Pivot turns and penguin walks

[robd]

(The other exception I find in MJ is that involved in rapid 'paired turns' like pivot turns or penguin walks).


Is there a difference between pivot turns and penguin walks? Or does the 'or' in the quote above denote different terms with the same meaning rather than two different moves?

Not the most pressing of enquiries but I have been wondering for a while.

And on this subject I also wanted to ask other leaders how they feel when leading this/these moves? Very often I feel that personally it hasn't seemed that comfortable but on enquiring of my partner how it felt for them they say it felt fine. It's the exception rather than the norm when I feel it really clicks into place for me - honourable mention to Lory (who was feeling under par at the time - and who'll be the first to quote that out of context??) where I felt the turns went so well I could barely stand up after coming out of them :sick:

Robert

[killingtime]

And on this subject I also wanted to ask other leaders how they feel when leading this/these moves?

Generally: bad about just how poorly I just lead the move. I'm rubbish at these. The few times they've worked I think it is mostly to do with the follower covering for me.

However maybe I can learn something from this thread :D.

[WittyBird]

I could barely stand up after coming

I know a few blokes like that :rofl:

[El Salsero Gringo]

Sparkles is the expert on leading pivot turns; just ask ZW.

However, as I see it: there are two prerequisites:

Firstly you both need a good taut frame.

Secondly the leader needs fully to get to grips with the follower's weight and to bring it in close. Your centre of mass is somewhere just behind your belly button - bringing your two centres of mass as close together as possible makes the move work, remembering that the contact between you is offset right-side to right-side: lower torso to upper hip. You should both be looking directly over your partner's right shoulder. You should both lean away with the upper body, but the hip-to-hip contact is a must.

After that, remember that the two of you, with torso's locked by the frame in your arms and chest, together rotate about your common centre of mass - that will be, roughly, half way in between your two belly-buttons. Probably a bit closer to the man's, as he likely has greater mass.

The rotation is propelled by the stepping of the feet, which walk, clockwise, around circles. The two outer feet (the left for both of you) travel around larger circles than the two inner feet. Therefore the left foot steps further than the right. Also note that the right feet (for both of you) is on the opposite side of the axis about which you pivot. The right foot for one of you therefore steps back (small) as the other's left foot steps forward (bigger).

It's up to both of you to provide the energy for the move. Whoever is stepping forward (always with the left foot) is providing the propulsion for the both of you at that point.

With the two of you locked together in frame, it should be comfortable to provide some sway also, in time with the stepping.

Last point: don't look at your partner in the move. Turn your head out to the left. It makes the rotation easier.

I hope that helps.

[robd]

Firstly you both need a good taught frame.


Taught or taut or both? I know it seems nit-picky (and is) but I did read somewhere I think that both Sparkles and Lory have some ballroom background and this could be evident in their excelling at this move




between your two belly-buttons. Probably a bit closer to the man's, as he likely has greater mass.

I need bigger t-shirts if even you have noticed :blush:



Last point: don't look at your partner in the move. Turn your head out to the left. It makes the rotation easier.

And helps you get damned on the eye contact thread when it makes its regular re-appearance :rolleyes:




I hope that helps.

It did, thank you.

[El Salsero Gringo]

Taught or taut or both? Taut - thank you; just in time to edit. (I thaut it looked wrong).

[Sparkles]

:blush:

:yeah: to ESG's post.

One of the reasons why the pivot turns work so well when I do them with ZW is that we both have strong thighs (oo er :really: ). The most important points of contact IMO are the hand on the lady's back (shoulder blade), your lower abdomens (tummies) and the insides of your right thighs which should be pressed together.

I find travelling pivot turns much harder to control than stationary ones, so I aim to keep them as much on the spot as possible. This can be done by rocking between your back and front feet and never entirely lifting your front foot off the floor, so that you can keep your centre.

Also important is to never do this with your legs straight. It's important to keep them flexed to keep your centre of gravity low which means you have more control over your turns.
And especailly, as ESG says, keep your head fixed either looking directly at your partner or to the left - your head is very heavy and can easily throw your turns off-balance if you're looking around the room.

S. x

[Kev F]

One of the reasons why the pivot turns work so well when I do them with ZW is that we both have strong thighs (oo er :really: )

As demonstrated below with ZWs clip on bear technique. It's almost impossible to remove her against her will. :D :respect:

[robd]

I told ZW she wasn't allowed to 'clamp' me at the T-Jive since parking restrictions don't apply on Sundays.

