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A l B l C l D l E l F l G l H l I l J l K l L l M l N l O l P l Q l R l S l T l U l V l W l X l Y l Z
SAILOR STEP (also known as
the Sailor Shuffle): A triple-step dance pattern accomplished by leaning
in the opposite direction of the crossing foot (weight stays centred).
EXAMPLE: Leaning toward left.
The timing of the Sakkie basic pattern consists of 4 slows and 2 quicks, but it's the 4 slow counts that make the patterns of this hasty dance easy to handle. These slows are the secret weapon that give our arm-pumping experts ample time to build momentum and prepare for all ensuing quick counts, thus adding flow and spontaneous smoothness to their movements.
The 4 slows also provide the acceleration and thrust needed to shift into 5th gear and burn it, at full speed, down the straight, then comfortably whip 'round Babsfontein corner or chassé left and right with ease and style through Onderstepoort hoek with a lock and a skip. Unfortunately, few social dance studios offer Sakkie as part of their curriculum. Those who do, usually offer a full 15 step-pattern list to choose from.
For total, down-to-earth invigorating, frolicking fun, very few social dances come close to Sakkie with its many colourful weaves, turns, dips, locks, pivots and skip variations. If lively 'boeremusiek' (Afrikaans music) is not quite your fancy for jumping and gyrating the Sakkie to, then try German oompah-pah or modern house music or even the festive bouncing beats of the Brazilian Samba or any solid heart-throb thump and you're bound to have a gas, because Sakkie figures are specially designed for happy romping.
Sakkie Style and Hold: Since Sakkie is classified as South Africa's indigenous ballroom dance, the man holds his partner in closed position, doing most of the leading with his body, as he bobs, weaves and pumps his way through the variations. To achieve the basic Sakkie bounce movement, dip slightly on most slow counts but keep quicks quiet and smooth. This dance need not be bounced or jerked about in the traditional way. The style is informal, so you're entitled to add your own interpretation as you become familiar with the figures but, whatever you do - KEEP IT JOLLY.
Teachers of Sakkie will tell you it's a known fact that this dance has an incredible reputation for improving a man's leading skills and ability to steer through heavy traffic on the social dance floor. So, from a social point of view, its techniques are preciously practical.
To project an authentic Sakkie hold, the man's left arm protrudes straight out to the side in a 'kill your neighbour' stance and his right arm is snugly curled around the lady's waist - by snug is not meant throttle, and please avoid dangling the right hand too far down the lady's back (that's rude and mostly, very unacceptable). For confirmation on this, ask any respectable damsel.
The only differences between the girl's hold in the Sakkie and the other Ballroom or 'langarm' (long arm) dances are:
Sakkie Music and Timing: Sakkie-Sakkie music radiates happiness and energy, which is mainly generated by its heavy, lively accented beats (of many nationalities). Sakkie is as adaptable to strong rhythms as the domesticated cockroach is to extreme conditions; put it in the fridge, it survives; put it in the oven, it survives, tramp on it, it survives. You play beaty, lively music and Sakkie-Sakkie not only survives, IT THRIVES.
The speed of music is played between a hasty 40 and 46 measures per minute (MPM). Most dancers, particularly beginners, have little difficulty keeping in time to Sakkie's solid, clear rhythm, which is another plus for this dance.
SALSA: Salsa emerged from Latin countries such as Columbia and Puerto Rico. It's rhythm and tempo brings alive the spirit and soul of the Latin heart and will add 'fire' and 'excitement' to anyone who dances it - SALSA is HOT. It is one of the most 'explosive' Latin dances to come north of the border in decades. Salsa could be called an exotic form of Mambo. Its basics and variations are almost identical, except for a kick action just before every break step.
SAMBA: The word "samba" means "to rub navels together". The Portuguese imported many slaves from Angola and Congo into Brazil in the 16th century, who in turn brought their dances such as the Catarete, the Embolada and the Batuque. These dances were considered sinful by the Europeans as they involved the touching of navels. The Embolada is about a cow with balls on its horns for safety, and became a term meaning 'foolish'.
The Batuque became so popular that Manuel I passed a law forbidding it. It was described as a circle dance with steps like the Charleston done to hand-clapping and percussion, and with a solo couple performing in the centre of the circle. A composite dance evolved in the 1830s combining the plait figures from these Negro dances and the body rolls and sways of the indigenous Lundu. Later, carnival steps were added like the Copacabana (the name of a beach near Rio de Janeiro).
Gradually members of the high society in Rio embraced it, although they modified it to be done in closed ballroom dancing position (which they knew was the only correct way to dance anything). The dance was then called the Zemba Queca, and was described in 1885 as 'a graceful Brazilian dance'.
The origin of the name 'Samba' is unclear, although 'Zambo' means the offspring of a Negro man and a native woman. The dance was later combined with the Maxixe. This was also originally a Brazilian round dance, described as being similar to a Two Step. The Maxixe was introduced into the U.S.A. at the turn of the 20th century.
