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TABLE OF CONTENTS

INTRODUCTION 3

CHAPTER ONE: THE RHYTHM OF M.U.D. 9

CHAPTER TWO: UPPER BODY MANAGEMENT 20

CHAPTER THREE: THE REVELATION OF MEMPHIS JOOKIN 37

CONCLUSION 86
 INTRODUCTION 3
ORIGINS OF HIP-HOP DANCE
In the mid 1980’s, the Hip-Hop culture was on the rise with
New York and California publicly leading the way. On the east
coast, an evolutionary style of movement was already taking
place in New York from the 1970’s called the Breakdance. The
charisma and seemingly impossible dance moves of the style
ignited the Hip-Hop music industry and became the core of its
dance culture.
Meanwhile, on the west coast another style was growing into a
powerhouse in Hip Hop that originated from the Funk music
culture. That style is known as Poppin’. Poppin’ added
expression and explosive energy to any movement combined
with it. It has been said that Poppin’ was developed in the
United States by funk style legend Boogaloo Sam Salmon.
Before Poppin’, there was only a technique called “hitting”
which was a less emphasized development that came from
Poplocking or Locking, which inevitably evolved into the
revolutionary Electric Boogaloo style. From the histories of New
York and California dance culture, the Hip Hop music genre was
able to derive and survive, but it wasn’t until Michael Jackson,
the world renowned “King of Pop” opened the door for them.
 WHEN MJ DID THE MOONWALK
“On March 25, 1983, Michael Jackson took one small,
4
backward step onto a television stage — and one giant leap into
dance-floor history. The thin, angular pop star was only 24
years old when he took an obscure break-dancing move and
transformed it into one of the most recognizable routines of all
time. Jackson debuted the moonwalk during his performance of
"Billie Jean" on the ABC television special Motown 25:
Yesterday, Today, Forever, and the heavy rotation that the
song's video enjoyed on MTV injected it into America's pop-
cultural consciousness. The moonwalk is so fluid, so effortless
— and yet when amateurs slip on some old gym socks and try to
glide across a kitchen floor, it always turns out horribly…….”

By Claire Suddath
(http://www.time.com/time/arts/article/0,8599,1907320,00.html)

The moonwalk was the breakthrough dance that paved the way
for all street dancers to flood their culture into the television
industry. Michael Jackson not only opened the door for the
dance industry that is dominating television and pop-culture
today, but also he showed the entire world what we call
“swagger”. When he danced to his music, audience’s
witnessed greatness as they became connected to the emotion
he felt for the song. It was more than his musical talent that
created his iconic image. Michael was able to express who he
truly was as an artist when he performed. His demeanor off the
stage was one of ambition and pursuit of endless recognition
for injecting such inspiration through his crafts; moreover the
global audience was witnessing evolution, as well as
entertainment. His qualities are not to be separated in any
pursuit of success. Michael’s journey off the stage was an
5
uplifting reason to inform the world that all things are possible,
even world peace. His message and his movement are nothing
short of what cultures all over the world dance for every single
day in their own small worlds.

The evidence of the claims made here is supported by the fact

that MJ had a new way to do something that was really old at
the perfect time. The moonwalk has roots that were grounded
in French Mime and the early 1900’s Juke Joint era.
Retrospective integration is always a good idea when plotting a
map toward innovation. This is exactly what MJ did. He
presented himself so confidently on stage and so humbly off
stage that he was able to have his way in the television as well
as the world of entertainment. People fainted at the sight of
him because he represented what swagger and character was
fitting to be in the music industry and it was done like no other
man could it. Elvis Presley and James Brown had similar paths in
terms of gaining success through song and dance, but it was MJ
who was able to establish true dominance in every
music/entertainment category because he did it at the right
time.

When no one had more potential than him on any level of

music or entertainment.

When the entire world would be watching his every move.

When a new definition of “world famous” was available to the
one that was willing to work hard for it.
6
And now that all these great entertainers, led by the career and
legacy of Michael Jackson have paved the way for all
entertainers to shine, the dancers of today that have been
evolving since birth of our nation can create a culture that is
home-grown American talent that can add value to the world.
Every American city can be viewed as a country on a global
scale especially in terms of pop culture and entertainment. This
is already being done on a global stage through Breakdance
which was originated by New Yorkers and innovated by Asians.
There is also Poppin’ which was originated by Californians and
innovated by Asians. However, there is one style that has yet to
take its proper position among the great dance genres of the
world. Memphis Jookin.

ORIGIN OF THE G-STYLE

Little did Americans know in the mid 1980’s that in the
southern city of Memphis, TN there was another style of dance
that being created. It combined the explosive energy that was
being presented through Poppin’ with hops, leaps and steps
that encouraged spins and body swivels that were on a rhythm
that was not being recognized by any mainstream Hip-Hop
artists at the time. Today, the original style of Memphis Dance
is known as the G-STYLE. In that time it was known as the
Memphis Gangsta Walk. The style is known to have originated
7
from the streets of North Memphis by two local dancers,
Marcus Bauer and Fred Humphreys. When the Memphis Rap
industry started, DJ’s used to encourage high energy motion in
nightclubs chanting “Get Buck Everybody Get Buck”. From this
chant, the pioneers of G-STYLE motion would began what was
called the G-Train, in which everyone on the dancefloor would
participate in a ritual like “Buck” jump around the club in a
large circle. As years passed into the early 1990’s, the G-Train
started to become similar to a Soul Train line, in which 2nd
generation Gangsta Walkers Romeo, Wolf and Hurricane(The
rap group known as G-Style) among others would individually
jump into the middle of the circle and display rhythmic high
energy movements that were led by the lower body. However,
the way the movements climaxed created the vibration similar
to what Boogaloo Sam developed in the Poppin’ style. There is
no known direct connection between the Memphis Gangsta
Walk and Poppin’ or any other American dance style.
Nevertheless, the apparent nature of G-STYLE motion
correlates with the Poppin’ style, except the lower half of the
body had taken the lead, emphasizing the movement of the
feet.
All of American dance techniques and movements originated in
foreign countries under other cultural and tribal identifications.
Yet, it was American music that gave re-birth to these dance
styles and their influence nationally and globally.
8
For it to be known from this moment forth, Memphis Rap was
the music that created G-STYLE and the reason for its evolution.
That evolution has materialized into what is now called
Memphis Jookin. Later in this book, the reader will be
astounded that the G-STYLE was transformed into Memphis
Jookin’ in the exact same way Michael Jackson opened the door
to the world of urban dance……..Sliding.
Being that the G-STYLE still remains an entity of its own, the
culture is now referred to in whole as Memphis Urban Dance.
 CHAPTER ONE: 9
THE RHYTHM OF MEMPHIS URBANE DANCE
(M.U.D.)
From this point on, the author will refer to Memphis Jookin’ as
the leading style of the M.U.D. culture. The G-STYLE is still
fundamental within it, but is surpassed by the extended range
of motion added in the recent developments of the Memphis
Jookin’ style.

The Move vs. The Motion

In the late 90’s, the people that were following up on the
legacy of the G-STYLE years released no knowledge of how to
move like the pioneers of the style. There were a lot of people
still dancing from the early 90’s but their attitude toward the
progression of the style was much less than the attitude toward
progressing themselves. Little did any amateur know while
coming up in the presence of these dancers is that the dance
moves being performed were based on ‘how’ the motion was
made to look, rather than ‘what’ skill was required. ‘How’ refers
to the level of personality or expression a dancer displays
during a particular motion. ‘What’ refers to the many different
moves that can be performed along with what it takes to
successfully complete them. Practically any move from any
dance style can be manipulated by the rhythms of M.U.D.
10
music, as well as the culture. This tested theory is responsible
for the evolution of the G-STYLE. Memphis Jookin’ is
rhythmically steady enough to be integrated into any style, and
physically expressive enough to be performed at any speed or
energy level.
Memphis Jookin’ implies an unlimited range of movement
which has opened the door for different niches to be taken
advantage of within the style. There have been Jookin’ style
concepts based on ground moves, step combinations, spins,
slides, and glides. In the early 90’s, dancers were using oddly
attractive expression to accent their dance ability. There was no
need to concentrate on moves because of the liberated tempo
the G-STYLE offered. Moves were definitely created, but the
perception of movement was based on musicality and style, not
extravagant power moves. By the turn of the new millennium,
the true essence of M.U.D. was lost and every dancer started
looking for the next best power move. This was the troubling
cause that uplifted the Jookin’ style and truly brought it to life.
There were Jookers that acted out musical pieces with little
expression and exaggerated climaxes, while others danced out
their emotions in various fashions with M.U.D.’s special rhythm.
Every Funk style has been accessed by the Jookin style, but the
rhythm is led by the upperbody, as the movement flows
through the feet. Over time, two new ways of analyzing
Memphis Jookin came about. Today, Memphis Jookin’ is also
11
referred to as Buckin’ and Choppin’. Each aspect of the style
has its own characteristics within the rhythmic measures of the
traditional Jookin’ style.

TRADITIONAL JOOKIN’ – GROOVING WITH SMOOTH CLEAN

MOTION AND CONCENTRATION ON THE MUSICAL RHYTHM
ENTIRELY.

BUCKIN’ – ALONG WITH TRADITIONAL JOOKIN’ , THE ADDITION

OF HIGH ENERGY MOMENTUM TARGETED MOVEMENTS TO
PERFORM STUNT LIKE DANCE MOVES IN SEQUENCE.

CHOPPIN’- THE USAGE OF TRADITIONAL JOOKIN’ AT A STEADILY

MOVING PACE TO EMPHASIZE HIGHLY ENERGETIC RHYTHM
THROUGH A HESITANT VIBRATION BETWEEN MOTIONS.

Buckin’ is the most energetic of all Memphis Urban Dance.

The style is based on momentum with high regard for core
concentration in order to move quickly with exceptional
balance. The dance is performed at a very high energy for the
duration but also can be used in correlation with traditional
Jookin’ to offer realistic expression during a specific series of
motion. This component of M.U.D. is not apart from Jookin’, as
it was added to its culture in the early 2000’s. Buckin’ is
predominantly used by dancers that use big movements to
emphasize the climax of combinations rather than using small
movements that break down the rhythms throughout a musical
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piece. This is not to say that Buckin’ is off beat, but its specific
emphasis on climax separates it from the rhythm of the music.
It is made for stunts.
Traditional Jookin’ has all the potential components of
Buckin’ but disregards the wild and seemingly out of control
movements. Jookin’ is a groove that is based on the rhythm of
the music and the emphasis of each movement in conjunction
with the feet. Unlike the Buckin’ style, Jookin’ is series of
musically emphasized motions leading into a climax. The style is
about cleanliness and precision with an urbane (stylish)
attitude. Jookin can be expressed in any manner while
maintaining a center of balance and control. By focusing on
small motions in order to climax a piece through musicality,
Jookin’ has a more balanced out momentum than Buckin’.
Jookin’ is closer to the original style of Memphis M.U.D..
Choppin’ is a more stable energetic mixture of both
Buckin’ and Jookin. Choppin is equally mobile, but involves
constant vibration within the counts of a musical piece while
creating rhythmic motion simultaneously. Choppin’ is animated
and holds many illusions in its skill set. The rhythmic ability of a
dancer when Choppin’ is more important than the range of skill
level displayed during motion. The upperbody is heavily
emphasized because of the pulsating effect that is added when
Choppin’. The usage of glides when Choppin’ is unusually
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smooth, being that the style mesmerizes the audience with a
strong repetitive bounce, then suddenly transitions seeming
into thin air as if floating away. Even the simple actions of a
Choppin’ expert are exciting to watch. Just to stop abruptly
when Choppin’ is mesmerizing as the dancer leaves a
suspenseful vibration in between motions that always leads
back to musical expression. The energy of Choppin’ is more
related to Buckin’, but the musicality and motion preference of
traditional Jookin is the defining aspect of the style’s expression
and fulfillment of significance.
The one component consistent with all three of these
Memphis Dance genres is what is known as the Bounce. The
Bounce is everything that Jookin has become and everything
that is to follow will come from an understanding of its energy.
The music that formed M.U.D. contains certain levels of rhythm
that must be mastered to express movement effectively. The
Bounce is the foundation of Jookin’.
Before we break down the Bounce, I want to end this segment
explaining why I named it The Move vs. The Motion. If a dancer
is not focusing on the rhythm of the beat, most of his energy
will be pushed out attempting stunt like moves to draw the
audience’s attention, which is often short-lived depending on
the placement of the move. Whatever happens leading up to
the “the move” still matters more than any one movement, and
14
is referred to as the motion. The dancer that uses motion
focuses more on the rhythm of the beat to build different skills
around one main point of movement, rather than building
speed to launch into a move that disregards the importance of
the motion. Depending on the dancer, certain basic skills are
used during motion that is based on individual strengths. The
author encourages the reader to understand that his/her
weight and height cannot stop him from learning and
succeeding the steps in this book. There are strengths and
weaknesses for all sizes of people relating to M.U.D.. Naturally,
we should focus on our strengths, but we sometimes force our
weaknesses out of adrenaline rush. This book was made to set
the pace for all Jookers: fast, medium or slow.

An Important Note

As stated earlier, no other American dance style aside from

Poppin’ can relate to the origin of M.U.D.. However, the
incorporation of Jookin’ into other American dance styles
comes from another unintentional correlation of dance in
which classical Ballet is the merger. As the reader continues,
ballet terminology will be shown with the techniques of M.U.D.
to reveal its similarities and differences to a much slower and
less musically expressive dance style. The combination of
 15
M.U.D. style Music with Poppin’ and Ballet has helped to create
a rhythmically eloquent motion that has no boundary.

