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Abbreviations and Glossary

A

Across Over: See Cross

Active Couple: In a set or a minor set, the active couple is the couple that starts closest to the music (closest to the top). They are the couple that progresses down towards the bottom of the set. Often abbreviated as C1.

Advance and Retire/Forward and back: Here you face another dancer, and you dance towards one another. This can be done solo, holding hands with a neighbor, or in lines of 4 or more.

Allemand R (contra): Rotate clockwise around another dancer while holding R hands with them. It is the same thing as a R-hand turn. Not the same as allemand R in square dancing.

Allemand L (contra): Rotate counterclockwise around another dancer while holding L hands with them. It is the same thing as a L-hand turn. Not the same as allemand L in square dancing.

Allemand L (square dance): Rotate ½ way around counterclockwise with another dancer to end facing the opposite direction from where you started. You hold the other dancer’s L elbow with your L hand so that you are forearm to forearm.

Allemand R (square dance): See Turn through.

Aksak: See complex meters.

Aptak (Armenian): Facing center, hop on L as R toe touches across over on the wrong side of L (1). Hop on L as R kicks forward (&). Leap onto R in place next to L, as L kicks forward low (i.e., scissors forward) (2).

Arm bounce: In W position, the hands gently bounce up and down.

Arm lift: An arm sweep that comes from below and raises up

Arm lower: The reverse of an arm lift.

Arm pump: In W position, the hands move up and down at the elbows.

Arm sweep: Move your arm from the center of the body to the right or left, or vice versa. Often, although not always, arm sweeps are done with a straight elbow, with the arm parallel to the ground and with the palm up

Arm swings (forward and back): Arms are down in V position and swing forward and back. Elbows are kept straight.

Arm swings (up and down): Hands start in W position and swing down to V position, or the reverse.

Arm wave/sway: An arm motion where the arms sweeps back and forth from one side to the other.

Armenian/Middle Eastern/Caucasian Arm movements: style where the arms flow through the air as if they are being pulled through water. The arm motions lead with the wrist and the hand trails behind as if dragging through the water

Arming (English Country dance): Hook R elbows with another dancer, rotate around them clockwise

Armenian two step (dveli, դվելի) (done in both 6/8 and 10/8): This is a triple step, but it has an uneven distribution of counts. There you find the step done in both 6/8 time and 10/8 time with slightly different distributions of counts. 6/8: Step on R in LOD (12). Step on L closed next to, or slightly behind, R (3). Step forward on R again (456). 10/8: Step forward on R in LOD (123), Step on L closed next to or slightly behind R (45). Step forward in LOD on R again (6,7,8,9,10).

Around the world: One partner stays stationary, while the other runs around them. They don’t drop hands so the stationary partner has to raise their hand over their head to allow the moving dancer to get behind them and get back to the original place.

Attami: See head slide.

B

Back basket hold. This is the same as the basket hold, except your hold hands with your penultimate neighbor behind your immediate neighbors back, instead of in front.

Back bicycle step (also called a reverse bicycle): A lift where you bring the free foot up and around to the back as if you were peddling a bicycle backwards.

Back to back (English country dance): see dosido.

Back to back and Face to Face: The joined inside hands are thrust forward, so that the dancers are back to back. The lark steps to their right on the right foot and the robin steps on their left to the left. Then on the next bar, the dancers swing their joined hands backwards, so they end up face to face with their partner, while stepping in LOD on lark’s left and robin’s right.

Back up thar: see thar

Back Yemenite: Step backwards on R (1). Step on L next to R (2). Step forwards on R (1). Pause (4). Can also be done with the left foot.

Balance (Partner Balance): An action where you move towards and away from another dancer, typically while holding hands. If facing someone, you take one or both hands with them, step towards them and then immediately step backwards. Most often you balance forward on your right foot and back on your left. You can also balance with someone you are standing next to, whether they are facing the same direction or not.

Balance (Waltz): See Waltz Balance

Ballroom position. Be careful about this term because in folk dancing this hand hold is slightly different stylistically than the way it is used in ballroom dancing itself. In this hold, the dancers stand face to face. The lark’s right hand rests on the robin’s left shoulder blade. The robin’s left hand lies on top of the lark’s right arm and their left hand rests on the lark’s right should. The lark holds their left hand up to their left side forming a little V with their thumb separated from their other fingers. The robin rests their right hand in the V formed by the lark’s left hand.

Becket formation: In contra dances, instead of standing across the set from your partner you stand next to your partner on the same side. Progression in becket formation move down the side (so everyone on the right side progresses down and everyone on the left side progresses up).

Begaj (бегај): This is the Bulgarian name for a running step.

Beig Mazurowy (Poland): Leap on outside foot (1) in any direction. Take small running steps I (2), O (3) in any direction. Can be done with opposite footwork.

Belt hold: The hands and arms are held in almost the same position as the front basket, except you hold your neighbor’s belt instead of holding your penultimate neighbor’s hand

Bend at waist: A motion where your legs are perpendicular to the ground, but your upper body bends over to some degree. The motion can be deep (so that the body is almost parallel to the ground) or it can be at a lesser angle.

Bend the line: After a 4 in line down the hall, the ends of the line fold inwards while the centers back up , breaking the line in the center. The move either ends with couples facing or in a closed circle.

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 back bicycle or a reverse bicycle. Back bicycling motions are much more common than forward bicycle motion.

Big window hold: Starting in crossed hand position, the robin makes one complete CW rotation. Then the couple lower the joined right hands down to waist level, without letting go. The robin keeps turning 3/4 and the lark makes a 1/4 turn CCW. You end with joined R hands behind the robin’s back and the joined left hands forming an arch (the big window) above the couple’s heads.

Black Sea hold: You rest the palm of your right hand on the back of your neighbor’s left hand, and you let your wrists droop and your fingers point downwards towards the floor.

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). (see also kerplunk)

Bokázó (Hungarian): Jump on to both feet, with R crossed over L (1). Jump onto both feet at shoulder width (2). Jump onto both feet together (3). Pause (4). [Among dancers in Hungary, the terms bokázó can refer to any step where the heels click together as in count 3 here; however among international folk dancers the term has come to mean the “cross-open-close” sequence described here]

Bounce: A bounce is an up-down (or down up down) motion executed by flexing the knee.

Bow: This is a brief bend at the waist, typically immediately followed by straightening up.

Box step: Step on R foot forward (1). Step on L across over R (2). Step on R foot backwards (3). Step on L to L (4). Can also be done with the opposite footwork.

Box the gnat: Holding right hands and facing each other. The dancers exchange places, with the follower turning counterclockwise under the joined hands into partner’s place while the leader walks around them clockwise into their place.

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.

Breton 9s Arm Swings: Hands are held with pinkie finger hold, the arms swing up and forward, then they circle backwards and slightly down and then push up again. Then the motion is reversed. If viewed from the side, the motion looks as if you are tracing a 9 shape.

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.

Buzz 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. (Also called downbeat rida).

C

C1: The active or top couple in a set dance.

