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.

H

H. a. Heel. b. Hand.

H-T or H/T. Heel to toe stp: transfer wgt fm heel to flat to ball.

habanera/habanero. Latin rhythm Rk. a. Paso doble: Rk, - , rec, - ;.

b. 3-stp 1-meas pattern: Rk Fwd-L, rec-R, Rk Fwd-L, - ;.

c. Gaucho.

d. Fwd Rk.

e. Cue: Rk; Rk-3; or Rk, rec, Rk; are descriptive & meaningful to most

dancers.

f. Person fm Havana or Cuba.

hairpin (hrpn). a. 4-stp 1-meas half RT with chg fm CP +Bjo.

Wz time: 1, 2/3, 4;. CP<: Bk-L RT +CP>c, sd-RT CP>/Fwd-L, Xif-Rball in

half RT compress thighs +Bjo/<w;.

b. Hairpin turn 4-stp 1-meas 1½RT, chg fm CP +Bjo. A 3-stp full RT Pvt

lus ½RT +Bjo/<c. CP<: Bk-L ½RT +CP/>c, Fwd-R ½RT CP>w/sd-L RT CP<, Xif-R

on ball compressed thighs RT +Bjo/<c;.

c. Hairpin curve. 8-stp 2-meas CP half T. ftpath is outline of an

inverted `U' or hairpin. CP>c: Fwd-L, Fwd-R, Fwd-L ½L-curve, Fwd-R ½L-

curve +CP<; Fwd-L ½L-curve, Fwd-R ½L-curve CP>w Fwd-L, Fwd-R;.

half box. 3-stp 1-meas ½ box pattern. Fwd or Bk half box.

half box Bk. Wz: Bk-R, sd-L, cls-R;.

Two-stp: sd-R, cls-L, Bk-R, - ;.

half box Fwd. Wz: Fwd-L, sd-R, cls-L;.

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

half moon. Mambo wrap pattern or position.

half natural/half natural turn. 3-stp 1-meas ½RT.

half open. Half-OP. HOP.

half open chair. Chair lunge HOP.

half open natural turn. HOP ½RT.

half OP (1/2 OP). Partners face same direction his R- (her L-)

sds adjacent. His R-arm beh her Back, R-hand on her R-waist. (Her L-hand

on his R-shoulder, L-arm beh his R-arm). Outsd hands free, his-L (her-R)

extended at shoulder level. Dancing several phrases in ½OP tires extended

arms. Avoid low outsd hands & arm flaps. Girl may use R-hand to hold &

flare skirt.

half reverse turn. 1-meas ½L-turn.

half sashay. 2-stps 1-meas sd moving 4/4 time music.

FP>w: sd-L, -, cls-R, - ;.

Full sashay is 4-stps 1-meas. Half sashay = 1/2 of 4 stps = 2 stps.

The 3/4 time pattern is canter: sd-L, - , cls;.

ROLLAWAY WITH A HALF SASHAY: a S/D dance fig. Man dance a ½ sashay

(girl roll-away). Some callers & dancers use the corrupted half sashay

command to mean girl rollaway.

half turn. a. ½ R-turn to face opposite direction.

b. A solo progressive ½ turn on drive stp conforms to normal body

mechanics, since partner's feet nor body block movement.

Unobstructed ½ turn drive stp = Heel ¼ turn to ball +¼turn;

Or Ball ¼ turn to heel ¼ turn.

hall center. Center inside of dance circle.

hall direction. Directions fm dance line circle as viewed by dancer:

1. Dance-line, >.

2. Rreverse, <.

3. Center, >c.

4. wall, >w.

Diag Dance-line wall, />w.

Diag Dance-line center, /<c.

Diag Reverse Dance-line center, /<c.

Diag Reverse Dance-line wall, /<w.

hall size. General room dimensions for good acoustics are roughly:

Length = less than 2 x Width. Room size effects teaching & learning.

