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.

S

S, s. Slow. (slo)

sailor shuffle. 6-stp 2-meas. a. CP>w: beh-L, - , sd-R chk- sd-L; beh-R,

- , sd-L chk- sd-R;. Loose body sway.

b. Syncopate 6-stp 1-meas. CP>w:

beh-L, sd-R chk-/sd-L, beh-R, sd-L chk-/sd-R;

saltant. Dance. Jump. Leap.

saltarello. Lively Italian dance w/hop & skip stps. Music for the dance.

Saltator. Dance master & author/o book "Treatise on Dancing" 1802. Dance

terms saltant & related words derived fm Saltator's name. See: reference.

saltatorial/saltatory. a. Of, characterized by or adopted to dance.

b. dance, dancing.

salty dog. a. 4-meas. Tch L-heel fwd, cls-L, Tch R-heel fwd, cls-R>wgt balls

of both ft; Twist heels out, Tch L-heel fwd, cls-L, fwd-R; Pnt-L fwd,

fwd-L, Pnt-R fwd, fwd-R; Pnt-L, fwd-L, Pnt-R, fwd-R;.

b. Dance to the tune Salty Dog Rag.

samba. African carnival dance. Import to Brazil by slaves. Cross-bred

w/maxixe ca 1890. Maxixe popular in Europe & evolved into vivacious

Parisian maxixe 1914. Samba introduced to USA at 1932 Chicago World's

Fair, shown in 1939 movies. A lively dance, also called Mexican Polka.

Style: drive, ball/change [stp-2/3] bk wipe free ft on change stp.

Fast tempo small stps are a key to smooth flow. Long stps rush dancers,

& result in poor exaggerated style. Small stps improve ftwork, control,

timing, balance & coordination. Samba rhythm for 6/8 time music is: Slo,

qk/qk, Slo, qk/qk; slo, q/q, slo, q/q; or Drive, ball/change, drive,

ball/change;.

Samba may be danced to fast tempo 4/4 time music as S, -, Q, Q; S, -,

Q, Q; dance rhythm. Slow tempo 4/4 time may be danced as samba using

double-time stps: S, q/q, s, q/q;. Samba danced S, -, Q, Q; S, -, Q, Q;

to slow 4/4 time music emulates Fox-trot dance rhythm.

Samba rhythm stps "Drive, hover/Rec" equate well to the Disco stp

terms "stp, ball/change,".

Optional body movements become strenuous. Long drive stps produce

unattractive bounce. Samba is not for clod-hoppers stompers or bouncers.

Down, up/down body flow results in samba style of each stp. Slow drive

(heel-to-toe) stp lowers height. Rise on change (ball) stp. Fall on change

(flat) stp. stps produce Down, up/down body samba style. Samba tempo is

typically faster than Wz, so fall-rise-fall is more pronounced. Do not

confuse the fall & rise motions w/bounce. Avoid bounce. A fast tempo

Vienese Wz can be more tiring than a than a samba. A carry-over of the

longer drive stps typical/o the Wz.

Dance 6" to 8" apart in CP, depending on fig. Head, arms & elbows

high. In CP tilt bk on fwd drive & ball stps, tilt fwd on bk drive & ball

stps. Adj degree of tilts for smooth body flow & balance. Avoid

exaggeration, let body flow naturally. Tilt-L on bal-L, & -R on bal-R.

Style LT-box stps w/L-rotating tilts. Tilt bk on fwd-L stps, tilt fwd

on bk-R stps. On LT box look to L-shoulder, & rotate upper body tilt.

samba balance. sd-L, beh-R ball/rec-L, sd-R, beh-L ball/rec-R;

samba walk. SCP>: fwd-L, ball-R/chg-L, fwd-R, ball-L/chg-R;. Change (chg)stp

slightly bk of ball stp. Change is Rec stp on spot vacated by fwd

drive ft. Wipe freed ball bk on chg.