C2: In contra dancing, the inactive couple, in a minor set. In Scottish and English set dancing, it’s the second couple down from the top.

California twirl: The dancers start side by side, facing the same direction and holding inside hands. The robin turns half way counterclockwise under the joined hands into her partner’s position, while the lark traces a clockwise circle around the outside of the turning robin, to end up in her position. Both end facing the other direction.

Camel Step (Israeli): Hop onto the R, lifting L knee up high and bending body backwards (1). Fall onto L foot (either forwards or backwards), while straightening body (2).

Cast down/Cast off (Scottish/English): Dancing away from the center of the set (and away from partner) pull outside shoulder back (Robin’s right; Lark’s left) and turn away, then dance down the back/outside of you own line to a position lower down the set (typically either to the next position or to the bottom of the set).

Cast up: Same as a cast off, except you move towards the top of the set on the outside rather than dancing down.

Cast off (Contra): After coming back up after a lead down the active and inactive couple grabs the waist of the person on the same side of the dance, and everyone does a three quarters wheel around (robins rotating clockwise and the larks rotating counterclockwise) to end in a progressed position with the inactive couple at the top and the active couple below.

CCW: Counterclockwise

Cha Cha Step: See two-step

Change places (English): Pass partner by the right shoulder into partner’s position, then pull right shoulder back to face partner again.

Chassé step: See sashay

Cherkessiya: Rock forward on R (1). Rock back in place on L (2). Rock backwards on R (3). Rock forward in place on L (4). Can also be done with the opposite footwork.

Chicago Bounce: A variant of the polka step, where you hop on the R foot (1). Hop on R again (&). Then leap onto the L (2). Then repeat with opposite footwork. It is typically done turning around a partner in ballroom hold. Common mainly to the midwestern US at Polish and Eastern European Polka Band events.

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.

Cifra (Hungarian): Leap on R to R (1). Step on L slightly forward of R (&). Step on R in place (2). Repeat with the opposite footwork. (i.e. a pas-de-basque)

Circassian circle: One common variation on an as-many-as-will longwise set the improper minor sets organized in a big circle around the room. In effect, it’s like the spokes of a wheel configuration in couple dances, except you have couples facing couples.

Circle L: Take hands with your neighbors and rotate the group in a circle in a clockwise direction.

Circle R: Take hands with your neighbors and rotate the group in a circle in a counterclockwise direction.

Circle to a line: One dancer drops hands with their neighbor and leads the dancers in a circle into a straight line.

Claps: Bring palms of the hands together to make a noise

Cleveland Hop: See Chicago Bounce.

Click: 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.

Complex meter: Meter where the dancer’s beats are not even or equal in duration.

Contra corners: The active couple turns their partner by the R, then they turn your own respective first corner by the L. This is followed by another partner turn by the R and then a turn by the L of the second corner.

Contra line: see longwise set

Corner. In square dancing, the person standing next to you who is not your partner. In improper contra dance minor sets, the person standing next to you who is neither your neighbor, nor your partner. In longwise proper sets, the corners are the people on your left and right diagonals on the opposite line.

Close: Bring the free foot next to the weighted foot. Do not take weight on the closing foot.

Closed circle: a roughly circular formation of dancers holding hands with their neighbors.

Closed circle of couples: Larks standing on the left and robins on the right and with everyone facing into the center and everyone holding hands with their partner and with their neighbor

Closed Rida: See downbeat rida.

Couple dance: Dances that require two people (and only two people) to work together as team.

Courtesy turn (contra and square): The lark takes the robin’s left hand in his, scoops around them putting his R hand behind their waist. The lark backs up and the robin dances forward to rotate half way around counterclockwise in a wheel around.

Cross: This is a tricky term, sometimes dance teachers will use it to mean “step across”, but it can also just be a direction of the foot and body, e.g. “Stamp across”. I recommend only using this term in combination with (1) an indication of the weight change and (2) the direction of the the “cross”.

Crossed hand hold: This is a little bit like the skater’s position or the front basket hold except facing. The lark and robin face each other. The dancers hold right hand in right hand and left hand in left. Usually (although not always), the right hands are on top of the left.

Crossed hand swing hold: In Scottish country dancing, everyone holds their partner’s right elbow in your right hand standing slightly offset from each other and then hold hands under the joined rights in a handshake hold.

Csárdás (Single): Step on R to R (1). Close L next to R, no weight (2). Can also be done with the opposite footwork.

Csárdás (Double): Step on R to R (1). Step on L closed next to R (2). Step on R to R (3). Close L next to R, no weight (4). Can also be done with the opposite footwork

ct.: count; however in this book counts are marked as numbers inside of parentheses, e.g., (1) or (2).

Cuckoo: In trio dances, the person in the center.

Cuddle position: see sweetheart position.

Čukče: (Чукче): a small lift of the heel on the foot bearing weight. Often a subtle version of a hop (Bulgarian/Macedonian)

Čukni (Чукни): ‘knock’. This is the Bulgarian name for a stamp.

Curtsy: In dances with traditional gender roles, the woman/robin doesn’t bow, instead they curtsy which is an up and down motion of the body, initiated by touching the R foot crossed behind the L and bending the L knee. (The curtsy should not be confused with the Armenian dance step called the Kertsee which has a nearly identical pronunciation.)

Cut (general): The stepping foot takes the place of the weighted foot, displacing the weighted foot up or out.

Cut (Scottish dancing): In Scottish dancing a cut is briefly raising up free foot up behind the weighted foot’s calf.

CW: Clockwise

D

Dancers beats: A description of how the musical beats correspond to footwork and other motions. Typically refers to a group of musical pulses that correspond to a single step. For example, there are 7 musical beats in 7/8 time, but these 7 beats are grouped together to correspond to three dancer’s beats.

Debka Jump (Israeli): Jump on both feet together, twisting heels to the R (1). Jump on both feet together again, this time with heels in a neutral position (2). Can also be done to the L.

Debka Step (Israeli): Touch R heel forward (1). Step forward on R (2). Can also be done with opposite footwork.

Devetorka Step (9/8) (Деветорка): “In 9”. This is a 3 bar figure that progresses sidewards to the R in a circle. It is in a particular version of the 9/8 meter which is counted in a series of long (or slow) counts and a short (or quick) count as (12)(34)(56)(7)(89) or SSSQS: Bar 1: Step on R sideways to the R (S). Step on L crossed behind R (S). Step on R to the R (S). Touch L across over R (Q). Transfer weight onto L across over R (S). Bar 2: Step on R sideways to the R (S). Step on L crossed behind R (S). Step on R to the R (S). Close L next to R, taking weight on both feet with a bounce (Q). Bounce on both feet (S) Bar 3: Repeat bar 2 with opposite footwork and direction.Variations on the basic devetorka often change the final QS counts of bars 2 and 3. Variations include a hop on the Q followed by a stamp, touch, or slap of the free foot on the S. The structure of the devetorka step is also found in the Gankino (or Kopanica step) except in a different rhythm.

