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Dance Figures

Figure Name, Roundalab Phase Level, & Timing

Steps and Actions That Make Up the Figure

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

Here are some sequences to help you visualize the figure in context and some links to figure clinics by George & Pam Hurd.

phase IV

1234; 1&2

In left open facing position facing line of dance, step back L drawing the woman forward (W fwd R), back R, touch L to R and push into her, perhaps patting trail hands and even bringing faces together. On the touch, she might hook R behind without weight and turn a bit RF. You probably can't kiss (get a little sugar) at this point without risking injury, but the goal is to look coy and snuggly. Then step fwd on the lead foot on beat 4 (W bk R). Finish the figure with an anchor (see discussion below) — step back and under the body with the trail foot/rec, bk,

Although this is the standard description, the sugar push (and other sugar figures below) are also danced 123&4; 1&2. Rather than a touch, step on beats 3 and 4, we dance close/close, fwd—a little triple in place—followed by our anchor. The lady dances crosses RIB of L with weight/XLIF of R slightly to the man's right side, bk R returning to face the man. We have been told that outside of round dancing, in the swing club world, this 1, 2, two triples is the basic pattern.

West Coast Swing seems to be a dance rhythm that invites a variety of syncopations and variations. Chris & Terri Cantrell have written on the topic (see links page). They divide the figure into three parts of two beats each and list several ways to vary each part:

Beginning --

• walk back 2 as described above (1, 2,)
• kick ball change (1/&, 2,)
• heel ball change (1/&, 2,)
• point ball change (1/&, 2,)
• point step (1, 2,)

Middle --

• touch step described above (3, 4;)
• flick step: he can flick LIF of R, back L; and she can turn 1/4 RF and flick RIB of L, side R; (3, 4;)
• hesitate touch step (&/3, 4;)
• triple: he can recover L/XRIB of L, back L; or XLIF of R/recover R, forward L; and she can XRIB of L/XLEF of R, back R; (3/&, 4;)
• kick & triple: kick to side and triple diagonally forward (woman back) (&3, &4;)

Ending --

• anchor or coaster described below (1/&, 2,)
• overturn the anchor: turn away from partner on first step and back toward partner at end of second beat (1/&, 2/&,)
• kick to the 4 & step: kick trail foot forward/place trail ankle to lead knee (the "4"), step side on the trail foot, (1/&, 2,)
• point step point (1/&, 2,)
• step point step point step (&1/&, 2&,)
• cross cross step: cross in front like cross swivels (1/&, 2,)
• out out in in: side L/side R, recover L/recover R (&/1, &/ 2,)

These sorts of variations may be used in many other figures as well.

phase IV

1&2

The anchor is a common ending sequence in many West Coast figures.  For both the man and the woman, it is a small step back and under the body with the trail foot, replace, replace, with a timing of quick/&, quick.  The man steps in place R/L, R, with the right foot being placed instep to left heel. The woman steps L/R, L,

There are really no steps.  The feet don’t move, but there is weight change and hip movement forward and back. As the center of gravity moves just a little back, the hips move forward. The upper body is quite still, but there is rocking feel in the lowere torso/hips.

Just as the anchor is a common ending to west coast figures, the step for the man just before the anchor is usually forward toward the woman. So, like a nautical anchor, our anchor step stops your movement.  It gives both of you a moment to stabilize your partnership and adjust your position in preparation for the next figure.  It serves as characteristic punctuation at the end of one figure and prior to the beginning of the next figure. Where the step before the anchor moves the man toward the woman, the anchor itself moves you apart and sets up the characteristic elastic relationship in the arms, or tension, to begin the next figure.

phase IV

1&2

The coaster step is an alternate ending step that you can use.  For the man, it is like a little sailor shuffle with the trail foot: cross right behind left/side L, side R.  For the woman, it is like a little back hitch:  back L/close R, forward L.  West Coast Swing is unusually flexible in allowing individual expression, but these coaster steps are not really preferred.  For one thing, the coaster step can shift the man a little to his left and so disturb his relationship to the woman, firmly placed in her slot.  Second, as the woman steps back/close, she is likely to stick her backside out in an inelegant sort of way.  Third, if she steps forward on the last step of her coaster, she will find herself moving forward at the beginning of the next figure, and she really shouldn’t begin to move forward until she is led to do so by her man.  Another way to look at this last point is to see that her coaster causes one figure to flow smoothly into the next.  Jive is a rhythm that properly flows in this way, but West Coast Swing should be more grounded, more segmented, more punctuated.

