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Dance Figures

Figure Name, Roundalab Phase Level, & Timing

Steps and Actions That Make Up the Figure

Each description focuses on the man, with the woman's footwork in parenthesis. If a woman's step is not given, it is the natural opposite or follow of the man's. Help: basic dance positions and steps, actions, directions, and abbreviations. Non-standard punctuation: a comma separates two beats of music, a semi-colon marks the end of a measure, and a slash (/) indicates a split beat, two things occurring in a single beat.

Here are some sequences to help you visualize the figure in context.

phase III

ss;

qqs;

To make any forward step sharper, dance each "quick" as a q/& with the quick the step and the & bringing the free knee forward so you're more ready to take the next step — step/knee, step/knee — sharp.

s

s

phase IV

ss; ss;

phase III

qqs;

ss; qqs;

phase III

s

phase III

s

phase IV

qqs;

phase V

sqq; s

In closed position, perhaps facing line and wall, step back L with left shoulder lead and a little lowering (woman fwd R with right shoulder lead), -, bk R (woman fwd L) turning LF, continue turning and step side and fwd L (woman sd & bk R); close R to L to end in closed position facing line and center, -,

Let me comment that the "corte" step that we are used to is a step, whether to the side or back, and then subsequent lowering and shaping. It is a sort-of "dip." So in this back corte, the first step is really the corte, and the rest of the figure is a closed finish or a box finish — "corte to a closed finish."

If you look at another figure, the rock turn, you see that it looks to be a rock back recover to this four-step back corte. Some choreographers blur the line between the "rock turn" part of this figure and the back corte part by calling for a "rock turn (qqs) to a back corte (qqs)," In this formulation, the last step of the one measure rock turn (qqs) is really the first step of the back corte (sqqs). I believe that this sort of crossing measures and using a single step as the last step of one figure and also the first step of another is not uncommon, although it feels uncomfortable to round dancers, who like to have clean definitions to each of their figures.

I haven't done a tally, but I wouldn't be surprised to find that most round dance choreography uses the back corte as a one-measure figure (qqs), a box finish with tango technique.

In Noche de Amor by the Gosses, part A starts with a link to an open promenade;; rock 3; back corte (qqs); to an open reverse turn and closed finish;;

In this Goss dance, the last step of the rock 3 is also the first step of our standard back corte.

In Just A Tango by Childers, the Intro begins with a step together touch DRW; back corte DLW (qqs); walk 2;

s

qqqq; qqqq; qq,

Or do a side stairs 4 to DLW; gaucho 4 to DLC; and viennese turns;

phase V

qq

May include a small turn to the left.

phase V

&s

This is essentially a step, lower, and point, all in 1/2 beat. During the slow count, you stretch and extend. May be done with either foot; timing may vary; may be done from other positions.

phase III

ss; qqs;

phase III

qqqq;

phase V

sqq;

phase V

sqq;

phase IV

ss;

phase VI

qqqq; s

phase IV

ss;

phase IV

s

phase VI

s

phase VI

s

Lower in the left leg, push, and step side and forward R with right-side stretch and looking right. Give her your right side—that will close her head (woman steps back R turning LF and looking well left—very like a contra check step for the woman). Dance this step sharply in tango. The man's left leg will be extended to the side, straight and strong. The woman's left leg will be crossed in front of her right and extended on the same diagonal as the man's. Keep your hips well in to your partner. Again, you are in closed position (not an L-position).

This position that you have assumed as a result of a same foot lunge is called a Same Foot Lunge Line. One "steps" into a same foot lunge, and one simply "lowers" into a same foot lunge line. More specifically, a prep to a same foot lunge involves one weight change for the man and two for the woman. Lowering into a same foot lunge line involves no step for the man. He is on his R foot already, and he simply lowers into position. The woman transitions by closing her R to L (one weight change), and then she lowers into position. One bit of freedom that you have is to close the woman's head (give her your right hip) or to open her head (give her your left hip). At the end of a same foot lunge, her head must be closed.

phase III

qqs; qqqq;

Actually, the serpiente is used with a variety of thru, side, behind, rondes. Another pattern is sd L, XRIB, flare L CCW (woman mirror image), XLIB of R; sd R, XLIF, flare R CCW, thru R; Notice that this sequence leaves the lead feet free.

