1

Jive
4 beats/measure; 26 - 46 meas/min
The term "swing" music, referring to the driving beat of the rhythm section of a jazz band, is
thought to have been coined by Jelly Roll Morton in his 1906 composition, Georgia Swing. In
1932, Duke Ellington wrote It Don't Mean a Thing (If It Ain't Got That Swing). By 1936,
clarinetist Benny Goodman was being called the "King of Swing."
In the 1920s, swing dancing became big as young people moved to the jazzy, bluesy, big band
music of the time, maybe most famously at Harlem's Savoy Ballroom. This athletic style of
dancing came to be called the Lindy Hop, to commemorate Charles Lindbergh's solo flight or
"hop" across the Atlantic in 1927. The Lindy of the '30s gave rise to Jitterbug in the '40s, to
Rock and Roll in the '50s, and to East Coast Swing, West Coast Swing, Jive, Shag, and others.
In round dancing, the dominant swing rhythm is East Coast or triple swing. However, the
figures that we use have mostly come from International-style, competition Jive, and most of
our cue sheets identify these dances as "jives." Many figures are written to span a measure
and a half with a rock, recover, and two triples. Another group of figures span two measures
with a one, two, and a triple, one, two, and a second triple.
There has been some effort to distinguish between triple-swing and triple-jive. Swing is
slower, and the triples travel more with a side/close, side and a count of 1&2. An "&" divides
a beat in half, so the timing of a swing triple is half beat, half beat, whole beat. These triples
might make you think of cha cha, but this is rock-and-roll music; the music doesn't say "chacha-cha." Swing can be quite easy-going, loose, and rag-doll-like. Jive is tighter, faster,
bouncier, has more knee action, and the triples are more in place with a step/close, side and a
count of 1a2, with sharper and briefer second step. The timing of a jive triple is 3/4 beat, 1/4
beat, whole beat.
Another view from a ballroom expert and for those who like the picky details says that both the swing and the
jive triple really have the timing of 2/3 beat, 1/3 beat (of a triplet musical figure), whole beat. I don't know. My
ear is not that good.

Both swing and jive make use of the Latin hip at the end of the triple: step/step, side/hip.
Eight steps over six beats of music or ten steps over eight beats always puts you back with
your lead foot free, so it's easy to move from figure to figure. Almost any figure can follow
almost any other.
When the tempo gets faster, there isn't time to fit those triples in, and we switch to what is
called "single swing." Each 6-count figure becomes, rock, recover, step, step (q,q,s,-; s,-,),
four steps over the six beats of music. Less common is "double swing" with six steps or
actions over the six beats: rock L, recover R, press L, step L; press R, step R, (q,q,q,q; q,q,)
(of course, the woman begins with her right).

Figure
Name,

Steps and Actions That Make Up the Figure

Here are
some

Roundalab
Phase Level,
& Timing
q=quick, 1 beat
s=slow, 2 beats
& =1/2 beat;
a=1/4 beat

Chasse
phase III
1a2

Continuous
Chasse
phase IV
1a2a3a4

Basic Rock
phase III

Each description focuses on the man, with the woman's footwork in

parenthesis. If a woman's step is not given, it is the natural opposite or
follow of the man's. Help: basic dance positions and steps, actions,
directions, and abbreviations. Non-standard punctuation: a comma
separates two beats of music, a semi-colon marks the end of a measure,
and a slash (/) indicates a split beat, two things occurring in a single beat.

sequences to
help you
visualize the
figure in
context.

Step side/close, side, (this is a component of most figures the triple)

Scott's No
Particular
Place To Go
Although this step pattern works fine with the slower swing begins with a
music that is common in round dancing, with the faster tempo balance
of true jive, you won't have time. If you are doing a fast jive, (chasse) left
and right; to a
dance the triple almost in place. Keep softer knees and stab
rock, recover,
the ball of the foot into the floor -- stab, bum/bum, stab,
bum/bum; -- little steps. You will exhaust yourself if you try swivel two;
two forward
to reach out for a real side step.
triples; swivel
In addition to side chasses, we dance forward, back, forward four; and four
point steps;;
and back locking, and turning chasses. During a turning
chasse, we can turn gradually over the three steps of the
triple, but our jive will be crisper if we concentrate most of
the turn during the first or last step of the triple, spinning on
the ball of the lead foot.
In a facing position, step side/close, sd/cl, sd/cl, sd;

In When Will
I Be Loved by
the Moores,
we start with
lead feet free;
cross in front
unwind step
side and close
lead feet;
continuous
chasse to
RLOD; whip
throwaway
facing wall;;
to an
american
spin.

In a facing position, rock apart L (W apart R), recover, step

In Man, I
side/close, side; side/close, side, We are doing a rock, recover, Feel Like A
and chasse L and R.
Jive by the
Rotscheids,

there is
change hands
behind the
back to face
wall ~ rock
recover to;;
spanish arms
twice ~ basic
rock;;;;
mooch;;;;;

123a4; 1a2

Link
phase III

Beginning in an open facing position, rock back L (woman

back R), recover, and chasse small steps fwd/cl, fwd; to
closed position. As the figure name implies, you are "linking"
yourselves more tightly into closed position.

123a4;
Note that the link is a one-measure figure.

Link Rock
phase III
123a4; 1a2

More common than the Link. In an open facing position, rock

back L (woman back R), recover, and chasse small steps
fwd/cl, fwd; sd/cl, sd, to closed position. Again, you are
"linking" yourselves more tightly into closed position, but
this time you end up with lead feet free.
This figure can turn up to 1/2 RF to end in CP facing wall
unless otherwise cued. For instance, you might begin in left
open facing position LOD and link to CP facing wall.

Fallaway
Rock
phase III
123a4; 1a2

In a facing position, rock back on lead feet to semi-closed

position, recover to face, sd/cl, sd; sd/cl, sd,

In the Fishers'
This Business
of Love, part
A begins with
a link to a
whip
throwaway;;
change left to
right and a
triple wheel
to butterfly
wall;;;;
In Won't You
Come Out
and Play by
the Weisses,
there is a
fallaway
throwaway ~
neck slide ~
rolling off the
arms ~ link
rock;;;;;;;;
change places
right to left ~
change hands
behind the
back;;;
The Lawsons'
Pink Cadillac
has a
throwaway to
line; change
left to right
and fallaway
rock;;;
change right
to left to

handshake
and change
left to right to
tandem;;; to a
catapult and
lindy
catch;;;,,
Fallaway
Rock in 4

In a facing position, rock back to semi-closed position,

recover to face, sd, recover;

1234;

The name of this figure could be misleading. The standard

fallaway rock is 1 1/2 measures, and this one is only 1 meas.
But the name follows in the tradition of "new yorker in 4" in
cha, and in a dance the next cue will come quickly to tell you
not to linger the additional half measure.

Fallaway
Throwaway

In closed position facing wall, rock back L (W bk R) to semiclosed position, recover, dance sd/cl, sd (W triple turning LF
to left open facing position) man facing LOD; sd/cl, sd (W
bk/cl sd),

phase III

In the Bonds'
Lefty Louie,
there is a
change left to
right and
change hands
behind the
back;;;
spanish arms
to closed
position and
fallaway
throwaway;;;
and two slow
and 4 quick
chicken
walks;;

123a4; 1a2

The "rock, recover" part of this is the fallaway. The two

triples make up the throwaway part.

Throwaway

In SCP facing LOD, step sd L/cl R, sd L turning up to 1/4 LF In Hello

(W triple turning up to 1/2 LF to left open facing position:
Mary Lou by
R/L, R) man facing LOD, sd/cl, sd (W bk/cl sd);
the Crapos,
the ending
In a Throwaway Overturned, the lady dances 2 chasses
begins with
turning LF to end in a figurehead position. At the end of the jive chasses
measure, both are facing LOD. The man's lead for the
left and right;
overturn is gentle CW rotation of the lead hand as if to a
rock recover
hammerlock behind the lady's back.
swivel 2;
throwaway;
open break 1
& hold;

phase III
1a23a4;

In My Baby
Just Cares

For Me by
Clements,
there is flicks
into break;;;;;
throwaway
overturned;
lady swivel to
chicken
walks 2 slo; 4
qk; chg R to
L.
Slingshot
Throwaway
123a4; 1a2

In an L-position, with the man facing wall and the woman

facing LOD, the man lunges to the side L and extends his
arms to lead the woman to rock back R. There is an elastic
feeling between them. Both recover onto their trail feet.
During the two triples, step sd L/cl R, sd L turning up to 1/4
LF (W triple turning up to 1/2 LF to left open facing position:
R/L, R) man facing LOD; step sd R/cl L, sd R (W bk L/cl R
sd L),
Of course, the first two steps constitute the "slingshot." We
stretch apart and then recoil together into the throwaway.
May be done in other facing directions.

