Swing Salsa Basic Step

This salsa dance lesson video we teach you what is called the Salsa breakaway step or the Lazy Turn. It is a small variation of the Lindy Hop or Swing dance basic step adapted to salsa dancing. It is a great move to use when, as a leader, you are still thinking which set of dance patterns to perform next.

Showcase Division 2005 US Open Swing Dance Championships

Benji Schwimmer & Heidi Groskreutz’s First Place West Coast Swing performance in the Showcase Division at the 2005 US Open Swing Dance Championships www.USOpenSwingDC.com

Demo: East Coast Swing ECS for Beginners by Michael Thomas

A video demo of a 1 hour ECS lesson in the Intro to Ballroom Series. (Note: View the How To lesson that goes with this video.) Visit www.michael-thomas.com for more free videos. Record 03/10/09 in Cartersville GA.

Swing Dancing History

The swing dance is not a single form/kind of dance but a group of various dances which developed in the earlier half of the twentieth century. These dance forms flourished with jazz or swing style of music. The origin of these swing dances can be traced back to the vernacular African American dance forms. Today, the most popular form of swing dancing is Lindy Hop. In fact, many of the swing dance forms have descended from Lindy Hop. Other dances included in the category of swing dancing are Shag, Blue, Balboa, East Coast Swing, West Coast Swing, Rock and Roll, Hand Dancing, Modern Jive, etc. Read more on jazz dance moves.

Swing Dancing History
The art of swing dancing is influenced by many cultures and traditions. Apart from the Lindy Hop, various swing dancing forms have evolved from Charleston, Fox Trot, Tango and Waltz. The close dancing forms, Tango and Waltz were introduced in USA in the beginning of the twentieth century. Earlier, these dances were not accepted by the society; however, with rise in their popularity in Paris, the Waltz and Tango became instant hits in America. The dances like Truckin', Shim Shammy and Black Bottom are known to have preceded the swing dancing craze in the US. Variations that occurred in swing dances were numerous. Out of them, the West Coast Swing used a pattern of 6 beats. One can perform the West Coast Swing with any form of music. The East Coast Swing is similar to the West Coast Swing in terms of beats (6 beats are used). This dance includes stepping side-to-side. One has to take a step backwards after every three steps. Read more on how to tango dance.

Swing Dancing of 1930s
The 1930s history of swing dancing is presented in the paragraphs below.

• Balboa: This form of dance evolved in Southern California; it was generally performed as a ballroom dance. The Balboa swing dance is performed in a close embrace and quick footwork is its specialty.
• Lindy Hop: This form of dance evolved in a period between late 1920s and early 1930s. It is an 8-count dance and gives more importance to improvisation. The 'jazz' or 'blues' rhythm is used for this dance and it is adaptable to any form of music.
• Collegiate Shag: This dance form originated in the '30s decade in New York. It is said that the prefix, 'collegiate' was added to the name for attracting the youth to dance halls and studios. During the later half of twentieth century, the name collegiate shag however, became standard. This form of swing dance was performed with a 2-beat rhythm.

The '40s Decade Swing Dancing
Swing dancing history of the '40s decade is given in short in the following paragraphs.

• Boogie-woogie: The boogie-woogie dance developed in the '30s. This dance-form became popular with the rise in boogie-woogie music. Boogie-woogie dance is also known as the European form of East coast swing. Originally a six-count dance, the boogie-woogie has undergone many changes; it is now performed with 8-count variations. The boogie-woogie and various forms of rock music are used to perform this swing dance.
• Carolina Shag: During the 1940s, the Carolina Shag was performed between the Myrtle and Wilmington beaches. This form of swing dancing is associated with beach music.

The different forms of swing dances were popular amongst the youth. The college going crowd used to throng nightclubs for learning swing dancing in the '40s and '50s decade in the US. Since, there were no fixed or specific rules, various styles of the swing dance emerged. The 'New York Society of Teachers' began the work of documenting various forms of swing dance in the early 1940s. Thereafter, the Arther Murray Studios started teaching swing dance.

The swing dancing history is marked with changes and variations. Swing dancing was largely influenced by different types of dances and different dancing styles. Thus, one can see a lot of variety in this form of dance.

Swing Dancing: The Fundamentals of Classical Swing Dancing

It seems only yesterday that we were listening to bands such as The Cherry Poppin’ Daddies and The Mighty Might Bosstones on almost every radio station within earshot. Perhaps that's because it was not all that long ago that bands such as these were leading the revival of the Swing culture in America. Although Swing had remained alive through its influence on other dance and musical genres, it was not until a few years ago that the big band sound and dance that defined an era re-emerged onto the American landscape. The contributions of Swing to American dance and music are often overlooked or are too subtle to detect, but there is no question that the influence is very real and very important.

Swing finds its roots in 19th Century youth adaptations of the waltz and polka, where it eventually evolved to influence nearly every generation of dance that would follow. By the 1930s, swing jazz was creating an entirely new entertainment atmosphere, with dance moves and an attitude that the world had never seen before. Swing brought with it a style and a language all its own and it was not long before those unique qualities began to ingrain themselves into the fabric of the American culture.

Learning How To West Coast Swing Dance: Moves and Steps

The West Coast Swing Dance, which developed on the crowded floors of dance clubs, is called a slot dance because it is danced with both partners moving up and down a single line or track. If you imagine yourself dancing on a single railroad tie, it will help you to remember to stay on your track. This slot helped the dancers to swing dance within a very small space without bumping into each other. The slot can rotate and change, however, it is important to remember that each partner continues to dance on a slot in relation to each other and not to the room.

In any type of partner swing dancing, there are basic elements of dance moves that together make the dance flow. These elements are the clean footwork, the correct timing, a strong dance position, and good lead and follow; all play a part in dance instruction.

Follow these directions for how to learn west coast swing dancing:

Footwork and Timing: Swing Dance Steps The Sugar Push and the Anchor Step are both swing dance moves. Learning these patterns will help you to get started out on the dance floor when learning how to swing dance.

The Sugar Push

Man's part

1. Step back with the left foot (count 1)
2. Step back with the right foot (count 2)
3. Tap the left foot to the right foot (count 3)
4. Step forward with the left foot (count 4)
5. Anchor step (count 5&6) - See below for explanation

Lady's part

1. Step forward with the right foot (count 1)
2. Step forward with the left foot (count 2)
3. Tap the right foot to the left foot (count 3)
4. Step back on the right foot (count 4)
5. Anchor step (count 5&6) - See below for explanation

Anchor Step The Anchor Step is one of the most basic patterns which is frequently used at the end of every movement. When dancing this step, you should feel anchored to the floor by taking very small steps in place. After some of the basic steps of West Coast Swing patterns become comfortable, the anchor step can be replaced with break endings, which are improv freestyle patterns.

Man's part

1. Step on the right foot placing the instep of the right foot behind the heel of the left foot (count 5)
2. Step on the left foot keeping it in place ( count &)
3. Step on the right foot keeping it in place (count 6)
Lady's part

1. Step on the left foot placing the instep of the left foot behind the heel of the right foot. (count 5)
2. Step on the right foot keeping it in place (count &)
3. Step on the left foot keeping it in place (count 6)

Partnering

Dance Position West Coast Swing is danced in an open dance position which means that the man and woman will dance facing each other holding hands. The lady should curve her fingers so that they form the shape of a "C." The man will hold his hands out in front of his body with his palms facing towards each other and his fingers curved inwards. The woman will place her hands on top of the man's hands so that her fingers rest against the man's fingers.

Lead and Follow Leading is a nonverbal communication between the man and the woman. The man only needs to indicate to the woman where he wants her to go or what he wants her to do. The woman is responsible for moving herself where she is being led. The man should not try to make the woman move where he wants her to go and the woman must not decide what she is going to do before she is led. This is called backleading and makes leading and following very difficult. In order to lead and follow well, both partners must have a connection, which needs to be maintained at all times. In an open dance position, as in West Coast Swing, the connection comes through the hands. Both the man and the woman should pull their hands away from each other, creating a slight pressure, and must be practiced when they learn how to dance together. There is always an equal amount of pressure towards or away from your connecting point (in this case, the fingers). There should be not squeezing, or gripping of your partner's hands and no use of the thumbs. This may be challenging in the initial stages of when you and your partnet learn how to swing dance, but can be achieved as you practice together.

These are the most basic movements and techniques in West Coast Swing. Learning to dance takes a lot of practice and these steps and techniques should be practiced frequently until both you and your partner are comfortable with them. In the beginning, when you learn to dance, the steps may feel uncomfortable and even awkward, but over time they will become automatic and will feel natural. Once you get these basic steps down, you will be ready to start to learn the many turns and variations in the dance.

How To Swing Dance

There are many different types and styles of Swing. One of the most popular styles is called East Coast Swing, or Triple Time Swing. It consists of a rotating basic step with lots of spins and turns and is danced to moderately fast music. A lot of 50s music is good for dancing East Coast Swing. Just as in all forms of partner dancing, its important to learn the proper footwork and timing, and how to lead and follow.

