Tango Open Reverse Turn, Lady Inline
This is a Bronze Level figure. This online reference gives a
detailed description of the dance steps, including timing, footwork,
alignment, and movement; steps diagram; a list of figures that may
precede or follow the pattern; and videos providing instruction and
demonstration of the figure, techniques and practice routines that
include it.
Leader
| Step |
Timing |
Movement
|
Alignment |
Footwork |
Turn |
CBM |
Notes |
1
|
Q
|
LF fwd in CBMP
|
DC
|
H
|
|
CBM
|
Prepare leading Lady the heel turn by rising early.
Man uses body rise at the end of the step to signal that a heel turn is coming. The rise should induce the lady to straighten her knees, which in turns signals her to bring her feet together. |
2
|
Q
|
RF to side and slightly back
|
Backing LOD
|
BH
|
3/8 to L
|
|
The man steps across the lady on step 2. In contrast to the outside partner version, where step 2 is oriented BDW, this step should end backing LOD.
The man keeps his weight forward on step 2. When he places his right foot, it should be on the ball of the foot. If the man were to stop on step 2, he would be pushing off the ball of his right foot. If his weight carries too much too quickly to his heel, he will pull the lady off her balance, and prevent her from executing the heel turn.
The man stays on his side (the left) on step 2, lest he knock the lady over on his right. |
|
|
S
|
LF back L side leading
|
Down LOD
|
IE of BH
|
|
|
|
4
|
Q
|
RF back in CBMP
|
DC
|
BH
|
1/8 to L
|
CBM
|
|
5
|
Q
|
LF to side and slightly back
|
Pointing DW
|
IE of foot
|
1/4 to L
|
|
|
6
|
S
|
RF closes to LF slightly back
|
Facing DW
|
Whole Foot
|
|
|
|
Follower
| Step |
Timing |
Movement
|
Alignment |
Footwork |
Turn |
CBM |
Notes |
1
|
Q
|
RF back in CBMP
|
BDC
|
BH
|
|
CBM
|
Toe turned in facing Wall or DW.
The lady keeps her head left and back on steps 1 and 2. If she does not, she will not be able to bring the feet together beneath her on step 2, she will need to step to the side to maintain balance. |
2
|
Q
|
L Heel closes to R Heel
|
Toe Pointing down LOD
|
Whole Foot
|
3/8 to L
|
|
Man's rise and cutting across induce Lady's straightening knee a bit and close heels. Both knees are soft (not locked) and slightly bent.
Feet will be turned out at this point. No dragging feet, just place them. R heel has some swivel.
At advanced level, the feet may be parallel. |
3
|
S
|
RF fwd in R side leading
|
Down LOD
|
H
|
|
|
* The inline finish use Corte action. After heel turn, Lady is going forward (upper body drive forward, not just belly button), Lady really has to drive on the Corte.
* Keep shoulder flat, do not rise/pop up.
* After stepping RF fwd into Corte, connect R shoulder to RF as axis, whole left side going forward to extend, do not draw R shoulder back. Axis is not center of body, axis is the right side.
|
4
|
Q
|
LF fwd in CBMP
|
DC
|
H
|
1/8 to L
|
CBM
|
Driving step.
Lady LF fwd, and then left side is the axis. L shoulder needs to stay with Man and not pull back which will restrict what Man can do. (Man is doing RF back and needs to transfer weight to his RF and not being pulled fwd.) |
5
|
Q
|
RF to side and slightly back
|
BDW
|
IE of BH
|
1/4 to L
|
|
|
6
|
S
|
LF closes to RF slightly fwd
|
BDW
|
Whole Foot
|
|
|
|
Notes:
- This is sort of equivalent of heel turn in Tango. All heel turns are characterized by early rise.
|
|
