1151:. 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.
1440:
2173:
541:(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.
1366:, 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
1763:, 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
1747:, 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
1990:
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
2336:
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.)
2203:
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
1897:
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
642:
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;
1117:
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
1728:
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
1626:
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
1989:
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
1015:
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
2287:
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
1101:
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
1686:
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.
1138:
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.
2220:, 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
795:
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.
417:. 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
1020:
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.
437:
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.
2188:
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.
354:
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).
2098:,...) 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
671:, 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
2529:
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.
1902:), 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
1423:, 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
2372:
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
1994:(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.
1370:, 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
568:
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
1729:
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.
1456:
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
739:
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
1879:
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.
1631:
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
1559:) 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
1787:" 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.
314:
ballroom. However, Smooth differs from
Standard in its inclusion of open and separated figures, whereas Standard makes exclusive use of closed positions.
2956:
2082:
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
1751:
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
1439:
511:
125:
113:
107:
131:
1271:. In a narrower sense, it denotes the group of dances danced in International Style ballroom competitions. The group consists of two categories:
1362:
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
2839:
1302:". In venues with same-gender dance partners, the ambiguous names "Pat and Chris" have been used, or event could be called "Mix and Match".
330:. In a narrower sense, it denotes the group of dances danced in American Style ballroom competitions. The group consists of two categories:
1463:
Line of dance is a useful line of reference when describing the directions of steps taken, e.g., "facing LOD", "backing LOD". See also
2940:
2915:
2889:
1511:
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
765:
Refers to the action of the body in turning figures; turning the opposite hip and shoulder towards the direction of the moving foot.
2864:
2414:
may be cued as "forward-...-side-together, back-...-side-together", to indicate the directions of (leader's) steps and their timing.
1305:
In dance competitions J&J is included as a separate division (or divisions, with additional gradations). J&J is popular at
350:, this term means that the follower executes steps without waiting for or contrary to the lead of the leader. This is also called
3012:
1832:
Both partners face the same general direction, one of them (the man) behind and slightly shifted leftwards ("in the shadow").
2460:
1228:
678:
Compression is lowering the body by bending the knees in a preparation for a step. The term is mostly used in describing the
578:
21:
2368:
Voice cues help match rhythmic patterns of steps (or other moves) with the music. There are different types of voice cues.
2160:, a foot which bears the full or nearly full weight while the other foot does some action (step, tap, ronde, etc.). Compare
1639:. The term "inline" is occasionally used when it is necessary to clarify that an outside partner position is not involved.
1873:
1632:
1299:
1290:(J&J) is a format of competition in partner dancing, where the competing couples are the result of random matching of
774:
83:
1898:
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
518:(LOD) pointing towards the center of the room. If one stands facing the LOD, then the center direction is to their left.
3007:
2176:
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.
2062:
1077:
2979:
2550:
119:
1764:
1717:
779:
Contra body movement position occurs when the moving foot is brought across (behind or in front) the standing foot
101:
1736:
it is a close side-by-side position in various handholds with the general intention to move together forward, "in
2539:
1876:(in which the leading side is that opposite the moving foot) without requiring intervening rotation of the body.
1471:. Reference to the direction of movement is based on the direction faced by the leader rather than the follower.
624:
47:
2960:
2425:
2348:
This type of connection is essential for "shine position patterns", commonly found in Latin dances like the
2313:
2041:
2033:
1223:, confusing as it might be. (In England, the term "Modern" is often used, which should not be confused with
1168:
1160:
909:
359:
347:
52:
2271:
Landing on the toe of the foot in motion during a step before putting weight on the remainder of the foot.
2263:. Also the synchronizing of movements between the dance partners, or between the parts of a dancer's body.
2560:
2502:
2124:
1737:
1184:
971:
499:
273:
246:
213:
A combination of two or more figures; more generally: a sequence of figures that a couple wants to dance.
1819:
refer to the body ascending and descending by use of feet, ankles, and legs, to create dynamic movement.
1064:
is a choreographed dance of a team of couples, e.g., ballroom sequence or ballroom formation dance/team.
2526:
2477:
2172:
1451:
1287:
943:
932:
921:
198:
1595:
1147:
A heel turn is an action danced by the partner on the inside of turn in certain figures in
Standard or
2448:
2433:
2429:
1089:. A simple test for a full weight transfer is that you can freely lift the second foot off the floor.
204:
the positioning of the body's "building blocks" (head, shoulders, abdomen, hips) in top of each other.
