| When new dancers take their Basic lessons, they | | | | ankle twisted so that his toe points to his left. On |
| learn fundamental swing moves that leave little room | | | | the 3 and 4 count, he pushes off with his right foot, |
| for interpretation; that is, students are expected to | | | | pivots on his left foot and drags his right foot around |
| perform the moves the same way they were taught | | | | over to the right side of his left foot while he |
| to them. As the novice dancers advance to the | | | | simultaneously turns his partner counterclockwise into |
| Intermediate and Advanced levels of their training, | | | | their slot. Afterwards, the dancers complete their 5 - |
| the moves that they learn become increasingly | | | | 6 count breakstep in the open position. |
| sophisticated because they incorporate more | | | | (3) Crossover Options: A move is considered a |
| complex footwork rhythms and innovative | | | | crossover if the male dancer faces his partner in the |
| adaptations which include creative new entries and | | | | open position and then he leads the reversal of their |
| exits. According to champion dancer Matt Auclair, | | | | respective positions in the slot within the next 6 or 8 |
| who is one of St. Louis' most respected, professional | | | | beats of the music. Some dancers believe that the |
| swing dance instructors, these refinements are what | | | | crossover got its name because the male dancer's |
| give the basic, bare-bones moves their style. He | | | | hand "crosses over" in front of his partner's face |
| strongly believes that dancers of every skill level | | | | when he turns her under his left arm; however, this |
| need to become proficient at executing these | | | | is not true because not all crossovers incorporate an |
| underlying, fundamental moves before they progress | | | | underarm turn! The "Basic Crossover," does |
| in their training and attempt to learn more challenging | | | | incorporate a woman's underarm turn; however, |
| patterns. | | | | when the male dancer leads his partner into a |
| In Matt's Intermediate/Advanced classes at St. Louis | | | | Breakaway, a Glideaway or a Pass-by, he leads these |
| Community College, which always include a segment | | | | crossovers without an underarm turn. The male |
| on "Leads and Styling," he teaches that a "skeleton" | | | | dancer may use a variety of creative entries, inside |
| is a basic pattern that the male dancer may stylize | | | | and outside turn variations and exits to embellish the |
| by embellishing the individual moves that combine to | | | | original "Basic Crossover." He also may accomplish this |
| make up that overall pattern. For example, if a | | | | by using the same basic step footwork styling that is |
| pattern consists of: (1) a "Basic Step"; (2) a "Tuck | | | | described above as he completes his crossover turn. |
| and Turn"; (3) a "Crossover"; and (4) a "Return," the | | | | To review this adaptation of the basic step |
| male dancer and his partner may stylize each of | | | | footwork, remember that on the "3" count, the |
| these four moves by syncopating the rhythm of | | | | dancers hook their non-lead foot; on the "and of 3" |
| their footwork and by creatively modifying how they | | | | count they step down with their lead foot, and then |
| execute these moves. Auclair is dedicated to helping | | | | on the "4" count they unhook their non-lead foot by |
| his students learn how to become more | | | | stepping next to their lead foot again. On the 5 - 6 |
| accomplished, versatile dancers. Because he believes | | | | count, they execute their breakstep in the open |
| that teaching them how to stylize their patterns is an | | | | position. |
| important lesson objective, he continually reminds his | | | | (4) Return Options: The male dancer may stylize his |
| students that they will master this skill much more | | | | returns into the closed position by using the same |
| quickly if they will take the time to differentiate | | | | modified basic step footwork described above. The |
| between the underlying, bare-bones moves that | | | | return that is taught most frequently to new dancers |
| make-up a "skeleton" pattern from the add-on "bells | | | | at the various clubs is called a "Straight Basic Return." |
| and whistles" that embellish it! | | | | This is a great fundamental return especially when it |
| STYLIZING A "SKELETON" | | | | is executed with a half-turn; however, rather than |
| (1) Basic Step Footwork: The male dancer may | | | | learning how to embellish this basic move, it may be |
| stylize his triple step footwork in the closed position | | | | more productive simply to learn how to stylize one |
| as follows: on the 1 and 2 count, he steps diagonally | | | | of the other ten to fifteen more commonly used |
| to his left for momentum. On the "3" count, he | | | | returns. These popular returns enable the male |
| hooks his right foot behind his left foot. On the "and | | | | dancer to use a creative variety of different entries, |
| of 3" count he steps down with his left foot, and | | | | inside and outside turn variations and exits into the |
| then on the "4" count he unhooks his right foot by | | | | closed position. Some of these popular returns do not |
| stepping to the right of his left foot. The male dancer | | | | even need to be embellished because they are |
| and his partner do not turn away from each other | | | | already very stylish, while others, like the venerable |
| when they "hook" their feet on the 3 and 4 count. | | | | "Imperial Break Return," the Tuck and Return," the |
| They take small steps and their legs should be close | | | | "Hammerlock-Hug Return" and the "Waterfall Return," |
| enough together so that their ankle shin touches the | | | | cannot be stylized using the same basic step |
| calf of their other leg. On the 5 - 6 count, the male | | | | footwork described above because of the physical |
| dancer leads his partner into their rockstep. This | | | | positioning of the male dancer relative to his partner |
| styling is accomplished by using six-count footwork | | | | at the conclusion of these returns. |
| that may be verbalized as follows: 1 and 2 ("left and | | | | Naturally, if you or I were a six-time, national swing |
| left"), 3 and 4 ("hook and step"), 5 - 6 ("rock-step"). | | | | dance champion like Matt Auclair, we could stylize the |
| (2) Tuck and Turn Footwork: Instead of leading his | | | | simple act of walking out onto the dance floor with |
| partner into a traditional, six-count "Tuck and Turn," | | | | our partner and still garner the applause and adulation |
| the male dancer may stylize this move into a | | | | of everyone present; however, as Clint Eastwood |
| contemporary version of the vintage "Tuck - Turn" | | | | says in his vintage movie Dirty Harry: "a man's got to |
| by modifying his footwork and verbalizing the count | | | | know his limitations," and for most of us that means |
| as follows: And 1 ("point") - 2 ("cross"), 3 and 4, 5 - 6. | | | | stylizing our basic step and then applying that same |
| On the "And 1" count of the syncopated triple step | | | | footwork to other moves. It also means that |
| count of 1 and 2, he points his left leg backwards | | | | whenever we learn a new pattern, we always need |
| while he twists his left foot clockwise and touches | | | | to differentiate between the core, bare-bones |
| the floor behind him with the toe of the right side of | | | | moves that make up that basic pattern and the |
| his dance shoe (keeping his heel down). On the "2" | | | | entry, body and exit embellishments that elevate |
| count, the male dancer crosses his left foot in front | | | | that "skeleton" into a stylized pattern. |
| of, and to the right of, his right foot with his left | | | | |