Footwork

Andrew Carnie

Part 7: Folk Dance Fundamentals and Terminology

24 Footwork

In this chapter, we’ll discuss some more basics of folk dance terminology particularly as it pertains to footwork and step sequences. This is a fairly technical chapter. I’ve included it so you can use it as reference, but it is quite detailed and not for the faint of heart. It should be helpful however if you’re trying to figure out what is meant by specific folk dance terminology.

1. Walking, Running, Jogging and Prancing: Footwork with Weight Changes

Two of the most basic dance folk dance steps are walking and running. Since most people walk and run from a very young age, we do it without thinking about it. The difference between the two can be hard to define, even though we all “know it when we see it”. But let’s take a stab at being precise about this. Let start with some even more basic terminology. First let us define weight. When we talk about dancing, we often say things like “the weight is on the right foot” etc. What weight means in this context is that there is contact between a foot (or more rarely another part of the body) and the floor, and that foot is supporting the body. So, if you stand on your left foot, we say that your weight is on your left.

Next, we have the notion of a step: A step is a transfer of weight from one foot to the other where there is a very brief period of time when your weight is evenly divided between the two feet before the full transfer of weight happens. Steps can be in any direction or even in place.

Let us contrast steps with a leap: Leaps are also transfers of weight from one foot to the other, but they differ from steps in that there is a brief period of time when neither foot is on the floor bearing weight. You have some “airtime” or “flight time” between each contact of the foot to the ground.

A walking step is a series of steps where you start with weight on one foot then you propel yourself forwards or backwards while transferring weight to the other foot. A running step by contrast, is a sequence of leaps propelling yourself forwards or backwards, always with a bit of air between each foot contact. Another difference between a walk and a run is the amount of energy it takes to do the motion and the speed at which you move. Walks are typically slower than runs and use less energy. There are of course exceptions to this generalization. There is an entire sport of speed or race walking, which is very energetic, and the athletes move at quite a clip, and it is possible to run slower than some people walk. So, the critical difference is that walking is a sequence of steps and running is a sequence of leaps.

Typically, when you walk your leading foot (the one that is about to take weight) makes contact with the floor heel first and then you roll forward onto the front of that foot. In running steps by contrast you tend to land on either your midfoot or your forefoot (i.e., the ball of your foot) and your heel makes minimal contact. This leads us to a third related motion called Jogging. According to people who do the sport, Jogging is like running in that it is a sequence of leaps propelling yourself forwards or backwards, but instead of landing on the ball of your foot, you land on the heel and roll forward, like a walk. Jogging is often also considered intermediate between walking and running in speed and energy level. There’s also a difference between jogging and running in terms of stride length: When you run you usually take much bigger and longer steps than when you jog.

There’s a specialized kind of jog or run called a prance. In prancing, you either run or jog but you lift your leading leg’s knee high in the air as you step. There’s also a specialized kind of walk called a march. Walking can be arhythmic and irregular, but marching has to always be regular and in time. In folk dancing, all the walking we do is in fact marching. They are synonyms for our purposes. Sometimes when folk dancers talking about marching (as opposed to walking) they mean a walk where you lift your knee before stepping on it). So, in folk dancing a march is to a walk what a prance is to a run; marching and prancing involve lifting the knees and walking and running/jogging do not.

The problem with the definitions I’ve given you above is that people aren’t particularly consistent about these terms. For example, there is a style of running, used particularly by long distance runners and marathoners where you run, but you lead with your heel. This is called “heel strike running”. Some people naturally heel-strike run no matter what distance they are traveling. There’s a lot of individual variation. This said, I think the usual interpretation of “run” in folk dancing involves a forefoot or midfoot strike. Keep in mind that there are also people who jog on their mid- and forefeet, thus apparently disproving the definition I’ve given above. Another issue with my definitions is that they say the motions are defined as propelling you forwards or backwards. But everyone knows you can walk, jog, or even run in place. To make things even murkier, even those people who jog with heel-strikes will often jog in place on the balls of their feet. These terminological ambiguities seem designed to drive the student of folk dance crazy. My recommendation to new dancers is to not worry too much about the differences between jogging and running and walking. You should remember that as people who learned how to walk and run as children, you do in face “know it when you see it”, don’t overthink it.

Video of walking, marching, running, leaping, prancing, etc.:

Step: A transfer of weight from one foot to the other, where there is a brief period of time where the weight is on both feet.
Leap: Leaps are transfers of weight from one foot to the other and there is a brief period where neither foot is on the floor bearing weight.
Walk: A sequence of weight changes where there is a brief period that the weight is on both feet (i.e., a sequence of steps). Often this is the form that takes the least amount of energy. It typically involves a heel strike of the leading leg followed by a roll through towards the front of the foot.
Run: A sequence of weight changes where there is a brief period that neither foot is on the ground (i.e., a sequence of leaps). This involves the highest energy of the weight changes. It also involves the longest strides and distance covered. In folk dancing this usually involves landing on the fore- or midfoot.
Jog: A kind of run that is intermediate in energy between walking and running and is intermediate in terms of stride lengths. It may or may not involve landing with your heel or your forefoot first – there is variation on this point.
Prance: A kind of jog or run, where you lift your leading leg’s knee high before you make contact with the ground.
March: A kind of walk, where you lift your leading leg’s knee high before you step on it.

