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-Fc 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.
M. Man.
macabre. Dance of death, skeleton leads
folk to grave.
magic Stp. Arthur Murray basic fox trot. Rhythm: Slo,
-, slo, -; qk, qk,.
mambo. Voo-doo priestess, pronounced Mombo,
= witchery. 1930s import to
with tune Mambo Jambo. Evolved fm rumba. 4/4
time Rking style rumba 3-
qk
Stps & a hold beat. Style: flat-ft Stps
with rumba hip motion.
Body action/motion fm waist
down.
Native South American version was
uninhibited. Fc
partner,join L-hand to
her R. Other positions are used. Timing: Qk, qk, qk, hold;. Some
ballroom studios
use: qk, qk, - , qk; or qk, - , qk, qk; time & 3-hip
actions on hold
beats.
Basic: Rk fwd-L, rec-R, cls-L, - ; Rk bk-R, rec-L,
cls-R, - ;.
Basic run: Rk
fwd-L, rec-R, bk-L, hold; Rk
bk-R, rec-L, fwd-R, - ;.
Figures: sd break, fwd break, crossover, bk
break, open chase, charge,
swivel.
man (M). Male dancer. Danncer of man's part.
manu (manu). Couple 1-meas CP<wgt-R.
a. CP< ½R-turn +CP>.
b. Wz, 3-Stp
1-meas ½R-turn fig. CP> wgt-L: fwd-R +CP>w, sd-LT
CP<,
cls-R;
c. SCP> wgt-L: fwd-R heel to ball T +CPw,
sd-L RT +CP<, cls-R;.
d. Dip pos wgt-L
>w. fwd-R twd >w T +CP<, sd-L,
cls-R;.
Walk, - , manu, - ;
= a slurred 4-beat 2-Stp 4/4 time ½RT fig SCP> wgt-R:
fwd-L, -, thru-R on
heel /in front of her-L R½T +CP<. Stp-2 manu is a
slur & exceeds
½T. Partners shift wgt
laterally ½ body width in opposite
directions to
produce zero couple lateral momentum.
Manu may start or end fcg
other directions. Manu Bjo = +Bjo pos.
manu
pos. CP< on-R.
manners. Fiendly, consdrate
& pleasant. Smile if things
go right or wrong.
Frowns & gripes don't help. Acknowledge partner with a smile on the
intro, occasionally
during a dance & at end. People like
to be called by
name, & are more
friendly.
Dress suitably in clean clothes. Wear long sleeves. Girls may have
aversion to skin
contact with man's sweaty or hairy arms.
Girls wear
dresses. Wear smiles.
Avoid offensive food, onions, garlic & smelly
foods. No alcohol, it adversely affects learning
& response, it creates
bad breath, causes
inattention, disruptive actions & talk.
A bath &
deodorant overcome
body odor.
Circle promptly, lead the way, waiting for
others to rise 1st delays the
dance. Wait on the floor for circle to form, not in
a far corner. Start
positions such as Bfly, Vars, CP, are tiring. Wait
for music to re-start
to assume start
position. Some girls dislike being held
close while to
wait for a dance to
start.
Girl precedes man to enter or leave the
dance room or floor. Never grab
her arm to escort
her on/off floor. Ask "May I have
the next or this
dance?". Not: "Is this dance taken?". (Girl explain
if a dance is
promised to
another. Do not refuse to dance with
someone & dance with
another.) Break-in only if there are more men than
girls, then only if
girls are not
available on sdlines.
Smile & thank partner after a dance.
Thank the last partner in mixers. Never abandon partner in mid floor. A
gentleman escorts
the girl to her seat.
Men should ask girls to dance. Shy men are reluctant & lack confidence
or ability. Timid men fear being turned down. In such cases a girl may
ask, if she knows
him well or at a friendly party. Be
tolerant, kind,
helpful &
understanding of partners, other dancers & even teacher.
Being critical is a trait of beginners
& grouchs.
Ignore mistakes,
never fault
partner. Blame for a mistake disrupts
concentration & causes
more mistakes. Chronic criticism makes personality stink. Don't argue.
