Technique of

, Walter Lai rd

I

First published 1961 Revised 1964 New eciticn 1972 New edition 1977 Reprinted 1978 Reprinted 1980 New edition 1983

Reprinted 1985

New edition 1988 Reprinted 1990 Reprinted 1992 Reprinted 1994 Reprinted 1996 Reprinted 1998

© vvetter Laird

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Chapman Graphics Corporation Limited Printed in Eng/and

* ISBN 0 900326 21 2

This book in whole or in part ~ust not be publi·shed. reproduced or transmitted in any form or by any means without direct permission in writing from both the author and the publisher.

Pub/isfled by lntemetionet Dance Publications ~ Bennett Roed, Brightont Eng/ahd

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WALTER LAIRD

TRjPlE WORLD CHAMPION OF LATIN DANCING FELLOW & EXAMJNER LO.T.A.

CONTENTS

Foreword 5 Samba 52
Preface 6 Paso Dob:e 84
Chronlcle 7 Gha Cha Cha 122
General 9 Jive ·158
First Prirlcip~es 9 Suggested Arnarcsmst.ons 182
Basic Positions 12, Index 184
Rumba 23 ABBREVIA TIONS

e San (cd (000 OiE at r Outs~dtl edge of Toe
Bwd ... Backward OP Outsida Partner
r Centr,e 0/5 Outsidt
v
cpp Counter Promenade Po~~tton pp Prome.nada Po:siboft
Diag. Dfl ago rue ~ (~y) Pos Posit~on
DC Diago~any to centfta Prog Progress iV9
OW ChagonaHy to wan Prom P t'omenade
F Foot a Qui.ck
F~g" Figure A R~ght
Fwd. Forward Rev Revarse
Fwk Footwork 5 S~ow
H Hee~ T Toe
fiE ot T Inside edge of Toe W Wan
l LeU W/o wt Without wetght
LOD Line o~ Dance Wt Weight
Nat Natura' FOREWORD

Now in its fourth edition this book represents Walter Laird's further analysis of the principles and technique of Latin dancing.

When some years ago Mr Laird, dismayed by the absence of a definitive work on the subject set hjmself the daunting task of writing tnis book. he imposed upon himself an immense responsibility that was beyond the capab.tities of most dancers" To abandon outmoded theories and present the technique in a new and inspired format required a love of the subject, dedlcatloo. vast experlence. a scientific mind and the courage of a rnlssionary.

Fortunately Mr Laird possesses these oualittes. He is a quautiec sciennst, a former World Champion of Latin danc~ng and a Fenow and Examiner of the lntarnaticnal Dance Teachers Association. He is one of the wortd's lea(1ing lecturers and coaches in this popular and excHing styh3 of dancing and among the accolades he has received in his long career are:

The Cart-Alan Award (twiceL The Rank G,o~den Award and The American Han of Fame Award, in further acknowtedcement of his conrrtocuoo to dancing he has been made an honorary member of many dance teacher associations throughout the world.

When this book was first published it was reccpntsec as a masterpiece by the dancinq press. Tvoica: of the press comments are the foHow~ng quotes:

"Undoubtedty the most complete analysis of the Latin technique yet presented. " , 8 vetueote contribution to the progress of Latin dancing~ $.

~ ALEX fv100RE

"From all over the rver/a the book is being hailed by dance teachers 8S a mesterpioce. H

JOt-'iN DILWORTH

"Latin comes ct age, . , if evidence 01 its maturity (Latin dancing) is needed one need look no runner ttisn Walter t.slrd's new book. H LEONARD MORG~AN

"The only comprehensive Latin 'bible ~ in existence" .. something every teecber in the country has been \tva/ting for. n .

~JtMMY SMALL

H. , • a brittie nt book. U

ELtZABETri ROMAIN

This new edit~on presents the principtes and techniques of Latin dancing ln a very clear and precise manner which I am sure wHI help the reader towards a complete understand .. ing of this Iascrnatinq and complex subject

LEONARD MORGAN

President International Council of Bettroorn Dancing Cnsirmsn, British Council of Ballroom Dancing,

5

PREFACE

The first editlon of this book was published in 1961 and revised in 1964. with new editions In 19721 1977 and 1983.

This latest edition continues the pollcy at updating the book about every five years to take account of changes due to natural development of this "live" art Iorm, or new intorrnatlon resultlnp from my continuing research into and analysis of the principles and techniques used by top ... class dancers to achieve high quality performances that are aestheticany beautltut and perfectly synchronised with the music.

My research into this subject has enabled me to write a loqicat technique based on weltproven fundamental prtnciptes which IS presented in chart torrn, especially designed tor .. ··ciarity~· ease of" learning encqoick reference. Up-tc-oate technlcardatats tnf.frefore made

>

r e adily available to students. teachers. coaches and dancers of all grades.

tn this new edltion very few technical changes have been nece ssary. However. the opportunity has been taken to further simplify the presentation ot a number of now firmry

~

established techniques, H becomes increasingly important to achieve maximum clarity in the text with a minimum number of words since each year more and more dance teacher associations throughout the world adopt the contents of tnis book for their professional examinations.

Addltions in this edition include:

1. A. diagrammatic represen tatlon of the Samba Bounce Action. This presentation of an action which is very ditticult to understand should prove very hefptuf to students.

2~ An explananon of the technique necessary to dance a Cha Cha Cha Chasse or Lock Step without a change in height. .

3, The tecbnlque necessary to ensure good footwork and Jeg actton when dancing both the "last" Backwarc vvatk of any figure in Cha Cha Cha and the Checked Forward VVan\

,

~n this dance.

4. A photograph showing the position that shouto be achieved on step no, 1 of the

Advanced Op eninq Out Movement.

5, The use 01 the Botatogo ending when dancing certain votras has been ctaritied. 6, A description of Cruzados Walks is given~

Two figures have been deleted narnely the Fan Turned To Open CPP in Rumba and Cha Cha Chao

A new set of photographs showing the Baste Positions used in all dances is incfuded. l\1y thanks go to .Julie Gibson for partnering me tor these photographs and to Jack Blake for trying to make the camera fie in an effort to make me look slimmer and younger than I am - an impossible task, but at least the foot positions are correct'

Aga~n, my grateful thanks to June Gjbson tor the many, many hours 01 help she gave me both in the anatys!s of figures and the translation of this inrorrnaucn [0 the written word - a very trustratlnq, time consuming but rewarding task, ,

WAL TEA LAIRD 1988

6

CHRONICLE

Without doubt the most fascinating rhythms in the wodd come from the latin-American cou ntries and the vast rnajority of these rhythms nave their roots ~n Africa.

Many colourful and exotic dances have been cevetocec to interpret the excttinq and compeHing music wh~ch is based on these rhythms. ln Hie yVestern Wodd five of these dances have been standardised for' f~ching to the genera~ public, amateur medal tests, protessronal exaounanons. and comceunons, namely the RU~ABAi SA~ABA~ PASO D08lE~ C~A CriA CHA and JIVE.

Attnouch ~t is difficult to ascertain precise dates far when these dances were first seen in

""

Europe~ the foUowrng are probably reasonably accurate;

SAMBA 1913 (as M~xj,~eL,1923·(as.Samba); PASO DOBLE 1916: RUMBA 1931" (as Square Rumba), 1 948 .(~~ Cuban Rurnba): JiVE 1943; CHA CHA CHA 1954~

Monsteur Pierre o.oneerecr'the lntrodvction of the Latin dances in' Great Britain, He named many of the basic figures In those earty days and wrote a techn.que book for the purpose or

,

teachrnq these dances to the general pubuc.

t\4y tascinanon for the Latin dances began in the earty 19405 at which time ~ commenced a study of Latin-American rhythms and the dances that were cevetopinq to thJs music.

Us~ng the knowrsoqe ga~ned from some 20 ve ar s' research i set about devalopinq a

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technique for these dances based- on an ana'vs!s of the princrples being used ,by rnysett. my

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partner Lorraine and othe(~rop:'cfass competition dancers. The' resuits of this work are

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reflected in this book now in ft5~ttr edtt~on (1 st ed~tjon 1961),.

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To produce a ~og~car techntoue that covered aH the basic figures that were being used it

.

was necessary for me to analyse and name for the first time many pnnctoles, Basic Positions and figures that have become fundamentar to each dance.

The new concepts I had oeveloped and many of the new figures necessary to bring the Tec'inique of Latin-Amertcan Dancinq up-to ... date were given .in the notes for a lecture 1 presented at the \A/odd Congress ~n May 1969. These were as follows:

Advanced Opening __ <?!£.Movement; Continuous Hip Twist; Continuous Circular Hip Twist: figures in bOf:~ Rumba and Cba ella Cha that ecole be nnished in Open

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CPP; Continuous Volta Spot Turns to Rjght and Left; C;rcu~ar Vottas to Right and

Left: Changing the Shape of the Cha. Cna Cha Cnasse: Methods of Chang~ng Feet in Cha Cha Cha and Samba; Sp~it Cuban Break in Open CPP: SpHt Cuban Break from Oper. CPP and Open pp~ Alternative Entries to PP :n Paso Doble: Fanawvay Reverse: Spanish Line and Press line; Flamenco Taps: Overturned Change of Ptace Left to Right~ Change of PLace Right to lett with Oouore Spjn: Ban Change; Double Cross Whip~

Air the above fjgures~ together \'vlth the feHowing new figures vV€f€ included in the 1972 edition of the book:

RUMBA: Curt; Cuban Rocks; Three Alernanas.

SAMBA: Backward Rocks; Votta Spot Turn to Rand L for Lady: Samba Locks; Promenade to Counter Promenade Runs; Cruzados Watks: Cruzados Locks.

PASO DOBLE: Twist Turn; TraveJHng Spins from PP and CPP; Syncopated Coup de Pique; Coup de Pique Couplet.

CHA CHA Cr1A: Open Basic: Open Hip Twist Spiral; Close Hip Twist Spiral; Cross Basic turning the lacy: Changing the Shape of the Cha Cha Cha Cnasse, ~ntroducing the Ronde Chass s, Hip Twist Chasse and Open Hip Twist Chasse; Cuapacha TImingo

~JfVE: Reverse \fVhip.

7

Orner tiguros were renamed to assist identification~ e~g> Contra Botatccos: Check ffom Open PP and Check from Open Cpp~ etc.

Also included in the 1972 edition was a tecbrncat anatysis of Timing and Seat Splits:

Rhythm~ca~ tnterpretanort ~t1 aU dances: "Bounce Acuon" and H1 ~2<3H tim~ng in Samba: Use of Arms and the ~~4 or 8 Count" in Paso ocore In add~hon tha foHowfng new principh!s ware introduced: Use of Contact Arm: Use of Free Armta]; PhyStCSt and Shaping Leads; Hand Herds: Inherent Amount of Turri; Checked Forward Wa1k: Delayed Forward and Backward vVaJks and the Forward Walk Turning.

AU the accepted 8a,s~c Positions were descnbeo and tha foUow~ng Bask: PosH~ons introduced: Open Pcstticn: Shadow Posttion: Open PP; Open Cpp·~ Open Contra PP: Open Contra CPP and Open Fanaway Pos.tion.

A coiumn in the charts; ntroducing a cornptetety new idea. namely ~~ AeTtON USEDH was also Introcuced. together with the ~~SHAPINGd required during each figure.

in the 1977 edition the "Laun Cross" was includeo. together with the foHowing new Hgures:

Syncopated Cuban Rock in Rumba and the Promenade in Paso nob~e,

F~naHy~ ~n this 4th edition (1988) the additions are: A diagrammatic representation of the Samba Bounce Action. The ~~2 and a" tifn~ng ~n Cha Cna Cha and an expranet.on of why there is no bounce acticn during cna ena etta Cnasses and Lock steps.

Recentty a prominent 3rHi5h dance teacher societv declared Us intention to EH1~arge Us syllabus to inciude an the 'tgures fn tms bCHJK. The fact that such a wetl-estebusnec organisat~on has chosen to take th~s action is saHsfyfng because it ccnnrms that the figures named, analysed and pubUshed in this book are weH chosen, However, H is to be hoped that any technJcaJ detai1 pubUshed subseouenuv wiU not detract from my or~ginar concepnon of these f~gurt3s.

Subject~ of course, to copyright arrangements which can be negotlated through the author and the puousher, teacher assccianons throughout the wcrlo are walcorne to usa any or aH 0' the contents of this beck. .

Transtaticn rights are also avaitable by arrangement with the author and the publtsher.

<

GENERAL

The Jetters (AL .(M) and (F) in the chart headings after the name of the figure lncicate that the figure is jn the Associate. Member or Feltow syllabus

res pectiv€ i y>

USING THE CHARTS

When a particular figure is being dealt with durfng an examination never attempt to give too much 'nformatjon at one time> Best results wil! be obtained by giving the information under each

i ~ C hart ri e a din 9 q s epa rat ely ~ tog e the r wit h e it her the appr opr iate ~~Step No, H or "Tlrrtinq" for each fl10vemenL This accroach. 01 course. should also be used when teaching figures to pupils.

FIRST PRINCIPLES

POISE

For Rumba and Cha Cha Cba:

1. Stand with feet together in a normal. relaxed manner.

2. LHt rib-cape, straighten spine but do not r alse

shoulders.

3. Take a step to side on either toot and

.straighten supporting 'eg. Transfer rull weight to this foot aHowing the pelvis to move sideways and back so that the. weight ls tett to be near the heel ot the standing foot. The knee of the suppcrtlng ~eg Is locked back. The degree that the petvis is moved back must oniy be such that the position of the upper part of the body is not affected.

For Samba and Jive:

1 .. Stand with feet together In a normal, relaxed

manner.

2. Lift rib ... cane, straighten spine but do not raise shoulders.

3. Take a step to side on either foot and straighten supporting teg, Transfer fun weight to this foot keeping the weight towards the ball of the foot with the heel stH) ~n contact with the tloor. The knee of the supporting leg must not be locked back.

Exceptions to this poise occur in certain figures such as the Open Rockst Backward Rocks and Platt in Samba and the Chicken Watks in .Jlve.

S,nce no hip or pelvic action is used in the Paso . oobte the polse for ths dance differs in the fcHowing respects:

1. The pel v j s Is ti lted sligh tl y forward.

2. The weight is collected well over the balls of the feet.

3, When the knees are stralohteneo. they are nor locked back.

An exception occurs in the Spanish Line.

ALJGNMENT

The aHgnments given under the charts refer to the ·direction in which the body is tac~ng or backing in relation to the room. When a shoufder lead is used the aliqnrnent is not considered attectec. Altgnment is normally only important when considerinc figures used in progressive dances.

The Rumbar Cha Cha Cha and Jive are nonprogressive dances. The Samba and Paso Doble are progressive dances.

AMOUNTS OF TURN

In the latin dances the feet are never parallel except when they are closed. This "toot ... turn" is always outwards and can be associated with the foot carrying weight or part weight! the foot without weight or both teet. These foot positions can be due to "inherent turn" or toot placement.

Because cf this foct turn-out the amount of turn made by the teet and the body is often not identical. Typical exarnpies are 2nd step of Whisks in Samba; Checked Forward Wafk in Rumba and Cha Cha Cha and an Backward Walks in Rumba and Cha Cha Chao

When the foot carrying weight is not facing in the same direction as the body on the completion of a step the Amount of Turn on that step is standardised as that made by the body and not the teet,

, Due to the mechanics of Backward Walks in Rumba and ella Cha Cha the foot carrying weight on completion of a walk will turn out approximately ·ij~16th. This turn is known as "Inherent turn", because the walk cannot be executed on balance without H.

9

CHECKED FORWARD WALK

In Rumba and Cha Cha Cha when a forward step is used to change direction with Iltue or no turn, the action used must be different from that at a normal Forward Waikf since at the end ot a normal. Forward Wark the poise and weight distribution Isave the body committed to move forward on the toHowing step.

The step used to produce a check in forward progression is caned a Checked Forward Walk and differs from the normal Forward Walk as tollows:

1< The stepping foot is attowed to move to a pcsltion that is in advance of the body.

2. Only part-weight is collected onto stepping toot.

3, The knee of the stationary leg is allowed to flex and close towards the knee of the moving leg .

. 4. The toe 0' the stepping foot is turned out approximately 1/16th,

Otherwise the action used is similar to a normal Forward Waik: i.e the footwork is the same. the knee or the stepping root is straightened before weight (part-weqnt) is collected and a hip action occurs.

DELA YEO WALKS

During certain figures, rnainly in Rumba and Cha Cha Cha. a special type of walk action is introduced to achieve changes in body and toot speeds which enhance rnytnrmc interpretatlon. These are called Delayed Wa'ks and there are three types:

1, Delayed Forward WafK1 knee compressed.

2. Oetayed Forward Wa'k~ knee str aiqnt.

3. Delayed Backward Watk~ kne s compressed.

During these walks the foot is first moved into ocsition without tun weight transfer. Weight ls then transferred later than is normal and the turn appropriate to the movement ls then made.

Depending upon the position in whjch the Delayed Forward Walk is used} the knee ot the stepping Jeg may either be straight (as in the normal Forward Walk) or compressed while without fuH weight The knee of the feg coHecting weight is always straightened when tuB weight is transferred,

The knee of the stepping Jeg of aU Delayed Backward Wa!ks is always compressed while without fun weight.

The Charts indicate an positions in which a Delayed Walk shoulo be used. A note to appropriate charts states whether the Delayed Forward Walk has a straight or compressed knee while without weight.

FORWARD WALK TURNING

When it is necessary to make a turn from moving forward to continue moving forward in another direction or backward on the following step. without interrupting the normal hip/body acucn, a "Forward Walk TurnJngH- is used, The change in direction is achieved by dancing a norma' Forward Wafk action but with a gradual turn in the required direction made throughout the step.

An example of _the use of the Forward Walk Turning to continue moving torward in another direct! on is the; as t 5 rep 'or man in an tj gures that finish in Fan Position In the Rumba.

When using a Forward Walk Turning to change direction from moving forward to moving backward the maximum turn that can be made during the. Forward Walk Turn~ng is 3/8< The Foot Posltion at the end of tnis step is "Back and slightJy to s ide". !t the figure being danced requires more turn to be made this is achieved during the fonawing backward step.

An example of the use of the Forward Wa~k Turning to change direction from movfng forward to moving backward occurs ~n Rumba during the last two steos, for tadv. in all ftgur6s that finish in Fan Position or Open Pos itlon.

THE LATIN CROSS

When one leg is crossed behind or in front of the other in the Latln dances the position achieved tS always the same. Thj5 position is caned a Latin Cross. The toHowJng is an analysis of the RF crassed behind LF as Man or Lady,

When RF is crossed behind LFt both knees wHJ be compressed and the hips level. The toe of the RF wil] be turned out and the R knee will be tucked behind the L knee. Depending on the length of the leg from knee to toot and the amount of ankle stretch, the toe of the RF wHi be approxlmately

15 em trom the heel of the LF.

The foot position for a Lati0 cress. RF behind LF is given as HRF~crossed behind LFo~

. The weight distribution win differ depending on the figure being danced.

A simitar posltlon wiH be achieved if LF is crossed behind AF~ or if the crossed position results from a swivel on one foot to the crossed· position.

10

ARM POSITIONS

When moving from one Basic Posttionto .. another the man wit, achieve the desired result by the use of either a Phvstca] or a Shaping Lead. The positiOn of the arm ot the contact hand will, therefore~ be dictated by the particutar.tead used,

If the movement being danced involves the use ot body rhythm the free arm{s) wHI become an extension at the body and. therefore~"~~ou~d be· moved using a supc!e action which is continued through to the wrist and tingers to arrive in the correct posiuon on the appropriate beat of music. Secause the arrrus) be'ng used is an extension of the body the arm action in these instances win be cornpieted after the associated body action.

Typicar tree arm positions used ar e:

1. To srde. extended.

2. To side, retracted

3. Forward ~ retracted.

4. Across bcdv, retracted,

5, To side, sHgnHy retracted.

When the figure being danced is a '~LjneH movement! e.c, Samba Locks or Span~5h Line, the arm(s) posltlcnts) is estabusheo at the. same time as the foot position.

NOTE:

Due to the fact that the Checked Fo~.ward vValk and the Backward \flark in Rumba and Cha Cha

"

Cha are not exact counterparts. the man 's contact

arm must move to "Forward. extancad" when he dances a Checked Forward Wafk trom Open Position.

LEADS

TViO types of lead are used by the man in the Latin dances:

1, Pnys.ca: Leads

To transrni: these the man uses tension In the contact armis}. This is matched by tension ~n the lady's arrnts) so that he is able to lead her to the required position through the opposition created.

During movements in which the lady requires physical leads her contact arm wHl usually be sligh tfY retracted w it.h tension.

2< Shaptnq Leads

These are created by the rnan through arm positrons. hand notes and body positions, The prtncipte used is to shape the body and/or arm(s} so as to make the movement required obvious to the ladv.

Dur~ng movements need~f1g shap~ng leads the lacy's contact arrnwili usually be sOghUy retracted vvith a minimum of tension.

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11

HAND HOLDS,

As a genera1 rule the hands are held palm to palm with either the man's fingers or his thumb crcsec onto the back of the lady's hand depending on the position of the arm.

~When apart as in Open Pas or Fan Pos, the lady's hand wil! be facing down with the man's hand underneath facing up. his thumb will be ctosec onto the back ot the lady's hand approximatelv in line with the point between the base of her 2nd and 3rd fingers,

When the man's l arm is raised to indicate a turn to L~ the hands wiU be calm to oalrn with the man's thumb in the position described above, Exceptions occur during the Change of Place L to R: Shadow Botafogos and Three Alernanas.

When the man's L arm is raised to indicate a turn to R! the hands wiU be palm to palm with the

fingers of the man's hand HghUy ctosec onto the back of the Iady'aharrd to anew it to turn in the man's as her body rotation to R is made,

In Close Hotc the man's L hand and the lacys R hand are palm to palm with the man's fingers erased onto the back of the Iaov's hand. The man's wrist snoutd be straight and the lady's bent sHghtty back:

Durjng changes from one hand hold to another loss of hand contact should whenever possible be avoided. The [ady must not at any time close her Hngers to grip the man's hand,

BASiC POSITIONS

A Baste Pcstticn is defined as the position from" which a syltabus figure is commenced and in which

it is completed .

There are twenty .. three Basic Positions.

When hand holds are included ~n the following descr.puons the man's hand is always given first e.o. HL to R nand" means "man's L hand holding lacy's R nanc".

The fetters (AL (M) or (F) after headings in this section indicate that the position is first used in Associate. Mernoer or Feuow synabus figures respectively.

CLOSE HOLD (A)

For C~ose Held in Rumba, Samba and Cha Cha Cha {Photograph No. 1) the couple wUI be aoproxirnately 15 ems apart with the lady sJight~y to man's R s.ce. The weight may be on either toot, lady normal opposite, The man's R hand is placed on the lady's back and HCUpSH the lower part of her L shoutdsr ctace. The R arm is held in a soft curve~ with the elbow at approximately chest revet The lady's L arrn is laid 'ight!y on top of the man's R arrn, fonow~ng the same curve and her L hand

rests Hghtiy on top of the man's R shoulder.

The man's l arm is held ~n a soft curve approxtrnatety rnatcruno the R arm but with the L forearm r ais eo. The L hand, with wrlst straightl' approximately level with his nose, The tady's R hand is here tightty by the man in his L hand. The man's L hand and the ladvs A hand should be on an ;maginary line through the centre position between the two bodies,

Close Hold (or Paso Doble (Photograph No 2) is similar, except that the bodies are in close contact from th~gh to chest This causes the man's L hand and the ladv's R hand to be held approximately 15 ems higher with a correspondlnq higher position for both elbows.

Close Hold for Jive is the same as that used for Rumba~ Samba and Cha Cha Cna, except that the arms are herd a tittle lower,

it. should be remembered that the Close Hold used in the latin dances is not static. For example dur1ng the Baslc Movement in the Rumba the arms "br eathe " a Jitt~e to allow for the tact that the Checked Forward WaH< and the Backward Walk are not exact counterparts. Atso, the body position is closer and consequennv the nolo higher in some fjgures~ e,g, Rumba Reverse TOPf Samba Natural RolL

No. 1~ Close Hold - Rumbe, Samba & ens cn« ens.

No, 2. Close Hold - Paso Dobte. 12

OPEN POSITION (A)

Photographs Nos. 3. <$ and 5 show Open Position with three of the hand holds that can be used in this

posHion~

The man and lady are apart facing each other at

approximately arm's length. The weight may be on either toot, lady normal opposite. The actual position of the leet will depend on the figure used to achieve Open position, e.o. Hockey Slick, Spot

Tu rn t etc.

The hand hold used will depend on the following

figure. and may be anyone ot the following: L to R, R to L. R to A. L to Rand R to L (double hand hold)

Of without hold.

When a hand hold is used the arm of the hand

being used will be held forward slightly retracted just below breast-bone level. The free arm will be

~

held 10 the side slightly relracted" making a soft

curve from the shoulder.

Wherl the hold 15 reieased completely, both arms

are held forward retracted with elbows fairly close

to the body,

NO.3. Open position with L to R hand hold

~--~ . ~ ..

,..:-L- • .:r

No.4, Open Position without hold"

No. 5. Open Position with R to R hand hold. 13

FAN POSITION (A)

This Position (Photograph No. 6) is used in Rumba and Cha Cha Chao

The lady is almost at arm's length on the man's L side. with her body at right angles- to his. The lady's IF will be back supporting her full weight. having completed a Backward Wark~ The man's RF wHI be to side and snghUy forward supporting his fuJi weight. An imaginary line projected forward through the ladys RF would pass the man approxirnately 15 ems in front of his body.

When in Fan Position. the man's l hand, with palm up is beneath the tadv's R hand, palm down, The man's L thumb wHI be closed on the back 0' the lady's hand.

The ladv's A arm will be forward slight~y retracted just below shoulder level. The man's L arm wiH be 10 slde. sHghtly retracted just below shoulder level. The lacy's L arm and the man's R arm wiH be to side slightly retracted maktng a soft curve from the shoulder. Heads are held naturally in the norma! forward lookinq position.

No. 6. Fan Position.

14

FALLAWA Y POSITION (A)

This position (Photograpt'l No, 1) is used in Jive and PasO noote <

Faflaway P?sHlon Is slrntlar to Promenade

position except that the man has taken a step back on U~ (lady RF). The turn between the two bodies does not norrnaHy exceed 1/4. {lIB to L for man,

1/8 to R tor.Iadv.)

OPEN FALLAWAY POSITION (A)

This position (Photog(aph No 8) is used jn Rumba and Cha Cha ChfL

Starting trom Open Positi(ln with L to R hand

hoid1 Open Fallaway Position with L to A hand hold is achieved by both man and lady turning 1/4 outv/ards~ (nan to R~ lady to L. and taking a " 8ackward Wa[k~ man Rfi lady IF. The man's l arrr

(Iady's R arm) is d~agonafly forward sHghtly fetracted~ just below breast..,bone level His R arm (Iady~s L arm) is extended to side at shoulder tsvet Due to the body shap~ng caused by the hip action, the man's R arm [Iadys L arm) wilt appear to be

higher than the other arm,

Open FaUaway position with R to L hand hold is'

achieved by the man turnIng 1/4 to L (lady to R) '"-"' from Open POSition with R to L hand hold and takIng a Bt;tckward Wark on IF ('ady AFj, Arm positions are normal opposite to Open FaHaway

Position with L '0 R na nd hold.

~.,._ • ~~I ...... -

No.7. Fal/away Position.

No.8. Open Falla~V'ay Position with L to R hl1nd hO/L1,.

PROMENADE POSITION (A)

This Position (Photograph No. 9) is used in Sarnba. Jive and Paso Dobis,

Starting from C10se Hold Poslnon, Promenade Position Is achieved by both man and lady turning 1/8 outwards, man to L. lady to R'~ fowering the L arm (I(1dy R arm) to just below shoulder level. However, up to 1/4 to L (lady 1/4 to R) can be made, The maximum turn-out of 1/4 tor lady and man is used when figures that require a pelvlc action are to be danced, such as Prornenade Samba Walks. The turn in the shoulders is sUghUy less when

in a ,X ~ rn urn t urn" 0 u t j sus e d <

Depending upon the t~gure to be danced the man's R hip and the laov's L hip will either be in contact or up to 15 ems apart weight on either toot.

If the hips are In contact or r elatlvetv close. e.g, Promenade Samba Walks. the position ot t~le man's R hand (lady's L hand) is changed. The man's R hand is slipped to just below tadv's R shoulder blade; the fadyis L arm will rest tightly across the man's back at approximately shoulder blade level.

NOTE:

'II

Sea paragraph in chapter preceding Paso Doble

and Jive for additional detail appucable to PP and Cpp in these two dances."

No.9. Promenede Position.

16

COUNTER PROMENADE POSITION This Posulon (Photograph No.1 0) is used In Samba and Paso Dob!s.

The bodies wtH be approximately 25 ems apart.

