Answers to Faq of Standard Ballroom Dance, Quickstep

Answers to Faq of
Standard Ballroom Dance
Quickstep
(Line figures)
by GoVnu
1

Preface
Introduction
Line Figures
Beginners
Pre-Bronze
Bronze
Silver
Gold
Open
General concerns
Contents at a Glance
2

Preface
About this booklet
How the booklet is organized
Introduction
Choreography
Line Figures
Beginners
Progressive Chasse
Pre-Bronze
Natural Turn
Natural Pivot Turn
Chasse Reverse Turn
Heel Pivot
Bronze
Reverse Pivot
Tipple Chasse to Right
Progressive Chasse to Right
Double Reverse Turn
Silver
Quick Open Reverse
Four Quick Run
V6
Fish Tail
Running Right Turn
Table of Contents
3

Gold
Rumba Cross
Open
Scatter Chasse
Step Hop
General concerns
4

About this booklet
Preface
This booklet is a collection of some interesting and important, in my own opinions,
information about the Standard Quickstep. And hopefully it is useful for other
international ballroom dance enthusiasts.
The main focuses are on the characters of Quickstep and the ways to interpret each
figure in detail. In order words, the other materials such as posture or frame, we will
not address them separately, only mentioning with the specific figure.
How the booklet is organized
This booklet is divided into several parts. Each part consists of a series of answers to
questions or informative points. You might have known or might not have known those
answers. Each answer is managed to keep it not more than ten lines for clarity reason.
The title of each answer is cataloged with three different colors, namely blue, purple
and red. Both blue and purple colors represent ‘right’ ways to dance, but the answers
with purple color are beyond basic level; whereas red color represents ‘wrong’ way to
dance.
What information of line figures we will address
Just as ‘About this booklet’ mentioned above, we will mainly address the crucial points
in any aspects of each line figure; surely we will address, for examples, foot position or
footwork described in technique books if those materials are necessary to mention here;
it may be interpreted from a different perspective.
Preface to the second edition
Address the favorable open figures, Scatter Chasse and Step Hop.
5

Introduction
The body weight is in buoyancy state
A good way to describe the body weight of a dancer on the floor is same as the body
weight of a light-weight boxer in a boxing competition. The body weight of a Quickstep
dancer constantly changes from one foot to another.
One of the reasons for the buoyancy state
Apart from the vivacious appearance, the buoyancy state enables the dancer to
be in control at any moment on the floor. Despite of the fast speed, the dancer,
as he/she is in progress, is still able to STOP and change the direction whenever
he/she wants!
Choreography
The basic figures are still the president choices
Some people think, as advanced dancers, only the exciting open line figures are chosen
in their choreographies. Practically not only the advanced line figures but also the basic
line figures, the syllabus figures, can create a great Light and Shade effect; the boundary
is not the limitation of the basic line figures instead of our creativities and skills.
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Line Figures
Beginners
Progressive Chasse
Overall Figure
The man’s steps are shorter than the lady’s steps in turning
Because the man turns inside edge of the circle, particularly for the step 2, his strides
should be shorter than the lady’s. Let the lady turns around the man increasingly.
Rise gradually throughout the first three steps
The couple rises their bodies smoothly without up and down. The rise starts at the end
of the 1 st step and reach the maximum point at the end of the 3 rd step, the 4 th step are
same height as the 3 rd step.
The lady turns her head gradually from her right to left throughout
four steps if her head faces her right at the beginning of the figure
If at the end of previous figure the lady is facing to her right side, she turns her head
from her right to left throughout four steps smoothly.
Some lady turns her head only on step 2; it makes the figure an abrupt feeling and her
shaping does not counter balance the man’s shaping.
Step 4
The man’s left forearm is in the next figure’s direction
If the man releases the left hand hold and straightens his left elbow, his left figure tips
will point to the 1 st step’s direction of following figure. It is in the flight position of next
figure.
7

