4. Dance Skating

Dance skating is the most popular of the branches of roller skating. It has the natural appeal of graceful physical motion to music, and this appeal is enhanced by the addition of the rolling motion. Dancing on skates attracts the old as well as the young and may be performed alone or with a partner.

An individual sense of rhythm is inherent in everyone. When walking, the flexing and relaxing of your muscles coordinate in a regular pattern to maintain balance as you stride. To achieve a full measure of the pleasure of dancing on skates requires you to develop and apply this sense of rhythm. Your rhythmic response to music will improve in proportion to the amount of time you invest in this phase of your skating.

From the beginning, try dancing your strokes in a blend rather than walking your strokes. Too many skaters figure-skate their dance instead of riding the edge as freely as the music to which they are skating is played. Also, try interpreting the music. Here is where you can impart your own personality to the dance. It is an all too common experience to watch a team execute the dances like robots, with commendable attention to the technical requirements but none to an interpretation of the sense of the music. The waltz, fox trot, tango, and march look the same as these skaters skate throughthe music instead of withit.

When dancing, your body should be carried upright, with no break at the waist, and your head should be held erect and square to the shoulder level. Partners' shoulders should be kept opposite and parallel on all face-to-face plain forward and backward edges, and should be parallel when they are revolving about each other. Extended arms should be held at or slightly above shoulder level and should be held firmly, with no sharp angle at the elbow. The knee is the shock absorber of the body. If it is kept flexible rather than stiff, it will adjust the balance naturally and easily when the weight is transferred from foot to foot. The instep should work in unison with the knee and should be kept flexible.

PARTNER POSITIONS

Proper use and maintenance of correct dance position is mandatory if the team is to stay on an easy, steady balance and present a symmetrical appearance. The linkage of the connecting arms and hands must be firm, yet yielding. This enables the team to skate as a unit when executing side-by-side edges of equal radii or when executing edges in full-face waltz position, which require the skating feet to be directly in line. The six basic partner positions are as follows: hand-in-hand starting, side-by-side starting, full-face waltz dance, half-open-face waltz dance, half-closed-face waltz, and tandem dance. Figs. 6 to 11 show these positions, with descrip­tions of the positions accompanying the photographs.

THE DANCES

The twelve dances described and illustrated in this chapter fall into three groups: beginning, intermediate, and advanced. The first four dances are the easiest to skate and to learn. They require no turns.

Lady takes a position at the right side of the man. She clasps his right hand with her left. Both hold the clasping arms about waist level and 45 degrees from the hips; both extend the free arms away from the body at about 90 degrees. Both fix the feet at about a 45 degree angle, with the majority of the weight on the rear (left) foot. The angle of lady's feet is exactly the same as the man's.

FIG.  6. Hand-in-Hand Starting  Position.

Lady takes a position at the right side of the man with her left hip parallel to his right hip. She extends her left hand across his chest and clasps his left hand, palm to palm. The man extends his right hand behind the lady's back and clasps her right hand at her hip, with his palm over the back of her hand. Both fix the feet at a 45 degree angle with the majority of the weight on the right foot.

FIG.  7. Side-by-Side  Starting Position.

Partners face each other with shoulders opposite and parallel. Lady's right arm and man's left arm are extended approximately 90 degrees from the body, and hands of extended arms are clasped palm to palm. Man holds lady with his right hand behind her left shoulder. She lays her left arm on his right arm, lining up the elbows exactly, one atop the other. She then rests her left hand on his right shoulder or behind his right shoulder, if she has an unusually long fore­arm. The skating feet are directly in line, toe to toe.

FIG.  8. Full-Face Waltz Dance  Position.

Since the hand holds for this position are the same as for the full-face waltz position, partners first assume the full-face waltz position. Then the man turns his body to the left, and the lady turns her body to the right, so that the extended arms are aiming into the direction of travel, and the team shoulders form a "V." Both fix the feet at a 45 degree angle.

FIG.  9. Half Open-Face Waltz Dance  Position.