A good place for the coaster is half way through a whip turn for the woman. She is facing LOD, and she wants to check her progression toward RLOD and get moving back toward LOD. And for the man, he might want to use a coaster to end his whip turn if he hasn't quite gotten himself facing LOD. The coaster would naturally turn him a little RF and help him back into the slot.

1&2

phase III

1a2

1234; 123&4;

In left open facing position perhaps facing line of dance, step back L drawing the woman forward (W fwd R), back R, touch L to R and push into her, perhaps patting trail hands. On the touch, she might hook R behind and turn a bit RF. On count 4, rock fwd L (W bk R). On count 1 of the second measure, rock bk R (W fwd L). That is our rock 2. Then finish the standard sugar push. Step fwd L pushing into her and moving her back and away (W bk R). Finish the figure with an anchor — step back and under the body with the trail foot/replace, replace.

1234; 1&2 (123&4; 1&2)

The man is almost doing a sugar push. The woman is turning into his arm and then turning back out to face again.

12&_4; 1&2 (123&4; 1&2)

The woman is dancing a reasonably normal sugar push, but the man does a little side break and holds in place.

phase VI

1234; 1&2

Note that the woman is dancing a standard sugar push (see top of page). The man is dancing a "turning anchor." A slight modification is to dance his last step as a crossing step: behind R/sd L,fwd & across R. I like the flow, and I think it might keep me in the slot just a hair better.

1&2

qqqq; qqqq; qq&q&q;
(q-qq; qqqq; qqq&q;)

Begin in left open facing position. Step back L, small bk R (woman steps fwd R, and then touches or presses L for the first transition), fwd L (W takes weight on L), bk R (W bk R); fwd L for both, bk R, fwd L, bk R; fwd L, bk R/fwd L (W bk R only—this is the second transition), and both Anchor blending to LOF again;

During the four rocking motions, the bodies should be sliced, both with left-side lead as you rock forward L and right-side back as you recover R.

1234; 12

The lean into the woman actually leads or encourages her kick forward. Likewise, the pull on beat 5 leads her kick back. Ladies, put some punch into it, as though you are punting a football. But it is fluid and elastic. Both of you push in, and then both pull away.

phase IV

1234; 1&2

Actually, you do not want to make the full turn on beat 4. Ladies, spin almost all the way but complete the turn as you do your anchor. Use the anchor to stop your spin and to stabilize your position. I think this is true for all spins and twirls: if you go all the way before the anchor, then the anchor will be a little wild and out of control.

The Tuck and Twirl is almost the same figure, but the man leads the tuck with his hand raised to maybe eye-level. Then he maintains lead hand hold, positioned over the lady's head, as she spins. The lead hand hold is maintained throughout.

phase V

12

A man's faceloop is commonly done with R-R hands joined. The man steps back L (W fwd R), back and side R turning RF to produce left shoulder lead and placing joined right hands over the man's head to neck. He places his left hand to woman's right hip, and she may do the same to him.

We often dance the faceloop as a part of a Faceloop Sugar Push. In that figure, we simply dance the faceloop and then continue with the touch step of the sugar push, step L; and anchor. The faceloop might be delayed just a bit to conincide with the touch, the most "sugary" part of the figure, and we both have left hands to our partner's right hip. This particular "push" is very close and cozy.

A man's face loop can also be danced with lead hands joined. The technique is that of a "reverse salute." He raises his left hand, bends his wrist back, palm up in front of his forehead, and in that way passes joined lead hands over his head. His forearm is momentarily in front of his face. As lead hands go over his head, his left wrist passes his right ear. The figure ends with his arm in front of his body.

