MH16 August 2008.Pdf

Home , Hustle (dance), Open position, Salsa (dance)

NOTICE TO THE READER: In order to realize the maximum benefits of this manual, you may wish to view the corresponding DVD while following the diagramed figures. The people of DVIDA did everything possible to make these syllabus manuals clear and precise. The corresponding DVD is designed to give you a visual guide to the patterns. The DVD, with demonstrations by United States Champions, may show advanced styling and competitive technique. In some instances the technique may differ from the basic written technique in order to provide you with concepts and theories that will take your dancing to an even higher level." We realize that perfection is a never-ending goal and therefore DVIDA will improve our manuals with each new revision. Please address your comments or questions to (800) 851-2813 or email us at [email protected]. ACKNOWLEDGMENTS: This manual is based on the teaching syllabus developed by World Hustle Dance Champions, Billy Fajardo and Katie Marlow, presented on DVD with the help of Jami Josephson. Diane Jarmolow created the original chart figures in this manual. She and Julie Lowe re-wrote and edited them, with contributions by Melissa Saphir, Brandee Selck, Billy Fajardo and Jami Josephson. Our special thanks to Billy Fajardo, Jami Josephson, Diane Jarmolow, Joyce Szili, Beth Darchi, Daniel McGee, Jameson Kilburn, Raul Ante, Derek Allan and Ralph Ramirez for their contributions to this manual. ABOUT BILLY & JAMI: Billy is one of the original New York Hustle dance stars of the 1970s. He was instrumental in the development of the Hustle dance form from its inception in the nightclubs during the 1970s, to its current social and competitive styles of today. He is commonly referred to amongst Hustle dance aficionados as being the “Godfather of Hustle”, and is the only one of a handful of original Hustle dance stars to still be actively teaching and performing on a worldwide level today. To keep the spirit of the dance alive, and to further its development, Billy and Katie chartered the not-for-profit governing body for the Hustle dance world, the International Hustle Dance Association (IHDA). This syllabus is the product of 35 years of dancing, teaching, competing and performing Hustle for Billy Fajardo, and 30 years for Katie Marlow. This syllabus is Billy’s legacy to the world of dance, and he is delighted to present it, along with his partner Katie, to the DVIDA family. Jami Josephson is a professional dancer, performer, choreographer and a certified dance instructor and coach in Ballroom and Latin dancing with over 100 titles in competition dancing. She has many credits in T.V., Commercials, and has choreographed numerous Music Videos, “Valentino, The Musical”-Off-Broadway, “Havana After Dark”-Tropicana, Atlantic City, and the “Love Concert” in Hong Kong. Jami also judges many Salsa events all over the world including the World Salsa Championships for ESPN and has recently finished a Salsa certification for instructors. Jami has studied Jazz, Ballet, Hip-Hop, Tap, Ballroom, Latin, Country Dancing, Hustle and Acting and is well known for her exceptional dancing and teaching skills, which she obtained from many years of training and studying with the best teachers in the country. With over 40 instructional DVDs & videos, Jami is happy to assist Mr. Fajardo in these Hustle DVDs! DISCLAIMER: This manual is intended for information only. Please check with your physician prior to beginning any new physical activity. The publisher and author do not intend that any user of this manual endure undue exertion or strain. Published by W.D. Eng, Inc. Las Vegas, Nevada, USA / Edition dated September 2008 / Renee Coates - Editor Copyright 2008 by W.D. Eng, Inc. dba Dance Vision / All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means (including information storage and retrieval systems) without written permission of the publisher. Warning: Dance Vision will prosecute any individual or company, within the United States or any other country, who reproduces any or all of this text without the express written permission of the publisher. Dance Vision offers a reward of $1000 for information leading to the prosecution of copyright infringement upon its property.

Table of Contents

Exercises for Developing Hustle Technique History of Latin Hustle ...... 1 Back Break ...... 21 Studying the Charts Side Break ...... 22 Hustle Facts ...... 2 Forward Break ...... 23 Definition of Chart Elements ...... 4 Dance Position Definitions ...... 5 Syllabus Figures Abbreviations ...... 6 Foot Positions Diagrams ...... 8 1. Hesitation ...... 24 Amount of Turn Diagram ...... 11 2. The Wheel ...... 25 3. Underarm Turn Combination ...... 26 General Technical Tips ...... 12 4. Leader’s Behind the Back Pass to Glossary Follower’s Bridge ...... 28 Glossary of Hustle/Dance Terms ...... 13 5A. Cross Body Lead ...... 30 Musical Information 5B. Cross Body Lead to Open Break and Return ...... 31 Definitions of General Musical Terms ...... 16 6. Return to Face Loop ...... 32 Certification 7. Double Handhold Bridges ...... 33 Student Medal Program ...... 18 8. The Whip ...... 34 9A. Cradle with Continuous Left ...... 35 Professional Certification ...... 19 9B. Cradle In and Out ...... 36 Full Bronze Routines 10. Back Spot Turn ...... 37 Hustle Routine ...... 20 11. Grapevine ...... 38 12. Sliding Doors ...... 39 13. Cross Body Lead w/ Inside Turn ...... 40 14A. Shadow w/ Comb ...... 41 14B. Shadow w/ Free Spin ...... 43 15. New York Walk ...... 45

History of “The Latin Hustle” By Billy Fajardo In the late 1960s and throughout the 1970s, discotheques with high quality sound systems and flashing lights became a popular form of entertainment in Europe and America. In the early 1970s, dancing in the discotheques was mostly freestyle dancing – similar to the “Rock” style exhibited by pop stars of the day (i.e. The Jackson Five). The afro hairstyle, bellbottom pants and marshmallow shoes were the fashion craze of the younger generation of the time.

A small group of young adults and teenagers formed a subculture in New York City, competing in the many discotheques in a variety of dance contests, mostly performing the aforementioned “Rock”. Some of the popular clubs at this time were The Contiki, Footsteps and The Red and White. These were the “hot clubs” where the best dancers from the boroughs of New York City would gather to dance, compete and exchange information.

In early 1973, at a discotheque called The Grand Ballroom, women were exhibiting a new and nameless “touch dance.” The dance had a basic form with a simple 6-count step and featured inside and outside single turns. This was the birth of what would later be called Hustle. The young men at the club took notice, instantly interested in this new “touch dance” that represented a return to romance and was, quite simply, a great way to meet women! From that time on, the Hustle gained enormous popularity and has continued to evolve to this day.

In Latin discotheques, including The Corso, Barney Goo Goo’s and The Ipanema, disco music was used as a bridge between live band sets. In these clubs, touch dancing had always been present in the form of Mambo, Salsa, Cha Cha and Bolero. As a result of this cultural fusion, the simple, original 6-count Hustle began to incorporate the “Rock Step” action of the Mambo. The count of the dance became “1-2-3 & 4-5-6.” Although a touch dance, the Hustle was frequently performed side-by-side and began incorporating many of the intricate turn patterns from Mambo. Hustle came to include multiple turns and hand changes with a “ropey” feel to the arms, inspiring the dance to be called “Rope Hustle” or “Latin Hustle”.

Although New York City continued to be the main hub and innovation center for the evolution of the Hustle, in 1974 and 1975 the Hustle gained popularity and began to spread across the United States. Dance contests began to pop up in every city as the phenomenon continued. At the same time, the gay community began to exert its influence. Many of its members were involved in the professional performing arts and added balletic arms, long lines, and elasticity to the Hustle. Also at this time, the dance changed from a purely slotted pattern into a rotational one.

In 1975, dance competitions abounded and young competitors were seeking an edge. Acrobatic and adagio movements were incorporated into the Hustle and a whole new style of dance entertainment was born as nightclubs, hotels, and the television industry began hiring these young and innovative professionals. These opportunities fueled the fire, and young dancers continued seeking new ways to excite club audiences. The Hustle became faster and more exciting, and the original “1-2-3” of the dance was dropped leaving the “&4-5-6.” This allowed the dancers to move quickly into and out of the tricks that were becoming so popular in the contests. Eventually, “&4-5-6” became “&1-2-3,” and this has remained the standard way Hustle is counted today.

