How does the cross-step facilitate creativity? In most waltzes, dancers face each other squarely and dance directly toward their partners on the downbeat, or back away from them, whether rotating or not.
In cross-step waltz, the dancers essentially travel side-by-side at the musical downbeat, count 1, because their rear foot crosses through toward the direction of travel, placing them briefly in promenade position.  This parallel traveling allows an infinite array of variations that easily travel past and around one's partner. • Both dancers can travel laterally together, as in promenades or grapevines. • The follow can pass in front of the lead or turn independently, as in swing. • Similarly the lead can pass in front of the follow or turn independently. • Or the dancers can face each other and rotate as in traditional waltz.
The flexible frame of cross-step waltz also allows dancers to travel laterally in the opposite direction (counter-promenade position) on the secondary cross-step, count 4, doubling the directional possibilities in every turn of the waltz.  Every Basic Step offers an easy opportunity to travel "out the front door" (in the direction of the primary cross-step) or "out the back door" (toward the secondary cross-step). Because of this multidirectional flexibility, cross-step waltz combines… • the rotation of waltz, • the lateral travel of tango and foxtrot/quickstep (dancers travel together), • underarm turns and figures of swing and salsa (dancers travel independently), • the pivots of polka and hambo.

The advantage of beginning on the opposite foot  (lead's right, follow's left)

Traditional slow ballroom waltz, based on the box step, has a similar "Twinkle" cross-step, but the significant difference is that slow ballroom waltz must begin on the lead's left (follow's right) foot, resulting in the Twinkle cross-step opposing the musical downbeat.   i.e., the strong primary cross-step occurs during the weak second bar of music, count 4, while the weaker secondary cross-step has the strong musical downbeat, count 1.  This feels musically unsatisfying, so after only one or two cross-steps, dancers return to their basic box step.

The secret of cross-step waltz is that it begins on the opposite foot (lead's right, follow's left), allowing the primary cross-step to occur on the primary musical downbeat.  This feels musically satisfying, letting dancers play with cross-step waltz variations for the entire duration of the music.


Tempo

The slow tempo of cross-step waltz provides for a relaxed pace of creativity, offering a balanced contrast to the fast-paced creativity of swing and hustle.  This pace is also forgiving of mistakes, letting both lead and follow easily track each other through unintended variations.

The flexible frame of cross-step waltz enables spontaneous creativity but it's only comfortable at slow tempos.  If cross-step waltz is danced to fast waltz music, the twisting frame becomes uncomfortable for the follow.


Lead/Follow Roles

Some dancers enjoy cross-step waltz because the steps and roles of lead and follow are more equal than in most social dances.
• The steps of the lead and follow roles are more equal because they're mirror-image.  This makes it easy to quickly adapt to your partner's footwork.
• The roles are a little more equal because the lead is constantly tracking (some say following) his partner, while the follow role is more actively a co-pilot than in other couple dances.
• Role reversal is also easier than in most other dances because both roles have the same basic step, both crossing forward on the downbeat.  The follow can take over the lead while dancing, continuing the flow of movement without missing a beat or having to re-start.

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The other waltzes are also wonderful.

"Cross-step waltz, my personal favorite, is the best partner dance in the world."
                                      &mdash Zachariah Cassady, director of Waltz Etcetera in Seattle.


Yes, many dancers love cross-step waltz, as their favorite dance.  But in describing its advantages, this page does not wish to imply that cross-step waltz is superior to the older forms of waltz.  We love the variety that cross-step waltz adds to the waltz family, while acknowledging that there are also wonderful attributes of Viennese waltz, rotary waltz, vintage waltzes (including redowa, valse à deux temps, hesitation waltz), exhibition and International ballroom waltz, tango vals cruzado, valse musette, cajun/zydeco waltz, waltz swing and the many kinds of folk waltz.

