Line Dance
Terminology Resource : http://www.bald-eagle.de/download/Schriittbezeichnungen.pdf
New Line-Dance Levels : Guidelines : http://worldlinedancenewsletter.com/information/chor_new-line_levels.pdf
Tags & Restarts : http://worldlinedancenewsletter.com/information/chor_tags_restart_kim_ray.pdf
This list of line dance terms was collected
from Country Dance Lines Magazine (CDL)
[defunct] and the National Teachers
Association (NTA) Glossary. Text may have
been modified slightly for formatting
purposes, but, in general, the terms and
definitions are exactly as provided by CDL
and NTA.
Definitions from CDL look like this.
Definitions from NTA look like this.
When both agreed on exactly the same
wording, the definition looks like this.
Definitions from elsewhere look like this.
A
ACCENT
Emphasis on a particular step or move in a
pattern, or, in music, the emphasis on a certain
beat in a measure.
Dance: Special emphasis to a movement
Music: Special emphasis to a heavy beat in
music
ACROSS
Movement across the Line Of Dance
ACROSS LEFT
The Right foot will cross in front of the Left foot.
ACROSS RIGHT
The Left foot will cross in front of Right foot.
ADD
See Tag
ADVANCED
A dancer with the ability to perform intricate
moves and patterns and improvise freely within
them. See Difficulty Level
ALIGNMENT
The alignment of the body parts with respect to
the torso. See Floor Alignment
Floor Alignment: The position of the body with
relation to the line of dance.
• Forward LOD (Line of Dance)
• Reverse LOD (Line of Dance)
• Wall
• Center
• Forward right diagonal (wall)
• Forward left diagonal (center)
• Reverse right diagonal (wall)
• Reverse left diagonal (center)
• Partner Alignment: The symmetric
alignment of a couple.
AMALGAMATIONS
a.k.a. Clusters, Combinations. A group or
sequence of dance figures or patterns.
AND
Used when 2 movements are to be done
simultaneously. For example,
1. Step forward and clap hands.
A. Half of a quick count = "1&" or &1"
B. A call, such as "ready and"
& (AMPERSAND)
The upbeat that precedes or follows the whole
downbeat. &1 precedes the beat, 1& follows the
beat. Unlike the previous usage of the term
"and", the ampersand is used when "Step
forward and clap hands" means two separate
movements, and is notated in step descriptions
as:
1 Step forward on Left foot
& Clap
AND STEP
Signifies weight change with a movement. For
instance, in describing the first three steps in a
Grapevine right, the description would read:
1 Step to the right with Right foot.
2 Cross Left foot behind Right and step.
3 Step to the right with Right foot.
Without the "and step," the Left foot would still
be dangling behind the Right foot and, unless
you can fly, executing Step 3 will be quite
difficult.
ANIMATION
To show life or spirit in the dancer’s
expressions and body movement, as opposed
to a lifeless mechanical expression of
movement.
ANKLE ROCK
Feet are crossed and ankles are in a locked
position. Shift weight one or more times from
forward foot to trailing foot and back,
maintaining the locked ankle position.
APART
Movement away from partner
APPLEJACKS
A foot swiveling movement in place as follows:
1 With weight on Left heel and ball of Right
foot, swivel Left toe to the left and Right heel to
the left (feet are in a "V" position, toes pointed
outward.)
Page 2
& Swivel Left toe and Right heel back to
center
2 Weight on Right heel and ball of left foot,
swivel Right toe to the right and Left heel to the
right (feet are in a "V" position, toes pointed
outward.)
& Bring feet together
Move can be done with opposite weight
changes. Also see Traveling Applejacks
ARABESQUE
The free leg is extended backward, forward or
sideways; parallel to the floor.
ARCH
A curvature of the torso initiated by lifting the
ribcage. Also See Partner Dance Positions -
Arch
A. Partners raise joined hands to form a curve
(arch) overhead.
B. A curvature of the torso initiated by lifting the
ribcage.
ASSEMBLE'
Dancer springs up off the floor from both feet
and lands on one foot.
ATTITUDE
The free leg is turned out, and extended
backward with a bent knee
The free leg is lifted, bent and extended forward
or backward with a bent knee.
A. Forward: The knee and foot are held in front
of the hip, and the thigh is parallel to the floor.
B. Backward: The knee and foot are held
behind the hip, and the thigh is parallel to the
floor.
B
BACK
To the back of the dancer
BACK BEAT
A syncopated musical accent on the upbeat
between the 1-2, and between 3-4 (1&2, 3&4)
BALANCE
A state of equilibrium or body stability. To keep
the center of mass over the support base.
BALANCE STEP
A step in any direction, followed by a Close (no
weight) and a Hold.
BALL CHANGE
A quick change of weight from the ball of one
foot to the other foot. This move is usually
preceded by either a kick or a heel touch.
BALLROOM
See Partner Dance Positions - Traditional
BANJO
See Partner Dance Positions - Parallel
BAR
In sheet music, a vertical line that separates
measures. In music jargon, a "bar" is a
measure of music; hence "12 bar blues" means
there are 12 measures in a verse. See Measure
Vertical lines on each end of a measure of
music. See Measure
BASKET
See Partner Dance Positions - Wrap
BEGINNER
A dancer at the introductory stages of dance.
Also see Difficulty Level.
BEGINNER/INTERMEDIATE
See Difficulty Level
BEHIND
The free foot will go behind the opposite foot.
A step with the free foot crossing behind the
weighted foot.
BODY ALIGNMENT
The position of the feet to the room. Includes:
• Down LOD
• Backing LOD
• Facing wall
• Facing center
• Facing diagonally to wall
• Facing diagonally to center
• Facing diagonally to wall against LOD
• Facing diagonally to center against LOD
BODY ROLL
Done forward, backward or sideways. A
movement where different parts of the body
move in order respectively. a.k.a. Ripple.
BODY MOVEMENT
A. Gesture: Any movement not connected with
supporting the body weight.
B. Step: The transfer of weight from one foot to
another.
C. Locomotion: Movement of the body from one
place to another.
D. Jumping: Movement without a point of
support.
E. Turning: Changing position in a circular
fashion.
BOOGIE
The free hip (and leg) lifts and moves circularly
in the direction of the non-weighted leg.
The free hip lifts and moves in a circular motion
away from the weighted foot.
Page 3
BOOGIE ROLL
Similar to Forward Cuban Motion, using a bent
knee, but the hip stays back
A. Similar to Cuban Motion, using a forward
movement of the pelvis. See Nanigo.
B. A circular movement starting in the pelvis
region, moving upward through the diaphragm,
chest and shoulders
BOOGIE WALK
While moving forward, the non-support hip and
leg moves forward using a circular movement
transferring weight to moving leg.
The free hip lifts and moves in a circular motion
away from the weighted leg, stepping forward
with the free foot.
BOX STEPS
Maneuver, usually completed in 8 beats, which
forms a box on the floor. Example:
1. Step forward on Left foot
2. Step Right foot next to Left
3. Step to the left on Left foot
4. Touch Right foot next to Left
5. Step back on Right foot
6. Step Left foot next to Right
7. Step to the right on Right foot
8. Touch Left foot next to Right
BPM
Beats Per Minute. See Tempo
BREAK
1. Reverse direction
2. The 6 count pattern in Swing is called a
break pattern.
A. A change or reverse of direction.
B. See Rhythm Break. [This is an error in the
NTA manual. There is no entry for Rhythm
Break.]
BRUSH
On a Brush the free leg swings forward or back
with the sole of the foot brushing the floor as it
moves.
To brush the ball of the foot against the floor.
BUMP
Dancers bump hips to the side or with their
partner.
A. To isolate upper part of the body, flexing the
knees, and pushing the hip to either side in any
direction.
B. Dancers bump hips to the side or to the
buttocks of their partners.
BUTTERFLIES
See Heel Splits or Toe Splits
BUTTERMILKS
See Heel Splits or Toe Splits
BUZZ
A turn in one spot, also called a paddle turn.
See Paddle Turn Footwork [This is an error in
CDL. There is no entry for Paddle Turn
Footwork.]
To turn in one spot in 3rd position. Also called a
Paddle Turn. Counted as 1&2&3&4
C
CAMEL WALK
A two beat maneuver in which a step forward is
made on the first beat. On the second beat, the
forward foot does a knee pop while the trailing
foot slides up to and under the upraised heel of
the forward foot
The weighted leg does a knee pop prior to
stepping forward on the free leg which has a
straight knee.
CANTER RHYTHM
3/4 time. An uneven pattern using one long
count (1, 2) and one short count (3). Two steps
taken to 3 beats of music.
3/4 time – a rhythm break that involves weight
changes on beats 1 and 3 only
CATHEDRAL
See Partner Dance Positions - Arch
CCW
See Counterclockwise.
CENTER
The balance point of the body mass - located
near the diaphragm.
CHA CHA STEP
Three steps done to two beats of music. Count
1&2 = Left, Right, Left (LRL), or Right, Left,
Right (RLR) and is used with cha cha rhythm.
CHAINÉ
A 360 degree turn using three weight changes.
Bringing the feet together in 1st position and
changing weight.
CHANGE OF WEIGHT
Shifting weight from the supporting foot to the
free foot. See And Step.
CHARLESTON
Traditional. A 4 count step pattern swiveling the
feet in and out. Example:
1 Step forward on Left foot with heel
swiveled inward
& Swivel Left heel outward.
2 Kick Right foot forward while swiveling Left
heel inward
& Swivel Left heel outward
Page 4
3 Step back on Right foot with Right heel
turned outward
& Swivel Right heel inward
4 Touch left toe back while swiveling Right
heel outward
& Swivel Right heel inward
A 4 count pattern swiveling the feet in and out.
1 Step forward left
2 Kick right foot forward
3 Step back on the right foot
4 Point the left toes backward
CHARLESTON KICK
a.k.a. Charleston. (Traditional Charleston
without swivels) Example is left lead:
1 Step forward Left
2 Kick Right forward
3 Step back Right
4 Touch Left toe back
CHASE
A figure where one partner pursues the other.
CHASSÉ
(shah-SAY) A series of side steps. The free foot
never passes the supporting foot. May be done
forward or backward
(To Chase) A three step syncopated pattern
where the free foot comes to closure in 1st or
3rd position and replaces the other foot.
CHOREOGRAPHER
One who authors a dance or a sequence of
movements in dance.
CHOREOGRAPHY
A planned sequence of dance movement.
A planned sequence of movements.
CHUG
With weight on the ball of one foot, lift the
opposite foot and scoot forward. For Hip Hop, a
Chug is a movement with the weight on the ball
of one foot while using the opposite foot to push
off and complete a turn without moving the
weighted foot.
CLOCKWISE
(CW) Movements completed from Left to Right,
the way the hands of a clock move around the
face.
CLOSE
To bring the feet together without a change of
weight
CLOSED
See Partner Dance Positions
COASTER STEPS
A syncopated maneuver in which the starting
foot steps in a given direction, then the trailing
foot closes with the starting foot and then the
starting foot steps in the opposite direction
CONTINUITY
The ability to blend and incorporate various
school figures (patterns) together so a
continuous flow of movement is achieved.
CONTRA BODY MOVEMENT
(CBM) A movement of the body into or from 3rd
and 5th position which turns the opposite hip
and shoulder toward the direction of the moving
leg.
CONTRA BODY MOVEMENT POSITION
(CBMP) The position attained by using contra
body movement.
CONVERSATION
See Partner Dance Positions - Promenade
CORKSCREW
A maneuver similar to an "unwind" in that it
starts with the crossing of one foot over to the
other side of the other foot and placing the
weight fully onto the balls of both feet. The turn,
or unwind, is executed. However, the legs end
up in an opposite crossed position upon
completion. A Corkscrew can be either a 3/4
turn or a full turn in duration. Upon completion
of a full corkscrew turn, the trailing foot is
usually lifted off the floor slightly to relieve
pressure on the hips and to facilitate an easy
transition into the next step.
CORTÉ
See Dip.
COTTON EYED JOE POSITION
See Partner Dance Positions - Side By Side
COUNT
A call used to count the rhythm of foot
movements and weight changes, or to count
the beats of music.
COUNTER CLOCKWISE
(CCW) Movement completed from Right to Left
opposite Clockwise.
CRADLE
See Partner Dance Positions - Wrap
CROSS
The free foot will step across in front of or
behind the opposite foot. See Across Left and
Across Right
CROSS BACK
See Partner Dance Positions - Skaters
CROSS-BALL-CHANGE
See Sailor Shuffle
Page 5
CROSS SHUFFLE
See Gallop
CUBAN MOTION
A discreet but excessive hip movement
achieved by bending and straightening the knee
with carefully timed weight transfer. The foot is
moved delaying the weight transfer. Knee of the
moving leg bends inward
Hip motion initiated by using the inside edge
and ball of the foot during weight transfer.
CUDDLE
See Partner Dance Positions - Wrap
CUP AND PIN
The palm of the man’s left hand is facing
inward, with his thumb over the lady’s fingertips.
She curls her right fingertips over his left
fingers. Some resistance is needed for the
many changes of positions and turns.
C/W
County Western. Used when referring to dance.
C&W
Country & Western. Used when referring to
music.
CW
See Clockwise
C/W OPEN POSITION
See Partner Dance Positions - Side By Side,
Open, Promenade
D
DEGREE OF DIFFICULTY
See Difficulty Level
DEVELOPE’
(Developpe’)The non-support foot follows the
standing leg line to the knee (Passe’) and
opens outward forward, backward or sideward.
DIAGONAL
45 degrees out from center.
45 degrees out from the center of the Line of
Dance (direction).
DIG
To place the ball or the heel of the free foot to
the floor with a strong emphasis.
DIFFICULTY LEVEL
The degree to which a dance is rated for ease
of learning or performance. CDL only includes a
Difficulty Level when the choreographer
identifies it in their dance, Also, note that the
Difficulty Level can be subject to the tempo of
music and other factors in instructing. Difficulty
Levels in CDL are categorized by five levels.
• Beginner - for dancers with little or no
dance experience.
• Beginner/Intermediate - for dancers who
have progressed beyond the hesitant stage
and are starting to feel comfortable with
standard dance maneuvers
• Intermediate - for dancers with some
working knowledge and experience of
musical rhythms and the ability to perform
slightly intricate dance patterns.
• Intermediate/Advanced - for those who are
coming into their own as polished dancers
and are able to follow most dance patterns
and rhythms.
• Advanced - For dancers familiar with the
various rhythms and with abilities to
perform intricate moves and patterns and
improvise freely with them.
DIP
A slight bend of the support knee (plie) to a
sitting position with the free leg extend forward.
The thighs are parallel. Also called Corte
(Corte’) A slight bend of the support knee (Plie)
to a sitting position, with the free leg extended
forward.
DIRECTION
A pattern call – forward, backward, side left,
right or together.
DOUBLE ELECTRIC KICKS
See Electric Kicks
DOUBLE FOOT BOOGIE
A four beat pattern of toe and heel (or heel and
toe) swivels described as follows:
1. With weight on heels, swivel toes outward
diagonally
2. With weight on toes, swivel heels outward
diagonally
3. With weight on toes, swivel heels inward
4. With weight on heels, bring toes together
DOUBLE REVERSE
See Partner Dance Positions - Skaters
DOWNBEAT
The accented beats in a measure of music.
There are four of these in a 4/4 measure. They
are the numbers when counting 1&2&3&4& or
&1&2&3&4, while the ampersands are the up-
beats.
DRAG
Bring free foot slowly together to the supporting
foot.
To bring the free foot slowly up to the
supporting foot, knee flexed or bent.
Page 6
DRAW
See Drag
DSD
Dance Step Description. A Choreography
communicated through print technology. The
reason for this Glossary.
See Step Sheet.
E
ELECTRIC KICKS
This a Hip Hop maneuver and is done as
follows:
1 Step forward on Right foot while kicking
Left foot backwards slightly off of floor
2 Step back on Left foot while kicking Right
foot forwards slightly off of floor
3 Step back on Right foot while kicking Left
foot forwards slightly off of floor
4 Step forward on Left foot while kicking
Right foot backwards slightly off of floor
Double Electric Kicks is the above 4 beat
maneuver done twice.
EXTENSION
To stretch or extend parts of the body.
F
FALL AWAY
See Partner Dance Positions - Promenade
A position in which the man and the lady move
backwards from the Promenade position.
FAN
See Heel Fan or Toe Fan
A. The weighted leg is slightly flexed with the
non- support leg making a circular motion
extending forward, side and back without
weight.
B. Heel Fan: Feet together, the heel of one
foot moves to the side and returns to 1st
position.
C. Toe Fan: Feet together, the toes of one
foot moves to the side and returns to 1st
position.
FAN BRUSH
See Sweep
FAN KICK
A high, straight leg kick where the extended leg
makes a circular sweep.
FIGURE
A movement between dance positions using a
prescribed number of weight changes, using a
specified rhythm.
FIGURE FORE (FOUR)
The free leg moves as a pendulum in front of
the weighted foot and is kept off the floor. The
toe is pointed downward.
