From: ajh@Xenon.Stanford.EDU (Alan Hu)
Subject: Re: Viennese Waltz Question (SUMMARY)
Organization: Computer Science Department, Stanford University.
Date: Thu, 28 Jan 1993 02:29:30 GMT

In article <1k6j0aINNrjo@falcon.natinst.com> stepan@natinst.com (Stepan Riha) writes:
>In article <1993Jan26.234505.16133@CSD-NewsHost.Stanford.EDU> ajh@Xenon.Stanford.EDU (Alan Hu) writes:
>>
>>Over the last few years I've been doing social (non-performance,
>>non-competitive, non-judged) dancing, I've had a number of different
>>teachers teach the basic Viennese Waltz left and right turns in various
>>ways, so I'm asking "What is the correct way?" and "What is acceptable?":
>
>	[long description of three styles deleted]
>
>>1.  So, which is right?  (I suppose the real dancers will recoil in
>>	horror at all three of these.  How *should* it be done?)
>
>In social dancing it does not really matter which one of the techniques is
>right since your partner is likely to adjust to the small differences.

I think that's why I saw such a variation in what I was being taught over
the years.

	[Stepan's comments deleted.]

Anyway, thanks to Stepan and also the people who emailed me (Laura, Gaile,
and Mark).  Everyone pretty much agreed on what's right.  Mark emailed the
most detailed description, so I'm going to append that on the end as a service
to others as clueless as myself.  Once again, thanks!
							--Alan Hu

From: Mark A. Sheldon <death@LCS.MIT.EDU>
Subject: Viennese Waltz Question

Here's a quick description and then an even shorter explanation...

Man's and woman's parts are identical, even in footwork.  Left and
right turns are not identical.  Teacher 3 is the most correct.  

Right turn commences facing diagonally to center (DC).  Step one
on right foot turns foot to LOD (with body slightly underturned).
Step two is side down LOD.  Step three closes right foot to left
ending backing DC.  The right foot must not pass the left, as this
indicates an overturn that will pull the partner off balance.  If
this happens, it is possible that the body is turning too much
and/or the left foot was placed too far around on step two.  Do
not think of turning --- the usual problem is actually trying to
do too much turn.  Swing the sides directly down LOD on step two,
swing forward on step one, and let step three take care of itself
being careful not to overturn the body.  On the second half of the
turn, commencing backing DC, step 4 is slightly turned so it is
placed backing LOD.  Clear right hip for partners forward swing,
let the partner determine the amount of movement.  On step five,
the right foot is placed down LOD but *pointed* DC (ie, the foot
is turned more than the body).  Step six closes left foot to
right and allows body to complete turn to DC.  Passing feet here
indicates that the right foot on step five was placed too far back
(and no down LOD) or over turn in the body.  Sometimes, because of
the turn, correct placement of step five feel slightly forward.
There is no crossing of feet on Right turns!

Left turns commence facing LOD (Line of Dance).  Step one is
forward down LOD with no turn (try to keep a strong left side
coming forward to fight the turn).  Step two is sideways down LOD.
Step three crosses left foot in front of right foot allowing feet
to end backing LOD but body to remain underturned.  The back half
of the turn goes like this:  Step four places right foot back
down LOD.  Step five places left foot side down LOD *pointed* DW
(diag. wall).  Step six closes feet together (uncrossed) and
completes foot turn to LOD, leaving body slightly underturned.
The danger in left turns is turning off your partner.

Why is this right?  Given that the partners are not joined at the
naval but are slightly offset, right side to right side, it makes
sense that right turns will be easier mechanically.  The crossing
of the feet on the first half of a left turn make it easier to
complete the turn while keeping the body to the partner.  This is
much clearer in practice, but it's hard to demonstrate via email.
My choice of pitfalls derives from what I have found I have to
work on.  It is possible, in fact likely, that you have a
different set of problems.  But I still feel that the temptation
to overturn is quite common:  when I have taught Viennese Waltz at
the MIT Ballroom Dance Club, I find people are terrified that they
won't get around.  It helps to emphasize moving straight down the
floor (getting around corners is another subject, but is easy
while doing right turns).  Swing your sides down the floor, and
really try to swing *past* (not around) your partner on the first
half of a turn.  Then let your partner swing *past* you on the
second half.  Try to describe a straight line with your body as
you go past your partner.  This allows you to be more powerfull,
makes you feel that you have more time, and will actually produce
enough turn.  Turn your body the absolute minimum to keep parallel
with your partner, and don't feel your body and feet must turn
exactly the same amount on every step.

You didn't ask about changes, so I won't describe them.  However,
I feel compelled to point out that changes are not alignment
neutral.  Changes will have a slight turn that compensates for the
different alignments.  For example, a forward change from right to
left starts DC (as a right turn does) and ends LOD (which is where
left turns want to start).


-Mark