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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 and some links to figure clinics by George & Pam Hurd.

phase III

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Each measure may be used alone and cued Half Basic. If your lead feet are free, a half basic is the first measure described above. If your trail feet are free it is the second measure. The second measure of this figure can also be referred to as a Forward Basic.

phase IV

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sq&q;

phase III

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phase IV

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The figure can also be done in tandem position with same footwork. Sway L, -, R, L; bring joined L hands over W's head fwd R turning RF to W's tandem, -, rock L, R; bring joined L hands over W's head fwd L turning LF to tandem again, -, rock R, L; bring joined L hands over W's head fwd R turning RF to W's tandem, -, rock L, R;

More and more, I have been seeing a two-measure version of this general action. We step side swiveling back to back and then rock side recover. Then step side, swiveling to face, and rock side recover. I'm going to guess that when the figure is considered for standardization, this is what will be accepted.

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Any step in which you have opposite shoulder lead puts a "contrary" twist into your body. You might step forward L with right side lead — you have a little right turn in your hips but left turn in your upper body. You could step back L with your right shoulder back.

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phase V

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phase III

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Starting and ending positions may vary.

phase V

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phase III

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phase V

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Sometimes cued Bolero Contra Check or simply Contra Check.

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phase IV

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phase V

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May be repeated to the man's left with the woman's right hand on his left shoulder and his left hand on her back.

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phase IV

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In a facing position, step side and back L turning LF beginning to lead woman across in front of man. She steps side and forward R. Step back R with a slipping action, and she steps forward L slipping to face partner. End with a small forward step, she side. In the second measure, she steps side and back L turning LF and leading the man across. He steps side and forward R. She steps back R with a slipping action, and he steps forward L slipping to face partner. End with a small side step, she forward.

phase IV

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The bolero aida is similar, but it starts with a slow, side preparatory step. Often the cuer will say, "Prepare the aida." And then he or she will cue, "Aida Line," for the final "slow." The bolero aida is 1 1/2 measures long.

You can begin in almost any position, such as butterfly, semi, open facing, or even open position. Lead foot is free. Step side down line blending to a facing V position, -, step thru with the trail foot turning in (man RF, woman LF), step side and back; At this point, you will be in left open position, facing reverse. Finally, step back with the lead foot continuing to turn to the aida line position, a back to back V looking reverse.

You may also perform this figure beginning with the trail foot, in which case the aida will progress to RLOD.

In the Reads' Todo Bolero, there is an aida prep; aida line and two hip rocks in place; face & fence line (sqq); point and fence line (sqq); and riff turns to line (qqqq);

Hurd figure clinic (mp4) on aida and aida line (at 0:00)

phase IV

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Note that the standard figure consists of three steps, but in practice, the cue "switch" is often used to mean only one step and the turning to face, as in the examples at right.

Notice that in this sequence, the "switch" is a single step side L turning RF.

Later in the same dance, we are facing COH. We do a turning basic one half; aida; aida line and switch; swivel and wrap to SCAR; to a cross body to face wall;

In this sequence, the head cue "switch" refers to the turn and side step on the trail feet. The subsequent recover step is implied. The "swivel and wrap" begins with the trail feet.

In My Heart Will Go On by the Vogts, part A begins with a basic outside partner;; spot turn; hip rocks with caress; aida; aida line switch & recover to left open position facing reverse; bolero walk to reverse lady spiral; spot turn to butterfly position facing wall; to a fence line toward line;

phase IV

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In Song From A Secret Garden by the Sechrists there is a new yorker to RLOD; left pass; shoulder to shoulder twice;;

Hurd figure clinic (mp4) on lunge  break, left pass, and right pass (at 0:00)

phase V

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So, in a facing position with a R-R handshake, step side R beginning to turn RF with right side stretch (woman steps side L beginning to turn LF with left side stretch). At the end of the first "slow" count, you are in a slight "V" position with lead shoulders close. Continue turning RF (woman LF) and step forward L like a New Yorker in handshake, and recover R (woman recover L) turning to face partner. In the second measure, turn 1/4 LF and step side and fwd L with left side stretch (woman turns 1/4 RF, steps side and fwd R, and raises left arm, turning slightly away from partner but looking at and shaping toward partner). On the fifth step, the man slips back R shaping to partner and leading her to step forward L in front of him turning LF 1/2. Partners have traded sides. On the last step, he steps fwd L turning 1/4 LF to face partner (woman steps back R and turns 1/4 LF to face partner).

