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Phase II Techniques for Million Dollar Dancing

by Walter & Eula Brewer

Opening Comments

What needs to be learned at phase I / II so that there is little or no adaptation by dancers when it comes time to learn phase III & IV? These techniques will help dancers smooth out, add elegance to, and generally make their dancing feel and look better. The comments here are mine, and are the synthesis of 35 years of dancing and instruction from many of the finest round dance instructors on the planet. We believe that incorporating these techniques early will enhance any dancer's understanding of good & easy-to-learn dance technique, providing the foundation for later successes if and/or when they pursue additional dancing goals. Mastering these techniques early will lead to dancers’ long-term enjoyment of great dancing. Since many teachers start their beginner lessons with the two step, the figures explained herein will mostly be in the two step. Generally, all these figures have waltz counterparts.

Contra Body Movement (CBM)

Semi-Closed Position
Take a good closed position with man facing wall – then men slightly rotate shoulders to right (which should turn lady’s shoulders to the right allowing her to look toward right) – both dancers are able to look to line of dance but the bodies (hips down) are mostly still facing each other. “Forward” steps taken with lead foot should be more side than forward. “Forward” steps taken with trail foot should be a crossing thru step more than forward. When taking steps in semi-closed position, the feet will naturally turn a bit with the toes slightly turning toward line of dance (but only a little). The position of the feet should have a natural turn and not purposely pointed toward line of dance.

All “forward” steps taken with the trail foot are done using a concept called “contra body movement position” (CBMP). This term CBMP is a foot position or method of foot placement. In essence, that’s all it really means. There’s been much confusion over this term for years.

In semi-closed position (for the man), this is a position of the feet where the right (trail) foot is moving toward the left shoulder with the right foot crossing in front of the left foot with or without forward progression. For the lady, the left (trail) foot moves toward the right shoulder with the left crossing in front of the right foot. Conversely, “backward” steps taken using the lead foot while in semi-closed position should use CBMP as well. We don’t do a lot of these (however, see hitch 6 below).

Forward Two Steps
From semi-closed position, the “forward” in the name means toward line of dance – not actual forward steps. The steps should more closely resemble a side two step followed by a cross-side-cross (or a thru two step). Think more side/close/side, then cross thru CBMP/close/cross thru CBMP.

Hitch 6
From semi-closed, the 3rd & 6th steps are taken using CBMP. Think of this more as a side/close/cross behind CBMP, and side/close/cross thru CBMP – having started with lead foot.

Sidecar & Banjo Positions

For sidecar position start off in closed position with man facing line of dance. Then as an individual, both partners rotate the whole body to the left (up to about a 1/8 turn) but still keep your head looking toward the left. This may feel awkward since we may have been taught to turn as a couple to the right. The left rotation will actually allow the man to step forward outside the lady which places both dancers to the partner's left side. For either dancer, a left foot forward step is taken in CBMP and a right foot back step is taken in CBMP. Using this body positioning and foot placement allows forward progression to actually be taken on a diagonal toward line and wall.

For banjo position start off in closed position with man facing line of dance. Then as an individual, both partners rotate the whole body to the right (up to about a 1/8 turn and keep your head looking toward the left. The right position will allow the man to step forward R outside the lady, placing both dancers to the partner's right side. For either dancer a right foot forward step is taken in CBMP and a left foot back step is taken in CBMP. Using this body positioning and foot placement allows forward progression toward diagonal line and center.

Walk 2
For forward walks (either dancer from Sidecar Position): Starting with Left Foot, the walk 2 will be a forward left crossing CBMP step and a side-like forward right step. Starting with Right Foot, the walk 2 will be a side-like forward right step and a forward left crossing CBMP step.

For backward walks (either dancer from Sidecar Position): Starting with Left Foot, the back walk 2 will be a side-like back left step and a back crossing CBMP step. Starting with Right Foot, the back walk 2 will be a back crossing CBMP right step and a side-like back left step.

For forward walks (either dancer from Banjo Position: Starting with Left Foot, the walk 2 will be a side-like forward left step and a forward right crossing CBMP step. Starting with Right Foot, the walk 2 will be a forward right crossing CBMP step and a side-like forward left step.

For backward walks (either dancer from Banjo Position: Starting with Left Foot, the back walk 2 will be a back crossing CBMP left step and a side-like back right step. Starting with Right Foot, the back walk will be a side-like back right step and a back crossing CBMP left step.

Progressive Scissors in TS, similar to Progressive Twinkles in WZ
The Progressive Scissors to Sidecar (beginning with lead foot free): Figure usually starts in Closed Position and starts with both dancers stepping side with a very slight couple rotation to the right (lady outsteps the man but stays in front of man in Closed Position but slightly offset a bit farther to man’s left than usual), then both close, (in between the 2nd & 3rd steps, both dancers individually rotate to the left to sidecar position), then both take a CBMP crossing step (the man’s forward crossing and the lady’s backward crossing).

