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CADENCE: A definite ending to a musical phrase.
CALL-BACK: (see recall).
CANCELLATION
(CAN)
is when a student postpones his/her private dance lesson by giving
the studio sufficient warning of not being able to attend; usually a day
prior to when the lesson is booked or in the morning of the same day the
lesson was to have taken place (depending on the rules of the individual
studio). Cancelling a lesson in good time prevents the student from being
charged for that lesson by the studio.
CANCELLATION also refers
to a student giving the studio notice of a dance
contract signed within the 'three-day' clause stipulated in the contract.
This type of cancellation relieves the student of all obligation to the
studio (see Contract).
CANTER TIMING(Canter Rhythm): A rhythm used in ¾ music where two steps are taken over the course of 3 beats; the second beat is skipped.
CARRIAGE: The position of the arms and top line while in dance position. Related: 'Frame'.
CATSUIT is a one-piece costume worn by male Latin-American and cabaret dancers in the 1970s.
CBM or Contrary Body Movement - The turning of the body from the standing leg towards the moving leg - it initiates the turning action.
CENTRE - Central Point of
Balance (CPB):
CHA-CHA or CHA-CHA-CHA: An exciting, syncopated Latin dance which originated in the 1950s as a slowed-down version of Mambo. The Cha-Cha gets its name and character from its distinct repetitive foot rhythm. When the English dance teacher Pierre Lavelle visited Cuba in 1952, he realised that the Rumba was sometimes danced with extra beats. When he returned to Britain, he started teaching these steps as a separate dance.
The name could have been derived from the Spanish 'Chacha' meaning 'nursemaid', or 'chachar' meaning 'to chew cocoa leaves', or from 'char' meaning 'tea', or, most likely, from the fast and cheerful Cuban dance: the Guaracha. This dance has been popular in Europe from before the turn of the century. For example, it is listed on the programme of the Finishing Assembly in 1898 of Dancie Neil at Coupar Angus in Scotland.
It has also been suggested that the name Cha-Cha is derived from the sound of the feet in the chassé which is included in many of the steps. This would account for it being called the 'Cha-Cha-Cha' by those who stress the beat 4, and 'Cha-Cha' by those who place the emphasis on beat 1.
The Mambo was originally a Haitian dance introduced to the West in 1948 by Prado. The word 'Mambo' is the name of a voodoo priestess in the religion brought by the Negroes from Africa. Thus the Cha-Cha-Cha had its origins in the religious ritual dances of West Africa. There are three forms of Mambo: single, double, and triple. The triple has five steps to a bar, and this is the version that evolved into the Cha-Cha-Cha.
The Cha-Cha is currently danced at about 120 beats per minute (30 bars or measures per minute). The steps are taken on the beats, with a strong hip movement as the knee straightens on the half beats in between. The weight is kept well forward, with forward steps taken on the toes, and the torso movement is kept flat. The chassé on 4 and 1 is used to emphasise the step on beat 1, which is held a moment longer than the other steps to match the emphasis of the beat in the music.
THE CHA-CHA RHYTHM
The music of the Cha-Cha-Cha is written
in 4/4 time and should be played at a tempo of 32-34 bars per minute for
examinations and competitions. In authentic music a very definite rhythmical
link can be heard between each bar, resulting in an overall rhythm of 1,2,3,4
and 1,2,3,4 and 1, etc. This rhythm is interpreted by the dancer with foot
movements on 2,3,4 and 1, giving a beat value of 1,1,½,½,1.
CHA-CHA HIP MOVEMENT
Every step should be taken with pressure
on the ball of the foot with the knee flexed and as the weight is taken
on to the foot, the heel should lower, the knee straighten and the heel
of the opposite foot should be released as the hips move softly sideways
in the direction of the stepping foot. This movement is less pronounced
on steps having only ½ beat value.
THE
CHA CHA CHA
CHASSÉ
In its basic form this is a figure
of 3 steps in which the first step moves to the side on count '4', the
second step half closes on count 'and' and the third step continues to
the side on count '1', a full transference of weight being made on each
step. The Chassé may, however, be taken with or without turn in
any forward, backward, or sideways direction, or remain on the spot.
NORMAL CHA-CHA HOLD
Stand facing partner about six inches
apart with the head erect and the body naturally upright. The Man should
place his right hand on the Lady's left shoulder blade, the Lady resting
her left arm lightly on his, following the curve of his arm to the shoulder.
