发信人: landing (江湖夜雨), 信区: Dance
标  题: 翻译文章：引带和跟随
发信站: 水木社区 (Thu Jan  1 14:44:18 2009), 站内
 
1.2 引带和跟随
 
“要是你不引带我，”我姐姐说，“我是不会移动的。”50年后我仍然记着她的
这番话。从那时起，我最初从她那儿学来的舞厅舞大多数已经有了很大的提高，
但这些年来她所强调的两件事一直萦绕在我的脑畔。。“要是你不引带我，我是
不会移动的！”、“跳舞时别把我当成家俱！”。
 
可以对舞厅地板上产生在两个人之间的引带和跟随进行非常细致的分析，引带和
跟随或许是两个人之间所能产生的最复杂的交流形式。。最高水平的引带和跟随
对实现这种引带和跟随的人来说是一种巨大的陶醉和满足，特别是当你遇到了一
个能够引带（或跟随）的舞伴进行即兴跳舞时。引带和跟随是需要真正的才智和
认识能力（诸如学习、模式识别、以及非语言交流）的技术。观看Jack&Jill冠军
组合的表演就像观看某种艺术的即兴创作。
 
关于引带和跟随，有许多误解，男士和女士都有。未受训练的舞者有时似乎认为，
女士就应该很软，男士可以随意使她弯曲。这是大错特错的。尽管有些人在初级
水平上可以包容这一点，但却不能长久如此。对于男士来说，这样太累，对于女
士来说，这样太痛苦。女士如果没有好的姿态、没有正确的身体/脚步位置、没有
身体弹性就没法引带。不能指望男士使女士身体的每个部分都到位。对于没有上述
品质的男士，女士也没法跟随，因为女士不能将信号和噪声区分开来（并且女士
可能做不出预想的花样）。引带不应该使人疲劳，只有当跟随的人没有在跟随时，
引带才是令人疲劳的。引带不是拉拉扯扯。它是用来传达意图的。舞蹈是一种艺术
形式，尽管它也需要运动员的能力。
 
好的引带/跟随就像好的对话，你不必喊叫，你只需要对话。当你水平较高时，你
所真正需要做的只是轻轻地说。引带不能被错误地解释为“推和拉”。尽管水平差
的跟随者经常说“如果引带够强，我就能跟随”，但他们需要阿诺·施瓦辛格的
力量（在他适当地热身之后）才能使自己在地板上移动。一个男士如果根本不知道
他在引带什么、不能按音乐有节奏地移动、不辨快和慢、不知道他正在对他的舞伴
造成什么样的痛苦，那么，遇到这种男士的女士也是令人同情的。引带者不需要
时时刻刻“牵引”着跟随者在地板上移动，跟随者也不要像一袋土豆那样呆在那里
等着被拖。引带和跟随是一个动态过程，它需要对舞蹈中双方的角色付出很多努力。
不需要有明显的力就能引导女士做出她所不知道的相当复杂的步子，这是十分可能
的，尽管大多数男士不能做出来。如果你想让女士争着与你跳舞，那么，这就是你
必须学会的。你所寻求的是技术，而不是力量，新手们！
 
声言能够引带任何人跳好舞的男士其实并不十分信任他们的舞伴。而声称能够跟随
任何人的女士也是在对真正好的跟随者不以为然。有经验的舞者绝不会说这种话，
 
因为这不是真的。John Wood不是说跟任何女士跳都能成为世界冠军的，Anne Lewis
对他们的成功所做出的贡献同样大。若说任何女士的全部所需只是一个好的引带者，
那么就不公平地贬低了许多非常有天赋的女性舞者。这也赋予了男士太多的责任，
因为这意味着所有的错误都是男士的过失。有时女士会说“我只管跟随”。这就将
跟随说得没什么价值了，而情况绝不是这样。
 
