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Dance Figures

Figure Name, Roundalab Phase Level, & Timing

Steps and Actions That Make Up the Figure

Each description focuses on the man, with the woman's footwork in parenthesis. If a woman's step is not given, it is the natural opposite or follow of the man's. Help: basic dance positions and steps, actions, directions, and abbreviations. Non-standard punctuation: a comma separates two beats of music, a semi-colon marks the end of a measure, and a slash (/) indicates a split beat, two things occurring in a single beat.

Here are some sequences to help you visualize the figure in context.

phase III

123&4; 123&4;

The first measure of a basic can be cued "Forward Basic," and the second measure can be cued "Back Basic," the "forward" and "back" referring to the man's first step.

123&4; 123&4;

The forward cha or back cha shows up in other figures and can always be done with a locking step, rather that a closing step, but that lock should not be tight, with the instep of one foot against the heel of the other. Instead, lock with toes of the locking foot turned out and the ball of the locking foot against the heel of the other, forming a "T." Generally, in waltz and foxtrot we want parallel feet, but in cha and rumba we want angled feet.

1&23&4; 1&23&4;

The timing here is quicker than in a regular basic, so make it a small side step with a straight leg, and stick that step — kind of stab it, keeping your body weight over the foot or even back a bit so it will be easy to check your body motion.

This is not a standard figure. We have seen it danced fwd, rec, cl/cl, sd; bk, rec, cl/cl, sd;

phase V

1&23&4; 1&23&4;

In closed or butterfly position, perhaps facing wall, XLIF of R (woman XRIB of L) turning 1/4 LF, recover R, sd L/cl R, sd L; XRIB of L (W XLIF of R) turning 1/4 LF, recover L, sd R/cl L, sd R;

1&23&4; 1&23&4;

phase III

123&4;

May be done with swiveling action. Closing step may be replaced with a locking step.

123&4; 123&4;

In the plain walk (above), we walk on two parallel tracks, feet side by side. A kiki walk is done on one track, as if you are walking on a rail, one foot in front of the other.

123&4;

1234;

1234;

Video Clip from videojug

So far, there is no "forward" moonwalk, so the woman, facing the man, will simply walk 4 or perhaps cross swivel 4 (lead hnd fwd palm-palm swvl LF on L fwd & acrss R, swvl RF on R fwd & acrss L, swvl LF on L fwd & acrss R, swvl RF on R fwd & acrss L;)

phase III

123&4; 123&4;

We can separate the two halves of the circle, maybe circling away and then doing something else, or separating in some other manner and then "circling together" to return to partner.

123&4;

123&4;

123&4; 123&4; 123&4; 123&4;

1,2,3&4; 1,2,3&4;

phase VI

1,2,3&4; 1,2,3&4;

She brings her right foot up to her left knee, toes pointing down, rises onto left toes, and allows man to turn her up to one full turn. The man must not take simple forward steps but must turn the foot to the right on each step and stay exactly on the circumference of the circle, at the center of which rotates the woman.

Since it is actually impossible to walk a perfect circle, maybe the real key to succes is for the woman to relax. If she maintains her usual tone, she will feel every deviation from that perfect circle. She will wobble and waver. If she can relax, she can give and take with shock-absorber arms. She can stay comfortably on that center point even if he does shift a bit from one side to the other. It takes two to dance a smooth Wheel.

phase III

123&4;

phase III

123&4; 123&4;

May be done with either foot.

phase V

1&2&3&4;

May be done in any position, with opposite or same footwork, and on diagonal or forward & back (without crossing steps).

123&4; 123&4;

123&4; 123&4;123&4; 123&4;

In butterfly position with lead feet free, XLIF of right, sd R, XLIF of right/sd R, XLIF of right (W XRIF of left, sd L, XRIF of left/sd L, XRIF of left); bk R, bk L, bk R/lock L in front of right, bk R (W fwd L, fwd R, fwd L/lock R in back of left, fwd L); sd L, XRIF of left, sd L/XRIF of left, sd L (W sd R, XLIF of right, sd R/XLIF of right, sd R); fwd R, fwd L, fwd R/lock L in back of right, fwd R (W bk L, bk R, bk L/lock R in front of left, bk L);

phase III

123&4;

1&2 or 3&4

It is helpful to prepare for this little burst of activity in the previous measure. Maybe you are finishing a Basic, and you hear the cue Quick New Yorker. Don't let yourself flow freely from the Back Basic into the Quick New Yorker, but pause briefly. Catch or stop your partner. Cancel whatever flow or momentum has built up. Now, with small and controlled movements, step through. Stick that step and keep your body weight back. Recover. Small step side. You're under control. Turn and step through the other way. It will feel much better than lunging one way and desperately lurching the other.

