Learn how to beautifully dance
the weave from promenade
Bronze Level Figure.
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The “Weave from Promenade Position” elegantly transitions dancers from an open promenade into a flowing, rotating sequence, embodying the Modern Waltz’s lyrical rise and fall. This figure demands precise coordination to maintain partnership harmony while turning leftward across three measures. Like a river gracefully rounding a bend, it carries couples through continuous motion with timeless fluidity.
For the full list of Modern Waltz figures corresponding to each medal level, see Figure List for Modern Waltz.
Weave from Promenade (Man)
Commence in Promenade Position, feet facing LOD, body facing DW.
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | ||
| 1 | 1 | RF fwd & across in CBMP | H T | Pointing LOD | DC | RF 1/8 to L before 1 | – | com to rise e/o 1 | PP | |
| 2 | 2 | LF fwd | T | Facing DC | DC | 2 | cont to L | – | cont to rise | Closed |
| 3 | 3 | RF to side & slightly back | T H | Backing DW | LOD | 1/4 (2→3) | – | Up. Lower e/o 3 | Closed | |
| 4 | 1 | LF back in CBMP | T H | Backing LOD | LOD | 1/8 to L (3→4) body turns less | – | com to rise e/o 4. NFR | OP | |
| 5 | 2 | RF back | T | Backing LOD | LOD | 5 | cont to turn L | – | cont to rise | Closed |
| 6 | 3 | LF to side & slightly fwd | T H | Pointing DW | LOD | 3/8 (5→6) body turns less | – | Up. Lower e/o 3 | Closed | |
| (7) | (1) | RF fwd in CBMP, OP | H | Facing DW | 7 | – |
Count 1 (RF forward and across in CBMP)
Begin in Promenade Position facing diagonal center, stepping forward with the right foot in Contra Body Movement Position across the lady’s path. The body remains oriented toward the line of dance, with the hips and feet rotated slightly left to maintain the promenade angle. Footwork starts heel-toe, initiating rise at the end of the beat. Keep the upper body aligned toward the lady without over-rotating the hips, ensuring the three key points—feet, lower center (belly button), and sternum—maintain a gentle differential to support balance. Sustain frame connection by grounding through the left side while allowing the right shoulder to lead the lady diagonally forward.
Count 2 (LF forward)
Step forward onto the left foot, continuing the left turn toward the center. Footwork shifts to the toe, sustaining rise initiated on count 1. Apply Contra Body Movement by keeping the left shoulder forward as the body rotates, guiding the lady into closed position. Avoid rushing the turn; instead, let momentum flow diagonally center without anticipating line of dance prematurely. Focus on smooth hip rotation to “open the door” for the lady’s transition, maintaining constant upper-body connection.
Count 3 (RF to side and slightly back)
Place the right foot side-back, completing a quarter left turn to back diagonal wall. Footwork transitions to toe-heel, lowering at the end of the beat. Energy continues toward diagonal center, not line of dance, to preserve rotational flow. The body turns slightly less than the feet, creating a subtle contra-body tension. Anchor the step by engaging the abdominal muscles to prevent leaning, ensuring the lady remains centered during rotation.
Count 4 (LF back in CBMP)
Step back left in Contra Body Movement Position outside the lady’s path, rising at the end of the beat with no foot rise. The heel lowers initially, but weight settles onto the toe. Lead the lady into an outside partner position using controlled hip rotation and a diagonal stretch through the right side. Keep the frame resilient and centered—like a gyroscope—to stabilize her forward momentum.
Count 5 (RF back)
Draw the right foot back, starting a left turn while rising onto the toe. Rotate the hips to “make space” for the lady’s forward step, but keep shoulders parallel to hers. Footwork remains light and precise, with sway minimized to avoid disrupting alignment. Drive the rotation from the core, ensuring the spine stays elongated and the frame unyielding.
Count 6 (LF side and slightly forward)
Step side-forward onto the left foot, pointing toward diagonal wall with a quarter left turn (body turns less). Lower smoothly through toe-heel. Maintain a forward intention into the next step, avoiding any sideways leg swing. Finish with poised suspension, as if pausing atop a cresting wave, before transitioning to the following figure.