The man's l arm (Iady's R arm) win be raised above head revel with the arm slightly retracted, The man will have turned up to 1/8 to R (lady 1/8 to L) Ironl Close Hold, The man's R arm wHr be

forward sJ~ghny retracted just below shoulder leveJ wUh the R hand sltppeo Ir orn the lady's L shouJder blade to a posltlon at the top of the lady~s L arm. The ladv's L arm wHI f9!{t lightly along man~s R

a r rn (0 If 0 \V f {1 Q n H3 5 a n·H3 cur v 8 "

'OPEN PROMENADE POSITION (A)

This p()sttion (Photograph No. 11) which is used '0 RtJmba~ Samba and Cha Cha Cha is simltar to open Position with R to L hand hold, man's weight on LF (lady RF') but with the tollowinq differences:

1. The man's R arm [lady's L arm) is diagonaHy forward. slighUy retracted.

2, The man has turned up to a 1/4 to L (lady up toa1/4toR).

3. When there is a 1/4 turn difference between man and lady the foot position will be "Side in Open Promenade Pcsltlon" ~ When there is a ' 1/2 turn difference between man and lady the foot position will be "Forward in Open Promenade Pcsnion" ~

For Open Promenade Position with L to R hand holo, the man holds lady's R hand ln his L hand (as in CJ,S'se Hotd), The turn out from Open Position to Open Promenade Position with L to R hand hold is 1/8 to L tor man (lIB to R tor lady).

No. 11. Open Promenade Position with R to L hand hold.

'.

..

17

; fi

0/ '

,... .."" (0

OPEN COUNTER PROMENADE POSITION (A)

, This Position {Photograph No. 12L used in Rumba.

Samba and Cha Cha Cha is similar to Open Position with L to R hand hotd, man's wolght on RF {lady LFL but with the following differences~

·L The man's L arm (lady's R arm) is diagonatly forward slightfy retracted.

2. The man has turned up to a 1/4 to R (lady up to a 1/4 to L).

3. When there is a 1/4 turn difference between man and lady the toot position will be HSide in Open Counter Promenade Position" ~ When there is a 112 turn diHerence between man and lady the foot position will be "Forward in Open Counter Promenade Position H t

SPANISH LINE (M)

This Posttion (Photograph No. 13) is only used in Paso Doble. Details regarding foot positlons. footwork and weight distribution are given in the chart on page 106,

... ~- .

. ~ ...

No. 12: Open Counter Promenade Position.

~

No. 13~ soenist: Line.

18

SHADOW POSITION (M)

'~' .. -. ,

This Position is used In Rumba. Samba·and Cha

Cha Cha. ·.h'

The lady is positioned on the man's R side. slighUy in advance of his body and taclnq the same directiof'L Her weight will be on the-normal opposite foot or the same foot as th,a man depending upon the fjgure to be danced. ·Hand holds and arITI positions used will also depend

upon the figure to be danced. , "

The following combinations can ~-(f used for

syHabus figures: -~

1. SHADOW POSITION WiTH L TO R AND A TO

L HAND HOLD (M) >.~ .

. - ,

(Photograph N~. 14) . ":~':~. .

The man's R hand holds the lady's L hand. her L arm beir)g held across tnt: front- of her body. The man's L hand hotdsthe 'ady~s R hand, her A arm also being h~Jd across the front of her body, but above her L arm. The arms are forward slightly retracted across body at chest level. Weight on normal .

opposite foot. ...

., - ,

Alterhanvely. the man's R'hl1nd··c'an,"be

placed on the lady's R shoulder blade. His R arm will be to side slightly ret(a·cteo.·rhe tady's L arm will remain forward. slightly retracted across body. but hefd above her A

, .

arm. ~

Either of these positions can be used for Forward Wa!ks -in Shadow Position in the

Rumba. '<., >

2, SHADOW POSITION WITH L TO.L HAND· HOLD, R TO R SHOULDER ~.~; .:: .

(cal fed Sarne Hand Hold Shadow Position) (M)

(Photograph No. 15) -~'~., .<.',,-~~~- .« .. -. ~ .w

The lady's L arm is to side stightly"retracted~ Just below shoulder level. The man holds the lady's L wrist with L hand. his L arm makIng a similar curve to that of the lady's L _arm.

The man's R hand is placed just below the tady's R shoulder blade with the arm slightiy retracted. The ladv's R' arm is to side slightiy retracted making a sort curve from the shoulder.

This position is used for Ugures on the same foot in Samba and Cha Cha Cha or in Rumba on normal opposite foot

No. 14. Shedow Position with L to Rand R to L bead hold.

No. 15. Shadow Position wlth L to L hand hold R to

, 1

R shoulder, ' .

19

CONTRA PROMENADE POSITION (F) Thia Position (Photograph No. 16) Is used in Samba and Is similar to Close Hold except that both lady and man have weight on the LF and both have turned 1/8 to 'L Irorn Close Hold position.

.

_- '4: "'-1.'

..... :fI :- ~ .

<... ) . <, .::

'I"

No. 16. Contra Promenade Position.

20

CONTRA COUNTER PROMENADE POSITION (F)

This Position (Photograph No. 17) is used in Samba and is similar to Close Hold. except that both lady and man have waight on AF and both have turned '1/6 to A from Crose Hold position"

No. 17" Contra Counter Promenade Position. '

OPEN CONTRA PROMENADE POSITION (F)

1his position (Photograph No. 18) is used in Samba and is similar to Open positi9n with R to A

hand hold. except that both lady and man have weight on the LF and have turned 1/8 to L Arm positions are as for Open position. The hand holds used are R to R or L to Rand R to L.

(DOuble hand nold.) .

"

No. 18. Open Contra Promenade Position,

OPEN CONTRA COUNTER PROMENADE POSITION (F)

This Position (Photograph No. 19) is used in Samba and is .stmitar to Open position, except that both lady and man have weight on the RF and both have turned 1/8 to R Arm positions are as for

Open Position. The hand holds are L to L. or L to Rand R to L. {Double hand hold.]

No. 19, Open Contra Counter Promenade Position.

21

ADVANCED OPENING OUT MOVEMENT (F)

Photograph No. 20 shows the poslticn that shoufd be achieved at the end of the first steoor the Advanced Opening Out Movement danced rcHowing an Alemana with R to R hand hold.

Although not a Basic Position this photograph has been includec to show the correct toot position

and body shaping for this movement, which are often danced incorrectly.

A similar foot position and body shaping shaull] be achieved when the Advanced Opening Out Movement is danced in Close Hold, following a Natural Top or Alemana with l to R hand hold,

iVo.20. Step 1 of Advanced Opening Out Movement

22

RUMBA.

TIME SIGNATURE

The time signature is 4/4 with predomlnant percussive accents associated withthe 4th beat of each bar. The dance should be star-lad by taking a step on the 4th beat of a bar of rnustci.. .. ~-,

TEMPO

27129 bars/minute.

TIMING AND BEAT VALUES~',

- ,

~ • ...,--., I ..

The Rurnba is a "body" dance. Hip:"f{Ctlons are

produced by a controlteo transfer 01 weight from foot to toot Each toot movement tat\~§ a ~ beat of music. Weight transfer or body acnonthen occurs on the second half of the beat for steps taken on the 2nd and 3rd beals of the bar. During steps requiring two beats of music (namely those taken on 4.1) the weight transfer or body.:.~,S:~~o~< uses one

and a half beats of music. .':-':=- _ ~ e ' • _

To achieve this rhythm interpreratTo~n···e~ich' figure

. . ... ~:- ... :- _. ~

is counted starting from a preparatorysteptaken

on count 4 as follows: 4 &. 1 & 2' & 3~~&~~4',~& 1 &. . ~' t -~ ,'-

FOOTWORK

AU forward steps commence first orithe toe and then onto the bail 01 foot with some pressure into the ucor. The heel is lowered just b~fore' the full ' extent of the step is reached. ThlsJ.Q~Otwork, is .qiven ..

in the charts as HBaH Ffar~. ~-,,,' .• ~ ,:-'~,.

I tJ:Il~ • •

Backward steps are taken first using the ball of

the moving fool and then toe. Finally the heel is lowered as the weight is transferred as the fuB extent of the step is reached. At the end of the step the heel of the foot without weight is allowed to release naturally from the noor This should not result in any appreciable bend ot the Jeg without weight The footwork of such a step is described in the charts as HB~n Flat" ~

CUCARACHAS (A)

Defined as "pressure steps" and are danced mainly by the man. The movement consists of a group of three steps normally made without turn, the feet being closed on the third step.

On the first step the foot moves further than the body and is taken with pressure into the floor retaining some weight on the supporting foot. The foot is moved either torwarc, diagonally torward, sideways, diagonaUy back, or back, The toe will be slightly turned out at the end of this step.

On the second step, tuB weight is transferred onto the supporting foot in place..

On the third step, the moving loot is ctos ed to the supporting foot When a true Cucaracha is danced the heat of the supporting foot will not be released troll? the floor" The footwork is therefore: Step 1:

BaH flat, 2: Flat 3:_ BaH flat. However this is not practicable if the Cucaracha is taken forward. The footwork for each step of a Forward Cucaracha is Ball Flat,

The first step of a forward Cucaracha is a Checked Forward Walk~

ALTERNATIVE BASIC' ,MOVEMENT (M) Danced by the, man' only, after he has taken a step that tlnisbes to side on RF in Open Position and

continues: "

,1. LF closed to RF .~".''''»~''~''~'''>'''.<<O'<<i'''~. Count 2 '2. Transfer weight to R F in place .. .,. n >.» •• Cou nt 3

3~ -LF to .. s ide and slightly back »»,. Cou n t 4.1

,. Continue with 'Nat Top, .

, ~

, When' usedin this manner by the man, it win

replace 'steps 1-3 of the Basic Movement danced trorn OpenPosttlon. to Ctosa Hold. The lady will close RF to'LF on step 1 ~ then LF fwd on step 2.

, PROGRESSIVE WALKS

, , '

Themajority of movements danced in the Rumba are based on' the action of the Proqressive Wa~k.

- -!-. -:.

Since, this action is very important a detal fed,

description of the principles employed to produce good Forward and Backward Walks is given:

FORWARD WALKS (Man and Lady) (A)

Prior to commencing walk achieve correct Poise (see page 9)~ take tuB weight onto the supporting foot (say RF) and extend LF back w/o weight (See

Note 1 on page 24~) ,

To commence a Forward Walk allow body to move forward with upper part slighUy in advance

due to forward poise. -

Just before point of unbalance is reached, move L leg forward first using the toe. then the ban of foot with some pressure into the tloor lowering heel and straightening L leg just before completion of step. Weight is then collected onto thaLf at a rate depending on whether the Forward Walk is to take one or two beats of music.

Tension is retained in the R leg (the leg now without welght) which win be straight At the end of the step the thigh and toe of the R leg VIlli be turned out approximately 1/16 of a turn.

, The same procedure will be repeated using RF

, to dance a Forward Walk on RF~

,

23 '

BACKWARD WALKS {Man and Lady} (A)

Prior to commencing walk achieve correct Poise (see page 9L take full \veight onto the supporting foot (say RF) (see Note 1 below) and extend LF torward w/o w.eight

To commence a Backward Walk move the LF back, without affecting poise, first on ball then toe o! the foot with some pressure into the floor. to a point where full weight can sun be retained comfortably on the supporting toot, the knee of Wh1Ch is stilt straight The knee of the L leg will be slightly compressed. The L heel is then towered and, the L Jeg straightened as weight is collected at a rate depenolnq on whether the Backward Walk ls to take one or two beats of music. At the end of the step the lleg wfU be straight and perpendicular to the floor. The L t'high and toe will be turned out

, ,

approximately 1/16 of a .turn.

Tension Is retained in the R leg (the leg now without weight) which will be str alqnt and the R

,.

heel will be fightly touching or just released ,

naturally from the tloor.

The same procedure witl then be repeated using RF to dance a Backward Walk on RF>

NOTE 1< The hip/pelvis win have moved weir over

'to R and the R teg will be straight. Due to the pelvic shIft the L leg .wil: appear longer than the R leg~ consequently as the L leg is moved conslderable use of the L knee and ankle will be necess ary.

AMALGAMATION OF FORWARD WALKS (A) Man. Dance six Forward Walks {LRlJ RLR} Cou n t 234.1 234.1

Lady. While the man dances the Forward Waiks~ the lady dances six Backward WaJks (RLR, LRL). Amount of Turn. Man and Lady. The six walks may be danced without turn or curved to L or R, Shaping. Steps 1-6 - Close Hold.

Precedes. Steps 4-6 of Basic Movement but take step 6 forward.

Follows, Basic Movement

AMALGAMATiOt~ OF BACKWARD WALKS (A) Man. Dance six Backward Walks (RLRf LRL) Gount 234.1 234~ 1

Lady. WhHe the man dances the Backward Walks, the tady dances six Forward Waiks (LRLf RLR). Amount of Turn. Man and Lady. The six Wafks may be danced without turn or curved to L or R" Shaping. Steps '~6 - Clos e Hold.

Precedes. Steps '1-3 of Basic Movement, but take step 3 back.

Follows. Steps 4--,6 of Basic Movement Fan. 1f 6th Walk is taken to side and slightly back, Natural Top.

24

The Forward and Backward Walks described are usually only danced in this manner as an exercise to enable pupils to practise these important movements. However, six Backward Walks tor man (Forward for lady) are often danced, but in Open Position with L to A hand hold. Alternatively the man may use R to L hand hold on the first group of three walks changing to L to R hand hold on the next group ot three Walks.

Shaping. Steps 1-6 Open Position, with or without hand hold change,

Precedes. Steps 1-3 of Basic Movement, but 3rd step taken backwards releasing nolo with R hand: steps 1---3 of Open Hip Twist, but 3rd step taken backwards.

Follows. Underarm Turn to R or Spot Turn to L. After 6th walk taken to side and slighUy back

- .

continue with Nat Top.

FORWARD WALKS IN SHADOW POSITION (M)

The Forward Walks can be danced in Shadow Position using any or the three standard holds.

When danced in lhesa positions the lady wUI also be wa'king forward but the technique of the actual walks is unchanged.

Shaping. Steps 1-6 Shadow Posltion with l to R and R to L hand note. l to R hand hold and R hand to R shoulder or Same Hand Hold Shadow Posit jon. Precedes. On step 3 0' Spiral. collect lady in Shadow Position attar she has cornpfeted her Spiral Cross, Walks are then commenced on RF tor man (lady LF).

Follows. After Forward Walk on man's LF timed 4.1 ~ transfer wt to RF to place and dance steps 4-6 of Basic Movement Jeading lady to L side to finish in Fan Position) count 2 3 4,1.

1

2

1

RUMBA

BODY TURN

SASIC MOVEMENT (A) J-W

«:J

w-.J

aJ~

FOOT WORr(

FOOT POSITION

ACTION USED

IF twd, T turned out B flat Checked Fwd Wa'k
RF in place B Hat Wt transfer in place 51 igh Uy to L
IF to side and slightly back 8 frat Bwd Walk turning To L
RF back B flat Bwd WaJk
IF in place 8 flat WI transfe r in place Slightly (0 l
RF to side and slightly forward B nat Fwd Walk Turning To L 2

3

1

3

2

4

2

1

3

1

5

2

B

1 2 1 RF back B flat Bwd walk -
2 3 1 LF in place B flat WI transfer in place S fig hUy to L
3 4~1 2 RF 10 side "and slightly fwd B ffat Fwd Walk Turning To L
4 2 1 LF fwd, T turned out B Hal Checked Fwd Waik
5 3 1 RF in place B flat Wt transfer in place Slightly to L
1
"6 4~1 2 IF to side and slightly back B flat Bwd Walk turning To l
,. SHAPING

Steps l·-6: Commence and finish in Close Hotd.

OVERALL AMOUNT OF TURN Approx, 1/4 to l for man and ladv.

PRECEDES

Basic Movement Spot Turn to L, Nat Top, Rev Top.

FOLLOWS

Basic Movement, Fwd Walks, Rev Top. Alter step 3~ Fan. Bwd Walks~ Nat Top.

NOTES

1. Since the Bwd Walk and Checked Fwd Walk are not exact counterparts the distance between the couple wHi vary during steps 1~6 of the Basic Movement.

2~ Step 3 is taken back (fady fwd) when roHowing wHh Bwd VVatks, Step 3 for lady is taken fwd between partner's feet when Iotlowinq with Nat Top. Step 6 is taken twc (lady back) when used to precede Fwd Walks~ 3/8 turn to L is made over steps 5<6 by man and lacy when used to precede Rev Top.

25

"F·OOT POSJTION

FOOT WORK

ACTJON USED

RUMS)

FAN (;~)

___ ...... _~_~..__ IIIL .. '1II1i: *. #

BODY TURN

1 2 1 RF back B flat Bwd walk -
r.:«ill~ ... .........-. ........ ~I ...
............ ,~
2 3 1 IF in place B flat Wi transfer in place 1/8 to L
I~,I....:--t (= "'~.I"_"''' .......,:-, ............... :-:::~ ~..._..-
3 4~1 2 RF to side and sUghtfy fwd B nat Fwd Wafk Turning 1 2 1 LF fwd B flat Fwd Walk ---
~~ ... ..: ... __ oLaI .... ~..,.__."","*, A ........ '""":-1 ............. .......:-.:-1 .......... ......~,I~ ..... ~~_~I~ .... _ ......... ~ ._ lac ... ,--
2 3 1 RF back and slightly to side B flat Fwd Walk Turning 1/8 to L
I ...::..w. .. ::===..:. _ 'r Ht"'__ ........:: .......... .---- LILd"' ............. ......, ..... n:-r:«-:vI W'O'~,r'J{~::::....-.:-'-"-' ~ ... : ... III:u~~,
3 4~1 2 LF back 8 flat Bwd Walk 1 i4 to l SHAPING

Step 1: Commence in Close Hold, then lower L arm leadinq lady fwd to a closer cos. Step 2: Re+eas e ho'd wttn R hand. Step 3: Finish in Fan Pos.

PRECEDES

Steps 1~3 of Basic Movement, 8wd walks. Fwd Walks in Shadow Pas.

FOLLOWS

Hockey Stick, Alemana, Sliding Doors Three Aternanas.

NOTE

1. The man can turn 3/8 to L over steps 2,3 to finish to side in Open Pas, Follows are then ~~ Alernana.

Steps 1 ..... 3 ot Basic Movement or Alternative Basic Movement to Nat Top. Open Hip Twist Curl. (See Note 2<)

2 .. if the man does not follow the lady on the last step o! the preceding figure that finishes in Open Pas the Foot Pas ot the first two steps of the next figure as lady become 1 e RF closeo to IF- 2, LF fwd.

26

HOCKEY STICK fA)

RUMBA

-' 1-...... ~ ~ ~ ....... ~ _ .,., -. I .. L

. "t' "

1/8 to R

(!) a.. > z uJ 0 -

t;Z ~

FOOT WORK

FOOT POSITION'

ACTION USED

BODY TURN

''''~''''''' ~ ..

. ,-:- .

LF twd, T turned out~~~

, B flat

Fwd Cucaracha

2

1

-

-.~"". ,.

RF in place

B flat

1

s

2

-

, ,

LF closed to RF

B flat

2

3

... I ............... ,_ I.~ -:...... .: .. ~.:

-

RF back

B Uat

Bwd Walk

4

2

1

LF in place

, .. *'

B ftat

. -

Wt transfer in place ,

1

3

5

I I •

2 . RF fwd

Fwd Walk e •

B Hat

1 2 1 RF closed to LF B Hal F close with wi -
.... >
change ..
, , ,
.} "
LF fwd .. S flat Fwd Walk
2 3 1 ., -- , .. .: .-: .. - "
I -:
. .
3 4~1 2 RFfwd B flat Fwd Wafk -
e ., .. ,.. Ii'
. .:r.~ ...... ~ .. _ ... _~-:- .. . , .. <. - ~ , , ... .... .. .
,- _,"'_ , ~ -: .. ...
,
LF'wd ~-. B Uat Fwd Walk 1/8 10 L
4 2 1 .. ~ ._, -- ~
I'_~ -:..- .... .1'..:..~ ... ....Jo ~ ~~ ~, , , , " , • _I ........ ..... I I~ .... _ J ...... ~. ..,..:.. ""( ,-
.....:.l"' ...
3 1 RF back and slightly~to·sla(r· . B lIat' ., ' Fwd' Walk- Turning ·318 to L
5 .
.. . - ... :"""'.
.- .. _. I~ 'IIi. , - -,
~.~ ........... B flal Bwd Walk 1/8 to L
4~1 2 LF back •• IH ~ ~ , SHAPING

Step 1: Commence in Fan Pas. Step s.t. arm raised indicatinq turn to L< Step ~~ Finish in Open Pas with L

... .

to R hand hold,

PRECEDES H __ " _ ... , '... •. ., •• ,." .• >~,~ .., .P •• ..,.,. n,~ .... ,... • __ , , •

Pant Close Hip Twist Open Hip Twjst~piral finished in Fan Pos. Curl. Continuous Circular Hip 'Twist.

FOLLOWS

Steps 1-3 of Basic Movement to Underarm Turn to A or Nat Top, Alernana. Open Hip Twist Curl.

HOCKEY STICK TURNED TO OPEN CPP (M)

The Hockey .SHck can be overturned to finish in Open CPP if as the lady takes step 5~ the man increases her turn to L through tension in his L arm and leads her to move to Open CPP. 'The man turns 1/8 to R on step 4< The lady will turn 3/4 to L on step 5 to a Spira~ Cross. Man and lady move diag fwd on step 6 to finish in Open GPP~ Follow with Check from Open Cpp~

27

SPOT TURN TO LEFT rA}

RUMBA

B flat

Wt trans! e r in place

One complete turn 10 L'

)-w « :=i.

~ :;t FOOT POSITION

>

tL. Wo r- Z U)

-

FOOT WORK

ACTiON USED

BODY TURN

1

2

Fwd Walk Turning

1 RF fwd a nd across body turning to Un ish RF back and slightly to slde

B flat

2

3

LF in place

1

Fwd Watk Turning

3

B flat

RF to side

2

1 2 1 LF fwd and across body turning to finish B fiat Fwd Walk Turning One complete tu~n
LF back and 51 ightly to sid e to R-
2 3 1 RF in place 8 iJat Wt transfer in place
3 4~ 1 2 LF to side 8 flat Fwd Waik Turning
• 7J8~ if finished in Open CPP. SHAPING

Steps 1-3: Commence and finish in Open Pos wto hold,

PRECEDES

Spot Turn to Rt Under Arm Turn to L~ Check from Open Cpp~ Hand to Hand, Cuban Rocks~

FOLLOWS

Baste Movement, Spot Turn to R~ Hand to Hand, If Iinisheo in Open CPP - Check trom Open Cpp~ Under Arm T'urn to L.

UNDER ARM TURN TO RIGHT fA)

Instead of dancing the Spot Turn to L~ the man can dance steps 4-6 of the Basic Movement w/o turn, indicating lady's turn to R through shaping of his L arm. The man holds the iaov's R hand in his l hand, which is moved in a circle above the ladys R shoulder allowing her to turn to R. Close Hold can be achieved at the end at step 3, The lady dances a Spot Turn to her R<

PRECEDES

Steps 1--3 Basic Movement, Under Arrn Turn to t., Spot Turn to R~ Check lrorn Open CPP. FOLLOWS

Basic Movement, Spot Turn to R, H finished in Open CPP - Check from Open Cpp~ Under Arm Turn to L.

28

SPOT TURN TO RIGHT (A) RUMBA
CJ ~w
0... • Z «:J FOOT
wO - w_.1 FOOT POSITION ACTION USED BODY TURN
t:)Z :2 co< WORK
-
i- >
- .
1 2 1 LFfwd and acrossbodylurningtotinish B flat Fwd Walk Turning One complete turn
LF back and slightly to side to R~
2 3 1 RF in place B flat Wt transfer in place
3 4~1 2 LF to slde B Hat Fwd Walk Turning 1 2 1 RFfwdandacross body turning toflnlsh B flat Fwd Walk Turning One complete turn
RF back and silghUy to side to L *
2 3 1 LF In place B flat Wt transfer in place
4~1 2 RF to side B Hat Fwd Walk Turning
;, 7J8~ if finished in Open pp, SHAPING

Steps 1-~3: Commence and Hnish ln Open Pes w/o hold.

PRECEDES

Spot Turn to L~ Check trorn Open PP. Hand to Hand trorn step 6,

" ~

~

FOLLOWS

Spot Turn to L~ Hand to Hand from step 4. tf finished ~n Open PP -- Check from Open pp,

UNDER ARM TURN TO LEFT fA)

Instead of dancing the Spot Turn to RI the man can dance steps '1..--3 of the Basic Movement commenced from Open Cpp {1/8 turn to LL indicating the lady's turn to L through shaping ot his L arm. The man's tst step of the Basic Movement is taken outside partner. ~H1e holes the Iady's R hand with his L hand, which is moved in a circle above the lady's R shoulder. allowinq her to turn to L, Close Hold can be actuevad at !he end of step 3. The Iady dances a Spot Turn to her L ("7/8 turn)"

PRECEDES

The following figs, f~ntshed in Open CPP: Steps 4--6 of Baste Movement! Spot Turn to L, Under Arm Turn to R~ Check from Open Pf>.

FOLLOWS

Spot Turn to LI Under Arm Turn to R~ Fan. Hlady 15 ~ed Iwd on step 3 - Nat Top, tt finished in Open pp.,_ Check trorn Open pp,

29

CHECK FROM OPEN CPP (NEW YORK) rA)

(!1' .
a... ...... w
• Z <{::J
Wo
- _J
r-~ z .~ ... .W -c
if) - err
...... > FOOT WORK

FOOT POSITION

ACTION USED

2

,

LF fwd in Open CPP, T turned out.

1

1

B lIat

Checked Fwd Walk

RUMBA

BOOYTURN

B flat

1/8 to Rt

1 2 1 RF fwd in Open CPP, T turned out B flat Checked Fwd Walk 1/8 to Lt
2 3 1 LF in place B Uat Wi transfer in place 1/4 to R~
3 4~ 1 2 RF to side f3 Hat Side step
t Turn is commenced during preceding beat of music.
It 3/8. it finished in Open PP with R to L hand hold. 2

3

RF In ptace

-1

Wt Ira nste r in place

·2'· LF to side

e flat

Side step

SHAPING

Step 1: Commence in Open CPP. Step 3: Finish' in Open Pas with L to R hand hold.

1/4 to lit

PRECEDES

. The following figs Hnished in Open ,CPP: Spot Turn to L~ Under Arm Turn to R1 Check fron1 Open pp~ steps 1--6 of Hand to Hand. Hockey Stick. Close Hip Twist Open Hip Twist Alernana, Spiral, Curt.

FOLLOWS

Spot Turn to L~ Under Arrn Turn to R. If Ilnlshe d in Open.PP with R to L hand hold: Check from Open PP.

30

CfwlECK. FROM OPEN PP {NEW YORK} (A)

RUMBA

Q..,. UJo ~z til

.

~ r -!II:£'It.... .-:-..... _ _ I _ • i ~ ~ ~ ~. . ~ '. I •

I~" ~~ ~ _of. .. t-:~~-:- ~~~"i .. hi.:. ..: .. ~~ .. _-:r.- _ ._ _ ,..... -: *' . ~ _._~ .L ._."11: """"'-: I I

FOOT-P·~QI-:T-i~'~4;~.~-~~- .. : .: .. '~,· .' ,~EQ.OT'J': '-'-:~·A·C··-jlAt\.'_°U'S'ED' ,,-~ .-:----" BODY TURN

-~ .f. ~~~"'I • ~, .. ,. v.",~,- ~J'OWORK. . <. , .. ' fVt~h , .. "., _',-

,~- ........,' - .. , ~ .' ", .

.... -~:+II~ .-i£.rF..Ji:..-.. ~._:.~~' .. ~...:..:'ri:"'" ~ ...,.-:..,-:-, , :.:.............. i'~ I V' ~_ -:--+' .1)0 ~ ._ .. !-~~ _ I~ ......,.~ ~~. 114..:~'..: I ~ • ...t 1 .. _ ..

-.-.-:-.-u-...-...:.o. -:-, .. ..: -:- -:- ........ -(0 ......... ...:_ I :r .' - -..... ..... .

............... .:r'r"""'If:IIfT(+z- ............. :1 W

>

B Ual WI transfer in place

.. ~.~'~:II~ ..... i I _I_~~""_;<~ ,...__~ ,_~

.~

- , Side step . -.' < ..

1/4 to L"

..

I .. . ... J

2

1

RF fwd in Open PPj J turned out

a Uat, - .Checked Fwd Walk. 1/8 to Lt

1

3

1

LF in place

~

• • v

. ..'. ..

.. ' B flat" .. Wt ~ransfer'ln place ~1/4 to Rt

2

_ -:-.iI .... • 1)0 ... .:-', .. -:-

. .

. ~«,»-'_~rl ,"'"=" I -:-~. ',"" • I • • ~ •

• • - .. ...... r _ .... ..... • .... ~. • ~ I ... I ~

, ,., .. B .tlat '. ~',< -. Side step ',. <-_ -~.~,,- ': .•.• '

3

2

RF to side

~ ( .........

':.~ :.I ... ~ ~IV--h.. .. "

• .. -:..-. • -: • I -." I _ .. I _ of' ... ~ .... _) ........ _ .. I

3 4~1 2

RF In place

LF fwd in Open PP •. T turned out

- B flat ~ Checked Fwd Walk

1/8 to Rt

LF (0 side

..... ~:.:.Ifl .......... ,.:.~ ...... -, ......... ~~ ... ~Ir~ -:- I' o»

.. '

B nat

~...._. ... of. • .......... :-.r I- ....

. ~

t Turn is commenced during preceding beat of music .. '

11 31 8 ~ it fin ish e din 0 pen C P P >

. . _.. ! I

I _._.. .. • ="'.

