TGA APPROVED FIGURES ELEMENTS AND RESTRICTIONS AS OF ... · General Restrictions for the...

TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

General Restrictions for the International Standard / Ballroom Dances

Elements and figures unique to one dance may not be used in another dance unless

specified. Example: The Double Reverse Spin is in both Waltz and Quickstep, but may

not be used in Foxtrot or Tango.

Weave actions may not be extended in Bronze or Silver Foxtrot, but a Weave may be

extended by 2 counts in Gold Foxtrot. Figures from higher levels may not be danced at

a lower level. Example: The Weave From Promenade may not be danced at the Bronze

level. Unless specifically approved within the syllabus, syncopations are not permitted

Entrances are not permitted except in the 5-dance “Challenge” divisions.

Partners may start in Open Facing Position and step to Closed Position once the music

begins, or they may simply start in Closed Position. Once the dance commences,

partners must remain in Closed Hold until the end of the dance. In Viennese Waltz, it is

permitted to perform a single curtsey facing partner before stepping to Closed Position.

Elements must be completed, but partial steps may be danced. Examples: The Foxtrot

Open Telemark, Open Natural may be followed by a Closed or Open Impetus; Step 11

(step 10 if entered from a Spin Turn) of the V-6 in Quickstep need not be followed by a

Forward Lock.

*** International Waltz ***

Technical Aspects of these figures are detailed in The Ballroom Technique (available from USISTD Publications via www.usistd.org)

and in publications provided by other dance organizations – see www.NCDA.org for a complete list.

** Bronze Waltz ** ** Bronze Waltz Continued ** ** Gold Waltz **

Left Foot and Right Foot Closed Changes Double Reverse Spin Overturned Natural Spin Turn

Natural Turn Reverse Pivot Left Whisk

Reverse Turn Back Lock Left Whisk when Man steps back on count 1

Natural Spin Turn Progressive Chassé to Right Left Whisk on 1st Beat of the Bar/Measure

Underturned Natural Spin Turn ** Silver Waltz ** Contra Check

Whisk Whisk when Man turns 1/8 at side of room Closed Wing

Whisk when Man turns 1/4 to Left Weave from Promenade Position Turning Lock to Right

Chasse from Promenade Position Closed Telemark Fallaway Reverse and Slip Pivot

Closed Impetus Open Telemark and Cross Hesitation Hover Corté

Hesitation Change Open Telemark and Wing Hover Corté over 2 Bars/Measures of Music

Outside Change Open Impetus and Cross Hesitation Fallaway Whisk

Outside Change ended in Promenade Position Open Impetus and Wing

Reverse Corté Outside Spin

Back Whisk Underturned Outside Spin

Back Whisk with Turn Turning Lock

Basic Weave Drag Hesitation

http://www.usistd.org/

http://www.ncda.org/


*** International Tango ***



** Bronze Tango ** ** Bronze Tango Continued ** ** Silver Tango Continued **

Left Foot or Right Foot Walk Natural Twist Turn Four Step Change

Progressive Side Step Natural Promenade Turn Brush Tap

Progressive Link ** Silver Tango ** ** Gold Tango **

Closed Promenade Promenade Link Fallaway Four Step

Open Finish Reverse Promenade Link Oversway and Endings for Oversway

Rock Turn Four Step Drop Oversway

Open Reverse Turn, Lady Outside Overturned Four Step Basic Reverse Turn

Back Corté Back Open Promenade The Chase and Alternate Endings for the Chase

Open Reverse Turn, Lady in Line Outside Swivel Method 1: After an Open Finish, ending

DW

Fallaway Reverse and Slip Pivot

Progressive Side Step Reverse Turn Outside Swivel Method 2: Turning to Left, ending DC Five Step

Open Promenade Reverse Outside Swivel (Method 3): Entering with steps

1-2 of Open Reverse Turn, Lady Outside

Overturned Five Step

Rock Back on Right Foot (RF Rock) Reverse Outside Swivel (Method 4): Man using Foot

