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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 IV

ss; qqs; sqq; s

In international ballroom, this figure begins with the man's right foot, not the left. The figure begins with the second slow count above. Therefore, some cuers will cue, "forward to quarter turn and progressive chasse," the "forward" telling you to take the first slow step with your lead and to begin the quarter turn with your trail foot. This issue isn't fully agreed upon, so you have to be flexible: if your left foot is free, begin the figure with two slow steps; if your right is free, begin with only one.

We find some ambiguity at the end of this figure, too. It used to be described by RAL with an additional slow step to banjo (4 full meas) to end with lead feet free, and the ballroom progressive chasse does contain the final feathering step with the trail foot. I imagine that choreographers will offer us both versions until the current RAL description becomes familiar.

In Top Hat, White Coat & Tails by the Rotscheids, we begin with an apart point; tog tch; quarter turns & progressive chasse;;;; running fwd locks;; (this one begins with the lead foot & ends with the lead foot free)

In Hot Licks by Finch there is fwd fwd lk fwd - manuv sd cl - hesitation change;;;; six quick twinkle & fwd;; quarter turn prog chasse;;; fwd fwd lk to contra check;; (this one begins with the trail foot & ends with the trail foot free)

In Ritzy Quickstep by Rother, part A begins with fwd to qtr trn prog chasse;;;; running locks;; manuv sd cl; (finally, this one begins with the trail foot & ends with the lead foot free)

I give the above examples only to show the variability that exists, not to imply that any choreography is wrong.

phase IV

ss; qqs; sqq;

qqs;

qqqq;

In a facing position, step side, close, side, close;

q&q&q&q;

May be done in other facing positions and in any direction. Each side step may be taken with a slight hop to give a sideways skipping feeling.

Any hop should be powered not in the supporting leg but from a slight lift in the free leg. Raise the free knee and you will hop or skip on the supporting foot.

phase IV

sqq; s

Note the rocking shape change that occurs during the figure, from right to left shoulder lead. If you don't include this feature of the figure, the final step will be more awkward as the man tries to step outside of the woman. With the shape change, she takes her right hip back and you can blend into a good contra shape.

(or Chasse Reverse Turn)

phase IV

sqq; ss;
(sqq; sqq;)

Some teach this figure with the same footwork for both, that is, two left turns. I think that if you dance it that way, you will progress a bit farther. If the man omits the second "side, close," then the woman will turn more sharply around him, something like what happens in a Double Reverse Spin.

You will also find this figure written with a final slow step for a total of 2 1/2 measures.

sqq; s

phase IV

sqq; sqq;

One of the problems that arises in doing these turns on the cardinal directions (RLOD; LOD) is that we don't quite achieve a full turn. The steps are fast. We need to get all the way around in what seems like a moment, and we don't make it. What if there are two measures of Viennese Turns? We fall behind on the first set, further behind on the second, and we're way out of position for whatever comes next.

We can maintain dance position and get all the way around if we dance this figure on the diagonal. Do the first turn to face reverse and center (woman line and wall) with strong right side lead (man's right shoulder back). Keep your left side in to your partner. In this strong contra-body position, the crossing step occurs easily and in a more flowing manner. If you have turned to face dead reverse, then the left foot crosses in front of the right with more of a clunk, and it interrupts your momentum.

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

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

phase V

qqs;

This is the Natural Chasse Roll. The Reverse Chasse Roll begins with the lead feet free and turns LF.

I should mention that the cue chasse roll sometimes is used for a totally different figure: in closed position facing wall, step side L (W sd R), close R, sd L, - ; turning 1/8 RF over the three steps to face DRW;

The timing for this version is qqs; but it is essentially a chasse that curves gently RF.

In Tijuana Taxi by the Prows, they have used the figure from Dancing Fool but called it a Right Rolling Chasse, to distinguish the curving chasse from the standard chasse roll. Their sequence, from part A, is chasse 5 to semi-closed position step thru;; right rolling chasse 3; pivot 2 to LOD; fwd lk fwd lk;

phase V

sqq; s

The "Back Tipple Chasse" begins in closed position. Step back L (woman fwd R) turning RF. On the "quick, quick" do a side, close, turning and with slight left-side stretch (woman right-side). Finally, step side on the trail foot turning another 1/8 for a total turn of about 3/8.