合作技术（partnering skills)对于舞厅舞来说是至关重要的。很难在课堂上讲授
这种技术，因为对双人舞来说，这种技术可能是最复杂的元素，需要花多年的训练
才能完善。这并非单单是“提示”这么一回事，而是对整个身体的理解，对如何使
两个人能够作为一个人绕着共同的中心移动的理解。竞技舞者必须对此非常用功，
实际上，这种技术对于彼此适应了对方的一对舞者来说比对完全陌生的一对舞者来
说更难办。比如说，当我刚刚对我的技术进行了一段时间的训练，极轻微的变化
（比如在重心变化上有很轻微的时间延迟）就会使我的舞伴完全困惑了。她开始
埋怨我的感觉不对了，或者她将所述变化解释成是在引带她做我曾经和她做过的
其它动作。然而，我将同样的新技术运用到几乎没有和我跳过舞的有能力的舞者
身上时，瞧！做得非常好！很明显，长时间的合作会对舞伴的感觉非常习惯，进行
任何提高或变化会变得更难办。（我从Jim Maranto那里听到过完全相同的对他的
舞伴/妻子的抱怨，Jim是现在的美国摩登舞冠军）。
 
甚至竞技套路也是通过引带/跟随来完成的。如果参赛者得到的教导是“你跳你的
那一部分，让你的舞伴跳她/他的那部分，你不必引带/跟随”，那么，这种教导是
错误的！裁判能够区分哪些舞者有真正的引带/跟随“连接”，哪些舞者只是过一下
套路。一个参赛者写道：“舞厅舞是社交舞，它依赖于引带和跟随，即使在比赛中
也是这样。我的比赛（摩登舞）舞伴和我有一些在比赛中用到的预编“组合”，但
我仍然总是要依赖于他的引带才知道我们要做什么、我们往哪里去、这次他要用什么
样的节奏、这次他想如何表达。。”另一个参赛者写道：“肯定是有引带和跟随的，
即使在套路完全编好的竞技拉丁中也是这样。我的舞伴和我不管在有没有教练的
时候都在这上面花了无数的时间，就练习舞蹈的这个方面。好的引带和跟随在拉丁
舞中是非常重要的，既对速度、控制和平衡非常重要，也因为很好地引带和跟随出
来的步子跳起来时对于双方来说所产生的快乐不知要多多少倍。”甚至还没有和那
些参赛者一起跳舞，你就能辨别出其中不会引带和跟随的人。只要找一找那些在地
板上不断地冲着别人直冲过去的人即可。因为，他们只跳自己的部分，他们没有发
展出或练习过引带和跟随的动态过程（地板技术），而地板技术是躲避那些进入其
舞程线的障碍或意外情况所需要的。即使在跳套路时，仍然需要不时地改变方向，
或完全改变套路来处理其它舞者也在跳舞这样的情况。比赛时，在套路中绝没有不
需要引带和跟随的地方。即使在拉丁舞中，即使舞者知道套路，你也必须引带。在
舞蹈比赛中你所做出的大多数步子都需要对引带和跟随特别注意；你会看到，好的
参赛选手能够使舞蹈看起来毫不费力，因而似乎没有引带和跟随。这就是好舞蹈的
例子，而不是没有引带和跟随的例子。有引带和跟随在进行，即使当选手正在跳
同向花样并且没有接触时也是如此。只是不典型罢了。通常是通过身体方位和眼神
来进行引带和跟随。在同向“单人跳”期间，男士需要注意跳过来的选手以及可能
的碰撞，从而他能够调整他和舞伴，或者随时改变套路。在Jack&Jill赛中，当你
拖曳你的正规舞伴时，你的成绩不会很好，因为裁判非常注意引带和跟随。选手
跳套路时有没有引带和跟随是非常显而易见的。当选手跳同样的步子，但由于没
有引带和跟随，他们看起来像两个人，而不是一对选手时，你就知道这对选手在
跳套路。我经常通过狡猾地改变我们的套路来测试我的正规舞伴。如果地板上有
其它选手，你怎么也不能肯定会发生什么。你也许不得不避免碰撞，或者干脆别
想会发生什么！爆笑。
 
男士们，为了真正地引带好，你必须知道你所跳的每个花样中女士的角色。引带
和跟随是非常不同的技术，跟随好与引带好同样困难。在吵杂、移动的环境中识别
花样是一个复杂的任务，这当然就等同于花样转换（译注：这句大概是指女士）。
当然，有一样东西是男士要掌握的，而女士却没有类似的对应，这就是地板技术。
男士对规避障碍负有主要的责任，这是一个困难的任务，特别是在拥挤的地板上，
许多选手以非常不同的速度在移动。引带者的确需要马上完成每一件事，他需要
听音乐、决定做什么和怎么做、不仅要考虑自己的移动还要考虑舞伴的移动以及
其它舞者的移动，等等。更麻烦的是，在男士开始他的舞蹈生涯时，他必须学习
如何马上做每一件事。对，跟随者必须能够做许多动作，但引带者必须会做这些
动作并启动这些动作。另外，有许多变化，这些变化只在举不举手臂或一些类似
的微妙的事情这些细节上不同，引带者必须明白这些不同之处，并且必须清楚地
指示向哪里移动。当然，好处是，在引带金牌级的系列步子时，他负责用外语
（大概是指引带跟随这种特殊的语言）举行会话！
 