The New York Hustle dancers from the 1970s paved the way for the rest of the Hustle community across the United States. The Grammy Award Winning song Do the Hustle, by Van McCoy, only added to the popularity of the Hustle craze and eventually the word “Latin” was dropped from the name although currently, the young salsa community refers to the dance as the “Latin Hustle.” Hustle has borrowed from numerous dance styles including Swing, Latin and Smooth Ballroom (incorporating its traveling movements and pivots).

Today the Hustle continues to evolve, and is the last authentic American partner dance born and cultivated in the United States.

Studying The Charts

Hustle Facts

Musical Information Follower’s Turns Throughout the Hustle, Follower’s repeatedly dance right and left turns • Time Signature: 4/4 (pivots). These pivots are executed by holding the free leg in CBMP (in • Tempo: 28-30 mpm (social, exams, and competitions) the same track as the standing leg, rather than allowing the legs to • Count: & 1 2 3 separate). • Beat Value: 1/2-1-1-1/2 (at advanced levels, Hustle may be danced 1/4-1-1-3/4) • Right Turns: On Right turns, the pivot happens after the right foot • Alternative Teaching Count: & 1 2 3, & 2 2 3, & 3 2 3, etc. Or & 1 2 steps forward on step 3 (count 2). 1/2 turn is executed on the right 3, & 4 5 6 foot. Once the turn is complete, the Follower steps back on the • Counting in Beats and Phrases: We usually count Hustle in 8 left foot for step 4 (count 3). count phrases for choreographic and musical purposes. Since Hustle is made up of 3 count figure components danced to a 4/4 time • Left Turns: On Left turns, the pivot happens after the left foot steps signature, counting in phrases is as follows: &123, &456, &781, forward on step 2 (count1). 1/2 turn is executed on the left foot. &234, &567, &812, &345, &678. If counting in Beats and Bars, dance Once the turn is complete, the Follower steps back on the right the &123 timing while counting as follows: 1234, 2234, 3234, 4234, foot for step 3 (count 2) and then back on the left foot for step 4 etc. (count 3). • Timing: Hustle can be challenging because it is counted in “threes”

but danced to music with a 4/4 time signature. For the least Leader’s Foot Positions confusion when dancing, focus on listening for the beats and not the The following terms appear in the foot position column of the figure charts. bars in the music. There are also four and five count patterns that Because they are similar sounding, this explanation will clarify their appear in the silver and gold level syllabi. Eventually, to the differences: seasoned dancer, these tricky rhythms become second nature.

• RF forward and across – generally used on step 2 Footwork (Count 1) of an Open Break. This allows the Leader to progress • Ball is used on the first step of back breaks and side breaks slightly forward as well as to begin moving from the track to the rail in • Ball Flat or Ball is used on the first step of forward breaks order to allow the Follower to dance along the center of the track. • Ball Flat Ball is used on travelling pivots • LF crosses in front of LF– used on step 3 (count 2) of Cross-Body • Ball Flat is used on all other steps Lead. There is no progression, but there is turn. • Feet are slightly turned out throughout • RF crosses in front of LF – used on step 4 (count 3) of the Wheel. There is no progression, but there is turn. Arm Styling: Hustle is characterized by its own unique arm styling in which • RF in front of LF, toe turned out – used on step 8 (count 3) of the free arm is extended diagonally upward creating long, elegant lines. Cross-Body Lead to Open Break and Return. In this case “crossing” However, in a social setting, the arms may need to be held closer to the body. would create too much distance between partners. By placing the right heel opposite the left toe, the Leader is able to create a stylish foot position without travelling and with little or no turn.

Handholds • In Open Facing Position, joined hands are held at a level between the Follower’s waist and chest in a clasp, with the Leader’s fingers cupped (as if holding a can), and the Follower’s fingers hooked over the Leader’s fingers. The forearms are held parallel to the floor. • In Right Angle or Closed Position, a L-to-R Handhold using the same clasp as described above may be used. Alternatively, partners may join palms together in a traditional ballroom clasp with the Follower’s fingers folded into the web of the Leader’s hand (between Leader’s thumb and index finger).

Leading and Following: • Because of the speed of Hustle, it is essential for the Leader and Follower to maintain eye contact as often as possible. The dancers should maintain a “rubberband-like” quality between them, moving away from the common center (their joined hands) on all break steps and then rebounding to their next step.

Tracks and Rails: • The analogy of tracks and rails is often used in Hustle to emphasize that it is the Leader’s responsibility to move out of the path of the Follower onto the “rails” in order to allow the Follower to dance in a straight line down the center of the “track.”

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: 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 Step Number the other. An example is the Wheel – all four steps are distinct weight changes. An action includes such things as taps, kicks and points. Note that the step number is different from the count. For example a Wheel has 4 steps, but is danced over three beats of music. “ and 1, 2, 3” There’s two changes of weight on the first beat.

Dance Position This refers to the frame and the positioning of the upper body and arms. The means of connecting with your partner using correct position of the arms, shoulders, elbows and hands. A toned frame is essential for good leading and following. See also Dance Position Definitions.

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.

This describes how the Leader communicates to the Follower what should be danced. Good leading comes from the center of the Leader’s Lead 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. 2. Physical: The arm, connected to the Leader’s center, communicates the lead through contraction and extension. Physical leads are used primarily when dancers do spins and Cross Body Leads. 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, i.e.…. from Closed to Right Angle 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 when the Leader offers a hand in preparing a Two Hand Position or Cross Hand Position, where the lead is entirely visual. 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.”

Count (Timing) Also called Timing, the count allows the dancer to keep the dance in time to the music. Hustle has its own specific counts “ And 1 2 3) Counting in Beats and Bars is a way of counting both the beats and bars (measures) at the same time, in order to keep track of how many measures of music have been used. See Musical Information on ways to count Hustle in beats and bars.

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 Progressive Basic, it can be summarized as “first (or forward) half of a Basic.”

Closed Position The normal dance position in the Latin Dances, however in Hustle the frame can be a bit wider like in smooth dances to create and elegant look. Leader and Follower face each other, about 12 inches apart, with the Follower either directly in front of the Leader or slightly offset to the Right. The Leader’s Right hand is on the Follower’s Left shoulder blade and the Follower’s Left arm lightly rests on top of the Leader’s Right arm, following the curve of the arm to the shoulder. The Leader’s Left hand is raised in a gentle curve to the Follower’s eye level. The fingers of the Follower’s Left hand are lightly clasped between the Leader’s thumb and first finger or a cupped hand hold can also be used. The elbows of both dancers should be held forward, in advance of the body. Counter Fallaway Position Moving backwards in Counter Promenade Position (CPP) Hammerlock Position Named after a wrestling term, this is usually created by leading a Follower’s UATR with a raised left arm and a double handhold. The result is a position where the Leader and Follower face each other with Follower’s Left hand bent behind the Follower’s back and connected to the Leader’s Right hand at Follower’s Right waist. Generally, Leader’s Left hand will hold Follower’s Right hand at eye level. Left and Right Shadow Position Leader and Follower face the same direction, with Follower slightly ahead or behind the Leader on the Leader’s Left or Right side. Open Facing Position Also called Open Position, Leader and Follower face each other and are more apart than in Closed Position. Any of the following hand holds may be used: 1. Standard – Leader’s L hand holds Follower’s R hand. 2. Opposite – Leader’s R hand hold Follower’s L hand. 3. Right-to-Right - (also called Hand Shake Hold) Leader’s R hand holds Follower’s R hand. 4. Left-to-Left – Leader’s L hand holds Follower’s L hand. 5. Double Hand Hold - Leader’s L hand holds Follower’s R hand and Leader’s R hand hold Followers L hand. 6. Cross Hand Hold - Leaders L hand holds Follower’s L hand, and Leader’s R hand holds Follower’s R hand, either hand on top. 7. Apart – No hold. Open Hammerlock Position Related to Hammerlock Position, this is usually created by leading a Follower’s UATR from Closed Position. The Leader’s Right hand will maintain contact on the Follower’s Right shoulder blade, allowing the hand to flip over so the palm of the hand is in contact with the Follower’s back. Leader and Follower face each other. Leader’s Left hand holds Follower’s Right hand at eye level, and Follower’s Left arm is free. Right Angle Position (RAP) This position is used in the Cross Body Lead. Leader’s Right side is almost in contact with Follower’s Left side and the opposite sides of their bodies are open in a wide V- shape. The Leader is usually turned at least a 1/4 of a turn to the Left, away from the Follower, and the shoulders of the dancers are perpendicular to each other. This position allows the Follower to go forward like in CBL. Right Cradle Position Follower to right of Leader with Leader’s right arm around Follower’s waist holding Follower’s left hand and Leader’s left hand holding Follower’s right hand. Right Shadow Position Follower to right of Leader either slightly in front or behind. Right Outside (Partner) Position One partner steps right foot forward in CBMP on their partner’s right side, while the other person steps left foot backward in CBMP. Tandem Position Follower is directly in front of or behind the Leader, both partners facing the same direction, with or without hold.

