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.
--------
eager beaver.
Dancers who dance at every chance, arrive early, stay late,
master basics,
practice bet dances, enjoy learning, want to be 1st to
learn dances, try to
learn every dance, travel to attend festivals,
neglect other
interests, ask questions, style conscious, sometimes over-
style, try variety
in steps & moves, dance every dance.
easy level. A dance of patterns taught to beginners. General levels: S/D,
easy, intermediate
[also low & high], advanced;. Related to levels
Phase I-VI.
ecart. French word ecarter means: to open, step aside, jump or change
directions. Paso doble term = a
flat footed whisk to SCP.
ecart et veronique (ecart de ver).
a. Paso doble term.
Veronique: Bull fighter cape extended to the side.
b. Change cape (girl) fm CP to SCP, sidecar
or Bjo or vice versa.
c. Change girl fm
reverse SCP or sidecar to Bjo or SCP, SCP or Bjo
to sidecar or
reverse SCP.
echo. a. Reverberation. A reflected sound wave.
b. A 2-or-more meas
figure: man Hold & girl dance a pattern, then girl
Hold & man dance the pattern.
echo Rks. 2- or more meas echo
figure: partners alternately dance & hold.
4-meas example:
1. Rk-L, rec-R,
Rk-L, - (girl hold);
2. Man hold (girl Rk-R,
rec-L, Rk-R, -);
3. Rk-R, rec-L, Rk-R, - (girl hold);
4. Man hold (Rk-L, rec-R, Rk-L, -
);.
echo side two-step. 4-meas echo pattern.
1. Sd-L, cls-R, Sd-L, - (hold);
2. Man hold (Sd-R, cls-L, Sd-R, -);
3. Sd-R, cls-L, Sd-R, - (hold);
4. Man hold (Sd-L, cls-R, Sd-L, -
);.
eg (e.g.). For example.
eight count dip. 2-meas hustle figure.
CP>w: Sd-LT +Bjo>, fwd-R, Rk fwd-L, bend
fwd on-L (bend bk on-R);
rec-R, bk-L RT +CP>w, Sd-R, touch-L;.
elbow. Dance with elbows at shoulder level.
Keep high, wide & handsome
body posture. High elbows produce: good posture; high
shoulders; firm
brace; best
lead-control; fast follow-response; & easier adjustments.
Girl's elbows should be held near shoulder
level. High elbow CP permits
positive lead signal
transfer & best steering control. Man's R-arm should
curve & slope fm
R-shoulder, thru R-elbow (at her L-shoulder level),
under her arm pit,
to R-hand on her L-shoulder blade. (Her
L-arm curves
along & above
his R-arm, L-elbow on top, to the front of his R-shoulder,
L-hand fingers pnt twd his neck.)
Lead hands: (Her R-elbow should be at/near
her shoulder level, R-hand
extend full to R; His L-hand extended to her-R.)
These elbow positions provide the brace,
arms extended to the side -
elbows at shoulder
level. Shoulder sockets-arm joints
permit arms to
hinge fwd without
change in body posture. Back arm
movement is limited
fm the extended side
direction without turning the upper body.
This
limits give or slack
bef brace lead pressure guides her upper body
direction. His arm position, elbows & hands provide
the other limit of
her upper body lead.
(Girl carry elbows high, at shoulder level,
except as required by
position
adjustments.) His R-hand needs free
access to her L-shoulder
blade, with
R-forearm under her L-arm at arm pit, fingers slanted down in
line with arm slope
fm R-shoulder to hand on her L-shoulder blade.
A common novice elbow posture fault occurs
on separation fm & return to
CP. She may lower elbows on separating fm CP,
& fails to raise elbows to
shoulder level on
return to CP. Low L-elbow blocks his
R-hand access to
her L-shoulder blade
& retards restoring an effective brace. It distracts
thoughts fm the next
step to: What happened? What's wrong?
Girl, keep
your elbows up ready
to blend to a CP brace. A position blend
should be
made on meeting, not
after meeting.
Girl should keep her L-elbow at shoulder
level while in CP. It permits
free egress of his
R-hand/arm fm her L-shoulder blade. A
poor partner
tend to form the
jaws of an arm vise with her L-side & L-arm. She clamps
the vise onto his R-arm
by lowering her L-elbow. It prevents him
fm
removing his arm fm
the vise.
elevate/elevation (elev). a. Stretch up on ball of foot & raise body
level.
b. Rise in height after a drop of height.
c. Rise = elevate
up, & drop = elevate down.
d. Side moving 1-meas 3-step rumba pattern:
Sd-L, cls-R, Sd-L, rise-L
ball;.
e. A 4-step 1-meas side moving paso doble pattern. CP>w, UP: Sd-L
rise on ball, cls-R on ball continue rise, Sd-L
rise, cls-R; or
DOWN: Sd-L lower, cls-R lower, Sd-L lower, cls-R;. Turn head & look in
direction opposite
to body movement.
