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.
--------
dance. a. Move body parts, especially ft, in time with rhythmic sounds.
b. Type of dance: Wz,
fox trot, etc..
c. Art of dancing.
d. Dance music.
dance acceptance. aft
teaching a dance containing new or unfamiliar figures
dancers may comment
"I don't like that dance!".
Pattern combinations &
unique stp combos may be awkward on 1st try vs
familarity of well known
figures. When problems are mastered a dance is better
accepted. Problems
are expanded during
a teach if teacher expresses dislike for a dance.
Avoid public negative comments which may
create bias to dance acceptance.
Let dancers objectively judge a dance aft
they learn it, without undue
influence.
dance characteristics. Music includes: Tune, melody,
rhythm; beat;
strength, tempo,
band technique, vocal, arrangement, orchestration,
new/old music. Dance
has: smooth flow, twirls, pivots, style, unique
figures, body
mechanics, pattern phrasing. Figures may
be: easy, hard,
familiar, new,
unique, fun.
dance evolution. Humans may have 1st danced to hand claps, or
pounding
fists on the chest.
Next to beating sticks & Rks.
Then drums & other
simple instruments.
Solo dances must have come 1st, then others joined in.
Each did their thing, or copied actions of
another.
Hully-gullies,
disorganized lines & circles resulted as new dancers
imitated imaginative
& talented dancers. Organized lines
& circles
developed as leaders
emerged & directed dances. Circles
may have surfaced
as: spectators
surrounded dancers; dance area space was limited; dancers
followed a leader or
person of higher status; dancers circled a religious
idol, maypole, totem
or fire).
Two solo dancers joined in semi-organized
dance & in common figures
preceded 3 or more
dancers. Limit on the number of dancers
in a circle
was required when a
dance area became crowded, or figures developed &
leaders imposed
rules. Lines may have preceded
circles. A circle is a
continuous line
without beginning or end. Circles with a
limited number
of dancers result if
space is limited, or figures require a specific
number of
dancers. The number of dancers in a line
or circle is limited
by space.
A S/D is a circle
dance limited to 8-dancers. For eons an
infinite
number of circle or
line dances were performed, with various numbers of
dancers, bef the a square (8-dancers or 4-couples) was conceived,
developed &
standardized.
dance hall. Ballroom. A room for dancing.
dance-line (>, dl, lod). Line of dance.
Clock-wise (cw) direction around
the dance circle.
dance music. Music for dancing. Rhythm sets stpping
order, style & type:
Polka; rumba; Wz;
cha-cha; samba; tango; fox trot; 2/4; 3/4; 4/4;
syncopated;
etc.. Tempo = speed. Typical dances have: a 4-meas
intro; a 2-part
64-meas musical arrangement; a 4-meas ending.
dance of death. Macabre. Death, a skeleton, leads
people to the grave.
dance problems.
See: dancing problems.
dance time. An average 1990s RD record plays in
2-minutes. Allow 1-minute
to change records
& a medley of 4 dances can be played in 12 to 15
minutes. 6-each, 4-dance medleys (24-dances) can be
danced in a 2-hr
club session with 5-
to 8-min breaks bet medleys. The same
number of
rounds can be played
in 3-dance medleys, but breaks add time.
Dancers
take longer to round
up as the number or length of breaks increase.
A
30-minute teach reduces the number of rounds
played to 15 or 20.
S/D dance hash calls last 5- to 7-min. Add a 3 to 5-minutes singing
call & time for
dancers to square up. A
total of 12 to 15-min/tip. Add
3-min/round bet tips (or 6-min/2-rounds), =
total of 18- to 20-min.
Without breaks time = 3-tips/hour
(8-tips/2-hr dance night).
Idle floor time breaks vary from 5 to
20-min, depending on a caller's
gab quotient. Uncontrolled break length can result in only
5- or 6 tips
per night. Playing a RD as soon as the caller leaves the
stand takes 3
or 4-min. A 2nd round immediately thereaft
3-min (most round dancers are
already on the
floor). Total time for 2-rounds = 6 or
7-min. 2-rounds
can time & limit
S/D breaks to roughly 7-min.