Swivel, Lady turns less than normal

Contra Check

Rock Back on Left Foot (LF Rock) Fallaway Promenade




*** International Foxtrot ***



** Bronze Foxtrot ** ** Silver Foxtrot Continued ** ** Gold Foxtrot **

Feather Step Top Spin Natural Twist Turn

Three Step (May curve 1/8 to Left) Hover Feather Natural Twist Turn with Weave Ending

Natural Turn Hover Telemark Natural Twist Turn with Closed Impetus Ending

Reverse Turn (Incorporating the Feather Finish) Hover Telemark to Promenade Position Natural Twist Turn with Open Impetus Ending

Closed Impetus and Feather Finish Natural Telemark Curved Feather to Back Feather

Natural Weave Hover Cross Natural Zig-Zag from Promenade Position

Change of Direction Open Telemark, Open Natural Turn, Outside Swivel and

Feather Ending

Fallaway Reverse and Slip Pivot

Basic Weave Alternate Amounts of Turn & Alternate Methods of

Entering / Exiting Outside Swivel

Natural Hover Telemark

** Silver Foxtrot ** Open Natural Turn Bounce Fallaway with Weave Ending

Natural Weave from Promenade Position Open Impetus

Overturned Natural Weave from Promenade Position Weave from Promenade Position

Closed Telemark Reverse Wave

Open Telemark and Feather Ending




*** International Quickstep ***



** Bronze Quickstep ** ** Bronze Quickstep Continued ** ** Silver Quickstep Continued**

Quarter Turn to Right Tipple Chassé to Right at Corner Fishtail

Natural Turn Tipple Chassé to Right along side of room Running Right Turn

Natural Turn with Hesitation Running Finish Four Quick Run

Natural Pivot Turn Natural Turn and Back Lock The V-6

Progressive Chassé Double Reverse Spin Closed Telemark

Chassé Reverse Turn Zig-Zag, Back Lock, Running Finish ** Gold Quickstep **

Forward Lock Cross Chasse Cross Swivel

Closed Impetus Change of Direction Rumba Cross

Back Lock ** Silver Quickstep ** Tipsy Chassé to Right

Reverse Pivot Underturned (Checked) Tipple Chassé to Right Tipsy Chassé to Left

Progressive Chassé to Right Quick Open Reverse Hover Corté

*** International Viennese Waltz ***

Technical Aspects of these figures are detailed in The Viennese Waltz (available from USISTD Publications via www.usistd.org)


** Bronze Viennese Waltz ** ** Silver Viennese Waltz ** ** Gold Viennese Waltz **

Reverse Turn Reverse Fleckerl Natural Fleckerl

Natural Turn Contra Check

Forward Change – Left Foot or Right Foot

Backward Change – Left Foot or Right Foot






General Restrictions, Holds, Notes and Other Information for the International Latin Dances

Restrictions Pertaining to the International Latin Dances

Entrances are not permitted except in the 5-dance “Challenge” divisions.

1. Floor lunges, layover lines, slashes, slides, etc, are not permitted - dancers must remain in standing positions at all times.

2. Dancers are not permitted to use figures from a higher level, meaning that Bronze dancers may not use Silver material and Silver dancers may not use Gold material.

However, Silver and Gold dancers will use material from lower levels, include any Alternate Holds, Alternate Timings or any other allowable method of dancing a lower

level step that is appropriate at the level entered.

3. Figures marked ST or A are Bronze; Figures marked L are Silver; Figures marked F are Gold. Allowable Precedes and Follows are also marked in this manner.

4. Figure Developments are only permitted in the appropriate level. Example: The Fan is a Bronze figure, but the Fan Development is a Silver-level method of dancing the

figure.

5. Alternate Methods, Alternate Timings, Figure Developments, etc, are marked ST, A, L or F to determine the level at which that action/timing may be used.