SMALL ROOMS restrict dancer movements, some figs are uncomfortable in

crowded conditions. Demos are confusing if directions are not clear. If

dancer separation is small, words spoken by any dancer are heard by all.

Nearness is a friendly social atmosphere, but hampers learning. Dancers

lose dance-line vs wall perception on direction chgs. Such as: a dancer

facing dance-line moves 1-stp or 1-meas Fwd & ends facing an adjacent

wall. Such problems occur when concentrating on positions, stps & turns.

The unexpected new hall direction requires time to recognize, Adj &

react. Sight cues compound orientation problems. Sight cue dancers are

confused by couples moving in the opposite direction on the far sd of the

circle. Twisters, bouncers & rubber-leg dancers tend to control such

faults better in crowded conditions.

Comfortable size circles are spaced better. Dancers ID their place &

flow better. Sight cue dancers locate & ID better with example couples.

LARGE HALLS with few dancers create a separated feeling. Dancers mingle

less, & cliques become clearly defined. Twisters, bouncers & rubber-legs

lose all control.

ham. Act with overly theatrical style. Over-play the part. Over-act. Show-

off.

hand (H, hnd). a. Free hand. Hand not in contact with partner.

b. Joined hand/s. Hand/s in contact with partner's.

c. Lead hand. Hand in contact with partner's twd direction of travel.

d. Trailing hand. Hand opposite direction of travel.

hand to hand. a. 6-stp 2-meas rumba breakaway fig.

Bfly>w Rk beh-LT (beh-R& RT) OP>, rec-RT +Bfly>w, sd-L, - ;

Rk beh-RT LOP<, rec-LT +Bfly>w, sd-R, - ;.

b. CP>w either ft wgt: Rk beh, rec, sd, - ; Rk beh, rec, sd, - ;.

c. 4-meas rumba. CP>w: Rk beh-L +OP>, - , rec-R +CP>w, - ;

sd-L, cls-R, sd-L RT break +LOP, - ;

Rk Bk-R, - , rec-LT +CP>w, - ; sd-R, cls-L, sd-R, - ;.

d. 10-stp cha-cha fig: Dance the rumba pattern described in c in 2

syncopated cha-cha rhythm meass.

hands up. Hold hands up & keep them up. Adj hands for girl's height. Lead

hands at or slightly above her shoulder level, no higher than her eye

level. Exceptions to rule include swing or jitterbug where lead hands are

held near waist level. High lead hands aid head up posture & reduce ft

watching. Keep extended arms light & free but not loose. Originate arm

motion fm shoulders in a natural manner. (Girl: May use free hand for

skirt-work in OP.; with free elbow cls to body on twirls. An extended

elbow can deliver a painful blow.)

Keep fingers tog, slightly curled. Join lead hands gently with gentle

pressure or grip, his L-palm tilted up (her R-palm tilted down). Extend

lead hands fully, with slight bend at elbow. (Girl support arm wgt of her

extended hand.)

Time hand moves for smooth gentle graceful actions without jerks. Keep

hands high on position chgs to avoid pump, wave, fling &/or flop moves.

Swing hands through smoothly on face to face & Bk to Bk patterns, to

rerduce bent elbow & arm interference caused by `push-thru' arm action.

Blend on position chgs with well timed hand transitions. Man keep R-hand

extended palm Fwd as a stop & start pressure pnt for the girl on fast

twirls followed by reverse twirls.

Do not grip or hold hands tight. The grip is used in free style

jitterbug & acrobatic dances where counterbalance & counterforce is

needed.

In CP (girl press L-hand firmly on his R-shoulder, or upper arm.

Limit of hand height her eye-level. L-hand should never be on top of his

shoulder, it results in hanging onto & wgting the man. Girl's that lead

often use a L-hand shoulder grip. Her L-hand should press Fwd on his R-

shoulder to form brace lead resistance, & to sense lead signals. Lean

Bk on his R-hand & press Fwd on his R-shoulder. The counter-pressures

form a firm brace.)

