Hip Catch › History › Revision 4

Revision 4

current

bendichter · Oct 9, 2026, 4:20 PM · Shortened the description.

Changes from revision 3

Tags: push family, connection & technique, musicality → connection & technique, musicality, push family

−A compression pattern where the follower's forward travel is caught at the leader's hip instead of in the hands — the follower arrives beside the leader, is caught in a brief side-by-side compression, and rebounds back down the slot.
− 
−Lives in the same connection family as the [[Sugar Push|sugar push]] (extension → compression → extension) but with the catch displaced to the side, which reads beautifully on slow, bluesy songs. A common musicality tool for marking a pause or drop in the music.
− 
−## Common notes
+A compression pattern where the follower's forward travel is caught at the leader's hip instead of in the hands. The follower arrives beside the leader, is caught in a brief side-by-side compression, and returns down the slot. It is often used to mark a pause or drop in the music.
 
−- Hip catches showcase one of WCS's signature ideas: connection points beyond the hands — forearm, tricep, hips, bottom of the ribs — with the follower always filling the space that's offered.[^1]
−- Filipe de Barros rolls in like a [[Left Side Pass|left side pass]], arriving with the forearm at the follower's waist, and recommends catching on the **bony part of the hip** rather than the ribs or the fleshy part.[^2]
−- The connection is two-way: the follower gives the weight of the hip into the leader's hand, then waits — reading the lead's energy rather than pre-empting the exit.[^3]
−- Standard exits include spinning the follower out, redirecting to a catch on the *other* hip, or rising into a tuck.[^4]
+Filipe de Barros rolls in as in a [[Left Side Pass|left side pass]], arriving with the forearm at the follower's waist, and recommends catching on the bony part of the hip.[^1] The follower gives the weight of the hip into the leader's hand and waits for the lead out.[^2] Common exits are spinning the follower out, redirecting to a catch on the other hip, or rising into a tuck.[^3]
 
−[^1]: Filipe de Barros, ["Upgrade Your Hip Catch: Basic + 3 Creative Variations"](https://www.youtube.com/watch?v=lXYYpK4cm3k&t=40s) at 0:40.
−[^2]: Filipe de Barros, ["West Coast Swing - The Hip Catch: A Guide!"](https://www.youtube.com/watch?v=IPo2KD5jOQ0&t=48s) at 0:48–2:04.
−[^3]: Filipe de Barros, ["West Coast Swing - The Hip Catch: A Guide!"](https://www.youtube.com/watch?v=IPo2KD5jOQ0&t=184s) at 3:04.
−[^4]: Filipe de Barros, ["West Coast Swing - The Hip Catch: A Guide!"](https://www.youtube.com/watch?v=IPo2KD5jOQ0&t=357s) at 5:57.
+[^1]: Filipe de Barros, ["West Coast Swing - The Hip Catch: A Guide!"](https://www.youtube.com/watch?v=IPo2KD5jOQ0&t=48s) at 0:48–2:04.
+[^2]: Filipe de Barros, ["West Coast Swing - The Hip Catch: A Guide!"](https://www.youtube.com/watch?v=IPo2KD5jOQ0&t=184s) at 3:04.
+[^3]: Filipe de Barros, ["West Coast Swing - The Hip Catch: A Guide!"](https://www.youtube.com/watch?v=IPo2KD5jOQ0&t=357s) at 5:57.
Page as of this revision

Hip Catch

intermediate

also known as: Hip Check Catch

A compression pattern where the follower's forward travel is caught at the leader's hip instead of in the hands. The follower arrives beside the leader, is caught in a brief side-by-side compression, and returns down the slot. It is often used to mark a pause or drop in the music.

Filipe de Barros rolls in as in a left side pass, arriving with the forearm at the follower's waist, and recommends catching on the bony part of the hip.1 The follower gives the weight of the hip into the leader's hand and waits for the lead out.2 Common exits are spinning the follower out, redirecting to a catch on the other hip, or rising into a tuck.3

Footnotes

  1. Filipe de Barros, "West Coast Swing - The Hip Catch: A Guide!" at 0:48–2:04. ↩

  2. Filipe de Barros, "West Coast Swing - The Hip Catch: A Guide!" at 3:04. ↩

  3. Filipe de Barros, "West Coast Swing - The Hip Catch: A Guide!" at 5:57. ↩