A Comprehensive Guide to Learning Country Dance Steps
Country dancing, a vibrant and engaging form of social expression, encompasses a diverse range of styles, each with its unique history, rhythm, and movement. From the traveling steps of the Two Step to the intricate figures of English Country Dance and the energetic improvisations of Country Swing, there's a world of movement waiting to be explored. This guide aims to demystify the foundational steps and concepts of various country dance forms, providing a pathway for both beginners and experienced dancers to enhance their skills and deepen their appreciation for this dynamic art.
The Evolution and Diversity of Country Dance
Country dancing, in its broadest sense, is a tapestry woven from the threads of various cultures. Its roots can be traced back to the folk dances brought to America by immigrants from England, Ireland, and Africa. These influences, including styles like Waltz and Polka, gradually melded and evolved, eventually giving rise to distinct American country dance forms. The commercialization of Country music in the 1920s played a pivotal role in popularizing Country Western style dancing. Cowboys, in particular, embraced these social dances, leading them in bars and dance halls late into the night. This rich history has fostered a landscape of dances, each offering a unique experience, from the structured formations of English Country Dance to the improvisational freedom of Country Swing.
Country Two Step: The Heartbeat of Partner Dancing
The Country Two Step stands as arguably the most popular partner dance in the United States. Its essence lies in a simple yet versatile rhythm: two "quick" steps followed by two "slow" steps. Understanding this timing is paramount to mastering the dance. The key is to attune oneself to the bass beat of the music, that natural rhythm one can tap their hand or foot to. In music, there are also "and" beats, occurring between the main beats (1-&-2-&-3-&-4). The "quick" steps in Two Step are so named because the second quick step lands on one of these "and" beats. This is followed by a pause or stop for the next "and" beat, and then a step on the second main beat, with a subsequent "slow" step after skipping another "and" beat.
As a leader in Two Step, the initial steps can be intimidating, particularly the challenge of hearing and feeling the beat amidst a crowded dance floor. This often requires time and practice to develop an almost subconscious connection to the rhythm. There isn't one absolute beat to start on, as in line dancing; rather, the leader picks a beat and begins. Signaling the start is often done by leaning in and pushing. The leader initiates the dance with their left foot, while the follower steps backward with their right. The second quick step is taken with the leader's right foot, and the follower steps back with their left. After pausing for the "&" beat, the leader steps forward again with their left foot on the main beat, followed by a second slow step on their right, after skipping another "&" beat.
A crucial aspect of Two Step, and indeed most partner dancing, is floor craft and etiquette. The direction of traffic on the dance floor is almost universally counter-clockwise. This is vital for safety and smooth movement. Generally, the outer lanes are considered the "fast lane" for more experienced dancers, while the inner lanes are for beginners. The center of the floor is often left more open, though one must remain aware of impromptu line dances or couples practicing intricate moves.
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The leader's role is to guide and steer their partner safely around the floor. Even when turning or leading the follower backward, the leader remains responsible for observing traffic and ensuring a safe path. While a follower might provide a heads-up if a collision is imminent, the primary responsibility for navigation rests with the leader. The follower's role is to maintain consistent pressure in the dance frame, allowing them to feel and anticipate the leader's movements.
Styling in Two Step can vary, with discussions often revolving around the size of steps and whether speed is constant or variant. Some suggest that "quick" steps should be shorter, while "slow" steps allow for longer strides. Others maintain that all steps should cover the same distance, with the variation in speed achieved through the duration of the step. Another popular style describes the quick step as feeling like being "pushed from behind," creating a moment of acceleration before slowing down for the "slow-slow" steps. Ultimately, the most important aspect is that the leader develops a style that feels natural and is clearly communicated to the follower.
Beyond the basic steps, leaders can introduce variations such as the 180º Turn, where the lead uses the first slow step to move the partner to the right, completing the turn on the second slow. The Outside Turn involves a preparatory signal with the left hand, turning the follower by pulling their hand away, causing them to turn clockwise, following their right shoulder. The Sweetheart Position offers a break from traveling backward, achieved by the leader pulling the follower in for a half inside turn, switching hands. Both partners look forward, holding right hands in front and left hands above the follower's shoulder. This position allows the follower to face forward and can be combined with traveling backward.
