Acknowledments

Question 1

Acknowledgment

Answer 1

Also known as Salutation, Honour Your Partner or Reverence. It should precede and follow every dance and sometimes makes up part of a dance. It is used to ‘thank’ the partner for ‘gracing them with their company’ and may take the form of a Bow or Curtsey.
During the precede to a dance there is normally a 4 bar introduction during which the acknowledgement occurs.

Question 2

Bow

Answer 2

The Bow is the leader’s acknowledgement and portrays the character of the dance.

Question 3

1) For dances based on Five-Foot Position Technique:

Answer 3

It can be a two or three step figure. The example below is at the start of a dance and is a three step figure. Within the body of a dance, it may be a two step figure.
Commence facing LOD or DC with feet in Parallel Position. (Or traditionally a 1st Position).
RF forward commencing to tum right.
LF to the side in 2nd Position to face partner.
RF to 3rd or 4th Position Front without weight, inclining the body forward from the waist. At the same time the right hand moves across the body toward the left hip, palm towards the body. The left arm moves back slightly, away from the body.
Recover and move into the starting hold and position of the dance that follows.

Question 4

2) For dances based on Parallel Foot Position Technique:

Answer 4

Commence facing LOO with feet in Parallel Position. RF forward commencing to turn right.
LF to side to face partner.
RF closes to LF in Parallel Position, inclining body forward from the waist with arms to side of body.
Recover and move into the starting hold and position of the dance that follows.

Question 5

Salute

Answer 5

The Leader’s right hand moves outwards and upwards. At the Saluting Position the fingers are at eye level with palm turned outwards. The hand is then returned smartly to the side of the body the shortest way down.

Question 6

Curtesy

Answer 6

(Derived from courtesy) The Curtsey is the Follower’s Acknowledgement and portrays the character of the dance.
The Head Poise should be upward and held naturally to allow the Follower to look up to the Leader. The hands play an important part. If a dress is worn it should be held lightly between thumb and finger.

1) Bob Curtsey
RF to side in 2nd Position to face the Leader. LF to a rear Open Position with a Demi Plie.
Recover and move into the Hold and Position of the figure that follows.

2) Full Curtsey
This can be a one, two or three step figure.
Within the body of a dance, it may be a one or two step figure. The example below is a three step figure at the start of a dance.

Commence facing LOD with feet m Parallel Position. (Or traditionally a 1st Position).

Across

1) LF forward commencing to turn left.
2) RF to side in 2nd Position to face the Leader.
3) LF Demi Ronde to a rear Open Position and complete a Full Plie, (with a depth of movement between knee to calf and knee to floor).
Recover and step into the Starting Hold and Position of the dance that follows.

Question 7

Aerial

Answer 7

A position where one foot is raised from the floor. There are three Aerial Elevations.

1) Low -Level with the ankle, Foot slightly off floor.
2) Medium - Level with the calf, Foot off floor.
3) High - Level with knee, Foot off floor.

Question 8

Assemble (a-sahm-blay)

Answer 8

To bring together. To move one foot from an Open Position to a Closed Position. (This term is only used in dances based on Five-Foot Position Technique.)

Question 9

Balance

Answer 9

The correct distribution of the weight of the body over one or both feet whether stationary or moving.

Question 10

Poise

Answer 10

The position of the shoulders, the hips and feet in relation to each other. When dancing, the body should be braced at all times.

Question 11

Deportment

Answer 11

The way in which a dancer carries the body. To do this well a dancer must first acquire the correct balance and poise.

Question 12

Back Open Promenade

Answer 12

A figure consisting of four steps that commences in PP with the Leader turning right to end in line. Found in Parallel Foot Position Technique dances.

Example as used in a Saunter

Leader:

Step Rhythm Position of Feet Direction/Alignment Amount of Turn
1 s LF to side in PP Moving along LOO Pointing OW Nil
2 Q RF forward and across in PP and CBMP Moving along LOO PointinQ OW Commence to turn R
3 Q LF to side and slightly back Backing DC 1/8 to R between 2 and 3
4 s RF back in CBMP Backing DC 1/8 to R between 3 and 4

Follower:

Step Rhythm Position of Feet Direction/Alignment Amount of Turn
1 s RF to side in PP Moving along LOO
Pointing DC Nil
2 Q LF forward and across in PP and CBMP Moving along LOO Pointing DC Nil
3 Q RF diagonally forward Facing DC Nil
4 s LF forward in CBMP Facing DC Nil

Notes:

a) In Tango the amount of tum for Leader will be 1/4 between steps 2 and 3.
b) In Tango Step 3 for Follower will be ‘Side and slightly forward’.
c) In the Britannia Saunter, there is a slight variation. The figure begins with a Point so only 2.3.4 of the Back Open Promenade is used.

