Danceblog: samba and and lines in waltz

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As usual, errors are mine, especially the timing and the names of stuff.

Bruce’s samba
Samba rolls (2 lots, starting RF, finishing RF) SQQ, SQQ
Forward R, Forward L, rock back to R, rock forward to L, S QQ S (woman opens out to man’s right)
Forward R, rock back to L, rock forward to R, QQS (and to the left)
Forward L, rock back to R, rock forward to L, QQS (and to the right)
Forward R turning half turn left, cross RF in front of LF, QQ (give her a shove, she moves across as you turn, end with wide hold, with woman leaning forward)
Back R, side L, close R turning half a turn left, SQQ (close up hold)
Forward L, side R turning half turn left, cross RF in front of LF, SQQ (end wide hold, woman leaning forward)
Back bogo-pogo (mate!) finishing facing diag wall, 1-a-2,
Close L, side R to end in shadow hold, left hand in hers, right on her hip, 3,4 (not 3-a-4, as it’s a foot change for man)
Travelling voltas (if that’s the name, you know, the flat-ball-flat ones) x4 starting on LF, curving right and down the room,
Same again starting RF curving left and down the room, finishing facing diag wall
Voltas around on the spot, still in shadow, turning full turn to the left,
Bota fogos R, L, R and then L, R, L 1-a-2, 3-a-4, (stay in shadow for first one, let go as woman does foot change as we step around her on second one)
Promenade runs: 3 steps forward, 3 steps across, 3 steps forward (she crosses), 3 steps across
Can’t remember whether we did anything to make it join up.

Waltz lines
Start backing LoD.
Back R, side L, lower into left knee with LF and body facing diag wall, RF to straight to side, 1,2,3
Stretch left side up and, it seemed to me after Bruce posed us, right arm forward a bit her going back, 1,2,3 (very little further rotation at this point, according to the teacher, it’s all about the sway)

Same foot lunge from here:
Straighten up on 1 but don’t change weight, close RF, lower into right leg extending left leg to side, 1, 2, 3. Tip: angle RF out slightly rather than straight to wall as it makes it easier for her to keep a connection to your right thigh.
Exit to weave:
Rotate left on 1 but no step for man (foot change as we’re on the same foot), forward L, side R, 1,2,3
weave ending, L, R, L, probably chasse after that.

There was an easier exit from the throwaway but I’ve forgotten it. 2 lines in a row will clearly win me more friends at GD, anyway.

5 Comments on "Danceblog: samba and and lines in waltz"

  1. Throwaway:
    – it’s important that step 2 (side L) is taken high, with a body movement “over the top” of the shape. This is what leads the lady to stick her left foot back, rather than settling into an oversway.
    – yes, it is mostly about the sway (R), but there has to be enough rotation. Also remember not to stick the LH up in the air; this is easy to do!
    – to develop the shape in the second bar, man stretches up and back (R). Lady projects up and L (I believe).
    – lady should NOT try to keep her hips up to the man, as doing so will over-restrict motion.

    Same-foot lunge from throwaway:
    – Body rotates R as you rise on 1; this combination helps the lady collect both feet under her body. RF is still out to side.
    – On 2, continue the rise and bring RF in to LF (feet still turned out; RF heel to LF instep).
    – On 3, quite a sharp lowering on RF, turning head slightly R. Keep L leg straight; it should mirror her leg.
    – She shouldn’t really be sitting on your leg: that’s just an illusion!

    Easier exit from throwaway: Rise as you would on 1 of the same-foot lunge. As you close the RF, turn the toe in so it’s pointing something like LoD. Open to promenade, ready to dance anything that comes from a promenade position!


    1. Definitely agree on the lady not trying to keep her hips up in the throwaway! Everyone should be supporting their own weight over their own feet, and if you’re having balance or stretch issues, this may well be the problem.

      Also, the lady has to do 180 degree turn between the throwaway and the same foot lunge. The turn is something that the man initiates and controls; Henry, you’re probably better explaining how than me. 🙂


      1. OK, here goes. Can I do this in the 15 minutes before I leave work? The challenge begins…

        Assuming you’re in throwaway position, and dancing waltz.
        Beat 1: Man rises on left leg; this is leg rise NOT foot rise. Your foot remains flat on the floor. As you do so, your head remains looking in the same direction as it was, but your shoulders rotate R. At the end of this beat, you have a straight left leg; your right foot/leg have not moved much, and your shoulders have rotated R.

        Beat 2: Man has foot rise on the left foot. The head and shoulders have almost completed their turn; there is little rotation. The upper body movement is a projection forward and left (achieve this by trying to lift the left-hand-side of your ribcage, NOT by leaning over!). The right foot moves in, not rotating, so you end up with your feet making a T: the right heel is against the left instep, and the feet are approximately perpendicular. Weight is still on left foot.

        End of 2: transfer weight to ball of RF. Lower. Do NOT start this until the lady is fully turned through!

        Beat 3: This is the same-foot lunge. As you lower, keep the left leg straight and let it extend to your side. No upper-body rotation on this step; it’s pretty much vertically down. Compress the right knee and ankle; weight is entirely over RF for both. Stretch is forward and left; back and right for lady. Due to the angle relative to each other, this should give a nice wide shape.

        I can’t offer much on the lady’s movements; I may well instruct illusive_shelle that she should explain such things to me! Not too shabby for 25 minutes, and now I’m off for dinner.


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