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Tails ** Take 5 ** Tango ** T ap ** Taut ** Teacher (Dance) ** Technique ** Tempo ** Tentative Booking (TENT) Tension ** Ten-Dance Championships ** Theatre Arts ** Three Step Turn aka Conga ** Tilted Head ** Time Timing ** Time Signature ** Toe-Twister ** Tour (Freestyle) ** Tracking of the Feet ** Training ** Travel Club** Try-outs ** T/T (Transferred To) ** Turn **Turtle Neck Posture **Twirl ** Twist ** Twist Turn


'TAILS': A formal coat the male dancer wears in Ballroom competition dancing. As the name implies, the coat is designed with 2 tail strips that hang to the top of the man's calves.

TAKE 5 is a show of praise by a dance teacher to the pupil. It means shaking the pupil's hand whenever he/she dances something well; be it a pattern, style or technique, the teacher says, 'take 5, you're a star'. Taking 5 is a compliment to both the pupil and the teacher - it's the 'pat on the back' which indicates a teacher's success in imparting his/her knowledge and a pupil's joy in receiving and understanding that knowledge clearly.

TANGO: The Tango began in the West Indies and found its way to Argentina where it was stylised by the Gauchos to its present form. Tango is a very dramatic, exciting dance. Most people recognise Tango from the days of 'Valentino' to the 'Tango Argentina'. Tango is still very popular today as movies like, 'Scent of a Woman' and 'True Lies' demonstrate.

Tango is passionate, aggressive and fiery. The Tango greatly improves a man's 'lead' and a woman's ability to 'follow', and develops a strong feeling for music. It is one of the most beautiful of all the dances and is also known as the Dancer's dance. Someone said; 'The forms of Tango are like stages of a marriage.

The American Tango is like the beginning of a love affair, when you're both very romantic and on your best behaviour. The Argentine Tango is when you're in the heat of things and all kinds of emotions are flying: passion, anger, humour. The International Tango is like the end of the marriage, when you're staying together for the sake of the children.' Unlike the ballroom swing dances where smiling adds a touch of flair, the Tango facial expression is serious.  

MODERN TANGO : Originally the Tango was (and still is) a light spirited Flamenco dance from Spain. With the Spanish conquest of much of South America, this Tango together with other Spanish folk dances naturally emigrated with settlers from Spain, although its involvement in the formation of the Modern Tango is suspect. The Tangano, an African dance imported with the Negro slaves, is a more likely precursor. Over the years one or both became merged with other dances in the New World. In particular, in Argentina in the slums of Buenos Aires in the late 19th Century, they became merged with the Habanera (a folk dance from Havana in Cuba).

The resulting dance became known as the Milonga - The Private Milonga. Although initially popular with the lower classes of Argentine society, by the turn of the 20th Century, it had gained acceptance with the upper classes there. Its importation into the upper classes of Western Europe was catalysed by France's greatest music-hall star, Mistinguett, who gave the first-ever demonstration in Paris in 1910.

Interest in the dance rapidly exploded, as a 'Tango-mania', initially spreading through Paris then London and New York. World war I did nothing to cool this interest, with Rudolph Valentino popularising the Tango further in his film 'The Four Horsemen of the Apocalypse' (1921).

More recent film demonstrations have been given by Al Pacino and Gabrielle Anwar in 'Scent of a Woman' (1992), and by Arnold Schwarzenegger and Tia Carrere in 'True Lies' (1994). The character of the Milonga is of a very soft private dance, with visual emphasis on the leg movements.

This character was changed dramatically in Paris in the 1930s, where the dance was combined with the proud torso of the other ballroom dances, and given a staccato action. This moved the visual emphasis to the torso and head, a characteristic which remains to this day.

The dance has been used as an example of Irrational Dancing. TIME: 2/4. Two beats in a bar. Both the 1st and 2nd beats are accented.

TEMPO : Music played at about 33 bars a minute.

BASIC RHYTHM : Slow, Slow. Quick, Quick, Slow. As Tango music is in 2/4 time, each 'Slow' has only 1 beat of music, and each 'Quick' has a ˝ beat.

THE HOLD : The hold in the Tango is rather more compact than in the moving dances. The lady is held slightly more to the man's R side, but this must not be exaggerated. The man's R arm will be slightly further around the lady.  

