coca rolo. a. 4-step 1-measure
pattern.
Cross rock-L in front of R, recover-R,
side-L, cross rock-R
in front of L;. b.
4-step 1-measure swivel pattern, step on
balls to
swivel. Open position face dance-
line: Forward-L in
front of R þR-turn face
diagonal dance-line
& wall `V' position,
forward-R in front
of L ¬L-turn face
diagonal
dance-line-center back-`V'
position, forward-L
in front of R ¬R-turn
face diagonal-out
`V' position, forward-R
in front of L ¬R-turn
face diagonal-in
back-`V' position;.
cockroach. Cucaracha. Roach.
cog. Center of gravity.
coh. Center of hall.
coined term. Term devised, made up or
invented for a step,
pattern, figure or
position. Terms should not be coined for
actions with
existing names.
cola. Conga term for conga comparsas,
a
carnival parade
dance.
college step. Old Siwash. 2-measure waltz
pattern.
"American Society of Professors of
Dancing" 1891. Forward-L, close-R swing-L
forward, close-L
swing-R back; Close-R
swing-L forward,
forward-L, close-R;.
collegiate shag. Lindy/swing/jive
pattern.
Face girl and wall R-hands joined partners
offset to-R: Rock
apart-L, recover-R, rock
apart-L, recover-R;
Half-wheel forward-L,
forward-R face center, Rock forward-L/
recover-R, rock
forward-L;.
combo. a. Combination of steps or patterns.
b. Small group of musicians.
comma (,). The end of a ¬note beat time
frame. The space
between 2 commas (, ,)
or a semi-colon and
comma (; ,) = ¬note
time span. It may be allocated to a
step, a non-step
foot action, a body
movement or a hold.
comparsas. Carnival
parade or conga line
identical footwork,
called cola. Dance in
a line, trailing
dancers hands on shoulders
or waists of dancer
in front. Run-L, R, L,
kick-R side; Run-R,
L, R, kick-L side;.
Variations:
a. Run-L,
R, L, *; R, L, R,
*;. b. Side-L, in
front-R, side-L, *;
Side-R, in front-L, side-R, *;. * = hop-
point, chug forward
or back, push-point,
kick side, kick
forward, or other action.
competition. Contest where
dancers vie to
win first place or
related ratings, as
judged by
"experts". Ballroom contests
encourage student
dancers to achieve
goals and
recognition. Competition
motivates dancers to
expand knowledge,
improve style and
proficiency. An ego
builder and outlet
for exhibitionists or
hams. It builds confidence, overcomes
floor fright and
develops stage presence.
Provides incentive to learn and practice
patterns required to
compete. Ambition
associated with
competition is a cohesive
force to bonds
students with instructors
and studios.
By tradition, round dance leaders avoid
organized
competition dances. More dancers
obtain greater
enjoyment and pleasure
without
competition. Round dancers and
teachers are
susceptible to competitive
emotion. Exhibitions and demonstrations
tend to satisfy
these desires.
compress thighs. Hold thighs together.
conga. Origin: chained African
slaves.
Cuban import to
in line with
identical foot-work, or facing
partner with
opposite foot-work. Basic:
Side-L, in front-R, side-L, kick-R side;
Side-R, in front-L, side-R, kick-L side;.
Styles: Kick-R with weight on L-heel; or
contract hips &
bend elbows forward; or
push L-shoulder
forward; or 3-shoulder
shakes; or Beat-3
bend both knees, beat-4
rise & bend
elbows & body forward.
conga turn. Roll-L, R, L, kick-R; Roll-R,
L, R, kick-L;.
consider others. Dancing & lessons requires
close proximity with
others. Avoid
offense: bathe; use
deodorants; wear clean
clothes; abstain
from smelly foods & drink.
Be courteous, thank partner after a dance,
especially on
mixers. Be pleasant, non-
critical, tolerant,
tactful, & gentle. Use
good manners and
consideration.
constant tempo. Tempo without variation.
Best music for smooth relaxed dancing.
cont. Contra. Contra dance.
continental. Stroll
vine. 4-measure 10-
step pattern. Cue: Twist vine-2; L-turn
two-step; Twist
vine-2; R-turn two-step;.
