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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

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The first measure can be cued a Half Basic.

phase III

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If partners are both facing the same direction, as in OP or LOP, then the steps for both are fwd, rec, bk, -; and may begin with either foot and with opposite or same footwork.

phase III

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If partners are both facing the same direction, as in OP or LOP, then the steps for both are bk, rec, fwd, -; and may begin with either foot and with opposite or same footwork.

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phase V

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In closed or butterfly position, perhaps facing wall, XLIF of R (woman XRIB of L) beginning to turn LF, recover R turning, and step side L completing a 1/4 LF turn, -; XRIB of L woman XLIF of R) turning, recover L turning, side R completing 1/2 LF turn over the two measures, -;

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You are jointly describing a circle with your arms. The initial movement is sharper than the recovery, to give a "bursting" feeling to the figure.

phase III

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phase III

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phase VI

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Begin in left-open-facing position and step forward L (woman back R), recover R, close L and lead woman to step fwd R and start a LF turn under lead hands (woman fwd R turning LF 1/2 to 5/8, -; End in tandem or shadow or wrapped position both facing wall.

The LF turn is the Curl action. It is like a spiral in that she is stepping fwd R and turning LF, but the Curl is not as tight and the turn is not as great. At the end of a Curl, the left leg will be crossed loosely in front of the right and extended somewhat forward. At the end of a spiral, the left is in front of the right, but the legs are more tightly wound up, and the ankles are together. Again, a true spiral turns 3/4 or even one full turn, though one can underturn a spiral.

The curl can also be danced from closed or from a fan position.

Sometimes cued, Half Basic to an Alemana Turn

phase IV

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Think a little about the lead for the Alemana Turn. The man is raising his left hand, and he is turning slightly that way. Both these actions direct the woman's attention toward her right and suggest that she go that way.

One can't help wondering why there is an underarm turn and an alemana turn. A teacher once pointed out that the underarm turn is simpler and has less emotional content. In an alemana turn, the woman steps forward, toward her man, not across in front of him. She is nose to nose and gazing deep into his eyes. Then at the last moment she turns away in a sharp spiraling sort of movement. It is flirtatious. She is toying with him. She steps away on her right, and her man comes after her. Again, at the last moment during the second quick, she turns sharply with a hip-twist to face him again, and they step side together. Boy meets girl. Boy loses girl. Boy gets girl again.

In La Mentira by the Collipis, there is a new yorker; spot turn;

hip twist;;; alemana ending; open break; crab walk;

Hurd figure clinic (mp4) on alemana turn into advanced hip twist (4:15)

SK Dancesport clinic on YouTube

phase IV

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phase VI

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In closed or butterfly position, step forward, recover, and then step side L turning 1/8 RF. Raise the lead hands to indicate to the woman that she will do an underarm turn. 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 close R as the woman steps fwd L completing her turn.

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

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q,q/&, &/s, -;

In a right-right handshake facing position, man perhaps facing wall, step forward L (woman back R), recover R, close L to R (woman fwd R turning toe toward line and center) raising right hands. So far, this is a normal preparation for an alemana turn, although the handshake may feel different.

The second measure begins normally. The man steps back R (woman fwd L DLC turning 1/2 RF under joined hands). On the second beat, he recovers L (woman fwd R turning), and on the "and" count he draws the R to L and swivels 1/8 LF bringing joined right hands thru at chest level (woman draws L to R and swivels 1/8 RF). He is facing diagonal wall, and she is facing diagonal center. On the third beat, he swivels 3/8 RF and closes R to L (woman swivels 3/8 LF and closes L to R). Both hold the fourth beat facing RLOD with left arms extended toward wall, man's behind woman's back. Lead feet are free.

I think the amount of swivel varies. The idea is to complete the Alemana Turn and then rather sharply bring the joined hands thru to line leading a swivel toward line and then quickly bring the joined hands back thru to reverse leading a swivel toward reverse. I also think that we dance this a little more gently on the beat, rather than on the half beat. I step back, recover, swivel left, and swivel right closing; with an even tempo, qqqq; (but it's still a surprise for her).