This leaves no break time for those who
dance both rounds & squares.
They may sit out either for a break. Round dancers can control their own
breaks. Those who wish may dance 8 to 10-square dance
tips/night.
dance program. Schedule of dances, teaches & times
allocated for a club or
festival dance. Consdr: dances to
retain/retire; dancer preferences,
majority &
minority influence; to cue or not.
Consdr: Group
objectives; number of teaches & re-teaches; types of
dances; dancer
improvement; sit-outs & reasons.
Programs should include:
ROMs; extras; new dances; oldies; two-stp; Wz; rumba; samba; qkstp;
top-10; classics; pattern variety; club
level; dance level; daner input; attendance; club interest.
dancer. Person who
dances.
dancing. Rhythmic
moves of ft & body parts in time with music. Natural
response to music
with body movement & ftwork. Square, round, folk,
exhibition, &
competition dances are standardized forms that permit
dancers to intermix
with a high degree of rapport. Dancing in concert
with others is not
possible if each person dances a different thing.
Agreement on method & figures is needed
to dance in concert with another.
Dancing with a partner requires simultaneous
moves with music beats. Style
& body mechanics permit some individual
interpretation of the music.
A thorough knowledge of music is not
required to dance. Response to the
beat adequate. You can learn to move & walk in time with
music, if you
hear the beat.
Listen to the drum or bass fiddle beat. They provide a
rhythm clock for
musicians playing other instruments.
Count beats, or
tap a finger or ft
to the beat. Walking to the beat is
marching. A
rudimentary dance
form. Marching involves heavy stps. Dance stps are
light &
smooth. Dance is walking to the
beats. Use light stps,
lift ft
slightly, keep ft cls (¬") to floor without sliding or scraping,
transfer weight
gently. stp small.
A SLOW dance stp is a walk stp. Slow stps accept
body weight on the
heel & transfer wgt thru & to the ball of the ft. Slow stp
size = the
length of the
dancer's ft, measure from toe of wgt ft to heel of
stpping
ft.
qk
stps are ball & close (cls)
stps.
Ball stp
length = ¼ to ½ length of the lead slow stp.
Cls stps = in place stps,
Learn a basic pattern & practice alone
without music, move CCW around
the room. When familiar with the pattern dance alone to
music till
confident, then
dance with a partner.
Dancing is an art & a science. Science dictates use of proper body
mechanics. Art employs scientific techniques. Significant dance
instruction &
material are based on personal opinions & preference. Avoid
opinions that limit
reception of knowledge & dance pleasure. Try new
actions, master
them, & compare with other ways. Use
both or select a
preference based on
full knowledge of both. Be versatile
& accomplished.
Dance for fun, smile & enjoy, it helps
others have fun too.
dancing problems. Indecision. The man must decide: what to do; when to do
it; do it in time
with the music.
Improper stps:
Off-beat ahead or beh the beat, by either partner;
off
beat may resust from inattention, failure to listen to the musical
beat;
over cautious stps, fear of making a mistake or stpping
on partner; High
stps
½", ft should just clear the floor ¼" ; Large stps
(longer than the
ft length of
smaller partner) cause rushing &
off-balance dancing; Flat
fted
stps; Tip toe stps, bounce;
Flaring ft = rubber legs; Waddle stps,
track to wide;
Unstable balance, poor balance; girl anticipating next stp
or pattern, prevents
easy lead; girl leading; improper stance & balance;
using partner as
crutch or for counterbalance; Superluous body motion,
shoulder, hip &
body sway, twist or bounce. Extra force
is needed to lead
an unbalanced weight
& or a body with undesired motion [Response to the
beat is delayed if
dancer must complete extra movement bef taking next
stp. Unnecessary motion
interferes with lead signals & follow response.];
inadequate brace
resistance [arms, hands & shoulders bend & give on leads
instead of conveying
force bet bodies]; improper CP [not looking over
partner's
R-shoulder, ft not-interlaced, increased chance of ft contacts
& limits couple's turn radius/stp.]; forced leads cause resentment,
reluctance to
follow, partner balking, & are unpleasant & tiring.
