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Paddle Turn**Panache**Parallel Position**Parties**Partnership** Pas de Deux, Pasde Trois**Paso Doble
Partner in Line, Partner Square**Pattern**Patterns**Peabody**Pendulum Motion**Penguin Style
Percussion**Phrase**Phrasing**Picture Pose**Pigeon Toed**Pirating**Pirouette (‘spin’)**Pivot
Pivot Turn aka Military Turn aka Break Turn**Placement**Plait Action**Plucked Chicken Posture**Plié
Points System**Poise**Politics**Position (Push and Pull)**Positions of Feet**Posture**Posture and Hold
Power**Power in the Legs**Practice-sessions/Socials**Practising**Precedes & Follows**Preparing for Comps
Preparation**Preparatory Step**Presentation**Pressure on Closing Foot**Principal**Private Exams
Private Lesson**Prize Money**Pro**P.R.O.**Pro-am**Professional Dancer**Progress Check**Progressive Movement**Progressive Spins**(Freestyle)**Projection**Promenade Position (PP)**Promotion**Properties (stage sets, stands, supports, props, etc.)**Psyche**Public Exams**Pull Step**Pulsing**Pupil

PADDLE TURN: A turn to the left or right, using a series of ball changes with three-quarters of the weight staying over the turning foot.

PANACHE is closely related to individual style and charisma; the special qualities that make one dancer stand out above another in movement, action, projection and presentation.

PARALLEL POSITION (Left, Right): (see outside partner).

PARTIES: (see practice-sessions and Socials).

PARTNERS (What Women Want From Men): This is a survey taken from 500 women ages 25 - 45 years old, single and married. When a woman knows the pleasure of dancing in the arms of a man, it is next to impossible to settle for anything less, unless he has some incredibly exciting career in which they can experience unlimited financial freedom together or he is unbelievable in bed or both!

Yes, it is true in the order of importance according to our survey; Dance, Financial Success then Sex. Of all the women surveyed not one said she did not enjoy dancing in the arms of a man. To top it off, if he knew how to dance really well then sex was the best she had ever experienced! All women agreed sex is best when both man and woman are in love! In fact 90% of the women said they could tell what kind of a lover a man would be by the way he danced with her and they could tell his level of sincerity towards her by observing the way he danced with other women. Either he is a player, shy, inhibited or uninhibited, aggressive or passive.

Women love a man who has a certain level of refinement. A man who is masculine but who also enjoys the arts as well. A man who is interested in becoming more than just his job. Seeking more out of life than just eat, sleep and work.

Music and dancing touches women in a very profound and unique way. It "Stirs the Soul" and can enable her to let the every day problems of life seem less significant and help unlock the playful and sensuous side of her personality. What could be better than sharing that with a special man!

Women said that the old dinner and a movie routine for a date has become so boring. First of all standing in line on a Friday night with hundreds of strangers is not real fun after a long day at work or after driving the kids to and from school and soccer practice.

Eating high calorie junk food and sitting for 1 ½ hours in a dark theatre without conversation is of course not helping the figure any and not what most women want to do on a date unless they are UNDER 20 years old and have nothing to talk about. Women do like to get dressed up and look their best when out on a date. Women love to be complimented by their date and on their appearance. After all, there is always something nice a man can say that is complimentary about a woman at any age.

The ULTIMATE EXPERIENCE is dancing with a man and being romanced in a sincere way, getting to know that man on and off the dance floor and being courted where the sexual pressure is off! Eventually revealing deeper feelings for one another and it is MUTUAL and then becoming intimate! This is the ULTIMATE DANCE DREAM come true!

A smart man learns how to dance because he knows that is where all the women are, out dancing! A lucky man meets a fabulous woman while out dancing who loves him and admires him. A smart and lucky man recognises a good woman when he finds her and continues to nourish the relationship with dance and romance!

Ten Qualities Women Look For In A Man (On and off the dance floor):

1. Good Leader on the dance floor who stays on the music.
2. Neat, clean appearance and well groomed.
3. Confident, self assured. Direct eye contact .
4. Stable career, financial security.
5. Sense of humour, quick-witted, intelligent.
6. Well mannered, i.e.; opens the door, introduces you to his friends, good table manners, etc.
7. Physically fit, keeping weight under control.
8. Interested in what you have to say, a good listener.
9. Good in bed.
10. Nice looking.

Of all the women surveyed, all enjoyed compliments on their appearance, dancing ability, intelligence and cooking abilities. Of course only if they do know how to cook. Women also said they knew if a man was giving insincere flattery, it is like a sixth sense women have. So men beware, only sincere flattery please!

Ten Qualities Women Do Not Like In Men:
1. Men who can't lead and blame it on the woman.
2. Bad breath or body odour.
3. Cheap cologne.
4. Cocky attitude, think they are "God's gift" to women.
5. Lewd conduct on and off the dance floor.
6. Men who wear clothing that went out of style 10-20 years ago.
7. Cheap toupees. Invest in an expensive one or just go au' natural.
8. Smokers and heavy drinkers.
9. Unemployed loser types. They can dance but don't have a job, house, or money.
10. Dumb Guys.

95% of the women said they would put up with all the negative qualities (with exception to numbers 2, 5, and 8) if the man was a very good dancer.

If men only knew what a powerful aphrodisiac dancing is for women, every man in the world would learn how. Up until now it has been the best kept secret on the dating scene. Try it and see for yourself.

Where do I start? How do I learn how to Dance?
1. Look in your local Yellow Pages under Dance studios.
2. Subscribe to a Dance Magazine, i.e.; Swing, Latin, Country, Ballroom.
3. Ask around, word of mouth is the best! You would be surprised how many people you know take Partner Dance Lessons.
4. Choose a program that is Fun and Supportive with a qualified instructor who has an excellent reputation, experience and will allow you to observe a group lesson!

WHAT MEN WANT FROM WOMEN:  99% of the men interviewed took up dancing so they could meet women. Not for the art of dance itself or the love of music alone but solely for the purpose of meeting women to date and have a romance with. Some of these men who in every day life might be considered ineligible, below average in appearance, or just to put it bluntly a "Nerd" actually found women STANDING IN LINE to dance with them.