SHAPING ,.". . < v ,

. ""_

Step 1: Commence in Open PP with. fi to L hand hold. Step 3: Finish in Open Pos with R to L hand hold.

I " ", _. '_"'_'"

PRECEDES

The fonowlng figs finished in Open·~~~:~~~p.-R~~,T¥r.n~.to,' ~·! __ ~'.np,~~ ~~m'·,'T·~r\l~,b ~1' Check Irorn Open CPPt Hand

to Hand. ..,., '.. . ' .

FOLLOWS ~ > . ~. •

Spot Turn to R. H finished in Open'C8P:·'Check from Open CPP~'Under,Arm l-urn to L~

- .

p_.. .. .

31

1 2 1 LF back in Open FaUaway Pos B flat Bwd Walk 1/4 to Lt
-_,
IL..... ... ~
2- 3 1 RF in place B fiat WI transfer in place -
3 4~ 1 2 LF to side B l1al Fwd Walk Turning 114 10 R
....._ .... _P .............. - "fzL_ .. ....11 .... '--"'_
4 2 1 RF back in Open Fallaway Pas B lIat Bwd Walk 1/4 to Rt
·5 -3 1 LF In place B nat Wt transfer In place -
6 4~ 1 2 RF to side 8 flat Fwd Walk Turning 1/4 to L
- .................. - .. -... ....... _ ... 'F.F .... .,..... __ :. ........ T ' ...........
.
Sleps 7-9: Repeal steps 1-3r to finish in Open Pos with L to R hand bold. t HAND TO HAND (A)

ACTION USED

a. ~ Wo

~z

FOOT WORK

FOOT POSITION

RUMSJ

BODY TURN

1 2 1 RF back in Open Faflaway Pas B rial Bwd Walk 1/4to Rt
2 3 1 IF in place B flat WI transfer In pi ace -
bd.. • _____ , .. 110
3 4~ 1 2 RF 10 side B flat Fwd Walk Turning 1/4 10 L
-
4 2 1 LF back in Open Fallaway Pas B flat Bwd Walk 1/4tolt
.....................
5 3 1 RF In place, B nat WI transfer in place -
_............._
,
6 4.1 2 IF to side B Hat Fwd Waik Turning 1J4 to R
Steps r -9~ Repeat steps 1-3~
.. Can be finished In Open CPP on step 6 or Open PP wjth R to L hand hard on step 9.
t Turn is commenced during preceding beat of music. SHAPING

Step 1: Commence in Open Pos wah R to L hand hold then achieve Open Fallaway Pas with R to L hand hold, Step 3: Achieve L to R hand hold. Step 4: Achieve Open FaHaway Pos with L to R hand nord. Step 6:

Finish in Open Pos with R to L hand hold.

PRECEDES

Spot Turn to L~ Under Arm Turn to Rf Check from Open PP.

FOLLOWS

Spot Turn to L~ Under Arm Turn to R.

H tinished fn Open CPP on step 6: Check from Open CPP. If finished in Open PP on step 9: Check trorn Open PP .

..

NOTE

This fig can also be danced with the man's Rand L hands held alternately just under the lady's L and A shoulder blades. The lady's hands witl then fie naturally on the man's Rand L shoulders respectively. When danced [n this manner the figure can also be preceded with-the Basic Movement, or Spot Turn to L.

32

NATURALTOP~~) ~ ~ ~ R_U __ M_8_A_~

-

t--

2

1

oi-----+--"---------,------- ...,.._........-'i-'-----+-............... ............. ....... : :z1z : ... _.,...:,p- _

FOOT WORK

Side step 114 to R

Delayed Bwd Walk. 1/4 to R

Latin Cross

ACTrON USED

Delayed Bwd Walk. Latin Cross

BODY TURN

1/4 to R

_~-_t___-_t---------'---"----"""""-"'-_r_---_r-'----'-"'---"".""-~hT-""""'I' , .... ., ....... - ......... t.....! ..... ~....:-.n~

t-W «=>

~ ~ FOOT POSITION

>

1 RF crossed behind IF

Side step 1/4 to R

... , ..... _~._. IJI ; ..... II~

Delayed Bwd Walk* 1/4 to A

Latin Cross

Side step 1/4 to R

Delayed Bwd Walk~ 1/4 to R

Latin Cross

&-...--..-__.j~_,,+___""-..,_--_,--~i~----,-I "'T_~. ---------t-----t----------- ............... hl..:.L_"""'" ....... ~~·:fa:::::a6IIIIIl.""r:_ ~.

8

3

9

1

LF to slds and sHghHy fwd

B flat

2

RF closed to LF

B flat

Side step

F close with wt change

1/4 10 R

1/4 to R

f

1 LF to side and slightry back

~~-~-

1 RF fwd and across LF

1 2
"~
2 3
3 4*1
4 2
5 3
6 4.1
17 :2
8 3
9 4~ 1 B Hal Nine Fwd Walks 1/4 to R
B Hat turning to R 1/4 to R
B flat 1/4 to R
H ... .:..,.:.. _ ~I
B flat 1/4 to R t
___.
B Hat 1/4 to R
B flat 1/4 to R
II" =-=..:..n
B Uat 1/4 to R
B Uat 1/4 to R
-~
B flat 1/4 to R LF to sr de and 5119 h Uy back

1 RF fwd and across LF

1 LF to side and slfghUy back

2 RF fwd and across LF

4----+---..-.j---....----II ... T __ .. HL..:.::::::::: I ~'+. -:....w-._ ....... .,."...._. ~II'I....,__.._. ........ ~

+---+--------t---- ..................... :11 ... I~t-:-rl ~n. ,.... F ',; I _-..:: 1 ........ , ....... ----i

1 IF to side and slightly back

1 RF fWd and across LF

2 LF to side

• This step is taken on the T and the footwork is completed as the next step is taken.

SHAPING

Steps 1-9: Commence and finish In Close Hold.

OVERALL AMOUNT OF TURN

2~ turns to R~ More turn can be made.

PRECEDES

. '

Steps 1-3 of Basic Movement, turned slightly to R~ (lady RF fwd between partner's teet). Backward Walks

finished by taking 6th walk "to side and slightly back". Under Arm TUrn to L~ if lady is led to step fwd to finish between man's feet. Alternative Basic Movement.

33

Conte.

NATURAL TOP fA) Contd. RUMBA

FOLLOWS

Basic Movement, Close ,Hj p Twi'st Spiral. Opening Out to Rand It Rope Spinnlnq. Cant Hip Twist, Corn

Circular Hip Twist. '

NOTES

1. Throughout this fig the coupfe rotate in a circle with a centre which Ialls at a point between the two pa irs of feet.

2~ H desired steps 7~ 8~ 9 only may be danced.

. 3. Due to the speed and contlnuation of turn normal hip action does not occur during this fig except on the last step.

4. lady can be turned to Ll under man's upraised L arm. during steps 4f 5. (M)

, 34

CLOSE HIP TWIST (A)

a.... Wo r-Z en

1

2

RUMBA

FOOT WORK

• : ~ I _

BODY TURN

1

B flat·
e
.. Flat
··8 flat
B flat
B flat
B Hat. 2

3

1

IF to side

".-:, I. ~ ~

. ....

4

2

RF in place

~ .:..',. .,"

5

3

6

1

2

1

2

3

1

"

.'

LF closed 10 RF

RF back

!."'!, .....

RF back

LF in place

B flal

B nat

ACTION USED

Side Cucaracha

..
S 4~1 2 RF fwd and across body T flat
, ~'
I ..... ___.,.
. .
4 2 1 IF fwd across body~.':_,~· .' .. B flal
'.
:r~I~ -- .'
5 3 1 RF back and SHghUy:~~o side B Ual
S ,t 1 2 LF back B flat
~ K.nee compressed.
t Turn is commenced during preceding beat ot music. -

-

Bwd Walk

-

1JB to l

Bwd Walk ·112 to Rt

WI transfer in place 1/2 10 l

then swivel to L

SHAPiNG

Delayed Fwd Waikt: , then swivel to R

Fwd Walk

1/4toRt

, .

Fwd Walk Turning

3/8 to L ~

Bwd Walk

1/4 to L

Step 1: Commence in Close Hold than·,toyver L arm. Step 3: ReC?V9r Clos~ Hold. Step 4: Lower L arrn.

Step 5: Release hold with R hand. Ste~'6: Finish in Fan Pos. '

~~ ;-:.

PRECEDES

Nat Top, Alsmana, Opening Out to R and L~ Rope Spinninq, Three Alemanas. Cant Hip Twist.

FOLLOWS

Hockey $Uck~ Alernana. SHding Doors. Three Aiernanas. H man turns 3/8 (tady 5/8) to L over steps 5~6l r etalnino Close Hold: Rev Top.

NOTES

1. On step 3 the lower part of the lady's body is turned more than the shoulders.

2, ~rhe man can turn 3/8 to L over steps 5r6 to finish to side in Open Pos. Follows are then:- Alernana, steps 1-,,3 of Basic Movement or Alternative Basic Movement to Nat Top, Open Hip Twist, Curl. See Note 2J

page 26. .

3, Steps 1,.-3 as man can be replaced by the Advanced Opening Out Movement

CLOSE HIP TWIST TURNED TO OPEN CPP (M)

The Close Hip Twist can be turned to finish in Open CPP if as. the lady takes step 5 'the man increases her turn to L through tension in his L arm and leads her to move to Open Cpp, The man turns 1/4 to Lover steps 5!6. The lady will turn 3/4 to L over steps 5f6~, using a Spiral Cross on step 5> Man and lady move drag forward on step 6 to finish in Open CPP< Follow with Check Irorn Open CPP.

35

REVERSE TOP rA)

RUMBA

Cry Z

-

~

a. . wo

1-:4 (J)

-

FOOT WORK

ACTION USED

FOOT POSITION

BODY TURN

1 2 1 LF crossed in front of RF B Uat Swivel on B 01 LF to 3/8 10 L
Lalin Cross
2 3 1 RF fwd and slightly to side B nat Fwd Watk 1/8 to l
3 4~ 1 2 LF crossed in Irani of RF 8 flat Swivel on 6 ot LF 10 3/S to L
Latin Cross
4· 2 1 RF fwd and sUghtly to side B flat Fwd Walk 1/8 to L
5 3 ·1 LF crossed in front 01 RF B Hal Swivel on B of IF to 3/8 to L
Latin Cross
6 4t1 2 RF 10 side B lIat Fwd Walk Turning 1/4 to L .
, 2 1 RF back a flat Bwd Walk 3/8 to l
2 3 1 LF crossed behind RF THT~ Delayed Bwd Wane 1/8 to L
... .. ~ .,~ LaUn Cross
---..
3 4~ 1 ·2 RF back 8 nat Bwd Walk 3/8 to L
4 2 1 LF crossed behind AF THT* Delayed 8wd Watk~ 1/8 to L
If
, Latin Cross
5 3 1 RF back B Hat Bwd Walk 3/8 to L
6 4~1 2 LF 10 side B Uat 8wd Watk turning 1/4 to l
.. r-his step 'is taken on the T and the footwork completed as next step is taken. StiAPING

Steps 1-6~ Commence and finish in Close Hold but with bodies in contact.

OVERALL AMOUNT OF TURN 1.5/8 to L.

PRECEDes

Basic Movement turned 3/8 to L over steps 5~ 6 by man and lady, retaining Close Ho!d. Close Hip Twist turned 3/8 (lady 5/8) to L over steps s.--6~ retaining Close Hold. Open Hip Twist, Curl. Spira' turned to finish in Fan-Post ail turned 3/8 (lady 5/8) to L over steps 5-6 achieving Close Hold. On step 6 of aH the above figs the F Pos for man Is: RF to side and stiqhtly fwd. Far lady: LF crossed behind RF. Oetayed Bwd Wan,·

. (Latin Cross}.

FOLLOWS

Basic Movement. After step 3. steps 4-6 of Spiral (see Spirat Precedes). Faltaway.

NOTES

1. Throughout the Rev Top, the couple rotate in a circle the centre of which is the spot on which the ball of the man's LF is swivelling.

2. ~ Due to the speed and continuation of turn normal hip action does not occur during this tig~ except on step 6.

36

RUMBA

BODY TURN

o r-w 0... • Z «::i

UJO - w_j

~~Z ~ ~<

(j') ~ ~>

-------------~......--~t__------~------_4

FOOT WORK

FOOT POS;rrON

ACTION USED

LF Iwd, T turned out B flat Fwd Cucaracha
RF In place B flat
, ,
LF closed 10 AF B "at -
RF back B flat Bwd Cucaracha -
:1 I
LF In place Flaf -
, ::
RF closed to IF B nat - 121

2 3 1

3 4~ 1 2

4 2 1

5 3 1

1 2 1 RF closed to LF B lIat F close with wt .......
change
: • I
2 3 1 LF fwd B nat Fwd Walk -
3 4~1 2 RF fwd a Uat > Fwd Walk 118 to R
4 2 1 LF fwd and across body w/o wi. then OIS 0' T~ Oelayed Fwd Watkt 3/4 to R
turn to finish LF back F~at
5 3 1 RF fwd .. B nat Fwd WaJk then swivel 3/8 to' R
•
to R
:: I
4~'1 2 IF fwd S Itat Fwd Walk
• Knee straight StiAPING

Step 1: COfnmence in Fan Pes Step 3: L BrITl raised indicating turn to R. Step 6: Finish in Ctcse Hold,

PRECEDES

Fan, Close Hip Twist} Open Hip Twist, Spiral turned to Hn1sh in Fan Pes, Cu(1~ Cont Circular Hip TwJsL

FOLLOWS

8asic ~Aovement Close riip TW~Stl Spira'} Opening Out to R and L~ Rope Spinning1 Cent Hip Twist, Cont

f Circular Hip Twist

~ ~_'J~"

AlEM"AWA'"'F"IfDM OPEN POS with L to R Hand Hold fA) .

The Amount of Turn for lady is as tcllows: No turn on steps 1 ~ 2~ 3: ! to R on step 4; ! to R over steps Sf EL Jf the man tcuows the lady on the last step of preceding fig that finishes in Open Pos, the F Pes of the first two steps of Alemana for lady are: 1: RF back. 2: LF In place. The steps and turn for man are unchanged, PRECEDES

HockeYtStick~ Splrat.

FOLLOvVS

As for Alernana.

Conte.

37

ALEMANA {A) Contd.

RUMBA

ALEMANA CHECKED TO OPEN CPP (M)

The Alemana can be checked to finish in Open CPP ifl as the lady takes step 5~ the man checks her turn to R through tension in his L arm and leads her to move to Open CPP.

The man will turn 1/8 to R on step 4. '

The tady will turn 3/4 to R on step 4. 1/4 to R on step 5.

Man and lady move diag fwd on step 6 to finish in Open Cpp ~ PRECEDES

Astor Alernana.

FOLLOWS

Check from Open CPP.

AlEMANA FROM OPEN POS with R to R Hand Hold (F)

When danced frorn this position the Amount of Turn for lady is as follows: No turn on steps 1 ~ 2t 3: 5/8 to R on step 4; 3/8 to Rover stepsS, 6.

The steps and turn for the man are unchanged except that he will take step 6 forward across body turning to R to allow the Advanced Opening Out Movement to be danced as the first part of the foHowing figure .. PRECEDES

Hockey Stick or Sptral, achieving R to R hand hold on last step, FOLLOWS

Close Hip Twist~ Cent Hip Twist or Cont Ctrcular Hip Twist from R side all commenced with Advanced Opening Out Movement. Normal L to R hand hold is achieved on the penultimate step of each at these figs.

38

OPEN HIP TWIST fA)

RUMBA

..

~ ~ - I -:"Pi'

ACTION USED

BODY TURN

1 2 1 LF fwd t T turned o~t~~: .. - B flat

............ ' ......... __ ::w_ .......:-fl ~..-,~- ~~II~U"- ~_ IMI~ --""-"" __ ~_"-""""_---+-""_"__ ___'_--+- -"", ~

-:.I.....:...........,.u.- I

2 3 1 RF in place . "< .• ' B flat

L-~+----t----r_..:.:.Jt««-:-A-"~"""""""': .......... ,.u..""u~ ... p '«IIW"W""'II~ da:....... ..... I p'r' :o:w.-.~_-+--_"'_"'-_-+--~ _ _""" :'1'I':r "'_~_--+-' """"_"_" __ ' ·., __ ...._d """-- __ ...._'..:...:.:-II'_~

3 4~ '1 2 T of LF closed to instep·of RF ~ B flat

... . :kk«w'~~. J-.. • .-:

.~~~~ J-~

CL • wo

t;jz

FOOT POSITION

F001~ WORK

Checked Fwd Walk

Wt transfer in place

F close with wt change

Bwd Walk

Wt transfer in place

Fwd Walk Turn~ng

Bwd Walk

-

-

-

...,...:......-1: ..... • ........ .:: I:mVLKoNot:o=-:o'=';'" '-~.,.~ .......... ~I_ ............ H
4 2 1 RF back B flat
Lo:i ........ ~~"'::O:"I:11 "·:11: "*, W' ,.... :":::*<~W&.IIIW
.1 LF .. place B flat
5 :3 In ,~
~" . y
........:.J.o..:.:.w.::tpn _O! , 01 _Ir~ : 1h'n'N+dY---'& '~w:Ih.===' , 111 ...... ~...,:.:::rOJ:¥:r:aaaLd:.t~~~ ...... 1
~ ........ ~ ..
B 4~1 2 RF 10 side and sUghtty fwd B Hat IF in place. ,

B frat

-

-

·,1/8 to L

RF fwd

8 Hat

~ ...... '-:." .-.:.r:«o.-

. - ........ .,.:. v

1 2 1

,_-4---+----~-----U--""I..:-:.-~. ..: 1~~~_~I~~nWhrr:+tht'll~~-------;,:, .......... -",,__--4-------___.,,-~

~-~;_.,.. .... ,

2 3 1

L~~~~~~~~~~~~-~~~~-~~-m~I~-'-- ~- U'~ "~ -_.'--- ~ ~~~--- -~~~~~-~~

3

Wt transfer in place

Fwd Walk,fhen swivel to R

-

- '

--

RF back

B "at

4 2 1 IF fwd across bo4Y~~ - ~-' v B Hat

. .;.,,,....... .

~ __ +---_~-<o,.-..r-~-----___._,.,~ ...... " bn--.:l.'.LLLIiIoo -- .:W«I:U bX" ..:~ ~--....",__ ~~_IIIIXII_I~_.:::._ L .....;y,.11_.....__--+-............__~ _ '=,*'......:.:ad WI , .......... ...,. ... :: I~IJ.LLI

5 3 1 RF back and ~HghUy 10 side >" ~ B flat

z:z:saz:-Mt::o: ..... ~: 777i4:z rrrr'r'"iWX':=:: _ ........ ~IL.....w.iIiIIiIo.I:'" *.::: M ~"X*' _"$ -:..:.

)I!o»tl~

Fwd Walk

Fwd Walk Turning

Bwd Walk

1/4 to Rt

318 to L

4~1 2 IF back B flat

1/4 to L

SHAPING

Step 1: Commence in Open Pes wj.t!!£ to R hand notd Step 3: L. hand almost on L hip. Step 6: Finish in Fan

Pes. '

t Turn is commenced during precedinq beat of music

PRECEDES

Hockey Stick, Spiral. The following figs finished in Open Pos: Fan. Cios€ Hip Twist Open Hip Twist. Curl.

FOLLOWS

Hockey Stick~ Alemana~ SHdtng 000r5* Three Alernanas. H man turns 3/8 (tady 5/8) to L achieving Close Hold during steps 5~ 6: Rev Top. If man turns 3/8 to L over steps 5~ 6 to finish to side in Open Pos, follows are: Aternana, Open Hip TWJst} Curt. Steps 1~,-3 Basic Movement or Alternative Basic Movement to NaL

Top,

See Note 2~ page 26<

NOTE

1 ~ Steps 1 ~ 2t 3 of the Open Hip TwIst as man are a Forward Cucaracna with T of LF closed to instep o~f RF on

step 3.

OPEN HIP TWIST TURNeD TO OPEN CPP (M)

The Open Hip Twist can be turned to nnish in Open CPP if as the lady takes step 5 the man Increases her turn to L through tension in.his L arm and leads her to move to Open CPP. The man turns 1/4 to Lover steps 5t 6~ The lady will turn 3/4 to L over steps 5~ {) using a Spiral Cross on step 5e Man and lady move

diag fwd on step 6 to finish in Open CPP. Follow with Check from Open Cpp~ -

39

OPENING OUT TO RIGHT AND LEFT (M) .

RUMBA

1 2 1 LF to side B flat Side Cucaracha -
2 3 1 RF In place Flat -
3 4.1 2 IF closed 10 RF B flat -
_1SOr.Ii'M -xn &r. w-:..-»y,:,-
4 2 1 RF to side B flat Side Cucaracha -
5 J 1 LF in place Flat -
a:zI.IIiY.l~ ..... 1 ...... dL'p::ua - .................... I~ 'h~ 'rN" •• --'" I~"~
6 4~1 2 RF closed to LF a Hal -

~ y~

FOOT

WORK

BODY TURN

1 2 1 AF back B nat Bwd Walk 1/4 (0 Rt
~ _ •• """"_,tI_ : _ .......... :..:. Ur "+H';' -'I:WII:: :Is..._....,..~F"'" -- ...:a..:.-:." ......... ~ ..... ......-.... ... Nocllm_zl· ...... " ~II( .... O)..:-li.,.~~
2, 3 1 LF in place B flat Wt Ira nsler in place -
~H++:-'_II'P: - I. Sj!)LL __ W ~.." ':'-' *0 .....
3 4~ 1 2 RF to side B flat Fwd Walk Turning 1/4 to L
h J~...w.IIIIJsaa I wL ;r ,.........:..;.. _,
4 :2 1 LF back B nat Bwd Walk 1/4 to It
- ............... ~HI 1WTt¢r. ddl "'r' ~ .....,...,;,.11 ....................... .......,.:- .. . .......
5 3 1 RF. in place B flat WI transfer In place
~ .:._~ .........:s"d ... _"_' .... u .. I ":':-'~I I 1_ ;(h ........... • .... :II ........ ¥ri'rJ.' 1sr""SIW"""._.~
6 4~ 1 2 LF to side 8 flat Fwd Walk Turning 1/4 to R t Turn is commenced during preceding beat of music.

,~

SHAPING

Step 1: Commence in C~ose Hold then release hord with L hand. .

Step 3: Achieve hold with L hand on tady's R shoulder blade. release hold with R hand. Step 6: Finish in Close HOld,

PRECEDES

Nat Tcp. Alemana, Rope Spinningt Three Alernanas, Cont Hip Twist.

FOLLOWS

Close Hip Twist, Spiral, Cont Hip Twist Cent Circular Hip Twist

40

0-. wo r-Z tjj

FOOT POSITION

ACTION USED

SPIRAL (MJ

RUMBA

r-W

« :3 FOOT POSiT10N

w«

oJ>

FOOT WtlRK

tL. UJO rZ o:

BODY TURN

-

1 2 1 LF to side B Hat Side Cucaracha -
• • I I I " : :::
2 3 1 RF in place Flat -
,.....:,"1 .... ...-;.....1. , :' ,
it1 2 LF closed to RF B flat -
4 2 1 RF blck B flat Bwd Walk -
, , I :
5 3 1 l.F in place B Bat Wt transfer in place 1i8 to L
tt1 2 RF fwd a flat Fwd Walk B flat

Bwd Walk

1/2 to Rt

1 RF back

1 2

i ::::::

e flat

.WI transfer in place then swivel 10 L

1/4 to Lover step!l 2~ 3~

3/4 to L on 2nd be al of step :.1

1

LF In place

::: ::: I : ::

I :

OlE of T, then T both feel

Delayed Fwd Walk· on count 4 .. Ankles crossed wt on RF on count 1 ~ Spiral cross,

, :: II ::::: i i

3

2

AF fwd on count 4~ then turn 10 L on count if allowing LF w/o wt to cross in front of RF

: • I I

IF fwd

1

4

i: :

t Turn ~s cornmenced dur~ng precedinq beat of rnus:c 1e Knee stra~ght

SHAPING

Step 1 ~ Commence in Close rio~d then lower L arm. Step 3~ L arm raised leading turn to L on count 1 ~ R

hand toosely on lacy's waist. Step 4: Re'BZlse hold with R hand. Step 5' Finish in Open Pos with l to R

hand nclo.

PRECEDES

Nat Ton, Alerna na, ()perdn9 Out to R and L. SHding Doors. Rope Splnninq, Three Alemanas. Cont Hip

Twist. Steps 4-,6 of Splra~ can be danced Iotlowinr; step 3 of Rev Top it the lady is led to dance the Spirat Cross during the 2nd beat of step 3 of the Rev Top.

FOLLOWS

Steps 1~3 of Basic tv10vement to Under Arrn Turn to R or Nat Top, Alerriana, Open Hip Twist. Curl.

After steps 1-3 of SpiraL Fallawav, t~rog(Bssive WaJks in Shadow Pes.

Contd.

41

SPIRAL TURNED TO FAN P~S (NI) .

The Spiral can be turned to tinish in Fan Pas it~ as the lady takes steps 3 & 6 the man increases her turn to l through tension in his L arm and leads her to move to Fan Pes, The lady will turn 7/8 to L on 2nd beat of step 3. 1/8 to l on step 4. 3/B to L on step 5. 1/4 to L o~ step 6. The man will turn 1/8 to L on step 6. PRECEDES

As for Spir al.

FOllOWS

Hockey Stick, Alernana, Snding Doors. Three Alernanas. If man turns 31B (fady SIB) to L achieving Close Hoto during steps 5~ 6: Rev Top.

SPIRAL TURNED TO OPEN CPP (M)

The Spira! can be turned to finish in Open CPP i( as the Jady takes steps 3 & 5 the man increases her turn to

L through tension in his L arm and reads her to move to Open CPP. The man turns 1/4 to L over steps 5f 6. The lady wiH turn 7/8 to L on 2nd beat of step 3< 1/8 to L on step 4 then 3/4 to L over step 5~ 6! using a Spiral Cross on step 5. Man and lady fT10Ve diag fwd on step 6 to finish in Open CPPk

PRECEDES

As for Spiral

FOLLOWS

Check from Open CPP.

42

CURL (M)
o ~ 1.11
a, ~ Z <=:J
uJO - W__j
r-Z ~ -c
rJ) - CO>
..._ RUMBA

FOOT WORK

BODY TURN

FOOT PGSITrON

ACTION USED

1 2 1 LF twd, T turned oul- e flat fwd cucaracha -
""~
, "
-~
1 RF in place ....... ...,:.~ ...... B flat
2 3 " ... ~ :, e -
";I.~1:.

. -;.,.,...;,.o.r
3 4~1 2 LF closed to RF B flat -
:: I i
4 2 1 RF back . .. . . B flat Bwd Walk
5 3 1 LF in place 8 Hat WI transfer in place -
, ,
6 4~ 1 2 RF to side and sHgt)tly fwd B flat Fwd Walk Turning 1/8 to L
.,
_.w-:-"
~ .., ~ .
2 1 RF back ._..:.._:.: ........... 8 llat Bwd Walk
1 -
3 1 IF in place B flat « Wt Ira nsler in place -
. ' ..... _ ......
,
3 't1 2 RF fwd turning to finish LF w/o wt B flat Fwd Walk turning 5/8 to L
crossed rn front ofRF to loose Spiral Cross
..... : ~«I~M' I.
4 2 1 LF fwd B flat Fwd Walk· 1/8 to L
............... ...:... ~ :- I ..
~........,:+.JI-:-O-"
5 3 1 RF back and sUghtty to side B Uat Fwd Walk Turning 3/8 to L
, .
IF back -e ... ~....:i'LIIIL- B,Hat Bwd Walk 1/4 to L
6 4~ 1 ~")fr
~ I ~ ....... _' --=-' _._, SHAPING

Step 1: Commence in Open Pas with L to R hand hold. S·lep 3: L arm raised ieading turn to L~ R hand lcosely on Iaov's waist Step 4: Lower L arm and release ho'd with R hand. Step 6: Finish in Fan Pas.

• e

PRECEDES

Hockey Stick~ Spirar. The roUowin"'g_:p.~s-flnished in Open Pas: Fan, Clos e Hip Twist, Open Hip Twist, Curl.

. ~"""

fOLLOWS

Hockey Stick Alemana. Sliding Doors. Three Alemanas. If man turns 3/8 (lady S/8) to l achieving Close Hold during steps 5~ 6: Rev Top. The Fatlaway can be danced after step 3" if man turns 3/8 to. L over steps 516 to rin~sh to side in Open Pos follows are: Aternana. Open Hip Twist, CU('~ Steps 1-3 Basic Movement or Alternative Basic Movement to Nat Top.

See Note 2~ page 26<

CURL TlJRNED TO OPEN CPP (M)

The Curl can be turned to ftnJsh in Open CPP iL as the lady takes step 5~ the man increases her turn to l through tensioo in his L arm and leads her to move to Open CPP, The man turns 1/4 to L over steps 5~ 6. The tady will turn 3/4 to L over steps 5t 6~ using a Spiral Cross on step 5. Man and lady fT10Ve diag fwd on step 6 to finish in Open CPP, Fellow with Check from Open CPP.