(Four) The weighted foot swivels as the free leg
moves as a pendulum in front of the weighted
foot, and is kept off the floor. The weighted foot
then swivels in the opposite direction. The toe is
pointed downward creating the figure four.
FIXED PATTERN PARTNER DANCE
Couples dance in unison, usually CCW around
the dance floor, to a step pattern that is
repeated for the duration of the song. Also see
Round Dance
FLARE
A low kick on or near the floor
FLEA HOP
A skip or scoot sideways in the direction of the
non support leg. The hip moves upward
A skip or scoot sideways in the direction of the
non- support leg as the hip moves upward.
FLEX
A slight bending of a portion of the body as
opposed to an exaggerated bending.
FLICK
A lift of the foot bending at the knee.
A sharp, quick kick backwards with a pointed
toe and a flexed knee.
FLOD
Line Of Direction, Line of Dance or Forward
Line of Dance on the dance floor, The direction
that the dance is normally flowing in. The term
FLOD is most often used when there are a
number of direction changes in a step
description. FLOD is usually counterclockwise
around the dance floor. Against FLOD is RLOD
(Usually clockwise around the dance floor.)
Also see ILOD, OLOD.
FLOOR ALIGNMENT
See FLOD, ILOD, RLOD, OLOD, Alignment
FLOOR CRAFT
The correct use of movement or dance patterns
around the dance floor.
FOLLOW THROUGH
The non-support foot passes by the weighted
foot before changing directions.
The non-support foot or ankle passes by the
weighted foot before changing directions.
Page 7
FOOT BOOGIE
A four beat pattern of toe/heel swivels (right or
left) with one foot staying in place as follows:
Right Foot Boogie:
1. Keeping Left foot in place, swivel Right toe
to right
2. Swivel Right heel to right
3. Swivel Right heel to center
4. Swivel right toe to center
Left Foot Boogie is opposite the above.
FOOT PARTS
Parts of the foot used in dance
• Toe
• Inside edge of the toe
• Outside edge of the toe
• Ball
• Inside edge of the ball
• Outside edge of the ball
• Heel
• Inside edge of the heel
• Outside edge of the heel
• Flat
• Inside edge of the flat foot (instep)
• Outside edge of the flat foot
FOOTWORK
The use of the five positions of the feet in
dancing,
1. Feet together
2. Feet parallel
3. Heel to instep - Instep to heel
4. Forward or back
5. Toe to heel - Heel to toe
The use of the five positions of the feet in
dancing.
FIVE POSITIONS:
1. Feet together
2. Feet parallel, hip width apart
3. Heel to instep
Extended 3rd
4. Forward or back
5. Toe to heel
Extended 5th
FOOT PARTS:
• Toe
• Inside edge of toe
• Outside edge of toe
• Ball
• Inside edge of ball
• Outside edge of ball
• Heel
• Inside edge of heel
• Outside edge of heel
• Flat
• Inside edge of flat foot
• Outside edge of flat foot
FORWARD
The area in front of the dancer.
FRAME
Dance posture for the purpose of maintaining
balance and appearance.
Dance posture for the purpose of maintaining
balance and appearance. The center used to
facilitate all turning movement, lead and
following.
FREEZE
A stop - no movement, See Hold.
A complete stop; no movement.
FRONT SIDE
The area half way between the front and the
side.
G
GALLOP
a.k.a. Cross Shuffle. A sideways syncopated
maneuver wherein one foot crosses over the
other and steps and then the trailing foot
pushes off towards the direction of travel. The
leading foot then steps again towards direction
of travel to complete the maneuver. For
example:
1 Cross Right foot over Left and step
& Push off to the left slightly with Left foot in
place
2 Step to the left on Right foot
GRAPEVINE
A continuous traveling step to the side with
crosses behind and/or in front. VINE is an
abbreviation. The Grapevine is a 3 count move
to either side. The 4th count is an optional
ending, such as a brush, kick, scoot, etc. Any
more than 3 counts is called a WEAVE. See
Weave
VINE is an abbreviation. A continuous traveling
step pattern to the side with crosses behind and
or in front in 3rd position. TURNING VINE: A
pattern which consists of a Vine with a 1/4 or
1/2 turn off of count 3. Example: A Right
Turning Vine:
1 Step side right
2 Cross left foot behind in 3rd or 5th position
3 Open to 5th position, stepping on the right
foot, execute a 1/4 or 1/2 turn right
GRIND WALK
a.k.a. Heel Twist and Suzie Q.
1 The right heel is extended forward across
the left foot with the right toe pointing toward
the left.
Page 8
2 Keeping the weight on the right heel, twist
the right toes to the right as the left foot steps to
side left.
H
HAMMERLOCK
a.k.a. Hammer. See Partner Dance Positions -
Pretzel
HEEL
1. Heel of the hand refers to the man’s hand
lead
2. Heel of foot touching the floor.
HEEL-BALL-CHANGE
Touch heel forward on Count 1, quickly change
weight to opposite foot on & Count, followed by
a quick weight change back to starting foot on
Count 2. This move is done in place.
HEEL BOUNCES
a.k.a. Heel Raises. The simultaneous raising of
both heels (either together or slightly apart) and
lowering them to the floor. Executed on beats
&1&2.
HEEL FAN
Feet are together, the heel of one foot moves to
the side and back together.
HEEL CLICKS
Fast heel spreads (splits) counted &1&2,
clicking the heels slightly together on the down
beat.
HEEL RAISES
See Heel Bounces
HEEL SPLITS
a.k.a. Scissors, Butterflies, Buttermilks, Splits,
Pigeon Toes, Heel Spreads, Texas Spread, etc.
.Feet together with weight on the balls of both
feet. Push heels apart on count 1. Bring heels
together on count 2. A FAST HEEL SPLIT
takes one beat of music and is counted as &1
or 1&. See Toe Splits.
(Heel Spreads) a.k.a. Scissors, Butterflies,
Buttermilks, Fans, Pigeon Toes. See Pigeon
Toes.
Feet are together with weight on the balls of
both feet. Push heels apart on count 1, bring
heels back to 1st position on count. 2. Fast
Heel Splits: Takes one beat of music and is
counted as "&1".
HEEL SHIFTS
See Heel Swivels or Twist
HEEL SPREADS
See Heel Splits
HEEL STOMPS
Lift both heels off the floor by bending the
knees. Return the heels to the floor with
emphasis. See Heel Bounces
a.k.a. Knee Pops. Lift one or both heels off the
floor by bending the knees. Return the heels to
the floor. Pattern takes one beat of music,
counted as "&1".
HEEL SWIVELS
With feet together and weight on the balls of the
feet, shift both heels either right or left and then
back to center.
HEEL TOUCH
See Touch
HEEL SWITCHES
A syncopated movement in which the weighted
and unweighted feet switch places from heel
touches to home position. Usually done in
multiples as below.
1 Touch Right heel forward
& Step Right foot to home
2 Touch Left heel forward
& Step Left foot to home
HEEL TWIST
See Grind Walk
HIP BUMPS
Move hips out and back.
HIP LIFT
The hip lifts the leg by rotating the hips around
the axis or the hips lift sideways
The hip lifts by straightening the non-support
leg.
HITCH
A lifting of the leg without executing a scoot
HITCH HIKE
Upper body movement. Either thumb points
back over shoulders, usually while stepping
back.
HITCH KICK
See Kick-Ball-Change
HOLD
A one beat pause before taking another step.
See Freeze.
A count describing a designated time before
taking another step.
HOME
Position of the feet directly under the body.
Original starting place.
Page 9
HOOK
See Partner Dance Positions - Arch
HOOK
The free foot moves as a pendulum in front or
back of the weighted foot and is kept off the
floor. A HOOK COMBINATION is a 4 count
move using
1 Touch heel front
2 Hook free foot over opposite knee
3 Touch heel front
4 Step together
The free foot moves as a pendulum in front or
in back of the weighted foot, and is kept off the
floor. Toes pointed slightly upward.
NOTE: A lock is sometimes referred to as a
HOOK.
HOOK COMBINATION: A 4 count pattern using
(1) a heel forward, (2) hook, (3) a heel forward,
(4) bring foot together with the weighted foot.
HOP
A spring into the air from one foot landing on
the same foot.
HORSESHOE
See Partner Dance Positions - Side By Side
I
ILOD
Inside Line Of Dance. Direction facing toward
center of dance floor
IMPROVISE
To add moves and variations within an original
Choreography. e.g., rolling turns during
Grapevines, etc.
INTERMEDIATE
A dancer who has learned and understands the
basics of dance and is comfortable on the
dance floor and can perform some intricate
patterns and moves, but has not attained the
ability to freely improvise within them. Also see
Difficulty Level
INTERMEDIATE/ADVANCED
See Difficulty Level
ISOLATION
Movement of one part of the body
independently of the rest.
J
JAZZ BOX
(Jazz Square) A dance pattern with 4 weight
changes. It may start with a forward step or a
cross.
Example A:
1 Step forward right
2 Cross left foot over the right foot
3 Step back right
4 Step side left
Example B:
1 Cross right foot over left
2 Step back left
3 Step side right
4 Step forward left
Example:
DIAMOND OR TRIANGLE: Execute “B” and
bring the feet together on count 4 instead of
stepping forward.
JAZZ SQUARE
a.k.a., Jazz Box. A dance pattern with weight
changes as follows.
Left
1 Cross Left foot over Right and step
2 Step back on Right foot
3 Step to the left on Left foot
4 Step Right foot next to Left
Right
1 Cross Right over Left and step
2 Step back on Left foot
3 Step to the right on Right foot
4 Step Left foot next to Right
JODY
See Partner Dance Positions - Side By Side
JUMP
Spring into the air off both feet and land on both
feet.
JUMPING JACKS
Jump landing with feet apart on Count 1. Jump
landing with feet together on Count 2. These
can be done quickly by jumping apart on Count
1 and back together on Count &
K
KNEE POP
The non-support knee is "popped" forward as
the heel is lifted. As the heel is lowered the
knee is returned to straight position. May be
done as a Double Knee Pop with feet together
or slightly apart.
See Heel Stomps.
Page 10
KICK
A leg lift movement in any direction taken from
the knee. The knee does not completely
straighten.
KICK-BALL-CHANGE
Kick foot out on Count 1, quickly change weight
to opposite foot on & Count, followed by a quick
weight change back to starting foot on Count 2.
This move is done in place
L
LA VARSOUVIENNE
See Partner Dance Positions - Side By Side
LEAD
A non-verbal communication that initiates and
continues movement.
LEAP
A transfer of weight from one foot to the other.
Push off with a spring and land on the ball of
the other foot, letting the heel come down. Bend
knee to absorb the shock.
A transfer of weight from one foot to the other
by pushing off with a spring into the air and
landing on the ball of the other foot, letting the
heel come down and bending the knee to
absorb the shock.
LEFT
When capitalized (Left) refers to a part of the
body. Lower case (left) refers to a direction.
See CCW
Refers to the left foot, hand, hip, etc., or to a
direction.
LEVEL OF DIFFICULTY
See Difficulty Level
LILT
A motion that moves downward and returns to
the natural stance. Used in Polka and East
Coast Swing. Counted as down on the 1 count,
up to a natural stance on the “and” count.
LINE OF DANCE
a.k.a. LOD. Same as FLOD
LOCK
A tight cross of the feet
A tight cross of the feet in 1st or 2nd position.
LOCK STEP
Step forward and slide opposite foot up to first
foot with ankles crossed.
LOD
See FLOD.
LINE OF DANCE: Counterclockwise around the
dance floor.
LOOP TURN
An underarm turn to the left for the lady, and to
the right for the man.
LOUIE, LOUIE
a.k.a. Louie Louie Swivels. A maneuver done
with one foot forward of the other and weight on
the balls of both feet. The knees are bent
slightly and both heels swivel inward and then
back to center.
LRL
Left, Right, Left. Used in describing Cha Cha,
Shuffle, Triple, and Polka steps. Also see RLR
LUNGE
A weight transfer to a bent leg with the other leg
extended.
M
MANEUVER
A short sequence of steps such as a Kick-Ball-
Change, Sailor Shuffle, Grapevine, etc.
MANEUVERABILITY
The ability to move smoothly and gracefully
between dance patterns.
MARK TIME
To step in place two or more times.
To step in place twice (2 weight changes).
MASH POTATO
a.k.a. Mashed Potatoes. A syncopated
maneuver traveling rearward which involves the
stepping back (usually behind the other foot)
with the heel turned slightly inward, and then
the quick swiveling of the heel on the weighted
foot outward. Example: & Step Right foot
slightly behind Left foot with Right heel turned
slightly to the left
1 Swivel Right heel to the right
& Step back on Left foot slightly behind Right
foot with Left heel turned slightly to the right
2 Swivel Left heel to the left
This pattern may continue for as many beats as
desired. Sometimes there is a variation in the
middle of the pattern as follows &1&2 Same as
above
&3 Same as &1 above
& With feet in place, swivel both heels inward
4 Swivel both heels outward
MEASURE
In 4/4 time (most C/W music), a grouping of
four accented beats. (3 beats for waltz time.)
Page 11
a.k.a. Bar: A grouping of musical beats located
between two horizontal lines.
MILITARY PIVOT
A 1/2 turn maneuver using two beats of music
where upon the first beat is a step forward with
one foot, and the second beat is a 1/2 pivot on
that weighted foot while shifting the weight to
the other foot. Veterans know this move as "to
the rear, march"
MILITARY TURN
A 1/4 turn maneuver using two beats of music
where upon the first beat is a step forward with
one foot, and the second beat is a 1/4 pivot on
that weighted foot while shifting the weight to
the other foot.
MINUET
Performed as a partner dance: waltz move. A
maneuver where the man and lady are facing
each other holding one or both hands. On beats
1-2-3, they close together holding hands about
chest high. On 4-5-6, they back away from each
other, lowering the hands down to waist level.
MIXER
A dance or dance pattern during which couples
change partners.
MOVE
See Movement
MOVEMENT
A change in body position.
To change body positions.
MUSIC
The stuff we dance to.
N
NANIGO
The pelvis moves forward and backward at a
rapid rate. Used in Swing and Latin dances for
style and accent.
NECK CROSS
See Partner Dance Positions - Bow
O
OLOD
Outside Line Of Dance. Direction facing away
from center of dance floor.
ONE STEP
A dance taking one step to each beat of music.
OUT OF PHRASE
When the number of steps in a dance pattern
are not equal to the number of beats or
measures of music, or vice versa.
P
PARTNER DANCE POSITIONS
The following 18 positions are adapted (often
directly copied) from the NTA Teachers Manual.
Where a right or left is described, the term for
the position is normally addressed first with the
direction, e.g., Right Side By Side or Left Side
By Side.
TRADITIONAL CLOSED
Partners face each other slightly offset. The
man holds the lady’s right hand in his left
(shoulder height). His right hand is placed on
the lady’s left shoulder blade, with the fingers
and thumb held together. The lady rests her left
hand on the man’s upper arm, or slightly behind
his right shoulder, with thumb and fingers
together. a.k.a. Ballroom, Studio
COUNTRY WESTERN CLOSED
Partners face, with toes pointed towards each
other. The man holds the lady’s right hand in
his left (shoulder height). His right hand or wrist
rests on lady's left shoulder, or on the back of
her shoulder. The lady’s left hand rests on the
man’s upper right arm, or slightly behind his
shoulder, with fingers and thumb held together.
INDIAN - Dancers are in single file. Lady is in
front. Use a double hand hold. Their joined
hands are on lady’s shoulders. NOTE: The man
may also be in front of the lady using this hand
hold.
REVERSE INDIAN
Dancers are in single file. Lady is behind man.
The man uses a double hand hold. Their joined
hands are together, placed behind the man’s
hips. NOTE: The lady may also be in front of
the man using this hand hold.
WRAP (Right is assumed) & LEFT WRAP
For Right Wrap, couple is facing in the same
direction. The lady is slightly in front of the man
on his right side, with her left foot slightly in
front of his right foot. Using a double hand hold,
the man’s right arm is wrapped behind the
lady’s back. Their joined hands rest on her right
hip. His left arm is crossed in front of the lady.
For Left Wrap, couple is facing in the same
direction. The lady is slightly in front of the man
on his left side, with her right foot slightly in
front of his left foot. Using a double hand hold,
the man’s left arm is wrapped behind the lady’s
back. Their joined hands rest on her left hip. His
right arm is crossed in front of the lady. a.k.a.
Cuddle, Cradle, Basket, Sweetheart.
Page 12
DANCING SKATERS
(Elbows are always equal in both right and left
positions.)
Right: The couple face the same direction, the
lady is slightly in front of the man’s right hip.
The man’s right arm is crossed behind the
lady’s back. Their right hands rest on the lady’s
right hip. The lady’s right hand may also be held
behind her back. Their left hands are held in
front of the man at chest level.
Left: The couple face the same direction, the
lady is slightly in front of the man’s left hip. The
man’s left arm is crossed behind the lady’s
back. Their left hands rest on the lady’s left hip.