Distractions include: talking, watching others, worry, self-awarness,
floor fright,
intoxication, flirting, petting, arguments, personal
friction.
Impared hearing,
can't hear & identify: beats, nature of the music,
sound level vs noise, & jazzy arrangements with arrhythmic beats or
variable tempo meass. Bad acoustics or sound.
dance shoes.
Good dance shoes have leather soles to reduce step friction &
low soft rubber
heels for safety. Many fair lass fell flat on her fanny
wearing all-leather
flats. Rubber heals & small stps reduce slips. Slips
& slides result from not carrying head
& COG over ankles (poor balance).
Leather soles facilitate turns on the ball of
ft. Less friction at ball
of girl's leather
shoe sole helps him lead & her follow. Rubber heels are
safer. Rubber heels contact floor on Cls stps, & provide traction
to
start the drive
step, hold & cls stps.
Heel height adds to smooth dancing. Low heels are good. High heels
shift COG twd ball. Too tall a
heel resembles toe dancing. Toe dancing
tires leg muscles,
reduces balance control, degrades posture & carriage.
Watch in a mirror for
bounce while toe dancing. Observe
posture &
carriage. Look for bent knee, protruded fanny & Fwd
torso tilt; or
bent knee, Fwd
pelvic tilt & back torso tilt.
Some men wear cowboy boots to dance &
girls wear low heel flats. He
appears taller &
she shorter. He may bend or squat to dance at her level.
This causes poor posture, balance &
awkward dancing. He should dance
tall. She should dance up to his level. Cowboy boots are good for
costume, but were
not designed for smooth or exhibition dancing.
Cowboy
boots with long pnted toes make smooth dancing more difficult. Best
matched dance
partners are of same height, with equal stp
length. Cowboy
boots accentuate
height & stp difference of a tall man & short
girl.
danser. Male ballet dancer.
danseuse. Female ballet
dancer.
dash (-). bet commas [, - ,] a dash = 1 beat. The `-' time space ignifies:
a. A hold beat;
b. Prolonged continuation of a previous
action or stp:
`Fwd, - ,' = a ¼-beat Fwd Drivw plus a ¼ note extension or a slow 2-beat
Fwd stp.
Choice determined by rhythm, style, follow-on stp or patterns.
Timing may be shown on cue sheet by S = slow
or Q = qk.
danzon/danzonette. Medium tempo rumba.
dbl. Double.
dc. (/c) Diagonal center. Direction diag to dance-line & center (/c).
dcr. (/c<) Diagonal center reverse. Direction diag rev & center. (/>c).
demo. Demonstration.
demonstrate/ion. Show: stp;
pattern; dance.
deplacement. 1-meas 4-stp Paso Doble attack pattern
with LT on stp-2.
CP on-L: Appel-R,
Fwd-L
CP>w Appel-LT+CP>,
sd-R, cls-L +CP>;.
desplante. Arm positions.
develope. a. (non-stp
ft action & body bend. Tch-R, lift R-heel
knee high
R-toe pnt down,
extend R-knee out to R.)
b. Position. (Raise & extend free knee
to sd, free heel at wtgd knee
level pnt toe down.
develope kick. 1-meas hold
(Raise R-knee Fwd
or to R-sd pnt R-toe down
at
L-ankle level, rise on L-ball & kick-R,
lower on-L, R at L-knee level);.
Imitate a qk stop
where momentum causes over-tilt with a back body bend,
counter by a Fwd
kick.
diag (/). Diagonal. /.
diagonal (diag, /). Direction:
45º angle bisecting two right-angle (90º)
directions.
diagonal back. Back 45º angle to dancer's free ft sd.
diagonal dance-line & center (/>c). 45º angle bisecting dance-line & center
/>c.
diagonal dance-line & wall (/>w). 45º angle bisecting dance-line & wall.
