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Hustle—
4 beats/measure; 27-32 meas/min
Hustle had it roots in New York City in the early 1970s. Jeff
Allen has said that, in the '60s, the Twist all but destroyed ballroom
dancing. No longer did the dancer need to learn steps or even have a
partner. Then the Hustle came along , and partner dancing was back.
Dancers could touch. The Hustle was hugely popular.
The word "hustle" makes this dance rhythm sound a lot faster
and more frantic than it really is. Hustle is related to swing, and the
music is a pounding disco, but the tempo is slow — closer to West-Coast
Swing than to Swing or Jive. Hustle is light, smooth, and flat, a soft
gliding back and forth in the slot, with the man moving gracefully out
of the woman's way. There are a lot of changes of directions and turns
and spins by both the woman and the man. She especially may get to
feeling like a yo-yo, but a smooth and flowing yo-yo, not a jerky,
bouncy one. Jive is "hot," but hustle is "cool." If you want to see
what it looks like, check out the movie Saturday Night Fever (1977) or any of the current hustle round dances online today (see links in column 3 below).
 Hustle
figures mostly consist of four steps. We can do
them on the beat, and four-count hustle is danced, 1, 2, 3, 4; This is
"social" hustle dancing, and the rhythm became quite popular in round
dancing about 2025. It is not a rhythm that is recognized by Roundalab,
and I won't try to predict its future, but the flow of the dance does
feel really good.
The same
figures can be danced in only three beats of music, and three-count
hustle is danced &/1, 2, 3. Actually, the syncopation in
three-count hustle can be danced anywhere: 1&23, 12&3, or
123&.
You will ask, how do we dance three-count figures to 4/4
music? The answer is that each, three-count figure takes less than a
measure. A sequence of three-count hustle will dance like this:
(&/1,2,3,) (&/4;1,2,) (&/3,4;1,) (&/2,3,4;) — four
figures over three measures of music. I think this works because hustle
has a very regular, disco beat with no very prominent downbeat on count
1. You can feel pretty comfortable starting a figure on beat 1, 2, 3,
or 4. Let me add that this timing does make hustle seem a little faster
than it otherwise would be. The tempo of the music is the same as in four-count hustle, but
taking four steps in three beats of music means you are stepping a
little faster on average.
In the world of freestyle, there is considerable variability across the
country: variability in the proportion of slot dancing versus rotation,
in smooth vs. sharp movements, and in slower or faster tempos (within
the range I've given above). Some dance &/1,2,3, and the man leads
the woman back on the first step. She does a ball/change, walk, walk,
the ball/change propelling her forward. Others dance 1,2,&/3, the
man leading her forward on the first step. She does a walk, walk,
ball/change. We have some license in dancing the hustle. And again, any
of the figures described below can be danced to any of the timing
options mentioned here.
In this figure list, I will focus on four-count hustle.
Figure Name, Roundalab Phase
Level, & Timing
Any of these four-count figures can be danced in a three-count hustle by dancing the four steps &/123, as discussed above. |
Steps and Actions That Make Up
the Figure
Each description focuses on the man,
with the woman's footwork in parenthesis. If a woman's step is not
given, it is the natural opposite or follow of the man's. Help: basic dance
positions and steps,
actions, directions, and abbreviations. Non-standard punctuation: a
comma separates two beats of music, a semi-colon marks the end of a
measure, and a slash (/) indicates a split beat, two things occurring
in a single beat.
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Here are some sequences to help
you visualize the figure in context.
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| Basic
1234;
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In low butterfly, rock apart L (W apart
R), rec R, step in place L, in place R;
Note the elasticity that will occur in joined
hands.
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In Shivers by Mee we dance a basic; right side pass; basic; inside underarm pass;
Mee/Hicks Showcase
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| Right
Side Pass
1234;
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A Pass is a figure that begins in one
facing position and ends in another facing position.
