Multiple Ballroom Dance Styles : Follower’s Rumba Part in Ballroom Dance

The follower’s role in rumba dance entails straight posture and supporting the leader. Learn to rumba andballroom dance in this free dancing video lesson. Expert: Rosario Nene Ortega Contact: www.thegoddessstore.com Bio: Rosario Nene Ortega is a ballroom dance instructor at The Goddess Store in Hollywood, Fla. Filmmaker: Paul Muller

How to Dance Salsa Steps for Zumba

For more info about Coco Low, Zumba Classes, and personal training in Arlington, VA go to www.cocofitness.com i’m demonstrating how to do salsa steps in this video that you can use for Zumba!

Rumba

Waltz & Rumba Lessons by Anya (1)

rumba - dance with music

Exceptional Rumba Dance Lessons

Should you Get the Rumba Dance Lessons?

Rumba is a very flirtatious dance with elegant deliberate sluggish movements full of passion and interested parties can get free rumba dance lessons. The basic dance moves involve provoking and teasing steps from a woman in a flirting manner, after which she drastically turns or runs a way from her dance partner. This dance is sensuous and may be obsequious aggressive. The rumba focuses more on the lady’s body language, rhythm and sexuality. This Latin dance at times is explicit, with emphasis on hip movements, rhythmic body flow, sexual teases, and runs. It is incomparable to other dances such as the cha-cha that is freer, with happy expressions; rumba requires powerful and staid expressions.

Require some Cuban Motion?

The fundamentals of Rumba Dance Lessons
Rumba music beat must have four beats composed in 4/4 measures. To finish one full rumba basic step, each beat must be in two separate measures. It requires a heavy beat, which is the opening beat of the measure. The music pace is about 104-108 in a minute.

Each music measure requires performance of three steps in rumba. This simply means the four beats in each measure involves taking three steps. To master the rumba dance lesson well, every rumba step should flow with the two, three, and four beat in every measure, when the half beast comes on, perform weight transfer, straighten up knees and make turns. Making steps does not begin at the count of one, although hip movements start then. However, the American Rumba step counting may be in form of fast, fast, slow; fast, fast, slow.

Global Rumba step counting technique is two, three, four-one, two, three, and four-one. It is important to note that dance steps start at the count of two, three, and four. Hip actions and twist rotating moves begin with the count of one. For first timers, be keen to step count properly. It is hard for students to dance the rumba with incorrect step counting, hence need to count correctly.

The foot’s ball edge should guide all steps inside. When stepping, the foot in movement pointed toe, sweeps the floor while getting into place. All Latin dances, require the foot’s ball to flat on the ground for any Latin dance steps. The foot must move out for all steps. The vital component of the rumba dance is the Cuban motion. Part of the Cuban motion includes hip movements because of twisting, bending and keeping the knees straight.

Another thing you will realized while practicing the rumba dance lesson is that the rumba dance has similarities to the mambo dance, who’s fundamental music beats consist of four beat measures, whereby the forward action has four beats and the backward action has four beats. Hence, eight is the sum of music beats for full completion of a single basic.

Both front and back basic actions include mainly three steps, that is break step and replace step. In addition, a slow step that takes the spot of the second foot. Learning the rumba dance by taking rumba dance lessons and one will not only improve in dancing but it is also very good exercise to keep in shape.

The Differences of Rumba Ballroom Dancing Concepts

Rumba refers to a form of dance but it has two distinct meanings involving the overall style and rumba ballroom dancing. The first meaning refers to a Cuban experience with a conspicuously African influence and it is mostly associated with Rumba music which is a fusion of African and Cuban elements. There are various sub-genres of Rumba with the most popular considered to be guaguanco.

The second reference to rumba has to do with a type of ballroom dancing which takes place in social events as well as international contests. In this regard, rumba is considered as the most subtle of the 5 American and Latin dances that can be contested by participants. The others are the samba, Paso Doble, jive and the cha-cha. Ballroom rumba was practiced in Cuba using a rhythm known to locals as Bolero-Son. The international version was a derivative of Cuban dance research which was done in the period prior to the revolution.

Cuban rumba
The Rumba that is Afro-Caribbean totally, differs with rumba ballroom dancing in rhythm. Rumba ballroom dancing acquires its music and motion from Bolero-Son just as the mambo and salsa. The Peanut Vendor happened to the initial recorder of music from Cuba that gained international acclaim. On the record, it was described as rumba maybe because the term Son was not likely to be comprehended in English. The identity stuck and in the 30’s it got a huge following among revelers. This type of rumba got introduced to dancing salons within Europe and America in the 30’s and was distinguished by a wavering tempo that was almost two times faster than the ballroom rumba practiced today.

Ballroom Rumba
The rumba dance styles practiced currently originated from research done by Pierre Zurcher Margolie who was a dance teacher that partnered with Doris Lavelle. Pierre who at the time was staying in London took a trip to Cuba in the year 1952 to discover the dance styles of Cubans during that period.

The international version of the rumba ballroom dancing is much slower with approximately one hundred and twenty beats in a minute. This is able to correspond with the earlier generations known as Bolero Son. It is not hard to see why for marketing purposes and easy recalling, rumba happens to be a preferable name even if it may be inaccurate. A similar kind of situation happened when salsa was considered to be an overall name to represent music from Cuba.

All recreational dances in Cuba have a sway of the hip above the supporting leg and although this may not ne easily noticed when salsa is danced fast, the dance is more prominent in the ballroom Rumba that is slow. Generally, the steps are kept minimal and there is no much rise and fall. This dancing style is genuine as the free-arm use in several figures. The fundamental figures come from dance steps that were observed in Cuba’s capital Havana before the revolution and from that time they have developed a life of their own. Competition figures tend to be difficult and this is the point where the distinction between social dancing and competition dancing can be noted. The details are obtainable from the curriculums of dance and other standard texts.

There is yet another variation that is sometimes danced within the USA and has box like figures. This style has been displaced by an international style in contests but nonetheless, it could be danced in a social setting like standard ballroom rumba dancing.

Basics of Rumba Dance Steps

Rumba originates from a group of Latin-based dances beginning with the Bolero in Spain and it is characterized with rumba dance steps. It is also related to the Mambo and its sensual and slow rhythm is easy to learn making it a favorite of many. Probably, the only other dance that could surpass it in popularity is salsa.

The most ideal way to learn the skill of the rumba dance steps is to simply go ahead and do it practically, if possible with the keen instruction of a qualified dance instructor as well as a dedicated partner. When one is selecting a studio to carry out the dance instructions, there are two options to pick from which are package and independent plans. Independent studios allow learners to have the rumba classes lesson by lesson with payments being done after each session as the skill is slowly built up..

This may be considered to be a convenient mode of learning rumba dance steps but it may not exactly be the most appropriate method. Whichever ballroom lessons are taken, they have to be properly structured and packaged lessons such as those offered from studios like “Learn and Master Ballroom Dance” which are more comprehensive and have a controlled approach that can assist in learning rumba more effectively.

Online Resources of Learning Rumba Dance

Definitely, in this era of information, you may be able to learn rumba via the internet. The guided explanation of the rumba dance steps and other variants can be found on in several websites just like this one. and the “Louis Let’s DanceLearn and Master Ballroom Dance” DVDs programs are the 2 most useful rumba dance steps instruction lessons that you can’t find elsewhere.

The Frame of Rumba Dance Steps
The initial thing that is taught during the lessons is the rumba dance frame. The left hand of the lead is supposed to hold the right hand of the follow’s shoulder blade. The follow should rest their hand on the bicep of the lead while facing each other.

The Basic
The initial rumba dance steps are quite simple; it is a ‘box step’ and the follow will mirror the steps of the lead (in contrast to the bolero which has separate moves for the female and male basic step). The pace of the steps goes ‘quick, quick, slow’ and the beat it is danced to is a 4/4.

The lead’s steps are as follows:
1. Use the left foot to step to the side (first fast step)

2. The right foot is then brought to meet the left (second fast step)

3. Make a step forward using the left foot with a low step. (Double the time of the prior step)

4. Take a step using the right foot and collect it by inching it to the left foot without making contact with the floor. After this, shift the leg to the right and place it on the floor. This happens to be the basic second half initial quick rumba dance step.

5. The left foot then joins the right quickly

6. Take a slow step back using the right foot, finishing a basic step.

7. The initial quick step to the side is done in a similar fashion as in step number 4 after which the foot is collected first and moved onto the side.

With this rumba dance steps, dancing rumba has never been easier.

The History of Rumba Dance

Do you really know the real history of Rumba Dance?

According to the history of rumba, it is believed that rumba originated from the African Negros imported to Cuba as slaves. The dances of these Negros put emphasis on the movement of the dancer’s body and not the feet. The rumba tune was considered to be less significant than the intricate cross rhythms offered by a striking of bottles, spoons and pots.

Here is the history of Rumba. Actually, the term “Rumba” originated from the name ‘rumboso orquestra’ that referred to a popular dance band in the year 1807. However, the term ‘rumbo’ connotes ‘route’ in Spanish while the term ‘rumba’ connotes ‘heap pile’. ‘Rhum’ on the other hand refers to a popular Caribbean intoxicating liquor or any that were in use deceptively during the time when the rumba dance was formed.

The history of Rumba dance was initiated in the U.S.A in the early 1930’s as a fusion of the rural rumba with Cuban Bolero, Guachara and the son. George Raft popularized the rumba dance in the year 1935. This he did by playing a part in the ‘Rumba’ movie where he featured as a suave dancer that won an heiress’s heart through dancing. However, Frank Veloz did the main male dance part in the movie.

Accompanying this form of dance are claves that consist of two bars. The first bar is normally hit on 1, 4, 7 beats which are half-beat numbers and the 2nd bar is hit on half-beats of 3 and 5. The full beats correspond to beat 4; half beat prior to 3 and beat 1 found on the1st bar and beats 3 and 2 on the 2nd bar. Preferably, for the clave beats to match, the dancer can take 5 steps on both bars. However, a decision was made on dancing on only one bar for the clave succession. The history of rumba highlights that for the American rumba, one dances to the first clave beat bar. On the other hand, Pierre made a decision on using the 2nd bar while stepping on the 3 and 2 beats then added extra steps to the fourth beat to spice the dance up. Pierre then brought rumba to Britain alongside most of the moves he had learned in Havanna from Pepe Rivera. These moves together with dances on beat 2 become a component of the typical International Cuban Rumba but after heated debates during 1940’s and 50’s.

