BallroomDancething

Waltz - Closed Impetus

2010-02-11T12:01:00.003Z

(Awaiting new drawing with correct amount of turn! - descriptions have been correct for Closed Impetus from the start... sorry for the confusion- I even confused myself this time!)

The Slow Foxtrot is full of heel turns for the lady but the Closed Impetus in Waltz is one of the occasions that it is necessary for the man to complete this slightly tricky move. The ladies footwork is very much like that of the Spin Turn. I am going to put it within a sequence so that you know one way of getting in and out of it.

Leaders'/Men's Footwork

Begin with the first three steps of your Natural Turn. (Forward on your Right, commencing to turn to the right, side on your Left, close the feet together. At this point you should be facing the wall which was to your Right when you started.) Count 1, 2, 3

Step back onto your Left foot. Swing your Right foot back to join the Left as you pull your right side around and transfer the weight from your Left foot to your Right heel. This should have turned you to face diagonally into centre (3/8ths of a turn). Push forward onto your Right to as you continue to turn your body, releasing your Left foot in a step "backwards" which leaves you backing diagonally to centre and having turned another 1/4. Count 1, 2 (and), 3

You can then finish with 4-6 of your Reverse Turn. Step back on your Right commencing to turn to the Left. Step side onto your Right and close your Left to your Right ending facing Diagonally to Wall again (where you should have started). Count 1, 2, 3

Follower's/ Lady's Footwork

Much like the spin turn, you start with the first three steps of a Natural Turn. Step backwards onto your Left foot, commencing to turn. Step side onto your Right foot and close your Left foot to the Right to face LOD. Count 1, 2, 3

Step forward into your partner with your Right foot. Step to the side (around your partner) with your Left foot. Brush your Right foot towards your left as you continue to turn (with no weight) and then step forward on it, facing Diagonally Centre. Count 1, 2,3

Finish with 4-6 of the Reverse Turn. Step forward onto your Left foot, starting to turn to the Left, side on your Right foot and close your Left foot to your Right to finish backing diagonal to wall.

Notes for Both the Leader and the Follower:
- Be aware of where your partner is needing to finish each of the steps. When the man is doing the heel turn, ladies, do not try to pull them in any way as they will not be able to move to keep up with you. Same goes in reverse as the gents come out of the heel turn as this is when the ladies are doing their brushed step.
- All of these steps should be taken in line with your partner!

We're Back!

2010-01-18T11:08:00.000Z

It has been a while since my last post and it was the lovely comment that came through to me today that reminded me why I started this blog and why I should continue. I still firmly believe that people need to have a place that they can come to when they are looking to solidify the steps they are learning/have already learned and that that resource should be free and accessible.

Dance is something that is entering the public consciousness more and more and for that very reason, I believe that there is a genuine desire to explore - one that should be encouraged, not discouraged. Classes are an integral part to learning any dance style, but it is also easy enough to be in a class and do the routine that your teacher has given you. To feel that you are truly dancing, you need to understand what the individual steps are and how they can be put together and then listen to the music ... and just go!

I do value your feedback and love to hear from you when you have questions and thoughts. Those of you that have been in touch by email or through the comments on here have been greatly appreciated and I hope that you will continue to return despite my recent absence!

In all honesty, my future posts may not hit the schedule that I set out before, however I will do my best to at least regularly add something new for you and to keep the dances as well rounded as possible.

The best bit of advice that I can give you though, is to get out and dance whenever you can. There are socials and events all over the place and anywhere with music and an open space can be somewhere to dance. Don't be afraid of dancing in front of people that you may not know or who may not know you dance. Don't be afraid of dancing. Enjoy it.

Samba - Style

2010-01-17T18:14:00.000Z

The style of Samba is one that is very different from the rest of the Latin Dances. Based more on the bounce motion that is integral to the movement, Samba uses the forward and backwards movement of the pelvis in conjunction with the bend and stretch of the knees rather than purely side to side hip movement.

As many people know, Samba originated in Brazil and though formalized in the Ballroom and Latin syllabus, should still bring to mind a party spirit and a sense of fun.

One of the hardest Ballroom/Latin dances to dance socially, the Samba has a lot of movements that are done out of the closed hold and which generally require the partners to be very clear with and aware of what their partner is doing. There are tonnes of variations on the basic steps and attention should be taken to make no assumptions about which variation will be done.

One of the key elements to making the Samba feel correct is the bounce which should go down on the full count (1, 2, etc) and up on the half beat (&) or delayed until the "a" - which occurs on the last quarter beat. This bounce is then used to drive the movements and is manipulated to create the different rhythms within the dance.

