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PE 2

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Learning Objectives
1. Discuss and explain the background and benefits of
ballroom dancing.
2. Identify, differentiate and execute with proficiency the lingo
of ballroom dancing, ballroom dance and hand positions,
and dance abbreviations.
3. Become familiar with the leading and following techniques.
4. Interpret and execute written instruction of line dance
proficiently.

 Popular couple dances without set patterns are classified as social and
ballroom dances. Most social dances are characterized by the man
leading and the woman partner following whatever steps, styling, and
rhythmic variations he chooses and indicates.
 Social dances are usually done to introduce people with one
another during a formal social gathering or to welcome
guests to a social gathering. Many of the social dances like
polka and mazurka started as folk dances while some were
deliberately designed for its social purpose, such as the
waltz, rigodon and polonaise (Nimor, 2006). Social dancing
is believed to had existed since the beginning of human
society in some forms.
 Ballroom dancing has lots of benefits for young people. It is
less threatening to their young developing bodies compared
to many sports such as football, basketball and hockey that
endanger forming cartilage, break bones and in some cases
disfigurement cause by various swinging sticks and
equipment. Ballroom dancing provides general conditioning

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for the body. Mentally, it stretches the thinking and the “do – it” abilities of the
young. The sense of achievement is a confidence builder. Teamwork of couples
is more stimulating to concentration and learning. For older groups,
competitive dancing is an excellent learning achievement and self-confidence.
Socially, the young people have an opportunity to interrelate with others,
especially the opposite sex, in a setting that includes discipline and emphasis
on courtesy and consideration for others. Ballroom dancing provides lesson on
social skills that will be beneficial to the youth for the rest of their lives.
 Ballroom dance training offers unique advantages. It is not only a rhythmical
exercise that adds life, graceful muscular movements but it is also a group
recreation. A child who has learned ballroom dancing gains not only improved
posture and coordination but ease in relationships with companions. Dancing
is one means of instilling graceful body coordination, it is also a muscular
activity that brings social ease. A girl who has learned to be a good ballroom
dancer never fades into a wall flower. A Boy who can dance is spared from
many agonies of a teenage self – consciousness. Children who dance well are
popular, ones instilled, those ingredients of a good manners are never
forgotten. Ballroom dancing offers more than mere steps it includes charm of
manners and consideration of others.
 The term ‘Ballroom Dancing” was originally applied to the dances done in a
ballroom the type of dance depended on the period under consideration. For
example, the 18th century was primarily the time of one-couple dances,
particularly the slow and stately minuet. In France, the minuet and other court
dances were eradicated by the French Revolution.
 Even in England, the minuet suffered a gradual decline by the end of the 18 th
century. The pace and
manner of life were less
suitable for a dance such as
the minuet, which was
gradually being replaced by
the contredanse, cotillon,
and allemande.
 The 19th century witnessed
rapid changes in dancing
styles. The waltz was
introduced to fashionable
ballrooms. This closed –
couple dance with its close
hold was at first received
with considerable dismay.
It was a losing battle.
However, about 1825, the
waltz had come to stay. In 1840, a second closed-couple dance, the polka
was introduced to Paris and was feverishly welcomed as fashionable ballroom

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dance. By the early 20th century, dances such as the two-step, one-step
foxtrot, and tango had been introduced and the usual dance program
consisted entirely of the accepted closed-couple dances.
 After the WW II, there was rapid growth on interest in the other forms of
dance, such as modern dance, ballet and square dancing. With the
development of the rock-n-roll, traditional social dancing was contrasted with
other forms of dance. Ballroom dancing includes the popular closed-couple
dances such as the waltz, foxtrot, the lindy and the polka and the hustle.
Various Latin dances came out like the rumba, the cha-cha-cha, pasadoble,
the mambo, and the samba to name a few.

1. First select the dance you want to concentrate on get suitable music for it.
2. Study very carefully the directions at the beginning of each dance wherein it is
usually indicated that a basic movement or repetitive exercise is
recommended to get the feel of the basic step or action.
3. Understand the changes of body position to produce the correct effect of the
figure being danced.
4. Foot position alone does not make the figure complete: the rhythm, the
correct position in relation to the room, and the body position in relation to a
partner are important to be considered.
5. The study of the arm and hand leads with a partner is very important.
6. Very often the term Small steps is used. Take careful note of this, a large step
may cause bad balance and ugly leg lines and could be responsible for making
the dancer out of tune with the music.
7. The commencing and finishing position given in each figure should be done
and followed properly.
8. Time your steps to the music.
9. Good dancing relies considerably on the coordination of feet, body, and arms.
10.Correct practice makes perfect.

