BASIC DANCE STEPS

Page Contents

Steps

Foot Positions

Directions

Touches

Turns

Actions

Search Box

A dance consists of a sequence of dance figures, but each figure consists of a sequence of individual steps and actions. For instance, the figure "Waltz Box" consists of the six steps, Forward, Side, Close; Back, Side, Close. Below, I list and describe dozens of different basic dance steps, the fundamental units of dancing.

This list of steps and actions is a little quirky, in that I have tried to group related items and even put them in related sequences in the list. I begin with simple "steps" in which the body weight is shifted from one foot to the other. The second grouping lists the five dance "foot positions," occasionally used and refered to in teaching. The third section lists the eight different "directions" in which one could step. The fourth grouping contains "touches," actions where the foot is moved but the body weight does not shift. The fifth grouping includes "turns," where body turn and a change in facing direction is the most conspicuous feature. Finally, I list other "actions," which is something of a catch-all. You may jump to one of these subgroups by clicking on the links above.

STEP OR ACTION	ABBR.	DESCRIPTION
STEP	alph list from Martin Prufer	Back To Top
Lead Foot (or Hand)	ld ft (hnd)	Man's left, woman's right competition photos Astaire photos
Trail Foot (or Hand)	trl ft (hnd)	Man's right, woman's left competition photos
Free Foot	free ft	The foot that is not supporting the body's weight.
Supporting Foot		The foot that is bearing the body's weight. One of the challenges in dance is to keep all your weight balanced over that foot. If you don't, you will be pushing your partner off balance or asking him or her to support some of your weight--not good. Teachers talk about the body as a pile of boxes: the head, torso, hips, legs, and the need to keep the pile neatly aligned, or it will topple. Unexpectedly, the head is the heaviest box. Keep it up. Don't be looking around. Don't look down. You'll pull the pile over.
Inside Foot	insd ft	The foot nearest the partner when not directly facing partner or directly facing away.
Outside Foot	outsd ft	The foot farthest from the partner when not directly facing partner or directly facing away.
Opposite Footwork		Stepping with opposite feet free, for instance the man's left and the woman's right: both step with the lead, then both with the trail. competition photos
Same Footwork		Both partners using the same feet, eg. both step with the left feet, then both right. competition photos Astaire photos
Transition	trans	In a figure, an extra step or one fewer steps by the man or woman. A couple transitions from opposite footwork to same footwork or from same to opposite.
Forward	fwd	Step in the direction you are facing and shift weight to that foot. competion photos Astaire photos another Astaire
Back		Step in the direction opposite to that in which you are facing and shift weight to that foot. Astaire photos
Progressive	prog	Movement forward or backward along line of dance. A progressive dance moves; a spot dance is mostly danced in one place on the floor.
Side		Step to the side and shift weight to that foot. Astaire photos
Corté		In closed position, the man steps back and to the side, lowering into that knee and swaying to the right. Leave the free leg extended.
Apart	apt	Step away from partner and shift weight to that foot. competition photos Astaire photos
Together	tog	Step toward partner and shift weight to that foot.
Across	acrs	Movement across the direction of dance. The step is taken in front of or behind the supporting foot (usually with "contra" body movement - see below).
Rock		Change weight to free foot. competition photos Astaire photos
Recover		Return weight to previous supporting foot.
Hip Rock		Step to the side and roll hip to the side and back.
Through		Bring free foot between you and your partner and take weight. competition photos
Close		Bring the free foot to the supporting foot, and step or take weight.
Passing Step		Move the free foot past the supporting foot and then step or take weight.
Stomp		Close the free foot sharply. The amount of sound made may vary.
Strut		Step with a swaggering upper body sway. an essay on sway competition photos
Weight		To change weight or to take weight is to transfer the weight of the body from one foot to the other. The alternative is to "touch," to place the foot or a part of the foot but not transfer weight to that foot. One can also take partial weight, usually on one beat, preparatory to taking full weight on the next beat.