1865:
1367:
760:
77:
608:
A figure in which at the last step the moving foot closes to rest at the support foot. Examples are
2555:
2349:
2199:
1872:
action. A step with side lead will often precede or follow a step of the opposite foot taken into
1188:
574:
226:
1495:
occurring in one minute of music. This can vary from as low as 25β27 MPM for international style
2765:
2469:
2452:
2381:
2213:
1711:
1683:
1663:
1586:
A figure in which during the last step the moving foot passes the support foot. Examples are the
1524:
1416:
1127:
1103:
954:
783:
the body turning. Applies to every step taken outside partner; occurs frequently in tango and in
726:
664:
644:
2456:
2279:
The top line is the way dancers hold their head, neck, shoulders, arms, hands, and upper back.
1102:
partner's frame. In swing and blues dances, the frame is a dancer's body shape, which provides
2936:
2911:
2885:
2860:
2835:
1535:
1082:
885:
538:
89:
2473:
965:
A completed set of steps. More explicitly: a small sequence of steps comprising a meaningful
2757:
2633:
2484:
2437:
2377:
2204:
incorrect by many dance instructors, but it is still in circulation, a better term lacking.
2095:
1970:
1919:
1756:
1599:
1232:
1001:
811:
699:
418:
288:
250:
234:
2296:
A dance that significantly travels over the dance floor, generally in the direction of the
2490:
1816:
1748:
1615:
1546:
1405:
1394:
1383:
1061:
990:
679:
637:
382:
300:
71:
2073:, etc., are also sometimes called "steps". For example, in a description: "step forward,
1618:. They may face inwards or outwards, and hold one or both hands or stand independently.
1614:
is any dance position in couple dances, in which the partners stand apart in contrast to
2392:", to indicate both the rhythmic pattern of the figure (1&2, 3&4, 5, 6) and the
2514:
1961:
A dance that is generally danced in a restricted area of the dance floor. Examples are
1923:
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1725:
1500:
1310:
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1244:
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371:
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17:
3001:
2769:
2444:
2357:
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2317:
2240:
1991:
1966:
1927:
1903:
1760:
1611:
1580:
1424:
1335:
1306:
1295:
1098:
672:
648:
515:
459:
398:
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242:
28:
2506:
2418:
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2103:
1733:
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1331:
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1200:
805:
713:
620:
545:
495:
491:
455:
447:
40:
16:
This is a list of dance terms that are not names of dances or types of dances. See
2829:
2761:
2337:
and when dancing without physical contact. An important example of the latter is
1551:
In descriptions of the footwork of step patterns the abbreviation NFR stands for
2397:
2393:
2256:
2128:
2102:
begin and end precisely at the "counts" 1, 2, etc. which normally match musical
1861:
1752:
1492:
1327:
36:
2715:
2178:
This image also illustrates a strong top line in
International Standard dances.
1479:
An imaginary straight line passing through the foot in the heel-toe direction.
1294:
and followers. Rules of matching vary. The name comes from the popular
English
1893:
901:
880:
869:
858:
2880:
Harris, Jane A.; Pittman, Anne M.; Waller, Marlys S.; Dark, Cathy L. (2002).
1666:
by means of physical contact. Types of physical connection are body contact,
1215:
ballroom competitions. Sometimes in the context of competitions it is called
1047:
positions of dancers or dance couples on the floor relative to each other and
2389:
1860:
refers to a movement during which the side of the body corresponding to the
1784:
1636:
1240:
1196:
977:
582:
560:
is a figure of three steps in which the feet are closed on the second step.
471:
470:" for the explanation of the difference. Voice calls may be complemented by
1571:
The term has at least two meanings: regarding dance position and regarding
593:
The term has at least two meanings: regarding dance position and regarding
557:
514:
during a dance, the term "center" means the direction perpendicular to the
1914:
A dance style in which the couple's movements are generally confined to a
966:
31:, leaving out terms of highly evolved or specialized dance forms, such as
2404:
2036:
means temporary assuming the leading role by the follower. Also known as
1371:
1163:
means temporary assuming the leading role by the follower. Also known as
609:
2748:
ED: a framework for teaching Swing and Blues dance partner connection".
272:"American Smooth" redirects here. For the poetry book by Rita Dove, see
2305:
1591:
1236:
703:
414:
292:
2411:
1962:
1804:
1496:
1192:
570:
426:
238:
230:
32:
2417:
Finally, for more advanced dancers voice cues are actually names of
743:, thus enabling leader to communicate intentions to follower. See
2309:
2301:
2171:
2091:
2061:, is a single move of one foot, usually involving full or partial
1744:
1560:
1488:
889:
695:
616:
422:
410:
409:
Body flight is a property of many movements in dances such as the
284:
1852:
A body position or action during a step, sometimes also called
1347:
197:
the directions the feet face in relationship to the room. See
2991:
2828:
Richard M. Stephenson; Richard
Montgomery Stephenson (1992).