Abbreviations and Definitions Key Abbreviations and Definitions for Dance Positions and Handholds CFallP Counter Fallaway Position Moving backwards in Counter Promenade Position (CPP) CP Closed Position Normal dance position DHH Double Hand Hold Partners facing each other with Leader’s Left hand holding Follower’s Right hand, and Leader’s Right hand holding Follower’s Left hand FacP Facing Position Normal dance position but with either no hold, one hand hold, double hold or cross-hand hold Hammerlock Pos. Hammerlock Position Partners facing each other, with Leader’s Left hand holding Follower’s Right hand, and Follower’s Left arm bent behind back, holding Leader’s Right hand at Follower’s Right waist L to R HH Left to Right Handhold Leader’s Left hand to Follower’s Right hand L to L HH Left to Left Handhold Leader’s Left hand to Follower’s Left hand OFP Open Facing Position Same as Facing Position except further apart ORAP Open Right Angle Position Follower at Right angle to Leader on Leader’s Right side. Leader’s Right hand is not on Follower’s back. Prep FUATL Preparation for Follower’s Not a specific dance position, but indicates that Leader’s arm(s) is raised to indicate to follower Underarm Turn to Left that turn to the Left is commencing Prep FUATR Preparation for Follower’s Not a specific dance position, but indicates that Leader’s arm(s) is raised to indicate to follower Underarm Turn to Right that turn to the Right is commencing Prep UATLL Preparation for Leader’s Not a specific dance position, but indicates that Leader’s arm(s) is raised to prepare for underarm Underarm Turn to Left turn to the Left Prep UATLR Preparation for Leader’s Not a specific dance position, but indicates that Leader’s arm(s) is raised to prepare for underarm Underarm Turn to Right turn to the Right R to L HH Right to Left Handhold Leader’s Right hand to Follower’s Left hand R to R HH Right to Right Handhold Leader’s Right hand to Follower’s Right 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 Leader’s left hand holding Follower’s right hand. ROP Right Outside (Partner) One partner steps right foot forward in CBMP on their partner’s right side, while the other person Position steps left foot backward in CBMP. RShadP Right Shadow Position Follower to right of Leader either slightly in front or behind. Many possible handholds. TP Tandem Position Partners facing same direction, with one person directly in front or behind the other (like a tandem bicycle) TP, cradle arms Tandem Position with Cradle Tandem Position with Follower in front, with arms crossed in front of body (Right over Left). The Arms hands are at waist level, with Leader’s Left hand holding Follower’s Right hand, and Leader’s Right hand holding Follower’s Left hand trans Transition In between dance positions UAT Underarm Turn Not a specific dance position, but indicates that an underarm turn is in process XHH, (R over L) Cross Handhold, Right over Leader’s Left hand connected to Follower’s Left Hand, Leader’s Right hand connected to Left Follower’s Right Hand, with the Right hands above the Left hands

Abbreviations Key

Abbreviations for Syllabus Terms BCT Body Completes Turn Prep Preparation for BTL Body Turns Less R Right Btw Between RAP Right Angle Position CP Closed Position RF Right Foot DHH Double Hand Hold RH Right Hand FacP Facing Position TP Tandem Position FUATR(L) Follower’s Underarm Turn Right (Left) trans Transition HH Handhold TTI Toe Turned In L Left TTO Toe Turned Out LF Left Foot UA Underarm LH Left Hand UAT Underarm Turn LUATR(L) Leader’s Underarm Turn Right (Left) UATL Underarm Turn Left Meas Measure UATR Underarm Turn Right Nil No turn WC Weight Change Lead OFP Open Facing Position XHH Cross Hand Hold Pos Position wt Weight

Foot Position Diagrams The following are the most common foot positions used in the Rhythm dances.

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.

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

General Technical Tips

Stand with forward poise to create connection with partner. Maintain same height throughout the dance, keeping head up and shoulders relaxed. Follower’s connection must be very light in order to execute fast turns and checks. There should be a very slight turn out in the feet, where heels stay close together and the balls of the feet should be approximately 1 inch apart. A good frame is required throughout with the energy up in the arms and consists of proper placement of the Leader’s Right hand on Follower’s Left shoulder blade and the Follower’s Left arm and hand resting on top on the Leader’s Right arm and not behind. Free arm should be used in a natural way to compliment the music and body movement and is never to be held just down by your side. Ballet like arms are used a lot as a true styling to Hustle dancing. Cuban motion should be used on all break steps ( count “and 1” ) Very important to spot all turns. Spotting all turns helps in reducing dizziness, as well as the important factor that it gives good balance, speed, and timing. Hand tone is important and the level of force or pressure of the hand and fingers, which a dancer (lead or follow) uses to send and receive messages to and from a partner while dancing. The general rule is: firm yet flexible. A “cupped” like hand hold is used mainly with no thumbs. Neither partner should ever work in a position referred to as "Split Weight". Each beat of the basic should display a clear transfer of weight and balance from one foot to the other. All leads should originate from the body and not the hands and arms. Leading with your arms results in bad body lines and is uncomfortable to the follower. Lead cues come from the man's body position and the direction of his movement and in some patterns from his frame, including his arms. This means that the leader must move his feet...he cannot stand in one place and lead the follower through patterns.

Glossary of Hustle and Dance Terms

Break Step A unit of two steps in which the second step replaces weight and is taken in the opposite direction from the first. Common breaks are forward, back, side, open, opposition, fifth position and outside partner.

Check (1) Clearly stopping the Follower’s movement, generally to redirect the Follower in the opposite direction. (2) A forward break with a specific leg action. The front leg is straight with TTO and body weight only partially committed to the front foot. The heel of the back foot is raised and the inside of the knees are in contact. Combination This when you take 3 to 5 figures and put them together to create combinations. Connection A means of communication between partners either visually or by a physical point of contact that makes leading and following possible. Good connection is created by: • Good posture and body alignment • Keeping one’s center engaged and focused on the partner’s • A toned frame center • Matching resistance with one’s partner • Eye contact Contract (1) A term used in the Lead column to describe how the Leader signals the Follower to step toward them. This involves the Leader using tone in the body (center) to generate a gentle pull through the handhold or frame, resulting in an increased bend in the arm(s).

(2) A tightening action of the abdominal muscles (contraction) used in the Rhythm dances to create rhythmic body movements. Contra Body Abbreviated as CBMP, this is a foot position taken forward or backward where the foot is placed on the same track or across the Movement Position track of the other foot. Frequently confused with Contra Body Movement because of the similarity of the names, CBMP is not a turn (CBMP) of the body, but rather a placement of the foot. Hip Action A distinctive hip and body movement achieved by alternately bending and straightening the knees with carefully timed weight (aka Cuban Motion) changes. When using Hip Action (aka Cuban Motion), weight should ALWAYS be taken onto the bent leg and delay straightening till following step is taken. Hip Action usually happens on the Break Steps in Hustle.

A term used in the Lead column to describe how the Leader signals the Follower to step away. This involves the Leader Extend using tone in the body (center) to generate a gentle push through the handhold or frame, resulting in a lengthening of the arm(s). Flick A sharp, staccato extension of the lower leg taken with the foot softly pointed. Related term is Tap. Frame The means of connecting with your partner using correct position of the arms, shoulders, elbows and hands. A toned frame is essential for good leading and following. Loop or Comb A Loop or Comb is an arm movement that usually goes over either the Followers or Leaders head. An example is in LF to LF handshake hold in open position where the Leader uses LF arm to circle over head, regains right arm hold on Followers shoulder blade and then releases LF hand hold to allow Follower to place LF arm back on Leader RT arm. This is used as a nice way to get back into Closed Position. Pivot A turn on the ball of the foot without changing weight. The free leg is held forward or backward in CBMP. Rock Step A term for a back break or forward break.

