer weight in moving from
one place to another. Combinations of locomotor movements form step patterns in
folk, square, and social dance. Specific dances are listed for most locomotor move­
ments. Sissone and Assemble are ballet motifs and do not have dance examples.
Wheelchair adaptations by Kelly Mucha.

C H APTER 3 • D AN C E FU N D AM E NTALS
':hance

1 . Back Cross 2. Basket Hold

3. Butterfly 4. Buzz Swing 5. Challenge Shine

6. Cross 7. Closed 8. Conversation Open

CHAPTER 3 • DANCE FU N DA M ENTALS

 9. Cud dle
10. Escort
11. Face Off

12. H ammerlock
13. Inside Hands Joined
Side by Side . Couple

14. Insi de Han ds Joined.

Ballroom style 15. Jockey

CHA PTE R 3 • DAN CE FU N DAM ENTALS

 1 6. Latin Social 17. Left Parallel. Side Car 1 8. Little Window

1 9. Octopus 20. Ballroom Promenade 21. Pigeon Wing

Open Position (Chapter 4) Right Hand Star

22. Promenade 23. Reverse Open 24. Reverse Varsouvienne

CHAPTER 3 • DANCE FU N DAME NTALS

25. Right Parallel (Banjo). 26. Semiopen 27. Skaters
Outside Position

28. Shoulder Hold 29. Shoulder-Waist

30. Social Swing 31a. Swing Out. 31 b. Swing Out.

Flirtation Lindy Style

CHAPTER 3 • DAN C E FU N DAME NTALS

 33. "V" Position Handhold
32. Two Hands Joined.
Facing

35. " W " Position Handhold

34. Varsouvienne (Traditional)
Sweetheart (Modern)

36. Yoke, Bridge

C HAPTER 3 • DANCE FUNDAMENTALS

 GUIDELINES FOR READING
DANCE DIRECTIONS
Written dance directions will appear for each dance covered in this book, but they
will be structured differently depending on the type of dance because the structures
of the dances themselves vary. In Chapters 4, 6, and 7, sections titled "Directions for
the Dance" describe the movements of the dance with respect to the musical timing
that is relevant for each dance style. For example, directions for folk dances in Chap­
ter 7 are written according to counts for each measure of the music, while directions
for contra dances in Chapter 6 are written according to the AABB parts of the music.
In Chapter 5, Square Dance, the directions are given for individual figures performed
by two to eight people at a time. In Chapter 8, Social Dance, the directions for each
step are given separately with counts and cues. Each chapter will include more detail
about how to interpret dance directions for that particular dance style.
Although written dance directions may be structured differently for different
dance types, there are some common elements that appear across many styles. Each
dance or dance step has a meter such as 4/4 or 2/4 and a level of difficulty. Many
dances make references to directions such as "forward" or "back diagonal right:' These
directions are summarized in the figure below.

Forward

Forward Diagonal Left Forward Diagonal Right

Side Left Side Right

Back Diagonal Left Back Diagonal Right

Back

Forward refers to the direction a dancer is facing with the front part of the body (face,
knees, toes). At any time, there are eight directions in which a dancer can move. The
dancer can also perform a dance step without moving in any direction. Stepping
underneath your center of gravity is referred to as "stepping in place:'2 In addition to
movements and steps, a dance may also call for gestures, or movements done with­
out transferring weight

Music in Relation to Dance

One problem that plagues the dance teacher more than any other is how to teach a
student to hear and move to the beat of the music. A person who cannot hear the
beat and constantly fumbles with all the relationships in movement that depend on
being on the beat has a psychological handicap. Perhaps there are some basic under­
standings that can be learned and explored.

Listen to the Beat

The underlying beat is usually carried by the string bass, the piano, and the drums. In
Latin rhythms, the beat is carried by the bongo drum, the claves (sticks), or the wood
block

2. Ann Hutchinson, Labanotation, 1973, p. 35.

C HAPTER 3 • DANCE FUNDAMENTALS

The Beginner
The beginner should try to pick out a steady beat that is most dominant and synchro­
nize his or her step with this downbeat. Quite often, people who think they have no
sense of rhythm can clap a consistent pattern of beats but do not know what to listen
for. If an individual can clap accurately to the basic beat and can depend on this beat
to be consistent throughout a piece of music, he or she usually has the major problem
solved. Regular practice moving with the beat brings confidence for dancing.
When an individual cannot clap to a regular beat and cannot hear a beat, the
only way for him or her to learn is to :

1. Visually follow the clapping of the teacher or someone else in class.

2. Try to relate this with listening for the b asic beat of a very obvious piece of
square dance or march music. Mark time in place with the feet and then try to
walk to this beat alone.
3. Gradually progress to other music that has a less obvious beat.
4. Walk with a good partner and try to feel the relationship of the movement to the
beat until the individual can move with the beat.

The melody or the vocal can be very distracting to the individual who has diffi­
culty with rhythm, and he or she tends to speed up or slow down. The more a dancer
is concentrating on a dance step pattern, style, or lead, the easier it is to forget about
listening to the music. A teacher can help in this case by calling attention to listening
for the music. Thorough understanding and practice of the difficult step without
music also permits greater freedom to listen to the music.

The Dancer
When one has accomplished the hurdle of b eing able to dance to the beat of the
music, the next step is to learn to listen to the rhythmic changes in the music.

1. The dancer should be able to recognize the beginning and the end of a phrase
and anticipate this in his or her movement or call.
2. He or she should be able to recognize and adjust the movement to changes of
tempo.
3. He or she should be able to identify the parts of a dance by the melodic changes
in the music and therefore be able to make smooth transitions in movement or
position.
4. He or she should be able to note the quality of the various parts of the music
and be better able to interpret the appropriate style.
5. He or she should learn from experience with different types of rhythm to iden­
tify correctly one basic rhythm from another.
6. Finally, with experience, he or she should be able to interpret the music and in
combining dance steps feel the relationship of the step to the music.

How to Recognize Music for Dance

Certain facts must be learned to recognize music for specific dances.

1. Each dance rhythm is in a definite meter. For example, the dancer learns to rec­
ognize waltz music if he or she knows to listen to 3/4 meter with an accent on
the first beat.
2. Each dance has a pattern of movement, the quality or feeling of which should
identify with the quality of the music. For example, the dancer needs to know
the rumba has a smooth, rolling Latin quality; the samba has a faster, bouncy,
rocking quality; and the mambo has an offbeat, heavy, sultry quality. By trying to
recognize this quality in the music, the dancer can usually identify the appropri­
ate music.

C HAPTER 3 • DANCE FUNDAMENTALS

 3. Some types of dances have particular instruments that carry the bass or the
melody. For example, the Latin American dances have the bongo drums, the
sticks, the wood blocks, and the maracas, one or two of which carry the basic
b eat and another the rhythm pattern.
4. In folk dance, the music, the pattern of steps, and the style often relate to the
meaning or the origin of the dance, and this association helps the dancer to re­
member and identify the music.

For more information, refer to Chapter 2, Music.

Rhythm Training and Appreciation

There are different approaches for understanding rhythm. The Orff-Schulwerk
process is one that is meeting success. It is a sequential approach to music education
that uses all the elements of music (rhythm, melody, form, timbre, and harmony) in
the development of conceptual understandings. Movement is one aspect. Teachers
should explore a variety of approaches to this subject.
The teacher can contribute to rhythm training and appreciation through dance by
following these guidelines.

1. Be thoroughly familiar with the music used for any specific dance, in order to
a. Give verbal cues in the correct rhythm.
b. Give the starting cue at the appropriate time.
c. Cue the group with regard to the length of the musical introduction before
the dance begins.
2. Direct the group to clap out difficult rhythms.
3. Point out rhythmic changes in the music and allow time for listening to the tran­
sitions from one part to another.
4. Point out and allow the class to listen to particular instruments or qualities in the
music that help them remember the dance.
5. Provide frequent opportunities for student identification of music rather than
announcing the dance.
6. Plan the program to include interesting cultural contrasts in music and dance.
7. Use words and meanings to folk songs that accompany dance.
8. Add significant authentic sounds to the recorded music, such as:
a. Appropriate shouts or claps.
b. Appropriate percussion instruments, such as tambourine or drum.
c. Appropriate words or yodeling.
9. Explain meanings of music or dance and add highlights of folklore or
background information.
1 0. Allow sufficient practice and review of dances so that the group can know
dances well.

Dance Style
The Beautiful Dancer
A beautiful dancer is one of the most satisfying sights to watch. It is really not the
intricate steps or figures that are noticed, but rather the rhythmical way the dancer
seems to glide around the floor. There is an alertness, a vitality, a strength, and a
beauty that transmits the feeling of complete control over the entire body.
The dancer receives more pleasure by continuously striving for the special style
that makes each dance-square dance, tango, country western, Scottish reel-different.

C HAPTER 3 • DANCE FUNDAMENTALS

It is as important to execute the style and mannerisms inherent in the dance of any
country as it is to be able to dance the steps and pattern sequences. If twirls, whoops,
and yells are added to every dance, the dances lose their individuality and become
uninteresting. Without care, a fast clogging routine blurs into the intricate Slavic Kolas.

Ear and Ankle Alignment

The subtle thought of maintaining ear and ankle alignment in an easy, natural way
gives a person the poise and confidence so rightfully desired by all. The dancer who
practices this secret of body balance will not tire as easily. Dancers who adopt the
"ear to ankle lineup" as a slogan, whether dancing a favorite folk dance, in a square
dance set, or on the ballroom floor, will have more assurance of what to do and how
to do it, will wear their dress (costume) with greater charm and distinction, and will
have a great deal more fun. The body carriage adds style to the dance pattern per­
formed and gives the dancer that "finished look:'

Good Posture-Key to Body Balance and Control

1. Keep yourself upright-do not lean forward or backward. Do not stick out in the
rear.
2. Keep your weight up-not dragging over your feet. This cultivates that "light on
your feet" feeling.
3. Keep yourself a moving weight-alert all the way through your body-not
planted on every spot you take.
4. Transfer weight smoothly and evenly from foot to foot without unnecessary
motion of the hips from side to side or of the body up and down.
5. Move on a narrow base with the feet and legs close together.
6. Practice walking backward-the woman must learn to keep her balance when
taking long, gliding steps backward.
7. Keep your eyes off the floor and the feet.
8. Bend the ankles, the knees, and the hips when executing a dip-not the back
and head. The trunk is held erect.
9. Be at ease but in complete control of all parts of the body.
10. Relax, listen to the music, and enjoy dancing!

Achieving Appropriate Style

One needs to make a conscious effort to develop style. Observation of dancers who
have good style is a starting point; careful analysis and application must follow.

1. The expression on the dancer's face should reflect enthusiasm and a friendly,
relaxed attitude. Dance with j oy and pride.
2. Proper body mechanics are influenced by optimum posture. Age, body type, and
personality influence the style, but still the goal is the same: smoothness, graceful
carriage, and appropriate action for the dance. The position (contact) of the arms
and hands for the different positions influence the style. Resistance, or "weight;' is
essential in partner dances. The tendency to stare at one's partner is uncomfort­
able for both, but occasional eye contact and focus toward partner or over part­
ner's shoulder is important. Refer to dance walk, leading and following, and
closed position in Chapter 8, Social Dance, for specific details as they are funda­
mental to style.
3. The blending of one step or figure to the next is important. The body position
adjusts in preparation for a different step, figure, or direction. Smaller footsteps
frequently solve some basic problems.

C HAPTER 3 • DANCE FUNDAMENTALS

 4. A study of different nationalities, their culture, and their way of life all give the
dancer a broader understanding of the movement itself. Consider the influence
of the costumes on the dance movement. For instance, tight j eans and large silver
belt buckles have an influence on country western dance style.
5. Consider the movement of a particular ethnic group and look carefully at their
method of walking and their body movement. Is the upper body flexible or rigid
above the waist? Basic body movements tend to reflect basic feelings and atti­
tudes. Do they move quickly or slowly? Are they "happy go lucky;' temperamen­
tal, quiet; or reserved?

Teaching Style
Some already have an innate sense of how to achieve style or have had a fair amount
of dance training. Here the focus is making the dance style unique.
The average dancer has difficulty developing style and may feel that style is a
nebulous thing or that the dance is for "fun" and is an end in itself.

1 . The teacher must consciously incorporate the element of good style in his or her
teaching, whether it's for a one-night stand, a class, or a performance.
2. The teacher, by virtue of his or her own posture, style of movement, and exem­
plification of different styles, sets an example-a visual one-that stimulates the
dancer in an indirect way. A teacher should take every opportunity to attend
workshops given by ethnic dance teachers to learn style firsthand. A live experi­
ence surpasses every written description.
3. The careful selection of music for each dance is important. A recording with na­
tive instruments, quality live music, and arrangements that are versatile and
interesting all add flavor to the dance and encourage the dancer to aspire to
better dancing.
4. In an atmosphere of gym shorts and tennis shoes, the teacher is challenged to
promote appropriate style. All teachers know how much they may request stu­
dents to bring shoes that will slide more easily and clothing that could be worn
for informal dancing.
5. Special clothing frequently enhances the dance. Full skirts are very much a part
of Mexican dances and square dances. The opanci-a soft, leather, moccasin-type
shoe worn in Slavic dancing-allows for the rolling forward and backward ac­
tion of the feet. This specific type of footwear allows the feet to respond closely
to the Slavic style. The movement pattern of the dance frequently relates to the
costumes of the period and nationality.
6. The teacher should experience greater success in developing style among dancers
when only a few specific suggestions are made for each dance presented.
7. The teacher should point out the exact position of hands in relation to the waist
and clothing; the action of hands and arms as in the manipulation of a skirt; any
unusual body position, as in arching the upper torso in a draw step; the position
and interaction of the individual in relation to partner and group; the details of
footwork in terms of length of step, foot mechanics, and quality of step; the
amount of energy expended in a movement; and the facial expression, including
the focus of the eyes and the direction of the head.
8. The teacher should invite dance studio professionals, club dancers, foreign stu­
dents, or community ethnic groups to dance with the students on special occa­
sions or show films or videotapes of special styles. A visual experience with the
real flavor of a dance often encourages dancers.
9. The use of mirrors and/or videotapes gives dancers an opportunity to see them­
selves and study specific movements.

C HAPTER 3 • DANCE FUNDAMENTALS

1 0. Sometimes, if the teacher actually moves the dancers' arms or heads in the
desired pattern, a kinesthetic sense of the movement is established, which is
more meaningful than a verbal or a visual explanation.
1 1 . The discipline that results from polishing a specific dance for an audience has a
carry-over value for individual dancers as, subconsciously, they tend to apply
better body control, precision, focus, and projection in their future dancing. Their
attitudes and emotional responses are also different. To perform for others stimu­
lates dancers to accept the demands of repetitive practice and achieve at a higher
level. Even costuming excites and brings pleasure to the dancer.

C HAPTER 3 • DANCE FUNDAMENTALS

SOCIAL
DA N C E

I NTRODUCTION
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m;f, datic
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and acbd o-Ut Wt dance and fnU&c �·

The Renaissance of the fifteenth and sixteenth century in

Italy and France saw the rebirth of interest in learning,
literature, arts, and creative expression in general. The
invention of printing made it possible for dance instruc­
tion and music notation to be widely distributed. Avid
interest in dance and the creation of new musical forms
swept through the courts of Europe. The period saw the
establishment of dance teaching as a profession. New
court dances were developed by professionals for the
nobility. Courts used dance as an opportunity to educate
courtiers in social graces and deportment. Queen Eliza­
beth I established social dance as an important part of
court life. English country dance began to appear in
court, and English dancing schools were in vogue. Dances
in the latter part of Queen Elizabeth's reign were lively
and extremely popular.
Because the dances of the court were performed in
ballrooms, they became known as ballroom dances.
These same elements from the court dances were part
of elaborate cotillions and military balls in the early
period of social dancing in America. The only dance to
survive into the twentieth century from this period is
the waltz. Other earlier dances-the polka, two-step,
and minuet-have been replaced by a long line of
changing dance forms that reflect current moods and
trends.
Phases of Social Dance page 442 for more Lindy Hop history). By 1 937, tour
buses would stop in Harlem to watch the Lindy
Since 1 900, social dance has experienced ten distinct
Hoppers. In 1 939 the Lindy Hop went national.
periods, each stimulated or motivated by a new style
In 1 932 everyone was Shagging, a dance originally
of music. Sometimes more than one dance was popu­
from North Carolina. There were single-, double-, and
lar at the same time, depending on what part of the
triple-time Shag steps, depending on how many hops
country you were in. The majority of new dances
you did. In 1 936, the Big Apple appeared, and by the
were ushered onto the ballroom floor with wild hys­
fall of 1 937 it was a national dance craze. The Lam­
teria and daring, but throughout history those dances
beth Walk, originally created for the musical, Me and
that were once shocking have, with time and refine­
My Girl, became popular in 1 938. Single-, double-, and
ment, evolved into an acceptable mode of expression.
triple-time rhythms all enjoyed popularity.
Ragti me Period: 1 900-1 920s
The Latin Dance Craze
The Foxtrot had its beginning in 1 914 as a fast, trot­
A Cuban song, "The Peanut Vendor;' came to Amer­
ting step to a new jazz beat called "ragtime:' The Fox­
ica in 1 930 with the rumba following it. In 1 938 the
trot was one of many popular "animal" dances from
second Latin dance arrived in America: the conga.
that time period, and the only one to survive. The
The conga was originally a partner dance that had
Wallaby Jump, Kangaroo Hop, Lame Duck, Bunny
the same rhythm as the modern conga line dance.
Hug, and the Grizzly Bear briefly rocked the popula­
In 1 950, the Mambo stirred up the dancing popula­
tion in an early dance revolution around the time of
tion, but was replaced by the cha cha around 1 954.
World War I. The animal dance craze was the most
The bossa nova arrived in 1 962. The salsa (Spanish
prolific era of dance in the twentieth century. In the
for "sauce") was first done in the 1 970s and in the
1 930s, Fred Astaire and Ginger Rodgers changed the
late 1 990s became very popular, with salsa dance
Foxtrot into a smooth dance. With each New York
venues appearing all over the country. In the spring
social season, new Foxtrot steps were introduced; in
of 2003, the first Salsa Dance Congress took place in
1 949, it was finally standardized by Arthur Murray.
Los Angeles, with participation by salsa dancers
from all over the world.
Tango
The tango first came to America in 1 91 1 . It was re­ Rock and Roll
vised in 1 925 and became the first revival dance. It
Rock and roll was first popularized in the mid-1 950s
has been restyled several times (now called the Amer­
with the song "Shake, Rattle and Roll" (Bill Haley and
ican tango), but remains a favorite social dance. In the
the Comets). Rock and roll music had a constant, driv­
1 990s, the original Argentine tango had a surge in
ing beat that a dancer could pick up anytime. This
popularity and it is still possible to see groups that
was a noticeable departure from the 1 940s, when the
utilize this style.
style and steps were in response to the melody and
phrasing of the songs. Rock and roll dancing had a
Charleston Period: 1 923-1 928
dropping action in the knees. There was a toe touch
Ushered in by the new sound of jazz, a huge dance and then a step down, sometimes causing the hips to
fad accompanying the short haircut, the shorter skirt move. Each part of the country created its own style
(revealing women's ankles and calves), and the whole of rock and roll dance. It was not until American Band­
flapper style of the roaring twenties, was the Charles­ stand became a national television program that steps
ton. Although strenuous and tricky to do, it reappears became standardized. During the 1 950s, while the
frequently due to its blend of syncopated beat and young people were dancing to rock and roll, dance
action. The Charleston is considered the number-one studios conceived of a swing dance style that was
dance craze of all time. smooth and slow, created for the adult population.
Most moves had the man staying in the middle with
The Swing Era: 1 930 into the mid- 1 950s minimal movement, as the women passed back and
forth in a slot. Marketed as sophisticated swing, this
Swing was spearheaded by the big band music of the
was the beginning of today's West Coast Swing.
1 930s and 1 940s. The music was called "swinging"
and therefore the dance style was called "swing:' In
The Twist
the 1 930s, swing dancing was anything you danced
to swing music, and several styles of swing developed In 1 960, the Twist hit dance floors across the country.
in different parts of the country, but the first style People didn't hold their partners, but stood close to
that hit the dance floors was the Lindy Hop, which them and moved in various free-style forms. The
first emerged in Harlem in the late 1 920s (refer to Twist was the second biggest dance craze in America.