Bounce Notes

Ballon-(ballet term)Ballon means to bounce, where the dancer

can show the lightness of the movement. It describes a quality,
not the elevation or height, of the jump. Even in small, quick
jumps (petite allégro), dancers strive to exhibit ballon.

In order to express creative energy while maintaining

rhythm and flow, there are four main measures of bounce that
are ultimately required in order to properly progress in the
M.U.D. style. In music, notes are used to manipulate sound;
however, in the Jookin’ dance style, bounce notes create
energetic rhythms that assist in building momentum through
movement for the audience to see, hear and become aware of
the beat.
Here are the four main Bounce Notes:

 Half Bounce
 Quarter Bounce
 Eighth Bounce
 Sixteenth Bounce
Bounce Notes can be explained as simultaneously bending
the knees, shrugging the shoulders, and moving the head. Just
as musical notes, Bounce Notes are all timed by the rhythm of
the beat. In the action of doing so, Jookin requires rhythmic
16
bounce in the head, shoulders, knees and feet. The speed of
the tempo determines the energy that is capable of being
harnessed through the bounce, depending on which sound is
the main focus. Each bounce is optional based on the level of
rhythm a musical piece has to offer, but is not limited to
singular use. The collaboration of each level of Bounce Notes is
more important to mastery of the style than simply the ability
to use one Bounce Note. To master this technique is to master
the cornerstone of M.U.D. as a style.

½ HALF BOUNCE (HB)

The HB is the slowest bounce in the basic rhythm scheme of
Jookin. Its relevance lies more in the art of learning tempo than
actually using it in real-time situations. On an 8-count, the HB
only emphasizes 1 count every four beats which leaves little
momentum to work with. It is not completely obsolete from
the Jookin style itself but its focus should be collaborative with
multiple rhythm schemes in order to be fully appreciated as
skillful.
¼ QUARTER BOUNCE (QB)
The QB is a mandatory technique to master for progression on
any level of technique or skill in Jookin. The proper term in the
Jookin style for Bounce Notes is STAYING STEADY. Staying
17
Steady properly defines the QB and vice versa. On an 8-count,
the QB emphasizes 1 count every two beats. It is most
popularly utilized in the buckjump (see Skill Set), which is
initiated and mastered solely by Bounce Notes, but the quarter
bounce is not limited to only buckjumps. In Jookin, the QB
forms the rhythm for every Bounce Note aside from a HB.
Furthermore, nearly every skill set in Jookin is supported by the
QB.
1/8 OCTO BOUNCE (OB)
The OB is a basic-advanced technique that operates at a
medium pace for fast and slow dancers. On an 8-count, the OB
is constant at an up-tempo pace, but can be manipulated by a
dancer’s ability to time movements due to the full 8 counts of
the OB. The OB is most recognized in step combinations (see
Skill Set II) providing confirmation that Jookin is a foot-based
dancestyle. The ability to consistently execute the OB in the
form of precise combinations and rhythmic expressions is a
true sign of pre-mastery of the Jookin style.
1/16 DOUBLE OCTO BOUNCE (DOB)
The DOB is the fastest tempo available in the Jookin style. It is
strictly for high energy movements and is usually used for
gaining momentum but not to be continued throughout a
performance. On an 8-count, the DOB is a consistent double
 18
count of each beat. In other words, a rapid paced 16-count is
condensed into a steady 8-count. This Bounce Note is not a
mandatory technique, but in order to master every style of
Jookin, the DOB must be a learned and mastered technique. In
addition, the “double” can be added to any Bounce Note.

Creativity & The Bounce

There should not be any higher priority to an aspiring Jooker
than learning the four Bounce Notes. With the ability to key in
on rhythmic measures with no physical boundary, the creativity
can only be expanded through the everlasting musical
perceptions of the mind. The mind conceives a thought and the
thought gives birth to the motion. The more you focus on
expanding the usage of Bounce Notes, new movement is as
easy as changing a song on a radio. The ability of Jookers is not
always physically geared to leave audiences in amazement,
even though our movement is difficult to most people. The true
essence and ability in Jookin is in the personal gene pool of the
individual dancing, not the style being used. A dancer’s ability
to draw in the energy and ability of others is the key to
unlocking the door to his own mind. The memories of what has
been seen in life take different forms in the mind. The mind is
full of recycled memories that can create things that have not
happened yet simply when one thought affects another. This is
all that Jookin requires. The capacity to use creativity to
manipulate other dance styles through the co-existence of
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Jookin’ movement combined with its rhythm is the
fundamental nature of its evolution. The style of Jookin does
not conform to any rhythmic measure which explains the
variations of the style that exist i.e. Buckin’ and Choppin’. Every
Jooker wants to move his/her own way. With this being true,
every sight and thought of dance that is acquired can be used
and re-created continually.

 Creativity (original thought) encourages motion.

 Motion (energy) insists expression.
 Expression (confidence) influences inspiration.
 Inspiration has no following without the leadership of
Creativity, Motion & Expression.
 CHAPTER TWO: 20
UPPER BODY MANAGEMENT
Coordination & Balance
The arms are the least recognized tool of focus in the M.U.D.
style. This is not to say that these tools aren’t used because
they are used as much as the feet, sometimes a little more;
however, in a different way. The feet are used for motion and
primary action throughout the style, but only through the usage
and strengthening of the upper body can a Jooker have true
freedom during motion. The head, shoulders, and arms are the
body parts that provide the rhythm, illusion and diversion when
the feet express various motions. The head and shoulders help
keep the pace of the Bounce, while the arms balance out the
movement underneath. The torso is also a very important tool
in balance and stability. Over time, Jookers that find success in
their individual style must give credit to the importance of
learning motion adjustment through using the upper body. The
arms can be used like wings to help dancers flow and maintain
balance by spreading them out and up. The arms also can be
used to follow and lead the feet during motion similar to a
puppeteer pulling strings or a puppet being pulled by strings. As
the reader continues in this chapter, the author encourages the
re-reading of Chapter 1 to understand the upper body as the
 21
tool that expresses the Bounce while the feet are energized by
the momentum that is produced by it.

Head & Shoulder Expression

KNOWN AS EPAULEMENT IN BALLET
The mastery of Jookin starts with understanding the
components of basic rhythm in the Bounce Notes. However,
the mastery of rhythm is not the mastery of expression, nor the
control of movement. It is actually the very beginning. The key
component in bringing Bounce Notes out with vibrant energy is
the capacity to build around your rhythmic abilities. Even
though the head and shoulders are to be used in Bounce Notes,
they still have other functional capabilities that co-exist with
the bounce and the motion of the lower body.

HEAD MOTIONS
When using the head for emphasis, expression and creativity,
the key component is timing. If timing is perfect for these
techniques, the upper body will create an illusion that co-exists
with the strategic lower body movements that initiate head
motions.
HEAD LOCK (h-L)
This technique can be performed by leaning the head from side
22
to side as if the ears are trying to touch the shoulders, but with
a slight hesitation at center between each head rock to
compliment the selected Bounce Note. The Head Lock is
performed most often with buckjumps as they allow this
motion to flow smoothly with each transition.
NECK ROLL (n-R)
This technique can be performed by selecting a starting point
and rolling the head and neck in a 180 or 360 degree rotation.
The Neck Roll is most commonly used in sequences that
transition buckjumps into step combinations. The effect of a
Neck Roll can be illusive or explosive depending on the
approach and skill level of the dancer.
HEAD ANGLES (h-A)
This technique can be related to in the form of the numbers on
a wall clock. Head Angles can be defined in this way by
choosing distinct numbers to look at as if it were a giant clock
were on the wall as a perfecting tool for this technique.
However, Head Angles are not limited to just looking straight
ahead to choose an angle. In terms of feet, steps alone can be
emphasized greatly by Head Angles, and all other skill sets also
 23
gain advantage from properly executed Head Angles. Beginners
are taught to follow their Foot Notes with the head.

NECK THROW (n-Th)

Just as with Head Angles, this technique is to add emphasis to
lower body rhythm, but the Neck Thrust is an extension of the
neck pointing the chin out beyond the remainder of the body.
The Head Thrust is predominantly used in buckjumping because
of the extensive movement applied with the bounce.

TURTLE NECK (n-TL)

The turtleneck emphasizes transitions from Bounce Notes to
Step combinations. This technique is explained as shrugging the
shoulder upward on any Bounce Note while simultaneously
bouncing the head, creating the effect that the neck is no
longer in sight. Shrugging of the shoulders is a mandatory
method for complete Bounce Notes, but the turtle neck
technique creates more animation in a bounce, especially when
timed properly with the bending of the knees.
 24
SHOULDER MOTION
ÉPAULEMENT –(Ballet) Literally "shouldering". Rotation of the
shoulders and head relative to the hips in a pose or a step.

Just as in ballet, the shoulders play a pivotal part in every step

of a Jookin professional’s career. The shoulders are the missing
link in many amateurs’ styles of Jookin. Applying small
alterations to overall movement will replace unnecessary
stiffness. The shoulders help the upper body form energy that
can match and succeed that of the lower body alone. The usage
and mastery of these techniques will add critical value in style
development. In Jookin, the feet are the single most relevant
tool, while the arms form style behind the feet through upper
body activity and shoulder motion. The upper body is not highly
recognized by the world of Jookin, leaving the door open for a
dancer to learn it and add immediate spontaneity to his upper
body without creative preparation. Jookin is a free style dance
that has no boundary within its rhythmic measures.
The logic to this theory involves simply focus on steady ranges
of movement because the ability to manipulate the rhythm
will encourage creativity. Being that the feet lead in Jookin and
often seem superior in the style, the improvement of the
relationship with the upper body is without a doubt equally or
 25
more intriguing for performance. The upper body will rise in
ability because of the coordination factor that follows moving
the feet. The feet will then find limitless form without effort
because of the realized control which always involves the
shoulders. To study the Jookin style with focus on any upper-
body style combined is an inevitable path to multi-sectional
movement of the body at different rhythms and speeds.
Throughout the style of Jookin’, dancers that master their
shoulders then master musicality have more versatility in
motion.
Why?
Because the feet demand balance in the current era of Jookin,
with broader spins to discover and ground glides on the quarter
bounce. As the style explores slower speeds to increase
dramatization of motion, the balance and coordination of the
upper body are primary areas of focus and mastery. The
shoulders helped make Jookin what it is and will continue to
dominate in many techniques that participate in the growth
within the style.
COLLAR THROW (c-Th)
This technique can be explained as pushing your shoulder
outward until your collar bone is protruded by the emphasis on
the leading shoulder. This movement is the most common of all
shoulder motions. It is most often used in Walk Steps such as
the Memphis Angle, Double Step, & G-Train. The key to a
26
proper collar thrust is to create a rhythm that is either
simultaneous with the feet or emphasizing the shoulders and
feet separately in rhythm using Bounce Notes. For a beginner
this technique will be with the very first step into learning
isolated foot motion by stepping out and following through
with the collar thrust leading into rhythmic mobility, or what is
called FLOWING. To flow is to step continually in sequence of
random lengths using the L-Step. The collar thrust simply
follows flowing steps.
SHOULDER TURN (sh-TN)
The shoulder turn is similar to the Half Bounce Note in terms of
being a training tool for rhythm, accept the momentum lies in
the horizontal shift of the shoulders while maintaining at least a
quarter bounce. The buckjump carries the shoulder turn into
steps, slides, glides and spins. It is not a do or die situation to
develop shoulder turns being they are mandatory if plans are to
reach full expression of motion. In other words, over a period
of time shoulder turns will develop as physical ability improves
from learning different skill sets.
SINGLE SHOULDER DROP (1sh-DR)
The single shoulder drop is intended to be used as a repetitious
motion from right shoulder to left shoulder and vice versa on a
 27
quarter bounce. Unless intentionally built into a dancer’s style
of Jookin, this technique is most common in the entire
buckjump skill set. Think of how our arms naturally swing when
we walk. Now, imagine a buckjump with the same force and
wind dynamics but the energy is being pushed into the ground
by a single shoulder drop to form a more explosive bounce for a
single count. The single shoulder drop does not define what
the feet have done but emphasizes the energy the legs can’t
succeed without momentous participation from the shoulders
down to the knees. There must be balance between the
shoulders and knees because feet rely on momentum to
leverage strength from the mid-section.
DOUBLE SHOULDER DROP (2sh-DR)
The double shoulder drop is performed by leaning over and
returning to upright on a quarter bounce. This technique is
predominantly used in buckjumps. It is commonly used for the
purpose of getting lower and rising up to initiate explosive
energy. Shoulder drops are not limited to buckjumps, as the
motion itself can build momentum and performance credit for
any random skill set movement.

SHOULDER ROLL (sh-RO)

 28
Shoulder rolls are most prominent in walk techniques and step
combos for style gratification. A simple shoulder roll could
make the difference entirely in terms of expression. A shoulder
roll may be explained as a 360* revolving of the rotator cuff
(shoulder socket). The mastery of this technique will be a
significant evolution of introducing style for any dancer.

WINGS & STRINGS

The incorporation of the arms is not significant in traditional

Jookin styles due to the extensive concentration on rhythm in
the feet. However, the arms have always played a major role in
facilitating foot movement, which in turn created the Wings &
Strings method. This technique is not related to any dance
style of any genre except ballet. The Jookin style is built to
advance the range of movement of any style in terms of the
 29
lower body, while using the upper body only for incorporation
and balance using Wings & Strings , unless an upper body
style/concept that already exists is being added in with it i.e.
tuts, mimes and waves animations.
Before understanding the usage of the Wings & Strings
technique, the 5 basic arm positions of Ballet must be
examined for partial comparison and analysis. These positions
are as follows:
FIRST – Arms at the chest, stretched out front, but slightly bent
at the elbows to form a circle with a space between the hands.

