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.
R, R-, -R. Right.
R & L grand. Right & left grand.
R-flat. Flat of R-ft.
R-ft. Right foot.
R-ft
interlace. CP w/ R-ft interlace aligned bet partner's ft
& L-ft
aligned outside
partner's R-ft.
racket. a.
2-meas 4/4 time fig w/coupe (step under) ft move. Racket:
1. Fwd-L, hop-L & coupe-R under fm beh, cls-L, - ;
2. Fwd-R, hop-R & coupe-L under-R fm beh, cls-R, - ;.
b. 2-meas Wz fig. Fwd-L, hop-L & coupe-R under-L fm beh, cls-L;
Fwd-R, hop-R & coupe-L under-R fm beh, cls-R;.
ragtime. Syncopated variable rhythm
& tempo music.
rattle dance. Cir or penny dance, w/rattles.
RD, rd. RD. Round.
R/D. RD.
rdc. Diagonal reverse> center. /<c.
RDI, R/DI. RD Instructor.
RDT, R/DT. RD Teacher.
rdw. Diagonal reverse> wall.
/<w.
reach. Longer than
normal step. Extend free hand.
rec. rec.
react. Respond to a cue w/action.
reaction time. Time required to react.
recall. Remember steps, nwgt-step
foot actions & body moves of a fig.
recognize. Perceive a
term's meaning.
rec (rec). a. Return
weight to ft at it's location prior to a step:
apart, lunge, dip, chk or Rk.
b. Get Bk in step
on proper ft & beat, or resume dance after chg of
step, Pos or
direction.
redowa. a. Mazurka
family type dance.
b. Redowa dance
music.
c. Whirl or turn.
d. Pas de basque: Wgt-L: Flare-R beh & step wgt-R, sd-L, hop & cut-R
under-L land wgt-R w/L-free;.
reel. Lively Scottish dance or
music for the dance.
references. Reference
format = Title/author.
American S/D Magazine/Jwgt-Susan Sanborn.
Anyone Can Dance Socially/Noel Andrews.
Ballroom Dancing/Alex
Ballroom Dancing for Beginners &
Bronze Medalists/International
Dance Teachers Assn.
Ballroom Routines-The
Hustle #75/John Clancy.
Ballroom Teachers Training Manual Grades I
& II/Dance Masters of
Inc.
Ballroom Teachers Training
Manual Grade III/Dance Masters of
Calico Rounds/Paul Hunt
& Charlotte Underwood (1955).
Cold ft/Kaye
Cue Sheets/ Books, Magazines, Choreographers.
Dance a Round & have Fun/Betty &
Clancy Mueller.
Dancing-Know the
Game/Imperial Society of Teachers of Dancing.
Dancing-Ballroom, Latin American &
Social/Imperial Society/o Teachers
of Dancing.
Dancing Made Easy/Betty
White.
English Dancing Master
(1651)/John Playford.
Folk Dancing/Richard Kraus
(1962).
Guide to Dancing (1923)/Helen Davis.
How to Become a Good
Dancer/Arthur
How to Dance/Anita Peters
Wright & Dexter Wright (1942, 1948).
How to Improve Your Social
Dancing/Beale Fletcher (1956).
Inter-national RD Council
(IRDC).
Isles
of Rhythm/Earl Leaf
(1948). Jazz Dance/
Marshall & Jean Stearns
(1968). Latin
American Dance Book/Betty White (1953,
1958). Latin & American Dances/Doris Lavelle.
Modern Ballroom Dancing -
History & Practice/Victor Silvester.
New Collection of Country
Dances (1799)/
Popular Dances Made Easy/Arlene Levine.
Popular Variations/Alex
Popular Variations in Latin American
Dancing/Imperial Society of Teachers
of Dancing.
RD Magazine.
Round Dance Manual/Frank
Round Dance Manual for
Beginners/Lloyd & Eileen Lackerman.
Roundalab.
S/D Magazine/Sets in Order
American S/D Society.
Standard American
foxtrot/John Clancy.
Standard American Wz/John Clancy.
Step-cls-Step/Frank
Lehnert.
Technique of Latin
Dancing/Walter Laird.
Technique of Ballroom Dancing/Guy
Howard.
The Country Dance Book/Beth
Tolman & Ralph Page (1937).
The Cue Sheet Magazine.
The Dance(1960)/Joust
A.M. Meerloo.
The Fred Astaire Dance Book/Lyle Kenyon Engel (1962).
The History of Square
Dancing/Damon S Foster (1957).
The Revised Technique/Alex
The Revised Technique of Latin American
Dancing/Imperial Society Of
Teachers of Dancing.
The RD Book,
A Century of Wzing/Lloyd Shaw (1948).
The Technique of Latin
Dancing/Walter Laird.
Treatise on Dancing (1802)/Saltator.
Universal RD Council
(URDC).
Voice Interest Sessiwgt-CALLERLAB 1981/Arden
refrain. Recurring
phrase in melody, or figure in a dance.
reindeer Pos. Shadow Bfly. Both fc same
direction, one beh other,
extend arms at her
shoulder level, hands tog R-to-R & L-to-L. Better
terms: Bfly Shadow & shadow Bfly.
repeat (rpt). Repeat step, fig, phrase or part.
reprise. Recurrence, repeat or resumption of an action or phrase.
resonance. a. Quality or state of being resonant.
b. Response to & prolongation of sound
waves by an object.
c. Re-sounding,
echo & re-echo of sound bet walls, floor &/or ceiling of a
room.
resonant. Continuation of sound after the source sound
has ceased.
b. Exhibit resonance traits.
c. Intensify
w/resonance.
resonator. Object that
resounds or exhibits resonance.
resound. Reverberate.