Question 13

Chasse

Answer 13

A Figure of three steps i.e. Step, Close, Step, in any direction, where the feet are closed or partially closed on the second step. Can be taken in any hold and normally moves in the same direction. Usually counted QQS.

Question 14

Rotary Chasse

Answer 14

A Chasse danced with turn to the right or left.

Leader: Commence Facing DW

Step Rhythm Position of Feet Direction/Alignment Amount of Turn
1 Q LF to side Backing DC 1/4 to R
2 Q RF closes to LF Backing LOO 1/8 to R
3 s LF back Backing LOO Commence to turn R
4 Q RF to side Pointing DC 3/8 to R between steps Body turns less
5 Q LF closes to RF Facing DC Body completes turn
6 s RF forward Facing LOO 1/8 to R between steps

Question 15

Continuous Chasse

Answer 15

Used in dances based on Five-Foot Positions Technique also known as a Gallopade.

Question 16

Check

Answer 16

A forward or backward step in which the body travel is arrested before moving off in another direction.
The Check can be on either foot, with or without CBM and CBMP. It can be In Line, PP, OP, PO and in any hold or position.
See Contra Check and Lunge.

Question 17

Check in PP

Answer 17

Check in PP
Partners stepping forward and across with inside foot in PP and CBMP into a Check with knees flexed. Also known as a Chair.

Question 18

Contra Body Movement - CBM

Answer 18

The action of turning the opposite side of the body towards the direction of the moving foot.
CBM provides the initial impetus in a tum and is used to start various turning movements.
It is important to remember CBM does not alter the direction of the step. The foot must move straight forward or backward; it is only the body that turns otherwise the effect of the CBM will be lost.
CBM is used on forward and backward steps but not on side steps or closing steps. CBM and CBMP can be used together.

Question 19

Examples of CBM

Answer 19

a) A forward turn to the right - Step forward RF whilst moving the left side of the body forward.
b) A forward turn to the left - Step forward LF whilst moving the right side of the body forward.
c) A backward turn to the left - Step backward RF whilst moving the left side of the body backward.
d) A backward turn to the right - Step backward LF whilst moving the right side of the body backward.

Slight CBM is used on Saunter Walks. The opposite of CBM is Side Lead.

Question 20

Contra Body Movement Position - CBMP

Answer 20

CBMP is a ‘Foot Position’ not a body movement.

Question 21

Forward in CBMP or Backward in CBMP.

Answer 21

This is when the moving foot is placed forward or backward in line with the supporting foot and can be with or without body turn (CBM).
This type of CBMP is mainly used when stepping OP or PO.
Every step taken OP or with PO is in CBMP to ensure that close contact is maintained with partner.
Other places where Forward or Backward in CBMP is found include Natural Pivot and Reverse Pivots, Contra Checks, Rocks etc.
The step after every Natural Pivot but not Pivoting Action is in CBMP. The step after every Reverse Pivot is in CBMP.
An example of how this is written in the Charts: LF forward in CBMP OP

Question 22

Forward and Across in CBMP or Backward and Across in CBMP.

Answer 22

This is when the moving foot is placed forward or backward across the line of the supporting foot and can be with or without body turn (CBM).
The main places where this occurs are when dancing in PP, CPP or Fallaway Position, and in this position the word ‘across’ is normally used.
Occasionally in PP, ‘across’ is not used, e.g. on step 2 of a Natural Promenade Turn as the step is just forward.
An example of how this is written in the Charts: RF forward and across in PP and CBMP.

CBM and CBMP can occur together.
CBMP is found in the Charts under the heading of the Positions of Feet.

Question 23

Coupe (koo-payJ

Answer 23

A step in which the moving foot displaces the supporting foot, cutting the weight of the body from one foot to the other.
a, band c below have a Pendulum action.

a) Coupe Over is from the front. The front foot is brought back to the supporting foot, taking the weight of the body as the rear foot continues the movement backward. When the front foot closes to the supporting foot, it can be a 3rd or 5th Position Front.
b) Coupe Under is from the rear. The rear foot is brought forward to the supporting foot, taking the weight of the body as the front foot continues the movement forward. When the rear foot closes to the supporting foot, it can be a 3rd or 5th Position Rear.
c) Coupe Lateral is from the side. The free foot is brought sideways to the supporting foot, taking the weight of the body as the other foot continues the movement to the side.
d) Simple Coupe is used in the Pas de Basque, where the weight of the body is cut from one foot to the other foot. It is danced in place, usually in a 5th Position.

