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Harry Fox, a vaudeville star who trotted around the stage with various partners chosen alternately from a dancing group, is generally accepted as the initiator of the Fox Trot. This first free style use of the “slow step: came into vogue around 1912. During this period of ragtime, beginning in 1910, a completely new phase of ballroom dancing was born. Partners danced closer together, ad-libbed to the music, found this new ragtime music exciting and exhilarating. Prior to this time, the Polka, Waltz, and the One-Step were popular. In these dances partners were held at arms’ length and a set pattern was observed. By 1915 another change took place…a new and melodious type of music was being written. Tunes like “Ok, You Beautiful Doll” and “Ida” were the smash hits of the day. The public was quick to appreciate the change to the better attributes of the older dances. From 1917 up to the present time, the accent has been on smoother dancing and individualized expression. Fox Trot music is written in 4/4 time and should be played at a tempo of 34-38 measures per minute per examinations and competitions. The Fox Trot is a progressive and turning dance moving along the Line of Dance. The figures are taken with body flight and are designed for the larger ballroom floor. However these same figures are also suited to the average nightclub floor when danced more compactly. Sway and Rise and Fall highlight the smooth style of the Fox Trot.
The Waltz dates back to the country fold dances of Bavaria, but it was not introduced into society until 1812, when it made its appearance in the English ballrooms. In the 16 th century it was danced as a round dance called the “Volte”. When the Waltz was eventually introduced into the ballrooms of the world in the early 19th Century, it was met with outraged indignation. A man dancing with hid hand around the lady’s waist? No proper young maiden would compromise herself in such a way. The Waltz did not become popular among the European middle class until the first decade of the 20th century. Until then, it was the cherished property of the aristocracy. Yet in the United States, the citizenry was dancing it as early as 1840. Immediately upon its introduction to the States it became one of the most popular of all American dances, and was Ragtime in 1910 however, the Waltz slipped into second place in the American’s fancy, being supplanted by the many walking, strutting dances of that era. The latter part of the 19th Century found composer writing Waltzes o a slower tempo than that of the original Viennese Waltz style. Then an even slower tempo came into prominence in the early 1920’s, with the result that today we have three distinct tempos: the fast “Viennese” style, a medium tempo Waltz, and the slow Waltz that the last two being of American invention. Waltz music is written in ¾ time and should be played at a tempo of about 36-40 measures per minute for most social dancing. The Waltz is a progressive and turning dance moving around the dance floor. The figures are designed for both a larger ballroom floor and the average nightclub floor. A swaying motion and an up and down (rise and fall) of the body highlight the smooth, lilting style of the Waltz. Your Waltz lesson begins with the dance partners facing each other in dance position. The man’s right had is placed on the lady’s back just below the shoulder blade with his right elbow held up and away from the body. His left elbow is held in the same manner as the right elbow with his left hand extended up. The lady then places her left hand on the man’s right shoulder and allows her left arm to lightly rest long the man’s right arm. Her right hand is placed in the man’s left. If you are practicing alone extend your arms out in front of your with you elbows bent as if in dance position. So let’s get started with the basic step of the Waltz.