Ring. Echo.
response time. Time fm hearing a cue till dancer
reacts. Includes: Hear
cue, recognize term,
recall footwork- body motions, react.
reuda. Wheel.
rev. Reverse.
reverberate/tion. a. Echos & re-echoes cause words & music to overlap
&
distort. Echo/re-echoes result fm sound bouncing bet
walls, ceiling &
floor.
reverberation time. Time required
for a single sharp sound to die. Obtain
a rough estimate of
hall echo time: Clap hands at hall center, or fm spot
where speakers will
be located; listen for the sound to die.
Echo
intensity &
duration reveal some hall acoustics qualities.
Absence of
echo is
desired. Noticeable echo indicates poor
acoustics.
reverse (rev). a. Reverse> (>).
b. Direction opposite to fwd.
c. Counter
direction of a previous direction,
d. direction
opposite to normal.
e. LT. LT is more specific
than reverse turn.
reverse box. Box fig, reverse step
directions. CP wgt-R.
Wz: Bk-L, sd-R, cls-L;
Fwd-R, sd-L, cls-R;.
Two-step: sd-L, cls-R, Bk-L, - ; sd-R, cls-L, Fwd-R,
- ;.
reverse chasse. Chasse reverse.
reverse conversation. Ballroom
studio term for RSCP.
reverse corte. LT chg fm CP +Bjo
Pos. Man 1-step (girl 3-steps). CP< wgt-L:
Bk-Rball (Fwd-L) LT
+CP>w, continue -Rball (in plc-R)
LT +Bjo>, tch-L
(cls-L) +Bjo>;.
reverse fallaway. LT to SCP or
other Pos where both fc same
direction followed
by a Bk move.
reverse fallaway slip. LT +SCP or
other Pos both fc same direction slip
+CP, Bjo or Scar
Pos.
reverse hover. a. Bk hover. Man hover step
Bk on ball.
reverse hover cross. 6-step 2-meas
LT Scar +Bjo followed by switch +Scar.
Scar>c sgt-R: Fwd-L (Bk-R) LT +Scar<,
Bk-R (Fwd-L) LT +CP, sd-LT
+Bjo>;
Hov Fwd-Rball (Bk-Lball), rec Bk-L (Fwd-R) +loose CP>, sd-R LT +Scar>w;.
reverse line of dance (RLOD, <). a. Cir
direction opposite>.
b. CW (cw)
direction around center view fm above.
c. Reverse>.
<.
reverse ROFP, <OF. Pos. a. fc partner,
at comfortable distance, L-hand
palm up tog her
R-hand palm down. Relax free arms at
side, palms in.
b. FP, lead hands tog.
c. L-OFP Pos.
d. Term confused w/ OP fcing
reverse.
reverse pivot. A 4/4 time LT of 2-steps. CP> wgt-R:
Fwd-L (Bk-R) LT
+CP>c, - , sd-R (sd-L) LT+CP<, - ;.
b. CP< wgt-L: Bk-R (Fwd-L) LT>w, - , sd-L (sd-R) LT +CP>, - ;.
reverse roll. 1-meas 3-step solo full RT (LT). FP>w wgt-L:
sd-RT (sd-LT) Bk2Bk Pos>c, sd-L RT (sd-R
LT), sd-R (sd-L) FP>w R,
- ;.
reverse SCP (RSCP). a. L-sd
adj her R-side, lead hands tog his-L (-R) high
overhead, arms
curved. R-hand on her
L-side @ waist. (L-hand @ his R-
shoulder.)
b. CP>w, keep brace contact, in-plc RT (girl LT) +fc<
"V" Pos, L-side
adjacent her R-side.
reverse shadow Pos. Both fc same direction (girl beh man fc his Bk).
L-hands tog extend @
her shoulder level. Extend R-hands may
be tog
[Bfly
shadow] or free. (Girl offset
slightly-L R-ft aimed bet his ft.)
identical ftwork in <Shadow Pos.
reverse spin turn. 1-meas 3-step
LT. CP> wgt-R:
Fwd-L (Bk-R) LT
CP>c, sd-R (-L) on ball
LT CP<, rec Fwd-L (Bk-R)
+CP<;.
reverse solo spin. Solo spin in the reverse
direction, RT (LT).
reverse turn. a. Counter-clockwise (ccw)
= LT. Modifier rev = turn
direction opposite
normal.
Natural = CW (RT).
Rev = CCW (L-turn).
b. Wz or foxtrot
full (reverse) LT = 2-meas 6-step fig.
CP>: Fwd-L (Bk-R)
LT CP>c, sd-R (-L) LT
CP<, cls-L (-R);
Bk-R (Fwd-L) LT
CP>w, sd-L (-R) LT CP>, cls-R
(-L) CP>line;.
Two reverse turn meas
may end as a 3/4 LT +CP>w.
reverse turn chk & weave. 3-meas 9-steps LT, Bk chk, fwd chk, & weave-3.
CP>: Fwd-L LT CP>c,
sd-R LT<, cls-L CP<;
Bk-R chk, rec fwd chk-L
+loose-Bjo/<w, Bk-R;
Bk-L, Bk-R LT +CP>w, sd-L LT +Bjo or SCP (sd-R LT +Bjo or RT +SCP);.
+Bjo or SCP per cue
sheet.
reverse twirl. Twirl opposite direction of normal
twirl. CP>w wgt-L
raise
lead hands higher
than her head & keep hand contact:
sd-RT fc< (sd-LT
fc>w), thru-L fc>w (sd-R LT fc>c),
cls-R (-L) +CP<w;.
reverse varsouvienna Pos. Both fc same direction L-side to
(R-side). L-arm
beh
her Bk, L-hands Tog.
Her R-arm extends across in front of him, R-
hands tog @ her eye
level.
reverse vine. Vine or grapevine-R (-L).
reverse wave.
