Silver American Cha

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Published by W.D. Eng, Inc. Las Vegas, Nevada, USA, June 1, 2006, Renee Coates – Editor

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Table of Contents

Studying the Charts Definitions of Chart Elements...... 1 Abbreviation Key ...... 4 Foot Position Diagrams ...... 6 Amount of Turn Diagrams ...... 9 Alignment Diagram...... 10 Musical Information Musical Terms ...... 11 Counting in Beats and Bars...... 14 Certification Student Medal Program ...... 15 Professional Certification...... 16 Bronze Routines ...... 17

Syllabus Figures 1. Basic Rhythm ...... 18 2A. Two Step Basic – Closed Position ...... 19 2B. Two Step Basic – Double Hand Hold...... 19 3. Outside Underarm Turn...... 20 4. Opening Out Right & Left ...... 21 5. Shadow Position...... 22 6. Flip-Flop In Place ...... 24 7. Shoulder Check...... 25 8. Cradles ...... 26 9. Traveling Crosses Left & Righ...... t28 10. Inside Underarm Turn ...... 29 11. Underarm Turn & Ladies Spin ...... 30 12. Through The Window...... 31 13. Opposition & Travel To The Right...... 33 14. Push Spin...... 34 15. Criss Cross & Underarm Turn...... 35

History Nightclub Two Step (not to be confused with Country-Western Two-Step), is one of the most practical and versatile social dances ever conceived. It is designed to be used with contemporary soft rock (“Love Song” type music). This type of music is common just about everywhere: nightclubs, radio, etc. The rhythm of the dance is very simple and rarely changes from the 1 and 2 count. This simple romantic dance fills a gap where no other ballroom dance fits. It gives the dancer, either beginning or advanced, the opportunity to express and create without a rigid technique being required.

It’s not too often that the origins of a new dance can be traced to a single individual. But that’s precisely the case with Night Club Two Step, a dance created and popularized by renowned California teacher Buddy Schwimmer.

Night Club Two Step is an easy dance that almost anyone can learn. Its key characteristic is a rock step followed by a side step. Schwimmer says that the rock step is actually a 5th position break, adding that he doesn’t recommend pronounced Latin hip movements.

Musical Information Time signature: 4/4 Tempo: 16-22 measures per minute Timing: 1&2, 3&4, 5&6, 7&8 Beat value: ½-½-1 Alternative Teaching Counts: Rock-Step, Side Rock-Step, Side -or- QQS, QQS Counting in Beats and Bars: 1234, 2234, 3234, etc.

The Hold Nightclub 2-Step has a relaxed frame somewhere in between a Latin and Ballroom frame. The Leader is offset to their left and places the right hand on the Follower’s left shoulder blade. The Follower places the left arm lightly on the Leader’s right arm, placing the left hand on the Leader’s upper arm or shoulder. The Leader’s left hand and Follower’s right hand are lightly clasped and held at the eye level of the Follower.

Technical Tips • On the rock steps, the Leader should allow the frame to gently open up, giving the Follower space to step back, and then gently return to the original position as both partners replace weight forward. • Create slight compression on the side steps of the Basic, decreasing the distance between partners, to prepare for the next expansion of the frame. • Be careful not to lower heel on rock steps. • Although the frame is not formal, it is important to keep tone in the frame and elbows in front of the body at all times, to help both leading and following. • Slight sway can be used on the side steps, which helps create the romantic feel and adds to the musicality of the dance. • The free arm for both Leader and Follower should be extended gracefully to the side.

Studying The Charts

Definitions of Chart Elements

The charts provide a written guide to the syllabus figures. Each figure has a separate chart for the Leader’s part and Follower’s part. Depending on the dance, a chart will contain the following: Step Number, Foot Position, Lead, Alignment, Amount of Turn, Footwork, Count, and Summary. The following definitions will help you in studying the charts:

Step Number This refers to each weight change or action in a figure. Most steps in a figure are weight changes, where weight is fully shifted from one foot to the other. An example is the Rumba Box – all six steps are distinct weight changes. An action includes such things as taps, kicks and points. An example of an action is the tap on the Leader’s step 3 of the West Coast Swing Sugar Push or steps 4 and 8 of the Merengue Conga Breaks.

Note that the step number is different from the count. For example, the Rumba Box has six steps, but is danced over eight beats of music with a count of SQQ, SQQ. Another example is the East Coast Swing Basic, which has eight steps, although it is danced in six beats of music with a count of 12-3a4-5a6.

Foot Position This refers to the direction of the moving foot in relation to the standing foot. The foot position does not refer to the path the foot takes to arrive at its destination, as that may differ from the final position. See also: Foot Position Diagrams.

The foot position will also include the dance position if other than Closed Position. However, the dance position is not listed when the Leader and Follower are transitioning between positions. For example, no dance position will be given on steps 8 and 9 (Follower’s UAT R) of the Rumba Open Break and Underarm Turn, as the Leader and Follower will be transitioning from Open Facing Position to Closed Position.

Definitions of Chart Elements Continued…..

Lead This describes how the Leader communicates to the Follower what should be danced. Good leading comes from the center of the Leader’s body, not muscular force in the arms, and must be initiated slightly before the Follower needs to take a step.

There are four main types of leads: 1. Weight Change: Tone in the frame and body allows the Leader to convey a step by transferring weight from one foot to another. An example is the Rumba Box. 2. Physical: The arm, connected to the Leader’s center, communicates the lead through contraction and extension. Physical leads are used primarily when dancers are in Open Facing Position. An example is an open break. 3. Shape: The shape of the Leader’s body and arms are changed to communicate the lead. Shape leads occur in both Open Facing and Closed Position and can be grouped into two common types: • When leading from one dance position to another, ie., from Closed to Promenade Position. • When leading an underarm turn, a gentle circular shape of the arms will lead the Follower rather than physical force. 4. Visual: This generally occurs in Open Facing Position without hold, where the lead is entirely visual. The Follower watches and mimics the movements and steps of the Leader. An example is the Cha Cha Chase Turn.

Alignment This refers to the direction the feet are aimed in relationship to the room and to the Line of Dance. Alignment is used only in dances that progress around the dance floor. In this syllabus, Samba is the only dance that uses alignments. See also: Alignment Diagram.

Alignments are preceded by the words “facing,” “backing” or “pointing”: • “Facing” is generally used when moving forward, moving sideways or closing the feet • “Backing” is used when moving backward, moving sideways or closing the feet • “Pointing” is used when stepping sideways after a back step where turn is involved. The concept of pointing is that the body is facing a different direction than where the foot is aiming. For simplicity, pointing alignments have been omitted from Samba in this syllabus.

A related concept is direction. This will be noted in the alignment column when you are moving in one direction, but the foot is aimed in a different direction, such as when taking a step in Promenade Position. An example is step 4 of the Samba Promenade and Counter Promenade Bota Fogos. As Leader, the alignment is “Facing DW” and the direction is “Moving Down LOD.”

Amount of Turn Described in fractions, this indicates how much turn is made on one foot or between two or more consecutive steps. Therefore, the feet, not the body, determine amount of turn. Sometimes the body turns less than the feet and will be noted in the amount of turn column as “body turns less.” Body turns less occurs more frequently in the Ballroom dances but can be used by advanced Rhythm dancers. See also: Amount of Turn Diagrams.

Definitions of Chart Elements Continued…..

Footwork This describes the part of the foot that is in contact with the floor as a step is taken. Footwork for the Rhythm dances is generally ball flat throughout, except in Samba, where the footwork is generally ball flat, ball, ball flat. Changes from this footwork will be noted in the charts.