6. Various “holds” and “positions” are used in the Latin dances; not all positions are used at the same level in every dance. Some are used in 1 dance or in 2 or 3 dances, but

not in others. Please review the information in the Allowable Holds and Usage section below.

Allowable Holds and Usage

1. Dancers are only permitted to use the holds allowed for a figure at the level the figure is being danced. Example: Progressive Walks in Rumba may be danced in Closed or

Open Position, retaining Left to Right hold (or 2-hand / Double hold) when in Open Position; When danced in Left Side or Right Side Position, a 1-hand hold or the

Alternative Hold may be used, but the Walks may not be danced without hold.

2. The Positions detailed below are with hold unless other information is provided.

3. In every allowable position, dancers are never farther away from one another than arms length. Exception: There and Back in Cha Cha.

4. When releasing hold is permitted, dancers must regain an allowable hold again after a maximum of 2 bars/measures in a “no hold” position. Exception: Up to 4 bars in a

“no hold” position may be used in a Time Step grouping in Cha Cha.

5. Dancers must use only the allowable timing for a figure at the level it is being danced. Examples: 1. A Time Step grouping in Bronze Cha Cha must use “normal” timing

of 2.3.4&1. The same group in Silver Cha Cha could be danced using Guapacha timing (Hold 2, step 2.3.4&1). 2. A Travelling Volta in Bronze Samba must use the

normal count of 1a2a3a4, etc, taking steps on all counts. The same action in Gold Samba may be danced taking a step on 1, hold position on 2, then continue with the

normal Volta steps on a3a4, etc.

Abbreviations: L = Left; R = R; LF = Left Foot; RF = Right Foot; LSP = Left Side Position; RSP = Right Side Position


Positions and Allowable Holds

Classic or “Normal” Hold: Used in Closed Position, Promenade Position, Counter

Promenade Position, Contact Position and Outside Partner steps (Shoulder to

Shoulder)

Facing partner, Man holds Lady’s R hand in his L hand; Man’s R hand on Lady’s back,

Lady’s L hand on Man’s R arm or shoulder, or just behind Man’s R shoulder. Arm

arrangement may vary slightly depending on distance between partners or figure being

danced.

Contact Position (“Normal” hold, but partners have light body contact)

Closed Position Allowable Holds:

a. Normal Hold, used in all dances

b. Man’s L hand holding Lady’s R hand

c. Man’s R hand holding Lady’s L hand (Not allowed in Paso Doble)

d. No Hold – Samba (Solo Spot Volta Turns) and various figures in Cha Cha and

Rumba. The 2-bar restriction applies except in Time Step groupings in Bronze

Cha Cha, The Chase in Silver Cha Cha and up to 8 bars for Same Foot

groupings in Gold Cha Cha

Open Position: Facing but away from partner at approximately arms length

a. L hand holding Lady’s R hand

b. Right hand holding Lady’s R hand

c. No hold – Samba (Solo Spot Volta Turns) and various figures in Cha Cha and

Rumba. Also used for 1 beat in some turns in Jive.

d. Double / 2-hand Hold – L hand holding Lady’s R hand and R hand holding

Lady’s L hand.

Fan Position:

This is a “classic” position used in Rumba and Cha Cha. Lady has L foot back, weight

on L foot and is at a 90-degree angle to Man on an imaginary line about 6 inches in

front of and to Man’s L side. Lady’s R hand is in Man’s L hand, Man’s feet apart to

side, weight on R foot.

Promenade Position (PP):

Man and Lady in a V-shaped position open to Man’s L (Lady’s R) side.

Normal hold is used, and travel would be forward to Man’s L and Lady’s R

Counter Promenade Position (CPP):

Man and Lady in a V-shaped position open to Man’s R (Lady’s L) side.