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A brief history of cross-step waltz Cross-steps in general appeared in the first three decades of the 20th century in the American One-Step (the Eight Step and Snake Dip variations), Argentine tango (Cruzado, Ocho, Abanico), English version of the Fox-Trot (the Jazz Roll) and French "Fox-Blues" descriptions of steps that Americans brought to Paris in the 1920s.  All of these were in duple 4/4 time.  Then around 1930 waltz tempos were slowed to walking tempo, about 108-120 bpm, allowing the French Fox-Blues to become a form of waltz, which they called Valse Boston.  It looked exactly like the Turning Basic and Waterfall described below.  Cross-step waltz is also demonstrated in the 1944 American Lindy hop film Groovie Movie.  Watch it here. The French Boston mostly died out 60 years ago, although it can occasionally be seen today in southern France.  Then it was revived at Stanford University in 1995, developed into social dance form with flexible egalitarian partnering and hundreds of variations, and re-named Cross-Step Waltz.  Cross-step waltz has been spreading throughout the U.S. in the 21st century and has recently become popular in Beijing.  See a YouTube video here.

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Waltz Groups

More than twenty "mostly waltz" groups have sprung up across the U.S.  A typical evening of dancing focuses on waltz but usually alternates waltz with swing, salsa and other couple dances.

The addition of cross-step waltz to the repertoire has helped make mostly-waltz dances popular by providing a second significantly different waltz form to play with, offering a more robust waltz mix than if a single form of waltz is the only one danced all night.


Waltz groups in the U.S. and Canada

Roll your mouse over the red dots to identify the waltz groups.
Click on the red dots to view their Web pages.

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The basic step and ten variations are described below
followed by the listing of another 138 variations.


Cross-step waltz tempos are within the 104-120 bpm range, with 112-116 bpm being ideal.

Music suggestions for cross-step waltz can be found here.

Watch the video at the top of the page to see most of these variations.

Frame (Waltz Position):  The lead's R arm and follow's L arm are somewhat raised but not stiff ("air under the armpits"), with the top of his R arm lightly in contact with the bottom of her L arm.  His R palm rests gently on her L shoulder blade, giving a bit more space between partners than other waltz forms.  He should be careful not to poke his R hand's fingertips inward into her back.  She braces back with her R arm, but both dancers hold each other with soft comfortable hands.

This is a flexible frame dance.  Both upper bodies are slightly aimed toward the held hands on count 1, the Primary Cross-Step, and slightly aimed toward the rear elbows on count 4, the Secondary Cross-Step.

• Basic Cross-Step Waltz:  1) He crosses R over his L with weight;  2) he steps side L with weight;  3) he replaces weight onto his R while also pulling his R back slightly.  Repeat opposite, crossing L over R.  She dances opposite, mirroring his steps, beginning by crossing L over R, then crossing R.

Hint: He can assist her cross-steps by lightly pulling back out of her way, never pushing into her.


• Zig-Zag:  He advances slightly with Basic Step as his partner over-crosses, without any rotation, to create a zig-zag path with the follow backing against LOD (Line Of Direction).


• Slightly Turning:  The Basic Step slightly rotating CW (clockwise) as a couple.  This meanders.

Hint:  Pull your R shoulder and R foot back out of your partner's way on a count 3.  He does this during the first count 3 then she does it during the next count 3 (i.e., count 6).


• Tossacross:  The leader dances Zig-Zag as he casts her gently from his R side to his L side, catching her in alternating arms.


• Orbits (Rolling Tossacross):  A lead's CW Tossacross followed by a follow's CW Tossacross.  Face LOD, follow on the right, in half-open waltz position, letting go of hands in front.  Both cross-step forward toward LOD, count 1, then he tosses himself across over to her right side, counts 2 and 3.  Both cross-step forward toward LOD, count 4, then he lets her toss herself across over to his right side in the same manner, counts 5 and 6.

Hint 1: Leads, don't toss her across too vigorously.  She's a dancer, not a puppet, so let her dance across without hauling her.  Conversely, follows be active in getting across, so he doesn't have to haul you across.

Hint 2: Track your partner's travel and flow with them, instead of focusing on your own footwork.