Footwork and Timing

Most of the patterns in East Coast Swing are made up of triple steps and rock steps. The count for a triple step is 1&2 and the count for a rock step is 1,2. The basic step in East Coast Swing consists of two triple steps and then a rock step. Therefore the count for the basic step is triple step, triple step, rock step, or 1&2, 1&2, 1,2. Below is a description of the basic step in East Coast Swing. Remember that because the steps are quick, they should all be very small and the feet should never be more than shoulder width apart. This will keep your feet under your body and give you better balance.

Basic Step

Man's part

1. Take a small step to the side with the left foot (count 1)
2. Close the right foot to the left foot (count &)
3. Take another small step to the side with the left foot (count 2) Do not close the right foot to the left.
4. Leaving the right foot where it is, replace your weight to the right foot (count 1)
5. Close the left foot to the right foot (count &)
6. Take a small step to the side with the right foot (count 2)
7. Take a small step back with the left foot (count 1)
8. Replace your weight to the right foot (count 2)


Lady's part - The lady's part is the natural opposite of the man's part.

1. Take a small step to the side with the right foot (count 1)
2. Close the left foot to the right foot (count &)
3. Take another small step to the side with the right foot (count 2) Do not close the left foot to the right.
4. Leaving the left foot where it is, replace your weight to the left foot (count 1)

5. Close the right foot to the left foot (count &)
6. Take a small step to the side with the left foot (count 2)
7. Take a small step back with the right foot (count 1)
8. Replace your weight to the left foot (count 2)


Note - Steps 1-3 for both the man and lady is the first triple step, steps 4-6 is the second triple step and steps 7 and 8 are the rock step.

Partnering

Dance Position East Coast Swing is danced in an open dance position which means that the man and woman will dance facing each other holding hands. The lady should curve her fingers so that they form the shape of a "C." The man will hold his hands out in front of his body with his palms facing towards each other and his fingers curved inwards. The woman will place her hands on top of the man's hands so that her fingers rest against the man's fingers.

Lead and Follow Leading is a non-verbal communication between the man and the woman. The man only needs to indicate to the woman where he wants her to go or what he wants her to do. The woman is responsible for moving herself where she is being led. The man should not try to make the woman move where he wants her to go and the woman must not decide what she is going to do before she is led. This is called back leading and makes leading and following very difficult. In order to lead and follow well, both partners must have what is called a connection, which needs to be maintained at all times.

In an open dance position, as in East Coast Swing, the connection comes through the hands. Both the man and the woman should pull their hands away from each other creating a slight pressure. There is always an equal amount of pressure towards or away from your connecting point (in this case, the fingers). There should be not squeezing, or gripping of your partner's hands and no use of the thumbs. This will break the connection.

These are the most basic movements and techniques in East Coast Swing. Once you learn the basic step, you will be ready to start doing all kinds of different spins and turns.

How To Do the Groucho Swing Dance Move

The “swing dance” emerged in America the way jazz did, from African Americans in between the Civil War and the turn of the 20th century. During the early days of jazz in Harlem, the swing was danced in the halls and clubs of Manhattan. Swing dance is a general term that covers different dance routines that have evolved through the years into different variations, the most popular of which is the “Lindy hop,” a dance step popularized by Shortie George and Frankie Manning. The Groucho was named by Manning, in honor of Groucho Marx and his chicken-like walk.

In the 1920s and the 1930s, dancers tried and competed in various dance contests all across the U.S. By the 1950s, you could find people of different colors and classes dancing in Harlem, which was where the swing dance, and eventually, Lindy Hop was born. This dance evolved from the popular dance at that time, the Charleston.

In other places, this groucho move is not named as such, but due to its distinctive shifts, dancers easily recognize the steps. And even if it is based on the “Lindy hop”, the groucho move is slightly different from the basic step or side pass moves. The groucho is based on the eight-beat (step-step-rock-step-step) step and it always starts in the closed position.

In the forward groucho, as the couple prepares to dance, the woman’s left hand is on the man’s left shoulder while the man’s hand is by the middle of the woman’s back near the left shoulder blade. They then start with a rock step (step-hold-step) and then the man moves the woman in front to face him as they triple step twice. The man then makes two steps forward as the woman makes two steps backward. Then the man steps forward as the woman stays put and then both he and she do a triple step.

The reverse groucho also starts in the closed position with the man’s hand on the woman’s back and the woman’s hand on his shoulder. As with the forward groucho, the couple starts with a rock step and then two triple steps while the man moves the woman to face him. The man then makes 2 steps backwards and the woman makes two steps forward. Then, the man does a triple step in place while pulling the woman back into the closed position as she triple steps along with him.

You can do many other variations like making an inner spin or an outer spin that can be done together at the same time or one partner can do it alone. This added variation is usually made at the count of 5 and 6 (in place of making 2 steps), and getting back into closed position afterwards.

The swing dance is supposed to be a smooth and relaxing type of dance. There is no mystery in this dance or drama, only pure enjoyment and fun. Try dancing it with a good partner and you’ll be swinging away in no time.

Source: Tematco.com

How To Buy the Right Dancing Shoes for Swing

Swing is one of the most famous types of ballroom dance. It is a form of step dancing. It involves a lot of intricate movement and has a wide variety of twists and turns. There are different forms of swing dances and each form has its own movement. Wearing the correct outfit and shoes are essential.

Every dance has its own type of dancing outfit and shoes. There are different types of dancer’s shoes available. There are tango shoes, ballroom shoes, ballet shoes, jazz shoes, tap shoes and swing shoes.

Swing shoes are made especially for lindy hop dance or swing dance. When swing was developed in the 1920s, there were no specific shoes for it. Swing shoes were created when the demand for more accurate swings and slips began to grow.

Moving in the right way is crucial in dancing the swing. Wearing the correct swing shoes will affect how the dancer glides and swings. Regular dancers' shoes are different from swing shoes. Since swing has a wide variety of movements, regular shoes will not support the feet properly. This is why buying the correct type of swing shoes is important.

Dancers should consider some factors when buying swing shoes. Here are some tips on how to buy the right dancing shoes for swing.

1. When buying swing shoes, the first thing that needs to be done is to go to a shoe store. Department stores such as Sears or Target have a wide collection of dancing shoes. Shopping online is also a good way to find the right pair of swing shoes. The internet has almost everything, this is why dancers who are looking for swing shoes will find it more convenient. Dancers can also choose from various selections of swing shoes from different online stores. The advantage of shopping online is that searchers can visit different store with just one click. Swing enthusiasts can also look into specialty stores that sell dancing shoes. Specialty shoe stores sell several types of shoes such as costume shoes. Aside from a large selection of swing shoes, a specialty store can also customize shoes that will fit the needs of the buyer.
2. Once you have decided where to buy the shoes, the next step is to know what style of shoes will suit you. Swing shoes come in a wide variety of styles. They are also made from several materials such as suede and leather. It is advisable to look for swing shoes that have smooth soles.
3. After choosing the style, the next step is to find the proper fit. Swing shoes should not be snug or loose. The shoes should have an allowance so that the dancer’s feet can breathe while doing the intricate steps of swing. They should also be lightweight, durable and provide comfort while dancing.

Buying the right kind of swing shoes is very essential. Proper swing shoes will help the dancer move accurately with comfort. Having the right swing shoes can emphasize the dancer’s confidence, elegance and class.

How To Follow Swing Dance Etiquette

Swing dancing as a pastime was once a huge hit in America. It has recently been experiencing resurgence in popularity throughout the United States. However, its origins are widely unknown and unclear, because of its wide popularity. Swing dancing could have descended from Lindy hop, the Waltz, the Fox Trot, the Charleston and many other ballroom dances. All of these contributed to the rise of Swing. Yet, like any other dance, one should follow swing dance etiquette. This is essential so you will have a good time during your dancing spree. You will also be able to attract possible dance partners. You should be able to satisfy yourself and provide the enjoyment for others as well. Here are some swing dance etiquettes you can follow.

If you are a beginner, you may notice that better dancers have been doing it for a long time. Do not be discouraged. Everyone starts as a beginner. Remember that you are allowed to dance even if you do not have the experience. You should remember that you want to dance to enjoy, not competing with others. It will not be long before you will be comfortable in dealing with other dancers.

Be sure to smell good. You will be dancing with a lot of people in a closed environment. You would not want to be criticized of being stinky, would you? You can chew gum or mint or use mouthwash. Avoid eating foods with garlic or onions since this may smell bad. Wear a deodorant or cologne that is not too strong for your possible partner. You may also need to bring some extra outfits or handkerchiefs or towels. Just look and smell fresh.

Consider who to dance with. It is good to dance with people of different levels of experience. You can learn from dancers who are more experienced. You can also share your experience and help others improve if you are dancing with less experienced dancers. It really does not matter who you will dance with, as long as you are having fun while dancing with different people.

When asking for a dance, observe what your potential partner is doing before you ask for a dance. Do not interrupt if the person is into a conversation. You should politely ask the person, "Would you like to dance?" while establishing eye contact. Do not surprise the person by grabbing him/ her into the dance floor. Ask the person if he/ she would like to dance with you for two consecutive times. It is usual in every dancing community that partners would dance only once at a time. You can also ask a person from a large group by asking, "Would one of you like to dance?" Do not be afraid to be turned down, though. It may happen at times.

