FOXTROT FIGURES

Foxtrot—4 beats/measure; 30-34 meas/min

In the early days of the Twentieth Century, during the Ragtime Era, a whole flock of "animal dances" were briefly popular, formed out of the earlier two-step. There was the Squirrel, in which dancers assumed closed position and took small, mincing steps: 1&, 2&, 3&, hold, feet closed, knees soft, and up on the toes; or quick, quick, quick, quick; slow, slow. The Duck Waddle involved quick walks swaying the upper body left and right. In the Turkey Trot, the couple danced: side, hop, side, hop; side, hop, side, hop; step, hop, hop, hop; repeat; and so on. In the Snake, they walked sinuously to banjo with a dip, then to sidecar. The Grizzly Bear had the couple face to face, feet apart, crouching with soft knees, forward upper body poise, arms out and up. The footwork included walking, rocking, turning, and hopping. There was the Lame Duck, the Chicken Scratch, the Kangaroo Hop, a Horse Canter, and a Horse Trot. And of course, there was the Fox Trot.

The Fox Trot might not actually have started as an "animal dance." One story tells of Harry Fox, a burlesque comic, who worked on a stage scattered with scantily clad women in static poses. His act involved a fast, comical dance to 4/4 ragtime music from one woman to the next where he would deliver his jokes. The act was popular, the music was widely marketed, and Fox's "Trot" became popular in dance halls and dance studios.

In these earliest days, the Fox Trot was not the smooth: slow, quick, quick, of today (which if you think about it, is nothing like a "trot"). Back then dancers might have taken four slow steps down line and then eight quicks with just a little bit of a prance. They walked in a circle. There was a lunge, close, lunge, close; producing a full turn. There was a definite strutting or trotting look.

But Vernon and Irene Castle and subsequent teachers wrote new figures for the rhythm, and by 1916, this Fox Trot had evolved into a much slower, more elegant, floating kind of dance. It used long passing steps that kept the dancer up, stretched, and extended. It had come to include a gentle rise and fall but not as much as that of Waltz, where the third closing step causes you to lower more dramatically. (Where Waltz is "mountains and valleys," foxtrot is "rolling hills," and tango is as flat as Kansas.) In three steps, step heel, toe rising, toe, toe, heel lowering again. In a way, the Foxtrot is a little like snow skiing.

The passing steps encourage us to keep moving, too. We want fluidity, continuity; a graceful, steady glide. Even when checking a movement or when in a picture figure, where your feet have stopped, we keep the body flowing. We introduce sway, change the sway, change it again if we have to, incorporate arm and hand movements that extend these body movements, and then flow right on out into the next figure. The long, gliding steps of the slow Foxtrot give an impression of elegant ease, but control and balance are required to maintain that smooth flow.

Still another sophisticated feature that developeed in Foxtrot involved angled bodies so that dancers aren't directly facing or backing the line of progression/ they are angling or slicing down the hall. I think of a ship plowing forward, directly into the wind and current, "breasting" the waves. The Foxtrot doesn't do that. Dancers progress at a graceful angle, with one or the other side leading. (more on "side lead")

During the Jazz Age of the 20s, the Foxtrot was sped up again. It acquired some of the jazzy hops and skips of the Charleston and became our present-day Quickstep. Of course, it didn't replace the slow Foxtrot, but joined it, a close cousin.

The slow, elegant, gliding Foxtrot is a rich and sophisticated rhythm and is one of the most popular dances ever. I think we like it best. The Foxtrot seems more sustainable, less intense, than the Waltz, for instance. Maybe it is the slow count that gives us a little rest in each measure. Certainly, the "slow, quick, quick" rhythm and the more subtle downbeats on 1 and 3 provide more variety and interest than the steady "1, 2, 3" and strong, regular downbeat on 1 that we find in Waltz. Maybe it is the soaring glide of Foxtrot that feels so good, compared to Waltz's more dramatic rise and fall.

Regardless of your personal reaction, the Foxtrot has developed and matured over the last hundred years into a wonderful and engaging rhythm, and if we occasionally think back to the silly and slightly bawdy beginnings with Harry Fox, we may have even more fun.

Some of these figure lists are long, and I have tried to organize figures in related groups rather than in alphabetical lists. To look for a specific figure, use your "find" function under the "edit" drop-down menu (in Internet Explorer). If you can't find a figure you need, try the site's new location, or just let me know.