The Maxixe became popular in Europe after a demonstration in Paris in 1905. It was described as having the steps of the Polka done to the music of the Cuban Habanera. The present day Samba still contains a step called the Maxixe, consisting of a chassé and point. A form of the Samba called the Carioca (meaning from Rio de Janeiro) was revived in the UK in 1934. It was popularised by Fred Astaire in 'Flying Down to Rio', his first film with Ginger Rogers.
The Carioca spread to the USA in 1938. In 1941, its popularity was boosted by performances by Carmen Miranda (Maria do Carmo Miranda da Cunha) in her films, particularly 'That Night in Rio'. The Samba was further popularised in the 1950s by Princess Margaret, who played a leading role in British society. The Samba was formalised for international propagation by Pierre Lavelle in 1956.
The dance in its current international form still has figures with very different rhythms, betraying the heterogeneous origins of the dance, e.g. the Boto Fogo is danced to a '1 and a 2' quarter beat rhythm, whereas the Natural Rolls are danced to the simpler '1 2 and' half beat rhythm. It still retains a hip movement on the half beats between steps (the 'Samba tic'), a flat carriage of the torso, and is danced with the weight forward, mainly on the big toes.
A characteristic of the dance is the bounce action suggested in the music when dancing to certain rhythms. The body elevation described in the Samba Bounce occurs on the last 'a' beat of the preceding bar and may be counted 'a'.
THE BASIC BOUNCE (Used
over 2 steps to a bar)
Example: Forward Half of Natural
Basic Movement.
Step
This movement may be commenced
with the LF or RF moving in a forward, backward or sideways direction and
is used on all Basic Movements counted SS.
THE ALTERNATIVE BASIC BOUNCE
(Used over three steps to a bar)
Example: Forward Half of Alternative
Basic Movement.
Step
Note: The Samba Bounce is not used on figures counted SQQ but in the Back Rocks each step is taken with strong pressure through the ball of the foot accompanied by a light lowering of the heel, not always to the floor, and this results in an action known as a 'Polka' Bounce.
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 the 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.
DEFINITION OF 'PART WEIGHT' AS USED IN THE SAMBA This term denotes that the step is taken on to the ball of the stepping foot with the weight held over the supporting foot. Full weight is then taken momentarily on to the foot as the next step is taken.
SCHOLARSHIP is money given to an Amateur Competitor's Dance Teacher to pay for the Amateur dance lessons.
SCHOOL: A style and technique of dancing, usually perfected by generations of great teachers.
SCHOOLFIGURE dancing in social studios means performing individual figures or step patterns without a partner to the beat of the music. The benefit of dancing solo is that it compels the learner to carry his/her own body weight, thus developing balance, lightness and control. But more importantly, the learner gets to understand the patterns better - an indispensable part of learning to dance well.
Although all schools agree that that the man should known exactly what his feet must do, some feel ladies tend to anticipate the man's lead when over-sure of their own part, which can be a disadvantage in partnership dancing because the female must learn to respond naturally to the male's lead.
SCINTILLATION is the sparkling action associated with the Quickstep's crackling personality - the snappy foot-flicks and jumps that addd energy and joy to this dance or any other dance such as Jive, Samba, etc. that exude the same energy and radiance.
SCISSORS/CRISS-CROSS JUMP (Freestyle): A spring into the air passing both feet forwards and backwards past each other (RLR) or (LRL) before landing with flexing of the knees and ankles.
SCOOT aka SKIP: Slide of the weighted foot (or feet) forward, backward or sideways. Or a hitch with movement of the weighted foot.
SCRATCHING FOR FLEAS is an expression used to describe a dancer who makes a mistake, while performing an exhibition, dance competition or examination, then stops, stands and looks around to see what happened, thus highlighting the faux pas and giving the impression of scratching for flees - lacking aplomb and the ability to cover-up the fault.
SCRUTINEER is the person responsible for tabulating the judges' markings and compiling the competition results. These will then be presented to the Chairman of adjudicators for verification and signature. The Scrutineer is certified by the Scrutineering Examining Committee recognised by the ICBD.
SCUFF (Freestyle): A 'moving stamp' that normally ends with a stretched foot.
SEQUENCE DANCING is when couples or a couple dance to a set routine of step patterns or figures. The advantages are: Most learners (students and teachers) oddly enough, recall a routine of patterns better than they remember individual steps.
Teaching a routine forces a teacher to introduce and dance all the variations of that dance repeatedly and repetition, although not the learner's kindest friend, is definitely the learner's BEST friend. By so doing, the student's limbs become fully acquainted with all the various directional changes of that dance, thereby developing good all-round co-ordination.
Tip: When working on the sequence in its raw form, don't talk technique, and don't be bothered about how the learner is doing the steps, your main concern must be to get the learner mobile with a variety of movements.
Each time you add a step to the routine, also make a point of calling out the name of the step as an 'association' tool. Even get the student to call out the names as you/they dance them. The routine must be taught step by step, i.e. show one step, add a step, show another step, dance the two, add a step, dance the three, and so on, but always comb through the routine from the beginning to the newest step.
The order in which you teach the routine of steps is from basics to advanced. Once they can dance the routine without having to think of what their feet must do, then introduce movement, styling, leading/following, etc. one by one, which is called dressing up the sequence.