Slingshot
Runaway and In an L-position with the man facing wall and the woman
Back
facing LOD, the man lunges to the side L and extends his
arms to lead the woman to rock back R (this is pulling back
1234; 1234; the slingshot). Then both recover to their trail feet (releasing
the slingshot). This move gives a little more propulsion or
drama to the next figurein this case a runawaythan a
tamer entry, such as a fallaway rock recover. Following this
entry, we might expect jive triples, but this figure is evencount. The man steps small fwd L keeping lead hands joined
and leading the woman to turn LF (W fwd R spinning LF one
full turn to face LOD), small fwd R continuing to face wall
(W fwd L); bk L (W fwd R swiveling 1/2 RF), bk R (W fwd
L toward RLOD), step L (W fwd R turning RF), step R (W sd
L) to an L-position man facing wall again;
The man is dancing pretty much in place, facing the wall,
while the woman is running in front of him to his left and
then back to her starting position again. May be done in other
facing directions.
Hip Bump

In left open facing position M fcg wall rock apart L (W apt

R), recover R, fwd L trng 3/8 RF (W LF) to a back-to-back V-

In Beale
Street Blues
by the
Lillefields,
there is
spanish arms
to face wall right to left
man face
LOD;;; kick
whip;;;;;
slingshot
runaway and
back twice;;;;
start a
slingshot
right to left left to right;;;

1234; 1a2

position lowering slightly, rise and bump M's L & W's R hips
[no wt chg]; chasse away R/L, R trng 3/8 LF to face ptnr and
wall again,

Sole Tap

In left open facing position M fcg wall rock apart L (W apt

R), recover R, fwd L trng 3/8 RF to a back-to-back Vposition, bend R knee to tch M's R shoe sole to W's L shoe
sole behind L leg and raise free arm to touch M's R and W's L
palms in a "high-five"-like gesture; chasse away R/L, R trng
3/8 RF to face ptnr and wall again,

phase IV
1234; 1a2

Arm work is optional. May begin in any facing direction.

Left Turning
Fallaway
phase III

In a facing position, rock back L (woman back R) to semiclosed, recover R to face, side/close, side turning LF 1/4 sort
of like starting a Pickup; and side/close, side again turning LF
1/4, The full figure makes a turn of 1/2, perhaps from facing
wall to facing center.

123a4; 1a2
Right Turning In a facing position, rock back L (woman back R) to semiFallaway
closed, recover R to face, side/close, side turning RF 1/4 sort
of like starting a Maneuver; and side/close, side again turning
RF 1/4, The full figure makes a turn of 1/2 perhaps from
phase III
facing wall to facing center.
123a4; 1a2
Again, we can distinguish between jive and swing styling.
The above is more "swingy."A more "jivey" rendering
concentrates the turn on beat 4. During the first chasse,
step/step in place, and then step, lift, and pivot 1/2 to face
center. Do the second chasse facing center. If the tempo is
fast, don't try to progress on the chasses. Stay low and jab in
place. Rise for the pivot. Lower again for the second chasse -jab/jab, jab.

A common
sequence is to
begin in
closed
position
facing wall
and do a right
turning
fallaway
twice back to
your starting
position;;;
In Jailhouse
King by
Woodruff,
facing ptnr &
LOD, we
change L to R
w/ continuous
chasse;; right
trng fallaway
to COH ; ,,
change R to L
to RLOD , ;;
chg hnds
behind the
back to
LOD ; ,,

Right Turning There is no rock, recover to fallaway position here. In a

Triple
facing position, step side/close, side turning RF 1/4 sort of
like starting a Maneuver; and side/close, side again turning
RF 1/4.
phase III
1a23a4;
Pretzel Turn

In closed position facing wall, rock back L (woman bk R) to

fallaway position, recover R to face, step sd/cl, sd turning 1/2
RF (woman 1/2 LF) keeping lead hands joined; chasse L/R, L
phase IV
turning up to 1/4 more, You might be side to side both facing
123a4; 1a234; line with your lead hands joined behind your backs and your
trail arms extended forward, but I think most will be in a V1a23a4;
position, man facing line and center and woman facing line
and wall. This gives the next step a contra look. On beat 3 of
the second measure, cross the L in front of the R (woman
XRIF of L) with a little lunging action and extend the trail
hand forward with palms down. Or you might mime a "cool"
snapping of the third finger in time to the lunge. Recover R
beginning to turn LF (woman unwind RF); step sd L/cl R, sd
L turning to face partner still holding lead hands, sd R/cl L, sd
R to closed position again;

In Calendar
Girl by the
Rotscheids,
the dance
begins with a
link rock pretzel turn;;;
double rock;
unwrap the
pretzel;
double rock;
jive chasse
left and right
- change left
to right;;;

This is a progressive wrapping into your lead arms as you roll

down line and then unwrapping as you roll to reverse again.
The figure can begin in other positions, such as semi or
butterfly, and it can progress in any direction.
Sometimes a choreographer will insert two rocks or lunges in
the middle of this figure (see example to right), rather than
the standard one rock (the arm work can be even "cooler"
then).
Triple Pretzel This is a pretzel turn interrupted by two additional "lunge,
Turn
recover, chasses," one to LOD and then a second one to
RLOD, before we do the "real" lunge to LOD and unwrap.
123a4; 1a234;
1&234;
In closed position facing wall, rock back L (woman bk R) to
1&234;
fallaway position, recover R to face, step sd/cl, sd turning 1/2
1a23a4;
RF (woman 1/2 LF) keeping lead hands joined; chasse L/R, L
turning up to 1/4 more. You might be side to side both facing
line with your lead hands joined behind your backs and your
trail arms extended forward, but I think most will be in a Vposition, man facing line and center and woman facing line
and wall. This gives the next step a contra look.
On beat 3 of the second measure, we begin the first of our
two "interruptions." Cross the L in front of the R (woman

In How
Lucky Can
One Guy Be
by Preskitt,
we are facing
partner and
COH. We
dance a link
to dbl whip
trn w/
continuous
chasse to face
wall;;; triple
pretzel
turn;;;;; lindy

XRIF of L) with a little lunging action and extend the trail

catch;;
hand forward with palms down. Or snap your fingers, or
progressive
make any other cool hand gesture that occurs to you. Try to
rock 4;
match the beat and match your partner. Recover R beginning
to turn LF (woman turn RF), and chasse L/R, L, in a back-toback position, moving toward RLOD. This feels like you are
continuing your pretzel turn, but remember, this is an
"interruption." Don't unwrap. Only turn enough to be
positioned back-to-back, and as you do this chasse, change
hands, taking trail hands. Now dance your second
"interruption." Cross the R in front of the L (woman XLIF of
R), lunge toward RLOD, and perform your hand gesture with
the lead hands toward RLOD. Recover L trng a little RF to
back-to-back position, change to lead hands joined, and
chasse R/L, R toward LOD.
Now, we can finish the pretzel turn. Cross the L in front of
the R (woman XRIF of L) with a little lunging action and
extend the trail hand forward with palms down. Recover R
beginning to turn LF (woman unwind RF), and chasse sd L/cl
R, sd L turning to face partner still holding lead hands, sd
R/cl L, sd R to closed position again.
Chasse Roll
phase V
123a4;
1a23a4

This figure is like the first half of a pretzel turn, but you don't
maintain the lead hand-hold and there are three triples instead
of two. In closed position facing wall rock back to fallaway
position, recover to face, step sd L/cl R, sd L turning RF 1/2
to back-to-back position (woman steps sd R/cl L, sd R
turning LF); sd R/cl L, sd R turning 1/2 to face, sd L/cl R, sd
L; Often you will be cued to chasse roll back toward reverse.
Or, you might think of these triples as something like a twostep face to face, back to back, and then around to another
face to face.
May begin in other positions and may progress in opposite
direction with opposite footwork and turn.