Ask instructor to explain if disagreement
occurs. Avoid arguing while
dancing, tell
partner you can't dance while talking.
If out of Stp the
objective is to get bk in Stp. Never blame the man, it can push him to
quit dancing.
Do: Dance correctly to the best of your ability; take
small Stps;
applaud after a
dance, demo or teach; lead firmly; be polite; concentrate
on the dance &
music; thank partner; have fun; save talk for breaks;
smile:-)..
DON'Ts: Talk during a teach or while someone is speaking to
the group;
use unique or
extreme styles with strange partners; out-dance partner; try
fancy Stps & figs on crowded floors; show-off; buck the line
of dance;
teach during a
dance; sing, whistle or hum in partners ear; force lead;
jerk; bounce; shove;
hold partner tightly; argue; talk to other dancers;
quit before the end
of the dance without explaining; spoil another's fun
with yours;
apologize for every mistake;
manuv. manu.
maraca. Gourd filled with beads or
small pebbles. Shake to produce Latin
music rhythm beats.
marcando. Paso doble term: pre-intro musical "wait", usually
2-meass.
march. Walk erect.
1-Stp rhythm dance.
marcha. a. Paso doble. fwd march Stps. Rhythm = 1-Stp/beat.
b. Basic samba fwd & bk plus a 1-meas sashay-4.
CP>: fwd-L, ball-R/cls-L,
bk-R, ball-L/cls-R; sd-L,
cls-R, sd-L, cls-R;.
marchessi. CP: fwd-L
heel/rec-R, bk-L ball/rec-R, fwd-L heel/rec-R,
bk-L ball/rec-R;. Joined lead hands low & near bodies,
swing lead hands
fwd on fwd Stps & bk on bk Stps.
mark time. Dance to rhythm in place for a number of
beats or meass.
Count rhythm & Stp in place or hold.
master of ceremonies (mc). Person in charge of the program. Introduce
participants &
provide continuity of activities.
May I. Child's game, contest &/or
dance Stp & fig
training.
Players begin at Start Line.
1. Dance Master issues a Stp command to the ACTIVE player.
a. Take 1 or more Stps
fwd, bk, or sd.
b. Take 1 or more Large Stps Fwd, bk,
or sd.
c. Take 1 or
more Small Stps Fwd, bk, or sd.
d. Take 1 or more CHANGE Stps
(In-Place).
e. Take a combo' of 1, 2 or 3 Stp/s.
2. Active player must ask: May I?
3. Dance Master responds with one of two
choices:
a. Yes, you May = permission granted to
move. or
b. No, you May Not = permission Denyed, Freeze.
4. Moves without permission, are penalized by
bkward Stp/s.
First Player to reach the goal wins the game.
One fwd Stp
= 2 ftlengths = 1 Drive Stp.
One Large Stp = 3 ftlengths = 1½ Drive Stps.
One Small Stp = 1 ftlength = Ball Stp = ½ Drive Stp.
maxixe.
maxixe arm action. a. Copa: Hand to elbow touch
& chug-a-lug drink action.
b. Pendulum fwd & bk. CP upper body tilts
with lead hands overhead.
maxixe body rotation. ¼L-turn on
each fwd & bk Stp.
CP lead hands overhead, rotate upper body CCW
720º as pair turns 360º:
fwd-LT, R-ball/rec-L, bk-R LT, L-ball/rec-R; fwd-LT, R/L, bk-R LT,
L/R;.
Cir upper torso 180º on each LT Stp.
Mazurka. a. Mazur a Polish province. Dance origin 1840.
Lively polka type 3/4 & 3/8 time
dance. Figs & dances that evolved fm
Mazurka: Vars,
1850; redowa; pas glisse;
pas de basque; pas boiteuz;
pas
polonaise; coup de
talon; Mazurka valse, 1876;.
b. Mazurka Stp
or Pas de glisse, start wgt-L:
Leap fwd-R, slide-L fwd to a pnt, raise-L beh R-ft;
Leap fwd-L, slide-R fwd to a pnt, raise-R beh L-ft;.
c. Mazurka valse: Slide fwd-L,
hop-L, hop-L;
Slide fwd-R, hop-R, hop-R;
Slide fwd-L/cls-R,
hop click heels tog land on-L, hop clk
heels/land R;
Stamp Stp- L, stamp Stp-R, stamp-L non-Stp;.
mc/MC. Master of
ceremonies. Megacycle.
meas. meas.
meas/min. meass per minute. Tempo unit.
meas (meas). Group of
beats &/or rests bet: 2-vertical bars on music staff
= two semi-colons
(;;) on a cue sheet.
a. 4/4 time meas
= four ¼ notes or beats.