Quickstep - Style

2009-10-26T13:08:00.000Z

As you can expect from the name, the Quickstep is a rather fast dance. This requires fast footwork and a light, easy, approach to the movements. The upper body should remain as smooth and unaffected as possible, while the legs and feet work quickly underneath.

The rise and fall of the dance helps to provide the momentum needed to drive along the long lines, but being able to stop immaculately and show some complex footwork is also usually an element of show/competitive choreography.

A fast and upbeat dance, the Quickstep has similarities to the Social Foxtrot and has a crossover of steps from dances like the Waltz as well, but uses the rise and fall more conservatively than the Waltz and also can incorporate elements of Charleston and other swing dances of the early 30's.

Rumba - Style

2009-10-23T11:58:00.000+01:00

Rumba is one of those dances that requires a lot of control though your centre and needs to be carried by the style and presentation of it more than the footwork alone. Because it is generally quite slow, especially when learning the basics, Rumba needs to utilise all the hip movement that it can and must be very conscious of the music and its impetus for movement.

Concentrating on connection with your partner and sustaining movement throughout the steps will give you the smooth and sultry style that is associated with the Rumba. Because the steps are slower, and in general, slightly less complicated than other latin dances, this is a great opportunity for you to pay close attention to the give and take connection between you and your partner. And, to make sure that each move is actually being led and not simply done because it has been taught.

Making sure that you never stop the movement of the dance - by maintaining control of your movements at all times and sustaining your hip action over the course of all the steps - will help you to feel as though you are settling into this dynamic and luxurious feeling dance. But if you allow it to get too squared off and prescribed, it can easily lose its appeal.

My strongest advice is simply to relax and enjoy it!

Tango - Style

2009-10-19T19:54:00.000+01:00

The individual style of each of the Ballroom and Latin dances is integral to defining the movement and feel of each dance. But more than in any other dance, the style of Tango is what makes it dynamic and unique. Without style, Tango is simply walking around the room.

Most people, when thinking of the tango, think of the rose in the teeth and one arm pointing dramatically in the direction of travel. Although this is a common stereotype, there is little to back that image up technically. The hold for Tango is more compact - rather than stretched - and the drama does not come from the presence of a rose.

Instead, it is the quality of the movement that you should focus on. Tango has a feeling of "stalking" to it. Your knees should be bent at all times (imagine the ceiling is 2 inches above your head) and the impetus to move comes from your core - not your feet or legs. It is very important that you do these things technically, though. When I say your knees are bent, that means that you need to keep your hips under your shoulders and simply allow your knees to move forward over your toes rather than remain over your heels which will cause your bottom to stick out. Posture is exceptionally important to maintain as the dance just wont look right unless you keep your shoulders broad, collar bones lifted, and heads to the left (ladies more left than gents).

Ladies, dont forget that your Left hand is not on the gents shoulder as usual, but instead is placed behind his shoulder - sort of like a karate chop with your thumb ending up at his armpit and the palm of your hand facing down.

Jive - Style

2009-10-16T11:21:00.000+01:00

Jive is one of the only dances that allows you to have a bit of a jumpy skip in the chasse movement. This is NOT, however, license to hop all over the place. Throughout the Jive, especially with the two chasses when moving side to side, you should imagine your head being kept at one central location and that your feet/hips are swinging in a pendulum style movement underneath you.

Keep all your movements small, as the Jive gets very fast, and make sure that you are not transferring your body and head weight back when you do the rock step. You need to make sure the heel of the back foot touches the floor, while maintaining a body position that has minimal change. (If you allow your body weight to transfer back with your foot, you will firstly be unable to maintain the speed necessary and secondly will possibly separate yourself too far from your partner.)

The Jive should be light and fun and the hold should remain flexible and much more relaxed than any ballroom stance.

Waltz - Style

2009-10-12T09:15:00.000+01:00

One of the most important qualities of the Waltz is its Rise and Fall.

In order to understand the Rise and Fall, a little understanding of what your footwork should be is necessary. Taking simply the first 3 steps of a natural turn as a general example, gents step forward on the Right with a heel step, step side onto a toe with the Left, close together onto another toe with the Right foot, and then before moving into the next step, lower the Right heel and release the Left knee, preparing you to take your next step. For ladies, you step backwards through your Left foot (ball-heel), side onto the toe of your Right foot, close your Left foot together with your Right foot and lower the Left heel (popping the Right knee) before moving on.

The first step is taken into the "down" part of your rise and fall. Like a wave, it should move smoothly upwards as you step onto your toe for the second step, reach the peak of the wave as you bring your other foot together (still on your toes), and begin to "fall" as you lower through the supporting leg and gather the force to move you into your next step.

