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, < = < 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.

W

w. Woman. Ballroom abbreviation for wall.

w's. Woman's.

waddle. Clumsy, tottering dance step. Side to side sway as a baby or duck.

Fwd body motion accompanied by side body sway on wgt transfer fm

ft to ft. Eliminate waddle with narrow track steps. Pass free ft close

to the wgted ft for a straight narrow path. Wide track = dance with

ft spread apart in passing. The wider the track the greater the waddle.

COG must periodically pass over, & be supported by stepping ft or be

counter-balanced by an off setting force. The distance of sideways body

travel to establish periodic balance is determined by the space bet ft in

passing & speed. Waddle sway increases as speed decreases. Sideways body

moves on Fwd steps expends energy. Energy expended to waddle is

tiring & interferes with balance & body control.

To observe lateral body movement: Shift wgt fm ft to ft in plc.

Stand with ft tog & shift wgt fm ft to ft. Notice, with ft close tog

the COG moves very little, wgt shift may be offset by lateral hip moves

without head & shoulder shift. Next increase the distance bet ft to 12"

& shift wgt fm ft to ft. Note sideways body movement with each shift

of wgt. Walk slowly Fwd first with a narrow & then with a wide

track. Smooth dancing requires a narrow track. A wide track results in

waddle.

With a fixed ft spread the degree of waddle increases as tempo reduces.

walk. Slow heel to ball Fwd step/s. Walk steps are light & smooth, not

heavy marching. Walk steps are slow 2-beat [two note] steps. Run steps

are qk 1-beat [one ¬-note] steps. Example, walk-4:

Fwd-L, - , Fwd-R,- ; Fwd-L, - , Fwd-R, - ;.

walk cha. Fwd moving cha-cha fig. OP> wgt-R:

Fwd-L, Fwd-R, Fwd-L/cls-R, Fwd-L;

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

walk manu. A 1-meas 4/4 time slurred manu fig of 2-steps, common in

two-step rhythm choreography. SCP> wgt-R:

Fwd-L, - , Fwd-RT fc< (Fwd-L) +CP<, -;.

See WALK manu PIVOT-2.

walk manu pivot two. SCP> wgt-R, a 4-step 2-meas fig:

Fwd L, - , manu-RT +CP, - ; Bk-L RT>c, -, sd-RT fc>, - ;. +follow-on Pos.

SCP> (wgt-L), a 4-step 2-meas fig: Fwd-R, - , Fwd-L +CP>w, - ;

Fwd-RT fc>w, - , sd-L RT fc<, - ;. +CP<.

Couple momentum = wgt X velocity. Should progress twd> on each of

the 4-steps. Moves twd the wall or center generates lateral motion &

results in rough awkward body moves. See manu & PIVOT-TWO. Couple should

+CP< on the WALK, manu meas. Both should minimize lateral motion steps.

His Fwd-RT fc< shifts his COG ½-Pair width twd wall. (Girl shift COG ½Pair

width to center with slight /Fwd step & +CP.) This offsets lateral

momentum of his manu step. She steps /Fwd-L of his-R & +CP. R-ft aimed

bet ptr's f. Combined COG flows Fwd on straight line.

walk pickup. Misnomer, over-simplified cue for 1½ meas fig. a. SCP> wgt-R:

Fwd-L (-R), - , Fwd-R (Fwd-LT fc>c look in front of man), Fwd-L (sd-R LT)

+CP>, - ,.

b. Slurred two-step pickup, see PICKUP & PICKUP-2. SCP> wgt-R:

Fwd-L (Fwd-R), - , Fwd-R (Fwd-LT fc>c), - (LT flr L-ball) CP>);.

walk two. Walk Fwd 2-slow steps.

wall. Wall of room. Direction: twd wall fm circle.

Wz. Waltz Wz may have originated in Italy as LA VOLTA & spread to France as

the Valse a' trois temps. Some say it was Germany, based on the music

"Ach du Lieber Augustin" date abt 1770. Others claim it came fm Barvaria.

An 1847 Wz consisted of 1-Fwd 3-beat turn step per meas followed by 1-

backward 3-beat turn step per meas. Each step was a full 3-beat Wz meas.

See hesitation Wz. Tempo exceeded 60 meas/min.