C HAPTER 8 • SOCIAL DANCE

Not only were teens dancing, but adults also danced Forms of Social Dancing
the Twist. After the Twist, a series of dances came and
The term "social dance" covers a broad spectrum of
went, including the Slop, the Mashed Potato, the
dance forms generally executed with a partner. There
Swim, the Monkey, the Pony, the Frug, the Hitchhiker,
are the formal ballroom dance forms, of which the
the Watusi, the Hully Gully, and the Jerk
most common are waltz, tango, Foxtrot, and Cha Cha.
Today, there are also many other dance forms that are
Disco
not always-but sometimes-included in the formal
In 1975, Van McCoy's song "The Hustle" became pop­ ballroom dance process. Salsa, Lindy Hop, and West
ular. Van McCoy wrote the song after hearing of a Coast Swing are some examples. Ballroom dancing
dance, the Bus Stop. Soon, most people referred to has two main forms, each overlapping. The main
this dance as the Hustle. When the movie Saturday difference is the teaching approach or how the steps
Night Fever was released, partner dancing became pop­ have been learned or passed on. People who learned
ular again. Disco-hustle partner dancing-was in a strictly social environment might have learned
based on swing dancing. from their parents, or at school, with no formal train­
ing. People who attend a ballroom studio to learn are
The 1 980s and 1 990s introduced to steps by level. All the steps have been
standardized across the world.
Social dancing in the 1 980s was characterized by a
series of eclectic styles. Slam dancing, done mostly in
Levels
clubs, and break dancing, performed on street corners,
appeared early in the 1 980s. Country western line There are three main levels of dance steps in formal
dancing became mainstream with the popularity of ballroom dance training: bronze (beginning), silver
the movie Urban Cowboy and the pop songs Elvira and (intermediate), and gold (advanced). Students can
Swinging. With M. C. Hammer's music, rap and hip­ compete with other similarly skilled dancers at each
hop dance evolved. The 1 990s started out with of the three levels. Bronze dance steps provide a
Madonna's song "Vogue;' and the dance style Vogue­ firm foundation in the basics. In the Foxtrot and
ing, and country western dancing was still going waltz, bronze steps tend to finish with the feet to­
strong. In the mid- l 990s, ballroom dancing started to gether, whereas silver steps are more progressive,
become popular again. constantly traveling in a line of direction.

Swing Revival Competition

In the mid- l 990s, many new bands started to take Competition has long been a part of the history of
on the style of music from the 1 940s : swing music. ballroom dancing. In England an open Foxtrot com­
With wonderful new live bands to dance to, swing petition was held in 1 920. The most internationally
dancing started making a big comeback. Older renowned competition is the Blackpool Dance Festi­
buildings with ballrooms that had been closed val in Britain. This started in 1 930. The American
down for 40 years were reopened and renovated. In equivalent to Blackpool is the Ohio Star Ball, which
Portland, Oregon, the Crystal Ballroom had 600 peo­ first started in 1 977. Billed as "Championship Ball­
ple dancing swing every Sunday evening for several room Dance;' the Ohio Star Ball has been televised
years. Frankie Manning, the grandfather of swing by the Public Broadcasting System since 1 987. In the
and Lindy Hop, was back, in his 80s, teaching United States, ballroom dance competitions include
around the world. After the 1 998 Gap Khakis Swing two maj or divisions : American Rhythm and Ameri­
commercial, swing dancing was back in full force. can Smooth. In the Rhythm division, competitors
Swing dancers even performed alongside Big Bad dance the Cha Cha, Rumba, East Coast Swing,
Voodoo Daddy for half-time entertainment at the Bolero, and Mambo. In the Smooth division, the
Super Bowl in 1 999. Swing dancing is still very dances are Waltz, Tango, Foxtrot, and Viennese
strong today, with younger people embracing the Waltz. Internationally, the divisions are Interna­
full experience by wearing retro clothing from the tional Latin and International Standard, and the
1 940s. dances differ somewhat. The International Latin
Social dance is part of an American heritage, to dances are the Cha Cha, Rumba, Samba, Jive, and
be borrowed, shared, and recreated. Each generation Paso Doble. The International Standard dances are
will continue to find its own way of relating to mu­ Waltz, Quickstep, Tango, Foxtrot, and Viennese
sic and life through dance. Waltz.
World and national competitions make the ball­
room scene one of beauty, skill, and exciting action
enjoyed by dancers and spectators alike. In the past

C HAPTER 8 • SOCIAL DANCE

ten years, competitions for West Coast Swing, Lindy University. Several have very active dance teams. The
Hop, and Salsa have also emerged. attraction of ballroom dance seems to be that it al­
lows a certain intimacy that produces a sense of pride,
resulting in greater self-assurance for participants.
Dancesport
The reemergence of "touch dancing;' or ballroom
Dancesport is the term given to ballroom dance forms of the early 1900s, seems refreshing and widely
competition held in the Olympics. It combines the welcomed. The likelihood, however, of its comeback
theatrical performance elements of the activity with matching its earlier popularity depends upon two
the aura of a sport. like swimming, wind surfing, circumstances: composers writing music for this type
and ice skating, dancesport is an extension of a of dance and space to accommodate large groups of
widely popular recreational activity. dancers. In earlier times there were major ballrooms,
The International Olympic Committee (IOC) provi­ such as Roseland and the Rainbow Room in New
sionally recognized dancesport in June 1 995 and gave York, especially designed for large crowds. At present
it full Olympic status in 1 998. The International Dance there are no great moves by composers or promoters
Sports Federation (IDSF) is a nonprofit, nonpolitical to support the renewed interest in these earlier dance
organization, founded in 1 957, that controls 95 percent forms.
of all international competitions, including granting of
events governed by IDSF rules. The International
Body of Dance Teachers and Promoters controls the Teaching Social Dance
remaining group of fully professional dancers.
Dealing effectively with variables such as class size,
The worldwide flavor and involvement in I D S F
available space, length of unit, and materials to b e
i s demonstrated by the fact that between general
taught i s o f prime importance t o both the teaching
meetings the affairs are conducted by a presidium
and learning processes. The following teaching tech­
composed of members from Germany, Australia,
niques should be used carefully in relation to these
England, Denmark, Japan, s,vitzerland, Scotland,
variables.
Russia, and the United States. The formation of the
IDSF has greatly increased the interest in dancesport
throughout the world. Membership at present con­ Trends in Vocabulary and Leading
sists of 64 countries from five continents. The World The closed dance position is presently being referred
Rock 'n' Roll Confederation (WRRC) is an associate to as the frame. The term conjures a body position
member representing some 30 countries. of substance, firmness, or presence as opposed to
The five dances used in dancesport competition "limp" or "just there:' In addition, the terms 11man
are: the Modern Waltz, Tango, Viennese Waltz, Slow and lady" or "man and woman" are being replaced
Foxtrot, and Quickstep. All dances are performed by by 11lead" and "follow:' In some cases, the traditional
a couple using the dosed hold position. Figures "women follow-men lead" notion is being reversed.
have been standardized and categorized into vari­ The reversal is used to stimulate sensitivity to a
ous levels for teaching. Vocabularies, techniques, partner's responsibilities. Switching roles, albeit tem­
rhythms, and tempos have been internationally porarily, should improve a dancer's ability to lead or
agreed upon to make instruction uniform. to follow.

College and University Dance

Formations
Public awareness of ballroom dance has come about
through the influence of a number of factors. Ice Beginning steps are often quickly and easily under­
dancing uses ballroom dance forms, as does the skat­ stood if the class is in line formation, all facing the
ing in Ice Capades. Television, of course, has played an same direction. This formation allows everyone to
enormous role. Observances such as Ballroom Dance, hear and see the demonstrated move. Partners
sponsored by the New York Mayor's Office, and a should be side by side or opposite each other so
move by Alabama dancers to have their senator help they can quickly get together when needed. The
establish a National Ballroom Dance Week help build teacher's position is in front of the line, facing the
enthusiasm. College and university campuses have group when talking, and facing away from the
shown renewed interest in ballroom dance. Brigham group when demonstrating; see figure (a) on the
Young University sports the largest ballroom dance next page. When the class is fortunate enough to
program in the country, along with a touring per­ have two teachers, a favorite formation is to have
formance group that travels and performs interna­ the leads standing in a line opposite their partners
tionally. Other active centers are Wisconsin, Texas, with the two teachers in between; see figure (b) on
University of California at Berkeley, and New York the next page

C HAPTER 8 • SOC IAL DANCE

(a) Single lines facing one direction: appear to be secure in their execution. Cueing at any
stage in the learning process is best when done over a
OD OD OD OD sound system that amplifies the voice. Refer to Chap­
O D OD O D ter 2, page 21 for more information on cueing.

Demonstration
The advantages of demonstration are: (1) it hastens
(b) Parallel lines with partners facing each other: learning when students see what is to be learned;
D O D O D D (2) it facilitates learning the style and flow of dance
movement; and (3) teaching requires less talking, so
that more practice is available. Demonstration is
most helpful at the following times :
1 . At the beginning of the lesson with partner and
0 0 0 0 0 0 music to give a whole picture of the pattern. This
is also a good motivational device.
\/'=Teacher O =Follow D =Lead 2. When presenting a new step. Demonstrate the
lead and follow parts separately, then the lead's
as students take partners.
Walk-T hroug h 3. To teach style, lead and follow relationships, and
The teacher should be clearly seen and heard while timing.
demonstrating and analyzing the action of a step. 4. Occasionally to demonstrate incorrect form fol­
On cue, the class should then follow through several lowed by correct form.
times. The walk-through tempo should begin slowly 5. To demonstrate for clarification.
and gradually increase until it is up to the tempo of
the music to be used. The step should be tried first
to music without a partner, then with a partner and
Unison versus Free Practice
music. A time free of instructional direction should The walk-through for a new step should be done in
be provided after the walk-through. During this unison responding to teaching cues. The whole mo­
time the teacher should circulate among the dancers tion of the group assists in the learning process and
giving individual assistance as needed. allows the teacher the opportunity to spot problems.
Teacher-directed unison practice should be aban­
T he Cue doned as soon as a majority have learned the step.
Free practice transposes the class into a "natural"
The whole principle of unison practice to develop situation, more akin to the way it is to be done as a
rhythmic awareness is contingent upon the accuracy leisure pursuit.
of a system of cueing. A signal, such as "ready and;' At every level of progress in the teaching and
serves to start the dancers in unison. It is important learning process, the student should be made aware
that the cues be given rhythmically! This helps the of the importance of rhythm and the use of space
student to feel the timing. A variety of cues are used when moving around the dance floor. Understanding
to help the student remember the foot pattern and rhythm means that the lead can more creatively com­
rhythm. For example: bine and lead a variety of dance patterns to any given
piece of music. Understanding space means that the
4/4 1 -2 3 4 lead can lead his partner around the dance floor in
Rhythm cue: slow quick quick the traditional line of direction and at the same time
Step cue: step side close
employ steps and dance positions that allow him to
steer his partner through and around other dancers
Direction cue: turn side close
without interrupting his or their movements.
Style cue: down up up

Warning cue: "get ready for the break"

Dance Lesson Preparation
Foot cue: right left right
Teacher preparation should begin with selecting the
A good technique is to change from one cue to basic step to be taught. Next analyze the underlying
the other as needed. Cueing is a help, not a crutch, rhythm and know where the accent is placed in the
and should be abandoned as soon as the students music. Study the style of the movement used in the

1 C HAPTER 8 • SOCIAL DANCE

step and practice with the music so that it can be distorted appearance to the dance. The beauty, conti­
accurately demonstrated. If there is only one teacher, nuity, and balance of a figure may be lost entirely due
the teacher will need to know both the lead' s and the to any comic and, at the same time, tragic caricature
follow' s parts and be able to demonstrate them with a unintentionally given to the motion.
student from time to time. Two teachers demonstrat­ Some general principles are involved in the ap­
ing is a more ideal situation, but one well-prepared plication of good footwork to good dance style.
teacher can lead a good student after a class walk­
1. The weight should be carried on the ball of the
through usually without out-of-class practice. In ad­
foot for easy balance, alert transfer of weight
dition, the teacher should carefully analyze the posi­
from step to step, and change of direction.
tion, leads, style, and teaching cues for both the lead's
and follow's parts and develop routines for practicing 2. The feet should be pointing straight ahead.
the step forward, backward, or in place. When moving from one step to another, they
See Chapter 2 pages 1 3-16 for lesson plan and should reach straight forward or backward in
pages 1 9-20 for teaching progression. the direction of the desired action and in line
with or parallel to the partner's feet.
3. Any action will start with feet together. When
Style In S ocial Dance moving, feet should pass as closely as possible.
Social-style ballroom dancing does not follow the With a few exceptions, the feet should always
rules of competition or dancesport. American ball­ come together before reaching in a new direc­
room dancing has borrowed steps and dances from tion. This is known as a follow-through with the
many, many countries. Few of these are now done feet, and it is used in the Foxtrot, Waltz, and
in the authentic style of any country. In most cases, Tango.
it was the rhythmic quality that was fascinating and 4. The feet are never dragged along the floor from
not its meaning. Therefore, only a semblance of the one step to another. There is a light connection
original style remains in the Latin American dances to the floor as the foot is moved noiselessly into
done on U.S. dance floors. the next position. Occasionally, as in the tango,
Particular consideration needs to be given to the the foot glides smoothly into place and without
importance of the individual as a p erson and the a scraping sound on the floor.
development of one's own style. Because all individ­ 5. The legs should reach forward or backward
uals are different, it is folly to try to get them all to from the hip. The action is initiated by stabiliz­
perform exactly alike. The individual who likes to ing the trunk and swinging the leg freely.
dance will work for the right feeling and take pride
6. The faster the rhythm, the shorter the step. The
in the way it looks. The dance will gradually reflect
slower the rhythm, the more reaching the step.
an easy confidence and become part of the individ­
ual's personality. 7. Changes of direction are more readily in bal­
At the beginning, few students realize the impor­ ance and under control if initiated when the
tance of good basic posture and footwork to the feet are close together rather than when they
beauty and style of any dance. An easy, upright, are apart.
balanced posture and motion of the feet in line with 8. For the specific actions of reaching with one
the body will make the dancer look good regardless foot forward or backward, as in a carte or a
of how limited the knowledge of steps. Style means hesitation step, the arch of the foot should be
the specific way of moving in any one dance as extended and the toe pointed.
influenced by rhythmic qualities of the music, cul­ 9. Turning and pivoting figures are most effec­
tural characteristics of a country, or the current style tively executed from a small base of support
of the movement. Styles of dances change from time with the action of the lead's and the follow's feet
to time with the rising popularity of a new star, a dovetailing nicely. This is possible when the
new band sound, or a new promotional venture by action of the foot is a smooth turn on the ball of
the popular dance studios. the foot with the body weight up, not pressing
into the floor.
Footwork in Social Dance 10. In accordance with the characteristic cultural
style of a dance, the footwork will involve spe­
Footwork is a term used to discuss the manner of using
cific and stylized placement of the feet. This
the feet in the performance of dance steps. With the
styling is described with each dance.
exception of body posture, it has the most significant
bearing on form and style. Far too often the place­
ment of the feet and the action of the legs give a

C HAPTER 8 • SOCIAL DANCE 1

Dance Walk 2. The trunk is stabilized firmly. The leg swings
backward from the hip j oint with a long, smooth
All smooth dances used to have a gliding motion
reach. Avoid unnecessary knee bend of the
with the ball of the foot. However, changes in style
standing leg.
dictated a dance walk that is much like a regular
walk when moving forward. It is a step forward on 3. The foot is placed backward on the toe with
the heel of the foot, transferring the weight to the weight transferring to the ball of the foot. The
ball of the foot. This action is used by both lead and weight remains on the ball of the foot, the heel
follow when they are moving forward. The back­ coming down only momentarily during the next
ward step is a long reach to the toe, transferring the step.
weight to the ball of the foot. 4. The legs and feet pass as closely as possible and
In closed dance position, the lead is reaching in a straight line. Avoid toeing out, heeling out,
fonvard and the follow backward, simultaneously. and swinging backward outside of the straight
There is a tendency for the lead to step sideways so line.
as not to step on the follow' s foot, but he should step
forward directly in line with her foot. The follow
consequently must reach backward into her step not Dance Positions
only to avoid being stepped on but to give the lead Successful performance with a dance partner depends
room for his step. Master dance teachers have been on learning how to assume the dance positions most
quoted as saying, "If the follow gets her toe stepped often used in social dance: closed position, semi­
on, it is her own fault:' This reemphasizes the point open position, left parallel position, right par­
that the dance walk is a long reaching step and both allel (outside) position, swing out, cuddle, and
lead and follow must learn to reach out confidently. side-by-side position. 1 The closed position is the
It is this reach that makes the style smooth and basic dance position; the others are adaptations of it.
beautiful and provides contrast to other smaller Dancers should learn how to assume the closed posi­
steps. Taking all small steps gives the style a tion as soon as they begin working with a partner.
cramped, insecure feeling. The following points de­ The results will lead to good balance, comfort, and
scribe the mechanics of the forward dance walk confidence in leading and security in following.
1 . The body sways forward from the ankles. The
weight is on the ball of the foot. Closed Position
2. The trunk is stabilized firmly. The leg swings
Each factor in the analysis of the closed position is
forward from the hip joint. The reach results in a
significant. It is not a mere formality. Those who are
long step rather than a short, choppy step. An
learning dance will tend to form better dance habits
exaggerated knee bend will cause bobbing up
if they understand specifically how the position aids
and down.
the dance rather than being left to manage as best
3. The foot swings forward and the heel is placed they can.
on the floor first, followed by a transfer of
weight to the ball of the foot. The feet never drag 1 . Partners should stand facing each other, slightly offset to
along the floor. their left, with shoulders parallel. The right foot of
each partner should be placed between the part­
4. The legs are kept close together, with the feet
ner's feet, near the front of the foot. When bend­
passing closely together. The toes are facing
ing knees they should not knock together. A
straight ahead.
comfortable distance should be maintained. The
5. The lead and the follow dance on the same for­ body posture is in good alignment.
ward line. One should avoid letting one's feet
2. The feet should be together and pointing straight ahead.
straddle the partner's feet.
The weight is over the balls of the feet.
The backward dance walk is not an easy movement 3. The Iead's right ann is placed around the follow so
since one feels unstable moving backward. It should that his arm gives her secur ity and suppor t. The right
be practiced particularly by the follow since she will hand is placed in the center of the follow's back, just below
be moving backward a large part of the time. the shoulder blades. The lead should keep his right
1 . The body weight is over the ball of the foot. Be elbow lifted to help support the follow's left arm.
careful not to lean forward or backward. The
follow is pressing against the lead's hand at her
back 1. Refer to the Glossary for descriptions of other positions.
Illustrations of the various dance positions can be found on
pages 49-53.

