WEST-COAST SWING FIGURES

West-Coast Swing—4 beats/measure; 22-35 meas/min

West-Coast Swing is obviously related to the other swing or jive rhythms, and it evolved out of swing and lindy in the 1930s. It is lazy, slow, and easy-going. It is the official state dance of California, and it dances best to easy-going bluesy or beach music. It is an evocative dance, some say sexy. You have time to embellish the figures with whatever body styling you might be moved to add.

Where swing, jive, and lindy are circular dances in which the man and woman travel around each other, West-Coast Swing is a slot dance in which the woman dances up and down within a 3 X 6 foot rectangle on the dance floor, sometimes making 1/2 turns at the ends and other times moving back and forth facing the same direction. The man leads the woman forward. He steps out of her way, dances around her in various patterns, and then gets back into the slot again.

One timing pattern might be called "sugar timing," after the Sugar Push, maybe the characteristic or defining figure of the rhythm. Sugar timing is 1, 2, touch, step; 1/&, 2, -- that is four quicks and a triple. This pattern is kind of tough in the beginning; you sure want to step on that third beat, so be patient. Repetition and floor-time will iron it out. West-Coast also uses the basic jive pattern of 123&4; 1&2, a "whip" timing: 123&4; 123&4; and other patterns as well.

FIGURE AND COUNT	STEPS	In Freestyle, You Could Try This
Sugar Push 1234; 1&2	In left open facing position, line of dance, step back L, drawing the woman forward. Back R, touch L to R and push into her, perhaps patting trail hands and even bringing faces together. On the touch, she might hook R behind and turn a bit RF. You probably can't kiss (get a little sugar) at this point without risking facial damage, but the goal is to look coy and snuggly. Then recover on the lead foot to a behind/side, side (usually for the man) or a back/close, forward, West Coast Swing seems to be a dance rhythm that invites a variety of syncopations and variations. Chris & Terri Cantrell have written on the topic (see links page). They divide the figure into three parts of two beats each and list several ways to vary each part: Beginning -- walk back 2 as described above (1, 2,) kick ball change (1/&, 2,) heel ball change (1/&, 2,) point ball change (1/&, 2,) point step (1, 2,) Middle -- touch step described above (3, 4;) flick step: he can flick LIF of R, back L; and she can turn 1/4 RF and flick RIB of L, side R; (3, 4;) hesitate touch step (&/3, 4;) triple: he can recover L/XRIB of L, back L; or XLIF of R/recover R, forward L; and she can XRIB of L/XLEF of R, back R; (3/&, 4;) kick & triple: kick to side and triple diagonally forward (woman back) (&3, &4;) Ending -- anchor or coaster described above (1/&, 2,) overturn the anchor: turn away from partner on first step and back toward partner at end of second beat (1/&, 2&,) kick to the 4 & step: kick trail foot forward/place trail ankle to lead knee (the "4"), step side on the trail foot, (1/&, 2,) point step point (1/&, 2,) step point step point step (&1/&, 2&,) cross cross step: cross in front like cross swivels (1/&, 2,) out out in in: side L/side R, recover L/recover R (&/1, &/ 2,) These sorts of variations may be used in many other figures as well.	The first West-Coast Swing we learned was the Raybucks' I Love Beach Music. It uses many jive figures, along with the west-coast figures. Part A starts with Right Turning Triples; Throwout; to a Sugar Push and an Underarm Turn;;;
Anchor Step 1&2	The Anchor is a common ending step of many West Coast figures.  For both the man and the woman, it is a small step back and under the body with the trail foot, replace, replace, with a timing of quick/&, quick.  The man steps in place R/L, R, with the right foot being placed instep to left heel. The woman steps L/R, L, There are really no steps.  The feet don’t move, but there is weight change and hip movement forward and back.  Keep the upper body still.  There is a rocking-back-and-forth feel to it—back/forward, back.  Like a nautical anchor, this step stops your movement.  It gives you a moment to stabilize your partnership and adjust your position in preparation for the next figure.  It serves as characteristic punctuation at the end of one figure and prior to the beginning of the next figure.