Three Alemanas

phase VI

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In the second measure, the man steps back R and with the raised lead hand leads her to step forward L toward line and center for a sharp spiral 1/2. She steps forward R toward reverse and wall and turns to face the man, and he steps forward and a bit to the left, so that when she steps forward L on her third step of this measure and the man closes, she will be on the man's right side. On the last beat of this measure, the man rather sharply lowers his lead hand and so leads a spiral of up to 1/2 turn so that both he and she are facing the wall, and she is in a partially wrapped position with her lead arm across in front of her body. Her total turn is about 1 1/2. Note that these steps are straight forward steps, tracing a triangle on the floor. Don't round this part of the figure into a circle—make the turns sharp.

On beat 9, the man steps side L and guides the woman to step forward and across toward line and wall. This moves her from his right side to a position in front of him again. He raises the lead arm to lead her to spiral LF about 7/8 so she is facing wall. He then recovers R and leads her forward L and turn 1/2 to face man. He closes, and she steps forward to the man, toeing out, ready to begin the third alemana turn. The man has his lead hand up, providing a firm backboard to lead her turn. Her total turn is again about 1 1/2.

The fourth measure is a standard alemana turn. He steps back R, recover, close, -; and she turns under his lead hand RF fwd L/turn, fwd/turn, and fwd, -; This third turn is only one full turn.

There are two features that make this a truly phase VI figure. First is the "overturning" of the first two alemana turns. She dances her first alemana turn and then sharply overturns it another 1/2 turn to face wall. Having made this extra turn, she must begin the third measure with a sharp 7/8 LF spiral to face wall, then forward to the wall and turn 1/2 LF to face the man, and finally forward to the man. The second sophisticated feature is that the three alemana turns are danced directly in front of the man, with very little movement either to line or to reverse. She dances the first turn to the man's left side, but then steps to the wall and then back to the man. The second turn begins with a strong spiral in front of the man, a step away from the man, and then a step back toward him. The third turn is similarly danced between the man and the wall with no progression.

You can soften this figure considerably by dancing it as a Half Basic, Underarm Turn, Reverse Underarm Turn, and Underarm Turn. These are phase III figures (and not Three Alemanas).

In the second measure, the man steps back R and with the raised lead hand leads her to step forward L toward line and center for a sharp spiral 1/2. She steps forward R toward reverse and wall and turns to face the man, and he steps forward and a bit to the left, so that when she steps forward L on her third step of this measure and the man closes, she will be on the man's right side. Here, we come to the first important difference between three alemanas and four alemanas. The man does not lower his lead hand but leaves it up and centered directly over the woman's head. On the last beat of the measure, the woman spirals 3/4. The man is facing wall and the woman RLOD. Her total turn is 1 3/4. Note that the woman's steps are straight forward steps, tracing a triangle on the floor. Don't round this part of the figure into a circle—make the turns sharp.

On the first beat of measure three, the man steps side L and guides the woman to step forward and across toward DRW spiraling a full turn LF. He recovers R and she steps forward L turning. He closes, and she steps forward R to face the man, toeing out, ready to begin the third alemana turn. The man has his lead hand up, providing a firm backboard to lead her turn. Her total turn is again 1 3/4.

The fourth measure is the same as measure two in three alemanas. He steps back R, recover, close, -; and she steps fwd L turning under his lead hand RF, fwd/turn, and fwd/turn, -; This third turn is 1 1/2 and we end in a partially wrapped position with her lead arm across in front of her body, both facing wall.

phase VI

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So, in open facing position with R/R hands joined, step fwd L (woman bk R), rec R, cl L raising right hands (W sd & fwd R beginning to turn RF), -; bk R (woman XLIF of R turning under raised R hands), rec L trng 1/4 LF (W fwd R turning), sd R (W fwd L CW around behind man to his left side and joining left hands) -; At this point, you are in M's varsouvienne position, lady behind and to the left, man in front and to the right, all hands joined.

