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-face coh.

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

> = dance line, < = 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.

--------

C

caharaina. Chilean music instrument made fm jawbone & teeth of cow or horse.

cakewalk. a. CP> strut: Fwd-L lower lead hands sway-L, - , Fwd-R raise lead

hands sway-R, - ;. Sway twd stpping ft.

b. OP> Strut: Raise L-knee, kick-L, Fwd-L, - ;

Raise R-knee, kick-R, Fwd-R, - ;.

California twirl. See frontier whirl.

Callerlab. Organization (ORG), founded 1971 by caller members of S/D Hall

of Fame, to guide direction of S/Ding.

calves. Animal bones or Hard wood sticks, struck tog to produce Latin

music beats.

calypso. Trinidad, West Indies or Caribbean dance. w/ Generous hip action.

a. Basic: Fwd-L L-knee bent, Pnt-R rise on L-ball, Bk-R R-knee bent Pnt

Bk-L rise R-ball;.

b. Other calypso patterns: Banana or tilt stp; carnival walk; swivel;

slew ft; face & bk; rk; slide fwd & bk;.

camel walk. a. Disco: fwd dig or stub stps:

Fwd-L stub, - , Fwd-R stub, - ;.

b. 2-meas 8-stps.

Fwd-L raise R-knee, Fwd-R, Lk-L, Fwd-R;. Repeat w/ same ftwork.

canconi. a. Spanish for song.

Cancion bolero. Slow tempo rumba.

canter (cant, cntr). 2-stp 1-meas Wz.

a. Sd-L, draw-R, cls-R;.

b. Fwd-L, draw-R, cls-R;.

c. Bk-L, draw-R, cls-R;.

d. stp-L (any direction), cls-R, - ;.

e. Early 1900 modified version of canter used by the CASTLEs.

Fwd-L, draw-R, Fwd-R;.

canter pivot. a. Pvt 2.

b. Vienese Wz, CP<on-R: Bk-L RT-in +CP>in, - , Sd-R RT>CP>;.

cape. Hold both hands & guide girl fm one position to next.

Imitate a matador waving a cape.

cape turn. Paso doble fig.

SCP>on-R: Fwd-L, Fwd-RT-out +CP>out, Sd-L +Bjo, hook-R beh-L man on-L;

Unwind ride on-L (wheel & T man), cls-R +CP>out, Sd-L, cls-R;.

caper. Lift girl on "Volte" LT w/ R-thigh beneath her rump.

Cut a caper: dance the caper. Also "Rumpling".

b. Fm Latin word capra (goat). Capricious goat-like action. Kids eating

grass may suddenly prance & butt others, & return to eating. Compare a

dancer's sudden break fm conventional to un-restrained dance styles.

caping. Swirl.

cardinal Pnts. a. Compass Pnts = north, south, east & west.

b. The 4 primary dance circle or hall directions: 1. Dance-line (>);

2. Reverse (<); 3. Center (in); 4. Wall (out).

carnival walk. 1-meas calypso pattern. Start on-R knee bent:

Stamp-L fwd no wgt straighten R-leg, Fwd-L bent knee, stamp-R fwd no wgt-

straighten L-leg, Fwd-R bent R-knee;.

Castlewalk. Long glide stps style w/ a light airy manner as Vernon & Irene

CASTLE (1912). CP>: Fwd-L, R, L, R; L, R, L, hop-L flick-R;.

cat walk. Pnt-L fwd, Fwd-L, Pnt-R fwd, Fwd-R;. Cue: Pnt, stp, Pnt, stp;.

catapult. a. Slingshot device.

b. Throw from a catapult.

c. Swing pattern in place girl circle man. CP>out: rk apt-L, rec-R

arch joined R-hands, in place-L/R, L; R/L, R, (chg sds under R-hand

arch R/L, R to OP>; (cir man ccw L/R, L Shadow pos>,). Lower joined

R-hands & join L-hands rk apt man Fwd-L (Bk-R), rec R-ft release R-hands;

In place L/R, L, R/L, R (cw circle man +<shadow R/L, R release L-hands,

R-spin L/R, L to +FP<); +FP<lead hands joined.

cbm. Contra body movement/motion.

cbp. Contra body position.

ccw. Counter-clkwise.

center. Insd of the circle.

center of gravity (cog). a. Pnt of equalibrium w/in a body.

b. Pnt of a body abt which all parts are balanced.

c. Standing erect COG is located insd the abdomen near navel. Balance

exists w/ COG directly over supporting ft.