Dive through: One couple forms a high arch with their joined inside hands. The other couple gets close together and dives through (or ducks through) under the arch, while the couple doing the arch dances forward over the diving couple. Once the couple has exchanged places, they sometimes finish with a courtesy turn or California Twirl or they do another figure with another on coming couple.

Dosido/back-to-back/dosado: Pass partner by the right shoulder. Move to the right, passing partner back to back and then back up to place passing their left shoulder.

Double Cherkessiya (also called “crossing step”) (Israeli): Step on R to R (1). Rock on L across over R (2). Rock back in place on R (3). Step on L to L (4). Rock on R across over L (5). Rock back in place on L (6). Can also be done with opposite footwork.

Double Circle: Couples arranged in a circle but with one person closer to the center than the other. Typically, this is done with the larks starting in the middle and the robins on the outside of the circle. Also called “spokes of a wheel”

Double inside turn: In a trio, both ends turn towards the center person and turn under their own joined hands.

Double outside turn: In a trio, both ends turn away from center person and then turn under the joined hands.

Double roll across: Similar to a roll across/roll away, except the person on the left also rolls. They do it behind the person who is rolling across in front.

Double roll in turn: In a trio, both ends rolling in with arms are kept low, wrapping the arms around them. The trio ends up in a double sweetheart position.

Double roll out turn: In a trio, starting in a double sweetheart position, the two ends unfurl (roll outwards away from center person) in with arms are kept low.

Downbeat Rida Step/Closed Rida: 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. (also called Buzz Step or Swing step).

Drmeš (Croatia): Generically, drmeš refers to the up and down shaking motion that is characteristic of Croatian dancing. It can also refer to a specific step that gives rise to this shaking motion.

Drmeš step (Croatia): Bar 1: Facing center, Step on R in place next to L, flexing R knee for the Drmeš shake (1). Straighten R knee (&). Touch L foot to L side slightly taking weight on both feet (2). Bounce on both feet (&). Upper body shakes throughout this with the bouncing of the knees giving the “drmeš” or shake. Bar 2: Take weight fully on L foot, leaving R to side, bending knee (1). Straighten L knee (&). Touch R foot, next to L (2). Bounce on both feet (&). Again upper body follows the knees in the drmeš shake.

Duple (double) minor set: A minor set consisting of two couples. See minor set and and longwise set.

Dveli: See Armenian two-step.

E

Elbow Turn: Hook R or L elbow with partner, turn them around either clockwise or counter clockwise.

Left Elbow Turn : Hook L elbows with another dancer. Rotate around them counter clockwise.

Right Elbow Turn (called Arming in English Country dance): Hook R elbows with another dancer, rotate around them clockwise

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.

Escort position. When a dance rotates CCW, you put your left hand on your hip or rest it across your stomach. Your left-hand neighbor then hooks their right hand into the crook of your left elbow. The reverse is used if the dance rotates CW. See also Greek Escort position.

Erev Ba arms (Israel): Arms go out to the sides when you step to the side on one foot, then they cross in front of the body, usually with a snap of the fingers, as you step across in front on the other foot.

Eye contact : In couple and set dances, it is considered polite to look into your partner’s eyes as a means of communication between the partners.

F

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.

Fancy dosido: This is a dosido, where each individual also spins individually counterclockwise while tracing the pathway of the dosido.

Figure Eight: Both members of the active couple dancing down between the inactive couple, with the lark letting the robin cross in front of him. The active lark then loops up counterclockwise around the inactive robin and the active robin loops up clockwise around the inactive. Then repeat back to original position, dancing around the other member of the inactive couple.

Finger pointing: Extend the index finger in a particular direction.

Finger shaking: Shake a pointed finger as if scolding someone.

First couple: In set dancing, the couple closest to the music/caller.

First corner : In a proper longwise set, the person on the opposite side who is on your right diagonal (standing next to your partner).

Follower: See Robin.

Follower’s chain: See Robins chain.

Forward bicycle step (also called a reverse bicycle): A lift where you bring the free foot up and forward as if you are peddling a bicycle.

Four in line down the hall and back: The same as lead down the center and back but done as a line 4 instead of just a couple.

Four robins’ chain : The four robins do a ½ R hand star in the middle of a square, while larks shift to their right into their partner’s place. Then the robin gives the opposite lark their L hand. Larks take robin with the R and then fold in behind them and put R hand on R hip. Then they wheel around counter clockwise (lark backing up) in a courtesy turn. Then you can repeat back to place.

Four-wall dances: American line dances where you start facing the front wall. The next time through you will have made a ¼ turn to start facing either the wall that was on your right or the wall that was on the left – depending upon the dance. The next time through you face the back wall, then the time after that you face the final wall.

Fourth couple: In a square dance, the couple on the left of the first couple. In a longwise set, the 4th couple away from the music.

Forward and Back: See advance and retire.

Front basket hold: So called because when you look at a line of dancers in this position, it looks like they are forming a basket weave. You lay your right hand on your immediate right-hand neighbor’s stomach. You then reach out with your left hand and take the right hand that’s waiting there for you

Furli : see Izfurli

G

Gallop: A gallop is a sashay step done leaping forward instead of to the side.

Gender-neutral swing position: Variation on side by side/offset ballroom position. The lark’s right hand and robin’s left are just the same as in the offset ballroom position. The robin’s right is on the lark’s shoulder blade and the lark’s left rests on the robin’s shoulder.

Gluglu hold: A position commonly used in Turkish dances. The dancers stand extremely close to each other with shoulders touching each other, or even with the right shoulder slightly behind your neighbor’s left shoulder. In Turkey the hands are held straight down and slightly behind backwards. See also Kurdish position.

Grand Right and Left: In a square, give partner R hand and pull by. Then give the next person you meet your left and pull by again, repeat until you meet your partner again (or continue around until you get home).

Grand Square: Sides start facing their partners; heads face the center. Heads advance into the center, while sides back away from partner. Heads ¼ turn to face partner; sides ¼ turn to face opposite. Heads retire back into sides position; sides advance into head position. Heads turn a ¼ to face opposite on the sides; Sides ¼ turn to face partner across the square. Sides advance into the center, while heads back away from opposite on the sides. One more ¼ turn, heads face partner; sides face opposite. Heads advance towards their original position. Sides back into their original position. Then repeat the whole thing except reversing direction.

Grapevine : 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).

Greek escort position: you hold your left hand palm up slightly in front of stomach. Your elbow is bent, and your forearm is parallel to the floor. You then tuck your right hand through into the crook of your neighbor’s left hand but instead of hooking it into their elbow, you rest it palm down on their upwards pointing left hand. See also escort position.

Gypsy: You may see this term used in older dance instructions. It was the old name for a walk around. The term is considered by the Romani people to be very offensive so it should no longer be used. I include it here only because you might run into it in older print dance notes. But dancers, callers and teachers should use the term “walk around” instead.

H

Half sashay: A half sashay is like a slide across, except both dancers start facing the same direction. The person on the right, slides to their left in front of their partner, while the person the left slides to their own right behind. You stay facing the same direction through the entire move.

Half squat: Jumping in the air and landing on both feet, with a noticeable but partial knee bend.