To obtain the correct hold for the extended arms, stand in position and with the L arm held in the normal Foxtrot hold. The man should now bring his L hand slightly in towards him, and also lower it a little. These movements must be made from the elbow, the forearm only moving.

To correspond with this alteration the lady should drop her elbow slightly, as well as moving her hand. The man, however, should endeavour to keep his elbow in the normal position.

Owing to the position of her body In the Tango (slightly more to the man's R), the lady will find it more comfortable to place her L hand rather more at the back of the man's R arm or with the hand actually resting on the man's back, just under his armpit.

OTHER STYLES OF TANGO : Tango taught in the chain schools, commonly known as the Valentino Tango; the Harvest Moon or Contest Tango, as danced in American Free Style competitions; the Café and Night Club or French Tango, taught by some leading independents; and, finally, the English Style Tango.

The English Style is the only one standardised to tempo 33 bpm, the others vary from 30 to 34 bpm . The Valentino style is danced to a slower and sometimes dreamy tempo. Its basic figures are patterned on 3 walking steps (L, R, L), a side step (R) and a drawing step without weight (L). The rhythmic pattern would be S.S.Q.Q.S.

The close without weight is given various bits of foot styling by the better dancers. This basic figure is taught as a foundation movement in Closed, Outside Right position and Promenade Position. On the latter 2 figures, the lady is brought square on the Tango draw ending. Rocks, Swivels and Fan movements are used in the more advanced figures.

Contest Tango is a more wide open Tango, with many steps originating from Promenade Position. Here, kicks by the lady, Rondes and Oversways are extensively used, and the whole dance concentrating on picture-type figure that features the lady in a variety of framed postures.

The Café and Night Club styles features closed position, sharp progressive movements and intricate footwork. Here the music is more dramatic in character and the interpretation more intimate. The man is more dominant in this interpretation and here you are always conscious of his lead and styling, rather than a series of framed Picture poses characteristic of the Harvest Moon version. Each version has its uses and its adherents.

The Valentino style seems ideally suited for beginners as a simple introduction to the Tango. The exhibition style for the competition dancer, and the sharp Café, or so-called French style, is preferred by the advanced dancer.  

The English Style is in a class by itself. Here the man features a right side lead and places the left foot forward and steps in CBMP position, while the right foot forward steps open. The closes are quite different from the American styling.

The American generally closes LF to RF in a sort of drawing movement previously described. The English stylist features a distinct close of RF to LF with a change of weight on to the closing foot. Further, the English place the feet whereas the Americans habitually draw in contact with the floor on the so-called Tango close.

In contrast to the many versions in American Free Style, the English Style consists of one unified rhythmic version which lends itself to gradation in technique and figuration. One can recognise the same dance, in the basic figures, in the intermediate figures and in the more advanced Oversways, Drops, Checks, Lunges and Foot Flicks. The style is uniform in movement and in posture, so the patterns in their infinite variety are recognisable as being within the same dance framework and within the same musical signature.

TAP: A light contact with the floor on either foot using the toe or ball of foot without a transfer of weight.

TAUT refers to the firmness between the upper and lower body, which ensures unity of these parts - body tone. Without this unity, a slump occurs. Tautness in the arms also creates unity between the arms and the body - firm frame, without which, very little 'to-getherness' between partners can exist (see contraction , collapse ).

TEACHER (Dance) is a part-time or full-time professional instructor/tress who is qualified in the dances and techniques of the standards laid down by the organisation or association he/she is employed by or affiliated to. Because a professional is paid for giving dance instruction he/she may not compete as an amateur in competitions or championships (see dance Teacher, professional ).

TECHNIQUE: Embraced within the full spectrum of Ballroom dancing (basics to advanced) includes correct Foot Placements; Posture and Hold; Movement and Balance; Body Lines and Poise; the Character and Style of individual dances; correct Rhythmic and Musical accenting; Arm, Leg, Head and Shoulder Positioning; authentic interpretation of the character of the dance; the exact directional order and positioning of the patterns and a sharp or flowing, decisive representation of all these qualities put together.  