[Andreas]

Secondly the leader needs fully to get to grips with the follower's weight and to bring it in close. Your centre of mass is somewhere just behind your belly button - bringing your two centres of mass as close together as possible makes the move work, remembering that the contact between you is offset right-side to right-side: lower torso to upper hip. You should both be looking directly over your partner's right shoulder. You should both lean away with the upper body, but the hip-to-hip contact is a must.

After that, remember that the two of you, with torso's locked by the frame in your arms and chest, together rotate about your common centre of mass - that will be, roughly, half way in between your two belly-buttons. Probably a bit closer to the man's, as he likely has greater mass.

Considering that the pivot probably has been assimilated from Ballroom, or Waltz and Quickstep to be more specific, your description is not completely correct. Yes, the two dancers need to be close but only at the hips/pelvis. Like Waltz/Quickstep in general you basically have to make sure that a sheet of paper you place between the hips of the two dancers stays in place. The torso, on the other hand, can, and for looks should, lean slightly back. It makes the pivot nicer and more stable ... and more dangerous as one or both may feel the rush and desire to lean back even more collecting other couples in the vicinity. You can essentially dance a pivot with your hands around the lady's waist and her bending back. The importance in execution of a pivot should be hips down, this is what stays connected.

In most cases problems with pivots can be sorted in two categories: 'getting dizzy' and 'losing connection'. There is little to do about the first one other than keep doing it. The second, however, is most likely an issue of the knees not locking. Try to lock your knees (right kne of both), which means thigh contact. Once you have got to grips with that pivots should be easy.



The rotation is propelled by the stepping of the feet, which walk, clockwise, around circles. The two outer feet (the left for both of you) travel around larger circles than the two inner feet. Therefore the left foot steps further than the right. Also note that the right feet (for both of you) is on the opposite side of the axis about which you pivot. The right foot for one of you therefore steps back (small) as the other's left foot steps forward (bigger).

As ESG said, you gain speed by changing weight between your feet. If you do a pivot 'correctly' then you will always rotate on while transferring your weight forwards. The back foot (left) should ideally always step straight back but in practice that is optimistic because it would require the two of you to proctice the move heaps.


Last point: don't look at your partner in the move. Turn your head out to the left. It makes the rotation easier.
And gets you dizzy in no time. :whistle: I personally always look at my partner for the simple reason that she provides the only 'static' point of reference in this sometimes fast rotating move.

:flower:

[Andreas]

I find travelling pivot turns much harder to control than stationary ones, so I aim to keep them as much on the spot as possible. This can be done by rocking between your back and front feet and never entirely lifting your front foot off the floor, so that you can keep your centre.
They are indeed because when travelling your are stepping with 'the wrong' foot. Travelling pivots certainly require a bit of practice between the participating parties before they work and look well. Stationary are a lot easier in these regards. :flower:

[El Salsero Gringo]

... your description is not completely correct. Yes, the two dancers need to be close but only at the hips/pelvis. Like Waltz/Quickstep in general you basically have to make sure that a sheet of paper you place between the hips of the two dancers stays in place. The torso, on the other hand, can, and for looks should, lean slightly back. It makes the pivot nicer and more stable ... and more dangerous as one or both may feel the rush and desire to lean back even more collecting other couples in the vicinity. You can essentially dance a pivot with your hands around the lady's waist and her bending back.I did say "You should both lean away with the upper body, but the hip-to-hip contact is a must"....:whistle:

[Gadget]

:confused: pivot turns are the fast ones, turning in 90º segments, yes?

...Thing is that I lead a sort of 'ballroom pivot turn'* arround the dance floor on occasion. And if we were that close to each other, we would turn sharper, but we wouldn't travel quite as far. I agree with sparkles that the primary contact and lead should be with the hand/arm on the back of the follower.

* This relies on the follower being able to follow a first move and not insert tripple steps: The lead follows the follower round on the open out section as they pivot on the left and step back on the right. Continue your own momentum to now pivot the follower on their right foot to face you and bring the trailing foot in. Then lead another 'first move', pivoting on the left... etc.
It relies on the lead being able to match the follower's momentum and get themselves in the right place at the right time, but every follower seems to like being whisked arround the dance floor. Not much hip contact though.

