West-Coast Swing

4 beats/measure; 22-35 meas/min

West-Coast Swing is obviously related to the other swing or jive rhythms, and it evolved out of swing and lindy in the 1930s. It is lazy, slow, and easy-going. It is the official state dance of California, and it dances best to easy-going bluesy or beach music. It is an evocative dance, some say sexy. You have time to embellish the figures with whatever body styling you might be moved to add.

Where swing, jive, and lindy are circular dances in which the man and woman travel around each other, West-Coast Swing is a slot dance in which the woman dances up and down within a 3 X 6 foot rectangle on the dance floor, sometimes making 1/2 turns at the ends and other times moving back and forth facing the same direction. The man leads the woman forward. He steps out of her way, dances around her in various patterns, and then gets back into the slot again.

One timing pattern might be called "sugar timing," after the Sugar Push, maybe the characteristic or defining figure of the rhythm. Sugar timing is 1, 2, touch, step; 1/&, 2, — that is four quicks and a triple. This pattern is kind of tough in the beginning; you sure want to step on that third beat, so be patient. Repetition and floor-time will iron it out. West-Coast also uses the basic jive pattern of 123&4; 1&2, a "whip" timing: 123&4; 123&4; and other patterns as well.

Figure Name, Roundalab Phase Level, & Timing q=quick, 1 beat s=slow, 2 beats &=1/2 beat; a=1/4 beat	Steps and Actions That Make Up the Figure Each description focuses on the man, with the woman's footwork in parenthesis. If a woman's step is not given, it is the natural opposite or follow of the man's. Help: basic dance positions and steps, actions, directions, and abbreviations. Non-standard punctuation: a comma separates two beats of music, a semi-colon marks the end of a measure, and a slash (/) indicates a split beat, two things occurring in a single beat.	Here are some sequences to help you visualize the figure in context.
Sugar Push phase IV 1234; 1&2	The "sugar" figures in West Coast are the ones in which the man does not get out of the slot. He stays in front of her, blocks her way, and sends her back in some way. (The other major groups of figures are the "pass" and the "whip" figures.) In left open facing position facing line of dance, step back L drawing the woman forward (W fwd R), back R, touch L to R and push into her, perhaps patting trail hands and even bringing faces together. On the touch, she might hook R behind and turn a bit RF. You probably can't kiss (get a little sugar) at this point without risking injury, but the goal is to look coy and snuggly. Then recover on the lead foot on beat 4. Finish the figure with an anchor (see discussion below) — step back and under the body with the trail foot/replace, replace, Although this is the standard description, the sugar push (and other sugar figures below) are also danced 123&4; 1&2. Rather than a touch, step on beats 3 and 4, we dance close/close, fwd—a little triple in place—followed by our anchor. We have been told that outside of round dancing, in the swing club world, this 1, 2, two triples is the basic pattern. West Coast Swing seems to be a dance rhythm that invites a variety of syncopations and variations. Chris & Terri Cantrell have written on the topic (see links page). They divide the figure into three parts of two beats each and list several ways to vary each part: Beginning -- walk back 2 as described above (1, 2,) kick ball change (1/&, 2,) heel ball change (1/&, 2,) point ball change (1/&, 2,) point step (1, 2,) Middle -- touch step described above (3, 4;) flick step: he can flick LIF of R, back L; and she can turn 1/4 RF and flick RIB of L, side R; (3, 4;) hesitate touch step (&/3, 4;) triple: he can recover L/XRIB of L, back L; or XLIF of R/recover R, forward L; and she can XRIB of L/XLEF of R, back R; (3/&, 4;) kick & triple: kick to side and triple diagonally forward (woman back) (&3, &4;) Ending -- anchor or coaster described below (1/&, 2,) overturn the anchor: turn away from partner on first step and back toward partner at end of second beat (1/&, 2/&,) kick to the 4 & step: kick trail foot forward/place trail ankle to lead knee (the "4"), step side on the trail foot, (1/&, 2,) point step point (1/&, 2,) step point step point step (&1/&, 2&,) cross cross step: cross in front like cross swivels (1/&, 2,) out out in in: side L/side R, recover L/recover R (&/1, &/ 2,) These sorts of variations may be used in many other figures as well.	The first West-Coast Swing we learned was the Raybucks' I Love Beach Music. It uses both jive and west-coast figures. Part A starts with right turning triples; throwout; to a sugar push and an underarm turn;;;
Anchor Step phase IV 1&2	The anchor is a common ending sequence in many West Coast figures. For both the man and the woman, it is a small step back and under the body with the trail foot, replace, replace, with a timing of quick/&, quick. The man steps in place R/L, R, with the right foot being placed instep to left heel. The woman steps L/R, L, There are really no steps. The feet don’t move, but there is weight change and hip movement forward and back. Keep the upper body still. There is a rocking-back-and-forth feel to it—back/forward, back. Just as the anchor is a common ending to west coast figures, the step for the man just before the anchor is usually forward toward the woman. So, like a nautical anchor, our anchor step stops your movement. It gives both of you a moment to stabilize your partnership and adjust your position in preparation for the next figure. It serves as characteristic punctuation at the end of one figure and prior to the beginning of the next figure. Where the step before the anchor moves the man toward the woman, the anchor itself moves you apart and sets up the characteristic elastic relationship to begin the next figure.
