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MIA (Men In Action)
Random Round-Dancing Ruminations
by Dr. Warren Lieuallen, Two
Left Feet Dance Academy – Chapel Hill, NC
#1: Swiveling, Not Sniveling
It is often claimed that, in ballroom dancing, the women have the
harder part. And do you know why this is? Because they have to dance
with men! As a recent scientific study has elucidated, up to
80% of the mistakes that occur on the dance floor are the man’s fault
(a few women I know believe that this is a low estimate!). So, as a man
myself, I am going to make it my mission to improve the overall level
of male round dancing. Hence, Men in Action!
It’s been said that in dancing, the women are the picture while the men
are just the frame. This is not wrong. You are well advised to show off
your lady, and use your frame and your lead to allow her to dance her
best. When things go badly, it can be a long, chilly ride home from the
dance! A few relatively simple techniques will allow you to dance your
lady well, and believe me, she’ll really appreciate the improvement (as
well as the opportunity to dance her best).
What’s the most important move that a man can learn? While you should
not discount a truly contrite, eyes-downcast expression while you
quietly say “I’m sorry, honey; it’s all my fault”, I think it might
well be swiveling on the ball of his foot. Most toddlers know how to do
this. Watch a group of pre-schoolers dancing. You’ll see a lot of
Spirals and Spin Turns! But by the time they reach the age of 7, most
of the boys will have stopped doing this, and most will never attempt
it again (with the possible exception of Basketball Turn!). I suppose
it’s a commentary on our still sexist society; most men feel it’s
rather feminine to twirl around on one foot, like a ballerina or
something. But it’s not – it’s good dance technique.
When you think about it, in our common Smooth rhythms, about half of
the man’s moves simply consists of: 1. Step forward; 2. Step forward
and swivel; 3. Exit. Ta da!
Think about a Left (or Reverse) Turn, men. You will step forward with
your lead foot, angling your toe ⅛ to your left to commence a turn to
the left. You will then step forward and swivel ⅜ left on your right
foot. You will then exit by closing your feet (in Waltz) or taking a
small drift step (in Foxtrot).
Now think about an Open Telemark. You will step forward with your lead
foot, angling your toe ⅛ to your left to commence a turn to the left.
You will then step forward and swivel ⅝ left on your right foot. You
will then exit by taking a small drift step and placing your partner in
Semi position.
Now think about a Double Reverse. You will step forward with your lead
foot, angling your toe ⅛ to your left to commence a turn to the left.
You will then step forward and swivel ⅞ left on your right foot. You
will then “exit” by finishing the rotation and allowing your partner to
take her final two steps.
Notice the similarity? The man’s part is essentially the same. The only
difference is the amount of swiveling on step 2, and slight differences
in the exit. The same is true for right turns – Maneuver, Right (or
Natural Turn), Cross Pivot to Sidecar, Double Natural . . . ; they are
all variations of the same move! Maybe that’s why the man’s part seems
simpler – it’s all the same move. So, do it well, men!
There are many moves in every Phase that require the man to swivel on
his foot, ranging from Twinkle to Big Top. So, men, you’d better learn
to swivel! If you only need a ¼ turn, you can accomplish this by simply
stepping (think of a Box Finish, or Change of Direction). But if you
need ⅜ or more, you must swivel on your foot. It’s not girly, and it’s
not optional!
#2: Going Down Under
My partner (and luckily for me, my wife) can tell you her very favorite
dancing day. It was the day I learned to lower on step 1.
Like everyone else, our introductory round dancing lessons focused on
footwork (and quite well, too), but not on technique. So, when I wanted
to step forward, I stepped forward. Much like walking down the street,
I stuck my foot out and leaned my chest just a bit to get my body
movin’. Worked for me (as it works for most men).
The problem is it doesn’t work for the women. It took me several years
to learn that there are subtle little things that make absolutely no
difference to me one way or the other, but make a huge difference to my
partner. I can swing my leg and take a big step around her. I can take
a huge step forwards, getting my momentum going by leading with my
chest. I can move my arms to put her “over there” in Banjo. I end up
exactly where I want, so if the move doesn’t go well, it must be her
fault. Right?
I’ve emphasized before how important frame is. Good frame = good
dancing. And part of the frame is that you must keep your hips together
and your shoulders apart. When you are in frame, you are not simply
standing up straight. You need to lean your shoulders back just a
smidge (and she does, too). It will help keep your hips together, and
it will help your balance and rotate. And it will really help you move.