(I'm sure that every lead dreads dancing near me because I have been known to circle a couple like this and I change the space I'm dancing in quite often :devil: :D)

[Andreas]

I did say "You should both lean away with the upper body, but the hip-to-hip contact is a must"....:whistle:
Must have missed that, sorry. But you CAN both lean away, although one will always lean further than the other; ladies first. :D ;)

[Zebra Woman]

This is my favourite move, when it's done well. For me there are so many little features that are needed to make this move feel great.

IMO the pressing contact between the inner right thighs is number one crucial, the pressure on the followers back from the lead's right arm also very important, then the closeness of the tummy buttons, and the strong frame leaning back slightly. I do my share of the pushing round with my left foot (my right foot seems to remain almost on the spot).

Sparkles is just fantastic at this move :drool: , Kev F, SF, PaulF, Andreas and Franck are all very smooth too :worthy: . ESG has an incredible variation where he can stop the rotation dead on a break, and then restart it! Love that :worthy: .

As it's my favourite move and I don't generally get dizzy with it, I am always happy to practise it with anyone wanting to get to grips with it. :devil:

ZW:flower:

[foxylady]

Its one of my favourite moves too - and ESG I seem to remember a seminal moment at the jive bar talking you through just how close you had to get to make it work (it was a while ago I grant you, but etched on my memory)...

Love it with latinlover, feel like we could go on an on and on and on..... and had a great moment with James (not a forumite) at ISH last night where the track dictated that we keep going for almost 10 revolutions and then stopped dead on a break, which we did, and it was magic !!

There is a guy who come to ISH like to see if he can make you dizzy by going round as many times as he can (sometimes he even counts !!), and I usually respond by speeding him up with my part of the step so that he gives up first...:devil:

[TheTramp]

There is a guy who come to ISH like to see if he can make you dizzy by going round as many times as he can (sometimes he even counts !!), and I usually respond by speeding him up with my part of the step so that he gives up first...:devil:

You wanna try that with me then Foxy?? :D

[El Salsero Gringo]

Its one of my favourite moves too - and ESG I seem to remember a seminal momentOne of many seminal moments! And many more to come one hopes...

[Cruella]

My favourite move too! What is it that us girls love about being wooshed around in circles at high speed.:confused: Or is it that, combined with the fact that there is no choice but to have all that close contact.:innocent:

[Lory]

My favourite move too!
I love it too! :D

[robd]

What is it that us girls love about being wooshed around in circles at high speed.:confused:

It's the thought of all those rough boys who used to work on the Wurlitzers at the fair when it came round :wink:

[ducasi]

It's the thought of all those rough boys who used to work on the Wurlitzers at the fair when it came round :wink:
I thought a Wurlitzer was either a juke box or a pipe organ?

Was doing a bit of whoosing last night... I can clearly state that when you're dancing with a sexy french girl, maintaining eye contact while spinning round is recommended. :awe:

[robd]

I thought a Wurlitzer was either a juke box or a pipe organ?


Isn't it an Intermediate (nee Beginners) Ceroc move?

[johnthehappyguy]

It's the thought of all those rough boys who used to work on the Wurlitzers at the fair when it came round :wink:

Weren't they Waltzer's



john:nice:

[robd]

Weren't they Waltzer's



john:nice:

Yes! My bad. I never went on one - just looking at them made me feel :sick: :sick: :sick:

[robd]

a seminal moment at the jive bar

One of those phrases where you need be certain you don't get your vowels mixed up, for sure.

[foxylady]

One of those phrases where you need be certain you don't get your vowels mixed up, for sure.

hmm not quite sure what you are getting at ??? I meant it in its 'containing or contributing the seeds of later development' sense rather than its 'relating to semen sense' although with ESG one is never quite sure......

(I don't think mixing up the vowels makes any sense :confused: )

[Claire S]

I thought a Wurlitzer was either a juke box or a pipe organ?

Was doing a bit of whoosing last night... I can clearly state that when you're dancing with a sexy french girl, maintaining eye contact while spinning round is recommended. :awe:
What about sexy German girls??