Coaster Step phase IV 1&2	The coaster step is an alternate ending step that you can use. For the man, it is like a little sailor shuffle with the trail foot: cross right behind left/side L, side R. For the woman, it is like a little back hitch: back L/close R, forward L. West Coast Swing is unusually flexible in allowing individual expression, but these coaster steps are not really preferred. For one thing, the coaster step can shift the man a little to his left and so disturb his relationship to the woman, firmly placed in her slot. Second, as the woman steps back/close, she is likely to stick her backside out in an inelegant sort of way. Third, if she steps forward on the last step of her coaster, she will find herself moving forward at the beginning of the next figure, and she really shouldn’t begin to move forward until she is led to do so by her man. Another way to look at this last point is to see that her coaster causes one figure to flow smoothly into the next. Jive is a rhythm that properly flows in this way, but West Coast Swing should be more grounded, more segmented, more punctuated. A good place for the coaster is half way through a whip turn for the woman. She is facing LOD, and she wants to check her progression toward RLOD and get moving back toward LOD. And for the man, he might want to use a coaster to end his whip turn if he hasn't quite gotten himself facing LOD. The coaster would naturally turn him a little RF and help him back into the slot.
Turning Anchor 1&2	Sometimes, a figure will have the man facing away from the woman, and the anchor will need to turn him back to face. His trail foot is free. He crosses right in back of left and spins RF 1/2/step L in place, XRIF of L. I suppose there is no reason to restrict this move to the man.	In the Preskitts' Draggin' the Line, there is a disco lunge for the man on his right foot, right finger pointing high (think of John Travolta in Saturday Night Fever), recover L, turning anchor to face woman; to and underarm turn – kick-ball change;; to a left side pass;,,
Kick Ball Change phase III 1a2	We do a small kick forward/close on ball of that foot, close other foot, (two wt changes)	In I'm A Man In Love by the Cunninghams, there is a rock recover ~ throwout ~ sugar push ~ kick ball change twice;;;; tuck & spin ~ left side pass;;;
Sugar Push With Rock Two 1234; 123&4;	This is a standard sugar push with a rock forward and back (W bk & fwd) inserted after the touch. It changes a 1-1/2-measure figure into a 2-measure figure. In left open facing position perhaps facing line of dance, step back L drawing the woman forward (W fwd R), back R, touch L to R and push into her, perhaps patting trail hands. On the touch, she might hook R behind and turn a bit RF. On count 4, rock fwd L (W bk R). On count 1 of the second measure, rock bk R (W fwd L). That is our rock 2. Then finish the standard sugar push. Step fwd L pushing into her and moving her back and away (W bk R). Finish the figure with an anchor — step back and under the body with the trail foot/replace, replace.
Sugar In and Out 1234; 1&2 (123&4; 1&2)	In a handshake position, step back L (woman fwd R), bk R (woman fwd L and turn 1/2 LF into man's right arm, a tandem, sort-of varsouvienne position) and man puts his left hand on her back, point or tap L, recover L (woman bk R/close L, fwd R turning 1/2 RF); and anchor. The man is almost doing a sugar push. The woman is turning into his arm and then turning back out to face again.
Sugar Push In Place 12&_4; 1&2 (123&4; 1&2)	In left open facing position, step back L (woman fwd R), sd R/sd L and hold (woman fwd L, close R/step L, bk R); both Anchor,, The woman is dancing a reasonably normal sugar push, but the man does a little side break and holds in place.
Sugar Push Hook Turn phase VI 1234; 1&2	In left open facing position, step back L (woman fwd R), bk R, touch L, fwd L turning 1/4 RF (woman bk R); cross R behind L turning 1/4 RF and taking lead hands over man's head (woman bk L)/step side L bringing lead hands to man's right hip (woman close R), fwd & across R and change to R-R handhold (woman fwd L) ending in tandem position man in front of woman, Note that the woman is dancing a standard sugar push (see top of table, above). The man is modifying the final triple. The hook turn can turn a full turn to end in the starting position.	In Knock Me A Kiss by the Schmidts, part A begins with a sugar push man hook turn - right side pass;;; tuck and spin - underarm turn both hook turn;;; switch to slow rocks; rock 4;
Hook Turn 1&2	The hook turn can be appended to other figures than the sugar push (see above), and both partners can do it. Again, it is a modified anchor step that turns the dancer in place 1/2. It is a little ronde with the trail foot crossing behind and turning RF (W LF)/step L (W stp R), cross R in front (W XLIF) completing a 1/2 turn and ending back-to-back, The hook turn is like a little circle vine in place.
