Phase VI Figures continued
by Roy &
NATURAL TWIST TURN:
as a foxtrot figure, it could be adapted to waltz. Coming up later
when we get to the tango, the Natural Twist Turn will have a
different motion and alignment; however, we will describe the usage
in foxtrot below.
The count would be
(1 1/2 measures), as the books give the Natural Turn entry into the
actual twist part, so that it is the third step that really sets up
the changed movement. As in the Natural Turn, I.D.T.A. starts facing
DLW while I.S.T.D. starts facing LOD. The former is a more realistic
alignment and the one we will use.
Steps 1 & 2,
forward R (S) for the man and L to the side (Q) so that in each case
the man will be facing DRW and the lady DLC. At this point, the man
crosses his R behind L while turning on his L to face RLOD using the
"&" count for the crossing movement. He should feel a
plie action in the knees to develop the power needed to start the
twist on the remainder of the quick count. Unwinding of the feet is
completed on the R where the man will get a body rise as in a
preparation for a hover.
The lady's second
step is a
heel turn as in the regular Natural Turn, but she will step forward L
nearly DLW as she continues her right-face (RF) turn on the "&"
count while using her left shoulder as a lead to start outside the
man. As the man starts his twist (Q) she will continue to turn RF on
her R to end in contra banjo facing DLW, then step to the side on her
L (S) allowing her R to brush to L and continuing her body turn so
that she will end facing nearly RLOD.
This completes the
far as we are normally concerned, but the books give a Hover Feather
ending, ready for a left-turning figure to follow. For round dancing,
we would probably use this ending quite a bit because of the higher
body position and forward poise. If, however, we do a little checking
motion on step 5, we could go into something like an Outside Swivel.
people believe that this figure was inspired by Rudolph Valentino, it
really was named after the famed dancer Rudolph Nureyev. It is
created after a Natural Pivot with the weight on the ball of the
man's L foot (ladies on the ball of the R) where the man transfers to
the R and lowers onto his R knee (foot flat on the floor). This step
is placed between the lady's feet as he keeps his head to the left
and leads the lady back on her L into an Aerial Ronde with a RF
pivoting action. The lady could almost do a Floor Ronde if the man
turns his body more to the right but most Rudolphs are now done with
a higher leg line. In any event, the lady must keep her head to the
right, and we would suggest about six inches above the floor with the
toe pointed somewhat downward. Both will end this figure in a strong
contra body position -- man's L leg back and the lady's R leg poised
momentarily. The lady must be careful not to push or pull the man as
she is performing the ronde, while he can help by keeping the body
erect and not bent forward.
The exit from the
one-step figure, is usually a Fallaway Slip Pivot where the man must
maintain a leg line with his L. There is no other lead into the
Rudolph other than a Natural Pivot, but it is often used from an Open
Natural Turn to an Outside Spin. Timing is always slow in every
quickstep figure, it is now used extensively in the waltz also. We
will describe the former rhythm and then note changes as used in the
waltz. Timing for quickstep is QQSS.
Starting in a compact
semi-closed position (SCP) or modified closed position (CP) with
heads turned to LOD and using a left sway, the man softens his R knee
and swings the body forward with a fairly long step on the L heel
directly down LOD. He uses the ball of the R to place the L and keeps
the upper part of his body well forward while turning a little to the
right. Ladies take a backward step on their R toe nearly as long as
the man with a little RF turn to blend to a modified CP and using
body rise. On step 2, the man crosses R behind L after rising from
heel to ball of L and untwisting approximately 1/4 RF (now facing
wall). He is at full body height where the weight is taken on the
ball of the R, now crossed behind the L. Ladies keep a closed head
and cross L in front of R, also turning 1/4 RF to face COH. Note:
There is a difference of opinion for sway on this step. Both I.S.T.D.
and I.D.T.A. call for a little right sway (ladies left) but
competition dancers usually elect to use no sway. On step 3 (S) the
man lowers to the R heel and then steps side and slightly back on the
L using a pivoting action to turn approximately 5/8 RF with most of
the turn coming after placement of the foot (footwork =
ball-heel-ball). Ladies uncross their feet and step diagonally
forward on their R somewhat between the man's feet (footwork =
ball-heel). On step 4, there is a continuation of turn approximately
1/8 RF as the man sways left and leaves the inside edge of his R to
the side. Ladies turn on the ball of the R and leave their L to the
side and slightly back with the head well to the left.
In waltz, the timing
1&23, again with a little extra time on count 2. The rise is a
little more pronounced so that we refer to the toe rather than the
ball of the foot. In waltz, the lady steps side on her R while
pointing DLC to end the figure where the normal blending back to
compact SCP is called for.
Note: To get away
much sway, the man should feel that he is using an action much like a
Turning Lock on steps 2 and 3.
Next Time: Traveling
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.
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