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
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.