If you want to try this sequence, you'd be wise to get the cue sheet, but we enjoyed it so much on the ballroom floor, that I'll give you a few notes. The new yorker ronde transition is a regular new yorker to reverse for the woman, and the man takes four steps only to end in open position, line of dance, left foot free for both. Now, release hands and do the ronde chasse and hip twist chasse facing line with same footwork. These two figures are described at the bottom of this page. Finally, the solo work begins in open, no hands joined, facing line, left feet free. Man and woman do the same thing: lunge left foot in front of right, and at the same time move your right hand in a CCW circle, wrist leading, and ending with a sharp pointing of the index finger diagonally downward, about 45 º. Time this sharp pointing to occur at just the moment that you lunge occurs. All this happens during beat 1. Then recover and side cha. The spot turn is LF, so cross right in front of left, turning 1/2 and at that moment point your right index finger diagonally upward, toward center of hall and ceiling. To get just the flavor of this pointing, rent Saturday Night Fever and watch John Travolta. On beat 2, recover to face line and side cha. Repeat.

&1&2&3&4;

Now, lift the left hip (woman right) and bring the right hip in. On the "1" count, point that lead index finger diagonally up to the left (woman right), look at it, and pop the right hip back out again. On the "&", bring the trail hip in, and on the "2" bring the index finger back to the hip and pop it out again. Repeat on counts 3 & 4.

1234;

phase III

123&4;

phase V

123&4;

This figure may be done with the trail foot, opening her out to the man's left side, and it can be done in any facing direction.

phase III

123&4;

phase III

123&4;

1234;

phase III

123&4;

phase III

123&4;

Some dancers like a softer, less explosive, look to the "break," given by extending the trail arms horizontally to the side or just a bit diagonally upward.

phase V

123&4;

In left open facing position, step small back L relaxing the left knee, leaving the right leg extended, with forward body poise, and raising the right arm. The woman mirrors the man with a back R and sit. Recover R rising (woman recovers L). Step sd L/cl R, sd L. This chasse may also be danced forward or together.

phase III

123&4;

phase III

123&4;

phase IV

1,2,3&4; 1,2,3&4;

You can differentiate the alemana and underarm turn by making the woman's first two steps of the second measure less rounded and more sharp. Step forward left toward the man's left side and turn 1/2 in a spiral-like action, fwd R away from the man and turn almost 1/2 in a hip-twist-like action—you are tracing a triangle on the floor rather than a circle—and then dance your chasse.

phase IV

1,2,3&4; 1,2,3&4;

phase VI

1,2,3&4; 1,2,3&4;

In a facing position, step forward, recover, and then step side L/cl R, step L turning 1/8 RF. Raise the lead hands to indicate to the woman that she will turn RF under lead hands. In the second measure, cross R in back of L turning as she steps fwd L and turns under your lead arm, side L as she continues to turn and steps toward the man, and then cha in place as the woman steps fwd L completing her turn.

The man turns 1/2 and the woman a total of 1 1/2 RF.

phase VI

123&4;

The Curl is really a rumba figure, and you can read more there.

phase III

123&4;

1&2

May be done with trail feet.

qqs; qqs; qqs; qqs;

So, we might begin facing partner and wall with lead feet free. Turn 1/4 LF (W RF) and step fwd L (W R) toward LOD, sd R, Cl L/R, L; step bk R and turn 1/4 LF (W bk L trn 1/4 RF) to bk-to-bk position M fcg COH, sd L, cl R/L, R; turn 1/4 LF (W RF) and step fwd L (W R) toward RLOD, sd R, Cl L/R, L; step bk R and turn 1/4 LF (W bk L trn 1/4 RF) to facing position again M fcg wall, sd L, cl R/L, R;

phase III

123&4;

You may begin with either foot.