The history of rumba reveals that the rumba dance has built up an extremely sensual character owing to the weight transfer from one of the dancer’s foot to the other foot on the famous beat 1 and the lack of a real step on beat 1. A very strong beat for Rumba music is beat 1; however, all moves made on beat 1 are hip moves; therefore, beat 1 puts emphasis on hip dancing. Together with rumba’s slow tempo that is normally 116 beats per minute, the dance stands out to be a romantic one. All steps are normally taken on the 2, 3 and 4th beat. It is during the superseding half beats that turns and weight transfer are carried out. Just like in the Samba dance, the weight should always be kept forward while the dance takes forward steps with a flat toe. Minimal movements are encouraged for the upper torso all through the dance session. The history of Rumba offers one the basics of the rumba dance that has become popular among both the young and old.
The History of Rumba Dance

According to the history of rumba, it is believed that rumba originated from the African Negros imported to Cuba as slaves. The dances of these Negros put emphasis on the movement of the dancer’s body and not the feet. The rumba tune was considered to be less significant than the intricate cross rhythms offered by a striking of bottles, spoons and pots.

Here is the history of Rumba. Actually, the term “Rumba” originated from the name ‘rumboso orquestra’ that referred to a popular dance band in the year 1807. However, the term ‘rumbo’ connotes ‘route’ in Spanish while the term ‘rumba’ connotes ‘heap pile’. ‘Rhum’ on the other hand refers to a popular Caribbean intoxicating liquor or any that were in use deceptively during the time when the rumba dance was formed.

The history of Rumba dance was initiated in the U.S.A in the early 1930’s as a fusion of the rural rumba with Cuban Bolero, Guachara and the son. George Raft popularized the rumba dance in the year 1935. This he did by playing a part in the ‘Rumba’ movie where he featured as a suave dancer that won an heiress’s heart through dancing. However, Frank Veloz did the main male dance part in the movie.

Accompanying this form of dance are claves that consist of two bars. The first bar is normally hit on 1, 4, 7 beats which are half-beat numbers and the 2nd bar is hit on half-beats of 3 and 5. The full beats correspond to beat 4; half beat prior to 3 and beat 1 found on the1st bar and beats 3 and 2 on the 2nd bar. Preferably, for the clave beats to match, the dancer can take 5 steps on both bars. However, a decision was made on dancing on only one bar for the clave succession. The history of rumba highlights that for the American rumba, one dances to the first clave beat bar. On the other hand, Pierre made a decision on using the 2nd bar while stepping on the 3 and 2 beats then added extra steps to the fourth beat to spice the dance up. Pierre then brought rumba to Britain alongside most of the moves he had learned in Havanna from Pepe Rivera. These moves together with dances on beat 2 become a component of the typical International Cuban Rumba but after heated debates during 1940’s and 50’s.

The history of rumba reveals that the rumba dance has built up an extremely sensual character owing to the weight transfer from one of the dancer’s foot to the other foot on the famous beat 1 and the lack of a real step on beat 1. A very strong beat for Rumba music is beat 1; however, all moves made on beat 1 are hip moves; therefore, beat 1 puts emphasis on hip dancing. Together with rumba’s slow tempo that is normally 116 beats per minute, the dance stands out to be a romantic one. All steps are normally taken on the 2, 3 and 4th beat. It is during the superseding half beats that turns and weight transfer are carried out. Just like in the Samba dance, the weight should always be kept forward while the dance takes forward steps with a flat toe. Minimal movements are encouraged for the upper torso all through the dance session. The history of Rumba offers one the basics of the rumba dance that has become popular among both the young and old.

Rumba Dance Instructions: Boosting Flirtation between Partners

It’s very crucial to the correct Rumba dance instruction guide if you really want to dance like star. The “Rumba” is also called “Rhumba” dance depicts a story of passion and love between a teasing, coy woman and her strong male lover. Rumba typically comprises sensual movements and is widely considered to be amongst the ballroom’s sexiest dances. The term Rumba is used in reference to a certain dance party or an assortment of dances. The Rumba dance is amongst the most admired ballroom love dances and is universally common at dance competitions, weddings, parties and nightclubs.

The social rumba dance was first introduced in America and Britain, but the versions somehow differ. This is a slow dance with a rate of roughly 120 beats a minute and its dance and music corresponds to what the older the older Cuban generation referred to as bolero-son.

The Rumba dance is a significantly slow, romantic and serious dance with an existing flirtation between partners. It is fun watching the dance since most of its essential dance figures’ theme is a teasing one and involves the lady flirting with the male partner before apparently rejecting him in a sexual aggression. According to some of the Rumba dance instructions, the rhythmic hip actions and body movements of the lady are spot lighted by the rumba dance resulting in scenes of intense passion that are almost steamy.

Rumba History
Frequently being given the reference and Rumba dance instruction, ‘the Latin dance grandfather’, rumba originated in Cuba before being introduced in the US earlier on in the 1920s. Among the five competing American and Latin dances, the slowest is Rumba.

Rumba Action
The Cuban motion is a distinctive movement of the hip and a significant ingredient of Rumba. These characteristic sways and hip movements of this dance are generated through the straightening and bending of knees. The Rumba dance intensity is increased by maintaining a sharp contact between the woman and the man through their eyes. The upper body’s stillness, in addition to the dramatic intensity, similarly emphasizes the sensuous and strong, foot and leg movements.

The Distinctive Steps of Rumba
In the Rumba dance instructions, Quick-quick-slow is the basic Rumba rhythm with distinct side-to-side movement of the hip. Although there is an exaggeration of the hip movement, the hips are not responsible for this exaggeration, but rather, this result from good leg, knee, ankle, and foot action. An appropriate control of these weight-transfers enables the hips to handle themselves. The distinctive steps of Rumba dance instruction are inclusive of the following:

• Fencing Line
• La Elenita
• Hip Rolls
• Open Hip Twist
• El Paseo
• Aida
• Alemana Turn
• Hockey Stick
• Fan

Rumba Rhythm and Music
For Rumba music to be written, four beats are required for every measure in a 4/4 time. Two music measures are required for a completion of an entire step and the tempo of the music is usually roughly 104- 108 beats every minute. Rumba rhythms originally received its influence from African-style of music, but have evolved and entered Country Western, Rock, Blues and various popular types of music. Sometimes the music is enhanced by kitchen hand made instruments such as spoons, pans and pots.

Hope you find these Rumba dance instructions helpful.

How to Dance Rumba in 4 Easy Steps

Do you want to learn how to dance Rumba easily?

Before you can know how to dance rumba, you need to know what it means. Rumba can be used to describe many dance styles and music. They originate from the same place as the merged dance styles from the Spanish colonizers found in Cuba and the dance music styles by the Africans who introduced it in Cuba as slaves. Today, Rumba is used to describe the ballroom dance that was adapted from an ancient dance style by Cubans.

Step 1: Rumba Dance Basics
Rumba is a romantic and passionate dance, which is performed with a lot of hip movement while flirting:-

1. The dancing partners usually maintain a firm eye contact.
2. In Rumba, the upper side of the body is kept relatively still in comparison to the lower side of the body.
3. The rhythm used in Rumba is the quick-quick-slow.
4. The Rumba music tempo is approximately one hundred beats in a minute.
5. The leading partner usually places the right hand on the waist of the partner and the left hand holds the partner’s hand.
6. The other partner who is following places the left hand on the shoulder of the partner and the right hand is let to hold the partner’s hand.

Step 2: The Leader’s Basic Steps
Traditionally, the man who is the leader leads the partner throughout the dance. Be direct and confident in your steps so that the other partner can follow your lead easily. To learn how to dance rumba as a leader, you should apply the following steps:-

1. Step 2 feet towards the left side
2. The right foot should follow.
3. Use the left foot to step 2 feet forward.
4. Use the right foot to follow and thereafter step 2 feet towards the right side using the right foot (this is a single continuous step.
5. The left feet should then follow
6. You should step two feet backwards using the right foot
7. Use the left feet to follow on.

Step 3: The Follower’s Basic Steps
The woman, who traditionally is the follower, dances while following the steps made by the leader. This is of grave importance and should be followed even if your partner happens to make a mistake. Do not start moving in your direction, instead, you should follow the leading partner, who hopefully will be able to correct steps. The following steps should be used for the follower to know how to dance Rumba:-

1. You should make a forward step whenever your partner makes a backward step.
2. Make a backward step if your partner makes a forward step.
3. You should always follow the movements of your partner

Step 4: After Basics
After learning the standard steps and basic style of rumba, the time has come to practice:-

1. To get detailed instructions, you should consider purchasing or renting videos for dance instructions or signing yourself up in a rumba dance class.
2. Rumba movements comprise of several steps. There are a number which are applied in the mainstream dancing of rumba while there are some due to their level of complication that can only be performed in competitions and at advanced levels of rumba dancing.

Conclusion
It is essential to learn the basic steps when getting to understand rumba as a ballroom dance. However, it is important for you to understand dance style as well as learn how to listen to music closely and be able to follow the rhythm if you want to know how to dance rumba well.

Rumba tips

4 beats/measure, 26-36 measures/minute

Rumba originated among the African slaves in Cuba more than four hundred years ago as a fast and erotic dance that left little to the imagination. Shirley Aymé has said that it arose "from the walk of the cock, and his pursuit of the hen bird," and that even today, it incorporates some of this earthy action. Steps are slow and close to the floor, and the hips move from side to side. "When walking in the sugar cane fields the bare-footed slaves took steps slowly and without weight at first, until they felt the ground was free of sharp pieces of cane." Steps are deliberate, "from squashing the cockroaches in dance clubs." The shoulders and head are still, again a "vestige of slavery, when heavy weights were carried on perfectly balanced heads."