跟随技术与引带技术同样重要。当引带者只需要向他的舞伴发出坚实但不是力量
很大的引带来指示想要的东西，以及当舞伴感觉到作为引带而产生的身体移动时，
跳舞就变得非常非常令人愉快。为了实现这一点，女士必须对引带的感觉（有时
也包括眼神）很敏感并能做出响应，不要指望她的舞伴在跳舞中从头到尾（完全）
驮着她跳。跟随技术被大大地低估了。每当我向初学者讲授引带和跟随时，我总
是很难灌输这样的观点，即跳舞是一种有舞伴的运动，每个人都得承担自己的责
任，否则就会失败。
 
引带跟随意味着从男士到女士的单向连接，但在真正好的舞蹈中，双方都要在不
同的时刻向舞蹈中投入各种不同的能量，尽管引带者通常控制着行进方向、节奏、
以及套路，但他对他舞伴动作的意识（她走了多远、她的线条完成了没有、她的
重心是否到达了我要带她到达的脚上、等等）也是至关重要的。女士要跟随，但
男士必须引带兼跟随，就是说，男士必须察看女士正在做什么，并进行弥补。
 
引带者在进行有创造性的控制时需要有形象思维，其中要考虑的东西包括整个舞
蹈地板、双方所占据的空间、两人间的空间关系、两人间的连接模式。跟随者主
要注意的似乎只是最后一件事，即，对连接模式作出反应。跟随比引带更有趣，
因为，第一，女士对行进所负的责任少得多，第二，女士不知道下面要被带着做
什么，于是，每支舞蹈就成了一种“不可思议的神秘的旅游”。我觉得，作为跟
随者最妙的是，被带着做出自己所不知道的花样和切分！当引带很好时，好的跟
随者能够做出完全不可预知的但又极其有趣的动作。一些引带者抱怨整个晚上只是
一遍又一遍做同样的预定动作非常枯燥。他们说跟随者更有趣些，因为她们整个
晚上都在跳不同的舞。但另一个引带者却写道：“好的引带者绝不以同样的方式
和每个人跳舞。当舞伴不同时，你跳同一支舞的方式变了。如果你看我和一个初
学者跳舞，那么你很难说出我与一个好的初学者有什么不同。如果你看我和某个
冠军（和我感到舒服的人）跳舞，那么你会看到完全不同的东西。如果你看我和
我熟知并且一起跳了很多年的人跳舞，那么你又会看到不同的东西。”
 
另外，第一次学习花样时，女士和男士同样要进行分析，尽管在习惯后做这些
花样时可能不需要分析。此外，对于跟随者来说，还有一个附加的方面，那就是，
女士每个时刻在脑海中都必须想到所有可能的移动，而不只是自己要进行的那个
移动。由于你不知道男士将引带什么，所以你必须准备好做任何事，并对你所得
到的信号作出非常快的反应，以去除那些没有要求你做的动作。这是一种与地板
技术同样多地依赖于空间思维或“形象”思维的技术，尽管更少一些直接性。
 
注意，女士在向前迈步时不进行“引带”。女士不改变步子的方向，除非马上要
发生碰撞了（但并不总是发生），如果女士确实短暂地进行了控制，那么男士负责
从女士带他们进入的位置中走出来。与其说女士在前进时“引带”，不如说男士
在后退时“跟随”。男士总是要指定移动的方向，但向前移动的人决定了步子的
大小。男女总是在后退方的前面落下步子，从而进行了引导。尽管决定步子大小的
“引带”不同于决定做什么花样的“引带”，但与这两种情况相关的“跟随”却是
相同的。举一个比半小节轴转（pivots）或一小节维也纳华尔兹持续时间长一点
的例子，试做狐步中的连续波浪步（continuous waves）。女士在这个花样中能够
一直前进，她决定前进的步长。然而，女士不能决定这个花样何时结束并进入比方
说激转（impetus turn），正如在维也纳华尔兹中，女士不应该决定结束左转
（reverse turn）并开始进行团团转（fleckerl）。
 
