Input: [0] Use in a free end product (more than one end user allowed) [Extended view full license] Yes [Regular view full license]

Output: Yes

One license per each customized end product


Input: [0] Use in an end product that's sold [Extended view full license] Yes [Regular view full license]

Output: No

One license per each customized end product


Input: [0] On-demand products/services (e.g. "made to order" or "create your own" apps and sites) [Extended view full license] No [Regular view full license]

Output: One license per each customized end product

One license per each customized end product


Input: [0] Use in stock items/templates (See FAQ for more details) [Extended view full license] No [Regular view full license]

Output: No

One license per each customized end product


Input: [Date] 08/14/2014 [Action] Medical Policy & Technology Assessment Committee (MPTAC) review. Minor format changes throughout document. Updated Rationale, References, and Websites for Additional Information sections. [Status]

Output: Reviewed

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Date] 08/08/2013 [Action] MPTAC review. Clarified medically necessary statement for closed, fresh fractures at high risk for nonunion due to a comorbid condition. Minor format revisions to text. Updated Rationale and Reference sections. [Status]

Output: Revised

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Date] 08/09/2012 [Action] MPTAC review. Clarified medically necessary statement for closed fractures at high risk for nonunion due to a comorbidity. Clarified the investigational and not medically necessary statement and added distraction osteogenesis procedures and patellar tendiopathy. Updated Rationale, Definitions, Coding, References, Websites for Additional Information and Index. [Status]

Output: Revised

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Date] 08/18/2011 [Action] MPTAC review. Clarified investigational and not medically necessary statement for bunionectomy procedures, defining "as an adjunct to" and adding a Note when to refer to the Fracture Nonunion criteria. Updated Rationale, Definitions, References and Websites for Additional Information. [Status]

Output: Revised

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Date] 08/19/2010 [Action] MPTAC review. Revised medically necessary criteria for Fresh Fractures, adding Body Mass Index (BMI) greater than 30 as an index to determine when an individual is considered obese (comorbid risk factor); for Fracture Nonunions, clarified and reworded statement for the types of bones that may be eligible for low-intensity pulsed ultrasound therapy if criteria are met. Revised order of the criteria in the investigational and not medically necessary statement; added "axial skeleton fractures, including the skull and vertebrae" (moved from medically necessary statement "excluding the skull or vertebrae"). Updated Description, Rationale, Background, Definitions, References and Index. Added section for Websites for Additional Information. [Status]

Output: Revised

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Date] 08/27/2009 [Action] MPTAC review. Revised title to Ultrasound Bone Growth Stimulation. Clarified medically necessary statement and criterion for fresh fractures, including those at high risk for nonunion; added a Note to criterion for obese patients with reference to a definition for calculation of ideal body weight. Revised medically necessary criteria for fracture nonunion: 1) deleted criterion referencing the investigational and not medically necessary criteria; 2) added criterion addressing the size of the fracture gap, i.e. "the fracture gap is less than 1 centimeter." Revised investigational and not medically necessary criteria: 1) deleted "a bone gap greater than one half the diameter of the bone at the point of nonunion, 2) fresh fractures that are Open Grade II or III or require surgical intervention, 3) fractures involving immature skeletal systems, 4) clarified pathological fracture criterion, 5) added criterion "as an adjunct to bunionectomy," 6) removed *Skeletal maturity definition. Updated Rationale, Definitions, Coding and References. [Status]

Output: Revised

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Date] 11/20/2008 [Action] MPTAC review. Addition of specific fracture locations to the medically necessary, fresh fracture position statement: 3) Fracture sites at high risk for nonunion due to: location and poor vascular supply (e.g. carpal navicular/scaphoid fractures, Jones/5th metatarsal fracture); fractures associated with extensive soft tissue or vascular damage; Clarified medically necessary criteria for fracture nonunions and added "appropriate imaging studies" to "Serial radiographs or appropriate imaging studies confirm that no progressive signs of healing have occurred." Clarified investigational and not medically necessary criteria: The word "Fresh" and a Note statement were added to the 4th bullet: Fresh fractures that are Open Grade II or III, or require surgical intervention; with or without internal fixation), or are otherwise too unstable for closed reduction/casting (Note: Fractures that are nonunion and have undergone surgical treatment and no longer require surgical intervention should be considered for UBGS applying the criteria in Fracture Nonunions). Updated Discussion, Rationale, Coding, and References. [Status]

Output: Revised

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Date] 05/15/2008 [Action] MPTAC review. Clarified position statement for fracture nonunions. In the medically necessary criteria, deleted "…date of surgical treatment of the fracture" from the first bullet "At least 45 days have passed since the date of fracture…" Updated References. [Status]

Output: Revised

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Date] 11/29/2007 [Action] MPTAC review. Clarified position statement for fresh fractures, revised high risk/comorbidities criteria. Aligned treatment of fracture nonunions with DME.00004 Electrical Bone Growth Stimulation. Addition of investigational/not medically necessary criteria for: a bone gap greater than one half the diameter of the bone at the point of nonunion; pathological fractures due to bone pathology or malignancy; and for stress fractures. Reformatted and updated Description, Rationale, Background, Definitions, and References. The phrase "investigational/not medically necessary" was clarified to read "investigational and not medically necessary." [Status]

Output: Revised

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Date] 03/08/2007 [Action] MPTAC review. Updated References. [Status]

Output: Reviewed

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Date] 03/23/2006 [Action] MPTAC review. Updated References. [Status]

Output: Reviewed

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Date] 04/28/2005 [Action] MPTAC review. Revision based on Pre-merger Anthem and Pre-merger WellPoint Harmonization. [Status]

Output: Revised

DME.00027 Ultrasound Bone Growth Stimulation


Input: [Database Name] SuperSearch [Location of Persistent Links]

Output: In SuperSearch, select the title of an item listed on your search results page. The persistent link is found in the item's record in the far right-hand column. Select Permalink.

Linking to Articles in Blackboard and Engage - Twin Cities Library, Saint Mary's University of Minnesota


Input: [Database Name] EBSCO [Location of Persistent Links]

Output: In EBSCO databases, select the title of an item listed on your search results page. The persistent link is found in the the item's record in the far right-hand column. Select Permalink.

Linking to Articles in Blackboard and Engage - Twin Cities Library, Saint Mary's University of Minnesota


Input: [Database Name] ProQuest [Location of Persistent Links]

Output: In ProQuest databases, select the title of an item listed on your search results page. The persistent link is called a Document URL and is located at the very bottom of the page under the heading Indexing.

Linking to Articles in Blackboard and Engage - Twin Cities Library, Saint Mary's University of Minnesota


Input: [Database Name] Films on Demand: Business & Economics [Location of Persistent Links]

Output: In Films on Demand, select a streaming video title. Scroll down to the bottom of the page; the persistent link is called the Title URL.

Linking to Articles in Blackboard and Engage - Twin Cities Library, Saint Mary's University of Minnesota


Input: [Database Name] Counseling & Therapy in Video [Location of Persistent Links]

Output: In Counseling & Therapy in Video, select a streaming video title. Below the video player on the next page, select Embed/Link. A pop-up box will appear with the persistent link, called a Permalink.

Linking to Articles in Blackboard and Engage - Twin Cities Library, Saint Mary's University of Minnesota


Input: [Database Name] OVID Nurse Anesthesia Journals [Location of Persistent Links]

Output: In OVID, open the full text of an article. Above the PDF viewer, select the link Email Jumpstart. A pop-up box will appear with the persistent link, bafflingly called a Jumpstart URL.