43

FALLAWAY (f-;

RUMBA

BODY TURN

n_ . UJO r-Z (J)

FOOT WORK

FOO'T pOSrTiON

ACTION USED-

1 2 1 RF back in FalJaway B nat Bwd Walk 1/4 to R
2 3 1 LF back in FaUaway B flal Bwd WaJk
3 4.1 2 RF back in Open Fallaway Pas B flat Bwd Walk
....
1 2 1 LF back in FaUaway B flat Bwd Walk 1/4 to L·
"
2 3 1 RF back in Fallaway 8 flat Bwd Walk
3 4~1 2 LF back in Open FaUaway Pos B nat Bwd Walk
If If preceded by steps 1-3 of Spiral or Curl. the lady win make 3/4 or 5/8 turn to L respectively over steps
1~·3. 1st step of Fallawav is then fwd tor lady, 2nd step is a Fwd Walk Turning. SHAPING

Step 1 : Commence in Close Hold. then lower L arm and release ho~d with R hand> Step 3: Finish in Open FaUaway Pos with L to R hand hold.

PRECEDES .

Steps 1-3 of Rev Top> Steps 1-3 ot Spir al Steps 1-3 of Curl.

FOLLOWS

Cuban Rocks~ Cucar acna to Land R (lady to Rand l) turned to face partner.

CUBAN ROCKS (F)

RUMBA

-

Flat

WI tra nster In place

-

FOOT WORK

FOOT POSITION

ACTION USED

BODY TURN

Flat

LF in place

Wt transfer in place

-

Fiat

RF in place

WI transfer in place

1

3

-

LF in place

3

2

1 2 1 RF in place Flat Wt transfer In place

: : I :: i

2 3 1 IF in place Flat W1 transfer in place

~-~.~~---~-,~~-~~~~----~--~--~~.--~~,~-~~~------~--~--~,~------~--~~--,,-,~,~~~~~~~

3 4~ 1 2 RF In place Flat WI transfer In place

-

SHAPING

Step 1: Commence in Open Fallaway Pas with L to R hand hold. Step 2: Release hold with L hand. Step 3: Fin~sh w/o hold, wt on IF,

PRECEDES Fattaway.

FOLLOWS

Spot Turn to l j, ~ 'Fwd watks in Shadow Pos.:"

~ ~

.

• Turn is commenced during preceding beat of mus!c. Finish ln Open Pas or Open CPP"

~i! First walk is taken in Open CPP without hold turning 112 turn to L {lady to R) at end ot this step.

Sarna Hand Ho~d Shadow Pos Is than achieved during the second Fwd Walkt

NorES

1. Cuban Hocks can be danced in any position where the man and lady have feet apart wt on either foof.

2. An alternative Hrning for the Cuban Rocks is 2 & 3t 4~ 1. Four wetght changes of three then occur and the Hgura is cauoc the Syncopated Cuban ROCKS. The "weight chanqes" on the counts of d2 &H are not complete changes o! weight

45

ROPE SPINNING (F)

RUMBA

n.. .. UJ 0 f-z (f)

-

FOOT WORK

ACTION USED

BODY TURN

On the 2nd beat of the last step of the preceding fig (usually Nat Top], turn rady strongly to R onder upraised L arm. lowering R shoulder. At the end 01 this movement the lady wIll be on the man's R side, facing In opposite dlrsctlon. Continue as follows:

IF to side B flat Side Cucaracha

F'OOT POSiTION

1 2 1

~--+-- ................. "" __ .... ........... (= u.o.:-I_IoHt-!+i;q,_'. t, ---,~:~:aaaa_:zLI_'_'_""'_"""__ __ ""--1

2 3 1

~--to-----~............_~-......_------...... - _ .......... ...t~ ......,_ __ ~~

3 4~ 1 2 LF closed to RF B flat

,--t-----t--"----t---- ......... _.....:.III: 1._ d rl .... - ..... w,....... ....... j:p¢"m"» ......... -------t------'"t'"'--------t---.-..........,_-.,.__-I

2 1 RF dlag back B nat

3 1 LF In place Flat

4

1·

1

RF in place

Flat

5

6

4.1 :2 RF closed 10 LF

e nat

-

1

1

1

On the 2nd beat 01 the last step of the preceding IIg turn strongly to R on IF allowing RF «t» wI to cross In front of LF_ Finish facing in opposite direction to partner) ankles and knee, together (Spiral cress). Continue as follows:

RF fwd

B ria!

B nat

3 4~1 2 RF fwd

4 2 1 LFfwd

~--+----4--~----"""'" :L"<I LdW::~':' 'r' _ A _ ':"""'j'rl-&:o:o:',"",=,::f:"=,""

5 3 1 RF fwd

'_--+- __ ~"""""""'_"'''''''''''''''':-II~ : ~ ft'i¥HN.W.Hrt~.:o-...:.............._~ __ _____.....,_:-. ...... ~<mrl:ml~PNJo .'r:4IIII~I~""""

6 4~1 2

1

-

-

Drag back Cucaracha

-

B flat

B flat

J B nat

LF fwd ,

B flat

Fwd Walks curving to R

One complete turntoR·

'* Lady also makes one complete turn to R on the 2nd beat 01 the last step of the preceding fig.

Footwork: B flatj then T both feet

SWAY

Man - To R on 2nd beat of last step of preceding fig. R on steps 1 ~ 2~ L on steps 4i 5. Lady - NiL

SHAPING

Step ·1: L arm raised, back of R hand on lady's l shoulder blade. Step 3: L arm lowered.

Step 6: Finish in Ctcse Hold,

PRECEDES

Nat Top, Alernana. Three Alernanas, Cont Hip Twist

FOLLOWS

Close Hip TWfSC Splrnl, Opening Out to R and L, Rope SpinnIng. Cent Hip Twist, Cant Circular H~p Twist

46

SLIDING DOORS (F)

-~~ __ -, __ ~--------------------~ .. ~~.,~~.,.,-r----~r-----~----~~----------~

............... M~i-.MI ........

... ...,... _..., ..... .. ~

Steps 1-3
4 2 1
5 3 1
.",........... ....-
6 4~ 1 2
......,..--
7 2 1
8 3 1
9 4~1 2
10 t-; 1
11 3 1
12 4~ 1 2 FOOT POSITION

W;~~.' -~ ~. "FOOT

_,.,...

. WORK

As steps 1-3 or Hockey Slick

~ . ~

, - .

..... ~ ~-:-

~ • I" _.

,_-

_--J.._,_.:y.:~"---:*rlJJ ~_'I"'_-"''''''''''+----'--''-' ----- .. 1' __ "_"""7TJET __ "11i1 _:N,...",.,:oIIF._1 _........""....:-.~_~,~- --~--,...._.___~---'-------r----

1«- - HH~~ • _,.,_ "'_"__" __ "d~,--I

RF back

-.~ . a·rlal

RUMBA

I _ of'- ....

ACTtON USED

'BODY TURN

.....

hT"'IIIIi";E'i ~1"':'f"'E....:.a ('M ::1-':'" ~I_ _ ,p'. ....: .~"""" __ "'_""" .......... 'R .. L .... '~_'..,, 'rp:.p ..... _ .. ·_~I ........... " ....

Swd Cucaracha

. , '

. 1/4 to R

LF In place Flat

RF closed \0 LF B flat

LF to side

B nat

Side Cucaracha

-

Flat

LF closed to RF

~ ::2-,:' .. , B J fat

~ __ -':III ... r+:-t'.'Ir+ ,. .. ,..__ ..

RF 10 side and sHghUy back

.' ~"a::M:wV.......u..",,: b), ,

,

LF in place

, -

, ..

RF in place

B rial

"_'" ' •• d77777llllJ(r·~

. Flat

-

- - ~ ~

I~'r'- ... I ;,.:;,~ ;;;, '*-IIIi" ""1'1"- .... .....r:.-MNL....A.:-t~I..:.,.........- .. ...--.-._.___,_--+- ~~ ... Mr+:IIl_ ............... ..........:-.t_......_............,-....,...-.n..::... :00 I ~- .. - -----+...........,_- ............... _"",---...........t

.-.

RF closed to LF

Steps 7-12 inclusive "lay be repeated

B fJat

Side Cucaracha

-

-

t __ ,i...-...-_...J---~--"""'pWoio£L .,. A***H-_ .............. , .......... =--..:. "'" (...:.::....~I_- ~I ................. r ....,..._~~_..,._,__.,.....~~ "' __ .. ...J- .... ~~-_

~ .,--+1 ...... , K"i"I'tro :"'VL.lllldtl:zl- ~'I...w..:JooI:II-_ Is T d~"'"

~ Steps 1~
4 2 1
-
5 3 1
6 4.1 2
7 2 1
8 3 1
9 4~1 2
"." .............. : ...
10 2 1
--
11 3 1
12 4.1 2 -

~ I ......... _ _.. ~ I ..... .; .... I ...... ,.;. ~ •• _

... ..:-r......-..:-;. I. ..; • _ ~ ...

~. • ..... > • - ... • - ~ ...

~ .,.... ~ .. .. d

,

~I·I}J.- ~*~.:-~. d

• • -:- ~ I ~

As steps 1-3 of Hockey Slick

~

,~ lil.~ W· ... ".1

.. .. Ii" ~ ~ •• -. .._ .. .._ ..

'~ .

LF fwd B nat . Fwd Walk 1/8 to L

__ ~ ~~ ~. __ u __ ~_nl __ n __ ~~. #_~.~.~~~~ __ ~ ~ __ ~ __ ~

.

RF backand slightly to side B flat Bwd Walk 1iB to R

B flal

tHN 1

LF back, slightly under body

Bwd Walk

RF back <~~~.~~ .l B flat Bwd Walk

! ,..___......_+-----t-------4-_.....-.........__-".~------~~~ --.: ...,....__ ................ .....:.;.;.:.:.,--.-.-NN .., __ .. _" __ ~---+-~.-..........-..'IoWw..-I~~oJ ... ,~~ ............... ~._~_~~ ~_

,........... ~~ Ho' ........ ,I .. ......,.;:Tr .... ,rl' .......... ~ ..............................

..;- .... ,~V .

LF in place . :=~ .. B rlat ; WI transfer in place.

_[.,__........--+--_,.___.."""-"'--- ............... ------r.---t' .......... ,I ... -.Ir ............. --- ... -~"'-"---- ..... -I _~, __ « __ L ...... ~------ "._.__.._._.,."........._...... ...............

...-.... :",. .. _ l ...... d:l- ............. ,~ ...... ,_

, ~ , .

RF fwd and across body

IF to side

-

Fwd Walk

.......

Side Cucaracha action

-

..--+-_.......-....-_'~........-....: L rloXml Ad.·~ • AA-nJo,.;.;.o,., M .... -....:.-I __ ~ ... "' ... _HI r_, dLd_, __ '-+-- ............. 1-:-11::.0 .-...::11oP ...... Ho~.....:..-

AF in place

LF back slightly under body

-

Bwd Walk

-

SHAPING

Step 1: Commence in Fan Pos Step 3: L arm raised indicating turn to L, Step 4: Release hole with L

hand, achieve hold with R hand just above ladv's waist Step 6: Achieve Same Hand Hold Shadow Pos.

Step 12: Finish in Same Hand Hold Shadow Pos. .

PRECEDES

Fan, Close Hip Twist Open Hip Twist, Spiral turned to Fan Pos. Cant Circular Hip Twist, Curl.

FOllOWS

Spiral troru ShadovJ Pos releasing hold during step 3~, steps 1-3 of Splrat frorn Shadow Pes' rnan and Iadv

stepping fwd on 4th stop into Prag Wa1k!? in Same Hand Hold Shadow Pas.

• Amount of Turn for lady: No turn on stepst , 2; one complete turn to L on 2nd beat of step 3; none on step

4: 3/8 to L on step 5: 1/8 to L on step 6. Man - No turn.

NOTE

Sleps 7~'~fj as man can be rep~aced by the Advanced Opening Out Movement

47

THREE ALEMANAS (F)

FOOT POSIT,ON

0.." Wo

t-z so

FOOT WORK

ACTION USED

RUMBA

BODY TURN

Steps 1-6 As steps 1-6 of AJemana
7 2' 1 LF to side 8 flat Side Cucaracha -
8 3 1 RF in place Flat -
9 4~ 1 2 LF closed 10 ·RF B tlat -
Steps 10-12 As steps 4-6 of Alemana from Open Pos with L to R Hand Hold Sleps 1-5

As steps 1--5 of AJemana

6

4.1

2 LF fwdi turned to finish LF back

B Uat

1 RF fvJd turned to finish RF back

B lIat

7

2

a

3

1 LF twd'

a flat

T ftat ..

2

RF twd

9

Fwd Walk fumed strongly to R during 2nd beat

Fwd Walk turned strongly to L

Fwd Walk then swivel to L

Delayed Fwd Walk'

Step510-12

As steps 4-6 of AJemana from Open Pes wHh L to R Hand Hold

• Knes compressed.

3/8 to R over lISPS 5. 6 then 1/2 10 R

on 2nd beat 0' step 6

One complete turn to L

1J2 to L

SHAPING

Steps 1-6: As for AJemana but L arm is lowered during 2nd beat of step 6. Step 7: L arm raised leading turn to L~ Step 9:' Achieve Close Pos with L hand. Step 10: L arm raised leading turn to R~ Step 12: Finish In Close Hold.

PRECEDES

As tor Alsmana.

FOLLOWS

close Hip-Twist. Spiral, Opening<Out to R andL, Rope Spinning, Cont Hip Twist Cant Circular Hip Twist.

48

RUMBA

ADVANCED OPENING OUT MOVEMENT (F)

A development I first introduced a few years ago that has now become a permanent feature in the Rumba

~s for the man to step fwd whilst Ieadtnq the lady to open out on the first step of the Close Hip Twist and other simttarlv constructed figs.

The movement is called the Advanced Opening Out A slmilar movement is used in the Cha Cha Cha. When used to replace steps 1-3 of Close Hip Twist steps 7-9 of the Sliding Doors, steps 1-3 of Cant Hip Twist and Cant Circular H~p Twist details are:

BODY TURN

0... WO ~z (f)

FOOT WORK

-

ACTION USED

FOlJT POSITION

-

1 2 1 LF fwd T turned out B flal Checked Fwd Walk . 3/8 to Rt
:2 3 1 RF In place a Hat Wt iran sler in place 1/8 to L
3 4~1 2 LF crossed behind RF T nat Delayed Bwd Walk ..
-
LaUn Cross '
t Turn is cornrnenced dur~ng preceding beat of music. LADY

The steps for lady are not affected by the introduction of this movement, but she will be led to turn an

additional 1/4 to R on step 1 commenced during the 2nd beat of the preceding step.

SHAPING

Step 1: Cornrnencein Close Hold. then lower L arm. Step 3: Finish in Close Hold.

NOTE

To achieve the correct pas during the Advanced Opening Out Movement the man must change the

standard pOS ot the last step ot the preceding fig as tollows: Step 6 of Alernana, step 9 of Nat Top and step 6 of Sliding Doors must an be taken fwd across LF~ turning to R.

49

CONTINUOUS HIP TWIST (F)

RUMBA

0.... W cr

'-z (/J

FOOT WORK

FOOT POSITION

ACTION USED

BODY TURN

Steps 1--3

As steps 1--3 of Close Hip Twist

4

2

RF diag back

1

B flal

Diag back Cucaracha

1/8 to L

Flat

3

5

LF in place

1

-

RF closed to LF

6

2

B ffat

3/8 to R

Steps 1-3 As steps 1-3 of Close Hip Twist
4 2 1 LF fwd across body B flat Fwd Walk then 1/4 to R t
swivel (0 L
5 3 1 RF fwd across body B flat Fwd Walk 3/8 to L
6 4~ 1 2 IF to side 8 rlat Fwd Walk Turning 3/8 10 R
t Turn is cornmenced during preceding 'beat of music. SHAPING,

Steps 1-3: As for Close HIp Twist Step 4~ Commence in Close Hold then tower L arm slightly.

- .

Step 6: Reebver Close rfofd.

PRECEDES~ ..

As for Close Hip Twist.

FOLLOWS

Close Hip Twist Spiral, Opening Out to R and L~ Cant Hip Twist Cont Circular Hip Twist

'NOTE -

, Steps 1-3 as man can be reptaced by the Advanced Openlnq Out Movement

- ,

50

~AMt;A

TIME SIGNATURE

. . .

The time signature is 2/4~ with the predominant

.

percussive accent on the 2(l.p beat of each bar or

<

mUSlC.

TEMPO

.

50/52 Bars/rnmute.

TIMING AND BEAT VALUES

.r

Many filJures ln Sarnba consist of steps that require

different beat values The various combinations ot timings and beat values for figures in the svllabus are as touows:

No. of

steps Timing 3 la2

7 1a2a3a4

3 . sao

3 Q Q S

,

7 SOaaOQa

2 55 -

5., .. ~ .. ,-.5·$ Q O·S - .

3'~ 1 ~ 21~3

eeet Values ' 3!4t 1/4~ 1

3/4 t '1/4 ~ 3/4. 1/4 f 31 4 J 1/4 _ 1 1 ~ .1/21 112

1/2~ 1J2~ 1

1 a 1/2t 1/2~ 1/2. 1/21 1J2i 1/2 1 ~ 1

·1~ 1~ 1/2~ 1/2~ 1 3/4~ 1/2~ 3/4

SAMBA BOUNCE ACTION

The Samba Bounce Action is produced by tho compression and straightening of the knee and

. ankle of the leg supportinq majority at weight during all movements in Samba that are rimed l~1 a 2H.

Each compression takes a 1/2 bear of music and each straightening takes a 1/2 beat of music. The count at H&H is used for tIming these 1/2 beats. Cornrne ncinq with both knees cornprassed, the Hming of the Bounce Action is & 1 & 2 8. 1 & 2 etc.

It the timing of the Bounce Action and the timing of the associated foot movements are cornblnert, the resulting timing becomes:

& 1 & a 2 & 1 & a 2 .. < etc.

The knee straightening of the Bounce Action that cornmences during "and" after beat "one " continues while the 1/4 beat step is taken.

The degree of bounce used is not the same tor all figures; this is covered under the heading Bounce Action in the charts"

,

A bounce action is not used during tjgures with a

1/2 beat split There is a notable exception to this rule. namely the Cruzados action.

SAMBA BOUNCE ACTION (Diagrammatic representation) Start with knees compressed on count H&H after any count ot ~·2~'.

Knees Knees Knees Knees Knees Knees
Compressed Straightened Compressed Sfratghte-ned Compressed Sua~9hfened
Beats r _.--- '/2 - ......... f .... ..._ ._ ih "" - Mop.'.... -- .. 1/, _· ..... _ .. , .. 14fIo .. _._ 1/2 _ ........... ! .. '" , .. '12 -..ww.L ...... L ....

r~ 1 , 1
I ,
/ \. I I ~ ~
\ ~ I I i
-, r
I I
-, f f I .
" r I J I J
" i ~ I I I
\ I I t ~ ,
~
I
Tirrunq 1 & 2 & 1
J T~ming and

Beat vamss ot steps taker) dUftng hgure s wtth a

Sou nee Action

1

:2

Timing 01 Bpunce Acuon and steps combined

1

&

t I

2

1

52

N~TURAL BASIC MOVEMENT fA)

SAMBA

FOOT WORK

FOOT POSITfON

ACTION USED

BODY TURN

1 3/4 RFtwd B nat Fwd step Gradual turn to R.
1/4 LF closed to RF B F close with pan wt From no turn up
2 a to 114 to Rover
3 2 1 RF in place B flat , WI transfer in place steps 1-$
" ,
4 1 3/4 LF back B flat Bwd step
5 a 1/4 RF closed 10 LF B F close with part wt
S 2 1 LF In place B flat Wt transfer In place
I I ••
Repeat ad lib* 1 1 314 LF back B flat Bwd step Gradual turn to R~
1/4 RF closed to IF B F close with part wi From no turn up
to 1/4 to Rover
1 LF in place B nat - Wt transfer In place steps 1-6
:::
4 1 3/4 RFfwd B Hat Fwd step
5 a 1/4 LF closed to RF B F close wl1h part wi
1 RF In place B flat Wi transfer In place BOUNCE ACTION

Samba Bounce Action used throughout

SHAPING

Steps 1-6: Commence and f1 nish in Close Hotc,

PRECEDES

Any fig finished in Close Hold with RF free.

FOLLOWS

Any tJg that commences with AF In Close Hold.

ALIGNMENT

Depends on preceding fig, Can be commenced and finished in any standard aHgnmant

NOTE

it is sometimes convenient to usa only steps '1--3 of the Nat Basic Movement and then to dance a fig that . commences on the LFt e.q. when changing from Nat to Rev Basic Movement

53

REVERSE BASIC MOVEMENT fA)

SAMBA

BODY TURN

a.... Wo r-z en

FOOT WORK

FOOT POSJTION

ACTION USED

1 1 3/4 lFfwd B flat Fwd step Gradual turn to L.
·2 a 1/4 RF closed 10 LF a F close with part wt From no turn up
to 1/4 to Lover
3 2 1 LF in place a flat Wt transfer In place steps 1-6
4 1 3/4 RF back B flat Bwd step
, ~ v I .... ~ .... -..., .... ........ T fWOL::cccw .... _ •• "'""_ 01_ •
5 a 1/4 LF closed to RF B F close with part wt
6, 2 1 RF in place B Hat Wt transfer In place
Repeat ad lib, 1 1 3/4 RF back B Hat awd step Gradual turn to L~
1/4 LF closed 10 RF B F close with part wt From no turn up
2 ·a to 1/4 to lover
3 2 1 RF in place B rial WI transfer In place steps 1-6
4 1 ,3/4, ~lF fwd 8 flat Fwd step
5, a 1/4 RF closed 10 LF B F close with part w,t
..
6 2 1 . LF in place 8 Ilat WI transfer in place BOUNCE ACTION

Samba Bounce Act jon used throughout.

SHAPING

Steps 1,.-6: Commence and fin,sh in Close Hold,

PRECEDES

Any fig that finishes in Close Hold with LF free.

FOLLOWS

Any fig that commences with IF in Close Hold.

ALIGNMENT

Depends upon preceding fig. May be commenced and finished in any standard alignment

NOTE

It is sometimes convenient to use only steps 1-3 of the Rev Basic Movement and then to dance a fig that commences with the RF. e.q, when changing from Rev to Nat Basic Movement.

54

~ .--~

PROGRESSIVE BAStC MOVEMENT' (~!;:.'~"~.' ~-~.- .

SAMBA

,'" :w.. ~

BODY TURN

.. ~I.:.III"·

11°

~«aI.'W: .. w.,.-iJ ..... ', ~~

......... r~ ~ .. I.-:O·-i--:- ..... .:: ... ~

-:- ~..... ..

- FOOT··"

WORK ACTION USED

1 3/4 LF to side

'"'

B Ilat Side step

2

L- __ ~~~+- __ ~_L_._~~'_H7-'._d __ ~~-- ~~~~OO_6~_.~IY----'------r-----~-7------------~-r----~~I~_~_~

3

FOOT PO'SITJON

........ ..

-

-

-

.,

1/4 . __:~, .~ _'_ .. F close with part wi

L-~---t"'....",,_---t--._I#1':';'¢--'_'_"~: "'_'11~""....:r'IF "h«:'o:-:+I~~IiI:L""" IWWI:txr.HHI _...._.... .. ,.;.: .. ,:.: .. :-=H ' ....:.:.:...w:. HI"""'+--~--- --_+----_~_~_--4

-~ ... -i .... -:- ~ ..

1 LF in place ~ o r : a Uat WI transler in place

I·-H....~· ..

.~

,,,,~"=,"I~P'~~ ' ..... :..

1/4

-

-

1

1

3/4 RF fwd

L.--'---~ .. ---"-'-----' _i ....... _-~I~_~_*h:*,), -.......w.«..u.w-:--.......:.:.:.:....._.,--..v=H"""'--"~ __ _....r... ,~_IJ,~_,__,__ ............... __.... ...........

.!¥~.£) e ~I.-

.... ':""r.:ox-:-I.--* ,.:.* .... oX- .. I ~ .. ..... .. .. _ •• ~ .... y.

AF in place

• No'

B flat

WI transfer in place

1

2

RF closed to IF

B

5

a

2

Repeat ad libi

1 1 3/4 LF back . ~:-~' .. = : ~ frUa! < 'Bwd·ship"·~·'_'

J-,... 4------t--"--+--.....,_--'- ...... h-- -~ ~:d~L"_., .. _~J"""'_~~.....,:,;.'iIoL"*::tr_vo:wr ~ kX "'~_., 1~,.,..___ __ ......... +_mH , :rw~~ ...:.;.,,-,- __ ~+---- ---..h(IoI9l-u _"""'......_..!1'---...,="",;:y,II.~~

2 a 1/4

3 tl 1 LF ~ n place , _. ~ ~ :_"~-:=~:,,-.:,., ,.- ". .,.. .: ':': :w t1 ,lla· i:, - :'~ ~ W' -l*einsfor In ", ~CA,

L I ¥ -:.-:+.'-: -:.l -:- .... IILJrm 1M: I ~ : ~-&:-'»Jtt.u.-:-~ ...... .-.:... -« ~ -:-.I.f" :\._ _ .,. ~ ~ ~ I I.. =t Q V ~ t Q -9

Is Is*"'" 'IIIl' ~ z)j • ~~*n ::0::._ ~''_''II ~-:.-"-' ....... III.'.-.._--+~'_...__.............,_ __ ~ -+---=--- ~ __ ~

• II,:.-:ar» .'

~-I"":"'_" ITY(-:'

4 1 3/4 RF 10 side -"'~~>~~~r'~~~ • "*"- , ... ~ H.· ,. .: B 'nat' .'. .: ·~:Slde 'step ~ .: - .. ~'." ~,.. ~

~ .. ----~'1---""+""""""'''--''''''...........---- .......... ----........ ... :~-f~- ----.-.0:"'. --~-- .. -,._.----------+-----~.........._"--1

r"'- .:~~_~ ...... L - ·...:..:.w ,:. ..... ~.. I .~~ .. ,:." ~ ~""":-:-"":' ............ .....:...L.o:I:_,I~ ......... X~~:.:-.-.--:- -~ ..... ..,.w:.:"I- «I-:..IN..,

,,="3.t..;;._,_ '" , -,

5 a 1/4 Lf closed to Rf ~~;7<".H"· .. -,h. B··. ~.f.cIQse.wit~par1wt

l--~<~-.....f<----+~' ..a.:tw:o¢:.n.... I'Piw ~,~~~'oIiIHI=:11'N:7III'i1> ... Js.:i&..,.,..,i~:¢ .~ ~~:z""r'stnrlrzzzzz4:>, ... ........,._ _

-<0 •

621

- ... ~n-..:., .... - I

RF closed to IF

-

-

-

-

~~ I II " *1$_:II_IsA __ .. ~..,:r----------------l

-

a nat

Wt transfer in place

RF In place

BOUNCE ACTION

Satnba Bounce Action used th(ougho9[~-.~

SHAPING .. ~

Steps 1--6~ Commence and finish In -~![~a. Hold.

.. .;... ":;4'6'"

PRECEDES

Any fig that finishes in Close Hold with AF tree,

FOLLOWS

Any fig that commences with RF in Crose Herd

ALIGNMENT

M8n~· Commence and finish facing OW. Ledv: Commence and finish backing OW.

55

-

SAMBA WHISKS TO Land R (A)

SAMBA

BODY TURN

0..,. Wo ~z (fJ

-

.,_

FOOT WORK

1 1 3/4 IF to side B flat S'de step -
2 a 1/4 RF crossed behind LF T Latin Crost with pari -
WI
3 2 1, LF in place B flat WI transfer In place -
4 1 ' 3/4 RF to side B flat Side step -
IIIn .......................
5 a 1/4 LF crossed behind RF T Latfn Croll with part -
wt
..... ,..., ... tnfll' ... LdNL ..... 1oc:aaaa::::zI
6 2 1 RF in place B flat Wt transfer In plaee -
Repeat ad I ib~ , 1 1 3/4 RF to side B flat Side step -
2 a 1/4 LF crossed behind RF T Latin Cros.s with pan -
- , wi
:I 2 1 RF in place B flat Wt transfer In place -
-
~
4 1 3J4 IF to side S flat SIde step --
S' a 1/4 RF crossed behind LF T Latln Crosl with pan -
WI
6 2 1 IF in place B tlat Wt transfer In place - FOOT POSITION

ACTION USED

PRECEDES

a) For Samba Whisk to L: Samba Whisk to RI Rev Baste Mover:ne.gt, Prom Samba Walk on RF (turn to face W as LF is taken to side), Rev Turn, Carta .Jaca, Slde ~mba Walk turned '1 to R~ Travelling Vottas to L finished facing W~

,

b) For Samba Whisk to R: Samba Whisk to L, Nat Basic Movement, Nat RoiL

- .

FOLLOWS

a) For Samba Whisk toL: Samba Whisk to R~ Nat Basic Movement, Nat Roll. Corta Jaca, Prom to Counter Prom Runs~

b) For Samba Whisk to R: Samba Whisk to L~ Rev Basic Movement, Prom Botatoqos. If turned to ppL: Prom Samba Walks.

BOUNCE ACTION

Samba Bounce Action used throughout.

SHAPING,

Steps 1-6: Commence and finish In Close Hold.

