University Of Warwick

University of Warwick Latin and Ballroom Dancesport 2008-2009 Supplementary handout to classes (Term 1)

Contents Term 1 Handout Handout Handout Handout Handout Handout Handout Handout Handout Handout

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Introduction Walking actions Waltz figures Cha Cha Cha figures Quickstep figures Jive figures Competition etiquette Dance positions Alignments Latin motion

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Warming up Tango figures Rumba figures Getting involved with the club Preparing for a medal test Developing your style Postural techniques Lead and follow The other dances Practice methods

Term 2 Handout Handout Handout Handout Handout Handout Handout Handout Handout Handout

Introduction Welcome to Latin & Ballroom Dancesport at The University of Warwick. On behalf of everyone involved with the club we'd like to welcome you to your first class, and wish you all the best for the year ahead. Whether you've come to Latin & Ballroom as a seasoned competitor or a rank beginner, we'll do our best to give you all the information needed to make your experience as fulfilling as possible. Although we pride ourselves on being a sports club, and take part in both medal examinations and competitions, we also encourage a social atmosphere with plenty of social events, exhibitions and of course the classes themselves. No matter what level you're currently at, or what you want to achieve from dancing, we hope you'll enjoy your time at Latin & Ballroom. To help you familiarise yourself with the club, we've produced a series of handouts that we feel can be used to aid your progress. Additionally, the club operates with an executive commitee who is charged with running the club, and will be more than happy to help you. Below is a list of the executive committee members and the roles they occupy. Club President Vice-President Treasurer Team Captain Team Captain Secretary Equal Opportunity Officer Media and publications Officer Social Secretary Varsity President

Christopher Hartland Sam Marshall Ellen Webborn Natalie Eyre Mark Levy Daniela Rosetta Grasso Stuart Dingle Alex Jironkin Chris Evans

Your coaches, Rob Chapman and Natalie Zapater, are also on hand to answer any questions you may have. Questions and queries are absolutely encouraged, so please just ask if something is not clear. Dancing can be an incredibly effective way to stay healthy, meet new people, focus your mind and (if only for a short while) forget about the stresses of University work! Taking five minutes out to play a couple of tracks and practice your moves can be just the boost you need to continue studying. It can be surprising too to discover how much of an improvement to your dancing five minutes a day can make. Latin and Ballroom are, as you can probably guess, two separate styles. Ballroom dancing is a closed-hold style of dance where the bodies of Gentleman and Lady remain in contact throughout the dance. There are five dances within this style with varying tempo’s and characters. The dances are: o o o o o

Waltz Tango Slow Foxtrot Quickstep Viennese Waltz

The first few weeks of term (prior to the Warwick varsity ball) will focus primarily on the Waltz and Quickstep. Before the end of Term 1 however, you should also have a basic understanding of Tango. The Slow Foxtrot and Viennese Waltz will be taught in Term 2. As a beginner you will not be required to dance the Tango, Slow Foxtrot or Viennese Waltz in competition or a medal test. Latin American can be danced in with or without contact and this varies throughout the dance to suit the figure used. There is a limit (in competitive dancing) of five bars without hold. There are five dances within this style also, again with varying tempos and characters. The dances are: o o o o o

Cha Cha Cha Samba Rumba Paso Doble Jive

The first few weeks of term will focus primarily on the Cha Cha Cha and Jive. Before the end of Term 1 however, you should also have a

basic understanding of Rumba. The Paso Doble and Samba will be taught in Term 2. As a beginner you will not be required to dance the Samba, Rumba or Paso Doble in competition or a medal test. We understand that some of you may wish to learn everything all at once, and dances like the Viennese Waltz and Paso Doble can seem exciting. However, we will focus on the four beginner dances of Waltz, Quickstep, Cha Cha Cha and Jive until the Warwick Varsity ball to ensure that you are well practiced and competent. We believe whole-heartedly that it is better to have four polished dances than ten rusty ones! Rest assured that by the end of term 2 you will have had an opportunity to try all ten dances! A common query is, “how can I improve quicker?” and the simple answer is “Practice”. Regular class attendance is very important, and we recommend that you attend the Monday night practice session as often as possible. This combined with five minutes practice a day should be enough to get you started. For improving dancers, the ratio should be closer to 90 minutes tuition: 180 minutes practice. There is a chapter in this handout offering advice about structuring your practice time efficiently. This handout is designed to aid your tuition, not replace it. The information comes from various sources, and due to the nature of Dancesport can be debated endlessly. Opinions offered are usually borne out of experiences that your coaches have had and wish to share. For many of you, practice will be the farthest thing from your mind! That’s fine too, as dancing is a great social activity and throughout the year you will have an opportunity to attend several social events run by the club. Whatever you aim to achieve from Latin & Ballroom dancing, we will do our very best to help you get there. Best wishes for the year ahead!

