Hi to all,
I have reproduced this post from the Drag Hesitation thread.

The Drag Hesitation in the English Waltz Style.

The Drag Hesitation is certainly an unusual figure and needs careful study. If you have made rules in your technique then this figure is sure to break one or two of them. When dancing this figure you don't swing into the first step. The character of the figure is to keep down; knees flexed, and 'reach' with the RF down the LOD. -this is known as a dead entry - then 'pull up' hesitating (are hesitations normally danced by the man on the inside of a turn?) while the LF closes witout weight.

Because of the lack of power on step one, this stops the lady from completing her turn between 1 & 2 of 3/8 to the left (Lady on the inside of the turn would normally complete the turn in the feet with the body turning less.) This then accounts for her unusual alignment on step 2 of pointing almost diag to wall.

The man uses the footwork of HT on step one, the use of the toe signifies that he commences the turn on the ball of the LF making a 1/4 between 1 & 2, straightening the right knee, making a foot swivel on the RF of an 1/8 between 2 & 3 with his body turning less. The lady makes her foot swivel between 2 & 3 of just under an 1/8, with her body still turning less, which will assist her in keeping contact when taking the following step outside partner in CBMP.

Why?

Not impressed then?

What's wrong with the Drag Hesitation thread?

Sorry to upset you. If you want to stay with the original thread you can do so.

The Drag Hesitation appears - at least superficially - to be the forward version of 4-5-6 of a Hesitation Change.

Other than the directions, the two patterns differ curiously. The DH has foot rise but no sway; 4-5-6 of the HC has sway but no foot rise.



jj

I'm not upset, but don't really see the need to have a new thread, that's all.

As for the similarity with the Hesitation Change, I can't see it. The heel pull action of the HC is distinctively different (and, for example, brings lady around in a 3/8 undivided turn), and denies man any opportunity for foot rise. In the DH, I don't view/feel the figure as one which turns 3/8 to R, but from facing LOD (typically after a DRS), to turn 1/4. The last 1/8 just allows the lady to step OP with ease, and sets up the direction of the usual back lock.