Pre-Bronze
Natural Turn
First bar
It is a forward Chasse Natural Turn
Because some people think the 1 st bar of the Natural Turn is a closed right turn, they
perform it as the Natural Turn in Waltz. Actually we should dance it similar to Slow
Foxtrot’s Rise and Fall but with closed ending.
Since the 2 nd and 3 rd steps are quick counts, at the end of the 1 st step should be up
rather than commencing/delaying the rise as the 1 st bar of the Natural Turn in Waltz.
The length of the 2 nd step is approximately half the length of the
1 st step
The count is quick, but the speed is same as the slow count. So the length of the 2 nd step
is approximately half the length of the 1 st step.
For an analogy, when we drive a car with 60km/hr. We travel 60 km after an hour, then
we travel 30 km after half an hour. The 1 st hour is similar to the slow count, and the
following half an hour is similar to the quick count.
Some people wrongly speed up on the 2 nd step to travel same
distance as the 1 st step
Since at the end of 1 st step we already rise, naturally the 2 nd step is shorter. The
length of the 2 nd step is dependent on the 1 st step’s height of rise before the
moving leg passes the standing leg.
For an extreme case where we rise to maximum height on our standing legs, our
moving legs can only close to our standing legs without passing our standing legs.
If we can travel same distance on the 2 nd step as the 1 st step, it implies we
commence to rise rather than rising at the end of the 1 st step.
Second bar
Step 2
Give a clear signal whether the Pull Step contains brush
8

The man closes his right foot to his left foot or places his right foot an inch near his left
foot if he intends to dance the Natural Turn without brush. The man should place his
right foot around ten inches apart from his left foot if he plans to dance the Natural Turn
with Hesitation.
If the man places his right foot three or four inches near his left foot, the lady could feel
confused what the man intends to dance. And also the Hell Pull is not defined as this
way.
9

Natural Pivot Turn
Step 4
Be aware of the Footwork Toe-Heel-Toe
The man lowers at the end of the 3 rd step, moves left foot backward with toe slimming
the floor until his left toe connects the floor, spins on his left ball by his big muscles at
the back of his thigh without rising.
Some people make the pivot by a small backward step without lowering at the end of
the 3 rd step. So the heel leaves the floor for the whole step. This spin is very weak.
10

Chasse Reverse Turn
Step 2
The man right foot should move across the LOD
If his right foot does not move across the LOD, it is only an overturned 1 st to 3 rd steps of
Progressive Chasse to Right.
11

Heel Pivot
Overall Figure
It is also called compact Chasse or Quarter Turn to Left
It is the last figure of the composed figure, Quarter Turns. So it can replace the
Progressive Chasse preceded by Quarter to Right when the sideway is blocked.
Step 2
Drag the man’s left heel and then skim with his left ball
Drag back the man’s left heel until the left heel is near the right toe; then skim the left
ball sideways to form a quarter turn with right foot. If we sway to right on step 2, the
above footwork will be achieved naturally.
12

Bronze
Reverse Pivot
The size of step is dependent on the tempo of music and the count
For examples, if the count is & and the tempo is 53 bars a minute the size of step is a
little bit shorter, and the slip step is under the body; whereas should the count be Slow
and tempo be 47 bars a minute the size of step can be a little bit longer.
Therefore, the couple should slip the size of their steps that they feel under their control.
13

Tipple Chasse to Right
The sway to Right, Left or Nil is dependent on the amount of turn
For the normal Tipple Chasse to Right, from the 1 st step to the 4 th step, where it makes
three-eighths of a turn to right, there is no sway.
Underturned Tipple Chasse to Right where it makes a quarter turn to right, the man’s
body sways to right and his head turns to right.
Overturned Tipple Chasse to Right where it makes more than three-eighths of a turn to
right, the man’s body sways to left similar to a backward Chasse Turn.
The man’s heel on 4 th step should not lower because of the
following step with a quick count
If the following step is a slow count, just as the 4 th step of Progressive Chasse where the
technique book defines its following step, the 5 th step, as a step with a slow count, the
man’s heel needs to lower.
In the case of Tipple Chasse to Right where the following step of the 4 th step has a quick
count, if the man’s heel lowers, it creates a bouncing effect which is not what we expect.
Some people wrongly lower their heels to push their moving legs
We only lower slightly our knees and ankles to absorb the energy to push out our
moving legs, not lowering our heels as the 1 st step of Forward Lock Step.
The man bends his right knee on the 7 th step to create a more
powerful step
The man can lean his body forward to initialize the 8 th step; however, just as the
preparatory step, we flex our knees first, it creates a powerful forward step.
Therefore, we prefer a slight right knee flex on the 7 th step to leaning the body forwards.
14

Progressive Chasse to Right
Rise smoothly from the 1 st step to the 4 th step
Just as other chasse movements, rise smoothly without bumping to show the flight
feeling.
No sway on the 2 nd and the 3 rd steps
It is only a chasse, not a chasse turn, so no sway is needed.
15

