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Backing**Back Line**Back Tango Close**Back-to-back Position**Backward Walk**Balance**Balance Step
Ball-change**Ballet Bum**Ballet Toes**Ball-flat**Ball-heel**Ballon**Ballroom**Ball of Foot**Bars per Minute
Base Action**Basic Figure**Basic Technique**Beat**Beginner**Behind**Benefits of  Dancing**Bitchiness
Blending**Blocks of Weight**Body Contact**Body Flight**Body Movements**Body Odour**Body Rhythm
Body Rise**Body Speed**Body Swing**Body Turn**Body Turns**Body Weight**Bolero**Boogie**Booking
Books**Bossa Nova**Botafogo**Box Splits (Freestyle)**Box Step**Break**Breakaway**Breaking in the Waist**Breaks**Broken Sway**Bronze Level**Brush**Bump

BACKING: A term used in the description of Alignments, to specify movement which is backward, i.e. Backing Line of Dance (BLOD), Backing Diagonal Centre (BDC) (See facing).

BACK LINE: The line across the back of the shoulders, from elbow to elbow. In Closed Position, a good Back Line is expansive and slightly rounded, with no pinching of the shoulder blades. Related: 'Top Line'

BACK TANGO CLOSE: A 'Tango Close' which begins with the man stepping back on the right foot, left side and right closing to left.

BACK-TO-BACK POSITION: Dance position where the man and lady face away from each other back-to-back.

BACKWARD WALK, MAN (Ballroom): Normally the man does not do a succession of Backward Walks except in the Foxtrot. Although the actions of the feet and legs are similar to those described for the Backward Walk of the lady, the man must remember to retain the same poise of the body as for a Forward Walk. In moving forward the man tends to be slightly 'over' the lady. The positions are not reversed when the man moves backward and it would be quite wrong for the lady to adopt a forward poise and take control over the man.

BACKWARD WALK, LADY (Ballroom): The Backward Walk for the lady is much more difficult than the Forward Walk of the man. The movement for the man is but little removed from a natural walking step, while the lady is using her legs and muscles in a manner that is not employed in any other form of sport or recreation. For this reason it is not always possible for a novice, especially the middle-aged novice, to immediately adopt the poise and balance of an accomplished dancer.

An excellent 'balance' exercise for the lady is to reach back from the hip, stretching the ankles and stepping on the tip of the toe. Then, as the weight is transferred over the tip of the toe, roll over the ball of the foot then heel, but feel a rolling action of the foot by lowering the heel slowly. Do the same with the other leg. This practice achieves four important things.

1. It strengthens the ankles by forcing the lady to use her ankles.
2. By reaching back on the tip of the toe, she gets her whole foot out of her partner's way, giving him freedom of movement.
3. It creates a stylish foot-line for expression of movement.
4. It develops comfort, balance, control and lightness for following most leads. The man should practise this same 'reaching back on the tip of the toe' exercise.

Note: it is important for a dancer to be able to keep his/her own balance without relying on the other for support. Students should also remember, when stepping into a rising balance, imagine that a piece of string is attached to the top of the head pulling the body upwards and not forwards and that on all side balances the body weight is kept to the centre of the feet (see sway).

BALANCE (Freestyle): The correct and controlled distribution of the weight of the body over the feet.

BALANCE STEP: A step in any direction, followed by a Close without changing weight. To balance while holding a count - a controlled, suspension of a step.

BALL-CHANGE: A series of two consecutive steps, the first step being taken with the ball of the foot only. The rhythm is usually syncopated.

BALL CHANGE (Freestyle): Change of weight from the ball of one foot onto the ball or toe of the other foot.

BALL 'n CLAW: This expression describes the unnatural hand style of a Latin dancer whose fingers, in open position, are wide spread and curling down as if holding a ball - a hand style resembling the ball 'n claw of the foot of an antique chair.

BALLET BUM: A term used in social dancing to describe the protrusion of the male or female's posterior, commonly found among dancers who change from ballet to ballroom. This jutting out of the behind can easily be remedied by the hips being brought forward. The main problem with this affectation is that the dancer seldom knows of its existence, and is even surprised when told.