Turnstile

I'd better start this with a disclaimer. We've never danced the
standard figure, and every description we've heard or read is
different from the previous one. But I want to be complete,
phase VI
and it is a Roundalab Standard. Let me try and maybe you
123a4; 1234; will be good enough to give me a critique.
1a2
Start in a handshake position, perhaps facing wall. In the first
measure, rock back L (woman bk R), recover R (woman rec
L), chass L/R, L beginning to turn LF and releasing
handshake for right-wrist-to-right-wrist contact, woman's
wrist on top (woman chasss R/L, R and turns a little to the

In Do You
Love Me by
Eum &
Hadley, we
do a triple
wheel to
handshake
COH;; ,,
miami special
,;; chasse roll
LOD;; rock
& chasse R;
open break
hold recover;
merengue 4;
As I say, we
have never
encountered
the standard
figure in a
dance, and
we have only
just been
introduced to
the
"modified"

Turnstile in
the
right); At the end of the first measure the man is facing line
Blackfords'
and wall, the woman line and center.
Cat Daddy.
This one
During the second measure, the man raises his right arm a
begins in Left
little to continue the woman's turn, he completes his 1/2 LF
turn and steps R (woman steps L) to finish that step in a back- Open Facing
Position with
to-back position. Man will touch left wrist to woman's right
wrist now and press down a little to turn her. Both turn 1/2 to a rock apart
face, and man steps side L (woman sd R). On the third beat, and recover
he uses his right wrist to press down on her left and turns 1/2 to three
LF and steps side R (woman turns 1/2 RF and steps side L). turning
Finally, he uses his left wrist again. Both turn 1/2 to face and chasss, man
step side. Of course, this is the actual "turnstile" movement. turning RF
and woman
We are rolling to reverse in four steps and making two
turning LF,
complete revolutions.
1/2 turn on
each triple,
The revolutions I am describing above are individual halfspins spin and face away, spin and face partner, and so on. progressing
straight
In addition, you might be turning as a couple to the left, so
toward
each of those four steps is not toward RLOD but on a small
arc, the circumference of of a circle on which the two of you RLOD to a
continuous
are standing. The choreography will have to specify, but at
chass
the end of measure two, you could be facing partner and
(123a4;
LOD, or you could have turned as a couple 1/2 and so be
1a23a4;
facing partner and COH.
1a2a3a4;).
We end the figure with a side chass R/L, R (woman L/R, L).
The form of
the Turnstile
There might be a temptation to make these turns double
is certainly
underarm turns, but you don't join hands. Keep your arms
not fixed. It
stiff and down. Each lead by the man stays below the
might even
horizontal it's just a nudge. Think "penguin arms." As
be better to
Meredith and I play with this in the kitchen, we seem to
think of it as
contact elbows as often as wrists. The figure does seem to
an action that
flow more smoothly if you stay close.
can be used
in lots of
Another feature of styling that is important is sway toward
different
your partner during measure two. As you take the first step,
incline toward your partner and touch man's right shoulder to ways in
woman's left. As you turn the turnstile, roll across the top of different
her shoulders, back-to-back, and touch man's left to woman's figure
right. Engage his left and her right arms, roll, and engage his combinations,
right and her left arms, leaning toward partner. This feels odd. much as a
Spiral is used.
Normally, we try to keep our toplines apart.
We have the option to turn more than two full turns. You
might begin with a rock apart, recover, and chass with a half
turn for the man and a full turn for the woman to end in

Woman's Tandem, both facing COH. Then the "turnstile"

would involve L/L wrists to Tandem wall, R/R wrists to
Woman's Tandem COH, and repeat. The last chass would
involve a half turn for the man and a second full turn for the
woman. If you include rotation for the couple, again in
measure two, you would gradually turn LF to end facing
LOD or even COH before the final chass and spin.
Finally, let us note that at full jive tempo, that turnstile is
really fast. Chris and Terri Cantrell described some
choreography that they once did in which the middle
"turnstile" action was done at half speed each step used
two beats for a total of two measures. That would certainly
take some of the violence out of the figure.
Change Right Blending to semi-closed position facing LOD, rock bk L (W
to Left
bk R), rec, sd/cl, sd beginning to turn LF (W dances sd/cl, sd,
spinning RF under his lead hand on the third step of this first
triple). We end with a fwd/cl, fwd (W bk/cl, bk) to left open
phase III
facing position DLC.
123a4; 1a2
Note that the link here is a fallaway rock, recover, hinging
open to SCP. In general, this "hinging link" leads the lady to
move to the man's left. A link that rocks straight apart,
recover leads the lady to move to his right, as in a change left
to right (below), neck slide, rolling off the arms, or lindy
catch.

In Big Man
Jive by
Molitoris&
Gareis, part A
begins with a
right to left
and left to
right;;; to a
rock apart
recover kick
ball change to
butterfly;
windmill
Of course, we can begin and end in other positions and in
twice;;; and
other facing directions, and we often under- or over-turn the progressive
figure -- for instance, the man might start facing wall and end rock 4 to
facing LOD or COH.
semi;

Change Left
to Right
phase III
123a4; 1a2

Perhaps in left open facing position wall, rock apart L, rec,

sd/cl, sd turning RF (W apt R, rec L, fwd/cl, fwd trng LF
under his lead hand); sd/cl, sd (W sd L/cl R, sdL) to left open
facing position DRC,
The change right to left and left to right are persistent
problems for many. We are so used to facing the wall and
doing a right to left that if a left to right is cued, we either
thoughtlessly do the right to left and end up facing line when
we should be facing reverse, or we panic and stand there -"left, right, what!" So, be prepared to focus in on the details
of these cues:

Listen to the first directional word. The man can focus

on the word right (as in right to left) and know that he

In Night
Train by the
Lawsons, part
A begins with
a chasse left
and right;
change right
to left and left
to right;;; and
then a change
hands behind
the back;,,

needs to do a fallaway rock, moving to his right. This

will aim the partnership in the proper direction and get
the woman moving toward the man's left side. If he
hears left first, he rocks straight back with a basic
rock, not moving right but staying a bit to the left of
the lady. As he raises his lead arm, she will be directed
to his right.

Or the woman can hear the word right and know she
will turn right-face under lead hands. If the first
directional word is left, she will turn left-face. These
directions guide her to the proper side of the man.

Or the man can focus on the second directional word

(as in right to left) and take her to that side. Left -direct her past your left shoulder and toward your left
hand. Right -- direct her toward your right side.

We can't just hear these two cues and think generically, "okay
this is where we sort of do an underarm turn and change
sides." We have to hear that there are two different cues and
then dance different figures.
Miami
Special
phase IV
123a4; 1a2

She Go, He
Go
phase V
123a4;1a2

This one is a bit like a Left to Right with a man's head loop.
Start in a right handshake position facing partner. Rock apart
L (woman R), recover R, step fwd L/R, L turning RF 3/4 and
lead woman to turn LF under joined R hands and put joined
right hands over man's head; then step side R/L, R allowing
her R hand to slide down his L arm ending in left open
position, If you begin facing wall, you will both end facing
line with the man on the outside of the circle.

In left open facing position facing partner and wall, rock apart
L (woman apart R), recover R, fwd L/cl R, fwd L turning 1/8
RF and turning woman 1/2 LF under lead hands; step fwd R
turning 5/8 LF under lead hands/close L, side R to end facing
partner and center,

In Wake Me
Up Before
You Go-Go
by the
Robinsons,
there is a
change right
to left to
handshake
miami
special;;; rock
to step tap;
step tap step
tap; triple to
face,

In A Brand
New Me by
Hoffman we
dance a
throwaway to
LOD; lindy
In essence, she does a LF underarm turn on the first triple and catch;; she go
he does a LF underarm turn on the second triple. May begin he go 2X;;;
link rock to
in butterfly. May be done in other orientations.
CP wall ; ,,

and rock rec

to face ,;
Chopper
phase VI
1a23a4;
1a23a4;

Start in handshake position facing partner. This is a twomeasure figure consisting of four triples. First, the man triples
in place and leads the woman in a full turn LF under joined
right hands. The hands go up and down in a complete CCW
circle over your heads and back to low handshake. He steps
in place L/R, L, and she spins in place R/L, R, During beats 3
& 4, she steps in place L/R, L; and he spins RF R/L, R; under
joined right hands. The second measure repeats the first.
This is the Roundalab description. URDC describes a threemeasure chopper that begins and ends for both with a rock,
recover.

The
Worlocks'
Boogie With
Me has a
slow side
break to a
handshake;
chopper;
american spin
both spin to
continuous
chasse;;

I have also seen a one-measure "chopper ending" and a onemeasure "chopper 4" that was not only done on an even count
(man steps L, R, L, R; and woman spins on step 1 and man
on step 3), but the woman spins RF and the man LF. So there
is some variability out there.
Change
Rock bk, rec, fwd/cl, fwd trn lf she rf he changes her r hand
Hands Behind to his r; bk/cl, sd to face and change hand back to his l, (half
Back
turn for eack)
phase III
123a4; 1a2

Stop and Go

In left open facing position facing wall, rock back L (woman

bk R), recover R raising lead hand to lead woman to turn 1/2
LF, fwd L/ close R, fwd L and catch woman with right hand
phase V
on her back; fwd R (woman bk L), recover L (woman recover
123a4; 123a4; R), bk R (woman fwd L beginning 1/2 RF turn/close L, back
R to end in starting position; Note that the woman turns 1/2
LF and then 1/2 RF. The man does not turn. May be done
with other facing directions.

