The Rosetta Stone of Dance Figures: Why the Same Move Has So Many Names

The Babel Problem in Partner Dancing

Imagine you're fluent in English, and you decide to learn French. You discover that what you called a "book" is called a "livre," what you called "blue" is called "bleu." It's a different language, but the underlying concepts are the same.

Now imagine that within English, there's no agreement on what to call things. One community calls it a "book," another calls it a "bound pages," another calls it a "written narrative." Same object. Completely different names.

This is the problem that exists in partner dancing.

A dancer trained in the ISTD (Imperial Society of Teachers of Dancing) system learns a figure called the "Natural Turn." A dancer trained in the DVIDA (Dance Vision International Dance Association) system learns the same movement—same footwork, same positions, same rotations—but also calls it the "Natural Turn." That's lucky.

But then you dig into historical sources from the 1950s, and the same figure is called the "Open Natural" or the "Standard Natural." You look at German dance manuals from the 1920s, and it's something else again. You find an independent choreographer who, not following any official standard, simply calls it the "Right Turn" (because the couple turns to the right).

The dancer standing in the middle of all this is confused. "Are these the same figure or different figures? If I learn it one way, will I need to learn it again a different way?"

The answer is: they're the same figure, but they've accumulated different names through different traditions, languages, and eras.

And this is where the Rosetta Stone approach—which LODance uses—becomes essential.

What Is a Rosetta Stone?

The original Rosetta Stone was an Egyptian artifact from 196 BCE. It contained the same text written in three languages: Egyptian hieroglyphics, Egyptian demotic script, and ancient Greek. Because scholars could read Greek, they could use the Rosetta Stone to finally decode hieroglyphics.

The principle: when you have the same content in multiple languages, you can map them together and understand the correspondences.

In partner dancing, we have the same problem. The same figure appears under different names in:

• Different countries' official syllabi
• Different eras (historical sources vs. modern)
• Different organizations (ISTD vs. DVIDA vs. independent teachers)
• Different languages (English vs. French vs. German vs. Russian)

A Rosetta Stone approach says: let's map all these names to the same underlying movement, so a dancer can understand the correspondences.

Case Study: The Natural Turn in Waltz

Let's use the waltz Natural Turn as our example, because it's the most basic waltz figure and appears in virtually every syllabus system worldwide.

The ISTD Definition (International Standard)

According to the modern ISTD Standard Waltz syllabus:

Natural Turn

• Bars: 2 bars of waltz (6 steps)
• Man's footwork:
• Bar 1: Step forward with left foot, step to side and slightly back with right foot (body turning right), step back and across with left foot (still turning right)
• Bar 2: Step back with right foot (having completed approximately 3/8 turn to the right), step to side with left foot, step forward with right foot
• Woman's footwork: Mirror of the man's (step back, step to side, step forward, etc.)
• Rise and Fall: Rises at the end of step 1, remains up through steps 2-5, falls at the end of step 6
• Position: Starts in Closed Position, ends in Closed Position

This is the canonical definition in the modern competitive ballroom world. When judges see a Natural Turn in competition, this is what they're looking for.

The DVIDA Definition (American Smooth)

According to DVIDA:

Natural Turn (sometimes "Natural Turn, Variation 2")

The DVIDA definition is similar but allows for more variation in how the figure is executed. The essential elements are the same:

• A turn to the right
• Takes two bars of waltz
• Six steps
• Rotates the couple approximately 3/8 turn

But DVIDA allows teachers and dancers more freedom in the exact execution. The frame might be slightly different. The rise and fall might have minor variations. The emphasis might be different depending on the choreography.

The Historical Definition (1950s)

Looking at ballroom dance manuals from the 1950s, like those by Walter Laird or similar authorities, the same figure is sometimes called:

• "Open Natural" — emphasizing that it moves the couple forward (as opposed to a closed or spinning variation)
• "Natural Turn, Right" — emphasizing the direction
• "Standard Natural" — emphasizing that it's the standard/basic version

The 1950s definition is essentially the same as modern definitions, but the language reflects an older era of technical description.