ALIGNMENT

Mer: Commence and tlnlsh facing W. l.sdy: Commence and flnlsh backing W~

if See PP on page 16<

56

PROMENADE SAMBA WALKS fA)

SAMBA

e Z

-

0-. wo

tnZ

FOOT 4VORK

FOOT POSITlON

ACTION USED

BODY TURN

1 1 3/4 RF fwd In PP* l knee closed B flat Fwd step, Pelvls -
towards R knee tltted fwd
2 a 1/4 LF back in PPt T turned out liE of T Bwd step with part -
w1* Pelvis tilted bwd
3 2 1 RF slipped back in PP Flat F sUp apprcr a ems. -
Pelvis normal 1 1 3/4 LF fwd In PP1 R knee closed 6 flat Fwd stepl Pelvis -
towards L knee tilted fwd
: : :::1 I I
2 a 1/4 RF back In PPJ T turned out IJE 01 T Bwd step with part -
wt, Pelvis tilted bwd
3 2 1 LF slipped back in PP Flat F sUp apcrox 8 ems .. -
Pelvis normal
Repeat on RFt then ad llb, using LF and RF alternately ... BOUNCE ACTION

Slight Samba Bounce Action used throughout

SHAPING

Steps i-s. Com~ence and finish in pp •.

PREceDES

Whisk to R turned to PF')~ Prom Botafoqos, Side Samba WaHe

FOLLOWS

,a} After Samba Wafk on RF: Whisk to l..

b} After Samba Walk on LF: Side Samba Walk.

AL!GNMENT

Man and Led»: Commence and finish on LOD in pp~

~ See PP on page 16.

57

__ --~-- __ -- __ -------------.-.---d-W~-~~~-~----_,------_,----~~------~~~ ~

1 1 3/4 RF fwd in PP, L knee closed B nat Fwd step. Pelvis -
towards R knee tilted fwd
.......... I : ....... 1'1'f+t.r.'n ~ , I ...... r ......................................... - - .........
2 a 1/4 LF to side in pP. T turned out liE of T Side step with part ..
wt, Pelvis tilted
diag~ bwd
....... _-* ..
3 2 1 RF sUpped reftwards in PP Flat F slip approx a ems.
Pelvis normal t'\ (!).,_w u_. Z =.l WO'-- <~

t-z :E w<:

(J) - m> 1-,

BODY TURN

-

h---+---~--~------'~--------~---------~----~~--------------~----~-- ~

FOOT WORK

ACTION USED

-

FOOT POSITION

~ 1/8 to R (lady L) over steps 2~ 3 U R hand hold is released to finish in Open PP with L to A Hand Hold. Step 2 is then taken to side and strghtly Iwd.

A 1/4 to R (Jady L) over steps 2~ 3 to finish facing partner in Close Hold. Step 2 is then taken to side and slightly fwd: the F is slipped bwd on step 3 .

FOLLOWS

If no turn is made: Samba Walk in PP on LF. the first step being taken fwd and across AF.

, If 1/8 turn to R is made: TraveHing Voltas to R~ Cant Volta Spot Turn to R~ Shadow Botatogos.

If 1/4 turn to R is made: Whisks to II Prom Botatoqos. Stationary Samba Wafks.

3/4 ' LF fwd in PPJ R knee closed towards L knee

B Hat ~

Fwd step, Pelvis tiltedtwd

1

2

a

1/4 RF to side in PPi T lurned out

lIE of T

Side step with part wt Pelvis lilted diag bwd

'1 ' LF slipped righfwards in PP

Flat

F sUp approx 8 ems. Pelvis normal

3

2

. ~I-

y

BOUNCE ACTION

Sliqht Samba Bounce Action used throughout.

SHAPING

Steps 1·-3: Commence and finish in pp."~

PRECEDES

Samba Walk in PP on LFt Prom 8otatogos.

ALIGNMENT

Man end Lady: Commence and finish on LOD in pp~

•• See PP on page 16,

58

o

STATIONARY SAMBA WALKS fA)

SAMBA

CJ z

-

~

a.., . ~ wo

t;jZ

1

2' a

3

1

2

~........ ..

3/4 Instep of LF close¢tp T of RF

1/4 RF back, T turned·out -

1

, B flat F close with wt -, -
.~
change* Pelvis
. , < tUted fwd
, _
to:""' ......... I :a':rd _.... ::w ... :11
liE of T - Bwd step with part -
wt. Pelvis tilted
bwd
~~........:......_____, :: 1 ....... ~11-"rIa::::a&'. Jo.:a ...........:-:-
Flat F slip approx a ems, -
. Pelvis normal
I.:.:.I~~IU - ... :r ............

~ )0. ...

.... ~ .....

FOOT

WORK· .. ACTION USED

. -_ -:- ~

IF sUpped back

t.....--_~""_"'--_H.~ -:: ... _L_~:""I_' __ , _W .... II-....-..I~ ......:.<m-Ywri'_' ..... __ d'......".___, __ ~ u"'- _

Repeal on RF and then ad Ub~ using L~~~~d RF alternately

BODY TURN

1

·1

~J.I~IIJXoIIII~

2

~ .

. ,-- ~.

,'.

F close with wt chanqe, Pelvis tilted fwd "

_,

3/4 instep 01 RF closed.te T 01 LF

.... ~~.a.:-L.

-

~~~~~~~~~~?~~~k ~~ ~:::~Y.::::'."'~~~~~~~~~~~~~~~~~~~~~l

1/4 LF backf T turned out 0, liE of T Bwd step with part.

, .. : • i.«: .. -: :<>wt~··. Pelvis. tilted ~ . ' , bwd

. B flat

ot_

< •

• «'.I-:.--:--¥-i" -:

• • ~ Ii

.- . ...........__', .

............ "»«-"'..-'J-I~H-J-IoI ..... ..:.&.:... ......... ~'" ~ •

. ~.~ .... ~- .~.~ .. -:- ~

~ "",

• • ... I ~ -:- ... • I

...._..._.-~~---t--------tt-:.o..:-t .. d _~I:""'YIw,tr : "'HH~ __ """"U"_'~ "*"-':¥~I" IN"'~~ 'b-np :.""'-:=.:.tK'l'llWl'hlw-:w ......, ..... _r: ... _zliIL :s::.u::::'_" II_F~_",.:>"iII.+---' ............... __ ............._ __ ~_ -~--.............._---..of

:] . 2

1

RF slipped back' S~~~ -op:,w>" _._ ° ~ 0 .~. Flat·:· .' ~- " F lfip approx 8 cms~

f ,,,0::::.. ,~ Pelvis normal ' '

BOUNCE ACTiON

SUght Samba Bounce Action used tht_oughout

-:-' ;::, I

SHAPING

............ ..-....-..'.0.-1&..-.... _"-

Steps 1-3: Commence and finish in ~9J~o~e··Hofd. '

PRECEDES

:-..... • I

Side Samba Walk turned 1/4 to R to lace partner.

FOLLOWS

a) After Stationary Samba Wafk on RF: Samba WhisK to L~ Prom Botatoqos. Volta Spot Turn to R for lady.

b) After Statlonarv Samba Walk on IF: Whisk to R~ Corta .Jaca, Nat RoH~ Volta Spot Turn to L for lady,

ALIGNMENT

. Msn: Commence and finish facing W.

Ledv: Commence and finish backtnq W.

59

CLOSE ROCKS on RF and IF (A)

SAMBA

Cl z

-

~

f-

._w «.=t

~ ;)_ FOOT POSITION

>

0... Wo r-z (I)

FOOT WORK

ACTION USED

BODY TURN

1 5 1 RFfwd B frat Fwd step -
2 a 1/2 LF fwd B flat Fwd step -
3 a . 1/2 RF crossed behind IF T*' latin Cross -
4 S 1 LF fwd B !lat Fwd step -
5 Q 1/2 RF fwd B lIat Fwd step
6 Q 1/2 LF crossed behind RF T* Latin Cross -
..........._ .:w. ..... - III ..... .,......... ---=

Repeal ad lib s ·1 IF back

Ronde action from knee

1 5

~~--~--~--------------------------~~-----~--------------~-------------~

2 a

1/2 RF with T turned out behind LF

B flat

Bwd step

-

SUght turn to R

Tt-

Flat F sUp to LaUn Cross

I-----+--~..-__r-~-----~-~- ~':<-=''''.~~'''''''''~'--f----+----'''''~------+---------""",{

B lIat Bwd step

3

Q ,1/2 IF crossed in 'ront ot RF

4 'S

1

RF back

-

-

5

Q

112 LF with T turned out behind RF

Ronde action from knee

Slight turn 10 L

8

Q

1/2 RF crossed in lront of LF

Flat

F slip to Latin Cross

-

~ This is an exception. normally H would be towered on a step requiring a 1/2 beat of music.

1JI'i""#i"f .... hi '!Wi!' II an 1

BOUNCE ACTJON

NiL

~'~~!i='~.

SHAPING

Steps 1--6: Commence and finish in Close Hold.

PRECEDES

Nat Basic Movement, Nat Roll.

FOLLOWS

Nat Basic Movement Nat RoiL Open Rocks, At corner: Corta Jaca. Alter steps 1-3: Rev Basic Movement, Rev Turn.

ALIGNMENT

M8n~· Commence and finish facing LOD. Lady,' Commence and tinish backing LOD.

60

SAMBA

REVERSE TURN (A)

a.. ~ Wo

fnZ

1

r-W

~ 3 FOOT POSITION

tC~

FOOT WORK

ACTION USED

3/4 LF fwd

8 flat

Fwd step

3/8 to L

1

1

_-4-_ ..... -- ...... ,:".... 2¥ ...... ---.:.- - ~I IItJ"L1II tpl1d!:a4b l>',t:a:a:::r.Mj'"

l-.-----'---4

2

RF to side and slightly back. T turned out

T

Side step with pari wt

a

1/4

BODY TURN

LaUn Cross

1/4 to L

Bwd step

5 a 1/4 lFtoside B

Side step with part wt

6

2

hI: ........

RF closed to IF

B flat

F close with w1 change

2

1

3/4 RF back

B flat

Bwd step

,;:, ..................... ':01" ;It'" ----..ft','"I'IiPr' , ,:r.
3 2 1 RF closed to LF B flat
~
•
4 1 3/4 LF fwd B flat
....,..:.d~J L -"r : -
5 a 1/4 ftF 10 side and slightly be ck, T T
turned out
2 1 IF crossed fn front of RF B nat B

Side step wUh part w1

114 LF to side

F close with w1 change

Fwd .Iep

Side step with part wi

Latin Cross

3/8 10 L

1/4 to L

SWAY AND BODY INCLINATION

Sway to L on steps 2~ 3 (lady to R)~ Sway toP on steps 5~ 6 {lady to L). Body inclination is fwd on steps 1~ 2~

3 (lady bwd), and bwd on steps 4~ 5~ 6 (lady fwd), ,

BOUNCE ACTION

Samba Bounce ActiDn used throughout

SHAPING

Steps 1--6:' Commence and finish in Close Hold.

PREceDes

Rev Basic rv1cvement. Steps 1~3 of Nat Basic Movement Steps 1-3 of Close Rocks. Steps 1-3 Of Open Rocks.

FOLLOWS

Rev Turn, Rev Basic Movement~ Prom Botatopos. Samba Whisk to L.

ALIGNMENT

M8n~~ Commence facing DC* Step :3 backing LO£:? finish facing w~

Lady~~ Commence backing DC~ Step 3 facing LOO~ Unish bacKlng w~

.

NOTE

To achieve a particu~ar aHgnrnent trorn 1/4 to 1/2 turn to L can be made on steps 1~ and on steps 4-6 ..

61

CORTA JACA fA)

a..~ Wo t-z (f)

C} z

-

~

-

1

s

FOOT POSITION

1 RF fwd

FOOT WORK

H flat

..
Strong fwd step with -
Hlead
Fwd step on H, F -
does not lower
F slip approx 8 ems -
Bwd step on T, F -
does not lower
F slip approx 8 ems - ACTION USeD

2

a

1/2 LF .lwd and slightly to side

3

a

1f2 RF slipped feftwards

Flat

4

a

112 IF back and slightly to side

T*

5

Q

1/2 RF slipped leftwards

Flat>

BODY TURN

For steps 6-11 repeat steps 2-5, then repeat again steps 2, 3~ Timing: a a a a a a

1

5

1 IF back

B lIat

.....

2

a

1/2 .RF back and slightly to side

Bwd step

Bwd step on T, F does not lower

-

3

a

1/2 LF slIpped rightwards

Flat

F sUp approx 8 ems

4

a

1/2 RF fwd and slighUy to side

Fwd step on H, F does not lower

-

-

5

a

1/2 LF supped righrwards

Flat

F sUp appror 8 ems

-

For steps 6-11 repeal steps 2-5, then repeat again steps 2, 3. Timing· a Q Q Q 0 a

• This is an exception, Normally F would lower and fuft wt would be taken onto a step requiring a 1/2 beat

of music> .

BOUNCE ACTION NiL

SHAPING

Steps 1-11: Commence in Close Hold. Extend both arms fwd slightly on step 1. Finlsh in Close Hoto, arms stUI extended.

PRECEDES

Nat Basic Movement Whisk to L, Nat Rotl. Prog Basic Movement, Stationary Samba Walk on LF.

FOLLOWS

Steps 4-6 of Nat Basic Movement Steps 4-6 01 Nat AoU~ Samba Whisk to L, Volta Spot Turn to R for lady.

ALIGNMENT

Man: Commence and finish facing W. l.edv: Commence and finish backing W,

62

TRAVELLING BOTAFOGOS (A)

SAMBA

-

.WI trantfer In place

-!!- -:..-" ~
CJ }-w . '0
. ~ ~.
-.-:- ....... ~ ~ .
~-~~
(L z «::l , .. FOOT
• _,. -0 "'"
UJO .- w_.1 FOOTJ?DS'ITJON ACTION USED BODY TURN
~z :i 'ttl -c WORK
-
f- > 1 1 3/4 LF fwd ~~ .. B flal

L_---.,__-~ .. '-+----~-..,.:.~-'F!J---> _i '~_ ..... "'-H 'WIiIIoa"" ....... ~--~~-~IL}I~t:-:=IIK"I,.,....,. <w¥rt~IIIK-I'~_-+- __ ~=.........._ ~

2 a 1/4 RF to side and s<IIg!lUy fwd, T LIE of T

turned out . &tp .

....

3 2 1 LF 1n place . '"~~~ > a fJat

l---1~-r-~-+--- __ ---_---luII=I~ ........ ,~' .......... """""'_ .. -.:. ... ........-..:_" ... --.f-------~-I~ ..... .:: ......... :-=~Ii'.ii=Ii x=:a::ri''rN' ...... :It:ls \1:01 ::hdMIinmnr h=HH'i.....:.:,,:-'W:~I'_.............__~

4 1 3/4 RF fwd ols partner on R side B nat Fwd step ors partner

,,,,",, .~- ...... ,.,.-j.-w.-- ....... ----------~-tl+:Mw..MJJJ.Jo:«I..II ~H~~-=---- __ -"""""---~-~

1/4 IF to side and slightly fwdt T liE of T Point with part w1

turned out ·o,,~.

*"~ . II .... ~ ~ -:i:i.:...... ~

. MAN < "

"I . . II ~ ~ • :" .. -:-

•• " ~ ~., i- I:.I.:.. .. ".=! >-

-; • ~ • II

Fwd step

Point wilh pari wt >

L_,____;i---r---"'t------- .... -----------....__--t-----r--_..........-- .... t-:.:..:.oXosXJ:LW-L---- 'W

5

a

RF In place

~.

IF twd ols partner on L side

RF to side and slightly fwd, T

turned out -e -.~

Point with part wt

9

2

LF in place

.:. -,. -

",,"'

B flat

Wi transter in place

Bwd step

y.~ I .:

l-_+--_....,.,...o»4--~----~-~~--.....---_'t"_-----~~"'""""""'--_--~---_Iuu..-;.::-I=.::=*:::;.:.:.: ~ _ __'I'«'I'~

Point with pan W1

B flat

~_,_,__,-"*""""' ............................ LW..:.:.:. ::a'Ja::::aa ........ ~,.......-........---......-.,.-------_i'r<_---...,._....",-,-""""""""""""""hUu:,:.:..:.:"u,_'1 ~"""""'" _:,~W:l ¢ M'h...'..!

4 1 3/4 IF back partner ols on R side B flal Bwd step

,_~_~~~-'""""'"' ............... -IM«...:::::r;..I' ::!:: ~".. • .....tL 1~1~-__._,---+--~~-~-----.........,.,..~~_~I~w'vo:DI ~~

5 a 1/4 RF to side and sHghUy back, T lIE of T Point with part W1

....:.:.:.:.:.. ... ,- ....

turned oul ~;:";0~.. > .

1

... ~ -.,~

w --::: -:.- '.'.I.!oW -:.- -::...- ~.. ~. ..

a flat

1

1

3/4 RF back

1

·1/4 IF [0 side and slightly back, T

turned eut " <""

liE of T

k .,

_--+-_--4- __ -+~-~,-.....,-, ........... "...".......,..-~-------_+_....---=-~~-I~IHI ............ ,~ ... * ..... ,_t:-:+oo:I'.I."_"""""",.,_,_ ... _~

RF in place

Wt transfer In place

2

3

. .

~_~==I~_' ......... _.._, "'". __ .. ~ __ ... _ .. _-.....r;.:LI,H"W=4m: ;::w:vs:z'_....,"'"NI" -.wmmx_,_.."......".~'-_~..._+__......IIIIIIILI~IIIL:I.d.............. «~I'="'r:~ zd' "WNJ~

~IUlI
2 1
~ ......... ~Iw..
7 1 3/4
..--,"
S a 1/4 LF in place 0 ,'~~:

B flat

WI transfer In place

RF back partner ols on L side

B rlat Bwd step

1/8 to L

1/4 '0 R

1/4 to L

1/810 L

1/4 to R

-

IF to side and sUghUy back, T turned out

liE of T

Painl with part wi

~ __ ~ __ ~--~~- ,_A_~II_d_:~~~_~~_Id_I~_ri:_:~*_&II ~ ~ __ ~ __ ~~ ~~ ~ ~

2

RF in place

Wt transfer in place

1

B Uat

BOUt~CE ACTION~ Slight Samba Bounce Action used throughout

~

SHAPtNG~ Steps 1=,"'9: Commence and finish in Close Hold.

PRECEDES~ Rev Basic Movement Steps l"*",3 of Nat Basic Movement Rev Turn.

FOLLOWS* Nat Baste Movement commenced O/S partner.

1/4 to L

ALIGNMENT

Marc Commence facing LOO, Step 3 facing DCt Step 6 facing DW~ finish facing DCo

Lso»: Commence backing LC)D< Step 3 back~ng DC~ Step 6 backing DW2 nnish backing DC,

NorE~ A sl~ght pelvtc nit action is used during Botalcqos.

63

NATURAL ROLL {A}

SAMBA

n.. . Wo t--z U)

-

FOOT WORK

FOOT POSITION

ACTION USED

BODY TURN

1 S 1 RF fwd B flat- Fwd step 1/4 to R
2 Q 1/2 LF to side B flat Fwd slep turning
3 a 1/2 RF closed to LF B flat F close with wt
change
4 S 1 LF back B list Bwd step 1/4 to R
5 a 1/2 RF to side B flat Bwd step turning
6 a 1/2 LF closed to RF B flat F close with wt
change
... ~ <~
1 S 1 LF back B lIat Bwd step ~1/4 to R
2 Q 1/2 RF to side B fla1 Bwd step turning
3 a 1/2 LF closed to RF B flat F close with wt
change
4 S 1 RF fwd B flat- Fwd step 1/4 to R
i 5 Q 1/2 LF 10 side B Uat I' Fwd step turning
6 Q '1/2 RF closed to LF B flat F close with w1
change
tt: Alternative footwork: H flat OVERALL AMOUNT OF TURN

112 to R over steps 1-6. More or less turn can be made to achieve a oarticutar alignment.

BOUNCE ACTION NiL

SWAY AND BODY INCLINATION

Sway to R on steps 2~ 3 (fady L)~ Sway to L on steps 5~ 6 (lady R). Body is inclined bwd on steps 1~ 2~ 3 (lady fwd) and fwd on steps 4t 5l 6 (lady bwd).

SHAPING

Steps 1-6: Commence and finish in Close Hold, with bodies in contact and L arm higher than normal.

PRECEDES

Nat Basic Movement Prog Basic Movement, Sarnba Whisk to L~ Nat Roll. Close Rocks, Stationary Samba Walk on LF~

FOLLOWS

Nat Basic Movement, Prog Basic Movement Nat RoH. Carta Jaca, Close Rocks. Open Rocks.

ALIGNMENT

Mance Commence facing W~ Step 3 backing LOD, finish facing C~ Lady: Commence backing W. Step 3 facing LOD~ finish backing C~

64

OPEN ROCKS TO Rand L (M)

SAMBA

0... .. wo t-Z t.f)

s

a

Q

t-- tU «~

~ ;i FOOT POSITION

»

1 RF rwd

1/2 IF fwd

.:rw-_ ... -d I d""":' y"-:-t""":':""" L _ ,y.J............ ......

FOOT WORK

B nat B nat

Fwd step

-----I----------~--.,........,.;.-~ ............... ~

Fwd step

ACTION USED

Latin Cross

BODY TURN

1

Latin Cross

Fwd step

Fwd step

-

-

-

-

-

-

_......-.....".,..._._, ...... ...._._. __ --1--~ ....... M-brl-" ............ ~-- ...... a.'.Iaoo:!r:-:.MIaI-.d .. * ..... -._i*;. EPEipnYI""'_""U.. EEPhz'r'_WrlH'_' ......... _ ... ",_·,IW ......... __ ::.::w:-o-:i....,_~...._.._, __ ",- __ 111 dL __ • _,,..........._. __ -_, """"_"""""""::;:11 ... _n:. • ..._... .. _ .... ,_., _ ... .......,.__ __ , ~

-

S 1 IF fwd B flat Fwd step

....--+__,.c--i--'t------' __ ~h --. __ -,:-~---_uw..&I"_.I »:._- _. I~II-+_.....",_ __ --+- ~ .... _., · .. d-+--_~_H*~_"._,~~~_-:-'~~':':"I_---i

5 Q 1/2 RF fwd B flat Fwd step

~ __ .~ __ +---~----------'.~~I~-'---~----------~~~~------~_~ __ ~_Hd_~~~ __ Ad~~ ~

6 Q

~~~,~+-~~+-----~~'-~--~-y~----------~--~~--~------~------~-------------~

7 S

l-_+----+-"'-"""t--~ __ --...~Hr:rJ-l.lllld .... ' .. ~ .... b& : H~: ..-:-.~~:....~~~_-+--_IIII.~.......--1~~_- .. _.:.:o-F"~":.L"' • _. __ h ------.,.._---~-~_"'1

8 0

2

:1

4

9

~.....k__~_.i._-~---..- .. ~~ .. -.. : _. __,,__.,- _ _..__........_ h ~ _ _.._.__ __.._._..j

Q

112 RF crossed behind LF

1/2 IF crossed behind RF

1

RF fwd

1/2 LF fwd

1/2 RF crossed behind LF

Repeal ad Ubc from step 4

3

a

T*

B flat

B nat

Latin Cross

-

1 5 1 LF back
H'-:-':" 0:"":' ::~:..wII .......... ~I1 ........... ::: :1~l--'o..;.:.:.""'~~I~~
2 Q 1/2 AF back "-
. B nal

Bwd step

B nat ~ Bwd step, Lower H

and straighten leg

F:I ............. I~............:.,.:.J.r:.IrI... ... ;»J

1/4 10 R

6

Q

1/2 IF moved rightwards

B Hal

B flat

Short step approx 8erns

Fwd step turning

Bwd step, Lower H and slraighlen leg

Short step approx Scms

----i~--------------+--- ~~~ ... _&_ ... H __,.._..",* ..... ., __ __,___-.r«W .... _ ... _I ....... _ ..

a 1/2 RF back

3/8 to L

1/2 RF moved Iettwards

B Hat

1/8 to l

-

4 S 1 RF back and slightly 10 side B Ua~
::>!I ......... :II uiw.I tNrI ........... 1 .:HIli: :: ............. ~. __ ............. _~'..-.:-:.JodoI~~
5 Q 1/2 LF back B flat 7 S 1 LF back and sHghUy to side B flal Fwd step turning , 3/8 to R

.:' t

t---~~_IJ.J1».'I'~ . .... .-rc.._.,__~_~~_ .. _~ ~ ..... __ ....... -...._. __ . _ _,._" 7_d __ WIofio_ .. _'-+--_--------'!

a

8wd step. Lower H 1/8 to R

and straighten Jeg

Short step approx 8erns

;t~ First step for lady wdl be a fwd step turnIng to finish back and sllqhtty to side. 65

9

Q

+---_.~~------..,,-....--~-~-___+-~U-.:p;to::n._.-M -_. _. _I.~ ~~_ ...... ,_ --i------

1/2 IF moved righlwards

B Hal

--

ill This is an exception. Normally "1 would be towered on a step rsquiring a 1/2 beat of music, BOUNCE ACTION~ Nil.

SHAPING

Step 1: 'Comfnence in Close Hofd then release hold with L hand. Step 3: Achieve pp~ L hand released. Step 6: Achieve Cpp~ R hand released. Step 9: Finish in pp~ L hand released.

PRECEDES. Nat Basic Movement, Close Rocks~ Nat Hens.

FOLLOWS~ Rev Turn ". After Step 6: Prom to Counter Prom Runsi?~,

ALIGNMENT

Man: Facing LOD throughout ffg~

Ledy: Commence backing LOD. Step 3 facing C. Step 6 taclnq W~ finish facing C.

PROMENADE BOTAFOGOS (M)

SAMBA

C) z

-

~

-

r-

0..., v Wo t-z (j)

FOOT WORK

FOOT POSITION

ACTION USED

BODY TURN

1 1 3/4 lFfwd a flat Fwd step -
2 a 1/4 RF fa side. T turned out fIE of T Point with part WI 1/8 to L
3 2 1 LF In place In PP B flat WI transfer in place
4 1 3/4 RF fwd and across In PP" B l1al Fwd step -
5 a 1/4 . LF 10 side, T turned out liE of T POint with part wt 1/410 R
6 2 1 RF In place in CPP , B flat Wt transfer in place
7 1 . 3/4 LF fwd and across in CPp· B ffat Fwd step -
8 a 1/4 RF to slde, T turned oul liE of T Palnl wilh part wt 3/8 to L··
~~ ........ 1.
9 2 1 LF in place in PP B Hat Wt transfer In place 1 1 3/4 RF back B flat Bwd step -
2 a 1f4 LF to side, T turned out liE of T Point with part wt 1/8 to R
3 2 1 RF In place in PP B nat WI transfer in p race
4 1 3/4 LF fwd and across in pp. B flat Fwd step -
5 a 114 RF to slde, T turned out lIE of T Poinl with part w1 1/4 to l
6 2 1 IF in place in CPP B nat WI transler in pI ace
7 1 3/4 RF fwd and across in CPP' B flat Fwd step
8 a 1/4 . IF 10 side. T turned out liE 01 T Point wUh part wt 3/StoR"·
9 2 1 RF in place in FP B flat Wt transfer In "lace
,
.. Normal pelvic action is not possible on this step .
•• Shoulders turn less. BOUNCE ACTION

Slight Samba Bounce Action used throughout.

SHAPING

Step 1: Commence In Close Held. Step 3: Achieve PP. Step 6: Achieve CPP. Step 9: Finish in PP.

PRECEDES

Rev Basic Movement. Steps 1-3 of Nat Basic Movement, Samba Whisk to R~ Rev Turn, Stationary Samba Walk on RFf Side Samba Walk from PP turned 1/4 to R to face W.

FOLLOWS

Prom Samba Walks_ Side Samba Walk.

ALIGNMENT

Men: Commence facing W~ Step 3 on LOD in pp~ Step 6 against LOD in CPP, finish on LOD in PP. Lady: Commence backing W. Step 3 on LOD in PP. Step 6 against LOD in CPP. tlnlsh on LOD in PP.

66

BACKWARD ROCKS on RF and IF (M)

SAMBA

Short step to side· 1/8 to l

and slightly fwd from

original pes

t..",......-.-~_...._~U~_IL.:.r..l ~'I"'I.....:-:-II~~ ~~u.:.u.,:.:.,"II :N_"~::'":":' _ _..~I'W:'H~' ':1"-'" ,AA:-IIiI,.....-x-ozlzls ' ....... uAo:oll ~p:r'~ It ~r.«iJ:.::I_.,....._,.-------.......f

3 Q 1/2 RF in place B Ual Wt transfer in place

t.------t--"-"4-- ~-----~ :w.u.: ~$':WIiJI::"""""-":':II_~ __ --+- __ """""_"'-+- ~_~ U_,", _:'Fi',...:.:.u..:.~"_"'~ '".;0 I"t':¥WI

4 5 1 If back B lIat Bwd step

l--_--1r...,_~~~II~---dllll'n':'ll- .. 'ifiI:w_ii.' _1 __ ':':''':':'_h:M.:::oA_, _: ,1Jlrr"t_.::...iI:MI_v .. !E'*I_....,..,_"h.),,.___~~_,_--4- -+-'_oIIiIL _oIIiI: .... _· __ A: .. ·* _'~"""W. ---------+-----------1

5 0 1/2 RF Iwd and slightly 10 side y_~. Flat

Short step to side 1JS to R

and slightly fwd from

original pos ~

L ..to:.IoarII1 '. '~-"tA'::-:"'~' '::::' &ww &'i~ .w1or:.l~~ .... ~I......:.:.:.~ .. Io:-'--W.I~ __ ........___...,....._-------i

WI lranster in place

.~-

FOOT WORK

FOOT POSITION

ACTiON USED

• -:.0 ....

