Learn how to beautifully dance
the TOP Spin
Silver Level Figure. AA compact backward turning figure used to change direction elegantly.
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The Top Spin is a sophisticated and practical silver-level figure, prized for its ability to effortlessly redirect movement on a crowded floor. It embodies the fluid adaptability of Foxtrot, allowing a couple to spin away from trouble with seamless grace. Like a leaf caught in a gentle eddy of wind, it turns its own momentum into a beautiful, unexpected change of course.
The Top Spin is usually a pre-bronze level Foxtrot figure. For the full list of Foxtrot figures corresponding to each medal level, see the Figure List for Foxtrot.
Top Spin (Man)
Commence at a corner in OP, facing DW.
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | |||
| 1 | 1 | Q | LF back in CBMP | T | Backing LOD | against LOD | 1/8 to L (before 1) | Up | OP | ||
| 2 | 2 | Q | RF back | T | Backing DW against LOD | DW against LOD | 1/8 (1→2) | Up | Closed | ||
| 3 | 3 | Q | LF to side & slightly fwd | T | Pointing DC of new LOD | New Centre / DC | 1/4 (2→3) body turns less | R | Up. | Closed | |
| 4 | 4 | Q | RF fwd in CBMP | T H | Facing DC | DC | R | Up. Lower e/o 4 | OP |
For the Man, the Top Spin is initiated from a position outside partner, typically following a checked Reverse Turn. On the first quick count, turning the body to the left, move the left foot slightly to the right, placing it behind the right foot directly against the line of dance; this is a backward step in contrary body movement position, taken on the toe with the body backing the line of dance. Maintain a strong frame and a forward poise into the center of the partnership, keeping the head looking well to the left to initiate the turn and ensure a clean body rotation. Keep the upper body calm and collected, allowing the lower body to execute the turn while maintaining a constant, supportive connection to your partner.
On the second quick count, continue turning the body to the left and step back with the right foot, diagonally to the wall against the line of dance; the footwork is on the toe, the alignment is backing diagonally to wall, and the partner is now in a closed position. Use contrary body movement on this step to continue the rotation, connecting the right shoulder down into the movement while keeping the left side extended and forward. Ensure your sway to the right is a natural result of the body flight and not a forced contortion, creating a harmonious and elegant body line from head to toe.
On the third quick count, step to the side and slightly forward with the left foot, body now facing the new line of dance; the footwork is the toe, with a body rise maintained and a right sway held from the previous step. The body completes a quarter turn between the previous step and this one, though the body turns slightly less than the feet, which will point toward the new diagonal center. This step collects the momentum and prepares for the forward progression, with the body flight now moving forward again. Focus on a smooth transition of weight and a continuous flow of movement, ensuring the frame remains unbroken and the motion feels effortless.
On the fourth quick count, step forward with the right foot in contrary body movement position, outside partner, facing diagonally to center; lower at the end of this step with footwork transitioning from toe to heel, while maintaining the right sway. This step regains full forward progression and re-establishes the classic outside partner position, preparing for the next figure, which is often the last three steps of a Reverse Turn. The body flight is now decisively forward once more, with the head turning to look down the new line of dance. Think of stretching long and low into this step, finishing the lowering action with control to achieve a polished and graceful conclusion to the figure.
Top Spin (Lady)
Commence in Closed Position, facing LOD.
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | |||
| 1 | 1 | Q | RF fwd in CBMP | T | Facing LOD | against LOD | 1/8 to L (before 1) | OP | |||
| 2 | 2 | Q | LF fwd | T | Facing DW against LOD | DW against LOD | 1/8 (1→2) | Up | Closed | ||
| 3 | 3 | Q | RF to side & slightly back | T H | Backing new LOD | Backing new LOD | 1/8 (2→3) | L | Up. | Closed | |
| 4 | 4 | Q | LF back in CBMP | T H | Backing DC | Backing DC | 1/8 (3→4) body turns less | L | Up. nfr Lower e/o 4 | OP |
For the Lady, the Top Spin is a responsive and compact figure that requires precise footwork and a light connection. On the first quick count, turning the body to the left, move the right foot to the left across the front of the left foot, outside partner; this is a forward step in contrary body movement position, taken on the toe with the body facing the line of dance. Keep the head looking well to the right, following the man’s lead, and maintain a soft but supportive frame to feel the subtle change in direction. Allow the man to guide the rotation, responding with precision rather than initiating any independent movement yourself.
On the second quick count, continue turning the body to the left and step forward with the left foot, diagonally to the wall against the line of dance; the footwork is on the toe, the alignment is facing diagonally to wall, and contrary body movement is used. Stay up on the toes with a sustained body rise, feeling a connection from the head through the shoulder and hip down into the moving left foot. Monitor the movement through the man’s center and keep the left arm light and responsive to allow him to lead the turn with clarity.
