Corta Jaca Dance » Is Dancing Really the Same as Walking? Or More Like Skiing?Part 2: Tracking while Turning, Altering Position, or Changing Direction

Tracking when turning

Tracking your feet on parallel ski tracks is relatively simple when dancing straight forward or backward. But what about when turning? Or changing direction? Or changing relative position to your partner?

This is where many dancers step off the rails. The moment a curve or rotation is introduced, or the position changes, either the feet cross like a tightrope walker, or they wander off the parallel track. This distorts the body position, creating instability and uncertainty, and losing connection.

The Curve

Just as the body must move first to transfer weight, the body must also turn first to change direction. A simple example is the Curving Three Step. On each step, the body must rotate smoothly and gently to the left in conjunction with the momentum before the foot moves into position.

Additionally, each moving foot must brush past the standing foot to achieve the correct alignment in relation to each other. The amount of turn for the figure is dictated by the amount of body turn, not the placement of the foot in a new direction.

Changing position

Just as a Latin dance involves different holds, a ballroom dance is never performed with the partners always in the same relative position to each other. The couple may turn to Promenade or Counter-Promenade Position, they may step “on the wrong side”, or they may perform an Outside Step.

The Outside Step

Executed incorrectly, an outside step is often the cause of a distorted frame, a loss of connection, a loss of balance, incorrect foot placement, uncertain movement, or a collision of feet or legs.

An outside step is a forward step on the right foot using “Contrary Body Movement Position” (abbreviated to CBMP), taken to the outside of the partner’s feet rather than between them. Simultaneously, the partner will step back on the left foot, described as stepping back, partner outside.

While less common, an outside step can also be taken forward on the left foot, on the partner’s left side.

CBMP is a foot position where the moving foot is placed on or across the track of the standing foot. Often preceded by a side lead, preparing to step outside partner, CBMP creates a good line and body position. It is essential for outside steps to avoid compromising the frame.

Body position: Only the foot tracks outside the partner; the bodies must remain directly in front of each other with hips and shoulders parallel. Avoid sliding the body to the side, which breaks connection and distorts the frame.
Foot placement: The step is always taken in CBMP to maintain body contact and balance.
Step length: An outside step is naturally shorter than a standard forward step, as is the partner’s corresponding backward step. This provides space for each partner’s leg, and keeps the bodies aligned with each other.
Comparison: CBMP is a foot position relative to the dancer’s own body; outside partner (abbreviated to OP) is a foot position relative to the partner and must always be taken in CBMP.

Preparation – the side lead. Start facing diagonally to the wall (DW), then step forward on the left foot (LF) while simultaneously rotating the left hip and shoulder forward to create a left side lead. Do not rotate the feet—they must remain pointing DW. The partner stepping back should match this rotation, creating an open “window” for the next step.

Preparation – without a side lead. If an outside step is to be taken without a prior side lead, use one of the following on the previous step to maintain connection:

Method 1: From a position facing the wall, step forward on the left foot diagonally towards the wall (DW), ensuring your torso remains square to the wall and partner.
Method 2: Alternatively, whilst facing the wall, take a step to the side and very slightly forward on the left foot, pointing it diagonally towards the wall (DW) while the torso remains facing the wall and partner. Note, this method is often referred to as a side lead, even if it is not a full rotational lead.

The Outside Step. Maintaining this body shape, follow these key actions:

The step: Step forward on the right foot (RF) diagonally to the wall (DW), using a slightly shorter stride, along the same parallel track as the left foot.
Body orientation: When you step, keep your torso oriented towards the wall and partner while your feet point DW.
Foot track: The torso’s orientation naturally guides the foot across the body into CBMP, outside partner, not between their feet.
The connection: You will feel your thighs cross and close, preserving the same compact centre of gravity and stable connection as when using CBM.

Partner’s action: The partner should match this movement with a slightly shorter step back on the left foot in CBMP PO (Partner Outside).

Think: Each partner should think of keeping their left side towards each other, while keeping each other in front of each other.

Changing Direction

An example of the ability to successfully track your feet when changing direction is to dance a Feather Finish after a Curving Three Step taken forward against the line of dance.

The first step for the leader will be back down the line of dance; step number two is to the side, along the line of dance, pointing diagonally to the wall (method 2 of preparation without a side lead); and step number three is forward outside partner, diagonally to the wall.

This combination changes direction from a forward curving action to a backward movement, then to a forward movement taken diagonally away from the track of the backward step.

Modifying The Track from a Backward Step

When step 1 of the Feather Finish travels back down the line of dance, step 2 must stay on the same track, even though the foot position is to the side at the end of that step. Think of dancing on the same floorboard.

Pointing the foot diagonally towards the wall changes the direction and, therefore, the track. It produces the side lead required to take step 3 outside partner on the new track the foot is pointing to.

Modifying The Track from a Forward Step

The overriding principle is that when a step to the side follows a forward motion, the moving foot must track forward first, before turning to finish to the side. Although more noticeable in Latin figures, it does occur in Ballroom dances.

An example of this is found on step 2 of the Natural Turn in waltz as leader. Step 1 is forward, step 2 is to the side, but must be taken forward on the same track as step 1. The turn then occurs, allowing the foot to finish to the side.

Failure to implement this tracking correctly derails both partners from the correct line of travel, compromising the following figure.

The Achievement

Mastering these principles ensures that your feet always respect your desired lines and direction, even when responding to the demands of choreography. By keeping your tracks and alignments clear and precise, your partnership will never be derailed by a turn, allowing every directional shift to look entirely effortless.