1.3 跟随者如何帮助初学的引带者
 
初学的男士需要很多帮助。他们的舞伴对他们进行帮助的最好方式就是，即使引带
是错误的也要跟随他们的引带，而不是对差的引带进行“弥补”。这样做能够向引
带者发出恰当的反馈。我所说的反馈，不是指口头上的批评，而是指在“我想知道
我按下这个按钮时会发生什么”这样一种意义上的直接反馈。如果引带者没有引带，
或者，引带的不是他们所应该引带的，那么，跟随者不应该进行弥补，不应该不管
他的引带径直做正确的动作。她应该什么也不做，或者跟着他的引带走即可。这样，
男士就能清楚地看到哪个原因产生哪个结果。如果跟随者进行弥补，她就使引带者
得不到这种因果反馈，那么，男士就永远也学不会恰当的引带。指指点点或给出
未经请求的批评是很危险的。除非你是正宗的老师，当然，在这种情形中，你知道
什么是合适的。如果你只是跟随他的引带，那你不是在进行批评。这里的基本问题
是，舞者如何才能对其舞伴最有帮助？我相信一般的意见是，尽自己最大的能力
好好跳舞就可以了，对于跟随者来说，这意味着，尽力跟随。从探戈到Lindy Hop，
初学的跟随者的最困难的问题之一是，她们不跟随。她们不在和她们的舞伴跳舞，
而是在观察教师以及其他人，尽管持握在一起，但在其它方面却忽略其舞伴的存在。
很难引带因察看其它人或因低头看脚而身体完全扭曲的女士。有时，初学者要求我
给出口头提示。相反，如果女士尽全力跟随我的引带，那么，我就不必对她的错误
进行弥补，并能更专心于我自己的舞蹈。
 
 
 
原文摘自www.dancesport.uk.com --ABC for Newcomers--FAQ of Leading and
Following.
 
 
1.2 On Leading And Following
"If you don't lead me ", my sister announced, "I'm not going to move." Fifty years later I still remember her words. Since that time I have considerably enhanced most of the social ballroom dancing that I first learned from her, however two things that she emphasized have held up throughout the years... "IF YOU DON'T LEAD ME, I'M NOT GOING TO MOVE!" and "DON'T DANCE ME INTO THE FURNITURE!"

Leading and following that takes place between two people out on the dance floor can be analyzed down to the tiniest detail and is probably the most complex form of communication that takes place between two human beings... at its best and most highly developed level, it is exhilarating and immensely gratifying to the couple that achieves it, especially in improvisational/spontaneous dancing when you meet a partner who can lead (or follow). Leading and following are skills that require true intelligence and cognitive abilities such as learning, pattern recognition, and non-verbal communication. Watching a champion Jack & Jill couple is like watching an improvised composition of a piece of art.

There are many misconceptions about lead and follow, expounded by both men and women. Untrained dancers sometimes seem to think that the lady is just supposed to go limp and the man bends her to his will. This is grossly mistaken. While some people may be willing at a beginning social level to tolerate this, it cannot last long - it is too exhausting for the man and too painful for the woman. A woman without good posture, correct body/foot positions and body tone is simply not leadable. The man cannot be expected to position every part of the woman's body. A man without these qualities is not followable because the woman cannot distinguish the signal from the noise (and may be physically prevented from doing the intended figure). Leading should not be tiring - it is only tiring when the follower isn't following. Leading is not pushing or pulling. It is communicating an intention. Dancing is an art form, despite the fact that it requires the prowess of an athlete.

A good lead/follow is like a good conversation - you don't have to yell, you only need to talk. As you get better, all you really need to do is whisper. Leading is not to be misinterpreted as "pushing or pulling". Though poor followers often say, "If I have a strong leader I can follow", they would need the force of an "Arnold Schwartzenegger" (after he's properly warmed up) to move them across the floor. Equal sympathy goes to followers who encounter a leader who hasn't the foggiest of what he's trying to lead and can't move rhythmically to any music, doesn't know a slow from a quick and has no conception of what misery he is inflicting on his partner. It's is not a leaders job to "haul" the follower around the floor every second, nor is it the followers job to just hang there like a sack of potatoes and be dragged. Leading and following is a dynamic process that requires a great deal of effort on the part of both members of a partnership. It is readily possible to lead a woman through a fairly intricate step that she doesn't know _without_ apparent force. Possible, though it is not within the powers of most men. If you want women to vie with each other for the opportunity of dancing with you, this is what you must learn to do. It is skill, not force, you are seeking, (Grasshopper)!