Most of the men interviewed are still astounded at the aphrodisiac quality dancing has on women. Now let's clarify something, not all the women are model types but remember, from a man's point of view, when you go from zero dates to dancing with 50 or more women in one night, things are looking good, if you know what we mean. Even if you are a Nerd or just average looking or even prematurely bald or overweight, these women who love to dance, don't care about all that, they just want a man who can lead them into dance steps.

Men know Women love to Swing, Boogie, Mambo, Waltz, Tango and Night Club shuffle. So men flock to these classes even though they themselves may prefer a simple Two-step. But all the "Head Turners" who like to dress up enjoy Swing, Boogie, Mambo, Salsa and Tango dancing. Why? The music and clothing primarily, and of course, the popularity right now!

Bottom Line: Men are looking for physical contact, a sexual encounter, or a committed relationship. And if they have to learn to dance to increase their chances, they WILL learn to dance.

Once a man learns how to dance he discovers a whole new world. He quickly notices that there are usually two women who know how to dance for every one man at any dance party or night club. That is the good news. He also discovers that not all women are interested in having sex with you even if you have been holding her in your arms all night on the dance floor. Oh well, we never said it was perfect.

Ten Qualities Men Look for in a Woman (on and off the dance floor):
1. Attractive, neat and clean appearance.
2. Great personality, friendly and outgoing.
3. Happy with her career or job.
4. Healthy. Not too thin or too heavy!
5. Intelligent.
6. Likes to dance but has a life off the dance floor as well.
7. Affectionate and attentive.
8. Even tempered.
9. Likes sports or will be OK with you liking sports.
10. Good sense of humour

Ten Qualities Men Do Not Like In Women:
1. Bad breath or body odour.
2. Cold and unaffectionate disposition.
3. Messy appearance or greatly overweight (50 pounds or more) or underweight (10 lbs or more)
4. Unemployed.
5. Too much make-up.
6. Foul language, loud and abrasive voice.
7. Hypochondriac personality.
8. Women who are critical about the way a man leads or dances.
9. Air Head type. Bad conversationalist.
10. Nagging.

An overwhelming 90% of the men surveyed said they found it easy to feel closer to a woman who was a good listener and appeared interested in what they had to say. Men also enjoyed being complimented about their dance ability, intelligence and appearance.

60% of the men interviewed did not like Wonder Bras or stuffed bras. They prefer a woman to be herself. Size did not matter.

75% did not like long extension nails that got in the way of dancing and other close encounters.

80% enjoyed being a more advanced dancer than their partner, they also enjoyed helping their partner learn to dance by taking lessons and workshops together.

PARTNERSHIP is when a man and a woman hold while facing each other and carry out dance steps and movements in harmony with each other. Also known as being CONNECTED.

PARTNERSHIP (Allure & Dance): Attraction, a thorny concept between lovers, even more so between dance partners. How can we manage attraction between partners, especially when the feelings are not mutual.

OK, hands up, who has not at some point in life been attracted to the person they are dancing with? It doesn’t necessarily have to be in ballroom; it could be in the nightclubs, a disco, a party or your regular dance. The only real qualification is that before you started dancing you didn’t and afterwards you did.
The reason so many dancers fall in love is that the act of dancing so closely mimics our natural courtship routine. It's the innate processes which control our subconscious actions and thoughts. Let’s explore this courtship in a little more detail.

There are different elements in the courtship routine, comprising non-verbal communication and verbal communication. Without a doubt the non-verbal contacts are initially the most important.
Eye contact. You know how important eye contact is when you’re on the pull. You're there, quite happily messing about with your mates, when wham, across the dance floor a pair of big open eyes channel your attention.

Eye contact is the initial stage of the courtship. It connects interest and feelings with the intended focus. Holding that gaze for a second longer than necessary is all it takes to spark the attraction. Coupled with a smile, eye contact has been the initiation of many encounters.

In Latin you are taught to hold eye contact. Look at any advanced couple on the floor and watch how their rumba sizzles with electricity. A lot of that sparkle is generated through eye contact. A beginner couple on the dance floor will often look as though they are just ‘going through the motions’. Add the eye contact and you add chemistry, it helps turn the dance into something more.

A lot of beginner girls can get quite embarrassed when coaching them. You look into their eyes  and try to hold the contact and they laugh, look away or get the wrong idea. The reason is because you are taking the courtship signals and performing them out of context - a simulation.

Back to the nightclub; everything is going well. Not only have we started talking to the connected person but something deeper has developed, symmetry. Symmetry in attraction is the strange way couples who are attracted to each other mirror each other’s body language. Watch a couple who seem to be getting along quite well the next time you go nightclubbing or dancing, and notice how both stand. Open positions, perfectly reflecting each other.

Think Latin. We have intense eye contact, a good couple will also be symmetrical. Head position, shoulders, arms, hips and legs are all carefully choreographed to match each other - totally synchronised. Couples will communicate and develop a bond which allows them to mirror each others feelings and movements for the music through dance. Sometimes the bond between partners is so strong it's almost telepathic!

The final stages in a courtship is body contact. We all have an area of personal space; ‘our’ space, the space that must not be violated unless invited. How much space we allow depends on our culture, upbringing and the moment. In a club atmosphere, if somebody were to enter your personal space by a touch, along with the other signs, they would almost certainly be interested. A returned touch from you would be the green light of the exchange.

In dancing this is mimicked. Not only do you have absolutely no physical space, but also  prolonged physical contact - eye contact, touch, symmetry. Dancing often portray the actions of love.

We all know a smile makes us feel happier, well, the same is true of attraction. If you show interest, they show interest, and a mutual chemistry begins. So many dance couples marry each other and considering this chemistry, it’s hardly surprising!

That's the process, but what do you do when your dance partner falls for the love bug and you don’t? It can be awkward for the partnership. How do you address it. You either keep your partner’s friendship or no more dancing. The answer lies in understanding the attraction process. Assume different characters for ‘on and off stage’ in the same way actors and actresses do.

Avoid prolonged eye contact, symmetry and physical contact. Spend time with your partner off the dance floor in groups and be sure not to let your partner dominate your time.