2. Hopping, Jumping, Chugging, Bouncing, Squatting and Kneeling

In the previous section, we defined a leap as a transfer of weight from one foot to the other, but where there is a brief period of time when neither foot is on the floor. We contrasted this with steps, where during the transition in weightbearing both feet are on the floor. Leaps are characterized by some time where you’re in the air. But you may have also heard of jumps and hops. These actions also involve some airtime. So, what’s the difference? With hops, you land on the same foot as you took off from. For example, I might have my weight on my left foot, I push up and leave the ground in the hop and then I land on my left foot again. With a leap, I’d start with my weight on my left and then land on the right. Jumps are trickier to define because many people use the terms jump and leap completely interchangeably. There is one school of thought though that jumpseither have to start with the weight distributed equally on both feet, land with the weight on both feet or both. An entrechat is a rare move in folk dancing, but it’s a jump in the air, where you rapidly alternate which foot is in front while you are in the air. There is a variant of the hop that’s found in many Balkan countries. It’s called the čukče (pronounced CHOOK-chay — in IPA that’s /tʃuktej/). Čukčes are like hops, except the weighted foot doesn’t really leave the ground. There’s an upwards motion like a hop, but only the heel comes off the ground, the toe stays connected to the floor. You can think of the čukče like a lazy hop. Another variant on the hop is the is the chug. Chugs also have less air time than full blown hops, and the toe usually stays touching the ground but without weight on it. Usually chugs involve either a forward motion or a backwards motion, so that the start of the chug is in a different place than the end. With the čukče the foot stays pretty much in place and there is still weight on the ball of the foot throughout the action. Finally, we have bounces. In a bounce the foot never comes off the ground. There is an up-down (or down-up-down) motion of the body as in a hop, but this is accomplished simply by flexing and straightening the knee. There’s no airtime at all in the bounce. The primary difference between a bounce and a čukče is the vertical motion in a bounce is accomplished by bending the knee on the weight bearing foot and the vertical motion in a čukče is accomplished by raising and lowering the heel.

<video of leaps, hops, jumps, čukče, bounce and chugs (forward and back)>.

Leap: Leaps are transfers of weight from one foot to the other and there is a brief period where neither foot is on the floor bearing weight. (repeated from above)
Hop: A hop involves leaving the ground for a brief time but starting and landing on the same foot
Jump: Some people use this term as a synonym for leap. But others use it to refer to an action where either you start with weight on both feet, end with weight on both feet, or both.
Entrechat: This motion is rare in folk dance, but it is found in some of the more balletic performance styles. When you jump in the air, you rapidly switch the feet in position alternating which one is in front.
Čukče: A čukče is like a hop, except only the heel leaves the ground. Otherwise the weight stays on the ball of the same foot.
Chug: A chug is like a hop, in that there is a moment where there is no weight on the standing foot, but the foot remains in contact with the ground. Chugs also typically involve forward or backwards motion.
Bounce: A bounce is an up-down (or down up down) motion executed by flexing the knee.

For the more energetic dancer, two common movements are the squat and the kneel. A squat is when you jump up in the air and land on both feet as in a jump, but you land on your feet with very bent knees. Older and less limber dancers often can approximate the squat with a half-squat, where you land with bent knees, but not in a full squat. A kneel is similar to a squat, in that you land with a very bent knee, but this time only on one foot. The free knee goes all the way down and lands on the floor, so your weight is split between a leg with the foot on the ground and a fully bent knee and the other leg with the knee touching the ground. Kneels can be dangerous, so it is suggested that you don’t try them without supervision and training of an experienced dancer. It is also possible to initiate a kneeling pose without jumping and just lowering down onto the free knee. Dances from the Republic of Georgia in the Caucasus sometimes involve jumping in the air and landing on both knees! This is a highly acrobatic move that requires years of training to do safely. It is not recommended for your average recreational folk dancer.

Squat: Jumping in the air and landing on both feet, with a deep knee bend.
Half Squat: Jumping in the air and landing on both feet, with a noticeable but partial knee bend.
Kneel: Jumping in the air and landing on one foot, bending the knee of that landing foot and touching the knee of the free foot to the ground. Kneeling can also be done from a standing position by just bending the weighted foot and lowering the other knee to the ground.

3. Actions of the non-weighted foot.

Sometimes the most prominent action on a count is done with the free foot (i.e., the one without the weight. These are often, although not always, accompanied by a hop, step, etc. on the weighted foot.