The Man's left hand should be raised in a gentle curve to the level of the eyes; the Lady should place the fingers of the right hand between his thumb and first finger and both hands should be lightly clasped. The various other holds referred to in the charts are illustrated in the analysis of holds and body positions.
ARM POSITIONS
The arms should be held in a natural
and unaffected way and never be conspicuous. In many figures the partner
is held with only one hand; the free arm is never static and always moving
slowly between the following three positions, taking a whole bar of music
(2,3,4,1.) to do so. In practice any movement is hardly noticeable.
Position 1 - Normal dance hold.
Position 2 - When the dancers are
moving apart the free arm moves to a point away from the body at approximately
waist level.
Position 3 - When the dancers are
moving towards each other but without taking normal hold the free arm moves
to a position slightly across the body.
CHAIR: A strong checking action taken forward and across in Promenade Position (PP), with the man's left foot and lady's right foot.
CHAIRMAN OF ADJUDICATORS' main duty is to ensure that the dancers at championships and competitions are treated correctly and fairly and that the rules are correctly applied; the correct number of couples for the size of the floor are designated; the music is played at the right tempo; the number recalled is fair and that the marks are calculated correctly. The chairman of adjudicators is answerable to everything that happens at these events.
CHALLENGE POSITION: A dance position where the man and lady are apart - without contact and facing each other. Also known as 'Apart' or 'Shine Position'.
CHALLENGE or ECHO: This level of playing to the music involves the level of both dancers. It usually takes place on a set of 8 where the man (usually) dances a 4 beat rhythm break or syncopation and she counters with something that either matches or exceeds. It is a game of playing with the music. This was a popular sport in the `50's, no doubt brought on by the popularity of challenge in the Cha Cha. This is a form that will surface from time to time, even if it was not being taught.
This form of 'play' is much the same as carrying on a conversation with someone new. You don't carry on a conversation about the techno of computers unless you know that your listener understands the lingo. BOTH partners must stay aware of the level of understanding of the other partner.
CHANGE STEP: A movement used in the Ballroom swing dances which consists of three steps, the feet closing on the third step. The Change Step is most frequently used to change back and forth between Left and Right Box Turns (Closed Turns).
CHARACTER OF
THE DANCES in brief:
If you cannot express or portray
the character of the dance, then you have little hope of catching the judges'
eye. The image epitomises or represents the exactitude of your technique
and how you blend it with the rhythm and melodic undulation of the music.
BOLERO
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 rib-cage 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 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.
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.
CHA-CHA
The Mambo's North American influence,
Latin roots and snappy variations give Cha-Cha a cheeky, staccato style.
The main characteristic being its subtle Cuban hip-swinging
motion. This motion is achieved by bending and straightening the knees
while swaying the hips (see Motion).
Cha-Cha is also defined as the Latin-American FUN dance, a veritable 'let yourself go' style that gives it a special Latin feeling - HAPPY, CHEEKY and CAREFREE, nicely sums up the style and character of the Cha-cha or Cha-Cha-Cha.
FOXTROT (Slow)
The Slow Foxtrot is the classic moving
dance and the hardest to perform well. It has been compared to a Rolls
Royce, gliding silently but powerfully past, or clouds floating effortlessly
across the sky. The prime essential is continuity of movement.
Every step, every turn is a part, both of the preceding and following steps. When you watch someone dancing the Foxtrot well, you should not be able to detect each step as it is taken. Yet, for all the smoothness, the dance has light and shade. This is partially created by the use of rise and fall. It is not the bold lilt of the Waltz but much less pronounced and more subtle (for details of this dance see foxtrot).
Hustle is also very Swing-oriented with many turns and twirls, but its single rhythm resembles the Boogie, except that the Hustle 'rock' action is syncopated. Hustle could be called an advanced Boogie.
JIVE
The Jive is a very fast, acrobatic,
lively dance made popular during World War II to the swing music of Benny
Goodman, Artie Shaw, Tommy Dorsey and Glen Miller. Jive
is closely related to the Swing, Rock
'n Roll, Beebop, Pepsi and so on. For details of this dance see .
MAMBO
In the 1940s, Americans became fascinated
by the sounds and rhythms of Latin music. The Mambo combined American Jazz
with the Afro-Cuban beat. For dancers, the Mambo was an exciting challenge.