C HAPTER 8 • SOCIAL DANCE

 The fingers should be closed and the hand almost 1 0. Lead pulling back with his left shoulder and
flat so that the lead can lead with the fingers or hand, causing an awkward angle of motion.
.
the heel of the hand. The lead's arm is extended 1 1 . Follow leaning heavily on partner's arm.
away from his body with the elbow pointing
.
slightly out to the right side. The lead's left hand
should be no higher than the shortest person's Techniques of Leading and Following
shoulder level. A majority of leads are initiated by Leading is done primarily by the use of the body,
the lead' s shoulders, right arm, and hand. arms, and hands. The lead sets the rhythm, decides
4. Ihe follow's left ar m rests gently but definitely in con.tact what steps are to be used, and controls the direction
with the lead's upper ar m and the hand should lie and progression around the floor. The follow is com­
along the back of the lead' s shoulder as is com­ pletely ' dependent upon her partner. Therefore, an
fortable. The follow's ability to follow is often alert yet easy posture should be assumed to allow
determined by her response to the action of the dancers to move as a unit. The firmness of the lead' s
lead's arm. hand on the follow's back is an important pressure
5. The follow should arch her back against the lead's r ight lead for changes in dance position and direction.
hand and move with it. All pressure leads for Through the use of gentle yet firm leads, the lead can
change of step will come from the lead' s right make dancing a mutually pleasant experience.
hand, and she will feel them instantly. The follow's responsibility is to follow her partner
and adapt to any rhythm or style. She should main­
6. Thefollow's fr ee hand is raised sideways and the lead
tain an easy resistance to give the lead an alert, mov­
holds the follow's r ight hand in his left hand approxi­
able pq_rtner to lead. The follow should always main­
mately between them at a level just above the follow's
tain contact with her partner's upper right arm and
shoulder. The lead may let her fingers rest on his
shoulder and give firm resistance to his hand on her
upturned palm, or he may grasp lightly with his
back. Should the lead be a poor leader, the follow
thumb agajnst her fingers and close his fingers
must then pay close attention to his body movement,
around the back of her h and. He should noJ
particularly the shoulders and chest, in order to fol­
push with his hand.
low. When in a position apart from a partner, follow­
7. Both the lead and follow should look at each other Qr over ing requires a firm controlled arm that responds to a
the par tner 's r ight shoulder. lead by simultaneous action of the body. In the chal­
8. Tone is essential. A limp body or a limp hand is the lenge position, the follow's only lead is visual. She
surest indication of insecurity; a poor lead elicits a must be alert and follow her partner's action by
slow response. Dancers need to understand the watching him. The general rules for following are
difference between tension, which does not allow listed on page 420-42 1 .
for easy moving along with one's partner, and
relaxation, which cannot respond readily to Specific Directions for Lead ing
change. An in-between state of body alertness,
called resistance, is more desirable. I. To lead the first step, the lead should precede the
step off with the left foot by an upbeat, forward
So�e common errors fa the use of closed position motion of the body.
are the, following:
2. To lead a for ward-moving patter n, the lead should
1 . Partner standing at an angle in a half-open give a forward motion in the body, including
position. This causes diagonal motion of the the right arm, which will direct the follow
footwork and is Ul1comfortable. firmly in the desired direction.
2. Partner too far away. 3. To lead a backwar d-moving patter n, the lead should
3 . Lack of support in the lead's right arm. use. pressure of the right hand. This will draw
the follow forward in the desired direction.
4. Lack of contact of the follow' s left arm.
4. To .lead a sidewar d-moving patter n in closed position,
5. Primary use of lead' s left hand to lead by a
the lead should use pressure of the right hand
pushing o r pumping action.
toJhe left or right to indicate the desired direc­
6. Lack of resistance by either lead orfollow. tion.
7. Lead's right hand too high on follow's back 5. Td lead a box step, the lead s hould use a forward
pulling her off balance. body action followed by right-hand pressure
8. Follow's weight back on heels. and right-elbow pull to the right to take the
9. Lead leaning forward from the waist and thus off follow into the forward sequence of the box.
balance. Forward pressure of the right hand followed by

C HAPTER 8 • SOC IAL DANCE

 pressure to the left side takes her into the back each other in order to take advantage of the
sequence of the box. centrifugal force of the circular motion. The
6. To lead a box tum, with slight pressure of the right right foot steps between partner's feet, forward
hand, the lead should use the right arm and on the line of direction, while the left foot
shoulder to guide or bank her into the turn. reaches across the line of direction and turns
The shoulders press forward during the forward on the ball of the foot about three-quarters of
step and draw backward during the backward the way around.
step. 1 4. To lead into a corte (dip) the lead should use firm
7. To lead into an open position, or conversation posi­ pressure of the right hand with sudden
tion, the lead should use pressure with the heel increased body tension going into the prepara­
of the hand to turn the follow into open posi­ tion step. Then the lead should draw his part­
tion. The right elbow lowers to the side. The lead ner forward toward him as he steps back into
must simultaneously turn his own body, not j ust the dip. The left foot taking the dip backward
the follow, so that they end facing the same di­ should carry the weight, and careful balance of
rection. The left arm relaxes slightly and the left the weight should remain over that fo ot. Pres­
hand sometimes gives the lead for steps in open sure is released as they recover to the other
position. foot.

8. To lead from open to closed position, the lead should 1 5 . Finger pressure leads and arm control are important.
use pressure of the right hand and raise the Many times the lead' s only contact with his
right arm up to standard position to move the partner is with one hand or changing from
follow into dosed position. She should not hand to hand. A soft, gentle handhold and a
have to be pushed, but should swing easily into limp arm make it impossible to lead the varia­
closed position as she feels the arm lifting. She tions of swing, cha cha cha, or rumba. It is nec­
should come clear around to face the lead essary that the follow exert slight resistance to
squarely. the lead' s grasp so that pressure in any direction
is reacted to instantly. Both the lead and follow
9. To lead into right parallel position (left reverse open
should maintain elbow control by holding the
position), the lead should not use pressure of his
arm firmly in front of the body with elbows
right hand, but rather should raise his right arm,
down and always slightly bent. The arm is sel­
rotating her counterclockwise one-eighth of a
dom allowed to extend in the elbow as this
turn while he rotates counterclockwise one­
destroys the spring action needed to move out
eighth of a tum. This places the lead and the
and in and under without j erking. The fingers
follow off to the side of each other, facing oppo­
often need to slip around the partner's without
site directions. The follow is to the right of him
actually losing contact, in order to maintain
but slightly in front of him. The lead should avoid
comfortable action of the wrist and arm.
turning too far so as to be side by side, as this
results in poor style and awkward and uncom­ 1 6. To change the rhythm pattern, the lead exerts extra
fortable motion. The lead' s left hand may assist in pressure with the right hand and pushes a little
the lead by pulling toward his left shoulder. harder from the chest.

1 0. To leadfrom right parallel position to left parallel position, 1 7. Visual lead. When partners are apart, as in the
the lead should pull with his right hand, lowering shine position of cha cha cha, the follow
the right arm, and push slightly with his left watches her partner closely.
hand, causing a rotation clockwise about a quar­
ter-turn until the follow is to the left of him but Following
slightly in front of him. They are not side by side.
The follow's responsibility in dancing is to follow
1 1 . To lead a hesitation step, the lead should use pres­
her partner and adapt to any rhythm or style he
sure of the right hand on the first step and
dances. She should maintain an easy resistance, not
sudden body tension to control a hold of posi­
rigidity or tension, throughout the body. This is
tion as long as desired.
referred to as having tone. If there is no tone and the
1 2. To lead all turns, the lead dips his shoulder in the follow is too relaxed or stiff, leading becomes very
direction of the tum, and his upper torso turns difficult. The lead' s ability to lead his partner will be
before his leg and foot turn. enhanced when she has tone. In other words, it
1 3 . To lead into a pivot tum, clockwise, the lead should takes cooperation for two people to dance well, the
hold the follow slightly closer, but with sudden same way it takes two people for a satisfactory
body tension. Resistance is exerted outward by handshake. The follow should always maintain con­
both the lead and follow leaning away from tact with her partner's upper right arm and shoulder

CHAPTER 8 • SOCIAL DAN CE

and give resistance against his hand at her back, General Rules for Following
moving with it as it guides her. If the lead is a poor
1. Keep the lead' s rhythm.
leader, then the follow must pay close attention to
his body movement, particularly his chest and 2. Be alert to partner's lead.
shoulder movement, in order to follow. Following, 3 . Support one's own weight Arch the back and
when in an apart position, requires a firm, move with the partner's hand.
controlled arm that responds to a lead by simulta­ 4. Step straight backward with reaching motion so
neous action of the body. A limp arm with no as to give the partner room to step straight
resultant body response makes leading difficult in ahead.
swing, rumba, and Cha Cha. In the challenge posi­
5. Pass the feet close together.
tion, the follow's only lead is visual. She must be
alert and follow her partner's action by watching 6. Know the basic steps and basic leads.
him. The good dancer will aim to dance with beauty 7. Try not to anticipate partner's action, just move
of form. The follow can make a poor dancer look with it.
good or a good dancer look excellent. She can also 8. Give careful thought to proper body alignment
cramp his style if she takes too small a step, has and good posture.
poor control of balance, dances with her feet apart,
dances at an awkward angle, or leans forward.

SWING (JITTERBUG)
S WING I S AN U M B RE LLA TE RM for a wide variety of dances, such as West Coast Swing,
East Coast Swing, Jive, Jitterbug, Shag, and Lindy Hop. With the advent of Dixieland
j azz during the roaring twenties, a variety of dances appeared, including the Lind­
bergh Hop. Cab Calloway is credited with referring to the Lindy Hoppers as "jitter­
buggers:' The dance went through a fad period of being extremely eccentric, with its
wild acrobatics inspired by the rising popularity of boogie woogie. The Big Apple, the
Shag, and the swing were all products of that period. They changed after World War
I I to a more syncopated rhythm called rock and roll with the double-time swing pat­
tern and to the swing with the smooth, sophisticated triple rhythm, which came in to
vogue a short time later. All during the rock and roll period, both double- and triple­
time swing could be seen on American Bandstand. A softer sound called boogie, but no
relation to boogie woogie, has greater synthesization of electronic equipment.
Swing is danced to a wide variety of music and reflects the dance style of the partic­
ular music-big band music of the 1 940s, rock and roll, rhythm and blues, salsa, reg­
gae, country western, and Cajun-all written in 4/4 or cut time. Swing includes the
rhythm of the Lindy Hop, single time, double time, and triple time. Some refer to these
as the Jitterbug. The term s-wing is also applied to a myriad of figures as the couple cov­
ers a circular space in one area. There is wide variation in the footwork and figures in
each style of swing. West Coast Swing is a more difficult and sophisticated dance. It is
Circular Space
referred to as a slot dance because the couple moves back and forth in a narrow
for
Swing Dance
space, always the same space. The dance evolved in the 1 950s. We will continue to
use the term swing for single-, double-, and triple-time swing and circular space for
swing dance.

$� RHYTHM
Swing is written in 4/4 or cut time. It is extremely adaptable to fast or slow rhythm,
or to 4/4 time from Foxtrot to hard rock The Shag was actually the first dance to be
called j itterbug, and its slow, slow, quick, quick rhythm set the pattern for all of the
others. The single-time swing has the same rhythm.

CHAPTER 8 • SOCIAL DAN C E

 I
4/4 step step rock step
.
s s Q Q

2 3 4 2

uneven rhythm

Single Time

Double time is very adaptable to slow or fast music. This style was very popular
'
in the 1 950s. Accent is on the offbeat.

I
4/4 dig step dig step rock step

Q Q Q Q Q Q

2 3 4 2

even rhythm

Double Time

Triple time is more often danced to the slow, blues-style, sophisticated tempos.

4/4 step close step step close step rock step

Q Q s Q Q s s s

1 and 2 3 and 4 2
'--- "V'
__./ '- v-
_./
triple triple

uneven rhythm

Triple Time

g� STYLE
Exciting styles and positions are used in swing. It is a matter of taste for the individual
dancers whether they use a dig step, a step-hop, or a kick step. However, the basic
rhythm must be maintained by both lead and follow to coordinate the pattern
together, unlike discotheque (dancing apart), in which the step or rhythm pattern of
each partner is unstructured. The lead is able to lead the dance because of the magnifi­
cent body alertness of both partners. A firm body and tone in the arms and fingers
enable quick response in any direction. The space between partners is controlled by a
spring tension in the elbow, which never extends fully but allows the pull away and
the spring back to on�ur smoothly and with control. The follow uses her arm as a pivot
center. The elbow is down and the hand is up for the underarm turns, and she turns
around her arm but does not let it fly in the air. There should never be the appearance
of arms flying loose or entangled. The fingers slip easily around one another without
losing contact. Even the free arm is bent and remains close to the body.
Swing steps tend to cover a circular space in one area of the floor. The footwork is
at all times small and close together, with rolling and turning on the ball of the foot.
The turning action for beginner steps is always on the first step of the pattern when
the follow is on her right foot and the lead is on his left. The rhythm pattern is gener­
ally the same over and over, but the changes of position and direction and the con­
stant subtle smooth roll to offbeat rhythm generates a fabulous excitement for both
dancer and observer.

C HAPTER 8 • SOCIAL DANCE

Sing le- Time Swing
Directions are for the lead; the follow' s part is reversed, except when noted.

Side-to-S ide Basic

STEPS 414 C O U N TS R H YT H M C U E ST E P C U E

Step left i n place slow left

Step right in place 2 slow right

Step left backward, a little behind 3 quick rock

right heel, using ball of left foot

Step right in place and quick step

Step Cue: Left, right, rock step or side, in place, rock step.
Partner Co n n ection: The dancers take two hands joined at approximately waist
height, the lead's hands palm up. The elbow is down. The arms have tone in them and
should not be limp. Fingers are together in a shape. Slightly angle fingers in partner's
hands, so they do not dig into their palms. Exert a gentle pull against partner's fingers
without squeezing! Lead' s thumbs rest lightly on the follow's knuckles.
Style: The body takes a slight motion, leaning to the side from the waist and dipping
the outside shoulder Oead's left, follow's right) on the first step. Take care not to exag­
gerate this motion. It is very subtle. The first step is a small step, approximately 1 2", or
shoulder distance apart. Return to normal posture on the second step. Do not take
the full body weight back on the rock step. On the rock step there is a spring tension
in the arms that allows an apart-together action that is smooth and has arm control.
The weight is carried on the balls of the feet and the steps are small throughout.
There is a small amount of knee bend, depending on individual preference and style;
however, the action should be smooth and not bouncy.
Note: Beginners should practice the foot pattern alone until they can move accu­
rately with the rhythm. Then dancers take two hands and practice the footwork
together.
lead: The lead lowers his left arm down (a reverse curl action), while slightly dip­
ping his left shoulder on the first side step. On the second step, the lead returns his
arms to the starting position in preparation for the rock step. Arm cue: drop, recover,
rock step.
The basic step is usually used to start dancing together and establish a connection
with your partner. Once the connection is established, the lead begins to incorporate
different variations, or steps. The following is a short list of swing dance steps.

Single-Time Swing Variations

The lead' s hands must be able to rotate easily in the follow' s hands during any
variation.
Arch and Trade Wrap (Cuddle) Two Hands to Social Swing
Inside Turn (Underarm Turn) Octopus Basic in Social Swing
Walk Through (Brush Off) Hammerlock Arch Out from Semi-Open
Tuck Spin Turning Basic (Collegiate)

CHAPTE R 8 • SOCIAL DANCE

 Arch and Trade

The lead lifts his left arm up (forming the "arch"); the follow goes under the arch,
trading places.

ST E PS STEP CU E

Lead steps left forward while raising left arm up and slightly left forward
Follow steps right forward

Lead step right, turning one-quarter counterclockwise side

Follow, pivoting on right 1 80° clockwise, while turning under lead's arm,
steps back left

Lead pivots one-quarter counterclockwise and rock steps rock step

Follow rock steps

Finish move with an inside turn (see b elow)

Step Cue: Lift Uead' s left arm), follow turn, rock step.
Style: Follow keeps right forearm at a right angle and right elbow at shoulder level.
The follow turns around her own arm, not under it. Both take small steps, insuring
that their arms have a slight bend in them for the rock step.
Lea d : As the lead lifts his arm up, he gives a gentle pull back, guiding the follow
under his arm. The lead's left arm is up and slightly left of them, allowing the follow a
clear path to go under his arm.
N ote: The lead lifts his arm up high enough so that the follow does not need to duck
to go under, but the lead only lifts his arm as high as the follow's head. Lifting the arm
too high above the follow will tend to pull her arm above a comfortable level.

I nside Tu rn (U nderarm Tu rn)

The lead and follow exchange places as the lead turns the follow counterclockwise
across to his position and steps around to the follow's position.

STEPS STE P C U E

Lead steps left forward turning one-quarter clockwise, while raising left hand forward
toward right shoulder, going over the follows head

Follow steps right forward turning one-quarter counterclockwise, moving under

the lead's arm

Lead continues to turn one-quarter clockwise, then steps back right, lowering behind
left hand

Follow continues turning counterclockwise and steps back left

Both rock step. To perform a basic next, j oin both hands, or to repeat, stay in rock step
Swing out position

Step Cue: Lift Oead's left arm), follow turns, rock step.
Style: Both turn halfway around on the first step, staying close together. They have
exactly exchanged places after one complete pattern.
Lead : The lead turns his hand knuckles up, fingers down, so that the follow's fingers
can slip around the lead's fingers.

C HAPTER 8 • SOCIAL DANCE

Note: This underarm turn can be repeated over and over. It may serve as a connect­
ing step to any other variation or can be used to return to the basic after ending in
swing out position.

Wa l k Through (Brush Off)

The lead and follow exchange places as the lead does a left turn while seemingly
moving through his partner's arm.

STEPS STEP C U E

Lead steps diagonally left forward on left foot while turning one-quarter diagonal
counterclockwise

The lead's left hand pulls down toward his right hip, guiding the follow
behind him

Follow steps forward right

Lead steps side on right foot, releasing his left hand on right side and moving his side
left hand to left side, (palm facing back) to reconnect with follow's right hand
Follow pivots one-quarter clockwise and steps side with left foot, lightly sliding
right hand along partner's waist to reconnect with lead's left hand

Lead pivots on right foot one-quarter counterclockwise to face partner and rock step
rock step
Follow pivots on left foot one-quarter clockwise to face partner and rock step

Finish move with inside turn, page 424

Step Cue: Lead turns, reconnect, rock step.

Style: As the lead turns, his free right hand must reach over his left arm.
Lead : The lead must turn his body sharply one-quarter counterclockwise, providing
the follow a space to move through. If this turn is not done, the follow will bump
into the lead' s shoulder.
Note: At the end of this move, the lead's left hand will be palm down (opposite of
normal). Do not try to flip the hand. While performing the inside turn, the hands will
automatically rotate to the normal position.

Tuck Spin

STEPS STEP C U E

Lead steps in place while moving both of the follows hands to lead's right side left
(follow turns slightly to her left)

Lead steps right in place, pushing the follow in the opposite direction right
(releasing hands) with a quick flick, spinning the follow clockwise
Follow does a full turn clockwise, spinning on both feet

Rejoin hands for the rock step rock step

Step Cue: Tuck, spin, rock step.

Style: The follow must spin smoothly a full turn in place, standing tall, not losing
her balance. Sliding the left foot to the right will facilitate spinning on b oth feet.

CHAPTER 8 • SOCIAL DAN C E

 Lead: The lead must give a firm, quick lead, allowing the follow to respond with the
proper timing.
N ote: The lead may also spin at the same time, moving counterclockwise.

Wra p (Cudd le)

STEPS STEP C U E

Part I

Lead steps left in place while lifting left arm, preparing to turn follow left
counterclockwise
Follow steps right foot forward and diagonally across left foot

Lead steps right in place while moving left hand in a counterclockwise circle in right
front of partner's face and continuing around his head
Follow pivots on right foot 180° counterclockwise and steps back on left foot,
finishing with follow on lead's right side; hands are at the follow's waist level

Both rock step rock step

Part I I
Lead steps forward on left foot while lifting left arm; a roll out is initiated forward
with a gentle right forearm push on the follow's back
Follow steps forward on right foot

Lead steps back (in place) on right foot back

Follow pivots 1 80° clockwise on right foot, stepping back on left foot

Both rock step rock step

The lead's left hand is slightly rotated after the follow rolls out; finishing this
move with an inside turn, page 424, put the lead's hand in the upright position

Step Cue: Lift (lead' s left arm), cuddle in, rock step, cuddle out, rock step.
Style: A smooth, continuous roll in (cuddle in) is important.
Lead: The lead must lift his left hand and circle (wrap) it around the follow's head. It
is important to let the hands Oead's left, follow's right) rotate easily while performing
this move.
Note: Once a couple is in the cuddle position, it is an option to stay there for a few
extra beats. Foot work for both lead and follow is forward, in place Cback), rock step.
Another variation on the cuddle out (unwrap) is for the lead to release with his left
hand and pull gently with his right hand, rolling the follow out to the lead' s right side.

Octopus

STEPS STEP C U E

Part I

Lead steps diagonally left forward on left foot diagonal

Follow steps diagonally left forward on right foot, ending right hip to right hip

Lead steps in place right while swinging both arms up and over both heads place
Both partners lower left hand behind their own head and right hand behind
partner's head (Octopus position)

CHAPTER 8 • SOCIAL DANCE

STEPS STEP C U E

Lead releases both hands and slides right hand along follovls right arm, rock step
catching right hands. Both partners turn one-eighth right to catch right hand
and perform rock step

Part II (turn follow and change hands behind the lead's back)
Lead raises right elbow and turns follow clockwise under right arm while across
stepping left foot diagonally across right foot
Follow pivots 1 80° counterclockwise on left (turning under lead's arm) and
steps back right

Lead lowers right arm behind his back putting the follow's right hand into side
the lead's left hand while stepping side right with right foot
Follow steps left foot back

Lead pivots on right foot 90° counterclockwise, moving left hand from behind rock step
back to front and faces follow for rock step

Finish move with inside turn, page 424

Step Cue: Up and over, rock step.

Follow turns, changes hands, rock steps.
Lea d : The lead must lift both hands high enough to go over both partners' heads,
not j ust his own.
N ote: Once the follow has the lead, she must let her arms float up and not pull
down on the lead' s arms.

H a m merl ock

This is just like the arch and trade, continuing to hold on to both hands. The follow
ends up with her left arm folded behind her back in a Hammerlock (wrestling term)
position.