A large amount of power can be drawn from your "down" steps as they push into the floor and allow you the best point of being grounded in the whole sequence. This can be used to add emphasis to your movements - making them more dramatic and confident looking - and to really move through the steps and cover ground, if that is your decision.

The top of your rise is a great place to suspend timing for a breath in order to play with the rhythms of the music or delay the second step by a partial beat - adding interest and variety to the traditional even rhythm.

Practice your rise and fall as it is an important part of not only the Waltz, but a lot of the other Ballroom dances as well. Strength in your ankles, calves, and centre is needed to take advantage of all that Rise and Fall has to offer your dancing so be sure to do exercises that help to give you control and endurance.

Cha Cha Cha - Style

2009-10-09T10:03:00.001+01:00

The Cha Cha - as I am sure you know - is a fun and flirty dance that has energy and personality throughout. As one of the dances that is usually taught first, it holds a lot of the techniques necessary for many of the other Latin dances as well.

It is necessary throughout this dance to keep your toes connected to the floor and allow all your steps to work through your feet. There are NO heel steps! (I often say that you should imagine a £50 note under your toes - and if you lift your feet off the ground ... you lose it!)

Another important characteristic is the hip movement. What most people don't realise is that the hip movement that you can see when watching performers or competitors stems from a completely natural movement that occurs when you have one heel on the floor and one not. Of course, it can he heightened and exaggerated and at times pushed beyond what would be needed on a social floor, but a relaxed easy hip movement is completely achievable.

If you stand with your feet together and simply bend one knee and remove that heel from the floor, you should find that your weight moves slightly over your supporting leg to help you balance. The easiest way to do THAT is to sit into your hip. If you then just switch your weight onto the other side and change bent knees/lifted heels, you will have already started a natural hip movement.

What I am trying to say is that your hip movement comes every time that you put your heel down during the dance - which for Cha Cha, is all the time! Just think about letting your hip push slightly out every time you put your heel down on each foot and you will quickly find a natural amount of hip movement will infuse your dancing.

Social Foxtrot - Style

2009-10-05T21:57:00.000+01:00

With a good base now in the elementary steps, I think that it is time that we mention a few things about each dance that contribute to the unique characteristics of each one. Aside from the actual foot patterns, every dance in the Ballroom and Latin repertoire has individual characteristics that help to make it look and feel different from the rest.

Social Foxtrot is one of those dances that can be done to almost any piece of 4 beat music but is generally done to something nice and swingy.

Unlike most of the other Ballroom dances, Social Foxtrot is a bit more loose in terms of the hold and allows you to add a bit of sway into the upper body. There is also a bit of a bounce that can be put into the knees, especially during your Slow steps, though the footwork rules of generally stepping forward onto a heel and backwards through the foot still apply. Body contact is not necessary.

Generally, have fun with this dance! It should be relaxed and you should allow yourself to play with the steps as the music tells you.

Samba - Turning Voltas

2009-10-01T14:45:00.000+01:00

This step is one that is a nice way of moving from a variety of different steps and back into a closed hold. It incorporates the Whisk step and the Voltas that have been described before and are essentially an underarm turn for the Lady.

Leaders'/Men's Footwork

The Leader simply does 2 Whisks, Left first then Right.

Followers'/Lady's Footwork

Using the Volta motion that you have already practised, take a step onto your Right foot turning to your right. Try to take a fair amount of the turn with this step - ideally to face the wall behind you.
Bring your Left foot behind your Right, turned out, with part weight (dont put your heel down) to lift your Right foot and complete the turn to face your partner.

Then complete with a Whisk to the Left matching your partner.

Notes for both the Leader and Follower:

- Leaders, dont attempt to turn your partner for her, allow her to complete the movement naturally. Ladies, try not to move the first step too far away from your partner sop that you can remain connected to him and return to essentially your original position.

Quickstep - Progressive Chasse

2009-08-25T16:57:00.000+01:00

This is essentially the step that is the second half of your basic, but I thought it deserved a look at of its own.

Begun when the leader is stepping backwards, it can be used to travel or kept on the spot depending on what is needed. The rhythm is Slow, Quick, Quick, Slow, Slow.

Leaders'/Men's Footwork

Start by stepping back on your Right foot when you are backing diagonally to the centre of the room. Next you step side on your Left foot, together with your Right and then side and slightly forward onto your Left. The final step is taken forwards - having come back to facing diagonal wall (which is where we generally start all our ballroom steps).

Followers'/Lady's Footwork

Step forward on your Left foot and then side onto your Right. Close your Left foot to your Right and then take a step back and slightly to the side onto your Right foot. Finish the step with a step backwards on your Left foot.