Today, the Mambo is 'fun' to dance and to watch. The wild feeling within
you, that has to be released, will explode harmoniously as you move in
and out of the exotic Mambo variations and syncopated styles. Faster than
its younger brother the Cha-Cha, Mambo is still danced with an accentuated
Cuban hip action and similar basic characteristics. For details of this
dance see mambo.
MERENGUE
Characteristic of the Merengue is
a step that appears to be taken with a slight limp (a lame-duck style)
though it is not really a limp, it is almost a one-sided hip action. The
man steps to the side with his left leg and the lady with her right leg,
flexing the knee a bit more than usual and at the same time leaning the
body slightly to the same side while swinging the opposite hip out to the
other side.
Except for this singular difference, the Merengue is danced with much the same motion as the Rumba and the Salsa, using a strong Cuban hip movement. To move with the intoxicating beat and 'animation' that comes with having 'fun' and being willing to show it - IS MERENGUE!
PASO DOBLE
The Paso Doble is a theatrical Spanish
dance that characterises the man as the matador and the lady as his cape.
Based on Flamenco dancing, the character of the dance is arrogant and passionate.
For details of this dance see paso doble
The ideal combination is a moving dance punctuated by fireworks, but with its own light and shade created by an 'airy' rise and fall. Avoid the pitfall of making the whole dance 'punctuated'.
ROCK 'n ROLL
This is the dance of the 50s. To
be able to do it, you have to be as loose as a goose or as square as a
chair. At break-neck tempo the man and lady 'kick, step, kick, step' the
basic. He then flings her left and right, slides her through his legs,
whips her up onto his right hip then his left hip, then both hips, into
a cartwheel and dolly-drop. At the end, the floor is strewn with calories
and sweat - a great dance for the insane or super fit. For details of this
dance see rock 'n Roll.
RUMBA
The Rumba was the beginning of Cuban
and Latin American dance crazes. Danced to music inspired by African rhythms
and Spanish melodies, the Americanised Rumba was the basis for the Mambo
and Cha-Cha in the US. Music called 'Salsa' perpetuates the popularity
of the Rumba all over the world. The Rumba sharpens your sense of rhythm,
timing, and muscular control.
Rumba's 'Flirtatious', 'Sensual', 'Sexy' movements are used in most of the popular Latin dances as well as free-style and night-club dancing. The Rumba is Cuban in origin and is often referred to as the dance of love. Sultry and romantic, the music is a mixture of African and Latin rhythms.
SAKKIE-SAKKIE
True Sakkie style appears to be a
combination of continental Quickstep and American Country and Western barn
dancing with a 'lekker' South African 'boeremusiek' flavour. The chief
characteristics of this dance are rough, ready, peppy, happy and fast.
SALSA
Salsa, which means sauce in Spanish
and SAUCY it certainly is, can be typified as a modern twin sister to the
Mambo. Its music is a combination of Disco and Jazz and its variations
are almost identical to those of the Mambo. The basic figure differs only
by exaggerated foot-kicks taken before forward, back and side-break steps.
Its Cuban hip movement, body rhythms, arm styles, etc., are the same as
those used in the Mambo. For details of this dance see salsa
or mambo.
SAMBA
To appreciate the exciting, lively
rhythms and movements of the Samba (also known as the Latin 'champagne'
dance) a dancer must first understand the various styles that create the
image or character of this dance.
The 3 main styles which give Samba
its sparkling personality are Vertical Motion, the buoyant action that
projects Samba's bounce or 'pulse' characteristic; Pendulum Motion, the
forward and back sway movement and the Brazilian Hip Motion which gives
it its authentic rhythmic touch.
SOKKIE
Sokkie can hardly be termed a technical
dance, but rather an informal, modern social ballroom dance. It rates as
Pretoria's most popular party prance. Sokkie appears to have originated
in the halls of learning... a varsity bundu basher.
The dance was baptised 'sokkie' when it became traditionally comfortable for all to kick their shoes off and dance it in their socks. For this dance you need calves of steel... it's a KILLER because, from start to finish, it knows no slows and is danced on the tips of the toes to the brisk beat of house or heart-throb disco music. For details of this dance see .
In addition, the sophisticated style
and character of this informal dance can be modified to suit the dancer's
own personality and interpretation of the music, thus adding personal charm
and individuality to the dance.
West Coast Swing is similar to East
Coast Swing, except that the music is played at a much slower tempo and
the style is very laid-back.
The West Coast is also danced with much syncopation, by holding count 'one' longer and snapping counts 'two and three' and then varying the fluctuation in-between.