When asked for a dance it is customary that you would want to dance with the person. But there are also instances that you would not want to. Try to turn them down politely by saying, "No thank you".

When dancing, it is essential for you to smile and make eye contact with your partner. However, do not stare at your partner since this may make them feel awkward. You can look at your partner's shoulder or earlobe if staring is difficult to avoid. You have to focus on your partner. Do not look at others while dancing with your partner. This will send a notion that you are not interested with your partner. You have to make your partner feel that they look good. You have to be sensitive with how they feel. The objective of social dances is to socialize with other people. A good conversation is not bad etiquette and you can create a good rapport with your partner too.

Being quiet and savoring the moment is also a good thing to do, however. It is said that actions speak louder than words. But be sure also not to touch your partner in inappropriate places. You should have to let the song run at least halfway if you are too shy or too unconfident that you are not doing well with your dance partner. This will avoid your partner from feeling bad. There are instances that you were not able to execute a dance perfectly. It is not imperative to apologize, but it is better to do so to make sure that your partner is alright. Thank your partner for each dance that you shared.

Clap for the songs. You can clap for the band
or live performers or the DJ providing the songs. Remember that you will not be able to do a dance without musical accompaniment. You will show appreciation by clapping.

Jive Dance History: The Origin of The Swing Dance

The jive dance history can be traced to the Negroes found towards the South East of the United States, which was synonymous with war dances by the Seminole Indians hailing in Florida. There was some reference suggesting that the dance may have been copied by the Negroes from their Indian counterparts. Another suggestion made, claimed that the Seminole Indians copied the dance from the Negroes who had come with the jive dance from Africa. The last suggestion may be more accurate because there is likelihood that the “Jive” word was originate from the word “Jev” from the Wolof language in West Africa meaning “to talk disparagingly”. The “jive” word also bears the same meaning it has when it is used as a Negro slang to refer to exaggerations or misleading talks, even though this may have been taken from the English modification of the word “jibe”. The word “Jibe” also has a number of other slang meanings such as; sexual intercourse, gaudy merchandise and marijuana. It is not clear if these meanings made the term be used for jive dance and therefore, determining which metaphor is for what, can become quite a task.

History of Jive dance is known by several names. Sometimes it is referred to as Swing, Lindy, The Charleston or Lindy hop even though it is a different type of dance. The dances bare some similarities and have interconnecting steps. The jive music is in the 4/4 time meaning there are four beats to each measure, the dominant note of measure is the quarter note. It is normally performed using a series of triple and single steps. It is also possible for the jive dancers to move in a two beat jive, in which the forth and the third steps can be replaced on an occasional basis.

In a competition, jive ballroom dance is normally the last dance and is considered to be a very hard dance to perform compared to the other dances. It is because of this purpose that most jive dancers save energy for the last burst to end a night that was filled with competition. The jive dance consists of chasse turns, kicks and steps made with the feet. These in many cases, may be very complicated and the dancing partners should be careful to maintain their rhythm focus to prevent slipping off the track.

According to the jive history, the dance has some direct relation to the swing. This is as a result of its evolution from the various competitions held in America and other parts in Europe in the early eighteenth century. Eventually, the Jive music developed an individual flavor between the 1950’s and 1960’s. Today, it consists of easy melodies and bouncy rhythms. During competitions, dance partners are mostly judged on the basis of energy placed on the performance and including the steps. Foot kicks and flicks must not only be a form of decoration. Their importance should also be in the timing and rhythm including gestures, if it is being used in specific contexts. The jive’s moving center is handhold and must be kept firm. Evident from jive history; good coordination is vital specifically in the execution of hand movements and sharp turns that may be difficult.

Fast Swing Dance Styles

Several areas have their own editions of swing dancing. Many swing dances acquired their names from the places they arose, or from events of the day. For instance, the Lindy Hop acquired its name from Charles Lindbergh’s transatlantic flight of steps, which made the headline “Lindy Hops the Atlantic.” Additional names, such as “Jitterbug” can buoy bring up to a variety show of swing dances. Almost swing dances added up from a intermix of African and European mode dancing, have fast, amusing movements and use the popular music genre of the time. Here are a hardly a long-familiar swing dance styles.

Fast Swing Dancing Styles

Ultimate Lindy Hop Showdown 2006 – Liberation Division. Lindy Hop at it’s best!!! East Coast Swing Dancers and West Coast Swing Dancers, eat your heart out!

Easy Swing Dance Tutorial

Want to be great dancer and be a hot favorite among friends? Then it makes sense to go for a swing dance tutorial and learn the swing dance steps. This is dance which can be performed well on a vast and open dance hall. As you know swing dance became popular in 1920’s with the popularity of jazz music and is actually a group of dances.

The most popular of the swing dance is the Lindy hop and many more such as Bop, Push and West coast swing are basically derived from the sing dance of the East Coast. There are certain styles adapted by the Swing danced on the East Coast and its specific techniques are recognized and by the National Dance Council of America. These formats are used in dancing competitions.

Single Step Swing Dance Tutorial:

The East Coast Swing dance songs have a six beat rhythm unlike the other swing music songs which adopted the four beat rhythms.

1. Step backwards with left foot on the first beat which is a rock. Now keep your right foot forward on the second beat to the place you started. On the third beat come back to position with your left foot. On the fourth beat follow up with returning weight to the right foot so that you can perform the fifth step with your right foot. During the sixth beat return weight to the left and backwards and then get ready to start the next round of dancing your partner should follow the same moves with the steps done on the opposite foot like a mirror image.

2. Triple Step Swing dance tutorial: Follow the same method of dancing as above. The only difference is that whenever you do a stepping move, does a step-tap move with your feet instead of just a stepping move. This is to suit songs with slow rhythm where a single step would look awkward and the step-tap makes it look more effective.

3. Basics in swing dance tutorial: By leaning back slightly while dancing as if about to sit on a chair you can hold your partner better and balance her weight with your arms. This will automatically make both dancers to maintain their center of gravity. It helps the lead dancer to maintain his lead as well.

4. Dancing position in Swing Dance tutorial: Both partners should face each other and stand six inches apart. Keep your head up and your shoulders relaxed.

5. Hand Hold in Swing Dance tutorial: Lead dancer should hold his partner’s right hand with his left hand at around waist level. He should place his right hand slightly below his partner’s left shoulder blade at about 90 digress angle from his body.

6. Follower places her left hand on the right upper arm of the lead dancer grasping his upper arm or shoulder lightly. Her right hand should rest on the lead dancer’s left hand. Follow the guidelines mentioned in the swing dance tutorial and you will be able to perform this dance in no time.

Lead and Follow in West Coast Swing

The woman's first step in West Coast is usually forward. In Jive, many figures begin with a rock apart—the man rocks back, and he leads the woman to rock back as well. In essence, she is "mirroring" his step. If he stood before a mirror and stepped back, his image would step back, too. In West Coast, the woman doesn't often mirror the man. Instead, she truly "follows" him. He steps back, and he draws her forward and toward him.

We should keep our joined hands low. The woman’s forearm should be horizontal, and upper arms should be parallel to your torsos and tucked in. Lead and follow will be sharper and clearer if the upper arm is more connected to the upper body and the force through the lower arm is directed toward the body’s center. If arms are loose and flopping around, the lead will be delayed and less clear. If hands are high, his lead will go toward her shoulder, and only her shoulder will move.

If you have very different heights, you might choose to hold your forearms in line with each other and therefore at an angle to the floor, rather than to have the taller person’s forearm angled and the shorter person’s forearm horizontal. The goal is to have a strong look, a strong connection, and a clear line of communication.

In leading, it is important not to rely on the hand and arm only. If the man wants to lead the woman forward, he must not pull her to him with his arm. Instead, both he and she must maintain toned arms. He steps back, not pulling, but drawing her toward him with his whole body. He “takes her with him.” This is a much nicer image than one involving pulling, tugging, or jerking.

The tone in your arms must be firm but not stiff. Think about what happens when a train starts to move. The engine begins to roll. A bit later, the coupling with the next car grabs, and car #2 starts with a jerk. Then the next coupling grabs, and car #3 lurches forward. This is what stiffness does. We want an elastic tone, so that the man can draw the woman forward smoothly and not with a jerk.

A diesel engine at the head of a train—you might get an image of a very strong lead and a passive follow. On the contrary, the man should not overdo his lead. Once you get her moving, let her dance the figure, moving down her slot. Try not to disturb her again until you must stop her or turn her within the slot. And following cannot be passive, because the man’s and woman’s steps are often so different from each other. More than in many rhythms, she needs to know the figures. She can’t necessarily look at where the man is or at what he is doing and then adjust to match. Think of the Left Side Pass. His first step is back and her first step is forward. So far, so good, but then he steps side and back out of the slot, and her second step is again straight forward. There is no clear relationship between those two “second” steps. She has to know to stay in her slot (and not to follow him out of it).