Linking to Articles in Blackboard and Engage - Twin Cities Library, Saint Mary's University of Minnesota


Input: [1] VOLTS [0]

Output: LOW


Input: [1] WARN [0]

Output: EFIS


Input: [1] BOOST [0]

Output: FUEL


Input: [1] ALT [0]

Output: AUX


Input: [1] ACTIVE [0]

Output: E-BUS


Input: [1] ENGAGE [0]

Output: START


Input: [Type] Spitfire II [Serial] P8048 [Unit] CGS [Location] Sutton Bridge [Notes] No details recorded. [Date]

Output: 1st May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Manchester [Serial] L7468 [Unit] 1660 HCU [Location] Swinderby [Notes] Airborne from Swinderby at 1645 for dual type conversion. Approaching to land at 1730 an engine caught fire and the aircraft was well alight when it landed. Airframe damage was slight and the airframe was taken to 12 SoTT at Melksham as a ground instructional airframe and allocated the serial 3732M. [Date]

Output: 1st May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Lancaster I [Serial] R5758 [Unit] 1660 HCU [Location] Swinderby [Notes] Airborne at 2222 from Swinderby for night type conversion. At 0022 whilst taking off for another circuit, an engine failed, causing the aircraft to swing and it ran off the runway hitting a drain before it could be brought to a halt. [Date]

Output: 3rd May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Lancaster I [Serial] ED762 [Unit] No.57 Sqn [Location] Scampton [Notes] Coded DX-? The aircraft crash landed at 0202 after stalling on approach to Scampton. No injuries reported, this aircraft was repaired by the manufacturer but was subsequently coded 4011M and allocated to 4 SoTT as an instructional aid. It did not fly again after the accident. [Date]

Output: 3rd May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Blenheim I [Serial] K7126 [Unit] 12 PAFU [Location] Spitalgate [Notes] Damaged in a heavy landing. [Date]

Output: 4th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Master [Serial] W8797 [Unit] 16 FTS [Location] Moulton Peasgate [Notes] Crashed during forced-landing. [Date]

Output: 5th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Wellington I [Serial] Z1068 [Unit] 14 OTU [Location] nr North Witham [Notes] Airborne 0115 from Cottesmore for a ninth training flight. The aircraft was recalled due to poor weather, but the pilot was unable to locate the airfield and crashed after stalling whilst low-flying. [Date]

Output: 6th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Proctor I [Serial] P6306 [Unit] 1 RS [Location] Cranwell [Notes] Crashed on landing. [Date]

Output: 8th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Mosquito II [Serial] HJ936 [Unit] No.410 Sqn [Location] Coleby Grange [Notes] Undercarriage collapsed on landing. [Date]

Output: 11th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Wellington III [Serial] BK123 [Unit] 29 OTU [Location] Scotterthorpe [Notes] Airborne 1215 from North Luffenham for local circuit flying but strayed from the airfield and crashed at 1240. Sgt F.T. Allen KIA, Sgt J.S. Harris KIA, Sgt J.A. Douglas RAAF KIA. [Date]

Output: 12th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Wellington III [Serial] BK353 [Unit] 18 OTU [Location] nr Belton, Grantham [Notes] Airborne at 1425 from Finningley to practice single-engine flying. The pilot lost control at 1530 whilst at 2000 feet and the aircraft dived in. S/L E.P. Zakrzewski PAF KIA, F/O T.M. Opulski PAF KIA, Sgt M.J. Frankiewicz PAF KIA, Sgt R. Drapala PAF KIA, Sgt T. Pasternak PAF KIA. [Date]

Output: 12th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Oxford [Serial] N6296 [Unit] 7 AA CU [Location] off North Coates [Notes] Dived into the sea on approach after engine failure. [Date]

Output: 13th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Wellington X [Serial] HZ410 [Unit] No.166 Sqn [Location] Kirmington [Notes] Coded AS-? The aircraft was burned out after a photoflash ignited on the ground and set fire to the airframe. No injuries reported. [Date]

Output: 13th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] B-17F Fortress [Serial] 42-29752 [Unit] 96 BG [Location] in the Wash [Notes] Crew list: P Capt Derrol W Rogers, CP 2 Lt Norville J Gorse, N 1 Lt Joe L Hudson B 1 Lt George D Rawlings, E T/Sgt Basil F Maxwell RO T/Sgt Robert L Bennett, BTG S/Sgt Alfred G Miles WG S/Sgt Edwin C Wolfkuhle, WG S/Sgt Robert Dominick TG S/Sgt Edward C Youngers. Shortly after taking off from Grafton Underwood the left waist gun, stored internally, accidentally discharged while being checked by the gunner. The bullets injured the gunner and seriously injured the tail gunner, as well as shooting away the right stabiliser and damaging the controls. Returning to base six crew members, included the two injured gunners, baled out safely. A/c was flown to the Wash area of the North Sea, where the bombs were jettisoned and the navigator and bombardier baled out safely. The pilot and co-pilot came down in the sea off Blakeney Point, Norfolk. When recovered the pilot was dead, and co-pilot was suffering from exposure. Info from Bishop and Hey Losses of the 8th. [Date]

Output: 13th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Spitfire VA [Serial] W3130 [Unit] No.288 Sqn [Location] nr Goxhill [Notes] Force-landed whilst in the Goxhill circuit. [Date]

Output: 14th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Lancaster III [Serial] ED452 [Unit] No.49 Sqn [Location] Fiskerton [Notes] Coded EA-F, Airborne 2150 13th May from Fiskerton for Pilzen. Overshot and crashed 0103 14th May on early return to base with severe engine problems. No serious injuries reported. Sgt J.Morrison, Sgt T.J.Page, Sgt J.Dorian, Sgt H.C.Annett, Sgt R.I.Green, Sgt G.Green, Sgt H.J.Maggs. [Date]

Output: 14th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Spitfire I [Serial] P9326 [Unit] 53 OTU [Location] nr Navenby [Notes] Spun in 0.5 miles east of Navenby. F/O K.A. Stevenett was killed in the incident, and buried in his home village of Navenby. [Date]

Output: 16th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Blenheim [Serial] K7174 [Unit] 12 PAFU [Location] Spitalgate [Notes] Hit a hedge after engine failure on takeoff. [Date]

Output: 16th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Hurricane I [Serial] V7025 [Unit] 1 AAS [Location] nr Louth [Notes] Force-landed. [Date]

Output: 16th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Blenheim IV [Serial] V5743 [Unit] 51 OTU [Location] Spitalgate [Notes] Crashed on landing after undercarriage jammed. [Date]

Output: 18th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Lancaster I [Serial] R5917 [Unit] 1660 HCU [Location] Swinderby [Notes] Airborne from Swinderby at 1107 for day type conversion. On returning to the airfield to land, the pilot was unable to lower the flaps more than 10 degrees, resulting in a much faster than normal approach and landing run. The aircraft was traveling at such speed that it overran the runway into a ditch, shearing the undercarriage. [Date]

Output: 18th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Spitfire I [Serial] X4768 [Unit] 53 OTU [Location] Cross Roads, Moortown Station, South Kelsey [Notes] Dived in. Sgt C.R.S. Williams was fatally injured in the crash. [Date]

Output: 19th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] B-17F Fortress [Serial] 42-29768 [Unit] 368BS / 306BG [Location] Rippingale Fen, nr Dunsby [Notes] Hit the ground whilst low-flying after practise bombing sortie over the Wash. Pilot M.V. Judas. [Date]

Output: 20th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Lancaster III [Serial] ED824 [Unit] No.100 Sqn [Location] Waltham [Notes] Coded HW-E, Airborne 2154 20th May from Waltham on a mining sortie. Turned back early after the port inner failed and crash-landed 0022 21st May while attempting to land at Base. No injuries reported. Aircraft written off. Sgt C.E.White, Sgt J.Martin, Sgt L.C.Dowdell, Sgt H.C.West, Sgt S.Bashford, Sgt A.Fanciscone RCAF, Sgt C.W.Smith RCAF. [Date]

Output: 21st May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Wellington X [Serial] HF492 [Unit] No.305 Sqn [Location] nr Appleby steelworks [Notes] Coded SM-M, the aircraft dived in on fire from approximately 1000 feet crashing at 1130. Evidence to the enquiry suggested that the pilot may have lost consciousness. F/O B. Baster PAF KIA, P/O W.K. Koczapski PAF KIA, F/S E. Miksza PAF KIA, Sgt A. Niznik PAF KIA, Sgt K. Bialobrzeski PAF KIA, Cpl J. Berdecha PAF KIA. [Date]

Output: 25th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Wellington I [Serial] L7796 [Unit] CGS [Location] Sutton Bridge [Notes] Crashed on landing. [Date]

Output: 26th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Blenheim I [Serial] L6609 [Unit] 12 PAFU [Location] Stroxton [Notes] Crashed following engine failure on takeoff from Harlaxton. [Date]

Output: 28th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Wellington X [Serial] HE487 [Unit] 3 OTU [Location] Welbourn Lowfields? [Notes] Spun in 2 miles west of Wellingore. This crash does not feature in Chorley's OTU or 1943 losses books. [Date]

Output: 28th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Type] Wellington X [Serial] HZ358 [Unit] No.199 Sqn [Location] Ingham [Notes] Coded EX-?, the aircraft overran on landing at 1600hrs. [Date]

Output: 28th May

1943 Lincolnshire aviation Incident Logs. (World War 2) - BCAR.org.uk


Input: [Issues along the way] Issue [1] Ambulances flagged by inspector [2]

Output: Why does it matter?