Spot Turn (1) A turn where the first step is taken forward and across with the other foot remaining in place (on the spot). Usually a full turn to the Left or Right is made.

(2) A type of figure (i.e., Forward and Back Spot Turns) danced in Contact or Closed Position, where the couple turns either to the Left or the Right in a small circle. Swivel(s) (1) A turn on the ball of the standing foot, characterized by a twisting action where the hips and feet turn more than the body. In a series of swivels, the steps will alternately turn Left and Right. Depending on the figure, swivels may be danced TTO or toe turned in.

(2) More generally, used synonymously with pivot to mean a turn on the ball of one foot. Syncopation Changing a figure’s count by adding, subtracting or rearranging the steps of the basic figure. To be a true syncopation, at least one of the steps must be taken between the beats (on count & or “a”). For example, the option for the Followers foot positions at the end of a Back Spot Turn ending with Check (Figure 7c.), step 13. is RF to side and LF closes to RF without weight (tap) (count &, 1), Syncopations are used to add interest and personal expression to one’s dancing.

Glossary of Hustle and Dance Terms Continued…..

Tap Touching the floor with the free foot without weight. When the free leg is completely extended, it may also be called a Point. Related term is Flick.

A tap’s footwork will be determined by where the tapping foot is placed in relation to the standing foot: • When the leg is completely, or almost completely extended backward or to the side, the footwork will be IE of big toe. When extended completely forward the footwork will be T. • When the leg is bent and the foot is placed closer to the standing leg, either forward or to the side, the footwork will be IE of B. • When the foot is tapped to the standing foot, the footwork will be ball. Tension A lead through the handhold or frame that occurs at the point when partners are furthest away from each other. Tension is used to stop the Follower’s movement and bring the Follower forward. Also called Leverage, Catch or Counter- balance. Related terms are Contract and Extend. Tone The correct use of muscles to support the body structure and maintain a good frame and connection with one’s partner. Related term is Frame.

Definitions of General 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. The number of beats of music for each step (weight change or action). For example, in Hustle the count is &123, with a beat value of Beat Value 1/2-1-1-1/2. In Cha Cha, the count is 1234&, with a beat value of 1-1-1-1/2-1/2..

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 beats and Bars bars are counted at the same time. Examples of counting in beats and bars are:

• 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. (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, Downbeat 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. 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. Used to describe how well a dancer hears, feels, and expresses the music in his or her body. Aspects of high level musicality are: Musicality 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.

Dancing or choreographing a figure or group of figures (amalgamation) to fit the phrases in a piece of music. For example, starting a new Phrasing 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.

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

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 Time/Time Signature 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.

• 4/4-time (used for most dances, such as Salsa): 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. (2) Refers to the ability of the dancer to stay with the count designated for a particular dance, i.e. “She has excellent timing” (1) In music terminology, the definition of upbeat will depend on whether a straight or swing count is being played. Upbeat • 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.

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. 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 • Dance manuals that correspond with the DVIDA syllabi

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.

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 • DVIDA dance manuals that correspond with the DVIDA syllabi • Get Certified DVD Sample Junior Associate exam (available on the ProDVIDA website)

Full Bronze Routine

Hustle – Full Bronze Routine

FIGURE COUNT PHRASES NOTES 2 Cross Body Leads &123 x 2 2 Begin in Closed Position, end in Open Position, DHH Hesitation &123 1 Begin and end in Open Position, DHH 2 Wheels &123 x 2 2 Begin and end in Open Position, DHH Underarm Turn Combination &123 x 3 3 End in Open Position, L-to-R HH Leader's Behind the Back Pass to Follower’s Bridge &123 x 2 2 End in Open Position, L-to-R HH 5-8 of Cross-Body Lead to Open Break and Return &123 1 End in Closed Position Cross Body Lead &123 1 In Closed Position 1-4 of Cross-Body Lead to Open Break and Return &123 1 End in Open Position, DHH Double Handhold Bridges &123 x 2 2 End in Open Position, DHH Return to Face Loop &123 x 2 2 End in Open Position, L-to-R HH The Whip &123 x 2 2 End in Open Position, L-to-R HH Back Spot Turn &123 x 2 2 End in Closed Position Cross Body Lead with Inside Turn &123 1 End in Closed Position 1-4 of Cross-Body Lead to Open Break and Return &123 1 End in Open Position, DHH Cradle In and Out &123 x 2 2 End in Open Position, DHH Cradle with Continuous Left Turn &123 x 2 2 End in Open Position, L-to-R HH Sliding Doors &123 x 2 2 End in Open Position, L-to-R HH Shadow with Comb &123 x 2 2 End in Closed Position (Leader prepare for back break) 2 Grapevines &123 x 4 4 End in Closed Position 1-4 of Cross-Body Lead to Open Break and Return & 123 1 End in Open Position, L-to-R HH 2 New York Walk &123 x 4 4 End in Open Position, L-to-R HH Shadow with Free Spin &123 x 2 2 End in Closed Position --Repeat

Exercises for Developing Hustle Technique

The following exercises for Back, Side, and Forward Breaks are the basis for all Hustle figures in the Bronze Syllabus. They are not figures in and of themselves.

A. Back Break - Leader

STEP FOOT POSITION TURN COUNT FOOTWORK SUMMARY 1 LF back Nil & B (&1) LF Back Break 2 Replace weight to RF Nil 1 BF 3 LF closes to RF Nil 2 BF (2,3) Two steps in place 4 Replace weight to RF Nil 3 BF

A. Back Break - Follower

STEP FOOT POSITIONS TURN COUNT FOOTWORK SUMMARY 1 RF back Nil & B (&1) RF Back Break 2 Replace weight to LF Nil 1 BF 3 RF closes to LF Nil 2 BF (2,3) Two steps in place 4 Replace weight to LF Nil 3 BF

Notes for Leader and Follower: 1. As the back step is taken on step 1, the body weight (center) remains over the front leg. 2. When both partners dance a Back Break in OFP on step 1, the summary column may refer to this as an Open Break.

B. Side Break - Leader

STEP FOOT POSITION TURN COUNT FOOTWORK SUMMARY 1 LF side Nil & B (&1) LF Side Break 2 Replace weight to RF Nil 1 BF 3 LF closes to RF Nil 2 BF (2,3) Two steps in place 4 Replace weight to RF Nil 3 BF

B. Side Break - Follower

STEP FOOT POSITION TURN COUNT FOOTWORK SUMMARY 1 RF side Nil & B (&1) RF Side Break 2 Replace weight to LF Nil 1 BF 3 RF closes to LF Nil 2 BF (2,3) Two steps in place 4 Replace weight to LF Nil 3 BF

Note for Leader and Follower: As the side step is taken on step 1, the body weight (center) remains over the RF for Leader, LF for Follower.

C. Forward Break - Leader

STEP FOOT POSITION TURN COUNT FOOTWORK SUMMARY 1 LF forward Nil & BF (&1) LF Forward Break 2 Replace weight to RF Nil 1 BF 3 LF closes to RF Nil 2 BF (2,3) Two steps in place 4 Replace weight to RF Nil 3 BF

C. Forward Break - Follower

STEP FOOT POSITION TURN COUNT FOOTWORK SUMMARY 1 RF forward Nil & BF (&1) RF Forward Break 2 Replace weight to LF Nil 1 BF 3 RF closes to RF Nil 2 BF (2,3) Two steps in place 4 Replace weight to LF Nil 3 BF

Note for Leader and Follower: 1. As the forward step is taken on step 1, the body weight (center) remains over the back leg. 2. Followers rarely dance forward breaks.

Copyright 2008 DVIDA® Hustle DVIDA® All Rights Reserved 1. Hesitation - Leader Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY 1 LF back OFP Slightly extend and contract arms Nil & B (&1) Back Break in DHH 2 Replace weight to RF OFP to lead Follower to back break Nil 1 BF

3 LF forward, small step FacP Continue to contract arms, using Nil 2 BF (2,3) Forward Break in DHH compression, to lead Follower check forward 4 Replace weight to RF OFP Slightly extend arms Nil 3 BF

1. Hesitation - Follower Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back OFP Nil & B (&1) Back Break in DHH 2 Replace weight to LF OFP Nil 1 BF (2,3) Forward Break in DHH 3 RF forward, small step FacP Nil 2 BF

4 Replace weight to LF OFP Nil 3 BF

Note for Leader and Follower: L-to-R HH may also be used.