A dancer's COG shifts w/ each stp & body configuration change.

Extending an arm or leg, a tilt of torso or head, shifts the COG. Each

COG shift is offset by a counter-shift to keep balance over support Pnt.

Contra body movement centered around the average COG provide counter-

balance & counter-force so dancer moves smoothly at a uniform rate w/

periodic instantaneous balance control.

center of the hall (coh). Hall center. Insd of the circle. In.

cha. (chasse) a. Split Q-beats/stps (¼-notes) of cha-cha.

b. Basic cha; Walk cha; sd cha; etc..

c. Marimba Q-note beats.

d. Abbrev of chasse. Thru cha (Wz) = Thru chasse = sd/cls, sd;.

e. Thru cha (foxtrot) = Thru, -, sd/cls, sd;. sd/cls = chasse = cha-

cha.

cha cha. a. 2-qk note beats/stps in a ¼ note time space.

b. 2-qk note marimba shakes.

c. Latin rhythm dance, origin Cuba(?). Derived (?) fm rumba, mambo &

swing. Typical mambo music, rhythm, tempo & melody, w/ syncopated marimba

beats on counts 3/& of 4/4 time music. Instead of 4 even spaced ¼ time

beats (1, 2, 3, 4;), cha cha contains 5-beats (1, 2, 3/4, 5;). Beats 3/4

are qk 1/8 notes. stp timing: Slow, slow, quick/quick, slow;. Use rumba

mambo hip style. rk on straight leg w/ flexed supporting hip & falling

free hip.

Syncopate: derived fm French words: cynco = 5, pate = stp, meaning 5-

stps. The dictionary defines syncopate as the shift of metrical accent or

beat. Shift occurs on short counts 3/4. rk Fwd-L, rec-R, L/R, L; rk Bk-R,

rec-L, R/L, R;. Cha/cha, = stp/cls. sd cha = sd/cls. Bfly>out:

Basic cha: rk Fwd-L, rec-R, L/R, L; rk Bk-R, rec-L, R/L, R;.

Cha patterns: Basic: Heel-toe, L-turn, Breakaway, Crossover, Sandstp,

Chasse or flirt, Walk cha, Hop cha, New Yorker, Fan.

d. Cha/cha beats-stps (chasse) are used in Wz & foxtrot rhythms, Q cts

are replaced by twp 1/8 note beats/stps. See chasse. cha cha box. ft-

path = a square or rectangle. clsd or Bfly pos. a. Sd-L, cls-R, Fwd-

L/cls-R, Fwd-L; Sd-R, cls-L, Bk-R/cls-L, Bk-R;. b. Fwd-L, Fwd-R, Sd-L/

cls-R, Sd-L; Bk-R, Bk-L, Sd-R/ cls-L, Sd-R;. c. Sd-L, cls-R, Sd-L/cls-R,

Fwd-L; Sd-R, cls-L, Sd-R/cls-L, Bk-R;. d. Rk sd-L, rec-R, Sd-L/cls-R,

Fwd-L; Sd-R rk, rec-L, Sd-L/cls-R, Bk-L;.

chair. a. SCP: fwd lunge stp. Style: body profile resembles profile of a

straight chair. Chair seat = knee to hip of bent stpping leg. Torso =

chair bk. Trailing leg = rear chair leg. Dancer ability & music tempo

influence depth & degree of knee bend. Look > or at partner.

b. 3-stp 1-meas pattern. SCP: Chair, - , rec, cls;. A deep knee

bend lunge. Use to end a dance where time to rise to upright position is

not limited by the musical beat.

chamame. Argentine type polka.

change. Disco term: stp in place or cls.

change hands beh bk. 1½ meas 4-stp single swing, or 8-stp triple swing

pattern. Partners change places, man ½-LT (half RT pass beh his bk).