The simplest of these free foot actions is called the close. A close involves bringing the free foot next to the weighted foot, without taking weight on it. Often the close looks almost like a step, but the weight remains on the other foot. A variant of the close is the click. In a click, the free foot strikes the weighted foot. When the dancer is wearing certain kinds of footwork, like boots or hard shoes, the click makes a noise. This is a very common action in Bulgarian folk dance where it is called hlopka (in Cyrillic Хлопка). Clicks typically don’t take weight, but there are occasions where you switch weight to the clicking foot. When it does take weight, we simply call it a click with weight.

Close: Bring the free foot next to the weighted foot. Do not take weight on the closing foot.
Click/Hlopka: The free foot is brought sharply against the weighted foot, striking it. The free foot does not take weight.
Click with weight: The free foot is brought sharply against the weighted foot, striking it, as in a click but you put weight on the clicking foot as it hits the other foot.

A touch is a motion where one part of the free foot, usually the toe, the ball or the heel of the foot comes in contact with the floor without taking weight. A variation of the touch is a tap. Touches can happen anywhere on the floor; next to the weighted foot, behind it, in front of it, across on the other side of it, off to the side, on the diagonal, straight forward, or straight back. Taps differ from touches in that the duration of the contact with the floor is much briefer. In a touch the contact lasts for an entire count of the music (or more). With a tap, the contact is very brief and the foot is immediately taken of the floor. The Heel and Toe (and Toe and Heel) are sequences of taps or touches of, obviously, the heel followed by the toe, or the toe followed by the heel. These last two are two count motions.

Touch: A touch is where a part of the free foot (toe, ball, heel) makes contact with the floor, without taking weight.
Tap: A tap is a very brief touch, where the contact with the floor is almost instantaneous, and the foot is immediately lifted off the floor.
Brush: A brush is like a tap, except with a forward or backwards motion. Usually brushes involve very striking the ball of the foot on the floor as the leg swings in some direction.
Scuff: A scuff is like a brush, but where it’s the heel that strikes the floor during the motion of the leg, rather than the ball of the foot.
Heel and Toe. Touch heel of free foot (1). Touch toe of free foot in the same place (2).
Toe and Heel. Touch toe of free foot (1). Touch heel of free foot in the same place (2).

There are also a set of touch-like motions that are more emphatic, often making significant noise with the free foot. The first of these is found mainly in clogging and tap dancing traditions. It’s called a shuffle. It involves two very brief contacts with the floor – essentially two scuffs or brushes in quick succession where the leg moves forward on the first contact and backwards on the second. There are different ways to do this, it can either two taps of the ball of the foot, or either of the two taps could be the heel and the other of the ball of the foot. A stamp is a single strike of the foot against the floor making noise, typically with the full foot. A variant of the stamp is the slap. Slaps involve full contact of the foot too, but they are typically done with the foot extended out with a straight knee. Stamps should be contrasted with stomps. Stomps take full weight on the striking foot (i.e., it’s a very heavy step with a weight change). A special kind of stomp is the fall where there is a forward motion of the body over the striking foot as it takes weight.

<video of stamp, Strike Heel, Slap, Stomp and fall etc.

Shuffle: A shuffle is a motion found in a lot of clogging style dances. It consists of two very brief instances of contact with the floor as a foot moves forward and back.
Stamp: Strike the free foot against the ground, but do not take weight on it. (c.f. stomp where weight is taken). Usually done with the full foot.
Heel Strike: Strike the heel of the free foot against the ground, but do not take weight on it. This is like a stamp, but where you only hit the heel to the ground.
Slap: A slap is like a stamp, except it is done with the flat of the foot with an extended leg (i.e., with a straight knee). This is usually done to the front, on the diagonal, or to the side.
Stomp: A very heavy step on the ground that takes weight. (c.f., stamp, where no weight is taken)
Fall: A fall is a special kind of stomp, typically when there is a forward motion of the body over the foot taking the weight.

Some motions with the free foot don’t involve contact with the floor at all. The simplest of these is the lift. This raising the free foot up usually with a bent knee. Lifts can be straight up in front, to the side and lifting the foot in the back. The lift can be low and just off the ground or it can be high up. You can also do various things with the lifted foot. Two common variations on the lift are the hook and the shake. A hook is a lift, but with the free foot crossed in front of the weighted foot’s shin. A shake is self-explanatory: The free foot is loose and shakes back and forth as the knee goes up. Kicks are the forward or backwards motion of the free foot originating at the knee. Pumps are like a kick, except the foot pushes downwards rather than forward or back. Pumps are like the action you do when you slam your foot down on the brakes in a car. A swingaround is like a kick, but the motion moves around in an arc parallel to the floor, the swing’s motion typically starts at the hip rather than the knee. A (forward) bicycle step is a motion that is like a lift, but you bring the free foot up and around as if you were peddling a bicycle. The cycling motion can also be done in reverse as if you are back-peddling. The back/reverse bicycle is actually more common in dancing than the forward bicycle. A scissor is a leap from one foot to the other in place, while simultaneously kicking the newly free foot forward low. Typically scissor kicks happen in groups alternating feet kicking and leaping. Finally, we have the high kick. The high kick differs from the kick in that the motion is from the hip, the free leg is straight, and your free foot goes as high as it can. The high kick is the famous high motion found in the famous French cabaret dance called the Can Can.