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The Position of one foot is given in relation to the other, where there
are no other instructions.

RF forward – Forward in relation to LF, weight on RF.

RF side – To side in relation to RF, weight in LF.
LF side – To side in relation to RF, weight on LF.
LF diagonally back - Between a back and a side step in relation to LF, weight on
LF.
RF diagonally forward – Between a forward and side step in relation to LF
weight on RF.

This System is applied in reverse when weight is held on RF. The term
without weight but with pressure means that the foot is closed very
firmly to the other foot but without transferring weight.

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The line of dance represents an imaginary line

drawn counter-clockwise round the ballroom
floor. The dancer who has driven on the right will
recognize that this line of direction is on exactly
the same principle. Especially the outer wall of
the ballroom is the equivalent of the pavement
and buildings on his right.
To Facilitate travelling round the ballroom
without collision it is necessary to try to keep
progression counter-clockwise, wall on right,
center on left. For example, if the dancer travels
across the ballroom he will inevitably collide with those on the “other side
of the road” this line of dance is individual to each couple.
Alignments
The line of dance only applies to the traveling
dances –Waltz, Social Foxtrat, Social Quickstep,
The Quickstep, Quick Waltz Samba, Pasadoble
and Tango. But do not misled – Most floors are
crowded and travel should be limited.
In the remaining dances, there need be no
progression round the room and, alignments
which relate to wall and center of the room need
not apply. However, in the descriptions of non-
traveling dances, it has been through helpful to
include commencing and guiding alignments.

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There’s a distinctive language in Ballroom and Latin dancing, and I’m not referring to the words
used to describe step patterns or technique. Two people, moving together as one to music, must
have a way of communicating that transcends spoken words.
We can break down the elements of this language into three primary parts: music, physical connection,
and visual expression. Let’s take a look at each of these components.

Music
Music is the underlying foundation of all dance, so it’s
critical that there’s a strong connection between the way we
move together and the music we’re moving to. In order to
move efficiently, both parties don’t listen to and interpret
the music individually. If that happens, they would often be
on different wavelengths, leading to disarray.
So to keep things efficient, the Lead is responsible for
controlling the use of music.
Beginners should not be overly concerned with the
information presented here as it can be overwhelming. For
beginners, my advice is that the lead learns to count where
the “one” beat is in music as that’s the foundation to
become proficient as a dancer.
Although the Lead manages the way music is interpreted in
the dance, that doesn’t mean the Follow is left out. In fact,
especially in the Latin dances, the lady sets the rhythm
throughout the dance, using her body as an instrument to
create musical expression. Things are a little different in the
Ballroom dances due to the constant connection of the
partners, although she still represents a rhythmical element
of the dance through the ebb and flow of her shaping.

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The Lead must know which foot his
partner is on and be “reading” her body
throughout the dance to be aware of how
she is responding. Unless he is aware of
whether she can complete the figure he
is leading, he cannot be prepared to make
adjustments that accommodate any
differences. A good lead listens and
responds constantly, allowing some
flexibility so that the end result looks like
the couple planned every step together,
even if something completely
unexpected just happened.
The Follow must trust implicitly. She must
also be willing to listen to what is being
led. A common problem is when the
Follow knows what is coming and moves
herself. When you watch a couple where
this is happening, it looks like two people
who happen to be doing similar steps at
the same time. It’s remarkably different
from seeing a couple that is genuinely
communicating with one another to
create those moves.
In her physical connection and
movement, the lady may be soft and
demure or aggressive and strong. I’ve
seen some ladies who are so aggressive
that they actually compete with the man.
This may be deliberate, or it may be
unintentional. Either way, these qualities
become part of the language being used
in the dance and they become part of the
story that is being told on the dance floor.
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Physical Connection
In partner dances, the couple is physically connected to
one another for a significant percentage of the
performance, if not the entire dance. So obviously this
connection plays a key role in the language of ballroom
dancing. And the language can begin even before the
couple connects to start the dance.
I recall a judge at a major world-level event telling me that
he could immediately tell that one of the couples was
going through conflict because the lady refused to
actually place her hand into that of her partner as they
walked onto the floor, instead holding her hand an inch
above his.
Consider the act of inviting the lady to take dance hold in
a Ballroom dance. The man raises his arms to invite her
to dance. If she waits before responding, she may well be
saying something. If she rushes her response, she could
be saying something completely different. In Latin and
Rhythm dances, the man can invite her to dance, or he
might challenge her. Each of those options uses a
different type of physical invitation and corresponding
connection.
Then there are the roles of Lead and Follow. Leading and
Following are equally challenging roles. You cannot have
one without the other, and you cannot have two people
both taking on the same role at the same time as that
would make it impossible to present a beautifully
coordinated presentation.
The language of the Lead is that of clarity and legibility.
To lead well he must be confident in the choreography he
is leading, and he must be aware of how his lead affects
the partner. For example, in a pivot action, if he tries to
keep his weight in the middle between his feet instead of
moving his body weight over the pivoting foot, the lady
will have a very difficult time trying to accomplish the
action he is asking her to do.
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Expression
The final component in the language of ballroom dance
is visual expression. When dancers are advanced enough
that they are no longer thinking about all the details of
where the feet go, they are able to move into a much
more sophisticated stage where the dancer expresses
the feeling of the dance through body stretch or shaping,
arm movements and facial expressions. These things are
considerably more challenging than step patterns and
should rarely be attempted until dancers are at a skill
level where step patterns become second nature.
In the Latin dances, expression includes ways that each
partner might accentuate features they want to
emphasize. In Tango it can include the way partners look
at each other with both defiance and passion. In
American Smooth it can include the way the arms stretch
to accentuate body movements.
When all of these elements come together, we see dance
that is mesmerizing and memorable. All of it produced
without a word spoken between the partners performing
the dance.

