Different Kind Of Dances

Swing

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History Swing dancing began during the Harlem Renaissance, a period of great cultural and intellectual achievement among African Americans in the 1920s and 1930s. The dances were generally performed to jazz music, another burgeoning art form of the time period. The Savoy Ballroom in Harlem was the birthplace of the Lindy Hop. In a sense the dance was the African American response to European social dances. However, while Latin American dances grew from a mix of Spanish colonial forms and African beats, swing was more like a mockery of Europe's sedate waltzes. Sure, the dance was performed with a partner, but the wild movements were a mix of tap, Charleston and free-form expression created as the inspiration struck. This improvisation had its roots in Africa. However, dancing with a partner was a foreign concept in African dance forms, so that is the enduring contribution of European dances to swing. Swing dancing moved beyond the black community in the 1930s. It was viewed unfavorably by dance teachers, but they couldn't contain what was happening in local clubs. As swing dancing's fame grew and it spread across the United States, regional styles arose during the 40s and 50s. Eventual variations of swing dancing included the original Lindy Hop, Balboa, Collegiate Shag, Carolina Shag, East Coast Swing and West Coast Swing. East Coast Swing is considered an American competitive ballroom dance and other styles of swing dance are sometimes noted as ballroom dances. Although each of these styles has its own distinctive steps, one of the hallmarks of the dance remains improvisation and freespiritedness. Despite being decades past the style's heyday, it still enjoys a resurgence from time to time. Even when the dance isn't currently in favor with trendsetters, college groups and swing dance nights at hipster clubs keep the spirit alive. While some dancers enjoy performing to nostalgic songs, you can find people swinging to everything from country to hip-hop. Modern dancers maintain many of the classic movements, but because of the form's openness to new ideas, you never know what innovative combination you might see on the dance floor. Modern dancers enjoy both social dancing and performance. In addition to official DanceSport competitive dancing, local organizations also plan performances and competitions. Social dancing usually results in more restrained movements to prevent injury to themselves or other dancers. It may also be more repetitive as there isn't a need to pack a lot

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of moves in a short period of time. Dancers are more likely to do whatever feels most comfortable with the music, even if it means performing the same spin or pass multiple times.

Basic steps:

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Waltz

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History The peasants of Bavaria, Tyrol, and Styria began dancing a dance called Walzer, a dance for couples, around 1750. LANDLER, also known as the Schleifer, a country dance in ¾ time, was popular in Bohemia, Austria, and Bavaria, and spread from the countryside to the suburbs of the city. While the eighteenth century upper classes continued to dance the minuet, bored noblemen slipped away to the balls of their servants. Describing life in Vienna (dated at either 1776 or 1786), Don Curzio wrote, “ The people were dancing mad […] The ladies of Vienna are particularly celebrated for their grace and movements of waltzing of which they never tire.” There is a waltz in the second act finale of the opera “Una Cosa Rara” written by Martin y Solar in 1786. Solar’s waltz was marked Andante con moto, or “at a walking pace with motion”, but the flow of the dance was sped-up in Vienna leading to the Geschwindwalzer, and the Galloppwalzer In the transition from country to town, the hopping of the Ländler, a the dance known as Langaus, became a sliding step, and gliding rotation replaced stamping rotation. In the 19th century the word primarily indicated that the dance was a turning one; one would “waltz” in the “Polka” to indicate rotating rather than going straight forward without turning. The Viennese custom is to slightly anticipate the second beat, which conveys a faster, lighter rhythm, and also breaks of the phrase. The younger Strauss would sometimes break up the one-two-three of the melody with a one-two pattern in the accompaniment along with other rhythms, maintaining the ¾ time while causing the dancers to dance a two-step waltz. The metronome speed for a full bar varies between 60 and 70, with the waltzes of the first Strauss often played faster than those of his sons. Shocking many when it was first introduced, the waltz became fashionable in Vienna around the 1780s, spreading to many other countries in the years to follow. It became fashionable in Regency period. The waltz, and especially its closed position, became the example for the creation of many other ballroom dances. Subsequently, new types of waltz have developed, including many folk and several ballroom dances.