You may start back on the trail foot and turn to the left, and the figure can begin facing line or RLOD. The amount of turn may vary. The "tipple" in this figure is the slight tipping of the shoulders in the direction of progression. It is like looking over a low fence and is a gently, rolling movement. We might do a forward tipple chasse – back lock back – back tipple chasse – forward lock forward;;;;; Softly roll from the left sway of the forward tipple chasse, to no sway, to right sway during the back tipple chasse, and then no sway during the forward lock forward. Don't be sharp or jerky at any of these changes, but blend in a rolling wave.

sqq; s

Again, notice that a ripple chasse includes an inclination of the shoulders away from the direction of travel and the tipple chasse includes an inclination of the shoulders toward the direction of travel.

q&

qqqq;

To put a little more swivel in it and make it more "fishy," begin with right shoulder lead (so not contra-banjo) and maintain that lead during the XLIB of R. On the side R, lose the right-side lead and lead a bit with the left shoulder. Step fwd L with R-side lead again, and lock R behind L with L-side lead. You might call this a "swivel fishtail."

If you use the diagonals and good upper-body rotation, you can get good progression on all four steps as well as a nice "fishtail" swing to the lower body.

In the Carpenters' The Lady is a Tramp Quickstep, part A begins with quarter turns and progressive chasse;;;; fwd, -, check banjo, -; slow fishtail;;

phase III

qqqq; qqqq;

phase III

ss; s

phase III

ss; s

May begin with either foot. The starting and ending positions can vary, and the woman may have some body turn. For instance, in a Back Hover to Semi, she will turn RF.

phase III

ss; s

phase IV

ss; s

Note that all steps progress.

phase IV

sqq;

Can also be done in semi-closed position beginning with the trail feet. Step thru R turning LF (woman thru L), -, forward L turning, recover back R to semi reverse and center;

"Fallaway" is a step back to semi-closed position.

phase V

sqq;

phase V

sqq; s

The "slip" is really a slip pivot, so the figure name is a bit of an abbreviation.

phase IV

ss; s

Starting and ending directions can vary.

phase VI

ss; s

Note woman has three weight changes; man only one.

phase IV

ss; s

phase III

ss; s

phase IV

ss; s

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 rise of the normal whisk.

phase IV

ss; s

Sometimes danced qqs;

phase V

ss; s

You may dance this figure from other starting positions and turn it 1/4 to 3/8 RF. Sometimes danced sqq;

phase V

sqq;

This should be a tightly banked turn, much as a "hairpin" is sharply bent. The Curved Feather in foxtrot is more gentle.

phase VI

ss; qq

One teacher told me to take the third step of this figure as though I had just gotten goosed. Step sharply into her and turn to BJO. I don't know …

phase IV

sqq;

phase V

s

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

phase V

sqq;

phase V

sqq;

phase VI

ss; s

phase III

ss; s

phase V

sqq; qq

The standard figure begins in SCP, maybe facing LOD, and ends in BJO LOD.The "zig zag" action is the alternate turning between banjo and sidecar as you progress, and this sequence can begin in a variety of positions. For instance, you might begin in CP or in SCAR LOD with a count of ss; ss; s. Step fwd L turning LF, -, sd R turning, -; bk L in banjo,  -, trn RF and step sd R a small step, -; fwd L to SCAR, -, In the standard figure, the man is dancing on the inside of the circle; in this variation, he is on the outside.

phase III

ss; s

phase IV

ss; s

phase III

ss; s

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.

ss; s

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 step (beats 3 & 4 of the first 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 somewhat into the second measure, 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 left. The man drives as he steps forward on his left. 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

sqq; &qqs;

If you would like to unwind so that your feet end up parallel and together, begin with the heel of the front foot and the toe of the back foot in contact with the floor. Let those points be the pivot points and your end position will be neat. Use any other combination, and you will end with feet apart.

phase VI

sqq; &qqs; &qqs;

phase V

ss; s

phase IV

ss; ss;

This figure is the "pivot 4." In closed position facing reverse, step back L (woman forward R) and rotate 1/2 RF on the ball of the foot. Stay soft in the knees, close at the hips and apart above, and keep your heads closed. On the second slow, step forward R and turn 1/2. Normally, the one stepping forward will drive and power the turn (although the man is supposed to lead the woman to do that when it is her turn on the first and third steps ). Finish the figure by repeating the first two steps and completing two full rotations.