The lady’s left hand may also be held behind
her back. Their right hands are held in front of
the man at chest level. a.k.a. Sweetheart
SKATERS
Right: The couple face the same direction. The
lady is on the man’s right. The man holds the
lady’s right hand in his right hand, and her left
hand in his left hand. The arms are crossed
right over left and are held at about waist level.
a.k.a. Promenade.
Left: The couple face the same direction, the
lady is on the man’s left. The man holds the
lady's right hand in his right hand, and her left
hand in his left hand. The arms are crossed
right over left and are held about waist level.
Reverse Right: The couple face the same
direction, the lady is on the man’s right. Their
arms are crossed behind their backs. The right
hands are on the lady’s right hip, the left hands
on the man’s left hip. a.k.a. Cross Back.
Reverse Left: The couple face the same
direction, the lady is on the man’s left. Their
arms are crossed behind their backs. The right
hands are on the man’s right hip, the left hands
on the lady’s left hip. a.k.a., Double Reverse.
ARCH
Right: Partners face in the opposite direction.
The right arms are hooked at the elbows. The
left hands are joined above their heads in an
arch. The right hands may be joined and held at
the right sides.
Left: Partners face in the opposite direction.
The left arms are hooked at the elbows. The
right hands are joined above their heads in an
arch. The left hands may be joined and held at
the left sides. a.k.a. Steeple, Cathedral, Hook.
SIDE BY SIDE
(Elbows are held at an equal level in both right
and left positions.)
Right: The couple face the same direction, lady
is on the man’s right side. Her left foot is slightly
in front of his right foot. The right hands are
held slightly forward of the lady’s right shoulder.
The left hands are slightly forward of the lady’s
left shoulder.
Left: The couple face the same direction, lady is
on the man’s left side. Her right foot is slightly in
front of his left foot. The left hands are held
slightly forward of the lady’s left shoulder. The
right hands are held slightly forward of the
lady’s right shoulder. a.k.a. La Varsouvienne,
Horseshoe, Schottische, Western Polka, Cotton
Eyed Joe, Jody, Sweetheart.
BOW
Right: Partners face the same direction, lady is
to the man’s right. Using a double hand hold,
his left arm is crossed behind his neck. His right
arm is crossed behind the lady’s neck.
Left: Partners face the same direction, lady is to
the man’s left. Using a double hand hold, his
right arm is crossed behind his neck. His left
arm is crossed behind the lady’s neck. a.k.a.
Yoke, Neck Cross
PRETZEL
Right: Partners face the opposite direction
using a double hand hold, her right hand is in
his left hand, her left in his right hand. The lady
is slightly in front of the man on his right side.
The man’s left arm, and the lady’s right, are
held up, elbows down. His right arm, and lady’s
left arm, are crossed behind the lady’s back.
Left: Partners face the opposite direction using
a double hand hold, her right hand in his left
hand, her left in his right hand. The lady is
slightly in front of the man on his left side. The
man’s right arm, and the lady’s left, are held up,
elbows down. His left arm, and lady’s right arm,
are crossed behind the lady’s hack. a.k.a.
Hammerlock, Hammer, Tamara
OPEN
Partners face each other.
Single: Man’s left hand is joined with lady’s right
hand, The free hands are held close to the
body.
Cross: Man’s right hand is joined with the lady’s
right hand (as in a hand shake). The free hands
are held close to the body.
Double: The lady’s right hand is in the man’s
left hand. The lady’s left hand is in the man’s
right hand.
Crossed Double: The lady’s right hand is in the
man’s right hand. The lady’s left hand is in the
man’s left. Either hand may be on top.
However, Right hands on top is the most
common.
CHALLENGE
Partners face each other. They are standing
apart. There is no body contact. a.k.a. Shine.
PROMENADE
From Closed dance position, the man and the
lady step forward in a "V" position down the line
of dance. a.k.a. Conversation, Semi-open.
SWING
The couple stand in Promenade dance position.
His right hand is on the lady’s back on her left
Page 13
shoulder blade. The joined hands are held
lower, about the lady’s waist level, in a cup &
pin position.
OPEN PROMENADE
Right: The couple are in Open Dance Position.
The lady is to the right of the man. The lady’s
left hand is held in the man’s right. They are
facing the same direction, both traveling down
the line of dance.
Left: The couple are in Open Dance Position.
The lady is to the left of the man. The lady’s
right hand is held in the man’s left. They are
facing the same direction, both traveling down
the line of dance.
PARALLEL
Right: From Closed Dance Position (Traditional
or Country Western) the man steps forward and
slightly to his left (outside) to place the lady into
Right Parallel Dance Position. They face each
other, but the lady is to the right side of the
man. Her right foot is slightly in front of the
man’s right foot. They should be the same width
apart as they were in the Closed Dance
Position. Although the couple have moved
slightly sideways, the man’s left arm and the
lady’s right arm are still in the same place as
they were in the Closed Dance Position.
Left: (Traditional or Country Western) The
couple face each other, but the lady is to the left
side of the man, in Left Parallel Dance Position.
The lady’s left foot is slightly in front of the
man’s left foot, They should be the same width
apart as they were in the Closed Dance
Position. The man’s left arm and the lady’s right
arm are in about the same position as they
were in the Closed Dance Position. The lady
should not be directly beside the man. a.k.a.
Banjo, Side Car
TANDEM
The lady stands directly in front of the man. He
holds her left hand in his left hand, mid-chest to
shoulder level. His right hand is placed on her
right hip, fingers together, pointing to her left
side. The lady places her right hand on top of
the man’s right hand, or under his right hand.
Their right hands may also be placed at the
lady’s center waist. a.k.a. Sweetheart, Shadow
CLOSED
Country Western: Partners face each other.
The man holds the lady’s right hand in his left
hand (shoulder height). His right hand or wrist is
placed on the back of the lady’s left shoulder.
The lady’s left hand is placed slightly behind the
man’s right shoulder (with arms connected).
Ballroom: (a.k.a. Traditional) Partners face each
other. The man holds the lady’s right hand in
his left hand (shoulder height). His right hand is
placed on the lady’s left shoulder blade. The
lady’s left hand is on the man’s left upper arm
or slightly behind his right shoulder (with arms
connected).
PARALLEL
Right: Partners face each other in closed dance
position. The lady is placed slightly to the man’s
right side, maintaining the same spacing
between partners.
Left: Partners face each other in closed dance
position. The lady is placed slightly to the man’s
left side, maintaining the same spacing
between partners
PROMENADE
Basic: Couple open into 3rd dance position to
form a “V” facing down LOD.
Fall-A-Way: From Promenade dance position,
facing LOD, the couple step backward with their
outside foot, against LOD.
Right Open Promenade: Couple face down
LOD. The lady is to the right of the man. The
man holds the lady’s left hand in his right hand.
The man’s left hand and the lady’s right hand
are free.
Left Open Promenade: Couple face down LOD.
The lady is to the left of the man. The man
holds the lady’s right hand in his left hand. The
man’s right hand and the lady’s left hand are
free.
OPEN
Open One Hand: Partners face each other in
Open position. The man holds the lady’s right
hand in his left hand. His right hand and her left
hand are free.
Open Two Hand: (AKA: Double Hand Hold)
Partners face each other in Open position. The
man holds the lady’s right hand in his left hand
and her left hand in his right hand.
Open One Hand Cross: (AKA: Shaking Hands)
Partners face each other in Open position. The
man holds the lady’s right hand in his right
hand. Their left hands are free.
Two Hand Cross: Partners face each other in
Open position. The man holds the lady’s right
hand in his right hand and her left hand in his
left hand. The hands are crossed with either the
right or left on top.
Same Hand Double Cross: Partners face each
other in Open position with hands joined. The
man has his right hand crossed over his left
wrist. The lady has her right hand crossed over
her left wrist. This may be done with the left
hands crossed over the right wrists.
THE WRAP
Right Wrap: Partners face the same direction.
The lady is slightly in front of the man’s right
side in the Two Hand hold. The man’s right arm
is wrapped behind the lady’s back. Their joined
hands resting on or slightly above her right hip.
His left arm and her right arm are crossed in
front.
Page 14
Left Wrap:Partners face the same direction.
The lady is slightly in front of the man’s left side
in the Two Hand hold. The man’s left arm is
wrapped behind the lady’s back. Their joined
hands resting on or slightly above her left hip.
His right arm and her left arm are crossed in
front.
SIDE BY SIDE
(a.k.a. Cape, Sweetheart)
Right: Partners face the same direction. The
lady is to the man’s right side. Their joined right
hands are held slightly in front, but not resting
on the lady’s right shoulder. Their joined left
hands are held slightly in front of the lady’s left
shoulder. The elbows are equal.
Left: Partners face the same direction. The lady
is to the man’s left side. Their joined left hands
are held slightly in front, but not resting on the
lady’s left shoulder. Their joined right hands are
held slightly in front of the lady’s right shoulder.
The elbows are equal.
CHALLENGE
(a.k.a. Shine, Apart): Open dance position with
no body contact.
PASSE'
Toe of the free leg to the knee of the support
leg.
PATTERN
See Choreography
PELVIC THRUSTS
Tilting the pelvis forward. In other dance forms
is also known as a bump.
PHRASE
In music, a division of a composition, usually
consisting of two, four, or eight measures. Also
see Out Of Phrase. In dance, to execute the
correct movements to a designated number of
measures.
PIGEON TOED
A pattern traveling sideways bringing the toes
together leaving the heels apart, then bringing
the heels together leaving the toes apart.
PIGEON TOES
See Heel Splits.
PIROUETTE
To do a complete turn on one foot
PIVOT
Turn by putting weight on the balls of one or
both feet, keeping feet in place
A traveling turn executed with the thighs locked
and feet apart in 5th position.
PLIE
(plee-AY) The body lowers with weight centered
over both feet
POLKA
Three steps done to two beats of music. See
Shuffle.
POINT
Point the free foot forward, backward, sideways
or crosswise without touching the floor. See
Touch
To point the free foot forward, backward and
sideward or crosswise.
POPCORN
This movement is done by rolling the knee
while keeping the ball of the foot in place using
two beats of music. Popcorn Left: Roll Left knee
in a half circle to the left, then back to center.
Popcorn Right: Roll Right knee in a half circle to
the right, then back to center.
POSTURE
A. SMOOTH: The hips are tucked under the
body structure.
B. RHYTHM: Hips are released.
PREP
A lead-in move or step, a set up used as
preparation for a turn or a change of dance
position
PROMENADE POSITION
See Partner Dance Positions - Promenade,
Skaters
PUSH STEP
A step ball change pattern moving to the side,
forward or backwards.
Q
QUICK
A step or weight change that takes one beat of
music.
R
RAMBLE
A pattern traveling sideways (right or left) by
alternating weight on both heels then both toes
(or vice versa) and fanning both feet to the
direction of the ramble.
RESISTANCE
A balance force and counter force between two
bodies.
Page 15
RHYTHM
In music, a flow of regularity of groups of
recurrent heavy and light accents which
conform to a specific metered timing. In dance,
the manner in which beats of the music are
distributed and applied to the movements of the
feet and body, forming dance patterns
MUSIC: A flow of recurrent heavy and light
accents.
DANCE: Recurrence of foot and body
movements.
RHYTHM DANCES
Dances performed using rhythm posture and
motion. Executed in 3rd and 5th positions,
using the inside edge of the ball of the foot.
RIGHT
When capitalized (Right), refers to a part of the
body. Lower case (right) refers to a direction.
See CW
Refers to the right foot, hand, hip, or a direction.
RIGHT SIDE BY SIDE
See Partner Dance Positions - Side By Side
RIPPLE
See Body Roll
A wave like motion beginning in one part of the
body and ending at another.
RISE
Rise & Fall: The coming up on the toes by
bracing the ankles and stretching the spine,
Used in C/W Waltz. Body Rise: The rise of the
body as controlled by bracing the leg muscles
or stretching the spine. Used in C/W Waltz and
Polka
RISE AND FALL: Coming up on the ball of the
foot, bracing the ankles and stretching the
spine, then lowering to the heels.
BODY RISE: The body rises by bracing the leg
muscles and stretching the spine, then relaxing
to a natural stance.
RLOD
Reverse Line Of Dance. Direction that is
opposite to that which the dance is normally
flowing to. See LOD
RLR
Right, Left, Right. Used in describing Cha Cha,
Shuffle, Triple, and Polka steps. Also see LRL.
ROCK
With feet apart, shift weight from Left foot to
Right foot or from Right foot to Left foot. This
movement is a weight change so you will not be
changing the position of the feet although they
may lift slightly off of the floor,
ROCK STEP
A movement, usually done in two beats of
music, initiated by stepping in any direction on
the first beat while bending the knee slightly,
and by using a rocking motion, returning the
weight onto the other foot on the second beat.
Two weight changes in any direction with feet
apart.
ROCKING MANEUVER
Two weight changes in opposite directions,
usually done while feet are already in place.
ROCKING CHAIR
A 4-beat maneuver where one foot (either right
or left) remains as a center point while the
dancer rocks forward and back (or vice versa)
on the other foot. For example:
1 Step forward on Right foot
2 Rock back on Left foot in place
3 Step back on Right Foot
4 Rock forward on Left foot in place
RODEO KICKS
A two-beat kick with either foot, the first kick
forward and the second kick to the side. It is
common to follow these kicks with a Triple Step
in place or a Sailor Shuffle.
ROLL
The indicated part of the body circles right or
left
ROLLING TURN
A 3/4 to Full turn while progressing in any
given direction, usually requiring 3 to 4 steps.
RONDE'
a.k.a. Ronde-de-Jambe. A movement where
the unweighted leg moves from one leg position
to another in a circular arc in either a CW or
CCW direction. Moving foot does not have to be
in contact with the floor and is never raised
higher than the knee.
ROND DE JAMBE
RONDE'. The unweighted leg moves from one
leg position to another in a circular movement
with a straight knee in either clockwise or
counter clockwise direction. The extended foot
never reaches a height that is higher than the
knee.
ROTATION
To rotate or turn.
ROUND DANCE
Although all types of social dances were once
collected under the round dance heading, the
term evolved to a classification for dancer’s
executing a pattern on the same foot in couples
or groupings of 3 or more, the pattern
Page 16
choreographed for a specific version of the
entire song, Also see Fixed Pattern Partner
Dance
All types of social dances were once called
Round Dances. They were danced with
partners or groups of three or more. Round
Dance in C/W dance refers to PARTNER
dances. These dances have routine patterns,
danced around the dance floor in counter
clockwise or clockwise direction.
ROUTINE
A choreography in which the steps and moves
are performed to exactly fit the phasing of a
certain rendition of a song. The routine usually
has a fixed pattern but will be altered with "tags"
and/or "truncations" in order to match the
phrasing of the song being used. See Tags,
Truncations
RUN
A step or weight change that takes one beat of
music.
RUNNING MAN
This is a movement being used in Hip Hop type
dances
1 Step forward on Right foot
& Scoot back on Right foot while lifting Left
knee
2 Step forward on Left foot
& Scoot back on Left while lifting Right knee
up
3 Step forward on Right foot
& Scoot back on Right while lifting Left knee
up
4 Step forward on Left foot
S
SAILOR STEP
A dance pattern. A shuffle type step starting
with a cross behind. The name derives from the
stumbling type step a sailor does when he first
hits dry land. The style is accomplished by
leaning in the opposite direction of the crossing
foot. Also called a Sailor Shuffle.
Left
1 Cross Left behind Right
& Side Right
2 Side Left
Lean to the left through step
Right
1 Cross Right behind Left
& Side Left
2 Side Right
Lean to the right through step
A dance pattern accomplished by leaning in the
opposite direction of the back crossing foot. In a
Left Sailor Step, lean to the left as the left foot
goes back of the right foot.
Example:
1 Place left foot behind right foot in 5th
position.
& Step side right in 2nd position.
2 Step side left in 2nd position.
NOTE: If a brush is done prior to the cross
behind the pattern is often called a Sailor
Shuffle.
SCHOOL FIGURE
See Figure.
SCHOTTISCHE
See Partner Dance Positions - Side By Side
SCISSOR STEPS
A 3-beat crossing maneuver initiated with a side
step and completed with a crossover step,
Example:
1 Step to the right on Right foot
2 Step Left foot next to Right
3 Cross Right foot over Left and step.
Weight is distributed evenly on both feet, both
legs slide past each other sideways, forward or
backward.
SCISSORS
The weight is distributed evenly on both feet.
Both legs slide past each other forward and
backward or side to side.
SCOOT
A scoot is a slide of the weighted foot forward,
backward or sideward, raising the opposite leg
with a bent knee.
A slide of the weighted foot forward, backward
or sideward (see Flea Hop). May also be done
with the weight on both feet.
SCUFF
Also see Brush. On a Scuff, the free leg swings
forward with the heel scraping the floor with
accent, after which the foot is lifted slightly.
To brush the heel forward.
SEMI-OPEN
See Partner Dance Positions - Promenade
SHADOW
See Partner Dance Positions - Tandem
SHIMMY
Upper body movement. Rapidly move
shoulders alternately forward and backwards.
Left shoulder moves forward while Right
shoulder moves backwards and vice versa.