Below are descriptions of the footwork used in the Rhythm dances: • Ball: A ball step is taken with the heel slightly raised off the floor. • Ball Flat: A ball flat step is taken first with the ball of the foot (with slight pressure on the inside edge) and then lowered to the whole foot (flat). • Heel Flat: A heel flat step is like a normal walking step where the heel lands first and then immediately rolls to a flat foot. In the Rhythm dances, this only occurs on forward steps in West Coast Swing. For example, the Follower’s steps 1 and 2 of the Underarm Turn. • Inside Edge of Ball: The foot is placed on the inside edge of the ball to create a good leg line in a tap step.

Count (Timing) Also called timing, the count allows a dancer to keep the dance in time to the music. Each dance has its own specific count which helps define its feel and character. Depending on the dance, a count may be given in slows and quicks or in numbers. For example, the Rumba Side Basic is counted “SQQ, SQQ” and the Cha Cha Side Basic is counted “1234+, 1234+.”

Counting in beats and bars is a way of counting both beats and bars (measures) at the same time, in order to keep track of how many measures of music have been used. This is a valuable tool for phrasing a group of figures (amalgamation) to music and determines how much time in the music a routine will take to dance.

Summary This is a great tool for quick recall of a figure. The Summary provides a synopsis of a figure measure by measure. This becomes an easy way for teachers to present figures once students are familiar with the basic components. For example, instead of stating the individual foot positions for the first three steps of the Rumba Box, it can be summarized as “first (or forward) half of a box.”

Abbreviation Key

Abbreviations for Dance Positions and Handholds, CP Closed Position Normal dance position DHH Double Hand Hold Leader’s Left hand to Follower’s Right hand and Leader’s Right hand to Leader’s Left hand DHH turned (L over R) Double Handhold turned, Left over Right Results from an UAT from Double Hand Hold. In this case, both partners have their Left hands on top of their Right hands DHH turned (R over L) Double Handhold turned, Right over Left Results from an UAT from Double Hand Hold. In this case, both partners have their Right hands on top of their Left hands FacP Facing Position Normal dance position but with either no hold, one hand hold, double hold or cross-hand hold L to R HH Left to Right Handhold Leader’s Left hand to Follower’s Right hand LAP Left Angle Position Follower at Right angle to Leader on Leader’s Left side LCradP Left Cradle Position Follower to left of Leader with Leader’s left arm around Follower’s waist holding follower’s right hand and Leaders’s right hand holding Follower’s left hand in front LOOP Left Opening Out Position Leader’s Left arm on Follower’s Left or Right Shoulder blade or around waist while leader dances a RF side break and Follower dances a LF back Break LShadP Left Shadow Position Follower to left of leader either slightly in front or behind. Many possible handholds LSP Left Side Position Follower to Leader’s Left side, both facing the same direction OFP Open Facing Position Same as Facing Position except further apart

Abbreviation Key Continued…..

Prep FUATL Preparation for Follower’s Underarm Turn Not a specific dance position, but indicates that Leader’s arm(s) is to Left raised to indicate to follower that turn to the left is commencing Prep FUATR Preparation for Follower’s Underarm Turn Not a specific dance position, but indicates that Leader’s arm(s) is to Right raised to indicate to follower that turn to the right is commencing Prep LUATL Preparation for Leader’s Underarm Turn Not a specific dance position, but indicates that Leader’s arm(s) is to Left raised to prepare for underarm turn to the Left Prep LUATR Preparation for Leader’s Underarm Turn Not a specific dance position, but indicates that Leader’s arm(s) is to Right raised to prepare for underarm turn to the Right R to L HH Right to Left Handhold Leader’s Right hand to Follower’s Left hand RAP Right Angle Position Follower at Right angle to Leader on Leader’s Right side RCradP Right Cradle Position Follower to right of Leader with Leader’s right arm around Follower’s waist holding Follower’s left hand and Leaders’s left hand holding Follower’s right hand in front ROOP Right Opening Out Position Leader’s Right arm on Follower’s Left or Right Shoulder blade or around waist while leader dances a LF side break and Follower dances a RF back Break RShadP Right Shadow Position Follower to Right of Leader either slightly in front or behind. Many possible handholds RSP Right Side Position Follower to Leader’s Right side, both facing the same direction Transition Transition In between dance positions UAT Underarm Turn Not a specific dance position, but indicates that an underarm turn is in process XHH, (L over R) Cross Handhold, Left over Right Leader’s Left hand connected to Follower’s Left Hand, Leader’s Right hand connected to Follower’s Right Hand, with the Left hands above the Right hands XHH, (R over L) Cross Handhold, Right over Left Leader’s Left hand connected to Follower’s Left Hand, Leader’s Right hand connected to Follower’s Right Hand, with the Right hands above the Left hands

R R R Forward and R R Variations

LL LL LL LL LL

RF Forward RF Forward and RF Diagonally RF Forward RF In Front of LF, Slightly Side Forward and Across T Turned Out*

L L L L L

RR RR RR RR RR

LF Forward LF Forward and LF Diagonally LF Forward LF In Front of RF, Slightly Side Forward and Across T Turned Out*

Backward and Variations

LL LL LL LL LL

R R R R R

RF Back RF Back and RF Diagonally Back RF Back and Across RF Behind LF, Slightly Side T Turned Out*

RR RR RR RR RR

L L L L L

LF Back LF Back and LF Diagonally Back LF Back and Across LF Behind RF, Slightly Side T Turned Out* * The exact distance between the toe of one foot and the heel of the other will vary from almost touching to several inches. This will depend on the particular figure, the dancer’s body size and shape, and the best balance for the dancer.

Foot Position Diagrams (Continued) Side and Variations

R LL R LL LL R

RF Side RF Side and RF Side and Slightly Forward Slightly Back

L L RR RR RR L

LF Side LF Side and LF Side and Slightly Forward Slightly Back

Promenade and L

Fallaway Variations L

L L

L L LL RR RR RR

R Leaders > R

R R

LF Side in PP RF Forward in PP RF Fwd and Across LF Back in Fallaway LF Back and Across in PP in Fallaway

L LL R RR RR LL LL Followers > R

RF Side in PP LF Forward in PP LF Fwd and Across RF Back in Fallaway RF Back and Across in in PP Fallaway

Foot Position Diagrams (Continued)

Other Variations

R LL R LL LL R

RF Closes to LF RF Crosses RF Crosses In Front of LF Behind LF

L L RR RR RR L

LF Closes to RF LF Crosses LF Crosses In Front of RF Behind RF

Amount of Turn Diagrams

Turns to the Left Turns to the Right

L R L R No turn 1 full turn 1 full turn No turn

L R L R

1/8 turn 7/8 turn 7/8 turn 1/8 turn

L R L

1/4 turn 3/4 turn 3/4 turn 1/4 turn

3/8 turn 5/8 turn 5/8 turn 3/8 turn

L R

1/2 turn 1/2 turn

Alignment refers to where the foot is New Wall: New Line of Dance (LOD) Where you will travel next! pointing relative to the room. You must first determine which line of dance you New Line of Dance are on since a room with four walls will have exactly four lines of dance, each one running parallel to the closest wall. Then, based on your line Of dance, you must be able to clearly see eight Line of Existing Wall: Center oftheDanceFloor possible alignments on that line of DanceDance dance. (LOD)(LOD)

Where youaretravelingnow! When you are giving alignments, you will start by giving the words “Facing, “Backing or “Pointing”. You will use “Facing” when moving forward, “Backing” when moving backward, and Diagonal Center Diagonal Wall “Pointing” when stepping sideways

when the body is facing a different LineofDance(LOD) alignment from the foot. MovingMoving withwith (Facing)(Facing) When taking a step in promenade po- Line of Dance sition, the alignment will frequently be Line of Dance given in two parts because the direction you are moving is more often than not, different from the alignment of the START HERE foot. An example is the first two steps Wall of a Promenade Basic in Foxtrot. Step Center One: Moving Down Line of Dance, Moving Against Facing Diagonal Wall. Step Two: Also (Backing) Moving Down Line of Dance, Facing Line of Dance Diagonal Wall. In Tango, all forward and backward steps are given as direction rather than alignment, because the combination of CBM, CBMP, and Diagonal Center Diagonal Wall Side Leads create a movement where Against Line Against Line the feet and body are never quite in of Dance of Dance the some alignment. Against Line of Dance

Musical Information

Musical Terms

Bar Literally means the vertical line in written music that separates one measure from the next. For dancing purposes, bar is synonymous with measure.