Lift: Raising the free foot up with a bent knee.
Hook: Lifting the free foot up with the foot crossing in front of the weighted foot’s shin.
Shake: A lift where the foot is held loose and it shakes back and forth.
Kick: A forward (or backward) movement of the free foot with the motion happening from the knee down.
Pump: A kick where the movement is downwards.
Bicycle step: This is like a lift, but you rotate the foot forward, down and back as if you are pedaling a bicycle. The motion can be done forwards or as if you are backing pedaling. In the latter case it is called a back bicycle or a reverse bicycle. Back bicycling motions are much more common than forward bicycle motion.
Swing around:^[1] A circular or semi-circular motion from the hip, where the free foot moves in an arc.
Scissor: This is a low kick forward, which happens simultaneously with a leap in place changing weight.
High Kick: A motion from the hip with a straight leg, lifting the free foot as high as possible in front of the body.
Pendulum Step: This is a step where you essentially jog in place, but the free foot extends to the side, then when you step on it the other foot extends to the other side. The extensions can also be done forward and back instead of to the side. This is like a running step in place where you extend or kick the free foot to alternate sides.

4. Some more basic steps and step combinations

4.1. Combinations That Fall on Only 1 Beat

The late dance teacher Yves Moreau invent a term for a motion that is found in dances throughout the Balkans, this is a limping motion that combines two weight changes across a single count. He called this a bloobloop. In a bloobloop, you step forward on the ball of one foot on the upbeat immediately before the main count (ah), taking weight on it briefly, then you fall forward onto the other foot, typically flat, on the main beat itself (1). A variant of the bloobloop is the kerplunk! In a kerplunk, instead of stepping on the upbeat, you do a hop or a čukče (ah), then you fall forward on the other foot (1).

Bloobloop: Step forward on the ball of the free foot on the upbeat before the main count (ah). Then fall forward on the flat of the other foot (1).
Kerplunk: Hop or čukče on the weighted foot (ah). Then fall forward on the flat of the other foot (1).

4.2. Two and Four Count Combinations (typically in 2/4, 4/4 or 6/8)

Now let’s consider some more steps involving weight change, but these ones aren’t simple walks or variations on them. First, we have three motions that that involve moving from side to side or forward and back. A sway is a motion from side to side. You step or lean on one foot to one side, then you step or lean on the other foot to the other side. Rocks are like sways but move forward and back. There are different ways to do balances, but one common way is a variation on the rock. In this kind of balance, you rock forward on one foot and then you bounce on it, taking up a second count, then you rock backwards on the other foot and do another bounce.

Sway: Step and lean on R to R or step and lean on L to L. Sways are often immediately followed by repeating the same action with the opposite footwork and direction.
Rock: A rock is like a sway but is a forward and backwards motion. You step and lean forward, or you step and lean backwards. Rocks are often immediately followed by repeating the same action with the opposite footwork and direction.
Balance: A rock forward onto one foot, followed by a bounce on that foot and rock backwards on the other foot followed by a bounce.

There are a number of motions that involve, combining steps and hops. The names for these are self-explanatory. A step-hop is a shift of weight onto a foot, followed by a hop on that some foot. A hop-step is the opposite: You hop on your weighted foot then switch weight onto the other foot. A reel step (or reeling step), is a special kind of hop step where the free foot is brought up and behind the hopping foot and then the step displaces the hopping foot forward. Skipping is a related but very confusing term. I generally avoid because it is sometimes used interchangeably and ambiguously with step-hop or hop-step. Even more confusingly it is sometimes used to refer to the “skip-change” step in Scottish and Irish dancing. Technically, the skip is a hop-step where there is an uneven timing of the hop with respect to the step. That is where the hop is on a preparatory (ah) count immediately before the step: hop on R (ah). Step on L (1). Whereas the standard hop step takes two evenly spaced counts: hop on R (1). Step on L (2). The step-bend or step-bounce is a variation on the step-hop, but where the hopping motion is replaced by a flexion of the knee rather than a full hop where the foot comes off the ground.