6-steps 2-meas. a. Contra Bjo/>w wgt-R: Fwd-L (Bk-R) LT CP/>c,
- , sd-R (-L) LT
CP/<c, Bk-L (Fwd-R); -R
(-L) L-curve, -, Bk-L (Fwd-R) L-
curve, -R (-L)
L-curve +CP<.
b. 1-meas 3-step
LT plus a 1-meas 3-step LT. CP/>c:
Fwd-LT CP>c, sd-R LT /<c, Bk-L; L-curve Bk-R, -L, -R;
+CP<.
reverse whisk. CP>w wgt-L: Fwd-R RT, sd-Lball,
hook-Rball beh-L +SCP<.
revirado. Twisted.
rf. Right fc.
rh. Right hand.
rhumba. Rumba.
rhythm. a. Regular & occasional irregular
recurrence of grouped strong &
weak beats, or heavy
& light notes in alternation, relative accentuation &
duration.
b.
Recurring music notes/beats in sequences classified as: Wz,
rumba,
polka, tango, fox
trot, etc..
c. Moves, actions
or elements recur at regular time intervals.
ride. Unwind or be rotated (ride) on
ball of weighted ft by partner.
Bjo> wgt-R (on L-ball R-free): Man wheel around & turn her
in-plc on her
L-ball: L, R, L; R, L, R; (girl no steps).
right. R-side, hand or foot.
Direction to right. Natural. Correct.
right & left grand (R & L grand). Start in Cir of dancers. FP> wgt-R (fc<).
Join R-hands w/partner. Weave around Cir, men progress CCW (girls CW)
alternate R-hand
hold & R-side pass w/girl-1 (partner), & each odd-number
girl. L-hand hold
& L-side pass w/girl-2 & each even number girl.
right chasse/chasse right. Side cha to right. sd-R, cls-L/sd-R, cls-L;.
right fallaway. Natural fallaway, RT followed by or end in a fallaway.
a. CP>w wgt-R:
sd-L RT +CP<, cls-R, Bk-L RT +CP>c, - ;
sd-R +SCP<, cls-L, Bk-R SCP<,- ;.
b. CP> wgt-L:
Fwd-RT +CP>w, sd-Lball RT +CP<, cls-R;
Bk-L RT (Fwd-RT)
+SCP<, Bk-R, cls-L;.
R-hand star. Pos. Both fc opposite
direction R-sides adj R-arms extended
R-hands tog at her shoulder level, free
L-hand & arms extended.
(she may flare skirt
w/ L-hand.)
right parallel Pos. Free style ballroom term for Bjo.
right pivot. Social/American foxtrot.
CP<: Bk-L RT
+CP>c, - , sd-R RT
+CP>, - ; sd-L, cls-R,.
right side Pos. Free style ballroom term for Bjo.
right to left. a. Arch formed by R-hand tog her L-hand.
b. (Girl chg places with
man, pass under R- to (L-) arch.
(Pass in
front of man w/LT)
man RT. Both turn thru arched hands.
c. Swing:
Direction of her move viewed by man.
(Girl move fm his-R to
-L.) Loose CP>w wgt-R,
arch lead hands -L (-R): sd-L (-RT fc>)/cls-R
(-L), sd-L (Fwd-R
RT und arch fc>w), sd-R
(-L RT fc<)/cls-L (-R), sd-R LT
(Bk-L) +FP>;.
right turn/RT. a. CW-Natural turn.
b. 1-meas
progressive couple CP T [any rhythm].
Turn = natural or RT unless specified as L-
or rev <turn.
c. Turn fig:
spin, roll, wheel, twirl, pivot, etc..
right turn tango. 8-step 4-meas
full-turn. CP> wgt-R:
Fwd-L, - , Fwd-R RT CP>w, - ; sd-L RT CP<, sd-R, draw-L, - ;
Bk-L RT CP>c, - , sd-R RT CP>, - ; Fwd-L,
sd-R, draw-L, - ;.
right turn Wz. Natural (cw) turn. CP< wgt-R:
Bk-Lball to heel
+CP>c (Fwd-R heel to ball CP>w) RT, sd-RT CP>, cls-L;
Fwd-R heel to ball +CP>w (Bk-Lball to heel fc>c) +CP>w, sd-L, cls-R;.
right way. Dancer concern of correct way to dance a fig,
rhythm, style or
move. There is no
"one correct way" to free style dance. If pair enjoy
dancing tog, it is
the right way. Standard ways exist in RD
& inter-
national ballroom
dance. Physical or mental limits
&/or lack of desire
prevent some folk fm
dancing as recommended. Such dancers develop
substitutes that
permit them to enjoy a dance. Slurs are
acceptable so
long as the flow
does not conflict w/hall flow.
Dance is an art,
proper body mechanics is a science. Smooth
dancing is
limited to actions
using proper body mechanics. Dance
knowledge combines
what a dancer hears,
sees, reads, tries plus inductive reason based on
combos thereof. Dance history documents much research on the
origin of
dance types,
including many generations of hearsay.
Original dance figs
have been modified
& improved for smooth flow, & proper body mechanics.
The choreographer's way is on the cue
sheet. Poorly written cue sheets
are difficult to
understand & result in various interpretations. Q-sheet
may contain figs
that violate rules of turns & acceptable body mechanics.
Such dances may be avoided, or modified if
there is small chance of
conflict w/other
local area dance groups. Modifying cue
sheets can result
in confusion, hurt
feelings, embarrassment or controversy.
Hang loose, avoid
being up-tight over the right way. Learn recommended
standards if
possible. Don't be obsessed or make
issue over right ways.