Man faces forward while lady faces the opposite direction. Man's right hip is alongside the lady's right hip. Man places his right hand behind the lady's left shoulder. Lady rests her left arm atop the man's right arm, so that the elbows are in line. Man extends his left arm to his left, so that his hand is about 90 degrees from his body. Lady extends her right arm to her right, about 90 degrees from her body, and clasps the man's hand, palm to palm.

FIG. 10. Half Closed-Face Waltz Dance Position.

FIG.  11. Tandem  Dance  Position.

Man takes his place directly behind the lady, so that their feet are in line. Both extend their left arms to the left about 90 degrees from the body. Man clasps lady's right hand directly in front of her right shoulder appropriate for an elementary skater. The Glide Waltz,the simplest of all, is merely a three-step waltz rhythm, skated first to the left and then to the right. The Society Blues,pleasurable to see and to do, introduces the beginner to a full back and forward free-leg swing and a chasse-type cross back step. The Skater's Marchcalls for crisp weight transfers and requires a cross front on both an outside and an inside edge. In The Progressive Tango,the partner position, opening strokes, and corner strokes are mechanically the same as for The Skater's March.The music and the expression, however, are quite different. This tango calls for a combina­tion of the graceful flow of the waltz and sharp staccato of the march.

The Collegiaterequires the ability to skate backward, to turn and balance on synchronized steps. The timing, though, is quite simple—every stroke of the dance has the same musical value. The Mirror Waltzis an easy-going dance in which partners change parts, each in turn skating forward and then backward. In The Siesta Tango,the man's and lady's steps are identical. When properly danced, it creates an appealing and eye-catching motion. The long sweep of the tango swing and the measured stately movements require good control of power. The Fourteen Stepbegan in Europe as a circular dance. It was then called the Scholler March and consisted of ten steps, done around a half-circle, and repeated. For modern indoor rinks, additional steps and a swing have been added.

The last four dances are traditional or classical dances which have been performed by many devotees of the sport all over the world. The more advanced dances are described as follows: The Keats Fox Trot,found in the test schedules on both rollers and ice, is an almost classical dance. The Blues,somewhat complicated, exploits the blues fox-trot type of music, and the languid, infectious rhythm is most appealing. The Harris-Krechow Modified Tangohas been in official test and competition schedules since the start of organized and standardized roller-skate dancing in this country. One of the longest and most beautiful dances is The Flirtation Waltz.

A diagram of the dance pattern accompanies the description of each of the dances which follow, and should be studied in conjunction with the description of the opening steps, corner and straightaway sequences, and the stroke chart. Numbers on the diagrams indicate beats for each stroke. A photograph of the prime position accompanies each dance.

The dance patterns have been kept as simple as possible. Whether you are a beginner or an advanced skater, in learning the dances, memorize the steps and the time value for each step, as well as the general pattern or path you should follow before working with a partner. Do not attempt to learn the entire dance at one time; rather, memorize the first four steps, then add a fifth, and so on. And as you skate, be sure each stroke is aimed and follows the direction indicated on the pattern—this is vital to good tech­nique. As you progress through the twelve dances, the going will become easier because movements familiar to you will be repeated.

THE  GLIDE  WALTZ

Music:  3/4-time waltz Tempo: 108 beats a minute

This is the easiest of all dances. It is basically a simple three-step waltz rhythm, first to the left and then to the right.

Opening Steps

Start approximately in the center of the straightaway with the lady at the man's right in side-by-side position. Your opening steps should consist of four 3-beat strokes, beginning with a left outside forward. These will get you rolling at dance-skating speed. Do not try to attain this speed on the first stroke or you may slip as well as give a less graceful appearance.

Corner and Straightaway Sequence

Begin the dance with the corner sequence, consisting of four basic steps. Step 1is a 2-beat left outside forward edge. Step 2on the right foot is called a chasseand is used to vary or stop the flowing movement of the dance. If done with no change of lean, it creates a nice lilting effect. Step 3is a progressive left outside forward stroke, held for 3 beats. Step 4is a right inside forward stroke held for 3 beats. Do not attempt to push too hard on this stroke or you will push away from the true concentric arc of the corner. This sequence of four basic steps should fill an average corner. If it does not fill yours, add another full sequence of the same four steps.