Closed position wall: Side-L þR-turn
sidecar diagonal
reverse, - , back-R
(front-L) þL-turn
closed position wall, -
; side-L ¬L-turn
closed position dance-
line, close-R,
forward-L ¬L-turn to closed
position center, - ;
Side-R þL-turn banjo
diagonal reverse
center, back-L (girl
front-R) þR-turn closed position center, -
; Side-R ¬R-turn closed position dance-
line, close-L,
side-R ¬R-turn to closed
position wall, - ;.
contra (cont). Opposite. Contra dance, two
opposing lines of
dancers.
contra body
motion/movement (cbm). Move
opposite side of
body forward with the
stepping foot. Move R-shoulder & torso
forward on forward-L
step. Move L-shoulder
& torso forward on forward-R step. Natural
body mechanics of
walk, run or dance steps.
Contra body motion generates counterbalance
for smooth body
center of gravity (COG)
progression.
Try to run moving the L-side of the body
(shoulder, arm and
hip) forward on forward-
L steps (R-side of the body forward on
forward-R
steps). This creates a cyclic
COG movement of varying speed on each step.
Feet & COG alternate clockwise and
counter-
clockwise arcs. Steps arc COG around & in
front of leading
foot. Speed is limited by
the inefficient
cyclic arcs movement.
contra body movement position (cbmp).
Modified banjo or sidecar
positions.
contra body position. a. Contra Closed Position.
Similar to closed
position, with
partner's L-foot interlaced between partners feet. Her
head to L of
his. This partner configuration favors
L-turn patterns.
b. Modified banjo or sidecar position. Partners offset to side
of closed position
(L banjo, R sidecar) on diagonal to the direction of
movement. Adjacent hips overlap slightly. Feet outside partner's
feet.
Hips or sides HIPS NOT TOUCHING.
contra check.
a. Closed position dance-line:
Forward-L (back-R) to contra body banjo
check forward
motion. Retain R-ball (L) in
place. Feet in-line formed by R-ball (her
L-heel), L-heel (her R-ball). Weights
divided between
R-ball & L-flat, flex knees
to accommodate foot
alignment. b. Dancers
position &
attitude on contra check.
contra dance. a. Couples form 2-opposing
lines. b. Music for the dance. c.
French term: contre
danse = contra dance
= country dance = contra. d. Reference
John Playford's
1651 book "English
Dancing Masters". e. English `longways'
dance.
contra movement. Contra body motion.
contract. Agreement between: a. 2 or more
persons; b. A
teacher & dance group to
provide requested
service at a time and
place for a
fee. A contract may include:
transportation;
expenses; quarters; and
meal clauses. Written contracts provide
parties with a
record of agreements & help
insure
understandings. A LETTER OF
AGREEMENT is a written record to document
a verbal
contract. A letter of agreement
may be initiated by
either party following
verbal
negotiation. If signed by both
parties it
constitutes a contract.
_
(Date)
From: Name-1, address and phone number.
To: Name-2, address and phone number.
This letter confirms our agreement for the
teaching of 3-round dances, an easy,
intermediate, and advanced level, at a
workshop on date at
time and cue 30
minutes of pre-square rounds beginning at
time plus 2-rounds between each square
dance tip for the Club name at location:
include address, city, state.
The fee is $ amount. (Include statement of
other expenses where appropriate.)
Please sign and return 1-copy of this
letter to us. Retain
the original for your
records.
Agreed
to by: Club representative, date.
Round dance
instructor, date.
-
This contract between Names of instructors
and Club is for conducting a round dance
workshop to be held on date from time
to time at address of dance hall, city and
state and to cue pre-rounds starting at time
plus 2-rounds between square dance tips.
The teaching and cueing fee shall be $
.
Travel & quarters expenses included.
Instructor:
Name, signature, address &
phone number.
Club: Name, signature, address & phone
number.