Friendships are more valuable than how a
step, fig, or dance is performed.
ringing. Nwgt-sustained
oscillation or feedBack in the microphone-amplifier-
speaker-microphone
loop for several cycles. Ringing occurs
at gain
settings slightly
below sustained feedBk. See: feedBk &
oscillation.
ripple chasse. SCP> wgt-L:
Thru-R (-L) turn heads & look reverse,
sd-L T heads look> /cls-R
look<, sd-L SCP>;.
rise. a. Raise on ball.
b. Return to upright posture fm low Pos.
Raise hgt, stretch body upward.
rkg. Rking.
rlod. Reverse:
line of dance,>.
roach. Cockroach. English for cucaracha.
Sd-rk, rec, cls, - ; sd-rk,
rec, cls, - ;
Rk (rk). a. A step.
b. Transfer weight to stepping foot, freed
ft extended to tch it's
start
spot. A Rk step is followed
by a rec step to return body weight to the
extended ft at it's
initial spot. Rk
Fwd-L, - , rec Bk-R, - ;.
c. Rk on a straight leg, erect
posture, head & body @ hgt constant.
Do not bend knee of Rk
leg. There is no fall or rise on Rk & rec steps.
d. Rk differs fm lunge.
Lunge is a step to a bent knee, w/body/head at
a lower level. Lunge may best be used at a dance end, where
timing to
restore body/head to
dance level is not a critical factor.
e. Rk differs fm point. Point
= nwgt-step ft action, no weight is taken
on a point.
f. Rk may be
followed by a number to indicate a series of Rk &
rec
steps:
Rk 3 = Rk Fwd-L, rec-R, Rk Fwd-L, - ;.
Rk 4 = Rk Fwd-L, rec-R, Rk Fwd-L, rec-R;.
g. Type of dance associated w/ Rk music.
h. Calypso fig. Rk Fwd-L, rec-R, Rk Fwd-L, - ;
Rk Fwd-R, rec-L, Rk Fwd-R, - ;.
or Rk
sd-L, rec-R, sd-L,
- ; Rk sd-R , rec-L, sd-R, -;.
Rk &
roll. a. Combos of Rk
figs & roll figs. FP>w wgt-R hands free:
Sd Rk-L, rec-R, sd
Rk-L, - ; Roll sd-RT
Bk2Bk>c, sd-L RT
FP>w, sd-R, - ;.
May be cued Rk 3;
& Roll 3;.
b. Music associated w/ nwgt-contact
(solo) pair free-style dance,
popular in 1950's.
c. Swing or
jitterbug. 1930s to 2000.
Rk Bk. Bk-Rk step. Step Bk, freed ft extended in place.
Rk beh. Rk step taken beh or in Bk of weighted foot.
Rk cross. 1-meas 3-step rumba fig.
FP>w: Rk sd-L, rec-R, thru-L +, - ;.
+FP>w Rpt opposite direction &
opposite footwork for double-meas fig.
Rk dancing. Nwgt-contact (solo)
cpair free-style dance, popular 1950s. A
good aspect of Rk is that no lessons are needed. Anyone w/courage can
join in by moving
body, hands, arms, ft & legs in time w/the beat. Do
whatever comes
naturally. Good exercise, fun &
emotional release,
especially if you
wish to dance. There are no rules or
standard basics.
There are no mistakes. Rk relates to a
child's natural response to music.
To primitive man's reaction to the rhythmic
beat of drums or percussion
devices. It is kin to original dance that evolved into
formal dancing
that we enjoy. It comes w/out training, restraint or
reserve. Don't
knock Rk, it's fun w/out expert dance knowledge.
Rk fwd. fwd Rk step. Rk fwd on the cue Rk. The Rk cue may be modified w/
other directions as
desired: Rk side, side Rk, Rk thru, thru Rk, etc..
Rk fwd &
Bk. a.
4-step meas. Rk Fwd-L, rec
Bk-R, Rk Bk-L, rec Fwd-R;.
Rk music. Music
associated w/Rk dance. Usually heavy beat 4/4 time
music.
Often loud w/repetitive
short phrases.
Rk side. Side Rk step in direction of free foot. The cue side Rk
gives
dancer a lead time
edge over a Rk side cue, because direction of move is
stated first.
Rking steps. 2- or more alternate
Rk steps in opposite directions.
fwd & Bk; Bk & fwd; or side to
side.
Rk the boat. SCP, HP or OP. Fwd-L bent-knee lean fwd, cls-R rise,
Fwd-L bent-knee lean fwd, cls-R
rise;.
Rk thru. Thru Rk step. FP>w wgt-R
look<: Thru Rk-L, -, rec-R,
- ;.
Cue term THRU Rk
provides lead time edge over Rk THRU cue.
It states the thru direction first.
Rk turn. Solo ½-T of 2-steps. Keep initially wgt
ft in place.
a. OP> wgt-R: Rk Fwd-L RT (-R LT) FP, - , rec-RT
(-L LT) L- +OP<, - ;.
b. L-OP< wgt-R:
Rk Fwd-L RT >c (LT
>w) Bk2Bk, - , rec-RT (LT) +OP>, - ;.
c. LT (RTs) fm OP wgt-L.
d. full T cued Rk, - , thru trn, - ; Thru Rk, -, trn awy,
- ;, as
basketball trn, or as Rk turns".
Rking chair. 2-meas 2-chair lunges. SCP> wgt-R:
Fwd-L,
- , chair thru-R, - ; rec-L, - , chair thru-R, - ;.
roll. Progressive solo 3/4 to
full turn. Bfly>w
wgt-R, trn head &
look>:
sd-LT fc>c
(sd-RT fc>w) Bk2Bk, sd-R LT (sd-L RT) LOP<, Bk-LT (Bk-RT)+Bfly;
Roll figs are 3-steps per meas
unless stated otherwise, see: Roll-2,
roll-3, roll-4 &
roll-6.
roll across. a. Full trn solo
roll to opposite side of partner, as partner
dances slightly fwd
to new Pos. Rolling dancer pass in front of ptr
unless
told otherwise. Roll across: H-OP> wgt-L:
/Fwd-RT in fnt of & fc
her & <,
/Bk-L outside Cir
RT +H-LOP>, cls-R;.
b. (roll across.)
