FP couple Turn (T) stps are QT (¼T) see *Rule of Turns*, & T in direction

of Drive ft unless specified otherwise*

CP> Fwd-LT>c +CP>c = Fwd-L ¼ LTrn-Fc coh.

CP> = CP dance line. CP< = CP RLOD

> = dance line, dl. < = reverse dance line

+ = end/blend. +> = end dance line. +<= end Rev dance line.

+/w> = end diag wall dance line. +\w< = diag wall rlod.

+\c< = diag coh rlod.

--------

B

b & c. Bow & curtsey.

bk, cut. Bk stp followed by a cut stp. See bk, lock.

bk, cut, back. 1-meas 3-stps. Bk, cut, bk;. Timed to rhythm.

back-L. stp bk on-L.

bk, lock. a. 2 step fig: bk stp followed by a lock (lk) or cut stp.

b. Some standards specify term lock instead of cut for backward lock

stps on stp-2 of `bk, lock' combos. And Use cut if lock precedes bk stp.

Bk, lk, bk, lk; vs Cut, bk, cut, bk;.

bk-R. stp chg on-R.

bk-to-chg (bk to bk). a. bk-to-bk pos wgt-R.

b. Sd LT, cls-R, sd LT, +Bfly>w;.

backlash. a.Strong lead help girl start spin & fig flow.

Spin leads her hand in T direction. Not for general use.

b. Rear apt hands joined, use partner counter-balance.

Rough amateur action, can cause collision or stp on person beh dancer.

Hand slip may cause fall.

backward (bwd). Direction fm dancer's back. chg stp. chg up.

Badger gavotte. Repetitive 8-measure two-stp fig. OP>:

Meas 1-2: Walk L, - , R, - ; L, - , RT, +Bfly>w;

3-4: sd-L, cls-R, sd-L, cls-R; sd-L, cls-R, sd-L, - +LOP<;

5-8: Rpt meas 1-4 twd < opposite ft work;;;;.

bal. balance.

balance (bal). a. 3-stp 1-meas fig, [6-stp 2-meas fig].

Bfly: sd-L, beh-Rball, rec-L flat; sd-R, beh-L on ball, rec R-flat;.

Music sets rhythm. beh stp on ball hover stp, followed by a rec stp.

b. Pas de basque.

c. 1-stp 1-meas pattern: sd-L, - , tch-R, - ;.

d. Intro: apt-L, -, pnt-R, -; rec-R, - , tch-L, -;.

f. bk, - , tch, - ;.

g. stp Fwd, -, draw, - ;.

h. stp bk, - , draw, - ;.

i. stp sd, -, draw, - ;.

j. Sd, thru Rk on ball, rec, - ;.

k. Hover: Sd, beh-ball, rec on flat;.

Balance is needed for body control, smooth dancing & pleasant

appearance. Use good posture & small stps. An object is balanced when

Center of Gravity (COG) is above wgt ft.. Inanimate objects of fixed

size & shape remain balanced until acted upon by a force. The Force

needed to disturb the balance of an object depends on object wgt & shape.

A small force can upset a light object w/a high COG on a small base

(Like a "HIGH, WIDE & HANDSOME dancer; with Head Up - EYES UP - & ELBOWS

UP - Balanced on one-ft). A large force is required to upset a heavy

object with a low COG on a broad base.

A couple's combined wgt (250 to 350 pounds) has a high COG.

Good balance is neededed to control moves of the wgt. Stand erect,

head high, arms at sides wgt on both feet to establish COG near torso

mid-section. This puts the head directly over COG & support point/s. The

head detects balance chgs best when located above COG. Bending head to

watch feet shifts COG Fwd of support line. The COG may be restored to

support line by protruding fanny. Head offset fm the vertical support

line reduces balance detection sensitivity & control. The supporting hip,

knee & ankle bend & the fanny protudes. The more fanny protrudes the

greater the head, hip, knee & ankle bend. Bent support joints are bounce,

hinges & complicate balance control. COG moves complicate balance

control. Small stps move dancer shorter distances at a slower rate of

speed than large stps. Better balance is achieved w/small stps & slower

body moves.

Body configurations chacges & COG shifts as an arm or leg is extended.