Now the "towel" part (measures 3 & 4)—check back L and look at partner (woman check fwd R), rec 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 moving back to woman's right side, -;

Our hand position varies considerably. At one extreme, they are above the man's head, and as we check back (W fwd) the W's inside arm passes over his head, and we get a good look at partner. At the other extreme, arms are low, at waist level, and our look at partner is a more subtle glance. It is important that the arm position be comfortable. The number of "towel" actions may vary from only 1 to 4, or even more, I suppose.

phase III

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Cucaracha is Spanish for "cockroach." It's not an entirely attractive image, but in an earthy sort of way, I kind of like the idea of squishing a roach to the left and then to the right??

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So, we might begin facing partner and wall with lead feet free. Step sd L (W sd R), rec R turning 1/4 RF (W rec L turning 1/4 LF) to LOP facing RLOD, close L, -; sd R, rec L turning 1/2 LF (W 1/2 RF), cl R to OP facing LOD, -; sd L (W sd R), rec R turning 1/2 RF (W rec L turning 1/2 LF) to LOP facing RLOD, close L, -; sd R, rec L turning 1/4 LF (W 1/4 RF), cl R to facing partner and wall again, -;

phase III

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In My Home Town by the Hichmans, part A begins with a half basic; underarm turn; lariat half to LOP LOD; kiki walk 3; spot turn; time step

phase III

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phase VI

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So, the previous figure might have been an alemana. On the last beat of that figure, the man should raise lead hands and turn his upper body a little to the right and sway a little right, shaping toward partner. 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 L, -; (woman fwd R, fwd L, fwd R, -; clock-wise around and behind the man). For the man, this is a small cucaracha as the lady starts her circle. Perhaps a better alternative is for the man to step side & back L into more of a diagonal back cucaracha. The backward component provides a lead for her first forward step, and it doesn't move the man away from the lady as much as a straight side step does.

In the second measure, he does a cucaracha right while she continues to walk around to face. Again, using a diagonal back cucaracha doesn't move the man away from the lady as much as a side cucaracha, and the back component actually gets him out of her way, as she circles around in front of him. She gets around more easily.

phase III

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Rumbles' Ob-La-Di, Ob-La-Da, part A (actually a cha, but it would be a nice rumba sequence, too): basic;; reverse underarm turn; crab walk; traveling door to reverse; side walk; to a hand to hand twice;;

phase III

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phase VI

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phase III

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phase III

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For the man, this is the first two measures of a chase separated by two Cucarachas. The woman doesn't turn.

Phase III

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phase III

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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.

phase III

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phase III

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In the Slaters' Morning of the Carnival, part A begins with a fence line recover point; Since the third step is a point, instead of a side, the lead foot is free for a reverse underarm turn; to crab walks to line;;

SK Dancesport clinic on YouTube

phase III

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phase V

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Notice a couple of features that make this figure different from a hand to hand (above) and perhaps justify its phase V rating. The first step for the man is a pressure step, not a true side step. He is not stepping away from his partner but is remaining centered on her with left side stretch and left side lead. On her part, she does not lunge away but she opens out, remaining centered on the man. We don't end that step apart from each other in open position, but still cuddly in half open.

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

phase III

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Progressive Walks are done on two tracks and Kiki Walks are done on one, as though you are walking on a rail. Actually, Progressive Walks may be done backwards: bk, bk, bk, -; "progressing" to reverse.

phase III

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May begin with lead feet and move toward LOD or trail feet and move toward RLOD.

phase III

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May begin with lead feet turning to RLOD or with trail feet turning first to LOD.

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If you begin with the man facing wall, the turn will be toward RLOD for both. May be done with the trail feet, in which case both would turn toward LOD.

phase III

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In Trankel & Gilder's Stormy, part B contains a shoulder to shoulder; whip to center; shoulder to shoulder; whip back to wall;

Tom Hicks video, some more advanced features

phase III

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phase V

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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 (woman sd R) each crossing to the other side of partner, -;

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

phase V

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Of course the "hip twist" action is the RF swivel at the end of the figure. The hips twist in a right-face turn, but the upper body turns less, remaining centered on partner -- the turning of the hips puts a spiral "twist" into the torso.

phase V

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phase VI

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Of course, the final 1/4 turn for the woman is the "hip twist." One refinement the man might think about is taking that back step but not fully committing his weight change. Bring her forward, and then use the step to signal her hip twist. The woman's hip twist can occur at any time after her third step is taken but it usually happens at the end of beat 4.