SECOND – Both arms fully stretched out to the side

THIRD – The right arm returns to first position while the left
arm remains in second position and vice versa.

FOURTH – The right arm is raised above the head, creating a

semi-circular shape that is the upright equivalent to first
position, while the left arm remains in second position and vice
versa.

FIFTH – The upright equivalent to first position, both arms are

raised above the head forming a circle with a space between
the hands.
 WINGS: BALANCE FOR JOOKIN’
30
The Wings technique is based off of the second position in the
Ballet style. It is logically the best way to maintain balance
when learning such skill sets as sliding, gliding, and “S” Motion.
This ultimately means that the arms are stretched out to the
side, but they may tilt upward and downward as the body
needs them to respond for balance. When the knees bend or
the shoulders drop toward one side of the body (mostly on the
supporting leg) , Wings are to be used to create a balance beam
that helps to teach the body the correct positions of the torso
and working leg while sliding and using the toe swivel. In
addition to the second position, Wings may be raised and
stretched above the head to resemble the fifth position or
stretched out front at the chest similar to first position. While
the second position is essentially a balance technique, the
other Wings positions can be starting positions that can lead to
the second position. All Wings positions can be combined in
sequences to diversify movement of the arms during spins, but
also to add other dance skills and techniques to the arms i.e.
tuts, strobes, waves etc.. This kind of movement is often used
when stabilizing lower body movement. Once balance and
awareness is present, Wings can become more liberated
through the usage of another strategic arm technique known as
Strings. But before learning about loose movement, here are
the basic and controlled positions of Wings:
 WING POSITIONS
The right angle is performed by folding the arm at a 90 degree
angle. There are various ways to perform a right angle, which
31
will be explained below:

UPRIGHT ANGLE right angle with arm(s) up

DOWNRIGHT ANGLE right angle with arm(s) down
SIDE OUT arms out to the side
SIDE RIGHT ANGLE right angle with arm(s) turned in front from sideout.

LEFT OPPOSITE ANGLES left arm upright; right arm downright

RIGHT OPPOSITE ANGLES right arm upright; left arm downright
RIGHT OPPOSITE SLANTS right arm up; left arm(s) down angular from upright angle
LEFT OPPOSITE SLANTS left arm up; right arm(s) down downright angle

STRINGS: PUPPETEERING FOR JOOKIN

The Jookin style does not conform to the stiff precise
movement that is required in Ballet, allowing Strings to have
free range of motion falling in line with in Head & Shoulder
Expression as well as Leg Work which will be explained later in
the book. The Strings technique can be used to follow any part
of the body with the arms which makes it a part of the Jookin
style due its unavoidable usage in L-Steppin’ and Buckjumping,
as well as other optional skill sets. Its ability to direct and
redirect movements is among the cleverest additions to full
body motion.
Strings have hand positions which involve the illusion that is to
be presented in conjunction with each respected skill set or
technique. The arms may move accordingly with the chosen
hand position. Before explaining the hand positions, it is
imperative that the reader understands that the Strings
32
technique allows the dancer embody the functions of a puppet
as well as a puppeteer. The arms will be pulled and controlled
by an imaginary force when depicting puppet like traits, not
excluding the collaboration of other body parts when
performing in this role. The arms will purposely carry and
control any body part when portraying a puppeteer, meaning
that the collaboration of other body parts is necessary to
display puppet like movement while using the arms. Puppeteer
motion is used in many different dance styles in its own unique
way. For Jookin, the hands not only control each body part at
the joint but also facilitate different skills and techniques in the
style.
The 3 main hand positions are Peaks, Claws, and Palms.

Pointers
Imagine there are many strings tied to your finger. You are
standing in front of a wall. Your arm may be pulled by any string
that can come from various directions. When your arm is
pulled, you will dash out to touch the spot it was pulled from.
Except one thing………… You are controlling it when you are not
imagining. Distinctly point with the arm stretched or re-
emphasized as a dime stop or pop. The goal is to reach for the
top of the pointed position.
Think of it as the pointing of the index fingers in any direction
with the thought of puppet strings being tied to the end of
33
them. This technique/skill provides the depiction of a puppet
being pulled by the finger either standing still or during a series
of motions i.e. L-Steppin’, Buckjumping, Sliding etc..
Here are the Pointer positions.
FRONT POINT to point the finger out in front of the body
UPFRONT POINT to point the finger up in front of the body
DOWNFRONT POINT to point the finger down in front of the body

SIDE POINT to point the finger out to the side

UPSIDE POINT to point the finger up from the side
DOWNSIDE POINT to point the finger down from the side

UPSLANT POINT (FRONT AND SIDE)

to point up and out at a 45 degree angle

DOWNSLANT POINT (FRONT AND SIDE)

to point down and out at a 45 degree angle

CROSS POINT UP (FRONT AND SIDE)

to cross the arms pointing up

CROSS POINT DOWN (FRONT AND SIDE)

to cross the arms pointing down
 CLAWS 34
Claws are performed by connecting the fingers to depict a
puppeteer holding strings that are connected to every possible
body part in order to control and move them at the joints. The
Elevated Dancefloor sub-technique is an important function of
the Claws technique, being that emphasis can be focused on
picking up the legs and controlling them on and/or off the
ground. The Claws technique consists of pulling motions. There
are three kinds of motions involved in the Claws technique:
PULL UP to lift different body parts up
PULL OUT to pull different body parts out
PULL IN to pull different body parts in

FRONT PULL UP to lift the arm out in front and centered to guide rising motion
HIGH FRONT PULL UP to lift the arm up high out in front to guide rising motion
LOW FRONT PULL UP to drop the arm down low out in front to guide rising motion

FRONT PULL OUT to lift the arm out in front and centered to guide outward motion
HIGH FRONT PULL OUT to lift the arm up high out in front to guide outward motion
LOW FRONT PULL OUT to drop the arm down low out in front to guide outward motion

FRONT PULL IN to lift the arm out in front and centered to guide inward motion
HIGH FRONT PULL IN to lift the arm up high out in front to guide inward motion
LOW FRONT PULL IN to drop the arm down low out in front to guide inward motion

SIDE PULL UP to lift the arm out to the side and centered to guide rising motion
HIGH SIDE PULL UP to lift the arm up high out to the side to guide rising motion
LOW SIDE PULL UP to drop the arm down low out to the side to guide rising motion

SIDE PULL OUT to lift the arm out to the side and centered to guide outward motion
HIGH SIDE PULL OUT to lift the arm up high out to the side to guide outward motion
LOW SIDE PULL OUT to drop the arm down low out to the side to guide outward motion

SIDE PULL IN to lift the arm out to the side and centered to guide inward motion
HIGH SIDE PULL IN to lift the arm up high out to the side to guide inward motion
LOW SIDE PULL IN to drop the arm down low out to the side to guide inward motion
 PALMS 35
The Palms technique is an open hand position that is similar to
a puppeteer with strings tied to all fingers also allowing the
depiction of a puppet to be displayed as well. Palms may be
used in conjunction with the wrists to add more movement
when partnering with other parts of the body. The attributes of
Palms is a mixture of the Pointers and Claws techniques. This is
where the legs can be controlled by the imaginary strings
connecting the hands with the knee. The fingers may be the
emphasis of puppet like motion, but the palm of the hand may
be used to puppeteer different body parts. Palms don’t have
any specific motions to clarify aside from the Pointer and Claw
motions. The palms can emulate the same movements while
opening a free range of motion with the hands. The hands can
turn, bend, or flip over continuously. Palms also make transition
into funk style concepts such as “tuts” and waving much easier.

WINGS CREATE THE STRINGS

The positions explained in this chapter are all apart of
dance as a whole. The terminology may be different in
other styles, but the importance in whole is about creating
imagery that can be physically produced based on the
terminology. Wings are simple positions that are meant to
be stationary to sustain balance during transitional lower
body movements such as slides, glides, and spins. For
beginners, Wings is the first step to learning how to
 36
balance and shift the weight of the body. Once learned,
Strings can be used to bring life to certain movements
learned by the feet. By simply using Wings as a stationary
balancing tactic for the lower body, Strings can be used as
an asset in terms of energy, co-ordination, animation and
illusion. Wings create the strings. The feet can only learn
to the extent of what the entire body is able to balance.
 CHAPTER THREE: 37
THE REVELATION OF
MEMPHIS JOOKIN’
So far in the contents of this book, the technical structure and
aspects of the Jookin’ style has been dominated by the Poppin’
and Ballet dance genres. The rhythmic design of the L-Step
allows for a revolution in foot movement if musicality is placed
before physical ability. Jookin’ has bridged a looked over gap
between Funk Style and Classical Ballet. These genres have
achieved much on an individual platform, but their
collaboration offers an opportunity for an equally essential
chance to re-define the purpose of both styles through Jookin’.
That chance came in the form of one of the less applied foot-
oriented skill sets that are in existence which is the Slide. Its
smooth transition combined with the poised and rhythmic
Bounce Notes of Jookin has created over 20 years of evolution.
Sliding is not said or recorded to have been existent in the early
Gangsta Walk style. The Slide’s impact appeared in the early
1990’s when the following Gangsta Walkers began to add more
transitional movement to the style. Musicality was beginning to
take focus in the entire dance industry because of Poppin’s
growing effect throughout the 1980’s; therefore, the most
 important pieces of the Jookin styles relates to Poppin’ ,
Classical Ballet, and the rhythm of Classic Memphis Rap.
38
Through these essential tools Jookin’ was born.

Leg Work
KNEES

In the Memphis Jookin style, the knees are the lower body
counterpart to the shoulders. The knees are the closest
potential energy source to the feet. Bending of the knees is
important for rhythm, timing, balance, momentum and speed.
All components of classical ballet are well respected for the
ability to have formed, mastered and pursued only turned out,
en Pointe, straight legged or bent knee positions without any
resting poses. Jookin is the total opposite in this regard. The
traditions of classical ballet are not foreign to Jookin in terms of
knowledge of necessary strength to grow, but the strict
applications of these methods are not common in Jookin. The
rhythm of the music that influences Jookin is uniquely different
from any ballet style. In Jookin, the knees bounce majority of
the time to maintain consistency with the Bounce Notes.
Classical Ballet uses bent knees to prepare for positions that
lead to full extension. Every facet of Jookin involves movement
of the knees, which makes it a unique class of ballet in terms of
skill set.

PLIE’: BALLET VS. JOOKIN

PLIE’-(Ballet term)
Literally "bent". A smooth and continuous bending of the knees
 39
The plie’ is a common movement in all forms of ballet, including
Jookin. However, in all forms of ballet before Jookin, the plie’ is
used as a measured bending of the knee to emphasize the
elegance of movement fitting for each genre of ballet. The plie’
in Jookin is used to enter into slides, but is also an exit for
combinations of all skill sets. The shoulders may lean down in a
double shoulder drop as the knees bend to prepare for vertical
mobility such as releve’ and En L’ Aire motion, or lean back on
the heels for continuation leading to horizontal mobility such as
Sliding or L-Steppin’.

HIPS
The hips are one of the original “G” Style developments
that have had a relevant impact on Jookin. The Memphis
pioneers turned and spun the hips to create incremental
rotations while breaking down rhythms and beats.
Furthermore, when the idea of incorporating demi-pointe
(standing high on the ball or toes) into the Jookin style became
popular, it created the opportunity to use the hips as a
transitioning tool for raising and lowering into slides and glides.
The hips can improve gliding technique by great lengths once
the supporting leg and foot is trained to swivel (see ankles) on
the ball or toe.

With the ability to use the hips for elevation in Jookin, the
releve’ (raised or lifted) motion has been elaborated upon due
to the integration of slides and glides in Jookin. When the
supporting leg rises, the leading leg can rotate the hip while
driving it upward into the mid-section as it moves En L’ Aire to
create a floating effect using the swivel. There are various ways
to use hip elevations as releve’ will be more closely examined
40
in the Toe & Heel section later in this chapter. The hips are the
key component in exaggerating En L’ Aire motion technique,
but it is not the only factor in Jookin to complete raised legged
creativity. It is partially supported by the ankle.

ANKLES
TENDU – (Ballet term) Literally "stretched"; a common abbreviation for battement tendu. Either
front, side, or backward

The usage of the ankles is a recent development added with the

hips as the two complement one another when used in
sequence. By stretching the ankle, a method known as tendu in
ballet, the Jookin style has can be very illusive when the
supporting leg’s balance is exceptional enough to bend the
knee and rise into releve’ without support from the working
leg. In Jookin, there is evidence of battement tendu in the next
section. The Frontstep and Sidestep Toe Notes (in the next
section also) are a clear depiction of the ankle expressing
battement tendu, except the knee can be slightly bent in Jookin
as opposed to a straight leg in traditional ballet styles. As an
addition to ankle extensions, Jookin has incorporated the ankle
into Foot Notes (called Ankle Notes) to add dimension to steps,
glides, and changes of direction.

In Jookin, the ankle can be turned in any possible direction

when En L’Aire without damaging instep. This factor is critically
important in the “S” Motion method which can be found in the
Toe & Heel Integration section of this chapter.
41
ROND DE JAMBE - (Ballet term) Literally "circle of the leg". Actually,
half-circles made by the pointed foot, returning through first position to
repeat; creating the letter 'D' on the floor. From front to back rond de
jambe en dehors, or from back to front rond de jambe en dedans.