Sugar Push With Rocks qqqq; qqqq; qq&q&q; (q-qq; qqqq; qqq&q;)	We described a sugar push with rock two above. Obviously, we could do any number of rocks, and this one is a sugar push that is interupted with four same-foot rocking actions. An interesting feature is the two transitions within the figure, one to get into same footwork and the second to get back out of it (the figure begins and ends with normal opposite footwork). Begin in left open facing position. Step back L, small bk R (woman steps fwd R, and then touches or presses L for the first transition), fwd L (W takes weight on L), bk R (W bk R); fwd L for both, bk R, fwd L, bk R; fwd L, bk R/fwd L (W bk R only—this is the second transition), and both Anchor blending to LOF again; During the four rocking motions, the bodies should be sliced, both with left-side lead as you rock forward L and right-side back as you recover R.	In It Ain't Necessarily So by the Cantrells, there is a wrapped whip;; sugar push with rocks;;; sugar push to a left side pass;;; sugar push to L-position and handshake to a right side pass;;;
Double Resist 1234; 12	It's in the sugar push family. In low butterfly position, step back L (woman fwd R), close R to L heel to instep (woman fwd L), tap L fwd with weight well into R hip and lean into partner (woman kick R fwd and lean into man kicking past man and as high as his right arm if you can), close L to R (woman small back R); tap R back and lean away fom partner (woman lean back and kick L straight back), close R to L (woman close L) and lean into partner, The lean into the woman actually leads or encourages her kick forward. Likewise, the pull on beat 5 leads her kick back. Ladies, put some punch into it, as though you are punting a football. But it is fluid and elastic. Both of you push in, and then both pull away.	In the Hurds' She's No Lady, part B starts with back 2 & quick side breaks twice;; double resist & kick ball change;; back 2 & quick side breaks twice;; double resist & kick ball change;; to a surprise whip;; underarm turn to triple travel & roll and a sugar push;;;;;;
Tuck and Spin phase IV 1234; 1&2	Like a sugar push, but the woman spins full RF on the last beat of the first measure: the man steps back, back, touch, forward. On the touch step, tuck the woman in (LF rotation), and on beat 4 check her rotation and lead her spin RF one full turn on her R foot back to face the man. Finish the figure with your anchor step. Actually, you do not want to make the full turn on beat 4. Ladies, spin almost all the way but complete the turn as you do your anchor. Use the anchor to stop your spin and to stabilize your position. I think this is true for all spins and twirls: if you go all the way before the anchor, then the anchor will be a little wild and out of control.	Part A of I Love Beach Music has a tuck and spin, left side pass;;; sugar push, and underarm turn;;;
Faceloop phase V 12	In a facing position bring joined hands in front of your face, and then over your head and behind your neck, A man's faceloop is commonly done with R-R hands joined. The man steps back L (W fwd R), back and side R turning RF to produce left shoulder lead and placing joined right hands over the man's head to neck. He places his left hand to woman's right hip, and she may do the same to him. We often dance the faceloop as a part of a Faceloop Sugar Push. In that figure, we simply dance the faceloop and then continue with the touch step of the sugar push, step L; and anchor. The faceloop might be delayed just a bit to conincide with the touch, the most "sugary" part of the figure, and we both have left hands to our partner's right hip. This particular "push" is very close and cozy. A man's face loop can also be danced with lead hands joined. The technique is that of a "reverse salute." He raises his left hand, bends his wrist back, palm up in front of his forehead, and in that way passes joined lead hands over his head. His forearm is momentarily in front of his face. As lead hands go over his head, his left wrist passes his right ear. The figure ends with his arm in front of his body. A woman's faceloop goes in front of her face and over her head. With a R-R handshake, it is helpful for the man to turn a little LF and so produce left shoulder lead. I don't remember ever doing a lead-hands woman's face loop, but the "reverse-salute" technique works here too. Her right palm is up. Her right arm ends up crossed in front of her body. His left arm goes behind her head outside of the partnership. And finally, I haven't seen any face loops with trail hands joined, but I suppose they could be done.	In You Were Right Girl by the Shibatas, there is a sugar push man facing LOD ~ underarm turn;;; left side pass with tuch & spin ~ whip with hand change behind the back ~ face loop sugar push;;;;; tummy whip;; surprise whip to RLOD;;
Sugar Bump phase V 1234; 1&2	This is a sugar push where the touch on beat 3 is replaced with a spin on the trail feet, he RF and she LF, and a gentle bump of his left hip against her right hip as you spin around a full turn. Begin in facing position. He steps back, she fwd. Recover fwd and she steps fwd, both lifting lead knees and turning to bump hips, continue turning around to face and step on lead foot. Finish with a coaster or anchor.	Childers' Java Jive has a sugar push, underarm turn;;; sugar bump, to a wrapped whip, and tuck and spin;;;;;
Cheek to Cheek phase V 1234; 1&2	Like a sugar bump but don't turn all the way around. Instead, turn to bump hips and then turn back to face again--no net turn. Begin in facing position. He steps bk she fwd, both fwd turning RF (she LF), then lift turn and bump. Finally, cross lead in front of trail and turn back to face partner, he LF and she RF. End with anchor or coaster. It may seem obvious that the name refers to our "lower cheeks," but I've been told that it is the "upper cheeks" that are being emphasized here. Turn your face to your partner's and gently touch cheeks if you dare.
