If my right arm is set in plaster and is immovable which it should be, therefore my right side will be in a turn over my right hip which is also over my right foot.This means my shoulders stay in line with my hips with no twisting of the spine even with CBM or CBMP. My body turns as one unit. Now let us go to our videos or DVD's and look. See if there is a twisting of the spine. And then check what you yourself are doing. Turning at the end of a step and not into a step, also rising when it is required at the end of a step plays an important part in this.

"If my right arm is set in plaster and is immovable which it should be, therefore my right side will be in a turn over my right hip which is also over my right foot."

No, you are ignoring the substantial and mandatory rotation flexibility of the torso. You arm can be moderately fixed to your shoulder line, but a lot has to happen between your shoulders and your hips.

"This means my shoulders stay in line with my hips with no twisting of the spine even with CBM or CBMP."

This fallacy is why so many dancers who subscribe to it are forced to ruin the alignment of figures. Without rotation your torso, you can't pass your partner cleanly, and must instead push her out of your way. Also dancers who do this don't actually use CBMP on the outside partner steps... because CBMP without torso twist is not physiologically possible.

"My body turns as one unit. Now let us go to our videos or DVD's and look. See if there is a twisting of the spine."

If you watch Jonathan here of Victor & Heather that would be an accurate observation - but look at all the trouble they get into. Watch the British masters and you see why torso twist is required for good dancing.

Anonymous. CBMP without torso twist is impossible. Rubbish.
I'll bet you are one of thoes who try to get your CBMP and CBM on the same alignment as your feet.In the past few weeks if you care to look at your postings you have said Anne Lewis is wrong. John Wood on his tape is wrong wrong and the list goes on. To refresh your memory . Do you remember when I quoted Anne Lewis when I wrote that After the Feather Step we come into a neutral position ( which you said was wrong ) and she doesn't worry about where the first step of the heel turn goes as long as the hips have started to turned to the new alignment. Then you have said something about the clips on this site as being wrong. Wasn't that something about lifting the lady on the Feather Step. I might ask you here what is the difference between the rise in a Foxtrot compared to the rise in the Waltz after the first step.In the Foxtrot is the amount of rise on step two as much as the Waltz is on three. Heres a clue. Waltz commence to rise. Foxtrot rise at the end of one.
Watch the British Masters
I have and still do. And exactly what are you saying . Watch Jonathan Victo and Heather. But look at the trouble they get into. You've lost me.

I think it's obvious that CBM is needed for dancing. I tried a simple tango walk with my shoulders parallel to my hips at all times. i nearly dislocated my hip! All the cbm taken in the legs alone?? It's a non-starter. For once i agree with anonymous (it may be a different anonymous of course)

Phil. As we know the palm of the mans right hand covers the ladies spine. Try this in your setup. feet in that particular position which I am sure you know and pointing diagnal to the wall. Body turned, not just the shoulders, to a line down the LOD. Walk in CBMP second walk no CBM but on the same line. You are now ready to do the best Link you have ever done. So once again feet on the Diagnal. body turned more towards LOD. No twisting of the spine which will remain sraight.First Walk in CBMP. Second step no CBM. First step of the Link CBMP.I don't have Andrews tape,'I beleive you have, my teachers are his pupils and have been for a fair while now.

Hi Don
You're saying feet diag to wall and hips (in line underneath the shoulders)pointing down line of dance. That's a very uncomfortable position, and i thought the technique book gave CBM for both first and second step. I will check that, and i will check my sinkinson tape.
But are you saying that in all turning steps, for which CBM is applied (in all dances, not just tango) that the hips always stay in line with the shoulders?

Phil. Reverse Turn Foxtrot. Put your right arm straight down by your side with your hand in your pocket. Now proceed. Your right shoulder will be over your right hip and your right foot is below. It could be forward or backward to the side, In my humble opinion that is why the shoulder over the hips is spoken about with no mention concerning the feet. Feather Step CBM on first step. Nothing on step two. CBMP on three. This is just my opinion. If the Feather is taken without a slight curve to the right CBMP feels awkward. If the Feather is taken with a slight curve it becomes easy. I believe that to try a CBMP position going straight ahead on the starting diagonal will cause a twisting of the spine. That Tango setup shouldn't be uncomfotable if everything else is correct. Example lady more to your right. Knees bent. Stay at the same height throughout. A very straight spine there also. CBMP on first walk, none on second walk .Best of luck.

"Body turned, not just the shoulders, to a line down the LOD."

disgusting

that is NOT how to do a right side lead

it should be body turned WITHOUT shoulders

even in right side lead you have to maintain leftward lead in the topline

Anonymous. How can I turn my body without turning my shoulders. Are you sure that's what you meant. Are you deliberately trying to incorrectly aligne your spine. If you are you are in for back problems eventually. Are you aware that the knees are veered into each other and that you are going to use an inside edge on the second step. If you continue walking you will turn a complete circle. But more importantly the placing of the second step is preditermined by the first step which is in CBMP as would the third step which would predetermine the fourth step if we kept walking.

"Anonymous. How can I turn my body without turning my shoulders."

With practice. Remember that in dance language, your body is your hips.

"Are you sure that's what you meant."

Yes

"Are you deliberately trying to incorrectly aligne your spine."

No, I am rotating around it, I am not bending it backwards like so many do. The human body is designed to do what I do. Since it is a rotational movement, the body weight remains aligned with the spine - this avoids the risk of injury involved in bending the spine to misposition the weight. You are free to turn around your spine without injury, but you need to be very carefull of bending it in the arched back way.

"Are you aware that the knees are veered into each other and that you are going to use an inside edge on the second step. If you continue walking you will turn a complete circle. But more importantly the placing of the second step is preditermined by the first step which is in CBMP as would the third step which would predetermine the fourth step if we kept walking."

What's your point?

My argument is with your distorted topline cause by allowing your shoulders to rotate into your partners' space, not with your foot placement.

Perform the step properly and your right side will arrive first, but your partnership will still be built around a left side stretch in the topline - your right side leads the movement, but your left side leads in the hold. You musn't loose the left side stretch and orientation of the hold unless you plan to switch your partnership offset to the other side.