Question 24

Demi

Answer 24

Half of a movement e.g. Demi Ronde - Half a Ronde Demi Plie - Half a Plie.

Question 25

En l’air ( ahn lair)

Answer 25

A general term in which the working leg is off the floor.
See Aerial.

Question 26

Figure

Answer 26

A number of steps during which a set pattern is completed, and which together with other figures and steps form a dance.
If only part of a figure is danced, the steps used will be indicated by the step
numbers of that figure e.g. 1 2 3 of, or 4 5 6 of.

Question 27

Walk - The Forward Walk

Answer 27

The Forward Walk
Start with the feet closed, weight on either foot. When moving forward, the body
starts to move first and the weight of the body should be kept forward throughout
the walk. Release the Heel of the moving foot from the floor, slightly bending the
knee so that the Ball of the moving foot is in light contact with the floor, the
supporting Foot Flat. Swing the leg forward from the hips. As the foot moves
forward, the Heel will start skimming the floor, allowing the moving foot to be
placed forward onto the Heel with the Toe just off the floor; the Heel of the back
foot having been released as the front foot moved forward. At this point, the full
extent of the stride, the front leg will be straight but not stiff, and the back knee
slightly flexed. Balance will be between the Heel of the front foot and the Bail of
the back foot. Immediately lower the Toe of the front foot to end with Foot Flat.
With the body still moving forward, bring the rear foot forward with very slight
pressure on the Ball of the Foot as it passes the supporting foot. The whole movement is now repeated.

Question 28

Walk - backward walk

Answer 28

The Backward Walk
Start with the feet closed, weight on either foot slightly flexing the knee of the supporting leg. Swing the moving leg back from the hips, first the Ball of Foot then the Toe is in light contact with the floor. Lower onto the Ball of the back foot to reach the full extent of the stride so that the weight is central between the Heel of the front foot and the Ball of the back foot. At this point, the front knee will be straight (not stift), the back knee slightly flexed. Continue to move backwards, taking the weight onto the back foot. Draw the front foot back with Heel in light contact with the floor, at the same time, slowly lowering the back Heel. The Ball of the moving foot will be in contact with the floor when it is level with the supporting foot, and on passing the supporting foot the Heel of the supporting foot will complete the lowering. If the Heel of the back foot is dropped too soon whilst walking backwards, the torso starts to move backward ahead of that of the partner so the weight of the body should be kept forward throughout the walk.
The basic action is the same for the Leader and Follower, but in both cases the Leader will be leading and in control.

Question 29

Walk - Saunter

Answer 29

Saunter Walk 4/4 time
There is a subtle lilt in Saunter Walks, giving the body and legs a softer action and using slight CBM to assist progression.

Question 30

Walk - Tango

Answer 30

Tango Walk 2/4 time
The basic principles of the Forward Classical Tango Walk are the same as the Forward Walk. The knees are more flexed, with the foot being picked up slightly and placed in position. When the foot is placed forward, there is an immediate lowering to the Whole Foot and the movement of the back foot is delayed slightly, resulting in a staccato action. The walks are straight, not taken with any curve or CBMP.

Question 31

Walk - Two Step 2/4 Time

Answer 31

Two Step Walk 2/4 and 6/8 time
A smart and firm walk with a Heel lead. The Heel lead will be taken with a straighter leg than in a normal Forward Walk and on transference of weight, there will be a slight flexing in the knee

Question 32

Walk 3/4 Time Waltz Walk

Answer 32

The 3/4 Time Waltz Walk
A basic walk with a Heel lead, plus the addition of a controlled rise and fall. One step is taken slowly over the three beats of the bar, each step being divided into three parts; step - rise - lower, with each part occupying one beat of the bar. It could be described as a ‘lilting’ action, with a feeling of an upward stretch in the body.
The supporting knee flexes as the foot commences to move with the Heel lightly lowers as the feet pass helping to achieve the lilting action.
The closing of the rear foot is initially quick until it has moved halfway to the supporting foot; it then slows down as it comes up to the supporting foot, where the peak of the lilting action is found. This helps to continue the flow of the movement and retain the character of the step.