The rumba came to the U.S. around 1913. In the 1920s, it was slowed down and greatly "civilized" by the big dance studios of the time, Arthur Murray and Fred Astaire. The dance was wildly popular in New York in 1931. It received a further boost from the publicity given to the carioca, a specialty dance to rumba music, featured in the very first Fred Astaire/Ginger Rogers film, Flying Down to Rio, 1933.

Today, the rumba is a slow latin rhythm that is danced with smooth, flowing movements. Keep your feet close to the floor as though you are sliding or gliding. Don't march. Rumba is a level dance, with little rise and fall.

Each step is taken ball-flat. For instance, step with the left, press into that step without weight, straighten the left knee and smoothly roll your weight onto the left leg, and bend the right knee. This will move the left hip to the side and back. Again, step forward with a ball/flat/straighten/hip, and back ball/flat/straighten/hip to get the rhythmic and rolling Cuban or Latin hip action. Use the inside edge of the ball of your foot and big toe, and this will move the non-supporting knee in front of the supporting knee and add even more to the Cuban hip, but don't exaggerate. Don't "wiggle your hips." The hip movement is not independent but comes from the feet and knees. The whole body is flowing with the music.

The straightening of the leg helps to produce the Latin hip action, and it produces a picture of power and strength, so dance with straight legs as much as you can. You have to soften a knee to pass that foot by the supporting foot, but then straighten the leg and leave it straight as long as you can. Rumba is a picture of strength; relax only to move. Make your steps small. Keep your upper body still, shoulders straight.

In the early days in the United States, the rumba was danced "quick, quick, slow." The International Ballroom community and Round Dancing still use this beat rhythm. However, American studios gradually changed to a "slow, quick, quick" rhythm, and you will find this altered rhythm at some freestyle ballroom events. It has always seemed strange to us. We end up dancing a rumba like a foxtrot and lose the Latin flavor. Stick to qqs, and have fun. In Spanish, "rumbear" is "to party." In Bantu-Congolese, it means to "get down."