If you know your partner is attracted to you but  you have no personal interest, it may be wise to avoid practising alone with him/her. Make sure there are other couples at each practise session. There is however, no substitute for open, honest communication. Let your partner know how you feel, how much you value his/her friendship and dancing, but if the subject arises make it clear that dancing is the basis of your friendship.

It is a spiky issue. Not only are your feelings on the line but your dance partnership as well. Ask yourself whether jeopardising your dancing is worth the infatuation, or the infatuation greater than the dancing. Ask why you feel attracted to him/her. Is it just a phase or is it something deeper. Whichever it is, be tactful and honest and be prepared for rebuttal. Making your partner feel awkward around you is the worst possible thing that can happen to your dancing.

In both scenarios your ultimate need is a dance partner, it takes two to Tango. Partners do become very close on and off the floor. Working hard together towards a common goal with the same interest, has a way of uniting two people. Good dance partners can be friends for life. Cherish your partner by respecting and looking after him/her. It doesn’t have to go any further than dancing, and if it does go beyond the dancefloor, there is no better bond than the togetherness that dancing provides.

PAS de DEUX, PAS de TROIS, PAS de QUATRE: Dances for two, three, four, etc. dancers.

PASO DOBLE: The name 'Paso Doble' in Spanish means 'Two Step', and may be distinguished from 'Paso a Dos' which means 'Dance for two'. It refers to the marching nature of the steps, which may be counted '1, 2' for 'Left, Right'. This may be contrasted with its description as the 'Spanish One Step', so called because only one step is taken to each beat of music.

The Paso Doble was one of many Spanish folk dances associated with various facets of Spanish life. In particular, the Paso Doble is based on the Bullfight. It portrays the Torero and his cape, and is danced to the characteristic march music used for the procession at the beginning of a corrida. Bullfights date back to ancient Crete, but only in the 1700s were they held in Spain. The dance itself became popular among the upper classes of Paris in the 1930s, and acquired a set of French names for many of the steps.

The dance has still only limited popularity among the English-speaking society. The only places in Sydney where it is played regularly at social dances are the Italian and other European clubs. The competition version of the Paso Doble is danced with a high chest, the shoulders wide and down, and with the head kept back but inclined slightly forward and down, ('keep watching that bull' urged the Latin teacher). The weight is forward, but most forward steps have heel leads. Often it is choreographed to the tune 'Espana Cani' (the Spanish Gypsy Dance), which has three crescendos in the music. These highlights are usually matched in the choreography by dramatic poses, adding to the spectacular nature of the dance.

THE TIMING, COUNT AND TEMPO: Paso Doble music is usually written in 2/4 time and should be played at a tempo of 60 to 62 bars per minute for examinations and competitions.

PHRASING: Most Paso Dobles written with a 2/4 time signature are in two bar phrases. (Count 1,2,3,4) It is desirable for each figure or group of movements to commence at the beginning of a musical phrase. This is simply achieved by a sensible use of the 'Linking figures, namely Sur Place, Basic Movement and Chassés.

HOLD AND USE OF ARM: Stand about 6 inches apart, facing partner, head erect and body upright. The man should place his right hand on the lady's left shoulder blade, the lady resting her left arm lightly on his right arm following the curve of his arm to the shoulder.

The lady should place the fingers of the right hand between the man's thumb and first finger and the hands should be lightly clasped. The joined hands (man's left and lady's right) are raised to eye-level with the arms gently curved. When in Promenade or Counter Promenade Position the hold is widened until the couple are about 9 to 12 inches apart.

If it is not practical for the man to hold with his right hand on the lady's back, he may slip his right hand to the top of her left arm. In Promenade Position the joined hands (man's left and lady's right) are usually lowered to about chest level with the arms gently curved, while in Counter Promenade Position they are usually raised to just above the level of the head with the arms gently curved.

Always remember the Paso Doble depicts the bull fight with the Man as the matador and the Lady the cape, therefore a proud stance should be maintained throughout.

CONTRA BODY MOVEMENT: Slight Contra Body Movement may be used on forward or backward marching steps. This is the turning of the opposite hip and shoulder to the foot that is moving forward or back.

PRECEDES AND FOLLOWS. A simple list of precedes and follows are given and these are all that are necessary for the theoretical part of the professional examinations. In the Paso Doble it is preferable to dance Sur Place or Basic Movements as a link between most figures.

1. SUR PLACE A series of steps danced in Close (or Closed) Facing Position on the balls of the feet, replacing the weight from one foot to the other. The heels may be lightly lowered. The knees are very slightly flexed. No turn or a gradual turn to right or left may be used. In 2/4 time one step is danced to each beat of music. Lady dances the normal opposite. Precede and follow with most syllabus figures. Note - (M and F) Most figures in Paso Doble are constructed with the man commencing with his RF on the first beat of the bar. However, in some advanced figures it is necessary for him to step with his LF on this beat, therefore having danced a Sur Place on RF on beat 1 he may hesitate for beat 2 and then continue by stepping with his LF on the first beat of the bar. Alternatively he may dance 5 Sur Places - R, L, R, L, R - counting 1,2 and 1,2. These methods of changing feet may be used commencing with LF when a figure has ended with weight on RF on beat 2. The lady will dance the normal opposite.
2. BASIC MOVEMENT A series of small forward or backward steps danced in Close (or Closed) Facing Position on the balls of the feet. The heels may be lightly lowered. The knees are very slightly flexed. No turn or a gradual curve to right or left may be used. In 2/4 time one step is danced to each beat of music. Lady dances the normal opposite. Precede and follow with most syllabus figures.
3. APPEL This is a step in place danced on either foot with a strong lowering action and the foot flat. It is a firm step and is used to commence a number of figures. When commenced in Close Facing Position as a preparation to a step in Promenade Position it will be taken slightly back. A slight body turn to left for man, and to right for lady may be used on the Appel preceding Promenade Position. On step 1 of the Open Telemark and the Fallaway Reverse the Man will dance the Appel with his RF slightly back (lady LF slightly forward). This is known as the 'Slip Appel'.

PARTNER in LINE, PARTNER SQUARE, SQUARE to PARTNER are terms used to indicate that the couple are standing in the normal dance position, i.e. facing each other and with the man's and lady's feet approximately opposite each other (see posture and Hold). PATTERN: A group of steps and movements which create various shapes either on the floor or in the air.