... ~ 1:'

..

RF back

1

B flat

Bwd step

5

a 1/2 IF fwd and slightly to side

. ~~ Flat

_~~-- __ 'i;':':':l. ~I

6

a

112 LF in place

B flat

BODY TURN

-

1/8 to R

• I -. •

1 S 1 ~, 4.~=~-'" - ~:·S flat 'Fwd step

~ '__" __ +-_+- ~"_"'__II_'*""'I_" ~I _'M::_ .. .:..::~.:o::::.».w~I«=tAI.....,.._,_ -t-_~ ~~ __ .-...:...&.I,",="",,~ .... ' , ':«:':' 1~rJ" .... .:it'~

...... :.. .:,. I I • I

2 a 1/2 RF back and slightly 10 side ._*. B flat Short step to side ..

and slightly back ,. ~ ~ . ~ ~ .

from original POi

lowering RH and

> straightening leg

_~ __ ~_~",,____+--_---"""""'~-----......,.,..-. -..! \:IR ~I:'~----=:.:.:a:.:a,.:. __ M~ ~-~ ......... ~"i'-w.::t'_I~_ .. 'l ~---- _ _,_-~

Wt transter in place

3 Q 1/2 LF in place B flat

~~ __ ~--~~----~ 'I~~~~~~"-" -----. ----'~-'~-·~---4----~-~~----~'-~--~M-~-.~-.-I_:':_"+_~ ~~ __ ~

4 S 1 RF fwd B flal Fwd step 1/8 to R

"'_~_~ __ ~ ~-~"_~rl"""""WMu..x-.y- *._I*:oI»:'&uI~~~""""'_"'~~~~_""""~I""" 1 •• ' .......... ,''1 ......... I,...__....._.., ~I_.........,~

. ~*

5 a 1/2 LF back and slighUy to side .=: .. B flat Short step to side 1/8 to R

and slightly back

from original pas

lowering LH and

straightening 1eg

:t----~~~~~I_~_'_I- ......... rjI'r"1'nJh..:+rt~.........-.wi'I.....=::.:tH~I---~--~---=---'''-...."."".,------~

WI transfer In place

IF fwd

6

a

1/2 RF In place

B nat

--

1/8 to L

BOUNCE ACTION Nil.

SHAPING

Steps 1--6: Commence and f!nish in Close Hold"

PRECEDES

Steps 1-3 of Rev Turn.

Steps 4-6 of the Bwd Rocks can be entered from steps 1.,_3 of a Nat Ron finished backing LOD~

•

FOLLOWS .

Steps 4-6 of Rev Basic Movementf steps 4-6 of Rev Tum, Plait commenced on RF~

After steps 1-3 of Bwd Rocks~ Steps 4·-i) of Nat Basic Movement, Plait commenced 0(1 LF~

ALIGNMENT

Man~· Commence backing LOD. Step 3 backing OC~ Finis'h backing ow. l.edy: Commence facing LOD~ Step 3 facing DC. Finish facing DW.

61

PLAIT (M)

FOOT POSITION

FOOT WORK

L'J Z

-

~

-

t-

0.... Wo I-z U)

ACTION USED

SAMBA

BODY TURN

1 5 1 LF back T Ilat' The Merengue -
action Is used on
2 S 1 RF back T lIatt each step see -
3 Q 1/2 LF back T flat- Note 1
-
4 a 1/2 RF back T flat· -
Wit_._-, F Ylf""""'aWiWIIII .. 11
5 S 1 LF back T flat- - 1 "'" 1 RF fwd B flat The action used is 1/8 to Ra-
il
that 01 a Rumba
2 S 1 lFfwd . B nat Fwd Walk turned 1/4 to Lt.
3 Q 1/2 RF Iwd B Ua' alternately to R 1/4 to Rts
and L. The moving

4 Q 1/2 LF fwd B lIal foot brushes the 1/4 to l·*
standing foot on .
B flat
5 S 1 RF fwd each step 114 to Ri.
• F lowers late .
•• Turn is in the lower part of the body.
,.
BOUNCE ACTION
Nit. SHAPING

Step 1: Commence in Close Hold then achieve Open Pos with L to R hand hold. Step 5~ Finish in Open Pes

, with L to R hand hold. ,

PRECEDES ,.

a) 1f·'Plait is commenced on LF: Bwd Rock on RF~ steps 1-3 of Nat Roll finished backing LOD.

b) If Plait is commenced on RF: Bwd Rock on LF~ steps 1-3 of Rev Turn finished backing LOD,

FOLLOWS

a) H Plait Is finished on LF: Steps 4-6 of Rev Basic Movement. steps 4-6 of Rev Turn.

b) If Plait is Hnished on RF: Steps 4-6 or Nat Baslc Movement, steps 4-6 01 Nat Roll.

ALIGNMENT

Man: Commence and finish backing LOD. Lady: Commence and finish facing LOD~

NOTES

1. To produce the Merengue action: The 1st step (LF) of Plait is taken back with pressure into floor but without wt transfer, with the lH weH clear of the tloor, allow R hip to move to R by locking R knee back, As 2nd step) RFt is taken transfer wt onto LF and repeat action described lor step 1 but on RF. The sa019 action is then used on steps 3, 4~ 5"

2. The Pia it may also be commenced on RF as man (lady LF)~

68

SHADOW BOTAFOGOS (M)

ACTION USED

CL • wo

t;)Z

FOOT WORK

FOOT POSITION

BOUNCE ACTION

S~ight Samba Bounce Actlcn used throughout~

SAMBA

BODY TURN

1 1 3/4 RF fwd B flat Fwd step
:2 1/4 LF to side and sUghtly fwd! r liE of T Point with part w1 1/4 to R
turned o6ut t
:) 1 RF in place B flat WI transfer In place
4 1 3/4 LF fwd 8 flat Fwd step -
5 a 1/4 RF to side and slightly fwd, T liE of T PoInt with part wt 1/4 to l
turned out
1 LF In place e flat WI transfer in place SHAPING

Step 1: Commence in Open PP with L to R hand hofd, ·Step 3: Achieve Open CPP. Step 6: Finish In Open PP with L to R hand hoto.

PRECEDES

Side Samba Walk from PP releasing hoid with A hand.

FOLLOWS

Volta Spot Turn to R for t.ady. Cent Volta Spot Turn to Rt TravelHng voltas to R.

After steps 1-3: Cent Volta Spot Turn to L, Travelling Voltas to L~

ALIGNMENT

Man enol.edy: Commence on LOD in Open PP with L to R hand note, step 3 on LOD in Open CPPt fJnish on LOO in Open PP wah L to R hand hold.

NOTE

A sUght pelvic tnt action is used dur~ng Bltatogo5u

69

VOLTA ACTIONS

The Volta is one of the most popular and important movements in the Samba and combinations of the Volta action are tegion< A selection of the different shapes produced by these combinations has been . standardised and is given in the following pages.

If roltoweo by a figure that moves in the opposite dlrection, the last two steps of the preceding Volta are' replaced by steps 2. 3 of a Botatopo during which an additional 1/8 of a turn is made.

When the Botafogo ending is used the figure that tollows will be started from a non-standard aUgnment

t

consequently it wiU be necessary to adjust the amount ot turn made during this figure to finish on the

standard alignment

When the Volta action is continued tor more than one bar of music it is permissible to use the numerical count for timing e.o. "t a 2 a 3 a 4°~

VOLTA SPOT TURN TO R FOR LADY (A)

SAMBA

FOOT WORK

FOOT POSITION

- .. 1-

ACTION USED

BODY TURN

Steps 1-3

Same as Samba Whisk to Lit

B Itat

Fwd step turning to Latin Cross

One complete turn , to R

2

SJde step with part wt

_........,.__'-1--_IIIH«............... .:.t.a.r:&::::: h<iI,.....~IIIIXIo¥J.I_" _zlL d- .... '------t-------+ .. ---- __ ... __

Swivel on B of RF '0 LaUn Crosl

1

.3/4

RF crossed in front 01 LF

1

a

114

LF to side and slightly back" T turned out .

T

3

2

1

RF crossed In front of LF

B Hat

... An alternanva method of dancing this rig is for the man to release hold and dance a Solo Volta Spot Turn to L.

BOUNCE ACTION

Samba Bounce Action used throughout

SHAPING

Step 1: Commence in Close Hold then release hard with R hand. Slep 3: Finish In Clcse Hotd.

PRECEDES

Whisk to R~ Volta Spot Turn to L for Lady, Stationary Samba Walk (RLR)~ Carta Jaca, Shadow Botatoqos.

FOLLOWS ~

Whisk to R~ Volta Spot Turn to l for Lacy, Prom to Counter Prom Buns.

ALIGNMENT

Man/ Corumence and finish facing W. t.eoy: Commence and ftnfsh backing W,

71

Yi)"t;;: . I

VOLTA SPOT TURN TO L FOR LAO~:~(A)

FOOT WORK

,_
o ~UJ «.,
0.. "~~
Z -~
• <{:J • ~....J:oo:u' ,~ •
wo ,.
- w_J F001~ POSITION
t---z :i
(J) .- m<
t- > ~ ...

~

Same as Samba Whisk to R*

Steps 1-3

B nat

1

1 3/4 LF crossed in front of RF

B Uat

1/4 RF to side and slighUy backt T turned out

T

2

LF crossed In fronfaf RF

1

SAMBA

ACTION USED

BODY TURN

~ An~ alternative metnod 01 dancing this fig is tor the man to release notd and dance a Soto Volta Spot Turn

to R, ..

BOUNCE ACTION

. -:- ~ -., . ~.

Samba Bounce Action used throughout

SHAPING

Side step with part wt

One complete turn to L

Fwd slep turning to Latin Cross

Swivel on 8 of LF to latin Cross

Step 1: Commence in Close Hold then release hold with R hand~.Step 3:. Finish in Ctosa Hold.

PRECEDES

- ... ..:-~ ,~.

Whisk to t., Volta Spot Turn to R for Ladv, Stationary Samba Walk (lRL)~

' ........

FOLLOWS

Wh~sk to L~ Volta Spot turn to R for Lady .

• <

ALIGNMENT

A4811: Commence and finish facing W:' . Lady: Commence and finish backing~W~

. ,«""-:-11',

NOTE

The Volta Spot Turn to Rand L tor Lady with man danc~ng Samba Whisks Is a good exercise to enable the lady to develop the Volta turning action required in Samba and for the man to develop good early shaping leads.

71

TRAVELLING VOLTAS TO R (M)

SAMBA

FOOT WORK

FOOT POSIT~ON

ACTION USED

BODY TURN

1 1 3/4 LF crossed In front of RF B flat Latin Cross 1/410 l
2 a 1/4 RF to side and slightly back, T T Side step with part
turned out wt
3 2 3/4 LF crossed In front of RF B rlat Latin Cross
4 a 1/4 RF (0 slde and sUghtly back} T T Side step with part
turned out. wt
5 1 3/4 LF crossed in front of RF B flat Latin Cross
6 a 1/4 RF to side and s~ightly back, T T Side step with pa rt
turned out w1
1 2 1 LF erased in front of RF B flat Latin Cross 1 1 3/4 RF crossed in front of LF B flat Latin Cross 1/4 to R
2 a '/4 IF 10 side and sUghtly back, T T Side step with part
turned out wt
,
3 2 3/4 RF crossed In Iront of LF B rlat Latin Cross
4 a 1/4 LF to side and slightly back, T T Side step with part
turned out wt
5 1 ~, 3/4 RF crossed in Iront of LF B ilat Latin Cross
6 a 1/4 LF to side and sllghijy back, T T Side step with part
turned out w1
7 2 ~~ 1 RF crossed in Iront of IF B flat lalin Cross BOUNCE ACTION

Samba Bounce Action used throughout.

SHAPING

Step 1: Commence in Open PP with L to A hand hold. Step 7: Finish in Open CPP.

PRECEDES

Side Samba Wafk in PP releasing hold with R hand, Shadow Botatocos.

FOLLOWS

Samba Walk in Open CPPt Samba Locks.

ALIGNMENT

Man Bod Led»: Commence on LOD in Open PP with L to R hand hold. Finish on LOO in Open Cpp~

NOTES

1. The Travelling Vallas to R can be finished facing centre in Close Hold, If man turns 3/8 to L (lady R) over steps 1-7~ Fouows: Whisk to A, Volta Spot to L for Lady, Stationary Samba Walk*

2~ If the Botafogo ending is used the man wiil turn an add1tiona11/8 to L (lady R). Follows: Travelling Voltas to L~ Cont Volta Spot Turn to L _' .. both commenced against LOD in Open pp~

72

TRAVELLING VOLTAS TO L (M)

SAMBA

1

FOOT POSITtON

FOOT WORK

B Hat

ACTION USEr)

Latin Cross

2

a

3/4 RF crossed in front QllF

" ,

~ : ~ : '

1/4 IF to side and sHghtfy back. T turned out

T

Side step with pari wi

3

2

3/4 RF crossed in Iront of IF

B Ual

latin Cross

1/4 LF to side and slightly back, T turned oul

T

Side step with pari \vt

5

1

3/4 RF crossed In front of IF

a Uat

Latin Cross

1/4 IF to side and sUghUy back, T turned out

, "

1

2

1

R F crossed in 'ront of LF

.~ .}T

1 3/4 IF crossed in l(onl"01 RF

T

B Hat

B Hat

Side step w[th pari wi

Latin Cross

Latin Cross.

2

a

1/4 RF to side and sUghtly back, T

turned out t

T

Side step wUh part wt

3/4 IF crossed in front of RF e na~

~,_,___.,,,,,,~~-¥--~--------,-~--,,,_,_,,,,,,,,,,,,",,,",,<.--_,_~---,,,,,,~~-,,,,,_,,,,,,,"-~,~-,,,_,-,,,--,,,~~~.............._~"- ~

1/4 RF to side and slightly back, T T turned oul

3

2

Latin Cross

Side slep with par! wt

5 6

1

3/4 L F cross ed in front of R F

B Hat

Latin Cross

: : I

1/4 RF 10 sida and sUghUy back, T turned out

T

Side step with part

•

wt

7

1

LF crossed In fronl of RF

B flat

Latin Cross

BODY TURN

1/4 10 11

1/4 to L

80UNCE ACTION

Samba Bounce Action used throughout

SHAPING

Step 1: Commence in Open CPP .. Step 7: Finish in Open PP with L to R hand hold.

PRECEDES

Side Samba WaH< ~n Open Cpp~ Steps 1~3 of Shadow Botatoqos

FOLLOWS

Samba Walk in pp~ Shadow BDrafoDo~L

ALIGNMENT

Allan 81Jd l.eay: Commence on LOD in Open Cf)P< Finish on LaO In Open PP witn L to R hand hold.

NOTES

13 The Travelling Voltas to L can be finished facing walt in Close Hold if man turns 3/8 to ROady l) over steps 1 T>7~ Follows: Whisk to LJ Volta Spot 'Turn to f1 tor Lady, Stltionar-y Sarnba WaJk.

2. ff the Botafoqo ending is used the man wiH turn an additional 1/8 to R (hidy L). Follows: TraveUrng Voltas to Rt Cent Volta Spot Turn to R ~ both commenced against LOD In Open CPP.

CONTINUOUS VOLTA SPOT TURN TO R (M)

-

FOOT WORK

a.. . 010 ..... z (j)

FOOT POSITION

ACTION lJSED

Steps 1-7

Travelling Vallas to R

SAMBA

BODY TURN

3/8 to l

1 1 3/4 RF crossed In front of IF B flat ~ Fwd step lurning 1 3/8 to R
f
t to Latin Cross
~
2 a 1/4 LF to side and slightly back, T , T f Side step with part
turned out wt
3 2 3/4 RF crossed in front of LF B flat Swivel on B of RF
.. to Latin Cross
•
- .............. _ , dF 1>-_..........-
'4 a 1/4 LF to side and slightly back, T ' T Side step with part
turned out wt
5 1 314 RF crossed In front of Lf B Itat Swivel on B of RF
to Latin Cross
6 a 1/4 LF to side and sl igh Uy back. T T Side step with part
turned out wi
-
7"" 0 2 1 RF crossed in front of LF B nat ! Swivel on 8 of RF
~
r to Latin Cross BOUNCE ACTION

Samba Bounce Action used throughout

·SHAPING "

Step 1: Commence in Open PP with L to R hand hold. Step 7: Finish in Close Hold.

PRECEDES

Side SatTlba Walk from PP releasing hold with R hand. Shadow Botafogos.

FOLLOWS

Whisk to R~ Volta Spot Turn to L for Lady. Stationary Samba Walk.

ALIGNMENT

Mer: Commence on LOO in Open PP with L to R hand bold. Finish facing C. Lady: Commence on LOo in Open PP with L to R hand hold. Finish backing C.

NOTES

1~ U man turns 7/8 to L to finish facing W (lady 17/8 to R)~

Follows: Whisk to RI Volta Spot Turn to L for Lady, Stationary Samba Walkst Nat RoU~ Corta Jaca. Prom to Counter Prom Runs.

2. Travelling Voltas to L with Botafogo ending can be used to precede the Cent Volta Spot Turn to R~ 3, It Botafogo ending is used by man. Follow: Cont Volta Spot Turn to L {lady 11/2 turns).

74

CONTJNUOUS VOLTA SPOT TURN:f~O l (M)

.. <4>; ~

.,
CJ }-w ~ , ~
... -:r:::-t....:t:..... v:-
a, . r~~ _ . _
. Z ~::J
WO - w-J FOOT POSIT'JON
t-z ~ me(
t.fJ -
~ > FOOT WORK

ACTfON USED

SAMBA

800YTURN

Steps 1-7

~ 4't; .. ~_ .

- "«<-

Travelling Vallas tQ~

3/8 to R

±

~

B flat f Fwd slep turning

, 10 Laun Cross

~

t.--".....",.,._...+,_""",.....",,_~~_t~Iriz:::>:::X':LWIIIII.............-WIII..IIo:I.:-..x.11 II :.:aa,loAu.ui.M....;.::.u..wu.::~' ::::::'::':':~"'&'N;rt;A~""YIII: II~~_~~I~~II~III"''''''''''''''. ~---i

1

1

3/4 Lf crossed in front or RF

1/4 RF 10 side and slightly bacK$ T

turned out ""

T

: Side step wUh part : wi

3

. '.. ~ .

....t<- __ -+-w- __ I~~~~'m:' ::::.=..i'~:II: :"'¥M..J ........... ~._~ __ ~IW»IIK~:I'Iitid.WI.O':':"II Lz:s:::aa;s,::::aaall~~jt ,"""",~'a:k:I".:,...,.:.:.,n:,'"*"«:, ... ,,,"*:,:,,..,:..o:-I.....:-:J.u

.

3/4 LF crossed in front. ,of RF

B Uat

e

: Swivel on a of IF

,

to LaUn Crosl

4

1/4 RF to side and ing~lUy back, T turned out

T

: Side step with part . wI

*

~",,",~III~IJ.II"II~I..xw.-1 m«o~1 1»:..uo::::w';::::::Wl"~' O~i:iz :Wi¢'*z"azs:i4t!.Y:lJ.r'III~riJ:.u.uI~~UII~"__~'----=--:::'~ _..o"w'&-:r:6"""""-o.'" """",,".:,:.:.y:.wI~ .. ,~!1 ~6 .::.!III~....:.I-..'_",,~~.

5

1

3/4 LF cross ed in front·ol RF

8 flat

Swivel on B ollF ~ 10 LaUn Cross

,~ o ~.~L«o:*

;........_~~ __ ~~ L *«:Or'I"«:~I':""""""YII':'::':'::""'~_~~~"""'__"""'_"_' __ --"" ~

1/4 RF to side and ~~~~!iY~,~~*ckt T .

turned out .' :~. c

1

:2

1

LF crossed in fronLllf Rf H

T

~ Side ste p with part

~. ~ I

: wi

1 3/8 to L

BOUNCE ACTION

Samba Bounce Action used throughout.

a Uat - t Swivel on B of IF

, to Latin Cross

SHAPING

••• ~ -t

Step 1: Commence in Open CPP. St~1;(7:,Finjsh in Close Hold,

.. ~\.

PRECEDES

S~da Samba Walk in Open Cf'P. Steps 1-3 of Shadow Botaloqos.

FOLLOWS

Whisk 10 L~ Volta Spot Turn to R lor Lady, Stationary Samba Waf~L

AlfGNME~~T

Man« Commence on LOO in Open CPP. Finish facing Wv t.sdv: Commence on LOO in Open CPP" Firush backing W.

NOTES

1 ~ If man turns 7/8 to R to finish facing C (lady ·1 7/8 to L).

Follows: Whisk to L~ Volta Spot Turn to R for Lady, Stationary Samba Walk,

~L TraveHing voltas to R with Botafogo ending can be used to precede the Cent Volta Spot Turn to L. 3. If Botafogo ending is used by man. Fetrow: Cent Voila Spot Turn to R (lady 11/2 turns),

75

CIRCULAR VOLTAS TO R (F)

SAMBA

._w «:J w_J

ca«

>

a.. Wo t-z (J)

-

FOOT WORK

FOOT POSITION

ACTION USED

BODY TURN

1 1 3/4 RF crossed in front of LF B flat Latin Cross 1.1/4 to R
, . -
2 a 1/4 LF '0 side and slightly back. T T Side step with part
turned out " w1
I d_..- .... _ ..... :s:rF _ .. _ ......... . _ 'Il y_
3 2 3/4 AF crossed in front of LF B !lat Latin Cross. Man·s
from swivel on B of
RF
.._. L.b. p___ ..... " _ ~ _ L:-N --- - -
4 a 1/4 LF to side and slightly back, T T Side step with part
turned Qui wi
5 1 3/4 RF crosse d in Iront of LF B flat Latin Cross~ Mants
from swivel on B of
AF
__ .tr
6 a 114 IF to slde and slightly twd, T liE of T' Steps 2, 3 01 a
turned out Bolafoga
7 2 1 RF in place B Uat BOUNCE ACTION

Samba Bounce Action used throughout

SWAY

To l (lady R) during steps 1-5.

SHAPING

Step 1: Commence in Contra PP. Step 7: Finish jn Contra Cpp~

PRECEDES

Contra Botafogo on LF~ Circular Voltas to LJ F change by man after Prom Botatopos.

FOLLOWS

Contra Botafogo on LF~ Circular voltas to L<

ALIGNMENT

Man and Ledy: Fig is tlexibie and many ationments can be used. If commenced on LOD in Contra PP the fig wil! be finished against LOD in Contra Cf'P.

NOTES

1. If desired this movement can be continued for a further two bars of music after step 5 before checking the turn by dancing the movement dascrtbed for steps 6~ 7.

2, This fig is danced with the man's RF at the centre of turn. The coupta's shoulders should remain parallel throughout the fig.

3. The turn made during the Botafogo ending is included in the overall amount or turn.

76

CIRCULAR VOL T AS TO L (F)

FOOT WORK

i-W «:J

~ :J. FOOT POSITION

>

3/4 IF crossed In front of RF

B nat

1

1

2

1/4 RF to side and sHghtly back, T turned out

T

314 LF crossed in front of RF .

B flat

3

1/4 RF to side and sUghUy back, T turned out

T

3/4 LF crossed in fronl of RF

8 Hat

1

1/4 RF to side and sHghUy lwd, T turned out

liE of T

B Hat

7 2 1 IF I n pi ace

BOUNCE ACTION

Samba Bounce Action used th~oughouL

SWAY

To R (lady L) during steps 1~,5.

SHAPING

Step 1: Commence in Contra Cpp, Step J: Finish In Contra pp,

PRECEDES

Contra Botafoga on RFt Circular Vallas to R,

ACTION USED

Latin eros·!

Side step with part wt

Latin cress. Man*s from swivel on B of LF

Side step with part wt

Lalln Cross. Manis from swivel on B of LF

Steps 2t 3 of a 80la1090

SAMBA

BODY TURN

~

FOLLOWS

Contra Botatogo on RF~ Circular Voltas to R~ F change by man white leading lady to dance another Contra Botatoco and then continue with Bota(ogos from pp~ Prom Sarnba Wa'ks or Side Samba watk

ALIGNMENT

Man endLady: Fig is Ilexible and many alignments can be used, It commenced against LOO in Contra Cpp i.he·ng ~'fviU be f~nfshed on LOD ~n Contra PPo

NOTES

1 < H desired this movement can be continued for a further two bars ot rnusic after step 5 before checking the turn by dancing the movements described for steps 6~ 7.

2. Thts fig is danced with the man's LF at the centre of turn. The couptes shoulders should remain oarallet throughout the fig,

3. The turn made during the Botatooo ending is included In the overau amount of turn.

77

CONTRA BOTAFOGOS (F)

SAMBA

CL. tU 0 )-z en

-

FOOT WORK

FOOT POSITION

ACTION USED

BODY TURN

1 1 3/4 Rf fwd. in Contra PP e flat 80tal0905 wUh man -
2 1/4 IF to side and sllghtly fwd, T liE 01 T and lady on same 1/4 to R
a toot, mov ing
turned out
slightly past each
3 2 1 RF In placet in Contra CPP B rlat other on first step 01
each Bo-tafogo
.............. - ...................... , .. h qpq zzzIs d.... d l....... z±
4 1 3/4 LF fwd, in Contra CPP B ifat -
_,
5 a 1/4 RF to side and slightly fwd; T liE 01 T 1/4 to L
turned out ",'
S 2 1 LF in place. in Contra PP B flat BOUNCE ACTION

Slight Samba Bounce action used throughout.

SHAPING

Step 1; Commence in Contra PP. Step 3: Achieve Contra CPP< Step 5: Finish in Contra PP.

PRECEDES

Any rig that finishes in Contra pp~

FOLLOWS "

Circular Voltas to R~ Foot change by man white leading lady to dance another Contra 8otafogo then continue

with Samba Walks or Side Samba Walk.

The Circular. Vallas to L can be danced after step 3 of the Contra Botafogos.

ALIGNMENT

Man and Lady: Fig ts tlexible and many aliqnrnants can be used. If commenced on LOD in Contra PP aliqnrnent on step 3 wil] be against LOD in Contra CPP. Finish on LOD in Contra PP.

NOTES

1. Contra Botafogos can a'50 be danced from Open Contra pp~ and Open Contra Cpp~ using either ot the standard hand holds.

2. A snght pelvic tilt action is used during Botafogos.

78

SAMBA LOCKS (F) SAMBA

~-"---,,,,---""-'-------------_"""'-----r---------r""""~ O~at!IIl~'" ~qp IIIf«'WI

-

--

FOOT POSITION

-

1/2 RF twd, T turned out

1

Q

1/2 RF crossed behind.lF

FOOT WORK

B flat

ACTION USED

Fwd step with part wI

BODY TURN

1/8 ·10 R .

112 LF crossed behind RF

2 a

_~~~_---t""_'~_U:I_'fi:"'_~lo=,; I""I~=-=d~ ~'iI:~""~ _." p:IoIoczs;uzz: LzilorL'::.I:"'IJ.I"IIIJ.IJ~--4--"~_~':'I"""'_""""""~ II~~~~~

j S

~~_""""_+~~_H'::""":~ "H~I,*, ':::W¥''JLY:IriYI~,,*L"'''''''''''~I~:.: 1iI.''jz'~I~'4;p:r"'"4:I:''H'''''b.''-''I':''-''----''''__'''''''_'~i_' --......-',.,.,.,.,...,..~ ..... ~ :.:.:_~o:..l~~_~~~~ ~_~

4 a

1

RF fwd short step, T turned out

1/2 LF fwd. T turned out

., ,

Q

'_"'_~~_~"__"'_ __ - _ _'~___'_~~_h'1 :,,_ --+,_~"""_"_'_'__~~~ __ , __ .................. I~I-+--~ Ir ............... _ _,..:n::.w_::,..".._..'fi: ~_'HI .... ......_·W~_.:: __ ~ ~

S 1 LF fwd short slep, T turned out Flat

_~f..w-_+------~~'YW' 1~""""""'rIIl'L."'''''''_WJ'~",,_L"* _~=-=-_"!J(lXaloow.w..w.uwI ~ _ _"~~_"~("""'-='?:'O" _P)I'AiIi_.I'~_:_&:z'*_'" __""u .. _, _"::_'~~ __ """""''''-''''''''';'''~: __ d~1

a 1/2 RF fwdj T turned out B Uat

5

7

r'*

flat

B nat

r*

Latin Cross

Fwd step

Fwd step with part wi

latin Cross

Fwd step

fwd step with pari wt

-

1/8 to L

.-

-

1/8 to R

a

,

-'o.tw--'~~_~II~ 'w«o""1-:I' «:U*'':' :.:...:..r:.IriP ''+i~'b±.'\1I1W1:<:II«IJ.1I.o.::nI~'':»''''a:.:::.u.u.:'' ~1\Jiw:wM% ... :::.:::::o::.L~~ h......,...u~~_""""""~~ ~u,::.w:_ ...... <r_": II~~ ~ 11111.JrA-:««..UL..-..o~ __ ~

S

1/2 LF crossed behin4 RF

9

RF fwd shan step; T, turned out

-:-:-:':'-"'i.- ••

1

r*

Flat

Latin Cross

Fwd step

-

-

4

1

Q

1/2

LF twd, T turnedcur ~~ ...

