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West-Coast Swing—

4 beats/measure; 22-35 meas/min

West Coast Swing is obviously related to the other swing or jive rhythms, and it evolved out of swing and lindy in the 1930s. It is lazy, slow, and easy-going. It is the official state dance of California, and it dances best to easy-going bluesy or beach music. It is an evocative dance, some say sexy. You have time to embellish the figures with whatever body styling you might be moved to add.

Where swing, jive, and lindy are circular dances in which the man and woman travel around each other, West Coast Swing is a slot dance in which the woman dances up and down within a 3 X 6 foot rectangle on the dance floor, sometimes making 1/2 turns at the ends and other times moving back and forth facing the same direction. The man leads the woman forward. He steps out of her way, dances around her in various patterns, and then gets back into the slot again. Given the man's pattern of stepping to one side of the woman's slot, moving back into her slot, and perhaps stepping out of her slot on the other side, we can also visualize two slots in the shape of a cross. The woman dances up and down in her longer slot, and the man dancies back and forth in his shorter slot perpendicular to hers.

West Coast has three important families of figures. One is the "sugar" figures, after the sugar push, maybe the characteristic or defining figure of the rhythm. In these figures, the man does not leave the woman's slot. He blocks her and sends her back. Sugar timing is 1, 2, touch, step; 1/&, 2, — that is four quicks and a triple. This pattern is kind of tough in the beginning; you sure want to step on that third beat, so be patient. Repetition and floor-time will iron it out. The second family contains the passing figures. Here, the man does leave her slot and so allows her to pass from one end of her slot to the other. The basic timing of the passing figures is a familiar jive pattern, 123&4; 1&2. And the third family are the whip figures, where the man leaves the slot on one side, allows her to pass, moves thru the slot and leaves it again on the otherside, perhaps allowing her to pass him again back to where she began. The typical timing of the whip figures is 123&4; 123&4. Of course, there are other patterns and many variations to all these patterns.

One option in timing is to dance each "&" as an "a" as in 3a4. This has the effect of lengthening the first step and shortening the second step in each triple, a pattern we are used to in jive.

Figure Name, Roundalab Phase Level, & Timing

q=quick, 1 beat
s=slow, 2 beats
&=1/2 beat; a=1/4 beat

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.

Sugar Push

phase IV

1234; 1&2

The "sugar" figures in West Coast are the ones in which the man does not get out of the slot. He stays in front of her, blocks her way, and sends her back in some way. (The other major groups of figures are the "pass" and the "whip" figures.)

In left open facing position facing line of dance, step back L drawing the woman forward (W fwd R), back R, touch L to R and push into her, perhaps patting trail hands and even bringing faces together. On the touch, she might hook R behind without weight and turn a bit RF. You probably can't kiss (get a little sugar) at this point without risking injury, but the goal is to look coy and snuggly. Then step fwd on the lead foot on beat 4 (W bk R). Finish the figure with an anchor (see discussion below) — step back and under the body with the trail foot/rec, bk,

Although this is the standard description, the sugar push (and other sugar figures below) are also danced 123&4; 1&2. Rather than a touch, step on beats 3 and 4, we dance close/close, fwd—a little triple in place—followed by our anchor. The lady dances crosses RIB of L with weight/XLIF of R slightly to the man's right side, bk R returning to face the man. We have been told that outside of round dancing, in the swing club world, this 1, 2, two triples is the basic pattern.

West Coast Swing seems to be a dance rhythm that invites a variety of syncopations and variations. Chris & Terri Cantrell have written on the topic (see links page). They divide the figure into three parts of two beats each and list several ways to vary each part:

Beginning --

  • walk back 2 as described above (1, 2,)
  • kick ball change (1/&, 2,)
  • heel ball change (1/&, 2,)
  • point ball change (1/&, 2,)
  • point step (1, 2,)

Middle --

  • touch step described above (3, 4;)
  • flick step: he can flick LIF of R, back L; and she can turn 1/4 RF and flick RIB of L, side R; (3, 4;)
  • hesitate touch step (&/3, 4;)
  • triple: he can recover L/XRIB of L, back L; or XLIF of R/recover R, forward L; and she can XRIB of L/XLEF of R, back R; (3/&, 4;)
  • kick & triple: kick to side and triple diagonally forward (woman back) (&3, &4;)

Ending --

  • anchor or coaster described below (1/&, 2,)
  • overturn the anchor: turn away from partner on first step and back toward partner at end of second beat (1/&, 2/&,)
  • kick to the 4 & step: kick trail foot forward/place trail ankle to lead knee (the "4"), step side on the trail foot, (1/&, 2,)
  • point step point (1/&, 2,)
  • step point step point step (&1/&, 2&,)
  • cross cross step: cross in front like cross swivels (1/&, 2,)
  • out out in in: side L/side R, recover L/recover R (&/1, &/ 2,)

These sorts of variations may be used in many other figures as well.

The first West-Coast Swing we learned was the Raybucks' I Love Beach Music. It uses both jive and west-coast figures. Part A starts with right turning triples; throwout; to a sugar push and an underarm turn;;;
Anchor Step

phase IV

1&2

The anchor is a common ending sequence in many West Coast figures.  For both the man and the woman, it is a small step back and under the body with the trail foot, replace, replace, with a timing of quick/&, quick.  The man steps in place R/L, R, with the right foot being placed instep to left heel. The woman steps L/R, L,

There are really no steps.  The feet don’t move, but there is weight change and hip movement forward and back. As the center of gravity moves just a little back, the hips move forward. The upper body is quite still, but there is rocking feel in the lowere torso/hips.

Just as the anchor is a common ending to west coast figures, the step for the man just before the anchor is usually forward toward the woman. So, like a nautical anchor, our anchor step stops your movement.  It gives both of you a moment to stabilize your partnership and adjust your position in preparation for the next figure.  It serves as characteristic punctuation at the end of one figure and prior to the beginning of the next figure. Where the step before the anchor moves the man toward the woman, the anchor itself moves you apart and sets up the characteristic elastic relationship in the arms, or tension, to begin the next figure.


Coaster Step

phase IV

1&2

The coaster step is an alternate ending step that you can use.  For the man, it is like a little sailor shuffle with the trail foot: cross right behind left/side L, side R.  For the woman, it is like a little back hitch:  back L/close R, forward L.  West Coast Swing is unusually flexible in allowing individual expression, but these coaster steps are not really preferred.  For one thing, the coaster step can shift the man a little to his left and so disturb his relationship to the woman, firmly placed in her slot.  Second, as the woman steps back/close, she is likely to stick her backside out in an inelegant sort of way.  Third, if she steps forward on the last step of her coaster, she will find herself moving forward at the beginning of the next figure, and she really shouldn’t begin to move forward until she is led to do so by her man.  Another way to look at this last point is to see that her coaster causes one figure to flow smoothly into the next.  Jive is a rhythm that properly flows in this way, but West Coast Swing should be more grounded, more segmented, more punctuated.