SHOULDER SHRUG: Alternating shoulder
movements forward and backward at a rapid
rate.
Page 17
SHINE
See Partner Dance Positions - Challenge
SHRUG
A roll of one or both shoulders either backwards
or forwards in a circular motion.
SHUFFLE
A direction movement beginning with one foot,
then the bringing of the opposite foot together
with the starting foot and then stepping again
with the starting foot in the initial direction.
These steps are taken to 2 beats of music,
counted 1&2
A triple step similar to a Polka step done
without “lilt”.
SIDE
The area to the side of the dancer.
SIDE CAR
See Partner Dance Positions - Parallel
SKATERS
See Partner Dance Positions
SKIP
See Scoot
SLAP
Use one hand to slap the opposite. foot or
knee.
SLIDE
Moving an unweighted foot in any direction
keeping foot in contact with the floor.
A movement in any direction. Push, draw, or
slide the unweighted foot up to or back to the
unweighted foot.
SLOW
A step or weight change that takes two beats of
music.
SPIN
A full or 3/4 turn executed on one foot in one
beat of music.
A 360 degree turn on one foot.
SPLITS
See Heel Splits or Toe Splits
SPOT DANCE
Executed in one area or “spot”.
SPOTTING
Focusing on a fixed point through a turn.
STAMP
See Stomp Up
STARTING POSITION
The position required to begin a dance. Also
see Partner Dance Positions
STEEPLE
See Partner Dance Positions - Arch
STEP
The transfer of weight from one foot to another.
See Body Movements. [This is an error in the
NTA manual. There is no entry for Body
Movements.]
STEPS
Types of Steps:
WALKING - SLOW: Usually takes two beats of
music.
RUNNING - QUICK: (Half of a Slow) Takes one
beat of music.
SIDE (left or right): May be taken to a slow or
quick count.
PIVOT: A traveling turn executed with thighs
locked, and feet apart in 3rd or 5th position.
BALANCE: A step in any direction, bring feet
together, and hold.
STEP PATTERN
See Choreography
STEP SHEET
A choreography communicated through print
technology.
STOMP
Strike the floor with the complete foot causing a
stomping noise. Stomp Down: The weight may
end up evenly distributed on both feet. Stomp
Up: No weight applied; the foot may rebound
ready to use again, depending on the next
movement.
STOMP DOWN
See Stomp
STOMP UP
See Stomp
STRIDE
A term used in Waltz descriptions for the
slightly longer step occurring on the first and
fourth count of a Waltz basic as these counts
are the heavy downbeats in the Waltz rhythm.
STROLL
A forward step followed by a cross behind, and
another forward step. Usually moving
diagonally forward.
STRUT
A strut takes two counts and is two movements.
Step forward onto the heel with toe remaining in
the air. On the next beat the toe goes down.
STUDIO
See Partner Dance Positions - Traditional
Closed
Page 18
SUGARFOOT
The alternate touching of the toe and then the
heel of the unweighted foot next to instep of the
weighted foot.
SUGARFOOT SWIVELS
The alternate swiveling of one foot (See
Ramble) in the direction of the unweighted foot
while the unweighted foot touches the toe and
then the heel.
1 Swivel Left heel to the right while touching
Right toe next to Left instep
2 Swivel Left toe to the right while touching
Right heel to Left instep
SWEEP
a.k.a. Fan Brush. The foot brushes front
diagonally across the standing foot and is
carried around in an arc to the side before it is
lowered.
SWEETHEART
See Partner Dance Positions - Side By Side,
Wrap, Dancing Skaters, Tandem
SWING
The free foot is raised and moved forward,
backward, sideways or crossways
SWITCH
Return one foot together with a hop while at the
same time putting the opposite foot out.
SWIVEL
With feet together, move the heels or toes in
the given direction by putting the weight on the
opposite part of the foot
SWIVEL LEFT
Start with feet together. Keep toes on floor and
move both heels to the left. Now leave the
heels on the floor and move both toes to the
left. Keep repeating as many times as
necessary. First heels, then toes, then heels,
etc.
SWIVEL RIGHT
Same as Swivel Left but move toward the right.
SWIVET
Performed either right or left. Move is done on
the ball of one foot and the heel of the other.
Right Swivet: On the ball of Left foot and heel of
Right foot, swivel Left heel to the left and Right
toes to the right. Left Swivet: On the ball of
Right foot and heel of Left foot, swivel Right
heel to the right and Left toes to the left. Swivet
to about 45 degrees.
SYNCOPATION
A maneuver which employs steps between the
downbeats. Examples: Shuffle, Kick-Ball-
Change
T
TAG
a.k.a. Add. A repeated (or an entirely different)
choreography for a section of the existing
dance pattern inserted where required in order
to allow the dance to be phrased to, or comply
with, the phrasing of a certain rendition of a
song. Also see Routine.
TAGS AND RESTARTS
From: VIOLET RAY / danzndoll@turquoise.net
Choreographers that know music will put in a tag or restart when the song requires a tag or restart because of phrasing in the song. Most true dancers prefer to dance "on phrase." I'm not sure if you are familiar with phrasing, I'm guessing that you're not, since you're asking this question. You first listen to the "verse" and count out the number of beats in the verse. You also count the number of beats in the "chorus" and also the "instrumental" portion of the dance. For example, say the verse has 64 counts and the chorus only has 32 counts. This song/dance would probably be choreographed as a 32 count dance so the dance will end at the end of a verse or chorus. If that particular song has a 4 or 8 count "tag" (or "rif"/"bridge" as musicians call it) between the verse and chorus, you would want to put in a little 4 or 8 count "tag" there just so you can start the dance over with the first beat of the verse or chorus. The above applies to "restarts" also. Say, a song has 32 count verses, chorus, and instrumental and one of the choruses only has 16 counts before starting the verse again, that's where you would restart the dance, again to stay on phrase. I choreograph dances to songs that I like and make me want to dance. If the song has a "tag" in the music, then I will put in a tag or restart in the dance. If the dance is "phrased" all the way through, then I do not put in any tags or restarts. Choreographers don't put tags or restarts in a dance for no good reason, they just want the dance to stay on phrase and to fit the music. The music dictates the tags/restarts. My husband and I have about 60 dances on Kickit, some with tags/restarts and some without tags/restarts. In all cases, the music dictated whether tags/restarts were included in the dance. I teach phrasing to my beginner students so they can understand dance and can understand dancing to the music. Some of my students have been dancing less than a year and they can dance beginner dances with tags and restarts as long as they are simple tags. There is no doubt that tags and restarts makes dances more difficult. Some choreographers make it a practice to pick only songs that are evenly phrased and that do not have rifs or bridges requiring tags or restarts. Generally, these dances are easier and, in some cases, are more popular. However, this does not imply that dances having tags or restarts are not high quality dances. These dances are often quite popular among intermediate and advance dancers who welcome the challenge. I hope this helps to explain the reasons for tags and restarts.
TAMARA
See Partner Dance Positions - Pretzel
TANDEM
See Partner Dance Positions - Tandem
TAP
See Touch
TEMPO
The speed of the music. Usually measured in
Beats Per Minute (BPM)
TIME
The number of beats per measure
TIME SIGNATURE
A fraction at the beginning, and sometimes
within, music notation that signifies the number
of beats per measure and the duration of the
notes. The upper number identifies the number
of beats in one measure, while the lower
number identifies which kind of note gets one
beat. Examples:
4/4 = Four beats per measure, a quarter note
gets one beat.
3/4 = Three beats per measure, a quarter note
gets one beat.
6/8 = Six beats per measure, an eighth note
gets one beat.
TOE FAN
Feet are together, the toes of one foot move to
the side and back together.
TOE SPLITS
With heels in place, fan both toes out and back
together. See heel splits.
TOE TOUCH
See Touch
TOGETHER
Move free foot next to opposite Foot.
To bring the feet together with a weight change.
Page 19
TORQUE
A rotation of the upper body.
TOUCH
The heel or toe touches the floor in a given
direction without putting weight on that foot.
TRAVELING APPLEJACKS
A pattern traveling sideways bringing the toes
together leaving the heels apart, then bringing
the heels together leaving the toes apart.
Weight is on one toe and the opposite heel,
then reversed to result in sideways traveling,
See Applejacks
TRIPLE STEP
Three steps, LRL or RLR, taken in place within
two beats of music.
TRUNCATION
A sequence of steps purposely eliminated from
the fixed pattern of a choreography in order to
fit the remaining pattern exactly to the phrasing
of a certain rendition of a song. Also see
Routine.
TURN
A rotation of the body that takes one or more
steps or weight changes to complete. A
movement that changes the direction the body
is taking.
Types of Turns
FREE TURN To turn independently without any
body contact.
CHAINE' A 360 degree turn placing the feet
together on the second count with a weight
change.
3 STEP TURN An open CHAINE’ turn (feet do
not come together).
360 DEGREE TURN Taking three weight
changes, using second position on the second
and third weight changes. End facing the
original direction with a touch, point or brush
with the free foot.
Example:
Step right in 5th position, 1/4 turn right, (total
1/2 turn)
Step side left, 1/2 turn right.
Step side right in 2nd position.
Optional ending.
PADDLE TURN: A turn either left or right using
a series of ball changes with 3/4 of the weight
staying over the turning foot.
Example:
Step forward left, in 5th position, 1/4 turn left.
(& count) Step side right on ball of foot in 2nd
position.
Step in place left, 1/4 turn left in 5th position.
(& count) Step side right on the ball of the foot
in 2nd position.
Step in place left, 1/4 turn left in 5th position.
(& count) Step side right on the ball of the foot
in 2nd position.
Step in place left, 1/4 turn left in 5th position.
NOTE: If the right foot is placed in 3rd position,
the Paddle Turn is called a Buzz Step.
PIVOT: A traveling turn executed with the
thighs locked and feet apart in 3rd or 5th
position.
TRAVELING PIVOTS: A series of pivots
executed down LOD in 3rd or 5th positions.
STEP TURN, BREAK TURN, PIVOT TURN:
Transfer weight to the forward foot in 3rd or 5th
position, then turn 180 degrees in the opposite
direction of the forward foot. Return or replace
the weight to the original foot.
Example:
Step forward left in 3rd or 5th position, 1/2 turn
right.
Step in place or replace right.
HEEL PIVOT: A turn on the heel of one foot
only. The ball of the opposite foot moves to the
heel of the working foot. Weight is always
maintained on one leg.
TWIST TURN: From a locked position, turn on
the heel of one foot and the toe of the other in
the direction of the back foot.
SPIN: A 360 degree turn on one foot.
SPIRAL PIVOT: An inside turn ending with the
free leg crossed over the weighted leg or step
forward. Stepping forward on one foot, make
one full rotation in the opposite direction of the
forward foot.
Example:
Step forward right, in 5th position, turning left a
full rotation on the right foot. End with the left
leg crossed over the right weighted leg, or step
forward on the left foot.
TURNING
Changing position in a circular fashion.
TWIRL
A Square Dance term for turning the lady.
TWIST
With feet together, move the heels in the given
direction by putting weight on the balls of the
feet.
U
UNITS
The number of movements that comprise a
dance pattern.
Example:
WALTZ: A basic Waltz pattern takes 6 beats of
music; two measures. It takes two units to
complete the pattern.
LEFT UNIT (one unit) 1st unit:
Page 20
1 Step forward left
2 Step forward right
3 Step forward left
RIGHT UNIT (one unit) 2nd unit:
4 Step forward right
5 Step forward left
6 Step forward right
UNWIND
A maneuver which starts with the crossing of
one foot in front of and to the opposite side of
the other foot. A turn is then executed with the
feet in place which then, in effect, unwinds and
returns the legs to a normal position. An unwind
can be either 1/4 or 1/2 turn in duration. If the
turn is more than 1/2, the maneuver then
becomes a Corkscrew. See Corkscrew.
UPBEAT
The unaccented beats in a measure of music.
There are four of these in a 4/4 measure. They
are the "&" when counting 1&2&3&4& or
&1&2&3&4.
V
VARIATION
Any movement of footwork that is different from
the original footwork.
VARSOUVIENNE
See Partner Dance Positions - Side By Side
VAUDEVILLE LEFT
A syncopated crossing pattern as follows:
& Step Slightly back and to the left on Left
foot
1 Cross Right foot over Left and step.
& Step slightly to the left on Left foot while
turning body diagonally to the right.
2 Touch Right foot forward and diagonally to
the right.
Note: Beats "&1" may vary in that the Right foot
may Cross behind the Left. In this instance, the
step on the previous "&" would be directly to the
left.
VAUDEVILLE RIGHT
A syncopated crossing pattern as follows: &
Step Slightly back and to the right on Right foot
1 Cross Left foot over Right and step.
& Step slightly to the left on Right foot while
turning body diagonally to the left.
2 Touch Left foot forward and diagonally to
the left.
Note: Beats "&1" may vary in that the Left foot
may Cross behind the Right. In this instance,
the steps on the previous "&" would be directly
to the right.
[CDL mixed up rights and lefts in their
description of Vaudeville Right. Hopefully, it has
been corrected here.]
VAUDEVILLE STEPS
One or more combinations of both Vaudeville
Right and Vaudeville Left (or vice versa)
maneuvers.
VINE
See Grapevine, Weave
VISUAL LEAD
The manner in which a person follows in an
apart position (challenge or shine). The rule of
Visual Lead is the lady follows the man into a
pattern after the man begins his pattern.
W
WAGON WHEEL
Like the spokes in a wagon wheel, to turn
around on a spot in any dance position using
two or more people. Cotton Eyed Joe is often
danced in this formation.
WEAVE
A maneuver to the right or left accomplished
with two or more side steps and two or more
crossing steps. The crossing steps alternate
between crossing behind and crossing in front
of the side steps. Also see Grapevine.
WEIGHT CHANGE
Shifting body weight from the supporting foot to
the free foot. See And Step.
WEIGHT CHANGE OR TRANSFER
Shifting weight from the supporting foot to the
free foot.
Examples:
BALL, CHANGE: A change of weight from the
ball of one foot to the other foot.
CROSS: To move one foot over the other,
either in front or behind.
KICK, BALL, CHANGE: May also be done as a
Heel, Ball, Change.
Kick foot forward
(& count) Step on ball of unweighted foot
Change weight to other foot.
REPLACE, IN PLACE, RECOVER: To return
the weight to the original supporting weighted
foot. See Rock Step.
ROCK STEP: AKA: Break Step. Two weight
changes with the feet apart, taken in any
direction.
SWITCH: a.k.a. Disco Slides. Shifting weight
from one foot to the other in a rapid sliding
movement.
Page 21
TOGETHER: To bring feet together with a
change of weight.
NOTE: Close and Together are used
interchangeably.
WEIGHT CHANGE THEORY
The basic concept of how to move forward and
backward gracefully on the dance floor.
Sometimes referred to as the Two Beat Theory.
Example: Forward:
Push off from the back right foot. Moving
forward from the center, step forward left on the
heel, and roll down onto the ball of the left foot.
The free leg/foot (right) swings by (follow
through) the weighted left leg.
Backward:
Weight is centered over forward right foot.
Reach back with a straight leg touching the toes
of the unweighted left foot to the floor.
Roll down onto the ball of the left foot. The
unweighted right foot swings by the weighted
left leg (follow through), at the same time the
weight is transferred completely to the left foot.
WEIGHTED LEG/FOOT WHEEL
See Support Leg/Foot [This is an error in the
NTA manual. There is no entry for Support
Leg/Foot.]
A couple rotates to the left or right with the
center position being the axis of the rotation.
PINWHEEL: A couple turns in a circle in Right
or Left Parallel position on one spot.
WAGON WHEEL: Turning in a circle to the right
or left in any dance position, using more than
two people.
WESTERN POLKA
See Partner Dance Positions - Side By Side
WHIP
An abrupt turn away from previous pattern. Also
a dance pattern in Swing and Lindy rhythm
WHISK
A Waltz pattern in three beats using a forward
or backward step left, followed by a side step
right, and a cross behind left.
A Waltz pattern that takes three beats of music.
The man steps forward or backward on his left
foot, followed by a side step to his right, and a
cross behind in 3rd or 5th position. The lady
does the opposite footwork.
WILLIES
Step forward with toe pointing in and weight on
the balls of the feet.
WILLIE WALK
See Strut.
WOOLY BULLY
Kick Right foot forward; Cross Right ankle in
front of Left shin; Pivot 1/2 turn left on the ball of
Left foot while bringing the Right foot back
beside the Left knee (Right foot remains raised
with knee bent for the previous 3 counts). Step
back onto the Right foot; Scoot forward on
Right foot with Left knee bent and raised. Step
forward onto Left foot; Bring Right foot forward
and cross Right heel in front of Left shin; Pivot
1/2 turn left on the ball of the Left foot while
bringing Right foot back beside Left knee; Step
back onto Right foot. Scoot forward on Right
foot with Left knee bent and raised.
WRAP AROUND
See Partner Dance Positions - Wrap.
X-Y-Z
YOKE
See Partner Dance Positions - Bow
ZIGZAG
To move diagonally across the line of dance as
you alternate directions.