Hand faults: Low lead hands at waist level in SCP; pumps; flops; flings;

waves; holding lead hands cls to body; bent elbows; fists; curled or

spread fingers; clutching; grasps; pumps on Rk & rec stps; grabs; twirl

out of reach; jerks; low arch on twirl.

hash. Patterns cued or called at random rather than pre-choreographed.

head & eyes. Hold head high, is a primary rule of good posture. Appearance

will be above average. Actors & models learn to walk with books balanced

on their heads. This develops erect posture & smooth movement. It is hard

to walk with a book balanced on a bouncy, jerky, or tilted head. Moves

must be well timed so position chgs flow smoothly.

Body should not be stiff or rigid. Keep head high & eyes at constant

eye level. Look down only as directed. ft watching results in lowered

head, bent waist, bent knees & protruded fanny. Keep head high for good

posture, it helps avoid ft watching. Look twd target location not at

partner, another couple or feet. Generally aim head & eyes at target, the

obvious exception is Bk up. Watch to avoid collisions with others. Look

where you are going for smooth body & ft flow. Look-L on L-turns. R on

R-turns. Turn body & stpping ft in turn direction. Glance at partner

occasionally, but avoid stares.

Dancing with head up & eyes level won't cure all problems, but it makes

better dancers. Posture, balance, grace, smooth flow, awareness,

alertness & gentleness are assets in all activities.

hearing. Music &/or beat must be heard to motivate dancers. Cues must

heard to dance to them. High fidelity sound equipment & good hall

acoustics promote hearing. Some folk have narrow ranges of hearing &

tolerance to volume & tone levels. Others tolerate wide ranges of sound

levels without discomfort. Adj volume to a mutually acceptable level for

a majority of the dancers. The frequency response of every dancer's

ear/s is different & affects the perception of & tolerance to sound.

Sound systems have controls to Adj levels of voice, music & frequency

[bass & treble]. System operator & dancer locations expose them to

different sounds & levels.

Advise the operator when music, voice & tone controls need reAdjment.

Gripes to other dancers don't get the controls Adjusted, talk to the man

at the controls. Try dancing around the hall first, the sound is often

too loud in front of the speakers, but barely perceptible on the far sd

of the hall. ReAdjment may be required during the evening due to chgs

in dancer and/or spectator generated noise levels. Sound grooves in one

record often differ fm another. This causes the music level to be weaker

or louder than that of the record used to set amplifier controls. chgs in

floor/spectator noise levels vary bet S/D & RD, & require control Adjment.

heel (H). a. Heel of ft.

b. Tch heel of free ft to the floor.

c. Manner of stpping: Heel to toe & toe to heel.

heel & toe. a. Use of heel &/or toe for stps or non-stp actions.

heel & toe cha-cha. 2-meas cha-cha. Bfly:

Tch L-heel, Tch L-toe, sd-L/cls-R, sd-L;

Tch R-heel, Tch R-toe, sd-R/cls-L, sd-R;.

heel & toe moves. Method of wgt acceptance & transfer in stpping.

Heel-toe (H-T) = heel accept wgt & transfer to the ball.

Toe-heel (T-H) = ball accept wgt & transfer to heel.

heel & toe polka. Date ?1850. Also heel & toe break.

CP: Tch-L heel, - , Tch-L toe, - ; sd-L, cls-R, sd-L, - ;

Tch-R heel, - , Tch R toe, - ; sd-R, cls-L, sd-R, - ;

4-½ turning polkas ;;;;.

heel brush. Brush floor with free heel.

heel click or Indian polka. Click heels tog on beat-4 of each meas of the

sd polka. CP:

sd-L, cls-R, sd-L, click heels;

sd-R, cls-L, sd-R, click heels;.

heel, heel, toe, toe. 4-stp 1-meas pattern.