/>w.
diagonal Fwd (>/). Fwd 45º angle fm dancer's free ft sd.
diagonal COH. (/>c). 45º angle bisects dance-line
& COH. >/c.
diagonal RLOD & center (/<c). 45º angle bisects /<c.
diagonal RLOD & wall (/<w). 45º angle bisects RLOD
& Wall. /<w.
diamond. Lozenge pattern or shape.
diamond turn. 4-meas 12-stp full L-turn Wz
or foxtrot pattern with a
diamond shaped ftpath. CP/>w: 1. Fwd-LT +Bjo/>c, sd-R, cls-L,
+Bjo/>c;
2. Bk-R LT +Bjo/<c, sd-L,
cls-R, +Bjo/<c;
3. Fwd-LT +Bjo/>w,
sd-R, cls-L, +Bjo/>w;
4. Bk-R LT
+CP/<w, sd-L, cls-R,
+CP/<w;
Note: Teach this to newbes
as a LT-BOX, performed on diag with diamond
shaped ftpath. Teaches general ftpath & directions. When majority
of group can dance
it, add the banjo position enhancement.
diamond vine.
2-meas 6-stp diag vine apt & tog, ftpath of each partner
shapes ½ diamond
pattern. SCP>:
Vine apt />c sd-L, beh-R, sd-RT
+solo/>w (sd-RT />w, beh-L,
sd-LT +/<c);
Vine tog /> Sd, beh-, sd-T +SCP>;.
dig. a. 2-count action. FP, both balls wtgd,
no hands:
Ct-1 Twist heels apt & knees tog extend
arms to sds at shoulder
level,
ct-2 twist heels tog
& knees normal join hands bet partners +FP:
Dig, rec, dig, rec; or Heels out, in, out, in;.
b. Exaggerate free toe tch
@ wtg ft, both knees bent free heel up & out.
Dig fake forcefull
strike on floor.
c. 2-beat 2-part stp. 1. Dig free ft ball, 2. stp on dig ft,.
Example: Dig-L, stp-L,
dig-R, stp-R;
dip. a. CP back stp (girl Fwd) freed toe extended in place original
spot.
b. stp on relaxed straight knee, free ft extended to mark rec spot.
c. 1-stp balance
action. CP>w dip: Stand tall, small
dip stp on
straight knee; Bk-L ¼Tdip, - ; fully extend lead arm to sd @ her shoulder
level; sweep arms in
wide arc, create illusion of a big dip; maintain
individual balance
on dip ft; avoid poor appearance of large dip stp
directly bk or a deep knee bend.
Never pull girl Fwd on dip, (T with
free ft floor
contact. Test her balance: bk apt fm her, her dip is poor
if she adjusts
posture to regain balance.
CP> on-R: Bk-L
twd< ¼T>c (Rk Fwd-R ¼LT<w R-toe pnt@w),
hold [on slow
tempo music add
L-body twist], hold;.
dip center.
Dip twd center.
Center modifies dip cue, may be used when man
faces wall to
indicate the dip is bk to center. Center is a superflous
word if dancers know
that man dips back.
dip with ½turn. Disco-hustle-glide pattern.
CP: sd-L, Tch-R, sd-R, Tch-L;
sd-L, thru-R ½LT +bjo, Rk Fwd-L (bk),
sway Fwd (girl bk); rec-R, - , bk-LT FP, cls-R;.
dir. Direction/s.
>, LOD (Line Of
Dance, dance-line),
<, RLOD (Reverse Lone Of Dance)
/>c, diag LOD/coh
/>w, diag
LOD/wall
/<c, diag RLOD/coh
/<w diag
RLOD/wall
>c, COH
>w, WALL
b. stp direction: Fwd, back, sd,
cross, etc., relates fcg direction.
Direction = his facing direction.
Avoid 2nd level directions for instructions.
Fwd is the direction of body, belly-button or
belt buckle, not nose-pnt.
His head may be aimed in a direction
different from body.
He may face the wall with head turned to look
twd dance-line.