FP L-hand joined w/ her R-hand: rk apt-L, rec-R (change R-hand to his

R-hand), Fwd-LT, Sd-R, LT> (RT>fc his bk) change her R-hand to L-hand;

LT Sd-R/T-L, T-R, +place change. (use R-hand only, keep L-hand free)

change of directions. 1-meas T to CP or Bjo pos w/ 2 stps & 1 non-stps

CP\>out: Fwd-L/>out (Fwd-RT>out, T-<, Sd-R<) +OF>, draw tch-L;.

change outsd. Out sd change.

change places. Change places & facing direction w/ partner. (Girl R-turn

pass under lead hand arch) man LT pass beh girl. Wz: 6-stp 2-meas fig

FP>in. chg sds: Fwd-LT<, Sd-R, cls-LT (R-turn under arch) +LO>out;

change places L to R. a. 4-stp 1½-meas single swing pattern (girl change

places fm his L to R w/ LT under arched lead hands). FP> : rk apt-L,

rec-R, Sd-L, - ; Sd-R, - , (apt-R, -, rec-LT>w, Sd-R LT<, -; Bk-LT +CP,

- ,) +CP>w.

b. Triple swg: 8-stp 1½-meas pattern. FP>: rk apt-L, rec-R, Sd-L/cls R,

Sd-L; Sd-R/cls-L, Sd-R, (apt-R, rec-LT>w, Sd-R LT>/cls-R, Bk-LT und arch

fc man +c, - ; Sd-L/cls-R, Sd-L,), +FP>w.

changes places R to L. a. 4-stp single swing 1½-meas pattern (RT und arch

& change places fm his R to L). SCP>: rk Bk-L, rec-R CP>w, Sd-L (Sd-RT

-twirl >w), - ; Sd-R (Sd-L RT<), - ,. +FP>.

b. 8-stp triple swing 1½ meas pattern. SCP>: rk Bk-L, rec-R CP>w,

Sd-L/cls-R, Sd-L (Half RT-und arch +>w R/L, R); Sd-R/cls-L, Sd-R (RT L/R,

L +<), +FP>.

chg sds. chg sds with partner, fm in sd to out sd of circle, or vice versa.

Man pass beh girl. Hand & ft actions directed on cue sheet.

charge. 6-stp 2-mea smambo fig. FP hands free: rk Fwd-L (Fwd-R), rec-R,

cls-L, - ; rk Fwd-R (Fwd-L), rec-L, cls-R, - ;. Rk fwd both 1/8 T lead

shoulder twd partner.

Charleston. 2-meas pattern, 1-stp & 1-Pnt per meas.

Fwd-L, -, Pnt-R fwd, -; Bk-R, -, Pnt-L bk, -;.

Ball stps: Fwd-L in front of R, - , Pnt-R fwd, - ;

Bk-R, - , Pnt-L bk, - ;. Swivel both heels `out' &

`in' on fwd & bk stps & Pnts.

chase. a. Chase partner: 6-stp 2-meas mambo pattern. FP>w hands free:

rk Fwd-L RT< (rk Bk-R), rec-R RT>c (rec-L tandem pos beh man,) Fwd-L, - ;

rk Fwd-R LT< (Fwd-L RT>), rec-LT>w (rec-RT>w) tandem man beh girl, Fwd-R,

-;.

b. Cha-cha chase or flirt, a 2-meas 10-stp pattern. FP>w hands free:

Rk Fwd-L RT<, (Bk-R no-turn), rec-RT>c (rec-L) tandem pos girl beh man,

Fwd-L/cls-R, Fwd-L; rk Fwd-R LT< (Fwd-L RT>), rec-LT>w (rec-RT>w) tandem

pos man beh girl, Fwd-R/cls-L, Fwd-R;. Next meas man dance basic & girl

Half L-turn on rk & rec beats +FP>w.