Fwd-L on heel, cls-R on heel, Bk-L on toe, cls-R on toe;.

heel pivot. a. 3-stp 1-meas «R-turn (full-turn) pattern. CP<:

Bk-L toe to heel ¼R-turn +CP>c, in place-R heels tog ¼RT +SCP>;.

b. Impetus.

heel pull. Draw heel of extended free ft on floor to wgt ft.

a. CP< wgt on-R, Heel pull pivot: Bk-L RT +CP>c, drag R-heel to wgt-L,

in place-RT, - CP>c;.

b. CP>w: sd-L, drag R-heel to wgted-L, cls-R;.

heel to flat (H-F or H/F). Fwd stp. wgt accepted by heel & transferred to

flat on progress.

heel to toe (H-T or H/T). Slow Fwd stp.

Accept wgt on heel & transfer it thru flat to ball to progress.

heel-toe cha. 2-meas cha-cha:

Tch-Lheel, Tch-Ltoe, sd-L/cls-R, sd-L;

Tch-Rheel, Tch-Rtoe, sd-R/cls-L, sd-R;.

heel turn. a. Turn in place on heel to travel limit & chg wgt thru flat to

ball to complete stp.

heel twist. A cross in front heel turn.

Bfly>w: sd-LT +Bfly/>w, thru-RT on heel +Bfly/<w;.

hes. Hesitation.

hesitation (hes). a. Wz, 1-stp per meas Wz. stp, Tch, hold;.

CP>: Fwd-L, Tch-R, hold; Fwd-R, Tch-L, hold;.

b. Hold for 1 or more beats.

hesitation chg. ½R-turn fm Bjo< to +CP>, 1-meas 2-stps.

Bjo<: Bk-L RT +CP>c, sd-RT +CP>;.

hesitation walk. Fwd [or Bk] time pattern, 1-meas 1-stp.

CP>: Fwd-L, - , - ;

Fwd-R, - , - ;.

hest. Hesitation.

H-F or H/F. Heel-flat. Chg wgt fm heel to flat.

H/Flat (H/F or H-F). Heel-flat. see H-F.

hgt. Height.

high heels. High heels hinder natural stp style, grace, & control of

rhythmic ambulatory excellence with well timed smooth flowing body

mechanics. High heels may help a bouncer on wgt shift to heel on a stp.

High heels limit travel range bet ball to flat. They keep wgt Fwd when

heel is in contact with floor. Bouncers may experiment to find optimum

heel height. Start with medium height wide rubber heels.

highland fling. a. Modified Bjo. Bjo, R-arm in front of partner, R-hand

on partner's R-waist. L-hands high, arms curved up fm shoulder. See

bolero, sombrero & Hungarian swing positions.

b. Wheel in highland fling position. c. sdcar highland fling = mirror

image of highland fling with L-hand locations.

highland schottische. Schottische with simultaneous hop pnt feet actions.

pnt free ft on hops. OP: free hand on hip. Solo: both hands on hips.

OP>w in place hops:

Hop-R & pnt-L sd, hop-R & pnt-L beh, hop-R pnt-L sd, hop-R pnt-L Fwd;

sd-L, cls-R, sd-L, - ;

Hop-L pnt-R sd, hop-L pnt-R beh, hop-L pnt-R sd, hop-L pnt-R Fwd;

sd-R, cls-L, sd-R, - ;

meas 5 & 6: Five-stp schottische;;

meas 7 & 8: Two turning two-stps;;.

hinge (hng). a. Joint on which a door, lid, gate or shutter turns.

b. Position.

c. 1-meas pattern. CP>w: sd lunge-L (-R), hold (Bk-LT whisk +OHng<);.

d. Hinge imitates door OHinge to R-angle [90º] position.

hinge position. L-sd adjacent to her R-sd forms vertex of a R-angle [90º]

hinge. Face wall wgt-L knee flexed R-ft extended reverse R-knee veered to

dance-line diagonal, look at her. L-arm around her Bk L-hand on L-waist,

R-arm curved down & Fwd twd wall free R-hand in front of her. (face

reverse on-L knee flexed body tilted Bk, head turned-L look away fm man.

