Skippy Blair's Dance Dictionary

"Dance Terminology Notebook"
Advancing Communication in Dance
With particular focus on California’s official State Dance:
West Coast Swing
Skippy Blair original © 1998 - Latest Revision 6-01-06

"a" COUNT -

(1) Professional DANCERS use the "pick up" count, the "&a" that is danced before the Downbeat. Musicians frequently speak of "Rolling the Count" - or the “Dancers Count” ("&a1 &a2"). This is an upper level count for Musicians, but a vital necessity, even at a BASIC level, for serious dancers. (2) Most musicians are more familiar with “Straight Count” - "1-e-&-a  2-e-&-a" - where the "&a" comes after the beat.  Pit Musicians (those who play for professional stage dancers) are more familiar with Rolling the Count.  (3) Professional Dancers usually learn to "Roll" the Count very early in their training.

Teaching Note:

Once referred to as "Magic Count", because of the difference it made in one’s dancing, Rolling Count  is part of the "Essence" of Classic West Coast Swing.   Rolling Count actually creates a more rhythmic performance in ALL forms of Dance.   It is an essential foundation element in both Samba and West Coast Swing.

(see "AND" COUNT, ROLLING COUNT)

ABSOLUTE PATTERN - ADJUSTED PATTERN -

A. ABSOLUTE PATTERN -

(1) An ABSOLUTE PATTERN is one that is danced alone. It is the precise footwork that places the "Center Point of Balance" (CPB) in the RIGHT PLACE at the RIGHT TIME with the least amount of expertise. (2) It is important to note that the term "Absolute" does not refer to any specific Style or Discipline of dance. It simply represents any precise dance pattern that you wish to do, danced alone, without the complication or adjustment to a partner. (3) When any two people dance together we are observing an Adjusted Pattern.

B. ADJUSTED PATTERN -

(1) The "Adjusted" Pattern describes what we see when any two partners dance together. The "Adjusted" Pattern changes slightly from the "Absolute" with every Partner. (2) Keeping the Absolute Pattern in one's mind creates better form for both partners. (3) The use and understanding of Absolute & Adjusted Patterns in the training of West Coast Swing dancers, produces an excellence that is worth the effort. This technique works for every dance, but is most easily observed in Classic West Coast Swing.

Teaching Note:

When TEACHING, it is important to review the "Absolute" pattern before teaching a variation. When Dancers copy material from a Video, they are copying an adjusted rather than the "absolute" pattern.  Knowing, and being able to apply, "Rules of Movement" & "Rules of Music" allows a dancer to recreate an absolute pattern, having only observed an adjusted pattern

(also see: RHYTHM VARIATION, STYLE VARIATION)

ACCENT -

(1) "Emphasis" or "Stress" on one particular sound in the MUSIC. The most easily recognized ACCENT in MUSIC is when the accent occurs at the start of a new measure. However, it is usually even more noticeable on the first beat of a new phrase. (2) A Dancer can ACCENT (emphasize) any part of any step pattern in order to interpret what he hears or feels in the Music. The dancer is not required to accent every accented beat in the music. (3) Accents are individual “Hits” that do not interfere with the regular PULSE of the dance. Accents are “in addition to,” but not “instead of,” pulsing the dance.

(also see: CHARACTERISTIC, ESSENCE, PULSING)

ACROBATIC or GYMNASTIC maneuver -

(1) A term used for Swing Competitions (and other dance forms) to describe those moves which are sometimes illegal in some Classic or Traditional competitions.

(2) This includes dropping to one or both knees, deep splits, backbends, cartwheels, handsprings, lifts and flips.

(also see: DROP, SPLIT, LIFT)

ACTION-REACTION -

(1) In Partnership Dancing the "ACTION" of the leader is felt and reacted to by the follower. (2) In West Coast Swing the primary lead takes place on the "&a" before count "1" of the next pattern. The reaction of the follower is to land on the beat of the music for count "1."  (3) Action/ Reaction also takes place if the follower does an unexpected syncopation which takes more time than the leader expected.  It is then the leader's responsibility to react in a way that both compliments, and accommodates that action.

ADJUSTED PATTERN - see ABSOLUTE PATTERN

ADVANCED RHYTHMS -

(1) Includes all of the more difficult Syncopated Rhythms. (2) Any Rhythms that are more complex than the Primary and Secondary Rhythms.

 (also see: PRIMARY RHYTHMS, SECONDARY RHYTHMS)

AERIAL -

(1) A move whereby one partner lifts the other into the air with a rotational movement that is primarily completed by momentum.
(2) Full weight of one partner is supported by the other partner
                                                                                             (also see: LIFT)

AIR SHUFFLE -

(1) An "Out & Back" move like a shuffle in Tap Dancing, except that the foot does not hit the floor.  (2) Say "&a Kick and Step-Step" to a Count of "&a 1&a2.”  (3) Air Shuffles are used to precede a "Shorty George" (Swing, circa late 1930s). (4) Most little "Kicks" in Swing Syncopations  (if they are well executed) are actually "Air Shuffles."

(also see: KICK, SHUFFLE)

AMALGAMATION -

(1) A series of patterns that flow from one to the other. (2) Ideally, this "series" of patterns will fit into major phrases of the music

Teaching Note:
When teaching smaller amalgamations to any 4/4-time music, there is a formula that helps develop creativity in the dancer.   For Swing routines, first teach simple, whole phrases of 32 beats of music. ( Computed as: four 6-Beat patterns plus one 8-Beat pattern)  Next, teach a few 16 beat phrases. (Many dance tunes have 6 sets of 8 instead of four sets of 8.    Finally, add a few Rhythm Breaks (4 beats each)  Before long, the dancer will be able to fit those dance pieces to ANY arrangement of music.