On the third quick count, step to the side and slightly back with the right foot, body now backing the new line of dance; the footwork is toe to heel, with a body rise maintained and a left sway now being used. An eighth of a turn is made between the previous steps, with the feet swiveling more than the body to achieve the new alignment. The body flight is now shifting from a turning action to a more lateral and backward movement, all while staying perfectly in sync with the man. Allow the feet to swivel freely on this step to accommodate the turn without disrupting the upper body position or breaking the connection.
On the fourth quick count, step back with the left foot in contrary body movement position, backing diagonally to center; lower at the end of this step with footwork transitioning from toe to heel, while maintaining the left sway. This step, taken with no foot rise, concludes the turning action and prepares for the following backward step. Think of stretching the right side diagonally away to create a beautiful opposing body line that enhances the sway and the sense of movement. Focus on creating a long, elegant line from the left fingertips through to the right toe, finishing the figure with poise and musicality.
General Notes
Core Points
- The figure is typically preceded by a checked Reverse Turn, finishing on the toe to maintain the rise and prepare for the quick change of direction.
- Use precise contrary body movement on the man’s second step and the lady’s second step to power the rotation without losing balance.
- The man’s first step is a compact, collecting step placed behind the standing foot, not a large traveling step.
- Maintain a consistent body rise through the first three quick counts for both partners, only lowering at the very end of the figure.
- Alignments are critical; the man must be conscious of backing the correct alignment against the line of dance to ensure the turn happens in the intended direction.
Advanced Elements
- The sway for the man is to the right, and for the lady to the left; it is a natural body tilt caused by the turn and should not be forced or over-exaggerated.
- Keep the frame strong but supple throughout, allowing for clear communication of the turn without any independent arm movement.
- The lady must allow her feet to swivel more than her body on the third step to achieve the new alignment smoothly and without resistance.
- The overall feeling should be one of coordinated, effortless spinning on a central axis, with both bodies moving as one unit.
| Common mistake | Solution |
|---|---|
| Taking too large a first step, which disrupts balance and slows the turn | Keep the collecting step on the first quick compact and close to the standing foot. |
| Lowering the heel on the preceding figure, which kills the rise and makes the Top Spin sluggish | Maintain the rise from the previous figure by staying on the toe to be ready to pivot. |
| The man forces the turn with his arms instead of using his body | Lead the rotation with your left side and hip turn, keeping the arms still and in frame. |
| The lady anticipates the turn and overturns, getting ahead of the man | Follow the man’s body lead precisely, waiting for the physical signal to rotate. |
| Stiff, rigid sway that breaks the body line rather than enhancing it | Let the sway be a natural consequence of the turn and body flight, not a separate action. |
| Breaking the frame connection by collapsing the left arm on the turn | Maintain the constant, elastic resistance in the frame throughout the rotation. |
Preceding Figures x
Commenced backing LOD (as described above)
| Bronze | 1-3 Natural Turn |
| Silver | 1-6 Reverse Wave |
| Gold | 1-3 Curved Feather to Back Feather & Feather Finish |
Commenced backing DW
(turning 1/8 less between steps 1-2)
| Silver | Open Natural Turn |
Following Figures x
Ended Facing DC (as described above)
| Bronze | Reverse Turn 1-4 Reverse Turn to Basic Weave |
| Silver | Closed Telemark Open Telemark Outside Swivel Reverse Wave |
| Gold | Bounce Fallaway with Weave Ending Fallaway Reverse & Slip Pivot |
Ended Facing LOD (having rounded a corner)
| Bronze | Three Step Change of Direction 1-4 of Reverse Turn to Basic Weave |
| Silver | Outside Swivel Reverse Wave Top Spin |
Ended Facing DW of new LOD (having rounded a corner)
| Bronze | Three Step Change of Direction 1-4 of Reverse Turn to Basic Weave |
| Silver | Outside Swivel Reverse Wave Top Spin |
List of Abbreviations
| Timing | S: Slow Q: Quick |
| Steps | RF: Right foot LF: Left foot fwd: forward diag: diagonally CBMP: Contra Body Movement Position i/e: inside edge |
| Footwork | T: Toe H: Heel F: Flat |
| Turn | L: Left R: Right cont: continue com: commence |
| Alignment & Moving | LOD: Line of Dance DC: Diagonal Centre DW: Diagonal Wall |
| Rise & Fall | NFR: no foot rise com: commence cont: continue e/o: end of |
| Position | OP: outside Partner PP: Promenade Position CPP: Counter Promenade Position PO: Partner outside |
| Sway | L: Left R: Right F: Forward |
For a more detailed explanation of terms and abbreviations, see the Glossary.
Demonstrations
These 3rd party (external) demonstration videos typically show the Closed Impetus and Feather Finish being performed from different angles, perspectives and speeds. However, they generally have little or no commentary or explanation.
For videos that also include commentary and tips that are aimed at assisting you perform the figure properly, see the next section “Tutorials”.