Dance Glossary
Amalgamation:
A combination of two or more patterns or movements danced together consecutively.
American Style:
A type of ballroom dancing, which evolved from social dancing and is now a fully recognized competitive style of dance. The Smooth style allows the dancers to be in open positions allowing for a very "Fred and Ginger" style with elaborate arm styling and different body positions, including shadow, and open hold.
The dances are divided into 2 categories, Smooth (Ballroom) and Rhythm (Latin):
(1) Smooth style consisting of:
Foxtrot
Waltz
Tango
Viennese Waltz
Quickstep
(2) Rhythm style consisting of:
Cha Cha
Rumba
Swing
Bolero
Mambo
Samba
Arm Styling:
Positioning and movement of the arms, reflecting the character and style of the dance.
Associate:
(1) The first complete level of dance figures in the International Style and some American Style syllabi representing the foundation of movements and basic dance concepts. (2) A degree attained by a Professional Dancer as a result of passing a certifying teaching exam covering the Associate Syllabus.
Back Leading
In social dancing where it is strongly relying on Leading and Following, this term means that the follower executes steps without waiting for or contrary to the lead of the leader. This is also called anticipation and usually considered bad dancing habit. An exception would be to avoid a collision with another couple the leader hasn't seen (this is usually just to stop the leader performing specific steps rather than the follower actively executing steps).
Basic (School) Figure:
A standardized step pattern, which together with other patterns constitute the basis of a dance.
Body flight
Body flight is a property of many movements in dances such as the Waltz and Foxtrot. It refers to steps taken with momentum in excess of that necessary to arrive at a point of static balance over the new position, which suggests a carry through to another step in the same direction. Steps in these dances naturally flow one into another, in contrast to the Tango and to the Latin and Rhythm dances where many steps arrive to a point of static balance.
Bronze Level:
The first complete level of the Medalist System, representing the foundation of movements and basic dance concepts.
Choreography:
A creation or compilation of steps, patterns and movements which make up a dance or a dance routine.
Closed Figure:
A dance figure where the feet close on the last step. Examples are Left and Right Box Turns in the American Style and Reverse and Natural Turns in the International Style of Waltz.
Closed Dance Position
The ordinary position of ballroom dancing in which the partners face each other with their bodies approximately parallel. In Standard and Smooth the bodies are also offset about a half body width such that each person has their partner on their right side, with their left side somewhat unobstructed. 4-Track footwork/alignment is in used to ensure both partners have free movement with their legs and feet, as well as the consistent contact point of the Right Side/Ribs toward each other.
Combination:
A group of consecutive patterns and choreography. Similar to Amalgamation but sometimes involving a slightly more advanced set of patterns.
Continuity Movement:
The continuous passing of the feet from one step to the next. This action is used from Silver Level on in American Style Waltz, Foxtrot and Viennese Waltz and is also characteristic of the International Foxtrot and is used greatly in International Waltz (feather ending) and Quickstep.
Contra body movement (CBM):
A term used in ballroom dances, such as Waltz, Foxtrot, Tango, Quickstep. It describes a specific coordination of the movement of a dancer's body when doing or preparing to do a step which involves rotation. CBM is turning the right side of the body towards a left moving leg or turning the left side of the body towards a right moving leg. The body and the leg must move at the same time, and not one after the other. CBM occurs on forward or backward steps only (or diagonal steps which still feature forward or backward movement), and not on side steps. Thus, CBM occurs in the following four scenarios:
The left leg moves forward as the right side of the body moves forward (the torso rotates to the left)
The left leg moves backward as the right side of the body moves backward (the torso rotates to the right)
The right leg moves forward as the left side of the body moves forward (the torso rotates to the right)
The right leg moves backward as the left side of the body moves backward (the torso rotates to the left)
The overall effect and intention of CBM is smooth transition from linear to rotational movement.
One occurrence of CBM can be observed in a Feather Step in Bronze III Foxtrot. As the leader takes his second step (the second "slow"), CBM occurs as the right leg moves forward and the left side of the body moves forward, causing the body to begin rotation to the right. Similarly, as the follower takes her second step (the second "slow"), CBM occurs as the left leg moves backward and the right side of the torso moves backward, causing the body to begin rotation to the right.
The Contra body movement position (CBMP):
The foot position achieved when the moving foot is placed on or across the line of the standing foot, in front of or behind it.
The term is slightly verbose in an attempt to make it self-describing and to stress the similarity of the dancer's feet position with respect to the body as if a step with CBM was performed.