Side Breaks

In facing position, lead feet free, step side L with a pushing

In the
Easterdays'
Nosey Joe,
there is an
american spin
to change
hands behind
back;;; rock
to 4 dig steps
and change
hands behind
back;;;; 2
sailor
shuffles;
merengue 8;;
In Stagger
Lee by
McGee, there
are chicken
walks 4 qk;
throwaway
LOD; stop &
go;; whip
throwaway;;
whip turn;;

phase IV

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.

1a2a3a4a;
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).
In In, Out Out In a facing position a little apart from partner, lift slightly and In Shout by
step forward L (woman fwd R) toward partner/close R, -,
the Worlocks,
lifting again bk L (woman bk R) away from parther/cl R, -;
there is a vine
1a - 3a -;
3 & flick;
side two-step
to open; thru
side close to
butterfly; in
in, out out;
swivel walk 3
to semi; kick
step twice to
face; and a
side two-step;
(The above
sequence is
really stepcued twostep, but the
dance is a
wonderful,
bouncy
single-swing
jive.)
Flea Hops
phase VI
a; 1a2a3a4a;
1a2

Start in open, shadow, or tandem position, with L foot free for

both. On the last part of the previous count, hop on the right
foot by lifting the left knee up and to the left. This action will
cause the hop and a slight slide to the left. Close L to R on the
"1" count. Repeat this action with the right knee: hop/close.
On the third count, hop on the right sliding left/tap L toe to R
foot, hop & slide on R/close L to R; On the "a" of 4, hop on
left sliding a little to the right/tap R, hop L/close R,

When hopping on the R there is slight sway right and when

hopping on the L there is slight sway left. May be done with
same or opposite footwork.
Jive Walks
phase III
123a4; 1a2

Rock back to semi-closed position, recover, fwd/fwd, fwd;

fwd/fwd, fwd,

In You Make
My Pants
Want to Get
Up and
If you want to make this figure more "jivey" and less
"swingy," take out the progression and focus more on lift and Dance by
Hixson we
on body rotation.As you triple with your lead feet, rise and
turn toward your partner. In place, jab/jab step/swivel to face. change L to R
to wall; ,, link
As you triple with the trail feet, swing the right hip (W left
rock , ;; SCP
hip) thru and turn a little away -- triple up and face, triple
dbl rock to ;;
down toward line. Often, we do jive walks and then swivel
jive walks ;
walks. This jive styling gives the jive walks the look of
swivel walks -- with triples, we are swiveling toward partner swivel walk 4
; throwaway
and away.
LOD ; stop &
go w/ dbl
stop action;;;
chg L to R to
wall ; ,,

Swivel Walks In semi-closed position, step forward on the lead foot and
lead the woman to swivel just a little LF, -, fwd on trail feet
and woman swivels RF, -; With each step, she turns her knee
phase III
in a little and steps one step in front of the other. With your
frame, you are rotating her just a little: left, right, left, right.
ss; or qqqq;
Both could swivel: in, out, in, out. You could do this figure in
open position.
As with the jive walks above, up-down motion is a jivey sort
of addition. The man steps down line, rising, and leading
strongly with the left shoulder. She steps, rises, and turns
sharply toward him. Then with the trail foot, he crosses in
front and falls or relaxes a little. She steps forward, falls, and
turns toward line. Repeat. The man is almost doing a Limp.
The woman is doing the swivel walks.
Chicken
Walks
phase IV
qqqq;

In open facing position, line of dance, lead hands joined. The

man walks backwards four steps, and he leads the woman to
walk forward, gently pulling her and causing her to swivel a
bit with each step. She steps with her right and swivels the
foot a bit right face, turning the toes out or really turning the
heel in, then step left and swivel left on ball of foot so toes
point out, and so on. He leads her to make these little
swivelling turns by turning her lead hand left and then right.
He turns the hand in the direction that he wants her to swivel.

In the
Lillefields'
Got a Brand
New Bag,
part B begins
with two
triples down
line; and then
the cue is "up
down swivel
4;" to a
throwaway;

In the
McGees'
Stagger Lee,
there are four
quick chicken
walks;
throwaway;
stop & go;;
whip

I think most men dance this figure with soft knees and maybe
a kind of "coaxing" attitude: "Come on, baby." and the
woman leans back away from him with something of a
resisting attitude: "No, I'm not giving in easily." She might be
a little haughty. You have to play around with that sort of
styling, but do try for some kind of "attitude." Don't just
walk.

Rooster
Walks

In left open facing position, stand tall, puff out chest, and
strut forward L (woman bk R), fwd R, fwd L, fwd R;

qqqq;
Think dominant "cocky" thoughts. Push her ahead of you
relentlessly, inexorably.

Turkey Walks In a left shadow position both facing the wall and no hands
joined, hands down and slightly out from the body, palms
qqqq;
forward and fingers splayed, shake or slightly rotate hands
back and forth in a "jazz hands" sort of way, and step sd L
toward LOD (W sd R to RLOD), cl R, sd L, cl R;
Of course, the hand styling may vary. Another common style
is to put the right hand on your hip and "jazz" only the left
hand.

throwaway;;
whip turn to
semi-closed
position;;
In Man In
Love by the
Hiltons, there
is a fallaway
throwaway ~
rock recover;;
chicken
walks QQS
twice;; kick
ball change ~
link rock to
semi;;

In the Hurds
Fine Brown
Frame,
interlude 2
consists of
chicken
walks 2 slow
and 4 quick;;
rooster walks
2 slow and 4
quick;; and
repeat;;;;

Turkey walk 6 or 8 is also common (e.g., qqqq; qqqq;)

Camel Walks In jive, this figure is a shifting in place with knee action, sort
of shifting your toes in the desert sands. In a facing position
ss;
with hands on hips, veer the left knee in and then out in a
CCW motion (Wmirrors with right knee in a CW motion),
and then take weight, veer the right knee in and then out in a
CW motion (W mirrors), and take weight;
May be done in 4 quick steps (qqqq;) or in other timings.

In Your Feet's
Too Big by
the Scherrers,
there is a
change left to
right and rock
rec to face
wall;; camel
walks 2 slo 4
qk;; link
rock; ,,
fallaway
throwaway
both face
wall ,;; turkey
walk 8;; link
to a whip
turn;;
In I'll Be
Uptown by
the Hiltons,
there are 2
fwd triples;
swivel walk
4; point steps
twice;;
throwaway;
camel walk 4
qk; sailor
shuffle
twice;;

Boogie Walk
ss; ss;

The woman might draw the R foot to L rise on the L pushing

the body forward as the R moves fwd & circles 1/8 CW to
end diag fwd on ball of foot then whole foot lowering into the
knee, -, draw L to R rise on R ft pushing body fwd as L ft
moves fwd & circles 1/8 CCW to end diag fwd on ball of ft
then whole ft lowering into knee, -; repeat;
May be done by the man. May begin with either foot.

Dig Steps
qqqq;

With the lead foot raised, toe pointing down, lower the foot to
the floor as though you are thinking of digging your toe into
the sand on a beach and step small forward, repeat with the
trail foot, lead foot, and trail foot again;

In Fine
Brown Frame
by the Hurds,
there is a
man's dig
step 8

woman's
boogie walk
4 to butterfly
wall;;
progressive
rock 4 to
SCP; to a
throwaway;
Rock the
Boat
phase III

In semi position, line of dance, lead foot free, step forward

with a straight knee and leaning torso forward. Then close
trail foot with soft knee and leaning torso backwards. Keep
your eyes up. May be begun with trail foot.

1,2,

Progressive
Rock
phase III

Often done
twice.
In Rock 'N
Roll Heart by
the Cantrells,
the dance
begins with a
rock the boat;
kick twice,
back 2; to a
fallaway right
face turn
twice;;;

In butterfly position, rock apart on lead feet, recover on trail

crossing a little in front and progressing down line, rock apart
again progressing, recover; May also begin with the trail feet
and progress to reverse.

