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Rumba—
4 beats/measure, 26-36 measures/minute
Rumba
originated among the African slaves in Cuba more than four hundred
years ago as a fast and erotic dance that left little to the
imagination. Shirley Aymé has said that it arose "from the walk of the
cock, and his pursuit of the hen bird," and that even today, it
incorporates some of this earthy action. Steps are slow and close to
the floor, and the hips move from side to side. "When walking in the
sugar cane fields the bare-footed slaves took steps slowly and without
weight at first, until they felt the ground was free of sharp pieces of
cane." Steps are deliberate, "from squashing the cockroaches in dance
clubs." The shoulders and head are still, again a "vestige of slavery,
when heavy weights were carried on perfectly balanced heads."
The
rumba came to the U.S. around 1913. In the 1920s, it was slowed down
and greatly "civilized" by the big dance studios of the time, Arthur
Murray and Fred Astaire. The dance was wildly popular in New York in
1931. It received a further boost from the publicity given to the
carioca, a specialty dance to rumba music, featured in the very first
Fred Astaire/Ginger Rogers film, Flying Down to Rio, 1933.
Today,
the rumba is a slow latin rhythm that is danced with smooth, flowing
movements. Keep your feet close to the floor as though you are sliding
or gliding. Don't march. Rumba is a level dance, with little rise and
fall.
Each step is taken ball-flat. For instance, step with
the left, press into that step without weight, straighten the left knee
and smoothly roll your weight onto the left leg, and bend the right
knee. This will move the left hip to the side and back. Again, step
forward with a ball/flat/straighten/hip, and back
ball/flat/straighten/hip to get the rhythmic and rolling Cuban or Latin
hip action. Use the inside edge of the ball of your foot and big toe,
and this will move the non-supporting knee in front of the supporting
knee and add even more to the Cuban hip, but don't exaggerate. Don't
"wiggle your hips." The hip movement is not independent but comes from
the feet and knees. The whole body is flowing with the music.
The
straightening of the leg helps to produce the Latin hip action, and it
produces a picture of power and strength, so dance with straight legs
as much as you can. You have to soften a knee to pass that foot by the
supporting foot, but then straighten the leg and leave it straight as
long as you can. Rumba is a picture of strength; relax only to move.
Make your steps small. Keep your upper body still, shoulders straight.
In the early days in the United States, the rumba was danced
"quick, quick, slow." The International Ballroom community and Round
Dancing still use this beat rhythm. However, American studios gradually
changed to a "slow, quick, quick" rhythm, and you will find this
altered rhythm at some freestyle ballroom events. It has always seemed
strange to us. We end up dancing a rumba like a foxtrot and lose the
Latin flavor. Stick to qqs, and have fun. In Spanish, "rumbear" is "to
party." In Bantu-Congolese, it means to "get down."
Figure Name, Roundalab Phase
Level, & Timing
q=quick, 1 beat
s=slow, 2 beats
&=1/2 beat; a=1/4 beat |
Steps and Actions That Make Up
the Figure
Each
description focuses on the man, with the woman's footwork in
parenthesis. If a woman's step is not given, it is the natural opposite
or follow of the man's. Help: basic dance
positions and steps,
actions, directions, and abbreviations.
Non-standard punctuation: a comma separates two beats of music, a
semi-colon marks the end of a measure, and a slash (/) indicates a
split beat, two things occurring in a single beat.
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Here are some sequences to help
you visualize the figure in context.
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Basic
phase III
qqs; qqs;
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In
closed position or in butterfly, lead feet free, step forward (woman
back), recover on trail foot, and step side. Second measure: bk, rec,
sd, -;
The first measure can be cued a Half Basic.
|
In the McCues' More Than Ever Rumba 3, part A
begins with a basic;; new yorker; crabwalks;; new yorker; |
Forward Basic
phase III
qqs;
|
In closed position or in butterfly, lead feet free,
step forward (W bk), recover on trail foot, and step back.
If partners are both facing the same direction, as in OP
or LOP, then
the steps for both are fwd, rec, bk, -; and may begin with either
foot and with opposite or same footwork.
|
In Dance With Me by the Nelsons, there is a
hockey stick;; forward basic; natural top 3 to face wall; to a flirt. |
Back Basic
phase III
qqs;
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In closed position or in butterfly, trail feet free,
step back (W fwd), recover on lead foot, and step forward.
If partners are both facing the same direction, as in OP
or LOP, then
the steps for both are bk, rec, fwd, -; and may begin with either
foot and with opposite or same footwork.
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In Johnny Guitar
by the McGees, there is an opening out to lady's spiral; fan; alemana
to a ropespin overturned to shadow LOD;;;; back basic to kiki walks
with spiral ending;;; fan;
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Alternative Basic
qqs; qqs;
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In a facing position, lead feet free, step in place L (woman R), SIP R, side L, -; step in place R, SIP L, side R, -;
An interesting "alternative" is touch with the inside edge of the big
toe, touch ball flat (no weight), step side, -; repeat with trail foot.
Note that all the work in each measure is being done with one foot only
and one weight change only. The trick is to get your hips to do their
latin thing without taking weight. Touch with the L toe (W R) and let
the hips shift L (W R). Ball/Flat L without weight and now emphasize a
straight R leg to shift the hips R. Finally, step side S taking weight
on a straight L leg, and the hips naturally slide L. (Lady mirror) But
I have only seen this form once. The "step step side" form has become
common.
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In Kiss Me Mucho by the Cantrells, there is
are hip rocks; hand to hand; alternative basic;; hand to hand; to a
spot turn;
California Dreaming
by Healea has chase half to tandem;; alternative basic 2X;; finish the
chase;; Here, we see the question of whether the figure is one or two
measures.
How Deep Is Your Love by Rumble starts with an alternative basic;; new yorker;
In Mucho Corazon by Oren we start with an alternative basic (again 1 measure); Aida;
In Piensa En Mi by Ahart, we dance flirt; end tandem wall; 3 alternative basics w/ peeks;;; lady to fan; |
Side Basic
qqs; qqs;
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In a facing position, lead feet free, step side L
(woman side R), close R, side L, -; sd R, cl L, sd R, -; |
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Cross Basic
phase V
qqs; qqs;
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This is a Basic in which the forward and back steps are
crossing, and you turn as a couple 1/2 LF.
In
closed or butterfly position, perhaps facing wall, XLIF of R (woman
XRIB of L) beginning to turn LF, recover R turning, and step side L
completing a 1/4 LF turn, -; XRIB of L woman XLIF of R) turning,
recover L turning, side R completing 1/2 LF turn over the two measures,
-;
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In Cherry Pink &
Apple Blossom White by Ross, there is an advanced alemana
to butterfly center;; cross basic to bfly wall;; basic;;
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Ronde Box
phase IV
qqs;
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In facing position, no
hands joined, dance a floor ronde with the lead foot clock-wise and
cross LIF of R (W RIB of L), side R, bk L (W fwd R), -; ronde the trail
foot and cross RIB of L (W LIF of R), sd L, fwd R (W bk L), -; to end
in your starting position.
This figure could be danced in BFLY position with more compact steps, or in OP or side-by-side both with L foot free.
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In The Tide
by Healea we are in BFLY COH and dance half basic; undrm trn to hndshk
COH; trade places to face wall ; diagonal cucaracha; ronde box;; and
chase one half to hndshk wall;;
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Here and There
qqs; qqs;
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In
a facing position with no hands joined, close left to right (woman cl R
to L), close R, back L (woman bk R), -; cl R, cl L, fwd R (woman fwd
L), -; |
In Kiss Me Mucho by the Cantrells, part A
begins with a full basic;; new yorker; spot turn; here and there;; to
hip rocks; and a hand to hand; |
Sunburst
ss; ss;
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This
is a "picture figure" that involves no steps. Begin in tandem position,
man behind woman, all four arms in front of woman, man's arms on top,
and man holding woman's wrists. Raise arms straight up as you slowly
look upward, -, continue raising arms, -; move arms outward and down,
-, lower arms to woman's sides, -;
You are jointly describing a circle with your arms. The
initial movement is sharper than the recovery, to give a "bursting"
feeling to the figure.
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In the Worlocks' Anastasia,
the dance begins with a Sunburst;; the woman turns sharply to face and
points trail foot; hockey stick ending; open hip twist; to a fan; |
Underarm
Turn
phase III
qqs;
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In
facing position, the man turns a little RF and steps back R (W swivel
1/4 RF and steps fwd L trng 1/2 RF). On beat two, the man
recovers L to face, and the woman recovers R, completing the turn to
face her
partner. On the slow, both step side. |
In I'll Never Love
Again by the Nobles, there is a new yorker; underarm turn; new
yorker; thru face close; cross body to COH;;
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Reverse Underarm Turn
phase III
qqs;
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In
butterfly position, man facing wall, cross in front with lead foot (W
swivel 1/4 LF step fwd R and turn 1/2 LF), recover R (W fwd L turning
1/4 LF to face ptnr), and both step side, -;
The lady makes a full turn LF under lead hands. There is no turn for
the couple as a whole. Usually begins in left open facing position or
BFLY. May begin in any facing direction.
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In Lefeavers' Corinna Corinna,
the interlude begins in left open position, both facing line, man on
outside of circle, with a kiki walk 3 and ronde of trail foot to
butterfly center; fence line to reverse; reverse underarm turn toward
line; to a hand to hand; |
Curl
phase VI
qqs;
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The curl might better be considered an action, rather
than a figure, but the term is used to designate a one-measure figure.
Begin
in left-open-facing position and step forward L (woman back R), recover
R, close L and lead woman to step fwd R and start a LF turn under lead
hands (woman fwd R turning LF 1/2 to 5/8, -; End in tandem or shadow or
wrapped position both facing wall.
The LF turn is the
Curl action. It is like a spiral in that she is stepping fwd R and
turning LF, but the Curl is not as tight and the turn is not as great.
At the end of a Curl, the left leg will be crossed loosely in front of
the right and extended somewhat forward. At the end of a spiral, the
left is in front of the right, but the legs are more tightly wound up,
and the ankles are together. Again, a true spiral turns 3/4 or even one
full turn, though one can underturn a spiral.
The curl can also be danced from closed or from a fan
position.
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In Promise Me
by the Scherrers, part A begins in tandem facing wall with right foot
free for both: lady roll to a fan man transition; curl; aida; switch
rock; to a fence line;
In Crying by the Sechrists,
the dance begins with both facing LOD trail feet free. We cucaracha;
cucaracha lady curl to face RLOD; walk 6 (lady back walk);;
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Alemana
Sometimes cued, Half Basic to an Alemana Turn
phase IV
qqs; qqs;
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In
closed or butterfly, step forward, recover, and close, leading woman to
turn right face by raising the lead hand and turning the upper body a
little LF. In the second measure, step back as she turns under your
lead arm, recover as she continues to turn and steps toward the man,
and then both step side. The Alemana Turn is not a twirl; she walks
forward turning, forward turning, and side.