Bends or tilts shift COG & require detection & adjustment. Rough, jerky

& bouncy stps disrupt balance. Bounce is up & down motion. Jerks, sudden

starts, fast acceleration & deceleration, qk stops & direction chgs

create complex lateral forces that affect balance. For best balance move

COG at a uniform rate of speed in a fixed direction on a constant level.

Reduce unnecessary forces affecting balance, for dance ease & smooth

enhanced appearance.

Pull, push, jerk, hold, lean-on or hang-on by partner create forces

that interfere w/ balance. Such force must be offset by counter-force

to maintain balance. Anticipating direction & magnitude of partner

generated forces can be difficult. Smooth dancing is best achieved w/o

unanticipated partner generated forces. Each partner should dance as if

dancing alone. Few dance actions require force from partner to maintain

balance. Eliminate unnecessary forces that impair balance. For good

balance dance HIGH, WIDE, & HANDSOME: dance tall, stp small w/o bounce &

jerks.

balancetes. Samba bal or pas de basque.

Balboa. Rumba 6-stp 2-meas fig: Rk bk, rec, tch; Fwd; Rk Fwd, rec, tch, bk;

ball. Ball of ft. a. stp on ball with heel less than ½" above floor.

A ball stp becomes a "TOE" stp if heel height exceeds ½".

b. Formal social dance.

c. See: flow & sd stp.

ball/chg. a. Disco terms for two stps: Ball = stp-1, chg (cls) = stp-2.

In plc-L ball/cls-R flat,.

Example: Kick-L, ball-L/chg-R flat, Kick-L, ball-L/cls-R;.

Cue = Kick, ball/chg, kick, ball/chg;.

b. Terms used for 2 qk stps (stp, cls,) in Two-stp, fox trot & 4/4

time rhythm dances. Also for Wz stp-2/& -3.

ballroom. Room or hall for dancing.

ballroom dancing. Dancing in a ballroom. Ballroom does not describe a

specific type of dance. It is a room where a dance is held, i.e. room

designed for balls. Dance locations include: streets, court yards, camp

fires, lawns, barn yards, barns, night clubs, kitchens, ballrooms, etc..

Early American ballroom dance programs list a variety of dance types:

minuet, contra, reel, wz, gavotte, cotillion, quadrille, etc.. Ballroom

dance types: S/D; RD; line; circle; hully gully; western; couple;

exhibition & others. All rhythms are danced. Some folk consider ballroom

dance with: night club, free style, ad lib, or other forms of couple

dancing. Ballroom dancing is an all-inclusive term, used for any type of

dance, that a speaker has in mind, danced in a ballroom.

The term "Ballroom Dancing" is used by many dance studios, to

represent social couple dancing, as taught by their studio.

banana stp. 4-ct calypso fig, also called tilting. FP>w:

sd-L bend knee-swivel extend R-heel tch floor, sd-R bend knee, L-swivel

extend L-heel to tch floor;.

b. Start on-R: sd-L bent knee, R-swivel on-L pnt R-heel sd,

sd-R bent knee, L-swivel pnt L-heel sd;.

bandera. Banner, flag, streamer, cape.

banderilla. Small bandera. Paso Doble 2-meas 8-stp pattern.

Man wgt-L: sd-Rball R-arm overhead L-arm sd at shoulder level, rec-L,

plc-R, plc-L;

Appel stomp-R lower body, sd-Lball L-arm overhead R-arm at shoulder level,

rec-R, plc-L;.

bandido. Bandit. Outlaw.

bandoleer. Bandido shoulder ammunition belt.

Ammo box w/ shoulder strap/belt.

Bjo. Bjo Position.

a. Partners fc opposite directions R-hips adj, lead hands joined (R-arm

fully extended). (L-hand on frnt his R-shoulder), R-arm in frnt of her,

R-hand on her L-waist.

b. CP fc>w. L-hand joined to her R-hand, (remain in plc L-hand on frnt

his R-shoulder). Man stp sd-L so R-hips /adj, lower R-hand to her L-waist.

Dancers separated one ft length wgt-R/to partner. NOT side to side R-hips

tching. R-ft on line outside her R-ft.

c. Outside position. Girl on R/.

d. Contra body position.

e. Fm CP> wgt-R ft: G remain in plc, Man sd L, cls R +Bjo>, lead hands

L to (R) joined, R hand on (L-hip) (L-hand) on frnt R-shoilder, +Bjo>.

