Phase VI Figures continued
by Roy & Phyllis Stier
SAME FOOT LUNGE: This figure
accounts for three steps with the transition on counts 2 & 3 not
so distinct. The starting position is a modified CP with the man
facing COH or wall (normally) and the lady diagonally to him with the
man's left and the lady's right shoulders apart forming a flat V. To
get into the Same Foot Lunge, the preceding figure is usually called
the "Preparation." The most common precedes is an Outside
Check (like a Curved Feather Check) to a back, side, close for the
man and a forward, side, touch for the lady, to blend to a modified
CP. The precedes that is easier to do but a little harder to get
proper alignment is a Maneuver; then turn, side, close (again, ladies
end with a touch).
After the "Preparation"
the man lowers onto his L while extending his R to the side and
slightly forward using a left sway while looking strongly to the
left. The lady toes in slightly to facilitate a better body position
while lowering onto her L while extending the R backward with a right
sway and looking to the right. Men transfer weight to their R by
sliding the inside edge of the R about 3 to 4 inches, still holding
the left sway but now looking less to the left. Ladies transfer
weight to the R foot with a slight LF turn (toeing in) and still
holding the right sway. As they hold their body position, the sway is
changed to the right for the man as he looks at the lady while
flexing the R knee and extending the L leg with a veering-in action.
Ladies change their sway to the left with more movement than the man
as they look strongly to the left but not falling back on their R
heel. If the man retains a straight line with his body and keeps his
shoulders well back, it will give the desired wide separation that is
characteristic of this figure.
For the more adventuresome
dancer, we would like to add a few extra notes as follows: Lower
deeply into the supporting leg. While in the lunge position, care
should be taken to keep the right hip and right shoulder over the
man's R foot -- do not drop the right elbow or push the lady into the
lunge with the left hand or forearm. It is the pelvic region that is
carried into the lunge and which affords a supportive section for the
lady. The lady uses up to 50% more sway than the man on count 3, so
care must be taken that the bodies do not pull apart or that the man
does not allow himself to change body position. Although the lady has
a bent R knee, her body should be light and buoyant to avoid dropping
heavily onto the R foot. Nearly all ladies only allow the R heel to
touch the floor lightly; however, more professional dancers put some
weight on it to allow for a more colorful exit.
When used in foxtrot the
timing is QQS. Sometimes in waltz, more than one beat of music is
used in order to get an appropriate pose effect.
SPIN & TWIST: This is a
two-measure figure, which uses the beginning and ending of a regular
Spin Turn. We will describe it as we would on a cue sheet using the
step cues but in much more detail, starting from CP, man facing RLOD.
Bk L LOD pivoting RF approx
1/2, fwd R turning RF with a heel lead and using the right hip to
lead the lady into the spin part of the figure (strong body rise),
step sd L around lady on the toes to face DRW (so far like an
overturned spin); On the "and" count, step lightly X RIB of
L continuing to turn RF/lower to the heel of L and ball of R for a RF
pivot, continuing the RF pivot with body rise, transfer weight to the
R (still turning up to 1/8) and hover on a long count placing L to
the side and slightly back to end facing DLW; Lady fwd R between the
man's feet pivot 1/2 RF, bk L still turning, cl R to L with heel
turn; continue turn fwd L outside partner/around R, L to CP, brush R
to L and place R to the side and slightly forward;
The count would be 123;
&4&56; The first "&" belongs to the man
as he crosses R behind L (lady has closed R to L to face COH). The
second "&" belongs to the lady as she steps quickly L
outside the man in preparation for the man's hip lead to the hovering
action. Experienced dancers use a long count on 5 (note the
underlining) to get the display effect. The twist part has somewhat
of a spiraling-upward look, but it will look overdone if too much
lowering is taken beforehand.
X-LINE: This is not listed
in a phase rating but should be described along with the Phase VI
figures as a one-step posing line. It gets its name from the
configuration of the partners' bodies that form an X when viewed from
the front or rear where the X crosses at the hip level.
In order for the X-Line to
be effective, it should be preceded by something in CP or compact
SCP; however, it can be done from a Throwaway or as an ending to a RF
Runaround, etc. The man flexes his R knee and turns his body a little
RF with a swiveling action on the ball of the R while shaping to the
left (lifting the right hip). The L leg is extended as far as is
comfortable, and one should feel a strong pull on the muscles of the
calf and thigh. This motion will force the lady to open to the right
and into a right sway. For the lady, her R leg is extended to match
the man's L so that they form a 180-degree opening from the lead
hips. Both partners lean back with the upper body but keep contact at
the hip line while looking away from each other. The man's R and
lady's L knees are strongly flexed with his weight on the ball of the
foot and hers on both ball and heel. Note: Some ladies like to ronde
their R leg but it is not correct to do so. In any event it makes a
better line to extend from the supporting foot.
The X-Line often ends a
dance routine, but if it occurs somewhere in the body of the
choreography it usually leads to something that requires a closed
position (man closes L to R and lady R to L) where no sway is
maintained and the lady turns more than the man.
Next Time: Natural Twist
column comes from a series published in Cue Sheet Magazine between
1987 and 1992, and is reprinted with permission. The full series is
collected in an 86-pg booklet, available for $30.00 plus postage.
E-mail Fran Kropf at firstname.lastname@example.org. This
article was published in the Dixie Round Dance Council (DRDC)
Newsletter, February 2012.