The ronde de jambe technique is used in Jookin as a major

function for step transitions out of all Foot Notes from the first
and sixth positions. The rotations of the leg speed vary
depending on the selected Bounce Note or rhythm scheme. The
main use of rond de jambe in Jookin is to crossover en avant(to
the front) or en arriere( to the back) into plie’ but also to
randomize L-Steps En L’ Aire (known as False Steps in Jookin).
Furthermore, rond de jambe allows full extension of the ankle
(tendu) in any direction while rotating the leg en dehors and/or
en dedans. En dehors refers to an outer rotation that pushes
around clockwise from the right leg and counter clockwise from
the left leg. En dedans refers to an inside rotation that pulls the
left leg around clockwise and the right leg counter clockwise.
Ronde de jombe also accompanies the swivel technique and
Foot Notes to add diversity to changes in direction as well as
illusive steps.

TOES
The toes are the most significant component relating Jookin to
the classes of ballet that exist. Being the latest development in
the style, the toes have added multiple dimensions to the
appeal and difficulty of the Jookin style. The illusion and actual
demonstration of being on the toes in tennis shoes is a most
42
compelling factor for dancers to learn the style. Its difficulty
proves worthiness that the style is revolutionary in the eyes of
spectators. Notably, the addition of standing on the toes has
solidified Jookin as a unique dance style in all areas of dance in
America today.

FOOT NOTES & L-STEPPIN’

THE ORIGIN OF THE URBAN BALLET THEORY
FOOT NOTES
(Moving musical notes)

The Memphis Jookin style is known for its expression of

movement as much as the skills and techniques that present
the expression. In this section, the initial basic steps and
positions that motivate creative motion will be explained and
defined in partial Ballet terminology while being transformed
and progressed into Jookin terms. Step positions to the front
(en avant or devant), side(a la seconde) and back(derriere) are
the most significant movements that relate Jookin to ballet, just
as in other dance styles. However, Jookin is a style that is
43
comprised of many different skill sets in terms of ability of the
lower body that can be related to ballet. The levels at which we
step in Jookin are referred to as Foot Notes, and have been
broken down into four categories:
 Flat Note – to step and place the foot flat on the ground
 Toe Note – to step and push the ball or toe into the ground with the heel
raised
 Heel Note – to step and push the heel into ground with the ball raised
 Ankle Note – (advanced) to step on the side of the foot positioning the ball
and heel at a 90 degree angle to the ground.

Sub-Foot Notes

 Air Note- to step in any direction with the foot raised off the ground at any
level that the foot is facing the ground (see Step En L’ Aire, also False Step)
*Air notes can be combined with the four main Foot Notes to add dimension
to false steps.

The Flat Note and Toe Note are primary foot positions for
majority of the movements in Jookin. The Heel Note and Ankle
Note are also significant, but they are more predominant in
step, slide, and/or spin combinations.
BALLET POSITIONS (FEET)

FIRST – The heels are touching with the legs straightened and toes turned out.
SECOND- The feet are spreaded apart at shoulder width.
THIRD – The front heel will connect at the middle of the back foot.
FOURTH – From Third, the leading leg is moved to the front from the formerly
connected position.
FIFTH – The front heel connects to the back toe with both feet turned out.
SIXTH – Both feet are parallel with one another. 44

The Base Concept : Gears

(A BRIEF INTRODUCTION)
The mastery of pointing and stepping in precise angles is the
defining purpose for the Gears concept. As choreography is
continued to be properly implemented into the Jookin style,
Gears will be responsible for placement and precision of
positions in the Jookin style.
GEARS: FOOT NOTES
( ) = working leg for GEARS
{ } = supporting leg for GEARS

The Gears method is more conceptual than technical for the

45
Jookin style; nevertheless, its mechanical description of the
stances and key positions make up one of the foundations of
Memphis dance, which is the L-Step or L-Steppin’. The L-Step is
a 3 step combination using Foot Notes for connecting different
sets of L-Steps, slides, glides and spins. When Foot Notes are
used with front, side, and back steps, a system of random
movement can be organized and repeated in different ways
through the Gears concept. In order to understand the Gears
concept effectively, one will imagine that a giant clock is
centered directly beneath them. The dancer will use the
numbers of the clock to direct movement. In L-Steppin,
dancers will be using Gears to direct Steps with Foot Notes to
add dimension to each step. To keep the mind focused on this
technique, it is to be figuratively thought of as “clock
management”. The supporting leg will be the “hour hand”,
which in L-Steps will turn in and out (see swivel) but will not
move out of place. The working leg, or the “minute hand” will
be used for directing L-Step positions.
WHOLE STEPS
In conjunction with the Gears concept, a whole step is
considered any step that moves in the cardinal directions on a
compass, which are the numbers 12, 3, 6, and 9 on a clock.
Whole Steps represent the front (en avant or devant), side(a la
seconde) and back(derriere) step positions.
46
HALF STEPS
In conjunction with the Gears concept, half steps make up the
angled or slanted steps of Jookin criterion. The numbers 1,11,4
and 8 on the clock are not recognized by the feet in the Gears
concept because of the needlessness of them. Therefore, the 2
and 10 are the key numbers in creating half frontsteps, while
the 5 and 7 make half backsteps. The numbers 12 to 6 (except
1) clockwise is dominated by the right leg, while the left
dominates 12 to 6 (except 11) counter clockwise.
Both legs may crossover (see Kicksteps) one another from the
front and back in L-Steppin’ to open up more variety in L-Step
combinations. The Gears system gives a clear depiction of the L-
Step concept; however, gears will be utilized in a variety of skill
sets throughout the Jookin style.
An example of Gears used in L-Steppin’ will be represented
from two different aspects which are the order of steps and the
Foot Notes that will lead each step. Here is a breakdown of an
L-Step in Gears language:

[L-FN ] (12-F {H:Sw}) (3-F) (6-T)P6

Each L-Step (L) has a designated Foot Note (FN) which explains the formula above. In Urban Ballet
terminology the formula equates as this:
(L-FN)
 47
Frontstep Flat (12-F) with opposite outward heel swivel {H:Sw OUT} into Sidestep Flat (3-F) into a
Backstep Toe(6-T) back to Sixth position(P6)

BASIC L-STEPS POSITIONS

(POPPIN + BALLET = JOOKIN’)

The Jookin style is a variation of the funk style known as

Poppin’. Jookin is uniquely patterned from Memphis dance
culture, noted mostly for the skill known as Buckjumping.
However, just as Poppin’ emphasized movement in the upper
body, Jookin does the same in the lower body. Much like
Classical Ballet, Jookin’ has used simple directed steps as
placement for transitional movements throughout the entire
style. All of these genres use the entire body but Jookin
MOSTLY does with the legs what Poppin’ does MOSTLY with the
arms; moreover, Jookin is produced from rhythm that is
neglected by the art of Ballet completely. In Jookin, all lower
body movement starts with L-Step Positions, referring to the
 commonly used 3-step combinations that create “L” shaped
figures, along with the usage of Toe Notes.
48
FRONT STEP FLAT (BACK SLIDE STEP)

[L-FN (12-F)]

 FLAT NOTE EN AVANT (SIMILAR TO THE FOURTH POSITION)

o THE SUPPORTING LEG WILL BE TOE POINT OUT
o THE LEADING LEG WILL BE EN AVANT
o THE BACKSLIDE IS ALSO CALLED THE MOONWALK

SIDE STEP FLAT (SURFBOARD STEP)

[L-FN (3-F)] or [L-FN (9-F)]

 FLAT NOTE A LA SECONDE (SIMILAR TO THE SECOND POSITION)

o THE SUPPORTING LEG WILL BE EN AVANT

BACK STEP FLAT (SWIVEL SLIDE STEP)

[L-FN (6-F)]

 FLAT NOTE en ARRIERE

o LEAN OPPOSITE SHOULDER IN MOTION WITH THE BACKSTEP
o THE SUPPORTING LEG WILL TURN TOE OUT FROM DEVANT AS THE LEADING LEG STEPS
BACK

FRONT STEP TOE (PUSHTOE STEP)

[L-FN (12-T)]

 TOE NOTE EN AVANT A TERRE

o THE SUPPORTING LEG WILL BE TOE OUT
o THE KNEE OF THE LEADING LEG WILL BE SLIGHTLY BENT LEANING ON B
o THE SHOULDERS WILL FOLLOW THROUGH WITH THE LEADING LEG

SIDESTEP TOE (SLIDE STEP)

[L-FN (3-T)] or [L-FN (9-T)

 TOE NOTE A LA SECONDE

o SUPPORTING LEG WILL BE EN AVANT
BACK STEP TOE
o
o ALIGN SHOULDERS WITH THE WORKING LEG TO PUSH INTO THE GROUND

(PULL TOE STEP)

49
WORKING LEG WILL BE TO THE SIDE IN POSITION TO PUSH WEIGHT INTO THE GROUND

[L-FN (6-T)]

 TOE NOTE en ARRIERE

o LEAN SHOULDERS IN MOTION WITH THE BACKSTEP
o SUPPORTING LEG TURNS TOE OUT IN TRANSITION TO BACKSTEP

FRONTSTEP HEEL (HALFMOON SWIVEL STEP)

[L-FN (12-H)]

 HEEL NOTE en AVANT

o SLIGHTLY RISE ON THE BALL OF THE SUPPORTING FOOT
o BEND THE SUPPORTING KNEE AS IF STEPPING DOWN ON THE WORKING LEG

SIDESTEP HEEL (BRIDGE SLIDE STEP)

[L-FN (3-H)] or [L-FN (9-H)]

 HEEL NOTE a la SECONDE

o EXTEND THE WORKING FOOT UPWARD ON THE HEEL OPPOSITE OF DEMI POINTE
o SUPPORTING LEG WILL BE EN AVANT
o TURN SHOULDERS TOWARD SUPPORTING LEG FOR PULLING EFFECT

BACKSTEP HEEL (SHOVEL STEP)

[L-FN (6-H)]

 HEEL NOTE en ARRIERE INTO EN POINTE

o WHILE STEPPING BACK, RISE THE WORKING LEG TO THE KNEE THEN DECLINE
o RISE TO THE BALL OF THE SUPPORTING FOOT WITH THE KNEE SLIGHTLY BENT
o LEAN SHOULDERS BACK WITH THE BACKSTEP WHILE RISING ON THE SUPPORTING TOE
o THE SUPPORTING FOOT MAY RISE TO DEMI POINTE OR STAY PARALLEL WITH THE
GROUND

STANCES
(JOOKIN + BALLET)
A’ TERRE – (Ballet term) To keep the foot on the ground

EN L’AIRE – (Ballet term) To raise the foot in the air

50
HERO TURNOUT (CLASSIC PACMAN STANCE)
 120* - 180* DOUBLE FLAT NOTE FACING A LA SECONDE (SIMILAR TO PLIE)
ALSO KNOWN AS A TURNOUT
o HEELS MAY BE CONNECTED OR DISCONNECTED
o TOE POINTING OUT FOR BOTH FEET
o KNEES MAY BE BENT OR STRAIGHT

CRUCIFIX CROSSOVER
 FACING DEVANT, THE LEGS ARE CROSSED WITH THE FEET TOGETHER

FLYING CRUCIFIX CROSSOVER

 FACING DEVANT, THE LEGS ARE CROSSED WITH THE FEET TOGETHER IN DOUBLE STANDING
TOE-NOTE

FLYING ARQUE HERO (BOWLEGGED)

 120*- 180* DOUBLE STANDING TOE NOTE TURNED OUT IN DEMI-POINTE
o HEELS MUST BE FACING BUT NOT CONNECTED
o KNEES WILL BE POINTINGOUT WITH FEET

FLYING JARRETE (KNOCK KNEED)

 DOUBLE STANDING TOE NOTE FACING DEVANT IN DEMI-POINTE IN THE SIXTH
POSITION(PARALLEL)
o THE FEET CAN BE SPREADED OR CONNECTED
o THE HEELS SHOULD NOT FACE FOR JARRETE POSITION

FRONT SIDE TOE (INNER OBVERSE SLIDE STEP)

 COUPE A TERRE EN AVANT
o RAISED LEG IN TOE NOTE TURNED OUT
o SUPPORTING LEG IS UNDER RAISED FOOT

BACK SIDE TOE (INNER REVERSE SLIDE STEP)

 COUPE A TERRE DERRIERE
o RAISED LEG IN TOE NOTE A TERRE BEHIND THE SUPPORTING LEG POINTED OUT HIDING
THE HEEL
o SUPPORTING LEG IS FACING DEVANT

HALF MOON
 SIMILAR TO THIRD POSITION ACCEPT THE FEET FACE DEVANT
o IMAGINE WALKING A TIGHT ROPE
 o
o
HIDE THE BACK FOOT COMPLETELY AS IF WALKING A STRAIGHT LINE
CONNECT THE TOE TO THE OPPOSITE HEEL 51

BUCKJUMP 101
THE ORIGIN OF MEMPHIS URBAN DANCE
BUCKJUMP – A rhythmic hop or jump in any direction while
continuously switching legs.
The Memphis Rap culture started in a musically explosive
manner collaborating hip hop culture with the ways of the
Memphis street life style. “Getting Buck” is how the G-STYLE
era began in the late 1980’s and the rhythms of yesterday
founded a platform for Memphis Jookin’ to stand on its own
today. The Bounce Notes created themselves in a time when
 52
musicality was becoming the dominant attribute in not only the
making of new music but also the energy that the music
provided for the sake of motion. In Memphis that energy was
shared by nightclubs full of people finding the beat of the music
through “Buck” jumping around the room initiated by the rising
G-STYLE pioneers of that time. The power of the Buckjump
slowly began to express itself as an art when real dancers
began to act out the rhythms through random ideas of motion
in conjunction with the Buckjump. The revolution began with
spins from the hip and basic L-Step combinations. Over time as
the musical genre continued to add more sound on a constant
rhythm, more motion was demanded within the rhythm which
solidified Buckjumping as a channel by which rhythm is
produced for the sake of additional skill sets.
The motivation of the dance only caused more genre-defining
tracks because of the response of the people toward the
culture. The Memphis music of the early G-STYLE era inspired
many underground music markets that exist in the United
States today which are thriving off the “get buck” or “crunk”
persona which in turn added more culture to Jookin’. Foreign
music artists added more movement to the style just from their
environmental perception that caused various views and
opinions of growth for rhythm. Without awareness of our
style’s existence, foreign artists are offering what has always
been in the style while adding dimension to the rhythm as well
as evolving the overall structure of each skill set. Nevertheless,
the one thing that has and always will be able to grow from the
53
musical rhythms of Jookin’ is Buckjumping.
To understand the rhythmic collaboration of Bounce Notes and
Buckjumping, read, review and apply the Walk Steps below:

WALK STEPS
(BOUNCE NOTE WALK)

HEEL THROW – To turn the heel in while the foot is raised on a Toe Note

BUCK JUMP –a small forward, backward, or side hop in any direction with the working leg using
Foot Notes, while the supporting leg moves to meet the working leg usually on a ½ OR ¼
bounce. (see petit saut)

SWIVEL - The swivel is performed by turning the supporting ankle in or out off the ball/heel
while transitioning into any movement with the leading leg En L’ Aire (off the ground ); In
addition, the swivel is also used in pushing off or pulling in A Terre (on the ground).