Bjo, chk. a. 1-meas walk of 2 stps. CP>: Fwd-L, Fwd-R chk +Bjo>.

Bjo double natural spin. a. 1-meas Wz full 360º R-spin fig. Bjo>, 2-stps

(4-stps). Bjo> wgt-L: Fwd-RT>w (bk-L toe to heel), sd-Lball (sd-R ½LT)

RT loose CP<, ride LT on Lball (wheel around & T man sd-L ¼RwheelT>, qk

thru-R< +Bjo>.

b. Bjo> ½R-wheel 2 slow stps couple then (R-circle 2 qk stps T man on

his Lball) Example, Bjo> on-L: Fwd-R RIwheel, - , bk-L RTwheel, ride

rideT Lball no stp (½ circle qk-L/qk-R T man) +CP>;.

bas. Basic.

base. Support. A pnt located beneath pair's COG.

A common COG is created by a firm brace. A firm brace combines wgt &

COG. A firm brace on narrow base plcs wgt ft close tog & permits good

lead-follow control. A loose brace on a wide base plcs ft far apt &

impedes lead-follow dancing.

basic (bas). a. Fundamental: direction, stp, fig, position, etc..

b. Cue word for basic cha-cha pattern.

c. 2-meas fig associate w/ rhythm. Rumba: Rk Fwd-L, rec-R, cls-L, - ;

Rk bk-R, rec-L, cls-R.

Pros review basics when performance quality declines. This applies to:

golf, bowling, ftball, tennis, basketball, swimming, skating, diving,

vaulting, baseball, singing, music, dancing, etc.. Pros know quality

depends on sound basics. Excellence requires repeated basics practice.

Competition judges rate performers on school figures/basics. Champions

& leaders plc high importance on mastering basics. This applies to dance.

Slurred basics = poor performance. Practice & review basic figs in a

painless manner. Dance easy well known dances often, concentrate on ft

work, figs, timing, positions & blends. Wait till the dance is over to

talk & joke. Don't treat easy dances as a bore or demeaning. Each sit-out

skips a chance to examine & hone basics. Slurring easy dances in careless

manners displays contempt for a dance & develops bad habits that affect

appearance on higher level dances. Dance easy dances smoothly, think of

appearance, improve execution the 2nd time thru. It's harder to think of

basics execution while learning advanced dances. Learning a new fig or

dance increases quantity, not quality. It wont make better dancers,

proper execution of basics makes best dancers. Dancers often get through

advanced dances, but dance poorly. "It ain't what you do, it's the way

how you do it, that's what get results."

basic cha. OF> Rk Fwd-L RT>, rec-RT>w, fwd-L/cls-R, fwd-L;

Rk fwd-R LT>, rec-LT>c, Fwd-R/cls-L, Fwd-R;.

basketball turn (bbl trn).

a. 4-stp 2-meas solo 360º turn fig, keep origonal wgt ft in contact

w/start spot on floor Solo>wht-R: Rk Fwd-L RT>w, - , rec-RT Solo<, - ;

Rk Fwd-L RT>c, -, rec-RT Solo>, -;.

b. Turn used in basketball (pivot) to avoid the "walk"/"travel" penalty.

Ball handler keeps floor contact of one ft on one spot & may move the

other ft any number of times w/out progress.

c. Bfly> Rk Turns: Rk, - , Rec T-in, - LOP</w;

Thru Rk, - , T-awy, - ; Bfly

bassa nova. a. Single bassa nova: staccato rumba rhythm dance. Timing:

Slo, - , qk, qk;. Swivel hip rumba rumba steps w/out shoulder swivels.

b. Double bassa nova: dance in double-time (samba time) rhythm.

Time: Slo, qk/qk, Slo, qk/qk;

batuque. Viennese Wz switch fm Bjo to Scar or vice versa. Scar> wgt-R:

Rk Fwd-L, rec-R +looseCP/>, fwd-L +Bjo>;

bbl. Basketball.

beat (bt). Unit of music rhythm. Cadence or timing of music.

4/4 time = 4-beats/meas.