Coaster Step 1&2	The Coaster Step is an alternate ending step that you can use.  For the man, it is like a little sailor shuffle with the trail foot: cross right behind left/side L, side R.  For the woman, it is like a little back hitch:  back L/close R, forward L.  West Coast Swing is unusually flexible in allowing individual expression, but these Coaster Steps are not really preferred.  For one thing, the Coaster Step can shift the man a little to his left and so disturb his relationship to the woman, firmly placed in her slot.  Second, as the woman steps back/close, she is likely to stick her backside out in an inelegant sort of way.  Third, if she steps forward on the last step of her Coaster, she will find herself moving forward at the beginning of the next figure, and she really shouldn’t begin to move forward until she is led to do so by her man.  Another way to look at this last point is to see that her Coaster causes one figure to flow smoothly into the next.  Jive is a rhythm that properly flows in this way, but West Coast Swing should be more grounded, more segmented, more punctuated.
Turning Anchor 1&2	Sometimes, a figure will have the man facing away from the woman, and the anchor will need to turn him back to face. His trail foot is free. He crosses right in back of left and spins RF 1/2/step L in place, XRIF of L. I suppose there is no reason to restrict this move to the man.	In the Preskitts' Draggin' the Line, there is a disco lunge for the man on his right foot, right finger pointing high (think of John Travolta in Saturday Night Fever), recover L, turning anchor to face woman; to and underarm turn – kick-ball change;; to a left side pass;,,
Sugar In and Out phase V? 1234; 1&2 (123&4; 1&2)	In a handshake position, step back L (woman fwd R), bk R (woman fwd L and turn 1/2 LF into man's right arm, a tandem, sort-of Varsouvienne position) and man puts his left hand on her back, point or tap L, recover L (woman bk R/close L, fwd R turning 1/2 RF); and anchor. The man is almost doing a Sugar Push. The woman is turning into his arm and then turning back out to face again.
Sugar Push In Place phase V? 12&_4; 1&2 (123&4; 1&2)	In left open facing position, step back L (woman fwd R), sd R/sd L and hold (woman fwd L, close R/step L, bk R); both Anchor,, The woman is dancing a reasonably normal Sugar Push, but the man does a little side break and holds in place.
Tuck and Spin 1234; 1&2	Like a Sugar Push, but the woman spins full RF on the last beat of the first measure: The man steps back, back, touch, forward. On the touch step, tuck the woman in (LF rotation), and on beat 4 check her rotation and lead her spin RF one full turn on her R foot back to face the man. Finish the figure with a coaster for him and an anchor for her.	Part A of I Love Beach Music has a Tuck and Spin, Left Side Pass;;; Sugar Push, and Underarm Turn;;;
Face Loop phase V 1, 2,	In facing position with R-R hands joined, step back L (woman fwd R), back and side R placing joined right hands over man's head to neck and place left hand to woman's right hip, I don't think I've ever danced a Face Loop by itself but only as a part of a Face Loop Sugar Push. In that figure, we simply dance the Face Loop and then continue with the touch step of the Sugar Push, step L; and anchor.
Sugar Bump phase V 1234; 1&2	This is a sugar push where the touch on beat 3 is replaced with a spin on the trail feet, he RF and she LF, and a gentle bump of his left hip against her right hip as you spin around a full turn. Begin in facing position. He steps back, she fwd. Recover fwd and she steps fwd, both lifting lead knees and turning to bump hips, continue turning around to face and step on lead foot. Finish with a coaster or anchor.	Childers' Java Jive has a Sugar Push, Underarm Turn;;; Sugar Bump, to a Wrapped Whip, and Tuck and Spin;;;;;
Cheek to Cheek phase V 1234; 1&2	Like a sugar bump but don't turn all the way around. Instead, turn to bump hips and then turn back to face again--no net turn. Begin in facing position. He steps bk she fwd, both fwd turning RF (she LF), then lift turn and bump. Finally, cross lead in front of trail and turn back to face partner, he LF and she RF. End with anchor or coaster. It may seem obvious that the name refers to our "lower cheeks," but I've been told that it is the "upper cheeks" that are being emphasized here. Turn your face to your partner's and gently touch cheeks if you dare.
Sugar Push Hook Turn phase VI 1234; 1&2	In left open facing position, step back L (woman fwd R), bk R, touch L, fwd L turning 1/4 RF (woman bk R); cross R behind L turning 1/4 RF and taking lead hands over man's head (woman bk L)/step side L bringing lead hands to man's right hip (woman close R), close R and change to R-R handhold (woman fwd L) ending in tandem position man in front of woman, The Hook Turn can turn a full turn ending in the starting position.
