1162:. During the course of rotation, the dancer's weight moves from toe to heel of one foot while the other foot swings to close to it, then forward from heel towards the toe of the just closed foot. Follower's heel turns feature body rise coincident with the first step, which leads her foot to close next to the standing one rather than swing past. In contrast, when the leader is dancing a heel turn the rise is delayed until the conclusion of the turn, as he can better lead the amount of turn from a more grounded position. The heel turn is distinguished from other members of the family of heel pull actions which do not require complete closure of the feet. Follower's heel turns are commonly found in the double reverse spin and the open or closed telemark, and the natural and reverse turns of international style foxtrot, while leader's heel turns form the basis of the open or closed impetus.
1451:
2184:
552:(COG), the center point of balance (CPB) helps the dancer to better understand and control their movements. CPB differs from the two other centers in two respects. The exact location of the COG is always well-defined, however it significantly depends on the shape the body assumes. In contrast, the CPB during normal dancing (head up, feet down on the floor) is always at the same place of the dancer's body, although defined in a loose way.
1377:, although because of the divergence in dance technique between American Rhythm and International Latin some prefer to distinguish the two, with the term "Latin motion" reserved for International Style, while the "Cuban motion" reserved for American Style and Club Latin dances. The most notable distinction (in a simplified description) is that in the International Style "Latin motion" the straightening of the knee happens before the
1774:, or single-count), the feet are more opened/rotated in their respective directions to lie parallel to each other and exactly perpendicular to their original Closed position placement. The intention, is for the position to anticipate a change in direction of movement, to direct each partner of the couple/partnership, and to lead the follower to step in the direction of the rotation between their bodies; similarly for the
1758:, the partners shift their shoulders, hips and heads to a variable degree less and up to 90 to that of their original position, while their feet: man's left; lady's right are rotated respectively leftward and rightward to make a "V" (to the left/right). This exact position is also called semi-open in some dance books, by some authors and teachers, especially in American Smooth Ballroom dance. The shift in
2001:
again. This technique guides the body during the turn, makes it easier to determine when to stop turning, and helps prevent dizziness. It must be done by rotating the head as close to perfectly in the horizontal plane as possible so as not to defeat the purpose of minimizing dizziness in those so predisposed. The most common spotting is 180Β° to and away from one's partner, or the
2347:
A dance connection by means of visual awareness of partners in a couple. Visual connection by no means should replace the physical connection, and some consider it to be an inferior form of connection. However it does have its proper usages. Most important are the coordination of styles (arms, etc.)
2214:
has two meanings. The first one is similar to the musical terminology: stepping on an unstressed musical beat. The second one is making more (and/or different) steps than required by the standard description of a figure, to address more rhythmical nuances of the music. The latter usage is considered
1908:
is an imaginary narrow rectangle along which the follower moves back and forth with respect to the leader, who is more or less stationary. As a rule, the leader mostly stays in the slot as well, leaving it only to give way for the follower to pass him. Some slots are fixed, some can rotate, some are
653:
The ordinary position of ballroom dancing in which the partners face each other with their bodies approximately parallel. In
Standard and Smooth the bodies are also offset about a half body width such that each person has their partner on their right side, with their left side somewhat unobstructed;
1128:
Guapacha timing is an alternative rhythm of various basic cha-cha steps that are normally counted "<1>, 2, 3, cha-cha-1" whereas "cha-cha-1" is counted musically "4-&-1". In
Guapacha, the step that normally occurs on count "2" is delayed an extra half-beat, to the "&" of 2, making the
1739:
their common trait is that the dance couple moves (or intends to move) essentially sidewise to the leader's left while partners nearly face each other, with the leader's right side of the body and the follower's left side of the body are closer than the respective opposite sides (forming a V-shape
1637:
A step into outside partner position occurs when the moving foot of the forward travelling partner moves on a track outside of their partner's standing foot when it would ordinarily move on a track aimed between their partner's feet. Due to the offset of the hold, this generally applies to a step
2000:
A technique used during turns. The dancer chooses a reference point (such as their partner or a distant point along the line of travel) and focuses on it as long as possible. When during the turn it is no longer possible to see it, the head flips as fast as possible to "spot" the reference point
1026:
In a narrow sense, e.g., in descriptions of ballroom dance figures, the term refers to the behavior of the foot when it is in contact with the floor. In particular, it describes which part of the foot is in contact with the floor: ball, heel, flat, toe, high toe, inside/outside edge, etc. In the
2298:
The trajectory of the moving foot visualized as a narrow imaginary track, forward and backward of the foot rather than a line. For the standing foot, its track is determined by its current orientation on the floor which may be noted on the inside of turns where the feet often point in differing
1112:
are the positions of the upper bodies of the dancers (hands, arms, shoulders, neck, head, and upper torso). A strong frame is where your arms and upper body are held firmly in place without relying on your partner to maintain your frame nor applying force that would move your partner or your
1697:
is incorrectly danced with an outward rotation of the upper bodies, rather than a rotational stretch in each body. It is characterized by one or both partners having their trailing elbow behind the line of their shoulders, with a resulting break in the arm line at the trailing shoulder.