Left Side Pass phase IV 123&4; 1&2	In left open facing position, step back L turning LF and getting a bit off the slot. Lead her straight forward down her slot. On beat 2, close R continuing to turn and lead her forward so that she passes on his left side, although at this point the man is pretty much facing her. On the first triple, step fwd/cl, fwd again into the slot; and she will step fwd R turning LF/XLIF turning, and back R; to face each other in left open position, having turned 1/2. End with a coaster and anchor.	In the Rotscheids' Honky Tonkin' On the West Coast, part A begins with a sugar push and left side pass;;; wrapped whip man overturning to tandem and right hands joined;; right side pass and tuck & spin;;;
Left Side Pass With Tuck and Spin 1234; 1&2	This is a combination of a left side pass with a tuck and spin on beats 3 & 4—see these individual figures above. In left open facing position, step back L turning LF and getting a bit off the slot. Lead her straight forward R down her slot. On beat 2, recover fwd R continuing to turn and lead her forward so that she passes on his left side, although at this point the man is pretty much facing her. Touch L to R (W tch R to L), and as you do, tuck the woman in (LF rotation). On beat 4 step fwd L into the slot again (W fwd R), check her LF rotation, and lead her spin RF one full turn on her R foot to face the man, each having turned 1/2. End the figure with an anchor step. I get the feeling that, in west coast swing, you can dance any "touch, step" as some kind of a triple, and here is a flourish that the woman can add to this figure. On 3 & 4, instead of a touch, spin, she can dance a quick sd R/XLIF, tucking, on 3, and then the fwd R and spin on 4. This same figure can be danced as a Left Side Pass With Tuck and Twirl by simply keeping lead hands joined throughout.	In I'm In Chains by the Reads, there is an underarm turn to a left side pass with tuck and twirl;;; to a rock whip;;;
French Cross phase IV 1&2	The woman steps forward R turning 1/4 LF, cross left in front of right continuing to turn another 1/4, and step back. This is a nice alternative any time the woman might otherwise do a run/run, run past her partner, and then turning 1/2. You'll see the french cross in the first triple of the left side pass and in the "flourish" described for the left side pass with tuck and spin (both described above).
Right Side Pass phase IV 123&4; 1&2	Very like the left side pass but begun in an L-position with the woman to the man's right and right-right hands joined. As he leads her past in front of him, he turns LF and so leads her past his right side. He steps sd L, rec R, close/step, fwd; She steps the same as in the left side pass: fwd, fwd, fwd, turning/XLIF turnint, bk; Again, end with coaster and anchor. Again, let me say that the left and right side passes are essentially the same. If you start in left open facing position, man facing LOD, the man will shift toward the wall as he steps out of the slot, and the woman will pass him on the inside of the circle, in both of these figures.	In the Prows' Draggin' the Line, part A begins with a side whip;; surprise whip;; double whip with outside turn man hook to tandem and right side pass;;;; to a sugar bump and quick side break;;
Throwout phase IV 1&23&4;	In two triples, move her from right to left and turn 1/2. He steps sd/cl, sd turning LF and leading her to do a french cross. End with anchor.
Slingshot Throwout 123&4; 1&2	In an L-position, with the man facing wall and the woman facing LOD, the man lunges to the side L and extends his arms to lead the woman to rock back R. There is an elastic feeling between them. Both recover onto their trail feet. During the two triples, step sd L/cl R, sd L beginning to turn1/4 LF (W sd R turning LF/cl L turning, back R); anchor R/L, R (W L/R, L), Of course, the first two steps constitute the "slingshot." We stretch apart and then recoil together into the throwout. May be done in other facing directions.
Traveling Side Pass phase VI 123&4; 1&2	Begin in an L-position. The man might be facing wall and the woman LOD to his right. You have a R-R handshake. The man presents his left hand, palm toward the woman, and this signals that we are beginning a Traveling Side Pass, rather than a regular Right Side Pass. Step side and forward L leading the woman to step fwd R down line in front of the man. Recover R, take L-L hands, and begin to turn her under your arms LF, first the left hands and then the right (woman steps fwd L and begins the LF turn). On the first triple, the man closes L/steps R, fwd L; while the woman triples in place as she turns around the man to end facing his back, hands still joined high. On the second triple, the man travels down line with a XRIF of L/sd & fwd L, XRIF of L and right hands will pass over his head and left hands; while the woman XLIB of R/sd R, fwd L, to end back on his right side again. Her total turn will be 1 & 3/4 or up to two full turns.