Second, 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.

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This is a two-measure figure.  The first measure is an advanced hip twist, and the second measure is a left hip twist that turns as a couple 1/4 RF.

In closed position wall, step forward L on ball of foot, pressing into floor and turning a little RF (woman turn 1/2 RF and step back R), recover R (woman recover L and turn 1/2 LF to face partner), back L under body but keep body weight forward, - (woman fwd R outside partner on his right side, and turn 1/4 RF);

If you begin with the man facing the wall, at the end of the first measure, you will be in a tight L-position but with good upper-body connection, the man still facing wall. Now, the man steps side and back R with just a little left-face turn to lead the woman to step forward L down LOD.  On the “and” count, she swivels 1/2 to the left to face reverse. The man recovers L and the woman steps forward R curving to the right. On the slow count, the man steps forward right turning 1/4 to the right, and the woman continues forward left turning to face man and line of dance and dancing into his right side (BJO), ready for another opening-out figure (e.g., natural opening out or another advanced hip twist).

May be danced in other facing directions. May be continued over additional measures.

This is a recently standardized figure, and it has been danced in other forms in the past. For instance, the option exists not to turn as a couple but to end the figure facing as you began.  The Rumbles do this in If Tomorrow Never Comes. Another option is to include one more twist in the second measure of the figure.  You might step side and back right (woman forward left and twist 3/8 left), recover left and turn right (woman forward right and twist 3/8 right), and then forward right to face reverse (woman forward left to man’s right side and facing line).  This is the form of the figure used by the Gosses in their Rumba Concerto, and it does feel more “continuously twisty.” There is the hip twist in the first measure, and then it feels like a left hip twist and then a right hip twist in the second measure.

This figure has also been called an Advanced Continuous Hip Twist, a deeply meaningful name because it begins with an advanced hip twist and then it "continues." At one time, I thought that "continuous hip twist" might be reserved for the figure when it doesn't turn as a couple and "advanced continuous hip twist" might be used when the figure does turn RF, much as an advanced alemana turns RF. But all of this has shaken out with the shorter name (short cues are good) and a standard rotation of 1/4 RF.

aka Continuous Circular Hip Twist

phase VI

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In closed position, step forward L toeing out a little and lower lead hands to lead her to open out (woman swivels 1/2 RF and steps back R—try to separate these two components and count "&1"), recover R (woman recover L and swivel 5/8 LF—again, make the swivels sharp), cross L in back of R turning LF (woman fwd R outside partner and to his right side and do your first hip twist swiveling sharply 1/4 RF), -;

This first measure is simply an advanced hip twist. I have exaggerated the second and third swivels, compared to the advanced hip twist description above, as is often done. Notice that the woman's part is busier than the man's. She is really doing at least six things: swivel/step, step/swivel, and again step/swivel. You might like to count to yourself, "&/quick, quick/&, slow/&;" Actually, if you'd like to get even more anal about this measure, I think she might prefer to dance, "&/1, 2/&, 3/&, hold;" The "3/&" is the first hip twist, forward on the right foot and a sharp RF twist. She raises her left knee and crosses it a little in front of her right in a demure, sort-of Marilyn Monroe pose. This is a little picture figure and deserves to be displayed briefly. So do the hip twist at the beginning of the "slow" and then hold it briefly before beginning to circle. At this point, we are in a tight L-position; he might be facing line and wall, and she might be facing line and center.

During the second measure, the man steps side R, behind L, side R, -; His sequence is vine-like, but he should try to think, "7-11." Each time he crosses behind, he should try to place his left toe to his right heel, forming a "figure 7" with his feet, and each time he steps to the side, he should place his right foot parallel to his left to form a "figure 11."

