Notes from 2007 Worthing Congress

Worthing Congress 2007

Please click on the links below to see the notes provided by lecturers to accompany their presentations at the Dance Sport Worthing Congress 2007. If there is no link, then notes are not available for this lecture.

Saturday 21st July

Rock 'n' Roll - Paul Streatfield
Country Western Trilogy - Territa Corbett
Modern Sequence - Heidi Cruwys
'La Rueda' - Richard Marcel
Classical Sequence - Julie Earnshaw
Disco & Party - Nigel Kirk

Sunday 22nd July

Class Variations - Waltz - Melanie Schmitz
Class Variations - Quickstep - Diana Wykes
Intermediate - Marion Lane
Ballroom Variation for the Small Room - Jill Bush
Argentine Tango - Ralph Schiller
Gold Star Development of Compulsory Figures - Julie Tomkins
Jive Action for Competition - Graham Oswick
Gold Star 1 for Seniors - Tango & Quickstep - Nicky Miles
Introducing Advanced Turning Figures- Richard Hunt
Above Gold Paso Doble & Rumba Variations - Peter Stokkebroe

Sunday 23rd July

Class Variations- Tango - Suzanne Hancock
Class Variations - Foxtrot - Karen Day
The Box Rumba - Philip Stephens
Latin Sequence - Julie Tomkins
Variations for the Class - Cha Cha Cha - Angela Cobley
Variations for the Class - Samba - Maggie Cox
In & Out of the Curved Feather - Waltz and Foxtrot - Robert Aldred
Above Gold Rumba & Samba Variations - Per Palmgren
Partnering (both roles) - Heidi Cruwys
An Examiners Point of View - Viennese Waltz - Vernon Kemp
Above Gold Cha Cha Cha & Jive Variations - Harm Jan Schadenberg

Saturday 21st July

Rock ‘n’ Roll - Paul Streatfield
Assisted by: Maria Howse
Music: Galaxie of Jive Album (GAL CD 1001) A selection of tracks

Group 1

Underarm Turn R, Shoulder Pushes X4, Underarm Turn L, Smooch X2, Underarm Turn R, Flirt Variation, Change Of Places L To R, Push Spin

Commence in Open Position R to R Hand Hold

1-6	Lady’s Underarm Turn to R Man makes no turn	QQSS
7-12	Keep joined arms low, Link and turn Lady L Man R, place L hand on Lady’s R shoulder, turn Lady R Man turns L, Lady places L hand on Man’s R shoulder (Shoulder Pushes)	QQSS
13-16	Repeat both Man and Lady’s shoulder push turn	SS
17-20	Turn Lady L under joined hands, release hold step to side in closed position	SS
21-26	Link in Fallaway, keep knees relaxed and swivel to L then R (Smooch)	QQSS
27-32	Repeat Smooch	QQSS
33-38	Lady’s Underarm Turn to R end in L to R Hand Hold	QQSS
39-44	Man’s Underarm Turn to R, whilst taking L hand over Man’s head release hold on Man’s R shoulder allowing Lady’s R hand to slide down Man’s R arm (single arms flirt variation)	QQSS
45-50	Change of Place L to R with R to R Hand Hold, end with cross over hold	QQSS
51-56	Lady’s Push Spin to R ending in Double Hand Hold	QQSS

Group 2

Windmill, Windmill Throwaway, Link Step, Sailor Steps, L And R Side By Side Variation, Double Flick Variation, Change Of Place L To R

Commence in Open Position Double Hand Hold

57-62	Windmill	QQSS
63-68	Windmill Throwaway	QQSS
69-72	Link in L side by Side Position step fwd LF and step side RF to face partner taking Double Hand Hold	QQQQ
73-78	Sailor Step L, Sailor Step R	QaQ QaQ
79-80	Release R hand, turn ¼ R step through on LF and tap RF behind now in L Side by Side Position, L to R Hand Hold	QQ
81-82	Step back onto RF and turn ¼ L to face partner stepping LF to side, Double Hand Hold	QQ
83-86	Repeat Side by Side Variation turning ¼ L	QQQQ
87-91	Flick LF across RF, flick LF to side, Sailor Step LF	QQ QaQ
92-96	Repeat Double Flick Variation with RF	QQ QaQ
97-102	Change of Place L to R, end in L to R Hand Hold	QQSS