Waltz

Question 33

Gallopade

Answer 33

A continuous Chasse taken on the Toes of both feet with progression. The steps may be taken with a light skipping action.

a) Sideways. Step to the side and close the other foot to a I st or Parallel Position and repeat.
b) Forward. Step forward and close the other foot to a 3rd or 5th Position Rear and repeat.
c) Backward. Step back and close the other foot to a 3rd or 5th Position Front and repeat.

Question 34

Glisse

Answer 34

To move the free foot in a given direction in light contact with the floor. From a Closed Position with the Heel raised, glide one foot to an Open Position in any direction, lowering the Heel as the step is taken.

Question 35

Head or Headlines

Answer 35

The head is aligned above the spine, in a ‘neutral’ position. From this position, the head can remain central or rotate to the left or right within a normal range of movement. The correct positioning of the head helps to control the stability of the body.
Headlines form an important part of deportment and add to the overall styling and shaping of the figure danced.

Examples of headlines:

a) In a standardised Right Side Open Hold, with the Leader facing OW, the head will normally look toward the LOO and will be known as headline to the left.
b) On a Pas de Basque the head will tum the opposite way to the movement of the figure.
c) On a forward point the head will turn towards the pointing foot.

Question 36

Jete (jhettay)

Answer 36

A thrown step. To spring from one foot, alighting on the other. On landing, the Footwork will be Toe Heel and th

Question 37

Lunge

Answer 37

A step forward, backward or to the side in which the body travel is arrested. The step can be taken with the same side leading and the knee flexed; the other foot remaining in place can be either flexed or extended.
The following step will move in the direction of travel.

Question 38

Lunge - Same Foot

Answer 38

Same Foot Lunge
A figure where Leader and Follower Lunge on the same foot. A foot change will often need to be danced on entry or exit to the figure.

Leader:
RF to side, right knee flexed, L Toe remains in place.

Follower:
RF back in CBMP in the same direction as the Leader, right knee flexed, L Toe remains in place.

Question 39

Outside Partner

Answer 39

To step outside the track of the partner’s feet to the partners right side.
The person who is travelling forward is Outside Partner (OP); the person travelling backward is Partner Outside (PO).
Every step taken OP or with PO must be placed in CBMP to ensure that close contact is maintained with partner.
‘OP’ is found in the Charts under the heading ‘Positions of Feet’.

Question 40

Natural Promenade Turn

Answer 40

A Pivot tum that can end in line or in PP, with varying amounts of tum. The example below commences with 2 Walks in PP.

Leader:

Step Rhythm Position of Feet Direction/Alignment Amount of Turn
1 s - LF to side in PP - Moving along LOD pointing DW - Nil
2 s - RF forward in PP and CBMP - Moving DW - Commence to turn R
3 s - LF to side and slightly back - Backing LOD end facing LOD - 3/8 to R then pivot 1/2 to R

4 s - RF forward in CBMP - Facing LOD - End in line or
turn a further 1/8 to R to end in PP

On step 2 of Promenade Tums e.g. Royal Empress Tango and Saunter Reve, the Leader’s RF moves DW, the step is forward and not forward and across as in a standard promenade movement. Therefore described as ‘RF forward in PP and CBMP’.

Follower:

Step Rhythm Position of Feet Direction/Alignment Amount of Turn
1 s -RF to side in PP - Moving along LOD pointing DC - Nil

2 s - LF forward and across
in PP and CBMP - Pointing to LOD - 1/8 to R

3 s - RF forward between
partner’s feet - Moving down LOD, end backing LOD - 1/2 to R
with pivoting action

4 s - LF back and slightly leftwards ending in line
or
LF to side and slightly back RF placed to side of LF slightly forward w/w in PP - Backing LOD
or End facing DC - End in line
or Turn a further 3/8 to R to end in PP

Question 41

Outside Partner on Left OP on L

Answer 41

To step outside the track of the partner’s feet to the partners left side. The natural position to be OP is on the right side, therefore the Charts only state the side when the step is taken on the left.
‘OP on L’ is found in the Charts under the heading ‘Positions of Feet’.

When stepping OP on the right, it is the RF which is OP in CBMP. When stepping OP on the left, it is the LF which is OP in CBMP.
If taking consecutive steps OP, foot closest to partner is given as ‘Forward in CBMP
OP’. The second step is not noted as being OP.