Half-OP> wgt-L: In plc-R
(/Fwd-LT in fnt of man +FP),
Fwd-L (/Bk-R inside
Cir LT H-LOP>c), cls-R (cls-L);.
c. Roll fm
outside to inside Cir: use footwork described for girl in
"b.". Or (Girl roll fm inside to outside of Cir:
use footwork described
for man in
"a.".) See roll out & roll
in.
d. Both roll across. Simultaneous roll across by
both. H-OP> wgt-L:
RT roll> beside girl (L-T roll on >
side of man).
e. Step, roll, 2;. H-OP> wgt-R:
Fwd-L small step (-R reach & look in
front of man), in plc-R (sd-LT in fnt of man & fc<), Fwd-L (sd-R LT inside
Cir) HLOP>.
roll four. 1-meas 4-quick steps,
or 2-meas 4-slow steps. Slo roll-4: OP> wgt-R: sd-LT fc>c,
- , sd-R LT fc>w, - ; sd-L LT, - , thru-R +OP>, - ;.
roll in. a. Dancer on outside of Cir roll in fnt of ptr
+ inside Cir.
roll out. a. Dancer on inside Cir roll
in fnt of ptr +outside Cir.
roll six. 2-meas 6-step mirror image
full turn solo roll. Bfly>w wgt-R:
sd-LT (RT) OP>, cls-R, Fwd-LT +Bk Pos>c, - ; sd-R LT (-L RT) +L-OP<,
cls-L, Bk-R LT +Bfly+w,
- ;.
roll three. 3-step 3/4 to full turn
roll. Bfly>w wgt-R:
sd-LT>c (-RT fc>w)
Bk-Pos >c, sd-R start LT (-L RT), sd-R (-L) +Bfly;.
roll two. Solo ½T roll, two ¼T steps. Solo full ½T steps.
rollaway. Roll
across in front of partner. a. OP> wgt-R:
In plc-L (Fwd-R),
in plc-R (sd-LT fc>man), Fwd-L (sd-R LT),
Fwd-L (cls-R)
+L-OP>;.
b. Rollaway may be
danced fm L-OP +OP w/RT & opposite
footwork to a.
c. Man rollaway:
= roll in front of girl.
rollaway w/a half sashay. 1-meas 2-step
S/D rollaway. Cue means: Man
half-
shashay
(girl rollaway). OP> wgt-L: sd-R (Fwd-L ½LT fc<), - , slightly
Fwd-L (sd-R ½LT)
L-OP>, - ;.
a RD to be taught to
all griups during the month. ROM objective: create
a common list of RDs for use at large functions. Each ROM adds a common
RD to an area dancer's repertoire.
romanesca. Quick triple-time 16th century galliard. Lively spirited sequel
to the stately pavane.
ronde. Spanish:
Flare around, or round. a. Fan or flare nwgt-step ft move,
of 1 or more
beat/s. Ronde
is not a step, but may be followed by a step
on the next beat.
b. 1-meas ronde followed or preceded by a step. SCP wgt-L: Fwd-R RT
(LT) FP lower-bend R-knee extend
L-ft, CW fan-L (fan-R CCW), continue fan
rise wgt-R +CP, cls-L;.
Compare whiplash fan move followed by tch instead of cls step.
c.
SCP Fwd-L (-R), - , Fwd-R (-L), flr-L (-R); Cut-L, Bk-R, cut-L, Bk-
R;.
ronde de jambe. Fan.
ronde de jambe
jete. Flr trailing ft fm beh wgt
ft & undercut fm front.
rope spin. Lariat. Lasso.
ROQ. Acronym:
RD Of Quarter. Similar objectives to ROM. Quarter =
3-months.
rotate. a. Turn, revolve.
b. Wheel.
c. Nwgt-progressive T side by side
Pos i.e.: OP; Bjo; Scar; R- or L-hand
stars, hooked elbows,
R- or L-forearm grip; etc..
rough dancing. Pull, push, shove, jerk, grab, rush, hold,
force twirl,
force lead, Bk-lash, rear Bk, etc. Girls who get rough treatment should
speak up promptly to
rough dancers. Etiquette does not
require enduring
roughness. A loud clear "Ouch! Please don't twirl (jerk, push or dance)
so rough!) should obtain corrective action. If roughness persists, she
has the right to be
excused fm the dance. Comment "This
dance is too
rough for me"!
Gentle dancing a
gentleman's trait. Dance gentle,
courteous, patient,
friendly, kind,
thoughtful & w/consideration. Gentle
dancing is a
primary goal of
dance lessons.
round (rd, r/d). RD.
RD
(rd, r/d). Chorus dance by couples in a Cir using
ballroom figs &
rhythms (Wz, foxtrot, polka, two-step, Latins,
etc.) in a unique
choreographed
routine.
RD program for S/D caller. A S/D caller-teacher encounters frustration
integrating RDs into a SD program.
Proper preparation, determination &
patience are
required. Abortive attempts plus
dancer/teacher frustration
are minimized by
proper preparation & familiarity w/problems.
A high degree of mutual dancer/caller
confidence exists, based on
ability &
repeated success in teaching/learning S/D figs.
Dancer & caller
are convinced that
they can teach-learn anything as a team.
They can w/
proper basic
knowledge, good techniques & time.