Samba - Voltas

2009-08-21T10:25:00.001+01:00

Voltas are one of those steps that will either fall in easily or that you will have to think about a bit before they work - sort of like skipping. The basic movement is the same for either partner and can be done in a variety of different ways choreographically. To begin with, we will just look at the footwork.

Step side onto your side on your Left foot, stretching your knees. (Count "and")
Voltas move because of one foot crossing in front of the other. In this case we are going to say it will be the Right foot. When crossed, your knees should be bent and "inside" one another - the back of your Right knee in contact with the front of your Left. (Count 1 - or any other number count)

Repeat at will until you decide to change direction/hear a change in the music.

Quickstep - Natural Turn

2009-07-27T14:18:00.000+01:00

(After getting all out of sync last week, I will aim to get back on track now... sorry for any inconvenience!)

Great for getting out of corners, the Natural Turn in Quickstep is slightly different from those you have seen in waltz so far. The timing changes from a straight forward "Slow, Quick, Quick, Slow" pattern and becomes "Slow, Quick, Quick, Slow, Slow, Slow" over the course of the six steps.

Leaders'/Men's Footwork

Starting Diagonal to Wall, step forward onto your Right foot. As you do this you should already be turning your shoulders to the Right to begin the turn. On the "Quick, Quick" you Step side onto your Left foot and then close your Right foot to your Left having completed just over a quarter of a turn and ending facing the wall that used to be behind you.

Step backwards onto your Left foot and continue to turn to the Right as you take another step this time to the side onto your Right foot, doing what is called a Heel Pull before stepping forward on your Left. All of these are Slow counts!

What is a Heel Pull?
The technique book is quite specific on how a proper Heel Pull should be done. In basic terms, the turn is completed on the heel of the supporting foot, which means that you need to step first and THEN turn. The moving foot (in this case your Left foot) is pulled to follow the other foot - back and to the side. It is moved with the inside of the foot on the floor, leading with your heel, and is always kept a small distance from the supporting foot.

Follower's/Lady's Footwork

For once your feet are simpler than the guy's - you dont have a Heel Pull!
Start by stepping backwards onto your Left foot. You partner should already be initiating the turn to the Right and therefore causing you to rotate your upper body in the right direction. Step side and then together with your Right then Left feet. You should now be facing LOD.

Next go forward with your Right foot, continuing to turn to the Right. Side onto your Left foot and backwards onto your Right. Remember... all of these steps are Slow counts.

Notes for both the Leader and the Follower:

- This step is done here going around a corner and getting you back facing Diagonal to Wall on the new alignment. It can be done with varying degrees of turn if necessary.

Samba - Botafogos

2009-07-20T15:54:00.000+01:00

When you look past the slightly funny name, Botafogos are an interesting and useful Samba step. They can be used to travel or to change direction, get you out of closed hold and generally create the big frame and movement that Carnival (where Samba originates) evokes.

Both the Leader and Follower do the same movement with the feet, although generally this is done as a Shadow step - meaning that the couple is moving in opposite directions. First though, to learn, it is best to just get the footwork.

Remember that Samba counts generally as "1+, a, 2" with the first beat being split into quarters. "1+" equals 3/4 of the beat and "a" equals the last quarter. "2" is a full beat.

Footwork for Leaders and Followers

Start facing a wall with your feet together but your weight on your Left foot, Right foot on the ball of your foot. (This is an arbitrary choice as this step can start on either foot.)

Step forward in a diagonal across your body, onto a bent knee, using your Right foot. Leave the ball of your Left foot where it was, but allow it to 'turn out' (be in a position where the inside of your heel is closer to the floor). This should put you in a lunge type position. (Count "1+")

Leaving your weight over your Right foot, move your Left foot to the side to create the opposite diagonal. (Count "a") Only place PART WEIGHT on this foot as you use it to shift the angle of your body and underneath leg - in this case your Right - finishing facing a new diagonal, still in a lunge position, for Count "2".

You are now ready to step forward on this new diagonal with your Left foot into a new lunge. (Count "1+").

Swing your Right leg to the side with part weight on Count "a" and then change your body and foot alignment to the first diagonal on Count "2".

Repeat as desired!

Notes for both the Leader and Follower:

- As described above, this is an individual step, however, if done after a step such as your samba walks, you are both facing in the same direction but on opposite feet. Maintaining connection with your outisde arm (Men's Left to Lady's Right), you can each do Botafogos with your free foot, stepping in opposite directions - these are Shadow Botafogos.