FIGURE AND COUNT	STEPS (In the abreviated sections, a comma separates two beats, a semi-colon marks the end of a measure, and a slash (/) indicates a split beat, two things occuring in a single beat of music.)	In Freestyle, You Could Try This
Forward, Run Two or Three Step sqq;	In closed position, line of dance, step forward on lead foot for a slow count, forward quick, forward quick (woman back, back, back). Repeat: fwd, -, fwd, fwd;	The Scotts' Steppin Out with My Baby, has a diamond turn;; three step to closed position; half natural turn; closed impetus; and box finish;
Box sqq; sqq;	In closed position, step forward, -, side, close; back, -, side, close; footprints	Follow with a hover to semi; through, -, face, close back to closed position;
Left Turning Box sqq; sqq; sqq; sqq;	In closed position, line of dance, step forward & turn 1/4 left, -, side, close; back & turn left, -, side, close; forward & turn left, -, side, close; back & turn left, -, side, close; (face each wall of the room in turn)
Diamond Turn sqq; sqq; sqq; sqq;	Step forward and turn left to diagonal center, -, side continue left, back to banjo position (turn 1/4 left each measure, facing each corner of room in turn); back, -, side, forward; for, -, side, back; back, -, side, for;	Follow with a open telemark; open natural; In Valenta's Bye Bye Baby, there is a quarter diamond turn to a feather finish;; and again;;
Quick Diamond Four qqqq;	In banjo, step forward L (woman back R) and turning LF, side R, back L, back R; You will end in a position that will be cued.	The Rumbles' That's You has a diamond turn one half;; quick diamond four to closed position line and wall; dip back, -, recover, -; Another neat sequence from LeBlanc's Remember When, is a quick diamond in four; dip back, -, recover, -; quick diamond in four to reverse; dip back, -, recover, -; to a 3-step down line;
Fox Trot Wheel sqq; sqq;	In banjo position, lead feet free, circle one full turn: fwd, -, fwd, fwd; fwd, -, fwd, fwd; competition photos Astaire photos another Astaire	Start diagonal wall, do the wheel;; change of direction; closed telemark; maneuver;
Natural Turn sqq; sqq;	In closed position, line, lower and step forward R leading a RF turn with the hips, step forward and side thru woman and across line of dance leading heel turn, step back to closed reverse; step back turning RF, step side, step forward to closed line.	In the Valentas' Was That the Human Thing To Do, part A begins with a three step; half natural turn; closed impetus; feather finish overturned to diagonal reverse and center checking; top spin; reverse wave check and weave;;;
Open Natural Turn sqq;	From closed, banjo, or semi, step forward right turning RF, side across line of dance, and back to contra banjo reverse.	In the Cunninghams' I Found You Just in Time, part A begins with a three step; open natural; open impetus; in & out runs;; to a promenade weave;;
In and Out Runs sqq; sqq;	In semi, line, step forward right turning RF, -, side and back left to closed position diagonal reverse and center woman forward right between man's feet, back right to contra banjo; back left turning RF, -, side and forward right between woman's feet continuing to turn, and then forward left to semi-closed position, line.	In the Woodruffs' Wonderful Wonderful, there is a hover telemark; fwd hover to banjo; bk hover to semi; in and out runs twice;;;; chair and slip to closed line and center;
Reverse Turn sqq; sqq;	In closed or banjo, line of dance, step forward left with right side lead. This lead will turn the body about 1/4 LF. Step forward and side through woman turning LF a total of 1/2 and leading a heel turn for the woman, and back to closed reverse; back right turning LF, side and forward left, and forward right to contra banjo line and wall. The common error is for the man to dance down line and be thinking he has to dance "around" his lady. If you do this, she will be led to progress, will not be able to do the heel turn, and you will end in banjo at the end of the first measure, I speak from long and profound experience. Instead, take steps 1 & 2 DLC, turning your body as you move through her left side; dance a straight line, not a curved path around her. footprints	Broadwater's Dream of Me has a Reverse Turn;; Three Step; Half Natural; Closed Impetus;
Open Reverse Turn sqq;	In closed, banjo, or semi, step forward left turning LF, forward and side turning, and back to contra banjo reverse and center.	In the Scotts' Hand Over Your Heart, part B begins with a diamond turn 1/2 checking;; open impetus; chair & slip; open reverse; hover corte; back whisk; and pickup, -, side, close;
Quick Open Reverse sq&q;	We want to do an open reverse turn, but we have the trail foot free. In semi, we step thru with the trail and she begins to turn LF, -, forward L to closed position and both turning/side and back R turning to face reverse and center, and back L to banjo reverse;	In the Rumbles' Change Partners, part B begins with a hover; quick open reverse; outside check to banjo facing reverse and wall; and back & chasse to sidecar facing line;
Solo Reverse Turn sqq;	This is a reverse turn done not as a couple but individually. You might be in shadow position facing LOD, both with the left foot free (the woman will be doing a man's reverse turn). Step fwd L turning LF, -, sd & fwd R turning to face RLOD, and bk L to end in left open position both facing RLOD;	In the Shibatas' Orange Colored Sky, there is a shadow fishtail; solo reverse turn; and feather finish woman transition to banjo DLW; for a 3-step;
Reverse Wave sqq; sqq;	This is half a reverse turn and then a curved, back three-step. In closed position, step forward L turning LF. She draws L to R as he steps side R leading a heel turn, she closes. On beat four, step back L (woman fwd R) to closed position diagonal reverse and center. During the second measure, step back R, back L curving LF, back R curving, to closed position RLOD. That curving path in the second measure is the "wave" (the curve of an ocean wave?) It is interesting to compare the open telemark, the first measure of a reverse turn, and the first measure of a reverse wave. All three figures begin with the same lowering into a forward step and a rising into another forward that leads a lady's heel turn. You stay in closed position through these three beats of music, and you turn as a couple. In the open telemark, you turn 1/2, from diagonal center to diagonal reverse and wall. In the reverse turn, you turn 3/8, stopping so that the man faces reverse. In the reverse wave, you only turn 1/4, ending diagonal reverse and center, so you can do the curving "wave" part during the second measure.	Reverse Wave;; Back Feather; Back Feather Finish; Three Step;
Change of Direction sqq;	In closed position, diagonal line and wall, step forward and then forward turning left up to 1/4. Draw lead foot and touch (only two weight changes, lead foot free).	Turn left and right chasse or diamond turns
Right Lunge s	In closed position, trail feet free, flex left knee, lowering, step side and slightly forward between her feet, flex right knee, rotate body a bit LF, and look at partner. Keep body up; don't lean over her.	Step forward to a right lunge; recover, -,
Drag Hesitation ss;	In closed, line, step forward left turning LF, side right continuing to turn, and draw left toward right ending in contra banjo diagonal reverse and center.	In Molitoris' Really Mine, part B begins with an open impetus; feather; double reverse spin; drag hesitation; back twist vine 4; and hesitation change;
Hesitation Change sqq;	In closed position, diagonal reverse and center, step back turning RF, step side continuing to turn up to 1/2, rise, draw and touch (only two weight changes, lead foot free).	In the Woodruffs' Christmas Island, there is a telemark to semi; overturned maneuver, side, back; hesitation change; to a diamond turn 1/4; and outside check;
Pickup sqq;	This is a waltz figure, but it is sometimes used in foxtrot to move from semi to closed position, line-of-dance. Step thru with the trail foot, the woman turning LF, -, side, close; competition photos	Hover; pickup; reverse wave;;
Slow Side Lock sqq;	This is the proper, foxtrot pickup. In semi-closed position, step thru with the trail foot. Step side and forward to closed position, and then cross right in back of left, turning slightly LF (woman crosses L in front of R).	In the Hartungs' White Lilacs, there is an open reverse turn; outside check; open impetus; slow side lock; to a diamond turn;;;;
Whiplash ss;	In semi-closed position, trail feet free, step thru, turning body RF (woman LF) to closed position. On the second "slow" point the lead feet and hold. Sometimes, the music might tell you to step and sharply ronde the lead foot, like the crack of a whip, leaving a little extra time to shape to your partner and sway away from that extended lead leg. Increasingly, we are being cued to "whiplash to banjo." Usually, this means banjo facing approximately LOD, so the woman swivels almost 1/2 and the man only shapes to the woman.	In the Sechrists' Believe Me, part B begins with a natural weave;; reverse wave; back to a slow throwaway oversway;; link to semi; open natural; outside swivel and whiplash; Shibata's This Can't Be Love has a hover to semi; whiplash and freeze; quick change sway and check back; double reverse;
Maneuver sqq;	In closed line, step forward right and turn 1/4 right, -, side and turn 1/4 , close;	follow with spin turn or impetus
Pivot ss;	In closed position reverse, step back L turning 1/2 RF. Having left the right leg extended between the woman's feet, step forward R continuing the turn for a full turn over one measure. This figure does progress down line. It is important for both partners to step well under the other and to change places completely with each step.	If you do make the full turn, you can pivot again and again. If you don't quite make it, you'll fall behind.
Slip Pivot sqq;	The word "pivot" is not only used to refer to a couple action. Here, the woman pivots, but the man does not. In semi-closed position, step back on lead feet, the woman beginning a LF pivot on the ball of her right foot (her thighs locked and left leg extended forward). On the first quick, the man steps back R turning LF, and the woman steps forward L, completing about a 1/2 LF turn, placing her foot just outside his right foot. Finally, he steps forward L in closed position. Of course, the "pivot" is the lady's LF turn on the ball of her right foot. The "slip" is the smooth turning action, the sneaking of her left foot against his right, and the neat change to closed position. There is a general rule associated with slip movements that says, if there is no or only a little LF rotation of the couple, then the woman steps L outside the man's R. The man will use his frame to control this. If the man intends to turn the partnership, say, 1/4 LF, then he will guide her to step L between his feet. This will allow him to turn LF during the third step and end in closed position. If she had slipped outside his feet, the turn would have put them in banjo.	In the Springers' Stardust Foxtrot, there is an open telemark; hover fallaway; slip pivot; manuver; and two right turns;;