Slip	slp	On lead foot and slightly lowered, begin a small, left-face body rotation, rise, slide free foot back, and take weight so woman swivels LF and steps on her left foot just outside man's right foot, ending in closed position. If the man wants to turn the partnership more, say, 1/4 LF, then he will guide her to step L between his feet. This will allow him to turn LF and end in closed position. If she had slipped outside his feet, the turn would have put them in banjo, which we don't usually want.
Fallaway	falwy	Step back in semi-closed position. Outside foot moves back in CMBP.
Heel Lead		A feature of a forward step in which the heel contacts the floor first, followed by the rest of the foot.
Flat		The entire bottom of the foot. A forward step may be taken, "heel-flat."
Ball		The part of the foot just behind the toes. When dancing "up" one would step, "ball-flat."
Toe		The most forward part of the foot. A backward step might be taken, "toe-flat."
Edge		The inner or outer side of the foot. A side step might be taken, "edge-flat," especially in a Latin rhythm.
Check		A step in which you stop and prepare to change direction. competition photos
Checking		The process of stopping and getting ready to change direction; no additional step. competition photos
Swivel Walk	swvl wlk	Step forward on ball of foot and rotate on that point of contact.
Hop		With a soft knee, straighten leg, rise slightly off the floor, and return to the floor on the same foot; no weight change. competition photos
Skip		Step forward and with a soft knee, straighten leg, rise slightly off the floor, and return to the floor on the same foot; no weight change. Repeat. Skipping is hopping that progresses.
Jump		With a soft knee, straighten leg, rise higher off the floor than in a hop, and return to the floor on the same foot; no weight change. competition photos
Lilt		Step heel to toe, giving a little rise to the body and earlier than usual.
Explosion		Step sharply away from partner, usually with inside hands held, to end in open or left open position. Arms may be swept up or out.
Chug		With weight on both feet, bend the knees and then straighten sharply, causing the feet to slide back.
Lunge	lun	Step forward or side, bending knee and checking the movement. competition photos Astaire photos another Astaire
Jeté (jhettay)		Lightly spring off one foot and land on the other.
Pas-de-Basque (päd-bask or pah-deh-bahsk)		A step in which the dancer swings one foot to the side, springs onto it, and swings the other foot against it. Or more precisely -- Slight CCW ronde movement with left foot and arched instep on "and" count and step side with slight hop, ball-flat. Close R to L with right heel to left toe on the second "and," soften both knees and lift left heel on an "a" count, and step L raising R slightly toe pointing down. Done over two beats of music. And finally a little more fancifully -- Jeté to Second Position with Demi-Rondé. Assemblé to Fifth Position Front. Slight Plié and Coupé in place, finishing in Fifth Position en l'air with toe pointed down. (such music!) (from Silvester & Whitman, 1967)
Walk		Sometimes, a step taken on two beats of music; a slow. competition photos Astaire photos another Astaire
Run		Sometimes, a step taken on one beat of music; a quick. competition photos Astaire photos
Cross		Step in front or behind the supporting foot such that the thighs cross.
Cross Walk	X wlk	Step forward and place foot in front of the other, crossing thighs and with a little swagger.
Cut		Step in front of and beyond the supporting foot so tightly that you must move that supporting foot. "Cut, back" is a common sequence.
Syncopation	sync	Stepping or acting between two beats of music, on an & count, such as 1, 2/&, 3; in waltz or S, -, Q/&, Q; in fox trot.
Running	rung	Often, used as an adjective to describe a figure executed with an extra step, with syncopated timing, such as 1, 2/&, 3; in waltz or S, -, Q/&, Q; in fox trot.