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Warning lights [1] 20 [2]

Output: Minor but repeat offenses can warn of bigger problems

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Light bars [1] 25 [2]

Output: Minor but repeat offenses can warn of bigger problems

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Clearance lights [1] 35 [2]

Output: Minor but repeat offenses can warn of bigger problems

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Horn [1] 12 [2]

Output: Used when traveling during emergency response

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Emergency brakes [1] 19 [2]

Output: Keeps ambulance still when parked

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Interior lighting [1] 110 [2]

Output: Minor but repeat offenses can warn of bigger problems

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Main oxygen system and supply [1] 15 [2]

Output: Frequently used for patient care

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Battery-powered portable suction [1] 37 [2]

Output: Frequently used for patient care to remove fluid from throat

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Laryngoscope [1] 13 [2]

Output: Tool used to allow emergency workers to see a patients airway

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Liquid oral glucose [1] 15 [2]

Output: Sugary gel used for patients with low blood pressure and other diabetic issues

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Defibrillator pads [1] 19 [2]

Output: Prevents injuries to the skin when a defibrillator is used

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Epinephrine [1] 21 [2]

Output: Used to treat life-threatening allergic reactions

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Medications, drugs and solutions [1] 21 [2]

Output: Various medications used for patient care

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Advanced medications and drugs allowed in paramedic-level ambulances [1] 32 [2]

Output: Various medications used for patient care

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [Issues along the way] Pediatric paddles and pads [1] 15 [2]

Output: Needed for young patient who require a defibrillator

Inspecting ambulances in Wisconsin is a one-man job | Stevens Point Journal Media | stevenspointjournal.com


Input: [matching line] World Honored Ones [part of speech] adjective-noun [grammatical functions] 1st subject [first line]

Output: expansive scope

City of 10,000 Buddhas - Matching Couplets Class


Input: [matching line] wonderful enlightenment [part of speech] noun [grammatical functions] adjective [first line]

Output: Flower Adornment

City of 10,000 Buddhas - Matching Couplets Class


Input: [matching line] Equal Enlightenment [part of speech] proper noun [grammatical functions] adjective [first line]

Output: Shurangama

City of 10,000 Buddhas - Matching Couplets Class


Input: [matching line] Bodhisattvas [part of speech] noun [grammatical functions] 2nd subject [first line]

Output: entire platform

City of 10,000 Buddhas - Matching Couplets Class


Input: [matching line] hundreds of billions [part of speech] adjective [grammatical functions] adjective [first line]

Output: forty-two

City of 10,000 Buddhas - Matching Couplets Class


Input: [matching line] transformation bodies [part of speech] noun [grammatical functions] 3rd subject [first line]

Output: hands and eyes

City of 10,000 Buddhas - Matching Couplets Class


Input: [matching line] take [part of speech] verb [grammatical functions] 1st main verb [first line]

Output: pinion

City of 10,000 Buddhas - Matching Couplets Class


Input: [matching line] seas [part of speech] noun [grammatical functions] 1st direct object [first line]

Output: heavens

City of 10,000 Buddhas - Matching Couplets Class


Input: [matching line] turn into [part of speech] verb [grammatical functions] 2nd verb [first line]

Output: secure

City of 10,000 Buddhas - Matching Couplets Class


Input: [matching line] mountains [part of speech] noun [grammatical functions] 2nd direct object [first line]

Output: earth

City of 10,000 Buddhas - Matching Couplets Class


Input: [Grade] I [Description] Normal [Characteristics]

Output: Normal facial function in all areas

ORAL & MAXILLO-FACIAL SURGERY: Facial Nerve Anatomy


Input: [Grade] II [Description] Mild dysfunction [Characteristics]

Output: Slight weakness noticeable on close inspection; may have very slight synkinesis

ORAL & MAXILLO-FACIAL SURGERY: Facial Nerve Anatomy


Input: [Grade] III [Description] Moderate dysfunction [Characteristics]

Output: Obvious, but not disfiguring, difference between 2 sides; noticeable, but not severe, synkinesis, contracture, or hemifacial spasm; complete eye closure with effort

ORAL & MAXILLO-FACIAL SURGERY: Facial Nerve Anatomy


Input: [Grade] IV [Description] Moderately severe dysfunction [Characteristics]

Output: Obvious weakness or disfiguring asymmetry; normal symmetry and tone at rest; incomplete eye closure

ORAL & MAXILLO-FACIAL SURGERY: Facial Nerve Anatomy


Input: [Grade] V [Description] Severe dysfunction [Characteristics]

Output: Only barely perceptible motion; asymmetry at rest

ORAL & MAXILLO-FACIAL SURGERY: Facial Nerve Anatomy


Input: [Grade] VI [Description] Total paralysis [Characteristics]

Output: No movement

ORAL & MAXILLO-FACIAL SURGERY: Facial Nerve Anatomy


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] ヌード [2] copy [1]

Output: Nude

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] ヌードモデル [2] copy [1]

Output: Nude Model

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] ハードコア [2] copy [1]

Output: Hard Core

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] ソフトコア [2] copy [1]

Output: Soft Core

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] プレイメイト [2] copy [1]

Output: Playmate

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] ヌーディスト [2] copy [1]

Output: Nudists

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] トップレス [2] copy [1]

Output: Candid

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 野外 [2] copy [1]

Output: Outdoor

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 公衆 [2] copy [1]

Output: Public

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 公衆猥褻 [2] copy [1]

Output: Street Sluts

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 露出狂 [2] copy [1]

Output: Flasher

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 色情狂 [2] copy [1]

Output: NymphoMania

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 見知らぬ人 [2] copy [1]

Output: Strangers

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 防犯カメラ [2] copy [1]

Output: Security Cam

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 隠しカメラ [2] copy [1]

Output: Hidden Cam

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] ウェブカメラ [2] copy [1]

Output: Web Cam

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 覗き [2] copy [1]

Output: Voyeur

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 栄光の穴 [2] copy [1]

Output: Glory Hole

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] ヒッピー [2] copy [1]

Output: Hippie

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] オタク [2] copy [1]

Output: Geek

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] マッサージ [2] copy [1]

Output: Massage

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 軟体 [2] copy [1]

Output: Contortion

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] ビッチ [2] copy [1]

Output: Bitch

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] タトゥー [2] copy [1]

Output: Tattoo

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] ボディペインティング [2] copy [1]

Output: Body Painting

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 懐古趣味 [2] copy [1]

Output: Retro Porn

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


6914824c_Danni_Ashe_ダニー_アッシュ__洋物画像検索場__1

Input: [0] 年代モノ [2] copy [1]

Output: Vintage Porno

Danni Ashe（ダニー・アッシュ） 洋物画像検索場


Input: [Meaning] ! [Deeper Meaning]

Output: Inexpressible; transcending all categories of moral and aesthetic judgment; a genuinely irrational achievement; apophasis inducing


Input: [Meaning] Wow! [Deeper Meaning]

Output: Sartori is at hand, so close you can almost taste it; the dew drop is about to slip into the shining sea to become one with all other water droplets


Input: [Meaning] Bad! [Deeper Meaning]

Output: Ananda down under—which is the highest web- based quality permitted in Australia for public safety and medical reasons


Input: [Meaning] Not bad! [Deeper Meaning]

Output: Joy of the regular sort; no bright lights or angelic visitations but a warm and happy feeling, at least for the most part; could be happier


Input: [Meaning] Mmmm... [Deeper Meaning]

Output: Quotidian neutrality; the quintessential opposite of bipolar dynamism; the ordinary, easy-paced day off work with nothing much to do except nap


Input: [Meaning] Well... [Deeper Meaning]

Output: There is no there there; there is no soul there either; in fact, there is not even any no-soul there; more meditation is vital, and urgently!


Input: [Class] Class A [Description]

Output: Generally, airspace from 18,000 feet mean sea level (MSL) up to and including fl ight level (FL) 600, including the airspace overlying the waters within 12 nautical miles (NM) of the coast of the 48 contiguous states and Alaska. Unless otherwise authorized, all pilots must operate their aircraft under instrument flight rules (IFR).


Input: [Class] Class B [Description]

Output: Generally, airspace from the surface to 10,000feet MSL surrounding the nation’s busiest airports in terms of airport operations or passenger enplanements. The configuration of each Class B airspace area is individually tailored, consists of a surface area and two or more layers (some Class B airspace areas resemble upside-down wedding cakes), and is designed to contain all published instrument procedures once an aircraft enters the airspace. An air traffic control (ATC) clearance is required for all aircraft to operate in the area, and all aircraft that are so cleared receive separation services within the airspace.


Input: [Class] Class C [Description]

Output: Generally, airspace from the surface to 4,000 feet above the airport elevation (charted in MSL) surrounding those airports that have an operational control tower, are serviced by a radar approach control, and have a certain number of IFR operations or passenger enplanements. Although the configuration of each Class C area is individually tailored, the airspace usually consists of a surface area with a 5 NM radius, an outer circle with a 10 NM radius that extends from 1,200 feet to 4,000 feet above the airport elevation and an outer area. Each aircraft must establish two-way radio communications with the ATC facility providing air traffic services prior to entering the airspace and thereafter maintain those communications while within the airspace.