samba L & R. Disco samba bal or syncopate. Disco balance: sd-L, beh-R ball/

change-L, sd-R, beh-L ball/change-R;.

same. Identical: ftwork, fig, style, or action by both partners.

same ft lunge. Identical ft lunge by both. a. FP>w both wgt-R:

Lunge sd-L twd /> (sd-L twd reverse),.

b. ShadowPos>w both on-R: Lunge sd-L both twd />,.

same ftwork. Pair stp simultaneously on same ft. Identical ftwork.

sandstep. Toe, heel, thru, - ;. TOE: Tch free toe to inside of wgted ball,

free knee in front/o wgt knee. HEEL: Tch free heel to inside/o wgt ball,

free knee away fm wgt knee.

a. 2-meas fig. Bfly>w wgt-R: Tch L-toe in @R-ball, Tch L-heel in @Rball,

stp thru-L, - ; Tch R-toe in @>Lball, Tch R-heel in @L-ball, stp thru-R, -

;. Swivel free knee & body w/toe on Tch actions.

b. 2-meas cha-cha fig. Bfly>w wgt-R: Tch L-toe in @Rball, Tch L-heel @

Rball, stp thru-L/sd-R, thru-L; Tch R-toe @L-ball, Tch R-heel @L-ball, thru-R/sd-R, thru-R;.

saraband/sarabande. Stately 17-18th century minuet type court. Slo triple

time rhythm, accent on beat-2. Evolved fm zarabanda.

sashay. fig of SIDE, CLOSE, stps. fm French term chasse meaning chase 1-ft

rapidly follows/chases (cha) other. A fwd or sd stp followed w/a close

stp. America corrupted term chasse to sashay. Burbank's 1799 book "New

Collection of Country Dances" spells chasse as Shasa.

SASHAY means ROLL AWAY to many modern S/D callers & dancers. Complete

call is GIRLS ROLLAWAY & MEN HALF-SASHAY. ½Sashay = 2-stps/meas. Sashay =

4-stps/meas. Sashay = Sd, cls, sd, cls;. ½Sashay = Sd, -, cls, - :.

saturation. State of substance that is completely full of material. State

where dancer's mental capacity is full w/new terms, actions, reactions &

responses, & can not absorb added data. It causes frustration & loss of

competence among beginners. Point where added time & practice are needed

to assimilate available data & clear the thinking process, before adding

more info.

Students are assumed to start w/a base dance knowledge/o Zero. The first

item learned plcs 1-term/o data in memory. Item-2 adds term-2 in head.

2-terms + related actions require memory recall & choice bet 2-terms.

Choice becomes more complex as each new term is added. Until student is

unable to absorb new or react properly to the variety/o terms stored in

memory. Saturation is evidenced by student/class failure to absorb new

material &/or react timely to material. Saturation signs are signals of

needs to review old &/or limit new material.

scar. Scar. sidecar

schmaltz. Sentimental or florid music.

schottische. Polish dance, 1850. 4/4 time 4-meas fig. Typical dance:

Run-L, R, L, hop-L; Run-R, L, R, hop-R; stp-L, hop-L, stp-R, hop-R;

stp-L, hop-L, stp-R, hop-R;. Schottische Variations include: Military,

Belen, Salty Dog Rag, etc.

scis. Scissors.

scissors. 4/4 time rhythm, qk, qk, Slo, -; or Ball, change, cross, - ;

fig. Loose CP>w wgt-R: sd-L +Scar/w, cls=R, cross-L in front (cross-R beh)

+CP>, - ; sd-R +Bjo>, cls-L, Xif-R (-L beh chk) +CP>, - ;. Adj blends &

Pos to choreography. Loose CP provides space for Xif thru ¼T on sd & X

stps.