Note that this sequence contains a single pivot (not double).

phase VI

s or q or &

phase IV

sqq;

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

phase IV

ss;

phase IV

ss; s

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

&ss;

In closed position facing reverse line of dance, step back L (woman fwd R) turning RF/step side R and continue to turn, -,draw the lead foot to the trail no weight; End in closed position, line and center.

phase IV

ss (sqq);

phase IV

ss; s or qqs;

sqq;

Also cued: maneuver, -, side, close;

phase IV

sqq; ss;

The cue Half Natural calls for the first measure only of the full natural turn.

phase IV

sqq;

May be danced ss; s over 1 1/2 measures.

phase IV

sqq; sqq;

phase V

ss; qq

Any sort of reverse turn normally begins with the lead feet. Here, we have the trail feet free, and the figure allows us to take a preparatory step and then a "normal" Open Reverse. The Quick Open Reverse adds that extra preparatory step. It may also be danced from closed or semi-closed position (in which case, the woman would step forward L turning LF).

phase IV

sqq;

In closed or contra banjo position facing reverse, step back L (woman forward R), -, back R turning LF, and side and forward L; If the man maintains a little left side stretch during beats 3 & 4, the woman will keep her head closed and will step side and back R into contra banjo. If he uses right side stretch, she will open her head and step side and forward R into semi-closed position.

The cue will specify "to banjo" or "to semi."

phase IV

ss;

To do this, the man will turn his upper body a little RF, causing his right foot to cross a little in front of his left, ending in semi-closed position.

A Quick Outside Swivel can be danced qq.

ss; ss;

May be done in other positions and orientations. May begin with left foot.

At it's simplest, it is only a "fwd – pt; bk – pt;" There are some things you can do to make it more Charleston-y:

• Introduce a very little bounce or lilt into each step: down/up.
• Layer a very little swivel onto each bounce: heels out/in.
• Point or kick across instead of forward.
• Instead of the "point," gently kick in front and then behind with each step.

phase V

qq

phase IV

ss; s

phase IV

ss; s

phase VI

ss; s&s; ss;

In the third measure, he steps side R turning, -, (W closes L at end of toe spin) bk L turning (W fwd R) to CP RLOD (W closes head here if it has not been closed throughout), -;

Note that the man has five weight changes; the woman seven. The total turn is usually 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

ss; s&qq;

Begin 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, -/fwd L turning,) fwd L to closed position (woman fwd R) spinning LF, close R (woman close L) flexing knees in closed position RLOD; hold, -,

Note that the man has four weight changes; the woman six. The figure turns LF 1&1/4 to 1&3/8.

phase VI

ss; s&s; ss;

In the third measure, he steps side R turning, -, (W closes L at end of toe spin) side & fwd L turning (W sd & bk R) to banjo position facing line and wall (W closes head here if it has not been closed throughout), -;

The total turn is usually 1 3/4 LF.

phase VI

ss; s&s; ss;

In the third measure, he steps side R turning, -, (W closes L at end of toe spin) side & fwd L turning (W sd & fwd R) to SCP with left sway facing line and wall (W opens head here if it has been danced closed to this point), -;

The total turn is usually 1 3/4 LF.

phase IV

ss;

phase IV

ss;

phase VI

s

phase V

ss; s

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

phase IV

qqqq; qqs;

When you "run" don't actually try to reach out for some sort of goal. We're not sprinting toward a finish line. Be light. Another technique that gives this figure lightness and ease is left-shoulder lead (ladies R shoulder back). This RF upper-body rotation or "slicing" action makes the locking steps happen so much more easily. Note: If we are progressing down LOD, the man's shoulders will be facing DLW and lady's shoulders will be facing DRC.

In Bassett's Bonaparte's Retreat, part B has a walk 2 to banjo; running fwd lks;; maneuver; overspin turn to a box finish and slow hover;;;; pickup, -, side, close;

phase IV

qqqq; qqs;

phase V

qqs; s

s; qqs; qqs;

Usually, I describe a figure as though it is begun at the start of a measure, but here I am beginning half-way through a measure so that the locking steps will be "on the measure."