Rob Chapman & Natalie Zapater Latin & Ballroom Dancesport Coaches

Walking Actions One of the most common mistakes when learning to dance is to abandon your natural mechanics and “try” to dance. The physics of dancing are largely an exaggeration of human locomotive skills (although there some unnatural techniques involved too). We will demonstrate the correct procedure in class, but when practicing you may find it useful to refer to the following description of a forward walk in ballroom.

This description is ideal and, in our opinion, could not be worded better. It can be found in a book entitled “Technique of ballroom Dancing” and was written by Guy Howard on behalf of the IDTA. As we move beyond Waltz and Quickstep towards Tango, you will notice that the principles listed above are still relevant but used in a slightly different way to create a different character. The technique for walking in Latin American differs considerably. We hope that even after your first class you will be able to see and feel the different techniques employed in each style. As a very simple rule of thumb, you will very rarely be asked to step forward using a heel in Latin American (Paso-Doble is a notable exception) Walking in Latin American can sometimes feel more unnatural to a beginner than walking in Ballroom, as it does not lead with a heel. However, the same fundamental principle of moving your body first and legs second remains. The technique for walking in Latin American is the same for both the gentleman and the Lady, which can prove helpful when practicing.

Waltz Figures The Waltz is danced at a tempo of 30 bars per minute, with 3 beats per bar. This tempo is the slowest of all ten dances, and the challenge for all dancers is to create a Waltz that flows naturally around the floor with a feeling of both power and grace. Do not be fooled by its lack of speed, as you should never allow your movement to come to a complete standstill. This can be achieved by demonstrating a degree of control over rise and fall. The routine you learn in class will be reasonably short, but should give you movement, rotation and shape. The routine consists of the following figures: 123, 223 323 423, 523 623, 72&3 823 123 223 32&3 423 523, 623 723 823

Natural turn RF Closed change Reverse turn Whisk and Chasse First half of a Natural turn Open Impetus turn Wing Chasse to R Outside Change Natural Spin turn Second half of a Reverse turn LF Closed change

The first digit refers to the bar number, and the following digits refer to the beat number within that bar. All figures are slow (1 beat) except for chasses, which are danced slow, quick and quick (1 beat, 2/3 beat, 2/3 beat, 2/3 beat). All Ballroom dances are phrased in groups of eight bars. At the end of eight bars there will normally be a musical indicator, and it is good practice to reflect this in your routine. The routine you learn in class takes phrasing into account, but we cannot control other dancers who may bump into you and it is important that you start at the correct time. Phrasing is often overlooked by beginner dancers, but in a category where the standard is so level it can greatly influence an adjudicator’s decision and, away from the competition floor, it will feel much more musical.

Quickstep Figures Quickstep is typically danced at a tempo of 52 bars per minute, and there are 4 beats per bar. This tempo is the quickest of all ten dances, and the challenge for all dancers is to create a Quickstep that does not look harassed, yet still appears lively and fun. In Waltz you will need to develop your control of rise and fall to create a dance that does not stop and appear laboured. In Quickstep this same action will give you the ability to keep your figures crisp. The correct use of compression (the mechanism that creates rise and fall) will also help you create rotation and drive. These two techniques are essential if you want to compete at the highest level, but more importantly they create a feeling of truly using the music to dance. The routine will be as follows: 1234, 22 34, 3234 4234, 52 34, 6234, 7234 8234 1234 2234, 3234, 42 34, 5234 6234, 7234, 8234