Weave from Promenade (Lady)
Commence in Promenade Position, feet facing Centre, body facing DC against LOD
| # | Steps | Alignment | Moving | CBM | Turn | Sway | Rise & Fall | Position | ||
| 1 | 1 | LF fwd in CBMP | H T | Facing Centre | DC | 1 | com to turn L | PP | ||
| 2 | 2 | RF to side & slightly back | T | Backing DC | DC | 3/8 (1→2) | rise e/o 2 | Closed | ||
| 3 | 3 | LF to side & slightly fwd | T H | Pointing LOD | LOD | 3/8 (2→3) body turns less | Up. Lower e/o 3 | Closed | ||
| 4 | 1 | RF fwd in CBMP | H T | Facing LOD | LOD | com to rise e/o 4 | OP | |||
| 5 | 2 | LF fwd | T | Facing LOD | LOD | 5 | com to turn L | cont to rise | Closed | |
| 6 | 3 | RF to side & slightly back | T H | Backing DW | LOD | 3/8 (5→6) body turns less | Up. Lower e/o 6 | Closed | ||
| (7) | (1) | LF back in CBMP, OP | T | Backing DW | 7 |
Count 1 (LF forward and across in CBMP)
Step forward left across the man’s path in Promenade Position, starting rise heel-toe. Keep the body facing diagonal center while stretching the right side toward the man. The left hip lifts slightly to initiate rotation, but avoid curving inward—step straight along the promenade line. Prioritize connection over turn: imagine offering your right side like a gift to his frame.
Count 2 (RF to side and slightly back)
Swing the right foot strongly forward, then place it side-back with a quarter to half left turn, rising to the toe. Let the head follow the foot before body rotation completes, keeping the right hip “swung up” to maximize space. Resist dropping the left shoulder or leaning backward. Move forward along the curve as if tracing a silk ribbon—smooth and full-bodied.
Count 3 (LF to side and slightly forward)
Step side-forward onto the left foot, lowering through toe-heel. The turn (up to half) makes this feel like a diagonal-back step, but it resolves naturally forward. Keep the knee soft and center pulled back to avoid crowding the man. Balance on the left foot like a heron poised in water—stable yet fluid.
Count 4 (RF forward in CBMP, OP)
Step forward right outside the man’s path in Contra Body Movement Position, rising heel-toe. Relax the right shoulder down to drive the leg forward without peeling away from his frame. Left side stretches forward, with the head extending left. Visualize his elbow as a limbo bar: glide under it with a pliant spine, not a tilted torso.
Count 5 (LF forward)
Advance left foot past the man’s left side, rising to the toe. Stay firmly on his left (“inside” the turn) using Contra Body Movement. If transitioning to promenade, delay head rotation until weight settles. Anchor your center as if rooted deep into the floor, even as the turn unfolds.
Count 6 (RF to side and slightly back)
Place the right foot side-back, lowering toe-heel. For a closed finish, shape the right side toward the man; for promenade, lift the left hip. Keep the head aligned until rotation completes. Conclude with controlled elegance—like a curtain falling gently on a final note.
General Notes
Core Points
- Turn Distribution: The leader’s rotation occurs primarily between steps 2–3 (1/4 left) and 5–6 (1/4–3/8 left), while the lady’s major turn is between steps 1–2 (1/4 left). Uneven turn timing prevents rushed movements.
- Footwork Precision: Leaders use heel-toe on step 1 and toe-heel on step 3; followers use heel-toe on step 4. This ensures controlled rise and smooth weight transitions.
- Alignment Progression: From Promenade (diagonal center) to backing line of dance (step 3), then diagonal wall (step 6). Consistent alignment prevents drifting.
- Rise and Fall: Rise starts late on beat 1, peaks on beat 3, and lowers at the end of beats 3 and 6. “No foot rise” on the leader’s step 4 maintains stability.
Advanced Elements
- Body Differential: In Promenade, the leader’s base (hips/feet), low center (navel), and high center (chest) must maintain slight rotational offsets to stay parallel to the lady without distortion.
- Sway as Shape: Neutral sway dominates, except for the lady’s pronounced right-side shaping on step 2 and the leader’s left-side forward stance on step 5. Sway is generated by core engagement, not tilting.
- Energy Flow: Move through diagonal center on steps 1–2 rather than pivoting early toward line of dance. This creates momentum for effortless rotation.
- Frame Unity: The leader’s right shoulder guides the lady’s forward path on step 1, while her right side must remain “gifted” to him throughout to preserve frame integrity.
“Two vines intertwining around a central stem.”
Preceding Figures
Commenced moving DC (as described above)
| Bronze | Whisk Back Whisk * Outside Change |
| Silver | Open Impetus * Open Telemark Turning Lock to L (ended in Promenade) |
| Gold | Turning Lock to Right * Contra Check * Fallaway Whisk |
Following Figures
Ended Pointing DW (as described above)
Ended in PP (ready to move down LOD)
| Bronze | Chasse from PP |
| SIlver | Cross Hesitation Wing |
| Gold | Left 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 Weave from Promenade 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”.