In the midst of the greatest dance evolution in the history of America (1910-1914), The Tango made its bid for popularity. It instantly struck the dance- conscious public's fancy since its interesting, asymmetrical and sophisticated figures added the needed suavity to dancing. There is not a clearly defined country of origin to which the Tango may be credited. It is claimed to have originated not only in Argentina, but also in Brazil, Spain and Mexico. The earliest traces of the tango date back to the 19 th Century, to the fold dances of Argentina. The “Milonga”, thought to have Moorish, Arabic and Spanish ancestry, was at first an ancient Spanish song form adapted to the dance by early country folk of Argentina. Years later, the Argentinean plainsmen, the “Gauchos”, danced a modified version of the “Milonga” in the bawdy cafes of Buenos Aires. The youths of Argentina and Cuba changed the name of “Tango” and the style to one that was more acceptable to society. The Cubans danced it to Habanera rhythms which are syncopated and obscured and the basic Milonga rhythm. It was not until after it went to Paris, and was re-introduced to Argentina, that the music was restored to its native style. For the last 60 years or so, the 4 beat Tango rhythm has endured, and has continued to enjoy undiminished favor everywhere. The music is now universal, with many types of different styles depending upon the customs of the country. Of all the dances, which came into being in the early Twentieth Century, only the Tango has continued to enjoy so much popularity. Tango music written in 4/4 time (some are written in 2/4 time) and should be played at a tempo of 30-33 measures per minute. It is a progressive dance which moves around the dance floor rather than staying in one spot. A staccato movement of the feet and flexed knees highlight the dramatic style of this dance. Perhaps one reason for its widespread popularity is that it is danced close to the partner. Your Tango lesson begins by the two dance partners facing each other in dance position. The man's right hand is placed on the lady's back just below the shoulder blade with his right elbow held up and away from the body. His left elbow is held in the same manner as the right elbow with his left hand extended up. The lady then places her left hand on the man's right shoulder and allows her left arm to lightly rest along the man's right arm. Her right hand is placed in the man's left. If you are practicing alone extend your arms out in front of your with your elbow bent as if in dance position.
The Viennese Waltz, as we know it today, was first danced in the courts of European royalty during the Strauss Era (1800's). It has the charisma and social grace that is so typical of that period of history. It was the only dance of that era that is still performed by the American public. The music expresses, eloquently, the carefree gaiety of those bygone days that so closely linked in our minds with the names of Vienna, The Blue Danube and Strauss. The most startling innovation was the close proximity of the partners so daring that it became socially acceptable in England only after it was danced in public, by Queen Victoria. It is a dance that requires a great deal of control and stamina, mainly due to the speed of the music.
The English version of the Fast Fox Trot, which was quick hopping steps set in the smoother gliding figures. It is very popular in Europe as a competition dance. It ranks among the "big five", the other four being the Slow Fox Trot, the Waltz, the Tango, and the Viennese Waltz.
Most dances that become popular have with few exceptions derived their personal heritage from the influence of another dance. The One-Step influenced the Fox Trot, and so it goes. The Cha-Cha follows this theory to an uncommon degree. It gathers its personality, character, rhythm, basis and charm from three primary sources. It is a derivation of the Mambo, the Rumba as well, as is also a stepchild of the Swing, as it is danced to the same “ 1-2-3” triple step rhythm. The Cha-Cha is a geographical half-breed, springing up from Latin American roots in Cuba, and flowering under North American influence. Each country has used a slightly different styling and patter form. While closely identified with the Mambo, the Cha- Cha has enough intrinsic individuality to be classified as a distinct dance. Much has been said about the Rumba and Mambo, but little has been written about the history of the Cha-Cha, possibly because it is so closely identified with the Mambo. The tempo can possibly because it is so closely identified with the Mambo. The tempo can be slow and staccato, mush like a sensational blues number or fast and be slow and staccato, much like a sensational blues number, or fast and lively. It is so much an “on the beat” dace that you can't help but inject your own feeling into it. This facet, more than any other, makes the dance fun for people of all ages. It is a real “let yourself go” type dance. Cha music is written in 4/4 time and should be played at a tempo 30-34 measures per minute. The timing is mandatory in this dance since the “Cha-Cha” should be danced on 4 & 1; therefore, you would count Cha- Cha in the following manner: 1, 2, 3, 4 & 1, 2, 3, 4& etc. The Cha-Cha is danced in a spot rather than moving around the room. The steps are quite danced in a spot rather than moving around the room. The steps are quite compact with the feet usually more than 12 inches apart, and a short, staccato, Latin hip movement is used throughout the Cha-Cha. Your Cha-Cha lesson begins by the two dance partners facing each other in dance position. The man's right hand is placed on the lady's back just below the shoulder blade with his right elbow held up and away from the body. His left elbow is held in the same manner as the right elbow with his left hand extended up. The lady then places her left hand on. The man's right shoulder and allows her left arm to lightly rest along the man's right arm. Her right hand is placed in the man's left. If you are practicing alone extend your arms out in front of you with your elbows bent as if in dance position.
