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.
identical ftwork. stp simultaneously on the same ft.
Both stp
on-L or-R on the same beat. See ftwork & same ftwork.
ignoramus waltz. International foxtrot, once called ignoramus Wz, because
ignorant common folk
danced Wz figs to 4/4 time music.
imp. Impulse.
Imp
(impulse). a. Force that moves a
body after starting force ceases
(dictionary).
b. 3-stp 1-meas
heel-Pvt uses Imp & torque fm drive-stp & heel turn
to power the finish stp.
Imp
closed. Closed Imp, heel-Pvt. CP<: Bk-L RT
+CP>c, sd-R heels tog
RT +CP>, fwd-L;.
Imp
semi. Open Imp. CP< or BjoP<:
Bk-L (fwd-R) RT +CP>c, sd-R on Rheel
heels tog RT fc> (sd-Lball around man to
outside> 1/8 RT fc/<c),
fwd-L
(/Bk-R 1/8 RT)
+SCP>;.
Imp
turn. 3-stp 1-meas RT. Man ½RT heel Pvt.
Closed Imp: (Girl ½RT).
Open Imp: (Girl 360º RT).
impromptu ballroom dancing.
Couple social or night club dance w/out pre-
arranged routines.
Couples dance stps & figs at random in their own
manner. Common
rhythms: social foxtrot; two-stp & wz boxes; one-stp;
single & triple
swing;.
Listen to the music & identify beats,
rhythm & tempo bef starting. On
1st dance with a strange partner, use an easy
basics, simple compatible
figs, rather than
stumbling through a wide variety of advanced figs. If
she can't dance
basic patterns, revert to the one-stp. Reduce lead until
she dances her usual
pattern. She may reveal figs, that can be danced in
concert. Dance her figs until dance ends, & she
will think you are a good
dancer.
Crowded floors & random moves of
impromptu dancers restrict the variety
& types of patterns
that can be danced. Exhibition
& RDs are better
mediums for a wide
variety of figs, bec of dancer formations &
knowledge.
improve. Improving style & execution is difficult
for some experienced
free-style
dancers. Especially if
it involves chg fm original teaching.
Some are reluctant to accept or acknowledge
their mediocre dance manner.
Acceptance may involve loss of faith in an
early instructor held in high
esteem. Resistance to chg has merit, if you think,
compare & select the
best methods. A single try of a new pattern or style is not
fair
evaluation. Each technique must be danced many times
& perfected to make
an objective
comparison. Avoid hasty decisions bef rejecting new
material, allow
adequate time & trials.
Past &/or current teaching is not
infallible or permanent in nature.
Lessons may be misunderstand.
Dancers must develop a high degree of
confidence in a teacher to
overcome previously
learned misinfo.
Attempts to teach often meet silent
& unconscious
resistance. Dancers must accept
the fact that a move may
be faulty, bef they are ready to improve. Demeaning other instructor
qualifications or
knowledge can create learning barriers.
Reasons to consider chgs
& new ideas: Old accepted styles are replaced;
New & modified styles recommended by
national leaders; Teacher misinfo;
Teacher poor style; Material corrupted by
word of mouth; Teacher omissions
are unconsciously
filled in or completed by faulty reason; Mis-read,
interpretation,
memory or recall of material; Unclear written info,
ambiguous
instructions, confusing phrases, poor wording, printer error,
writer mistakes,
reader errors, etc..; Adopting inferior
material bef
developing knowledge
of good dancing techniques; Misunderstanding;.
Inductive reasoning is important in
selecting good dance practices.
Determine if styles are good - poor, by
comparison & deduction. Example:
If correct posture & a level head = good
style, then bending at the hips &
looking down = poor
style. Use an open mind approach.
in. Inside. Inside circle. Inside hand/ft. Twd partner.
in & out runs. a. 2-meas fig. SCP> wgt-L:
1. fwd-RT (fwd-L) +CP<, Bk-L (fwd-R) +Bjo<, Bk-R (fwd-L) +Bjo<;
2. Bk-L (fwd-R) RT
+CP>c, sd-RT heels tog
face> (sd-Lball outside of
circle
RT>/<c), fwd-L (sd-R/Bk
on ball RT) +SCP>;.
b. SCP> wgt-L:
Man maneuver +Bjo<; Imp +SCP>;.
c.
Term inconsistent with cues to man. The cue In &
out runs infers man
dance in to center
then out to wall. The action is man
dance out, then
(Girl dance out).
in place. Dance in place, no progress.
Indian Position. Stand erect, cross fold
arms in front of chest.
inside (in,
inside). a. Inside the circle.
b. Twd center.
c. Hand or ft bet
partners.
instruction. Students who instruct fellow students during lessons
disrupt
class
instruction. They also miss the class
lesson in progress. Teacher
can't wait as
student instructors teach others.
Students should confine
teaching to breaks.
The entire group gains when students ask
open lesson related questions.
Some students are reluctant to ask teacher
for help during group sessions.
They prefer to ask adjacent students. It is tempting to answer fellow
students, who
need/ask for help. The entire class
benefits when students
confine their
teaching to breaks.