1234;
Point Step
phase III
1,2,

Shag Step
phase III
1234; 12

Point forward with the outside edge of the foot in contact

In the
with the floor. Then take a small forward step with that same Woodruffs'
foot. May be done with either foot and in almost any position. Rock Right,
part B has a
Often, we do a series of point steps in BFLY or SCP. In such swivel walk
4; to 4 point
a series, you may shape and look in the direction of the
steps;;
pointing outside foot (e.g., LOD) and then shape toward
throwaway;
partner and look away from the pointing inside foot (e.g.,
and chicken
RLOD).
walks;;
The shag is a combination of steps and side kicks and is not
well defined in round dancing. You might be facing and step
side on the lead foot, rise on that foot and kick the trail foot to
the side, close the trail, rise and kick the lead; close the lead,
and step in place, You could also start with the trail feet or use
same footwork. May be done in any position.

In Sunshine
Quickstep by
Hoffman, we
step hop 4X;;
walk face; sd
draw close;
shag step

American
Spin
phase IV
123a4; 1a2

Passing
American
Spin
123a4; 1a2

American
Spin Both
Spin
phase IV
123a4; 1a2

American
Back Spin

A form used by Hoffman (see right) is step in place LRL (W

RLR) kick the trail foot to the side; repeat with the trail foot;
[the count here is 1234; 1234;]

2X;; side
close 2X;
walk PU;
hitch 6;;

With lead hands joined, rock apart L (W apt R), recover,

sd/cl. On this beat 3 of the first measure, give a little tuck
with lead hand, moving it between your bodies and turning
the woman just a little LF. On beat 4, finish the chasse by
stepping side L (W sd R and spins full RF to face). Finish
with a chasse sd/cl, sd,

In Nosey Joe
by Easterday
we face
partner and
wall for
chicken
walks moving
toward
COH;;
american spin
; ,, chg hnds
bhnd bk , ;;
rock to 4 dig
stps ; ,, chg
hnds bhnd
bk , ;;

Again with lead hands joined, facing line of dance (woman

facing reverse), rock apart L (woman apart R), recover R
turning LF, step L/R, L leading woman to step forward R/L,
R spinning RF a full turn to face the man and wall; The man
dances one more triple: R/L, R turning LF to face reverse,
and the woman dances fwd L/R, L turning LF to face man
and line of dance. End in left open facing position, reverse
line of dance.
With lead hands joined, rock apart, recover palm-to-palm,
In Talkin'
sd/cl tucking a little RF (W LF), side spinning LF (W RF) full 'bout That
turn to face; sd/cl, sd,
River by
Bingham &
Oren, there
are some
foxtrot cross
points with
snaps to left
open facing
position COH
;; american
spin both spin
; ,, she go he
go wall , ;;
shoulder
shove ; ,,
In left open facing position LOD rock apt L (W apt R),
recover R releasing hands and spinning 1/2 RF to turn back

In Runaround
Sue by

123a4; 1a2

on lady (W recovers and does not turn). We are in man's

tandem RLOD. Triple in place LRL and on 3rd stp of the
triple spin 1/2 LF to face partner again (W triple in place
putting her R hnd on his back and pushing off on her 3rd stp
to spin a full turn RF. The man triples in place RLR (W LRL
completing her turn to face. Endleft open facing position
LOD.
May be danced in other facing directions.

Simple Spin
phase VI
1,2,

Windmill
phase IV

In left open position, lead hands joined, step in place L,

bringing left hand down, turning LF to face partner, and
leading her to step in place R and spin in place RF. Release
hands during her spin. On the second beat, the man steps in
place R as the woman steps L and completes her full spin.
Rejoin lead hands to end in left open facing position.

In the
Easterdays'
Boogie Blues,
part A has
you in open
postion
facing reverse
for four point
steps;; triple
away and
together;
simple spin
and change
places left to
right to a
handshake
facing line;;
and then a
passing
american spin
to left open
facing
position
reverse;,,

In butterfly position, rock apart, recover, fwd/cl, fwd woman

sd/cl, sd turning LF 1/4 with arms out tilted into the turn lead
arms low; sd/cl, sd turning another quarter with arms out but
more level,

Often
repeated back
to starting
position, or
do a windmill
over and a
spanish arms
back.

The windmill (above) can be thought of as a "reverse" or leftturning windmill, and at a first approximation, the sugar
wheel is a "natural" or right-turning windmill. However, the
styling of the sugar wheel is sharper than that of a windmill.
Where the 1/2 turn of a windmill is begun on the recover step
and is then distributed over both triples, the 1/2 turn of a

In Kansas
City by the
Rumbles, we
do a triple
wheel to face
wall;; ,,

123a4; 1a2

Sugar Wheel
123a4; 1a2

Rumble part
A begins with
a chasse
L&R;
fallaway
throwaway ; ,
, american
back spin , ;;
chg places L
to R ; ,,

sugar wheel is designed to occur on the third step of the first

triple only.
Specifically, in butterfly position M facing wall, we rock
apart on lead feet, recover R (W rec L), and small triple
adjusting to butterfly banjo with pressure thru the lead hands
causing both partners to spin 1/2 RF on the last step of that
triple ending in butterfly sidecar position M facing COH (W
fcg wall). Finish the figure with a small triple to face partner.
Shoulder
Shove
phase IV
123a4; 1a2

Shoulder
Shove in 4
1234;

In facing position with lead hands joined rk apart L (woman

bk R), rec R turning RF (woman LF), sd/cl, sd gently pushing
left shoulder to her right shoulder; turn to face bk/cl, bk
drawing shoulders away, (Sometimes the first triple is danced
as a single slow step in, lowering to shoulder contact, and
then rising, drawing out the shove in an affectionate way.)

spanish arms
twice,;; ,,
basic rock,;;
sugar wheel
twice;;; into a
change left to
right to face
center.

In the
Rumbles'
Switchin' In
the Kitchen,
there is a kick
to the
shoulder
shove to a
double whip
throwaway;;;;
and chugging
around;;;

In LOFP, rock apart L (W apt R), recover trng RF (W LF), sd In School

Ltwd ptr bringing lead shoulders together, recover turning to Days by
face again;
Schmidt,
facing ptnr &
Note, only one measure.
LOD, we do
a side break
and hold;
shoulder
shove in 4;
shoulder
shove to a fan
; ,,

Shoulder Roll In a facing position with right-right hands joined, rock back L
(woman bk R), recover R, fwd L/R, L beginning RF
underarm turn (woman turn LF full turn under joined R
phase VI
hands); in place R/L, R completing RF turn (woman triple in
place),
123a4; 1a2
Note that both turn under joined R hands, woman a bit ahead
of man. Couple may end in starting facing direction or may
change facing direction.
And I Love
You So

In a facing position, step side L (W sd R), roll the hips

forward and CW (W CCW) over two beats, and recover onto
the trail feet;

In Your Feet's
Too Big by
the Scherrers,

1234;

there is an
Just a little different is Slow Slow I Love You So. In loose CP american
we step sd L and move the hips left (W sd R hips right), sd R spin; ,, basic
hips right (W sd L), move the hips away from ptnr, and move rock ,;; link
hips toward ptnr with a bump;
rock; ,, rock
rec and I love
This figure is not at all standardized. The important
you so ,;;
component is the pelvic bump.
rock rec
swivel 2;
In How Sweet
It Is by
Cantrell, we
start in BFLY
COH with
sand step
2X;; R trng
fallaway; ,,
rock rec to
CP wall ,;
slow slow I
love you so;
vine 4; sd
break hold;
slow slow I
love you so;

Spanish Arms In butterfly wall rock back, recover turning rf quarter and
drawing lead hands in front of body woman turning lf to
partial wrap both facing reverse, sd/cl, sd turning rf quarter to
phase IV
face center and turning woman 3/4 rf to face wall; sd/cl, sd,
(the couple turns 1/2 as the woman is wrapped and
123a4; 1a2
unwrapped)

In the Bahrs'
Zat You, part
B begins with
a jive chasse
left and right;
windmill and
spanish
arms;;;
fallaway
throwaway to
a rock,
recover;;
point step
twice; and a
slow side
break;

Triple Wheel In an open facing position with right-right hands joined, rock
apart L (woman bk R), recover R, step sd L/cl R, sd L turning
RF and wheeling RF to touch your partner's back with your
phase IV
left hand (woman turns LF and wheels RF to turn her back to
her man); chasse a second time continuing to wheel RF and
123a4;
1a23a4; 1a2, turning 1/2 LF (woman RF) so woman can touch man's back