STE PS ST E P C U E

Lead steps forward left while raising left arm up and slightly left forward
Lead's right hand moves to his left side, giving a gentle pull, guiding the
follow forward
Follow steps forvvard right, going under lead's left arm

Lead steps right, turning 1 80° counterclockwise ending right hip to right hip, side
lowering left arm down in front of lead' s body
FolJ ow, pivoting on right 1 80° clockwise while turning under lead's arm, steps
back left

Both rock step in hammerlock position rock step

Using one full basic, reverse the pattern to return to two hands position

Step Cue: Lift Oead's left arm), turn (both lead and follow), rock step.
Lead : As the lead lifts his arm up, he gives a gentle pull back, guiding the follow
under his arm. To reverse the hammerlock, the lead gives a very gentle pull with his
right hand on the follow' s left arm.
N ote: On the reverse, the lead can spin the follow with his left hand (releasing the
right hand) 1 �'2 times back to two hands joined position. The spinning action is lead
with the lead's wrist moving in a circular motion (counterclockwise) around the fol­
lows head. The lead drops his arm back to waist height to stop the follow from spin­
ning. The spin is done during the slow, slow, rejoining both hands for the rock step.

CHAPTER 8 • SOCIAL DANCE

 Tu rning Basic (Co l legiate)

During one basic, the couple will rotate 1 80°. This is an intermediate move.

STEPS STE P C U E

Lead steps diagonal left forward diagonal

Follow steps diagonal left forward with right foot, almost ending right hip to
right hip

Lead pivots on left foot 1 80° clockwise and crosses right foot behind left behind
Follow pivots on right foot 90° clockwise, steps side left

Lead faces partner for rock step rock step

Follow pivots 90° clockwise on left to face partner for rock step

Step Cue: Side left, behind right (turn), rock step.

Style: This is a smooth, circular motion.
Lea d : The lead must step strongly to diagonal left and drop left arm (reverse curl down)
to give the follow the correct angle to step forward. The timing also must be sharp. If the
lead is even a little late in leading this, the follow is already moving to the side.
Va riations: (1) An optional lead is to reach sideways with each hand shoulder high
on the first step and bring the hands back together on the second step. This creates a
butterfly turn effect. (2) A second and more advanced option has the lead pivoting to
right parallel position (right hip to right hip) on the first slow and to left parallel posi­
tion (left hip to left hip) on the second slow.

Two H a nds to Social Swi n g

STEPS ST E P C U E

Lead and follow step toward each other, the lead pulling his left hand downward forward
and placing right hand on follow's back, rib level

Both step backward a short step in semi-open position tum

Rock step in same position rock step

Step Cue: Pull down, come together, rock step.

Style : The steps are small.
Lead : The lead pulls down on the follow's hand, guiding the follow into
semi-open position.

Basic in Soci a l Swi n g

STEPS ST E P C U E

Lead steps left forward forward

Lead steps right backward back

Rock step in place rock step

CHAPTER 8 • SOCIAL DANCE

Step Cue: Forward, back, rock step.
Style: Dancers remain in social swing position throughout. All steps are small. The
hand grasp is low with a straight elbow (not hyperextended), held in close to the
body. The lead's fingers reach around the little-finger side of the follow's hand.
N ote: This is a good rest step, or what is commonly used during a dance jam.

Arch O ut from Sem i-Open

The lead takes the entire step pattern in place as he turns the follow out under his left
arm to face him.

STEPS STEP C U E

Lead steps left forward, lifting left a r m u p forward

Follow steps right forward

Lead steps in place right, giving the follow a gentle push on her back, back
turning her under the lead' s left arm
Follow pivots 1 80° on right foot (to face partner), stepping back with left foot

Rock step in place rock step

Step Cue: Lift, follow under, rock step.

Style: Follow keeps right forearm at a right angle and right elbow at shoulder level.
The follow turns around her own arm, not under it. Both take small steps, ensuring
that their arms have a slight b end in them for the rock step.
Lead: As the lead lifts his left arm up, he gives a gentle push with his right hand on
the follow's back, guiding the follow under his arm.
N ote: The lead lifts his arm up high enough so that the follow does not need to duck
to go under, but the lead only lifts his arm as high as the follow's head. Lifting the arm
too high above the follow will tend to pull her arm above a comfortable level.
Variation: Instead of lifting the arm on the first slow, the lead can tuck (see tuck
spin, page 425) the follow in on the first slow, then arch and spin the follow under
arm on the second slow.

Trip le Time Swing

TRIPLE TIM E I S LOVE LY and pleasant to do to a nice swingy Foxtrot or blues song.
It should be smooth and relaxing.
Directions are for the lead; the follow's part is reversed, except when noted.

Triple Rhythm

CHAPTER 8 • SOCIAL DAN C E

 S T E PS 4/4 C O U NTS R H YTH M C U E

Step left forward

Close right to left, take weight right 1 and 2 quick quick slow

Step left forward

Step right backward

Close left to right, take weight left 3 and 4 quick quick slow

Step right backward

Step Cue: Triple step, triple step, rock step.

Style: The triple rhythm should be small shuffling steps, keeping the feet close to
the floor. Weight is on the ball of the foot. Refer to basic swing style, page 422.
Lead : The lead cues the follow for the triple steps by increasing the tension in his
right hand as he starts the shuffle step forward.
Variations: Any of the variations for single-time swing can be done in triple
rhythm.

Trip l e-Tim e Swivel Step

STEPS 4/4 C O U NTS R H YT H M C U E

Lead's Part (follow's part is the reverse)

Step left forward

Close right to left 1 and 2 quick quick slow

Step left forward

Step right forward

Close left to right 3 and 4 quick quick slow

Step right forward

Pivot on right foot to face partner, and bring

left foot alongside of it, shifting weight to left foot slow

Pivot on left foot to face open position, bring right

foot alongside of it, shifting weight to right foot 2 slow

Repeat pivot on right foot 3 slow

Repeat pivot on left foot 4 slow

Step left forward

Close right to left 1 and 2 quick quick slow

Step left forward

Step right backward

Close left to right 3 and 4 quick quick slow

Step right backward

(turning follow out clockwise in an underarm turn)

Rock step (in swing out position) 1, 2 slow slow

Step Cue: Triple step, triple step

swivel 2 3 4
triple step, triple step, rock step.
Style: The swivel steps are tiny, crisp, and neatly turning, just a quarter-turn on each
pivot. The body turns with the foot closed, open, closed, open.

C HAPTER 8 • SOCIAL DANCE

Lead: The lead must lead the swivel step by turning the follow from open to closed,
and so forth.
N ote: The couple progresses along the line of direction as the pivot turn is being
done in four slow steps.

$� COMBOS
The swing routines are combinations for practice, which are listed from simple to
complex. They may be used for either single time or triple time. (Two hands j oined or
social swing position, unless otherwise indicated.)

I. Basic Swing Out and Gose 5. Collegiate, Brush Off

I basic 2 basics
single underarm break single underarm break
break to original position underarm turn
2. Basic, Swing Out, Underarm Turn, Gose 3 collegiate steps
I basic underarm turn
single underarm break brush off
break to original position underarm turn
original position
3. Swing Out, Collegiate
2 basics 6. Collegiate, Tuck, Spin
single underarm break 2 collegiate steps
3 collegiate steps tuck spin
underarm turn underarm turn
original position
7. Collegiate, Wrap
4. Swing Out, Brush Off 2 collegiate steps
2 basics wrap
single underarm break unwrap
brush off
underarm turn 8. Wrap, Unwrap Spin
original position 2 collegiate steps
wrap
unwrap
tuck spin
underarm turn

ftes t Coas t Swing

l/1)edf; {Joa,d,f, SWING RHYTHM
West Coast swing rhythm is 6 or 8 beats. It is usually danced to a slower rhythm than
triple time swing 0 20-1 30 B PM).

anchor step
4/4 step step touch step step step step
s s s s Q Q s

2 3 4 & 2

2 3 4 5 & 6
'---.._---./
triple

uneven rhythm-6 count

CHAPTER 8 • SOCIAL DANCE 1

 Slappin" Leather, continued

C O U NTS STEPS

PART III
1 -4 Grapevine: Beginning right, step right, step left behind right, step sideward right,
chug (scoot) right, lifting left knee up (hitch), and clap hands.

5-8 Beginning left, repeat action of counts 1-4 to the left.

1 -4 Traveling backward, step right, left, right, chug (scoot) right, lifting left foot
behind right leg and slap left heel with right hand.

5-6 Step forward left, close right next to left; weight on both feet.
7-8 Step forward left, stomp on right foot next to left, weight on both feet.

Foxtro t
T H E F OXTROT, AS A P RE S E NT-DAY F O RM, is of relatively recent origin. The only truly
American form of ballroom dance, it has had many steps and variations through the
years. The Foxtrot gets its name from a musical comedy star, Henry Fox, of the years
1 9 1 3-1914 (Hostetler 1 952), who danced a fast but simple trotting step to ragtime
music in one of the Ziegfeld shows of that time. As an additional publicity stunt, the
theater management requested that a star nightclub performer, Oscar Duryea, intro­
duce the step to the public but found that it had to be modified somewhat, because a
continuous trotting step could not be maintained for long periods without exhaust­
ing effort. Duryea simplified the step so that it became four walking steps alternating
with eight quick running steps. This was the first Foxtrot.
Since that time, under the influence of Vernon and Irene Castle and a series of pro­
fessional dancers, the Foxtrot has been through a gradual refining process and has
developed into a beautifully smooth dance. It claims considerable popularity today.
Music from ragtime through the blues on down to modern jazz and swing has
had its effect on the Foxtrot. The original Foxtrot was danced to a lively 2/4 rhythm.
Its two parent forms were the one-step, 2/4 - - quick, quick, quick, quick rhythm;
- -

the other was the two-step, 2/4 1---1---1 quick, quick, slow or step-close-step.
Both of these forms are danced today but have given way to a slower, smoother
4/4 time and a more streamlined style. The Foxtrot is danced in three tempos (slow,
medium, and fast) and can be adapted to almost any tempo played in the music.
The basic Foxtrot steps can be used together in any combination or sequence. A
dancer who knows the basic steps and understands the fundamentals of rhythm can
make up his or her own combinations easily and gradually develop the possibilities
for variation in position, direction, and tempo.

t/).o.abtoj, RHYTH M
The modern Foxtrot in 4/4 time, or cut time, has four quarter-beats or their equiva­
lent to each measure. Each beat is given the same amount of time, but there is an
accent on the first and third beats of the measure. When a step is taken on each beat
0 -2-3-4), these are called quick beats. When steps are taken only on the two accented
beats (1 and 3), they are twice as long and are called slow beats.

CHAPTER 8 • SOCIAL DANCE

4/4

Q Q Q Q Q uick beats

1 2 3 4

4/4
s s Slow beats
1 -2 3-4

A use of these quick and slow beats and a combination of them into rhythm patterns
form the basis for all of the modern Foxtrot steps. There are two patterns used pre­
dominantly: the magic step and the Westchester box step.

Mag ic Step ( Bronze Basic)

The magic step pattern represents broken rhythm, as it takes a measure and a half of
music and may be repeated from the middle of the measure. It is an uneven rhythm
pattern: slow, slow, quick, quick.

I I I
4/4 s s Q Q

1 2 3 4 1 2
uneven rhythm
Magic Step

Westchester Box Step

The Westchester box step is a one-measure pattern, but it takes two measures to
complete the box. The rhythm is uneven: slow, quick, quick. The rhythm may also be
played in cut time, but it is still slow, quick, quick Beats 1 and 2 are put together to
make one beat. Beats 3 and 4 are put together to make one beat. The time signature
for cut time is ¢. It is played faster and feels very much like 2/4 time.

Cut time is based on 4/4 time Westchester box step ¢ time

I I
4/4
I � � :_ � I s a a

¢ I YY I
¢ 1 -2 3-4

u n even rhythm

q� STYLE
Foxtrot style truly reflects its American origin. It is the least affected of any of the ball­
room dances. Completely without stylized or eccentric arm, foot, head, or torso move­
ment, the Foxtrot is a beautifully smooth dance. The body is held easily erect and
follows the foot pattern in a relaxed way with little up and down or sideward move­
ment. The good dancer glides normally along the floor and blends the various steps
together without bobbing or jerking. This effect is accomplished by long, reaching steps
with only as much knee bend as is needed to transfer the weight smoothly from step to
step. It gives the Foxtrot a streamlined motion and a simple beauty of form that can be
enjoyed without strain or fatigue, dance after dance. As one becomes more and more
skillful at putting together steps for the Foxtrot, there will be increasing joy derived from
the tremendous variety of quick and slow combinations.

C HAPTER 8 • SOCIAL DAN C E 45 7

 Magic Step Series
Magic Step (Basic Step) Promenade with an Arch The Conversation Pivot
Open Magic Step (Promenade) Rock, Recover The Corte
Magic Left Turn Right and Left Parallel
The magic step series was created by Arthur Murray (1 954). It is called by this name
because it can be varied in a surprising number of ways. The pattern is uneven
rhythm and requires a measure and a half for one basic step. This is called broken
rhythm.

M a g i c Step ( Basic Step)

STEPS 4/4 C O U NTS R H YT H M C U E

Step left forward 1 -2 slow

Step right forward 3-4 slow

Step left sideward, a short step I quick

Close right to left, take weight on right 2 quick

Step Cue: forward, forward side, close

long steps short steps

l Start
Floor Pattern

Style: The forward steps should be long, smooth, walking steps, straight ahead. The
follow, moving backward, takes a long step reaching from hip to toe.
Lea d : Body and right arm lead forward.
Va riations: The following three techniques are used for maneuvering in a closed
dance position.

1 . Forward or backward-the lead may maneuver forward or backward if he is

aware of the traffic around him. The lead to move backward is a pressure lead at
the follows back during the quick, quick beats and then a step into the back­
ward direction on the next slow beat. Generally the lead will not have room to
move backward more than one or two consecutive patterns.
2. Right or left-the lead may maneuver to the right or to the left to go around an­
other couple. He will change direction on the quick, quick beats by use of a pres­
sure lead with his right hand and turn his body at the same time one-eighth of a
turn to the right so as to travel diagonally outward or one-eighth turn to the left
so as to travel diagonally inward beginning with the next slow beat. The right
turn is particularly handy in leading a partner out of a crowded situation away
from the center of the floor. Closed position is retained throughout.
3. Dance in place-used on a crowded dance floor. Closed dance position.
ST E PS 4/4 C O U NTS R H YT H M C U E

Step sideward left, slide right to left, no weight change 1 -2 slow

Step sideward right, slide left to right, no weight change 3-4 slow

Step sideward left I quick

Close right to left, take weight right 2 quick

CHAPTER 8 • SOCIAL DANC E

Step Cue: Slide, slide, step together.
Style : The steps are very small.
Lead : Increase pressure with the right hand to keep the follow from stepping back.
Indicate sideward action.
N ote: The lead may maneuver this in-place pattern into a turn counterclockwise by
the use of the right hand and elbow.

Open M a g ic Step (Promenade)

STEPS 4/4 C O U NTS R HYT H M C U E

Step left forward 1 -2 slow

Step right forward 3-4 slow

Step left forward a short step, turning to semi-open quick

dance position

Close right to left, take weight right 2 quick

Step left forward in semi-open position 3-4 slow

Step right forward 1 -2 slow

Step left forward a short step 3 quick

Close right to left, take weight right 4 quick

Step left forward 1 -2 slow

Step right forward 3-4 slow

Step left forward a short step, turning to closed position quick

Close right to left, take weight right 2 quick

Step Cue : Forward, forward, step, close.

Style: It is a heel lead on the slow beats in open position for both the lead and follow.
Lead : To lead into a semi-open position or promenade, the lead should use pressure
with the heel of the right hand to turn the follow into semi-open position. The right
elbow lowers to the side. The lead must simultaneously turn his own body, not just
the follow, so that they end facing the same direction. The left arm relaxes slightly and
the left hand sometimes gives the lead for steps in the semi-open position.
Lead : To lead from semi-open to closed position the lead should use pressure of the
right hand and raise the right arm up to standard position to move the follow into
closed position. The follow should not have to be pushed but should swing easily
into closed position as she feels the arm lifting. She should move completely around
to face the lead squarely.
Lea d : The lead may wish to return to closed position on the quick beats following
the first two slows in open position.

N ote: It is possible to maneuver when going into semi-open position so that the
couple opens facing the line of direction and afterward closes with the lead still fac­
ing the line of direction, starting from closed position as follows :

M a g ic Left Tu rn

S T E PS 4/4 C O U NTS R H YT H M C U E

Step left forward 1 -2 slow

Step right forward 3-4 slow

CHAPTER 8 • SOCIAL DANCE

 Magic Left Turn, continued

STEPS 4/4 C O U N TS R H YT H M C U E

Step left, right moving around the follow on the left side 1 -2 quick, quick
while turning her halfway around to semi-open position ,

Step left forward in semi-open position, moving in line of 3-4 slow

direction
Step right forward 1 -2 slow

Step left, right in place, bringing the follow around 3-4 quick, quick
to face the closed dance position

Step Cue: Forward, forward, come around, forward, forward in place.

Style: The follow must be sure to swing around, facing the lead, into a correct closed
dance position while taking two quick beats.
Lead : The lead must start bringing his right elbow up to indicate to the follow that
he is going into closed position on the first quick beat.
N ote: Any number of open magic steps may be done consecutively when traveling
in the line of direction without fear of interfering with the dancing of other couples.

Promenade with an Arch

Starting in promenade position, the lead arches the follow under his arm, ending in
closed position.

STEPS R HYTH M C U E

Lead steps left forward, lifting left arm up slow

Follow steps right forward

Lead steps right forward, giving the follow a gentle push on her back, slow
turning her under the lead's left arm

Follow steps right forward, pivoting 270° (3/4 turn) to face partner

Lead steps left forward, turning to closed position quick

Close right to left, take weight right quick

Step Cue: Forward, forward, side, close.

Rock, Recover

STEPS 4/4 C O U N TS R HYT H M C U E

Step left forward a short step 1 -2 slow

Step right backward, toe in and turn counterclockwise 3-4 slow

one-quarter

Step in place left, toeing out left, and turning one-quarter quick
counterclockwise

Step right to left, take weight right, and finish the 2 quick
one-half turn

Repeat to make a full turn

CHAPTER 8 • SOCIAL DANCE

Step Cue: Rock rock step close.
s s Q Q
Style: The slow steps forward and backward are like short rocking steps, but the
body is straight, not leaning.
Lea d : The lead must strongly increase pressure at the follows back on the first step
so that she will not swing her left fo ot backward. Then he uses his firm right arm to
turn her with him counterclockwise. As the follow reacts to these two leads, she will
step in between the lead's feet and pivot on her left foot as he guides her around.
N ote: The pattern may be reduced to a quarter-turn at a time, or it may be increased
to make a full turn at a time. This variation provides a means of turning in place or of
turning to maneuver into position for another variation or for recovering the original
line of direction. Because of this, it is often used to tie together all types of Foxtrot
variations.

Right a n d Left Para l le l Magic Step

This is a delightful variation involving right and left parallel position.

ST E PS 4/4 C O U N TS R HYT H M C U E

Step forward 1 -2 slow

Step right forward 3-4 slow

Step left sideward a short step, turning to quick

right parallel position

Close right to left, take weight on right 2 quick

Step forward left, diagonally in right parallel position 3-4 slow

Step forward right 1 -2 slow

Step in place left, turning in place one-quarter 3 quick

clockwise into left parallel position

Close right to left, take weight on right 4 quick

Step forward left in left parallel position 1 -2 slow

Step forward right 3-4 slow

Step in place left, turning to right parallel quick

Close right to left, take weight on right 2 quick

Step left forward in right parallel position 3-4 slow

Step right forward 1 -2 slow

Step left in place, turning to closed position 3 quick

Close right to left, take weight on right 4 quick

Step Cue: Forward, forward, step turn.

Style: The follow in parallel position must reach back parallel to the lead's forward
reach.
Lead : To lead into right parallel position, the lead should not use pressure of his
right hand but rather should raise his right arm, rotating the follow counterclockwise
one-eighth of a turn while he rotates counterclockwise one-eighth of a turn. This
places the lead and follow off to the side of each other, facing opposite directions. The
follow is to the right of the lead but slightly in front of him. The lead should avoid
turning too far so as to be side by side, as this results in poor style and awkward and
uncomfortable motion. The lead' s left hand may assist the lead by pulling toward his
left shoulder.

CHAPTER 8 · • SOCIAL DANCE

 Lead : To lead from right parallel position to left parallel position, the lead should
pull with his right hand, lowering the right arm, and push slightly with his left hand,
causing a rotation clockwise about a quarter of a turn until the follow is to the left of
him but slightly in front of him. They are not side by side.
N ote: The couple should move forward in a zigzag pattern, down the floor, chang­
ing from one parallel position to the other. The lead must be careful to take the quick
beats in place as he is changing position in order to make a smooth transition. A
more advanced use of this variation is to make a half-turn clockwise in place on the
quick beats as the lead changes from right parallel position to left parallel position,
such that the lead would then travel backward in the line of direction and the follow
forward. A half-turn counterclockwise in place would then turn the couple back to
right parallel position. Innumerable combinations of this variation will develop as
dancers experiment with changes of direction.