[Graham]

Was doing a bit of whoosing last night... I can clearly state that when you're dancing with a sexy french girl, maintaining eye contact while spinning round is recommended. :awe:
Where did you get a sexy French girl??? Send her home at once! :wink:

[ducasi]

Where did you get a sexy French girl??? Send her home at once! :wink:
Turns out she's German – as Claire takes great joy in reminding me. Again. :rolleyes:

Personally I don't especially care – German, French, whatever – she's still sexy.

[Gadget]

...I thought you were talking about Caro :whistle:

{...stir, stir stir...:devil:}

[ducasi]

...I thought you were talking about Caro :whistle:

{...stir, stir stir...:devil:}
My original statement still holds for *any* sexy girl – French, German, even Aberdonian...

[robd]

From another thread:


Well what da ya know! I've never really known what these 'Penguin Walks' were :blush: (coming from a non-ceroc background), and lo and behold, they were taught tonight at Woking!

After all these years of dancing, I've finally been taught a move that I absolutely adore watching others do, but have never been able to do it myself.

Nothing I was taught tonight, was any different from anything I've tried in the past, yet it just all clicked into place so sweetly. Now I can do them, and I'm extremely chuffed :D :waycool: (as you may be able to tell! :yum: )

What a great way to return to the dance floor, after all that time out :drool:

Awfully bad form to revive one's own thread, one knows, but penguin walks were also taught in class at Cambridge last night (together with a nice little side-slide exit that I never really got the hang of). What struck me was how hard they are to do slowly, step by step as they are broken down in the class. It really is one of those moves that are simpler to do as a whole rather than in it's component parts.

As for my own progress on these, it's getting better but still not there as often as I would like. Thanks to the patient followers at the T Jive who took time to point out areas for improvement. When it does work though, it is fantastic and you really feel like you could go on for ever and ever since the dizziness (for me) doesn't kick in until you've stopped rotating. But when it does - :sick: :sick: :sick:

One other thing I learned recently is if you do feel dizzy coming out of pivot turns don't try and do a man spin thinking that a turn in the opposite direction will counter the dizziness. It may well do, but you'll likely be so off balance that you'll crash into your hapless partner. Or at least that's what happened to me :blush:

Rob

[Zebra Woman]

One other thing I learned recently is if you do feel dizzy coming out of pivot turns don't try and do a man spin thinking that a turn in the opposite direction will counter the dizziness. It may well do, but you'll likely be so off balance that you'll crash into your hapless partner. Or at least that's what happened to me :blush:

Rob


You have just reminded me of another yukky exit from pivot turns -

A back hander :eek: .

All that spinning is perfectly complimented by something secure, calm and sedate, not more turns for the lady :sick: . Being dizzy and about to go off balance is a nightmare just before you go into a back hander as it's a really dodgy move when it's not perfect.


I have to say this thread has brought me much joy. Thank you Rob.

Ever since I posted my list of fave leaders of this move I have been absolutley inundated with pivot turns from forum members, both from my faves 'cos they know I love the way they do it. But better than that, loads of people wishing to prove thay can do it too. All of them great.

My fave list is now very long, and includes RobD. :clap:

Fantastic :grin:

[jivecat]

I have to say this thread has brought me much joy. Thank you Rob.I love this move too, but used to find it incredibly awkward and difficult. ESG's comments especially are extremely helpful, thanks. The key for me was realising that there had to be close contact from the, er, knees upwards. I'm not sure I've ever done the move leaning back but I'm not sure it would be easy to have eye contact with my partner otherwise, because I think my chin is usually somewhere in the region of his right shoulder? Another added benefit, because then I can get a look round the dance floor, see what everyone else is up to, spot my next victim etc.:devil:

I think the thing I really love about it (apart from the obvious, is there anyone who actually hates pressing their tummy button against an attractive dance partner's? And just don't get me on to the subject of thighs!) is the feeling of balance and momentum being completely joined and interdependent. I suppose that there is a single axis of movement rather than two for a few moments.


My fave list is now very long, and includes RobD. :clap:

Fantastic :grin:
:yeah:

[Sparkles]

I have been absolutley inundated with pivot turns from forum members, both from my faves 'cos they know I love the way they do it. But better than that, loads of people wishing to prove thay can do it too. All of them great.