~ ~

.. B Uat"

, . ~

. ~

. 0-

~~_~~_~_,,""""I"IL&UI·'?:,:.:;o,i ': 11~1_"'_ ~ __ ~_~~_~""""-;':_'hll~_~I~I~ \UMl:l~~......:..:.:.:-:..;:::::.:a:::u"o'r:r:rIoolll

2

~"""""""""'4-"""-"~f.......~--~"""""~~I~"'I~ 'ffiJ:'«z»»"z'':' W.J1Wl:_"" __ '<;' W:'_l ....... __ <: • .._....",,_ .... :_:. ~, ~' .... ~~~~IIIIII~~-+x- __ L:-t.:-:.u ......... IIW~~_~_: L ... _~'b-X: "'':»"= ~~

:1

S 1 LF fwd short step. T turned nut Flal

~~tow.-~~_----1~--_II~!':o:r'!' ... l&L •• I __ ~_W»MII+I.'J.h:oW~I __ -+- __ ~~ I-»':r:ILI~YYI ... ,I • .._. :::o::~II.JJ.I"" 1IIIfi"..I~·~~ ''zs:o::¥' '_ ...... ,I'IJ~~

Q 1/2 AF Iwd, T turned out B nat

-, ..

1/2 RF crossed behind IF

Q

T*

. ." Fwd ·step wf1h part wi

Latin Cross

Fwd step

Fwd step with part wt

1/S to l

-

1/8 to R

IF crossed behirutRF .

·0 1/2
11'~y &~ *1.1::.:.:.:.1
S 1
Q 1/2 ...... ' ..... ~

RF fwd short slept T turned out

IF fwd~ T turned out

Fwd step

~~_""""""- """""'IIu..:.wIIMl.x-l~"""""JTTTiI:J:Xs:iII'oo:::o:l:l:l:I-»I~~~ *"-"-"-VI.

Fwd step with part wt

r*

Flat

8 nat

laUn Cross

__ ~~ : "'Pl,......-.:uJ.._, ': '::H~"'"'"""""'.I

-

1/8 to L

1/2 RF crossed behind IF

1

LF fwd she rt step, T tu rned 0 ut

9

r*

Flat

latin Cross

Fwd step

~ This is an exception. norma-tv H woutd be Iowerec on a. step requirinq a 1/2 beat of mustc,

BOUNCE ACTION Nil.

SHAPING

Step 1: Commence ~n Open Cpp~ then extend both arms to side at shoulder level. Step 9:. Finish in Open Cpp wHh both arms extended.

79

SAMBA LOCKS (F) Contd.

SAMBA

PRECEDES

,

Travelling Voltas to R1 Stationary Samba Walk (LRL) leading Jady to dance a Three Step Turn •• danced after

either an Open or Close Rock to R~ Prom to Counter Prom Runs or Side Samba Walk,

FOLLOWS

Side Samba Walk~ Continuous Volta Spot Turn to R~

ALIGNMENT

Man and t.edy: Commence on LOO in Open CPP wt on LF (lady RFJ~ finish on LOD in Open CPP .

•• A description of the lady's Three Step Turn, while the man dances a Stationary Samba Walk is:

Man: Dance Stationary Sarnba Walk taking racy's R hand into man's L hand and leading her to move to man's L side and turn stronqly to L under man's upraised L arm. Hard is releasee with R hand during first step.

Lady: 0

i. RF to side turning strongly to l (Spiral Cross) , > > ••• .,~ ".» ~ •••• <o«.«.Count 1 (3/4 beat),

2, ConUnue turning strongly to L. tF twd .. · ~ < " •••• ".» ••• n· •• <· •• » ••• «.'"~ •• «<· •••• , •• -»». Count 2 (1/2 beat).

3. StHI turning stronqly to L. RF fwd to tinisn LF crossed without weight in tront of RF (Spiral Cross). ... ~ .... h •

••••••• « ••• Count 3 (3/4 beat).

80

PROMENADE TO COUNTER PROMENADE RUNS (F)

SAMBA

BODY TURN

(.9 z

-

2

CL -e uJo

ti)Z

-

FOOT WORK

FOOT POSITION

ACTION USED

RF to side it B A running action 1/8 to L
LF to side in PP B flat with a sUght hover
on steps 1, 4, 7.
RF twd and across in PP B Hat Step 4 is ,a fwd
step turning
LF back and slightly 10 side 8 3/4 to R
RF to side jn CPP B flat
IF fwd and across in Cpp B flat
RF fwd B 1/4 to R
LF to side in PP B Hat
RF fwd and across in PP B Ilat 3/4

1

1

2 1/2

3 3/4

1 3/4

2 1/2

3

3/4

5

7

1

B

2

3/4

3

9

The fig may be repeated ad Jib~ from step 4

1 1 3/4 LF to side" B A running action 1/8 10 R
1/2 RF to side in ~pp B flat with a slight hover
2 2 on steps 1, 4t 7.
3 3 3/4 IF fwd and across In PP B flat Step 7 is a fwd
step turn i ng

4 1 3/4 RFfwd B 1/4 to R
5 2 1/2 LF to side in CPP B Hat
6 3 3/4 RF fwd and across in CPP 8 flat
7 314 IF back and slightly to side B 3/4 to R
8 2 1/2 RF to side in PP B flat
9 3 3/4 LF fwd and across in PP B flat
~ This step can be taken fwd. in line with partner: lady bwd.
BOUNCE ACTION~ Nil. SHAPING

Step 1: Commence In Close Hold, then release hold with L hand. Step 3: Achieve pp~ l hand released.

Step 6: Achieve Cf'P, R hand released. Step 9~ Finish in PPt L hand released.

PRECEDES" Whisk to L~ Solo Volta Spot Turn to L, Volta Spot Turn to R for Lady.

FOLLOWS. Samba WaU< in PP (LRL}i Stationary Samba Wafk leadinq lacy to dance a Three Step Turn - see precedes for Samba Locks.

ALIGNMENT

Men: Commence facing W. Step 3 on LOD in PP wt on AF. Step 6 on LOD in CPP wton LF~ Finjsh on LOD in PP

wt on RF~

Lady~·Commence backing W. Step 3 on LOD in PP wt on LF~ Step 6 on LOD in CPP wt on RF~ Finish on LOo in

pp wt on LF~

NOTE~ The tirning of this figure is unusual.

CRUZADOS LOCKS IN SHADOW POSITION (FJ

SAMBA

"-:-.. .... "l.o .. » -=::::. -::. .. :,.. LJ.Io... .. .... -:i: I

" . .

... -:-. (J -:.

• :," -:.: (J ,... ; -::: I (0 • II -:- I ••

FOOT WORK

FOOT POSITION

ACTION USED

..

BODY TlJRN

RFfwd

Q

Fwd slep LaUn Cross

1/2 LF fwd

B nal

__ ~"'_"_ __ ""I~JiI~~"" h ,~ 'iIW:::....,.:.:.:.,I~'W"iW'I __ .. y "'~:~ _T_LIwi1II~II~

r-

-

.......... ~ I,w.wtll : ........... ~
a 112
s 1
Q 1/2
Q 1/2
5 1 ,"'noj::I: .... _

1~:::zIIM:~i L~d~O : I'~-=tti,

RF crossed behind IF

-

Fwd step

B flat

_~_--.+_~_.__ .. :~, _:'"="*:", : :_d"~~II_~_"'-"'_'_~ _ _".....__..._.. __ w~u d 1--...-iw """""""' ~IIMI~11

B nat

LFfwd

......

Fwd step

~~.........t--~-----+-- _-+--1";'111 iUrA 1I::.:,"III..:-:.,;,I .... II~ -.-mM_____."..",_ __ ~_, __ "":'_ -~-

Latin Cross

LF crossed behind RF

T*

-

RF fwd B flat Fwd step

-

Steps 7-9: Repeat steps 1-3

,

• This is an exceptlon, normally H WCH1)d be lowered on a step requir~ng a 112 beat of music.

BOUNCE ACTION

The rhythrrlic interpretation required is pecuuar to thjs fig. Each fwd step ~5 taken with a shoulder te ad. A slight bounce action is achieved by pushing oft the standing toot from a compressed knee.

SHAPING

Staps 1-9: Commence and finish on same foot in Same Hand Hoid Shadow Pas.

PRECEDES

F change by man to hnish in Same Hand Hold Shadow Pas with wt on RF* Travelling Vottas to L in Shadow Pes. Botatoqo (R L R) in Shadow Pas.

FOLLOWS

Atter step 6: Botatoqos in Shadow POSt Botafogo (LBt.) in Shadow Posj toltowed by another Botarogo (RLR) turning lady to R to finish in Open Contra Cpp~ Travellinq Voltas to R ~n Shadow Pos After step 9:

Botafogos ~n Shadow Pos. Travstlinq Vallas to L in Shadow Pes,

ALIGNMENT

Mat) and Lady." Commence and finish in Same Hand Hold Shadow Pes, taclnq DC or LOD.

CRUZADOS WALKS (F)

Cruzados Walks are steps taken forward with a shoulder lead, They are danced witn a bounce action whir:h ~s achieved by pushing off the standing toot from a compressed knee. As weight IS cortecreo the knee of the trent leg will be compressed. Each step is timed Slow and can be repeated for one or two bars of music,

NOTES

10 Cruzados Locks can be preceded or followed by two Cruzados Walks,

2, The Cruzados vValks and/or locks can be danced win hold ~n any suuab!e oositton.

82

METHODS OF CHANGING FEET IN

SAMBA (F) ..~

A number of figs in the Samba can be.dancec in Same Hand Hold Shadow Pos with both lady and man with wt on the same toot Examples are:

Botafogost Corta Jaca, Travelling Vcttas and

Cruzados Walks and Locks. -:'

To achieve a foot change one of the partners,

normaUy tile man, dances two changes of wt to the omer's three changes of wt during one bar of music.

A The man steps fwd with AF (or LF) with a normal wt change (S)* then closes or nearly closes LF to RF (or RF to LF) with a norma' wt change (S}» During this bar of music he leads the lady to dance a fig such as a Botaroco Of Volta Spot Turn (1a2)~

B The man kicks fwd with RF (t), steps back with RF using liE of T with part wt (a};.,than trans .. ters Iutl wt to LF in place (2)~ This movement is known as a BaU Change. Durtnqthls bar ot . music he leads the lady to dance a fig such as

. -r.::-t-

a Botafogo (1a2)~ oW

Either of the above foot changes can be used to change from normal opposite toot to same foot or from same foot back to normal opposite foot Typical examples of toctcnanqes used in the dance ate:

METHOD 1.

TO ACHIEVE SAME HAND riOLD SHADOW POS ON SAME FOOT , , , After a Side Sarnba Walk from PP making 1/8 turn to A (lady L) releasing holcf5vith R hand, the man steps fwd LF (8). closes or nearly closes RF to IF (5). During this movement ne leads the lady to dance a Volta Spot Turn to R (1a2L makJng 11 turns. As the lady completes her turn to R the man achieves Same Hand HOld Shadow Pes,

Follows: Botaloqos in Shadow POSt TraveHing Voltas to R in Shadow Pes, Cruzados Walks and Locks in Shadow P05~

The modern tendency is to stabilize the Shadow Pos achieved after such a foot change by both man and lady stepping fwd slightly across the body in Shadow Pos on LF (S), then to step to side and slightly fwd with RF cornpressing R knee sUU in Shadow Pas (8). The next fig is than danced from this pos.

83

SAMBA

METHOD 2.

TO ACHIEVE NOAMAl~ OPPOSJTE FOOT POSITION IN CLOSE HOLD FROM SAME HAND HOLD SHADOW POSITION ON SAME FOOT

After dancing a movement in Shadow Pas on the same toot, finishing with wt on LF the man steps fwd on RF (S)t closes LF to RF (S) during this movement he leads the lady to dance a Volta Spot Turn to A (1a2). Close Hold is achieved at the end of the lady's turn to R~ Alternatively the man may dance a BaH

Change (1a2), ~'

Follows: Any fig that commences on AF in Close Hold trorn that aliqnrnent.

METHOD 3 .

. TO ACH~EVE CONTRA PP ON SAME FOOT After dancing the Prom Botatoqos the man steps fwd RF in PP (SL closes LF to RF (S). During this movement he leads the lady to

.dance a Botafogo from PP making approxlrnately 1/4 turn to L {1a2}~

Alternatively the man may dance a BaH

Change (1a2). e

Follows: Contra Botatoqos, Circular Voitas to R~

METHOD 4.

TO ACHIEVE NORMAL OPPOS1TE FOOT POSITION IN PP FROM CONTRA PP

After dancing a same foot movement that finishes In Contra PP, the man steps fwd on RF (S), closes LF to RF (5). During this movement he leads the lady to dance a Bota1ogo (1a2) to finIsh in pp~

Alternatively the man may dance a BaH Change (1 a2).

Follows: Samba Waikf Side Samba Walk.

GENERAL NOTE:

When syllabus figs are danced in Satne Hand Hold Shadow Pas the technique is unchanged to that given in the appropriate charts, except that the lady dances the man's steps on the same foot and at the same trms as the man,

PASO DOBLE

TIME SIGNATURE

The time signature at music used for this dance is 2/4. There is a musical accent on the 1st beat of each bar.

The dance should be started by taking a step on the 1st beat of a musical phrase.

TEMPO

60/62 bars/minute.

PP and CPP

In addition' to the lntorrnation on PP and CPP on page 16 the following is peculiar to the Paso Doble>

1. When the man or lady or both are moving in PP body, contact is lost and the promenade movement is danced with the bodies approx 25 ems apart.

, '

2. During some figs the man and lady do not use

norma! opposite foot movements .. For

example during steps 7-16 of the Sixteenthe man's feet' are stationary while the lady's

'\ '

movements are from PP to Cpp~ As the lady

dances her steps, the man shapes his arms from PP to CPP.

The same situation occurs during several other figs in Paso Doble.

Although the couple do not move in PP or CPP together during this type of 'movement. the toot positions achieved by the partner moving are given as "In ppti or "in Cppu as applicable. rn such cases the amount of turn out between the couple is often not standard.

THE "4 or 8" METHOD OF COUNTING The timing of a fjg containing a number of steps each usi ng one beat of music is 1.2~ 1 ~2~ 1 ~2. etc. Because soma figures contain many steps the use of this timing becomes unnecessarily compllcatsu,

This difficulty can be overcome by counting each group of 4 or 8 steps separately using the numerical count of 1234 or 12345678. This method of counting is recommended tor teaching purposes and is therefore acceptable as an alternative to giving the actual timing during professional examinations.

The nurnerlcal count also offers considerable advantage when grouping figs or parts of figs to form routines. since to maintain sympathy with musical phrasing it is essential that each complete group of steps uses an even number of bars of

.

music.

.APPEL (A)

The Appel is a preparation step used to commence a movement during which Close Hold is not main-

tained. ;r

, Commencing from Close Hold with feet toqstner, wt on LF (lady AF) the Appel consists 01 a strong I_owering through the RF and leg accompanied by :the approprlate lead for the fig to be danced. The footwork is B flat

84

BASIC MOVEMENT (A)

FOOT WORK

FOOT POSITION

B

IF back

B

LF back B

1 1 1
2 2 1
j 1 1
-
4 2 1
5 1 1
~
6 2 1
7 1 1
"""""',
2 , RF back B

LF back B

RF back

6

B

1<I;.;.:.:.:.:,x,;.:;u:u;. "AII '11 *0::1:: «¢ :,:, :,:,:, ... .:.:....:.:.:.:.,.,.,.,.,.. I" :on.. "=""' "'A<:O:=I r"r"r"r"r"«:~..u..aaa:.:.:.::.:..w.z '~A-"+d'rw:Mri:o":::';'

IF back B

rtF back

ACTION USED

PASO DOBLE

BODY TURN

1 1 1 RFfwd B Very sbort steps fwd 112 to L"
1~""""_"""Lzif¥z+:z:w.:.cIII~~~ , on balls of feet with
2 2 1 LFfwd B strong pressure into
~""""':«"',~ "'L*I"ld .. r"~ .... u......nw;ww:..:.:.I .... ::to.;::::I""'Y": "';0:0: ~
1 1 RFfwd :;.:. , 13 '" lIoor
I ___ LN~: ~Hr.:.:N"='Iwi S '_'oXIo+I"~III"""""'~ "-"lltH~:t.I'Il: ~-»:i4I1::11 ~I""~
4 2 1 LFfwd 8
-~ __"
5 1 1 RF fwd B
- ~:.:.J.ni::r' ,..:-.:: -
6 2 ·1 lFtwd j e
III' -ntz"':1 _, 11-'J.I:oI1ioJ.o-I~ .. 1JI~""."··""'_IHI'-:I.'~.......uJio"J:II~~~ 11...........:o:-~....:-rtwI
1 1 1 RF fwd 8
II~I
8 :2 1 LF fwd a Very short steps 1/210 it

back on bans of feel

with strong pressure

into Uoor

• The Basic Movement can be danced without turn or curved to R or L tt10ving fwd or bwd. May be used instead of Sur Ptace to achieve a particular alignment

SHAPING

Steps 1~8: Commence and finish in erose Hold.

PRECEDES AND FOLLOWS Sur Place.

ALIGNMENT

Man: Commence facing W~ Finish facing C. Lady"~ Commence backtng W, Finish backing C.

85

SUR PLACE fA)

PASO DOBLE

-

FOOT WORK

(!1 z

-

~

tL. Wo r-Z en

FOOT POSITION

ACTION USED

BODY TURN

1 1 1 RF in place S· A change 01 wi from NormaUy danced
one F to the other w/o turn but can
2 2 1 LF in place B' using strong pressure be turned up to 1/4
................ - ....
3 1 1 RF in place B* into the floor to L or Rt.
4 2 1 IF in place S· 1 1 1 LF in place B· A change 01 wi from NormaUy danced
u.:.:..., ~_ ' .......... 1FR75 ,.---- ...-.-.-.... ......... ...... "'Wil+'llNzyz ._ ... ~ _ one F to the other wIn turn bUI can
2 2 1 RF in place " s· using slrong pressure be turned up to 1/4
..-
3 . 1 · 1 LF in place Sit in to the ffoor 10 L or R··
\
4 2 1 RF in place B* • Can also be danced on Toes or Ftal.

.~ U turned to l. or R the partner on the outside of turn will take very short steps to side on alternate counts.

SHAPING

Steps 1-4: 'Cortlinence and finish in Close Hold.

PRECEDES AND FOLLOWS

Sur Place is a 'inking movement used to join one fig to the next. Two counts (1 bar) may be used to enable the toltowinq fig to be started on the first beat of a rnusicai phrase. If the preceding tig is finished with wt on RF (man) the Sur Place will be commenced on LF (man}.

ALIGNMENT

Man and Lady: Depends on t~nishing pos 01 previous Hg>

86

.: '\

CHASSES T9 RIGHT (A)

1

·~·Uk-»XiI:IX -:.:--. _."_

.'\

; -. ,fOOT POSITION

,

(w. II· ..

FOOT WORK

B

B

ACTION USED

Side step

F ctose with wi change

PASO DOBLE

BODY TURN

RF to side

t_~t--"'_I 1~~~ _ __"""""'''''''''''-''__~~_~~ __ '''~_II~'''''I~"""","+_UJ:I:"«_'''i'~ __ ",""",,i~-''''''''''''''''''~""",,,,"'H_:M'~ 'XYYV_""_i :I~II~""-' ~

IF c~oJed to RF

1

1

1

-

-

2

1

RF to sid!

LF closed to RF

\

"

B

B

Side step

F close with wt change'