JAN CHRISTIAN S. NABAYRA

INSTRUCTOR
Gmail: janchristiansotillo440@gmail.com

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Here are some of the most common ballroom dance terminologies:

Here are some of the most common ballroom dance
terminologies:

 Amalgamation – mixing two or more patterns

and movements.
 Arm Styling – the movement or position of your
arms that define style and character.
 Axel – jumping while landing on the same foot.
 Ball Change – the act of transferring your
weight from one foot to another.
 Break – refers to as simple as the music being
stopped.
 Body Rise – bracing your leg’s muscle with
relaxation afterward.
 Bow – bending slightly toward the waist as a
sign of respect and acknowledgment.
 Center – the balance point of your body.
 Change Step – three progressing steps that are
usually done with the basics of the box step.
 Chase – the act of running after your partner.
 Close – an act
as simple as putting
your feet back together.
 Cuban Motion – shaking the hips while
alternately bending and straightening the knees.
 Curachas – side breaks.
 Dancer’s Compass – dancers do need to
follow some movement flows. This is actually the
actual diagram where they study things out.
 Dancing Position – standing directly in
front of your partner only being a few inches apart.
 Fan – one foot freely doing the circular
motion.
 Feet Apart – just the opposite of the Close
position; separating both legs and feet.

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 Figure – regulated pattern of the

dance movement.
 Flex – probably the best word in the list, which
means to relax a part of your body.
 Floor Craft – leader’s showmanship that he
can control the dance floor and everyone gets
to follow his or her instructions.
 Flick – an act where the pointed toe together
with the flexed knee gives a sharp kick
backward.
 Foot Rise – using your ankle to elevate the
body.
 Frame – body posture, or the way you carry
yourself.
 Free Spin or Free Turn – free-spirited
independent turn.
 Freeze – to stop from any movements.
 Holds – partners do hold hands.
 Inside Turn – follower turns under the left or right arm of the leader.
 Isolation – everything on your body is in a freeze position except for one
part as per instructions.
 Line of Dance – the dance floor is being dominated by the counterclockwise
flow of movements.
 Link Step – steps that combine two or more
figures.
 Lilt – soft and down movement of feet.
 Lunge – transferring the weight of the bent
leg to the other extended leg.
 Natural Opposite – copying your partner’s
exact movement except that you are doing it
in the opposite direction.
 Natural Turn – smooth right turn.
 Open Break – both partners do break
continuously.
 Open Facing Position – both partners are
standing distantly from each other while
maintaining eye contact.
 Promenade Position – imagine you and
your partner stands on each of the ends of the
letter V.

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This term simply instructs them to meet at the V’s center

point.

 Reverse turn – a left turn.

 Rise and Fall – from the words themselves, this means immediately reaching for
your toes after the jumping.
 Rock – Forward-backward-forward movement of the body while having the feet
apart.
 Shine – partners do the dance without physically connecting with each other.
 Slide – sliding the free foot towards the weighted one.
 Slow – taking more beats from the music.
 Spotting – Ballroom might cause you dizziness with a lot of turns.