Scissors rules: a. Progress around circle as pair cross > in &/or out.

b. Scissors < & > in plc if man faces wall or center at start.

c. SCISSORS stp-3 Xif (X-beh).

d. SCISSORS THRU both Xif or thru space bet pair.

e. SCISSORS MAN IN bk X-beh (Xif).¼

f. SCISSORS BOTH IN bk cues pair to X-beh.

scissors double. Cue for 6-stp 2-meas scissors fig.

scissors hitch. Combined he scissors (she hitch) fig. His cue bef her's. Cue

means scissors man (hitch girl). "/" = simultaneous act.

scissors progress. Progress means travel in general direction of the pair's

CP alignment, his facing direction. The word progress is superfluous for

experienced dancers, who know to progress > or <. SCISSORS PROGRESS is a

better cue than PROGRESSIVE SCISSORS. Dancers recall/react to SCISSORS

qicker if cued before PROGRESSIVE. Reverse order delays KEY WORD, scissors

reception by 2 to 3 syllables plus a time space. Progressive is 1-syllable

longer than progress. Delayed eceipt of scissor cue dangles dancers.

Active Key cue words should prefix modifiers.

scissors thru. Bfly>w wgt-R: sd-L RT (sd-R LT) look >, cls-R (cls-L), thru-L

LT (thru-R RT) Bfly>w, - ; -sd-R LT (sd-L RT) look >, cls-L (cls-R), thru-

RT (thru-LT) Bfly>w, - ;.

scissors thru double. Suffix cue DOUBLE means, dance the 3-stp 1-meas

Scis twice. Dance fig in 1-direction, then rpt it rev ftstps in opposite

direction.

scoot. 1-count fwd slide stp. Slide ft fwd floor contact bef transfer of

wgt. Imitate riding a scooter w/body, leg & ft moves. Scoot stp is often

followed by cls stp, i.e.: Scoot, cls, scoot, cls;. Scoot cues may be

followed by a number to specify how many stps. Scoot-4 for Scoot, cls,

scoot, cls;.

scoop. 1-count stp, replace wgt ft on the spot vacated by step ft. On-L

free-R trailing: Upwgt fm-L move-L fwd simultaneously bring R-fwd to spot

vacated by-L. Direction may be fwd, bk or sd, determined by the initial

config of wgt ft w/respect to the freed ft.

SCP. Semi-closed Pos.

scuffle. Shuffle ft in stepping.

sd. Side or sideways.

S/D. Square dance.

segunda. Second. Secondary.

semi-closed Pos (SCP). Pair face same direction, R-side adj to her L-side,

shoulder lines form slight diag bend to accommodate joined lead hands.

Lead hands his-L (her-R) extended fwd at her shoulder level. R-hand & on

her bk at her shoulder level (L-hand & on front of his R-shoulder.) Adj

trailing hands for comfort & appearance.

Start in CP>w wgt-R: Remain in plc wgt-R both look twd>, open lead sides

fc>, retain inside sides adj, adj trailing hands for comfort. Lead hands

@ her shoulder level. Low lead hands degrade posture, as torso muscles

relax w/low lead hands & upper body & shoulders sag. High head & lead

hands raise upper body & shoulders for better posture. Free style ballroom

studio terms for SCP: Fred Astaire = L-open Pos; Arthur Murray =

Conversation Pos.

semi-colon (;). Symbol indicates end of time frame allocated to a music or

dance meas or bar.

Space bet semi-colons = 1-meas or bar.

Space bet a comma & semi-colon, or bet 2-commas = 1-beat = ¼-note.

Symbol for 1-bar on a staff.

separate. a. Paso doble 4-stp 1-meas in plc (bk apt). RD w/his L-ft lead

[Ballroom studio his R-ft lead]. CP> wgt-R, ready:

Stamp-L in plc, in plc-R, in plc-L, in plc-R

(stamp-R in plc, bk-L, bk-R, bk-L);.

b. Guaracha: Cir away.

separation. Paso doble 8-stp 2-meas apt & tog. CP>w wgt-R keep lead hands

tog -L to her-R: In plc stamp-L, R, L, R (Apt bk-R, L, R, L);

In plc L, R, L, R (tog fwd-R, L, R, L);. Raise free-trailing hands in

sweeping arc at max separation, lower to normal + to next Pos.