chasse. (cha.) a. French for chase.

b. 1-ft follows (chases) other.

c. Fwd or Sd qk stp plus a qk cls stp.

d. stp & cls stps taken on qk-beats.

e. Series of qk sd & cls stps.

f. Wz: Thru, sd/cls, sd;.

g. Fox-trot: Thru, - , sd/cls, sd;.

h. Two-stp: sd, cls, sd, cls;.

i. Move Sd-L or -R in direction of free ft for 2 or more sd/cls stps.

j. Cue man to chasse-L a specific number of stps: CHASSE 5 = 5-stps =

sd, cls, sd, cls; sd, - - . Any number of stps may be used: chasse 4, 5,

6, 7, 8,... N.

chasse left. Man chasse-L, natural chasse direction.

chasse `position'. Chasse to target position. Chasse semi = chasse ended

in SCP.

chasse right. Chasse-R = reverse of man's natural-L chasse direction.

check (ck). a. stp & stop flow & prepare to rev direction of flow.

b. Check alerts dancer that a reverse stp occurs following the check.

Fwd-L, - , check-R, - ;.

check & weave. 6-stp 2-meas pattern. CP< Lwgt: Bk-R LT chk +Bjo<\w,

fwd check-L, Bk-R; Bk-L, Bk-R LT +SCP/>w, Sd-LT +CP>;.

chg. Change.

chg(bk). Bk stp. Bk up. Direction awy fm man's bk. Dancers bk.

chg apt. chgaway fm partner.

chg breakaway. (bk break) stp bk breakaway +½OP.

chg chasse (cha). Bk cha T follow.

a. CP>wgt-L: Bk-R T-out, sd-L/cls-R, sd-L;.

b. CP<wgt-R: Bk-L T-in, sd-R/cls-L, sd-R;.

c. CP>wgt-R: Bk-L T-out, sd-R/cls-L, sd-R;.

chg chk. Stp bk & hold prepared to stp fwd.

chg contra chk. Bk chk stp +contra body position.

chg corte. CP> dip: Bk-L twist +>/in. May be styled w/bent L-knee.

Tempo to influence degree of knee bend, twist & stp length.

chg cross Rk. Bk rk stp cross beh wgt ft.

chg cut 4 (5, 6 or N'). Numbers denote number of bk & cut stps.

Bk cut 4 = Bk, cut, bk, cut;.

5-stps for bk cut 5,

6-stps for bk cut 6, etc..

chg feather. CP>: half box bk +Bjo.

CP> on-L: Bk-RT/>c +Bjo/>, sd-L, cls-R;.

chg feather ftnish. chgfeather.

chg hover. 1-meas 3-stp multi-rhythm ftg. Start & end various positions.

Bk-L, bk-R [or sd] on ball, rec-L flat +target pos;. chg one-stp.

International fox trot (not one-stp rhythm).

CP>: Bk-L, - , sd-R, cls-L; Bk-R, - , sd-L, cls-R;.

Seldom used RD term, confused with "1-stp bk" & "3-stp" .

chg pass. Girl pass beh man to chg sds or places. Chg hands beh bk,

Departs fm girl pass in front rule.

chg scissors. Scissors pattern man cross beh.

sd-L, cls-R, beh-L, - +Bjo; sd R, cls-L, beh-R, - +sdcar;.

chg together. Disco term = bk, tch,.

chg tch stps. Tch (touch) ft-action, not a stp. Disco hustle term = tap free ft

beh wgt ft. Examples: CP.

a. chg tch stps Basic: sd-L, tap-R, sd-R, tap-L; sd-L, cls-R,.

b. chgtch stps with left movement & ½T: sd-L, tap-R, sd-R, tap-L;

sd-L, thru-R, sd-L, tap-R; sd-R, tap-L blend to Bjo, Fwd-L ¼R-wheel,

Fwd-R ¼ R-wheel;.