My fave list is now very long, and includes RobD. :clap:

Fantastic :grin:
:yeah: :yeah: :yeah:

I've never had so many pivot turns!
... and ZW, you're fab :awe:

[LMC]

... The key for me was realising that there had to be close contact from the, er, knees upwards.
As a tall girl, I sometimes worry that my knee might end up where it didn't oughter if the lead is signficantly shorter than me. Some guys (and that doesn't apply to anyone on the forum that I can think of) just don't seem to realise that for some moves, including this one, HEIGHT MATTERS! Any top tips for, er, alternative connections if a much shorter lead leads a penguin walk?

[jivecat]

As a tall girl, I sometimes worry that my knee might end up where it didn't oughter if the lead is signficantly shorter than me. Some guys (and that doesn't apply to anyone on the forum that I can think of) just don't seem to realise that for some moves, including this one, HEIGHT MATTERS! Any top tips for, er, alternative connections if a much shorter lead leads a penguin walk?

Get him to stand on tiptoe?
You could do the move in a sort of ballet plie? Oh well, OK, you don't want to look like Kermit during the move. Say, bend your knees slightly more than usual whilst keeping your feet pointing forward.

Slightly related, do ladies feel more comfortable doing this move in trousers rather than a skirt, as any move where she has to have her feet apart and knees bent might tend to look inelegant, & possibly better in trousers. I also don't really like doing those layback type moves whilst wearing a skirt for this reason.

[LMC]

Say, bend your knees slightly more than usual whilst keeping your feet pointing forward.
Works for most moves, but for a penguin walk, the change in balance and tension in the rest of the frame can be tricky to maintain/change fast enough (guess I need more practice).

More importantly, given that your feet are apart, bending the knees can have the unfortunate effect of making you look like you're about to sh** on your partner's shoe.

[Sheepman]

This is one of my favourites too, and it is oh so easy when doing it with Sparkles :respect:

I do find I struggle doing it with partners more than 6" or so shorter than me. (And maybe partners 6" or so taller, but I can only recall dancing with a couple of ladies that tall.) So I find the counterbalancing is important.
This move was also taught during Cat & Lee's recent Nightclub 2 step workshop, where emphasis was placed on rocking from heel to toe and back again as you pivot. (Probably not a very helpful explanation.)
Some ladies just want to come in close and cuddle up during this move, no complaints from me :whistle: but as has previously been said, it feels so much better if the head is upright and the frame maintained.

Some people manage to do spotting during this move as well :respect: I'm not sure I'll ever master that, it does give it a much more "ballroomy" look.

Greg

[Sparkles]

One other point of note - when you're going to do this move don't think in your head: "Oh *****, I'm going to do that move now, I hope it doesn't all go horribly wrong!!!"
... because chances are you'll tense up, distort your frame and it won't work at all :what:.

Just be confident, stay nice and relaxed and it'll all just happen, trust me :wink:

[Lory]

honourable mention to Lory (who was feeling under par at the time - and who'll be the first to quote that out of context??) where I felt the turns went so well I could barely stand up after coming out of them :sick:

Having had another go at this on Friday (I wasn't feeling underpar this time :whistle: :wink: ) I would say, you've definitely got this move nailed :worthy: :clap:

But, Can I be so bold as to give some constructive advice...

practice learning how to stop :what: :rofl: :rofl:

[robd]

practice learning how to stop :what: :rofl: :rofl:

But that's when the dizziness kicks in :sick: if we keep turning then I keep focussing on my partner and don't feel dizzy.

I must come across as obsessed with this move since I think you were expecting it to follow every first move turnout I did on Friday :blush:

[Sparkles]

I must come across as obsessed...

You? Nooooooooooo, surely not! :devil: :wink:

[Lory]

But that's when the dizziness kicks in :sick: if we keep turning then I keep focussing on my partner and don't feel dizzy.


And there's me thinking those little yelps, were yelps of pleasure :devil: :whistle:

[Cruella]

But that's when the dizziness kicks in :sick: if we keep turning then I keep focussing on my partner and don't feel dizzy.


Is that why you only did one turn last night? So you didn't have to look at me to stop getting dizzy!

[robd]

Is that why you only did one turn last night? So you didn't have to look at me to stop getting dizzy!

:blush: Found out again!

Actually I thought I needed to get you back to Paul just in case a WCS track was imminent :whistle:

[Dizzy]

{snip} So you didn't have to look at me to stop getting dizzy!

