| Name & Teacher | Grip & Front | Initial Signal | Description |
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Cuban Chocolate Swirl Caterina Panay & Louie Raish - Ceroc Melbourne & CMJ Sydney |
Ballroom Man's L or R |
No signal | Ballroom grip feet together, step R forward, L forward, rock onto R backward, step L backward (4 beats), rock R forward, L backward, rock onto R backward, step L backward (4 beats), step R backwards, L together, (2 beats) freeze (2 beats). In the meantime, the lady steps in the same direction as the man with opposite feet and sense of movement. Then for the next part, the man cross-steps behind R and points his hips in the R direction, back to face the lady (2 beats), forward cross-step L and points his hips in the R direction, and back to face the lady (2 beats), while the lady does the same kind of motion in the same direction but with opposite sense, direction and phase (i.e. cross-step L forward to her R first, then backward cross-step R). This goes for eight beats and ends with the dancers facing each other. Now the lady leads the "swirl" by kicking her L up as if to hook on the man's R hip and dropping vertically maintaining ballroom frame. The man has to oppose this drop with his frame (keep straight back) while stepping around the lady clockwise, turning the lady about her R foot, leading her back up at an appropriate time. |
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Pretzel Free Play Caterina Panay & Louie Raish - Ceroc Melbourne & CMJ Sydney |
L to R Man's front |
Pretzel Signal | After four beats of a normal Pretzel, the man leads both dancers to squat vertically, keeping weight centered (hips straight down?) (2 beats), and back up (2 beats). In the class they now taught an eight-beat combination of right-left-right-left body rolls, followed by the man leading his L over his head(?) and changing the lady's normal Pretzel rotation to clockwise to place her R shoulder at his chest facing his R on the off beat, ready to lunge L, bringing L to her L hip to open her toward the audience (10 beats). (Note to self, work out what arms are where in this position). Now the man squats and leads the lady downwards, and she lunges her R foot between his legs (2 beats), and rises (2 beats), and then the man leads some exit (2 beats). |
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Caress Sit Spin Caterina Panay & Louie Raish - Ceroc Melbourne & CMJ Sydney |
L to R Man's front |
Wurlitzer Signal |
This move would have to be led with a verbal signal, because it relies on the man not leading with his R as for a normal Wurlitzer. The lady initiates her own anti-clockwise walking turn, taking the man's R wrist with her free R as she takes her first step, and releasing with her L and reaching over the man's R shoulder and gripping under his |
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Jack in the Box Craig Brian & Kate Postill - Ceroc Perth |
L to R Man's R |
No signal | Man had some reverse footwork that was optional, but lead First Move, signal with R on her R shoulder - somehow her R gets to my R shoulder, use downward pressure as she stays centered, squats low and turns anti-clockwise around the man's R arm while rising, coming out to face his R direction for a classic squat dip. Shoulder blade spin exit. |
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Sweeping Sway Craig Brian & Kate Postill - Ceroc Perth |
R to R Man's R |
Sway Signal | Sway, lift R arm back and high, then somehow (anti-clockwise spin with R overhead?) get the lady to L leg with both hands supporting her stomach and her leaning forwards for a clockwise sweep, then pivoting on her R leg to straddle the man's R leg for a Seducer-style shoulder roll dip, shoulder blade spin exit. |
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Perth Figure of Eight Craig Brian & Kate Postill - Ceroc Perth |
L to R Man's L or R |
Figure of Eight Signal | The man leads a normal Figure of Eight and the end of her final clockwise turn the lady squats facing the guy, extending her R leg and pointing R toe (4 beats). The squat is more stable if the man converts to a butterfly grip during her turn - this may also make the squat more leadable. Now the man steps forward R, moving the lady's R hand to the outside of his R thigh and kicks his L leg over her head (ducking can help here ladies!), turning clockwise 180 degrees to face away from her, releasing her R, which she rotates anti-clockwise(?) to grip on the front of the man's upper R thigh with thumb pointing down towards his knee (not sure of timing from here onwards). Don't leave the lady here looking at your backside, guys! Now the man shifts his weight to his L (legs apart), half-turns clockwise and lifts his R leg directly over the lady's R shoulder and onto the ground behind her, R toes pointed in the opposite direction from the one the man was just facing. Meantime the lady has fallen