The West Coast basic differs from the East Coast, in that the man's 'back, forward' rock step is done 'back, side' or 'back, back' or 'side, forward', followed by a triple-time coaster.
TANGO
Most successful competitors achieve
a staccato impression for this dance. This is not done by snatching at
every step but rather by the correct application of 'punch' at the right
places. Briefly, quick-leading steps should be given every ounce of this
punch. All turns start with a quick step and not only should the step itself
be taken quickly but the entry into the turn is abrupt.
Then comes the hard part; with all this power being unleashed the subsequent balance is difficult to achieve and yet, at most times throughout the Tango the shoulders should be steady enough to balance on each a full glass of water without spilling a drop (see level Progression). Tango music is strongly PHRASED and so too must the dance be.
WALTZ (Slow)
There is a lilt to Waltz music, and
so too must there be a lilt to the dance. This lilt is achieved by a combination
of many technical details. The Waltz must be thought of a bar at a time
and the end of each bar must coincide with a peak of the rise. At the start
of the bar, there is a forward and downward swing, which sweeps past its
lowest point somewhere in the second beat of music and then swings upwards,
culminating with the peak of the rise at the end of the bar
The upward swing is steeper than the forward and downward swing. While this lilt is felt on nearly every bar in the Waltz, it does not mean that there is a break at the end of each one. As one bar ends, the lilt must blend imperceptibly into the beginning of the next one - there is no break. This controlled rise and fall requires many ardent hours of practice to achieve. Holding count 2 of the music, by placing pressure on the closing foot also adds softness and control to Waltz.
More about the history of the dances on the net
CHARLESTON was a very popular dance in the 1920s with the 'Swingers' of that time. Several of the variations are done in shine or 'apart' position but most assume an 'open hold' stance. The main characteristic of the Charleston is its outward-inward, swivelling action of the feet (heels and toes turning in then out alternately.) With it comes an array of snappy forward and back Can-Can kicks which add class and colour to its character.
The Charleston ... may have been around the United States since 1866, "Harper's Weekly" (Oct 13th, 1866) shows pictures of a dance that looks very much like Charleston. Some report the "Ash-Ante Peoples" of Africa to be the originators. However, in 1923, the "Ziegfield Follies" at the New Amsterdam theatre staged a dance that introduced the general public to the Charleston. Ned Wayburn was the choreographer and Sissle and Blake introduced a young African-American Boy to Wayburn, the boy demonstrated what was to be the signature step of the Charleston. Wayburn supposedly choreographed a few more steps and Sissle and Blake wrote the songs... it was a instant hit.
In the same year a stage play by the name of "Liza" had introduced the dance and the Miller and Lyles Broadway show "Runnin' Wild" Produced by George White introduced a dance and song called the "Charleston" written by James Weldon- Johnson. Elida Webb did the choreography to the Charleston dance.
In 1925, "Variety Magazine" reported that "in Boston's - Pickwick Club, a tenderloin dance hall, the vibrations of Charleston were so strong the dancers caused the place to collapse, killing fifty". Many jobs of the day, required you to be able to dance or teach the Charleston to get the job.
Women who did the Charleston were called "Flappers" because of the way they would flap their arms and walk like birds while doing the Charleston.
Movie actress "Joan Crawford" won many Charleston contests which helped her movie career get started.
In 1927 "Shorty George" Snowden re-named the Break-A-Way the Lindy Hop The "Lindy" had integrated many of the Charleston steps into the Lindy.
The "Mashed Potato" was a later day Charleston and can be seen frequently in today's modern "West Coast Swing".
Some pattern names are: Back Charleston, Flying Charleston, Hand To Hand Charleston, Crossed Arm Charleston etc.
In 1927, The dance "Black Bottom" became the rage and replaced the Charleston.
CHASE: A figure where one partner pursues the other. The Chase is a Cha-Cha figure where the man and lady dance variations of the Progressive Basic movement in an Apart dance position. The lady will either follow the man visually, or improvise freely on her own until the man takes her into a connected dance position. (see challenge Position).
CHASSÉ is a side-together-side step or movement or a series of 2 or 3 consecutive lateral steps, where the feet are closed on the second step. A group of three steps, taken in any direction, during which the second step is closed or partially closed to the first step i.e. a figure of three steps in which the feet are closed on the second step.