Her fcg
direction etermined fm his fcg
direction & position.
dirty dance/ing. Flirty free style dance,
& orgiastic sec-mating motions.
disco. Discotheque. 4/4 time
dance. Terms: Walk in place; walk; sd
tog; up
tog; back tog;
4-beat turn; tch stps; tch stps sd;
tch stps back; 2-beat
turn; camel walk;
kick ball change; triple stp; syncopated samba-L
& -R;
glide; 4-stp, 6-stp
& Latin hustle.
disco merengue. 1-stp patterns performed to 4/4 time disco
music. ½-beat
Walk & ¼-beat Run stps,
based on tempo & dancer preference.
Terms: pivot;
tch; triple;
syncopated stp; Latin hold; tog; 4-beat turn; ball;
change;
syncopate; samba-L
& -R; underarm turns; glide; 4-stp hustle; camel walk.
Other patterns: a. Basic, face girl both
hands joined at full arms
length, hitch-4:
tog-L, cls-R, apt-L, cls-R;.
b. Walk around & turn, Bfly banjo: Wheel ½Turn Fwd-L, R, L ¼R-turn
face partner, RT to Bfly, sdcar; Half wheel L, R, L
¼L-turn face
partner, R ¼L-turn
to Bfly banjo;.
c. 4-count wrap
turn: Face partner both hands joined: Wrap L, R to wrap
position, release
R-hand unwrap L, R to face;.
disco pivot. Full turn spin on wtgd ball. Pirouette.
discotheque. Dance hall with recorded disc music.
^
dish-rag. Wring the dish-rag: 2-meas
6-stp full-turn *in place. Bfly>w both
hands joined
throughout: Arch lead hands his-L (her-R) lower trail hands:
*Sd-LT und arch +
(½RT *in place>w) +Bk
to Bk>c both hands
joined;
*Sd-R LT +
(½RTL *in place) both under trail arch +Bfly>w;
dissonance. Inharmonious
sound or sound combinations. Discord. Harsh
incomplete sound
until resolved by a harmonious chord.
Typical of
improvised original
jazz music.
dlc. />c. Diag 45º
dance-line & center.
dlw. />w Diag
45º dance-line & wall.
doble corte. Double corte. 4-meas tango pattern. CP dance-line:
Rk Fwd-L, rec-R, corte-L, - ; rec-R, - , Rk Fwd-L, rec-R;
Corte-L, - , rec-R,
- ; Tango draw;.
double Cuban break. 1-meas 7-stp Cuban break.
FP on-R: Rk thru-L/rec-R, Rk sd-L/rec-R,
Rk thru-L/rec-R, sd-L;.
Dance mirror image repeat for double meas pattern.
DOM. DANCE OF THE MONTH, see
Dominican turn. CP 2-meas 8-stp merengue
cir fig, ¼RT on each bk-L stp.
CP>w: Bk-L RT
CP<, cls-R, bk-L RT
CP>c, cls-R;
Bk-L RT CP>, cls-R, bk-L RT>w, cls-R;.
Dominican walk. 4-stp 1-meas merengue.
Fwd-L, cls-R,
Fwd-L, cls-R;.
don't. Do words are better. Reserve
don't words for corrective actions
only, not to explain
"How to". Appropriate don't words: roughness,
rudeness, pull,
push, shove, jerk, grab, rush, criticize, crowd,
tail-gate, etc....
DOQ. Dance Of
Quarter, see ROQ & ROM.
double (dbl). Two combined, 2-fold, duplex, 2-of a kind,
paired, repeated,
twice. b. 1-meas pattern completed twice, 1st in
one direction, then in
the other direction.
double chasse. A pair of chasse patterns.
sd-L, cls-R, sd-L,
cls-R; sd-L, cls-R, sd-L, cls-R;.
double crossover.
3-meas cha-cha pattern.
Bfly>w: Rk thru-L +LOP<, rec-R +Bfly>w, Rk Fwd-L, rec-R;
sd-L/cls-R,
sd-L, Rk thru-R +OP>, rec-L +Bfly>w;
Rk Fwd-R, rec-L, sd-R/cls-L, sd-R;.
double Cuban breaks.