*
contrary. Contra.
conversation/al. a. Studio term for
semi-
closed, half-open or
V positions. Term
varies with studios. b. Social/American
fox trot
pattern. Semi-closed position:
Forward-L, - , forward-R ¬R-turn to closed
position, - ;
Side-L, close-R,. OR Closed
position: Side-L
¬turn to semi-closed, - ,
thru-R ¬turn face
partner, - ; Side-L,
close-R,.
conversation vuelta. Semi-closed turn.
conversation walk. 4-step
6-beat 1«-measure
social fox-trot
pattern. Semi-closed
dance-line:
Forward-L, - , forward-R ¬R-
turn (L-turn) closed
position wall, - ;
side-L, close-R,.
Time: Slow, - , slow, -
; quick, quick,.
R/forward-L, rock forward-R, recover-
L/forward-R;. Or
rock 3 and 3;.
copa. Abbreviation of copacabana.
a. Glass,
stemmed glass,
goblet, wine glass, drink,
tree top or
crown. b. Samba action:
imitate drinking
from a glass with elbow
resting on a
bar. Circle formed with
thumb &
forefinger of R-hand (L-hand)
imitates a wine
glass rim. Horizontal
forearm of other arm
represents the bar.
Touch drinking arm elbow to fingertips of
horizontal arm. c. Samba forward: Rock
forward,
recover-back ball/forward, rock
forward,
recover-back ball/forward;.
copacabana. 1-measure 6-step samba pattern.
Semi-closed: Forward-L, back-R ball/
recover-L,
forward-R, back-L ball/recover-
R;. b. Samba/Latin
away & together pattern.
coquette. 4-measure polka pattern, the
Polka Militaire.
Open position dance-line:
Point-L forward, - , point-L back, - ;
Forward-L, close-R, forward-L, - ; Point-R
forward, - , point-R
back, - ; Forward-R,
close-L, forward-R,
- ;.
corkscrew. See wing.
cornbread. Position. Face partner, (girl
stay put) man step
side-L to diagonal
offset open position
facing opposite
directions. Join R-arms in R-forearm
grips. See biscuits.
corrupt patterns. Slurred pattern of
improper steps,
actions &/or positions.
A result of ignorance, misunderstanding
or
carelessness. Teach, learn and dance
steps & patterns
properly. Dancers may
dance as they wish,
if it doesn't
interfere with
others. Determining if a
student knows &
ignores proper footwork &
positioning or lacks
understanding = a
teacher's
problem. Some students dance
their way regardless
of how a pattern is
taught. Base need for a re-teach on
dancers performance
and interest.
Examples of patterns vs
corruptions:
1. Cross, side, cross, - ; vs Forward, close, forward, - ;.
2. Side, behind, side, behind; vs
Forward, lock, forward, lock;.
3. Breakaway; vs
Scissors thru;.
4. Side chasse; vs
Tandem chasse;.
5. 2-turning two-steps;;
vs Wheel-6;;.
6. Face partner on diagonal vs Face partner & wall.
7. Butterfly position vs
Praying Mantis.
8. Ball vs Toe
steps.
corta jaca/joca/joco. a. carta
= card, jaca
= joker card.
Also monkey cut. b. 1-
measure 4-step side
rumba pattern. Face
girl lead hands
joined: Side-L heel þL-
twist to V position,
pull & close-R ¬R-
twist to reverse V
position, side-L heel
¬L-twist to V position, pull & close-R
¬R-twist to reverse V position;.
corte. Latin term = dip. Style to rhythm &
tempo. Exaggerate
slow tempo tango corte
more than a fast
tempo rumba.
corte hover. a. 3-step 1-measure pattern.
Closed position face wall, end reverse
semi-closed reverse:
Forward-L, side-R ball
L-extended in place, recover-L to reverse
semi-closed face
reverse R-point reverse;.
b. End Side hover in reverse semi-closed
corte.
corte side. Side corte.
cotillion. French: petticoat. A peasant
girl's petticoat,
seen on turns & twirls.
Lively 19th century 4-couple mixer contra
danse.
count (ct).
a. Beat of music. b. Count steps
of a dance figure or
measure. c.
