DOCSLIB.ORG

Ballroom Dancing Step List.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ballroom Dancing Step List.Pdf TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014 General Restrictions for the International Standard / Ballroom Dances Elements and figures unique to one dance may not be used in another dance unless Weave actions may not be extended in Bronze or Silver Foxtrot, but a Weave may be specified. Example: The Double Reverse Spin is in both Waltz and Quickstep, but may extended by 2 counts in Gold Foxtrot. Figures from higher levels may not be danced at not be used in Foxtrot or Tango. a lower level. Example: The Weave From Promenade may not be danced at the Bronze level. Unless specifically approved within the syllabus, syncopations are not permitted Entrances are not permitted except in the 5-dance “Challenge” divisions. Elements must be completed, but partial steps may be danced. Examples: The Foxtrot Partners may start in Open Facing Position and step to Closed Position once the music Open Telemark, Open Natural may be followed by a Closed or Open Impetus; Step 11 begins, or they may simply start in Closed Position. Once the dance commences, (step 10 if entered from a Spin Turn) of the V-6 in Quickstep need not be followed by a partners must remain in Closed Hold until the end of the dance. In Viennese Waltz, it is Forward Lock. permitted to perform a single curtsey facing partner before stepping to Closed Position. *** International Waltz *** Technical Aspects of these figures are detailed in The Ballroom Technique (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Waltz ** ** Bronze Waltz Continued ** ** Gold Waltz ** Left Foot and Right Foot Closed Changes Double Reverse Spin Overturned Natural Spin Turn Natural Turn Reverse Pivot Left Whisk Reverse Turn Back Lock Left Whisk when Man steps back on count 1 Natural Spin Turn Progressive Chassé to Right Left Whisk on 1st Beat of the Bar/Measure Underturned Natural Spin Turn ** Silver Waltz ** Contra Check Whisk Whisk when Man turns 1/8 at side of room Closed Wing Whisk when Man turns 1/4 to Left Weave from Promenade Position Turning Lock to Right Chasse from Promenade Position Closed Telemark Fallaway Reverse and Slip Pivot Closed Impetus Open Telemark and Cross Hesitation Hover Corté Hesitation Change Open Telemark and Wing Hover Corté over 2 Bars/Measures of Music Outside Change Open Impetus and Cross Hesitation Fallaway Whisk Outside Change ended in Promenade Position Open Impetus and Wing Reverse Corté Outside Spin Back Whisk Underturned Outside Spin Back Whisk with Turn Turning Lock Basic Weave Drag Hesitation TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014 *** International Tango *** Technical Aspects of these figures are detailed in The Ballroom Technique (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Tango ** ** Bronze Tango Continued ** ** Silver Tango Continued ** Left Foot or Right Foot Walk Natural Twist Turn Four Step Change Progressive Side Step Natural Promenade Turn Brush Tap Progressive Link ** Silver Tango ** ** Gold Tango ** Closed Promenade Promenade Link Fallaway Four Step Open Finish Reverse Promenade Link Oversway and Endings for Oversway Rock Turn Four Step Drop Oversway Open Reverse Turn, Lady Outside Overturned Four Step Basic Reverse Turn Back Corté Back Open Promenade The Chase and Alternate Endings for the Chase Open Reverse Turn, Lady in Line Outside Swivel Method 1: After an Open Finish, ending Fallaway Reverse and Slip Pivot DW Progressive Side Step Reverse Turn Outside Swivel Method 2: Turning to Left, ending DC Five Step Open Promenade Reverse Outside Swivel (Method 3): Entering with steps Overturned Five Step 1-2 of Open Reverse Turn, Lady Outside Rock Back on Right Foot (RF Rock) Reverse Outside Swivel (Method 4): Man using Foot Contra Check Swivel, Lady turns less than normal Rock Back on Left Foot (LF Rock) Fallaway Promenade TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014 *** International Foxtrot *** Technical Aspects of these figures are detailed in The Ballroom Technique (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Foxtrot ** ** Silver Foxtrot Continued ** ** Gold Foxtrot ** Feather Step Top Spin Natural Twist Turn Three Step (May curve 1/8 to Left) Hover Feather Natural Twist Turn with Weave Ending Natural Turn Hover Telemark Natural Twist Turn with Closed Impetus Ending Reverse Turn (Incorporating the Feather Finish) Hover Telemark to Promenade Position Natural Twist Turn with Open Impetus Ending Closed Impetus and Feather Finish Natural Telemark Curved Feather to Back Feather Natural Weave Hover Cross Natural Zig-Zag from Promenade Position Change of Direction Open Telemark, Open Natural Turn, Outside Swivel