Beat (1) A steady and continuous pulse in the music, within which rhythms are formed.

(2) A single pulse of music. Beats are usually arranged into groups of 2, 3, or 4 to form a measure. The first beat in a measure is usually more pronounced than the others.

Beat Value The number of beats of music for each step (weight change or action). For example, in Rumba the count is SQQ, with a beat value of 2-1-1. In Cha Cha, the count is 1234&, with a beat value of 1-1-1-1/2-1/2. See also the Musical Information Chart.

Counting in Beats and A method of keeping track of how many measures (bars) of music are used in a particular figure or amalgamation. Both the Bars beats and bars are counted at the same time. Examples of counting in beats and bars are (See also: The Counting in Beats and Bars section of the manual):

• In 4/4-time: 1234, 2234, 3234, 4234, etc. • In 3/4-time (used in Waltz and Viennese Waltz): 123, 223, 323, 423, etc. • In 2/4-time (used in Samba): 12, 22, 32, 42, etc.

Downbeat (1) In music terminology, the downbeat is every beat in a measure (bar). If a measure is counted 1 & 2 & 3 & 4 &... the numbers 1, 2, 3, and 4 are considered to be the downbeats, while the &’s are the upbeats.

(2) In dancing, the term downbeat generally refers to the first beat of every measure. It is important to identify the downbeat in order to start correctly and stay on time with the music. • In 4/4-time: the 1 is the downbeat. However, downbeat can also be used to mean both the 1and 3, with the 1 being more dominant. In this case, the 2 and 4 are considered upbeats. • In 3/4-time (used in Waltz and Viennese Waltz): the 1 is the downbeat and the 2 and 3 are upbeats. • In 2/4-time (used in Samba): the 1 is the downbeat and the 2 is the upbeat.

Musical Terms Continued

Measure In sheet music, the space between two bar lines in which there are a specific number of beats that repeat throughout the music. Typically there will be 2, 3, or 4 beats in a measure. Being able to hear how many beats are in a measure will help to determine the kind of dance it is. Counting the number of measures per minute determines the tempo of a piece of music. For dancing purposes, measure is synonymous with bar.

Musicality Used to describe how well a dancer hears, feels, and expresses the music in his or her body. Aspects of high level musicality are: Maintaining the character of the dance Hitting accents and breaks in the music Matching the mood of the particular piece of music Taking phrasing into account Dancing precisely on time with the music

Phrase A specific number of measures that make up a complete “thought” of music. It is similar to a sentence, having a clear beginning and end. Phrases can be as small as 2 measures or as large as 32 measures.

Phrasing Dancing or choreographing a figure or group of figures (amalgamation) to fit the phrases in a piece of music. For example, starting a new figure on the first beat of a new phrase and ending the final figure on the last beat of the phrase.

Quick A term used in counting which usually indicates one beat of music. However, in Samba, a quick indicates only a half a beat of music.

Rhythm (1) In music, the regular recurrence of accented beats that give character to music.

(2) In dancing, when someone has “good rhythm,” they are typically relaxed, well coordinated, precisely on time with the music and physically expressing the subtleties in the music.

(3) A term used synonymously with timing or count.

Slow A term used in counting which usually indicates two beats of music. However, in Samba, a slow indicates only one beat of music.

Straight Count A rhythmic, marching count often used by musicians. For example, 1&2&3&4& or 1e&a2e&a3e&a4e&a.

Musical Terms Continued

Swing Count (1) In music, a count used by swing and jazz musicians which divides each beat into thirds. A musician’s swing count can be visualized as 1_&, 2_&, 3_&, 4_&, where the downbeat (represented by the number), the space between the downbeat and the upbeat (represented by the _ symbol) and the upbeat (represented by the & symbol) each use a third of a beat of music.

(2) In dancing, we need to know what to do before the beat. Therefore, using a swing count (verbally said as &a1&a2&a3&a4, etc.) can improve your musicality by enabling you to dance not only on the beat, but also in the spaces between beats. Most commonly used to count East and West Coast Swing, any dance can benefit from using a swing count. Also called a rolling count.

Tempo The speed of the music, determined by the number of measures in one minute of music. A higher number means the music is faster, and a lower number means the music is slower. To determine the tempo of a song, count in beats and bars for one minute. Tempo (plural tempi) may also be expressed in beats per minute. See also the Musical Information Chart.

Time/Time Signature Indicates the number of beats in each measure of music. The upper number is the number of beats in a measure, and the lower number indicates the type of musical note that represents one beat. For example, in 4/4- time music, a quarter note represents one beat. Therefore, the bottom number is 4. See also the Musical Information Chart. • 4/4-time (used for most dances): 4 beats in a measure • 3/4-time (used in Waltz and Viennese Waltz): 3 beats in a measure • 2/4-time (used in Samba and sometimes Tango): 2 beats in a measure

Timing (1) Synonymous with count and rhythm, timing refers to the commonly used numbers or words used to count a particular dance to music. For example, in Cha Cha the timing (count) is 1234&, and in Bolero the timing (count) is SQQ. See also: Musical Information Chart.

(2) Refers to the ability of the dancer to stay with the count designated for a particular dance, i.e. “She has excellent timing”

Musical Terms Continued

Upbeat (1) In music terminology, the definition of upbeat will depend on whether a straight or swing count is being played. • In a straight count, the upbeat is the second half of each beat and is referred to as “and.” For example, if a measure is counted 1&2&3&4&, the &’s are considered to be the upbeats, and the numbers 1, 2, 3, and 4 are considered the downbeats. • In a swing count, the upbeat is the last third of each beat and is also referred to as “and.” For example, if a measure is counted 1_&, 2_&, 3_&, 4_&, the &’s are considered to be the upbeats and the numbers 1, 2, 3, and 4 are considered the downbeats. The underscores (_) are placeholders for the second third of each beat.

(2) In dancing, the upbeats are the whole beats that follow the downbeat(s). This is most easily understood through the following examples: • 4/4-time (used in most dances): the 2 and 4 are the upbeats and the 1 and 3 are the downbeats. • 3/4-time (used in Waltz and Viennese Waltz): the 2 and 3 are the upbeats and the 1 is the downbeat. • 2/4-time (used in Samba): the 2 is the upbeat and the 1 is the downbeat.

Counting In Beats And Bars Counting in beats and bars is a way of counting both beats and bars (measures) at the same time, in order to keep track of how many measures of music have been used. This is a valuable tool for phrasing a group of figures (amalgamation) to music and determines how much time in the music a routine will take to dance. This skill is essential for dance teachers, which is tested in ProDVIDA certification exams. To count in beats and bars, one must first know the count for the figure. For example, if a figure’s count is SQQ, its beat value is 2-1-1 (since the beat value of a Slow is 2 beats and a Quick is 1 beat). Generally, it is easiest to count beats and bars using just the numbers 1234 and dropping any “a” or “&” counts from the figure’s count. The first beat of each bar will be used to keep track of the number of bars, counting 1234, 2234, 3234, 4234, 5234, etc. Below are examples of counting beats and bars in each of the Rhythm dances. To calculate the number of seconds of dancing, take the number of measures divided by mpm and multiply by 60 seconds.