However the most important usage of this term in Ballroom dancing is to describe steps when a foot moves across the standing foot, while the torso moves in the same direction as the moving foot without rotation. Eg. Contra Check action, or the second step in a promenade of Foxtrot or Tango.
CBMP is routinely used in steps taken in promenade position or outside partner step. CBMP helps to maintain dance position of the couple: CBMP allows the dancers to make these steps without shifting or rotating with respect to each other.
DanceSport:
The official name given to the sport of competitive Ballroom Dancing. Relates to the more athletic form of Ballroom Dancing as recognized by the Olympic Committee.
Floor Craft:
The ability of the leader to maneuver around the dance floor in a skilled and controlled manner as to avoid colliding with other dancers.
Following:
The ability of the follower to react correctly to the signals given by the leader through physical and visual connections.
Frame
Dance frames are the upper body positions of the dancers. A strong frame provides connection with your partner and conveys intended movement. A strong frame is where your arms and upper body are held firmly in place without relying on your partner to maintain your frame nor applying force that would move your partner or your partner's frame.
Freestyle:
Dancing with a partner in any kind of hold where the leader improvises steps. May be danced by inexperienced dancers who have never taken dance lessons or, by very advanced dancers who are so well trained in leading and following that improvisation is creative and natural.
Guapacha
Guapacha timing is an alternative rhythm of various basic Cha-cha-cha steps that are normally cued as "2, 3, cha-cha-cha". In Guapacha, the step that normally occurs on count "2" is delayed half-beat, until the count "&", so that the cue would be " &, 3, cha-cha-cha."
Gold Level:
The third complete level of the Medalist System, representing the most advanced figures and dance concepts.
Heel Lead
When taking a step in dance, the term "heel lead" describes the fact you land on the heel of your moving foot first before putting weight on the remainder of the foot. As in normal walking, it should be noted that much of the swing of the foot is accomplished with its midpart closest to the floor, emphasis shifting to the heel only as the final placement is neared.
Heel Turn
A heel turn is an action danced by the partner on the inside of turn in certain figures in Standard or Smooth. During the course of rotation, the dancer's weight moves from toe to heel of one foot while the other foot swings to close to it, then forward from heel towards the toe of the just closed foot. Follower's heel turns feature body rise coincident with the first step, which leads her foot to close next to the standing one rather than swing past. In contrast, when the leader is dancing a heel turn the rise is delayed until the conclusion of the turn, as he can better lead the amount of turn from a more grounded position. The heel turn is distinguished from other members of the family of heel pull actions which do not require complete closure of the feet. Follower's heel turns are commonly found in the Double reverse spin and the Open or Closed telemark, and the natural and reverse turns of international style foxtrot, while leader's heel turns form the basis of the Open or Closed impetus.
Hip Action:
A characteristic type of hip motion found in the technique of performing a step in Latin and Rhythm dances. Although most visible in the hips, much of the effect is created through the action of the feet and knees. Sometimes it is also called Cuban hip motion, although because of the divergence in dance technique between American Rhytmm and International Latin some prefer to distinguish the two, with the term "Latin motion" reserved for International Style, while the "Cuban motion" reserved for American Style and Club Latin dances. The most notable distinction (in a simplified description) is that in the International Style "Latin motion" the straighthening of the knee happens before the full weight transfer, while in the "Cuban motion" the straighthening of the knee happens after the full weight transfer. As a result, the Cuban hip motion results in a more fluid leg movement, while the Latin hip motion results in a more staccatto leg movement.
International Style:
The Internationally recognized style of ballroom dancing. Couples must remain in closed dance position throughout the dances. The 10 International Style dances are divided into two categories:
(1) Standard, consisting of:
Waltz
Tango
Viennese Waltz
Slow Foxtrot
Quickstep
(2) Latin, consisting of:
Cha Cha
Samba
Rumba
Paso Doble
Jive
Latin- American Style:
The category of dances involving hip, body and leg action. I.e. Cha Cha, Samba, Jive, Rumba and Paso Doble.
Leading:
Effective communication of intended actions by the leader through the use of the leader¡¦s own body movements and through one or more physical or visual connections to the follower.
Line of dance
Line of dance (LOD) is an imaginary circular line going around the dance hall in counterclockwise direction. To help avoid collisions, it is agreed that the general direction of movement in travelling dances is along the line of dance.