Hand waves: Waggle a flat hand back and forth while it’s perpendicular to the floor.

Hand rotation: A gentle rotation of the hand at the wrist.

Hands across (Scottish): See Star.

X Hands Round: In circling, X hand round means the circle involves X number of people. So 4 hands round involves 4 people circling

Head bobble : The head rocks from side to side with each ear approaching your shoulder.

Head circle : Trace a circle in the air in front of your face with your nose or chin.

Head couples : In square dances, the first and third couples.

Head shake : This is a side to side rotation of the head, where your nose traces a horizontal line from left to right and right to left.

Head slide/Attami/Head and neck isolation : The head slides from side to side, while continuously facing forward. The chin stays level to the shoulders

Head turn : The movement of the head to one side or another. Typically slower and less repetitive than a head shake.

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.

Heel and Toe. Touch heel of free foot (1). Touch toe of free foot in the same place (2).

Hey for three/Reel of three: A figure 8 pattern where everyone moves at the same time tracing a figure eight on the floor. In a right shoulder hey for three, the center starts passing right shoulders with one of their neighbors, then they loop around the end while the other two dancers pass left shoulders in the middle. The pattern can also be done starting left shoulders with the opposite direction of rotation.

Hey for 4 (Reel for 4): The hey starts by the people in the middle passing right shoulder with the people on the outside. Next the dancers who have just danced outward, pull their right shoulders back and make a little loop on the end while the dancers who moved inwards pass each other by the left shoulder giving the extra loop in the middle. Then the pathway is repeat with the new inside dancers passing R shoulders with the outside dancers.

High kick : A motion from the hip with a straight leg, lifting the free foot as high as possible in front of the body.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.

Highland dance arm positions:

First position: Both hands in fists on the hips. Elbows bent and out to the side

Second position : One hand is the same as first position, but the other hand is raised up above the head. The thumb and middle finger of the raised hand are touching with the other fingers splayed upwards.

Third position : This is the same as second position, except both hands are up above the head and slightly out to the sides. This position is supposed to look like stag horns.

Fourth position : Similar to third position except hands are slightly closer together above the head

Fifth position : Arms are down in front of groin, but form a circular shape with the arms. The hands are in the same thumb-middle finger position as second, third and fourth position.

Hlopka/Hlopni (Хлопни): Bulgarian name for a click

Hołubiec w Lewo (Click step to L) (Poland): Hop on R, clicking L heel to R foot in the air (1). Step on L to L with an extended L leg (2). Step on R next to L (3).

Hołubiec w Prawo (Click step to R) (Poland): Hop on L, clicking R heel to L foot in the air (1). Step on R to R with an extended R leg (2). Step on L next to R (3).

Honor: An action, typically done at the beginning or end of a dance, where you acknowledge and thank a person you are dancing with. Honoring can be a bow, a curtsey, a wave, a handshake or even a hug.

Hook: Lifting the free foot up with the foot crossing in front of the weighted foot’s shin.

Hop: A hop involves leaving the ground for a brief time but starting and landing on the same foot.

Hop-step: A hop on the weighted foot followed by a step on the free foot.

Hop-step-step: Hop on the weighted foot and then take two steps alternating feet.

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

Hora Step/Hava Nagila step (Israeli): Facing center, step on R to R (1). Step on L crossed behind R (2). Step on R to R (3). Hop on R, kicking L forward or lifting L knee (4). Step on L to L (5). Hop on L, kicking or lifting L (6).

Hora Step (Romanian): Facing center, step R (1), L (&), R (2) into the center (sometimes in on the R diagonal). Touch L next to R (&). Then back away from the (sometimes backwards on the R diagonal), stepping L (1), R (&), L (2). Touch the R next to L (&).

Hug: An embrace with both arms around the torso or shoulders of another dancer. Dispreferred/disallowed in many dance communities.

Yellow rock: A hug with your corner.

Red rock : A hug with your partner.

I

I: see inside foot.

Improper set: In a longwise set formation, every other couple (usually the active or top couple) is crossed over, so that there is an alternating sequence of genders down the side of the longwise set.

Inactive Couple: In a set or a minor set, the inactive couple is the couple that starts further away from the music (further away from the top than the active couple). They are the couple that progresses up towards the top of the set.

Inside foot: Man’s/Lark’s/Leader’s R foot; Woman’s/Robin’s/Follower’s L

Inside turn: Retaining either nearer hands or both holding the R hand (much rarer the L), the robin executes a counterclockwise turn ducking under the joined hands.

Interdigitation: hand hold where you are palm to palm with your neighbor and interlace your fingers between theirs

Israeli arm sways: Hands are up above head as if in a Y position. As your feet sway right and left, the body and arms sway in the same direction. Often you snap your fingers on each sway.

Israeli downward arm sweep: A sweep of one arm down and across in front of the body, this is commonly done when you step on the foot from the same side of the body across in front.

Israeli praising motion: Raise both hands up forward in front of you, palms up as if scooping up a pile of straw. Sometimes this action is done with just one hand too. The direction of the motion is often reversed, lowering the hands.

Izfurli : A kick forward with the free foot, but leading with the side of the foot like a soccer kick. The knee comes up to the side and forward during the kick. (Bulgaria)

J

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.

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, or end with weight on both feet, or both start and end with the weight on both feet.

K

Kaeel (Քայլել): The Armenian term for a walking step.

Kerplunk: Hop or čukče on the weighted foot (ah). Then fall forward on the flat of the other foot (1). (see also bloobloop.)

Kertsee/Kerdze (քերծի/քերծե): There are two spellings here which reflect the different pronunciations of the Armenian letter ծ, which is pronounced as ts in Eastern Armenian and dz in Western Armenian. Broadly speaking, this is a hop-step-step. There are several different versions, that differ on what the free foot is doing during the hop. The most common version involves hitting the heel on the ground, but other actions of the free foot are possible:

  • Version 1: (Krnkatahp): Hop on L, presenting R heel forward in LOD (1). Step on R in LOD (&). Step on L forward on L (2). i.e., “Heel-step-step”.

  • Version 2: Hop on L, Stamp R foot slightly forward in LOD (1). Step on R in LOD (&). Step on L forward on L (2). i.e., “Stamp-step-step”. Sometimes this is done as a jump onto both feet on count (1).

  • Version 3: Hop on L and kick R forward low (1). Step on R in LOD (&). Step on L forward on L (2). i.e., “kick-step-step”

  • Version 4: Facing center but traveling in LOD, hop on L, lifting R knee (1). Step R to R (&). Step L across over R (2). Arms swing back on the hop and forward on the cross. i.e, “lift-step-step”

Kick: A forward (or backward) movement of the free foot with the motion happening from the knee down.

Kick ball change: Kick R forward (1). Step on ball of R next to L (&). Step on R next to L (2). Can also be done with the opposite footwork.

Kick-step: Kick either foot forward (1). Then step on that same foot (2).

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.