Think a little about the lead for the Alemana Turn. The
man is raising his left hand, and he is turning slightly that way. Both
these actions direct the woman's attention toward her right
and suggest that she go that way.
One can't help wondering why there is an underarm turn and
an alemana turn. A teacher once pointed out that the underarm turn is
simpler and has less emotional content. In an alemana turn, the woman
steps forward, toward her man, not across in front of him. She is nose
to nose and gazing deep into his eyes. Then at the last moment she
turns away in a sharp spiraling sort of movement. It is flirtatious.
She is toying with him. She steps away on her right, and her man comes
after her. Again, at the last moment during the second quick, she turns
sharply with a hip-twist to face him again, and they step side
together. Boy meets girl. Boy loses girl. Boy gets girl again.
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In In the Misty Moonlight by Skillett, the
dance begins with an alemana;; lariat;; cucaracha twice;; basic;; to a
new yorker;
In La Mentira by the Collipis, there is a new
yorker; spot turn;
hip twist;;; alemana ending; open break;
crab walk;
Hurd figure clinic (mp4) on alemana turn into advanced hip twist (4:15)
SK Dancesport clinic on YouTube
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Alemana from a Fan
phase IV
qqs; qqs;
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In
fan position, man facing wall, step forward L, and woman closes R.
Recover R, and woman steps forward L. Close L leading woman to turn RF
1/4 to face man, and begin to raise lead hand to lead alemana turn. In
the second measure, the man steps back, recovers, and steps side, -;
and the woman does her turn: fwd trn, fwd trn, sd, -; End facing. |
In More Than You'll Ever Know by the
Matthews, part A begins with a half basic; fan; alemana;; crab walks to
reverse;; into a fence line; |
Advanced Alemana
phase VI
qqs; qqs;
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This
is an Alemana in which you turn as a couple 1/2 RF. If you begin the
advanced alemana facing the wall, you end in facing position man facing
center.
In closed or butterfly position, step forward, recover,
and
then step side L turning 1/8 RF. Raise the lead hands to indicate to
the woman that she will do an underarm turn. In the second measure,
cross R in back of L turning as she steps fwd L and turns under your
lead arm, side L as she continues to turn and steps toward the man, and
then close R as the woman steps fwd L completing her turn.
The man turns 1/2 and the woman a total of 1 & 1/2
RF.
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In Novio
by the Sheridans there is a turkish towel to face center [one
"towel"];;; W out to face; advanced alemana to face wall;; cuddle
twice;; to an open break to a natural top 3 to face line;;
Hurd figure clinic (mp4) on advanced alemana (at 25:20)
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Alemana
Surprise Check
qqs;
q,q/&, &/s, -;
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This is an alemana done in handshake position and with
two sharp swivels inserted in the second measure.
In
a right-right handshake facing position, man perhaps facing wall, step
forward L (woman back R), recover R, close L to R (woman fwd R turning
toe toward line and center) raising right hands. So far, this is a
normal preparation for an alemana turn, although the handshake may feel
different.
The second measure begins normally. The man
steps back R (woman fwd L DLC turning 1/2 RF under joined hands). On
the second beat, he recovers L (woman fwd R turning), and on the "and"
count he draws the R to L and swivels 1/8 LF bringing joined right
hands thru at chest level (woman draws L to R and swivels 1/8 RF). He
is facing diagonal wall, and she is facing diagonal center. On the
third beat, he swivels 3/8 RF and closes R to L (woman swivels 3/8 LF
and closes L to R). Both hold the fourth beat facing RLOD with left
arms extended toward wall, man's behind woman's back. Lead feet are
free.
I think the amount of swivel varies. The idea is
to complete the Alemana Turn and then rather sharply bring the joined
hands thru to line leading a swivel toward line and then quickly bring
the joined hands back thru to reverse leading a swivel toward reverse.
I also think that we dance this a little more gently on the beat,
rather than on the half beat. I step back, recover, swivel left, and
swivel right closing; with an even tempo, qqqq; (but it's still a
surprise for her).
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In the Rumbles' If Tomorrow Never Comes,
part B starts with an alemana surprise check;; facing RLOD in a
modified left half open we do a sweetheart to shadow position; and
wheel to face wall; for an advanced sliding door variation;; |
Three
Alemanas
phase VI
qqs; qqs; qqs; qqs;
|
This
figure can begin in closed position, butterfly, left open facing, or
from a fan position. The first measure is the same as that of an
alemana: the man steps forward L (woman back R), both recover, man
close and raise lead hand to lead woman fwd and begin to turn RF, -;
Her forward step brings her close to her partner, as she begins the
first alemana turn.
In the second measure, the man steps back R and with the
raised lead hand leads her to step forward L toward line and center for
a sharp spiral 1/2. She steps forward R toward reverse and wall and
turns to face the man, and he steps forward and a bit to the left, so
that when she steps forward L on her third step of this measure and the
man closes, she will be on the man's right side. On the last beat of
this measure, the man rather sharply lowers his lead hand and so leads
a spiral of up to 1/2 turn so that both he and she are facing the wall,
and she is in a partially wrapped position with her lead arm across in
front of her body. Her total turn is about 1 1/2. Note that these steps
are straight forward steps, tracing a triangle on the floor. Don't
round this part of the figure into a circle—make the turns sharp.
On
beat 9, the man steps side L and guides the woman to step forward and
across toward line and wall. This moves her from his right side to a
position in front of him again. He raises the lead arm to lead her to
spiral LF about 7/8 so she is facing wall. He then recovers R and leads
her forward L and turn 1/2 to face man. He closes, and she steps
forward to the man, toeing out, ready to begin the third alemana turn.
The man has his lead hand up, providing a firm backboard to lead her
turn. Her total turn is again about 1 1/2.
The fourth
measure is a standard alemana turn. He steps back R, recover, close, -;
and she turns under his lead hand RF fwd L/turn, fwd/turn, and fwd, -;
This third turn is only one full turn.
There are two
features that make this a truly phase VI figure. First is the
"overturning" of the first two alemana turns. She dances her first
alemana turn and then sharply overturns it another 1/2 turn to face
wall. Having made this extra turn, she must begin the third measure
with a sharp 7/8 LF spiral to face wall, then forward to the wall and
turn 1/2 LF to face the man, and finally forward to the man. The second
sophisticated feature is that the three alemana turns are danced
directly in front of the man, with very little movement either to line
or to reverse. She dances the first turn to the man's left side, but
then steps to the wall and then back to the man. The second turn begins
with a strong spiral in front of the man, a step away from the man, and
then a step back toward him. The third turn is similarly danced between
the man and the wall with no progression.
You can soften
this figure considerably by dancing it as a Half Basic, Underarm Turn,
Reverse Underarm Turn, and Underarm Turn. These are phase III figures
(and not Three Alemanas).
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The Worlocks' Jurame
has a closed hip twist; fan man face line; half basic and wrap to face
line; thru face close to left open facing position; three alemanas to
butterfly wall;;;; back break & spiral; aida checking; roll to
reverse to butterfly; side walk and cha;
Secret Garden Rumba
by Goss has a back walk 3 into three alemanas. Here, the back walks
take the place of the half basic, and we dance only the three alemana
turns.
Hurd figure clinic (mp4) on three alemanas (at 12:40)
SK Dancesport clinic on YouTube
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Circular Three Alemanas
qqs; qqs; qqs; qqs
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In left op fcg pos wall
fwd L (W bk R), rec R, comm RF trn sd & fwd L raising lead hnds
high (W fwd R DLC toeing out), -; XRIB of L (W fwd L LOD trng 1/2 RF
under joined ld hnds to fc RLOD), sd L (W fwd R trng 1/2 RF), XRIF of L
(W fwd L trng 1/4 RF) to end left op fcg pos COH, -; sd & fwd L (W
fwd R crossing in front toward LOD trng 3/4 LF under joined ld hnds),
XRIB of L (W fwd R RLOD trng 3/4 LF), sd & slightly bk L (W fwd R)
to end left op fcg pos wall, -; bk R (W fwd L DLC trng 1/2 RF under
joined ld hnds), Rec L (W fwd R DRW trng 3/8 RF to fc M), small fwd
& across R (W fwd L) to loose CP wall, -;
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In Only Time
by Worlock we are in BFLY wall with L feet free for both. We dance thru
to circular serpiente;; opp fence line & point; spot trn M point;
circular three alemanas;;;; corcular hip twist;;; hip rock 3 lady cross
swivels;
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Four
Alemanas
qqs; qqs; qqs; qqs;
|
Four
alemanas is a modification of three alemanas (above) in which each of
the three alemana turns are overturned. In three alemanas, the first
alemana turn is as much as 1 1/2, the second is as much as 1 1/2, and
the third is 1 full turn, for a total turn for the woman of up to 4. In
four alemanas, there are still only three turns, but the first is 1
3/4, the second is 1 3/4, and the third is 1 1/2, for a total of 5.
It's a lot of spinning.
The first measure is the same as that of a phase IV
alemana: the man steps forward L (woman back R), both recover, man step
side & back and raise lead hand to lead woman fwd and begin to turn
RF, -;
Her forward step brings her close to her partner, as she begins the
first alemana turn.
In the second measure, the man steps back R and with the
raised lead hand leads her to step forward L toward line and center for
a sharp spiral 1/2. She steps forward R toward reverse and wall and
turns to face the man, and he steps forward and a bit to the left, so
that when she steps forward L on her third step of this measure and the
man closes, she will be on the man's right side. Here, we come to the
first important difference between three alemanas and four alemanas.
The man does not lower his lead hand but leaves it up and centered
directly over the woman's head. On the last beat of the measure, the
woman spirals 3/4. The man is facing wall and the woman RLOD. Her total
turn is 1 3/4. Note that the woman's steps
are straight forward steps, tracing a triangle on the floor. Don't
round this part of the figure into a circle—make the turns sharp.
On the first beat of measure three, the man steps side L
and guides the woman to step forward and
across toward DRW spiraling a full turn LF. He recovers R and she steps
forward L turning. He closes, and she steps
forward R to face the man, toeing out, ready to begin the third alemana
turn.
The man has his lead hand up, providing a firm backboard to lead her
turn. Her total turn is again 1 3/4.
The fourth
measure is the same as measure two in three alemanas. He steps back R,
recover, close, -;
and she steps fwd L turning under his lead hand RF, fwd/turn, and
fwd/turn, -;
This third turn is 1 1/2 and we end in a partially wrapped position
with her lead arm across in
front of her body, both facing wall.
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In Sea In Autumn by DeChenne we dance
a spot turn to face partner and wall; four alemanas;;;; sync hockey
stick end;
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Underarm
Roll
qqs;
|
In shadow position, both
facing LOD, both with R feet free, step fwd R beginning an individual
RF roll and raising joined left hands. Step fwd & sd L turning
under raised left hands. Step fwd & sd R to end in M's shadow or in
tandem position, M in front, both facing COH.