The straightaway consists of six steps: Steps 5, 6,and 7 (LOF—2 beats, RIF— 1 beat, and LOF—3 beats), curving to the center of the rink; and Steps 8, 9,and 10,curving out to the railing or side. This brings you to the end of the dance, but if the straightaway of your rink is very long, add another six-step straight­away sequence.

Now, simply repeat the entire dance, leaving out the four opening steps, of course.

Stroke Chart

CORNER

Step Man Seafs Lady

1LOF 2 LOF

2RIF Chasse 1 RIF Chasse

3LOF 3 LOF

4RIF 3 RIF

STRAIGHTAWAY

5LOF 2 LOF

6RIF Chasse 1 RIF Chasse

7LOF 3 LOF

8ROF 2 ROF

9 LIF Chasse 1 LIF Chasse

10 ROF 3 ROF

THE SOCIETY BLUES

Music: Blues fox trot Tempo: 92 beats aminute

The Society Bluesis not at all complicated and is particularly pleasurable to do. It introduces the beginner to a full back and forward free-leg swing and a chasse-type cross back.

Opening Steps

Start approximately in the center of the straightaway in side-by-side position. For your opening steps, take four plain outside forward 2-beat edges, beginning with the left foot. Remember not to push too hard on your opening steps or you may slip and lose momentum.

Corner and Straightaway Sequence

Begin the dance with a four-step corner sequence. Steps 1, 2,and 3are done in a trotting fashion, lightly and smartly, keeping the weight on the forward half of the skate. The first two of these strokes are 1-beat edges, with the third held for 2 beats.

For Step 4,slide the right foot back and cross behind the left heel, stepping down on the forward half of the right foot. You will more quickly master the technique of crossed strokes if you bend the knee of the crossed foot; this lengthens the crossing foot and enables it to cross more smoothly. Lift the left foot off the floor about ten inches, and be sure to point the toe of your free foot.

The first three steps of the straightaway (Steps 5, 6,and 7) are identical with the first three of the corner sequence; however, a rockover is added at the end of Step 7.(A rockoveris a preparatory change of lean at the very end of a stroke.) For Step 8,strike off onto the right outside forward edge, pressing the left (free) leg fully to the rear and upward, about fourteen to sixteen inches. Now swing it forward through the "and" position until it is fully extended to the front and about sixteen inches from the floor.

If your skating rink is large, add another corner or another straightaway sequence, or both, to cover the surface.

Stroke Chart

CORNER

Step Man Beats Lady

1 LOF 1 LOF

2 RIF 1 RIF

3 LOF 2 LOF

4 RIF xb (cross back) 2 RIF XB (cross back)

STRAIGHTAWAY

5 LOF 1 LOF

6 RIF 1 RIF

7 LOF 2 LOF

8 ROF and Swing 4 ROF and Swing

THE SKATER'S  MARCH

Music: 6/8-time march Tempo:  100 beats a minute

This dance in the march tempo calls for crisp weight transfers and requires a cross front on both an outside and an inside edge. If you bend or flex the knee of the skating foot as you cross over it, the action will be easier and smoother. The execution of the dance is enhanced if the team uses a firm clasp of arms and hands.

Opening Steps

Start in side-by-side position in the center of the straightaway. Take four 2-beat opening steps, beginning with the left foot.

Corner and Straightaway Sequence

Begin the dance with a four-step corner sequence: LOF-1 beat, RIF-1 beat, LOF-2 beats, and RIFxf-2 beats. Use a crisp staccato movement in executing these edges. Repeat this four-step sequence.

The first three strokes of the straightaway (Steps 9, 10,and 11)are exactly the same as the first three of the corner sequence. Step 12is an ROFxf. Be sure to cross well over the left foot for a smart effect. Since LOF and ROFxf are con­verging edges, be careful you do not trip. Step 13is an LIFxb, and if you exert a slight squeezing pressure of the knees as you do the preceding ROFxf, this LIFxb is easier to perform. Step 14is an ROF-4-beat stroke, with a full back to forward swing.