PATTERNS are the movements and figures that constitute a dance's shape, characteristic style of movement and actions. They are the individual units, which, when amalgamated, form the construction of the dance in its entirety.

PEABODY: The dance was supposed to have been invented by an official in the Brooklyn, New York, police department in the year 1919. Legend has it that the girth of the originator was such as to make Closed Position awkward, so he held the lady to his right side. Whether this is fact or fiction, it gives a good picture of the typical position of the couple.

Peabody never did find nation-wide acceptance despite more than forty years of continued existence. It seemed to be a dance that was only done by the best dancers. A lot of this has to do with the fast-moving nature of the dance itself. Played at a racehorse tempo of some 55 to 65 bars per minute (BPM), the dance has enormous spectator appeal.

The performer does well just to keep in time to the music, and the breathtaking speed of the dancers makes for an attractive visual picture of flowing movement. The character of the dance is almost a combination of Quickstep and a Polka The major part of the Peabody is done in Outside Position which, in itself, calls for skilful leading as the spectre of complete loss of contact is always present. The basic figure features a loose sort of lock step and standard variations include open Natural Turns (the 6 or 8 count turn), Counter Promenade steps, Left Rock Turns, Running Cross Chassé, a circular running step called Pony Trot, and a Fallaway type of Grapevine (weave) movement.

When the Quickstep was first introduced to New York it was, inevitably, compared with the Peabody. In other parts of the country where the Peabody was not known or performed, the Quickstep was immediately accepted. But where the Peabody was popular, the question was posed: Peabody or Quickstep?

Advanced dancers express conflicting opinions, it took a bit of time to realise that this was not a replacement or substitution but a different dance entirely and there was no earthly reason why an advanced dancer should not dance it.

The Quickstep is standardised at the slower tempo of 50 BPM in contrast to a fast Peabody that may be played at 65 BPM. The light, airy music of the Quickstep, with its speed and graceful movement, immediately captured the imagination of ballroom dancers in America. Many American teachers found it to be the one English-style dance that was readily accepted by beginners as a fun dance to learn.

PENGUIN STYLE: A style used in social Cha-Cha where an exaggerated tilt of the body is made on counts 1, 2 and 3, resembling the waddle action of a penguin. This movement is achieved by swaying the body to the left when stepping with the left foot and tilting to the right when stepping with the right foot. The tilt action on the Cha-Cha section is held for Cha-Cha, one. Penguin style can either be applied to the basic figure or forward and back progressive movements.

PERCUSSION: Listen to the Bongos, the Tom-toms, the Tambourines and let the music captivate you. If that's what the rhythm leads you to, percussion is what's happening, and it is vibrant, hot and hasty. A Percussive Latin style is a highly syncopated, wild way of shimmering the muscles of the body to match the turbulent, thumping sounds of the inner rhythms of the music.

PHRASE: A distinct (8-bar, 16-bar) passage of music.

PHRASING: consists of 8 or more measures/bars of music. The emphasis in a musical PHRASE starts quietly with the first measure/bar, then builds up gradually for several bars/ measures and fades at the end of the 8th measure/bar. A new phrase begins on the 9th measure/bar, repeating this process until the music comes to an end. A phrase sometimes consists of 16, 24 or 32 measures/bars. Advanced dancers use phrasing so that the emphasis of their movement coincides with the phrase of the music, thus adding 'light and shade' and character to their dancing.

PHRASING is easily recognised in Tango, Paso Doble and Viennese Waltz music. Phrasing in dancing means many things but the two most obvious are:

1. Fitting the appropriate figures to the suitable phrases in the music, and
2. Slightly varying the character of a figure by playing with the timing or a different use of the body so that the figure takes on the character of the phrase of music being played.

PHRASE (Freestyle): A distinct passage of music.

PIGEON TOED: A pattern travelling sideways bringing the toes together leaving the heels apart, then bringing the heels together leaving the toes apart.

PIRATING is the abhorrent practice of a studio owner, manager or trainer deliberately and deceitfully poaching staff, students or competitors from other studios by offering them a better deal - a deed strongly condemned by the dance fraternity.

PIROUETTE ('spin'): A complete turn on one leg. The dancer usually goes round more than once. The raised leg is most commonly held in rétiré, but pirouettes with the leg in other positions are not uncommon. If the direction of the turn rotates the raised leg away from the front of the body, the pirouette is en dehors; if it rotates the leg toward the front, it is en dedans. The dancer spots (see 'spotting') to avoid becoming disoriented. Pirouettes are usually fast, but supported pirouettes, in which a partner steadies the soloist, may be done very slowly.

PIROUETTE (Freestyle): A step into a spin either to right or left on one foot with the other foot released from the floor. (Stepping right foot forward and spinning to the right will be an outward pirouette while stepping right foot forward and spinning to left will be an inward pirouette and vice versa).

PIROUETTE: A step into a spin either to right or left on one foot with the other foot released from the floor. (Stepping right foot forward and spinning to the right will be an outward pirouette while stepping right foot forward and spinning to left will be an inward pirouette and vice versa).

PIVOT is a turning movement during which the dancer swivels on the ball of one of his (or her) feet while the other, weightless, foot is kept in front or behind in Contra Body Movement Position (CBMP). Or a travelling turn executed with thighs locked and feet apart in extended 5th position. Or a 180 degree turn taking 2 weight changes to complete. Done in extended 3rd or 4th dance position with the thighs locked.

Pivots & Spins

PIVOT (Freestyle): To rotate on one foot while the other foot is held in a set position.

PIVOT KICK: A pivot followed by a kick, using the free leg.

PIVOTS TRAVELLING: Pivots danced down LOD in extended 5th position.

PIVOT TURN aka MILITARY TURN aka BREAK TURN: Transfer weight to the forward foot then turn 180 degrees in the opposite direction of the forward foot. Return weight to original foot.

PLACEMENT is roughly the alignment of the body. Becoming properly placed means learning to stand up straight, with hips level and even, shoulders open but relaxed and centred over the hips, pelvis straight (neither protruding nor tucked under), back straight, head up, weight centred evenly between the feet.

