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Dance Figures

Figure Name, Roundalab Phase Level, & Timing

Steps and Actions That Make Up the Figure

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

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

phase IV

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Curve these steps just a little to the left, and end in closed position, even if you didn't begin that way.

Properly, this figure is unusual among foxtrot figures in starting with two heel leads. Most foxtrot figures begin with a step, heel to toe, giving early rise, and then the second step is toe, maintaining that rise. The second step of a three step is heel/toe, driving kind of under partner and producing a late rise. The third step is then toe/heel as usual.

phase III

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May begin with either foot.

phase III

sqq; sqq;

phase III

sqq; sqq;

phase III

sqq; sqq; sqq; sqq;

phase IV

sqq; sqq; sqq; sqq;

In Valenta's Bye Bye Baby, there is a quarter diamond turn to a feather finish;; and again;;

phase IV

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Another neat sequence from LeBlanc's Remember When is a quick diamond in four progressing down line and ending facing reverse; dip back, -, recover, -; quick diamond in four to reverse; dip back, -, recover, -; to a 3-step down line;

sqq; sqq;

phase IV

sqq; sqq;

A full natural turn is not as common as one might think. We more often hear Half Natural; and then something else, such as a heel pull.

In all right-turning figures, the actual foot turn tends to be early, accompanied by upper-body turn. (In left-turning figures, upper-body turn precedes foot turn, and the foot turn is late.) So here, the man begins with his toes pointing toward DLW. He signals a right turn with upper body rotation, but at the same time allows his foot to turn as he steps forward R. As he takes weight, his toes are already pointing toward the wall. Foot turn has occurred early, before the step has even been taken. This is comfortable because the woman is naturally on his right side and so on the inside of the turn, as he dances around her.

In All In A Night's Work by Molitoris and Firstenburg, there is a hover telemark; and a slow half natural checking to a weave;;; hover telemark; to in & out runs;;

This half natural is interesting in that it is danced slow, slow, slow, checking on that third step, and then we weave 6 quicks.

Ballroom tutorial of a natural hover cross from Egils Smagris. which includes a close-up of a wonderful heel turn by the lady.

phase IV

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phase V

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In semi-closed position facing line and wall, step thru R (woman thru L) beginning to turn RF, -, side and back L with left side stretch/back R with right-side lead, back L with slight right-side stretch to end in contra banjo facing RLOD;

phase IV

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Notice that the woman is not at all holding back or dancing in place to allow the man to get across. She is dancing forward, as is the man in the second measure. Those steps are much like a man's hover telemark: fwd, fwd, fwd, turning RF. If she does hold back, then when he gets across, he will tend to "scoop her up" in his left arm, and the resulting push will not feel good to her.

phase IV

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The common error is for the man to dance down line and think that he has to dance "around" his lady. If you do this, she will be led to progress, will not be able to do the heel turn, and you will end in banjo at the end of the first measure (I speak from long experience). Instead, take steps 1 & 2 DLC, turning your body as you move through her left side; dance a straight line, not a curved path around her.

phase IV

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Notice that in a reverse turn, there is a heel turn and so less progression down line. In an open reverse, there is no heel turn by the woman and so more progression.

phase V

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sqq;

phase IV

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It is interesting to compare the open telemark, the first measure of a reverse turn, and the first measure of a reverse wave. All three figures begin with the same lowering into a forward step and a rising into another forward that leads a lady's heel turn. You stay in closed position through these three beats of music, and you turn as a couple. In the open telemark, you turn 1/2, from diagonal center to diagonal reverse and wall. In the reverse turn, you turn 3/8, stopping so that the man faces reverse. In the reverse wave, you only turn 1/4, ending diagonal reverse and center, so you can do the curving "wave" part during the second measure.

phase V

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Try hard not to bounce. This is a soft and gentle "down, up."

May be done from closed, banjo, or sidecar positions.

Here, the double back lilt begins with the man's L and the count is s&s&;

phase V

s&

The man turns left to lead the pickup, but often he really doesn't pivot much. The "pivot" in this lilt pivot is really the woman's as she turns to face him.

phase IV

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phase IV

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May begin in other facing positions. Total turn is about 3/8.

phase IV

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May begin in other facing positions. Total turn varies from 1/8 to 1/2.

phase IV

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In closed position facing diagonal reverse and center, step back L turning RF, -, continue to turn on your left heel as you draw your right heel toward your left and change weight (woman side L and draw R to L no weight) , -;

End in closed position, usually facing line and center, although the amount of turn can vary. Feet should be a little apart (second step not a true "close"). Given that separation, you should be down in the knees, without the tendency to rise, as at the end of a heel turn. Lead feet are free.

q&

phase V

&q

sqq;

phase IV

sqq;

phase V

sqq;

Starting position and amount of turn can vary.

phase V

q&qs;

Sometimes cued Left Turning Lock to distinguish it from the Right Turning Lock.

phase V

q&qs;

phase IV

ss;

Increasingly, we are being cued to "Whiplash to Banjo." Usually, this means banjo facing approximately LOD, so the woman swivels almost 1/2 and the man only shapes a little left to lead her swivel and then right to contra banjo position.

A refinement to the whiplash to BJO is for the man to step thru with right sway and a right head folding her to CP DLW but with the intention of leading her outside partner on the next step. So, we whiplash to CP, and with a little LF rotation, we achieve BJO to begin the next figure.

Shibata's This Can't Be Love has a hover to semi; whiplash and freeze; quick change sway and check back; double reverse;

phase III

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ss;

This figure might be cued, "Pivot Two." As you might imagine, a choreographer might ask for any number of these one-step actions (depending on how sadistic…)

phase IV

ss; ss;

In closed position facing reverse, step back L turning 1/2 RF. Having left the right leg extended between the woman's feet, step forward R continuing the turn for a full turn over one measure. Do it again.

One key to success is to stay low, with soft knees. Once you rise, you stop turning. Another thing to think about is that each step, especially that forward step right (man or woman) should be taken down line. You might be tense and worried (panicky?) about getting around, but don't rush your steps. Let yourself rotate and don't step forward right until you can do so down line.

I recently ran across another point, about footwork; I'm not sure how useful it might turn out to be. Normally, we think of a back step as being taken "toe-heel" and we will do that automatically, without thinking about "footwork." This teacher suggested that we dance our back steps in the pivot "toe-heel-toe" and that we let the left heel barely kiss the floor as we turn and push off with the left toe into the forward right step. I'm going to try to remember to think about that the next time we dance a pivot 4 or a pivot 6 and see if that little detail might help the figure flow.

phase VI

q or &

phase III

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There is a general rule associated with slip movements that says, if there is no or only a little LF rotation of the couple, then the woman steps L outside the man's R. The man will use his frame to control this. If the man intends to turn the partnership, say, 1/4 LF, then he will guide her to step L between his feet. This will allow him to turn LF during the third step and end in closed position. If she had slipped outside his feet, the turn would have put them in banjo.

phase IV

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phase IV

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phase IV

ss;

phase IV

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phase VI

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phase III

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Again, the standard figure ends DLW (5/8 turn), but the figure may underturn to face LOD or overturn to face reverse and wall or even RLOD. When the amount of turn wanted is other than 5/8 or 7/8, the cue should be, spin turn to a particular facing direction, such as wall.