Normal hold is used, and travel would be forward to Man’s R and Lady’s L

Open Promenade Position (Open PP): As Promenade Pos, using the following holds.


b. R hand holding Lady’s L hand

c. No hold

d. R hand on Lady’s back, L to R hand hold released (Gold Samba only)

e. 2-hand / Double hold – Gold Jive (Stalking Walks or Break Ending)

Open Counter Promenade Position (Open CPP): As Counter Promenade Position,

using the following holds.


b. No hold – Only in Rumba, Cha Cha and Silver Jive

c. L hand on Lady’s back – Gold Samba only

RSP – Right Side Position: Lady and Man facing same way with Lady on Man’s R

side

a. Normal Hold

b. R to L hold

c. Alternative hold – Man’s R arm further around Lady’s back, Lady’s L arm

further across Man’s R shoulder, Man’s L & Lady’s R hands released

d. No hold

LSP – Left Side Position: Lady and Man facing same way with Lady on Man’s L side

a. L to R hold

b. Alternative hold – Man’s L arm further around Lady’s back, Lady’s R arm

further across Man’s L shoulder, Man’s R & Lady’s L hands released

c. No hold

Continued on following page


Positions and Allowable Holds continued

Tandem Position: Both facing same way with Lady directly in front of or directly

behind Man. With or without hold, depending on figure.

Fallaway: As Promenade Position, direction of travel backwards to Man’s R, Lady’s L

Right Shadow Position: Lady slightly in advance on Man’s R side, both facing same way. Lady can be behind Man for beginning of Criss Cross Volta in Samba or during

Turkish Towel in Cha Cha.

Hold 1: R hand on or just below Lady’s R shoulder blade, L hand holding Lady’s L hand, wrist or lower arm

Hold 2: A 2-hand hold known as a “Cuddle” hold. R arm behind Lady’s back, R hand holding her L hand and L hand holding her R hand. Lady’s arms across front of her

body, just below chest level with her R arm above her L arm

Hold 3: R hand on or just below Lady’s R shoulder blade, L hand holding her R hand in front of bodies, just below chest level. Lady’s L arm is held across front of her

body, just below or just above the joined hands.

Inverted Promenade Position:

A V-shaped position in which Man and Lady are almost back to back with Lady on

Man’s R side. R to L hold or no hold.

Inverted Counter Promenade Position:

A V-shaped position in which Man and Lady are almost back to back with Lady on

Man’s L side. L to R hold or no hold.

Used in Silver and Gold Paso Doble for the Flamenco Taps, a R to L hold is used

for the Inverted Prom Position and a L to R hold is used for the Inverted CPP

action.

All hold may be released on these actions, and a series of Flamenco Taps could

last for 8 bars/measures of Paso Doble music danced without hold

Right Contra Position:

Partners on same foot, Man & Lady moving (or ready to move) toward partner’s R

side. Gold Samba only

Left Contra Position:

Partners on same foot, Man & Lady moving (or ready to move) toward partner’s L

side. Gold Samba only

L & R Contra Bota Fogos are normally danced in 2-hand Hold, but may be

danced in an alternating L to L, R to R hold

In the Roundabout, only 2-hand hold may be used

Special Information Pertaining to the 5-dance Challenge Divisions:

An Entrance consisting of no more than 4 bars/measures of music may be used for each dance.

In the Standard/Ballroom division, Closed Hold must be achieved by the 1st beat of the 5th bar/measure of music, and maintained until the end of the dance.

The Restrictions on Holds are relaxed in the Latin section. Examples: 1. A Travelling Volta without turn in Samba could be danced facing partner without hold, and could

also be danced without hold in a back to back position. 2. In Rumba, the Sliding Doors could be danced without hold.

