dancing resources

 

Latin Dance

CHA-CHA-CHA. Originally known as the Cha-Cha-Cha. Became popular about 1954. Cha Cha is an offshoot of the Mambo. In the slow Mambo tempo, there was a distinct sound in the music that people began dancing to, calling the step the "Triple" Mambo. Eventually it evolved into a separate dance, known today as the Cha Cha.

 

The dance consists of three quick steps (triple step or cha cha cha) and two slower steps on the one beat and two beat.

 

RUMBA. The word Rumba is a generic term, covering a variety of names (i.e., Son, Danzon, Guagira, Guaracha, Naningo), for a type of West Indian music or dancing. The exact meaning varies from island to island.

 

There are two sources of the dances: one Spanish and the other African. Although the main growth was in Cuba, there were similar dance developments which took place in other Caribbean islands and in Latin America generally.

 

The "rumba influence" came in the 16th century with the black slaves imported from Africa. The native Rumba folk dance is essentially a sex pantomime danced extremely fast with exaggerated hip movements and with a sensually aggressive attitude on the part of the man and a defensive attitude on the part of the woman. The music is played with a staccato beat in keeping with the vigorous expressive movements of the dancers. Accompanying instruments include the maracas, the claves, the marimbola, and the drums.

 

As recently as the second world war, the "Son" was the popular dance of middle class Cuba. It is a modified slower and more refined version of the native Rumba. Still slower is the "Danzon", the dance of wealthy Cuban society. Very small steps are taken, with the women producing a very subtle tilting of the hips by alternately bending and straightening the knees.

 

The American Rumba is a modified version of the "Son". The first serious attempt to introduce the rumba to the United States was by Lew Quinn and Joan Sawyer in 1913. Ten years later band leader Emil Coleman imported some rumba musicians and a pair of rumba dancers to New York. In 1925 Benito Collada opened the Club El Chico in Greenwich Village and found that New Yorkers did not know what Rumba was all about.

 

Real interest in Latin music began about 1929. In the late 1920's, Xavier Cugat formed an orchestra that specialized in Latin American music. He opened at the Coconut Grove in Los Angeles and appeared in early sound movies such as "In Gay Madrid". Later in the 1930's, Cugat played at the Waldorf Astoria Hotel in New York. By the end of the decade he was recognized as having the outstanding Latin orchestra of the day.

 

In 1935, George Raft played the part of a suave dancer in the movie "Rumba", a rather superficial musical in which the hero finally won the heiress (Carol Lombard) through the mutual love of dancing.

 

In Europe, the introduction of Latin American dancing (Rumba in particular) owed much to the enthusiasm and interpretive ability of Monsieur Pierre (London's leading teacher in this dance form). In the 1930's with his partner, Doris Lavelle, he demonstrated and popularized Latin American dancing in London.

 

Pierre and Lavelle introduced the true "Cuban Rumba" which was finally established after much argument, as the official recognized version in 1955.

 

Rumba is the spirit and soul of Latin American music and dance. The fascinating rhythms and bodily expressions make the Rumba one of the most popular ballroom dances.

 

SAMBA. The Samba originated in Brazil. It was and is danced as a festival dance during the street festivals and celebrations. First introduced in the U.S. in a Broadway play called "Street Carnival" in the late twenties. The festive style and mood of the dance has kept it alive and popular to this day. Samba is a fun dance that fits most of today's popular music.

 

PASO DOBLE. Paso Doble originates from Spain. It developed on the basis of movements performed by the matadors during the bull fights. In Paso Doble the man (matador) is in focus more than in any other dance. The lady is left with playing a role of a cape ("cappa") the red canvas of the torreador or a bull, depending on circumstances. The dance came into fashion around 1920.

 

It is probably the last dance you will learn if you take up Latin American dance classes. That's because it is based around previously agreed choreography (arranged precisely to the music) and it is far more difficult to lead and improvise it.

 

 

MODERN DANCE

WALTZ. Colorful flowing ballgowns! Tails! Weddings! Beautiful music! Strong melodies!
Waltz: from the old German word walzen to roll, turn, or to glide.