1149:
Landing on the heel of the foot in motion during a step before putting weight on the remainder of the foot. As in normal walking, much of the swing of the foot is accomplished with its midpart closest to the floor, emphasis shifting to the heel only as the final placement is neared.
2231:, in which a stress exists at the point(s) of contact directed away from the contact point(s) between partners. People frequently resort to describing the actions as "push" (compression, towards partner) and "pull" (tension, away from partner) to get the idea across. See also
806:
In ballroom dances, the dance couple moves (or intends to move) sidewise to the leader's right while the bodies form a V-shape, with leader's left and follower's right sides are closer than the leader's right and follower's left. In other dances, there are other definitions.
428:. It refers to steps taken with momentum in excess of that necessary to arrive at a point of static balance over the new position, which suggests a carry through to another step in the same direction. Steps in these dances naturally flow one into another, in contrast to the
1031:
and
Standard dances, it is common for the body weight to progress through multiple parts of the foot during the course of a step. Customarily, parts of the foot reached only after the other foot has passed to begin a new step are implied but not explicitly mentioned.
448:
Support of the partner's body is largely avoided in ballroom dancing. The exception would be "lifts" β often featured in some forms of swing dancing, and ballroom showdance presentations, but banned in ordinary ballroom competition and rarely seen in social dancing.
2199:
has a specific meaning in the technique of ballroom dancing. Basically, it describes a body position in which its upper part gracefully deflects from the vertical. The direction of sway is usually away from the standing foot and the direction of movement.
365:
and usually considered bad dancing habit. An exception would be to avoid a collision with another couple the leader hasn't seen (but this is usually just to stop the leader performing specific steps rather than the follower actively executing steps).
2109:,...) it is agreed that in figures where the moving foot doesn't stop at the support foot a step begins (and the previous step ends) at the moment when the moving foot passes the support foot. Notice that according to this agreement such steps
682:, in which the dance partners lean together while being connected. In other words, a stress exists at the point(s) of contact directed towards the contact point(s) of the dance partner. The term is frequently used, e.g., in the
2540:
during a dance, the term "wall" means the direction perpendicular to the line of dance (LOD) pointing towards the wall of the room (possibly imaginary). If one stands facing the LOD, then the wall direction is to their right.
1913:), depending on the dance floor space available and the specific dance. The leader in social and performance/exhibition dancing is more free to step out from the slot, more in some dances, and dance styles (such as hustle and
1434:, in which the dance partners lean away from each other while being connected. In other words, a stress exists at the point(s) of contact directed away from the contact point(s) of the dance partner. Predominantly used in the
2383:
The most common example is the usage of "quick" and "slow" words: "quick-quick-slow" (pronounced as "quick quick slo-o-o-ow") immediately tells you that the third step takes twice the time of the first one (and of the second
2005:(LOD) and a full 360Β° from the original spot, be it LOD, outside line of dance (OLOD), or toward or away from one's partner, a wall for example. It can be done in apart/free position or less frequently in closed position.
1381:, while in the "Cuban motion" the straightening of the knee happens after the full weight transfer. As a result, the Cuban hip motion results in a more fluid leg movement, whereas the Latin hip motion results in a more
579:
A pronounced discontinuation of movement through the feet. This is created by locking the back of one knee into the front of the other knee. A check position is created in Latin
Ballroom dances such as
1740:
when looking from above). Steps of both partners are basically sidewise or diagonally forward with respect to their bodies. Normally the dancers look in the direction of the intended movement.
1467:
Line of dance (LOD or LoD) is conceptually a path along and generally parallel to the edge of the dance floor in the counterclockwise direction. To help avoid collisions, it is agreed that in
750:
types of connection are distinguished. Physical connection, sometimes referred to as resistance or tone, involves slightly tensing the upper-body muscles, often in the context of a
1890:
Due to the offset position of the partners in the hold, a left side lead may be quite pronounced whereas a right side lead will be more subtle if taken in closed position.
1642:
is often used for the rare occurrences when the left foot crosses to pass outside, as in the Hover cross). Steps into outside partner position are also required to be in
1570:) and means that the heel of the support foot remains in contact with the floor until the weight is transferred onto the other foot. The rise is felt in body (i.e. the
1798:" figure may be described as "step back, replace". Notice that it doesn't require to "replace" the moving foot to the place from where it come in the previous step.
325:
ballroom. However, Smooth differs from
Standard in its inclusion of open and separated figures, whereas Standard makes exclusive use of closed positions.
2967:
2093:
Sometimes it is important to define the exact limits of one (foot)step, i.e., exactly when it begins and ends. In describing the detailed technique in
1762:
is less pronounced and more individualized: the hold similarly variable but usually very close especially in the upper body, less in the hips. In some
1450:
522:
136:
124:
118:
142:
1282:. In a narrower sense, it denotes the group of dances danced in International Style ballroom competitions. The group consists of two categories:
1373:
dances. Although most visible in the hips, much of the effect is created through the action of the feet and knees. Sometimes it is also called
2850:
1313:". In venues with same-gender dance partners, the ambiguous names "Pat and Chris" have been used, or event could be called "Mix and Match".