Figure Name, Roundalab Phase Level, & Timing q=quick, 1 beat s=slow, 2 beats &=1/2 beat; a=1/4 beat	Steps and Actions That Make Up the Figure Each description focuses on the man, with the woman's footwork in parenthesis. If a woman's step is not given, it is the natural opposite or follow of the man's. Help: basic dance positions and steps, actions, directions, and abbreviations. Non-standard punctuation: a comma separates two beats of music, a semi-colon marks the end of a measure, and a slash (/) indicates a split beat, two things occurring in a single beat.	Here are some sequences to help you visualize the figure in context.
Basic phase III qqs; qqs;	In closed position or in butterfly, lead feet free, step forward (woman back), recover on trail foot, and step side. Second measure: bk, rec, sd, -; The first measure can be cued a Half Basic.	In the McCues' More Than Ever Rumba 3, part A begins with a basic;; new yorker; crabwalks;; new yorker;
Forward Basic phase III qqs;	In closed position or in butterfly, lead feet free, step forward, recover on trail foot, and step back. May be done in an open position, in which case both partners would begin with a forward step.	In Dance With Me by the Nelsons, there is a hockey stick;; forward basic; natural top 3 to face wall; to a flirt.
Back Basic phase III qqs;	In closed position or in butterfly, trail feet free, step back, recover on lead foot, and step forward. May be done in an open position, in which case both partners would begin with a back step.
Alternative (or Alternate) Basic qqs; qqs;	In a facing position, lead feet free, close L (woman cl R), step R, side L, -; close R, step L, side R, -;	In Kiss Me Mucho by the Cantrells, there is are hip rocks; hand to hand; alternative basic;; hand to hand; to a spot turn;
Side Basic qqs; qqs;	In a facing position, lead feet free, step side L (woman side R), close R, side L, -; sd R, cl L, sd R, -;
Cross Basic phase V qqs; qqs;	This is a Basic in which the forward and back steps are crossing, and you turn as a couple 1/2 LF. In closed or butterfly position, perhaps facing wall, XLIF of R (woman XRIB of L) beginning to turn LF, recover R turning, and step side L completing a 1/4 LF turn, -; XRIB of L woman XLIF of R) turning, recover L turning, side R completing 1/2 LF turn over the two measures, -;
Here and There qqs; qqs;	In a facing position with no hands joined, close left to right (woman cl R to L), close R, back L (woman bk R), -; cl R, cl L, fwd R (woman fwd L), -;	In Kiss Me Mucho by the Cantrells, part A begins with a full basic;; new yorker; spot turn; here and there;; to hip rocks; and a hand to hand;
Sunburst ss; ss;	This is a "picture figure" that involves no steps. Begin in tandem position, man behind woman, all four arms in front of woman, man's arms on top, and man holding woman's wrists. Raise arms straight up as you slowly look upward, -, continue raising arms, -; move arms outward and down, -, lower arms to woman's sides, -; You are jointly describing a circle with your arms. The initial movement is sharper than the recovery, to give a "bursting" feeling to the figure.	In the Worlocks' Anastasia, the dance begins with a Sunburst;; the woman turns sharply to face and points trail foot; hockey stick ending; open hip twist; to a fan;
Underarm Turn phase III qqs;	In facing position, the man steps back R, and the woman crosses her left in front under joined lead hands, turning 1/2 RF. On beat two, the man recovers L, and the woman recovers R, completing the turn to face her partner. On the slow, both step side.	Do a half basic to an underarm turn;; reverse underarm turn; spot turn;
Reverse Underarm Turn phase III qqs;	In butterfly position, man facing wall, both cross in front with lead feet, and she turns under LF. The man recovers as she continues to turn LF to face partner, and both step side, -;	In Lefeavers' Corinna Corinna, the interlude begins in left open position, both facing line, man on outside of circle, with a kiki walk 3 and ronde of trail foot to butterfly center; fence line to reverse; reverse underarm turn toward line; to a hand to hand;
Curl phase VI qqs;	The curl might better be considered an action, rather than a figure, but the term is used to designate a one-measure figure. Begin in left-open-facing position and step forward L (woman back R), recover R, close L and lead woman to step fwd R and start a LF turn under lead hands (woman fwd R turning LF 1/2 to 5/8, -; End in tandem or shadow or wrapped position both facing wall. The LF turn is the Curl action. It is like a spiral in that she is stepping fwd R and turning LF, but the Curl is not as tight and the turn is not as great. At the end of a Curl, the left leg will be crossed loosely in front of the right and extended somewhat forward. At the end of a spiral, the left is in front of the right, but the legs are more tightly wound up, and the ankles are together. Again, a true spiral turns 3/4 or even one full turn, though one can underturn a spiral. The curl can also be danced from closed or from a fan position.	In Promise Me by the Scherrers, part A begins in tandem facing wall with right foot free for both: lady roll to a fan man transition; curl; aida; switch rock; to a fence line;
Alemana Sometimes cued, Half Basic to an Alemana Turn phase IV qqs; qqs;	In closed or butterfly, step forward, recover, and close, leading woman to turn right face by raising the lead hand and turning the upper body a little LF. In the second measure, step back as she turns under your lead arm, recover as she continues to turn and steps toward the man, and then both step side. The Alemana Turn is not a twirl; she walks forward turning, forward turning, and side. Think a little about the lead for the Alemana Turn. The man is raising his left hand, and he is turning slightly that way. Both these actions direct the woman's attention toward her right and suggest that she go that way. One can't help wondering why there is an underarm turn and an alemana turn. A teacher once pointed out that the underarm turn is simpler and has less emotional content. In an alemana turn, the woman steps forward, toward her man, not across in front of him. She is nose to nose and gazing deep into his eyes. Then at the last moment she turns away in a sharp spiraling sort of movement. It is flirtatious. She is toying with him. She steps away on her right, and her man comes after her. Again, at the last moment during the second quick, she turns sharply with a hip-twist to face him again, and they step side together. Boy meets girl. Boy loses girl. Boy gets girl again.	In In the Misty Moonlight by Skillett, the dance begins with an alemana;; lariat;; cucaracha twice;; basic;; to a new yorker; In La Mentira by the Collipis, there is a new yorker; spot turn; circular hip twist;;; alemana ending; open break; crab walk;
Alemana from a Fan phase IV qqs; qqs;	In fan position, man facing wall, step forward L, and woman closes R. Recover R, and woman steps forward L. Close L leading woman to turn RF 1/4 to face man, and begin to raise lead hand to lead alemana turn. In the second measure, the man steps back, recovers, and steps side, -; and the woman does her turn: fwd trn, fwd trn, sd, -; End facing.	In More Than You'll Ever Know by the Matthews, part A begins with a half basic; fan; alemana;; crab walks to reverse;; into a fence line;
Advanced Alemana phase VI qqs; qqs;	This is an Alemana in which you turn as a couple 1/2 RF. If you begin the advanced alemana facing the wall, you end in facing position man facing center. In closed or butterfly position, step forward, recover, and then step side L turning 1/8 RF. Raise the lead hands to indicate to the woman that she will do an underarm turn. In the second measure, cross R in back of L turning as she steps fwd L and turns under your lead arm, side L as she continues to turn and steps toward the man, and then close R as the woman steps fwd L completing her turn. The man turns 1/2 and the woman a total of 1 & 1/2 RF.	In Novio by the Sheridans there is a turkish towel to face center [one "towel"];;; W out to face; advanced alemana to face wall;; cuddle twice;; to an open break to a natural top 3 to face line;;
Alemana Surprise Check qqs; q,q/&, &/s, -;	This is an alemana done in handshake position and with two sharp swivels inserted in the second measure. In a right-right handshake facing position, man perhaps facing wall, step forward L (woman back R), recover R, close L to R (woman fwd R turning toe toward line and center) raising right hands. So far, this is a normal preparation for an alemana turn, although the handshake may feel different. The second measure begins normally. The man steps back R (woman fwd L DLC turning 1/2 RF under joined hands). On the second beat, he recovers L (woman fwd R turning), and on the "and" count he draws the R to L and swivels 1/8 LF bringing joined right hands thru at chest level (woman draws L to R and swivels 1/8 RF). He is facing diagonal wall, and she is facing diagonal center. On the third beat, he swivels 3/8 RF and closes R to L (woman swivels 3/8 LF and closes L to R). Both hold the fourth beat facing RLOD with left arms extended toward wall, man's behind woman's back. Lead feet are free. I think the amount of swivel varies. The idea is to complete the Alemana Turn and then rather sharply bring the joined hands thru to line leading a swivel toward line and then quickly bring the joined hands back thru to reverse leading a swivel toward reverse. I also think that we dance this a little more gently on the beat, rather than on the half beat. I step back, recover, swivel left, and swivel right closing; with an even tempo, qqqq; (but it's still a surprise for her).	In the Rumbles' If Tomorrow Never Comes, part B starts with an alemana surprise check;; facing RLOD in a modified left half open we do a sweetheart to shadow position; and wheel to face wall; for an advanced sliding door variation;;
Three Alemanas phase VI qqs; qqs; qqs; qqs;	This figure can begin in closed position, butterfly, left open facing, or from a fan position. The first measure is the same as that of an alemana: the man steps forward L (woman back R), both recover, man close and raise lead hand to lead woman fwd and begin to turn RF, -; Her forward step brings her close to her partner, as she begins the first alemana turn. In the second measure, the man steps back R and with the raised lead hand leads her to step forward L toward line and center for a sharp spiral 1/2. She steps forward R toward reverse and wall and turns to face the man, and he steps forward and a bit to the left, so that when she steps forward L on her third step of this measure and the man closes, she will be on the man's right side. On the last beat of this measure, the man rather sharply lowers his lead hand and so leads a spiral of up to 1/2 turn so that both he and she are facing the wall, and she is in a partially wrapped position with her lead arm across in front of her body. Her total turn is about 1 1/2. Note that these steps are straight forward steps, tracing a triangle on the floor. Don't round this part of the figure into a circle—make the turns sharp. On beat 9, the man steps side L and guides the woman to step forward and across toward line and wall. This moves her from his right side to a position in front of him again. He raises the lead arm to lead her to spiral LF about 7/8 so she is facing wall. He then recovers R and leads her forward L and turn 1/2 to face man. He closes, and she steps forward to the man, toeing out, ready to begin the third alemana turn. The man has his lead hand up, providing a firm backboard to lead her turn. Her total turn is again about 1 1/2. The fourth measure is a standard alemana turn. He steps back R, recover, close, -; and she turns under his lead hand RF fwd L/turn, fwd/turn, and fwd, -; This third turn is only one full turn. There are two features that make this a truly phase VI figure. First is the "overturning" of the first two alemana turns. She dances her first alemana turn and then sharply overturns it another 1/2 turn to face wall. Having made this extra turn, she must begin the third measure with a sharp 7/8 LF spiral to face wall, then forward to the wall and turn 1/2 LF to face the man, and finally forward to the man. The second sophisticated feature is that the three alemana turns are danced directly in front of the man, with very little movement either to line or to reverse. She dances the first turn to the man's left side, but then steps to the wall and then back to the man. The second turn begins with a strong spiral in front of the man, a step away from the man, and then a step back toward him. The third turn is similarly danced between the man and the wall with no progression. You can soften this figure considerably by dancing it as a Half Basic, Underarm Turn, Reverse Underarm Turn, and Underarm Turn. These are phase III figures (and not Three Alemanas).	The Worlocks' Jurame has a closed hip twist; fan man face line; half basic and wrap to face line; thru face close to left open facing position; three alemanas to butterfly wall;;;; back break & spiral; aida checking; roll to reverse to butterfly; side walk and cha;