chg turning hover. 3-stp 1-meas chg direction & position pattern. CP>w:

Bk-L RT<, sd R-ball, rec-L flat;.

chg twinkle. Twinkle chg (Fwd): Bk-L RT, sd-R, cls-L;.

chg two-stp. Two-stp: bk, cls, bk, - ; bk, cls, bk, - ;.

chg up. Dance bkward.

chg whisk. bk ward whisk. 3-stp 1-meas chg fm CP to SCP. CP>w Lwgt:

Bk-R LT toe to heel stp, sd-L ball, hk-R ball beh L (hk-L ball beh R)

+SCP>;.

chicken walk (chick wlk). 1-meas4-stp bking pattern. FP lead hands joined:

Bk-L T (Fwd-R swivel), Bk-R LT (Fwd-L-swivel), Bk-L RT (Fwd-R R-swivel),

Bk-R L-swivel (Fwd-L L-swivel);. (tilt bk use his lead hand as counter-

balance. Swivel heel to ball stps. Extend free ft diag Fwd-out on swivels.

chicote. Very small. Iota.

choreograph. a. Arrange stps, patterns & ftgures in routines to match music

phrases.

b. Write a RD cue sheet. Combine dance phrasing w/ music so

"music tells you what to do". No pay is received for writing cue sheets

to `pop' label records. Pay fm RD label records is not

significant. Motive is fm creative instincts, desire to contribute to

dancer enjoyment, ego, recognition, challenge, apprentice assignments,

etc.. Choreographers need encouragement, credit & recognition for

efforts. New dances provide interest, education & entertainment.

Good dance music is easy to recognized, w/ a catchy, lingering tune & a

known melody that is easily recalled, sang or hummed. Rhythm needs a

distinct beat w/ constant tempo & excellent arrangement-orchestration.

Good music is needed to compete w/ over 200+ annual dances.

Two record label types are Popular (Pop) & RD. Pops include: Capital;

MCA; Columbia; RCA; Mercury; etc.. RD labels: Green; Hi-Hat; Windsor;

Blue Star; etc.. Pops are popular arrangements by nationally known

artists, & are available w/o negotiation w/ record companies. Buy a

record, dance to it, write a dance & send the cue sheet to a RD magazine

for publication. Pops drawbks: The same record is available to all

choreographers, & may result in release of several dances to the record;

Competing dances on a record reduce chances of each becoming a nation wide

hit; Many dances to a given tune, reduce the chances of each. Timely

publication of cue sheets for pop tunes discourage other choreographers

from using the record. The Cue Sheet, RDr & other magazines

publish cue sheets. Pops are available on 45 rpm records for a limited

time. Companies release music on 45's to test rate tunes. Hits are

recorded on 33 1/3-rpm albums & the 45 pressing is discontinued.

Potential pop-label RD hits have been killed because music was not

available on 45's. Potential profits fm repressing of pop music on 45's

are un-attractive investments.

Negotiations between choreographer & RD label companies are required to

write dances for release w/ records. Available music is limited. Timely

release of popular tunes on RD labels is difficult, & dances compete w/

pop-label hit versions. Choreography is edited & modified by RD record

companies & subject to rejection. Companies prefer to deal w/ big-name

choreographers w/ many fans. Some teachers use big-name choreographed

records & bypass better dances by unknowns until such dances become hits.

Old RD label tunes are available for new dances. Old tunes that were

not hits on initial release, don't attract dancers. Dancers often reject

new dances to old records, in preference for an old familiar dance. RD

record dealers provide cue sheets w/ records.

Many companies no longer produce 45 & 33 & 1/3 rpm records. Recordings

are now released on tapes & CDs.

chr. Chair.

chug. A 1-count small fwd, bk or sd hop. wgt on both ft, chug bk: Up-wgt

[maintain ball-to-floor contact] & slide feet bk 1-ft length (6" to 10").

cinque pas. a. Syncopate, from cinque = 5 + pas = pace. b. Volte Related.

cinquello. a. Argentine walk.

b. 5-stp 2-meas pattern: Fwd-L, - , Fwd-R, - ; Fwd-L, Fwd-R, Fwd-L, - ;.