Yet another pattern that is used is a sd L, tap R, sd R to RLOD, flare LIB of R; behind L, sd R, thru L, flare R CCW;

In the Woodruffs' Seargent Preston, there is a Sd L, XRIB (W XIB), pt L to sd, flick LIB; XLIB (W XIB), sd R, thru L, flare R CCW; and follows this serpiente with a thru, side, behind, -; and roll 3;

phase IV

sqq; qqqq;

May begin in SCP. May be done in other facing orientations.

phase III

qqs;

phase IV

s

In Tango, more than in other Smooth rhythms, our object is to put the woman sharply into the man's right arm. He can do that by stepping between her feet and actually pushing on the inside of her thigh with his right knee. The LF rotation serves to throw her out there, and he should relax his right elbow, allowing her to extend into his right hand. But he must not go with her, as he might in Waltz. He remains upright and so creates a body line in opposition to hers.

phase IV

ss;

phase IV

s

The man is changing from a right lunge position to a left lunge position. During the movement, she is well out to his right, and he is out to his left, looking away, in strong opposition. There should be a good bit of tension and conflict. In another style, the man will look at her and use a little back-and-forth hip rotation to cause a shimmy in the woman's upper body, as though he is having to work to dislodge her from her stubborn reluctance.

The spanish drag can be done over a whole measure, even a measure and a half. She looks down her nose and a little askance at him, distainful, "no you don't, buddy." Then at the end of the drag she might relent a little and look directly at him -- "well, maybe."

Needless to say, whatever drama I might describe is entirely fanciful and you are free to tell any story that comes to you.

qqs;

phase V

qqs; qqs;

Note that, while the rock 3, the left foot rock, and the right foot rock do not turn, the rock turn (as its name tells us) does turn -- RF during the first measure and then LF during the second.

phase IV

qqs;

phase IV

qqs;

phase IV

sqq;

phase IV

sqq;

phase V

sqq; s

May be danced qqqq; sq&q; or sqq&; -- "quick" or "syncopated" rev fallaway slip.

phase VI

sqq;

Amount of turn may vary.

phase VI

s

phase VI

sqq;

phase IV

sqq;

The develope action is the raising of the knee and the kick. It can be done in banjo, beginning with the trail feet. It is done from other positions, the woman swiveling into position before the develope. Sometimes both develope.

phase IV

qqs;

phase IV

qqs;

Notice that the use of the terms closed and open in tango often refer to closing feet and passing feet, respectively. In the open finish (or the open promenade below), we are not ending in any kind of open position, but our feet are "open." The last step was a passing step.

phase IV

q,q/&, q,q/&;

One of the problems that arises in doing these turns on the cardinal directions (RLOD; LOD) is that we tend to separate a little from our partner in order to fit in that cross-in-front step. We stick our butts out and then hunch over our partner to compensate. Maybe worse than that, we don't quite make the full turn. The steps are fast. We need to get all the way around in only one measure, and we don't make it. What if there are two measures of Viennese Turns? We fall behind on the first set, further behind on the second, and we're way out of position for whatever comes next.

We can maintain dance position and get all the way around if we dance this figure in a linear, not round way, and if we think about diagonal body orientation and strong side lead. Do the first "turn" with two forward steps and then sharply turn to face reverse and center (woman line and wall) with strong right side lead (man's right shoulder back). Keep your left side in to your partner. In this strong contra-body position, the crossing step occurs easily and in a more flowing manner. If you have turned to face dead reverse, then the left foot crosses in front of the right with more of a clunk, and it interrupts your momentum.

Now do the second turn in a linear manner and sharply turn to face diagonal line and wall with the man's left shoulder leading and the woman's right shoulder strongly back. Again, keep your left side to your partner. Her crossing step will flow easily.