Side Breaks phase IV 1&2& 3&4&;	In facing position, lead feet free, step side L with a pushing action (woman sd R)/sd R, close L/cl R, sd L/sd R, cl L/cl R; Often the hands go out with the feet and back to the body as the feet come in. It's a little difficult to keep this figure from becoming a pair of "jumping jacks." Try not to move up and down, but keep the upper body still. These are also known as "Quick Side Breaks." Slow Side Breaks are danced a/slow, -, a/slow, -; and you might hear cued Side Breaks, two slows and four quicks (two measures total).
Cheerleader phase VI 1a2a3a4;	A cheerleader is a syncopated combination of a crossing step, a side step, and a heel tap. Roundalab tells us to XLIF of R/sd R, tap L heel to the left/sd L, XRIF of L/ sd L, tap R heel to the right; You can do a cheerleader in most any position, with either foot, and with same or opposite footwork. Another interpretation is to think of a cheerleader as four actions in 1/2 measure – XIF/sd, touch heel/sd, You might begin with the left foot and then repeat with the right, in which case the full measure would count out 1a2a3a4a; and you'd end with left foot free again. A third view gives the cheerleader as a 1/2 measure figure but begins with a side step – sd L leaving R foot extended with heel on floor, recover R/XLIF of R, Another way to describe this one would be to dance sd L/tap R heel, sd R/XLIF, Here's yet another that uses syncopated slow counts (s&s; &s&s;): XRIF of L, -, slight RF turn small sd L/tap R heel, -; bk R/XLIF of R, -, slight LF turn small sd R/tap L heel, -; bk L/XRIF of L, -, slight RF turn small sd L/tap R heel, -; and so on.	In the Hurds' She's No Lady, there is a sugar push,,; to 2 cheerleaders;; tuck & spin ending; tummy whip;;
Underarm Turn phase IV 123&4; 1&2	In left open position, step back leading her forward. Begin to turn RF, step forward R off the track to her right. She steps forward again. Raise lead hands and lead her into a LF underarm turn. The man steps fwd/cl, fwd turning a total of 1/2. She steps fwd turning LF/ XRIF turning, bk; also turning 1/2. End with coaster and anchor in left open position facing opposite from start. (a reverse underarm turn in any other rhythm — grumble)	In the Childers' Java Jive, part A begins with a sugar push and underarm turn;;; to a sugar bump wrapped whip and tuch & spin;;;;;
Man's Underarm Turn phase IV 123&4; 1&2	In left open position, step back L leading her forward R, fwd R turning 1/4 RF under joined lead hands and moving to pass her on her left side (woman fwd L turning 1/4 LF), sd L turning 1/4 RF/step R ( woman sd R/XLIF of R turning 1/4 LF), fwd L; anchor or coaster. End in left open position facing RLOD.
Alternating Underarm Turn phase V 123&4; 1&2	The woman does an underarm turn, the man does an underarm turn, and as a couple, you turn 1/2. In left open facing position, step back L (woman fwd R), fwd R turning 1/4 RF and raising lead hands (woman fwd L turning 1/4 LF under lead hands), sd L turning 1/4 RF/fwd R, fwd L spinning LF under lead arms (woman steps sd R/XLIF of R turning 1/4LF, bk R); end with anchor or coaster An alternative is to lead the woman's underarm turn during the first triple, as the man turns 1/2 RF. Man will be facing partner and RLOD. Then the man can do his LF underarm turn during the second triple – fwd R turn 1/2/fwd L turn 1/2, bk R under body, (as the woman does her anchor)
Surprise Underarm Turn 123 hold; hold,, 3&4; (123&4; 123&4;)	In left open facing position, step back L (woman fwd R), fwd R and crossing in front to move left out of slot and raise lead hands (woman fwd L), turn RF and lunge side L looking back at woman and turning woman and hold three beats (woman turns 1/2 LF and dances a coaster—bkR/cls L, fwd R; and steps fwd L, fwd R turning 1/2 LF,) and both dance an Anchor, man blending back into the slot to end in same position and same facing direction as start; There are several "surprises" in this figure. First, the man stops moving for three beats, although he does guide the woman to make a full turn during this time. Second, althought an Underarm Turn turns the couple 1/2, this one does not change facing direction. Third, although it is a [reverse] underarm turn, it has "whip" timing in that it takes two full measures.	In the Cantrells' Take My Love, part A begins with a tuck & spin – sugar in & out;;; underarm turn with head loop – surprise underarm turn – sugar push in place;;;;; to a whip turn;;