A version of this article was originally published in
the Dixie Round Dance Council (DRDC) newsletter, June 2010

Lead and Follow in the Swing Rhythms

Some of the Swing rhythms that we enjoy are Jive, East Coast Swing, West Coast Swing, and sometimes Lindy and Hustle. Jive has the fastest tempo, at 40 or even 45 measures per minute. It is an energetic, bouncy, up-and-down dance and is circular, with the man and woman dancing around each other. East Coast Swing is slower, circular, and instead of hopping up-and-down action, it has scoopy side-to-side movement in its stepping. Lindy is often even slower than East Coast Swing and has a more elastic, gliding kind of movement. And West Coast Swing and Hustle are the slowest of the group, at about 30 measures per minute. Even more characteristic, they are slot dances in which the woman dances back and forth on a linear path on the dance floor, and the man either blocks her way and sends her back or steps out of her way and dances around her. She never dances around him. She may get to feeling like a yo-yo in these dances, but a smooth and flowing yo-yo, not a jerky bouncy one.

Leading and following in the smooth rhythms, like waltz or foxtrot, come through your dance frame. In closed position, you have contact with your partner at your lead hands (man's left and woman's right), but you connect at many other points, too---the man's right hand on her back, the woman's left arm lying along his right and her left hand on his upper arm, and contact at the hips or lower torso. If this frame is kept toned, then lead and follow can be transmitted and felt at many points of contact.

In the swing rhythms, lead and follow comes much more through joined hands only, rather than broadly through the frame. We spend less time in any kind of closed position and more time in an open facing position. However, a well-toned frame is still important. Keep your upper bodies relatively still, your shoulders parallel and horizontal, your arms not stiff but firmly toned. In this way, your body movements will be transmitted down your arms and to your partner. The lead will come from your frame, but indirectly, through the arms and hands. So, if you want your partner to move toward you, don't bend your arm and pull on her. Instead, step back with a toned upper body and so draw her toward you. Keep your hand connection low. Her center of gravity is at hip level, so movement directed there will move her body most effectively. If you aim a lead at a shoulder, only her shoulders will respond, not the whole body. Don't raise your handhold unless you want her to turn under.

The characteristic swing handhold aids in this kind of lead and follow. The man holds his hand in front of his body with his palm toward himself, his thumb up, and his fingers pointing across his body (i.e., fingers of left hand pointing right). The woman holds her hand up so that her palm faces her partner. Her fingers are up and her thumb points across her body (i.e., her right thumb points to her left). She then curls her fingers over the ridge formed by his palm edge and forefinger, sort of like she's hanging onto a branch. As he steps back, his palm and fingers will pull on her fingers. As he steps forward, the back of his hand and fingers will push against her palm. His thumb will gently lie on the tops of her fingers and allow him to move her hand to the right or left. The lead flows from the leader's frame, through his arm and hand, into her hand, arm, and frame.

A version of this article was originally published in
the Dixie Round Dance Council (DRDC) newsletter, May 2010

Single Swing

4 beats/measure; 26 - 46 meas/min

In the 1920s, swing dancing emerged as young people moved to the jazzy, bluesy, big band music of the time. In round dancing, the dominant swing rhythm is East Coast or triple swing. However, the figures that we use have mostly come from International style, competition jive, and most of our cue sheets identify these dances as "jives." There has been some effort to distinguish between triple-swing and triple-jive, with jive being faster, bouncier, and more in place, and swing being slower and with more travel during the triples.

Single Swing is certainly not as common as the triple style, but there are a few perennially popular Single Swings, and Roundalab has begun to standardize and to list some Single Swing figures. Actually, any triple swing figure or jive dance can be danced as a Single Swing. Simply dance each triple or each chasse as a single slow step. Each 6-count figure changes from a rock, recover, and two triples to a rock, recover, step, step (q,q,s,-; s,-,), four steps over the six beats of music. So visit the Jive page to see many more figures than are listed here, and make the timing conversion yourself. Dance with soft knees, with forward poise, and on the balls of the feet.

Let me mention that less common still is "double swing" with six steps or actions over the six beats: rock L, recover R, press L, step L; press R, step R, (q,q,q,q; q,q,) (of course, the woman begins with her right foot). I don't think I have ever seen a round dance choreographed as a double swing, but I did once see a triple jive danced with some double swing styling. The press actions were done as little, stabbing kicks into the floor: rock, recover, kick, step; kick, step. We round dancers certainly have the licence to make any dance our own.

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 Rock phase III qqs; s	In a facing position, rock apart L (W apart R), recover, step side, -; side, -,	In Shout! by the Worlocks, there is a side touch side; american spin with jazz hands - basic rock to low butterfly;;; to a 3-measure neck slide (qqssqqss);;; and a swivel 4 quick to face;
Link Rock phase III qqs; s	In left open facing position, rock apart L (woman apart R), recover, and small steps fwd, -; sd, -, to closed position. You are "linking" yourselves more tightly into closed position. This figure can turn up to 3/8 RF to end in CP facing wall unless otherwise cued. For instance, you might begin in left open facing position LOD and link to CP facing wall.	In Long Tall Sally by Eum, there is a basic rock - fallaway throwaway;;; link rock - fallaway rock;;; progressive rock 4; to a slow side close;
Fallaway Rock phase III qqs; s	In closed position, rock back on lead feet to semi-closed position, recover to face partner, step side, -; sd, -,	In Jump Jive and Wail by the Schmidts, the dance begins with a swivel walk 4 together;; fallaway rock - fallaway throwaway;;; link rock - change places right to left;;;
Fallaway Throwaway phase III qqs; s	In closed position facing wall, rock back L (W bk R) to semi-closed position, recover, step forward L turning slightly LF (W fwd R commencing up to 1/2 LF turn), -, sd R (W bk L) to left open facing position LOD, -; May be done in other facing directions.	In Rock This Town by Oren, there is a link rock to face wall; ,, right turning fallaway twice,;;; ,, fallaway throwaway,;; link rock to semi; ,,
Throwaway phase III ss;	In SCP facing LOD, step forward L turning slightly LF (W fwd R commencing up to 1/2 LF turn), -, sd R (W bk L) to left open facing position LOD, -; May be done in other facing directions.
Left Turning Fallaway phase III qqs; s	In a facing position, rock back L (woman back R) to semi-closed, recover R to face, fwd L turning LF 1/4 sort of like starting a pickup; and side R turning LF 1/4, The full figure makes a turn of 1/2, perhaps from facing wall to facing center.
Right Turning Fallaway phase III qqs; s	In a facing position, rock back L (woman back R) to semi-closed, recover R to face, side L turning RF 1/4 sort of like starting a maneuver; and side R turning RF 1/4, The full figure makes a turn of 1/2 perhaps from facing wall to facing center.	In Rock This Town by Oren, there is a change hands behind the back to face center; ,, link rock to face wall;; right turning fallaway twice;;; fallaway throwaway; ,, link rock to semi,;;
Change Places Right to Left phase III qqs; s	In CP facing wall, turn to SCP and rock back L (W rock back R), recover, fwd & sd L (W fwd & sd R stepping in front of man), -; raise lead hands to lead W's underarm turn and step sd R turning 1/8 LF (W spin 5/8 RF under joined lead hands and step back L) to left open facing position DLC, -, Note that couple turns about 1/4 LF. If begun in left open facing or butterfly position, first steps will be rock apart and recover. May be done in other facing directions.	In Hooked On Swing by the Windhorsts, there is a side touch side; change right to left - change left to right;;; slow twist vine 4 to banjo checking;; to a fishtail; walk and face;
Change Places Left to Right phase III qqs; s	In left open facing position, rock apart L (W apt R), rec raising lead hands, fwd L turning RF (W fwd R spinning 3/4 LF under joined lead hands), -; sd R, -, (you might go from diagonal center back to wall)	In Woodchoppers Ball by the Lawsons, there is a change places right to left - change left to right;;; change hands behind the back - change left to right again;;;
Change Hands Behind Back phase III qqs; s	In left open facing position, rock apt, rec placing R hand over woman's R hand, fwd L releasing L hnd and turning 1/4 LF (W fwd R turning 1/4 RF) to tandem position M in front of W placing L hand behind back, -; change W's R hand to M's L hand and step side and back R turning another 1/4 LF (W sd & bk L turning 1/4 RF), -, (half turn for each)
Jive Walks phase III qqs; s	Rock back to semi-closed position, recover, step fwd, -; fwd, -,
Shoulder Shove phase IV qqs; s	In left open facing position with lead hands joined rock apart L (woman apt R), rec R turning RF (woman LF), step sd gently pushing left shoulder to her right shoulder, -; turn to face and step back drawing shoulders away, -,

West-Coast Swing

4 beats/measure; 22-35 meas/min

West-Coast Swing is obviously related to the other swing or jive rhythms, and it evolved out of swing and lindy in the 1930s. It is lazy, slow, and easy-going. It is the official state dance of California, and it dances best to easy-going bluesy or beach music. It is an evocative dance, some say sexy. You have time to embellish the figures with whatever body styling you might be moved to add.

Where swing, jive, and lindy are circular dances in which the man and woman travel around each other, West-Coast Swing is a slot dance in which the woman dances up and down within a 3 X 6 foot rectangle on the dance floor, sometimes making 1/2 turns at the ends and other times moving back and forth facing the same direction. The man leads the woman forward. He steps out of her way, dances around her in various patterns, and then gets back into the slot again.