Men who claim they can lead anyone to dance well are not giving their partners enough credit. Women who say they can follow anything are not giving truly good followers enough credit. Experienced dancers never say such things, because it is simply not true. John Wood would not be world champion with just any woman - Anne Lewis contributes every bit as much to their success. To say that all any woman needs is a good leader unfairly detracts from the many very talented female dancers. It also places too great a responsibility on the man - it implies that all errors are his fault. Sometimes women say, "I just follow." This demeans following as a trivial thing, which it most certainly is not.

Partnering skills are vital to good ballroom dancing. It is very difficult to cover the technique in classes since this is probably the most complex element to couple dancing and takes many years of coaching to perfect. It is not a matter of simple 'cueing', but an understanding of the entire body and how to make 2 people move as one around a common center. Competitive da ncers must work extremely hard with this and it is actually tougher with couples who are 'used to each other' than with perfect strangers. For example, when I have just had a coaching session working on my technique, the slightest change (such as a minute timing delay in a weight change) will totally throw my partner. She starts fussing that I don't feel right anymore, or she will interpret the change as a lead to some other move that I used to do with her. However, I apply the same new technique to other competent dancers whom I rarely dance with and, voila!, it works beautifully! Apparently, a longtime partner can get very used to the feel of their partner, and it is tougher to practice any improvement or change. (I heard the exact same complaint from Jim Maranto - the current US American Smooth Champion - re: his partner/wife).

Even competitive routines are led/followed. Any competitor taught "dance your own part and let your partner dance theirs, you don't have to lead/follow" has been taught wrong! The judges can tell the difference between a couple with a real lead/follow "connection" and a couple that is just going through their routine. One competitor writes "Ballroom is social dancing - it is dependent on lead and follow, even in competition. My competition (Standard - "smooth") partner and I have a few pre-choreographed "amalgamations" we use in competition, but I still always have to rely on his lead to know what we're doing, where we're going, what timing he's going to use this time, how he feels like expressing it this time..." Another competitor writes "there is most definitely lead and follow, even in competitive Latin where one's routines are choreographed to the hilt. My partner and I have spent countless hours, with coaches and without them, working on *nothing* but this one aspect of the dance. Good lead and follow is critical in Latin dancing, both for the sake of speed, control and balance, but also simply because a step well-led and followed is a thousand times more pleasurable to dance for both partners." Without even dancing with them you can tell the competitive dancers who can't lead and follow; just look for the couples who keep running into others on the floor. Because they dance their own parts, they have not developed and practiced the dynamic process of leading and following (floorcraft) required to negotiate around obstacles and unexpected incursions into their line of dance. Even with a routine, there is still a need to change directions unexpectedly, or completely alter a routine to deal with the fact that other couples are also dancing. In competition, there is *never* a place in the routine where lead-and-follow are not taking place. Even in the Latin dances, and even when the couple know the routine, you *must* lead. Most of the steps you perform in competition dancing require a special attention to lead and follow; you see this aspect where good competitive couples can make the dancing appear to take no effort, and therefore appears that no lead-and-follow is happening. That is an instance of good dancing, not no lead and follow. There is lead and follow happening, even when the couples are dancing side-by-side and not touching. It is just not typical; it's often done with body placement and eyes. During side-by-side "solo" dancing the man has to watch for on coming couples and possible collisions so that he can adjust them or readily change the routine. In Jack and Jill Competitions, when you draw your regular partner you may not do very well since the judging is very highly directed toward lead and follow. It's pretty obvious when regular partners are doing a routine w/o lead/follow. You can tell that a couple try to do a routine: they do the same steps but since no lead/follow takes place they will look like two individuals rather than a couple! I often test my regular partner by altering our routine on the fly. If other couples are on the floor you can never be sure what will happen. You may have to avoid a collision or simply forget what comes next! :-)