Again, the woman's part is busier, with her swivels. She steps forward L and swivels as much as 1/2 LF, closes R and hip twists 1/4 RF, and steps fwd L, -; Notice that her LF swivels are larger than her RF twists. This is part of what causes the figure as a whole to turn to the left. The man is also turning LF with each of his behind steps and so is leading her to follow a circular track. At the end of the second measure, we are in the "hip-twist L-position," man facing about center.

The third measure continues the man's 7-11 vine and the woman's stepping and swiveling. He steps behind L, side R, close L, -; She swivels up to 1/2 LF and closes R, swivels 1/4 RF (this is the third hip twist) and steps fwd L, swivels 1/2 LF closes R and ends with a 1/4 RF hip twist, -; This is certainly the busiest measure for the woman, with a count of "&/quick, &/quick, &/slow/&;" End in the "hip-twist L-position," having made one full turn.

In Many Kisses by the Browns, we unwrap to an explosion; spot turn to a handshake; circular three alemanas;;;; side by side natural opening out; continuous circular hip twists to varsou;;; advanced hip twist to a fan;;

phase V

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It is a closed hip twist without the hip twist.

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The natural and reverse opening out can be cued "open out right and left." They are like two cuddles, without the cuddly arm-work.

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You can also do a rumba serpiente beginning with the lead feet. Step side L (woman side R), XRIB of L (woman XLIB of R), flare L CCW (woman flare R CW), -; XLIB of R, sd R, thru L and flare R CCW no weight, -; Note that this sequence has only five weight changes and so leaves the trail feet free.

phase III

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May start with either foot and travel in either direction.

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You may begin with the right feet free, in which case you will circle right-face in the first measure and left face in the second.

phase IV

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The height of the develope is your choice. There are those who can aim at the ceiling, and one of the secrets of such a performance (besides strength, flexibility, and maybe regular yoga workouts) is relaxing the supporting knee. The woman leans back and extends her free leg. Now, the more she bends her supporting leg, the more her back goes down and her develope goes up. Men—let her go but give her firm support.

phase III

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Often, the cuer will specify Break Back to differentiate this figure from the open break (below).

In Daria Cualquier Cosa by the Gloodts, the dance begins with 2 cuddles;; break back to 1/2 open; to open in and out runs;;

phase III

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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.

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If you begin with the man facing wall, you will end both facing LOD. May be done with trail feet, in which case both will turn to face RLOD.

phase III

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phase IV

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During the second measure, the man steps back R continuing to turn and she steps forward L beginning to turn LF. He takes a small step forward L, and she steps forward R completing a 1/2 turn. He then steps side and forward R (woman side and back L) to end in closed position facing COH.

Of course, you can begin in closed position center and end in closed wall.

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(previously called Parallel Breaks)

This feels much like two whips, woman across and then man across, but there is more progression. The man draws the woman down line of progression rather than simply across to COH, for instance. The woman should take the lead in the second measure and pull the man across and down line.

The figure is often repeated for a total of 4 or even 6 measures.

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In a R-R handshake position facing partner and perhaps wall, step back R turning LF (W fwd L twd DLC on M's L sd), rec L (W small step R trng LF), fwd R (W fwd L) to varsouvienne position both facing COH, -; Of course, this is the "whipping" measure. The woman has moved from the outside of the circle to the inside and has turned to varsouvienne.

Now, a "lunging" measure, although it has more of a lunge feel in bolero. Here, we essentially do a forward basic with a woman's hip twist. In varsouvienne with lead feet free, we rock fwd L (W fwd R), recover R releasing L hands and beginning to turn LF to face DRC, bk L (W sd R turning RF to M's right side and slightly behind him facing RLOD), -;

Ready for the second "whip"? The man steps bk R (W stps fwd L in front of M toward DRW), rec L trng LF (W fwd R trng LF), fwd R (W fwd L) to varsouvienne position both facing wall, -;

Finally, the man steps fwd L (W fwd R), rec R releasing L hands, bk L (W sd R trng RF to M's R side) to end in a handshake position with M facing wall and W fc LOD, -;

In You're Really Mine by Ivins, there is a slow hip rock; new yorker to reverse; full moon;;;; back basic to face wall; slow lunge and lady sit line;

In Something Stupid by Dierickx, the full moon begins in varsouvienne with the lunge action. We do two cuddles lady overturn to vars wall. With the lead feet, we dance the fwd basic lady swivel to a cross body COH;; and repeat;; fwd basic lady hip twist to a fan;; hockey stick;;

phase V

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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), and close L, -;

phase IV

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A Facing Fan is done as above, but on the third step, the man steps forward R and turns 1/4 LF to face partner.