and Fallaway Reverse and Slip Pivot Feather Ending Basic Weave Alternate Amounts of Turn & Alternate Methods of Natural Hover Telemark Entering / Exiting Outside Swivel ** Silver Foxtrot ** Open Natural Turn Bounce Fallaway with Weave Ending Natural Weave from Promenade Position Open Impetus Overturned Natural Weave from Promenade Position Weave from Promenade Position Closed Telemark Reverse Wave Open Telemark and Feather Ending TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014 *** International Quickstep *** Technical Aspects of these figures are detailed in The Ballroom Technique (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Quickstep ** ** Bronze Quickstep Continued ** ** Silver Quickstep Continued** Quarter Turn to Right Tipple Chassé to Right at Corner Fishtail Natural Turn Tipple Chassé to Right along side of room Running Right Turn Natural Turn with Hesitation Running Finish Four Quick Run Natural Pivot Turn Natural Turn and Back Lock The V-6 Progressive Chassé Double Reverse Spin Closed Telemark Chassé Reverse Turn Zig-Zag, Back Lock, Running Finish ** Gold Quickstep ** Forward Lock Cross Chasse Cross Swivel Closed Impetus Change of Direction Rumba Cross Back Lock ** Silver Quickstep ** Tipsy Chassé to Right Reverse Pivot Underturned (Checked) Tipple Chassé to Right Tipsy Chassé to Left Progressive Chassé to Right Quick Open Reverse Hover Corté *** International Viennese Waltz *** Technical Aspects of these figures are detailed in The Viennese Waltz (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Viennese Waltz ** ** Silver Viennese Waltz ** ** Gold Viennese Waltz ** Reverse Turn Reverse Fleckerl Natural Fleckerl Natural Turn Contra Check Forward Change – Left Foot or Right Foot Backward Change – Left Foot or Right Foot TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014 General Restrictions, Holds, Notes and Other Information for the International Latin Dances Restrictions Pertaining to the International Latin Dances Entrances are not permitted except in the 5-dance “Challenge” divisions. 1. Floor lunges, layover lines, slashes, slides, etc, are not permitted - dancers must remain in standing positions at all times. 2. Dancers are not permitted to use figures from a higher level, meaning that Bronze dancers may not use Silver material and Silver dancers may not use Gold material. However, Silver and Gold dancers will use material from lower levels, include any Alternate Holds, Alternate Timings or any other allowable method of dancing a lower level step that is appropriate at the level entered. 3. Figures marked ST or A are Bronze; Figures marked L are Silver; Figures marked F are Gold. Allowable Precedes and Follows are also marked in this manner. 4. Figure Developments are only permitted in the appropriate level. Example: The Fan is a Bronze figure, but the Fan Development is a Silver-level method of dancing the figure. 5. Alternate Methods, Alternate Timings, Figure Developments, etc, are marked ST, A, L or F to determine the level at which that action/timing may be used. 6. Various “holds” and “positions” are used in the Latin dances; not all positions are used at the same level in every dance. Some are used in 1 dance or in 2 or 3 dances, but not in others. Please review the information in the Allowable Holds and Usage section below. Allowable Holds and Usage 1. Dancers are only permitted to use the holds allowed for a figure at the level the figure is being danced. Example: Progressive Walks in Rumba may be danced in Closed or Open Position, retaining Left to Right hold (or 2-hand / Double hold) when in Open Position; When danced in Left Side or Right Side Position, a 1-hand hold or the Alternative Hold may be used, but the Walks may not be danced without hold. 2. The Positions detailed below are with hold unless other information is provided. 3. In every allowable position, dancers are never farther away from one another than arms length. Exception: There and Back in Cha Cha. 4. When releasing hold is permitted, dancers must regain an allowable hold again after a maximum of 2 bars/measures in a “no hold” position. Exception: Up to 4 bars in a “no hold” position may be used in a Time Step grouping in Cha Cha. 5. Dancers must use only the allowable timing for a figure at the level it is being danced. Examples: 1. A Time Step grouping in Bronze Cha Cha must use “normal” timing of 2.3.4&1. The same group in Silver Cha Cha could be danced using Guapacha timing (Hold 2, step 2.3.4&1). 2. A Travelling Volta in Bronze Samba must use the normal count of 1a2a3a4, etc, taking steps on all counts. The same action in Gold Samba may be danced taking a step on 1, hold position on 2, then continue with the normal Volta steps on a3a4, etc.