You can dance any number of full Viennese Turns and never fall behind if the man throws his right shoulder down the line, and then his left, right, left … Focus on progressing down line with both your step and your shoulder, and the turns will happen.

phase IV

qqs;

phase V

qqs; s

In closed position facing line and center, step fwd L (woman bk R), and begin to turn LF. Step side R continuing to turn to closed position facing reverse (woman heel turn). On the first slow count, step side and forward L (woman R) to a tight semi-closed position, body stretched upward, but flat, not onto toes, facing line and wall. On the second slow count, sharply flex the L knee (woman R), rotate a little LF, and sway to the right allowing the R foot (woman L) to slide out to point toward RLOD. Look at your partner. This last action is really the Drop Oversway—you are dropping sharply into a broken right sway and closed position.

phase VI

sqq; &qqs;

On the "&" count, step fwd R turning LF much as you would do in leading a wing (woman fwd L, then turning to closed position or picking up).

In the second measure, execute a "quick" telemark, by which I do not mean synchopated but beginning with a "quick" count rather than a "slow." Step fwd L turning, sd & fwd R (woman back L to R for a toe spin), sd & fwd L turning to semi-closed position facing line and wall, -;

The woman's toe spin occurs in the second Telemark, rather than a heel turn, because of the quicker turn (quick, quick; rather than slow, quick).

phase VI

sqq; q&qs;

Begin a LF spin and take full weight L (W fwd L). On the &-count the man spins LF (woman fwd R turning). Side R turning (woman closes L at end of toe spin), back L (woman fwd R) to closed position RLOD, -; The figure turns 1 & 3/8 LF.

An alternative timing that feels good is SQQ&; QQS;  Here, from SCP, the man leads the LF spin and the lady's fwd L on the "&" and he takes weight L a little later, as the lady takes her fifth step, rather than when she takes her fourth step as above. In any case, note that the man takes a total of 5 steps and the lady takes 7.

The above description is a little "waltzy." In International Tango, there should be minimal foot swivel on the floor, so wherever there is turn, we should place the foot in its ending position and take weight rather than placing the foot and turning it to its ending position with foot swivel. So, the man's first two steps are fwd L DLC and then fwd & sd R with the toes pointing RLOD. For a moment, he is pigeon toed (toed in). Having made the second weight change, he is facing RLOD, but that turn has involved no smooth nor gradual nor flowing turn. Each step was deliberately placed. Steps are abrupt. Turn is sharp. Tango is a rough, deliberate dance.

Another example is the lady's heel turn. She steps bk R and then closes L to R with the heels touching and the L toes pointing LOD. For a moment she is duck toed (toed out). This is not a waltz heel turn where she brings her feet together, smoothly pivots on her R heel, and then changes weight to the L, feet still parallel and together. She has stepped deliberately back and then a duck-toed close. That is her heel turn -- no rise into a smooth heel swivel but deliberate steps making a turn in place.

Let me end with a very abrupt and deliberate version of the tango telespin taken from Tango 68 by Richard Lamberty. Timing is QQS; -QS; for the man and QQS&; QQS; for the lady. Here, we have even eliminated the partial weight of the man's third step and the delayed taking of that weight. Lamberty is being deliberate and forceful. We begin CP DLC and step fwd L comm LF body turn (W bk R), fwd & pigeon-toed sd R (W duck-toed heel close), sd & bk L w/ L-sd lead (W fwd R w/ R-sd lead and on the "&" fwd L past the man in SCAR DRW) ; man uses upper-body rotation to lead the lady's fwd L on the "&" count and her toed-in fwd R. On the final "QS" the man steps fwd R toeing in (W bk L toeing out), bk L toeing out (W fwd R toeing in);  Each step is turned before it is placed to minimize foot swivel on the floor.

phase V

sqq; s

phase V

sqq; s

Make step 3 a little more of a side step than in a promenade to semi (above). The woman will have a little more freedom to fold to CP. She will feel the snap more cleanly.

Tango is properly done with quick steps. Step and hold. Even on a "quick," make it &/quick. Step and pause, if only briefly. And if you have a "slow," you can do even more. On the first step of this figure, don't step forward smoothly and draw the trail foot forward for the second step; but step, move the trail foot ahead smartly, and hold, all within the slow count. Now, your trail foot is forward and poised for a quick/hold, quick/hold, close/hold, hold (qqs).