Outside Change sqq;	In closed or banjo reverse, step back L, back R turning LF, and side and forward to banjo or semi, line of dance. The woman will step forward R, forward, and then either side and back to banjo or side and forward to semi, depending on the lead (and cue).	to a natural weave
Outside Check sqq;	In closed position reverse, step back R, side and forward L, and then check forward R to banjo reverse and wall.	In Lefeavers' Christmas Candles, part B has a reverse wave;; back 3-step; outside check to banjo reverse and wall; back hover telemark; to a promenade weave;;
Outside Swivel sqq;	In banjo, step back L, woman forward R. The woman then turns RF on the ball of her right foot while the man crosses his right foot in front of his left to get that leg out of her way. Only one weight change; end in semi position, trail feet free.	In the Fishers' C'est Si Bon, part A has a closed telemark; open natural; outside swivel twice; impetus to semi;
Spin Turn sqq;	In closed reverse, step back left pivot RF, -, forward between lady’s feet rising and completing turn, recover side and back; End facing line and wall. May underturn to face line or overturn to face reverse and wall.	to a back half box; three step to line;
Overspin Turn sqq;	In closed reverse, step back left pivoting RF, -, step forward between lady’s feet rising and completing turn, recover side and back; End facing reverse and wall.	In the LeBlancs' Remember When, part B ends with a 3-step; maneuver; overspin turn to wall; back half box; and then into a jive sequence.
Outside Spin phase V sqq;	This one begins in contra banjo, usually facing reverse, lead feet free. The first thing the man does is use upper body rotation and right side lead to cause the woman to take a big step forward, outside, and turning RF. In the process of leading this movement, he takes a little step back, toeing in. Don't think of taking a back step. Just let your weight shift to the left foot, toe to the instep of the right foot, as you rotate about 3/8 RF. The man's second step is a long forward step outside of the woman and again turning about 3/8 RF. She draws her left to right and does a heel turn. During the second quick, he steps side and back, and she steps side and forward between his feet to closed position, completing one full turn during the figure. Note that the woman takes a big step first, the man second, and both step together on the third step. Some teachers summarize these steps as: "lady around, man around, step side."	In the Heinys" Must You Dance, there is a hover to banjo; natural hover cross;; turn left & right chasse; outside spin; feather finish; and hover to semi; In the Finchs' Sam's Pants, there is a hover telemark; open natural; outside spin overturned; to a hairpin;
Impetus to Semi sqq;	In closed reverse, step back L and she steps forward R between the man's feet. The man brings his R to L and touches and leads her to step L thru his right hip, turning him in a heel turn 1/2. The effect will be much as though she pushed through a turnstyle. Don't close on the right too early, or you will lock that turnstyle. Close at the end of beat three. Then open her head with a little right side stretch and step forward L to semi-closed position, diagonal line and center.	In the Rumbles' This Is the Life, there is an impetus to semi; promenade weave;; three step; natural turn; closed impetus; to a back feather finish;
Closed Impetus sqq;	As in the impetus to semi or "open" impetus, in closed position reverse, step back L leading woman to step R between feet turning 1/2 RF and then side and forward L brushing right to left. Man does heel turn, changing weight at the end of beat 3. On count 4, the man steps side and back, and woman steps side and forward to closed position, diagonal line and wall.	In the Goss' Nessuno Mai, there is a three step; natural turn 1/2; closed impetus; feather finish;
Hover sqq;	In closed wall, step forward, -, side and rise, recover to semi line; The side step, rising, and perhaps prolonging that step, by borrowing just a bit from the previous or from the next step, is the "hovering" action. You float on air for a moment.	to a thru chasse or back to a pickup
Back Hover sqq;	In closed position, step back, -, side and rise, recover to closed position. May start with either foot.	In the Broadwaters' Dream of Me, the dance begins in left open facing position, diagonal line and center, with a back hover to semi; feather; reverse turn;; three step; half natural; closed impetus;
Cross Hover sqq;	In sidecar position, cross lead in front of trail (woman crosses in back), -, step side and rise, and recover to semi, banjo, or other cued position. May begin in banjo with trail feet free.	In the Bucks' Flamingo, there is an open natural; outside spin & twist to diagonal reverse and wall;; back and chasse to banjo; natural telemark; cross hover to semi; promenade weave;; change of direction;
Forward Hover sqq	In closed position, step forward, -, side and fwd rising, recover;	In the Tuckers' Un P'tit Foxtrot, there is an open natural turn; back, back/lock, back; open impetus; forward hover to banjo; quick feather finish to banjo line and center; to a reverse turn check and weave;;;
Running Hover sq&q;	The word "running" can imply quick steps or it can mean to add a step to a figure through the use of syncopation. In the running hover, we want to do a hover, but we have the trail feet free. In banjo, we would step forward R (woman back L) and then do a quick syncopated hover: fwd L to closed position/ fwd & sd R with right side stretch, and fwd L; The figure could begin and end in a variety of positions.
Hover Telemark sqq;	I'm not sure where the name of this figure came from, but it is sort of a hover with an open telemark ending. In closed position, step forward on lead, side and forward turning up to 1/4 RF and woman brushing R to L. Both step small step forward to semi-closed position. Where the hover tends to lead into left-turning figures, the hover telemark usually preceeds right-turning figures.	In the Rumbles' More, there is a promenade weave;; hover telemark; open natural turn; outside swivel twice; and weave ending;
Back Hover Telemark sqq;	In closed position, reverse line of dance, step back turning RF. Step side and fwd, rising and continuing to turn; brush if you like. Small step to semi, diagonal line and center.	In the Esquedas' Pensando En Ti, there is a double reverse spin; change of direction; fallaway 4 to banjo; back hover telemark to semi; and promenade weave;;
Hover Corte sqq;	In closed position, reverse line of dance, step back right turning LF, step side and forward left rising, and recover right to contra banjo, line of dance.	Booz's The Unicorn has this in part A: three step; natural turn; spin turn; hover corte; reverse hover corte; back box; two left turns;;
Reverse Hover Corte sqq;	Not a standard figure, but in The Unicorn, it is a mirror image of a hover corte. Booz's spin turn puts you facing diagonal line and wall. The hover corte turns 1/2 LF to banjo diagonal reverse and center. The reverse hover corte then steps back L behinning a RF turn, a side R rising in a hover action, and then a back L to sidecar diagonal line and center for a 1/4 RF turn. The use of the word "reverse" is unfortunate here, since we usually thing of a left turning action, and here it is used to mean the opposite of a regular hover corte, which is a LF action. Oh well, there you are. We have to be flexible.
Whisk sqq;	In closed position facing wall, step forward, -, side rising to ball of foot, both hook behind; End in a tight semi-closed position, high on the balls of the feet, trail foot free.	The Tullus' Kiss Me Goodbye begins with a whisk; feather; to a reverse wave check and weave;;; three step;
Back Whisk sqq;	In closed position, step back L (woman fwd R), back and side, and both cross lead behind trail in semi-closed position.
Back Turning Whisk sqq;	In contra banjo position facing reverse, step back L toward diagonal wall and turning RF (woman fwd R), -, side R continuing to turn to semi-closed position facing diagonal center, and cross lead in back of trail;	In the Nelsons' The Rose, in semi-closed position, there is a thru hover to banjo; back turning whisk; feather; to three fallaways with feather finish;;;;
Left Whisk sqq;	In semi-closed position, trail feet free, step thru, -, side to momentary closed position, and then cross well behind to a reverse semi-closed position turning the upper body RF (woman LF); Stay flat - does not have the strong rise of the normal whisk.
Syncopated Whisk phase V sq&q;	In semi-closed position, step thru with the trail foot, -, close and face partner/step side with slight right side stretch, and cross lead behind trail in tight semi-closed position;	In the Goss' From My Guy, there is a reverrse turn;; whisk; syncopated whisk; wing; reverse turn to sidecar check & weave;;;
Wing sqq;	In semi line, step thru with trail feet, draw L to R with no wight change, the woman walking forward around man turning LF. End in sidecar, line and center. The man take one weight change and the woman three.	telemark
Progressive Wing sqq;	In semi line, step thru with trail feet. The man turns his upper body LF to lead woman to walk in a semi-circle, LF around in front of man as he steps forward L and then locks RBL to end in a contra sidecar position. Same as a plain wing (just above), but the man takes three steps and progresses down line.
Chair s	In semi-closed position, lunge thru with trail feet, heel-toe, and lower. Angle your foot out toward partner for balance. Be sure to maintain your semi-closed position, rather than easing into some kind of half-open position. That means your inside thighs should be touching, and your shoulders should be turned toward your partner in good toned, contra frame. But as always, keep your upper bodies up and even arched back a bit: hips together, upper bodies apart. Arms up. May be done with lead feet to reverse.	The Slotsves' September Foxtrot has a simple but really nice sequence in part A: hover; chair, -, recover, -; promenade weave;; three-step; natural turn; closed impetus; and feather finish; I love the feel of that slow chair and recover.
Broken Chair or Chair and Change Sway ss;	The Chair (above) has definite forward poise. It is a lunge thru. If you then sway to reverse by looking at your partner or even over the trail shoulders, you can change from a forward poise to a back poise, perhaps on the last beat of a dance.
Chair and Slip sqq;	In semi, line, check thru with the trail feet in a lunging action, recover with slight LF upper body turn leading woman to swivel LF on right. Slip right behind left as woman steps forward left outside man's right foot to closed position diagonal line and center.	Do a reverse turn;; hover telemark; chair & slip; telemark to semi; Or, the Bucks' Fools Fall In Love has a hover; chair & slip; to diamond turns;;;;