In low butterfly, rock apart on the lead foot, swinging joined arms away from the body. This arm movement prevents you from
rocking apart too far. The man recovers, crossing right in front of
left to get out of the woman's slot, and the woman recovers L. The man
steps forward L beginning a RF turn and passing his partner's right
side as she steps fwd R also beginning a RF turn. On the last step, he
continues to turn XRIF of L, and she continues to turn and steps back L
to end in butterfly having turned 1/2.
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In You Owe Me One, by Worlock, part A begins with a right side pass; man inside underarm
pass; close; release to left open; cross check to close; release to
face; hand change pass; and inside underarm pass; |
| Inside Underarm Pass
1234;
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In low BFLY position, rock apart L (W apt R),
step forward XRIF of L out of the slot (woman fwd L) raising lead hands to lead a
reverse underarm turn and releasing trail hands. Step fwd L beginning RF turn (woman fwd R
turning LF), and XRIF of L moving back into the slot and continuing to turn (woman continuing to turn
and step back L). End in left open facing position having turned 1/2. |
In Shivers by Mee we dance a basic; inside underarm pass; basic; close; release with outside underarm turn;
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Outside Underarm Pass
1234;
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In low BFLY position, rock
apart L (W apt R), fwd and sd R off the slot passing W on her L side
and beginning to turn LF (W fwd L in slot), raise lead hands fwd and
cross LIF of R turning and returning to slot (W fwd R turning RF under
lead hands), bk R in the slot (W bl L) ending in BFLY;
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In Boogie Shoes
by Garza we dance a close; release to BFLY wall; right side pass M face
COH; outside underarm pass BFLY wall; wrap; and unwrap to OP both
facing LOD;
Garza Showcase
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| Man's Inside Underarm Pass
1234;
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In left open facing position, rock apart,
step forward XRIF of L raising trail hands (woman steps forward L). On
beat 3, step forward L turning LF under trail hands (woman steps
forward R beginning RF turn). Finally, continue the turn and step back and side
R into the slot (woman back L) to low BFLY having turned 1/2. |
In Celebration Hustle
by Hicks we face partner and wall and dance an inside underarm pass to
COH; man's inside underarm pass to wall; link to CP wall; change places
R to L to LOD;
Hicks/Mee Showcase
A Group Showcase
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Close
1234;
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In
low BFLY wall rock apart on
the lead foot, cross right in front of left moving out of the lady's
slot (W fwd L), fwd L turning 1/4 RF (W fwd R turning 1/2 RF), close R
to L (W bk L); We end in an L-shaped closed position M facing RLOD and
W facing wall.
Of course, may be danced in other facing directions.
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In Boogie Shoes
by Garza the dance begins in BFLY wall. We dance a close; release to
BFLY wall; right side pass; outside underarm pass to BFLY wall;
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Release
1234;
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In
our L-shaped closed position at the end of a close (above), man
facing RLOD and lady facing wall, lead hands joined, trail arms in
closed position, the man steps side left and recovers, releasing his
right hand. The woman rocks back right and steps forward left, turning
left-face. This has a slingshot feel to it. He crosses left in front of
right turning left-face 1/4 to face wall, and steps back. She continues
turning, steps side and back right, and steps back left to face COH. We
end in butterfly wall. The release is always done from the hustle
L-shaped closed
position, but your facing direction may vary. Second, you may release
to other ending positions than butterfly, such as left open facing or
left open position.
Here, I refer to a "hustle L-shaped closed position," and the position
is sometimes called the "hustle closed position." It does make sense to
think of the ending position of a figure called "close" a closed
position, and the man's right arm is in standard closed position with
the lady on his right side. However, round dancing has a standard
description for closed position, and it is not L-shaped. We probably
should not create a hustle closed position that is different from the
standard closed position in waltz or any other rhythm.
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The close and release is a common pairing.