CHASSÉ ('chased'): A gliding step. The working leg slides out; put weight on working leg and draw other leg along floor to it. (In American folk dancing, this word was mispronounced, giving rise to the term 'sashay.')
CHASSÉ (Freestyle): A. three-step movement in any direction, closing or almost closing the feet on the second step.
CHASSÉ TURN or CLOSED TURN: A turn consisting of 3 steps, where the feet are closed on the second or third step. Example: Left Box Turn, Right Box Turn.
CHECK is to suddenly stop and change from a forward to a backward direction or vice versa.
CHECK (Freestyle): A step taken on the right foot in any direction with only part weight transfer. Weight is then transferred back onto the ball of the left foot and the right foot is then returned to its original position. This is normally danced as a fast movement, timed 1 and 2. May commence with the left foot.
CHICKEN WALKS: An outwards, sliding swivel style used by female dancers in Jive and Swing. When stepping forward with the LF, she slides the LF, and at the same time, swivels to the left, then slides the RF forward and swivels it to the right side. It is therefore a forward moving, outward swivel action. The timing of the 'Chicken Walks' is either slow, slow, quick, quick, quick, quick or only quicks .
CHOREOGRAPHER is a dancer or person who composes and arranges the choreography of a dance. That is, captures and uses the dancer's skills and capability, movements and actions to maximum advantage and orchestrates these to blend perfectly with the music and techniques of the dance. A choreographer's interpretation is therefore an individual expression of the music, arranged to best characterise the dance or theme being portrayed.
This term and its equivalent in other languages has replaced the older term 'ballet master', but not in Russian (see choreography).
For example:
Although it is the norm for top dancers to be slim, trim and handsome, coaches and competitors should always, whenever configuring a routine, consider the varying shapes and the body language these shapes utter.
A girl who is taller than her partner may seriously affect the lines and shape each figure will produce. Similarly, a bulky built, stocky male could derail the overall picture. A taller girl and her shorter partner must, therefore, learn to compensate or work around their size difference to enhance their chances of winning contests.
A tall girl could wear lower heels, sport a flatter hairdo, accentuate longer lines, stretch her kicks and arch her back a little more than usual. Her short partner will do well to elongate his bulk by bracing fully and underplaying long exaggerated lines. He must adjust for smooth underarm turns and spins; raise his elbows to accommodate his taller partner's shoulder-line, or lower his elbow-line to adjust when partnering a shorter girl. In standard ballroom style, the shorter partner should stretch more from the hip and reach out on the tip of the toe, etc. These adjustments can often be a distinct advantage over "equal sized" couples.
The genetic make up and stature of a couple or dancer must, therefore, not be ignored in choreography.
CHOREOGRAPHY (Freestyle): This is the art of arranging dance routines. Many different skills are required in Freestyle Dance to cater for Solo routines, Couples, Trios, Classwork, Teams. Successful choreography is normally achieved by experience. The more work a teacher can do over the years with the different forms of Freestyle, will normally improve their ability to produce good routines that flow easily from one movement to the next and suit the individual dancer or dancers concerned.
CLASSICAL: This term is properly used when describing ballet technique perfected by great teachers over the centuries, and of a noble type of dancing and dancers. It is also commonly used to describe all old ballets, but this usage is misleading, since the surviving old ballets are almost all romantic; such ballets could well be described as 'classical-romantic'.
A CLASSICAL performance in Ballroom, Latin-American and Freestyle dancing refers to an outstanding accomplishment that will be long remembered by all who witnessed and enjoyed its beauty and artistry.
CLOSE: To bring the feet together without a change of weight. A weight-change, however, frequently follows a "closing of the feet"
CLOSED COMPETITION allows only competitors who reside in the region or area to enter, i.e. non-British citizens would not be allowed to enter the British Closed Championships (see open Competitions).
CLOSED DIVISION: The dancing of figures which are specific to a syllabus; the exclusion of variation and choreography.
CLOSED FACING POSITION: (Latin and Rhythm) A dance position where partners face each other slightly apart, in normal hold (see latin Hold).
CLOSED FIGURE: A figure which ends with one foot closing to the other, followed by a change of weight, e.g. Left Box Turn, Promenade.
CLOSED FINISH: The last part of a figure which ends with the feet together, such as steps 4-6 of a Waltz Twinkle.
COASTER STEP: A triple step in which the first step is taken in the opposite direction to the third, and the feet close on the second step.