2. The Wheel - Leader Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY 1 LF back OFP, DHH Slightly extend arms to lead Nil & B (&1) Back Break in DHH Follower to step back 2 RF forward and across Prep ROP, DHH Extend arms out to the side to Nil 1 BF lead Follower to step forward towards Leader’s R side (2,3) Right turn 3 LF side ROP, DHH 1/8 turn R 2 BF 4 RF crosses in front of Prep OFP, DHH While maintaining centers facing 1/4 turn R 3 BF LF each other, bring arms slightly inward (toward normal DHH) maintaining roundness of arms to lead Follower to complete turn Note: The Leader will make 1/8 turn R on the first step of the next figure to complete a half turn and end in OFP.

2. The Wheel - Follower Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back OFP, DHH Nil & B (&1) Back Break in DHH 2 Replace weight to LF Prep ROP, DHH Nil 1 BF (2,3) Right turn, partners 3 RF forward, pivot ROP, DHH 1/2 turn R 2 BF passing R-to-R sides 4 LF back Prep OFP, DHH Nil 3 BF

Copyright 2008 DVIDA® Hustle DVIDA® All Rights Reserved 3. Underarm Turn Combination (You Go, I Go, You Go) - Leader Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY

1 LF back OFP, DHH Slightly extend arms to lead Follower to step Nil & B (&1) Back Break back 2 RF forward and across Prep FUATL Slightly contract arms to lead Follower to Nil 1 BF replace weight forward, and raise L arm slightly rightward with palm up (preparing to lead (2,3) Right turn Follower to pass on Leader’s right side for (Follower’s UATL) UATL) 3 LF side UAT Circle L arm ccw to lead Follower to UATL, 1/8 turn R 2 BF releasing hold with R hand 4 RF crosses in front of LF Prep OFP Lower L arm, and slide R hand across 1/4 turn R 3 BF Follower’s back and under Follower’s L arm to regain DHH 5 LF back OFP, DHH Slightly extend arms to lead Follower to step 1/8 turn R & B (&1) Back Break back 6 RF forward and across Prep LUATL Slightly contract arms, and raise R arm slightly Nil 1 BF leftward with palm facing upward and fingers pointing rightward (preparing to pass Leader’s right side to Follower’s right side) (2,3) UATL 7 LF forward, pivot UAT Place Follower’s R hand on Leader’s R ribs and 1/2 turn L 2 BF

8 RF back Prep OFP release hold with L hand (Follower traces R Nil 3 BF hand across Leader’s back and under L arm). Leader turns under own R arm, and regains DHH in OFP 9 LF back OFP, DHH Slightly extend arms to lead Follower to step Nil & B (&1) Back Break back 10 RF forward and across Prep FUATL Slightly contract arms to lead Follower to Nil 1 BF replace weight forward, and raise L arm slightly rightward with palm up (preparing to lead Follower to pass on Leader’s right side for (2,3) Right turn UATL) (Follower’s UATL)

11 LF side UAT Circle L arm ccw to lead Follower to UATL, 1/8 turn R 2 BF releasing hold with R hand 12 RF crosses in front of LF Prep OFP Lower L arm, and slide R hand across 1/4 turn R 3 BF Follower’s back and under Follower’s L arm to regain DHH Note: The Leader makes 1/8 turn R on the first step of the next figure to complete a half turn and end in OFP. Also known as “She Goes, He Goes, She Goes”

3. Underarm Turn Combination (You Go, I Go, You Go) - Follower Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back OFP, DHH Nil & B (&1) Back Break 2 Replace weight to LF, Prep FUATL 1/2 turn L 1 BF slightly forward, pivot (2,3) UATL, partners passing R-to- 3 RF back UAT Nil 2 BF R sides 4 LF back Prep OFP Nil 3 BF 5 RF back OFP, DHH Nil & B (&1) Back Break 6 Replace weight to LF, Prep LUATL Nil 1 BF slightly forward (2,3) Right turn, partners passing 7 RF forward, pivot UAT 1/2 turn R 2 BF R-to-R sides (Leader’s UATL) 8 LF back Prep OFP Nil 3 BF 9 RF back OFP, DHH Nil & B (&1) Back Break 10 Replace weight to LF, Prep FUATL 1/2 turn L 1 BF slightly forward, pivot (2,3) UATL, partners passing R-to- 11 RF back UAT Nil 2 BF R sides 12 LF back Prep OFP Nil 3 BF Note: This figure is also known as “She Goes, He Goes, She Goes.”

Copyright 2008 DVIDA® Hustle DVIDA® All Rights Reserved 4. Leader’s Behind the Back Pass to Follower’s Bridge - Leader Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY

1 LF back OFP Slightly extend L arm Nil & B (&1) Back Break 2 RF forward and across Prep Leader’s turn L Very slightly contract L arm Nil 1 BF (preparing to pass Leader’s right side to Follower’s right side) (2,3) Left turn with hand change 3 LF forward, pivot Turn Lower L hand and place R hand on 1/2 turn L 2 BF top of Follower’s R hand, then behind back release hold with L hand 4 RF back Prep OFP Change hands behind back, ending Nil 3 BF in L-to-R HH 5 LF back OFP Slightly extend L arm Nil & B (&1) Back Break 6 RF forward Prep FUATR Very slightly contract L arm Nil 1 BF (preparing to lead Follower to pass on Leader’s left side) (2,3) Left turn, 7 LF forward, pivot UAT Raise L arm leftward with fingers 1/2 turn L 2 BF (Follower’s UATR, “Bridge”) pointing leftward 8 RF back OFP Circle L arm clockwise to lead Nil 3 BF Follower to UAT turn R, then lower L arm

Notes: 1. On steps 5 and 6, Leader must stay on the rails to allow Follower to dance on the track. 2. On steps 3 and 4, the Leader may dance an UATL, rather than changing hands behind the back. In this case, the Leader raises L arm over own head on step 3 (with fingers pointing rightward), and then lowers the L arm on step 4.

4. Leader’s Behind the Back Pass to Follower’s Bridge - Follower Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY

1 RF back OFP Nil & B (&1) Back Break 2 Replace wt to LF, slightly OFP Nil 1 BF forward (2,3) Right turn, partners passing R-to- 3 RF forward, pivot Turn 1/2 turn R 2 BF R sides (Leader’s hand change behind 4 LF back Prep OFP Nil 3 BF back) 5 RF back OFP Nil & B (&1) Back Break 6 Replace wt to LF, slightly Prep FUATR Nil 1 BF forward (2,3) UATR (Bridge), partners passing 7 RF forward, pivot UAT 1/2 turn R 2 BF L-to-L sides 8 LF back OFP Nil 3 BF

1 LF side CP to RAP Extend frame slightly rightward Nil & B (&1) Side Break in RAP (first to lead Follower to turn and to half of Cross-Body Lead) step back 2 Replace weight to RF RAP Contract frame to lead Nil 1 BF Follower to replace weight forward (2,3) Left turn (second half of Cross-Body Lead) 3 LF crosses in front of CP Rotate frame leftward to lead 1/4 turn L 2 BF RF Follower across body 4 RF side RAP Slightly widen R arm to create 1/4 turn L 3 BF RAP Note: Step 4 may also be danced side and slightly back

5A. Cross-Body Lead - Follower Commence in CP STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back CP to RAP 1/4 turn R & B (&1) Back Break in RAP to left between 0 & 1 turn (first half of Cross-Body 2 Replace weight to LF, RAP 1/2 turn L 1 BF Lead) slightly forward, pivot (2,3) 2 back walks (R,L) to end 3 RF back CP Nil 2 BF in RAP (second half of Cross- 4 LF back RAP Nil 3 BF Body Lead)

Notes for Leader and Follower: 1. When this figure is used to start the dance, the dancers commence in CP with a traditional Ballroom hand clasp. 2. This figure may also begin in RAP with a “cup/hook” clasp. 3. When dancing the Cross-Body Lead repeatedly, there will be no turn between 0 & 1 for the follower.