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Release With Outside Underarm Turn
1234;
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In the L-shaped position
at the end of a close M facing RLOD and W facing wall rock
apart M sd L (W bk R), recover R raising lead hands (W fwd L beginning
a RF underarm turn), cross L in front of R turning 1/4 LF and moving
into the lady's slot (W fwd R turning), sd & bk R (W bk L) to low
BFLY wall;
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In Shivers by Mee we dance a basic; close; release with outside underarm turn to low BFLY wall; skate 4;
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Left Turning Basic
aka Cross Body
1234;
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In the L-shaped close
position sd L with elastic springiness (W bk R), recover R slipping
back beginning to turn LF and moving into the lady's slot (W fwd L in
the slot beginning to turn LF and in loose CP), cross L in front of R
turning and moving out of the slot to the man's right (W sd & bk
R), sd & bk R (W sd & bk L) blending to L-position having
turned 1/2;
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In I Will Survive the Hustle
by Hicks we dance a basic; close M fc RLOD; left turning basic 2X;;
release with outside underarm pass to wall; right side pass to COH;
Killion Showcase
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Right Turning Basic
aka Right Face Pivot
1234;
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In the L-shaped close
position sd L (W bk R), recover R turning RF (W fwd L), side L across
the slot in front of W (W fwd R between M's feet in a RF pivoting
turn), side & back R (W sd & bk L) having turned 1/2;
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In I Will Survive the Hustle
by Hicks we dance a close M facing RLOD; right turning basic 2X first
to close position M facing LOD and then to our starting position;;
release to wall;
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Hand Change Pass
1234;
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In left open facing position, M facing wall, the
man rocks back a small step and crosses right in front of left,
stepping out of the lady's slot. He raises his free right arm and will
sweep it forward and down as he passes her on beat 2. She rocks back on
her right and steps forward left. On beat 3, he steps forward left to
her right side, turns left-face, and releases her right hand with his
left and takes it with his right at his right hip. She steps forward
right and turns right-face. At this point, she is facing his back, and
both face LOD. On beat 4, he continues turning left-face and steps
back right, blending into the slot and changing her right hand back to his left. She continues
turning right face and steps back left to end in left open facing
position, M facing COH. Each has turned 1/2.
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In You Owe Me One
by Worlock we dance a close to L-shaped M facing RLOD; release to LOP
both facing RLOD; cross check to close; release to LOFP wall; hand
change pass to COH; inside underarm pass to wall;
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| Roll
Pass
1234;
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In left open facing position, rock apart,
step fwd XRIF of L as woman steps fwd L and with lead hand lead woman
to begin a LF roll. Release lead hands and step fwd L beginning a RF
turn as woman steps fwd R and begins a LF turn. Finally, finish the 1/2
turn and step side R, woman side L, to end in left open position.
I suspect that the roll pass could end in other ending
positions with appropriate modifications of the last step. The
essential features seem to be the rock apart, man roll RF and woman LF,
as man passes womans right side.
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In You Owe Me One by Worlock we dance a hand change pass to LOFP COH; inside underarm
pass to wall; roll pass to left open position both facing LOD; cross check to close M fc LOD; release to
butterfly COH;
Worlock Showcase
In September Hustle by Oren we
dance a basic; right pass to COH; basic; roll pass to LOP both face
RLOD; cross check to close; left turning basic 2X;; release with
outside underarm turn to BFLY wall;
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| Circle Pass
1234; 1234;
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As in all these "passes," we begin by rocking
apart and then stepping forward, the man crossing R in front of L to
get out of the slot. The man then steps fwd L turning LF and the woman
steps fwd R. The man continues to turn and steps side and back R and
the woman steps forward L turning 1/2 RF. You are facing each other, as
a couple having turned 1/2. In the second measure, the man continues to
turn LF and steps side and forward L and the woman steps fwd R, step
fwd and across R turning and woman steps fwd L turning 1/2 RF, continue
turning step side and back L woman close R, and then close R woman
close L having completed a full turn in all.
In essence, the man rolls LF around the woman as she
does her usual back and forth in her slot. Her fifth step is an unusual
forward step, which keeps her more compact and less likely to be mowed
down by the rolling man (a loose cannon).
An option suggested by the Worlocks has the man raising
his R arm on step 2, then L arm on step 4, sort of whirling like a
windmill or soaring airplane, then R up and L down on step 6, and L up
and R down on step 8. The use of this option makes it still more
important for the woman to stay compact and out of his frantic way.
