Ballroom Definitions

Question 1

Alignment (including direction)

Answer 1

The position of the feet relative to the room. The body and the feet may be in the same alignment, which can be either facing or backing the given alignment dependent on the direction of movement. When the body and the feet are in a different alignment it will be referred to as pointing in the given direction. The person who is using the pointing alignment will be on the inside of the turn. When the direction of movement is different from the alignment of the feet and/or body, for example a step taken in promenade position, direction may also be included. In tango, due to its styling the alignment and/or direction are given.

Question 2

Amount of turn

Answer 2

The turn measured between the feet.

Note: commencing alignments and amounts of turn are given for the purpose of study only. In practice it is acceptable to use different alignments dependent upon where in the room a figure I danced and also the preceding and following figures. This must be taken into account when studying given entries and exits. It is therefore permissible that commencing alignments may be worked out from the preceding or following figure. This is for practical purposes only and during only the given alignments will be required.

Question 3

Brush

Answer 3

A step where a foot closes to the other, then into its final position, with the ball of foot in contact with the floor on the brush action

Question 4

Chassé

Answer 4

A series of three steps where the feet are closed, or almost closed, on the second step

Question 5

CBM

Answer 5

The turning of the opposite side of the body towards the moving foot either forwards or backwards

With the exception of a pivot CBM is a traveling action and is generally used when initiating a turn. To assist in developing CBM it may be beneficial for the dancer turning to the right to feel a forward movement of the left side of their body, or turning to the left a forward movement of the right side of their nifty. Equally, although CBM is a turning of the side of the body, it may be helpful for the dancer moving forward to feel the turn is initiated through the shoulders and that the dancer moving backwards may feel the turn is initiated through the hips. It is important that the shoulders are not moved independently

Question 6

CBMP

Answer 6

A foot position where either foot is placed either forward or backwards across the line of the supporting foot

It is worth noting that every step taken outside partner or with the partner outside must be taken in CBMP. CBMP is particularly prominent in tango and in all promenade figures. In some cases CBMP is used at the same time

Question 7

Entries and exits

Answer 7

These are listed after each figure and have been selected to allow the steps to flow from one to another in the best way possible. To assist students the entries and exits include only those figures relative to the examination syllabus of the figure or earlier syllabi where applicable. It is accepted that step 1 of an exit figure may be taken outside partner to allow the movement of the couple to flow. For example step 1 of a natural turn in waltz following a chassé from pp

Question 8

Fallaway

Answer 8

As promenade position, where the leader has contact with their right side to the followers left side, with the left side of leaders body (followers right side) open to form a v position, but moving in a backward direction

Question 9

Footwork

Answer 9

The part or parts of the foot in contact with the floor. In waltz, foxtrot, quickstep and Viennese waltz it is understood that where the footwork is heel, when the weight is taken fully onto the foot, the whole foot may be in contact with the floor. Likewise, a toe can become ball of foot as the weight is transferred to the foot, say for example on backward steps. When one foot closes to the other foot from a side position in the above dances, the toe will be in contact with the floor but in tango the feet are picked up and placed in position

Question 10

Foot positions

Answer 10

The placement of one foot in relation to the other

Question 11

Heel pull

Answer 11

A type of heel turn. This turn to the right is made on the heel of the left foot where the right foot is pulled back towards the left as the turn is made. The feet are slightly apart with the right foot in contact with the floor, firstly with the heel then inside edge and then finally the whole foot as the weight is transferred onto the right foot

Question 12

Heel turn

Answer 12

A turn made to the left or right on the stepping foot. The foot is taken back on the ball of the foot, the turn is commenced as the weight travels through the foot to the heel and the toe is released as turn is made. The closing foot I held parallel throughout the turn with the weight taken fully onto the closing foot on completion of the turn

Question 13

Hesitation

Answer 13

An action in which progression is temporarily suspended for one or two beats of music and then the same foot becomes the leading foot for the next step

Question 14

Line of dance

Answer 14

The imaginary line of progression the couple takes in ballroom dancing travelling in an anti clockwise direction around the room

Question 15

No foot rise

Answer 15

A rise felt through the body and legs usually danced by the person stepping back where the heel remains I. Contact with the floor

Question 16

Outside partner

Answer 16

A step taken forward outside partner on the left or right side. When the leader steps forward with the right foot the step will be outside of the follower’s right foot example following a chassé from pp, step one of the following figure will become right foot forward in CBMP OP

Question 17

Pointing alignment including body turns less and body completes turn

Answer 17

A position where the person on the inside of a turn must point the foot to the states alignment and their body will be underturned until the weight is fully transferred to the foot when the body will complete turn

Question 18

Poise

Answer 18

Stand in an upright position with the body toned at the waist. The weight is held forwards towards the balls of the feet with the knees feeling slightly flexed but not leaving wheels leave the floor. The spine should be straight with the head erect and shoulders relaxed. The follower will have a slightly more backward and leftward poise

Question 19

Pivot

Answer 19

A turn made to the left or right on w of the supporting foot with the non supporting foot held in CBMP

Question 20

Pivoting action

Answer 20

A turn to the left or right on the ball of the supporting foot where the non supporting foot is not held in CBMP

Question 21

Promenade position

Answer 21

An open position where the leader has contact with their right side to the followers left side, with the left side of the leader’s body (follower’s right side) open to form a v position. When turning left into promenade the leader will open to pp and when turning right into promenade the follower will open to pp

Question 22

Rise and fall

Answer 22

The elevation and lowering that is developed through the feet legs and body

Question 23

Side leading

Answer 23

A step taken either forward or backward with the same side of the body as moving foot

Question 24

Sway

Answer 24

The inclination of the body to the left or right, normally towards the inside of a turn

