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Skippy Blair's Dance Dictionary
"Dance Terminology Notebook" "a" COUNT - (1) Professional DANCERS use the "pick up" count, the "&a" that is danced before the Downbeat. Musicians frequently speak of "Rolling the Count" - or the “Dancers Count” ("&a1 &a2"). This is an upper level count for Musicians, but a vital necessity, even at a BASIC level, for serious dancers. (2) Most musicians are more familiar with “Straight Count” - "1-e-&-a 2-e-&-a" - where the "&a" comes after the beat. Pit Musicians (those who play for professional stage dancers) are more familiar with Rolling the Count. (3) Professional Dancers usually learn to "Roll" the Count very early in their training. Teaching Note: Referred to by Skippy Blair in the 1980s as "Magic Count", because of the difference it made in one’s dancing, Rolling Count has become part of the "Essence" of Classic West Coast Swing. Rolling Count creates a more rhythmic performance in ALL forms of Dance. It is an essential foundation element in both Samba and West Coast Swing. (Noted by SB in 1978) (see "AND" COUNT, ROLLING COUNT)
ABSOLUTE PATTERN - ADJUSTED PATTERN - A. ABSOLUTE PATTERN - (1) An ABSOLUTE PATTERN is one that is danced alone. It is the precise footwork that places the "Center Point of Balance" (CPB) in the RIGHT PLACE at the RIGHT TIME with the least amount of expertise. (2) It is important to note that the term "Absolute" does not refer to any specific Style or Discipline of dance. It simply represents any precise dance pattern that you wish to do, danced alone, without the complication or adjustment to a partner. (3) When any two people dance together we are observing an Adjusted Pattern. B. ADJUSTED PATTERN - (1) The "Adjusted" Pattern describes what we see when any two partners dance together. The "Adjusted" Pattern changes slightly from the "Absolute" with every Partner. (2) Keeping the Absolute Pattern in one's mind creates better form for both partners. (3) The use and understanding of Absolute & Adjusted Patterns in the training of West Coast Swing dancers, produces an excellence that is worth the effort. This technique works for every dance, but is most easily observed in Classic West Coast Swing. Teaching Note: When TEACHING, it is important to review the "Absolute" pattern before teaching a variation. When Dancers copy material from a Video, they are copying an adjusted rather than the "absolute" pattern. Knowing, and being able to apply, "Rules of Movement" & "Rules of Music" allows a dancer to recreate an absolute pattern, having only observed an adjusted pattern (also see: RHYTHM VARIATION, STYLE VARIATION)
ACCENT - (1) "Emphasis" or "Stress" on one particular sound in the MUSIC. The most easily recognized ACCENT in MUSIC is when the accent occurs at the start of a new measure. However, it is usually even more noticeable on the first beat of a new phrase. (2) A Dancer can ACCENT (emphasize) any part of any step pattern in order to interpret what he hears or feels in the Music. The dancer is not required to accent every accented beat in the music. (3) Accents are individual “Hits” that do not interfere with the regular PULSE of the dance. Accents are “in addition to,” but not “instead of,” pulsing the dance. (also see: CHARACTERISTIC, ESSENCE, PULSING)
ACROBATIC or GYMNASTIC maneuver - (1) A term used for Swing Competitions (and other dance forms) to describe those moves which are sometimes illegal in some Classic or Traditional competitions. (2) This includes dropping to one or both knees, deep splits, backbends, cartwheels, handsprings, lifts and flips. (also see: DROP, SPLIT, LIFT)
ACTION-REACTION - (1) In Partnership Dancing the "ACTION" of the leader is felt and reacted to by the follower. (2) In West Coast Swing the primary lead takes place on the "&a" before count "1" of the next pattern. The reaction of the follower is to land on the beat of the music for count "1." (3) Action/ Reaction also takes place if the follower does an unexpected syncopation which takes more time than the leader expected. It is then the leader's responsibility to react in a way that both compliments, and accommodates that action.