The figure can begin in other facing directions, such as CP LOD. We'd end facing DRC. I find it surprisingly difficult to do this. I suppose it's because it doesn't happen often.

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End facing reverse and wall.

Sometimes, dancers feel that they can't get far enough around when they are asked to overturn a spin turn. The secret is in the second step. First, ladies, keep a strong left head. This will add to your turning momentum. If you pull in to your man, you can stop the rotation dead. Second, milk that beat (beat 3 of the measure). Don't be in a hurry to put your lead foot down. Ride the spin until you are where you need to be, and only then recover onto the lead feet. If that isn't until the "&" of beat 4, that's okay. Don't even think about that third step, and certainly don't plan a leaping or lunging side step at the end, thinking that this might take your farther around. The woman drives as she steps forward on her right. The man drives as he steps forward on his right. Right here, think of your frame as a rectangle, instead of an oval, and ladies, put your head in that back left corner. Then ride the momentum around. Let the free lead leg just hover behind the weighted leg, and you should actually feel the need to put the brakes on as you spin even to RLOD.

phase VI

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In closed position facing RLOD, step back L (woman fwd R) pivoting 1/2 RF, -, fwd R turning/side L (woman bk L/sd R), bk R to contra banjo facing reverse and wall;

phase VI

sqq; q&qs;

Now, the trail feet are free. The man hooks his R behind his L with no weight, and she steps fwd L/R around him. On beat 2, she steps fwd L turning RF and unwinding him. He changes weight as she does so. On the last "slow," he steps side and back L, and she steps between his feet R. End in closed position facing diagonal wall, wall, or even diagonal reverse and wall.

phase VI

sqq; q&qs; q&qs;

One of the problems inherent in this "double twist turn" lies in the long side step L that overturns the first twist turn and prepares you to do the second twist turn. It can become an abrupt leap that disturbs the smooth flow of the dance. Again, a twist turn for the man involves two weight changes. He crosses his right behind his left. She unwinds him. He takes weight on his right on beat 2, and then steps side on the "slow." You can smooth out a double twist by taking four weight changes and by making the third step a progressing pivoting step. Cross R behind L taking weight/step L as she begins to unwind you. On beat 2 step forward R and pivot in a maneuver action, and then step small side L to set up for the second twist turn. The count becomes q&qs; just as it is for the woman, and the flow is so much smoother than the usual "hook/unwind, step, leap."

q&qs;

Begin in closed position, trail feet free. The man crosses his R behind his L with no weight, and she steps fwd L/R around him. On beat 2, she steps fwd L turning RF and unwinding him. He changes weight as she does so. On the slow count, he steps side and back L, and she steps between his feet R. May also end in semi-closed position.

phase VI

sqq; sqq;

This is a "standard" figure but not a common one in Foxtrot. Actually, the twist turn originated in Tango and only later came to be danced in various combinations in other Smooth rhythms.

phase V

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In the Finchs' Sam's Pants, there is a hover telemark; open natural; outside spin overturned; to a hairpin;

phase V

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Begin in contra banjo position facing reverse. As in the Outside Spin, begin RF body rotation, and allow that movement to place the left foot just a little back and L toe to R instep (woman turns with the man, staying well into his right arm in contra banjo, and steps forward R outside the man). Step forward R outside woman, turning (woman continues to turn on ball of right foot over counts 2, 3, & 4, and as she spins, she makes a small CW ronde with her left foot, raises the left knee to bring the left foot to the right knee, toes pointed down, and then lowers the L to R with a touch). On the second "quick" the man slips L under body and steps forward L with left-side lead.

The woman is doing a sort-of "ronde/kick" that actually aids considerably in causing the spin. She has just stepped forward R, so the left leg is back. She makes a small ronde forward to a kick and at the same time bends the knee so the left foot ends up at her right knee. The movement is like a reverse develope superimposed on top of the rotation. The momentum of the kick part really helps to rotate the couple. It has a neat, wooshing kind of feel.

Again, the woman takes only one step and then rises to her leg flourish, as the man turns her on the spot. For this figure to be stable, each of his steps must be the same distance from her pivot point. He must walk a circle, the center of which is the ball of her right foot.

phase III

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phase IV

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phase V

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phase III

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phase III

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May start with either foot. May begin and end in other positions in which case the woman may have some body turn. For instance, in a Back Hover to Semi, she would turn RF.

phase III

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This is a progressive figure with each step being taken along a diagonal. May begin in banjo with the trail feet free. The woman may brush her free foot to the supporting foot at the end of the second step. The figure may end in semi-closed position if so cued. In this case, the woman will turn strongly at the end of the second step and her last step will be forward.

phase III

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sqq;

phase VI

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The figure could begin and end in a variety of positions.

phase IV

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I like to think of this figure as a hover with an open telemark ending. It also involves a forward step thru the woman, which is an important part of telemark turns.

In closed position, step forward L (woman back R), side and forward R into the woman turning up to 1/4 RF and woman brushing R to L. Both step small step forward on lead feet to semi-closed position.

You might consider dancing this with qsq timing. This would give you two beats to emphasize the hovering action and turn it into a little picture.

Where the hover tends to lead into left-turning figures, the hover telemark usually preceeds right-turning figures.

phase IV

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The beginning orientation can vary. The man turns up to 3/8; the woman will turn more, up to 5/8.

I suppose this figure is named for the initial back step and the hovering action and ending position of a hover telemark, but I believe the ballroom world knows this figure as a Hover Impetus. It is an impetus turn with a side step instead of a heel turn for the man.

phase VI

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May begin in other positions and orientations, so first step may vary. The essence is to move from some other position in two steps to semi-closed position, trail feet free.

phase IV

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phase VI

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In closed position, perhaps facing RLOD, step back R (woman fwd L) turning LF, -, continue to turn on the right foot now with right sway (woman small fwd R turning), turn to contra banjo and touch L to R (woman close L to R);

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phase III

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phase IV

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phase V

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phase IV

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As you take steps 2 & 3, your hips will be turning RF (woman LF), but your upper body should lag behind, producing a strong LF "wind-up" in the torso. Stay flat - does not have the strong rise of the normal whisk.

phase V

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phase V

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Start this figure in semi-closed position facing LOD. Step thru R turning RF to closed position facing reverse and wall (woman thru L), side and back L continuing to turn (woman fwd R between man's feet and staying well into his right arm still in closed position), side and back R turning (woman sd L), cross L tightly in back of R with strong right-side stretch (woman XRIB of L) to a tight semi-closed "whisk" position facing RLOD;

phase III

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An important consideration in any figure that puts you into sidecar is to maintain your dance position. Sidecar is considered to be a kind of closed position, so the man needs to rotate his torso left face and keep upper bodies in a closed relationship, even as he shifts his hips to the right, to their sidecar relationship. The woman turns her body sharply LF between steps 2 & 3 and closes her head.