(also see: LINK, PHRASING, RHYTHM BREAK)

AMERICAN "COUPLES" DANCING -

(1) American Couples Dancing runs the gamut from basic Social Dance to Competition & Performance level. The distinguishing word here is "American".   (2) American style, according to Golden State Dance Teachers Association, refers to a style of dancing that moves easily from "open" foot position to "closed" foot position patterns, at every level of training.

Teaching Note:
Focusing on movement to music, GSDTA places patterns and styling as a secondary issue, compared to connecting the dancer to the music, and to each other, at every level.

Author's Note: There are certain styles of training where foot positions are “open” at one level and  “closed” at another level.  That method can slow down the development of the dancer.  Foot position selection is NOT what determines the level of performance.   “American Couples Dancing” brings Laure' Haile to mind.  As National Dance Director for Arthur Murray Studios in the 1950s, LAURE' influenced thousands of dance instructors.   It was a footnote of Laure's that gave validation to my wanting to change the way patterns were being counted in  Swing.   Laure’s Footnote simply read: “When teaching a Whip, even though the ladies Walk-Walk takes place on “5-6” -  in Private lessons, I find it extremely helpful to count  that “Walk-Walk” as “1-2.”   That statement made me realize  that my thoughts and ideas on COUNTING had been correct all along. The Universal Unit System® was the result of that realization and changed the way many dances would be counted - particularly SWING.   (To thousands of us who trained under Laure’ - she will always be our "First Lady of the Dance").          

AMERICAN DANCES - See: FOXTROT, CHA-CHA, RUMBA, SALSA, SAMBA, SLOW DANCE, SWING, TANGO, WALTZ, WEST COAST SWING, NITECLUB TWO STEP and HUSTLE

ANCHOR (or ANCHOR UNIT) -

(1) An Anchor is NOT a foot position and not a Rhythm. It is a partner connection in West Coast Swing, achieved when both partners place their CPB (Center Point of Balance) behind the heel of the forward foot.  (2) An Anchor is danced on the last two beats (last Unit) of each Step Pattern in West Coast Swing.  (3) A feeling of body leverage that balances the resistance of both partners.  (4) Each partner is responsible for establishing his or her own anchor.

Historical Note: The term "ANCHOR" was coined by GSDTA in the early 1960s to clarify the difference between the "resistance" desired at the end of a West Coast Swing Pattern, and the lack of resistance caused by the 1961 version of a "Coaster" Step. This is one of the major milestones that changed the face of West Coast Swing.

(also see: COASTER STEP)

“AND” COUNT ("&" COUNT) -

(1) The Dance Count that comes half way between the beats when counting Straight Count: “&1&2- &3&4- &5&6- &7&8.”   (2) In Upper level Counting (Rolling Count: “&a1 &a2 - &a3 &a4,” etc.) the location of the “&” count CHANGES to encourage the CPB to move on the "&" count, allowing the weight change to take place on the "a" count.

Teaching Note:
The “&” count actually belongs to the “Center” of the body (CPB).   Connecting the “&” and the “a” allows the dancer to achieve “Measured Movement.”   That’s why it is referred to as the “&a”.  It is important NOT to call the “a” by itself, or the measured movement will be lost.  An understanding of Rolling Count can hasten the development of ANY dancer. Latin, Swing, Foxtrot, even Ballet, improves when the body achieves Body Flight through Rolling Count and Measured Movement.

(also see: "a" COUNT, BODY FLIGHT, COUNT)

ARBITRARY LABEL -

(1) A name we assign to something that we want to remember, usually when we think that a name does not already exist.  (2) In DANCE we often assign names to patterns or moves that  we do not know by name.  (3) In COUNTRY LINE DANCES, someone sees an unfamiliar Line Dance and gives it a name.  Usually, the dance already HAS a name!   (4) Proper use of an arbitrary label is when we name a “move” after a place or a person.  (5) "Sharlot's Strut" was a valid "arbitrary label" because Sharlot Jansen (now Bott) designed and performed a pattern that everyone recognized as "Sharlot's Strut".  In California's West Coast Swing community, SHARLOT JANSEN BOTT, ANNIE HIRSCH, MARY ANN NUNEZ and TATIANA MOLLMANN, ( to name a few) have perfected moves that carry their names.  (6) "Kenny's Shag," once an "Arbitrary Label" for a form of St. Louis Shag, was made popular by the late Choreographer/ Dancer/ DJ/ MC, KENNY WETZEL.  KENNY'S SHAG is now known throughout the country.  (7) Many  Arbitrary Labels, through continued usage, have become standards.  SHORTY GEORGE SNOWDEN, a New York City dancer in the 1930s, was responsible for the "Shorty George."   That name is now a Classic move for Jitterbuggers, Lindy Hoppers and Swing dancers of all styles and ages.

(also see: SAILOR SHUFFLE, SHAG, SHORTY GEORGE)

ASSIMILATION PERIOD -

(1) The time it takes for the mind to absorb, and the muscle memory to execute, that which has been taught. (Can be several days, weeks, or even months according to what has been taught.) (2) The "mileage" (practice time and absorption time) between lessons. (3) The name that many teachers use to describe the "5 or 10 minute" (observed and assisted) practice session - usually half-way through the class hour.

Teaching Note:
This "observed practice" is a planned time slot for the teacher to recognize general areas of development that can be stressed, following a planned “Assimilation Period.”

ATTITUDE -

(1) A synonymous term for "style", "essence" and/or "presence" of a dancer. (2) A Ballet leg position (Back Attitude) where the foot, calf and outside of the knee is bent and pressed upward.

Teaching Note:
The "lifted" leg needs the added technique of pressing the inside of the thigh downward toward the floor.

(also see:: ESSENCE, STYLE)

BACK -

A direction that calls for a 4th foot position or an Open 3rd.