Certification

DVIDA Student Medal Program

What is the Student Medal Program? This program is a fun and exciting way for students to learn to dance through a structured set of exams. The Medal Program provides the opportunity for students to progress through the various levels, giving them concrete goals and tangible proof of their progress.

Why Participate in the Medal Program? Experts in the industry agree that a structured Medal Program is one of the best ways for students to become extraordinary dancers. Here are just a few of the benefits: • Improved dancing: An upcoming exam provides a clear goal to help motivate students and focus their dance education. Students learn a wide variety of dance figures from the DVIDA syllabus and how to dance them together in a routine. This exam preparation improves technique, builds lead/follow skills and expands the understanding of dance concepts. • Increased confidence: Students dance with their instructor, and with proper preparation, successfully attain a medal. Confidence soars for having met and mastered this challenge. And students receive a certificate to tell the whole world: I did it! • Friendship and camaraderie with other dancers: There is a great sense of community and bonding in a studio among the students and instructors participating in the exams. In addition, the Medal Ball after the exams is a great party, often the highpoint of the entire year at a studio.

How Does the Medal Exam Process Work? DVIDA offers Medal Exams for Bronze through Gold Levels in all American and International Style dances. Studios usually schedule exams two to three times a year. A nationally recognized dance expert comes to the studio to conduct the exams. Students perform the routine(s) with their instructor. The examiner grades the students’ dancing and gives written feedback. Upon successfully completing the exam, a formal Certificate of Achievement is awarded from DVIDA – tangible proof of achieving a national standard of excellence.

How to Get Started The first step is for the studio (or instructor) to set a date, contact DVIDA and hire an examiner. Instructors and students can then decide which exams are appropriate for the student’s level (see the DVIDA Student Medal Program brochure), and plan their lessons accordingly.

Available Resources DVIDA offers the following resources for Medal Exams. To purchase resources or obtain additional information, please visit www.dancevision.com or call 1-800- 851-2813 from North America or 1-702-256-3830 from the rest of the world. • Student Medal Program brochure • Instructional dance videos that correspond with the DVIDA syllabi (American and International Style) • Dance manuals that correspond with the DVIDA syllabi (American and International Style) • A Teacher’s Guide to Choreography for Medal Exams (American Style) •

ProDVIDA Professional Certification

Why Should an Instructor Become Certified? The ProDVIDA Certification process is designed to enrich a dance instructor’s knowledge of all aspects of dancing and teaching. In addition to your confidence soaring for having met and mastered this challenge, certification has many more benefits: • Become a better teacher: Preparing for a certification exam expands your understanding of dance concepts, improves verbal and presentation skills, teaches precise vocabulary for describing technical elements of figures, sharpens knowledge of musical terms, and enhances choreography skills. • Become a better dancer: The expertise required to know the Leader’s and Follower’s part to pass the certification exam catapults one’s dancing to an entirely new level. You will learn a series of golden rules that make your dancing more consistent, develop a language to be more effective in dance partnerships and achieve a mastery of technique that will stay with you for the rest of your career. • Achieve an objective standard of professional excellence: The National Dance Council of America (NDCA), the highest governing body in the ballroom dance industry, recognizes ProDVIDA certifications. Upon successfully passing an exam, you will receive a certificate declaring your expertise to the world. You will be able to attract serious students, be a highly valuable employee in studios across the country, and be able to obtain a judging credential. How Does the Professional Certification Exam Work? A qualified DVIDA examiner conducts the exam, which is administered with the highest standards of fairness, objectivity, thoroughness, and professionalism. The exam is prepared in advance and is composed of four sections: Dancing (40%), Theory (30%), Teaching (20%) and Overall Presentation (10%). After successfully passing the exam, a Certificate of Completion is sent to you, along with the examiner’s scores and written feedback on your dancing. Certification candidates must join ProDVIDA and be at least 16 years of age.

ProDVIDA has introduced a revolutionary new way of becoming certified. A candidate may now take their exams one dance at a time (Note: in the American Rhythm dances, the “one dance exam” requires two dances be performed). This method has proven: • To be more accessible • To be easier to prepare for, resulting in a greater number of dance instructors willing to take on the process • To produce better instructors as a result of the immediate feedback they get from each exam • To have a higher success rate overall How to Get Started The first step is for the studio (or instructor) to set a date, hire an examiner and contact Dance Vision. Available Resources DVIDA offers the following resources for Professional Certification. To purchase resources or obtain additional information, please visit www.dancevision.com, www.prodvida.com, or call 1-800-851-2813 from North America or 1-702-256-3830 from the rest of the world. • Instructional dance DVDs/videos that correspond with the DVIDA syllabi (American and International Style) • DVIDA dance manuals that correspond with the DVIDA syllabi (American and International Style) • Get Certified DVD Sample Junior Associate exam (available on the ProDVIDA website)

Full Bronze Routine

Nightclub Two Step Bronze Routine Figures 1-7 Basic Rhythm 1&2, 3&4, 5&6, 7&8 Basic in CP (end in DHH) 1&2, 3&4, 5&6, 7&8 Outside UAT (Follower turns on 3&4), end in CP 1&2, 3&4 Opening Out R & L 5&6, 7&8 Basic in CP (end in FacP, L to R HH) 1&2, 3&4, 5&6, 7&8 Shoulder Check (end in R to R HH) 1&2, 3&4, 5&6, 7&8 Shadow Positions 1&2, 3&4, 5&6, 7&8 Outside UAT(change to L to R HH on ct 2, Follower turns on 3&4), end in CP 1&2, 3&4 Flip Flops 5&6, 7&8 Repeat Routine from the Beginning

Nightclub Two Step Bronze Routine Figures 8-15 Commence in FacP, DHH Cradles 1&2, 3&4, 5&6, 7&8 Inside Underarm Turn 2X (end in CP) 1&2, 3&4, 5&6, 7&8 Opposition and Travel to the Right 2x (end in FacP) 1&2, 3&4, 5&6, 7&8 Push Spin 2X 1&2, 3&4, 5&6, 7&8 UAT and Follower’s Spin (2X) 1&2, 3&4, 5&6, 7&8 Criss Cross and Underarm Turn 1&2, 3&4, 5&6, 7&8 Traveling Crosses Left and Right (end in XHH, L over R) 1&2, 3&4, 5&6, 7&8 Through the Window 1&2, 3&4, 5&6, 7&8 Inside Underarm Turn 2X (end in FacP, DHH) 1&2, 3&4, 5&6, 7&8 Repeat Routine from the Beginning

1. Basic Rhythm

LEADER Commence in CP STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY

1 LF closes to RF, w/o wt (tap) CP WC Nil 1 Pres on B of LF 1 & 2: LF Basic 2 Position held CP WC Nil & Footwork held Rhythm 3 LF to side CP WC Nil 2 BF 4 RF closes to LF, w/o wt (tap) CP WC Nil 3 Pres on B of RF 3 & 4: RF Basic 5 Position held CP WC Nil & Footwork held Rhythm 6 RF to side CP WC Nil 4 BF 7-12 Repeat Steps 1-6 CP WC Nil 5&6 7&8 Repeat steps 1-6 5&6 7&8: LF and RF Basic Rhythm Note for Leader and Follower: Sway to Right on 3 for Leader (Left for Follower) and sway to Left on 6 for Leader (Right for Follower) may be used.

