Steps We Teach

[contents][home]

A note to readers... I'm no longer president of LSD... as such, I no longer maintain a true list of "steps we teach" as a. I'm not currently teaching, and b. I'm no longer really part of the "we" -- or even in the same state anymore... I do however maintain this (incomplete) list of steps I know (or at least knew!), for my benefit if nothing else.

As I say above, unfortunately, the list is still not complete, and descriptions for many steps are still forthcoming. Please feel free to contact me at any time with comments, questions, concerns, OR descriptions of your favorite steps!

Contents:

East Coast

Basic Steps & Positions
Turns
Passes
Spins
Assorted Flashy Stuff
Kicks
Walks
Throws, Dips, Aerials and Leans

Lindy Hop

West Coast

Learning to Lead

East Coast

Timing: East Coast is in 4/4 time, with 6 counts. Meaning, every other set of steps you start on the 3rd beat instead of the 1st. East coast has several variants, including Triple-step, Single-step, Double-time, Jive...

Basic Steps & Positions

Open (facing) Position: Partners face each other, either left or both left and right hands are joined with the man's hands opening to the middle and woman's hands opening to the floor. Partners should have enough space between them that their arms make approximate 90 degree angles with their bodies. Feet should be approximately 1.5 apart. Partners should dance slightly towards each other on the first two counts, slightly away from each other on the second two. The rock step is taken by putting the starting foot (left for men, right for women) slightly back behind the other in what's called "5th position" -- men: left toe comfortably behind right heel, left heel angled at 45 degrees back from right foot.
Basic Triple Step: Steps are counted 1 (eighth), and (eighth), 2 (quarter), 3(eighth), and (eighth), 4 (quarter), rock (5, quarter), step (6, quarter). One should note that swing music is played with "swung" eighth notes, meaning of a pair of eighth notes is not exactly evenly counted, the first one having slightly more weight/length. The man steps: left, right, left when moving left, and then right, left, right to the right, followed by a rock-step where he puts his left foot slightly back (to a 5th position) behind his right. The weight shift is complete on each step but he need not lift his feet off the floor. The woman's steps are exactly opposite. If you have trouble counting this, just listen to some swing music, and try. If that doesn't help, have someone show you. Triple-step swing is not trivial to feel, but once you get the feel, you'll never forget it.
Basic Single Step: Steps are counted, 1 - 2 (two quarters), 3 - 4 (two quarters), rock (5, quarter), step (6, quarter). With the man stepping, left, right, rock, step. Things are greatly simplified, in this variant. Note again that the weight shift is complete on each step, and that the steps to the right and left receive a full two counts, and each step of the "rock-step" only one count each. Again the woman's steps are exactly opposite.
Inside (Right) Underarm Turn: This is the first basic turn learned, and is a building block for ALL future swing steps. The man leads the woman's arm up and across his body, from left to right. She will turn, under his arm. This is also called the "Right Underarm Turn" because he is leading her to his right. The man leads this on the rock step, before he takes his first step to the left. The man makes a quarter turn, as he begins his step(s) to the left, completing his rotation by the end of his first set of steps. The woman is lead forward, across her body. She performs a series of lock steps (in triple step) or a single step (in single step), followed by a pivot to her left, after which she lock steps (or single steps) backwards (away from/past her partner) followed by her normal rock step.
Outside (Left) Underarm Turn: This is the second basic turn learned, and is also a building block for nearly ALL future swing steps. The man leads the woman's arm down and out away from his body to the left, followed by a raise of his arm, as she passes under his raised arm. The woman performs a "lock, step, lock" (in triple step), or a single step (in single step) followed by a pivot to her right, after which she lock-steps (or single steps) backwards away from her partner, followed of course by her normal rock-step. The couple is now in what I call "Open (parallel) Position" with both partners facing the same direction, or at closest, making a right angle with one another. Outside Underarm Turns are normally followed by another inside underarm turn to bring the woman back into open position (or even closed, or cross hand hold...).
Open (parallel) Position: Woman is standing to the left of the man, with their hands held, the man's "on top" of the woman's, his hand facing the floor or behind the couple. This is the position encountered after an Outside Underarm Turn, before the man (normally) leads the woman back to Open Position with an Inside Underarm Turn.
Closed Position: Both partners dance, facing each other with the man's arm around the woman, with his hand in the middle of her lower back. His hand is split around her spinal column, with his palm and fingers touching either side of her back. The woman places her hand on the man's shoulder. The man's left is holding the woman's right, his fingers facing the ceiling, hers facing the floor. The connection (and lead) is felt both through the lead (left) arm, but also through his connection to her back. Normal triple or single step is done in closed position, with a slight V made at the "rock-step" as the woman opens out away from the man to form a V. The man leads this with the hand on her back.
The "Link": This is one of the standard ways to get into closed position. This is lead by the man pulling his lead (left) hand down and towards his side as he steps left with his first (set of) side step(s), the woman is then forced to step forward more on her side steps. The man puts his right hand up around her back and the couple closed position.
"Side Step Break": The simplest way to get out of closed position. During a normal side step (or series of in triple step), after the 2 count, the man releases his right hand from behind the woman's back, (optionally bringing it up in a flashy manner) and the couple steps back and apart on 3+4 and rock steps in a Open Facing Position on 5,6.
Cross Hand Hold: Another basic of swing dancing. This like the normal single handed open position except the man is holding the woman's right hand with his right hand.
Inside Arm Turn into Cross Hand Hold: The most common way to enter a Cross Hand Hold is to perform normal inside arm turn, and as the man brings his arm down after passing it over the woman, to take her right hand with his right, followed by a rock step in cross hand hold position.

