Dance Position and Connection Between
by Harold & Meredith Sears
So important is your dance position and the connection between you and
your partner. Before you can move as one, lightly and smoothly around
the floor, the gentleman's lead clear and unambiguous, and the lady's
follow responsive and precise, you have to get into position and be
The fundamental dance position, and the one in which you can feel
most connected, is Closed Position. Good connection and smooth lead and
follow come from a toned frame in the upper body and contact at the hips
(diagrams for some positions are available in the table below).
In the Smooth Rhythms, such as Foxtrot, Waltz, Tango, and Quickstep, you
face each other, offset, each to the other's right and each looking to
the left, over your partner's right shoulder. Think of the space
between your partner's head and right shoulder as your "window," and try
to look out of that window at all times. You will be tempted to gaze
into your partner's eyes. After all, you are in each other's arms, the
light is low, and the music is romantic—but don't do it. Keep your eyes
left. If you look right, you will drift right and invade your partner's
space. Then you will start to bump and step on each other’s toes. Stay
in your own space, and look out of your own window. A forward step with
your right foot should slide neatly between your partner's feet.
stretch the right side of your torso a little, without crunching or
collapsing your left side, and so move your upper body (not your hips)
even more firmly into its own space. Arch back just a little, not by
leaning away at the waist, but by filling your lungs, lifting your
chest, and rotating your shoulders up and back. Be careful not to lift
your shoulders stiffly and tensely toward your ears. Don't arch so far
back that you appear to be searching the ceiling fixtures for cobwebs.
In Closed Position, your upper bodies should be well apart, but our
theme is connection between partners. How can we have both separation
and connection? Our first level of connection is through
The man's right arm is around the woman with his wrist high under her
shoulder and his right hand on her left shoulder blade. The fingers are
together and pointed somewhat down. Don't spread the fingers—such a
hold looks a little "gropey." Don't let the arm droop—you won’t have
connection, and she won't be able to feel your lead. The woman's left
arm lies gently on top of his right with her left hand resting softly on
his shoulder, like a little bird perched upon a branch. The hand is
arched. Her finger tips are a little behind his upper arm or shoulder,
and her thumb is a little in front, but don’t grip. Don't let the hand
climb up toward his neck, and don't hang on him. Each of you must
support your own weight.
The man's left arm should similarly be raised and extended out to the
side. The upper arm slopes slightly down, and the forearm slopes
upward. The woman will place the palm of her right hand into the palm
of his left, resting her fingers in the cradle between his thumb and
forefinger. Both of you fold your fingers softly over the hand of your
partner. Don't bend the wrist back. Again, don’t grip tightly. Each
of you must support your own arms. This is what muscle tone does. If
you release your hold and step back from each other, you should be able
to maintain your position comfortably. You should not feel suddenly
unsupported. Your arms should not flop to your sides. Your own muscle
tone should still provide firm body support.
It is so easy to let your elbows fall to your sides and to let your
shoulders droop forward, leaving you hunched over your partner like a
vulture over its prey. So keep your arms up and your toplines up. You
must make adjustments if you are of significantly different heights or
girths, but the ideal that you strive for is a horizontal oval described
by the arms and shoulders. His left hand is above this plane, and his
right hand is below it, but this oval is your "frame." Keep tone in all
the muscles of your upper bodies so that this shape is maintained.
Now, notice what a toned frame does for partner connection. When the
man steps back, his right arm maintains its position — you maintain your
frame — and the woman feels the movement at the fingertips of her left
hand, throughout her left arm, through the pressure on her back, and
through a release of pressure at her right hand. Men, don't pull
her toward you by bending your elbows. Simply move and so draw
her toward you.
When the man steps forward, she feels this movement at the pad of her
left thumb, along her left arm, and at her right palm, and the pressure
of his right hand on her back releases. The woman is maintaining tone
in her upper body and should be maintaining gentle pressure into his
right hand, so she feels not only the movement but the release too, and
she automatically moves to recover or reclaim the pressure. If he moves
right or left, or if he turns one way or the other, his frame moves as a
unit and conveys this movement at many points of contact.
Ladies, you must maintain tone throughout your frame, too. A
conductor cannot direct an orchestra with a piece of cooked spaghetti.
Neither can a dancer lead a limp partner. Stand up tall. Arch a bit
back. Look left. Arms up. Maintain your muscle tone, feel his
movements, and be poised to respond. With toned upper-body frame, you
are connected and dancing as a single unit.