FOLLOWER Commence in CP STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF closes to LF, w/o wt (tap) CP Nil 1 Pres on B of RF 1&2: RF Basic Rhythm 2 Position held CP Nil & Footwork held

3 RF to side CP Nil 2 BF 4 LF closes to RF, w/o wt (tap) CP Nil 3 Pres on B of LF 3&4: LF Basic 5 Position held CP Nil & Footwork held Rhythm 6 LF to side CP Nil 4 BF 7-12 Repeat Steps 1-6 CP Nil 5&6 7&8 Repeat steps 1-6 5&6 7&8: RF and LF Basic Rhythm

2A. Two Step Basic - Closed Position LEADER Commence in CP STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY

1 LF behind RF, TTO CP Slightly expand frame to lead Follower Nil 1 T 1&2: LF Basic to step back 2 Replace weight to CP Allow frame to return to original Nil & BF RF position 3 LF to side CP WC with slight compression Nil 2 BF 4 RF behind LF, TTO CP Slightly expand frame to lead Follower Nil 3 T 3&4: RF Basic to step back 5 Replace weight to CP Allow frame to return to original Nil & BF LF position 6 RF to side CP WC with slight compression Nil 4 BF 7-12 Repeat steps 1-6 CP Repeat steps 1-6 Nil 5&6, Repeat 5&6 7&8: LF and RF 7&8 steps 1-6 Basic Note for Leader and Follower: Steps 1 – 12 may turn gradually to the Left or Right.

FOLLOWER Commence in CP STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF behind LF, TTO CP Nil 1 T 1&2: RF Basic 2 Replace weight to LF CP Nil & BF 3 RF to side CP Nil 2 BF 4 LF behind RF, TTO CP Nil 3 T 3&4: LF Basic 5 Replace weight to RF CP Nil & BF 6 LF to side CP Nil 4 BF 7-12 Repeat steps 1-6 CP Nil 5&6 Repeat 5&6 7&8: RF and LF 7&8 steps 1-6 Basic

2B. Two Step Basic - Double Hand Hold Same as 2.A. above, except in FacP, DHH

3. Outside Underarm Turn

LEADER Commence in FacP, DHH STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY

1 LF behind RF, TTO FacP, DHH Slightly extend arms to lead Follower Nil 1 T 1&2: LF Basic in DHH to step back 2 Replace weight to FacP, DHH Allow arms to return to original Nil & BF RF position 3 LF to side Prep FUATR Raise L arm slightly leftward Nil 2 BF 4 RF behind LF, TTO UAT Release hold with R hand and circle L Nil 3 T 3&4: RF Basic 5 Replace weight to LF UAT arm clockwise to lead Follower to Nil & BF (Follower’s UATR) UATR. Lower L arm at end of 5 6 RF to side FacP, DHH Regain FacP, DHH or CP Nil 4 BF -or- CP 7-12 1-6 of Basic FacP, DHH Same as steps 1-6 of Basic Nil 5&6 Repeat 5&6 7&8: Basic -or- CP 7&8 steps 1-6 Note: May also commence in CP.

FOLLOWER Commence in FacP, DHH STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF behind LF, TTO FacP, DHH Nil 1 T 1&2: RF Basic, prep 2 Replace weight to FacP, DHH Nil & BF for UAT R LF 3 RF to side Prep FUATR 1/8 turn R 2 BF 4 LF forward UAT 1/8 turn R 3 T 3&4: UAT R 5 Replace weight to UAT 1/2 turn R & BF RF 6 LF to side FacP, DHH 1/4 turn R 4 BF -or- CP 7-12 1-6 of Basic FacP, DHH Nil 5&6 Repeat 5&6 7&8: Basic -or- CP 7&8 steps 1-6 Note: May also commence in CP.

4. Opening Out Right & Left

LEADER Commence in CP STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY 1 LF behind RF, TTO RSP Release hold with L hand and 1/4 turn L 1 T 1&2: back break in keeping tone in frame, lead Follower RSP to step backwards by opening own body to the left 2 Replace weight to RF RSP WC Nil & BF 3 LF to side Transition Turn to face Follower and place L 1/4 turn R 2 BF arm around Follower’s waist, beginning to release R arm from Follower’s waist 4 RF behind LF, TTO LSP Release R hand from Follower’s 1/4 turn R 3 T 3&4: back break in back, and keeping tone in frame, lead LSP Follower to step backwards by opening own body to the right 5 Replace weight to LF LSP WC Nil & BF 6 RF to side Transition Turn to face Follower and place R 1/4 turn L 4 BF arm around Follower’s waist beginning to release L arm from Follower’s waist 7-12 Repeat steps 1-6 Repeat steps Repeat steps 1-6 Repeat 5&6, Repeat 5&6 7&8: 1-6 steps 1-6 7&8 steps 1-6 Same as 1&2 3&4

FOLLOWER Commence in CP STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF behind LF, TTO RSP 1/4 turn R 1 T 1&2: back break in 2 Replace weight to RSP Nil & BF RSP LF 3 RF to side Transition 1/4 turn L 2 BF 4 LF behind RF, TTO LSP 1/4 turn L 3 T 3&4: back break in 5 Replace weight to LSP Nil & BF LSP RF 6 LF to side Transition 1/4 turn R 4 BF 7-12 Repeat steps 1-6 Repeat steps 1-6 Repeat 5&6 Repeat 5&6 7&8: steps 1-6 7&8 steps 1-6 Same as 1&2 3&4

5. Shadow Position

LEADER Commence in CP STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWOR SUMMARY K 1 LF behind RF, TTO CP Slightly extend frame to lead Follower to step back Nil 1 T 1&2: LF Basic in 2 Replace weight to RF CP Allow frame to return to original position Nil & BF CP 3 LF to side CP WC with slight compression Nil 2 BF 4 RF behind LF, TTO CP Slightly extend frame to lead Follower to step back Nil 3 T 3&4: RF Basic in 5 Replace weight to LF Transition Allow frame to return to original position while allowing Nil & BF CP, ending in R right arm to slide down follower’s left arm to R HH 6 RF to side FacP, R-to-R HH Take Follower’s R hand in Leader’s R hand, Nil 4 BF Releasing L hand 7 LF behind RF, TTO OFP, R-to-R HH Slightly extend R arm to lead Follower to step back Nil 5 T 5&6: LF Basic 8 Replace weight to RF Transition Contract R arm and extend rightwards, placing R hand Nil & BF (Follower turns to RShadP) 9 LF forward, small step RShadP on Follower’s R shoulder and taking hold of Follower’s Nil 6 BF L hand into Leader’s L hand at shoulder height 10 RF behind LF, TTO RShadP Increase tone in arms to lead Follower to back break Nil 7 T 7&8: RF Basic in 11 Replace weight to LF RShadP Nil & BF RshadP 12 RF side, small step Transition Shift both arms to L to lead Follower to LShadP Nil 8 BF 13 LF behind RF, TTO LShadP Increase tone in arms to lead Follower to back break Nil 1 T 1&2: LF Basic in 14 Replace weight to RF LShadP Nil & BF LShadP. 15 LF to side, small step Transition Shift both arms to R to lead Follower to RShadP Nil 2 BF 16 RF behind LF, TTO RShadP Increase tone in arms to lead Follower to back break Nil 3 T 3&4: RF Basic in 17 Replace weight to LF Transition Release hold with L hand and use R forearm to lead Nil & BF RShadP 18 RF to side, small step Transition Follower to turn to the R to end in FacP Nil 4 BF 19 LF behind RF, TTO OFP, R to R HH Slightly extend then contract R arm to lead Follower to Nil 5 T 5&6: Open Break 20 Replace weight to RF FacP, R to R HH back break Nil & BF with R to R HH 21 LF to side Prep FUATR Change to L-to-R hand hold and raise L arm slightly Nil 6 BF leftward 22 RF behind LF, TTO UAT Circle L arm clockwise to lead Follower to UATR. Nil 7 T 7&8: RF Basic 23 Replace weight to LF UAT Lower L arm at end of 23 Nil & BF (Follower’s UATR) 24 RF to side CP Regain CP Nil 8 BF Note: May end in FacP, DHH