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Basic Steps:

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Foxtrot

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History According to legend, he was unable to find single female dancer capable of performing the more difficult two-step. As a result, he added stagger steps (two trots), creating the basic Foxtrot rhythm of slow-slowquick-quick. The dance was premiered in 1914, quickly catching the eye of the talented husband and wife duo Vernon and Irene castle who lent the dance its signature grace and style. “Get Together; Fox trot”, however, had been published in 1905. W.C. Handy (“Father of the Blues”) notes in his autobiography that Noble Sissle told a story that Handy’s Memphis Blues was the inspiration for the Fox Trot., Jim Europe, the Castle’s music director, would play slowly the Memphis Blues during breaks from the fast paced Castle Walk and One-step. The Castles were intrigued by the rhythm and Jim asked why they didn’t create a slow dance to go with it. The Castles introduced the “Bunny Hug” in a magazine article. They went abroad and in midocean sent a wireless to the magazine to change the “Bunny Hug” to the “Foxtrot It was later standardized by Arthur Murray, in whose version it began to imitate the positions of Tango. At its inception, the Foxtrot was originally danced to rag time. Today, the dance is customarily accompanied by the same Big band music to swing dance is also danced. From the late teens through the 1940s, the foxtrot was certainly the most popular fast dance and the vast majority of records issued during these years were foxtrots. The waltz and tango, while popular, never overtook the foxtrot. (Even the popularity of the lindy hiphop in the 1940s didn’t dent the foxtrot because the foxtrot could be danced to those lindy hop records, as well.) When rock and roll first emerged in the early 1950s, record companies were uncertain as to what style of dance would be most applicable to the music. Famously, Decca records initially labeled its rock and roll releases as “Fox trots”, most notably “Rock around the clock” by Bill Haley and His Comets. Since that recording, by some estimates, went on to sell more than 25 million copies, “Rock Around the Clock” is technically the biggest-selling “Foxtrot” of all time. Over time, Foxtrot split into slow (Foxtrot) and quick (quickstep) versions. In the slow category, further distinctions exist between the International or English style of foxtrot and the continuity American 9

style, both built around a slow-quick-quick rhythm at the slowest tempo, and the social American style using a slow-slow-quick-quick rhythm at a somewhat faster pace. Basic step

The fox trot basic or "magic step." He steps forward, forward, side, close. The timing is slow, slow, quick, quick.

The woman's steps in the fox trot basic.

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Cha-cha

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History The dance teacher Pierre Zurcher Margolie ('Monsieur Pierre', who partnered with Doris_Lavelle) from London visited Cuba in 1952 to find out how and what Cubans were dancing at the time. He noted that this new dance had a split 4th beat, and to dance it one started on the second beat, not the first. He brought this dance idea to England and eventually created what is known now as Ballroom dance cha-cha-cha. The validity of his analysis is well established for that time, and some forms of evidence exist today. First, there is in existence film of Orquesta Jorrin playing to a cha-cha-cha dance contest in Cuba; second, the rhythm of the Benny More classic Santa Isabel de las Lajas written and recorded at about the same time is quite clearly synchopated on the fourth beat. Also, note that the slower bolero-son ("rumba") was always danced on the second beat. Basic steps:

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Tango

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History American style tango’s evolutionary path is derived from Argentina to U.S., when it was popularized by silent film star Rudolph_Valentino in1921, who demonstrated a highly stylized form of Argentine tango "The Four Horsemen of the Apocalypse (film)". As a result, the Hollywood style steps mixed in with other social dance steps of the times began this branch away from the Argentine style. Meanwhile, the tango was also making its own inroads into Europe. Following the English standardization of their version of Tango, Arthur Murray, a ballroom dance instructor in the U.S., tried his own hand at standardizing the ballroom dances for instruction in his chain of social dance schools. Consequently, his tango syllabus incorporated steps with Argentine, Hollywood and socially popular influences and techniques. This looser social style was referred to as American style by the English. Argentine tango made its way to Europe and gained popularity particularly in Paris. As the European dancers enjoyed the music and passion of the dance, they began to inject their own culture, style and technique. In an effort to teach a standardized version of the tango, the English eventually codified their own version of tango for instruction in dance schools and for performance in competitions in 1922. The resulting style was referred to as English style, but eventually took on the name International style, as this became the competitive ballroom version practiced around the world. Eventually, championships in the international style tango were organized all over Europe with numerous participating countries. Adjudicators were able to judge against a standardized syllabus and book of techniques, thereby creating a more objective means of picking the champions, even though artistic interpretation remains an important element of competition. Initially, the English dominated the International style tango, but eventually, technicians from other backgrounds, most notably the Italians, have chipped away at the English standard and created a dynamic style that continues to raise the competitive bar.