May be done from other positions and facing directions.

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During the second measure, he again steps sd, cl, sd, -; leading her to roll LF in front of him back to the original fan position. The woman's turns are like Riff Turns in bolero.

The figure can be softened (maybe to phase V) by making the woman's turn only 1/2 per measure. She would step fwd R, fwd L spinning 1/2 RF, and back R, -; fwd L, fwd R spinning 1/2 LF, bk R, -;

May be done from other facing directions.

Since the Double Fan starts from fan position, it will usually be preceded by a single Fan. This typical combination gives us Three Fans. If we can have three threes, three alemanas, and three aidas, then why not Three Fans? Let's think about it — "Half Basic; Three Fans;;; Alemana;; …

phase IV

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One thing the man does to lead her Hockey Stick Ending (the second measure) is to move the lead hands between the partnership and in the direction of DRW. The second lead comes from his body shaping. The line of his upper body along the diagonal directs her progression along that diagonal.

Notice that when doing a hockey stick from fan or an alemana from fan (well above on this page), the woman's first step is a closing one. These are two very common sequences, and it is easy to get the mistaken idea that, from fan position, a woman will always next take a closing step. In the standard fan position, the man will lead her closing step with pressure through the lead hands, but from a facing fan position, his first step will be forward, and she will step back. In executing a Double Fan (just above on this page), he will lead her into an initial forward step. So, ladies, in fan position, don't assume that you will next close your lead foot. Take the step that your man leads you to take.

In The Summer Knows by Lamberty, we have a hockey stick ending by itself. The dance begins with a lead-foot lariat; hockey stick ending to the wall; curl; to a fan;

SK Dancesport clinic on YouTube

phase V

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phase IV

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A little different look is produced by taking two forward steps and then sharply turning in on the second step and stepping back into the aida position. Instead of a rounded look, we have a crisper, more proud, more deliberate look.

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phase IV

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The use of the cue term "switch" is not well standardized. Sometimes it is used to designate a figure composed of three steps. But relatively often, it refers to only the one, turning step. The newer cues switch cross and switch rock (below) reflect this tendency. We also sometimes hear a cue like, "switch, recover, and step forward" or even simply, "slow switch," meaning take one step and turn in some way.

In Don't Know Why by Lamberty, we have a one-step "switch." The dance starts in aida position facing RLOD with trail feet free. We do a slow switch to face, -, recover, -; cucaracha cross; spot turn; to a half basic;

In Crying by the Sechrists, in skaters LOD L feet free, we walk 3 & switch to left skaters RLOD; walk 3 & switch to skaters DLC; hold & arm sweep to SCP;

phase IV

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phase IV

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phase V

qqs; qqs;

One key to success here is for the man to walk a true circle, not a square, not wandering a little farther from her and then back closer. Take each step with the foot turned to the right, as though you are walking on the rim of a 55 gallon drum, and you neither want to fall in or off . I hope I'm not belaboring this, but she can't move, and if you don't stay on the circle, she'll tip over; it'll look awkward.

Since it is 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 will 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 VI

qqs; qqs;

qqs;

phase V

qqs; qqs; qqs;

phase VI

qqs; qqs; qqs;

Again, the woman's turns are full spirals, and she does each spiral on her right foot. She does not turn in the first measure. She turns on the first step of the second measure, and she turns on the second step of the third measure. Think: "0, 1, 2."