When all hold has been released in the Latin Section, hold must be regained after a maximum of 8 bars/measures danced without hold. Figures with Recognizable and

Defined Hold should be used for 8 bars/measures before commencing another grouping without hold for several bars/measures


*** International Cha Cha ***

Technical Aspects of these figures are detailed in Latin American Cha Cha (available from USISTD Publications via www.usistd.org)


** Bronze Cha Cha ** ** Bronze Cha Cha continued ** ** Silver Cha Cha continued **

Types of Bronze Cha Cha Chasse (all counted 4&1)

Side Chasse to L or R

Compact Chasse

Cucaracha Chasse (Listed as Another Alternative)

RF or LF Forward Lock

LF or RF Backward Lock

Simple Forward or Backward Chasse (a “shuffle” with no

lock and no passing of fee on middle step)

Split Cuban Break Chasse (Man or Lady, RF only)

Forward or Backward Runs (Feet pass on all 3 steps)

There and Back Steps 6-10 of Hockey Stick after step 10 of Natural Top

Time Steps (May NOT use Guapacha Timing in Bronze,

but may release hold for up to 4 bars/measures in a Time

Step grouping)

Natural Opening Out Movement ended in Contact

Position

Fan – Only as described.

The Fan Development may NOT be used.

Open Hip Twist – May end: in Open Position; in Open

Counter Promenade Position; in Contact Position

Alemana from Fan Position (1 ¼ turn) or from Open

Position (1 full turn). May end: to side; in Open Counter

Promenade Position; or Lady stepping forward toward

Man’s R side

Reverse Top - A Spiral Turn may be danced on step 10 to

continue into the Aida, to Fan Position or to Open

Position

Opening Out from Reverse Top

Cha Cha Basic Movements

Closed, Open, In Place

Alternative (As per Rumba, counting 2&3, 4&1)

Hockey Stick (from Fan Position) May end in Open

Position; May end in Open Counter Promenade Position

Aida

Ending 1 – Rock and Switch Turn

Ending 2 – Switch and Underarm Turn to Right

New York (Crossover) to LSP or RSP Natural Top – May use all 15 steps or just the last 5 steps Aida after step 5 of Curl or Spiral

Spot Turns to L or R

Switch Turns to L or R

Underarm Turns to R or L

Natural Opening Out Movement Spiral Turns: Spiral / Curl – May end in Fan Position,

Open Position, Open Counter Promenade Position, L Side

Position or Contact Position

Underturned Spiral – ends in Open Position

Rope Spinning – Turns to R

Closed Hip Twist – May end in Fan Position; in Open

(Facing) Pos (Man turns ¼ to L over steps 7-10); or in

Open Counter Promenade Position

L Side or R Side Shoulder to Shoulder ** Silver Cha Cha **

Hand to Hand to LSP (L to R hold) or RSP (R to L hold)

May be danced using Alternative Hold

Types of Silver Chasses (all counted 4&1

Ronde Chasse (Man or Lady)

Twist Chasse (Man or Lady)

Slip Chasse (Man only)

Cross Basic: Guapacha Timing may be used

Underarm Turn to R May be used after step 5 with Man

continuing his turn to L over the chasse on 8-10.

A Spiral may be danced on step 5 Three Cha Cha Chas Forward or Backward (May use L to

R hold, Double hold, Alternating R to R, L to L, R to R

hold or no hold.

Three Cha Cha Chas Forward in RSP (R to L hold)

Three Cha Cha Chas Forward in LSP (L to R hold)

Guapacha Timing

Hold position on count 2, “break” on count “a” (or &),

then continue with normal counts for remainder of the

bar/measure

Left Foot and Right Foot Cuban Breaks *

Counted 2&3&4&1

Left Foot and Right Foot Split Cuban Breaks

Counted 2&3, 4&1

LF or RF Side Steps (travelling) to Left

RF or LF Side Steps (travelling) to Right

Spot/Switch Turn to L (Lady to R) Development The Chase – Note that Turkish Towel and Follow My

Leader are Gold Figures and may not be used in Silver Fan Development (May NOT use Guapacha Timing

* Man may dance a Cuban Break (2&3&4&1) as Lady dances a Time Step, or Vice Versa