RD meas = groups
beats (commas ",") bet semi-colons (;).
Semi-colon = bar.
Space bet two semi-colons = 1-meas.
Space bet 2-commas = 1-note, beat, Stp, non-Stp
or hold actions.
4-beats = 1-bar = 1-meas.
4-bars = 1-staff = 1-phrase.
4-staffs = 1-sentence = 1-part.
b. A 3/4 time meas
= 3-beats/bar = music
staff.
meass per minute (m, MM, mpm). Tempo.
medals. Gold,
silver & bronze medals, awards for ballroom dance levels of
achievement.
media luna. a. Half moon.
b. Tango term: dip-twist.
c. L-turn dip Stp.
medio. Half. ½.
medio corte. ½-L-turn dip or dip twist.
medley. a. Mixture, hodge-podge.
b. Group of several songs or tunes.
meeting. Gather to report, plan or organize.
Meeting formats help schedule
progress of subjects
& time. General format:
1. Call to order.
2. Previous meeting minutes (Read, correct
& approve).
3. Treasurer's report.
4. Review or request recommendations fm
members.
5. Standing & special committee reports.
6. Review unfinished business.
7. New business.
8. Announcements.
9. Planned program.
10. Adjourn.
Presdnt: preside
at meeting; remain calm; speak only as required; plan
& use agenda; observe parliamentary
procedures; know by-laws; preserve
order; expedite
business; list & review committees; refrain fm entering
floor discussions,
yield chair to enter discussions; remain objective;
arrive early; start
& adjourn on schedule.
Vice-presdnt: Act
for president in his absence; exercise all presdntial
duties except does
not modify rules made by president. Does
not become
ex-officio member of
committees as does the presdnt.
Secretary: call meetings; write letters as
directed; keep complete,
brief minutes that
contain motions, name of person who made motion & the
disposition
thereof. Minutes need not be read if
distributed but is
approved by those
present.
Treasurer: keep funds & records
thereof; present balance statement.
melineta. Explosion.
merengue. 4/4 time 1-Stp per beat dance, pronounced ma-reng
or ma-ren-gay.
The "Cripple man's" dance, with a
drag or subdued limp of the trailing-
closing leg. Basic figure = series of "sd, cls" Stps.
Basic chasse: sd-L,
cls-R, sd-L, cls-R;.
Style: rumba-mambo hip & body action
with straight stiff trail-cls ft.
leg. sd-L bend knee lower L-shoulder, rise on-L raise L-shoulder
drag
stiff R-leg to-L
& cls-R wgt on R-hip
let free L-hip sag,.
Republic lore: People imitated a lame war
hero's limp. Other lore: Folk
imitated a lame
sailor or prominent person's limp.
Stories suggest a
common origin of the
dance.
Dominican style: perform with erect torso,
body motion fm hip down.
Figures: Basic chasse; cuadro
(box); double chasse; Dominican walk; sd
break;
stairs; pendulum; circle; Dominican turn; L-open break; circular
swing; travel;....
merengue circle. CP: fwd-LT, cls-R, fwd-LT, cls-R;
fwd-LT, cls-R, fwd-L, cls-R;.
merengue swivel. Twist
chasse. CP>w:
sd-LT (sd-RT) +SCP>, cls-RT (sd-LT) +CP>w,
sd-LT (sd-RT) +SCP>, cls-RT (cls-LT) +CPw;.
mescolanza. Progressive contra &/or squares. Form mescolanza with 2-or more
identical length Fcg lines. Align
opposing lines across or down the hall.