So, men, when you step forward (this is easiest to practice with a
Forward Waltz or a Three-Step), don’t go forward! Before the first
count and the first step, you must lower on your weighted leg, bending
the knee and letting the free foot “stick out” forwards. Your body
won’t go anywhere (but it will lower). To balance that foot that’s
“sticking out”, you’ll need to lean your shoulders back just a smidge
more. Then, push the free foot forwards another few inches before you
transfer weight onto it. Although it’s perhaps a bit exaggerated, it
looks something like this . . .
In the Smooth rhythms, whoever is stepping forward on beat 1 will use
this technique to produce a heel lead. It’s most often the man, but
it’s sometimes the woman (Back 3-Step, Reverse Wave Ending . . . ). And
from Semi, you’re both going forward (the “Thru” step).
Learn to bend your standing knee and project your foot forward. That
will produce the heel lead that your leaders are always nagging you
about. It will also produce the rise-and-fall that you’ve heard so much
about. Many dancers think that rise-and-fall is something you have to
actively do, but it isn’t. You do not “bounce”. You do not produce
rise-and-fall through your ankles. If you will lower on your first
step, that’s your fall. When you rise back up (exactly when depends on
which rhythm you’re dancing, and may be discussed in a future MIA
article), that’s your rise. It happens automatically, with no thought
on your part. And believe me, you’ll have enough else to think about
when you’re dancing!
So, men, when you dance, get down! Lower on step 1, dance under your
partner, and get that heel lead!
#3: Positions
There are three basic positions in round dancing: Closed, Banjo (and
its opposite Sidecar), and Semi. One of the most important concepts in
producing these is “slice”; the technique of having one shoulder
leading. And yet I see many men who do not seem to understand what it
is or how to produce it. And it’s all up to you, men. As you dance, you
must produce this position and use your frame to place your partner.
So, here is my simple-minded explanation.
There are three different alignments to consider in dancing. There is
the alignment of your body (shoulders to hips, shown as the colored
ovals). There is the alignment of your feet (shown as the feet!). And
there is the alignment of your next step (your “direction of dance”,
shown by the arrows).
Everyone loves Closed Position. You are square with your partner,
everything is comfortable, and you know where your next step goes. This
is your “home” position. All three alignments are the same. This
diagram is simplified (ideally, you should be very slightly rotated to
the left, and your feet should be offset so your toes don’t line up
with your partners’). But you get the idea . . .
 In Banjo position, your body is aligned the same way, but your feet
have rotated so that your next step will be outside of your partner’s
feet. You are no longer square to your partner. The man’s left shoulder
is farther “forward” than his right – his left side is leading (it is
towards the direction of dance).
From the diagram, you can see that all three alignments are no longer
the same. Your feet have rotated underneath your body (although as you
dance, you’ll probably find that it feels like your body has rotated
compared to your feet). Your feet and your direction of dance are now
on the diagonal, which is why this is called Banjo diagonal line and
wall (DLW). That’s the direction of your next step.
Semi position is the hardest of the bunch. Notice that all 3 alignments
are different. The man’s body is facing the Wall (more or less), his
feet are facing DLW, and his direction of dance is down Line of Dance.
The most important consideration is the woman’s position – the man must
place his partner in Semi position (which is accomplished by rotating
his frame to his right).
The direction of dance is now angled compared to your feet. As you take
your next step with your trailing foot, you will be required to
maintain your left shoulder leading, but your right foot will be
progressing down line. The ultimate contra-body! Not easy, but crucial.
#4: Contra-Body -- What Is It, and Why Do You Care?
By the time your local round dance class gets to the phase III/IV
level, you’ll start to hear the term “contrabody” over and over again.
It’s a technique that you already do, whether you know it or not. If
you walk, you use contrabody. But since dancing is exaggerated walking
and usually requires a little thought, it can be difficult to produce
contrabody on purpose. But it’s a technique you need to master.
In its simplest terms, contrabody is the movement of opposite
(“contrary”) shoulders and feet. So, if you step forward with your left
foot and your right shoulder, you are producing contrabody. Really
focus on what your body does naturally as you walk. You’ll notice that
as you step with your left foot, your right arm swings forward. This
will produce a slight movement of your right shoulder. You are stepping
with your left foot and your right side is “leading”. This is
contrabody! Class dismissed.
