We started the afternoon looking at how the music works. Points to take away from this are that:-

• The music is 4/4 timing, meaning that there is four beats to a bar, but
• Unlike (say) Waltz or Cha Cha Cha, there is no bar discipline. To start off, you choose a beat and count 1,2,3,4 then go
• The back and replace steps are full beat steps, counted 1,2 or sometimes called out as 'back, step'
• The chasses comprise three steps but taken over two beats of music, technically 3/4 of a beat, 1/4 of a beat and a whole beat. Normally counted '3 and 4'
• Because a normal basic comprises a back, replace, chasse and chasse this means the counting is 1,2, 3 & 4, 3 & 4. Neither mathematically nor musically correct but it is easier than calling 'back, step, side, close, side, side, close, side'.
• The official speed of Jive is 38 - 44 BPM, this gives it the widest variation in speeds of any dance (15% between the fastest and slowest). Above this speed it becomes difficult to dance (although not impossible) and often becomes the 'rock and roll', where the two chasses are replaced with single steps only.
• Most steps that we dance in Jive are counted 1,2,3&4, 3&4, some we came across in the afternoon (eg The Whip) was 1,2,3&4,1,2,3&4, and some are different like the walks when a whole series of chasses were joined together.

We then started looking at the chasse specifically which then developed into the basic, and points that came from this were:-

• You must keep the size of step down, ideally slightly less than hip width. This makes even fast music danceable.
• As you pick up one foot, there is a slight settling into the hip - this is more subtle than the hip action in other latin dances (eg Rumba) due to the music speed
• On the back and replace steps the heels must lightly touch the floor to bring you back down to earth
• On the chasses there is a 'digging' action with the feet and this gives a little bounce. We do not want this translating to the knees, however, these must be under control rather than flailing, and whatever the bounce there is in the feet, this needs to be lost in the knees and the hips to stop the head and shoulders going up and down.
• There is naturally a slight turn so that you are going slightly forward toward the moving foot. this turn is wholly through the feet, however.
• The feet need to 'do their thing' naturally and automatically - there is not enough time to think of the individual things that the feet have to do

All of the above points apply to each of the steps that we then went on to look at. So far as the free arm (the one not holding onto your partner) is concerned, we used the phrase 'arm momentum' - the arm flows in the direction of movement. For example, if the left arm is free and we are dancing a chasse to the left it will rise and lift leftwards.

Routine 1

The first routine that we suggested was:-

• Basic (as many as you wanted)
• A change of places right to left, followed by a change of places left to right (sometimes referred to as an under arm turn and back again)
• Miami Variation (technically an easy version of) X 2
• American Spin X 2
• Change of places left to right

Routine 2

The second routine we looked at was:-

• Whip
• Walks, into change of places right to left (under the arm)
• Stop and Go
• Change of places left to right (back under the arm)

Routine 1 could lead into Routine 2 (or vice versa) or the individual steps could be juggled about with everything else you know.

In every case, the man is starting stepping back on his left, the lady starts stepping back on her right, the chasses are normal side chasses unless told otherwise. Similarly, the timing is normal 1,2,3&4, 3&4 unless noted otherwise.

Basic

Back, replace, chasse to man's left, chasse to man's right. Normal Jive hold (a relaxed Latin hold is maintained throughout. At the end you return to the same spot on the floor as you started

Change of places Right to Left

Dance the first part of a basic (back replace, chasse to man's left), at this point raise the man's left arm so lady can go under, and at the same time, start giving your partner a 'push' under the arm with the right hand, releasing hold with the man's right hand as the lady turns under. A chasse on the man's right foot is then danced, ideally with 1/4 of a turn anticlockwise so as to leave slack in the arm. The lady dances a chasse on the left foot having turned approximately 1/2 clockwise.

At the end you are facing towards your partner

The lead here is the lifting of the gent's left arm and pushing through with the right

Change of places Left to Right

Step back, replace, then gents chasse out of the ladies way, starting to lift the joined (left) arm, turn 1/4 clockwise then chasse to the gent's right returning to normal hold.

For the ladies, you dance back, replace, chasse towards your partner, turning anticlockwise and under the arm. Then chasse the same direction as your partner is, taking hold as required for the next step

The lead here is the lifting of the gent's left arm, 'stirring' partner under the arm.