Continuous		An adjective that usually means that steps have been added to the figure being defined and/or the figure is to be executed more quickly. A Continuous Hover Cross is a foxtrot figure that has two extra quicks in the middle of a normal Hover Cross, making the figure 2 1/2 measures, instead of two. In La Pura, the Gosses used Countinuous Double Cubans, which used the same two measures as a normal, cha, Double Cubans, but it had one additional step in the middle (the last & in the first measure): 1&2&3&4&; 1&2&3&4; In Bailamos, the DeFores used "Continuous Doors," which also take the normal two measures, but instead of the two-step timeing of qqs; qqs; they used merengue timeing of qqqq; qqqq; (rk sd L, rec R, XLIF (W XRIF), rk sd R; rec L, XRIF (W XLIF), sd L, cls R;)
Traveling	trl	Progressing or moving forward. Sometimes used as an adjective to describe a figure executed with an extra step, or with syncopated timing, such as 1, 2/&, 3; in waltz or S, -, Q/&, Q; in fox trot (see "running")
Count		The beats per measure.
Quick	Q	A step taken on a single beat or on a fraction of a beat and followed by another step withoug pause.
Slow	S	A step taken on two beats of music (in 4/4 timing, or one beat in 2/4); often danced as a step followed by a pause before the next step is taken.
Tempo		The speed at which music is played; the number of measures or bars per minute. Sometimes given as beats per minute.
Solo		Dance the figure without contact with your partner.
Spot	spt	Dance the figure on one point on the floor, with no progression.
FOOT POSITIONS		Back To Top
First		The heels are together and the toes are turned out at the angle of 45 degrees from the direction you are facing. All these foot positions go back to old time dancing and even ballet. Today, we step straight forward or back, or we angle our step in the direction in which we intend to move. However, the old, formal foot positions can still add stability to a position, where a straight foot position can make us feel as though we are "balancing on a rail."
Second		Either foot is placed to the side of the other.
Third		The heel of one foot is placed against the instep of the other. It will be the right instep that is brought to the heel of the left, but third position represents a nice tango closing step.
Fourth		Beginning in first postition, one foot is moved directly forward. Again, it is the left foot that is placed in front of the right, but fourth position is used to stabalize the third step of a telemark to semi and also in a contra check.
Fifth		The heel of one foot is placed close to the toe of the other.
DIRECTIONS		Back To Top
Line	LOD	The line of dance is forward, counter-clockwise, around the dance floor. Generally, the man directs the progression of dance. The center of the hall will be to his left, and the walls of the room will be to his right. In both freestyle and rounds, go with the flow and avoid interfering with other dancers.
Reverse Line	RLOD	Opposite of Line, in a direction clockwise around the dance floor
Wall		To the right, as one faces line of dance; toward the wall of the room
Center	COH	To the left, as one faces line of dance; toward the center of the room
Diagonal Wall	DLW	Half to the right, as one faces line of dance; between line and wall
Diagonal Center	DLC	Half to the left, as one faces line of dance; between line and center
Diagonal Reverse and Wall	DRW	Half to the left, as one faces reverse line of dance; between reverse and wall
Diagonal Reverse and Center	DRC	Half to the right, as one faces reverse line of dance; between reverse and center an essay on diagonals
TOUCH		Back To Top
Touch		Bring free foot to the supporting foot, and touch the floor, but do not step or take weight.
Toe		Touch the toe to the floor; no weight.
Heel		Extend foot forward and touch back of heel to the floor; no weight.
Tap		Touch the toe to the floor sharply, but do not step or take weight.
Stamp		Touch the flat of the foot to the floor sharply, but don't take weight. The amount of noise can vary.
Point	pt	Extend foot forward side or back, toe to floor, ankle stretched and instep arched, but do not step or take weight. competition photos Astaire photos another Astaire
Press		Step forward on ball of foot, but take partial weight only. Usually a brief pause with supporting leg straight and pressed leg bent but pressure into the floor, forward poise to the body. competition photos
Brush		Touch the toe to the floor and move it short distance toward supporting foot or move it against supporting foot; no weight.
Draw		Touch the toe to the floor relatively far from the supporting foot and move it toward that foot; no weight.