Although the woman folds from SCP to CP—give her your right hip, men, and a little right sway, to lead this—there is no turn for the man. Hip rotation is not body turn. The man's feet are still pointed DLW at the end of the figure. So, although we sometimes talk about "picking the woman up" on step 3, it is not a waltz pickup to LOD. This shift from SCP to CP is sharp but subtle.

Above, I am describing the woman's "fold" as occurring on the second "quick." Another style has this turn occurring on the first quick. She steps forward R on the slow, thru L and fold to CP on the first quick, and then both step side, close, together, to end the figure. This approach, too, is clean, snappy, and very tango-like. Ladies, how do you know when to move from SCP to CP? Do it when your man gives you his lead, when you feel his right hip and his little bit of right sway.

It is possible to dance two closed promenades in a row (or otherwise to do any promenade from closed position). The man simply needs to step forward L with strong left-side lead, and the woman will turn RF, rolling from the front to the back of his right hip and step small forward R in SCP. The count for the first three steps might be &1234; where we turn to SCP on the &, we step on 1, hold 2, and then take steps 2 and 3 on beats 3 and 4 as normal.

Do a closed promenade, walk two, open reverse turn, open finish checking, corte;;;;; rec, -, side stairs 6;;

phase V

sqq; s

What makes this figure "open" is the final passing step; the feet end open or apart from each other.

phase V

sqq; s

The name of this figure can be misleading. You hear it and you want to make your first step a back step. But the name refers to the last step for the man: it is back and a passing step (like a back contra check).

phase VI

sqq; qqs;

In semi-closed position, usually facing LOD, step side and forward L (woman sd & fwd R), -, fwd R, sd & fwd L (woman turn LF to closed position and step sd & bk R); fwd R (woman turn RF to semi-closed position and step fwd L), sd & fwd L (woman turn LF to closed position again and step sd & bk R), fwd R outside partner to end in contra banjo position facing DLW, -;

phase VI

sqq; qqs;

In semi-closed position, usually facing LOD, step side and forward L (woman sd & fwd R), -, thru R, sd & fwd L (woman turn LF to closed position and step sd & bk R); thru R (woman turn RF to semi-closed position and step thru L), sd & fwd L (woman turn LF to closed position again and step sd & bk R), close R to end in closed position DLW, -;

Step 3 needs to be danced more like a q/&. She folds to CP and steps side R and then quickly turns back to SCP for step 4, thru L. Of course, the man needs to dance that & too. He steps side L giving her his R hip and then takes his R hip away to turn her to SCP and then steps thru R. He has to turn her to CP a second time, so he is turning LF on step 3, quickly RF, and then LF again on step 5.

An interesting flourish that we can add to step 3 is a kind of traveling kick/ball change. In tango, a kick is not like kicking a football. It is more of a stab toward the floor or a sharp point of the foot, and the "change" is the thru of step 4. So it's more of a point/ball, thru. On the second quick, then, we need to do several things. On the quick itself, he gives her his right hip, she folds to CP, and we both point or kick toward LOD. On the &, we both close the lead foot (the "ball" of this sequence), and she turns to SCP. And then on the third quick we step thru with the trail foot. All of this simply ramps up the sharp busyness that is a part of tango.

In Spider Of the Night by the Reads, we have a dramatic example of what can be done with a closed promenade. Part A begins with a double closed promenade with boleo and traveling kick/ball change to a left whisk;;;

The timing of this figure is sqq; qqqq&; qqs; A boleo and thru occurs on the third, fourth, and fifth quicks. The "point/ball, thru" (see description at left) uses the sixth and seventh quicks. And then the figure ends with a side step and hook behind into the left whisk ending.

This sequence continues with an unwind 4 to SCP DC; promenade link; a reverse fallaway slip; one viennese turn and a closed finish to SCP LOD;

sqq&; qq

phase VI

qqs; s

phase V

sqq;

The Tap is often cued as an action by itself. We might be in closed position with lead feet free. A tap involves no weight change, only a sharp turn to SCP and a touch of the inside of the big toe to the floor (M's L & W's R). Be careful not to tap into the floor, with forward poise. Tango is characterized by back poise—hips forward and chest up.

phase V

&s

It is always important for the woman to wait for the man's lead before dancing a figure. This is the difference between dancing with your partner and simply dancing in the vicinity of your partner. But here it is especially important to let the man "flick" the woman's head. If she passively allows herself to respond to his movement, it looks classy. If she flicks her own head, it only looks odd.