                                     (also see: FOOT POSITIONS, FORWARD, SIDE)

BALANCE STEP -

(1) A Balance Step in Waltz is SINGLE RHYTHM in 3/4 time. The dancer steps on count "1" and, staying on that same foot, the body rises slightly on count "2" and slightly more on count "3". The free foot, on counts "2" and "3" touches the floor in 3rd foot position in order to "balance" the position. (2) A Balance Step in Samba is SINGLE RHYTHM in 4/4 time, and is called a Balancete’. The dancer steps on count “1” - does a slight lilt on “&” - and points the free foot back on count “2.”

(also see: SINGLE RHYTHM)

BALBOA -

(1) Balboa is a Rhythm Dance composed of "8-Beat" patterns and "4-Beat" rhythm breaks. Basic Step: "Back, Forward, Forward, touch - Forward, Back, Back, touch" - The original form of EASY Basics has a "touch" on count "4" and count "8".  (Rhythm Pattern: "Double, Single, Double, Single." ) Balboa is a product of the late 1930s and early ‘40s and originated in Southern California on Balboa Island. (2) The Advanced Rhythm Pattern: "Double, Delayed Single, Double, Delayed Single" ("Back-Forward, touch-step, Forward-Back, touch-step) - with the touches on count "3" and count "7" of the "8-Beat” pattern - is the form currently being taught as the recommended basic. (3) Balboa has a Movement Unit of "Down-Down" - a rhythmic lilt that is really more felt than seen.

Teaching Note:
BOTH Basics are valid. Each should be taught based on the level of the students -  how much time is available for teaching and/or - the style being danced where the student resides..

Historical Note : (A) The advanced form with a touch or kick on counts  "3" and "7" - became the STANDARD in the 1980s, through the efforts of JONATHAN BIXBY and SYLVIA SYKES, two dedicated teachers from Santa Barbara.  This is the most popular form today. Jonathan and Sylvia credit LOLLY  WISE and MAXIE DORF, two top Balboa aficionados, for working with them on re-constructing the patterns.  (B) Balboa came out of the BALBOA PAVILION at a time when the music was fast and the floors packed.  Fred Christofferson, Bart Bartolo, Natalie Esparza, Willie Desatoff, Harry Berlin, Sam & Dottie Dominguez and Ed & Inez Thompson all come to mind as "Balboa Greats" who were still dancing in 1997 - on the second update of this book, several are still at it in the year 2005.

AUTHOR'S NOTE: Balboa dancers fell easily into the rhythmic, subtle bounce of the Balboa because they had been dancing Lindy and Truckin’, popular moves of the 1930s and ‘40s.

(also see: DANCE IDENTIFICATION CHART, SHAG, TRUCKIN')

BALL OF THE FOOT -

(1) The padded area behind the toes, meant to cushion the joints. . (2) A frequently misused term that suggests putting too much weight on the padded area of the big toe.

Teaching Note:
Dancing on the ball of the big toe creates bunions. Use the term Power Point instead of Ball of the Foot. Think of the padded area as a mountain.  In FRONT of the mountain is the “3 Toe Base” - BEHIND the mountain is the Power Point.  Don’t stand on top of the mountain. Use the appropriate spot for the move being made.

(also see: 3-TOE BASE, POWER POINT)

 BALL CHANGE -

(1) A TAP DANCING term which means to make a quick weight change on the Ball of one foot, followed by an accented, loud, FLAT-footed landing, on the OTHER foot. The Free Foot is in the air as the dancer assumes a momentary "pose." (2) This term is used in the Universal Unit System® only in TAP dancing and MODERN JAZZ. (3) The Rhythm of the move is a “Delayed Double” and can be called as a “Hold & Step-Step” or a “Kick & Step-Step,” etc.

Teaching Note:
Sometimes erroneously used to denote a "Kick & Step-Step" or a "Hitch Kick." It is important to know that every "Kick & Step-Step" is NOT a "Ball Change." However, every Kick & Ball Change IS a “Delayed Double”.

(also see: DELAYED RHYTHMS, HITCH KICK)

BALLROOM DANCING -

(1) A term generally used to describe the Social Dances of the day. (2) AMERICAN BALLROOM DANCING, and particularly American Social Ballroom dancing, has made dramatic changes in the teaching of Dance. The most significant changes have taken place because of the discoveries of "Rules of Music" and "Rules of Movement." American dancing concentrates on musicality and interpreting "feeling" in the music. (3) International BALLROOM Dancing is taught mainly for Competition and has it's own unique style that does not lend itself as well, to social dancing.

(also see: SOCIAL DANCE)

BALLROOM SWING -

A form of West Coast Swing that is different from that used by the general West Coast Swing dance community. Ballroom Swing usually refers to a STYLE of West Coast Swing that uses a "Coaster" step at the end of each pattern.

(also see: COASTER STEP)

BAR -

A MUSICIAN'S term to denote the line that separates the measures in sheet music. It is a synonym for Measure. (1) When Musicians refer to a “12 Bar Blues” - they are describing 12 measures of music - or a dancer’s six “Sets of 8.”

(also see: MEASURE of MUSIC)

BASIC RHYTHM PATTERN -  see PATTERNS

BASIC STEP PATTERN -  see PATTERNS

BASKET WHIP - see LOCK WHIP

BEAT (of Music) -

(1) In Social dance, one beat of music refers to one "quarter note", which is how time signatures are measured. 4/4-time means that there are 4 quarter notes to one Measure of music. (2) Most forms of Social Dance: Ballroom, Latin, Salsa, Swing, Hustle, Nightclub Two Step, Line Dancing, etc. are all danced to 4/4- time music. There are 2 beats of music in every Dance Rhythm in each of those dances. There are 2 DANCE RHYTHMS to each measure of 4/4-time music. (3) WALTZ is the exception and is danced to 3/4-time music. One beat of 3/4-time music still equals one quarter note. There are 3 beats of music in one Measure of 3/4-time music, which translates to one "3-Beat" Dance Rhythm.

(also see: COUNT, MEASURE, RHYTHM UNIT)

BEATS Per MINUTE versus MEASURES Per MINUTE -

(A) BEATS per minute (BPM) refers to the tempo (speed) of the music, determined by counting the number of beats of music in 60 seconds.