Our second level of connection is at the hips, and this point of
connection is simple and direct — keep your hips together. In the upper
body, the idea of connection is a little subtle. We want the upper
bodies apart, and we want connection at the same time. We are using
overall muscle tone to accomplish this. In the hips, the connection is
not subtle. You simply(!) stay close.
Remember, we are dancing offset to the left, so we are not dancing
"belly-to-belly." Instead, the slight rise of your right hipbone should
fit just inside that of your partner. Can you hold it there as you
dance? No matter how fast you are moving or how much you may be
pivoting or turning, can you keep your hips up to your partner? (No, we
can’t either, but it is a goal we can shoot for.) I read the comments of
a ballroom judge once, who complimented a couple on their "immaculate
topline and constant body connection. I did not see one gap even with
the most complex of material. They are seemingly joined together by
Hip contact tells you where your partner is and where he or she is
moving, relative to yourself. We have a powerfully direct line of
communication in that contact. If you want to turn right, men, don’t
push with the left hand. Such a push will only move your upper bodies
awkwardly out of dance position. Instead, anticipate the turn with a
little lowering in the knee and a little lower-body rotation, and she
will be forewarned. In a way, you will turn her with your hips, not
your arms. The results will be smoother, and you will remain
continuously in dance position.
Men, pay attention to this contact. As you listen to the cues and
think about where you have to go, it is easy to dance away from your
partner. But your job is to lead her and to go there together.
So, don’t turn, spin, or pivot away from your partner and leave her
behind. Keep her on your right hip. Often, this simply means stepping
through her, rather than past her. Think of the second step of an Open
Telemark. If you make that a side step past the woman and down line of
dance, you will next turn away from her and leave her way off to your
right, sort of hung up under your right armpit. Instead, if you step
forward between her feet toward line and center, you will both turn on
about the same spot, and you will stay together.
Ladies, keep your hips up to his. If you feel your right hipbone
leaving its spot just inside his right hipbone, then make any
adjustments you can to reclaim your position. Maybe the most valuable
thing you can do is to let the free foot follow the man’s movement and
not take weight until he does. Then you can take weight in such a way
that your hips are in position.
So, good connection results from contact at the hips. As this
contact becomes more comfortable and automatic, you can soften it and
focus more on a gentle connection at the lower ribcage. Also work for
a well-toned frame that allows the upper body to remain apart but in
communication. Good connection leads to clear lead and follow and from
there to smooth dancing.
Now, you might ask, what if I am not dancing with my usual partner?
Many people will feel uncomfortable with hip contact at a social dance
or mixer. Indeed, when the waltz was first introduced into England in
the early 19th century, with its closed position that was almost an
embrace, it scandalized some parts of society, and it is still entirely
acceptable to dance without body contact and even with six or eight
inches between you. You won't be able to attempt the more complicated
figures, but with an unfamiliar partner, you wouldn't want to do that
anyway. Of course, without body contact, maintaining your upper-body
frame becomes just that much more important.
Banjo and Sidecar Positions—
Banjo and Sidecar are also considered to be closed dance positions,
in that the upper body frame is toned, shoulders remain parallel, and
the hips remain in contact. We strive for all the points of connection
that we had in Closed Position. Our goal is the same clear lead and
follow — the same smooth dancing.
Banjo is a closed position with the upper body turned just a bit to
the right. You can think of turning so that your belly button no longer
points in the direction you are going, but your left shoulder or left
side leads your progression. Or you can think of “swinging” or
“slicing” the left shoulder forward (woman right shoulder back). Having
made this upper body turn, your hips are still together, and your
shoulders are still parallel with those of your partner, but when the
man steps forward with his right foot, he can slide his foot to his left
of her right foot. He steps not between her feet but outside.
Similarly, if he stepped back with his left, she would step forward with
her right, to the outside of his right foot. Any body turn that causes
the opposite side to lead as a step is taken (e.g. left side lead as
right foot steps forward) is called Contra Body Movement (CBM), and the
position therefore is often called Contra Banjo.