Turns

She Turns, He Turns: Starting from Open (Facing) Position, the man leads an inside underarm turn, but before bringing his hand down, and before beginning the 3 - 4 counts and his return step (single) or "shuffle" (triple), the man ducks under his own arm, pivoting from his forward (left) foot to his right foot, continuing his motion forward. The man lets the woman's hand slip under his (as normal) and the couple ends in opposite positions from before, in a normal Open Facing Position.
Inside Arm Turn into Closed: Another entry into closed position is by bringing the woman especially close on an inside arm turn, and raising the man's right arm around her back as the passes under his left. This allows the man to guide the woman into closed position, ending in the outward closed position "V-like" rock-step.
Parallel Turns (Barrel Roll): Lead from Open (Facing) position, holding both hands. The man leads the woman out, and under his left arm, as he would for an outside underarm turn, but does not let go with either hand, and follows her under his own arms, making a complete turn with his partner. Dancers end in Open Position.
Around the World: Beginning from open facing position, holding both hands. The man turns on his 1,2 count under both hands, he performs the second half (3,4) of his sidestep normally with his hands crossed in front of him. The couple rock-steps together and then now with hands crossed, the couple's feet stop and the man swings the crossed hands to his left (1), and then to his right (2), followed by leading the girl to turn under both arms in a turn (3,4). The couple then rock-steps and continues dancing.
Man's Turn: The man comes down in his knees on the 1 beat. Hold his left hand high, but does not turn her under. Instead, on the 2 beat he turns under his own arm, as she waits ;-)
"Cradle" or "Cuddle" or "Sweetheart": Starting from Open Facing Position, both hands held, the man leads an inside underarm turn, but does not release the woman's left hand (in his right hand). The woman ends up to the right of the man, tucked under his right arm, her own arms wrapped around her. The couple then steps 3+4 back together, followed by a rock-step in cuddle position. The couple can stay here as long as desired, stepping forward and together in time and rock stepping together. To leave cuddle position, the man leads an outside underarm turn to open parallel position, normally followed by a inside underarm turn back to open facing position.
Tuck Turn (outside underarm turn from closed): Very simple. Begins from closed. Begins with a normal (both partners) rock-step. On 3, the lead closes the follow towards him (more sharply than normal), followed by the opposite rotation on 4. This asks the follow to execute a cross-step forward out of closed position. Depending on if the couple is holding (lead) left to (follow) right, this can be a lead outside underarm turn, or can be a free-spin on 5,6. Used in lindy, this is completed with a triple-step over 7,8.
Double Tuck Turn: If my memory serves me correctly, this is simply a second turn lead over 7,8 instead of the (boring) triple-step.
Backwards Roll from Closed: This is a 4-count roll normally used on the second half of an 8-count move, such as charleston, or a stomp-hold on 3. For the stomp variation: Normal rock-step, followed by a stomp-hold on 3. Then the lead pushes off with his lead hand, rolling away from the follow, back the other direction. If watching each other, the pair can roll for 8, or 12, or more counts, but often 1 complete roll is enough. If actual pivot-turns are done by each partner, two full rolls can be accomplished in 4 counts. (two full rolls is probably more common... but can make inexperienced dancers dizzy...).
Merry-Go-Round: Description forthcoming. (A variant on Stomach Pass.)
Duck-Turn (8-count): Description forthcoming.
Man's Wrap (8-count): From double hand hold. Lead & follow rock step together (or sugar foot), lead leads as he would into a behind the back pass, but does not let go of his right hand, rather raises it above his head, wrapping himself in the follow's arms as he walks forward 3,4. The pair rock-steps together in this cuddle position. The lead now releases with his left arm, and leading the follow out and around, leads a clockwise underarm turn with his right hand (over 7, 8). The lead normally should offer his left hand immediately following the turn. The couple has now returned to double hand hold open position.
Women's Solo Turn (8-count): This is a move stolen from Cha-cha. Instead of rock-stepping backwards, the lead rock-steps forwards (signaling to the follow that something is up (and leading with his connection back into a rock-step instead of of sugar-foot). The lead then triple-steps back, the follow following, and then lifting his left arm, to a palm-to-palm position, leads a salsa/cha-cha style turn, pushing his hand up and around her head (over 5-6). The pair then triple-step back to place.
Quick-cuddle and Turn (8-count): Lead from a double-hand hold. Rock-step (or sugar-foot) over 1,2, followed by a lead into cuddle over the triple-step 3,4. The lead however comes forward enough to catch the follow before she is capable of doing a rock-step on five, instead leading her back forward (with his right arm against her back) out of the cuddle over 5,6. Now lowering his left arm, the lead raises his right, and leads the follow into a wide clock-wise underarm turn with his right arm (over 7,8). The lead normally offers the follow his left hand to the follow as she comes out of the underarm turn.
One-Handed Barrel-Roll: Lead from open position. Normal rock-step (sugar-foot). The lead leads a cross-body triple-step (over 3,4), lifting his arm into a ballroom style position, and touching shoulders with the follow. The pair conventionally look at each other during this time (and for as long as possible). Another variation involves a down-ward lead, (also the backs of the arms and shoulder's touching), this allows a little of a wind-up to the barrel roll. Over 5,6, the couple pivot's in a barrel-roll, triple-stepping back into place over 7-8.
Drop-turn: Some say this "can't be lead." But I think it's a cool move, so I'm listing it here... Basically this begins with a normal rock-step (sugar-foot), followed by a stomp,hold on 3,4. The man then can (sort-of) drop his arm, and pull it back slightly. If it's a good follow, she will take this as a signal to crouch down, placing her weight on her right foot. She uses her left foot to push herself around (normally a push is needed at the 0 and 180 degrees) in a turn over 5,6,7,8 (returning to a position similar to the stomp-and-hold she left, which can be followed then by a rock-step, etc.)