Quickstep - Spin Turn

2009-07-13T14:59:00.001+01:00

Very much like the Spin Turn in Waltz, the footwork is the same but the main difference in the Quickstep is your timing. The total pattern for this step will be "Slow, Quick Quick, Slow, Slow, Slow" (whereas most of your other patters have been simply a repetition of "Slow, Quick, Quick). The rise and fall is slightly different as well, but I will talk about that in a later post.

Remember that there is a varying amount of turn that you can do when you do a spin turn, depending on whether you are doing one in a corner or along a long line. This set of diagrams shows the amount of turn in a corner and assumes that you are going to use the following step to turn to face diagonally to the new line of dance.

Leaders'/Men's Footwork

Start with the first three steps of your Natural Turn (forward on your Right foot - turning to your right - and then side onto your Left, and close your Right foot to your left) to finish with your back directly to the line of dance. (Counts Slow, Quick Quick)

Step back onto your Left foot but think of keeping your knees bent and close together - because you are now going to pivot on that Left foot - think of pulling your Right shoulder backwards and bringing the Right foot around as if connected and immovable from the position it was placed in when you stepped back. Step forward onto the Right foot and then "fall" back onto your Left now facing Diagonal Against your New Line of Dance. (Counts Slow, Slow, Slow)

You can follow this with a Progressive Chasse which will keep you moving along the LOD and allow you to get back into your "basic" pattern of Quarter Turn to Right and Progressive Chasse.

Followers'/Lady's Footwork

Start with the first three steps of your natural turn. Step back on your Left foot, side on your Right and together with your Left to end facing Line of Dance. (Counts Slow, Quick, Quick)

Step forward into your partner with your Right foot (Count Slow), beginning to curve to your Right, the next step is taken forward as your partner is pivoting, which means that you end up with your weight on your Left foot and your back to the diagonal you initially started on on a second SlowCount. (Which in the technique books is therefore labelled as a step back and slightly to the side.) With your weight on the toe of your Left foot, lightly brush your Right foot towards your left (Count "2-and") and then back out on a diagonal to step forward on another Slow Count.

Following this step, you can go straight into a Progressive Chasse.

Notes for both the Leader and the Follower:

- When doing the pivot, it is very important that the gentleman keeps his weight over his supporting foot at all times... if you start to lean forward or backwards, you make the turn impossible for your partner. This also goes for the women, however. Ladies, do not hold on to your partner for dear life or lean into him, this will make the turn heavy and difficult to turn - it should feel light and easy!!

Rumba - Hockey Stick

2009-07-10T14:56:00.000+01:00

Picking up where we left off last week, this move will begin from the Fan position. Ladies, this will be sightly trickier for you than the guys as you are the one doing all the changes of directions. I know you can handle that! Guys, dont forget that because your footwork is fairly straight forward, you are supposed to be leading your lady and assisting her movements - not making anything difficult for her! Make sure your leads are definitive and timed at the right moments.

Leaders'/Men's Footwork

As usual, you guys have it easy. You are currently, if we are taking this from the end of the Fan that we did last week, standing with your feet apart and on a slight diagonal towards your partner. You are going to do one basic movement stepping forward on your Left foot (Count 2), replacing the weight on your Right (Count 3), and then putting your Left foot together with your right on the 4-1 count and changing the weight so that you have your Right foot free. You should do all this and accomplish a small amount of turn to get you back to facing a wall instead of a diagonal by the end. (Which makes my drawing of it look a lot more complicated than it actually is!) As you do this you need to bring your Left hand (the one that is in contact with your partner) forward and in towards your body to make your partner move forwards and by the end of this set of steps you should have your hand drawn across your face, the back of your hand towards your forehead and there should be a window created with your and your partner's arms so that you can see each other.

As you move into the next set of steps, you need to move your hand over your partner's head so that your hand is resting with hers on or near her Left shoulder. You then have another basic movement, stepping backwards this time onto your Right foot on Count 2, transferring the weight forward again onto your Left on Count 3, and then stepping forward (following your partner) on your Right foot on Count 4-1.

Followers'/Lady's Footwork

You have a bit of a tricky set of steps to describe, so hopefully with the combination of the words here and the drawn steps, you will get the idea. I have numbered the steps in your diagram rather than labelled the counts as i thought that would be less confusing. So please don't do the rhythm based on the numbers on the diagram!

You are standing in fan with your Right foot extended to the side and weight on your Left. On count 2, bring your Right foot in to your Left foot, put the ball of your foot on the floor (your Right knee should be bent and crossed slightly in front of your left) and change weight so that you end up with your Right foot on the floor with a straight leg and your Left foot is now on the ball of the foot with the knee slightly bent and crossed. All of that is on count 2!

