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Phase VI Figures continued

by Roy & Phyllis Stier
December, 1990

DOUBLE NATURAL SPIN: This is not a mirror image of the Double Reverse Spin, although the timing is the same. As in so many figures, we once again take the half beat from the second count in order to obtain the 12&3 weight changes for the lady. This will give us a beat value of whole, half/half, whole.

The normal starting position is facing LOD or DLW (rarely DLC) either in CP or banjo. The man starts to shape RF on his R as he steps forward with a rise at the end of the step. The lady has only a slight rise as she steps backward on her L while preparing for a Heel Turn. On the man's second step, he is at full body height while using a fairly wide side step on his L, which is somewhat around the lady. She brings her R foot back for a Heel Turn with a continuation of body rise. This should bring about a 3/8 RF turn for the man over steps 1 & 2 while the lady will turn somewhat more. On the "&" step, men will pivot on their L toe (bringing R to L without weight) as the ladies step forward on their L continuing the RF rotation and starting outside the men on the R side. For step 3, the man continues his rotation keeping his body up while the lady has a forward step on her R to blend to banjo with an additional 1/4 RF turn.

If the man starts his spin too early, he will force the lady to step to the side after her Heel Turn instead of forward. He must also hold for one full beat with feet together to allow the lady to get her RF rotation and prepare for her forward steps. The total amount of turn is normally 7/8 but it can be underturned (or overturned up to full around). If the figure is started in banjo, it makes it easier for the lady on her third and fourth steps, particularly if the man is not an accomplished dancer. The best exits are a Checked Natural, Closed Wing, sometimes another Double Natural.

CLOSED WING: This is a waltz figure that can be adapted to the foxtrot rhythm by using the three steps for the lady in equal beat values. It allows the same sort of movement as in the regular Wing starting from CP rather than from SCP.

Normally starting in CP facing DLC, the man steps forward on his R heel in line with his L and starts immediately outside the lady in compact contra banjo. Ladies step backward on their L, lowering to the heel but using a body rise at the end of the step as they blend to contra banjo. As the man makes his first step, he starts a slow drawing motion to bring his L toward his R while keeping pressure on the inside edge of the L toe, making a slight LF body turn with weight on the whole of the R foot. Ladies step to the side and slightly back, small step, on their R toe as they continue a body rise together with foot rise. This step requires no turn for the lady as she is now on the man's left side. The man continues to slowly draw L to R with a small body rise and more LF turn to adjust to the lady's third step, still facing DLC. On the lady's third step, she goes forward on her L toe well around the man's left side with a slight LF body turn and at full height. Ladies maintain a backward poise for all three steps and keep their head to the left = closed head.

Note: As the man uses the continuous movement of the inside edge of the L toe toward the R, he should time it to end a little to the left and slightly behind his R heel. Ladies do not have the feeling of climbing a spiral staircase as they do in the Wing from SCP.

THROWAWAY OVERSWAY: This is a combination of the Oversway and a strong movement to lead the lady to the man's left and somewhat away. Since a strong right sway is maintained, it has this characteristic of the Oversway, otherwise quite a different figure.

The easiest entry is to use the first two steps of a Reverse Turn, that is, back on the man's R, side L turning LF, then into the Throwaway. Another common lead is the modified Telemark as in the Oversway. In any event, it is a movement that gives the impression that the lady is being thrown to the man's left as the man looks in the same direction, normally down LOD.

The man turns his upper body toward LOD or nearly DLC or DLW, as designated, but being careful not to make this move until the lady has already reached a point opposite him. The man's L foot should pivot to DLW (if the figure motion is toward LOD) as he looks toward the lady just beyond her nose and allows his knees to flex inward while keeping the R toe extended well to the side with pressure on the inside of the toe. Ladies bring their L foot toward the R continuing back (LOD) for a full extension of the leg while turning their heads and shoulders strongly to the left. Whatever the precedes, ladies must use this motion as a follow through of the turn with no pause for centralizing weight. At the full extension of this figure, the ladies should keep the left leg nearly straight and allow the R heel to touch the floor with little or no weight -- the outside edge of the R pointed toward the man. Although the appearance of this figure may give the impression of a "sinking" motion, it is the flexing of the knees that accomplishes this -- the upper body must remain erect.

Next Time: Same Foot Lunge



This column comes from a series published in Cue Sheet Magazine between 1987 and 1992, and is reprinted with permission. The full series is collected in an 86-pg booklet, available for $30.00 plus postage. E-mail Fran Kropf at cutecuer@cox.net. This article was published in the Dixie Round Dance Council (DRDC)  Newsletter, February 2012.



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