(B) MEASURES per Minute (MPM) - A commonly used, but not as accurate method to measure the tempo of the music.

Teachers Note: Someone trained to hear “Beats per minute” will soon be able to determine a sizable range of tempos, in both 3/4 and 4/4-time music. Those trained to hear Measures per minute have a difficult time because 3/4 time music has only 3 beats per measure.  The ear cannot determine tempo in measures per minute because measures are different with different time signatures.   Also, the range of accuracy is much tighter with beats per minute,  than with measures per minute.

BLANK RHYTHM -

(1) Two Beats of Music with no weight changes. (2) The dancer needs to identify what is taking place on each of those two Beats of Music. Example: "Kick &a Point" or "Touch &a Hold", etc. (3) A Blank Rhythm is in the family of EVEN Rhythms because it ends with the Same Foot Free.

(also see: EVEN RHYTHM)

BODY FLIGHT -

(1) The "lifted" look of a dancer who has achieved a connection between the "sending foot" and the "receiving foot" - to a point where the CPB seemingly “floats” across the floor. (2) That indescribable feeling of "two people” moving as one. (3) The "airborne" look, visible when two people achieve a connection through action and reaction. (4) In West Coast Swing, the action that follows the "elastic band" feeling of a properly executed anchor. (5) In Waltz, Body Flight is visible when two partners are "centered" - either moving down LOD or as they execute a turn.

BODY LEAD - 
A Body Lead starts in the hand connection, but moves from the back of the shoulder, producing an even, firm, controlled lead that does not pull or yank.
A bent elbow on a leader, usually indicates an arm muscle contraction, which identifies "arm leads" instead of Body leads.

BODY POSITION CHART - 

            Chart for Body Positions is not available in this printing, but will be available in the new set of Charts being prepared.  Target Date: January 2007.

BOLERO - see MAMBOLERO

BOOGIE BACKS -

(1) A popular 1940s move in Jitterbug and Lindy. The Verbal Pattern is : "Back Together &a Kick" - "Back Together &a Kick" etc. (2) The RHYTHM PATTERN is: "Syncopated Double - Syncopated Double" (3) The "Count" is "&a1&a2 - &a3&a4" . Boogie Backs are part of the SHIM SHAM and are also used in Lindy and other forms of Swing. Boogie Backs fall into the category of "Rhythm Breaks.”

BOOGIE HIP - see CAMEL HIP

BOOGIE WALKS -

BOUNCE -
(1) A lilting Movement Unit of "DOWN &a DOWN" in the Center Point of Balance ("CPB") - (2) The weigh stays centered over one foot for 2 beats of music. It is likened to the movement of a bouncing ball with 2 bounces (lilts) for each dance rhythm. (3) Lilt is achieved by relaxing the knees on every beat of the music

(also see: LILT, MOVEMENT UNIT)

BOX (Box Turn) -

           (1) A term used to denote a SQUARE floor pattern. (2) It is danced in Foxtrot, Waltz and Rumba where the actual Floor Pattern is in the shape of a Box. (a Square) (3) Example: Mans Rumba Box is: "Side together, forward & hold - Side together, Back & hold." - 8 beats of music. Sometimes called as: “Side Together Forward &a Side Together Back”

Teaching Note:
(1) A Left Box Turn rotates left.  Leader starts with Left foot: : "Forward Side Together - Back Side Together."   (2)   Right Box Turn rotates right.  It still starts with the left foot, backing LOD  - but the call is:  "Back Side Together, &a Forward Side Together."    Box Rhythms rotate in the direction of the FORWARD foot.

BOX RHYTHM -

(1) "Box Rhythm” alternates Double and Single Rhythm in any order. The Rhythm Pattern for GSDTA is: “Double - Single - Double - Single.”  (2) Box Rhythm, in 4/4- time, requires 8 beats of music.

BPM -

An abbreviation for “Beats per Minute”

(also see: BEATS per MINUTE)

BREAK DANCING -

Popular in the 1970s, Break Dancing is a "Solo" dance with young dancers performing clever moves to music. This includes floor-spins on one's back, as well as robot-like moves. Intricate isolations and acrobatic moves are performed with great musical interpretation. Today, 2005, Hip Hop dancing has become more popular than Break Dancing, but each compliments the other.

BREAK ENDINGS -

A term used in the 1950s to define three simple, but specific, Rhythm Variations.

Historical Note: At Arthur Murray’s in the early 1950’s, this is what was being taught:

 (1) 1st Break Ending: "Kick & Step-Step" to replace a "Walk-Walk" in what was then known as Western Swing. (2) 2nd Break Ending: "Step Point, Step Point, Step" could replace the second triple in that style of Swing. (3) 3rd Break Ending: simply the 2nd break ending, followed by the 1st..

Teaching Note:
TODAY we have replaced the term Break Ending with words like “RHYTHM VARIATION” and “SYNCOPATION”. The term "Break Ending" originally referred to syncopations that took place at the end of a pattern. With today’s knowledge, we can replace any rhythm in any pattern using any Dance Rhythm that exists.

(also see: RHYTHM CHART, SYNCOPATION)

BREAK (Flash Break) -

(1) DANCE term used to describe outstanding moves that are not standard, but which accent specific parts of the dance for "show" appeal. FLASH BREAKS were popular in the 1970s and are described in detail in the 1978 dance textbook "Disco to Tango and Back"

BREAK (Hitting the Breaks) -

(1) In dance music, musical "Breaks" sound as if someone had actually stopped the music. (2) It may sound like the music stops, but the beat continues. Musical Breaks usually occur toward the end of a major phrase (2) "Hittin' the Breaks" is a phrase that became popular in the early 1970s, but gained more popularity in the 1990's as more and more dancers studied the music and started learning how to "Hit the Breaks." (3) "Breaks" in the Music are the strongest and therefore the easiest parts of the music to hear.