3/4 time = 3-beats/meas.

beats per minute. (bpm, b/m). Tempo/speed of music.

beg. Begin.

beguine. Martinique island dance. Free form of orgiastic sex flirtation w/

no hold or motion barred. Haitian style merengue. Cole Porter's "Begin

the Beguine" dos not represent rhythm or music.

beh (beh, bhd). Behind.

a. stp in back of or beh wgt ft.

b. beh partner.

Belen. Belen, NM 1888 schottische.

belking. Swedish La Raspa style dance. Time: qk, qk, qk, - ;.

Bfly-Bjo identical ftwork wgt on-R tch Lheel Hop-R in-plc,

Hop to-L pnt Rheel Fwd, hop to-R pnt Lheel, hop-L pnt Reel, - ; switch

+Bfly-Scar: Hop to-R pnt Lheel Fwd, hop-L pnt Rheel, hop-R pnt Lheel, -;.

bend. Bend knee/s or other body joints.

bfly. Bfly position.

bhd. beh.

Big Apple. a. Mid-1930s dance pattern.

b. New York City.

c. Vaudeville term Apple: Contract to perform. Small town contract =

Little Apple. Big city contract, Chicago or Philadelphia, = a Big Apple

d. The Big Apple: New York City, the largest USA city, & goal of every

performer. THE BIG APPLE.

big top. 3-stp 1½ meas ½LT (full 360º RT) fig fm SCP> +CP<.

a. SCP on-L>: Fwd-LT-solo>c, sd-RT-solo<, cls-L solo<; Tch-R +CP<

(fwd-R solo-RT->w, stp-L solo-RT<, stp-R RT->c; sd-L RT +CP<)

Biltmore. 8-stp 4-meas Wz. CP> wgt-R :

Fwd-L, -, tch R-toe, -; Fwd-R, sd-L ball, cls-R;

Bk-L, tch R-toe,- ; Bk-R, sd Lball, cls-R;.

biscuits. Old barn & S/D term for Bjo. The patter phrase "If you can't get

biscuits, feed her cornbread." cues man to take girl in biscuits (Bjo)

position, if she will accept biscuits.

"Feed her cornbread" means extend R-arm to forearm grip if she won't.

Biscuits = a more intimate position, is reserved for husband, sweetheart

or family member.

bjo. Banjo.

bk. Back.

bk to bk. Back to Back Position. Bk2Bk.

blend. (+) a. Adjust (adj).

b. Smooth well timed chg of positions &/or directions.

Adjust body to a target position during an on-going meas, en-route to a

target position. Do not wait until the follow-on meas begins. Blend TO

target AT location, not AFTER reaching target location.

blue bonnet. A Schottische dance.

bnce. Bounce.

body mechanics. Body: control; moves; actions; balance; self-propulsion

forces. Use of principles of physics & laws of motion & self-propulsion

forces. Direction of motion & degree of turn are limited by body

mechanics. CP stp directions are limited by partner's body & foot

locations.

See: RULES OF TURNS, DRIVE, TORQUE & MOMEMTUM. Proper mechanics

involves use of body parts, joints, wgt carriage, movement, posture

& balance, plus eyes, head & body orientations & configurations.

body wave. Evenly timed body moves: Bend knees, bring hips Fwd & tilt

shoulders bk, then straighten knees bring hips & shoulders Fwd.

boleadoras. 3-ball symbol of the South American gaucho. Round stones

wrapped in leather & attached to 3 long rawhide thongs. Whirled abt a

gaucho's head & thrown to wrap around legs of & trip rheas, horses & cows.

bolero. a. Knock a ball around.

b. Drunk.

c. Slow tempo rumba, or bolero son.

d. Spanish Wz: 16-meas routine danced to "Estudiantina Wz".

bolero box. 6-stp 2-meas girl under & around rumba fig.

Rumba box (R-circle under arched hands & around to face man).

bolero rumba. Natural hip roll, w/o sway or wiggle. Free hip sags/falls as

wgt shifts to stpping leg & hip. Small stps accentuate hip roll.

bongo. Hand played single headed Latin bass drum.

Contrast tone to timbale drum.

bossa nova. New beat. Brazil. Combined samba-rumba rhythm.

Style: short stps, bend & straighten knees, shoulders & body motionless

as hips rise & fall gently.