The Miami Variation

We danced an easy version of the Miami Variation. Start facing your partner with both hands held.

It was back, replace, chasse with very small steps towards your partner, turning 1/8th anticlockwise so you ended right shoulder to right shoulder. You each then took your own left hand and placed it over your own head. In between the first and second chasse, you release hold.

The second chasse sees you moving away from each other to a normal distance apart and a normal position, the required hold is taken.

The American Spin

We danced the American Spin from a handshake hold.

Both of you brace the right arm. The first thing that happens is a back, replace, chasse. Then the gents direct their partners by pushing the right hand diagonally forward and past the lady's right hip, releasing hold (we called this a 'right hook') The man then chasses on the right foot without turn to allow the lady to reconnect.

At the point of the lead, the ladies are looking for 3/4 of a turn clockwise in between the first and second chasse. They then make a further 1/4 on the second chasse to end facing their partner.

Remember to brace the arms and keep the eyes up - if possible try and 'spot' something around the room.

The Whip

This started with you apart from your partner, one hand hold (gent's left hand, lady's right.)

Both step back, replace and then chasse towards each other - 1,2,3&4.

Take normal hold at the end of the chasse. The man then crosses behind with his right foot, uncrosses by taking a side with left (turning clockwise as he does so).  He then chasses on the right foot. The lady whilst this is happening continues walking forward on her left foot, forward on her right then chasses on the left. The count for this section is 1,2,3&4.

During the turn the man makes as much turn as he wants to, he is in the dead centre of the turn, 'whipping' around, hence the name.

The Walks

The version of the walks we danced was a combination of slow and quick.

In hold, as if dancing a basic, the man steps back on the left foot, the lady on the right, replace, then chasse down the room on the man's left foot, lady's right. This is the first (slow) walk. Count 1,2,3&4

The second walk saw you both stepping forward and across in promenade position, for a chasse on the gent's right lady's left, continuing to progress down the room in the same direction as on the first chasse. Count 3&4.

We then move onto the quick walks - gents step side (left foot), step across in a forward direction on the right foot then repeat. The direction of movement is the same as how they started off on the first two chasses. Count 1,2,3,4. The lady does the same commencing with the right foot, except that she is also twisting from the hips (turn in to face partner, out, in, out)

You finish the walks with a change of places from right to left except that the back and replace steps at the start of the movement does not take place.

Joined together the count becomes 1,2,3&4, 3&4, 1,2,3,4,3&4, 3&4.

The Stop and Go

We looked at two versions of this - the normal one and the ambitious one.

The normal one saw the gents dance the start of a change of places left to right, count 1,2,3&4 , by the end of which the lady is turning in under the arm and he places his right hand firmly on the lady's left shoulderblade (normal hold), keeping the left hand raised. Tense the right arm but do not stop the lady yet. Then step forward on the right foot, extending the right arm so that the lady is able to step backwards (Count 1).  Replace the weight onto the left foot, retracting the right arm and pushing the lady back under the arm the way she came (Count 2), then chasse on the right foot away from your partner (small steps) count 3&4.

So far as the ladies are concerned, she also starts dancing a change of places left to right count 1,2,3&4. The gent's hand is on her back now. The lady will step back on the left foot, then replace onto the right and chasse on the left foot returning to where you started. Count 1,2,3&4.

The timing overall is like the whip - 1,2,3&4,1,2,3&4.

Ordinarily it will be repeated followed by a normal change of places left to right.

The gent's right hand on the lady's back is the key to getting this step right.

The ambitious one

This saw the gents dancing the same steps, the only difference being that he stops the lady on her front rather than her back.

In terms of arm placement, the aim was to stop the lady with the forearm, and have the hand by the lady's left side, then when sending her back on her way you can curve the fingers around her waist and spin her clockwise.

The ladies had much more to do. Rather than dancing a chasse right left right, you need to spin a complete turn almost on the spot - the right foot goes forward, left foot closes towards it, turning anticlockwise, replace weight onto right foot. At this point you should be facing forwards.  The count remains 1,2,3&4

Step forward onto the left foot, replace back onto right, then start turning clockwise, onto the left, close right foot to it and replace to the left, end in the position you started. Count remains 1,2,3&4.

 

The above notes are not verbatim copies of the approved technique of the teaching societies, but are intended to be easily digestible aide memoires from the course you attended.

(c) 2009 Ballroom Experience Co