A competent caller does not teach
mainstream S/D figures on the first
night of beginner
lessons. He begins w/basic (square
configuration, dance
directions,
L-allemande, R- & L-grand, etc.).
Added basics are taught
each lesson. Bypassing basics invites frustration &
failure. Competent
callers know this
& teach & drill beginners in basics.
The same approach
is successful w/RD
beginners. Teach, re-teach & drill
basics.
First take beginner RD lessons fm a
competent RD instructor. Avoid
short cuts in
learning basics, attend each lesson, be attentive, ask
questions, observe
techniques, learn & understand each term-action fully,
make notes on each
lesson, & the sequence of teaching figs.
If lessons
seem slow &
become boring, use the opportunity to observe the problems
encountered by
students & the way the instructor deals w/problems.
Complete at least 6-months of beginner
lessons before teaching a RD at a
S/D club.
Start by teaching easy walk, march, or shuffle mixers before teaching a
two-step or Wz. Use mixers like
White Silver Sands & Left Footer's One-
step. Next teach basic Wz
or two-step figs to familiarize group w/rhythm
& footwork. Stick w/one rhythm the two-step or Wz to reduce confusion.
When dancers learn 2-figs, alternate the figs
in a dance. Each time a new
fig is taught add it
to a routine until dancers know enough to learn a
dance. Use the same teaching manner as in adding S/D
figures. It may
help to teach figs
in the order that they appear in a RD.
Time is limited in RD classes where 2-hour
lessons are spent on basics &
drill each
week. Time for teaching RD is more
critical at a S/D club that
meets 2-hours
once/week or once every 2-weeks. 2-hours
provides time for
8-each 10-minute S/D tips
& 7-each 5-minute rest breaks.
One 10-min S/D
workshop & one
10-minute RD workshop leaves time for 6-regular S/D tips.
A 10-minute RD lesson each week or every
2-weeks = a 1-hour lesson every
6- or 12-weeks. Consider memory retention loss. Would any S/D caller or
dancer endorse
teaching S/D beginner lessons on a 10-min/wk basis.
Should rounds be taught before, at
mid-point or after the S/D program?
Each option has drawBks. Before S/D problems include: Tardy students;
distractions by
non-students who arrive early; social & S/D activities
immediately
following tends to erase retention of lesson content; A 30-
minute or more round
workshop leaves dancers tired by the S/D midpoint.
Mid-point problems include: Non RD-student
S/Der spectator distractors.;
floor fright fm
spectator presence.; return to social & S/D activities
immediately
following lessons.
After S/D problems include: Tired dancers are less receptive.; non-
student participant
S/D stragglers; dancers depart short workshops w/out
chance to wind down
& resolve problems or have any pleasure fm RD.
S/D beginner classes are a better time to
introduce basic RD figures.
Class usually meet
1X/week. Memory retention span is less
than for 2-week
lessons. New dancers
are more receptive to new things before receiving
diplomas for
graduating lessons. Class dancers
haven't been influenced by
S/D only prejudices. The entire class usually participates,
reducing
spectator
problems. Use the Cir formation to teach
& drill compatible S/D
figures used in
1-step (walking type) mixers, & review each class night.
Recognize fast learner & eager beaver
problems. Refer them to a RD
instructor. Avoid the new dance syndrome that add
learning-preparation
burdens for teacher
& dancers. Limit the number of
mixers taught, use
older time proven
dances.
Summary:
Learn to RD. Teach mixers &
basic figs in class. Teach RDs
early in the
evening. Avoid new dances, stick to a
few time proven RDs.
Keep standards on program & play them
often. Teach only 3 or 4 RDs a yr.
Have 2 easy RDs
played at each area, district or state dance.
Ask RD
teachers for help as
needed.
round dancing. Cir dance. Round & Cir dances date to pre-historic
times.
They were used for rituals, recreation,
ceremonies & designated as
national folk
dances. They provided recreation for
royalty & common folk.
Some have chgd
& evolved into Early American RDs.
Dance performed by a group in a Cir is
classed as a Cir/RD. This
includes primitive
rain, war, bon fire & Maypole dances.
Cir dance also
refers to easy level
folk dances & mixers, including Paul Jones, Tucker
Wz, Penny Dance,
etc..
Modern American RDs
are advanced forms of couple ballroom dances using
the same rhythms,
Pos, steps & figs used in exhibition, international,
social & night
club ballroom dancing. Rhythms include:
Two-step; Wz; fox
trot; quickstep; polka; rhumba;
samba; mambo; tango; merengue; swing;
schottische; mazurka;
etc. The difference in RDing & free-style ballroom
dancing is: RDs are choreographed.
RDs use a larger variety of figs than
social ballroom
dances. Good RDs
compare to choreographed exhibition
dances. RDs progress CCW
around the floor in a uniform orderly manner
w/out traffic
conflicts associated w/free style social ballroom dances.
Rounds involve a wide variety & more
challenge than free style ballroom
dance. RDs improve a
dancer's ability & knowledge. RDs teach smooth,
gentle, stylish
dancing. RD figs may be danced in
free-style, impromptu
or ad-lib ballroom
dancing.
RDing is
described in many ways: a. Fun.
b. A rotating circular periodic array of
couples dancing identical
choreographed steps,
& figures in unison.
c. An intimate
romantic musical interlude.
d. Couple dance
using ballroom steps, Pos, styling & rhythms. Each
musical arrangement
has an individual & unique associated choreography.
Couples dance in a Cir rotating CCW at a uniform
rate.
e. A couples dance
consisting of folk & ballroom dance figs arranged in
a smooth flowing
sequence correlated to each meas of music. Couples dance
identical figs in
concert create beautiful chorus.
f. Ballroom dancing. Couples dance the same routine to a given
piece of
music, moving in a
circular route.
