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.

O

oblique (/). a. Punctuation mark for a split or syncopated beat.

1, 2, 3/4, 5; 3/4 = 2-quick counts or actions in the time space of one ¼

beat time frame. Fwd, Fwd, Fwd/cls, Fwd).

b. Simultaneous actions ie: Spin/manu indicate: girl spin as man manu.

ocho. Eye.

OF. Open FP.

off beat. Dance off beat. Step ahead or beh, rather not in time with beat.

Off time, step on a beat but one ahead or beh intended choreography.

off beat choreography. Steps to beats not part of the normal rhythm.

off beat music. Music emphasizing beats not part of the normally rhythm.

OFP. Open FP.

Old Dan Tucker. Couple circle dance. Odd men form circle in center of the

dance circle. On cue or when music stops dancing couples start a right &

left grand. Odd men join in the R- & L-Grand. On cue or when music re-

starts each man dances with the girl he faces. Men left without partners

are cut out, & wait in the center circle for the next R- & L-Grand.

oldie. Old, once popular dance, no longer on a dance program. Oldies that

can be cued without re-teach are often enjoyed by dancers. Oldies have

nostalgic value & may have better music than new dances. Drop-outs may

join in to dance oldies.

one-step. a. Dance using 4-quick steps/meas or 2-slow steps/meas. A series

of walk or run steps to 4/4 time music. Combinations of slow & quick

steps without close steps. Side movement may employ cls steps, but cls

steps are not periodic functions as in other dance rhythms. The 1-step is

good to acquaint beginners with CP & for free style ballroom dancing to

fast tempos. As tempo increases, shorten step length for comfortable

dancing.

one-step balance. a. Fwd, - , tch, - ; Back, - , tch, - ;.

b. Sd, - , tch, - ; Sd, - , tch, - ;.

op/OP. Open position.

open break. Blend from a FP [CP, Bfly, FP etc.] to an OP [OP, SCP, HOP,

etc.]. Example, open rumba break [bolero rhythm] Bfly: Sd-L to LOP, - ,

Rk bk-R, rec-L +Bfly; Sd-R blend +OP, - , Rk bk-L, rec +Bfly;.

open FP (OF/ofp). Partners face about 10" apt. His R-hand palm up join to

her L-hand palm down. FP is used in this book in lieu of OFP. The word

OPEN causes some confusion, in spoken & written form. FACING describes

the position & may be modified by hand contact. Dancers may confuse OPEN

FACING [OFP] with OP FACING [OP modified by a facing direction]. Omission

of the word OPEN, where not required improves communication.

open half natural. a. ½ turn manu fm SCP> +Bjo<.

b. ½ R-turn performed fm SCP or HOP.

open hinge position. Hinge position.

open hip twist. a. 1-meas 3-step rumba. FP>w R-hands joined: Rk Fwd-L (Rk

bk-RT fc>), rec-R (rec-LT fc man), sd-L (sd-RT fc>), - ; +>w (fc>).

b. FP>w R-hands tog (rec Fwd-L), cls-L (Fwd-RT >),- ;.

c. FP>w wgt-L: Rk bk-R (thru-L R-swivel>), rec-LT />w (rec-R LT >c),

Fwd-R

L-turn face dance-line (sd-

L ¬L-turn face reverse), - ; couple makes

¬ turn from starting direction to end

FP dance-line.

open impetus. Man HalfR-turn (girl full R-

turn). a. Start in Bjo & end in semi-

clsd. Bjo reverse on-R: bk-L

(Fwd-R) HR-turn CP center,

sd-R heels tog QR-turn face dance-

line (diagonal sd-L outside circle on

ball HR-turn on ball to face center),

Fwd-L (sd-R QR-turn) blend to semi-

clsd facing dance-line;.

b. Start CP - +SCP. CP< wgt-R: bk-L (Fwd-R) RT +CP>c, sd-R heels tog

RT fc> (sd-L ½RT Lball>c), Fwd-L (sd-RT) +SCP>;.

open natural turn. Wz/fox-trot 3-step 1-meas manu to CP or Bjo.

open position (op/OP). Partners face same direction, his R- her L-sides

adj. R-hand palm up to her L-hand palm down, bet waist & shoulder level.

Free outside hands extended at joined hand level. (may flare skirt with

extended R-hand.)

open position vs open FP. Terms OPEN POSITION (OP) & OPEN FACING POSITION

(OFP) cause some confusion in written & oral forms. Close attention is

needed to avoid the confusion, especially on intros. Poorly written cue

sheets may not clearly define intended position. This text uses FP in-

lieu of OFP to reduce confusion. The word OPEN is common to both terms &

contributes to the confusion. Eliminate OPEN fm OFP for clarity. The

term FACING in OFP infers facing partner.

Some dances use OP intro' & ending. FP is the prevailing start & end

position. It is more personal & friendly. OP is suitable for exhibitions

where dancers face & acknowledge the audience to start & end.

Teachers may confuse OP-facing & OFP when reading a dance. They may

inject confusion on a teach with a slip of the tongue. Tell dancers if a

position is altered for need or preference. Dancers may be surprised when

dancing with groups that rigidly conform to cue sheet instructions. It

would be ideal if dancers read & interpret cue sheets. Dancers who don't

read cue sheets should ask questions.