• The Turning Basic keeps the same footwork as Orbits but you hold your partner in closed waltz position throughout, turning 360° every 6 steps, traveling in a straight line toward LOD.  This is the fundamental step in Cross-Step Waltz.  The Turning Basic takes a little while to perfect, but once you have it, it flows easily.

Hint:  Leads, look toward your right just before count 4, to help direct her travel in that direction.  This is a visual lead, which is more comfortable than a physical lead pulling her in that direction.  In other words, he lets her dance by on count 4 instead of making her dance.


• Waterfall:  Turning Basic where the lead crosses behind instead of in front on each count 4 while the follow crosses in front.


• Follow's Solo (Ochos):  He completely stops on count 1 and stays in his crossed step as he leads her into a Basic Step in place.  This variation comes from tango Argentino.


• He-Goes-She-Goes:  A) He raises his L arm and travels straight forward under it, passing in front of her, then lowers his arm (cts. 1-2-3). Lead's hint: look forward LOD as you duck under instead of looking back at her, which would misdirect the intended direction of travel.   B) Walk forward with her at his L side (4-5-6).   C) He raises his L hand and loops it toward the left in front of her head to lead her into a CCW Follow's Underarm Turn (7-8-9). Follow's hint: travel with him as you turn, as opposed to stopping and turning in place.   D) He lowers his L hand and sweeps her by in front of him back to his R side and catches her (10-11-12). Follow's hint: complete a full 360° turn on part C so that you're facing forward LOD at the beginning of D, crossing forward instead of backing up into waltz position.

Optional ornamentation:  Either the lead or follow may do a grapevine step on Part B, instead of simply walking forward.  Count 4: Slightly face toward partner and cross in front.  5: Step side toward LOD.  6: Cross behind.  This is shown in the video as the Grapevine Rollaway.


• Frisbee:  The same as He-Goes-She-Goes except he leads her into a Follower's Free Spin (CCW) on part C.


• Lead's Underarm Turn:  Simply Parts A and D of He-Goes-She-Goes.


• The Cross-Step Waltz Mixer is described here.

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138 cross-step waltz variations, simply listed by name
as reminders of variations you may have learned in classes or workshops.


Many ballroom figures are memorized patterns that wouldn't be possible if both dancers hadn't previously learned their part.  However all of the figures on this page are lead-follow for freestyle improvised social dancing.  Previous exposure or rehearsal is not required for the woman to follow these figures.


• Reverse Turning Basic

• The Square

• Zig-Zag Evasive Maneuver

• Lead's "A" Stance in Follow's Solo

• Sweeps

• Counter-Crossing

• Direction Change from Follow's Solo

• Lead's Back Ochos

• Traveling Back Ochos

• Follow's Swingout

• Traveling Swingout

• Follow's Solo in Waterfall

• The same into Swingout

• Waltz Walk

• The Eddy

• Rueda

• Splits

• Waltz Walk Underarm Turn

• Waltz Walk Free Spin

• Pomander Turn

• He-Goes-Rollaway

• Hovercraft

• Single Pivot

• Tripled Single Pivots

• Pivot Underarm Turn

• Pivot with Follow's Free Spin

• Pivot Rollaway

• Chained Rollaways

• Doubled Pivots

• Lazy Cast-Away

• Gypsy

• Innovation

• Grapevine

• Grapevine Rueda

• Follow's Backing Ocho (Zig-Zags)

• Exit from Follow's Backing Ochos

• Grapevine Exit from Follow's Backing Ochos

• Grapevine Underarm (Outside) Turn

• Grapevine Free Spin

• Closed Grapevine Rollaway

• Grapevine Underarm Turn into Counter-Crossing

• Grapevine Inside Turn

• Grapevine Rebounds

• Magic Wand

• Open Grapevine

• Open Grapevine Rollaway

• Open Grapevine Underarm Turn

• Open Grapevine Free Spin

• Open Grapevine Combinations

• Inside and Outside Grapevine Combinations

• Inside Free Spin

• Pivot to Inside Turn

• Follow's Solo To Grapevine Inside Turn

• Waterfall Grapevine Inside Turn

• Matador

• Pivaloop

• He-Goes-She-Goes Entrance to Pivaloop

• Free Spin Exit from Pivaloop

• Pivaloop Extra Underarm Turn

• Lead's Wrap into Pivaloop

• Waterfall Grapevine Inside Turn into Pivaloop

• Reverse Pivaloop

• Shadow Figures (Sweetheart Variations)

