Re: Questions About Turns and Paths, part 3

Re: Questions About Turns and Paths, part 3
Submitted by Ann Hutchinson Guest - March 26, 2007

[The following is a response to Fred Bolder's February 5, 2007 posting in the Turns, Revolutions, Rotations, Twists" thread.]

I don't know what book Fred Bolder was using, but certain things need filling in. I gathered that he is talking about ballroom dancing. I know that the DNB notators have replied to some extent to his Feb 5th questions, but I would like to add my comments.

1a. The foot will be placed forward (as this is the direction given) and, as the weight is transferred there will be a swivelling action.

1b. Because it is on a curved path, the foot will be placed diagonally forward left, part of the turning taking place on the right leg as the left moves into the step, the rest of the turn will be on the left foot, a blind turn, this because the leg will have turned outward as it takes the step so that it is back to the previous rotational state when the turn is finished. This automatic leg rotation is part of walking on a circular path, probably needs physical demonstration. Most ballroom people are unaware that they rotate the leg and follow it with a blind turn (non-swivel turn). Ex. 1e illustrates 1b.

1c. The convention has been that a very small vertical connecting bow means a total overlap of the two actions, therefore this is the same as 1a.

1d. The step starts without turning, then combines weight transfer and turning, then the turning continues after the weight is fully transferred. This is better illustrated with longer symbols.

2a. 1/4 of a circle on one step is rather a lot; this pattern is possible, but the sense of a circular path that is being followed is not present. If there is a change of Front, the step in place should have a turn sign, not a path sign.

2b. Here again there is an awful amount of circular path, I sense that this is a theoretical example, not a physical example. In any case it has long been established that when walking on circular paths, a step in place among directional steps does not include any change of front, thus 3/4 of a circle will need to be achieved on the first two steps, very uncomfortable.

[Following is a response to Fred Bolder's March 1, 2007 posting in the "Turns Revolutions, Rotations, Twists" thread.]

The example with four steps in place while making a full circle to the right has been considered by some as being acceptable because, in performing it, the feet have to rotate out and in as they step on a circular path, thus they will leave a very small circle on the floor. The feet do not actually step under each other, which, if done, would be closer to a swivel turn.

Ballroom Circling. When moving around the room anticlockwise, the understanding is either of one huge circle or of straight lines as one moves along the walls, and then a clear cut 1/4 turn as you turn the corner and follow the next wall. In the former the amount of turn needed to keep on this path is subsumed into the footwork and turning actions. This is why orientation according to the center of the room, the focal point, can be much easier to follow. Maria Szentpal was the expert on writing ballroom sequences.