This way you hone in on specifics. Once 'singles' know the routine and can dance it with reasonable style and comfort, then, at random, vary the routine as a 'following' exercise. Once they are familiar with the variations, and the technique, the changed order won't bother them much.
Routines in dancing are like life's routines: repetition breeds confidence and familiarity. If you have one routine that goes on for three minutes, you're in trouble; if you have 4 routines comprising 3 patterns each (used interchangeably), your flexibility to lead or follow is greater.
A routine is the dancer's mechanical means of amalgamating the individual patterns or coupling-up movements - it's the construction work for laying thhe foundation of their dancing. Once that is achieved, then a variety of things can be applied.
Finally, to all those social learners out there, here is some sage advice; you learn by DOING not TALKING, whether you are doing routines or not. The time you waste arguing about who is right or wrong could be better spent on DOING - dancing is a physical activity that requires repeated practise and lots of it.
SEQUENCE DANCES: Dances in which the set movements are made by every couple simultaneously, popular in the 20th century.
ENGLISH OLD TIME DANCING
INTRODUCTION
The English Old-Time dances are sequence
dances for couples, each couple consisting usually of a man and a woman.
In sequence dances, every couple on the dance floor performs the same steps
at the same time, and at the end of the sequence, the steps are started
again. This makes sequence dances relatively easy to learn, as a beginner
can easily copy the movements of adjacent dancers on the floor.
ENGLISH OLD
TIME
In England, around the turn of the
century, sequence dances were a popular style of dancing. The technique
of the steps uses balletic foot positions, with the feet turned out each
by 45 degrees. These dances were brought out by English colonists. Many
of these dances are still performed today at social dances in Australia.
A set of 16 dances have been approved by the Australian DanceSport Federation
for use in dance competitions and championships in Australia:
Balmoral Blues / Boston Two Step / Brittannia Saunter / Camellia Tango / Fylde Waltz / Gainsborough / Glide / Lilac Waltz / Lola Tango / Mayfair Quickstep / Premier Two Step / Rialto Two Step / Saunter Reve / Tango Serida / Tango Solair / Veleta / Waltz
REFERENCES
'English Old Time Sequence Dancing
Guide', Neville Boyd, 165 Bobbin Head Road,
Turramurra, NSW 2074, Australia (1984)
'Supplement to English Old Time Sequence
Dancing Guide', Neville Boyd, 165 Bobbin
Head Rd, Turramurra, NSW 2074, Australia
(1993)
'English Old Time Sequence Dancing'
video, Neville Boyd, 165 Bobbin Head Road,
Turramurra, NSW 2074, Australia (1993)
'An Introduction to English Old Time Dancing' video, Derek Young, Quasar Video, U.K. (1998)
'ISTD Technical Notes' Imperial Society of Teachers of Dancing, London
'Old Time and Sequence Dancing', Victor Silvester, Barrie & Jenkins, London (Revised Edition 1980)
'Sequence Dance Videos and Books', Westport, Bristol (1998)
SETTLE in Latin dancing means to shift or transfer the weight on to the supporting foot before continuing the next step, e.g. forward and backward steps in International Rumba are first completed on the 'and' (a settled count) to finish the move - a pronounced action.
SHAKE-HANDS' POSITION is when the man takes the lady's right hand in his right hand (as though shaking hands) and leads her into a sweat-heart or shadow position, where both face the same direction, or he makes a loose turn and changes hands behind his back. Or performs a 'Tuck-in' action to spin her in the opposite direction as is often done in the Swing and open-position dances.
SHIMMY is an alternating forward and backward shoulder, hip or body movement to the beat and rhythm of the music.
SHINE position is when a couple let go of each other and dance apart or without holding - a solo position.
SHOES: Since everything in dancing happens from the feet up, the correct footwear, from a practical point of view, is a dancer's most important item of dress. Non-slip or non-skid leather heels and soles are the first consideration when selecting shoes.
SHOES FOR MALE DANCER: Modern ballroom dance shoes for men can be of plain leather, patent, or a mixture of leather and suede. Some shoes are perforated for ventilation, particularly those worn for practice sessions. Heels are normally 2,5 cm (1 in) high. Latin shoes for men are often made of imitation suede, which is long lasting, or of very soft calf. The heels are normally low as for Modern shoes, though some men prefer the higher 4 cm (1 ½ in) Cuban heel.
When choosing dancing shoes, the most important criterion is that they must be comfortable on the foot - preferably a snug fit, not loose. The design should be of the lace-up variety and not slip-on; the sole should be thinner and more flexible than that of a normal walking shoe.
For more dressy occasions, if you choose to wear shoes with high gloss material, be aware that some types stick when the feet are closed or when one foot is brushed past the other. This material also produces and irritating squeaking sound. In all other matters, such as choice of style and design and height of heels, personal taste should be your guide.
SHOES for the FEMALE DANCER: Top-class lady exponents of the two dancing styles, Modern and Latin, use a different type of shoe for each. The most suitable shoe for Modern or the moving dances is a court shoe (one without an ankle strap) with a 5-6, 25 cm (2-2 ½ in) heel. Usually, these shoes are made of white satin which can be dyed to match the colour of the dress to be worn, but plain coloured or metallic leathers are also available.