 

Waltz: a ballroom dance in 3/4 time with strong accent on the first beat and a basic pattern of step-step-close.

 

Waltz: to move or glide in a lively or conspicuous manner (to advance easily and successfully).

 

Waltz: a dance born in the suburbs of Vienna and in the alpine region of Austria. As early as the seventeenth century, waltzes were played in the ballrooms of the Hapsburg court. The weller, or turning dances, were danced by peasants in Austria and Bavaria even before that time. Many of the familiar waltz tunes can be traced back to simple peasant yodeling melodies.

 

During the middle of the eighteenth century, the allemande form of the waltz was very popular in France. Originally danced as one of the figures in the contredanse, with arms intertwining at shoulder level, it soon became an independent dance and the close-hold was introduced. By the end of the eighteenth century, this old Austrian peasant dance had been accepted by high society, and three-quarter rhythm was here to stay.

 

However popular the waltz, opposition was not lacking. Dancing masters saw the waltz as a threat to the profession. The basic steps of the waltz could be learned in relatively short time, whereas, the minuet and other court dances required considerable practice, not only to learn the many complex figures, but also to develop suitable postures and deportment.

The waltz was also criticized on moral grounds by those opposed to its closer hold and rapid turning movements. Religious leaders almost unanimously regarded it as vulgar and sinful. Continental court circles held out obstinately against the waltz. In England, (a land of strict morals), the waltz was accepted even more slowly.

 

In July of 1816, the waltz was included in a ball given in London by the Prince Regent. A blistering editorial in The Times a few days later stated:

 

"We remarked with pain that the indecent foreign dance called the Waltz was introduced (we believe for the first time) at the English court on Friday last ... it is quite sufficient to cast one's eyes on the voluptuous intertwining of the limbs and close compressure on the bodies in their dance, to see that it is indeed far removed from the modest reserve which has hitherto been considered distinctive of English females. So long as this obscene display was confined to prostitutes and adulteresses, we did not think it deserving of notice; but now that it is attempted to be forced on the respectable classes of society by the civil examples of their superiors, we feel it a duty to warn every parent against exposing his daughter to so fatal a contagion."

 

Even as late as 1866 an article in the English magazine Belgravia stated:

 

"We who go forth of nights and see without the slightest discomposure our sister and our wife seized on by a strange man and subjected to violent embraces and canterings round a small-sized apartment - the only apparent excuse for such treatment being that is done to the sound of music - can scarcely realize the horror which greeted the introduction of this wicked dance."

 

A lot of the disapproval was voiced by the older generation, but seldom mentioned is the fact the reigning Queen (Victoria) was a keen and expert ballroom dancer with a special love of the waltz!

 

But as history repeats itself over and over again, the antagonism only served to increase the popularity of the waltz. The bourgeoisie took it up enthusiastically immediately after the French revolution. Paris alone had nearly seven hundred dance halls! A German traveler to Paris in 1804 stated, "This love for the waltz and this adoption of the German dance is quite new and has become one of the vulgar fashions since the war, like smoking."

 

Reportedly, the first time the waltz was danced in the United States was in Boston in 1834. Lorenzo Papanti, a Boston dancing master, gave an exhibition in Mrs. Otis' Beacon Hill mansion. Social leaders were aghast at what they called "an indecorous exhibition." By the middle of the nineteenth century, the waltz was firmly established in United States society.

 

Music plays an important role in dance, and every dance is dependent upon the availability of the appropriate music. The waltz was given a tremendous boost around 1830 by two great Austrian composers - Franz Lanner and Johann Strauss. These two composers were by far the most popular during the nineteenth century: they set the standard for the Viennese waltz, (a very fast version of the waltz). By 1900, a typical dance program was three quarter waltzes and one quarter all other dances combined.

 

Around the close of the nineteenth century, two modifications of the waltz were developed. The first was the Boston, a slower waltz with long gliding steps. Although the Boston disappeared with the first world war, it did stimulate development of the English or International style which continues today. The second was the hesitation, which involves taking one step to three beats of the measure. Hesitation steps are still widely used in today's waltz.