5. Shadow Position (…CONTINUED)

FOLLOWER Commence in CP STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF behind LF, TTO CP Nil 1 T 1&2: RF Basic in DHH 2 Replace weight to LF CP Nil & BF 3 RF to side CP Nil 2 BF 4 LF behind RF, TTO CP Nil 3 T 3&4: LF Basic in 5 Replace weight to RF CP Nil & BF DHH, ending in R to R HH 6 LF to side FacP, R to R HH Nil 4 BF 7 RF behind LF, TTO OFP, R to R HH Nil 5 T 5&6: RF Basic ending 8 Replace weight to LF Transition Nil & BF in RShadP 9 RF to side, end back RShadP 1/2 turn L 6 BF 10 LF behind RF, TTO RShadP Nil 7 T 7&8: LF Basic in 11 Replace weight to RF RShadP Nil & BF RShadP 12 LF to side Transition Nil 8 BF 13 RF behind LF, TTO LShadP Nil 1 T 1&2: RF Basic in 14 Replace weight to LF LShadP Nil & BF LShadP 15 RF to side Transition Nil 2 BF 16 LF behind RF, TTO RShadP Nil 3 T 3&4: LF Basic in 17 Replace weight to RF Transition Nil & BF RshadP 18 LF to side, end back Transition 1/2 turn R 4 BF 19 RF behind LF, TTO OFP, R to R HH Nil 5 T 5&6: Open Break with 20 Replace weight to LF FacP, R to R HH Nil & BF R to R HH 21 RF to side Prep FUATR 1/8 turn R 6 BF 22 LF behind RF, TTO UAT 1/8 turn R 7 T 7&8: UATR 23 Replace weight to RF UAT 1/2 turn R & BF 24 LF to side CP 1/4 turn R 8 BF Note: May end in FacP, DHH

6. Flip-Flop in Place

LEADER Commence in CP STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY 1 LF to side ROOP Lower and extend L arm rightward and Nil 1 B or BF 1&2: LF side break then release L arm as you widen R am to (Follower Opening lead Follower to open out and step back Out R) 2 Replace weight to RF ROOP Contract R arm, leading Follower to Nil & BF 3 LF closes to RF Transition return to FacP, placing L hand on middle Nil 2 BF of Follower’s back 4 RF to side LOOP Release R hand and widen L arm to lead Nil 3 B or BF 3&4: RF side break Follower to open out and step back (Follower Opening 5 Replace weight to LF LOOP Contract L arm, leading Follower to Nil & BF Out L) 6 RF closes to LF Transition return to FacP, placing R hand on middle Nil 4 BF of Follower’s back 7-12 Repeat steps 1-6 Repeat steps Repeat steps 1-6 Nil 5&6 Repeat 5&6 7&8: 1-6 7&8 steps 1-6 Repeat 1&2 3&4

FOLLOWER Commence in CP STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF behind LF, TTO ROOP 3/8 turn to R 1 T 1&2: Opening Out R 2 Replace weight to LF ROOP Nil & BF 3 RF to side Transition 3/8 turn to L 2 BF 4 LF behind RF, TTO LOOP 3/8 turn to L 3 T 3&4: Opening Out L 5 Replace weight to RF LOOP Nil & BF 6 LF to side Transition 3/8 turn to R 4 BF 7-12 Repeat steps 1-6 Repeat steps 1-6 Repeat 5&6 Repeat 5&6 7&8: Opening steps 1-6 7&8 steps 1-6 Out R and L

7. Shoulder Check

LEADER Commence in CP STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY

1-6 Same as Basic End in FacP, Nil 1&2 Same as 1&2, 3&4: Basic ending in DHH DHH 3&4 Basic 7 LF behind RF, TTO OFP, DHH Slightly extend then contract arms to Nil 5 T 5&6: Open Break to RAP (Follower’s 8 Replace weight to RF Prep FUATL lead Follower to Open Break Nil & BF Checked UATL) 9 LF to side UAT Release R HH, then raise L hand 1/8 turn to R 6 BF rightward and circle counterclockwise to lead Follower to UATL, then lower L arm and place R hand on Follower’s L shoulder blade 10 RF forward (check) RAP Slightly extend then contract arms to 1/8 turn to R 7 BF 7&8: RF Forward Break, (Follower’s 11 Replace weight to LF Prep FUATR lead Shoulder Check 1/8 turn to L & BF Shoulder Check and UATR) 12 RF side & slightly back UAT Release R hand from Follower’s 1/8 turn to L 8 BF back and raise L arm and circle clockwise to lead Follower to UATR, then lower L arm 13-18 Repeat 7-12, except commence in FacP, L to RHH 1&2 3&4: Repeat 7-12 19-24 Same as Basic in DHH 5&6 7&8: Basic in DHH

FOLLOWER Commence in CP STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1-6 Same as Basic End in FacP, DHH Nil 1&2, 3&4 Same as 1&2, 3&4: Basic ending in DHH Basic 7 RF behind LF, TTO OFP, DHH Nil 5 T 5&6: Follower’s Checked UA L 8 Replace weight to LF Prep FUATL Nil & BF 9 RF to side, end back UAT 1/2 turn L 6 BF 10 LF behind RF, TTO RAP Nil 7 T 7&8: Follower’s Shoulder Check and 11 Replace weight to RF Prep FUATR Nil & BF UATR 12 LF to side, end back UAT 1/2 turn R 8 BF 13-18 Repeat 7-12, except commence in FacP, L to RHH 1&2 3&4: Repeat 7-12 19-24 Same as Basic in DHH 5&6 7&8: Basic in DHH

8. Cradles

LEADER Commence in FacP, DHH STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY

1 LF behind RF, TTO OFP, DHH Slightly extend arms to lead Follower to Nil 1 T 1&2: LF Back Rock step back (Follower turns to 2 Replace weight to RF Transition Contract arms and raise L arm slightly Nil & BF RCradP) 3 LF closes to RF RCradP rightwards, and circle CCW, to lead Nil 2 BF Follower to CradleP on Leader’s R side, having extended R arm to side 4 RF behind LF, TTO RCradP Increase tone in arms to lead Follower to Nil 3 T 3&4: RF Back Rock in 5 Replace weight to LF RCradP rock back then replace Nil & BF RCradP 6 RF closes to LF Transition Using R forearm against Follower’s R Nil 4 BF waist, shift both arms to L to lead Follower to LCradleP 7 LF behind RF, TTO LCradP Increase tone in arms to lead Follower to Nil 5 T 5&6: LF Back Rock in 8 Replace weight to RF LCradP rock back then replace Nil & BF LCradP 9 LF closes to RF Transition Using L forearm against Follower’s L Nil 6 BF waist, shift both arms to R to lead Follower to RCradP 10 RF behind LF, TTO RCradP Increase tone in arms to lead Follower to Nil 7 T 7&8: RF Back Rock in rock back RCradP, ending in 11 Replace weight to LF UAT Use R forearm against Follower’s R waist Nil & BF FacP. 12 RF to side FacP in DHH to lead Follower forward, and raise L arm Nil 8 BF and circle CW to lead Follower to turn to the R, lowering L arm at end of turn Note: Leader may turn slightly to the R when in R Cradle Pos., and slightly to the L when in L Cradle Pos. Be sure to keep arms forward in a circular position, keeping elbows up, making a strong catch-connection with both hands.