A woman's faceloop goes in front of her face and over her head. With a R-R handshake, it is helpful for the man to turn a little LF and so produce left shoulder lead.

I don't remember ever doing a lead-hands woman's face loop, but the "reverse-salute" technique works here too. Her right palm is up. Her right arm ends up crossed in front of her body. His left arm goes behind her head outside of the partnership.

And finally, I haven't seen any face loops with trail hands joined, but I suppose they could be done.

The scoop sugar push is a sugar push that is interrupted with 3 "scoops." Each scoop is a forward/close, tap. A little more specifically, we dance the first 3 beats of the sugar push. The man steps back L, bk R, tap L (QQQ). Then we insert the 3 scoops (each Q&Q). Finally, we dance the last 3 beats of the sugar push. The man steps forward and ends with an anchor step (QQ&Q).

In all, we dance bk L, bk R (W fwd R, fwd L), tap L fwd (W tap R bk), fwd L/cl R; tap L fwd (W bk R/cl L; tap R bk), fwd L/cl R, tap L fwd, fwd L/cl R; tap L fwd, fwd L (W bk R), anchor R/L, R end left open fcg pos/LOD;

Arm work is variable. We might begin in left open fcg pos and blend to a low butterfly for the scoops, or we could begin in a R/R handshake, start a face-loop sugar push, and do the scoops with the M's left hand on the front of the W's left hip and the W's left hand on the M's chest (release R hands).

The timing of this figure has long given me trouble, so let me insert a table listing what we try to do on each beat:

In Bogged Down in Love by Shibata, there is a whip with outside underarm turn;; scoop sugar push;;; to a left side pass tuck and spin.

In I Feel Lucky by Shibata, there is a tuck and spin to R/R handshake; ,, face loop scoop sugar push ,;;; ,, sugar kick ,;;

phase V

1234; 1&2

phase V

1234; 1&2

It may seem obvious that the name refers to our "lower cheeks," but I've been told that it is the "upper cheeks" that are being emphasized here. Turn your face to your partner's and gently touch cheeks if you dare.

phase IV

123&4; 1&2

1234; 1&2

In left open facing position, step back L turning LF and getting a bit off the slot. Lead her straight forward R down her slot. On beat 2, recover fwd R continuing to turn and lead her forward so that she passes on his left side, although at this point the man is pretty much facing her. Touch L to R (W tch R to L), and as you do, tuck the woman in (LF rotation). On beat 4 step fwd L into the slot again (W fwd R), check her LF rotation, and lead her spin RF one full turn on her R foot to face the man, each having turned 1/2. End the figure with an anchor step.

I get the feeling that, in west coast swing, you can dance any "touch, step" as some kind of a triple, and here is a flourish that the woman can add to this figure. On 3 & 4, instead of a touch, spin, she can dance a quick sd R/XLIF, tucking, on 3, and then the fwd R and spin on 4.

This same figure can be danced as a Left Side Pass With Tuck and Twirl by simply keeping lead hands joined throughout.

phase IV

1&2

phase IV

123&4; 1&2

Again, let me say that the left and right side passes are essentially the same. If you start in left open facing position, man facing LOD, the man will shift toward the wall as he steps out of the slot, and the woman will pass him on the inside of the circle, in both of these figures.

phase IV

1&23&4;

123&4; 1&2

In an L-position, with the man facing wall and the woman facing LOD, the man lunges to the side L and extends his arms to lead the woman to rock back R. There is an elastic feeling between them. Both recover onto their trail feet. During the two triples, step sd L/cl R, sd L beginning to turn1/4 LF (W sd R turning LF/cl L turning, back R); anchor R/L, R (W L/R, L),

Of course, the first two steps constitute the "slingshot." We stretch apart and then recoil together into the throwout. May be done in other facing directions.