Contrabody is a very important concept, because it is a necessary
component of many moves. Some, like Contra Check, really exaggerate it
and turn it into a picture figure. But just about every move that
involves rotation will use contrabody. It’s a part of that nebulous
“commencing to turn” that you’ll see on cuesheets (without it ever
being explained!). Contrabody is how you begin your turns; it starts
the rotation that you’ll need on the next step (when you’ll most likely
swivel on your foot to produce the actual rotation of the figure).
Although contrabody is more commonly done (by the men) by stepping
forward, it is just as valid when stepping back. Step back with your
left foot and take your right shoulder back, and you’ve just done
contrabody. As long as it involves opposite shoulders and feet, it’s
contrabody.
Different people have different brains – a concept that works for one
person may not work for another. So, perhaps you should instead think
of stepping forward with your left foot and moving your left shoulder
back (which will, of course, move your right shoulder forward).
Whatever way you need to think about it is fine – as long as it
produces the opposition between your shoulders and your feet. It’s
really just a slight exaggeration of your normal walking movement (as
long as you walk normally!)
It’s also important that this movement not be exaggerated too much. As
you are focusing on it and it’s absolutely a conscious thought, you’ll
probably do too much. Practice it until you get a good feel for it, and
then make sure that it’s just enough to produce the needed movement,
without throwing your partner off balance. Eventually, you’ll
incorporate this technique into your muscle memory and do it without
thinking about it. Make sure that when you do, it’s less rather than
more. Just like moving from Closed Position to Banjo or Sidecar, you
want to do the minimum that you can get away with to get the job done.
Do too much and you’ll ruin it for your partner. And nobody wants that!
I tried to find a nice graphic to illustrate this concept, both to make
it absolutely clear, and to use up some of the space on this page. But
I couldn’t find one. So you’ll just have to close your eyes and
visualize someone walking with a slight twisting motion to their
shoulders. The best example I can think of is the Slow Back Contra
Walks in Señorita Tango. Because they are done “backwards”, they tend
to be a bit more exaggerated, and you’ll really get the feel of them.
Give it a try! Your turns and your balance will be better than ever.
#5: Slice -- The Best Thing in Bread and Dancing!
I don’t know about you, but I’d been round dancing for years before I
even heard the term “slice”. It turns out to be one of those very
simple concepts after you finally “get it”, but it seems to be
surprisingly difficult until you do! I don’t know why.
Slice is really just the idea of rotating your shoulders so that you
are not square to the direction you’re going to dance. Closed position
is nice and square – you are standing at attention, with your shoulders
perfectly perpendicular to the direction you’re about to step.
Everybody loves being square! But when dancing, your top half and
bottom half often do different things, in different directions.
Remember my Contrabody article last month?
Slice is the idea that one of your shoulders is “leading” – it’s
further forward than your other shoulder. So, when you are in Banjo,
you will have rotated to your right, placing your partner outside of
your feet on your right side, and you’ll find that your left shoulder
is further forward than your right shoulder. At least you should find
that – all too often, our Banjo position is very square and we’ve just
shoved our partner over to our right a little. That’s bad Banjo.
Think
back two articles ago if you can, where we discussed the different
dance positions. Look at “Banjo” again. Line yourself up with the feet
and arrow in this diagram. See how the left shoulder is forward and the
right shoulder is back? That’s slice. It’s really important that you
muscle-memorize what this sliced position feels like. Every time you go
to “Banjo”, this is the position you should establish.
It might be easier to work backwards and focus on “Sidecar”. Because we
don’t use Sidecar as often, it won’t be as easy. And that’s actually a
good thing, because it means you’ll have to think about it. So, work on
your Wing. Really feel the left rotation as you place your partner into
Sidecar, men. Rotate and get that right shoulder forward and that left
shoulder back. That’s Sidecar. Does it feel like you’re going to twist
yourself in half at the waist? Good, ‘cuz it should!
Another way you can get the feel of slice is to get in Closed Position,
and then rotate your feet 1/8 to the left or right (while your
partner’s feet also rotate 1/8 to the left or right). I don’t find this
exercise nearly as helpful, because it’s not the way you’ll establish
this position while you’re dancing. But it’s better than nothing and
there’s no way to tell what technique will get through that thick skull
of yours!
The next time you’re at a dance and the cuer announces a phase III or
IV, don’t sit down! Get up, and really focus on your body position.
Make sure that your Banjo and Sidecar are excellent, every single time.
They won’t be at first, so you’ll need to be doing an easy dance that
you don’t have to think about.