This is a non-standard figure and has been choreographed to begin with
the L feet. In shadow LOD, step fwd L trng strongly, sd & fwd R
trng to face COH, cross L in front of R to tandem COH, -;
|
In Los Rayos del Sol by
Moore, there is an open hip twist to shadow man touch; cucaracha cross;
crab walk 3 to reverse; shadow fence line recover forward to face LOD;
underarm roll to face COH; shadow fence line;
Carnival by Rumble
has the same figure.
In Jurame by Worlock, there
is
an open break; underarm turn lady in 4 to shadow LOD L ft free; back
break; walk 3; L foot underarm roll right to a cross-lunge;
|
Turkish
Towel
phase VI
qqs; qqs; qqs; qqs;
|
This
is a long figure that flows especially well. Essentially, it is an
Alemana that is considerably overturned to put the woman behind the man
into a man's varsouvienne position (M in front & to lady's R side),
R/R and L/L hands joined (2
measures). Then you do sweetheart rocks to move the lady from one side
to the other (2 measures (or more). It is as though the man is drying
his back with a big, fluffy towel.
So, in open facing position with R/R hands joined, step
fwd L (woman bk R), rec R, cl L raising right hands (W sd & fwd R
beginning to turn RF), -; bk R (woman XLIF of R turning under raised R
hands), rec L trng 1/4 LF (W fwd R turning), sd R (W fwd L CW around
behind man to
his left side and joining left hands) -; At this point, you are in
M's varsouvienne position, lady behind and to the left, man in front
and
to the right, all hands joined.
Now the "towel"
part (measures 3 & 4)—check back L and look at partner (woman check
fwd R), rec R, sd L
moving to the woman's left side, -; check back R and again look at
partner (W fwd L), rec L, sd R moving back to woman's right side, -;
Our hand position varies considerably. At one
extreme, they are above
the man's head, and as we check back (W fwd) the W's inside arm passes
over his head, and we get a good look at partner. At the other extreme,
arms are low, at waist level, and our look at partner is a more subtle
glance. It is important that the arm position be comfortable. The
number of "towel" actions may vary from only 1 to 4, or even more, I
suppose.
|
|
Cucaracha
phase III
qqs; qqs;
|
Step
sd, rec, cl, -; sd, rec, cl, -; These side steps are pressing steps;
full weight is not taken. So in the first measure, you step to the side
with your lead foot, press with the ball of the foot, but don't lower
the heel and don't raise the heel of the trail foot. A little rotation
of the ball of the lead foot would be appropriate. Then recover full
weight to the trail foot, and close the lead foot to the trail foot.
Cucaracha is Spanish for "cockroach." It's not an
entirely
attractive image, but in an earthy sort of way, I kind of like the idea
of squishing a roach to the left and then to the right??
|
In the Rothers' Years May Come, there is a
hand to hand; crab walks to line;; aida; roll three to RLOD; cucaracha;
half basic; fan;
In Enchanted Boy IV by the
Andersons, the dance begins with Turning Cucarachas, first to face LOD
and back to partner; then to RLOD and back to face partner; new yorker
to partial wrapped position LOD (lead hnds joined); progressive walks
to LOD;;
|
Turning Cucarachas
qqs; qqs; qqs; qqs;
|
This
is not a standard figure. Of course, the footwork is some number of
cucarachas, but we turn either LF or RF, usually 1/4 or 1/2, on either
the first or second step of each cucaracha.
So, we might begin facing partner and wall with lead
feet
free. Step sd L (W sd R), rec R turning 1/4 RF (W rec L turning 1/4 LF)
to LOP facing RLOD, close L, -; sd R, rec L turning 1/2 LF (W 1/2 RF),
cl R to OP facing LOD, -; sd L (W sd R), rec R turning 1/2 RF (W rec L
turning 1/2 LF) to LOP facing RLOD, close L, -; sd R, rec L turning 1/4
LF (W 1/4 RF), cl R to facing partner and wall again, -;
|
In Hundred Pounds Rumba
by the Tuckers, there is a new yorker to RLOD; crabwalks to LOD; spot
turn; turning cucarachas to CP wall;;;; half basic; underarm turn; |
Cucaracha Cross
phase III
qqs;
|
In any position and with
either foot step side w/ partial weight, recover, cross in front, -;
|
|
Latin
Whisk
phase IV
qqs;
|
In CP, cross L in back of
R (W XRIB of L), recover R, side L, -;
|
In Half Heaven, Half Heartache by
Oren, we dance a cross body to face wall;; cucaracha in 4; latin whisk;
thru to serpiente;; aida;
|
Spot Turn
phase III
qqs;
|
In
butterfly position, both swivel 1/4 and step fwd turning 1/2. Starting
with lead feet, the man would turn right face, and the
woman would turn left. Recover and turn 1/4 to face partner.
Then both step side. |
In My Home Town by the Hichmans, part A begins
with a half basic; underarm turn; lariat half to LOP LOD; kiki walk 3;
spot
turn; time step
|
Lariat
phase III
qqs; qqs;
|
This
figure needs to start with the lady at least a little on the man's
right side. Holding lead hands high, he steps in place two measures
(LRL; RLR;), and
she walks clockwise around him to face. She walks fwd R, fwd L, fwd R,
-; fwd L, fwd R, fwd L, -; The man can put his right hand on her back
and so lead her around and behind. Joined hands will pass over his head.
Rather than stepping in place, the man can dance a small cucaracha
action: press sd L, rec R, cl L, -; press sd R, rec L, cl R, -; This
can feel a little more latin than stepping in place, but make it small
-- you don't want to pull away from your partner. Even better, men,
dance two diagonal cucarachas, the first toward DLC and the second
toward DRC. During the first measure, the lady is curving around behind
the man, heading toward DLC, so a diagonal cucaracha leads her along
this path, and the result is an entirely appropriate togetherness --
rumba is a "dance of love." During the second measure, the lady is
moving around the man's left shoulder. A diagonal cucaracha DRC here
will move the man out of her way and make her path a little shorter --
she will more easily get around. At the same time, lower joined lead
hands to lead her to face partner and COH (if you have started facing
partner and wall). Stepping in place does not actively help her.
Diagonal cucarachas do help, and the man's role in dancing is all about
helping.
|
In Love Grows
by the Matthews, part A begins with an alemana; lady adjusting to man's
R side; lariat;; fence line;
spot turn to butterfly position; to a shoulder to shoulder twice;; |
Rope Spin
phase VI
&; qqs; qqs;
|
This
is a strange figure. The two measures concerned are really just a
lariat, but the cue "rope spin" also tells you to modify the last step
of the previous figure by leading the woman to spiral RF. You can think
that the rope spin is a lariat that begins with a woman's spiral, as if
the cowboy had given his "lariat" an extra twirl, but just realize that
the spiral occurs at the end of the previous measure.
So, the previous figure might have been an alemana. On
the
last beat of that figure, the man should raise lead hands and turn his
upper body a little to the right and sway a little right, shaping
toward partner. She will take that last step L and
spiral RF. If the man will take care to put his lead hand directly over
her head with a little right sway, he will not pull her off the spot of
that last step, and she will be able to spiral in place with better
balance.
At the beginning of the next measure, you will
be in a left-open-facing position with the woman on the man's right
side. He will step sd L, rec R, step L, -; (woman fwd R, fwd L, fwd R,
-;
clock-wise around and behind the man). For the man, this is a small
cucaracha
as the lady starts her circle. Perhaps a better alternative is for the
man to step side & back L into more of a diagonal back cucaracha.
The
backward component provides a lead for her first forward step, and it
doesn't move the man away from the lady as much as a straight side step
does.
In the second measure, he does a cucaracha right while
she
continues to walk around to face. Again, using a diagonal back
cucaracha
doesn't move the man away from the lady as much as a side cucaracha,
and the back component
actually gets him out of her way, as she circles around in front of
him. She gets around more easily.
|
In Brent & Judy Moore's Somos,
there is a hockey stick;; alemana to rope spin 3 and blend to left open
position;;; walk 3; aida; [Note that this sequence contains only half
of the rope spin figure.] |
Door
phase III
qqs;
|
Also cued Traveling Door, in a facing position, rock to
the side, recover, and cross in front,-; |
Often done in pairs, one to reverse and then one to
line;;
Rumbles' Ob-La-Di, Ob-La-Da,
part A (actually a cha, but it would be a nice rumba sequence, too):
basic;; reverse underarm turn; crab walk; traveling door to reverse;
side walk; to a hand to hand twice;;
|
Sliding Door
phase III
qqs;
|
In
open position, line of dance, rock apart, recover releasing hands, and
cross lead in front of trail, changing sides to left open, line. |
In Travelin' Man
by Rumble, part C starts with a fwd basic; whip to LOP LOD; prog walk
3; sliding door; circle away & tog;; cucaracha 2X;;
Often done twice: slide the door over and back;; |
Advanced Sliding Door
phase VI
qqs; qqs;
|
In
shadow position, left hands joined and man's right hand on woman's
right shoulder blade, perhaps facing wall, step fwd L on the ball of
the foot with pressure into the floor and 1/8 body turn RF (W bk
R turning RF), rec R turning 1/8 LF (W rec L turning LF), XLIB of R
turning 1/4 LF
(woman fwd and cross in front R trng 1/8 LF), -; lower into L knee and
slide R to side and point R
turning 1/8 LF (W sd L and flex knee w/ R sway to a lunge line), rise
trng 1/8 RF (W rec
R), close R (W bk and cross in back L trng 1/8 RF), -; End in
original shadow position. |
In Promise Me
by Scherrer, part B starts with open hip twist; to fan; hockey stick to
shadow wall;; adv sliding door w/ arms;; adv sliding door lady out to
fan;; hockey stick;;
|
Trade
Places
qqs;
|
In a R/R handshake
position, man perhaps facing wall, step apart L (W apart R), recover R
passing W on her R or LOD side releasing R hnds, fwd L trng RF 1/2 to
face W and COH (W fwd R trng LF) , -;
Note that the third step is a little half-spiral.