Terminology Resource : http://www.bald-eagle.de/download/Schriittbezeichnungen.pdf
New Line-Dance Levels : Guidelines : http://worldlinedancenewsletter.com/information/chor_new-line_levels.pdf
Tags & Restarts : http://worldlinedancenewsletter.com/information/chor_tags_restart_kim_ray.pdf
This list of line dance terms was collected
from Country Dance Lines Magazine (CDL)
[defunct] and the National Teachers
Association (NTA) Glossary. Text may have
been modified slightly for formatting
purposes, but, in general, the terms and
definitions are exactly as provided by CDL
and NTA.
Definitions from CDL look like this.
Definitions from NTA look like this.
When both agreed on exactly the same
wording, the definition looks like this.
Definitions from elsewhere look like this.
A
ACCENT
Emphasis on a particular step or move in a
pattern, or, in music, the emphasis on a certain
beat in a measure.
Dance: Special emphasis to a movement
Music: Special emphasis to a heavy beat in
music
ACROSS
Movement across the Line Of Dance
ACROSS LEFT
The Right foot will cross in front of the Left foot.
ACROSS RIGHT
The Left foot will cross in front of Right foot.
ADD
See Tag
ADVANCED
A dancer with the ability to perform intricate
moves and patterns and improvise freely within
them. See Difficulty Level
ALIGNMENT
The alignment of the body parts with respect to
the torso. See Floor Alignment
Floor Alignment: The position of the body with
relation to the line of dance.
• Forward LOD (Line of Dance)
• Reverse LOD (Line of Dance)
• Wall
• Center
• Forward right diagonal (wall)
• Forward left diagonal (center)
• Reverse right diagonal (wall)
• Reverse left diagonal (center)
• Partner Alignment: The symmetric
alignment of a couple.
AMALGAMATIONS
a.k.a. Clusters, Combinations. A group or
sequence of dance figures or patterns.
AND
Used when 2 movements are to be done
simultaneously. For example,
1. Step forward and clap hands.
A. Half of a quick count = "1&" or &1"
B. A call, such as "ready and"
& (AMPERSAND)
The upbeat that precedes or follows the whole
downbeat. &1 precedes the beat, 1& follows the
beat. Unlike the previous usage of the term
"and", the ampersand is used when "Step
forward and clap hands" means two separate
movements, and is notated in step descriptions
as:
1 Step forward on Left foot
& Clap
AND STEP
Signifies weight change with a movement. For
instance, in describing the first three steps in a
Grapevine right, the description would read:
1 Step to the right with Right foot.
2 Cross Left foot behind Right and step.
3 Step to the right with Right foot.
Without the "and step," the Left foot would still
be dangling behind the Right foot and, unless
you can fly, executing Step 3 will be quite
difficult.
ANIMATION
To show life or spirit in the dancer’s
expressions and body movement, as opposed
to a lifeless mechanical expression of
movement.
ANKLE ROCK
Feet are crossed and ankles are in a locked
position. Shift weight one or more times from
forward foot to trailing foot and back,
maintaining the locked ankle position.
APART
Movement away from partner
APPLEJACKS
A foot swiveling movement in place as follows:
1 With weight on Left heel and ball of Right
foot, swivel Left toe to the left and Right heel to
the left (feet are in a "V" position, toes pointed
outward.)
Page 2
& Swivel Left toe and Right heel back to
center
2 Weight on Right heel and ball of left foot,
swivel Right toe to the right and Left heel to the
right (feet are in a "V" position, toes pointed
outward.)
& Bring feet together
Move can be done with opposite weight
changes. Also see Traveling Applejacks
ARABESQUE
The free leg is extended backward, forward or
sideways; parallel to the floor.
ARCH
A curvature of the torso initiated by lifting the
ribcage. Also See Partner Dance Positions -
Arch
A. Partners raise joined hands to form a curve
(arch) overhead.
B. A curvature of the torso initiated by lifting the
ribcage.
ASSEMBLE'
Dancer springs up off the floor from both feet
and lands on one foot.
ATTITUDE
The free leg is turned out, and extended
backward with a bent knee
The free leg is lifted, bent and extended forward
or backward with a bent knee.
A. Forward: The knee and foot are held in front
of the hip, and the thigh is parallel to the floor.
B. Backward: The knee and foot are held
behind the hip, and the thigh is parallel to the
floor.
B
BACK
To the back of the dancer
BACK BEAT
A syncopated musical accent on the upbeat
between the 1-2, and between 3-4 (1&2, 3&4)
BALANCE
A state of equilibrium or body stability. To keep
the center of mass over the support base.
BALANCE STEP
A step in any direction, followed by a Close (no
weight) and a Hold.
BALL CHANGE
A quick change of weight from the ball of one
foot to the other foot. This move is usually
preceded by either a kick or a heel touch.
BALLROOM
See Partner Dance Positions - Traditional
BANJO
See Partner Dance Positions - Parallel
BAR
In sheet music, a vertical line that separates
measures. In music jargon, a "bar" is a
measure of music; hence "12 bar blues" means
there are 12 measures in a verse. See Measure
Vertical lines on each end of a measure of
music. See Measure
BASKET
See Partner Dance Positions - Wrap
BEGINNER
A dancer at the introductory stages of dance.
Also see Difficulty Level.
BEGINNER/INTERMEDIATE
See Difficulty Level
BEHIND
The free foot will go behind the opposite foot.
A step with the free foot crossing behind the
weighted foot.
BODY ALIGNMENT
The position of the feet to the room. Includes:
• Down LOD
• Backing LOD
• Facing wall
• Facing center
• Facing diagonally to wall
• Facing diagonally to center
• Facing diagonally to wall against LOD
• Facing diagonally to center against LOD
BODY ROLL
Done forward, backward or sideways. A
movement where different parts of the body
move in order respectively. a.k.a. Ripple.
BODY MOVEMENT
A. Gesture: Any movement not connected with
supporting the body weight.
B. Step: The transfer of weight from one foot to
another.
C. Locomotion: Movement of the body from one
place to another.
D. Jumping: Movement without a point of
support.
E. Turning: Changing position in a circular
fashion.
BOOGIE
The free hip (and leg) lifts and moves circularly
in the direction of the non-weighted leg.
The free hip lifts and moves in a circular motion
away from the weighted foot.
Page 3
BOOGIE ROLL
Similar to Forward Cuban Motion, using a bent
knee, but the hip stays back
A. Similar to Cuban Motion, using a forward
movement of the pelvis. See Nanigo.
B. A circular movement starting in the pelvis
region, moving upward through the diaphragm,
chest and shoulders
BOOGIE WALK
While moving forward, the non-support hip and
leg moves forward using a circular movement
transferring weight to moving leg.
The free hip lifts and moves in a circular motion
away from the weighted leg, stepping forward
with the free foot.
BOX STEPS
Maneuver, usually completed in 8 beats, which
forms a box on the floor. Example:
1. Step forward on Left foot
2. Step Right foot next to Left
3. Step to the left on Left foot
4. Touch Right foot next to Left
5. Step back on Right foot
6. Step Left foot next to Right
7. Step to the right on Right foot
8. Touch Left foot next to Right
BPM
Beats Per Minute. See Tempo
BREAK
1. Reverse direction
2. The 6 count pattern in Swing is called a
break pattern.
A. A change or reverse of direction.
B. See Rhythm Break. [This is an error in the
NTA manual. There is no entry for Rhythm
Break.]
BRUSH
On a Brush the free leg swings forward or back
with the sole of the foot brushing the floor as it
moves.
To brush the ball of the foot against the floor.
BUMP
Dancers bump hips to the side or with their
partner.
A. To isolate upper part of the body, flexing the
knees, and pushing the hip to either side in any
direction.
B. Dancers bump hips to the side or to the
buttocks of their partners.
BUTTERFLIES
See Heel Splits or Toe Splits
BUTTERMILKS
See Heel Splits or Toe Splits
BUZZ
A turn in one spot, also called a paddle turn.
See Paddle Turn Footwork [This is an error in
CDL. There is no entry for Paddle Turn
Footwork.]
To turn in one spot in 3rd position. Also called a
Paddle Turn. Counted as 1&2&3&4
C
CAMEL WALK
A two beat maneuver in which a step forward is
made on the first beat. On the second beat, the
forward foot does a knee pop while the trailing
foot slides up to and under the upraised heel of
the forward foot
The weighted leg does a knee pop prior to
stepping forward on the free leg which has a
straight knee.
CANTER RHYTHM
3/4 time. An uneven pattern using one long
count (1, 2) and one short count (3). Two steps
taken to 3 beats of music.
3/4 time – a rhythm break that involves weight
changes on beats 1 and 3 only
CATHEDRAL
See Partner Dance Positions - Arch
CCW
See Counterclockwise.
CENTER
The balance point of the body mass - located
near the diaphragm.
CHA CHA STEP
Three steps done to two beats of music. Count
1&2 = Left, Right, Left (LRL), or Right, Left,
Right (RLR) and is used with cha cha rhythm.
CHAINÉ
A 360 degree turn using three weight changes.
Bringing the feet together in 1st position and
changing weight.
CHANGE OF WEIGHT
Shifting weight from the supporting foot to the
free foot. See And Step.
CHARLESTON
Traditional. A 4 count step pattern swiveling the
feet in and out. Example:
1 Step forward on Left foot with heel
swiveled inward
& Swivel Left heel outward.
2 Kick Right foot forward while swiveling Left
heel inward
& Swivel Left heel outward
Page 4
3 Step back on Right foot with Right heel
turned outward
& Swivel Right heel inward
4 Touch left toe back while swiveling Right
heel outward
& Swivel Right heel inward
A 4 count pattern swiveling the feet in and out.
1 Step forward left
2 Kick right foot forward
3 Step back on the right foot
4 Point the left toes backward
CHARLESTON KICK
a.k.a. Charleston. (Traditional Charleston
without swivels) Example is left lead:
1 Step forward Left
2 Kick Right forward
3 Step back Right
4 Touch Left toe back
CHASE
A figure where one partner pursues the other.
CHASSÉ
(shah-SAY) A series of side steps. The free foot
never passes the supporting foot. May be done
forward or backward
(To Chase) A three step syncopated pattern
where the free foot comes to closure in 1st or
3rd position and replaces the other foot.
CHOREOGRAPHER
One who authors a dance or a sequence of
movements in dance.
CHOREOGRAPHY
A planned sequence of dance movement.
A planned sequence of movements.
CHUG
With weight on the ball of one foot, lift the
opposite foot and scoot forward. For Hip Hop, a
Chug is a movement with the weight on the ball
of one foot while using the opposite foot to push
off and complete a turn without moving the
weighted foot.
CLOCKWISE
(CW) Movements completed from Left to Right,
the way the hands of a clock move around the
face.
CLOSE
To bring the feet together without a change of
weight
CLOSED
See Partner Dance Positions
COASTER STEPS
A syncopated maneuver in which the starting
foot steps in a given direction, then the trailing
foot closes with the starting foot and then the
starting foot steps in the opposite direction
CONTINUITY
The ability to blend and incorporate various
school figures (patterns) together so a
continuous flow of movement is achieved.
CONTRA BODY MOVEMENT
(CBM) A movement of the body into or from 3rd
and 5th position which turns the opposite hip
and shoulder toward the direction of the moving
leg.
CONTRA BODY MOVEMENT POSITION
(CBMP) The position attained by using contra
body movement.
CONVERSATION
See Partner Dance Positions - Promenade
CORKSCREW
A maneuver similar to an "unwind" in that it
starts with the crossing of one foot over to the
other side of the other foot and placing the
weight fully onto the balls of both feet. The turn,
or unwind, is executed. However, the legs end
up in an opposite crossed position upon
completion. A Corkscrew can be either a 3/4
turn or a full turn in duration. Upon completion
of a full corkscrew turn, the trailing foot is
usually lifted off the floor slightly to relieve
pressure on the hips and to facilitate an easy
transition into the next step.
CORTÉ
See Dip.
COTTON EYED JOE POSITION
See Partner Dance Positions - Side By Side
COUNT
A call used to count the rhythm of foot
movements and weight changes, or to count
the beats of music.
COUNTER CLOCKWISE
(CCW) Movement completed from Right to Left
opposite Clockwise.
CRADLE
See Partner Dance Positions - Wrap
CROSS
The free foot will step across in front of or
behind the opposite foot. See Across Left and
Across Right
CROSS BACK
See Partner Dance Positions - Skaters
CROSS-BALL-CHANGE
See Sailor Shuffle
Page 5
CROSS SHUFFLE
See Gallop
CUBAN MOTION
A discreet but excessive hip movement
achieved by bending and straightening the knee
with carefully timed weight transfer. The foot is
moved delaying the weight transfer. Knee of the
moving leg bends inward
Hip motion initiated by using the inside edge
and ball of the foot during weight transfer.
CUDDLE
See Partner Dance Positions - Wrap
CUP AND PIN
The palm of the man’s left hand is facing
inward, with his thumb over the lady’s fingertips.
She curls her right fingertips over his left
fingers. Some resistance is needed for the
many changes of positions and turns.
C/W
County Western. Used when referring to dance.
C&W
Country & Western. Used when referring to
music.
CW
See Clockwise
C/W OPEN POSITION
See Partner Dance Positions - Side By Side,
Open, Promenade
D
DEGREE OF DIFFICULTY
See Difficulty Level
DEVELOPE’
(Developpe’)The non-support foot follows the
standing leg line to the knee (Passe’) and
opens outward forward, backward or sideward.
DIAGONAL
45 degrees out from center.
45 degrees out from the center of the Line of
Dance (direction).
DIG
To place the ball or the heel of the free foot to
the floor with a strong emphasis.
DIFFICULTY LEVEL
The degree to which a dance is rated for ease
of learning or performance. CDL only includes a
Difficulty Level when the choreographer
identifies it in their dance, Also, note that the
Difficulty Level can be subject to the tempo of
music and other factors in instructing. Difficulty
Levels in CDL are categorized by five levels.
• Beginner - for dancers with little or no
dance experience.
• Beginner/Intermediate - for dancers who
have progressed beyond the hesitant stage
and are starting to feel comfortable with
standard dance maneuvers
• Intermediate - for dancers with some
working knowledge and experience of
musical rhythms and the ability to perform
slightly intricate dance patterns.
• Intermediate/Advanced - for those who are
coming into their own as polished dancers
and are able to follow most dance patterns
and rhythms.
• Advanced - For dancers familiar with the
various rhythms and with abilities to
perform intricate moves and patterns and
improvise freely with them.
DIP
A slight bend of the support knee (plie) to a
sitting position with the free leg extend forward.
The thighs are parallel. Also called Corte
(Corte’) A slight bend of the support knee (Plie)
to a sitting position, with the free leg extended
forward.
DIRECTION
A pattern call – forward, backward, side left,
right or together.
DOUBLE ELECTRIC KICKS
See Electric Kicks
DOUBLE FOOT BOOGIE
A four beat pattern of toe and heel (or heel and
toe) swivels described as follows:
1. With weight on heels, swivel toes outward
diagonally
2. With weight on toes, swivel heels outward
diagonally
3. With weight on toes, swivel heels inward
4. With weight on heels, bring toes together
DOUBLE REVERSE
See Partner Dance Positions - Skaters
DOWNBEAT
The accented beats in a measure of music.
There are four of these in a 4/4 measure. They
are the numbers when counting 1&2&3&4& or
&1&2&3&4, while the ampersands are the up-
beats.
DRAG
Bring free foot slowly together to the supporting
foot.
To bring the free foot slowly up to the
supporting foot, knee flexed or bent.
Page 6
DRAW
See Drag
DSD
Dance Step Description. A Choreography
communicated through print technology. The
reason for this Glossary.
See Step Sheet.
E
ELECTRIC KICKS
This a Hip Hop maneuver and is done as
follows:
1 Step forward on Right foot while kicking
Left foot backwards slightly off of floor
2 Step back on Left foot while kicking Right
foot forwards slightly off of floor
3 Step back on Right foot while kicking Left
foot forwards slightly off of floor
4 Step forward on Left foot while kicking
Right foot backwards slightly off of floor
Double Electric Kicks is the above 4 beat
maneuver done twice.
EXTENSION
To stretch or extend parts of the body.
F
FALL AWAY
See Partner Dance Positions - Promenade
A position in which the man and the lady move
backwards from the Promenade position.
FAN
See Heel Fan or Toe Fan
A. The weighted leg is slightly flexed with the
non- support leg making a circular motion
extending forward, side and back without
weight.
B. Heel Fan: Feet together, the heel of one
foot moves to the side and returns to 1st
position.
C. Toe Fan: Feet together, the toes of one
foot moves to the side and returns to 1st
position.
FAN BRUSH
See Sweep
FAN KICK
A high, straight leg kick where the extended leg
makes a circular sweep.
FIGURE
A movement between dance positions using a
prescribed number of weight changes, using a
specified rhythm.
FIGURE FORE (FOUR)
The free leg moves as a pendulum in front of
the weighted foot and is kept off the floor. The
toe is pointed downward.