ADJUSTED PATTERN - see ABSOLUTE PATTERN
ADVANCED RHYTHMS - (1) Includes all of the more difficult Syncopated Rhythms. (2) Any Rhythms that are more complex than the Primary and Secondary Rhythms. (also see: PRIMARY RHYTHMS, SECONDARY RHYTHMS)
AERIAL -
(1) A
move whereby one partner lifts the other into the air with a rotational movement
that is primarily completed by momentum.
AIR SHUFFLE - (1) An "Out & Back" move like a shuffle in Tap Dancing, except that the foot does not hit the floor. (2) Say "&a Kick and Step-Step" to a Count of "&a 1&a2.” (3) Air Shuffles are used to precede a "Shorty George" (Swing, circa late 1930s). (4) Most little "Kicks" in Swing Syncopations (if they are well executed) are actually "Air Shuffles." (also see: KICK, SHUFFLE)
AMALGAMATION - (1) A series of patterns that flow from one to the other. (2) Ideally, this "series" of patterns will fit into major phrases of the music
Teaching Note: (also see: LINK, PHRASING, RHYTHM BREAK)
AMERICAN "COUPLES" DANCING - (1) American Couples Dancing runs the gamut from basic Social Dance to Competition & Performance level. The distinguishing word here is "American". (2) American style, according to Golden State Dance Teachers Association, refers to a style of dancing that moves easily from "open" foot position to "closed" foot position patterns, at every level of training.
Teaching Note: Author's Note: There are certain styles of training where foot positions are “open” at one level and “closed” at another level. That method can slow down the development of the dancer. Foot position selection is NOT what determines the level of performance. “American Couples Dancing” brings Laure' Haile to mind. As National Dance Director for Arthur Murray Studios in the 1950s, LAURE' influenced thousands of dance instructors. It was a footnote of Laure's that gave validation to my wanting to change the way patterns were being counted in Swing. Laure’s Footnote simply read: “When teaching a Whip, even though the ladies Walk-Walk takes place on “5-6” - in Private lessons, I find it extremely helpful to count that “Walk-Walk” as “1-2.” That statement made me realize that my thoughts and ideas on COUNTING had been correct all along. The Universal Unit System® was the result of that realization and changed the way many dances would be counted - particularly SWING. (To thousands of us who trained under Laure’ - she will always be our "First Lady of the Dance").
AMERICAN DANCES - See: FOXTROT, CHA-CHA, RUMBA, SALSA, SAMBA, SLOW DANCE, SWING, TANGO, WALTZ, WEST COAST SWING, NITECLUB TWO STEP and HUSTLE
ANCHOR (or ANCHOR UNIT) - (1) An Anchor is NOT a foot position and not a Rhythm. It is a partner connection in West Coast Swing, achieved when both partners place their CPB (Center Point of Balance) behind the heel of the forward foot. (2) An Anchor is danced on the last two beats (last Unit) of each basic, fundamental Step Pattern in West Coast Swing. (3) A feeling of body leverage that balances the resistance of both partners. (4) Each partner is responsible for establishing their own individual anchor. Historical Note: The term "ANCHOR" was coined by GSDTA in the early 1960s to clarify the difference between the "resistance" desired at the end of a West Coast Swing Pattern, and the lack of resistance caused by the 1961 version of a "Coaster" Step. This is one of the major milestones that changed the face of West Coast Swing. (also see: COASTER STEP)
“AND” COUNT ("&" COUNT) - (1) The Dance Count that comes half way between the beats when counting Straight Count: “&1&2- &3&4- &5&6- &7&8.” (2) In Upper level Counting (Rolling Count: “&a1 &a2 - &a3 &a4,” etc.) the location of the “&” count CHANGES to encourage the CPB to move on the "&" count, allowing the weight change to take place on the "a" count in a Triple.
