2026 Class Tracks
Note: There will not be an invitational Track G in 2026.
Tracks without a level check:
- Balboa Crash Course
- Track B/C
Tracks with a level check:
- Track D
- Track E
- Track F
Relevant to all lettered tracks: CalBal reserves the right to strongly recommend a dancer move to another track if they have placed themself in an inappropriate track and will have a better learning experience in a different track.
Level Check Format
Level check is held during the first class with your track on Saturday morning. We hold the level check during class so that the judges observing the class can see how you learn and dance. We want everyone to be in a group that fits their learning AND dancing ability as much as possible.
Judges for the level checks will look for dancers who are outliers from the group and who will clearly be a better fit for a track that is either above or below the track they registered for. They will be watching how students learn in class, how they pick up new material, and how well they dance to music. They will pay attention to whether people are struggling because their partners are rough, so they don’t accidentally move the wrong people down due to less-skilled partners. They will also look for people who are able to do well despite having partners who are rough, to potentially move those people up.
Video References
We have created video references to illustrate material expected for the different tracks.
How to use the video references: The track descriptions contain links to videos that demonstrate most of the moves and concepts that are specifically listed as material for that track. You should be able to click on the move name or concept description to go directly to the time stamp in our reference video.
Please note: The video references are meant to give general ideas of what we are expecting for each track. Most of these moves have multiple names and ways to do them. You’ll notice that we don’t use the words “right” or “wrong” because what is “right” in one situation might be a poor fit for another situation.
We hope you find the videos to be helpful tools. Let us know what you think in the YouTube comments!
Track Appeals
Dancers wishing to change tracks during the weekend must visit the track appeals on Saturday from 1-2 p.m. after attending their second class. Dancers may be moved to a new track if they are obvious outliers from the other dancers in their original track.
Track Descriptions & Requirements
Balboa Crash Course
No level check.
The Balboa Crash Course Pass includes:
- Saturday and Sunday classes (does not include Friday electives)
- Access to all evening and late-night dances
- Access to register for all competitions.
This Balboa Fundamentals track is great for newer and slightly experienced Balboa dancers who want to learn and refine their basics, connection, and technique. It is also great for dancers who want to learn their non-primary role. No prerequisites or requirements. However, some previous Bal experience, like taking classes in your local scene, etc., is highly recommended.
Crash Course focus: The instructors will emphasize technique, connection, and vocabulary in basics, moves, and stylings for both leads and follows. They will help you build your vocabulary and add style and variations to the dance.
Track B/C
No level check.
Track B/C is a social dance improvement track for dancers who can dance the material described below to songs between 120 bpm and 180 bpm (beats per minute) or higher. Dancers in this track should be able to adapt to partners who have less experience than them while still having fun, comfortable, and musical dances. This is also a good track for Advanced Lindy Hoppers who are new to Bal and can quickly pick up new material AND change their technique with minimal guidance.
Dancers in Track B/C are expected to know the following required material and should be familiar with at least some of the additional material.
Required material:
- Single-time Pure Bal basics and double-time Pure Bal basics (down-holds and up-holds)
- Lolly kicks
- Inside turn and/or outside turns from Lolly kicks
- Out-and-ins and/or crossover breaks
Additional material:
- Toss-outs/throw-outs
- Can demonstrate rhythm or shuffle variations in Pure Bal as a lead or follow.
- Can spin at least one turn while balanced on one foot without a partner.
- Pure Balboa moves
- Smooth transitions between moves, basics, and combos.
- Not bumping chests or swinging around partners when reconnecting to Pure Bal from turns.
- Can keep a sense of rhythm even if partner is struggling to stay on beat.
- Fall-off-the-logs or “Hal’s kicks.”
- Toss-out/throw-out variations such as the following:
- Counter-body motion in Pure Bal (drags).
- Swivels (Maxie’s swivels or other quick twist variations).
Track B/C focus: Classes in Track B/C will help dancers add to their existing Bal vocabulary, with an emphasis on adjusting technique to dance comfortably with a variety of partners with a wide range of experience. A mix of material will be covered including moves, stylings, technique, and musicality. Classes will emphasize partnering technique and responding to the music, as well as add to existing repertoire of moves and stylings.
Track D
Saturday morning level check required.
Track D is for experienced Bal dancers who are comfortable learning at a faster pace and want to be challenged in class. They have a thorough Bal vocabulary and can easily execute the moves and skills required for Track B/C.
Dancers in Track D can be described by most of the attributes listed next. The more attributes track attendees can demonstrate, the more they will fit the track. Outliers may be selected during the level check to move to another track if it appears that a different track will be a better fit.
Dancers in Track D should:
- Already have a full repertoire of moves and stylings that can be done with most partners, including less experienced ones.
- Have the ability to use “inward energy” or “forward intention” in Pure Bal and out-and-ins.
- For example: Each partner can consistently balance over their own feet without a sitting-away feeling (which might be familiar from a Lindy Hop stretch).
- Have the ability to use “stretch & release” for rotational connections in Lolly kicks and turns.
- Can twist, rotate, and use their own body to create stretch and compression instead of primarily using arms.
- Turns have a clear “release-point.”