1234; 123&4;

The middle part has a little of the feel of a basketball turn. You may begin with either foot.

phase III

1,2,3&4; 1,2,3&4;

phase VI

1,2,3&4; 1,2,3&4;

So, the previous figure might have been an Alemana. On the last beat, the man should raise lead hands. She will take that last step L and spiral RF. If the man will take care to put his lead hand directly over her head with a little right sway, he will not pull her off the spot of that last step, and she will be able to spiral in place with better balance.

At the beginning of the next measure, you will be in a left-open-facing position with the woman on the man's right side. He will step sd L, rec R, step/stp, stp (woman fwd R, fwd L, fwd/fwd, fwd clock-wise around behind man); then he does a cucaracha right while she continues to walk around to face.

phase III

1,2,3&4; 1,2,3&4; 1,2,3&4; 1,2,3&4;

phase III

1,2,3&4; 1,2,3&4; 1,2,3&4; 1,2,3&4;

Note that the man turns 1/2 twice during the figure, but the woman does not turn.

Phase III

1,2,3&4; 1,2,3&4; 1,2,3&4; 1,2,3&4; 1,2,3&4; 1,2,3&4; 1,2,3&4; 1,2,3&4;

phase IV

1,2,3&4; 1,2,3&4;

phase V

123&4; 123&4; 123&4; 123&4;

phase VI

123&4; 123&4; 123&4; 123&4; 123&4;

Sometimes this figure will be cued Alemana To Follow My Leader. Such a cue does two things: it allows us to start with the lead foot, and it gets us started into the figure-8 patterns with the underarm turn. Essentially, we do a half basic, begin an alemana turn, and then the man releases lead hands and turns right into the follow-my-leader actions.

phase III

1,2,3&4;
or this is a good figure for guapa timing: -/&, 2,3/&,4;

May be done with either foot.

phase V

123&4;

Step forward L with right side lead (woman bk R with left side lead) in a contra check like action and checking your motion, recover R removing your contra "twist," side L/cl R, sd L (woman sd R/cl L, sd R) each crossing to the other side of partner;

This figure is often repeated with opposite foot, body lead, and body turn.

phase VI

123&4; 123&4; 123&4; 123&4;

So, in open facing position with R/R hands joined in a handshake, step fwd L (woman bk R), rec R, sd L/cl R, sd L raising right hands (W sd & fwd R beginning to turn RF/cl L, fwd R); bk R (woman XLIF of R turning under raised R hands), rec L (W fwd R turning), sd R/cl L, sd R (W fwd L/R, L CW around behind man to his left side and joining left hands) -; At this point, you are in varsouvienne position, woman behind and to the left, man in front and to the right, all hands joined.

Now the "towel" part—check back L and look at partner (woman check fwd R), rec R, sd L/cl R, sd L moving to the woman's left side; check back R and again look at partner (W fwd L), rec L, sd R/cl L, sd R moving back to woman's right side;

The second two measures might be repeated (if your back isn't quite dry) for a total of six measures.

phase III

1,2,3&4;

phase IV

1,2,3&4; 1,2,3&4;

1,2,3&4; 1,2,3&4; 1,2,3&4; 1,2,3&4; 1,2,3&4;

So, we begin in R/R handshake man facing wall. He rocks fwd L (W bk R), rec R turning 1/4 LF to face LOD (W rec L), sd toward COH L/cl R, sd L (W fwd R/L, R twd COH); This is essentially a half basic with the man turning a little left to prepare for a whipping action.