Teaching Note: (also see: "a" COUNT, BODY FLIGHT, COUNT)
ARBITRARY LABEL - (1) A name we assign to something that we want to remember, usually when we think that a name does not already exist. (2) In DANCE we often assign names to patterns or moves that we do not know by name. (3) In COUNTRY LINE DANCES, someone sees an unfamiliar Line Dance and gives it a name. Usually, the dance already HAS a name! (4) Proper use of an arbitrary label is when we name a “move” after a place or a person. (5) "Sharlot's Strut" was a valid "arbitrary label" because Sharlot Jansen (now Bott) designed and performed a pattern that everyone recognized as "Sharlot's Strut". In California's West Coast Swing community, SHARLOT JANSEN BOTT, ANNIE HIRSCH, MARY ANN NUNEZ and TATIANA MOLLMANN, ( to name a few) have perfected moves that carry their names. (6) "Kenny's Shag," once an "Arbitrary Label" for a form of St. Louis Shag, was made popular by the late Choreographer/ Dancer/ DJ/ MC, KENNY WETZEL. KENNY'S SHAG is now known throughout the country. (7) Many Arbitrary Labels, through continued usage, have become standards. SHORTY GEORGE SNOWDEN, a New York City dancer in the 1930s, was responsible for the "Shorty George." That name is now a Classic move for Jitterbuggers, Lindy Hoppers and Swing dancers of all styles and ages. (also see: SAILOR SHUFFLE, SHAG, SHORTY GEORGE)
ASSIMILATION PERIOD - (1) The time it takes for the mind to absorb, and the muscle memory to execute, that which has been taught. (Can be several days, weeks, or even months according to what has been taught.) (2) The "mileage" (practice time and absorption time) between lessons. (3) The name that many teachers use to describe the "5 or 10 minute" (observed and assisted) practice session - usually half-way through the class hour.
Teaching Note:
ATTITUDE - (1) A synonymous term for "style", "essence" and/or "presence" of a dancer. (2) A Ballet leg position (Back Attitude) where the foot, calf and outside of the knee is bent and pressed upward.
Teaching Note: (see:: ESSENCE, STYLE)
BACK - A direction that calls for a 4th foot position or an Open 3rd., stepping behind the current weighted foot. (see: FOOT POSITIONS, FORWARD, SIDE)
BALANCE STEP - (1) A Balance Step in Waltz is SINGLE RHYTHM in 3/4 time. The dancer steps on count "1" and, staying on that same foot, the body rises slightly on count "2" and slightly more on count "3". The free foot, on counts "2" and "3" touches the floor in 3rd foot position in order to "balance" the position. (2) A Balance Step in Samba is SINGLE RHYTHM in 4/4 time, and is called a Balancete’. The dancer steps on count “1” - does a slight lilt on “&” - and points the free foot back on count “2.” (see: SINGLE RHYTHM)
BALBOA - (1) Balboa is a Rhythm Dance composed of "8-Beat" patterns and "4-Beat" rhythm breaks. Standard Basic Step: "Back, Forward, Forward, touch - Forward, Back, Back, touch" - This original form of EASY Basics has a "touch" on count "4" and count "8". (Rhythm Pattern: "Double, Single, Double, Single." ) Balboa is a product of the late 1930s and early ‘40s and originated in Southern California on Balboa Island. (2) The Advanced Rhythm Pattern: "Double, Delayed Single, Double, Delayed Single" ("Back-Forward, touch-step, Forward-Back, touch-step) - with the touches on count "3" and count "7" of the "8-Beat” pattern. This is the current recommended basic being taught as a preference of style. (3) Balboa has a Movement Unit of "Down-Down" - a rhythmic lilt that is really more felt than seen.
Teaching Note: Historical Note : (A) The advanced form with a touch or kick on counts "3" and "7" - became the STANDARD in the 1980s, through the efforts of JONATHAN BIXBY and SYLVIA SYKES, two dedicated teachers from Santa Barbara. This is the most popular form today. Jonathan and Sylvia credit LOLLY WISE and MAXIE DORF, two top Balboa aficionados, for working with them on re-constructing the patterns. (B) Balboa came out of the BALBOA PAVILION at a time when the music was fast and the floors packed. Fred Christofferson, Bart Bartolo, Natalie Esparza, Willie Desatoff, Harry Berlin, Sam & Dottie Dominguez and Ed & Inez Thompson all come to mind as "Balboa Greats" who were still dancing in 1997 - on the second update of "Disco to Tango and Back." Several were still at it in the year 2007 at a Reunion at the Balboa Pavillion. AUTHOR'S NOTE: Balboa dancers fell easily into the rhythmic, subtle bounce of the Balboa because they had been dancing Lindy and Truckin’, popular moves of the 1930s and ‘40s. (see: DANCE IDENTIFICATION CHART, SHAG, TRUCKIN')
BALL OF THE FOOT - (1) The padded area behind the toes, meant to cushion the joints. . (2) A frequently misused term that results in putting too much weight on the padded area of the big toe.
