DEFINITIONS OF TECHNICAL TERMS
This word has several meanings in dancing. It may refer to the position of the feet in a forward or backward step, when the feet should be perfectly in line, turned neither in nor out, and with the inside edge of each foot touching an imaginary line drawn through the middle of the body. It is also used to refer to the directional line of some part of a figure.
この言葉は、ダンスにおいてはいくつかの意味を持っている。 この言葉は、両足が完全に平行に並んでおり、足の先が内側にも外側にも向いておらず、各足の内側の端が体の中央を通る想像上の線に接触している場合に、前進ステップまたは後退ステップでの足の位置を指すことができる 。 また、フィガーの一部の方向を示すラインを参照するためにも使用される。
Its technical meaning for examination work is described on page 26.
A combination of two or more figures.
The correct distribution of the weight of the body when dancing.
A figure that is considered to form a part of the basis of a particular dance.
When the moving foot is being taken from one open position to another open position, the word Brush is used to indicate that this foot must first close up to the foot supporting the weight of the body, but without the weight being changed.
A figure of three steps in which the feet are closed on the 2nd step.
Chassé Turn or Closed Turn.
A turn that is danced with a Chassé or with the feet closing on the 2nd or 3rd step.
Contrary Body Movement.
The action of the body in turning figures. See pages 15–17.
ターン・フィガーにおけるボディ・アクション。ページ１５－１７（Contrary Body Movement）参照。
Contrary Body Movement Position.
A term used when the body is not turned, but the leg placed across the front or back of the body, so giving an appearance of Contrary Body Movement. See page 17.
A position used in advanced variations in which the man and lady move backwards in Promenade Position.
A completed set of steps. (* See note on page 33.)
This is dealt with on pages 17-20.
A turn on the heel of one foot only, in which no change of weight occurs. The Heel Pivot might be termed a “compact Chassé,” and is used instead of a Chassé in the last part of the Quarter Turn to Left in the Quickstep. A full description is:
After stepping back with the RF, turning the body to L (S), move LF towards RF, at the same time turning on the heel of RF (QQ), then close LF to RF without weight, LF is brought back with first the heel and then the ball of the foot skimming the floor. When the feet are closed, the ball of LF should be touching the floor with heel very slightly raised. The feet must be kept parallel throughout the turn with the LF slightly in advance.
The following step must be taken forward with the LF (S).
A turn on the heel of the stepping foot the closing foot being kept parallel to it throughout the weight is transferred to the closing foot at the end of the turn. It should be noted that, although the major part of the turn is on the heel, it is actually commenced on the ball of the foot. This will occur naturally and is shown in the charts.
A Heel Turn is the backward part of an Open Turn.
This is a type of Heel Turn used by the man in some backward Natural Turns. The feet may be kept apart instead of closed, and the weight is more forward than in a Heel Turn.
A figure or part of a figure in which progression is temporarily suspended, and the weight retained on one foot for more than one count.
A part of a figure in which the moving or turning of the body is checked, while the feet remain almost stationary.
Line of Dance.
The normal line of forward progression along each of the four sides of the room.
A turn to the R.
A turn in which the third step passes the second step instead of closing. The lady’s counterpart to a man’s Open Turn is usually a Heel Turn.
This indicates a step taken forward by the lady or man that does not follow the partner’s opposite foot but is taken to the R of both his (or her) feet. In such steps the bodies must keep close contact, the outside movement being achieved by stepping rather across the front of the body. The partner’s step would be described “Partner Outside,” and must be taken across the body at the back. Thus all such steps are placed in CBMP. In some advanced variations the outside step is taken on the Left side of the partner.
Partner in Line
Square to Partner
Terms used to indicate that the couple are standing in the normal dance position, i.e. facing each other and with the man’s and lady’s feet approximately opposite each other.
A turn on the ball of one foot, the other foot being kept in front or behind in CBMP.
The position of the body in relation to the feet.
The position in which the man’s R side and the lady’s 1 side are kept in close contact, and the opposite sides of the bodies turned out to form a “V” shape. The feet are usually turned to the same direction as the body.
A term used in timing steps. A quick step always occupies half the time of a slow step.
A turn to the L.
The word “Rhythm” is used in a broad sense, and usually refers to the accented beats of the music which recur regularly and give character to the music. Rhythm, however, is something much more subtle than this. It might be likened to colour. There are basic colours from which the expert can produce an infinite variety of beautiful shades. Similarly we have basic rhythms in all our dance music. The expert musician will produce numerous subsidiary rhythms from these, thus giving the music an entirely different character, which the expert dancer will endeavour to express in his dancing.
Rise and Fall.
This is dealt with on pages 20-24.
This usually refers to one movement of the foot, although from a “time value” point of view this is incorrect. In the case of a walk forward or backward, for instance, the time value of the step is not completed until the moving foot is drawn up to the foot supporting the weight, ready to commence another step. Thus, when instructed to rise at the end of a step the dancer should not commence to rise until the moving foot is passing the foot supporting the weight of the body.
This is dealt with on pages 27–28.
A turn on the ball of one foot.
This indicates the speed of the music. The approved speeds for the standard dances are:
Waltz. 30 bars a minute Quickstep 50 bars a minute
Foxtrot 30 bars a minute Tango 33 bars a minute
The number of beats in each bar of music.
A varied and more advanced figure, additional to the basic figures.