Turkish Towel phase VI qqs; qqs; qqs; qqs;	This is a long figure that flows especially well. Essentially, it is an Alemana that is considerably overturned to put the woman behind the man into a woman's right varsouvienne position, R/R and L/L hands joined (2 measures). Then you do sweetheart rocks to move the woman from one side to the other (2 measures (or more)). It is as though the man is drying his back with a big, fluffy towel. So, in open facing position with R/R hands joined, step fwd L (woman bk R), rec R, sd L raising right hands (W sd & fwd R beginning to turn RF), -; bk R (woman XLIF of R turning under raised R hands), rec L (W fwd R turning), sd R (W fwd L CW around behind man to his left side and joining left hands) -; At this point, you are in varsouvienne position, woman behind and to the left, man in front and to the right, all hands joined. Now the "towel" part—check back L and look at partner (woman check fwd R), rec R, sd L moving to the woman's left side, -; check back R and again look at partner (W fwd L), rec L, sd R moving back to woman's right side, -; The second two measures might be repeated (if you aren't quite dry) for a total of six measures.
Cucaracha phase III qqs; qqs;	Step sd, rec, cl, -; sd, rec, cl, -; These side steps are pressing steps; full weight is not taken. So in the first measure, you step to the side with your lead foot, press with the ball of the foot, but don't lower the heel and don't raise the heel of the trail foot. A little rotation of the ball of the lead foot would be appropriate. Then recover full weight to the trail foot, and close the lead foot to the trail foot. Cucaracha is Spanish for "cockroach." It's not an entirely attractive image, but in an earthy sort of way, I kind of like the idea of squishing a roach to the left and then to the right??	In the Rothers' Years May Come, there is a hand to hand; crab walks to line;; aida; roll three to RLOD; cucaracha; half basic; fan;
Turning Cucarachas qqs; qqs; qqs; qqs;	This is not a standard figure. Of course, the footwork is some number of cucarachas, but we turn either LF or RF, usually 1/4 or 1/2, on either the first or second step of each cucaracha. So, we might begin facing partner and wall with lead feet free. Step sd L (W sd R), rec R turning 1/4 RF (W rec L turning 1/4 LF) to LOP facing RLOD, close L, -; sd R, rec L turning 1/2 LF (W 1/2 RF), cl R to OP facing LOD, -; sd L (W sd R), rec R turning 1/2 RF (W rec L turning 1/2 LF) to LOP facing RLOD, close L, -; sd R, rec L turning 1/4 LF (W 1/4 RF), cl R to facing partner and wall again, -;	In Hundred Pounds Rumba by the Tuckers, there is a new yorker to RLOD; crabwalks to LOD; spot turn; turning cucarachas to CP wall;;;; half basic; underarm turn;
Spot Turn phase III qqs;	In butterfly position, both cross in front and turn away from the free foot. Starting with lead feet, the man would turn right face, and the woman would turn left. Recover and continue turning to face partner. Then both step side. You should cross pretty high up, at the thighs, not the calves. The first two steps of a spot turn feel a little like the last two steps of a basketball turn.	One measure figures are often repeated in the other direction, so you could: XIF and trn, rec and trn, sd, -; XIF and trn, rec and trn, sd, -; In My Home Town by the Hichmans, part A begins with a half basic; underarm turn; lariat to LOP LOD; kiki walk 3; spot turn; time step
Lariat phase III qqs; qqs;	Holding lead hands, he steps in place two measures, and she walks clockwise around him to face.	In Love Grows by the Matthews, part A begins with an alemana;; lariat;; fence line; spot turn to butterfly position; to a shoulder to shoulder twice;;
Rope Spin phase VI qqs; qqs;	This is a strange figure. The two measures concerned are really just a Lariat, but the cue "Rope Spin" also tells you to modify the last step of the previous figure by leading the woman to spiral RF. You can think that the Rope Spin is a Lariat that begins with a woman's spiral, as if the cowboy had given his "lariat" an extra twirl, but just realize that the spiral occurs at the end of the previous measure. So, the previous figure might have been an Alemana. On the last beat of that figure, the man should raise lead hands and turn his upper body a little to the right. She will take that last step L and spiral RF. If the man will take care to put his lead hand directly over her head with a little right sway, he will not pull her off the spot of that last step, and she will be able to spiral in place with better balance. At the beginning of the next measure, you will be in a left-open-facing position with the woman on the man's right side. He will step sd L, rec R, step L, - (woman fwd R, fwd L, fwd R, - clock-wise around behind man); then he does a cucaracha right while she continues to walk around to face.	In Brent & Judy Moore's Somos, there is a hockey stick;; alemana to rope spin 3 and blend to left open position;;; walk 3; aida; [Note that this sequence contains only half of the rope spin figure.]
Door phase III qqs;	Also cued Traveling Door, in a facing position, rock to the side, recover, and cross in front,-;	Often done in pairs, one to reverse and then one to line;; Rumbles' Ob-La-Di, Ob-La-Da, part A (actually a cha, but it would be a nice rumba sequence, too): basic;; reverse underarm turn; crab walk; traveling door to reverse; side walk; to a hand to hand twice;;
Sliding Door phase III qqs;	In open position, line of dance, rock apart, recover releasing hands, and cross lead in front of trail, changing sides to left open, line.	Often done twice: slide the door over and back;;
Advanced Sliding Door phase VI qqs; qqs;	In shadow position, left hands joined and man's right hand on woman's right shoulder blade, perhaps facing wall, step fwd L on the ball of the foot with pressure into the floor and slight body turn RF (woman bk R turning RF), rec R (woman rec L turning LF), XLIB of R turning 1/4 LF (woman fwd and cross in front R), -; slide R to side and point R turning LF (woman sd L and flex knee to a lunge line), rise (woman rec R), close R turning RF (woman bk and cross in back L), -; End in original shadow position.
Chase phase III qqs; qqs; qqs; qqs;	Beginning in butterfly or in left open facing, step forward and turn right face 1/2. She steps back. Recover on trail foot, she is looking at the man's back. Both step forward. In the second measure, both step forward and turn, man left face and woman RF. Always turn in a direction opposite to the stepping foot. Recover on beat two and step forward. He is looking at her back. Measure 3 and 4: fwd she trn LF, rec, bk, -; bk, rec, fwd, -; End in original facing position.	In Love Grows by the Matthews, the dance begins with a chase;;;; alemana;; lariat;; to a fence line; and a spot turn to butterfly;
Full Turn Chase qqs; qqs;	In a facing position, step forward L turning 1/2 RF (woman back R), recover fwd R continuing to turn another 1/2, back L, -; back R (woman fwd L turning 1/2 RF), recover L (woman rec fwd R continuing to turn another 1/2), fwd R, -; End as you began.	In the Dois' Besame Mucho 3, the dance begins with this full turn chase;; fwd woman develope; and a back half box;
Chase Peek-a-Boo phase III qqs; qqs; qqs; qqs;	fwd he trn rf half, rec, cl, -; sd, rec, cl, -; sd, rec, cl, -; fwd he trn, rec, cl, -; For the man, this is the first two measures of a chase separated by two Cucarachas. The woman doesn't turn.	In the Libertis' Yellow Bird, part B begins with an open break; crab walks;; spot turn; peek-a-boo chase;;;; basic to a fan;; alemana;;
Chase Peek-a-Boo Double Phase III qqs; qqs; qqs; qqs; qqs; qqs; qqs; qqs;	Do the first measure of a chase to tandem facing center and then the two measures of a peek-a-boo. Do the second measure of a chase to tandem facing wall and again two measures of a peek-a-boo. Finish the chase.	In the Szabos' Calienta IV, part A begins with a hockey stick;; alemana;; break back to open position line; aida; switch rock; spot turn; and double chase peek-a-boo;;;;;;;; to an alemana;; and lariat;;
Circle Away and Together phase III qqs; qqs;	In any position, turn away from partner, man LF and woman RF, and step fwd with the lead feet, fwd, fwd, -; turning 1/2. In the second measure, return to partner: fwd with the trail feet, fwd, fwd, -; completing a full circle. We can separate the two halves of the circle, maybe circling away and then doing something else, or separating in some other manner and then "circling together" to return to partner.
Crab Walks phase III qqs; qqs;	In butterfly position, facing wall, both cross trail foot in front, sd, cross in front, -; sd, cross, sd, -; (may travel to reverse starting with lead feet)	In Venus by the del Sols, there are cucarachas L & R;; open break; crab walk;; spot turn; to a basic fwd & bk;;
Fence Line or "Fencing" Line phase III qqs;	In butterfly position, both dancers cross in front and lunge with a soft knee, recover, and step side to face; As you lunge, extend your arms on that side as in a thrust with a fencing foil and raise the other arms for balance. That is, if you are facing wall and doing the fence line to reverse with the lead feet, you would thrust with your trail arms, also to reverse, and raise the lead arms for balance.	In Traces by the Nobles, there is a spot turn with the trail feet; fence line; spot turn; side walks in 6;; open hip twist; In the Slaters' Morning of the Carnival, part A begins with a fence line recover point; Since the third step is a point, instead of a side, the lead foot is free for a reverse underarm turn; to crab walks to line;;
Hand to Hand phase III qqs;	In butterfly position, both swivel 1/4 and step back to open position (if lead feet were free) or to left open pos. (if trail feet were free), recover to face partner, step side, -;	Fence Lines and Hand to Hands are often done in pairs, but you could do a Fence Line one way and then a Crab Walk the other direction, or a Hand to Hand to a Fence Line.
Cuddle phase V qqs;	In closed position wall, lead feet free, step side L with toe pressure and a little left side stretch leading the woman to turn about 1/2 RF and step back R with right side stretch and right arm to side. At the end of this first step, both face wall swayed a little toward each other, in approximately half open position. On the second step, recover R (woman rec L and begin to turn LF). Then close L (W step forward R completing 1/2 turn to face. She puts her right hand on the man's left shoulder in a "cuddle" position and blends to closed position. Notice a couple of features that make this figure different from a hand to hand (above) and perhaps justify its phase V rating. The first step for the man is a pressure step, not a true side step. He is not stepping away from his partner but is remaining centered on her with left side stretch and left side lead. On her part, she does not lunge away but she opens out, remaining centered on the man. We don't end that step apart from each other in open position, but still cuddly in half open. This figure may be done with the trail foot, opening her out to the man's left side, and it may be done in any facing direction.	In Fernando by the Prows, part A begins with a reverse underarm turn; natural top 3; 2 cuddles;; slow hip rocks; cross body;;
Progressive or Kiki Walks phase III qqs; qqs;	fwd, fwd, fwd, -; fwd, fwd, fwd, -; Progressive Walks are done on two tracks and Kiki Walks are done on one, as though you are walking on a rail. Actually, Progressive Walks may be done backwards: bk, bk, bk, -; "progressing" to reverse.	In the Shibatas' Best Of My Love, Part A begins with an open hip twist to fan;; overturned alemana to shadow with both facing line;; back break; and kiki walks 6 to line;; left hand underarm turn to a left-hand star (man facing reverse and wall, woman facing line and center); to three open shoulder to shoulders;;; In Can You Feel the Love Tonight by the McGees, part A starts with a curl; progressive walks to face; man turn left lady walk around to closed; natural top 3 with lady's spiral; 3 back progressive walks and swivel 1/2;
Side Walks phase III q,q,s; q,q,s;	Facing partner and wall, step side, close, sd, -; cl, sd, cl, -; May begin with lead feet and move toward LOD or trail feet and move toward RLOD.	In the Armstrongs' Besame Mucho, part C begins with one side walk to semi; aida; switch rock; spot turn to a handshake; and a turkish towel;;;;
New Yorker phase III q,q,s;	In a facing position, both partners turn and step through, turning to a side-by-side position, and extending joined arms in front. Free arms may be extended to side. Recover and turn back to face, and then step side.	In the Heinys' Cause Angels Don't Lie, part A begins with a full basic;; new yorker; aida; switch cross; crab walk; fence line twice;; half basic; fan; hockey stick;;
New Yorker In Four qqqq;	In a facing position, both partners turn and step through, turning to a side-by-side position, and extending joined arms in front. Free arms may be extended to side. Recover and turn back to face, step side, and finally close free foot to supporting foot. May begin with lead feet turning to RLOD or with trail feet turning first to LOD.	In Looking Through Your Eyes by the Reads, part A begins with a hockey stick to left open position facing RLOD;; new yorker 4; new yorker to RLOD; to open crab walk 3 toward LOD;