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Basic steps

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L.A. Walks Dance

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History It originally came from Texas, U.S.A. it uses country dance steps with its style using forward, backward, sideward right and left. L. A. walk attained its popularity among ballroom enthusiast because a partner is not needed. Basic Steps

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La Crumba

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History It originally came from Cuba. It uses quick steps that everyone can dance. LA Crumba attained its popularity along with other ballroom dances like salsa, samba, rumba, mambo, jive, and quick step. Basic Steps

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Boogie

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History It is a jazz piano style characterized by sustained rolling eight beats to the bar off in the hand, a fast rhythmically intense version of blues guitar. It was played as dance, music in honky-tonks or as entertainment given by apartment tenants. The style did not reach wide popularity until the mid-1930 when it was promoted by the jazz record producer, John Hammond, after hearing a recording of”Honky Tonk Train Blues”/ he sought out its composer, Mead Lux Lewis, who was working in a Chicago car wash. Lewis made many records for Hammond as Pine Smith an Ammons did. They formed a boogie-woogie trio and played in Carnegie Hall at the height of the craze of the late 1930. Basic Steps

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Quick step

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History The Quickstep evolved in the 1920s from a combination of the Foxtrot, Charleston, Shag, Peabody, and One step. This dance is English in origin and was standardized in 1927. The Quickstep now is quite separate from the Foxtrot. Unlike the modern Foxtrot, the man often closes his feet, and Syncopated step are regular occurrences as was the case in early Foxtrot. In some ways, the dance patterns are close to the waltz, but are danced to 4/4 time rather than 3/4 time. This dance gradually evolved into a very dynamic one with a lot of movement on the dance floor, with many advanced patterns including hops, runs, quick steps with a lot of momentum, and rotation. The tempo of Quickstep dance is rather brisk as it was developed to ragtime era jazz music which is very fast paced compared to other dance music. By the end of the 20th century the speed of Quickstep as done by advanced dancers has increased even more, due to the extensive use of steps eight note durations. While in older times quickstep patterns were counted with "quick" (one beat) and "slow" (two beats) steps, many advanced patterns today are cued with split beats, such as "quick-andquick-and-quick-quick-slow". Basic Steps Man's steps Step1. Stand in closed dance position on your left foot with your right foot free, facing back to diagonal center. Step2. Count one, two (say “slow”--two beats); rotate slightly to the left and take a step back onto your right foot, knee bent. Step3. Count three (say “quick”--one beat); step to the side on the ball of your left foot. Step4. Count four (say “quick”); bring your right foot to your left and change weight to the ball of your right foot. Both legs should be fairly straight, with the knees slightly flexed. At this point, you should be facing the wall. Step5. Count five, six (say “slow”); step forward and slightly to the side on your left foot, stepping on the ball of the foot and then sinking softly onto the heel with a bent knee. Keep your left side forward so you end up in outside partner position. You should now be moving diagonal wall. Woman's steps Step1. Stand in closed dance position on your left foot with your right foot free. Step2. Count one, two (say “slow”--two beats); rotate slightly to the left and take a step forward onto your left foot, heel first and then roll onto the ball of the foot, knee bent. Step3. Count three (say “quick”--one beat); step to the side on the ball of your right foot. Step4. Count four (say “quick”); bring your left foot to your right and shift your weight to the ball of your left foot. Both legs should be fairly straight, with the knees slightly flexed. Step5. Count five, six (say “slow”); step back and slightly to the side on your right foot. Step on the ball of the foot and then sink softly onto the heel with a bent knee.

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Samba

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History The Samba, the national dance of Brazil, made its debut in the U.S. in the early 1940's. The most important distinguishing characteristic of the Samba is its vertical bouncing action. As in the other Latin dances, ball steps are taken along with knee action and body sway. The basic rhythm is “slow—a—slow” or “one—a—two.” Basic steps Man's Part Step1. Begin with the closed dance frame. Step2. Bend your right knee and step forward on your left foot on count 1. Step3. Pause on count 2. Step4 .Bend your left knee and step forward and to the right with your right foot on count 3. Step5. Bring your left foot next to your right foot on count 4 and bend your right knee as you transfer your weight to your left foot. Step6. Repeat Steps 2 through 5, this time stepping back on your right foot and to the left with your left foot. Woman's Part Step1. Begin with the closed dance frame. Step2. Bend your left knee and step back on your right foot on count 1. Step3. Pause on count 2. Step4. Bend your right knee and step back and to the left with your left foot on count 3. Step5. Bring your right foot next to your left on count 4 and bend your left knee as you transfer your weight to your right foot. Step6. Repeat Steps 2 through 5, this time stepping forward on your left foot and to the right with your right foot

