Learn how to beautifully dance
the open impetus & Cross hesitation
The Open Impetus and Cross Hesitation is a beautiful and essential Silver-level Waltz figure, combining dynamic rotation with poised control. It begins with the Open Impetus, transforming the couple from Closed Position into Promenade Position (PP) through a shared rotation led by the man’s heel turn. This seamlessly flows into the Cross Hesitation, where the man hesitates on one step over three counts while the lady executes a flowing reverse corte action, gracefully closing back into him. The entire compound figure unfolds over six counts of 3/4 time music (1-2-3, 4-5-6). Overall, the movement travels primarily along the Line of Dance (LOD), starting with the man backing LOD and typically ending with him facing Diagonal Centre (DC) after the Cross Hesitation. Expect a characteristic Waltz rise and fall, elegant sway, and the crucial interplay of Contra Body Movement (CBM) to facilitate the turns.
The Open Impetus & Cross Hesitation 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 & Cross Hesitation (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 turn 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 to side | T H | Facing LOD | DC | 1/8 (2→3) | Up. Lower e/o 3 | PP | ||
| 4 | 1 | RF fwd across in CBMP | H T | Pointing LOD | LOD | RF: 1/8 to L | com to rise e/o 1 | PP | ||
| 5 | 2 | LF closes to RF without weight | RF: T | Facing LOD | body copletes turn | – | cont to rise | Closed | ||
| 6 | 3 | Hold position | RF:T H | Backing against LOD | – | cont to rise. Lower e/o 3 | Closed |
- Count 1 (Open Impetus – Start): Prepare to receive your Lady’s drive step by gently flexing your standing leg (right knee) to lower slightly. Step back along the Line of Dance (LOD) with your left foot, using the inside edge of the toe then lowering to the heel. You are backing LOD. Apply strong Contra Body Movement (CBM) to the right (your left shoulder moves forward as your left foot goes back), initiating the turn to the right. Maintain a consistent sway to the right established from the preceding figure. Keep your frame strong and connected, allowing the lady to move forward confidently. This controlled step back, combined with CBM, is the foundation for the upcoming rotation.
- Count 2 (Open Impetus – Heel Turn): Close your right foot firmly to your left foot (without passing), performing a heel turn. Rotate 3/8 to the right between counts 1 and 2, finishing facing Diagonal Centre (DC). Your footwork is heel then whole foot. Rise smoothly at the end of this count. As you turn, your sway changes to the left; feel your left side stretching upwards. Keep your upper body well presented and your frame stable throughout the rotation. Ensure the turn happens on the spot; avoid traveling forward – your feet coming together signals the lady to travel around you. Maintain connection through your right side to guide the lady into Promenade Position.
- Count 3 (Open Impetus – Into PP): Step diagonally forward and slightly to the side with your left foot, leading the lady into Promenade Position. Finish moving toward Diagonal Centre (DC), with your body facing LOD and your feet pointing DC. Your footwork is toe then heel. You are now ‘up’ on the balls of your feet. Maintain a slight body turn to the right relative to your feet to establish the PP angle. Keep your body upright with minimal sway. Lower smoothly to the heel at the end of the count. Focus on presenting your left side forward in PP, keeping your right side connected to the lady. Your arms should hold a clear, supportive promenade shape, ready for the transition.
- Count 1 (Cross Hesitation – Forward): Step forward in Promenade Position (PP) with your right foot, moving along LOD. Place your foot in CBMP (Contra Body Movement Position), meaning your right foot crosses slightly in front of your body’s centre line. Footwork is heel then toe. Your alignment is pointing LOD, body facing LOD. Apply Contra Body Movement (CBM) to the left (your right shoulder moves forward as your right foot steps). Maintain a slight sway to the right. Begin to rise smoothly at the end of this count. Keep your frame solid and your left side well presented to allow the lady space to move across you. This step is decisive but controlled.