The name RDing is
taken fm the Cir formed by dancing couples.
Each fig
is named to provide
dancers w/a means of communicating & remembering
dances.
g. All dance rhythms are used including Wz, two-step, polka, fox trot,
swing, tango, rumba,
cha-cha, merengue, mambo, disco, Rk
& roll, folk,
etc..
h. RDing is
international in character, & danced in many countries
throughout the
world.
i. RD is inexpensive,
basic cost depending on the cost of the hall &
teacher fee divided
among the number of group members.
j. Precision ballroom dancing. It differs fm night
club & social
dancing in the
number & variety of figures.
round of the month (ROM). Dance
selected to teach at all area clubs during
a specified
month. The objective is to add
1-dance/month to the common
area dancer
repertoire for use at area functions.
A ROM should: a. Fit the level, ability & ambition
of a majority of
area dancers.
b. Consider new dancers to stimulate
interest & involvement in the
program.
c.
Be readily available on a record to permit timely teaching. Delay in
record procurement
may result in failure to teach the
Sources for use in selecting ROMs are: a.
Round Dancer Magazine Top Ten
list, cue sheets
& classics list.
b. Cue Sheet Magazine.
c. American Squaredance Magazine.
d. Dances taught at nearby festivals.
e. Dances selected as ROMs by other RD or
S/D Asso.
f. Rounds enjoyed by a large number of area
clubs.
Mixers, folk dances & hully gullies should be picked for occasional ROMs
to involve S/D
callers & dancers. Some would participate if possible w/out
knowledge of RD
basics. Two such dances per yr help
promote RDng &
improve S/Der's knowledge & style.
12-ROMs/yr are too many for RDers exposed to quick teaches a few min
twice a month. 4-rounds may be a realistic goal for S/D
level RDrs.
12-ROMs/yr are easily learned by RD clubs
that meet each wk. Intermediate
groups easily learn
a new round each month, especially if 3- or 4-/yr are
easy level. Easy level ROMs are good in areas where S/Ders intermix at
clubs &
festivals. Easy ROMs free a RD club's
time for learning dances
suited to the club
level, desires & needs. Advanced
dances are poor ROM
selections if many
dancers are excluded by proficiency levels.
Asso's
should not expect
all clubs to learn advanced dances.
Advanced dances can
be used at RD dance
clubs. ROMs should aim for high
participation by area
RDers.
ROUNDALAB. A professional international
society of RD leaders formed 1977.
Organized to promote, protect &
perpetuate RDing & complement S/Ding &
CALLERLAB.
routine. A group (usually 32-meas) of steps, figs
& figures combined in a
sequence correlated
to the full verse & chorus, tune or melody of a
musical arrangement.
rpt. Repeat.
rscp. Reverse
semi-CP.
rubato. Intentional temporary deviation fm constant tempo. Music having
some notes
arbitrarily lengthened &/or shortened.
Characteristic of jazz.
rubber legs. Legs that bounce, sway, bend, flop, wobble
& dangle
haphazardly in
undesired directions.
Rudolph. a.
Hesitation Rudolph. Slow pivot-2 fm CP
+SCP. CP<:
Bk-L RT +CP>c, - , sd-R RT CP> (sd-L
outside Cir RT), - (flr-R) +SCP>;.
b. CP> wgt-L:
Fwd-RT fc>w flex R-knee extend L-ft Bk (Bk-L RT), - flr-RT
RT fc>), rec-L (Bk-R) +SCP>, Bk-R (Bk-LT slip) CP>;.
ruedo. Ring. Cir.
rule of the rhythm. Rule that defines the number
& timing of steps w/in &
correlated to beats
of a meas. Each rhythm has a fixed
number of beats
or steps/meas. Recurrence
& alternation of number, accentuation, speed,
duration &
sequence of light & heavy note grouping per meas
determine the
rhythm. The number, speed, accent, duration &
sequence of steps determine
dance rhythm. RULE OF THE RHYTHM is the number &
duration of steps/meas.
RULE OF THE RHYTHM simplifies cues by
eliminating need for a numer
suffix for each fig
cue that conforms to the rhythm. Stating
the rhythm
(two-step, Wz, fox trot, etc.) informs
dancers of the number & timing of
steps/meas. Exceptions to the rhythm are cued w/suffix
numbers to specify
how many steps in
each meas. Most rhythms fall into the
RULE OF THREE
category, i.e. 3-STEPS PER MEASURE UNLESS TOLD
OTHERWISE. RULE OF 3
rhythm dances are
sub-divided by timing, manner &/or style of steps.
Rhythms that deviate fm the RULE OF 3 include
tango, merengue, paso doble,
one-step, cha-cha,
swing & some disco. The cha cha is classified as a
RULE OF 5 dance, i.e.: 5-steps per meas unless told otherwise.
Cues for meas
that deviate fm the RULE OF THE RHYTHM are modified by
suffix numbers. For example a RULE OF 3 rhythm meas of only 2 steps can
be cued: Walk-2,
Vine-2, slide-2, walk fc, walk pickup, etc.. 4-step meas
may be cued as:
Run-4, limp-4, cut-4, lock-4, etc.. This
reduces nubmer
suffix use, &
emphasizes numbers when cued. It
highlights RULE OF THE
RHYTHM exceptions.
Step sequence & timing for some rhythms
are listed. Sequence of steps
are varied by some
free style ballroom studios. Rhythms
containing 6-
steps per meas (½, 3, 4/5, 6;) may be danced similar to double meas tempo
4/4 time music, i.e. 1, 2, 3, - ; 4, 5, 6, - ;. Slo (S) steps = 2X the
duration of qk (Q) steps. Slo = ½ note = two notes.
Q = ¼note. For
double time rhythms,
S = ¼ note & Q = 1/8 note [S, Q/Q, S, Q/Q;.]