2817:(9th ed.). London: Adam & Charles Black. p. 17.
2787:(9th ed.). London: Adam & Charles Black. p. 15.
2663:(9th ed.). London: Adam & Charles Black. p. 30.
2032:
In social dancing strongly reliant on leading and following,
1159:
In social dancing strongly reliant on leading and following,
429:
dances where many steps arrive to a point of static balance.
1438:
27:
This glossary lists terms used in various types of ballroom
1050:
directions the dancers face or move with respect to others.
1109:
Major types of dance frames are Latin, smooth, and swing.
953:
Both dance partners take (at least) a step backwards into
2896:
See illustrations of positions and related descriptions.
2721:. International Choreographed Ballroom Dance Assiciation
1118:
new count "<1>, <hold>-&-3, 4-&-1".
731:
A means of communication between dancers in the couple.
43:, which have their own elaborate terminology. See also:
2994:
large information base about more than thousand dances.
2813:
Moore, Alex (1986). "Contrary body movement position".
326:
developed in the United States that contrasts with the
2239:. The criteria for evaluation of dance mastery in the
1714:
is described differently in various dance categories.
544:
It is said that the CPB is in the general area of the
2931:
Monte, John; Lawrence, Bobbie; Astaire, Fred (1978).
1864:
is consistently in advance as a result of a previous
1130:: it is a way the partners hold each other by hands.
2798:
Silvester, Victor (1977). "Contrary body movement".
2744:
DeMers, Joseph Daniel (2013). "Frame matching and ΞP
1491:
of the music according to the number of measures or
1004:describes dance technique aspects related to feet:
2628:
2626:
2624:
2622:
2620:
2618:
2616:
2614:
2612:
2610:
2608:
2606:
2604:
2602:
2600:
2598:
2596:
2065:to the moving foot. However foot actions, such as
643:in tango, the offset is somewhat larger. Contrast
397:, mainly of the right-hand sides of the partners'
2594:
2592:
2590:
2588:
2586:
2584:
2582:
2580:
2578:
2576:
1635:, and are often preceded by a step with a strong
1227:that derives from ballet technique) It includes
2255:or dance figure with respect to musical timing:
1499:to as fast as 58β60 MPM for international style
1460:dancers should proceed along the line of dance.
1106:with the partner and conveys intended movement.
944:Direction of movement Β§ Directions of turns
2800:Modern ballroom dancing: history & practice
1081:means that at the end of the step the dancer's
2783:Moore, Alex (1986). "Contrary body movement".
1350:motion found in the technique of performing a
358:Sometimes this term is used in the meaning of
2488:
2467:
2360:as well as "side by side position patterns".
1179:International Latin is category of dances in
8:
2659:Moore, Alex (1986). "Definitions of terms".
709:Compression is a hip action in Latin dances.
548:for the gentlemen, and navel for the women.
526:
95:
2083:
2005:
1783:while keeping it in place. For example, a "
1779:means replacing the weight to the previous
1682:Pinched shoulder is the position seen when
1487:Measures per minute, or MPM, refers to the
1272:
1247:. This category loosely corresponds to the
1930:, may be danced in slotted style. Compare
751:, two basic associated actions/reactions.
2802:(9th ed.). London: Paul. p. 81.
2654:
2652:
2650:
1263:The term describes a particular style of
322:The term describes a particular style of
306:This category loosely corresponds to the
256:This category loosely corresponds to the
161:
2739:
2737:
2735:
2710:
2708:
2706:
2704:
2702:
2700:
2698:
2696:
2694:
2692:
2690:
2251:The relation of the elements of a dance
2077:, together" all three actions are steps.
1837:
1775:In brief descriptions of dance figures,
1276:
1212:
1180:
1044:of a dance team is the specification of
821:A signal to execute a dance figure. See
732:
394:
327:
311:
261:
257:
149:
126:International Dance Teachers Association
2688:
2686:
2684:
2682:
2680:
2678:
2676:
2674:
2672:
2670:
2572:
884:is an official term to denote dance as
171:
132:Imperial Society of Teachers of Dancing
736:
525:may also be used as shorthand for the
490:or a cuer is a person that calls/cues
346:In social dancing strongly relying on
2831:The Complete Book of Ballroom Dancing
2341:the partner during turns, especially
1974:
1935:
1698:
1457:
1363:
7:
2400:: every second syllable is stressed.