Then you have two walks forward towards your partner on counts 3 and 4-1. First your Left foot and then your Right. Your partner should lead you forward like this and bring your arm up in front of you so that there is a window between you and your partner when you reach the end of this set of steps.

He will then lead your arm over your head so that your Right hand is holding his and resting on or close to your Left shoulder. With your next two steps (Counts 2, 3), you actually make a total of a 90 degree turn and walk away from your partner. At the end of the second step (on count 3) you are wound in your own arm and can only get out of it by turning - bringing your Left shoulder back and around - on your Right foot before you then step back onto your Left foot on count 4-1.

Notes for both the Leader and the Follower:

- When you get more comfortable with the steps, you can make the leads sharper and slightly delayed - especially the final turn on count 3. But that requires both partners to be secure in their steps and paying close attention to the leads.

Tango - Open Promenade

2009-07-10T14:03:00.001+01:00

(Two for one today as i am late with the ballroom step from monday!)

Much like your Closed Promenade, this step takes you along the Line of Dance in Promenade Position but instead of finishing back in a neutral position with your feet together, you have an Open Finish.

Leaders'/Men's Footwork

Just like the Closed Promenade, this step only differs in the final step. So, from PP (promenade position) you step forward onto your Left foot (Slow), forward again onto your Right foot - bringing the leg through the centre of you and your partner (Quick), change your alignment to face diagonal to wall again with your next step to the side onto your Left foot (Quick), and then rather than closing your feet together as you would in a Closed Promenade, step forward on the diagonal (in CBMP) with your Right foot (Slow).

Followers'/Lady's Footwork

Again, just like the Closed Promenade, you step forwards in PP (promenade position) on your Right foot (Slow), forwards again onto your Left foot (Quick), step side - changing your alignment when led to be backing the diagonal - onto your Right foot (Quick), and instead of bringing your feet together as you would have done in your Closed Promenade, step backwards in CBMP onto your Left foot (Slow).

Notes for both the Leader and the Follower:

- Maintaining the connection between your centre's at all times is integral when working in ballroom in general, tango specifically, and in CBMP even more so. Really try to keep your belly buttons facing each other at all times throughout this step regardless of what your shoulders or feet may be doing.

Rumba - Fan

2009-07-03T15:32:00.000+01:00

Fan Position is a common staple that is used in Rumba and Cha Cha regularly. It is a natural following step from something like the Open Hip Twist that was described last week; amongst other things!

Leaders'/Men's Footwork

Often this is done on the second half of a set of steps, therefore meaning that you step back on your Right foot on Count 2, replace the weight onto your Left foot on count 3, and then, in order to maintain a connection with your partner, step forward and slightly to the side on your Right foot on Count 4-1 so that you end up on a diagonal.

You should have connection with your partner through your Left arm/hand and should ensure that you actually lead her movements and dont just assume that she will do everything in the direction and at the times that you want her to. You should be familiar with her steps so that you know when she should be where.
Followers'/Lady's Footwork

For the moment, think that you have just finished your open hip twist, you are standing there with your weight on your Right foot and are facing the side. Your Right hand is in your partner's Left and it is wrapped in front of your body. This is a common place to do the fan, and though the footwork doesn't change much if you are going into it from a different step, the beginning position probably will.

Step forward on Left foot on Count 2. Take another step forward on Count 3. As you transfer your weight onto the Right foot, unwind on Count "and" to face the wall behind you and then step back onto your Left foot on Count 4-1, leaving your Right foot extended and pointed in front of you.
Notes for both the Leader and the Follower:

- Ladies: dont walk too far away from your partner. You only have the total distance of the length of your arm combined with the length of his... and neither should EVER be completely straight. Gents: you can prevent her getting too far away by keeping your elbow in close to your waist on the first two steps.

Tango - Open Reverse Turn Outside Partner

2009-06-30T14:54:00.000+01:00

The Open Reverse Turn, Outside Partner is a very scary sounding name for 6 steps. But you needn't be worried! As with the other reverse turns you have done in other dances so far, this turn will be going to the Left and for the gentlemen, starts on the Left foot. As the title says, part of the turn will happen stepping outside your partner's feet instead of inside as you would usually do.

The counts for this step are "Quick, Quick, Slow, Quick, Quick, Slow"

Leaders'/Men's Footwork

Starting diagonally to your nearest wall, take one step forward on your Left foot. (Quick) Step side onto your Right foot, placing your back to the nearest wall, (Quick) and then step back with your Left foot putting your body in CBMP (keeping your shoulders to your partner/parallel to the wall but your hips and feet facing the wall that you have to your Left). (Slow) At this stage, you and your partner should not be in line, but more beside one another.