5B. Cross-Body Lead to Open Break and Return - Leader Commence in RAP STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY

1 LF side RAP Extend frame slightly rightward Nil & B (&1,2,3) Cross-Body Lead to to lead Follower to step back OFP 2 Replace weight to RF RAP Contract frame to lead Nil 1 BF Follower to replace weight forward 3 LF crosses in front of CP Rotate frame leftward to lead 1/4 turn L 2 BF RF Follower across body, then release hold with R hand 4 RF back and slightly OFP Lower and extend L hand to Nil 3 BF side lead Follower to OFP 5 LF back OFP Slightly extend then contract L Nil & B (&1) Open Break 6 RF forward and across OFP arm to lead Follower to back Nil 1 BF break (preparing to lead Follower to pass on Leader’s right side) 7 LF side CP Lead Follower to turn R by 1/8 turn R 2 BF (2,3) Return to RAP using “J” hook lead 8 RF in front of LF, TTO RAP Place R hand on Follower’s 1/8 turn R 3 BF back and slightly widen R arm to create RAP

5B. Cross-Body Lead to Open Break and Return - Follower Commence in RAP STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back RAP Nil & B (&1,2,3) Cross-Body Lead to 2 Replace weight to LF, slightly forward, pivot RAP 1/2 turn L 1 BF OFP

3 RF back CP Nil 2 BF 4 LF back OFP Nil 3 BF 5 RF back OFP Nil & B (&1) Open Break 6 Replace weight to LF, slightly forward OFP Nil 1 BF

7 RF forward, pivot CP 1/2 turn R 2 BF (2,3) Return to RAP, partners 8 LF back RAP Nil 3 BF passing R-to-R sides

Notes for Leader and Follower: May commence in CP with either a “ballroom clasp” or “cup/hook” clasp. If commencing in CP, Follower will make 1/4 turn R between 0 and 1.

1 LF back OFP, DHH Slightly extend then contract arms to Nil & B (&1) Open Break 2 RF forward and across Prep FUATR lead Follower to Open Break, then Nil 1 BF raise R arm slightly rightward (preparing to lead Follower to pass on Leader’s right side) 3 LF side UAT (Loop) Keeping DHH, lead Follower’s 1/8 turn R 2 BF (2,3) Right turn to RAP “Return” (Follower’s UATR 4 RF side RAP (Loop hold) UATR by circling R arm cw and 1/8 turn R 3 BF looping R hand over Follower’s head to Face Loop) to end resting lightly on Follower’s R shoulder 5 LF side RAP (Loop hold) Extend frame rightward to lead Nil & B (&1) Side break Follower to step back 6 Replace weight to RF Prep FUATR Contract frame to lead Follower to Nil 1 BF replace weight forward (2,3) Left turn (Follower’s 7 LF crosses in front of RF UAT Raise L arm and release R HH. 1/4 turn L 2 BF UATR to OFP) 8 RF back and slightly side OFP Circle L hand cw to lead Follower’s Nil 3 BF UATR. End in OFP, L-to-R HH

6. Return to Face Loop- Follower Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY

1 RF back OFP, DHH Nil & B (&1) Open Break 2 Replace weight to LF, slightly Prep FUATR Nil 1 BF forward (2,3) UATR with Face 3 RF forward, pivot UAT (Loop) 1/2 turn R 2 BF Loop (Return), partners 4 LF back RAP (Loop hold) Nil 3 BF passing R-to-R sides

5 RF back RAP (Loop hold) Nil & B (&1) Back Break in RAP 6 Replace weight to LF, slightly Prep FUATR Nil 1 BF forward (2,3) UATR to OFP 7 RF forward, pivot UAT 1/2 turn R 2 BF

8 LF back OFP Nil 3 BF

7. Double Handhold Bridges - Leader Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY

1 LF back OFP, DHH Slightly extend then contract Nil & B (&1) Open Break in DHH arms to lead Follower to Open 2 RF forward and Prep FUATL, DHH Break, slightly raising arms to Nil 1 BF across prepare to lead Follower’s UATL, (preparing to lead Follower to pass on Leader’s right side) 3 LF side UAT Continue to raise both hands 1/8 turn R 2 BF (2,3) Right turn (Follower’s 4 RF in front of LF, TTO Open RAP, DHH rightwards and circle ccw to lead 1/8 turn R 3 BF UATL in DHH) Follower to UATL. Lower joined hands 5 LF side Open RAP, DHH Slightly extend then contract both Nil & B (&1) Side Break in Open RAP 6 Replace weight to RF Prep FUATR, DHH arms rightward to lead Follower Nil 1 BF to back break. Slightly raise arms leftward preparing to lead Follower’s UATR 7 LF crosses in front of UAT Continue raising both arms and 1/4 turn L 2 BF (2,3) Left turn to OFP RF circle cw to lead Follower to turn (Follower’s UATR in DHH) 8 RF back and slightly OFP, DHH R and lower the joined hands at Nil 3 BF side the end of turn

7. Double Handhold Bridges - Follower Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY

1 RF back OFP, DHH Nil & B (&1) Open Break 2 Replace weight to LF, slightly Prep FUATL, DHH 1/2 turn L 1 BF forward, pivot (2,3) UATL with DHH, partners passing R-to-R 3 RF back UAT Nil 2 BF sides 4 LF back Open RAP, DHH Nil 3 BF

5 RF back Open RAP, DHH Nil & B (&1) Back Break 6 Replace weight to LF, slightly Prep FUATR, DHH Nil 1 BF forward (2,3) UATR with DHH to 7 RF forward, pivot UAT 1/2 turn R 2 BF OFP 8 LF back OFP, DHH Nil BF

1 LF back OFP Slightly extend then contract L arm to Nil & B (&1) Open Break 2 RF forward and across OFP lead Follower to back break Nil 1 BF (preparing to lead Follower to pass on Leader’s R side) 3 LF side CP Continue contracting L arm while 1/8 turn R 2 BF (2,3) Return to RAP

4 RF in front of LF, TTO RAP leading Follower to step forward to 1/8 turn R 3 BF CP. Place R hand on Follower’s L shoulder blade, and turn Follower R 5 LF side and slightly back Prep FUATL Extend frame rightward to lead 1/4 turn R & B (&1) Traveling side break, Follower to step back and raise L (begin Follower’s UATL) hand slightly rightward 6 RF forward and across UAT Circle L hand ccw at end of 6 to lead 1/8 turn R 1 BF Follower to UATL. (2,3) Right turn to OFP 7 LF side UAT Complete lead of UATL by lowering L 1/8 turn R 2 BF (complete Follower’s arm and allowing R arm to trail lightly UATL) around Follower’s waist 8 RF crosses in front of LF Prep OFP Release R hand from Follower’s waist 1/8 turn R 3 BF to end in L-to-R HH

Note: This figure may end in DHH. In this instance, over steps 7 and 8, the Leader will trail R hand under Follower’s left arm to end in OFP in DHH. The Leader will make 1/8 turn R on the first step of the next figure to complete a half turn and end in OFP

8. The Whip - Follower Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back OFP Nil & B (&1) Open Break 2 Replace weight to LF OFP Nil 1 BF (2,3) Right turn to RAP 3 RF forward, pivot CP 1/2 turn R 2 BF

4 LF back RAP Nil 3 BF 5 RF back Prep FUATL Nil & B (&1) Back Break 6 Replace wt to LF slightly forward, pivot UAT 1/2 turn L 1 BF (2,3) UATL 7 RF back UAT Nil 2 BF

8 LF back Prep OFP Nil 3 BF

9A. Cradle with Continuous Left – Leader Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY

1 LF back OFP, DHH Slightly extend arms to lead Nil & B (&1) Open Break Follower to step back 2 RF forward and across FUATL Contract arms and raise L arm Nil 1 BF rightward. Circle L arm ccw to lead Follower’s UATL (2,3) Right turn to RCradP 3 LF side RAP (Cradle hold) Lower L arm and widen R arm to 1/8 turn R 2 BF lead Follower to RCradP (Follower’s UATL)