3-steps per meas rhythm, danced to 3/4 time music. The 3-steps are

Drive step (take-off & flight), a rise or ball step (land & stop), a

change or finish step (preparation). Step-1 starts movement, step-2

accept wgt on ball to complete & stop direction & torque flow , step-3

to balance dancer in preparation to start step-1 of next meas. Basic Wz

tempo = 30 to 45 meas/min. 3/4 time music has three quarter notes/meas of

music. Listen to Wz music & note the inflection on beat-1 of each meas.

The beats or cadence tones of Wz music

are less pronounced than 2/4 or 4/4 time

music. Most 2/4 & 4/4 time tunes have

heavy bass drum, tuba or bass fiddle beats

that are easy to hear & identify. Wz beats may be fm piano or organ, with

subtle tones. Note absence of heavy bass beats in Wz music. Try to

identify instruments providing Wz cadence. A Wz dance meas may be cued:

1, 2, 3; Fwd, 2, 3; Drive, land, change; Fwd, ball, chg; or Fwd, ball,

close;. Emphasis on beat-1 invites dancer to take a longer step. Step-1

direction movement & torque to turn, cross, dip, progress & adjust.

Dancers fall & rise slightly on longer step-1. The target Ball step

receives wgt & transfers wgt to flat. Transfer of wgt on step-1 to

ball causes the dancer to rise slightly. Step-2 is a shorter step on the

ball of the ft. wgt moves fm -1 to -2, fm ball to ball, at height

reached on step-1. Step-2 lowers, slows & stops body directional

momement for the landing. Step-3 the close, change or flat in plc

restores dancer to original starting height.

Step-3 completes fall fm ball to flat of ft. Flat provides a firm

balance for initiating the drive step of the next meas. Dancers also

config lead posture & attitude for the coming drive step fm the flat

stance.

The 3-steps of a Fwd Wz meas are: DRIVE, BALL, CHANGE; or Step, ball,

falt;. Drive generates Fwd momentum. Ball consumes momentum & slows

direction motion. Fall postures dancer for step-1 of the next meas.

DRIVE, BALL, FALL;. Steps are: Big step, ball step, change step. Flow

with a rise, ball, fall rhythm. The big step is small step but larger

than ball & fall steps. Wz is beautiful danced with flowing motion. Turn

smoothly twd the lead ft on count-1. Dance significant direction changes

on step-1, continue turns into step-2 as required. Maintain fig identity

with full distinct steps without slurs or short-cuts. Step with

deliberate, accurate identifiable position & ftwork. Move with graceful

curves. Avoid rush turns, use the full time allocated for each step.

The 3-Wz steps may be described as: 1. Drive step: a full heel to ball

step, 2. Ball: motion stopping step, 3. Change: close, fall, flat & get

set or get ready step; Step, ball, change;.

Manu postures man in CP< wgt-R ready to start a RT Wz with Bk-L

(girl Fwd-R).

Figs: Fwd, box, introduction, away, tamara, dip, manu, whisk, telemark,

twirl, back, thru, twinkle, balance, tog, turn, Rec, pivot, wing,

wrap, etc..

Wz a duex temps. Wz of two time. Two-step, foxtrot or ignoramus Wz.

Wz away & thru Wz. Wz away & tog.

Wz away & tog. Wz away & thru Wz. 2-meas Wz fig. Bfly>w wgt-R: sd-L (sd-R)

T +OP>, Fwd-R (-L), cls-L (-R); Fwd-R (-L) T +Bfly, sd-L, cls-R;.

Wz balance. a. 3-step 1-meas: Sd, beh, rec; fig. The beh ball step is a

hov step when followed by a rec step.

b. 6-step 2-meas fig. Bfly wgt-R: sd-L, beh-Rball, rec-L; sd-R, beh-L

on ball, rec-R;.

c. 1-step 1-meas Wz fig, usually danced as a 2-meas fig. Bfly wgt-R:

sd-L, tch-R, - ; sd-R, tch-L, - ;.

Wz Fwd. 3-step 1-meas fig:

Fwd, Fwd, cls;. Or 6-step 2-meas fig: Fwd, Fwd, cls; Fwd, Fwd, cls;.

Wz position. CP. 1800.

Wz thru. 3-step 1-meas fig. SCP> wgt-L: Fwd-RT (Fwd-LT fc ptr, sd-Lball,

cls-R;. See thru Wz.