• Shadow Walk

• Follow's Side Slips

• Shadow Wheel

• Reverse Shadow Wheel

• Follow's Underarm Turn

• Lead's Side Slip

• Mixmaster

• Shadow Sweeps

• He-Goes-She-Goes Entrance into Shadow

• Quicker Entrance into Shadow

• Grapevine Underarm Turn Entrance into Shadow

• Traveling Swingout Entrance into Shadow

• Foot-Fudge into Shadow

• Illusion Turn (Shadow Flip)

• Shadow Windmill (Chained Follow's Underarm Turns in Shadow)

• Windmill

• Parallel Windmill

• Shadow Zig-Zag

• Basic Exit from Shadow

• Face-Loop Exit from Shadow

• Sombrero Exit from Shadow

• Cross-Body Inside Turn

• Cross-Body Lead into Chained Inside and Outside Turns

• Cross-Body Pivaloop Free Spin

• Cross-Body Ochos

• Waterfall Ochos

• Lead's Underarm Turn Variation

• Two-Hand Mixmaster

• One-Hand Pivaloop Mixmaster

• Around the World

• Around the World Free Spin

• Loop-de-Loops

• Sombrero

• The Wrap

• Waist Slide into Wrap

• Walk-Around Wrap

• Exit from Wrap to Shadow Position

• Exit from Wrap to Grapevine Free Spin

• Tango hesitation

• Molinete

• Corkscrew Molinete

• Left Turn Pivots

• Left Turn Pivots into Grapevine

• Single Pivot to Tango Close

• Inside Magic Wand to Left Pivots to Outside Magic Wand and Roll-Away

• Pig-Tail Spin

• Tango Hesitating Dip

• Closing Tango Dip

• Closing Underarm Turn

• Closing Underarm Turn with Genuflections

• Lateral Dip (Cradle Dip)

• Traveling Roll-Off-The-Arm

• Free Spin Dip

• Traveling Free Spin

• Valentino Dip

• Sombrero Dip

• Improvise on the Spot (Make Up Stuff)

• Transition to Cross-Step from Box Step Waltz

• Transition Back to Box Step Waltz

• Transition from Rotary Waltz

• Transition to Rotary Waltz

• Cross-Step Redowa (to faster music)

• Cross-Step Troika

• Slow Cross-Step Foxtrot

• Fast Cross-Step Foxtrot (Cross-Step One-Step)

• Role Reversal

• Use Orbits to get into Role Reversal

• Stealing the Lead (Messing with the Lead)

• Stealing the Lead with Free Spins

• Surprise Ochos

• Stealing the Lead with Surprise Side-Pass

• Stop-And-Go to phase-shift musical downbeat

• CrossChaCha

• Stop-And-Go Transition from Rotary Waltz

• Stop-And-Go Transition to Rotary Waltz


Most variations were created by Richard Powers.  Other cross-step waltz variation creators include (alphabetically) Angela Amarillas, Bill Boling & Beata Csanadi, Lilli Ann Carey, Zachariah Cassady, Walter Dill, Michael & Kourtny Hicks, Sven Jensen, Ryan & Monica Shen Knotts, Ari Levitt, James Mendoza, Issac Roth, Graham Waldon and George Yang.


Comments, corrections or additions?  Write to the Stanford Dance Division:  StanfordDance (at) stanford (dot) edu

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Copyright © 1996, 2009 Richard Powers, who prefers that copyrights not limit anyone's enjoyment of cross-step waltz and its variations.


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