Upon completing a pattern in one unit, each
line pass thru it's opposing
line to progress to
next line, & dances a pattern with a new line. If a
line Fcs the wall, dancers reverse direction to Fc hall & an approaching
line.
mesicana. Mexican Jesusita Wz
pattern. Fc partner, join no or both hands,
identical ftwork both wgt-L: Cross lunge-R
modified Bjo pos, rec-L to Fc,
cls-R; Cross lunge-L modified Scr
pos, rec-R to Fc, cls-L;.
Mic (mic, mike). Device to convert sound power
levels (compression
& rarefaction of
atmospheric pressure) to electrical power levels.
Electric output fm a Mic
is amplified to drive loud speakers. Dynamic Mic
output power abt -58 dbm relative response in
the audio range of 60 to
10,000 Hz.
Equalization or adjustment for frequency response (tone, bass
& treble control) should be available in
the combined Mic-amplifier-
speaker system.
Directional Mics
are preferred in a dance hall. It is mort sensitive to
sound coming
Face-on. Less
sensitive to sound coming fm sides or rear.
Direction sensitivity attenuates undesired
directional sounds, including
feedback fm loud
speakers. A cardioid
Mic directional response is shaped
like a cardioid.
To determine the maximum usable gain
setting for a Mic location: Speak
into the Mic & advance the gain control until ringing is
noticed. Reduce
gain until ringing
is eliminated. Aim the Mic in directions of use &
re-set gain control
to eliminate ringing. Do not increase
gain setting
above these maximum
operating settings.
Sound energy activates a Mic inversely to the square of the distance fm
source to Mic diaphragm.
Double distance bet mouth to diaphragm & reduce
energy received at
the diaphragm to ¼. Reduce the distance
to ¼ & produce
a power level 16
times greater. Factors affecting diaphram
sound power
include: Distance fm source; angle of Mic to source; level of sound.
Readjust amplifier gain control for a user
with a high voice level who
holds the Mic cls & speaks directly
into it. Weak voiced users may need
to hold mic near mouth with maximum gain level. Users who hold the mic
several inches fm
the mouth need to speak directly at the mic. Users
who hold the mic cls to mouth may obtain best
results by speaking over the
Mic Fc. Close users
should not speak directly into the mic, to avoid
initial voice wind
blasts associated with sounds that produce undesired
hisses & blips.
Never blow into a Mic
aperture. Dynamic Mics
are similar in
construction &
appearance to a miniature speaker. The
cone or diaphragm
is made of a thin
stiff metallic foil. The voice coil is
wound with fine
hair like wire. It is designed for voice power. Maximum safe limits of
travel are
small. Blowing into the aperture causes
high diaphragm
pressure & coil
travel to exceed design limits.
Excessive pressure can
fracture or warp a
diaphragm causing permanent cone distortion & impaired
frequency
response. Excessive voice coil travel fm
strong wind or sound
blasts may strain or
break coil electrical connections & make the mic
inoperative
(kaput). Strong shocks & jars, such
as dropping or striking
the mic on the palm of the hand can damage the cone or
coil. Most mics
are equipped with an
on-off switch to silence the mic when attached to a
live amplifier. The switch should be in "off"
position when the mic is
not in use or when
transported. Off position puts a short
circuit across
the voice coil to
electrically load the coil. It
inductively retards the
cone/coil travel on
inertia shock. Short circuit loading
provides
protection against
damage fm jars caused by careless handling.
Do not hold a Mic
by the cord as a pendulum. The cord
provides
electrical
connection, not Mic support. Such treatment shortens the life
of wires &
connections & subjects the mic to possible
collision with
objects. A mic is a delicate
instrument, treat it properly.
midi. Middle. Half. ½.
military. Early
American Wz.
Promenade
position dance-line,
identical ftwork:
1.
fwd-L, swing-R, rise on-L ball;
2.
fwd-R, swing-L, rise on-R ball;
3.
fwd-L, swing-R, rise on-L ball;
4.
fwd-R, swing-L, rise on-R ball;
5.
fwd-L, -R, -L (Girl twirl-3 unde R-to R-hand arch -L,
-R, -L);
6. fwd-R,
-L, -R (twirl-4 transition to opposite ftwork -R,
-L/-R, L);
7-10: Repeat meas
1-4 with opposite ftwork;;;;
11-14: 4-turning Wz
(transition to identical ftwork on meas-14) ;;;;.
military schottische. HOP:
1. Run-L, -R, -L, hop-L; 2. Run-R, -L, -R +CP, hop-R;
3. sd-L RT, hop-L, sd-RT, hop-R; 4. sd-L RT, hop-L, sd-RT, hop- R;.