The Rumba, which originated with the African slaves of Cuba more than 400 years ago, is that tantalizing rhythm that first invaded the U.S.A. in the early 30's, and remains one of our most popular social dances. The earliest form of the Rumba was an expressive pantomime danced by natives under the spell of elemental music. Our social Rumba is, of course, a far cry from these fascinating primitive demonstrations. Danced properly, the Rumba is a delightful favorite, characterized by smooth, subtle hip motion and rather heavy walking step. Of the three styles of Rumba introduced to the U.S.A., the Bolero-Rumba, the Son-Rumba and the Guaracha-Rumba, only the Bolero-Rumba (shortened to Bolero) and the Son-Rumba (shortened to Rumba) has survived the test of time. The Guaracha- Rumba quickly faded from vogue when the more exciting Mambo was introduced to Americans in the late 1940's. Rumba music is written in 4/4 time and should be played at a tempo of 32-36 measures per minute (Son-Rumba tempo). The following rhythem is mandatory; Quick, Quick, Slow – Quick, Quick, Slow which translates musically into 1, 2, 3 (hold 4). The Rumba is danced in a spot rather than moving around the room. The steps are quite compact with the foot placement usually no more than 12 inches apart. A smooth, subtle, Latin hip movement is used throughout the Rumba. Latin Hip Movement is the authentic rolling lateral motion of the hips, which occurs as each step is taken. Although Rumba is not danced with the same body contact that is used in some of the smoother dances such as Fox Trot, there may be times when partnership looks and feels more attractive when a closer contact is used. Your Rumba lesson begins by the two dance partners facing each other in dance position. The man's right hand is placed on the lady's back just below the shoulder blade with his right elbow help up and away from the body. His left elbow is held in the same manner as the right elbow with his left man extended up. The lady then places her left hand on the man's right shoulder and allows her left arm to lightly rest along the man's right arm. Her right hand is placed in the man's left. If you are practicing alone extend your arms out in front of you with your elbows bent as if in dance position.
Today, in the dance world, one thing is certain- there is no escaping the Mambo. The extent of the Mambo's all-conquering invasion may be appreciated in the fact that its rhythm, not content is being restricted to Latin melodies may have invaded the popular music market where they have attached themselves to all kinds of materials, much of which would be completely lost without its distinctive flavor. Across the length and breadth of the nation, dancers who never progressed beyond the Waltz and the Fox Trot are clamoring wildly for Mambo instruction. More and more, dancers are coming to the realization that here is one of the most abandoned, fun-filled crazes of any era. They are having a whale of a time, but they would undoubtedly be surprised to learn that the enjoyment they have so obviously found is said to be almost completely the work of one man – Perez Prado During the early 30's, the Latin dance bands came increasingly before North American audiences. Noro Morales and Xavier Cuger were among them, bringing a welter of Rumbas, Sambas, and Tangos to a delighted public. Then Mr. Prado recorded an opus entitled “Mambo Jambo” and the fun was on. Appearing first in Mexico City, he created more excitement, and perhaps more revolution, than Pancho Villa; The ensuing conflagration spread rapidly throughout the rest of those counties below the Rio Grande, and now is consuming just about everything above. Mambo music tempo is written in 4/4 time and should be played at a tempo of 45 measures, per minute for examinations and competitions. The following Timing is mandatory; 2, 3, 4 hold 1 – 2, 3, 4, hold 1. The Bronze Mambo music is a spot dance not moving along the Line of Dance. Steps are quite compact, with feet usually no more than 12 inches apart. Latin Hip movement is used throughout the Mambo, unless otherwise indicated. A more staccato Hip Movement is characteristic of the Mambo.