A good place for the coaster is half way through a whip turn for the woman. She is facing LOD, and she wants to check her progression toward RLOD and get moving back toward LOD. And for the man, he might want to use a coaster to end his whip turn if he hasn't quite gotten himself facing LOD. The coaster would naturally turn him a little RF and help him back into the slot.


Turning Anchor

1&2

Sometimes, a figure will have the man facing away from the woman, and the anchor will need to turn him back to face. His trail foot is free. He crosses right in back of left and spins RF 1/2/step L in place, XRIF of L. I suppose there is no reason to restrict this move to the man. In the Preskitts' Draggin' the Line, there is a disco lunge for the man on his right foot, right finger pointing high (think of John Travolta in Saturday Night Fever), recover L, turning anchor to face woman; to and underarm turn – kick-ball change;; to a left side pass;,,
Kick Ball Change

phase III

1a2

We do a small kick forward/close on ball of that foot, close other foot, (two wt changes) In I'm A Man In Love by the Cunninghams, there is a rock recover ~ throwout ~ sugar push ~ kick ball change twice;;;; tuck & spin ~ left side pass;;;
Sugar Push With Rock Two

1234; 123&4;

This is a standard sugar push with a rock forward and back (W bk & fwd) inserted after the touch. It changes a 1-1/2-measure figure into a 2-measure figure.

In left open facing position perhaps facing line of dance, step back L drawing the woman forward (W fwd R), back R, touch L to R and push into her, perhaps patting trail hands. On the touch, she might hook R behind and turn a bit RF. On count 4, rock fwd L (W bk R). On count 1 of the second measure, rock bk R (W fwd L). That is our rock 2. Then finish the standard sugar push. Step fwd L pushing into her and moving her back and away (W bk R). Finish the figure with an anchor — step back and under the body with the trail foot/replace, replace.

In New York City Blues by the Gloodts, there is an underarm turn/M hook turn; ,, right side pass with tuck & spin ,;; sugar push with rock 2;; wrapped whip;;
Sugar In and Out

1234; 1&2 (123&4; 1&2)

In a handshake position, step back L (woman fwd R), bk R (woman fwd L and turn 1/2 LF into man's right arm, a tandem, sort-of varsouvienne position) and man puts his left hand on her back, point or tap L, recover L (woman bk R/close L, fwd R turning 1/2 RF); and anchor.

The man is almost doing a sugar push. The woman is turning into his arm and then turning back out to face again.


Sugar Push In Place

12&_4; 1&2 (123&4; 1&2)

In left open facing position, step back L (woman fwd R), sd R/sd L and hold (woman fwd L, close R/step L, bk R); both Anchor,,

The woman is dancing a reasonably normal sugar push, but the man does a little side break and holds in place.


Sugar Push Hook Turn

phase VI

1234; 1&2

In left open facing position, step back L (woman fwd R), bk R, touch L, fwd L (woman bk R); cross R behind L turning 1/2 RF and taking lead hands over man's head/step side L bringing lead hands to man's right hip, cl R and change to R-R handhold (W anchor) ending in tandem position man in front of woman,

Note that the woman is dancing a standard sugar push (see top of page). The man is dancing a "turning anchor." A slight modification is to dance his last step as a crossing step: behind R/sd L,fwd & across R. I like the flow, and I think it might keep me in the slot just a hair better.

In Knock Me A Kiss by the Schmidts, part A begins with a sugar push man hook turn - right side pass;;; tuck and spin - underarm turn both hook turn;;; switch to slow rocks; rock 4;
Hook Turn

phase V

1&2

In left open facing position, small ronde and hook RIB of L turning RF. Take joined lead hands over M's head. On the "&" step sd L completing 1/2 turn and bring joined hands to his right hip. On "2" close R to L and change to R-R handhold.

As described, the hand work might be in preparation for a right side pass. An alternative would be to change hands behind the back rather than over the head. Different handwork would be appropriate for other exit figures.

It could be danced a little differently, like a little circle vine in place: cross R behind L turning 1/4 RF and taking lead hands over man's head (woman bk L)/step side L bringing lead hands to man's right hip (woman close R), fwd & across R and change to R-R handhold (woman fwd L) ending in tandem position man in front of woman. It is really a modified anchor step and can be appended to a variety figures. Both partners could do it. The hook turn can turn a full turn to end facing partner.
In Sixteen Tons West Coast by Read, there is a whip w/ inside underarm trn both hook trn ;; face for chicken walks 2 slo & 4 qk ;;
Sugar Push With Rocks

qqqq; qqqq; qq&q&q;
(q-qq; qqqq; qqq&q;)

We described a sugar push with rock two above. Obviously, we could do any number of rocks, and this one is a sugar push that is interupted with four same-foot rocking actions. An interesting feature is the two transitions within the figure, one to get into same footwork and the second to get back out of it (the figure begins and ends with normal opposite footwork).

Begin in left open facing position. Step back L, small bk R (woman steps fwd R, and then touches or presses L for the first transition), fwd L (W takes weight on L), bk R (W bk R); fwd L for both, bk R, fwd L, bk R; fwd L, bk R/fwd L (W bk R only—this is the second transition), and both Anchor blending to LOF again;

During the four rocking motions, the bodies should be sliced, both with left-side lead as you rock forward L and right-side back as you recover R.

In It Ain't Necessarily So by the Cantrells, there is a wrapped whip;; sugar push with rocks;;; sugar push to a left side pass;;; sugar push to L-position and handshake to a right side pass;;;
Double Resist

1234; 12

It's in the sugar push family. In low butterfly position, step back L (woman fwd R), close R to L heel to instep (woman fwd L), tap L fwd with weight well into R hip and lean into partner (woman kick R fwd and lean into man kicking past man and as high as his right arm if you can), close L to R (woman small back R); tap R back and lean away fom partner (woman lean back and kick L straight back), close R to L (woman close L) and lean into partner,

The lean into the woman actually leads or encourages her kick forward. Likewise, the pull on beat 5 leads her kick back. Ladies, put some punch into it, as though you are punting a football. But it is fluid and elastic. Both of you push in, and then both pull away.

In the Hurds' She's No Lady, part B starts with back 2 & quick side breaks twice;; double resist & kick ball change;; back 2 & quick side breaks twice;; double resist & kick ball change;; to a surprise whip;; underarm turn to triple travel & roll and a sugar push;;;;;;
Tuck and Spin

phase IV

1234; 1&2

Like a sugar push, but the woman spins full RF on the last beat of the first measure: the man steps back, back, tap, forward. On the tap step, tuck the woman in (LF rotation), and on beat 4 check her rotation and lead her spin RF one full turn on her R foot back to face the man. Finish the figure with your anchor step.

Actually, you do not want to make the full turn on beat 4. Ladies, spin almost all the way but complete the turn as you do your anchor. Use the anchor to stop your spin and to stabilize your position. I think this is true for all spins and twirls: if you go all the way before the anchor, then the anchor will be a little wild and out of control.

Part A of I Love Beach Music has a tuck and spin, left side pass;;; sugar push, and underarm turn;;;
Faceloop

phase V

12

In a facing position bring joined hands in front of your face, and then over your head and behind your neck,

A man's faceloop is commonly done with R-R hands joined. The man steps back L (W fwd R), back and side R turning RF to produce left shoulder lead and placing joined right hands over the man's head to neck. He places his left hand to woman's right hip, and she may do the same to him.