STEPOVER – a step frontward or backward over a raised or flat swivel. The origins of this step in
ballet is related to the terms dessous(under) and dessus (over)

MEMPHIS ANGLE
 HALF FRONTSTEP FLAT ON ¼ BOUNCE
o SLIGHTLY BOUNCE INTO EACH STEP ON A ¼ BOUNCE
o LEAN INTO A SINGLE SHOULDER DROP OPPOSITE OF THE LEADING LEG
o SWIVEL THE HEEL OUT FROM THE LEADING LEG WITH EACH TRANSITION

MEMPHIS DOUBLE STEP

 HALF FRONTSTEP FLAT FROM (R) TO (L)ON 1/8 BOUNCE
o TRANSITION INTO EACH STEP ON AN 1/8 BOUNCE
o EACH FOOT COMMITS TO TWO STEPS PER TRANSITION
o LIGHTLY STOMP AS THE SHOULDERS ARE LINED UP WITH THE HEELS
(SLIGHTLY LEAN BACK ON SUPPORTING LEG)
 o

QUARTER HOPSTEP
LEAN BACK AND BEND THE KNEE OF THE SUPPORTING LEG ON THE SECOND STEP OF
EACH DOUBLE STEP

 FRONT JUMPSTEP ON HALF OR ¼ BOUNCE

54
o SLIGHTLY BEND THE KNEES IN TRANSITION TO EACH STEP
o CREATE A SMALL LEAP BY BRINGING FEET TOGETHER AFTER EACH JUMP
o LOOSELY BOUNCE SHOULDERS WITHOUT FORCE ON EACH JUMP
o IMAGINE A FROG HOPPING FROM LILY PAD TO LILY PAD IN A POND.

HIGHSTEP
 SINGLE UPSTEP KNEETOUCH ON ¼ BOUNCE
o HOLD THE UPSTEP IN KNEETOUCH HOPPING INTO EACH TRANSITION
o LEAN INTO EACH UPSTEP WITH A TURTLE NECK IN RHYTHM WITH WORKING LEG

FLAT TOE NOTE WALK

 MOVING FORWARD (R) FRONTSTEP FLAT INTO (L) TOE ON ¼ BOUNCE(switch)
o IMAGINE THE FOOT WORK REQUIRED IN WALKING DOWN STEPS

HEEL THROW BACKSTEP

 (R) HEEL THROW SWIVEL WITH (L) BACK STEPOVER ON 1/8 BOUNCE
o RAISE INTO EACH STEPOVER AS THE HEEL SWIVELS IN
o FOR MORE EFFECT, EMPHASIZE OR SNATCH THE SWIVEL IN EACH HEEL THROW

Buckjumps
 (Saut de Jookin)
HOPSTEP –is a small stationary hop out in any direction with the working leg using Foot Notes,
while the supporting leg slightly hops to plant or rise before switching legs.

UPSTEP - Perpendicular to the hopstep, the upstep is performed by slightly hopping up on the
supporting leg as the working leg rises to the height of the knee

KNEE TOUCH– (ME) To rise the working foot parallel to the knee of the supporting leg touching
it on the inside and/or outside of the knee.

HOPSTEP BUCKJUMP (SKI)

 (R)HALF FRONT HOPSTEP WITH (L) HALF BACKSTEP TO INSIDE KNEETOUCH(switch)
o BRING FEET BACK TOGETHER AFTER EACH HOPSTEP
o MOVE AROUND IN ANY DIRECTION
o (OPTIONAL) TURN SHOULDERS TO FOLLOW HALF FRONTSTEP HOP
 o (OPTIONAL)

LOW SIDE UPSTEP BUCKJUMP

LEAN BACK TOWARD HALF BACKSTEP

(DERBY)
55
 IN DOUBLE SHOULDER DROP, (R) SIDESTEP FLAT INTO (L) SIDE UPSTEP FLAT BACK TO SIXTH ON
¼ BOUNCE (switch)
o TURN THE KNEES AND FEET OUT WHILE LEANING DOWN INTO EACH UPSTEP
o SWING LOWERED ARMS & SHOULDERS TOWARD SIDESTEP FLAT
o NECK THRUST WITH THE SHOULDERS TOWARD SIDESTEP FLAT

DOUBLE UPSTEP BUCKJUMP (CLASSIC)

 IN THE SIXTH, UPSTEP TO INSIDE KNEETOUCH TWICE FROM (R) TO (L) ON 1/8 BOUNCE
o RAISE EACH LEG TWICE BEFORE SWITCHING LEGS
o TURTLE NECK IN RHYTHM TO CREATE BOUNCE WITH EACH UPSTEP

SIDE UPSTEP BUCKJUMP (HERO HOPSTEP)

 STANDING UPRIGHT (R) SIDESTEP FLAT INTO (L) SIDE UPSTEP FLAT BACK TO SIXTH ON ¼
BOUNCE (switch)
o SHOULDER TURN TOWARD SIDESTEP FLAT
o BEND THE KNEE OF THE SUPPORTING LEG TO ADD BOUNCE IN TRANSITION
o TURTLE NECK IN RHYTHM WITH EACH STEP ON ¼ BOUNCE

FRONT KICKSTEP BUCKJUMP (KICKSTEP)

 FRONT HOPSTEP (switch) FALSE FRONTSTEP INTO FRONT HOPSTEP(switch)
o COLLAR THRUST WITH SHOULDER OPPOSITE OF THE WORKING LEG
o QUICKLY AND FIRMLY RELEASE AND DRAW BACK THE FALSE STEP GOING INTO HOPSTEP
o BEND THE KNEES ON EVERY HOPSTEP TO EMPHASIZE DEFINITE CONTACT WITH THE
GROUND

The Buckjumps listed above can fit any Bounce Note based on its individual
characteristics of movement.

RHYTHMIC MOBILITY:

KICKSTANDS & PACMANS

KICK STANDS
(JOOKIN)

In the following subject matters, positions will be explained in

relation to the feet transitioning individually and in sequence.
When the word “with” is used in defining a stance, step, or
movement, it is in reference to both feet reacting
simultaneously on a beat. When the word “into” is used, it
56
refers to one foot movement leading to the other foot’s
movement or one leg moving in a series.
FALSE STEP – (Jookin term) To extend into any step position or series of steps without planting
using Foot Notes, usually stepping into it precisely and quickly stepping back to first or sixth to
provide definition . Another term for false step is Step En L’ Aire or Step Off The Ground in Urban
Ballet terminology. Ex. FrontStep False Toe

CROSSOVER – To step in front of or behind the opposite leg crossing them.

FRONT KICKSTAND

[L-FN (12-FF) P6] into [ L-FN (6-T)]

 (R) FRONTSTEP FALSE FLAT BACK TO SIXTH INTO (L) BACKSTEP TOE
o AFTER THE FALSE STEP QUICKLY PULL THE WORKING FOOT BACK TOWARD THE FRONT
OF THE SUPPORTING TOE
o IMAGINE THE WORKING FOOT KICKING THE SUPPORTING FOOT INTO BACKSTEP TOE

SIDE KICKSTAND

[L-FN (3-FT) P1 ] into [L-FN (10-T)]

 (R) SIDESTEP FALSE TOE BACK TO FIRST INTO (L) HALF FRONTSTEP TOE
o AFTER THE FALSE STEP QUICKLY PULL THE WORKING FOOT BACK TOWARD THE SIDE OF
THE SUPPORTING HEEL
o IMAGINE THE WORKING FOOT KICKING THE SUPPORTING HEEL INTO HALF FRONTSTEP

PENDULUM KICKSTAND

[L-FN (5-FT) P1] into [L-FN (7-T)]

 (R) HALF BACKSTEP FALSE TOE BACK TO FIRST INTO (L) HALF BACKSTEP TOE [rpt]
o LEAN TOWARD THE WORKING LEG WITH SHOULDERS FACING SUPPORTING LEG
o SUPPORTING LEG WILL BE IN HALFSTEP FRONT
CROSSOVER FRONT KICKSTAND

[L-FN (10-FT) P6] into [L-FN (6-T)]

(BOOMERANG KICKSTAND) 57
 (R) REVERSE HALF FRONTSTEP FALSE TOE PASSING SIXTH POSITION INTO (L) HALF BACKSTEP
TOE
o TURN SHOULDERS TOWARD THE WORKING LEG AS IT PASSES OVER THE SUPPORTING
LEG
o LEAN WITH THE BACKSTEP AS THE WORKING LEG RETURNS TO SIXTH
POSITION(PARALLEL)

CROSSOVER BACK KICKSTAND

[L-FN (7-FT) into (6-F)]

 (R) REVERSE HALF BACKSTEP FALSE TOE INTO (R) BACKSTEP TOE
o TURN SHOULDERS TOWARD THE WORKING LEG WITH REVERSE HALF BACKSTEP
o LEAN WITH THE BACKSTEP AS THE WORKING LEG RETURNS TO SIXTH
POSITION(PARALLEL)

Elevated Dance Floor

ATTITUDE – (Ballet term)
A position in which the dancer stands on one leg (known as the supporting leg) while the other
leg (working leg) is lifted and well turned out with the knee bent at approximately 90-degree
angle. The lifted or working leg can be behind (derrière), in front (devant), or on the side (à la
seconde) of the body. If the leg in attitude derrière is resting on the floor, then the pose is known
as B-plus. It is important to note that when executing an attitude position devant or derrière,
the knee should be in line with the ankle, as if the whole leg would be resting on a surface. The
attitude position can be performed with the supporting leg and foot either en pointe, demi
pointe or on a flat foot.

ELEVATION – (Jookin term)

The act of raising the leg off the ground in any whole step position (front, side or back), while
levels of elevation are put into account to symbolize certain areas at which the raised leg can be
positioned. Unlike ballet’s Attitude position, this technique is performed with the working
and/or supporting knee either bent or straightened.
With these techniques being understood, there are 3 levels of Elevation in the
Jookin style. They are as follows:

LOWER ELEVATION (LE)

58
Lower Elevation involves movement that ranges from the top of the ankle to the
sole of the foot. [L-FN-(LE)](12-F, 3-F, 6-T)
MIDDLE ELEVATION (ME)
Middle Elevation involves movement that ranges from under the knee down to
the ankle. [L-FN-(ME)](12-FF, 3-FF, 6-FT)
HIGHER ELEVATION (HE)
Higher Elevation involves movement that is above the knee.
[L-FN-(HE)](12-FF, 3-FF, 6-FT)

These levels of elevation all have the capability of being combined within skill sets
of the Jookin’ style.

The Pacman
(HIP HOP)
The Pacman has been a popular dance step used in the
Memphis Jookin style since the early 90’s, when it was known
as the Gangsta Walk. It was originally defined and performed as
a continual turning in and out (swivel) of the feet, appearing to
create a mirror effect. The Pacman can be done in any bounce
note, but is most popular in 1/16 Double Octo Bounce. Over
time, different step positions began to host the Pacman
 because the rhythm of traditional Jookin music is common for
having the Double Octo rhythm, allowing the Pacman motion to
59
travel in any direction through small controlled hops.
ALL STEP – All Step refers to having the option of choosing any Whole step direction. All Halfstep
relates to the option of all half step directions. All Frontstep relates to the option of all front
step directions. All Backstep relates to all backstep directions.

UNDER THE BRIDGE – To pass or cross under the foot moving in either a pacman, slide or glide.
Passing under the bridge means to start from a crossover in motion under the foot usually as a
pacman or surfboard. Crossing under the bridge means to start from a sidestep in motion under
the bridge

UNDER FOOT – When a working foot is placed “under the foot” while the supporting foot is
raised on a Toe Note. This area is subject to steps, pacmans, slides and glides.

