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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

1a2

Although this step pattern works fine with the slower swing music that is common in round dancing, with the faster tempo of true jive, you won't have time. If you are doing a fast jive, dance the triple almost in place. Keep softer knees and stab the ball of the foot into the floor -- stab, bum/bum, stab, bum/bum; -- little steps. You will exhaust yourself if you try to reach out for a real side step.

In addition to side chasses, we dance forward, back, forward and back locking, and turning chasses. During a turning chasse, we can turn gradually over the three steps of the triple, but our jive will be crisper if we concentrate most of the turn during the first or last step of the triple, spinning on the ball of the lead foot.

phase IV

1a2a3a4

phase III

123a4; 1a2

phase III

123a4;

Note that the link is a one-measure figure.

phase III

123a4; 1a2

This figure can turn up to 1/2 RF to end in CP facing wall unless otherwise cued. For instance, you might begin in left open facing position LOD and link to CP facing wall.

phase III

123a4; 1a2

1234;

The name of this figure could be misleading. The standard fallaway rock is 1 1/2 measures, and this one is only 1 meas. But the name follows in the tradition of "new yorker in 4" in cha, and in a dance the next cue will come quickly to tell you not to linger the additional half measure.

phase III

123a4; 1a2

The "rock, recover" part of this is the fallaway. The two triples make up the throwaway part.

phase III

1a23a4;

123a4; 1a2

In an L-position, with the man facing wall and the woman facing LOD, the man lunges to the side L and extends his arms to lead the woman to rock back R. There is an elastic feeling between them. Both recover onto their trail feet. During the two triples, step sd L/cl R, sd L turning up to 1/4 LF (W triple turning up to 1/2 LF to left open facing position: R/L, R) man facing LOD; step sd R/cl L, sd R (W bk L/cl R sd L),

Of course, the first two steps constitute the "slingshot." We stretch apart and then recoil together into the throwaway. May be done in other facing directions.

1234; 1234;

In an L-position with the man facing wall and the woman facing LOD, the man lunges to the side L and extends his arms to lead the woman to rock back R (this is pulling back the slingshot). Then both recover to their trail feet (releasing the slingshot). This move gives a little more propulsion or drama to the next figure—in this case a runaway—than a tamer entry, such as a fallaway rock recover. Following this entry, we might expect jive triples, but this figure is even-count. The man steps small fwd L keeping lead hands joined and leading the woman to turn LF (W fwd R spinning LF one full turn to face LOD), small fwd R continuing to face wall (W fwd L); bk L (W fwd R swiveling 1/2 RF), bk R (W fwd L toward RLOD), step L (W fwd R turning RF), step R (W sd L) to an L-position man facing wall again;

The man is dancing pretty much in place, facing the wall, while the woman is running in front of him to his left and then back to her starting position again. May be done in other facing directions.

phase III

123a4; 1a2

phase III

123a4; 1a2

Again, we can distinguish between jive and swing styling. The above is more "swingy."A more "jivey" rendering concentrates the turn on beat 4. During the first chasse, step/step in place, and then step, lift, and pivot 1/2 to face center. Do the second chasse facing center. If the tempo is fast, don't try to progress on the chasses. Stay low and jab in place. Rise for the pivot. Lower again for the second chasse -- jab/jab, jab.

phase III

1a23a4;

phase IV

123a4; 1a234; 1a23a4;

This is a progressive wrapping into your lead arms as you roll down line and then unwrapping as you roll to reverse again. The figure can begin in other positions, such as semi or butterfly, and it can progress in any direction.

Sometimes a choreographer will insert two rocks or lunges in the middle of this figure (see example to right), rather than the standard one rock (the arm work can be even "cooler" then).

phase V

123a4; 1a23a4

May begin in other positions and may progress in opposite direction with opposite footwork and turn.

phase VI

123a4; 1234; 1a2

Start in a handshake position, perhaps facing wall. In the first measure, rock back L (woman bk R), recover R (woman rec L), chassé L/R, L beginning to turn LF and releasing handshake for right-wrist-to-right-wrist contact, woman's wrist on top (woman chassés R/L, R and turns a little to the right); At the end of the first measure the man is facing line and wall, the woman line and center.