Input: [Class] Class D [Description]

Output: Generally, that airspace from the surface to 2,500 feet above the airport elevation (charted in MSL) surrounding those airports that have an operational control tower. The configuration of each Class D airspace area is individually tailored and when instrument procedures are published, the airspace will normally be designed to contain the procedures. Arrival extensions for instrument approach procedures (IAPs) may be Class D or Class E airspace. Unless otherwise authorized, each aircraft must establish two-way radio communications with the ATC facility providing air traffi c services prior to entering the airspace and thereafter maintain those communications while in the airspace.


Input: [Class] Class E [Description]

Output: Generally, if the airspace is not Class A, B, C, or D, and is controlled airspace, then it is Class E airspace. Class E airspace extends upward from either the surface or a designated altitude to the overlying or adjacent controlled airspace. When designated as a surface area, the airspace will be configured to contain all instrument procedures. Also in this class are federal airways, airspace beginning at either 700 or 1,200 feet above ground level (AGL) used to transition to and from the terminal or en route environment, and en route domestic and offshore airspace areas designated below 18,000 feet MSL. Unless designated at a lower altitude, Class E airspace begins at 14,500 MSL over the United States, including that airspace overlying the waters within 12 NM of the coast of the 48 contiguous states and Alaska, up to but not including 18,000 feet MSL, and the airspace above FL 600.


Input: [Class] Class G [Description]

Output: Airspace not designated as Class A, B, C, D, or E. Class G airspace is essentially uncontrolled by ATC except when associated with a temporary control tower.


Input: [date] Week 1 [What I achieved] The really good themes are really expensive, so I guess I need to turn a crap one into a good website. It took me a while to work out which one I wanted, but in the end I chose Hemingway re-written [What I did]

Output: Created a word press account; finalized a theme


Input: [date] Week 2 [What I achieved] So I decided to make a kids toy. Ive been research design functions, and working out what will be the most relevant materials in what I use [What I did]

Output: Wrote a time plan; statement of intent; started researching


Input: [date] Week 3 [What I achieved] I’ve just been watching tutorials on how people make toys and the proc4sss people do to get there products out from start to finish. [What I did]

Output: Tutorial watching


Input: [date] Week 4 [What I achieved] Ive started drawing out designs I can use in this toy. I also have started doing some rhino which is harder than I anticipated. [What I did]

Output: Drawing and rhino


Input: [date] Week 5 [What I achieved] I decide that the whole toy idea was to techniqual and was more of a dnt project then itm. So know I plan to do some sort of animation on after effects. I’ve been watching tutorials and doing little practices on after effects [What I did]

Output: Change of idea; new stamen of intent; tutorialsw


Input: [date] Week 6 [What I achieved] I’ve been doing the research content, just finding and using my own words to describe and explain different aspects of websites [What I did]

Output: Reseach part of assingment


Input: [date] Week 7 [What I achieved] It’s now starting to get hectic because exams are coming up and study is getting intense now. So I am just keeping it simple for myself and I am just making sure my website is good. [What I did]

Output: Cleaning and finishing up


Input: [0] 1. [UNIX] Everything is a File or a Process. The most basic underlying concept in UNIX is the file. In general, bits are not mediated, and the basic conceptual role of a program is creating, deleting, and revising files rather than interacting with objects that have behavior. Many of the key objects in the system are ``passive.'' [EROS]

Output: Everything is an Object. Conceptually, all entities in a running EROS system are objects that are implemented by some server process. Kernel-implemented services attempt to preserve this conceptual illusion. From the programmer perspective (and, to a large extent, the kernel perspective) there are no unmediated bits in the system. Fundamentally, the majority of the objects in the system are ``active,'' by which I mean that they execute instructions.


Input: [0] 2. [UNIX] Everything is a Stream. DMR would say this as: ``everything is a file,'' but I am trying to distinguish here between the interface (Stream) and the storage structure (File). The fact that all objects obey a common interface facilitates connecting objects together in interesting, flexible, and creative ways without extensive prior planning. While CORBA has emerged as local connective tissue in some applications (e.g. Open Office), no generalized notion of ``objects as services'' has emerged in UNIX yet. [EROS]

Output: Objects are General. An object may implement essentially any interface, and is effectively limited in its interactions only by some awkwardness arising from the strong single-threaded execution model. There is a generalized notion that objects have persistent identity (see below) and that objects act as the key services in the system.


Input: [0] 3. [UNIX] There are two memory models: persistent and ephemeral. Main memory is ephemeral, and programs must make special provisions to get their state preserved across system shutdown. Consistency must be managed explicitly, even within a single node. [EROS]

Output: There is an implicitly persistent, unified memory model. Main memory has the same semantics as disk storage, and survives system shutdown/restart. As part of this, there is a global (machine-wide) consistency model that allows objects to share a common understanding of their mutual states without heavyweight transactions.


Input: [0] 4. [UNIX] Persistent Objects are ACL-based, ephemeral objects are capability based. Strictly speaking, neither statement is true. The user/group/other notion isn't strictly an ACL model, and there are namespaces in UNIX, notably sockets and processes, that are not referenced by descriptors. All of these may be viewed as historical artifacts that could readily be repaired without changing the basic UNIX model (as was largely done in Plan 9). [EROS]

Output: Everything is a Capability. All object references are performed via capabilities. There is no notion of ``principal,'' which makes auditing relatively difficult to do correctly.


Input: [0] 5. [UNIX] Metadata is Hidden. The process control block is a primary kernel concept, and the address mapping data structure and file metadata structure representations are private to the operating system. This permits the kernel to leverage some amount of higher-level semantic knowledge in the interests of performance. [EROS]

Output: Metadata is Exposed. The composition of address spaces and processes from nodes is explicit. This is driven by persistence and is usually value-neutral, but introduces the possibility that objects may come to be composed from mixed storage sources, which is a semantic disaster.


Input: [0] 6. [UNIX] Process rendevous is peer to peer. The basic communication mechanisms involve two active threads of control coming together at some queue. The transferred data may be buffered by the kernel, but it fundamentally isn't going anywhere until the recipient asks to receive it. [EROS]

Output: Process rendevous is pass-through. The key IPC rendevous mechanism is that an active caller calls an inactive recipient. This is necessitated by the persistence model but makes multithreading quite difficult to manage in certain situations.


Input: Acknowledge [Abbreviations] ack

Output: Recognize your partner with an implied "thank you for gracing me with your company." One standard acknowledgement is an "apart, point." A bit more old-fashioned is the bow and curtsey. Nowadays, we are more and more seeing "together, touch" or "together and shape" or "gather her to closed" (which are much the same thing); box finish; and off we dance.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Across [Abbreviations] acrs

Output: Movement across the direction of dance. The step is taken in front of or behind the supporting foot (usually with "contra" body movement - see below).

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Action

Output: A movement that does not involve a step or a change of weight, such as a bow, kick, or hip twist.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Adjust [Abbreviations] adj

Output: Modifying the size of the step, the amount of turn, or any other feature in order to achieve grace and comfort. One adjusts to the movements of one's partner and in preparation for the next figure.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Aerial

Output: In the air. A position in which the foot is raised from the floor. Low = level with ankle; Medium = level with calf; High = level with knee.


Input: Aerial Ronde

Output: Flex supporting knee, extend free foot and point toe, and move free foot forward or back in an arc above the floor. Rondes may be done low, medium, high (see above), or you can raise the foot as far off the floor as conditions allow.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Ah [Abbreviations] a

Output: In the timing of dance steps and actions, an "a" represents only 1/4 beat. In a fast jive, a basic rock is danced "1, 2, 3/a, 4; 1/a, 2, The third step (count 3) is quick, only 3/4 of a beat, but the fourth step (the "a") really allows you to take only partial weight before you have to bounce off and into the fifth step (count 4). If an "&" is very quick (see below), then an "a" is very very quick.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Alignment

Output: The direction of a step or figure in relation to the room (e.g., LOD). Consider alignment in contrast to foot position, which is the direction of a step in relation to the other foot (e.g., forward, side, back).


Input: Allemande (ahl-mahnd)

Output: A turn under raised joined hands. In Germany in the 1500s there was a popular dance called the Allemande that used these turns. Was this the source of our Alemana?