May be done in other facing directions. Often done in pairs, in which
case you would take a L/L handshake at the end of the first measure and
repeat the figure with the trail feet, M passing W on her L & LOD
side, and trng LF (W RF).
|
In I Don't Know
by Shibata, we dance a new yorker; spot turn to handshake; trade places
2X;; trade places w/ M's head loop to L-half-open LOD; walk 3;
|
Chase
phase III
qqs; qqs; qqs; qqs;
|
Beginning
in butterfly or in left open facing, step forward and turn right face
1/2. She steps back. Recover on trail foot, she is looking at the man's
back. Both step forward. In the second measure, both step forward and
turn, man left face and woman RF. Always turn in a direction opposite
to the stepping foot. Recover on beat two and step forward. He is
looking at her back. Measure 3 and 4: fwd she trn LF, rec, bk, -; bk,
rec, fwd, -; End in original facing position. |
In Love Grows by the Matthews, the dance
begins with a chase;;;; alemana;; lariat;; to a fence line; and a spot
turn to butterfly; |
Full Turn Chase
qqs; qqs;
|
In
a facing position, step forward L turning 1/2 RF (woman back R),
recover fwd R continuing to turn another 1/2, back L, -; back R (woman
fwd L turning 1/2 RF), recover L (woman rec fwd R continuing to turn
another 1/2), fwd R, -;
End as you began. |
In the Dois' Besame Mucho 3, the dance begins
with this full turn chase;; fwd woman develope; and a back half box; |
Chase Peek-a-Boo
phase III
qqs; qqs; qqs; qqs;
|
In a facing position, step fwd L trng 1/2 RF (W bk R),
rec, fwd, -; sd R, rec, cl, -; sd L,
rec, cl, -; fwd R trng 1/2 LF (W fwd L), rec, fwd, -;
For the man, this is the first two measures of a chase
separated by two Cucarachas. The woman doesn't turn.
|
In the Libertis' Yellow Bird, part B begins
with an open break; crab walks;; spot turn; peek-a-boo chase;;;; basic
to a fan;; alemana;;
In Only You by Rotscheid,
there is a half basic; spot trn to bolero banjo; wheel 6 to BFLY wall;;
chase peek-a-boo with optional spins for the lady;;;; Here,
instead of cucarachas, the lady steps side, recover with full spin,
close, -;
|
Chase Peek-a-Boo Double
Phase III
qqs; qqs; qqs; qqs; qqs; qqs; qqs; qqs;
|
Do
the first measure of a chase to tandem facing center and then the two
measures of a peek-a-boo. Do the second measure of a chase to tandem
both
facing wall and again two measures of a peek-a-boo. Finish the chase.
Details: Step fwd L turning 1/2 RF (W bk R) to tandem (M in front),
recover R, fwd L, -; sd R looking over left shoulder (W sd L), rec L,
close R, -; sd L looking over right shoulder, rec R, cl L, -; fwd R
turning 1/2 LF (W fwd L trng 1/2 RF) to tandem (W in front), rec L, fwd
R, -; sd L (W sd R looking over left shoulder), rec R, cl L, -; sd R,
rec L, cl R, -; fwd L (W fwd R trng 1/2 LF to face partner), rec R, bk
L, -; bk R (W fwd L), rec L, fwd R, -;
|
In the Szabos' Calienta IV,
part A begins with a hockey stick;; alemana;; break back to open
position line; aida; switch rock; spot turn; and double chase
peek-a-boo;;;;;;;; to an alemana;; and lariat;; |
Chase With Underarm Pass
phase III
qqs; qqs;
|
In left open facing
position step fwd L comm 1/2 RF turn (W bk R),
recover fwd R keeping lead hands joined, fwd L, -; back R raising
lead hands (W fwd L), recover L (W fwd R turning 1/2 LF under joined
lead hands to face partner), small side R, -;
Figure might begin in BFLY wall and end BFLY COH. May be done in any
facing direction -- turns 1/2. |
|
Circle
Away and Together
phase III
qqs; qqs;
|
In
any position, turn away from partner, man LF and woman RF, and step fwd
with the lead feet, fwd, fwd, -; turning 1/2. In the second measure,
return to partner: fwd with the trail feet, fwd, fwd, -; completing a
full circle.
We can separate the two halves of the circle, maybe
circling away and then doing something else, or separating in some
other manner and then "circling together" to return to partner.
|
|
Crab Walks
phase III
qqs; qqs;
|
In
butterfly position, facing wall, both cross trail foot in front, sd,
cross in front, -; sd, cross, sd, -; (may travel to reverse starting
with lead feet) |
In Venus by the del Sols, there are
cucarachas L & R;; open break; crab walks;; spot turn; to a basic
fwd & bk;;
In Erotica by the Moores,
there is a hip twist; fan; three of an alemana; thru to slow crab walk;
crab walk; hip rocks with arms; slow crab walk; thru to a fan;
In Sinti by Slater we are
facing COH. We crab walk LOD; lady unwind 2 & ronde; to crab walks
LOD;;
|
Fence Line or "Fencing" Line
phase III
qqs;
|
In
butterfly position, both dancers cross in front and lunge with a soft
knee, recover, and step side to face; As you lunge, extend your arms on
that side as in a thrust with a fencing foil and raise the other arms
for balance. That is, if you are facing wall and doing the fence line
to reverse with the lead feet, you would thrust with your trail arms,
also to reverse, and raise the lead arms for balance.
This figure is one (of many) that briefly creates a body line, shape,
or picture, in this case, based on the sport of fencing or sword
fighting with an epee. The "line" is the lunge thru with the thrusting
gesture. When you first learn the fence line, you probably give no
thought to sword fighting, but as you dance the figure again and again,
you can fight the potential boredom by adding a little drama or theater
to the move. I like to think of this figure and others like it as
mini-picture figures, and you can read more here.
|
In Traces by the Nobles, there is a spot turn
with the trail feet; fence line; spot turn; side walks in 6;; open hip
twist;
In the Slaters' Morning of the Carnival,
part A begins with a fence line recover point; Since the third step is
a point, instead of a side, the lead foot is free for a reverse
underarm turn; to crab walks to line;;
SK Dancesport clinic on YouTube
|
Hand to Hand
phase III
qqs;
|
In
butterfly position, both swivel 1/4 and step back to open position (if
lead feet were free) or to left open pos. (if trail feet were free),
recover to face partner, step side, -; |
Fence lines and hand to hands are often done in pairs,
but you could do a fence line
one way and then a crab walk the other direction, or a hand to hand to
a fence line. |
Cuddle
phase V
qqs;
|
In
closed position wall, lead feet free, step side L with toe pressure and
a little left side stretch leading the woman to turn about 1/2 RF and
step back R with right side stretch and right arm to side. At the end
of this first step, both face wall swayed a little toward each other,
in approximately half open position. On the second step, recover R
(woman rec L and begin to turn LF). Then close L (W step forward R
completing 1/2 turn to face. She puts her right hand on the man's left
shoulder in a "cuddle" position and blends to closed position.
Notice a couple of features that make this figure
different from a hand to hand (above) and perhaps justify its phase V
rating. The first step for the man is a pressure step, not a true side
step. He is not stepping away from his partner but is remaining
centered on her with left side stretch and left side lead. On her part,
she does not lunge away but she opens out, remaining centered on the
man. We don't end that step apart from each other in open position, but
still cuddly in half open.
This figure may be done with the trail foot, opening her
out to the man's left side, and it may be done in any facing direction.
|
In Fernando by the Prows, part A begins with
a reverse underarm turn; natural top 3; 2 cuddles;; slow hip rocks;
cross body;; |
Progressive or
Kiki Walks
phase III
qqs; qqs;
|
fwd, fwd, fwd, -; fwd, fwd, fwd, -;
Progressive
Walks are done on two tracks and Kiki Walks are done on one, as though
you are walking on a rail. Actually, Progressive Walks may be done
backwards: bk, bk, bk, -; "progressing" to reverse.
|
In the Shibatas' Best Of My Love,
Part A begins with an open hip twist to fan;; overturned alemana to
shadow with both facing line;; back break; and kiki walks 6 to line;;
left hand underarm turn to a left-hand star (man facing reverse and
wall, woman facing line and center); to three open shoulder to
shoulders;;;
In Can You Feel the Love Tonight
by the McGees, part A starts with a curl; progressive walks to face;
man turn left lady walk around to closed; natural top 3 with lady's
spiral; 3 back progressive walks and swivel 1/2;
|
Side Walks
phase III
q,q,s; q,q,s;
|
Facing partner and wall, step side, close, sd, -; cl,
sd, cl, -;
May begin with lead feet and move toward LOD or trail
feet and move toward RLOD.
|
In the Armstrongs' Besame Mucho, part C begins
with one side walk to semi; aida; switch rock; spot turn to a
handshake; and a turkish towel;;;;
In Daria Cualquier Cosa by
the Gloodts, there are open in and out runs;; thru face close to
butterfly; side walks;; basic;;
|
New Yorker
phase III
q,q,s;
|
In butterfly position, both swivel on the trail foot to
left open
position and step through to RLOD, recover to face again, side toward
LOD, -;
May begin with the trail foot free, in which case we would swivel to
open position LOD and step thru to line. May be done in other dance
positions and other facing directions. |
In the Heinys' Cause Angels Don't Lie,
part A begins with a full basic;; new yorker; aida; switch cross; crab
walk; fence line twice;; half basic; fan; hockey stick;;
Tom Hicks video, some more advanced features
|
New Yorker In Four
qqqq;
|
In
a facing position, both partners turn and step through, turning to a
side-by-side position, and extending joined arms in front. Free arms
may be extended to side. Recover and turn back to face, step side, and
finally close free foot to supporting foot.
May begin with lead feet turning to RLOD or with trail
feet turning first to LOD.
|
In Looking Through Your Eyes
by the Reads, part A begins with a hockey stick to left open position
facing RLOD;; new yorker 4; new yorker to RLOD; to open crab walk 3
toward LOD; |
Shadow New Yorker
qqs;
|
In
a facing position with R/R handshake, turn 1/4 RF (W LF) and step thru
with the lead foot. Left arms may be extended to the side, the M's arm
behind the W's back. Recover R (W rec L), turn to face partner and step
side L, -;
If you begin with the man facing wall, the turn will be
toward RLOD for both. May be done with the trail feet, in which case
both would turn toward LOD.
|
In The Party's Over
by Woodruff, the dance begins in a handshake position with an
alemana;; shadow break; progressive walks; shadow new yorker twice;;
underarm turn; to three more shadow breaks;;;
In The Party's Over by
Shibata we dance a shadow new yorker chg hnds; to an u/arm trn;
|
Shoulder to
Shoulder
phase III
qqs;
|
In
butterfly, he rocks forward and she rocks back on a diagonal. Beginning
with the lead feet, this puts you left shoulder to left shoulder.
Recover to face, and step side. |
In Chico's Besame Mucho IV, we have a shoulder
to shoulder in 4; shoulder to shoulder; crab walk;
In Trankel & Gilder's Stormy, part B
contains a shoulder to shoulder; whip to center; shoulder to shoulder;
whip back to wall;
Tom Hicks video, some more advanced features
|
Time Step
phase III
qqs;
|
Release hands. Both cross in back, open bodies a
little, and move arms down and back. Recover to face and step side. |
In My Home Town
by the Hichmans, part A begins with a half basic; underarm turn; half
lariat to end in left open position facing LOD; kiki walk 3; spot turn;
time step; new yorker; whip back to face wall; fence line to reverse;
and crab walks toward line; |
Sweetheart
phase V
qqs;
|
Begin in left shadow position (woman on man's left
side) and end in right or normal shadow position.