Group 3

Flea Hops X2, Change F Place L To R, Mouse Hole Variation, Man’s Underarm Turn R

Commence in Open Position L to R Hand Hold

103-108	Flea Hops	QQSS
109-114	Repeat Fleas Hops	QQSS
115-120	Change of Place L to R, end in Double Hand Hold	QQSS
121-126	Repeat Change of Place L to R maintaining Double Hand Hold. This is danced with a Cuddle Hold on count 4, Lady then dips fwd and steps back on counts 56, ending in Double Crossover Hole (Mouse Hole Variation)	QQSS
127-132	Man’s Underarm Turn R releasing L hand, end in R to R Hand Hold	QQSS

Each individual group is repeatable and each group is inter changeable with another

Happy Dancing!

Country Western Trilogy - Territa Corbett

Just 4 Fun

Dance: 32 Count, 4 Wall
Level: Beginner level
Music: Tell Me Ma by Sham Rock, Fever 5
Cotton Eye Joe by Rednex, the Number 1 Line Dancing Album Choreographer : Patricia E Scott ( UK)

Intro: Commence on vocals

Walk Fwd – Rlr Kick. Walk Back Lrl, Ball Cross

1234	Walk fwd RLRL, kick LF fwd raising arms (whoo!)
567	Walk back LRL
&8	Step onto ball of RF, cross LF over RF

Vine R, Kick And Clap, Vine L With ¼ Turn L, Scuff

1234	Step RF to R, LF behind RF, step RF to R, kick LF across RF and clap
5678	Step LF to L, cross RF behind LF, turn ¼ L and step fwd on LF, scuff R heel fwd

Forward, Clap, Back, Clap, Back, Clap, Forward, Clap

12	Step diag fwd on RF, tap LF next to RF and clap
34	Step diag back on LF, tap RF next to LF and clap
56	Step diag back on RF, tap LF next to F and clap
78	Step diag fwd on LF, tap RF next to LF and clap

Stomp, Stomp, Brush, Brush, Clap, Snap, Stomp, Flick

12	Stomp RF, stomp LF (feet slightly apart)
34	Brush both arms back, brush both arms fwd (brush hands gently on legs otherwise it hurts!)
56	Clap hands, snap fingers with arms raised to shoulder level
78	Stomp RF next to LF (without weight), flick RF up behind you raising arms again

El Rey Split

Dance: 32 Count, 4 Wall, Clockwise rotation
Level: Beginner level fun dance
Music: El Rey Del Dancing Album David Civera Personame. Choreographed to this music which is the preferred track.. will fit lots of music of your own
Choreographer: Anne Hewitt (Shy-Anne)

Intro: 32 counts on lyrics

Charleston Steps Turning ¼ Right, Repeat

1-2	Touch RF fwd, step RF back
3-4	Touch LF back, turn ¼ R (pivoting on RF) stepping LF fwd
5-8	Repeat counts 1-4 (now facing 6 o’clock)

Walk Rlr Coaster Step, Repeat Counts 1-4 Opposite

1-2	Walk fwd RL (optional to ass style step slightly outwards with knee roll action)
3&4	Step back on RF, LF together, step RF fwd
5-6	Repeat counts 1-2 comm LF
7&8	Repeat counts 3&4 comm LF

Rock Rl Side Chasse, Repeat Counts 1-4 Opposite

12	Step RF to R side, step LF to L side (otional raise heel of stepping foot during step)
3&4	Step RF to R side, LF together, step RF to R side
56	Repeat counts 1-2 comm LF
7&8	Repeat count 3&4 comm LF

Jazz Box Turning ¼ R, Point Rf Fwd, Touch Together, Point Side, Flick, Point Side

12	Cross RF over LF, step back LF
34	Turn ¼ R stepping RF to R side, step LF next to RF
56	Point R toe fwd, touch R toe next to LF
7&8	Point RF out to R side, bend R knee and flick RF back, point RF to R side (now facing 9 o’clock)

Happy Dancing!

Note: Go with the lyrics, clap your hands with them and raise your arms if you want to!