TEMPO in dancing is determined by the number of beats, bars or measures played per minute. If there are 4 beats to the bar and 30 bars are played within a minute, then the Tempo of the dance or music would be slow-medium. Likewise 55 bars per minute is a fast Tempo. see music for dancing 1 or 2 or 3 / tempo Q & A

MUSIC TEMPI :

TEMPO (Freestyle): The speed of the music. This is measured as the number of beats or bars per minute (see  BPM ).

TENTATIVE BOOKING (TENT) is a special or temporary lesson reserved by a dance teacher for a pupil with the knowledge that the pupil might not be able to attend. Should the pupil not arrive for the lesson then the time is written off as a 'no lesson', i.e. Not To Be Charged (NTBC) lesson.

TENSION in the neck, shoulders, arms, feet, knees, etc. which gives a stiff, hackneyed bearing, is usually caused by over-concentration on other co-ordinations. Some dancers never have this problem but when it exists then the best cure for it is… if your arms and shoulders are tense, take five basic variations of a dance you know very well and dance these repeatedly, but concentrate only on relaxing the arms and shoulders. The moment you start tensing up, stop and start again, relaxing the arms and shoulders.

Another successful method is, before the start of any dance, first relax the arms and shoulders. Don't worry about how long, or for how many steps they'll stay relaxed, just start off in a state of relaxation. You will soon find that where your arms and shoulders were relaxed for 3 steps, they stay relaxed for 5 steps, until the tension disappears completely. If tension is your problem, then the only cure for this affectation is to make a conscious effort to relax - a tense dancer is an awkward dancer.

TEN-DANCE CHAMPIONSHIPS is a competition where couples compete in all ten international dances, i.e. both the standard Ballroom and Latin-American sections which include; Waltz, Foxtrot, Tango, Quickstep, Viennese Waltz, Cha-Cha, Samba, Rumba, Paso Doble, Jive.

THEATRE ARTS: is commonly known as Exhibition Dancing , and is also called Showdance , Adagio or Cabaret dancing . Exhibition dancing is usually based on Ballroom or Latin-American dancing but with the inclusion of Lifts. These are steps in which the man (normally) lifts the lady up in the air and lowers her graciously to the sentimental flow of the music.

Lifts have been a feature of dancing for centuries. There is a famous painting of Queen Elizabeth I dancing the Volta with the Earl of Leicester dated around 1600 AD. 'Queen Elizabeth I doing a leaping turn of the 'Volta', assisted by Earl of Leicester' Oil Painting by unknown artist, ca. 1600 A.D., in collection of Viscount De L'Isle, Penshurst Place, Kent, U.K. Exhibition Ballroom Dancing started in the early part of the 20th Century. One of the most celebrated proponents was Maurice Mouvet and Madelaine D'Arville who in 1907 introduced their 'Apache Dance' at the 'Cafe de Paris' cabaret in Paris. This was done to a slow Waltz, and depicted the jealous relationship between a young thug and his girlfriend. Soon, even Irene and Vernon Castle were using lifts in their demonstrations.  

Beginners usually start with hip lifts: on the left and right hips, turning to the left or the right. More experienced dancers move up to shoulder lifts, such as the Swallow, Scarf, and Flag. Advanced dancers can lift their partners up onto out-stretched arms above the head. The dancing in between the lifts is often a mixture of dances in the same rhythm (a Medley) or with different rhythms (a Segue).

There are a few competitions in this style in Australia at some of the festivals, more often for Professionals than for Amateurs. The style has a number of dangers. For the man, it is important to maintain a straight and upright torso, and to compress the knees to get below the lady's centre of gravity for a lift. Otherwise he is in danger of damaging his spine. For the lady, being dropped is a problem. It is an advantage for both to do weight training to build up arm and shoulder strength. As may be seen in the film 'Dirty Dancing', it is also a good idea to do initial practice of high lifts in waist-deep water, to cushion the lady if she falls.

Books : 'Exhibition Ballroom Dancing' by G. and J. York, Multi-Sensory Production Inc., (USA) 1964. o 'Dancing till Dawn' by Julie Malnig, Greenwood Press (USA) 1992. An animated example may be seen in: Helane and Rico Instructional videos are available from The World Exhibition Dance Champions: David and Sharon Savoy. The following dance teachers in Sydney, (Australia) specialise in Exhibition dance: Ann Butt, George Czender, Ken Bailey, Joan Carmody, and Trent Shipley. (see adage "French 'at ease", Adagio (Italian).