The figure is called a "wing" because the lady's part resembles a large bird, maybe a sea gull, folding it's wing into it's body (the man). (Josephine Bradley) We do not want to see the lady's body and head directed straight ahead or even off to the right somewhere, but center on your partner.

phase IV

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phase IV

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phase IV

s

First, a caution. Men, we spend most of our time with head left. We are looking up, but her right elbow or right hand might be in the bottom of our field of view. When you are told that you may "look at partner," we usually mean only that you may shift your gaze a little farther right, maybe over her right ear. Don't get in her face to probe deeply those limpid pools, searching out her very soul. I suppose at the end of a dance, you might give in a little, but generally we want to stay in closed position and maintain proper frame. Keep your torso up. Don't invade her space and push her over.

Second, note that you step between her feet. Your goal is to contact the inside of her left thigh with your right knee and to gently ease her leg out there. If the two of you step to the side independently, it is easy to go different directions and to end up apart from each other. We want to end a right lunge tight together.

s

In closed position with right-side stretch and woman's head to her right, flex left knee lowering, step side and forward R between her feet, flex right knee, rotate body a bit LF, change from right- to left-side stretch closing her head, and look at partner. Your frame should slowly "roll" from left to right sway.

In this dance, the figure extends into the last measure and actually spans 5 beats, rather than just a "slow."

phase V

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We find this a complex figure. There is footwork, rise and fall, rotation to the right and then to the left, and there is right sway and then loss of sway—all layered on top of one another. The steps are side and forward R, -, recover L, back R;—straightforward. The lunge uses beats 1 & 2. The right sway is part of the lunge—we are inclined to the right and looking right (woman left). So the sway develops in beat 2 and goes away during 3. The rotation is layered over the lunge, the recover, and the slip; so it uses beats 2, 3, & 4, first to the right and then to the left. Finally, the rise and fall extends over the whole measure. We lower during beat 1, stay down during 2 and even try to lower a little more as we finish the roll. As we recover during beat 3, we rise (this is very late rise for foxtrot). Finally, we slip back to a lowered position at the end of beat 4. The whole thing has a sort-of figure-eight, roller-coaster kind of feel to it—very exciting when it all comes together.

sqq; qq

The rag doll sways us the first three "quicks." Recover L (woman R) and sway left, fwd R sway right, rec L sway left.

Finally, slip the right foot past the left for a back R (woman draws L to R and slips forward L) turning LF and lowering again to closed position facing line and center.

phase III movement

s

I love the feel of that slow chair and recover.

ss;

phase IV

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Or, the Bucks' Fools Fall In Love has a hover; chair & slip; to diamond turns;;;;

phase V

s

There are two things that the man can think about to make this figure more comfortable for the woman. First, he can relax his right arm, slide his hand down toward the small of her back, and let her go. If he keeps his hand on her shoulder blade and his arm flexed, she will not be able to arch back and rotate left as freely. Second, he can rotate his whole frame left, which means his left arm will come back. We don't want to pull the left hand back separately in a broken-chicken-wing effect. Maintain the same relationship between the left arm and the shoulders as usual, but rotate the whole assemblage. I often find myself rotating my torso but leaving my left arm and hand forward. This pushes on the woman and again interferes with her rotation and contra action.

Timing varies. A slow contra check can easily span a whole measure.

phase V

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phase V

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In this dance, the "switch" is a slow forward L for the man turning 1/2 RF to face LOD for the standard natural weave.

phase VI

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phase III

(pronounce "sha-SAY" — a "sashay" is a square dance term)

q&q

phase III

sq/&q;

phase III

sq/&q;

phase V

sq&q;

also cued Back Tipple Chasse

phase V

sq&q;

May begin with the trail foot in which case the turn would be LF and the ending position line and wall.

Notice that this description includes both sway in the direction of progression and body turn. Some teachers do not emphasize the sway and instead think of a Tipple Chasse as a "turning" chasse.

phase V

sq&q;

Again, a "tipple" is a sway toward the direction of progression. Bill Goss has described this action as stretching up to look over a fence as you dance past. Maybe there's a nudist colony over there?

sq&q;

phase III

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May begin with the trail feet and progress in the other direction. A Front Vine begins by crossing in front.

May be done in OP, in which case, we might "vine apart and then vine together."

Often in foxtrot, our vines are done in all quicks: Vine 4 or even Vine 8.

phase III

sqq;

This "foxtrot twisty vine" can run for any number of measures.

qqqq; qqqq; qqqq; qqqq;

We begin in open position, both facing the wall, both with right feet free. We XRIF of L, sd L, XRIB of L, sd L; chk thru R (W fwd R beginning to roll across changing sides), recover L (W fwd L turning LF), sd R (W sd R trng), rec L (W sd L) to LOP both fc wall W on M's L sd; XRIF of L, sd L, XRIB of L, sd L; fwd R beginning to roll across changing sides (W chk thru R), fwd L turning LF (W recover L), sd R trng (W sd R ), sd L (W rec L) to OP both fc wall M on W's L sd;

Can begin in LOP so the man would roll across first. Can begin with the roll across and end with both front vine. Could begin with the left feet free and progress RLOD or facing COH, again with either foot free. American Foxtrot is very flexible.

In Exactly Like You Foxtrot by the Gosses, there is a six-measure switching grapevine beginning in LOP wall, right feet free, in which the man rolls across; front vine; woman across; front vine; man across; front vine; into continuous cross checks with lunge and arms (the end);;

phase V in QS

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aka: Natural Promenade Zig Zag

In quickstep, the standard figure begins in SCP. We step thru with the trail feet and turn 1/8 RF to contra sidecar position, -, side L completing turn (W fwd R), back R turning LF 1/8 to contra banjo (W fwd L outside partner turning); sd L with left-side stretch, fwd R to contra banjo,

But the "zig zag" action is the alternate turning between banjo and sidecar as you progress, and this sequence is often used from different starting positions. For instance, you might begin in CP or in SCAR LOD, lead feet free. Step fwd L turning LF (W bk R), sd R turning, bk L in BJO, trn RF and step sd R to SCAR;  In the standard figure, the man is dancing on the inside of the circle; in this variation, he is on the outside.

Later, they have a forward zigzag 8;; to a maneuver, pivot 2 to a promenade sway;

phase III

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phase IV

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phase IV

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The reverse fallaway might begin in CP or BJO facing DLC. From CP, step forward L (woman back R turning LF). Step side and then cross lead feet behind trail into a tight SCP facing reverse.

The Reverse Fallaway from SCP LOD, begins with a step forward on the trail feet turning LF, feeling like a loose pickup, man forward L turning and woman back R turning, and then both step back on the trail feet to SCP RLOD.

May be done in other facing directions. The amount of turn is usually 3/8 LF.