Passes

Behind the Back Pass: Starting from cross hand hold, the man leads a series of 3 inside (right) under arm turns, between the first two of which he switches hands. As he leads the first under arm turn he leads the girl forwards, both parties lock-step forward past one another for the first two counts (three steps in triple, one in single), the woman passes under the man's raised arm, and both partners then make a quarter turn to their respective lefts, facing now back, the pair continues with a normal steps. At the end of the rock step, the pair will be in "Open Parallel Position" just like following an outside underarm turn. Here the man normally leads the third inside underarm turn, bringing the woman back facing the man.
Stomach Pass (Man's Pass): Starting from open facing position, the man steps forward and to the side of the woman, placing her (open) hand on his stomach. He performs a "pivot turn" on the and of two, while her hand slides across his back. He grabs her hand again with his left hand as he finishes his turn over 3-4, and and rock-steps with her on 5-6.
Parallel Passes (Open): Description forthcoming.
Parallel Passes (Closed): Description forthcoming.
Parallel Passes (Behind): Description forthcoming.
Parallel Passes (Behind, With Turn): Description forthcoming
Loop-dee-loop (8-count): Also lead from a double hand hold (open position). The lead leads a normal inside underarm turn (basically a cuddle), but lets go, to allow the follow to do a full turn. The lead keeps his right arm out however, such that after her turn they can return to double hand hold. This underarm turn is lead over the counts: rock-step, triple-step. Now the second half is similar to a lead's stomach pass, except holding both hands. Again the lead releases (this time his left hand) just in time to allow a full turn, and space-exchange with the follow. The lead should normally offer his left hand immediately following the turn, thus returning the couple to double hand hold open position.

Spins

Spin from Parallel Passes: Description forthcoming.
American Spin: This move is lead from open facing position, normally with a single hand hold. This particular spin requires a strong connection between the partnership and good following/leading from both. Normally when dancing swing, the couple dances slightly towards (1,2) and away from (3,4) each other on each step, always leaning a little towards each other. This spin takes advantage of this fact. The man does a "prep-step" coming down on his left leg on 1, and bringing his left hand up and a little towards his chest, prepping for his push. The woman also comes down with the man on 1, strengthening her connection and putting her weight entirely on her forward (left) foot. The couple pauses on 2, and then the man pushes on 3, the woman spins entirely on her forward foot. IMPORTANT: the man's push should be the pressure which allows the woman to rotate. SHE SHOULD NOT ROTATE BY HERSELF. The man must then catch her left arm again as she comes around (either with his right or left hand), and then the couple rock-steps together and continues dancing.
Free Spin (cross hand hold): Lead from cross hand hold. The man pulls the woman's right hand across his body, grabbing her wrist all on the 1 count. Then on the 2 count, he uses his left hand (with which he grabbed her wrist) to "throw" or push her around in a spin.On the 3 count the pair rock steps as normal.
Turn, Rock, Free Spin: From cross hand hold. The man turns the woman under his right arm on 1, then he turns himself under (without moving his left foot. Then on the rock-step, he swings his leg around and does a big rock step. This is then followed by a normal Free Spin (see above).
Double Inside Under-Arm Turn: The man leads a single inside underarm turn, being sure not to move his hand much from the axis of rotation, and then immediately leads a second inside underarm turn. The pair follows the two quick turns with a rock step.
Infinite Spins: Basically, the man can in effect lead as many inside underarm turns in a row (in the same manner as above) as he wishes, and his partner is capable of. These are sometimes referred to as Infinite Spins, when he just spins her again and again.
Spinning Top: From a Open Facing Position, holding with both hands, the man leads the woman towards him on the first two counts, pulling his hands down to his sides. As she begins to come towards him, he quickly moves his hands behind her back, bringing his arms behind her back, and together. He then takes his left hand, and grabs her right hand, leading her into a turn on 3 + 4. 5,6 the couple rock-steps together as normal.
Spot Turn from Cross-Hand Position: Description forthcoming.
Spot Turn from Cross-Hand into Side-By-Side: Description forthcoming.