Line of dance is a useful line of reference when describing the directions of steps taken, e.g., "facing LOD", "backing LOD". See also center, wall.
Medalist System:
A system of testing used by dance schools to measure a student's progress in their dancing. It provides structure in a dance program of a school and serves to give students a sense of accomplishment in their dancing.
Mirror Image:
When one partner steps will be matching the other partner steps, as if viewed in a mirror.
Modern Style Ballroom:
The term used to describe the Ballroom dances of the International Style: Waltz, Foxtrot, Viennese Waltz, Tango and Quickstep. This term has largely been replaced by the term standard.
Movement:
Used to describe a dancer or couple advancement through space on the dance floor.
Natural Opposite:
A term used in teaching to say that one partner will be dancing the same foot positions in a particular dance pattern except in the opposite direction and on opposite feet.
Natural Turn:
Any dance pattern that turns to the right.
Open Figure:
A very general term that can have several meanings. (1)Not in normal dance hold, (2) Use of continuity instead of closing feet, (3) Ending in Promenade Position (i.e. Open Telemark, Open Impetus), (4) A pattern not in a Syllabus,
Open Turn:
Refers to a figure where the feet do not close on any of the steps. E.g. Open Reverse Turn
Outside partner position
A step into Outside partner position occurs when the moving foot of the forward travelling partner moves on a track outside of their partner's standing foot when it would ordinarily move on a track aimed between their partner's feet. Due to the offset of the hold, this generally applies to a step with the right foot. (The term Left side outside is often used for the rare occurrences when the left foot crosses to pass outside, as in the Hover cross). Steps into outside partner position are also required to be in Contra body movement position, and are often preceded by a step with a strong Side lead. The term "inline" is occasionally used when it is necessary to clarify that an outside partner position is not involved.
Picture Line/Posing step:
A dance figure (e.g. Oversway, Contra Check) characterized by changing shapes in stationary position. Also known as Line.
Progressive Movement:
Any dance steps that are designed to move the couple down the line of dance.
Promenade position
In ballroom dances their common trait is that the dance couple moves (or intends to move) essentially sidewise to the leader's left while partners nearly face each other, with the leader's right side of the body and the follower's left side of the body are closer than the respective opposite sides. Steps of both partners are basically sidewise or diagonally forward with respect to their bodies. Normally the dancers look in the direction of the intended movement.
Reverse Turn:
(1) Any turn that turns to the left.
(2) A turn used in Waltz, Foxtrot, Viennese Waltz, and Tango that turns to the left over six steps.
Rhythm Category:
A category of dancing that include the following American Style dances: Rumba, Cha Cha, Bolero, Samba, Mambo and Swing
Rumba Walk:
Highly stylized Forward or Backward Walks done in the Rumba, characterized by stepping onto a straight leg.
Showcase:
An unjudged dance exhibition.
Silver Level:
The second level of dance patterns in a syllabus following Bronze and before Gold. Silver Level is the first time a dancer may use continuity (open steps) in the American Style Waltz and Foxtrot.
Social Dancing:
Ballroom, Latin, Swing and Nightclub dances done where the dancing is more relaxed and meant for the enjoyment of the dancers and not for show.
Spotting
A technique used during turns. The general idea is to choose a reference point (e.g., partner or a distant point along the line of travel) and focus the eyes on it as long as possible. When during the turn it is no longer possible to see it, the head flips as fast as possible to "spot" the reference point again. It serves the dual purpose of being easier able to determine when to stop turning and preventing dizziness.
Standard Style Ballroom:
The name that replaced the term modern to mean The International Style Ballroom dances- Waltz, Foxtrot, Viennese Waltz, Tango and Quickstep.
Step:
Frequently used to mean the same as Figure or Pattern.
Street Latin:
Dances including Salsa, Merengue, Cumbia, Bachata, Lambada, and other non-competitive Latin dances where there are no specific rules about body and hip movements.
Syncopate:
To add or subtract steps within a specific number of beats performed by dancers to vary the normal step and to allow for personal expression and creativity. Syncopation can happen on half or quarter of a beat. E.g. Cha Cha chasse action on 4-and-1
Toe Lead
When taking a step in dance, the toe lead is when you land on the ball of your foot first.
Variation:
A varied or more advanced pattern than the corresponding basic/school figure which still contains the same main element.
Yes!
The appropriate response when someone asks you to dance, ALWAYS:)
A combination of two or more patterns or movements danced together consecutively.