Drag		In a stretched up body position, touch the toe to the floor relatively far from the supporting foot and move it toward that foot; no weight. competition photos
Flare		Sweep free foot in an arc, toe in contact with the floor; no weight.
Hook	hk	Cross free foot in front or in back of and near supporting foot; no weight This term is also used to direct one partner (usually the woman) to wrap one foot or leg behind the foot or leg of her partner. competition photos Astaire photos
Cross In Front	Xif	Step in front of supporting foot and take weight. competition photos
Cross In Back	Xib	Step in back of supporting foot and take weight.
Latin Cross	Latin X	Cross one leg in front or behind the other so that the toe of the back leg is turned out, the knee of the back leg is just behind the knee of the front leg, and the heel of the front leg is near the toe of the back leg. The two feet make a figure "7."
Opposition Points	opp pts	In a facing position, lower on supporting foot, extend free foot to the side, point toe, and stretch supported side, swaying toward pointed foot. Partner points in opposite direction, thus man and woman are pointing the same foot, usually the left.
TURNS		Back To Top
Turn	trn	A change of direction.
Turn Away	trn awy	An individual movement turning away from partner.
Turn Out	trn out	An individual movement turning away from partner.
Turn Toward		An individual movement turning to partner.
Turn In	trn in	An individual movement turning to partner.
Right Face	RF	Turning in a clockwise direction
Natural	nat	Turning right face, in a clockwise direction
Left Face	LF	Turning in a counterclockwise direction
Reverse	rev	Turning left face, in a counterclockwise direction
Contrary or Contra Body Movement	CBM	Step forward or back, turning the opposite side of the body in the direction of that movement.
Contrary or Contra Body Movement Position	CBMP	The static position in which one foot is forward or back and the opposite side of the body is turned in that position. The position your body is in at the end of Contra Body Movement. an essay on CBM & CBMP
Feather		A step outside partner while maintaining parallel shoulders, usually with the right foot to a contra banjo, but also with the left foot to a contra sidecar. Usually begun in closed position.
Feather Ending		A step outside partner to contra banjo, having begun in semi-closed.
Feather Finish		Again, a step outside partner to contra banjo, having begun with a back step. For instance, from closed position, diagonal reverse and wall, trail foot free, step back turning LF, side L turning, and forward R to contra banjo diagonal line and wall.
Right Side Lead		Moving with the right side of the body ahead of the left. Sometimes referred to as a "slicing" movement.
Left Side Lead		Moving with the left side of the body ahead of the right. Sometimes referred to as a "slicing" movement. an essay on side lead
Open Turn	op trn	A turn in which the third step is a passing step, instead of a closing step. Contributes to "flight;" typical of fox trot.
Closed Turn	cl trn	A turn in which the second or third step is a closing step. Contributes to body "fall;" typical of waltz.
Overturn	ovrtrn	More than the normal amount of turn. If the spin turn takes you to the wall, an overturn might take you to reverse and wall.
Underturn	undrtrn	Less than the normal amount of turn.
Curve	crv	Dance in a small arc but maintain the initial forward or backward direction of dance. You might begin facing diagonal wall and dance forward, curving to end facing diagonal center.
Pivot	pvt	Rotate on the ball of the supporting foot by turning upper body. The free leg is extended forward or back. Amount of turn can be very little or 1/2 turn or more. Astaire photos
Spot Pivot	spt pvt	As a couple, pivot about one point; no progression. May involve any number of steps.
Spot Turn	spt trn	As an individual (solo), turn or pivot about one point; no progression.
Spin	spn	Rotate on the ball of the supporting foot. The free leg is usually held under the body. Again, the amount of turn varies up to a full turn or maybe more. One of the stumbling blocks to a good spin is Curt and Tammy Worlock's "Black Hole," the space between your top lines that can suck in everything within reach. Actually, this graphic metaphor simply refers to the tendency for the man to pull his lady to him in a desperate attempt to get far enough around. In both pivots and spins, it feels as though you will be better off if you make yourselves as small as possibel, but the truth is that you need to extend yourselves and seperate your top lines even more. Extra momentum will actually help you around.