It might even be helpful to think that your legs are in Banjo,
progressing down line, but your hips and upper body are in Closed,
facing line and wall. Your hips are together, your right hip bone is in
that pocket just inside your partner’s right hip bone, your frame is
toned, your upper body is stretched up and left, you are in your own
space looking out of your own window. You have good connection. The
thing to avoid is simply stepping to the side, with no body turn, and
placing right hip to right hip ("banjo"). Such a shift in position
certainly allows you to step outside of your partner, but you will have
lost your connection, you are farther away from your partner and so will
have to travel farther and faster as you turn, and your dancing will be
Sidecar is a closed position with the upper body turned a little to
the left. You lead with the right side forward (woman’s left side back)
so that his step forward with his left goes outside or to his right of
her left foot. Contra Sidecar is a more difficult position to maintain
than Contra Banjo, because it is still a closed position. That means
you will step outside of your partner to your right, but your upper body
is oriented to your left. This is accomplished by turning as much as
possible at the hips, not higher up. Your goal is to have your upper
body in Closed Position, maybe facing line and center, as your steps
progress down line.
Of course, we make use of many more dance positions than the closed
positions. In Butterfly, we remain facing but we are apart (see the
table below for details). In Semi-Closed, Half Open, and Open, we turn
more and more away from each other. Especially in the Latin rhythms,
the man's right hand might move to the woman's upper arm. The man's
left hand might come down to waist level. In Hustle, an L-shaped Closed
Position is used. But in all of these looser and more open positions,
muscle tone, frame, and body connection remain important.
For instance, in moving from Closed to Semi-Closed Position, don’t
pull your left side from her right side, hinging your partnership to a
partially open and unattached position. Simply stretch your right and
her left sides a little and keep your hips together. Her head will open
and look down line, and your lead shoulders will separate only the
slightest bit more. You might swivel a bit on the balls of your trail
feet (man to the left and woman right), and your lead feet will be
pointed down line and ready to step down line, but your bodies will be
together and connected.
In Half Open, don’t simply turn 90º apart, as though you are mad at
her. Maybe look half-left and (ladies) half-right, but orient your
bodies a little closer. You mustn’t let your heads turn toward each
other, but your center can be focused on her center; your belly buttons
can look at each other. In leading a Cross Body, point your foot
half-left, but turn your body less. Remain aware of your partner,
centered on your partner, and with as much tone and contact as is
Someone once said, you aren’t really dancing together if you
aren’t dancing together.
Dance Position and Connection, Part II—A
Above, we focus on the importance of good dance position and firm
connection between the partners in the Smooth Rhythms, such as Foxtrot,
Waltz, and Quickstep. In the “closed” positions, such as Closed, Banjo,
and Sidecar, we try at all times to maintain a toned upper-body frame,
to keep the woman firmly in the man’s right arm, and to keep our hips
and lower ribcages together. Our goal is to create a single connected
frame and to dance as a unit. He doesn’t use his arms to push or pull.
She doesn’t lag behind and then run to catch up. He doesn’t run away,
or more likely, turn away and leave her hung up in his right armpit.
Instead, we dance together, as one.
“Toned” does not mean stiff or rigid. You want your connection to be
elastic. As you drift apart, the biceps of the upper arm hold and
stretch a little; as you come together, the triceps and pectorals firm
up but still give. The result is that you don’t move apart and together
much, but you springily stay in your frame. Think of a heavy-duty
rubber band connection, not a welded or bolted connection.
Within this frame, his intentions and movements are transmitted to
her through many points of contact, from the knees on up, and she is
poised to respond to these signals and to stay in the frame and on his
hips. Maybe the single most important key to good connection is simply
keeping your left side in. This goes for both the man and the woman.
Now, you might think that if the man pushes his left side in toward
the woman, and the woman pushes her left side in toward the man, that
the result might be an ever-faster spinning to the right. That wouldn’t
do. Instead, your response must be to resist that push. Men, stay in
front of your partner, turn your left side toward her, and at the same
time resist or answer her push with a strong right side. Ladies, stay
in his right arm, push your left side in, and keep your right
side strong. All of this is simply to say, keep your lower bodies
together. Don’t lose your partner. Don’t drift apart.
In Semi-Closed and even in Open Position, keep your hips turned
toward your partner in acknowledgement that you are dancing with
and not merely nearby or alongside this person. Both of you may be
moving down line of dance, but there is nothing down there you really
care about. You care about your partner. Be aware of, stay centered
on, be drawn toward your partner.
Think for a moment about In and Out Runs. In this figure, we are
progressing down line of dance and moving from Semi-Closed to Banjo to
Semi-Closed again. How could we improve our connection? We do it by
keeping our left sides in and our hips together. In Banjo, make it a
good Contra Banjo, with man’s right side back and hips together, not a
right-hip-to-right-hip, side-by-side Banjo with your left sides 180º
away from your partner. In Semi-Closed, similarly keep your left sides
in. Your heads will be open, and your top-lines are apart, but your
hips are together. You have connection.