It is said that this figure arose out of the bad smell of those original Argentine gauchos. She catches just a whiff and sharply turns away. An accompanying look of disgust might have been appropriate originally, but I think it would detract in today's stylized version.

&s

For this action to work, you must be in tight SCP with hips together and lead legs in contact. This is a good tango SCP, and you mustn't get sloppy here. If you're in more of a half-open position and he bangs his knee into her leg from a distance, it won't feel good. The lead is the slightest nudge from a knee already touching.

Notice that the man does not flick his foot. There is no lead for the woman if he does.

It's interesting to compare the head flick (above) and the foot flick. For a head flick, he nudges her with his L hip; for a foot flick, he nudges her with his L knee. Do both, and I suppose she would flick both.

phase V

q&q&s;

Sometimes this figure is likened to a sailor shuffle, close/tap, but don't make it look like that — loose and swingy. Keep the topline steady—no progression either way—with the legs moving in a controlled way below. Settle a bit at the end of the figure.

One might wonder about the name of this figure. I'm not enough of a musician to fully appreciate this matter, but it seems that International Tango is written in 2/4 time, with a "slow" being one beat and a "quick" being 1/2 beat (exactly equivalent, it seems to me, to thinking in terms of 4/4 time and a "slow" equal to 2 beats). But if a "quick" is 1/2 beat, then the steps in this figure are indeed taken on the "quarter beat."

phase V

sqq&; s

phase V

ss; ss;

There are two different views on styling. Some picture a jungle cat moving down a tangled path, stepping over fallen branches as each free foot comes forward. Others picture him gliding down a more open path with that free foot just skimming the surface. But make it cat-like.

phase V

s or q

phase V

sqq;

phase V

sqq;

phase V

qq&s;

The "tap" itself is the sharp placement of the lead, big toe on the floor without taking weight, knees flexed. The toes are turned in and the heel is out in a "pigeon-toed" sort of stance. The tap is used in other ways than in a Brush Tap. You might be cued to "close/tap" or "recover/tap" Such "taps" often turn you to semi-closed position, rather than closed position.

phase V

qqs;

phase V

sqq;

The promenade link begins in promenade or semi-closed position facing LOD. The man steps side and forward L (woman R), -, thru R with just a little LF upper-body rotation (woman thru L turning LF to closed position), tap L to side of R ending in closed position lead feet free facing DLW or LOD;

It is the first two steps of a promenade, and the man folds her to CP. We have "linked" from semi-closed to closed position.

Sometimes, this figure is taught as a "forward, pickup, tap." These are terms that round dancers know well, but they are a little misleading in that they suggest much more rotation than we should have in a promenade link. The man uses just a little rotation to close the woman up, but if we begin in SCP facing LOD, he should still be facing DLW at the end of the figure, and the woman only folds to face the man in a tango closed position, well into his right arm. She should not step and then swivel 1/2 to face RLOD (as in a true pickup).

phase V

qq

This figure has some of the feel of a contra check: little contra check winding her LF, close to SCP taking her RF.

phase V

qqqq;

The last step of this figure is much like the last step of a progressive link. It takes the man's right side away from the woman and so turns her to semi.

qqqq;

Notice that the woman does not step outside the man, and there is no close/tap to SCP (so I guess it's not very much like a true four step). But it does have a marked left-face turn like a change of direction.

This figure is also danced with a timing of qq&s, an alternative timing that has some of the same feel as the alternative timing for the five step, mentioned below (qqs&s).

phase V

qqqq; s

Often, we like to dance this figure with a timing of qqs; &s. In other words, we hold the third step in banjo position, and then in a "change/point"–like way, we step and turn to semi & tap. This might be cued "five step syncopated."

The last figure above is like a double closed promenade, but the timing is modified to fit this particular music (sqq; qqqq; with swivels on beats 4 & 8).