ONE FOOT PACMAN

(MOVING)

PUSHTOE PACMAN
 LEADING IN FRONTSTEP TOE, POSITION PACMAN FOOT TURNED OUT MOVING EN AVANT
o PACMAN FOOT SHOULD BE MOVING TOWARD UNDERFOOT POSITION
o TURN SHOULDERS TO FACE FRONTSTEP TOE POSITION

POINT TOE PACMAN

 LEADING IN SIDESTEP TOE, POSITION PACMAN FOOT FACING DEVANT MOVING TOWARD A LA
SECONDE
o PACMAN FOOT SHOULD BE MOVING TOWARD UNDERFOOT POSITION
o TURN SHOULDERS TO FACE FRONT WITH PACMAN FOOT
PULL TOE PACMAN
 LEADING IN BACKSTEP TOE , POSITION PACMAN FOOT FACING DEVANT MOVING A LA
SECONDE
o POSITION SHOULDERS TO FACE FRONT
o USE TO PACMAN FOOT TO LEVERAGE WEIGHT
60
STEPOVER PACMAN
 LEADING IN INVERTED SIDESTEP TOE (STEPOVER), POSITION PACMAN FACING DEVANT
MOVING A LA SECONDE
o USE PACMAN FOOT TO LEVERAGE WEIGHT
o MAINTAIN BALANCE BY USING THE TOE OF THE CROSSED LEG TO SPOT DURING
PACMAN

CROSSOVER PACMAN
 LEADING IN INVERTED HALF BACKSTEP TOE (CROSSOVER), POSITION PACMAN FACING DEVANT
MOVING A LA SECONDE
o USE PACMAN FOOT TO LEVERAGE WEIGHT
o MAINTAIN BALANCE BY USING THE TOE OF THE CROSSED LEG TO SPOT DURING
PACMAN

(STATIONARY)

PUSH TOE PACMAN

 LEADING IN FRONTSTEP TOE SWIVEL, POSITION PACMAN FOOT FACING A LA SECONDE
(UNDERFOOT) AND BEGIN MOVING EN ARRIERE
o USE CORRESPONDING SHOULDER TO FOLLOW THE PACMAN FOOT, WHICH WILL DEFINE
THE SEPARATION OF THE FEET UPON COMPLETION OF THE PACMAN.
o SLIGHTLY LEAN INTO PACMAN MOTION WITH CORRESPONDING SHOULDER

POINT TOE PACMAN

 LEADING IN SIDESTEP TOE SWIVEL , POSITION PACMAN FOOT FACING DEVANT (UNDERFOOT)
AND BEGIN MOVING A LA SECONDE
o LOWER AND RAISE THE PLANTED FOOT TO SHOW MOVEMENT AND ADD DIMENSION
TO THE MOTION OF THE PACMAN
PULL TOE PACMAN
 LEADING IN BACKSTEP TOE SWIVEL, POSITION PACMAN FOOT FACING DEVANT AND BEGIN
MOVING A LA SECONDE
o KEEP PLANTED FOOT IN PLACE AS THE PACMAN FOOT MOVES AROUND IT
STEPOVER PACMAN
61
 LEADING IN INVERTED SIDESTEP (STEPOVER)TOE SWIVEL, POSITION PACMAN FACING DEVANT
TO PASS UNDER THE BRIDGE MOVING A LA SECONDE
o ROTATE THE PLANTED FOOT AS THE PACMAN FOOT MOVES AROUND IT TO RETURN TO
A NATURAL POSITION

STILL CROSSOVER PACMAN

 LEADING IN INVERTED HALF BACKSTEP (CROSSOVER), POSITION PACMAN FACING DEVANT
BEGIN MOVING A LA SECONDE
o USE SHOULDER TURNS TO FOLLOW THROUGH EACH SERIES OF PACMAN MOTION IN
ANY DIRECTION

TWO FOOT PACMAN

(MOVING)
CLASSIC HERO PACMAN
 FROM 120*HERO TURNOUT, SWIVEL BOTH FEET IN AND OUT SIMULTANEOUSLY ON 1/8
BOUNCE
o CREATE A MIRROR EFFECT WITH FEET BY CONNECTING AT THE HEEL AND TOE

QUARTER HOPSTEP PACMAN

 FROM 180* HERO TURNOUT, HOPSTEP WITH AN INWARD FALSE STEP IN THE AIR LANDING INTO
EACH PACMAN MOVING IN ANY DIRECTION ON ¼ BOUNCE IN AN IN-OUT FASHION
o CLOSE EACH PACMAN DURING EACH HOPSTEP, OPENING UPON EACH LANDING
o TURTLE NECK WITH EACH HOPSTEP
 QUARTER HOPSTEP PACMAN
o FROM 180* HERO TURNOUT, HOPSTEP WITH AN INWARD FALSE STEP IN THE AIR
LANDING OUTWARD MOVING IN ANY DIRECTION ON ¼ BOUNCE
OCTO HOPSTEP PACMAN
 FROM 120* HERO TURNOUT, HOPSTEP INTO EACH PACMAN ON 1/8 OR 1/16 BOUNCE IN ANY
DIRECTION
o OPEN AND CLOSE EACH PACMAN WITH A HOPSTEP

FLAT TOE PACMAN

 FROM 120* HERO TURNOUT, RAISE THE FOOT IN TOE NOTE AND RETURN TO FLAT NOTE
CONTINUALLY WHILE ON 1/8 OR 1/16 BOUNCE
o RAISE TO A SINGLE TOE NOTE EVERY TWO BEATS ON 1/8 BOUNCE
o RAISE TO A SINGLE TOE NOTE EVERY FOUR BEATS ON 1/16 BOUNCE

BACK ‘N’ FORTH PACMAN

 FROM (R) TO (L) IN 120* HERO TURNOUT, PACMAN 4 BEATS IN EACH DIRECTION ON 1/16
BOUNCE OR VICE VERSA
 o
62
USE TIMING OF THE RHYTHM TO TRANSITION BACK AND FORTH FROM RIGHT TO LEFT
OR VICE VERSA

(STATIONARY)

HEEL THROW SWIVEL PACMAN (CLASSIC STATIONARY)

 FROM 120* HERO TURNOUT, HEEL THROW WITH HEEL SWIVEL FROM (R) TO (L) ON 1/8
BOUNCE
o EACH HEEL THROW COUNTS AS A BEAT

HERO TO HALFSTEP PACMAN

 FROM 120* HERO TURNOUT, HEEL SWIVEL WITH HEEL THROW INTO HALF FRONTSTEP FROM (L)
TO (R)ON 1/8 BOUNCE
o MOVE BACK & FORTH FROM HEEL THROW TO HALF FRONTSTEP
o SWIVEL THE OPPOSITE HEEL OUT WITH HALF FRONTSTEP

FRONT HALFSTEP PACMAN

 HOLDING A HALF FRONTSTEP FLAT POSITION, HEEL THROW SWIVEL PACMAN
o PLACE THE MAJORITY OF THE WEIGHT ON THE PLANTED FOOT
o SHIFT WEIGHT FROM THE HEEL TO THE TOE ON EACH SWIVEL

ALL STEP PACMAN

 FROM 120* HERO TURNOUT, HEEL THROW SWIVEL WITH ALL STEP TOE
o THE ALL STEP MAY BE SWITCHED OR REMAIN ORIENTED ON ONE FOOT
o AFTER EACH WHOLE STEP RETURN TO PLIE’ HERO THEN STEP AGAIN
o THE SUPPORTING FOOT SHOULD HEEL THROW SWIVEL IN CONSTANT RHYTHM

ALL BACKSTEP PACMAN

 STARTING IN BACKSTEP TOE, HEEL THROW SWIVEL WITH ALL BACKSTEP TOE
o THE TOE NOTE IS PREFERRED FOR BEGINNERS IN THE ALL BACKSTEP
o REMAIN IN BACKSTEP FOR THE DURATION OF THE PACMAN UNLESS IT IS BEING
COMBINED

TOE & HEEL

The Toe (T) and Heel (HL) are the most important positioning
tools for any Jookin style component. In steps, they play a
major role in the precision and completion of combinations. In
slides, not only does the toe and heel play a part in precision,
but also balance and transition placement. The ballet
movement rond de jambe is an example of how the toe and
63
heel is used in terms of pulling and pushing to a desired
position. The toe and heel are universally central in all facets of
the Jookin style, which makes this section a defining point in
the journey to mastering any other skill set in Jookin, including
the following subject matters in this chapter. The balance that
is acquired by proper usage of the upper body must be
leveraged by the supporting toe & heel in which the working
leg is balanced on. To understand the Gears concept clearly, the
working leg and supporting leg has been designated a bracket
to represent each in an equation.
( ) = working leg for GEARS

{ } = supporting leg for GEARS

UNDER THE BRIDGE (UB:P)/(UB:C) – (Jookin Term)

To pass or cross under the foot moving in either a pacman, slide or glide. Passing under the bridge (UB:P)
means to start from a crossover in motion under the foot back to the sidestep position. Crossing under
the bridge (UB:C)means to start from a sidestep in motion under the bridge to a crossover position

SWIVEL {T:Sw} {H:Sw} - (Jookin Term)

The swivel is performed by turning the supporting ankle in or out off the ball/heel while
transitioning into any movement with the leading leg En L’ Aire (off the ground ); In addition,
the swivel is also used in pushing off or pulling the working leg in A Terre (on the ground). The
swivel is a mandatory function to be acquired if sliding and gliding is an area of pursuit and/or
mastery. Steps produce the most expression when knowledge of the Swivel is applied. Learning
the placement of the Swivel will be useful in Glide Steps as it involves revolution.

HEEL THROW (H:Th) – (Jookin Term)

To turn the heel in while the foot is raised on the ball or in Toe Note

Cross SWIVEL {C: Sw} - (Jookin Term)

To use both legs combining the toe and heel swivel in order to crossover. The front leg is the
supporting leg which crosses over the working leg using the toe or heel swivel moving inward as
the working leg crosses from behind using the heel or toe swivel moving inward forming a
crucifix crossover.
64
The Swivel (Sw) is the key to the Elevated Dancefloor technique. In the following
subject matters of the Toe & Heel Swivel, the skill sets that require it will be
examined in the areas that this technique should be applied.

To refer back to the equation from Chapter 3:

[L-FN ](12-F) with {H:Sw OUT} into (3-F) and

{H:Th IN} into (6-T) P6
Each Gear (G) for L-Steps (L) has a designated Foot Note (FN) which explains the formula above. In
Urban Ballet terminology the formula equates as this:
(L-FN)
Frontstep Flat (12-F) with outward heel swivel {H:Sw OUT} into Sidestep Flat (3-F) and inward heel
throw {H:Th IN} into a Backstep Toe(6-T) back to Sixth position(P6)

This can now be simplified as the {H:Sw} and {H:Th} will be understood.

PUSH AND PULL

PUSH TOE(T: PU)

Known also as a Toe Note, the Push Toe is a method used in

outward movements. It may be used to move backwards or
sideways, but also to push off from the front or from the side to
move away in its position. There are many uses for the Push
Toe within these motions; however, it is usually used as a
 65
balancing tool for the opposite foot, which implies that pushing
into the ground is the Push Toe’s greatest asset.

Entering the setup of a Push Toe combination makes way for

the Elevated Dance Floor(see Technique). In this regard, a Push
Toe will become a Toe Note en pointe (on the ball of the foot)
or demi pointe (high on the ball). The Jookin style is primarily
done in a variety of shoe models. From this aspect of the Push
Toe, spins and glides can be properly understood in comparison
to slides and whips.More often than not, a shoe is chosen that
has a stiff comfortable front to secure the possibility of
standing on the toe.

PULL TOE (T:PL)

The Pull Toe is a fundamental motion in the slide and glide

skills. It is utilized most often when crossing under the bridge
during a slide/glide from the sidestep position. With focus on
the heel being slightly lifted, the Pull Toe is a drag inward across
the ground or air into a particular position. The ankle can be
stretched (tendu) when performing the Pull Toe, which would
require elevation on the part of both legs. It is used in a broad
spectrum of skill sets that combine rising motions with
rotations of the leg that require momentum from the Pull Toe.

The Pull Toe has been monumental in the improvement of the

smooth movement in Jookin, but it is also a movement built
with the possibility of maintaining rhythm. By adding physical
bounce to the feet, the pull toe can create a mechanical effect
 66
to motions as simple as walking. The rhythmic aspect of the Pull
Toe is also a mandatory skill to acquire if the quickness of the
feet is a pursuit of mastery.

HEEL PUSH (HL:PU)

Also known as a Heel Note, the Heel Push is mostly used while
the opposite foot is in Push Toe. It can be used to glide in a
forward direction or make outward turns when used with the
swivel method. The shift of weight that is possible in a Push
Toe is what makes the Heel Push a significant standard in the
Push and Pull subject matter. With this being understood, the
Heel Push is an obvious component in the Elevated Dancefloor
Technique. The Heel Push can be used in passing under the
bridge from a crossed over position, but can also be used in
lifting into or landing from an elevated motion.

Just as the Heel Push is an often elevated motion, it is similar to

the Push Toe when planted on the ground upon completion. Its
rhythmic possibilities and force-based foundation makes it ideal
for supporting spins. The foundation of a Heel Push is more
solid than a Push Toe making way for more balance, but the
force of gravity requires a higher level of momentum for the
Heel Push to create more revolutions during spins. On the
contrary, the Heel Push is a much better method for changing
directions during spins and turns.

HEEL PULL (H:PL)

Just as the Heel Push is used in spins that move around in a
67
forward motion, the Heel Pull assists in matching that ability of
turns and spins accept in the reverse direction. This method
requires the foot/ankle to be stretched upward pointing the
heel down toward the ground. The ability to use the swivel is
amplified by the Heel Pull because of its ability to move
backwards around a Toe Swivel (also Push Toe) to make
movements more elusive and more ready for complex
combinations.

When the Heel Pull is used with the Heel Push, the Elevated
Dancefloor technique makes way for elaborated spins that
don’t involve the high rising attributes that the Push Toe often
demands. Being that the Heel Pull is a reverse motion, illusion
can be created as the Heel Push lands into a Flat Note. The
effect of a reverse spin can be spectacular to the human eye
due to the possibility of an extended rotation. All in all, false
direction is the most valuable addition that comes with the
Heel Pull. This method can extend the motion of almost any
movement that can be elevated through the ease of changing
direction.