The Pre-Competition Definition (1920s-1930s)

Going back to the early 20th century, before formal competitive ballroom was standardized, the figure is described in various ways depending on the source:

Some sources (particularly British dance masters) call it simply the "Right Turn" or "Turning Waltz Figure Right."

The essence is identical: turn the couple to the right over two measures. But the technical vocabulary, the emphasis, and sometimes even the exact positioning varies based on the source.

The Russian Definition (Early 20th Century)

In early Russian dance manuals, the same movement pattern appears but under different nomenclature reflecting Russian dance terminology. The correspondence is there—same footwork, same rotation, same timing—but the names diverge due to language and cultural tradition.

The Mapping Problem

Now here's the challenge for a dancer or teacher: how do you know these are all the same figure?

If you only know one system (say, you trained only with ISTD teachers), you might not realize that what DVIDA calls Natural Turn is essentially the same thing you learned. If you read a 1950s manual, you might not realize that "Open Natural" is what you now call "Natural Turn."

This creates several problems:

1. Duplicate learning: A dancer might think they need to learn "Right Turn" when they've already learned the Natural Turn

2. Confusion when changing teachers: A new teacher uses different terminology and the student thinks they're learning something new

3. Lost history: A dancer doesn't realize that the figure they're learning has a 100-year history

4. Incompatible knowledge: Knowledge from different sources doesn't integrate

How LODance Maps It

This is where LODance's canonicalization system solves the problem.

For the Natural Turn, LODance creates a canonical entry that includes:

The Canonical Name

"Natural Turn (Waltz)" — selected based on which is the most widely used name in modern systems

All Known Aliases

• Right Turn (historical, early 20th century)
• Open Natural (1950s-era terminology)
• Natural Turn, Standard (emphasizing it's the basic version)
• Standard Natural Turn (ISTD variation)
• Natural Turn, Variation 1 (DVIDA classification)

The Definition(s)

The core movement: a two-bar figure that rotates the couple approximately 3/8 turn to the right, with specific footwork and rise/fall patterns

Variations by System

• ISTD International Standard: Precise definition with specific rise and fall patterns
• DVIDA American Smooth: Similar definition but with more flexibility in execution
• Historical sources (1950s): Description from Laird's manuals, showing continuity with modern definitions
• Pre-standardization sources (1920s): Early descriptions showing the figure's origins

The Timeline

• 1920s-1930s: Figure emerges in early ballroom dancing manuals as "Right Turn" or similar
• 1950s-1960s: Standardization begins; "Natural Turn" becomes the preferred terminology
• 1970s-present: ISTD and DVIDA codify slightly different versions of essentially the same figure

All Appearances

• ISTD Standard Waltz (all editions, Bronze level)
• DVIDA American Smooth Waltz (all editions, Bronze level)
• Laird, Modern Ballroom Dancing (1953)
• Various other competition rule books and teaching manuals
• (Total: 47 documented appearances across 8 decades)

Why This Matters

With this kind of mapping, a dancer can:

Understand equivalencies: "I learned this as Natural Turn from my ISTD teacher. When I take a class with a DVIDA-trained teacher, I don't need to relearn it; it's the same figure with slightly different terminology and execution style."

Connect to history: "Oh, this figure I'm learning has been around since the 1920s. I can see how it's evolved over time."

Avoid duplicate learning: "I thought I needed to learn three different things, but they're actually the same figure with different names."

Transfer knowledge: "The technique I developed in one system transfers to another system because they're both teaching the same underlying movement."

Understand variation: "My teacher teaches this slightly differently than the ISTD standard, but I can see that the variation is recognized and documented, not just idiosyncratic."

Beyond Natural Turn: The Web of Interconnection

The Natural Turn is just one example. Across the entire world of partner dancing, there are hundreds of figures, many with multiple names across multiple systems.

Some other examples:

The Feather Step (Waltz)

• Also called: Open Feather, Feather Ending, Feather Figure
• Appears in: ISTD, DVIDA, Russian systems, historical manuals
• Variations: Feather Step from PP (Promenade Position), Feather with check, etc.