American Style:
A type of ballroom dancing, which evolved from social dancing and is now a fully recognized competitive style of dance. The Smooth style allows the dancers to be in open positions allowing for a very "Fred and Ginger" style with elaborate arm styling and different body positions, including shadow, and open hold.
The dances are divided into 2 categories, Smooth (Ballroom) and Rhythm (Latin):
(1) Smooth style consisting of:
Foxtrot
Waltz
Tango
Viennese Waltz
Quickstep
(2) Rhythm style consisting of:
Cha Cha
Rumba
Swing
Bolero
Mambo
Samba
Arm Styling:
Positioning and movement of the arms, reflecting the character and style of the dance.
Associate:
(1) The first complete level of dance figures in the International Style and some American Style syllabi representing the foundation of movements and basic dance concepts. (2) A degree attained by a Professional Dancer as a result of passing a certifying teaching exam covering the Associate Syllabus.
Back Leading
In social dancing where it is strongly relying on Leading and Following, this term means that the follower executes steps without waiting for or contrary to the lead of the leader. This is also called anticipation and usually considered bad dancing habit. An exception would be to avoid a collision with another couple the leader hasn't seen (this is usually just to stop the leader performing specific steps rather than the follower actively executing steps).
Basic (School) Figure:
A standardized step pattern, which together with other patterns constitute the basis of a dance.
Body flight
Body flight is a property of many movements in dances such as the Waltz and Foxtrot. It refers to steps taken with momentum in excess of that necessary to arrive at a point of static balance over the new position, which suggests a carry through to another step in the same direction. Steps in these dances naturally flow one into another, in contrast to the Tango and to the Latin and Rhythm dances where many steps arrive to a point of static balance.
Bronze Level:
The first complete level of the Medalist System, representing the foundation of movements and basic dance concepts.
Choreography:
A creation or compilation of steps, patterns and movements which make up a dance or a dance routine.
Closed Figure:
A dance figure where the feet close on the last step. Examples are Left and Right Box Turns in the American Style and Reverse and Natural Turns in the International Style of Waltz.
Closed Dance Position
The ordinary position of ballroom dancing in which the partners face each other with their bodies approximately parallel. In Standard and Smooth the bodies are also offset about a half body width such that each person has their partner on their right side, with their left side somewhat unobstructed. 4-Track footwork/alignment is in used to ensure both partners have free movement with their legs and feet, as well as the consistent contact point of the Right Side/Ribs toward each other.
Combination:
A group of consecutive patterns and choreography. Similar to Amalgamation but sometimes involving a slightly more advanced set of patterns.
Continuity Movement:
The continuous passing of the feet from one step to the next. This action is used from Silver Level on in American Style Waltz, Foxtrot and Viennese Waltz and is also characteristic of the International Foxtrot and is used greatly in International Waltz (feather ending) and Quickstep.
Contra body movement (CBM):
A term used in ballroom dances, such as Waltz, Foxtrot, Tango, Quickstep. It describes a specific coordination of the movement of a dancer's body when doing or preparing to do a step which involves rotation. CBM is turning the right side of the body towards a left moving leg or turning the left side of the body towards a right moving leg. The body and the leg must move at the same time, and not one after the other. CBM occurs on forward or backward steps only (or diagonal steps which still feature forward or backward movement), and not on side steps. Thus, CBM occurs in the following four scenarios:
The left leg moves forward as the right side of the body moves forward (the torso rotates to the left)
The left leg moves backward as the right side of the body moves backward (the torso rotates to the right)
The right leg moves forward as the left side of the body moves forward (the torso rotates to the right)
The right leg moves backward as the left side of the body moves backward (the torso rotates to the left)
The overall effect and intention of CBM is smooth transition from linear to rotational movement.
One occurrence of CBM can be observed in a Feather Step in Bronze III Foxtrot. As the leader takes his second step (the second "slow"), CBM occurs as the right leg moves forward and the left side of the body moves forward, causing the body to begin rotation to the right. Similarly, as the follower takes her second step (the second "slow"), CBM occurs as the left leg moves backward and the right side of the torso moves backward, causing the body to begin rotation to the right.
The Contra body movement position (CBMP):
The foot position achieved when the moving foot is placed on or across the line of the standing foot, in front of or behind it.
The term is slightly verbose in an attempt to make it self-describing and to stress the similarity of the dancer's feet position with respect to the body as if a step with CBM was performed.