In the second measure, the man rocks bk R (W fwd L), rec L beginning to turn LF and leading the W across in front of the man with low R hands (W fwd R beginning to turn 1 1/8 LF), continue turning LF to face DRC stepping in place R/L, R while turning W LF and bringing R hands up behind W (W complete turn L/R, L) to end in varsouvienne position both facing DRC;

In varsouvienne, rock fwd L (W fwd R), rec R releasing L hands (W fwd L turning sharply 1/2 RF to fc DLW), turning 1/8 LF to face RLOD step side L/cl R, sd L (W turn another 1/8 RF and step sd R/cl L, sd & fwd R) to end M fcg RLOD (W fcg wall) with R hands joined across in front of W;

In the fourth measure, the man rocks bk R (W fwd L to the wall), rec L beginning to turn LF and leading the W across in front of the man with low R hands (W fwd R beginning to turn 1 1/8 LF), continue turning LF to face DLW stepping in place R/L, R while turning W LF and bringing R hands up behind W (W complete turn L/R, L) to end in varsouvienne position both facing DLW;

In varsouvienne, rock fwd L (W fwd R), rec R releasing L hands (W fwd L turning sharply 1/2 RF to fc DRC), turning slightly LF to face LOD step side L/cl R, sd L (W turn another 3/8 RF and step sd R/cl L, sd & fwd R) to end both fcg LOD with W to right of M and R hands joined across in front of W;

This figure seems to me fundamentally similar to the Full Moon that we have in Rumba and in Bolero.

phase IV

1234:

The develope is actually the woman's "knee, kick," and it can be done from almost any position, with either foot, with a variety of different entry actions, and occasionally even the man will attempt to do one.

phase III

123&4;

When doing a locking cha, turn the toes out and touch the big toe of the locking foot to the heel of the forward foot.

Another little refinement has the man reaching a little farther back on 3, pulling the right toward but not up to the left on the &, and then closing with the left. In this way, you hold your arm firm, and the body movement gives a little push to lead her hip twist.

Remembering the Latin hip, the timing then becomes for the man: fwd/hip rec/hip, reach bk/pull step, close; and for the woman: bk/hip, rec/hip, fwd/lk, fwd/twist;

phase V

123&4;

Some women like a delicate, demure look at the end of a hip twist, drawing the left knee across the right thigh in a sort of Marilyn Monroe pose, but others like more strength with the left knee forward in a press and the right hip back, like a drawn bowstring ready to launch into the fan or whatever comes next.

phase VI

123&4;

Of course, the final 1/4 turn for the woman is the "hip twist." In doning any hip twist, her hips should turn fully, but her upper body should turn less, maybe drawn by the man's charisma and animal magnetism, maintaining "connection" between partners.

phase V

123&4;

phase IV

123&4;

Another little refinement for the man replaces the side chasse with a hip twist chasse, like a single cuban break: cross right in front of left/close left, side right; The crossing step moves the man's body a bit down line and so leads the woman's back chasse. Furthermore, the crossing step cancels out the progression to reverse of the side step, so he can stay a little closer to his partner.

phase IV

1,2,3&4; 1,2,3&4;

Often the cue will be "hockey stick to butterfly," in which case the reverse underarm turn is overturned, and the last cha is sd/cl, sd; end butterfly wall.

phase V

1,2,3&4; 1,2,3&4;

123&4; 123&4&; 1&2

phase IV

1,2,3&4; 1,2,3&4;

phase III

123&4;

phase III

123&4;

phase VI

123&4; 123&4;

This figure is going to require a bit of an unusual entry to get to shadow and to same footwork. You might do an Alemana to an Advanced Sliding Door. At the end of the Alemana Turn, on the &-count of beat 4 of measure 2, lead hands will be low and palm-to-palm. The man can give just a little flick there to lead the woman to overturn RF to shadow position. She will have to dance the Turn in 4, rather than with Cha-timing, but I think she's on her own there. I suppose he could use a little right sway to suggest that she take weight on her right foot. If she didn't hear the cue "transition" or "in 4," then she might dance the Alamana Turn 123&4& and accomplish the transition that way.

phase IV

1,2,3&4; 1,2,3&4; 1,2,3&4; 1,2,3&4;