Double Reverse Turn
There are no double spins in the figure
Don’t be misled by the word double, actually there is only a single spin.
Mr. Maxwell Stewart who introduced it in year 1924, explained why he called it the
Double Reverse Spin was that he never danced a single unit, he nearly always danced
four Double Reverse Spins following each other.
16

Silver
Quick Open Reverse
Step 2
Lady’s right foot moves sideways
The Quick Open Reverse is quite similar to the Reverse Turn in the Slow Foxtrot. One of
the main differences is on the 2 nd step the lady’s right foot moves sideways instead of
closing to her left right and performing a heel turn as the Reverse Turn in the Slow
Foxtrot.
Whether she sides or closes her right foot is most likely dependent on the man’s leading
ability because what the lady acts is only the reaction of the man’s action.
17

Four Quick Run
Overall Figure
Almost traveling along the LOD
Although the foot alignments from the 2 nd to the 7 th step face diagonal to wall, the body
travels nearly along the LOD.
Just as the traveling path of Chasse from PP in the Waltz, the man’s toes face the
diagonal to wall, but his body travels along the LOD, his head faces between the wall
and diagonally to wall. The only difference is the Four Quick Run moves very slightly
forward.
18

V6
The 1 st step of the Outside Change is still side leading
The V6 combines three figures together, namely, the Backward Lock, the Outside
Change/ the 4 th to 6 th step of Weave in the Waltz, and the Forward Lock.
The 1 st step of the Outside Change is still side leading carried from the previous
Backward Lock, which generates more powerful momentum for the following two steps.
The common mistakes on the Outside Change of V6
Since the Outside Change is originated from Waltz, the man definitely will have some
problem if he has not resolved in Waltz.
He commences rising at the end of the 1 st step Without Foot Rise, continues to rise on
the 2 nd step, and is up on the 3 rd step.
Three most common problems are
1. Footwork is Toe, Toe, Toe
2. The 1 st step rise WITH Foot Rise
3. Continue to rise on the 3 rd step rather than up.
19

Fish Tail
Step 3
The only step in the technique book that the dancer steps outside
partner but not in CBMP
Some man wrongly moves his right foot forward in CBMP because most likely he turns
not only his body to right but also his standing leg, his left foot.
So, the 3 rd step on the right foot should be sideways and slightly forward without
shifting the left foot.
20

Running Right Turn
Step 5
The main difference between the 5 th step of the Running Right
Turn and the 1 st step of the Natural Turn in the Slow Foxtrot
The Running Right Turn consists of a Natural Pivot Turn, followed by a Natural Turn in
the Slow Foxtrot.
In the Slow Foxtrot, the 1 st step of the Natural Turn, the man steps forward inline;
whereas in the Quickstep, the 5 th step of the Running Right Turn, the man steps forward
in CBMP.
This concept is critical when we repeat this pair of actions of pivot and spin (forward
pivot). It makes our repetition of turns very stable.
21

Gold
Rumba Cross
Step 1
The same swing technique as the 2 nd step of the Natural Turn
The 1 st step is a simple way to measure whether we understand how to swing. Because
of its long step, the lady could feel being pushed if the man does not swing properly.
Definitely the man also feels he is blocked by the lady if he turns early.
Just as the 2 nd step of the Natural Turn, the man swings his left leg in a straight line. As
his left leg connects the floor, turns on his left ball.
22

Open
Scatter Chasse (to Left and Right)
Overall Figure
There is only one standing leg, not two
The only one standing leg is prominently important in quick swing dances, surely the
Quickstep is one of them. No matter how fast we dance, at least at the end of a figure
all of our weights are on our standing feet and we are in balance state.
An analogy is a kid learning cycling. When a kid starts cycling, the kid may be provided a
bicycle with two assistant supporting wheels one in each left and right sides of the back
wheel. We can judge the kid really master the cycling by checking whether the kid can
keep balance without those assistant supporting wheels.
Likewise, if at the end of the Scatter Chasse a man cannot keep in balance with his
standing leg, instead of using his moving leg as the assistant supporting wheel, he
should improve his balance skill, same for a lady.
The running syndrome
After a sprinter finishing a hundred meter race, he/she must keep on running to
decelerate his/her speed. It is running, definitely not a chasse.
Some people dance the Scatter Chasse, particularly the Continuous Scatter
Chasses, give an impression that they are running, only difference is they run
sideways as crabs.
Therefore, many collisions occur during the competitions, from round one to
final. Some ladies may stop dancing to check whether their classic buns have
loosened after the collisions.
The 2 nd step of chasse passes over the 1 st step original position
Some people forget the Quickstep is a swing dance as they implement Scatter Chasses
or Hops because they only focus on running. If we implement the Scatter Chasse with
swing action, the pendulum swing, our moving legs will naturally pass over the standing
leg’s original position.
For example, the Scatter Chasse to Left, in the initial state, assume the distance
between the man’s feet is two feet in length; after the figure, his right leg could travel
sideways to left two and half feet long, which is greater than two feet.
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Step 2
In flight not in pull
To dance in flight, using the Scatter Chasse to Left as an illustration model, the lady
stretches into her direction the man leading her, the man gives enough pressure on his
left foot; the couple keeps all their weights on the standing legs, and swings their legs to
left which creates an illusion of flight feeling.
24