The Progressive Scissors to Banjo (beginning with trail foot free): Figure usually starts in Sidecar Position but may begin in Closed Position. Begins with both dancers stepping side with a very slight couple rotation to the left (lady outstepping man to Closed Position but slightly offset a bit farther to man’s right than usual), then both close, (in between the 2nd & 3rd steps both dancers individually rotate to the right to banjo position), then both take a CBMP crossing step (man’s forward crossing and lady’s backward crossing).

Shoulder Leads

Locks
Locks (either forward or backward traveling) are danced with the body turned at an angle of about 45 degrees (or even more). Locking figures or step combinations should be danced with flexed knees. Knees should absolutely never be locked (stiff), but should be more relaxed that just a soft knee.

For forward movement, when starting with the left foot while facing line of dance the body (pretty much all of it) will rotate to the right so that the trunk of the body is facing toward diagonal line & wall. If right foot, the body turns left to face diagonal line and center. For either foot, this will kind of feel like someone is taking the hand closer to line of dance and is pulling you forward toward line of dance and you are somewhat resisting the pull. This would be the lead hands if starting with lead foot or trail hands starting with trail foot.

For backward movement, when starting with the left foot while facing line of dance the body will rotate to the left with the trunk facing diagonal line & center. When starting with the right foot the body will rotate to the right with the trunk facing diagonal line & wall. This would have the pull from behind with lead hands if starting with lead foot versus trail hand starting with trail foot.

Forward Locks & Back Locks
After direction of body rotation and dancing with flexed legs are understood, we look at the figure/step combinations we encounter in the two step. The double forward lock (sometimes cued forward lock 2X or forward lock 4) is very common, and the standard timing is 4 quick steps (qqqq). From open position (starting with lead foot toward line of dance) the couple will face in toward each other in a facing vee open position – trail hands are joined at the vertex of the vee – and will take a step toward line of dance (this step will feel like a diagonal side & forward step) followed be a lock in back (with the trail foot crossing in behind the lead foot with both feet close together). The second forward lock will be identical. If starting with the trail foot the dancer would turn away from each other into a back to back vee open position with the trail hand joined at the vertex (with trail hand farther down line of dance) and the first step is taken toward line of dance.

In performing back locks from open position (infrequent), the dancers would likely start with trail foot and would likely change to handholds with the lead hands which would be the vertex of a facing vee.

Also common is doing forward locks from banjo position starting with the lead foot. In this instance the dancers bodies will be aligned parallel to each other but both will be turned to the right at the 45 degree angle with man slightly ahead of woman. Then the man does forward locks while the lady does back locks. Forward locks from banjo with trail foot should be considered poor choreography. But back locks from banjo position starting with trail foot can be good choreography, and in this instance the man does back locks while lady does forward locks.

In sidecar position forward locks should start with trail foot (man doing forward locks and lady doing back locks). Back locks would start with lead foot (man doing back locks and lady doing forward locks).

Forward/Lock/Forward & Back/Lock/Back
The 3-step locks are an extension of a single forward lock. Timing is quick quick slow (qqs) for one measure. When dancing single measure combinations just do the steps indicated (using information form above). For forward/lock/forward just dance the single forward lock following by another forward step. Same for back/lock/back. Waltz will use the preparatory slow count for a forward, forward/lock, forward.

Starting with lead foot, when dancing the forward/lock/forward twice from open position the dancers will turn in toward each other for the first “set” then (while bringing joined trail hands thru toward line) will pivot on the lead foot to a back to back vee position to dance the second “set.” This will feel a lot like the figure combination face to face and back to back.

Turning Figures

Right Turns (early turn)
Right turning figures use the reverse box as the foundation; so it’s critical to understand the steps of the reverse box well. Most of the turn on right turns is performed on the 3rd step of each measure (the forward or back step) in the two step / 1st step in waltz. Early turn means that the body turn and the foot turn starts before placing the foot – then the turn continues while on the foot with both body and foot turn.

Reverse Box
The basic for right turns. The reverse box for the man is a step side left, then close the right foot to the left, then back left, then a pause (first measure is complete), then side right, then close left to right, then forward right, then pause. Timing translates to qqs qqs. For lady it’s side right, close left, forward right, pause, side left, close right, back left, pause.

Right Turning Box
The right turning box is a reverse box followed by another reverse box – but – each time the dancer steps forward or back they turn 1/4 to the right. This means that the figures covers four measures (each with a quarter turn) and timing is qqs qqs qqs qqs. When using the left foot for a right turn you prepare the turn after the previous step by starting to rotate the body right faced – this will allow the foot to already be turned some (toeing in) before completing the step back – then after placing weight on the left foot perform a sharp pivot to complete the 1/4 turn.