Kochari Step (Քոչարի): Jump on both feet with one foot forward and one foot back, with both knees bent (1). Bounce on both feet with straight knees (2). Bounce on both feet again (&). “down-bounce-bounce”.

Krnkatahp: see Kertsee.

Krsti (Bulgaria): to step across in front of the other foot.

Kurdish position: A position commonly used through out Anatolia. The dancers stand extremely close to each other with shoulders touching each other, or even with the right shoulder slightly behind your neighbor’s left shoulder. They are bent at the elbow with the forearms parallel to the floor. In both gluglu and Kurdish position, you typically hold hands by interdigitating with your neighbors – that is, you go palm to palm with your neighbor and interlace your fingers between theirs. See also Gluglu position.

L

L: Left foot or leftwards direction of movement.

Ladies chain: See Robins chain.

Lark: In couple dancing the person on the left when both people are facing the same direction. In contra dancing the people in the left hand column if facing the caller (in a proper set). Traditionally the lark was associated with the role performed by men. It is also sometimes called the leader role. In recent years the use of the identification of different dance roles in terms of gender or sex has fallen out of favor and instead we use the terms Lark and Robin instead.

Lead down the center: The top couple take hands and promenade down the center of the longwise set. Typically, they turn and dance back up to the top.

Lead to the R (square dancing): Top couples take hands with their partners and fold over to the R so that they are in the center facing the side couples.

Leader (circle dancing): In an open circle or line dance, the leader of the line is the person who stands at one end and decides where the line moves on the floor. In multifigure dances from some regions (e.g. the Balkans), the leader also decides when the line switches from one figure to the next.

Leader (couple and set dancing): see Lark.

Leading foot: The foot that moves on the first count of any bar.

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.

Left Elbow Turn: Hook L elbows with another dancer. Rotate around them counter clockwise.

Left hand turn: Rotate clockwise around another dancer while holding R hands with them. The turn can be all the way around, or only ½ or ¾ of the way around. Also called allemand L in contra dancing.

L hand star (left hands across): The dancers put their L hand into the center, face counterclockwise and rotate the group counterclockwise

Left Yemenite (a.k.a. Yemenite L) : (Israeli) Step on L to L (1). Step on R slightly behind L (2). Step on L across over R (3). Pause (4). Also done as: sway on L to L (1). Sway on R to R (2). Step on L across over R (3). Pause (4).

Lesnoto step (7/8) (лесното) ‘the soft one’. This is perhaps the most common step in Macedonian dancing. It is related to the Hora and other 3 measure combinations that involve an even number of weight changes in bar 1 and an odd number of weight changes in Bars 2 and 3. It is done in a slow-quick-quick rhythm (SQQ counted as (123)(45)(67)). Bar 1: Facing slightly R of center, step on R to R (S). Bounce on R (Q). Step on L across over R (Q).Bar 2: Step on R to R (S). Lift L foot in front of R (QQ).Bar 3: Repeat bar 2 with opposite footwork and direction.

Lift: Raising the free foot up with a bent knee.

Lift-step : Lift the knee of either foot (1). Then step on that same foot (2).

Line dance. In the context of the USA, the term refers to a kind of solo dance done in lines of people individually facing one wall. Also used in international folk dancing to refer to dances done in open circles.

Little window hold . It starts in the cross handed hold. You raise both hands up without letting go of either. The robin then turns 1 and 3/4 around CW, while the lark just turns 1/4 CCW. You end with your right elbow touching your partner’s shoulder with the upper arm parallel to the floor. The right arms are bent and the hands are held up above the bicep, thus forming “the little window”. The left hands are still held, but they are connected through the window and rest on the right bicep.

LOD: Line of direction (for almost all dances described here that’s counterclockwise around the room.)

Long lines forward and back: An advance and retire done in lines of 3 or more people.

Longwise set: In this configuration, you have couples arranged in a long line of couples. Each person faces their partner across the set, as such they are “contra” or against their partner rather than standing side by side.

Looking in particular directions: In many dances you direct your eyes and face towards specific directions: LOD, RLOD, up, down, to the R, to the L etc.

Low shadow position is one where the lark’s R hand is on the robin’s R waist. The robin’s R hand rests on top of the larks on the robin’s waist. The two dancers hold left hands in front of their bodies, low and often pointed slightly forward.

M

M: Men, see also Lark and Leader

M (as a count): Medium length count; intermediate between a quick (Q) and a slow (S) length count.

March: A kind of walk, where you lift your leading leg’s knee high before you step on it.

Mad Robin: This is a dosido, but done with a person to your side instead of the person in front of you. It can be done clockwise or counterclockwise. With a CCW mad robin, the person on the R passes in front of the person on the left. So the person on the R steps 4 steps to the L, The person on the R moves to the R. They then pass shoulders, and then repeat back to place with the other person passing in front, moving to the L. The CW version is essentially the same, except the person on the L starts by passing in front of the person on the R, by moving to the R. When done in a traditional English or contra dance, you face your partner and maintain eye contact with them while mad-robinning with the person beside you. (See also Do-si-do and See saw).

Mayim step (Israeli): See Grapevine.

Mazur step (Poland): Stomp forward on outside foot (1). Run forward I (2), O (3). In alternating bars, you start with the I foot. Not to be confused with the Mazurka step which is different.

Mazurka step: Always done in 3/4 time. 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.

Meter is the structured framework of time in music, defined by the recurring patterns of beats or pulses that create a rhythm. It organizes the beats into bars (also known as measures), typically grouping them in sets of two, three, or four beats each (although other groupings are also possible)

Minor set: within a longwise set dance, the group of people you dance with during each time through the dance.

Mixed meter: Mixed meter dances use combinations of various sequences of bars of different meters.

Mixer: Dance where you switch partners each repeat of the dance. Mixer dances are choreographed so that at some you progress to a new partner.

N

Na’ale Na’ale (Israeli): Facing center, walk forward R (1), L (2), R (3). Pivot on the ball of the R foot, pulling R shoulder back and turning 1/2 way to face out (4). Can also be done with the opposite footwork and direction.

Nazad (Назад, Bulgarian): A backwards kick.

Nearer hands. Couple dance hand hold. In this hand, hold the lark gives their right hand to their partner and the robin takes it with their left hand. The hands can either be held up (like W position in circle dances) or down (like V position in circle dances).

Neighbor: In line and circle dances, the people standing next to you. In couple and square dances, the person standing next to you who is not your partner. In contra dancing, the person in your minor set of the opposite gender, who is not your partner.

Nod : An up and down motion of the head, front to back. Your nose traces a vertical line up and down in front of you.

Non-complex meters : meters where every dancer’s beat in the bar is equal in duration.

O

O: Outside foot.

Ocean Wave (Wavy line): A line of dancers holding hands. Every other dancer faces the opposite direction to their neighbors.

Offset ballroom position: See side by side ballroom

Outside foot: Man’s/Lark’s/Leader’s L; Lady’s/Robin’s/Follower’s R.

Outside turn: Retaining joined hands, robin executes a clockwise turn, pulling R shoulder back and then ducking under the joined hands.