One timing pattern might be called "sugar timing," after the Sugar Push, maybe the characteristic or defining figure of the rhythm. Sugar timing is 1, 2, touch, step; 1/&, 2, — that is four quicks and a triple. This pattern is kind of tough in the beginning; you sure want to step on that third beat, so be patient. Repetition and floor-time will iron it out. West-Coast also uses the basic jive pattern of 123&4; 1&2, a "whip" timing: 123&4; 123&4; and other patterns as well.

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.
Sugar Push phase IV 1234; 1&2	The "sugar" figures in West Coast are the ones in which the man does not get out of the slot. He stays in front of her, blocks her way, and sends her back in some way. (The other major groups of figures are the "pass" and the "whip" figures.) In left open facing position facing line of dance, step back L drawing the woman forward (W fwd R), back R, touch L to R and push into her, perhaps patting trail hands and even bringing faces together. On the touch, she might hook R behind and turn a bit RF. You probably can't kiss (get a little sugar) at this point without risking injury, but the goal is to look coy and snuggly. Then recover on the lead foot on beat 4. Finish the figure with an anchor (see discussion below) — step back and under the body with the trail foot/replace, replace, Although this is the standard description, the sugar push (and other sugar figures below) are also danced 123&4; 1&2. Rather than a touch, step on beats 3 and 4, we dance close/close, fwd—a little triple in place—followed by our anchor. We have been told that outside of round dancing, in the swing club world, this 1, 2, two triples is the basic pattern. West Coast Swing seems to be a dance rhythm that invites a variety of syncopations and variations. Chris & Terri Cantrell have written on the topic (see links page). They divide the figure into three parts of two beats each and list several ways to vary each part: Beginning -- walk back 2 as described above (1, 2,) kick ball change (1/&, 2,) heel ball change (1/&, 2,) point ball change (1/&, 2,) point step (1, 2,) Middle -- touch step described above (3, 4;) flick step: he can flick LIF of R, back L; and she can turn 1/4 RF and flick RIB of L, side R; (3, 4;) hesitate touch step (&/3, 4;) triple: he can recover L/XRIB of L, back L; or XLIF of R/recover R, forward L; and she can XRIB of L/XLEF of R, back R; (3/&, 4;) kick & triple: kick to side and triple diagonally forward (woman back) (&3, &4;) Ending -- anchor or coaster described below (1/&, 2,) overturn the anchor: turn away from partner on first step and back toward partner at end of second beat (1/&, 2/&,) kick to the 4 & step: kick trail foot forward/place trail ankle to lead knee (the "4"), step side on the trail foot, (1/&, 2,) point step point (1/&, 2,) step point step point step (&1/&, 2&,) cross cross step: cross in front like cross swivels (1/&, 2,) out out in in: side L/side R, recover L/recover R (&/1, &/ 2,) These sorts of variations may be used in many other figures as well.	The first West-Coast Swing we learned was the Raybucks' I Love Beach Music. It uses both jive and west-coast figures. Part A starts with right turning triples; throwout; to a sugar push and an underarm turn;;;
Anchor Step phase IV 1&2	The anchor is a common ending sequence in many West Coast figures. For both the man and the woman, it is a small step back and under the body with the trail foot, replace, replace, with a timing of quick/&, quick. The man steps in place R/L, R, with the right foot being placed instep to left heel. The woman steps L/R, L, There are really no steps. The feet don’t move, but there is weight change and hip movement forward and back. Keep the upper body still. There is a rocking-back-and-forth feel to it—back/forward, back. Just as the anchor is a common ending to west coast figures, the step for the man just before the anchor is usually forward toward the woman. So, like a nautical anchor, our anchor step stops your movement. It gives both of you a moment to stabilize your partnership and adjust your position in preparation for the next figure. It serves as characteristic punctuation at the end of one figure and prior to the beginning of the next figure. Where the step before the anchor moves the man toward the woman, the anchor itself moves you apart and sets up the characteristic elastic relationship to begin the next figure.
Coaster Step phase IV 1&2	The coaster step is an alternate ending step that you can use. For the man, it is like a little sailor shuffle with the trail foot: cross right behind left/side L, side R. For the woman, it is like a little back hitch: back L/close R, forward L. West Coast Swing is unusually flexible in allowing individual expression, but these coaster steps are not really preferred. For one thing, the coaster step can shift the man a little to his left and so disturb his relationship to the woman, firmly placed in her slot. Second, as the woman steps back/close, she is likely to stick her backside out in an inelegant sort of way. Third, if she steps forward on the last step of her coaster, she will find herself moving forward at the beginning of the next figure, and she really shouldn’t begin to move forward until she is led to do so by her man. Another way to look at this last point is to see that her coaster causes one figure to flow smoothly into the next. Jive is a rhythm that properly flows in this way, but West Coast Swing should be more grounded, more segmented, more punctuated. A good place for the coaster is half way through a whip turn for the woman. She is facing LOD, and she wants to check her progression toward RLOD and get moving back toward LOD. And for the man, he might want to use a coaster to end his whip turn if he hasn't quite gotten himself facing LOD. The coaster would naturally turn him a little RF and help him back into the slot.
Turning Anchor 1&2	Sometimes, a figure will have the man facing away from the woman, and the anchor will need to turn him back to face. His trail foot is free. He crosses right in back of left and spins RF 1/2/step L in place, XRIF of L. I suppose there is no reason to restrict this move to the man.	In the Preskitts' Draggin' the Line, there is a disco lunge for the man on his right foot, right finger pointing high (think of John Travolta in Saturday Night Fever), recover L, turning anchor to face woman; to and underarm turn – kick-ball change;; to a left side pass;,,
Kick Ball Change phase III 1a2	We do a small kick forward/close on ball of that foot, close other foot, (two wt changes)	In I'm A Man In Love by the Cunninghams, there is a rock recover ~ throwout ~ sugar push ~ kick ball change twice;;;; tuck & spin ~ left side pass;;;
Sugar Push With Rock Two 1234; 123&4;	This is a standard sugar push with a rock forward and back (W bk & fwd) inserted after the touch. It changes a 1-1/2-measure figure into a 2-measure figure. In left open facing position perhaps facing line of dance, step back L drawing the woman forward (W fwd R), back R, touch L to R and push into her, perhaps patting trail hands. On the touch, she might hook R behind and turn a bit RF. On count 4, rock fwd L (W bk R). On count 1 of the second measure, rock bk R (W fwd L). That is our rock 2. Then finish the standard sugar push. Step fwd L pushing into her and moving her back and away (W bk R). Finish the figure with an anchor — step back and under the body with the trail foot/replace, replace.
Sugar In and Out 1234; 1&2 (123&4; 1&2)	In a handshake position, step back L (woman fwd R), bk R (woman fwd L and turn 1/2 LF into man's right arm, a tandem, sort-of varsouvienne position) and man puts his left hand on her back, point or tap L, recover L (woman bk R/close L, fwd R turning 1/2 RF); and anchor. The man is almost doing a sugar push. The woman is turning into his arm and then turning back out to face again.
Sugar Push In Place 12&_4; 1&2 (123&4; 1&2)	In left open facing position, step back L (woman fwd R), sd R/sd L and hold (woman fwd L, close R/step L, bk R); both Anchor,, The woman is dancing a reasonably normal sugar push, but the man does a little side break and holds in place.
Sugar Push Hook Turn phase VI 1234; 1&2	In left open facing position, step back L (woman fwd R), bk R, touch L, fwd L turning 1/4 RF (woman bk R); cross R behind L turning 1/4 RF and taking lead hands over man's head (woman bk L)/step side L bringing lead hands to man's right hip (woman close R), fwd & across R and change to R-R handhold (woman fwd L) ending in tandem position man in front of woman, Note that the woman is dancing a standard sugar push (see top of table, above). The man is modifying the final triple. The hook turn can turn a full turn to end in the starting position.	In Knock Me A Kiss by the Schmidts, part A begins with a sugar push man hook turn - right side pass;;; tuck and spin - underarm turn both hook turn;;; switch to slow rocks; rock 4;
Hook Turn 1&2	The hook turn can be appended to other figures than the sugar push (see above), and both partners can do it. Again, it is a modified anchor step that turns the dancer in place 1/2. It is a little ronde with the trail foot crossing behind and turning RF (W LF)/step L (W stp R), cross R in front (W XLIF) completing a 1/2 turn and ending back-to-back, The hook turn is like a little circle vine in place.
Sugar Push With Rocks qqqq; qqqq; qq&q&q; (q-qq; qqqq; qqq&q;)	We described a sugar push with rock two above. Obviously, we could do any number of rocks, and this one is a sugar push that is interupted with four same-foot rocking actions. An interesting feature is the two transitions within the figure, one to get into same footwork and the second to get back out of it (the figure begins and ends with normal opposite footwork). Begin in left open facing position. Step back L, small bk R (woman steps fwd R, and then touches or presses L for the first transition), fwd L (W takes weight on L), bk R (W bk R); fwd L for both, bk R, fwd L, bk R; fwd L, bk R/fwd L (W bk R only—this is the second transition), and both Anchor blending to LOF again; During the four rocking motions, the bodies should be sliced, both with left-side lead as you rock forward L and right-side back as you recover R.	In It Ain't Necessarily So by the Cantrells, there is a wrapped whip;; sugar push with rocks;;; sugar push to a left side pass;;; sugar push to L-position and handshake to a right side pass;;;