This is a technique that you focus on one spot until you

can no longer do so. This would help with the dizziness.

 Sway – body’s movement toward left or right.

 Syncopate – injecting personal touch or creativity by adding or subtracting steps
from the planned choreography.
 Tap – tap the floor lightly.
 Tempo – the speed of the music.
 Variation – mutated steps derived from the common ballroom steps.
 Wave – series of links far from your partner.

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Definitions of Slow Movements and

Poses
Attitude – Attitude is a pose on one leg with the
other lifted and bent at approximately a 120-degree
angle. Attitude may be executed to the front or to
the back.
Arabesque – Arabesque is the position of the body
when supported on one leg with the opposite leg
extended behind the body. The arms may be held in
various positions, one being to create the longest
possible line along the body.
Developpe – The developpe is a movement in which
the working leg is drawn up to the knee of the
supporting leg and from there smoothly out to a
position in the air, usually at 90 degrees (i.e., parallel
to the floor).
Definitions of Speed Terms Used in
Dancing
Adagio – Adage or in Italian “adagio” means
slow, and in dance terminology, adagio means
a slow movement. Thus adagio is not a pose
or a figure but a reference to any slowly
developing movement. Adagio movements
may include poses and figures such as
developpes, arabesques, and attitudes.
Allegro – Allegro is the opposite of adagio.
Allegro means fast and in dance terminology,
allegro means a fast movement such as a flick
or a kick.

Lunge – A lunge is a transfer of weight to a bent leg

while keeping the other leg extended.

Passe – In going to passé position, the working leg is

drawn up the stand

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Definitions of Dance Movements
and Action Figures
Rond de Jambe – the literal translation is
round of the leg. In this movement, a straight
leg is swept in an arc.
Spotting – When spotting during turning
movements, the dancer attempts to focus and
re-focus upon the same stationary spot. In
other words, spotting is focusing on a fixed
point through a turn. Some folks say that
spotting helps prevent dizziness. In any event,
it is usually judged as aesthetically pleasing
since it makes movements appear crisp and
controlled.
Prep – A prep or preparation lead is a pre-lead
that starts or signals the beginning of a new
step or turn.
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Definitions of Terms Used in Theatrical and
Exhibition Dancing
Lift - A lift is a theatrical, exhibition type of dance movement in which one
partner lifts the other from the floor.
Drop – A drop is a theatrical type of dance movement in which the follower's
head and torso are lowered below the knee level of the leader while at least
one part of the follower's body remains in contact with the floor.
Drag - A drag is a theatrical type of dance movement in which the follower
is scooted along the floor surface by the leader. The leader may effect the
drag either through leverage or through compression.
Lean – A lean is a stationary figure where the weight of one partner is
partially supported or counterbalanced by the other partner.
Slash or Slide – A slide is a movement where one partner transports the
other, though the transported partner maintains contact with the floor.
Jete – a jete is a movement where the dancer jumps from one foot to the
other. In the dramatic grande jete, the dancer performs a split while at the
center of the leap.
Tour Jete – The tour jete is a jump from one foot to the other while
performing a haf turn.
Plie – A plie is a lowering movement to a position approximating a sitting
position. Notice that a ballet plie differs from a ballroom plie.
Attitude Turn – An attitude turn is a turn executed while in the attitude
position.
Ride – A ride, sometimes referred to as a horse and cart movement occurs
when one partner supports and rotates the riding partner on an axis.
Sitting Hen – Here we see a theatrical type of dance movement sometimes
referred to as a sitting hen.
Pot Stirrer – Here we see a theatrical type of dance movement sometimes
referred to as a pot stirrer.
Hop - Here we see a hopping movement, sometimes used in dance
choreography to correspond with rat-a-tat-tat beat sequences.
Leverage Move – This is a generic term that refers to movements and figures
requiring significant counterbalancing actions.
Split – A split refers to a figure where the legs are split apart (separated
apart) usually to an angle of 180 degrees.
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Essential partnering moves that every ballroom dancer needs to know

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It doesn’t necessarily mean that “the Before we talk about leading and following on
leader” is the boss, as a happily married the ballroom dance floor, we want to share
man I know that my wife is truly in charge some fun facts. At least we think they are fun
but she’s smart enough to let me feel in facts. At Arthur Murray, we are in love with
charge when we’re on the dance floor. As dancing and all things dance related.
a man it’s an awesome rush when your
Did you know that the term “ballroom dancing
partner does whatever you ask, with
”comes from the word ball, which originates
elegance and poise. A great follower
from the Latin word ballare, which means ‘to
enjoys the ride. When dancing a Waltz it’s
dance’? Further, ballroom dance was refers to
kind of like riding shotgun in a smooth
a set of partner dances, which are both social
Cadillac and Salsa is like speeding down
and competitive. And, a ballroom is a large
the road in a limber Porsche. The follower
room specially designed for such dances.
gets to enjoy the ride while the leader gets
to press all of the buttons.