In the
Worlocks' A
Letter To You,
there is a
trade places
twice to a

with her left hand, chasse a third time wheeling and turn 1/2
RF (woman LF) to touch woman's back; finally chasse in
place and lead the woman to tuck LF and spin a triple RF to
face partner,
At first, the name Triple Wheel makes you think of three
things, and yet the figure uses four chasses. Think of the
figure beginning with a rock, recover, and ending with an
American Spin ending, with three back-touching chasses
between.

handshake
facing line;;
triple wheel
one with spin
to face
partner and
wall and an
american spin
both spin;;;

Usually you wheel as a couple 1/2 over the three triples. A

Triple Wheel 5 would wheel one full turn. A Triple Wheel 7
would go around 1 1/2, but as the figure is extended, the cuer
had better state the ending direction.
Rolling Off
the Arm

In a facing handshake position, rock apart L (woman apart R),

recover, fwd R/L, R turning 1/4 RF wrapping woman into R
arm (woman turning 1/4 LF into man's R arm); fwd R, fwd L
wheeling 1/2 RF (woman bk L, R), triple in place R/L, R
phase VI
turning 1/4 RF (woman triple and spin out RF to face man;
123a4; 123a4; As a couple, you will make one full turn.
Continuous
Rolling Off
the Arm

In a right handshake position facing wall, rock apart L

(woman apart R), recover R, chasse fwd L/R, L turning 1/4
RF (W chasse fwd R/L, R turning 1/4 LF into man's R arm)
to end both facing RLOD with R hands at woman's R hip and
123a4; 123a4; L arms extended to side; fwd R releasing R hands and
123a4; 123a4; beginning RF roll across front of woman (W rock bk L
pushing down on man's L arm in a Turnstile manner to lead
his roll), sd L rolling (W recover R bringing L arm up
underneath man's L arm and pushing his L arm up in a
Turnstile manner) to end both facing RLOD with M to R of
W rejoining R hands at man's R hip and L arms extended to
side, chasse bk R/L, R (W chasse fwd L/R, L) wheeling 1/4
RF to face COH; rock bk L pushing downward on Ws L arm
to lead her RF roll (W fwd R releasing R hnds and
commencing RF roll across front of M), rec R (W sd L
rolling) while bringing his L arm up underneath Ws L and
pushing Ws L arm upward to end both facing COH with W
to R of M rejoining R hnds at Ws R hip and Ws L hnd
resting on top of Ms L arm, chasse fwd L/R, L (W chasse bk
L/R, L) wheeling 1/4 RF both fc LOD; wheel 1/2 RF stepping
fwd R (W bk L), L to face RLOD, step in place R/L, R (W
roll out of Ms R arm leaving R hnds joined L/R, L to face
partner & LOD);

In Been
There, Done
That by the
Rumbles,
there is a link
to a whip
spin;; change
places left to
right to a
triple travel
with roll and
change left to
right;;;;;;
continuous
rolling off the
arm;;;;
change left to
right to a
double whip
turn;;;;

Lindy Catch

In the Scotts'
Little Deuce

In a facing position rk, rec fwd/fwd, fwd around woman's

right side catching her at her waist as if to stop her forward

movement; fwd continuing around woman she bk, fwd she

bk, fwd/fwd, fwd to face woman bk/bk, bk, (two measure
phase IV
figure; man makes complete circle around woman back to
123a4; 123a4; original position; woman faces same direction throughout)

Coupe, part A
begins with
ive walks;
swivel 4;
throwaway;
kickball
change twice;
lindy catch;;
stop and go;;
change left to
right to face
wall and link
rock to
semi;;;

Sailor Shuffle Often in facing position, cross L in back of R holding upper

body upright and still (woman XRIB of L)/step sd R with a
pushing action, sd L,
phase IV
1a2

The lower body should pendulum back and forth under a still
upper body as on a rocking boat. May be done in any position
with either foot.
Often this figure will be cued with the number of triples to be
danced, e.g., "three sailor shuffles" takes 1 1/2 measures of
music.

Riverboat
Shuffle
phase IV
1234;

In a facing position but no hands joined trail feet free both

XIF lower trail shoulders cross arms in front of body and
snap fingers, sd and uncross arms, XIB lower lead shoulders
slightly, sd;

Do a fallaway
rock to a
single side
chasse down
line;;
riverboat
shuffle; again
blending to
semi; one
triple down
line, kick ball
change;
Larry
Monday and
Gladys
Gunter, in
their Little
Shoes, did a
shoulder roll
lady
transition to a

riverboat
shuffle in
tandem
position. I'll
let you look
at page 2 of
that cue sheet
yourself.
In Southern
Nights III,
Vincent
begins with a
riverboat
shuffle to
reverse; back
to line; and
then a double
cuban and
point;
Coca Rola
phase VI
1234; 1234;

In a side-by-side position, shadow, skaters, or varsouvienne,

with same footwork, swivel RF on the right foot lower into
the knees and cross LIF of R, swivel LF on L rising and step
back R, swivel RF on R high and proud and step side L, and
swivel LF on L and XRIF of L to end in original position;
repeat;
I think I've seen the coca rola done more often as a onemeasure figure than as a two.
It is also choreographed as a "Jazz Box" without the swivels:
XLIF of R, bk R, sd L, XRIF of L;

Whip Turn
phase V
123a4;

In closed position facing reverse and wall, XRIB of left with

toe out [foot rotated CW] (woman fwd L toward man's right
side) and begin turning RF, sd L continue turning strongly
(woman fwd R between his feet), side chasse remaining in
closed position; May begin in other facing directions.
This is a spot turn for the couple of up to one full turn (no
progression) during the first two steps. The man must step
well under his body with soft knees. May begin in other
facing directions.
These "whip" figures are usually preceded by a Link: rock
apart on the lead foot, recover, and then triple beginning to

In the
Schmidts'
Better Listen
To Me Now,
there is a stop
& go; link to
a whip turn;;
to a fallaway
throwaway
side lunge &
freeze;;

turn RF; This sets up the actual "whip" turn. But we don't
have uniform consistency. Sometimes a "whip" figure will be
choreographed as a two-measure figure as if the link is part of
the whip turn.

Whip
Throwaway
phase V
123a4;

On the other
hand, in
Crazy Little
Thing Called
Love, the
Lillefields
have a twomeasure whip
turn (the link
included);;

This is a whip turn in which the woman is moved away from

the man during the chasse. In closed position facing reverse
and wall, XRIB of left with toe out [foot rotated CW]
(woman fwd L toward man's right side) and begin turning RF,
sd L continue turning strongly (woman fwd R between his
feet) and release right hand hold, chasse in place and lead
womanside and back L/close R, side L to end in left open
facing position;

In the Scotts'
Bad Leroy
Brown, part B
begins with
chicken
walks;; a
two-measure
whip
throwaway;;
american
Again, sometimes the preceding Link is choreographed as
though it were part of the whip figure (see Whip Turn above). spin, stop &
go, and rock
recover;;;;
In Choo
Choo
Ch'Boogie,
the Gosses
also
choreograph
a twomeasure
Whip
Throwaway;;
to a Left to
Right and
rock recover;;

Whip Spin
phase VI
123a4;

This is a Whip Turn in which the man takes the woman's right
hand in his right hand behind her back and pulls her into a
full RF free spin during the triple of the whip turn. So,
usually in closed position facing reverse and wall, he XRIB
of L turning RF (woman fwd L turning). He may have
changed from lead hands joined to the "behind-the-back
handshake" during the link, or this could happen during the 1
or the 2 of the whip spin itself. On count 2, he steps side L

In the
Rumbles'
Been There,
Done That,
there is a link
& whip spin;;
change places
left to right to

turning and she steps fwd R between his feet. During the
triple, the man complete up to 7/8 RF turn and leads the
woman to turn and to spin about 1 & 1/2 RF to end in open
facing position.
Curly Whip

In closed or left open facing position, rock forward L toward

wall (woman bk R), recover R raising lead hands to lead a
reverse underarm turn, step sd L/cl R, sd L turning 1/8 RF
phase VI
(woman turns 7/8 LF under lead hands remaining in circle of
123a4; 123a4; man's R arm) to end in closed position facing reverse and
wall; XRIB of left (woman fwd L toward man's right side)
and begin turning RF, sd L continue turning strongly (woman
fwd R between his feet), side chasse remaining in closed
position; May begin in other facing directions.
Notice that Roundalab does define this figure as consisting of
two measures, perhaps because it begins with such an unusual
"linking" measure. The ballroom world and URDC describe a
one-measure curly whip as a fwd L, rec R, chasse L/R, L
turning 1/2 RF and leading woman to turn under LF to end in
CP facing COH;