Sometimes the hop is combined with more than one step. Again, the names for these steps are self-explanatory. The hop-step-step is a hop on one foot, followed by a step on the free foot, followed by a step on the original hopping foot. The steps can be done in any direction or even in place. The step-hop-step shifts the hop to the middle count and the step-step-hop shifts it to the end. Below I give a table showing the different variations. I’ve given them here as a 1&2 count (i.e. a quick-quick-slow rhythm), but they can also be done in other syncopated rhythms such as 12& (i.e. slow-quick-quick) or completely even rhythms (i.e. quick-quick-quick). The counts here are just for illustrative purposes.

Name

Count 1

Count &

Count 2

Hop-Step-Step (R)

Hop on L

Step on R

Step on L

Hop-Step-Step (L)

Hop on R

Step on L

Step on R

Step-Hop-Step (R)

Step on R

Hop on R

Step on L

Step-Hop-Step (L)

Step on L

Hop on L

Step on R

Step-Step-Hop (R)

Step on R

Step on L

Hop on L

Step-Step-Hop (L)

Step on L

Step on R

Hop on R

Step-hop: A shift of weight onto a foot (i.e., a step), followed by a hop on that some foot.
Hop-step: A hop on the weighted foot followed by a step on the free foot.
Skip: Warning, this term is used ambiguously in dance teaching and probably should be avoided. Technically, it is a hop-step where there is an uneven timing of the hop with respect to the step. That is, where the hop is on a preparatory (ah) count almost immediately before the step: hop on R (ah). Step on L (1); The standard non-skipping hop-step which takes two evenly spaced counts: hop on R (1). Step on L (2). Unfortunately people use this term to describe a whole variety of different footwork patterns including both step-hops and hop-steps.
Reel step/Reeling step: A special kind of hop-step, where, as you hop, you bring your free foot up and around to the back. Then you step on the free foot behind the hopping foot, often displacing the hopping foot.
Step-bend/Step-bounce: Step onto the free foot (1). Bounce on stepping foot, by flexing and relaxing knee (2).
Hop-step-step: Hop on the weighted foot and then take two steps alternating feet.
Step-hop-step: Step on the free foot, hop on it, then step on the other foot.
Step-step-hop: Take two steps, followed by a hop on the weighted foot.

Closely related to the step hops and hop steps are cases where you do a specific action with the free foot, sometimes although not always, accompanied by a hop or čukče on the weighted foot. A step-lift is the case where you step on one foot on count 1 and then raise the knee or foot of the free foot on count 2. Step-swings, step-kicks, step-stamp are like step lifts but where the free foot does a stamp, swing across, or a kick forward on the second count instead of a lift. The reverse of all of these steps is also possible, where the free foot performs the action on count 1, then you step on it on count 2.

Step-lift: Step on either foot (1). Then lift the knee of the other (free) foot up (2).
Step-swing: Step on either foot (1). Then swing the other (free) foot across (2).
Step-kick: Step on either foot (1). Then kick the other (free) foot forward (2).
Step–stamp: Step on either foot (1). The stamp the other (free) foot next to weighted foot, don’t take weight (2).
Lift-step: Lift the knee of either foot (1). Then step on that same foot (2).
Swing-step: Swing either foot across (1). Then step on that same foot (2).
Kick-step: Kick either foot forward (1). Then step on that same foot (2).

Next, we have a set of footwork patterns that are variations on walking or running. First up, we have the Sashay or Chassé step (also sometimes called a slip step or Slide step). This is a leap to the side on the first count followed by step of the other foot next to it. Typically this is repeat for 8 counts, where the final close does not take weight. Often the sashay step involves an action called a cut,^[2] where the stepping foot displaces or knocks the weighted foot out of place by replacing it on the ground. A gallop is essentially a sashay step but done moving forwards instead of to the side

Slip step/Sashay steps/Chassé: This is a leap to the side, followed by stepping on the other foot next to it. It can be done to the right (R) or the left (L):
- Sashay to the R: Take a big step or leap on the R sideways to the R (1). Step on L next to R (&). Leap on R to R (2). Step on L closed next to it (&). Etc. On the last bar Leap on R to R (8), then pause (&). This frees the opposite foot to go the other direction.
- Sashay to the L: Take a big step/leap on the L sideways to the L (1). Step on R next to L (&). Leap on L to L (2). Step on R closed next to it (&). Etc. On the last bar leap on L to L (8), then pause (&). This frees the opposite foot to go the other direction.
Cut: The stepping foot takes the place of the weighted foot, displacing the weighted foot up or out.
Gallop: A gallop is a sashay step done leaping forward instead of to the side.

The vine and grapevine steps also involve moving from side to side. But they involve stepping behind or in front with the trailing foot. A grapevine step (also known as a mayim step in Israeli dancing), involves stepping to the side and then either stepping on the free foot behind the leading foot or stepping in front. Typically, in a grapevine, you alternate stepping in front and in back with the trailing foot as you travel. There are several different ways to do a grapevine, based on where in the sequence you start the step. You can start by stepping to the side with the leading foot first, or you can step either in front or behind with the trailing foot first.