Men, to truly lead well you must know the lady's part to every figure you do. Leading and following are very different skills, and following well is every bit as difficult as leading well. Recognizing figures in a noisy, moving environment is a complicated task that is certainly equal to figure transmission. Of course there is one thing the leader does that the follower has no analog for - floor craft. The leader has primary responsibility for obstacle avoidance, and this can be a difficult task, especially on a crowded floor with couples moving at widely differing speeds. The leader truly has to do everything at once; he's got to listen to the music, decide what to do and how to do it, think not only about his own movements but about his partner's and those of all the other couples, etc., etc. And to make matters worse, when beginning his dancing career the man has to learn how to do everything at once, at once. Yes, the follower has to be able to perform a lot of actions, but the leader has to be able to perform _and_ initiate them. In addition, there are many variations that differ only in detail matters of raising an arm or not, or something subtle like that, and the leader has to be aware of the differences, and has to indicate clearly where the movement is going. Of course as a pro, he'll manage to hold a conversation in a foreign language while leading a gold level sequence!

Following skills are as equally important as leading skills. A dance is much more enjoyable when the leader need only give firm, not forceful, leads to his partner to indicate what is wanted, and when a partner senses body movements that serve as leads. For this to work, the lady must become sensitive and responsive to the feel (and sometimes sight) of leads, and not expect that her partner will (literally) carry her through the dance. The skill of following is greatly underestimated. Whenever I am trying to teach beginners about leading and following, I always have a hard time conveying the idea that dancing is a PARTNER sport--each person has to carry his/her load, or the whole thing fails.

Leading/following implies a one way connection (man to lady) but in really good dancing both partners are putting various different energies into the dancing at different times, and even though the leader is (usually) in control of things like floor direction, timing, and choreography, his awareness of the actions of his partner (how far did she go...is she finished with her line yet...is her weight over the foot I'm about to turn her on, etc.) are vital. Women follow, but men must lead _and_ follow; i.e., men must watch to see what the women are doing and compensate.

The leader, who is in creative control, needs pattern-based thinking, with frames of reference that can include the whole dance floor, the space occupied by the couple, the spatial relationships between the two dancers, and the patterns of connection between the two. It seems that followers are mainly concerned with the last frame of reference, i.e., they react to the patterns of connection. Following is more fun than leading, because you (a) have much less responsibility for navigating and (b) don't know what's going to be lead next, so each dance is something of a "magical mystery tour". I think the best part about being a follower is being led in patterns or syncopations that I don't know! When led well, good followers execute moves that are totally unexpected or unpredictable but incredibly fun. Some leaders complain about how boring it gets to only do the same repertoire over and over all night long. They say followers have more fun because they're doing different dances all night. But another leader writes: "A good leader never dances the same way with every person. The way you do the same dance changes from one partner to the next. Were you to see me dancing with a beginner, it would be difficult for you to tell that I'm other than a good beginner. Were you to see me dancing with one of the Champions (with whom I'm comfortable) you would see something qui te different. Were you to see me dancing with someone I know well and with whom I've been dancing for years, you'd see something different."

In addition that learning the figures in the first place can be as analytical for the follower as it is for the leader, though the habitual execution of them might not be. Also, there is an added dimension for the follower, which is that you must have in your head the *entire* menu of movement possibilities at every point, not just the one you're going to use. Since you don't know what the guy is going to lead, you have to be ready to do *everything* and very rapidly react to the situations and signals you get to eliminate the things you're not being asked to do. This is a skill that relies as much on spatial or "pattern-based" thinking as floorcraft, albeit in a less linear way.

Note that the lady does not "lead" when she is stepping forward. The lady does not change the direction of a step unless a collision is imminent (and not always then), and the gentleman is then responsible for getting out of whatever position she got them in to if she does take control for a moment. Rather than saying that the lady 'leads' when going forward, it might be better to say the gentleman 'follows' when going back. The man always initiates direction of movement, but the person moving forward dictates the size of the step. They always step on the floor before the person going backward, therefore leading the way. And, while the 'lead' that determines the length of the stride is different from the 'lead' that determines what figure to do, the 'follow' associated with each of these is the same. For an example that lasts longer than a half bar of pivots or a bar of Viennese waltz, try continuous waves in Foxtrot. The lady can be going forward indefinitely in this figure, and she determines the distance traveled. However, she should not decide when to end the figure and go into, say, an impetus turn, just as in Viennese waltz she should not decide to start a fleckerl instead of a reverse turn.