COAT-HANGER EFFECT: Dancers who raise both shoulders when dancing ballroom give, what is known in dancing, as the "coat-hanger" effect.
COLLAPSE refers to a slump in posture, lines or body shape, resulting in affectation. A collapse in the body also causes sluggish distribution of the weight which radically interferes with a dancer's speed and agility (see taut).
COLLECT is to complete the change of weight to the supporting or standing foot by drawing the moving foot underneath the body.
COMBINATION is a group of consecutive patterns and choreography.
COMBINATION: A series of steps linked together (see amalgamations and Choreography).
COMEBACK (CB) is a term used for a student who previously took dance lessons, then finished and later decides to resume, whereupon he/she is reinstated as a student by the studio.
COMP: A commonly used abbreviation for competition.
COMPÈRE is the person appointed, at contests, to announce the sections, the numbers of the competitors for each section, changes to the programme, etc.
The competition dancer's chief goal is to win trophies and reach the top. Competition dancers must follow the laid-down international syllabi of steps and techniques as set out by the controlling bodies.
The dancer who passes the highest grade Medal Test can be sure that his/her dancing is technically sound and that he/she moves correctly and with good style. Such knowledge is a necessary basis for competition dancing, but that is not enough to make a first-class competition dancer. The movement of the competition dancer must be free and flowing and effortless. A figure or group of figures which have been danced well enough to please an examiner must now be danced with the rhythmic expression to make them appear completely alive. The style of the dancer or the couple must be more than correct - it must attract.
More difficult groups of figures must be learned and the man, who is responsible for leading them, must know how and when he may underturn or overturn them for effect - or to avoid another couple. 75% of competition success comes from experience and training.
There is no short cut to competition success, but rhythmic interpretation; facial expressions; sharp, controlled, decisive or soft flowing movements and lines; dress and presentation; 'two-getherness', and many arduous hours of training help produce an image that will attract the eye of the adjudicator.
Note:
If the position under review is the
'2nd' and two couples have a majority of '2nd and higher' places, the couple
with the larger majority shall be placed '2nd' and the other couple '3rd'.
We now examine the remaining competitors'
markings, and the couple with the largest majority of '3rd and higher'
places shall be allocated the next position, which in this example, is
the '4th'.
If none of the remaining couples
have a majority of '3rd and higher' places, then include the '4th' places
(and, if necessary, lower places).
Note: Number of Couples to Dance in a Final
Note:
If the position under review is the
'2nd' and two couples have a similar majority of '2nd and higher' places,
the couple with the lower total of marks given by those judges who form
the majority, shall be allocated the '2nd' position and the other couple
the '3rd' (see Notes under Rule 6).
b) If the totals of marks are equal,
then the next lower place (or places, if necessary), in respect of the
particular couples concerned, must be included.
Note:
It should be noted that only the
couples who have a majority for the position under review (say, for example,
the '2nd' position) must be considered at this stage, and only their '3rd'
places (and, if necessary, lower places) should be referred to, until the
'2nd' position has been allocated.
Note:
If more than two couples tie for
second place, the second prize shall be awarded to the couple who has obtained
the most '2nd and higher' place marks. Still only considering the remaining
'tied' couples, the '3rd' prize is awarded to the couple who has won the
most '3rd and higher' place marks.
c) If there is a tie for any remaining
places they shall be decided on similar principles.
Once in position, separate from your partner. The Gentleman should display his number to the judges. Once you have assumed dance position, take your time before starting on the correct beat of the music. It is important not to rush. Judges may forgive many things, but never wrong tempo, or being on the wrong count. Don't wait too long either, especially in smooth/standard dances: the couple behind you will be waiting for you to move.
At the end of the dance, the Gentleman spins his partner out, and they both bow to the audience. They then come together, Lady takes Gentleman's arm, and they leave the floor together. Alternatively (especially in Latin), the Lady leads the way off the floor and the Gentleman follows. Don't forget to smile!
This is a competition, you must look
good to the judges and the audience, not to your partner. The judges are
standing far from you... overdoing the makeup always compensates for the
distance. Most women do their nails, and some use fake eyelashes, that's
you choice. Have your towel handy to blot perspiration during the competition.
Gentlemen:
Clothes: For standard/smooth,
wear dark dress pants, white shirt, and a regular tie or a bow tie. You
could try a vest on top to see how it looks. Avoid jacket during the dance,
because regular jackets have padded shoulders and the armpit is usually
cut too low, so that when in close dance position, the shoulders of the
jacket hunch up.