Assorted Flashy Stuff

Pretzel (Right): Description Forthcoming
Pretzel (Left): Description Forthcoming
Skin The Cat: Starting from Open Facing Position, holding both hands. The man and women both turn their right sides towards their partner, and as doing so, lift their left arms over their heads, this should be done by the second count (of six). Both partners then let go of the other's hand with their left hands, and with their (now released) right hands, grab the arms of their partner. Both partners, now step back on their right feet. This is now a hyper-extended cross hand hold, from which both partners normally rock step, and I commonly use a Behind-The-Back Pass to leave this hold, however simply returning to a normal cross hand hold, or an inside turn works well.
Toe-Heel-Cross: This is an alternate stepping pattern which is performed together as a partnership, or by one partner while the other does something equally flashy. It is performed exactly as it sounds. The dancer begins with their normal starting foot, touching their tow down to their side with their heal up, followed by touching their heal with their tows in the air. Their heal will tap out further in front but still out to that same side. They then cross this same foot over in front of the other, placing a flat foot down on the other side of their non-starting foot. This pattern then continues with the opposite foot. This can be counted as either quarter (eighth), quarter (eighth), half (quarter), or evenly as quarter (eighth), quarter(eighth), quarter(eighth). It is not uncommon to see a pair count it both ways in a single dance, depending on how they want to end or the speed of the music, or whatever.
"Flashy Thing" or "Jump-Clap, Jump-Clap, Waddle, Waddle (bing bang!)": Lead from closed position. The man "preps" to lead out of closed position the beat before. Then on the1 beat the pair comes down into their knees, then on two, the man leads the woman up and over her head (a very high outside underarm turn). This high lead is her signal that she is to do a 360 jump turn instead of just a outside underarm turn. The man jumps back as she does this jump turn. Now the jumps begin. The pair does an even number of jumps backwards clapping after each jump. Normally the pair just does 2, but can do as many as they wish as long as the number remains even. So: Jump, Clap, Jump, Clap. Now the pair does the "waddle, waddle" as we refer it. This is very much the same move as the woman does in lindy, walking in small steps kicking their heals forward. In the end, you can do whatever walk you'd like to get back. But you should have 2 counts for every 1 jump you did. So it actually takes 4 steps of waddle (2 right, 2 left) to get back. The pair rejoins hands and continues with a rock step.
Stop-And-Go (Cross Hand Hold): Lead from cross hand hold. The man turns the woman out, across her body, (to her left). This turn is quick, and 180 degrees. The woman sticks her free arm, either out to her side (which he then catches), or up straight. This move is done quickly, as a "showy move." Same as the next Stop-And-Go, in that the entire move takes 2 counts, followed by a normal rock-step.
Stop-And-Go (Normal Hand Hold): Lead from open facing position. The man leads an inside underarm turn, but stops the woman by putting his right hand on her back before she has progressed fully through the turn. She then shoots her hand up and he leads her back on 2, to rock-step again in open facing position.
Blender: Lead from cross hand hold. The man leads the woman forward on 1, taking a big step forward himself and tapping her on the far (her left) shoulder. It is important that the man not lead the woman to far forward and that he stop his hand such that she does not believe she is to follow with a turn. The woman takes care never to allow her elbow behind her chest. On beat 3, the man now pushes his right hand forward again, stepping forward with his right foot. She makes a large step with her left (outside) foot, to come around and tap him on the shoulder. Each step is held for 2 beats, the sequence repeats. After she touches his shoulder, on the next pull forward, he can continue with his hand beyond the normal stopping point and lead her into an inside underarm turn to lead her out.
Quisinart: Description Forthcoming.
"Dane's Favorite" or "Whoop, Whoop": Only used in triple step swing, from closed position. The man leads a single step, instead of a triple step, and dips down especially low into his knees. The woman does the exact same. This was a favorite of one of our founders Dane Tice, and is still known as "Dane's Favorite" in LSD today. It's also customary to make a "Whoop, Whoop" sound occasionally when performing this move on the dance floor.
Basic Double Time Swing ("Dig-Step"): Unlike triple step swing, steps are counted 1 (quarter), 2 (eighth), and (eighth), 3 (quarter), 4 (eighth), and (eighth), rock (5, quarter), step (6, quarter). Again, note the "swung" eighth notes, (a pair of eighth notes is not exactly evenly counted, the first one having slightly more weight/length). The man steps: "dig", "step" (and weight shift), "straighten" all with his left foot, and then "dig", "step" (and weight shift), "straighten" back with his right foot, followed by a rock-step where he puts his left foot slightly back (to a 5th position) behind his right. The weight is only shifted on the "step" step, or the 2 and 4 counts (and of course the rock step). All steps are made to a bent knee and all steps should have some hip shift (Cuban motion) in them (half on the side steps, full on rock-step). The woman's steps are exactly opposite. I personally find Double-Time swing more difficult than triple step swing, but it's fun, and looks cool. This is not a step that we normally teach beginners.
Floor-Touch: This is a difficult move to lead, requires good connection to execute. Lead from open facing position. 1. Rock 2. Big step (and pull) forward. On two the couple is slightly turned towards each other, in a compressed position (leading in towards each other). On three, the lead pushes, releasing the compression, they both complete the turn, jumping back away from each other, onto their other foot (left for lead, right for follow)

Kicks

Circle Kicks: Lead from normal hand hold, open facing position. The man leads an outside underarm turn, but does not let go of either hand. He also turns 180 degrees to his left, following her in the turn, thus they end up with crossed arms, in a parallel fashion, facing opposite directions. His left hand has her right hand in s pseudo ballroom hold. His right hand is holding her hand, but most holding her hip. The pair begin with a rock-step, followed by a series of kick, step, kick,step in a circle. To get out of circle kicks, the man adds a shove with his right hand to his right kick, pushing her away. They kick together as he pushes, then step, and then rock-step, and are either in normal or cross hand hold depending on how he leads it.
Parallel Kicks (Open, Front): (Out to in, in to out, out to in, in to out)
Parallel Kicks (Closed): Man left, man right. (in closed position, to the center)
8 Count Charleston: Charleston is a kick-step, kick, hang, kick, step, rock-step. We teach it using "Dane Tice's patented 5-step method." It goes as follows: (beginning left for men, right for women). 1. Kick-step, kick. (now beginning with right) 2. Kick, hang (bring your ankle to your knee, down in your knees, and hold for a count), and kick (backwards). 3. Kick (backwards), step, rock-step. 4. String parts 1,2 together. 5. String parts 1,2,3 together.
8 Count Charleston Reverse: The leader must first ask for the follow's hand, if he doesn't already have it. After the second (inside leg -- leader's right, follower's left) kick, use the power of the hang, tucked under your knee, to turn you on your other foot. The leader leads this with a pull (then push) through of his left hand, turning himself and the follow 180°. Following the hang (turn) both dancers, kick and step down with this (now outside) foot, beginning a basic charleston from the beginning, again, after the kick of the inside leg, the hang and turn repeats, returning the pair to the original orientation.
8 Count Charleston Lady Turn: This is lead from the Charleston Reverse. After the first outside kick, in a reversed charleston, the man begins to raise his hand (as if to turn the follow), the both kick with their inside feet, instead of both hanging (and turning) with these inside feet, the lead leads the follow through a turn in the opposite direction (outside, counter clockwise). Thus her footwork is kick (inside), hang (as normal, while turning in the opposite, clockwise direction), kick (now turned 180° to face the original direction), kick (with the same foot as before), hang (continuing the turn counter clockwise), kick (again with the same foot). The lead, also kicks three times with the same foot, once forward, hang, backwards, hang, kick forwards. Afterwards, the pair normally completes the reverse charleston returning to original charleston orientation.
Open-Position Reverse Charleston Lead: Here is one nice way to lead directly into (reverse)Charleston from open position. Begins with a normal rock-step (sugar-foot), followed by a cross-body kick-step. The rest is simply the normal reverse-charleston.
Charleston Slide: Begins with the normal rock-step(1,2), kick(3), step(4), however this variation adds a compression down on 4. This preps for a jump up on (5,6) (knee tucked in, not kicked), and then a jump back on seven (with leader's right, follow's left), slide together on 8. This move is normally performed with a little bit of bleed between 6,7,8 as the jump is a little shorter than 2 counts and the slide a little longer.
Roll-out of Reverse Charleston: (I just made this up... but I'm sure it works.) An interesting way to get out of reverse Charleston, is to bring your hand back early in final kick in the reverse portion on 3(after kick, step, before turning around) for reverse Charleston and as the lead is grabbing the follows left hand with his right hold, that kick (instead of bringing it through. After a one-count hold (on 4), push off with the right hand (lead), and roll away, two pivots over 5, 6, linking up again with your partner, and triple-stepping 7,8 in open facing position.
Tandem Charleston (a.k.a. "Lindy" Charleston): Description forthcoming.
Rocket (Turn-and-lean from Tandem Charleston): Description forthcoming.
Underarm Turn from Tandem Charleston: Description forthcoming.
6 Count Charleston: This is a charleston w/o the hang. So: kick, step, kick, step, rock-step. I haven't done this one in a while, so my memory needs a little jog and then more description here is necessary.
Charleston Forward-Cross, and Back-Slide (8-count): 1. Rock-step. "And" of two: jump forward on to your left foot lead, right foot follow. 3. cross your right leg behind your left (all your weight is on your left, your right almost "points" forward with the bottom of your shoe). 4. hold 5. step (kind of jump) back onto your right leg -- not moving your left). 6. slide your leg back.
Johnny-Rock-Step (8-count): Not really a kick move, but often lead from Charleston, always from closed. Lead's steps: 1. Rock-Step 3. kick (left foot) 4. Cross (in front of right -- kind of a sweeping motion from the kick). 5. step (back with right foot). 6. step (side with left foot). 7. Stomp (forward with right foot.) 8. Hold. You can repeat, although this normally just used once to coincide with the music. Fun step, not too hard to lead.
Shim-Sham: The Shim-Sham is it's own dance... but one of the most famous moves stolen commonly from the Shim-Sham into Lindy is the "you push, and you push, and you cross over", otherwise called the "shim-sham" in Lindy. To learn the Shim-Sham, put your left foot about a shoulder width in front of your right, bending your left need now, "push" forward onto that knee (rock forward and back), so push, rock over 1,2. (it's a simple weight shift forward and back) As you do this, say to yourself "you push (push on the push), and you push", for the rhythm. The next part is then a push, kick, (cross) step, step -- similar to how I describe below to get into it from charleston. The pattern repeats. To get into Shim-Sham, the man needs to do a cheat step. The easiest way I know to do this is from Charleston, where instead of kick,hold,kick,step (over 5,6,7,8) the man can do "kick, step, step, touch", which will allow him to rock-step on his right foot with the follow. The shim sham then begins by the follow taking a rock,step, kick with the follow, and then pulling her over towards him and down onto that kicked (right foot). Both stepping back then onto their free left feet.
Sea-Saw: Description Forthcoming.