In the Bucks' Dance and Dream, there is a double reverse spin; bounce reverse fallaway 4 to banjo; back hover telemark; to a Viennese Cross;

sqq; qqqq;

You might begin in SCP and step thru with trail feet turning LF, -, forward L (woman back R) turning, both step back on trail feet to SCP facing RLOD; XIB, sd, XIB, sd;

qqs;

In CP or BJO facing DLC step fwd L (W bk R) turning LF and with strong rise, sd R DLC but body facing DRC (W bk L) sharply lower, bk L with sharp rise (W bk R) in SCP RLOD, -;

In order to emphasize or to showcase the bounce, this figure is often done in 4 steps (qqqq): "bounce reverse fallaway in 4" or "bounce reverse fallaway and back." An additionsl back step on the trail feet is taken. Another slight modification that emphasizes the "up" part of the bounce is to dance the figure s&s&. With this timing, we rise on the slow-counts and hold the up position just a little, and then fall quickly on the &-counts.

Sometimes the directional cue (reverse) is omitted from this figure and we only hear "bounce fallaway." If the choreography places you facing DLC, it would be uncomfortable to do a right-turning figure, so "reverse" does not need to be stated. Perhaps the reverse fallaway is enough more common than the natural fallaway so it can be considered to be the default—just something to be aware of—if you're not told otherwise, turn it LF.

phase V

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qqqq;

In CP or BJO facing DLC step fwd L (W bk R) turning LF and with strong rise, sd R DLC but body facing DRC (W bk L) sharply lower, bk L with sharp rise (W bk R) in SCP RLOD, slip R past L toeing in to a small back step R (woman fwd L pulling left shoulder strongly back) with LF body rotation, and turn 1/4 more LF softening R knee to closed position facing line and wall;

In order to emphasize or to showcase the bounce, this figure can be danced s&s&.

In French Poodle by the Moores, there is a three step; natural hover cross overturned to BJO DRW; top spin to BJO DLC; bounce fallaway & slip; change of direction;

phase VI

qqqq; qqqq; q

You might be tempted to dance the first and third fallaways the same, but the ballroom figure is designed to consist of three different fallaways, the first with left sway and lady's open head, the second with right sway, and the third with no sway and lady's closed head.

phase IV

sqq; qqqq;

One of the problems in this figure arises if the man tries to "pick up" the woman too soon. Don't take the first step and try to fold her in front of you right away.

In the Worlocks' Where Or When, there is a promenade weave 5 with a check and slow switch;; to a natural weave;;

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So, in banjo position facing reverse and wall, begin to turn LF, step back L (woman fwd R), back R to closed position wall, side and forward L, and forward R to contra-banjo facing line and wall, lead feet free.

phase IV

sqq; sqq;

phase V

sqq; qqqq;

The second measure of the promenade weave or the natural weave is also called a "weave ending" and is sometimes cued as a separate, one-measure figure. So, we can think of the natural weave as a combination of an open natural turn followed by a weave ending. For the man, the first measure is forward on the right foot beginning to turn right face. At this point, he might be facing the wall. Then step side and forward with the left turning to face reverse and wall. You need left side stretch here and left side lead. Think of "banking" into a right turn on a bicycle. One of the important things you are doing here is "cutting off" the woman; you are stepping right in front of her, preventing her from stepping forward, and so leading her heel turn. Finally, step back with the right, now with right side lead, in closed position about to blend to a tight contra banjo position (she steps forward L here).

To do the weave ending, step back L, changing to right side stretch, back R beginning to turn left face and leading woman into closed position. You are facing wall now. Step side and forward L with left side stretch turning, and finally step forward R in contra banjo facing line and wall. Right side stretch is the same as left body sway, so this weave ending has a kind of rocking sway change to it. You step back L with left sway (body inclined or tilted left), back R turning to closed position with no sway, side L beginning to develop right sway, and forward R with full right sway.

sqq; qqqq;

phase V

sqq; qqqq;

A threat to the success of this figure lies in dancing the previous figure with no anticipation. The check can then come as a surprise, with a bump or jerk, as you stop your progression and launch into the Weave. To eliminate that surprise, rise a little more on step 2 of the entry and make step 3 smaller than usual. You might be dancing an Open Natural into a Check and Weave. You would normally rise on step 2 of the Open Natural, but in this sequence, rise a little more to signal a change. Make the back step of the Open Natural smaller — in essence, you are hinting at the Check or beginning the Check before it actually occurs. Now you can check step 4, and it won't be a surprise; it won't feel like a crash.

There is still more potential awkwardness within the beginning of this weave sequence. Think about what is happening to the woman. The man checks her forward motion, sends her back as he steps forward L, and then pulls her forward again as he takes that first side step. And some dancers will actually make that a side and back R, since they know that a weave needs to progress down line, so the pull becomes even stronger. The woman is pushed and pulled — manhandled. We considered softening the check, the push, in the paragraph above. We can soften the pull by stepping forward L and then closing R and turning a little RF — get that right side back. This action sets or tucks the woman into the man's right side and constitutes a nice preparation and warning for his back L and her forward R into contra banjo for the weave ending.

You can begin this figure in other positions and from other orientations. You can adjust the amount of roatation to flow into whatever the next figure might be.

sqq; qqqq; qq

In semi-closed position facing diagonal line and center, step forward R (woman forward L), -, forward L turning a little LF to closed postion (woman sd & bk R). Turn & step side and back R (woman fwd L) to banjo. Step back L, back R, turn and step bk L, bk R to closed position facing wall; side and forward L, and forward R to banjo position facing line and wall with lead feet free,

phase V

sqq; qqqq;

May begin in banjo position or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,

In ballroom, this figure specifically serves as a "corner figure," a figure that turns the couple 1/4 LF, from following one wall to following the next. Round dancers don't think so much about straight walls and corners. We dance in a circle. But the next time you dance a hover cross in a corner, notice how much easier it is. It flows so smoothly. You will feel less jammed up.

phase V

qqqq;

phase VI

sqq; qqqq;

Note that this "hover cross ending" travels—fwd, fwd, fwd, fwd;

phase VI

sqq; qqqq; qq

So, in closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step forward L on toe outside woman with right side stretch, now the first new step close R and move woman to closed position facing line and wall, step back L in contra banjo, back R beginning LF turn and blending to closed position; side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center,

May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,

sqq; qqqq; qq

In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; rock forward L on toe outside woman with right side stretch, recover R in sidecar [this is the "interuption"], and now do your standard hover cross ending: step forward L on toe outside woman with right side stretch, recover R; side and forward L, fwd R on toe outside partner in contra banjo with left side stretch lowering to heel for next figure,

May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,

sqq; qqqq; qqqq;

In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step forward L on toe outside woman with right side stretch, close R and move woman to closed position facing line and wall, step back L in contra banjo, back R beginning LF turn and blending to closed position; side and back L, back R, side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center,

May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,

sqq; qqqq; qqqq;

This figure "interrupts" the Continuous Hover Cross with 2 steps and also completes that third measure. The additional 2 steps are a little rock-recover in sidecar at steps 4 & 5 for a total of 11 steps. The figure is sometimes cued "checked" continuous hover cross, referring to the check-recover of the interruption, or a continuous hover cross "with rocks", referring to the rock recover of the interruption.