THREE STEP TURN aka CONGA: A 360 degrees turn in 2nd dance position, taking three weight changes and ending with a touch or point. Often called a turning or rolling vine, because of its common usage as a variation within a dance.

TILTED HEAD is when the man or woman incline the head too far to the left or right, giving a lopsided top-line appearance.

TIME is the number of beats in each bar of music, i.e. 4/4 time equals 4 beats to the bar or measure of music.

TIMING: This is the way in which we count the music. The normal way is 1,2,3,4. We can 'slow' the beats, i.e. 1, 2 - 3, 4 = Slow - Slow. A combination of these different timings can also be used to create a more varied picture, i.e. 'light and shade'. In 4/4-time a step timed slow occupies two beats of music. In 2/4-time a slow step occupies one beat, being equal to half a bar of music.

TIMING   is dancing rhythmically to the regular recurrence of the beat in the music.

TIMING (BASIC): Feeling the music at a basic level involves listening to the sets of 8 beats of music that exist in all swing music. You will start to hear 2 beat increments of one Down-Beat , followed by one Up-Beat . Being able to connect your centre (CPB ) to the beat of the music, puts you ON-TIME.

In advanced timing, YOU ARE THE MUSIC: YOU are the instrument in the beat. The rhythm is very 1 & 2 & 3 & 4, but you add your own pulse with &a1 &a2 &a3 &a4. You will not only LOOK better, but it will actually FEEL more exciting. The music could even have a silent break while you do a syncopation. There is a point in your development where YOU become the VISIBLE part of the music. Excitement comes from having someone SEE something happen at the same time that they HEAR something happen in the music.

TIME SIGNATURE: The number of beats in a bar of music and the value of each beat, e.g. 2/4 the digit above the line is the number of beats in the bar and the digit below the line is the value of each beat, i.e. crochet. The time signature of Freestyle is usually 2/4 or 4/4.

TOE-TWISTER is a buzzword used by dancers to describe a pattern or dance figure that is too tricky for words or one involving complicated, toe-tangling footwork.

TOUR (Freestyle): A jump involving a turn. A full Tour involves one complete turn having been made on landing. More of a or less of a Turn can be made, landing with flexed knees and ankles.

TRACKING OF THE FEET refers to the pressure applied to the toe of the foot, which is dragged across the floor in an earthy, controlled way. Tracking occurs mainly in the Latin-American dances such as Rumba and Cha-Cha but is also used in social Waltz on 'count 2' when pressure is placed on the inside edge of the closing foot.  

TRAINING (Ballroom Dancing): Ballroom dancing is a 'physical skill'. To engage in this endeavour, be it for social or competition or both, you are working your body that burns fuel (glycogen). For whatever the physiological reason, when you use muscles frequently those muscles usually respond by becoming 'conditioned' (Terminology is changing over the years.) Toned muscles are muscles at rest. Poorly toned muscles implies that they are 'flabby' or have a higher fat content.

Conditioned muscles or muscle groups (you cannot usually use only one muscle at a time in the real world) that are used often, stay 'in shape', conditioned. Conditioned implies that when called upon to perform, the muscles/muscle groups respond better to the demands made upon them. The more a muscle atrophies (usually from lack of use) the less capable it becomes of responding. It is probable that when your muscles are trained and in 'condition' they will respond better - a debatable subject! In between dancing excursions, if  frequent, pay regular visits to the gym to "work out".

You cannot do three hours of dancing, social or otherwise, without coming away feeling that you have exercised or expended calories and there reaches a point in your dancing when you realise that you have had enough. 'Enough' not only occurs when you get tired physically but also tired mentally (have quenched your desire for dancing or every one has gone home leaving you standing or sitting alone in the ballroom). A conditioning exercise program between dancing can assure that your muscles can respond when called upon.

If you do not have enough energy for both, then spent more time on the dancing, you'll become a better dancer. This logic is irrefutable. You do not need large and powerful muscles to perform on the dance floor. (Weight training for muscular strength, however, is quite necessary for lifts, depending on the kind of lifts you perform and the partner you are performing them with.) Leading and following capability is determined by many other factors than strength. 'Timing' is the most important factor in a well-given lead. Response by the follower is achieved by paying attention or focusing on her partner's messages (leads) than strength.