The Conversation Pivot

STEPS 414 C O U N TS R H YT H M C U E

Step left forward 1 -2 slow

Step right forward 3-4 slow

Step left around the follow clockwise going 1 -2 slow

into closed position

Step right between follow's feet and pivot 3-4 slow

on the right foot, turning clockwise

Step left forward a short step, taking semi-open quick

position again

Close right to left, taking weight right 2 quick

N ote: Two extra slow beats have been added for this variation, S S S S Q Q.
Step Cue: Step, step, pivot, pivot, quick, quick.
Style: Couples must hold the body firmly and press outward to move with the cen­
trifugal force of the motion on the pivot turn. The follow will step forward in
between the lead's feet on the third slow beat and then around him with her left foot
on the fourth slow beat, followed by a quick, quick to balance oneself in place.
Lead : See lead indication above. The pivot turn is only the third and fourth slow
beats. Then the lead will lead into semi-open position and take the quick beats.
N ote: Following this variation it is usually wise to dance one more magic step in
open position before leading into the basic closed position. Note details on pivot
turn, pages 467-468.

The Corte

A fascinating dip step in magic step rhythm.

STEPS 4/4 C O U NTS R H YT H M C U E

Step left forward 1 -2 slow

Step right forward 3-4 slow

CHAPTER 8 • SOCIAL DAN C E

S T E PS 4/4 C O U N TS R H YT H M C U E

Step left sideward a short step quick

Close right to left, take weight on right 2 quick

Dip left backward 3-4 slow

Transfer weight forward onto right foot 1 -2 slow

Step left sideward, a short step 3 quick

Close right to left, take weight right 4 quick

Step Cue: Forward, forward, side close, dip recover, quick, quick.
(preparation beats) (corte) (weight forward)
Style: Lead-The weight is transferred onto the left foot as the lead steps backward
into the dip. The left knee is bent, the back is straight, the right toe extends forward.
Follow-Her weight is transferred onto the right foot as she steps forward into the dip.
The right knee is bent and directly over her foot. The back is arched, keeping her
straight up and down. The left leg is extended strongly from the hip through the knee
to the pointed toe. Her head should be turned left to glance at the extended foot. For
additional style details, see the corte, page 474.
Lead : To lead into a pivot turn clockwise, the lead should hold the follow slightly
closer, but with sudden body tension. Resistance is exerted outward by both the lead
and follow leaning away from each other in order to take advantage of the centrifu­
gal force of the circular motion. The right foot steps between partner's feet, forward
on line of direction, while the left foot reaches across the line of direction and turns
on the ball of the foot about three-quarters of the way around. The lead must take
care not to step too long backward or to dip too low, as it is difficult for both lead
and follow to recover in good style.
N ote: The exciting part about the corte is that it may be used as a variation in the
dance or it may be used as a finishing step at the end of the music. It is perfectly
acceptable to end a beat or two in advance and hold the position to the end of the
music. It is also acceptable to corte after the music has finished. There is no pressure
to get the corte on the last note of the music.

Box Step Series-Westchester

Westchester Box Step Bronze Twinkle Grapevine Step
Box Turn Twinkle Step (Cross Over)
The Westchester box is based on slow, quick, quick rhythm in 4/4 or cut time. It is a
one-measure pattern-but it takes two measures to complete the box-with uneven
rhythm in a smooth style. It is a combination of dance walk and side close.

Westchester Box Step

STEPS 4/4 CO U N TS R H YT H M C U E

Step left forward 1 -2 slow

Pass right alongside of left, no weight change

Step right sideward 3 quick

Close left to right, take weight on left 4 quick

Step right backward 1 -2 slow

Pass left alongside of right, no weight change

Step left sideward 3 quick

Close right to left, take weight on right 4 quick

CHAPTER 8 • SOCIAL DANCE

 Step Cue: (a) Forward side close.
s Q Q
(b) Backward side close
long steps short steps.
s Q Q
Floor Pattern Style: The forward step is a heel step. Both forward and backward steps should be
long reaching steps. Dancers must not lose a beat by pausing as they slide alongside
the standing foot.
Lea d : To initiate a box step, the lead should use a forward body action followed by a
side body action, using his firm right side connection (dance frame). Pressure from
the lead' s right hand toward himself, and then a side body action, takes the follow
into the back sequence of the box.
N ote: The lead must understand the concept of the forward side clos e as being the
forward sequence of the box and the backward side close as being the back sequence
of the box. It is important b ecause this terminology will be used in future patterns
and leads.

Box Tu rn

STEPS 4/4 CO U N TS R H YT H M C U E

Step left forward, toe out; turn one-quarter t o left 1 -2 slow

Step right sideward 3 quick

Close left to right, take weight on left 4 quick

Step right backward, toe in; turn one-quarter to left 1 -2 slow

Step left sideward 3 quick

Close right to left, take weight on right 4 quick

Step left forward, toe out; turn one-quarter to left 1 -2 slow

Step right sideward 3 quick

Close left to right, take weight on left 4 quick

Step right backward, toe in; turn one-quarter to left 1 -2 slow

Step left sideward 3 quick

Close right to left, take weight on right 4 quick

Step Cue: Turn side close, turn side close.

Style: The follow is taking the reverse of this pattern except that, when the follow
steps forward with her left foot, instead of toeing out as described for the lead, she
steps forward between lead's feet. This style for the follow greatly facilitates the turn.
Lea d : Refer to lead indications above. A cue for the lead might be bank side close,
draw side close.
N ote: The lead may use this turn to maneuver himself into any direction he may
wish to use next.

Twi n kle, Bronze

This is a simple but pretty step, turning to semi-open dance position momentarily on
the forward sequence.

CHAPTER 8 • SOCIAL DAN C E

ST E PS 4/4 C O U NTS R HYT H M C U E

Step left forward 1 -2 slow

Step right sideward, turning to open position 3 quick

Close left to right, take weight on left 4 quick

Step right forward in semi-open position 1 -2 slow

Step left forward, turning on left foot to face partner 3 quick

in closed position

Close right to left, take weight right 4 quick

Step Cue: Forward side close, cross side close.

Style : The lead and follow do not open up to a side-to-side position, but open j ust
enough to step forward on the inside foot, which feels like a crossing step. It should
be accented by a long reaching step on the heel but not a dipping knee or body
action.
Lead : To lead into a semi-open position or conversation position, the lead should
use pressure with the heel of the right hand to turn the follow into open position.
The right elbow lowers to the side. The lead must simultaneously turn his own body,
not just the follow, so that they end facing the same direction. The left arm relaxes
slightly and the left hand sometimes gives the lead for steps in the open position.
Lead : To lead from open to closed position, the lead should use pressure of the right
hand and raise the right arm up to standard position to move the follow into closed
position. She should not have to be pushed but should swing easily into closed posi­
tion as she feels the arm lifting. She should move completely around to face the lead
squarely.
Note: It is possible to go into this step when the lead is facing out so that the cross
step may travel into the line of direction.

Twi n kl e Step (Cross Over)

This is a slow, quick, quick rhythm using right and left parallel positions, led from the
forward sequence of the box pattern.

STEPS 4/4 CO U N TS R HYT H M C U E

Step left forward 1 -2 slow

Step right sideward 3 quick

Close left to right, take weight on left 4 quick

Step right diagonally forward in right parallel position 1 -2 slow

Step left sideward, turning from right parallel to

left parallel position 3 quick

Close right to left, take weight on right 4 quick

Step left diagonally forward in left parallel position 1 -2 slow

Step sideward right, turning from left parallel to

right parallel position 3 quick

Close left to right, take weight on left 4 quick

Step right diagonally forward in right parallel position 1 -2 slow

Step left sideward, turning to closed position 3 quick

Close right to left, take weight on right 4 quick

CHAPTER 8 • SOCIAL DANCE

 Step Cue: Diagonal turn together.
Style: The quick steps are small. Changing from one parallel position to the other is
done in a very smooth, rolling manner. The follow needs lots of practice alone to learn
the back side close pattern because it is on the diagonal backward parallel to the lead.
Lea d : To lead into right parallel position the lead should not use pressure of his right
hand, but rather should raise his right arm, rotating the follow counterclockwise one­
eighth of a turn while he rotates counterclockwise one-eighth of a turn. This places the
lead and follow off to the side of each other facing opposite directions. The follow is to
the right of the lead but slightly in front of him. The lead should avoid turning too far
so as to be side by side, as this results in poor style and awkward and uncomfortable
motion. The lead's left hand may assist the lead by pulling toward his left shoulder.
Lea d : To lead from right parallel position to left parallel position, the lead should
pull with his right hand, lowering the right arm, and push slightly with his left hand,
causing a rotation clockwise about a quarter of a turn until the follow is to the left of
him but slightly in front of him. They are not side by side.
N ote: Progress is a zigzag pattern down the floor. The parallel part of the steps may
be repeated as many times as desired before going back to closed position.

G ra pevin e Ste p

I t i s a beautiful pattern i n slow, quick, quick time with four quick steps added to
make the grapevine design, using parallel position.
STEPS 4/4 C O U N TS R HYT H M C U E

Step left forward 1 -2 slow

Step right sideward, turning into right parallel position 3 quick

Close left to right, take weight on left 4 quick

Step right diagonally forward in right parallel position quick

Step left sideward, turning to left parallel position 2 quick

Step right diagonally backward in left parallel position 3 quick

Step left sideward, turning to right parallel position 4 quick

Step right forward in right parallel position 1 -2 slow

Step left sideward, turning to closed position 3 quick

Close right to left, take weight on right 4 quick

Step Cue: Forward, side, turn forward, side, back, side forward, side, close

forward sequence grapevine pattern transition back to

of box closed position
Style: Practice on the grapevine step alone will help dancers get this pattern
smoothly and beautifully. Cue lead: forward, side, back, side (right, left, right, left) on
the grapevine step. Cue follow: back, side, forward, side (left, right, left, right) on the
grapevine step.
Lead: To lead into right parallel position, the lead should not use pressure of his right
hand, but rather should raise his right arm, rotating the follow counterclockwise one­
eighth of a turn while he rotates counterclockwise one-eighth of a turn. This places the
lead and follow off to the side of each other, facing opposite directions. The follow is to

CHAPTER 8 • SOCIAL DAN C E

the right of the lead but slightly in front of him. The lead should avoid turning too far
so as to be side by side, as this results in poor style and awkward and uncomfortable
motion. The lead's left hand may assist the lead by pulling toward his left shoulder.
Lea d : To lead from right parallel position to left parallel position, the lead should
pull with his right hand, lowering the right arm, and push slightly with his left hand,
causing a rotation clockwise about a quarter of a tum until the follow is to the left of
him but slightly in front of him. They are not side by side.
Lead : The lead is from the forward sequence of the box.
N ote: The lead should maneuver to face out before he starts this step so that the
grapevine step may travel in the line of direction. He may maneuver into this by use
of a three-quarter turn or a hesitation step.

The Pivot Turn

The continuous pivot turn is a series of steps turning clockwise as many beats as
desired. The lead should be careful that he has room to turn, as the pivot tum pro­
gresses forward in the line of direction if done properly, and he should not turn so
many steps as to make his partner dizzy. The principle involved in the footwork is
the dovetailing of the feet, which means that the right foot always steps between
partner's feet and the left foot always steps around the outside of partner's feet. The
pivot tum described here has two slow beats as a preparation followed by four quick
beats turning and comes out of it into the box step.

The Pivot Tu rn

ST E PS 414 C O U NTS R H YTH M C U E

Step left forward 1 -2 slow

Step right forward, starting to tum the body 3-4 slow

clockwise and increasing the body tension

Step left, toeing in across the line of direction and quick

rolling clockwise three-quarters of the way
around on the ball of the left foot

Step right, between partner's feet forward in the line 2 quick

of direction, completing one tum

Step left, toeing in and reaching forward but 3 quick

across the line of direction, turning
clockwise three-quarters as before

Step right, between partner's feet forward in the line 4 quick

of direction, completing the second turn

Step left fonvard in the line of direction, not turning 1 -2 slow

but controlling momentum

Step right sideward 3 quick

Close left to right, take weight on left 4 quick

Step right backward 1 -2 slow

Step left sideward 3 quick

Close right to left, taking weight right 4 quick

CHAPTER 8 • SOCIAL DANCE

 Step Cue: Step ready
s s
slow 0 1 00 quick quick
left D DD right left
turn turn turn turn 0 quick right
Q Q Q Q D
forward side close

0
quick left
s Q Q
back side close
quick right
s Q Q
8�
0
quick left

03 slow right

0 slow left

start
1
Line of Direction

Fol l ow: On the second slow beat, the follow receives the lead as the lead increases
body tension. She does the same. Then, on the first quick beat, she has been turned far
enough to place her right foot forward in between his feet on the line of direction, left
foot across the line of direction, right foot between, left across, and into the box step.
Style: They both must lean away, pressing outward like "the water trying to stay in
the bucket:' The concept of stepping each time in relation to the line of direction is
what makes it possible to progress while turning as a true pivot turn should do.
Lead : To lead all turns, the lead dips his shoulder in the direction of the turn and his
upper torso turns b efore his leg and foot turn.
Lead : To lead into a pivot turn clockwise, the lead should hold the follow slightly
closer, but with sudden body tension. Resistance is exerted outward by both lead and
follow leaning away from each other to take advantage of the centrifugal force of the
circular motion. The right foot steps between partner's feet, forward on line of direc­
tion, while the left foot reaches across the line of direction and turns on the ball of
the foot about three-quarters of the way around.

q.� COMBOS
The Foxtrot routines are listed here merely as examples to show how the various
steps can be used in combination for practice routines. They are listed from simple to
complex. (Closed position unless otherwise indicated.)

1 . Magic Step 3. Magic Step, Corti 4. Advanced Combo

2 magic steps 1 magic step (open or 1 magic step
2 open magic steps closed) 1 single twinkle to
conversation pivot carte (recover) open
1 side close 1 single twinkle to left
2. Magic Step, box
1 box turn parallel
2 magic steps
carte (recover) 1 single twinkle to
1 box step
open
2 magic steps (open)
1 single twinkle to
close

CHAPTER 8 • SOCIAL DAN C E

 Tang o
T H E TAN G O B E GA N AS A RAW, sensuous dance born on the Rio de la Plata in Buenos
Aires amid the slums in a multiracial setting. In its earliest form, the name tangoo, an
onomatopoetic rendition of the sounds of drums, strongly suggests its African origin.
As with all dance forms, the tango has passed through many evolutions. During its
formative stages, it was a combination of Candombe, a syncopated African dance, the
Habanera, an eighteenth-century European dance, and the Milango, an indigenous
Argentine dance.
The tango and its music was introduced to Paris and the Riviera by wealthy South
Americans after World War I. It became the rage of Paris, and it is from this setting
and refinement that it spread throughout Europe and came to North America.
The 1990s became the new age of the tango. Tangueros are found in major cities
around the world. Devotees attend workshops, organize weekly dances, and practice
to improve their skills while exchanging feelings and excitement about dancing the
Argentine tango. While maintaining its smooth, sophisticated, and suave style, the
tango's new charm lies in its improvised nature that relies on communication
b etween partners rather than executing prelearned step routines.

1� RHYTHM
The modern tango is written in both 2/4 and 4/4 time. Here it will be presented 2/4 time.

I I I I I I I I I
2/4 s s Q Q s 2/4 s Q Q 2/4 Q Q s
--- --- - - --

--- --- --- ---

2 1 and 2 2 and 1 and 2

uneven rhythm uneven rhythm uneven rhythm

Basic Tango Rhythm Box Step Rhythm Twinkle Rhythm

The tango rhythm is a deliberate accented beat that is easily distinguished. Few
dancers have trouble following the tango rhythm. There is a calculated contrast
between the slow promenade beats of the first measure and the staccato of the tango
break in the second measure.

1� STYLE
The tango is characterized by a deliberate glide, not sliding the foot on the floor, but
a long reach from the hip with a catlike smoothness and placement of the ball of the
foot on the floor. The knees remain straight. The break, which is quick, quick slow, is
a sudden contrast ending in the subtle draw of the feet together. It is this combina­
tion of slow gliding beats and the sharp break that makes the tango distinctive.
Restraint is achieved by the use of continuous flow of movements and a controlled,
stylized break presenting disciplined and sophisticated style, instead of a comic cari­
cature. The dancer should strive to effect the idea of floating. Care should be taken to
avoid the look of stiffness. In the long reaching glide, the feet should pass each other
close together. The draw in the tango close is executed slowly, taking the full length of
the slow beat to bring the feet together and then sweep quickly into the beginning of
the basic rhythm again. The follow should synchronize the action of her drawing step
with that of the lead. The body and head are carried high and the follow's left hand,
instead of being on the lead' s shoulder as in other dances, reaches around the lead at
his right shoulder-blade level. The fingers of the hand are straight, and the arm is in
a straight line from the elbow to the tip of the fingers.

C HAPTER 8 • SOCIAL DANCE

 Once in a while, deliberately move the shoulders forward in opposition to the
feet. For example, stepping left, the right shoulder moves forward. The fan steps, most
glamorous of all tango patterns, turn, whip, or swirl in an exciting, subtle way. The
fan style is described in detail with the variations used.

q� TANGO STEPS
Directions are for the lead, facing the line of direction; the follow's part is reversed,
except as noted.

Basic Ta n g o Step

A combination of the promenade or walking step and the break.

STEPS 2/4 C O U N TS R H YT H M C U E

Step left forward slow

Step right forward 2 slow

Step left forward quick

Step right sideward abruptly and quick

Draw left to right, weight remains on right 2 slow

1r
Floor
Step Cue: Forward, forward, tango close.
Pattern s s QQ s
Style: The slow beats are long, smooth, gliding steps. The feet pass each other
closely. The break-quick, quick, slow-is in place or slightly forward.
Start
Lead: Lead must draw to the right with right hand and elbow to guide the follow in
the break step.
N ote: This step repeats each time from the lead's left foot, because there is no
change of weight on the draw. This pattern will tend to carry the couple outward
toward the wall. It immediately becomes necessary to know how to vary the step in
order to counteract this action. Open position, right parallel position, or quarter-turn
all may be used for this purpose.

Tango Step Variations

Promenade Half-Turn Counterclockwise The Corte

Right Parallel Basic Tango Half-Turn Clockwise Preparation Step
Quarter-Turn Double Cross
Cross Step and Quarter-Turn The Box Step

Pro menade

ST E PS 2/4 C O U N TS R H YT H M C U E

Step left into open position, turning abruptly 1 slow

Step right forward, in open position 2 slow

CHAPTER 8 • SOCIAL DANCE

STEPS 2/4 C O U N TS R H YT H M C U E

Step left forward, a short step, pivoting on left foot quick

abruptly to face partner in closed position

Step right sideward, in closed position and quick

Draw left to right, no change of weight 2 slow

Step Cue: Open, step, close, side, draw.

Style: The abrupt turning to open position on the first slow step and the turn back to
closed position are sharp and only a firmness in the body can accomplish this.
Lea d : Refer to directions for leading, numbers 7 and 8, page 41 9-420. The lead is sud­
den and on the first slow beat.

Right Para l l e l Basic Ta n g o

ST E PS 2/4 C O U N TS R HYT H M C U E

Step left diagonally into right parallel position, slow

turning abruptly

Step right forward 2 slow

Step left, a short step forward, turning abruptly to 1 quick

closed dance position

Step right sideward and quick

Draw left to right, no change of weight 2 slow

Step Cue: Parallel, step, close, side, draw.

Style: Right parallel travels diagonally forward; follow's foot reaches parallel to
lead's left foot. The second slow is an exaggerated reaching step forward.
Lead : To lead into right parallel position (left reverse open position) the lead should
not use pressure of his right hand, but rather should raise his right arm, rotating the
follow counterclockwise one-eighth of a turn while he rotates counterclockwise one­
eighth of a turn. This places the lead and follow off to the side of each other facing
opposite directions. The follow is to the right of the lead, but slightly in front of him.
The lead should avoid turning too far so as to be side by side, as this results in poor
style and awkward and uncomfortable motion. The lead's left hand may assist the
lead by pulling toward his left shoulder.

Qua rter-Tu r n

STEPS 2/4 CO U N TS R H YT H M C U E

Step left forward slow

Step right forward 2 slow

Step left, turning one-quarter counterclockwise quick

Step right sideward and quick

Draw left to right, no change of weight 2 slow

CHAPTER 8 • SOCIAL DANCE

 Cross Ste p a nd Qua rter-Tu rn

STEPS 2/4 C O U N TS R H YT H M C U E

Step left sideward slow

Step right across in front of left, take weight right 2 slow

Step left sideward, turn toe out, turn one-quarter quick

counterclockwise

Step right sideward and quick

Draw left to right, no change of weight 2 slow

Step Cue: Side, cross, turn, side, close.

