A number of dance scripts quote an underarm turn as an "Allemande". Dance definitions refer to "Alamana" as a turn usually in Latin. Can some one clarify the term, or is it a colloquialism that has crept into dance script jargon?

"is it a colloquialism that has crept into dance script jargon?"

I believe the opposite is true. The term Allemande has always been used in Old Time dances (now referred to as Classical Sequence and also known as Vintage) which pre-dates Latin American as we know it.

I would guess that both terms are derived from the same root, possibly French "a la main" or "to the hand".

Allemande & alemana have the same root, in language, and both are widely used, in classical and modern sequence dancing. Usually, however, what is meant is some variety of underarm turn (look at the start of the modern sequence 'Rumba One', for example). It is also widely used as a 'change of place' action.

This allenande/alemana is not intended to mean the same thing that modern Latin technique would mean by an 'Alemana' - which is a particular type of turn, having a specific technique.

It can be confusing, but this usage predates modern Latin technique, so we shouldn't complain!

French is ...Alemand

Spanish ... Alemana

In dance terms.. to turn under the arm.. Intern. Latin used it to describe a turn to the Right, and the American style just calls it a plain old U./ Arm turn, ( L or R ) .

Spanish would be... vuelta dereche..

and yes, it does pre date all ballroom as we know it..

An Under arm turn is more like a Spot Turn and can be done either to the left or to the right. An Alemana is to the ladies right and has a type of Ronda action on the right foot without it leaving the floor. The step in question is step 5 which is in the book as Forward Walk then Swivel making 3/8 iof a turn to the right. This commomly used after arriving in the Fan Position.

Well, not really - a Latin Underarm Turn IS a Spot Turn, apart from the changed hold, whereas an Alemana has a different turning action, having more in common with a Spiral, using a delayed forward walk (to use Laird's terminology).

It depends which book you work from

The ISTD Rumba technique, 6th edition, 1998 says:

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"Spot turns are three forward steps..., circling to either L or R"

Alemana (ladies steps)
1:close RF to LF,
2:LF fwd,
3:RF fwd - turn 1/8 to R.
4-6: Three fwd walks under the raised arm, LF, RF, LF. End in closed position. Turn 1 1/8 over 4-6.

"The alemana may be danced from open position - Lady steps back on 1 instead of closing, and makes a complete turn R over 4-6."

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That looks very much like an underarm turn to me.

The differences between the actions of dancing a Spot Turn, under the partner's raised arm (an Under Arm Turn) either to the left or the right, and an Alemana, also an under arm turn but always to the right, are more effectively revealed by dancing them, rather than relying on the ISTD text (as quoted). Laird is much more explicit in describing the action, and I would make a careful study of his work, while seeking out a good, accurate demonstration.

Telemark. Unless there is a IDTA book by Walter Laird which is later than the one I have, there is no Underarm Turn in either the Rumba or the Cha Cha. Actually on an Alemana Turn before going under the arm. The man's Left hand and arm and the ladies Right are touching from the hand to the elbow. Which should make it look simular to a Policeman calling the trafic to a halt. Which includes a flat palm which allows the lady to use the palm to assist the turn .Which makes it entirely different to an Underarm Turn.

The Current Edition of Laird (2003) does indeed have Under Arm Turns to L & R in both Rumba & Cha Cha, linked (as they obviously are) with the equivalent Spot Turns, and, of course, the rather different under arm Alemana is given separately. As there are more points of difference, than similarities, between the two types of under arm turn, I'm suprised that anyone would think otherwise.



Yes, I agree, but I'm not the one suggesting that they are the same!

As an aside, you are not correct in attributing Laird to the IDTA, for while they have adopted Laird as their Latin Technique, they do not control the copyright or publish the text. This may lead to difficulties, in the future, and there are already a good many figures in general use which Laird does not include (particularly in Jive, which has very limited range of figures). The 2003 edition is the 'Commemorative' edition, and may well be the last in his name. Who knows what may come next, but Laird of course is widely regarded as authoritative throughout the dance world, and for good reason.