 

Fortunately, the violent opposition faded out and the Waltz weathered an exciting and varied career, emerging today in two accepted forms, both reflecting the main characteristics of the dance. They are known as the Modern Waltz and the Viennese (Quick) Waltz.

 

TANGO. Tango (the dance with the stop "Baille Con Carte") is one of the most fascinating of all dances. Originating in Spain or Morocco, the Tango was introduced to the New World by the Spanish settlers, eventually coming back to Spain with Black and Creole influences.

 

In the early 19th Century, the Tango was a solo dance performed by the woman. The Adualisian Tango was later done by one or two couples walking together using castanets. The dance was soon considered immoral with its flirting music!

 

Ballroom Tango originated in the lower class of Buenos Aires, especially in the "Bario de las Ranas". Clothing was dictated by full skirts for the woman and gauchos with high boots and spurs for the man.

 

The story of Tango as told is that it started with the gauchos of Argentina. They wore chaps that had hardened from the foam and sweat of the horses body. Hence to gauchos walked with knees flexed. They would go to the crowded night clubs and ask the local girls to dance. Since the gaucho hadn't showered, the lady would dance in the crook of the man's right arm, holding her head back. Her right hand was held low on his left hip, close to his pocket, looking for a payment for dancing with him. The man danced in a curving fashion because the floor was small with round tables, so he danced around and between them.

 

The dance spread throughout Europe in the 1900's. Originally popularized in New York in the winter of 1910-1911, Rudolph Valentino then made the Tango a hit in 1921.

 

As time elapsed and the music became more subdued, the dance was finally considered respectable even in Argentina.

 

Styles vary in Tango: Argentine, French, Gaucho and International. Still, Tango has become one of our American 'Standards' regardless of its origin. The Americanized version is a combination of the best parts of each. The principals involved are the same for any good dancing. First, the dance must fit the music. Second, it must contain the basic characteristic that sets it apart from other dances. Third, it must be comfortable and pleasing to do.

 

Phrasing is an important part of Tango. Most Tango music phrased to 16 or 32 beats of music. Tango music is like a story. It contains paragraphs (Major phrases); sentences (Minor phrases); and the period at the end of the sentence is the Tango close.

 

For exhibition dancing, a Tango dancer must develop a strong connection with the music, the dance and the audience. The audience can only feel this connection if the performer feels and projects this feeling. So it is when dancing for your own pleasure -- and your partner's!

 

"The Tango is the easiest dance. If you make a mistake and get tangled up, you just Tango on." (Al Pacino in "The Scent of a Woman.") Movies that featured Tango dancing include "The Scent of a Woman", Madonna's "Evita" and "True Lies" starring Arnold Schwarzenegger and Jamie Lee Curtis.

 

FOXTROT. The Foxtrot originated in the summer of 1914 by Vaudeville actor Harry Fox. Born Arthur Carringford in Pomona, California, in 1882, he adopted the stage name of "Fox" after his grandfather.

 

Harry was thrown on his own resources at the age of fifteen. He joined a circus for a brief tour and he also played professional baseball for a short while. A music publisher liked his voice and hired him to sing songs from the boxes of vaudeville theaters in San Francisco. In 1904 he appeared in a Belvedere Theatre in a comedy entitled "Mr. Frisky of Frisco." After the San Francisco earthquake and the fire of 1906, Harry Fox migrated East and finally stopped in New York.

 

In early 1914, Fox was appearing in various vaudeville shows in the New York area. In April he teamed up with Yansci Dolly of the famous Dolly Sisters in an act of Hammerstein's. At the same time, the New York Theatre, one of the largest in the World, was being converted into a movie house. As an extra attraction, the theater's management decided to try vaudeville acts between the shows. They selected Harry Fox and his company of "American Beauties" to put on a dancing act. An article in Variety Magazine stated "Harry Fox will appear for a month or longer at a large salary with billing that will occupy the front of the theatre in electrics".

 

At the same time, the roof of the theatre was converted to a Jardin de Danse, and the Dolly sisters were featured in a nightly revue.