Contra Check phase V s	In closed position, lead feet free, lower into your right knee (woman left), begin LF rotation, and slide the left foot forward. Your left foot is moving forward as your right side is leading strongly. This is the contra body action. Of course, the woman is lowering and stepping back R, allowing her toe to slip across the floor. His left thigh is actually pushing into her right thigh. Only when she feels the man stop and begin to change weight, will she stop that slipping foot movement and take weight herself. She must wait. The LF rotation causes the man to turn his left foot out. If he is facing DLW, his toes will be pointing LOD. This angled foot placement helps a great deal in maintaining balance. The woman steps straight back R, but her CBM causes her left foot to angle out and may turn her right foot a bit in. All four feet end up pretty much in one straight row (her R, his L, her L, his R), but the foot angles and the tight contact at the thighs helps maintain balance. Hips are in—toplines are well apart—heads left. Timing varies. A slow contra check can easily span a whole measure.
Contra Check and Slip phase V sqq;	In closed position, lower into the right knee (woman L), begin to rotate upper body LF, and step forward L (woman back R). Keep your hips in and up and your shoulders well apart. On the first "quick" recover R, and then slip back L (woman fwd R).
Contra Check and Switch phase V sqq;	In closed position, lower into the right knee (woman L), begin to rotate upper body LF, and step forward L (woman back R) in strong contra-body position. Keep your hips in and up and your shoulders well apart. On the first "quick" recover R beginning to turn RF, and then slip back L (woman fwd R) continuing to turn about 1/4.
Chassé (pronounce "sha-SAY" — a "sashay" is a square dance term) q&q	In French, chasse is a chase, chasing, pursuit. Chassé is a ballet term and refers to one foot "chasing" the other. In round dancing, the steps are side/close, side, and may begin with either foot. Partners are facing each other with shoulders parallel.
Thru Chassé sq/&q;	In semi-closed position, step thru with trail feet in CBMP, -, side/close, side;	back half box turning (last measure of left turning box)
Turn Left and Right Chassé sq/&q;	In closed position, LOD, step forward L (woman back R) turning LF, -, sd/cl, sd ending BJO reverse and COH;	Do a reverse turn or a wing, turn left and right chassé, and a hesitation change.
Ripple Chassé phase V sq&q;	In semi-closed position, step thru R (woman thru L) to contra banjo. The chassé begins with a side and forward L/close R with left side stretch and looking R (woman L) ("closed heads"). This stretch is the "ripple:" tipping the upper body in the direction away from that of progression. Finally, step side and forward L again blending to semi-closed position. May also end in contra banjo.	In the Worlocks' Where Or When, there is a hover; thru ripple chasse; big top; double reverse to line and wall; and change of direction;
Tipple Chassé also cued Back Tipple Chasse phase V sq&q;	In closed position, reverse line of dance, step back L (woman forward R) turning 1/4 RF. Step side R/close L with slight left side stretch. This stretch is the "tipple:" tipping the upper body in the direction of progression. Finally, step side and forward R with another 1/8 turn to face line and center in closed position. May begin with the trail foot in which case the turn would be LF and the ending position line and wall.
Tipple Chassé Pivot phase VI? sq&q;	This is not a standard figure but a combination of the tipple chasse and a one-step pivoting action (phase II) made on the last step of the chassé: step back L turning RF (or back R turning LF), -, side/close turning 1/8, and then side and forward pivoting 1/2 for a total turn of 7/8;	In the Rumbles' Blue Moon, part A begins with a reverse wave;; back tipple chasse pivot; impetus to semi; promenade run (qqqq); thru & chasse to low butterfly;
Vine 6 sqq; sqq;	In closed position facing wall step side, -, both behind, side; through, -, side, behind; A "front vine" begins by crossing in front.	whisk
Twisty Vine 9 sqq; sqq; sqq;	In closed, wall, lead feet free, step side, -, man cross in back woman in front to sidecar, side to closed; man cross in front woman in back to bjo, -, sd to closed, xib; sd, -, xif, sd; This "foxtrot twisty vine can run for any number of measures.	maneuver
Zigzag qqqq;	In banjo reverse and wall, step back L (woman fwd R). Close R to L turning RF as woman steps fwd & sd L turning RF. Step fwd L to sidecar diagonal line and center. On the last quick, step side and back R turning LF to banjo diagonal reverse and wall. It's like a twisty vine in two-step.	In the Cantrells' Ain't That a Kick, the introduction begins with a zigzag; back feather; feather finish; and a change of direction to face line and center;
Hover Fallaway sqq;	In semi-closed position, line of dance, step through with trail feet, -, step fwd on lead rising to ball of foot checking, and recover back on trail foot still in semi;
Natural Hover Fallaway phase IV sqq;	In semi-closed position, line, trail feet, step forward R turning RF, forward L rising to a hover, the woman stepping between his feet, turning, and remaining in semi, then recover back on trail feet. End in semi, reverse, and wall.	In the Scotts' Warsaw Concerto, the intro has a natural hover fallaway to a weave ending;; three fallaways with feather finish;;;; double reverse; drag hesitation; open impetus;
Reverse Fallaway phase IV sqq;	To "fallaway" is to step back in semi-closed position. In the natural fallaway, we step down line, turn RF, and recover in semi reverse and wall. In the reverse fallaway, we turn LF and recover into semi reverse and center. The reverse fallaway can start from close line or semi line. From closed, step forward L, woman back R turning LF. Step side and then cross lead behind trail into semi reverse. From semi line, step forward on trail feet turning LF, man forward L turning and woman back R turning. Then both step back on trail feet to semi reverse.	In the Martins' Old Fashioned Foxtrot 6, there is an open telemark; curved feather check; open impetus; feather; reverse fallaway & slip to closed position line; double reverse spin; In the Bucks' Dance and Dream, there is a double reverse spin; bounce reverse fallaway 4 to banjo; back hover telemark; to a Viennese Cross;
Three Fallaways phase VI sqq; sqq; sqq;	In closed position facing line and center, step forward L (woman back R) turning LF 1/4 and with right side stretch (woman left side). Step side R in semi-closed position facing reverse and wall, and cross lead in back of trail. The second fallaway begins with a step back R still toward line and center and turning to closed position with no sway. The woman steps forward L and slips to closed; she is facing line. Step side L directly down line, now with left side stretch, leading woman to step side and back R to reverse semi-closed position, and cross trail in back of lead as in a left whisk. The man is on the inside of the circle. Finally, step forward L (woman back R) toward line and wall turning LF and with right side stretch again. The man is rolling across to the outside of the circle. Both step side with the trail foot and then cross the lead foot behind to semi-closed position facing reverse and center. The total turn in this figure is 1 and 3/4. Notice the changes of direction in Three Fallaways. The figure does not progress down line of dance. The first four steps progress toward diagonal line and center. Steps 5 & 6 go down line, and then steps 7, 8, & 9 move toward line and wall. "Like the shape of a frying pan," say Jim and Bonnie Bahr. I suppose, if you can imagine looking at the pan in cross-section, edge-on, we dance down the slanted side of the pan, across the flat bottom, and up the other side. The image might help????	In the Bahrs' Broken Hearts, part C begins with a change of direction; quick three fallaways and feather ending;;; to a three step; natural hover cross;; and double reverse spin; Notice that the three fallaways in this dance are described as "quick" and are danced in nine quick steps sort of straddling measures. The quick feather ending uses beats 10, 11, & 12 of the three measures total.
Promenade Weave phase IV sqq; qqqq;	In semi-closed position, diagonal line and center, step forward R (woman forward L), forward L turning LF to closed postion. Step side and back R to banjo. Continue to turn LF, step back L, back R to closed position wall, side and forward L, and forward R to banjo line and wall, lead feet free.	In part A of Prow's Every Street's a Boulevard, we have a hover; start a promenade weave to banjo reverse; outside swivels twice; and then finish the weave; to a hover telemark; and a thru chasse to semi; In the Worlocks' Where Or When, there is a promenade weave 5 with a check and slow switch;; to a natural weave;;
Weave (sometimes, "fox trot weave") phase IV sqq; sqq;	In semi-closed postion, diagonal line and center, trail foot free, step forward R and then forward L, turning LF to closed position center of hall. Step side and back, continuing to turn, back L to banjo, reverse and center, back L turning to closed wall, and finally forward L to banjo, line and wall. Figure may also end in semi, in which case, during the last step, turn the woman to semi. Her last step will be side and forward R, rather than side and back.	In the Scotts' Call Me Irresponsible, part B has a hover; weave 6 to banjo;; half natural turn; and impetus to semi;
Natural Weave phase V sqq; qqqq;	From closed line, banjo, or semi, the man steps forward R turning RF, and the woman steps back L (from semi, she will step forward L). In the second step, she draws R to L and he steps side L with left side stretch leading a heel turn, she changes weight at the end of the turn. On the fourth beat, step back R with right side lead, she steps forward L to closed position, diagonal reverse and wall. In the second measure, step back L with right side stretch into contra banjo, she forward R outside partner. Step back R turning LF to closed position wall. Step side and forward L she side R turning. Finally, step forward R and she back L to contra banjo diagonal line and wall. The second measure of the promenade weave or the natural weave is also called a "weave ending" and is sometimes cued as a separate, one-measure figure. So, we can think of the natural weave as a combination of an open natural turn followed by a weave ending. For the man, the first measure is forward on the right foot beginning to turn right face. At this point, he might be facing the wall. Then step side and forward with the left turning to face reverse and wall. You need left side stretch here and left side lead. Think of "banking" into a right turn on a bicycle. One of the important things you are doing here is "cutting off" the woman; you are stepping right in front of her, preventing her from stepping forward, and so leading her heel turn. Finally, step back with the right, now with right side lead, in a tight contra banjo position (she steps forward L here). To do the weave ending, step back L, changing to right side stretch, back R beginning to turn left face and leading woman into closed position. You are facing wall now. Step side and forward L with left side stretch turning, and finally step forward R in contra banjo facing line and wall. Right side stretch is the same as left body sway, so this weave ending has a kind of rocking sway change to it. You step back L with left sway (body inclined or tilted left), back R turning to closed position with no sway, side L beginning to develop right sway, and forward R with full right sway.	Do a hover telemark to semi; feather; open telemark; natural weave;; reverse wave;; open impetus; feather;