Walks

Pimp Walk: Description forthcoming.
Drunken Monkey Walk: Description forthcoming.
Jig Walk: From closed position, following the rock-step, the lead steps down and into his left side step, turning his follow inwards (toward him) with his hand in the center of her back. He follows this by stepping through with his right foot and turning his follow outwards with his right hand. This is repeated as necessary, and is often done as progressive kicks (in, then out), or sometimes with the follow stepping in double-time, with a swivle-swivle.
Shorty-George: Description forthcoming.
Boogy-Forwards: Description forthcoming.
Boogy-Back: Description forthcoming.
Cross-Hand into Side-By-Side: Description forthcoming. (A simple way into shorty george, etc.)

Throws, Dips, Aerials and Leans

Cheerleader Throw (also called "Throw-Out" in Lindy): This is a way to leave from Charleston. The man takes the woman's free hand (as he does to get out of basically any version of charleston). The man closes the woman off, coming down into his knees. She takes this as a signal to be ready, he then lifts her slightly, she jumps (as a cheerleader might, with kicking her feet up to her rear).He helps her to jump around in front of him, she lands, and they both rock-step.
"Spin and Dip": Description forthcoming.
"Mini" Rag Doll a.k.a. Violent Love: Description forthcoming.
Rag Doll: Description forthcoming.
Screw-Driver: Description forthcoming.
Over the Back a.k.a. Carousel: Description forthcoming.
Back Flip (D&S Style): Description forthcoming.

More aerial descriptions care of John Gale:

Fall Backward: This is a great little flourish for those times too crowded for an aerial. Starting with a verbal lead on the rock step, lead and follow break hands on 1. Follower spins a 180 to her left, pivoting on her right foot. Her arms spread out as she begins to fall backward. The man is behind the woman at this point, and catches her under the arms, while her left leg flies up for jazz. Man should avoid bending over straight, otherwise clunking of heads might result (lift with the knees!). Man then pushes her back up, and she spins around to finish with the rock step. A variant is for the lead to graze her right hand after he finishes pushing her up, thus going into cross handhold for the rock step and a nice inside turn to finish.
Fall Forward: Fall Forward is just like Fall Backward, but with a humorous twist. This also starts with a verbal lead, but be sure to distinguish between Fall Backward and Fall Forward, lest the follower fall flat on her face. Do the exact same for the Fall Backward, but after the lead pushes her back up, she swings her left leg back, keeping only her right foot on the ground. The man puts his right foot (the outside flat of the foot, not the toe, because more contact area = safer) shoved up against the heel of her right foot. The woman then proceeds to fall forward... arms flailing, left foot flying backward, which the man catches to make sure she doesn't fall on her face. After a quick second or two, the man tugs the foot back, the woman puts it down, and spins to continue dancing.
Jump on Hip ("Jump-Hop"): This move is like the Cheerleader Throw, but for those couples with a bigger difference in size. This also needs to be a verbal lead, since it involves a jump instead of just a move. From closed position on beat 5, both lead and follow crouch into their knees. The man rises a little while the woman jumps into a flying kneel (knees up, feet to the rear). She lands on the man's thigh, which can be made bigger by keeping the crouch a little and splaying your hips a bit to catch her. This kneeling on the guy's thigh can be held for a long time if done correctly. In this move, the man crouches to lessen the impact of the woman landing on his thigh, and from that crouch springs up to flip the girl out into the front and facing him once more, to finish with a rock step.
Death Drop: Once more a verbal lead, this is for the strong men or light women. From a rock step holding both hands, the man leads an inside underarm turn while still holding both hands. After the woman turns under to be perpendicular to the man (facing to his left), she then drops back and down, putting weight on her left leg (closest to the guy) and the double handhold the two have. In the lowest point, the woman's and man's arms should be almost fully extended to have her head close to the ground, but (of course) not hitting it, while her right leg kicks up (beware of the man's head). The man will probably be leaning back a little so that he doesn't fall over forward with the weight of the woman's drop. Coming out of it is exactly backwards of going in... the man tugs (hard) and pulls the woman up and under his arms as they twist out of it, into a rock step.
Back Flip (J&E style): Again a verbal lead, the Back Flip is a quintessential flasher. For this one (John & Emilie style), on the rock step the guy leads into an inside turn, then lets go. The woman stops turning and moving when she's exactly parallel to the man, facing the same direction. The man bends forward, reaches his right arm over the front of her hips, as if he's going to grab her ass (LSD does NOT support sexual harassment). The hand can easily be turned away to avoid this, while still holding her close with the arm. For beginning, the man's left hand can hold onto her leg to help with the flip. Advanced partners can either a) grab onto the ass, or b) not use the man's left hand to help with the flip. Both man and woman crouch down then for a prep... the woman jumps up, essentially trying to do a back flip herself (throwing her upper body back and knees up). The man can help her over by making sure her knees go over. The woman ends the flip with the man's arm in front of her, thus with a propensity to fall backward. Try this move with spotters first, protecting the woman's head if she falls backward. It's easy for the man to protect her if she doesn't flip enough.. it's harder if she flips too much. Because of the nearness of the man's right hand with the woman's right at the end, you can bounce or kick after the woman lands into a cross handhold for seamless play into the rock step.
Pencil: The Pencil is a beautiful finishing move, especially if you can hold the move for as long as possible. Essentially the object is to get the woman in the air, head down and feet up, completely vertical and in line with the man. Despite the woman's fears of falling over backward, it should be relatively easy for the man to notice if that starts happening and twist around for her to land on her feet. This verbal lead move starts with a straddle, where after the rock step the woman jumps onto the man's waist, straddling him. The man swings back with the impact, then swings forward with his hands on the woman's hips (beware of the thumbs, if you don't pay attention they tend to dig into her stomach rather hard). The woman has her hands on the man's shoulders, and with practice there should be enough momentum to get the woman completely upside down, vertically inline with the man. Hold as long as you want, often through the end of the song, so that everybody stops dancing and sees this woman upside down in the air. Coming down should be self-explanatory, and there's no real method to it. Beware, men, to keep your back straight... otherwise you can bend it too far backward and the weight of the woman can prevent you from correcting and preventing a fall. Again, as with all aerials, try this with spotters first.
Mop The Floor: Another verbal lead (as with most of these type), Mop The Floor starts in a double hand hold, and after the rock step, the man leads a half inside underarm turn so that the woman turns around to face the same direction as the guy, but in front of him. The still held hands are placed on the woman's shoulders, so that the man's hands are normal and the woman's are crossed over her chest. The woman then crouches down as far as she can go, as the man jumps over her, still holding hands, so now the man's arms are between his legs, and the woman's arms are crossed but in front of her. The woman then kicks out her legs so they shoot forward, and uses the momentum of that and the forward pull of the man's hold to swing between the man's legs and up. If you try it slowly at first, you'll notice that the arms unfold naturally, so that if the woman turns (I believe... try it first) to the right, then you can still hold hands and turn that into a double handhold open position.

Assorted patterns and suggestions:

Ways to leave closed position:

"Flashy thing" returning to open position.
Outside Underarm Turn
Side-Step Break
Open into Charleston
Inside Turn
Cheerleader Throw

Fun patterns:

Too many to count.

8-Count Lindy

One note, before I go further, Lindy is considered a "slotted" dance, in that for the basic, the woman generally goes forward along a line, and then back along that same line, forming a "slot" in which the dance is danced. I will throughout these descriptions refer to going "up the slot" as coming towards the lead and going "down the slot" as going back away from the lead.