A sandal-type shoe with a 6,25-7,5 cm (2 ½-3 in) slimmer heel and an ankle strap is the preferred style for Latin dancing; the open toes facilitate many of the movements. Silver or gold-coloured leather styles are popular, but shoes can also be of white satin, dyed to suit the dress to be worn. Both types of shoe are often sold with suede soles to add grip and prevent you from slipping.
Remember, whatever type of shoe you choose for your ballroom dancing, it must be flexible, fit the foot snugly and be comfortable to wear.
SHOULDER SHRUGS: A style used in social Cha-Cha and Latin dancing where the shoulders are isolated and alternately snapped forward and back to the count of 'Cha', 'Cha', 'one' (shoulders: R, L, R) while the rest of the body remains still and stationary.
SHOWCASE is usually an annual exhibition event which social dance studios stage. This occasion is very special, in that those who participate, are treated to first-class luxury for a weekend of exhibition dancing by dance enthusiasts from all over the country. To be part of an event such as this, the pupil embarks on a dance programme which includes the air flight, accommodation expenses, etc.
Each participant prepares an exhibition of 1 ½ minutes long, dresses to a theme and dances to music he/she has selected. Each exhibition pupil also receives a trophy from the studio as a memento of their achievement. This is another occasion where dancers can meet, mix, dress up and get excited about dancing, while sharing their interest in the sport with other enthusiasts.
SHOWDANCE: A dance contest where couples dance an exhibition in Latin, Ballroom or Theatre Arts. Couple are judged on presentation, teachnique, control, togetherness, choreography and musical interpretation
SHOW EVERY BEAT is a Latin dancer's special approach (through physical action) of pronouncing each beat clearly, i.e. Cha-Cha beats 4 & 1, Samba ¾ ¼ 1 and Rumba 4 & 1.
SHOWMANSHIP is the natural gift or capacity of a dancer to entertain the audience by projecting his/her style and personality in a flashy way. Although Showmanship is the innate, natural ability to 'perform' with extra flair and panache, it can be learned by most dancers.
SHUFFLE:A triple step similar to a Polka step with no lilt. Example: Shuffle Forward Left. 1. Step forward left and bring the right foot up to the heel of the left foot 2. Step forward left Note: From a technical point of view, a shuffle would be smooth, a Polka would have bounce, and a Cha-Cha would have Cuban Motion. This may be of little or no concern to the social dancer, especially the beginner.
SILVER LEVEL is the second complete level of the American or Competitive, Medallist or Syllabus System, representing more advanced figures and techniques than the Bronze Level, and precedes the Gold level.
SILVER LEVEL is also the equivalent to a 'Member' or 'Licentiate' adjudicator's professional qualification.
SKATING SYSTEM
OF JUDGING:
The following is a description of the Skating System of
Judging which is used in Dance Sport:
The Marking of the Adjudicator's
Card;
SLIDE: A movement in any direction by stepping on one foot then drawing or sliding the other foot up to the weighted or supporting foot.
SLIDE (Freestyle): A slipping movement taken on one or both feet which is brought about by a forward projection of the body and ending with the body poised backwards.
SLIPPERY DANCE FLOORS: A slippery floor can not only cause injury to a dancer but can also foil all the hard work of rehearsal time put in. Always be prepared for this eventuality. In addition to wearing non-slip leather-soled shoes, never be without your packet of resin, grated candle wax or a small bottle of casteroil. When the floor is too slippery and you have your resin, wax or casteroil with you, lightly sprinkle some in a corner near the edge of the dance floor and grind your shoes into it just before you take to the floor. Many advanced dancers believe, if a dancer wears shoes with non-slip soles and has good balance, then caster-oil, resin or wax are just extra baggage - for peace of mind, don't trust this fallacy, add these to your load.
SLOT in West Coast Swing means to always dance in a line that takes you either down the Line Of Dance or against The Line Of Dance or to Centre or to Wall but never diagonally to these directions.
SLOW: A step or weight change that takes 2 beats of music or occupies twice the time of a QUICK.
SLOW FOXTROT: (see foxtrot).
SLOW WALTZ: (see waltz).
SMILE: A smile is the facial expression a dancer wears when showing delight and enjoyment during his/her performance. A dancer's smile must attract pleasantly, not detract or distract. If a smile is plastered on, giving a canned impression, it will certainly have the reverse effect. The idea is to vary the facial expression to match the flow of the dance, the music and the mood of the atmosphere. Most beginners pout, leer and growl in a stern, studied way, which serves only to frighten the crows away. A smile must express the happy, natural feeling within the dancer for the dance, the music and his/her partner. It would, however, be out of character to smile during dramatic, poignant music - a dancer's expressions should suit the dance and occasion, i.e. Tango is dramatic, Bolero sensual, Waltz romantic, etc.
SOCIALS: (see practice-sessions).
SOCIAL DANCING is done by dance enthusiasts whose main purpose is to improve their dancing skills for crowded floor social reasons. To them, dancing is either a peaceful pastime or a serious hobby.