2141:
2087:
1949:
1918:. The most typical slotted dance is
1841:
1797:
1512:
1415:The term describes type of physical
1359:
1248:
1148:
1086:
1017:
691:
602:
335:
331:
2959:. DanceCentral.info. Archived from
2408:
1313:competitions in the United States.
1268:
1252:
1183:ballroom competitions. It includes
283:ballroom competitions. It includes
280:
225:ballroom competitions. It includes
222:
120:International DanceSport Federation
2325:
2297:
1978:
1888:
1658:Physical connection, physical lead
1650:
1563:) and legs only, not in the feet.
663:Compression is a type of physical
165:
143:
137:
14:
2501:Cues are an important element of
1780:
391:closed position with body contact
362:, which is not exactly the same.
155:
2217:
2161:
1667:
1627:with the right foot. (The term
1420:
1406:Lead and follow Β§ Hijacking
1231:(formerly called "slow waltz"),
1126:Handhold is an element of dance
969:, and given a name, for example
744:
712:An action to achieve a graceful
2882:Social Dance from Dance A While
2716:"Glossary of Round Dance Terms"
2321:
2237:Technique, timing, and teamwork
2020:
1931:
659:The term has several meanings.
2342:
2332:Visual connection, visual lead
2292:Travelling (progressive) dance
845:
826:
475:
22:List of dance style categories
1:
2338:
2221:
1874:contra body movement position
1833:
1671:
1633:contra body movement position
1572:
1446:and the identified directions
775:Contra body movement position
769:Contra body movement position
694:(American style) categories:
687:
668:
594:
307:
84:Contra body movement position
65:
2762:10.1080/14647893.2012.688943
2074:
1428:
748:
2980:List of partner dance books
2933:The Fred Astaire Dance Book
2750:Research in Dance Education
2551:List of dance organizations
2403:Still another example: the
2018:
2003:
1947:
1922:. Some other dances, e.g.,
1749:Argentine/salon style tango
1715:
1696:
1648:
1464:
1309:conventions, as well as at
1038:is a team of dance couples.
1000:In a wider sense, the term
843:
381:Body contact is a style of
245:. Sometimes it may include
3029:
2859:. Altera. pp. 37β38.
2857:Dance Terminology Notebook
2537:
1765:counter promenade position
1718:counter promenade position
1544:
1533:
1522:
1449:
1427:dance community. See also
1403:
1392:
1381:
1355:
988:
941:
930:
919:
867:
856:
809:
803:
791:Counter promenade position
772:
758:
740:
724:
690:(International style) and
635:
369:
271:
102:Counter promenade position
2540:Weight transfer (dancing)
2421:and standard variations:
2252:
1915:
1468:
1351:
1346:A characteristic type of
905:
822:
625:International Style waltz
2935:. Simon & Schuster.
1622:Outside partner position
1211:A category of dances in
581:Ballroom dances such as
454:to execute a particular
393:); it is also a type of
279:A category of dances in
221:A category of dances in
48:Glossary of ballet terms
3013:Partner dance technique
2906:Bottomer, Paul (1990).
2283:Tracking, track of foot
910:Glossary of dance steps
904:, for another one, see
533:Center point of balance
527:center point of balance
96:Center point of balance
53:Glossary of dance moves
2910:. Sounds Sensational.
2855:Blair, Skippy (1994).
2561:List of musical topics
2489:
2468:
2179:
2006:International Standard
1579:A figure performed in
1447:
1326:As applied to dances,
1221:International Ballroom
1207:International Standard
601:A figure performed in
579:International Standard
274:American Smooth (book)
2884:. Benjamin Cummings.
2636:. BallroomDancers.com
2527:direction of movement
2212:Describes a physical
2197:In dancing, the term
2175:
2053:In a strict sense, a
1452:Direction of movement
1442:
1389:Leading and following
1085:is directly over the
933:Direction of movement
922:Direction of movement
916:Direction of movement
900:For one meaning, see
512:direction of movement
348:leading and following
199:Direction of movement
2380:instructors cue the
2111:In a broader sense,
1866:contra body movement
1368:full weight transfer
1267:that contrasts with
1078:full-weight transfer
761:Contra body movement
755:Contra body movement
193:Alignment can mean:
108:Diagonally to center
78:Contra body movement
3008:Glossaries of dance
2957:"Alignment diagram"
2556:Musical terminology
2243:dancing community.
1906:), than in others.
1838:sweetheart position
1483:Measures per minute
1259:International Style
1213:International Style
1181:International Style
1175:International Latin
787:promenade figures.