Paso Doble (“two step”) 15

(South France)

History Originating in South France, the Paso Doble is mostly a competitive Latin style dance, but it is sometimes danced at social events in Germany, Spain and France. Similar to International Standard footwork, the 16

footwork in Paso Doble is composed of forward steps with the heel leads. Paso Doble has less hip action than other International Latin dances. Paso Doble uses music that is played at bullfights. The man plays the role of the matador while the lady plays the role of the matador's cape, the bull or a flamenco dancer. Basic steps Lead Steps to the Basic With the dancers in a rigid and closed dance frame, lead's left hand clasping the follow's right held out from the body, and his right hand at her back, her left hand held at his bicep, the dancers need to keep a rigid and close hold throughout the steps. The lead begins facing line of dance and steps forward with the left, letting the body rotate to the center of the dance floor as the right foot steps ahead. Remaining on the balls of the feet, beats 3-8 are stepped in a chasse. The next eight beats begin with one of the "cape" moves, as the man takes three steps in a tight, counterclockwise circle, finishing off the last beats with side steps back against the line of dance. All of these moves should be sharp and quick, with the chest and head held up and out epitomizing "pride and dignity." Follow Steps to the Basic The follow basically mirrors the steps of the lead, moving backwards in the tight circle, using the motion to lend the impression of a flowing cape to the traditionally long skirts worn by the woman for the paso doble. The dance is very intensely connecting between the two, with eye contact and physical contact lending an urgent tension between the two dancers.

Rumba (Africa / Cuba)

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History Not only is the Rumba the most popular Latin slow dance in America, it is also the #1 dance chosen by wedding couples. In addition, Rumba is the foundational dance of all the other Latin and American

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Rhythm dances. Cuban action (which makes Latin dances look Latin) is an important characteristic of this dance. The basic rhythm of the Rumba box is “slow—quick—quick.” The list of Latin dances from slow to fast is: Bolero, Rumba, Cha Cha, Mambo and lastly Jive. Rumba footwork consists of smooth toe-heel staccato action. This footwork along with Cuban motion, gives Rumba its characteristic hip moving action. The Cuban action develops naturally from alternately bending and straightening the knees. Posture in Rumba is more forward toward your partner than it is in the ballroom dances. In addition, strong Latin arm styling will give your Rumba a fantastic Latin flare. Basic Steps Step1 Stand up straight, take a deep breath, and face your partner. If you are a woman, hold up your right hand, and put your left hand lightly on the man's right shoulder.If you are a man, grasp the woman's hand lightly in your left hand, and put your right hand at the small of her back, above the waist. Step2 Dance quickly. Rumba is danced in quick, light steps with movement across the dance floor and tight turns. Its basic step is in the shape of a box, done half at a time, and counted slow-quick-quick, slowquick-quick. If you are a woman, start your basic rumba box step by picking up your right foot and moving it back only about four inches. Put your weight on your right foot. This is your first slow step.Pick up your left foot, pull it back to meet your right foot and then move it to your left about four inches. Put it down on the dance floor and shift your weight to it. Bring your right foot to meet your left foot. Those were your next quick-quick steps. Step3 Start your basic rumba box step by picking up your left foot and moving it forward about four inches if you are the man. Put your weight on your left foot. This is your first slow step.Pick up your right foot, and push it forward to meet your left foot and then move it to your right about four inches. Put it down on the dance floor and and shift your weight to it. Bring your left foot to meet your right foot. Those were your quick-quick steps. Step4 Start to complete your first box step in rumba by stepping forward about four inches with your left foot if you are the woman. This is your first slow step.Pick up your right foot, push it forward to meet your left foot and then move it to your right about four inches. Put it down on the dance floor and shift your weight to it. Bring your left foot to meet your right foot. Those were the second set of quick-quick steps to complete your rumba box.If you are a man, pick up your right foot and move it back about four inches. Put your weight on your right foot. This is your slow step to complete your basic rumba box. Pick up your left foot, pull it 19

back to meet your right foot and then move it to your left about four inches. Put it down on the dance floor and shift your weight to it. Bring your right foot to your left foot. Those were the second set of quick-quick steps to complete your basic rumba box. Step5 Sway those hips! Remember, each time you take a sideways step, sway your hips just like a very fast pendulum. The more you can put your weight forward on your toes, and dance in a light, choppy fashion, the easier the hip movement will be, and the more expressive the dance will be to onlookers.

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