Progressive chasse Quarter turn to the L (chasse) Forward Lockstep Natural Spin turn Quarter turn to the L (heel pull) Crosse chasse Natural hesitation Chasse to R Outside change to Fishtail

In 4/4 dances (Quickstep, Tango and Slow Foxtrot) we count a slow step as 2 beats, and a quick step as 1 beat. These beats can be split to provide syncopation but make for very fast figures! As many quickstep figures overlap bars, it is often preferable to count quickstep timing in slows and quicks. The same routine written in this format would look like this: SQQS SQQS SQQS SQQSSS SQQ SQQ SQQSSS SQQ SQQSQQQQS

Progressive chasse Quarter turn to the L (chasse) Forward Lockstep Natural Spin turn Quarter turn to the L (heel pull) Crosse chasse Natural hesitation Chasse to R Outside change to Fishtail

It may look complicated but we promise it won’t take long before you’re comfortable counting your routine in this way!

Cha Cha Cha Figures This Latin American dance has a tempo of 32 bars per minute, and has 4 beats per bar. It can be danced in close or open hold depending on the figures used, although there can be no more than five bars spent without hold. The Cha Cha Cha is a flirty and fun dance, and your performance of the figures is of equal importance to their complexity. As with all dances, we urge you to perfect the simple figures before asking for more complicated ones! Both competition judges and medal examiners will also appreciate your understanding of basic steps. The routine you learn in class will be: 4&1 234&2 234&3 234&4 234&5 234&6 234&7 234&8 234&1 2&3,4&2 2&3 4&3 234&4 234&5 234&6 234&7 234&8 234&1

Chasse to R New York and chasse to L Spot turn and chasse to R Time step and chasse to L Time step and chasse to R hand to hand and chasse to L Aida Rocks and advanced basic Spot turn and chasse to R Forward lockstep, chasse to the R Cuban breaks (away from partner) Cuban breaks (towards partner) Spot turn and forward lock towards partner Natural Top Forward basic and chasse to L Under arm turn and chasse to R

Pay attention to the music when dancing this routine, as if timed correctly you should notice how the figures fit very well with most tracks

Jive Figures Jive is an action packed dance that is danced at tempos between 40 and 44. There are 4 beats per bar. It is commonly danced in open hold, but still with connection (as the cha cha cha, there is a limit of five bars apart). Heaviness is especially discouraged in Jive, and the weight should be placed into the balls of the feet resulting in a springy action. Please note however that Jive is a mixture of swing steps and bounce steps, so don’t allow yourself to pick up the habit of never putting the heels down. Your Jive routine will be: 1a2, 3a4 22 3a4, 3a2, 34 4a2, 3a4 52 34, 1a3, 3a4 12, 3a4, 12. 3a4 12, 3a4, 1a2 34, 12, 3a4 12, 3a4, 1a2 34, 12, 34, 12 3a4, 12, 34, 12

Basic in place Fallaway rock Change of place R to L Change of place L to R Simple spin Change of hands behind the back Stop and go Change of hands over the head Hip bump Change of place L to R Mooch

Continue from change of place R to L

The next two pages list all of the steps that are allowable at Beginner and Novice level. Dancers in Intermediate and above are free to dance all syllabus steps and accepted variations. Please note that in team events you are free to dance all syllabus steps and accepted variations regardless of the event you competed in as a couple.

Waltz

Slow Foxtrot

Tango

Back Lock Back Whisk Basic Weave Chasse from Promenade Position Closed Changes Closed Impetus Closed Telemark Closed Wing Double Reverse Spin Fallaway Reverse and Slip Pivot Hesitation Change Hover Corte Natural Spin Turn Natural turn Open Impetus and Wing Open Telemark and Cross Hesitation Open Telemark and Wing Outside Change Outside Spin Progressive Chasse to Right Reverse Corte Reverse Pivot Reverse Turn Turning Lock Turning Lock to Right Weave from Promenade Position Whisk