589:Closed dance figure
462:, calls are called
395:physical connection
328:International Style
312:International Style
303:was also included.
262:International Style
150:Measures per minute
2634:"Dance dictionary"
2525:When indicating a
2180:
2152:It is also called
1712:promenade position
1706:Promenade position
1684:promenade position
1525:Musicality (dance)
1448:
955:promenade position
727:Connection (dance)
645:promenade position
537:Together with the
510:When indicating a
494:to be executed in
450:is a command by a
172:Promenade position
114:Diagonally to wall
2841:978-0-385-42416-5
2388:, shuf-fle-STEP,
2034:stealing the lead
2028:Stealing the lead
1691:Progressive dance
1629:left side outside
1596:open reverse turn
1567:Open dance figure
1536:New Vogue (dance)
1458:travelling dances
1165:stealing the lead
1083:center of gravity
938:Direction of turn
927:Direction of step
539:center of gravity
90:Center of gravity
3020:
2972:
2971:
2969:
2968:
2953:
2947:
2946:
2928:
2922:
2921:
2903:
2897:
2895:
2877:
2871:
2870:
2852:
2846:
2845:
2825:
2819:
2818:
2815:Ballroom Dancing
2810:
2804:
2803:
2795:
2789:
2788:
2785:Ballroom Dancing
2780:
2774:
2773:
2741:
2730:
2729:
2727:
2726:
2720:
2712:
2665:
2664:
2661:Ballroom Dancing
2656:
2645:
2644:
2642:
2641:
2630:
2513:and called by a
2509:they are called
2494:
2482:
2478:Dame dos con una
2449:natural fallaway
2434:closed promenade
2378:East Coast Swing
2023:
2013:Stationary dance
2008:
1975:travelling dance
1971:east coast swing
1952:
1936:travelling dance
1920:west coast swing
1836:vary. Variants:
1759:, triple-count,
1721:
1701:
1699:Travelling dance
1678:Pinched shoulder
1653:
1364:Cuban hip motion
1342:Latin hip motion
848:
812:Latin hip motion
800:Cuban hip motion
675:dance community.
577:, as well as in
251:West Coast swing
235:East Coast swing
3028:
3027:
3023:
3022:
3021:
3019:
3018:
3017:
2998:
2997:
2992:Streetswing.com
2988:
2976:
2975:
2966:
2964:
2955:
2954:
2950:
2943:
2930:
2929:
2925:
2918:
2908:Argentine Tango
2905:
2904:
2900:
2892:
2879:
2878:
2874:
2867:
2854:
2853:
2849:
2842:
2827:
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2743:
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2668:
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2657:
2648:
2639:
2637:
2632:
2631:
2574:
2569:
2547:
2542:
2536:
2534:Weight transfer
2523:
2366:
2334:
2300:. Examples are
2294:
2285:
2277:
2269:
2249:
2234:
2210:
2195:
2177:
2170:
2150:
2148:Supporting foot
2142:Supporting foot
2138:
2123:, for example:
2063:weight transfer
2050:
2030:
2015:
2000:
1987:
1959:
1950:American Smooth
1944:
1912:
1885:
1870:body turns less
1850:
1842:cuddle position
1830:
1828:Shadow position
1825:
1817:Rises and falls
1814:
1798:American Rhythm
1793:
1773:
1726:ballroom dances
1708:
1693:
1680:
1660:
1645:
1624:
1616:closed position
1609:
1569:
1549:
1547:Rises and falls
1543:
1538:
1532:
1527:
1521:
1513:Supporting foot
1509:
1485:
1477:
1454:
1437:
1413:
1408:
1402:
1397:
1395:Lead and follow
1391:
1386:
1384:Lead and follow
1380:
1344:
1330:is any type of
1324:
1319:
1285:
1265:ballroom dances
1261:
1209:
1177:
1157:
1145:
1136:
1124:
1115:
1095:
1070:
1062:Formation dance
1059:
1057:Formation dance
1036:dance formation
1027:
998:
993:
991:Lead and follow
987:
963:
951:
946:
940:
935:
929:
924:
918:
898:
877:
872:
866:
861:
855:
840:
838:Dance formation
835:
819:
814:
808:
802:
793:
777:
771:
763:
757:
729:
723:
684:ballroom dances
680:rises and falls
657:
640:
638:Closed position
634:
632:Closed position
603:closed position
591:
566:
554:
535:
508:
484:
444:
435:
407:
387:partner dancing
383:closed position
379:
374:
368:
344:
336:American Rhythm
332:American Smooth
324:ballroom dances
320:
277:
270:
268:American Smooth
219:
217:American Rhythm
211:
191:
186:
162:Outside partner
72:Cross-body lead
61:
12:
11:
5:
3026:
3024:
3016:
3015:
3010:
3000:
2999:
2996:
2995:
2987:
2986:External links
2984:
2983:
2982:
2974:
2973:
2948:
2942:978-0671230647
2941:
2923:
2917:978-0951724309
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2891:978-0805353662
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2409:American-style
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2216:, opposite to
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1983:
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1954:
1953:
1943:
1940:
1911:
1908:
1889:slotted dances
1884:
1881:
1854:same side lead
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1534:Main article:
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1523:Main article:
1520:
1517:
1508:
1505:
1501:Viennese waltz
1484:
1481:
1476:
1473:
1450:Main article:
1436:
1433:
1419:, opposite to
1412:
1409:
1404:Main article:
1401:
1398:
1393:Main article:
1390:
1387:
1382:Main article:
1379:
1376:
1374:leg movement.