Wz turn. 2-meas 6-step 3/4 RT. CP< wgt-R: Bk-L RT fc>c, sd-Rball T fc>,

cls-L; Fwd-RT fc>w, sd-Lball RT fc<, cls-R;. meas-2 RT, sd-L, cls-R +CP

>w;.

Wz turning box. See turning box or LT box. CP>w wgt-R:

Fwd-LT fc>, sd-R, cls-L; Bk-R LT fc>c, sd-L, cls-R;

Fwd-LT fc<, sd-R, cls-L; Bk-R LT fc>w, sd-L, cls-R;.

Wz wrap. Dance Fwd (LT roll +Wrap his R- her L-arm hands tog around her).

+OP> wgtn-L: Fwd-R (Fwd-LT fc<), Fwd-L (Bk-Rball LT fc>w), cls-R (LballT)

+Wrap pos>;. His-R (L) hands tog at her waist level throughout. (pass R-

hand/arm bet ptrs & over joined hands to avoid wrapping her R-arm against

body.

Wzen. German: to turn, turning dance. May have developed fm LANDLER.

Castil Blaye 1795: Wzen was a French dance date 1395. Lord Burney 1805:

Wz derived fm the verb Wzen meaning to wallow, welter, tumble or roll.

Wzen position. Close closed embrace.

wang. Fred Haury's slurred pronunciation of wing.

wants. Different reasons for dancing result in conflicting requests,

including: Dance with/without cues; learn every new dance; dance what

other groups are dancing; dance every dance they know; keep every dance on

the program; more/fewer program dances; visit more/less; easier/harder

dances; dance at their level, disregard other dancers' wants; wide/limited

variety of dance types; more two-step/Wz; qk/thorough teaches; fewer/more

walk-thru/re-teaches; learn every ROM, classic & top-10; dance routines

others don't know; show off; etc..

Tell teacher what you like/dislike & want to learn/dance. Influence the

program. The more opinions expressed, the broader program evaluation.

Every request can't be honored immediately, it may take weeks/months

before the club is ready. Evaluate dances for club suitability. Records

& cue sheets must be obtained. Time is needed for preparation. Programs

may include ROMs, classics, top tens, oldies, easy, intermediate &

advanced dances. Number & variety is determined by group level, frequency

of dancing, opinions & requests received. Time limits the number of

dances played in one evening. Record case space limits the number of

records that may be carried. Each ROM taught needs one thorough teach

plus a re-teach. Re-teach classics on other club nights to limit teaches

& walk-thrus to 1/night.

Some dancers can't/won't provide input on the program. Teachers want &

need all dancer's input, & should never criticize anyone's taste of a

dance. Dancers may want something different fm what they get. Others

prefer for teacher to make all decisions & accept full respons-libility

& blame. Clubs have leaders, followers, helpers, observers, critics,

gripers & against-ers. Be constructive & stand for something, help form a

good pleasant program. Consider the program & other members. If

everything is wrong & nothing is right, it's time for a decision. Act to

improve matters. If things can't be improved, it may be time to move on.

Be patient & consider what you are getting. Make changes in a timely

manner. Look at the overall picture with under-standing. Give & take.

wave. a. 5-step 2-meas fig: ½LT followed by ½RT. CP> wgt-R:

Fwd-LT (Bk--R) fc>c, sd-R (sd-L) LT fc<, cls-L (R); Bk-R (Fwd-L), Bk-L

(Fwd-R) RT fc>c, RT on Lball (R-ball) fc>, tch-R (tch-L);.

b. Body wave.

wave the cape. Paso doble. FP both hands joined: sd-L, hook-R beh L no wgt

(hook-L beh R), solo unwind full T, step on-R; +fc ptr both hands joined.

weave, weave six. a. 6-step 2-meas 3/4 to full LT. SCP/>c wgt-L:

Fwd-R (Fwd-LT pup) CP/>c, Fwd-LT (Bk-R) CP/<c, sd-R (sd-L) LT +loose Bjo/<

w; Bk-L (Fwd-R), Bk-R (Fwd-L) LT Bjo/>w, sd-LT (sd-R) +Bjo>;. OR

steps-5 & -6 loose Bjo/<w: 5 Bk-R LT fc />w (Fwd-R LT>), 6 sd-L (Fwd-L)

+SCP>.

b. Slurred. SCP> wgt-L: Fwd-R (pup-L) +CP, Fwd-LT >c, sd-R LT +loose

Bjo<; Bk-L +loose CP<, Bk-R LT +CP>w, sd-L to +SCP>;.

wgt (wgt, wt). Body wgt.

wgted ft (wgtd ft). ft supporting wgt. Stand wgt balanced on 1-ft, other

free, raise heel of free ft. NEVER stand with wgt on both feet, unless

told to do so. Raise free heel to remind self which ft is free to step.