Basic Weave Bounce Fallaway with Weave Ending Change of Direction Closed Impetus and Feather Finish Closed Telemark Curved Feather to Back Feather Fallaway Reverse and Slip Pivot Feather Hover Cross Hover Feather Hover Telemark Natural Hover Telemark Natural Telemark Natural Turn Natural Twist Turn Natural Weave Natural Zig Zag from Promenade Position Open Impetus Open Telemark and Feather Ending Open Telemark, Natural Turn, Outside Swivel & Feather Ending Reverse Turn (incorporating Feather Finish) Reverse Weave Three Step Top Spin Weave from Promenade Position

Back Corte Back Open Promenade Basic Reverse Turn Brush Tap Closed Promenade Fallaway Four Step Fallaway Promenade Fallaway Reverse and Slip Pivot Five Step Four Step Four Step Change Left Foot and Right Foot Rocks Natural Promenade Turn Natural Twist Turn Open Promenade Open Reverse Turn, Lady in Line Open Reverse Turn, Lady Outside Outside Swivels Oversway Progressive Link Progressive Side Step Progressive Side Step Reverse Turn Promenade Link Rock Turn The Chase Walk

Quickstep

Cha Cha Cha

Samba

Back Lock Chasse Reverse Turn Closed Impetus Closed Telemark Cross Swivel Double Reverse Spin Fishtail Forward Lock Four Quick Run Hover Corte Natural Pivot Turn Natural Spin Turn Natural Turn Natural Turn & Back Lock Natural Turn with Hesitation Progressive Chasse Progressive Chasse to Right Quarter Turn to Right Quick Open Reverse Reverse Pivot Rumba Cross Running Finish (which may end in Promenade) Running Right Turn Six Quick Run Tipple Chasse to Right Tipsy to Right and Left V6

Advanced Hip Twist Aida Alemana Basic Movement • Chase Closed Hip Twist Cross Basic • Cuban Breaks Fan • Follow My Leader Hand to Hand Hip Twist Spiral Hockey Stick Natural Opening Out Movement Natural Top New York • Open Hip Twist Opening Out from Reverse Top Reverse Top Shoulder to Shoulder Side Steps (to Left or Right) Spot Turns to Left or Right Spiral Turns (Spiral, Curl, Rope Spinning) Sweetheart There and Back Three Cha Cha Chas Time Steps • Turkish Towel •

Argentine Crosses Back Rocks, Closed Rocks, Open Rocks Basic Movements Bota Fogos to Promenade & Counter Prom Contra Bota Fogos Corta Jaca Criss Cross Bota Fogos Criss Cross Voltas Cruzados Walks and Locks Maypole Natural Roll Plait Promenade & Counter Promenade Runs Reverse Roll Reverse Turn Rhythm Bounce Rolling Off The Arm Roundabout Samba Locks Samba Walks (Prom., Side, Stationary) Shadow Circular Volta Shadow Travelling Volta Solo Spot Volta Three Step Turn Travelling Bota Fogos (Back/Forward) Volta Movements Whisks

Rumba

Paso Doble

Jive

Aida Alemana Basic Movement Closed Hip Twist Cuban Rocks Cucarachas Fan Fencing Hand to Hand Hip Twists (Advanced, Contiunuous & Circular) Hockey Stick Natural Opening Out Movement Natural Top New York Open Hip Twist Opening Out from Reverse Top Opening Out to Right and Left Progressive Walks Forward or Back Reverse Top Shoulser to Shoulder Side Steps Sliding Doors Spiral Turns ( Spiral, Curl and Rope Spin) Spot Turns (Inc switch a& Underarm turns) Three Alemanas Three Threes

Banderillas Basic Movement Chasse Cape (including Outside Turn) Chasses to Right or Left Coup de Pique Deplacement & Attack Drag Ecart (fallaway Whisk) Fallaway Ending to Separation Fallaway Reverse Turn Flamenco Taps Fregolina (also farol) Grand Circle Huit La Passe Left foot Variation Open Telemark Promenade and Counter Promenade Promenade Link, Promenade close Separation Separation with Lady's Caping Walks Sixteen Spanish Lines Sur Place Syncopated Separation Travelling Spins from Counter Prom.Pos Travelling Spins from Promenade Position Twist Turn