During the second measure, the man raises his right arm a little to continue the woman's turn, he completes his 1/2 LF turn and steps R (woman steps L) to finish that step in a back-to-back position. Man will touch left wrist to woman's right wrist now and press down a little to turn her. Both turn 1/2 to face, and man steps side L (woman sd R). On the third beat, he uses his right wrist to press down on her left and turns 1/2 LF and steps side R (woman turns 1/2 RF and steps side L). Finally, he uses his left wrist again. Both turn 1/2 to face and step side. Of course, this is the actual "turnstile" movement. We are rolling to reverse in four steps and making two complete revolutions.

The revolutions I am describing above are individual half-spins — spin and face away, spin and face partner, and so on. In addition, you might be turning as a couple to the left, so each of those four steps is not toward RLOD but on a small arc, the circumference of of a circle on which the two of you are standing. The choreography will have to specify, but at the end of measure two, you could be facing partner and LOD, or you could have turned as a couple 1/2 and so be facing partner and COH.

We end the figure with a side chassé R/L, R (woman L/R, L).

There might be a temptation to make these turns double underarm turns, but you don't join hands. Keep your arms stiff and down. Each lead by the man stays below the horizontal — it's just a nudge. Think "penguin arms." As Meredith and I play with this in the kitchen, we seem to contact elbows as often as wrists. The figure does seem to flow more smoothly if you stay close.

Another feature of styling that is important is sway toward your partner during measure two. As you take the first step, incline toward your partner and touch man's right shoulder to woman's left. As you turn the turnstile, roll across the top of her shoulders, back-to-back, and touch man's left to woman's right. Engage his left and her right arms, roll, and engage his right and her left arms, leaning toward partner. This feels odd. Normally, we try to keep our toplines apart.

We have the option to turn more than two full turns. You might begin with a rock apart, recover, and chassé with a half turn for the man and a full turn for the woman to end in Woman's Tandem, both facing COH. Then the "turnstile" would involve L/L wrists to Tandem wall, R/R wrists to Woman's Tandem COH, and repeat. The last chassé would involve a half turn for the man and a second full turn for the woman. If you include rotation for the couple, again in measure two, you would gradually turn LF to end facing LOD or even COH before the final chassé and spin.

Finally, let us note that at full jive tempo, that turnstile is really fast. Chris and Terri Cantrell described some choreography that they once did in which the middle "turnstile" action was done at half speed — each step used two beats for a total of two measures. That would certainly take some of the violence out of the figure.

The form of the Turnstile is certainly not fixed. It might even be better to think of it as an action that can be used in lots of different ways in different figure combinations, much as a Spiral is used.

phase III

123a4; 1a2

phase III

123a4; 1a2

• Listen to the first directional word. The man can focus on the word right (as in right to left) and know that he needs to do a fallaway rock, moving to his right. This will aim the partnership in the proper direction and get the woman moving toward the man's left side. If he hears left first, he rocks straight back with a basic rock, not moving right but staying a bit to the left of the lady. As he raises his lead arm, she will be directed to his right.
• Or the woman can hear the word right and know she will turn right-face under lead hands. If the first directional word is left, she will turn left-face. These directions guide her to the proper side of the man.
• Or the man can focus on the second directional word (as in right to left) and take her to that side. Left -- direct her past your left shoulder and toward your left hand. Right -- direct her toward your right side.

phase IV

123a4; 1a2

phase V

123a4;1a2

In essence, she does a LF underarm turn on the first triple and he does a LF underarm turn on the second triple. May begin in butterfly. May be done in other orientations.

phase VI

1a23a4; 1a23a4;

This is the Roundalab description. URDC describes a three-measure chopper that begins and ends for both with a rock, recover.

I have also seen a one-measure "chopper ending" and a one-measure "chopper 4" that was not only done on an even count (man steps L, R, L, R; and woman spins on step 1 and man on step 3), but the woman spins RF and the man LF. So there is some variability out there.

phase III

123a4; 1a2

phase V

123a4; 123a4;

phase IV

1a2a3a4a;

It's a little difficult to keep this figure from becoming a pair of "jumping jacks." Try not to move up and down, but keep the upper body still.

These are also known as "Quick Side Breaks." Slow Side Breaks are danced a/slow, -, a/slow, -; and you might hear cued Side Breaks, two slows and four quicks (two measures total).