However the most important usage of this term in Ballroom dancing is to describe steps when a foot moves across the standing foot, while the torso moves in the same direction as the moving foot without rotation. Eg. Contra Check action, or the second step in a promenade of Foxtrot or Tango.
CBMP is routinely used in steps taken in promenade position or outside partner step. CBMP helps to maintain dance position of the couple: CBMP allows the dancers to make these steps without shifting or rotating with respect to each other.
DanceSport:
The official name given to the sport of competitive Ballroom Dancing. Relates to the more athletic form of Ballroom Dancing as recognized by the Olympic Committee.
Floor Craft:
The ability of the leader to maneuver around the dance floor in a skilled and controlled manner as to avoid colliding with other dancers.
Following:
The ability of the follower to react correctly to the signals given by the leader through physical and visual connections.
Frame
Dance frames are the upper body positions of the dancers. A strong frame provides connection with your partner and conveys intended movement. A strong frame is where your arms and upper body are held firmly in place without relying on your partner to maintain your frame nor applying force that would move your partner or your partner's frame.
Freestyle:
Dancing with a partner in any kind of hold where the leader improvises steps. May be danced by inexperienced dancers who have never taken dance lessons or, by very advanced dancers who are so well trained in leading and following that improvisation is creative and natural.
Guapacha
Guapacha timing is an alternative rhythm of various basic Cha-cha-cha steps that are normally cued as "2, 3, cha-cha-cha". In Guapacha, the step that normally occurs on count "2" is delayed half-beat, until the count "&", so that the cue would be "
Gold Level:
The third complete level of the Medalist System, representing the most advanced figures and dance concepts.
Heel Lead
When taking a step in dance, the term "heel lead" describes the fact you land on the heel of your moving foot first before putting weight on the remainder of the foot. As in normal walking, it should be noted that much of the swing of the foot is accomplished with its midpart closest to the floor, emphasis shifting to the heel only as the final placement is neared.
Heel Turn
A heel turn is an action danced by the partner on the inside of turn in certain figures in Standard or Smooth. During the course of rotation, the dancer's weight moves from toe to heel of one foot while the other foot swings to close to it, then forward from heel towards the toe of the just closed foot. Follower's heel turns feature body rise coincident with the first step, which leads her foot to close next to the standing one rather than swing past. In contrast, when the leader is dancing a heel turn the rise is delayed until the conclusion of the turn, as he can better lead the amount of turn from a more grounded position. The heel turn is distinguished from other members of the family of heel pull actions which do not require complete closure of the feet. Follower's heel turns are commonly found in the Double reverse spin and the Open or Closed telemark, and the natural and reverse turns of international style foxtrot, while leader's heel turns form the basis of the Open or Closed impetus.
Hip Action:
A characteristic type of hip motion found in the technique of performing a step in Latin and Rhythm dances. Although most visible in the hips, much of the effect is created through the action of the feet and knees. Sometimes it is also called Cuban hip motion, although because of the divergence in dance technique between American Rhytmm and International Latin some prefer to distinguish the two, with the term "Latin motion" reserved for International Style, while the "Cuban motion" reserved for American Style and Club Latin dances. The most notable distinction (in a simplified description) is that in the International Style "Latin motion" the straighthening of the knee happens before the full weight transfer, while in the "Cuban motion" the straighthening of the knee happens after the full weight transfer. As a result, the Cuban hip motion results in a more fluid leg movement, while the Latin hip motion results in a more staccatto leg movement.
International Style:
The Internationally recognized style of ballroom dancing. Couples must remain in closed dance position throughout the dances. The 10 International Style dances are divided into two categories:
(1) Standard, consisting of:
Waltz
Tango
Viennese Waltz
Slow Foxtrot
Quickstep
(2) Latin, consisting of:
Cha Cha
Samba
Rumba
Paso Doble
Jive
Latin- American Style:
The category of dances involving hip, body and leg action. I.e. Cha Cha, Samba, Jive, Rumba and Paso Doble.
Leading:
Effective communication of intended actions by the leader through the use of the leader¡¦s own body movements and through one or more physical or visual connections to the follower.
Line of dance
Line of dance (LOD) is an imaginary circular line going around the dance hall in counterclockwise direction. To help avoid collisions, it is agreed that the general direction of movement in travelling dances is along the line of dance.
Line of dance is a useful line of reference when describing the directions of steps taken, e.g., "facing LOD", "backing LOD". See also center, wall.