American Spin Basic in Place Catapult Change of Hands Behind Back Change of Places Left to Right Change of Places Right to Left Chicken Walks Chugging Curly Whip Fallaway Rock Fallaway Throwaway Hip Bump (Left Shoulder Shove) Link Miami Special Mooch Reverse Whip Rolling Off the Arm Shoulder Spin Simple Spin Spanish Arms Stalking Walks, Flicks and Break. Stop and Go Toe Heel Swivels Walks Whip Whip Throwaway Windmill

Suitable Practice Music: Waltz See the day – Girls Aloud Three times a lady – Lionel Richie Tango

Slow Foxtrot

Quickstep

Viennese Waltz

Cha Cha Cha

Samba

Rumba

Paso Doble Spanish Gypsy Dance Espana Cani Jive

Latin and Ballroom Dancesport is proud to represent Warwick University at several competition across the UK. We are also particularly proud to be able to host the Warwick Varsity Ball which is attended by hundreds of competitors. As a member of the club, we actively encourage you to take the opportunity to experience the thrill of competition. If you choose to dance at the Warwick Varsity Ball, and we hope you do, there are a few things you can do to enhance the day. By being prepared you can minimise stress, and ensure you dance to the best of your ability. A few weeks before the competition: Find suitable clothes for the competition. Ladies should wear comfortable and flattering dresses for ballroom (competition wear is not usually allowed - check with your team captains) Gentlemen should wear a well-fitted shirt (not baggy) and tie, trousers with a belt and a waistcoat if desired. If you haven't got dancing shoes, make sure your shoes are suitable for a wooden floor. It is important that they are clean and that the colour compliments your clothing (try out your shoes in the activity room at the sports centre to test their practicality) Make a note of the competition details. Venue address Doors open / First round Team captain's mobile number Partner's mobile number Coach pick up locations and times Cost of entry Try to sleep at a regular time each night. Although this may not be easy on campus! The night before the competition: Prepare your clothes and accessories, pack them tonight and make a list if you need to. Make sure when packing that the clothes aren’t creased. If you’re nervous, why not meet up with other competitors and have a chat? Don’t be fooled that sleeping more hours will give you more energy, try and keep to the pattern you’ve established throughout the week. Make sure you’ve got enough food and water to get you through the day. We recommend at least 2l for the day to replace the fluid lost through exercise. You can supplement your intake with fruit if that sounds like a lot of water for one day!

Check your wallet/purse, do you have enough money for the day? Some of you may wish to use fake tan for the competition. For ladies this should be done at least the night before, if not a few nights earlier. Gentlemen can get away with using a tanning towel either the night before or even first thing in the morning. Charge your phone. It’s important that you’re contactable should you be delayed. Set an alarm for the next day! The morning of the competition: Wake up to your alarm! Have a quick warm up first thing in the morning, and follow it with a few simple stretches. Try and make time for a hearty breakfast. Try and avoid cereals (simple carbohydrates), instead opting for porridge or muesli (complex carbohydrates). Fruit juice is better than tea or coffee, but a glass of water and a piece of fruit is even better. Don’t forget your food for the rest of the day! Try to look smart, you are representing Warwick University after all. The coach is not the best place to do make up, hair etc.! If you can make time, this should be done in the comfort of your own home (that doesn’t bump up and down!) Leave plenty of time to get to your pick-up point. If you think you might be late please contact a member of the executive committee. At the competition: Your executive committee will take care of pretty much everything on the day regarding entries, but it’s important that you pay attention to any information they give you. Try to be helpful and remember that they are competing too! Keep warm, keep stretching, keep practicing and keep drinking water. Be prepared for your first round. You are competing as soon as you walk onto floor so it is essential that you look clean and smart. It’s only natural to be nervous, but remember that your practice session is the place to worry about your technique; the competition floor is a stage. Remember to take a bow and thank the audience for their support. Support your fellow competitors as it can really make a difference. A little preparation will help make the day even more enjoyable and stress free. Competitions are meant to be fun so don’t get too frustrated if results don’t go your way, remain respectful and at all times remember that you’re representing Warwick University.