Variations of meass
3 & 4:
a. HOP:
3. fwd-L, hop-L, fwd-R, hop-R; fwd-L, hop-L,
fwd-R, hop-R;.
b. Solo roll: 3. fwd-LT (fwd-RT), hop-L, sd-R LT (sd-L RT), hop-R;
4. bk-L RT (bk-RT), hop-L, thru-R LT (thru-L RT), hop-L;.
c. HOP: 3. Rk fwd-L, hop-L, rec bk-R, hop-R;
4. Rk fwd-L, hop-L,
rec R, hop-R;.
milongo. Mid-1800
Spanish dance. Tango fore-runner.
mimetic. Imitate actions or emotions by
gestures or expressions.
Many Latin patterns & styles mimic
domestic animals.
minuet. Longways
court dance. Probable origin: 17th century
Louis XIV's
reign. Imported
to
OP> wgt-L pnted-R: 1. Walk-R, -L, -R, pnt-L;
2. Walk-L, -R, -L, pnt-R;
3. Walk-R, -L, -R, pnt-L;
4. Walk-L,-RT (-LT) Fc
partner, cls-L (cls-R), bow
& curtsy;
5. sd-R (-L)
+LOP<, walk-L, -R, pnt-L; 6. Walk-L,-R, -L, pnt-R;
7. Walk-R, -L, -R, pnt-L;
8.
Walk-L,-R, -LT (-RT) Fc partner, bow & curtsy;
9.-16. repeat 1-8 to
Fc partner
R-hands joined.
17. tog-R (-L), rise R-ball, apart-L, pnt-R;
18. tog-R, rise R-ball, apart-L, pnt-R;
19.-20. Repeat 17.-
18;;
21. R-hand star R-wheel -R, -L, -R, pnt-L;
22. R-hand star R-wheel -L, -R, -L Fc partner & center, bow & curtsy;
23.-24.
Repeat 21.-22.;;;;.
25.-32.
Repeat 17.-24. ;;;;;;;;.
mistakes. Mistakes are natural. All
dancers make many & will make more.
Mistakes can't be eliminated, but the number
& undesirable results can be
minimized. Experienced dancers make mistakes without
over-reacting. Learn
to shrug mistakes,
otherwise they take fun out of dancing. Smiles, laughs
& hugs help. Frowns & harsh words make matters
worse. Wait until after
a dance to discuss
mistakes, if needed. Adopt a positive
attitude & feel
good about things
done right. Most dancers do more things
right than
wrong. Perfection is for pro's. Settle for near perfect. Learn to fake
& how to rec qkly. Beginners may freeze after a mistake &
destroy any
chance of recy. Avoid thoughts
of mistakes, concentrate on the next Stp
&
keep the
rhythm. The band plays on.
Causes of mistakes: Apologizing or explaining during a dance distracts
attention; Fretting
over mistakes; Over-reacting to mistakes; Mistakes;
Fear of mistakes; Tension prevents natural
moves; Talk; Arguments; Lack of
tolerance; Large Stps; Rushing;.
Take small Stps
in time with the rhythm. Small Stps result in slower
movement &
smaller mistakes. They increase chances
of recovery during or
after a
mistake. Large Stps
increase the rate of movement, cause rushing
& complicate recovery. recovery is
difficult with large Stps. Rushing
contributes to poor
balance, loss of control, rough dancing & mistakes.
Tolerate teacher's mistakes, he may improve. Laugh with
him. Smile at
him. He may do it right next time. Applaud after a demons, teach &/or
dance, even if not
impressed. Remember teacher's
preparation time was
spent on your
behalf.
mix.