4 RF side RAP (Cradle hold) WC 1/8 turn R 3 BF 5 LF side RAP (Cradle hold) Extend frame rightwards to lead Nil & B (&1) Side Break in RCradP Follower to step back 6 Replace weight to RF RAP (Cradle hold) Using a ccw circular action with L Nil 1 BF to Rollout hand, lead Follower to rollout and (23) Left turn to OFP turn L, releasing R hand. (Follower’s Rollout)

7 LF crosses in front of RF FacP Use compression then extension 1/4 turn L 2 BF 8 RF back and slightly side OFP to lead Follower to step back Nil 3 BF

9A. Cradle with Continuous Left – Follower Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back OFP, DHH Nil & B (&1) Open Break

2 Replace wt to LF FUATL 1/2 turn L 1 BF

slightly forward, pivot

3 RF back RAP (Cradle hold) Nil 2 BF (2,3) UATL to RCradP

4 LF back RAP (Cradle hold) Nil 3 BF

5 RF back RAP (Cradle hold) Nil & B (&1) Back Break in RCradP 6 Replace wt to LF RAP (Cradle hold) to 1/2 turn L 1 BF slightly forward, pivot Rollout (2,3) Left turn (rollout) to OFP 7 RF back FacP Nil 2 BF 8 LF back OFP Nil 3 BF

1 LF back OFP, DHH Slightly extend arms to lead Nil & B (&1) Open Break 2 RF forward and across FUATL Follower to step back Nil 1 BF Contract arms and raise L arm rightward. Circle L arm ccw to lead Follower’s UATL 3 LF side RAP (Cradle hold) Lower L arm and widen R arm to 1/8 turn R 2 BF (2,3) Right turn to RCradP lead Follower to RCradP (Follower’s UATL) 4 RF side RAP (Cradle hold) WC 1/8 turn R 3 BF

5 LF side RAP (Cradle hold) Extend frame rightward to lead Nil & B (&1) Side Break in RCradP Follower to step back 6 Replace weight to RF Prep FUATR Contract frame to lead Follower to Nil 1 BF replace weight forward (2,3) Left turn to OFP 7 LF crosses in front of UAT Raise L arm and circle cw .to lead 1/4 turn L 2 BF (Follower’s UATR) RF Follower’s UATR. Release R HH 8 RF back and slightly OFP continuing to turn Follower under Nil 3 BF side the arm to end in OFP

9B. Cradle In and Out – Follower Commence in OFP, DHH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back OFP, DHH Nil & B (&1) Open Break 2 Replace wt to LF slightly forward, pivot FUATL 1/2 turn L 1 BF

3 RF back RAP (Cradle hold) Nil 2 BF

4 LF back RAP (Cradle hold) Nil 3 BF (2,3) UATL to RCradP

5 RF back RCradP Nil & B (&1) Back Break in RCradP 6 Replace weight to LF, slightly forward RCradP Nil 1 BF

7 RF forward, pivot FUATR 1/2 turn R 2 BF (2,3) UATR to OFP 8 LF back OFP, DHH Nil 3 BF

Note: The Leader may lead steps 5-6 with a tuck turn action. In this case, the Follower will make 1/8 turn R on 5 and then 1/8 turn L on 6.

10. Back Spot Turn - Leader Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY 1 LF back OFP Slightly extend then contract L Nil & B (&1) Open Break 2 RF forward and across OFP arm to lead Follower to back Nil 1 BF break 3 LF side CP Continue to contract L arm 1/8 turn R 2 BF (2,3) Commencing Back Spot 4 RF behind LF, toe to CP leading Follower to CP 1/4 turn R 3 B Turn heel, TTO 5 LF side and slightly CP Maintain tone in frame to 1/4 turn R & B (&1, 2, 3) Back Spot Turn back create strong rotation, and ending in RAP 6 RF in front of LF, TTO CP continue leading Follower in 1/4 turn R 1 BF 7 LF side and slightly CP Back Spot Turn, keeping 1/4 turn R 2 BF back centers toward each other and creating centrifugal force 8 RF in front of LF, TTO CP to RAP 1/8 turn R 3 BF

10. Back Spot Turn - Follower Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back OFP Nil & B (&1) Open Break 2 Replace weight to LF, OFP Nil 1 BF slightly forward (2,3) Commencing Back Spot 3 RF in front of LF, TTO CP 1/8 turn R 2 BF Turn 4 LF side and slightly forward CP 1/4 turn R 3 B 5 RF in front of LF, TTO CP 1/4 turn R & BF (&1, 2, 3) Back Spot Turn 6 LF side and slightly forward CP 1/4 turn R 1 B ending in RAP

7 RF in front of LF, TTO CP 1/4 turn R 2 BF

8 LF side, ending back CP to RAP 1/8 turn R, 3 BF then 1/4 turn R

Copyright 2008 DVIDA® Hustle DVIDA® All Rights Reserved 11. Grapevine - Leader Commence in RAP STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY 1 LF back RAP Extend frame rightward to lead Nil & B (&1) Back Break in RAP Follower to step back 2 Replace wt to RF RAP Contract frame to lead Follower Nil 1 BF to replace weight forward

3 LF side CP Rotate frame leftward to lead Nil 2 BF (2,3) Grapevine to CFallP Follower to closed position 4 RF behind LF, TTO CFallP Continue to rotate frame leftward 1/8 turn R 3 B to lead Follower to step back in CFallP 5 LF side and slightly PP Rotate frame rightwards to end 1/4 turn L & B (&1) Grapevine to PP back in PP nd 6 RF forward and PP Nil 1 BF (2,3) Left turn (2 half of across Cross-Body Lead, ending in CP) 7 LF crosses in front CP Rotate frame leftwards to CP 3/8 turn L 2 BF of RF 8 RF side and slightly CP WC 1/ 4 turn L 3 BF back

11. Grapevine - Follower Commence in RAP STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back RAP Nil & B (&1) Back Break in RAP 2 Replace weight to LF, slightly forward RAP Nil 1 BF (2,3) Grapevine to CFallP 3 RF side CP 1/4 turn L 2 BF 4 LF behind RF, TTO CFallP 1/8 turn L 3 B 5 RF side and slightly back PP 1/4 turn R & B (&1) Grapevine to PP 6 LF forward and across PP Nil 1 BF (2,3) Left turn (2nd half of 7 RF back CP 3/8 turn L 2 BF Cross-Body Lead, ending in 8 LF side CP 1/4 turn L 3 BF CP)

Note for Leader and Follower: The leader may turn the Follower 1/4 turn R at the end of step 8 to end this figure in RAP.

12. Sliding Doors - Leader Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY 1 LF back OFP Slightly extend L arm to lead Follower to Nil & B (&1) Open Break step back 2 RF forward and OFP Contract and lower L arm (turn L palm Nil 1 BF across towards floor) leading Follower to pass in front of Leader and to turn L. Release HH (2,3) Sliding Door to Open 3 LF side Sliding Door Keep palm facing down and trail along top of 1/8 turn 2 BF Follower’s forearm R RAP 4 RF in front of LF, ORAP Clasp L hand over top of Follower’s L wrist 1/8 turn 3 BF TTO (or cup/hook clasp) R 5 LF side ORAP Slightly extend L arm rightward to lead Nil & B (&1) Side Break in Open Follower to step back RAP 6 Replace weight to ORAP Contract L arm leftward (parallel to floor) Nil 1 BF RF leading Follower to step forward

7 LF forward and Sliding Door Lead Follower to turn R by slightly extending 1/8 turn 2 BF (2,3) Sliding Door to OFP across L arm diagonally forward and releasing HH. L 8 RF back and OFP Once Follower has completed turn, allow L 1/8 turn 3 BF slightly side hand to trace under Follower’s R arm ending L in L-to-R HH in OFP

12. Sliding Doors – Follower Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back OFP Nil & B (&1) Open Break 2 Replace wt to LF, slightly forward, pivot OFP 1/2 turn L 1 BF (2,3) Left turn (Sliding Door) 3 RF back Sliding Door Nil 2 BF to Open RAP 4 LF back ORAP Nil 3 BF

5 RF back ORAP Nil & B (&1) Back Break in Open 6 Replace wt to LF, slightly forward ORAP Nil 1 BF RAP (2,3) Right turn (Sliding Door) 7 RF forward, pivot Sliding Door 1/2 turn R 2 BF to OFP 8 LF back OFP Nil 3 BF