backwards with this step, hanging onto the man's R thigh for support, but not too tightly, because a grip that has her elbow bent too much and locked too hard makes it impossible for the man to step straight over her shoulder. Having stepped there keeps the balance in the move and allows the lady's upper(?) back to rest on the man's calf momentarily. Now the man steps through with his L with the lady resting where she is, and then the man kicks up with the back of his R calf to lift the lady - she uses her legs as soon as she can, keeping hips pushed forward. For better balance for the lady, the man can rotate his R leg clockwise so his foot stabilizes her lift beause of the plane created by his R foot "kick", but apparently this is more susceptible to muscle injury for the man. It is much easier to achieve all of this at speed than slowly. |
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London Bridge - lunge Emma Willis & Daniel Fairweather - Le Step Gold Coast |
R to R Man's back |
Accordion Signal | As for London Bridge, but 4 beat entry rather than two, and the man squats with pointed R leg which the lady steps over (Mark thinks you could probably do the move pointing L leg initially, and swap legs with the lady in front, but doesn't know how hard that'll be) and the final spin is with the man still bent over. |
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Monkey Swing Emma Willis & Daniel Fairweather - Le Step Gold Coast |
R to R Man's front |
Accordion Signal | Same entry as previous move, but change to R to R monkey grip and move the lady back to her original position, with her feet pointed at 45 degrees towards the front and left. Lower the lady to nearly squat on her heels with hips up and forward and sweep her clockwise as her feet scissor 90 degrees, raising her with her feet pointed at 45 degrees towards the front and right. |
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Stitch Emma Willis & Daniel Fairweather - Le Step Gold Coast |
R to R Man's L |
No signal | Catapult entry, present L hand with palm forward, as she turns clockwise raise L elbow and lead her back behind the stationary man (lady should travel), keeping both hands held, then behind the man, whose R goes to the top of her R shoulder for an anti-clockwise ducking turn... can't remember what follows. |
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(reverse Wurlitzer shoulder dip) Emma Willis & Daniel Fairweather - Le Step Gold Coast |
Wurlitzer Man's back |
No signal |
Having reached a Wurlitzer position, lead a free anti-clockwise spin, man reverses direction and catches L to achieve a reversed Wurlitzer position with R palm facing the lady. Now the man leads forward with his L and transfers the lady's L to his R (tension) for a double clockwise spin, hooking his R under the lady's |
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James Brown - variant Emma Willis & Daniel Fairweather - Le Step Gold Coast |
Wurlitzer Man's front |
No signal | Need equal tension in a Wurlitzer-type position for both to do partial splits, then pull upright, then step back out to Wurlizter so the man can lead lady forward like a Rollacross, present L to change the lady's turn to clockwise and reach a normal L to R return position. |
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Magic Carpet Deb Cantoni & Alex Bryan - Le Bop Melbourne |
L to R Any |
No signal | On beat 2 of a First Move the man creates frame high on R shoulder and low L arm (straighten her R arm to create some lift) and steps around clockwise (preferably only on the beat), exiting by straightening L arm to check the lady, then an anti-clockwise spin keeping R contact to eventually grip across her front at R waist, both style out with free L arm, and clockwise spin to exit, catching L to R. |
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(neck bend hip spin) Deb Cantoni & Alex Bryan - Le Bop Melbourne |
R to R Man's back |
No signal | Lead as for Albatross, but keep L arm, lady lowers her head onto her L shoulder for the clockwise spin (leave shoulder low, needs practice) |
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(promenade-things, duck-under spin into butterfly dip) Deb Cantoni & Alex Bryan - Le Bop Melbourne |
weird Man's front |
No signal | |
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(knee pop, kick through) Deb Cantoni & Alex Bryan - Le Bop Melbourne |
weird Man's front |
No signal | From butterfly dip man raises lady, takes L knee with R and brings her around to straddle his R leg with her weight on her L ready for the man to "pop" his upper right leg to move her R around to have her face the (stationary) man's R direction. The man hooks his R foot around the lady's L foot to kick her foot back towards his L foot, she pivots on her anchored R foot to face the man's L direction and steps backward as he hesitates slightly before stepping forward in time with her step. |