4/10  I am happy to announce that the ‘Play set-up’  is no longer a component of WCS standard elements. Ladies ‘play’ should be implemented during side passes, open tuck turn and push break steps only. It is not necessary to ‘open the slot’ for ladies to add enhanced styling or movements to extend timing for phrasing. This can and should be accomplished through basic steps. It is STILL considered ‘bad form’ for the lady to ‘hijack’ the mans lead. The following description however, though outdated, can still be used in social circles as a way to ‘dress-up’ a ladies part if she desires the opportunity.

Mark T

 Still today, many leaders step onto their ‘rail’ on 1, raise the left hand with a slight resistance and use this action as the indication they are inviting the follower to ‘play’ across the slot. Well, yes they have.

The problems with this are, the follower has already committed to the 1, is suddenly surprised for a now expected ‘play’, and has used a portion of her play ‘space’ before she can put a play into action. A skilled dancer very much in touch with the music can quickly adapt and spontaneously add an appropriate and/or attractive play of some sort. Much like extending a common side pass with a musicality styled interpretation, which is the follower’s prerogative at any time…known as an ‘Adderuption’. (see below)

But an intentional play set-up shouldn’t be a surprise. Mark has taught that the leader should set up on his rail on the 5&6 prior to the play, ideally with a sailor shuffle without any lead on the 1. This allows the follower ample opportunity to formulate an appropriate play for the music and the full slot to execute it.

A simple but very effective concept the followers really appreciate.

• Along with this concept is the idea that every side pass ‘play’ is followed by the normal 3&4 5&6 exit and anchor. Easy in, easy out. No need to guess how to finish.
• Also was the teaching concept and understanding that EVERY push break, right or left side pass and Open Tuck turn was an open invitation for the lady to ‘Enhance’ the move and/or extend timing for the purposes of phrasing.  This extends the original intent of the lead but doesn’t interfere due to the positions and minimal amount of lead being used. This is important because many ladies are known to ‘steal’ or ‘hijack’ the lead at other inopportune times. Knowing when its appropriate or not is important.

If executing a move or pattern that involves whip timing, ‘counting’ a pattern would add up to 8 beats. There is no need to ever count any pattern beyond this point. Regardless of how many beats it may take to complete any move or pattern, the dancers simply need to know they have extended 2 beats during the movement execution as many times as they wish until completion. This concept insures that any move, pattern or play can be ‘worked’ as long as the dancers feel comfortable with it.

For example, instead of learning a ‘pattern’ as follows:

1 2 3&4 5&6 7&8 9 10 11 12 13&14 15&16 17&18

Whatever pattern constituted this amount of time should have been thought of as:

1 2 3&4 3&4 3&4 5 6 5 6 7&8 7&8 7&8

Because, whether it was extended triples or walks or even just body movement, the dancer extended a certain 2 beat ‘section’ of the basic (6) or whip (8) count to do it. And the move probably could have been shortened or extended further at the discretion of the dancers. If you learn a pattern has to be a certain number of beats, you have just undermined what this dance is all about.

Many teachers today and many of them highly regarded competitors, still teach a pattern by ‘adding up’ the beats which usually just confuses the leader as to where he has to be on a certain count, as well as thinking the move has to be done in a required number of beats…instead of just learning what the movement is and extending freely by personal interpretation.

Simply be aware of which two beats you are ‘working’ and move on when finished. Every movement will ultimately end with an anchor action.

• The essence of WCS is the concept of taking two beats at a time and working them as long as you please, to interpret what you feel, in the music you are dancing with.
• The basic timing and push break position is just a place to start and come back too.
• The 1 2 sets direction. The center counts, 3&4 + 5&6, are where almost all of the ‘movement’ happens. The anchor finishes any ‘movement’. Any two beats though can be extended.