Heart Of An Angel

Dance: 48 count, 2 wall
Level: Improver/easy intermediate level Waltz Line Dance
Music: ‘Heart Of An Angel’ by Modern Talking
‘I’m Moving On’ by Rascal Flatts
Choreographer: William Brown (Scotland)

Intro: Start both songs on verse vocals

Basic Fwd, Basic Back, Fwd ½ Turn L, Basic Back

123	Step fwd LF, step RF beside LF, step LF beside RF
456	Step back RF, step LF beside RF, step F beside LF
789	Step fwd LF, step RF beside LF making ¼ turn L, step LF beside RF making another ¼ turn L (6 o’clock)
10-12	Step back RF, step LF beside RF, step RF beside LF

Step, Sweep X2, Fwd, Point, Back, Point

123	LF fwd, sweep RF from back to front over 2 counts (keep weight on LF)
456	RF fwd, sweep LF from back to front over 2 counts (keep weight on RF)
789	Step fwd LF, point RF to R side, hold
10-12	Step back RF, point LF to L side, hold

Twinkle ¼ L, Weave, Slide, Drag X2

123	Cross LF over RF, make ¼ turn L stepping back on RF, step LF to L side (3 o’clock)
456	Cross RF in front of LF, step LF to L side, cross RF behind LF
789	LF to L side, drag RF towards LF over 2 counts (keeping weight on LF)
10-12	RF to R side, drag LF towards RF over 2 counts (keeping weight on RF)

Fwd, Point, Back Point, Fwd Full Turn L

123	Step fwd LF, point RF to R side, hold
456	Step back RF, point LF to L side, hold
789	Step fwd LF, step RF beside LF making ¼ turn L, step LF beside RF making another ¼ turn L (9 o’clock)
7&8	Step fwd RF, step LF beside RF making ¼ turn L, step RF beside LF making another ¼ turn L (3 o’clock)

(Easier option for counts 10-12 Section 4: Basic fwd LF, together, basic fwd RF, together, together instead of full turn)

Tag: when using Modern Talking track a 6 count tag is needed twice…after walls 2 and 6 – both times facing back wall

Just repeat the first 6 counts of the dance!

123 Step fwd LF, step RF beside LF, step LF beside RF
456 Step back RF, step LF beside RF, step RF beside LF
Then start again from the beginning – Enjoy!

‘La Rueda’ - Richard Marcel
Assisted by the Club Dance Faculty

What is Rueda?

During the 1950's a dance called Casino Rueda, or Rueda de Casino, or simply Rueda became popular in Cuba. It started in El Casino Deportivo, a Havana social club. The name Casino, which comes from the social club in which the dance began, refers to the style of dancing. It refers to the kinds of turns and steps you would normally do in ordinary salsa dancing, but which make Casino Rueda unique in that the dancing is done in a circle or wheel, as a group. In Rueda the followers are passed around in the circle by rapid exchanging of partners by the leaders and numerous complicated moves are danced in synchronization, all to the beat of Salsa music. Each move has a name and many have hand signals which are called by the leader of the Rueda. Moves, which are also known as "calls", are sometimes called in extremely quick succession, creating a very dynamic and exciting atmosphere for everyone involved. The hand signals are designed for people to be able to dance a Rueda in a loud club setting. In addition, Rueda allows many to take part in the action! As few as two couples can dance Rueda up to as many people as a space can hold! Sometimes as many as fifty couples dance the Rueda, even in circles within circles!

A wonderful new group dynamic occurs when dancing Rueda. There is a unique level of awareness, unmatched in other dances, required by the group for the dance to look stylish, flow smoothly, and above all to keep it entertaining and fun for those dancing and even for those watching! Dancers learn to open their sphere of awareness, their peripheral vision, beyond the normal restricted space of solo or partner dancing. In this way, dancers coordinate and adjust their individual feel, timing and style so as to make the Rueda work. It is very exciting when the entire Rueda is moving smoothly and on beat! A unique group atmosphere develops as you feel the whole Rueda flow, listening to the wonderful Afro-Cuban/Latin-American music. It is simply an exciting dance which is fun to do and a pleasure to watch.

There are 3 main styles of Rueda danced globally; Casino, Street and Miami and the names of the movements vary according to the style. The predominant Rueda style taught in the UK is Street Rueda.

12 Rueda Moves for Beginners

Please note that the following are descriptions only, which can be used as a guide to the lecture and video/DVD.

Pa’l medio
Commence with follower on leader’s R side in open position, both looking towards center. All couples lean into center, tapping outside foot, then lean out, tapping inside foot. This is a preparatory move to allow synchronization of couples and connection with the music.

Arriba
Couples are "walking" anti-clockwise around the circle. The leader moves forward and follower moves backward.

Abajo
The same as above only the couples are moving clockwise around the circle. The leader moves backward and the follower moves forward.