Load more

Recommended publications
  • Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
    Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod.
    [Show full text]
  • Amod B C End 3:39 @ 45 Rpm
    ����������� ������������� ������� ����� ����������� ���������� �� ������ ����� ���� ��� !" # $ % &&� '(&) ��������� ��������������� ��������� �������� � ����������������������� �������������������������������� ��������������������� � ������������������������������ ������������������������� ��������������������������������������� ������������ !"�#����������$�%�������&����'������� #������(���)�*#�����������#���)�+, ����������������� ���� %����������������������-������������������������������*�����#����������������������� ��������%��������#������������������������������ ���������� ������������������� &����������������./0/�1��#�����)�%���������2�����������������������.3/)///� ����������������������������������������������� �4�����������������������5"-67�����"- 8/9������������ ����������������������*�����#���������"�������������������#���������)������������� �����������������: "��06/6)�%�������������5���������������������������06;79���������������������������������������� �������������������������������������%��������#�����(���������������������������������� �������� �������������������������������������������������������������)������������ ������������������������� �4�������������������2������<���� ����������������������������%��������������������������������������������� ��������������������������� �����)����������� ������������� �4����������5%���������)�(���������)�����=������-���� 9����� ��� ������� ���������������%��������������������� ���� �������������������� ����������������0;//2����>���� ��� � �������������� � ���) � ��� � ����� �
    [Show full text]
  • The Frothy Band at Imminent Brewery, Northfield Minnesota on April 7Th, 7- 10 Pm
    April Irish Music & 2018 Márt Dance Association Márta The mission of the Irish Music and Dance Association is to support and promote Irish music, dance, and other cultural traditions to insure their continuation. Inside this issue: IMDA Recognizes Dancers 2 Educational Grants Available Thanks You 6 For Irish Music and Dance Students Open Mic Night 7 The Irish Music and Dance Association (IMDA) would like to lend a hand to students of Irish music, dance or cultural pursuits. We’re looking for students who have already made a significant commitment to their studies, and who could use some help to get to the next level. It may be that students are ready to improve their skills (like fiddler and teacher Mary Vanorny who used her grant to study Sligo-style fiddling with Brian Conway at the Portal Irish Music Week) or it may be a student who wants to attend a special class (like Irish dancer Annie Wier who traveled to Boston for the Riverdance Academy). These are examples of great reasons to apply for an IMDA Educational Grant – as these students did in 2017. 2018 will be the twelfth year of this program, with help extended to 43 musicians, dancers, language students and artists over the years. The applicant may use the grant in any way that furthers his or her study – help with the purchase of an instrument, tuition to a workshop or class, travel expenses – the options are endless. Previous grant recipients have included musicians, dancers, Irish language students and a costume designer, but the program is open to students of other traditional Irish arts as well.
    [Show full text]
  • Types of Dance Styles
    Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together.