Medalist System:
A system of testing used by dance schools to measure a student's progress in their dancing. It provides structure in a dance program of a school and serves to give students a sense of accomplishment in their dancing.
Mirror Image:
When one partner steps will be matching the other partner steps, as if viewed in a mirror.
Modern Style Ballroom:
The term used to describe the Ballroom dances of the International Style: Waltz, Foxtrot, Viennese Waltz, Tango and Quickstep. This term has largely been replaced by the term standard.
Movement:
Used to describe a dancer or couple advancement through space on the dance floor.
Natural Opposite:
A term used in teaching to say that one partner will be dancing the same foot positions in a particular dance pattern except in the opposite direction and on opposite feet.
Natural Turn:
Any dance pattern that turns to the right.
Open Figure:
A very general term that can have several meanings. (1)Not in normal dance hold, (2) Use of continuity instead of closing feet, (3) Ending in Promenade Position (i.e. Open Telemark, Open Impetus), (4) A pattern not in a Syllabus,
Open Turn:
Refers to a figure where the feet do not close on any of the steps. E.g. Open Reverse Turn
Outside partner position
A step into Outside partner position occurs when the moving foot of the forward travelling partner moves on a track outside of their partner's standing foot when it would ordinarily move on a track aimed between their partner's feet. Due to the offset of the hold, this generally applies to a step with the right foot. (The term Left side outside is often used for the rare occurrences when the left foot crosses to pass outside, as in the Hover cross). Steps into outside partner position are also required to be in Contra body movement position, and are often preceded by a step with a strong Side lead. The term "inline" is occasionally used when it is necessary to clarify that an outside partner position is not involved.
Picture Line/Posing step:
A dance figure (e.g. Oversway, Contra Check) characterized by changing shapes in stationary position. Also known as Line.
Progressive Movement:
Any dance steps that are designed to move the couple down the line of dance.
Promenade position
In ballroom dances their common trait is that the dance couple moves (or intends to move) essentially sidewise to the leader's left while partners nearly face each other, with the leader's right side of the body and the follower's left side of the body are closer than the respective opposite sides. Steps of both partners are basically sidewise or diagonally forward with respect to their bodies. Normally the dancers look in the direction of the intended movement.
Reverse Turn:
(1) Any turn that turns to the left.
(2) A turn used in Waltz, Foxtrot, Viennese Waltz, and Tango that turns to the left over six steps.
Rhythm Category:
A category of dancing that include the following American Style dances: Rumba, Cha Cha, Bolero, Samba, Mambo and Swing
Rumba Walk:
Highly stylized Forward or Backward Walks done in the Rumba, characterized by stepping onto a straight leg.
Showcase:
An unjudged dance exhibition.
Silver Level:
The second level of dance patterns in a syllabus following Bronze and before Gold. Silver Level is the first time a dancer may use continuity (open steps) in the American Style Waltz and Foxtrot.
Social Dancing:
Ballroom, Latin, Swing and Nightclub dances done where the dancing is more relaxed and meant for the enjoyment of the dancers and not for show.
Spotting
A technique used during turns. The general idea is to choose a reference point (e.g., partner or a distant point along the line of travel) and focus the eyes on it as long as possible. When during the turn it is no longer possible to see it, the head flips as fast as possible to "spot" the reference point again. It serves the dual purpose of being easier able to determine when to stop turning and preventing dizziness.
Standard Style Ballroom:
The name that replaced the term modern to mean The International Style Ballroom dances- Waltz, Foxtrot, Viennese Waltz, Tango and Quickstep.
Step:
Frequently used to mean the same as Figure or Pattern.
Street Latin:
Dances including Salsa, Merengue, Cumbia, Bachata, Lambada, and other non-competitive Latin dances where there are no specific rules about body and hip movements.
Syncopate:
To add or subtract steps within a specific number of beats performed by dancers to vary the normal step and to allow for personal expression and creativity. Syncopation can happen on half or quarter of a beat. E.g. Cha Cha chasse action on 4-and-1
Toe Lead
When taking a step in dance, the toe lead is when you land on the ball of your foot first.
Variation:
A varied or more advanced pattern than the corresponding basic/school figure which still contains the same main element.
Yes!
The appropriate response when someone asks you to dance, ALWAYS:)
What's the Difference?
The most frequently asked question we receive as exponents of "International" Style dancing from people who have only been exposed to "North American" Style, is, what's the difference?