Basic: The rhythm is that similar to 6-count triple-step swing, except now with 8 counts and the additional 2 counts added in a rock-step fashion between the two triple steps. Thus: step, step, triple-step, step, step, triple-step is the rhythm The follow: the follow uses this rhythm almost exactly, making two steps forward (often done as swivels for style), followed by a turn (about face) on the three, and a normal and-four completion of the triple The second half is in principle identical for the follow, as she walks forward two steps and turns again on the three, completing the triple step as normal. The lead: the lead makes instead a rock-step on one-two, leaning away from the follow and pulling her forward (on her step, step), she meets him then on his right side, and they turn together on three, completing their "and-four" in what's referred to as the "face-off". The lead then pulls the follow forward (on the and of 5) back the way she came, and steps slightly backwards (out of the way of the follow -- often crossing his right leg behind his left), releasing his right hand from her back on five (the release is not always "definite" on five, as the lead's hand often follows the follow for part of five-and-six" however, generally no more pressure is applied during this time. After all, they say: "real men let go on five"). The lead completes his turn on 6, and backs up (away from the follow) on seven-and-eight. The basic lindy step is not one which is easy to describe in words, rather one which is easiest to pick up from sight. Things to think about when learning the basic 8-count lindy are: 1. The follow does *most* of the moving. The man is merely pulling her forward, getting out of her way, spinning around her, pulling her, getting out of her way again. The man does not move much at all. 2. The man has to pull the follow forward, and give her some pull on the way back ("and" before five). 3. Neither partner should (in general -- and while learning) allow their right elbow to disconnect from their chest during this move. That helps prevent couples from getting too far apart (or otherwise looking silly).
Basic Inside Turn (a.k.a. Belly Rub) (8-count, swing-out variation): Instead of the basic second half of the lindy basic, the lead instead takes his left arm and begins to lift it into a turn (on 4) after starting the follow back down the slot, he lifts his hand in towards himself and above the follow, leading her in an inside underarm turn as she returns to open position. Depending on what circles you're dancing in, it's either expected, or improper for the lead to keep his right hand connected to the follow, and rub (gently) across her "belly" as she turns. Personally, I pull my hand a little further away keeping the illusion of a "rub" but without bothering my follow.
Basic Outside Turn (8-count, swing-out variation): The equivalent of the Basic Outside Turn from East Coast is possible as well in lindy. This is lead on the second half of the lindy basic, instead of inside under the lead's arm, outside under his arm. This lead should be done with care, (and early) so as not to harm the follow's shoulder (if it were done unexpectedly or too quickly). The hands following this variation, will be "messed up" with the lead's hand above the follow's. A basic lindy (or any number of other moves) can be used to correct this.
Man's Turn (8-count): This is an alternative second half to the Lindy basic. Instead of stepping backwards on 5 the man lifts his left hand and steps under his own hand on as he leads the follow back down the line of dance. An alternate variation is to step backwards on 5, and delay the step forwards under the leads own hand until 6. This however makes the common "slide" variation impossible. In the slide variation, the man slides forward on 5, dragging his left foot together to his right on 6. The couple triple steps away (or squirms in place... or whatever the heck they want over 7,8).
Basic Free Spin Turn (8-count): A variation on the basic, similar to the Basic Outside Turn. Instead, the lead lets go of his left hand on the and of five and does not pull the follow back down the slot with his right, instead, the lead rolls the lead off his right hand on six, and she completes a free spin on her own. The lead is careful not to back to far away from the follow during this spin, as she may travel backwards some. Furthermore, the lead can optionally spin himself during this free spin. Some leads will also "prep" this turn somewhat with a *slight* inward (counter-clockwise) rotating pressure from his right hand on five, however that is rather difficult as both dancers are rotating as a whole in a clockwise direction. In general, a tuck-turn (of which this is a variant) would require a "prep" on five (or three, depending).
Cross-Over (4-count): A simple inside "6-count" under-arm turn, here done in 4-counts, and used to switch places in Lindy. Normal rock-step, the on 3,4 the lead lifts his left hand while exchanging places with the follow, to form a conventional "inside under-arm turn" done here in 4-counts. 5,6 are done as a rock-step and treated as a normal 1,2 for Lindy.
Back-Bend (4-count): This is done from back-to-front woman's right hand on man's left shoulder position, which can be lead into from a number of ways. An easy way to lead into this is from a modified version of the "Man's Turn" from lindy basic. The man steps under his own arm on 5, but instead of sliding out, or actually going very far away from his follow, he takes small steps in place for 6,7,8 leaving the hand of his follow on his left shoulder. The move is then a back-bend (stand on your toes, and bend your back backwards, knees bent, supporting your own weight). The follow's hand in on his shoulder, palm against his back (in case support were needed -- but it should *never* be needed, unless he's doing some kind of super deep variation). The lead bend's back on 1,2, up over 3,4. Various ways to get out of this, including 1. grabbing the follow's hand and doing step, step, triple-step. 2. a more exiting variation, is to continue the coming-up motion into a clock-wise head-duck turn. The man turns a full 1 1/2 times, over the 3 counts, coming to rest in open facing position with his partner.
Round-Off (a.k.a. Circle or Wheel).: If one thinks of Basic lindy as "open to closed to open" in that the partners start apart, enter into closed position, and then return to open. The concepts of "open to closed to closed" or "closed to closed to closed" or "closed to closed to open" become rather self explanatory. Simply put, the man does not lead the woman back "down the slot", but rather stays in closed position and turns with the woman during the "step, step" portion, and then does the "triple-step" leading the woman (and himself) backwards towards and inevitable rock-step in closed position. Likewise, to lead out of closed position, the couple rock-steps together, then the lead "cut's the follow off" or steps in front of her, beginning a spin, on the first triple step. With this spin momentum, the lead enters into the spin of the middle "step, step" this time giving a slight pull and sending the woman "back down the slot" beginning on the and of five. Thus returning the pair to open position.
Kick-into-Closed: When doing a Round-Off (Circle) into closed position in Lindy, an interesting variation is to instead of triple-stepping on 7,8, to instead jump onto 7 (to the right/back for the lead, left/back for the follow), with a kick up with the left foot lead, right foot follow.
Falling of a Log: Description forthcoming.
Send Back (8-count): Begins with the first half of a lindy basic. Normally lead from open position, but could theoretically work from closed. The first 4 counts are normal. The catch into 3 and four is however a little different, as normally the lead makes a slight "J-lead" with his left hand as the follow comes to his side, preventing her from coming all the way around him and helping her turn her body in the necessary direction to return back down the line of dance. On 5 (the lead is obviously the and before), with a outward rotating motion, the lead helps the follow into a cross step (small) forward (with her left foot), she then steps with her right foot beginning her counter clockwise turn back facing him which she finishes in her triple-step over 7, 8. The lead basically never moves his feet on this move. He brings her forward, helps turn her to go back, leads her with the necessary cross-body step, and back to her original place. (This likely has an under-arm turn variation as well, but I have not done it.)
Charleston & variations.: See descriptions above.

