Swinging Sundays July 5th
The Whip: How a Classic Lindy Move Became a West Coast Swing Essential
The Whip is one of the foundational patterns in West Coast Swing, and it has a richer history than many dancers realize. It evolved directly from the classic eight‑count Swingout of Lindy Hop, which took shape at Harlem’s Savoy Ballroom in the 1930s. As Lindy dancers migrated west and adapted their style to a smoother blues scene, the Swingout began to transform.
One of the most influential figures in that evolution was Dean Collins, whose dancing in 1940s Hollywood and California clubs helped refine the Swingout into a more slotted, grounded form. Over time, that refinement produced the elastic, directional version we now recognize as the West Coast Swing Whip. Around the same period, regional swing styles in Texas, like the Houston Whip and Dallas Push, were already using similar “whipping” actions. It was the Western Swing scene in California, however, that ultimately codified the pattern as a core eight‑count basic.
In a classic West Coast Swing Whip, the leader sends the follower past them down the slot, then redirects that energy with leverage or compression, whipping the follower back to the starting side in a dramatic but controlled way. This evolution emphasized musical phrasing, body flight, and the signature West Coast Swing extension‑and‑compression technique, which clearly separates it from the bouncier feel of East Coast Swing and many Lindy variations.
By the 1960s, when the dance was officially renamed West Coast Swing, the Whip had become one of four core patterns alongside the Starter Step, Push Break, and Side Pass. From there, the variations multiplied—basic whips, inside and outside exits, double whips, and many more that dancers still love to teach and reinvent. If you want to deepen your West Coast Swing, investing in a clean, musical Whip is one of the most powerful things you can do; it connects you directly to the history of the dance and anchors a huge amount of modern styling.
About the Author: Mr. Jonathan has been teaching and writing about WCS for 25 years. Catch his classes on Thursday nights at 6:45pm at 29 Middlesex st (The Roma Restaurant). Class is $20 and lasts about an hour. It’s an all levels class with built in dance hosts/hostesses that will give you the extra attention you need if you get stuck. Class is followed by a guided practice where everyone takes turns dancing with each other and private instruction happens if needed or requested. Check out his calendar of events on the home page or click here
Footwork First: The Simple Fix That Transforms Your West Coast Swing
Footwork First: The Simple Fix That Transforms Your West Coast Swing
Partner dancing works best when our footwork is aligned with our partner’s. The simplest connection between two bodies can deliver tiny “micro movements” into our brains that say either “all systems go” or “something is off.” When you really zoom in on what creates that feeling, it almost always boils down to having your footwork dialed in.
If you struggle with leading or following patterns that are new to you, there is a very good chance the problem is not the pattern. It is that your footwork is missing a step or two. You might be on the wrong foot by one beat, or you skipped a weight change you didn’t even realize was there. The pattern then feels fuzzy, late, or heavy, and you end up blaming your memory or your partner when the real issue is that your feet are not telling the truth.
As shocking as it may seem, I very rarely practice patterns. I practice my basic footwork—daily—for about five minutes. I do it as a leader and as a follower. When I am dancing solo, those five minutes are pure gold. Nothing can replace proper foot placement when it comes to dance. Patterns come and go. Styling trends change. But clean, consistent footwork will make every pattern you ever learn feel easier and more fun.
Think about the oldest structures on the planet: the pyramids. They have lasted thousands of years because they were built on a wide, solid base. Your West Coast Swing is no different. If the base is narrow and wobbly, the “fancy stuff” on top will always feel unstable. If the base is wide and strong, you can stack whatever you want on it and it holds up.
So what does a strong base look like in West Coast Swing?
Followers start on their right foot. Leaders start on their left. Six‑count basics actually have eight weight changes and are counted:
1‑2, 3&4, 5&6
Whips have ten weight changes and are counted:
1‑2, 3&4, 5‑6, 7&8
The way I learned it early on—and the way I still hear it in my head—is:
For six‑count basics: “walk walk triple triple”
For whips: “walk walk triple, walk walk triple”
Those simple phrases have served me incredibly well. They keep me honest about how many times I should be changing weight, even when the music or the pattern gets more complex. If I feel something slipping out of control, I go right back to those words: walk walk triple triple. Walk walk triple, walk walk triple. If I can say it, I can dance it.
Here’s my challenge for you this week:
Set a timer for 5 minutes.
Put on a song you like.
As a follower: start on your right foot and quietly drill “walk walk triple triple,” then “walk walk triple, walk walk triple,” paying attention to every weight change.
As a leader: start on your left foot and do the same thing.
Stay relaxed, but be honest. Are you really changing weight eight or ten times, or are you sneaking through on autopilot and skipping a step here and there?
The goal is not to look fancy; the goal is to feel solid. When your feet know exactly where they are going, your brain relaxes, your connection cleans up, and suddenly those “new” patterns don’t feel so new anymore. You will react faster, lead and follow more clearly, and your partners will notice that dancing with you just got easier.
Five minutes a day is not much, but if you give that time to your footwork, the rest of your West Coast Swing will thank you for it.
Here is some great footwork to an awesome song:
The Three Types of West Coast Swing Music Every Dancer Should Know
For as long as I can remember, West Coast Swing music has lived in three main categories: social dance music, competition music, and demo songs. Knowing the difference between them can help you choose better tracks for practice, for social dancing, and for performances.
Social dance music is where new songs break in and find a home on the floor. These are the tracks you hear most often at parties and weekly dances, the songs that feel good to a wide range of dancers and skill levels. As certain songs consistently get great reactions, they start to rise in status and move into the second category.
Competition music is where the strongest social dance songs end up when they prove themselves over time. These tracks are special in some way—maybe they have exceptionally clear phrasing, a powerful groove, or a structure that supports a lot of creative interpretation. They are the songs that make it to the main stage because judges, DJs, and dancers all know they can carry a full heat without falling flat.
Finally, there are demo songs. These are often the coolest, most interesting tracks in a DJ’s collection, but they can easily get lost if they are not handled carefully. Demo songs are frequently too fast, too slow, or too subtle to fully capture a social dance crowd’s attention, at least at first. But once you see a real set of pros pull everything they can out of one of these tracks, you start to hear the potential that was hiding there.
When I build a “greatest hits” night, I often arrange my entire catalog in order of most‑to‑least listened‑to and let the data reveal what social dancers truly love. The top cluster of songs usually become the backbone of the evening, and I sprinkle in a few fresh surprises for dancers who are ready to explore. If you want to deepen your relationship with West Coast Swing music, start paying attention to which songs make you feel at home on the floor, which challenge and inspire you, and which secretly belong in your next performance.