Social Dancing is enjoyed by millions of people everyday. They enjoy the music, meeting people, having a chat and a few dances. Just like going to a Disco but with a difference, and dance in pairs to a wider variety of music. Social Dancing gives you FFF... Fun, Fitness and Friends
Social dance studios teach the standard American syllabi comprising;
BALLROOM: Slow Foxtrot, Slow Waltz, Viennese Waltz, Quickstep, Tango, Two-step, Peabody Sakkie-Sakkie, Sokkie.
LATIN-AMERICAN: Cha-Cha, Bossa Nova, Samba, Rumba, Paso Doble, Mambo, Merengue, Salsa, Lambada, Bolero, Jive (competitively).
MODERN BEAT/RHYTHM: Boogie, Swing (East coast and West coast), Jive (socially), Rock 'n' Roll, Disco, Hustle, Twist.
OLD TIME: Charleston, Bunny hug, Black bottom, Shag, Turkey trot, Waltz, Maxixe, Castle walk, Peabody, Polka, Two-step.
Dancing competitions in social schools are held in the form of examinations, exhibitions, match-dances and championships.
SOFT-CONNECTION in Latin dancing means, 'let your frame breathe'. The tone and the resistance of the arms must 'give' a little (smoothly and loosely) without loss of control - a flexible 'easing' into the movement followed by a 'breathing out' response.
SOKKIE can hardly be termed a technical dance but as an informal, modern social ballroom dance. It rates as Pretoria's most popular party prance and, therefore, deserves special mention.
Sokkie appears to have originated in the halls of learning - a varsity bundu basher. At varsity 'Sokkie-jols', male students used their partner as a ramrod to mow their way through the throngs and around the floor.
The dance was baptised 'Sokkie' when it became traditionally comfortable for all to kick their shoes off and do 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 it's danced on the tip of the toes to the brisk beat of House or Disco music - quick, quick, quick, quick, quick, quick all the way.
Simply put, Sokkie is the varsity students' one-step - their interpretation of the Two-step danced to modern music.
SOKKIE STYLE AND HOLD: Since Sokkie resembles Two-step in style and because the man holds his partner close, doing most of the leading with his body, it earns 'social Ballroom' status, although it can also be classified as an informal modern-beat dance. The basic forward and back movement is a smooth, even style - as the couple shuffle along high on their toes.
When danced with authority, Sokkie, with its level progressive motion and strong right-shoulder lead, at times, also has a distinct Tango touch. Sokkie, unlike its step-brother the Sakkie-Sakkie, where bobbing, weaving and pumping form the main character, moves smoothly with a slight contra-body movement or sideways body Swing (left and right), alternating as each forward or back step is taken: left, as the left foot moves and right, as the right foot moves. The advanced Sokkie dancer throws in a few turns, whirls, jumps, swoops and even borrows Boogie variations to add oomph and viva la différence to this exciting dance.
SOKKIE MUSIC AND RHYTHM: The perfect beat to shuffle Sokkie to is heavy, heartbeat Boogie music. Boogie music is written in 4/4 time (4 beats to the measure or bar of music) with the accent placed on all 4 beats. Because of all the beats being clear and solid, beginners find dancing to this strong 1, 1, 1, 1 rhythm easy to manage. A few die-hards still prefer dancing Sokkie to Sakkie-Sakkie music.
SPECIALIST is the person appointed in an organised social or commercial dance studio to introduce the dances and their basic steps to beginners. During the introductory course the specialist plans a more complete dance programme for their pupils. This course is based on the pupils dancing ability and tailored to suit their particular dance needs.
SPEED-WOBBLE is when the music out-tempos the dancer, causing the dancer's feet to flip into a flat spin. A speed-wobble usually occurs when dancing Jive, Rock 'n Roll, Quickstep or any dance played at horse-race tempo.
SPIN: A 360 degree turn on the ball of one foot and sometimes both feet. A spin is usually a snappy turn done solo or in one-hand hold with a partner - on the spot or travelling. When danced alone the axis or weight of the body must be kept central and the knees slightly flexed throughout the spin. More experienced dancers, in preparation, precede a spin to the right with a slight left shoulder turn and a left spin with a right shoulder turn. This shoulder lead-in helps initiate the spin for controlled impetus.
SPINS (Progressive): A series of spins using alternative feet travelling in a straight line across or around the floor. The technique of 'spotting' should be used to achieve top quality Spins (see freestyle Dance, Spin, pivot, pirouette).
SPIRAL: A turn on the ball of one foot with the other foot held loosely in front without weight.
SPLIT: The feet move apart with the weight evenly distributed over both feet.
SPONSOR:
In social schools, the word Sponsor is used to describe a student who has
paid a fee to join a month of fun-filled, fancy-dress parties and outings.
During that month, a Sponsor is eligible to win prizes by earning points
through various activities that occur in the studio during their sponsorship
period.
SPONSOR: A Sponsor is also
a business or organisation that allocates advertising funds to help finance
competition expenses, prize money or any donation that could assist Amateur
and Professional dancers.