Teaching Note: (see: 3-TOE BASE, POWER POINT)
BALL CHANGE -
(1) A
TAP DANCING term which means to make a quick weight change on the Ball of
one foot, followed by an accented, loud, FLAT-footed landing, on the
OTHER foot. The Free Foot is in the air as the dancer assumes a momentary "pose." (2) This term is used in the
Universal Unit System®
only in TAP dancing and MODERN JAZZ.
(3) The Rhythm of the move is a “Delayed
Teaching Note: (see: DELAYED RHYTHMS, HITCH KICK)
BALLROOM DANCING -
(1) A term generally used to describe the Social
Dances of the day. (2) AMERICAN BALLROOM DANCING,
and particularly American Social Ballroom dancing, has made dramatic
changes in the teaching of Dance. The most significant changes have taken
place because of the discoveries of "Rules of Music" and "Rules of
Movement." American dancing concentrates on musicality and interpreting
"feeling" in the music. (3) International BALLROOM Dancing is taught
mainly for Competition and has it's own unique style that does not lend
itself as well, to social dancing.
BALLROOM SWING - A form of West Coast Swing that is different from that used by the general West Coast Swing dance community. Ballroom Swing usually refers to a STYLE of West Coast Swing that uses a "Coaster" step at the end of each pattern, seen mainly in the Ballroom community. (also see: COASTER STEP)
BAR - A MUSICIAN'S term to denote the line that separates the measures in sheet music. It is a synonym for Measure. (1) When Musicians refer to a “12 Bar Blues” - they are describing 12 measures of music - or a dancer’s six “Sets of 8.” (also see: MEASURE of MUSIC)
BASIC RHYTHM PATTERN - see PATTERNS
BASIC STEP PATTERN - see PATTERNS
BASKET WHIP - see LOCK WHIP
BEAT (of Music) - (1) In Social dance, one beat of music refers to one "quarter note", which is how time signatures are measured. 4/4-time means that there are 4 quarter notes to one Measure of music. (2) Most forms of Social Dance: Ballroom, Latin, Salsa, Swing, Hustle, Nightclub Two Step, Line Dancing, etc. are all danced to 4/4- time music. There are 2 beats of music in every Dance Rhythm in each of those dances. There are 2 DANCE RHYTHMS to each measure of 4/4-time music. (3) WALTZ is the exception and is danced to 3/4-time music. One beat of 3/4-time music still equals one quarter note. There are 3 beats of music in one Measure of 3/4-time music, which translates to one "3-Beat" Dance Rhythm. (also see: COUNT, MEASURE, RHYTHM UNIT)
BEATS Per MINUTE versus MEASURES Per MINUTE - (A) BEATS per minute (BPM) refers to the tempo (speed) of the music, determined by counting the number of beats of music in 60 seconds. (B) MEASURES per Minute (MPM) - is a commonly used tern, but is not as accurate a method to measure the tempo of the music. Teachers Note: Someone trained to hear “Beats per minute” will soon be able to determine a sizable range of tempos, in both 3/4 and 4/4-time music. Those trained to hear Measures per minute have a difficult time because 3/4 time music has only 3 beats per measure. The ear cannot determine tempo in measures per minute because measures are different with different time signatures. Also, the range of accuracy is much tighter with beats per minute, than with measures per minute.