Grapevine or Mayim: Moving to either the L or the R, you alternate steps to the side on the leading foot with steps in front and behind with the trailing foot.
- Grapevine to the R starting with leading foot and crossing trailing foot in front on count 2: Step on R to R side (1). Step on L across in front of R (2). Step on R to R side (3). Step on L crossed behind R (4).
- Grapevine to the R starting with leading foot and crossing trailing foot behind on count 2 (rare): Step on R to R side (1). Step on L behind R (2). Step on R to R side (3). Step on L across in front of R (4).
- Grapevine to the R starting with trailing foot crossing in front on count 1: Step on L across over in front of R (1). Step on R to R (2). Step on L crossed behind R (3). Step on R to R (4).
- Grapevine to the R starting with trailing foot crossing behind on count 1 (rare): Step on L crossed behind R (1). Step on R to R (2). Step on L crossed in front of R (3). Step on R to R (4).
- Grapevine to the L starting with leading foot and crossing trailing foot in front on count 2: Step on L to L side (1). Step on R across in front of L (2). Step on L to L side (3). Step on R crossed behind L (4).
- Grapevine to the L starting with leading foot and crossing trailing foot behind on count 2 (rare): Step on L to L side (1). Step on R behind R (2). Step on L to L side (3). Step on R across in front of L (4).
- Grapevine to the L starting with trailing foot crossing in front on count 1: Step on R across over in front of L (1). Step on L to L (2). Step on R crossed behind L (3). Step on L to L (4).
- Grapevine to the L starting with trailing foot crossing behind on count 1 (rare): Step on R crossed behind L (1). Step on L to L (2). Step on R crossed in front of R (3). Step on L to L (4).

The vine step is a kind of truncated grapevine. It is quite common in line dancing, but you often find it in other kinds of dancing too. Unlike the grapevine there aren’t a bunch of different variations. There are really only versions where you step to the side on the leading foot and then cross behind with the trailing foot.

Vine Step: A step to the side on the leading foot (1). Followed by a step behind on the trailing foot (2). Followed by a step to the side on the leading foot again (3). The fourth count can be a touch of the trailing foot, a kick of the trailing foot or a pause.
- Vine R: Step on R to R side (1). Step on L crossed behind R (2). Step on R to R side (3). Touch L/Kick L/Pause (4).
- Vine L: Step on L to L side (1). Step on R crossed behind L (2). Step on L to L side (3). Touch R/Kick R/Pause (4).

The next set of step combinations all involve two dancers beats but use three weight changes instead of two. It does this by making use of the (&) count between the two major beats in the bar. The most basic version of this is the triple step. In the triple step you change weight three times by stepping R (1), L (&), R (2) or stepping L(1), R (&), L (2). The triple step can be done in a variety of configurations including in place or side to side, when either of these situations occur, we often call it a one-two-three. A variant of the one-two-three is the pas-de-basque (sometimes called pas-de-bas). The pas-de basque starts with a leap onto the free foot (1), then the other foot briefly takes weight typically on the ball in front (&). Then you step on the first foot again in place (2). This is typically repeated with the opposite footwork. When you do a triple step or pas-de-basque facing someone, the step is often called a setting step, where you acknowledge the person across from you while performing the footwork

Triple Step: Stepping R (1), L (&), R (2) or L (1), R (&), L (3).
One-two-three: A triple step done in place or side to side.
Pas-de-Basque: A triple step that starts with a leap in place. Often the foot stepping on the (&) count only briefly takes weight on the ball of the foot before stepping on the first foot again. Can be done to the R and the L.

- Pas de basque R: Leap on R to R (1). Step on ball of L in front of R (&). Step on R in place (2).
- Pas de basque L: Leap on L to L (1). Step on ball of R in front of L (&). Step on L in place (2).

Setting step: When you do a triple step or pas de basque facing someone while acknowledging the person.

When the triple step moves forward or back, it is given the incredibly confusing name of two-step – even though it uses three steps! It is also called a cha-cha-cha step. Two steps are characterized by the fact that the middle step is done by closing the foot next to the other foot, or behind it on the (&) count. A skip-change step is found in the dances of Ireland, Scotland and England. It’s like a two-step with a couple of important differences. First it starts with a hop on count 1, which is then followed by the two-step motion on counts 2, 3, 4. It also differs stylistically from the two-step. The two-step is done flat footed, whereas the skip-change is done up on the balls of the feet and with the toes pointed forward as you step. The polka step is essentially a skip-change step but done from side to side or done while turning a partner. Finally, we have the Schottischestep (also spelled Shottis or Schottis). This step is like the polka or skip change, except the hop comes on the last count instead of the first.