In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step fwd L, recover R still in sidecar [this is the interruption], step forward L on toe outside woman with right side stretch, close R and move woman to closed position facing line and wall; step back L in contra banjo, back R beginning LF turn and blending to closed position, side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center;

May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,

sqq; qqqq; qqqq; qq

In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step fwd L, close R still in sidecar, step forward L on toe outside woman with right side stretch, close R and move woman to closed position facing line and wall; step back L in contra banjo, back R beginning LF turn and blending to closed position, side and back L, back R; side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center,

May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,

phase IV

sqq;

Sometimes, a description like this can imply independent action on the part of the woman, but she should not "step back and turn." Such initiative will almost invariably lead to separation, bumping, and overall roughness in the flow of the figure. Instead, she should wait for the lead. She should step back and bring her heels together, but then let the man turn her as he steps through her left side.

In all left-turning figures, the actual foot turn tends to be late and preceded by body turn. (In right-turning figures, the foot turn is early.) So here, the man's toes are pointing DLC. He uses LF upper-body rotation to tell the woman that we are going to turn left, and he steps forward L, but his toes still point DLC — he hasn't really turned yet. There is torque in the body — the body has turned left, but the feet are going straight. He takes weight on his L, and now the foot turns. His toes point to COH. This delay in turning helps to place the woman on the central pivot point around which the man is going to turn. Now he can step side and complete the turn.

Ideally, the man and woman have precisely changed places by the end of beat 3 in the measure. He is facing DRW, still in good closed position. On beat 4, simply use a little right side stretch to open the lady's head in semi-closed position, and step side and forward on the lead feet toward diagonal line and wall. Don't over-rotate and end in half open position. The ending position is semi-closed. Point the toes a little out for stability. (If you step directly forward with the foot straight, you will feel as though you are standing on a rail.)

Of course, this last step can be adjusted a little in preparation for the next figure (as we should do at the end of any figure). Stepping side and a little forward for the man is good preparation for a subsequent right-turning figure, such as a natural turn or natural weave. Stepping side and a little back for the man would more comfortably flow into a promenade weave or a wing.

As mentioned in the introduction to this page, try to step heel, toe rising, toe only on the second step, and then toe and heel lowering on the third step. A common problem in foxtrot is to rise and then step out with a heel lead. Footwork like that brings you down with a clunk. Usually, we rise at the beginning of a measure, stay up, and then come down at the end of the measure. So the rule is, if you are up, do not use a heel lead; use a toe lead and only then lower to the heel.

Or, the Rumbles' This Is the Life ends with a diamond turn;;;; open telemark; quick thru, side, behind, fan; behind, side, thru, fan; thru vine 4 to butterfly position; chair and hold;

A demonstration from Flow Dance Studios of the feather, open telemark, another feather, a turning hover telemark, a third feather. The basic weave demonstrated here does not match any round dance weave. Note that the first feather doesn't begin until step 4.

Richardson (1946?) tells us that the telemark was introduced in England, in 1928, by Miss Josephine Bradley and Mr. Wellesley Smith (husband). It was named after the telemark turn in snow skiing, which is used to quickly change direction.

sqq; &qqs;

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

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

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

The timing does vary, and the figure may be danced sqq; sq&q; or sqq; qqqq; or sqq; q&qs; Ending with a slow count, as described above or in the last option mentioned here, is perhaps the most advanced option. It gives you a little time to create a "picture" ending to the figure.

phase IV

sqq;

Notice that the woman must rotate much more in a closed telemark than in an open telemark (one full turn). Therefore, the man must borrow a little extra time for step 2 to allow her to complete that turn. He will delay the taking of step 3.

phase V

sqq;

May begin in banjo and in other orientations; normally 3/4 RF rotation.

sq&q; sqq;

As the name implies, this figure consists of two natural telemarks, but in order to do the second one, you have to syncopate the first, in order to have the proper foot free. So, in closed, banjo, or semi-closed position facing line and wall step forward or thru R (woman back or thru L), -, forward and around L turning RF (woman fwd R between his feet) to closed position/ step side and forward R continuing to turn (woman side and back), and small step L outside partner to sidecar (woman bk R); At the end of the first measure, you could also be in closed position. Your trail foot is free again. Now step R between her feet turning RF, -, forward and around L (woman does a heel turn) so that he faces center, and forward R small step to closed or sidecar position facing line and center;

phase VI

qqqq;

phase VI

sqq&; qqs;

In this first measure, the woman has done an open telemark, but the man has held back and not taken that third step.

On the final & of the first measure the man leads the woman to step fwd L. He finally takes weight on his L and spins LF (woman fwd R to a toe spin), side R turning (woman closes L at end of toe spin), back L (woman fwd R) to closed position RLOD,- ;

The figure turns 1 3/8 LF.

I believe that this represents the first description of the telespin that we have had in round dancing. More commonly, we now dance a telespin to semi or a telespin to banjo (see below).

phase V

sqq&; qqs;

So again, start in closed position facing line and center. Step forward L turning LF and with left sway (woman bk R with right sway) , -, fwd & sd R turning (woman draw L to R for heel turn and change weight), sd & bk L with only partial weight maintaining sway and keeping left side forward (woman fwd R);

At the end of the first measure, the man leads the woman on an "&" count to step fwd L. He finally takes weight on his L and spins LF drawing R to L (woman fwd R to a toe spin), close R lowering (woman closes L at end of toe spin), hold ending in closed position reverse and center, -;

The figure turns 1 & 1/4 LF.

phase VI

sqq&; qqs;

In this first measure, the woman has done an open telemark, but the man has held back and not taken that third step.

At the end of the first measure the man uses upper body rotation to lead the woman on an "&" count to step fwd L. He finally takes weight on his L and spins LF (woman fwd R to a toe spin), side R turning (woman closes L at end of toe spin), side & fwd L (woman sd & bk R) to banjo position facing line and wall, -;

The figure turns 1 3/4 LF.

phase VI

sqq&; qqs;

In this first measure, the woman has done an open telemark, but the man has held back and not taken that third step.

At the end of the first measure the man continues to turn and so leads the woman on an "&" count to step fwd L. He finally takes weight on his L and spins LF (woman fwd R to a toe spin), side R turning (woman closes L at end of toe spin), sd & fwd L (woman sd & fwd R) to semi-closed position facing DLW, -;

The figure turns 1 3/4 LF.

sqq&; qqs&; qqs;

On the "&" count, the man uses LF body turn to lead the woman to step fwd L. He takes weight on his L and spins LF (woman fwd R to a toe spin), -, side R turning (woman closes L at end of toe spin), sd & bk L with only partial weight (woman fwd R);

On the "&" count, the man again leads the woman to step fwd L. He takes weight on his L and spins LF (woman fwd R to a toe spin), -, side R turning (woman closes L at end of toe spin), back L (woman fwd R) to closed position facing reverse and center;

The figure turns 2 1/4 LF.

As in the case of the telespin, we often dance the double telespin to semi-closed or to banjo and so turn the figure 2 3/4 LF.

phase VI

sqq; &qqqq;

This is a Telespin to Banjo with one more step so you end in a "feather" position.

