West Coast Swing Patterns
Table of Contents
I have been going to the Bay Area Whip Dance Club for a few months. Classes are divided in levels and instructors rotate so they can teach different levels. So far our instructor for level 1 classes has been Chuck Anders. He knows how to dance Salsa, Bachata, Tango, Polka, Waltz, Rumba, Two Step, West Coast Swing, and East Coast Swing. If I remember correctly, he said he began dancing when he was about 14 years old. Luckily Chuck was also my instructor for level 2. I am repeating level 2. My current instructor is Howard.
I have learned or reviewed the following steps there:
West Coast Swing elements #
There are many elements in West Coast Swing dancing:
- Musicality: are the dancers synchronized to the music?
- Rock-and-go: are the dancers able to combine patterns without doing an anchor?
- Repetition: Are the dancers able to take a basic pattern, split it into increments, and repeat those increments?
- Tension and compression: Is the leader and the follower connected? Are they reacting to each other or dancing independently? Is the leader prepping correctly?
General dance knowledge #
- Aim to have fun, stay safe, and dance every song
- An inside turn is a left, counterclockwise turn
- An outside turn is a right, clockwise turn
Personal advice #
From Chuck Anders:
- Do not prepare twice because it confused the follower.
- Move up, down, left and right to use all the slot. It makes the dance look good.
From Rick Brunson:
- After finishing a pattern on step 6 or 8, do not rush immediately into step 1 of the next pattern. There is a whole beat between step 8 and step 1 of the next pattern.
- When leading a whip, step back on 1 and pull straight back. Do not begin the J-hook prematurely.
- Tension should reach a maximum at the beginning of a pattern, then decrease, and then increase back again at the end of the pattern.
From Ray Trusty:
- A prep does not happen on step two, it happens between step 1 and 2, when the follower’s left foot is floating and pulling on the arm would cause a rotation on the follower’s right foot. In other words, it is 1-prep-2-3&4 as opposed to 1-prep-3&4.
From Bob Wilder:
Move your head and shoulders to indicate where you want the follower to go. For example, look over your left shoulder when doing a left-side pass and look over your right shoulder when doing a right-side pass.
When leading a whip, on step 1 pull, on step 2 grip the follower’s hand and post it so it does not move. Let the follower walk into the left hand so the momentum causes a clockwise rotation.
During a sugar tuck, on step 4 keep your left elbow tucked in and relaxed, not floating. Imagine you are trying to hold a sheet of paper with your armpit.
The follower should exert equal and opposite force as the leader to achieve good tension and compression.
For example, if the leader pulls and slowly increases the force from 1lb to 6lb, then the follower should slowly increase the force with which she pulls back to cancel out that force. This causes tension. If the leader pushes and slowly increases the force from 1lb to 6lb, then the follower should slowly increase the force with which she pushes back to cancel out that force. This causes compression. After about 6lb of force is reached, the follower has a clear indication to move into the direction she is being pulled or pushed into.
A good frame consists of having your right hand on the follower’s left shoulder blade and applying pressure, but an excellent frame requires the follower to actively push with her right hand into your left hand to provide some resistance. This allows the leader to use his left hand to move the follower to the back or to the right, and the right hand to move the follower to the front or to the left. This requires the follower to be pressed firmly between the left and right hands, which cannot be done without the follower’s help.
General West Coast Swing knowledge #
There are 5 pattern types:
- four count triple pairs (4 beats)
- side passes (6 beats): result in 0.5 turns
- sugar pushes (6 beats)
- whips (8 beats)
Side passes are named from the leader’s perspective. For example, in a left pass, the follower passes by the leader’s left side.
The forward and backward directions are named from the follower’s perspective. When a follower and leader move forward, it means the follower is moving forwards while the leader is moving backward.
Musicality #
- Music is commonly written in the 4/4 time signature and commonly structured in sets of 8 beats
- A major phrase is 32 beats
- A minor phrase is 16 beats (usually) or 8 beats (rarely)
- All ballroom dances except Waltz are written in 4/4 time and can be danced
using 8 beat patterns:
- Bachata: 4- or 8-beat patterns
- Chacha: 4- or 8-beat patterns
- Country Polka: 4- or 8-beat patterns
- Country Two Step: 4- or 8-beat patterns
- Salsa: 8-beat patterns
- West Coast Swing: primarily 6- and 8-beat patterns, with 10- and 12-beat patterns requiring a rock-and-go
- Waltz is written in 3/4 time signature and has 6-beat patterns
Rhythm #
Not really WCS related, but …
I have been told contradictory information about Rumba and Waltz:
- Rumba and Waltz have a box step, but the Rumba rhythm is slow, quick, quick, while the Waltz rhythm is even because all steps are the same speed
- Rumba and Waltz have the same rhythm: slow, quick, quick
Rock-and-go (RAG) #
A rock-and-go (RAG) combines the last two steps of a pattern with the first two steps of the next pattern.