BALLET TOES are toes that are turned out when backward or forward steps are taken. A technique which ballerinas find extremely difficult to correct in ballroom dancing.

BALL-FLAT: A 'Ball-Flat' (BF) step is taken first with the ball of the foot in contact with the floor, and then with the whole foot flat.

BALL-HEEL: A 'Ball-Heel' (BH) step is taken first with the ball of the foot in contact with the floor, then the whole foot flat and onto the heel. It is used in the description of backward walks to indicate the delayed lowering action of the heel.

BALLON('balloon'): The appearance of weightlessness and of being airborne. A dancer is said to have ballon if he/she seems to be in the air constantly with only momentary contact with the floor.

BALLROOM (B/R) DANCING includes: Slow Foxtrot, Slow Waltz, Viennese Waltz, Tango, Quickstep, Two-step, Sakkie-Sakkie, Sokkie, Peabody or any progressive (moving) dance held in closed position.

Ballroom, now being replaced by the term "dance sport", is still accepted by most dancers as the best word to describe the “moving” or “progressive” dances or, as it is known these days in competition dancing “standard”, “swing” or "modern" style. In the days of king Arthur when dragons were real, and Latin dancers still wore tails (believe it or not… and WE think we have problems), then the meaning of the word ballroom engulfed all 10 dances, i.e. Cha Cha, Samba, Rumba, Paso Doble, Jive, Waltz, Tango, Foxtrot, Quickstep and Viennese Waltz. Now Dance Sport will be doing that in competitive dancing.

In social dancing there are three distinct categories:

1. The Ballroom section includes dances where females wear a ballgown, males tails and the couple hold in closed contact and stride, move or progress in an anti-clockwise direction around the floor or the  ballroom to the sounds of dramatic, classical or flowing music, namely: Slow Foxtrot, Slow Waltz, Viennese Waltz, Tango, Quickstep, Two-step, Sakkie-Sakkie, Sokkie, Peabody or any other progressive (moving) dance held in closed position.
2. The Latin-American section constitutes any dance danced to exotic rhythms where the couple hold slightly apart, break away from each other, spin, jump or swing their hips extensively, namely; Cha-Cha, Samba, Paso Doble, Rumba, Mambo, Merengue, Salsa, Lambada, Bossa Nova, Bolero.
3. The Beat section also known as Modern Beat or Rhythm dancing includes: Boogie, Disco, Freestyle, Rave, Head-banging, Moshing, Hustle, Rap, Hip-hop, Rock ‘n Roll, East and West coast Swing, Jive, Twist, Salsa, SAROC or any dance that is danced to a heavy rhythmic, accented beat – be it modern or bygone.

1. The rounded part of the foot between the toes and the arch.
2. Abbreviated 'B'. A 'Ball' step is taken without the heel or toes making contact with the floor, and with little or no rise resulting in the body.

To make it easier to understand, select Waltz music which has 3 beats to its bar/measure. Here’s how you count the number of bars per minute in Waltz music; play the music, and as the second’s hand of the clock passes the 12, start counting to the beat of the music 1, 2, 3 - 2, 2, 3 - 3, 2, 3 - 4, 2, 3 - 5, 2, 3, etc. (the first digit (red) in each bar denotes the number of bars counted). When the second’s hand of the clock makes a full circle and you’re on 33, 2, 3 that indicates 33 bars/measures per minute (a tune of medium tempo).

BASE ACTION is the sound technical manner in which the fundamentals of a dance is executed.

BASIC FIGURE: A standardised step pattern which characterises the fundamental timing, shape and style of a dance and, coupled with other patterns, constitutes the basis of that dance.

BASIC TECHNIQUE is the central styles, qualities and elements which characterise a particular dance, such as the correct placement of the feet; positioning of the arms, head and shoulders; the movements and actions of the body; the directional lines or the rhythm and timing.

Sound Basic Technique should be thoroughly practised at a very early stage of learning, i.e. while the patterns or figures are uncomplicated. Once the basic styles and elements of a dance are rooted, they systematically and naturally carry over to the more advanced work without much conscious effort.