Oberek Step (Poland): Leap forward on R, with a knee bend (1). Step on ball of L next to R, pushing off the ground on both feet (2). Land on R, kicking L foot back (3). The opposite footwork occurs on alternating bars.

One-two-three: A triple step done in place or side to side.

One-wall dances: American line dances that begin and end facing the same wall.

Open ballroom position: See promenade position.

Open circle (or semi-circle): a roughly circular formation of dancers holding hands with their neighbors. What makes it an “open circle” is that there is always a break in the circle.

Open Rida: See upbeat rida.

Outside foot: Man’s/Lark’s/Leader’s L, Lady’s/Robin’s/Follower’s R

P

Paddle Turn: This is a kind of pivot step (see pivot), where the free foot briefly pushes against the floor (typically to the side or forward) propelling the dancer in the turn.

Partner trade (square dance): The same as California twirl, except not holding hands.

Pas-de-Basque (Pas de bas): 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)

Pass through: Simply pass another person, typically passing right shoulders, to greet a new person coming towards you.

Pattycake: A pattern of claps and slaps that is done with another person and typically involves clapping one or both of your hands against theirs.

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.

Petronella Turn: A special kind of counterclockwise rotation for four people, where each dancer spins clockwise into their R hand neighbors position. Each turn is typically preceded by a setting step or balance.

Pinkie finger hold: A hand hold in circle dances where you connect to your neighbors by linking little fingers (pinkie fingers)

Pivot steps involve a swiveling rotation of the body on the foot bearing weight. 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. 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.

Plattls: A sequence of claps and slaps, typically done solo, in dances from southern Germany

Polka step: 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. In the United States there is another step often called a “polka” step which is seen in the Midwestern states at Polka band events. For this alternative step see Chicago bounce above.

Poussette (Contra and English): Essentially a dosido or see-saw but done as a couple. The couples rotate around each other exchanging places.

Poussette (Scottish): Two couples exchange place. Holding two hand, the active couple moves towards lark’s line; inactives move towards robin’s line. Each couple rotate ¼ CW, then the inactives dance up the robin’s line and the actives dance down the larks line. Each couple then rotates a ¼ CW again and dances into the center having exchanged places with the other couple. Each couple then rotates ½ CW to return to original sides, and backs into their original lines.

Pravo Step (2/4 and 6/8) (Право): This is a three bar sequence of steps that is always done in a QQSS rhythm. For example, in 2/4 this would be: Bar 1: Step R (1), L (2). Bar 2: Step R (1,2). Bar 3: Step L (1,2). The pravo step can be done in a variety of configurations, either moving to the side in a grapevine-like figure or moving. A variety of variations can be done on bars 2 and 3.

Prance: A kind of jog or run, where you lift your leading leg’s knee high before you make contact with the ground.

Promenade: A promenade is simply walking forward in some direction next to your partner.

Promenade position: The lark’s right hand rests on the robin’s right hip as in many of the other holds above. The robin’s left hand rests on the lark’s right shoulder. The free hands (lark’s left and robin’s right can be in a variety of positions. Often, they just hang down to the side, but they can also rest on the hips or if the person is wearing a skirt, they can hold the skirt and swish it back and forth. Sometimes open ballroom hold.

Proper set: In a longwise set dance all the dancers of the same gender are on the same side. Contrast with improper set.

Przytup: Leap on R (1). Stamp L next to R, no weight (2). Pause (3). The opposite footwork is also possible.

Pull by: This is similar to a pass through, except you briefly take right hands and pull past the other dancer as you move forward.

Push Turn: See paddle turn

Q

Q: Quick count

Quadrille formation: See Square dance

R

R: Right foot or rightwards direction of movement.

Rear skater’s position: Same as skater’s position, except with hands behind the back instead of in front of bodies.

Reel of 3: See Hey for 3.

Reel of 4: See Hey for 4.

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.

Reverse bicycle: See bicycle step.

Rida 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: 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. (also called Buzz Step or Swing step). 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.

Rights and Lefts (Country dance)/Square through (Square dance): Give right hands to your opposite and pull by/make a ½ turn. Make a ¼ turn to face your partner on the opposite side and pull by/ ½ turn with the L.

Right and Left through (Square and Contra): Give R hands to your opposite and pull by. Facing out on the opposite side, take L hands with partner; lark puts right hand on partner’s R hip and do a courtesy turn (i.e. a wheel around with the lark backing up).

Right Elbow Turn (called Arming in English Country dance): Hook R elbows with another dancer, rotate around them clockwise

Right hand turn: Rotate clockwise around another dancer while holding R hands with them. The turn can be all the way around, or only ½ or ¾ of the way around. Also called an allemand R in contra dancing,

Right hand star (right hands across): The dancers put their R hand into the center, face clockwise and rotate the group clockwise.

Right Yemenite (a.k.a. Yemenite R): (Israeli): Step on R to R (1). Step on L slightly behind R (2). Step on R across over L (3). Pause (4). Also done as: sway on R to R (1). Sway on L to L (2). Step on R across over L (3). Pause (4).

RLOD: Reverse Line of Direction (for most dances on this blog that’s clockwise around the room).

Robin: In couple dancing the person on the right when both people are facing the same direction. In contra dancing the people in the right hand column if facing the caller (in a proper set). Traditionally the Robin was associated with the role performed by women. It is also sometimes called the follower role. In recent years the use of the identification of different dance roles in terms of gender or sex has fallen out of favor and instead we use the terms Lark (person on the left, the leader, or the traditional men’s role) and Robin instead.

Robin’s chain (Lady’s chain): Robins give each other their right hand and pull by, while lark slides to the right in their partner’s place. Larks give left hand to the robin dancing towards them. In contra and square dancing, the lark folds inward and puts right hand across opposite’s back and onto her right hip to wheel around in a courtesy turn. In country dancing, they turn by the left ½ way instead. Repeat back to place for a full Robin’s chain (although in most modern dances you only dance half the figure.

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.

Roll across/Roll-away: The lark steps to the right, just as in a half sashay, but the robin’s pathway is different. The couple start holding inside hands (lark’s right, robin’s left). As the robin passes in front of the lark, she turns counterclockwise to face them. The dancers switch hands, so that the robin’s right hand is now in the lark’s left as the robin rolls out on the lark’s left side.

Roll up: Arms are kept low and the robin turns inwards towards the lark wrapping the arms around her. The couple ends up in a sweetheart position.

Rubato is a musical term derived from the Italian word for “robbed.” It refers to a flexible approach to tempo, where the performer intentionally deviates from the strict, metronomic timing of a piece. In rubato, certain notes or phrases may be stretched, sped up, or slowed down.

Run (footwork): 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.

Run (square dance call): One person slides to their own right, while the other walks a clockwise loop around them. The move ends with the runner facing the opposite direction from where they started.

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).

S

S: slow count

Sashay steps: 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.

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.

Schottische step (also spelled Scottish, Shottis, Shottish, Šotis): 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.

Scissor: This is a low kick forward, which happens simultaneously with a leap in place changing weight.