Un tarro
While dancing Arriba the leader moves ahead on the inside of the circle under the joined hand to the next follower while everyone continues to move in the same direction.

Dos taros
The same as the previous move except the leader or follower advance two places instead of one.

Exhibe
In Arriba position, the leader leads the follower in and out of the circle.
The leader dances side, replace, cross over. The follower dances back, replace, side making up to ¼ turn to R and L on each back step.

Saca la
This is the same as ‘Casino turn’ in the ISTD Salsa syllabus. After dancing 123 of Exhibe the leader will raise the LA to turn follower under. The follower dances 3 steps under the arm making 1 whole turn to the R.

Dile que no
This is similar to a cross body lead. Commence in Pa'l medio positon. The leader steps into the circle and slightly towards partner with the LF on 1 then continues with a cross body lead to end facing partner on 7 in an open position. The follower steps back and out of the circle on 1, replace on 2 and step toward centre on 3 slightly pulling away from partner. Continue with 567 of cross body lead to end up on leader’s left side.

Guapea
This is a repetitive basic step usually danced after Dile que no. Commence in side by side position with follower on leader’s L side, all facing into the centre of the circle. Dance a back basic using the inside foot then dance a fwd basic using the outside foot stepping towards your partner and meeting the palms of your hands.

Adios
From Dile que no or Guapea - dance back, replace, fwd towards partner into closed hold, making up to ½ turn to the R by 4. On 567 Dance back, replace and fwd to pass under follower’s right arm to next partner. The Follower dances 3 steps fwds towards new partner.

Dame una
From Dile que no or Guapea – On 7 leader releases hold with partner as both open to the center of the circle. Leader turns to R side to take hold of new partner dances Dile que no.

Enchufla
From Dile que no or Guapea – On 123 turn partner under LA on the inside of the circle to change places. On 567 dance back, replace, fwd, releasing hold and pass partner on the inside of the circle to new partner.

Classical Sequence - Julie Earnshaw

Music: Tony Evans & His Orchestra Track 10 ‘My Girls a Yorkshire Girl’ Old Time Championship Dances Track 18 Latchford Schottishe ‘Original Music’

The Competitive Edge

Pupils should be encouraged to work at their technique until they don’t have to think about it. The standard of their dancing will only improve according to how much they know and if their technique is good enough. A dancers own personality has no chance of ever showing itself until he/she has learned to be fully in control of his/her technique. Affectations only succeed in making the dancer look a little absurd. If any affected style is put forward as ‘The Real Thing’ under the banner of ‘Good Dancing’ then it falsity becomes obvious. Over exaggeration in head, arms or foot movements only cause mental and physical agitation and we lose that cool, calm and controlled look.

The demands of Balance in Championship work are great – a correctly set body is the foundation of every step.

When we are learning a new sequence, our arms attempt to imitate movement of the legs. They try to share the work. If we are concentrating our whole attention on the development of the feet and legs, we should teach the arms to remain Still. It is an important stage in the development of the dancer to be able to leave the arms Quiet while we achieve the desired movement.

A well thought out use of arms during Open Dances can give beauty of line and movement. An incorrect application of effort in arms, when leading only creates a disturbing picture. Perfect Control over the arms is an immediate indication of a good dancer.

The Importance Of Arms And Head

1)	At all times arms should work complimentary to each other. They play an important role in helping to gain stability in balance and aplomb
2)	Never leave the arms dead in energy when not using them to lead
3)	Ensure that the arms from preparatory position in open hold, be rounded so that the point of the elbow is not seen, otherwise the elbows will form angles which destroy the soft line.
4)	The undue stretching of the hands gives a harsh and stiff line
5)	The head is a heavy part of the whole body. A wrong head position causes loss of balance and the body will have to be compensated elsewhere. Here is the start of destroying the line
6)	Avoid looking behind joined hands, this will encourage the body weight to fall backwards.
7)	The positioning of the head gives that finishing touch, but should always work in sympathy with the body or movement.
8)	The direction of the EYES play a decisive role in the expression of the dance.
9)	Avoid extending the joined hands too far forward when pointing the foot.
10)	The seat of gesture is the centre of the body. All gestures must be felt.
11)	The length of the spine can not alter, but the amount of compression felt in the knees can.