BLANK RHYTHM - (1) Two Beats of Music with no weight changes. (2) The dancer needs to identify what is taking place on each of those two Beats of Music. Example: "Kick &a Point" or "Touch &a Hold", etc. (3) A Blank Rhythm is in the family of EVEN Rhythms because it ends with the Same Foot Free. (also see: EVEN RHYTHM) BODY FLIGHT - (1) The "lifted" look of a dancer who has achieved a connection between the "sending foot" and the "receiving foot" - to a point where the CPB seemingly “floats” across the floor. (2) That indescribable feeling of "two people” moving as one. (3) The "airborne" look, visible when two people achieve a connection through action and reaction. (4) In West Coast Swing, the action that follows the "elastic band" feeling of a properly executed anchor. (5) In Waltz, Body Flight is visible when two partners are "centered" - either moving down LOD or as they execute a turn.
BODY LEAD -
BODY POSITION CHART - Chart for Body Positions is not available in this printing, but will be available in the new set of Charts being prepared. Target Date: June 2008.
BOLERO - see MAMBOLERO
BOOGIE BACKS - (1) A popular 1940s move in Jitterbug and Lindy. The Verbal Pattern is : "Back Together &a Kick" - "Back Together &a Kick" etc. (2) The RHYTHM PATTERN is: "Syncopated Double - Syncopated Double" (3) The "Count" is "&a1&a2 - &a3&a4" . Boogie Backs are part of the SHIM SHAM and are also used in Lindy and other forms of Swing. Boogie Backs fall into the category of "Rhythm Breaks.”
BOOGIE HIP - see CAMEL HIP
BOOGIE WALKS - Traveling forward with diagonal 2nd foot position steps. The hip is a Camel Hip that projects to the same side as the stepping foot. (The opposite of Cuban Walks).
BOUNCE - (see: LILT, MOVEMENT UNIT)
BOX (Box Turn) - (4/4 time) (1) A term used to denote a SQUARE floor pattern. (2) It is danced in Foxtrot, Waltz and Rumba where the actual Floor Pattern is in the shape of a Box. (a Square) (3) Example: Mans Rumba Box is: "Side together, forward & hold - Side together, Back & hold." - 8 beats of music. Sometimes called as: “&a Side Together Forward & hold - &a Side Together Back & hold”
Teaching Note:
BOX RHYTHM - (4/4 time) (1) "Box Rhythm” alternates Double and Single Rhythm in any order. The Rhythm Pattern for GSDTA is: “Double - Single - Double - Single.” (2) Box Rhythm, in 4/4- time, requires 8 beats of music.
BPM -
An abbreviation for “Beats per Minute”
BREAK DANCING - Popular in the 1970s, Break Dancing is a "Solo" dance with young dancers performing clever moves to music. This includes floor-spins on one's back, as well as robot-like moves. Intricate isolations and acrobatic moves are performed with great musical interpretation. Today, 2005, Hip Hop dancing has become more popular than Break Dancing, but each compliments the other.
BREAK ENDINGS - A term used in the 1950s to define three simple, but specific, Rhythm Variations. Historical Note: At Arthur Murray’s in the early 1950’s, this is what was being taught: as Break Endings: (1) 1st Break Ending: "Kick & Step-Step" to replace a "Walk-Walk" in what was then known as Western Swing. (2) 2nd Break Ending: "Step Point, Step Point, Step" could replace the second triple in that style of Swing. (3) 3rd Break Ending: simply the 2nd break ending, followed by the 1st Break Ending.
Teaching Note: (see: RHYTHM CHART, SYNCOPATION)
BREAK (Flash Break) - (1) DANCE term used to describe outstanding moves that are not standard, but which accent specific parts of the dance for "show" appeal. FLASH BREAKS were popular in the 1970s and are described in detail in the 1978 dance textbook "Disco to Tango and Back"
BREAK (Hitting the Breaks) -
(1) In dance music, musical "Breaks" sound as if
someone had actually stopped the music. (2)
It may sound like the music stops, but the beat continues. Musical Breaks
usually occur toward the end of a major phrase (2) "Hittin'
the Breaks" is a phrase that became popular in the early 1970s, but gained more
popularity in the 1990's as more and more dancers
studied the music and started learning how to "Hit the Breaks."