International paso doble starts w/man on-L.

seq. Sequence.

sequence (seq). a. Order of music & dance parts.

b. Order of repeating identical musical phrases.

c. Identical choreographic phrases should repeat to musical phrases that

repeat in different keys.

serpent/ine (serp). Serpiente, snake. Multi-rhythm fig, tango origin,

Bfly>w wgt-R: sd-L, beh-R, ccw flare-L, beh-L; sd-R, thru-L, cw flr-R,

thru-R;. (mirror image ftwork).

serpiente. Snake, see serpent.

sextuple. Music of 6-beats/meas. 6/8 time music.

b. Six 1/8 notes/meas.

shad. Shadow.

shadow Pos (ShadP). Pair face same direction, man beh girl, R-ft aimed bet

her ft, extend joined L-hands at her shoulder level, extend free R-hand

(flare skirt at waist level.) Identical ftwork.

shadow Bfly. ShadP extend joined lead & trailing hands at her shoulder

level. Reindeer Pos.

shadow skater. Shadow Pos, R-hand on her R-waist (R-hand on his-R or

extend to hold & flr skirt at waist level).

shadow vine. Shadow Pos vine, identical ftwork.

shadow balance. Bal in shadow Pos, identical ftwork.

shag. 1-count simultaneous stp & extend freed ft. Start wgt-R, extend free-L

to side: Upwgt-R extend freed-R to side & stp-L on spot vacated by-R.

Rpt action to stp-R & extend-L. fwd & bk stps may modify shag fig:

a. Shag-L, R, L, hop-L; Shag-R, L, R, hop-R;.

or Shag-1, 2, 3, hop; Shag-1, 2, 3, hop;.

b. Shift-1, 2, 3, hop; Shift-1, 2, 3, hop;.

c. Shag-L, hop-L,shag-R, hop-R; Shag-L, R, L, hop-L;.

shake. Shake: Hands, body, ft, arms, twists, swivels, bumps, grinds,..

[Desired act described by cue sheet.]

shape. a. In-plc change of Pos &/or posture, performed in time w/music.

b. SCP>, ft in whisk Pos, turn heads look over partner's adj shoulder.

Rotate heads slowly look awy fm partner, then turn heads look twd>.

shift. Change of plc, Pos, ft or direction.

shimmy. Jazz-ragtime hip & shoulder shakes. FP>w both ft wgted, knees bent:

Half rise & body twists, - , rise straight knees & qk body twists, - ;.

shindig. Dance party or festival. Kick or dig on the shin. Shin = tibia

[front of leg fm knee to ankle] plus dig = kick.

shine. Guaracha. Progressive Rk stps. FP no hands, Apt & Tog:

Rk bk-L, rec-R, bk-L, - ; Rk bk-R, rec-L, bk-R, - ; Rk fwd-L, rec-R,

fwd-L, - ; Rk fwd-R, rec-L, fwd-R, - ;.

shine triples. Progress bk & fwd: bk-L, -R/-L, -R, -L; fwd-R, -L/-R, - L,

-R;.

shoe. Leather soles & low soft rubber heels are best for couple dancing.

Leather soles for less friction bet ball & floor surface, permit easy

Adjments & turns. Reduced friction makes lead-follow easier. Rubber heels

provide safer traction & floor contact & does not interfere w/dance ball

step moves. Many dancers wearing flats w/leather heels, have landed flat

on the floor. Minimize slips, wear rubber heels & take small stps. Small

stps help maintain balance & control on waxed surfaces.

Shoes contribute to smooth dancing. Low heels are better than high ones

or flats. High heels plc dancers high on the balls. Higher heels put a

dancer nearer to toe dancing. Toe dancing tires leg muscles, contributes

to bounce, degrades posture & carriage. Dance high on balls & watch in a

mirror, notice bounce tendency; observe posture & carriage. Knees are

bent; fanny protrudes; torso bend w/pelvis fwd & shoulders back.