In most sports and pastimes, a sound knowledge of the basic work is necessary before the 'frills' can be indulged in with any degree of pleasure. The dancer who masters the fundamentals will have command.

BEAT is the smallest part of the music with a steady, continuous and repetitive pulse, within which the rhythms of a dance are formed and the speed of the music is set. A beat is a single pulse of music. Beats are usually arranged in groups of 2, 3, or 4 which make up a larger part of the music called a bar or measure - 160 beats played a minute equals 40 bars  per minute (BPM), which is considered a medium-fast speed (see 'and').

BEAT: The basic rhythm of music, i.e. The regular accented pulsation that makes the rhythm physically felt.

BEGINNER:helpful hits

Shoes
Bring clean shoes. Bring a second pair of shoes and change when you get to class. Your street shoes bring in dirt, and dancing on a gritty, crummy floor feels bad. The grit also chews up the floor, and it ruins your special dance-shoes. Leave your takkies in the yard. Shoes with leather soles are best for turning and moving smoothly.

Practise on your own
The better you can dance on your own, the better your balance will be, and the better your balance, the better you will be able to dance with a partner. Patterns are the wheels of dancing, the tools that get you mobile - keep them well oiled.

Maintain a good, firm frame
Think tall. Think elegant. Stand up straight, shoulders back, head up, good tone in your arms. Even in the Latin dances, where there's all sorts of interesting motion from the waist down, the upper body stays controlled.

Flex your knee
Avoid stiff knees or over-bent knees. Before taking your first step, stand up straight and flexor soften your knees. This way you develop the correct balance and control to start the dance.

Dance with different people
Even if you have regular partners, you'll learn faster by occasionally dancing with others. You'll learn a lot from more experienced dancers. It also helps reduce frustration if one knows more than the other! Share what you learn with your partners. Be positive and kind. Everyone feels awkward when first learning, and needs no reminder of it.

Don't be intimidated
Everyone out there dancing knew nothing when first started, and most are happy to help if you've got questions. It's OK to be a beginner – it's a lot better than not dancing at all!

Keep coming to class
You'll find that once you know a few dances, new ones are easier to learn, but regular lessons guarantee steady progress.

Empty your front pockets
Grinding your keys into your partner's thigh is a bad way to start the evening.

Respect line of dance
For the travelling dances, this means go anti-clockwise around the room. This will minimise collisions. It's like a racetrack where the outside "lane" is the fast lane, so move towards the centre if you're slower or having problems.

Dancing without toe abuse
If you're learning to dance, you're probably worried about stepping on your partner or being stepped on. The painful truth is that it happens to everybody, at all levels, but here are a few things you can do to avoid your partner's feet and improve your dancing:

Don't be loose and floppy when you're dancing. Don't drape and cling. Good dancing may look effortless, but you both need to use a little strength to maintain your frame.

Followers: You need to have enough tone in your left arm to prevent your partner from walking into you. Instead of holding on with your left hand, try putting it on the front of your partner's shoulder or upper arm and lightly pushing away. This will keep your partner from walking into you without warning. It also helps to lean or arch back (slightly!) into your partner's right hand. This helps maintain contact, and helps you look taller and more elegant.

Leaders: You need to have enough firmness in your right arm to maintain your body position relative to your partner. You don't lead these dances by pushing your partner around. You lead by moving your whole body, and your right arm needs to be firm (an extension of your body) to ensure that your partner's body moves with you as a unit.

Both of you: Think tall. Think elegant. Stand up straight, head up, shoulders back, arms up. Line up slightly to the left of your partner, so that your right foot can step between his/her feet. Your bodies should be parallel so that your legs will be parallel and not angled into each other.

Don't try to step around your partner
In the smooth dances (Tango, Foxtrot, Waltz, Sakkie, Sokkie, Quickstep, etc.) your right foot is supposed to go BETWEEN your partner's feet. This makes a lot of beginners nervous (especially the leaders), and they try to avoid mashed toes by always stepping outside their partner's feet. Don't do this. If your feet are spread you'll waddle instead of moving smoothly, and your partner will still trip over you when she/he tries to turn. It's the same when you're following: Just step straight forward or straight back, because if you step out to the side you'll get stomped by someone who's leading correctly.