Teaching Note:
To choreograph a "Stop" (Pose) at a Break Point adds both interest and drama to the performance. However, it is also exciting when a musical break lends itself to an appropriate move that both compliments and counters the stop in the music. Concentrate on timing before teaching someone how to "Hit the Breaks." Many dancers have learned to hit the breaks before they clearly understood timing, phrasing, pulsing and centering.

BREAK (Latin Breaks) -

(1) A change of direction in: Cha-Cha, Mambo, Salsa, Contemporary Bolero, Mambolero, and International Rumba.) (1) An action where the "receiving foot " lands, ball of the foot first, returning the "Center Point of Balance" (CPB) to it’s origin. (2) In all of the dances listed above, with the exception of SALSA, the LEADER breaks on his LEFT foot on count "2" and on his RIGHT foot on "6." Salsa breaks on “1” and “5.”

(also see: CHANGES of DIRECTION, CHECK, LUNGE, ROCK)

BREAK TURN -

(1) A change of direction that includes a turn in the opposite direction of the forward foot. Example: Step forward on the Left Foot, turn right and step forward again on the Right Foot. Verbal Call: "Forward Left, and Turn Right."
(2) This turn is popular in Cha-Cha and also very popular in Country Line Dances. It is frequently mislabeled as a pivot, simply because to the untrained eye it is similar to a basketball pivot.

Teaching Note:
A pivot turn in Basketball does NOT place complete weight on the “breaking” foot. It uses the free foot to push the body in a different direction. That fosters bad breaking technique for dance.

(also see: PIVOT, PIVOT TURN, TORQUE TURN)

BREATH -

(1) The "Breath" on the "&a" before each Downbeat is a term that was used predominantly in the 1960s in the early days of the Universal Unit System®. (2) It is still used to denote the "space" between the Rhythms. (Like the "space" between words to identify the words in a sentence.) Today that “breath” has become the “&a” at the beginning of each new Dance Rhythm.

(also see: PULSE, RHYTHM UNITS)

BRUSH -

(1) A "follow through" where one knee brushes lightly past the other.

(2) This “Brush” can take place on a beat of music, on an "&" count or on an "a" count, according to the styling and desired result for a particular dance. (3) Where the brush takes place differs with every dance and helps clarify the "essence" (characteristics) of each dance.

Teaching Note:
In many dance circles today, this technique has replaced brushing one foot past the other. Brushing the knee keeps the knees in better alignment, and still maintains good footwork Brushing one foot past the other tends to rush the footwork, and frequently allows the knees to be too far apart.

(also see: ESSENCE, TAP)

BYU “BRIGHAM YOUNG UNIVERSITY” -

Well known for its comprehensive dance program in both American and International Dance. LEE WAKEFIELD, Director of the award winning Brigham Young Formation Team, is known for his ability to connect to the music. GSDTA is proud to have been part of Lee's early training in the Universal Unit System. His first competition was at a Golden State Ball. Lee was part of Lenore Hughes’ Cotillion in Modesto, California.

"C" FRAME -

A slightly rounded frame that still maintains "connection" with a partner. Used in Swing and the Latin dances for specific styling. JACK CAREY of Corona Del Mar, California is noted for perfection of the "C" Frame in West Coast Swing.

CALIFORNIA SHUFFLE -

(1) A popular, repeatable Syncopation in West Coast Swing. The RHYTHM is a Syncopated Double and is one of several "Rhythm Breaks.” The Verbal Call for this pattern is “& Step Point & Step Point”. The Count is : "&a1 &a2". The knee lifts are on the "&" count, the steps are on the "a" counts, and the "points" are on the beats of the music. (2) In the early 1980s, a simple form of Swing , repeating that particular Rhythm Pattern over and over, was called "California Shuffle." Soon, the dance disappeared, but the name stayed as a Rhythm Break in standard Swing and also as a standard term in Line Dance terminology.

(also see: SYNCOPATION )

CALL -

(1) The "Call" for any specific pattern in any dance tells you "What to do." "Walk-Walk, Side Together Back," etc. is a Description of what takes place. (2) There can be a variety of calls to aid in teaching a pattern. The "Caller" can call out actual BEATS of music - or direction - or any accent that seems in need of calling. (3) "Call" is sometimes used as a synonym for "Cue."

(also see: CUE, VERBAL PATTERN )

CAMEL HIP (Boogie Hip) -

(1) A projection of the HIP to the SAME Side as the "Weighted" Foot. (2) Lining up the Left Foot with the Left Hip while the CPB stays centered. (3) If the "FOOT" steps "LEFT- RIGHT," the "HIP" will move LEFT RIGHT. A Camel Hip is used in dancing a Shorty George. (4) CAMEL HIP is the opposite of CUBAN HIP.

 (also see: BOOGIE WALKS, CUBAN HIP, HIP CONTROL, SHORTY GEORGE)

CAMEL WALK - see BOOGIE WALK

CAN of WORMS -

(1) Opening a "can of worms" is really "looking into areas that need more clarification." (2) When it comes to EDUCATION, the Rules of the Universal Unit System® allow us to explore all sorts of areas and come up with concrete solutions that would not have been possible without the discoveries that are the backbone of the “Universal Unit System". (3) The "Can of Worms" has become the Hallmark of GSDTA Teachers Training. The ARTWORK on the GSDTA Can of Worms is that of Seattle artist and dance teacher, DON BUTLER.

(also see: CAN of WORMS Caricature)

CANTER PIVOTS - see CANTER RHYTHM

CANTER RHYTHM -

(1) Canter Rhythm is DOUBLE RHYTHM in 3/4-time. It was a popular Waltz Rhythm in the 1930's, but is seldom used today except in PIVOTS. (2) CANTER PIVOTS step on count "1" and count "3" of the Waltz measure. Stepping BACK on the left foot, the dancer pivots to the Right on count "1", rides through count "2" and steps on count "3." The pivots can continue through "4," ride the "5" and step on "6." (3) DOUBLE RHYTHM in WALTZ steps 2 times to 3 beats of music. DOUBLE RHYTHM steps on count "1" and on count "3".