A bouncer's rise & fall may be reduced by wearing a medium (1" to 1½")

heel. It establishes the lower limit of heel travel.

Some men wear high heel cowboy boots to western or square dance, for

custom or personal preference. High heels make a man appear taller if

dancing with a tall girl in flats. Men who bend down to dance at her

height, bend & squat even more if wearing high heels. A couple blends &

dances best if partners are about the same height, it reduces his

tendency to dance down to her height. He should always dance tall & let

as she tries to dance up to his level. Long Pointed toes on cowboy boots

add awkwardness. Cowboy boots are not designed for exhibition or smooth

dancing. Smooth dancers w/good carriage in cowboy boots dance well in

spite of high heels & Pnted toes, not because of them. Cowboy boots are a

handicap to smooth dancing, not an aid.

shortcake. 2-meas 8-count 4/4 time fig. Man wgt-R: Tch L-heel /fwd, cls-L,

Tch R-heel diag fwd, cls-R w/wgt on both balls; Twist heels out (apt)

knees in, twist heels in (tog) knees out, twist heels out knees in, twist

heels in knees out;.

Or: Heel, cls, heel, cls; Heels out, in, out, in;.

Bend knees for heel twists.

shoulder to shoulder. a. 2-meas rumba. Bfly>w wgt-R: Rk /fwd-L BflyScar>w,

rec-R Bfly>w, cls-L, - ; Rk diag fwd-R BflyBjo>/w,

Rec-L Bfly<w, cls, - ;.

b. Cha-cha, FP>w no hands: Rk fwd-L L-shoulder adj Pos, Rec-R fc, sd-

L/cls-R, sd-L; Rk fwd-R R-shoulder Pos, Rec-L fc, sd-R/cls-L, sd-R;.

shoulder-waist double hold. Both hands on her waist (both hands on his

shoulders) arms extended).

shoulder-waist single hold. Pair face opposite directions R-hips adj, R-hand

on her L-waist (R-hand on his L-shoulder), L-hands extended out & up.

shuffle. a. 2-stps 4-beats. Pnt-L toe & L-hand fwd, fwd-L, Pnt-R toe fwd,

fwd-R.

b. Small slide stps.

c. stp in plc extend freed ft to front, side or bk as directed.

d. La Raspa. Shuffle, shuffle, shuffle, -;.

e. Susie Q. Slow draggy manner.

f. Slide shoe soles on floor to stp.

si. Side.

sid. Side.

side (sd/si/sid). a. stp side, L or R twd free ft.

b. Twd dancer's free ft side.

c. Side of body.

d. See: flow.

e. a ball chk type stp, NOT a drive stp.

side break. a. Ballrm rumba. sd-L, cls-R, - , sd-l; sd-R, cls-L, -, sd-R;.

b. Side rumba break.

c. Merengue: Sd Rk, Rec, sd, cls;.

side cha cha. OFP>w wgt-R: sd-L, cls-R, sd-L/cls=R, sd-L;

sd-R, cls-L, sd-/cls-L, sd-R;.

side chase. Side moving cha. LOFP>w wgt-R hands free:

Rk fwd-L RT +<, rec R, X-L/sd-R, X-L; Rk Sd-R LT >c, Rec-L, fwd-R/cls-L,

Fwd-R: +OFP>c: Xif stp unless told otherwise.

side corte. a. Side dip on-L (-R) RSCP>, Pnt free ft fwd.

b. CP> wgt-R: sd-L slight L-knee bend +RSCP>c, Pnt extended-R. May follow

w/a L-twist to end a dance.

side lunge. Lunge to side.

side marcha. Paso doble sashay. Sd-L, cls. Series of sd, cls, stps.

side movement. Disco/hustle. Vine & reverse vine: sd-L, beh-R, sd-L, Tch-R;

sd-R, beh-L, sd-R, Tch-L;. Variation: Pnt side on beat-4.