The combined terms "OFP" & "Man face diagonal dance-line & wall" may

result in dancers taking "V" position instead of facing squarely. Dancers

copy others when not sure of the intent, a poor habit. Copying actions of

others who may not know or care is a way to learn poor techniques. Ask

instructors if in doubt, provide the opportunity for a proper demo to all.

Teachers are reluctant to single out dancers who take the wrong position,

in front of a group. An individual's feelings are more important than the

position. Dancers should have fun & pleasure.

open promenade. Start in SCP & dance Fwd +Bjo.

open telemark. 3-step 1-meas L-turn. a. CP/>c wgt-R: Fwd-L (bk-R) LT +CP<c,

sd-Rball around ptr LT fc/<w (cls-L heels tog LT/>w), cls-LT (Fwd-R)

+SCP/>w;.

b. Bjo/>c wgt-R: Fwd-L (bk-R) LT +CP/<c, sd-Rball around ptr to inside

circle LT fc/<w (sd-L heels tog LT fc>w), cls-LT (Fwd-R) +SCP/>w.

open vine. 4-step 2-meas grapevine, lead hands tog. FP>w wgt-R:

1: sd-L RT (sd-R LT) +LOP<, - , bk-R LT (bk-L RT) +FP, - ;

2: sd-LT (sd-RT) +OP>, - , thru-RT (thru-LT) +FP, -;.

opf/OPF/OPFcg. OPF. Ambiguous when followed by hall directions.

Example: OPFcg>, could mean FP man fc>, or OP both fc>.

opp/OPP. Opposite.

opposite (opp). a. Opposite footwork.

b. Girl's part is opposite of man's part, include arm, body & footwork.

c. Opposite direction.

opposite footwork. Partners dance simultaneous actions with opposite feet.

(Girl step on R-foot) as man steps on L-foot & vice versa. Her footwork =

mirror image of his. (Girl use opposite footwork unless told otherwise.)

opposition points. a. Non-step identical footwork danced in CP or FP. Both

dancers point free foot in opposite directions.

b. 3-count 1-meas non-step foot action. CP> identical footwork wgt-R

lower body on flexed R-knee: Slide sd-L on inside edge of shoe with toe

extended, rise-R retract-L to R, tch-L;. (may cls on count-3 to

transition to opposite footwork.)

oscillation. Loud squeal caused by microphone pickup of speaker output at

high amplifier gain setting. See feedback. Reduce amplifier gain to

eliminate.

out. Outside.

outside. a. Direction to wall. Outside of the circle.

b. Hand or foot farthest fm partner, or side away fm partner.

c. Direction away fm partner. Turn out means - turn away fm partner.

Example: Rk thru, - , turn out, - ;.

d. Bjo, SCP, OP, Scar or contra body position, where dancer's feet are

alined outside of partner's ft rather than in CP configuration.

outside change. a. Change fm an outside ft configuration to another. As

change fm Bjo, Scar or contra position to SCP where dancers' ft are

outside of partner's ft.

b. Change positions remaining outside of partner as Outside swivel (chg

fm Bjo +SCP).

c. 3-step 1-meas backing ½LT chg fm CP +Bjo position.

CP< wgt-L: bk-R LT +CP>w, sd-LT +Bjo>, Fwd-R;.

outside spin. 3-step 1-meas Wz/fox-trot 3/4 RT chg fm Bjo +CP.

Bjo/<c wgt-R: bk-L (Fwd-R) RT +CP>c, in plc Rball (sd-L on ball) RT >w,

sd-L (sd-R) R-turn man fc/<w;.

outside swivel. 1-meas 2-steps chg fm Bjo +SCP.

a. Bjo> wgt-R: bk-L (Fwd-R heel to ball RT fc his R-side), flick-R bk

(RT on R-ball) +SCP>, Fwd-R (-L) SCP;.

b. Outside swivel may start fm loose-CP (step outside +Bjo step-1

start swivel).

c. The 1-beat non-step ft action may be cued as Flick/flare. Man flick

free foot (flare fm Bjo +SCP).

d. (2-beat ½T outside swivel is: A T step, followed by a T non-step

flare ft action.)

over. a. Above. Hold hands over head.

b. Over-do is to exceed the normal limit of an action as: over-turn,

over-step, over-sway, over-****....

over-do. Exaggerate: steps; bends; tilts; Rks; dips; rises; lowers; sways;

etc...

overspin. Rotate more than normal. Spin of more than ½T, i.e. 5/8 T or more.

oversway (ovswy). Position. Side sway in direction opposite wgted ft.

Wgt-L knee flexed with free-R extended & pointed sd. Stretch L-side up

L-hip to left, tilt head & shoulders to-R. Extend-R knee slightly bent to

side for balance without taking wgt. Twist head & shoulders 1/8 LT & look

left. (opposite footwork & body action.)

oversway basic. 2-steps 1-meas fig with a non-step oversway body action.

CP wgt-R: sd-L R-ft extended to sd pnt, sway-L tilt head & shoulders-R

slight body twist, rec-R;. (opposite footwork and body action).

oversway position. See oversway.

oversway twist. Non-step 1/8 LT of shoulder & head. Oversway position on-L:

L-twist of head & shoulders lower R-shoulder (lower L-shoulder).

oversway with change of sway. Oversway & a twist to direction of sway or

facing directions. Oversway position man on-L: Twist head & shoulders

to look in opposite direction.

File: O-terms.txt rev-030320