Shuffle and Progressive: Variations on a Theme
The Shuffle and Progressive dances, often seen sharing the floor in country bars, are closely related, despite their differences. The Shuffle's basic step is essentially a Foxtrot "Two and One," a dance that has been continuously performed since the 1910s and gained significant popularity in the 1920s. It is likely that this version of the dance developed concurrently with Country music, which also began to emerge in the 1920s. In Shuffle, dancers perform the basic step in a closed position, then break out into a variety of Swing moves while continuing to travel along the Line of Dance (LOD), using comfortable footwork.
Progressive, on the other hand, typically involves a forward and back step. Both Shuffle and Progressive are danced in QQSS timing. The side step of Shuffle and the forward/back step of Progressive can be viewed as different points on a continuum of diagonality, ranging from 0° to 90°. While one version might be more prevalent in certain establishments depending on where dancers learned, both offer enjoyable experiences.
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Country Swing: The Energetic Offshoot
Country Swing is an on-the-spot variation that focuses heavily on Swing moves, dips, and tricks. Prior to 1980, Country dancing was predominantly practiced in Texas, leading to its alternate name, Country Two Step: Texas Two Step. The emergence of Country Swing is often linked to the post-disco era, with hustle dancers reportedly transitioning to country bars after the release of the movie "Urban Cowboy." While Western Swing music dates back to the 1930s or 1940s, the modern dance style of Country Swing bears a strong resemblance to the hustle of the 1970s.
Today, Country Swing is a popular dance style, particularly in Texas, Oklahoma, and California, and can be found in country bars internationally, such as in Calgary, Canada. Its appeal lies in its fun, accessible nature. The basics are easy to learn, requiring just a few fundamental moves. Essential elements include the basic step, turns, a hammerlock, a cradle, the slide, and the signature "lean" that characterizes the dance. The beauty of Country Swing is the vast array of moves and patterns that can be created, with most being remarkably easy to master.
English Country Dance: A Historical and Elegant Tradition
English Country Dance (ECD) is a style where couples collaborate to execute a series of figures. The foundational text for this dance form is John Playford's "The English Dancing Master," first published in 1651. This book provided the first written choreographies and tunes for country dances. Published during the English Civil War, a period when dancing, though not illegal, carried political risks, Playford's work was groundbreaking. He was soon followed by other publications, and Country Dancing remained popular well into the early 1800s. Today, there is a resurgence of interest, with contemporary dancers and groups creating new dances and performing older ones.
ECD is typically danced in various formations, with the longways set being the most common. This usually involves a line of men facing a line of women. By convention, men have their left shoulders towards the music, and women have their right shoulders towards it, a formation known as "proper." These formations can be designed for a specific number of couples, such as 3, 4, 5, or 6 couples. More complex formations involve a single longways set that can extend indefinitely, subdivided into smaller units of two couples, referred to as "minor sets."
When organizing a dance, a caller might announce "Hands Four," a directive for dancers to form groups, not a part of the dance itself. In ECD, interaction is generally confined to one's minor set. In contrast, Contra Dance, a related form, often features "long lines" where individuals hold hands along the entire set.
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Within a longways set, couples are designated as 1st or 2nd couple, with the 1st couple being closest to the music. In some dances, the 1st couple is also called the "active couple." A dancer's neighbor is the person beside them in the same minor set, while the person diagonally across is their "corner." A key concept in duple minor dances (dances for two couples) is "progression," where figures conclude with the 1st couple occupying the 2nd couple's starting position and vice versa. Couples not actively dancing are said to be "out," often indicated by a black border in visual representations. They will rejoin the dance in the next round, potentially switching roles. A couple remains a 1st couple until reaching the bottom of the set and a 2nd couple until reaching the top. If a set has an odd number of couples, one couple may be "out" at the bottom initially, but this resolves as the dance progresses.
English Country Dance has historically been associated with courtship. Eye contact is encouraged, with dancers often gazing at their partners, corners, or anyone nearby during figures that allow for extended interaction, such as lead figures, casts, hand turns, or up-a-doubles.
The primary movement in ECD is a walking step, performed in time with the music. While usually one can start with either foot, some dances specify a "slipping step." In a slipping step, one faces at a right angle to the direction of motion. To move left, one steps with the left foot, brings the right foot to meet it, and then steps with the left foot again. The leading foot changes only when the direction of movement changes.
When men and women hold hands, the convention is for men to hold their hands palm up and women palm down. A "hand turn" (sometimes called "Arm") can be performed to the right or left. To "arm right," one walks forward to the center and slightly left, locks right elbows with their partner, turns around, and returns to their original position. A "back to back" involves facing the designated person and maintaining that facing direction throughout the figure, without turning around. Left back to backs are rare, but mirror back to backs can occur.
