I agree entirely with the thinking expressed by terence2. Artistry depends to some extent on precision and in these cases on geometric precision (ie science based).

The problem posed by my original questions come entirely from the differential alignments on coming into promenade that you point out, which are presumably built in to ensure the both partners feet end up on the same coordinate along the line of movement.

Any answers to my original questions still graciously received.

Also one more scenario I thought of. If you want to do a chair line after an open impetus would it be forward & across in CBMP & PP or just fwd in CBMP & PP ? The latter feels insufficiently balanced for this figure because of the RF moving further outside of the body, and also, because of the more open foot position, the extent to which both knees can be flexed simultaneousy is more limited anyway. But the former will cause a mismatch with your partners foot position. Maybe some combinations can never work out perfectly.

Interested. The questions you are asking you could ask on any move any dance. Why stop at a Chair. You should do it in front of your coach and let them decide if it can be improved on.
You might ask yourself when you step across your body whilst in Promenade exactly where is your body facing. And also what do you intend to do on the completion of the Chair Line.
Basic Footwork which doesn't alter no matter what we do. Slide your foot forward first on the ball and then as the heel passes the toe of the supporting let it become a heel at the same time start to raise the heel of the supporting foot..
Back to the Chair. Do the CBMP part correctly with the above footwork on your entry into the figure and you wont be far wrong. Let your coach do the do the rest. It is our belief that if we did a prolonged Bronze medal Class and not one of those short throw you in at the deep end classes. Having learnt the Basics thoroughly we would finish up much better dancers. And we would know exactly the correct footwork and alignment when we do get taught more advanced things like the Chair.

Here is where the technique book is Confused. The Double Reverse Spin the suggested best alignment is to commence down the LOD which requires one full turn to finish facing the LOD.
And yet the figure suggested to follow is an Open Telemark. This is supposed to start facing diag to centre. This would require more than a full turn and could become very untidy for the average dancer. Google Mirko and Alessia the Blackpool Champions and see what alignments he uses for a Turning Lock after an Overturned Spin Turn. You will find that the first three of the Natural Spin Turn is under turned. Which confirms, in our opinion, that Ballroom Dancing is an Art and not a Science.

I suspect that the confusion lies elswehere.

The range of turn for the DRS is 3/4, 7/8 or 1 complete turn. Howard, and others, chart 7/8 as being the standard turn, and an Open Telemark would nicely follow a DRS commenced facing LOD, ended facing DC (although that is not one of the suggested follows).

Alex Moore mentions the Telemark follow facing LOD after a complete turn in "Ballroom Dancing", but in the later "Revised Technique" he adopts the normal convention. Presumably even a Blues dancer can learn from his peers.

There are scientific principles and theories EVERY time you move !.. whether dancing, walking, sitting,

or running...

Kinetic energy is present in all actions that require progression..

The musical adaption ( and technique ) to the " motion ", is the artists embellishment .

The Art of Ballroom Dancing is being able to adjust or readjust. We have the natural ability to do just that. Man has danced since the beginning of time. Even before it was found that if we beat a hollow log music was created. They new nothing about kinetic energy or basic scientific principles. Do we need to know or shall we just dance. Hold on. Shall i scientifically sit down in my chair. Or shall i just sit down.

You seem to have missed the point (AGAIN!)

You stated that dance was, or infered, ONLY an art form.. well after teaching for nigh on 60 yrs, I can tell you that the majority of students never reach that plateau .

And, yes , the dynamics of movement as applied to " dance " have to be taught to achieve ANY standard, even to the social beginner ( and will continue to be taught thru higher levels ).
As a Coach, were I to ignore these principles, the results I have been able to achieve for my students, would not exist .

When is a zig zag not a zig zag. I suppose when it becomes a grapevine??.

Strange question.

When is a Zig Zag not a Zig Zag? When it's not a Zig Zag.

If you mean to ask what the difference is between a Zig Zag and a Grapevine, it is my impression that they are synonymous, Zig Zag being the English term while Grapevine is American. But we should ask our English friends to be sure...

Regards,
Jonathan Atkinson
www.ballroomdancers.com

same, same .. except.. as you know, less Quicks