SOME BASICS ABOUT PICTURE FIGURES
© 2007 by Gert-Jan and Susie Rotscheid
What do we think of when we say the word picture? It is a flash, a
moment taken with a camera. It freezes the action. But a picture can
also be a flowing, moving picture, like a "motion picture"
or movie. We would like to combine these two ideas when talking about
picture figures in Round Dancing. We will not be discussing here all
the movements getting into or out of a figure, nor the actual actions
or execution of these figures.
ROUNDALAB's definition of a Picture Figure is, " An action or
movement where the majority of the activity centers around the frame
of the couples dance position."
NOTE: We will usually give the RAL definition in italics at
the beginning of each figure.
There are a few rules, or things we need to think about when executing
a picture figure.
- You should always both be in balance yourselves, and you should
be in balance as a couple.
- You should always have your weight on one foot and be "over"
that weighted foot.
- You never extend, or lower, further than you could get up by yourself.
- You should never look down, or collapse.
- You should never try to out-do your partner; the emphasis is on
the couple.
Often when we think of picture figures we think right away on the more
advanced figures. But remember, an action extended and momentarily stopped
is a picture figure, and we have those in the beginning of our dancing.
We will start with a very basic figure and continue up through some
phase IV figures. Take a look at each one and go point by point through
the 5 basic rules we have written down and see if you or any of your
dancers have a problem there.
Apart, point - unphased
This is usually the first picture figure that we and our dancers will
come across. It is not done in a closed hold, and that makes it fairly
simple to execute; let's look at the rules. Rules 1 and 3 here are usually
no problem, but we often see dancers looking down or away (rule 4),
and sometimes, often maybe trying to be "funny" one partner
does something strange (rule 5). Sometimes beginning dancers put weight
on their pointing foot (breaks rule 2). Then they don't know which foot
is free.
Dip (back) – phase II
MAN OR WOMAN: Step in direction indicated and take full weight with
the knee relaxed or slightly bent. The other leg remains extended with
the knee and ankle forming a straight line from the hip and the toe
remaining on the floor.
Some problems that we have seen with this figure is that dancers do
not first of all step back; they often step side and back and twist
their bodies. This makes right away a problem with rule 1 and 2. Often
the lady with look down (rule 4), and sometimes the man, probably trying
to show off his strength, will pull his partner off of balance (rule
1 and 5 and for the lady rule 2).
Dip (back) & twist – phase II
This is the same beginning action as the Dip (back), but adds a twist
at the end. RAL's definition of a twist is, "The turning of
the upper body to change facing direction without changing weight."
What we often see happening is that the couple will dance these 2 actions
as 1 action. You have then lost the "flash", that final moment
that the picture is taken. Also a number of dancers will break rule
4, or 5 if the man pulls the girl into a twist, pulling her off balance.
Corte – phase III
MAN: Usually in closed position step back and side left using lowering
action with supporting leg relaxed.
WOMAN: Usually in closed position step forward and side right using
lowering action with supporting leg relaxed.
This figure is listed only in Rumba and Tango, but we see it used also
in other rhythms.
The important thing here is that you step side and back (or forward
if you are the woman). Again, you need to be sure that you both have
your balance before the man leads into the figure, and that the man
does not pull the girl off balance.
Side corte – phase III
MAN: Step side left flexing supporting knee and turning to reverse
semi-closed position leaving right leg extended with toe pointing to
floor
WOMAN: Step side right flexing supporting knee and turning to reverse
semi-closed
position leaving left leg extended with toe pointing to floor
This figure is only listed in the RAL definitions under Tango, but again,
we often see it in other rhythms as well.
While you do step and turn to RSCP, you need to be sure not to look
down (rule 4) as that will break your line.
Chair – phase III
MAN: Forward right lunge step
WOMAN: Forward left lunge step
This is a one-step figure, but in most cases will use a full measure
of music. (We are discussing the figure "chair" here, not
a "chair, recover, slip". In using a full measure, this is
the first figure we come to that goes into through the "motion
picture" to get to the "flash photo" stage. In this figure
we really need to be sure that we stay up and do not "collapse"
– no broken chairs here, please. In using all the music, you can
settle into the chair, then minutely raise & re-settle. This gives
a nice "photo finish".
Right lunge – phase IV
MAN: Flex left knee move side and slightly forward onto right keeping
left side in toward partner and as weight is taken on right flex right
knee and make slight left face body turn and look at partner
WOMAN: Flex right knee move side and slightly back on to left keeping
right side in toward partner and as weight is taken on left flex left
knee and make slight left face body turn
We will discuss this here as a full measure of waltz timing. This figure
also goes into through the "motion picture" to get to the
"flash photo" stage. The flash photo comes at the very end,
just before you are ready to start into the next figure. Before that
you should use all the time to gradually get to that point. That is
the motion picture.
Let's be sure that we go through all 5 points. 1) The man should not
start his side step into the right lunge until both partners have their
full balance. He needs to feel that he is not pulling his partner right,
but leading her to the right. 2) As the man places his right foot he
will flex his right knee and bring his weight onto that foot. The flexed
knee will help with balance. 3) Of course, the man will not over-extend
his lunge, nor extend it past the comfortable lunge position of his
partner (rule 5). Remember to keep your head up; the man will be looking
over the lady’s left shoulder (rule 4).
Promenade sway – phase IV
MAN: Side and forward left turning to Semi-Closed Position and stretching
body upward to look over joined lead hands, -, relax left knee, -;
WOMAN: Side and forward right turning to Semi-Closed Position and stretching
body upward to look over joined lead hands, -, relax right knee, -;
We will again use the waltz rhythm here, and while the RAL definition
only shows two beats on this, the figure usually uses the full 3 beats
of a waltz measure, the first beat being a preparatory step either back
or thru. This is also a picture figure that goes through the motion
picture to the flash picture. You need to check yourself with all 5
rules. Especially rule 4, don't look down or collapse. In the promenade
sway you need to stretch up and you will both be looking over the outside
of your own lead hands; the outside of your own wrist. The man will
have his right side stretched, the woman her left side stretched.
Oversway – phase IV
MAN: Side left relaxing left knee leaving right leg extended and
stretching left side of body and looking in designated direction
WOMAN: Side right relaxing right knee leaving left leg extended and
stretching right side looking well to the left
While they say in RAL that the man looks in the "designated direction",
more than not he will be looking towards the right. This is a one-step
figure, so in this case it is a "flash picture", but often
you will have a full measure to do the figure. Then of course you want
to make your movement a moving picture, with the flash picture at the
end. Especially if you go directly into the figure,there will also ofte
be a preparatory step, either thru or back, to the oversway.
Change of sway – phase V
From any sway position without weight change, change stretch of
body and head position to opposite direction [there may be body rotation].
Timing will vary.
This is not considered a figure in RAL, but an action. An action is
a motion without a weight change. This is the difference between an
"oversway" and a "change of sway". After a promenade
sway, we often here the cue, "change to an oversway". What
is really meant here is just "change sway". This figure can
be used after any sway figure, but let's look at how it would be after
a promenade sway. You are standing in your promenade sway position.
You are standing completely on one foot (your lead foot), that leg is
slightly bent and your trail leg is straight. You have your sway towards
your lead side, so facing the wall, the man's sway is towards LOD. To
change our sway, we do not want to drop our shoulders or hips. The man
needs to raise his right hip into and towards the woman as he stretches
his left side and with a slight left rotation. changes his sway towards
his right side. It is very important here not to break your sway. You
do the action with your body, not with your shoulders. Be sure that
you do not change weight. You should still be able to lift your free
foot.