Start in closed position facing line and center. Step forward L turning LF and with left sway (woman bk R) , -, fwd & sd R turning (woman draw L to R for heel turn and change weight), sd & bk L with only partial weight maintaining sway and keeping left side forward (woman fwd R); At the end of the first measure, you are in an L-position with the man facing line and wall and the woman facing line and center.

At the end of the first measure, the man leads the woman on an "&" count to step fwd L. He finally takes weight on his L and spins LF (woman fwd R to a toe spin). On the second beat, he steps side R turning (woman closes L at end of toe spin). On beat three, he steps sd and fwd L with right sway (woman sd & bk R) to banjo position line and wall, fwd R to contra banjo;

phase VI

sqq; q&qs;

This is essentially a telespin with a woman's ronde in the second measure. One difference is that the man may take full weight on his third step and uses only upper body rotation to lead the woman to step, kick, and spin. Alternatively, he may take the usual partial weight, as in a telespin, and then full weight on the first beat of measure 2, with the woman.

The "q&qs" timing in measure 2 implies that four things are being done during the second part of the figure, but there are only two weight changes each. The man turns left (q), turns left (&), steps sd R (Q), and bk L (S). He takes his two steps late. The woman steps fwd L (q), kicks R (&), rondes R (Q), and fwd R (S). She takes her first step quickly, waits, and takes her second step late.

phase IV

sqq;

May begin in other facing positions. Total turn varies from 1/4 to 3/8.

phase IV

sqq;

(If you want to give it the French pronunciation, say "day-vlo-PAY.")

phase IV

ss;

In ballet, it is said that the "developpé" is a major "show" step, the show being how high the dancer can push the leg. But Suzanne Farrell, the most influential American ballerina of the late twentieth century, didn't care about height. What does "developpé" mean? she once asked a class. It means development, like a Polaroid photograph developing, going from black-and-white to all those colors. "And I want to see all those colors"—a different energy at every stage of the leg's rising. Before it rises, too, please: "I want to see the idea, emanating from you, that you're about to do developpé." (this from Joan Acocella, 2007, p.243)

phase IV

sqq;

Any time you are dancing outside your partner in the smooth rhythms, your feet will be going one way (down line in this case), but your body will be facing another direction (line and wall, here).

A nice practice exercise is three step to closed; feather to banjo; and repeat. In each figure, don't walk straight forward, but swing the right side ahead (right side lead) in the three step, then swing the left side forward in the feather. The left side lead turns both of you from a flat, breasting progress to a diagonal, slicing movement. Your shoulders are parallel but diagonal to the line of dance. Given the left side lead, the final step of the feather will be a crossing of the thighs into a good contra-banjo position. Lower a bit at the end of each figure; collect yourselves before swinging into the next.

A demonstration from Flow Dance Studios of the feather, open telemark, another feather, a turning hover telemark, a third feather. The basic weave demonstrated here does not match any round dance weave. Note that the first feather doesn't begin until step 4. The first preparatory steps are a common ballroom strategy for getting into dance position, perhaps establishing the lead, and beginning to move. Any figure will look better when you flow into it rather than step from a dead stop.

A detailed look by Egils Smagris, at the feather; reverse turn;; three step; then the reverse turn half; tumble turn; feather finish; and finally the feather; reverse turn half; tumble turn; back to promenade sway; oversway; change sway & hover out to SCP;

sqq;

phase IV

sqq;

phase V

sqq;

In making this rather tight turn into your partner, you might be tempted to look at her or simply look where you are going. Don't. Keep your heads left in a good closed or banjo position.

Figure may also begin in CP or in BJO DLW, in which case the W's first step will be back L.

phase V

sqq;

In closed position facing LOD, step forward R beginning RF turn (woman back L), -, fwd L with strong left-side stretch and left-side lead, fwd R outside partner to tight contra banjo and thighs tightly crossed; The strong left-side lead makes the turn sharper, like a hairpin turn in a mountain road. In a curved feather check, you end facing DRW; in a hairpin, you are more twisted and almost facing DRC. You can increase the drama one more notch by stepping forward R, -, fwd L with left-side lead but no curve to the steps, and finally fwd R outside partner and with up to 1/2 turn sharply RF; The idea is to produce a sharp, "hairpin" turn within the figure.

Finally, just so you have choices, I have heard the interpretation that a Curved Feather can be relatively gentle or sharply turned like a hairpin, so the name Hairpin should be reserved for figures that are syncopated (reflecting its waltz roots?), as in "pivot to a hairpin" [sq&q;]. So a Hairpin might be quicker, as well as being a sharper turn.

phase VI

sq&q;

In closed position facing RLOD, step back L (woman fwd R) and pivot 1/2 RF, -, forward R/L with a strong curve to the right and with right sway, fwd R on ball of foot to contra banjo checking;

qqqq; qqqq;

phase IV

sqq;

phase VI

sqq; qq

sqq; qq

Beginning in semi-closed position, line of dance, here is the first version: (SQQ;SQQ;QQS;SS;) Step thru R, -, L sd ldg fwd & sd L, fwd R to BJO LOD; fwd L to CP, -, fwd R with R sd ldg, fwd L to SCAR; sd R trng LF to CP, complete 1/2 LF trn bk L to BJO DRW, bk R trng LF, -; sd & fwd L contg trn, -, fwd R tp BJO DLW, -;

Here is the second: (SQQ;SQQ;QQS;QQQQ;) Step fwd R, -, fwd L, fwd R; fwd L, -, fwd R passing thru CP with rgt sd lead preparing to step outsd on lady’s lft sd, fwd L outsd lady tng lft fc; bk R [lady sd L] bkg DLW, bk L twd LOD, bk R to CP/RLOD,-; bk L with lft sd lead preparing to lead lady to man’s lft sd, bk R tng lft fc twd wall, sd & fwd L, fwd R outsd lady ending BJO/DLW;

phase V

sqq;

This name is just a bit of a misnomer. Where a curved feather check does curve evenly on all three steps, most of the turn in a curving three step occurs on step 2. There is a little turn on step 1 but no more than in a forward three step. On step 2, we again step heel to toe (as in a forward three step), and as if we stepped from the gutter to the curb, we turn quite sharply on that step. Then step 3 turns little, like step 1.

phase V

sqq;

In the Hoffmans' Farewell To Roma V, part A begins with a reverse turn;; curving three step; back curving three step; three step; open natural turn; outside spin; back & chasse to banjo; to a natural hover cross;;

phase V

ss;

May begin in semi-closed position, in which case the first step is forward for both.

phase VI

s

Begin in closed position with trail feet free. Since this is a "same foot" figure, we have to do a transition. Often, the cue is "prep for a same foot lunge." The "prep" is a slight rise and right face rotation causing the woman to rise to her toes and change weight to her left foot. She has rotated a little RF but not as far as to semi-closed position—you are still closed. Her right knee is tucked just behind her left knee. Her left hipbone needs to settle into the hollow of his right hipbone (inside his right hip). Both now have right feet free. Now we can do the figure.