Fwd-L, - , pnt-R to sd, - ; Fwd-R, - , pnt-L sd, - ;

Bk-L, - , pnt-R sd, - ; Bk-R, - , pnt-L sd, - ;.

bossa nova twist. sd-L twist, twist, twist, tch-R;

sd-R twist, twist, twist, tch-L;.

Boston. Hesitation dip or Rk. 1-meas 1-stp Wz pattern, date: 1890.

Bk-L, rise on-L ball, fall on-L flat;, or:

Fwd-L, rise-L, fall-L;.

Rise on ball may include a free ft swing: stp-L, rise on Lball swing-R,

fall-L;.

bota foga. Boot-shaped wine bag. 6-stp CP fig.

Samba meas-1: Fwd-L, Rball-/chg-L, Fwd-R, Lball-/chg-R;.

Rumba meas-1: Fwd-L, Rk-R, rec-L, - ; Fwd-R, Rk L, rec-R, - ;.

b. FP: Thru-L, sd Rk-R, rec-L, - ; Thru-R, sd Rk-L, rec-R, - ;.

c. Boto foga ShadP opposite ftwork, Xib (Xif) sd Rk in apt.

d. Two-stp rhythm OP> wgt-R: Sd Rk-L, rec-R, thru-L, -; +LOP>

Sd Rk-R, rec-L, thru-R, -; OP>

both. Cue directed for man & girl. Both look out, both look in, both twinkle

in bk, etc.. CP & FP cues are directed to man. Both alerts girl to modify

cued direction &/or pattern.

bounce (bnce). Fall & rise of body on each stp. Smooth head & body carriage

w/o up & down motion is desired. Constant head level gives best body

move control. Uniform motion permits dancing w/a book balanced on head.

Bounce is caused by; Dancing high on balls (toe prancing); Bent wighted

knee, ankle & hip joint muscles act as spring coils to give & stretch as

wgt is accepted & lower the body, then recoil to restore body level.

Muscle that lower & restore body height use energy, & tire a dancer.

Bounce increases on larger stps, w/tempo increase. Bounce interferes w/

lead signals & follow response. Bounce increases down-wgt on stp ft &

requires more lead force. Bounce delays responds.

Bounce stp actions: 1. wgt shifts to stpping ft. 2. Body lowers fm

inertia of wgt transfer. 3. Body rise to overcome inertia & restore

level, complicated by overshoot beyond intended level. Bounce limits

stpping speed.

bouncer. Dancer whose body height rises & falls on each stp. Explain

advantages & appearance of smooth dancing. Let stubborn bouncers bounce.

a. Eliminate bounce. Bouncers who rise on ball & settle to heel may find

a degree of corrective aid w/higher shoe heels. Try a wide heel 1½" - 2"

high. Higher heels limits the fall distance fm ball to heel & may reduce

a degree of bounce.

b. Avoid bent knee shuffle stps caused by high heels. Some dancers

prefer high heels.

c. Large muscular man at a bar or dance-hall. employed to eject

disorderly customers.

bow & curtsy (b & c). Old acknowledgment. Man bows (girl curtsy).

Replcd by erect posture intro for appearance & smother blends.

box. 6-stp 2-meas CP square shaped ftpath fig.

a. Two-stp: sd-L, cls-R, Fwd-L, - ; sd-R, cls-L, bk-R, - ;.

b. Wz: Fwd-L, sd-Rball, cls-L; Bk-R, sd-Lball, cls-R;.

c. The Box Sd stp does not flow. Fwd momentum created by the Fwd DRIVE

stp continues into the follow-on ball step, to be slowed & stopped. A

Dancer can not make a 90º in-flight change of body mass motion, but must

contact the floor to stop on-going flight motion. Dancer creates the 90º

SIDE motion fm a sstationary launch platform. A dancer may alter facing

direction while in-flight, but NOT body mass motion.

Attempts to execute Sd, steps in flight result in awkward/clumbsy moves.

Icrease the tempo, & observe results. Then compare the smoother flow of

the LT-Box: Fwd-LT, Sd-R, step combo: where the Sd step continues the body

mass flow in-line with the DRIVE step. Instead of a sharp 90º body mass

motion change.

Small Sd stps, on non-turning box patterns, reduce lateral force needed

to alter drive stp momentum.