 

The May 29, 1914 issue of Variety Magazine reported "The debut of Harry Fox as a lone star and act amidst the films of the daily change at the New York Theatre started off with every mark of success. The Dolly Sisters are dancing nightly on the New York Roof. Gold cups will be given away next week to the winners of dance contests on the New York Roof."

 

The Fox-trot originated in the Jardin de Danse on the roof of the New York Theatre. As part of his act downstairs, Harry Fox was doing trotting steps to ragtime music, and people referred to his dance as "Fox's Trot."

 

In the rise to fame of the Vernon Castles, exhibition dancers of outstanding talent and charm, there was no doubt that the fox-trot was the most original and exciting of their various dances.

 

The elite of the dancing world were soon trying to capture the unusual style of movement and when a very talented American, G.K. Anderson came over to London, and with Josephine Bradley won many competitions, he set the seal - so to speak - on the style of the fox-trot.

 

As a result of the great popularity which ballroom dancing was enjoying, it was necessary to evolve a form of dance that could express the slow syncopated 4/4 rhythm and yet could remain "on the spot." This did not mean that the "traveling" fox-trot was dropped, but the "on the spot" dance did provide a means of enjoying the music in a background which large numbers of people could afford and enjoy, and where various bands were all producing excellent and individual musicians and experimenting with and perfect all of the new sounds and beats from America. The "on the spot" dancing was known appropriately as crush, then rhythm dancing. It is now called "social" dancing and possibly this conveys its purpose and limitations. It would be anti-social to attempt to stride around a ballroom crowded with dancers, to dance with only one partner when out with a party, or to be so engrossed with the performance of figures that any conversation is taboo. It can also create a very good base - should it be desired - for the foxtrot.

 

The Foxtrot was the most significant development in all of ballroom dancing. The combination of quick and slow steps permits more flexibility and gives much greater dancing pleasure than the one-step and two-step which it has replaced. There is more variety in the fox-trot than in any other dance, and in some ways it is the hardest dance to learn!

 

Variations of the foxtrot include the Peabody, the Quickstep and Roseland foxtrot. Even dances such as the lindy and the hustle are derived to some extent from the foxtrot.

 

VIENNESE WALTZ. The history of the Viennese Waltz can be traced back as earlyas 1579 in the Provence area of France. Peasants danced to a piece of folk music called the Volta. In Italian "volta" means "the turn". It was around the 16th century when the Volta first appeared in the royal courts in Western Europe. During this period there were many changes to the music and the dance.

 

Partners danced in closed position with the lady to the left of the man. The music was faster and dancers danced 5 steps to 6 beats. The works of Josef and Johann Straus during the 16th century further spread the popularity of this dance.

 

 

ALTERNATIVE DANCE

JAZZ. World War I had ended and a social revolution was under way! Customs and values of previous generations were rejected. Life was to be lived and enjoyed to the fullest. This was the era of the "lost generation", and the "flapper" with her rolled stockings, short skirts, and straight up-and-down look. They scandalized their elders in the cabarets, night clubs, and speakeasies that replaced the ballrooms of pre-war days. Dancing became more informal - close embraces and frequent changes of partners were now socially acceptable.

 

Only one kind of music suited this generation - jazz, the vehicle for dancing the fox-trot, shimmy, rag, Charleston, black bottom, and various other steps of the period. Jazz originated at the close of the nineteenth century in the seamy dance halls and brothels of the South and Midwest where the word Jazz commonly referred to sexual intercourse. Southern blacks, delivered from slavery a few decades before, started playing European music with Afro modifications.

 

The birthplace of jazz has many origins: New Orleans, St. Louis, Memphis and Kansas City are just a few. But New Orleans was and still remains an important jazz center. The ethnic rainbow of people who gravitated to the bars and brothels were a major factor in the development of jazz. The city had been under Spanish and French rule prior to the Louisiana purchase. By 1900, it was a blend of Spanish, French, English, German, Italian, Slavic and countless blacks originally brought in as slaves.