Correlate
steps and beats to
numbers.
counterbalance. Weight or
force to keep an
unbalanced object
from falling. Weight or
force (pull, push,
hang-on, etc.,) exerted
by a dancer on
another to establish or
maintain mutual
balance. Avoid using
partner as a crutch
or counter-balance.
Maintain individual balance. Test for
independent balance:
Freeze on a step and
release partner,
each dancer should be
balanced without
re-adjusting posture.
counter-clockwise (ccw). a. Direction
of
rotation opposite to
clockwise (cw). b. L-
turn. c. Dance-line is ccw. Dance-line.
is a common
direction. Square dancers
promenade and are
numbered ccw.
Ballroom
dancers by
tradition, move ccw around the
floor. Early drawings show dancers moving
ccw. Customary direction
of rotation
around a Maypole or
campfire.
Ccw predominates other activities
including: Ice &
roller skating; Parades on
fields and in large
enclosures, military,
circus & rodeo
parades; Races on oval
tracks: horse, dog,
auto, motorcycle,
track, bicycle, ice
skating, roller derby,
boat;
merry-go-rounds; group acts,
including people,
clowns, animals and
performers on
animals; Baseball base
numbers; Indian raid
circling wagon train
in movies; sine and
cosine vectors; earth's
rotation as viewed
from the north pole.
Ccw events travel
from L- to R- as viewed
from outside the
circle. L- to R-motion is
used to read &
write. L- to R-
writing is
convenient for
R-handed people. It permits
view of emerging
written words. L-handed
people curl the
L-hand over and around the
writing line to
expose emerging words.
Does the ccw
rotation custom stem from the
L-R read/write scan [R-hand influence]?
What is the origin of ccw
rotation of
things? Did it begin with a dance around
a campfire or
religious symbol. Facts,
theory & legend
on the origin & reason for
ccw
rotation deserve historic recognition.
counterpart. Steps or
patterns related to
partner's part. Counterpart = girl's
part related to
man's. On cue sheets her
part is displayed in
parenthesis (). b.
Opposite footwork.
style couple dancing
to country/western
music. Country/Western dance and music
rhythms are
classified the same as all
other types,
including: social fox trot;
two-step; rumba;
polka; waltz, swing, etc..
Pattern variety is usually limited to a few
basics. The predominate rhythm is social
fox trot: Slow, - ,
slow, - ; quick,
quick,. Couples may use unconventional
positions &
posture, wear western clothes,
cowboy boots &
prefer country-western music.
(see WESTERN
DANCING).
coup de pique. Cou de pique. Cou = neck,
pique = spade. a. Paso doble term
= cut
or prod used to
enrage bull. b. A cross
point followed by
swivel fallaway action.
Semi-closed on-L: Cross point-R in front
of L, close-R face
partner, whisk-L hook-
L behind to semi-closed, close-R;.
coup de talon.
Pas Polonaise. Mazurka dance
pattern: Click-L
heel to R-heel, side-L,
close-R;.
couple (cpl). Pair. Dance partners.
couple dance. Dance in concert by man &
girl. All rhythms:
free-style; round;
circle; exhibition;
choreographed; inter-
national ballroom;
ballroom; country;
country-western;
western; etc..
couple pivot. 1-measure « or more R-turn.
Pivot as a couple. See pivot.
courant/e. Lively old French waltz with
glide and run
steps. Courant music.
cowboy bar/break. Extra measure/s or part-
measure/s added
between 2-parts of a
musical arrangement.
cp. Closed position.
cpl. Couple.
crab walk. Facing
position 6-step 2-measure
side rumba
pattern. Butterfly face wall,
turn heads &
look to dance-line: Side-L,
thru-R, side-L, - ;
Thru-R, side-L, thru-
R, -;. Or start
on-L: Thru-R, side-L,
thru-R, - ; Side-L,
thru-R, side-L, - ;.
crackerjack. 4-measure figure.