Natural Fallaway Weave phase V sqq; qqqq;	This one is a combination of a natural hover fallaway (see above) and a weave ending. In semi-closed position, line, trail feet, step forward R turning RF, forward L rising to a hover, the woman stepping between his feet, turning, and remaining in semi, then recover back on trail feet. End first measure in semi, reverse, and wall. In the second measure, step back L with right side stretch into contra banjo, she forward R outside partner. Step back R turning LF to closed position wall. Step side and forward L she side R turning. Finally, step forward R and she back L to contra banjo diagonal line and wall.	In the Slaers' I'll See You In My Dreams, part A begins with a solo roll to half open; natural fallaway weave;; whisk; jete point; fallaway ronde & slip; double reverse spin; hover to semi-closed; promenade weave;;
Natural Hover Cross phase V sqq; qqqq;	In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step forward L on toe outside woman with right side stretch, recover R, side and forward L, fwd R on toe outside partner in contra banjo with left side stretch; The last four steps of this figure are known as a Hover Cross Ending. May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,
Continuous Hover Cross phase VI sqq; qqqq; qq	The next four figures are derived from the Natural Hover Cross above. Where the Natural Hover Cross consists of 7 steps, the Continuous Hover Cross consists of 9. We can think of the first 4 steps as the same and the last 3 as the same. The extra 2 steps in this figure are steps 5 and 6 inserted into the middle of the Natural Hover Cross making it "Continuous." Notice that the added steps also make this a 2 1/2 measure figure. It splits a measure, so is not commonly used. So, in closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step forward L on toe outside woman with right side stretch, now the first new step close R and move woman to closed position facing line and wall, step back L in contra banjo, back R beginning LF turn and blending to closed position; side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center, May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,
Extended Continuous Hover Cross phase VI sqq; qqqq; qqqq;	This figure "extends" the Continuous Hover Cross with 2 more steps and so completes that third measure, making the figure easier to use in choreography than the Continuous. The additional 2 steps are two more back steps at 8 & 9 for a total of 11 steps. In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step forward L on toe outside woman with right side stretch, close R and move woman to closed position facing line and wall, step back L in contra banjo, back R beginning LF turn and blending to closed position; side and back L, back R, side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center, May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,
Checked (or Interrupted) Continuous Hover Cross phase VI sqq; qqqq; qqqq;	This figure "interrupts" the Continuous Hover Cross with 2 steps and also completes that third measure. The additional 2 steps are a little hitch in sidecar at steps 4 & 5 for a total of 11 steps. In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step fwd L, close R still in sidecar, step forward L on toe outside woman with right side stretch, close R and move woman to closed position facing line and wall; step back L in contra banjo, back R beginning LF turn and blending to closed position, side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center; May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,
Checked Extended Continuous Hover Cross phase VI sqq; qqqq; qqqq; qq	Finally, this figure "checks" the Continuous Hover Cross with the little hitch, and it extends it with the 2 extra back steps for a total of 13 steps. Again, we see a split measure, and I must admit that I have never seen this one used. In closed position, diagonal line and wall, step forward R beginning to turn RF (woman back L), -, side L turning (woman heel turn), side R completing 3/4 turn to face line and center in contra sidecar; step fwd L, close R still in sidecar, step forward L on toe outside woman with right side stretch, close R and move woman to closed position facing line and wall; step back L in contra banjo, back R beginning LF turn and blending to closed position, side and back L, back R; side L, fwd R on toe outside partner in contra banjo with left side stretch and facing line and center, May begin in banjo or in semi-closed position, in which case the woman's first two steps would be fwd L, -, fwd R,
Open Telemark phase IV sqq;	In closed position, diagonal line and center, step forward L; of course the woman steps back R. The woman draws L to R and puts her heels together as the man pivots on his L 1/2 and steps to the side behind her heel turn, maintaining connection at the hips but letting the top line grow and separate. Opening the top line creates a little more centrifugal force to get you around. The man has led her heel turn by lowering, leading with the hips, stepping through her with right side lead, and by stepping across the line of dance. She rotates on her right heel and gradually changes weight by beat 3. Curt Worlock has emphasized that the woman is not to step back and turn; she must wait for the lead. Curt says she should step back, bring her heels together, and "wait for something good to happen." (Tammy tells the women, "Sometimes you wait a long time." ) Ideally, the man and woman have precicely changed places by the end of beat 3 in the measure. On beat 4, simply use a little right side stretch to open to semi-closed, and step side and forward on the lead feet toward diagonal line and wall. Point the toes a little out for stability. (If you step directly forward with the foot straight, you will feel as though you are standing on a rail.)	Then, do a thru chasse to a maneuver;; Or, the Rumbles' This Is the Life ends with a diamond turn;;;; open telemark; quick thru, side, behind, fan; behind, side, thru, fan; thru vine 4 to butterfly position; chair and hold;
Double Open Telemark phase VI sqq; &qqs;	This figure is two telemarks in a row, and the "&" count is simply a quick step used to pick her up and get the lead foot free for the second telemark turn. So, in closed position facing line and center, step forward L (woman back R) beginning to turn LF, -, side R turning and with right side stretch (woman bk L to R for a heel turn), sd & fwd L to semi-closed position facing LOD; On the "&" count, step fwd R turning LF (woman fwd L, then turning to closed position or picking up). In the second measure, execute a "quick" telemark. Step fwd L turning, sd & fwd R (woman back L to R for a toe spin), sd & fwd L turning to semi-closed position facing line and wall, -; Timing varies and may be danced sqq; sq&q; or sqq; qqqq;	In the Worlocks' Gone With the Wind, there is a turn L & R chasse to banjo DRC; bk zig zag 4; impetus to semi; feather; double open telemark;; thru ripple chasse; to a continuous hover cross and slow tumble;;; feather finish; and change of direction;
Closed Telemark phase IV sqq;	cl or bjo or scar facing line and cntr fwd l turning lf, -, side r turning woman heel turn, side and forward woman bk to bjo line and wall;	In the Slaters' It Happened Again, there is an open natural; back turning whisk; syncopated whisk; feather; closed telemark; running hover to banjo; natural weave;;
Telespin phase VI sqq; &qqs;	Start in closed position facing line and center. Step forward L turning LF and with left sway (woman bk R with right sway) , -, fwd & sd R turning (woman draw L to R for heel turn and change weight), sd & bk L with only partial weight maintaining sway and keeping left side forward (woman fwd R); At the end of the first measure, you are in a sort of L-position with the man facing line and wall and the woman facing line and center. Really, it is at the end of the first measure that the man leads the woman on an "&" count to step fwd L. He finally takes weight on his L and spins LF (woman fwd R to a toe spin), side R turning (woman closes L at end of toe spin), back L (woman fwd R) to closed position RLOD, -; The figure turns LF 1 & 3/8.
Closed Wing phase IV sqq;	In closed or banjo, diagonal line and wall, step forward right wih LF upper body turn, leading woman back left, -, side right across man, and forward left to sidecar.
Cross Hesitation phase IV sqq;	In semi-closed, line of dance, step thru right with LF body rotation, leading woman to step thru left, -, side right around man turning LF, and continuing to turn, close left to right in contra banjo position, diagonal reverse and center.	Do a hover; cross hesitation; back and a back lock back; impetus;
Cross Pivot phase IV sqq;	In semi-closed, line of dance, step forward right in front of woman turning RF, side left continuing to turn while woman steps forward right between man's feet and turns 1/2, and then forward right, woman side and back left, to sidecar diagonal line and center.
Developé (If you want to give it the French pronunciation, say "day-vlo-PAY.") phase IV ss;	In sidecar, step forward left and hold. Woman steps back right, raises left knee, bringing left foot up her right leg to the outside of the right knee and extending body up and back, and then extends the left foot forward. It is a controlled knee, and kick.	In the Moores' First Snowfall, there is a forward and right chasse to reverse; contra check and hold; recover and chasse to banjo check and woman develope; back & back lock back; back hover to banjo;
Cross Swivel phase IV sqq;	In closed, line, step forward left turning LF, -, both point trail feet toward line, and check thru to banjo reverse (two weight changes, lead feet free).	In the Moores' Just In Time, there is a three step; natural turn; back feather; back feather to sidecar checking; cross swivel to banjo; maneuver and pivot 3 to semi; to a whiplash;
Feather phase IV sqq;	In closed position, line of dance, step forward with the trail foot, turning the body a little right face (left side lead). On the first quick, step forward L. On the last quick, step forward R across the left leg to a contra banjo position.	A nice practice exercise is Three Step to closed; Feather to banjo; and repeat. In each figure, don't walk straight forward, but swing the right side ahead (right side lead) in the Three Step, then swing the left side forward in the Feather. The left side lead turns both of you from a flat, breasting progress to a diagonal, slicing movement. Your shoulders are parallel but diagonal to the line of dance. Given the left side lead, the final step of the Feather will be a crossing of the thighs into a good Contra-Banjo position. Lower a bit at the end of each figure; collect yourselves before swinging into the next.