Question 42

Partner Outside - PO

Answer 42

A backward step on the LF with PO on the right side.
‘PO’ is found in the Charts under the heading ‘Positions of Feet’.
(In previous publications, PO was not always noted, however due to the many holds and positions in Classical Sequence dances PO has been added to every movement that this affects. This will

Question 43

Parent outside on L - PO on L

Answer 43

A backward step on the RF with PO on the left side.
‘PO on L’ is found in the Charts under the heading ‘Positions of Feet’.

Question 44

Preparing to Step Outside Partner

Answer 44

This term is used as a precede to stepping OP as slight adjustments may have to be made on this step to allow for moving OP on the next step.
There is no preparation step for PO as this step is no different to any other normal backward step.

Question 45

Parallel Position

Answer 45

Parallel Position
The feet move or close parallel to one another and are not turned out. This is fundamental in Saunter, Tango, Swings and Blues etc. Can also be found in dances based on Five-Foot Position Technique.
On closing steps in PP and CPP, the moving foot closes slightly back with regard to the supporting foot.

Positions of feet based on Parallel Foot Position Technique

Parallel Positions of feet

Sometimes referred to as the 6th position ij
Feet together, inside edge of both feet in contact.
Promenade Closes

Feet as used in Promenade Closes.
In Promenade, both the Leader and Follower close slightly back.

Question 46

Pas (pah)

Answer 46

A single movement of one foot. See Step.
(Any term commencing with Pas, is only used in dances based on Five-Foot Position Technique).

Question 47

Pas Alle (pahz-a-ley)

Answer 47

A normal walking step with a Heel lead.
Can be danced in different rhythms, when danced in 3/4 time it can be danced over 1, 2 or 3 beats.

Question 48

Pas de (pah-der)

Answer 48

From the French meaning ‘step of’. For example: Pas de Valse means ‘a step of the Waltz’ etc.

Question 49

Pas de Basque and Walks

Answer 49

An eight-bar routine that has become standardised for solo competitors. It is based on the first eight bars of the Boston Two Step but making bar eight the normal opposite of bar four.

Question 50

Pas de Gavotte

Answer 50

A figure of four steps danced in 4/4 time. A technical description for a standard Pas de Gavotte is: Glisse-Assemble-Glisse-Zephyr. Can be danced on either foot, the example below is a LF Pas de Gavotte.

Commence with LF in 3rd Position Front

Step Position of Feet Footwork
1 Glide LF foot forward - Toe Heel
2 RF closes to LF in 3rd position rear - Toe Heel
3 Glide LF foot forward - Toe Heel
4 RF forward to a 4th position front low aerial - Foot off floor

In a LF standardised Pas de Gavotte, 1/8 of a turn is made to the left between steps 3 and 4.
In a RF standardised Pas de Gavotte, 1/8 of a turn is made to the right between steps 3 and 4.
An exception to this is on bar 9 of La Mascotte, where the Leader commences on LF but makes 1/8 turn to the right between steps 33 and 34, and 1/8 turn to the right between steps 34 and 35.
Other amounts of turn may be made; refer to Charts.
On step 1 and step 3 the knees flex as the LF moves forward raising the Heel off the floor.
On step 4 the rear foot passes the supporting foot moving through 1st Position to a 4th Position front low Aerial, Toe pointing down.
The Toe must be lightly touching the floor when passing through 1st Position.

Question 51

Pas Glissade (pah glee saad)

Answer 51

A step taken in any direction with weight, then closing the other foot to 3rd or a 5th Position front or rear and transferring weight.
Can be danced with tum and on either foot.

Question 52

LF Backward Pas Glissade in 3/4 time:

Answer 52

An example of a LF Backward Pas Glissade in 3/4 time:

Commence with LF in 3rd Position Rear

Step Count Position of Feet Footwork
1 1 LF back foot turned out - Toe Heel

2 2 RF closes towards LF - Pressure on Toe
3 RF closes to LF in 3rd or a 5th position front - Toe heel

In 3/4 time a Pas Glissade takes 1 bar of music.