The Reverse Turn (Tango)

• Also called: Natural Turn (in some contexts!), Turning Pivot, Left Turn
• Appears in: ISTD, DVIDA, historical sources
• Complexity: Has more variations than many figures; crucial to understand which version you're learning

The Change of Direction (Latin Cha-Cha)

• Also called: Change Step, Change of Place, Natural Change
• Appears in: ISTD, DVIDA, and various other Latin systems
• Note: The terminology is more stable in Latin than in Standard, but variations still exist

The Promenade (Multiple dances)

• Also called: Promenade Run, Promenade Walk, PP (Promenade Position), Rotational Promenade, Traveling Promenade
• Appears in: Almost every ballroom dance; one of the most versatile figures
• Complexity: The same basic concept of two people walking together exists across cultures and centuries, but modern syllabi codify specific versions

As you can see, the mapping problem isn't limited to one figure. It's systemic across the entire discipline.

The Bigger Picture: Cross-System Fluency

One of LODance's long-term goals is to create cross-system fluency for dancers and teachers.

Instead of thinking "I'm an ISTD dancer" or "I'm a DVIDA dancer," dancers can understand themselves as fluent in multiple systems. You learn that:

• ISTD's definition of Natural Turn is precise and detailed
• DVIDA's definition is similar but allows more variation
• Both are teaching essentially the same figure
• Historical sources provide context for why the figure exists
• Different teachers might emphasis different aspects

With this understanding, you can:

• Take lessons from teachers trained in any system
• Switch between systems without relearning figures
• Understand what teachers mean even if they use different terminology
• Appreciate the value of different approaches to the same movement

The Technical Implementation

For those curious about how LODance actually implements this mapping:

Each figure in the LODance database has:

1. A canonical ID: A unique identifier (e.g., F-WALTZ-001 for Waltz, Natural Turn)

2. Linked aliases: All known names for this figure, with metadata indicating which system uses which name

3. Definition versions: The official definition from each major system, stored separately with version numbers and dates

4. Appearance records: Every known source where this figure appears, with page numbers, edition dates, and exact definitions

5. Timeline data: When each variation emerged, how it evolved, what sources document the evolution

6. Related figures: Which other figures this one connects to, what comes before/after, what it can combine with

This structure allows queries like:

• "Show me all names this figure is called"
• "How does the ISTD definition differ from DVIDA?"
• "How has this figure changed since 1950?"
• "What's the oldest source for this figure?"

Practical Applications

For a student: Browse a figure you're learning. See all the names it's called. Understand how your teacher's version compares to other systems. Connect to the history.

For a teacher: Look up how different systems define a figure you're teaching. Understand the rationale behind different definitions. Communicate clearly with students about whose standard you're following.

For a choreographer: Understand which figures exist, what they're called in different systems, and how they can combine to create choreography.

For a researcher: Trace how a figure evolved over time. See which sources influenced which traditions. Understand how partner dancing spread globally.

For a historian: Understand the cultural and technical development of partner dancing across different nations and eras.

The Rosetta Stone Principle in Action

The beauty of the Rosetta Stone approach is that it doesn't privilege one system over another. It doesn't say "ISTD is correct and everything else is wrong." Instead, it says:

"These are the systems that exist. Here's how they relate to each other. Here's what they agree on. Here's where they differ. Here's the history of how these differences emerged."

This is intellectually honest and practically useful. It honors the reality that multiple valid systems exist, while also making clear correspondences so knowledge can transfer.

Start Exploring

The next time you learn a new figure, look it up on LODance and explore:

• What are all the names this figure is called?
• How do different systems define it?
• When did it first emerge?
• How has it evolved?
• What other figures does it connect to?

You'll discover that the partner dancing world is far more interconnected than it first appears. And you'll gain a deeper understanding not just of what you're dancing, but why it matters.

Because every figure you learn is part of a centuries-long tradition of human movement, artistic expression, and cultural exchange. The Rosetta Stone approach helps you see that tradition clearly.