"Dancing Tid-bits" Issue #73, Thursday, Oct 25 2001

Dancing Tid-bits
Step outside Partner-"HOW TO"

Now that we have discussed, what is Outside Partner (OP) vs Partner Outside (PO) Issue # 72, let us see how this is accomplished. The following points come to mind.

1. Preparation:

(a) Shoulder Leading; The Feather Step in Slow Fox-trot is a classical example. This figure (Man) is RLR forward 3 steps, as simple as that. However it becomes very exciting as the second and third steps are taken to achieve a right outside position. After the first step, as man takes his LF forward (2nd step) he must prepare to step Right Outside Partner on the 3rd step RF. Actually the preparation starts on the first step as he uses CBM on RF forward. This enables him to take second step LF Forward, with a Left Shoulder Lead (say left side leading). This step also may be slightly more open so as to create some room and spacing to allow the right foot-leg to step forward on the third step OP.

Shoulder vs Side Leading: The recent concept is, that whole left side leads rather than the shoulder (as mentioned in the old technique). However I think, it is also true that shoulder leads more than the hip in forward movements and hip leads more than the shoulder in backward movement, suffice it to say.

(b) Body Turns Less: The same effect is also obtained when we are coming out of a turn just before stepping OP on the last step. A classical example will be Outside Change in Waltz. As we make 1/4 turn to left between 2 and 3, the "Body will turn less than the Feet" and therefore it will create the same effect as we achieve in Feather. Thus now, you are ready to step forward RF, OP on 3rd step. Ladies will reciprocate.

2. Use CBM and CBMP: As said above CBM will be used for preparation initially, but the OP step will simply land in CBMP because body has maintained the alignment of "Shoulder or Side leading" or "Body turns Less", whatever the case may be.

3. Keep the Contact Fluid: It is quite natural that contact will become more "Fluid" but of course this should not be lost.

4. Keep the "THIN LOOK": The whole purpose of doing all the above is to keep dance Lines "THIN" rather than THICK or 4 hips wide.

5. Maintain Frame and Head Position: I don't have to say much about that, but often I end up moving my head closer and loose head relationship to partner and I will check that and be aware of it! Hows'that?

Questions and comments to Dancemax@aol.com, thank you.

This article is part of and should be seen in the frame context of Dancesport UK, Tid-bits