A RAG reduces the beat count by 2, e.g:
- two 6 step patterns become 10 counts instead of 12
- an 8 beat whip and a 6 beat basic become 12 counts instead of 14
- an 8 beat whip and an 8 beat whip become 14 counts instead of 16
When leading a rock-and-go, do not let the follower settle back on the anchor step. The RAG must happen quickly so the anchor step — which usually happens in place — turns into triple step that moves the follower forward:
- In a basic 6 count pattern, the RAG replaces steps 5&6 and turns into the count 1 2 3&4 5&2 or 1 2 3&4 rock-and-go. The RAG must happen quickly so the follower does not settle on steps &6, but instead moves forward.
- In a basic 8 count pattern, the RAG replaces steps 7&8 and turns into the count 1 2 3&4 5 6 7&2 or 1 2 3&4 5 6 rock-and-go. The RAG must happen quickly so the follower does not settle on steps &8, but instead moves forward.
Turn variations #
Pass #
A traveling turn that uses normal, cross, or hook steps.
Pirouette #
A stationary spin on one leg.
Pivot turn #
A stationary turn in which the weight changes from one foot to the other, usually for a half-turn.
Chain turn #
A traveling turn in which the weight changes from one foot to the other, usually for a half-turn.
Preparation variations #
A prep is used to rotate the follower clockwise or counter-clockwise.
J-hook #
Use it to rotate the follower clockwise 180 degrees into a starter position during a whip.
L-hook #
Use it from a handshake hold to rotate the follower counter-clockwise 180 degrees into a closed position during a whip.
Piston #
Use it from an open hold to to rotate the follower clockwise 180 degrees into a back-to-front position during a single-arm turn-in. It consists of pulling the follower’s arm on 1 and pushing it on 2.
Left #
Use it from a left-pass inside turn, right-pass inside spin, handshake reverse whip, or free spin. Forward on 1, prep slightly to the left between 1 and 2, and rotate counter-clockwise on 3.
Right #
Used it from the right-pass outside spin. Forward on 1, prep slightly to the right between 1 and 2, and rotate clockwise on 3.
Handhold configurations #
The palm of the hand can point in four general directions:
- upwards (supination)
- inside (facing the interior)
- downwards (pronation)
- outside (facing the exterior/posterior)
Handhold configurations do not have formal names, but I refer to them like so:
- right to right: handshake handhold
- left to left: scout handshake handhold
- left to right: regular handhold
- right to left: goofy handhold
- left to right and right to left: double handhold
- left to left over right to right: cross-up handhold
- right to right over left to left: cross-down handhold
Examples:
- A double handed sugar tuck into a hammerlock.
- A double handed sugar push inside turn into a sweetheart.
- A crossed-up sugar push inside turn into a cross-down handhold.1
- A crossed-down sugar push outside turn (sugar tuck) into a cross-up handhold.1
- A double handed sugar tuck with a left hand release into a goofy handhold.1
Stance configurations #
Stance configurations define how the leader and the follower stand relative to each other and what handhold configuration they are in.
Closed #
The leader’s right hand is on the follower’s back (on the left shoulder blade), and the follower’s left arm rests on the leader’s right arm. The leader stands face-to-face to the follower, sort of like the characters ||.
Reached via:
- Right-side pass with inside turn from open|horn position
- Sugar push with inside turn from open position
- Left side pass with inside turn from goofy position
Starter #
The handwork is identical to the closed position, but the leader stands perpendicularly to the follower’s left side, sort of like the characters _|.
Open #
The leader’s left-hand ring and middle fingers (pointing to the right) are held by the follower’s right hand (pointing down) at waist level, sort of like the characters |¯|.
Reached via:
- Right-side pass from horn position
Horn #
The leader’s ring and middle fingers point down. The hand looks like the sign of horns.
Reached via:
- Sugar tuck from open position
Spiderman #
The leader’s ring and middle fingers point up. The hand looks like spiderman shooting a spider web.