THE SLIDE STEP

When performed in the Slide skill set, Sidestep Toe is the key
focus of mastery assisted by Sidestep Flat (low on the ball of
the foot). Toe Notes are predominantly used with L-Steps to
perform the Slide Step which is the primary and initial motion
in Sliding. Sidestep Toe is most common position to learn the
Slide from, but it can be performed from many other positions.
Slide Step is the term to be used when performing a slide to
68
make a clear reference to its purpose. A Slide Step is no
different from the basic Sidestep Toe (or any other L-Step Toe
Note) until additional motions are performed.
A slide is performed by initially shifting the weight of the body
on the Toe Note, making it the supporting foot while using the
opposite foot to push away from it on a flat foot, performing a
combination of the sliding maneuvers called the Push Toe and
Heel Push (see Toe & Heel). The Push Toe is the unique
characteristic that makes any L-Step Toe Note position a Slide
Step. The Heel Push is the key to the Slide Step once positioned
in Push Toe. There are different ways to transition after a Slide
Step. Along with the Heel Push, the Heel Pull is also used as a
transition in the Slide skill set, usually after the initial Slidestep.
There are two types of slides. There is the classic slide and criss
cross slide which both have different variations depending on
the starting position of the Slide Step.

TOE & HEEL INTEGRATION

SWIVEL {T:Sw} {H:Sw} - (Jookin Term)
The swivel is performed by turning the supporting ankle in or out off the ball/heel while
transitioning into any movement with the leading leg En L’ Aire (off the ground ); In addition,
the swivel is also used in pushing off or pulling the working leg in A Terre (on the ground). The
swivel is a mandatory function to be acquired if sliding and gliding is an area of pursuit and/or
mastery. Steps produce the most expression when knowledge of the Swivel is applied. Learning
the placement of the Swivel will be useful in Glide Steps as it involves revolution.
The Swivel (Sw) is the key to the Elevated Dancefloor
technique. In the following subject matters of the Toe & Heel
Swivel, the skill sets and techniques that require it will be
69
examined in the areas that this technique should be applied.

STEPS
Earlier in the chapter, steps are broken down in their simplest
form as related to the Jookin style. Even though these steps
were broken down individually as singular motions, the swivel
motion is required on more advanced levels. The experience
required to rhythmically master swivel steps is not more
important than knowing these steps are all connected because
of the swivel motion.

In steps, the Heel Swivel can be used to create elusive

movements in changing directions and creating false direction.
The Heel Swivel has the capacity to open the entire skill base in
the Jookin style from steps to spins. When the heel swivels
while pointing the toe inward as if knock kneed, the opposite
foot is put in position to step out away from or step over and
across the swivel. When the heel swivels the toe to point
outward, the opposite foot is given the added ability to step in
any direction around the swivel while also turning into steps.

The Toe Swivel is predominantly used to turn the raised heel

inward to perform obscure step combinations. The Toe Swivel
gives way to crossover steps or to controlling a wider radius of
movement around the given area from one spot with the
option to transition out of a step into an alternate aspect of the
Jookin style. To swivel the heel out from the toe is not a
commonly used technique in stepping, but does have relevance
when transitioning into a revolving step that is explained as
70
Glide Steps and “S” Motion.

“S” MOTION (SMO)

The “S” in “S” Motion is to symbolize the actions physically

performed in this skill as well as represent the swivel technique.
With the option of swiveling in and out from the toe or heel,
the opposite foot can be elevated for extended periods of time.
In this particular technique, the attributes of the swivel are
used to create a slithering pattern with the working foot that
resembles the shape of an “S” while the swiveling foot turns in
and out supporting the working leg in motion either sideways
or backwards.

The “S” Motion can be used to move forward or sideways with

the working leg. The “S” Motion is available in any position that
is compliant with the swivel technique but can be learned from
the Backstep Flat position by swiveling the back foot to
leverage the body’s weight allowing the front foot to move in
the “S” Motion either forward or sideways, depending on the
swiveling foot’s initial direction. If the swiveling foot is facing
front, the “S” Motion should move sideways, but if it’s turned
out to the side, the “S” should move forward.
The stationary “S” only requires that one swivel point is chosen,
preferably the ball of the foot, but not excluding the heel. The
“S” motion can also be used to move with the pacman swivel
71
which in itself is a series of continuous swivels in and out from
both the ball and heel. The “S” may be performed off the
ground (En L’ Aire) or on the ground (A Terre). The toe swivel
makes the stationary En L’ Aire “S” simpler with its ability to
rise and lower on the ball while using the bending of the knee
to change levels during elevation. The heel swivel is not
commonly used for stationary “S” but can be performed as a
lower elevation technique. Ideally, the heel swivel would be
used for bending the knee to move the “S” outward to the front
or side.

THE SURFBOARD
RELEVÉ- (Ballet term) Literally "lifted". Rising from any position to balance on one or both feet
on at least demi-pointe which is heels off the floor or higher to full pointe where the dancer is
actually balancing on the top of the toes, supported in pointe shoes. Smoothly done in some
versions, a quick little leap up in other schools.

In ballet, dancers often lift en pointe(full or demi-pointe) to

perform a variety of motions and positions. This lift is known as
relevé, which is also used regularly in Jookin during spins,
slides, glides, and stances. The most famed dance move in
relevé for the Jookin style is the Surfboard. The surfboard is
performed by rising en pointe (on the ball or toe) then raising
the working leg usually, but not limited to the knee and closing
by passing under the bridge. The Surfboard is defined by the
rising and passing under the bridge, meaning that all motions
between are additions to the Surfboard itself, branding the
move as equally conceptual as it is technical. Middle to Higher
Elevation is the height at which the Surfboard is collaborated
with other movements such as False Steps, Kick Steps and Stalls
72
en pointe.

The Surfboard can be initiated in two different ways, being that

the dancer may rise or make a small quick leap onto the ball or
toe.

G-NERD’S HEEL CONNECTOR

Made popular by world reknowned Memphis Jooker G-Nerd,

the Heel Connector has become one of the most revolutionary
Jookin’ techniques in the last ten years. This is another dance
move that is done in relevé. Just as in ballet’s first position, the
heels are to be connected, except the supporting foot is en
pointe (on Toe Note/Swivel) while the opposite foot is at the
level of the raised heel. From this position the supporting foot
can swivel in or rotate depending on how the move was
initiated, either by raising into it or jumping into it. The working
leg can do various unique movements from the raised
connected position including the surfboard in conclusion of the
Heel Connector.

DPKOM CROSSOVER HEEL SWIVEL

Made popular by Daniel Price, the Crossover Heel Swivel is a

balancing trick that involves an outward Heel Swivel {H:Sw
OUT} while the working leg begins at Sidestep Toe (3-T) and an
inward Heel Swivel {H:Sw IN} as the working leg crosses over
the supporting leg to the opposite Sidestep (9-T) position then
returns to repeat the motion or transition. In future additions
73
to The Revelation Of Memphis Jookin, the methodology behind
this motion will be further revealed in a style that is steadily
evolving within Memphis Urban Dance known as Icing.

UNDER BRIDGES
To pass or cross under the foot moving in either a
pacman, slide or glide.

UNDER BRIDGE PASS (UB:P) means to start from a crossover in

motion under the foot back to the sidestep position.

The term used involving this procedure is known as the Heel

Push. It is performed while the supporting leg is in Toe Swivel
{T:Sw}. In Gears the Toe Swivel is understood in this procedure
and only requires the (UB:P)

UNDER BRIDGE CROSS (UB:C)means to start from a L-step in

motion under the bridge into a crossed over position. It is
performed while the supporting leg is in Toe Swivel {T:Sw}.

In Gears the Toe Swivel is understood as mandatory in these

procedures and only require the specified abbreviation
provided.
Under The Bridge philosophy simplifies the complex foot
movement that can make sliding somewhat confusing in an
74
extended verbal or physical form without a symbolic expression
of the rhythm and terminology for memory. When crossing
under the bridge, the feet can began from any position and
conclude in the crossover positions for Sliding transitions.
When passing under the bridge, emphasis can be expressed in
the knees to transition into any skill set. In addition,the
Surfboard offers many variations of movements using the
Elevated Dancefloor sub-technique leading into passing under.
Many aspects of Jookin’, Buckin’, and Choppin’ using Under
Bridges.

THE SLIDE STEP

When performed in the Slide skill set, Sidestep Toe is the key
focus of mastery assisted by Sidestep Flat (low on the ball of
the foot). Toe Notes are predominantly used with L-Steps to
perform the Slide Step which is the primary and initial motion
in Sliding. Sidestep Toe is most common position to learn the
Slide from, but it can be performed from many other positions.
Slide Step is the term to be used when performing a slide to
make a clear reference to its purpose. A Slide Step is no
different from the basic Sidestep Toe (or any other L-Step Toe
Note) until additional motions are performed.
A slide is performed by initially shifting the weight of the body
on the Toe Note, making it the supporting foot while using the
opposite foot to push away from it on a flat foot, performing a
combination of the sliding maneuvers called the Push Toe and
75
Heel Push (see Toe & Heel). The Push Toe is the unique
characteristic that makes any L-Step Toe Note position a Slide
Step. The Heel Push is the key to the Slide Step once positioned
in Push Toe. There are different ways to transition after a Slide
Step. Along with the Heel Push, the Heel Pull is also used as a
transition in the Slide skill set, usually after the initial Slidestep.
There are two types of slides. There is the classic slide and criss
cross slide which both have different variations depending on
the starting position of the Slide Step.

CLASSIC SLIDES [CL-Sd]

The Classic Slide consists of a basic repetitive Push Toe
combined with a working Heel Push. This collaboration is
specified as the Slide Step. This Slide Step can start in the
Frontstep Toe, Sidestep Toe or Backstep Toe. The Classic Slide
also involves a smooth. The working foot is to have as much
weight off of it as possible when responding during the Push
Toe. To create a smooth illusion in transition to the repeating
motion, The Heel Pull is to be the working motion of the Push
Toe to return to the specified starting point. The Heel Pull will
be performed with the foot turned and moving inward as if it is
intending to Pull from a sidestep position. In collaboration with
the transitioning Heel Pull, the opposite leg will support in Toe
Swivel. There is also a transition step involved between each
Slide Step known as the Heel Push (see Basic Technique V) in
which the Heel Swivel is turned inward on the supporting foot
76
in order to move over, replant and repeat the Slide Step.

To translate the basic Classic Slide into a Gears equation would

be as follows:

To further simplify this formula, the Gears terminology will be

abbreviated to incorporate characteristics of the Slidesteps
while allowing verbal co-existence within the rhythmic
structure of Jookin.

SIDESTEP PUSH TOE SLIDE

 [CL-Sd] {3-T:PU} [(3-H:PL) {T:Sw}]

Sidestep Push Toe {3-T:PU} into an inward Heel Swivel {T:Sw} with Side Heel
PuLL (3-H:PL) and repeat.

SIDE PUSH - SIDE OVER(repeat)

SIDE PUSH :
SLIDESTEP
 [{3-T:PU}(H:PU)]

SIDE OVER :
TOE SWIVEL
with SIDE HEEL PUSH
in from SIDESTEP HEEL
 [ (3-H:PL) {T:Sw}]
77
(repeat)

FRONTSTEP PUSH TOE SLIDE

 [CL-Sd] {12-T:PU} into [(2-H:PU-10) {T:Sw}] (UB:P) then
repeated

FRONTSTEP PUSH TOE {12-T:PU}( into HALF FRONT HEEL PULL [(2-H:PL-10)
into TOE SWIVEL {T:Sw}] then UNDER BRIDGE PASS (UB:P) from Front Step Push
Toe and repeat.