Raise heel to show teacher which ft is free. Identity & awareness of

wgted & free ft is a significant problem. The problem is compounded by

dancers shifting wgt during pauses. Raised free heel helps group by

reducing repetitive instructions on free-wgt ft posture.

wgt-less. a. Apex of upward travel where body momentum equals/exceeds the

force of gravity. Zero gravity condition.

b. A wgt-less condition occurs during a hop, rise leap, etc.. Turns

require less effort at or near wgt-less condition. Up-wgt produces a

moment of zero gravity without wgt on supporting ft. Down-wgt produces

a wgt-less supporting ft, but timing is critical & difficult.

Westchester square. Ballroom term for CP LT Box. Wz & fox-trot figs use

the same steps, but rhythm & step timing differ.

Wz: Fwd-LT, side R, cls-L; Bk-R LT, sd-L, cls-R;

Foxtrot: Fwd-LT, - , sd-R, cls-L; Bk-R LT, -, sd-L, cls-R;.

Westchester turning square. 12-step 4-meas double Westchester square with

LT on step-1 of each meas. CP>w wgt-R:

Fwd-LT +CP>, sd-R, cls-L; Bk-R LT +CP>c, sd-L, cls-R;

Fwd-LT +CP<, sd-R; cls-L; Bk-R LT +CP>w, sd-L, cls-R; +CP>w.

Modify timing for foxtrot.

western dancing. Free-style social ballroom dance to western, country or

cowboy music. Rhythms: social foxtrot, two-step, Wz, schottische, polka,

varsouvienna & swing. Folk may be attracted by & want to learn western

dance. They have little desire to learn foxtrot, two-step, or Wz. But

these are the music & dance rhythms that are played & danced at western

dances. Western music is played by Western bands. The basic Western Band

contains guitars, fiddles & a bass fiddle. A drum may replc the bass

fiddle. The band may include a piano or accordian, but seldom contains

brass or wood wind instruments. Typical dress: blue jeans & cowboy boots.

Dance Halls/Clubs that require men to wear a coat & tie may waive such

dress codes on western dance nights. Shedding coat & tie is comfortable

on warm nights.

western swing. a. Foxtrot single swing: Slo, - , slo, - ; qk, qk, time

rhythm to western music.

b. Triple swing Time: qk/qk, slo, qk/qk, slo; Slo, slo,. Or:

Chasse L,,Chasse R,; Step, Step;. abbr.: Cha-L,, Cha-R,; Slo, Slo;.)

wgt. wgt.

whaletail. a. 8-step 2-meas 4/4 time. Bjo> wgt-R free-L extended back

(free-R extend Fwd):

Rec-L (Rec-R), sd-R (sd-L), Fwd-L (Bk-R), Lk-R (cut-L);

Fwd-L (Bk-R), sd-R (sd-L), beh-L (Xif-R), sd-R (sd-L);.

b. CP > on-R: sd-L (-R), cls-R (-L), Xif-L (beh-R) +Scar, sd-R (-L)+CP>;

Beh-L (Xif-R) +Bjo>, sd-R (-L), Fwd-L (Bk-R), Lk-R (cut-L);.

wheel (whl). Couple turn in Varsouvianna, skaters, escort, Bjo, Scar, SCP,

OP, R-hand star, H OP, etc., & Reverse or L-version of Pos. Axis of

rotation is mid-point bet a couple. Example, Bjo>w wgt-R, both dance full

cir around axis:

Wheel-L, R, L, -; R, L, R +Bjo>w, - ;.

whip (whp). a. 1-count action. Use joined hands force to turn girl on ball

of wgt ft (do not step). Man may or may not step. Use gentle force. Do

not to exceed force required to rotate her in allotted time. Whip appears

to be a sharp forceful pull, spinning her to OP or L-OP.

b. One or more steps appears to be a strong sharp snap of joined hands

to turn her to OP or L-OP. RD lead needs less force than free style lead

because she has advanced knowledge of the whip.

c. See whip turn.

d. Roll-away.