It will definitely take some time and effort, but I think you’ll find
that once you master Slice, every figure that uses Banjo or Sidecar
will flow effortlessly, and you’ll wonder what the fuss was all about!
#6: Each Rhythm is Different
Waltz, Foxtrot, Rumba, Cha-cha, Jive, Tango, West Coast Swing, Mambo,
Slow Two-Step, Bolero, Merengue, Argentine Tango, Paso Doble,
Hesitation/Canter Waltz, Quickstep, .... So many different rhythms! And
they really are different. Do you dance them differently?
Sure, the timing is often different. But each rhythm has its own unique
style, and its own techniques. You need to know these, because each
rhythm should be danced differently. Someone watching from the
sidelines should be able to tell what rhythm you are dancing just by
watching! If your Tango looks and feels just like your Waltz, you’re
not really doing it right. And who cares? This is a hobby, after all!
But I think to truly get the most enjoyment out of your dancing, you
should experience each rhythm as it was intended. Dance your Tango
using Tango techniques, and you’ll REALLY be dancing Tango! You’ll look
good, and you’ll feel good!
I won’t be able to present all the techniques for each rhythm in this short article. But just to give you a few examples:
Rhythm
|
Unique Features |
Waltz
|
Very smooth; Lower on beat 1, stay low and rise at the end of beat 2; graceful and flowing |
| Jive |
Quick and light, on the balls of your feet; small steps (especially when you rock back) |
Tango
|
Sharp, abrupt, “staccato” movements; no rise and fall; backward poise |
Bolero
|
Large, “swooping” first step; delay finishing each move until the start of the next measure |
Rumba
|
Emphasize hip movement (yes, even the men!); forward poise in Latin rhythms |
For more information (what, that wasn’t enough?!): ask your teacher;
look for clinics at the major dance festivals; and review your Boot
Camp DVDs! It will take a lot of time and effort to master the
different techniques for each rhythm, but it will really take your
dancing to the next level. It’s an on-going challenge, and part of what
makes Round Dancing so much fun – there’s always something new to learn!
Both partners need to learn and apply these techniques. But, men, you
must lead these different styles. If you don’t lead it, she can’t
do it (at least, not well). And there’s a fine line between leading and
pushing! Leads should be subtle – those people watching from the
sidelines shouldn’t see them. But your partner should (lightly) feel
them, so she can react to them.
Each rhythm also has its own unique moves. Right Foot Basic? Argentine
Tango. Surprise Whip? West Coast Swing. Running Forward Locks?
Quickstep! But many moves are now being sprinkled around much more
commonly than they used to be. Foxtrot moves in Waltz; Rumba moves in
Bolero; Waltz moves in Tango! What’s a poor boy to do? Personally, I
try to stick with the techniques of the rhythm I’m dancing. So my
Bolero Hockey Stick still has a big first “prep” step. My Tango Rolling
Right Lunge still has an abrupt ending (probably with upper body
opposition). But that’s just me. You and your partner will have to
decide how you feel these “cross-over” moves should be done to best fit
the music and the dance.
So there you have it. Make your dances different. Don’t Waltz your Tango!
#7: Don't Blame Me
When you go to round dance class, or an actual round dance, there are
several items you need to bring with you. Dance shoes, a sweater,
perhaps an MP3 recorder or a video camera. Maybe a little snack, even.
But there is definitely one thing you need to leave at home – your ego.
We all want to be better dancers. And I’ve found that a very effective
way to do that is to accept criticism gracefully. Whether it comes from
your dancing partner or your dancing teacher (or even another dancer),
constructive criticism is meant to help you. Others are willing to give
you the benefit of their experience, and are trying to assist you.
Accept their comments in the spirit in which they are intended. Most
times you’ll know when you’ve made a big mistake. But many times there
are things you don’t realize you’re doing (or not doing) that will
really help you improve your dancing if they can be corrected. Missing
a heel lead, leaning over your partner, moving your arm independently –
often you don’t even realize this is happening, and it takes someone
else to point it out to you. Be grateful that someone cares enough to
help you improve your dancing. If the advice comes from your partner,
be especially grateful that you have such an observant and
knowledgeable person to dance with!
 How
many times have you seen a couple bickering on the dance floor, each
trying to blame the other for breaking down? Is this at all helpful?
No. First of all, it is a cardinal sin of round dancing to stand on the
floor, forcing others to dance around you. Keep moving, or get off the
floor! But just as important, no good will come from blaming your
partner for a mistake. In many cases, something you did caused your
partner to go wrong, men. And in the few cases when she really did
cause the mistake, assigning fault does nothing to fix the issue.