We often dance the faceloop as a part of a Faceloop Sugar Push. In that figure, we simply dance the faceloop and then continue with the touch step of the sugar push, step L; and anchor. The faceloop might be delayed just a bit to conincide with the touch, the most "sugary" part of the figure, and we both have left hands to our partner's right hip. This particular "push" is very close and cozy.

A man's face loop can also be danced with lead hands joined. The technique is that of a "reverse salute." He raises his left hand, bends his wrist back, palm up in front of his forehead, and in that way passes joined lead hands over his head. His forearm is momentarily in front of his face. As lead hands go over his head, his left wrist passes his right ear. The figure ends with his arm in front of his body.

A woman's faceloop goes in front of her face and over her head. With a R-R handshake, it is helpful for the man to turn a little LF and so produce left shoulder lead.

I don't remember ever doing a lead-hands woman's face loop, but the "reverse-salute" technique works here too. Her right palm is up. Her right arm ends up crossed in front of her body. His left arm goes behind her head outside of the partnership.

And finally, I haven't seen any face loops with trail hands joined, but I suppose they could be done.

In You Were Right Girl by the Shibatas, there is a sugar push man facing LOD ~ underarm turn;;; left side pass with tuch & spin ~ whip with hand change behind the back ~ face loop sugar push;;;;; tummy whip;; surprise whip to RLOD;;
Scoop Sugar Push

1234&; 12&34&; 123&4;

The scoop sugar push is a sugar push that is interrupted with 3 "scoops." Each scoop is a forward/close, tap. A little more specifically, we dance the first 3 beats of the sugar push. The man steps back L, bk R, tap L (QQQ). Then we insert the 3 scoops (each Q&Q). Finally, we dance the last 3 beats of the sugar push. The man steps forward and ends with an anchor step (QQ&Q).

In all, we dance bk L, bk R (W fwd R, fwd L), tap L fwd (W tap R bk), fwd L/cl R; tap L fwd (W bk R/cl L; tap R bk), fwd L/cl R, tap L fwd, fwd L/cl R; tap L fwd, fwd L (W bk R), anchor R/L, R end left open fcg pos/LOD;

Arm work is variable. We might begin in left open fcg pos and blend to a low butterfly for the scoops, or we could begin in a R/R handshake, start a face-loop sugar push, and do the scoops with the M's left hand on the front of the W's left hip and the W's left hand on the M's chest (release R hands).

The timing of this figure has long given me trouble, so let me insert a table listing what we try to do on each beat:

Beat
M's step or action
W's step or action
1
bk L
fwd R
2
bk R
fwd L
3
tap L
tap R
4
fwd L/cl R
bk R/cl L
5
tap L
tap R
6
fwd L/cl R
bk R/cl L
7
tap L
tap R
8
fwd L/cl R
bk R/cl L
9
tap L
tap R
10
fwd L
bk R
11, 12
anchor
anchor

In Bogged Down in Love by Shibata, there is a whip with outside underarm turn;; scoop sugar push;;; to a left side pass tuck and spin.

In I Feel Lucky by Shibata, there is a tuck and spin to R/R handshake; ,, face loop scoop sugar push ,;;; ,, sugar kick ,;;

Sugar Bump

phase V

1234; 1&2

This is a sugar push where the touch on beat 3 is replaced with a spin on the trail feet, he RF and she LF, and a gentle bump of his left hip against her right hip as you spin around a full turn. Begin in facing position. He steps back, she fwd. Recover fwd and she steps fwd, both lifting lead knees and turning to bump hips, continue turning around to face and step on lead foot. Finish with a coaster or anchor. Childers' Java Jive has a sugar push, underarm turn;;; sugar bump, to a wrapped whip, and tuck and spin;;;;;
Cheek to Cheek

phase V

1234; 1&2

Like a sugar bump but don't turn all the way around. Instead, turn to bump hips and then turn back to face again--no net turn. Begin in facing position. He steps bk she fwd, both fwd turning RF (she LF), then lift turn and bump. Finally, cross lead in front of trail and turn back to face partner, he LF and she RF. End with anchor or coaster.

It may seem obvious that the name refers to our "lower cheeks," but I've been told that it is the "upper cheeks" that are being emphasized here. Turn your face to your partner's and gently touch cheeks if you dare.

In Take It Back Again by the Kincaids, there is an underarm turn to triple travel with roll;;;; ,, cheek to cheek,;; repeat;;;;;; sailor shuffles;
Camel Walks

qqqq;
In jive, camel walks are done in place, but they can be done with progression, too -- here the emphasis is less on knee rotation and more on knee bend and on side lead to produce a plodding-thru-the-desert-sand look. Facing partner & LOD, no hands joined, you can step back L with left-side lead (W mirrors), XRIF of L (W XLIB) with strong knee bend lowering, bk L, Bk R with right-side lead; XLIF of R with lowering, bk R, bk L, cl R to L;

Or, you can step fwd L with left-side lead (W mirrors), XRIB of L with lowering, fwd L, fwd R with right-side lead; XLIB of R lowering, fwd R, fwd L, cl R to L;
In I'm On Your Side by the Gosses, we are in CP RLOD tr ft free, and we push out 2 & anchor; back camel walks;; fwd camel walks;; roll down line & touch; roll to reverse & tch;
Duck Walks

123&4;
In a facing position M fcg LOD, swivel RF on the L (W swivel LF on R) and step forward R toward the wall (W fwd L to wall), draw L to R swiveling LF and step forward L toward COH (W mirror), draw R to L swiveling RF to step fwd R/L, R toward wall;

Note that the first two steps are forward steps with extreme toe turnout. This is an unstandardized figure -- I'm sure it could be done with a different number of steps and different timing.

Stutter

&1&2&3&4
In any position, on the &-ct of the previous measure, XLIF of R (W XRIF of L); rec R/XLIB of R, rec R/XLIF of R, rec R/XLIB of R, rec R (W mirrors throughout);

I have seen this figure in only one west coast swing, but I imagine one could vary the timing and the number of steps.
In I'm On Your Side by the Gosses, there is an inside half whip pushing apart ;; solo stutters; knee hop slide L & close; left side pass ; ,,
Left Side Pass

phase IV

123&4; 1&2

In left open facing position, step back L beginning to turn LF. Lead her straight forward down her slot. On beat 2, step small back R out of the slot and continuing to turn, and lead her forward L so that she passes on his left side, although at this point the man is pretty much facing her. On 2 the lady begins a LF turn. On the first triple, step sd/cl, fwd again into the slot; and she will step sd R turning LF/XLIF turning, and back R; to face each other in left open position, having turned 1/2. End with an anchor. In the Rotscheids' Honky Tonkin' On the West Coast, part A begins with a sugar push and left side pass;;; wrapped whip man overturning to tandem and right hands joined;; right side pass and tuck & spin;;;
Left Side Pass With Tuck and Spin

1234; 1&2

This is a combination of a left side pass with a tuck and spin on beats 3 & 4—see these individual figures above.

