Glossary of partner dance terms

The exact location of the COG is always well-defined, however it significantly depends on the shape the body assumes.

In contrast, the CPB during normal dancing (head up, feet down on the floor) is always at the same place of the dancer's body, although defined in a loose way.

[citation needed] It is said that the CPB is in the general area of the solar plexus for the gentlemen, and navel for the women.

The ordinary position of ballroom dancing in which the partners face each other with their bodies approximately parallel.

[3] Physical connection, sometimes referred to as resistance or tone, involves slightly tensing the upper-body muscles, often in the context of a frame, thus enabling leader to communicate intentions to follower.

[2] More explicitly: a small sequence of steps comprising a meaningful gestalt, and given a name, for example whisk or spin turn.

[3] In a narrow sense, e.g., in descriptions of ballroom dance figures, the term refers to the behavior of the foot when it is in contact with the floor.

[3] In the Smooth and Standard dances, it is common for the body weight to progress through multiple parts of the foot during the course of a step.

Full weight or full-weight transfer means that at the end of the step the dancer's center of gravity is directly over the support foot.

A simple test for a full weight transfer is that you can freely lift the second foot off the floor.

In swing and blues dances, the frame is a dancer's body shape, which provides connection with the partner and conveys intended movement.

As in normal walking, much of the swing of the foot is accomplished with its midpart closest to the floor, emphasis shifting to the heel only as the final placement is neared.

[3] Follower's heel turns feature body rise coincident with the first step, which leads her foot to close next to the standing one rather than swing past.

[1] Jack and Jill (J&J) is a format of competition in partner dancing, where the competing couples are the result of random matching of leaders and followers.

In venues with same-gender dance partners, the ambiguous names "Pat and Chris" have been used, or event could be called "Mix and Match".

A characteristic type of hip motion found in the technique of performing a step in Latin and Rhythm dances.

The most notable distinction (in a simplified description) is that in the International Style "Latin motion" the straightening of the knee happens before the full weight transfer, while in the "Cuban motion" the straightening of the knee happens after the full weight transfer.

[3] In square dances it is a close side-by-side position in various handholds with the general intention to move together forward, "in promenade".

In American tango, the partners shift their shoulders, hips and heads to a variable degree less and up to 90 to that of their original position, while their feet: man's left; lady's right are rotated respectively leftward and rightward to make a "V" (to the left/right).

[10] The shift in Argentine/salon style tango is less pronounced and more individualized: the hold similarly variable but usually very close especially in the upper body, less in the hips.

[11] In some swing dances (East Coast, triple-count, country, or single-count), the feet are more opened/rotated in their respective directions to lie parallel to each other and exactly perpendicular to their original Closed position placement.

Rises and falls refer to the body ascending and descending by use of feet, ankles, and legs, to create dynamic movement.

[1] Both partners face the same general direction, one of them (the man) behind and slightly shifted leftwards ("in the shadow").

A step with side lead will often precede or follow a step of the opposite foot taken into contra body movement position (in which the leading side is that opposite the moving foot) without requiring intervening rotation of the body.

It must be done by rotating the head as close to perfectly in the horizontal plane as possible so as not to defeat the purpose of minimizing dizziness in those so predisposed.

Basically, it describes a body position in which its upper part gracefully deflects from the vertical.

[1][3] The second one is making more (and/or different) steps than required by the standard description of a figure,[1] to address more rhythmical nuances of the music.

The top line is the way dancers hold their head, neck, shoulders, arms, hands, and upper back.

[1] For the standing foot, its track is determined by its current orientation on the floor which may be noted on the inside of turns where the feet often point in differing directions.

Voice cues help match rhythmic patterns of steps (or other moves) with the music.