Left Side Pass 123&4; 1&2	In left open position, step back L turning LF and getting a bit off the slot. Lead her straight forward down her slot. On beat 2, close R continuing to turn and lead her forward so that she passes on his left side, although at this point the man is pretty much facing her. On the first triple, step fwd/cl, fwd again into the slot; and she will step fwd R turning LF/XLIF turning, and back R; to face each other in left open position, having turned 1/2. End with a coaster and anchor.	In the Rotscheids' Honky Tonkin' On the West Coast, part A begins with a sugar push and left side pass;;; wrapped whip man overturning to tandem and right hands joined;; right side pass and tuck & spin;;;
French Cross 1&2	The woman steps forward R turning 1/4 LF, cross left in front of right continuing to turn another 1/4, and step back. This is a nice alternative any time the woman might otherwise do a run/run, run past her partner, and then turning 1/2. You'll see the French Cross in the first triple of the Left Side Pass above.
Right Side Pass 123&4; 1&2	Very like the Left Side Pass but begun in an L-position with the woman to the man's right and right-right hands joined. As he leads her past in front of him, he turns LF and so leads her past his right side. He steps fwd L, rec R, close/step, fwd; She steps the same as in the Left Side Pass: fwd, fwd, fwd, turning/XLIF turnint, bk; Again, end with coaster and anchor.	In the Prows' Draggin' the Line, part A begins with a side whip;; surprise whip;; double whip with outside turn man hook to tandem and right side pass;;;; to a sugar bump and quick side break;;
Throwout 1&23&4;	In two triples, move her from right to left and turn 1/2. He steps sd/cl, sd turning LF and leading her to do a French Cross. End with coaster and anchor.
Traveling Side Pass phase VI 123&4; 1&2	Begin in an L-position. The man might be facing wall and the woman LOD to his right. You have a R-R handshake. The man presents his left hand, palm toward the woman, and this signals that we are beginning a Traveling Side Pass, rather than a regular Right Side Pass. Step side and forward L leading the woman to step fwd R down line in front of the man. Recover R, take L-L hands, and begin to turn her under your arms LF, first the left hands and then the right (woman steps fwd L and begins the LF turn). On the first triple, the man closes L/steps R, fwd L; while the woman triples in place as she turns around the man to end facing his back, hands still joined high. On the second triple, the man travels down line with a XRIF of L/sd & fwd L, XRIF of L and right hands will pass over his head and left hands; while the woman XLIB of R/sd R, fwd L, to end back on his right side again. Her total turn will be 1 & 3/4 or up to two full turns.
Side Breaks 1&2& 3&4&;	In facing position, lead feet free, step side L with a pushing action (woman sd R)/sd R, close L/cl R, sd L/sd R, cl L/cl R; Often the hands go out with the feet and back to the body as the feet come in. It's a little difficult to keep this figure from becoming a pair of "jumping jacks." Try not to move up and down, but keep the upper body still. These are also known as "Quick Side Breaks." Slow Side Breaks are danced a/slow, -, a/slow, -; and you might hear cued Side Breaks, two slows and four quicks (two measures total).
Cheerleader phase VI 1a2a3a4;	A cheerleader is a syncopated combination of a crossing step, a side step, and a heel tap. Roundalab tells us to XLIF of R/sd R, tap L heel to the left/sd L, XRIF of L/ sd L, tap R heel to the right;  You can do a cheerleader in most any position, with either foot, and with same or opposite footwork. Another interpretation is to think of a cheerleader as four actions in 1/2 measure – XIF/sd, touch heel/sd, You might begin with the left foot and then repeat with the right, in which case the full measure would count out 1a2a3a4a; and you'd end with left foot free again. A third view gives the cheerleader as a 1/2 measure figure but begins with a side step – sd L leaving R foot extended with heel on floor, recover R/XLIF of R, Another way to describe this one would be to dance sd L/tap R heel, sd R/XLIF, Here's yet another that uses syncopated slow counts (s&s; &s&s;): XRIF of L, -, slight RF turn small sd L/tap R heel, -; bk R/XLIF of R, -, slight LF turn small sd R/tap L heel, -; bk L/XRIF of L, -, slight RF turn small sd L/tap R heel, -; and so on.
