Learn how to beautifully dance
the reverse Corté
| Bronze level – fs fjsd fsd flsakdjf ksadjf lskjdf saldfj lsdj flsd s | Modern Waltz figure list |
The Reverse Corte is a beautiful a deceptively simple figure that creates breathtaking moments of suspension and redirection. Danced over one bar (three counts), it begins with momentum down the Line of Dance (LOD) and transforms into a controlled turn to the left, ending with partners poised for the next step (often in Outside Position). The leader “absorbs” the follower’s energy, creating a harmonious swivel while the follower completes three weight changes. The magic lies in coordinated rise/fall, subtle sway, and maintaining connection despite the rotational shift.
Reverse Corté (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 turn L | Closed | |||
| 2 | 2 | LF closes to RF without weight | RF: H T | Backing DC against LOD | 3/8 (1→2) | R | rise on 2 | Closed | ||
| 3 | 3 | Hold Position | RF: T H | Backing DC against LOD | R | Up. Lower e/o 3 | Closed |
Count 1: Absorbing the Momentum
Begin backing the Line of Dance (LOD), stepping straight back with your right foot (RF) along the LOD—never sideways. Use strong Contra Body Movement (CBM), rotating your left side forward as your RF steps back, initiating the left turn. Footwork is “Toe-Heel” (TH): contact the toe first, then lower smoothly to the heel. Then keep your heel down and your left knee softly flexed in order to gently absorb your partner’s forward drive. Sway slightly to your left to balance the rotation, keeping your frame solid but supple. Rise slightly at the end of this step only when you feel your partner securely on her RF. Imagine catching a gently tossed medicine ball: you yield backward while engaging your core to contain the energy.
Count 2: The Controlled Swivel
Left foot (LF) draws lightly to right foot (RF) without taking weight, acting as a stabilizing “track foot.” Rotate 3/8 left as a unit on the ball of your RF (foot flat, not lifted heel), ending backing Diagonal Center against LOD. Rise late here—only after the follower settles onto her RF—using both feet’s toes to lift smoothly. Apply gentle right sway (lean right from ankles, keeping hips under shoulders). Avoid popping up early or stepping sideways; instead, drag your LF heel inward like a paintbrush. Your frame should gently expand to allow the lady space as she moves past you, but do not step sideways or feint a step. Think of winding a key: your body turns steadily around your anchored RF.
Count 3: Poised Conclusion
Hold your position—weight remains on RF, LF still unweighted beside it. Maintain height and right sway while suspending gracefully. Lower through the right foot at the very end of the count (“Toe-Heel”), returning to a balanced, neutral stance. Your frame stays firm but responsive, hips facing Diagonal Center against LOD. Ensure your left side stays connected to the follower; don’t collapse your right shoulder. Your body faces DC against LOD, ready to step back in Contra Body Movement Position (CBMP) with the lady Outside Partner (OP) on the next beat. Practical tip: Lower like a feather settling—gracefully and without a sound.
Reverse Corté (Lady)
Commence in Closed Position, facing LOD.
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | ||
| 1 | 1 | LF fwd | H T | Facing LOD | LOD | com to turn L | com to rise e/o 1 | Closed | ||
| 2 | 2 | RF to side | T | Facing Centre | LOD | 1/4 (1→2) | L | cont to rise | Closed | |
| 3 | 3 | LF closes to RF | T H | Facing DC against LOD | under body | 1/8 (2→3) | L | Cont to rise. Lower e/o 3 | Closed |
Count 1: Dynamic Initiation
Start facing LOD, stepping forward strongly onto your left foot (LF) down the line using heel-toe (HT) footwork. Use Contra Body Movement (CBM), by rotating your right side forward to initiate the left turn while staying connected to your partner. Begin rising at the end of the step, driving from your standing leg—not your upper body. Keep your shoulder aligned over your hip joint, releasing your hip forward to power the step. If your upper body races ahead, you’ll pull the leader off balance. Sway minimally left to counterbalance the turn.
Count 2: The Compact Side
Step side and slightly forward onto the toe of your right foot (RF), moving toward the center of the room (C). Turn 1/4 left between counts 1–2, keeping the step small—overstepping pulls your partner off balance. Continue rising, swaying elegantly left with a long, extended line from your left shoulder to your left hip. Keep your spine aligned over your left hip; avoid letting your weight collapse rightward is this will cause you to topple. Track your RF along the LOD, maintaining connection through your left side. Picture closing a delicate fan—controlled and precise, not flung wide.
Count 3: Graceful Collection
Close your left foot (LF) lightly to your RF without weight, ending facing DC against LOD (1/8 additional left turn). Sustain left sway and rise, then lower smoothly through the toe and heel of your RF (footwork: toe-heel) at the end of the count. Keep your upper body poised toward your partner despite the slight separation, resisting the urge to “sit” or rush the lowering. Prepare for the next step forward in CBMP, Outside Partner. Gather energy like a coiled spring—smoothly and without tension.
General Notes
Core points:
- Feet Follow Body: No forced “rondes” or big steps; let rotation guide foot placement.
- The Gap is Normal: A slight separation occurs on count 2—maintain frame connection without pulling.
- Rise/Fall Sync: Leader rises late (count 2); both lower through supporting foot at count 3’s end.
- CBM is Your Compass: Rotate shoulders/hips slightly into the turn on count 1 for unity.
Advanced Principles
- Sway in partnership: Leader sways right, follower sways left—like bookends leaning toward each other.
- Oppositional forces: The Reverse Corte marries oppositional forces: the leader halts momentum while the follower completes her three steps, creating a seamless left swivel.
- Contrast: the leader becomes a stable axis (absorbing, swiveling, lowering) while the follower traces a fluid arc (driving, extending, collecting) like an unfolding blooming flower.
- The Reverse Corte is like “a suspended breath in the dance—a moment of poised rotation that sets the stage for breathtaking outside movements.”
Preceding Figures
Commenced backing LOD (as described above)
| Bronze | Natural Spin Turn 1-3 Reverse Turn |
| Silver | Outside Spin (at a corner) |
Commenced backing DC
| Bronze | Natural Spin Turn Closed Impetus (at a corner) |
| Silver | Outside Spin |
Commenced backing DC against LOD
Following Figures
Ending Backing DC against LOD (as described above)
| Bronze | Back Whisk |
Ending Backing DW
| Bronze | 4-6 Natural Turn Back Lock Back Whisk Closed Impetus |
| Silver | Open Impetus Outside Spin |
Ending Backing against LOD
| Bronze | Back Whisk |
| Silver | Outside Spin |
Ended Backing DW against LOD
| Silver | Outside Spin |
Ended Backing new Centre
| Silver | Outside Change |
Ended Backing DC of new LOD
| Bronze | Outside Change |
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 Reverse Corté 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”.