Take a full backwards step
Many people don't use their full leg extension when they step backwards. This is often caused by not bending at the knee, and by stepping back with a flat foot. To make the most of your stride, you need to reach back with your toe, and keep the forward leg flexed.

Try this: Stand with both legs straight, and take a flat-footed step back with your right leg. See how short that step is? Being stiff limits your stride, and makes you move like a Frankenstein monster. Instead, stand with both knees slightly bent, and reach waaaay back with your right toe while keeping your left knee bent. Much better! Now push off with your left leg, and as your weight transfers to your right leg (knee bent, of course) push your left foot back and reach back with your left toe. This long, gliding step will move you smoothly down the floor, and should keep your toes out of harm's way.

Try to smoothly slide your foot back instead of picking it up and stabbing it into the floor.

Adjust your stride-length and hold to your partner's
If you're taller than your partners (true for most men), you probably have longer legs, and can comfortably take longer strides. You've got to be aware of this, and shorten your stride so that it's comfortable for your partner. Keep your side-steps small. What's more, lower you elbow-line slightly so that the girl's elbows are almost shoulder height. Should you be shorter than your partner, then raise your elbows a little.

If you're shorter than your partners (most women are), you'll need to work on taking long, smooth strides, especially backwards. It'll get easier as you dance more. But don't hesitate to tell your partners if their stride-length is uncomfortable for you.

Get close to your partner
Strange but true. If you're closer together it's easier to keep your bodies properly aligned. If you can feel your partner's legs you have a much better sense of where their feet are.

The most common mistakes
This article is intended to assist the beginners and intermediates. It is purely to give you an idea of the goals you should be trying to achieve in your dancing.

Off The Beat
Perhaps the most fatal of mistakes being, DANCING OFF THE BEAT. It is probably the most obvious mistake and likely to get you knocked out of the competition very quickly.

There is no easy remedy for being off-beat but there are a number of pointers which will help you overcome this problem.

Eye contact at the start of the round is helpful. Eye contact while counting is even better. Soon the lady will be able to read the man's intentions through his eyes. All sounds a bit spooky but it does work.
Gentlemen, when you start to move, move. Do not hesitate, once you have begun the movement, follow through. Do not wait to see if your partner is coming along too, trust that she will be there.

If you go out of time while dancing, stop and start again. Do not try to catch up, as you will just struggle through the round in a horrible mess. Calmly stop, count in and start again., it's the man's responsibility.

2. Weight Placement (Latin)
Weight placement is fundamental technique. It is the most basic building block for your dancing, it is also the most difficult technique to master. Unfortunately weight placement is essential if you intend to progress through dancing.

Weight placement basically means putting your weight on the correct leg at each stage of the dance. It is so important because it is what gives Latin dancers the sexuality they exude, and hip action that moves the dance from ‘fancy walking’ to dancing. Weight placement is too complicated a subject to try to express in writing. You would do well to pay special attention to what your trainer says on the various techniques of weight placement.

3. Lead and Follow
Ballroom and Latin dancing is greatly dependent on ‘Lead and follow’. The roles are quite clearly defined. The man leads, the lady follows. The dance floor is the one place were traditional values rule and the guy should very much remain the boss.

Men, your job is to be firm, powerful, sometimes even commanding. You must learn to lead the lady into any figure with no doubt in her mind as to what your intentions are. As you become more advanced in your dancing, many of the figures you use are impossible for the lady to do by herself. She will rely on you to generate the momentum she needs to enter and exit spins and execute sharp turns. One of the commonest errors committed by male beginners is to not keep a firm frame and arms.

The man must also look after his lady, this involves making sure she is not going to run into anybody on the dance floor or will be hit by anybody running into her. This involves a great deal of spatial awareness. You must be aware of the others around you and how each figure you do will move you across the floor relative to them and the four sides of the dance floor.

You must be especially aware that in ballroom the lady is vulnerable as she travels backwards more of the time. Practise leading your partner around in crowded conditions.