Closed
position wall
[closed position R-foot
points are forward
between partner's feet]:
Measure-1: Point-L (point-R) both look
reverse, - ,
close-L, -; 2. Point-R (point-
L), - , close-R, - ; 3. Point-L, close-L,
point-R, close-R to
semi-closed dance-line;
4. Point-L, touch-L, hop forward-R, hop
forward-R;.
cripple. Term coined by no-cue advocates to
describe round
dancers who use cues as
crutches to avoid
memorizing dances.
courtesy. Excellent manners, behavior or
politeness. Considerate. Escort
partner to
& from the floor, never leave partner on
floor. Maintain good humor, sympathy and
understanding
without undue criticism.
creciente. Rise,
elevate, increase, rise to
a peak.
criss cross. Cha-cha term. Side-L,
behind-R,
in place-L/R, L;
Side-R, behind-L, in
place-R/L, R;. b. Vine-2, cha;.
cross (X). a. Cross free foot in front (or
behind) weighted
foot. Cross = step in
front unless
modified by a word such as:
cross-point, or
cross-behind. Cross is not
change sides. b. Designates side to pass
on, to change
sides. Change sides in back
= Man pass behind girl face her back in
passing (girl pass
in front of man unless
told otherwise).
Back pass = Man pass in
front turn back on
girl (face man's back on
pass).
cross balance. Waltz pas de basque:
Side,
behind, recover;
Side, behind, recover;.
cross behind.
Step in back of weighted foot.
cross break. New Yorker rumba pattern. 6-
step 2-measure
pattern. Butterfly: Rock
thru-L, recover-R,
close-L, - ; Rock thru-
R,
recover-L, close-R, - ;.
cross foot run. Twist vine with high cross
steps, create
illusion of jumping over the
weighted foot.
cross hesitation (X hes). 1-measure þL-turn
(girl þturn) from semi-closed to banjo.
Semi-closed diagonal dance-line center on-
L: Forward-R (Forward-L «L-turn pickup) to
closed position
diagonal dance-line center,
forward-L ¬L-turn
face diagonal reverse-
center (back-R
¬L-turn face diagonal dance-
line wall), touch-L
(touch-R) þL-turn banjo
reverse;.
cross hover (X hov). 3-step 1-measure change
from sidecar to
banjo or vice versa.
Similar to twinkle except step-3 is a
recover not a
close. Sidecar position
diagonal
dance-line-wall: Forward-L (back-
R) ¬L-turn to banjo diagonal dance-line
center, side-R on
ball, recover-L; Forward-
R ¬R-turn to sidecar diagonal dance-line
wall, side-L ball,
recover-R;.
cross in back (XIB). Step behind weighted
foot. Cross-L in back (XLIB) = cross-L
behind
weighted-R. Cross-R in back (XRIB)
= cross-R behind weighted-L.
weighted foot.
Cross-L in front (XLIF) =
cross-L in front of
weighted-R. Cross-R in
front (XRIF) =
cross-R in front of
weighted-L.
cross line (X line). Modified «open
position. Inside feet his-R (her-L)
weighted, knees
flexed. Extend outside
arms his-L (her-R)
to side and diagonally
up from
shoulders. Point free foot side.
Extended arms & legs form cross bars of
the
letter "X"
as viewed from front or rear.
The X is the cross. b. Pattern that moves
from semi-closed to
cross line position and
back to semi-closed
or other position.
cross point. Cross free foot in front of
weighted foot to
point.
cross pivot. 3-step
1-measure þR-turn (girl
¬R-turn) from semi-closed
to sidecar.
Semi-closed diagonal dance-line wall on-L:
Forward-R ¬R-turn maneuver to closed
position diagonal
reverse-wall (forward-L),
back-L ¬R-turn
(forward-R ¬R-turn) closed
position diagonal
reverse-center, side-R
¬R-turn (side-L) to sidecar position
diagonal dance-line
center;.
cross vine. Twist vine.
cross walk. Swivel walk, twist body on each
step. Forward-L on L-ball in front of R
þR-turn, - , forward-R on R-ball in front
of L ¬L-turn, - ;.
For 2- or more measures
use ¬turn on forward
steps. Step toward
dance-line in front
of weighted foot.