This figure might begin facing wall and end facing center. It could then be repeated to face wall again.

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You might begin in handshake position (and R hnds will remain joined throughout), man facing line and wall, lead feet free. Step sd & fwd L (W trns RF and steps sd & fwd R) both twd LOD, -, trng LF stp bk R (W fwd L beginning to cross in frnt of M twd COH), cont LF trn fwd L (W fwd R twd COH) bringing R hands up behind W to lead her to spiral 7/8 LF; In this first measure, the man has whipped her across and she has spiraled to a shadow position facing COH.

In the second measure, the man steps fwd R joining left hands in varsouvienne position COH (W continues to turn LF and steps fwd L facing COH), -, fwd L checking and lowering with a little bit of a "chair" feeling (W fwd R), he releases left hands and steps bk R (W bk L beginning to turn RF); At this point, the man is facing COH and the woman is in the process of turning and maybe facing LOD or even DLW.

In the third measure, the man steps bk L beginning to turn 1/8 LF and preparing for another whip-like action. The woman countinues to turn and steps small fwd R toward DLW at the man's right side, and continues to turn in a hip-twist-like way, brushing her L foot to her R until she is facing RLOD. This is tricky. Notice that her third step of the second measure was back L toward the wall, and her first step of the third measure was fwd R, almost twd wall again. Over these two steps, she has turned 3/4 RF. Now, the man continues his LF trn and steps bk R twd LOD (W fwd L twd wall). He cont LF trn and stps fwd L bringing R hands up behind W to lead spiral (W fwd R twd wall and spirals 7/8 LF); In this third measure, the man has whipped her across and she has spiraled to a shadow position facing wall.

In the fourth measure, the man steps fwd R twd the wall joining left hands in varsouvienne position again (W continues her LF turn and steps fwd L twd the wall), -, fwd L checking (W fwd R), bk R releasing left hands (W bk L beginning to turn RF);

As in many bolero figures, we do not end this figure at any kind of stopping point but are flowing into another hip-twist-like figure.

phase V

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In a facing position with lead hands joined, step side and forward R with right side stretch (woman side and fwd L) to a "V" position with lead shoulders close. Slip thru L with a checking action, like a new yorker, shaping toward partner. Most dancers bring the lead hands thru as in a new yorker, but one can leave them extended horizontally back for a different look. On the second "quick" recover R (woman recover L) and raise lead hands, leading woman to turn under. In the second measure, both step forward, the man beginning a tight LF turn and the woman beginning a tighter RF underarm turn. The man finishes with a fwd R turning, and fwd L turning to face partner (woman fwd L turning under joined lead hands, fwd R to face).

We used to have trouble distinguishing between the half moon and the horseshoe turn. They both begin with a new yorker action and they both turn 1/2. We'd hear one of those cues and wonder for a moment which figure we should do. Finally, we thought that "half moon" implies a curve that describes a large arc (the woman's path as she whips across the line of dance), and "horseshoe" implies a tighter turn or a sharper arc (the paths taken by the man and woman as they tightly curve to change sides together). Of course, the half moon is done in a handshake, and the horseshoe turn is usually done with lead hands joined.

Recently, in 2023, we encountered for the first time a horseshoe turn that begins with the lead feet free, rather than the trail feet. This was in Look Of Love by Lewis & Olson, and we found it quite exciting. I think it's fair to say that most horseshoe turns in intermediate boleros begin in BFLY COH with trail feet free, and first steps progress to LOD. In Look Of Love, we are in BFLY Wall with lead feet free. It certainly feels like the wrong foot, but again the first steps progress to LOD. We take the bolero side step to LOD with the lead foot, step through with the trail foot for the new yorker action, and recover checking. Then with the trail feet we walk our little arcs, like a pair of horseshoes, lady under trail hands this time, and end M facing partner and COH. I still get a little thrill each time we dance it.