Underarm Turn 123&4; 1&2	In left open position, step back leading her forward. Begin to turn RF, step forward R off the track to her right. She steps forward again. Raise lead hands and lead her into a LF underarm turn. The man steps fwd/cl, fwd turning a total of 1/2. She steps fwd turning LF/ XRIF turning, bk; also turning 1/2. End with coaster and anchor in left open position facing opposite from start. (a reverse underarm turn in any other rhythm — grumble)	In the Childers' Java Jive, part A begins with a sugar push and underarm turn;;; to a sugar bump wrapped whip and tuch & spin;;;;;
Man's Underarm Turn 123&4; 1&2	In left open position, step back L leading her forward R, fwd R turning 1/4 RF under joined lead hands and moving to pass her on her left side (woman fwd L turning 1/4 LF), sd L turning 1/4 RF/step R ( woman sd R/XLIF of R turning 1/4 LF), fwd L; anchor or coaster. End in left open position facing RLOD.
Alternating Underarm Turn phase VI 123&4; 1&2	The woman does an underarm turn, the man does an underarm turn, and as a couple, you turn 1/2. In left open facing position, step back L (woman fwd R), fwd R turning 1/4 RF and raising lead hands (woman fwd L turning 1/4 LF under lead hands), sd L turning 1/4 RF/fwd R, fwd L spinning LF under lead arms (woman steps sd R/XLIF of R turning 1/4LF, bk R); end with anchor or coaster An alternative is to lead the woman's underarm turn during the first triple, as the man turns 1/2 RF. Man will be facing partner and RLOD. Then the man can do his LF underarm turn during the second triple – fwd R turn 1/2/fwd L turn 1/2, bk R under body, (as the woman does her anchor)
Surprise Underarm Turn phase V? 123 hold; hold,, 3&4; (123&4; 123&4;)	In left open facing position, step back L (woman fwd R), fwd R and crossing in front to move left out of slot and raise lead hands (woman fwd L), turn RF and lunge side L looking back at woman and turning woman and hold three beats (woman turns 1/2 LF and dances a Coaster—bkR/cls L, fwd R; and steps fwd L, fwd R turning 1/2 LF,) and both dance an Anchor, man blending back into the slot to end in same position and same facing direction as start; There are several "surprises" in this figure. First, the man stops moving for three beats, although he does guide the woman to make a full turn during this time. Second, althought an Underarm Turn turns the couple 1/2, this one does not change facing direction. Third, although it is a [reverse] Underarm Turn, it has "whip" timing in that it takes two full measures.	In the Cantrells' Take My Love, part A begins with a Tuck & Spin – Sugar In & Out;;; Underarm Turn with Head Loop – Surprise Underarm Turn – Sugar Push In Place;;;;; to a Whip Turn;;
Whip Turn phase V 123&4; 123&4;	In left open facing or low butterfly position, line of dance, step back L (woman fwd R), recover R stepping off the track to her right and beginning to turn RF. Chasse sd/cl sd turning RF to closed position facing reverse. Cross RIB of L turning RF, fwd L (she steps back L, bk R) to left open facing position LOD, finish with anchor or coaster;
Wrapped Whip phase IV 123&4; 123&4;	In low butterfly, line of dance, step back, recover R stepping off the track to her right and beginning to turn RF, she steps forward. Raise lead hands over her head as you do a sd/cl sd turning RF to face reverse. She does a fwd/cl, bk still facing reverse. At the end of the first measure, we're in wrapped position facing reverse. Step behind releasing trail hands and turning, step side to face her again (she stepped bk, bk,) End with anchor steps. He makes a full turn, and she does not turn.	In the Williams' No Easy Lady, part A has a wrapped whip;; cheek to cheek and point;; and part B then starts with a sugar push and a kick ball change;;
Tummy Whip phase V 123&4; 123&4;	Like a wrapped whip but place right hand on her tummy as you move RF around her. She can extend her arms out in front of her at the end of the first measure. It sort of looks like you are stopping her movement and she is lurching forward a bit into your right hand. The man steps bk, rec fwd trn RF, sd trn/fwd, sd & fwd; XIB trn, fwd trn, behind/sd, sd; She steps fwd, fwd, fwd/cl, bk; bk, bk, behind/sd, sd; He makes a full turn, and she does not turn.