Double Resist 1234; 12	It's in the sugar push family. In low butterfly position, step back L (woman fwd R), close R to L heel to instep (woman fwd L), tap L fwd with weight well into R hip and lean into partner (woman kick R fwd and lean into man kicking past man and as high as his right arm if you can), close L to R (woman small back R); tap R back and lean away fom partner (woman lean back and kick L straight back), close R to L (woman close L) and lean into partner, The lean into the woman actually leads or encourages her kick forward. Likewise, the pull on beat 5 leads her kick back. Ladies, put some punch into it, as though you are punting a football. But it is fluid and elastic. Both of you push in, and then both pull away.	In the Hurds' She's No Lady, part B starts with back 2 & quick side breaks twice;; double resist & kick ball change;; back 2 & quick side breaks twice;; double resist & kick ball change;; to a surprise whip;; underarm turn to triple travel & roll and a sugar push;;;;;;
Tuck and Spin phase IV 1234; 1&2	Like a sugar push, but the woman spins full RF on the last beat of the first measure: the man steps back, back, touch, forward. On the touch step, tuck the woman in (LF rotation), and on beat 4 check her rotation and lead her spin RF one full turn on her R foot back to face the man. Finish the figure with your anchor step. Actually, you do not want to make the full turn on beat 4. Ladies, spin almost all the way but complete the turn as you do your anchor. Use the anchor to stop your spin and to stabilize your position. I think this is true for all spins and twirls: if you go all the way before the anchor, then the anchor will be a little wild and out of control.	Part A of I Love Beach Music has a tuck and spin, left side pass;;; sugar push, and underarm turn;;;
Faceloop phase V 12	In a facing position bring joined hands in front of your face, and then over your head and behind your neck, A man's faceloop is commonly done with R-R hands joined. The man steps back L (W fwd R), back and side R turning RF to produce left shoulder lead and placing joined right hands over the man's head to neck. He places his left hand to woman's right hip, and she may do the same to him. We often dance the faceloop as a part of a Faceloop Sugar Push. In that figure, we simply dance the faceloop and then continue with the touch step of the sugar push, step L; and anchor. The faceloop might be delayed just a bit to conincide with the touch, the most "sugary" part of the figure, and we both have left hands to our partner's right hip. This particular "push" is very close and cozy. A man's face loop can also be danced with lead hands joined. The technique is that of a "reverse salute." He raises his left hand, bends his wrist back, palm up in front of his forehead, and in that way passes joined lead hands over his head. His forearm is momentarily in front of his face. As lead hands go over his head, his left wrist passes his right ear. The figure ends with his arm in front of his body. A woman's faceloop goes in front of her face and over her head. With a R-R handshake, it is helpful for the man to turn a little LF and so produce left shoulder lead. I don't remember ever doing a lead-hands woman's face loop, but the "reverse-salute" technique works here too. Her right palm is up. Her right arm ends up crossed in front of her body. His left arm goes behind her head outside of the partnership. And finally, I haven't seen any face loops with trail hands joined, but I suppose they could be done.	In You Were Right Girl by the Shibatas, there is a sugar push man facing LOD ~ underarm turn;;; left side pass with tuch & spin ~ whip with hand change behind the back ~ face loop sugar push;;;;; tummy whip;; surprise whip to RLOD;;
Sugar Bump phase V 1234; 1&2	This is a sugar push where the touch on beat 3 is replaced with a spin on the trail feet, he RF and she LF, and a gentle bump of his left hip against her right hip as you spin around a full turn. Begin in facing position. He steps back, she fwd. Recover fwd and she steps fwd, both lifting lead knees and turning to bump hips, continue turning around to face and step on lead foot. Finish with a coaster or anchor.	Childers' Java Jive has a sugar push, underarm turn;;; sugar bump, to a wrapped whip, and tuck and spin;;;;;
Cheek to Cheek phase V 1234; 1&2	Like a sugar bump but don't turn all the way around. Instead, turn to bump hips and then turn back to face again--no net turn. Begin in facing position. He steps bk she fwd, both fwd turning RF (she LF), then lift turn and bump. Finally, cross lead in front of trail and turn back to face partner, he LF and she RF. End with anchor or coaster. It may seem obvious that the name refers to our "lower cheeks," but I've been told that it is the "upper cheeks" that are being emphasized here. Turn your face to your partner's and gently touch cheeks if you dare.
Left Side Pass phase IV 123&4; 1&2	In left open facing position, step back L turning LF and getting a bit off the slot. Lead her straight forward down her slot. On beat 2, close R continuing to turn and lead her forward so that she passes on his left side, although at this point the man is pretty much facing her. On the first triple, step fwd/cl, fwd again into the slot; and she will step fwd R turning LF/XLIF turning, and back R; to face each other in left open position, having turned 1/2. End with a coaster and anchor.	In the Rotscheids' Honky Tonkin' On the West Coast, part A begins with a sugar push and left side pass;;; wrapped whip man overturning to tandem and right hands joined;; right side pass and tuck & spin;;;
Left Side Pass With Tuck and Spin 1234; 1&2	This is a combination of a left side pass with a tuck and spin on beats 3 & 4—see these individual figures above. In left open facing position, step back L turning LF and getting a bit off the slot. Lead her straight forward R down her slot. On beat 2, recover fwd R continuing to turn and lead her forward so that she passes on his left side, although at this point the man is pretty much facing her. Touch L to R (W tch R to L), and as you do, tuck the woman in (LF rotation). On beat 4 step fwd L into the slot again (W fwd R), check her LF rotation, and lead her spin RF one full turn on her R foot to face the man, each having turned 1/2. End the figure with an anchor step. I get the feeling that, in west coast swing, you can dance any "touch, step" as some kind of a triple, and here is a flourish that the woman can add to this figure. On 3 & 4, instead of a touch, spin, she can dance a quick sd R/XLIF, tucking, on 3, and then the fwd R and spin on 4. This same figure can be danced as a Left Side Pass With Tuck and Twirl by simply keeping lead hands joined throughout.	In I'm In Chains by the Reads, there is an underarm turn to a left side pass with tuck and twirl;;; to a rock whip;;;
French Cross phase IV 1&2	The woman steps forward R turning 1/4 LF, cross left in front of right continuing to turn another 1/4, and step back. This is a nice alternative any time the woman might otherwise do a run/run, run past her partner, and then turning 1/2. You'll see the french cross in the first triple of the left side pass and in the "flourish" described for the left side pass with tuck and spin (both described above).
Right Side Pass phase IV 123&4; 1&2	Very like the left side pass but begun in an L-position with the woman to the man's right and right-right hands joined. As he leads her past in front of him, he turns LF and so leads her past his right side. He steps sd L, rec R, close/step, fwd; She steps the same as in the left side pass: fwd, fwd, fwd, turning/XLIF turnint, bk; Again, end with coaster and anchor. Again, let me say that the left and right side passes are essentially the same. If you start in left open facing position, man facing LOD, the man will shift toward the wall as he steps out of the slot, and the woman will pass him on the inside of the circle, in both of these figures.	In the Prows' Draggin' the Line, part A begins with a side whip;; surprise whip;; double whip with outside turn man hook to tandem and right side pass;;;; to a sugar bump and quick side break;;
Throwout phase IV 1&23&4;	In two triples, move her from right to left and turn 1/2. He steps sd/cl, sd turning LF and leading her to do a french cross. End with anchor.
Slingshot Throwout 123&4; 1&2	In an L-position, with the man facing wall and the woman facing LOD, the man lunges to the side L and extends his arms to lead the woman to rock back R. There is an elastic feeling between them. Both recover onto their trail feet. During the two triples, step sd L/cl R, sd L beginning to turn1/4 LF (W sd R turning LF/cl L turning, back R); anchor R/L, R (W L/R, L), Of course, the first two steps constitute the "slingshot." We stretch apart and then recoil together into the throwout. May be done in other facing directions.
Traveling Side Pass phase VI 123&4; 1&2	Begin in an L-position. The man might be facing wall and the woman LOD to his right. You have a R-R handshake. The man presents his left hand, palm toward the woman, and this signals that we are beginning a Traveling Side Pass, rather than a regular Right Side Pass. Step side and forward L leading the woman to step fwd R down line in front of the man. Recover R, take L-L hands, and begin to turn her under your arms LF, first the left hands and then the right (woman steps fwd L and begins the LF turn). On the first triple, the man closes L/steps R, fwd L; while the woman triples in place as she turns around the man to end facing his back, hands still joined high. On the second triple, the man travels down line with a XRIF of L/sd & fwd L, XRIF of L and right hands will pass over his head and left hands; while the woman XLIB of R/sd R, fwd L, to end back on his right side again. Her total turn will be 1 & 3/4 or up to two full turns.