Shadow New Yorker qqs;	In a facing position with R/R handshake, turn 1/4 RF (W LF) and step thru with the lead foot. Left arms may be extended to the side, the M's arm behind the W's back. Recover R (W rec L), turn to face partner and step side L, -; If you begin with the man facing wall, the turn will be toward RLOD for both. May be done with the trail feet, in which case both would turn toward LOD.	In The Party's Over by the Woodruffs, the dance begins in a handshake position with an alemana;; shadow break; progressive walks; shadow new yorker twice;; underarm turn; to three more shadow breaks;;;
Shoulder to Shoulder phase III qqs;	In butterfly, he rocks forward and she rocks back on a diagonal. Beginning with the lead feet, this puts you left shoulder to left shoulder. Recover to face, and step side.	In Chico's Besame Mucho IV, we have a shoulder to shoulder in 4; shoulder to shoulder; crab walk; In Trankel & Gilder's Stormy, part B contains a shoulder to shoulder; whip to center; shoulder to shoulder; whip back to wall;
Time Step phase III qqs;	Release hands. Both cross in back, open bodies a little, and move arms down and back. Recover to face and step side.	In My Home Town by the Hichmans, part A begins with a half basic; underarm turn; half lariat to end in left open position facing LOD; kiki walk 3; spot turn; time step; new yorker; whip back to face wall; fence line to reverse; and crab walks toward line;
Sweetheart phase V qqs;	Begin in left shadow position (woman on man's left side) and end in right or normal shadow position. Step forward L with right side lead (woman bk R with left side lead) in a contra check like action and checking your motion, recover R removing your contra "twist," side L (woman sd R) each crossing to the other side of partner, -; This figure is often repeated with opposite foot, body lead, and body turn.	In I'll Never Love Again by the Nobles, we do a half basic to a full natural top, ending in handshake position;;;; for a flirt to left varsouvienne position;; sweetheart twice;; sweetheart lady swivel to face partner; fan; and hockey stick;;
Open Hip Twist phase V qqs;	In left open facing position or in handshake, step forward L (woman back R), recover R (woman recover L), close L with tension in joined arms (woman fwd R toward man and then sharp RF swivel on the "&" of the slow count), -; Of course the "hip twist" action is the RF swivel at the end of the figure.
Closed Hip Twist phase V qqs;	In closed position, step side and forward L with left side lead to cause woman to open out (woman turn RF up to 1/2 and step back R). In this first step, there is some of the feel of lunging apart. If you began facing wall, both are now facing wallish — probably man reverse and wall and woman line and wall. On the second beat, recover R with right side lead (woman recover L and turn LF to face man). On the slow count (better, a slow/& count), close L with slight left side lead and right side stretch (woman side R and then sharp RF swivel on that right foot drawing L to R and touch), -;	In Te Quiero "I Love You" by the Matthews, there is an open break to a full natural top;;;; basic;; closed hip twist; fan; hockey stick;;
Advanced Hip Twist phase VI qqs;	In closed position, step forward L on ball of foot, pressing into floor and turning a little RF (woman turn 1/2 RF and step back R), recover R (woman recover L and turn 1/2 LF to face partner), back L under body but keep body weight forward (woman fwd R outside partner on his right side and turn 1/4 RF), -; Of course, the final 1/4 turn for the woman is the "hip twist." One refinement the man might think about is taking that back step but not fully committing his weight change. Bring her forward, and then use the step to signal her hip twist. Second, her hips should turn fully, but her upper body should turn less, maybe drawn by the man's charisma and animal magnetism, maintaining "connection" between partners.	In The Summer Knows by Lamberty, there is a slow dip and recover; advanced hip twist; fan; hockey stick;;
Continuous Hip Twist qqs; qqs;	This is a two-measure figure. The first measure is an advanced hip twist, and the second measure feels like a left hip twist for the woman and then a curving walk back to face the man. If you begin with the man facing the wall, at the end of the first measure, you will be in a tight L-position but with good upper-body connection, the man still facing wall. Now, the man steps side and back right with just a little left-face turn to lead the woman to step forward left down line. On the “and” count, she swivels 1/2 to the left to face reverse. The man recovers left and the woman steps forward R curving to the right. On the slow count, the man steps forward right turning 1/4 to the right, and the woman continues forward left turning to face man and line of dance and dancing into his right side, ready for another opening-out figure (e.g., natural opening out or another advanced hip twist). The option exists not to turn as a couple but to end the figure facing as you began. The Rumbles do this in If Tomorrow Never Comes. Another option is to include one more twist in the second measure of the figure. You might step side and back right (woman forward left and twist 3/8 left), recover left and turn right (woman forward right and twist 3/8 right), and then forward right to face reverse (woman forward left to man’s right side and facing line). This is the form of the figure used by the Gosses in their Rumba Concerto, and it does feel more “continuously twisty.” There is the hip twist in the first measure, and then it feels like a left hip twist and then a right hip twist in the second measure.	In Rumba Concerto by the Gosses, there is an advanced alemana to fact the wall;; continuous hip twist;; opening out she spiral; hockey stick end to shake hands;
Circular Hip Twist aka Continuous Circular Hip Twist phase VI qqs; qqs; qqs;	This figure is one measure of advanced hip twist and then two more measures of the the man sort of vining in a left-turning circle and the woman walking, swiveling, and doing three more hip twists. In closed position, step forward L toeing out a little and lower lead hands to lead her to open out (woman swivels 1/2 RF and steps back R—try to separate these two components and count "&1"), recover R (woman recover L and swivel 5/8 LF—again, make the swivels sharp), cross L in back of R turning LF (woman fwd R outside partner and to his right side and do your first hip twist swiveling sharply 1/4 RF), -; This first measure is simply an advanced hip twist. I have exaggerated the second and third swivels, compared to the advanced hip twist description above, as is often done. Notice that the woman's part is busier than the man's. She is really doing at least six things: swivel/step, step/swivel, and again step/swivel. You might like to count to yourself, "&/quick, quick/&, slow/&;" Actually, if you'd like to get even more anal about this measure, I think she might prefer to dance, "&/1, 2/&, 3/&, hold;" The "3/&" is the first hip twist, forward on the right foot and a sharp RF twist. She raises her left knee and crosses it a little in front of her right in a demure, sort-of Marilyn Monroe pose. This is a little picture figure and deserves to be displayed briefly. So do the hip twist at the beginning of the "slow" and then hold it briefly before beginning to circle. At this point, we are in a tight L-position; he might be facing line and wall, and she might be facing line and center. During the second measure, the man steps side R, behind L, side R, -; His sequence is vine-like, but he should try to think, "7-11." Each time he crosses behind, he should try to place his left toe to his right heel, forming a "figure 7" with his feet, and each time he steps to the side, he should place his right foot parallel to his left to form a "figure 11." Again, the woman's part is busier, with her swivels. She steps forward L and swivels as much as 1/2 LF, closes R and hip twists 1/4 RF, and steps fwd R, -; Notice that her LF swivels are larger than her RF twists. This is part of what causes the figure as a whole to turn to the left. The man is also turning LF with each of his behind steps and so is leading her to follow a circular track. At the end of the second measure, we are in the "hip-twist L-position," man facing about center. The third measure continues the man's 7-11 vine and the woman's stepping and swiveling. He steps behind L, side R, close L, -; She swivels up to 1/2 LF and closes R, swivels 1/4 RF (this is the third hip twist) and steps fwd L, swivels 1/2 LF closes R and ends with a 1/4 RF hip twist, -; This is certainly the busiest measure for the woman, with a count of "&/quick, &/quick, &/slow/&;" End in the "hip-twist L-position," having made one full turn.	In I Love Him by the Herrs, there is an alemana;; rope spin;; circular hip twist to face wall;;; cucaracha; In Many Kisses by the Browns, we unwrap to an explosion; spot turn to a handshake; circular three alemanas;;;; side by side natural opening out; continuous circular hip twists to varsou;;; advanced hip twist to a fan;;
Natural Opening Out phase V qqs;	In closed position, step side L to the inside edge of the toe. It has a cucaracha feel. Use left side lead to open woman (woman turn 1/2 RF and step back R with right side stretch), recover R using right side lead (woman rec L turning LF back to closed position), close L, -; It is a closed hip twist without the hip twist.	In Tres Palabres by the Filardos, there is a forward basic to a full natural top;;;; natural opening out lady spiral to a fan;; stop & go hockey stick with cross lunge and back to fan;; hockey stick;;
Reverse Opening Out qqs;	In closed position, step side R to the inside edge of the toe. It has a cucaracha feel. Use right side lead to open woman (woman turn 1/2 LF and step back L with left side stretch), recover L using left side lead (woman rec R turning RF back to closed position), close R, -; The natural and reverse opening out can be cued "open out right and left." They are like two cuddles, without the cuddly arm-work.
Serpiente qqs; qqs;	The Serpiente is really a tango figure that begins with the lead foot, but it can be used nicely in rumba if you begin with the trail foot (see Thru Serpiente below). You can also do a rumba serpiente beginning with the lead feet. Step side L (woman side R), XRIB of L (woman XLIB of R), flare L CCW (woman flare R CW), -; XLIB of R, sd R, thru L and flare R CCW no weight, -; Note that this sequence has only five weight changes and so leaves the trail feet free.	In the Crapos' South of the Border, they use a serpiente beginning with a side step with the lead feet;; crab walks to line;; and a thru, -, fan point, -; leaving the lead feet free again.
Thru Serpiente phase III qqqq; qqqq;	In a facing position, step through R (W thru L), side L, behind R (W behind L), fan L counter-clockwise (W fan R CW); behind L (W behind R), side R, thru L (W thru R), fan R counter-clockwise (W fan L CW); May start with either foot and travel in either direction.	Do a half basic; thru serpiente;; fenceline; and then a full basic;;
Circular Serpiente qqs; qqs;	This one is not a standard Roundalab figure, but it feels very good. You begin in butterfly, just as you do in a regular serpiente, but you both have the left foot free. The steps are the same as those in a serpiente, but the same footwork causes you to rotate as a couple left-face. Again, with left foot free for both, step thru L, side R, cross left in back of right and fan R CW; now with the right foot and circling RF, XRIB, sd L, XRIF and fan L CW; You may begin with the right feet free, in which case you will circle right face in the first measure and left face in the second.	The Fishers wrote a really nice rumba called No Matter What III, using both of these serpientes. In part B, we start with a spot turn man in two and point. This is the figure that gets the left foot free for both, because the woman takes three steps and the man only two. Then we dance a circular serpiente;; a left foot fence line; circular serpiente;; right foot fence line; and a spot turn again man in two and point returning us to lead feet free;
Develope phase IV ss;	In closed position, diagonal line and wall, turn to sidecar and step forward L outside woman and hold. She steps back R and brings the left foot up the right leg to the outside of the right knee, and then extends the left leg forward. Essentially, she raises her knee and then smoothly kicks. Her body is stretched up and back, and the man must release or extend his right arm to allow her to do that. One weight change for each. The height of the develope is your choice. There are those who can aim at the ceiling, and one of the secrets of such a performance (besides strength, flexibility, and maybe regular yoga workouts) is relaxing the supporting knee. The woman leans back and extends her free leg. Now, the more she bends her supporting leg, the more her back goes down and her develope goes up. Men—let her go but give her firm support.	In the Shibatas' Beyond, we are positioned a little differently. The dance begins in tandem position with the man behind the woman and both facing the wall, right feet free. We shift weight to the right with some arm work to the side; shadow fence line; and then step back R and hold as woman does a develope with her L; then a hockey stick ending man transition to facing position; ready for a hip twist;