Avoid cross steps beyond weighted foot.
crossover cha. a. 10-step 2-measure
cha-cha
pattern. Butterfly: Thru rock-L to L-open
position, recover-R
to butterfly, side-
L/close-R, side-L; Thru
rock-R to open
position, recover-L
to butterfly, side-R/
close-L,
side-R;. A 6-step 2-measure mambo
or rumba
pattern. Butterfly: Rock thru-L,
recover-R, side-L, -
; Rock thru-R,
recover-L, side-R, -
;. c. Change sides
with partner.
crossover polka. 4-measure Vars' position
figure. Identical footwork both on-R:
1.
Point forward-L, - ,
touch-L, - ; 2. In
place-L, R, L (L-roll
across in front of
man under L-to-L
hand arch L, R, L) L-
Vars', - ; 3. Point-R, - , touch-R, - ; 4.
In place-R, L, R, (R-roll across in front
of man under R-to-R
hand arch R, L, R) to
Vars', -;. Girl
turn face man on step-1,
then complete twirl
(curl) to target
position on steps-2
and -3.
cruz/cruzado. Cross/crossed.
crv. Curve, curved.
ct. Count.
cuadro. 8-step 2-measure merengue box. Side,
close, forward,
side; Close, back, side,
close;.
Cuban
breaks (cub brk). 6-step
1-measure
cha-cha
pattern. Facing position: Rock
thru-L/recover-R,
side-L, rock thru-R/
recover-L, side-R;.
Cuban walk. 3-step 1-measure rumba pattern.
Time: Quick, - , quick, quick;. Open
position dance-line:
Rock forward-L, hold,
forward-R L-swivel,
forward-L R-swivel;.
Keep head high and steady. Swivel hips and
knees, ball step in
front of weighted foot.
cucaracha. Cockroach or roach. a. Side
rock
step, as if
squashing a cockroach. b. 6-
step 2-measure rumba
pattern. Rock side-L,
recover-R, close-L,
- ; Rock side-R,
recover-L, close-R,
- ;.
cuddle. Couple hug. Wrap position.
cueca. Pronounced: KWAY-kah. Gaucho style.
huaso
[cowboy], wave white handkerchiefs &
circle each nother, imitate mating of
chickens. Nineteenth century import to
wears: boots; huge
silver spurs; fringe-
draped knee-high
black leather leggings;
black pants; wide
cowhide belt; a striped
poncho; flat-top
wide brimmed hat. Girls
wears: high heels;
bright billowy dress
shashed
at waist; flower in hair. Dancers
pause midway &
drink red wine from a cow
horn, as onlookers
clap, stomp & shout
encouragement. Named
by decree in 1979.
cue/s. Announce
patterns to inform dancers
of next figure. Cues do not describe
actions in detail.
Five types of cues are
common: Step;
Measure or pattern; Phrase;
Spot; & Sight.
Cues teach beginners terms
correlated to
actions.
Step cue: used to teach basics and for
patterns not readily
identified by standard
terms. Step cues announce each step, such
as Box: Side, close,
forward, - ; and Side,
close, back, - ;.
Measure cue: Cue by pattern name ie. box
or scissors.
Phrase cue: Cue by 4-measure figure, may
combine
2-double-measure patterns. Phrase
cues let dancers
blend smoother from 1-
measure to the next.
Spot cue: Cue when dancers know most of a
dance, but need
reminders on gimmicks,
unique or unusual
figures or sequence.
Sight cue: Watch & copy other dancers
for
reminders.
Pro and con arguments exist on use of
cues. Each faction
is free to dance with or
without cues, &
without undue interference
or ridicule. Arguments based on ridicule,
to demean or
embarrass others are in poor
taste & display
lack of manners. Decisions
on use of cues rests
with each club. Large
festival sponsors
should decide if rounds
are to be cued or
not, and include that
information in ads.
Dancing without cues is
pleasant & a nice
goal for serious
dancers. Use caution on
converting a club
from cues to no-cues,
consider individuals
and the group. Group
ambition and desire
control discontinuing
cues. Proficiency & ability of the group,
plus initiative and
response influence the
outcome. Wanting to dance without cues is
not the same as
study and practice between
club meetings to learn
dances. Sincere
desires to dance
without cues do not exist
if a club majority
can not perform a dance
without cues three
months after a teach.