Stroke Chart

CORNER

Step Man Beats Lady

1 LOF 1 LOF

2 RIF 1 RIF

3 LOF 2 LOF

4 RIFXF  (cross front) 2 RIFxf (cross front)

5-8  Repeat Steps 1-4  6 Repeat Steps 1-4

STRAIGHTAWAY

9 LOF 1 LOF

10 RIF 1 RIF

11 LOF 2 LOF

12 ROFxf2 ROFxf

13 LIFxb 2 LIFXB

14 ROF and Swing 4 ROF and Swing

THE PROGRESSIVE  TANGO

Music: 4/4-Argentine tango Tempo: 100 beats a minute

The Progressive Tangocalls for a combination of the graceful, soft flow of the waltz and the sharp staccato of the march. The partner position, opening strokes, and corner strokes are mechanically the same as for The Skater's March.The music and the expression are very different.

Opening Steps

Start approximately in the center of the straightaway in side-by-side position. Take four 2-beat opening strokes, beginning with the left foot.

Corner and Straightaway Sequence

Begin the dance with a corner sequence of four steps. LOF-1 beat, RIF-1 beat, LOF-2 beats, and RIFxf-2 beats. You can give a nice tango expression to the RIFxf movement by pigeon-toeing the left free foot behind the right foot. Repeat the first four steps.

The straightaway sequence has six steps. Steps 9, 10,and 11consist of LOF-1 beat, RIF-1 beat, and a LOIF-6 beat changedge.

The changedge presents something new, a complete change of lean and direction in the center of the stroke, plus the use of toe points by the free leg. The proper execution of this changedge (Step 11)requires you to lower the knee of the skating foot on count one,and rise up on count twoto bring the free leg forward to execute a toe point or floor touch with the outside front wheel on count three.(This toe point is accomplished by extending the free leg fully forward, with the toe turned outward and pointed. Now lower the outside front roller to the floor by bending the skating knee.) On count jour,change the lean and skating edge to the inside and extend the free leg fully to the rear with the foot turned outward so that the inside front roller can be lowered to the floor for a rear toe point on count five.(This is accomplished by again bending the skating knee.)

Steps 12, 13,and 14are the same as 9, 10,and 11except that they are on contrasting edges and curve out toward the barrier.

Stroke Chart

CORNER

Step Man Beats Lady

1LOF 1 LOF

2RIF 1 RIF

3LOF 2 LOF

4RIFxf2 RIFxf

5-8  Repeat Steps 1-4 6 Repeat Steps  1-4

STRAIGHTAWAY

9 LOF 1 LOF

10RIF 1 RIF

11LOIF (changedge) 6 LOIF (changedge)

12ROF 1 ROF

13LIF 1 LIF

14ROIF (changedge) 6 RO1F (changedge)

THE  COLLEGIATE

Music: 4/4-time fox trot Tempo: 92 beats a minute

The Collegiatedemonstrates the ability to skate backward, to turn and rotate around a partner, and to keep time and balance on synchronized steps (partners are on opposite feet throughout the dance). In this dance you cannot check your own stroke by looking at your partner's feet. The timing is quite simple—every stroke of the dance has the same musical value of 2 beats. The dance position is half-open-face waltz on the straightaway, changing to full-face waltz on the corners.

Straightaway Sequence

The lady's straightaway consists of plain outside edges crossed in front, called cross rolls.The man's straightaway consists of plain inside forward edges (LIF-RIF)that synchronize with the lady's to the corner. The lady begins with a plain ROF stroke, then executes cross rolls to the corner. There is no specific number of strokes to take in the straightaway, as each skater has a different glide length. You can obtain a smooth movement by keeping the knees close and rolling them past each other as you progress down the floor.

Corner Sequence

Steps 1and 2 of the lady's corner consists of an RIF-LIB open Mohawk turn with the free foot extended to the rear on the LIB edge. On Step 3,an ROB, she remains on the original curve and must not sit on this edge. Steps 4, 5,and 6consist of LOF, RIF, LOF, with the free leg extended normally to the rear on each one. The corner sequence takes up 3 measures or 12 beats of the music.