Make your connectedness as continuous as you can, not intermittent.
As you step through in Semi-Closed, maintain hip contact. As the man
moves across the line of progression, don’t separate and then come back
together in Banjo with a bump, but maintain the contact throughout. As
you step back, men, and she moves across to Semi-Closed, again help her
to roll across maintaining contact. Don’t step away from her and then
bring her back into contact (bump).
Here is a “master” list of dance positions, taken mostly from
Roundalab. Occasionally, choreography calls for us to turn away from
our partners, to break our connection — maybe we’re in an Attitude Line
or we’re Back-to-Back, and the drama has us spurning or rejecting, we
hope only temporarily. But in most positions, most of the time, we
should strive for connection. This is a long list, but you have used
most of these positions in one dance or another. Were you connected?
As you scan the list, can you picture a way to incorporate a little more
connection between partners? This connection might involve actual
contact, body rotation, body sway, a centering on your partner, mirrored
arm-work, or nothing more than a focus on or an awareness of your
partner’s position and movement. Round dancing is not simply doing the
correct steps in the vicinity of your partner. Isn’t that line
dancing? Round dancing is dancing together.
||The V-back-to-back position we
assume at the end of the Aida figure. The inside hands are
joined, and the inside feet are free.
||A stationary position on one leg in
which the woman bends the non-supporting knee, rotates it
outward, and lifts the leg.
by side, man to woman's left, right hands joined behind woman's
back, and left hands joined behind man's back.
||Partners facing away from each
||Woman rises onto toes of left foot
and lifts right foot to the left knee, toes pointing down. The
man might have her in a Shadow or Varsouvienne hold.
closed position with the man’s left side leading. When the man
steps forward with his right foot, he steps outside his
partner's feet. Note that the diagram does not show a good banjo
position, but an exagerated, "hip-to-hip" position—they are not
||An offset, facing position, right
hip to right hip, in which both wrap the right arm around the
other's waist. The left arm is up and curved inward. Also known
as Bolero Banjo. Bolero Sidecar has her on his left, left arms
facing position, somewhat apart from each other. Lead hands and
trail hands are joined at shoulder height. The elbows are up
and out. A couple can be in "Butterfly Banjo" (left side lead)
or "Butterfly Sidecar" (right side lead). In each of these two
cases, the next step would be outside partner.
||A semi-closed position in which the
dancers have lunged forward onto the trail feet with the trail
knees bent. Some see the body shape as that of a straight-backed
chair, with the bent trail legs representing the front legs and
seat of the chair, the trailing lead legs the back legs of the
chair, and the dancers' torsos representing the back of the
dance position, facing partner, slightly offset to the left,
lower bodies together, upper bodies apart, both looking left.
The man’s right hand is just below her left shoulder blade and
her left hand is on his upper right arm. His left hand is out
to his left and about at shoulder height and is holding her
|Contrary Body Movement Position (CBMP)
||A position in which your step
crosses in front or behind the body without body turn.
(Contrary Body Movement (CBM) is the action of turning the
opposite side of the body in the direction of the moving leg.)
article on side lead or contra body
closed embrace, man's arms around her waist or lower back and
woman's arms on his shoulders, neck, or face.
open position in which the woman's left arm is passed through
the crook of the man's right arm. Her forearm rests on his
position in which the man and woman are directly in front of
each other, front to front, e.g., closed, butterfly, open facing
positions, or with no contact.
||A step backward in Semi-Closed
||A left open position; that is, the
man's left hand joins the lady's right, and the lady is to the
man's left, but they are not side by side but at an angle. He
faces one way (e.g. wall), and she faces ninety degrees to that
(e.g. reverse). The two bodies make a kind of "L." Her right
foot is extended forward without weight; his left foot is
extended to the side without weight.
||A stationary position in which the
woman turns away from the man and takes a high, forward poise,
like the figurehead of a ship.
facing the same direction, womand on man's right side, bodies
turned half toward each other; man's right palm on woman's back
and woman's left hand at or near man's right shoulder. Free arms
may be extended to side. In Left Half Open, she is on his left
||A facing position in which all
hands are low and one hand of one partner is behind his or her
back. Usually, she is to his right side with her left hand
behind her back.
||A facing position, right hands
joined at waist level. Left Hand Shake Position has left hands
||A stationary position in which both
have a high, extended poise. The difference between the High
Line and the Promenade Sway (see "Picture Figure" below) might
be that the High Line includes a straight left leg and a little
left-side stretch (for the man), and both are looking up,
whereas the Promenade Sway includes a soft left leg and man’s
right-side stretch, and both are looking out.