2-meas 14-stp cha-cha. FP:
Rk thru-L/rec-R, Rk sd-L/rec-R,
Rk thru-L/rec-R, sd-L;
Rk thru-R/rec-L, Rk sd-R/rec-L,
Rk thru-R/rec-L, sd-R;.
double curly whip. 2-meas 10-stp
pattern. FP>w:
Rk apt-L, rec-R, curl change places L/R, L +FP>c;
Rk apt-R, rec-L, curl change places R/L, R +>w;.
double heel toe polka. 4-meass in loose CP>w:
L-heel, L-toe, L-heel, L-toe; sd-L, cls-R, sd-L
- ;
R-Heel, R-toe, R-heel, R-toe; sd-R, cls-L, sd-R,
- ;.
double hitch.
2-meas 6-stp figure, hitch Fwd pattern plus a hitch back.
SCP>: Fwd-L, cls-R,
bk-L, - ;
bk-R, cls-L, Fwd-R, - ;.
double lock. 2-meas 6-stp pattern:
Fwd-L, lock-R, Fwd-L, - ; Fwd-R, lock-L,
Fwd-R, - ;.
Cue as Lock-3 & 3. Dancers may confuse
the cue Double lock with a Lock-4:
Fwd, lock, Fwd, lock;.
double natural. 1-meas full R-turn. Start & end in
CP>. Man 2-stps (girl
4-stps). CP>
on-L:
Fwd-RT (bk-L)
+CP>w, sd-Lball RT< (Fwd-RT +contra bjo), RT Lball Bjo>w
(girl turn man Fwd-L
whl man RT >cut thru-R RT < & man) +CP>;.
double pivot. 4-stp 2-meas CP Full RT
pattern. CP< on-R:
bk-L RT>c, - , Fwd-R RT +CP>,
- ; bk-L RT>w, - , Fwd-R RT +CP<, - ;.
Avoid CP double pivot overturn stps. They are
slurred & awkward. Limit
progression on
double pivots. Special dance skill is
needed by both
partners for acceptable overturn double pivots. Turn stps greater
than
¼ Turn exceed comfort & control
range. Each dancer must reach Fwd-R bet
& around partner's L-ft to exceed ¼ turn
per stp.
double reverse.
a. 2-meas reverse turn
= two L-turns. b. Double reverse
spin. c. Double reverse
pivot. d. Double reverse turn.
double reverse turn. 1-meas full L-turn man 2-stps
(girl 4-stps), start &
end in CP. CP>:
Fwd-LT CP>c (bk-R LT), sd-Rball LT (sd-L) +scar<, continue LT on Rball
(girl turn man Fwd-R
LT curve around man to face center/cut thru-LT face
reverse & man)
+CP>;.
double sashay. 2-meas 8-stp pattern. sd-L, cls-R, sd-L,
cls-R; sd-L,
cls-R, sd-L, cls-R;. Sashay-8 is a definitive cue.
double swing. 4-stp 6-beat 1½ meas
social fox-trot variation, rhythm:
Slow, - , slow, - ; qk,
qk,.
CP: Stub-L, stp-L,
stub-R, stp-R +SCP; Rk bk-L, rec-R CP,.
double time. a. Twice as many beats/min or meass/min.
b. Twice as many stps/meas.
c. Reduce time for
a musical meas to ½.
double time chasse. 1-meas 8-stp merengue
pattern.
sd/cls,
sd/cls, sd/cls, sd/cls;.
double twirl. a. (Girl twirl twice with four ¼ note qk stps in 1-meas.)
b. (Girl twirl twice in
four ¼note slow stps in 2-meass.)
double vine. a. Vine-8 ¼note stps in 1-meas. b. V-8
½note stps in 2-meass.
double whisk. 2-meas 6-stp fig. A
3-stp whisk fm CP to SCP followed by
a 3-stp L-whisk to
+RSCP. CP>w: Fwd-L, sd-Rball, hook-L ball beh R-ft to
SCP>; Thru-R to CP, sd-L,
hook-R on ball beh L-ft to <SCP;.
down (dwn). a. twd
dance-line. b. Lower body level.
downbeat. a. Accented note of a
meas. Usual drive stp beat.
b. Down stroke of
conductor's baton.
drag (drg). Non-stp ft action. Draw & wipe trailing flat on floor.