Weird #
The leader’s left-hand ring and middle fingers point to the left.
The leader’s right-hand ring and middle fingers point to the right.
Goofy #
This is mirror image of the open position. The leader’s right-hand ring finger and middle fingers (pointing to the left) are held by the follower’s left hand (pointing down) at waist level, sort of like the characters |_|.
Goofy horn #
This is a mirror image of the horn position.
Goofy spiderman #
This is a mirror image of the spiderman position.
Goofy weird #
This is a mirror image of the weird position.
Handshake #
This is the same as the open position, but it requires a right-to-right hand connection instead of a left-to-right hand connection, sort of like the characters |/|.
Handshake horn #
This is the same as the handshake position with the horn handhold.
Handshake spiderman #
This is the same as the handshake position with the spiderman handhold.
Handshake weird #
This is the same as the handshake position with the weird handhold.
Scout #
This is short for “scout handshake”.
This is a mirror image of the handshake position because it requires a left-to-left hand connection instead of a right-to-right hand connection, sort of like the characters |\|.
Scout horn #
This is the same as the handshake position with the horn handhold.
Scout spiderman #
This is the same as the handshake position with the spiderman handhold.
Scout weird #
This is the same as the handshake position with the weird handhold.
Parallel #
A specific double handhold. The leader’s left hand ring finger and middle finger (pointing to the right) are held by the follower’s right hand (pointing down) at waist level, and the leader’s right hand ring and middle finger (pointing to the left) are held by the follower’s left hand (pointing down) at waist level sort of like the characters |=|.
Back-to-front #
The follower and the leader face in the same direction while the follower stands in front of the leader while holding the leader’s hand in a regular handhold at waist-level.
Reached via:
- Single arm turn-in from open position
Left hammerlock #
The leader stands slightly to the left of the follower, maintaining a double handhold where the leader’s hands point down and the follower’s left hand is behind the back pointing outside while the right hand is pointing down.
Reached via:
- Double arm turn-in from open position
Right hammerlock #
The leader stands slightly to the right of the follower, maintaining a double handhold where the leader’s hands point down and the follower’s right hand is behind the back pointing outside while the left hand is pointing down.
Left shoulder-lock #
A leader left hammerlock. A closed position variation. The leader stands face to face with the follower, but the leader is offset about one foot to the left of the follower because the leader holds the follower’s right hand with the left hand from a shoulder lock position. The leader places the back of the right hand on the follower’s right shoulder in order to lead a whip or some other pattern. This position can be reached by the leader by starting from an open position and performing a right-side pass inside turn with a leader clockwise turn without releasing the follower’s hand.
Right shoulder-lock #
A leader right hammerlock. A closed position variation. The leader stands face to face with the follower, but the leader is offset about one foot to the right of the follower because the leader holds the follower’s left hand with the right hand from a shoulder lock position. The leader places the back of the left hand on the follower’s left shoulder in order to lead a whip or some other pattern. 1
Pattern count combinations #
Many popular songs are composed such that each phrase is 32 beats. The leader can use this knowledge to sequence his/her patterns such that they add up to 32 beats, leading to sequences that consistently end on a phrase change.
If you start dancing at the beginning of a phrase change, then you must sequence your patterns to add up to 32. If started late by two steps, then you sequence must last 30 beats, etc.
The equations below split up the total number of beats into chunks that can be translated into specific patterns. For example, the equation \(32=6+6+6+6+8\) could be translated into \(4\) basic patterns and \(1\) whip.2
$$ \begin{aligned} \\ 32&=6+6+6+6+8 \\ &=6+8+8+10 \\ &=8+8+8+8 \\ &=8+12+12 \\ \\ 30&=6+6+6+6+6 \\ &=6+8+8+8 \\ &=6+12+12 \\ &=8+10+12 \\ &=10+10+10 \\ \\ 28&=6+6+6+10 \\ &=6+6+8+8 \\ &=8+10+10 \\ \\ 26&=6+10+10 \\ \\ 24&=6+6+6+6 \\ &=8+8+8 \\ &=12+12\\ \\ 22&=6+6+10 \\ &=10+12 \\ \\ 20&=6+6+8 \\ &=8+12 \\ &=10+10 \\ \\ 18&=6+6+6 \\ &=10+8 \\ \\ 16&=8+8 \\ &=10+6 \\ \\ 14&=8+6 \\ \\ 12&=6+6 \\ &=12 && \text{When doing a 6+RAG+8 pattern} \\ \\ 10&=10 && \text{When doing a 6+RAG+6 pattern} \\ \\ 8&=8 \\ \\ 6&=6 \\ \\ 4&=? && \text{Not including 4-beat starter steps} \\ \\ 2&=? && \text{Not including styling variations} \\ \end{aligned} $$
I am not sure whether 4-beat or 2-beat patterns exist in West Coast Swing. There are starter steps that are 4-beats long, but they are only used to start the dance. Also, 6-beat and 8-beat patterns may be lengthened via styling to make them 2 beats longer, but I have never heard of a standalone 2-beat pattern.