341:. In a narrower sense, it denotes the group of dances danced in American Style ballroom competitions. The group consists of two categories:
1474:
Line of dance is a useful line of reference when describing the directions of steps taken, e.g., "facing LOD", "backing LOD". See also
2951:
2926:
2900:
1522:
The foot that is in action (tap, ronde, etc.) while most or all of the body's weight is being supported by the standing foot. Compare
776:
Refers to the action of the body in turning figures; turning the opposite hip and shoulder towards the direction of the moving foot.
2875:
2425:
may be cued as "forward-...-side-together, back-...-side-together", to indicate the directions of (leader's) steps and their timing.
1316:
In dance competitions J&J is included as a separate division (or divisions, with additional gradations). J&J is popular at
361:, this term means that the follower executes steps without waiting for or contrary to the lead of the leader. This is also called
3023:
1843:
Both partners face the same general direction, one of them (the man) behind and slightly shifted leftwards ("in the shadow").
2471:
1239:
689:
Compression is lowering the body by bending the knees in a preparation for a step. The term is mostly used in describing the
589:
32:
2379:
Voice cues help match rhythmic patterns of steps (or other moves) with the music. There are different types of voice cues.
2171:, a foot which bears the full or nearly full weight while the other foot does some action (step, tap, ronde, etc.). Compare
1650:. The term "inline" is occasionally used when it is necessary to clarify that an outside partner position is not involved.
1884:
1643:
1310:
1301:(J&J) is a format of competition in partner dancing, where the competing couples are the result of random matching of
785:
94:
1909:
only from close hold to open hold with one arm, or double from one side of the man to his full reach on the other (as in
529:(LOD) pointing towards the center of the room. If one stands facing the LOD, then the center direction is to their left.
3018:
2187:
Sway to the right from the leader's point of view, who has come from the right side and just arrived on their left foot.
2073:
1088:
2990:
2561:
130:
1775:
1728:
790:
Contra body movement position occurs when the moving foot is brought across (behind or in front) the standing foot
112:
1747:
it is a close side-by-side position in various handholds with the general intention to move together forward, "in
2550:
1887:(in which the leading side is that opposite the moving foot) without requiring intervening rotation of the body.
1482:. Reference to the direction of movement is based on the direction faced by the leader rather than the follower.
635:
58:
2971:
2436:
2359:
This type of connection is essential for "shine position patterns", commonly found in Latin dances like the
2324:
2052:
2044:
1234:, confusing as it might be. (In England, the term "Modern" is often used, which should not be confused with
1179:
1171:
920:
370:
358:
63:
2282:
Landing on the toe of the foot in motion during a step before putting weight on the remainder of the foot.
2274:. Also the synchronizing of movements between the dance partners, or between the parts of a dancer's body.
2571:
2513:
2135:
1748:
1195:
982:
510:
284:
257:
224:
A combination of two or more figures; more generally: a sequence of figures that a couple wants to dance.
1830:
refer to the body ascending and descending by use of feet, ankles, and legs, to create dynamic movement.
1075:
is a choreographed dance of a team of couples, e.g., ballroom sequence or ballroom formation dance/team.
2537:
2488:
2183:
1462:
1298:
954:
943:
932:
209:
1606:
1158:
A heel turn is an action danced by the partner on the inside of turn in certain figures in
Standard or
2459:
2444:
2440:
1100:. A simple test for a full weight transfer is that you can freely lift the second foot off the floor.
215:
the positioning of the body's "building blocks" (head, shoulders, abdomen, hips) in top of each other.
1876:
1378:
771:
88:
619:
A figure in which at the last step the moving foot closes to rest at the support foot. Examples are
2566:
2360:
2210:
1883:
action. A step with side lead will often precede or follow a step of the opposite foot taken into
1199:
585:
237:
1506:
occurring in one minute of music. This can vary from as low as 25β27 MPM for international style
2776:
2480:
2463:
2392:
2224:
1722:
1694:
1674:
1597:
A figure in which during the last step the moving foot passes the support foot. Examples are the
1535:
1427:
1138:
1114:
965:
794:
the body turning. Applies to every step taken outside partner; occurs frequently in tango and in
737:
675:
655:
2467:
17:
2290:
The top line is the way dancers hold their head, neck, shoulders, arms, hands, and upper back.
1113:
partner's frame. In swing and blues dances, the frame is a dancer's body shape, which provides
2947:
2922:
2896:
2871:
2846:
1546:
1093:
896:
549:
100:
2484:
976:
A completed set of steps. More explicitly: a small sequence of steps comprising a meaningful
2768:
2644:
2495:
2448:
2388:
2215:
incorrect by many dance instructors, but it is still in circulation, a better term lacking.