Change partners during a
dance.
mixer. To change partners while
dancing.
mixing.
is 1-teacher to
1-student. Benefits of 1/1 ratio: Student concentrates
on learning 1-part
only. When spouses learn as partners,
each worries
about the other's
part & problems, & complicate learning.
Mixing reduces
the time spouses
dance tog, free each to concentrate on personal problems.
It reduces instructions bet spouses.
Concentrating on teacher nstructions
is difficult when a
spouse instructs nose to nose at the same time.
Spouse's comments often result in arguments
& upsets that impair learning.
Dancers make mistakes when learning. Mixing
provides opportunity to try
again with a
different partner. Spouse does not suffer partner's
repeated
mistake. Without mixing, dancers are subjected to all
of partner's
mistakes, & are
often wrongfully blamed for mistakes.
After struggling to
learn a pattern with
a partner, students often finds there is no problem
with another
partner. This is because each attempt
partially solves a
problem. Students often conclude that the problem is
partner. Students
tense up with some
partners, expecting trouble, this creates problems.
Dance your part, let partner dance his/hers.
Mixing pairs dancers with others who may be
more tolerant, less critical
or better
dancers. Each is better qualified on the
next dance with
partner. Mixing spares spouse many of partners mistakes & tension. It
reduces common
troubles & deters perfecting mistakes.
Mixing helps
dancers: get
acquainted; develop friendly groups; learn dancing with
others; learn to
adjust to various styles; splits problems; speeds group
learning;.
Mixing problems: B.O.; roughness;
personality clashes; know-it-all;
masher tactics;
embarrassment; timid; intolerance.
Mixing is not needed
to teach all dances,
a walk-thru with spouse works well if a dance
consists of known
patterns. Spouse separation helps with
new & unfamiliar
patterns. Mixing speeds group learning when quick
learners dance with
slow learners. Mixing is fun if dancers enjoy dancing with
others,
helping & being
helped. Mixing is a problem if dancers
dislike others or
place personal
desires over the good of the group.
mm/MM. meass per minute.
mod. Modify/modified.
moderato. Moderate. Moderate tempo.
modified Bjo position. Contra body position or other Bjo
configuration.
modified Scr position. Contra Scr position or other Scr configuration.
modify/modified (mod). Partial change.
molienta. Spin. Little mill, little spin.
momentary. Short
indefinite period of time.
momentum. Force produced by mass & velocity.
A couple's combined momentum
is about 300
ft-pounds/second.
Mean couple wgt =
man + girl or = abt 250 to 350 pounds.
Typical velocity = about 1-ft/second @ 30-meas/minute
tempo.
Zero momentum exist
on the cls Stp (flat of
ft).
Initiate direction changes on drive Stp fm a flat ft posture.
Change of direction while in motion needs
force to overcome momentum.
A ball Stp
checks momentum for a follow-on cls Stp.
montune. Fast tempo
rumba.
mooch. 1-meas. Bfly Bjo: Kick-L, cls-L, kick-R, cls-R;.
Style: Knee flex then straighten knee to
kick.
moon walk. Solo bk
walk. Start on-R: Draw L-ball bk floor contact L-heel
raised, Stp bk-L on ball lower to L-flat,
draw R-ball bk in floor contact
R-heel raised, Stp bk-R on ball lower to R-flat;.
Morris. Old English
May day pageant dance by men in costumes with bells.
Morris is derived fm Morys,
Morish, Moorish, Moor.
mountain docey do. See cape, huit &/or lariat.
movement (mvt). Motion. Change
location, position or posture.
Manner of movement.
movg. Moving.
moving. Changing place, position or posture.
mpm, MPM, m/m. meass per minute.
muleta.
multi-meaning term. Term with 2
or more meanings.
Identifies multi-action
or - things. Term used for various Stps,
actions, patterns, positions &
combinations
thereof.
multi-rhythm patterns. Pattern used
in more than 1-rhythm.
Stps of a Wz pattern may be danced to foxtrot, rumba, samba or other
rhythms. Stp
timing may be modified, with identical sequence of Stps.
mvg. Moving.
mvt. Movement.
mxib, MXIB. Man cross in
bk.
mxif, MXIF. Man cross in
front.
File: M-terms.txt
rev-030314