Ladies, your job is to be as light and compliant as possible. You must learn to read your partner and be ready to deviate from a practised routine as conditions are dictated THROUGH your partner. Never try to take control of a dance situation. "Women, know your limits!"

The most common fault for female beginners is that they are often simply not strong enough to provide enough resistance to be led properly. Arms and top line should be quite firm, even in Latin. Guys and Ladies don’t be mistaken, dancing is a very physical activity. It requires strength and endurance, flexibility and aerobic capacity. It is official, we are now athletes so an athletic diet and exercise routine is not out of place.

5. Stepping the steps rather than dancing them
Beginners sometimes look like they are going through the motions of dancing. The key is to get inside the music, Listen to it, understand it, be the music.

BEHIND: A step with the free foot crossing behind the supporting or weighted foot (see lock).

BENEFITS OF DANCING: It is fun and exciting; a great way to exercise; improves an individual's poise and confidence; overcomes shyness; extracts the toils and frustrations of work; is a clean hobby or pastime; attracts social popularity and recognition; encourages team work; allures admiration and envy; makes the old feel young and the young feel worthy; improves concentration; invigorates the soul and encourages partnership discipline and gives direction.

BITCHINESS is an offensive attitude handed down to some competitors by their nasty forefathers. This behaviour shows in the frequent, personal attacks these individuals make on fellow-competitors, officials and adjudicators. Bitchiness is an intense form of jealousy which causes bad vibes at competitions and exhibits poor sportsmanship.

BITCHINESS is the spiteful way one competitor treats another through jealousy.

BLENDING is the skilful combining of movements in a smooth and natural manner.

BLOCKS OF WEIGHT: The primary sections of the body arranged vertically. From top down: Head, Shoulders, Chest, Abdomen, Hips, Legs and Feet. Related terms 'Alignment/ Poise/Posture'.

BODY CONTACT is the area of physical connection between the man's and the lady's bodies when in Closed, Promenade or Outside Partner position or any dance position where there is contact between the man's and the lady's bodies. Body Contact is a must in English (Modern, Standard, Ballroom, Swing) Style.

BODY FLIGHT is the natural release of body weight from a swinging action. Body Flight is found in the Ballroom, Swing dances.

BODY MOVEMENTS:

1. GESTURE - Any movement not connected with supporting the body weight - a facial expression (smile), head or arm movement.
2. STEP - The transfer of weight from one foot to another.
3. LOCOMOTION - Movement of the body from one place to another.
4. JUMPING - Movement without a point of support - a leap into the air where both feet leave the floor simultaneously.
5. TURNING - a circular changing position or movement.

1. CONTRACTION - An inward pull of muscle tension. When a muscle contracts it shortens, hardens and broadens.
2. RELAXATION - The release of all tension from the body, allowing the limbs to become limp and heavy.
3. MIDDLE BODY MOVEMENT - The expansion and contraction of the diaphragm. This can be used as an isolated action or in conjunction with pelvic action.
4. RIB CAGE MOVEMENT - The isolated movement of the rib cage in any direction.
5. SHOULDER MOVEMENT - The isolated movement of either one or both shoulders in any direction.
6. BODY BENDING - To curve the body either forwards, backwards laterally. A combination of these can be used.
7. WAY - To incline the body to right or left.
8. BOUNCE - A light up and down movement brought about by the flexing and straightening of the knees and ankles. (There was a lot more bounce action used in the earlier days of Disco/Freestyle, particularly in the younger age groups but this has generally been replaced with more 'earthy' movements).
9. SHAKE - To use rapid vibrating movements.
10. BODY STRETCHING - To extend and expand one or more parts of the body either singularly or collectively.
11. RHYTHMICAL BODY ACTION - This describes movements that enable the dancer to express the rhythm of the music and is sometimes referred to as 'body reaction'.
12. EXPANSION - To extend one or more parts of the body to increase in length or width and height.
13. CIRCULAR ACTION - The continuous circular movement of any part of the body.
14. PELVIC ACTION - The forward and/or backward tilt of the pelvis. This can be performed whilst the weight is central or when moving from foot to foot in co-ordination with foot and leg actions while transferring weight. These movements are best performed with the knees flexed.
15. HIP ACTION - A movement of the hips in any direction.
16. MERENGUE ACTION - A hip movement opposition to the stepping foot, i.e. A step is taken without weight transfer and with a delayed hip action. As the next step is taken weight is then transferred onto the foot that was moved first and the hip is moved across.
17. FOOT and LEG ACTION - The use of the toe, ankle and knee joints to collect, control and transfer body weight and so produce the character of the dance form e.g. when running, jumping, springing, etc.
18. RIPPLE - A wave like movement that travels from one part of the body through a series of inter-connected body parts.
19. UPWARD BODY RIPPLE - The pelvis is tilted backwards and the knees flexed. The diaphragm and rib cage is then expanded and the pelvis tilted forward allowing the body to contract. The knees are then straightened and the diaphragm and rib cage are expanded. The head is then raised to complete the ripple.
20. DOWNWARD BODY RIPPLE - A complete reversal of the 'Upward Body Ripple'.
21. FORWARD ROLL - This can be a dangerous movement if not taught correctly. It can be commenced in squatting position with hands on floor and head well tucked into the chest. The body is then rolled forwards to enable the shoulders to make contact with the floor. The roll is then continued to finish in sitting, standing or splits position.