- Count 2 (Cross Hesitation – Close & Rise): Draw your left foot closed to your right foot without taking weight on it. Your body continues turning left (approximately 1/4 turn total between 4-5), finishing facing LOD. Your right foot bears the weight, on the toe. Continue rising smoothly onto the ball of your right foot. Maintain a gentle sway to the right. Keep your frame absolutely still and supportive, acting as a stable axis for the lady. Your left foot should touch lightly near the right, toes pointed down. Focus on maintaining perfect balance and poise on your standing leg, keeping your body lifted and posture impeccable. Avoid any collapse in your right side.
- Count 3 (Cross Hesitation – Hold & Lower): Hold your position gracefully. Your body weight remains firmly on the ball of your right foot. Your alignment is backing against LOD. Maintain the sway to the right and the strong, supportive frame. Lower smoothly and completely to the heel of your right foot at the end of this count. Keep your left side elegantly extended and your head poised. This controlled lowering signifies the completion of the hesitation and prepares you to lead the lady outside partner on your right side for the next step. Feel the connection deepen as you lower together.
Open Impetus & Cross Hesitation (Lady)
Commence in Closed Position, facing LOD.
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | ||
| 1 | 1 | RF fwd | H T | Facing LOD | LOD | 1 | com to turn R | Closed | ||
| 2 | 2 | LF to side, then brush RF to LF | T | Backing DC | DW | 3/8 (1→2) | R | rise e/o 2 | Closed | |
| 3 | 3 | RF to side | T H | Pointing Centre | DC | 3/8 (2→3) body turns less | Up. Lower e/o 3 | PP | ||
| 4 | 1 | LF fwd & across in CBMP | H T | Facing DC | LOD | 4 | com to turn L | com to rise e/o 1 | PP | |
| 5 | 2 | RF to side | T | Backing DW | LOD | 1/4 (1→2) | L | cont to rise | PP | |
| 6 | 3 | LF | T H | Facing against LOD | under body | 1/8 (2→3) | L | cont to rise. Lower e/o 3 | Closed |
- Count 1 (Open Impetus – Forward): Prepare for your strong drive step by first gently flexing your standing leg (left knee) to lower slightly. Step forward along the Line of Dance (LOD) with your right foot, using the heel then toe. You are facing LOD. Apply Contra Body Movement (CBM) to the right (your left shoulder moves forward as your right foot steps), responding to the man’s initiation. Maintain a consistent sway to the right. Keep your frame connected and responsive. This step is often large and sweeping; project forward confidently into the space the man has created by stepping back. Feel the rotational energy building through your connection.
- Count 2 (Open Impetus – Side & Turn): Step side and slightly back with your left foot, backing Diagonal Centre (DC). Rotate 3/8 to the right between counts 1 and 2. Footwork is the toe. Rise smoothly at the end of this count. Allow your feet to turn under your body while delaying the turn of your head; keep looking pleasantly over your right shoulder towards the man initially. Your sway changes to the left; extend your left side fully. As you complete the turn, lift your left side towards the man and smoothly turn your head to look over your left shoulder towards the direction of travel. Make this step adequately large to maintain balance throughout the rotation.
- Count 3 (Open Impetus – Into PP): Brush your right foot lightly towards your left foot and then step side and slightly forward with your right foot into Promenade Position (PP). You finish moving toward Diagonal Centre (DC), facing Centre with your feet pointing Centre. Footwork is toe then heel. You are ‘up’ on the ball of your left foot. Rotate a further 3/8 to the right between counts 2 and 3 (though your body turn is slightly less than your feet). Maintain minimal sway. Lower smoothly to the heel at the end of the count. Keep your shoulders and upper body oriented towards the man. Lift the left side of your hip slightly towards him, creating an elegant upward tilt in your shoulder line. Extend through your chest and right side, feeling a beautiful “rotated up” posture, like a high jumper clearing the bar, while keeping your neck long and head position natural.