There are two "official" ways to do the Umbrella Turn. The original figure was created by Jerry Packman in 1982 for his dance, Domingo. It is a neat figure, but for some reason, it didn't catch on at the time. In 1990, Curt & Tammy Worlock put a modified umbrella turn into their dance, Sugar Sugar, and this dance became popular (and still is), and their modified figure is widely used. It also starts in a left hand star position, and it goes like this: rock fwd L, rec R, bk L/cl R, bk L (woman rk bk R, rec L, fwd R turning 1/2 LF to face reverse/cl L, bk R and momentarily join R hands in front of man's chest); rock back R, rec L, fwd R/cl L, fwd R (woman rk bk L, rec R, release R hand hold fwd L trng 1/2 RF to face line/cl R, bk L); repeat measure 1; rock bk R, rec L trng LF to face wall & butterfly, sd R/cl L, sd R (W rk bk L, rec R trng RF to face ptr sd L/cl R, sd L);

The two versions are the same in their beginning and ending positions, but the woman's turning is done very differently. In the Packman figure, she does her 1/2 turns on the rock-recover part of measures 2, 3, and 4, and she turns right, left, and then right. In the Worlock version, she does her 1/2 turns on the cha-cha-cha part of measures 1, 2, and 3, and she turns left, right, and then left. In both there is the smaller turn to face in measure 4.

And, just so you definitely have more choices than you really want, let me describe a third way to do the umbrella turn. The man still does his forward and back footwork, but the woman turns sharply on the last step of the cha (instead of on the rock, recover, or on the first step of the cha). So during the first measure, she would rock back R, recover L, step fwd/lock, fwd and turn sharply 1/2 LF;

Both Roundalab and choreographers have shown us that we can make our turns just about wherever we like and still call it an umbrella turn.

phase V

1&,2,3&,4;

The Andersons' Love Potion #9 has a neat "box with cuban breaks" in it. The dance begins with three threes;;;; and box with cuban breaks twice;;;; Do a forward, side, single cuban with lead foot; back, side, single cuban with trail foot; repeat;;

phase V

1&,2&,3&,4; 1&,2&,3&,4;

1&2&3&4&; 1&2&3&4;

In the continuous double cuban, all the steps are "quick" or half-beat until the very last at the end of the second measure: XRIF/REC, SD/REC, XRIF/REC, SD/XLIF; REC/SD, REC/XLIF, REC/SD, CL;

In a double cuban, you end with the same foot you started with. In the continuous double cuban, you start with the trail foot and end with the lead foot free.

1&,2,3&,4;

This is really a jive figure, but it has the triple timing, and it inserts a bit of calm into an otherwise latin sequence.

Goss' La Pura does a lot with sailor shuffles, too. In part B, we have just done a chasse to reverse and have lead foot free, facing wall. Then, we point the lead to line for 3 beats, do 3 sailor shuffles, point trail foot to reverse, and 3 more sailor shuffles;;;; point lead, 3 sailors, point trail, 2 sailors, point lead;;;; to an open hip twist;

1, 2,

1&2 or
3&4

3&4

3&4

3&4

3&4

In the Dois' Lover's Concerto, part A begins with an alemana, woman overturned and man transition to end side by side facing the wall both with R foot free;; hip twist chasse; ronde chasse; hip twist chasse; and a hockey stick ending man transition again to end in left open facing position wall;

phase IV

123&4; 1&23&4;

123&4;

phase V

123&4; 123&4; 123&4;

phase VI

123&4; 123&4; 123&4;

phase VI

123&4; 123&4; 123&4;

The second and third measures continue this stepping pattern. The man will begin the second measure with a swivel on the L and then step R. The woman matches him on these two beats with a back R and then XLIB. You continue to turn as a couple about two full turns. The choreographer will designate a destination or a subsequent figure.

In the Goss' Bandido Cha, there is a natural opening out; to a two-measure reverse top;; to an aida; rock and cha to face; spot turn; single cubans; double cuban; spot turn;

phase IV

123&4;

123&4&; 1&2

May be done from other positions. May be done to reverse, beginning with lead feet.

phase IV

123&4;

This figure is also cued "Switch Cross." See the switch rock below.

In the McGees' Intako Cha, part B begins with an alemana to a lariet;;;; hand to hand three times;; back into the aida; switch to a single cuban break; spot turn; and shoulder to shoulder twice;;

This sequence emphasizes that the "switch" is really that first side step to face, and then a variety of things can follow.

phase IV

123&4;

1