In our early years as dancers in England, we were aware of only one style, the "English" Style, which only within the last twenty years has become known as the "International" Style. I will endeavor to explain the differences as I see it.
In the Waltz the biggest difference is we bring our feet together on the count of three in basic turns and maintain a closed hold throughout the dance. In American Style, the feet pass in turns and for a large part of the dance, the couples dance in open position. International Style requires the couple to maintain contact at the mid-section of the body, "gapping" being considered one of the cardinal sins of International competitive dancing.
The same or similar differences occur in Foxtrot and Tango, although at a high level, these two dances are taking on quite an International look. Then there is the Quickstep, which has no counterpart in American Style. The dance consists of chasses, skips, locks, runs and hops performed to a fast 4/4 rhythm. The couple endeavoring at the same time to maintain contact and appear to be relaxed!
In the Viennese Waltz, there is the greatest difference. American Style is danced in a large part in open position, with numerous variants, whereas in International Style, we are limited to seven figures. These are the Natural and Reverse turns, Forward and Backward changes, Natural and Reverse Fleckerels (a fast turning figure danced on the spot) and the Contra check.
By: Lawrence Ardern
The most frequently asked question we receive as exponents of "International" Style dancing from people who have only been exposed to "North American" Style, is, what's the difference?
In our early years as dancers in England, we were aware of only one style, the "English" Style, which only within the last twenty years has become known as the "International" Style. I will endeavor to explain the differences as I see it.
In the Waltz the biggest difference is we bring our feet together on the count of three in basic turns and maintain a closed hold throughout the dance. In American Style, the feet pass in turns and for a large part of the dance, the couples dance in open position. International Style requires the couple to maintain contact at the mid-section of the body, "gapping" being considered one of the cardinal sins of International competitive dancing.
The same or similar differences occur in Foxtrot and Tango, although at a high level, these two dances are taking on quite an International look. Then there is the Quickstep, which has no counterpart in American Style. The dance consists of chasses, skips, locks, runs and hops performed to a fast 4/4 rhythm. The couple endeavoring at the same time to maintain contact and appear to be relaxed!
In the Viennese Waltz, there is the greatest difference. American Style is danced in a large part in open position, with numerous variants, whereas in International Style, we are limited to seven figures. These are the Natural and Reverse turns, Forward and Backward changes, Natural and Reverse Fleckerels (a fast turning figure danced on the spot) and the Contra check.
By: Lawrence Ardern
Dance Floor Courtesy is a beneficial tool for dancing on any ballroom floor, however, Off the Floor Courtesy is also a welcome tool.
If all dancers were to observe dance floor etiquette and technique, the dance floor would be able to accommodate up to its maximum capacity and still permit movement and more enjoyment. When the dance floor is overcrowded, all dancers should refrain from "performing" and participate in "social" dance, or perhaps even choose to politely sit some numbers out to ease the situation.
Social dances are classified as either progressive or spot dances. In progressive dances such as foxtrot, waltz, etc., the rule is to move around the floor only in a counterclockwise direction. This also includes the patterns that take the man backwards.
In spot dances, such as the swing, cha cha, rumba, etc., the couple should try to keep as much as possible in and around the small area where they began dancing. Other dancers' space should be respected.
When the dance music is such that it permits more than one type of dance, such as a foxtrot or swing, the swing dancers should go towards the center of the dance floor thereby making it possible for the foxtrot dancers to move freely around the outside of the dance floor. Dance patterns in which the forward movement is temporarily suspended should be executed in the centre or fringes of the dance floor, unless one is sure the dance flow will not be impeded. This courtesy also applies to newer dancers, moving towards the centre allows the experienced dancers to really move around the outside of the floor.
Dancers getting on the dance floor should not interfere with those already dancing, simply because it is convenient to start in a particular spot. Watch out, and move onto the floor with respect for the people moving towards you. Couples should not stop on the dance floor to make conversation, argue or discuss the working of a dance pattern in such a way that they block others from continuing to dance. If you are trying to get to the other side of the dance floor, walk around not thru the dancers.
The way one dances and the selection of dance patterns should be governed by the size of the dance floor and the traffic. It is incumbent upon all dancers to be alert and watch out for others when changing imaginary lanes or executing a maneuver that may put them in someone else's path. Like in driving, dancers should use good judgment.
Good manners dictate that you apologize when you accidentally bump or kick someone. It is quite annoying to be cut off, bumped, or hurt by overly enthusiastic or inconsiderate dancers who do not observe good dance floor etiquette and technique.