The man's first three corner steps consist of LOF, RIF, LOF, simple progressive strokes. Corner Steps 4and 5 constitute an RIF-LIB open Mohawk turn,with the free leg extended to the rear on the LIB stroke. Step 6of the corner and the first step of the straightaway make up what is known as a Choctaw turn, ROB-LIF. You must aim the left foot toward the center to get the proper inside edge for this turn.

Stroke Chart

STRAIGHTAWAY

Man Beats Lady

LIF 2 ROFXF

RIF 2 LOFXF

Repeat as many times as necessary to fill straightaway CORNER STEPS

Step

1 LOF 2 RIF ) Open

2 RIF 2 LIB \ Mohawk Turn

3 LOF 2 ROB

4 RIF | Open 2 LOF

5 LIB (MohawkTurn 2 RIF

6 ROB (Choctaw 2 LOF

LIF (Turn into 2 ROFXF  into straight-

straightaway away steps

steps

THE  MIRROR  WALTZ

Music: 3/4-time waltz Tempo: 108 beats a minute

This is an easy-going dance in full-face waltz dance position during which the partners exchange parts, each doing one sequence skating forward, and one sequence backward. It requires both a right and a left Mohawk turn. The turns can be simplified if the turning skater moves up on the stroke before the Mohawk turn until the center of the chest is opposite the leading shoulder of the partner on the back edge. Be careful of the 2—1 executions. They must not be danced 11/2-11/2 Master the 2-1 timing now because it is used constantly in the more advanced dances.

Opening Steps

Start the opening steps in hand-in-hand position at the end corner of the rink, beginning on the left foot. Each partner takes three 3-beat outside for­ward edges. During the fourth and fifth strokes, the lady executes an RIF-2 beat, LIB-1 beat, open Mohawk, while the man does a RIF-3 beat stroke during these strokes, the team assumes full-face waltz dance position, ready to begin the dance proper on Step 1,an ROB-3 beat edge for the lady and an LOF-3-beat edge for the man, at the head of the straightaway.

Straightaway and Corner Sequence

Follow the twenty-six steps outlined in the stroke chart for the execution of the dance.

Stroke Chart

Step Man Beats Lady

1 LOF 3 ROB

2 ROF 3 LOB

3 LIF (Open 2 ROF

4 RIB (Mohawk Turn 1 LIF

5 LOB 3 ROF

6 ROB 3 LOF

7 LOF 2 RIF | Open

8 RIF 1 LIB \Mohawk Turn

9 LOF 3 ROB

10 RIF 3 LIB

11 LOF 3 ROB

12 RIF (Open 2 LOF

13 LIB \Mohawk Turn 1 RIF

14 ROB 3 LOF

15 LOB 3 ROF

16 ROF 2 LIF | Open

17 LIF 1 RIB \ Mohawk Turn

18 ROF 3 LOB

19 LOF 3 ROB

20 RIF ) Open 2 LOF

21 LIB (Mohawk Turn 1 RIF

22 ROB 3 LOF

23 LIB 3 RIF

24 ROB 3 LOF

25 LOF 2 RIF (Open

26 RIF 1 LIB (Mohawk Turn

THE  SIESTA  TANGO

Music: 4/4-time Argentine tango Tempo: 100 beats a minute

The Siesta Tangoexpands on the movements learned in the simpler dances, and when properly done, creates an appealing and eye-catching dance. The long sweep of the tango swing in the straightaway and the measured, stately move­ment of the corner steps require a good control of power. In every case, the man's and lady's steps are identical.

The partner position for this dance is quite unusual. The man is on the outside or barrier side throughout the dance. The thumb pivot grip is used; the lady extends her thumbs downward and the man clasps them in his fists. This grip facilitates the action in the Mohawk turns at the corner.

Opening Steps

The opening steps include ROF-2 beats, LOF-2 beats, and ROF and swing, 4 beats.

Dance Steps

Check the dance pattern and the stroke chart. The free-leg action on Step 8—ROIF swing forward and back—is as follows: Swing the free leg forward on count threeof the step and backward on count jive,changing the skating edge from outside to inside simultaneously on this count. Do not touch the floor with the free leg during this step.