Style: All of this pattern is taken in closed position. The turn actually begins by a
pivot on the crossing foot at the end of the second slow beat
Lead : Refer to directions for leading, number 12, page 420.

H a lf-Tu rn Cou nterclockwise

STEPS 2/4 C O U N TS R HYT H M C U E

Step left into semi-open position, turning abruptly slow

Step right forward, a short step, pivoting one-quarter 2 slow

counterclockwise on the right foot; bring up right arm
and turn the follow around the lead a three-quarter
turn to closed position

Step left bringing left foot next to right foot quick

Step right sideward and quick

Draw left to right, no weight change 2 slow

Step Cue: Step, pivot, break, side, draw.

Style: The follow pivots counterclockwise on her left foot (second slow beat) around
the lead a three-quarter turn into closed p osition. The follow's step on this beat is a
longer step than the lead' s, giving her freedom to pivot She must bring her first
quick step with right foot alongside of left foot
Lead: Lead must bring up his right arm and elbow firmly, almost lifting her so that
she can pivot easily on her left foot on the second slow beat

H a lf-Tu rn C l ockwise

STEPS 214 C O U N TS R H YT H M C U E

Step left into semi-open position, turning abruptly slow

Step right forward, a long step, pivoting one-half

clockwise on the right foot around the follow into 2 slow
closed position

C HAPTER 8 • SOCIAL DANCE

ST E P S 214 C O U N TS R H YT H M C U E

Step left sideward, a short step apart from where quick

right foot is at the end of the pivot

Step right sideward and quick

Draw left to right, no weight change 2 slow

Step Cue: Step, pivot, break, side, draw.

Style : The lead smoothly pivots on his right foot clockwise about halfway around
the follow. The follow turns clockwise in place on her left foot. This step is very easy
for the follow.
Lead : Refer to directions for leading, numbers 7 and 8, pages 41 9-420, for open and
closed position. The main lead is increased resistance in hand, arm, and body as the
lead pivots halfway around the follow.

Double Cross

ST E PS 214 C O U N TS R HYT H M C U E

Step left sideways 1 slow

Step right across in front of left 2 slow

Point left sideways, take weight slightly quick

Pivot hips to right with a slight push off with left, and quick
take weight right

Swing left across in front of right, take weight left 2 slow

Point right to side quick

Pivot hips to left with slight push off with right, and quick
take weight left

Swing right across in front of left, take weight right 2 slow

Step Cue: Side cross pivot and cross pivot and cross.
s s Q Q s Q Q s
Style : Stay in closed position throughout. Follow crosses in front, also.
Lea d : Firm body and arm control are needed to hold closed position.
Note: Finish with break, side, draw, quick, quick, slow. This could also be done with
the follow crossing b ehind.

The Box Step

The rhythm of the tango box step is like that described in the Foxtrot-slow, quick,
quick-forward side close, back side close. The tango gliding action will be used on
the first slow beat. The box step variations for Foxtrot may also be used here, includ­
ing the box turn (page 464) and the grapevine step (page 466).

CHAPTER 8 • SOCIAL DANCE

 The Corte
The corte is a dip, most often taken backward on the lead's left or right foot. It is a
type of break step used to finish off almost any tango variation and is used as an
ending to the dance. The skilled dancer will learn to use the corte in relationship to
the music of the tango so that the feeling of the co rte will correspond to the climax or
the phrase of the musical accompaniment.
The left corte will be described here. A right corte may be taken by starting on the
right foot and reversing the pattern. A preliminary step is nearly always used as a pre­
paration for going into the corte. It is described here as a part of the rhythm of the corte.

P repa ratio n Ste p

STEPS 2/4 C O U N TS R HYT H M C U E

Step forward left, a short step quick

Shift weight back onto right and quick

Corte

STEPS 2/4 C O U N TS R H YT H M C U E

Step left backward, take weight, and bend left knee slightly 2 slow

Recover forward, take weight right slow

Step left in place beside right 2 quick

Step right in place beside left and quick

Step Cue: Rock and dip recover step step.

Q Q s s Q Q
Style: As the lead steps backward into the corte, the weight is all taken on the stand­
ing foot with a bent knee. The lead should tum his bent knee slightly outward so
that the follow' s knee will not bump his as they go into the dip. His left shoulder and
arm move forward (the left leg and left shoulder are in opposition). His back should
remain straight. He should avoid leaning either backward or forward. His right foot
should be extended (arched) so that the toe is only touching the floor.
The follow should step forward on the right, arch her back, and place all of her
weight over the fonvard right foot. The right knee is bent. The left leg is extended
behind and should be a straight line from hip to toe. A bent line makes the whole
figure sag. The left arch of the foot should be extended so that the toe is pointed and
remains in contact with the floor. If the follow steps forward too far or does not bend
the forward knee, she will be forced to bend at the waist, which destroys the form of
the figure. She may look back over her left shoulder. The execution of the dip should
be as smooth as any slow backward step.
The lead should avoid leaping or falling back into the dip.

Lead : The left shoulder leads forward as the lead goes into the preparation step on
the first beat. There is an increase of tension of the lead's right arm and hand also
on the first beat, plus general resistance throughout the upper body. The lead will
draw the follow with his right arm when stepping into the dip and release on the
recovery step. The lead is essential for the corte as the pattern cannot be executed
correctly unless both lead and follow are completely on balance and ready for it.
N ote: The recovery step is followed by two quick steps left right, which finish on count
2 and complete the measure of music. These may be omitted when they follow

CHAPTE R 8 • SOCIAL DANCE

a variation that takes up those extra counts. Learn the footwork first, then work on
the style.

Fan Step
The fan is a term used to describe a manner of executing a leg motion, in which the
free leg swings in a whiplike movement around a small pivoting base. This should
not be a large sweeping movement in a wide arc but rather a small subtle action ini­
tiated in the hip and executed with the legs close together. The balance is carefully
poised over the pivoting foot at all times. When the lead and follow take the fan
motion, the action is taken parallel to partner; that is, the right leg, which is free,
swings forward. When it reaches its full extension, just barely off the floor, the right
hip turns the leg over, knee down, while pivoting on the standing foot to face the
opposite direction. The right leg then swings through forward and the weight is
taken on the right foot. This action usually is done in slow rhythm. Accompanying
the hip action there is also a lift and tum on the ball of the standing foot. This lift
permits the free leg to swing through gracefully extended and close in a beautiful
floating style.

Open Fan

STEPS 2/4 CO U N TS R H YT H M C U E

Step left forward slow

Step right forward 2 slow

Step left in place, releasing right arm around follow, and quick
turn halfway around to the right to a side-by-side
position with follow on lead's left

Step right sideward, a short step and quick

Draw left to right, no weight change (the lead' s left hand is 2 slow
holding the follow's right)

Step forward left quick

Swing the right leg forward, pivoting on left foot while and quick
fanning the right, coming halfway around to open position

Step forward right in open position 2 slow

Step left forward, pivoting toward the follow into I quick

closed position

Step right sideward and quick

Draw left to right, no weight change 2 slow

Step Cue: Forward, forward, open, side, draw, fan, through, break, side, draw.
Style: When the lead releases his arm around her, the follow turns halfway around
to the left. On the fan, the follow steps right, swings left leg forward, hip turns over,
knee faces down. Foot is kept close to the floor and sweeps through, pivoting clock­
wise to open position, and weight is transferred forward onto left foot. She then goes
into break step with partner.
Lead : The lead drops his right arm and pulls away from the follow to side-by-side
position. Then, with his left hand, he pulls in as he fans through to open position and
from there lifts his right arm into closed position for tango close.
N ote: This is an easy step in fan style for beginners and gives them the thrill of the
tango.

C HAPTER 8 • SOCIAL DAN C E

 G ra pevi ne Fan

ST E PS 2/4 C O U NTS R HYT H M C U E

Step left forward slow

Rock forward and back right, left 2 and quick, quick

Step right backward, rising on right toe and lifting slow

left leg just off the floor

Step left backward, turning toward partner 2 quick

Step right sideward, turning to face reverse open position and quick

Step left forward in reverse open position quick

Fan right leg forward and through to open position and quick

Step right forward, in open position 2 slow

Step left forward, a short step, turning to closed position quick

Step right sideward and quick

Draw left to right, no weight change 2 slow

Step Cue: Step rock and back grapevine step fan through break side close.
S Q Q S Q Q Q Q S Q Q S
Style: The couple should not get too far apart or lean forward to maneuver this
grapevine pattern. They should stand upright and keep carefully balanced over
standing foot. The fanning leg swings in line with the traveling and facing action, not
in a side arc. The legs are kept close together.
Lea d : This is a pattern lead and follow must know together but the lead cues the fol­
low by use of both hands and use of his body in turning from one position to another.
N ote: This is a beautiful pattern when used following the forward and open rock.

P a ra l l e l Fa n

ST E P S 2 / 4 C O U N TS R HYTH M C U E

Lead' s Part: Starts and ends i n closed position

Starting left, take one basic tango step, slow,
slow, quick, quick, slow

Step left forward 1 slow

Step right sideward, turning to open position 2 quick

Step left to right, taking weight left and quick

Step right forward, turning follow to right parallel slow
position

Rock backward onto left, turning follow to 2 slow

open position

Rock forward onto right, turning follow to slow

right parallel position

Rock back onto left, turning follow to open position 2 slow

Step right forward turning follow to closed position 1 slow

Take tango close step, turning to closed position 2 and 1 quick, quick, slow

C HAPTER 8 • SOCIAL DANC E

STEPS 2/4 C O U N TS R HYT H M C U E

Follow' s Part: Starting right, take one basic tango

step, slow, slow, quick, quick, slow

Step right backward slow

Step left sideward, turning to open position 2 quick

Step right to left, taking weight on right and quick

Step left forward (fan), pivoting to right parallel position slow

Step right forward (fan), pivoting to open position 2 slow

Step left forward (fan), pivoting to right parallel position slow

Step right forward (fan), pivoting to open position 2 slow

Step left forward, turning to closed position slow

Take tango close 2 and I quick, quick, slow

Step Cue: With slow and quick rhythm except for the fan: rock, rock, rock,
rock/forward break, side, draw.
Style: The steps are small in the fan part of the step so that the follow may turn
without reaching for the step. The lead in the fan part of the step rocks forward, back,
forward, back in place, as he turns the follow. She takes her fan, pivoting alternately
on the left, right, left, right, swinging the free leg forward a short distance until the
toe just clears the floor and then turning the hip with her pivot to the new direction
and reaching through for the next step. The follow should rise slightly on her toe as
she pivots. This smooths out the turn and makes one of the most b eautiful move­
ments in the tango.
Lead : The lead's first lead will be to lower right arm into open position. He then
guides her forward with his right hand, moving her alternately from right parallel
position to open position until the end, when he raises his right arm and turns her to
closed position.
Note: A corte may be added to this figure instead of the tango close by stepping
through to open position on the right (count 1 ), turning the follow quickly to closed
position, rocking forward and back (counts 2 and); carte (count 1 ), recover onto the
left foot (count 2), and finish with tango close (counts 1 and 2).

1� cOMBOS
The tango routines are combinations for practice, listed from simple to complex.
(Closed position, unless otherwise indicated.)

1 . Basic 5. Advanced Combo

2 basics 2 box steps
1 promenade 1 basic
2. Basic, Cross Step 1 cross step
2 basics open fan
4 cross steps and quarter-turn 6. Advanced Combo
3. Box, Basic, Cross Step 2 basics
2 box steps open fan
1 basic half-tum clockwise
1 cross step and quarter-tum corte
4. Basic, Cross, Corti 1 basic
2 basics
1 cross step, quarter-tum
1 carte

CHAPTER 8 • SOCIAL DANCE

 Waltz
ALTHOUGH A MAJORITY OF the middle European countries lay some claim to the origin
of the waltz, the world gives credit for its rise mainly to Germany and Austria, where
the great waltz was made traditional by the beautiful music of Johann Strauss and his
sons. It has a pulsating, swinging rhythm, which has been enjoyed by dancers every­
where, even by those who dance it only in its simplest pattern, the waltz turn. Its
immediate popularity and its temporary obscurity are not unlike other fine inheri­
tances of the past, which come and go with the ebb and flow of popular accord. Early
use of the waltz in America was at the elegant social balls and cotillions. Its outstand­
ing contribution to present-day dancing is the waltz position. Even in its early stages,
it was quite some time before this position was socially acceptable. Now the closed
position is universally the basic position for ballroom dancing.
The waltz music is played in three different tempos-slow, medium, and fast. The
slow or medium waltz is preferred by most people. However, the fast waltz is a favorite
of those who know the Viennese style. The slower American style is danced for the
most part on a box pattern, but the use of other variations has added a new interest.

WaJ.it RHYTHM
The waltz i s played i n 3/4 time. I t i s three beats per measure o f music, with a n accent on
the first beat. The three beats of waltz time are very even, each beat receiving the same
amount of time. The three movements of the waltz step pattern blend perfectly with the
musical tempo or beat of each measure. The tempo may be slow, medium, or fast.

I
3/4 slow slow slow

2 3
even rhythm

Slow Box Rhythm

Canter rhythm in waltz time is a means of holding the first and second beats
together so the resultant pattern is an uneven rhythm, or slow, quick, slow, quick It is
counted 1, 3, 1, 3.

3/4 I I

2 3 2 3

uneven rhythm

Canter Rhythm

The Viennese waltz is an even three-beat rhythm, played very fast. It is a turning
pattern. There is only one step on the first beat of the measure and a pivot of the
body on that foot for the two remaining counts of the measure.

C HAPTER 8 • SOCIAL DANCE

 I
3/4 step pivot

2 3
even rhythm

Viennese Rhythm

Walt; STYLE
The waltz is a smooth dance with a gliding quality that weaves an even pattern of
swinging and turning movement. The first accented beat of the music is also accented
in the motion. The first step of the waltz pattern is the reaching step forward, back­
ward, sideward, or turning. Because it is the first beat that gives the dance its new
impetus, its new direction, or a change of step, there evolves a pulsating feeling,
which can be seen rather markedly and is the chief characteristic of the beauty of the
waltz. This should not be interpreted as a rocking or bobbing motion of the body.
Starting with knees slightly bent (as if j ust finishing count 3), on count 1 , the lead
steps forward; on count 2, his body rises, stepping on the ball of the foot; on count 3,
his feet come together and his body lowers. The "rise and fall" action of the body can
be seen in every waltz step. The footwork is most effective when the foot taking the
second beat glides past the standing foot as it moves into the sideward step. The feet
should never be heard to scrape the floor, but should seem to float in a silent pattern.

q.� WALTZ STEPS

Directions are for the lead, facing line of direction; follow' s part is reversed, except as
noted.

B ox Step

STEPS 3/4 C O U NTS STY L E C U E

Step left forward I level

Step right sideward, passing close to the left foot 2 rise

Close left to right, take weight left 3 lower

Step right backward I level

Step left sideward, passing close to the right foot 2 rise

Close right to left, take weight right 3 lower

D
Step Cue: Forward side close, back side close.
Style: The forward step is on the heel. Follow through on the second beat, moving the
free foot closely past the standing foot, but do not lose a beat by stopping. Body rises
Floor Pattern on count 2 as stepping on ball of foot, and lowers on count 3. The floor pattern is a
long narrow rectangle rather than a square box.
Lead: To initiate a box step, the lead should use a forward body action followed by a
side body action, using his firm right side connection (dance frame). Pressure from
the lead's right hand toward himself, and then a side body action, takes the follow
into the back sequence of the box.

CHAPTER 8 • SOCIAL DANCE

 N ote: The lead must understand the concept of the fonvard side close as being the
fonvard sequence of the box and the backward side close as being the back sequence
of the box. This terminology will be used in future patterns.

B ox Tu rn

STEPS 3 / 4 C O U N TS STY L E C U E

Step left forward, toe out, turning one-quarter left 1 level

Step right sideward, gliding past the left foot 2 rise

Close left to right, taking weight left 3 lower

Step right backward, toe in, turning one-quarter left level

Step left sideward, gliding past the right foot 2 rise

Close right to left, taking weight right 3 lower

Step left forward, toe out, turning one-quarter left 1 level

Step right sideward, gliding past the left foot 2 rise

Close left to right, taking weight on left 3 lower

Step right backward, toe in, turning one-quarter left 1 level

Step left sideward, gliding past the right foot 2 rise

Close right to left, taking weight right 3 lower

Step Cue: Turn side close, turn side close.

Follow: The follow is taking the reverse pattern, except that, when the follow steps
fonvard with the left foot, instead of toeing out as described for the lead, she steps
fonvard between the lead's feet, her left foot next to the instep of the lead's left foot.
This style greatly facilitates the turn.
Lea d : A common error is that the lead tries to step around his partner. The follow
must be directly in front of her partner.
Style: Accent the first step by reaching with a longer step. However, the lead must
be careful not to overreach his partner. There is no unnecessary knee bending or
bobbing up and down.
Lea d : To lead a box turn with slight pressure of the right hand, the lead should use
the right arm and shoulder to guide or bank the follow into the turn. The shoulders
press fonvard during the fonvard step and draw backward during the backward step.
N ote: For the right turn, start with the right foot. Follow the same pattern with
opposite footwork.

Travel i n g B ox

Use this step to travel around the dance floor in the line of direction.

STEPS 3/4 CO U N TS STYLE C U E

Step left forward forward

Step right side 2 rise

Close left to right, taking weight left 3 lower

CHAPTER 8 • SOCIAL DANCE

 Step right forward forward
,(...,
Step left side 2 rise (
Close right to left, taking weight right 3 lower

Style: The first three counts are exactly like the basic box step. On count 2 of the
second part, the lead must step forward, in between the follow's feet, not outside.
Lea d : The lead has a forward body action on count I of the second part, guiding the
follow in line of direction. If the lead hesitates, the follow will start to move in the
back sequence of the box step.

Teaching Strategy for Chang ing Leads from Turn Rig h t

t o a Turn Left
It is important to learn to turn counterclockwise and clockwise. The foot . must be free
to lead in the direction of the turn: left lead for left turn; right lead for right turn.
There are several ways to change the lead. With the left, step balance or a hesitation
step, then start the box with the right foot (right side close, left side close). Another is
Floor Pattern to take two waltz steps forward, take the third waltz step backward; right foot is now
free to turn right. To return to the left lead, either step (right) balance or take two
waltz steps forward and the third one backward; then the left foot leads again. Once
the student can turn left and right, the teacher should present a definite routine that
drills this change. When students learn this concept for the waltz, they will be able to
transfer the principle to other rhythms.

Waltz Step Variations

Hesitation Step Weaving Step Streamline Step
Cross Step Twinkle Step Viennese Waltz

H esitation Step

STEPS 3/4 C O U N TS STY L E C U E

Step left forward level

Bring right fo ot up to the instep of left and hold, 2, 3 rise

no weight change

Step right backward level

Bring left foot up to the instep of right foot, 2, 3 rise

no weight change

Step Cue: Step close hold.

Style: Smooth.
Lea d : To lead a hesitation step, the lead dips his shoulder in the direction of the
turn, and his upper torso turns before his leg and foot turn.
Note: As in the Foxtrot, a beautiful combination is to dance two hesitation steps,
then the first half of the box turn, two more hesitation steps, and then the second
half of the turn. The hesitation step repeated may also be done turning either coun­
terclockwise or clockwise and may be useful in maneuvering for the next step.

CHAPTER 8 • SOCIAL DAN C E 48 1

 Cross Step ( B ro nze Twi n kl e)

STEPS 3/4 CO U N TS STY L E C U E

Step left forward level

Step right sideward, turning to semi-open position 2 rise

Close left to right, taking weight left 3 lower

Step right forward, in semi-open position level

Step left forward, turning on left foot to face partner 2 rise

in closed position

Close right to left, taking weight right 3 lower

Step Cue: Forward side close, cross side close.

Style: The position is closed to semi-open position, j ust enough to step forward .on
the inside foot, which feels like a crossing step. It should be accented by a long,
smooth, reaching step on the heel, not a dipping or bobbing action.
Lea d : To lead into a semi-open position or conversation position, the lead should use
pressure with the heel of the right hand to turn the follow into semi-open position. The
right elbow lowers to the side. The lead must simultaneously turn his own body, not
just the follow, so that they end facing the same direction. The left arm relaxes slightly,
and the left hand sometimes gives the lead for steps in the semi-open position.
Lead : To lead from semi-open to closed position, the lead should use pressure of the
right hand and raise the right arm up to standard position to move the follow into
closed position. The follow should not have to be pushed but should swing easily
into closed position as she feels the arm lifting. She should move completely around
to face the lead squarely.
Note: When the lead is facing out in closed position, he can go into this step and
the cross pattern will travel in the line of direction.