*** International Cha Cha continued ***

Technical Aspects of these figures are detailed in Latin American Cha Cha (available from USISTD Publications via www.usistd.org)


** Gold Cha Cha **

Types of Gold Cha Cha Chasse

Runaway Chasse (Lady only)

Cross Basic with Lady’s Spiral Turn on 5, Man

continuing with Cross Basic over 6-10

Turkish Towel – Incorporates L Shadow Position with

Lady behind Man

Fan Development with Guapacha Timing Advanced Hip Twist Sweetheart

Alemana from Open Position in R to R hand hold Advanced Hip Twist with Man’s “Press Line” Follow My Leader

Lady’s Underarm Turn to L during 1-10 of Natural Top Hip Twist Spiral. Steps 7-10 of Hip Twist Spiral may

follow step 6 of Open Hip Twist

Foot Changes 1-4 (Other methods may be used) Including

the Foot Change entry and the Foot Change exit, up to 8

bars may be danced on Same Foot

Figures that may be danced on the Same Foot in RSP,R Shadow or Tandem: Closed or Open Basics, replacing appropriate chasses with Twist, Ronde or Slip chasses; Spot or

Switch Turns; Three Cha Cha Chas Forward or Backward; Forward or Backward Runs; Time Steps with or without Guapacha Timing; Cuban Breaks; Split Cuban Breaks

*** International Samba ***

Technical Aspects of these figures are detailed in Latin American Samba (available from USISTD Publications via www.usistd.org)


** Bronze Samba **

Note: The Rhythm Bounce may be used in any position, such as Closed, Promenade, Open, or on Same Foot as partner.

Except when in Shadow Position after a Foot Change, dancers must be on opposite feet at all times.

Same Foot Figures in Bronze are: Samba Walks, Traveling Bota Fogos Forward, Shadow Traveling Voltas and Rhythm Bounce.

Releasing Hold is permitted for 1 bar for a single Solo Spot Turn or during Lady’s Volta Turn in a Foot Change, or for a maximum of 2 bars during a 2-bar Solo Spot Turn.

Basic Movements: Natural, Reverse, Side and

Progressive (Counted 1a2 or 1.2)

Traveling Bota Fogos Forward Reverse Turn counted 1a2, 1a2 or 1&2, 1&2

Criss Cross Bota Fogos Corta Jaca

Whisks to L and R (Also with Lady’s Spot Volta

Underarm Turns)

Traveling Bota Fogos Back Back Rocks

Bota Fogos to Promenade and Counter Promenade ** Silver Samba **

Samba Walks: Promenade, Side, Stationary (Lady may

dance Spot Volta Underarm Turns during Stationary

Samba Walks)

Criss Cross Voltas Circular Voltas to L or R

Solo Spot Volta – 1 full turn over 1a2 or 2 full turns over

1a2a3a4

Foot Changes: 4, R Shadow to Promenade; 8, R Side to R

Shadow

Rhythm Bounce counted a1a2 or a1a2a3a4 Foot Changes: 1. Closed to R Shadow; 2. R Shadow to

Closed; 3. Promenade or Open Promenade to R Shadow.

Same Foot Figures: Samba Walks; Rhythm Bounce;

Traveling Voltas; Traveling Bota Fogos Forward

Shadow Traveling Volta Development

Traveling Voltas to L or R danced without turn or with up

to 3/8 turn in Criss Cross Voltas and in Voltas danced in

Shadow Position on Same Foot as Partner

Corta Jaca as per Note 3, page 85 of the ISTD Latin

American Samba Technique

Open Rocks

Shadow Traveling Volta Back Rocks






*** International Samba continued ***

Technical Aspects of these figures are detailed in Latin American Samba (available from USISTD Publications via www.usistd.org)


** Silver Samba continued ** ** Gold Samba ** ** Gold Samba continued **

Plait Foot Changes: 5, a, b, c or d (Promenade to R Contra);