||Dancers are at 90 degrees to each
other and one is in front and to the right of the other. For
instance, he may be facing the wall, while she is facing line,
in a loose semi-closed position, but arm position and hand hold
||Usually a woman's position in which
she arches her back and inclines into one or both of the man's
arms. The woman's arms may be raised and arched to follow and
extend the line of her body.
||Usually a woman's position in which
she leans forward against her man, draping her body along his.
||Any figure name preceded by the
term "left" indicates a sort of mirror image of that figure with
the woman on his left side rather than his right or with lead
hands joined rather than trail hands.
|Left Half Open
|Both facing the same direction,
woman on man's left side, bodies turned half toward each other;
man's left palm on woman's back and woman's right hand at or
near man's left shoulder. Free arms may be extended to side.
|Left Open Facing
are facing each other but apart, man's left hand and lady's
right joined. Man's right and lady's left arms may be extended
to the side.
|Left Open Position
||Partners side by side, lady to his
left, man's left hand and lady's right joined, both looking in
the same direction.
||Partners face the same
direction, the man behind the lady and to her right -- lady to
man's left. He holds her right hand in his right slightly in
front and above her shoulder. His left arm passes behind her
shoulders, and his left hand holds her left, again to the side
and above her shoulder.See Varsouvienne below.
||Closed Position (see above), but
partners are slightly farther apart. His hand will be on her
shoulder, rather than on her shoulder blade or even on her upper
arm. There are 6 - 8 inches between the hips. Loose Closed is
the typical closed position in the Latin rhythms.
postion, but the hands are closer together and about waist high.
|Man's Left Varsouvienne
|Partners facing the same
direction, man a little in front and to the left of the lady.
She holds his right hand in her right a little above and in
front of his right shoulder. Her left arm passes behind his back
and she holds his left hand in her left to the side and a little
above his left shoulder. See Varsouvienne below.
|Partners face the same
direction, the man in front of the lady and to her right. She
holds his left hand in her left slightly in front and above his
shoulder. Her right arm passes behind his shoulders, and her
right hand holds his right, again to the side and above his
shoulder.See Varsouvienne below.
||Any position in which there is no
body contact, and no hands are joined.
by side, lady to his right, man's right hand and lady's left
joined, both looking in the same direction. Free arms may be
extended to the side. Left Open Position is side by side, lady
to his left, man's left hand and lady's right joined, both
looking in the same direction.
||Facing each other but apart, man's
right hand and lady's left joined. Man's left and lady's right
arms are extended to the side. In Left Open Facing Position,
man's left hand and lady's right are joined.
||Any stationary figure that is held
or displayed for a time, such as a Hinge, Same Foot Lunge,
Promenade Sway, Throwaway Oversway, or the like; also High Line
and Attitude Line above. "Extending" a picture figure has the
man releasing the woman to move gradually farther into the
figure, while both perhaps slowly and smoothly stretch their
bodies and extend the free arms. This "developing of the
picture" can continue for a full measure, two, or even longer at
the end of a dance.
|Reverse Fallaway or Counter Fallaway
||A step backward in Reverse Semi-closed Position
(see immediately below).
The term Reverse Fallaway is also used to designate a
three-step figure in the smooth rhythms that turns left-face to
Semi-closed position. In essence, it is used as a shorthand for
"Reverse Turn to Fallaway Position."
|Reverse Semi-Closed or Counter
Closed Position, the man turns 1/8 right face, and the woman
turns 1/8 left face so that his left hip is in contact with her
right hip. Compare to Semi-Closed Position (see below), where
his right hip and her left are together. However, do not shift
laterally. The woman should still be on the man's right side.
His right hand remains on her back, although this hold will have
to be loosened a little. Lead hands remain joined up and to the
is a Varsouvienne (see below) in which the man and woman occupy
each other's spot. The partners face the same direction, the
woman behind the man and to his left. She holds his left hand
in her left slightly in front of her left shoulder. Her right
arm passes behind his shoulders, and her right hand holds his
right, again to the side and above his shoulder, or if he is too
tall for this to be comfortable, at his waist.
|Semi-Closed or Promenade
position lying between Open and Closed. In Closed Position, if
the man turns his hips to the right and gives a little more
right side stretch, the lady will look to her right. This is
called opening the lady's head. Her body will open a little,
too. It will turn a bit to the right. Now, your two bodies
form a slight "V." Your arm positions have not changed, and the
man's right and the lady's left hips are still in contact. The
lady is still a bit to the man's right, but the man's left and
the lady's right sides are separated slightly, and both are
looking down line of dance. When the man steps forward, the
lady will step forward, too.
||Partners facing the same direction,
one (usually the man) to the left and a little behind the other.