Turning Two Steps (right turning)
This is an extension of the right turning box – but only with two measures. Timing is qqs qqs. But the big difference is you will turn on steps #1, #3, #4, & #6. Each of these 4 steps create a 1/4 turn each and each of these steps progresses down line of dance. Two turning TS is a very linear figure – and by that I mean that it travels a long length (distance) toward the dancing line of progression.

Starting with lead foot, we will perform an early turn before the side step, we will close, then early turn while stepping back for man (forward for lady), pause, then an early turn side step, close, then early turn step forward for man (back for lady). In smoothing the figure, some turn is also allowed on the closing steps. Also note that due to the early turn the side steps may feel forward or back more than sideward. Either measure of the figure can be done separately but is not common.

Left Turns (late turn)
As in the right turns there is a foundation. For left turns it’s the box. Turns also occur primarily on the forward or back steps. Late turn means that all the turn for a given step is performed after foot placement.

Box
The basic for left turns. The box for the man is a side step left, close right to left, forward left, pause, side right, close left to right, back right, pause. Timing is qqs qqs. For lady the steps are side step right, close left to right, back right, pause, side left, close right to left, forward left, pause.

Left Turning Box
The left turning box is a box followed by another box – but – each time the dancer steps forward or back they turn 1/4 to the left – but the turn is a pivot on the foot after taking the step – this means there is no preparation for the turn. The figure covers four measures with timing of qqs qqs qqs qqs. All turn is on steps #3, #6, #9, & #12 with each turn exactly 1/4 to the left. There should be no turning on the side or closing steps.

Left Turning Two Steps
This is an extension of the left turning box – but with only two measures. Timing is qqs qqs. The big difference here is that you will turn after the last step of previous figure (1/8 turn), on step #1 (1/8 turn), #3 (1/4 turn), #4 (1/8), & #6 (3/8). Each of these steps progress down line of dance. Two Left Turning TS is quite linear as well – but with a wrinkle. The first measure will travel primarily down line but a little toward the center too. The second measure will travel down line and a little toward the wall.

The figure begins with a late left turn after the last step of the previous figure. Left turn will continue with a side step, we will close, then forward (back for lady) with a subsequent late left turn, pause, then continue rotation with a side step, close, and a final back (forward for lady) with late left turn – this step will likely continue rotation during the pause and into the first step of the next figure.

Twisty Figures
The lesson we’re looking for on twisting figures is that it’s better to be subtle on the amount of turn involved but to be extravagant on other styling techniques; kind of a less is more approach.

Open Vine
First, when we’re dancing open vines we want to keep lead hands joined at all times. This may not be conventional but will allow a stronger partner connection. Sometimes it’s hard to find the partner’s free hand to keep joining the other hand for each step. This allows the free (trailing) arm to get to do “pretty” stuff. This part is visual and difficult to write about. The best part, however, is if the figure ends in semi-closed the dancers can make a much smoother transition to the next dance position.

Timing is ss ss over two measures. Try to minimize the amount of turn on the 2nd and 4th steps. Description is the same for both the man and the woman. Step side, turning to left open position cross in back (but not to face reverse – you should be in a facing vee here), turning to face partner step side, step thru (this should be more of a crossing in front step than the forward thru step) bringing trail hand thru also (but don’t grab hold) also to a facing vee position – lead hands should be joined throughout the figure. Never fully turn your back to line of dance – after all there are wolves down there.

Twisty Vine
Again, do not fully turn your back to either line of dance or reverse line of dance (wolves down line – snakes down reverse). Less rotation is better. Timing is ss ss over 2 measures. Usually danced in loose closed position. Starts in closed position, man steps side left, somewhat crosses right in back of left (to sidecar), turning to face partner side left, somewhat cross right in front of left (to banjo). The lady steps side right, crosses left somewhat in front of right to sidecar, turning to face partner side right, crosses left somewhat in back of right to banjo.

Strolling Vine
The phase III Strolling Vine is a combination using the twisty vines along with left and right turning two-steps.

Sway (waltz)
Side sway (utilizing side stretch) should be introduced as soon as possible when teaching waltz. Side Draw Touch and Side Sway Left and/or Right should be considered interchangeable cue terms. Side sway should be utilized in Canters and Boxes and the sway introduced on day one of any waltz class.

Dancing On Diagonals
Last but not least – where possible, dances should be danced on the diagonals. Just because a waltz is phase II does not mean that dancing cannot be performed on the diagonals. This, however, will require more choreographers to consciously write their dances utilizing figure to figure execution which allows and/or encourages dancing diagonally.


From clinic notes prepared for the RAL Convention, 2015, and reprinted in the Dixie Round Dance Council (DRDC) Newsletter, September 2021.


dingbat



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