Learn how to beautifully dance
the open IMpetus & WING
The Open Impetus and Wing is a Modern Waltz figure that transitions from a controlled heel turn into an elegant promenade, culminating in the lady’s graceful movement around the man. This sequence epitomizes the waltz’s dynamic rise and fall, demanding precise coordination and fluid body action to create seamless momentum across the floor. Like a pair of swans gliding through a mirrored lake, it embodies timeless beauty through harmonious partnership and sculpted movement.
The Open Impetus followed by a Wing is usually a silver level Modern Waltz figure. For the full list of Modern Waltz figures corresponding to each medal level, as per the Imperial Society for Teachers of Dancing (ISTD), see the Figure List for Modern Waltz.
Open Impetus & Wing (Man)
Commence in Closed Position, backing LOD.
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | ||
| 1 | 1 | LF back | T H | Backing LOD | LOD | 1 | com to R | – | – | Closed |
| 2 | 2 | RF closes to LF (heel turn) | H T | Facing DC | under body | 3/8 (1→2) | L | rise e/o 2 | Closed | |
| 3 | 3 | LF diag fwd in CBMP | T H | Facing LOD Pointing DC | DC | 1/8 (2→3) | – | Up. Lower e/o 3 | PP | |
| 4 | 1 | RF fwd across in CBMP | H T | Facing LOD Pointing DC | LOD | 1/8 to L (1→2) | – | – | PP | |
| 5 | 2 | Draw LF toward RF | Flat | towards 6 | com to turn body to L | – | slight rise. NFR | |||
| 6 | 3 | LF closes to RF without weight | Flat | Facing DC | cont to turn body to L | – | slight rise. NFR. lower e/o 3 | OP on L | ||
| (7) | (1) | RF fwd in CBMP, OP |
Open Impetus
Count 1: Step back with the left foot along the line of dance, maintaining the sway from the preceding natural turn, with body weight fully transferred onto the heel. Keep the upper body aligned backward while initiating a right turn using contra body movement, ensuring the frame remains connected to the lady’s right side. The sway remains neutral, avoiding any collapse in the torso, and the head stays directed toward the line of dance. Sustain a firm but gentle lead through the frame to guide the lady’s forward step without rushing the turn.
Count 2: Close the right foot to the left foot, executing a smooth heel turn to complete a three-eighths right rotation between counts 1 and 2. Rise slightly through the body’s diagonal as weight shifts, allowing the left sway to develop naturally from the hips while keeping the feet flat and grounded for stability. Rotate the body past the base, stretching the right side to maintain balance, with the head held forward and upward. Focus on a controlled rise through the ankles and knees to avoid jerky motion, ensuring the lady feels supported through the rotation.
Count 3: Step diagonally forward with the left foot into promenade position, pointing toward the diagonal center with the body facing the line of dance, while lowering gently at the end of the beat. Maintain a slight right body turn to open the promenade, with neutral sway and shoulders parallel to the lady’s, allowing the left side to lead smoothly into the movement. The rise peaks here, creating a floating sensation before the descent. Keep the frame expansive and unified to transition effortlessly into the Wing.
Wing
Count 1: Step forward with the right foot in promenade position and contra body movement position, aligning toward the diagonal center with the body facing the line of dance, using the heel for weight transfer. Initiate a subtle right sway transition across the measure, avoiding abrupt shifts, and begin rising at the end of the beat. The upper body remains poised, with the head directed toward the line of dance. Lead the lady’s forward step with clarity, ensuring her momentum matches yours.
Count 2: Draw the left foot toward the right foot without full weight transfer, rotating the body left to allow the lady to pass, while applying pressure to the toe of the right foot and inside edge of the left toe. Maintain slight rise and neutral sway, keeping the frame compact and centered as the lady moves around your left side. The head remains steady, with elbows soft but forward to accommodate her path. Minimize upper-body rotation to prevent the lady from overstepping or losing connection.
Count 3: Close the left foot lightly to the right foot, finalizing the body’s left turn to end in “wrong position” (lady on the man’s left side), lowering at the end of the beat. Sustain sway neutrality, ensuring the lady’s head remains on your right side while her hips align to your left. Finish with controlled compression in the frame to prepare for the next figure.
Open Impetus & Wing (Lady)
Commence in Closed Position, facing against LOD.
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | ||
| 1 | 1 | RF fwd | H T | Facing LOD | LOD | 1 | com to R | S | com to rise e/o 1 | Closed |
| 2 | 2 | LF to side, then brush RF to LF | T | Backing DC | DW | 3/8 (1→2) | R | cont to rise | Closed | |
| 3 | 3 | RF to side | T H | facing Centre | DC | 3/8 (2→3) | S | Up. Lower e/o 3 | PP | |
| 4 | 1 | LF fwd in CBMP | H T | Facing DC | LOD | 4 | com to L | S | com to rise e/o 1 | PP |
| 5 | 2 | RF fwd | T | Facing Centre | Centre | 1/8 (1→2) | L | cont to rise | ||
| 6 | 3 | LF fwd in CBMP, PO | T H | Facing against LOD | Against LOD | 1/4 (2→3) body turns more | L | Up. Lower e/o 3 | PO on L |
Open Impetus
Count 1: Step forward with the right foot along the line of dance, initiating a right turn with contra body movement while keeping the right side connected to the man. Maintain neutral sway, with the head directed forward and the spine elongated to preserve frame integrity. Move decisively but smoothly, avoiding anticipation of the promenade.
Count 2: Step side with the left foot, completing a three-eighths right turn between counts 1 and 2, rising through the toe while developing right sway. Allow the feet to pivot beneath the body before the head turns, stretching the left side to create a soft, delayed rotation. Prioritize stability over speed, letting the man’s lead dictate the turn’s progression.