In SCP, the man steps thru R (W thru L beginning to turn LF), -; [one slow count] fwd L (W sd R to CP), lk RIB of L with strong L sd lead (W lk LIF of R), fwd L to contra banjo DLC, -; trn LF step sd R, lk LIF of R (W lk RIB of L), bk R to tight contra banjo RLOD, -;

phase VI

qqs; sqq;

Quickstep is fast, and when you get moving in one direction, it can get to feeling like a runaway train — it's hard to check your motion in time and get moving in another direction. On the fifth step of this figure (and always), keep your head weight over the supporting foot. Reach back with the R but don't actually go back. Reach and push. Keep your body weight forward. In this way, you won't have any backward momentum to fight, no runaway train.

qqqq; ss;; qq

In banjo facing reverse and wall, step back R with strong right side lead (woman fwd L), lock LIF of R (woman RIB of L), back R, lock LIF of R; bk R, -, bk L, -; bk R turning 1/4 LF, side & fwd L to BJO facing line and wall;

phase V

ss; qq

The woman steps back R turning, -, draws L to R and executes a heel turn of 1/2 and changes weight, -; steps side and back R turning, and crosses L in front of R, for a total of four weight-changes. The last "side, cross" for the woman is what spins the man during his third "slow."

You might begin this figure in closed position facing line and center. A "full" Double Reverse turns full around and you end in closed position line and center. It is often underturned to 7/8 or even 3/4.

phase V

&; qqqq;

The figure can also begin with the trail feet free and with a count of qqs; s

In closed position, step bk R turning LF, step sd & fwd L turning to contra banjo, fwd R outsd ptr and spinning LF on R toe, -; bk L to banjo, -,

The first form of the top spin is taken from foxtrot, and the second from waltz.

Phase VI

qqs; s

phase VI

ss; s

Notice that the timing is a little different for the man and the woman. She takes her second step at the beginning of the second slow, and he delays taking his step until the end of the second slow. It is hard to get the full spin. The man needs to use strong upper body rotation and right sway to lead the woman's second step and to close her head, and he needs to stay down during the spin. Rise only at the end of the spin and then slip back.

May be danced sqq;

phase V

sqq;

It feels something like an impetus turn or maybe an in and out run, but he turns less and so doesn't get to semi-closed.

In other smooth rhythms, we are used to the term "running" being used to indicate syncopation and the insertion of an extra, quick step. Quickstep is already quick, so here the "running" only refers to the two quicks in the figure, passing steps. Don't try to syncopate it.

phase VI

s

phase VI

sqq; or ss; s

phase IV

&q&q

phase V

ss;

phase V

qqqq; qq

phase VI

qqqq;

The locking step may be done on step 4.

qqqq; qqqq;

In banjo position facing RLOD, lead feet free, run back on your toes with  a slight lilt and body turn on each step.  Step back L (woman fwd R) turning slightly RF, bk R turning slightly LF, and repeat for a total of eight steps. You can think of it as a back run with contra action, but don't throw the side back; be cute, not violent.

phase V

qqs; qq

A more "stuttery" timing is q&qqq; q&q. Step fwd L/XRIB of L, fwd L, sd R to closed, cl L; fwd R outside ptr/XLIB of R, fwd R to contra banjo,

phase V

q&

In practice, a measure is usually given to the figure. You might have the trail feet free, and the cue might be, "thru to Jete Point" (slow quick/& hold). You could be in closed position for a "forward & Jete Point." Other orientations and positions are possible.

This "forward and point" could be done with either foot. Sway toward the extended foot.

phase V

s&s;

So it's a thru, -/sd, tap, -; turning up to 1/4 RF. The amount of turn may vary.

s&s; ss;

phase VI

ss; qq

This last step contains the "tumble" action. 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.

phase V

&q

Whenever you hop, don't try for altitude. Make it a very light, skipping movement.

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

More briefly, this is a four measure figure consisting of 3 close/points, 2 stork hops on lead feet, 2 close/points, 2 stork hops on lead feet, and 1 close/point.

qqqq; qqs;