Question 25

Whole foot

Answer 25

Where the weight is taken into the whole foot with body weight evenly distributed. This May Lao be an action where the weight may initially be partially taken onto part of the foot prior to the whole foot. This is particularly prominent in tango where there is a rolling action of the foot from inside or outside edge to whole foot as the weight is fully transferred to the foot

Question 26

Holds waltz Foxtrot quickstep Viennese waltz. Leader

Answer 26

Stand facing the follower Position the follower slightly to your right side. Extend the arms sideways making sure there is a slight loping of the arms from the shoulders. Invite the follower to take hold and as they approach take hold of the follower’s right hand keeping your wrist straight. Allow the follower to hook their four fingers over your index finger index finger with the index finger of the follower’s right hand close to the thumb of your left hand. Clasp the fingers of your left hand with the fingertips touching the back of the follower’s right hand. The thumbs can be held parallel or the followers right thumb can be placed loosely on top of the leaders left thumb if preferred. The joined hands are held at equal distance between the partners and at approximately the height of the eye level of the shortest person. The leader will place their right hand on the followers left shoulder blade with a straight line from fingertips to elbow maintained and the hand shaped with the fingers and thumb held together allowing the follower to adopt a leftward poise. The hold creates a frame that allows the leader to support and lead the follower through the figures

Hold is referred to as closed or normal

Question 27

Holds waltz Foxtrot quickstep Viennese waltz. Follower

Answer 27

Offer the leader your right hand with the wrist slightly bent back then hook your four fingers over the back of their Han’s. Place your index finger against the leader’s thumb. The thumbs can be held parallel or the followers right thumb can be placed loosely on top of the leader’s left thumb if preferred. The leader sets the height of the joined hands, this should be at approximately the level of the eyes of the shortest person in the partnership. Place the left hand on top of the leader’s right arm just below the deltoid (shoulder) muscle with the thumb and centre finger making contact with the base of the deltoid muscle

Hold is referred to as closed or normal position

Question 28

Tango hold

Answer 28

This is similar to previous holds. The hold is more compact than the other dances with the joined hands held closer to the center of the partnership and the elbows bent to show an angle of just less than 90 degrees between forearm and upper arm. The leader should offer their right arm to the follower without placing the hand on the followers back so to allow to place their left hand held flat under the leaders right arm making contact with the thumb and index finger. The leader can then place their right hand on the followers back in a slightly lower position than the other dances to allow for the followers left arm position bathe height of the elbows in the tango hold is therefore from both partners left elbow

Hold is closed or normal position

Question 29

Types of walk

Answer 29

In standard ballroom dances the basis for the movement and style is the walk. The tango differs from the other dances, which are all swing dances. They will use a walk action with varying amounts of rise and fall depending upon the style of the dance and the speed of movement. The waltz has the greatest amount of rise and fall whereas the foxtrot should have less to give the dancers the correct flowing style in this dance. In quickstep the speed of the music indicates the necessity for the dancers to adopt a style of walk to show the fast rhythms within the figures danced. In the case of Viennese waltz the rise and fall is minimal, note the use of no foot rise is prominent in this dance. The tango has no swing and therefore will utilise a walk which allows the staccato styling to be danced

Question 30

The forward walk

Answer 30

Stand in an upright position with the feet together and the weight held towards the balls of the feet

Swing the leg forward from the hip with the ball of the foot in contact with the floor allowing the heel to lightly skim the floor with the toe slightly raised. As soon as the front heel moves past the back toe, the back heel will be released from the floor and at the extent of the stride the weight will be equally divided between the heel of the front foot and the ball of the back foot with the front knee straight and the back knee slightly flexed. The front toe will then immediately lower as the weight of the body moves forward. The back foot commences to move forward with first the toe, then the ball of foot skimming the floor until the feet are level and the back foot then continues forward into the next step

Question 31

The backward walk

Answer 31

Stand in an upright position with the feet together and the weight held towards the balls of the feet

Move the foot back with the ball of the foot then the toe skimming the floor, then lower again on to the ball of foot to whole foot as the weight is taken fully on to the foot. As soon as the back foot moves past the front heel, the front toe shall be released from the floor so that at the extent of the stride the weight will be equally divided between the ball of the back foot and the heel of the front foot, the back knee will be slightly flexed and the front knee straight. The front foot then commences to move back first with the heel and then with the ball of foot skimming the floor until the feet are level when the back heel will lower. When lowering the back heel, care should be taken to do so slowly and with control

Question 32

The tango walk

Answer 32

The tango walk differs from the other dances, as there is no rise and fall. The knees are flexed and tone is to be maintained in the leg muscles. The feet must be slightly lifted and placed and no sliding of the moving foot on the floor should be evident. The character of the dance is enhanced by a delay in moving the foot. Complete the walk by moving the foot with a sharp staccato action. The delay is as long as the music will allow but the foot must reach its destination on the correct musical beat
There is a curve to the left on walks danced in line. The LF Fwd walk being taken in CBMP and the RF Fwd walk with a right side lead.

A walk back on the RF is therefore taken in CBMP and walk back on LF with a left side lead. It is important that the moving foot taken in CBMP is not placed across the line of the standing foot as this may affect the curve of the walks. Due to this curved action, LF Fwd walk must roll from outside edge of heel to whole foot and the RF Fwd walk will roll from inside edge of heel to whole foot The back walk will therefore roll from the outside edge of RF to whole foot and inside edge of LF to whole foot

The leader may release their right heel when stepping back with their LF as the RF commences to move back. On all other backward walks the whole foot is picked up and placed into the next position. Example steps 1 and 2 of the back corté

All fwd and backward walks are directional except for the follower’s step 2 of a rock turn and step 3 of the fallaway promenade. Therefore the alignment chart shall be referred to as alignment or direction