2106:
1981:
1930:
1767:
1610:
1243:
1012:
822:
710:
429:
299:
261:
245:
2307:
A dance that significantly travels over the dance floor, generally in the direction of the
2501:
1827:
1759:
1626:
1557:
1416:
1405:
1394:
1072:
1001:
690:
648:
393:
311:
82:
2084:, etc., are also sometimes called "steps". For example, in a description: "step forward,
1629:. They may face inwards or outwards, and hold one or both hands or stand independently.
1625:
is any dance position in couple dances, in which the partners stand apart in contrast to
2403:", to indicate both the rhythmic pattern of the figure (1&2, 3&4, 5, 6) and the
2525:
1972:
A dance that is generally danced in a restricted area of the dance floor. Examples are
1934:
1910:
1736:
1511:
1321:
1302:
1275:
1255:
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624:
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382:
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28:
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2455:
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2002:
1977:
1938:
1914:
1771:
1622:
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1435:
1346:
1317:
1306:
1109:
683:
659:
526:
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409:
397:
253:
39:
2517:
2429:
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1744:
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1342:
1235:
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816:
724:
631:
556:
506:
502:
466:
458:
51:
27:
This is a list of dance terms that are not names of dances or types of dances. See
2840:
2772:
2348:
and when dancing without physical contact. An important example of the latter is
1562:
In descriptions of the footwork of step patterns the abbreviation NFR stands for
2408:
2404:
2267:
2139:
2113:
begin and end precisely at the "counts" 1, 2, etc. which normally match musical
1872:
1763:
1503:
1338:
47:
2726:
2189:
This image also illustrates a strong top line in
International Standard dances.
1490:
An imaginary straight line passing through the foot in the heel-toe direction.
1305:
and followers. Rules of matching vary. The name comes from the popular
English
1904:
912:
891:
880:
869:
2891:
Harris, Jane A.; Pittman, Anne M.; Waller, Marlys S.; Dark, Cathy L. (2002).
1677:
by means of physical contact. Types of physical connection are body contact,
1226:
ballroom competitions. Sometimes in the context of competitions it is called
1058:
positions of dancers or dance couples on the floor relative to each other and
2400:
1871:
refers to a movement during which the side of the body corresponding to the
1795:
1647:
1251:
1207:
988:
593:
571:
is a figure of three steps in which the feet are closed on the second step.
482:
481:" for the explanation of the difference. Voice calls may be complemented by
1582:
The term has at least two meanings: regarding dance position and regarding
604:
The term has at least two meanings: regarding dance position and regarding
568:
525:
during a dance, the term "center" means the direction perpendicular to the
1925:
A dance style in which the couple's movements are generally confined to a
977:
42:, leaving out terms of highly evolved or specialized dance forms, such as
2415:
2047:
means temporary assuming the leading role by the follower. Also known as
1382:
1174:
means temporary assuming the leading role by the follower. Also known as
620:
2759:
ED: a framework for teaching Swing and Blues dance partner connection".
283:"American Smooth" redirects here. For the poetry book by Rita Dove, see
2316:
1602:
1247:
714:
425:
303:
2422:
1973:
1815:
1507:
1203:
581:
437:
249:
241:
43:
2428:
Finally, for more advanced dancers voice cues are actually names of
754:, thus enabling leader to communicate intentions to follower. See
2320:
2312:
2182:
2102:
2072:, is a single move of one foot, usually involving full or partial
1755:
1571:
1499:
900:
706:
627:
433:
421:
420:
Body flight is a property of many movements in dances such as the
295:
1863:
A body position or action during a step, sometimes also called
1358:
208:
the directions the feet face in relationship to the room. See
3002:
2839:
Richard M. Stephenson; Richard
Montgomery Stephenson (1992).
2828:(9th ed.). London: Adam & Charles Black. p. 17.
2798:(9th ed.). London: Adam & Charles Black. p. 15.
2674:(9th ed.). London: Adam & Charles Black. p. 30.
2043:
In social dancing strongly reliant on leading and following,
1170:
In social dancing strongly reliant on leading and following,
440:
dances where many steps arrive to a point of static balance.
1449:
38:
This glossary lists terms used in various types of ballroom
1061:
directions the dancers face or move with respect to others.
1120:
Major types of dance frames are Latin, smooth, and swing.
964:
Both dance partners take (at least) a step backwards into
2907:
See illustrations of positions and related descriptions.
2732:. International Choreographed Ballroom Dance Assiciation
1129:
new count "<1>, <hold>-&-3, 4-&-1".
742:
A means of communication between dancers in the couple.
54:, which have their own elaborate terminology. See also:
3005:
large information base about more than thousand dances.
2824:
Moore, Alex (1986). "Contrary body movement position".
337:
developed in the United States that contrasts with the
2250:. The criteria for evaluation of dance mastery in the
1725:
is described differently in various dance categories.