Some ways to lengthen a pattern by 2 beats are:
- Replace the 2-beat anchor step with a 4-beat, slow, and smooth ronde
- Replace the 2-beat anchor step with 4 small steps, 1-beat each
- Split the 6-beat or the 8-beat pattern into 2-beat increments, and repeat any 2-beat increment. For example, a 6-beat pattern can be split into 2-beat increment like walk-walk triple-step triple-step, and then lengthened by 2-beats by adding another walk-walk at the beginning or another triple-step any time after the initial walk-walk. It is a subtle form of copy-and-paste.
Patterns #
Sugar push #
On 1, step back with left foot, on 2, step back with right foot, on 3&4 do a rock step, and on 5&6 do an anchor step.
Sugar push outside pivot turn #
Also known as a Sugar Tuck.
On 1 step back, on 2 raise your left hand to the follower’s ear level such that the hands are palm-to-palm. The leader’s hand can be pointing straight up at 12 o’clock or angled, pointing at 10 o’clock. The left arm should be kept close to the body before and after the turn, as if holding a piece of paper under the armpit, even during the turn. On 3&4 do the rock step while slightly pressing into the followers raised hand. The follower should press your hand back with the same amount of force to achieve compression. The turn should begin immediately on 4 after the compression was created on 3& and movement backwards has begun. The turn should be completed in one beat so there is time for the follower to anchor on the 5&6.
Sugar push inside pivot turn #
Use it from an open position. On step 2 raise your left hand and make it perpendicular to the floor. The hands connection should be palm-to-palm and the leader’s left hand should be pointing at 2 o’clock to indicate the direction of the pivot turn. On 3&4 generate compression on the 3& and begin the turn on 4 as you step backwards.
Sugar push goofy inside pivot turn #
Use it from a goofy hold. On step 2 raise your right hand to her face level at shoulder width with your hand pointing at 2 o’clock. On step 3&4 do compression on 3& and begin the turn on 4 as you step backwards.
Sugar push inside pivot turn into closed position #
The same as a [sugar push inside pivot turn] but during step 4, during the turn, place your right-hand fingers in between the follower shoulder blades. As the follower rotates, the right hand will be flat against the shoulder blade, achieving a closed position. Steps 4 5&6 may need to be bigger than usual to close the gap between you and the follower, otherwise there will be a lot of space between you both, as if you were in an open position.
No-triple sugar tuck #
This is a sugar tuck but the 3&4 becomes a 3 and 4 step-tap because the & goes away.
For the leader’s footwork, there is no 3&4, it is only 3 and 4. Step 1 is back, step 2 is back and to the right. Step 3 is a tap step such that the leg points to the floor and slightly to the left, but your weight is still on your right leg from step 2. On step 4, you shift weight onto your left leg that was pointing to the floor. Steps 5&6 are an anchor step.
Follower’s also have the option to perform the no-triple sugar tuck by picking up one of their legs and using its momentum to propel themselves through the turn.
Single-arm turn-in #
The footwork is the same as in a sugar push for the leader. Use it from an open hold. Steps 1 and 2 are for executing a piston so the follower will turn 180 degrees into back-to-front position by the end of step 2. On 3& raise your left arm over her head. On 4 gently push her back in between her shoulder blades so she knows to walk under the arm. Steps 5&6 are an anchor step.
Double-arm turn-in #
Same as single-arm turn-in, but use both hands to do a left hammerlock. It is technically possible to achieve the same by doing a sugar tuck while holding the follower’s left hand, but the correct way is to do a pump prep, which happens at waist level.
Hairbrush #
Also known as a head-wrap. It requires a handshake or scout hold. The hairbrush can be performed by brining the hand behind the leader’s or the follower’s head. It is interchangeable.