Stroke Chart

Step Edges Beats

1  LOF 1

2  RIFXB 1

3  LOF 1

4  RIF 1

5  LOF 2

6  ROFxf2

7  LIFXB 2

8  ROIF Swing

9  Forward 6

and Back

9 LOF 2

10  RIF (Open 1

11  LIB \Mohawk Turn 1

12  ROB 2

13  LIB 2

14  ROB 2

15  LIBxf2

16  RIF' and  Swing 4

Mohawk

Music: 6/8-time march Tempo:  100 beats a minute

The Fourteen Stepis an international favorite. It is at once theatrical and relatively simple as to technique. The music to which it is performed is stirring.

Opening Steps

Start at the head of the straightaway in hand-to-hand position. Stroke onto an ROF-4 beat, with a full swing of the free leg. Now, in order to get into the full-face waltz dance position for the straightaway, the lady strokes a LOF3, which is turned on count two,while the man does LOF-1 beat, RIF-1 beat. The lady then steps down on an ROB for 2 beats as the man strokes an LOF for 2 beats. This leaves them in the full-face waltz position as they stroke; lady LOB-4 beats, with full forward and backward swing; and man, ROF-4 beats, with synchronizing back to front swing.

Corner and Straightaway Sequence

The.ten corner steps have two things in common: The aim is to the outside or toward the railing at the beginning of each stroke; the lean is in toward the center of the skating surface. The man's and lady's strokes are described sepa­rately. Each skater should learn these steps alone before trying them with a partner.

The man enters the corner with Steps 1, 2,and 3,three fully progressive strokes: LOF-1 beat, RIF-1 beat, and LOF-2 beats. Steps 4and 5 consist of an inside forward open Mohawk turn (RIF-1 beat, LIB-1 beat) during which he assumes half-closed-face waltz dance position which is held until Step 10. Steps 6, 7,and 8are fully progressive: ROB-1 beat, LIB-1 beat, and ROB-1 beat. Step 9is LIBxf-1, and Step 10is RIF-2 beats. The lady progresses to the man's right on Steps 8and 9to make their strokes "track" more easily on Step 10.

The man enters the straightaway with Steps 11, 12,and 13,three fully progressive strokes: LOF-1 beat, RIF-1 beat, and LOF-2 beats. Step 14is ROF-4 beats with a full back to forward of the left leg.

The lady's corner begins with three fully progressive strokes: ROB-1 beat, LIB-1 beat, and ROB-2 beats, following which she turns forward into half-closed-face waltz dance position for five fully progressive strokes: LOF-1 beat, RIF-1 beat, LOF-1 beat, RIF-1 beat, and LOF-1 beat. Step 9calls for the difficult ROB open Mohawk. To perform it she places the right heel at the inside of the left heel. Step 10is an LIB-2-beat edge in full-face waltz dance position.

On Steps 11, 12,and 13,the lady enters the straightaway: ROB-1 beat, LIB-1 beat, ROB-2 beats. These are fully progressive strokes executed without wide take-offs. Step 14is LOB-4 beats, with a full forward to back swing which synchronizes with the man's swing.

Stroke Chart

CORNER

Step Man Beats Lady

1 LOF 1 ROB

2 RIF 1 LIB

3 LOF 2 ROB

4 RIF IOpen 1 LOF

5 LIB \Mohawk Turn 1 RIF

6 ROB 1 LOF

7 LIB 1 RIF

8 ROB 1 LOF IOpen

9 LIBXF 1 ROB SMohawk Turn

10 RIF 2 LIB

ST RAIGHTAWAY

11 LOF 1 ROB

12 RIF 1 LIB

13 LOF 2 ROB

14 ROF and Swing 4 LOB and Swing

THE KEATS FOX  TROT

Music:  Fox trot

Tempo:  92 beats per minute

The Keats Fox Trot is one of the traditional, almost classical dances, and is found in the test schedules on both ice and rollers. It is very popular as a session dance, even with those who have not mastered its fine points. To enjoy this dance, the man should have a good control over a ROF3-turn, and the lady a good control over a LOF3-turn, as well as a LOF-ROB Mohawk turn. Firm linkage of arms and hands is a prime requisite in this dance, especially during the three-turns. These three-turns are made on count twoof the stroke. Avoid kicking the free leg forward of the skating foot before turning the three.