SPONSORSHIP is money given to an Amateur Competitor or to the Amateur Competitor's teacher to pay for dance lessons, travel expenses, competition expenses, etc. for the purpose of supporting the Amateur Competitor.
SPORTSMANSHIP must not be thought of as a gentle or meek way of accepting defeat or willingly bowing or giving in to defeat. It's having the character and strength to know you have been beaten by a better dancer/s and realising that more application to the task of winning is needed. Sportsmanship is also having the good manners to congratulate your victor without making excuses for why you lost - a humble attitude with a determined quest to reach the top.
SPOT: A step in place that does not progress in any direction (see stationary).
SPOTTING is picking a specific object and consciously fixing your gaze on the object before initiating the turn. Then, as your head begins to come around, you 'lock' back onto it. Your shoulders do not lean or twist, and your head must be straight up with the centre of balance exactly over your spine. Practice spotting in slow motion in each direction, concentrating on a smooth head rotation on a vertical axis. Spotting is purely for control and aesthetics and prevents dizziness; you get dizzy when you see the room going around you, whereas when you spot you only see one thing over and over again. Spotting does not help give impetus to the turn - rather it helps refine your turns - your arms, legs and body provide the impetus.
SPOTTING: A technique for keeping oriented and avoiding dizziness during turns. Pick a spot (some conspicuous object); keep looking at it as you turn until you can't any longer; then quickly turn your head so you are looking at it again.
SPOTTING (Freestyle): To focus the eyes on a fixed point in the room in order to spin in a straight line. The eyes will re-focus on this point upon each rotation. The head will ideally return to this position fractionally before the body on each turn.
SPOT TURN is a sharp Latin-American turn also known as natural (right) Top or reverse (left) Top or Spot turn. It differs from a walk-turn where the turn is gradual and the hips are noticeably swung. During a Spot Turn, the partner moving forward steps as if the inside foot is placed on the hub of a wagon wheel and the outside foot travels along the circumference or rim of the wheel, hence the on-the-spot turn.
Throughout this turn each partner's shoulders are kept parallel with the other as both turn sharply on the balls of the feet. Spot Turns are mainly danced in Rumba, Mambo and Cha-Cha. A Spot Turn is also done as a loose or solo turn.
SPLITS LEAP: A leap into the air extending front leg forwards with rear leg extended backwards or flexed in attitude (The latter is opposite to the Stag Leap).
SPRING: A light elevation of the body from one or both feet landing on either one or both feet with flexing of the knees and ankles.
STACCATO action is noticeably used in Tango by advanced dancers who hold their 'slow' counts and snap their 'quicks' to add punch and fire to this dramatic Ballroom dance.
Tango is widely perceived by the Dancesport enthusiast as the "Staccato" dance. However, with the development and further understanding of the various elements of the dynamics of movement that we have seen emerge in the last few years (thanks to choreology being brought to the fore in our wonderful world of competitive dancing), we now distinguish an opposite variant from the traditional staccato: it is the LEGATO action. Let me explain.
In musical terms, staccato means to "hit each note or sound sharply detached or separated from the others". On the other hand, legato is "to play in a smooth flowing manner without break between notes".
Translated into dancing terms, making a staccato step (or action) would mean to detach it from the other steps in a sudden manner. To step in a "legato" fashion would mean to flow from one step to the next with constant speed of the body in a sustained way.
Practically, you will step staccato when your moving foot and your body both hit the note virtually at the same time. Opposite to that, a legato step is done when the moving foot travels twice as far as the body only to be joined by the body as it flows passed the foot later. I will give some example later.
You do, most of the time, actually have the choice to interpret your figures either staccato or legato. However, some steps will almost always be exclusively one or the other. Example: Tango walks in today's dancing are done in a Legato way; in order to achieve the smooth transition from foot to foot (imagine Luca and Loraine doing them), it is best to divide the feet on the count 1 with the body at the middle and then gather feet and body together on the count 2; repeat the process for your second walk on counts 3 and 4. Promenades, on the other hand, are almost always done in a staccato fashion, which means that the actual step happens AT ONCE on the count 1 (body and moving foot moving together) and then you HOLD the position on the count 2.
For most of the figures though, you do have a choice of interpretation (of your count "slow" more specifically). Let's take a Reverse Turn Lady Outside for example. It is nice to deliberately flow the third step in a smooth manner (legato) or it is equally nice to HIT the third step on the first count of that slow and then HOLD the second count of the that slow, for a staccato flavour to it.
The main thing is to not always dance everything in a staccato way or everything in a legato fashion. In order to create impact, it's good to alternate them for a greater contrast.
I do intend to prepare for you in the near future a short video of what I have been trying to explain in words. Do stay tuned!
STACCATO: Use of movements that are detached from each other (see syncopation).
STACCATO (Freestyle): Music performed with Qe notes sharply separated. The dancer can then interpret this music with the use of acute steps and movements.
STAMP: The placing of either foot with firm pressure onto the floor producing a heavy sound with the foot flat. Can be performed with or without weight (see appel).
STANCE refers to a dancer's pose, poise, air and presence, posture and carriage (see presentation).