Off the Floor etiquette consists of some basic human courtesies. When asking others to dance, ensure you ask and do not guilt or force an individual into dancing with you. Be polite, careful not to interrupt conversations but to wait for a break in the conversation and indicate that you would like to ask the person to dance with you.
If you attend a dance as a single, be careful not to over occupy another person's partner in asking them to dance more than twice in an evening. Ladies, refrain from asking every man in sight to dance with you ... if you are polite, you may find that they will ask you. If you'd really like to dance with a particular person, ask them ONCE, then allow them to make the decision to ask you the second time. Men, when you're asking a lady to dance be courteous, if she apologizes for saying no and requests that you ask her later in the evening -- do so! often times there is a good reason for her answer. Also for you, men, don't over occupy another man's female partner unless he has decided to finish dancing for the evening and she wishes to continue. Be conscious of another person's feelings -- this applies to both sexes!
Also, men if you take a lady onto the floor to dance please escort her back to her seat at the end of your time together. This will ensure that you have been a gentleman, also that she returns to her seat without slipping and falling on the floor.
Dance Floor Courtesy On or Off the Floor is really based on Common Sense Rules of everyday politeness! Let's practice this a little more!
By: Karen Kiefer
If all dancers were to observe dance floor etiquette and technique, the dance floor would be able to accommodate up to its maximum capacity and still permit movement and more enjoyment. When the dance floor is overcrowded, all dancers should refrain from "performing" and participate in "social" dance, or perhaps even choose to politely sit some numbers out to ease the situation.
Social dances are classified as either progressive or spot dances. In progressive dances such as foxtrot, waltz, etc., the rule is to move around the floor only in a counterclockwise direction. This also includes the patterns that take the man backwards.
In spot dances, such as the swing, cha cha, rumba, etc., the couple should try to keep as much as possible in and around the small area where they began dancing. Other dancers' space should be respected.
When the dance music is such that it permits more than one type of dance, such as a foxtrot or swing, the swing dancers should go towards the center of the dance floor thereby making it possible for the foxtrot dancers to move freely around the outside of the dance floor. Dance patterns in which the forward movement is temporarily suspended should be executed in the centre or fringes of the dance floor, unless one is sure the dance flow will not be impeded. This courtesy also applies to newer dancers, moving towards the centre allows the experienced dancers to really move around the outside of the floor.
Dancers getting on the dance floor should not interfere with those already dancing, simply because it is convenient to start in a particular spot. Watch out, and move onto the floor with respect for the people moving towards you. Couples should not stop on the dance floor to make conversation, argue or discuss the working of a dance pattern in such a way that they block others from continuing to dance. If you are trying to get to the other side of the dance floor, walk around not thru the dancers.
The way one dances and the selection of dance patterns should be governed by the size of the dance floor and the traffic. It is incumbent upon all dancers to be alert and watch out for others when changing imaginary lanes or executing a maneuver that may put them in someone else's path. Like in driving, dancers should use good judgment.
Good manners dictate that you apologize when you accidentally bump or kick someone. It is quite annoying to be cut off, bumped, or hurt by overly enthusiastic or inconsiderate dancers who do not observe good dance floor etiquette and technique.
Off the Floor etiquette consists of some basic human courtesies. When asking others to dance, ensure you ask and do not guilt or force an individual into dancing with you. Be polite, careful not to interrupt conversations but to wait for a break in the conversation and indicate that you would like to ask the person to dance with you.
If you attend a dance as a single, be careful not to over occupy another person's partner in asking them to dance more than twice in an evening. Ladies, refrain from asking every man in sight to dance with you ... if you are polite, you may find that they will ask you. If you'd really like to dance with a particular person, ask them ONCE, then allow them to make the decision to ask you the second time. Men, when you're asking a lady to dance be courteous, if she apologizes for saying no and requests that you ask her later in the evening -- do so! often times there is a good reason for her answer. Also for you, men, don't over occupy another man's female partner unless he has decided to finish dancing for the evening and she wishes to continue. Be conscious of another person's feelings -- this applies to both sexes!
Also, men if you take a lady onto the floor to dance please escort her back to her seat at the end of your time together. This will ensure that you have been a gentleman, also that she returns to her seat without slipping and falling on the floor.
Dance Floor Courtesy On or Off the Floor is really based on Common Sense Rules of everyday politeness! Let's practice this a little more!
By: Karen Kiefer