Step back on your Right foot, curving the step to continue the turn. (Quick) (You should be almost facing the nearest wall again.) Then step side on your Left foot (Quick) and close your Right to your left to complete the turn and end facing diagonal to wall as you started. (Slow)

Followers'/Lady's Footwork

You start backing diagonal to wall and take your first step back with your Right foot (this step has already begun to turn). (Quick) Then step side on your Left, to face the nearest wall. (Quick) The next step is forward towards the diagonal on your Right foot, but is not taken in line. (Slow) Your foot therefore should be between you and your partner and your body will be in CBMP (your upper body, still in hold, is facing your partner and your lower body has assumed the new alignment - creating a twist in your body).

Step forward again, this time on your Left foot (continuing to turn) and side on your Right foot to put your back to the nearest wall. (Quick, Quick) The last step is to close your Left foot to your Right and finish backing diagonal wall again. (Slow)

Notes for both Leader and Follower:

- Throughout this step, and regardless of what your feet are doing, make sure that your belly buttons are facing each other. This will ensure that you maintain the proper hold and upper body posture even when your feet start to go in other directions!

- Do NOT try to stay in line with your partner for all these steps! For once you are allowed to be on the outside, but dont let that affect your hold.

Glossary - Contra Body Movement Position (CBMP)

2009-06-30T11:30:00.003+01:00

Contra or Contrary Body Movement Position is often used in steps that require you to be out of line with your partner. In the technique books, it is defined as: "A foot position where the foot is placed on or across the line of the supporting foot, either in front or behind, to maintain body line".

Essentially, this means that you are keeping your upper body facing one direction while your lower body faces a different one. This is generally accomplished by leaving the shoulders where they were in the previous step and allowing the legs to take a new direction.

However! You should not lose connection with your partner when in CBMP and should work even harder to keep your centres facing each other.

Rumba - Open Hip Twist

2009-06-27T14:18:00.000+01:00

A very common step in Rumba, especially in combination with the Fan and Hockey Stick, the Open Hip Twist is much what it says it is.

Leaders'/Men's Footwork

Starting in open position (one hand hold), with your weight on your Right foot, you will step forward onto your Left foot on count 2. Bring your weight back onto your Right foot on count 3. Place your Left foot beside your Right on Count 4 and use until the end of count 1 to transfer your weight fully onto that leg. (It is your weight transfer that will cause the Lady to do the twist part of her step... so ensure that your lead arm does not go behind your body and that you do the full weight transfer.

Followers'/Lady's Footwork

Starting in open position (one hand hold), with your weight on your Left foot, step back onto your Right foot (like in the basic) on count 2 and then replace your weight to the Left foot on count 3. Your partner should lead you to step forward onto your Right foot, coming towards him as he stays in the same place. The lead arm therefore becomes a lot more compact. Dont allow your elbow to get behind your body at any point. As you and your partner both settle into your hips at the end of the 4-1 count, his hip movement, will cause you to pivot on your Right leg and finish facing the wall that was to your right. You should still have connection with your partner through your Right arm, but it is also wrapped in front of your body at this point.

Notes for both the Leader and the Follower:

- The pivot at the end must not be rushed into by the follower, but also needs to be distinctly created by the Leader as he changes the weight from one foot to the other. In order to make this transition the most effective, both parties, need to be very aware of their arm placement and the connection between them.

Tango - Spanish Drag

2009-06-22T17:48:00.003+01:00

(And two in one day to get us back on track!)

One of the iconic tango moves, a Spanish Drag is very simple in terms of the footwork, but can often be done in a very sloppy way. To ensure that it is done properly, you need to be very aware of your frame and body connection as well as have a good idea about the affects your movements have on your partner.

Leaders'/Men's Footwork

All the Spanish Drag requires is a Slow count step to the side on your Left foot, keeping the knee bent in a lunge like position, and then a returning of the Right foot together with the Left on a second Slow count. Shape your upper body with a slight lift on the Left side and use your head position to look over your partner's Left shoulder.

Followers'/Lady's Footwork

Quite simply, you take a step to the side on your Right foot, into a lunge position for one Slow count. You then close your feet together using the Left foot to close to the Right on a second Slow count. Your Right knee should be in contact with your partner's leg during this step and there is a shaping that will extend the Right side of your upper body.

Notes for both the Leader and the Follower:
(I havent included foot diagrams as the step itself is something created through the rest of the body.)