FRONT PUSH - OVER - PASS(repeat)

FRONTPUSH :
FRONT SLIDESTEP
 [{12-T:PU}(H:PU)]

OVER :
HALF FRONT HEEL PULL
 [(2-H:PL-10) {T:Sw}]

PASS:
PASS UNDER THE BRIDGE
 (UB:P)
BACKSTEP PUSH TOE
78
 [G: CL-Sd] [{6-T:PU} (H:PU)]into (UB:C) (12-H:PU) repeated

 BACKSTEP PUSH TOE {6-T:PU} into UNDER BRIDGE CROSS (UB:C)

into FRONT HEEL PUSH (12-H:PU)

BACK PUSH - CROSS – PUSH (repeat)

BACK PUSH :
BACK SLIDESTEP
 [{6-T:PU} (H:PU)]

CROSS:
CROSS UNDER THE BRIDGE
 (UB:C)

PUSH:
FRONT HEEL PUSH
 (12-H:PU)

CRISS CROSS SLIDES (CC-Sd)

The Criss Cross slide is a more advanced combination of Toe &
Heel techniques in which the legs cross front and back, creating
a more elusive motion as if sliding across an already moving
surface. Just like the Classic Slide, the Criss Cross starts in Slide
Step, but the difference is that the supporting foot becomes the
working foot by crossing under the bridge, then plants in
Backside Toe Stance (T:BS). From there the front foot becomes
the working foot and performs a Heel Push from Frontstep,
moving to Sidestep. Then, to conclude the sequence and start
79
over, the supporting foot will move from Backside Toe into an
outward Heel Swivel which will Heel Push back to starting
position. To translate a basic Criss Cross Slide into a Gears
equation would be as follows:

FRONT CRISS CROSS SLIDE

 [G:CC-Sd] [{12-T:PU}(H:PU)] into [(3-H:PL-10){T:Sw}] (UB:P) into (UB:C)

FRONTSTEP PUSH TOE WITH HEEL PUSH [{12-T:PU}(H:PU)] {switch} into HALF FRONT HEEL
PULL[(2-H:PL-10){T:Sw}] into UNDER BRIDGE PASS (UB:P) {switch} then UNDER BRIDGE CROSS
(UB:C) (repeat)

Or

SLIDE OVER – PASS – UNDER

SLIDE OVER:
FRONT SLIDESTEP into
HALF FRONT HEEL PULL
 [{12-T:PU}(H:PU)] into [(2-H:PL-10){T:Sw}]
PASS:
UNDER BRIDGE PASS
80
 (UB:P)

CROSS:
UNDER BRIDGE CROSS
 (UB:C)

BACK CRISS CROSS SLIDE

 [CC-Sd] [{3-T:PU}(H:PU)] with (UB:C) into [(12-H:PU){7-T:Sw}] into[(2-H:PL-10){T:Sw}]

[SIDESTEP PUSH TOE {3-T:PU} and HEEL PUSH (H:PU)] into UNDER BRIDGE CROSS (UB:C)
into [FRONT HEEL PUSH (12-H:PL) with HALF BACKSTEP TOE SWIVEL{7-T:Sw}] into HALF
FRONT HEEL PULL [(2-H:PL-10){T:Sw}]
and repeat

Or

SLIDE CROSS – PUSH – OVER

SLIDE CROSS:
SLIDESTEP into
UNDER BRIDGE CROSS
  [{3-T:PU}(H:PU)] (UB:C) 81
PUSH:
FRONT HEEL PUSH
 [(12-H:PU){7-T:Sw}]

OVER:
HALF FRONT HEEL PULL
 [(2-H:PL-10){T:Sw}]

THE EVOLUTION OF MEMPHIS URBAN DANCE

Axis Formation
In most dance styles, the Spin is a mandatory ability for
completion of that style. In Jookin, the Spin is performed in
many different fashions from military turn steps to Elevated
rotations high on the ball or toe (Demi pointe/Toe Notes).

In Jookin, Axis Formation refers to the alignment of the body as

it balances on one leg in preparation to move in any direction,
especially rotating in circles. In this matter, the Axis Formation
technique will be broken down and explained within a method
known as Glide Steps. These four steps will involve carrying and
revolving the working leg using L-Step, Foot Notes and the Toe
Swivel. The Toe Swivel is the key tool in Axis Formation, being
that it is what the body will be balancing on while the working
82
leg and the mid-section(torso) stabilizes the position. The torso
is vital for maintaining balance while in a stationary or revolving
swivel . The mid-section is to be strengthened in order to
tighten it for stability when the weight is being shifted to one
side of the body. Developing an axis for all facets of the Jookin
style is recommended for a wider range of balance related
motion.

GLIDE STEPS (GS)

A glide is a toe swivel with the opposite leg off the ground
either around En Dedans or En Dehors. Gliding can be
performed moving in any direction, including in circles. When
done in a continuous pattern, the toe swivel switches from one
foot to the other. The Glide Step is also the first step in learning
the Spin.

Glide steps are slightly elevated directional motions that

resemble planted step combinations, except off the ground
with smoother transitions. Unlike traditional glides, the glide
step does not require the dancer to move the supporting leg,
except to rotate the heel or toe swivel when needed. A glide
steps is performed in a three different waysWith the use of
Foot Notes, glide steps can be as dimensional as a dancer’s
physical structure and capabilities.
Even though glide steps are dramatic when done slower with
the toe swivel in demi pointe, they can also be combined with
the heel swivel. By starting in toe swivel and lowering into a
83
heel swivel, more rotation and illusion can be added as the step
concludes. The Glide Step skill set is built for posture and
expression, which is all balanced on a swivel. From comedy to
drama, theatrical approaches fit the Glide Step in relation to
the speeds of being seemingly airborne when using the swivel
with the L-Step System with Gears raised in Elevation.

There are four different Glide Steps foundations that range

from right angle to full circle from one or both swivel positions.
They are as follows:
90* QUARTER GLIDE STEP (GLS-1/4)
Think of this step as “one whole step swivels into the next”.

For example, if in Frontstep Flat, a proper quarter glide step would be to move the foot while off the
ground in either of these fashions:
 IN AROUND (ia)- By passing the parallel foot position into backstep, sidestep, or inverted
sidestep crossover from Frontstep Flat.
 OUT AROUND (oa) - By moving out and/or around to sidestep or front stepover.

Furthermore, in labeling the Quarter Glide a 90 degree step, the turning of the heel swivel is attributed
to its performance by creating closing angles that are simultaneous with each step.
Using the Gears concept for the Glide Step involves the Air Note. With Gears, the Air Note can be used
with any surfaced Foot Note(F,H,T & A) to create step position off the ground (i.e. AF,AH,AT, & AA) The
proper way to form a Gears equation using the Quarter Glide Step is as follows:

[G: GLS-1/4-FN-(LE)] (3-AF) ia (6-T)

Think of an upside down “L”

This is explained in Jookin terms as

Quarter Glide Sidestep Air Flat in around to Backstep Toe
Or
A Pull Toe from Sidestep Air Flat into sixth(parallel) position and Heel Push into Backstep Toe
The Glide Step is to begin and follow through as an Air Note, but may or may not end on the ground. 84
When performing this step, create right angles specifically as if cutting a shape out with your feet to add
precise quality and directional patterns to each step.

180* HALF GLIDE STEP (GLS-1/2)

Think of this step as “one whole step glides over the next”. When in any standing position, the ½ Glide
Step is to begin from the first L-Step position, excluding the initial step into the ½ Glide Step itself. Step
off the ground into the first L-Step position using the toe swivel on the supporting leg for Air Notes to
travel from one L-Step position over the next covering the area of a 180 degree half circle. The ½ Glide
Step does not have to resemble a half circle, meaning the IN AROUND (iA) and OUT AROUND (oA)
directional patterns can be applied to any Glide Step. The ½ Glide Step consists of two right angles,
which can be performed from any L-Step position. The supporting foot may rise into swivel and move in
any given direction for expression or preparation for transition, but it’s not required to move for
success. The proper way to form a Gears equation using the ½ Glide Step is as follows:

[G: GLS-1/2-FN-(LE) ](3-AF) ia (6-AT) {T:Sw IN} oa(12-F)

Think of a “G” starting from Sidestep Air Flat with left leg

This is explained in Jookin terms as

Half Glide Sidestep Air Flat in around to Backstep Air Toe (supporting Toe Swivel inward ) out around
to Frontstep Flat
Or
Pull Toe from Sidestep Air Flat into sixth(parallel) position (while rising on the toe turning inward) and
Heel Push into Backstep Air Toe then glide over the Sidestep position into Frontstep Flat

270* THREE QUARTER GLIDE STEP (GLS-3/4)

Think of this step as a “Half Glide Step and crossover”. When performing the ¾ Glide Step, the toe swivel
inward may be mandatory as well as a 180 degree revolution in order to complete rotation of the
working leg from all positions, except when crossing over. From Sidestep, the ¾ Glide Step is more
simply explained. A basic ¾ Glide Step from Sidestep can travel around over Frontstep ending in
Backstep or from behind over Backstep ending in Frontstep. If you compare a Whole Glide Step to 4
individual slices of pie, the ¾ Glide Step would cover 3 slices. In any event involving the ¾ Glide Step, the
result may conclude in any valued L-Step position or in any crossover position. Once each “slice” is
covered, the working leg may transition into closing position. The IN AROUND & OUT AROUND method
can be used, but will require the ability to revolve while moving the working using them. The proper way
to form a Gears equation using the ¾ Glide Step is as follows:

[G: GLS-3/4-FN-(LE)](3-AF) {T:Sw 180* IN} oA (6-F)

Think of a clock moving from 3 o’clock to 6 o’clock counter clockwise with right leg or vice versa.

This is explained in Jookin terms as

Three Quarter Glide Sidestep Air Flat (supporting 180 degree toe swivel) out around into Backstep Flat
Or
Glide from Sidestep Air Flat (while rising on the toe and turning around facing opposite direction)
around into Backstep Flat, which will appear to be Frontstep Flat.

360* WHOLE GLIDE STEP (GLS-1)

85
The 1 Glide Step is in other words, one spin. Where the working leg is initially, it is to return to at least
that position to solidify completion of one full spin. It is to be thought of as a Glide Step because it
completes the 4 “slices” previously mentioned. The same mechanics apply as in the three partial Glide
Steps, only that the toe swivel is performing a full 360 degree rotation no matter the concluding position
of the working leg. Any additional methods such as (ia) or (oa) of the Glide Step may be used with the
working leg; however, a steady stationary position is recommended for the 1 Glide Step to ensure safety
and stability of the toe swivel until the ability of the toe swivel skill is superb. The proper way to form a
Gears equation using the 1 Glide Step is as follows:

[G: GLS-1 –FN(LE)] (3-AF) {T:Sw 360* IN} oA (3-F)

Think of a clock moving from 3 o’clock back around to 3 o’clock counter clockwise with right leg or vice
versa.

This is explained in Jookin terms as

Whole Glide Sidestep Air Flat (supporting 360 degree toe swivel) out around into Sidestep Flat
Or
Glide from Sidestep Air Flat (while rising on the toe and turning around facing initial direction) around
into Sidestep Flat.
 CONCLUSION
86
INTRODUCTION TO ICING
Through all the changes and adjustments made from the origin
of M.U.D. from the 1980’s until today, the aspect of motion in
Memphis Jookin’ that is continually evolving into a
breakthrough concept and that is the Glide. As shown in the
last section, Glide steps are the key to performing accurate and
controlled rotations in succession. With that being said, Jookin’
has implemented the usage of Slide Steps and Glide Steps in
conjunction with misdirection and crossover motions to add
musicality to Gliding as a whole, starting with the Glide Steps.
This is a style called Icing developed by the M.U.D. group G-
Force. The style was developed from traditional Jookin’ to
create explosive, speed controlled power moves that involve
the motion of the working leg in sequence with a rotating Toe
Swivel. The style is still in its early stages, yet it has received
much acclaim in its short time. The style is not known to be
used in any other dance category in existence. The only dancers
that express movement close to the motions of Icing are Ballet
dancers.

To give an introduction to the basics of the style is to conclude

this edition of The Revelation of Memphis Jookin’ and introduce
the reader to the initial inner workings of The Urban Ballet,
which begins with Whips.
 WHIPS 87
This toe and heel swivel procedure requires the ability to
revolve the body while in toe swivel after the opposite leg has
crossed in the front or back. This skill set also demands its user
to maneuver the hips with the working leg to support the
revolving swivel. Whips are advanced Glide Steps and should
not be attempted for mastery until the basic Glide Steps have
been repeatedly practiced and accomplished.
CRUCIFIX CROSSOVER (Cx-CO) – (Jookin term)
Facing front, the legs are crossed in the front or back with the feet together

EN DEDANS- (Ballet term)

Movement within a circle so that the leg starts at the back or the side and moves towards the
front. For the right leg, this is a counter-clockwise circle. For the left leg, this is a clockwise circle.
For instance, in a ronde de jambe en dedans, starting from first position, the foot (either left or
right) would first reach tendu back, then move to tendu to the side and then front, to end again
in first position.

It is also considered an inside movement: in a pirouette en dedans the dancer spins towards the
side of the supporting leg. The opposite is en dehors.

EN DEHORS - (Ballet term)

Literally "outwards" a way to remember it is to think, “En dehor out the door”. Movement
within a circle so that the leg starts at the front or the side and moves towards the back. For the
working leg, this is a clockwise circle. For instance, in a ronde de jambe en dehors, starting from
first position, the foot (either left or right) would first reach tendu front, then move to tendu to
the side and then back, to end again in first position.

It is also considered an outside movement: in a pirouette en dehors the dancer

spins towards the side of the working leg (the leg raised in passé).

TAIL WHIP – (Jookin term) A crucifix crossover in combination with a toe swivel inwards that is
to be spun while dragging the opposite leg on or off the ground En Dedans or En Dehors.
 88
ICE WHIP - (Jookin term) A toe swivel inward that revolves with the raised leg stretched away
from the body which crosses and/or passes under the bridge during rotation and concludes in
the sixth or crucifix crossover position.

The whip is a toe and heel swivel procedure that requires the
ability to revolve the body from 90 to 720 degrees while in a
toe swivel after the opposite leg has crossed in the front or
back. This skill set also demands its user to maneuver the hips
with the working leg to help support and balance the revolving
swivel.

The two types of whips in the Jookin style are described as they
appear when performed.

The Tail Whip is performed in an intentional crucifix crossover

which means the working leg is raised and initially follows the
revolving swivel toe/heel from behind as if it were a tail. From
the crucifix crossover, the working leg either maneuvers its way
to a normal stance or reverses the crossover. A Tail Whip allow
two main transitions out of a crucifix crossover. Along with the
option to simply follow the revolving swivel without transition,
the Tail Whip can pass and/or cross under the bridge as these
open the opportunity to reverse the crossover or return to first
or sixth position in the feet.

The Ice Whip is the opposite of a Tail Whip. This technique

starts with the working leg stepped in a wider outward position
with the opposite in revolving toe swivel. The working leg will
follow the swivel around before crossing the front or crossing
under the bridge using glide steps. Ice Whips may be done En
 89
Dedans or En Dehors, concluding in the first, fifth, or crossover
position.

Both of these Whips have separate customizable skill sets

because of the balance aspect of them. The more balance a
dancer has on the ball or toe, the more time that is allowed to
creatively transition into conclusion.