Sugar tuck chase #
Same as a sugar tuck up to but not including step 4. Step 4 should be big and steps 5&6 should be big steps backward as the tuck turn happens. Usually, the follower does a turn, but this time the follower will do a 1.5 turn so the follower is facing backward. The leader should be on the follower’s left side, with the chest pointing to the followers left shoulder, in a starter position. The starter position can be followed by a passing tuck!
Sugar tuck with spin #
Same as a tuck turn, but on step 4 the left hand applies more force so the follower can do a double spin. Make sure to draw a halo around the follower’s head twice.
Right-side passes #
Also known as a fake whip.
Right-side inside pass #
Also known as a right-side underarm pass.
The footwork for the leader is the same as in a right-side pass, but from a goofy position. The handwork is the mirrored equivalent from a left-side outside pass.
Right-side outside chain turn #
The footwork is the same as a right-side pass. The handwork is different. On step 1 do a prep to your right, and don’t do a prep for step 2, instead, go directly into a J-hook (rotating clockwise) over her head. You have to be fast. It takes 2.5 chain turns.
Right-side inside pass into parallel position #
Use it from an open hold. The footwork and most of the handwork is the same as in a right-side inside pass. The follower will turn and her back should be visible by the end of step 2. Immediately when the follower’s back is visible, slide your hand from her back to her shoulder (3&4), and down the arm (5). You should have a parallel handhold when finishing the anchor step (5&6).
Right-side pass into closed position #
Use it from an open hold. The footwork and most of the handwork is the same as in a right-side inside pass. The follower will turn and her back should be visible by the end of step 2. Immediately when the follower’s back is visible, place your right-hand fingers in between her shoulder blades. As the follower rotates, the right hand will be flat against the shoulder blade, achieving a closed position. In steps 3&4, make step 4 bigger. Also make 5&6 bigger than usual to close the gap between you and the follower, otherwise there will be a lot of space between you both, as if you were in an open position.
Right-side inside chain turn #
This is a right-side pass with 2.5 turns instead of 1.5 turns. For step 1 give a prep toward her right ear and immediately begin spinning her counter-clockwise for 2.5 turns. If you give two preps instead of 1, then the turning will begin on step 3, and by that time it will be too late. The spinning must begin on step 2 or right before step 3.
There are two preps on steps 1, 2 and they are the same as in the inside turn.
Right-side outside leader turn #
Use it form an open hold. Same as a right-side pass up step 4. On the 5&6, the leader turns clockwise 1 time to the left of the slot into a left shoulder-lock. The back part of the hand should be firmly placed on the follower’s right shoulder for leading the following step.
Short right-side inside turn #
Also known as a short right-side pass.
It is like an L in Tetris, whereas a regular right-side pass is the straight piece in Tetris. Step 1 is back-leftwards, and step two is a cross step. The movement leftwards happens on number 4. In other words, rather than stepping into the slot on step 4, you are stepping past the slot. The anchor step can be a cross or a hook.
Left-side passes #
For the footwork, on 1 step backwards and to the right 45 degrees counter-clockwise, on step 2 step step backwards and to the right 45 degrees counter-clockwise. On step 3&4 step back and then front with the left leg, such that step 4 goes back into the slot at a 45 degree angle. On steps 5&6 do an anchor step, such that another 45 degrees are added on step 5.
Left-side outside pass #
Also known as passing tuck.
For the handwork, start in open position. Raise your left hand above her head by step 2 such that her right hand is in front and above her face with about 1 feet of distance. On the 3&4 there should be some compression buildup so the highest compression happens on step 4 whenever you step into the slot and the follower begins the turn. By step 6 the hands should go back down to about waist-level.
Free spin #
It requires a goofy handhold. The footwork is the same as in a left-side pass. On step 2 prep to the left and on step 3 throw the hand to the right so the follower turns counter-clockwise. On 4 step into the slot and catch the follower’s hand. On 5&6 do an anchor step.
Roll-in-roll-out #
It is similar to a free spin. It requires a goofy handhold.
Left-side goofy inside chain turn into closed position #
Prep 1 is on line with the follower’s shoulder. Prep 2 is on line with the follower’s face. Step 3&4 is over and behind the followers head such that the follower’s hand gets released on step 4 so your right hand can slide down the follower’s head. On step 4 step back into the slot into closed position.
Whips #
Basket whip #
Steps 1 thru 4 are same as a right-side pass, but the handwork is different. For handwork, make an L, such that the left arm points up and the right hand points to left elbow. It is easier to start this pattern from a parallel handhold.