1343:
1340:
1336:Latin American
1323:
1320:
1318:
1315:
1311:ballroom dance
1284:
1281:
1269:American Style
1260:
1257:
1253:American Style
1245:Viennese waltz
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1205:
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667:, opposite to
656:
653:
636:Main article:
633:
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629:
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614:American Style
606:
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587:
565:
562:
553:
550:
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531:
507:
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483:
480:
448:square dancing
443:
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378:
375:
372:Ballroom dance
370:Main article:
367:
364:
343:
340:
319:
318:American Style
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297:Viennese waltz
281:American Style
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41:square dancing
29:partner dances
18:List of dances
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2963:on 2020-04-28
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2866:0-932980-11-2
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2843:
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2834:. Doubleday.
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2508:
2507:square dances
2504:
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2462:
2458:
2454:
2450:
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2445:Open Telemark
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2423:
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2419:dance figures
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2396:character of
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2386:shuf-fle-STEP
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2158:standing foot
2155:
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2136:Standing foot
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1979:slotted dance
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1651:Jack and Jill
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1643:Pat and Chris
1642:
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1612:Open position
1607:Open position
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913:
911:
907:
903:
895:
893:
891:
887:
883:
882:
874:
871:
864:Dance pattern
863:
860:
852:
847:
842:
841:
837:
832:
830:
828:
824:
816:
813:
807:
799:
797:
790:
788:
784:
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768:
766:
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746:
742:
738:
734:
728:
720:
715:
711:
708:
705:
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697:
693:
689:
685:
682:technique of
681:
677:
674:
670:
666:
662:
661:
660:
654:
652:
650:
649:open position
646:
639:
631:
626:
622:
618:
615:
611:
607:
604:
600:
599:
598:
596:
588:
586:
584:
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572:
563:
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551:
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547:
542:
540:
532:
530:
528:
524:
519:
517:
516:line of dance
513:
505:
503:
501:
497:
496:square dances
493:
492:dance figures
489:
481:
479:
477:
473:
469:
465:
461:
460:round dancing
457:
453:
449:
441:
439:
432:
430:
428:
424:
420:
416:
412:
404:
402:
400:
399:costal arches
396:
392:
388:
384:
376:
373:
365:
363:
361:
356:
353:
349:
341:
339:
337:
333:
329:
325:
317:
315:
313:
309:
304:
302:
299:. Previously
298:
294:
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286:
282:
275:
267:
265:
263:
259:
254:
252:
248:
244:
240:
236:
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224:
216:
214:
208:
203:
200:
196:
195:
194:
188:
183:
178:
175:
173:
169:
167:
166:open position
163:
159:
157:
153:
151:
147:
145:
144:Line of dance
141:
139:
138:Jack and Jill
135:
133:
129:
127:
123:
121:
117:
115:
111:
109:
105:
103:
99:
97:
93:
91:
87:
85:
81:
79:
75:
73:
69:
67:
63:
62:
59:Abbreviations
58:
54:
51:
49:
46:
45:
44:
42:
38:
34:
30:
25:
23:
19:
2965:. Retrieved
2961:the original
2951:
2932:
2926:
2907:
2901:
2881:
2875:
2856:
2850:
2830:
2823:
2814:
2808:
2799:
2793:
2784:
2778:
2756:(1): 71β80.
2753:
2749:
2745:
2723:. Retrieved
2660:
2638:. Retrieved
2524:
2510:
2503:round dances
2500:
2367:
2347:
2335:
2316:, Argentine
2295:
2288:directions.