pnt-R>. Raise R-hand straight arm in line with body tilt. Curve L-arm Fwd

at shoulder. Free L-hand in front of body above his.)

hip action. a. Hula: sd hip sway on sd stp.

b. Latin: hips rise & fall without sd sway. Free hip falls with wgt fm

free leg. Wgt hip rises on straight leg stp hinged to lower free hip.

hip twist. 1-meas 3-stp rumba. FP>w R-hands joined:

Rk Fwd-L, rec-R, cls-L (Rk Bk-R, rec-L, Fwd-RT>) +M>w(G>);.

hitch Bk. 3-stp 1-meas Bk pattern. SCP>: Bk-L, cls-R, Fwd-L, - ;.

hitch Bk four. 4-stp 1-meas Bk hitch.

Bk-L, cls-R, Fwd-L, cls-R;. 4 stps = 4 wgt chgs.

cls = stp beside wgted ft, chg wgt to the stpping ft.

4 qk stps in 4 bts.

hitch double/double hitch. 6 stp 2-meas fig.

A hitch Fwd followed by a hitch Bk.

SCP>: Fwd-L, cls-R, Bk-L, -; Bk-R, cls-L, Fwd-R, -; +SCP>.

hitch Fwd. 3-stp 1-meas Fwd & Bk pattern.

SCP: Fwd-L, cls-R, Bk-L, - ;.

hitch four. 4-stp 1-meas hitch.

Fwd-L, cls-R, Bk-L, cls-R;.

Remember - to "cls": stp beside wgt ft chg wgt to the stpping ft.

4 qk stps in 4 beats.

hitch scissors. 3-stp 1-meas combined hitch & (scissors) pattern.

Hitch = his part.

(Scissors = her part).

Start Bjo> wgt L: Bk-R (Fwd-LT +fc>c), cls-L (cls-R LT) +SCP>, Fwd-R ,- ;.

hitch six. a. 6-stp 2-meas double hitch or hitch double pattern.

Fwd-L, cls- R, Bk-L, - ; Bk-R, cls-L, Fwd-R, - ;.

b. 6-stp, six-beat 1½ meas fig.

Fwd-L, cls-R, Bk-L, cls-R; Fwd-L, cls-R,.

hk. Hook.

hnd. Hand.

hockey stick (hky stk). 2-meas Latin rhythm pattern. Her ft-stps trace a

hockey stick (\_) fm Diag Fan position und arched lead hands to FP.)

a. Rumba. Fan position>w (/<): Rk Fwd-L (in place-R) arch joined lead

hands, rec-R (Fwd-LT +>w Bk to man), cls-L (sd-R LT und arch +>), - ;

Rk Bk-R (Bk-L), rec-L (cls-R LT +/>c), cls-RT +/<w (Bk-L) +FP, - ;.

b. Cha-cha. Rk Fwd-L (in place-R), rec-R (Fwd-LT +>wall Bk to man),

in place-L/-R (sd-R/cls-L), in place-L (sd-R LT +>); Rk Bk-R (Rk Fwd-L),

rec-L (rec-R LT +/>c), sd-R/cls-L (Bk-L/cls-R), Fwd-RT +/<w (Bk-L) +FP;.

hoedown. Farm work break. Lay down the hoe & take time fm field-work for

dancing & social activities.

b. 2-phrase fiddle music associated with frontier & S/D hash dancing.

hoja/hojo. Leaf, blade, page, record, whip, chg, whirlpool, hole, pit,grave.

hold (-). Retain ft/body position for one or more counts.

Fwd-L, freeze, - , - ;.

Dash marks after freeze prolong hold for 2-beats.

honky-tonk. Cheap 1930s-40s roadhouse dance hall for drinking & dancing.

Many Southern honky-tonks were located on highways outsd city limits to

avoid city zoning restrictions & laws related to dancing, drinking &

noise. Music was obtained by putting coins [nickle in 30s, & dime in

40s] in a juke box. Places with live bands were called dance halls.

hook (hk). Non-stp ft action. Cross free ft in front or beh wgt ft

& Tch floor with unwgted ball.