This suggests both the 'pulled-up' and relaxed aspects of good posture.) And as you dance, you seek to maintain this posture except when the step requires something different, like the slight forward arch of the spine that accompanies an arabesque.

PLAIT ACTION: A swivelling movement of the feet whereby the moving foot sweeps towards and then away from the standing foot. A series of swivels are normally performed using alternate feet. This action can be danced as a locomotive or non-locomotive action.

PLUCKED CHICKEN POSTURE is created when the male or female drop his/her elbows to their side in dance position, giving a plucked chicken appearance. This picture is also produced when the loose or free arm of an underarm turn is bent and hugs or clings to the body.

PLIÉ: A flexing and straightening of the knees. The knees aligned with feet.

POINTS SYSTEM: South African National Promotion Points System

The Levels For Promotion Will Be As Follows:-
 

ALL POINTS GAINED AS OF THE IMPLEMENTATION DATE WILL BE ADJUSTED ACCORDING TO THE RATIO OF THE NEW AND OLD PROMOTION LEVELS.

POINTS for TEAM SELECTION to dance in the “WORLD CHAMPIONSHIPS”
Only two couples per section, twelve couples in total from each country, dance at the World Championships.  In South Africa, various “World Tr ial Championships” are held around the country.

Organisers arrange one “World Trial Event” in each province. Competitors attend these competitions nation-wide. However, Mpumalanga, Northern Province, and Northern Cape, do not have the infrastructure to host such an event at present.  Competitors are required to participate in at least three of the four events held for this purpose.

POISE is the position of the body in relation to the feet - a balanced stance.

POISE  is also the aplomb and composure that distinguishes the excellent dancer from the average dancer.

POISE (Freestyle): Poise is the correct carriage of the body weight whether stationary, preparing to move or moving.

POLITICS is the buzzword used by dancers to express the intrigues, chicaneries, bias or double-dealings that supposedly occur at competitions as a result of questionable adjudication.

Many amateur dancers and parents strongly believe that professionals have an iron grip on proceedings at these events, i.e. their authority gives them freedom to, at will, subjectively manipulate the results at competitions.

The disparagement among those who advocate the 'politics' of judging, is that adjudicators are often compelled to judge their own couples as well as ex-pupils, making them susceptible to partiality or impartiality, depending on which side of the fence they belong.

The theory of 'politics' in dancing, is that couples who change from one professional to another for tuition, inevitably prejudice or enhance their chances at contests - a shady element of the system, bordering corruption. Whether real or imaginary, the topic of politics in dance parlance is taboo - to talk about it is to court trouble.

There are too many intangibles, too many obscurities, e.g. a judge could say 'that's how I saw it' (an opinion - the human factor) which clears him/her oof all duplicity, while the score cards reveal a conflicting verdict when compared with the rest of the panel or previous results.

POSITION PUSH and PULL: Tension applied to a connection through the manipulation of body weight towards it (Push) or away from it (Pull) - to resist or release the pressure when leading or following.

POSITIONS OF FEET: The position of the moving foot in relation to the standing or supporting foot at the end of the step, e.g. forwards, backwards, to side, etc.

POSTURE in ballroom dancing consists of four major 'BLOCKS' - hips, chest, shoulders and head and must be kept in line like 4 bricks placed on top of each other. Stand with your arms to the side, rise onto your toes and feel the spine naturally elongated.

That stretch must be maintained throughout with the tummy lightly braced. The lady's head-weight is extended slightly leftwards but must not be exaggerated. In that poise the two bodies can be put together to form a balanced unit. Then comes the 5 points of contact - the man's left hand with the lady's righht hand, the man's right front with the lady's right front, the man's right hand lightly placed on the lady's back, the lady's lower left arm on the man's upper right arm.

These 5 points of contact must be put into place lightly so that they don't disturb each other or pull each other out of the balanced, vertical posture. Both must not turn left but feel their centre is turned to each other creating an open picture. The heads are turned away from each other, diagonally left but very little.

The Tango hold differs from the other Ballroom or swing dances in that both settle onto a lower leg but still feel naturally elongated. The hold in the Tango is more compact with the man's right arm further around his partner and his left hand is pulled in a little. If the hold is super light in the Waltz, Foxtrot, Tango, Quickstep and Viennese Waltz then it is even more so in the Tango.

POSTURE (Ballroom): To stand with the feet slightly apart and naturally turned out. The weight will be equally distributed over the balls of the feet. The spine is stretched upward so that the breast-bone tilts up slightly, carrying the whole chest to a slightly uplifted position. This stretch is continued through the neck to the head with the eyes facing forwards and the chin at a right angle to the neck.

POSTURE and HOLD  is the frame and the picture a couple carry with them on the dance floor. Correct Posture and Hold serve more than just adornment, it adds balance and unity of movement, and should be perfected at a very early stage of learning to dance, to avoid developing bad habits. Ballroom dancers dance with their entire body, not only with their feet, and it all starts with the correct stance. How you appear and move on the dance floor depends largely upon how you hold your head, arms, and torso.

POWER: Energy is exciting to watch. In a jive, it always seems to be the most energetic couple that wins this dance. But the energy must be controlled, not wild. For instance, powerful movement is an asset in waltz or foxtrot, but only if it is channelled into the correct swing of the body, and not just by taking big steps. The lilt of the music must be matched by the action of the body. In a waltz for instance, the dancers’ body action must clearly show the influence of the one downbeat and two upbeats. So the release of power into the beginning of a figure must be controlled and sustained during the rise at the end of the figure.

POWER IN THE LEGS: In Latin-American dancing it is to show the energy of a movement. Power must show the leg action or arm or head movements, etc. Power in the legs ensure consistent aggression and strength of movement.

PRACTICE-SESSIONS/SOCIALS are weekly get-togethers held in many dance schools where the pupils are given an opportunity to practise their dancing in crowded-floor conditions.

These gatherings are also held as a means of getting the members to mix, mingle and socialise and are usually held in the studio. Socials also take the form of PARTIES held once a month, as a special occasion, where their members dress to a theme and dance at a special venue (hotel or club) to a live band.

