The  Philippine Swing, when closely analyzed rhythmically, is actually the Street Hustle in the United States. Yet as Filipinos continue to dance it with feverish intensity on all ballroom floors, the dance gradually develops its own peculiar characteristics, prompting some local quarters to contend that our version can now be lined up with all the  other types of the Hustle.

History
 Several styles and versions of the Hustle are danced and have been developed in the United States alone. Generally there are three main forms of the dance:

• the Line Hustle where several dancers on the floor are doing  the same steps and movements,
• the Same Foot Hustle where both partners start on the same foot but  are dancing as a couple. It  as started in California and is called the Latin Hustle.
• the Opposite Foot Hustle, done also as a couple, but has varying names such as Spanish Hustle, Tango Hustle, Samba Hustle, Street Hustle, etc.

      The patterns of these styles of Opposite Foot Hustle are the same though their rhythms vary. They all have the same essence and attitude.  They  all have the same structure of three unit patterns danced in 6 beats of music. The amalgamations too can be used with any of the styles.
      Because of these similarities, especially in the unit structure, these Hustle styles have been commonly grouped under the name New  York Hustle.
      Yet the rhythms still vary.  The styles falling under the New York Hustle have a main rhythmic pattern composed of 1 delayed single, 1 triple, and 1 double rhythm unit, with a count of “1 2 - 3 & 4 - 5 6”. Each style though has variant rhythmic patterns. Those familiar with the Philippine version of the Swing will not easily be able to identify with the New York Hustle’s basic rhythm.
      No one has the right to say that one form of the Hustle is the correct one, and that all others are wrong. Dance styles and types are developed by the people dancing them. Dances have to grow and develop, otherwise they will die.
      Therefore no one can say that the Hustle style we use in the Philippines is the wrong Hustle. The Philippine Swing is the Filipinos’ version of the New York Hustle, which is very similar in rhythmic pattern to the Street Hustle.
       For purposes of dance annotations on the Hustle, we using the rhythmic pattern of the Philippine Swing, in both ‘single’ and ‘double’ versions. There is no point in confusing the local dancer further. This is how we dance it here, so this is how we are going to study it.

Music & Rhythm
Philippine Swing is danced to music written in 4/4 time, with an average of 40 to 45 bars per minute. Many of the modern tunes, are excellent music to dance to.
       Local dancers dance the Philippine Swing in two versions. The single Swing has 4 units of double rhythm, completed in 2 measures of music. It is used mainly to teach the basic sequences. The more accomplished Swing  dancers learned the dance using the single version, to perfect their steps, form and sequences or amalgamations.
       The double Swing has a 3-unit rhythm pattern composed of  2 triples and 1 double, completed in 1½ measures of music.

Basic Movement
The basic movement is vertical with a very subtle bounce in both Swing versions. The back step is always a down movement; all others is up or neutral.
      This ‘down-up’ body movement is done very subtly and is mainly felt by the dancer instead of seen by others.
 Smooth hip sways from side to side is also evident as the dancer relaxes the body as he feels and dances to the music. This hip movement is created by using the hip as the initial force point (prior to the knee) for all the leg movements. Never try to move the hips separately from the body for this will only produce a contrary movement not characteristic of the dance.

The Hold
The starting hold for Philippine Swing is normally a Two-Hand Position, above waist level. The Man lowers the hands to waist level to signal the first step to the back.
       The hold itself should be relaxed, with the Lady’s hand on top of the Man’s. Her fours fingers rest perpendicularly to his four fingers, and the thumbs just touch the back of the hands.
       Strong grasping  of the hand never works in dance, and can only confuse signals or hinder changes of direction and turns.

Leading
The Man’s hands and arms mainly do  the leading. Some figures necessitate only a flick of the fingers to send the signal for the Lady to turn or cross step to the side.

Footwork
The Man is quite free not to follow the steps strictly, and may use either a toe or a heel lead in any of  the figures and patterns. But he has to be able to kept the rhythm in mind so he can lead the Lady at the proper time. The Lady on the other hand, follows all the steps, and makes sure that they are in the right foot position. Steps are small to medium, never large.

Styling
As in all dances, form and stance make a big difference in the overall presentation of the dance. Both partners should keep their CPB up and balanced. And as much as possible, should keep their CPB’s facing each other. This will necessitate the use of the Contrary Body Movement Position for certain figures when the couple is in a Closed, Corner or Cross Body Position.

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