(Four) The weighted foot swivels as the free leg
moves as a pendulum in front of the weighted
foot, and is kept off the floor. The weighted foot
then swivels in the opposite direction. The toe is
pointed downward creating the figure four.
FIXED PATTERN PARTNER DANCE
Couples dance in unison, usually CCW around
the dance floor, to a step pattern that is
repeated for the duration of the song. Also see
Round Dance
FLARE
A low kick on or near the floor
FLEA HOP
A skip or scoot sideways in the direction of the
non support leg. The hip moves upward
A skip or scoot sideways in the direction of the
non- support leg as the hip moves upward.
FLEX
A slight bending of a portion of the body as
opposed to an exaggerated bending.
FLICK
A lift of the foot bending at the knee.
A sharp, quick kick backwards with a pointed
toe and a flexed knee.
FLOD
Line Of Direction, Line of Dance or Forward
Line of Dance on the dance floor, The direction
that the dance is normally flowing in. The term
FLOD is most often used when there are a
number of direction changes in a step
description. FLOD is usually counterclockwise
around the dance floor. Against FLOD is RLOD
(Usually clockwise around the dance floor.)
Also see ILOD, OLOD.
FLOOR ALIGNMENT
See FLOD, ILOD, RLOD, OLOD, Alignment
FLOOR CRAFT
The correct use of movement or dance patterns
around the dance floor.
FOLLOW THROUGH
The non-support foot passes by the weighted
foot before changing directions.
The non-support foot or ankle passes by the
weighted foot before changing directions.
Page 7
FOOT BOOGIE
A four beat pattern of toe/heel swivels (right or
left) with one foot staying in place as follows:
Right Foot Boogie:
1. Keeping Left foot in place, swivel Right toe
to right
2. Swivel Right heel to right
3. Swivel Right heel to center
4. Swivel right toe to center
Left Foot Boogie is opposite the above.
FOOT PARTS
Parts of the foot used in dance
• Toe
• Inside edge of the toe
• Outside edge of the toe
• Ball
• Inside edge of the ball
• Outside edge of the ball
• Heel
• Inside edge of the heel
• Outside edge of the heel
• Flat
• Inside edge of the flat foot (instep)
• Outside edge of the flat foot
FOOTWORK
The use of the five positions of the feet in
dancing,
1. Feet together
2. Feet parallel
3. Heel to instep - Instep to heel
4. Forward or back
5. Toe to heel - Heel to toe
The use of the five positions of the feet in
dancing.
FIVE POSITIONS:
1. Feet together
2. Feet parallel, hip width apart
3. Heel to instep
Extended 3rd
4. Forward or back
5. Toe to heel
Extended 5th
FOOT PARTS:
• Toe
• Inside edge of toe
• Outside edge of toe
• Ball
• Inside edge of ball
• Outside edge of ball
• Heel
• Inside edge of heel
• Outside edge of heel
• Flat
• Inside edge of flat foot
• Outside edge of flat foot
FORWARD
The area in front of the dancer.
FRAME
Dance posture for the purpose of maintaining
balance and appearance.
Dance posture for the purpose of maintaining
balance and appearance. The center used to
facilitate all turning movement, lead and
following.
FREEZE
A stop - no movement, See Hold.
A complete stop; no movement.
FRONT SIDE
The area half way between the front and the
side.
G
GALLOP
a.k.a. Cross Shuffle. A sideways syncopated
maneuver wherein one foot crosses over the
other and steps and then the trailing foot
pushes off towards the direction of travel. The
leading foot then steps again towards direction
of travel to complete the maneuver. For
example:
1 Cross Right foot over Left and step
& Push off to the left slightly with Left foot in
place
2 Step to the left on Right foot
GRAPEVINE
A continuous traveling step to the side with
crosses behind and/or in front. VINE is an
abbreviation. The Grapevine is a 3 count move
to either side. The 4th count is an optional
ending, such as a brush, kick, scoot, etc. Any
more than 3 counts is called a WEAVE. See
Weave
VINE is an abbreviation. A continuous traveling
step pattern to the side with crosses behind and
or in front in 3rd position. TURNING VINE: A
pattern which consists of a Vine with a 1/4 or
1/2 turn off of count 3. Example: A Right
Turning Vine:
1 Step side right
2 Cross left foot behind in 3rd or 5th position
3 Open to 5th position, stepping on the right
foot, execute a 1/4 or 1/2 turn right
GRIND WALK
a.k.a. Heel Twist and Suzie Q.
1 The right heel is extended forward across
the left foot with the right toe pointing toward
the left.
Page 8
2 Keeping the weight on the right heel, twist
the right toes to the right as the left foot steps to
side left.
H
HAMMERLOCK
a.k.a. Hammer. See Partner Dance Positions -
Pretzel
HEEL
1. Heel of the hand refers to the man’s hand
lead
2. Heel of foot touching the floor.
HEEL-BALL-CHANGE
Touch heel forward on Count 1, quickly change
weight to opposite foot on & Count, followed by
a quick weight change back to starting foot on
Count 2. This move is done in place.
HEEL BOUNCES
a.k.a. Heel Raises. The simultaneous raising of
both heels (either together or slightly apart) and
lowering them to the floor. Executed on beats
&1&2.
HEEL FAN
Feet are together, the heel of one foot moves to
the side and back together.
HEEL CLICKS
Fast heel spreads (splits) counted &1&2,
clicking the heels slightly together on the down
beat.
HEEL RAISES
See Heel Bounces
HEEL SPLITS
a.k.a. Scissors, Butterflies, Buttermilks, Splits,
Pigeon Toes, Heel Spreads, Texas Spread, etc.
.Feet together with weight on the balls of both
feet. Push heels apart on count 1. Bring heels
together on count 2. A FAST HEEL SPLIT
takes one beat of music and is counted as &1
or 1&. See Toe Splits.
(Heel Spreads) a.k.a. Scissors, Butterflies,
Buttermilks, Fans, Pigeon Toes. See Pigeon
Toes.
Feet are together with weight on the balls of
both feet. Push heels apart on count 1, bring
heels back to 1st position on count. 2. Fast
Heel Splits: Takes one beat of music and is
counted as "&1".
HEEL SHIFTS
See Heel Swivels or Twist
HEEL SPREADS
See Heel Splits
HEEL STOMPS
Lift both heels off the floor by bending the
knees. Return the heels to the floor with
emphasis. See Heel Bounces
a.k.a. Knee Pops. Lift one or both heels off the
floor by bending the knees. Return the heels to
the floor. Pattern takes one beat of music,
counted as "&1".
HEEL SWIVELS
With feet together and weight on the balls of the
feet, shift both heels either right or left and then
back to center.
HEEL TOUCH
See Touch
HEEL SWITCHES
A syncopated movement in which the weighted
and unweighted feet switch places from heel
touches to home position. Usually done in
multiples as below.
1 Touch Right heel forward
& Step Right foot to home
2 Touch Left heel forward
& Step Left foot to home
HEEL TWIST
See Grind Walk
HIP BUMPS
Move hips out and back.
HIP LIFT
The hip lifts the leg by rotating the hips around
the axis or the hips lift sideways
The hip lifts by straightening the non-support
leg.
HITCH
A lifting of the leg without executing a scoot
HITCH HIKE
Upper body movement. Either thumb points
back over shoulders, usually while stepping
back.
HITCH KICK
See Kick-Ball-Change
HOLD
A one beat pause before taking another step.
See Freeze.
A count describing a designated time before
taking another step.
HOME
Position of the feet directly under the body.
Original starting place.
Page 9
HOOK
See Partner Dance Positions - Arch
HOOK
The free foot moves as a pendulum in front or
back of the weighted foot and is kept off the
floor. A HOOK COMBINATION is a 4 count
move using
1 Touch heel front
2 Hook free foot over opposite knee
3 Touch heel front
4 Step together
The free foot moves as a pendulum in front or
in back of the weighted foot, and is kept off the
floor. Toes pointed slightly upward.
NOTE: A lock is sometimes referred to as a
HOOK.
HOOK COMBINATION: A 4 count pattern using
(1) a heel forward, (2) hook, (3) a heel forward,
(4) bring foot together with the weighted foot.
HOP
A spring into the air from one foot landing on
the same foot.
HORSESHOE
See Partner Dance Positions - Side By Side
I
ILOD
Inside Line Of Dance. Direction facing toward
center of dance floor
IMPROVISE
To add moves and variations within an original
Choreography. e.g., rolling turns during
Grapevines, etc.
INTERMEDIATE
A dancer who has learned and understands the
basics of dance and is comfortable on the
dance floor and can perform some intricate
patterns and moves, but has not attained the
ability to freely improvise within them. Also see
Difficulty Level
INTERMEDIATE/ADVANCED
See Difficulty Level
ISOLATION
Movement of one part of the body
independently of the rest.
J
JAZZ BOX
(Jazz Square) A dance pattern with 4 weight
changes. It may start with a forward step or a
cross.
Example A:
1 Step forward right
2 Cross left foot over the right foot
3 Step back right
4 Step side left
Example B:
1 Cross right foot over left
2 Step back left
3 Step side right
4 Step forward left
Example:
DIAMOND OR TRIANGLE: Execute “B” and
bring the feet together on count 4 instead of
stepping forward.
JAZZ SQUARE
a.k.a., Jazz Box. A dance pattern with weight
changes as follows.
Left
1 Cross Left foot over Right and step
2 Step back on Right foot
3 Step to the left on Left foot
4 Step Right foot next to Left
Right
1 Cross Right over Left and step
2 Step back on Left foot
3 Step to the right on Right foot
4 Step Left foot next to Right
JODY
See Partner Dance Positions - Side By Side
JUMP
Spring into the air off both feet and land on both
feet.
JUMPING JACKS
Jump landing with feet apart on Count 1. Jump
landing with feet together on Count 2. These
can be done quickly by jumping apart on Count
1 and back together on Count &
K
KNEE POP
The non-support knee is "popped" forward as
the heel is lifted. As the heel is lowered the
knee is returned to straight position. May be
done as a Double Knee Pop with feet together
or slightly apart.
See Heel Stomps.
Page 10
KICK
A leg lift movement in any direction taken from
the knee. The knee does not completely
straighten.
KICK-BALL-CHANGE
Kick foot out on Count 1, quickly change weight
to opposite foot on & Count, followed by a quick
weight change back to starting foot on Count 2.
This move is done in place
L
LA VARSOUVIENNE
See Partner Dance Positions - Side By Side
LEAD
A non-verbal communication that initiates and
continues movement.
LEAP
A transfer of weight from one foot to the other.
Push off with a spring and land on the ball of
the other foot, letting the heel come down. Bend
knee to absorb the shock.
A transfer of weight from one foot to the other
by pushing off with a spring into the air and
landing on the ball of the other foot, letting the
heel come down and bending the knee to
absorb the shock.
LEFT
When capitalized (Left) refers to a part of the
body. Lower case (left) refers to a direction.
See CCW
Refers to the left foot, hand, hip, etc., or to a
direction.
LEVEL OF DIFFICULTY
See Difficulty Level
LILT
A motion that moves downward and returns to
the natural stance. Used in Polka and East
Coast Swing. Counted as down on the 1 count,
up to a natural stance on the “and” count.
LINE OF DANCE
a.k.a. LOD. Same as FLOD
LOCK
A tight cross of the feet
A tight cross of the feet in 1st or 2nd position.
LOCK STEP
Step forward and slide opposite foot up to first
foot with ankles crossed.
LOD
See FLOD.
LINE OF DANCE: Counterclockwise around the
dance floor.
LOOP TURN
An underarm turn to the left for the lady, and to
the right for the man.
LOUIE, LOUIE
a.k.a. Louie Louie Swivels. A maneuver done
with one foot forward of the other and weight on
the balls of both feet. The knees are bent
slightly and both heels swivel inward and then
back to center.
LRL
Left, Right, Left. Used in describing Cha Cha,
Shuffle, Triple, and Polka steps. Also see RLR
LUNGE
A weight transfer to a bent leg with the other leg
extended.
M
MANEUVER
A short sequence of steps such as a Kick-Ball-
Change, Sailor Shuffle, Grapevine, etc.
MANEUVERABILITY
The ability to move smoothly and gracefully
between dance patterns.
MARK TIME
To step in place two or more times.
To step in place twice (2 weight changes).
MASH POTATO
a.k.a. Mashed Potatoes. A syncopated
maneuver traveling rearward which involves the
stepping back (usually behind the other foot)
with the heel turned slightly inward, and then
the quick swiveling of the heel on the weighted
foot outward. Example: & Step Right foot
slightly behind Left foot with Right heel turned
slightly to the left
1 Swivel Right heel to the right
& Step back on Left foot slightly behind Right
foot with Left heel turned slightly to the right
2 Swivel Left heel to the left
This pattern may continue for as many beats as
desired. Sometimes there is a variation in the
middle of the pattern as follows &1&2 Same as
above
&3 Same as &1 above
& With feet in place, swivel both heels inward
4 Swivel both heels outward
MEASURE
In 4/4 time (most C/W music), a grouping of
four accented beats. (3 beats for waltz time.)
Page 11
a.k.a. Bar: A grouping of musical beats located
between two horizontal lines.
MILITARY PIVOT
A 1/2 turn maneuver using two beats of music
where upon the first beat is a step forward with
one foot, and the second beat is a 1/2 pivot on
that weighted foot while shifting the weight to
the other foot. Veterans know this move as "to
the rear, march"
MILITARY TURN
A 1/4 turn maneuver using two beats of music
where upon the first beat is a step forward with
one foot, and the second beat is a 1/4 pivot on
that weighted foot while shifting the weight to
the other foot.
MINUET
Performed as a partner dance: waltz move. A
maneuver where the man and lady are facing
each other holding one or both hands. On beats
1-2-3, they close together holding hands about
chest high. On 4-5-6, they back away from each
other, lowering the hands down to waist level.
MIXER
A dance or dance pattern during which couples
change partners.
MOVE
See Movement
MOVEMENT
A change in body position.
To change body positions.
MUSIC
The stuff we dance to.
N
NANIGO
The pelvis moves forward and backward at a
rapid rate. Used in Swing and Latin dances for
style and accent.
NECK CROSS
See Partner Dance Positions - Bow
O
OLOD
Outside Line Of Dance. Direction facing away
from center of dance floor.
ONE STEP
A dance taking one step to each beat of music.
OUT OF PHRASE
When the number of steps in a dance pattern
are not equal to the number of beats or
measures of music, or vice versa.
P
PARTNER DANCE POSITIONS
The following 18 positions are adapted (often
directly copied) from the NTA Teachers Manual.
Where a right or left is described, the term for
the position is normally addressed first with the
direction, e.g., Right Side By Side or Left Side
By Side.
TRADITIONAL CLOSED
Partners face each other slightly offset. The
man holds the lady’s right hand in his left
(shoulder height). His right hand is placed on
the lady’s left shoulder blade, with the fingers
and thumb held together. The lady rests her left
hand on the man’s upper arm, or slightly behind
his right shoulder, with thumb and fingers
together. a.k.a. Ballroom, Studio
COUNTRY WESTERN CLOSED
Partners face, with toes pointed towards each
other. The man holds the lady’s right hand in
his left (shoulder height). His right hand or wrist
rests on lady's left shoulder, or on the back of
her shoulder. The lady’s left hand rests on the
man’s upper right arm, or slightly behind his
shoulder, with fingers and thumb held together.
INDIAN - Dancers are in single file. Lady is in
front. Use a double hand hold. Their joined
hands are on lady’s shoulders. NOTE: The man
may also be in front of the lady using this hand
hold.
REVERSE INDIAN
Dancers are in single file. Lady is behind man.
The man uses a double hand hold. Their joined
hands are together, placed behind the man’s
hips. NOTE: The lady may also be in front of
the man using this hand hold.
WRAP (Right is assumed) & LEFT WRAP
For Right Wrap, couple is facing in the same
direction. The lady is slightly in front of the man
on his right side, with her left foot slightly in
front of his right foot. Using a double hand hold,
the man’s right arm is wrapped behind the
lady’s back. Their joined hands rest on her right
hip. His left arm is crossed in front of the lady.
For Left Wrap, couple is facing in the same
direction. The lady is slightly in front of the man
on his left side, with her right foot slightly in
front of his left foot. Using a double hand hold,
the man’s left arm is wrapped behind the lady’s
back. Their joined hands rest on her left hip. His
right arm is crossed in front of the lady. a.k.a.
Cuddle, Cradle, Basket, Sweetheart.
Page 12
DANCING SKATERS
(Elbows are always equal in both right and left
positions.)
Right: The couple face the same direction, the
lady is slightly in front of the man’s right hip.
The man’s right arm is crossed behind the
lady’s back. Their right hands rest on the lady’s
right hip. The lady’s right hand may also be held
behind her back. Their left hands are held in
front of the man at chest level.
Left: The couple face the same direction, the
lady is slightly in front of the man’s left hip. The
man’s left arm is crossed behind the lady’s
back. Their left hands rest on the lady’s left hip.