 

The first jazz bands contained a "rhythm section" consisting of a string bass, drums, and a guitar or banjo, and a "melodic section" with one or two cornets, a trombone, a clarinet, and sometimes even a violin. Years later, jazz was taken over by large orchestras; a "society jazz band" contained fifteen or more musicians. Today, there is a renewed interest in the "big band" era, even though the music has very little to do with real jazz.

 

True jazz is characterized by certain essential features. The first is a tendency to stress the weak beats of the bar (2nd and 4th) in contrast to traditional music which stressed the first and third beats. The second feature is syncopation through an extensive repetition of short and strongly rhythmic phrases or "riffs". The third feature of jazz is swing (regular but subtle pulsation which animates 4/4 time). The swing must be present in every good jazz performance.

 

MAMBO. Can Mambo recapture the glory of its golden days? Can the flashy Cuban dance step find a new following in the 1990's?

 

The Mambo dance originated in Cuba where there were substantial settlements of Haitians. In the back country of Haiti, the "Mambo" is a voodoo priestess, who serves the villagers as counselor, healer, exorcist, soothsayer, spiritual advisor, and organizer of public entertainment. However, there is not a folk dance in Haiti called the "Mambo."

 

The fusion of Swing and Cuban music produced this fascinating rhythm and in turn created a new sensational dance. The Mambo could not have been conceived earlier since up to that time, the Cuban and American Jazz were still not wedded. The "Mambo" dance is attributed to Perez Prado who introduced it at La Tropicana night-club in Havana in 1943. Since then other Latin American band leaders such as Tito Rodriquez, Pupi Campo, Tito Puente, Machito and Xavier Cugat have achieved styles of their own and furthered the Mambo craze. The Mambo was originally played as any Rumba with a riff ending. It may be described as a riff or a Rumba with a break or emphasis on 2 and 4 in 4/4 time. Native Cubans or musicians without any training would break on any beat. It first appeared in the United States in New York's Park Plaza Ballroom - a favorite hangout of enthusiastic dancers from Harlem. The Mambo gained its excitement in 1947 at the Palladium and other renowned places such as The China Doll, Havana Madrid and Birdland.

 

A modified version of the "Mambo" (the original dance had to be toned down due to the violent acrobatics) was presented to the public at dance studios, resort hotels, and at night-clubs in New York and Miami. Success was on the agenda. Mambo happy dancers soon became known affectionately as "Mambonicks".

 

The Mambo craze did not last long and today the Mambo is much limited to advanced dancers. Teachers agreed that this is one of the most difficult of dances. One of the greatest contributions of the Mambo is that it led to the development of the Cha-Cha.

 

The Mambo is enjoying a renewed popularity due to a number of films featuring the dance as well as a man named Eddie Torres. Eddie is a New York dance pro and Mambo fanatic who has launched a crusade to make sure the dance reigns in the ballroom once again. Torres has become the leading exponent of the style, steadily building a reputation as a dancer, instructor, and choreographer. He has become known as the "Mambo King of Latin Dance". Torres is determined to reintroduce dancers to what he believes is the authentic night-club style of mambo dancing, which in the 1990's is increasingly known as Salsa.

 

"It's a great time for Latin American dances," says Torres. "The Mambo is hot now, like it was in the '50's. It is a dance with many influences -- African, Cuban, Jazz, Hip-Hop, even some ballet. You'll never run out of steps."

 

Popular Mambo songs include "Mambo Italiano", "Papa Loves Mambo", "Mambo #5", "I Saw Mommy Do The Mambo", and "They Were Doin' The Mambo". 'Dance City', the superb CD album featuring Hernandez and the Mambo Kings Orchestra, stands on its own as one of the best recordings of its kind in years, an energetic big band-style session that recalls the glory days of Tito Puente and Tito Rodriguez.

 

Most people treat Mambo as a very fast dance. In essence, it is a slow and precise dance that doesn't move very much.

 

HIP-HOP. It is usually called just "hip-hop". The reason why I call it "new school hip-hop" is that if you just call it "hip-hop", it sounds like breaking is not "hip-hop". Since so called "hip-hop" and "breaking" are both hip-hop, I call it "new school hip-hop" and "old school hip-hop".

