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Dancing Basics
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Basic Dance Definitions
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| Line of Direction (LOD): the direction traffic moves around a dance floor. This is always counter-clockwise. The faster moving couples should always occupy the outside of the floor. |
| Reverse Line of Direction (RLOD) : clockwise around the dance floor. |
| Partner Positions: how a couple stands in relation to each other. At some point, there will be diagrams here for you to look at, but until then you'll have to get someone to demonstrate; just ask--we're always willing. :) |
| 4-track: when you and your partner stand in closed dance position look down at your feet. If you are in 4-track (which you should be) your left foot should be outside of your partner’s right foot, and your right foot should be between your partner’s feet. Each foot should have a separate imaginary line running from your toes towards your partner and none of these lines should intersect with anything else. If you stay in 4-track you are less likely to step on your partner’s feet and knock your knees. |
| Counterbalance: the proper amount of tension/weight maintained between people on the dance floor to achieve optimum dancing enjoyment and safety. There should be enough tension to allow one partner to move the other freely but not so much that either partner is holding the weight of the couple. Counterbalance can (and should) be maintained in all partner positions. A good way to remember counterbalance is to be "light as a feather, stiff as a board." |
| First Foot: the foot that most dances will begin on, if the different positions begin on different feet. This will be assumed when a dance is taught: if everyone is beginning on the same foot it will be stated. The first foot for gentlemen's position is the left foot. The first foot for the lady’s position is the right foot. |
| Lead: the gentleman's position is expected to lead the lady's position in most dances. To do this, use a combination of arm movements, pressure in the hands and fingers, as well as sheer force when needed. |
| Figures: movements done in a dance in the different partner positions. The dance will dictate the appropriate figures and often the partner position will either restrict or dictate the figure done. |
| Single Circle: all people in a circle facing the center of the room. If the dance requires partners, the female’s position should always be on the right hand side of the gentleman’s position. |
| Double Circle: couples stand in appropriate partner position with females on the right of the gentleman’s position. The women are usually either facing into the circle or line of direction, conversely the gentleman’s position usually faces either out of the circle (back to center) or line of direction. |
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Waltz Basics
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Basic Running Waltz
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| Waltz: music is in 3/4 time. Step on every beat. One phrase is six beats. Be on first foot on the first beat of every phrase. The gentleman's position leads this freestyle dance, but if the gentleman’s position is having difficulty the other partner may suggest figures to dance. |
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Running Waltz Figures
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| Promenade: walk in time of the dance in varsouvienne, open, wrap, or skaters’ positions. Other positions are possible, but less common. |
| Yoke: to get into a yoke, stand with two hands joined facing your partner. The gentleman’s position takes a small step forward so he/she is to either side of his/her partner. Then raises his/her hands to shoulder height. From the gentleman’s position, on the side that your partner is not (still holding hands) bring your hand (and her arm) behind your head. She does the same so that each of you has an arm behind your head and one in front. A variation is normally done if there is an extreme difference in height between the partners: instead of bringing the hand behind the taller person in the couple, place it in front, at whatever height is comfortable. |
| In positions such as a yoke or window (ask someone to show you a window—they are nearly impossible to talk through without illustrations), walk in a circle in place on a dance floor. Be sure that if you do this you MOVE TOWARDS THE CENTER OF THE FLOOR. Fast moving couples occupy the outside of the floor. |
| ALWAYS MOVE IN LINE OF DIRECTION unless you are doing a circle figure stated above. Since with that figure you are moving only within an independent circle you do not affect the rest of traffic (unless you are standing in the middle of it) so you are allowed to move both clockwise and counter-clockwise. |
| Waltz Turns: are the most difficult figure in a basic running waltz but they are the most fun and gratifying figure to learn and execute. Once you do waltz turns correctly the room should "melt into a blur" around you. To reduce dizziness, focus your eyes on your partner’s face, but be sure to be aware enough of your surroundings to not run into another couple. |