Two-step (Cha-Cha-Cha step): A triple step done moving forward. The second step in each two-step involves closing the foot next to the leading foot: Step on R forward (1). Step on L closed next to R (or behind R) (&). Step on R forward. Can be done with the opposite footwork.
Skip-change of step: Hop on R, pointing and extending L foot forward (1). Leap on L forward (2). Step on R closed behind L (3). Step on L forward (4). Repeat with opposite footwork.
Polka step:^[3] Hop on R (1). Leap on L to the L side (2). Step on R closed next to L (3). Step on L to L side (4). Repeat with opposite footwork. This step is most commonly done during turning couple dances.
Schottische step: Step on R forward (1). Step on L forward (or closed next to R) (2). Step on R forward (3). Hop on R (4). Then repeat with the opposite footwork. The step can be done forwards, to the side, or while turning with a partner.

Finally, we have a set of steps that are used to turn alone, turn as a couple or rotate a circle quickly. Pivot steps involve putting the weight on a foot and then rotating without changing weight. The foot swivels in place and the body in the direction of the swivel. These can be done simply in place or as part of a sequence that moves across the floor in the latter case you step forward on the pivoting foot and then you turn your body so that the foot rotates on the ground. This can either be done on the ball of the foot (which is the normal usage of the term “pivot”) or by putting weight on the heel of the stepping foot and rotating balanced on that heel. Pivot steps turn with the rotation taking place on the foot with weight. Sometimes this pivoting on the weighted foot is accompanied by a very brief push on the ground from the free foot. This is called a push turn or a paddle turn. The free foot pushes against the ground while the weighted foot rotates on the floor. Rather than making the turn on the weighted foot as in pivots, Buzz steps and Rida Steps create any rotation of a couple or a circle during the change of weight from one step to the next. The buzz step, also called the downbeat rida step, the closed rida step or the swing step, involves crossing one foot over the other, typically with a slight bend of the knee. This is followed by a step on the other foot to the side, typically with a straight knee. When done in a couple, the use of this step is rotates the couple around in a swing. The couple rotates clockwise when crossing the right foot over the left or counterclockwise when crossing the left foot over the right. The term rida step is typically reserved for when the step is used to rotate a circle rather than a couple. The term buzz step is used in both circles and couples. An upbeat rida step, also called an open rida, swaps the order of the steps. Instead of crossing one foot over the other on count 1, and then stepping to the side on count 2, in the upbeat rida, you step to the side first on count 1, and then do the crossing on count 2.

Pivot steps involve a swiveling rotation of the body on the foot bearing weight.
- o Pivot (ball): Step on the ball of either foot and turn the body in either direction without lifting the foot off the ground. The foot swivels on the ground following the body direction.
- o Heel pivot: Same as the basic pivot, but where the weight is balanced on the heel of the foot rather than on the ball, during the swivel.
Push Turn/Paddle Turn: This is a kind of Pivot step, where the free foot briefly pushes against the floor (typically to the side or forward) propelling the dancer in the turn.
Rida/Buzz Steps: These are steps that rotate a couple or a circle either clockwise or counterclockwise, they involve crossing one foot across over the other then taking a step to the side with the free foot.
- Downbeat Rida Step/Closed Rida/Buzz Turn/Swing Step: Step on R across over L and slightly forward, with a bent knee (1). Step on L to the side, typically with a straight knee (&). Can be done with the opposite footwork.
- Upbeat Rida Step/Open Rida: Step on the L to the L, with a straight knee (1). Step on R across over L (&). Can be done with the opposite footwork.
Swing: A couple formation, where the couple rotates in place. Typically standing slightly right hip to right hip or slightly off to the left of their partner. The swing can be in a variety of hand holds including ballroom, or shoulder-shoulder blade. The footwork is either a buzz step or walk forwards around your partner. You rotate clockwise around your partner, while the couple stays largely in place in the room.