whip throwaway. a. Single swing. CP>w wgt-R:

sd-LT (sd-R) +CP>, - , Bk-R (Bk-L) +FP>, - ; Rk apt, Rec,.

b. Triple swing, CP>w wg-R: sd-L (sd-R)/cls-R (-L), sd-LT (sd-R) +CP>,

plc-R (Bk-L)/cls-L (-R), plc-R (Bk-L) +FP>; Rk apt-L (-R), Rec-R (-L),.

whip turn. CP>w wgt-L: Bk-R (Fwd-L) LT +CP<, plc-L (sd-RT) +fanPos<,

in plc-R (plc-LT) +L-OP<;.

whiplash (wplsh). a. A NO NO. Over-done S/D & free-style ballroom Rk-apt.

FP wgt-R R-hand (her-L) joined: Rk apt-L (-R) both rear back with a large

step to FP,. Inertia created by a large qk step can result in stepping

on, kicking or colliding with other dancers. Excessive jerk on out-

stretched arms may result in a fall if hands slip. A rough manner action.

b. 3-beat 1-step fig. Loose-CP> wgt-L: Thru-R (thru-L) +SCP>c relaxed

R-knee, rise Rball fan-L CW (rise Lball fan-R CCW) +CP, tch-R (-L);.

c. SCP wgt-R free-L extended back: Fan-L cLkwise, +CP, tch-L, - ;.

whisk. a. Hook beh to stepping ball. Brush ball of hooking ft on floor,

imitate a whisk broom.

b. Chg fm CP +SCP. CP>w wgt-R: Fwd-LT CP> (Bk-R fc>c), sd-R (Bk-Lball

RT), hook beh-L (hook R beh) +SCP;. Hook beh on step-3, L to R thighs in

snug press - not ankles. Step to ball of hooked ft in back of wgt ft. Do

not X hooked ft to the far side of wgt ft.

whirl. a. Vienese Wz under & around reverse turn. Loose-CP>w wgt-R, a 2-

meas ½RT Box (L-cir under & around). CP>w wgt-R:

Bk-L RT< (Fwd-R fc>c), sd-R (Fwd-LT fc<), cls-L; Fwd-RT>c (Bk-L), sd-L

(Bk-R LT>w) +CP>c, cls-R;.

b. A reverse twirl.

c. A ½T curl/twirl. +CP>w wgt-L: Bk-L RT fc< (Fwd-R fc>c) arch lead

hands, sd-RT fc>c (Fwd-LT fc< under arch), cls-L (Bk-R LT fc>w) +CP>c;.

whistle dance. a. Snowball dance. Start dance with 1-couple on floor. Blow

whistle & couple splits. Each dancer pick a new ptr fm sidelines. Dance

2-couples till whistle blows. Both couples split. Dancers pick new ptrs

fm sidelines. Dance 4-couples till whistle blows. Dancers select new ptrs

fm sidelines. Rpt procedure until everyone is dancing.

b. Circle dance. Men without ptrs in center of circle. Whistle signals

change ptrs, or for a R & L grand. Men fm center steal a ptr on changes

or R & L grand.

whl. Wheel.

whp . Whip.

wind. Wrap.

wind up. Wrap.

windmill (wndmll). Bfly ½ wheel.

wing. Change fm SCP +Scar. SCP/>c wgt-L: Fwd-R small step (Fwd-LT) CP>c,

draw-L (sd-R Xif of man) Scar>c, tch-R (cls-L) +Scar>c;.

wireless microphone. Very low power radio voice transmitter. Used with a

radio receiver connected to a sound system. Typical ranges vary fm 50' to

300', depending on transmitter power output, radio frequency, receiver

sensitivity, antenna efficiency, ambient static, radio frequency

interference, modulation % or ratio, voice power & microphone. Wire-less

mics are available in the 30-50 MHz, 88-108 MHz & 150-174 MHz bands. Power

outputs = 50 to 100 milliwatts [.05 to .1 watt]. Nominal receiver

sensitivity = 1 to 3 microvolts for usable output. Crystal transmitter-

receiver tuning is desirable to minimize drift. Under good conditions

transmitter power output of 50 milliwatts may provide adequate signal @

200', & is adequate for many teaching situations. Dead & hot spots exist

at various hall locations within the operating range. These spots are

caused by reflections & absorption of radio waves fm fixed &/or moving

objects, that add &/or subtract fm the direct signal at the receiver

antenna. Dead & hot spots may be altered by relocating the receiver

antenna. Height, polarity & location of the receiver antenna affect

reception characteristics of a system in a hall. Extensive experiments

can determine the most desirable location, but may not be justified by the

degree of improvement. The number & locations of dancers affect received

signal. Location of the sound system, length of connecting receiver cable

& available time limit the degree of experiments for a 1-time system set-

up. Identify & avoid stationary dead spots.