555:
It is said that the CPB is in the general area of the
2942:
Monte, John; Lawrence, Bobbie; Astaire, Fred (1978).
1875:
is consistently in advance as a result of a previous
1141:: it is a way the partners hold each other by hands.
2809:
Silvester, Victor (1977). "Contrary body movement".
2755:
DeMers, Joseph Daniel (2013). "Frame matching and ΞP
1502:
of the music according to the number of measures or
1015:describes dance technique aspects related to feet:
2639:
2637:
2635:
2633:
2631:
2629:
2627:
2625:
2623:
2621:
2619:
2617:
2615:
2613:
2611:
2609:
2607:
2076:to the moving foot. However foot actions, such as
654:in tango, the offset is somewhat larger. Contrast
408:, mainly of the right-hand sides of the partners'
2605:
2603:
2601:
2599:
2597:
2595:
2593:
2591:
2589:
2587:
1646:, and are often preceded by a step with a strong
1238:that derives from ballet technique) It includes
2266:or dance figure with respect to musical timing:
1510:to as fast as 58β60 MPM for international style
1471:dancers should proceed along the line of dance.
1117:with the partner and conveys intended movement.
955:Direction of movement Β§ Directions of turns
2811:Modern ballroom dancing: history & practice
1092:means that at the end of the step the dancer's
2794:Moore, Alex (1986). "Contrary body movement".
1361:motion found in the technique of performing a
369:Sometimes this term is used in the meaning of
2499:
2478:
2371:as well as "side by side position patterns".
1190:International Latin is category of dances in
8:
2670:Moore, Alex (1986). "Definitions of terms".
720:Compression is a hip action in Latin dances.
559:for the gentlemen, and navel for the women.
537:
106:
2094:
2016:
1794:while keeping it in place. For example, a "
1790:means replacing the weight to the previous
1693:Pinched shoulder is the position seen when
1498:Measures per minute, or MPM, refers to the
1283:
1258:. This category loosely corresponds to the
1941:, may be danced in slotted style. Compare
762:, two basic associated actions/reactions.
2813:(9th ed.). London: Paul. p. 81.
2665:
2663:
2661:
1274:The term describes a particular style of
333:The term describes a particular style of
317:This category loosely corresponds to the
267:This category loosely corresponds to the
172:
2750:
2748:
2746:
2721:
2719:
2717:
2715:
2713:
2711:
2709:
2707:
2705:
2703:
2701:
2262:The relation of the elements of a dance
2088:, together" all three actions are steps.
1848:
1786:In brief descriptions of dance figures,
1287:
1223:
1191:
1055:of a dance team is the specification of
832:A signal to execute a dance figure. See
743:
405:
338:
322:
272:
268:
160:
137:International Dance Teachers Association
2699:
2697:
2695:
2693:
2691:
2689:
2687:
2685:
2683:
2681:
2583:
895:is an official term to denote dance as
182:
143:Imperial Society of Teachers of Dancing
747:
536:may also be used as shorthand for the
501:or a cuer is a person that calls/cues
357:In social dancing strongly relying on
2842:The Complete Book of Ballroom Dancing
2352:the partner during turns, especially
1985:
1946:
1709:
1468:
1374:
7:
2411:: every second syllable is stressed.
2152:
2098:
1960:
1929:. The most typical slotted dance is
1852:
1808:
1523:
1426:The term describes type of physical
1370:
1259:
1159:
1097:
1028:
702:
613:
346:
342:
2970:. DanceCentral.info. Archived from
2419:
1324:competitions in the United States.
1279:
1263:
1194:ballroom competitions. It includes
294:ballroom competitions. It includes
291:
236:ballroom competitions. It includes
233:
131:International DanceSport Federation
2336:
2308:
1989:
1899:
1669:Physical connection, physical lead
1661:
1574:) and legs only, not in the feet.
674:Compression is a type of physical
176:
154:
148:
25:
2512:Cues are an important element of
1791:
402:closed position with body contact
373:, which is not exactly the same.
166:
2228:
2172:
1678:
1638:with the right foot. (The term
1431:
1417:Lead and follow Β§ Hijacking
1242:(formerly called "slow waltz"),
1137:Handhold is an element of dance
980:, and given a name, for example
755:
723:An action to achieve a graceful
18:Glossary of ballroom dance terms
2893:Social Dance from Dance A While
2727:"Glossary of Round Dance Terms"
2332:
2248:Technique, timing, and teamwork
2031:
1942:
670:The term has several meanings.
2353:
2343:Visual connection, visual lead
2303:Travelling (progressive) dance
856:
837:
486:
33:List of dance style categories
1:
2349:
2232:
1885:contra body movement position
1844:
1682:
1644:contra body movement position
1583:
1457:and the identified directions
786:Contra body movement position
780:Contra body movement position
705:(American style) categories:
698:
679:
605:
318:
95:Contra body movement position
76:
2773:10.1080/14647893.2012.688943
2085:
1439:
759:
2991:List of partner dance books
2944:The Fred Astaire Dance Book
2761:Research in Dance Education
2562:List of dance organizations
2414:Still another example: the
2029:
2014:
1958:
1933:. Some other dances, e.g.,
1760:Argentine/salon style tango
1726:
1707:
1659:
1475:
1320:conventions, as well as at
1049:is a team of dance couples.
