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52-684: This glossary lists terms used in various types of ballroom partner dances , leaving out terms of highly evolved or specialized dance forms, such as ballet , tap dancing , and square dancing , which have their own elaborate terminology. See also: Alignment can mean: A combination of two or more figures; more generally: a sequence of figures that a couple wants to dance. A category of dances in American Style ballroom competitions. It includes cha-cha-cha , rumba , East Coast swing , bolero , and mambo . Sometimes it may include samba and West Coast swing . This category loosely corresponds to

104-401: A connection with each other through a promenade handhold. The leader dances traditionally to the left of the follower. Some peoples have folk partner dances, where partners do not have any body contact at all, but there is still a kind of "call-response" interaction. A popular form of partner dancing is slow dance . Generally, partner dance has taken place between a man and a woman. Before

156-605: A couple. They occur in Latin dances and in American style . An "inside turn" is a turn that begins with the held hands (often the leader's left and the follower's right) moving toward the "inside" of the couple (along the imaginary line between the centers of the partners); an "outside turn" is the opposite. The turns may be performed in numerous ways and using different handholds. In dances such as swing and salsa, inside and outside turns typically refer to underarm turns performed by

208-503: A dance, the term "center" means the direction perpendicular to the line of dance (LOD) pointing towards the center of the room. If one stands facing the LOD, then the center direction is to their left. The term center may also be used as shorthand for the center point of balance . Together with the center of gravity (COG), the center point of balance (CPB) helps the dancer to better understand and control their movements. CPB differs from

260-583: A middle ground between individuals dancing alone or individually in a non-coordinated manner, and groups of people dancing simultaneously in a coordinated manner. Prior to the 20th century, many ballroom dance and folk dances existed in America. As jazz music developed at the start of the 20th century, Black American communities in tandem developed the Charleston and eventually the Lindy Hop by

312-542: A narrower sense, it denotes the group of dances danced in International Style ballroom competitions. The group consists of two categories: Standard and Latin . Jack and Jill (J&J) is a format of competition in partner dancing, where the competing couples are the result of random matching of leaders and followers. Rules of matching vary. The name comes from the popular English nursery rhyme , " Jack and Jill ". In venues with same-gender dance partners,

364-556: A number of folk dances that feature this arrangement. Among these are the Russian Troika and the Polish Trojak folk dances, where a man dances with two or more women. A Cajun dance with the name Troika is also known. Line of dance In ballroom dancing (and in some other types of partner dance ), directions of progressive movement, in particular directions of steps, can be indicated either in relation to

416-642: A particular style of ballroom dances developed in the United States that contrasts with the International Style . In a narrower sense, it denotes the group of dances danced in American Style ballroom competitions. The group consists of two categories: American Smooth and American Rhythm . In social dancing strongly relying on leading and following , this term means that the follower executes steps without waiting for or contrary to

468-456: A slow dignified manner in a circle, while farmers and lower classes danced in a lively fashion. The burgher middle class combined the dances with the processional as a "fore dance", and the turning as an "after dance". The Danse de Paysans' (Peasant's Dance) by Théodore de Bry shows a couple with a man lifting his partner off the ground, pulling her towards him while holding her closely with both arms. His Danse de Seigneurs et Dames (Dance of

520-403: A step backwards into promenade position . A completed set of steps. More explicitly: a small sequence of steps comprising a meaningful gestalt , and given a name, for example whisk or spin turn . In a wider sense, the term footwork describes dance technique aspects related to feet: foot position and foot action . In a narrow sense, e.g., in descriptions of ballroom dance figures,

572-408: Is a command by a caller to execute a particular dance figure . In round dancing , calls are called cues . See " Caller " for the explanation of the difference. Voice calls may be complemented by hand signs . See also Voice cue . A caller or a cuer is a person that calls/cues dance figures to be executed in square dances and round dances . When indicating a direction of movement during

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624-403: Is a style of closed position in partner dancing ( closed position with body contact ); it is also a type of physical connection , mainly of the right-hand sides of the partners' costal arches . Body flight is a property of many movements in dances such as the waltz and foxtrot . It refers to steps taken with momentum in excess of that necessary to arrive at a point of static balance over

676-642: Is best known during times when a significant demographic disproportion happens between the two sexes. For example, this happens during wars: in the military, there is a lack of women, while among civilians, able dancers are mostly women. For example, during the Second World War, many advanced leaders learned to dance Lindy Hop with two followers. Since the 1980s, double partner dance is often performed in Ceroc , Hustle , Salsa and Swing dance communities, experienced leaders leading two followers. There are