Swivel	swvl	Turn the body, causing the foot or feet to rotate on the floor. The rotation can be slight or up to 1/2 turn or more.
Twinkle	twkl	Step in a given direction. Then close and step in another direction. A two-directional chasse.
Buzz		Rotate on the ball of the supporting foot by pushing with the free foot.
Twist		Rotate the hips independently of the upper body - puts a "twist" in the torso - as in a "hip twist" or a "lunge and twist."
Heel Pivot	heel pvt	Turn on heel of supporting foot; no weight change.
Heel Turn		Step back and turn on the heel of that supporting foot, feet together, shift weight to heel of previously free foot, then to toe of that foot; one weight change. The purpose of a heel turn is to change places; afterwards, the man should be in the woman's previous spot and she should be in his. It is important not to change weight early, because your partner will be moving through the unweighted side (as one pushes through a turnstyle) during the turn. If you have taken weight early, your partner won't be able to push through your weighted hip.
Toe Spin	toe spn	Rise to toe of supporting foot, commence turn, bring free foot to supporting foot, continue turning on toes; one weight change. As in a heel turn, delay the weight change. Counting the beats, you will step heel to toe on beat 1, spin on the right toe/ continue to spin on 2, and close to left toe/ and finally step forward on right toe on 3;
Wrap	wrp	In an open or butterfly position, the lady turns left face to face the same direction as the man. Hold trail hands, so the man's right arm is wrapped around her back, and the woman's left arm is wrapped in front of her body. Join the free lead hands in front about chest height.
Unwrap	unwrp	From wrapped position, release lead hands, and the woman turns right face.
Pretzel Wrap	prtzl wrp	With a double hand hold, wrap, unwrap, and/or rewrap one partner at a time using left and right turns. Details vary with the choreography.
Spiral	sprl	A solo action. Turn in place on ball of supporting foot in direction opposite to supporting foot (on left foot, turn right). 7/8 turn; ends with the legs quite tightly twisted, ankles together. Usually, you will take a "step/spiral." Don't make the mistake of anticipating the turn. Step, get your body stably balanced over that supporting foot, and only then sharply turn on that spot.
Curl		Like a relaxed spiral to the left. The woman will have stepped forward on her right foot, and the curl is a left-face turn 1/2 to 5/8; ends with the legs crossed, left in front of the right and somewhat extended to the front.
Tumble Turn	tumble trn	On the lead toe in closed position, turn left and lower with a strong left sway, checking.
ACTION		Back To Top
Lead Hand	ld hnd	Man's left, woman's right
Trail Hand	trl hnd	Man's right, woman's left
Free Hand	free hnd	The hand not in contact with the partner, not resting on hip (man), not holding skirt (woman)
Inside Hand	insd hnd	The hand nearest the partner when not directly facing partner or directly facing away.
Outside Hand	outsd hnd	The hand farthest from the partner when not directly facing partner or directly facing away.
Rise		Elevate body with weight centered over the ball and toes of the supporting foot. Involves whole body: lifting heel off floor, staightening knees, and stretching upper body. Foot rise can be distinguished and separated from body rise.
Fall		Lower body with weight centered over the ball and toes of the supporting foot. Involves whole body: lower onto heel, flex knee, and compress upper body. an essay on rise & fall
Leading	ldg	The act of directing the woman through a figure or a dance. It is solely the man's responsibility.
Following		The act of responding to the leads of the man and executing the steps and figures that he suggests by his lead. This is the woman's responsibility. more on lead and follow
Acknowledge		Recognizing your partner with an implied "thank you for gracing me with your company." One standard acknowledgement is an apart, -, point, -; (see above). A bit more old-fashioned is the bow and curtsey. Astaire photos
Bow		The man stands with his feet together, toes slightly apart (1st position), hands at his sides, and inclines his body gently toward the lady. For a more polished bow, step to the side with the left foot, close right to left with right heel to left instep (3rd position), and draw the right arm across the body at waist level as you incline forward.