Step
forward L with right side lead (woman bk R with left side lead) in a
contra check like action and checking your motion, recover R removing
your contra "twist," side L (woman sd R) each crossing to the other
side of partner, -;
This figure is often repeated with opposite foot, body
lead, and body turn.
|
In I'll Never Love Again
by the Nobles, we do a half basic to a full natural top, ending in
handshake position;;;; for a flirt to left varsouvienne position;;
sweetheart twice;; sweetheart lady swivel to face partner; fan; and
hockey stick;; |
Open Hip Twist
phase V
qqs;
|
In
left open facing position or in handshake, step forward L (woman back
R), recover R (woman recover L), close L with tension in joined arms
(woman fwd R toward man and then sharp RF swivel on the "&" of the
slow count), -;
Of
course the "hip twist" action is the RF swivel at the
end of the figure. The hips twist in a right-face turn, but the upper
body turns less, remaining centered on partner -- the turning of the
hips puts a spiral "twist" into the torso.
|
n Rumba Beguine
by Cantrell, there is a basic;; spot turn; hand to hand; open hip
twist; fan; alemana;;
|
Closed Hip Twist
phase V
qqs;
|
In
closed position, step side and forward L with left side lead to cause
woman to open out (woman swivel RF up to 1/2 and step back R). In this
first step, there is some of the feel of lunging apart. If you began
facing wall, both are now facing wallish — probably man reverse and
wall and woman line and wall. On the second beat, recover R with right
side lead (woman recover L and swivel LF to face man). On the slow
count
(better, a slow/& count), close L with slight left side lead and
right side stretch (woman side R and then sharp RF swivel on that right
foot drawing L to R and touch), -; |
In Te Quiero "I Love You" by the Matthews,
there is an open break to a full natural top;;;; basic;; closed hip
twist; fan; hockey stick;; |
Advanced Hip Twist
phase VI
qqs;
|
In
closed position, step forward L on ball of foot, pressing into floor
and turning a little RF (woman turn 1/2 RF and step back R), recover R
(woman recover L and turn 1/2 LF to face partner), back L under body
but keep body weight forward, - (woman fwd R outside partner on his
right
side, and turn 1/4 RF);
Of
course, the final 1/4 turn for the woman is the "hip
twist." One refinement the man might think about is taking that back
step but not fully committing his weight change. Bring her forward, and
then use the step to signal her hip twist. The woman's hip twist can
occur at any time after her third step is taken but it usually happens
at the end of beat 4.
Second, her
hips should turn fully, but her upper body should turn less, maybe
drawn by the man's charisma and animal magnetism, maintaining
"connection" between partners.
|
In The Summer Knows by Lamberty, there is a
slow dip and recover; advanced hip twist; fan; hockey stick;;
Hurd figure clinic (mp4) on advanced hip twist (0:00)
Hurd figure clinic (mp4) on alemana turn into advanced hip twist (4:15)
|
Continuous
Hip Twist
phase VI
qqs; qqs;
|
This
is a two-measure figure. The first measure is an advanced hip
twist, and the second measure is a left hip twist that turns as a
couple 1/4 RF.
In
closed position wall, step forward L on ball of foot, pressing into
floor
and turning a little RF (woman turn 1/2 RF and step back R), recover R
(woman recover L and turn 1/2 LF to face partner), back L under body
but keep body weight forward, - (woman fwd R outside partner on his
right
side, and turn 1/4 RF);
If you begin with the man
facing the wall, at the end of the first measure, you will be in a
tight L-position but with good upper-body connection, the man still
facing wall. Now, the man steps side and back R with just a little
left-face turn to lead the woman to step forward L down LOD.
On the “and” count, she swivels 1/2 to the left to face reverse. The
man recovers L and the woman steps forward R curving to the right.
On the slow count, the man steps forward right turning 1/4 to the
right, and the woman continues forward left turning to face man and
line of dance and dancing into his right side (BJO), ready for another
opening-out figure (e.g., natural opening out or another advanced hip
twist).
May be danced in other facing directions. May be
continued over additional measures.
This
is a recently standardized figure, and it has been danced in other
forms in the past. For instance, the option exists not to turn as a
couple but to end the
figure facing as you began. The Rumbles do this in If
Tomorrow Never Comes.
Another option is to include one more twist in the second measure of
the figure. You might step side and back right (woman forward
left and twist 3/8 left), recover left and turn right (woman forward
right and twist 3/8 right), and then forward right to face reverse
(woman forward left to man’s right side and facing line). This is
the form of the figure used by the Gosses in their Rumba Concerto,
and it does feel more “continuously twisty.” There is the hip twist in
the first measure, and then it feels like a left hip twist and then a
right hip twist in the second measure.
This figure has also been called an Advanced Continuous
Hip Twist, a deeply meaningful name because it begins with an advanced
hip twist and then it "continues." At one time, I thought that
"continuous hip twist" might be reserved for the figure when it doesn't
turn as a couple and "advanced continuous hip twist" might be used when
the figure does turn RF, much as an advanced alemana turns RF. But all
of this has shaken out with the shorter name (short cues are good) and
a standard rotation of 1/4 RF.
|
In Rumba Concerto
by the Gosses, there is an advanced alemana to fact the wall;;
continuous hip twist;; opening out she spiral; hockey stick end to
shake hands;
Havana is a cha by
Goss that contains this figure, but with two differences. First, it is
called a Continuous Advanced Hip Twist. As I say at left, the
"advanced" might refer to the fact that the figure starts with an
advanced hip twist, or it might refer to the RF rotation of the couple.
Second, in this choreography, the figure rotates not 1/4 but 1/2 over
the two measures. The second measure for the lady becomes a L hip
twist, fwd to BJO, and then a locking chasse wheeling RF 1/2. With the
three steps of that chasse, we can comfortably wheel 1/2 rather than
the standard 1/4 (this figure is not standardized in cha at this
writing).
Hurd figure clinic (mp4) on continuous hip twist (at 11:20)
A second Hurd figure clinic (mp4) on continuous hip twist (at 11:06)
And a third review (mp4) (at 0:00)
|
Circular Hip Twist
aka Continuous Circular Hip Twist
phase VI
qqs; qqs; qqs;
|
This
figure is one measure of advanced hip twist and then two more measures
of the the man sort of vining in a left-turning circle and the woman
walking, swiveling, and doing three more hip twists.
In closed position, step forward L toeing out a little
and
lower lead hands to lead her to open out (woman swivels 1/2 RF and
steps back R—try to separate these two components and count "&1"),
recover R (woman recover L and swivel 5/8 LF—again, make the swivels
sharp), cross L in back of R turning LF (woman fwd R outside partner
and to his right side and do your first hip twist swiveling sharply 1/4
RF), -;
This first measure is simply
an advanced hip twist. I have exaggerated the second and third swivels,
compared to the advanced hip twist description above, as is often done.
Notice that the woman's part is busier than the man's. She is really
doing at least six things: swivel/step, step/swivel, and again
step/swivel. You might like to count to yourself, "&/quick,
quick/&, slow/&;" Actually, if you'd like to get even more anal
about this measure, I think she might prefer to dance, "&/1,
2/&, 3/&, hold;" The "3/&" is the first hip twist, forward
on the right foot and a sharp RF twist. She raises her left knee and
crosses it a little in front of her right in a demure, sort-of Marilyn
Monroe pose. This is a little picture figure and deserves to be
displayed briefly. So do the hip twist at the beginning of the "slow"
and then hold it briefly before beginning to circle. At this point, we
are in a tight L-position; he might be facing line and wall, and she
might be facing line and center.
During the second
measure, the man steps side R, behind L, side R, -; His sequence is
vine-like, but he should try to think, "7-11." Each time he crosses
behind, he should try to place his left toe to his right heel, forming
a "figure 7" with his feet, and each time he steps to the side, he
should place his right foot parallel to his left to form a "figure 11."
Again,
the woman's part is busier, with her swivels. She steps forward L and
swivels as much as 1/2 LF, closes R and hip twists 1/4 RF, and steps
fwd L, -; Notice that her LF swivels are larger than her RF twists.
This is part of what causes the figure as a whole to turn to the left.
The man is also turning LF with each of his behind steps and so is
leading her to follow a circular track. At the end of the second
measure, we are in the "hip-twist L-position," man facing about center.
The
third measure continues the man's 7-11 vine and the woman's stepping
and swiveling. He steps behind L, side R, close L, -; She swivels up to
1/2 LF and closes R, swivels 1/4 RF (this is the third hip twist) and
steps fwd L, swivels 1/2 LF closes R and ends with a 1/4 RF hip twist,
-; This is certainly the busiest measure for the woman, with a count of
"&/quick, &/quick, &/slow/&;" End in the "hip-twist
L-position," having made one full turn.
|
In I Love Him by the Herrs, there is an
alemana;; rope spin;; circular hip twist to face wall;;; cucaracha;
In Many Kisses
by the Browns, we unwrap to an explosion; spot turn to a handshake;
circular three alemanas;;;; side by side natural opening out;
continuous circular hip twists to varsou;;; advanced hip twist to a
fan;;
In Only Time
by Worlock we dance circular three alemanas to CP wall;;;; circular hip
twist to an L-position M fcg wall;;; hip rock 3 W cross swivels to BJO
DLW;
Hurd figure clinic (mp4) on circular hip twist (6:45)
|
Natural Opening Out
phase V
qqs;
|
In
closed position, step side L to the inside edge of the toe. It has a
cucaracha feel. Use left side lead to open woman (woman turn 1/2 RF and
step back R with right side stretch), recover R using right side lead
(woman rec L turning LF back to closed position), close L, -;
It is a closed hip twist without the hip twist.
|
In Tres Palabres
by the Filardos, there is a forward basic to a full natural top;;;;
natural opening out lady spiral to a fan;; stop & go hockey stick
with cross lunge and back to fan;; hockey stick;; |
Reverse Opening Out
qqs;
|
In
closed position, step side R to the inside edge of the toe. It has a
cucaracha feel. Use right side lead to open woman (woman turn 1/2 LF
and step back L with left side stretch), recover L using left side lead
(woman rec R turning RF back to closed position), close R, -;
The natural and reverse opening out can be cued "open
out
right and left." They are like two cuddles, without the cuddly arm-work.
|
|
Serpiente
qqs; qqs;
|
The
Serpiente is really a tango figure that begins with the lead foot, but
it can be used nicely in rumba if you begin with the trail foot (see
Thru Serpiente below).