Cues aren't needed if all dancers know a
routine. More dancers would learn without
cues if there are
fewer dances. Many are
unwilling to
memorize the number of new
dances taught. Attendance problems and new
club members
complicate teaching, learning
and keeping a club
dancing as a group.
This generation did not originate cues.
Many old records have music on 1-side and
music with cues on
the flip side.
Cue dependent dancers are uneasy without
cues and won't try
to dance without cues.
Some dependent dancers can follow cues of
only one or a few
teachers. Dancers who
read and refer to
cue sheets have little
trouble learning
dances without cues. Many
who resist learning
to read cue sheets have
tried, failed and
gave up in frustration,
never to try
again. Read a cue sheet for
a known dance, it's
easy and helps in
learning to read cue
sheets.
Dancers influence the decision on cues.
Tell teacher if cues are wanted or not.
Don't expect instant change. Desires and
abilities of all
club members must be
considered. List dances in the order of
priority of
learning. Don't try to learn
a large number of
dances at once. Start
with 2 or 3. Priority may be so low on
some that they are
never learned without
cues. Pick dances that will remain popular
for a long
time. Learn several classics
without cues, and
current hits that are
played at square
dance clubs without cues.
Cues, Pros. More dances are available to
more dancers; Permit
teaching more dances;
Increase variety of rhythms danced; Good
teaching aid; Speed
teaching, leave more
dance time; Permit
dancing without teach on
easy dances; Provide
quick teach of new
dance; Quick
re-dance of oldies; Help
bridge attendance
gaps; More couples dance
cued dances; Cues
required by many;
Memorizing dances is not required; Memory
recall not taxed;
higher participation;
Cued clubs are usually larger; fewer
dropouts from
getting behind or setting out
dances; Helps some
concentrate on footwork
& styling; More
time dancing than learning;
Reduce dancer errors; Aid harmony between
partners; Dancers
progress at a faster
initial rate;
Dancers concentrate on
memorizing
favorites; Less time devoted to
each round of the
month (ROM): If ROM lasts
a long time dancers
learn by repetition;
Beginners more at ease; Needed
at large
functions attended
by cued dancers; Ease
floor fright,
tenseness and nerves; May be
required by
experienced dancers on odd
introductions and
sequences; provide
exposure and
experience for teachers;
teachers maintain
and improve cues; Make
workshop teaches
easier; Help dancers who
need it; Lets
visitors dance; Helps dancers
learn terms; Reduces
sight cue use.
Cues, Cons:
Interfere with musical mood;
Restrict full response to, feeling for and
expression of
musical motivation; Cues
annoy some who know
the dance; Distract
attention from
music; Hinder performance if
not needed;
Remembering becomes second
nature; Cues make
dancers dependent;
Detract from individual accomplishment;
Speed up teaches beyond dancer ability to
absorb routine or
sequence; Cues are not
the optimum way to
dance; All dancers don't
have to be on the
floor every dance; poorly
timed cues are worse
than no cues;
Without Cues: Dance without cues. To
learn a dance
without cues, first select a
dance. Concentrate on the dance. Consider
dances played
without cues at places you
dance. It takes less
than 10-minutes a week
to learn a dance
without cues. Buy the
record. Read and walk thru the cue sheet.
Walk & dance thru without the cue sheet
to
identify spots where
memory problems exist.
Review problem areas and try again. Repeat
problem area review
and re-try the dance to
overcome
problems. Music aids memory
recall. Timely
recall after learning a
dance is
important. Concentrate on what
comes next while
each on-going measure is
danced. It takes a
little time each day or
week. Write the cue sheet on a cue card.
