Very detailed description . Thanks.

I noted that the right time of passing free foot is at the moment I have the sense of my standing leg almost kneeling to the floor. As a beginner , I had ever been afraid of falling down and past my free leg too early : my standing foot has impaired function.

Yichen It sounds like you are slowing down as your weight is passing over the standing leg, sitting a little. Remember the more you bend the knee the more forward momentum you should have. Many beginners bend the knee more without using the extra compression to increase body flight. It's important for begginers to strenghen their anckles with exercise before attemting to lower as much as good dancers

Sorry Yichen I got the wrong forum. My past statement refers to the lowering action

Thanks for your good advice . Do I cactch your point if I said:
banding more knee creates bigger stride and extra foreward compression of standing knee and ankle generate stronger momentum to get body flight . ( Sorry , I used to recombine the old and new data.)

Yes,the more you bend the knee the longer the stride providing you use the correct lowering action. At full stride the knees should be close enough to gether to be able to move your weight easly back and forth from foot to foot. Remember the lowering action is (ball,knee,forward part of heal) We squeze the ankle between ball & knee,thats where the strong ankles come into play. As our knee starts bend forward the toe of the free foot sarts to move forward,the free foot is already moving before we kiss the floor with our heal. You have to do exercise to strengthen you ankles before you can become a good dancer.

Great thanks for your very detailed analysis about lower action which I need to bear in my mind as a guidance in my practice .
Last night , when I concentrated to squeezing my standing ankle and much more protrude my knees towards the vertual partner (they are bass in music. ) I felt lower weight center and more relaxed hip and knee joints and shoulders. I got better sense of that I am on the floor.
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Yichen 1. Wow. this is a heap of writting for something that should be relatively simple. The man acording to the book finishes the Spin Turn backing diagonal to the centre. This can also be underturned or overturned depending on the next figure, usually 4 5 6 of a Reverse Turn if it is to be followed by a Reverse Movement. If there is difficulty getting all the way around to back diagonal to the centre, (lady facing diagonal to the centre ). The reason can be that the lady doesn't stay up on the toe on step five. There is no lowering there. A good tip for the lady is also on step four turn the head hard to the left, making sure that the last thing to arrives is the head, ( and don't be scimpy about getting up on the toe ). In other words the ladies head takes the longest way around. If you stay up on five your parner will have no difficulty leading you into whatever comes next. Going back to my early Bronze Medal days. We always learnt as a beginners the Quickstep first. We started with the usual Quarter Turns , Progressive Chasse and Lockstep. Halfway down the floor we had to do a Spin Turn and keep going down the floor with the Progresive Chasse. In the bottom corner we underturned our Spin Turn because there is much less distance to travel if we use the correct alignments. The good part about this group is the Spin Turn halfway down the floor. If you don't get far enough around it becomes a mess. It made us learn right from the beginning about the correct alignments. Just a question for some of our experts. Exactly where is the Spin on a Spin Turn. Its not on the man's pivot because a pivot is not a spin. Which only leaves step five for the man and lady to do anything that resembles a spin. The question about the posture.I don't know. I think I would do the best with what I've got. Empty the shoulders. Keep your blocks of wood one on top of the other and keep the chin up and whatever happens don't look at the floor. Keep the eyes looking at where the wall meets the ceiling.

Yes, I bear in mind of that head takes longest way around , and stay on 5. Don't look at the floor whenever, eye the line where wall meets ceiling. chin up whithout broken neck.
The harder thing for me is to empty shoulder . I should pay more attention to it.
I am going to practice the figures you mentioned to learn right about the allignment. Have a nice day , Don.

Yichen. It is not a defect to turn more or less than the book says, sometimes you under rotate sometimes you don't. Dancing is not an exact science. Technique is to help you learn, but to much technique will interfere with the natural flow and movement of the body. Dancing is moving the body gracefully and flowing in harmony with the music. Your top may be stiff becacause your teacher is holding you to tight or you are trying to hard to maintain contact . Try to think of moving the top part of your body from the hips up as if they are floating on a cloud, stay into the floor with your lower body ,all the work in dancing is from the hips down. Your teacher is right ,you should concentrate more on the feelings that you experience when dancing with your teacher than technique. If my teacher talked to me like that I would be going else where damn quick. It's more important for couples to keep their poise and balance than always maintain contact, the contact should be light and not impead their movement. Doug

Dear Doug, Your words touched me. You let me share your view and gave me expert advice . Thank you very much.
Yes, it is my goal to be able to dance gracefully and flowing in harmony with the music . I enjoy the process of learning dance.
My teacher is keeping learning from the top 12 of adm/pro in the world . His footwork is wonderful.He stiks at spotdance for over 13 years. He enable me going quick. It's a miracle , I have now figure , health condition , and and keeping going dance depending on him.