1a - 3a -;

(The above sequence is really step-cued two-step, but the dance is a wonderful, bouncy single-swing jive.)

phase VI

a; 1a2a3a4a; 1a2

When hopping on the R there is slight sway right and when hopping on the L there is slight sway left. May be done with same or opposite footwork.

phase III

123a4; 1a2

If you want to make this figure more "jivey" and less "swingy," take out the progression and focus more on lift and on body rotation.As you triple with your lead feet, rise and turn toward your partner. In place, jab/jab step/swivel to face. As you triple with the trail feet, swing the right hip (W left hip) thru and turn a little away -- triple up and face, triple down toward line. Often, we do jive walks and then swivel walks. This jive styling gives the jive walks the look of swivel walks -- with triples, we are swiveling toward partner and away.

phase III

ss; or qqqq;

As with the jive walks above, up-down motion is a jivey sort of addition. The man steps down line, rising, and leading strongly with the left shoulder. She steps, rises, and turns sharply toward him. Then with the trail foot, he crosses in front and falls or relaxes a little. She steps forward, falls, and turns toward line. Repeat. The man is almost doing a Limp. The woman is doing the swivel walks.

phase IV

qqqq;

In Man In Love by the Hiltons, there is a fallaway throwaway ~ rock recover;; chicken walks QQS twice;; kick ball change ~ link rock to semi;;

qqqq;

In left open facing position, stand tall, puff out chest, and strut forward L (woman bk R), fwd R, fwd L, fwd R;

Think dominant "cocky" thoughts. Push her ahead of you— relentlessly, inexorably.

ss; ss;

May be done by the man. May begin with either foot.

qqqq;

phase III

1,2,

In Rock 'N Roll Heart by the Cantrells, the dance begins with a rock the boat; kick twice, back 2; to a fallaway right face turn twice;;;

phase III

1234;

phase III

1,2,

Often, we do a series of point steps in BFLY or SCP. In such a series, you may shape and look in the direction of the pointing outside foot (e.g., LOD) and then shape toward partner and look away from the pointing inside foot (e.g., RLOD).

phase III

1234; 12

phase IV

123a4; 1a2

123a4; 1a2

phase VI

1,2,

phase IV

123a4; 1a2

123a4; 1a2

Specifically, in butterfly position M facing wall, we rock apart on lead feet, recover R (W rec L), and small triple adjusting to butterfly banjo with pressure thru the lead hands causing both partners to spin 1/2 RF on the last step of that triple ending in butterfly sidecar position M facing COH (W fcg wall). Finish the figure with a small triple to face partner.

phase IV

123a4; 1a2

phase VI

123a4; 1a2

Note that both turn under joined R hands, woman a bit ahead of man. Couple may end in starting facing direction or may change facing direction.

phase IV

123a4; 1a2

phase IV

123a4; 1a23a4; 1a2,

At first, the name Triple Wheel makes you think of three things, and yet the figure uses four chasses. Think of the figure beginning with a rock, recover, and ending with an American Spin ending, with three back-touching chasses between.

Usually you wheel as a couple 1/2 over the three triples. A Triple Wheel 5 would wheel one full turn. A Triple Wheel 7 would go around 1 1/2, but as the figure is extended, the cuer had better state the ending direction.

phase VI

123a4; 123a4;

123a4; 123a4; 123a4; 123a4;

phase IV

123a4; 123a4;

phase IV

1a2

Often this figure will be cued with the number of triples to be danced, e.g., "three sailor shuffles" takes 1 1/2 measures of music.

phase IV

1234;

Larry Monday and Gladys Gunter, in their Little Shoes, did a shoulder roll lady transition to a riverboat shuffle in tandem position. I'll let you look at page 2 of that cue sheet yourself.

In Southern Nights III, Vincent begins with a riverboat shuffle to reverse; back to line; and then a double cuban and point;

phase VI

1234; 1234;

It is also choreographed as a "Jazz Box" without the swivels: XLIF of R, bk R, sd L, XRIF of L;

Tim Eum has pointed out that the steps of a jazz box are the same as the man's steps in the second measure of a foxtrot natural hover cross -- the "hover cross ending." Dance the M's hover cross end without your partner, and you have the jazz box. Add the swivels and you have the coca rola.

phase V

123a4;

This is a spot turn for the couple of up to one full turn (no progression) during the first two steps. The man must step well under his body with soft knees. May begin in other facing directions.