Posture
Essential to comfortable and effective dancing is good posture, achieved through the proper alignment of the various body-parts in correct position with one another. The various body parts, sometimes known as blocks of weight, include the head, chest/torso, pelvis/hips, legs, and feet. To be properly aligned, these blocks of weight should be placed directly on top of one another in a natural and upright manner.

Head
The head should be held upright with the chin parallel to the floor. The neck should stretch upward, but avoid stretching the one side more the other... the entire neck should stretch upward. Pay particular attention to the back of the neck, which is often shortened when the chin is held too high. Be careful not to thrust the head forward from the neck.

Chest/Torso
The chest and hips must always be in good, vertical alignment. The ribcage should feel as though it is being lifted off of the hips, in such a way as to lengthen the spine. Any lifting of the chest, however, should always be accomplished in such a way as to allow for normal, comfortable breathing. Never allow the chest to pitch forward or slouch back in relationship to the hips.

Pelvis/Hips
The position of the hips must allow for a natural curve of the spine. The pelvis should therefore be held in a midway position, neither tucking excessively under, nor sticking out backward.

Legs
When the legs are straight, the knees will be positioned directly between the hips and the feet. When the knees bend forward, the alignment of the hips and feet should remain constant, so that the body can remain upright. Always try to feel that you lengthen your torso as you bend your knees, so that your posture does not deflate. Never allow your pelvis to stick out backward, even slightly, as the knees bend.

Feet
It is very important for a good dancer to be aware of the placement of the body weight over the feet. In a normal, standing position, the weight should remain slightly forward over the feet, between the heel and the ball of the foot. In motion, this position differs from movement to movement. It will range from the back of the heel to the front of the big toe, but this distribution of weight should not affect the alignment of the upper blocks of weight, from hips to head.

Exercise
Lie down flat on your back, with your knees bent 90 degrees, and feet flat on the floor. Let your arms fall easily to your sides, or rest them on your stomach. Breathe normally, allowing all of the muscles in your body to relax. Feel your back flat against the floor, and try to keep it flat. There will always be a space between the neck and the floor, but this space will be reduced slightly when the neck is stretched. (This exercise can also be done against a wall, in a standing position. The feet should be held 6-12 inches away from the wall).

Incorrect: (tense muscles, arched back, kinked neck)

Correct: (relaxed, straight back, neck stretched long)

TRAVEL CLUB is a social dancer's club staged exclusively by the Arthur Murray Dance Studios of South Africa. This prestigious club belongs to the affluent society. To be a member, their pupils, from all over the country, enrol on a huge course which includes lesson costs and travelling expenses. It could be a boat trip around the shores of South Africa or a trip to Egypt, nevertheless, it is another organised opportunity for dancers from all over to travel, dance and have fun together.

TRY-OUTS: In ballroom and Latin dancing a try-out means, "one partnerless dancer auditions or arranges to meet another partnerless dancer of the opposite sex, with the prospect of teaming up as a pair to compete in comps and championship dancing."

But there is more to a try-out. In fact, it is a science of its own. Most dancers erroneously think, all they need do is advertise for a partner; meet, try-out, she snuggles sweetly into his arms and Bob's their auntie.

Here's what a few seasoned dancers have to say about the trials and tribulations, blood, sweat and tears of try-outs;

Ryno van den Berg, a professional Latin dancer says, "A try-out is not as simple or as easy as one might think. You have to look for a lot of things in the girl, and she is doing the same with you. You look how she dances, of course, what level she is on, how you match together, her style compared to your style, and what both want to achieve. Then her personality, her way of thinking, etc. and this must all be done within one hour, maximum!

The problem nowadays, is that most dancers prefer to live in their own countries and travel to and fro, depending on the comp at the time. You will find very few German, Italian, Dutch, Australian or Danish dancers hanging around London for 6 months looking for a partner.