PRECEDES & FOLLOWS

PRACTISING in dancing means to repeatedly rehearse the elements or techniques that have been taught to the pupil by the tutor. Practising excludes standing, looking, talking or arguing about what must be done or shouldn't be done. It is the physical activity of labouring through the figures, movements and techniques with gruesome intent and purpose to work up a dancer's sweat, so as to improve these elements - it is PROGRESS not RETROGRESS or STAGNATION.

PREPARING FOR COMPETITIONS:

Why Compete?
Competition offers excitement, challenge and reward. It provides a platform from which to display your skills and motivation to train and improve. Without a doubt the best dancers in Ballroom and Latin are always the competitors, they are the elite.

Above all, competitions provide comradeship and support. You tend to see the same old faces again and again no matter where you travel and over time you become friendly. While competitors are very competitive the majority are also very social. You make alliances and bonds with 'brothers in arms' that span cities and generations.

Preparation

The key to success at a competition is preparation.  There are phases of preparation, namely;

• Base Preparation
• Peaking
• Pre-Competition
• The 'Big Day'
• What To Expect

Mental conditioning sounds rather 'holistic' but can reap massive rewards for any athlete. Mental conditioning is essentially about using techniques such as visualisation to improve your mental state and performance.

Base Preparation
Base Preparation is the 'every day' training program you follow to improve your dancing. How much or how little base training you do depends upon your financial circumstances, personal commitments, health and a variety of other factors. The key elements to base preparation are that it is maintainable, consistent and geared for mid- to long-term benefit.

Base Preparation is where you can try out new steps, alter the choreography of your routines and experiment with new timings, styles and rhythms. The goal is not to maintain a level of 'competition readiness' but to invest time and effort in the development of your dancing.

Item, Frequency, Duration, Comments, Dance Tuition 11 hrs. Get as many lessons as you can afford and that you have time to 'dance in' before your next lesson. If your teacher is very popular you'll struggle to book more than 1 hour a week with Dance Practise (4 1,5 to 2 hrs.) Work on certain elements, experiment, don't just go through the routines.

Physical Training: 2-3 1 to 1,5 hrs. Strength and endurance training, weight resistance and aerobic. Aim to build and maintain a good standard of strength, flexibility and aerobic capacity.

Diet: Good healthy eating. Diet contains 65% Complex Carbohydrate, 25% Protein and 10% Fat. Drink plenty of water aim for 1,5 to 2 litres a day! Sounds a lot, but water dehydration is THE biggest limiting factor in performance. All clinical studies show 2 litres a day is the desired amount of fluid to drink.

Mental Conditioning: Visualise. Find a couple whose dancing you really admire and who you would like to be as good as. Imagine yourself on stage that good. Focus on it, go through the actions and dances in your mind. Try to feel the muscles in your legs moving. Don't pick some mundane couple, imagine the best you know and dare to dream, nobody ever broke reality by being realistic.

Peaking
Peaking is the stage in your training where you shift your attention from mid- and long-term benefits to the short-term, and start to gear up for competition. A typical start to the peaking phase is 2 to 3 weeks before the competition date.

During Peaking, your focus in lessons will be on technique and presentation. New figures and steps are out, unless there is a real emergency, where something does not work. At this point, concentrate on trying to get the routines to look slicker and tidier.

Your practise sessions will also shift focus to dancing routines rather than figures. You must be able to dance each routine without having to think about it. You may also make minor adjustments in angles and transitions from one figure to another. You want to know exactly where the routines will take you from each part of the room and be able to change direction should the circumstances dictate.

Practices are shorter because the intensity is higher, dances are practised at full speed and in competition mode. At times try to do the 'Five straight', 5 straight dances one after the other, to simulate the competition.

Physical training is also different. Workouts are shorter and of higher intensity. Aerobics are performed at 85-90% of Maximal Heart Rate (MHR) to simulate competition conditions and extend anaerobic capacity. Resistance training is faster and with higher repetitions. Emphasis is on speed and endurance.

Over the Peaking phase your body has taken quite a pounding and needs time to rest and recover - you need "recovery time". How you spend the day before a competition can have quite noticeable effects on your physical performance. Use this time to allow your body to rebuild stores of glycogen and water, two essential elements for sustaining energy. The next couple of paragraphs will explain glycogen and the how your body creates and stores energy.

Glycogen is your body's preferred choice of fuel for intense exercise over a short period. Your body manufactures it from the food you eat, and so the better the quality of raw materials you give it the more likely you are to build and maintain a decent glycogen level. Complex carbohydrates such as rice, potatoes and pasta are ideal raw materials. Glycogen can be thought of as the 'high octane' of body fuels. Glycogen is used up very quickly in the body and so the body also relies on other energy sources such as carbohydrates and fat.

Carbohydrates are the main and preferred energy source over prolonged periods of exercise. There are three main types of carbohydrate; complex carbohydrates (rice, potatoes etc.), simple carbohydrates (sugars) and fructose. (a sugar that comes from fruit).

Complex carbohydrates take longer to break down and so provide a sustained and controlled energy release. Simple carbohydrates are quick and easy to break down and so produce an energy 'high' followed by an energy crash. This is caused by your body's blood sugar regulation systems kicking in and pumping insulin into your system to mop up excess blood sugar.

Fructose is a simple carbohydrate that has a sustained energy release making it an ideal energy source for athletes when used correctly. It is quick and easy for the body to break down but it still manages to release its energy over a longer period, and so reduces the 'high' followed by the 'crash' effect of sugars.

Fat is used as a fuel source over prolonged periods of moderate activity. The level of intensity of dance competition is generally too high, and of too short a duration to use fat as a fuel source.

The day before the competition and the morning of the competition, eat plenty of complex carbohydrates. At least one (ideally two) good rice, pasta or potato meals can make a difference to how your body performs the next day.

Don't forget to drink plenty of water, at least 2 litres the day before any competition. Carbohydrate is stored one part carbohydrate to two parts water. If there is not sufficient water in your system the carbohydrates you eat can not be stored properly. One of the biggest limiting effects on physical performance in fit athletes is dehydration. Even water loss of 5% in your system can have a serious effect on your performance.

It is impossible to drink 'too much' water as your body will simply flush the excess away along with all the toxins and other impurities in your liver. Switch on to water, you'll also notice a marked improvement in your skin after a couple of days.