6, R Contra to Promenade; 7, R Contra to Open Counter

Promenade

Contra Boto Fogos

Rolling Off the Arm & Endings 1, 2 & 3 Contra Boto Fogo Hand Change Development

Argentine Crosses Roundabout to R or L

Maypole to L or R Traveling Volta Timing Development Natural Roll

Shadow Circular Voltas Corta Jaca as per Note 4, page 85 of the ISTD Latin

American Samba Technique

Reverse Roll

Promenade and Counter Promenade Runs

Lady’s Underarm Turn during Argentine Crosses

Development

(Lady’s) Three Step Turn (Man dances Stationary Walk)

Samba Locks

Cruzados Walks and Locks

*** International Rumba ***

Technical Aspects of these figures are detailed in Latin American Rumba (available from USISTD Publications via www.usistd.org)


** Bronze Rumba ** ** Bronze Rumba continued ** ** Bronze Rumba continued **

Types of Rumba Walk include Normal Forward or

Backward Walks, Walks to be followed by a backward

step, Pressed Forward or Backward Walks and the

Extended Forward Walk

L Side or R Side Shoulder to Shoulder Fan (Fan Development may NOT be used in Bronze)

Hand to Hand to LSP (L to R hold) or RSP (R to L hold)

May be danced using Alternative Hold

Alemana from Fan Position (1 ¼ turn) or from Open

Position (1 full turn). May end: to side; in Open Counter

Promenade Position; or Lady stepping forward toward

Man’s R side Rumba Basic Movements

Closed, Open, In Place

LF & RF Alternative Basics

Progressive Walks Forward or Backward in Closed or

Open Position

Progressive Walks Forward in RSP (R to L hold)

Progressive Walks Forward in LSP (L to R hold)

(Alternative Hold may be used in RSP and LSP Walks)

Hockey Stick (from Fan Position) May end in Open

Position; May end in Open Counter Promenade Position

LF & RF Cucarachas Natural Top – May use all 9 steps or just the last 3 steps

New York to LSP or RSP Opening Out to R and L

Spot Turns to L or R

Switch Turns to L or R

Underarm Turns to R or L

LF or RF Side Steps (travelling) to Left

RF or LF Side Steps (travelling) to Right

Natural Opening Out Movement

Closed Hip Twist – May end in Fan Position; in Open

(Facing) Pos (Man turns ¼ to L over steps 4-6); or in

Open Counter Promenade Position LF & RF Cuban Rocks






*** International Rumba continued ***

Technical Aspects of these figures are detailed in Latin American Rumba (available from USISTD Publications via www.usistd.org)


** Silver Rumba ** ** Silver Rumba continued ** ** Gold Rumba continued **

Development of LF & RF Alternative Basic Movements Aida and Endings 1, 2 & 3 Alemana from Open Position in R to R hand hold

Spot/Switch Turn to L (Lady to R) Development Aida from step 3 of Curl or Spiral Lady’s Underarm Turn to L during 4-5 of Natural Top

Cuban Rocks in LSP Spiral Turns: Spiral / Curl – May end in Fan Position,

Open Position, Open Counter Promenade Position, L Side

Position or Contact Position

Underturned Spiral – ends in Open Position

Rope Spining – Turns to R

Rope Spinning from Progressive Walks Backward

Aida Ending 4

Fan Development (May NOT use Alternative Timing) Spiral during Progressive (Kiki) Walks in R Shadow Pos

Steps 4-6 of Hockey Stick after step 6 of Natural Top Sliding Doors

Opening Out to L & R Developments Fencing, including Spin Endings 1, 2 & 3

Natural Opening Out Movement ended in Contact Pos. Three Threes

Open Hip Twist – May end: in Open Position; in Open

Counter Promenade Position; in Contact Position ** Gold Rumba ** Three Threes with Fan Ending

“Press Line” Development of Cucarachas Three Alemanas

Reverse Top - A Spiral Turn may be danced on step 6 to

continue into the Aida, to Fan Position or to Open

Position

Progressive Walks Forward in R Shadow (Kiki Walks) Hip Twists: Advanced; Continuous; Circular