Step Hop
Instead of hopping on the spot, the hopping leg slightly travels in
the direction of the couple’s movement
Because the ‘Step’ of the Step Hop figure generates the speed, we will naturally travel
slightly to the same direction as the ‘Step’ action as hopping.
Don’t deliberately hop on the spot
Someone think that it should hop vertically. Since we are traveling in the Step
Hop, our bodies will lean forward if we hop on the spot.
An analogy, if we are standing on a traveling bus and the bus is suddenly stopped,
our upper bodies will lean forward, naturally we will move our feet forward to
retain balance. In Step Hop, our weight will partially shift from the hopping leg
to another. That creates a pulling effect or the running syndrome.
Retaining the weight on the standing leg after hop action
After the hop action, the weight ought to be on the standing leg; in order words, if the
moving leg leaves the floor, the couple is in balance individually.
It applies to any other figures involved hop action; for instances, Scatter Chasse or
Pepperpot.
It is a discrete progressive hop, instead of a continuous progressive hop. At the end of
hop there are no forces for forwards, backwards or sideways.
Imagine we install a speedometer in our center, when we dance a series of Step Hops,
the meter is 0km/hr at the beginning of the Hop, it may be 1km/hr forwards or
backwards during hop, but at the end of hop, the meter points back to 0km/hr.
Starting from PP, keep the centers of the couple where they are
The Man leads the lady to turn to her left, and turns himself to his right in order to form
a closed position. Both the man and the lady hop nearly in place; the man keeps on
projecting his right shoulder and the lady projecting her left shoulder.
The main point is the couple centers should not shift forward during hopping, and dance
each hop clearly and separately.
The man leads the lady shift her center forward in a Step
Hop from PP
Some man wrongly applies the technique for the 1 st step to the 2 nd step of the
Chasse from PP in Waltz on it where in the 2 nd step the lady changes her
25

supporting leg from left leg to right leg. So at the end of the 1 st step, the man
leads the lady to transfer her weight from her left leg to right leg; and her center
shifts forward. That is a running hop or so called running syndrome.
In the Step Hop, the man should lead the lady to keep her center on her left foot
rather than taking out of the lady’s left foot; otherwise, she will lean forwards
where she should act this forward leaning at the beginning of the following hop.
Back Step Hop (on the left or right foot)
Initialize by flexing the standing knee and turning the body
The man leads the lady to dance the back Step Hop by the action of flexing their
standing knees and turning their bodies, the CBM. The lady’s moving leg enters the
space between the man’s feet. The key point is the weights of the couple are still on
their original standing legs after these actions.
For an example of the Back Step Hop on the man’s left foot, the man turns his body to
right and flexes his right knee, and by the reaction of the man’s action under the frame,
the lady turns her body to right and flexes her left knee. The man leads the lady to move
her moving leg, her right leg, between the man’s feet. Now, the couple’s moving legs
are on the spots where they will do the actions of step and hop.
26

General Concerns
Although it is a quick dance, show it with effortless feeling and under
control
One of the main signatures of swing dances is body flight. Especially for Quickstep, the
body flight and float are so important in either syllabus or open figures that we should
check whether we include them in each figure.
Our presentations of each figure should be felt as a piece of cake. As we dance
Quickstep, don’t let other people have an impression we are lifting up a hundreds
pound stone or we are driving a car so fast that it is going to be out of control.
For example, the Forward Lock, a syllabus figure, we should show we rise smoothly as
an airplane taking off, then as a ballroom floating in the air. Another example, Scatter
Chasse, We rebound the steps as a kindergarten kid in the playground joyfully bounding.
27