Theory "Side, Close," Two-stp stps resulted fm converting the L-turn

Wz stps for 4/4 time Two-stp non-turning Box use. Wz LT "Side, Close,"

stps flow in line with a LEAD drive stp. A flowing follow-on stp is often

absent on a Two-stp Box pattern. Some dance instructors who do not fully

understand body mechanics momentum & flow - may emphasize the SIDE stp.

Ball, chg, is a description of stps used for the Two-stp BOX. BOX: Ball,

chg, Fwd, - ; Ball, chg, bk, - ;

bpm (b/m). Beats per minute.

brace. a. Check stp. Fwd-L, chk-R, rec-L, - ;.

b. Configuration of partners hands, arms & shoulders that join a couple

in CP. L-hand to her-R & extended at her shoulder level. R-hand on back

of her L-shoulder blade, finger tips at her spine. (Girl tilt bk, against

his R-hand. L-arm contact w/ his R-arm, L-elbow atop his R-arm, L-palm on

front of his R-shoulder, fingers sloped in line w/forearm. Girl apply

firm L-hand & arm pressure on front of his R-shoulder & upper arm. L-arm

elbow at shoulder level in-line w/hand contact w/his upper arm.) Man keep

firm (not forcing) R-hand counter pressure on her L-shoulder blade.

Counter pressures on his-R (her-L) shoulder to firmly join pair, & provide

the lead-follow link needed to dance in unison. See FLOW. A firm BRACE

joins partners as a single unit. A firm brace insures that pair moves

combined wgt in concert, rather than as two separate wgts. Dancers

separated by 1-forearm bone length (elbow to wrist) distance bet L-to-R

shoulders. Also see: ELBOW for elbow level & relation to brace.

Her L-hand should be on front of his R-shoulder. Include her L-& arm/&

body inside the brace, to reduce need for her to relocate her L-hand, arm

or body on TWIRL patterns. Less suitable locations for her L-hand include:

On top of his R-shoulder (invites using him as a crutch, &/or to lead

him); Or a Vise Grip on his upper R-arm (reduces shoulder & ft separation

needed for firm brace & THRU stps, needs readjustment of her L-hand/arm

/body & ft positions on many patterns/actions). Front of his R-shoulder

provides an optimum brace return target for her L-hand. Designated brace

locations are fixed configuration targets for her L-hand & body to resume

CP.

c. 3-stp 1-meas chg fm Scar to Bjo & vice versa.

Fm Scar: Rk Fwd-L, - , rec-R +Bjo;.

brackets ( ). Enclosure to identify her part, stps & actions.

brazeo. Arm movement/s.

brazos. Arms.

break (brk). a. Breakaway.

b. Extra bars of 2-meas or less, bet 2-parts of a dance. or Discrete

music of beat/s, note/s, hold/s &/or combinations thereof.

break cha. Hand to hand>. Bfly>:

Rk beh-L +OP>in, rec-RT +Bfly>, sd-L/cls-R, sd-L;

Rk beh-R +LOP>out, rec-L +Bfly>, sd-R/cls-L, sd-R;.

breakaway (brkawy). Break, chg fm CP, Bfly or other FP, OP or ½OP variation

w/ a Rk chg stp. Break may use a rec stp return to position.

Two-stp breakaway CP>:

Sd-L, Rk beh-R +LOP>w, rec-L +CP>, -;

Dance opposite direction on opposite ft.

bridge. Music beak of extra meas/s bet dance parts.

bridge break. 8-stp 3-meas swing or jazz pattern.

Twirl, - , 2, - ; Rk apt, rec, Rev twl, - ; 2, - SCP, dip, rec;

brk. Break.

broken pattern. Broken: box; Scissors; side two-stp; etc.. A 2-meas Fig

separated by a meas bet meas-1 & meas-2.

a. CP>w ½ Box +SCP<; Wk-R,, L, +CP>w; ½ Box Bk +SCP>; Wk-L,, R, +CP>w;

b. CP>w ½ Box Fwd; Rk beh-R, - LOP, rec-L, CP>w;

½ Box bk; Dip-L,, rec-R, +CP>w;.

c. CP>w Scis thru +LOP<; Wk,, 2, CP>w; Scis thru +OP>; Wk,, 2,;.