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

This position that you have assumed as a result of a same foot lunge is called a Same Foot Lunge Line. One "steps" into a same foot lunge, and one simply "lowers" into a same foot lunge line. More specifically, a prep to a same foot lunge involves one weight change for the man and two for the woman. Lowering into a same foot lunge line involves no step for the man. He is on his R foot already, and he simply lowers into position. The woman transitions by closing her R to L (one weight change), and then she lowers into position.

phase IV

ss;

Step side and forward L (woman sd & fwd R), blending to semi-closed position. Stretch the right side (woman left). Look up and over your extended lead wrist. "Look at your watch." (if you wear a wrist watch on that arm) During the second "slow," relax your lead knee just a bit and so emphasize the right-side stretch (woman, left-side). Keep your unweighted legs straight and strong. In any "line" or picture figure, you will have one soft knee (the weighted leg) and one straight leg (the unweighted) — not two bent or two straight. Only one weight change.

One thing that you can do to make this figure smoother is to be sure to get your lead foot out there before you put your body out there. Point the foot, place it, then push off with the trail foot and move the body over the lead foot. If your body gets there before or even at the same time as the foot, the action might end with a jerk

Another name sometimes used for this figure is High Line, a more general term that includes any one-count picture figure with high poise.

A Challenge Line (phase VI) is also similar to the Promenade Sway. It is entered more forcefully, both sides of the body are stretched up, we look up above the lead hands, and there is slight body turn right-face. The top line is in SCP, but the hips are in CP. The heel of the lead foot should remain on the floor for a slightly aggressive stability. Grrr.

You can really extend this picture, draw it out, at the end of a piece, as the music fades.

A detailed look by Egils Smagris, at the feather; reverse turn;; three step; then the reverse turn half; tumble turn; feather finish; and finally the feather; reverse turn half; tumble turn; back to promenade sway; oversway; change sway & hover out to SCP;

phase IV

s

Step side and forward L down line (woman R), blending briefly to semi-closed position, but immediately stretch the left side (woman right), drop your right hip, and rotate your hips LF, turning the woman to closed position. She will actually rotate about 1/4 on the ball of her right foot (ladies, don't put any weight on that heel or you won't easily turn). Keep your shoulders up and level. Push your right hip into your woman; don't hunch your shoulders over her. Your lead knees are soft, but your trailing legs are straight and strong. Look up and over your partner, perhaps over her right elbow.

Rotating while lowering results in the woman's trail foot remaining extended and pointed to reverse.

Here is a good place to mention a frequent ending to a foxtrot: promenade sway and change to an oversway. If we have only one measure, we'll have one slow for the promenade sway and one slow for the oversway -- a rather abrupt ending. The music could easily support that. If we have two measures, then we can milk things a little: dance a full promenade sway and then slowly rotate into the oversway -- what a nice picture!

If you have three or four measures, as the music slowly fades, you might dance the promenade sway and then open it a little further. The cuer might even ask you to open, overturn, or accent the promenade sway. Use a little fight-face rotation to open her head and upper body a little more than standard SCP. It's like the opening of a flower over a whole measure. And then reverse the rotation and the sway, slowly, to CP into your oversway. Our goal is to dance all the music that is provided. We don't want to finish early and then just stand around.

In Nite Lites by the Moores, part A begins with a feather; open telemark; in & out runs;; wing; diamond turn 1/2; quick diamond 4; oversway looking about COH and recover to closed position facing line and center; open telemark; feather; 3 step; natural turn; open impetus; to a promenade weave;;

A detailed look by Egils Smagris, at the feather; reverse turn;; three step; then the reverse turn half; tumble turn; feather finish; and finally the feather; reverse turn half; tumble turn; back to promenade sway; oversway; change sway & hover out to SCP;

phase VI

s

The above is a lot to think about in only two beats or half a measure, but we often dance a "slow throwaway" over a whole measure, and then we'll be glad to have something to do over all that time.

The man's motion is a rolling action, upper-body rotation and lowering, maybe a little like "bowling the foot down the alley." It is a little more elegant for her to slide her foot back with the inside of the big toe touching the floor, rather than the tip of that toe. Look at your partner lovingly.

This is a good place to think again about maintaining your whole frame. This "bowling" is rotation of the frame to the left. The man's right hip and right shoulder go forward. His left hip, left shoulder, and even the left arm and hand go back. Don't move any one part of the body by itself, but keep the parts of the frame toned and rotate the whole frame as a unit. This action gives the woman the space to dance her figure and prevents him from pushing on her (with his left hand) in an interfering way.

• rotate while lowering →oversway
• rotate and then lower →throwaway
• rotate, rise, and pause before lowering →hinge

phase V

&; qqqq;

In some descriptions (RAL), the "spin" is the 1/8 LF rotation preceding the initial step back. In this view, the figure could be thought of as a spin and step back to a feather finish or a spin to a weave ending.

In other descriptions (ISTD), the spin occurs on the second step. So, the man steps back L taking out his shoulder lead, back R spinning 1/8 to 1/4 LF (this is a spiral-like action), side and forward L turning, and finally fwd R to contra banjo. Note that this form of the top spin is a little more similar to the waltz top spin (see entry immediately below), in that the spin occurs within the figure, rather than preceding it.

The top spin is usually preceded by forward motion that is checked. To make this figure flow smoothly, you need to anticipate that checking action (and the cuer really needs to give that cue early so you can do this). The "anticipation" is a little more than usual rise on the step before the checked step and then a little shorter step than usual on that checked step. For instance, you might be dancing a natural weave checked to a top spin. On the sixth step of the natural weave, rise a little more than you normally would. Then on the seventh step of that weave, step forward only a small step. In so doing, you are beginning the checking action early (with the rise and the smaller step), and the actual check is then not a surprise. Another thing that I do is cup my right hand, increasing the pressure of my fingertips on Meredith's back. All of this stops our forward motion very smoothly, and we flow right into that top spin with no jerk or stumble. If I'm daydreaming and I don't do this preparation, then we just keep progressing down line, and the top spin never happens.

In the Worlocks' Gone With the Wind, there is a feather checked to a topspin;; to a reverse wave 3;

For an example of a top spin that is not preceded by a checking action, look at Call Me by the Collipis. We do a drag hesitation; bk bk/lk bk; top spin; diamond turn;;;;

Hurd figure clinic (mp4) on top spin (at 47:40)

phase V

sq&q;

In banjo position, trail feet free, the man steps back R turning LF and with left side stretch (woman forward L), side and forward L to contra banjo facing diagonal line and wall, forward R spinning LF, and step back L in contra banjo having made up to one full turn; This figure may begin in closed position, and it may be danced qqqq. (In a waltz, it would be danced 12&3.)

Compare the two top spins: Both have four steps, but the fox trot top spin begins with the lead foot free and steps back, back, side, forward; for a total turn of up to 1/2. The waltz top spin begins with the trail foot free and steps back, side, forward, back; for a total turn of up to a full turn. The "spin" in the fox trot figure might be done before the first step or on the second step; in the waltz figure, it occurs on the third step. In any case, the spin of a top spin does occur on the trail foot.

phase V

sq _; (sq&q;)

The amount of spin varies, and the best way to deliver a 3/4, 7/8, full, or even greater spin is with the man's second step. If he places his foot on the diagonal, the amount of turn should be 7/8. If he steps farther around, the turn will be greater. Theoretically, if you pay attention to this step, you should be able to start facing DLW, do several double reverse spins, and comfortably end facing DLC.