Copyright 2008 DVIDA® Hustle DVIDA® All Rights Reserved 13. Cross-Body Lead with Inside Turn - Leader Commence in RAP STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY 1 LF side RAP Extend frame slightly rightward to Nil & B (&1, 2, 3) Cross-Body Lead lead Follower to step back (Follower ‘s progressive 2 Replace wt to RF Prep FUATL to UAT Contract frame to lead Follower to Nil 1 BF UATL) replace weight forward and raise L hand slightly leftward. 3 LF crosses in front UAT Circle L hand ccw to lead Follower to 1/4 turn 2 BF of RF UATL, allowing R hand to trail lightly L around Follower’s waist 4 RF side UAT to RAP Complete Follower’s UAT and regain 1/4 turn 3 BF RAP L

13. Cross-Body Lead with Inside Turn - Follower Commence in RAP STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back RAP Nil & B (&1, 2, 3) Back Break in RAP, 2 Replace weight to LF, slightly forward, pivot Prep FUATL to UAT 1/2 turn L 1 BFB progressive UATL (pivots), ending in RAP 3 RF back, pivot UAT 1/2 turn L 2 B 4 LF forward, pivot UAT to RAP 1/2 turn L 3 BF

Note for Follower: While turning, Follower must keep L arm raised above waist level to allow Leader to regain RAP on step 4. Note to Leader and Follower: Because of the speed of the turn, it is helpful to precede this figure with a Cross-Body Lead (Figure 5A). This figure may also end in OFP.

14A. Shadow with Comb - Leader Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY 1 LF back OFP Slightly extend L arm to lead Follower to Nil & B (&1) Open Break step back 2 RF forward and OFP Prepare to lead Follower to pass on Nil 1 BF across Leader’s R side. Contract L arm, and (2,3) Right turn to Open RAP 3 LF side Follower’s Free circle cw (J hook) , leading Follower to 1/8 turn 2 BF (Follower’s Free Spin) Spin R turn R then immediately release HH R

4 RF in front of LF, ORAP Offer L hand at Follower’s waist level 1/8 turn 3 BF TTO (visual lead) to invite Follower to place L R hand in Leader’s L hand 5 LF side RShadP Rotate frame rightward to lead Follower Nil & B to step back to create RShadP 6 Replace wt to RF Prep FUATL to Rotate frame leftward to lead Follower to Nil 1 BF (&1, 2, 3) Cross-Body Lead UAT step forward from RShadP, end in RAP with 7 LF crosses in front UAT Raise and circle L hand ccw leading 1/4 turn 2 BF Comb (Follower’s progressive UATL) of RF Follower to UATL. Trace R hand on L

Follower’s waist to contain Follower’s

turn 8 RF side UAT to RAP Complete Follower’s turn and loop L 1/4 turn 3 BF hand over head (Comb), then release L- L to-L HH. Slide R hand up onto Follower’s L shoulder blade to regain RAP

Notes: Step 8 may also be danced “side and slightly back” onto the “rail” to allow the Follower to stay on the “track.” Upon completion of the figure, L-to-R HH in RAP may be established on the “&1” count of the next figure danced.

Copyright 2008 DVIDA® Hustle DVIDA® All Rights Reserved 14A. Shadow with Comb - Follower Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back OFP Nil & B (&1) Open Break 2 Replace wt to LF, slightly forward OFP Nil 1 BF (2,3) Right turn to Free Spin to 3 RF forward, pivot Follower’s Free Spin 1/2 turn R 2 BF Open RAP R

4 LF back ORAP Nil 3 BF 5 RF back, TTO RShadP 1/8 turn R & B (&1, 2,3) Back Break in RShadP, 6 Replace weight to LF, slightly Prep FUATL to UAT 1/8 turn L, then 1/2 turn L 1 BFB Progressive UATL (pivots), end forward, pivot in RAP

7 RF back, pivot UAT 1/2 turn L 2 B

8 LF forward, pivot UAT to RAP 1/2 turn L 3 BF

Note: While turning, Follower must keep L arm raised above waist level to allow Leader to regain RAP on step 8.

14B. Shadow with Free Spin - Leader Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY 1 LF back OFP Slightly extend L arm to lead Follower to Nil & B (&1) Open Break step back 2 RF forward and OFP Prepare to lead Follower to pass on Nil 1 BF across Leader’s R side. Contract L arm, and (2,3) Right turn to Open RAP 3 LF side Follower’s Free circle cw (J hook) , leading Follower to 1/8 2 BF (Follower’s Free Spin) Spin R turn R then immediately release HH turn R

4 RF in front of LF, ORAP Offer L hand at Follower’s waist level 1/8 3 BF TTO (visual lead) to invite Follower to place L turn R hand in Leader’s L hand 5 LF side RShadP Rotate frame rightward to lead Follower Nil & B to step back to create RShadP 6 Replace weight to Prep Follower’s Rotate frame leftward to lead Follower to Nil 1 BF (&1, 2, 3) Cross-Body Lead from RF Free Spin L to step forward RShadP, end in RAP Free Spin (Follower’s progressive Free Spin L) 7 LF crosses in front Free Spin Use slight compression toward 1/4 2 BF

of RF Follower’s L hip then release HH to lead turn L

Follower to Free Spin L, tracing R hand on Follower’s waist to contain Follower’s turn 8 RF side Free Spin to RAP Slide R hand up to Follower’s L shoulder 1/4 3 BF blade to regain RAP turn L

Copyright 2008 DVIDA® Hustle DVIDA® All Rights Reserved 14B. Shadow with Free Spin - Follower Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back OFP Nil & B (&1) Open Break 2 Replace weight to LF, slightly OFP Nil 1 BF forward, pivot (2,3) Right turn to Free Spin to 3 RF Back Follower’s Free Spin R 1/2 turn R 2 BF Open RAP 4 LF back ORAP Nil 3 BF 5 RF back, TTO RShadP 1/8 turn R & B (&1, 2,3) Back Break in RshadP, 6 Replace weight to LF, slightly Prep Follower’s Free Spin L to 1/8 turn L, then 1/2 1 BFB Progressive Free Spin L (pivots), forward, pivot Free Spin turn L end in RAP

7 RF back, pivot Free Spin 1/2 turn L 2 B

8 LF forward, pivot Free Spin to RAP 1/2 turn L 3 BF

Note: While turning, Follower must keep L arm raised above waist level to allow Leader to regain RAP on step 8.

15. New York Walk - Leader Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION LEAD TURN COUNT FOOTWORK SUMMARY 1 LF forward OFP Increase tone in L arm to lead Nil & BF (&1) Forward Break Follower to step back 2 Replace weight to RF OFP Maintain tone in L arm to establish Nil 1 BF leverage to lead Follower to (2,3) Two back walks curving replace weight forward off the track 3 LF back and across OFP Maintain tone in L arm to lead Nil 2 BF Follower to walk forward 4 RF back Prep Tuck L Maintain tone and slightly raise L 1/8 3 BF arm turn L 5 LF side Tuck to Prep Contract and raise L arm and 1/8 & B (&1) Side Break FUATR slightly tuck Follower to L to turn L 6 Replace weight to RF Tuck to Prep prepare for FUATR Nil 1 BF FUATR (2,3) Left turn to OFP (Follower’s UATR) 7 LF crosses in front of RF UAT Circle L hand cw to lead Follower 1/8 2 BF to UATR turn L 8 RF back and slightly side OFP Lower L hand to end in OFP 1/8 3 BF turn L

Note: For the best effect, it is recommended that this figure be danced twice in a row.

15. New York Walk - Follower Commence in OFP, L-to-R HH STEP FOOT POSITION DANCE POSITION TURN COUNT FOOTWORK SUMMARY 1 RF back OFP Nil & B (&1) Back Break 2 Replace weight to LF, slightly OFP Nil 1 BF forward (2,3) Two forward walks 3 RF forward OFP Nil 2 BF 4 LF forward Prep Tuck L Nil 3 BF 5 RF side and slightly back Tuck to Prep FUATR 1/8 turn L & B (&1) Progressive side cross 6 LF forward and across Tuck to Prep FUATR Nil 1 BF (2,3) UATR to OFP 7 RF forward, pivot UAT 1/8 turn R, then 1/2 2 BF turn R 8 LF back OFP Nil 3 BF