1. Pnt-L fwd, - , Xpnt-L, - ; 2.
3. Pnt-R fwd, - , Xpnt-R, - ; 4.
5. Strut-L, hop , R,
hop ; 6. fwd-L, cls-R,
fwd-L, hop ;
7. Strut-R, hop , L,
hop ; 8. fwd-R, cls-L,
fwd-R, hop ;.
el sharon. 2-meas tango
CP>w:
Sd-L +SCP>,
thru-R (thru-L), - (flr-R pup) +CP>; Tgo draw;.
encuentro. Meet,
encounter. La encuentro:
the meeting.
endg. Ending. +.
end/ending. a. Last meas/phrase of dance.
b. Last pattern/figure of dance.
c. End position of
a dance.
d. End position of an adjustment, or of a
meas.
English. International ballroom dancing.
eros. a. Greek God of love.
b. Sexual love.
c. Start
hinge-position >w both on-L knees bent, man look > [dl] R-leg
extended to <
[rev]: Rise on L-leg, in place-R extend-L >, lower on-R
& sway to-L (rec-R
CP, in place-L rise-L open & bent R-knee to side pnt
R-toe out R-ft horizontal, R-swvl on L-ft curve R-knee over his xtended-L
leg, lower on L-leg
extend-R twd > & pnt);.
(rub R-knee & inner thigh down
his L-leg & pnt-R.)
esc. Escort.
escort (esc). Side
by side: his R-side by her L-side face same direction.
His R-hand on belt buckle R-elbow bent
forming small window at R-side.
(Her L-hand through his R-elbow window fm the
rear, rests on his
R-forearm).
Esmeralda. 6-meas CP
polka glide. CP>w:
1. Slide Sd-L, - , cls-R, - ; 2.
3. Sd-L RT +CP<,
cls-R, bk-L RT CP>c, - ;
4.
5. Slide Sd-R, - , cls-L, - ; 6. Sd-RT
CP>, cls-L, fwd-RT CP>w, - ;.
ethics. Teacher
ethics: good conduct; good reputation; integrity;
professional
attitude; reliable; adhere to standards; good fellowship;
considerate;
empathy; constructive criticism; proper decorum; respect
others; patient.
evaluate. Evaluate round dance teachers on: New dance
screening; dance
Teaching methods; Communication; Presentation
methods; Idea exchange:
Promoting dance; Advice & assistance;
Idea sounding board; ROM selection
& support; Figure
execution; Teaching criteria; Quality of teaching.
Teacher qualification criteria includes:
Teach a 3-month weekly lesson
course in a rented
hall, with 5 or more paying couples. Two
association
members attend
enough meetings to evaluate methods.
Oral exam on reading
& interpreting cue sheets. Identify rhythms, phrases, breaks etc.. Demo'
a dance. Teach a workshop. Execute selected figures. Knowledge of:
choreography; body
mechanics; smooth flowing figures; musical phrasing to
patterns &
repeats.
ex. Extend.
exercise. Dancing including RD & S/D are excellent forms of exercise at
moderate
tempos. Neither is strenous
if movements are limited to
dancer's body
without push, pull, carry, raise &/or lower of
added external weights.
RDing provides a significant degree of important
exercises needed to
develop, maintain, improve, perfect &/or control the
motions, balance,
thought, timing & coordination involved in performing
physical & mentaal patterns & actions of dance routines.
A typical RD contains an uninterrupted
choreographed routine of 2.5
to 3 min at 36 meas/min.
At 3/4 or 4/4 time rhythm: a RD routine is
3 steps/meas x 3min x 36
meas/min = 216 steps/3 min routine. (216
physical & mental acts/min.)
A sport boxing 'round' contest is 3 min in
length with a 1 min rest
break between
rounds. But that can be strenuous. A 10
round bout may last
40 min.
I did not consider RDing
as exercise at age 78, just pleasure &
seldom sat during a
rest breaks. Did yard (lawn, garden & outside house
& auto) work, golfed by walking a 7000
yard 18 hole course. But at age
79 (after several strokes & a Dr's
warning "You are aging, stay off the
house roof"),
At age 79.5 RDing for 20 min with 3ea 1 min rest
breaks was
my limit. Balance was unsteady, memory of dance
routines unreliable, &
steps hesitant
without confidance, timing & style. Older dancers
need regular body
& mind exercise. The importance of
this exercise by
middle age &
older folk is evident. My advice to RD
Teachers & SD Callers
is: Place great
emphasis on the health benefits of dancing as exercise.
Notice the dancing abilities &
limitations of the older dancers & keep
everyone dancing
exhibition. Dance for an audience.
explosion. a. OP: Flex R-knee lower body, - , lunge apart Sd-L
arc L-arm up
& out to `extended' OP & look at
partner, - ; rec-R beside partner, - ,
tch-L, - ;.
b. Start with hands folded in front of
chest, elbows extended out, head
lowered. Roll arms up & out while stretching body
upward to erect Bfly.
c. Cir away fm
partner.
d. Qk bal awy fm Bfly
to OP.
extemporary ballroom dancing.
Impromptu or free-style couple social/night
club dancing,
without prearranged routines. Improvised steps, patterns &
figures. Dancers may
repeat one pattern throughout musical arrangement.
extend (ex). Reach out with hand, elbow, knee or ft in a
direction.
File: E-terms.txt
rev-030329