Some partners may be well informed, but ask
the teacher to repeat
instructions. It is better for the group, than inviting a
student to
disrupt a teach in
the dance circle.
int. Interlude.
interlace. Location of
his ft related to her ft in CP configuration.
In
standard CP, each
dancers R-ft is interlaced aligned bet partners ft,
with L-ft aligned
outside partner's R-ft. Big toes overlap
to form
interlaced ft
alignment. L-ft interlace refers to CP
with L-ft interlace
aligned bet partners
ft & R-ft aligned outside partner's ft.
Avoid L-ft
interlace except for
CP> Fwd-L½T +SCP> [Telemark where he chg Pos
around
her L-side].
interlude (int). 4-meas or more, but less than 8-meas of music
inserted bet
parts of a musical
arrangement. Dance choreography for such
music. Break
or bridge.
intermediate level. Term describes relative difficulty of a RD. General
levels of increasing
difficulty are: S/D; easy; low-intermediate;
intermediate;
high-intermediate; advanced.
Intermediate dances may me achieved by
dancers with 60-hrs basics plus
1-yr of dancing. Intermediates contain a wide variety of
patterns plus a
significant number
of direction & position chgs. Dancers remember more
of a dance sequence
& need fewer cues.
international ballroom term. Term defined
by International Ballroom
Society. RD use of these terms increased in the late
1960s. RD benefits
fm many
international ballroom figs & techniques.
A number of such figs
adds to RD level
problems. Figs add interest for dancers
bored with a
limited number of RD
figs. They expand knowledge &
proficiency required
by intermediate
level dancing. High level RDs are too involved to be
considered folk
dances.
International terms & other evolutions
resulted in RD figs of multi-
terms, & terms
of multi-definitions. Dancers must learn
new dance terms
to dance at high
levels. Many terms are preferred for traditional use, &
for basics. Some international terms are foreign words,
meaningful only
after origin &
descriptions are understood. English
words are easier to
recognize &
recall than foreign language terms.
Esoteric jargon henders
learning &
recall. Self-descriptive English words
are best. Learning
foreign words is an
added burden.
international foxtrot. Ignoramus Wz. Wz stps, patterns & figs are used to
dance international
foxtrot. The foxtrot is danced to 4/4 time music. The
Wz to 4/4 time music. Wz time = 3 evenly spaced stps/meas.
Foxtrot time = 1-slo & 2-qk stps/meas.
Wz time = 1, 2, 3;
or 1-stp/beat.
Foxtrot time = Slo,
- , qk, qk;
or stp-1 = 2-beats
& stps-2 & -3 = 1-beat each.
Convert
3-stp Wz figs to foxtrot rhythm by using 2-beats for
stp-1.
International Round Dance Council (IRDC). See IRDC.
into. a. Conjunction joins 2-cue figs & tell dancer of follow-on
actions.
It alerts dancers of follow-on figs &
permits smooth blends. Also used
where last stp of pattern-1 overlaps & becomes stp-1 of the
follow-on fig.
b. Tell beginners to stp bet partner's ft, i.e. (Girl stp
into man).
intro. Introduction.
Introduction (intro). a. Acknowlede = Courteous recognition of partner
performed to begin
or end a dance.
b. Face partner & wall at a comfortable
erect posture. A wait in start
position may be
tiring. Assume start position as the
music is restarted.
Face partner & wall, unless told
otherwise. Stand tall, head up, chest
out, fanny in &
look at partner. At
comfortable distance fm partner.
Take 1-small stp Apt, within comfortable arm reach. A large stp
Apt may
results in a tug on
arm's & bends at hips. Keep the Apt stp
small. Bent
hips or protruded
fannies are poor form. Keep head &
eyes up & recognize
partner with a look
in the eyes on the Apt stp. A look down at the
pointing ft degrades
posture, keep head & eyes up. Smile at partner &
anticipate an
intimate romantic musical interlude.
c. Phrase of
music that precedes a musical arrangement.
d. A STANDARD
INTRODUCTION performed to begin a RD FP>w wgt-R:
Apt, - , Pnt; Rec, - , Tch;.
e. Dia intro (for
girl Pup) +CP> fm FP/>w. Diag intro permits stpping
apt without
collision with adjacent circle dancers.
IRDC. International Round Dance
Council, 1971-1977. RD leader organization
formed to provide
international leadership & council for the RD movement.
Disbanded in 1977 following
membership loss. IRDC produced significant
literature,
standards & leadership. The need for
a RD organization was
filled by the
Universal Round Dance Council (URDC) formed in 1977 at the
1st National Round Dance
Convention in
issues. Issues cripple organizations & fun. The
objective of most dance
clubs is to dance,
not argue over issues. Other reasons include exercise,
friendship, dance
improvement & social activity.
Issues: strain
Relations; cause bickering; uptight dancers;
broken friendships; dropouts;
poor attendance;
split clubs; & funless dancing. Many issues arise over
'HOW TO' even when
objective agreement exists.
File: I-terms.txt
rev-030312