Weavi ng Step
This step is the same as the Cross Step, only the crossing is from side to side.

STEPS 3/4 C O U N TS STYL E C U E

Step left forward level

Step right sideward, turning to semi-open position 2 rise

Close left to right, taking weight left 3 lower

Step right forward in semi-open position level

Step left forward, turning to side-by-side position 2 rise

facing the reverse line of direction

Close right to left, taking weight right 3 lower

Step left forward, in side-by-side position I level

Step right forward, turning to open position 2 rise

Close left to right, taking weight left 3 lower

Step right forward in open position level

CHAPTER 8 • SOCIAL DANCE

 Step left forward, turning to closed position 2 rise

Close right to left, taking weight right 3 lower

Step Cue: Forward side open, cross side reverse, cross side reverse, cross side close.
Style: Reach into crossing step on the heel. It is a long reaching step on the accented
beat.
Lea d : Turn follow to semi-open position for first cross step and then drop right arm
and lead through with the left hand to side-by-side position, facing the reverse line
of direction. Next time, as they reverse direction, the lead puts his arm around her in
open position and follows standard procedure for returning to closed position.
N ote: The weave pattern may be repeated back and forth, crossing as many times as
desired, but should go back to closed position as described above.

Twi n kle Step

It is led from the back sequence of the box step.

ST E PS 3/4 C O U N TS STY L E C U E

Step left forward level

Step right sideward, turning into right parallel position 2 rise

Close left to right, taking weight left 3 lower

Step right, diagonally forward in right parallel position level

Step left sideward, turning from right parallel to 2 rise

left parallel position

Close right to left, taking weight right 3 lower

Step left diagonally forward in left parallel position level

Step right sideward, turning from left parallel position 2 rise

to right parallel position

Close left to right, taking weight on left 3 lower

Step right diagonally forward in right parallel position level

Step left sideward, turning to closed position 2 rise

Close right to left, taking weight on right 3 lower

Step Cue: Step turn close. The second beat has a short step and a smooth roll from
one position to another. The follow reaches parallel to the lead's step, except that she
is stepping diagonally backward, which takes a lot of practice to do well.
Lead : To lead into right parallel position the lead should not use pressure of his
right hand, but rather should raise his right arm, rotating the follow counterclockwise
one-eighth of a turn while he rotates counterclockwise one-eighth of a turn. This
places the lead and follow off to the side of each other facing opposite directions. The
follow is to the right of the lead but slightly in front of him. The lead should avoid
Start
turning too far so as to be side by side, as this results in poor style and awkward and
Floor pattern uncomfortable motion. The lead's left hand may assist the lead by pulling toward his
left shoulder.
Lead: To lead from right parallel position to left parallel position the lead should
pull with his right hand, lowering the right arm, and push slightly with his left hand,
causing a rotation clockwise about a quarter of a turn until the follow is to the left of
him but slightly in front of him. They are not side by side.

CHAPTER 8 • SOCIAL DANCE

 N ote: Progress is in a zigzag pattern down the floor in the line of direction and may
repeat over and over as desired.

Suggestions for Variations

Any student or teacher who has followed these directions this far should be prepared
to make use of the corte (page 462-463), advance twinkle (pages 464-465), and pivot
turn (pages 467-468) described in the Foxtrot section by transposing a slow, quick,
quick in 4/4 time into slow, slow, slow in 3/4 time.

Vien nese Wa ltz

The rhythm is three even, quick beats instead of slow ones. The Viennese waltz music
is fast and it is hard to keep one's balance on the pivot step when it is slowed down,
so that students get discouraged learning the step. An experiment of a half-Viennese
has proved successful in getting students to learn the pivot step by doing it first on
the right foot and then taking a regular waltz step on the left sequence.

3/4 step side cross step pivot

2 3 2 3
quick quick quick right pivot

Half-Viennese Step

Half-Viennese Step : Both lead and follow need to practice this pattern alone, trav­
eling down the line of direction.
STEPS 3/4 C O U N TS R H YT H M C U E

Step left forward, turning one-quarter counterclockwise quick

Step right sideward, turning one-quarter counterclockwise 2 quick

Slide the left foot, heel first, in across right to the right of the 3 quick
right foot. Transfer weight to left foot. Both toes are facing
the reverse line of direction, feet are crossed

Step right backward and pivot one-half counterclockwise quick

on the right foot

Bring the left foot up to the instep of the right foot and 2, 3 quick, quick
with the left toe help balance on the right foot

Closed position, the lead facing the line of direction.

Starting left, the lead takes the step side cross while I, 2, 3 all quick
the follow, starting right, takes the back pivot

Starting right, the lead takes the back pivot while 1 , 2, 3 all quick
the follow, starting left, takes step side across

Style: The couple remains in closed position throughout. The steps are small, as the
follow is turning on a small pivot base while the lead takes step side cross. Because
the lead turns one-quarter on his forward step, his second step is in the line of direc­
tion, a small step, and cross on third beat. Then he steps back a short step and pivots
while the follow takes the step side cross. The dancers always progress in the line of
direction. Use two waltz steps for one complete turn. The body resistance is firm for
both lead and follow. They m ust lean away, pressing outward but keeping the center
of gravity over the pivoting feet. The shoulders tilt slightly in one direction and then

CHAPTER 8 • SOCIAL DANCE

the other; tilt left as the left foot leads, right as the right foot leads. Do not resist the
momentum of b ody weight, but rather give into the momentum.
Lea d : Firm body and arms in correct position. The momentum comes from the
rapid transfer of the body forward in the line of direction every time on count 1 .
Cue: I , 2, 3 , 1 , 2, 3 .
Viennese Step : The true Viennese with a step pivot repeated over and over is in
closed dance position. Lead starting left forward, follow right backward.

STEPS 3/4 C O U N TS R H YT H M C U E

Step left forward, pivoting on the ball of the foot l, 2, 3 all quick
one-half counterclockwise; the right foot
coming up to the instep of the left and with
the right toe, helps to balance on the left foot

Step right backward, pivoting on the ball of the foot 1, 2, 3 all quick
one-half counterclockwise; the left foot coming
to the instep of the right helps to balance on
the right foot

Step Cue: Step pivot, step pivot.

Style: There is a lift of the body going into the pivot, which lifts the body weight,
momentarily allowing the feet to pivot with less weight. Take care not to throw the
weight off balance.
Lea d : Same as above.
Variations: The hesitation step as given under the box pattern is very helpful in giv­
ing a rest from the constant turning. Also, by using an uneven number of hesitation
steps, the right foot is free and the whole Viennese turn may be changed to a clock­
wise turn, starting with the right foot and applying the pattern with opposite foot­
work.

Walt; COM BOS

These waltz routines are combinations for practice, listed from simple to complex.
(Closed position, unless otherwise indicated.)

1 . Balance, Box 6. Advanced Combo

2 balance steps (forward, backward) 1 box turn
4 box steps 4 twinkle steps
2. Waltz, Box 2 hesitation steps
1 box step 2 pursuit waltz steps
2 forward waltz steps 1 corte
1 box turn 1 forward waltz step
3. Cross Step, Box Turn 7. Advanced Combo
2 cross steps 6 streamline steps (18 beats)
1 box turn 2 twinkle steps
4. Hesitation and Box Turn 4 streamline steps
2 hesitation steps (forward, backward) 2 hesitation steps
1 box turn
5. Cross Step, Weaving
2 cross steps
1 weaving step

C HAPTER 8 • SOCIAL DANCE

 Cha Cha
A C U BAN I N N OVAT I O N of the old b asic Latin form (danson), the cha cha is said to be a
combination of the mambo and American swing. A close look shows its rhythm to be
that of a triple mambo, its style that of the rumba, and its open swingy variations
that of the triple time swing. It does not have as heavy a quality or as large a foot
pattern as the mambo; nor has it the smooth sophistication or the conservative fig­
ures of the rumba. It reflects a light, breezy mood, a carefree gaiety, and a trend in the
challenge steps for dancers to ad-lib variations to their hearts' content. Consequently
one sees variations in almost every known position.

{j/za (j/za RHYTH M

In 4/4 time, the catchy rhythm and delightful music of the cha cha have brought
dancers and musicians alike a new treat in the undeniably Latin flavor. The rhythm
has been a controversy. Originally it was done on the offbeat of the measure, and
then there was a widespread acceptance of the onbeat rhythm, which is the easier
way, but the current trend is to go back to the offbeat rhythm. Analysis in this edition
will be done with the offbeat rhythm.

I
4/4 s s Q Q s

2 3 4 and

uneven rhythm

The rhythm is an uneven beat pattern of slow, slow, quick, quick, slow and will be
counted 2 3 4 and 1, with the 4 and 1 being the familiar cha cha cha triple. Rhythmi­
cally, the beats are as follows:

1-.J.J ).hl.J
4/4

J
cha cha cha

Note that the last beat of the triple is a quarter note, not an eighth note as is
sometimes misinterpreted.

{j/za (j/za STYLE

The cha cha is seen danced in a variety of positions as it moves in and out of the
variations. However, the three basic positions are Latin social, two hands joined, and
the challenge. Beginners usually prefer the two hands joined position. In this posi­
tion, both lead and follow hold their forearms firm, so that the lead can push, pull, or
turn the follow. The follow responds with body motion in the direction of the lead,
rather than using arm or shoulder motions. The arms and hands, when free, are held
up and parallel to the floor. Intermediate and advanced dancers use the challenge
position to demonstrate their Cuban motion (hip action) and expressive arm gestures.

CHAPTER 8 • SOCIAL DAN CE

 The cha cha, with its light b ouncy quality, is delightfully Latin as it carries with it
some of the subtleness of the rumba movement. The forward foot should be placed
nearly flat on the floor. The knee is bent over the stepping foot. The back step {in­
stead of a flat step that tends to give the appearance of a sag) is a toe step, holding
the body firmly so as to avoid the sag. The cha cha triple is taken with small steps,
keeping contact with the floor. The upper body is held comfortably upright and the
head focuses on one's partner in a typical gracious Latin manner. The eye contact
brings the dance to life.

q.� CHA CHA STEPS

The cha cha has two primary basic steps: the back and forward basic (sometimes
referred to as the Slot Cha Cha because it moves back and forward in a narrow space)
and the Latin basic, which uses Latin social position.
Directions are for the lead; the follow' s part is reverse, except as noted.

Back Basic Step

STEPS 4/4 C O U N TS R H YT H M C U E

Step left sideways (preliminary step) slow

Step right backward 2 slow

Step left forward in place 3 slow

Step right in place next to left 4 quick (cha)

Step left in place and quick (cha)

Step right in place slow (cha)

N ote: There is a side step on the accented first beat to begin the dance only, and it is
not used again.

Forwa rd Basic Step

STE PS 4/4 C O U N TS R H YTH M C U E

Step left forward 2 slow

Step right back in place 3 slow

Step left in place next to right 4 quick (cha)

Step right in place and quick (cha)

Step left in place slow (cha)

Step Cue: Back, forward, cha cha cha; forward, back, cha cha cha.
Style: The back basic has the toe step, the forward basic has the flat style (see "Cha
Cha Style"). Dancers have a tendency to pound the feet on the floor for the cha cha
cha. It should be neither a pounding nor scuffing sound.
Lea d : The lead leads by pulling with his right hand going into the back basic or
pushing with the left hand going into the forward basic. If arm and elbow are firm,

CHAPTER 8 • SOCIAL DANCE

 finger resistance aids in getting the message across. The body should respond by
moving backward or forward.
Position: The basic cha cha may be done in facing or challenge position.
N ote: This is the basic step of cha cha. The forward half is also called the "forward
break"; the back half is the "back break:'

Latin Basic in Latin Social Position

This cha cha step travels to the side, rather than forward and back.

STEPS 4/4 C O U N TS R H YT H M C U E

Step left sideways (preliminary step) slow

Step right backward 2 slow

Step left forward 3 slow

Step right side right 4 quick (cha)

Step left next to right and quick (cha)

Step right side right slow (cha)

Step left forward 2 slow

Step right backward 3 slow

Step left side left 4 quick (cha)

Step right, next to left and quick (cha)

Step left side left I slow (cha)

Floor Pattern Step Cue: Side, rock step, cha cha side, rock step, cha cha side.
Lea d : Following the rock step forward or backward, you can lead into the side cha
cha steps with a side body action using a firm right side connection (dance frame) to
take the follow to the side.

Cha Cha Step Variations

Open Break Return to Basic Full Turn Shadow
Right Break Cross Over Turn Jody Break Kick Swivel
Cross Over Chase Half-Turn Reverse Jody Kick Freeze

Open Brea k

The purpose of the break is to change position from face to face to side by side.
The couple may open to either right or left. The right break is described next.

Right B rea k

STEPS 4/4 C O U N TS R H YTH M C U E

Step right backward, releasing right hand hold with follow 2 slow

Step left forward in place 3 slow

CHAPTER 8 • SOCIAL DAN C E

Step right in place, turning one-quarter clockwise 4
to face right in a side-by-side position quick

Step left in place and quick

Step right in place slow

Step Cue: Break, open, turn, cha cha cha.

Style: The released hand and arm remain up in place and turn with the body.
Lead : The lead releases right hand for right turn, left hand for left turn, and guides
through to the side-by-side position with the other joined hand. As the lead does
this, the follow should exert slight resistance against his arm with her arm or wrist to
facilitate following forthcoming leads in side-by-side position.
N ote: The left break will start forward with the left foot and turn one-quarter left.

Cross Over

STEPS 4/4 C O U N TS R H YT H M C U E

Step left forward 2 slow

Step right back in place 3 slow

Step left in place, turning to face follow, and release 4 quick

her right hand

Step right in place, still turning on around, take and quick

follow's left hand

Step left in place, finishing a half-turn to face opposite slow

direction in side-by-side position

Repeat, starting with the inside foot Clead's right, follow's

left) and turning back to starting position

Step Cue: Forward, turn, cha cha cha.

Style: On the forward step, the inside foot should step straight ahead. The body is
upright and the head is looking over the inside shoulder at partner. The free hand is
up. Avoid bouncing, leaning forward, turning back on partner, or looking at the floor.
Lea d : The lead's inside hand guides forward into the forward step and pulls back to
start the turn. If the arms of both lead and follow remain up when turning, the arms
are ready to receive the lead when changing from one hand to the other.
N ote: If the open break was taken to the left side, then the cross over step will begin
with the inside foot Oead' s right, follow's left). The cross over step may be repeated
from side to side any number of times.

Return to Basic

STEPS 4 / 4 C O U N TS R H YT H M C U E

Step left forward 2 slow

Step right backward in place, turning to face partner 3 slow

CHAPTER 8 • SOCIAL DAN C E

 Return to Basic, continued

Step left, right, left in place, taking both of the 4 and I quick, quick, slow
follow's hands

With right foot now free, go into a back basic

Lead: If the lead uses pressure against the follow's fingers of the hand he holds just
before he takes both hands, she will recognize the intent to go back to basic and will
facilitate the transition.

Cross Over Tu rn

S T E PS 4/4 C O U N TS R H YT H M C U E

Step right forward, turning counterclockwise away 2 slow

from the follow about halfway around

Step left in place, continuing to turn counterclock- 3 slow

wise, completing the turn around to face the follow

Bring feet together and hold 4 and I quick, quick, slow

Free the left foot and step into a forward basic on

count 2

Step Cue: Out around hold, cha cha cha; forward step, cha cha cha.
Style: A smooth spin on the ball of the foot is taken on counts 2 and 3 and then a
sudden hold during the cha cha cha part gives this variation a bit of special pizazz. It
is necessary to count the timing carefully so as to step forward into basic again on
count 2. The follow is turning clockwise.

0
�
______ follow
Lead : The lead, knowing he is going into the cross over turn, will not grasp the fol­
low's hand as he comes through from the other side but will place the heel of his
� l ead

G
------

hand against the back of her hand and push out slightly into the turn. He must then
direct her into a back basic as he steps into his forward basic.
N ote: Of course, the turn may be taken from either side. The lead may use this vari­
ation as a lead into challenge position, in which case he will not rejoin hands with
partner but will remain apart, facing partner.

Chase H a lf-Turn

I t i s a turning figure i n which the lead i s always one turn ahead o f the follow. H e will
start the turn while she takes a back basic. On her next forward basic she starts the turn.
After the desired number of turns he will finish with a forward basic while she com­
pletes her last turn to face him. Use alternating feet for all turns in the forward break

S T E PS 4/4 C O U N TS R HYT H M C U E

Lead's Part

Step left forward, turning clockwise on both feet 2 slow

hal:frvay around with back to follow

Take weight on right foot 3 slow

Step left, right, left in place 4 and I quick, quick, slow

CHAPTER 8 • SOCIAL DANC E

Step right forward, turning counterclockwise a 2 slow
half-turn, on both feet, to face follow' s back

Take weight on left foot 3 slow

Step right, left, right in place 4 and 1 quick, quick, slow

Follow' s Part

Step right backward 2 slow

Step left forward in place 3 slow

Step right, left, right in place 4 and 1 quick, quick, slow

Step left forward, turning clockwise on both feet 2 slow

halfway around with back to lead

Take weight on right foot 3 slow

Step left, right, left in place 4 and 1 quick, quick, slow

Step Cue: Turn about, cha cha cha.

Style: The turn about is called a swivel turn and is done with both feet in an apart
position. The step is forward, the swivel turns toward the back foot, with the weight
on the balls of the feet. There is a cocky manner as lead and follow look over the
shoulder at partner.
Lea d : The lead drops both hands when stepping forward on left foot, and the rest is
a visual lead for the follow. She keeps turning if he does. When the lead wishes to go
back to basic, he will take a forward basic while she does her last turn and then
rejoin hands and go into a back basic on the right foot.
N ote: The half turn may be done again and again. A familiar styling is to tap part­
ner's shoulder when facing partner's back.

F u l l Tu rn

Step left forward, pivoting clockwise a half-turn. Step right in place, again pivoting
clockwise a half-turn. Take cha cha cha in place, facing partner.
Lead : The lead is a visual one, having let go of hands to start the turn and taking the
hands to finish it.
Style: The manner is a bit cocky as each looks over the shoulder at partner. The piv­
oting steps are small and on the ball of the foot for good balance and smoothness.
N ote: The lead will make a complete turn while the follow does a back basic, and
then she follows with a complete turn while he does a back basic.

J ody B re a k

S T E PS 4/4 C O U N TS R HYT H M C U E

Lead's Part
Step left backward, at the same time changing hands 2 slow
from a two-hand grasp to a right-hand grasp

Step right forward, and at the same time pull with the 3 slow
right hand to guide the follow into a counterclock­
wise turn
continues on next page

CHAPTER 8 • SOCIAL DANCE

 Jody Break, continued

Take cha cha cha Cleft, right, left) in place, guiding 4 and 1 quick, quick, slow
the follow into Varsouvienne position

Step right backward in Varsouvienne position 2 slow

Step left forward in place and, at the same time, 3 slow

release the left hand and guide the follow
with the right hand to turn clockwise

Take cha cha cha (right, left, right) in place, guiding 4 and 1 quick, quick, slow
the follow back out to original position, facing lead
completing half-turn clockwise

Follow' s Part

Starting right foot into regular back break.

Step right backward, allowing lead to change from 2 slow

two-hand grasp to a right-hand grasp

Step left forward, toeing out and pivoting on 3 slow

left counterclockwise, being guided by lead's lead
toward Varsouvienne position

Take cha cha cha (right, left, right), finishing the 4 and 1 quick, quick, slow
turn into Varsouvienne position beside the lead

Step left backward in Varsouvienne position 2 slow

Step right forward, toeing out and pivoting on 3 slow

the right clockwise, being guided by the lead' s
lead toward the original facing position

Take cha cha cha Cleft, right, left) in place, finishing 4 and 1 quick, quick, slow
the turn to face partner

Step Cue: Back, forward, cha cha cha.

N ote: This may be repeated over and over without changing the right-hand grasp.
When the lead desires to go back to regular basic, he will change to two-hand grasp
and forward basic when the follow returns to facing position.
Style: Both lead and follow should keep steps small and not get too far apart. Large
steps and big movement spoil the beauty of this lovely figure and make it awkward
to maneuver.
Lead : Arm tension control makes it possible for the lead's lead to guide the follow
smoothly in and out of Varsouvienne position.

Variations of Jody Position

(Also called Varsouvienne position)

Reverse J ody
While in Varsouvienne position, both break back on the inside foot, and while step­
ping forward turn one-half clockwise in place to reverse Varsouvienne, with the fol­
low on the left of the lead, and take cha cha cha in place. Repeat, starting with the
inside foot, and turn counterclockwise to end up in original position. This may be
repeated anynumber of times. Steps are very small. Both partners are using back
break continuously.

