Learn how to beautifully dance
the left whisk
The Left Whisk is a figure in Modern Waltz, renowned for its dramatic shaping and seamless transition into promenade positions. It serves as a sophisticated turning movement, often following figures like the Weave or Outside Change, and emphasizes controlled rotation, close partner connection, and elegant body lines. Like intertwined vines gracefully coiling and unfolding, this figure embodies the timeless beauty of waltz through its harmonious blend of precision and artistry.
The Left Whisk is usually a gold level Modern Waltz figure. For the full list of Modern Waltz figures corresponding to each medal level, as per the book “Ballroom Technique” and the Imperial Society for Teachers of Dancing (ISTD), see the Figure List for Modern Waltz.
Left Whisk (Man)
Commence in Closed Position, backing LOD.
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | ||
| 1 | 1 | RF back | T H | Backing LOD | LOD | com to L | Closed | |||
| 2 | 2 | LF to side & slightly fwd | T H | Pointing DW | LOD | 3/8 (1→2) body turns less | R | Closed | ||
| 3 | 3 | RF crosses behind LF | T | Facing DW | under body | R | CPP | |||
| 4 | 1 | Twist to the R on both feet | LF: Flat RF: T | Toward alignment of step 7 | gradually turn 1 full turn (4→7) body turns more | CPP | ||||
| 5 | & | Continue Twist | LF: F RF: T | Toward alignment of step 7 | as above | Closed | ||||
| 6 | 2 | Continue Twist | LF: F RF: T | Toward alignment of step 7 | as above | OP | ||||
| 7 | 3 | End with weight on RF | TH | Backing DC against LOD | as above | Closed |
On count one, step forward and across onto your right foot in promenade position and CBMP, moving diagonally to the center along the line of dance; your body should not yet begin to turn left, but your shoulders should remain square to your partner’s. Commence a very slight rise onto the ball of your foot at the very end of this step, preparing for the side step, while maintaining a strong forward poise into the movement. Keep your frame solid and your head looking well to your left, towards your partner, ensuring your right side is extended to offer her a clear and supportive space. Initiate the movement from your center, leading the lady forward and across with your body and not just your arms.
On count two, step side and slightly forward onto your left foot, now pointing diagonally to the wall; your body should now begin to turn gently to the left, and your right side should lead this side step to guide the lady into position. Continue the gentle rise commenced at the end of count one, reaching to the side with this step to create a smooth and expansive body flight, all while keeping your frame connected and your head position maintained. Your right arm should begin to soften and lower slightly in preparation for the whisk action, anticipating the lady’s movement into your side. Lead the lady’s path with the front of your body, ensuring your side step is generous enough to allow her to complete her movement comfortably.
On count three, cross your right foot tightly behind your left foot without weight, checking your forward momentum and creating the distinctive “whisk” position; your body completes a slight left turn, and your poise should now be neutral or slightly back to accept the lady’s weight as she settles into you. Lower gently into your left foot with slight flex in the knee, achieving a controlled conclusion with no rise and fall, while your body forms a graceful right sway against the lady’s left sway. Hold your frame firm but not rigid, with your right arm now comfortably supporting the lady’s back, and turn your head to look over the lady’s right shoulder to complete the harmonious picture. Focus on creating a unified shape with your partner, where your crossed feet provide a stable base for her elegant, checked contra-body position.
Left Whisk (Lady)
Commence in Closed Position, facing LOD.
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | ||
| 1 | 1 | LF fwd | H T | Facing DC | LOD | com to L | Closed | |||
| 2 | 2 | RF to side & slightly back | T | Backing DW | LOD | 3/8 (1→2) | L | Closed | ||
| 3 | 3 | LF crosses in front of RF | T H | Backing LOD | under body | 1/8 (2→3) | L | CPP | ||
| 4 | 1 | RF fwd (small) | H T | Facing against LOD | against LOD | com to R | CPP | |||
| 5 | & | LF fwd (small) | T | Facing DC | under body | 3/8 (4→5) | Closed | |||
| 6 | 2 | RF fwd (small) | T | Facing Wall | under body | 3/8 (5→6) | OP | |||
| 7 | 3 | LF fwd (small) | T H | Facing DC against LOD | under body | 3/8 (6→7) | Closed |
On count one, step forward and across onto your left foot in promenade position and CBMP, moving diagonally to the center; use CBM to initiate a left turn as your body begins to rotate against the man’s lead, feeling his right side leading you forward. Keep your head turned to the right, looking over your right shoulder, and maintain a strong connection through your left hand and right side body, allowing him to guide your path. Rise slightly onto the ball of your foot at the end of this step, preparing for the turn and the subsequent side step, all while moving with smooth continuity. Move with confidence into the space he provides, trusting the lead from his body and the support of his frame.