| To make sure that no one is offended by gender pronouns: Alice will stand in for the woman’s position and Tom will stand in for the man’s position through the waltzing instructions. However, same gender couples are encouraged whenever people so desire. |
| Stand in closed dance position with Alice facing line of direction. Make sure that both positions are using proper counterbalance and your shoulders are parallel. Tom needs to make sure that his right arm is holding Alice firmly with his elbow up, but Alice and Tom each hold the weight of their own arms. This will help the couple move as one and Tom to lead correctly. When Tom gives the signal to start Alice will step with her right foot around Tom, crossing her right foot in front of his left. |
| On beat one, Alice crosses her right in front of her left foot (her right foot passes Tom’s right foot) this is a large step, it is responsible for the turn. Beats two and three are spent straightening herself so that her back is to the line of direction. These three steps should move the couple so it is EXACTLY 1/2 way around. |
| At the same time that Alice is moving around, Tom is moving in place. He is the post that she goes around. In order to keep his feet moving, so he can begin correctly; he must step back with his left foot on beat one. This is an EXTREMELY small step. It barely comes behind the heel of his right foot. The other two steps center him so that he is now facing line of direction. |
| Tom is now facing the line of direction with his right foot free and Alice is facing reverse line of direction with her left foot free so the roles are reversed. Tom is now responsible for moving the couple in a circle and Alice is the post. This cycle should move smoothly and continuously from one part to the next. The dance should flow and the couple should feel like they are beginning to float. |
| Variations: One of our favorite variations is called a Viennese waltz. While doing waltz turns, instead of the moving partner stepping around their partner they step between their feet. Be sure to stay in 4-track position and warn your partner that you want to waltz through instead of around. This waltz is normally danced to faster music. |
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Troubleshooting
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| If you are having problems initiating or responding to a lead, make sure that your dance frame is firm but not heavy, and that you are looking at your partner. A lot of information can be expressed through your partner’s face. |
| If you are having problems initiating a lead, make sure that your right arm is firm and your hand is on your partner’s shoulder blade. From her shoulder blade your hand should have the freedom to push gently (but firmly) to guide her. Your left arm should be doing similar things by pushing her arm. |
| If you are having problems following a lead, take a deep breath, relax, and feel joined with your partner. If you are still having problems after you relax, try this exercise: close your eyes, and let your partner move you around the room in any partner position you both feel comfortable moving in. Feel the connection points between you. Move around the room until you are comfortable and following his lead. Then change positions. The best way to learn how to lead is to learn how to follow. |
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Dance Etiquette
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| You can be the best dancer in the world but if you do not LOOK AT YOUR PARTNER, he/she will not enjoy the dance. Any time possible LOOK AT YOUR PARTNER. For the 2 seconds or 2 minutes you are dancing with this person, he/she is the most important, interesting, and beautiful person in the room. Smile too—even if you are not entirely enjoying yourself, try to smile—for your partner’s ego if nothing else. |
| It is very rude to refuse to dance with someone without an extremely good reason. Good reasons are: you’re going to fall over dead if you move, or you already have a partner for this dance and he/she will be here momentarily. Not knowing a dance IS NOT a good reason. Simply inform the person asking you to dance that you do not know the dance, and if he/she is willing and able to teach you, then you are willing and able to learn. |
| Anyone can ask anyone else to dance. Everyone should try to not dance too many dances with the same partner or group of partners. This is a SOCIAL dance and a person’s dancing only improves with practice dancing with different styles. Every person has a different style and dance vocabulary that should be appreciated and learned. |
| If you do not feel comfortable with a dance, then warn your partner. It makes his/her feet hurt less (if you happen to land on them) and he/she is more likely to forgive you, and give you another chance either later in the evening or at some other dance. He/she knows you are still learning, and should be able to remember when he/she danced just as badly. |
| Dancing is not a spectator sport. Take a risk and have some fun! |
| This has been adapted from what was composed by Tabitha Aberts, JMU Folk Dance Ensemble, April 1999. Thanks Tabitha! :-) |
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Questions, comments about
FaB or classes? Please contact KT.
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