In left open facing position, step back L turning LF and getting a bit off the slot. Lead her straight forward R down her slot. On beat 2, recover fwd R continuing to turn and lead her forward so that she passes on his left side, although at this point the man is pretty much facing her. Touch L to R (W tch R to L), and as you do, tuck the woman in (LF rotation). On beat 4 step fwd L into the slot again (W fwd R), check her LF rotation, and lead her spin RF one full turn on her R foot to face the man, each having turned 1/2. End the figure with an anchor step.

I get the feeling that, in west coast swing, you can dance any "touch, step" as some kind of a triple, and here is a flourish that the woman can add to this figure. On 3 & 4, instead of a touch, spin, she can dance a quick sd R/XLIF, tucking, on 3, and then the fwd R and spin on 4.

This same figure can be danced as a Left Side Pass With Tuck and Twirl by simply keeping lead hands joined throughout.

In I'm In Chains by the Reads, there is an underarm turn to a left side pass with tuck and twirl;;; to a rock whip;;;
French Cross

phase IV

1&2

The woman steps forward R turning 1/4 LF, cross left in front of right continuing to turn another 1/4, and step back. This is a nice alternative any time the woman might otherwise do a run/run, run past her partner, and then turning 1/2. You'll see the french cross in the first triple of the left side pass and in the "flourish" described for the left side pass with tuck and spin (both described above).
Hijack Pass

123&4; 123&4;
This is a left side pass, but instead of letting her go on by for a total turn of 1/2, you "hijack" each other, make a full turn and return to your starting position. We also get two additional steps for a total of two measures.

In left open facing position, step back L (W fwd R) comm LF trn, small bk R out of the slot preparing to turn in place place your R hnd on W's back at her waist (W fwd L comm LF trn place L hand on M's R side at waist to turn him), turn LF in place L/R, L to fc LOD (W run around M fwd R/L R to fc LOD); small fwd R (W fwd L releasing him), cl L (W fwd R swivlg to fc partner & RLOD), anchor L/R, L having made a full turn;

There is some question of who is hijacking whom. The man has the lady's back and can sweep her out of her normal left-side-pass path and send her back to where she began. But the lady has the man's right side and can run around, turning him to his original facing direction. Lately, I have been playing with the idea of taking only one step on 3 and sending her around in a horse-and-cart sort of way (rather than dancing the first triple). If our position is good, I can even hold the 1, 2 of the second measure and join in again on the anchor.
In Love To You by Finch we dance a push break facing RLOD ,, ;; start a left side pass to wrap ; walk 4 in wrap ; lady out to anchor ; hijack pass ;; left side pass to fc RLOD ; ,,
Teacup Pass

123&4; 1&2
This is a left side pass with a lot of spinning for the lady, but it flows very nicely.

Facing partner and LOD with a R/R handshake and ld ft free, trn LF 1/4 to fc COH sd L leading W fwd R, rec R (W fwd L passing in front of M), slightly trng LF to fc RLOD step in pl L/R, L (W step almost in pl R/L, R trng LF one full trn under jnd R-hnds to fc RLOD) to shadow jnd R-hnds on W’s R-shoulder; anchor R/L, R (W step almost in pl L/R, L spinning RF 1-1/2 under jnd R-hnds to fc
M) end OP FCG Pos/RLOD R-hnds jnd,

May be done in other facing directions.

In In Times Like These by Shibata, part A begins with a wrapped whip w/ spin end to hammerlock LOD;; u/arm trn w/ M's hook trn to tandem LOD ; ,, R sd pass , ;; teacup pass ; ,, face loop sugar push , ;;
Right Side Pass

phase IV

123&4; 1&2

Very like the left side pass but begun in an L-position with the woman to the man's right and right-right hands joined. As he leads her past in front of him, he turns LF and so leads her past his right side. He steps fwd L, bk R, fwd L/cl R, fwd L; She steps the same as in the left side pass: fwd R, fwd L beginning to turn LF, sd R turning/XLIF, bk; end with the anchor step.

Again, let me say that the left and right side passes are essentially the same. If you start in left open facing position, man facing LOD, the man will shift toward the wall as he steps out of the slot, and the woman will pass him on the inside of the circle, in both of these figures.

In the Prows' Draggin' the Line, part A begins with a side whip;; surprise whip;; double whip with outside turn man hook to tandem and right side pass;;;; to a sugar bump and quick side break;;
Throwout

phase IV

1&23&4;

In CP wall step fwd & sd L (W sd & bk R) beginning to turn LF/cl R, fwd L (W sd & bk R), anchor ,; End in LOFP LOD.

May be done in other facing directions and from other beginning positions, in which case amounts of turn and stepping directions may be different.
In Strollin' West Coast by the Chicos, there is a throwout; sugar push - kick ball change;; chicken walks 2 slo 4 qk;; throwout to RLOD; left side pass both face wall - turkey walk 6 fc RLOD;;; whip turn;;
Slingshot Throwout

123&4; 1&2

In an L-position, with the man facing wall and the woman facing LOD, the man lunges to the side L and extends his arms to lead the woman to rock back R. There is an elastic feeling between them. Both recover onto their trail feet. During the two triples, step sd L/cl R, sd L beginning to turn1/4 LF (W sd R turning LF/cl L turning, back R); anchor R/L, R (W L/R, L),

Of course, the first two steps constitute the "slingshot." We stretch apart and then recoil together into the throwout. May be done in other facing directions.


Traveling Side Pass

phase VI

123&4; 1&2

Begin in an L-position. The man might be facing wall and the woman LOD to his right. You have a R-R handshake. The man presents his left hand, palm toward the woman, and this signals that we are beginning a traveling side pass, rather than a regular right side pass.

Step side and forward L leading the woman to step fwd R down line in front of the man. Recover R, take L-L hands, and begin to turn her under your arms LF, first the left hands and then the right (woman steps fwd L and begins the LF turn). On the first triple, the man XLIB of R/sd R, sd L (this is really a little triple in place allowing the woman to spin in front of the man and get around to his left side). The first triple for the woman is in place as she turns 1 1/2 LF to end facing his back, hands still joined high. On the second triple, the man travels down line with a XRIF of L/sd & fwd L, cl (could beXRIF of L -- the point is to progress down line and so help the woman get to the man's right side again) .  Right hands will pass over his head and then left hands, while the woman XLIB of R/sd R, XLIF, to end back on his right side again, perhaps in starting position (sometimes choreography calls for two of these in a row). Her total turn will be up to two full turns.

Actually, the standard starting position is cross hands left on top, but I don't think I've ever had that L/L handhold at the beginning. We take it on the second step. Note that when you do get the double handhold, you keep it through the rest of the figure. You may begin M facing COH, and so progress to RLOD, and in other positions. For instance, if partners are facing, the man’s first two steps would both be back and he would swivel left face 1/4 on second step.