1011:In a wider sense, the term
854:
392:Body contact is a style of
256:. Sometimes it may include
3040:
2870:. Altera. pp. 37β38.
2868:Dance Terminology Notebook
2548:
1776:counter promenade position
1729:counter promenade position
1555:
1544:
1533:
1460:
1438:dance community. See also
1414:
1403:
1392:
1366:
999:
952:
941:
930:
878:
867:
820:
814:
802:Counter promenade position
783:
769:
751:
735:
701:(International style) and
646:
380:
282:
113:Counter promenade position
2551:Weight transfer (dancing)
2432:and standard variations:
2263:
1926:
1479:
1362:
1357:A characteristic type of
916:
833:
636:International Style waltz
2946:. Simon & Schuster.
1633:Outside partner position
1222:A category of dances in
592:Ballroom dances such as
465:to execute a particular
404:); it is also a type of
290:A category of dances in
232:A category of dances in
59:Glossary of ballet terms
3024:Partner dance technique
2917:Bottomer, Paul (1990).
2294:Tracking, track of foot
921:Glossary of dance steps
915:, for another one, see
544:Center point of balance
538:center point of balance
107:Center point of balance
64:Glossary of dance moves
2921:. Sounds Sensational.
2866:Blair, Skippy (1994).
2572:List of musical topics
2500:
2479:
2190:
2017:International Standard
1590:A figure performed in
1458:
1337:As applied to dances,
1232:International Ballroom
1218:International Standard
612:A figure performed in
590:International Standard
285:American Smooth (book)
2895:. Benjamin Cummings.
2647:. BallroomDancers.com
2538:direction of movement
2223:Describes a physical
2208:In dancing, the term
2186:
2064:In a strict sense, a
1463:Direction of movement
1453:
1400:Leading and following
1096:is directly over the
944:Direction of movement
933:Direction of movement
927:Direction of movement
911:For one meaning, see
523:direction of movement
359:leading and following
210:Direction of movement
2391:instructors cue the
2122:In a broader sense,
1877:contra body movement
1379:full weight transfer
1278:that contrasts with
1089:full-weight transfer
772:Contra body movement
766:Contra body movement
204:Alignment can mean:
119:Diagonally to center
89:Contra body movement
3019:Glossaries of dance
2968:"Alignment diagram"
2567:Musical terminology
2254:dancing community.
1917:), than in others.
1849:sweetheart position
1494:Measures per minute
1270:International Style
1224:International Style
1192:International Style
1186:International Latin
798:promenade figures.
600:Closed dance figure
473:, calls are called
406:physical connection
339:International Style
323:International Style
314:was also included.
273:International Style
161:Measures per minute
2645:"Dance dictionary"
2536:When indicating a
2191:
2163:It is also called
1723:promenade position
1717:Promenade position
1695:promenade position
1536:Musicality (dance)
1459:
966:promenade position
738:Connection (dance)
656:promenade position
548:Together with the
521:When indicating a
505:to be executed in
461:is a command by a
183:Promenade position
125:Diagonally to wall
2852:978-0-385-42416-5
2399:, shuf-fle-STEP,
2045:stealing the lead
2039:Stealing the lead
1702:Progressive dance
1640:left side outside
1607:open reverse turn
1578:Open dance figure
1547:New Vogue (dance)
1469:travelling dances
1176:stealing the lead
1094:center of gravity
949:Direction of turn
938:Direction of step
550:center of gravity
101:Center of gravity
16:(Redirected from
3031:
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2882:
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2826:Ballroom Dancing
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2800:
2799:
2796:Ballroom Dancing
2791:
2785:
2784:
2752:
2741:
2740:
2738:
2737:
2731:
2723:
2676:
2675:
2672:Ballroom Dancing
2667:
2656:
2655:
2653:
2652:
2641:
2524:and called by a
2520:they are called
2505:
2493:
2489:Dame dos con una
2460:natural fallaway
2445:closed promenade
2389:East Coast Swing
2034:
2024:Stationary dance
2019:
1986:travelling dance
1982:east coast swing
1963:
1947:travelling dance
1931:west coast swing
1847:vary. Variants:
1770:, triple-count,
1732:
1712:
1710:Travelling dance
1689:Pinched shoulder
1664:
1375:Cuban hip motion
1353:Latin hip motion
859:
823:Latin hip motion
811:Cuban hip motion
686:dance community.