A squelch control silences receiver output in the absence of desired

signal. Turn transmitter off & adjust the squelch to silence static.

Turn transmitter off when not in use to extend battery life & avoid

unnecessary transmissions.

without cues. See cues.

wlk. Walk.

woman (w). Female dancer. Girl.

workshop. Teach & learn session. Festival RD workshops are usually

scheduled for 2-hours. It may consist of easy, club & intermediate

levels. Workshops are fun lessons & improve dance techniques. Keep an

open mind & take an interest.

Objectives of workshops may be to teach 3 new dances in 2 hours.

Workshops do not need to: keep clubs dancing as groups; review a ROM or

ROQ; play a club's classic program; add top-10 dances a club program;

select dances for orderly progressive expansion of club member knowledge;

review dances for absent or new club members.

Workshop instructors concentrate on teaching workshop dances. Adding

festival workshop dances to a club program may present problems. When an

entire club membership attends a workshop, the dances may be included at

the next club dance with a qk walk or cue thru. If a small number of club

members attend a workshop, time to teach the dances to the club is needed.

All club members pay dues & deserve the opportunity to dance. Club teaches

afford all members an opportunity to learn a dance. A teach & re-teach of

a new dance provides two chances for members to learn. In fairness to

members with good attendance, review may be limited to qk walk thrus All

club members are penalized by poor attendance.

Workshop dances may be recent releases, that have not been tested for

reaction & acceptance. Workshop dances often lack qualities to justify

permanent inclusion on a club program or gain wide popularity. Some

superior workshop dances do not become popular because they contain

unfamiliar figs. Many new dances are published each month, but most never

become popular with dancers or make a top-10 list.

wplsh. Whiplash.

wrap. a. Position. SCP>, lead hands tog in front at her shoulder level.

Pass R-arm beh her back, R-hand at her R-waist (L-arm in front R-waist,

join L-hand to his R-hand).

b. 1-meas 3-step fig +wWrap Pos. Bfly>w wgt-L, keep all four hands tog,

arch lead L- to (R-) hands, lower trailing R- to (L-) @ her waist level, &

rev twirl: sd-R (sd-L ½LT fc>w), beh-L (sd-R) +WrapP>w, cls-R +WrapP>,

- ;.

c. OP> wgt-L, lower & keep joined R-hand to (-L) @ her waist level:

Fwd-R (Fwd-LT fc<), Fwd-L (Bk-Rball LT>w), cls-R (sd-Lball T) +WrapP>;.

d. Spanish Arms wrap. Start: FP>c both hands joined Rk aptL arch Lto(R)

hands, Rec-RT (LT) fc>; sd-L, cls-R +WrapP>, sd-L RT (RT start unwrap)

fc>w beh her, - ; In plc-R (Fwd-L RT fc<), in plc-L (cls-R), in plc-R

(sd-L RT fc man), - ; Rk aptL (-R), Rec-R (-L) FP>w;. Note: the slide

across fm L Side Pos puts couple in Wrap Pos without a T by girl.

wring the dishrag. Dishrag. Simultaneous solo full turn with 4-hand

contact, L-to-R & R-to-L. Bfly>w wgt-R, arch lead hands L- to (R-) & lower

R- to (L-): sd-LT (sd-RT) fc> arch hands overhead, cls-R (-L), Fwd-LT >c

(Fwd-RT >w) Bk2Bk Pos raise R- to (L-) lower L- (R-) hands, - ; sd-R LT

(sd-L RT) fc<, cls-L (-R), Bk-R LT fc>w (Bk-L RT fc>c) +Bfly, - ;.

wrong ft turn. a. Violate the RULE OF TURNS.

b. Use improper body mechanics.

c. CP wrong ft turns cause tangle-ft encounters. Solo wrong ft turns

cause awkward steps, but may be used as ptr's ft aren't present.

wt. wgt.

WXIB. Woman cross in back.

WXIF. Woman cross in front.

wz. Wz

File: W-terms.txt rev-030326.