Time: Slo, - , slo, - ; Qk, qk, slo, - ;.

c. 10-stp 4-meas ftgure: Slo, - , slo, - ; Qk, qk, slo, - ;

Slo, - , qk, qk; Slo, - , slo, - ;

cir. Circle.

circle (cir). a. Dancers form circle facing center, girl on man's right,

all hands joined his palms up (hers down), extend his at her shoulder

level.

b. Partners circle away & together, ft-paths trace opposite solo circles

i.e.: Man L-cir ccw (girl R-cir cw).

c. 8-stp 2-meas LT merengue pattern. CP>: Fwd-LT>c, cls-R, Fwd-LT<,

cls-R CP<; Fwd-LT CP>w, cls-R, Fwd-LT CP>, cls-R;.

circle box. a. 6-stp 2-meas (girl under & around) pattern.

FP>w : Box (girl cir und arch & around man FP>w);;.

b. Box (girl R-circle away & together w/o arch);;.

circle chase. Circle fig danced in tandem, one partner chases the other.

circle dance. a. RD or S/D. ftgures are common to both. Classed as RD &/or

S/D by ftg & ftwork used. Individuals or couples progress & mix. Related

to maypole & bonfire dances. Typical circles: Spanish circle; Whistle or

snowball; Penny or Rattle; Tucker Wz; Paul Jones; Old Dan Tucker; Native

American Indian; etc..

b. Circle dances are likely earliest forms of GROUP dances. Originated

around cook/camp ftres, bef or aft a community feast, in celebration of

the meal or other significant event. (Thanks to <RedHorse@gbso.net> for

the reminder "We Native Americans do a RD, too.... :-)")

circlette. Dance a circle around girl to turn her (Girl ride on ball, free

ft raised).

circular swing. 4-stp 1-meas merengue pattern. FP>c: rk thru-L LOP<,

rec-R FP>c, rk beh-L OP>, rec-R FP>c;.

circus pony style. Fwd-L, -, swing-R fwd toe down knee out, -;

Bk-R, -, swing-L bk toe down knee out, - ;.

ck. Check.

cl. cls, or the cls stp.

class. Dance class of 20 to 30 hours of instruction & practice.

classic. Older RD that appeals to critical taste & conforms to established

form. a. Popular dances as determined by annual RDer Magazine poll.

b. Classic dances add stability to dance programs. New dances often

have short life spans compared to classics.

c. Dances selected by ROUNDALAB.

clkwise (cw). Rotation Direction of a clk's hands. Reverse dance-line.

clog. a. Short thick piece of wood.

b. Wooden shoe.

c. Stout clumsy shoe w/ a thick, usually wooden sole.

d. Dance where dancers wear clog shoes that are tapped on the floor.

e. Shoes designed for clog dancing contain large hinged two piece taps

on toes & heels. Taps design increases noise & rattle when struck on the

floor.

f. Primary stpping rhythms: Two-stp (Qk, qk, slo, - ;).

Social fox trot (Slo, - , slo, - ; qk, qk,).

Fox trot (Slo, - , qk, qk;).

Samba (Slo, qk/qk, slo, qk/qk;).

Time spaces between stps are interspersed w/ toe/heel & heel/toe taps.

ft, knee & leg actions are exaggerated for show & add momentum & force to

taps & rattle.

g. Country tap dance.

h. Gaelic, ancient Irish-Scottish dialect word for "time".

cls (cl). (Close) In place stp/change of wgt. stp on flat in place, w/o

progression. Change body wgt fm 1-ft to other.

a. Dancer's wgt on ft-1 w/ ft-2 free. A stp occurs when dancer

changes body wgt fm ft-1 to ft-2.

b. cls or change is a stp in place. Learn the meaning & proper

execution of the cls stp.

c. A cls stp may start w/ free ft separated fm wgted ft. Bring free ft

next to wgted ft & change wgt. The term cls comes fm bringing of the free

ft beside the wgted ft to cls the distance & change wgt w/o progress.

d. A cls stp lets trailing ft reach the lead ft to change wgt. It frees

the lead ft for a stp.

e. An all rhythm stp. Two-stp, foxtrot, & Wz rhythms: stp on flat of

closing ft.