Dance Positions This topic can be expanded upon as your knowledge of dancing increases. As a beginner however, you will need to familiarise yourself with just six positions (three in Ballroom, and three in Latin American). Knowledge of these positions, and the points of contact they promote, will become a foundation for lead and follow. We recommend that you spend some time simply moving from position to position, so you can also begin to appreciate the transitional movements involved. Ladies in particular will need to develop a feel for the rotation implied by the gentlemen, who in turn must establish an awareness of where he wants the Lady to be. Closed Position (Ballroom) The Closed Position in the smooth ballroom dances is the most basic and common position used to move around the dance floor. Man and lady stand in front of each other in body contact, slightly offset to the left. The feet should be positioned slightly offset so that the right foot of either partner can step between the other partner's feet. If positioned correctly, you should find that there are four points of contact: 1. Body contact. The right half of the man's front is in contact with the right half of the lady's front. The connection begins at the upper thighs and should continue all of the way up to the middle of the torso. 2. Man's left hand to lady's right hand. Palm to palm in an upper-hand clasp, with fingers and thumbs closed around partner's hand. 3. Man's right hand on lady's back. Right hand is loosely cupped with fingers and thumb together (not spread apart). Hand connects to her back on her shoulder blade. His wrist should make contact with her underarm at the junction of her arm and body. 4. Lady's left hand and forearm on man's upper arm. This connection can vary, based on the length of each partner's arm length and relative height. A well-matched couple of average height and arm length will find her hand resting on top of the junction of his deltoid and bicep.

Promenade Position The Promenade Position is a "V"-shaped dance position with man's left side and lady's right side slightly open. The direction of travel is toward the open side. Man and lady stand in front of each other in body contact, slightly offset to the left, with lady's middle connected to the man's right front. The lady's feet should be positioned slightly behind the man's. In promenade position, the man's head should be turned to the left, the lady's to the right. The points of contact in this position vary slightly from Closed Position. 1. Body contact. The right half of the man's front is in contact with the middle of the lady's front. The connection begins at the upper thighs and should continue all of the way up to the middle of the torso. 2. Man's left hand to lady's right hand. Palm to palm in an upper-hand clasp, with fingers and thumbs closed around partner's hand. 3. Man's right hand on lady's back. Right hand is loosely cupped with fingers and thumb together (not spread apart). Hand connects to her back on her shoulder blade. His wrist should make contact with her underarm at the junction of her arm and body. This connection should not change from basic closed position. 4. Lady's left hand and forearm on man's upper arm. This connection should not change from basic closed position.

Outside Partner (Right) The Right Outside Partner Position is a variation of the Closed Position where the tracks of the feet are offset to allow one partner to move toward the outside of the other partner's right leg. Man and lady stand in front of each other in body contact, slightly offset to the left. The feet should be positioned offset so that one partner can step outside of the other partner's right leg. The upper bodies should be turned slightly to the right, causing the left side of the body to project forward. This causes a forward step on the left to be taken with a "left side leading", while a forward step on the right foot is taken in CBMP. Conversely, a back step on the right foot is taken with a "right side leading", while a back step on the left foot is taken in CBMP. Contact points in Outside Partner position are the same as those of Closed Position.

Closed Position (Latin) The Closed Position in the Latin dances is the most basic and common position used to move around the dance floor. Man and lady stand directly in front of each other, a few inches apart. Tone is maintained through the arms, and body weight is held forward towards the balls of the feet. 1. Man's left hand to lady's right hand. Palm to palm in an upper-hand clasp, with fingers and thumbs closed around partner's hand. 2. Man's right hand on lady's back. Right hand is loosely cupped with fingers and thumb together (not spread apart). Hand connects to her back on her shoulder blade. His wrist should make contact with her underarm at the junction of her arm and body. 3. Lady's left arm and hand to man's right arm and shoulder. She may connect on top of his arm, or slightly around the outside. For best results, contact should be maintained throughout the entire arm.

Open Facing Position Open Facing is any position where partners stand facing each other, apart but within arms reach. Lead and follow is achieved through the use of various hand connections, such as the two-hand hold as shown in the picture. Man and lady stand directly in front of each other, within arms' reach. Tone is maintained through the arms, and body weight is held forward towards the balls of the feet.