phase VI

123&4; 1&2

Step side and forward L leading the woman to step fwd R down line in front of the man. Recover R, take L-L hands, and begin to turn her under your arms LF, first the left hands and then the right (woman steps fwd L and begins the LF turn). On the first triple, the man XLIB of R/sd R, sd L (this is really a little triple in place allowing the woman to spin in front of the man and get around to his left side). The first triple for the woman is in place as she turns 1 1/2 LF to end facing his back, hands still joined high. On the second triple, the man travels down line with a XRIF of L/sd & fwd L, cl (could beXRIF of L -- the point is to progress down line and so help the woman get to the man's right side again) .  Right hands will pass over his head and then left hands, while the woman XLIB of R/sd R, XLIF, to end back on his right side again, perhaps in starting position (sometimes choreography calls for two of these in a row). Her total turn will be up to two full turns.

Actually, the standard starting position is cross hands left on top, but I don't think I've ever had that L/L handhold at the beginning. We take it on the second step. Note that when you do get the double handhold, you keep it through the rest of the figure. You may begin M facing COH, and so progress to RLOD, and in other positions. For instance, if partners are facing, the man’s first two steps would both be back and he would swivel left face 1/4 on second step.

phase IV

1&2&
3&4&;

It's a little difficult to keep this figure from becoming a pair of "jumping jacks." Try not to move up and down, but keep the upper body still.

These are also known as "Quick Side Breaks." Slow Side Breaks are danced a/slow, -, a/slow, -; and you might hear cued Side Breaks, two slows and four quicks (two measures total).

phase VI

1a2a3a4a; 1a2

Man XLIF of R/sd R, tap L heel to the left/small sd L, XRIF of L/ sd L, tap R heel to the right/sm sd R; XLIF of R/sd R, tap L heel to the left,

In a facing position, the W would usually mirror the M: XRIF of L/sd L, tap R heel to the right/ sm sd R, XLIF of R/ sd R, tap L heel to the left/sm sd L; XRIF of L/sd L, tap R heel to the right,

In a side-by-side or tandem position, both would usually use same footwork, either the M's or the W's, depending on choreography.

The above is standard, but we have lots of variability out there. Looking around, it seems that a cheerleader could be almost any syncopated combination of the following: a crossing step, a side step, and a heel tap. Sometimes, a cheerleader is considered to be four actions in a 1/2 measure – XIF/sd, touch heel/sd, and then when this combination is repeated, it is called cheerleaders (plural). You might begin with the left foot, repeat with the right, and stop at the end of the measure, lead foot free.

A third view gives the cheerleader as a 1/2 measure figure but begins with a side step – sd L leaving R foot extended with heel on floor, recover R/XLIF of R. Another way to describe this one would be to dance sd L/tap R heel, sd R/XLIF.

Here's yet another that uses syncopated slow counts (s&s; &s&s;): XRIF of L, -, slight RF turn small sd L/tap R heel, -; bk R/XLIF of R, -, slight LF turn small sd R/tap L heel, -; bk L/XRIF of L, -, slight RF turn small sd L/tap R heel, -; and so on.

Be sure to read the cue sheet.

phase IV

123&4; 1&2

phase IV

123&4; 1&2

phase V

123&4; 1&2

A nonstandard alternative is to lead the woman's underarm turn during the first triple, as the man turns 1/2 RF. Man will be facing partner and RLOD at the end of the first triple. Then the man can do his LF underarm turn during the second triple – fwd R turn 1/2/fwd L turn 1/2, bk R under body, (as the woman does her anchor). But, this is more like the jive She Go He Go; it's not really a good alternative in west coast.

123 hold; hold,, 3&4; (123&4; 123&4;)

There are several "surprises" in this figure. First, the man stops moving for three beats, although he does guide the woman to make a full turn during this time. Second, althought an Underarm Turn turns the couple 1/2, this one does not change facing direction. Third, although it is a [reverse] underarm turn, it has "whip" timing in that it takes two full measures.

phase V

123&4; 123&4;

I've described the standard figure in which the woman turns 1/2 RF at the end of beat 2 and the beginning of beat 5 (&5). Usually, we like to dance our &-counts after the beat rather than before, so we could think of the timing of these swivels as 12&3&4&; 123&4; (the first and third &-counts are RF swivels; the second and fourth &-counts are steps). In the heat of the battle, this won't feel any different from the timing in the standard description: 12&3&4; &123&4;

An alternative to all this is to delay the second swivel until after beat 5. At the beginning of the second measure, she will step fwd L and turn 1/2 RF (spiral-like), then bk R, and anchor. This timing will feel a little different.

