HEAR & FEEL THE MUSIC

Just as Music, Dance also has its own annotation system, devised as a fundamental part of the Universal Unit System (UUS) which was developed by Ms. Skippy Blair in the early 60’s. The UUS annotation system graphically illustrates dance patterns that normally take numerous dance sessions to learn. Ms. Blair contends that if music could be written and read for others to follow and create upon, then all other forms of art, including dance, should also have its own system.
     The UUS annotation system is based on a clear understanding of musical rhythms which form the basis for verbal and step patterns, foot movement, and direction. Additional descriptive annotations on specific body movement, hip action, head position, shoulder pull, resistance and many others set the character of each dance form. 
     As a dancer learns to read these dance annotations, he discovers the key to learning and creating any dance form, variation, style, or syncopation. Even by just observing other dancers perform, he would be able to analyze and break down what they are actually doing so that he can do it himself. 
     Now we’re ready to read dance. It’s very simple. All we need are three basic elements. Dance annotations as graphic representations of dance  patterns and should include: 

1. the count: the exact counting based on the beats of music, to indicate specific actions of the weighted foot and the free foot. 
2. the rhythm pattern: rectangles which contain dots and slashes, indicating weight changes. 
3. the step pattern: Instructions on which foot to change weight with and what direction to take. Free foot instructions are mere clarifications. 

     Additional annotations refer of the free foot: kick, tap, hold, dip, hop, when and how much to pivot, when and what direction to turn, hip action, shoulder pull, body position in  relation to your partner, and other specifics necessary to characterize the dance. 
     The annotation system simulates a ‘table’ or chart, so that the counting and sequence of movement are read from left to right, while instructions on what to do on each count are read downwards. 
     Let’s take the Philippine Version of the Single Swing (Hustle) as an example. Try doing the steps with these limited instructions. As in all annotations in this book, the main step pattern will be for the Man, unless otherwise indicated. 

SINGLE SWING
Philippine Version

     Congratulations! You have just done the basic step pattern of the Single Swing. You also have learned to read dance annotations. 
     Notice that the pattern was completed in four beats of music, with a step or change of weight on each beat. The verbal call gives an idea of where or how to move, the foot instruction tells you which foot to use, and the direction instruction tells you where to move the indicated foot, in this case indicating a mirror image. 
     Okay, now let’s add body movement and other actions we have to consider when actually dancing the Single Swing.  In this dance, the Lady actually does a mirror image of the Man’s steps, that is, if he steps back with his left foot, she should step back with her right foot. 
     Note that the additional annotations give you precise instructions for body movement, foot placements and couple dance positions, which we will discuss in the next chapters. 
     The resistance is clearly felt on each partner’s hand and arm,  slight enough so that neither is forced to lunge unnecessarily toward the other, but strong enough to stop either partner from further settling the body backwards. 
     Now you have learned to dance the most basic pattern of the Single Swing, without anyone else actually demonstrating it to you. It also gives you a sneak preview of the Universal Unit System which we will be using throughout this book. 
     Unfortunately, not all dance patterns are as simple as the Single Swing. The Double Swing, for instance, utilizes a more complicated pattern of weight changes and counts, even as the same foot and directions are used. Not only is it composed of three dance units of varying rhythms, but also includes steps on the half beat -- the “&” count. 
 

DOUBLE SWING
Philippine Version

      Remember that it is the actual change of weight from one foot to the other that sets the rhythm pattern of each dance. The step pattern is established by the combination of the moves of the weighted foot and the free foot. The Step Pattern should indicate the weighted foot -- either Left (L) or Right (R), and the direction of its movement. 
     In the annotation system, brackets ( ) refer to movements of the free foot. The action is also thus placed in brackets.