Disco & Party - Nigel Kirk
Assisted by: Mandy Pearce

Routine 1. 8 bar street style
Music suggestion - Verbalicious – Don’t Play Nice

1	RF side. Replace weight to LF and close RF to LF	1 & 2
	Repeat with LF	3 & 4
2	Syncopated Switch Turn on RF completing ½ turn to L Step RF fwd	5 & 6
	Cross LF behind RF. Untwist ½ turn to L end with weight on LF	7 8
3	Flick RF fwd. step RF to side and then LF to side to end feet apart	1 & 2
	Swivel on heel of RF and toe of LF approximately 1/8 to R then return to centre, arms flexed from elbows. Flick LF up behind RF to knee height then return to side	& 3 4
4	2 crossing walks fwd R L. Slide RF fwd turning body 1/8 to L to face LDF arms to high ‘V’. Step LF fwd & across lowering arms.	5 6 7 8
5	Replace weight back to RF and Ronde LF outwards, continue to cross LF behind RF into Jazz Box ending with weight on LF, LF fwds.	1 2 3 4
6	Turning 1/8 to L to face LDF take RF fwds into a Plie slapping thighs on count 5. Replace weight to LF and step RF back.	5 & 6
	Step LF to side and RF forward turning approximately ½ to L to face back	7 8
7	LF switch Turn completing ½ turn to R	1 2
	Take LF to side into a LF Lunge, and using a shoulder Isolation lift the L shoulder Repeat the Lunge with RF and R shoulder Isolation.	3 4
8	Lazy Whisk to L using a double outward elbow circle with the L arm, ending in a low L diagonal line	5 & 6
	Step RF back and close LF to RF	7 8

Routine 2. 70’s Party Mixer Routine
Suggested music: - Tina Charles “Feels Like I’m In Love” (Disco Mix)

Commence in Left Side Position, in a circle, Men on the inside, facing clockwise, Lady on the outside facing anti-clockwise. L to L hand hold

Both use the same foot throughout.

1	Tap RF to side close RF to LF. Repeat with LF		1 2 3 4
2	2 Switch Turns with RF and turning ½ turn to L on each	5 6 7 8
3	2 Flick Ball Changes with the RF		1 & 2 3 & 4
4	2 walks fwd RL turn ¼ to L and step RF to side to face your new partner. Step LF fwd to partners L side and clap hands.		5 6 7 8
5	Jazz Box moving around partner, crossing RF over LF to begin. End with LF fwd		1 2 3 4
6	Turning ¼ turn to L to face partner and point RF to side slap R hands together. Close RF to LF and repeat with the LF and slap L hands together		5 6 7 8
7	RF Switch Turn completing ½ turn to L slightly moving towards partners R side. Using a co-ordinated arm action dance a Lazy Whisk stepping RF to side		1 2 3 4
8	R Repeat the Lazy Whisk to L. Small step to side with RF close lose LF to RF and clap		5 6 7 8

Sunday 22nd July

Class Variations - Waltz - Melanie Schmitz
Assisted by: Jonathan Reed

Music: Once You Had Gold – The Premium Standard Orchestra – Album: Ballroom Magic

1-2 Natural Turn Into Reverse Pivot – Open Telemark – Open Natural Turn – Heel Pull Into Curved Feather – Double Back Lock – Throwaway Oversway – Hover To Pp – Chasse From Pp

Commence Facing DW

1-3	1 – 2 Natural Turn	1 2
	Reverse Pivot	3
4-6	Open Telemark	1 2 3
7-9	Open Natural Turn	1 2 3
10-13	Heel Pull end facing almost LOD	1 &
	Steps 2 – 3 Curved Feather end facing wall	2 3
	Now move back DC
14-18	Double Back Lock	1 2 & 3 &
19-22	RF back into Throwaway Oversway	1 2 3, 1
23-24	Close and Hover to PP	2 3
25-29	Chasse from PP	1 2 & 3, 1 8 bars

Class Variations - Quickstep - Diana Wykes
Assisted by: Daniel Luke

CD: Tracks used from a Japanese CD 'Modern Quickstep' by Apollion Inc. APCE – 5307

Natural Pivot Turn, Promenade Run, Promenade Swivel, Jeté Tap, Tipple Chasse To R, Fwd Lock, Quick Open Reverse, Cross Seivel (Man Dances Lady’s Steps), Tipple