Hook is not a stp, delay wgt transfer to a later beat.

hook & ride. FP Hook-L (Fwd-R R-cir around, rotate & unwind man on Rball ),

R-turn ride on R-ball (Fwd-L R-cir & rotate man to unwind hook), stp-L

(Fwd-R R-circle RT +FP);. Also mirror image.

hook & unwind. Hook-R Xif, LT unwind self on Lball, stp-R;.

Solo dance pattern. Also mirror image.

hook stp. a. A misnomer. Hook is not a stp.

b. Cue often used for a non-stp hook followed by a stp.

hootenanny. Gathering of folk entertainers & singers.

Audience may join in.

hop. a. Small jump on wgted ft or feet. Direction is specified or

determined by momentum.

b. Small jump in place fm one ft to other.

hop cha. Rk Fwd-L, rec-R/hop-R, Bk-L/cls-R, Bk-L;

Rk Bk-R, rec Fwd-L/hop-L, Fwd-R/cls-L, Fwd-R;.

hopscotch. Skip. stp, hop,.

h-op. Half-OP.

hora. Israel folk dance. Dancers face center of circle, joined arms

overlaped to elbows or shoulders. IDical ftwork.

sd-L, beh-R, sd-L, hop-L cross swing-R;

sd-R, hop-R cross swing-L, sd-L, hop-L cross swing-R;

sd-R, beh-L, sd-R, hop-R cross swing-L;

sd-L, hop-L cross swing-R, sd-R, hop-R cross swing-L;.

To progress twd left chg meas-3:

In place-R, -L, -R, hop-R cross swing-L;.

hornpipe. a. Wooden pipe-like reed horn musical instrument.

b. Lively British folk dance to hornpipe music.

c. Tune played on the hornpipe.

d. Bagpipe.

hov. Hover.

hover (hov). a. Ball stp, followed by a rec or chg stp. Compare HOVER &

rec, with Rk & rec: HOVER = ball stp; Rk = flat stp.

b. 3-stp 1-meas pattern: stp-1 = drive, stp-2 = ball, stp-3 = rec.

stp-1 & -2 are in same direction, stp-3 is a rec stp.

stp-L drive [Fwd, sd or Bk] direction, stp-R ball in same direction,

rec-L on flat;.

c. Remain suspended over a place or object.

d. Move to & fro near a place.

e. stp drive Fwd, land on ball with free ft extended in anticipating a

rec stp.

f. Hover patterns: Bk hover; fallaway hover; reverse hover; thru hover;

balance; spin turn.

hover balance. a. Bfly: sd-L, beh-Rball, rec-L;.

b. SCP: Fwd-L, Fwd-R on ball, rec-L;.

c. CP: Fwd-L, Fwd-R on ball, rec-L;.

hover Bjo. Hover Bjo. Start: CP, SCP or SdcarP.

a. Scar>: Fwd-LT +Scar>c sd-Rball LT, rec-LT +Bjo/>c;.

b. SCP>wgt-L: Fwd-R (Fwd-LT fc his sd), Fwd-Lball (sd-Rball), rec-R

(rec-LT) +Bjo>.

c. sdcar<: Fwd-L (Bk-R) LT fc partner, sd-R (sd-L) on ball, rec-L (rec-R)

LT +Bjo>.

hover corte. a. CP.: Fwd-L, Fwd-Rball, dip-L;.

b. CP< wgt-L: Bk-R LT>w +CP>w, sd-LT on ball +Bjo>, rec-R Bjo>;.

hover cross. a. SCP/>w: Fwd-RT +CP/<w, hov sd-L RT on ball +CP/<c, rec-R

(-L) +scar<c;.

b. Natural hover cross 2-meas: Natural RT fig followed by a hov cross

fig.

d. Reverse hover cross a 2-meas fig: LT fig followed by a hover cross

fig.

hover double. Position optional: a. Fwd-L, Fwd hov-R, rec-L; Bk-R, Bk hov-L

on ball, rec-R;.

b. Balance Fwd & Bk;;.

hover fallaway. SCP>w wgt-L, bal Fwd: Fwd-R, Fwd-Lball, rec-R;.

