I'm looking for some advice and comments on movement in promenade position (slow waltz or foxtrot especially).
I'm aware that the man and woman should keep their bodies turned well towards each other to avoid a "4 hips" appearance but i'm told that my movement is sometimes ungainly, especially if i take a long stride.
As example - slow waltz coming out into a weave from promenade position - i would step onto my left foot (lady on right) for beat 3 of the "previous" bar then look for a longish stride on beat 1, taking this stride with my right leg (partner left) with plenty of contra-body action to keep our bodies turned well towards each other.
Some more experienced dancers watching us practise commented that i was taking too long a step (it wasn't THAT long, i didn't think) and pointed out that the lady's left hip stays behind the man's right hip, and it's not possible to take a long stide that way.
When i shortened my stride, they said we looked better, but i don't want to curtail my movements unless it's absolutely necessary. We're both about 6ft tall, and have about the same leg length. And to be honest, i enjoy dancing with long flowing movements (when i can).
Does anyone have any suggestions or comments? We're intermediate level dancers dancing international syllabus.

The CBMP step in promenade has to be very small on everyone, tall people included, unless they have the foot strength to create space for a full leg motion without distorting the promenade frame. But it's a common problem, even seen in some top pros. The best thing would be to really work on the foot action while taking smaller steps - you can always add your legs later once your feet are well trained.

A reverse weave from a open imptus. Remember you are on the inside of the turn. If you took the same size step as your partner in theory she will never get past you. As the great Len Scrivener used to say . "Ïf it is uncomfortable it is most likely not correct" I was always told not to open on beat three, just a swivell of my feet, partner also. Then promenade on beat one. Not to big, now let your partner swing through on beat two and three into the reverse weave

Phil,

You say you use "contra-body" action (CBM) on 1 to keep the bodies together. That won't work because it will impede your partner's preparation for the swing if you rotate your left side towards your right leg and work against the way the partnership is progressively required to turn. I feel you should assist and lead her by bringing the right side and leg through with a little body rotation to the left but at the same time not consciously "opening" or "taking" the left side away otherwise, the relative space between your hips will increase. You want to keep the space between the hips the same as in the promenade position at the end of 3. As you open your hip slightly, she will be closing her hips towards you because of her CBM. The net effect for your hip positions is unchanged thought the lady can work with her "closing" hip by keeping her poise "away" . She will also feel clearly that you are leading her from promenade on 3 into a weave on 1. You will be able to dance a strong/ long 1 step without fear of out dancing your partner. Your partners swing into 2 will be greatly assisted. This is where the "out-dancing" manifests itself. Let her swing through and follow into the space. I can't imagine you (Or your partner) having any swing with your current technique.

Rha

My comments relate specifically to the weave from Promenade or similar movements and not to something like the "chasse from PP".

Rha

Thanks for all the help.
I printed off the hints and took them to our practice yesterday.
The real problem is the first movement in the promenade position (where we're both moving the 'inside legs' together)itself and the transition from that first step.
Maybe we're being too fussy, but now another couple has mentioned it, we're thinking about it.
I find it very hard to keep my hips turned toward my partner as my right leg (as the man) moves through.
i'm trying to keep my hips at about 45 degrees to the direction of movement so that, if my partner does the same, the angle between us will be 90.
Thinking of the mechanics of the movement, i'm beginning to think it is impossible to take a long stride because the top of my right leg is 'behind' my body (because of the 45 degree angle) whereas with an in-line step, it starts further forward.
I think i'd sleep better if i thought about something else!!! But the technicalities of dancing can be fascinating, and i'm a great believer in trying to understand fundamentals.

"Thinking of the mechanics of the movement, i'm beginning to think it is impossible to take a long stride because the top of my right leg is 'behind' my body (because of the 45 degree angle) whereas with an in-line step, it starts further forward.
I think i'd sleep better if i thought about something else!!! But the technicalities of dancing can be fascinating, and i'm a great believer in trying to understand fundamentals."

Exactly - if your hips are 45 degrees to the direction of travel, your step will be shortened by cos(45) which is .707 or Sqrt(2)/2 of the width of your hips.

You can get some distance back if you roll all the way to the tip of your left toe (her right toe) before swinging your leg through.

Promenade any dance. There is a lot of excellent advice given on this site. I will throw this one in the hat. Are you and your partner looking on the inside or the outside . You should both be able to see the backs of your hand and not the palm which would be the inside. Open Telemark the same. Also after the Link in the Tango, that usually is a good one where unskilled dancers open up like a barn door.