2286:
2278:
2270:
2250:
2236:
2235:
2229:
2211:
2198:
2196:
2183:
2181:
2157:
2154:support foot
2153:
2151:
2139:
2121:dance figure
2120:
2116:
2112:
2070:
2066:
2058:
2054:
2037:
2031:
1988:
1960:
1913:
1892:
1886:
1878:
1869:
1858:Side-leading
1857:
1853:
1851:
1831:
1815:
1781:support foot
1776:
1774:
1753:swing dances
1743:In American
1742:
1731:
1723:
1709:
1681:
1661:
1628:
1625:
1610:
1588:feather step
1570:
1557:no foot-rise
1556:
1553:no foot rise
1552:
1550:
1541:No foot rise
1510:
1486:
1478:
1475:Line of foot
1462:
1455:
1443:
1414:
1345:
1332:social dance
1325:
1304:
1286:
1262:
1251:category of
1225:modern dance
1220:
1216:
1210:
1178:
1164:
1158:
1146:
1137:
1125:
1116:
1108:
1096:
1087:support foot
1076:
1072:
1071:
1060:
1041:
1035:
1031:
1014:
1009:
1005:
999:
976:
970:
964:
952:
899:
879:
878:
820:
806:Cuban motion
794:
778:
764:
730:
658:
641:
621:natural turn
592:
567:
555:
546:solar plexus
543:
536:
522:
520:
509:
500:round dances
485:
463:
456:dance figure
445:
436:
433:Body support
408:
390:
380:
377:Body contact
357:
352:anticipation
351:
345:
321:
310:category of
305:
278:
260:category of
255:
220:
212:
209:Amalgamation
192:
176:Q β Quick
156:No foot rise
26:
15:
2491:salsa rueda
2470:Dile que no
2398:swing music
2350:cha-cha-cha
2218:compression
2200:syncopation
2193:Syncopation
2162:moving foot
2129:triple step
2042:backleading
2040:. Contrast
1862:moving foot
1668:compression
1507:Moving foot
1421:compression
1328:Latin dance
1189:cha-cha-cha
1169:backleading
1167:. Contrast
1073:Full weight
1068:Full weight
1010:foot action
908:. See also
886:competitive
745:compression
655:Compression
575:cha-cha-cha
474:. See also
421:and to the
405:Body flight
342:Backleading
227:cha-cha-cha
179:S β Slow
136:J&J β
37:tap dancing
24:for those.
3002:Categories
2967:2020-04-30
2725:2020-06-04
2640:2020-05-04
2567:References
2487:, used in
2457:quick wing
2394:syncopated
2382:basic step
2343:free spins
2322:spot dance
2320:. Compare
2214:connection
2125:basic step
2119:, i.e., a
2117:dance step
2021:Spot dance
1973:. Compare
1957:Spot dance
1932:spot dance
1894:dance slot
1757:East Coast
1664:connection
1598:, e.g. in
1519:Musicality
1417:connection
1255:ballroom.
1128:connection
1104:connection
902:Dance move
896:Dance step
892:activity.
881:Dancesport
875:Dancesport
870:Dance move
859:Dance move
853:Dance move
810:See also:
721:Connection
665:connection
472:hand signs
446:A call in
264:ballroom.
2770:144054392
2390:rock BACK
2364:Voice cue
2182:The term
2038:hijacking
1848:Side lead
1834:Handholds
1785:rock back
1738:promenade
1716:See also
1637:side lead
1530:New Vogue
1241:quickstep
1197:pasodoble
1161:hijacking
1155:Hijacking
1143:Heel turn
1134:Heel lead
1042:Formation
1032:formation
1025:Formation
978:spin turn
846:Formation
827:Voice cue
583:quickstep
521:The term
476:Voice cue
360:hijacking
189:Alignment
2545:See also
2405:box step
2339:spotting
2275:Top line
2267:Toe lead
2222:leverage
2140:Same as
2090:dances (
2084:Standard
2059:footstep
1998:Standard
1985:Spotting
1672:leverage
1662:A dance
1573:footwork
1411:Leverage
1372:staccato
1338:origin.
1273:Standard
1217:Ballroom
1122:Handhold
1113:Guapacha
1002:footwork
996:Footwork
985:Follower
949:Fallaway
733:Physical
704:foxtrots
688:Standard
669:leverage
610:box step
595:footwork
366:Ballroom
308:Standard
66:Three Ts
2485:Spanish
2474:setenta
2306:foxtrot
2208:Tension
2075:replace
2057:, or a
1777:replace
1771:Replace
1761:country
1594:or the
1592:foxtrot
1429:tension
1292:leaders
1237:foxtrot
967:gestalt
781:without
749:tension
696:waltzes
585:locks.