- Count 1 (Cross Hesitation – Forward & Across): Step forward and across in Promenade Position (PP) with your left foot, moving along LOD. Place your foot in CBMP (Contra Body Movement Position), meaning your left foot crosses well in front of your body’s centre line. Footwork is heel then toe. Your alignment is pointing Centre, moving DC. Apply Contra Body Movement (CBM) to the left (your right shoulder moves forward as your left foot steps). Maintain a slight sway to the right. Begin to rise smoothly at the end of this count. Shape gently to your left while keeping your right shoulder firmly connected to the man’s frame. Avoid peeling your right shoulder away; stay close and connected.
- Count 2 (Cross Hesitation – Side): Step side with your right foot, along LOD. Rotate 1/4 to the left between counts 4 and 5, finishing backing Diagonal Wall (DW). Footwork is the toe. Continue rising smoothly. Your sway changes to the left. Keep your feet directly under your body; avoid taking a large step. Turn your feet efficiently underneath you as your body rotates. Maintain connection and monitor the man’s position through your frame. Feel the controlled rise and rotation guided by the man’s stable axis.
- Count 3 (Cross Hesitation – Close & Lower): Close your left foot smoothly to your right foot, taking weight. Rotate a final 1/8 to the left between counts 5 and 6, finishing facing against LOD. Footwork is toe then heel on the left foot. Maintain sway to the left. Lower smoothly and completely to the heel of your left foot at the end of this count. Keep your body well presented to the man as you close. This step brings you back close to the man, ready to step forward outside partner on his right side. Feel the completion of the movement as you lower together, maintaining a harmonious connection.
General Notes
Core Points:
- Heel Turn Stop (Man): Crucially, the man must close his feet firmly on count 2 of the Open Impetus and stop travelling. His body rotation happens on the spot. Trying to step through ruins the physics, preventing the lady’s travel and the clean transition to PP.
- Lady’s Head Delay & Sway (Open Impetus): On count 2, the lady delays her head turn while her feet rotate, creating beautiful opposition. She must also make a sufficiently large side step to maintain balance during the rotation.
- CBMP & Crossing Action (Cross Hesitation): Both partners step across their body in CBMP on the first step of the Cross Hesitation (count 4 for the lady, count 1 for the man). This crossing action is essential for the figure’s character.
- Man’s Hesitation Timing: The man takes only one step (count 1) over the three counts (4-5-6) of the Cross Hesitation. He closes feet without weight (count 2) and holds (count 3), lowering at the very end. His rise is continuous through counts 4, 5, and the first part of 6.
Advanced Principles:
- Shared Axis & Frame: During the man’s hesitation (counts 5-6), he becomes a stable, lifted axis. The lady rotates elegantly around this axis, guided by a perfectly still, supportive, and harmonious frame connection.
- Sculpted Sway: Sway is not just a tilt; it’s an elegant elongation of the body lines. In the Open Impetus, the sway changes dynamically (right to left for man, left to right for lady). In the Cross Hesitation, the man maintains a gentle right sway, enhancing the line.
- Fluid Rise & Fall: Coordinate the rise and fall perfectly. Rise starts late on count 1 (Open Impetus) and count 4 (Cross Hesitation), peaks during count 2/3 (Open Impetus) and count 5/6 (Cross Hesitation), with smooth, controlled lowering at the very end of count 3 and count 6.
- Musical Phrasing: Use the hesitation (counts 5-6) to reflect the music’s suspension. The lowering on “and” of count 6 should feel like a gentle resolution before the next phrase begins.
“A flower unfolding into the sunlight, then gently closing at dusk.”
“Partners tracing a single, elegant question mark on the floor.”
See also general technical notes on Modern Waltz technique, and also general Modern Ballroom technique.
Preceding Figures
Commenced backing LOD (as described above)
Commenced backing DW
(turn only 1/4 between steps 1-2 to end at correct alignment)
Following Figures
Ending Backing against LOD (as described above)
| Bronze | Back Whisk |
Ending Backing DW against LOD
| Silver | Outside Spin |
Ending Backing new Centre
| Bronze | Outside Change |
Ending Backing DC against new LOD
| Bronze | Back Whisk |
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 & Cross Hesitation 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”.