Quickstep Locks

One of the most common Quickstep infractions is dancing multiple sets of locks forward or backward.  Many people dance two (or more) sets of locks in a row because 1. Locks flow naturally into each other and 2. Multiple locks in a row send a couple flying down the floor, which is an attractive prospect especially for lower level dancers who do not yet have access to other figures that accomplish the same goal.  Furthermore, lock steps define syllabus Quickstep – a full third of the Quickstep syllabus involves locking actions – so more are better, right?   

On Back Locks, the book is very clear.  Precede for all levels: Progressive Chasse to Right.  Follows: Closed Impetus, Tipple Chasse to Right, Running Finish, with Tipsy to Right added at Gold.   Specific figures are spelled out in a way that clearly indicates a Back Lock may not Precede or Follow itself.[1]

As an additional note on Back Locks, we have the Natural Turn and Back Lock.  Though this figure gets its own chart form due to alignment differences and slight alterations in foot positions, a Natural Turn and Back Lock is basically just a Back Lock with a different entrance.  Therefore, I would classify 1-3 of a Natural Turn as a second Precede for a Back Lock along with the Progressive Chasse to Right.  (Follows for Natural Turn and Back Lock are identical to the Follows for the figure called Back Lock.) 

Forward Locks are not addressed so clearly.  Precedes are, “Any figure ending with the Right Foot forward Outside Partner.”  Follows are, “Any Natural figure” in Bronze, and a number of more specific figures in Silver and Gold.  What do we do with this?  If we go by the Precedes, Forward Locks should be okay to dance twice since they end RF forward OP.  If we go by the Follows, double locks would not be allowed, as a Forward Lock does not meet the definition of “natural figure” because it doesn’t turn to the right.

Discussions of specific technique book language are fascinating (to some of us!) and valuable.  However, in practical terms, the ambiguity of the book’s wording on Forward Locks doesn’t translate into much gray area for Invigilators.  Most Invigilators would likely call up couples dancing multiple sets of locks, so it’s best to avoid the problem entirely by dancing only one lock at a time. 

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[1] By Back Lock, I mean the specific figure called Back Lock.  A V6 incorporates a type of backwards lock, but is not what I’m discussing here.  That being said, you may not throw an extra backwards locking action into a V6 either.  

Dance Language: Closed vs. Open

Over the weekend of November 2^nd and 3^rd, I had the pleasure of Invigilating for Ballroom at Maryland’s Amateur competition, DC Dancesport Inferno.  This is my second year as Invigilator for DCDI.  Generally speaking, there were fewer infractions this year than last, but I wanted to mention something that jumped out at me this year. 

The biggest problem I encountered as an Invigilator was more about language than about dancing itself.  I found myself having a difficult time communicating with some of the dancers due to misunderstandings about the words “Closed” and “Open.”  When I considered it more, it occurred to me that in ballroom, we frequently use “Closed” and “Open” as terms meaning several different, somewhat unrelated things.

Closed vs. Open Event

Probably the most recognizable usage, Closed and Open when referring to events tell us whether or not the dancers must stick to a syllabus.  Closed events use a syllabus (or set of restrictions) and Open events do not. 

Closed vs. Open Dance Position

Closed and Open Dance Positions are ways of describing the Lady’s position with relation to the Man in every style except Standard (which has Closed but not Open). 

From the Latin Technique books produced by the ISTD:

“Closed Position

Facing partner, slightly apart, normal hold[i]

Alternative holds

1. Left hand holding Lady’s right hand
2. Right hand holding Lady’s left hand
3. No hold

The couple may be a little further apart than usual when using these alternatives.”

“Open Position

Facing and away from partner, approximately at arms length.  Left hand holding Lady’s right hand

Alternative holds

1. Right hand holding Lady’s right hand
2. No hold
3. Left hand holding Lady’s right hand and right hand holding Lady’s left hand (double hold).”[ii]

In brief, Closed means facing your partner and standing fairly close together, while Open could be facing or away, and at arm’s length. 

Closed vs. Open Foot Positions

Several of the difficulties in communication that I experienced revolved around the concept of Closed and Open foot positions.  I had to call up a couple for dancing International Foxtrot in an American heat (something I have previously written about).  Neither describing American Foxtrot as having “closed foot positions” or referring to Slow Fox as “passing the feet” effectively communicated what I was trying to say.  Smooth does have its own terminology for passing the feet – continuity styling – but I didn’t think using it would be helpful in this case.  The couple and I managed to get on the same page after some demonstration.  Demonstration is always essential as an Invigilator, but I found myself wishing I had a clearer way to make myself understood. 

In a similar vein, I talked to a couple who danced an Open Box in Bronze Rumba as opposed to the regular, and permitted, Closed Box.  Again, language became a barrier.  Even after I demonstrated what I meant, the vocabulary itself was still getting in the way, as one of the dancers asked me, “But we’re dancing in Closed, right?  How is that Open?” 

Closed vs. Open Age and Level

Typically competitions are organized by levels and age classifications as part of keeping things fair and equal.  Bronze dancers compete not just against other Bronze dancers, but dancers of approximately the same age.  Having Gold dancers compete against Bronze or eighty-five year olds against twenty-five year olds would be unfair.  Occasionally, though, competitions offer special events in which such restrictions are reduced.  As an example, “Master of Syllabus” events sometimes crop up at Amateur competitions.  In such events, anyone of any age or level can enter, so long as they stick to the syllabus in question.

  

Fair warning: I’m going to get pretty philosophical (and slightly less objective) here.  

Sometimes the language we use makes sense.  NDCA and USA Dance both say of Bronze Waltz that “feet must be closed on three.”  That seems straightforward to me.  However, we cannot effectively use a count to talk about Foxtrot.  Restrictions of “No Continuity Styling in Bronze” and “No Open left or right box turns” help only so much.  To make things even more confusing, Open Left Turns ARE allowed in Bronze Tango. 

Add into the mix the fact that International Waltz does not make a general shift from closed to open footwork as you increase level, but does add figures in which you don’t close on three, and International Foxtrot starts, middles, and ends with open footwork, and you have one incredibly potentially confusing system.  Then on top of that you have the Latin Rumba Basic, which doesn’t close, and the Rhythm Rumba Box, which does at Bronze but doesn’t have to at higher level.  It’s enough to give anyone a headache.

So my question is: How might we more effectively discuss and describe the various things we describe as “Closed” and Open?”    

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[i] “Normal Hold” as described by the Latin Technique books: “The Man’s right hand is placed on the Lady’s left shoulder blade and the Lady’s left arm rests lightly on his right arm following the curve of his arm to the shoulder.  The Man’s left hand is raised in a gentle curve to the level of the eyes.  The Lady’s right hand is placed in the Man’s left hand with her fingers between his thumb and first finger.  The hands are lightly clasped.”

[ii] Latin American Dance Faculty Committee. Latin American Rumba. London: ISTD, 2003.