Examples: sd, drag,
cls;. sd, drag, - , cls.
drag hesitation. 1-meas 2-stps ½LT pattern change
fm CP to Ctr Bjo. CP>:
Fwd-LT>c, sd-R LT +bjo<,
drag-L & Tch-L +bjo<.
draw (drw). Non-stp ft action, pull trailing ft, heel 1st to wtgd ft,
wipe floor with
ball. Examples: sd,
draw, cls; & sd, draw, tch;.
drg. Drag.
drp. Drop.
drift. a. Drift apt: a1. 1-meas blend fm CP to loose CP or FP.
a2. 1-meas blend fm SCP to ½OP or OP.
b. stp following a drive stp. Drift stps obtain
momentum fm the lead or
drive stp. Drive, drift, cls;.
drive. a. stp &
generate direction momentum &/or torque to launch dancer
fm wtgd cls stance. Leader cues the next pattern, with body
attitude &
movement. Lead occurs during the split second (1/8 to
1/4-sec.) overlap
bet wtgd cls-stance & drive-stp. Man has no lead
control aft the drive
stp
is launched.
b. Foxtrot stp-1. Drive, - , drift, cls;.
c. Wz stp-1: Drive, drift up-weight onto ball, cls;.
d. Two-stp stp-3: Drift, cls, drive, - ;
Drift, cls, drive, - ;. Where
drift carries over
into the follow-on meas.
e. Drive stp is a driven stp. Force to launce the dancer into a drive
stp
is generated from the CP stance. The drive (ft-1 & leg-1) transports
(vaults) body into
the drift (ft-2) fm clsd stance launch (ft-3). On
progressive stps launch momentum carries dancer beyond vault flight stp
ft-1 to landing stp ft-2.
f. Alternate words for stps from clsd stance on R-ft: 1.
Launch, or
takeoff from-R and
Flight or vault-L; 2. Landing or hover-R ; 3. Shift-L
(cls).
drop (drp). Lower body height/level by knee bend,
or fall fm ball to flat.
drop oversway (drp ovrswy). Tango oversway with
change of sway'.
dropouts. Teachers lose dancers &
should objectively evaluate reasons.
Dropouts may not be candid concerning
reasons.
Dropout causes include::
Partner related: family troubles; children;
divorce; deaths;
singles split-ups; age; mobility; hearing; memory; slow
reaction time;
interest loss; move fm town; work hours; sickness. Club
related: pace too
fast or too slow; teaching techniques; impatient
teacher; too many
dances; too many nights out; prefer other activities;
problem couples
holding up class; not fun; mental strain; feel inadequate;
dislike club
members; public or private criticism; floor fright; pnting
out mistakes; pulls; pushes; shoves; jerks;
grabbing; twirls; cls holds;
mashers;
know-it-all; subtle & open insults; drinking; blame for goofs.
drc. /<c. Diag reverse dance-line
& center.
drp. Drop.
drp ovrswy. Drop oversway.
drunken schottische. Vars
position dance-line, identical ftwork 4-meas:
sd-L, cls-R, sd-L,
cross swing-R; sd-R, cls-L,
sd-R, cross swing L;
Cross strut L,-, R, -; L, - , R, - ;.
OR Vine sd-L, beh-R, sd-L, Xswing-R;
sd-R, beh-L, sd-R, Xswing-L;
stp-L, hop-L, stp-R, hop-R; stp-L, hop-L, stp-R, hop-R;.
drw. a. \<w, Diag rev
dance-line-wall.
b. Draw.
duple. a. Double or twofold.
b. 2- or
4-beats/meas music.
dw. />w. Diag dance-line & wall.
dwn. Down.
dwr. /<w. /<w. Diag rev dance-line & wall.
File: D-terms.txt
rev-030304