These "whip" figures are usually preceded by a Link: rock apart on the lead foot, recover, and then triple beginning to turn RF; This sets up the actual "whip" turn. But we don't have uniform consistency. Sometimes a "whip" figure will be choreographed as a two-measure figure as if the link is part of the whip turn.

On the other hand, in Crazy Little Thing Called Love, the Lillefields have a two-measure whip turn (the link included);;

phase V

123a4;

Again, sometimes the preceding Link is choreographed as though it were part of the whip figure (see Whip Turn above).

In Choo Choo Ch'Boogie, the Gosses also choreograph a two-measure Whip Throwaway;; to a Left to Right and rock recover;;

phase VI

123a4;

phase VI

123a4; 123a4;

Notice that Roundalab does define this figure as consisting of two measures, perhaps because it begins with such an unusual "linking" measure. The ballroom world and URDC describe a one-measure curly whip as a fwd L, rec R, chasse L/R, L turning 1/2 RF and leading woman to turn under LF to end in CP facing COH;

In the Woodruffs' Shamey Shamey Shame, there is a link to a whip turn;; curly whip;; to a pretzel turn;;

1234; 1a234; 1a234; 1a234; 1a234;

More precisely, the figure begins in left open facing position. The man might be facing line of dance. Rock back L (woman rocks back R), recover R, forward L blending to loose closed position, and step fwd R turning to face the wall (woman steps fwd and sd L turning RF to face wall also) ending in an L-position both facing wall lead hands joined;

Now, kick L and look toward LOD (woman kicks R and looks toward RLOD)/ rotate RF and step fwd L to RLOD (woman XRIB of L and turn to face LOD), fwd R (woman fwd L), fwd L small step and turning RF, small step bk R (woman close L) turning to face LOD and partner and releasing to a left open facing position again; You have danced a complete circle over the first two measures.

To begin the third measure, settle the right hip back, straighten the left leg, and point L heel fwd (woman sits into left hip and extends right heel forward toward partner). On the "a" count, close L to R (woman close R to L). Step fwd R, fwd L blending to loose closed position, and fwd R turning to L-position, both facing wall;

Finish the figure by repeating measures two and three, as described above. Again, those two measures are almost a kick/ball change, circle two; and sit/ball change, circle two. Do it twice. You will go around a total of 2 1/2 times and end the figure in L-position, man facing wall and woman facing line.

phase V

123a4; 123a4;

Total turn is 3/4 RF as a couple.

phase III

1a2

1234; 123a4; 1234; 1234; 1a234; 1234; 1234; 1a2

In closed position facing wall, rock back L (woman back R) to semi-closed, recover R, touch L, small forward L; kick R through (woman kick L through), turn to closed position and touch R to L, sd R/cl L, sd R;

Let's pause. Notice that we have danced the first two measures. It was a rock, recover, touch, step; kick, touch, and a side chasse to reverse line of dance. We will repeat this pattern with two kicks and then with three kicks for a total of 7 1/2 measures. In the timing to the left, I have given the "kick, touch" counts in garnet.

To continue: in measure 3, we rock, recover, touch, step; kick R (woman L), touch R, kick R, touch R; sd R/cl L, sd R, and finally rock L, recover R; touch L, step L, kick R, touch R; kick R, touch R, kick R, touch R; and sd R/cl L, sd R,

Let me admit that the cue sheet does not include the first "rock, recover, touch, step" within the figure but cues it separately, and it does include a final "rock, recover" for a total of 7 measures.

qqs;

qqqq; qqqq; qqqq;

1234; 1234;

A slightly different performance asks us to touch left toe to rt instep, tch L heel to sd, sd L & tch R heel to sd, XREF of L; repeat; Note that the actions and the timeing are a little different: instead of toe, step, heel, cross; we have toe, heel, step/heel, cross;

Notice that two phase II sand steps carries you a little to reverse and then back to line, and you haven't progressed. The steps can be summarized: toe, heel, cross, -; toe, heel, cross, -; Two measures of the traveling sand steps cause you to progress down line (if you begin facing wall) with a toe, step, heel, cross; toe, step, heel, cross;