Worlock showcase video

qqqq; s

If you begin in CP DRW, you might end SCP LOD, but the figure can turn more.

phase VI

qqqq; qqqq; s

qqqq; qqqq; s

This figure is a turning four step, but on the last step, we turn it back to the right, then a turning five step. It feels a little like a zigzag, but step 4 (the heel pull) is sharper and with less progression than in a zigzag. Use contra action at each step outside partner. Keep heads left—the hips go through a zigzag pattern, but the shoulders should move much less.

phase VI

s or q or &

phase VI

sqq; s

This figure begins in semi, turns 3/4 to 7/8 RF, and ends in closed.

phase VI

sqq; s

This figure begins in semi, turns 3/4 to 7/8 RF, and ends in semi.

phase VI

sqq; sqq;

In semi-closed position LOD, step sd & fwd L (woman sd & fwd R), -, fwd R blending to CBMP, turning RF sd L across woman's line of dance (she steps fwd R between man's feet); XRIB of L without taking full weight (woman fwd L with left shoulder lead), -, twist RF to semi-closed position facing DLC (woman fwd R to banjo position turning RF), shift weight to R in tap position (woman sd and bk L);

Sometimes, we approach a twist turn as though the woman is "unwinding" the man, but properly, he is powering this. But do not lead the woman's last two steps with your arms only. Men, as you cross behind, make it a rather loose crossing step, not a tight hook, and press into your R toe and your L heel. This combined pressure will turn you quite sharply. Your hips, torso, and shoulders all turn as a unit, leading the woman's last two steps. End with shoulders parallel, in closed position, and at the last moment make the slight turn to SCP.

sqq; qqs;

In semi-closed position LOD, step sd & fwd L (woman sd & fwd R), -, fwd R still in semi beginning to turn RF, sd & fwd L to momentary closed position facing diagonal reverse and wall (woman fwd R between man's feet); XRIB of L without taking full weight (woman turn RF and step side & back L into tight fallaway or semi-closed position facing reverse), unwind RF (woman step back R or XRIB of L), take weight on R (woman sd & fwd L) to banjo position man facing LOD, -;

In the DeChennes' 007 Tango, part B begins with a double open promenade;; outside swivel thru tap; natural fallaway twist turn;; back and prep to a same foot lunge;,,

sqq; qqqq; qqqq;

This is two twist turns, first the man twists and then the woman.

In semi-closed position facing LOD step fwd L (W fwd R), -, fwd & across R, trng RF step sd L to fc DRW (W fwd R between man's feet); XRIB of L to fc DRC (W bk L in SCP), twist on both feet 1⁄2 RF with feet flat to end with feet almost together wgt on L to end M fcing DLW (W keep head to L and walk backwards around man unwinding him R, L, R); staying close to W walk around her fwd R (W XLIF of R), fwd L, fwd R unwinding woman to end approximately fcing DLC (W turn on balls of both feet, to end with wgt on L), sharply swvl RF on R/and tap L (W tap R) fwd to SCP LOD;

The Quick Whirligig is a variation that has the timing qqqq; qqqq; qqs; The steps are the same, but we start with a "quick" and end doing our tap on a slow count.

In Cell Block Tango by the Worlocks, there is a progressive link to SCP LOD; quick whisk and tap; quick whirligig;;; quick promenade with side close to CP wall; side drag close tap to SCP;

phase VI

sqq; qq

We sometimes get careless and dance this figure with curving steps like a curved feather. We dance so many foxtrots and waltzes that it is easy to fall back into the habit of smooth styling and flowing movements, but tango is sharp movements punctuated with static pauses. Here, step 2 involves a sharp 1/8 turn (M RF, W LF). Step 3 is side, checking, to a tango closed position (W well into M's R arm). Step 4 involves a sharp RF turn, checking again. In essence, the W is wound up a bit to the left and then turned sharply to the right—bang, bang. Don't dance a smooth, graceful curve.

This figure is often followed by a chasse or a back/lock, back; to finish out the measure. Such an ending would be separately cued. Alternatively, some regard the chase as a six-step figure (sqq; qqs;), the last step being side and forward R turning RF to end in SCP facing DLC.