Teaching Note:
Canter Pivots are great "Show" for competition and alternating Canter Rhythm with syncopations makes great creative waltz material.

CAROLINA SHAG -

(1) A highly stylized form of SWING, spawned in the early 1940s in the Carolina's. The Basic RHYTHM PATTERN is the same as in standard Swing. "DOUBLE - TRIPLE - TRIPLE." (2) This "mirror opposite" basic has both partners mirroring each other on the basic pattern. Both partners do a “Rock Step” on the 1st Rhythm, followed by traveling forward toward each other on the 1st Triple (a "Forward & together Back"). The 2nd Triple (Counts 5&a6) has a unique styling that is characterized by a "Step, Cross in front, Step", often described as a “Soft Shoe” Triple. (3) Quoting Charlie Womble and Jackie McGee, from Atlanta, Georgia: "In the early days this was a man's dance. He did all the turns and fancy footwork and her job was to make him look good." Charlie added that things are different today and both partners now have a more balanced role.

 Teaching Note:
Carolina Shag has a distinctive styling with little action in the hips and upper torso. The focus is on the feet and legs. It is danced to Beach Music, which is also a great sound and tempo for West Coast Swing. The dance contains 6-Beat and 8-Beat patterns, has a “4-Beat” Starter Step and Rhythm Breaks and fits all the other standard criteria for Swing.

AUTHOR'S NOTE: Feather Award recipients in 1994, CHARLIE WOMBLE and JACKIE MCGEE had been undefeated Shag Champions more than 10 years. In 2005, they are still fantastic dancers and are known as the Good Will Ambassadors for the Shag Community.

 (also see: DANCE IDENTIFICATION CHART, UNIVERSAL COUNT)

CBM - see CONTRA BODY MOVEMENT

CENTER of GRAVITY - see CENTER POINT of BALANCE note #3

CENTER of MASS - see CENTER POINT of BALANCE note #3

CENTERING -

(1) Individual "Centering" is the ability to maintain perfect balance by controlling the "Center Point of Balance" (CPB) in relationship to the “Unit Foot.” The CPB moves prior to the weight change from the “sending” to the “receiving” foot. (2) Couple "Centering" is the ability to connect the CPB of both partners - to each other.

(also see: FLASHLIGHT TECHNIQUE, POINT of CONNECTION)

CENTERING KNOB -

(1) The Knob that connects the base of the neck with the top of the spine. (2) Sometimes referred to, with tongue in cheek,  as the “Goddess” Knob.

Author's Note:
The reason for coining the term “Centering Knob” was the discovery that so many dancers were able to achieve instant centering simply by pressing that knob straight back. That action stretches the chest area and shortens the back area, resulting in great centered posture.

CENTER POINT of BALANCE (CPB) -

(1) The Solar Plexus is the “Center Point of Balance” from which all dance movement projects. (2) To locate your own CPB try this exercise: Stand with your feet together. Isolate your hip or abdomen or derriere, or even your head, and push any one of them about 6 inches to the left or right or in any direction. You will find that you can still maintain balance. If you move your Solar Plexus even 4 inches left or right - you will find that you must move your foot, because you have relocated your own center (CPB).  (3) Although Martial Arts and other disciplines speak of Center of Mass and Center of Gravity, the above exercise will tell you why we chose to coin the term “Center Point of BALANCE.”  The CPB is crucial to the Dancer.  (3)  A popular TV phrase in body shaping these days is “strengthening the Core.”  Their description of “Core” is the same as our “Center.” (CPB)

Teaching Note:
The more accomplished the dancer, the more you are able to observe the control that comes from the Solar Plexus.  Every well executed move originates from the CPB.

(also see:  CORE, UNIT FOOT)

CENTRIFUGAL FORCE -

(1) "The force tending to pull a thing outward when it is rotating rapidly around a center." (Webster's New American Dictionary) (2) This action takes place in several areas of dance. "Flyin' Lindy" - Swing - Spot Turns in Rumba and Cha-Cha are all prime examples..

Teaching Note:
Any move that requires Centrifugal Force can be practiced by two partners holding hands and simply revolving around in a circle with enough leverage away from each other to FEEL the body lift.

(also see: C-FRAME, FLYING LINDY)

CERTIFICATION -

(1) "The act of certifying, by certificate or other means, to the validity of a persons qualifications" (from Webster's Abridged) (2) GSDTA Certification is a 3rd level of accrediting that attests to the fact that more than 200 hours of training has taken place, written examinations have been passed, and ability has been verified by video presentation of classes in action. Further accrediting is available to those who have passed the examinations and are teaching at Convention level. They have also passed an oral exam and have demonstrated the knowledge of how to break down any pattern in any dance by simply observing that pattern danced to music. (3) Certification is worth whatever the organization that "Certifies" says it is worth. Whatever constitutes Certification is signed by someone who attests to the fact that those qualifications have been met.

(also see: CREDENTIAL)

CHA-CHA -

(1) A Latin Dance, with an "8 Beat" Rhythm Pattern that "Breaks" on count "2" and count "6." The real MUSICAL COUNT and the DANCE COUNT for Cha-Cha is "&a1 2 - 3 4 - &a5 6 - 7 8." (2) UCWDC, the leading Organization for Country Western Competition, made "breaking on 2" mandatory for competition starting in 1994. (3) American-style CHA-CHA has been "Breaking on 2" since the birth of Cha-Cha in the early 1950s. (4) COWBOY CHA-CHA and “COLLOQUIAL” CHA-CHA alternate Double and Triple Rhythm and they Break on "1" and "5." The Count is "1 2 - 3&4 - 5 6 - 7&8." This count is NOT acceptable in competition.