Curtsey		In the Demi-Curtsy, the lady places her left toe to the floor, heel slightly raised, behind the right foot, and then relaxes both knees, keeping body and head erect. In the Deep-Curtsy, she steps to the side with the left foot, rondes the right in a little semi-circle and places it behind the left, toes out (4th position), lowers well into both knees, again with body and head erect, looking at partner. Alternatively, she may lower into the right knee and extend the left leg to the front as she lowers. The Prostrate Curtsy, in which the lady lowers fully and places her face downward, close to the floor, has little place in ballroom dancing -- maybe if your man is really good.
Returning the Lady To Her Seat		After a dance is over, the gentleman accompanies the lady back to her chair or other place of origin, usually with easy exclamations of pleasure and gratitude. He does not end a dance with a quick "thanks," and then bound off toward the snack table, leaving her alone in the middle of the floor. Well, I may have done that at times, but I had to turn off my tape recorder. We should try not to desert or abandon our ladies. Astaire photos
Bounce		A quick rising and falling movement, usually to a syncopated rhythm.
Lift		Rise slightly on the ball of the supporting foot. Done while you are stepping forward or side, but no weight change in itself.
Flight		The appearance of smooth, elevated motion, created by erect carriage and passing steps; prominent in fox trot.
Break	brk	Release your position or hand hold.
Dip		Step side or back and flex the supporting knee, leaving the free leg extended. competition photos
Twist	twst	Turn the upper body; no weight change.
Flick	flk	Move free foot sharply backward; no weight competition photos
Knee		Raise knee straight up and across supporting leg; no weight change. competition photos Astaire photos
Kick	kck	Raise knee straight up and then straighten leg with toe extended; no weight. competition photos
Kick & Dig		A four-beat action in which you kick with one foot and then dig the toes of the other foot into the floor as you might do into beach sand. In the Easterdays' Boogie Blues, you are in left open postion facing line. You kick with the lead foot away from your partner, step forward on that foot turning to face partner, press the toe of the trail foot to the floor and touch free hands, and then step fwd toward line on the trail foot.
Swing		Move the foot forward and up, leg straight; a "kick" from the hip, rather than from the knee; no weight
Develope		Bring either foot up the supporting leg to the outside of the supporting knee and then extend that free foot forward. It is a graceful "knee" and then "kick."
Reverse Develope		Swing either leg forward from the hip and then bring that foot to the supporting knee and slide the free foot down the supporting leg to touch the floor. Here the kick (really a swing) comes first and then the knee is bent.
Ball Change		Quickly step on ball of free foot and close again on newly free foot; two changes of weight in one beat of music.
Change Pont	chg pt	Quickly close free foot and pont new free foot to side. Done as one movement in one beat of music.
Chasse (pronounced "shah-say")		Used in several different rhythms, the chasse consists of three steps, usually in two beats of music: side/close, side. One foot "chases" the other. Usually, the chasse will be used as the last part of a full-measure figure consisting of one step and then the chasse. In fox trot, the timing would be, slow, -, quick/&, quick; In waltz, the timing would be, 1, 2/&, 3; In quickstep, the Progressive Chasse is timed, slow, -, quick, quick; slow, -, over 1 1/2 measures. In paso doble, the typical marching tempo renders the chasse as, side, close, side, close; or step, side, close, side;
Ripple		In its simplest form, a ripple is a tipping of the shoulders away from the direction of movement. In a ripple chasse, one might do the chasse down line of dance while briefly inclining the shoulders toward reverrse with left side stretch.
Tipple		A tipple is a tipping of the shoulders toward the direction of movement. In a tipple chasse, one might do the chasse down line of dance while briefly inclining the shoulders toward line with right side stretch.
Fan		Flex supporting knee, extend free foot and point toe, and move free foot forward or back in an arc across the floor. Usually, the toe will be brushing the floor.