4.3. Footwork Requiring Three Full Counts of Music (typically in 3/4, but sometimes 6/8)

Steps done in 3/4 time (typically called a waltz rhythm) often have a lot in common with the triple step described above in section 4.2: they involve three changes of weight per bar. The difference between waltz steps and 2/4 triple steps is in the timing. In a 2/4 triple step the rhythm can be, for example, R (1), L (&), R (2), with a pause on the final & count. This gives a quick-quick-slow feeling to the step. In waltz time however, the three beats are equal in duration and the third count is not longer than the other two, so a typical waltz step would be R (1), L (2), R (3). In most waltz rhythms there is an emphasis (downbeat) on the first count, but this does not translate to a difference in the duration of each of the beats. Any triple step that’s done in this meter can be considered to be part of the waltz family of steps. The most basic waltz step is a running waltz. This step can be done moving forward or backwards, but you essentially just run in time to the music. One bar will be R (1), L (2), R (3) and the next will be L (1), R (2). L (3). A turning waltz step uses the same sequence of steps, but you make a ½ turn (usually, although not always, rotating clockwise) for each bar. When done in couples the turning waltz moves involves stepping backwards in LOD on the L to start followed by the RL in place turning halfway clockwise in place then stepping forward in LOD on the R followed by the LR completing the turn. A box waltz step does exactly what its name sounds like: as you move you step in a box shape on the floor across two bars of music. There are technically two ways to do what is called a waltz balance. You can step forward on one foot (e.g. the R) on count (1). Then step L (2), R(3) in place next to the R, then you repeat the same thing backing up with the opposite footwork. This can also be done to the sides. The more common way to do the waltz balance however only has one weight change per bar: You step forward, or to the side, on one foot on count (1) and you pause for counts (2) and (3), often lifting the free foot up or next to the weighted foot’s calf, then you repeat with the opposite footwork and direction (i.e., backing up to moving to the other side). There are a couple of other steps that are in 3/4 time that don’t involve stepping on each count. The first is the slow waltz walk, where you take one step per bar, typically on the first count. A variant of this is found in 6/8 time, where you step on counts (1) and (4). The second variant is where you take a step on count (1) and then do some action with the free foot on counts (2) and (3). For example, waltz time step-brushes are common in Israeli dancing, you take a step on count (1), and then you brush the free foot on counts (2) and (3). You can replace the brush with a stamp, a tap, a touch or any of the actions that a free foot can take (see section 3 above). Finally, we have an interesting combination that originally comes from Poland but is now found throughout Europe. This is the mazurka step. The mazurka step consists of two running steps followed by a hop. The free foot can do a variety of actions on the hop: sometimes it’s lifted, other times it hooks in front of the weighted foot’s shin.

Waltz step: Any triple step done in waltz (3/4) meter. There are several different kinds.
Running waltz: run forward or backward stepping R (1), L (2), R (3) in one bar and L (1), R (2), L (3) in the next (or vice versa).
Turning waltz: When done in couples the lark/leader steps on their L foot backwards in LOD while stepping in front of the robin/follower, while the robin steps forward on their R in LOD (1). Then the lark steps R (2), L (3) and the robin steps L (2), R(3) executing a 1/2 clockwise rotation. Then the dancers do the opposite footwork on the next bar.
Box waltz step: Bar 1: When moving forward (usually the lark or leader), you step forward on the L (1). Step on R to the R (2). Bar 2: Then you step on L next to R, taking weight (3). In the next bar you step backwards on the R (1). Step on the L to the L (2). Finally, stepping on R closed next to L, completing the box. When moving backwards to start, you simply reverse the order of the bars, starting with bar 2 and then doing bar 1.
Waltz balance: Method 1: Step on either foot forward (or to the side) on count (1). Pause on counts (2) and (3), optionally lifting the free foot up or bringing it next to the calf of the weighted foot. Then repeat with opposite footwork and direction. Method 2: Step on either foot forward (or to the side) on count (1). Step on the free foot next to weighted foot (2). Step on first foot again in place (3). Then repeat with opposite footwork and direction.
Slow walking in waltz time: One walking step per bar, stepping on the first count and pausing on the second and third counts. A variant of this is found in 6/8 time, where you step on counts (1) and (4).
Waltz time step brush: Take a step on either R or L (1). Brush the free foot forward (or across) on counts (2) and (3). The brush can be replaced by a stamp, hook, tap, touch or any other free-foot action.
Mazurka step: Run forward with two steps (1), (2). Then hop on the foot you just stepped on (3). During the hop the free foot often hooks in front of the weighted foot’s shin, but it can also be lifted in front.

This ends our survey of common folk dance step terminology. There’s a lot of detail above, but I hope this provides you with the definitions you need to understand folk dance descriptions and instructions. In the glossary at the end of this book, I give you some more specialized combinations and definitions that are associated with specific ethnicities.

5. Step Terminology Associated with Specific Ethnicities

Every language and every culture have their own terminology for dance steps. We, of course, cannot learn every language in Europe and the Middle East and every variant term that might be used. But as many folk dance instructors have expertise in specific ethnicities, we find that they sometimes bring in the ethnicity-specific terminology to describe steps used specifically in the dances of that culture. So, it is also helpful to know some culture-specific dance terminology. Rather than make this chapter endless, I’ve put many of these terms in the Glossary to the book. The lists provided there are by no means complete. I’ve identified many of the ones I’ve come across in over 40 years of dancing, but I’m sure there are other terms out there I’m missing.

24 Footwork

1. Walking, Running, Jogging and Prancing: Footwork with Weight Changes

2. Hopping, Jumping, Chugging, Bouncing, Squatting and Kneeling

3. Actions of the non-weighted foot.

4. Some more basic steps and step combinations

4.1. Combinations That Fall on Only 1 Beat

4.2. Two and Four Count Combinations (typically in 2/4, 4/4 or 6/8)

4.3. Footwork Requiring Three Full Counts of Music (typically in 3/4, but sometimes 6/8)

5. Step Terminology Associated with Specific Ethnicities

Further Reading and Online Resources

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