Syncopated Cuban Rocks Advanced Hip Twist with Man’s “Press Line”

Opening Out from Reverse Top Fan Development with Alternative Timing Advanced Hip Twist in R to R hand hold

*** International Paso Doble ***

Technical Aspects of these figures are detailed in Latin American Paso Doble (available from USISTD Publications via www.usistd.org)


** Bronze Paso Doble ** ** Bronze Paso Doble continued ** ** Silver Paso Doble **

The Appel; The Slip Appel (Man & Lady both move

back); The Slip Appel (Man Back, Lady Forward)

Promenade Link / Promenade Close Sur Place with Elevations

Promenade Overturned Promenade & Counter Promenade

Sur Place (May end in Promenade Position) Ecart (also “Slip” Ecart) Methods of Changing Feet

Basic Movement Forward or Backward (May end in

Promenade Position)

Separation La Passe

Separation with Lady’s Caping Walks Banderillas

Chasses to R and L (also with Elevation)

Chasse to L ended in Promenade

Fallaway Ending to separation Twist Turn

Huit Fallaway Reverse Turn

Drag Sixteen Coup de Pique (including Alternative Methods A & B)

Deplacement Promenade and Counter Promenade Left Foot Variation

Attack Method of dancing Deplacement Grand Circle Spanish Lines

Slip Attack Method of dancing Deplacement Open Telemark Flamenco Taps, Method 1






*** International Paso Doble continued ***

Technical Aspects of these figures are detailed in Latin American Paso Doble (available from USISTD Publications via www.usistd.org)


** Gold Paso Doble **

Fallaway Reverse Turn with Open Telemark Ending Traveling Spins from Promenade Position The Twists

Flamenco Taps, Method 2 Traveling Spins from Counter Promenade Position Chasse Cape and all Endings

Syncopated Separation & Ending 1, 2 or 3 Fregolina (also The Farol) Outside Turn

*** International Jive ***

Technical Aspects of these figures are detailed in Latin American Jive (available from USISTD Publications via www.usistd.org)


** Bronze Jive ** ** Silver Jive ** ** Gold Jive **

Chasses: Side; Compact; Forward; Backward; Turning Chasses: Forward or Backward Locks; Forward or

Backward Running Chasse

Overturned Fallaway Throwaway with Lady’s Locks or

Forward Runs Basic in Place

Fallaway Rock and all Alternative Methods Overturned Fallaway Throwaway Overturned Change of Places L to R with Lady’s Locks

or Forward Runs Fallaway Throwaway Alternatives to 1-2 of the Link:

A – Flick (or Point) Ball-Change

B – Hesitation Ball-Change The Link (also Double Link) Stop and Go with Lady’s Free Turn

Change of Places R to L (Underarm Turn to R) including

hand change as per Method 1 or 2

Mooch with Boppy Hops or Flick Cross

Change of Places R to L with Lady’s Spin Spin Ending to Rolling Off the Arm

Change of Places L to R (Underarm Turn to L) including

hand change as per Method 1 or 2

The Walks with Man’s Merengue Action Simple Spin from Tandem Position

Reverse Whip Curly Whip

Change of Hands Behind the Back, including Alternate

Hold/Use of Hands

Windmill Curly Whip with “Opening Out” entry

Hip Bump (Left Shoulder Shove) Spanish Arms

(Also Spin Ending to Spanish Arms)

Shoulder Spin

Development of 1-5 of Fallaway Rock, Man turning 3/8

to R over 2-5

Toe Heel Swivels

Rolling Off the Arm Break Ending to Toe Heel Swivels

American Spin Simple Spin Chugging

The Walks Miami Special Chicken Walks

Stop and Go Catapult

Mooch Stalking Walks, Flicks into Break

Whip

Whip Throwaway





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