The cls stp is often confused w/ the non-stp tch ft action. Tch is not

a stp, because wgt is not transfered on a tch action. Tch means bring free

ft beside the wgted ft w/no wgt change. Failure to change wgt on the cls

stp, or stpping on a non-stp tch puts dancers out of stp more than any

other actions. cls/tch confusion stems fm bringing the free ft next to the

wgted ft. The two primary ft actions are: 1. cls = a change of wgt.

2. tch = a non-stp ft action.

A cls stp on the flat provides a ftrm base for launch of a drive stp.

cls stp. stp in place to change wgt fm wgted ft to free ft.

clsd change. CP 1/8 L- or 1/8 RT pattern.

a. L-clsd change: CP> on-L: Fwd-R, Fwd-L 1/8 LT +CP/>c.

b. R-clsd change: CP>on-R: Fwd-L, Fwd-R 1/8 RT +CP/>w.

clsd double natural spin. 1-meas full RT, start & end CP, man 2-stps (girl

4-stps). CP>wgt on-L: Fwd-R RT>w (Bk-L RT) continue R-turn on R-ball

(girl L-heel) CP<, bk-L-ball RT>c (Fwd-R QRT), no-stp RT on L-ball

(qk-L/& qk thru-R turn man) +CP>.

clsd ftnish. End in CP.

clsd impetus. 3-stp 1-meas R½T heel pivot. CP<: Bk-LT +CP>c, Sd-R heels

tog T +CP>, Fwd-L +CP>.

CP. (Closed Position)Face partner, join lead hands L-palm up (R-palm down), R-arm curved fm

shoulder to hand on bk of her L-shoulder blade, ftngers Pnt in-line w/

forearm slope, tips at/near her spine. (Her elbows at shoulder level,

support own arm wgt). Heads offset-L look over partner's R-shoulder, w/

L-ft L 0f partner's R-ft, R-ft aimed between partner's feet. (Her L-hand

on front of his R-shoulder, ftngers Pnt in-line w/ forearm, L-arm forms a

ftrm bridge along & over his R-arm.) Stand tall, head up, legs straight,

wgt on-R (on-L) chest up, fanny & stomach in, eyes fwd. Pair Forms a

4-footed creature on a narrow support base. Move as a 4-footed animal,

opposite ft combinations move in unison as a single ft. Elbows high &

wide, parthers separated by 1-forearm bone length (smaller partner's

elbow to wrist length) distance at shoulder level. Keep constant ftrm

BRACE separation, for good lead-follow control.

clsd promenade. a. Studio pattern term = SCP> fwd +CP>.

b. SCP>: Fwd-L, - , Fwd-R (LT +Pup) +CP>, - ; Fwd-L, - , Fwd-R, - ;.

clsd tango draw. CP> Fwd-L, -, Fwd-RT>w, - ; Qk Sd-L, qk stp-R, slo draw-L,

tch-L at R-arch & shape to follow-on position;.

clsd telemark. Telemark +Bjo. Cue: Telemark Bjo.

clsd wing. 1-meas 1-stp (3-stps) change fm-Bjo CP or SdcarP. Bjo/>c on-L:

Fwd-R (Bk-L), tch-L (Sd-R +sdcarP), hold (cls-L); +sdcar/>c.

club. Organization of dancers to provide a place, & Dance Master for

dancing. Teacher & hall cost money needed for a dance club to exist.

Club income is uncertain if dancers pay by the dance. Pay dues promptly,

so the volunteer treasurer's job is easier, & he wont have to remind or

ask for dues. Officers keep the club operating:

Presdnt guides activities & informs members w/ announcements.