The following were provided by C hris Bowman & Elizabeth Hermanson

Closed Position: Begins similarly to a swing out, although on 5, the lead does not remove his hand from the follows back. The lead and follow should wind up side by side (follow on the lead’s left) facing the same direction. The follow’s left hand rests on the lead’s right shoulder, the lead’s right hand is curved around the follow’s spine, and the lead’s left and follow’s right hands are held out in front. Note on leading style: Usually during a swing-out, the lead’s hand will up near (on) the follow’s left shoulder blade, while during closed position the lead will often have his hand in the small of the follow’s back.
Double Turn: The Double Turn is lead out of closed position. It begins with a rock step, and then the lead plants his left foot on three for a pause. The follow than goes through two outside underarm turns, as the lead walks forward. After the turns, lead and follow should be facing each other.
Belly Rub (Inside Underarm Turn): Belly Rub is led out of closed position. The lead takes a rock step back and then steps in front of the follow (facing her) on beat three and finishes the triple step (3 & 4). He then leads an inside underarm turn, turning to his left at the same time, keeping his hand just above the follow’s waistline.
Texas Tommy: Description forthcoming.
James Bond: On beats 1 & 2, the lead continues to walk backward and leads the follow into an inside underarm turn (3 & 4). By this time, the follow should be in front of and to the right of the lead, facing away from him. Note: The dancers are facing PERPENDICULAR at this point. The lead should let go of the follow’s hand soon after beat 4, and on beat 5, grabs the follow’s right (?) wrist with his right hand, and stomps with his left foot, like when 007 shoots the camera at the beginning of the movies. He then pulls the follow back in front of him (Beats &6) and spins her on beats 7 & 8 (dubbed the Moneypenny Spin).
Sling Shot: Identical to the James Bond, only lead does not drop his left hand and curls his right arm around the follow on beats 4 &5, throwing her forward instead of pulling by one arm.
Ping: A simple Aerial. Description forthcoming.
Funky Rickin: A good move to get back on beat or move across the dance floor. Instead of starting a standard swing-out, the lead simply walks forward, as the follow walks backward. Named for Dancer/Illustrator Rick Kollath.
Rubber Band/Reverse Super Girl: As the follow walks forward (beats 1 & 2), instead of turning her around, the lead rather steps to his left (follow’s right) and allows her to walk past (3 & 4). On Beat 5, the lead turns, facing the follow, and places his hands on her hips, pulling her back. Beats 7 & 8, the leads steps around the follow’s left, turns to face her, and completes the triple step.
The Spleen: Similar to the rubber band, only the lead places only his right hand on the follow’s left hip. The lead can then either walk around and return to face-off position, or hold the follow in and spin with her, ending the move in closed position.
Scoop: Begins like the basic swing-out, only instead of the lead placing his right arm up and under the follow’s left arm, he brings his right hand over the follow’s head and places it on her back (Beats 1 & 2). The lead then lets go with his left hand and holds it out in a tea-pot pose (spout end, not handle), as the follow walks around, dragging her right hand across the lead’s back, eventually grabbing his left hand in her right (Beats 3-6). The lead then raises his left arm and the follow does an inside underarm turn.
Dominatrix: Variation on the scoop. Basically when the woman goes around the man's back, she leads him into an underarm push-turn. (Placing her left hand across his back and pushing. Requires a good lead... (i.e. one who can follow)... and prior knowledge of this variation by both parties.
Double Duck: Description forthcoming.

West Coast

Anybody? I think I know the basic sugar-push...

Leading

The actions, and the relationship between leaders and followers are important in many aspects of life, but particularly in dancing. Thankfully, unlike much of life, the relationship between the leader and the follower is very well defined in dancing. We have listed here a set of leading and following exercises which we teach, and use in our teaching, to help people become better leaders and followers on the dance floor.

Exercises:

Lean Towards/Away: This allows you to feel the sensation of "tension" or "pressure" in your arms, or the communication between partners.
Follow the Wrist: Women must have an invisible connection between their chests (sternum) and their wrists. It is through this connection that the man is able to lead you. By moving your wrist he can turn the top half of your body, and therefore direct you around the dance floor. In this exercise the men and women concentrate on having a good, firm connection, and the woman concentrates on following her wrist with her upper body. The man leads the woman forward and back using this connection. It is important that the man is making INFANTECIMALLY SMALL MOVEMENTS with his hand to lead the woman. At most, the man is moving his hand an inch or two, but no more. The firm connection between the partners should allow the man to direct the woman with little movement of his hand. (One exception is obviously if the man wished to lead the woman side to side in front of him, in order to allow the woman this movement, the man would have to move his arm more. The woman however is never moving her arm from this position). This exercise also works very well with roles reversed. It is the responsibility of both partners to maintain tension. One other thing to note in this exercise is not only must the follower's upper body follow their wrist, but also their head. A common beginning mistake is to look at your partner or feet at all times, and your head must follow the lead as well as your body.
Communication Channel - No Chatter: This is less of an exercise, and more of a principle: When you have a communication link between the partners, it is important that this link be used for quality communication at all times. "Chatter" or unnecessary waving of the hands up, down, around, is destructive to a solid communication channel, and can be not only destructive, but painful to your partner, if they are trying to maintain tension, while you flail your arms. As an exercise, the partnership should attempt to dance without ANY unnecessary arm movements. Concentrating on maintaining tension, and a good communication channel. Once good tension and communication has been established between the partners, agreed upon movements of the arms (for show) are very possible, but during such, a strong connection must be maintained.

Attributes of a good leader:

Respectful - kind to one's partner, never attempting moves which might hurt them or otherwise make them uncomfortable.
Firm connection - maintains at all times, a connection/resistance between leader and follower
others to come...

Check out www.lindyhopping.com for good info for Leaders and Followers.

I hope you have found this list helpful, both in understanding what we teach, and also perhaps having a better understanding of the steps yourself. My understanding of swing is far from perfect and I am not a professional dance instructor. Your comments, questions, additions are very welcome, just send me an email.

Permission is given to reproduce this work in any form, given that the following notice is maintained. It is also preferred that you notify the authors of your desire to reuse the work presented here. <swinglist-owner@lawrence.edu>

[contents][home]

Last Updated: Saturday, October 25, 2003 4:56 PM