The Samba was imported from Brazil and was introduced to the DANCE MASTERS ASSOCIATION of New York n 1929. Like many Brazilian dances, the music is based on Negro rhythms combined with an expressive melodic line, usually in 2/4 time and written in a major key. It is a serenade in form, with repetitions of the melodic pattern continually interrupted by strumming of a stringed instrument. It first became famous in Rio de Janeiro and later the fascinating form was taken up by serious Latin American composers. The Samba is danced in a moderate to slow tempo in South America but usually to a faster tempo in the United States. However, a slower pace, one has more control and the tantalizing elements of the dance may be more easily affected. The basic spring-like knee action, a fall and rise movement called the “Samba Pulse”, must be continuous, with emphasis on the downward rather than the upward movement. This brightly spirited dance has endured the test of time and now ranks high among the popular social dances. The Bronze Samba music is usually written in 2/4 time (some are written in 4/4 time) and should be played at a tempo of 52-56 measures per minute for examinations and competitions. The Samba is a spot dance; however some progression along the Line of Dance is seen. Steps are generally quite compact, with feet no more than usually 12 inches apart – however, slightly larger steps are sometimes taken when more progression is needed. Samba Pulse is used throughout the dance, unless otherwise indicated. The spring-like knee action of the Samba Pulse can be danced smoothly with only slight flexing and rise; or with a more pronounced and spirited flexing and rise – as the music directs. This dance has a forward and backward movement of the upper body called the “Pendulum Motion”, as well as a rolling effect executed on some turning figures.
The Bolero was introduced to the United States in the mid 1930's. At that time, it was danced in its classical form, which was performed to a constant beat of drums. It emerged from this classical form to what was called "Son". From the "Son" cam the faster and livelier temps, which were later termed Rumba and Guaracha. Originally crated by Sebastian Cereza in the year 1780, the Bolero has remained a true source of expressing sensuous feeling which accounts for it being called "The Cuban Dance of Love." For Many years, the Bolero was only taught to and danced by students in their gold or higher levels because of the fact that it was, along with the Viennese Waltz and Paso Doble, a dance that did not seem as popularly requested as the others. However, during the 70's and 80's, these 3 dances were being seen in many of the larger competitions. As a result, we have included them in the Bronze Curriculum.
Both Haiti and the Dominican Republic claim that it was their country that originated the Meringue. The Haitian story is that an early ruler of the country had a lame son who liked to dance. In order that he would not feel embarrassed about his affliction, the entire government took to dancing the Meringue as if they were too lame. The Dominican story differs only slightly. The claim it was born at a dance given for a great hero returning from the wars. He got up to dance and limed on his wounded left leg. All the other men present, rather than embarrass the hero, also favored their left legs as they danced. Regardless of who claims to have originated the dance, the Meringue continues to enjoy favor with American dancers, who find its music lively and spirited and fun to dance to. The lame leg theory, originally introduced to America when the dance was brought here in the early 50's, has slowly disappeared from sight, making the Meringue one of the easiest of the Latin dances, and great fun to dance. Meringue music is written in 4/4 time and should be played at a tempo of 30 measures per minute for examinations and competitions. The Meringue is a spot dance not moving along the Line of Dance. Steps are quite compact, with feet usually no more than 12 inches apart. Latin Hip Movement is used throughout the Meringue, unless otherwise indicated. Amore staccato Hip Movement is characteristic of the Meringue. At times, a slight counter Sway is also used with Latin Hip Movement on Chasses and some turning figures.