588:, as well as in
262:West Coast swing
246:East Coast swing
21:
3039:
3038:
3034:
3033:
3032:
3030:
3029:
3028:
3009:
3008:
3003:Streetswing.com
2999:
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2986:
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2919:Argentine Tango
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2545:Weight transfer
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2345:
2311:. Examples are
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2159:Supporting foot
2153:Supporting foot
2149:
2134:, for example:
2074:weight transfer
2061:
2041:
2026:
2011:
1998:
1970:
1961:American Smooth
1955:
1923:
1896:
1881:body turns less
1861:
1853:cuddle position
1841:
1839:Shadow position
1836:
1828:Rises and falls
1825:
1809:American Rhythm
1804:
1784:
1737:ballroom dances
1719:
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1627:closed position
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1406:Lead and follow
1402:
1397:
1395:Lead and follow
1391:
1355:
1341:is any type of
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1276:ballroom dances
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1073:Formation dance
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1068:Formation dance
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691:rises and falls
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649:Closed position
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643:Closed position
614:closed position
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398:partner dancing
394:closed position
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343:American Smooth
335:ballroom dances
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279:American Smooth
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228:American Rhythm
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173:Outside partner
83:Cross-body lead
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2997:External links
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1430:, opposite to
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1415:Main article:
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1393:Main article:
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1385:leg movement.
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40:partner dances
29:List of dances
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875:Dance pattern
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693:technique of
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660:open position
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629:
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541:
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527:line of dance
524:
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507:square dances
504:
503:dance figures
500:
492:
490:
488:
484:
480:
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471:round dancing
468:
464:
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410:costal arches
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177:open position
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155:Line of dance
152:
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149:Jack and Jill
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70:Abbreviations
69:
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62:
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57:
56:
55:
53:
49:
45:
41:
36:
34:
30:
19:
2976:. Retrieved
2972:the original
2962:
2943:
2937:
2918:
2912:
2892:
2886:
2867:
2861:
2841:
2834:
2825:
2819:
2810:
2804:
2795:
2789:
2767:(1): 71β80.
2764:
2760:
2756:
2734:. Retrieved
2671:
2649:. Retrieved
2535:
2521:
2514:round dances
2511:
2378:
2358:
2346:
2327:, Argentine
2306:
2299:directions.
2297:
2289:
2281:
2261:
2247:
2246:
2240:
2222:
2209:
2207:
2194:
2192:
2168:
2165:support foot
2164:
2162:
2150:
2132:dance figure
2131:
2127:
2123:
2081:
2077:
2069:
2065:
2048:
2042:
1999:
1971:
1924:
1903:
1897:
1889:
1880:
1869:Side-leading
1868:
1864:
1862:
1842:
1826:
1792:support foot
1787:
1785:
1764:swing dances
1754:In American
1753:
1742:
1734:
1720:
1692:
1672:
1639:
1636:
1621:
1599:feather step
1581:
1568:no foot-rise
1567:
1564:no foot rise
1563:
1561:
1552:No foot rise
1521:
1497:
1489:
1486:Line of foot
1473:
1466:
1454:
1425:
1356:
1343:social dance
1336:
1315:
1297:
1273:
1262:category of
1236:modern dance
1231:
1227:
1221:
1189:
1175:
1169:
1157:
1148:
1136:
1127:
1119:
1107:
1098:support foot
1087:
1083:
1082:
1071:
1052:
1046:
1042:
1025:
1020:
1016:
1010:
987:
981:
975:
963:
910:
890:
889:
831:
817:Cuban motion
805:
789:
775:
741:
669:
652:
632:natural turn
603:
578:
566:
557:solar plexus
554:
547:
533:
531:
520:
511:round dances
496:
474:
467:dance figure
456:
447:
444:Body support
419:
401:
391:
388:Body contact
368:
363:anticipation
362:
356:
332:
321:category of
316:
289:
271:category of
266:
231:
223:
220:Amalgamation
203:
187:Q β Quick
167:No foot rise
37:
26:
2502:salsa rueda
2481:Dile que no
2409:swing music
2361:cha-cha-cha
2229:compression
2211:syncopation
2204:Syncopation
2173:moving foot
2140:triple step
2053:backleading
2051:. Contrast
1873:moving foot
1679:compression
1518:Moving foot
1432:compression
1339:Latin dance
1200:cha-cha-cha
1180:backleading
1178:. Contrast
1084:Full weight
1079:Full weight
1021:foot action
919:. See also
897:competitive
756:compression
666:Compression
586:cha-cha-cha
485:. See also
432:and to the
416:Body flight
353:Backleading
238:cha-cha-cha
190:S β Slow
147:J&J β
48:tap dancing
35:for those.
3013:Categories
2978:2020-04-30
2736:2020-06-04
2651:2020-05-04
2578:References
2498:, used in
2468:quick wing
2405:syncopated
2393:basic step
2354:free spins
2333:spot dance
2331:. Compare
2225:connection
2136:basic step
2130:, i.e., a
2128:dance step
2032:Spot dance
1984:. Compare
1968:Spot dance
1943:spot dance
1905:dance slot
1768:East Coast
1675:connection
1609:, e.g. in
1530:Musicality
1428:connection
1266:ballroom.
1139:connection
1115:connection
913:Dance move
907:Dance step
903:activity.