A "cast" involves moving outside the set, traveling a specified number of places (usually one), and then returning to the set in a new position. Long casts take longer and involve dancers meeting in the center to touch hands before casting out. In a cast, one couple might cast down while another leads up to create space. "Circling" involves moving in a circle, either left (clockwise) or right (counter-clockwise), returning to the starting position after a full circle. A half circle ends where the corner started. Often, a circle in one direction is followed by a circle in the other. Circles typically involve all four people in a minor set, though sometimes three people participate. A two-hand turn is the closest equivalent to a circle for just two people. Larger circles can involve six or more people. A full circle usually takes eight counts. Occasional calls for hand claps, either with one's own hands or in a patty-cake sequence with a partner, add rhythmic accents.
"Crossing" involves walking across the set, passing right shoulders with the person you are crossing. If crossing with a partner, a cast down the set often follows. "Backing away" involves dancers facing the center of the set and walking backward, away from it. This often involves holding hands with a neighbor. The "half figure eight" begins with one dancer crossing down between the couple below, looping around the other dancer, and returning to their partner's starting position. The other partner begins slightly behind, crosses down, loops around, and returns. This pattern can also be mirrored, with dancers crossing up. A "full figure eight" repeats the half figure eight, starting from the opposite side. A "gate" involves two dancers taking hands and turning 360 degrees, with one backing up and the other going forward.
The "gypsy" is a pattern that can be performed left or right, resembling a hand turn but without touching, involving eye contact as dancers rotate around each other. The term "gypsy" is considered offensive by some, and in Contra Dance, it is often replaced with "Right/Left shoulder round." A "hey" is a weaving pattern with various forms. Typically, it begins by passing someone by the right shoulder, then skittering over to pass the next person by the left shoulder, and so on. Hays can be circular or linear, across the set or along its sides. A "linear hey for four" is similar to the square dance call "Square through," involving a sequence of right-hand pulls with the partner, left-hand pulls with the neighbor, and so on, returning to the starting position. Fractional heys and variations in starting positions are also common. A full hey often takes 16 counts. Another hey variation involves one person crossing over to the opposite side to weave with others. Finally, men bow and women curtsey as a concluding gesture.
"Leading" (pronounced "leeds") involves couples joining hands and dancing in a specified direction. A "poussette" is a French term meaning "little push," where couples take hands and move in a specific direction, with one partner walking forward while the other backs up, then reversing roles. "Siding" involves changing places with someone and then returning, often with a turn to face the other person in the center. "Sharp Siding" specifically refers to a figure where dancers pass people by the left, or appear to, as they turn to face each other in the center. A "left hand star" involves turning so the left shoulder is toward the center and taking the hand of the person diagonally across, forming a star formation. Stars can be fractionalized or involve three or five people. "Hand turns" involve stepping in, taking a hand, and turning a full circle before stepping out, with fractional turns also common. "Crossed hand turns" are used for faster turns, allowing for more rotation in a given time. "Two hand turn to proper" is a call that ensures all couples end up in their proper positions. A "turn single" is a solo turn in a small circle, returning to the starting point.
Country Line Dancing: Solo and Social Fun
Country line dancing has gained immense popularity, partly due to its accessibility. Unlike most partner dances, it doesn't require learning to dance in pairs, making it one of the easiest dance forms to pick up. A fundamental step is the "heel dig," which can be performed with an accent by bending the supporting leg or by hopping out of the step.
"Grapevine Variations" offer ways to add complexity. The fourth step of the grapevine can be replaced with a heel dig or a scuff. Combining the grapevine with crosses in front and behind allows dancers to travel in a zigzag pattern. The basic grapevine sequence involves stepping right, crossing left behind, stepping right, and crossing left in front, repeating as desired.
The "Chasse," often seen in jazz classes, involves three steps in a musical triplet, covering two beats of music and traveling in any direction. It requires stepping onto the right foot, then the ball of the left foot with weight transfer, and quickly onto the right foot. A "pivot" is a simple half turn, stepping forward onto the right foot while keeping weight centered on the ball of the foot.
To learn line dances, beginners are advised to find a group of experienced dancers and position themselves in the middle, allowing them to observe and follow along. Country line dancing continues to grow in popularity alongside other styles like swing and Latin dance. Whether you have a background in jazz or tap or are completely new to dancing, learning individual steps quickly leads to proficiency in line dancing.
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