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Amalgamation

Output: A sequence of two or more figures.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: American Rhythm

Output: A category of American-style dances in ballroom competitions. It includes cha, rumba, swing, bolero, and mambo. This category loosely corresponds to the Latin category of International Style ballroom, although the dances differ somewhat.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: American Smooth

Output: A category of American-style dances in ballroom competitions. It includes waltz, tango, foxtrot, and Viennese waltz. This category loosely corresponds to the Ballroom (or Standard) category of International Style. However, unlike ballroom, it allows dancers to open and separate while dancing.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: American Style

Output: A style of ballroom dancing developed in the United States that contrasts with International (or English) Style. It consists of two categories: American Smooth and American Rhythm.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: American Tango [Abbreviations] AT

Output: One of the Smooth Rhythms — see the navigation bar at the upper left of each page.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: And [Abbreviations] &

Output: In the timing of dance steps and actions, an "&" represents half a beat. A cha measure might be danced 1, 2, 3/&, 4; a step on an "&" count is very quick.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Animal Dances

Output: Bunny Hop introduced 1953 Bunny Hug introduced 1911 Chicken Scratch introduced 1912 Fish introduced 1961 Fox Trot introduced 1913 Grizzly Bear introduced 1912 Turkey Trot introduced 1912

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Apart [Abbreviations] apt

Output: Step away from partner and shift weight to that foot without progression. (cf. Away)

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Arch

Output: A hand movement in which the man's and woman's designated hands are joined higher than the head in preparation for one or both partners to pass under the joined hands.


Input: Argentine Tango [Abbreviations] AT

Output: One of the Latin Rhythms — see the navigation bar at the upper left of each page.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Around [Abbreviations] arnd

Output: To continue a circular pattern in the direction of movement to a specified ending position and facing direction.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Around the World [Abbreviations] arnd …

Output: Lean outside your base of support and rotate the upper body in a broader arc than in a body roll.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Away [Abbreviations] awy

Output: An individual movement turning from the partner with some progression. (cf. Apart)

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Back (backward) [Abbreviations] bk (bkwd)

Output: Step in the direction opposite to that in which you are facing and shift weight to that foot. (In a facing position, the woman would step forward.)

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Ball [Abbreviations] B

Output: The part of the foot just behind the toes. When dancing "up" one would step, "ball-flat."

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Ball Change [Abbreviations] B chg

Output: Quickly step on ball of free foot and close again on newly free foot; two changes of weight in one beat of music.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Balance [Abbreviations] bal

Output: The correct distribution of the weight of the body when dancing. Standing or moving so that the body is carried in the most economical and graceful manner. (Also a figure used in various rhythms.)

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Ballroom

Output: Sometimes called Standard, a category of International Style dances in ballroom competitions. It includes waltz, tango, foxtrot, quickstep, and Viennese waltz. This category loosely corresponds to the Smooth category of American Style, although in Ballroom, dancers are always in closed position.


Input: Bandoneon

Output: The Argentine accordian that accompanies many Argentine Tangos.


Input: Banjo Position [Abbreviations] BJO

Output: One of many possible dance positions. See Dance Position and Connection Between Partners.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Bar or Measure [Abbreviations] meas

Output: A short section of music in the regularly recurring rhythm, usually marked by an initial stronger accent and then one, two, three, or more lesser accents. For instance, a waltz measure consists of one strong downbeat and two lesser beats: 1, 2, 3; 1, 2, 3;

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Beat [Abbreviations] bt

Output: A beat or count is one unit or accent in the recurring rhythm of a piece of music. In most dance music, you can count four instances of emphasis per measure. Waltz beats recur in groups of three.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Behind [Abbreviations] bhd

Output: One foot or person crossing or standing in back of the other.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Blend, blending [Abbreviations] blnd, blndg

Output: Gently adjusting to a new dance position. For instance, the cue might be "back half box blending to sidecar." You would dance the half box in closed position and slightly adjust so that you end the figure in sidecar position.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Blow A Kiss

Output: Press the finger-tips to your lips, and then move your hand toward your partner, extending the fingers, as if wafting the kiss toward her or him. An alternative acknowledgement at the end of a dance; from open position, you might step side, -, and blow a kiss, -;

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Body Ripple or Body Wave [Abbreviations] bdy ripple bdy wave

Output: Lower your body by flexing your knees. This of course moves your knees forward. Next, move your knees back, and move your hips forward; bring your hips back, and move your torso forward. Finally, move the torso back, and move your head forward slightly. This is kind of a tough one, but it can look like a smooth ripple starting low at your feet and moving steadily up your body I remember one teacher focusing on the middle part of the ripple and saying that you should pretend that you have backed up with your hips against the edge of a low shelf. Now, raise your hips up as if you were trying to put them on the shelf, and then slide them back off again. Another of our teachers suggested that the upper part of the ripple might look like you are spitting watermelon seeds. You lower, rear back with your head, and then throw your head forward, as you try for good distance. But the head movement is very small, and don't get carried away and make the spitting sound. Over one measure of music (1,2,3,4;) you might gracefully present knees, hips, torso, head; and then step into the next measure.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Body Roll [Abbreviations] bdy roll

Output: Lean outside your base of support and rotate the upper body in a broad arc.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Bolero [Abbreviations] BL

Output: One of the five competition dances in American Rhythm; also considered Latin in round dancing. The first step is typically taken on the first beat and held during the second beat, with two more steps falling on beats three and four. This dance is quite different from the other American Rhythm dances in that it requires not only Cuban motion but also rise and fall and contra-body movement, more typically found in dances such as waltz. — For more, see the navigation bar at the upper left of each page.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Bolero Banjo Position

Output: One of many possible dance positions. See Dance Position and Connection Between Partners.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Bolero Position

Output: One of many possible dance positions. See Dance Position and Connection Between Partners.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Bolero Sidecar Position

Output: One of many possible dance positions. See Dance Position and Connection Between Partners.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Bounce

Output: A quick rising and falling movement, usually on the beat or to a syncopated rhythm.


Input: Bow

Output: The man stands with his feet together, toes slightly apart (1st position), hands at his sides, and inclines his body gently toward the lady. For a more polished bow, step to the side with the left foot, close right to left with right heel to left instep (3rd position), and draw the right arm across the body at waist level as you incline forward. Yet another style is to cross the left arm in front at the waist and the right arm in back.


Input: Break [Abbreviations] brk

Output: Release your position or hand hold.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Bridge [Abbreviations] brg

Output: A part of the dance routine, not more than two measures, connecting major parts of the dance.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Broken Sway [Abbreviations] brkn sway

Output: Lean or tilt the body from the waist upward.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Brush

Output: Touch the ball of the free foot to the floor and move it short distance toward supporting foot or move it against the supporting foot; no weight change. You may brush forward or back. You are stroking the free foot against the floor but also against the supporting foot.


Input: Bump

Output: Standing side by side, roll your hips toward your partner and gently touch hip to hip. If you want to carefully preserve your balance, you may come close but not actually touch.


Input: Butterfly Position [Abbreviations] BFLY

Output: One of many possible dance positions. See Dance Position and Connection Between Partners.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Buzz

Output: Rotate on the ball of the supporting foot by pushing with the free foot. There is no weight change unless separately cued. May be done solo or as a couple.


Input: Canter

Output: Particularly in waltz, taking two steps in a three-beat measure, usually step, hold, step.


Input: Center [Abbreviations] COH

Output: The direction to the left, as one faces line of dance; toward the center of the room.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cha Cha [Abbreviations] CH

Output: One of the five dances in both American Rhythm and Latin competitions. It is danced to the music of the same name introduced by Cuban composer and violinist Enrique Jorrin in 1953. This rhythm was developed from syncopation of the fourth beat: 234&1. In round dancing, we dance 123&4. — For more, see the navigation bar at the upper left of each page.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Châiné Turn (pronounced shin-ay)

Output: Châiné turns are sharp, repeated half turns taken on alternating steps and so progressing across the floor, all turns to the left or all to the right, and so describing something like the links of a chain. The basic movement in ballet is done en pointe and with alternating forward and closing steps. Of course, round dancers will not be en pointe, but we certainly should make use of foot rise so our turns can occur comfortably on the balls of the feet. The chaine turn is something like a riff turn in bolero, sometimes like a quick, underturned spiral turn, and so is sharp and with less progression than a turn or roll that is spread more evenly over the three steps of a measure.Other combinations of forward and closing steps can also be used (e.g. close, close, forward).