Basket whip with an outside turn #
It looks like a basket whip with a tuck turn exit. It is the same as a basket whip up to step 4. On step 5 raise the left hand (like in a tuck turn) and release the right hand, turning the follower from steps 6 thru 8.
Basket whip with an spinning anchor #
It looks like a basket whip with an accelerated tuck turn exit. It is the same as a basket whip up to step 4. On step 5 raise the left hand on and release the right hand, turning the follower from step 6 thru 8 with plenty of energy so she can do a double spin. Make sure to draw a halo around her head twice.
Carwash whip #
It requires a goofy hold or a parallel hold. Be in a goofy hold by step 4. Same as whip up to step 4, on 5 don’t do a hook step, do a cross step forward. Then turn counter-clockwise on 6 and do an anchor step 7&8. I think in step 5 you switch hands (from left to right) and bring your right hand to your lower back, signaling her to go back. On step 5 you can give a strong indication for the follower to turn clockwise by putting her left hand on your right hip. Her left hand will collide with your right hip as she steps backwards and your hip will push her arm clockwise.
Decapitate whip #
A variation of a reverse whip. It requires a handshake hold. Do a J-hook, but on step 3 don’t release her right hand, go over her head. On step 4, hold or “cup” her left triceps with your left hand. Use your right hand to turn her back into the right position.
Hustle whip #
The footwork is the same as in a whip. For the handwork, a parallel handhold is necessary. Open the arms on 1,2 and close them by 3&. Open the hands on 4,5, and close them by 6. Post on 6 for the anchor step.
You may do a carwash whip exit.
Hustle whip inside turn into open position #
The footwork is the same as a hustle whip, and the handwork is the same up to step 4. On step 4, apply tension to lead the follower forwards while raising your left hand. On 5, raise your left hand as though you were looking at your clock. Your left hand should be aligned to her nose. On 6, as she is passing by, draw an counter-clockwise halo around her head and release your right-hand grip. Then do an anchor position in open position.
Hustle whip inside turn into parallel position #
Same as a hustle whip inside turn into open position up to step 6. On step 6, immediately when the follower’s back becomes visible, slide your fingers across her back, shoulder, and arm into a parallel hold.
Hustle whip outside turn #
The footwork is the same as a hustle whip, and the handwork is the same up to step 4. On step 4, apply tension to lead the follower forwards while raising your left hand. On 5, raise your left hand as though you were asking a question. Your left hand should be at her right-ear level and at shoulder-width. On 6, as she is passing by, draw a clockwise halo over her head without releasing your right-hand grip. This should put you into a left hammerlock position with both hands in a weird position.
Reverse whip #
From an open hold, for steps 1 thru 4, do a right-side pass into closed position. You must not let the follower step back on step 4. You have to pull her so she steps forward, otherwise she will already be anchored on her right foot. In other words, on step 4, she must be stepping forward with her right foot (in between your feet). If she is stepping backward, you are too late (put fingers in between shoulder blades as she passes). For steps 5 thru 8, continue the whip as normal.
From a handshake hold, for steps 1,2 do a reversed J-hook away from your right hip. On 3, toss her right hand away from your right hip. Use your right hand to hold her shoulder blade.
Pass-through whip #
It is similar to a carwash whip. It requires a goofy handhold. (do a sugar push and release left hand. You must use the right hand, like in a free spin): in steps 1 and 2 raise your hand over her head, in steps 3 and 4 bring your right hand to your lower back while giving your partner a tug. Step 4 is a regular whip step, but 5 isn’t. Step 5 does not have any rotation. Simply place your right foot next to your left foot. Step 6 requires your left foot to step back so you go into the slot. Steps 7&8 you are also stepping backward into the slot. Then hold your partner’s hand with your left hand.
Behind-the-back whip #
Use it from an open position. On step 1 step back and to the left such that left foot points 90 degrees counter-clockwise. On step 2 close your feet so your whole body is pointing 90 degrees counter-clockwise. Also, on step 2 grab the follower’s right hand with your right hand and immediately offer your left arm at either waist level pointing at 8 o’clock or at neck level pointing at 2 o’clock. The 3&4 are not progressive, or they can be progressive but stepping backwards. Steps 5, 6, 7&8 are normal. Watch video.
Apache whip #
Not to be confused with the behind-the-back whip. Same on 1 and 2, but on 3 and 4 you put the follower’s right hand behind her lower back and grab her right hand with your right hand into a goofy handshake. Watch video.