466:. See "
415:foxtrot
301:Peabody
293:foxtrot
170:PP β
160:OP β
154:NFR β
148:MPM β
142:LOD β
130:ISTD β
124:IDTA β
118:IDSF β
112:DW β
106:DC β
100:CPP β
94:CPB β
88:COG β
82:CBMP β
76:CBM β
70:CBL β
64:3T β
2939:
2914:
2888:
2863:
2838:
2768:
2515:caller
2356:, and
2247:Timing
2228:Three
2115:means
2100:do not
2088:Smooth
1942:Smooth
1924:hustle
1900:hustle
1891:, the
1805:Rhythm
1791:Rhythm
1465:center
1378:Leader
1360:Rhythm
1249:Smooth
1243:, and
1199:, and
1149:Smooth
1099:frames
1097:Dance
1018:Smooth
961:Figure
737:visual
700:tangos
692:Smooth
558:chassΓ©
552:ChassΓ©
523:center
506:Center
488:caller
482:Caller
468:Caller
452:caller
427:rhythm
295:, and
241:, and
239:bolero
39:, and
33:ballet
2766:S2CID
2719:(PDF)
2511:calls
2505:. In
2480:!..."
2476:!...
2472:!...
2461:waltz
2453:whisk
2438:tango
2426:walks
2424:"Two
2412:rumba
2376:Some
2373:one).
2358:salsa
2354:mambo
2318:tango
2314:samba
2310:polka
2302:waltz
2261:beats
2241:swing
2104:beats
2096:tango
2092:waltz
1967:salsa
1963:rumba
1928:salsa
1904:salsa
1745:tango
1600:tango
1561:torso
1497:rumba
1489:tempo
1425:swing
1356:Latin
1322:Latin
1307:swing
1277:Latin
1233:tango
1229:waltz
1193:rumba
1185:samba
1093:Frame
972:whisk
890:sport
741:frame
673:swing
617:waltz
571:rumba
564:Check
458:. In
423:Latin
419:tango
411:waltz
289:tango
285:waltz
258:Latin
247:samba
243:mambo
231:rumba
2937:ISBN
2912:ISBN
2886:ISBN
2861:ISBN
2836:ISBN
2521:Wall
2430:link
2384:as "
2259:and
2257:bars
2253:step
2185:sway
2168:Sway
2113:step
2086:and
2071:kick
2055:step
2048:Step
2019:See
2004:See
1948:See
1926:and
1916:slot
1883:Slot
1803:See
1796:See
1710:The
1697:See
1649:See
1555:(or
1493:bars
1469:wall
1358:and
1352:step
1275:and
1201:jive
1008:and
906:Step
844:See
825:and
823:Call
747:and
735:and
714:sway
647:and
573:and
498:and
464:cues
442:Call
425:and
413:and
334:and
249:and
20:and
2758:doi
2459:" (
2436:" (
2407:of
2156:or
2067:tap
1887:In
1868:or
1823:SβZ
1740:".
1732:In
1724:In
1590:in
1354:in
1348:hip
1334:of
1317:LβR
1298:, "
1219:or
1075:or
1034:or
975:or
833:DβJ
817:Cue
785:all
686:of
623:in
619:or
612:in
385:in
184:AβC
164:or
3004::
2764:.
2754:14
2752:.
2734:^
2669:^
2649:^
2575:^
2517:.
2463:).
2455:,
2451:,
2447:,
2440:).
2432:,
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2345:.
2328:.
2324:,
2312:,
2308:,
2304:,
2224:.
2164:.
2144:.
2127:,
2094:,
2069:,
2044:.
1981:.
1977:,
1969:,
1965:,
1938:.
1934:,
1856:.
1844:.
1840:,
1767:.
1674:.
1670:,
1575:.
1515:.
1503:.
1467:,
1431:.
1279:.
1239:,
1235:,
1203:.
1195:,
1191:,
1187:,
1171:.
1030:A
1012:.
981:.
957:.
912:.
888:,
829:.
702:,
698:,
651:.
597:.
556:A
529:.
502:.
486:A
478:.
401:.
338:.
291:,
287:,
253:.
237:,
233:,
229:,
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2970:.
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2894:.
2869:.
2844:.
2772:.
2760::
2746:T
2728:.
2643:.
2495:)
2483:(
2466:"
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2232:s
2230:T
2131:.
2106:.
1807:.
1800:.
1755:(
1720:.
1602:.
1583:.
716:.
706:.
627:.
605:.
389:(
276:.
201:.
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