COMPRESSION is the relaxing of the knees to prepare for movements such as Body Rise, Foot Rise, Lowering, No Foot Rise, Rise and Fall.
CONFIDENCE is the 'raring to go' feeling a dancer enjoys when well rehearsed. That 'READY', excited feeling of wanting to get onto the floor and dance all out.
CONNECTION is communication between partners, either visually or physically, or by applying tension to a physical point of contact through the manipulation of body weight toward or away from it.
CONSTANT is to keep the level of performance consistent, i.e. to be able to produce and maintain the same quality of style and strike-ability every time.
CONTINUITY of MOVEMENT: The continuous passing of the feet from one step to the next without a Chassé or Closing action. The concept of continuity style is usually specific to the Ballroom, Swing dances and pertains to the third or last step in a measure. In American Style competitive dancing, continuity is not allowed in the Bronze Level.
CONTRA BODY MOVEMENT POSITION (CBMP) is a term used when the body is not turned, but the leg placed across the front or back of the body, giving an appearance of Contrary Body Movement, i.e. the position attained when either foot is placed across the front or the back of the body without the body turning. It is, therefore, a foot position, but in some cases Contrary Body Movement is used at the same time.
Even the novice should remember that every step taken outside partner, or with the partner outside, must be placed across the body in CBMP to ensure that the two bodies are kept in close contact. Contrary Body Movement Position occurs frequently in the Tango and in all Promenade figures.
In social dancing, CBMP occurs when stepping in conversation (promenade), parallel (outside partner, or partner outside) or fallaway (backward conversation) positions.
CONTRA POSITION: (Left, Right) Dance position where the man and the lady are both moving toward each other's left/right side, both using the same foot.
CONTRACT: (see dance Contract).
CONTRACTION: An inward pull of muscle tension. When the muscles contract they become shorter, harder and broader. Contraction of the muscles adds stance and control to a dancer's presentation.
CONTROL is the ability to maintain balance and stability throughout the body while dancing.
CONVERSATION POSITION: A term used in social dancing to describe promenade position.
Basic co-ordination starts with knowing the footwork of a figure so well that little or no conscious effort is needed to perform it. The next step is to then co-ordinate the figure with the music. When that has been achieved the figure and the timing should be linked with the correct hold and posture, etc. The principle of co-ordination is to first perfect two actions or moves separately before attempting to combine these with each other, i.e. the mechanical process of learning the actions of one thing such as a figure, an arm style, a hip or head movement and so on, must be eliminated before trying to put the two together (see repetition).
CO-ORDS is the dancer's buzzword for co-ordination 'my co-ords aren't too good.'
CORTÉ: Spanish word meaning 'cut'. The word Corté is used to describe a number of different figures, including the American style Tango Corté (Lunge), the International style Tango Back Corté, and the Waltz Reverse Corté and Hover Corté.
COUNT: Dance term for the time allocated to each step taken when dancing to music. For example, to four-beats-in-the-bar music, the count 'SLOW' denotes a step requiring two beats of music and the count 'QUICK' is a step that requires one beat.
COUNT: A call used to count the rhythm of foot movements and weight changes, or to count the beats of music.
COUNTING IN BEATS AND BARS: To count in beats and at the same time accumulate the numbers of bars, e.g. Waltz bars would be counted 123, 223, 323, etc.
COUNTER PROMENADE POSITION (CPP): The couple assume a V-shape; the man's left hip being in contact with the lady's right hip. The man's left arm (lady's right) is raised in a soft curve just above head level.
COUNTERPART is the corresponding part to a pattern danced by the partner - the natural opposite.
COUNTER PROMENADE: (see promenade Position).
COUNTER-WEIGHT is the force or tension produced in partnership dancing by each dancer leaning in to the other, thus establishing unity of movement and better balance - counter Balance.
COWBOY LEGS in Tango are produced when dancing a Progressive Link or similar figures where the knees veer outwards instead of inwards or knees which, on the 2nd step of the Progressive Link, have the Left knee turned outwards to point towards the LOD in PP instead of being close and veering inwards. Stop on the 3rd step of a Closed Promenade and see whether the inside of the knees could touch without moving the feet. If they will not, you are possibly suffering from Cowboy Legs (see straddling).