8. Cradles (…CONTINUED)

FOLLOWER Commence in FacP, DHH STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF behind LF, TTO OFP, DHH Nil 1 T 1&2: RF Basic ending 2 Replace weight to LF Transition Nil & BF in RCradP 3 RF to side, end back RCradP 1/2 turn L 2 BF 4 LF behind RF, TTO RCradP Nil 3 T 3&4: LF Basic in 5 Replace weight to RF RCradP Nil & BF RCradP 6 LF to side Transition Nil 4 BF 7 RF behind LF, TTO LCradP Nil 5 T 5&6: RF Basic in 8 Replace weight to LF LCradP Nil & BF LCradP 9 RF to side Transition Nil 6 BF 10 LF behind RF, TTO RCradP Nil 7 T 7&8: LF Basic in 11 Replace weight to RF UAT Nil & BF RCradP, ending in FacP 12 LF to side, end back FacP, DHH 1/2 turn R 8 BF Note: Follower may turn slightly to the L when in R Cradle Pos., and slightly to the R when in L Cradle Pos. Follower should keep tone in the arms in Cradle Position, expanding the circle to maintain a good connection with the Leader.

9. Traveling Crosses Left & Right

LEADER Commence in FacP, DHH STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY

1 LF side & slightly back, FacP, DHH Increase tone in arms and Nil 1 T 1&2: Traveling Cross TTO sway to the R. to L 2 RF crosses in front of LF FacP, DHH Nil & BF 3 LF side FacP, DHH Nil 2 BF 4 RF side & slightly back, FacP, DHH Maintain tone in arms and Nil 3 T 3&4: Traveling Cross TTO sway to the L. to R 5 LF crosses in front of RF FacP, DHH Nil & BF 6 RF to side FacP, DHH Nil 4 BF 7-12 Repeat 1-6 Repeat 1-6 Repeat 1-6 Repeat 1-6 Repeat Repeat 1-6 Repeat 1-6 1-6 Notes for Leader and Follower: 1. This figure may turn slightly to the L or R over steps 1-12. 2. May be danced in CP or FacP, L-to-R HH

FOLLOWER Commence in FacP, DHH STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF side & slightly back, FacP, DHH Nil 1 T 1&2: Traveling Cross TTO to R 2 LF crosses in front of RF FacP, DHH Nil & BF 3 RF side FacP, DHH Nil 2 BF 4 LF side & slightly back, FacP, DHH Nil 3 T 3&4: Traveling Cross TTO to L 5 RF crosses in front of LF FacP, DHH Nil & BF 6 LF to side FacP, DHH Nil 4 BF 7-12 Repeat 1-6 Repeat 1-6 Repeat 1-6 Repeat Repeat 1-6 Repeat 1-6 1-6 Note: Follower will sway L over 1-3, R over 4-6, L over 7-9, R over 10-12

10. Inside Underarm Turn

LEADER Commence FacP, L to R HH STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY

1 LF behind RF, TTO OFP Slightly extend then contract L Nil 1 T 1&2: Open Break 2 Replace weight to RF FacP arm to lead Follower to back Nil & BF (Follower’s UATL) break 3 LF to side Transition Raise L arm slightly rightward and 1/4 to R 2 BF circle CCW to lead Follower to UATL 4 RF side & slightly back, FacP Lower L hand and increase tone Nil 3 T 3&4: Traveling Cross TTO in arm swaying to the L, to lead to R 5 LF crosses in front of RF FacP Follower to Traveling Cross. Nil & BF 6 RF to side FacP Nil 4 BF Notes for Leader and Follower: 1. Leader may make a total of 3/8 turn to R on 3, in which case Follower will make 5/8 turn L on step 3. 2. May be danced in FacP, DHH, releasing hold with Leader’s R hand at e/o 3.

FOLLOWER Commence FacP, L to R HH STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF behind LF, TTO OFP Nil 1 T 1&2: Open Break & 2 Replace weight to LF FacP Nil & BF UATL 3 RF to side, ending back Transition 3/4 to L 2 BF 4 LF side & slightly back, FacP Nil 3 T 3&4: Traveling Cross TTO to L 5 RF crosses in front of LF FacP Nil & BF 6 LF to side FacP Nil 4 BF Note: Follower will sway R over 4-6

11. Underarm Turn & Ladies Spin

LEADER Commence in Closed Position STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY 1 LF behind RF, TTO OFP Slightly extend then contract L arm Nil 1 T 1&2: Open Break 2 Replace weight to RF FacP to lead Follower to back break Nil & BF (Follower’s UATL) 3 LF to side Transition Raise L arm slightly rightward and 1/4 to R 2 BF circle CCW to lead Follower to UATL 4 RF side & slightly Transition Continue circling L arm CCW, to Nil 3 T 3&4: Traveling Cross back, toe slightly lead Follower to Progressive to R (Follower’s turned out UATL. Progressive UATL) 5 LF crosses in front of Transition Nil & BF RF 6 RF to side FacP Lower L arm. Nil 4 BF

FOLLOWER Commence in Closed Position STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF behind LF, TTO OFP Nil 1 T 1&2: Open Break & 2 Replace weight to LF FacP Nil & BF UATL 3 RF to side, ending back Transition 3/4 to L 2 BF 4 LF forward, pivot Transition 1/4 to L 3 T 3&4: Progressive 5 RF back, pivot Transition 1/4 to L & T UATL 6 LF to side FacP 1/4 to L 4 BF

12. Through the Window

LEADER Commence in FacP, XHH (L over R) STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY

1 LF behind RF, TTO OFP, XHH (L over R) Slightly extend arms to lead follower to Nil 1 T 1&2: LF Basic turning to R step back (Follower’s Cross-handed 2 Replace weight to RF Prep FUATL Slightly contract and slightly raise Nil & BF UATL) arms rightward to lead Follower to replace wt forward and start UATL 3 LF to side, ending back UAT Raise arms and circle CCW to lead 1/2 to R 2 BF Follower to UATL, to end w/ R arm high & L arm low to create Window 4 RF behind LF, TTO OFP, XHH (R over L) Slightly extend arms to lead follower to Nil 3 T 3&4: RF Basic turning to L step back (Follower’s Cross-handed 5 Replace weight to LF Prep FUATR Slightly contract and slightly raise Nil & BF UATR) arms leftward to lead Follower to replace wt forward and start UATR 6 RF to side, ending back UAT Raise arms and circle CW to lead 1/2 to L 4 BF Follower to UATR, to end w/ L arm high & R arm low to create Window 7 LF behind RF, TTO OFP, XHH (L over R) Slightly extend arms to lead follower to Nil 1 T 5&6: LF Basic turning to R step back (Follower’s Cross-handed 8 Replace weight to RF Prep FUATL Slightly contract and slightly raise Nil & BF UATL) arms rightward to lead Follower to replace wt forward and start UATL 9 LF to side, ending back UAT Raise arms and circle CCW to lead 1/2 to R 2 BF Follower to UATL, to end w/ R arm high & L arm low to create Window 10 RF side & slightly back, UAT Release hold w/ L hand, and circle R Nil 3 T 7&8: Traveling Cross to R TTO arm CCW, to lead Follower to (Follower’s Progressive 11 LF crosses in front of UAT Progressive UATL. Nil & BF UATL) RF 12 RF to side FacP, L to R HH Lower R hand and take L-to-R HH Nil 4 BF Note: When creating the “Window,” keep tone and shape in the arms, creating a “catching” effect with lower hand, and top hand creating a “little hook.”