    [Show full text]
  • DVIDA American Smooth Silver Syllabus Figures
    Invigilation Guidance/ DVIDA/SYLLABUS/ Current'as'of'October'15,'2015' Extracted'from: Dance$Vision$International$Dancers$Association, Syllabus$Step$List$ Revised/May/2014 Invigilation Guidance/ AMERICAN)SMOOTH) / DVIDA American Smooth Bronze Syllabus Figures *Indicates figure is not allowable in NDCA Competitions. Revised January 2014. View current NDCA List Waltz Foxtrot Tango V. Waltz Bronze I 1A. Box Step 1. Basic 1A. Straight Basic 1. Balance Steps 1B. Box with Underarm Turn 2. Promenade 1B. Curving Basic 2A. Fifth Position Breaks 2. Progressive 3A. Rock Turn to Left 2A. Promenade Turning Left 2B. Fifth Position Breaks 3A. Left Turning Box 3B. Rock Turn to Right 2B. Promenade Turning Right with Underarm Turn 3B. Right Turning Box 3. Single Corté 4. Progressive Rocks Bronze II 4A. Balance Steps 4. Sway Step 5A. Open Fan 3. Reverse Turn 4B. Balance and Box 5A. Sway Underarm Turn 5B. Open Fan with 4. Closed Twinkle 5. Simple Twinkle 5B. Promenade Underarm Turn Underarm Turn 6. Two Way Underarm Turn 6A. Zig Zag in Line 6. Running Steps 7. Face to Face – Back to Back 6B. Zig Zag Outside Partner 7. Double Corté 7. Box Step 8A. Reverse Turn Bronze III 8A. Reverse Turn 8. Twinkle 8B. Reverse Turn with 5A. Crossbody Lead 8B. Reverse Turn with 9. Promenade Twinkles Outside Swivel 5B. Crossbody Lead with Underarm Turn 10A. Turning Twinkles to 9. Right Side Fans Underarm Turn 9A. Natural Turn Outside Partner 10. Contra Rocks 6. Hand to Hand 9B. Natural Turn with 10B. Turning Twinkles to Outside 11A. Change of Places 7A. Forward Progressive Underarm Turn Partner with Underarm Turn 11B.
    [Show full text]
  • Definitions of Technical Terms and Fundamentals
    DEFINITIONS OF TECHNICAL TERMS AND FUNDAMENTALS INTRODUCTION Even if you are not required, during your Amateur Dancesport Instructor Examination, to verbalize the exact foot position, alignment and footwork on each step, the solo demonstration of figures should be accurate in all aspects both as leader and follower. The figures must be danced as described in the Technique Books and in their entirety. You will find below, in a brief and clear manner, definitions for the technical terms used in your Technique Books (chart headings). Your Mentor will be able to explain and complete, if necessary, these definitions.-Should a question be asked during your examination concerning the following fundamentals remember at this level a simple answer is required. Bear in mind that <showing it> is always stronger than words alone. If you forget, for example the description of CBMP, go on and show a figure, or move, using CBMP. Understanding the fundamentals will strengthen and develop the knowledge and required skills you need as a dance instructor. BALLROOM (STANDARD) I.S.T.D. The Ballroom Technique FEET POSITIONS: - The direction (or position) of one foot in relation to the other at the end of a step (for example; the leg swings forward to end to a side position). CBMP: - (Contrary Body Movement Position) The position attained when either foot is placed on or across the line of the supporting foot, either in front or behind to maintain body line (It is therefore a foot position). CBMP is used on outside partner steps, in line with partner and in promenade position.