CRITERIA in adjudication embodies many elements of dancing, such as, style; presentation; poise and posture; showmanship; charisma; expression of the feet and body; floor personality; technical dexterity; balance and control; musical interpretation and expression; rhythm and timing; choreographic adaptation; correct footwork; arm styles, line and movement; the positioning and use of the head and shoulders; 'two-getherness'; portrayal of the character of the dance; show of confidence and pattern-knowledge; partner interplay; audience projection; body lines; facial expressions and gestures; attitude and individuality; good grooming (attire, manner and appearance); sharpness and strength of movement; floorcraft; a dancer's bearing and image; speed and effortlessness. As well as the judge's individual interpretation and expectations, integrity and unbiased opinion (see judging criteria).
CROSS-BODY LEAD: An American Style basic figure in which the man turns perpendicular to the lady, leading her to dance forward on a path which crosses in front of his body. Cross-Body Lead is frequently used in Rumba, Cha-Cha, Mambo and West Coast Swing.
CROSS-BODY POSITION: Dance position where the man and the lady are at right-angles to each other and the lady moving in front of the man from his right to his left side.
CROSS TURN: A turn consisting of 3 steps, where the feet are crossed on the second or third step.
CROSS TURN: A step to the side on the right foot normally taken with a slight spring action followed by the left foot being crossed in front of the right foot with part weight and knees slightly flexed. A turn to the right is then made on the balls of both feet.
When half a turn is made the feet finish apart and the weight is usually equal between both feet. When a full turn is made the feet recross and the weight is transferred to the left foot. Can be commenced on left foot. Amount of turn can be varied.
CROWDED FLOOR DANCING is night-club or social-party dancing where ballroom dancers are obliged to adapt the size of their steps, their hold and the manner in which they dance, to suit the space of the floor and the number of dancers on the floor (see Etiquette in FLoorcraft and dance Etiquette).
CRUZARA: Spanish word meaning, 'cross'. A step taken with one foot crossed tightly over, either in front or behind the other.
CUBAN MOTION is the characteristic swaying of the hips in Latin-American dances such as Rumba, Cha-Cha, Mambo, etc. and is achieved by alternately bending and straightening the knees as the hip is swung simultaneously to the side with each step.
That is, as the weight is placed on the left foot and the left knee is straightened, the left hip swings rhythmically to the left. When the right knee is straightened the right hip swings to the right. Or one could say, while the left knee is bent, the right hip swings to the right because the right knee is straight, etc. Or a hip motion initiated by using the inside edge and ball of the foot during weight transfer.
CUBAN WALKS: Forward or backward walks taken with Cuban-style hip motion (see cuban Motion directly above).
CUCARACHA: A group of three steps taken, Side - Replace - Close. The first step is taken with part-weight in any direction. Or a basic International figure consisting of side breaks to the left and right. Also used in American Style, but under the alias Side Breaks or 2nd Position Breaks.
CUDDLE POSITION: A variation of the Shadow Position where the man and lady are in very close contact. Usually, the hands are connected in the following way: man's left hand (LH) to lady's right hand (RH), and man's RH to lady's LH. Also known as Flirtation Position.
CUMMERBUND: A sash or girdle worn around the waist by Latin-American and cabaret dancers.
CUP AND PIN: A hand-hold used in Boogie. The man holds his left hand with the palm facing inward, thumb over the lady's fingertips. The lady curls her right fingertips over the man's left fingers. The hands are held approximately at the lady's waist level. There is resistance needed for many changes of positions and turns.
CURTSEY is the gesture of acknowledgement a couple show to their audience and adjudicators at the end of an exhibition or dance demonstration - the respectful bowing-out after the show. (variation of courtesy).
CURVE OF LEARNING, roughly defined, is a natural learning pattern where at the start of the learning process, no gradual or steady progress is made. Progress comes in abrupt starts and stops. One minute you're soaring, the next it's as if you're stagnating. Those who persist during the stagnation phase reap the rewards of the time, the effort and the money they spend on learning.
To alleviate the pangs and frustrations that accompany the 'slump of learning', every dancer should remember that it's during the 'down' phase that most progress is made and that perseverance is the only solution to accomplishing any physical activity.
The Curve Of Learning can also be described as progress made in stops and starts, with rapid headway at the outset, followed by a sudden drop in progress and then levelling out to a steady upward trend of improvement with minor fluctuations of progress and stagnation.
CUT TIME: The time signature of two beats to the measure (2/4 time). Each measure contains 2 beats. Samba and Tango are examples of music written in Cut Time.