Vice-presdnt acts in presdnt's absence & shares duties.

Secretary-treasurer keeps books, records & plans activities.

Committee chairman schedules refreshment duties & keeps supplies.

District rep' maintains liaison w/ & coordinates district activities.

None are overworked if each does part.

Take a club office. Have you refused to take office or help w/ club

activities? How many times? Did you ftnd someone for class lessons?

Did you help w/ classes? Is the club a snub-club? Do you greet visitors,

dance w/ them, & invite them to return? Do you invite other dancers to

visit your club? Do you attend dances at other clubs when your teacher/

caller is performing? Are many things wrong w/ the club & it's leaders?

Summer shut-downs result in loss of dancers who break the dance habit,

& lower dancer proficiency by lack of practice. Short life-span dances

are not large problems to returning dancers. Long-life dances remain on

programs a sufficient amount of time for dancers to learn them. Don't

panic if you get several dances beh. Catch up by learning the best ones

1st in a relaxed manner. Returning dancers should exert added effort to

catch up & avoid penalizing regulars by holding them bk. Teachers should

continue the teaching schedule during summer months. Reduction is not

fair to regular attendees. Lengthy catch-up sessions during club meets

burden teacher & other dancers. Catch-ups may be scheduled before, after

or outsd regular club hours.

club caller/teacher. Traveling teachers are good, that's why they are

hired. They draw dancers from many clubs together. Dancers enjoy a

variety of teachers. Local club teachers/s deserve credit for a "pro's

successful dance. Club teachers develop dancer proficiency. Remember

your teacher when thanking a `pro', & thank him too.

Club teacher is often not at fault if the club level does not suit you.

Inspire teacher & help raise the club level, avoid things that may

discourage him. Set out fewer dances. You may be contributing to the

club's low level.

Teacher may spend 40-hrs a week on a full-time job, plus hrs screening

new dance material & ftgures. A dancers may spend less than 3-hrs/week

on club activities, including dances. Teacher presents as many new

ftgures as club level & interest permits. He can teach above the club

level anytime. Frequency of dancing & interest are primary factors that

determine club level. Teacher is ready to add more when club responds

favorable to new material. The challenge fm material w/in dancer's reach

is fun. Anything beyond club reach is frustrating. Continuous challenge

can be a drag. When too many dances are missed, catching up is

discouraging & drop outs occur. The club w/ the same dancers, would be

near the same level, if the `pro' were club teacher.

club goals. Involve everyone. Maintain good caller-dancer relations.

Select leaders carefully. Promote a sense of belonging & being needed

among members. Provide good facilities. Smile. Have fun. Communicate

w/ members. Invite guests. Be courteous. Try new ideas, put variety in

activities. Sponsor new classes. Counsel w/ past club officers. Seek

new members & retain old members. Keep a balanced dance program.

Club operation. Dancers & teachers must agree on club operation. A

club's needs must Identify & correlate the level/ability of the dancers

as a group. Evaluate these factors periodically, they change. Don't be

disapPnted if a dance you want to learn isn't taught immediately. Teacher

should not be disapPnted if dancers do not progress at a desired rate nor

respond favorably to new dances.

Include a variety of dances on the program to promote & maintain dancer

proficiency. Proficiency permits dancers to attend workshops, festivals

& other clubs w/ confidence. Tell teacher what dances are done where you

dance. When dancers fail to communicate, the teacher is unable to ftgure

out what they want. Dancers are responsible for & should influence

program content. Don't pressure teacher to teach a specific dance,

provide alternatives, the club may not be ready for a dance level.

Teacher wants to know each dancer want's. A program should please the

majority, yet include something for everyone.

When a club doesn't suit you, try to organize a club that does. Hire a

teacher & rent a hall. Give members a program they want; ftnd out what

each dancer wants; please everyone; keep all members dancing; ftnd & keep

enough members to operate a club; ftnd a suitable hall. It isn't possible

to please everyone, each member should give for the club's sake.

Vs 2.0 revised 030316