    [Show full text]
  • Bizourka and Freestyle Flemish Mazurka
    118 Bizourka and Freestyle Flemish Mazurka (Flanders, Belgium, Northern France) These are easy-going Flemish mazurka (also spelled mazourka) variations which Richard learned while attending a Carnaval ball near Dunkerque, northern France, in 2009. Participants at the ball were mostly locals, but also included dancers from Belgium and various parts of France. Older Flemish mazurka is usually comprised of combina- tions of the Mazurka Step and Waltz, in various simple patterns (see Freestyle Flemish Mazurka below). Like most folk mazurkas, their style descended from the Polka Mazurka once done in European ballrooms, over 150 years ago. This folk process is sometimes compared to a bridge. French or English dance masters picked up an ethnic dance step, in this case a mazurka step from the Polish Mazur, and standardized it for ballroom use. It was then spread throughout the world by itinerant dance teachers, visiting social dancers, and thousands of easily available dance manuals. From this propagation, the most popular steps (the Polka Mazurka was indeed one of the favorites) then “sank” through many simplified forms in villages throughout Europe, the Americas, Australia and elsewhere. In other words, towns in rural France or England didn’t get their mazurka step directly from Poland, or their polka directly from Bohemia, but rather through the “bridge” of dance teachers, traveling social dancers and books, that spread the ballroom versions of the original ethnic steps throughout the world. Once the steps left the formal setting of the ballroom, they quickly simplified. Then folk dances evolve. Typically steps and styles are borrowed from other dance forms that the dancers also happen to know, adding a twist to a traditional form.
    [Show full text]
  • Big Poppa Eʼs Bio Quiz!
    TABLE OF CONTENTS POETRY the wussy boy manifesto! ............................................................. 1 wallflower .................................................................................... 4 frat boy ......................................................................................... 6 worm boy ..................................................................................... 9 fly boy ........................................................................................ 10 jesus moshpit .............................................................................. 12 the lonesome ballad of josephus moshpit .................................. 13 receipt found in the parking lot of super walmart ...................... 16 just take another drink ................................................................ 19 potty is pee ................................................................................. 20 the miracle corner pocket luck shot ........................................... 22 JUVENALIA minuet ........................................................................................ 23 sexuality ..................................................................................... 24 routine ........................................................................................ 25 party boy .................................................................................... 26 love poem #9 .............................................................................. 28 PROSE how to dance like a wussy
    [Show full text]
  • The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (Guest Post)*
    “The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (guest post)* Chubby Checker Chubby Checker’s “The Twist” has the distinction of being the only non-seasonal American recording that reached the top of “Billboard’s” pop charts twice, separately. (Bing Crosby’s “White Christmas” topped the holiday tree in 1942, 1945, and 1947). “The Twist” shot to No. 1 in 1960, fell completely off the charts, then returned over a year later like a brand new single and did it all over again. Even more remarkable was that Checker’s version was a nearly note-for- note, commissioned mimicry of the original “The Twist,” written and recorded in 1958 by R&B artist Hank Ballard and released as the B-side of a love ballad. Most remarkable of all, however, is that Chubby Checker set the whole world Twisting, from Harlem clubs to the White House to Buckingham Palace, and beyond. The Twist’s movements were so rudimentary that almost everyone, regardless of their level of coordination, could maneuver through it, usually without injuring or embarrassing themselves. Like so many rhythm and blues songs, “The Twist” had a busy pedigree going back decades. In 1912, black songwriter Perry Bradford wrote “Messin’ Around,” in which he gave instructions to a new dance called the Mess Around: “Put your hands on your hips and bend your back; stand in one spot nice and tight; and twist around with all your might.” The following year, black tunesmiths Chris Smith and Jim Burris wrote “Ballin’ the Jack” for “The Darktown Follies of 1913” at Harlem’s Lafayette Theatre, in which they elaborated on the Mess Around by telling dancers, “Twist around and twist around with all your might.” The song started a Ballin’ the Jack craze that, like nearly every new Harlem dance, moved downtown to the white ballrooms and then shimmied and shook across the country.