- Not exhibit common problems in rotational “stretch & release,” such as the following:
- Leads pull, push, or over-lead their follows into turns.
- Follows lose momentum and speed through turns.
- Leads and follows stop rotational momentum at the end of turns or don’t have the ability to softly absorb and cushion.
- Adjust to things like posture, hand-hold, balance, moves, styling choices to better adapt to a variety of partners.
- Adjust technique and move or styling choices for slow, medium, and fast songs.
- Dance to songs as slow as 90 bpm while looking and feeling comfortable and fluid.
- Dance to songs as fast as 220 bpm while looking and feeling relaxed.
- Think about starting to compete or already have some competition experience.
Track D focus: Classes in Track D will be less oriented towards moves or stylings. Classes will likely touch on more conceptual ideas such as aesthetics, individual style, flow, partner conversation, musical connection, and competition skills.
Track E
Saturday morning level check required.
Track E is for dancers who are likely setting trends, attracting other dancers to watch them, and creating moves of their own. Track E is great for dancers who don’t get bored of exploring partner connection and technique. Dancers in this track already have a solid Bal repertoire and can easily add to it on their own. These dancers don’t expect to be taught many moves and stylings in class. They are actively seeking feedback from more experienced dancers both within and outside of their local community. Some dancers in this track will be teachers for their local communities.
In addition to meeting the criteria for Track B/C and Track D, dancers in Track E can demonstrate the ideas listed next. The more concepts they can demonstrate OR the better quality with which they demonstrate some of the ideas listed below, the more successful they will be in the level check. Outliers may be selected during the level check to move to different track if it appears that track will be a better fit.
Dancers in Track E should:
- Maintain flow and musicality at high tempos such as 240 bpm as well as at slow tempos like 80 bpm (this would be considered Slow Bal).
- Easily adjust their connection and move or styling choices to a wide range of partners without sacrificing either partner’s own style, creativity, and enjoyment.
- Insert musical footwork, variations, or stylings into a dance without having to think about it.
- Adapt to new ideas (or recover from mistakes) without breaking flow in the dance.
- Take feedback from peers and use it to improve their skills and self-awareness.
- Demonstrate moves or stylings that they contributed to or created.
- Demonstrate slides or slide variations (if the floor and shoes are good).
- Dance an entire song without getting bored using only one set of the three core basics associated with Bal:
- Pure Bal (or chest-to-chest connection)
- Out-and-ins (meaning a closed position that’s not chest-to-chest and not using spins or turns)
- Rotational (Lolly kicks, turns, toss-outs/throw-outs, etc.)
Track E focus: The classes in both Tracks D and Track E will have an emphasis on ideas listed below. Note that Track D might include more concrete moves and examples of these ideas while also having drill or exercises to practice, whereas Track E would have fewer examples and exercises.
- Changing posture and shape in order to curate a desired look or style.
- Making small changes in connection and technique to improve BOTH feeling and style.
- Studying original dancers’ overall movement as well as intricate footwork styles.
- Getting personal feedback.
- Improvising with the music.
- Complex and nuanced rhythmic variation within moves, connection, and footwork.
- Moves or movements that have unusual technique or partner connections.
Track F
Saturday morning level check required.
Track F is for dancers who have enough self-awareness and ideas for improving in their own dancing that they can take classes in any track and learn a lot.
They exceed the requirements and expectations for Track B/C, Track D, and Track E, and also fit the description below. The better quality with which they demonstrate the ideas listed below, the more successful the level check will be. Outliers may be selected during the level check to move to another track if it appears that a different track will be a better fit.
Dancers in Track F should:
- Be able to demonstrate musicality and creativity if asked to dance an entire song while only staying in one of the three core Bal basics:
- Pure Bal (or chest-to-chest connection)
- Out-and-ins (meaning a closed position that’s not chest-to-chest and not using spins or turns)
- Rotational (Lolly kicks, turns, toss-outs/throw-outs, etc.)
- Be able to respond to a partner’s ideas by creating new moves and stylings during a dance.
- Have already started to develop their own look, artistic voice, and style of musicality.
- Have likely been asked to teach outside of their local dance community.
- Fit in with competitors that are in the Open competitions (or contests above Amateur level).
- Be able to dance fluidly with musicality to any song a DJ will play. How fast or slow the song is doesn’t make a difference.
- Likely be happy not to learn a single new move or styling during the weekend because they are seeking specific and nuanced ideas.
- Find Slow Bal to be a comfortable and musical dance for them at tempos around 70 bpm.
- Find dancing at tempos around 260 bpm to be familiar ground and not a challenge.
Track F focus: The classes in both Tracks E and F will have an emphasis on ideas listed below. Note that Track F might have fewer concrete moves and examples of these ideas. At this high of level, teachers might move more slowly through material to practice and discuss at a more intricate level because these dancers are ready for more nuance in their dancing.
- Changing posture and shape in order to curate a desired look or style.
- Making small changes in connection and technique to improve BOTH feeling and style.
- Studying original dancers’ overall movement as well as intricate footwork styles.
- Getting personal feedback.
- Improvising with the music.
- Complex and nuanced rhythmic variation within moves, connection, and footwork.
- Moves or movements that have unusual technique or partner connections.