RULE
OF THREE: 3-steps/meas. Two-step: Q, q, s, - ;.
Step, cls, step, - ;.
Rumba:
Q, q, s, - ;.
Step, cls, step, - ;.
Small steps, head level constant, undulating
hips.
Rumba (ballroom) S, -, q, q;. Step, - , step, cls;.
Polka:
Q, q, q, hop;
Step, cls, step, - ;.
Exuberant two-step variation, rise/hop on
beat-4.
Mambo: Q, q, q, - ; Rk, rec, cls, - ;. Rumba style.
Foxtrot: S, -, q, q; Step, -, step, cls;.
Wz: 1, 2, 3;. Step, step, cle;. Steps of equal time duration.
Conga: Q, q, q, kick; Step, step, step, kick;. Shift wgt hip in
opposite
direction of kick.
RULE OF FOUR:
4-steps per meas.
Paso doble: S, - , s, - ; or Q, q, q, q;. Erect marching steps.
Merengue: Q, q, q, q; Rumba type hip & ft move. Trailing leg his-R
(her-L) is lame
& stiff.
RULE OF FIVE:
5-steps/meas. Cha cha:* S, s, q/q, s; Rk,
rec, step/cls,
step;. Rumba/mambo styling.
RULE OF SIX:
6-steps per meas.
Samba:* S, q/q, s, q/q; Step, step/step, step, step/step;.
S = ¼ note.
Q = 1/8 note.
Social foxtrot rhythm & derivatives
thereof use 1½ meas per dance rhythm.
Foxtrot:
S, - , s, - ; q, q,.
Single swing:
S, - , s, - ; q, q,. Or
Q, tap, q, tap; q, q,.
Loose CP lead hands low.
Triple swing:
Q/q, s, q/q, s; s, s,. 8-steps per 1½ meas.
Tango is a recurring 2-meas dancrhythm. S,-, s,-; Q, q, slo
draw, - ;.
rumba/rhumba. Origin the Naniga religion voo-doo dance of African slaves.
ritual dance. The
primitive rumba imitates various farm animal activities:
chicken courtship
& mating; shoe a horse; kill a cockroach, etc..
Original native forms were danced w/a loose
relaxed body. Torso, hip &
pelvic moves were:
uninhibited; violent; furious; passionate; licentious;
lewd, emotional;
sexually sensuous. Modern ballroom rumba
is a subdued
imitation of the
native rumba. The imported version is
derived fm Son.
The
A lively 4/4 time dance of Qk, qk, slo,
-; or Slo, - , qk, qk; rhythm.
Full hip action on slo steps.
The Qk, qk, slo, - ; (Q, Q, S, -;) rhythm
is two-step (chasse
or cha.) rhythm figs. The S, -, qk, qk; rhythm uses
foxtrot figs. Rumba differs fm two-step & foxtrot step
style by hip &
body motion. Slow rumbas: Bolero; cancion;
bolero son; guajero.
Medium
tempos: Danzon; danzonette; son montuno. Fast
tempos: Guaracha (Spanish
origin) Montune.
Dance ballroom rumba in loose CP, partners
separated 6 to 8", shoulders
parallel, elbows
high, head erect. Knees & ft cls together (narrow
track) w/out toe-in
or -out. Stand straight & tall,
torso erect fm waist
up, not tense or
stiff. Body action is fm the waist down,
limit motion fm
the waist up.
Rise & fall of alternate hips results
fm relaxed free (non-supporting)
side of body. Lower free hip fall is natural as body &
free leg weight
shift to new support
foot. Supported hip hinges as weight is
received to
lower free hip. Hip action compares to climbing stairs. Natural hip roll
is desired, let
freed hip lower as far as body mechanics permit w/out
upper torso movement
or hip side sway. Use natural weight
shifts, avoid
sharp, exaggerated
jerky hip action. Dance smoothly
w/effortless rhythmic
hip actions. Dance in place to develop fine, even, smooth
flowing hip
action. Stand on flat of R-foot. Relax lower L-hip
[R-hip acts as hinge].
Step-L flat, ft tog, straighten
L-leg as body weight settles on L-hip.
Simultaneously bend R-knee to lower R-hip
[body mechanics sets limit].
Shift weight Bk & forth.
Practice w/elbows at shoulder level, bent w/
finger-tips tching in front of fc. Look over finger tips & watch for
unwanted bounce or
head-shoulder sway as weight is shifted.
Practice
w/a book balanced on
head to develop smooth torso & lively hip action.
Small light easy steps
w/out jerk or bounce. Small steps
give time for
hips to rise &
fall.
rumba box. 6-step 2-meas box. a. Steps are same as two-step box fig.
Step, cls, fwd, - ;
Step, cls, Bk, - ;.
b. International rumba step timing, &
figs, i.e.:
fwd, - , step, cls; Bk, - , step, cls;.
Note: As Wz drive
step provides momentum & direction for "step, cls,".
rumba cross. 6-step 2-meas. Thru-Rk, rec, cls, - ; Thru-Rk, rec, cls;.
rumba turning box. 12-step 4-meas full LT.
CP>w sd-L, cls-R, Fwd-LT, - ; +CP> sd-R, cls-L, Bk-R LT, - ; +CP>c.
Repeat meas 1 &
2;; +CP>w.
rumple. Non-step LT
in SCP. Identical footwork:
Fwd-L LT R-thigh under her rump help lift & turn her, rise-Lball
LT lift-T
[rumple] her (girl
leap-LT), Bk-R;.
run. Quick fwd ball stps. Run-1, 2, 3, 4;. Qk, qk, qk, qk;.
Run-L, R, L, - ; R, L, R, - ;.
File: R-terms.txt
rev-030321