brsh. Brush.

brush (brsh). Brush free ft Fwd (non-stp) on floor.

brush tap. Tango style. Fwd, sd, brush, tap;.

bsktbll trn. (BBT) Basketball turn.

bt. Beat.

bug the teacher. Dance actions to attract attention, show off &/or defy

instructions. Arrive late & leave early. Delay forming a dance circle,

let group & teacher listen to the music as you gab w/buddy. Sit out

teach & workshop, then ask for a re-teach after most of the group knows

the dance. Ask questions only during breaks, to get individual teaches

that the group will miss. Form dislike for dances & figures w/o learning

them, think of the time & effort saved if a dance is dropped. Request a

teach on a dance learned elsewhere (but unknown by group) & sit out the

teach & tell dancers the workshop instructor taught so & so different.

Joke & talk during teachs, especially when sitting out teaches. Instruct

partner & adjacent couples during a teach. Assume others prefer to learn

from you rather than instructor. Ignore style tips, ftwork & body moves.

Perform figures different fm the teach, improvise better ways. Use kinks

w/ new dancers & confuse learning. Never improve a pattern learned 25 yrs

ago fm a honky-tonk drunk, who may never took a dance lesson. Explain how

you enjoy dancing w/ other teachers & request dances they taught last

week. Give other activities priority, have teacher & group repeat teaches

you miss. Think up goodies of your own, work at it as hard as teacher

does screening material, selecting & learning dances to teach. Never tell

teacher you enjoy a dance or appreciate the teach or cues. Complain abt:

high & low levels; Too many or few, new & old dances or patterns; long or

short Medleys & rests.

bump. a. Gentle exaggerated tch of hip or butt to partner's, to imitate a

forceful collusion.

b. Burlesque strip-tease walk. Fwd pnt or tch w/free-hip move. 2 or more

"stp-L, - , bump-pnt-R, - ; stp-R, - , bump-pnt-L, - ;" combos.

Raise & extend free hip & pelvic Fwd on bump-pnts.

bunny hop. 4-meas fig to "The Bunny Hop". Dancers in tandem line of 2 or

more. Trailing dancers face back of lead dancer w/hands on hips.

Identical ftwork all dancers start wgt-R w/L-free.

Kick-L/, tch-L, kick-L/>, Stp-L;

Kick-R/, tch-R, kick-R/>, Stp-both ft wtgd;

Hop Fwd, -, hop bk, - ;

Hop Fwd, hop, hop, wgt-R; Rpt dance until music ends.

Start dance wgt L or R, leader's choice.

Cue: Kick, tch, kick, stp; Kick, tch, kick, stp;

Hop, - , hop, - ; Hop, hop, hop, -;.

bustle. Fwd-L, brush-R, Fwd-R, brush-L;.

Bfly (bfly) position. FP, join hands L-to-R, extend arms to sides at her

shoulder level. Pretty Bfly style is high, wide & handsome.

Bfly Bjo position. BflyP, retain hand holds: (Girl stay in plc) man stp

sd-L 4" to 6" L- of her path. R-ft/L of partner's R-ft. Extended

R-elbow in front of partner at her shoulder level.

Bfly Shadow position. Both face same direction him her other, extend arms

to sides at her shoulder level, hands L-to-L & R-to-R.

Bfly Scar position. Bfly retain hand holds: (Girl stay in plc) man stp

sd-R 4" to 6" to R-side of her path. L-arms in front of partner at her

shoulder level. L-ft outside of partner's L-ft.

Bfly tilt position. Bfly, tilt joined lead hands his-L (her-R) 45º down,

tilt trailing R-hand (her-L) 45º up. Open bodies slightly & look over

lower lead hands, usual direction of tilt position travel. Stand tall,

erect posture. Over-tilt of arms, or body-tilt ruins appearance & moves.

Reverse tilt = lead hands up, trailing hands down.

buzz. Solo LT-buzz: wgt Lball, push-R/ to floor & LT rotate ccw.

R-ft pushs ___# indicated by number in cue term.

L-Buzz 4 = push 1, 2, 3, 4.

RT-buzz: wght on Rball, push-L ___#.

bxib. Both cross free ft in back.

bxif. Both cross free ft in front.

Vs 2.0 Revised 030317