Kick Whip

This is a big figurefive measures. There is an even-count

set-up and then four measures of real performance.
1234; 1a234; Simplified, we kick/ball change, circle two; sit/ball change,
1a234; 1a234; circle two; and repeat.
1a234;
More precisely, the figure begins in left open facing position.
The man might be facing line of dance. Rock back L (woman
rocks back R), recover R, forward L blending to loose closed
position, and step fwd R turning to face the wall (woman
steps fwd and sd L turning RF to face wall also) ending in an
L-position both facing wall lead hands joined;
Now, kick L and look toward LOD (woman kicks R and
looks toward RLOD)/ rotate RF and step fwd L to RLOD
(woman XRIB of L and turn to face LOD), fwd R (woman
fwd L), fwd L small step and turning RF, small step bk R
(woman close L) turning to face LOD and partner and
releasing to a left open facing position again; You have
danced a complete circle over the first two measures.
To begin the third measure, settle the right hip back,
straighten the left leg, and point L heel fwd (woman sits into
left hip and extends right heel forward toward partner). On
the "a" count, close L to R (woman close R to L). Step fwd R,
fwd L blending to loose closed position, and fwd R turning to

a triple travel
with roll and
change left to
right;;;;;;
In Bassett's
House of
Blue Lights,
there is a
Stop & Go;;
to a Curly
Whip;;
In the
Woodruffs'
Shamey
Shamey
Shame, there
is a link to a
whip turn;;
curly whip;;
to a pretzel
turn;;
In the
Lillefields'
Beale Street
Blues, we do
a spanish
arms to face
wall, a
change places
right to left to
face line;;; to
a kick
whip;;;;; and
then slingshot
runaway and
back to the Lposition
twice;;;;

L-position, both facing wall;

Finish the figure by repeating measures two and three, as
described above. Again, those two measures are almost a
kick/ball change, circle two; and sit/ball change, circle two.
Do it twice. You will go around a total of 2 1/2 times and end
the figure in L-position, man facing wall and woman facing
line.
Neck Slide

In a low butterfly position facing wall, rock back L (woman

bk R), recover R raising hands up and over partner's head,
forward L/close R, fwd L releasing hold and placing right
phase V
hand on partner's R shoulder ending on woman's right side;
123a4; 123a4; wheel 1/2 RF stepping fwd R (woman fwd L), fwd L turning,
slide R hand down woman's R arm step fwd R turning RF to
face partner and line of dance/close L, side R to join right
hands;

In Tulane by
the Fishers,
part A starts
with a neck
slide;; rolling
off the arm to
face wall;;
sandstep
wheel;;;;;

Total turn is 3/4 RF as a couple.

Kick Ball
Change

We do a small kick forward/close on ball of that foot, close

other foot, (two wt changes)

phase III
1a2
Jitterbug
Kicks

This is an unphased figure that I have only seen in Sunflower, In Sunflower

but since this dance was just elected to the URDC Hall of
by the Tonks,
Fame (2006), we should look at it.
part A begins
with two jive
1234; 123a4;
1234; 1234; In closed position facing wall, rock back L (woman back R) walks; swivel
1a234; 1234; to semi-closed, recover R, touch L, small forward L; kick R 4; jitterbug
1234; 1a2
through (woman kick L through), turn to closed position and kicks and a
rock
touch R to L, sd R/cl L, sd R;
recover ;;;;;;;;
to a
Let's pause. Notice that we have danced the first two
measures. It was a rock, recover, touch, step; kick, touch, and throwaway;
and part B
a side chasse to reverse line of dance. We will repeat this
pattern with two kicks and then with three kicks for a total of starts with
chicken
7 1/2 measures. In the timing to the left, I have given the
walks;;
"kick, touch" counts in garnet.
To continue: in measure 3, we rock, recover, touch, step; kick
R (woman L), touch R, kick R, touch R; sd R/cl L, sd R, and
finally rock L, recover R; touch L, step L, kick R, touch R;

kick R, touch R, kick R, touch R; and sd R/cl L, sd R,

Let me admit that the cue sheet does not include the first
"rock, recover, touch, step" within the figure but cues it
separately, and it does include a final "rock, recover" for a
total of 7 measures.
Sand Step
qqs;

Continuous
Sand Step
qqqq; qqqq;
qqqq;

Traveling
Sand Step
1234; 1234;

This is a two-step figure. In butterfly position and standing on

the right foot (woman left), swivel RF (woman LF) and touch
the free toe to the floor, swivel LF and touch the free heel to
the floor, cross LIF of right and take weight, -; May be done
with the trail feet. Only one weight change.
In butterfly position and standing on the right foot (woman
left), swivel RF (woman LF) and touch the lead toe to the
floor, swivel LF and touch the lead heel to the floor, swivel
RF and cross LIF of right and take weight, swivel LF and
touch trail foot toe to floor; swivel RF and touch trail foot
heel to floor, swivel LF and XRIF of L and take weight,
swivel RF (woman LF) and touch the free toe to the floor,
swivel LF and touch the free heel to the floor; swivel RF and
cross LIF of right and take weight, swivel LF and touch trail
foot toe to floor, swivel RF and touch trail foot heel to floor,
swivel LF and close R to L (W cls L to R);

In butterfly position, swivel 1/8 RF on R (woman LF on L)

and touch free toe to instep of supporting foot, swivel 1/4 LF
on R and step small side step L, swivel 1/4 RF on L and touch
R heel to floor, swivel 1/4 LF on L and cross right in front of
left (woman XLIB of right) to contra banjo position; In the
second measure, you essentially repeat the first: swivel 1/4
RF on R (woman LF on L) and touch free toe to instep of
supporting foot, swivel 1/4 LF on R and step small side step
L, swivel 1/4 RF on L and touch R heel to floor, swivel 1/4
LF on L and cross right in front of left (woman XLIB of
right) to contra banjo position; Only two weight changes per
measure.

In Choo
Choo
Ch'Boogie by
the Gosses,
there is a
change places
left to right
rock recover;;
continuous
sand step;;;
Elvis swivels
and quick
rock recover;
to jive walks;
swivel walk
4;

In the Hurds'
Fine Brown
Frame, part B
begins with
traveling sand
steps;; away
kick face
point; sailor
shuffles;;
progressive
rock 4 to
face; and 2
slow and 4
A slightly different performance asks us to touch left toe to rt quick side
instep, tch L heel to sd, sd L & tch R heel to sd, XREF of L; breaks;;
repeat; Note that the actions and the timeing are a little
different: instead of toe, step, heel, cross; we have toe, heel, In Chain of
step/heel, cross;
Fools by the
Cantrells, we

Notice that two phase II sand steps carries you a little to

reverse and then back to line, and you haven't progressed.
The steps can be summarized: toe, heel, cross, -; toe, heel,
cross, -; Two measures of the traveling sand steps cause you
to progress down line (if you begin facing wall) with a toe,
step, heel, cross; toe, step, heel, cross;

Triple Travel
with Roll
1a234;
1a23a4;
1a234;1a2

Start in a right-hand star position facing COH with trail feet

free. Chasse side right (W sd L)/close L, sd R and give a
small push with the right hand and begin a right-face roll
down line, fwd L (W bk R) continuing to roll RF, sd R
completing a 1 1/2 turn to a left-hand star position facing wall
with hands at about shoulder height and lead feet free; During
the roll, fold arms in front of body with hands at about waist
level. Chasse side L/cl R, sd L (W sd R/cl L, sd R,) and give a
small push with the left hand turning 1/2 LF to a right-hand
star position facing center of hall, chasse sd R/cl L, sd R and
give a small push with the right hand turning 1/2 right-face to
a left-hand star position facing wall lead feet free; chasse sd
L/cl R, sd L and give a small push with the left hand and
begin a left-face roll down line, fwd R continuing to roll, sd L
completing a 1 1/4 turn to left open facing position facing line
of dance; fwd R/cl L or lk LIB of R, fwd R, (W bk L/cl R or
lk RIF of L, bk L)
One entry sequence begins in left open facing position RLOD
with a change places left to right into the triple travel with
roll. The first chasse of the change places left to right is used
to blend into the right hand star position, and the second
chasse of the change places becomes the first chasse of the
triple travel with roll.
The figure may begin with the man facing wall and will then
progress to RLOD.

dance the
second form
of the figure.
Part B starts
with a link &
whip
throwaway;;
change hands
behind the
back rock
apart recover
to butterfly;;
2 traveling
sand steps; to
a right
turning
fallaway and
back 2;;
In Grace
Kelly by Goss
& Figwer,
part B begins
with a change
places L to R
into a triple
travel with
roll--stop &
go--change
places L to
R;;;;;;;;

A styling option that many consider to be more gently

flowing is to use diagonal facing directions and to underturn
each of the four turns within the figure. So, in the first right
hand star, the man faces DLC and the woman faces DRW,
and that initial roll becomes only 1 1/4 RF (instead of 1 1/2).
In the first of the three central chasses, he faces DLW, and she
faces DRC. To do the second of the three central chasses,
both turn only 1/4 LF, rather than 1/2, and he faces DLC
again (rather than COH). Turn 1/4 RF for the third of the
central chasses, and he will face DLW and she DRC. Finally,
roll 1 1/8 LF (instead of 1 1/4) to Left Open Facing Position
LOD for the final chasse.
Sandstep
Wheel
1234; 1234;
1234; 1234;
1234;

This one is a five-measure figure of 20 even beats. Both do a

rock, recover in butterfly position. The man then does 3
traveling sand steps: toe, step, heel, cross; toe, step, heel,
cross; each and 3 sand steps: toe, heel, cross, each. The
woman does one sand step (toe, heel, cross), 3 traveling sand
steps (toe, step, heel, cross; toe, step, heel, cross;) and then
the other plain sand step. They maintain their double handhold throughout and over the 18 counts following the rock,
recover, they rotate as a couple one full turn RF.