Teaching Note:
BREAK (Latin Breaks) - (1) A change of direction in: Cha-Cha, Mambo, Salsa, Contemporary Bolero, Mambolero, and International Rumba.) (1) An action where the "receiving foot " lands, ball of the foot first, returning the "Center Point of Balance" (CPB) to it’s origin. (2) In all of the dances listed above, with the exception of SALSA, the LEADER breaks on his LEFT foot on count "2" and on his RIGHT foot on "6." Salsa breaks on “1” and “5.” (also see: CHANGES of DIRECTION, CHECK, LUNGE, ROCK)
BREAK TURN - (1)
A change of direction that
includes a turn in the opposite direction of the forward foot.
Example: Step forward on the Left Foot, turn right and step forward
again on the Right Foot. Verbal Call: "Forward Left, and Turn Right."
Teaching Note: (also see: PIVOT, PIVOT TURN, TORQUE TURN)
BREATH - (1) The "Breath" on the "&a" before each Downbeat is a term that was used predominantly in the 1960s in the early days of the Universal Unit System®. (2) It is still used to denote the "space" between the Rhythms. (Like the "space" between words to identify the words in a sentence.) Today that “breath” has become the “&a” at the beginning of each new Dance Rhythm. (also see: PULSE, RHYTHM UNITS)
BRUSH - (1) A "follow through" where one knee brushes lightly past the other. (2) This “Brush” can take place on a beat of music, on an "&" count or on an "a" count, according to the styling and desired result for a particular dance. (3) Where the brush takes place differs with every dance and helps clarify the "essence" (characteristics) of each dance.
Teaching Note: (also see: ESSENCE, TAP)
BYU “BRIGHAM YOUNG UNIVERSITY” - Well known for its comprehensive dance program in both American and International Dance. LEE WAKEFIELD, Director of the award winning Brigham Young Formation Team, is known for his ability to connect to the music. GSDTA is proud to have been part of Lee's early training in the Universal Unit System. His first competition was at a Golden State Ball. Lee was part of Lenore Hughes’ Cotillion in Modesto, California.
"C" FRAME - A slightly rounded frame that still maintains "connection" with a partner. Used in Swing and the Latin dances for specific styling. JACK CAREY of Corona Del Mar, California is noted for perfection of the "C" Frame in West Coast Swing.
CALIFORNIA SHUFFLE - (1) A popular, repeatable Syncopation in West Coast Swing. The RHYTHM is a Syncopated Double and is one of several "Rhythm Breaks.” The Verbal Call for this pattern is “& Step Point & Step Point”. The Count is : "&a1 &a2". The knee lifts are on the "&" count, the steps are on the "a" counts, and the "points" are on the beats of the music. (2) In the early 1980s, a simple form of Swing , repeating that particular Rhythm Pattern over and over, was called "California Shuffle." Soon, the dance disappeared, but the name stayed as a Rhythm Break in standard Swing and also as a standard term in Line Dance terminology. (also see: SYNCOPATION )
CALL - (1) The "Call" for any specific pattern in any dance tells you "What to do." "Walk-Walk, Side Together Back," etc. is a Description of what takes place. (2) There can be a variety of calls to aid in teaching a pattern. The "Caller" can call out actual BEATS of music - or direction - or any accent that seems in need of calling. (3) "Call" is sometimes used as a synonym for "Cue." (also see: CUE, VERBAL PATTERN )
CAMEL HIP (Boogie Hip) -
(1) A
projection of the HIP to the SAME Side as the "Weighted" Foot.