Side Breaks

phase IV

1&2&
3&4&;

In facing position, lead feet free, step side L with a pushing action (woman sd R)/sd R, close L/cl R, sd L/sd R, cl L/cl R; Often the hands go out with the feet and back to the body as the feet come in.

It's a little difficult to keep this figure from becoming a pair of "jumping jacks." Try not to move up and down, but keep the upper body still.

These are also known as "Quick Side Breaks." Slow Side Breaks are danced a/slow, -, a/slow, -; and you might hear cued Side Breaks, two slows and four quicks (two measures total).


Cheerleader

phase VI

1a2a3a4a; 1a2

Man XLIF of R/sd R, tap L heel to the left/small sd L, XRIF of L/ sd L, tap R heel to the right/sm sd R; XLIF of R/sd R, tap L heel to the left,

In a facing position, the W would usually mirror the M: XRIF of L/sd L, tap R heel to the right/ sm sd R, XLIF of R/ sd R, tap L heel to the left/sm sd L; XRIF of L/sd L, tap R heel to the right,

In a side-by-side or tandem position, both would usually use same footwork, either the M's or the W's, depending on choreography.

The above is standard, but we have lots of variability out there. Looking around, it seems that a cheerleader could be almost any syncopated combination of the following: a crossing step, a side step, and a heel tap. Sometimes, a cheerleader is considered to be four actions in a 1/2 measure – XIF/sd, touch heel/sd, and then when this combination is repeated, it is called cheerleaders (plural). You might begin with the left foot, repeat with the right, and stop at the end of the measure, lead foot free.

A third view gives the cheerleader as a 1/2 measure figure but begins with a side step – sd L leaving R foot extended with heel on floor, recover R/XLIF of R. Another way to describe this one would be to dance sd L/tap R heel, sd R/XLIF.

Here's yet another that uses syncopated slow counts (s&s; &s&s;): XRIF of L, -, slight RF turn small sd L/tap R heel, -; bk R/XLIF of R, -, slight LF turn small sd R/tap L heel, -; bk L/XRIF of L, -, slight RF turn small sd L/tap R heel, -; and so on.

Be sure to read the cue sheet. smile

In the Hurds' She's No Lady, there is a sugar push,,; to 2 cheerleaders;; tuck & spin ending; tummy whip;;
Underarm Turn

phase IV

123&4; 1&2

In left open position, step back L leading her forward R and raising joined lead hands. Begin to turn RF, step forward R off the track to her right (crossing RIF of L). She steps forward L beginning a LF underarm turn. The man steps sd L/cl R, sd L turning a total of 1/2 RF. She steps sd turning LF/ XRIF turning, bk R; also turning 1/2. End with an anchor in left open position facing opposite from start.

(a reverse underarm turn in any other rhythm — grumble)

In the Childers' Java Jive, part A begins with a sugar push and underarm turn;;; to a sugar bump wrapped whip and tuch & spin;;;;;
Man's Underarm Turn

phase IV

123&4; 1&2

In left open position, step back L leading her forward R, fwd R turning 1/4 RF under joined lead hands and moving to pass her on her left side (woman fwd L turning 1/4 LF), sd L turning 1/4 RF/bk R (woman sd R trng/XLIF of R completing another 1/4 LF trn), fwd R; anchor. End in left open position facing RLOD.

May be danced in other facing directions.

Alternating Underarm Turn

phase V

123&4; 1&2

The woman does a LF underarm turn, the man does a LF underarm turn, and as a couple, we turn 1/2.

In left open facing position, step back L (woman fwd R), fwd R crossing in front to lady's right side turning 1/4 RF and raising lead hands (woman fwd L turning 1/4 LF under lead hands), sd L/cl R, fwd L spinning LF under lead arms (woman steps sd R/XLIF of R turning 1/4LF, bk R); end with an anchor step.

A nonstandard alternative is to lead the woman's underarm turn during the first triple, as the man turns 1/2 RF. Man will be facing partner and RLOD at the end of the first triple. Then the man can do his LF underarm turn during the second triple – fwd R turn 1/2/fwd L turn 1/2, bk R under body, (as the woman does her anchor).


Surprise Underarm Turn

123 hold; hold,, 3&4; (123&4; 123&4;)

In left open facing position, step back L (woman fwd R), fwd R and crossing in front to move left out of slot and raise lead hands (woman fwd L), turn RF and lunge side L looking back at woman and turning woman and hold three beats (woman turns 1/2 LF and dances a coaster—bkR/cls L, fwd R; and steps fwd L, fwd R turning 1/2 LF,) and both dance an Anchor, man blending back into the slot to end in same position and same facing direction as start;

There are several "surprises" in this figure. First, the man stops moving for three beats, although he does guide the woman to make a full turn during this time. Second, althought an Underarm Turn turns the couple 1/2, this one does not change facing direction. Third, although it is a [reverse] underarm turn, it has "whip" timing in that it takes two full measures.

In the Cantrells' Take My Love, part A begins with a tuck & spin – sugar in & out;;; underarm turn with head loop – surprise underarm turn – sugar push in place;;;;; to a whip turn;;
Waist Drag

123&4; 1&2
This is a jive change hands behind the back, with a little "extra." In left open facing position, step bk L (W fwd R), rec fwd & sd R moving off the track and turning 1/4 LF (W fwd L), in place L/R turning LF (W slides behind the M keeping lead hand on his body XRIF of L/sd L), fwd L back onto the track as the lady passes behind you (W XRIF of L); anchor R/L, L to LOFP again having turned 1/2,
I'm On Your Side by the Gosses contains a lot of new ideas. Part A begins with a left side pass to RLOD ; ,, side whip with lady's body ripple ,;;; waist drag to handshake LOD ; ,, inside whip to escort pos and walk around fc RLOD ,;;; reverse underarm turn to LOD ; ,,
Whip Turn

phase V

123&4; 123&4;

In left open facing or low butterfly position, line of dance, step back L (woman fwd R), recover forward R stepping off the track to her right and beginning to turn RF (woman fwd L turning sharply 1/2 RF). These two steps contain some important lead and follow. Of course, on step 1, the man draws the woman forward. On step 2, he uses RF body rotation and pressure through lead hands to turn the woman RF. At that point, he catches her with his right hand on her back, and he maintains that control point thru most of the rest of the figure. During the first triple, he chasses sd/cl sd turning RF to face RLOD and to move out of the slot on the outside of the circle (W steps bk/cl, fwd) to CP RLOD. Cross RIB of L turning RF, fwd L back into the track fcg LOD (she turns 1/2 RF & steps back L, bk R) to left open facing position LOD (here he releases his right hand hold on her back, and we finish with the anchor step;

I've described the standard figure in which the woman turns 1/2 RF at the end of beat 2 and the beginning of beat 5 (&5). Usually, we like to dance our &-counts after the beat rather than before, so we could think of the timing of these swivels as 12&3&4&; 123&4; (the first and third &-counts are RF swivels; the second and fourth &-counts are steps). In the heat of the battle, this won't feel any different from the timing in the standard description: 12&3&4; &123&4;

An alternative to all this is to delay the second swivel until after beat 5. At the beginning of the second measure, she will step fwd L and turn 1/2 RF (spiral-like), then bk R, and anchor. This timing will feel a little different.