Seči (Bulgarian): The Bulgarian name for a scissor step or “cutting” step.

Second couple: In a square dance, the couple to the R of the first couple. In a set dance, the 2nd couple away from music/caller.

Second corner: In a proper longwise set, the person on the opposite side who is on your left diagonal (standing next to your partner).

See-saw/See-saw Your Taw: This is a L shoulder do-si-do. Pass partner by the L shoulder, Move to the L and then back up to place passing them R shoulder..

Semi-open ballroom position: See tango walk position.

Set dance: A dance where couples interact with other couples by completing short figures or patterns on the floor

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

Shadow position: See varsouvienne position.

Shake: A lift where the foot is held loose and it shakes back and forth.

Shimmy: the shimmy is a rapid forward and back motion of the shoulders. Commonly found in the dance of the Middle East or in dances of the Roma people.

Short lines: Straight lines of about 6-10 people holding hands.

Shottis step: See Schottische.

Shoulder hold: A hold in line and circle dancing. Rest hand gently on the nearer shoulders of your neighbors. Elbows are straight.

Shoulder roll: The circular motion of one or both shoulders. The shoulders are raised and move either forwards or backwards while lowering.

Shoulder push: This is a slow forward/or back motion of one or both shoulders.

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.

Sicilian circle: See circassian circle

Side couples: In a square dance, couples 2 and 4.

Side-by-side ballroom: A variation on the ballroom hold has exactly the same hand and arm configuration, but you stand right hip to right hip, essentially side by side facing opposite directions.

Siding: An advance and retire, where you go up to the side of the person you are advancing towards, rather than facing them head on.

Single file promenade: a single file line of dancers, usually not holding hands that is walking forward in a particular direction.

Skaters’ position. You stand side by side with your partner, both facing the same direction. Lark is on the left and robin is on the right. The lark extends their right hand in front of the robin’s stomach and the robin takes it with their right hand. The robin extends their left hand in front of the lark’s stomach and the lark takes it with their left hand. This is a little bit like a two-person version of a basket hold.

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

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.

Skoči (Скочи, Serbian). Step on R to R (1). Hop on R, lifting L knee forward and up (often while scuffing ball of the L foot forward (&). Step on L crossed behind R (2). Can also be done with opposite footwork.

Slap (foot): 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.

Slaps (hand): Strike the palm of the hand against a body part other than another hand.

Slide step: See Sashay.

Slide across: In the typical slide across you and your partner are facing in opposite directions and holding right hands with each other. You take a few steps to your own right, passing your partner face to face and exchanging hands ending up on your partner’s left.

Slide through: The same as a star through, but not holding hands.

Slip step: See Sashay.

Snaps: Force the thumb, pressed firmly against the middle finger, to the index finger to make a noise.

Sovalka (Собалка, Bulgaria): Refers to the motion of putting the shuttle through the loom. Step backwards on the R foot, leaving the L foot in place, but twizzling the L heel forward (1). Step on L to L (&). Step on R forward (2). Also possible with the opposite footwork.

Spokes of a wheel: Couples arranged in a circle but with one person closer to the center than the other. Typically, this is done with the larks starting in the middle and the robins on the outside of the circle. Also called “double circle.”

Spusek: A lift of the free knee followed by a kick downward (pump) of the free foot. Found in Bulgarian dancing.

Squat: Jumping in the air and landing on both feet, with a deep knee bend.

Square dance: set dance done by four couples arraned in a square.

Square through: See Rights and Lefts

Stamp: Strike the foot against the ground, but do not take weight on it. (cf. stomp, where weight is taken.)

Standing foot: The foot that is bearing the dancers weight.

Star: Figure where everyone puts one hand into the center (either R or L) and then rotates around the center point formed by those hands. Also known as Hand across.

Star Promenade: A star, but done with couples instead of individual dancers. One member of each couple puts one hand into the center and the other member promenades with them as the star rotates.

Star through: This is the same motion as a California twirl, except you start facing your partner. The couple is holding the lark’s right hand and the robin’s left hand. You both end up facing the same direction, side by side, 90° rotated from where you started

Stomp: A very heavy step on the ground that takes weight. (cf. stamp, where no weight is taken)

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.

Step-bend/Step-bounce: Step onto the free foot (1). Bounce on stepping foot, by flexing and relaxing knee (2).

Step-Brush: Take a step on either R or L (1). Brush the free foot forward (or across) on count (2). In Waltz time the brush takes counts (2) and (3).

Step-hop: A shift of weight onto a foot (i.e., a step), followed by a hop on that some foot.

Step-hop-step: Step on the free foot, hop on it, then step on the other foot.

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-lift: Step on either foot (1). Then lift the knee of the other (free) foot up (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).

Step-step-hop: Take two steps, followed by a hop on the weighted foot.

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-swing: Step on either foot (1). Then swing the other (free) foot across (2).

Swap the flea/Swat the flea: Both holding L hands with each other and facing each other. The dancers exchange places, with the follower/robin turning CW under the joined hands into partner’s place while the leader/lark walks around her CCW into her place. This is the same as a box the gnat, but holding L hands and walking in the opposite direction. See also California Twirl.

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.

Sweetheart position: the dancers are again side-by-side and the lark’s right hand is on the robin’s right hip. The robin reaches across their own body and grabs the lark’s right hand on the hip with their left hand. The robin also crosses their right hand across over their own stomach and takes the larks left hand. Also called cuddle position.

Swing (couple or contra dancing): 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. In either case you rotate clockwise around each other, while the couple stays roughly in place in the room.

Swing (foot motion): A circular or semi-circular motion from the hip, where the free foot moves in an arc. This is not related to the footwork in the couple dance swing (which typically uses a buzz step).

Swing-Step: Swing either foot across (1). Then step on that same foot (2). (Alternately this term is separately used to refer to a buzz step, see buzz step above, which is different from the definition given here.).

Swing through. the dancers are alternately facing different directions (known as an ocean wave formation). It starts by turning whoever is in your right hand half way. Then turn the next person by the left if you can.

Swing through for three: The center person (cuckoo), exchanges places with the robin by turning them with the right hand ½ way. Then the robin, now in the center turns the lark ½ way by the left. And so on.

T

T-position: see shoulder hold.

Tango walk position: The hand hold is identical to closed ballroom position, but instead of facing each other you are side-by-side facing the lark’s left and the robin’s right hand.

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.

Teapots: See Three person star

Thar (back up thar): A variant on the star promenade, where the members of the couple face opposite directions. The center member of each couple, backs up instead of dancing forward.

Third couple: In a square dance, the couple facing the 1st couple. In a longwise set dance, the third couple away from the music/caller.

Three person stars (Teapots): Done in trios, the dancers put either their R or L hand into the center and rotate the trio clockwise or counterclockwise

Through the arch: The cuckoo raises the hand joined with the lark and the robin on the other side dances through under the arch. The lark then follow through under the arch themselves. This is then typically followed by the same pattern being repeated with the lark dancing under an arch formed with the robin.

Time signature: an indication of the duration of beats paired with the number of those beats per bar. The number of beats is written to the left of the slash mark, and the duration of each of those beats is written to the right of the slash.