Ballroom dancing is based on certain concepts

of leading and following. Without these
parameters, both dancers can become lost in
step and end up confused and feeling clumsy.
Regardless of whether you lead or follow, these
key points are for everyone:

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The man is typically the leader in a ballroom dance and takes the woman through the various
movements in a routine. The woman follows her partner’s lead. (This may seem old fashioned,
but all great activities have traditions.

The basic rules and etiquette on the dance floor comes down to leading and following and it’s
important to know that whichever role you choose; you have your own specific tasks on the
dance floor.

The leader - keeps time, and The Follower - through

suggests, through his lead, the reading the signals of the lead,
figures that will be executed in a executes the suggested figures.
dance. That means the leader has Connection is extremely important,
the job of maintaining the rhythm, because it is through the connection
knowing the figures of a dance, and that the lead is communicated.
deciding what figures he is going to
lead, in addition to actually leading
them.
Timing - leader has to keep a
Floor Craft - leading involves more than merely guiding time that the follower can match. So
make sure that you pay close
one's partner through a sequence. It must be done in such a
attention to the bass of the music
manner that the dancers conform to the general floor pattern
and develop a strong understanding
and maintain the smooth and even flow of movement around
of the rhythm of each dances. It is
the dance floor. Each dancer must be constantly aware of the
the leader’s responsibility to keep
imaginary but very definite line that guides the dancing
the partnership in time with the
circles. Each figure must be started in proper position and
song that you are dancing to.
direction with each step timed and "sized" to avoid collision
with other couples.
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As a follower, you need to receive signals for the next move from your partner.
A follower will usually not move until a signal is received from the partner for
the next move.

Your timings need to be sharp when following. It may sound complicated,

however, it does not have to be. What it comes down to is this: communication
– which is, after all, the basis for every aspect of life. And communication, like
the two step, waltz or tango, takes practice!

When you learn to communicate, to listen and hear and understand, or in

dancing terms, to lead and follow, you’ll have the tools to glide smoothly across
the dance floor of life.

CLOSED DANCE POSITION

These 5 points of contact are essential to
achieving a balanced dance position.

 Hand to hand, the leader has his left hand at

about the follower's eye level. The follower puts
her right hand in the leader's left hand.

 Leader places his right hand on the follower's

shoulder blade. The hand position is such that you
could both push and pull (gently, of course), with
no gaps between fingers and thumb.

- Elbow to elbow, follower lightly rests their left elbow on top and slightly outside
the leader’s right elbow.

 The follower places her left hand on the leader's shoulder, pressing against it lightly
to create a connection. Hold your own left arm up, follower.

Diaphragm contact, as a partnership develops you will be balance and synchronized

enough to be able to hold each other close enough to make “body contact” Both
leader and follower stand slightly offset to each other’s left and with their weight over
their toes.

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Line dancing is exactly what its name implies: people dancing in lines to music. Line dances are
choreographed dances with a repeating series of steps that are performed in unison by a group of
people in lines or rows, most often without the dancers making contact with one another.

All the dancers performing a line dance face the same direction and perform the steps at exactly
the same time. Although there are usually several lines, small groups may only form one line, but
it's still considered a line dance even if only two people are participating.

From the American immigrants' adaptation of polka and the waltz in the 1800s that developed into
square dancing to folk dances in schools of the 1900s, the origins of this dance format are
widespread. Discover more about this centuries-old dance format and how to line dance below.

Although many popular line dances are set to country music, the first line dances did not originate
from country-western dancing. Line dancing is believed to have originated from folk dancing,
which has many similarities.

Contra dancing, a form of American folk dance in which the dancers form two parallel lines and
perform a sequence of dance movements with different partners down the length of the line,
probably had a huge influence on the line dancing steps we are familiar with today.

During the 1980s and 1990s, line dances started being created for popular country songs. One
example is a dance made for Billy Ray Cyrus' 1992 smash hit "Achy Breaky Heart." Even pop music
began to see an upswing in line dances in the 1990s, with "the Macarena" serving as a sort of
hybrid folk-pop dance number that swept the world by storm.