Side Breaks phase IV 1&2& 3&4&;	In facing position, lead feet free, step side L with a pushing action (woman sd R)/sd R, close L/cl R, sd L/sd R, cl L/cl R; Often the hands go out with the feet and back to the body as the feet come in. It's a little difficult to keep this figure from becoming a pair of "jumping jacks." Try not to move up and down, but keep the upper body still. These are also known as "Quick Side Breaks." Slow Side Breaks are danced a/slow, -, a/slow, -; and you might hear cued Side Breaks, two slows and four quicks (two measures total).
Cheerleader phase VI 1a2a3a4;	A cheerleader is a syncopated combination of a crossing step, a side step, and a heel tap. Roundalab tells us to XLIF of R/sd R, tap L heel to the left/sd L, XRIF of L/ sd L, tap R heel to the right; You can do a cheerleader in most any position, with either foot, and with same or opposite footwork. Another interpretation is to think of a cheerleader as four actions in 1/2 measure – XIF/sd, touch heel/sd, You might begin with the left foot and then repeat with the right, in which case the full measure would count out 1a2a3a4a; and you'd end with left foot free again. A third view gives the cheerleader as a 1/2 measure figure but begins with a side step – sd L leaving R foot extended with heel on floor, recover R/XLIF of R, Another way to describe this one would be to dance sd L/tap R heel, sd R/XLIF, Here's yet another that uses syncopated slow counts (s&s; &s&s;): XRIF of L, -, slight RF turn small sd L/tap R heel, -; bk R/XLIF of R, -, slight LF turn small sd R/tap L heel, -; bk L/XRIF of L, -, slight RF turn small sd L/tap R heel, -; and so on.	In the Hurds' She's No Lady, there is a sugar push,,; to 2 cheerleaders;; tuck & spin ending; tummy whip;;
Underarm Turn phase IV 123&4; 1&2	In left open position, step back leading her forward. Begin to turn RF, step forward R off the track to her right. She steps forward again. Raise lead hands and lead her into a LF underarm turn. The man steps fwd/cl, fwd turning a total of 1/2. She steps fwd turning LF/ XRIF turning, bk; also turning 1/2. End with coaster and anchor in left open position facing opposite from start. (a reverse underarm turn in any other rhythm — grumble)	In the Childers' Java Jive, part A begins with a sugar push and underarm turn;;; to a sugar bump wrapped whip and tuch & spin;;;;;
Man's Underarm Turn phase IV 123&4; 1&2	In left open position, step back L leading her forward R, fwd R turning 1/4 RF under joined lead hands and moving to pass her on her left side (woman fwd L turning 1/4 LF), sd L turning 1/4 RF/step R ( woman sd R/XLIF of R turning 1/4 LF), fwd L; anchor or coaster. End in left open position facing RLOD.
Alternating Underarm Turn phase V 123&4; 1&2	The woman does an underarm turn, the man does an underarm turn, and as a couple, you turn 1/2. In left open facing position, step back L (woman fwd R), fwd R turning 1/4 RF and raising lead hands (woman fwd L turning 1/4 LF under lead hands), sd L turning 1/4 RF/fwd R, fwd L spinning LF under lead arms (woman steps sd R/XLIF of R turning 1/4LF, bk R); end with anchor or coaster An alternative is to lead the woman's underarm turn during the first triple, as the man turns 1/2 RF. Man will be facing partner and RLOD. Then the man can do his LF underarm turn during the second triple – fwd R turn 1/2/fwd L turn 1/2, bk R under body, (as the woman does her anchor)
Surprise Underarm Turn 123 hold; hold,, 3&4; (123&4; 123&4;)	In left open facing position, step back L (woman fwd R), fwd R and crossing in front to move left out of slot and raise lead hands (woman fwd L), turn RF and lunge side L looking back at woman and turning woman and hold three beats (woman turns 1/2 LF and dances a coaster—bkR/cls L, fwd R; and steps fwd L, fwd R turning 1/2 LF,) and both dance an Anchor, man blending back into the slot to end in same position and same facing direction as start; There are several "surprises" in this figure. First, the man stops moving for three beats, although he does guide the woman to make a full turn during this time. Second, althought an Underarm Turn turns the couple 1/2, this one does not change facing direction. Third, although it is a [reverse] underarm turn, it has "whip" timing in that it takes two full measures.	In the Cantrells' Take My Love, part A begins with a tuck & spin – sugar in & out;;; underarm turn with head loop – surprise underarm turn – sugar push in place;;;;; to a whip turn;;
Whip Turn phase V 123&4; 123&4;	In left open facing or low butterfly position, line of dance, step back L (woman fwd R), recover forward R stepping off the track to her right and beginning to turn RF (woman fwd L turning sharply 1/2 RF). Chasse sd/cl sd turning RF to face reverse and to move out of the slot (woman steps bk/cl, fwd and turns sharply 1/2 RF). Put your hand on her back. Cross RIB of L turning RF, fwd L (she steps back L, bk R) to left open facing position LOD, finish with your anchor step; Let me pause and say that the man's right hand on the woman's back is more important than it might seem. The first two steps of the whip feels like an underarm turn. The lead that tells the woman that we are doing a whip (any whip) and not some passing figure is the making of this second connection with his trail hand. In an underarm turn, he does not take her with his right hand and he does raise his left hand. In a whip, he keeps his lead hand low and he does place his right hand on her back. I've described the standard figure in which the woman makes both turns in the first measure and does not turn in the second measure. Notice that her first turn on beat 2 is spiral-like. Her second turn on beat 4 is hip-twist-like. An alternative is to delay the second turn until beat 5. At the beginning of the second measure, she will step fwd L and turn 1/2 RF (spiral-like), then bk R, and anchor; Men, you might find that the hooking step at the beginning of the second measure pulls you away from your partner or that it leads her toward you. She needs to step away from you on this step, down the slot, as you prepare to return to the slot. If you do feel this tugging, you may simply close your R foot and then step side and forward L back into the slot. We have heard the hook-and-forward technique described as jive-like (circular) and the close-and-forward technique described as better west coast (more linear).
Wrapped Whip phase IV 123&4; 123&4;	In low butterfly, line of dance, step back, recover R stepping off the track to her right and beginning to turn RF, she steps forward. Raise lead hands over her head as you do a sd/cl sd turning RF to face reverse. She does a fwd/cl, bk still facing reverse. At the end of the first measure, we're in wrapped position facing reverse. Step behind releasing trail hands and turning, step side to face her again (she stepped bk, bk,) End with anchor steps. He makes a full turn, and she does not turn.	In the Williams' No Easy Lady, part A has a wrapped whip;; cheek to cheek and point;; and part B then starts with a sugar push and a kick ball change;;
Tummy Whip phase V 123&4; 123&4;	Like a wrapped whip but release lead hands and place right hand on her tummy or on the front of her right hip as you move RF around her. She can extend her arms out in front of her at the end of the first measure. It sort of looks like you are stopping her movement and she is lunging forward a bit into your right hand. The man steps bk, rec fwd trn RF, sd trn/fwd, sd & fwd; XIB trn, fwd trn, behind/sd, sd; She steps fwd, fwd, fwd/cl, bk; bk, bk, behind/sd, sd; He makes a full turn, and she does not turn.
Double Tummy Whip 123&4; 1234; 1&2	Any "double" whip replaces the 1,2 of the second measure with some 4-count sequence. This one is a tummy whip with a rock 4 at that point. The man sort of rocks the woman back and forth. He steps bk L, rec fwd & sd R to W's right side turning RF and putting right hand on the front of her right hip, sd L trn/fwd R, sd & fwd L to face RLOD; rock fwd R placing R hand on W's L shoulder blade, recover L, rock bk R placing L hand on front of W's L hip, rec L turning RF almost to face partner; anchor. She steps fwd R, fwd, fwd/cl, bk; bk, rec, fwd, rec; anchor.	In Malt Liquor V by the Bucks, there is a sugar push facing RLOD to a double tummy whip;;;; cheek to cheek ~ whip inside turn ~ kick/ball change;;;;
Side Whip phase V 123a4; 123a4;	In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side (woman fwd L turning 1/2 RF to face LOD), turn 1/4 RF to face wall point the left foot toward LOD to L-position hand on woman's back/hold, - (woman bk R/cl L, fwd R); hold (woman fwd L), recover L turning 1/4 LF to face LOD again (woman fwd R turning 1/2 LF to face RLOD), anchor; Could begin facing RLOD, I suppose.	In the Moores' Knock On Wood, the dance begins with hip pumps; side whip;; whip with inside underarm turn;;
Surprise Whip phase V 123a4; 123a4;	In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side beginning to turn RF (woman fwd L turning 1/2 RF to face LOD), sd L turning /recover R, fwd L (woman bk R/cl L, fwd R); rock fwd R leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand [surprise!] (woman rock bk L), recover L and raise lead hands (woman recover R), anchor (woman begins RF underarm turn and steps sd L/XRIF of L, bk L well under body to face LOD); In most whip turns, you end facing the same way you began. The surprise here is that you stop the rotation and end up only turning 1/2 -- man ends facing RLOD and woman ends facing LOD. May begin facing any direction.	The Reads' Rhythm Of My Heart begins with a surprise whip;; to a sugar push and cheek to cheek;;;