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Chair [Abbreviations] chr

Output: A step in which you check your motion and lower into the supporting knee such that the thigh is close to horizontal.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Challenge Line [Abbreviations] chal ln

Output: In Promenade position (semi-closed), step side and forward on the lead foot, stretch trail side of body forcefully and so rise and sway toward supported foot, lead arms up, looking out. An aggressive Promenade Sway.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Change Feet

Output: The act of transferring weight from one foot to the other.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Change of Weight [Abbreviations] chg of wgt

Output: Transfer body weight from one foot to the other. A "touch" is an action with one foot that does not involve a change of weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Change Point [Abbreviations] chg pt

Output: Quickly close free foot and pont new free foot to side. Done as one movement in one beat of music.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Change Sides [Abbreviations] chg sides

Output: Partners exchange places to a desiganted position. Sometimes the change is quite precise, putting each dancer exactly where the partner used to be. Sometimes progression is involved and dancers move from the inside of the circle to the outside and visa versa, but this change could occur along the line of dance or along a diagonal. Sometimes, the woman turns under joined hands during the change.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Change Sway [Abbreviations] chg sway

Output: From any swayed position, stretch the opposite side of the body, tilt in the other direction, change head position (look the other way), and usually rotate the body.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Chase [Abbreviations] chs

Output: One partner pursues the other.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Chasse (shah-say)

Output: Used in several different rhythms, the chasse consists of three steps, usually in two beats of music: side/close, side. One foot "chases" the other. Often, the chasse will be used as the last part of a full-measure figure consisting of one step and then the chasse. In foxtrot, the timing would be, slow, -, quick/&, quick; In waltz, the timing would be, 1, 2/&, 3; In quickstep, the Progressive Chasse is timed, slow, -, quick, quick; slow, -, over 1 1/2 measures. In paso doble, the typical marching tempo renders the chasse as, side, close, side, close; or step in place, side, close, side; More broadly, a chasse is any step-close-step (not only to the side and facing partner). We sometimes speak of a forward chasse: fwd/cl, fwd; or a back chasse: bk/cl, bk. In cha, we speak of the ronde chasse, the hip-twist chasse, and others.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Check [Abbreviations] ck

Output: A step in which you stop and prepare to change direction.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Checking [Abbreviations] ckg

Output: The process of stopping and getting ready to change direction; no additional step.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Choreographer

Output: One who creates and arranges dance routines.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Choreography

Output: The arrangement of steps, figures, and patterns into a routine to match the phrasing of a piece of music.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Chug

Output: With weight on both feet, bend the knees and then straighten sharply, causing the feet to slide back.


Input: Circle [Abbreviations] circ

Output: Move forward, turning, as on the circumference of a circle.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Clap

Output: Bring the palms of your hands together to make a sharp sound. One might clap on certain beats of the music to mark time.


Input: Clockwise [Abbreviations] CW

Output: Turning to the right

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Close [Abbreviations] cl

Output: Bring the free foot to the supporting foot, and step or take weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Closed Head

Output: Woman looks left over the man's right shoulder. The man leads her to "close her head" with a little right sway.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Closed Position [Abbreviations] CP

Output: One of many possible dance positions. See Dance Position and Connection Between Partners.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Closed Turn [Abbreviations] cl trn

Output: A turn in which the second or third step is a closing step. Contributes to body "fall;" typical of waltz.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Comma [Abbreviations] ,

Output: In abbreviated descriptions of dance steps (as opposed to complete sentences), a comma indicates the end of one beat of music. For instance, "fwd, fwd, cl;" represents three dance steps on three beats of music, perhaps a waltz measure: step forward on the left foot, forward right, and then close left to right — a forward waltz.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Commence [Abbreviations] comm

Output: To start or begin. Used when a turn or action is begun on one beat of music and completed during another beat.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Complete [Abbreviations] comp

Output: To finish or end. Used when a turn or action is begun on one beat of music and finished during another beat.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Continue [Abbreviations] cont

Output: To proceed or to keep going. Used when a turn or action is begun on one beat of music, continues through at least one additional beat, and ends during yet another beat.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Continuous

Output: An adjective that usually means that steps have been added to the figure being defined and/or the figure is to be executed more quickly. A Continuous Hover Cross is a foxtrot figure that has two extra quicks in the middle of a normal Hover Cross, making the figure 2 1/2 measures, instead of two. In La Pura, the Gosses used Countinuous Double Cubans, which used the same two measures as a normal, cha, Double Cubans, but it had one additional step in the middle (the last & in the first measure): 1&2&3&4&; 1&2&3&4; In Bailamos, the DeFores used "Continuous Doors," which also take the normal two measures, but instead of the two-step timeing of qqs; qqs; they used merengue timeing of qqqq; qqqq; (rk sd L, rec R, XLIF (W XRIF), rk sd R; rec L, XRIF (W XLIF), sd L, cls R;)


Input: Contra Banjo Position [Abbreviations] CBJO

Output: One of many possible dance positions. See Dance Position and Connection Between Partners.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Contra Sidecar Position [Abbreviations] CSCAR

Output: One of many possible dance positions. See Dance Position and Connection Between Partners.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Contrary or Contra Body Movement [Abbreviations] CBM

Output: Turning the body toward the moving foot. Think also of shoulder or hip leading, but the whole body turns. When you step forward right, turn right with left shoulder leading. When you step back right, turn left with left shoulder back. CBM puts a twist in your body. It facilitates smooth turning movements. It also creates graceful body lines. Use CBM during a Natural Turn (compare CBMP below).

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Contrary or Contra Body Movement Position [Abbreviations] CBMP

Output: The static position in which one foot is forward or back and the opposite side of the body is turned in that direction. It is the position achieved when the moving foot is placed on or across the line occupied by the supporting foot. It is the position your body is in at the end of Contra Body Movement. Use CBMP during a Contra Check—you are not turning as a couple but are using M's right-side lead to create the contra body position. A thru step in SCP puts you in CBMP. There is no turn. We don't even use body rotation to achieve this position. The M's L shoulder is already leading in SCP, so when we bring the R foot thru (W's R shoulder and L foot thru), that action alone gives us the CBMP body twist. The 3rd step of a Feather Finish to BJO and the 4th step of a Natural Hover Cross to SCAR also produce CBMP.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Core

Output: Sometimes called "center." The group of muscles in the center of the body, encompassing the abdomen, lower and upper back, hips, buttocks, and inner thighs. In all dance movements, the core must be engaged. Beginning dancers often have a hard time finding the core in their bodies and engaging it.


Input: Corte

Output: In closed position, the man steps back and to the side, lowering into that knee and swaying to the right ("dip"). Leave the free leg extended.


Input: Count [Abbreviations] ct

Output: A count or beat is one unit or accent in the recurring rhythm of a piece of music. In most dance music, you can count four instances of emphasis per measure. Waltz beats recur in groups of three. Also, the beats per measure.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Counter Clockwise [Abbreviations] CCW

Output: Turning to the left

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Counter Promenade Position (=Reverse Semi-Closed Position) [Abbreviations] CPP

Output: One of many possible dance positions. See Dance Position and Connection Between Partners.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Counterpart

Output: Refers to the woman's part. Depending upon the dance position and footwork specified, the woman uses the same or opposite foot as the man and moves in the same or opposite direction.


Input: Couple

Output: Two dancers who are partners in a round dance.


Input: Cross [Abbreviations] crs

Output: Step in front or behind the supporting foot and beyond the supporting foot such that the thighs cross; take weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cross In Back [Abbreviations] XIB

Output: Step in back of supporting foot and take weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cross In Front [Abbreviations] XIF

Output: Step in front of supporting foot and take weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cross Left In Back Of Right [Abbreviations] XLIBR

Output: Step with the left foot in back of the right foot and take weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cross Left In Front Of Right [Abbreviations] XLIFR

Output: Step with the left foot in front of the right foot and take weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cross Right In Back Of Left [Abbreviations] XRIBL

Output: Step with the right foot in back of the left foot and take weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cross Right In Front Of Left [Abbreviations] XRIFL

Output: Step with the right foot in front of the left foot and take weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cross Walk [Abbreviations] X wlk

Output: Step forward and place foot in front of the other, crossing thighs and with a little swagger.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cuban Action or Motion

Output: Move hips side and back as you step. You don't really move the hips. Instead, step, take weight, straighten that leg and flex the now free leg; this foot and knee action is what moves the hips in the direction of the stepping foot.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cuddle

Output: A dance position in which partners are facing, the man's hands are loosely on the sides of the woman's waist or on her lower back, and the woman's hands are on the man's shoulders, neck, or face.


Input: Cue Sheet

Output: The written description or instructions for a round dance routine.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cuer

Output: A person who prompts round dancers by naming the steps, figures, and other helpful information, such as facing direction, ending position, and amount of turn, as the dancers dance, and doing so in a timely manner so that the dancer can hear the cue, process the information, and then execute the moves in time to the music. Analagous to the caller of a square dance.


Input: Cues

Output: Abbreviated instructions, written by a choreographer in a cue sheet or spoken by a cuer during the dance to help dancers remember a dance routine. Cues are ordinarily directed to the man, with the woman doing the "natural opposite," if you are in closed or another facing position. Cues can also be directed to both, for instance, if you are in open position, and cues can be directed to each (e.g., man chasse woman roll left to shadow).