Men, you might find that the hooking step at the beginning of the second measure pulls you away from your partner or that it leads her toward you. She needs to step away from you on this step, down the slot, as you prepare to return to the slot. If you do feel this tugging, you may simply close your R foot and then step side and forward L back into the slot. We have heard the hook-and-forward technique described as jive-like (circular) and the close-and-forward technique described as better west coast (more linear).

Finally, there is a variation that has been called a Power Whip. On count 3, the man begins to turn RF as normal, but he does not take weight. He merely points his L foot to the side in a more static, even dramatic lunge line, while the woman is doing her back hitch. On count 4, he swivels more on his R and steps fwd & sd L to CP RLOD. The timing of the man's weight changes is then 12 -/- 4; instead of 12 3& 4. The second measure is danced normally.

phase IV

123&4; 123&4;

phase V

123&4; 123&4;

123&4; 1234; 1&2

He steps bk L, rec fwd & sd R to W's right side turning RF and putting right hand on the front of her right hip, sd L trn/fwd R, sd & fwd L to face RLOD; rock fwd R placing R hand on W's L shoulder blade, recover L, rock bk R placing L hand on front of W's L hip, rec L turning RF almost to face partner; anchor. She steps fwd R, fwd, fwd/cl, bk; bk, rec, fwd, rec; anchor.

phase V

123a4; 123a4;

phase V

123a4; 123a4;

In most whip turns, you end facing the same way you began. The surprise here is that you stop the rotation and end up only turning 1/2 -- man ends facing RLOD and woman ends facing LOD. May begin facing any direction.

Notice that measure 2 has two sharp moments in it. First, there is the surprise, the lunge fwd R for the man and bk L for the woman. Second, there is the sharp turn on beat 2 for the woman. If you would like a softer look, following the surprise, the woman can step fwd R beginning to turn RF and then step sd L/XRIF of L, bk L well under body to face LOD. This would extend her turn to face over beats 2 - 4, making her anchor a turning anchor.

In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side beginning to turn RF (woman fwd L turning 1/2 RF to face LOD), sd L turning /recover R, fwd L (woman bk R/cl L, fwd R); rock fwd R checking and leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand to an L-shaped SCP looking at ptr [surprise!] (woman rock bk L), -, recover L (woman recover R), -; rock fwd R leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand [surprise again!] (woman rock bk L), recover L and raise lead hands (woman recover R), anchor (woman begins RF underarm turn and steps sd L/XRIF of L, bk L well under body to face LOD);

123a4; 1_;

phase VI

123&4; 123&4;

phase VI

123&4; 123&4;

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

In this first measure, you are separating as the man paddles around and the woman does her little hitch. This is a little elastic springiness characteristic of all whips, but it means that we shouldn't reach for that hand change until the end of the triple when we come back together again—or we'll have out butts stuck out, looking uncomfortably grabby.

In the second measure, hook R behind L turning RF releasing W from CP but keeping R/R handhold leading W to roll RF (W fwd L turning RF), fwd & sd L returning to the slot (W fwd R completing 1 1/2 spin), anchor R/L, R (W anchor L/R, L) to end in handshake position facing partner and starting direction;

This figure, with slightly different character, also shows up in jive and in lindy. It is sometimes cued as a Texas Tommy.

123&4; 1234; 123&4;

In left open facing or low butterfly position LOD, step back L (woman fwd R), forward R stepping off the track to her right and beginning to turn RF (woman fwd L turning sharply 1/2 RF). Paddle sd/rec fwd turning RF and add a little pivot to CP facing center (woman steps bk/cl, fwd turning to face wall).