Whip Turn phase V 123&4; 123&4;	In left open facing or low butterfly position, line of dance, step back L (woman fwd R), recover forward R stepping off the track to her right and beginning to turn RF (woman fwd L turning sharply 1/2 RF). Chasse sd/cl sd turning RF to face reverse and to move out of the slot (woman steps bk/cl, fwd and turns sharply 1/2 RF). Put your hand on her back. Cross RIB of L turning RF, fwd L (she steps back L, bk R) to left open facing position LOD, finish with your anchor step; Let me pause and say that the man's right hand on the woman's back is more important than it might seem. The first two steps of the whip feels like an underarm turn. The lead that tells the woman that we are doing a whip (any whip) and not some passing figure is the making of this second connection with his trail hand. In an underarm turn, he does not take her with his right hand and he does raise his left hand. In a whip, he keeps his lead hand low and he does place his right hand on her back. I've described the standard figure in which the woman makes both turns in the first measure and does not turn in the second measure. Notice that her first turn on beat 2 is spiral-like. Her second turn on beat 4 is hip-twist-like. An alternative is to delay the second turn until beat 5. At the beginning of the second measure, she will step fwd L and turn 1/2 RF (spiral-like), then bk R, and anchor; Men, you might find that the hooking step at the beginning of the second measure pulls you away from your partner or that it leads her toward you. She needs to step away from you on this step, down the slot, as you prepare to return to the slot. If you do feel this tugging, you may simply close your R foot and then step side and forward L back into the slot. We have heard the hook-and-forward technique described as jive-like (circular) and the close-and-forward technique described as better west coast (more linear).
Wrapped Whip phase IV 123&4; 123&4;	In low butterfly, line of dance, step back, recover R stepping off the track to her right and beginning to turn RF, she steps forward. Raise lead hands over her head as you do a sd/cl sd turning RF to face reverse. She does a fwd/cl, bk still facing reverse. At the end of the first measure, we're in wrapped position facing reverse. Step behind releasing trail hands and turning, step side to face her again (she stepped bk, bk,) End with anchor steps. He makes a full turn, and she does not turn.	In the Williams' No Easy Lady, part A has a wrapped whip;; cheek to cheek and point;; and part B then starts with a sugar push and a kick ball change;;
Tummy Whip phase V 123&4; 123&4;	Like a wrapped whip but release lead hands and place right hand on her tummy or on the front of her right hip as you move RF around her. She can extend her arms out in front of her at the end of the first measure. It sort of looks like you are stopping her movement and she is lunging forward a bit into your right hand. The man steps bk, rec fwd trn RF, sd trn/fwd, sd & fwd; XIB trn, fwd trn, behind/sd, sd; She steps fwd, fwd, fwd/cl, bk; bk, bk, behind/sd, sd; He makes a full turn, and she does not turn.
Double Tummy Whip 123&4; 1234; 1&2	Any "double" whip replaces the 1,2 of the second measure with some 4-count sequence. This one is a tummy whip with a rock 4 at that point. The man sort of rocks the woman back and forth. He steps bk L, rec fwd & sd R to W's right side turning RF and putting right hand on the front of her right hip, sd L trn/fwd R, sd & fwd L to face RLOD; rock fwd R placing R hand on W's L shoulder blade, recover L, rock bk R placing L hand on front of W's L hip, rec L turning RF almost to face partner; anchor. She steps fwd R, fwd, fwd/cl, bk; bk, rec, fwd, rec; anchor.	In Malt Liquor V by the Bucks, there is a sugar push facing RLOD to a double tummy whip;;;; cheek to cheek ~ whip inside turn ~ kick/ball change;;;;
Side Whip phase V 123a4; 123a4;	In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side (woman fwd L turning 1/2 RF to face LOD), turn 1/4 RF to face wall point the left foot toward LOD to L-position hand on woman's back/hold, - (woman bk R/cl L, fwd R); hold (woman fwd L), recover L turning 1/4 LF to face LOD again (woman fwd R turning 1/2 LF to face RLOD), anchor; Could begin facing RLOD, I suppose.	In the Moores' Knock On Wood, the dance begins with hip pumps; side whip;; whip with inside underarm turn;;
Surprise Whip phase V 123a4; 123a4;	In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side beginning to turn RF (woman fwd L turning 1/2 RF to face LOD), sd L turning /recover R, fwd L (woman bk R/cl L, fwd R); rock fwd R leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand [surprise!] (woman rock bk L), recover L and raise lead hands (woman recover R), anchor (woman begins RF underarm turn and steps sd L/XRIF of L, bk L well under body to face LOD); In most whip turns, you end facing the same way you began. The surprise here is that you stop the rotation and end up only turning 1/2 -- man ends facing RLOD and woman ends facing LOD. May begin facing any direction.	The Reads' Rhythm Of My Heart begins with a surprise whip;; to a sugar push and cheek to cheek;;;
Double Surprise Whip	This is simply a surprise whip with an extra, surprise rock recover in the middle. It too turns 1/2. In left open facing position, LOD, step back L (woman fwd R), fwd & sd R to lady's right side beginning to turn RF (woman fwd L turning 1/2 RF to face LOD), sd L turning /recover R, fwd L (woman bk R/cl L, fwd R); rock fwd R checking and leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand to an L-shaped SCP looking at ptr [surprise!] (woman rock bk L), -, recover L (woman recover R), -; rock fwd R leading woman to swivel 1/2 RF on R to face RLOD and catch her back with your right hand [surprise again!] (woman rock bk L), recover L and raise lead hands (woman recover R), anchor (woman begins RF underarm turn and steps sd L/XRIF of L, bk L well under body to face LOD);	In Knock Me A Kiss by the Schmidts, there are sailor shuffles; double surprise whip;;; to a left circle pass;;