He didn't get me??!! :whistle: Well ok, we have one dance :wink:

[Cruella]

:Actually I thought I needed to get you back to Paul just in case a WCS track was imminent :whistle:
:blush: Sorry. :kiss:

[Gav]

One other point of note - when you're going to do this move don't think in your head: "Oh *****, I'm going to do that move now, I hope it doesn't all go horribly wrong!!!"
... because chances are you'll tense up, distort your frame and it won't work at all :what:.

Just be confident, stay nice and relaxed and it'll all just happen, trust me :wink:

Hopefully that might help me. It's a move I've always wanted to be able to do 'cos it looks so good when other people do it, but it always goes horribly wrong for me. I've done it in 2 or 3 lessons and managed to get through the whole lesson without getting it!
Did it again last night and thanks to some clever "backleading" (thx Bettie :blush: ), I finally got it.
It's gonna take some serious practising tho. I might have got the basics but I'm still struggling to get it flowing properly.

Oh and I now know that it doesn't just look good, it feels good too (before I get flamed for being pervy again :drool: , I don't mean the close contact, I mean moving quickly together as one!)

[robd]

I've had to slow down a little on the pivot turns lately :sad:

Unfortunately I have had a few problems with my right wrist which is exacerbated by the tension put on it during a pivot turn.

Interesting that


This move was also taught during Cat & Lee's recent Nightclub 2 step workshop, where emphasis was placed on rocking from heel to toe and back again as you pivot. (Probably not a very helpful explanation.)

as I believe (and have been informed by knowledgeable sources :D ) that I am maybe rocking back too much and lifting the toe on my right foot as we rotate thus sometimes catching the lady's foot and interfering with the smoothness of the move. I'll be concentrating on keeping the rocking action controlled and toe down (as well as keeping my shoulders down and relaxed) in future attempts and will see if this smooths out the action.

Robert

[MartinHarper]

So Last Sunday I had a Lindy workshop on Frame/Connection/Lead/Follow, which kinda covered pivot turns. I tried to see what the difference was between what I was taught there and a more MJ-style of the move. So:

1. Both dancers look "into the circle". So leader looks to his left, follower looks to her right.
2. Lots of emphasis on the follower connecting into the leader's right arm.
3. Quick rotation vs slow rotation, no rotation and reverse rotation, travelling vs on-the-spot, and pauses. Way too many variations to think about.
4. Space between the dancers. It's close, sure, but we're not talking about belly buttons touching.

Surprising how different a move can be just because it's done within a different dance.

[Franck]

So Last Sunday I had a Lindy workshop on Frame/Connection/Lead/Follow, which kinda covered pivot turns. I tried to see what the difference was between what I was taught there and a more MJ-style of the move. So:

1. Both dancers look "into the circle". So leader looks to his left, follower looks to her right.
2. Lots of emphasis on the follower connecting into the leader's right arm.
3. Quick rotation vs slow rotation, no rotation and reverse rotation, travelling vs on-the-spot, and pauses. Way too many variations to think about.
4. Space between the dancers. It's close, sure, but we're not talking about belly buttons touching.

Surprising how different a move can be just because it's done within a different dance.Odd, as apart from the looking 'into the circle' bit, I would normally teach the above advice, especially the connecting to the leader's right arm and space between dancers.
I wouldn't cover all the above variations either as most people are still struggling to get into, maintain and exit the basic rotation.

[MartinHarper]

I would normally teach the above advice, especially the ... space between dancers.

Hmm, maybe. That isn't the advice given on this thread.
When I lead this stuff in MJ I do seem to end up with a lot of body contact. It mostly works fine, though. My recurring problem in MJ seems to be with followers who want to run round my right hand side during the turn - we end up almost running after each other, and it just doesn't work very well.

[Franck]

Hmm, maybe. That isn't the advice given on this thread.
When I lead this stuff in MJ I do seem to end up with a lot of body contact. It mostly works fine, though. Yes, there is a lot of varying advice on the thread. The space thing comes from connecting with the lead's right hand. Many followers take the increase in connection as an invitation to get closer instead of balancing the compression. This doesn't mean that there 'must' be space for the move to work as you found out, once the connection is balanced (especially back to right hand) then it is possible to be very close, touching or not and have a perfect pivot / penguin. For most people who don't balance the connection naturally, telling them to keep space between them and their partners can help (in a 'lie to children' kind of way)

[kermit]

Is there a difference between pivot turns and penguin walks?

Would some kind person answer this little conundrum?