Opening Steps

Start in the center of the corner in half-open-face waltz dance position. Both partners begin on the left foot and take two strokes, LOF-2 beats and RIF-2 beats. This enables them to attain sufficient rolling speed to begin the dance proper at the head of the straightaway.

Dance Steps

Check the stroke chart for the steps of this dance. During Steps 1, 2,and 3the team is in half-open-face waltz position, moving to full-face waltz position during Step 4.This dance position is held until Step 10;then the partners move to half-open-face waltz dance position for the last four steps.

Stroke Chart

Step  Man Beats Step Lady Beats

1 LOF 11 LOF 1

2 RIF12 RIF 1

3 LOF 2 3 LOF  2

4a ROF3 2 4 ROF 4

4b LOB 2

5 ROB 2 5 LOF3  (turn on 2

count two)

6 LOF 16 ROB 1

7 RIF 17 LIB 1

8 LOF 2 8 ROB 2

9 ROF3  (turn on 2 9 LOB 2

count two)
10 LOB 2 10 ROF 2

lla ROB 1 11 LOF  Mohawk 2

llb LIB 1 Turn

12 ROB Choctaw 4 12 ROB  Choctaw 4

13 LIF  Turn 2 13 LIF Turn 2

14 RIF 2 14 RIF 2

THE BLUES

Music:  Blues or fox trot Tempo: 92 beats per minute

The Bluesexploits the blues fox-trot type of music, and its languid in­fectious rhythm is appealing to all.

Opening Steps

Start on the corner in hand-in-hand position. Both partners take an LOF-2-beat stroke followed by a ROF-4-beat stroke with a swing. During the last stroke of the opening steps, a LOF3 on count two,the team assumes half-open-face dance position.

Dance Steps

Check the stroke chart for the steps of this dance. The high spot is the Choctaw section, wherein partners do simultaneous Choctaws and execute five changes of lean in as many strokes, beginning with the RIF immediately pre­ceding the Choctaw and continuing LIF, ROB, LOBxb, RIF. This requires excellent teamwork and a good mastery of linkage to achieve a smart effect.

Entering the corner, the lady executes a LOF3 on count two,followed by a ROB-2-beat edge. During these two steps, the man executes a LOF-4-beat stroke. The team assumes half-closed-face waltz dance position during the lady's LOF3.

During Step 15,the man slides to lady's left, ready to execute Step 16,a LOFxf3.

THE HARRIS-KRECHOW  MODIFIED  TANGO

Music: 4/4-time Argentine tango Tempo: 100 beats a minute

In The Harris-Krechow Modified Tango,step spacing, body positions and changes, free-leg usage, and the music bring out the essence of the tango.

Technically, the only new movement to learn is the execution of the in­tentional flat. Strangely enough, in almost all other dances, a skating flat is to be avoided. So, to make one may present a problem. The key is to touch both trailing wheels to the floor as follows: For a forward flat, touch both heel wheels to the floor just a trifle before the front wheels of the same foot, and push the skate forward; for a backward flat, touch both front wheels to the floor just a trifle before the heel wheels of the same foot, and pull the foot into the line of travel.

The modified Harris Tango does not lend itself to a set or a border pattern without changing some of the edges on the corner. The edges to be changed will vary with the size of the skating surface. This altering of an edge or a prescribed flat is permitted, according to the official rule which states that, "In order to follow the contour of a rink or to preserve the symmetry of a dance, any edge may be changed to the opposite edge in the same direction and a flat may be changed to an edge." This rule may only be invoked on a corner.