Input: Curl

Output: Like a relaxed spiral to the left. The woman will have stepped forward on her right foot, and the curl is a left-face turn 1/2 to 5/8; ends with the legs crossed, left in front of the right and somewhat extended to the front.


Input: Curtsey

Output: In the Demi-Curtsy, the lady (usually) places her left toe to the floor, heel slightly raised, behind the right foot, and then relaxes both knees, keeping body and head erect, and perhaps flaring her skirt. In the Deep-Curtsy, she steps to the side with the left foot, rondes the right in a little semi-circle and places it behind the left, toes out (4th position), lowers well into both knees, again with body and head erect, looking at partner. Alternatively, she may lower into the right knee and extend the left leg to the front as she lowers. The Prostrate Curtsy, in which the lady lowers fully and places her face downward, close to the floor, has little place in ballroom dancing — maybe if your man is royally good.


Input: Curve [Abbreviations] crv

Output: Dance in a small arc but maintain the initial forward or backward direction of dance. You might begin facing diagonal wall and dance forward, curving, to end facing diagonal center.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Cut

Output: Cross the free foot around in front of and then back, beyond the supporting foot so tightly that you must move that supporting foot back. A cut is like a lock in front, but normally a cut is done on beat 1 (cut, back) whereas a lock is done on beat 2 (back, lock).


Input: Dash or Hyphen [Abbreviations] -

Output: In abbreviated descriptions of dance steps (as opposed to complete sentences), a dash usually represents a pause, nothing happening during a beat of music, at least no step. For instance, a rumba half basic is "fwd, rec, sd, -;" There are four beats in this measure (3 commas and 1 semi-colon) but only three steps. The third step (the side step) occurs over beats 3 and 4.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Develope

Output: Bring either foot up the supporting leg to the outside of the supporting knee and then extend that free foot forward. It is a graceful "knee" and then "kick."


Input: Diagonal [Abbreviations] diag

Output: A direction between two of the "cardinal" (line, wall, reverse, center) directions on the dance floor. Dancing on the diagonal often flows more smoothly and looks better than dancing squared up.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Diagonal Center [Abbreviations] DLC

Output: The direction 1/8 to the left, as one faces line of dance; half way between line of dance and center.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Diagonal Reverse and Center [Abbreviations] DRC

Output: The direction 1/8 to the right, as one faces reverse line of dance; half way between reverse line of dance and center. "On the diagonal" means facing or moving along one of these four diagonal directions.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Diagonal Reverse and Wall [Abbreviations] DRW

Output: The direction 1/8 to the left, as one faces reverse line of dance; half way between reverse line of dance and wall.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Diagonal Wall [Abbreviations] DLW

Output: The direction 1/8 to the right, as one faces line of dance; half way between line of dance and wall.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Dig

Output: With the free foot raised, toe pointing down, lower the foot to the floor and touch; no weight change. It is as if you are digging your toe into the beach sand.


Input: Dip

Output: In closed position, the man steps back and to the side, lowering into that knee, swaying to the right, and perhaps rotating a little to the left. Leave the free leg extended. This is a Lunge back.


Input: Dishrag

Output: Join hands, opposite free feet, raise joined hands, and turn under and away.


Input: Downbeat

Output: The principally accented note of a measure of music.


Input: Drag [Abbreviations] drg

Output: In a stretched up body position, touch the toe to the floor relatively far from the supporting foot and move it toward that foot; no weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Draw [Abbreviations] drw

Output: Touch the toe to the floor relatively far from the supporting foot and move it toward that foot; no weight change. Normally, one will have taken a side step prior to the draw (cued: "side, draw" or "side, draw, touch") but one could hear: "point, draw."

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Drift Apart [Abbreviations] drift apt

Output: An adjustment from a position close to partner to one where partners still have contact but are more separated, usually

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: East Coast Swing

Output: Or simply Swing, a triple Swing danced at a slower tempo than Jive. See Jive.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Edge

Output: The inner or outer side of the foot. A side step might be taken, "edge-flat," especially in a Latin rhythm.


Input: Ee [Abbreviations] e

Output: In the timing of dance steps and actions, an "e" (like the "a") also represents 1/4 beat. It is not much used in round dancing, but I'll include it here just for completeness. Where the "a" represents the fourth quarter of a beat, the "e" represents the second quarter. The last two beats of a measure might then be segmented into a 3 - e - & - a, 4 - e - & - a; and then we could talk about stepping on or holding any of these little quarter-beat moments. The timing of one Cha measure is commonly thought of as 123&4. With added precision, we might explain that we dance the cha-cha-cha by stepping on the 3, holding the e, stepping on the &, holding the a, stepping on the 4, and then holding the e, &, and the a of that last beat. (Whew!)

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Ending

Output: The last steps, figure, or position taken at the end of a dance.


Input: Explode

Output: Step sharply away from partner, usually with inside hands held, to end in open or left open position. Arms may be swept up or out.


Input: Extend, Extension [Abbreviations] xtnd

Output: The exageration of any pose or posture, involving lowering, or stretching up, or rotating a little more, leaning back farther, arching a bit more, or extending the arms and fingers. Usually done to develop a particular body line and to use additional time at the end of a picture figure.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Face [Abbreviations] fc

Output: The direction toward which the front of the body is turned (e.g., facing LOD). The cue "to face" means to step and then turn toward partner.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Facing [Abbreviations] fcg

Output: To have one's front in the direction of something else, such as "man facing wall." Also, partners in front of each other, front to front.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Fall Or Lower

Output: Lower body with weight centered over the ball and toes of the supporting foot. Involves whole body: lower onto heel, flex knee, and compress upper body.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Fallaway [Abbreviations] falwy

Output: Step back in semi-closed position. Outside foot moves back in CBMP. Also the name of the resulting dance position: SCP with the body angle a little wider than normal and the weighted foot having stepped back.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Fan

Output: Flex supporting knee, extend free foot and point toe, and move free foot forward or back in an arc across the floor. Usually, the toe will be brushing the floor. Note that "fan" is also the name of a dance position and a latin figure (or see index).


Input: Feather [Abbreviations] fthr

Output: A step outside partner while maintaining parallel shoulders, usually with the right foot to a contra banjo, but also with the left foot to a contra sidecar. Usually begun in closed position.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Feather Ending

Output: A step outside partner to contra banjo, having begun in semi-closed.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Feather Finish [Abbreviations] fthr fin

Output: Again, a step outside partner to contra banjo, having begun with a back step. For instance, from closed position, diagonal reverse and wall, trail foot free, step back turning LF, side L turning, and forward R to contra banjo diagonal line and wall.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Fifth Foot Position

Output: The heel of one foot is placed close to the toe of the other. The turned-out foot positions, first through fifth, go back to old-time dancing and ballet. Today, we step straight forward or back (see "parallel foot position").

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Fifth Foot Position Rear

Output: The toe of one foot is placed close to the heel of the other. The turned-out foot positions, first through fifth, go back to old time dancing and ballet. Today, we step straight forward or back (see "parallel foot position").

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Figure

Output: A specific sequence of steps forming a set that is complete in itself, often standardized and widely accepted and used as one component of a dance routine.


Input: Figure 8

Output: Move on the floor in such a way that your path forms the shape of the numeral "8." Depending on the momentum generated by the previous figure, you might walk (or two step, or waltz, or cha …) in a small counter-clockwise circle, back to your starting point (the top of the "8"), and then a small clockwise circle, and back to the starting point again.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: First Foot Position

Output: The heels are together and the toes are turned out at the angle of 45 degrees from the direction you are facing. The turned-out foot positions, first through fifth, go back to old time dancing and ballet. Today, we step straight forward or back (see "parallel foot position"), or we angle our step in the direction in which we intend to move. However, the old, formal foot positions can still add stability to a position, where a straight foot position might make us feel as though we are "balancing on a rail."

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Flare [Abbreviations] flr

Output: Flex supporting knee, extend free foot and point toe, and move free foot forward or back in an arc with the foot slightly off the floor. Compare to fan.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Flat [Abbreviations] F

Output: The entire bottom of the foot. A forward step may be taken, "heel-flat." Also a sequence in which there is no rise or fall.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Flick [Abbreviations] flk

Output: Move free foot sharply backward; no weight change. Pretend you have a pebble under your toe and you want to send it flying back. One can also flick across and in front of the supporting foot.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Flight

Output: The appearance of smooth, continuous, elevated motion, created by erect carriage and passing steps; prominent in foxtrot. Body flight softens the appearance of rise and fall.