In Chain of Fools by the Cantrells, we dance the second form of the figure. Part B starts with a link & whip throwaway;; change hands behind the back rock apart recover to butterfly;; 2 traveling sand steps; to a right turning fallaway and back 2;;

Triple Travel with Roll

1a234; 1a23a4; 1a234;1a2

Start in a right-hand star position facing COH with trail feet free. Chasse side right (W sd L)/close L, sd R and give a small push with the right hand and begin a right-face roll down line, fwd L (W bk R) continuing to roll RF, sd R completing a 1 1/2 turn to a left-hand star position facing wall with hands at about shoulder height and lead feet free; During the roll, fold arms in front of body with hands at about waist level. Chasse side L/cl R, sd L (W sd R/cl L, sd R,) and give a small push with the left hand turning 1/2 LF to a right-hand star position facing center of hall, chasse sd R/cl L, sd R and give a small push with the right hand turning 1/2 right-face to a left-hand star position facing wall lead feet free; chasse sd L/cl R, sd L and give a small push with the left hand and begin a left-face roll down line, fwd R continuing to roll, sd L completing a 1 1/4 turn to left open facing position facing line of dance; fwd R/cl L or lk LIB of R, fwd R, (W bk L/cl R or lk RIF of L, bk L) 

One entry sequence begins in left open facing position RLOD with a change places left to right into the triple travel with roll. The first chasse of the change places left to right is used to blend into the right hand star position, and the second chasse of the change places becomes the first chasse of the triple travel with roll. 

The figure may begin with the man facing wall and will then progress to RLOD. 

A styling option that many consider to be more gently flowing is to use diagonal facing directions and to underturn each of the four turns within the figure. So, in the first right hand star, the man faces DLC and the woman faces DRW, and that initial roll becomes only 1 1/4 RF (instead of 1 1/2). In the first of the three central chasses, he faces DLW, and she faces DRC. To do the second of the three central chasses, both turn only 1/4 LF, rather than 1/2, and he faces DLC again (rather than COH). Turn 1/4 RF for the third of the central chasses, and he will face DLW and she DRC. Finally, roll 1 1/8 LF (instead of 1 1/4) to Left Open Facing Position LOD for the final chasse.

1234; 1234; 1234; 1234; 1234;

In the Rumbles' Runaround Sue, part D consists of a sandstep wheel;;;;; and Spanish arms twice;;;

phase V

1234; 1234; 1a234; 1234; 123a4;

Notice that this figure turns from semi to reverse semi and back to semi again. Sometimes the figure uses half-open and left half-open, open and left open, or side-by-side positions.

Another variation is to use a slight hop on the supporting foot when flicking the free foot and again when closing the free foot to the supporting foot. Instead of simply closing after a flick, you may also spring onto the free foot, ball-flat, in front of the supporting foot with a cut action.

In Man, I Feel Like A Jive by the Rotscheids, there is change hands behind the back to face wall ~ rock recover to;; spanish arms twice ~ basic;;;; mooch;;;;; double rock; right turning fallaway to semi reverse; mooch;;;;;

Hurd figure clinic (mp4) on mooch (at 17:40)

phase IV

1a2a3a4a; 1a2a3a4a;

phase V

123a4; 1a2,

phase V

1234; 1234; 1234; 1234; 1, -, -/a, 4;

So, step-by-step, it goes like this: In a loose closed position facing wall, rock back L (woman bk R) to semi-closed, recover R, point lead foot to line and look to line with forward poise, step fwd on lead foot; point trail foot thru and look to reverse with back poise, step fwd on trail foot, point lead foot to line and look to line with forward poise, step fwd on lead foot; kick trail foot thru, then retract it and step side to face partner, kick lead foot thru to reverse, retract and step side; kick trail foot thru, retract it and step side to face partner, kick lead foot thru to reverse, retract and step side; step fwd on trail foot in a lunging chair-like action, hold, hold/recover on ball of lead foot, fwd R (woman fwd L);

Note that you progress down line on the three point-steps but you do not progress during the kick-steps. This figure can start in semi-closed or butterfly position, and it can be done in other orientations, e.g. to reverse.

1234; 12/a34;

(pronounced "ma-sheesh," "muh-sheesh," or "ma-shee-sheh")

1234; 1234;