What are the movements of the feet, torso, and limbs? If there is a pattern that can be discerned, it leads us into learning theory. Are the movements predetermined? Do they need to be learned? If so, how are they taught? When are they taught - previous to the dance or during the dance? Are the steps learned by mirroring another dancer? Are the steps dis- cretionary to the dancers? How do the dancers enter or exit the dance? Are they selected, welcomed, tolerated, ignored? The same questions can be asked for the accompanying music: Is it predetermined? Is it random? Does it require rhythm, melody, or a combination of the two? Is it provided by the dancers? By musicians who are present? By technology? By technology with an intervening cuer, such as a DJ?

Cohen-Stratyner, Barbara. "Social Dance: Contexts and Definitions." Dance Research Journal, vol. 33, no. 2, 2001, pp. 121-124. JSTOR, www.jstor.org/stable/1477809.

I define African-American vernacular dance traditions4 as a complex family of forms5 and steps6 that includes hand dancing, rhythm tap, stepping, and line dancing; plantation-era traditions such as shouting and buck-n-wing; ragtime-era traditions such as the Charleston, Cakewalk, and Black Bottom; swing-era traditions such as the Lindy Hop, Shim Sham Shimmy, and various blues dances (boogie woogie, eagle rock); soul-era or rock 'n' roll traditions such as the bop, and steps like the watusi and mashed potato; late twentieth-century traditions of house, jacking, wave, boogaloo, breakdance, and the three forms of voguing: old way, new way, and vogue femme.

Jackson, Jonathan David. "Improvisation in African-American Vernacular Dancing." Dance Research Journal, vol. 33, no. 2, 2001, pp. 40-53. JSTOR, www.jstor.org/stable/1477803.

The line dancing evokes a sense of nostalgia for a simpler time and place; images of rural culture and the West call to mind traditional values and a sense of freedom, respectively (Starr and Water man 2003, I43). Referencing the nostalgic value and ideological power/value of country music, Richard Shusterman describes the lure of the genre in the following way: "By invoking the cowboy image of rebelliously rugged individualism while also recalling its reputed roots in the South (land of the Civil War rebels), country music can project an image that is traditional, white, and all-American, yet also, attractively distinctive and not blandly conformist" (Shusterman 2000, 78).

Dunagan, Colleen. "Performing the Commodity-Sign: Dancing in the Gap." Dance Research Journal, vol. 39, no. 2, 2007, pp. 3-22. JSTOR, www.jstor.org/stable/20444697.