Movin' On UP!
Kristine & Bruce Nelson
So you're moving
Terrific! You're dancing Phase IV beautifully -- What do you need to
be able to dance more advanced figures in Phase V or VI comfortably
executing figures is a good dance position. The partners stand
relaxed with flexed knees. Body weight is slightly forward on the
balls of the feet. The woman is on the man's right side. The partners
maintain light body contact in the approximate area of the diaphragm.
The joined man's left and woman's right hands are held between the
chin and eye level of the shorter partner. The elbows are slightly
curved down. The man's right wrist is placed at the woman's left
armpit (no, really!) and the hand placed at a slight downward angle
on her back. His elbows must be held slightly forward and away from
the body to make space for the woman to dance. The woman lightly lays
her left arm on his upper right arm. The established frame is very
solid but not rough or hard and must be consistent. In addition, both
partners need to consciously maintain muscle tone to facilitate
movement and sending and receiving the dance lead.
Let's think about
intermediate and advanced figures from waltz and foxtrot. As you
dance each one, really think about maintaining your good, toned dance
position. We will mention a few other techniques that can make your
dancing more smooth and comfortable.
the foundation figure is the foxtrot Reverse Turn.
Using contra-body action, M step straight forward L commence LF turn
with small rise, side R continue turn, no additional turn side and
slightly forward L with R-side stretch to SCP;
back R commence LF turn bringing L beside R with no weight, turn on R
heel (heel turn) change weight to L, side and slightly forward R to
closed position through first two steps. Step 3 is a side step.
Telespin: M has similar action to Telemark for the first two
steps M keeping his body facing W. M extends his L leg back with toe
pressure for step 3 leading the W forward in SCP/on an &-count M
rotates LF to lead W forward to LOD; M forward L picking up W strong
turn, spin LF on L to DRC, close R (total of five weight changes);
similar action to Telemark for first two steps, forward R in
SCP/forward L; W back R toe spin, continue spin, close L (total of
seven weight changes);
Wave Half Check and Weave: M forward L commence LF turn, -, side
R, back L keeping W in CP; Slip R back with slight contra-check
action, -, forward L commence LF turn, side R with R side leading and
slight R-side stretch; Back L in CBMP continue LF turn, back R
continue LF turn, side and forward L with L-side stretch, forward R
in CBMP outside partner;
back R commence LF turn, -, close L to R (heel turn), forward R;
Following M's slip and contra check action forward L, -, back R
commence LF turn, side L with L side leading and slight L-side
stretch; Forward R in CBMP, forward L continue LF turn, side and back
R with R-side stretch, back L in CBMP;
-- many figures require body sway (stretching) and/or contra body
Check: M commence LF upper-body turn flexing knees with strong
R-side lead check forward S in CBMP,
commence LF upper-body turn flexing knees with strong L-side lead
back R in CBMP looking well to left,
must be flexed as upper body rotates with M's L and W's R leg
preceding the body to move into Contra Check. Both keep hips up
toward partner. Recover step and exit will vary by choreography.
M back R commence LF turn, side and forward L continue turn commence
L-side stretch with slight rise leading W to cross her L foot behind
her R, relax L knee turn R knee to sway R to look at W (two weight
forward L commence LF turn, side R commence R-side stretch swivel LF,
cross L in back of R taking full weight keeping L side in toward
partner, relax L knee turning head to L keeping shoulders parallel to
partner no weight on R (three weight changes);
step and exit will vary by choreography.
clinic notes for a past URDC convention, and
reprinted in the Dixie Round Dance Council (DRDC)
Newsletter, September 2014.
If you would like to read other articles on dance
position, technique, styling, and specific dance rhythms, you may visit
the article TOC.
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do consider joining. The group sponsors triquarterly weekends with
dancing and teaching, and the newsletter is one of the most informative
Past DRDC Educational Articles archived here.
Aditional articles and dance helps by
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& Susie Rotscheid
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