16. Whip with swivels
This is the characteristic whip for this style of lindy. Unlike in the basic whip where the follower is leader forward on one, in this version of the whip the follower will be leader forward on two.
For the leader:Instead of stepping back and bringing the follower forward on 1, the leader allows the energy in his connection to build slightly on one but does not leader the follower forward until two. Depending on the tempo, it may be difficult to hold back until two. To compensate for this, the leader and the follower should shorten the length of their connecting arms at faster tempos.For the follower:
The leader can do his basic whip footwork or he can do the following variation. As opposed to doing a rock step on 1,2 the leader can do a kick ball change. In this syle of whip, the initial kick goes back. On 1, the leader kicks back with his left foot. On &, the leader does a weight change on to his left foot. On 2, he steps on his right. As the leader does this kick ball change, he must move slightly to the left to allow the follower to go by but he should not move forward or back.
On 3&4, the leader does a triple push and does not turn to face the follower. The leader catches the follower and uses his pushing forward stance to counter her momentum. The left foot should be in front of and pointing away from the follower.
On 5, the leader pivots on his left foot 360 degrees and then steps forward with his right foot. On 6, he steps back with his left foot. On 7&8, starting with his right foot, the leader does a triple sit ending with his weight on his right foot.There are a lot of changes. Swivels are what makes skirts twirl, heads turn, and it is perhaps the single most powerful visual element of this style of lindy. Swivels can happen in the whip on 1,2 and 6 through 8. That means a follower is only ever not swiveling on 3&4, 5.
Swivels involve counter motion between the upper and lower parts of the follower's body. As the follower's hips twist one way, her shoulders are supposed to twist in the opposite direction. The effect created by this is that, when facing the leader, the follower's shoulders remain parallel with the leader's shoulders as the follower's hips twist from side to side.
Swivel on 1: The follower is on the balls of her feet with her knees bent. She picks up her right foot and twists counter clockwise as she steps down in place. Her right heel and butt should be pointing at the leader. The follower's left knee should be very close to the pit of her right knee. Hip motion is emphasized by keeping the feet close together.
Swivel on 2: The follower picks up her left foot and twists clockwise as she steps forward with her left foot. The swivel on 2 is not as extreme as the swivel on 1 because of the step forward.
On 3&5, 5, the follower does her basic whip footwork.
On 6, the follower separates from the leader and turns her body counter clockwise into her right arm so that she is perpendicular with the leader.
For 7&8, the follower does a triple crossing behind. On 7, she steps behind her right foot with her left foot. On &, she steps in place with her right foot. On 8, the follower steps to the left with her left foot and points both of her knees to the left.
The follower can use the counterbalance connection of her left hand to pivot from 6 to 7. This means that as opposed to stepping on seven, the follower lets gravity twist her so she falls around to seven. You can't be wearing sticky shoes when you do this. The follower can use this connection to swivel to &8, 1. The follower should only ever give the leader as much weight as she needs to smoothly do her swivels. The counter balance connection for swivels should be comfortable for both the leader and follower.
The follower now has the option to replace all of her 1,2 walk walk steps in six and eight count patterns with swivels. She can also do cross behind triples on the 5&6 of six count patterns and 7&8 of eight count patterns.
Towards the end of the
whip, she is traveling
...she then faces him...
...she swivels away...
...she is facing him but
her hips are rotated
to her right.
After a last swivel on
count 1, she is led
forward on count 2 to
begin -- in this case --
an underarm turn
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