side push. 1-count sd stp w/push action. Extend pushing ft away fm stp ft

as if pushing the body.

side rumba break/breakaway. CP>w: sd-L, cls=R, sd-L RT (LT), -;

Rk Bk-R, - +LOP<, Rec-L CP>w, -; sd-R, cls-L, sd-R LT (girl RT) +OP>, -;

Rk bk-L,- , Rec-R CP>w, -;.

side stp. stp sideways twd free ft. Sd stp: Side may be a ball stp aft a ¼T

drive stp. Proper body mechanics is a ball stp aft a ¼-T drive stp. The

ball [sd] stp checks body momentum [rate X mass] created by a drive stp.

Drive [sd, fwd or bk] is NOT tbe normal function of a ball stp. Drive

momentum continues into & is absorbed by a ball stp. Ball stps are often

slurred as combined start & stop [drive & chk-] sd stps. Tempo affects

length/o sd ball stps, & momentum rises w/tempo increase. qk tempos cause

fast body speed, high momentum & long ball stps. Slow tempo = slow body

speed, low momemtum & short ball stps. Very slow tempo permits taking

small ball stps beside, or next to the wgt ft.

side together (tog) stps. Disco/hustle. TOGETHER means Tch &/or close in

disco studio lingo. Tog means bring extended free ft to wgt ft.

a. sd-L, Tch-R, sd-R, Tch-L;. or b. sd-L, chg=R, sd-L, chg=R;.

side Tch. 2-acts: side stp & a Tch non-stp ft action. sd-L, Tch-R,.

side two-stp. Basic two-stp. Time: qk, qk, Slo, - ; qk, qk, Slo, - ;.

CP>w wgt-R: sd-L, cls=R, sd-L, - ; sd-R, cls-L, sd-R, - ;.

Sd two-stp is good practice to learn the qk, qk, Slo, - ; sequence.

Scar (scar). sidecar. a. Face opposite directions, L-hips diag adj, L-hand to

her-R, extended to side at shoulder level. R-hand on bk of her L-shoulder

blade. (L-hand front of his R-shoulder.)

b. Ballroom studio L-parallel Pos.

c. Start CP retain hand locations, man remain in plc, (girl stp sd-R,

L-ft L-outside &/of his-L), +w/L-side /adj.

Scar fishtail. 4-stp rev fishtail. Scar on-L: beh-R (Xif-L), sd-L (-R),

fwd-R (bk-L), lk-L (cut-R);.

sideward (swd). Side = L or R [twd free ft].

side. Move sideways.

sight cue. To watch & copy actions of other dancers for cues. Used by

dancers who do not respond to cue words for figs/figures or know the

dance. Sight cues are used to learn basics where dancers watch to

associate stps w/terms. Avoid use of sight cues. Some never break the

habit. Others revert to sight cues when a dance or fig is forgotten

or unknown. Use/o sight cues is undesirable, but beats not dancing.

Sight cues: Interfere w/posture, Pos, form, smoothness, style &

timing; delay timely receipt & response to cues; result in after-beat

actions; watching ft of source dancers produces shifts & jerks of eye

direction & head attitude, jerky body movements, untimely body Adjments,

faked ftwork, stps started in the wrong direction & in flight adjustments.

Avoid sight cues by use/o verbal cues or dance w/out cues.

Dancing to sight cues is ineffective & difficult. User sees & processes

enormous amounts/o on-going instantaneous data: directions; stp & non-stp

ft movements; Poss; styles; blends; head, body & arm actions;...

Sight cues involve 4-bodies (2-source plus 2-cued dancers). Sight cued dancers view, interpret & copy actions of: 2-heads; 2-bodies; 4-arms;

4-hands; 4-legs; 4-ft; etc. (including all joints & parts used). Sights

involves simultaneous reproduction/o actions. Require mental &

physical processing & coordinating twice the data viewed: 4-source cue ft

+ 4-copies = 16-ft actions; + 4-source cue arms & 4-copies = 16-arm

actions. 16 + 16 = 32, is a minor portion of the possible data occuring

during 1-musical beat.