Having a good dance teacher is invaluable. But in the entire world,
there is one person who is truly an expert on your dancing technique.
And that is your partner! To paraphrase the old song “She sees you when
you’re dancing; she knows you’ve made a mistake. She knows if you’ve
been bad or good, so dance good for goodness sake!”
I’m always amazed by how many small, insignificant things my partner
notices. There are many little actions that really don’t make any
difference to me at all, but that make an enormous difference to my
partner. She still talks about the day I learned to lower on the first
step in Waltz and Foxtrot (see MIA #2 above). Maintaining my frame
allows her to dance her part. A little right shoulder stretch to open
her head is very much appreciated. So trust me when I say this – no one
knows all the gory little details of your dancing better than she does!
When your partner complains about -- no, "mentions" -- a certain
trouble she’s having, chances are there’s something you should be doing
to help her. Sway, frame, rotation, footwork . . . Don’t
take it personally. She’s not calling you an idiot (at least, I hope
not); she’s trying to help the two of you do this move better. Review
the move and the techniques involved, and practice, practice, practice!
Ask your teacher or another dancer to watch you do this move. They may
see something you’re not aware of.
So, when anyone offers you some advice, take it gladly! It’s not a
condemnation, it’s not an insult, and it’s not an accusation. Don’t
take it personally. Instead, use it as an opportunity to learn and
improve. And don’t make that mistake again!
#8: Words Get in the Way
This MIA will be a bit of a departure (I’m sure many of you are
delighted to hear this!). There’s no actual action, and it doesn’t
focus on men. But sometimes an idea gets stuck in my head, and the only
way to relieve the pressure is to let it out!
Comedians George Carlin and Gallagher liked to poke fun at the
inconsistencies in the English language. Why doesn’t g-o-o-d rhyme with
f-o-o-d? Why is there a “b” on the end of “dumb” and “thumb”? Why do we
park in a driveway but drive on a parkway?
Because round dance cues are (usually) in English, a few
inconsistencies exist there, too. It may have made sense to someone at
some time, but it no longer does. Like anything conceived by a
committee, compromises have been made and standards ignored.
For example:
- Why is it Quick Open Reverse, but Running Open Natural? In both cases, you must do the move named with an extra step.
- Why is it Feather Finish in Foxtrot but Open Finish in
Waltz? Actually, I know the answer to this one! For the same reason
it’s Back Passing Change in Waltz but Back Feather in Foxtrot, that’s
why! The moves are the same. Why aren’t the names? Just because you
can’t say the “f-word” (feather) in waltz!
- Why does “Syncopated” sometimes mean add a step (Syncopated
Turning Basic) but sometimes mean change the rhythm (Syncopated
Five-step)? Why does “Transition” not tell which person what to do?
Sometimes, you just gotta memorize what the choreographer wants.
- Don’t get me started on “Continuous Cross Body” and
“Parallel Breaks”. Maybe I’m doing something wrong? If there’s a
difference other than spelling, I don’t know what it is.
- Why are some cues done “with arms”? Are we supposed to
dance without our arms otherwise? I don’t know about you, but I like to
keep my arms handy (bad pun intended)!
- Why does “Slip” (which is defined as the man’s trailing
foot brushing past his lead foot with a ¼ turn to the left) get used
incorrectly so often? Add “Turkish Towel” (defined with a ¼ turn to the
left – “man stay facing wall” is just wrong) and “Tunnel Exit” (defined
as someone ducking under and stepping back underneath joined hands –
circling around after an Outside Roll is NOT a Tunnel Exit) to this
list of usually misused terms.
Dancing is an art form, and it’s difficult for me to tell people they
are doing it “wrong” (I do it all the time, but it’s difficult!).
Applying Ballroom rules and techniques makes Round Dancing much more
standardized (and much better in every way, in my opinion). But if
there are rules, they can be broken. And when they are, it’s wrong.
Judges will deduct points (even if you think you’re not being judged!).
So, if you want an action for this article: the next time you’re
reading a cuesheet and something doesn’t seem right, realize that it
might not be! Just because it’s printed on a piece of paper doesn’t
mean it’s etched in stone (odd mixed metaphor intended). Round dancers
occasionally make mistakes. Choreographers sometimes do, too. We’re
only human. And I’m a cranky one!
From articles published in the DRDC newsletter, October 2023 - May 2024.
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