STANDING APPOINTMENT is a private dance lesson which is booked at the same time and day each week for pupils who prefer a fixed lesson arrangement.
STAR JUMP: A spring into the air from both feet with arms and legs extending to form the shape of an 'X'. Commencing and landing with flexing of the knees and ankles.
STATIONARY refers to a figure danced without progression or done on the spot. 'Stationary Walks' is also the name of a Samba figure in the Gold international syllabus.
STOMP: A short sharp forward push into the floor on one or both feet with knees slightly flexed.
STORK: A Tango figure that was introduced and made popular by Bill and Bobbie Irvine, the world Ballroom champions of the 1960s. This movement resembles the leg action of a funeral march where a progressive step is stopped midway, momentarily, and then completed. The Stork is danced in promenade position - a sideways, storking, sliding action, deevoid of rise and fall.
STRADDLING is when a dancers steps forward or backwards in a wide-legged manner, giving the impression of riding a pig - a common fault with beginners in social and competitive dance schools (see brush and Follow Through).
STRESSED-OUT is used as a dancer's buzz-phrase to express the feeling of being physically, emotionally and mentally exhausted. This state of fatigue often leads to either argument and aggressiveness or morbid symptoms of sombre withdrawal, and is mostly caused by over-practising.
Experienced dancers know when this condition of low resistance sets in then that's the signal to recess for a day or two. Being Stressed-out can also suppress a dancer's motivation and perseverance to forge on and improve.
STRICT TEMPO is music specifically arranged and composed for Ballroom and Latin-American dancing, i.e. the tempi are standard speeds; the beats clear and definite, and the melodic sounds distinct and undistracting.
STRIKE-ABILITY: Being able to start a dance with explosive impact. Having the ability to produce a peak level of partnership precision at high and low speeds. It's the art of partnership perfection which every competitive couple should strive to achieve.
STROLL: A forward diagonal step followed by a cross behind (lock) and another step forward.
STRUT: Moving forward, place the heel then the ball of the foot on the floor for counts 1, 2.
STUCK TO THE FLOOR is the Latin dancer's way of expressing a strong anchored stance from which solid actions emerge. Through this 'stuck to the floor' position the dancer works with pressure out of the floor, during which the frame must be flexible but 'stuck' or kept firm around his partner (stuck meaning definite).
STYLING is when dancers, through proper technique and many hours of practice, express the authentic character of the dance with a touch of individual feeling, and make it all look so easy. Styling includes arm movements, body actions, leg and foot-lines, posture and hold, balance and control or any co-ordinated movement danced well enough to depict the charm, panache and personality of the dance and dancer.
SUGAR FOOT: An alternate swivel of the feet in the direction of the free or unweighted foot, on the spot or travelling.
SUPERIMPOSITION: In television and video, the blending of images from 2 or more cameras.
SUPERVISOR is a leadership position immediately under the manager of a dance studio. His/her duties are to train the staff and over-see the dance progress of the pupils.
SUPPORTING FOOT is the foot that bears the weight of the body. Also known as the weighted foot; the foot over which the weight is carried - the standing or stationary leg.
SUSPENSION is when a dancer's movement or actions are postponed or held in a frozen position for a number of beats or bars of music and then rapidly released. Suspension is an advanced form, movement and musical interplay.
SWAY (Basic) is inclining the body into a turn or movement without breaking at the waist, and is used to add control, softness, balance and appearance to the dance. When a step is taken with the right foot, sway slightly from the hip to the right. When a step is taken with the left foot, sway slightly from the hip to the left, i.e. sway towards the stepping foot. Body Sways in ballroom dancing are used chiefly for effect, although in a few turns even the novice will find them of practical value. Sways can be used on nearly all turns. Exceptions are all Spins, where the turn is too quick to permit Sway to be used comfortably.
Sway is also used on figures that curve or wave and in some side steps such as the Cross Chassé. All turns are initiated by a Contra Body Movement step, and Sway is taken directly following this step. If the Contrary Body Movement step is with the Right foot, the inclination of the Sway will be to the Right; if with the Left foot, then the Sway will be to the Left, whether this step has been taken forward or backward. The practical value of 'banking' into the turn, is that it assists in preventing the dancer from overbalancing or overturning, but Sway serves mainly for decorative purposes.
SWAY - inclination of the body from the ankles upwards which counterbalances the thrust of the centre of the body. It is normally used to incline the body towards the inside of a circle.
SWAY: A tilt of the chest to the side, without lowering the torso. Stretching from the side upwards.
SWAY (Advanced) is probably impossible to accurately detail the movement in dancing that is known technically as Sway. In the standard technique the subject is dealt with quite simply - merely by recording the number of steps in any one figure whereon Sway will occur and whether it is to the right or to the left.
While this may be adequate for the purpose of a technique description, it is hardly an accurate explanation. In fact, there is so much more to Sway that the serious dancer soon realises a separate study of it is necessary to produce the kind of dancing that may be described as graceful (having flexible movement), musical (rhythmical), and artistic (showing attractive body lines). Besides, Sway has a lot to do with balance and control and is therefore extremely important.