Double Surprise Whip	This is simply a surprise whip with an extra, surprise rock recover in the middle. It too turns 1/2. In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side beginning to turn RF (woman fwd L turning 1/2 RF to face LOD), sd L turning /recover R, fwd L (woman bk R/cl L, fwd R); rock fwd R checking and leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand to an L-shaped SCP looking at ptr [surprise!] (woman rock bk L), -, recover L (woman recover R), -; rock fwd R leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand [surprise again!] (woman rock bk L), recover L and raise lead hands (woman recover R), anchor (woman begins RF underarm turn and steps sd L/XRIF of L, bk L well under body to face LOD);	In Knock Me A Kiss by the Schmidts, there are sailor shuffles; double surprise whip;;; to a left circle pass;;
Whip Freeze 123a4; 1_;	In left open facing position, step back L (woman fwd R), fwd R crossing in front to move left out of slot turning 1/4 RF (woman fwd L and swiveling 1/2 RF), sd L/cl R, fwd L turning 1/4 RF (woman bk R/cls L, fwd R) to closed position having turned 1/2; continue turning RF and cross right in front of left to a lunge, look at partner, hold (woman continue turning RF and step side L, sway toward man, hold), on last beat of second measure swivel to face partner no weight change having made a full turn and so ending in starting position;
Whip Inside Turn phase VI 123&4; 123&4;	This is a Whip Turn in which the woman does a reverse underarm turn during the second measure. Begin in left open facing position. Step back L (woman fwd R), fwd and sd R moving to woman's right side (woman fwd L turning 1/2 RF), swivel 1/4 RF and step sd L/recover R turning 1/4 RF, fwd L; At the end of the first measure, partners have exchanged places and are in a loose closed position. To begin the second measure, the man crosses his right foot behind his left turning and raises lead hands to lead a LF underarm turn for the woman (woman fwd L beginning LF turn). He steps side L completing 1/2 RF turn (she steps fwd R completing 1/2 LF turn under lead hands). End with behind/sd, close (woman bk/cl, fwd); Through the whole figure, the man has turned RF one full turn. The woman has turned 1/2 RF and then 1/2 LF.
Whip Outside Turn phase VI 123&4; 123&4;	This is a Whip Turn in which the woman does an underarm turn during the second measure. Begin in left open facing position. Step back L (woman fwd R), fwd and sd R moving to woman's right side (woman fwd L turning 1/2 RF), swivel 1/4 RF and step sd L/recover R turning 1/4 RF, fwd L; At the end of the first measure, partners have exchanged places and are in a loose closed position. To begin the second measure, the man crosses his right foot behind his left turning and raises lead hands to lead a RF underarm turn for the woman (woman swivel 1/2 RF and steps bk L). He steps side L completing 1/2 RF turn (she swivels 1/2 RF and steps fwd R). Finish with an Anchor. The man steps behind/sd, close (woman swivels 1/2 RF and steps bk L/step, step); Through the whole figure, the man has turned RF one full turn. The woman has turned RF two full turns.
Whip With Hand Change Behind The Back 1,2,3/&,4; 1,2,3/&,4;	In left open facing position lead feet free, step back L, fwd R out of slot toward woman's right side (W fwd R, fwd L turning 1/2 RF), sd L turning RF/cl R, sd L blending to CP and placing W's R hand behind her back and into M's R hand (W hitches bk R/cl L, fwd R); In this first measure, you are separating as the man paddles around and the woman does her little hitch. This is a little elastic springiness characteristic of all whips, but it means that we shouldn't reach for that hand change until the end of the triple when we come back together again—or we'll have out butts stuck out, looking uncomfortably grabby. In the second measure, hook R behind L turning RF releasing W from CP but keeping R/R handhold leading W to roll RF (W fwd L turning RF), fwd & sd L returning to the slot (W fwd R completing 1 1/2 spin), anchor R/L, R (W anchor L/R, L) to end in handshake position facing partner and starting direction; This figure, with slightly different character, also shows up in jive and in lindy. It is sometimes cued as a Texas Tommy.	In Black Horse by the Worlocks, there is a side whip;; whip with hand change behind the back;; tuck & spin with that handshake ~ kick ball change;
Rock Whip 123&4; 1234; 123&4;	This is a whip turn with 3 turning rock-recovers in the middle of it. It turns twice around instead of only once. In left open facing or low butterfly position, line of dance, step back L (woman fwd R), recover forward R stepping off the track to her right and beginning to turn RF (woman fwd L turning sharply 1/2 RF). Paddle sd/cl sd turning RF and add a little pivot to CP facing center (woman steps bk/cl, fwd turning to face wall). Now comes two rocks. Turning RF rock fwd R between her feet down line turning, recover L to CP wall, turning RF rock fwd R between her feet toward reverse turning, recover L to CP center; On each forward rock for the man, give her your arms so she springs away a little and then bring her back on the recover. She moves back and forth in her slot, with some elasticity, while the man crosses from one side of the slot to the other. Without the elasticity, the figure becomes less linear and more circular and jive-like. We don't want that. In the third measure we complete the whip turn with one more rock recover. Turning RF rock fwd R between her feet down line turning, recover L into the slot (she steps back L, rec R), and we finish with the anchor step adjusting a little apart to left open facing position M facing LOD; This figure is also known as a Continuous Whip, but I have also seen the Triple Whip (with its 3 behind-side combinations, rather than rock-recover combinations) called a continuous whip. I wonder if any figure with small repeated actions that could be continued can be called continuous?
Triple Travel with Roll phase V 1&234; 1&23&4; 1&234;1&2	You need to set this figure up with something that will put you into a right hand star, usually man facing wall or center. An underarm turn will do it if you modify the anchor steps, underturning them to that right hand star. Then step sd R/cl L, sd and fwd R commencing RF turn 1/4. Your handwork aids in the turns in this figure. If you push gently with your right hands, you will both roll RF stepping fwd L, and fwd R (woman fwd R, fwd L) making a 1 & 1/2 turn total to a left hand star at the end of the first measure. Then you dance three triples alternating from the left hand star, push to a 1/2 LF turn to a right hand star, push to a 1/2 RF turn to a left hand star. The footwork in the second measure is sd L/cl R, sd L (woman sd R/cl L, sd R) turning 1/2 LF, sd R/cl L, sd R turning 1/2 RF; In the third measure dance the third triple sd L/cl R, sd L then roll 1 and 1/4 LF fwd R, fwd L (woman fwd L, fwd R) to face partner in left open facing position; anchor,, As I say, the entry into this figure is usually an underarm turn to a right hand star. That uses a measure and a half, so the actual count for the triple travel with roll is 3a4; 123a4;1a23a4; 123a4; and you end on the measure.
I Love You So 1&2	In closed position, trail feet free, step side R (woman sd L)/small back L (woman small bk R), replace with a bump & grind action,	The ending of the Cantrells' Take My Love is an Underarm Turn – two Sailor Shuffles – slow side;;; I Love You So and Layback;
Tsunami 123&4; 1&23&4; 1&2	This figure is 1, 2, and four triples. As the name hints, there are a lot of swirling turns—it's stormy—but after a little repetition, the body flow becomes quite smooth and civilized. Facing partner in left handshake, step back L turning 1/4 LF and bk R out of the slot (W fwd R, fwd L beginning to turn left and with right arm across body above the handshake). During the first triple, the woman steps fwd & sd R, close L turning, fwd R, completing one full turn LF. As she passes the man, he steps in place L/R, and as she takes her last forward step, he steps fwd L across the slot. If we began this figure with the man facing reverse and woman facing line, she is still facing line, wrapped into her left handshake, and he is at her right shoulder, in a back-to-back L-position, facing wall. During the second triple, the man will do a paddle turn 3/4 LF, stepping fwd R turning/rec L turning, and side & back R. With the left handshake, he will lead the woman to step fwd L turning 1/2 RF/rec R, fwd L, like a quick basketball turn. He releases left hands early in this triple and catches her left arm with his right hand at the end—release and catch. At this point, we are tandem both facing reverse. During the third triple, the man will continue to turn left, and the "catch" will tell the woman to turn left, too. He uses his left arm to sweep himself in a LF turn sd & fwd L/cl R, fwd L, turning full around. She steps fwd R turning/cl L turning, fwd R turning to face partner and line. The man needs to guard against rolling away from partner during this triple—make that third step toward partner. Finally, the fourth triple is an anchor for the woman, L/R, L. In the example that we have, the man continues to turn LF, steps side R facing wall/closes L, and crosses R in front in a scissoring action, taking right hands, ready for a right side pass, but I assume that he could adjust his triple to other ending positions. This will seem to be a busy little figure. If I have counted right, the man turns 2 1/4, but it is all left-face, and he has 2 1/2 measures to swirl smoothly through it. The woman alternates, but the changes are clearly marked. First, she makes a full turn left. The wrap into her left arm stops that and leads her comfortably into a 1/2 turn right. There, the man catches her to lead another left turn, this time 1 1/2. That's a total of 3 turns, but for one who regularly spins a full turn on one step (think tuck and spin), this figure might be regarded as quite leisurely.	In Black Horse by the Worlocks, the dance starts facing reverse with a tsunami to a right side pass;;;; face loop sugar push with rock 2;;