Feather Ending phase IV sqq;	In semi-closed position, line of dance, step forward with the trail foot with right side lead. Step forward on the lead, the woman stepping side and turning left face 1/4. On the last quick, step forward R across the left leg to a contra banjo position.	Do an open telemark to a feather ending to diamond turns.
Feather Finish phase IV sqq;	In closed position, reverse line of dance, step back on the right, beginning to turn left face. Step side and back, continuing to turn. On the last quick, step forward R across the left leg to a contra banjo position.	In the Vanguntens' Look for a Star, there is a curved feather check; open impetus; feather finish; to a diamond turn;;;;
Curved Feather Check phase V sqq;	From closed or semi-closed, step forward on right turning right face, left side lead. Man steps side and forward L, woman side and back, continuing to turn. On the second quick, continue to turn body to a contra position and step through to contra banjo, diagonal reverse and wall. Check the last step, preparing to move back.	The Broadwaters' It Had To Be Foxtrot has a natural weave;; three step; curved feather check; back tipple chasse pivot; back tipple chasse pivot; pivot three to semi; and thru to a whiplash;
Hairpin phase V sqq;	I understand that the Hairpin used to be only a waltz figure—essentially a syncopated curved feather starting with the lead feet (1, 2/&, 3;)—and the term "feather" was reserved only for foxtrot. But the two terms are used almost interchangably in foxtrot and waltz today. In closed position facing LOD, step forward R beginning RF turn (woman back L), -, fwd L with strong left-side stretch and left-side lead, fwd R outside partner to tight contra banjo and thighs tightly crossed; The strong left-side lead makes the turn sharper, like a hairpin turn in a mountain road. In a curved feather check, you end facing DRW; in a hairpin, you are more twisted and almost facing DRC. I have also heard the interpretation that a Curved Feather can be relatively gentle or sharply turned like a hairpin, so the name Hairpin should be reserved for figures that are syncopated (reflecting its waltz roots?), as in "pivot to a hairpin [sq&q;]. So a Hairpin might be quicker, as well as being a sharper turn.
Back Feather phase IV sqq;	In closed position, reverse and wall, step back L (woman fwd R), -, back R with left side lead and right side stretch (turning a bit right face), back R to contra banjo;	In the Slaters' Perfidia Foxtrot, there is a reverse wave;; to a back feather; feather finish; whisk; feather; open reverse turn; and back chasse to banjo;
Left Feather phase VI sqq;qq	In contra banjo, line of dance, step forward L to closed position, -, forward R with right side lead and stretch, forward L to contra sidecar; side R and woman back and side L turning left face to closed position facing center, continuing turn to step back L with left side stretch to contra banjo diagonal reverse and center, (1 1/2 measures; 1/2 turn).
Four Feathers	This figure is not a part of the official Roundalab canon yet, but it may be approaching that official status. Four Feathers is a four-measure figure. It starts with a Feather and a Left Feather, so you can see above for a little more detail; at the end of those 2 1/2 measures, you are in banjo, diagonal reverse and wall. The final 1 1/2 measures have varied in different choreography. In Woodruff's Milica 6, she uses three slows to turn left face to banjo line and wall. In Valenta's On a Little Street in Singapore and in Read's More Than You'll Ever Know, they use a slow and four quicks to do the same thing. Beginning in semi-closed position, line of dance, here is the first version: (SQQ;SQQ;QQS;SS;) Step thru R, -, L sd ldg fwd & sd L, fwd R to BJO LOD; fwd L to CP, -, fwd R with R sd ldg, fwd L to SCAR; sd R trng LF to CP, complete 1/2 LF trn bk L to BJO DRW, bk R trng LF, -; sd & fwd L contg trn, -, fwd R tp BJO DLW, -; Here is the second: (SQQ;SQQ;QQS;QQQQ;) Step fwd R, -, fwd L, fwd R; fwd L, -, fwd R passing thru CP with rgt sd lead preparing to step outsd on lady’s lft sd, fwd L outsd lady tng lft fc; bk R [lady sd L] bkg DLW, bk L twd LOD, bk R to CP/RLOD,-; bk L with lft sd lead preparing to lead lady to man’s lft sd, bk R tng lft fc twd COH, sd & fwd L, fwd R outsd lady end’g BJO/DLW;	In Woodruff's Milica 6, the dance ends with four feathers;;;; to a double reverse spin twice;; forward & right lunge;
Curving Three Step phase V sqq;	In closed position, line, step fwd L beginning LF turn, -, fwd R with right side leading and continuing the turn, fwd L continuing the turn; to face diagonal reverse and center.	In the McGees' Rising Stars, part A begins with a curving three step and switch (sqq&) to a curved feather check (qqqq);; back feather; feather finish;
Back Curving Three Step phase V sqq;	In closed position facing reverse and center, step back R beginning to turn LF (woman forward L). Step back L well under body with left side stretch and continuing to turn, and back R turning with thighs strongly crossed. Total turn is 3/8 to 1/2.	In the Hoffmans' Farewell To Roma V, part A begins with a reverse turn;; curving three step; back curving three step; three step; open natural turn; outside spin; back & chasse to banjo; to a natural hover cross;;
Hinge phase V ss;	From closed position, step back on the right foot and turn 1/4 LF. Step side on lead with strong left side stretch; continue to rotate hips LF, leading woman to collect her trail foot and change weight. His left and her right hips are tight together. Flex left knee to lower and cause her right foot to slide forward, leg straight. End in almost an L-position with man's left knee flexed and his right leg straight and extended to his right side, and woman's left knee flexed and her right leg straight and extended in front of her, parallel with his. She is almost sitting on his left thigh. You may gaze into her eyes. May begin in semi-closed position, in which case the first step is forward for both.
Same Foot Lunge phase VI s	Where the hinge has the right legs for both extended on a strong diagonal, the same foot lunge has the left legs extended into a pretty picture figure. Begin in closed position with trail feet free. Since this is a "same foot" figure, we have to do a transition. Often, the cue is "prep for a same foot lunge." The "prep" is a slight rise and right face rotation causing the woman to rise to her toes and change weight to her left foot. She has rotated a little RF but not as far as to semi-closed position—you are still closed. Her right knee is tucked just behind her left knee. Her left hipbone needs to settle into the hollow of his right hipbone (inside his right hip). Both now have right feet free. Now we can do the figure. Lower in the left leg, push, and step side and slightly forward R with right-side stretch and looking right. Give her your right side—that will close her head (woman steps back R turning LF and looking well left—very like a contra check step for the woman). The man's left leg will be extended to the side, straght and strong. The woman's left leg will be crossed in front of her right and extended on the same diagonal as the man's. Keep your hips well in to your partner. Again, you are in closed position (not an L-position).
Promenade Sway phase IV ss;	Look at this figure name. "Promenade" means semi-closed position and "sway" means inclination of the body, in this case, to the left. So a Promenade Sway is a left sway in semi-closed position. Step side and forward L (woman sd & fwd R), blending to semi-closed position. Stretch the right side (woman left). Look up and over your extended lead wrist. "Look at your watch." (if you wear a wrist watch on that arm) During the second "slow," relax your lead knee just a bit and so emphasize the right-side stretch (woman, left-side). Keep your unweighted legs straight and strong. In any "line" or picture figure, you will have one soft knee (the weighted leg) and one straight leg (the unweighted)—never two bent or two straight. The unweighted heel may be just a little off the floor. Only one weight change. One thing that you can do to make this figure smoother is to be sure to get your lead foot out there before you put your body out there. Point the foot, place it, then push off with the trail foot and move the body over the lead foot. If your body gets there before or even at the same time as the foot, the action might end with a jerk Another name sometimes used for this figure is High Line, a more general term that includes any one-count picture figure with high poise. A Challenge Line is also very similar to the Promenade Sway. It is entered more forcefully, and the heel of the trail foot should remain on the floor.	A pretty picture figure is to do a promenade sway and then slowly change the sway by stretching the left side and rotating your hips a little to the left, keeping your shoulders up and level. Rotating the woman in this way puts her into closed position, so you are changing from a semi-closed sway line to a closed sway line. You can really extend this picture, draw it out, at the end of a piece, as the music fades.
Oversway phase IV s	I must admit that I don't know where the "over" in this figure name comes from. We certainly don't want to over-do anything in our dancing. In brief, where a Promenade Sway is a left sway in promenade position, an Oversway is a right sway in closed position. Step side and forward L down line (woman R), blending briefly to semi-closed position, but immediately stretch the left side (woman right) and rotate your hips LF, turning the woman to closed position. She will actually rotate about 1/4 on the ball of her right foot (ladies, don't put any weight on that heel or you won't easily turn). Keep your shoulders up and level. Push your right hip into your woman; don't hunch your shoulders over her. Your lead knees are soft, but your trailing legs are straight and strong. Look up and over your partner. Rotating while lowering results in the woman's trail foot remaining extended and pointed to reverse.	At the end of a dance recently, I actually paid attention to the final cue, and it was this: "oversway and change the sway." Somehow, I'd always been doing a left sway down line and then a right sway back to reverse and wall, but that's not what the cue says, is it? Do you suppose the choreographer really means for us to do a three-part figure: right-side stretch into a sway, left-side stretch into the oversway, and then right-side stretch again to change that oversway? I tried it, and it felt very twisty and even a little indecisive.