Commence facing DW approaching a corner

1-4	Natural Pivot turn, turning 3/8 on pivot	SQQS
5-7	Turning Lady to PP, 3 steps of promenade run RLR	QQS
8	Moving DW (Lady LF back on step 5) Close LF to RF facing partner and Wall	S
9	RF fwd in PP	S
10-11	LF to side with springing action facing partner, backing LOD then tap RF behind LF without weight	&S
12-14	Steps 2 – 4 Tipple Chasse to R to face DC	QQS
15-18	Steps 2-5 Fwd Lock	QQSS
19-21	Steps 1 – 3 Quick Open Reverse turn turning 3/8 to L end backing LOD	SQQ
22-24	Man dances Lady`s steps of Cross Swivel turning 3/8 to L end backing DC against LOD (Lady dances Man`s steps)	SSS
25-27	Steps 2 – 4 Tipple Chasse to R without turn	QQS
28-33	Double fwd lock facing DW	QQQQSS

To develop to a higher grade, from Step 25 dance a Tipsy to R into Pepperpot Lock (Q&Q Q&Q QQS).

Latin American Interdediate - Marion Lane
Assisted by: Terry Collard

Samba

Music: CD (1) The Latin Mix 3. Track 2 Mal Acostumada

PDE to develop the rhythmic interpretation when incorporating ½ and full beats

The exercise is designed to develop knowledge and performance of some of the contrasting rhythms of the Samba. The candidate will perform the exercise in the role in which the examination is being taken, Lady dancing normal opposite. Commence facing DW, weight on LF.

1-4	Progressive Basic (counts 1,2 1, 2), Corta Jaca, turning ¼ R to end facing DW against LOD
5-8	2 Back Rocks, commenced first with LF, then RF. Plait, commenced with LF
9-10	4-6 Reverse Turn ended facing Wall, with SQQ timing, LF to side without weight into Rhythm Bounce
11-14	Argentine Crosses ended facing Centre
15-16	LF back into 1-7, Lady’s Corta Jaca, turning ¼ R

Paso Doble

Music: Practice tracks: CD: Paso Doble Pa’ti (Dancelife).
Track 1, La Morena and track 2 Don Quijote
Performance track: Fiesta For Two (Casa Musica). Track 11, Espana Caňi

PDE to develop the Slip Appel

The exercise is for practicing the foot action and the strong body turn to L when increasing the amount of turn on the Slip Appel. The candidate will perform this in the role in which the examination is being taken, Lady dancing normal opposite. Commence as in Closed Position, facing LOD.

1-4	Commence facing LOD; dance 4 Sur Place, turning 1/8 L. The Ecart, turning 1/8 L on Slip Appel and ending facing DC against LOD
5-8	Grand Circle turning 1/2 L to end facing DW (Man makes no turn on steps 7 and 8; the Promenade Close)
9-12	Open Telemark turning ¼ L on the Slip Appel and turning 1/8 R on Promenade Close to end facing Wall
13-16	Fallaway Reverse, turning 3/8 L on Slip Appel

Ballroom Variation For A Small Room - Jill Bush
Assisted by Mark Willemite

Waltz

Music: Serenade to Spring ( Secret Garden – Mercury 528 230-2)

3 Of Natural Turn (Understurned), Open Impetus Turn, Quick Open Telemark, Wing, Progressice Chasse To Right, 4-6 Weave Ended In Pp, Hover Corte From Pp, Outside Change

Commence Facing DW (approaching a corner)

123	1-3 of Natural Turn to back DW of new LOD	123
456	Open Impetus to end pointing DC, body facing LOD	123
7-10	RF fwd in CBMP & PP, LF fwd comm. To turn L, RF to side backing DC, LF to side & slightly back pointing DC, LF closes to RF (toe pivot), RF fwd & slightly to R in PP R side leading, end pointing to LOD	12&3
11-13	Wing ended facing DC	123
14-17	Progressive Chasse to R turning to back DW	12&3
18-20	4-6 Weave ended in PP facing DW moving along LOD	123
21-23	Hover Corte commenced in PP (man no turn) end backing DC of new LOD. Lady: Hover Corte commenced in PP, turning to end facing partner and DC of new LOD	123
24-26	Outside Change ended facing DW	123

Foxtrot

Music: September In The Rain (The Ultimate Ballroom Album 8 WR2CD5045)

Feather Finish, Change Of Direction With Extra “Slow” Count, Hover Action To Pp, Hover Corte, Closed Impetus, Feather Finish, 1-4 Bounce Fallaway, Outside Swivel