(see: BOOGIE WALKS, CUBAN HIP, HIP CONTROL, SHORTY GEORGE)
CAMEL WALK - see BOOGIE WALK
CAN of WORMS - (1) Opening a "can of worms" is really "looking into areas that need more clarification." (2) When it comes to EDUCATION, the Rules of the Universal Unit System® allow us to explore all sorts of areas and come up with concrete solutions that would not have been possible without the discoveries that are the backbone of the “Universal Unit System". (3) The "Can of Worms" has become the Hallmark of GSDTA Teachers Training. The ARTWORK on the GSDTA Can of Worms is that of Seattle artist and dance teacher, DON BUTLER. (also see: CAN of WORMS Caricature)
CANTER PIVOTS - see CANTER RHYTHM
CANTER RHYTHM - (3/4 time) (1) Canter Rhythm is DOUBLE RHYTHM in 3/4-time. It was a popular Waltz Rhythm in the 1930's, but is seldom used today except in PIVOTS. (2) CANTER PIVOTS step on count "1" and count "3" of the Waltz measure. Stepping BACK on the left foot, the dancer pivots to the Right on count "1", rides through count "2" and steps on count "3." The pivots can continue through "4," ride the "5" and step on "6." (3) DOUBLE RHYTHM in WALTZ steps 2 times to 3 beats of music. DOUBLE RHYTHM steps on count "1" and on count "3" when dancing in 3/4 time.
Teaching Note:
CAROLINA SHAG - (1) A highly stylized form of SWING, spawned in the early 1940s in the Carolina's. The Basic RHYTHM PATTERN is the same as in standard Swing. "DOUBLE - TRIPLE - TRIPLE." (2) This "mirror opposite" basic has both partners mirroring each other on the basic pattern. Both partners do a “Rock Step” on the 1st Rhythm, followed by traveling forward toward each other on the 1st Triple (a "Forward & together Back"). The 2nd Triple (Counts 5&a6) has a unique styling that is characterized by a "Step, Cross in front, Step", often described as a “Soft Shoe” Triple. (3) Quoting Charlie Womble and Jackie McGee, from Atlanta, Georgia: "In the early days this was a man's dance. He did all the turns and fancy footwork and her job was to make him look good." Charlie added that things are different today and both partners now have a more balanced role.
Teaching Note: AUTHOR'S NOTE: Feather Award recipients in 1994, CHARLIE WOMBLE and JACKIE MCGEE had been undefeated Shag Champions more than 10 years. In 2005, they are still fantastic dancers and are known as the Good Will Ambassadors for the Shag Community. (see: DANCE IDENTIFICATION CHART, UNIVERSAL COUNT)
CBM - see CONTRA BODY MOVEMENT
CENTER of GRAVITY - see CENTER POINT of BALANCE note #3
CENTER of MASS - see CENTER POINT of BALANCE note #3
CENTERING - (1) Individual "Centering" is the ability to maintain perfect balance by controlling the "Center Point of Balance" (CPB) in relationship to the “Unit Foot.” The CPB moves prior to the weight change from the “sending” to the “receiving” foot. (2) Couple "Centering" is the ability to connect the CPB of both partners - to each other. (also see: FLASHLIGHT TECHNIQUE, POINT of CONNECTION)
CENTERING KNOB - (1) The Knob where the base of the neck meets the spine. (2) Sometimes referred to, with tongue in cheek, as the “Goddess” Knob.
Author's Note:
CENTER POINT of BALANCE (CPB) - (1) The Solar Plexus is the “Center Point of Balance” from which all dance movement projects. (2) To locate your own CPB try this exercise: Stand with your feet together. Isolate your hip or abdomen or derriere, or even your head, and push any one of them about 6 inches to the left or right or in any direction. You will find that you can still maintain balance. If you move your Solar Plexus even 4 inches left or right - you will find that you must move your foot, because you have relocated your own center (CPB). (3) Although Martial Arts and other disciplines speak of Center of Mass and Center of Gravity, the above exercise will tell you why we chose to coin the term “Center Point of BALANCE.” The CPB is crucial to the Dancer. (3) A popular TV phrase in body shaping these days is “strengthening the Core.” Their description of “Core” is the same as our “Center.” (CPB)
Teaching Note: (see: CORE, UNIT FOOT)
CENTRIFUGAL FORCE - (1) "The force tending to pull a thing outward when it is rotating rapidly around a center." (Webster's New American Dictionary) (2) This action takes place in several areas of dance. "Flyin' Lindy" - Swing - Spot Turns in Rumba and Cha-Cha are all prime examples..