Reading a cue card takes less than half
minute. A familiar dance can be walked in
less than
2-minutes. Dancing a round takes
less than
3-minutes. A 15 minute session
permits dancing a
dance 5-times. Dancers
who dance without
cues usually walk the
dance during the
first break, and when they
get home. They read cue sheets, practice
and attend functions
where they dance
rounds they
know. Clubs that dance without
cues spend a large
amount of time on the
teach and re-teach. This provides more
time to memorize a
dance during the teach.
1. Walk thru dances on the first break,
re-walk at
home. 2. Make a cue card. 3.
Walk the dance between dance nights. 4.
Buy a record, dance alone & with partner.
Cues will stop if an entire club wants to
dance without
cues. When only part of a
club is interested,
it increases dropouts,
sit-outs, and splits
the club. It may be
better to organize a
no-cue club than try
to change a cued
club.
cue sheet (Q-sheet). Written round dance
instruction. Panels, associations,
publications and
record companies
contributed to
standardized cue sheet
format and content.
Q-sheets
describe the man's part. The
girl's part
(counterpart) is not usually
described. Counterpart is interpreted from
the man's weighted
foot & facing direction,
footwork (opposite
or identical), starting
position, pattern
description and ending
position. Description of her part may be
included where it
differs from counterpart.
This agrees with the practice of cue to the
man & girl dance
the counterpart. Cues are
less complicated
when directed to one
dancer.
Cue
sheets
Writing cue sheets for
the man
is traditional.
Early dance instructors
[Dancemasters] were
men. Dancemasters
wrote most early
dance books. They knew,
danced, taught and
described the man's part
with better familarity.
Few round dances achieve a significant
degree of
popularity. Life for most popular
dances is relatively
short. A minority of
dancers read &
analyze classic and popular
dance Q-sheets. Q-sheets directed to the
woman would reduce a
dance's chance for
sucess. The demand for non-standard Q-
sheets written for
the woman's part is
small. There is small incentive for
choreographers to
write dances that deviate
from accepted
standards.
cuidado. a. Spanish =
Care, careful, to be
anxious or
worried. b. A 4-or-more step
sashay pattern with
up-down styling: Side-L
straight L-leg,
close-R bend knees, side-L
straight leg,
close-R bend knees;.
curl. a. Change places (girl reverse twirl).
Facing position wall on-L L-hand joined to
her R-hand:
Forward-L on dance-line side of
her to outside of
circle bring arched
joined hands thru,
forward-R 1/4 R-turn (girl
forward-L to inside of circle 1/4 L-turn)
both
face reverse, side-L
1/4 R-turn (side-R 1/4 L-
turn) face partner,
close-R facing position
center, - ;. b. A reverse twirl (girl L-
twirl) with change
of facing direction.
Closed position man face dance-line on-L:
Side-R 1/4 R-turn face wall (Girl reverse
twirl Side-L 1/4
L-turn face wall), close-L
(side-R 1/4 L-turn face dance-line), in
place-
R (close-L 1/4 R-turn face man & center)
end
closed position
wall, - ;. Style: keep R-
arm loosely curved
around her (reverse
twirl inside his
curved R-arm.
curtsy. Girl's
archaic salutation. Place-R
behind L, spread
skirt to sides, lower R-
knee to floor, bent
L-knee erect, bow head.
See `bow and curtsy'.
curtsy turn. Skater position «L-turn. L-
turn in place
(«L-circle).
curve (crv). Less than ¬-turn.
forward steps,
without a close step.
cut. Back step crossed in front of weighted
foot. Cross foot in front of weighted foot
and step back on
ball. Back lock step.
Close step on outside of weighted foot.
cut, back. Cut step followed by a back
step. The back step follows the cut step
and unlocks the
legs.
cut four. 4-step 1-measure: Cut, back, cut,
back;.
cut twist. 4-step
cut & back steps with body
swivel. Semi-closed
dance-line: Cut-L þR-
turn (cut-R þL-turn) face diagonal partner
& dance-line, back-R þL-turn
(back-L þR-
turn) semi-closed,
cut-L þR-turn (cut-R þL-
turn) face diagonal
partner, back-R þL-turn
(back-L þR-turn)
semi-closed position;.
cw. Clockwise. Direction of
clock hand
rotation.
Vs 2.0 revised 030316