During International Championships, an event at which nearly all the best couples appear, the impression is that "modern trend" figures exploit the use of elaborate Sway and changing body curves, but many dancers seemed unable to subject the body to Sway control as a means of expressing the music.
The dancer without proper "Sway expression" becomes a robot in action and the dancing will be unmusical and ungainly. Good dancers express music by Rise and Fall plus Swing and Sway. It is not possible to move with the music unless the speed of the body is continually varied and this cannot be accomplished unless Sway control is applied.
Fundamentally, Sway should be sympathetic, because it is integral with body swing, but the expert often heightens the degree of Sway to increase Pictorial effect, particularly during specialised "picture" figures. Many present-day dancers are successfully able to emphasise the body line during a posturing type of variation but they do not display the sensitive Sway action which is very necessary to true ballroom dancing.
True ballroom dancing should be governed by rhythmical motion both as movement and progression. Body line during the Walk movement, to some extent is an aspect of Sway, since there is a slight body curve involved.
What is Sway? Broadly speaking, it is a movement that inclines the body from the vertical poise producing a curve of the body in a sideways or semi-sideways manner. There may be a forward or backward poise involved but the body must never be allowed to bend backwards or forwards from the hips.
How is Sway achieved? Initially it begins from the leg that holds the body weight. The movement passes through the pelvis (the pelvis may never be still during Sway action), continues through the body and is expressed finally through the shoulders and head. Never should the shoulders initiate the movement. Always the action of Sway must be felt as a body movement and be accompanied by a stretching feeling.
There are so many subtleties of Sway that to attempt to "pigeon hole" them would be futile. For general differentiation, however, here are three categories:
Type (b) is used to express the basic Foxtrot rhythm. It is the positioning of the hips and shoulders through Contrary Body Movement that invites the style of Sway. The Sway is not increased as fluency of progression is needed. The running movements in the Quickstep are similar in this respect, usually requiring one rise. The lateral action in this form of Sway will be slight, if any.
Type (c) may be observed in nearly all the "picture" figures, but basic steps like the Hesitation Change show it in a minor form. Usually the progressive movement is arrested. A big danger in this type of Sway is to collapse one side of the body and to use the arms independently. The term Broken Sway, used technically, is not good; it can encourage a false concept. Even when fairly abrupt Sway is employed, for example, the Tipsy movement in the Quickstep, both sides of the body must be stretched.
In addition, correct use of Sway will bring about that physical harmony between the man and the lady so necessary for good dancing comfortable to both. Finally, here are three general rules which can serve as useful guides: (1) When Sway is involved with continuation of Rise, it is gradually increased. (2) When progressive movement is required, the Sway that is involved is maintained but not increased. (3) All Sways should be produced by a feeling of body stretch, never by contracting one side.
Top dancers display Sway craft, by giving the impression of consummate ease and excellent body stretch, i.e. when producing the elaborate sway that the figure demands - a lightness given to the Waltz Oversway as distinct from the somewhat firmer and stronger version required when danced in the Tango. Muscular tone and correct use of Sway has made this possible which adds "life" to sway also refer to as "body curve".
SWING:The free foot is raised and moved forward, backward, sideways or crosswise.
SWING Dance (see east Coast Swing).
SWIVEL is a turn made on the ball of the one foot.
SWOLLEN HEAD: 'The Curse Of The Dancer' is when the dancer's head is so filled with inanities, that the balance of things become impaired. As soon as you have progressed beyond the stage of outright beginner, friends and others will constantly tell you how good you are.
Mostly, this is meaningless. Out of tact, politeness or whatever, others will very rarely say that your dancing totally sucks. Your friends will flatter you to make you feel good. Your instructor will say, 'that's great' to encourage you and build your confidence. People who know nothing about dancing will gush about how well you dance. Even if people wanted to give-it-to-us-straight; they wouldn't know how to say it, 'that's not bad', 'it's fine', 'it's OK' 'it's up to standard', is about all you will get from them.
Don't let your swollen head impair the 'balance' of things. Let your dancing do the talking… practice and persevere with a clear mind set on your goals or what you want to achieve or receive from your dancing.
SYNCOPATION is when dancers hold a movement longer than the regulation time of the music, then speed up the next movement to stay within regulation time, thus 'playing' with the music. Advanced dancers apply syncopation to fluctuate and animate their actions by stealing time from one step to hover or float the next movement.
SYNCOPATED (pattern): Any variation of a defined dance pattern.
SYNCOPATED (rhythm): To step between the down beats. Any rhythmic pattern which uses accents other than the down beat.
SYNCOPATION (Freestyle): The irregular occurrence of an accented beat or beats in a bar of music. The accent is transferred to a part of the bar that has not been regularly accented. Because the basic rhythm has already been established, the variation produced does not cause unrhythmical confusion.
SWITCH SWAY is the action of changing from the position of a "left inclined" sway to a "right inclined" sway or vice versa. Also known as a contra sway since it is contrary to the balance of a normal sway.
SWITCH TURN: A step forward onto the right foot followed by half a turn to the left with weight transference onto the left foot. May commence on left foot turning to right. Amount of turn may vary slightly.