You can also do a rumba serpiente beginning
with the lead feet. Step side L (woman side R), XRIB of L (woman XLIB
of R), flare L CCW (woman flare R CW), -; XLIB of R, sd R, thru L and
flare R CCW no weight, -; Note that this sequence has only five weight
changes and so leaves the trail feet free.
|
In the Crapos' South of the Border,
they use a serpiente beginning with a side step with the lead feet;;
crab walks to line;; and a thru, -, fan point, -; leaving the lead feet
free again. |
Thru Serpiente
phase III
qqqq; qqqq;
|
In
a facing position, step through R (W thru L), side L, behind R (W
behind L), fan L counter-clockwise (W fan R CW); behind L (W behind R),
side R, thru L (W thru R), fan R counter-clockwise (W fan L CW);
May start with either foot and travel in either
direction.
|
In Il Mio Cuore Va
by Ito we dance a new yorker in 4; new yorker; thru serpiente;; fence
line;
|
Circular Serpiente
qqs; qqs;
|
This
one is not a standard Roundalab figure, but it feels very good. You
begin in butterfly, just as you do in a regular serpiente, but you both
have the left foot free. The steps are the same as those in a
serpiente, but the same footwork causes you to rotate as a couple
left-face. Again, with left foot free for both, step thru L, side R,
cross left in back of right and fan R CW; now with the right foot and
circling RF, XRIB, sd L, XRIF and fan L CW;
You may begin with the right feet free, in which case
you
will circle right-face in the first measure and left face in the second.
|
The Fishers wrote a really nice rumba called No
Matter What III,
using both of these serpientes. In part B, we start with a spot turn
man in two and point. This is the figure that gets the left foot free
for both, because the woman takes three steps and the man only two.
Then we dance a circular serpiente;; a left foot fence line; circular
serpiente;; right foot fence line; and a spot turn again man in two and
point returning us to lead feet free; |
Develope
phase IV
ss;
|
In
closed position, diagonal line and wall, turn to sidecar and step
forward L outside woman and hold. She steps back R and brings the left
foot up the right leg to the outside of the right knee, and then
extends the left leg forward. Essentially, she raises her knee and then
smoothly kicks. Her body is stretched up and back, and the man must
release or extend his right arm to allow her to do that. One weight
change for each.
The height of the develope is your choice. There are
those
who can aim at the ceiling, and one of the secrets of such a
performance (besides strength, flexibility, and maybe regular yoga
workouts) is relaxing the supporting knee. The woman leans back and
extends her free leg. Now, the more she bends her supporting leg, the
more her back goes down and her develope goes up. Men—let her go but
give her firm support.
|
In the Shibatas' Beyond,
we are positioned a little differently. The dance begins in tandem
position with the man behind the woman and both facing the wall, right
feet free. We shift weight to the right with some arm work to the side;
shadow fence line; and then step back R and hold as woman does a
develope with her L; then a hockey stick ending man transition to
facing position; ready for a hip twist; |
Break
phase III
qqs;
|
In a facing position, cross behind, recover, and step
forward to whatever position is specified.
Often, the cuer will specify Break Back to differentiate
this figure from the open break (below).
|
In butterfly, you might break back to semi; underarm
turn; basic;;
In Daria Cualquier Cosa by the Gloodts, the
dance begins with 2 cuddles;; break back to 1/2 open; to open in and
out runs;;
|
Open Break
phase III
qqs;
|
In a facing position, both rock apart on the lead foot
and shoot the trail arm up, rec, step side, -;
Some
dancers like a softer, less explosive, look to the "break," given by
extending the trail arms horizontally to the side or just a bit
diagonally upward.
|
In Sing For the Glory by the Matthews, in
butterfly we do a cucaracha twice;; open break; whip to COH; fence
line; and spot turn; |
Shadow Break
qqs;
|
In
facing position with R/R handshake, swivel 1/4 LF (W RF) and step back
onto the lead foot. Left arms may be extended to the side, W's L arm
behind the M's back. Recover R (W rec L), step fwd L;
If you begin with the man facing wall, you will end both
facing LOD. May be done with trail feet, in which case both will turn
to face RLOD.
|
In The Party's Over
by the Woodruffs, the dance begins in a handshake position with an
alemana;; shadow break; progressive walks; shadow new yorker twice;; |
Whip
phase III
qqs;
|
In
closed or butterfly position facing wall, step back on the trail foot,
turning LF. Woman steps forward around the man's left side. Recover on
the lead foot continuing to turn, and lead woman across the line of
dance. Step side to butterfly position facing center. |
Do a half basic to a whip to an open break, and then
whip her back to the wall. |
Cross Body
phase IV
qqs; qqs;
|
You
can think of this figure as a half basic and a whip, but the cross body
is done in closed position. Step forward L (woman back R), recover R,
and side L, man beginning to turn LF and so loosening the closed hold
(woman fwd R toward man's right side, no turn) and ending the first
measure in an L-position, man facing LOD and woman facing COH.
During the second measure, the man steps back R
continuing
to turn and she steps forward L beginning to turn LF. He takes a small
step forward L, and she steps forward R completing a 1/2 turn. He then
steps side and forward R (woman side and back L) to end in closed
position facing COH.
Of course, you can begin in closed position center and
end in closed wall.
|
In Sign Your Name
by the Scherrers, part A begins with a new yorker; underarm turn to CP;
cuddle twice with pivot ending to face COH;; side walks to RLOD;; cross
body;; half basic to a facing fan;; progressive walk 6;; |
Alternating Cross Body
phase V
qqs; qqs;
(previously called Parallel Breaks)
|
Begin
in an L-position with man facing wall and woman facing LOD, right-right
hands joined in front of woman and woman's left arm extended over the
right and pointing down line. Step back R leading woman across in front
of the man (woman fwd L across line of dance), recover L beginning to
turn LF (woman fwd R turning), side and forward R (woman sd and bk L)
turning to a woman's L-position with woman facing wall and man facing
LOD on her right side, -; step fwd L (woman bk R), fwd R turning (woman
rec L), sd & bk L (woman sd & fwd R) turning to starting
L-position, -;
This
feels much like two whips, woman across and then
man
across, but there is more progression. The man draws the woman down
line of progression rather than simply across to COH, for instance. The
woman should take the lead in the second measure and pull
the man across and down line.
The figure is often repeated for a total of 4 or even 6
measures.
|
In Only One Time by Preskitt we dance a hockey stick to a handshake;; fwd basic to an L-position M facing wall; alternating cross bodys;; fan;
|
Half Moon
qqs; qqs;
|
The half moon is a bolero
figure, but it can be used in rumba. It is a combination -- the first
measure is a shadow new yorker, and the second measure is a whip. As a
couple, we turn 1/2 LF.
We might be in R/R handshake position man facing wall. M swivels RF on
his R foot and crosses L thru to RLOD (W crosses L thru), rec R trng to
fc, sd L, -; bk & sd R trng LF opening a path across the line of
progression for W (W fwd L toward COH & passing in front of M and
beginning to turn LF), rec L trng LF to fc COH (W sd & fwd R trng
to fc ptnr and wall), sd R twd LOD, -;
Can be done in other facing directions.
|
In Happy Ever After (2001) by Buck we begin LOFP COH with an alemana;; lariat;; half moon;; start half moon; spot turn;
|
Full Moon
qqs; qqs; qqs; qqs;
|
The
half moon is a bolero figure that contains a lunging action and a
whipping action. The full moon is not simply two half moons, but it
does alternate a whip, a lunge, a whip, and a lunge.
In a R-R handshake position facing partner and perhaps
wall, step back R turning LF (W fwd L twd DLC on M's L sd), rec L (W
small step R trng LF), fwd R (W fwd L) to varsouvienne position both
facing COH, -; Of course, this is the "whipping" measure. The woman has
moved from the outside of the circle to the inside and has turned to
varsouvienne.
Now, a "lunging" measure, although it has
more of a lunge feel in bolero. Here, we essentially do a forward basic
with a woman's hip twist. In varsouvienne with lead feet free, we rock
fwd L (W fwd R), recover R releasing L hands and beginning to turn LF
to face DRC, bk L (W sd R turning RF to M's right side and slightly
behind him facing RLOD), -;
Ready for the second "whip"?
The man steps bk R (W stps fwd L in front of M toward DRW), rec L trng
LF (W fwd R trng LF), fwd R (W fwd L) to varsouvienne position both
facing wall, -;
Finally, the man steps fwd L (W fwd R),
rec R releasing L hands, bk L (W sd R trng RF to M's R side) to end in
a handshake position with M facing wall and W fc LOD, -;
|
In Just Called by the Bartons, part A begins
with a new yorker to reverse; full moon;;;; fan; to a hockey stick;;
In You're Really Mine by Ivins, there is a
slow hip rock; new yorker to reverse; full moon;;;; back basic to face
wall; slow lunge and lady sit line;
In Something Stupid
by Dierickx, the full moon begins in varsouvienne with the lunge
action. We do two cuddles lady overturn to vars wall. With the lead
feet, we dance the fwd basic lady swivel to a cross body COH;; and
repeat;; fwd basic lady hip twist to a fan;; hockey stick;;
|
Sit Line
phase V
qqs;
|
This is an Open Break that is smaller, more gentle, and
includes a "sitting" or lowering action.
In
left open facing position, step small back L relaxing the left knee,
leaving the right leg extended, with forward body poise, and raising
the right arm. The woman mirrors the man with a back R and sit. Recover
R rising (woman recovers L), and close L, -;
|
|
Fan
phase IV
qqs;
|
In
closed position, perhaps facing the wall, step back with trail foot
(woman
forward), recover (woman turns 1/4 LF and steps bk R), side R (W bk L)
to an
L-position M wall & W RLOD, -;
Sometimes, we are a little too enthusiastic about moving the lady out
to fan position. We throw her out there or whip her away, and she gets
too far, out at an uncomfortable arm's length. To maintain a closer,
more cozy position, the man can consciously bring lead hands to his
left front pocket on step 2. This small feature adds control to any fan
in any rhythm.
A Facing Fan is done as above, but on the third step,
the man steps forward R and turns 1/4 LF to face partner.
May be done from other positions and facing directions.
|
In the Guenthners' Love Walked In IV,
part A begins with a fan; hockey stick;; open hip twist; fan; alemana;;
shoulder to shoulder; fence line; and a half basic; to a whip; |
Double Fan
qqs (q&q&s); qqs (q&q&s);
|
Begin
in Fan Position with lead feet free. The man is facing wall, and the
woman is facing RLOD. He steps side L and leads her to step forward R
spinning RF and then close L. He closes R and she steps fwd R spinning
and closes L. He steps side L on the slow count, and she steps back R
facing LOD and having turned 1 & 1/2 over the measure. Trail hands
are joined in a sort of reverse? fan position.
During the second
measure, he again steps sd, cl, sd, -; leading her to roll LF in front
of him back to the original fan position. The woman's turns are like
Riff Turns in bolero.