Count 3: Brush the right foot to the left, then step side into promenade position toward the center, lowering at the end of the beat. Rotate the body less than the feet to face the diagonal center, lifting the left hip slightly toward the man for elegant asymmetry. Emphasize a strong left-side stretch to achieve a high, rounded shoulder line.
Wing
Count 1: Step forward and across with the left foot in promenade position and contra body movement position, rising at the end of the beat while shaping left. Keep the right shoulder anchored to the man’s frame, ensuring hips square naturally upon landing. Take a generous step to maintain flow, resisting the urge to change sway prematurely.
Count 2: Step forward with the right foot, preparing to move outside the man’s left side, turning one-eighth left between counts 1 and 2 while continuing to rise. Lead with the right side, taking small steps to circle closely around him without creating space, and arch the upper back to curve the head “up and over” an imaginary bar. Keep steps compact to avoid gapping, feeling lifted through the core.
Count 3: Step forward with the left foot in contra body movement position to end outside the man’s left side, lowering at the end of the beat. Allow the arms to mirror his shape, with elbows forward and head turned sharply right to face him, ensuring the head remains in his right visual quadrant. Blend your motion fluidly into his frame to sustain unity.
General Notes
Core Points
- Footwork precision: The man’s heel turn (Open Impetus count 2) requires flat, swiveling feet to avoid imbalance, while the lady’s brush-step (count 3) demands ankle flexibility for smooth transitions.
- Alignment discipline: In the Wing, both partners must maintain diagonal-center alignment to navigate rotations cleanly.
- Rise and fall control: Rise through the ankles and knees late in each beat (e.g., end of count 2) and lower gradually to embody the waltz’s wave-like quality.
- Contra body movement: Use it sparingly to initiate turns without over-rotating the upper body.
- Timing unity: The three-eighths turn in Open Impetus occurs between counts 1–2, not within a single beat.
- Weight distribution: In Wing count 2, the lady’s weight stays centered over the balls of the feet to enable swift direction changes.
Advanced Elements
- Sway harmony: Develop sway as a full-body tilt from the ankles (e.g., left sway for man in Open Impetus count 2), not a shoulder drop.
- Frame integrity: The man’s arms must remain stable during the lady’s Wing rotation to prevent “pulling” her off-axis.
- Body line sculpting: The lady’s “up and over” head position in Wing count 2 elongates the spine, creating a photographable silhouette.
- Partner connection: Maintain constant right-side contact during Open Impetus to signal promenade transitions.
- Momentum flow: Let the heel turn’s momentum fuel the promenade’s forward sweep, avoiding pauses.
- Musicality: Accent the “BOOM” (downbeat) for grounded steps and the “cha-cha” (beats 2–3) for rising elegance.
“A compass needle finding true north—steady, purposeful, and unwavering.”
Preceding Figures
Commenced Backing LOD (as described above)
Commenced Backing DW
(turn only 1/4 between steps 1-2)
| Bronze | Reverse Corté Back Lock Progressive Chasse to Right |
| Silver | Cross Hesitation Drag Hesitation |
Following Figures
Ended Facing DC (swivel 1/8 to L at end of step 3)
| Bronze | Whisk Back Whisk |
| Silver | Open Impetus Turning Lock to L (ended in PP) |
| Gold | Turning Lock to R |
Ended Facing LOD (as described above)
| Bronze | 1-3 Natural Turn Double Reverse Spin |
| SIlver | Drag Hesitation |
| Gold | Fallaway Reverse & Slip Pivot |
Ended Backing DW of new LOD
(at a corner, swivel 1/8 to L at end of step 3)
| Bronze | LF Closed Change Whisk |
| Silver | Drag Hesitation |
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 Open Impetus & Wing 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”.
Tutorials
These 3rd party (external) tutorial videos include commentary and advice, that are aimed at teaching you how to perform the Open Impetus & Wing, properly.
Test Questions
Here are some questions relating to the Open Impetus & Wing, in the style and spirit of both:
- the DanceSport Australia Level 1 instructor/competition adjudicator technical assessment accreditation; and
- the ISTD “Waltz – Questions and Answers” by Elizabeth Romain, fellow ISTD.
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- When ended backing DW, what may follow an Open Impetus & Wing?
- Give two commencing alignments for the Open Impetus & Wing, and what are the completing alignments for these two versions?
- Is there rise on Man’s step 2 of the Open Impetus & Wing? If so, when and if not, why not?
- Which steps for the Man, and which step for the Lady of the Open Impetus & Wing have CBM?
- In the Open Impetus & Wing, why does the Man have two CBM steps, but the Lady only has one?
- When commenced backing down LOD, what three figures may precede an Open Impetus & Wing?
- When commenced backing DW, what five figures may precede an Open Impetus & Wing?
- For the Man, is the step following the Open Impetus & Wing always danced outside Partner?
- List the steps for the Open Impetus & Wing, for the Lady.
- Why is there no continuation of rise on the third step of the Man’s impetus turn?
- What may be the practical use of an Open Impetus & Wing?
- What figures may precede an Open Impetus & Wing?
- State the amounts of turn for each step for the Man, when commencing the Open Impetus Turn & Wing from Backing DW?
- Describe the differences between the Man and the Lady’s use of Rise on the Open Impetus & Wing.
- What may follow an Open Impetus & Wing?
- For each possible variation, state what the total (net) turn made on an Open Impetus & Wing?
- Step 3 of the Man’s Open Impetus & Wing is toe then heel. When does his left heel actually lower?
- What is the beat value of each step in an Open Impetus & Wing?
- State the alignments for the Lady, when the Man commences the Open Impetus & Wing backing DW.