Whip Freeze 123a4; 1_;	In left open facing position, step back L (woman fwd R), fwd R crossing in front to move left out of slot turning 1/4 RF (woman fwd L and swiveling 1/2 RF), sd L/cl R, fwd L turning 1/4 RF (woman bk R/cls L, fwd R) to closed position having turned 1/2; continue turning RF and cross right in front of left to a lunge, look at partner, hold (woman continue turning RF and step side L, sway toward man, hold), on last beat of second measure swivel to face partner no weight change having made a full turn and so ending in starting position;
Whip Inside Turn phase VI 123&4; 123&4;	This is a Whip Turn in which the woman does a reverse underarm turn during the second measure. Begin in left open facing position. Step back L (woman fwd R), fwd and sd R moving to woman's right side (woman fwd L turning 1/2 RF), swivel 1/4 RF and step sd L/recover R turning 1/4 RF, fwd L; At the end of the first measure, partners have exchanged places and are in a loose closed position. To begin the second measure, the man crosses his right foot behind his left turning and raises lead hands to lead a LF underarm turn for the woman (woman fwd L beginning LF turn). He steps side L completing 1/2 RF turn (she steps fwd R completing 1/2 LF turn under lead hands). End with behind/sd, close (woman bk/cl, fwd); Through the whole figure, the man has turned RF one full turn. The woman has turned 1/2 RF and then 1/2 LF.
Whip Outside Turn phase VI 123&4; 123&4;	This is a Whip Turn in which the woman does an underarm turn during the second measure. Begin in left open facing position. Step back L (woman fwd R), fwd and sd R moving to woman's right side (woman fwd L turning 1/2 RF), swivel 1/4 RF and step sd L/recover R turning 1/4 RF, fwd L; At the end of the first measure, partners have exchanged places and are in a loose closed position. To begin the second measure, the man crosses his right foot behind his left turning and raises lead hands to lead a RF underarm turn for the woman (woman swivel 1/2 RF and steps bk L). He steps side L completing 1/2 RF turn (she swivels 1/2 RF and steps fwd R). Finish with an Anchor. The man steps behind/sd, close (woman swivels 1/2 RF and steps bk L/step, step); Through the whole figure, the man has turned RF one full turn. The woman has turned RF two full turns.
Whip With Hand Change Behind The Back 1,2,3/&,4; 1,2,3/&,4;	In left open facing position lead feet free, step back L, fwd R out of slot toward woman's right side (W fwd R, fwd L turning 1/2 RF), sd L turning RF/cl R, sd L blending to CP and placing W's R hand behind her back and into M's R hand (W hitches bk R/cl L, fwd R); In this first measure, you are separating as the man paddles around and the woman does her little hitch. This is a little elastic springiness characteristic of all whips, but it means that we shouldn't reach for that hand change until the end of the triple when we come back together again—or we'll have out butts stuck out, looking uncomfortably grabby. In the second measure, hook R behind L turning RF releasing W from CP but keeping R/R handhold leading W to roll RF (W fwd L turning RF), fwd & sd L returning to the slot (W fwd R completing 1 1/2 spin), anchor R/L, R (W anchor L/R, L) to end in handshake position facing partner and starting direction; This figure, with slightly different character, also shows up in jive and in lindy. It is sometimes cued as a Texas Tommy.	In Black Horse by the Worlocks, there is a side whip;; whip with hand change behind the back;; tuck & spin with that handshake ~ kick ball change;
Rock Whip 123&4; 1234; 123&4;	This is a whip turn with 3 turning rock-recovers in the middle of it. It turns twice around instead of only once. In left open facing or low butterfly position, line of dance, step back L (woman fwd R), recover forward R stepping off the track to her right and beginning to turn RF (woman fwd L turning sharply 1/2 RF). Paddle sd/cl sd turning RF and add a little pivot to CP facing center (woman steps bk/cl, fwd turning to face wall). Now comes two rocks. Turning RF rock fwd R between her feet down line turning, recover L to CP wall, turning RF rock fwd R between her feet toward reverse turning, recover L to CP center; On each forward rock for the man, give her your arms so she springs away a little and then bring her back on the recover. She moves back and forth in her slot, with some elasticity, while the man crosses from one side of the slot to the other. Without the elasticity, the figure becomes less linear and more circular and jive-like. We don't want that. In the third measure we complete the whip turn with one more rock recover. Turning RF rock fwd R between her feet down line turning, recover L into the slot (she steps back L, rec R), and we finish with the anchor step adjusting a little apart to left open facing position M facing LOD; This figure is also known as a Continuous Whip, but I have also seen the Triple Whip (with its 3 behind-side combinations, rather than rock-recover combinations) called a continuous whip. I wonder if any figure with small repeated actions that could be continued can be called continuous?