Commence backing DC

1-3	Feather Finish to end facing DW (approaching corner)	SQQ
4-7	Change of Direction with extra 'slow' count (on 'brush' action), end facing DC of new LOD	SSSS
8-9	RF fwd comm. To turn body to R, LF diag fwd L side leading in PP. Lady: LF back & slightly to side, RF diag fwd in PP R side leading	QQ
10-12	Hover Corte commenced in PP (man no turn)	SQQ
13-15	Closed impetus Turn (comm with partner outside) end backing DC	SQQ
16-18	Feather Finish to face DW	SQQ
19-22	1-4 Bounce Fallaway towards 'second' corner	S&QQ
23	Outside Swivel backing DW end facing FC of new LOD	S

Argentine Tango - Ralf Schiller
partnered by Edita Doncakova

Media Luna (Half Moon)

Like all Argentine Tango steps, the Media Luna is based on the Followers Steps. Therefore the Followers steps are described first and than different possibilities for the Leader, to give this figure a different feel every time.

The main steps for the Follower are back, side, forward (3 steps of a Giro) commenced with either foot, usually preceded with a Back Ocho and followed with a Forward Ocho.

Media Luna turning to R

Followers

RF side (S), LF back after having turned ¼ to L (S), RF back having turned ½ to R (Q), LF side (Q), RF fwd for fwd Ocho app. ½ turn R on RF (S), LF fwd ¼ turn to L on LF (S).

Leader

1.	LF side (S), RF crosses behind LF (S), slowly untwist ending with weight on LF (QQS), close RF to LF (S)
2.	LF side (S), RF crosses behind LF (S), LF fwd (Q), RF closes to LF (Q), LF back (S), RF closes to LF (S) (This might turn ½ to L)
3.	LF side (Q), RF closes to LF (Q), LF side (S), RF fwd towards IE of Followers LF commence turning R (S), LF side having turned ½ to R (S), RF closes to LF (S)
4.	LF side (Q), RF closes to LF (Q), LF side (S), RF fwd without weight touching IE of Followers LF and pushing the LF to side (QQ), hold the position while the Follower steps over RF (S), RF closes to LF (S)
5.	The same as 4 except of touching the Followers IE touch the OE of LF, therefore the Follower will push the Leaders Foot

Media Luna turning L

Follower

RF side (S), turning ¼ to L LF back (Q), RF side (Q), LF fwd than turn app ½ to L (S), RF fwd (S), LF fwd (S)

Leader

1.	LF side (S), turn upper body to left to lead follower to dance back side (QQ), after follower has stepped fwd than turn strongly to L app1/2 turn keeping LF crossed behind RF (S), lockstep back RLR (QQS)
2.	LF side and quickly move RF to make contact with IE of Follower RF (S), turn upper body to left to lead follower to dance back side (QQ), after follower has stepped fwd than turn strongly to L app1/2 turn keeping LF crossed behind RF (S), lockstep back RLR (QQS)
3	LF side and quickly move RF to make contact with IE of Follower RF weight between both feet (S), LF diag fwd (Q), push Follower RF with RF fwd & across keeping weight on LF (Q), when follower steps over RF close RF to LF

Gold Star Development of Compulsory Figures - Julie Tomkins

Samba
Music: Happy - Latin Mix 4 – Track 4.

Travelling Volta To Laft Whisk, Fallaway Whisks, Spiral Turning To Back Lock, Rolling Natural And Fallaway Movement, Pp And Cpp Runs, Volta Movement

1 - 2	Commence RF dance development of Travelling Volta to the Left	1,2 a3 a4
3 - 4	Fallaway Whisks	5a 6, 7 a8
5	Left Foot Fwd into Spiral Turn to the Right (Lady Left)	S, S (1 2)
6	RF Fwd, Side LF continuing to turn to the Right (Lady Left)	S S (3 4)
7	Back Lock Back, (RLR Still Turning Right to Back LOD Lady Normal Opposite)	Q Q S (5 & 6)
8	Open Turn to the Left (LRL Lady RLR)	1a 2 (7a 8)
9 – 12	Commence RF Fwd OS Partner, Continue into Natural Rolling and Fallaway Movement	SQQ SQQ (1&2 3&4)SQQ SQQ (5&6 7&8)
13 – 16	PP & CPP Runs into Volta Movement	123 123 123 a1 a2 (1&2 3&4 5&6 a7 a8)

Rumba