Frame has volume. Man's R arm form a "pocket" for Lady. Man uses his R side to lead, not use L arm very much at all.
Feeling of compression/push and release/pull. Elbow do not go back behind body.
Basic breaks: back break (hip rotate open a bit), side break and forward break
Dance Vision: (foot are slightly turned out)
Ball (back break or side break) - ball flat - ball flat
Ball Flat or Ball for forward breaks
Ball Flat Ball for traveling pivots
Ball Flat is on most other steps
Some places teach: (Lady)
&: Ball (break)
1: LF Heel lead, pivot 1/2 turn to L
2: RF back Ball Flat
3: LF back Ball Flat
&: Ball (back break)
1: LF fwd Heel
2: RF fwd Heel, pivot to R 1/2 turn
3: LF back Ball Flat
When rocking back, make sure weight does not fully get onto back foot, not enough time to recover with fast music.
Turns: all pivot/swivel turns in Hustle (do not do side step turns, typically no ballet Chaine turns)
There are a lot of different arm movement Man can do, but Lady's steps largely remain to be one of the basic variations. It's good for Lady to follow the arms and not resist and not have arm variations distract footwork.
Open facing position
Cuddle position: (back break &1 - lady rotates R hip and present)
Lady's basic actions:
Basic half left turn over 23 &1
Basic half right turn over 23 &1
Left 1 and 1/2 spin turn over 23 &1
Left 2 and 1/2 traveling turn over 23 &1 23 &1 (has a wind up prep at end of previous &1)
Different timing for turns: Lady assumes 2 turns unless she feels Man is slowing down.
3 count turns (basic turns): &1 2 3 &1 2 3
4 count turns: &1 2&3 4 &1
Accelerate on 2, so it will have a slow ending. (as opposed to &1 2 3& 4 &1, harsh ending)
e.g. 4 count outside turn from Open basic position. Hands: could be Lady's RH to Man's LH, or Man's RH.
&1: prep, wind to R
2: wind up to L a bit. Head and R side lined up, do not turn head to R early to R while body is wound to L.
&: start turning to R
3: turn to R
4: LF back to finish.
e.g. 4 count inside turn
5 count turns: &1 2& 3& 4 5 &1
Find the perfect pressure/tone with partner, so it feels connected, not too light and not too heavy/hard.
2 handhold, a little outward tone.
Fingers curled, hooked with right amount of pressure.
When turning, like holding pizza plate, Lady's palm up, fingers closed. After spin, remember to close/curl up fingers to form hook.
Hand tension, compression
Arm positions: Hustle arms takes from ballet "port de bras" (French, "carriage of your arms"):
in front of shoulder,
to the side extending shoulder line
diagonally upward creating long line
slightly front bend at elbow
straight up on side of head
hand on side hip
Arms: always engaged.
Lady's L arm to the side, elongated, extended, think of long straight arms (relaxed, but not tight). Focus on elongated line. Styling: either straight to the side parallel to floor or diagonally up, wrist straight extending the line or slightly bent (not breaking too much)
Lady's R arm is connected with Man, also elongated, extended.
When there is not enough space, Lady's L arm can be on the side, with L hand on hip. (similar for Man's R arm)
Hip faces Man most of the time, but could open for highlight.
Free spin, double spin: arms could be both up above head (5th position), or in front (1st position) if there is space.
Lady's L arm is often doing "up and over", when it comes up, L arm is very close to Lady's own L ear to avoid hitting Man, arm comes up usually on "3"
Turn when R arm is connected with Man: L arm in front of body.
Double turns: easier to turn when connected with 1 or 2 fingers with Man above head, not the whole hand. Man should not do a lot of working stirring, lead should not disturb Lady's turn.
Spanish double turn: Lady's R arm in front, L arm in back.