Break phase III qqs;	In a facing position, cross behind, recover, and step forward to whatever position is specified. Often, the cuer will specify Break Back to differentiate this figure from the open break (below).	In butterfly, you might break back to semi; underarm turn; basic;; In Daria Cualquier Cosa by the Gloodts, the dance begins with 2 cuddles;; break back to 1/2 open; to open in and out runs;;
Open Break phase III qqs;	In a facing position, both rock apart on the lead foot and shoot the trail arm up, rec, step side, -; Some dancers like a softer, less explosive, look to the "break," given by extending the trail arms horizontally to the side or just a bit diagonally upward.	In Sing For the Glory by the Matthews, in butterfly we do a cucaracha twice;; open break; whip to COH; fence line; and spot turn;
Shadow Break qqs;	In facing position with R/R handshake, swivel 1/4 LF (W RF) and step back onto the lead foot. Left arms may be extended to the side, W's L arm behind the M's back. Recover R (W rec L), step fwd L; If you begin with the man facing wall, you will end both facing LOD. May be done with trail feet, in which case both will turn to face RLOD.	In The Party's Over by the Woodruffs, the dance begins in a handshake position with an alemana;; shadow break; progressive walks; shadow new yorker twice;;
Whip phase III qqs;	In closed or butterfly position facing wall, step back on the trail foot, turning LF. Woman steps forward around the man's left side. Recover on the lead foot continuing to turn, and lead woman across the line of dance. Step side to butterfly position facing center.	Do a half basic to a whip to an open break, and then whip her back to the wall.
Parallel Breaks phase V qqs; qqs;	Begin in an L-position with man facing wall and woman facing LOD, right-right hands joined in front of woman and woman's left arm extended over the right and pointing down line. Step back R leading woman across in front of the man (woman fwd L across line of dance), recover L beginning to turn LF (woman fwd R turning), side and forward R (woman sd and bk L) turning to a woman's L-position with woman facing wall and man facing LOD on her right side, -; step fwd L (woman bk R), fwd R turning (woman rec L), sd & bk L (woman sd & fwd R) turning to starting L-position, -; This feels much like two whips, woman across and then man across. The woman should take the lead in the second measure and whip the man across. The figure is often repeated for a total of 4 or even 6 measures.
Cross Body phase IV qqs; qqs;	You can think of this figure as a half basic and a whip, but the cross body is done in closed position. Step forward L (woman back R), recover R, and side L, man beginning to turn LF and so loosening the closed hold (woman fwd R toward man's right side, no turn) and ending the first measure in an L-position, man facing LOD and woman facing COH. During the second measure, the man steps back R continuing to turn and she steps forward L beginning to turn LF. He takes a small step forward L, and she steps forward R completing a 1/2 turn. He then steps side and forward R (woman side and back L) to end in closed position facing COH. Of course, you can begin in closed position center and end in closed wall.	In Sign Your Name by the Scherrers, part A begins with a new yorker; underarm turn to CP; cuddle twice with pivot ending to face COH;; side walks to RLOD;; cross body;; half basic to a facing fan;; progressive walk 6;;
Full Moon qqs; qqs; qqs; qqs;	The half moon is a bolero figure that contains a lunging action and a whipping action. The full moon is not simply two half moons, but it does alternate a whip, a lunge, a whip, and a lunge. I have not seen the half moon in rumba, but the full moon has been used a couple of times. In a R-R handshake position facing partner and perhaps wall, step back R turning LF (W fwd L twd DLC on M's L sd), rec L (W small step R trng LF), fwd R (W fwd L) to varsouvienne position both facing COH, -; Of course, this is the "whipping" measure. The woman has moved from the outside of the circle to the inside and has turned to varsouvienne. Now, a "lunging" measure, although it has more of a lunge feel in bolero. Here, we essentially do a forward basic with a woman's hip twist. In varsouvienne with lead feet free, we rock fwd L (W fwd R), recover R releasing L hands and beginning to turn LF to face DRC, bk L (W sd R turning RF to M's right side and slightly behind him facing RLOD), -; Ready for the second "whip"? The man steps bk R (W stps fwd L in front of M toward DRW), rec L trng LF (W fwd R trng LF), fwd R (W fwd L) to varsouvienne position both facing wall, -; Finally, the man steps fwd L (W fwd R), rec R releasing L hands, bk L (W sd R trng RF to M's R side) to end in a handshake position with M facing wall and W fc LOD, -;	In Just Called by the Bartons, part A begins with a new yorker to reverse; full moon;;;; fan; to a hockey stick;; In You're Really Mine by Ivins, there is a slow hip rock; new yorker to reverse; full moon;;;; back basic to face wall; slow lunge and lady sit line;
Sit Line phase V qqs;	This is an Open Break that is smaller, more gentle, and includes a "sitting" or lowering action. In left open facing position, step small back L relaxing the left knee, leaving the right leg extended, with forward body poise, and raising the right arm. The woman mirrors the man with a back R and sit. Recover R rising (woman recovers L), and close L, -;
Fan phase IV qqs;	In closed position, facing the wall, step back with trail foot (woman forward), recover (woman bk and turn 1/4 LF), side R (woman bk L) to an L-position, -; A Facing Fan is done as above, but on the third step, the man steps forward R and turns 1/4 LF to face partner. May be done from other facing directions.	In the Guenthners' Love Walked In IV, part A begins with a fan; hockey stick;; open hip twist; fan; alemana;; shoulder to shoulder; fence line; and a half basic; to a whip;
Double Fan qqs (q&q&s); qqs (q&q&s);	Begin in Fan Position with lead feet free. The man is facing wall, and the woman is facing RLOD. He steps side L and leads her to step forward R spinning RF and then close L. He closes R and she steps fwd R spinning and closes L. He steps side L on the slow count, and she steps back R facing LOD and having turned 1 & 1/2 over the measure. Trail hands are joined in a sort of reverse? fan position. During the second measure, he again steps sd, cl, sd, -; leading her to roll LF in front of him back to the original fan position. The woman's turns are like Riff Turns in bolero. The figure can be softened (maybe to phase V) by making the woman's turn only 1/2 per measure. She would step fwd R, fwd L spinning 1/2 RF, and back R, -; fwd L, fwd R spinning 1/2 LF, bk R, -; May be done from other facing directions.	In the Bahrs' You've Got A Friend, there is a half basic; fan; double fan;; alemana;; and time step twice;; Since the Double Fan starts from fan position, it will usually be preceded by a single Fan. This typical combination gives us Three Fans. If we can have Three Threes, Three Alemanas, and Three Aidas, then why not Three Fans? Let's think about it — "Half Basic; Three Fans;;; Alemana;; …
Hockey Stick phase IV qqs; qqs;	In fan position, lead hands joined, step forward L and lead woman to close R with a little pressure through the lead arms held low. Let me mention that leads directed toward the body's center of gravity are always more effective and can be more subtle than those attempted high in the air, and a high lead may pull her topline over. She needs to dance from her center. You'll eventually want to raise that lead hand to lead the Hockey Stick Ending, but don't jump the gun. A little nudge along her right arm leads her first step well. Next, the man will recover R, and she steps forward L. Close L and she steps forward R to a position in front of the man; she facing reverse, he shaping toward the woman and so facing DLW. Now begin to raise lead hands, rock back R, she forward L. Recover L, she forward R with a sharp LF turn under lead arms to face man. She steps side and back toward diagonal reverse and wall, and he steps forward to follow her. Her progression toward reverse and then backing toward diagonal reverse and wall traces out the shape of an ice hockey stick. One thing the man does to lead her Hockey Stick Ending (the second measure) is to move the lead hands between the partnership and in the direction of DRW. The second lead comes from his body shaping. The line of his upper body along the diagonal directs her progression along that diagonal. Notice that when doing a hockey stick from fan or an alemana from fan (well above on this page), the woman's first step is a closing one. These are two very common sequences, and it is easy to get the mistaken idea that, from fan position, a woman will always next take a closing step. In the standard fan position, the man will lead her closing step with pressure through the lead hands, but from a facing fan position, his first step will be forward, and she will step back. In executing a Double Fan (just above on this page), he will lead her into an initial forward step. So, ladies, in fan position, don't assume that you will next close your lead foot. Take the step that your man leads you to take.	In the Steinkes' Speak Low III, part A begins in closed position wall with side walks;; full basic;; new orker; fan; hockey stick;; half basic; and underarm turn; In The Summer Knows by Lamberty, we have a hockey stick ending by itself. The dance begins with a lead-foot lariat; hockey stick ending to the wall; curl; to a fan;
Stop and Go Hockey Stick phase V qqs; qqs;	Start in a fan position, lead feet free. Step forward L (woman close R), recover R raising lead hand to lead woman to begin a LF turn (woman fwd L), close L (woman fwd R turning 1/2 LF under lead hands to end at man's right side) man places right hand at her left shoulder, -; fwd R checking woman's movement with right hand and shaping toward her (woman bk L), recover L raising lead hands (woman recover R), close R (woman fwd L turning 1/2 RF under lead hands) ending in fan position again, -;
Advanced Hockey Stick qqs; qqs;	In left open facing position DRW, step fwd L (W bk R), rec R turning 1/4 RF (W rec L), cl L (W fwd R), -; bk R turning (W fwd L), rec L (W fwd R turning LF to face M), fwd R (W bk & sd L) to end in left open facing position COH;	In Te Quiero "I Love You" by the Matthews, there is a closed hip twist; fan; hockey stick;; advanced hockey stick;; curl; and lady out to fan M facing COH;
Aida phase IV qqs;	In butterfly position facing wall, trail feet free, step thru to line, and begin to turn RF (woman LF). Step side and continue to turn. Step back to a V-position, back-to-back, looking reverse, lead hands joined. May begin with the lead feet, moving to RLOD. May be done from other facing positions. A little different look is produced by taking two forward steps and then sharply turning in on the second step and stepping back into the aida position. Instead of a rounded look, we have a crisper, more proud, more deliberate look.	Half basic; aida; rock 3 to face; crab walk down line;
Three Aidas qqs; qqs; qqs;	In butterfly position facing wall, trail feet free, step thru to line, and begin to turn RF (woman LF), step side and continue to turn, step back to a V-position back-to-back looking reverse lead hands joined, -; step thru L (woman thru R), fwd R turning LF (woman fwd L turning RF) and joining trail hands, bk & sd L to a V-position back-to-back looking LOD, -; and again thru with the trail feet beginning to turn in, step side and continue to turn, step back to a V-position back-to-back looking reverse lead hands joined, -;	In the Moores' Beautiful Maria, part C begins with 2 of Three Alemanas;;; Three Aidas;;; hip rock and swivel to face; fan; to a hockey stick;;
Switch or Switch Cross phase IV qqs;	In an aida or V-back-to-back position, lead hands joined, turn to face partner and step side, checking. This first step can also feel like a sharp back step, turning. Recover on trail feet, and then cross lead in front of trail. May also be done with trail feet from an aida position facing LOD. The use of the cue term "switch" is not well standardized. Sometimes it is used to designate a figure composed of three steps. But relatively often, it refers to only the one, turning step. The newer cues switch cross and switch rock (below) reflect this tendency. We also sometimes hear a cue like, "switch, recover, and step forward" or even simply, "slow switch," meaning take one step and turn in some way.	Do a half basic; aida; switch; to crab walks to reverse;; cucaracha; In Don't Know Why by Lamberty, we have a one-step "switch." The dance starts in aida position facing RLOD with trail feet free. We do a slow switch to face, -, recover, -; cucaracha cross; spot turn; to a half basic;