Side Whip phase V 123a4; 123a4;	In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side (woman fwd L turning 1/2 RF to face LOD), turn 1/4 RF to face wall point the left foot toward LOD to L-position hand on woman's back/hold, - (woman bk R/cl L, fwd R); hold (woman fwd L), recover L turning 1/4 LF to face LOD again (woman fwd R turning 1/2 LF to face RLOD), anchor; Could begin facing RLOD, I suppose.	In the Moores' Knock On Wood, the dance begins with hip pumps; side whip;; whip with inside underarm turn;;
Surprise Whip phase V 123a4; 123a4;	In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side beginning to turn RF (woman fwd L turning 1/2 RF to face LOD), sd L turning /recover R, fwd L (woman bk R/cl L, fwd R); rock fwd R leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand [surprise!] (woman rock bk L), recover L and raise lead hands (woman recover R), anchor (woman begins RF underarm turn and steps sd L/XRIF of L, bk L well under body to face LOD); In most whip turns, you end facing the same way you began. The surprise here is that you stop the rotation and end up only turning 1/2 -- man ends facing RLOD and woman ends facing LOD. May begin facing any direction.	The Reads' Rhythm Of My Heart begins with a surprise whip;; to a sugar push and cheek to cheek;;;
Whip Freeze phase V? 123a4; 1_;	In left open facing position, step back L (woman fwd R), fwd R crossing in front to move left out of slot turning 1/4 RF (woman fwd L and swiveling 1/2 RF), sd L/cl R, fwd L turning 1/4 RF (woman bk R/cls L, fwd R) to closed position having turned 1/2; continue turning RF and cross right in front of left to a lunge, look at partner, hold (woman continue turning RF and step side L, sway toward man, hold), on last beat of second measure swivel to face partner no weight change having made a full turn and so ending in starting position;
Whip Inside Turn phase VI 123&4; 123&4;	This is a Whip Turn in which the woman does a reverse underarm turn during the second measure. Begin in left open facing position. Step back L (woman fwd R), fwd and sd R moving to woman's right side (woman fwd L turning 1/2 RF), swivel 1/4 RF and step sd L/recover R turning 1/4 RF, fwd L; At the end of the first measure, partners have exchanged places and are in a loose closed position. To begin the second measure, the man crosses his right foot behind his left turning and raises lead hands to lead a LF underarm turn for the woman (woman fwd L beginning LF turn). He steps side L completing 1/2 RF turn (she steps fwd R completing 1/2 LF turn under lead hands). End with behind/sd, close (woman bk/cl, fwd); Through the whole figure, the man has turned RF one full turn. The woman has turned 1/2 RF and then 1/2 LF.
Whip Outside Turn phase VI 123&4; 123&4;	This is a Whip Turn in which the woman does an underarm turn during the second measure. Begin in left open facing position. Step back L (woman fwd R), fwd and sd R moving to woman's right side (woman fwd L turning 1/2 RF), swivel 1/4 RF and step sd L/recover R turning 1/4 RF, fwd L; At the end of the first measure, partners have exchanged places and are in a loose closed position. To begin the second measure, the man crosses his right foot behind his left turning and raises lead hands to lead a RF underarm turn for the woman (woman swivel 1/2 RF and steps bk L). He steps side L completing 1/2 RF turn (she swivels 1/2 RF and steps fwd R). Finish with an Anchor. The man steps behind/sd, close (woman swivels 1/2 RF and steps bk L/step, step); Through the whole figure, the man has turned RF one full turn. The woman has turned RF two full turns.
Triple Travel with Roll phase V 1a234; 1a23a4; 1a234;1a2	You need to set this figure up with something that will put you into a right hand star, usually man facing wall or center. An underarm turn will do it if you modify the anchor steps, underturning them to that right hand star. Then step sd R/cl L, sd and fwd R commencing RF turn 1/4. Your handwork aids in the turns in this figure. If you push gently with your right hands, you will both roll RF stepping fwd L, and fwd R (woman fwd R, fwd L) making a 1 & 1/2 turn total to a left hand star at the end of the first measure. Then you dance three triples alternating from the left hand star, push to a 1/2 LF turn to a right hand star, push to a 1/2 RF turn to a left hand star. The footwork in the second measure is sd L/cl R, sd L (woman sd R/cl L, sd R) turning 1/2 LF, sd R/cl L, sd R turning 1/2 RF; In the third measure dance the third triple sd L/cl R, sd L then roll 1 and 1/4 LF fwd R, fwd L (woman fwd L, fwd R) to face partner in left open facing position; anchor,, As I say, the entry into this figure is usually an underarm turn to a right hand star. That uses a measure and a half, so the actual count for the triple travel with roll is 3a4; 123a4;1a23a4; 123a4; and you end on the measure.
I Love You So 1&2	In closed position, trail feet free, step side R (woman sd L)/small back L (woman small bk R), replace with a bump & grind action,	The ending of the Cantrells' Take My Love is an Underarm Turn – two Sailor Shuffles – slow side;;; I Love You So – and Layback;