Toe and Heel. Touch toe of free foot (1). Touch heel of free foot in the same place (2).

Touch: A touch is where a part of the free foot (toe, ball, heel) makes contact with the floor, without taking weight.

Trace a circle: A variant on turn single, where you trace a small clockwise circle on the floor instead of turning in place.

Trailing foot: The foot that is not the leading foot.

Traveling Csárdás step: With M/lark’s hands on W/robin’s shoulder blades and W/robin’s hand’s on M/larks’s shoulders.

Bar 1: With M/lark walking forward and W/robin backing up, on the M/lark’s R diagonal, walk I (1), O (2).

Bar 2: Continuing same direction, walk I (1), O (&), I (2).

Bars 3-4: Repeat bars 1-2 with opposite footwork but on the M/larks’s L diagonal.

Trio dances are like couple dances, but with three people instead of two. Traditionally, these were done with one man standing between two women (or more rarely one woman standing between two men), but nowadays you can do them with any combination of dancers.Trio rights or lefts: The center person (cuckoo), turns the robin all the way around by the R hand and then turns the lark all the way around by the left.

Triple minor set: In longwise sets, a minor set consisting of three couples.

Triple Step: Stepping R (1), L (&), R (2) or L (1), R (&), L (3).

Tropoli or Daj Na Mjasto (дай на място): This is a piece of footwork commonly done in Thracian dances, which you do in place between figures in called dances. You leap onto R in place (1). You tap ball of L next to R (or very briefly take weight on ball of L) (&). Čukče on R (2). Tap L heel next to R (&). Then repeat with the opposite footwork.

Twist: this is a side-to-side motion of the upper body, which results in it turning the opposite direction from the waist.

Turn alone/U turn: Turn ½ way to face the opposite direction from where you started. If done next to someone, you and your partner turn inwards towards each other. If done solo, pull the R shoulder back and turn clockwise.

Turn single: Pull your right shoulder back and make a complete clockwise rotation,

Turn through (square dance): Rotate ½ way around clockwise with another dancer to end facing the opposite direction from where you started. You hold the other dancer’s R elbow with your R hand so that you are forearm to forearm. (This is the R handed equivalent of a square dance allemand L)

Turning waltz: When done in couples the lark steps on their L foot backwards in LOD while stepping in front of the robin, 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.

Twirl: This is a specialized version of an outside turn, which is done as a flourish at the end of another figure. It is typically not part of the choreography and “steals” beats from the figure it’s appended too.

Two hand hold: The dancers face-to-face and the lark holds the robin’s right in their left and holds the robin’s left hand in their right.

Two hand turn: Do clockwise or counterclockwise rotations while holding two hands with the other dancer.

Two-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. (See also Armenian two step)

Two-wall dances: American line dances where you start facing one wall the first time through the dance but the second time through the dance you start facing the wall that was behind you

U

Udari (Удари). Bulgarian for “hit”, it usually refers to a brief stamp of the free foot immediately before you step on it. Effectively a stamp-stomp sequence.

Up a double: Advance and retire, but everyone dances up towards the top of the hall (towards the music), instead of meeting another person. Up a double can be done by just one couple, two couples or everyone in the set.

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.

U-Turn: See turn alone

V

V-position: In a circle, take hands with your neighbors’ hands and hold them down by your sides.

Vârf-toc: The Romanian name for a Čukče.

Varsouvienne position: In this hold, the lark is on the left as usual. The robin raises both their hands up to shoulder height (or slightly higher) and the lark takes the robin’s right in their right behind the robin’s right and takes the robin’s left in their left in front. Also called shadow position. See also low shadow position

Verbunk: Army recruiting dances from the Austro-Hungarian empire that involved complicated clapping and boot-slapping routines.

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).

Vot Nazark: The Armenian name for a back bicycle step.

W

W: Woman, see also Robin and Follower.

W position: In a circle dance, a hand hold where the hands joined up at shoulder height, with the elbows bent.

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 of weight transfer 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.

Walk around: Lock eyes with partner and each makes a complete clockwise rotation around each other while looking at each other. (Formerly called a “Gypsy” but that term is now dispreferred)

Walking (slow) 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 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.

Waltz step: Any triple step done in waltz (3/4) meter. There are several different kinds including running waltzes, turning waltzes and box waltzes. Wave: See Hand wave.

Wavey Line: See Ocean Wave

Weave the ring: This is the same as a Grand Right and Left, except you don’t take hands, you just alternately pass right and left shoulders as you work around the square.

Weight: Has two meanings: (1) When describing footwork, it refers to the foot that has contact with the ground and is bearing the weight of the dancer. (2) In couple dancing, it refers to pulling just far enough away from your partner that they can sense your body cues.

Wheel around: Dancers start side by side, looking in the same direction and holding inside hands. You swap places, and swap the direction you are facing by doing wheel around. In this move, the lark backs up while the robin dances forward, creating a counterclockwise rotation.

Wiggle: The wiggle is a rapid repetitive twist of the hips, resulting in the side to side movement of the buttocks.

Windshield washer arms: This is a very common motion in Armenian, Kurdish and Turkish dancing. The arms are held at waist height holding neighbors’ hands or pinkie fingers. The arms sway at the elbows to the R and L

Wrong way grand: This is the same as a grand right and left, except the larks circulate clockwise and the robins circulate counter clockwise.

XYZ

Y position: A position in line and circle dances, where you stand with your hands up above your head with your elbows straight.

Yeghnik (Yeghneek, եղնիկ): This is the typical Armenian women’s hand position and movement, when she is not holding hands with her neighbors. The thumb and middle finger are held close together but not touching, the other fingers are straight and extended up. It’s supposed to look like deer horns. This is often accompanied by a movement where the wrists turn in towards the body, then they turn down and out.

Yemenite Step: (Israeli) A step where you do two sways (or two steps) and then a third that crosses the leading foot over the trailing foot.

Back Yemenite: Step backwards on R (1). Step on L next to R (2). Step forwards on R (1). Pause (4). Can also be done with the left foot.

Yemenite R: Step on R to R (1). Step on L slightly behind R (2). Step on R across over L (3). Pause (4). Also done as: sway on R to R (1). Sway on L to L (2). Step on R across over L (3). Pause (4).

Yemenite L: Step on L to L (1). Step on R slightly behind L (2). Step on L across over R (3). Pause (4). Also done as: sway on L to L (1). Sway on R to R (2). Step on L across over R (3). Pause (4).

Yoke position: Starting in the two hand hold position, each partner makes a 1/4 CCW turn (to the left) so that they are right hip to right hip. Simultaneously, the dancers raise both hands (still held) up and drop their left hands (and their partner’s right hand) behind their own head.

Zemer Atik hold: Facing single file in a circle, put your L hand, palm up on your L shoulder and rest your R hand, palm down on the L hand of the person in front of you.

Other Glossaries of Dance terminology:

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European and Middle Eastern Folk Dance Copyright © by Andrew Carnie is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted.

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