Shad ow
While in Vatsouvienne position, both break on the inside foot then releasing the Var­
souvienne grasp, step forward, the lead guiding the follow across in front of him. Take
the cha cha cha, finishing the cross over, and catch inside hands. Follow is to left of lead.

C HAPTER 8 • SOCIAL DANCE

Repeat, starting with the inside foot and crossing the follow in front of the lead to a
hand-grasp position on his right. This may be repeated any number of times. Return to
Varsouvienne position with the follow on the right when ready to go back to a facing
position and back to a regular basic.

Style: In the Shadow, couples do not get farther apart than a bent-elbow control.
The footwork in the apart position changes on count 2 to a back-cross style; that is,
the inside foot crosses behind the standing foot. The action of the changing sides
with partner is done on the cha cha cha beats like a running motion.
Step Cue: Cross step, cha cha cha.
Lead : The lead leads with his fingers, pulling follow on count 4.
N ote: The lead may lead the follow across in front of him or in back of him.

Kick Swivel

STEPS 4/4 C O U N TS R H YT H M C U E

Step left sideward 2 slow

Kick right across in front of left 3 slow

Put both feet together and swivel both toes to

the right and then both heels to the right 4 and I slow, slow

Repeat stepping right sideward 2 slow

Kick left across in front of right 3 slow

Put both feet together and swivel both toes to

the left and then both heels to the left 4 and I slow, slow

Return to basic from either side by using the free

foot, if left to lead a forward basic, if right to lead
a back basic

Step Cue: Step, kick, swivel, swivel.

Style : Dancers should take small steps. Keep the kick low and take the swivel steps
with the feet and knees close together. One may bend the knees slightly. The lead and
follow kick in the same direction.
Lead : The lead pulls both of the follows hands in the direction of the step kick, and
then he puts the hands close together and gives a push-pull ·action for the swivel.
Part of the lead the follow picks up visually.
Note: The two swivel steps take the place of the three cha cha cha steps and are
even rhythm, being the equivalent of counts 4 and 1 .

Kick Freeze

STEPS 4/4 C O U N TS R H YTH M C U E

Step left sideward 2 slow

Kick right across in front of left 3 slow

Touch right foot sideward to the right in a stride 4, I slow, slow

position (no weight change); count 4-hold count 1

CHAPTER 8 • SOCIAL DANCE

 Kick Freeze, continued

Step right, left, right, moving to the right without 2 and 3 quick, quick, slow
changing position

Repeat on the same foot 4, 1 , 2, 3, 4, and 1

Step Cue: The posture on the freeze straightens to be extra firm and holds with the
leg extended sideward. Arms extend sideward to butterfly position. The body may
turn slightly to the right during the cha cha cha but should end up facing partner.
Lea d : The lead pulls both of the follow's hands in the direction of the kick and then
suddenly increases tension as arms and legs swing to freeze position. They hold the
position one beat. Then he releases pressure and leads sideward for the quick, slow
beats.
Note: The freeze is on counts 4 and 1 . These are two extra counts added to the regu­
lar pattern. It is best to take the kick freeze twice to make it fit rhythmically with the
music. Return to basic by leading into a back basic with the right foot.

elia elia COM BOS

The cha cha routines are combinations for practice, listed from simple to complex.
(Partners facing, unless otherwise indicated.)

1 . Open Break, Cross Over 4. Basic, Chase

2 forward and back b asics with 2 basics
open break 4 half-turns
4 cross overs 2 full turns
2. Cross Over with Tum 5. Basic, Jody
2 basics with open break 2 basics
3 cross overs and turn 4 jody breaks
repeat
6. Jody Variations
3. Cross Over, Freeze 2 basics
2 basics with open break jody break
2 cross overs 2 double jodys
2 freezes 2 shadows
1 cross over and turn
7. Basic, Kick Freeze
2 basics (closed position)
2 kick freezes

Mambo
THE MAMBO IS A CUBAN DANCE that appeared on the ballroom scene in the United States
shortly after World War II. It is a very free dance, allowing for individual interpretation
and innovation. Probably due to its difficult rhythm, it became less popular in the 1 950s
than the cha cha. However, it did survive and finds renewed interest among dancers in
the United States, especially the advanced dancer. Over the years it has become more
sophisticated and conservative. It is most often done in closed position.

CHAPTER 8 • SOCIAL DAN C E

 The Basic Step

S T E PS 4/4 C O U N TS R H YT H M C U E

Step left diagonally forward to right 4 quick

Step right back in place 1 quick

Step left sideward left 2 slow

Hold, closing right to left 3 no weight change

Step right diagonally backward to left 4 quick

Step left back in place quick

Step right sideward right 2 slow

Hold closing left to right 3 no weight change

Step Cue: Cross back side, cross back side.

Style: Dancers should avoid taking too large a step. The sideward step tends to
increase the size of the total pattern and may look very awkward if taken too wide.
The quality is sultry.
Lead : The lead's lead is a sharp shoulder action as his shoulder moves forward in
opposition to the stepping foot. The follow should merely follow the action of his
leading shoulder and not try to figure out which shoulder to move.

Positi o n : Latin social position.

N ote: The first half of this step is referred to as the "forward break" and the back
half as the "back break:' It may be used as in the cha cha.

Mambo Variations
These variations are fully described in the cha cha found on pages 486-494. Also refer
to Cha Cha Combos on page 494.
Open Break Cross Over with Turn Shadow
Cross Over Jody Break

Mereng ue
today in trendy salsa clubs evolved from a
T H E M E R E N G U E THAT I S P O PU LA R
folkloric dance of the Carib b ean. It is now widely considered to be the
national d ance of the D o minican Republic. The music is a peppy, pert, marchlike
rhythm, and the dance patterns are the most simple of all the Latin dances. There are
two styles: the original "limp step" from the Dominican Republic and the more even,
smooth Haitian style. The Haitian style will be described here.

CHAPTER 8 • SOCIAL DAN C E

JI.I/� RHYTH M
In 4/4 time, there is a very pronounced beat of the music, which has an exciting
uneven beat in the rhythm pattern, but the dance follows the basic beats of the mea­
sure and is in even rhythm.

I
4/4 Q Q Q Q

2 3 4

even rhythm

)///� STYLE
Perhaps merengue style could be described as a combination of the rumba move­
ment and a majorette swagger step. The feet are placed flat, but the weight is on the
ball of the foot for easy balance. It is a controlled hip movement resulting from the
bent-knee action with each step as in the rumba, but it has the almost sassy quality
and breezy manner of the majorette. A slight rock sideways with the shoulders to
accompany the foot pattern is optional. It is not meant to be an exaggerated body
movement, but the lively music and the character of the step give this dance a
delightful touch of humor.
With a simple step, the footwork must be disciplined or it may look sloppy. The
feet face squarely forward and close tightly together. The step is small.

q.� M ERENG U E STEPS

Directions are for the lead; the follow's part is reversed, except as noted.

Basic Side Step

STEPS 414 C O U NTS R HYT H M C U E

Step left sideward quick

Close right to left, take weight on right 2 quick

Step left sideward 3 quick

Close right to left, take weight on right 4 quick

Step Cue: Side close.

Style: Steps are small, head high, focus on partner. Rock body left, right with the step.
Lea d : To lead a sideward-moving pattern in closed position, the lead should use
pressure of the right hand to the left or right to indicate the desired direction.
N ote: Could travel sideways any number of side steps. Should travel in line of
direction.

C HAPTER 8 • SOCIAL DANCE

 Box Step

ST E P S 4/4 C O U N TS R H YT H M C U E

Step left forward quick

Close right to left, take weight on right 2 quick

Step left backward 3 quick

Close right to left, take weight on right 4 quick

Step Cue: Forward together, back together.

Style: The same foot leads each time. The shoulders lead the rock from side to side.
Lead : To lead a box step the lead should use a forward body action, followed by
right-hand pressure and right elbow pull to the right to take the follow into the for­
ward sequence of the box. Forward pressure of the right hand followed by pressure
to the left side takes the follow into the back sequence of the box.

Box Tu rn

STEPS 4/4 C O U N TS R H YT H M C U E

Step left, toeing o u t t o a left o n e quarter-turn 1 quick

counterclockwise

Close right to left, take weight on right 2 quick

Step left backward 3 quick

Close right to left, take weight on right 4 quick

Step Cue: Turn close, back close.

Style: A shoulder rock on the turn makes it very easy to lead.
Lea d : See directions for leading, number 6, page 419.
N ote: Repeat three times to make a full turn.

Cross Step

STEPS 4/4 C O U NTS R H YT H M C U E

Step left sideward, turning to open position quick

Step right forward, in open position 2 quick

Step left sideward, turning to closed position 3 quick

Close right to left, take weight on right 4 quick

Step Cue: Open step side close.

Style: Each step must be precisely taken in the closed or open position. If the foot­
work is not square with each position, the merengue loses all of its distinctive character.
Lead : To lead into an open position or conversation position, the lead should use
pressure with the heel of the right hand to turn the follow into open position. The

CHAPTER 8 • SOCIAL DANCE

right elbow lowers to the side. The lead must simultaneously turn his own body, not
just the follow, so that they end facing the same direction. The left arm relaxes
slightly and the left hand sometimes gives the lead for steps in the open position.
Lea d : To lead from open to closed position, the lead should use pressure of the right
hand and raise the right arm up to standard position to move the follow into closed
position. The follow should not have to be pushed but should swing easily into
closed position as she feels the arm lifting. She should move completely around to
face the lead squarely.
Va riation : The flick is like the cross step, except that the.re is a leap onto the left foot
in open position, bending the right knee and flipping the right fo ot quickly up in
back, and then right foot steps forward and side close as above. The lead raises his
right elbow as he turns to open position into the leap.

Swivel

ST E P S 4/4 C O U N TS R H YT H M C U E

Leap left forward i n open position, flick right foot I quick

Step right fonvard in open position 2 quick

Pivot on right foot to face partner, bringing left foot

alongside of right, shift weight to left 3 quick

Pivot on left foot to open position, bringing right foot

alongside of left, shift weight to right 4 quick

Repeat pivot on right quick

Repeat pivot on left 2 quick

Step left, turning to closed position 3 quick

Close right to left, taking weight right 4 quick

Step Cue: Leap step, swivel, swivel, swivel, swivel, side close.
Style: Steps are tiny and neat, turning exactly a quarter-turn each time. The body
turns with the foot.
Lead : To lead into an open position or conversation position, the lead should use
pressure with the heel of the right hand to turn the follow into open position. The
right elbow lowers to the side. The lead must simultaneously turn his own body, not
j ust the follow, so that they end facing the same direction. The left arm relaxes
slightly and the left hand sometimes gives the lead for steps in the open position.
Lea d : To lead from open to closed position, the lead should use pressure of the right
hand and raise the right arm up to standard position to move the follow into closed
position. The follow should not have to be pushed but should swing easily into
closed position as she feels the arm lifting. She should move completely around to
face the lead squarely.

Ladder

STEPS 4/4 C O U N TS R H YT H M C U E

Step left sideward quick

Close right to left, take weight on right 2 quick

CHAPTER 8 • SOCIAL DANCE

 Ladder, continued

STEPS 4/4 C O U N TS R H YTH M C U E

Step l e ft forward 3 quick

Close right to left, take weight on right 4 quick

Step Cue: Side close, forward close.

Style: Footwork is small and neat. Face partner squarely.
Lea d : Moving squarely into position helps lead the body. Because there are a lot of
direction changes in the merengue, the follow must be extremely alert to the action
of the lead's right arm and shoulder.

S i d e Close and Back B re a k

STE P S 4/4 C O U NTS R HYTH M C U E

Step left sideward quick

Close right to L, take weight on right 2 quick

Step left sideward 3 quick

Close right to left, take weight on right 4 quick

Step left sideward I quick

Step right, in place, turning to open position 2 quick

Step left backward, in open position 3 quick

Step right, in place, turning to closed position 4 quick

Step Cue: Side close, side close, side open, back step.
Style : There is a rather sudden swing to open position on count 2 of the second
measure and then immediately back to closed position on count 4.
Lead : The lead uses his left hand to push the follow out quickly to open position.

M� coMBos
1. 4 b asic steps 2. 4 basic steps 3. 4 basic steps 4. 4 basic steps
4 box steps 4 cross steps 4 box turns 4 ladder steps
4 basic steps 8 box steps 4 swivels 4 box turns
4 b ox turns 4 side close and
back breaks

C HAPTER 8 • SOCIAL DANCE

Sa lsa
T H E TE RM SALSA R E F E R S TO A M IX TU R E O F STYLE S that came together to create a
dance form that is now popular around the world. It is wildly diverse, energetic and
rich with culture and history.
Although there is a lot of debate as to the origin of salsa, most agree the term was
first used in the 1 970s by young musicians such as Hector Lavoe, Willie Colon, Larry
Harlow, and Ray Barreto to describe a hot, powerful sound coming out of the barrios
of New York. The dance itself evolved out of Cuban S on, which became popular in
Cuba in the 1 940s and 1 950s.
The diversity of the world has had an influence on the development of this style.
In the United States alone there are four to five recognized styles of salsa (New York
"On 2;' Los Angeles "On 1 ;' Ballroom, Casino, Miami-Style). Each salsa music hot spot
(New York, L.A., Miami, Cuba, Puerto Rico, and Colombia) took their own cultural fla­
vors and infused them into the musical basics of what makes salsa. Because the
music sounded differently in each of these regions, the dance adopted styles to fit the
music. However, one thing remained-the centerpiece or heartbeat of salsa-the
Clave.
Whether it's a Son Clave or a Rumba Clave, this rhythm exists in all music that is
considered salsa. And to any dancer-whether they dance New York, L.A., Cuban,
Colombian, or Puerto Rican style-the Clave is the soul or connection to the music.
In the last two decades salsa has exploded on a whole new level. Thanks to pro­
moters such as Albert Torres and the late David Melendez, salsa addicts get their
dance fix at salsa congresses. Just about every weekend, there's a salsa congress
somewhere in the world. These events have workshops from top-level instructors,
performances by amazing teams and dancers, and live bands to help connect new
generations of dancers with the music.
The salsa is written in 4/4 cut time. The rhythm is quick, quick, slow. It is counted
1 and 2 of the cut time beat.

Q Q S

¢ 1 & 2

Cut Time

$a1Ja STYLE AN D FLAVOR

The style is hard to define for salsa because of the variety involved. New York is
described as smooth, elegant, powerful with intricate turns and patterns. L.A. is
defined as glitzy and with a pop to it. Cuban is raw, energetic, and complex. It's a fast
dance that is centered on individual style with an emphasis on Afro-Cuban move­
ment. Each style can take years, maybe even decades, to master, which makes salsa
highly addictive. The following steps are done with a general ballroom style.

OJ.� SALSA STEPS

Directions are for the lead, follow's part reversed, except as noted.

CHAPTER 8 • SOCIAL DANCE

 Basic Step

STEPS C O U NTS R H YT H M C U E

Step left forward quick

Step right backward and quick

Step left beside right 2 slow

Step right backward 1 quick

Step left fonvard and quick

Step right beside left 2 slow

Use basic step to turn left or right in place.

Side Step

S T E PS C O U NTS R H YT H M C U E

Step sideways left quick

Close right to left and quick

Step sideways left 2 slow

Reverse to right 1 and 2 quick, quick

Cross Step

STEPS C O U NTS R H YT H M C U E

Cross left over right (with exaggeration) quick

Step back right and quick

Step left close to right 2 slow

Repeat crossing right.

Th row Out

Two basic steps Cleft right left, right left right).

Lead releases his right hand, gives the follow a slight push, and takes 2 more basic
steps in place.
The follow moves away from partner (right, left, right) and comes back Cleft, right, left) to
closed position.

C HAPTE R 8 • SOCIAL DANCE

Open B rea k

This move opens the couple to swing-out p osition and is used as a prep step for
many other moves. Follow's foot work is a normal basic.

ST E PS C O U N TS R H YT H M C U E

Lead steps back with his left foot quick

Lead steps right in place 2 quick

Lead step left in place 3 slow

Step Cue: Back in place

Q Q s

Style: On count I, the lead' s right arm and the follow' s left arm float out to the side
as space on the dance floors permits.
Lead : On count I , the lead releases his right hand from the follow back, while lower­
ing his left hand to her waist, level continuing to hold hands.

Right Tu rn

This moves beginnings with a n Open Break, with a special prep for the right turn o n
count 3. O n counts 5-7 the follow makes a full clockwise turn, ending facing her
partner.

ST E PS C O U NTS R H YT H M C U E

Lead steps back with his left foot quick

Lead steps right in place 2 quick

Lead step left in place 3 slow

Follow steps with right foot to diagonal right

Lead steps side right with right foot 4 quick

Follow, pivoting on right foot, crosses left foot over

making 1 80° turn clockwise, her back is to her partner

Lead steps left in place 5 quick

Follow, pivoting on left turn 1 80° clockwise to face her

partner and step right foot in place

Lead step right in place 6 slow

Follow steps left in place.

Step Cue: Op en Break Follow a round

Q Q s Q Q s
Style: Follow does a tight turn, staying close to lead. She turns with the power of her
legs and not by the lead cranking her around from the top. When the lead lifts his
left arm, it is a suggestion, and hopefully, she will follow through with the turn.
Lea d : On count 3, the lead lifts his left hand up a bit higher than the follow face, and
allows the follow' s hand to rotate in his, so they are palm to palm. On counts 5-6 he
gently guides the follow in a clockwise circle. Joining back into Latin social on counts
7-8.

CHAPTER 8 • SOCIAL DANCE 11

 Cross Body Lead

This move brings the follow across in front of the lead and allows them to trade place
while still in social position. It is also used as a prep for many other moves.

STEPS C O U N TS R H YT H M C U E

Step left foot forward quick

Step right in place 2 quick

Lead: Lower left arm to follows waist level, staying 3 slow

connected . Pivot on right foot, 1 /4 counterclockwise
and side step with left foot to left. The lead and the
follow are not at a 90° angle to each other. This is
referred to as opening the door.

Follow: The follow does a normal forward basic

Lead: Steps in place 5

Follow: Step forward

Lead: Pivoting on right foot, turn counter clockwise 6

90°, cross left foot slightly in front of right foot and step
Follow: Pivoting on left foot, turn 1 80° counterclockwise
(the follow is now facing her partner) and step back on
right foot

Lead: Right foot steps in place 7

Follow: Left foot steps back

Step Cue: Open the door Follow a round

Q Q s Q Q s
Lead : On count 5 the lead pushes gently with his right hand on the follow back to
guide her across in front of him. He does not pull with his left hand.

Left Tu rn

This begins with a cross body lead and on the second half, the follow turns I� times
in place.

STEPS C O U NTS R HYTH M C U E

Follow the directions for the first half of a cross 1 -6 quick, quick, slow
body lead

Lead: Cross body lead foot work for count 7 7

Follow: Pivoting on right foot, continue to turn
counterclockwise 180° (Follow's back is to the lead)
and step left in place

Lead: holding 8
Follow: Continues to pivot on left foot counter-
clockwise to face lead

Step Cue: Open the door Spin the follow

Q Q s Q Q s

1 CHAPTER 8 • SOCIAL DANCE

Style: By the end of count 8, b oth the lead and the follow flow back into Social Latin
position to begin a basic.
Lead: By count 5, the lead releases his right hand from the follow's back. He brings
his left hand in-between himself and the follow on count 6. On count 7 he continues
to turn her counterclockwise.

Sam ba
TH E SAMBA, FROM B RA Z I L , is the most active of the Latin American dances. It was
introduced to the United States about 1 929. It is interesting to discover how similar it
is to some of the native dance rhythms of Africa. The samba is sensitive and smooth.
The music is fiery, yet lyrical; and the dance is characterized by tiny, light footwork,
and the rise and fall of the body (always turning and at the same time swaying back
and forth at a most deceiving pendular angle).

$amlJa RHYTH M
Samba is written in 4/4 cut time and may be either slow or fast, although it is gener­
ally preferred at the faster tempo. The rhythm is slow, quick, slow, an uneven rhythm
pattern. It has a double accent, one on each of the two major beats, and these down­
beats are represented by the down movements of the dance. It will be counted as
1 ah 2 of the cut-time beat.

I I
4/4 s Q s

2 & 3 4

uneven rhythm

The execution of the up, down weight change is the secret to the smooth, spring­
ing rhythm. There is a change of weight from one foot to the other on each of the
three beats, down up down, but a preliminary uplift of the body on the upbeat of the
music sets the rhythmical swing in motion. The music is fast and lighthearted.

I I

ah 2

up down up down

CHAPTER 8 • SOCIAL DAN C E