Flare	flr	Flex supporting knee, extend free foot and point toe, and move free foot forward or back in an arc with the foot slightly off the floor.
Ronde		Flex supporting knee, extend free foot and point toe, and move free foot forward or back in an arc above the floor. Usually a bigger, higher movement than a fan or flare.
Aerial Ronde		Flex supporting knee, extend free foot and point toe, and move free foot forward or back in an arc above the floor. Low = level with ankle; Medium = level with calf; high = level with knee; or you can raise the foot as far off the floor as conditions allow.
Chase		One partner pursues the other.
Circle	circ	Move forward in a circular pattern.
Shake		A body movement usually described in more detail by the choreographer.
Shimmey		A body movement; usually a forward and back movement of the shoulders.
Wiggle		Move the hips rapidly side to side.
Bump		Bump hips together.
Freeze		Stop moving and hold fixed body and foot position.
Blow a Kiss		Press the finger-tips to your lips, and then move your hand toward your partner, extending the fingers, as if wafting the kiss toward her or him. An alternative acknowledgement at the end of a dance; from open position, you might step side, -, and blow a kiss, -;
Cuban Action or Motion		Move hips side and back as you step. You don't really move the hips. Instead, step, take weight, straighten that leg and flex the now free leg; this foot and knee action is what moves the hips in the direction of the stepping foot.
Dishrag		Join hands, opposite free feet, raise joined hands, and turn under and away.
Body Roll	bdy roll	Lean outside your base of support and rotate the upper body in a broad arc.
Around the World		Lean outside your base of support and rotate the upper body in a broader arc than in a Body Roll.
Body Ripple or Body Wave		Lower your body by flexing your knees. This of course moves your knees forward. Next, move your knees back, and move your hips forward; bring your hips back, and move your torso forward. Finally, move the torso back, and move your head forward slightly. This is kind of a tough one, but it can look like a smooth ripple starting low at your feet and moving steadily up your body I remember one teacher focusing on the middle part of the ripple and saying that you should pretend you are standing with your hips against the edge of a low shelf. Now, raise your hips up as if you were trying to put them on the shelf, and then slide them back off again. Another of our teachers suggested that the upper part of the ripple might look like you are spitting watermelon seeds. You lower, rear back with your head, and then throw your head forward, as you try for good distance. But the head movement is small, and don't get carried away and make the spitting sound. Over one measure of music (1,2,3,4;) you might gracefully present knees, hips, torso, head; and then step into the next measure.
Sway		Lean or tilt the body from the ankle upward in a direction to the side and away from the free foot. The hips lead the movement, and then the upper body follows. Stretch the free side of the body. an essay on sway Astaire photos
Hover Sway	hvr sway	Lean or tilt the body from the ankle upward in a direction away from the supporting foot. Stretch the supported side of the body.
Hovering Action		Check the moving or the turning of the body and rise a little. The feet remain stationary.
Broken Sway	brkn sway	Lean or tilt the body from the waist upward.
Change Sway	chg sway	From any Sway position, stretch the opposite side of the body, tilt in the other direction, change head position (look the other way), and usually rotate the body.
Promenade Sway		In Promenade position (semi-closed), step side and forward on the lead foot, stretch trail side of body and so sway toward supporting foot, lead arms up, looking out. With your lead wrist up, you might be looking at your watch to check the time.
Oversway		In semi, line, step side and forward on the lead foot, stretch lead side of body and so sway toward free foot but look down line. Turn a bit to the left.
Challenge Line		In Promenade position (semi-closed), step side and forward on the lead foot, stretch trail side of body forcefully and so rise and sway toward supported foot, lead arms up, looking out. An aggressive Promenade Sway.
Extension		The exageration of any pose or posture, involving stretching up, leaning back farther, lowering a little more, arching a bit more, extending the arms and fingers. Usually done to use additional time at the end of a picture figure. Astaire photos

Dance Dictionary from Webref