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The Eastern Swing, originally called the Lindy Hop was born in the southern United States, and represents the most famous American fold dance. The best forms of Swing include Charleston, Black Bottom, Shag and Lindy Hop. In the early 40's these forms consolidated into what was called the Lindy. The Lindy was first danced as a modified Box Step, with a slight shuffling movement. The shuffling movement of the original Lindy can be linked to today's single rhythm in Swing. As the shuffling, or single rhythm progressed, it evolved into both the Double and Triple Lindy, and today all three form the basis of good Swing dancing. About 50-60 years ago, the Swing as danced in the Harlem section of New York City…at a time when such band greats as Chick Webb, Duke Ellington and Benny Goodman were holding sway. It was in Harlem where the Swing took on most of today's popular steps and styling. For many years, the wilder forms of the Swing have been frowned upon in social atmospheres because of the acrobatics involved limiting the number of people who could dance at one time. It is possible, however, to do a fine Swing in a relatively small area, providing the dancers are better than average and have an assortment of dance breaks. There is no question that the dance is here to stay. In all parts of the country you will find dancers adding their own interpretations and changes of style. All dances, in order to survive, must be built up from a firm basic movement so that adlibbing and complete freedom of expression can be interpreted into the dance The Swing has these attributes. Swing music written in 4/4 time and should be played at a tempo of 36-45 measures per minute. The Swing is danced in one spot rather than moving around the room with free rhythmic interpretation using single, double and triple rhythms is characteristic of the dance. Relaxed, shuffling movements and the use of counter sway highlight the style of dance. Your Swing lesson begins by the two dance partners facing each other in dance position. The man's right hand is placed on the lady's back just below the shoulder blade with his right elbow held up and away from the body. His left arm is held down with the palm up and the fingers turned in. The lady then places her left hand on the man's right shoulder and allows her left arm to lightly rest along the man's right arm. Her right hand is placed palm down in the man's left. If you are practicing alone, extend your arms out in front of you as if in dance position.
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The Western Swing The Western Swing incorporates many forms of Swing including the Lindy, Shag, Whip and Push. Versatile dancers are always creating new and interesting movements in the Swing. The Western Swing can be danced in a relatively small area, provided the dancers have an assortment of dance breaks. Ad-libbing and complete freedom of expression can be interpreted into the dance. Western Swing music is written in 4/4 time and should be played at a tempo of 30-3 measures per minute. It is a spot dance with a slower tempo that allows for shuffling movement and upright position. Occasional use of Hip Movement and/or Push style is also used to enhance this style of dance. The use of Slot dancing is a major part of the dance. Your Western Swing lesson begins with the man and lady changing places with each other in a slot established the man when he leads the Lady to Open position. In most cases the man will therefore travel as much as the lady. The Man's use of different Link Steps regulates the position and direction of the Slot. |
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The Two-Step is a simple dance, more or less a double quick march with a skip in each step done as rapidly as the couple can go forward, backward and turning. Still quite popular in many areas of the country. Two-Step is a Western dance whose popularity has spread all over the United States. |
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This dance was introduced to society in 1844. Every now and then it is revived because of its boisterous charm. It is supposed to have been originally created by a Bohemian girl. The basis step consists of preparatory hop followed by a chasse done first to the left then to the right. Curiously enough, it reappeared in the 1940's in the Cha Cha as one of the more popular steps. Still danced quite often throughout the country with particular popularity in the German and Hispanic communities. |
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The Rumba was originally a marriage dance. Many of its movements and actions, which seem to have an erotic meaning, are merely depiction of simple farm tasks. The showing of the mare, the climbing of a rope, the courtship of the rooster and the hen, etc. It was done for amusement on the farms of Cuba. However, it became a popular ballroom dance and was introduced in the United States about 1933. It was the Americanized version of the Cuban Son and Danzon. It is in 4/4 time. The characteristic feature is to take each step without initially placing the weight on that step. Steps are made with a slightly bent knee, which, when straightened, causes the hips to sway from side to side in what has come to be know as "Cuban Motion". |
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| A stylized Swing dance popular west of the Mississippi from Kansas to California. Danced to slow to medium Swing or Disco music and characterized by slot movements, taps and shuffles, coaster steps and push and pull action of the dancers. | |||||||||||||||||||||||||||||||||||||||||||||||||||