The lady’s left hand may also be held behind
her back. Their right hands are held in front of
the man at chest level. a.k.a. Sweetheart
SKATERS
Right: The couple face the same direction. The
lady is on the man’s right. The man holds the
lady’s right hand in his right hand, and her left
hand in his left hand. The arms are crossed
right over left and are held at about waist level.
a.k.a. Promenade.
Left: The couple face the same direction, the
lady is on the man’s left. The man holds the
lady's right hand in his right hand, and her left
hand in his left hand. The arms are crossed
right over left and are held about waist level.
Reverse Right: The couple face the same
direction, the lady is on the man’s right. Their
arms are crossed behind their backs. The right
hands are on the lady’s right hip, the left hands
on the man’s left hip. a.k.a. Cross Back.
Reverse Left: The couple face the same
direction, the lady is on the man’s left. Their
arms are crossed behind their backs. The right
hands are on the man’s right hip, the left hands
on the lady’s left hip. a.k.a., Double Reverse.
ARCH
Right: Partners face in the opposite direction.
The right arms are hooked at the elbows. The
left hands are joined above their heads in an
arch. The right hands may be joined and held at
the right sides.
Left: Partners face in the opposite direction.
The left arms are hooked at the elbows. The
right hands are joined above their heads in an
arch. The left hands may be joined and held at
the left sides. a.k.a. Steeple, Cathedral, Hook.
SIDE BY SIDE
(Elbows are held at an equal level in both right
and left positions.)
Right: The couple face the same direction, lady
is on the man’s right side. Her left foot is slightly
in front of his right foot. The right hands are
held slightly forward of the lady’s right shoulder.
The left hands are slightly forward of the lady’s
left shoulder.
Left: The couple face the same direction, lady is
on the man’s left side. Her right foot is slightly in
front of his left foot. The left hands are held
slightly forward of the lady’s left shoulder. The
right hands are held slightly forward of the
lady’s right shoulder. a.k.a. La Varsouvienne,
Horseshoe, Schottische, Western Polka, Cotton
Eyed Joe, Jody, Sweetheart.
BOW
Right: Partners face the same direction, lady is
to the man’s right. Using a double hand hold,
his left arm is crossed behind his neck. His right
arm is crossed behind the lady’s neck.
Left: Partners face the same direction, lady is to
the man’s left. Using a double hand hold, his
right arm is crossed behind his neck. His left
arm is crossed behind the lady’s neck. a.k.a.
Yoke, Neck Cross
PRETZEL
Right: Partners face the opposite direction
using a double hand hold, her right hand is in
his left hand, her left in his right hand. The lady
is slightly in front of the man on his right side.
The man’s left arm, and the lady’s right, are
held up, elbows down. His right arm, and lady’s
left arm, are crossed behind the lady’s back.
Left: Partners face the opposite direction using
a double hand hold, her right hand in his left
hand, her left in his right hand. The lady is
slightly in front of the man on his left side. The
man’s right arm, and the lady’s left, are held up,
elbows down. His left arm, and lady’s right arm,
are crossed behind the lady’s hack. a.k.a.
Hammerlock, Hammer, Tamara
OPEN
Partners face each other.
Single: Man’s left hand is joined with lady’s right
hand, The free hands are held close to the
body.
Cross: Man’s right hand is joined with the lady’s
right hand (as in a hand shake). The free hands
are held close to the body.
Double: The lady’s right hand is in the man’s
left hand. The lady’s left hand is in the man’s
right hand.
Crossed Double: The lady’s right hand is in the
man’s right hand. The lady’s left hand is in the
man’s left. Either hand may be on top.
However, Right hands on top is the most
common.
CHALLENGE
Partners face each other. They are standing
apart. There is no body contact. a.k.a. Shine.
PROMENADE
From Closed dance position, the man and the
lady step forward in a "V" position down the line
of dance. a.k.a. Conversation, Semi-open.
SWING
The couple stand in Promenade dance position.
His right hand is on the lady’s back on her left
Page 13
shoulder blade. The joined hands are held
lower, about the lady’s waist level, in a cup &
pin position.
OPEN PROMENADE
Right: The couple are in Open Dance Position.
The lady is to the right of the man. The lady’s
left hand is held in the man’s right. They are
facing the same direction, both traveling down
the line of dance.
Left: The couple are in Open Dance Position.
The lady is to the left of the man. The lady’s
right hand is held in the man’s left. They are
facing the same direction, both traveling down
the line of dance.
PARALLEL
Right: From Closed Dance Position (Traditional
or Country Western) the man steps forward and
slightly to his left (outside) to place the lady into
Right Parallel Dance Position. They face each
other, but the lady is to the right side of the
man. Her right foot is slightly in front of the
man’s right foot. They should be the same width
apart as they were in the Closed Dance
Position. Although the couple have moved
slightly sideways, the man’s left arm and the
lady’s right arm are still in the same place as
they were in the Closed Dance Position.
Left: (Traditional or Country Western) The
couple face each other, but the lady is to the left
side of the man, in Left Parallel Dance Position.
The lady’s left foot is slightly in front of the
man’s left foot, They should be the same width
apart as they were in the Closed Dance
Position. The man’s left arm and the lady’s right
arm are in about the same position as they
were in the Closed Dance Position. The lady
should not be directly beside the man. a.k.a.
Banjo, Side Car
TANDEM
The lady stands directly in front of the man. He
holds her left hand in his left hand, mid-chest to
shoulder level. His right hand is placed on her
right hip, fingers together, pointing to her left
side. The lady places her right hand on top of
the man’s right hand, or under his right hand.
Their right hands may also be placed at the
lady’s center waist. a.k.a. Sweetheart, Shadow
CLOSED
Country Western: Partners face each other.
The man holds the lady’s right hand in his left
hand (shoulder height). His right hand or wrist is
placed on the back of the lady’s left shoulder.
The lady’s left hand is placed slightly behind the
man’s right shoulder (with arms connected).
Ballroom: (a.k.a. Traditional) Partners face each
other. The man holds the lady’s right hand in
his left hand (shoulder height). His right hand is
placed on the lady’s left shoulder blade. The
lady’s left hand is on the man’s left upper arm
or slightly behind his right shoulder (with arms
connected).
PARALLEL
Right: Partners face each other in closed dance
position. The lady is placed slightly to the man’s
right side, maintaining the same spacing
between partners.
Left: Partners face each other in closed dance
position. The lady is placed slightly to the man’s
left side, maintaining the same spacing
between partners
PROMENADE
Basic: Couple open into 3rd dance position to
form a “V” facing down LOD.
Fall-A-Way: From Promenade dance position,
facing LOD, the couple step backward with their
outside foot, against LOD.
Right Open Promenade: Couple face down
LOD. The lady is to the right of the man. The
man holds the lady’s left hand in his right hand.
The man’s left hand and the lady’s right hand
are free.
Left Open Promenade: Couple face down LOD.
The lady is to the left of the man. The man
holds the lady’s right hand in his left hand. The
man’s right hand and the lady’s left hand are
free.
OPEN
Open One Hand: Partners face each other in
Open position. The man holds the lady’s right
hand in his left hand. His right hand and her left
hand are free.
Open Two Hand: (AKA: Double Hand Hold)
Partners face each other in Open position. The
man holds the lady’s right hand in his left hand
and her left hand in his right hand.
Open One Hand Cross: (AKA: Shaking Hands)
Partners face each other in Open position. The
man holds the lady’s right hand in his right
hand. Their left hands are free.
Two Hand Cross: Partners face each other in
Open position. The man holds the lady’s right
hand in his right hand and her left hand in his
left hand. The hands are crossed with either the
right or left on top.
Same Hand Double Cross: Partners face each
other in Open position with hands joined. The
man has his right hand crossed over his left
wrist. The lady has her right hand crossed over
her left wrist. This may be done with the left
hands crossed over the right wrists.
THE WRAP
Right Wrap: Partners face the same direction.
The lady is slightly in front of the man’s right
side in the Two Hand hold. The man’s right arm
is wrapped behind the lady’s back. Their joined
hands resting on or slightly above her right hip.
His left arm and her right arm are crossed in
front.
Page 14
Left Wrap:Partners face the same direction.
The lady is slightly in front of the man’s left side
in the Two Hand hold. The man’s left arm is
wrapped behind the lady’s back. Their joined
hands resting on or slightly above her left hip.
His right arm and her left arm are crossed in
front.
SIDE BY SIDE
(a.k.a. Cape, Sweetheart)
Right: Partners face the same direction. The
lady is to the man’s right side. Their joined right
hands are held slightly in front, but not resting
on the lady’s right shoulder. Their joined left
hands are held slightly in front of the lady’s left
shoulder. The elbows are equal.
Left: Partners face the same direction. The lady
is to the man’s left side. Their joined left hands
are held slightly in front, but not resting on the
lady’s left shoulder. Their joined right hands are
held slightly in front of the lady’s right shoulder.
The elbows are equal.
CHALLENGE
(a.k.a. Shine, Apart): Open dance position with
no body contact.
PASSE'
Toe of the free leg to the knee of the support
leg.
PATTERN
See Choreography
PELVIC THRUSTS
Tilting the pelvis forward. In other dance forms
is also known as a bump.
PHRASE
In music, a division of a composition, usually
consisting of two, four, or eight measures. Also
see Out Of Phrase. In dance, to execute the
correct movements to a designated number of
measures.
PIGEON TOED
A pattern traveling sideways bringing the toes
together leaving the heels apart, then bringing
the heels together leaving the toes apart.
PIGEON TOES
See Heel Splits.
PIROUETTE
To do a complete turn on one foot
PIVOT
Turn by putting weight on the balls of one or
both feet, keeping feet in place
A traveling turn executed with the thighs locked
and feet apart in 5th position.
PLIE
(plee-AY) The body lowers with weight centered
over both feet
POLKA
Three steps done to two beats of music. See
Shuffle.
POINT
Point the free foot forward, backward, sideways
or crosswise without touching the floor. See
Touch
To point the free foot forward, backward and
sideward or crosswise.
POPCORN
This movement is done by rolling the knee
while keeping the ball of the foot in place using
two beats of music. Popcorn Left: Roll Left knee
in a half circle to the left, then back to center.
Popcorn Right: Roll Right knee in a half circle to
the right, then back to center.
POSTURE
A. SMOOTH: The hips are tucked under the
body structure.
B. RHYTHM: Hips are released.
PREP
A lead-in move or step, a set up used as
preparation for a turn or a change of dance
position
PROMENADE POSITION
See Partner Dance Positions - Promenade,
Skaters
PUSH STEP
A step ball change pattern moving to the side,
forward or backwards.
Q
QUICK
A step or weight change that takes one beat of
music.
R
RAMBLE
A pattern traveling sideways (right or left) by
alternating weight on both heels then both toes
(or vice versa) and fanning both feet to the
direction of the ramble.
RESISTANCE
A balance force and counter force between two
bodies.
Page 15
RHYTHM
In music, a flow of regularity of groups of
recurrent heavy and light accents which
conform to a specific metered timing. In dance,
the manner in which beats of the music are
distributed and applied to the movements of the
feet and body, forming dance patterns
MUSIC: A flow of recurrent heavy and light
accents.
DANCE: Recurrence of foot and body
movements.
RHYTHM DANCES
Dances performed using rhythm posture and
motion. Executed in 3rd and 5th positions,
using the inside edge of the ball of the foot.
RIGHT
When capitalized (Right), refers to a part of the
body. Lower case (right) refers to a direction.
See CW
Refers to the right foot, hand, hip, or a direction.
RIGHT SIDE BY SIDE
See Partner Dance Positions - Side By Side
RIPPLE
See Body Roll
A wave like motion beginning in one part of the
body and ending at another.
RISE
Rise & Fall: The coming up on the toes by
bracing the ankles and stretching the spine,
Used in C/W Waltz. Body Rise: The rise of the
body as controlled by bracing the leg muscles
or stretching the spine. Used in C/W Waltz and
Polka
RISE AND FALL: Coming up on the ball of the
foot, bracing the ankles and stretching the
spine, then lowering to the heels.
BODY RISE: The body rises by bracing the leg
muscles and stretching the spine, then relaxing
to a natural stance.
RLOD
Reverse Line Of Dance. Direction that is
opposite to that which the dance is normally
flowing to. See LOD
RLR
Right, Left, Right. Used in describing Cha Cha,
Shuffle, Triple, and Polka steps. Also see LRL.
ROCK
With feet apart, shift weight from Left foot to
Right foot or from Right foot to Left foot. This
movement is a weight change so you will not be
changing the position of the feet although they
may lift slightly off of the floor,
ROCK STEP
A movement, usually done in two beats of
music, initiated by stepping in any direction on
the first beat while bending the knee slightly,
and by using a rocking motion, returning the
weight onto the other foot on the second beat.
Two weight changes in any direction with feet
apart.
ROCKING MANEUVER
Two weight changes in opposite directions,
usually done while feet are already in place.
ROCKING CHAIR
A 4-beat maneuver where one foot (either right
or left) remains as a center point while the
dancer rocks forward and back (or vice versa)
on the other foot. For example:
1 Step forward on Right foot
2 Rock back on Left foot in place
3 Step back on Right Foot
4 Rock forward on Left foot in place
RODEO KICKS
A two-beat kick with either foot, the first kick
forward and the second kick to the side. It is
common to follow these kicks with a Triple Step
in place or a Sailor Shuffle.
ROLL
The indicated part of the body circles right or
left
ROLLING TURN
A 3/4 to Full turn while progressing in any
given direction, usually requiring 3 to 4 steps.
RONDE'
a.k.a. Ronde-de-Jambe. A movement where
the unweighted leg moves from one leg position
to another in a circular arc in either a CW or
CCW direction. Moving foot does not have to be
in contact with the floor and is never raised
higher than the knee.
ROND DE JAMBE
RONDE'. The unweighted leg moves from one
leg position to another in a circular movement
with a straight knee in either clockwise or
counter clockwise direction. The extended foot
never reaches a height that is higher than the
knee.
ROTATION
To rotate or turn.
ROUND DANCE
Although all types of social dances were once
collected under the round dance heading, the
term evolved to a classification for dancer’s
executing a pattern on the same foot in couples
or groupings of 3 or more, the pattern
Page 16
choreographed for a specific version of the
entire song, Also see Fixed Pattern Partner
Dance
All types of social dances were once called
Round Dances. They were danced with
partners or groups of three or more. Round
Dance in C/W dance refers to PARTNER
dances. These dances have routine patterns,
danced around the dance floor in counter
clockwise or clockwise direction.
ROUTINE
A choreography in which the steps and moves
are performed to exactly fit the phasing of a
certain rendition of a song. The routine usually
has a fixed pattern but will be altered with "tags"
and/or "truncations" in order to match the
phrasing of the song being used. See Tags,
Truncations
RUN
A step or weight change that takes one beat of
music.
RUNNING MAN
This is a movement being used in Hip Hop type
dances
1 Step forward on Right foot
& Scoot back on Right foot while lifting Left
knee
2 Step forward on Left foot
& Scoot back on Left while lifting Right knee
up
3 Step forward on Right foot
& Scoot back on Right while lifting Left knee
up
4 Step forward on Left foot
S
SAILOR STEP
A dance pattern. A shuffle type step starting
with a cross behind. The name derives from the
stumbling type step a sailor does when he first
hits dry land. The style is accomplished by
leaning in the opposite direction of the crossing
foot. Also called a Sailor Shuffle.
Left
1 Cross Left behind Right
& Side Right
2 Side Left
Lean to the left through step
Right
1 Cross Right behind Left
& Side Left
2 Side Right
Lean to the right through step
A dance pattern accomplished by leaning in the
opposite direction of the back crossing foot. In a
Left Sailor Step, lean to the left as the left foot
goes back of the right foot.
Example:
1 Place left foot behind right foot in 5th
position.
& Step side right in 2nd position.
2 Step side left in 2nd position.
NOTE: If a brush is done prior to the cross
behind the pattern is often called a Sailor
Shuffle.
SCHOOL FIGURE
See Figure.
SCHOTTISCHE
See Partner Dance Positions - Side By Side
SCISSOR STEPS
A 3-beat crossing maneuver initiated with a side
step and completed with a crossover step,
Example:
1 Step to the right on Right foot
2 Step Left foot next to Right
3 Cross Right foot over Left and step.
Weight is distributed evenly on both feet, both
legs slide past each other sideways, forward or
backward.
SCISSORS
The weight is distributed evenly on both feet.
Both legs slide past each other forward and
backward or side to side.
SCOOT
A scoot is a slide of the weighted foot forward,
backward or sideward, raising the opposite leg
with a bent knee.
A slide of the weighted foot forward, backward
or sideward (see Flea Hop). May also be done
with the weight on both feet.
SCUFF
Also see Brush. On a Scuff, the free leg swings
forward with the heel scraping the floor with
accent, after which the foot is lifted slightly.
To brush the heel forward.
SEMI-OPEN
See Partner Dance Positions - Promenade
SHADOW
See Partner Dance Positions - Tandem
SHIMMY
Upper body movement. Rapidly move
shoulders alternately forward and backwards.
Left shoulder moves forward while Right
shoulder moves backwards and vice versa.