Question 53

An example of a LF Backward Pas Glissade in 4/4 time:

Answer 53

An example of a LF Backward Pas Glissade in 4/4 time:

Commence with LF in 3rd Position Rear

Step Count Position of Feet Footwork
1 1 LF back foot turned out - Toe Heel
2 2 RF closes to LF in 3rd or a 5th position front - Toe heel

In 4/4 time a Pas Glissade takes 1/2 a bar of music. Can also be danced in 2/4 and 6/8 time.
When dancing a Pas Glissade in Double Hold, there is a slight undertum of the body which will be turned slightly more towards partner than in Open Hold. This undertum will be stated in the Chart Notes. A good comparison is bar 4 of the Veleta (Open Hold) and bar 12 of the Rialto Two Step (Double Hold).
If in Double Hold, the Pas Glissade will be described as Sideways and will be noted as ‘Along LOD’. If in Open Hold, the Pas Glissade will be described as Backwards and will be noted as ‘Down LOD’.

Question 54

Pas Glisse (pah glee say)

Answer 54

Pas Glisse (pah glee say)
A step taken in any direction with weight, then closing the other foot to 3rd or a 5th Position front or rear without transferring weight.
Can be danced with tum and on either foot.

Question 55

An example of a LF Backward Pas Glisse in 3/4 time:

Answer 55

An example of a LF Backward Pas Glisse in 3/4 time:

Commence with LF in 3rd Position Rear.

Step Count Position of Feet Footwork
1 1 LF back foot turned out Toe Heel

2 2 RF closes towards LF Pressure on Toe

3 RF closes to LF in 3rd or a 5th position front w/w
Toe

Question 56

An example of a LF Backward Pas Glisse in 4/4 time:

Answer 56

An example of a LF Backward Pas Glisse in 4/4 time:

Commence with LF in 3rd Position Rear.

Step Count Position of Feet Footwork
1 1 LF back foot turned out Toe Heel
2 2 RF closes to LF in 3rd or a 5th position front w/w Toe

When dancing a Pas Glisse in Double Hold, there is a slight undertum of the body which will be turned slightly more towards the partner than in Open Hold. This undertum will be stated in the Chart Notes.
A good comparison is bar 5 of the La Mascotte and bar 4 of the Veleta. Therefore, if in Double Hold, the Pas Glisse will be described as Sideways and will be noted as ‘Along LOD’. If in Open Hold the Pas Glisse will be described as Backwards and will be noted as ‘Down LOO’.

Question 57

Pas Marche (pah-mar-shay)

Answer 57

A walking step in which the Toe or Ball of Foot touches the floor first, the Heel is then lowered before the weight is transferred to the Whole Foot. This term is only used in dances based on Five-Foot Position Technique.

Question 58

Plie (plee-ay)

Answer 58

A flexing of both knees in any of the Five Positions, while the torso is held upright.
See Fondu.

Question 59

Demi Plie or Slight Plie

Answer 59

A slight flexing of the knees, e.g. the Demi Plie occurs in the Pas de Basque and the ,…… Bob Curtsey.

Question 60

Full Plie

Answer 60

The knees will bend towards 90 degrees, e.g. the Follower’s Full Curtsey in the Military Two Step.

Question 61

Point

Answer 61

To stretch the Toes and Ankle of the foot to any Open Position without weight, the instep is arched, part of the Toe or Ball is in contact with the floor and will be specified in the Chart.
In Five-Foot Position Technique dances there are various degrees of tum out on
the Points depending on the alignment or position of the body and on the Direction of movement

a) In Classical Waltzes, where there is a Pas Alie and Point with an overall 1/8 of a tum, it will be ‘Commence to tum on I’ and ‘1/8 between l&2’.

b) In Two Steps, where there is a Pas Alie and Point with an overall l /8 of a tum, there will be no tum on step I and I /8 of a tum on the Point, giving a sharper action.
c) In all rhythms of Five-Foot Position Technique dances where there is a Pas Aile and Point with an overall 1/4 tum the amount of tum will be divided into 1/8 and 1/8 except bars 2 and 6 of Waverley and bar 6 of Kensington where the amount of tum of 1/4 will be made on the point.

The Pas Alie and Point can be danced with no tum.

Question 62

Pointing

Answer 62

Pointing

a) This is used when the feet are pointing in a different direction to which the body is facing or moving as in Walks in PP, e.g. Moving along LOO Pointing OW.
b) On the inside or backward half of a tum where the foot has turned in advance of the body this will be seen in the Direction/Alignment column as a ‘pointing’ step. The ‘Amount of Tum’ column will then state, ‘Body turns less’. If the following step closes, it will state ‘Body completes tum’. If the following step does not close, e.g. ‘stepping OP’, body will not complete turn.
c) Pointing can also be found in the Charts indicating where the Toe is pointing, e.g. the Pas de Basque Chart under Positions of Feet, on step 3 states ‘Toe pointing downwards’.