728-423: Is delayed an extra half-beat, to the "&" of 2, making the new count "<1>, <hold>-&-3, 4-&-1". Handhold is an element of dance connection : it is a way the partners hold each other by hands. Landing on the heel of the foot in motion during a step before putting weight on the remainder of the foot. As in normal walking, much of the swing of the foot is accomplished with its midpart closest to

780-456: Is four, Dianderl lifts up her skirt And shows me her knees", and in Bavaria one verse invites the girl to leave her bedroom window open to allow a visit from her partner. Dance partners stay together for the duration of the dance and, most often, dance independently of other couples dancing at the same time, if any. Although this kind of dancing can be seen, for instance, in ballet, this term

832-522: Is most intuitively clear if initially the couple is in an open single-handhold position facing each other, and the name corresponds to the direction of the lead. To lead the inside turn, the leader moves the follower's arm inside, and conversely for the outside turn. In other positions the term is not so clear, therefore in some dances, some prefer to use this term according to its usage in ballet , based on footwork rather than arm style. In ballet, when describing pirouettes , an outward ( en dehors ) turn

884-412: Is that you can freely lift the second foot off the floor. Dance frames are the positions of the upper bodies of the dancers (hands, arms, shoulders, neck, head, and upper torso). A strong frame is where your arms and upper body are held firmly in place without relying on your partner to maintain your frame nor applying force that would move your partner or your partner's frame. In swing and blues dances,

936-410: Is the turn in the direction towards the working leg. Accordingly, an inward ( en dedans ) turn is the turn in the direction towards the support leg. See also rond de jambe . The latter definition is unambiguous, but in other contexts it is only applicable to a single footstep. For example, according to this definition, chaînés turns are alternating inside and outside turns, although the direction of

988-551: Is usually applied to various forms of social dance , ballroom dance , folk dance , and similar forms. Partner dance may be a basis of a formation dance , a round dance , a square dance or a sequence dance . These are kinds of group dance where the dancers form couples and dance either the same choreographed or called routines or routines within a common choreography—routines that control both how each couple dances together and how each couple moves in accord with other couples. In square dance one will often change partners during

1040-542: The Latin category of International Style ballroom. A category of dances in American Style ballroom competitions. It includes waltz , tango , foxtrot , and Viennese waltz . Previously Peabody was also included. This category loosely corresponds to the Standard category of International Style ballroom. However, Smooth differs from Standard in its inclusion of open and separated figures, whereas Standard makes exclusive use of closed positions. The term describes

1092-399: The "breakaway"). Another unique feature that was introduced in these early days were the first airsteps, also known today as aerials . These daring maneuvers were exciting for the audiences to watch, and when combined with live performances such as those by Ella Fitzgerald , became a staple of organized Lindy Hop performances. Other dances such as Collegiate shag and Balboa developed in

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1144-641: The 1950s, however, if there was not a sufficient number of partners of the opposite sex available, couples formed into pairs of the same sex. Sometimes this is also done as part of a dance tradition. In traditional partner dances done within certain conservative cultures, such as in traditional Uyghur partner dance, dancing is often done with the same sex as a matter of respect for the conservative culture. As learning both dance roles has become more common and social norms have changed, many events and competitions have removed restrictions. Typically, in ballroom competitions today, same-sex partnerships are allowed up to

1196-472: The German poet Ruodlieb referred to a couple dance with a basic motif of a boy wooing a girl, and the girl rejecting his advances. Men and women dancing as couples, both holding one hand of their partner, and "embracing" each other, can be seen in illustrations from 15th-century Germany. At the end of the 13th century and during the 14th century, nobles and wealthy patricians danced as couples in procession in

1248-465: The Lords and Ladies) features one Lord with his arms around the waist of his Lady. Syncopated rhythms gained widespread popularity for dancing in the last two centuries, although usually less complex and more regular than previous music. An old couple dance which can be found all over Northern Europe is known as "Manchester" or "Lott is Dead". In Bavaria words to the music include "One, two, three and one

1300-589: The United States in the same time period but never saw the same international popularity as the Lindy Hop. Over the next few decades, popular music changed, moving away from the big band sound of swing to styles like rhythm and blues and then rock and roll . Due to this and other factors, the Lindy Hop evolved and mutated into a number of different styles. Dance styles such as West Coast Swing and Modern Jive integrated features of ballroom dances and new music to create distinctive but similar dances. In 1023,