SHOULDER SHRUG: Alternating shoulder
movements forward and backward at a rapid
rate.
Page 17
SHINE
See Partner Dance Positions - Challenge
SHRUG
A roll of one or both shoulders either backwards
or forwards in a circular motion.
SHUFFLE
A direction movement beginning with one foot,
then the bringing of the opposite foot together
with the starting foot and then stepping again
with the starting foot in the initial direction.
These steps are taken to 2 beats of music,
counted 1&2
A triple step similar to a Polka step done
without “lilt”.
SIDE
The area to the side of the dancer.
SIDE CAR
See Partner Dance Positions - Parallel
SKATERS
See Partner Dance Positions
SKIP
See Scoot
SLAP
Use one hand to slap the opposite. foot or
knee.
SLIDE
Moving an unweighted foot in any direction
keeping foot in contact with the floor.
A movement in any direction. Push, draw, or
slide the unweighted foot up to or back to the
unweighted foot.
SLOW
A step or weight change that takes two beats of
music.
SPIN
A full or 3/4 turn executed on one foot in one
beat of music.
A 360 degree turn on one foot.
SPLITS
See Heel Splits or Toe Splits
SPOT DANCE
Executed in one area or “spot”.
SPOTTING
Focusing on a fixed point through a turn.
STAMP
See Stomp Up
STARTING POSITION
The position required to begin a dance. Also
see Partner Dance Positions
STEEPLE
See Partner Dance Positions - Arch
STEP
The transfer of weight from one foot to another.
See Body Movements. [This is an error in the
NTA manual. There is no entry for Body
Movements.]
STEPS
Types of Steps:
WALKING - SLOW: Usually takes two beats of
music.
RUNNING - QUICK: (Half of a Slow) Takes one
beat of music.
SIDE (left or right): May be taken to a slow or
quick count.
PIVOT: A traveling turn executed with thighs
locked, and feet apart in 3rd or 5th position.
BALANCE: A step in any direction, bring feet
together, and hold.
STEP PATTERN
See Choreography
STEP SHEET
A choreography communicated through print
technology.
STOMP
Strike the floor with the complete foot causing a
stomping noise. Stomp Down: The weight may
end up evenly distributed on both feet. Stomp
Up: No weight applied; the foot may rebound
ready to use again, depending on the next
movement.
STOMP DOWN
See Stomp
STOMP UP
See Stomp
STRIDE
A term used in Waltz descriptions for the
slightly longer step occurring on the first and
fourth count of a Waltz basic as these counts
are the heavy downbeats in the Waltz rhythm.
STROLL
A forward step followed by a cross behind, and
another forward step. Usually moving
diagonally forward.
STRUT
A strut takes two counts and is two movements.
Step forward onto the heel with toe remaining in
the air. On the next beat the toe goes down.
STUDIO
See Partner Dance Positions - Traditional
Closed
Page 18
SUGARFOOT
The alternate touching of the toe and then the
heel of the unweighted foot next to instep of the
weighted foot.
SUGARFOOT SWIVELS
The alternate swiveling of one foot (See
Ramble) in the direction of the unweighted foot
while the unweighted foot touches the toe and
then the heel.
1 Swivel Left heel to the right while touching
Right toe next to Left instep
2 Swivel Left toe to the right while touching
Right heel to Left instep
SWEEP
a.k.a. Fan Brush. The foot brushes front
diagonally across the standing foot and is
carried around in an arc to the side before it is
lowered.
SWEETHEART
See Partner Dance Positions - Side By Side,
Wrap, Dancing Skaters, Tandem
SWING
The free foot is raised and moved forward,
backward, sideways or crossways
SWITCH
Return one foot together with a hop while at the
same time putting the opposite foot out.
SWIVEL
With feet together, move the heels or toes in
the given direction by putting the weight on the
opposite part of the foot
SWIVEL LEFT
Start with feet together. Keep toes on floor and
move both heels to the left. Now leave the
heels on the floor and move both toes to the
left. Keep repeating as many times as
necessary. First heels, then toes, then heels,
etc.
SWIVEL RIGHT
Same as Swivel Left but move toward the right.
SWIVET
Performed either right or left. Move is done on
the ball of one foot and the heel of the other.
Right Swivet: On the ball of Left foot and heel of
Right foot, swivel Left heel to the left and Right
toes to the right. Left Swivet: On the ball of
Right foot and heel of Left foot, swivel Right
heel to the right and Left toes to the left. Swivet
to about 45 degrees.
SYNCOPATION
A maneuver which employs steps between the
downbeats. Examples: Shuffle, Kick-Ball-
Change
T
TAG
a.k.a. Add. A repeated (or an entirely different)
choreography for a section of the existing
dance pattern inserted where required in order
to allow the dance to be phrased to, or comply
with, the phrasing of a certain rendition of a
song. Also see Routine.
TAGS AND RESTARTS
From: VIOLET RAY / danzndoll@turquoise.net
Choreographers that know music will put in a tag or restart when the song requires a tag or restart because of phrasing in the song. Most true dancers prefer to dance "on phrase." I'm not sure if you are familiar with phrasing, I'm guessing that you're not, since you're asking this question. You first listen to the "verse" and count out the number of beats in the verse. You also count the number of beats in the "chorus" and also the "instrumental" portion of the dance. For example, say the verse has 64 counts and the chorus only has 32 counts. This song/dance would probably be choreographed as a 32 count dance so the dance will end at the end of a verse or chorus. If that particular song has a 4 or 8 count "tag" (or "rif"/"bridge" as musicians call it) between the verse and chorus, you would want to put in a little 4 or 8 count "tag" there just so you can start the dance over with the first beat of the verse or chorus. The above applies to "restarts" also. Say, a song has 32 count verses, chorus, and instrumental and one of the choruses only has 16 counts before starting the verse again, that's where you would restart the dance, again to stay on phrase. I choreograph dances to songs that I like and make me want to dance. If the song has a "tag" in the music, then I will put in a tag or restart in the dance. If the dance is "phrased" all the way through, then I do not put in any tags or restarts. Choreographers don't put tags or restarts in a dance for no good reason, they just want the dance to stay on phrase and to fit the music. The music dictates the tags/restarts. My husband and I have about 60 dances on Kickit, some with tags/restarts and some without tags/restarts. In all cases, the music dictated whether tags/restarts were included in the dance. I teach phrasing to my beginner students so they can understand dance and can understand dancing to the music. Some of my students have been dancing less than a year and they can dance beginner dances with tags and restarts as long as they are simple tags. There is no doubt that tags and restarts makes dances more difficult. Some choreographers make it a practice to pick only songs that are evenly phrased and that do not have rifs or bridges requiring tags or restarts. Generally, these dances are easier and, in some cases, are more popular. However, this does not imply that dances having tags or restarts are not high quality dances. These dances are often quite popular among intermediate and advance dancers who welcome the challenge. I hope this helps to explain the reasons for tags and restarts.
TAMARA
See Partner Dance Positions - Pretzel
TANDEM
See Partner Dance Positions - Tandem
TAP
See Touch
TEMPO
The speed of the music. Usually measured in
Beats Per Minute (BPM)
TIME
The number of beats per measure
TIME SIGNATURE
A fraction at the beginning, and sometimes
within, music notation that signifies the number
of beats per measure and the duration of the
notes. The upper number identifies the number
of beats in one measure, while the lower
number identifies which kind of note gets one
beat. Examples:
4/4 = Four beats per measure, a quarter note
gets one beat.
3/4 = Three beats per measure, a quarter note
gets one beat.
6/8 = Six beats per measure, an eighth note
gets one beat.
TOE FAN
Feet are together, the toes of one foot move to
the side and back together.
TOE SPLITS
With heels in place, fan both toes out and back
together. See heel splits.
TOE TOUCH
See Touch
TOGETHER
Move free foot next to opposite Foot.
To bring the feet together with a weight change.
Page 19
TORQUE
A rotation of the upper body.
TOUCH
The heel or toe touches the floor in a given
direction without putting weight on that foot.
TRAVELING APPLEJACKS
A pattern traveling sideways bringing the toes
together leaving the heels apart, then bringing
the heels together leaving the toes apart.
Weight is on one toe and the opposite heel,
then reversed to result in sideways traveling,
See Applejacks
TRIPLE STEP
Three steps, LRL or RLR, taken in place within
two beats of music.
TRUNCATION
A sequence of steps purposely eliminated from
the fixed pattern of a choreography in order to
fit the remaining pattern exactly to the phrasing
of a certain rendition of a song. Also see
Routine.
TURN
A rotation of the body that takes one or more
steps or weight changes to complete. A
movement that changes the direction the body
is taking.
Types of Turns
FREE TURN To turn independently without any
body contact.
CHAINE' A 360 degree turn placing the feet
together on the second count with a weight
change.
3 STEP TURN An open CHAINE’ turn (feet do
not come together).
360 DEGREE TURN Taking three weight
changes, using second position on the second
and third weight changes. End facing the
original direction with a touch, point or brush
with the free foot.
Example:
Step right in 5th position, 1/4 turn right, (total
1/2 turn)
Step side left, 1/2 turn right.
Step side right in 2nd position.
Optional ending.
PADDLE TURN: A turn either left or right using
a series of ball changes with 3/4 of the weight
staying over the turning foot.
Example:
Step forward left, in 5th position, 1/4 turn left.
(& count) Step side right on ball of foot in 2nd
position.
Step in place left, 1/4 turn left in 5th position.
(& count) Step side right on the ball of the foot
in 2nd position.
Step in place left, 1/4 turn left in 5th position.
(& count) Step side right on the ball of the foot
in 2nd position.
Step in place left, 1/4 turn left in 5th position.
NOTE: If the right foot is placed in 3rd position,
the Paddle Turn is called a Buzz Step.
PIVOT: A traveling turn executed with the
thighs locked and feet apart in 3rd or 5th
position.
TRAVELING PIVOTS: A series of pivots
executed down LOD in 3rd or 5th positions.
STEP TURN, BREAK TURN, PIVOT TURN:
Transfer weight to the forward foot in 3rd or 5th
position, then turn 180 degrees in the opposite
direction of the forward foot. Return or replace
the weight to the original foot.
Example:
Step forward left in 3rd or 5th position, 1/2 turn
right.
Step in place or replace right.
HEEL PIVOT: A turn on the heel of one foot
only. The ball of the opposite foot moves to the
heel of the working foot. Weight is always
maintained on one leg.
TWIST TURN: From a locked position, turn on
the heel of one foot and the toe of the other in
the direction of the back foot.
SPIN: A 360 degree turn on one foot.
SPIRAL PIVOT: An inside turn ending with the
free leg crossed over the weighted leg or step
forward. Stepping forward on one foot, make
one full rotation in the opposite direction of the
forward foot.
Example:
Step forward right, in 5th position, turning left a
full rotation on the right foot. End with the left
leg crossed over the right weighted leg, or step
forward on the left foot.
TURNING
Changing position in a circular fashion.
TWIRL
A Square Dance term for turning the lady.
TWIST
With feet together, move the heels in the given
direction by putting weight on the balls of the
feet.
U
UNITS
The number of movements that comprise a
dance pattern.
Example:
WALTZ: A basic Waltz pattern takes 6 beats of
music; two measures. It takes two units to
complete the pattern.
LEFT UNIT (one unit) 1st unit:
Page 20
1 Step forward left
2 Step forward right
3 Step forward left
RIGHT UNIT (one unit) 2nd unit:
4 Step forward right
5 Step forward left
6 Step forward right
UNWIND
A maneuver which starts with the crossing of
one foot in front of and to the opposite side of
the other foot. A turn is then executed with the
feet in place which then, in effect, unwinds and
returns the legs to a normal position. An unwind
can be either 1/4 or 1/2 turn in duration. If the
turn is more than 1/2, the maneuver then
becomes a Corkscrew. See Corkscrew.
UPBEAT
The unaccented beats in a measure of music.
There are four of these in a 4/4 measure. They
are the "&" when counting 1&2&3&4& or
&1&2&3&4.
V
VARIATION
Any movement of footwork that is different from
the original footwork.
VARSOUVIENNE
See Partner Dance Positions - Side By Side
VAUDEVILLE LEFT
A syncopated crossing pattern as follows:
& Step Slightly back and to the left on Left
foot
1 Cross Right foot over Left and step.
& Step slightly to the left on Left foot while
turning body diagonally to the right.
2 Touch Right foot forward and diagonally to
the right.
Note: Beats "&1" may vary in that the Right foot
may Cross behind the Left. In this instance, the
step on the previous "&" would be directly to the
left.
VAUDEVILLE RIGHT
A syncopated crossing pattern as follows: &
Step Slightly back and to the right on Right foot
1 Cross Left foot over Right and step.
& Step slightly to the left on Right foot while
turning body diagonally to the left.
2 Touch Left foot forward and diagonally to
the left.
Note: Beats "&1" may vary in that the Left foot
may Cross behind the Right. In this instance,
the steps on the previous "&" would be directly
to the right.
[CDL mixed up rights and lefts in their
description of Vaudeville Right. Hopefully, it has
been corrected here.]
VAUDEVILLE STEPS
One or more combinations of both Vaudeville
Right and Vaudeville Left (or vice versa)
maneuvers.
VINE
See Grapevine, Weave
VISUAL LEAD
The manner in which a person follows in an
apart position (challenge or shine). The rule of
Visual Lead is the lady follows the man into a
pattern after the man begins his pattern.
W
WAGON WHEEL
Like the spokes in a wagon wheel, to turn
around on a spot in any dance position using
two or more people. Cotton Eyed Joe is often
danced in this formation.
WEAVE
A maneuver to the right or left accomplished
with two or more side steps and two or more
crossing steps. The crossing steps alternate
between crossing behind and crossing in front
of the side steps. Also see Grapevine.
WEIGHT CHANGE
Shifting body weight from the supporting foot to
the free foot. See And Step.
WEIGHT CHANGE OR TRANSFER
Shifting weight from the supporting foot to the
free foot.
Examples:
BALL, CHANGE: A change of weight from the
ball of one foot to the other foot.
CROSS: To move one foot over the other,
either in front or behind.
KICK, BALL, CHANGE: May also be done as a
Heel, Ball, Change.
Kick foot forward
(& count) Step on ball of unweighted foot
Change weight to other foot.
REPLACE, IN PLACE, RECOVER: To return
the weight to the original supporting weighted
foot. See Rock Step.
ROCK STEP: AKA: Break Step. Two weight
changes with the feet apart, taken in any
direction.
SWITCH: a.k.a. Disco Slides. Shifting weight
from one foot to the other in a rapid sliding
movement.
Page 21
TOGETHER: To bring feet together with a
change of weight.
NOTE: Close and Together are used
interchangeably.
WEIGHT CHANGE THEORY
The basic concept of how to move forward and
backward gracefully on the dance floor.
Sometimes referred to as the Two Beat Theory.
Example: Forward:
Push off from the back right foot. Moving
forward from the center, step forward left on the
heel, and roll down onto the ball of the left foot.
The free leg/foot (right) swings by (follow
through) the weighted left leg.
Backward:
Weight is centered over forward right foot.
Reach back with a straight leg touching the toes
of the unweighted left foot to the floor.
Roll down onto the ball of the left foot. The
unweighted right foot swings by the weighted
left leg (follow through), at the same time the
weight is transferred completely to the left foot.
WEIGHTED LEG/FOOT WHEEL
See Support Leg/Foot [This is an error in the
NTA manual. There is no entry for Support
Leg/Foot.]
A couple rotates to the left or right with the
center position being the axis of the rotation.
PINWHEEL: A couple turns in a circle in Right
or Left Parallel position on one spot.
WAGON WHEEL: Turning in a circle to the right
or left in any dance position, using more than
two people.
WESTERN POLKA
See Partner Dance Positions - Side By Side
WHIP
An abrupt turn away from previous pattern. Also
a dance pattern in Swing and Lindy rhythm
WHISK
A Waltz pattern in three beats using a forward
or backward step left, followed by a side step
right, and a cross behind left.
A Waltz pattern that takes three beats of music.
The man steps forward or backward on his left
foot, followed by a side step to his right, and a
cross behind in 3rd or 5th position. The lady
does the opposite footwork.
WILLIES
Step forward with toe pointing in and weight on
the balls of the feet.
WILLIE WALK
See Strut.
WOOLY BULLY
Kick Right foot forward; Cross Right ankle in
front of Left shin; Pivot 1/2 turn left on the ball of
Left foot while bringing the Right foot back
beside the Left knee (Right foot remains raised
with knee bent for the previous 3 counts). Step
back onto the Right foot; Scoot forward on
Right foot with Left knee bent and raised. Step
forward onto Left foot; Bring Right foot forward
and cross Right heel in front of Left shin; Pivot
1/2 turn left on the ball of the Left foot while
bringing Right foot back beside Left knee; Step
back onto Right foot. Scoot forward on Right
foot with Left knee bent and raised.
WRAP AROUND
See Partner Dance Positions - Wrap.
X-Y-Z
YOKE
See Partner Dance Positions - Bow
ZIGZAG
To move diagonally across the line of dance as
you alternate directions.
Powered by