There are many possibilities of contact points, but the most common are the hands. Shown above is the two-hand hold, where the man's left hand holds the lady's right hand, and his right hand holds her left. His palms are turned upward, and hers are turned downward. Other possibilities include a one-hand hold such as man's left to lady's right or man's right to lady's left, a "cross-hand" or "handshake hold" such as man's right to lady's right or man's left to lady's left.

Fan Position

Fan is an alternative to Open Facing Position, whereby man and lady are positioned perpendicular to each other with a left to right hand hold. It is specific to the Rumba and Cha Cha figure bearing the same name. Man and lady stand apart and at right angles to each other, with the lady on the man's left side. The path of her movement should cause her to pass directly in front of him when moving forward. 1. Man's left hand to lady's right hand. Man's palm is turned upward, while lady's palm is turned down, placed on top of his. Tone should be maintained in the arms to secure the connection for effective leading and following.

Alignment and Foot positions These particular subjects can be very confusing, but it can be a useful tool when learning new steps, and even more useful when trying to iron out problems with choreography. We will start by establishing that alignments are only used in Ballroom dances, whereas foot positioning is used for both styles. As such, let’s begin with foot positions.

Position of the feet in relation to the body

1. 2. 3. 4. 5.

Right Right Right Right Right

or Left foot forward or Left foot back of Left foot to the side or Left foot diagonally forward or Left foot diagonally back

As you will notice from the title, the positions labelled refer exclusively to their direction in relation to the body. They are not affected by your location in the room or the direction in which you travel, and they are the same for Gentlemen and Ladies.

Alignment, on the other hand, is defined as the direction of a step in relation to the ballroom. To understand your position in the room, it is essential that you visualise the Line of Dance (LOD). The LOD is an imaginary line that shows the direction of movement around the ballroom, otherwise known as the flow of traffic. All dancers will be moving in an anti-clockwise direction around the room, and the centre line of the floor separates the traffic. In certain figures you will hear the phrase “Facing Centre” or “Diagonal to Centre” which may imply that you are facing a particular point, when in fact the centre is a line. You may not cross over the line, just as a 400m runner may not cross the javelin field! With this in mind, you can now dance any figure and work out if you are facing the centre, the LOD, or the wall (side of room). These alignments are listed below.

“Facing” positions 1. 2. 3. 4. 5.

Facing Facing Facing Facing Facing

LOD Centre Wall Diagonal to Centre Diagonal to Wall

“Stepping” positions 1. 2. 3. 4. 5. 6. 7. 8.

Down the LOD Against the LOD To Centre To Wall Diagonally to the Diagonally to the Diagonally to the Diagonally to the

Note: Some figures will refer to a “pointing” position, as the body and feet are not always facing the same direction. For simplicity we have not listed these position here

Centre Centre against the LOD Wall Wall against the LOD

Latin Motion As Alignment is found only in Ballroom, this next subject is found only in Latin American (and anyone found trying it in their Quickstep will be made an example of!) Latin motion refers to the movement commonly known as “Hip action” but should be considered a technique that extends far beyond the hips. If you have been practicing your forward and backward walks (described earlier) you should already have developed a natural hip-action, and the technique of a forward and backward walk is based on leg actions. However, we are often asked to describe hip-action so will do our best to expand on the subject. So what does this tell us? Well, it reaffirms that hip-action is affected by other parts of the body. It is also useful to learn that incorrect Latin motion can have an adverse affect on other parts of the body too. Latin motion is not a hula-hoop action, and any attempt to treat it as such will cause unwanted movement through the body. Remember that lead and follow is felt through the body any rotary action caused by hip rolling can potentially send the wrong signals. As mentioned in the technique of walking forwards and backwards, there is a settling of body weight and it is this action that causes the appearance of Latin motion. When practicing, try walking following the principles already discussed, and when told to settle you weight pay particular attention to Note 2 that refers to a shift in the pelvis. This movement is often danced incorrectly by moving the hips to the side. This approach will only serve to collapse your side and if danced continuously will cause a loping style. To create the desired visual style, the hip should be settled down and backwards. The emphasis should be down into the floor, feeling that the body weight travels down the leg into the front of the heel. If done correctly this should naturally tilt the pelvis to create the feeling that the hip travels backwards. Please do not try to manufacture this motion by popping the hip backwards or your walk will turn into a waddle!