1. HEAD POSITIONS: There are 6 standard positions of the head:
2. ERECT, i.e. facing forwards with the chin at a right angle to the neck.
3. TURNED, i.e. facing either to right or left.
4. INCLINED, i.e. tilted from the vertical position.
5. TURNED and INCLINED.
6. RAISED, i.e. lilted upwards.
7. LOWERED, i.e. facing downwards.
8. HEAD ROLL/HALF CIRCULAR MOVEMENT: This is commenced by turning the head to either side then lowering the chin and allowing the head to circle in a downward direction to complete a half circle. It is dangerous to rotate the head in an upward direction as this can cause damage to the spine. Movements of this type should therefore be discouraged.

1. Fingers extended and apart with the palms facing any direction, i.e. fanned.
2. Fingers and thumbs closed together.
3. Clap, i.e. to strike the palms of the hands together.
4. Hands relaxed as for shaking.
5. Fingers together stretched upwards and the thumb stretched downwards, i.e. 'dove' hand.
6. Fist clenched.
7. Pointing (normally done with the index finger).
8. Snap, i.e. a 'click' using a finger against a thumb.
9. Hand Rolls, i.e. A circular movement of both hands around each other, either forwards or backwards.

Talking about exuding foreign aromas; a sure show of disrespect for your partner is to reek of raw sweat, garlic or any highly seasoned food. Here we are standing belly-to-belly poise in a close, classical waltz pose. I lift my arms up, directly under your nose. You lift your arms up, directly under my nose. What greets our nasal passages will depend largely on how much affection or repulsion we have for each other and the opposite sex, because, in this raised-arm, aroma-emission position we will be treated to that particular bouquet for quite some time. Our own whiff won't be detected because we are too close to ourselves, but the other's will linger long until we acquire a reek for it too.

And what about the stale smoke smell, mixed in alcohol, with a touch of pure sweat, covered in garlic… huffing and puffing - you need a sure-fire human repellent? you've got it, this one never fails. These are the things nobody wants to talk about, but they do offend, and they offend the non-indulger in particular. Many dance partnerships have disolved because of unbearable body odours, also known as BBO (bad body odour).

No-one will say it, except to your friends and then have a good giggle over your stinky breath, or you have that onion-ring, under-the-armpit, sweaty, hamburger smell about you, and you won't even know that you do. For example, I play squash; my opponent walks onto the court and blasts me with his TNT garlic breath. Within seconds the court is filled, totally saturated, polluted to the hilt. I say, "had a garlic party last night?" he says, "a little, why, can you smell it?". The over-powering stench almost catapults me off the court, impregnating my clothes and kit with stale garlic, I miss the ball a few times as a result, and my opponent says "why, can you smell it?".