The figure can be softened (maybe
to phase V) by making the woman's turn only 1/2 per measure. She would
step fwd R, fwd L spinning 1/2 RF, and back R, -; fwd L, fwd R spinning
1/2 LF, bk R, -;
May be done from other facing directions.
|
In the Bahrs' You've Got A Friend, there is a
half basic; fan; double fan;; alemana;; and time step twice;;
Since
the Double Fan starts from fan position, it will usually be preceded by
a single Fan. This typical combination gives us Three Fans. If we can
have three threes, three alemanas, and three aidas, then why not Three
Fans? Let's think about it — "Half Basic; Three Fans;;; Alemana;; …
|
Hockey Stick
phase IV
qqs; qqs;
|
In
fan position, lead hands joined, step forward L and lead woman to close
R with a little pressure through the lead arms held low. Let me mention
that leads directed toward the body's center of gravity are always more
effective and can be more subtle than those attempted high in the air,
and a high lead may pull her topline over. She needs to dance from her
center. You'll eventually want to raise that lead hand to lead the
Hockey Stick Ending, but don't jump the gun. A little nudge along her
right arm leads her first step well. Next, the man will recover R, and
she steps forward L. Close L and she steps forward R to a position in
front of the man; she facing reverse, he shaping toward the woman and
so facing DLW. Now begin to raise lead hands, rock back R, she forward
L. Recover L, she forward R with a sharp LF turn under lead arms to
face man. She steps side and back toward diagonal reverse and wall, and
he steps forward to follow her. Her progression toward reverse and then
backing toward diagonal reverse and wall traces out the shape of an ice
hockey stick.
One thing the man does to lead her Hockey Stick Ending
(the second measure) is to move the lead hands between the partnership
and in the direction of DRW. The second lead comes from his body
shaping. The line of his upper body along the diagonal directs her
progression along that diagonal.
Notice that when doing
a hockey stick from fan or an alemana from fan (well above on this
page), the woman's first step is a closing one. These are two very
common sequences, and it is easy to get the mistaken idea that, from
fan position, a woman will always next take a closing step. In the
standard fan position, the man will lead her closing step with pressure
through the lead hands, but from a facing fan position, his first step
will be forward, and she will step back. In executing a Double Fan
(just above on this page), he will lead her into an initial forward
step. So, ladies, in fan position, don't assume that you will next
close your lead foot. Take the step that your man leads you to take.
|
In the Steinkes' Speak Low III,
part A begins in closed position wall with side walks;; full basic;;
new orker; fan; hockey stick;; half basic; and underarm turn;
In The Summer Knows by Lamberty, we have a
hockey
stick ending by itself. The dance begins with a lead-foot lariat;
hockey stick ending to the wall; curl; to a fan;
SK Dancesport clinic on YouTube
|
Stop and Go Hockey Stick
phase V
qqs; qqs;
|
Start
in a fan position, lead feet free. Step forward L (woman close R),
recover R raising lead hand to lead woman to begin a LF turn (woman fwd
L), close L (woman fwd R turning 1/2 LF under lead hands to end at
man's right side) man places right hand at her left shoulder, -; fwd R
checking woman's movement with right hand and shaping toward her (woman
bk L), recover L raising lead hands (woman recover R), close R (woman
fwd L turning 1/2 RF under lead hands) ending in fan position again, -; |
|
Advanced Hockey Stick
qqs; qqs;
|
In
left open facing position DRW, step fwd L (W bk R), rec R turning 1/4
RF (W rec L), cl L (W fwd R), -; bk R turning (W fwd L), rec L (W fwd R
turning LF to face M), fwd R (W bk & sd L) to end in left open
facing position COH; |
In Te Quiero "I Love You"
by the Matthews, there is a closed hip twist; fan; hockey stick;;
advanced hockey stick;; curl; and lady out to fan M facing COH; |
Checked
Hockey Stick
qqs; qqs; qqs; qqs; |
To "check" a hockey stick
is to stop the figure after the first measure, insert something, and
then finish the hockey stick. That "something" is sometimes hip rocks,
and it will be separately cued.
In
fan position, lead hands joined, step forward L and lead woman to close
R with a little pressure through the lead arms held low. Next, the man
will recover R, and
she steps forward L. Close L and she steps forward R to a position in
front of the man; she facing reverse, he shaping toward the woman and
so facing DLW. Raise lead hands and gaze at partner through the
"window" formed by lead arms.
Here, we insert the hip rocks. The man places his right hand on the
front of her left hip and rocks sd R (W sd L), rec L, rec R, -; rk sd
L, rec R, rec L, -;
Now finish the hockey stick. Rock back R, she forward
L. Recover L, she forward R with a sharp LF turn under lead arms to
face man. She steps side and back toward diagonal reverse and wall, and
he steps forward to follow her.
|
In Saying Something Stupid
by the Raybucks, the dance begins with 3 cuddles lady spiral to a
fan;;;; checked hockey stick; hip rocks;; finish the hockey stick;
alemana;; overturned to an advanced sliding door;;
|
Aida
phase IV
qqs;
|
In
butterfly position facing wall, trail feet free, step thru to line, and
begin to turn RF (woman LF). Step side and continue to turn. Step back
to a V-position, back-to-back, looking reverse, lead hands joined. May
begin with the lead feet, moving to RLOD. May be done from other facing
positions.
A little different look is produced by taking two
forward
steps and then sharply turning in on the second step and stepping back
into the aida position. Instead of a rounded look, we have a crisper,
more proud, more deliberate look.
|
In My Reflection
by Lillefield, there is a new yorker to reverse; aida w/ arms; switch
cross; roll to reverse;
|
Three Aidas
qqs; qqs; qqs;
|
In
butterfly position facing wall, trail feet free, step thru to line, and
begin to turn RF (woman LF), step side and continue to turn, step back
to a V-position back-to-back looking reverse lead hands joined, -; step
thru L (woman thru R), fwd R turning LF (woman fwd L turning RF) and
joining trail hands, bk & sd L to a V-position back-to-back looking
LOD, -; and again thru with the trail feet beginning to turn in, step
side and continue to turn, step back to a V-position back-to-back
looking reverse lead hands joined, -; |
In the Moores' Beautiful Maria, part C begins
with 2 of three alemanas;;; three aidas;;; hip rock and swivel to face;
fan; to a hockey stick;; |
Switch or
Switch Cross
phase IV
qqs;
|
In
an aida or V-back-to-back position, lead hands joined, turn to face
partner and step side, checking. This first step can also feel like a
sharp back step, turning. Recover on trail feet, and then cross lead in
front of trail. May also be done with trail feet from an aida position
facing LOD.
The use of the cue term "switch" is not well
standardized.
Sometimes it is used to designate a figure composed of three steps. But
relatively often, it refers to only the one, turning step. The newer
cues switch cross and switch rock (below) reflect this tendency. We
also sometimes hear a cue like, "switch, recover, and step forward" or
even simply, "slow switch," meaning take one step and turn in some way.
|
Do a half basic; aida; switch; to crab walks to
reverse;; cucaracha;
In Don't Know Why
by Lamberty, we have a one-step "switch." The dance starts in aida
position facing RLOD with trail feet free. We do a slow switch to face,
-, recover, -; cucaracha cross; spot turn; to a half basic;
In Crying by
the Sechrists, in skaters LOD L feet free, we walk 3 & switch to
left skaters RLOD; walk 3 & switch to skaters DLC; hold & arm
sweep to SCP;
|
Switch Rock
phase IV
qqs;
|
In
an aida or V-back-to-back position, lead hands joined, turn to face
partner and step side, checking. This first step can also feel like a
sharp back step, turning. Recover on trail feet, and then step side on
lead feet. May also be done with trail feet from an aida position
facing line. You'll have a little of the feel of a "rock three" turning
to face partner. |
In Enchanted Boy IV
by the Andersons, there are hip rocks with the lead feet; aida to line;
switch rock; spot turn to line;
|
Flirt
phase IV
qqs; qqs;
|
In
a facing, handshake position (right-right hands joined), step forward L
(woman back R), recover R, and side L leading woman to step forward R
and turn LF to varsouvienne. In the second measure, both rock back,
then recover, and the man steps side R and the woman steps side L,
crossing in front of the man to end in Left Varsouvienne. |
In the Preskitts' I Wish You Love Rumba, there
is a hockey stick from fan;; flirt;; sweethearts woman face;;; to a
spot turn; |
Tornillo Wheel
phase V
qqs; qqs;
|
In
banjo position, walk clockwise around the woman, R, L, R, -; L, R, L,
-; She brings her left foot up to her right knee, toes pointing down,
rises onto right toes, looks well left, as man turns her one full turn.
One key to success here is for the man to walk a true
circle, not a square, not wandering a little farther from her and then
back closer. Take each step with the foot turned to the right, as
though you are walking on the rim of a 55 gallon drum, and you neither
want to fall in or off . I hope I'm not belaboring this, but she can't
move, and if you don't stay on the circle, she'll tip over; it'll look
awkward.
Since it is impossible to walk a perfect
circle, maybe the real key to succes is for the woman to relax. If she
maintains her usual tone, she will feel every deviation from that
perfect circle. She will wobble and waver. If she will relax, she can
give and take with shock-absorber arms. She can stay comfortably on
that center point even if he does shift a bit from one side to the
other. It takes two to dance a smooth Wheel.
|
In the Hartungs' Romantic Interlude, there is
a half basic to a tornillo wheel;;; cucaracha; fwd basic & check;
hip rocks 3; |
Ballerina Wheel
phase VI
qqs; qqs;
|
In
varsouvienne or shadow skaters, walk clockwise around the woman, L, R,
L, -; R, L, R, -; She brings her right foot up to her left knee, toes
pointing down, rises onto left toes, and allows man to turn her one
full turn. Similar to Tornillo Wheel, but starts with lead foot instead
of trail, and done in varsouvienne instead of banjo. Again, the man
must not take simple forward steps but must turn the foot to the right
on each step and stay exactly on the circumference of the circle, at
the center of which rotates the woman. And the woman must relax so that
her arms can absorb any lateral movements that would otherwise tip her
off of the vertical. |
In Many Kisses by the
Browns, there is an open hip twist; underarm turn to varsou; ballerina
wheel;; natural opening out to left varsou; reverse wheel 6;; hockey
stick ending to face; |
Natural Top
qqs;
|
The
complete figure is called the full natural top (3 measures), so this
one measure figure is sometimes cued, "natural top 3" meaning three
steps. It usually begins in closed position, diagonal reverse and wall,
trail foot free. Turning RF, the man crosses his right in back of left,
and the woman steps side L. On the first quick, the man steps side L,
and the woman crossed R in front of L, continuing to turn. Finally, the
man crosses RIB of L, and the woman steps side L to closed position
facing wall. |
In the Bucks' Happy Ever After,
part A begins with an open hip twist; fan; hockey stick;; fwd basic;
back walks 6;; natural top 3; From there, one could go back to new
yorkers, time steps, or many others.