Men, you might find that the hooking step at the beginning of the second measure pulls you away from your partner or that it leads her toward you. She needs to step away from you on this step, down the slot, as you prepare to return to the slot. If you do feel this tugging, you may simply close your R foot and then step side and forward L back into the slot. We have heard the hook-and-forward technique described as jive-like (circular) and the close-and-forward technique described as better west coast (more linear).

Finally, there is a variation that has been called a Power Whip. On count 3, the man begins to turn RF as normal, but he does not take weight. He merely points his L foot to the side in a more static, even dramatic lunge line, while the woman is doing her back hitch. On count 4, he swivels more on his R and steps fwd & sd L to CP RLOD. The timing of the man's weight changes is then 12 -/- 4; instead of 12 3& 4. The second measure is danced normally.

In It Ain't Necessarily So by the Cantrells, there is a sugar push to an "L" position & handshake ; ,, right side pass , ;; whip turn ;; sugar push ; ,, tuck & spin to hammerlock , ;;

In Whip That Kid by the Woodruffs, there is an underarm turn ; ,, cheek to cheek , ;; power whip ;; tummy whip ;; (and lots of other whips)
Shuttlecock Whip

123&4; 123&4;
This is a basic whip turn (see above), but both swivel sharply to SCAR on count 4 of the first measure.

In left open facing position, man facing LOD, step bk L, fwd R out of the slot toward the W's R side trng 1/4 RF to loose CP (W fwd R, fwd L trng 1/2 RF). The M faces wall and the lady LOD. During the first triple, the man steps sd L trng/rec R, fwd L very briefly to BJO RLOD. The lady dances her back hitch: bk R/cl L, fwd R. On beat 4, both swivel sharply to SCAR LOD. During the second measure, the M dances fwd R, fwd L returning to the slot (W bk L, bk R), anchor R/L, R;

A shuttlecock is the "birdie" that you hit back and forth in badminton. I suppose that the sharp 1/2 turn from BJO to SCAR is something like being hit with a badminton racket.
In Love To You by Finch we dance a rock whip with 2 rocks ,, ;;; shuttlecock whip ;; sugar push lady kick to the 4 ; ,, cheek to cheek , ;;
Wrapped Whip

phase IV

123&4; 123&4;

In left open facing position LOD, step back to double handhold (W fwd R), fwd R stepping off the track to her right side raising lead hands and beginning to turn RF (W fwd L). Raise lead hands over her head as you do a sd/cl sd turning RF to face RLOD. She does a fwd/cl, bk still facing reverse. At the end of the first measure, we're in wrapped position facing RLOD. Cross behind releasing trail hands and turning, step side to face her again (W bk L, bk R). End with an anchor to left open facing position again. He makes a full turn, and she does not turn.

May be danced in other facing directions.
In the Williams' No Easy Lady, part A has a wrapped whip;; cheek to cheek and point;; and part B then starts with a sugar push and a kick ball change;;
Straight Whip

123&4; 123&4;
In a crossed-hands facing position, left hands on top, perhaps facing LOD, step back L (W fwd R), XRIF of L trng RF to W's right side while raising joined L hnds and leaving joined R hnds low (W fwd L under joined left hands), sd/cl sd turning RF to face RLOD (W fwd/cl, bk) to tandem RLOD with W in front and slightly to right of M; XRIB of L trng RF while raising joined R hnds and keeping jnd L hnds low allowing W to back under jnd R hnds, sd L continuing to turn to face W & LOD (W bk L under jnd R hnds, bk R), anchor R/L, R (W L/R, L) to facing position LOD;

Note that the footwork is like a wrapped whip (above).
In You Say You Will by the Rumbles, there is a tummy whip to a handshake;; slo chicken walk 4 to crossed hands;; straight whip;; surprise whip;; underarm turn to triple travel with rolls;;;; ,, cheek to cheel,;;

In New York City Blues by Gloodt, there are sailor shuffles to crossed hands, left on top; straight whip;; cheek to cheek & kickball change;;

In My Girl by Rumble (1999), there are chicken walks 4 slos to crossed hands left on top;; straight whip ;; face loop sugar push ;,,
Basket Whip

123&4; 123&4;
This is very like a straight whip (above). In a crossed-hands facing position, left hands on top, perhaps facing LOD, step back L (W fwd R), XRIF of L trng RF to W's right side while raising joined L hnds and leaving joined R hnds low (W fwd L under joined left hands), sd/fwd sd turning RF to face RLOD (W fwd/cl, bk) to varsou RLOD with W in front and slightly to right of M; XRIB of L trng RF while raising joined R hnds and lowering jnd L hnds allowing W to back under jnd R hnds, sd L continuing to turn to face W & LOD (W bk L under jnd R hnds, bk R), anchor R/L, R (W L/R, L) to facing position LOD;

I'm not sure there is any difference between the straight and basket whips. I have seen a difference in the sharpness with which the left and then right arms are raised and lowered, but that might be personal styling that could be applied to either figure.
In I'm On Your Side by the Gosses, we are facing partner and RLOD in a R/R handshake. We do a right side pass with dbl hand hold to an inside underarm trn ; ,, dbl hand hold tuck and twirl ,;; basket whip ;; head loop whip ;; to a left side pass push out 2 & anchor ;;
Tummy Whip

phase V

123&4; 123&4;

Like a wrapped whip but release lead hands and place right hand on the front of her right hip as you move RF around her. She can extend her arms out in front of her at the end of the first measure. It sort of looks like you are stopping her movement and she is lunging forward a bit into your right hand. The man steps bk, rec fwd trn RF, sd trn/cl, sd & fwd; XIB trn, fwd trn, behind/sd, sd; She steps fwd, fwd, fwd/cl, bk; bk, bk, behind/sd, sd; He makes a full turn, and she does not turn.
Double Tummy Whip

123&4; 1234; 1&2

Any "double" whip replaces the 1,2 of the second measure with some 4-count sequence. This one is a tummy whip with a rock 4 at that point. The man sort of rocks the woman back and forth.

He steps bk L, rec fwd & sd R to W's right side turning RF and putting right hand on the front of her right hip, sd L trn/fwd R, sd & fwd L to face RLOD; rock fwd R placing R hand on W's L shoulder blade, recover L, rock bk R placing L hand on front of W's L hip, rec L turning RF almost to face partner; anchor. She steps fwd R, fwd, fwd/cl, bk; bk, rec, fwd, rec; anchor.