A colleague of mine, a great guy, suffered from an acute, unnatural dose of halitosis. Behind his back, the other staff called him the village skunk and every time he came near they would all disappear, but nobody had the guts to tell him. I thought this very unfair, because he was totally oblivious of the problem, so I suggested he see Dr Spock, which he did… problem solved. He couldn't thank me enough afterwards. Millions of humans have a hell-of-a-tosis problem, it's just that it seems more prevalent in the wonderful world of dance, because of the belly-to-belly, mouth-to-nose contact we make.

BODY RHYTHM is an authentic, uninhibited style typical of the South American and African dancer, which expresses the rhythm of the music through the body. This style lacks long leg and arm lines. The emphasis is felt predominantly in the movement of the body. Latin dancers who combine body rhythm with other styles generally excel at exhibition dancing, or when competing.

BODY RISE is the elevation of the body achieved by straightening the knees while bracing the body. The rise is felt more from the knees up rather than a foot rise.

BODY RISE: The body rises by bracing the leg muscles and stretching the spine, then relaxes to a natural stance.

BODY SPEED refers to the verve and swiftness with which a dancer transfers his/her weight from one position to another, or the speed at which a spin is executed. Body Speed is generated or developed by maintaining soft, flexed knees; by a dancer keeping his/her own centre of balance; by the lady not anticipating the man's lead so that he is able assist her in the acceleration of the move. Body Speed and agility are mainly acquired by regularly rehearsing the same action over and over and for hours and hours.

BODY SWING: A pendulum-type swinging action of the body (see leg swing, pendulum Motion).

BODY TURN: Amount of turn of the body when it differs from the direction of the feet (see alignment).

BODY TURNS LESS/BODY COMPLETES TURN, amount OF TURN: Used primarily on the inside of a turn, when the amount of body rotation is less than the amount of foot rotation. BODY TURNS LESS is always followed by a subsequent step when 'BODY COMPLETES TURN'.

BODY WEIGHT: The concept of the weight of the entire body as a unit. The relationship of the body weight to the feet is determined primarily by the Centre, but can be affected by the weight of individual body parts.

BOLERO: Socially, originated as a form of Rumba, and still shares many of the same figures and characteristics. As a social Latin-American dance, it differs from Rumba in tempo, style of music and movement, and it is danced much slower.

HIP, ARM and FOOT STYLE:
Closely associated to the Latin-American Rumba, where body expression and rhythm is sensually pronounced, the Bolero too is danced with a strong, yet subtle hip-swinging action. In character, the Bolero could be thought of as a slower version of the social Rumba.

The accentuated ribcage action begins by keeping the top half of the body still while swaying the hip in the opposite direction to the foot that moves, e.g. when a step is taken with the right foot, then the hip swings left. The 'hip swing' doesn't end there because, as the weight is transferred onto the right leg, the knee straightens and the hip swings to the opposite side to perpetuate the flowing Cuban motion that captures the Bolero's soft, romantic mood and image.

The arm style of the Bolero is soft and flowing and should, in all open positions, not droop below the shoulder line, unless intentionally styled that way. Most advanced female dancers use an overhead 'wave' co-ordination of the arm in open, side-rock figures with the fingers forming a ballet-type appearance.

Bolero footwork is solid and earthy, totally devoid of heel leads during forward steps. In fact, it is a forceful 'push into the floor' motion of the ball of the foot and then flat. Side steps are mostly taken on the inside edge of the foot to help achieve an exaggerated hip action.

TIMING, RHYTHM and HOLD : As a Latin-American social dance, the Bolero's rhythm is played in regular 2/4 or 4/4 timing and counted Slow, Quick, Quick(Slow = 2 beats, Quick = 1 beat) with the accented beats being one and three. Its tempo is played at 24 to 26 bars per minute (24-26 BPM's) or measures per minute, with each bar comprising four notes or beats. This dreamy tempo makes Bolero a very slow dance, requiring much control to interpret correctly. All slow counts should be held a fraction longer than normal time.

BOLERO MUSIC : There are few dance tunes as romantically composed as Bolero music. Not only is the Bolero tempo passionately slow, but the words are always intrinsically full of tender emotion and sentiment. Yet, never have we come across a couple who have requested to dance the Bolero as their wedding opener. Why Bolero hasn't become the traditional bride and bridegroom's dance, remains a mystery.