Triple Travel with Roll phase V 1&234; 1&23&4; 1&234;1&2	You need to set this figure up with something that will put you into a right hand star, usually man facing wall or center. An underarm turn will do it if you modify the anchor steps, underturning them to that right hand star. Then step sd R/cl L, sd and fwd R commencing RF turn 1/4. Your handwork aids in the turns in this figure. If you push gently with your right hands, you will both roll RF stepping fwd L, and fwd R (woman fwd R, fwd L) making a 1 & 1/2 turn total to a left hand star at the end of the first measure. Then you dance three triples alternating from the left hand star, push to a 1/2 LF turn to a right hand star, push to a 1/2 RF turn to a left hand star. The footwork in the second measure is sd L/cl R, sd L (woman sd R/cl L, sd R) turning 1/2 LF, sd R/cl L, sd R turning 1/2 RF; In the third measure dance the third triple sd L/cl R, sd L then roll 1 and 1/4 LF fwd R, fwd L (woman fwd L, fwd R) to face partner in left open facing position; anchor,, As I say, the entry into this figure is usually an underarm turn to a right hand star. That uses a measure and a half, so the actual count for the triple travel with roll is 3a4; 123a4;1a23a4; 123a4; and you end on the measure.
I Love You So 1&2	In closed position, trail feet free, step side R (woman sd L)/small back L (woman small bk R), replace with a bump & grind action,	The ending of the Cantrells' Take My Love is an Underarm Turn – two Sailor Shuffles – slow side;;; I Love You So and Layback;
Tsunami 123&4; 1&23&4; 1&2	This figure is 1, 2, and four triples. As the name hints, there are a lot of swirling turns—it's stormy—but after a little repetition, the body flow becomes quite smooth and civilized. Facing partner in left handshake, step back L turning 1/4 LF and bk R out of the slot (W fwd R, fwd L beginning to turn left and with right arm across body above the handshake). During the first triple, the woman steps fwd & sd R, close L turning, fwd R, completing one full turn LF. As she passes the man, he steps in place L/R, and as she takes her last forward step, he steps fwd L across the slot. If we began this figure with the man facing reverse and woman facing line, she is still facing line, wrapped into her left handshake, and he is at her right shoulder, in a back-to-back L-position, facing wall. During the second triple, the man will do a paddle turn 3/4 LF, stepping fwd R turning/rec L turning, and side & back R. With the left handshake, he will lead the woman to step fwd L turning 1/2 RF/rec R, fwd L, like a quick basketball turn. He releases left hands early in this triple and catches her left arm with his right hand at the end—release and catch. At this point, we are tandem both facing reverse. During the third triple, the man will continue to turn left, and the "catch" will tell the woman to turn left, too. He uses his left arm to sweep himself in a LF turn sd & fwd L/cl R, fwd L, turning full around. She steps fwd R turning/cl L turning, fwd R turning to face partner and line. The man needs to guard against rolling away from partner during this triple—make that third step toward partner. Finally, the fourth triple is an anchor for the woman, L/R, L. In the example that we have, the man continues to turn LF, steps side R facing wall/closes L, and crosses R in front in a scissoring action, taking right hands, ready for a right side pass, but I assume that he could adjust his triple to other ending positions. This will seem to be a busy little figure. If I have counted right, the man turns 2 1/4, but it is all left-face, and he has 2 1/2 measures to swirl smoothly through it. The woman alternates, but the changes are clearly marked. First, she makes a full turn left. The wrap into her left arm stops that and leads her comfortably into a 1/2 turn right. There, the man catches her to lead another left turn, this time 1 1/2. That's a total of 3 turns, but for one who regularly spins a full turn on one step (think tuck and spin), this figure might be regarded as quite leisurely.	In Black Horse by the Worlocks, the dance starts facing reverse with a tsunami to a right side pass;;;; face loop sugar push with rock 2;;