Now comes two rocks. Turning RF rock fwd R between her feet down line turning, recover L to CP wall (W bk L, rec R between M's feet), turning RF rock fwd R between her feet toward reverse turning, recover L to CP center;

On each forward rock for the man, give her your arms so she springs away a little and then bring her back on the recover. She moves back and forth in her slot, with some elasticity, while the man crosses from one side of the slot to the other. Or, think of him moving back and forth in his slot, perpendicular to her slot. Without the elasticity, the figure becomes less linear and more circular and therefore jive-like. We don't want that.

In the third measure we complete the whip turn with one more rock recover. Turning RF rock fwd R between her feet down line turning, recover L into the slot (she steps back L, bk R), and we finish with the anchor step adjusting a little apart to left open facing position M facing LOD;

This figure is also known as a Continuous Whip, but I have also seen the Triple Whip (with its 3 behind-side combinations, rather than rock-recover combinations) called a continuous whip. I wonder if any figure with small repeated actions that could be continued can be called continuous?

phase V

1&234; 1&23&4; 1&234;1&2

In a right-hand star position, M facing wall and W fcg COH, step sd R/cl L, sd and fwd R (W sd L/cl R, sd & bk L) commencing RF turn 1/4. Your handwork aids in the turns in this figure. If you push gently with your right hands, you will both roll RF stepping fwd L, and fwd R (woman fwd R, fwd L) making a 1 & 1/2 turn total to a left hand star at the end of the first measure (M fcg COH). Then you dance three triples alternating from the left hand star, push to a 1/2 LF turn to a right hand star, push to a 1/2 RF turn to a left hand star. The footwork in the second measure is sd L/cl R, sd L (woman sd R/cl L, sd R) turning 1/2 LF, sd R/cl L, sd R turning 1/2 RF; In the third measure dance the third triple sd L/cl R, sd L then roll 1 and 1/4 LF fwd R, fwd L (woman fwd L, fwd R) to face partner in left open facing position; anchor ,,

May begin M fcg RLOD and then progress toward LOD.

1&2

123&4; 1&23&4; 1&2

Facing partner in left handshake, step back L turning 1/4 LF and bk R out of the slot (W fwd R, fwd L beginning to turn left and with right arm across body above the handshake). During the first triple, the woman steps fwd & sd R, close L turning, fwd R, completing one full turn LF. As she passes the man, he steps in place L/R, and as she takes her last forward step, he steps fwd L across the slot. If we began this figure with the man facing reverse and woman facing line, she is still facing line, wrapped into her left handshake, and he is at her right shoulder, in a back-to-back L-position, facing wall.

During the second triple, the man will do a paddle turn 3/4 LF, stepping fwd R turning/rec L turning, and side & back R. With the left handshake, he will lead the woman to step fwd L turning 1/2 RF/rec R, fwd L, like a quick basketball turn. He releases left hands early in this triple and catches her left arm with his right hand at the end—release and catch. At this point, we are tandem both facing reverse.

During the third triple, the man will continue to turn left, and the "catch" will tell the woman to turn left, too. He uses his left arm to sweep himself in a LF turn sd & fwd L/cl R, fwd L, turning full around. She steps fwd R turning/cl L turning, fwd R turning to face partner and line. The man needs to guard against rolling away from partner during this triple—make that third step toward partner.

Finally, the fourth triple is an anchor for the woman, L/R, L. In the example that we have, the man continues to turn LF, steps side R facing wall/closes L, and crosses R in front in a scissoring action, taking right hands, ready for a right side pass, but I assume that he could adjust his triple to other ending positions.

This will seem to be a busy little figure. If I have counted right, the man turns 2 1/4, but it is all left-face, and he has 2 1/2 measures to swirl smoothly through it. The woman alternates, but the changes are clearly marked. First, she makes a full turn left. The wrap into her left arm stops that and leads her comfortably into a 1/2 turn right. There, the man catches her to lead another left turn, this time 1 1/2. That's a total of 3 turns, but for one who regularly spins a full turn on one step (think tuck and spin), this figure might be regarded as quite leisurely.