12. Through the Window (…CONTINUED)

FOLLOWER Commence in FacP, XHH (L over R) STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF behind LF, TTO OFP, XHH (L over R) Nil 1 T 1&2: Cross-handed 2 Replace weight to LF Prep FUATL Nil & BF UATL 3 RF to side, ending back UAT ½ to L 2 BF 4 LF behind RF, TTO OFP, XHH (R over L) Nil 3 T 3&4: Cross-handed 5 Replace weight to RF Prep FUATR Nil & BF UATR 6 LF to side, ending back UAT ½ to R 4 BF 7 RF behind LF, TTO OFP, XHH (L over R) Nil 1 T 5&6: Cross-handed 8 Replace weight to LF Prep FUATL Nil & BF UATL 9 RF to side, ending back UAT ½ to L 2 BF 10 LF forward, pivot UAT ¼ to R 3 T 7&8: Progressive UATL 11 RF back, pivot UAT ½ to R & BF

12 LF to side FacP, L to R HH ¼ to R 4 BF

13. Opposition & Travel to the Right (Checked Left Turn)

LEADER Commence in CP STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY

1 LF to side RAP Lower L arm and extend both Nil 1 B 1&2: LF side arms rightward to lead Opposition Break Follower to rock back 2 Replace weight to RF RAP Very slightly contract arms Nil & BF leftward 3 LF in front of RF, TTO CP Return frame sharply to CP ¼ to L 2 BF 4 RF side & slightly back, CP Maintain tone in arms and Nil 3 T 3&4: Traveling Cross TTO sway to L to R 5 LF crosses in front of RF CP Nil & BF 6 RF to side CP Nil 4 BF Note for Leader and Follower: Leader may lead follower to a progressive UAT to the L over 4-6.

FOLLOWER Commence in CP STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF back RAP ¼ to R 1 T 1&2: RF back 2 Replace weight to LF RAP Nil & BF Opposition Break 3 RF to side CP ½ to L 2 BF 4 LF side & slightly back, TTO CP Nil 3 T 3&4: Traveling Cross 5 RF crosses in front of LF CP Nil & BF to L 6 LF to side CP Nil 4 BF

Note: Follower will sway R over 4-6

14. Push Spin

LEADER Commence in FacP, L to R HH STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY 1 LF behind RF, TTO OFP Slightly extend then contract L arm Nil 1 T 1&2: Open Break 2 Replace weight to RF FacP to lead Follower to Open Break Nil & BF 3 LF forward Transition Place R hand on Follower’s R 1/8 turn L 2 BF forearm, releasing hold with L hand 4 RF side Transition Slightly extend R arm and rotate 1/8 turn L 3 B 3&4: Spot Turn to L CW, then release hold to lead (Follower’s Follower to Progressive R turn. Progressive R Turn) 5 Replace weight to LF Transition Turn to face Follower to end in 1/4 turn L & BF 6 RF side FacP, L to R FacP, and take L to R HH 1/8 turn L 4 BF HH Note: Regain Closed Position at the start of the next figure.

FOLLOWER Commence in FacP, L to R HH STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF behind LF, TTO OFP Nil 1 T 1&2: Open Break 2 Replace weight to LF FacP Nil & BF 3 RF forward (pivot) Transition Nil 2 BF 4 LF side, ending back, Transition 1/2 turn R, 3 T 3&4: Progressive R then pivot then Turn additional 1/2 turn R e/o 4 5 RF forward (pivot) Transition 3/8 turn R & T 6 LF side FacP, L to R HH Nil 4 BF Note: Regain Closed Position at the start of the next figure.

15. Criss Cross & Underarm Turn LEADER Commence in FacP, L to R HH STEP FOOT POSITIONS DANCE POS LEAD TURN COUNT FOOTWORK SUMMARY

1 LF behind RF, TTO FacP, L to R HH Slightly extend L arm to lead Follower to step Nil 1 T 1&2: LF Criss- back Cross 2 Replace weight to RF Transition Slightly contract then release L arm to lead Nil & BF Follower to cross in front of Leader to the R side 3 LF to side Transition Catch Follower’s L hand with Leader’s R hand 3/8 turn R 2 BF 4 RF behind LF, TTO FacP, R to L HH Slightly extend R arm to lead Follower to step 1/8 turn R 3 T 3&4: RF Criss- back Cross 5 Replace weight to LF Transition Slightly contract then release R arm to lead Nil & BF Follower to cross in front of Leader to the L side 6 RF to side Transition Catch Follower’s R hand with Leader’s L hand 3/8 turn L 4 BF 7-12 Repeat steps 1-6 Repeat steps 1- Repeat steps 1-6, and take DHH on 12 1/8 turn L on 7, 5&6, 7&8 Repeat 5&6 7&8: LF Criss- 6 then 8-12 same as 2-6 steps 1-6 Cross, RF Criss- Cross 13 LF behind RF, TTO OFP, DHH Slightly extend then contract arms to lead 1/8 turn L 1 T 1&2 Open Break 14 Replace weight to RF FacP, DHH Follower into back break Nil & BF 15 LF to side Prep FUATR Raise arms slightly leftward Nil 2 BF 16 RF behind LF, TTO UAT Circle arms clockwise to lead Follower to Nil 3 T 3&4: RF Basic 17 Replace weight to LF UAT UATR, lowering arms at end of turn Nil & BF (Follower’s UATR) 18 RF to side FacP, DHH Nil 4 BF turned (L over R) 19 LF behind RF, TTO OFP, DHH Slightly extend arms to lead Follower to step Nil 5 T 5&6: Open Break turned (L over back (Follower’s UATL) R) 20 Replace weight to RF Prep FUATL Slightly contract and raise arms slightly Nil & BF rightward 21 LF to side UAT Raise arms and circle CCW to lead Follower to ¼ to R 6 BF UATL opening arms out and down at end of turn 22 RF side & slightly FacP, DHH Increase tone in arms and sway to L, to lead Nil 7 T 7&8: Traveling back, TTO Follower to Traveling Cross Cross to R 23 LF crosses in front of FacP, DHH Nil & BF RF 24 RF to side FacP, DHH Nil 8 BF Note for Leader and Follower: Although the Dance Positions on steps 1. 4, and 7 are given as FacP, there will be a slight V-shape because less than 3/8 turn is made on steps 3, 6, and 9.

15. Criss Cross & Underarm Turn (…CONTINUED)

FOLLOWER Commence in FacP, L to R HH STEP FOOT POSITIONS DANCE POS TURN COUNT FOOTWORK SUMMARY 1 RF behind LF, TTO FacP, L to R HH Nil 1 T 1&2: RF Criss-Cross 2 Replace weight to LF Transition 1/8 turn L & BF 3 RF to side Transition Just under 3/8 turn L 2 BF 4 LF behind RF, TTO FacP, R to L HH Nil 3 T 3&4: LF Criss-Cross 5 Replace weight to RF Transition 1/8 turn R & BF 6 LF to side Transition Just under 3/8 turn R 4 BF 7-12 Repeat steps 1-6 Repeat steps 1-6 Repeat steps 1-5, turning 5&6, Repeat 5&6, 7&8: RF Criss- 3/8 turn R on 12, 7&8 steps 1-6 Cross, LF Criss- Cross 13 RF behind LF, TTO OFP, DHH Nil 1 T 1&2: Open Break 14 Replace weight to LF FacP, DHH Nil & BF 15 RF to side Prep FUATR 1/8 turn R 2 BF 16 LF forward and across UAT 1/8 turn R 3 T 3&4: UAT R 17 Replace weight to RF UAT 1/2 turn R & BF 18 LF to side FacP, DHH turned (L over R) 1/4 turn R 4 BF 19 RF behind LF, TTO OFP, DHH turned (L over R) Nil 5 T 5&6: Open Break & 20 Replace weight to LF Prep FUATL Nil & BF UATL 21 RF to side, ending back UAT 3/4 to L 6 BF 22 LF side & slightly back, TTO FacP, DHH Nil 7 T 7&8: Traveling Cross 23 RF crosses in front of LF FacP, DHH Nil & BF to L 24 LF to side FacP, DHH Nil 8 BF