Switch Rock phase IV qqs;	In an aida or V-back-to-back position, lead hands joined, turn to face partner and step side, checking. This first step can also feel like a sharp back step, turning. Recover on trail feet, and then step side on lead feet. May also be done with trail feet from an aida position facing line. You'll have a little of the feel of a "rock three" turning to face partner.	Do a half basic; aida; switch rock; to crab walks to line;; cucaracha;
Flirt phase IV qqs; qqs;	In a facing, handshake position (right-right hands joined), step forward L (woman back R), recover R, and side L leading woman to step forward R and turn LF to varsouvienne. In the second measure, both rock back, then recover, and the man steps side R and the woman steps side L, crossing in front of the man to end in Left Varsouvienne.	In the Preskitts' I Wish You Love Rumba, there is a hockey stick from fan;; flirt;; sweethearts woman face;;; to a spot turn;
Tornillo Wheel phase V qqs; qqs;	In banjo position, walk clockwise around the woman, R, L, R, -; L, R, L, -; She brings her left foot up to her right knee, toes pointing down, rises onto right toes, looks well left, as man turns her one full turn. One key to success here is for the man to walk a true circle, not a square, not wandering a little farther from her and then back closer. Take each step with the foot turned to the right, as though you are walking on the rim of a 55 gallon drum, and you neither want to fall in or off . I hope I'm not belaboring this, but she can't move, and if you don't stay on the circle, she'll tip over; it'll look awkward. Since it is impossible to walk a perfect circle, maybe the real key to succes is for the woman to relax. If she maintains her usual tone, she will feel every deviation from that perfect circle. She will wobble and waver. If she will relax, she can give and take with shock-absorber arms. She can stay comfortably on that center point even if he does shift a bit from one side to the other. It takes two to dance a smooth Wheel.	In the Hartungs' Romantic Interlude, there is a half basic to a tornillo wheel;;; cucaracha; fwd basic & check; hip rocks 3;
Ballerina Wheel phase VI qqs; qqs;	In varsouvienne or shadow skaters, walk clockwise around the woman, L, R, L, -; R, L, R, -; She brings her right foot up to her left knee, toes pointing down, rises onto left toes, and allows man to turn her one full turn. Similar to Tornillo Wheel, but starts with lead foot instead of trail, and done in varsouvienne instead of banjo. Again, the man must not take simple forward steps but must turn the foot to the right on each step and stay exactly on the circumference of the circle, at the center of which rotates the woman. And the woman must relax so that her arms can absorb any lateral movements that would otherwise tip her off of the vertical.	In Many Kisses by the Browns, there is an open hip twist; underarm turn to varsou; ballerina wheel;; natural opening out to left varsou; reverse wheel 6;; hockey stick ending to face;
Natural Top qqs;	The complete figure is called the Full Natural Top (3 measures), so this one measure figure is sometimes cued, "Natural Top 3" meaning three steps. It usually begins in closed position, diagonal reverse and wall, trail foot free. Turning RF, the man crosses his right in back of left, and the woman steps side L. On the first quick, the man steps side L, and the woman crossed R in front of L, continuing to turn. Finally, the man crosses RIB of L, and the woman steps side L to closed position facing wall.	In the Bucks' Happy Ever After, part A begins with an open hip twist; fan; hockey stick;; fwd basic; back walks 6;; natural top 3; From there, one could go back to new yorkers, time steps, or many others.
Full Natural Top phase V qqs; qqs; qqs;	The one measure natural top is simply continued for two more measures, completing two full RF turns, again to end facing wall, lead feet free: XIB trn, sd trn, XIB trn, -; sd trn, XIB trn, sd trn, -; XIB trn, sd trn, close, -; while the woman alternates side steps and XIF.	In the Rumbles' If Tomorrow Never Comes, part A begins with a forward basic to a full natural top;;;; to an opening out to continuous hip twists;;
Continuous Natural Top phase VI qqs; qqs; qqs;	This one is a full natural top with a woman's reverse underarm turn inserted into both measures 2 and 3: The first measure is like the full: the man steps bhd, sd, bhd, -; and the woman steps sd, fwd, sd, -; turning RF. In the second measure, the man continues his sd, bhd, sd, -; On that first step, he raises his lead hand and moves it to his right to signal the reverse underarm turn, and the woman steps forward R making a full left face turn to contra banjo and then steps fwd L, fwd R continuing the RF couple motion, -; In the third measure, the man steps bhd, sd, cl, -; again raising the lead hand to signal the second reverse underarm turn, and the woman steps forward left, forward right making a full LF turn to face partner, and side left, -; End in closed position facing wall. Notice that the woman's turns are actually spirals and that she does each spiral on her right foot. She does not turn in the first measure. She turns on her first step of the second measure, and she turns on her second step of the third measure. Think: "0, 1, 2."	One of my all time favorites was Just Another Woman in Love by the Andersons. Part A begins in fan position with a hockey stick;; fwd basic; back walks;; to a continuous natural top;;;
Horse and Cart phase VI qqq,-; ,,,; (qqq&q&; q&q&q&q;)	This figure is done in skaters position. In brief, the woman is the horse and the man is the cart. She moves him in a left-face circle up to two revolutions using up to 11 small running steps. Obviously, the connection between the horse and cart must be firm. The man places his right hand on the front of the woman's right hip bone—she can pull at this point. He also maintains a toned left arm, and she can push him around at this left-left connection (this is the more important of the two). So, in skaters position, step fwd L (woman bk R) with slight RF turn, recover R beginning to turn LF, XLIB of R toe out (woman begins her "run" fwd R/fwd L), continue to turn LF swiveling left (woman fwd L/fwd R); extend right leg to the side in a ronde action and continue to swivel LF with the left knee flexed and the right leg straight and the inside edge of the right toe skimming the floor making up to two complete revolutions, -, -, - (woman fwd L/fwd R, fwd L/fwd R, fwd L/fwd R, fwd L); Usually only one revolution is made. The figure is also done in banjo or in closed position (so the "horse" is backing around the circle).
Corte phase III s	This is really a tango figure but is used in rumba. In closed position step back & sd L (woman fwd R) lowering, -,
Double Corte ss; ss; (ss; qqs;)	This is not a standard figure but a corte in front of the man and then a same foot corte behind the man. In closed position, step back and a bit to the side L (woman fwd R) lowering, -, recover R (woman recovers L and rondes R behind L, no weight), -; hold (woman XRIB of L), back L (woman fwd L behind man's right leg), -, -;	In the Goss' Rumba Concerto, there is a maneuver pivot 2; pivot 2 to lady knee lift; double corte which they step cue as a rolling corte recover she ronde; lady behind side same foot outside lunge; to a transition pivot to a rudolph ronde;
Same Foot Lunge phase VI s	Begin in closed position with trail feet free. Since this is a "same foot" figure, we have to do a transition. Often, the cue is "prep for a same foot lunge." The "prep" is a slight rise and right face rotation causing the woman to rise to her toes and change weight to her left foot. She has rotated a little RF but not as far as to semi-closed position—you are still closed. Her right knee is tucked just behind her left knee. Her left hipbone needs to settle into the hollow of his right hipbone (inside his right hip). Both now have right feet free. Now we can do the figure. Lower in the left leg with slight left sway, push, and step side and forward R, looking right. Change to right sway and give her your right side—that will close her head (woman steps straight back R turning LF and looking well left—very like a contra check step for the woman). The man's left leg will be extended to the side, straight and strong. Because of her body turn, the woman's left leg will be crossed in front of her right and extended on the same diagonal as the man's. Keep your hips well in to your partner. Again, you are in closed position (not an L-position). If you have a full measure, it is common to change the sway a third time. Use right-side stretch and right-face upper body rotation to sway left and open her head to a tight semi-closed position. This change puts you in a good position for the exit, which might involve a rise, LF rotation to lead a step forward L for the woman. Now you have lead feet free to complete a Telespin ending or other exit. The position that you have assumed as a result of a same foot lunge is called a Same Foot Lunge Line. One "steps" into a same foot lunge, and one simply "lowers" into a same foot lunge line. More specifically, a prep to a same foot lunge involves one weight change for the man and two for the woman. Lowering into a same foot lunge line involves no step for the man. He is on his R foot already, and he simply lowers into position. The woman transitions by closing her R to L (one weight change), and then she lowers into position.	In Beautiful Maria by the Moores, part B contains a Same Foot Lunge done in cuddle position, rather than in closed. The section begins with an Advanced Alemana to face COH;; Cuddle; Cuddle Preparation; Samefoot Lunge; and then lady syncopated underarm spin; and alemana to face the wall;;
Three Threes phase VI qqs; qqs; qqs; qqs;	I don't know where this name came from. Each measure contains three steps, but there are four measures. Why isn't it called "four threes?" The first measure is just an overturned open hip twist, so maybe the figure name refers to the fancy stuff—measures 2, 3, and 4? So, we begin in left open facing position, probably facing wall. The man steps forward L, recover R, and close L leading the woman to hip twist on her R 1/2 turn RF. Now both face wall in tandem. During the second measure, he steps back R, recover L, close R, while she steps in place L, R, L, spinning LF a full turn on the last beat. The man might have his hands on her shoulders during this measure and lead the spin with slight pressure during the third step of the measure. Don't actually spin your partner. Just hint or "invite" her to spin at the proper moment. In the third measure, the man steps side and forward L, and the woman steps side and back R. This step has a sort of Sweetheart feel or diagonal Cucaracha. Then the man recovers and closes. The woman recovers L and steps forward R and swivels 1/2 RF to face the man. In the fourth measure, the man steps back R, recover L, and small forward R. The woman is facing her man, a little distance away. She steps forward L toward him and swivels 1/2 RF, forward R toward wall and swivels 1/2 RF, and finally forward L back to a standard facing position. This last measure is very like an Alemana turn for the woman. At phase IV, the Alemana turn is normally done on a triangular path on the floor. In Three Threes, dance an Alemana turn on a straight line toward the man, away, and then back to him again (don't do a basketball turn). The count for the woman is really "q/&, q/&, s; with the step occurring on the "quick" and a sharp turn of the hips on the "&." Always step and then turn or you will be off balance. Notice that all of the woman's half spins are RF. Only her full spin in the second measure is LF.	The Bucks' La Novia Rumba, ends with two shadow breaks in handshake;; three threes;;;; to an open contra check and hold;
Three Threes Ending qqs;	Sometimes, the last measure of Three Threes is cued as a stand-alone figure. The man steps back R, recover L, and forward R. The woman is facing her man, a little distance away. She steps forward L toward him and spirals 1/2 RF, forward R toward wall and does a hip twist 1/2 RF, and finally forward L back to a standard facing position. Again, notice the woman's step spiral, step hip twist, and step forward. One teacher once suggested that this part had a kind of skating action: step/skate, step/skate, and forward.	In the Rumbles' Amapola, we find ourselves in shadow position facing line of dance, and the cue is Opposition Break to Three Threes Ending. The man rocks forward L, recover, close, opening the woman out a bit. She steps back and side R, recover, and then forward R stepping away from the man and then doing a hip twist 1/2 to face reverse. Then she does her Three Threes Ending to a handshake; Advanced Hip Twist; woman across to center of hall; to an Aida;