On count two, step side and slightly back onto your right foot, now backing diagonally to the wall; continue turning left on the ball of your foot to complete a quarter turn between counts one and two, allowing your left side to move forward towards the man as you close the gap between you. Your hips should now be parallel to the man’s, with your right hip moving close to the front of his body, and your weight should be fully transferred onto your right foot as you lower your left heel. Keep your right elbow slightly forward and out to the side to maintain the volume and shape of the hold, extending your right arm to give energy and connection to the man. Focus on gliding your right hip smoothly towards the man, creating a seamless connection without any loss of frame or poise.
On count three, step back onto your left foot in CBMP, checking your momentum along the line of dance; your body completes a further slight left turn, but your hips should stop rotating as your upper body continues to shape left, creating a beautiful contra-body stretch. Collect your right foot crossed in front of your left without weight, pressing your hips and both sides of your ribcage forward towards the man while you shape your upper body to the left and extend your head well to the left. Keep your right arm extended forward to the man, ensuring your elbow does not drop back, and breathe out to achieve maximum extension through your neck and head, finishing in a lifted, elegant pose. Imagine your body is a spiral; your base is anchored and connected to the man, while your upper body and head blossom into a graceful, extended flower.
General Notes
Core Points
- The man’s second step is side and slightly forward, not purely to the side; this enables him to maintain connection and provide the necessary space for the lady.
- The lady must take a genuine step back onto her left foot on count three; failing to transfer weight will block the man’s movement and collapse the figure.
- There is no standard rise and fall in this figure; the slight body lift is achieved through posture and stretch, not through the ankles.
- The man begins to turn left on count two, not count one; a premature turn on the first step will disrupt the lady’s promenade pathway.
- Both partners use CBMP on the first and third counts; this is essential for creating the correct body positions and hip alignment.
Advanced Elements
- The final shape is defined by oppositional sway; the man has a slight right sway, and the lady has a strong left sway, creating a harmonious and dramatic line.
- The lady’s focus is on creating a contra-body stretch within her own frame; her hips stop turning while her ribcage and head continue to rotate left.
- The man’s right arm must lower and soften to accommodate the lady on counts two and three; a high, rigid arm will prevent her from achieving her correct position.
- The connection is maintained through the man’s right side and the lady’s left side; partners must not “peel” apart at the shoulders to create the shape.
- Musicality is expressed through the checked, collected feeling on the third count; the energy is contained, not released, matching the music’s phrasing.
| Common mistake | Solution |
|---|---|
| Man steps purely sideways on count two | The man must step side and slightly forward to maintain connection and guide the lady. |
| Lady does not transfer weight onto her back step | The lady must take a full step back onto her left foot to avoid blocking the man’s movement. |
| Partners initiate the left turn too early on count one | The turn begins on the man’s second step, not the first, to allow for correct promenade movement. |
| Lady collapses her frame by dropping her right elbow | The lady must keep her right elbow slightly out and her arm extended forward to maintain shape. |
| The figure is danced with pronounced ankle rise | Use posture and stretch for lift, as there is no standard rise and fall in the Left Whisk. |
| The final shape lacks sway and extension | The man must create a right sway while the lady creates a strong left sway and head extension. |
| The lady turns her hips away from the man on count three | The lady’s hips must stop turning and remain facing the man while her upper body shapes left. |
“A key turning in a lock, releasing hidden pathways.”
Preceding Figures
Commenced Backing LOD
| Bronze | 1-3 Reverse Turn Natural Spin Turn Closed Impetus (at a corner) |
| Silver | Outside Spin |
Commenced in PP
| Bronze | Whisk Outside Change (ended in PP) Back Whisk Basic Weave (ended in PP) |
| Silver | Weave from Promenade Open Telemark Open Impetus (at a corner) Turning Lock to L (ended in PP) |
| Gold | Contra Check Turning Lock to R *Fallaway Whisk |
Following Figures
Ended Backing DC against LOD
| Bronze | Back Whisk |
Ended Backing against LOD
(under-turning steps 4-7 by 1/8 of a turn)
| Silver | Outside Spin |
Following step 3
| Gold | Contra Check |
(under-turning steps 4-7 by 1/8 of a turn)
List of Abbreviations
| Steps | RF: Right foot LF: Left foot fwd: forward diag: diagonally CBMP: Contra Body Movement Position |
| 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 Left Whisk 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”.