Avoid practising the day before a competition. Rest, get an early night and generally allow your body time to prepare itself to be in peak condition for the competition.

That does not mean you are still not actively preparing though, far from it! Now is a good time to use the visualisation technique to concentrate your performance. Work through the routines and figures in your mind. Think about each step, feel your muscles moving, and view yourself from the crowd. Picture yourself receiving the trophy and hear the crowd applaud.

It may help to play the music for each dance. Mental imagery like this is a useful tool and should not be dismissed. Most top athletic coaches are advocates of the visualisation technique. If you have a video recording of a couple whose style and dancing you admire, play the recording to give you that extra  inspirational 'mental' boost - just sit back, absorb and enjoy.

A few days before the competition could also be spent 'tanning up' to get that 'just back from the tropics' look, which most Ballroom and Latin dance competitors have.

The final thing to do is pack your bags! Pack the day before, so that you have no worries or hassles on the day. Arrive at a competition feeling calm and collected, rather than stressed or rushed.

In conclusion, the Pre-Competition phase is about rest and recovery from the exhausting Peaking phase. Eat well, drink lots of water, and rest physically. Use visualisation to improve your focus and confidence so that you are mentally prepared for the big day.

The Big Day
On the big day sleep in if you can. When you get up have a good high carbohydrate breakfast such as cereal (oat porridge is excellent!) and start pottering around.

One of the core aspects of competition is getting the judges' attention, unfortunately it is human nature to pay more attention to people we find attractive and judges are fallible. If you are an attractive couple you are more likely to get attention from the judges than if you are an unattractive couple, hence the importance of grooming. If you have been following a good Base Training routine you should already be fairly slim and well toned, an excellent place from which to start.

Starting at the top; keep your hair tidy. Ladies usually push their hair back and tie it in a bun. Men should also have tidy hair, if the man has long hair, try a ponytail.

Your face should be well made up. A Lady's dance make-up is usually different from the usual way of applying it. Bright lights can wash out your features and leave you looking pale and sick. Over emphasise your features, especially your eyes, by using much darker and heavier make-up.

Men have no need to wear make up (although some wear foundation) but should be clean and shaved. Women usually have much more skin exposed in public, especially Latin dancers whose costumes are much shorter and open. Exfoliating the skin using a rough sponge or special cream pays off. If you have been drinking enough water your skin should already be clearer and smoother. A suntan is another accessory many couples would not compete without.

Why the tan? A good question. The first is that a tan makes everybody look healthier and more attractive, thus helping to draw the judges attention and win the support of the crowd. Secondly everybody else has one! Having a tan is a sign of a  dedicated dancer, somebody who takes the sport seriously. If everybody else has a tan and you don't, it will make you appear odd and even anaemic.

Moving down to hands and feet. Keep your nails in good condition. Not only do they make your hands look more attractive but also make it safer because sharp or jagged nails can cause nasty cuts and scratches. Men are often more guilty of this than their partners! Ladies should have freshly shaved legs, if their legs are exposed or bare.

What To Expect
Most local competitions these days are held in community or club halls and even in a school gym. The usual set-up is that there will be somebody at the door to take your money and hand you your registration sheet. You will need to fill in the details of the registration sheet for the organisers to know what dances you will be entering.

To register for any event above beginner, you will need a Dance Association's Registration Number. You will not be allowed to compete without a number. Most registration sheets list the dances as numbers, there should be a sheet of paper somewhere (usually near the stage) which lists the events and which number they correspond to. Once completed, take the sheet to one of the organisers. On handing in your registration you will be given a competitor's number. This number is worn on your back, so remember to bring a couple of safety pins to attach it! The number is used by the adjudicators to identify you on their score sheets. Memorise your number and listen for it throughout the day - that number is your name.

You should now be getting ready to dance, warming up, psyching yourself, and getting a feel for the floor. Every dance floor has different characteristics, they can be hard, springy, slippery, dusty, sticky, fast or any combination. It is usual for the organisers to play one or two practise dances before the Ballroom and the Latin sections of the competitions. Use this time and have a quick run to get used to the floor and for your confidence.

For the competition itself the compere will announce what event is next, if there are less than, say 12 couples (depending on the size of the floor), he/she will not call out the competitors numbers. If more couples can comfortably and safely fit on the floor, the competition will be held in 'heats'. The scrutineers will break the competitors up into 2 or more equally sized groups. If this happens the scrutineers will call your number or a range of numbers such as 100 to 158. Listen for your number because if you miss your round, that pretty much takes care of you and your partner and all the hard preparation you have put in!

If there are more than 6 couples in any one event the competition will be held in 'rounds'. This means you will dance a round with say 24 couples in the competition, split over 2 heats. (You dance once). The judges will then select a total of 12 couples from all of the heats (12 from 24). The remaining 12 couples are then recalled by number so listen out for it. In the next round 6 couples are selected from 12 to compete in the finals.

PREPARATION in dancing is a 'wind up' or counteraction made before a rotation. For example: prior to turning to the right, the shoulder line rotates slightly left as preparation, and then swung right to give impetus to the turn or spin.

PREPARATORY STEP: Because of the rhythmic figures used for Cha-Cha and Rumba music, it is necessary to take an extra step when starting these dances to music. The Foxtrot's basic Feather figure is often commenced with a preparatory step.
PREP: A lead-in move or 'set up' step used in preparation for a turn or a change of dance position.

PRESENTATION is more often used in demonstration and exhibition dancing but also plays its part in competitions or when dancing examination or medal tests. For example, the manner in which the lady uses her head from a closed to an open position can make a marked difference to the picture she presents.

Some prefer to turn their head to the right when in promenade, others keep the head turned to the left. Both are correct. The lady should use the method that looks least affected. Very often a lady who does not turn the head into the promenade or open position will turn it more to the left and at the same time raise the left shoulder with a rather coy expression. This type of affectation is annoying to watch and should be avoided.

The most pleasing are those who can use their head naturally, making it appear as a part of the body and the picture. Presentation also includes creating an attractive picture or clinically clear lines when striking a pose or freezing in 'picture poses' when performing the Latin-American dances. Or any picture produced by the use of the arms, legs, shoulders and the movement of the body.