Couples prefer coming to London for a few weeks or a month or two, and then go back home. I think it has to do with the fact that the top trainers (and there are hordes of them) travel frequently to other countries, so the dancers find it better to stay put. These other countries are also producing their own good trainers now.  Germany, for example, has so many good trainers, the dancers have no reason to want to leave and look for partners in London.

Very few good girls or boys are out there looking for partners at the moment - the best time to look is right after the big comps when partners normally split up. In my case, I had some good try-outs with German girls, but they would not come to London. Same with a Dutch girl. The language was also a problem - especially with the Russian girls.  Forget the French!"

Jason Kisogloo, a Latin fanatic says, "You see you can't consider somebody a partner if they don't have the same goals, drive or ambition as you do? I am one of those guys you call a work-horse-aholic, who eats sleeps and breathes his Latin, I will practise 7 days a week 24 hours a day if I could, because it's my life, my number one priority. For most ladies they have other activities in there lives. Latin to them is just an optional extra, which often leads to a conflict of interests!

I decided to stop wasting my time with the wrong partners. I looked for a partner with the same dedication, the same goals and same priorities I have. (You probably know how difficult it is to find the RIGHT partner for yourself).

You see, with every new partner you become fussier in your decisions, and the only way to find the best of the bunch is to do as many try-outs as you can with every available person, hoping Miss Right appears. I had about 3 calls from DanceInfo but tried 7 girls in all, one from DanceInfo the rest through teachers who'd trained me and people I knew.

Funny enough, I decided on a partner whom I had known for 2 years as a friend from dancing, but was always unsure of dancing with her, but as fate has it, drew me to her as a partner and now I have no regrets!!"

Many male dancers who have advertised for a partner say that most females with whom they have arranged try-outs were very unreliable. They want to DANCE but they do not want to PRACTISE. Or they lose interest after two or three months.

A CHAMPION partnership requires sacrifice, energy, discipline, endurance, understanding, respect, forbearance, perseverance and a gigantic WILL to WIN. You must not only WANT the right partner but you must also BE the right partner.

T/T (Transferred To) is a term used in social dance schools for a student who has been transferred permanently from one teacher to another teacher.

TURN: A revolving movement normally incorporating a series of steps with or without progression.

TWIRL: A square dance term for turning the lady.

TURTLE NECK POSTURE: A pulling up of both shoulders by either the man or the lady, giving the appearance of a startled turtle.

TWIST: The hip-twisting dance of the 1960s. 'It was people moving their hips,' says Chubby Checker, recalling the phenomenon that made his career, in Ron Mann's exuberant 'instructional dance film.' 'It was hips, it was doing - hips.' And in the words of Hank Ballard, who wrote the song that created the craze that started the whole world Twisting, 'If you're not moving your hips, it just ain't happening.' Almost by definition then, the Twist was a Happening of massive proportions, a blast along the light fantastic that was decried in the headline as 'THE MOST VULGAR DANCE EVER INVENTED' and hailed as 'THE BIGGEST MERCHANDISING BONANZA SINCE DAVY CROCKETT.'

It changed forever the way we dance. Arriving at the dawn of that decade of liberation, the swinging '60s, the Twist not only emancipated dancers from their partners, and from a host of social conventions into the bargain, but put an end to the awful tyranny of ability: It took almost no time or talent to learn the basics. 'Put out a cigarette with both feet, wiping off your bottom with a towel,' instructed Checker. It was the dance everyone could do, and - so it would seem - everyone did.

In nightclubs and gymnasiums, in the backyard, on the beach, uptown and down, teens, tots, moms, dads, socialites, movie stars, suburbanites and street kids alike were carried away by the gyration that was sweeping the nation - the WORLD was Twisting. The Twist had to go, of course - carried away in an avalanche of Twist hats, Twist briefs, Twist dolls and hilariously unnecessary instruction records. The kids were on to other steps by then - Disco. But wherever revellers of a certain age gather to dance to the hits of their youth, you'll see it again, the step everyone remembers and anyone can do. And like the songs that made those times go 'round, this Twist has got a good beat. And you can - literally - dance to it.

TWIST TURN: Commenced with left foot in front of right foot, a rise onto the toes is followed by half a turn to the right when the feet then lower and recross. A further rise onto the toes is then followed by half a turn to the left when the feet then lower and recross . May commence with right foot in front of left foot. Amount of turn can be varied.