In Malt Liquor V by the Bucks, there is a sugar push facing RLOD to a double tummy whip;;;; cheek to cheek ~ whip inside turn ~ kick/ball change;;;;
Head Loop Whip

123&4; 123&4;
In a crosshand facing position perhape LOD, step back L (woman fwd R), recover forward R stepping off the track to her right and beginning to turn RF (woman fwd L turning sharply 1/2 RF). At this point, throw all hands up and over man's head. Chasse sd/cl sd turning RF to face reverse and to move out of the slot (woman steps bk/cl, fwd). Blend to CP. Cross RIB of L turning RF, fwd L (she steps fwd L trng 1/2 RF, bk R) to left open facing position LOD, finish with your anchor step;
Side Whip

phase V

123a4; 123a4;

In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side (woman fwd L turning 1/2 RF to face LOD), turn 1/4 RF to face wall point the left foot toward LOD to L-position hand on woman's back/hold, - (woman bk R/cl L, fwd R); hold (woman fwd L), recover L turning 1/4 LF to face LOD again (woman fwd R turning 1/2 LF to face RLOD), anchor;

An alternative for the man during the first measure is execute a L press line rather than a point side. Here, instead of turning the whole body 1/4 RF, the L leg and the press are oriented LOD. It is only the upper body that turns RF to a wider L-position.

May be done from other facing directions.
In the Moores' Knock On Wood, the dance begins with hip pumps; side whip;; whip with inside underarm turn;;
Surprise Whip

phase V

123a4; 123a4;

In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side beginning to turn RF (woman fwd L turning 1/2 RF to face LOD), sd L turning /recover R, fwd L (woman bk R/cl L, fwd R) to CP RLOD; rock fwd R leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand [surprise!] (woman rock bk L), recover L and raise lead hands (woman recover R and turn RF to face), anchor;

In most whip turns, you end facing the same way you began. The surprise here is that you stop the rotation and end up only turning 1/2 -- man ends facing RLOD and woman ends facing LOD. May begin facing any direction.

Notice that measure 2 has two sharp moments in it. First, there is the surprise, the lunge fwd R for the man and bk L for the woman. Second, there is the sharp turn on beat 2 for the woman. If you would like a softer look, following the surprise, the woman can step fwd R beginning to turn RF and then step sd L/XRIF of L, bk L well under body to face LOD. This would extend her turn to face over beats 2 - 4, making her anchor a turning anchor.

The Reads' Rhythm Of My Heart begins with a surprise whip;; to a sugar push and cheek to cheek;;;
Double Surprise Whip This is simply a surprise whip with an extra, surprise rock recover in the middle. It too turns 1/2.

In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side beginning to turn RF (woman fwd L turning 1/2 RF to face LOD), sd L turning /recover R, fwd L (woman bk R/cl L, fwd R); rock fwd R checking and leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand to an L-shaped SCP looking at ptr [surprise!] (woman rock bk L), -, recover L (woman recover R), -; rock fwd R leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand [surprise again!] (woman rock bk L), recover L and raise lead hands (woman recover R), anchor (woman begins RF underarm turn and steps sd L/XRIF of L, bk L well under body to face LOD);

In Knock Me A Kiss by the Schmidts, there are sailor shuffles; double surprise whip;;; to a left circle pass;;
Whip Freeze

123a4; 1_;

In left open facing position, step back L (woman fwd R), fwd R crossing in front to move left out of slot turning 1/4 RF (woman fwd L and swiveling 1/2 RF), sd L/cl R, fwd L turning 1/4 RF (woman bk R/cls L, fwd R) to closed position having turned 1/2; continue turning RF and cross right in front of left to a lunge, look at partner, hold (woman continue turning RF and step side L, sway toward man, hold), on last beat of second measure swivel to face partner no weight change having made a full turn and so ending in starting position;
Whip Inside Turn

phase VI

123&4; 123&4;

This is a Whip Turn in which the woman does a reverse underarm turn during the second measure. Begin in left open facing position. Step back L (woman fwd R), fwd and sd R moving to woman's right side to loose CP (woman fwd L turning 1/2 RF), swivel 1/4 RF and step sd L/recover R turning 1/4 RF, fwd L raising lead hands (W bk R/cl L, fwd R between man's feet);

At the end of the first measure, partners have exchanged places and are in a loose closed position, M beginning to lead the reverse underarm turn. To begin the second measure, the man crosses his right foot behind his left turning 1/2 RF (woman fwd L beginning LF turn). He steps fwd L (she steps fwd R completing 1/2 LF turn under lead hands). End with anchor.

Through the whole figure, the man has turned RF one full turn. The woman has turned 1/2 RF and then 1/2 LF.

Whip Outside Turn

phase VI

123&4; 123&4;

This is a Whip Turn in which the woman does an underarm turn during the second measure. Begin in left open facing position. Step back L (woman fwd R), fwd and sd R moving to woman's right side to loose CP (woman fwd L turning 1/2 RF), swivel 1/4 RF and step sd L/recover R turning 1/4 RF, fwd L raising lead hands (W bk R/cl L, fwd R between man's feet);

At the end of the first measure, partners have exchanged places and are in a loose closed position, man beginning to lead the outside turn. To begin the second measure, the man crosses his right foot behind his left turning 1/2 RF (woman forward left spiraling 3/4 RF under joined lead hands). He steps fwd L (W forward right to face partner). Finish with an anchor.

Through the whole figure, the man has turned RF one full turn. The woman has turned RF two full turns.

Whip With Hand Change Behind The Back

1,2,3/&,4; 1,2,3/&,4;

In left open facing position lead feet free, step back L, fwd R out of slot toward woman's right side (W fwd R, fwd L turning 1/2 RF), sd L turning RF/cl R, sd L blending to CP and placing W's R hand behind her back and into M's R hand (W hitches bk R/cl L, fwd R);

In this first measure, you are separating as the man paddles around and the woman does her little hitch. This is a little elastic springiness characteristic of all whips, but it means that we shouldn't reach for that hand change until the end of the triple when we come back together again—or we'll have out butts stuck out, looking uncomfortably grabby.

In the second measure, hook R behind L turning RF releasing W from CP but keeping R/R handhold leading W to roll RF (W fwd L turning RF), fwd & sd L returning to the slot (W fwd R completing 1 1/2 spin), anchor R/L, R (W anchor L/R, L) to end in handshake position facing partner and starting direction;

This figure, with slightly different character, also shows up in jive and in lindy. It is sometimes cued as a Texas Tommy.

In Black Horse by the Worlocks, there is a side whip;; whip with hand change behind the back;; tuck & spin with that handshake ~ kick ball change;
Rock Whip

phase VI

123&4; 1234; 123&4;

This is a whip turn with 3 turning rock-recovers in the middle of it. It turns twice around instead of only once.

In left open facing or low butterfly position LOD, step back L (woman fwd R), forward R stepping off the track to her right and beginning to turn RF (woman fwd L turning sharply 1/2 RF). Paddle sd/rec fwd turning RF and add a little pivot to CP facing center (woman steps bk/cl, fwd turning to face wall).

Now comes two rocks. Turning RF rock fwd R between her feet down line turning, recover L to CP wall (W bk L, rec R between M's feet), turning RF rock fwd R between her feet toward reverse turning, recover L to CP center;

On each forward rock for the man, give her your arms so she springs away a little and then bring her back on the recover. She moves back and forth in her slot, with some elasticity, while the man crosses from one side of the slot to the other. Or, think of him moving back and forth in his slot, perpendicular to her slot. Without the elasticity, the figure becomes less linear and more circular and therefore jive-like. We don't want that.