- Too often this is done with a huge bend at the waist to make the upper body more dramatic. This will only lead to messy dancing and the potential to hurt your partner if you wrench their back or side too far. When you stand normally in tango hold, simply think of lifting out of the waist and elongating the Left side of your body for men, or Right side of your body for Ladies. There should be no collapsing on the opposite side... if you have to bend the opposite side, you have shaped too much!

- Be sure to maintain contact with your partner throughout this move, it is the movement as one unit that makes it impressive to watch.

Jive - Link and Whip

2009-06-22T17:22:00.003+01:00

Getting a little more advanced with the Jive, is the Link and Whip. In my mind, this step is great for adding a bit of momentum into your dancing. It requires both partners to work together in close proximity and can provide a nice little adrenaline rush when done quickly!

Starting from open, usually one hand, hold, this step takes you slightly away from your partner at the beginning in order to bring yourselves close and around in a circle.

Leaders'/Men's Footwork

You start with your Rock step going back on your Left foot. You then take a small chasse, practically on the spot but leading your partner to come towards you and slightly to your Right side.

Then cross your Right foot behind your left foot, turning your body as much as possible at this time as well. Step to the side with your Left foot continuing the turn and hopefully getting about 3/4 of the way around by this point. Then face the direction you started as you do your chasse to the Right: Right foot side, Left foot together, Right foot side.

Followers'/Lady's Footwork

The diagram for this step looks scary ladies, but it is actually a lot easier than it sounds. Do your Rock step first, stepping back on your Right foot and replacing the weight to your Left.

Then take a chasse slightly forward towards the right side of your partner; Right foot forward, Left foot together, Right foot forward. during this chasse you should start to turn to the right as if you are walking in a circle around your partner. You then have two walks, Left, Right, around your partner to complete as much of the turn as possible. And chasse to the Left (Left foot side, Right foot together, Left foot side) to complete the turn if necessary and come back directly in front of your partner.

Notes for both the Leader and the Follower:

- You need to work together to get around the turn. If you fight each other or do not use each other's momentum, you will not get around.

- Keep your upper body in closed hold during the turn and do not allow the lady to end up under the man's armpit! (Take hold as you come towards each other in the first chasse.)

- Ladies, you are on the outside of the circle, men, you are on the inside.... the step will not work if the men try to move too much or if the ladies stay on the same spot!

Waltz - Spin Turn

2009-06-20T01:24:00.000+01:00

You will soon find, if you are practising your natural and reverse turns, that you either have to vary the amount of turn that you do at some point in order to get around the room (which is definitely allowed as long as you keep going around in the right direction), or you get stuck in a corner (which isn't such a good thing).

A great step to get you out of corners is the Spin Turn. It starts like the beginning of a Natural Turn and can be done with varying degrees of turn. (It can be done in corners or even along a straight side, but for this description I will give the amount of turn usually done in corners.)

Leaders'/Men's Footwork

Start with the first three steps of your Natural Turn (forward on your Right foot - turning to your right - and then side onto your Left, and close your Right foot to your left) to finish with your back directly to the line of dance. (Counts 1, 2, 3)

Step back onto your Left foot but think of keeping your knees bent and close together - because you are now going to pivot on that Left foot - think of pulling your Right shoulder backwards and bringing the Right foot around as if connected and immovable from the position it was placed in when you stepped back. Step forward onto the Right foot and then "fall" back onto your Left now facing Diagonal Against your New Line of Dance. (Counts 1(and), 2, 3)

Next do a quarter turn to face the New Line of Dance by stepping backwards onto your Right foot, side onto your Left, and together with your Right. (Counts 1, 2, 3) You are now ready to do any reverse figure or a close change.

Followers'/Lady's Footwork

Start with the first three steps of your natural turn. Step back on your Left foot, side on your Right and together with your Left to end facing Line of Dance. (Counts 1, 2, 3)

Step forward into your partner with your Right foot (Count 1), beginning to curve to your Right, the next step is taken forward as your partner is pivoting, which means that you end up with your weight on your Left foot and your back to the diagonal you initially started on on Count 2. (Which in the technique books is therefore labelled as a step back and slightly to the side.) With your weight on the toe of your Left foot, lightly brush your Right foot towards your left (Count "2-and") and then back out on a diagonal to step forward on Count 3.

Complete the sequence by stepping forward on your Left foot, turning to the Left, and side together with your Right and Left feet respectively. (Counts 1, 2, 3)

Notes for both the Leader and the Follower:

- When doing the pivot, it is very important that the gentleman keeps his weight over his supporting foot at all times... if you start to lean forward or backwards, you make the turn impossible for your partner. This also goes for the women, however. Ladies, do not hold on to your partner for dear life or lean into him, this will make the turn heavy and difficult to turn - it should feel light and easy!!