Historical Note: Cha-Cha is an outgrowth of Mambo and was first introduced as "Triple Mambo" in the late 1940s.. In order to "Break on 2" most Studios had a Count of "2,3 - 4&1". This count was used for many years and still continues in many areas today. However, with the discovery of the "8-Beat" count, about 1971, came the successful use of the full "8-Beat" mini-phrase. The unprecedented interest in Technique and Education in the ‘90s, launched the discovery of the true "Rhythm Pattern" for Cha-Cha and made dance history. The COUNT, as listed in (1) above, allows dancers to be aware of the foot placement of each count in the music.

Teaching Note:
A) Where to START is no longer the prime objective. HOW to LOCATE count "2" and count "6" at all times in the dance should be the focus of the dancer.  This concept  has revolutionized the teaching and the performance of Cha-Cha.  Dancers trained in the new count STAY on the correct beat with little or no effort, through the entire performance. (B) One popular Starter Step, with the man stepping "Side Left and Back Right” on counts “&a1&a2,” puts him on time, but OFF PHRASE for the entire dance. This same Starter Step becomes acceptable if the man waits and starts “side Left & Back Right” on counts “5 6” instead of “1-2”.   There is another "Starter Step" where the man steps "Side RIGHT" on count "1" and breaks forward on "2."  As an American dance - or in GSDTA curriculum, that is totally unacceptable - simply because the follower is taught to start any dance by centering her weight over her left foot and having her Right foot free. GSDTA suggests a Starter Step of: “Side-check” to the left on the “a” count - return to right foot on “1,” and then break forward on count “2” of any “Set of 8” beats of music.

(also see: DANCE IDENTIFICATION CHART, MAMBO, MAMBOLERO)

CHAINÉ TURN -

A Ballet term that describes a style of execution that fits several different turns. Chaine' refers to the action of opening and closing the feet -as in the making of a CHAIN.

Teaching Note:  Chaine' really relates to foot positions rather than a step pattern, and the name can describe either a Pivot OR a Torque Turn. It is advisable in Social Dance to use the terms Pivot turn and Torque turn, rather than using the term Chaine'

(also see: PIVOT TURN, TORQUE TURN)

CHALLENGE (Shine Position) -

(1) An OPEN Dance Position whereby one partner dances a Rhythm Break and the other either mimics the same step or does something else to TOP the first move. (2) The "Challenge" game started with CHA-CHA in the 1950s, but West Coast Swing soon adopted it. That form is found in many routines today. In 1994 this "style" of advanced Swing renewed it's popularity through the efforts of GSDTA Syncopation Specialist MARY ANN NUNEZ of Southern California.

CHANGES of DIRECTION -

(1) A Step that reverses the flow of the CPB and returns it "Home".
(2) Different degrees of changes of direction have different names:

"BREAK" - a Change of Direction that stops the CPB, half way to the "breaking" foot and then returns it "Home."

"CHECK" - a more severe Change of Direction where the CPB is stopped one quarter of the way from the "checking" foot, by leaning slightly away from that foot, as done in Hustle, Samba or Peabody.

"ROCK" - requires TWO distinct weight changes. The CPB moves either Back and Forward - Forward and Back - or "Side and Return" to  original position. Each is done with a rocking action. The CPB only travels two thirds of the way toward point "B" before being returned "Home.”

“LUNGE” - a forward or side weight change where the CPB centers completely over the weighted foot.

(also see: BREAK, CHECK, LUNGE, ROCK)

CHARACTERISTIC -

(1) A distinguishing trait of a specific dance. (2) An outstanding feature that helps to identify the dance.

(also see: ESSENCE)

CHARLESTON -

(1) Charleston - is a popular Rhythm Dance of the “Roarin' 20s" and early 1930s.  The Charleston is an American “Classic.”  It is characterized by High Forward Kicks, followed by Low Back Kicks. (2) Two Basic "Looks" are seen in the Charleston. One was danced as "and Step and Kick and Step and Kick" and the other as “and Kick and Step and Kick and Step.” (3) The standard Rhythm Pattern is "Single - Blank - Single - Blank.” Charleston has an "8 beat" pattern, with a rhythmic bounce on every beat. (4) The Movement Unit is a "Down-Down" rhythmic lilt.

(also see: DANCE IDENTIFICATION CHART, MOVEMENT UNIT)

CHASE -

(1) A Cha-Cha Pattern where one partner does a "Break Turn" and the other follows, as if they are chasing each other. (2) The Follower has 4 beats of music to see what the Leader has done and then mimics the pattern.

 (also see: CHALLENGE)

CHASSÉ (Pronounced Shah-say) -

(1) A "Side Together" using two beats of music, stepping once on each beat. (2) A Chasse’ is DOUBLE RHYTHM. (3) Step to the Side in 2nd foot position on count "1" and bring the feet together in 1st foot position on count "2.” (4) Chasse' means "to chase." The closing foot chases the moving foot. (5) In International Dance terminology, a Chasse' refers to a "triple" (3 weight changes), a "side together side.”

(also see: FOXTROT, SLOW DANCE)

CHECK -

(1) A tight "Change of Direction" where the dancer's Center Point of Balance (CPB) is sent out, but the receiving foot catches the body, and becomes the “Sending Foot” as it lands - and sends the body back. (2) Checks are always done on “Toe Base”. Heel does not hit the floor.

(also see: CHANGES of DIRECTION, BREAK, ROCK)

CHOREOGRAPHER -

(1) One who puts Routines together. (2) A stricter sense of the word refers to those who make their LIVING doing choreography.

Teaching Note:
It should be noted here that everyone who puts a routine together is not, in the professional sense, a choreographer. Choreographers are known by their works.

(also see: ROUTINE)

CHOREOGRAPHY -

(1) The "content" of a Routine or a grouping of patterns, planned in a way that someone can repeat them at a future time. (2) The WORKS of a Choreographer. (3) Moves that are spontaneous and not planned, but fit the music well, are sometimes referred to as "spontaneous" choreography.