1352-460: The ambiguous names "Pat and Chris" have been used, or event could be called "Mix and Match". In dance competitions J&J is included as a separate division (or divisions, with additional gradations). J&J is popular at swing conventions, as well as at ballroom dance competitions in the United States. Partner dance Partner dances are dances whose basic choreography involves coordinated dancing of two partners. As such it occupies

1404-422: The couple. Physical and visual types of connection are distinguished. Physical connection, sometimes referred to as resistance or tone, involves slightly tensing the upper-body muscles, often in the context of a frame , thus enabling leader to communicate intentions to follower. See compression and tension , two basic associated actions/reactions. Refers to the action of the body in turning figures; turning

1456-469: The course of a dance, in which case one distinguishes between the "original partner" and a "situational partner". In most partner dances, one is the leader and the other is the follower . As a rule, they maintain connection with each other. In some dances the connection is loose and called dance handhold . In other dances the connection involves body contact. In the latter case the connection imposes significant restrictions on relative body positions during

1508-439: The dance and hence it is often called dance frame . It is also said that each partner has their own dance frame . Although the handhold connection poses almost no restriction on body positions, it is quite helpful that the partners are aware of their dance frames, since this is instrumental in leading and following . In promenade-style partner dancing there is no leader or follower, and the couple dance side-by-side maintaining

1560-424: The dancer is moving backwards with respect to their body. For example, "backing DC against LOD" means that a dancer is moving diagonally to the center against the line of dance, but as they are dancing backwards, the feet (and, roughly, the body) are pointing diagonally to the wall. The term pointing refers explicitly to the direction the feet are pointing, which is useful if they are not, or not yet, aligned with

1612-644: The end of the 1920s. Many cities had regular local competitions such as the Savoy Ballroom which accelerated the development and popularization of the dance. The dances were introduced to wider public through movies and regular performances such as those done at the Cotton Club in New York. An unusual (for the time) feature of the dance was the inclusion of sections where the dancers would move apart from each other and perform individual steps (known as

Glossary of partner dance terms - Misplaced Pages Continue

1664-407: The feet. Follower's heel turns are commonly found in the double reverse spin and the open or closed telemark, and the natural and reverse turns of international style foxtrot, while leader's heel turns form the basis of the open or closed impetus. In social dancing strongly reliant on leading and following, hijacking means temporary assuming the leading role by the follower. Also known as stealing

1716-400: The first step, which leads her foot to close next to the standing one rather than swing past. In contrast, when the leader is dancing a heel turn the rise is delayed until the conclusion of the turn, as he can better lead the amount of turn from a more grounded position. The heel turn is distinguished from other members of the family of heel pull actions which do not require complete closure of

1768-501: The floor, emphasis shifting to the heel only as the final placement is neared. A heel turn is an action danced by the partner on the inside of turn in certain figures in Standard or Smooth . During the course of rotation, the dancer's weight moves from toe to heel of one foot while the other foot swings to close to it, then forward from heel towards the toe of the just closed foot. Follower's heel turns feature body rise coincident with

1820-463: The follower. In these dances the follower's right arm is normally used to lead a turn (most commonly by the leader's left arm, but sometimes by the leader's right arm when a cross-hand or "handshake" position is used), an inside turn is normally a left (counter-clockwise) turn, while an outside turn is a right (clockwise) turn. However, if the follower's left arm is used to initiate the turn, the intended direction of turning may be opposite. "Inside turn"

1872-410: The frame is a dancer's body shape, which provides connection with the partner and conveys intended movement. Major types of dance frames are Latin, smooth, and swing. Guapacha timing is an alternative rhythm of various basic cha-cha steps that are normally counted "<1>, 2, 3, cha-cha-1" whereas "cha-cha-1" is counted musically "4-&-1". In Guapacha, the step that normally occurs on count "2"

1924-400: The lead . Contrast backleading . International Latin is category of dances in International Style ballroom competitions. It includes samba , cha-cha-cha , rumba , pasodoble , and jive . A category of dances in International Style ballroom competitions. Sometimes in the context of competitions it is called Ballroom or International Ballroom , confusing as it might be. (In England,

1976-416: The lead of the leader. This is also called anticipation and usually considered bad dancing habit. An exception would be to avoid a collision with another couple the leader hasn't seen (but this is usually just to stop the leader performing specific steps rather than the follower actively executing steps). Sometimes this term is used in the meaning of hijacking , which is not exactly the same. Body contact

2028-494: The leader's right while the bodies form a V-shape, with leader's left and follower's right sides are closer than the leader's right and follower's left. In other dances, there are other definitions. A signal to execute a dance figure. See Call and Voice cue . Dancesport is an official term to denote dance as competitive , sport activity. For one meaning, see Dance move , for another one, see Step . See also Glossary of dance steps . Both dance partners take (at least)