Throwaway Oversway phase VI s	You might precede this figure with a back step ("back to a throwaway oversway"). You'd be in closed position facing reverse and wall, trail feet free. Step back R with left sway and turning LF, and then step side L to execute the figure. The man points his left toe where he wants her to "throw" her left foot. He might step side L and turn his foot to point diagonal line and wall or a little farther toward line. She steps side R. The man changes to right sway and rotates the hips CCW to move the woman's left leg back, and then lower by flexing the left knee so that she won't take weight on that foot but will continue to move it back behind her, exposing the sole of the foot to passers by. The man's motion is a little like "bowling the foot down the alley." It is a little more elegant for her to slide her foot back with the inside of the big toe touching the floor, rather than the tip of that toe. Look at your partner lovingly. (NOTE: If you rotate the hips in your stretched posture until she gets her trail foot under her, and only then begin to lower, she will change weight, and your subsequent lowering will put her into a hinge.)	Rather than a suggested sequence using the throwaway oversway, let me summarize the three leads that give you the oversway, the throwaway oversway, and the hinge: rotate while lowering →oversway rotate and then lower →throwaway rotate and pause before lowering →hinge (These formulations were from a clinic by Brent and Judy Moore.)
Top Spin phase V qqqq;	In banjo position, lead feet free, use upper body rotation to spin on the trail foot 1/8 LF, and step back L (woman forward R). These two actions are done on the first quick. Then the man steps back R turning and with left side stretch, forward L turning, and forward R to contra banjo, for a total rotation LF of 1/2;	One common sequence is a hover cross, ending diagonal reverse and center checked;; to a top spin checking; to another top spin; impetus to semi line; In the Worlocks' Gone With the Wind, there is a feather checked to a topspin;; to a reverse wave 3;
Waltz Top Spin phase V sq&q;	Figures that originated in or that are typical of one rhythm are certainly not constrained to that rhythm. Choreographers borrow freely (round dancers have no shame). In banjo position, trail feet free, the man steps back R turning LF and with left side stretch (woman forward L), side and forward L to contra banjo facing diagonal line and wall, forward R spinning LF, and step back L in contra banjo having made one full turn; This figure may begin in closed position, and it may be danced qqqq; Compare the two top spins: Both have four steps, but the fox trot top spin begins with the lead foot free and steps back, back, side, forward; for a total turn of 1/2. The waltz top spin begins with the trail foot free and steps back, side, forward, back; for a total turn of a full turn. The "spin" in the fox trot figure occurs before the first step; in the waltz figure, it occurs before the last step.	We may have encountered the waltz top spin in other fox trots, but I first noticed it in Chris & Terri Cantrell's All of You. In part B, we do a reverse turn 1/2 to closed position reverse; back to a top spin to banjo reverse; back tipple chasse pivot to closed position reverse and center; finish a reverse wave to closed reverse; and heel pull to closed line and center; This sequence gives us two full turns of smooth soaring: lovely.
Double Reverse Spin phase V sqq; for man sq&q; for woman	Beginning in closed position, diagonal line and center, step forward and begin to turn LF on the slow count. Continue strong upper body turn, and step side and through the woman's left side, again diagonal line and center, leading her to do a heel turn and beginning a LF spin. During this beat three, the woman will bring her L foot to the R as she does the heel turn, change weight, and step side and back R diagonal line and center. She steps thru his L hip as he did on beat one, not around him and not down line. During beat four, the man touches L to R. The momentum of the spin and the man's upper body rotation turns the woman, and she draws the L in front of R and changes weight. Note: two weight changes for the man (s q hold) and four for the woman. End in closed position, line of dance, lead feet free. (amount of spin varies) footprints	I know the Schmidt's Little Papillon is a waltz, but we just ran into it, and it does let you practice your double reverse spins. The sequence in part C is two double reverses to face the wall;; whisk; thru chasse to banjo; fwd, fwd/lk, fwd; to a maneuver;
Rudolph Ronde phase VI s	In closed position, lower and step forward R between the woman's feet rather like dancing a chair, and she will step back. Leave the left leg side and back, but lift and rotate the upper body RF to lead her to lift her R leg from the hip and ronde it CW. Keep the right leg soft. The amount of the man's lift leads the height of her ronde, and the amount of follow thru leads speed of the ronde. Sometimes a Rudolph is danced in one slow; sometimes over a whole measure. The lady's head should follow her foot and so move from closed position to strongly right.	In closed position reverse, you might try a strong pivot three 1 1/2; to a rudolph ronde and slip; to a full reverse turn;;
Rudolph Ronde and Slip phase VI sqq;	In closed position, lower and step forward R between the woman's feet, and she will step back. Leave the left leg side and back, but lift and rotate the upper body RF to lead her to lift her R leg from the hip and ronde it CW. On the first quick, rise from your chair-like lunge and recover back on the left, and she steps back R beginning a LF pivot on the fall of the right foot. As she pivots, she keeps her thighs locked and her left leg extended. On the second quick, he steps back R rising, and she steps forward L in a slipping action, both rotating a bit LF (up to 3/8).
Eros Line phase V ss;	In closed position, step forward and side R between woman's feet with slight RF upper body rotation and right side stretch and left sway. Woman steps back and side L with slight RF upper body rotation and left side stretch, -, raising right leg from the floor, knee back, and leg out so right toe and heel are parallel to floor, -; Woman's head is right. Man looks at woman. This is rather like the Rudolph Ronde, except the man stretches to lift her leg but holds his left side back so as not to lead a ronde. There is no ronde and much less rotation.
Tumble Turn phase VI sq&q; or maybe q/&, q, s, -; or s, -, q/&, q; s, -, "The music tells you what to do."	In closed reverse, trail feet free, step back R lowering and beginning to turn LF. Step side and back L; the woman strongly side and forward R to remain in closed position. On the "&" the man sneaks his R across to a contra banjo line of dance and rises with right side stretch, opening her head; she croses behind. Lead feet brush up to trail as both swivel on the trail to face center, and he steps forward between her feet and lowers into a "contra" closed position. This last step is actually the "tumble" action, and the figure might be more accurately called a "feather finish to a tumble ending." It is a little like a contra check. The actual step is shorter, but she has stepped side and back to move from tight contra banjo to closed, and he steps forward into her with right side lead (contra), lowering. The pretty part of this figure is really the swivelling in contra banjo and the tumble to closed, so the music might tell you to dance the sequence: q/&, q, s, -; I don't have my cue sheets right here, but I think we have even danced the tumble turn beginning with the lead feet, in which case the timing might be s, -, q/&, q; s, -, Dance a slow back step and then the tumble turn as described above, but this emphasizes that the last step is the tumble, and a variety of other steps could theoretically preceed it.	Do an open natural; back feather; tumble turn; back to a hinge; Or, in the Goss' My Guy, there is a closed telemark; natural weave with tumble ending (sqq qqq&q);; step ronde (woman syncopated pick up lock) fwd; slow right lunge;
Rumba Cross phase VI sq&q;	In closed position, facing line of dance, step forward L (woman back R). Knees are soft. Use strong left side lead and left side stretch. On the first "quick" cross right in back of left (woman left in front of right). Use a Latin Cross action with the heel leading, R toe to L heel, making a momentary "7" and turning RF up to 1/2. This strong left side stretch will cause/allow the woman to cross in front. On the "&", step back L, pivoting RF. On beat 4, step forward R to closed position. Standard amount of total turn is 1/2 to 3/4 but may be under or overturned.
Big Top phase VI sqq;	In semi-closed position, trail feet free, step thru like a chair, commencing a LF spin. The man leaves his left leg extended back with the left knee tucked behind his right knee. As he spins on his right, his left rotates "as one" and remains extended behind. During the first of the two quicks, the woman steps quickly forward around the man's left side, continuing the spin, and then the man steps back, crossing his left well under his body with right side stretch. During the second quick, he rises, no sway, and slips back R (she forward L) to closed position. Total rotation is about 3/4 LF. Again, notice that the timing is a little different for the man and the woman. She takes her second step at the beginning of that beat, and he delays taking his step until the end. Tammy Worlock likes to describe the stepping in this figure as "we, she, he, we." The Bucks, in Dance and Dream, give the count as sqq for the man and qsq for the woman. The Worlocks, in Until Now, give the count as qsq for the man and q&-q for the woman. Tim Eum once compared the big top (phase VI) to an amalgamation of phase IV figures: a chair and slip and a cross hesitation. More specifically, the big top is like a chair with a strong cross hesitation rotation and then the slip action. It is hard to get the full spin. I've heard the cue "big top to face line" and thought, this should be cued "Huge Top." The man needs to use strong upper body rotation to lead the woman's second step, and he needs to stay down during the spin. Rise only at the end of the spin and then slip back.	In the Worlocks' Until Now, part D begins with a telemark to semi; open natural; open impetus; promenade weave;; whisk; big top; three step; to a natural weave;;
	Here are some figures that are not used in round dancing but are common in freestyle dancing.
Basic ("magic" step) ss; qq	forward left in closed position, -, forward R, -; side, close, footprints	What's "magic" is that you end with your lead foot free. You can repeat these steps all night long.
Basic Backward ss; qq	step back on the lead, -, back, -; side, close,	Alternating the basic forward and backward will allow you to weave among the other dancers on the floor more effectively.
Turning Basic ss; qq	forward L in closed position, -, back turn LF 1/4, -; side, close,
Basic to Promenade ss; qq	forward on lead feet & open away from partner into semi (=promenade), -, both forward, -; side & turn back to partner, close,
Basic with Underarm Turn ss; qq	forward on lead & open away from partner to semi-closed position, -, both step forward & man raise left arm, -; side & woman turns RF under man’s L arm, through to face partner as she finishes turn,
Side Rocks ss;	In closed position, step to the side L, draw R to L without weight, step to the side R, draw L to R without weight;