Hurd figure clinic (mp4) on natural top (at 29:20)
|
Full Natural Top
phase V
qqs; qqs; qqs;
|
The
one measure natural top is simply continued for two more measures,
completing two full RF turns, again to end CP facing wall, lead feet
free:
XRIB trn (W sd L), sd trn (W XRIF of L), XIB trn, -; sd trn, XIB trn,
sd trn, -; XIB trn, sd
trn, close, -; while the woman alternates side steps and XIF. |
In the Rumbles' If Tomorrow Never Comes, part A
begins with a forward basic to a full natural top;;;; to an opening out
to continuous hip twists;;
Hurd figure clinic (mp4) on natural top (at 29:20)
|
Continuous Natural Top
phase VI
qqs; qqs; qqs;
|
This
one is a full natural top with a woman's left-face spiral inserted
into both measures 2 and 3: The first measure is like the full natural
top. The man crosses behind R, sd L, bhd R, -; and the woman steps sd
L, fwd R, sd L, -; turning RF.
In the second measure, the man continues turning and steps sd, bhd, sd.
On that
first step, he raises his lead hand and moves it slightly to his right
to signal
the W's spiral. Don't "whip" her around. The most important feature of
this lead is to center your lead hand over her axis of rotation,
directly over her head. The woman steps forward R spiraling
left face to banjo and then steps fwd L, fwd R continuing
the RF couple motion. In the third measure, the man steps behind, sd,
cl, -; again raising the lead hand to signal the second spiral. The
woman steps forward L, forward R making her LF turn to face partner,
and side L. End in closed position
facing wall.
Again, the woman's turns are full spirals, and she does
each spiral on her right foot. She does not turn in the
first measure. She turns on the first step of the second measure, and
she turns on the second step of the third measure. Think: "0, 1, 2."
Couple rotation is up to two turns RF.
|
One of my all time favorites was Just Another Woman
in Love by the Andersons. Part A begins in fan position with a
hockey stick;; fwd basic; back walks;; to a continuous natural top;;;
Hurd figure clinic (mp4) on continuous natural top (at 43:00)
|
Reverse Top
phase VI
qqs; qqs; qqs; |
The full reverse top is essentially an inverse of the full natural top (above).
We begin in CP. As with most figures, we could be facing any direction,
but let's have the man face Wall for our illustration. As in the
natural top, we begin with trail foot free, but the man starts with a
side step and a little forward, turning a bit LF. He is now facing DLW.
His feet are almost parallel to one another, forming an "11". That was
easy -- step side. The lady crosses L loosely behind R, the L toes
behind the R heel and the toes turned out forming not an "11" but a "7"
(a "Cuban Cross"). Both of us will alternate these 7-11 foot positions
throughout the figure.
In the second step, the M maintains partial pressure on the free L
foot, swivels LF on the balls of the feet and takes weight on the L.
Look down at your feet. You didn't take a crossing step, but your L
foot is now crossed in front, L heel in front of R toe, L toes turned
out making a "7" with the R foot (again, a Cuban Cross). M's R toes and
shoulders are facing DLC; his L toes are turned to COH. The W steps
side and a litttle back R, making her "11". We are in CP DLC. For the
third step, M continues to swivel on the ball of the L and steps side
and forward R again, making another "11", now facing DRC. The W crosses
behind to CP DRC.
Notice that we are spinning as a couple on the ball of the M's L foot.
The M is on the center of rotation with small steps, and the W is
circling around him with larger steps. It's a bit melodramatic, but
sometimes we will tell you to nail your L foot to the floor. It looks
good, but don't be rigid about this. More important is that you stay in
good closed position, and the man should adjust to maintain frame and
position. In the natural top, our positions are reversed, with the W on
the pivot point and the M circling around.
In the second measure, we continue to alternate our crossing and side
steps and continue the LF rotation of the "top." M swivels to his Cuban
cross; W steps side. W crosses behind; M steps side. M swivels to a
Cuban cross; W steps side. We are about CP LOD. The third measure
repeats the first, ending CP Wall, lead foot free, after two complete
rotations.
Let me elaborate on these Cuban crosses. They are not locking steps.
Sometimes, especially when the cross is behind (for the lady in the
reverse top and for the man in the natural top), we might say, side
lock, side, lock, but don't lock your ankles. The feet do not overlap.
The heel is a few inches in front of the toe, not next to it. Make your
loose "7" with toes turned out.
|
In Kiss Me Goodbye Rumba
by Lawson (1991) we dance a half basic; to continuous natural top;;;
natural opening out lady spiral; to reverse top 2 meas;; to fan;
Note that we underturn the figure, make only 1 rotation, and replace
the third measure with a fan exit.
In Just Another Woman In Love by Anderson (1990) we end the dance with lunge apart recover lady spiral; to reverse top 1 meas; to a hinge line;
In Happy Ever After by Buck (2001) we dance a natural opening out; to reverse top 2;; backing to aida;
In Lisboa Antigua by Dierickx
(2020) we dance a half basic; to natural top 3; surprise check to
reverse top 2 meas;;; cross body interrupt with 2 cross swivels;;;
It's odd -- I don't think I've ever danced a full reverse top?!
Hurd figure clinic (mp4) on reverse top (at 38:00)
Reverse Top from BallroomGuide (YouTube)
|
Horse and Cart
phase VI
qqq,-; ,,,;
(qqq&q&; q&q&q&q;)
|
This
figure is done in skaters position. In brief, the woman is the horse
and the man is the cart. She moves him in a left-face circle up to two
revolutions using up to 11 small running steps. Obviously, the
connection between the horse and cart must be firm. The man places his
right hand on the front of the woman's right hip bone—she can pull at
this point. He also maintains a toned left arm, and she can push him
around at this left-left connection (this is the more important of the
two).
So, in skaters position, step fwd L (woman bk R) with
slight RF turn, recover R beginning to turn LF, XLIB of R toe out
(woman begins her "run" fwd R/fwd L), continue to turn LF swiveling
left (woman fwd L/fwd R); extend right leg to the side in a ronde
action and continue to swivel LF with the left knee flexed and the
right leg straight and the inside edge of the right toe skimming the
floor making up to two complete revolutions, -, -, - (woman fwd L/fwd
R, fwd L/fwd R, fwd L/fwd R, fwd L);
Usually only one
revolution is made. The figure is also done in banjo or in closed
position (so the "horse" is backing around the circle).
|
Very nice video of horse and cart in the Shibata STS, Adeline, performed by Tom Hicks & Doris Ho.
|
Corte
phase III
|
In closed position step back & sd L (woman fwd R)
lowering, -,
|
In I
Don't Know
by Shibata, we walk 3 in L Half OP (M RLR); PU sync cuddle pivot fc
COH; sync cuddle hip rocks; basic to corte; W roll out to hndshk fc
COH; At the end of the dance, we are in skaters COH; W roll to
cuddle wall; qk corte twist & slo leg crawl;
|
Double Corte
ss; ss; (ss; qqs;)
|
This is not a standard figure but a corte
in front of the man and then a same foot corte behind the man.
In
closed position, step back and a bit to the side L (woman fwd R)
lowering, -, recover R (woman recovers L and rondes R behind L, no
weight), -; hold (woman XRIB of L), back L (woman fwd L behind man's
right leg), -, -;
|
In the Goss' Rumba Concerto,
there is a maneuver pivot 2; pivot 2 to lady knee lift; double corte
which they step cue as a rolling corte recover she ronde; lady behind
side same foot outside lunge; to a transition pivot to a rudolph ronde; |
Same Foot Lunge
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 with slight left sway, push, and
step side and forward R, looking right. Change to right sway and give
her your right side—that will close her head (woman steps straight 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, straight
and strong. Because of her body turn, 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).
If you have a full
measure, it is common to change the sway a third time. Use right-side
stretch and right-face upper body rotation to sway left and open her
head to a tight semi-closed position. This change puts you in a good
position for the exit, which might involve a rise, LF rotation to lead
a step forward L for the woman. Now you have lead feet free to complete
a Telespin ending or other exit.
The 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.
|
In Beautiful Maria
by the Moores, part B contains a Same Foot Lunge done in cuddle
position, rather than in closed. The section begins with an Advanced
Alemana to face COH;; Cuddle; Cuddle Preparation; Samefoot Lunge; and
then lady syncopated underarm spin; and alemana to face the wall;; |
Three Threes
phase VI
qqs; qqs; qqs; qqs;
|
I
don't know where this name came from. Each measure contains three
steps, but there are four measures. Why isn't it called "four threes?"
The first measure is just an overturned open hip twist, so maybe the
figure name refers to the fancy stuff—measures 2, 3, and 4?
So, we begin in left open facing position, probably
facing
wall. The man steps forward L, recover R, and close L leading the woman
to hip twist on her R 1/2 turn RF. Now both face wall in tandem. During
the second measure, he steps back R, recover L, close R, while she
steps in place L, R, L, spinning LF a full turn on the last beat. The
man might have his hands on her shoulders during this measure and lead
the spin with slight pressure during the third step of the measure.
Don't actually spin your partner. Just hint or "invite" her to spin at
the proper moment.
In the third measure, the man steps
side and forward L, and the woman steps side and back R. This step has
a sort of Sweetheart feel or diagonal Cucaracha. Then the man recovers
and closes. The woman recovers L and steps forward R and swivels 1/2 RF
to face the man.
In the fourth measure, the man steps
back R, recover L, and small forward R. The woman is facing her man, a
little distance away. She steps forward L toward him and swivels 1/2
RF, forward R toward wall and swivels 1/2 RF, and finally forward L
back to a standard facing position. This last measure is very like an
Alemana turn for the woman. At phase IV, the Alemana turn is normally
done on a triangular path on the floor. In Three Threes, dance an
Alemana turn on a straight line toward the man, away, and then back to
him again (don't do a basketball turn). The count for the woman is
really "q/&, q/&, s; with the step occurring on the "quick" and
a sharp turn of the hips on the "&." Always step and then
turn or you will be off balance.
Notice that all of the woman's half spins are RF. Only
her full spin in the second measure is LF.
|
The Bucks' La Novia Rumba, ends with two shadow
breaks in handshake;; three threes;;;; to an open contra check and hold;
Hurd figure clinic (mp4) on three threes (at 0:00)
|
Three Threes Ending
qqs;
|
Sometimes,
the last measure of Three Threes is cued as a stand-alone figure. The
man steps back R, recover L, and forward R. The woman is facing her
man, a little distance away. She steps forward L toward him and spirals
1/2 RF, forward R toward wall and does a hip twist 1/2 RF, and finally
forward L back to a standard facing position.
Again,
notice the woman's step spiral, step hip twist, and step forward. One
teacher once suggested that this part had a kind of skating action:
step/skate, step/skate, and forward.
|
In the Rumbles' Amapola,
we find ourselves in shadow position facing line of dance, and the cue
is Opposition Break to Three Threes Ending. The man rocks forward L,
recover, close, opening the woman out a bit. She steps back and side R,
recover, and then forward R stepping away from the man and then doing a
hip twist 1/2 to face reverse. Then she does her Three Threes Ending to
a handshake; Advanced Hip Twist; woman across to center of hall; to an
Aida; |
|