Before getting into more Step Patterns, the student should begin to use some of the techniques needed to help improve learning and develop the aesthetics of dancing. Too many dancers know dozens of steps, but have awkward leads or bad footwork and unbecoming postures.

Classic Lindy is an aesthetic sport where smoothness and pleasing body lines are essential characteristics of the dance. To achieve the semblance of the original Lindy dancing style of the 1950's, the following basic techniques are suggested.

Body Posture

The legs are slightly flexed to allow agility necessary for quick movements and changes of direction. The knees are not locked in a straight position nor are they bent in an exaggerated bowed alignment. The flexible ankles along with the flexed knees allow the dancer to move in smooth subtle waves of movements. The back and shoulders are held in a natural upright posture with the top of the head reaching for the sky. The hunchbacked, bowlegged posture, contrary to false teaching, adds nothing to danceability and distorts the natural beauty of the dancer's form, and eventually cause lower back problems.

The reasons given for this hunchbacked, bowlegged posture is to counteract the centrifugal force generated by the swift turning turning movements of the dance. Actually you will find it more comfortable to lean back onto perimeter of the centrifugal force and still maintain the resistance between partners while you hang securely onto your partner. You might remember how as children you once held a friend's both hands and turned circles , increasing the outward pull as you increase the circular speed. You don't fight the force, you lay back and enjoy the free ride. It's easier and it works more effeciently in the most frenetic turning Lindy movements. And it looks more aesthetic.

The Lady has three steps (1st Triple) to get to her destination, i.e. either from one end of the Lindy Slot to the other or back to her partner. When executing the Pull Throughs of Lesson 4, she will know where the man wants her to go by the pulling tension from the lead hand so her steps will be slightly longer than when returning to the shorter distance of Back To Promenade Position. the small running steps are usually less than 18 inches apart, and are taken on the balls of the feet; heels don't touch the ground.
When learning the footwork, it is natural to look down at the feet, but after a few tries, avoid looking down altogether in order to develop the kinetic sense (muscular awareness).

Arms, Shoulders and Legs

The way you move arms and legs sets your style. When dancing in a contest, or for films, pumping your arms and shoulders in a spastic manner and wobbling your legs to add animation to your dancing may be colorful, but on a social dance floor these exaggerated antics can be crowding other dancers' floor space while looking rather awkward and amateurish. 
Learning to use your arms and legs with grace and natural aesthetic lines is an art in itself and takes time to learn. The beginner is wise to keep the arm and leg movements at a minimum until he feels confident in his rhythm and step patterns. By copying other good dancers' styling, the beginner dancer will develop styling naturally. dancing before a mirror is invaluable for perfecting graceful lines.
Avoid being the showy collector of too many cute steps and master of none. The secret to any art form or sport is having a sound foundation in the basics, i.e. leads, rhythm, footwork, step patterns, directional control and aesthetic lines.

EXTRA TIME SPENT ON BASICS WILL SAVE YOU A LOT OF TIME AND CONFUSION LATER ON..