Facial expression should also be studied. It is absurd to grin like a Cheshire cat throughout the dance. It is equally wrong to wear a glum expression. The mouth can be opened when smiling but do not keep it open all the time. Some Latin dancers have the bad habit of jeering, sneering and harshly gibing their facial expression which often looks comical. A pleasing look of enjoyment is the best option. Some dancers sing the words of the tune as a form of facial expression. If done well, it can be very effective.

The knuckles of the L hand should be slightly higher than the wrist. The right elbow must not drop down when leading the lady, especially when leading her into Promenade figures. The Right forearm should slope downwards from the elbow to the R hand. If the R hand is held too high on the lady's back, there will be a tendency to drop the R elbow.

Many men keep the most pressure on the R wrist when holding the lady and when this is done, the R hand, not being used, will dangle downwards from the wrist and will often move away from the partner's back. This fault ruins the appearance of the couple. Avoid this by keeping a little pressure on the lady's back with the index finger of the R hand.

Ladies should watch the grouping of the fingers of the L hand. They should not be completely straight and stiff but grouped naturally, with the fingers slightly bent.

PRESSURE ON CLOSING FOOT is the tension or pressure placed on the inside edge of the closing foot in Waltz to achieve control and balance. This pressure-close also helps to ensure neater foot-closes while effectively delaying count 2 for softness and timing.

PRINCIPAL is the owner or the head of a dance school/s or a dance club and is responsible for the fluent, efficient running and management of its administration, staff and functions.

PRIVATE EXAMS is when a dancer's skills in dancing or theory of a particular standard or level is tested behind closed door by one or more judges - without being witnessed by the public.

PRIVATE LESSON is a dance lesson given to a single person or a couple by one teacher. Although, in many dance schools, there is usually more than one teacher teaching at the same time on the floor, the teacher concentrates on the individual or the couple.

The advantages of taking private lessons is that the pupil can choose the dance or dances that he/she/they want to learn and that the tutor is able to adapt his/her rate of instruction to suit the learner's ability.

PRIZE MONEY is a financial reward paid directly to an Amateur Competitor.

PRO: The abbreviation for professional dancer.

P.R.O. is also the abbreviation for a dance official appointed to handle all dance promotions and Public Relation affairs.

PRO-AM describes a partnership which consists of a Professional Competitor and an Amateur Competitor.

PROFESSIONAL DANCER is a competitor who generates a net profit from his/her dance skills as a full or part-time occupation, and is registered with a member organisation of the ICBD as a Professional Member, and may not compete as an amateur (see dance Teacher).

Professional dancing is highest level of competitive dancing. Only the best of the best make it into this category. Most professionals started at a very young age and have danced all their life. They have devoted an enormous amount of time to their dancing.

When doing competitive modern dancing there are several important points that the dancers remember. If any one of these points is forgotten it can cost the dancers dearly in the competition. As dancers improve these points become a natural part of their dancing, and they don't have to think about them anymore.

PROGRESS CHECK is a test given to a pupil by the supervisor or manager of a social or commercial dance studio to verify that the dance programme designed by the specialist of that studio is specifically tailored to suit the pupil's particular dance needs, and that the number of lessons allocated are accurately based on the pupil's dance potential and aptitude.

PROGRESSIVE MOVEMENT is a forward or backward movement that travels around the ballroom with flow, stride and momentum.

PROGRESSIVE SPINS (Freestyle): A series of spins using alternative feet travelling in a straight line across or around the floor. The technique of 'spotting' should be used to achieve top-quality spins.

PROJECTION is a dancer's special flair or ability to transmit and to share his/her personality and passionate feelings for the music with his/her partner and the audience through dance.

PROMENADE POSITION (PP): The position in which the man's right side and the lady's left side are kept in close contact, and the opposite sides of their bodies are turned out to form a 'V' shape. The feet are usually turned to the same direction as the body. In social dancing PP is known as 'Conversation' or 'Side' position. In PP the hold or posture of the man and lady does not change.

PROMOTION: In competitive Ballroom and Latin-American dancing, a promotion refers to being elevated from a lower section to a higher section by acquiring points. Points are acquired in a final only, and the number of points earned depends on the number of couples and dances danced in the final, i.e. if there are only 2 couples and 2 dances in the final, then those couples would earn less points than if there were 7 couples and 5 dances.

PROPERTIES (stage sets, stands, supports, etc.): Properties (Props) of any kind are not allowed in any competitive category, except for solo routines where permitted by the Competition Organiser's rules. Props are allowed in social exhibition dancing.

PSYCHE: Every competitor, whether social or serious must cultivate a 'mind' for contests. Also known as getting themselves 'psyched' for the special occasion or event. A 'psyched mind' helps to make a dancer feel mentally ready. It seems to unbundle the 'bundle of nerves' that often sabotages a well-rehearsed act.

Competitors can psyche themselves into believing that they, on the day, can be placed 3rd instead of their usual 4th position, and in so thinking, dance with more verve and attack, thus distracting the feeling of nervousness. Or a couple could be psyched knowing that a favourite adjudicator is part of the panel of judges.

An exhibition dancer psyches himself by imagining the entire audience is nude. This, he says, gives him a sense of superiority over them. Another will mentally go through his entire routine prior to taking to the stage as a way of putting his mind at ease. Some dancers, by walking through their routine before going on, feel psyched for the best.

In a state of pinnacle excitement, the body and its nervous system have an awesome way of playing tricks on the mind, which often causes a 'mental block', 'going blank', 'freezing', etc. A dancer's 'psyched' mind is a means of reversing the tricks by creating a superstition to counteract the nervous interference. The expression 'I've got nothing to lose' is a typical example.

PUBLIC EXAMS is when a dancer is judged before an audience by a judge or a panel of judges.

PULL STEP (see Heel Pull): This is a type of Heel Turn used by the man in some backward Natural Turns. The feet may be kept apart instead of closed, and the weight is more forward than in a Heel Turn.

PULSING: ACCENTING each Up-Beat, as you dance, immediately makes you feel something a little different. This rhythmic recurring accent is called Pulsing the Up-Beat. Pulsing The Up-Beat connects you to the music.

PUPIL is a male, female (minor/adult) or a couple who pay for taking private or group lessons in any form of dancing.