In the Fishers'
Tulane, there
is a
neckslide;;
rolling off the
arm to face
wall;;
sandstep
wheel;;;;; to a
stop & go
with double
stop action;;;
In the
Rumbles'
Runaround
Sue, part D
consists of a
sandstep
wheel;;;;; and
Spanish arms
twice;;;

Mooch

In semi-closed position facing LOD, rock back L (woman bk

R), recover R, lift the knee and flick the L foot forward
slightly off the floor, close L; flick R, close R, rock bk L,
phase V
recover R; turning RF (woman LF) step sd L/cl R, sd L to
1234; 1234; reverse semi-closed position facing RLOD, rock bk R,
1a234; 1234; recover L; flick R fwd, close R, flick L, cl L; rock bk R,
recover L, turn LF (woman RF) step sd R/cl L, sd R to semi123a4;
closed position LOD;
Notice that this figure turns from semi to reverse semi and
back to semi again. Sometimes the figure uses half-open and

In the
Cantrells' I
Wanta Dance
With You,
there is a left
to right with
continuous
chassee;; new
yorker 4 to
SCP; mooch
to open

facing
left half-open, open and left open, or side-by-side positions. position
wall;;;;; and a
Another variation is to use a slight hop on the supporting foot stop and go;;
when flicking the free foot and again when closing the free
In Man, I
foot to the supporting foot. Instead of simply closing after a
flick, you may also spring onto the free foot, ball-flat, in front Feel Like A
Jive by the
of the supporting foot with a cut action.
Rotscheids,
there is
change hands
behind the
back to face
wall ~ rock
recover to;;
spanish arms
twice ~
basic;;;;
mooch;;;;;
double rock;
right turning
fallaway to
semi reverse;
mooch;;;;;
Marchessi
phase IV
1a2a3a4a;
1a2a3a4a;

This is a samba figure done in closed position, lead hands

joined low at hip level with man's palm up and woman's palm
down. Keep some weight on trail feet throughout. Press L
heel fwd (woman R toe bk) shifting partial weight/recover to
trail foot, press L toe back (woman R heel fwd) again shifting
partial weight/recover to trail foot, heel fwd/rec, heel fwd/rec;
toe bk/rec, heel fwd/rec, toe bk/rec, toe bk/rec; The lower
body rocks fwd and bk but the upper body remains still.
Actually, I've never seen it danced in this syncopated, twomeasure form. We can do it in samba because the tempo is
much slower, but at jive tempo, I'm not sure this is possible.
In jive, the marchessi is danced as an even-count, fourmeasure figure: 1234; 1234; 1234; 1234; It might be cued as
a "slow" marchessi, but even slowed in this way, it moves fast
enough so that actual weight changes can be difficult.

In Midnight
in Austin
Texas by
Filardo we
start the
dance with a
slow
marchessi;;;;
away kick
face tch 2X;;
throwaway;
In Rock Right
by Woodruff
we
throwaway;
chicken
walks 2S &
4Q;; chasse
roll to OP
LOD;;;; slo
back
marchessi;;;;

Catapult
phase V
123a4; 1a2,

In tandem position, woman behind the man, with a double

hand-hold (R-R and L-L), the man steps forward L (woman
back R), recover R, chasse in place L/R, L while releasing
right hands and leading woman to pass man's left side and
spin 1/2 RF R/L, R to face man; chasse in place R/L, R,
(woman L/R, L,)
It can be thought of as a "come from behind american spin."

Flicks into
Break
phase V
1234; 1234;
1234; 1234;
1, -, -/a, 4;

This is a long figure (five measures) but in a nutshell, it

consists of a rock-recover, three point-steps down line, four
kick-steps to line, to reverse, to line, and to reverse, and
finally a lunge thru to line like a chair, hold, and ball-change.
In jive, the point-steps and kick-steps are quick and so
constitute "flicks" of the foot. The last lunge and ball-change
is the break.
So, step-by-step, it goes like this: In a loose closed position
facing wall, rock back L (woman bk R) to semi-closed,
recover R, point lead foot to line and look to line with
forward poise, step fwd on lead foot; point trail foot thru and
look to reverse with back poise, step fwd on trail foot, point
lead foot to line and look to line with forward poise, step fwd
on lead foot; kick trail foot thru, then retract it and step side
to face partner, kick lead foot thru to reverse, retract and step
side; kick trail foot thru, retract it and step side to face
partner, kick lead foot thru to reverse, retract and step side;
step fwd on trail foot in a lunging chair-like action, hold,
hold/recover on ball of lead foot, fwd R (woman fwd L);
Note that you progress down line on the three point-steps but
you do not progress during the kick-steps. This figure can
start in semi-closed or butterfly position, and it can be done in
other orientations, e.g. to reverse.

Savoy

You might be in a side-by-side position, both with the left

foot free. Flick the left foot forward, close the left to right,
1234; 12/a34; flick the right foot forward, and then touch the right to left; In
the second measure, point the right back on the first beat,
cross the right in back of the left/and kick the left forward in
the second beat, bend the left leg so the upper leg is parallel
to the floor on the third, and point the left back on the fourth;
You may do this sequence with a little lifting action on each
step.
Maxixe
(pronounced
"ma-sheesh,"
"muh-

You might be in tandem position, both with left foot free.

Step forward L, recover R, back L, rec R; fwd L, rec R, bk L,
rec R; Do this one with a swaying Cuban hip action.

In Sorry Jive
by the Bahrs,
there is a stop
& go with
double stap
action;;;
flicks into
break;;;;;
throwaway;
to chicken
walks slow;

sheesh," or
"ma-sheesheh")
1234; 1234;
Jerk
1-3-; 1-3-;

Swim
1---; ----;
Plunge
----; ----;

Hand Jive
1-3-; ----;

Facing partner, no hands joined, raise arms to shoulder

height. Upper arms are parallel to floor, forearms are vertical,
and elbow is at 90 degrees. Make two fists, with thumb side
toward you and little-finger side toward partner. Now, step L
(W R) and jerk fists back twice quickly (flex elbows). Step R
and jerk fists forward twice quickly (extend elbows). Small
jerks; don't hit your partner.
Facing partner, no hands joined, step side L (W sd R) to split
weight and "swim" toward partner with trail arms, then lead
arms -- two crawl strokes. Maintain split weight and repeat.
Facing partner, no hands joined, and with split weight (weight
on both feet), grab the bridge of your nose with either hand
and raise the other arm straight up beside the head. Wiggle
your hips and slowly lower while waving the free hand.
Continue to hold your nose as you slowly straighten your legs
and rise.
Facing partner, no hands joined, a comfortable distance apart,
extend your arms in front of you and make fists with the
thumb sides together (the backs of your fists facing up). Rock
L (W rock R) with hip bump and bump thumbs together,
bump thumbs together again with hip bump (like a hip lift),
rock R (W rock L) with hip bump and swing arms behind the
back to bump thumbs together, bump thumbs together behind
the back again with another hip bump; bring arms in front
again open fists fingers together palms down and cross hands
over each other with a quick double pulse, -, switch to the
other hand on top and cross hands over each other with a
quick double pulse, -;

In Happy by
Halbert we
dance a
windmill to
fc wall ; ,,
basic rock
with slide , ;;
jerk;; swim;;
plunge;; hand
jive;; R trng
fallaway
2X ;;;