Dance Steps

After the opening steps (opening steps are at skater's option, 4 to 8 counts) the man begins the tango in half-closed-face waltz position on the lady's right side as he faces her. He holds this position until the last half of Step 3;then he reverses sides, using the push-and-pull technique. The change of sides, which occurs on Steps 3, 6,and 11,is assisted by use of firm linkage and a coordinated inward pull of the skating arms and outward push of the free arms by both partners. The man dances to the lady's left side until the last half of Step 6.Now, again using the simultaneous push-and-pull technique, the man moves to the lady's right. On Step 7,the man executes an ROF3 turn; as he steps down on an LOB edge, the lady strokes onto an ROF, without changing relativebody positions. They maintain this position until the last half of Step 11,when the lady moves to the man's right to execute Step 12,an ROF3 turn.. She retains this relative outside position for the balance of the dance.

Stroke Chart

Step Man Beats Lady

1 ROF 1 LOB

2 LIFxb1 RIBxf

3 ROF 6 LOB

4 LOF 1 ROB

5 RIFxb1 LIBxf

6 LOF 6 ROB

7 ROF 3 turn on count three4 LOB

8 LOB 4 ROF

9 ROB 1 LOF

10 LIBxf1 RIFXB

11 ROB 6 LOF

12 LOB 4 ROF 3 turn on

count three

13ROF 4 LOB

14 LF 1 RF

15 RF 1 LF

16 LF 2 RF

17 RF 4 LF

18 LF  Closed 4 RF  Closed

19 RB Mohawk Turn 4 LB  Mohawk Turn

20 LOF 8 RIF3

THE FLIRTATION WALTZ

Music: Waltz

Tempo: 108 beats a minute

This is one of the most beautiful and one of the longest of all dances. In addition to the opening steps, it contains twenty-six strokes for the man and thirty for the lady, and firm linkage is essential in order to track the edges with­out tripping. Three dance positions are used, and to keep the flow of the dance, the team must make these position changes accurately. The dance as patterned here is a set pattern dance, one that prescribes the precise placement of all its edges. However, if the rink surface will not accommodate the pattern, the waltz can be skated as a border dance, allowing the pattern to follow generally the contour of the skating surface.

Opening Steps

Start the dance in the end corner of the rink. For the opening steps, both partners take three strokes of 3 beats each, beginning with the right foot. During the fourth and fifth strokes, both execute a LOF-2 beat, RIF-1-beat chasse, during which the lady slides directly in front of the man and assumes the tandem position to begin the dance proper.

Dance Steps

Check the stroke chart for details regarding the steps for this dance. To aid the dancers, the major position changes relative to the step numbers follow:

Step Partner Position

1-9½ Tandem

9½-10  Side-by-side

10-12 Tandem

13-20½ Full-face waltz

20½-21 Side-by-side

21-24 Tandem

Stroke Chart

Step Man Beats Step Lady  Beats

1 LOF 3 1 LOF 3

2 ROF 3 2 ROF 3

3 LIF Open 2 3 LIF Open 2

4 RIB  Mohawk Turn 1 4 RIB  Mohawk Turn 1

5 LOB 3 5 LOB 3

6 ROF 3 6 ROF 3

7 LOF 2 7 LOF 2

8 RIF Chasse 1 8 RIF Chasse 1

9 LOIF  6 9 LOIF 6

10 RIF Open 2 10 RIF Open 2

11 LIB Mohawk Turn 1 11 LIB  Mohawk Turn  1

12 ROB 3 12 ROB 3

13a LOF 2 13 LOF3 on count 3

13b RIF 1 three

14 LOF 2 14 ROB 2

15 RIFXB - 1 15 LIBXF, 1

16 LOF and Swing 6 16 ROB and Swing 6

17 ROF 6 17a LOB 1

17b ROF 1

17c LIF 1

17d RIB 1

17e LOB 2

18 LOF and Swing 6 18 ROB and Swing 6

19 ROIF and Swing 6 19a LOB 3

on count five19b RIF and Swing on 3

count two

20 LOF 3 20 LOF 3

21 RIF  Open 2 21 RIF Open 2

22 LIB Mohawk Turn 1 22 LIB Mohawk Turn  1

23 ROB 3 23 ROB 3

24a LOF 2 24a LOF 2

24b RIF Chasse 1 24b RIF Chasse  1

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