The sequence in part C is two double reverses to face the wall;; whisk; thru chasse to banjo; fwd, fwd/lk, fwd; to a maneuver;

In Rotscheid's All I Ask Of You Foxtrot we dance a hover telemark; whiplash BJO; quick feather finish 4 DLC; double reverse 2X;; hover telemark;

Richardson (1946?) tells us that the double reverse spin was introduced in England, in 1928, by Mr. Maxwell Stewart. Why is it a "double" reverse spin? One story is that Mr. Stewart always danced two in a row, hence "double." Another explanation that I have heard is that the double reverse accomplishes in one measure what the reverse turn does in two. And a third explanation is a little different -- the double reverse is a combination of two left turns: the man turning left around the lady on his two steps (sq) and the lady turning left around the man on her last two steps (&q).

phase VI

sqq&; (sq&q&;)

phase VI

sq-; (sq&q;)

Given the names of the double reverse and double natural, it is natural to suspect that they might be mirror-image figures, but they are not. In the double reverse, the last two steps for the woman are side and cross in front to end in closed position. In the double natural, her last two steps are a "run run" to banjo.

sq-; (sq&q;)

phase VI

sqq;

You can think of this figure as the start of a reverse turn, check it, and then slip back close to where you began. Sometimes the cue will be checked double reverse and slip. This is the start of a double reverse spin, check it, and slip back to where you started. The checked double reverse turns a little more that the checked reverse, but they are very close to being the same figure.

phase VI

sqq;

You can think of this figure as the start of a natural turn, check it, and then slip back close to where you began. Sometimes the cue will be checked double natural and slip. This is the start of a double natural spin, check it, and slip back to where you started. The checked double natural turns a little more that the checked natural, but they are very close to being the same figure.

phase VI

sqq;

phase VI

s

The man has more to do. He should leave the left leg side and back and the right leg soft, but lift and rotate the upper body RF to suggest something about the height of her ronde.

Third, the amount of follow thru leads the speed of the ronde. Sometimes a Rudolph is danced in one slow; sometimes over a whole measure. The lady's head should follow her foot and so move from closed position to strongly right.

Note that a ronde is a solo leg action -- you sweep your leg in an arc. The rudolph ronde is very much a couple action -- the man uses forward motion and upper-body rotation to send the lady's leg in a flying arc.

phase VI

sqq;

sqq; (sq&q;)

This figure begins in closed position, both with left foot free. Turn a bit so knees are outside but not fully to banjo, lower on the right and push the left forward to ronde the left leg CCW turning LF. On count 3, cross the left behind the right continuing to turn (on the & the woman steps side and back R), then slip back R (woman fwd L) to closed position; The woman is doing a little circular vine -- don't pull away from partner. The amount of turn is usually 1/2 to 3/4, maybe from diagonal line and wall to diagonal reverse and wall.

The above description assumes that you have already done a transition to get on same footwork. If a transition has not been choreographed into the preceding measure, then it must occur at the beginning of the split ronde, and the transition is the woman's. On the slow count, she steps in place R and then performs the left-leg ronde. Her count becomes &/s, -,q/&,q;

Notice that the man takes two steps total, and the woman takes three (or four if the transition is needed).

s

In closed position, the man takes a small step forward on his right foot (woman back left) turning right face. Both ronde the lead foot CW and end in closed position with lead feet free.

The Double Ronde is not a standard Roundalab figure, and cue sheet descriptions do vary. Sometimes, the woman is asked to step forward, but we don’t want to collide. She doesn’t want to get up into his armpit, and we don’t want our toplines to collapse. She could step to the side, but this causes us to get out of position, to open into a sort-of semi-closed position. In the end, she should take weight on her left foot pretty much wherever he puts her, and this a good example of a figure where lead and follow are important to comfort. If she steps on her own and takes weight before he does, there will certainly be a sense of collision, separation, or tugging.

phase V

ss;

phase VI

sq&q;

or maybe
q/&qs;
or
q&sq;

"The music tells you what to do."

This last step contains the "tumble" action, and the figure might be more descriptively called a "feather finish to a tumble ending." It is a little like a contra check. The actual step is shorter, but she has stepped side and back to move from tight contra banjo to closed, and he steps forward into her with right side lead (contra), lowering.

The pretty part of this figure is really the swivelling in contra banjo and the tumble to closed, so the music might tell you to dance the sequence in a way that gives more time to these parts. To make a picture out of the tumble, dance q&qs. To feature the rise and turn, dance q&sq.

In Puppet On A String by Bahr (1990), there is a natural weave;; fwd right lunge recover (SQQ); tumble turn (SQQ&);

In the Goss' My Guy, there is a closed telemark; natural weave with tumble ending (sqq qqq&q);; step ronde (woman syncopated pick up lock) fwd; slow right lunge;

In Make Believe A Dream by Patrick, there is an open impetus; running open natural turn; tumble turn; feather finish; three step;

A detailed look by Egils Smagris, at the feather; reverse turn;; three step; then the reverse turn half; tumble turn; feather finish; and finally the feather; reverse turn half; tumble turn; back to promenade sway; oversway; change sway & hover out to SCP;

phase VI

qqqq;

A syncopated timing (e.g., q&qs;) may be more commonly used.

phase VI

sqq;

Notice that the timing is a little different for the man and the woman. She takes her second step at the beginning of that beat, and he delays taking his step until the end. We can describe the stepping in this figure as "we, she, he, we." The Bucks, in Dance and Dream, give the count as sqq for the man and qsq for the woman. The Worlocks, in Until Now, give the count as qsq for the man and q&-q for the woman.

One teacher compared the big top (phase VI) to an amalgamation of phase IV figures: a chair and slip and a cross hesitation. More specifically, the big top is like a chair with a strong cross hesitation rotation and then the slip action.

It is hard to get the full spin. I've heard the cue "big top to face line" and thought, this should be cued "Huge Top." The man needs to use upper body rotation to lead the woman's second step. She needs to close up to the man, stay centered on his body, and keep her head strongly left, and he needs to stay down during the spin. Rise only at the end of the spin and then slip back.

The second step is not a big one for the lady. It is easy to want to reach out, trying to get around, but the lady's second step is close to the man's right foot, which he hasn't released yet. Her right foot is next to his right foot, which puts her on his right side, in good closed position. If she takes a big step, it will put her on his left side. Don't do the big top in SCAR. This is a spin on one spot, the spot of the lady's second step; it is not a "runaround" or wheel. She then collects her left foot as he takes his second step and his third, slipping back step, and she only then slips into him and takes weight.

Here are some American figures that are not used in round dancing but are common in freestyle dancing.

ss; qq

ss; qq

ss; qq

ss; qq

ss; qq

ss;