1

1

~~~_"""""'u.J.:tiWililrPl'~::~::J'i:I:.:::::=::::::::':'::::=:::"::.=wr~'*ri*d"'i""~.:.:.&;fp"."""~~:::::::.IIII,,_ ..... ~III«o»YM~w):I.wl~_II~.:::.~IIIIIIIJJIII*III~LWU~""""""' .............. II~~~----il

1

2

• •

' .... v

'" ""

.,

__ """",_ '""'U::_;_"~_', X\,_;" :,,,...-

"\ t:,;

\, _«.

\

1 LF to side ., B Side step

~_~~~~~~~~~~~~'_~_, ,, __ ." =~.~'~m~ ,~~~~~~~~~~~~~~~~~

2 1 RF closed 10 If B f etose with w!

"

'-< .

. ~ change

~_."""'~~_",""""L... l.:.:::o.Ioil':'::'W:zs:'~"',;,'" ~...u.:.w~II.::.."""""""' __ ~~ ......,_...,_""""""""_I~*_H'':I:w' ... ''"' ... ~--. ~ ~-=u.:..:.IIII.:..:.;,:::.:" L·~"'«;X:::o"'I...__~

J 1 1 If to ,ide .,- ~ '- ,~a Side slap

~~_"+-_~_ ............... ~I.......:::..u~ ~11~1('':''''''««*':o::':on::r.I~I._I~~~:~:'.,..,.,........ I~("~:W· ::::L¥.,II • ..........:0II~~"""'--""'· ~~ :::::* :::: .. I"i:~II'-:-:.I~IIIWJI.:.:.:.:.:i.:.I~~~.:.........:J..~~~~

., <

4 1

1

8·

F close wilh wt change" c

--

RF closed 10 LF

~ 'This lig can be danced wuhout turn or curved uJi,-to~1/4 turo to L.:-~)

'-:-. •. -*...:-_..~

.. .

..... )

SHAPiNG

Sleps 1-4: Commence and f~ni5h ~n Close Herd.

PRECEDES

Sur Place. Prornenace. Sixteen~ Chasse Cape.

FOLLOWS

* ... ..:..;.-=:i)

Sur Place. Chasse Cape. Attack. FaHaY/ay Aav~ C~p de Pique. U f~nishad facing against LOD: Sapa(aHon~

Syncopated Separ ation.

AlJGNMEN1' ("~ ...

Man:Commel1ce and finiSh.f!~2~i9, Lady: Commence and li{lbsh backiog C.

1 1 1 RF in place B Sur Place •
-
-
<
IU_::.a::-Y"I't-:+I ___ w,:::AI::r'Pi"l ... _ - III~I~
2 2 1 LF to side B SIde step - caxssss to LEFT}A)

..... ".-.-.,,-.-

FOOT POSITION

-

Cl." Wo

~z

RF to side

3

1

1

LF closed 10 RF

1

2

4

PASO DOBLE

FOOT WORK

ACTION USED

BODY TURN

B

F close with wI change

-

w«w : HMo¥ ...... R . . ¥"" "'«nw ...... .. - ....... _,
3 1 1 RF closed to IF B F close with w1 -
change
_ ... _,_ jDfl:=_iiaf...:: ,, ___ .TiW"""""'''''''''_ ..... """"JI
4 2 1 IF to side B Side step - 1 1 1 LF in place B Sur Place ,.
-
::.:.:..I:':'I""I~w<="' ._IHI"JI:o'MZ'II1 If 1::::::,:1.: ......... 1:""BI*"<:'"e=d .... ~~ .., ..... -- ......:..r.~ _JnIJ I ::::..Ii ... ~h * ........ ~ ~'I_ .. _ :-MPiI.......,... _" d ..... ,I:,~ ... ~~ ' ............... * """"""-
2 2 1 RF to side B Side Step - J.-.---..-.+--- __ +-- ~t:-:'I..:..:pp;.:a. :: :C.Xr"r"=~I~ ' ~_~ _ _+_---_...,....- __ -,-----. .-.x.=-- __ :::.I ...... ~.........-.....---...",.,---,_

B

Side step

-

SHAPING

Steps 1--4: Commence and finish in CJose Hole.

PRECEDES

Sur Ptace, Cnass as to L.

FOLLOWS

Sur Place or Appel closing RF (0 LF on count of 1. If step 4, is taken to side in PP the fig may be touoweo by the Huit~ Prorn Close. Grand Circle. Spanish Line,

ALIGNMENT

»: . "'\

/' ;

Men: Commence and fin'5.~ing)Al·~·

.......' ... "'~- ,.-~

Lady~' Commence and finish backlnr; W,

ELEVATIONS TO RIGHT (A)

If the Chasses to R are danced with a change of height the fig is then called Elevations to R< »'~r~.:rhe combinations normally used are:

~ 1 ~ ... ~teps 1 2 of Chasses to R danced with feet flat

-'--"" .....~.,,.t_.-:---.- _." , _ _ "'_ ._.,:..- .. _._.__, _ ~No""" . .-..:-v-"II.·-'-II -:--- __ , _III~ ~ ..._

and knee~ ... ~Q.f!lj{r.~~§.~~t totlowed by .. ysTe~p·~.~~ ..... ~h ... _.~

..... - , ..

~~ hjg_tlJ2[1 tP_~.~.~J~b.J5,~Il~_s.lr.al.g_hl-

( ~?t) Step~~Gba.s!sji~C!ULbig·b-O+1.o·toe.s with knees straigh~!~ IoU owed by steps .. ~.~ ... ~lttL

feilt" Ua1_NOan"d~·kne·es compressed. '

C~ Sfepsl:!QL~§~~§.ijQ:_B:Jfiill~lt,h.le at llitL

and knees compressed, followed by steps<-.1.~

.-.v-:.IIIII"-X«I.II ..........

~~p e a ted-h .. fi'rg!1~§B~~~~Jl~~J1~"a 5 !!r a i.Q,ry 1_

,~S[tirlS1·=4-·o··f Chasses to R danced h~ghJ?J~~Q.flS.J.

".M, .• Y """.:.L._, ..... ..-.. -~_.H', ',.,. ..... _H~.~.-'~, _._.~.-" ..... ~ ,,,_,_,.._,,,. y~

with kfH36S straight~ followed by ~J.~Q~~",t~-4_~_u>

... .. I...... "oN • I • .. ••• • .... ...._. ~ ........ 1 ••• " ....... ~......... • ._. ........ _ ....... ,.(-, ................... ",._-:--- ..........

repeated with feet Uat and ~~,~"e_~,,~ .f9cnJ2i!§~~.Q~_

Precedes: As for Chasses to R.

Follows: As for Cbasses to R"

ELEVATIONS TO LEFT (A)

11 the cnasses to L are danced with a change of height the fig is then called the Elevations to L.

The combtnarions normany used are:

1. Steps ·1 ~ 2 01 Chass as to L danced with teet flat and knees cornpressed, followed by steps 3~ 4 high on toes with knees straight

2. Steps 1 ~ 2 of Chasses to L danced high on toes with knees straighL followed by steps 3t 4 with faet flat and knees compressed.

3. Steps 1-4 01 Chasses to L danced with feet Hat and knees compressed. followed by Cnasses to l high on toes, knees straight

4< Steps 1-4 of Chass es to L danced high on toes with knees straluht, followed by Chasses to L with feet flat and knees compressed.

Precedes: As 'or Chass es to L. Follows: As tor Chasses to L.

88

HurT (A)

PASO DOBLE

80DYTUAN

" 1 1 RF rwd and across In PP H flat March -
,~ ~I'='WPI'~~L ....... ~,,"t:»>~"1 -- ::tr rl d ?'~I ........, "':'11'1': *, .... * .......... ''''- ItWiII' .......... '''''' ......... : .... -"ffr'p .. ...-.,: .:. : ...... ~I LU;Z;::::a:u&::::au:: ........ w:z; d ................ ~ ........................
2 2 1 LF closed to RF B nat F close with wt 1/8 to R
change
11"","* "IIIL "'~~II"'~"'''''''''''' ..t ........ ...:M:u:I~~~ .......
-
.~ Flat Sur Place
3 1 1 RF in place -
III~- ::Qz-.&.lJ."'~"::' t_ .... ...: :.:.:..:.:: ~~r:-II .. ' , Wi"':' I _~I H_J.U"I"II' * : ..:.:..:.:."&..1'
4 2 1 LF in place Flat Sur Place - \ (4
---~
5 1 1 RF In place Flat Sur Place ~J}
-
':w:w;: ------..JoI ....... _I*tNw z:a::.~- -:.w.::' ~ __ ~'VI..........:-ol EiELEEEiiZIoc::---.o!'lliJ~""""':' ,........:. .. ,,'" ...... - • '''I~~
6 2 1 IF In place Flat Sur Place U\~
-
-""",,, HI':-I"'_r#'_* -....,., ....... ~~~~_...., l«iol~ ____ hli d L: ~d:':~:' II ~
7 1 1 Rf in place ,... ~ Flat Sur Place -
. -. """:':"'1."" ~F ..... -xs:n>~I"'n:. I~I :: :L ~""'~II ...
8 2 1 IF in place Flat Sur Place - CJ Z

FOOT WORK

FOOT POSITION

ACTION USED

3 4

2

1

.._.__+----'*--~---H~--1twA IL......:-I ----'I'IiIooMA-"====z:.:-:... ..... -----t----.--_,._._-,-------vi------~

2

2: 1 RF 10 sIde B Fwd step tur~ing

___ ~~-~-~~---,--"~-----,-~~-~~_*~-n~~1 __ ~L~- __ ~-~.:--_~ :I~_~~-~--~---+_~~~.~~~~~

,J ~ ,< .~

1 1 IF in place, rn Cpp B Hat Wt Ira sler ln place

~---~--~--------~~----~----.------+------~~------------~------------~

2 1

1 1 IF to side 8 Fwd step turning

_-+---"""""""'.....,.__-r'~j.arIUool .. T ~ ~W:=I~,....,W:f-IIM ..: rI+IIiIoooI~~I_ll LzIor:Ir.IiIIo ......... IsIM'_' --...:.------t---------+---.......",--------.........-i

2 1 RF In place In PP B Hat Wt transfer In place

H flat

LF fwd and across In PP

March

1

1

1/4 to L

H flat

Marcn

RF fwd and across In CPP

-

114 10 R

+--_ ........... ... .:...:rru._". .... _.,..,. .... _ .. : _ _....," ...... ......,_,...::.lta.L_ ....................... ,_ ..... _.*,~_ .. _'''"b=-"-"-»_, _ ....... 1~11II»»:I:I~ ~ __ 11.:.:.: _,_"' :.,::,,"wuLz.::u:H_J __ -- __ ......... h' .. ~ ............... _-"'

7 8

1 LF fwd towards partner H Hat

~_~+--_~-+~ 'pnL 'AN...... "_ PI 1s.,..;...:...~~Hh'I-rrrrrIH.o...I:III..........-.II ... ...,........-..- ........ ~

1 RF closed 10 IF i B flatl

March 1/8 to L

F=~~~?\j;:EI \!.uSl

change

1

SWAY

Men: R on steps 2~ 3~ L on steps 5t 6. Ledy: Nil.

SHAPING

Step 1: Cornrnence in pp~ Step 3: Achieve CPP hold. Step 6~ Achieve PP hold, Step 8: Finish in Close Hold.

PRECEDES

Sur Place or Chasses to t., with the last step taken to side in PP. Prom to Counter Prom.

FOLLOWS

Sur Place. Promenads. Sixteen, Prom to Counter Prom, Twist Turn, Twists, Fallaway Whjsk~ La Passe, ~r(avelnng Spins trom pp{ Travelling Spins Irorn Cpp~

ALIGNMENT ..... __ v." ....

Man and Lady: Commen~nL6D il'l_"~!:>ii~lsb,.la~ing WJtadY backing W) .

•• ~ • ....,. • .. I ,... • .-

NOTE

During steps 3-8 the man can stand with feel together without changing wt.

89

ATTACK fA)

FOOT POSITION

~

PASO DOBLE

BODY TURN

1 1 1 RF in place B flat Appel -
2 2 1 LF fwd H Hat March 1/4 (0 L
-~~ --........-...: .. -. , I~ jI.:.I ... - I I 1 __ '
3 1 1 RF to side B Side step
.... 11 f: n ... ........ 'R' '"' ""'::IMI IIU •• I __ d __..._..
4 2 1 IF closed 10 RF a flat F close with wI ......
change SWAY

/vI a n: L 0 v e r s t e p s 2 ~ 3. 4. Ledy: R 0 v e r S t e p s 2 ~ 3 ~ 4 c

RISE AND FALL C.'?.~.P,~~~~~~~~_~_L~~_~<?,!_B,!.~~~,!~p_jh_~!}~~t9_g_~~_~~!=£~~~~~

PRECEDES

Sur P~ace~ Promenade. Sixteen.

FOLLOWS

Sur Place regaining normal height and achieving LOO required tor next fig.

tI Close Hold is regained during the roHowing movement. normally Sur Place.

ALIGNMENT IY1iln,· Commenc facing C<~!~~iSh,~?~9 .. ~~~~l.Q2.. Lady: Commence ba ·rrg~C. Finish backing against LOo"

90

1 1 1 LF in place B lIat Appel -
- H, J _ "" • Pill"' ...... ._..
2" 2 1 RF back 8 nat Bwd step 1/4 10 L
,,,,,,",,,,-",
3 1 1 IF 10 side B Side step
4 2 , RF closed to LF B nat F close with wt -
change o Z

-

:2

-

I-

FOOT WORK

.

ACTION USED

SHAPING

Step 1: Commence in Close Hold. Steps 2-4: Lower L arm with outward circling movement to waist level.'

~ ~ ~~

, .. ' MAN "o",>.~",

": • ...:- I. ~ ~ " I ~"*1" .;- e . -

~ r -:- ~ .. --t i ~~ .. :-I •

.• »e ,~ • ., , .... ' \ .... ...,

... ~ • .' '. ~ I • I :f:ll I"

SEPARATION fA} PASO DOBLE
r .........
. _
eJ J-w --
o, -.~
Z ~ '.,
. <~ .-..Ht'_L:~
UJo ~ FOOT
-
~Z ~ w_j FOOT POSITION ACTION USED BODY TURN
aJ~ WORK
-
J- > 1 1 1

L---~--+---~----------~~----------~t~-~~-~-~~------"~------------~---------y----~

2 1

~ ..

. ....._ ,

RF in place

B nal

.. ~. ,

LFfwd

H Hat

RF closed to LF

8

1

1

3

. ~

:Jo "_ "".

4 2 1 LF in place

B'*

Appel

-

~ .

8

a flat

1 1 1
::IiI.II1 ':Wa ............
2 2 1
3 1 1
4 2 1 LF back

B

March

F close with wt change

--

Sur Place

-

_ _ ... d F ... HR'';''-'- ~ II ...

-

-

.,SS AND FALL

.edy: Down on steps 1,2. Rise at end of 3 up on 4. GraduaUy lower during steps 5~ 6~ 7~ 8 to finish normal leight.

Sur Place

Sur Place

Sur Place

Sur Place

-

LF In place .':·~!A~ y 8 Hal Appel

4---.4-~-+~-----------------------4------4~-----------~~-------------4

RF back "~:::~.\, . B lIat Bwd slap

. -

_t-- ......... _., _ __.,. , ............... __,..;......:...." ............... _._.oMI'P"_ ... __ ....... M ..... +- ,._.._ ... w _".., __ , .. _~_ •• _ ....... -t-o-I~ --.-.....J---~---________i

-

Bwd step

-

.. or .. ~ .....

F close with wt change

*" ........ JJM............. ~...-f-- _~ I_~,...:.""'""""" .... -: ..... _... ............ -+!IL~~_ .. "'_l=s=_aq" ........ GP +:---,-, -'" -_.,...~----...-----t---,-............._-~-~

Basic Movement

~

RF closed to IF

LF fwd

T

5

1

1

___ "'_"Is __ ..::_ * 'rup. _ b ..... ..._HrfMilI"..-..~+~---_~~-_-i

RF fwd

6 7

2

1

B

LF fwd

1

1

B

11:_:ic :WI: FrY d:.w.a __ 'J._...e-wrumd tll.t i.....,.ww.....,.,..., I H

. ~.!'(....... .

....... - ...

RF fwd

. ) .... -.

B lIat

6

1

2

• >

When followed by Syncopated Separatioo1 Men: 6 Ilat, Lady.' THaI.

,HAPING

aep 1: Commence in Close Hold. Step 3: Re le as e hold with R hand. Step 4: Achieve Open Pas with L to R and hold. Step 8: Finistt in Close Hold.

*RECEDES

-ur Place. Chass es to R curved to face against LOD~ Separation.

OllOWS

ur Place. Separation. Syncopated Separation,

.LIGNMENT

1an~~Commence and finish facing against LCD. ady~' Commence and finish backing against LOD.

91

. SIXTEEN(A)
c, CJ ~w
Wo Z «=>
........ w_j
~z ~
w«
so -
t- > PASO DOBLE

BODY TURN

-... .

.....

... t..rz.. _ .. == ---++- _ F ..... .........._

1/8 to l

3/8 to A

-

1/4 to R

... ,. ... , .. zI ... ....___~

-

FOOT WORK

ACTION USED

.. > ·MAN · .....

. ~~ .,.l ,. ~.. ,,'(..']"" };:.'«Q"-"

-:-~ I .. I L "" '. I ~. ~ _.

~ :- e .. Jr .... ~:' .-:-»

, 1 1 RF in place B Hal Appel
d _ __.1 ___
2 1 LF to side in PP H lIat March
3 1 1 RF fwd and across In PP H flal March
_ELLIIIIiM_* ......::d ... dlr __ tt++ttc -- - .... dTT. .,.,...:.:.. •• , ......
4 2 LF to side and slightly back a flat Fwd step ,urnlng
5 1 1 RF back, R shoulder leading B flat Bwd step
6 2 1 LF back partner OIS B Hat Bwd step
_kl_ ... r _ ., ,
7 1 1 RF closed to IF B Hal F close with wt
change
8 2 1 LF in place Flat Sur Place
'" ~ .t ,~.
~
Steps 9-16 Same as steps 1-8 of HuH but feel are not moved on steps t, 2~ Sl-iAPJNG

Step 1: Commence in Close Hold, Step 2: Achieve PP, Step 4: Recover Close Hold. Step 8: Recover PP Hold. Continue as tor HuH.

1 1 1 IF in place B Usl Appel -
2 2 1 AF to side, In PP H rlat March 1/8 to R
•
3 1 1 LF fwd and across in PP H flat March ......
4 ! '2 1 RF fwd H Hal March 1/8 to R
5 1 1 LF twd, L shoulder leading H flat March
6 2 1 RF fwd OP H flat March -
7 1 1 LF to side B Fwd step turning 318 to R
..... -.._-~ - ..............
8 2 1 RF In place In PP B Itat WI transfer In place
Sleps 9-16 Same as steps 1-8 of Huit SWAY

Man: R on steps 4~ 5~ 10 and 11. L on steps 7~ 8~ 13 and 14. Lady: L on steps 4~ 5-

PRECEDES

Sur Place. Chasses to L~ Elevations to L~ Huil. Prom Close.

FOLLOWS

Sur Place, Chasses to R~ Elevations to R~ Attack. Failaway Rev, Coup de Pique (R to LL Coup de Pique Couplet Syncopated Coup de Pique,

ALIGNMENT

Mart' Commence facing W. Finish facing C.

Lady," Commence backinq W~ Step 8 facing OW against LOD. Finish backing C.

92

TWIST TURN (A)
CL eJ r-- W
< Z <:J
uJo
t-z ~ w__J
-c
sa - m>
I-- FOOT POSITiON

,~

1

1

RF in place

1

L--<---4-- -4- __ ~ ~ 'W""" __ L......-.:r.ritrL~_ - LL'_ :::.a~""""""" -4

2

LF to s ide in PP

1

,~~.___+- __ --t'II':"""""":I"" W •• ,~~z:o:: ... ~1IIi& _~ F' - ~

1

1

FOOT WORK

B Hat

PASO DOBLE

rlb"~ .. H'.

1/8 to R

H rlat

ACTION USED

BODY TURN

Appel

-

\:zIo: .. _'Pi"I22IIIIiz l.:.w ... ,~

March

1/8 to L

RF fwd and across in PP

3

Unlwisl to R to Hnlsh LF to side and slightly back

......... _ '** _~ _""""""__"II'Y"II ''.1.: •• '''' ftt~_~t-:=fN.IEi-r-"~11 zzL_~

7

1 1

2 1

LF closed to RF

1 1
2 2 1
3 1 1
4 2 1
:... * ..,..._
5 1 1
", ....... .... O:-':'---:"O •• .:..rN--»-'
6 2 1
-..".."" ..
7 1 1
uA-o-u--I'__'IIII~L..U ~I"'~ ...-
S 2 1 " B flat

LF fwd and across in PP

B nat RF

B Uat

B flat

H nat

H Hat

March

-

RFlwd

oi-ow-"""""'_'_' __ '-'!f-'-'II III: '':'::on L""'»' "', ::.:: F ~r:.ilfN,l,wL...l'-W---'f :::~::Y: :I ............... I~H.U .......... .....,:....u, :"O':tM-:-I ........... '~~~",__,_,,_,_ _ _,_,~_... ~'..:..-:w .......... IIH":.II'I _I fiR ,.ur'riw ............... I~~_~

.

H flat

111,L:::..:.:.:.a _.z:zl.Jl:«alYY L*_ 7":F ... ~,_"::rit:z-~'*'<SP_,- -.-- +-- +---_,~_.__,..__..._._._ __ __+__-.,..---Irn"rXI.oII ............. ~-I-.~111

B llal

RF in place sU11 turning to lin is h RF fwd and across body

__ ..... b _""":*1 1_WP-*I..:...:.........~--.............,~ • .....,...Iht*l-L'4'-F~d~ ............ ~ 1I1':i ......... ~~""t.'-'-Xi~I~~: ,.;~ .... ~~

LF in place

~_-+-- __ +_------~ _...,.;".-.NBfIii.:~~d-..:::t.I~._: 1 : _.-..u..:.JiI,t.......... HI~II-._",_..__t"'-.....------...._- _ __+__"- ............... t:I.iIJoI-IoIoI __ .:.: -'-» ~ ..... _~

RF to side in PP

LF fwd, L shoulder Jeading

H Hat

H Hal

3/6 to R

Untwist to R

3/4 10 R

RF fwd OP

.... y:¢ : s; 1 ~..:.."= ::1"= &d1;'::~::~";""""_',I~1 6&:p.::,.: 1WYl1":':':':':'~11 -'<r:----I"":-

B

F close with wt change

Appel

March

1/8 to R

IF fwd OP e

RF closed to LF

March

-

r...-_~_~_......._..".__~--- __ ---.._-----..-..."'"'_- __ ..._._ ~M_AiI':=II*:=I_ .. ILd_ ......... "'_1 ... .-- --"

SWAY

Marl." R on steps 4~ 5. Leo»: L on steps 41 5<

March

March

Basic Movement

1/4 to R

3/8 to R

F close wHh wt change

1/8 to R

S i'·fAPI ~':G

Step 1: Commence in Ctose Hold. Step 2: Achieve PP, Step 4: Recover Close Hold Step 8: Finish in Close Hold,

PRECEDES

Sur Ptace. Chasses to L~ Elevations to L~ Huit, Prom Close,

FOLLOWS

Sur Place, Chasses to L~ Stxteon& Prornenace, Prom to Counter Prom, Fallaway Whfsk~ Twists, Travelling Spins trorn pp~ TraveUing Spins trorn Cpp~ La Passe.

At corner- finish facing new W (114 turn less over steps 6~ 7). FOUOV1S as above.

ALfGNMENT

Men: Commence and fInish facing W, Ledy: Commence and finish backing W,

93

PROMENADE (AJ

PASO DOBLE

BODY TURN

, ,

,~' " .', '.- ~ M'· <. t. e '.,

"·1'·''''- :, , AN "f1>, ... "I1""· '.

, .. ~" , ~.' . ',r .

.... - ~~. ~ ... I " ) ~ I I. f'-(" ~ • I

~~'''(I'.fjl.' '~I "i'. -,.~,".~I~":-::.r

a... ~ we

'-z (j)

FOOT WORK

FOOT POSITION

ACTION USED

1 1 1· LF in place a flat Appel -
..
2 2 1 RF to side in PP H flar March 1/8 to R
3 1 1 LF fwd and across in PP H flat March -
4 2 1 RF fwd H.Uat March 1/8 (0 R
5 1 1 IF fwd, L shoulder Ie adlng H nat March
6 2 1 RF lwd OP H fiat March 1/4 10 R
7 1 1 LF to side B Hat Side step
8 2 1 RF closed tc LF B flat F close with wt
change SWAY

Men: R on steps 4. 5~ Lady: l on steps 4~ 5.

SHAPING

. Step 1: Commence in Close HOld. Step 2: Achieve PP. Step 4~ Recover Ctos e Hold. Step 8: Finish in Close

Hold.

PRECEDES

Sur Ptace, Chasses to l.. Elevations to LJ Huit, Prom Close.

FOLLOWS

Sur Place, Chasses to R. Elevations to Rt Attack. Fatlaway Rev. Coup de Pique (R to LL Coup de Pique Couplet, Syncopated Coup de Pique, Chasse Cape.

ALIGNMENT

A4an/Comn1enca lacing W .. Finisft facing C. Lady: Commence backing W~ Finish backing C.

94

_. ..... 't- ....

PROMENADE TO COUNTER PAOME~ADE (A)

J-W «:.1 w_J

(04.':

>

0... . wo J-Z en

-

1

1

1

2

2

1

3

1

1

4

2

1

5

1

1

2

1

1

1

7

1

2

.. 8

,~.. .

H Hat

PASO DOBLE

ACTION USED

BODY TURN

1

1

1

2

1

2

1

1

:3

, ,

..

FOOT POSITION

FOOT WORK

.......... ,,:,'1.

,-

. - '

RF in place

B flat

..........

LF to side in PP

............ _ ..

.... .1: ....... -_

RF fwd and across in PP

LF to side and sligh lIy back

" «, JIir ~

RF to side in Cpp ',_~

...... -:..... .. .

,

B flat

_. \!"::" ~

LF Iwd and across in CPP

H Hat

RF fwd

H flat

LF 10 sIde In PP

H Ual

., -1fM. ...........

:t .. ~ ........

. -..t~.. ',. .

...... ~ .... , -. )

IF in place ~. __ ~_" .. ,

a Hat

.. w.-........... • ..

. ,~~_. ~ . .,L..~, . "

RF to side 10 pp ~ .. '~;> - ··~7· - '"

H Bat

IF fwd and across in-PP .

. .-1.+..- 1+ ) ...

H flat ~

4

2

1 . RF fwd

. .:-...: ~ _. -

H flat

5

1

1

2

6

1

7

1

1

-,.. M- ~ t

, .... Y .:.."Jo

....... _ ... -

"'+)<- .~ •

8

2

1

LF to side In CPP

RF fwd and acrossj_(1 Cpp"

H flat

Lf 10 side and sJighUY.back

-...... «-I'" ..

B

RF to side In PP

. .. ~.:- -: .. ~

, . -. ...

- .. '-&- ...

Appel

-

March

1/8 to L

March

-

Fwd step turning

1/4 to R

Side step

1/4 to R

March

-

March

1/8 to R

March

1/8toL'

Appel' "

......

March

1/8 10 R

March

-

March

-

March

-

March"

-

Fwd step lurn1ng

1/4 to R

Side step

1/4 to R

SHAPING

Step 1: Commence in Close Hold. Step 2: Achieve pp~ Step 5: Achieve CPP. Step 8: Finish in PP.

PRECEOESII Sur Place. Chasses to L, Elevations to L.~ Huit, Prom Close,

FOLLOWS

When danced using the minimum (standard) amounts of turn, the resulting shape traced out by the corn p let e t i 9 is t hat 0 fat e t t e ( U" T his mea n s t hat if tho fig j S GO m rn en c e d as is U S U ill f a c in 9 W.. it will be finished in PP moving against LOD. From this pas tollows are: Huit, Prorn Close. Grand Circle.

ALIGNMENT. Men: Commence faCing W~ Step 5 across LOD in CPP. Finish against LOD in pp~ Lady." Commence backing 'vV~ Step 5 across LOO in CPPk Finish against LOD in pp~

NOTE (M)~ In practice, the above amounts of turn are seldom used since they do not allow for progression around the dance tloor. A practical amount ot turn is:

..

Man~· 1/8 to L on step 2} 3/4 to R over steps 4~ 5~ 1/8 to A over steps 7~ 8~

Led»: 1/8 to R on step 2~ 1/4 to A over steps 4~ 5t 5/8 to R over steps I, 8.

When overturned in this manner, step 6 will be in CPP moving down LOD. The fig win finish in PP moving DC. Fotlows are: Hujt~ Prom Close, Grand Circ~e~ Sparrlsh Line.

95

GRAND CIRCLE (M)

PASO DOBLE

1 1 1 RF fwd well across body in PP B flat On 1 st step RF is
-- placed well across
2 2 1 Hold pas with feel 1/8 to L
LF~aodyis1hen
3 1 1 - lu rn ed 10 L with out
turning te et, Feel
4 2 1 and body are then
turned to finish in
5 1 ~ 1 Turn to L on both feet to finish B both pp 3/8 10 L
In PP feet then
6 2 1 LF S flat
...... F -- b. --+'-fIIo
7 1 1 Rf fwd and across in PP H Hat 'y~arch -
,
8 2 1 LF closed to RF B nat F close with wI 1/8 10 R
change BODY TURN

1 1 1 LF fwd and across in PP H flat March -
hPm'~ ..... : ..................... w-.
2 2 1 RF fwd In PP B Basic Movement fwd 1/2 10 L
~ ...:......~Jw-'ru.o circl ing to l

3 1 1 LF fwd in PP 8
,~ ..... - .. ..;. .. 1':"" ................................ - _
~
4 1 RF fwd in PP B
-=- ...... ................... ....: ...........
5 1 1 LF fwd In PP 8
.- --~
6 2 1 RF fwd in PP B
,. ........ v' d ................... '" FUP ........
7 1 1 LF fwd and across in PP H Ilal March -
z+....,~ - * .... -=:, ........ _..,rTI'WTI"oIIrn'nttnt-'r'rI..J,
B 2 1 RF closed to IF B flat F close with wt 1 IS to L
change SWAY

Men: L on steps 2f 3f 4~ 5 and 6, Leav: Nil.

SHAPING

Step 1: Commence in PP. Step 8~ Finish in Crose Hold

PRECEDES

Prom to Counter Prom, or any fig fintshed in PP in appropriate alignment.

ALIGNMENT

If danced after Prom to Counter PrOfTI:

Mer: Commence against LOD in PP. Finish facing W. Lady: Commence against LOD in PP. Finish backing W,

CL < Wo )--z

so

~

FOOT WORK

FOOT POSITION

ACTrON USED

FOLLOWS

Sur Place, Chasses to L, Elevations to L. Promenade. Sixteen, Prom to Counter Prom, Twist Turn, Twists, La Passe, Fallaway Whisk~ Tr avelllnq Spins Irorn pp~ Travelling Spins from Cpp,

96

PROMENADE CLOSE (A)

PASO DOBLE

Cl z

-

~

.-

.r.-

a..~ wo }-z r.n

FOOT WORK

ACTION USED

FOOT POSITION

BODY TURN

1 1 1 RF fwd and across in PP H flat March -
~I~ .... _I _: .... did ............... .. ...... 1 1E ~ .... _zl ..
--
2 2 1 LF closed to RF B fiat F close with wt 1/8 10 R
change
III:""" SIIIIIIWP: ...... ,."........:: . ~r'zzrr"'.....:W--'H ..._ .. ..t_ .......... .IIf_ .. _ ... -:.:. ,- ' ... *g ..
:3 1 1 RF to side B Side step -
4 2 1 IF closed to RF B F close wi th wi -
change 1 1 1 IF fwd and across In PP H Hat March -
~III-: ... I -",.,....".,"' ... 1::. ~'i1' .... hw,-:.:u~ :bb..:oV~ :1:1' .... _: tr,.:.,·,,, ...... ,
- p:r,_ .... rjp.__.,.., _' *~ Sf , ... zlL_-..............
2 2 1 RF closed 10 LF B Hat F close with wt 1/8 to L
change
.. :.:0:0::. -
1 1 IF to side 8 Side step -
I ............. ~II ....... risi" - _"::.1 * .. ~ _.-.,.............. .... :<:J .... -...w..wl
4 2 1 RF closed to LF B F close with wI -
change SHAPtNG

Step 1: Commence in PP. Step 2: Achieve Close Hold. Step 4: Finish in Crose Hold.

PRECEDES

Pram to Counter Prom; Fanaway whisk~ Spanish Line \vith wt on LF~ Tr avelllnq Spins from pp~ TraveUing

Spins from Cpp~ FaUaway Rev.

FOLLOWS

a) it hnished facing C; Sur Place, Chasses to R~ Fallaway R8V~ Fallaway Whisk* Elevations to R~ Coup de

Pique. Syncopated Coup de Plque, Coup de Pique Couplet. Chasse Cape.

b) H finished facing W: Sur Place. Chasses to L~ Promenade, Sfxteen~ Prom to Counter Prom. Twist Turn, Fallaway Whisk~ Twists, TravelHng Spins from pp~ TravefHng Spins from Cpp~ La Passe.

ALIGNMENT

If danced attar Prom to Counter Prom:

Man~' Commence against LOD in PP. Finish 'actng C. Ledy: Commence against LOD jn PP. FJnish backing C,

97

LA PASSE (A4)

PASO DOBLE

FOOT WORK

FOOT POSITION

ACTION USED

BODY TURN

a... .. Wo t-z {/)

-

r-

....
Steps 1-5 Same as steps 1-5 01 Sixteen
6 2 1 IF back partner ols B nat Bwd step 1/4 to R
..:-w...,.",_ ~F¥floc PIfM l'i It .... fI ___ J •• "JitII
7 1 1 RF fwd B Uat- Fwd step
_ .... lo ... r' ~ ... _. h __ ~
8 2 1 F pas held - -
11 _ ..... r,:. • .:.II vM F _ Ldll_ .. ... w(= ....... - ......... '±"'~
9 1 1 F pos held - - -
.........,.. this .... :.,.:. .... 111 .... IIL .. 1M : rrH ......... ,.._ .. .......,,:;;..::s ..... ~:: ..
10 2 1 LF fwd B flal- Fwd slep -
.,..:-.- .... ..-...J-._._~~I ~I"«I'*I'~I ~I ..... ~.,II~~~..:....... ~I:II: H ...
11 1 1 F pas held - -
12 2 1 F pes held - -
..... wi .++till" ~ ........ 'r--TP£Z ............ u:.aJs: .,....
13 1 1 RF fwd B nat· Fwd step -
"
~,"":"-':-'I ...... :lo" ":" .... LfILIII ... "to>! ........ d III'---:r-.... I II PI ............. --........-... ......... I "'.::WI ...... ..:: ... 1 ......... 111 ........, b,,),
14 2 1 F pos herd - -
15 1 1 F pes held - - -
16 2 1 IF closed to RF B nat F close with wt
change Steps 1-5

Same as steps 1-5 ot Sixteen

2 1

'..-....--... __ ~ __ ~ I_""""'._- _":H_lo L_ ..... _- ........ _II""' ... _W .. :I_:....,.:tpn_W _aqa*_*.,,_'d: .. _ _,,..wttr_....,,p-*ppp---+- +-- '_':N .... _. _*p:::Q_t~. _ _+___H.IEWtU :.a ... " ~.yrl ~

1 1

7

RF fwd OP

H Ual

March

-

3/8 to R

IF to side and sUghtly back

Fwd step turning

a 2 1

....... --~- i-----r----~ .... "Ii_~' ----.-. *&_:ww.W:":~: HN.J,_ ............ --- ------ ........... --- .... ,..~ __ w_ ---" -.~~h'~_. -- I~'~~ - __ * __ rM __ """ --f

9 1 1

RF to slde and sllghtfy fwd in PP

B rlat

Short side step

-

B

IF fwd and across in PP

H Uat

March

1/4 10 l

10 2 1 RF 10 side and sUghUy back

11 1 "1 IF to sIde and stlghtly fwd in CPP

12 2 1 RF fwd and across In CPP

B

Fwd step turning

B nat

Short side step

,.......,., __ -"" :iI.

H flat

Match

13 1 1 LF to side and Slightly back Fwd step turning

~--~--~-._4------~--w----------------~-----4~------------~

14 2 1 RF to side and slightly fwd In PP B (lal Short side step

,~--4-~~----' -,.-~---~._- w~--_~~::~~'~II~~::~~~,-.~,- ~------4_------.----~--~ __ --------~

15 1 1 IF fwd towards partner H nat March

....._---~--+----,...__-------------IH--I11 ....... _d_·-·---1 -----t---------t-----------1

16 2 1 RF closed to IF B flal

F close with wi change

1/4 to R

-

1/8 10 L

.. Alternative footwork Is H flat. Action used is then March.

SWAY

Man.' R on steps 4~ 5. Lady,~ L on steps 4~ 5.

98

Cootd.

LA PASSE (M) Conta.

PASO DOBLE

SHAPING

Steps 1t 2 and 4: As Sixteen. Step 8: Recover PP. Step 11: Achieve Cpp~ Step 14: Recover PP. Step 16~ Finish in Close Hold.

PRECEDES . >~~

Sur Placet Chasses to L, Elevations ~~.Lr Huft, Prom Ctose.

FOllOWS

Sur Place. Chasses to Rt Elevations to R-, Attack, Coup de Pique, Syncopated Coup de Piquet Coup de Pique Couplet Chasse Cape.

ALIGNMENT (from Step 1) , ..

Msn: Commence facing W~ Finish la~lng C~ _

t.sd»: Commence backing w~ Step 8:Jacing OW against LOD. Step 11 facing OW. Step 14 facing OW against LOD. Finish backing C~

99

BANOERJllAS (M)

PASO DOBLE

BODY TURN

(!) Z

-

:E

0... .. UJo I-Z tn

-

FOOT WORK

FOOT POSITION

ACTION USED

1 1 1 RF in place T Sur Place -
2 2 1 LF In place T -
3 1 1 RF In place T -
4 2 1 LF in place T -
"l-
S 1 1 RF in place B Uat Appel ......
6 2 1 LF to side T Side step moving
10 pa riner's R side
......._. .1* I
7 1 1 RF closed to IF T F close with wt -
change
2 1 IF in place T flat Sur Place
9 1 1 RF fwd OP H nat March -
10 2 1 IF to side and slightly back B llat SIde slep -
"-
11 1 1 . RF back under body, partner ols B Bwd step
on L side
I ~ lou :, ..... tll ~ ............. 11111
12 2 1 IF back 8 Basic Movement 1/2 to l
~ bwd curving 10 L
13 1 ,. AF back B
- JorI. • ....,....,''''''''~, ..... ,~
14 2 1 LF back B
15 1 1 RF back 8
16 2 1 IF back B Cootd.

100