2080-408: The left turn is effectively as much as 5 ⁄ 4 , because the LOD changes its direction by 90 degrees to the left (CCW). The partner dancing forward is said to be on the outside of the turn, having the longer way to move, and the partner dancing backward is on the inside of the turn. The terms "inside turn" and "outside turn" apply only to an individual turn of a partner, not to a turn of

2132-560: The new position, which suggests a carry through to another step in the same direction. Steps in these dances naturally flow one into another, in contrast to the tango and to the Latin and rhythm dances where many steps arrive to a point of static balance. Support of the partner's body is largely avoided in ballroom dancing. The exception would be "lifts" – often featured in some forms of swing dancing, and ballroom showdance presentations, but banned in ordinary ballroom competition and rarely seen in social dancing. A call in square dancing

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2184-402: The opposite hip and shoulder towards the direction of the moving foot. Contra body movement position occurs when the moving foot is brought across (behind or in front) the standing foot without the body turning. Applies to every step taken outside partner; occurs frequently in tango and in all promenade figures. In ballroom dances, the dance couple moves (or intends to move) sidewise to

2236-410: The orientation of the body. For example, a dancer can be pointing DW while facing the wall. These are described in one of the following ways. Ballroom dancing distinguishes The term " natural turn " describes a right or clockwise turn of the dance couple. This usage originated from the names of waltz moves and was transferred to other, similar dances. A commonly stated theory of the origin of

2288-401: The other foot has passed to begin a new step are implied but not explicitly mentioned. Formation dance is a choreographed dance of a team of couples, e.g., ballroom sequence or ballroom formation dance/team. Full weight or full-weight transfer means that at the end of the step the dancer's center of gravity is directly over the support foot . A simple test for a full weight transfer

2340-420: The partners face each other with their bodies approximately parallel. In Standard and Smooth the bodies are also offset about a half body width such that each person has their partner on their right side, with their left side somewhat unobstructed; in tango, the offset is somewhat larger. Contrast promenade position and open position . The term has several meanings. A means of communication between dancers in

2392-405: The room or in relation to the body position. Directions of turns, although there are only two of them, may also be indicated in several ways. Dancers can align their bodies and move in any of these directions: These directions may be taken either facing if the dancer's feet are pointing in the direction of the movement, or backing if the dancer's feet are oriented in the opposite direction and

2444-484: The silver level (the third level in competition, after newcomer and bronze). However, these are comparatively rare. It is thought that some partner dances actually developed with more relaxed gender roles. Prior to adoption by the mainstream, these dances did not actually normalize the man-lead/woman-follow paradigm. This kind of dance involves dancing of three persons together: usually one man with two women or one woman with two men. In social dancing , double partnering

2496-468: The term "Modern" is often used, which should not be confused with modern dance that derives from ballet technique) It includes waltz (formerly called "slow waltz"), tango , foxtrot , quickstep , and Viennese waltz . This category loosely corresponds to the Smooth category of American Style ballroom. The term describes a particular style of ballroom dances that contrasts with American Style . In

2548-402: The term is that considering the right-shifted position in a couple (even more pronounced in older times) and the counter-clockwise direction of travel along the line of dance , the right turns are easier to perform, they are more "natural". This is especially true at the corners of the dance floor: the amount of the right turn is effectively only 3 ⁄ 4 of a full turn, and the amount of

2600-418: The term refers to the behavior of the foot when it is in contact with the floor. In particular, it describes which part of the foot is in contact with the floor: ball, heel, flat, toe, high toe, inside/outside edge, etc. In the Smooth and Standard dances, it is common for the body weight to progress through multiple parts of the foot during the course of a step. Customarily, parts of the foot reached only after

2652-518: The two other centers in two respects. The exact location of the COG is always well-defined, however it significantly depends on the shape the body assumes. In contrast, the CPB during normal dancing (head up, feet down on the floor) is always at the same place of the dancer's body, although defined in a loose way. It is said that the CPB is in the general area of the solar plexus for the gentlemen, and navel for

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2704-705: The women. A chassé is a figure of three steps in which the feet are closed on the second step. A pronounced discontinuation of movement through the feet. This is created by locking the back of one knee into the front of the other knee. A check position is created in Latin Ballroom dances such as rumba and cha-cha-cha , as well as in International Standard Ballroom dances such as quickstep locks. The term has at least two meanings: regarding dance position and regarding footwork . The ordinary position of ballroom dancing in which

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