Silver City. Schottische, once popular Silver City, NM. Loose CP>w wgt-R:

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

Jump/click heels, - , - , - ; fwd-LT, hop-L, bk-R LT, hop-R;

fwd-LT, hop-L, bk-R LT, hop-R;.

single swing. 4-stp, 1-meas swing variation of social foxtrot used for

jitterbug/jive. Time: Slo, - , Slo, - ; qk, qk,.

Or qk, tap, qk, tap; qk, qk,.

Basic, CP>w wgt-R: Sd, Tch, sd, Tch; Rk apt, Rec,.

Stp cued as stp, tap, stp, tap; Rk, stp,.

sip. Abbrev for stp in plc.

sit line. FP>w lead hands tog: Apt-L lower on bent L-leg extended-R in plc

raise free R-hand (L-hand) arm extended over head, - , Rec-R rise stand

tall, - ;.

six beat Latin hustle. 1½-meas 6-stp & a non-stp ft action.

Time: 1, 2, 3/4, 5; 6, 7, Pnt-L, cls-L, bk-R/cls-L, fwd-R; fwd-L, cls=R,.

six qk twinkle. qk six twinkle.

six stp hustle. Disco glide. Basic social foxtrot, includes single swing.

Foxtrot time: Slo, - , Slo, - ; qk, qk,.

Or stp, tap, stp, tap; Rk, Rec,. Note: 4-stps in 6-beats.

sk. Skater/s.

skate. Imitate skaters. Push fwd fm wgt ft, slide onto stpping ft on bent

knee & torso, rise & accept wgt. Skate-L, -, skate-R, - ; Skate-L, cls=R,

skate-L, - ; Skate-R, - , skate-L, - ; Skate-R, cls-L, skate-R, - ;.

skaters (sk, skt, sktr). Pos. Side by side fc same way, R-sde to her L-side.

R-arm beh her back. R-hands tog at her R-hip.

L-hands tog in front of man at waist level. Identical ftwork.

skip (skp). A progressive hop after a drive stp, in plc of a ball stp.

Alternate stps & skips. a. OP>: fwd-L, skip-L, fwd-R, skip-R;.

Music: Skip a beat, meas or phrase. replc a note, ½meas, meas or phrase

w/out beats or tones. Or change fm beat or note to next by inserting

interveigning note/s w/a long note or silent interval. In some cases the

silent interval may equal 1-second or more. Skip beat = 1 beat. Skip half

meas = 2 beats. Skip meas = 4 beats. Skip phrase = 16 beats. refers to 4/4

time rhythm.

skip lock. a. fwd-L, skip-L, fwd-R, lock-L;.

b. stp-L, skip-L, fwd-R, - ; fwd-L, lock-R,.

skirt/skirtwork. SktP or other OP: girl raise & flare skirt w/R-hand. If in

doubt raise skirt slightly. Conservative actions/styles look well for

most rhythms & tempos. Raise skirt w/flowing motion, body erect, head high

look fwd. Lower R-hand, fingers together. Tuck skirt fold in open hand

w/R-thumb. Avoid closed fist grip. Complement body moves & ft work

w/contra hand, arm & skirt flare motion. R-hand fwd on fwd-L stp. R-hand

bk on fwd-R stp. Dance for fun & pleasure. Over-preciseness can stifle

fun. Flick skirt on lively music. Identify, practice & use styles & moves

that look & dance well. Style & appearance are important. Dance w/musical

motivation if it doesn't offend or interfere w/partner. Never let

personal pleasure spoil fun of others.

skirt skaters. SktPos: R-hand on her R-waist, (spread skirt to side

w/extended R-hand).

skrt. Skirt.

skrt sktr. Skirt skater.

sktr. Skater/s

File: S-terms.txt rev-030322.