Input: Floor Craft

Output: The ability to dance figures and amalgamations without running into other dancers. Don't insist on dancing the figures as you know they should be danced. Instead, be considerate of your partner and other couples. Shorten your steps if you are overtaking others, lengthen them if others are stacking up behind you, and shift to an inner or outer circle as appropriate.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Flourish

Output: Spread the fingers wide and rotate the hand back and forth on the axis of the forearm.


Input: Follow

Output: The act of responding to the leads (physical or visual) of the man and executing the actions, steps, and/or figures that he suggests by his lead. This is normally the woman's responsibility.


Input: Foot Position

Output: The direction of a step or action in relation to the other foot (e.g., forward, diagonally forward, side).

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Footwork

Output: The manner in which the foot contacts the floor (e.g., heel-toe, toe, toe-heel). The use of the heel, ball, or toes to maintain correct balance and control.


Input: Forward [Abbreviations] fwd

Output: Step in the direction you are facing and shift weight to that foot. (In a facing position, the woman would step back.)

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Fourth Foot Position

Output: Beginning in first postition, one foot is moved directly forward. Again, it is the left foot that is placed in front of the right, but fourth position is used to stabalize the third step of a telemark to semi and also in a contra check.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Foxtrot [Abbreviations] FT

Output: One of only two competition dance rhythms invented in the United States. It is danced to 4/4 swing-band music with a SQQ or SSQQ rhythm. It is danced in both American Smooth and in International Ballroom, although the tempo is slower in Ballroom. In round dancing, we use the SQQ timing and slower International tempo. — For more, see the navigation bar at the upper left of each page.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Frame

Output: The position of the upper body, or topline, the head, neck, shoulders, arms, and hands, while in dance position. A good and toned frame, along with proper position of the lower body (hips, legs, and feet) (good posture) is essential for good balance, clear lead and follow, smooth movement — essential for good dancing.


Input: Free Foot [Abbreviations] free ft

Output: The foot that is not supporting the body's weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Free Hand [Abbreviations] free hnd

Output: The hand not in contact with the partner, not resting on hip (man), not holding skirt (woman)

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Freeze

Output: Stop moving and hold fixed body and foot position.


Input: Front [Abbreviations] frnt

Output: One foot or person crossing or standing ahead of the other.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Glide

Output: Move the free foot in a given direction with light contact with the floor and take weight. Same as Slide.


Input: Half Close

Output: In a closing step, the free foot is brought to the supporting foot and weight is completely transfered. In a half closing step, the free foot is brought almost to the supporting foot with partial weight on the ball of the foot resulting in a transfer of some weight to the free foot. Occurs on "and" and "ah" counts, as in 3&4 or 1a2.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Head Cues

Output: The cue terms that are spoken by the cuer. They are on the cue sheets above the figure descriptions, usually in 4-measure groups and in bold print. In the 3-column table cue-sheet format, they are listed in column 2.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Heel [Abbreviations] H

Output: Extend foot forward and touch back of heel to the floor; no weight.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Heel Lead [Abbreviations] H ld

Output: A feature of a forward step in which the heel contacts the floor first, followed by the rest of the foot.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Heel Pivot [Abbreviations] H pvt

Output: Turn on the heel of the supporting foot; no weight change.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Heel Pull

Output: A type of heel turn in which strong pressure is used, first with the heel and then with the inside edge of the moving foot, knees soft, and ending lowered and with the feet apart; one weight change.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Heel Turn [Abbreviations] H trn

Output: Step back and turn on the heel of that supporting foot, feet together, shift weight to heel of previously free foot, then to toe of that foot; one weight change. The purpose of a heel turn is to change places; afterwards, the man should be in the woman's previous spot and she should be in his. It is important not to change weight early, because your partner will be moving through the unweighted side (as one pushes through a turnstyle) during the turn. If you have taken weight early, your partner won't be able to push through that weighted hip. For instance, the woman does a heel turn on step 2 of a foxtrot reverse turn. The man does a heel turn on step 2 of a closed impetus.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Hesitation [Abbreviations] hes

Output: Progression is temporarily suspended and the weight retained on one foot for more than one count. Where a freeze is quite still, a hesitation usually involves continued body rotation, slow sway, or a drawing of the free foot, in preparation for the next step. Again, it is "progression" that is stopped, not all movement.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Hip Rock

Output: Step to the side and roll hip to the side and back.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Hold [Abbreviations] -

Output: A beat of music during which no step is taken. Also, a dance position, such as closed position.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Hook [Abbreviations] hk

Output: Cross the free foot in front or in back of and near the supporting foot. Usually the hook does not involve a weight change—one will step during the following action (e.g., unwind), but a cue such as "forward, side, hook behind" might well intend a weight change during the "hook." This term can also be used to direct one partner (usually the woman) to wrap one foot or leg behind the foot or leg of her partner.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Hop

Output: With a soft knee, straighten leg, rise slightly off the floor, and return to the floor on the same foot; no weight change. Often it is more gentle and elegant to power the hop not with extension of the supporting leg but with a slight lift of the free knee.


Input: Hover Sway [Abbreviations] hvr sway

Output: Lean or tilt the body from the ankle upward in a direction away from the supporting foot. Stretch the supported side of the body.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Hovering Action [Abbreviations] hvrg

Output: Check the moving or the turning of the body and rise a little. The feet remain stationary.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Hyphen [Abbreviations] -

Output: In abbreviated descriptions of dance steps (as opposed to complete sentences), a dash usually represents a pause, nothing happening during a beat of music, at least no step. For instance, a rumba half basic is "fwd, rec, sd, -;" There are four beats in this measure (3 commas and 1 semi-colon) but only three steps. The third step (the side step) occurs over beats 3 and 4.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: In

Output: Used to direct a dancer to approach or to face toward partner; also, to refer to the direction toward center of hall.


Input: In Place [Abbreviations] in pl

Output: Shifting weight from one foot to the other without progression in any direction.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Inside Foot [Abbreviations] insd ft

Output: The foot nearest the partner when not directly facing partner or directly facing away.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Inside Hand [Abbreviations] insd hnd

Output: The hand nearest the partner when not directly facing partner or directly facing away.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Interlude [Abbreviations] intld

Output: A part of the dance routine more than two measures long connecting major parts of the dance. A "bridge" is such a connection only one or two measures long.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: International Style

Output: A style of ballroom dance used in competitions throughout the world. It consists of two categories, Ballroom and Latin. The term is used in the United States to distinguish it from the American Style.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Introduction [Abbreviations] intro

Output: A short series of steps of figures preceding the main part of a dance routine.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Jete (jhettay)

Output: Lightly spring off one foot and land on the other.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Jive [Abbreviations] JV

Output: One of the five competition Latin Rhythms. In competition, it is danced at a speed of 44 bars per minute, which makes it faster than its American Rhythm counterpart, the Swing. The basic step is a six-beat pattern, comprising eight weight changes: QQQ&QQ&Q. — For more, see the navigation bar at the upper left of each page.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Jump

Output: With a soft knee, straighten leg, rise higher off the floor than in a hop, and return to the floor on the same foot; no weight change.


Input: Kick [Abbreviations] kck

Output: Raise knee straight up and then straighten leg with toe extended; no weight change.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Kick & Dig

Output: A four-beat action in which you kick with one foot and then dig the toes of the other foot into the floor as you might do into beach sand. In the Easterdays' Boogie Blues, you are in left open postion facing line. You kick with the lead foot away from your partner, step forward on that foot turning to face partner, press the toe of the trail foot to the floor and touch free hands, and then step fwd toward line on the trail foot.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Knee

Output: Raise knee straight up and across supporting leg; no weight change. The free foot points down and lies near the supporting leg, at the calf or knee.


Input: Lady [Abbreviations] W

Output: We cue "lady" because "woman" could be heard as "man," but we abbreviate it "W" because "L" means "left." (Make sense? )

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Lady Under

Output: The woman moves from a designated position, under joined hands, to a designated position.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Latin Cross [Abbreviations] Latin X

Output: Cross one leg in front or behind the other so that the toe of the back leg is turned out, the knee of the back leg is just behind the knee of the front leg, and the heel of the front leg is near the toe of the back leg. The two feet make a figure "7."

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Latin Dance

Output: One of the two sets of competition dances in International Style ballroom. It consists of cha, samba, rumba, paso doble, and jive.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref


Input: Latin Motion

Output: A characteristic type of hip motion found in the technique of performing a step in Latin and in Rhythm dances. Although it is most visible in the hips, much of the effect is created through the action of the feet and knees. One steps ball-flat, straightens the knee, and the hip shifts to that side.

Description Glossary of Terms and Abbreviations from BallroomDancers.com Dance Dictionary from Webref