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A while ago, there was a long, threaded discussion on the Dancescape site on how the different dance rhythms should feel. They asked, what sort of "look" should you be trying to convey? Here are a few of those comments.

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Foxtrot - a nice girl with a naughty secret. "Damn, I'm gooooood!"

Sure, they LOOK all nice and sophisticated dolled up in their tailsuit and ballgown, but they're both a little sassy and flirtatious and mischievous underneath.

I really like to feel that it is a stroll down a charming country lane, or a stroll on a Sunday afternoon with someone you love. You've been to church, asked and received for forgiveness for all your nasty sins, and now, you're just enjoying life renewed!

Other people have described International Foxtrot like "cross-country" skiing up and down gentle rolling hills. So, as you ski, sometimes there are bigger hills, and sometimes there are smaller hills, but you propel yourself across -- enjoying the nice fresh, crisp but warm winter's air.

Think of a society couple, proper, perfectly coifed, full of confidence, knowing that everyone watching is envious and wants to be them. Now figure that this same couple was just off making out, or even making love just an hour earlier, so they know that their audience has even more than they realize to be envious of, but of course the audience will never know because this couple knows how to play their role perfectly in public. So this translates into utter confidence on the dance floor with just a hint of sensuality. It's not haughty or stuck up, just really sure of itself, very smooth, and a touch mischievous. That's the nice girl with naughty secret idea in a bit more detail.

As for the naughty secret in the foxtrot, I would say the man shares this secret, since I think of this as a true partner/together dance, rather than the Latin, at-odds (but still looking for the same thing) dances. It's very subtle - just enough to give some spice to the dance - otherwise, a stroll in the park might be very boring. Perhaps they're on their way to their special hideaway? Think Victorian high society - so totally proper and elegant on the outside that they don't show the spicy interior. But, the spice is so strong, you can't help but get that little taste of it.

When I'm dancing Slow Fox, I always try to imagine that I'm some cool cat (or fox?) struttin’ along pickin’ up chicks, with a sway in my walk and a cocky smile on my face. But that's me normally, so it's not too hard J

Just try to imagine that you're almost too cool to be dancing in the first place, but you're doing it anyway cuz you dig it.