Teaching Note: (see: C-FRAME, FLYING LINDY)
CERTIFICATION - (1) "The act of certifying, by certificate or other means, to the validity of a persons qualifications" (from Webster's Abridged) (2) GSDTA Certification is a 3rd level of accrediting that attests to the fact that more than 200 hours of training has taken place, written examinations have been passed, and ability has been verified by video presentation of classes in action. Further accrediting is available to those who have passed the examinations and are teaching at Convention level. They have also passed an oral exam and have demonstrated the knowledge of how to break down any pattern in any dance by simply observing that pattern danced to music. (3) Certification is worth whatever the organization that "Certifies" says it is worth. Whatever constitutes Certification is signed by someone who attests to the fact that those qualifications have been met. (see: CREDENTIAL)
CHA-CHA - (1) A Latin Dance, with an "8 Beat" Rhythm Pattern that "Breaks" on count "2" and count "6." The real MUSICAL COUNT and the DANCE COUNT for Cha-Cha is "&a1 2 - 3 4 - &a5 6 - 7 8." (2) UCWDC, the leading Organization for Country Western Competition, made "breaking on 2" mandatory for competition starting in 1994. (3) American-style competition CHA-CHA has been "Breaking on 2" since the birth of Cha-Cha in the early 1950s. (4) COWBOY CHA-CHA and “COLLOQUIAL” CHA-CHA alternate Double and Triple Rhythm and they Break on "1" and "5." The Count is "1 2 - 3&4 - 5 6 - 7&8." This count is NOT acceptable in competition. Historical Note: Cha-Cha is an outgrowth of Mambo and was first introduced as "Triple Mambo" in the late 1940s.. In order to "Break on 2" most Studios had a Count of "2,3 - 4&1". This count was used for many years and still continues in many areas today. However, with the discovery of the "8-Beat" count, in or around 1971, came the successful use of the full "8-Beat" mini-phrase. The unprecedented interest in Technique and Education in the ‘90s, launched the discovery of the true "Rhythm Pattern" for Cha-Cha and made dance history. The COUNT, as listed in (1) above, allows dancers to be aware of the foot placement of each count in the music.
Teaching
Note: (see: DANCE IDENTIFICATION CHART, MAMBO, MAMBOLERO)
CHAINÉ TURN - A Ballet term that describes a style of execution that fits several different turns. Chaine' refers to the action of opening and closing the feet -as in the making of a CHAIN.
Teaching
Note: (see: PIVOT TURN, TORQUE TURN)
CHALLENGE (Shine Position) - (1) An OPEN Dance Position whereby one partner dances a Rhythm Break and the other either mimics the same step or does something else to TOP the first move. (2) The "Challenge" game started with CHA-CHA in the 1950s, but West Coast Swing soon adopted it. That form is found in many routines today. In 1994 this "style" of advanced Swing renewed it's popularity through the efforts of GSDTA Syncopation Specialist MARY ANN NUNEZ of Southern California.
CHANGES of DIRECTION - (1)
A Step that reverses the flow of
the CPB and returns it "Home". "BREAK" - a Change of Direction that stops the CPB, half way to the "breaking" foot and then returns it "Home." "CHECK" - a more severe Change of Direction where the CPB is stopped one quarter of the way from the "checking" foot, by leaning slightly away from that foot, as done in Hustle, Samba or Peabody. Foot placement is on a 3-Toe Base, on an "a" count. “LUNGE” - a forward or side weight change where the CPB centers completely over the weighted foot. "ROCK" - requires TWO distinct weight changes. The CPB moves either Back and Forward - Forward and Back - or "Side and Return" to original position. Each is done with a rocking action. The CPB only travels two thirds of the way toward point "B" before being returned "Home.”
"SUSTAINED CHECK" - used in really
well performed Nightclub Two Step. The Back Steps
CHARACTERISTIC - (1) A distinguishing trait of a specific dance. (2) An outstanding feature that helps to identify the essence of a dance. (also see: ESSENCE)
CHARLESTON - (1) Charleston - is a popular Rhythm Dance of the “Roarin' 20s" and early 1930s. The Charleston is an American “Classic.” It is characterized b |