A common mistake is to get too far to the side and maybe almost
even with each other—hip-to-hip. Actually, the woman should be
located where she would be in closed position, on his right hip,
but she is turned around. Hand positions are not specified in
shadow, but often left hands are joined and the man's right hand
is comfortably on her back or at her waist above her right hip.
This position might more specifically be called Woman’s Shadow.
The man is "shadowing" the woman.
In Left Shadow, she is in front and to the left.
In Man’s Shadow, he is in front, and she is to the left and a
bit behind. In Man’s Left Shadow or Reverse Shadow, he is in
front and to the left.
||Partners are beside each other and
usually facing the same direction, for instance, an open or left
open position with no hands joined.
closed position with the man’s right side leading. When the man
steps forward with his left foot, he steps outside his partner's
feet. Note that, as with the banjo diagram above, this sidecar
diagram is overdone. Their bodies should not be offset but
should be angled and in closed position.
||Partners facing the same direction,
the man to the left and a little behind the woman, left hands
joined and held in front of her and a little higher than her
shoulder, right hands joined at woman's right hip.
Alternatively, the man may simply extend his right arm behind
her back, and she may place her hand at her waist or extend it
to the side. In Skirt Skaters, the woman holds her skirt flared
out with her right hand. The man's right hand is on her right
hip. A kind of Shadow.
||Skaters position, but the woman holds her skirt flared out
with her right hand. The man's right hand is on her right hip.
||Partners facing opposite directions
with right hips adjacent, with right arms in front of partner at
waist level, and with left arms curved up and inward, with left
hands above the head (like a hat). There may be light contact
with the partner's left hand (producing a single sombrero for
both heads?) Left Sombrero has left hips adjacent and right arms
forming the hat.
facing position but offset, right hip to right hip, woman a
little in front of man, right hands joined at shoulder level or
above, right elbows may be touching. In a Left-Hand Star, each
would turn 1/2 and join left hands. The woman would be on the
man's left side and a little in front of him.
||A stationary position in which the
woman stands on one foot with the free foot raised to the knee,
toe pointing toward the floor.
||A facing position with the woman to
the man's right. Her left hand is behind her back. The man
reaches his right around her right side to take her left hand at
her right hip. His left and her right hand are joined high, arms
curved to frame a window. Look at your partner through that
window. A kind of Hammerlock.
||One partner directly behind the
other, facing in the same direction.
partners face the same direction, the man behind the lady and to
her left. He holds her left hand in his left slightly in front
and above her shoulder. His right arm passes behind her
shoulders, and his right hand holds her right, again to the side
and above her shoulder. In Man's Varsouvienne the man and woman
occupy each other's spot. The partners face the same direction,
the woman behind the man and to his left. She holds his left
hand in her left slightly in front of her left shoulder. Her
right arm passes behind his shoulders, and her right hand holds
his right, again to the side and above his shoulder, or if he is
too tall for this to be comfortable, at his waist. In Man's
Left Varsouvienne, the man is in front but to the left. She
reaches behind him to join left-left hands held high. Left
Varsouvienne puts the woman in front but to the man's left. All
of these are kinds of Shadow.
stands behind and slightly to the left of the woman. She crosses
her right arm over her left in front of her body. He holds her
right hand in his left. His right arm passes behind her, and he
holds her left in his right at her right hip. A kind of Shadow.
||A Semi-Closed Position in which
lead legs are extended to the side and top lines are held away
from each other in the direction in which the free leg points.
Lead arms might be extended up and apart. The two bodies form an
Drawings from Dance A While, Jane A Harris et al, Macmillan
Publ, NY, 1988.
version of this piece was published in the the Dixie Round Dance
Council (DRDC) Newsletter, part I, September 2006, and part II,
October 2006; exerpts reprinted in Dallas Harvest Holiday
newsletter, December 2006, and in Around Rounds, the journal
of the Round Dance Association of Victoria, Australia, 9:1, p15,
1-3/2007; 9:2, p30, 4-6/2007; 9:3, p12, 7-9/2007; 9:4, p4,
10-12/2007; and 10:1, p29, 1-3/2008.