 

New school dance is a form of hip-hop dance which is different from breaking. Back in the days, old-school music had fast beats which matched breaking move. Music such as "Planet Rock" and "Just Begun" are good examples. As you know, hip-hop music is always changing. As the music changed, people realized that breaking doesn't fit with the many of new school hip-hop music. That's how new-school dance started out. Around 1986, which is the early days of new school dance, the moves were very simple. Steps called Wap, Running man, Roger Rabbit, and Robocop were popular steps in this era. These were exactly what everybody can do. You see lots of rap videos featuring dancers during this period. However, new school dance in present time is much more evolved and complex. Many dancers twisted popping or electric boogie and put into their moves. New styles come from everywhere. People take moves from martial arts, reggae, locking, and even 70s soul train steps. Since most of rappers don't use dancers these days, it is really hard to see this new form of dance. I have been to many clubs in many states and I realized that gap of level in term of new-school dance is really huge. Some people are still doing running man and they think it is new-school.

 

As far as I know, New York City is the best place to see new-school dancers. The party called "MECCA" at Tunnel on every Sunday is where many dancers get together. New-school dance is also big in Japan. There are many dance competitions in Japan.

 

One old school dancer may dis new school by saying "new school moves are something everybody can do compared to windmil, 1990, and headspin." He misses the point. New-school dance is more about flavor. It is not about what you can do. It is more about what you do to the music. (Of course, new school dance still requires skills, though.) This concept is close to footworks in breaking. Therefore, you can't just say which is better, old school or new school.

 

MERENGAY. The Merengue is the national dance of the Dominican Republic, and also to some extent, of Haiti, the neighbour sharing the island.

 

There are two popular versions of the of the origin of the Dominican national dance, the Merengue. One story alleges the dance originated with slaves who were chained together and, of necessity, were forced to drag one leg as they cut sugar to the beat of drums. The second story alleges that a great hero was wounded in the leg during one of the many revolutions in the Dominican Republic. A party of villagers welcomed him home with a victory celebration and, out of sympathy, everyone dancing felt obliged to limp and drag one foot.

 

Merengue has existed since the early years of the Dominican Republic (in Haiti, a similar dance is called the Meringue). It is possible the dance took its name from the confection made of sugar and egg whites because of the light and frothy character of the dance or because of its short, precise rhythms.

 

By the middle of the nineteenth century, the Merengue was very popular in the Dominican Republic. Not only is it used on every dancing occasion in the Republic, but it is very popular throughout the Caribbean and South American, and is one of the standard Latin American dances.

 

There is a lot of variety in Merengue music. Tempos vary a great deal and the Dominicans enjoy a sharp quickening in pace towards the latter part of the dance. The most favored routine at the clubs and restaurants that run a dance floor is a slow Bolero, breaking into a Merengue, which becomes akin to a bright, fast Jive in its closing stages. The ballroom Merengue is slower and has a modified hip action.

 

The Merengue was introduced in the United States in the New York area. However, it did not become well known until several years later.

 

Ideally suited to the small, crowded dance floors, it is a dance that is easy to learn and essentially a "fun" dance.

 

 

WESTERN & COUNTRY

LINE DANCE. Linedance is a piece of culture and history enjoyed in centuries by people feeling physically and mentally stimulated by the joy of dancing.

 

Linedancing is believed to be a tradition strongly tied to folk dancing and much like the Irish River dancing. In 1800s many European immigrants traveled west to North America bringing with them a wealth of culture in their native dances. Combinations evolved from Polka and Waltz and became Square dance and Rounds.

 

Later in 1860-90 cowboys on the frontiers took these dances and assimilated the steps into country & western style steps - simpler footwork and influenced much by the culture of their time. In the end it was a very popular activity, taught in school and usual in social events.

 

In modern times John Travolta in Urban Cowboy in 1980, Billy Ray Cyrus with Achy Breaky Heart in 1993 and now Madonna with her newest album and video have all helped linedancing become popular again.