A Bk stp in SCP = fallaway.

hover Fwd. SCP or CP: Fwd-L, Fwd-R on ball, rec-L;.

hover four. 4-stp 2-meas 4/4 time fig. CP: Fwd-L, -, Fwd-Rball, - ;

Bk-L, - , Bk-Rball, - ;.

hover pattern. Fig with drive stp, hov ball stp, & a rec stp.

Wz or fox trot stp sequence: stp, hov-stp, rec. See hover semi.

hover semi. CP wall: Fwd-LT (Bk-R), LT sd-Rball (Bk-L), rec-L (rec-RT)

+SCP>;.

hover scar. End hov pattern +sdcar. a. SCP> wgt-L: Fwd-RT (Fwd-L), sd-Lball

RT (Fwd-R) +scar<, rec-R (rec Bk-L);.

c. Bjo> wgt-L: Fwd-R (Bk-L) RT +CP>w, sd-Lball (sd-R) RT) +scar<, rec

Fwd-R (rec Bk-L);.

hrpn. Hairpin.

H-T or H/T. Heel to toe. See Heel to toe.

htch. Hitch.

huit. Cape. Rotate matador's cape : Join both hands with partner's, in

place, guide her in a cir. English speaking dancers know & respond to the

word CAPE better than huit.

hukilau. Hawaiian sashay, imitate pulling a fish net. FP>w, look & extend

both hands reverse, grasp imaginary fish net: sd-L, cls-R & pull net to

body, sd-L extend hands twd reverse, cls-R pull net to body;. Or: sd-L

pull net to body, cls-R, sd-L pull net, cls-R;.

hula. Sensual Polynesian dance by both sexes, singly, tog or in groups.

Accompanied by chants & drum. Ritual to bring rain or cause fertility.

Related to Pacific Islands, especially Hawaii.

Basic: sd two-stp: sd, cls, sd, Tch; sd, cls, sd, Tch;. Skim floor with

a flat stp. Knees relaxed, slightly bent. Natural hip sway in direction

of stp. Accept lead stp on straight leg to emphasize hip sway. Hand, arm

& body motions imitate island environment: Wind, rain, sun, trees, birds,

fish, grass, waves, shelter, animals, children, etc..

hula hoop. Circular hip & lower torso rotation, ft in place. Imitate motion

used to rotate a hula hoop.

hully gully. Solo dance. Any number of dancers without formation. Repeat

a one phrase fig fm start to end of music.

Hungarian swing/wheel. Wheel in Bolero, sombrero or highland fling modified

Bjo or scar position.

hustle. a. Disco term for variety of dance rhythms: hustle = one-stp; 4-stp

hustle = two-stp; glide or 6-stp hustle = fox trot. Latin hustle = 7 ct.

See glide.

b. 4-meas 4/4 time two-stp figure popular 1975 to music titled "The

Hustle". Accentuate body sway & twist. CP: sd-L, cls-R, sd-L, - ;

Fwd-R, cls-L, Fwd-R, tap-L; sd-L, cls-R, sd-L, - ; Bk-R, cls-L, Bk-R,

tap-R;.

c. Some ballroom dance studios taught Hustle "b." with stp sequence

shifted by 1-beat. stps shifted to other beats confuse two-stp dancers

accustomed to a qk beat-1 drift-stp & slow beat-3 & -4 drive-stps. Or a

hold or tap beat-4. Shifted beat figure: Tap-L, sd-L, cls-R, sd-L;

- , Fwd-R, cls-L, Fwd-R; Tap-L, sd-L, cls-R, sd-L;

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

File: H-terms.txt rev-030311