BOOGIE is a relaxed, free-and-easy dance done to modern heart-throb disco or house music. Because of its single-time rhythm, most find it easy to learn. Boogie allows for much individual interpretation and its style is a strong hip action on every accented beat and all the beats are accented. Unlike Disco, Boogie is done in partnership position. The basic pattern is identical to the Swing except for its single-time count.

Boogie could be called a disco version of the Swing because its variations are also closely related, with spins, swivels, foot-flicks, loose turns, underarm turns, etc. The Hustle, with its syncopated 'back rock' is a more advanced version of the Boogie. Some social schools start the Boogie on the 'back, forward' section of the basic, whereas others step to the side first.

BOOGIE (MOVEMENT) : The free hip lifts and moves in a circular motion in the direction of the weighted foot.

BOOGIE ROLL

• Similar to Cuban Motion, using a forward and backward movement of the pelvis.
• A circular movement starting in the pelvis region, moving through the diaphragm, chest and shoulders.

BOOKING is when a dance teacher reserves his/her time to accommodate a pupil for a private or group lesson for which the pupil pays.

BOOKS on Dancing (see dance Books).

BOSSA NOVA
Bossa Nova 'the dance of love'. That's at least how this dance will always be remembered by all who sang the ever-popular hit tune of the early '60s 'The Dance of Love'.

Bossa Nova, however, is more sensual in character (in the Lambada mode) than the soft romantic feeling of the Rumba and Bolero. Most Bossa Nova variations stem directly from the Samba, except that they are danced with an exaggerated hip swinging style and without vertical action.

BOTAFOGO (Freestyle): A step taken across the body on the right foot followed by a 'ball change' movement onto the left foot using a side step with part weight and then a replacement of weight onto the right foot in place. Can commence on left foot.

LAZY BOTAFOGO : A step taken across the body on the right foot followed by an extension of the left foot to the side without weight transference. Can start on the left foot.

BOX SPLITS (Freestyle): Both legs fully extended to either side of body with both legs parallel to the floor. Body facing forwards. BOX SPLITS JUMP ('FAME' JUMP): A spring into the air from both feet into box splits position with arms parallel to legs. Commencing and landing with flexing of the knees and ankles.

BOX STEP: A pattern consisting of six steps which, when taken in its entirety, form the shape of a box. Variations: Left Box (Reverse) Turn, Right Box (Natural) Turn, Rumba Box Step.

BREAK: Two steps where the second step is taken in exactly the opposite direction to the first, e.g. a Rock Step or side break. A change or reverse of direction (see rhythm Break).

BREAKAWAY: A break which is taken in open position, with partners moving in opposite directions (Open Break).

BREAKING IN THE WAIST is when a dancer slumps, either forward or sideways in the body, creating a broken, unfinished line - a hackneyed presentation or odd appearance.

BREAKS:  Listening carefully to the Music, and counting out the 8's, you will begin to hear little Breaks in the music that require a different accent - stop or Rhythm Break that make you feel closer to the music. This is the point at which you understand that SYNCOPATIONS are supposed to be used to interpret the music - or to counter the music.

Syncopations should not be danced just because you know how. they should be placed carefully, skilfully, to interpret the music, to ADD to the performance. This is also the level where SHE can feel when she will be allowed to take liberties with the lead and extend her syncopations if they FIT THE MUSIC. It is also a point when the MAN discovers that he gets credit for the move, when she hears something in the music and is ALLOWED to interpret what she hears.

BROKEN SWAY: Body sway which does not result from the natural swinging action of the body, such as is found in an Oversway. Also known as a Contra Sway or Switch Sway.

BRONZE LEVEL: The first complete level of the American or Competitive Medallist or Syllabus System, representing the foundation of movements and basic dance concepts.

BRUSH is 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 to the foot supporting the weight of the body, but without the weight being changed.

BRUSH : A swing of the leg using the hip and knee joint, either forwards or backwards, the ball of the moving foot in contact with the floor as it passes the supporting foot.

BUMP: Dancers bump hips to the side or the buttocks of their partners.