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In You Owe Me One by Worlock we dance a roll pass to left open position both facing LOD; cross check to close M fc LOD; release to
butterfly COH; right side pass; circle pass to LOFP wall;; into a cha sequence: open break; and so on -- see their cue sheet.
Hurd Showcase
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Waist Drag Pass
1234
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In LOFP apart L (W apart
R), recover R crossing in front out of slot and beginning to turn LF
placing lead hands on M's right hip (W rec L beginning to turn RF), fwd
L completing 1/2 turn (W fwd R completing turn and sliding R hand along
curve of M's right hip), small bk R into slot (W bk L);
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In Boogie Shoes
by Garza we dance a waist drag pass to R handshak COH; flirt to
varsouviene COH; turn to L varsou wall; turn to varsou COH; outside
underarm exit to BFLY COH; right side pass to wall;
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Wrap
1234;
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Bk L (W bk R), cross R in
front of L out of slot raising lead hands (W fwd L beginning to turn
LF), small fwd L (W in place R completing wrap), in place R to wrapped
position;
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In Someone You Loved
by Hicks we dance a basic; right side pass to COH; basic; inside
underarm pass to wall; close; release; wrap to face wall; unwrap to
BFLY wall;
Hicks/Mee Showcase
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Unwrap
1234;
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In
wrapped position step bk L (W bk R), in place R raising lead hands (W
fwd L turning RF under lead hands), in place L (W fwd R turning), sd R
into slot (W sd & bk L to face partner);
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Flirt
1234;
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In right handshake
position rock apart on lead foot, recover R out of the slot (W recover
L in the slot), in place L, R (W fwd R turning 1/2 LF, bk L on M's R
side) join L hands to varsouviene position;
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Lindy Catch
1234; 1234;
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This figure is adapted
from the jive figure, which is danced 123&4; 123&4; There are
no triples in 4-ct hustle. Actually, the lindy catch is also standard
in merengue, and that figure is very close to what we have here.
Rock apart on the lead foot, recover M crossing in front to move out of
the slot and putting his R hand on her R hip, fwd L turning RF around
behind W (W fwd R), fwd R trng to face her back and catching her L hip
with his L hand (W fwd L); fwd L, R, sd & fwd L (having been
"caught" W bk R, L, R), XRIF of L back into the slot having made a
complete circle around the W and back to face (W step in place L);
The lady walks forward 4, is caught by the man as he circles around
behind. He pulls her back (gently), and she walks back 3 and closes.
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In Spicy Margarita 4 by Helms & Keck we dance a basic; close; release to wall; basic; right side pass; lindy catch;; basic;
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| Travolta
1234;
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In a facing position, no hands joined,
point L foot to the side (woman points R). The knee is turned inward.
The L hip is up. The right hand is at the right hip, and the L arm is
across the body with the index finger pointed down to the right. Look
in the direction of the pointed finger. All of this is to set up the
Travolta action.
On beat 1, use a circular hip rotation to pop your R hip
out and turn L foot (woman R) to a press line. bring the L arm straight
up to the L with pointed index finger, and look in the direction of the
pointed finger. On beat 2, bring the lead arm down to the R sd (woman L
sd) with lead ft and head following the motion. On beat 3, bring lead
arm up again with the lead ft and head following the motion. On beat 4,
bring the lead arm back down to the right sd again with foot and head
following the motion.
You are pointing up to the left, then down to the right,
and repeating. There is no change of weight during the figure. Again,
watch Saturday Night Fever to see what John Travolta can do. movie clip
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In Night Fever by Schmidt,
part C begins with a syncopated vine to the travolta;; roll 3 ball
change; reverse roll 3 ball change; repeat;;;;
This dance is a three-count hustle (QQQ& -- described in
introduction at top of page). The rhythm is also called disco/foxtrot
in Europe, and the Schmidts choreographed several of these. The
travolta itself is danced even-count -- QQQQ.
Schmidt Showcase
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