CHUG -

(1) A "2-Foot" move where both feet move forward at the same time and then back at the same time. (2) Place the Force Point in the bent knees to "Chug" forward and in the back of the knees to pull backward. Chugs are a popular move in the Charleston. They can be danced alone, or danced in parallel position with a partner.

(also see: SCOOT)

"CLASSIC" DANCE -

(1) In SOCIAL DANCE, the "CLASSICS" are those Dances which have made an impact on society and have withstood the test of time, having developed standard, recognizable step patterns and teaching techniques. (2) These dances become part of our dance heritage. (3) Charleston, Twist, the Stroll and the Conga are all dances that started out as Fad dances, and with time became Classics. Foxtrot, Waltz, Rumba, Samba and Tango have long been considered Classics - and at this writing (2005) Salsa is well on it’s way to becoming a time honored "Classic.”

(also see: FAD DANCES, STANDARD DANCES)

CLOSED POSITION -

A standard dance position with the Lady facing the man, with his right hand placed on her back, just below (but not on) the shoulder blade. Her left hand is placed at the appropriate level for the dance being done. His left hand holds her right hand halfway between the two partners at her chin level for most dances and at her elbow height for Swing.

(also see: DANCE POSITIONS, DANCE POSITION CHART)

COASTER  STEP  - 

(1)  In Swing Dance Clubs, and more specifically in  Swing groups that define themselves as "WEST COAST SWING", a Coaster Step has been replaced by an “ANCHOR.”      (2)  In "BALLROOM SWING"  a Coaster Step is referred to as any “Back Together Forward.”    (3 This one simple term has become the dividing line for two very different, identifiable forms of SWING. The "Coaster" is still used in many venues of  "Ballroom Swing."  Competitions seldom overlap mostly because of the decided difference in the appearance and style of the dance.

Historical Note:   The history of the "Coaster" helps us to understand why it has been replaced.   In the early 1950s, The Long Beach, California Arthur Murray Studio boasted a staff of top Swing dancers.  Karma Haltom would "Coast" at the end of a pattern, turning her body on an angle as she swiveled back left and forward right before walking in toward  her partner.  To teach that style, the easiest form was to swivel the body and do a "Back together forward,” and then swivel to face your partner before walking forward into a new pattern.  The term "COASTER" applied to the movement and not the rhythm OR the direction of the feet.  Arthur Murray Studios adopted this style as part of its National Curriculum.   Over time, with revisions of teaching manuals, more and more technique was eliminated until finally, the SWIVEL was no longer in print.   The basic styling of the pattern was lost.   The definition began to include any  "Back together Forward"  and remains so in many places today.   

Teaching Note:
Today 2005 (and since 1978) in order to preserve the essence and characteristic of the dance, West Coast Swing Dancers (and particularly all GSDTA Teachers) use an "Anchor" rather than a "Coaster.”

AUTHOR’S NOTE: I thought it was important to include some of the process of  GSDTA not using the term “Coaster” in the GSDTA curriculum.  Many teachers asked “If you don’t use the term “Coaster” - what will you call a “Back Together Forward?”  My answer was “What do you call a “Side Together Side” or a “Forward Hook Forward?”  We should not name the direction of every Triple.  Calling the placement of the feet is a much clearer “Call” for teaching.

(also see: ANCHOR, BALLROOM SWING, FLOATING ANCHOR)

COLLOQUIAL -

(1) A dance term that refers to a style that is danced by the masses, but not in the form accepted by formal competition.  (2) Colloquial Cha-Cha is a good example. This popular form of Cha-Cha “Breaks” on count “1” and “5” in the music. (3) Colloquial refers to doing whatever is happening in your particular dance environment.

(also see: CHA-CHA)

COMPASOS -

(1) A pattern in Samba that is a repetition of crossing one foot over the other, followed by backward traveling, pulling moves. The "Call" is "Kick &a Cross - and step pull and step pull - and step pull and step pull - through  8 beats of music.  (2) Although this started out as a Samba move, it has become a standard syncopation in Swing, Cha-Cha and several other dances.

COMPETITION -

(1) There are different levels of DANCE COMPETITIONS, determined by the size of area location. Example: The local weekly Nightclub Club contest, the monthly (more or less) CLUB contest, the State or Regional Championships, and National and International Championships.  (2) The real benefit of participating in competition is having a deadline to improve your craft.

AUTHOR'S NOTE: It is important to plant seeds of good sportsmanship early in the competition game.  Competition can be a grand experience or it can be a destructive nightmare.  Not everyone is cut out to be a Competitor.

(also see: JUDGING PANEL)

COMPRESSION -

(1) Resistance that is toward each other, with enough "Action" that it requires a "Reaction". Example: In West Coast Swing, a PUSH BREAK requires COMPRESSION on count “3.” This allows the Follower to do many style variations that are not possible without this “Count-3” compression.

(also see: PUSH BREAK, RESISTANCE)

CONNECTION -

(1) In couples dancing, particularly SWING, the feeling of resistance between partners that makes action and reaction a possibility. (2) Although Swing partners may be connected through the hands, there is also a visible "connection" that extends from one partner's center (CPB) to the other partner's center.

(also see: CENTERING)

CONTEMPORARY SOCIAL DANCE -

(1) Those Dances currently being danced by the general public in any specific "Era". Whenever we read the word "Contemporary,” we must determine the year of the observation. (2) The 1990s could easily consider "Country Dance" as Contemporary Social Dance. (3) The TWIST Era and the "BOP" Era, along with the JITTERBUG Era, all were considered Contemporary Dance at the peak of their popularity. (4) In every era and in every geographic location there is a "Contemporary" form of Foxtrot. The DANCE scene changes with time, but consists of the same basic Rhythm Units danced to 4/4-time music.

(also see: FOXTROT, SALSA, TWO STEP)

CONTRA BODY MOVEMENT (CBM) -