In the third measure we complete the whip turn with one more rock recover. Turning RF rock fwd R between her feet down line turning, recover L into the slot (she steps back L, bk R), and we finish with the anchor step adjusting a little apart to left open facing position M facing LOD;

This figure is also known as a Continuous Whip, but I have also seen the Triple Whip (with its 3 behind-side combinations, rather than rock-recover combinations) called a continuous whip. I wonder if any figure with small repeated actions that could be continued can be called continuous?


3-D Whip

123&4; 123&4;
This whip is not done in CP but a little more loosely. (But it is still done on the two-dimentional dance floor with no particular rise and fall in that third dimension. smile) Two unusual features for the lady are her LF turn on step 1 and her RF turn during what is normally the anchor step, but which is only a ronde and close here. Most of what the man does is unusual.

Step bk L raising jnd lead hnds (W fwd R trng 1/2 LF under lead hnds), fwd & sd R off the track to the inside of the circle (W bk L), fwd & sd L trng to fc wall/cl R, sd L (W bk/cl, fwd - W's coaster step); fwd R crossing slot to outside checking and placing jnd lead hnds behind M's head (W fwd L passing bhnd M's back), rec L (Wfwd R), bk R trng LF/sd L to fc LOD (W swivel RF on R ronde L CW to fc RLOD), cl R (W cl L);
In I Feel Lucky by Shibata, we do a throwout M fcg LOD; wrapped whip;; 3-D whip;; tuck & spin.
Triple Travel with Roll

phase V

1&234; 1&23&4; 1&234;1&2

You need to set this figure up with something that will put you into a right hand star, usually man facing wall or center. An underarm turn will do it if you modify the figure so that the first triple puts you into that right hand star position, perhaps M fcg wall, and the anchor becomes the first triple of the triple travel with roll: an "underarm turn to a triple travel with roll."

In a right-hand star position, M facing wall and W fcg COH, step sd R/cl L, sd and fwd R (W sd L/cl R, sd & bk L) commencing RF turn 1/4. Your handwork aids in the turns in this figure. If you push gently with your right hands, you will both roll RF stepping fwd L, and fwd R (woman fwd R, fwd L) making a 1 & 1/2 turn total to a left hand star at the end of the first measure (M fcg COH). Then you dance three triples alternating from the left hand star, push to a 1/2 LF turn to a right hand star, push to a 1/2 RF turn to a left hand star. The footwork in the second measure is sd L/cl R, sd L (woman sd R/cl L, sd R) turning 1/2 LF, sd R/cl L, sd R turning 1/2 RF; In the third measure dance the third triple sd L/cl R, sd L then roll 1 and 1/4 LF fwd R, fwd L (woman fwd L, fwd R) to face partner in left open facing position; anchor ,,

May begin M fcg RLOD and then progress toward LOD.


I Love You So

1&2

In closed position, trail feet free, step side R (woman sd L)/small back L (woman small bk R), replace with a bump & grind action, The ending of the Cantrells' Take My Love is an Underarm Turn – two Sailor Shuffles – slow side;;; I Love You So and Layback;
Lariat

123&4; 1&2
This figure needs to start with the lady at least a little on the man's right side: banjo, lady's hammerlock, tamara. Holding joined lead hands high, stp sm sd L, rec R, stp L/R, L (W fwd R comm walking CW around M, fwd L, fwd R/lk L in back, fwd R); anchor R/L, R (W triple to face M L/R, L),

Note that, as described, this is a circular, jive- or cha-like figure. It is not slot-like. Well, a rope lariat is circular.

Rotary Lariat

123&4; 1&234; 1&23&4;
In hammerlock position LOD lead hands high, step sd L leading W fwd, rec R, step in place L/R, L trng LF 1/2 (W comm walking around M CW fwd R, fwd L, fwd R/Lk L, fwd R) to side-by-side bjo RLOD; anchor R/, R (W fwd L/lk R, fwd R to fc LOD) lead hands still high, sd L leading W fwd, rec R; triple in place L/R, L (W cont walking around M CW fwd R, L, fwd R/lk L, fwd R comm turning 1/2 RF), anchor R/L, R (W triple in place L/R, L cont turning RF to fc M) joining lead hnds ending in LOFP RLOD;

An optional spin ending that makes it more "rotary" -- beginning after the man's first anchor -- sd L leading W fwd, rec R; triple in place L/R, L leading W to spin RF & release ld hnds (W cont walking around M CW fwd R, L, fwd R/lk L, fwd R comm spinning RF 1 1/2), anchor R/L, R (W triple in place L/R, L cont spinning RF to fc M) joining lead hnds ending in LOFP RLOD;
In I Feel Lucky by Shibata, we dance a wrapped whip w/ spin end to hammerlock;; rotary lariat w/ W's spin end;;; tuck & spin.
Tsunami

123&4; 1&23&4; 1&2

This figure is 1, 2, and four triples. As the name hints, there are a lot of swirling turns—it's stormy—but after a little repetition, the body flow becomes quite smooth and civilized.

Facing partner in left handshake, step back L turning 1/4 LF and bk R out of the slot (W fwd R, fwd L beginning to turn left and with right arm across body above the handshake). During the first triple, the woman steps fwd & sd R, close L turning, fwd R, completing one full turn LF. As she passes the man, he steps in place L/R, and as she takes her last forward step, he steps fwd L across the slot. If we began this figure with the man facing reverse and woman facing line, she is still facing line, wrapped into her left handshake, and he is at her right shoulder, in a back-to-back L-position, facing wall.

During the second triple, the man will do a paddle turn 3/4 LF, stepping fwd R turning/rec L turning, and side & back R. With the left handshake, he will lead the woman to step fwd L turning 1/2 RF/rec R, fwd L, like a quick basketball turn. He releases left hands early in this triple and catches her left arm with his right hand at the end—release and catch. At this point, we are tandem both facing reverse.

During the third triple, the man will continue to turn left, and the "catch" will tell the woman to turn left, too. He uses his left arm to sweep himself in a LF turn sd & fwd L/cl R, fwd L, turning full around. She steps fwd R turning/cl L turning, fwd R turning to face partner and line. The man needs to guard against rolling away from partner during this triple—make that third step toward partner.

Finally, the fourth triple is an anchor for the woman, L/R, L. In the example that we have, the man continues to turn LF, steps side R facing wall/closes L, and crosses R in front in a scissoring action, taking right hands, ready for a right side pass, but I assume that he could adjust his triple to other ending positions.

This will seem to be a busy little figure. If I have counted right, the man turns 2 1/4, but it is all left-face, and he has 2 1/2 measures to swirl smoothly through it. The woman alternates, but the changes are clearly marked. First, she makes a full turn left. The wrap into her left arm stops that and leads her comfortably into a 1/2 turn right. There, the man catches her to lead another left turn, this time 1 1/2. That's a total of 3 turns, but for one who regularly spins a full turn on one step (think tuck and spin), this figure might be regarded as quite leisurely.

In Black Horse by the Worlocks, the dance starts facing reverse with a tsunami to a right side pass;;;; face loop sugar push with rock 2;;



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