892:Dancesport
886:Dancesport
881:Dance move
870:Dance move
864:Dance move
821:See also:
732:Connection
676:connection
483:hand signs
457:A call in
275:ballroom.
2781:144054392
2401:rock BACK
2375:Voice cue
2193:The term
2049:hijacking
1859:Side lead
1845:Handholds
1796:rock back
1749:promenade
1727:See also
1648:side lead
1541:New Vogue
1252:quickstep
1208:pasodoble
1172:hijacking
1166:Hijacking
1154:Heel turn
1145:Heel lead
1053:Formation
1043:formation
1036:Formation
989:spin turn
857:Formation
838:Voice cue
594:quickstep
532:The term
487:Voice cue
371:hijacking
200:Alignment
2556:See also
2416:box step
2350:spotting
2286:Top line
2278:Toe lead
2233:leverage
2151:Same as
2101:dances (
2095:Standard
2070:footstep
2009:Standard
1996:Spotting
1683:leverage
1673:A dance
1584:footwork
1422:Leverage
1383:staccato
1349:origin.
1284:Standard
1228:Ballroom
1133:Handhold
1124:Guapacha
1013:footwork
1007:Footwork
996:Follower
960:Fallaway
744:Physical
715:foxtrots
699:Standard
680:leverage
621:box step
606:footwork
377:Ballroom
319:Standard
77:Three Ts
2496:Spanish
2485:setenta
2317:foxtrot
2219:Tension
2086:replace
2068:, or a
1788:replace
1782:Replace
1772:country
1605:or the
1603:foxtrot
1440:tension
1303:leaders
1248:foxtrot
978:gestalt
792:without
760:tension
707:waltzes
596:locks.
477:. See "
426:foxtrot
312:Peabody
304:foxtrot
181:PP β
171:OP β
165:NFR β
159:MPM β
153:LOD β
141:ISTD β
135:IDTA β
129:IDSF β
123:DW β
117:DC β
111:CPP β
105:CPB β
99:COG β
93:CBMP β
87:CBM β
81:CBL β
75:3T β
2950:
2925:
2899:
2874:
2849:
2779:
2526:caller
2367:, and
2258:Timing
2239:Three
2126:means
2111:do not
2099:Smooth
1953:Smooth
1935:hustle
1911:hustle
1902:, the
1816:Rhythm
1802:Rhythm
1476:center
1389:Leader
1371:Rhythm
1260:Smooth
1254:, and
1210:, and
1160:Smooth
1110:frames
1108:Dance
1029:Smooth
972:Figure
748:visual
711:tangos
703:Smooth
569:chassΓ©
563:ChassΓ©
534:center
517:Center
499:caller
493:Caller
479:Caller
463:caller
438:rhythm
306:, and
252:, and
250:bolero
50:, and
44:ballet
2777:S2CID
2730:(PDF)
2522:calls
2516:. In
2491:!..."
2487:!...
2483:!...
2472:waltz
2464:whisk
2449:tango
2437:walks
2435:"Two
2423:rumba
2387:Some
2384:one).
2369:salsa
2365:mambo
2329:tango
2325:samba
2321:polka
2313:waltz
2272:beats
2252:swing
2115:beats
2107:tango
2103:waltz
1978:salsa
1974:rumba
1939:salsa
1915:salsa
1756:tango
1611:tango
1572:torso
1508:rumba
1500:tempo
1436:swing
1367:Latin
1333:Latin
1318:swing
1288:Latin
1244:tango
1240:waltz
1204:rumba
1196:samba
1104:Frame
983:whisk
901:sport
752:frame
684:swing
628:waltz
582:rumba
575:Check
469:. In
434:Latin
430:tango
422:waltz
300:tango
296:waltz
269:Latin
258:samba
254:mambo
242:rumba
2948:ISBN
2923:ISBN
2897:ISBN
2872:ISBN
2847:ISBN
2532:Wall
2441:link
2395:as "
2270:and
2268:bars
2264:step
2196:sway
2179:Sway
2124:step
2097:and
2082:kick
2066:step
2059:Step
2030:See
2015:See
1959:See
1937:and
1927:slot
1894:Slot
1814:See
1807:See
1721:The
1708:See
1660:See
1566:(or
1504:bars
1480:wall
1369:and
1363:step
1286:and
1212:jive
1019:and
917:Step
855:See
836:and
834:Call
758:and
746:and
725:sway
658:and
584:and
509:and
475:cues
453:Call
436:and
424:and
345:and
260:and
31:and
2769:doi
2470:" (
2447:" (
2418:of
2167:or
2078:tap
1898:In
1879:or
1834:SβZ
1751:".
1743:In
1735:In
1601:in
1365:in
1359:hip
1345:of
1328:LβR
1309:, "
1230:or
1086:or
1045:or
986:or
844:DβJ
828:Cue
796:all
697:of
634:in
630:or
623:in
396:in
195:AβC
175:or
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2765:14
2763:.
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20:)
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