    [Show full text]
  • Social Tango
    Social Tango Richard Powers Argentine tango has been popular around the world for over a century. Therefore it has evolved into several different forms. This doc describes social tango, sometimes called American tango. The world first saw tango when Argentine dancers brought it to Paris around 1910. It quickly became the biggest news in Paris—the 1912 Tangomania. Dancers around the world fell in love with tango and added it to their growing repertoire of social dances. When we compare 1912 European and North American tango descriptions to Argentine tango manuals from the same time, we see that the northern hemisphere dancers mostly got it right, dancing the same steps in the same style as the Argentines. Then as time went on, social dancers had no reason to change it. It wasn't broken, so why fix it? Today's social tango is essentially the continuation of the original 1912 Argentine tango. There have been a few evolutionary changes over time, like which foot to start on, but they're relatively minor compared to the greater changes that have been made to the other two forms of tango. Ironically, some people call this American Style tango. This is to differentiate it from International Style (British) tango, but it's nevertheless odd to call the nearly-unchanged original Argentine tango "American," unless one means South American. Many dancers in the world know social tango so this is worth learning. That doesn't mean it's "better" than the other forms of tango—that depends on one's personal preference. But social tango is a very useful kind of tango for dancing with friends at parties, weddings and ocean cruises.
    [Show full text]
  • 3671 Argentine Tango (Gold Dance Test)
    3671 ARGENTINE TANGO (GOLD DANCE TEST) Music - Tango 4/4 Tempo - 24 measures of 4 beats per minute - 96 beats per minute Pattern - Set Duration - The time required to skate 2 sequences is 1:10 min. The Argentine Tango should be skated with strong edges and considerable “élan”. Good flow and fast travel over the ice are essential and must be achieved without obvious effort or pushing. The dance begins with partners in open hold for steps 1 to 10. The initial progressive, chassé and progressive sequences of steps 1 to 6 bring the partners on step 7 to a bold LFO edge facing down the ice surface. On step 8 both partners skate a right forward outside cross in front on count 1 held for one beat. On step 9, the couple crosses behind on count 2, with a change of edge on count 3 as their free legs are drawn past the skating legs and held for count 4 to be in position to start the next step, crossed behind for count 1. On step 10 the man turns a counter while the woman executes another cross behind then change of edge. This results in the partners being in closed hold as the woman directs her edge behind the man as he turns his counter. Step 11 is strongly curved towards the side of the ice surface. At the end of this step the woman momentarily steps onto the RFI on the “and” between counts 4 and 1 before skating step 12 that is first directed toward the side barrier.
    [Show full text]
  • DANCE STEPS Information Useful to Amateur Or Professional Dancers
    DANCE STEPS Information useful to Amateur or Professional Dancers – Ballroom or Sequence TELEMARK: In ballroom dancing normally commenced diag. centre down LOD in Waltz, Quickstep or Foxtrot. Lady always finished square, usual amount of turn ¾ or less, can be danced. Underturned usually turning ½. OPEN TELEMARK: Man’s steps identical to above but Lady underturning to finish in Prom. Pos. In Sequence dancing alignment may vary considerably. IMPETUS TURN: In Ballroom dancing Man usually commences backing LOD with Heel Turn, turning ⅝ to R, Lady finishing square. OPEN IMPETUS TURN: Man turns R to finish in Prom. Pos. Lady’s steps similar to Impetus Turn. In Sequence dancing alignments can be taken in any direction. WING: Always commenced in Prom. Pos. Lady curving anticlockwise three steps round Man. Man very slight turn L, Lady ⅜ turn L on three curving steps. Man RF forward hesitating while Lady takes 3 steps. DOUBLE REVERSE WING: Man steps identical to Double Reverse Spin, Lady after Heel Turn takes 2 quick curving steps round Man on his L side. CLOSED WING: Commenced with partner on R side, Lady instead of curving L, steps back LF, side RF, forward LF on L side Man, Man RF forward hesitating while Lady takes the 3 steps. DOUBLE REVERSE SPIN: Man LF forward, RF to side, pivoting strongly L on toes, closing LF to RF without weight usually commenced down LOD or diag centre down LOD in Modern, amount of turn ¾ up to 1 complete turn – can vary. Lady, RF back closing LF to RF – Heel Turn, turning L, RF to side slightly back, crossing LF in front of RF, can be danced in Foxtrot, Waltz or Quickstep.
    [Show full text]