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Basic line dances focus on movements of the legs and feet,

with more advanced dances including the arms and hands.
The movements of a line dance are marked as "counts,"
where one count generally equals one musical beat. A
particular movement or step takes place at each beat.

A line dance will have a certain number of counts,

meaning the number of beats in one complete sequence
of the dance. For example, a 64-count dance would
contain 64 beats. The number of beats does not
necessarily equal the number of steps, however, as steps
can be performed between two beats or over more than
one beat.

Line dances are made up of a certain number of steps, with each step identified by a
catchy name. The Texas Two-Step, the Tush Push, the West Coast Shuffle, the Redneck
Girl, and the Boot Scootin' Boogie are all well-known line dances still performed in
country-western bars today.

Because its steps are simple and don't involve dancing with a partner, line dancing is ideal
for singles and people who don't normally dance. Line dancing is taught and practiced in
country-western dance bars, social clubs, and dance halls around the world.

One of the most popular line dances performed today is the "Cha-Cha Slide," whose easy-
to-follow steps are dictated right in the lyrics to the song,
though you may be unfamiliar with certain moves like the
Charlie Brown. The "Cupid Shuffle" also became largely
popular at high school dances in the early 2000s and is still
played in clubs.

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Brush – A sweeping movement with the ball of the foot against the floor
and ending in the air. Can be forward or backward action.
Cha Cha Cha – A 3 step movement counted to 2 beats. A triple step
counted 1 & 2. Usually done on the spot.
Charleston – A 4 step pattern. Step forward kick or tap, step back, touch
behind. Counted 1 2 3 4. Sometimes starts with a tap forward.
Coaster Step – A 3 step pattern to 2 beats counted 1 & 2. A small step back
with the leading foot replace the weight quickly onto the ball of the
opposite foot close to the leading foot. Step forward with the leading foot.
Fan – Commence in the closed position, raise the ball of the foot and using
the heel as a pivot take the ball of the foot to the side and return to the
closed position. Can be done with 1 foot or both at the same time.
Flick – A low kick using the ankle and flexed knee.
Grapevine – A four step travelling movement counted 1234. Step to side,
step behind, step to side and last step can be either a stomp, brush, kick
or hitch. Can also occur with turns.
Heel Struts – 2 step movement counted 1 2. A heel dig followed by
slapping the ball of the foot down onto the floor.
Hip Bump – To rock the hips in any direction in single or double count
action.
Hold/Hesitation – To pause or sustain the position for 1 or more beats.
Jazz Box – 4 step pattern counted 1234. Commences with either foot. Step
across, step back, step to the side and 4th step can be taken with feet
closing or a small step forward. Can be done with or without a turn.
Lock Step – 3 step movement taken to 2 beats. A bit like a shuffle step but
the second step is taken behind.
Rocking Chair – Rock forward right foot, replace foot on left and rock
backwards right foot and replace weight on left. Can be counted fast 1 &
2 or 1234 which is slow. Also can start on the left.
Rumba Box – 8 count step. Step right to the side and take the weight. Left
together take the weight step right forward and take the weight and hold.

_________________________________________________________________PE 2 Rhythmic Activities

_________________________________________________________________PE 2 Rhythmic Activities

Step left to the side and take the weight. Right together take the weight
step left backwards and take the weight and hold.
Sailor Step – A syncopated step. 3 step movement to 2 counts counted 1
& 2. Cross right behind left take the weight step left to the side take the
weight step right to the side take the weight. Can be performed on the
other side.
Shuffle – 3 Step movement taken to 2 beats counted 1 & 2. Can be taken
forwards, backwards, sideways or cross shuffle. 2nd step can pass the first
or be taken behind (also known as locking step)
Step Kick – Step right forward take the weight on your right and kick left.
Can be performed on the other side.
Step Hitch – Step your right forward and take the weight and hitch your
left knee up. Can be performed on the other side.
Stomp – To strike the floor with the whole foot to emphasise the sound.
With or without a transfer of weight.
Swivel – A rotation on the balls of the feet using them as a pivot taking the
heels to the right or left.
Side Touches – Step onto right foot and take the weight, touch your left
next to right. Can be performed starting on the left.
Toe Struts – Would commence with the ball of the foot going down then
the heel lowering to the floor.
Weave – Step right to the side cross left in
front of right take the weight and step right
to the right side and cross your left behind
right. Can be performed on the other side.

_________________________________________________________________PE 2 Rhythmic Activities