Couple rotation is up to two turns RF.

phase VI

qqq,-; ,,,;

(qqq&q&; q&q&q&q;)

So, in skaters position, step fwd L (woman bk R) with slight RF turn, recover R beginning to turn LF, XLIB of R toe out (woman begins her "run" fwd R/fwd L), continue to turn LF swiveling left (woman fwd L/fwd R); extend right leg to the side in a ronde action and continue to swivel LF with the left knee flexed and the right leg straight and the inside edge of the right toe skimming the floor making up to two complete revolutions, -, -, - (woman fwd L/fwd R, fwd L/fwd R, fwd L/fwd R, fwd L);

Usually only one revolution is made. The figure is also done in banjo or in closed position (so the "horse" is backing around the circle).

phase III

In closed position step back & sd L (woman fwd R) lowering, -,

ss; ss; (ss; qqs;)

In closed position, step back and a bit to the side L (woman fwd R) lowering, -, recover R (woman recovers L and rondes R behind L, no weight), -; hold (woman XRIB of L), back L (woman fwd L behind man's right leg), -, -;

phase VI

s

Lower in the left leg with slight left sway, push, and step side and forward R, looking right. Change to right sway and give her your right side—that will close her head (woman steps straight back R turning LF and looking well left—very like a contra check step for the woman). The man's left leg will be extended to the side, straight and strong. Because of her body turn, the woman's left leg will be crossed in front of her right and extended on the same diagonal as the man's. Keep your hips well in to your partner. Again, you are in closed position (not an L-position).

If you have a full measure, it is common to change the sway a third time. Use right-side stretch and right-face upper body rotation to sway left and open her head to a tight semi-closed position. This change puts you in a good position for the exit, which might involve a rise, LF rotation to lead a step forward L for the woman. Now you have lead feet free to complete a Telespin ending or other exit.

The position that you have assumed as a result of a same foot lunge is called a Same Foot Lunge Line. One "steps" into a same foot lunge, and one simply "lowers" into a same foot lunge line. More specifically, a prep to a same foot lunge involves one weight change for the man and two for the woman. Lowering into a same foot lunge line involves no step for the man. He is on his R foot already, and he simply lowers into position. The woman transitions by closing her R to L (one weight change), and then she lowers into position.

phase VI

qqs; qqs; qqs; qqs;

So, we begin in left open facing position, probably facing wall. The man steps forward L, recover R, and close L leading the woman to hip twist on her R 1/2 turn RF. Now both face wall in tandem. During the second measure, he steps back R, recover L, close R, while she steps in place L, R, L, spinning LF a full turn on the last beat. The man might have his hands on her shoulders during this measure and lead the spin with slight pressure during the third step of the measure. Don't actually spin your partner. Just hint or "invite" her to spin at the proper moment.

In the third measure, the man steps side and forward L, and the woman steps side and back R. This step has a sort of Sweetheart feel or diagonal Cucaracha. Then the man recovers and closes. The woman recovers L and steps forward R and swivels 1/2 RF to face the man.

In the fourth measure, the man steps back R, recover L, and small forward R. The woman is facing her man, a little distance away. She steps forward L toward him and swivels 1/2 RF, forward R toward wall and swivels 1/2 RF, and finally forward L back to a standard facing position. This last measure is very like an Alemana turn for the woman. At phase IV, the Alemana turn is normally done on a triangular path on the floor. In Three Threes, dance an Alemana turn on a straight line toward the man, away, and then back to him again (don't do a basketball turn). The count for the woman is really "q/&, q/&, s; with the step occurring on the "quick" and a sharp turn of the hips on the "&." Always step and then turn or you will be off balance.

Notice that all of the woman's half spins are RF. Only her full spin in the second measure is LF.

qqs;

Sometimes, the last measure of Three Threes is cued as a stand-alone figure. The man steps back R, recover L, and forward R. The woman is facing her man, a little distance away. She steps forward L toward him and spirals 1/2 RF, forward R toward wall and does a hip twist 1/2 RF, and finally forward L back to a standard facing position.

Again, notice the woman's step spiral, step hip twist, and step forward. One teacher once suggested that this part had a kind of skating action: step/skate, step/skate, and forward.