The history of Waltz

The Waltz is the oldest of the ballroom dances, dating from the middle of the Eighteenth Century. The German "Lander", a folk dance, is supposed to be the forerunner of the Waltz. During this time period a dance developed which was called the "Walzer", a word owing its origin to the Latin word Volvere, which indicates a rotating motion. Napoleon's invading solders spread the waltz from Germany to Paris; then the dance glided across the channel to England and finally made its way to the United States. When the Waltz was first introduced into the ballrooms of the world in the early years of the Nineteenth Century, it was met with outraged indignation, for it was the first dance where the couple danced in a modified Closed Position - with the man's hand around the waist of the lady. Beginning about 1830, the waltz was given a tremendous boost by two Austrian composers Lanner and Strauss. They set the standard for the Viennese Waltz, a very fast version played at about 55 - 60 measures per minute. The fast tempo did indeed present problems. Much of the enjoyment of the new dance was lost in the continual strain to keep up with the music. It is not known exactly when the waltz was introduced to the United States. It was probably brought to New York and Philadelphia at about the same time, and by the middle of the Nineteenth Century was firmly established in United States society. During the later part of the Nineteenth Century, Waltzes were being written to a slower tempo than the original Viennese rhythm. Around the close of the Nineteenth Century, two modifications of the waltz developed in the United States. The first was the "Boston", a slower waltz with long gliding steps; there were fewer and slower turns and more forward and backward movement than in the Viennese Waltz. This version eventually stimulated the development of the English or International Style which continues today. The American Style Waltz is similar to the International Style except the American Style has open dance positions and the dancers legs pass instead of close. The second modification was the "Hesitation Waltz", which involves taking one step to three beats of the measure. Although the "Hesitation Waltz" is no longer danced, some of it's step patterns are still in use today. http://EzineArticles.com/3648952

The history of Swing

Swing is a very energetic and unique dance. It can be simple or complex, but you can be assured it's always fun. There are many different styles or versions of it, each with distinct characteristics. As its name implies, it is known for its swings, lifts and spins that can sometimes be quite complicated. It's a quick dance that requires a considerable degree of physical fitness. In this article we'll take a quick look at its history. The history of swing begins with the history of Lindy hop. Lindy hop originated in the late 1920s in New York and reached huge popularity in the 30s and 40s. It has its roots in the Charleston and Foxtrot and was danced to what was at a time called jazz music. Jazz music was also known as swing music and the dances danced to it became known as swing dances. Lindy hop got its name after Charles Lindbergh, the famous aviator. It is still danced today.In general, the term swing refers to a group of dances that were developed in the 20s, 30s and 40s of the last century. With the rising popularity of jazz music many different forms of dances like Lindy hop evolved: Jitterbug, Balboa, East coast and West coast swing, Boogie-woogie, Collegiate Shag, St. Louis Shag, and Imperial Swing, just to name a few. Although originally danced to the swing style of jazz music, you can dance to a wide variety of music styles, from country and pop to rock and roll. As music changed from the 1920s so did the dances. Rock and roll music brought, well, rock and roll. Rhythm & Blues music brought Imperial Swing, Carolina shag, and so on. Like jazz, swing grew out of the African American communities. With the help of American soldiers during the WWII, it spread all around the world. Today, it is one of the most popular dances enjoyed worldwide.

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The history of the Cha Cha

In the Islands of the West Indies, there are certain plants that produce seedpods known as cha-cha. These are used to make a small rattle also known as cha-cha. In Haiti the typical voodoo band consists of three drums, a bell, and a cha-cha. The cha-cha is used by the leader as a guide instrument or "metronome" to set the time in secular dancing as well as in religious music and singing. Thus the dance Cha Cha had its roots in the religious ritual dances of the West Indies. Cha Cha is derived from two other dances, it is a derivative of the Mambo (Mambo is the name of a voodoo priestess) through its Latin music and it is also a stepchild ofSwing (Lindy, as it is danced with a triple step and a break).

The history of the Foxtrot

"The object of smooth dances is to move or travel smoothly around the room, covering as much of the dance floor as possible. The couple should be streamlined, two people moving as one, gliding fluidly and forcefully around the dance floor; if they were dancing on water, there would be no ripples in their wake. Imagine a room filled with stiff whipped cream. The dancers' goal is to move smoothly and powerfully through the cream, charting a clean path without disrupting any of the cream around them." This is one of the best definitions that we have heard about smooth dancing. It is from the book, "ABC's of Ballroom Dance". This month we would like to discuss one of these smooth dances, Foxtrot. It is generally believed that a Vaudeville star by the name of Harry Fox began

In 1953 the Cuban orchestra "America" started playing the time-honored "Danzon" with a new syncopated beat. This sounded like a slow Mambo, and Cuban dancers used a slight triple hip undulation on the slow count. Gradually this was changed to a triple step on the slow count and the Cha Cha was born. The Cha Cha was introduced to the United States in 1954, and by 1959 Americans were "gaga over Cha Cha", with dance studios reporting it to be their most popular dance. It is such an "on the beat" dance that you can't help inject your own feelings into it. Cha Cha is still the most popular of the Latin dances in the United States today. It has also been suggested that the name Cha Cha is derived from the vocal imitation of the sound of the feet in the chasse, which included in many of the steps. This would account for it being called the "Cha Cha Cha" by some people whereas others call it the "Cha Cha". It is danced "Cha Cha" with the accent on the "1" beat. The tempo is fast, sassy and staccato.Like most Latin dances, it is done with the feet remaining close to the floor (toe steps). The dancers hips are relaxed to allow free movement in the pelvic area as a result of the bending and straightening of the knees. The upper body shifts over the supporting foot as the steps are taken (foot moves, body follows). This hip action is called Latin or Cuban motion.

what today we call the Foxtrot. In the summer of 1914 Harry and his company of "American Beauties" put on a dancing act in the New York Theater. As part of his act, he was doing trotting steps to ragtime music, and people referred to this dance as "Fox's Trot". 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, and found this new ragtime music exciting and exhilarating. The Bunny Hug, Turkey Trot, and Castle Walk were but a few of the many strutting and walking dances that quickly caught the publics fancy. The Foxtrot is no longer a fox trot at all, but rather a smooth, elegant dance. When watching a couple gliding gracefully across the dance floor one doesn't think of the ragtime music. When the British dance masters imported this American smooth ballroom dance to England, they smoothed away the trotting, hops and kicks to a much smoother version which has endured over the years. A variation of the Foxtrot is the Quickstep and even dances such as Lindy (Swing) and Hustle are derived to some extent from the Foxtrot. The Foxtrot is the most significant development in all of Ballroom Dancing. The

It is very important to understand the musical timing of Cha Cha to dance it correctly. If you don't, it will always have a "frantic feeling" and fast Cha Cha's will be very difficult to dance. Cha Cha music is usually played in 4/4 time generally at a speed of 28 to 31 mpm (measures per minute). Musically it is counted: 1, 2, 3, 4, & or an easy way to remember it is: 1,2,3, Cha, Cha (a Cha is 1/2 beat).

combination of quick and slow steps permits more flexibility and gives much greater dancing pleasure than the monotonous one-step and two-step which it has replaced. There is more variety in the Foxtrot than in any other dance, and in some ways it the hardest dance to learn.

The history of the Mambo

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 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. 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.

The history of Samba

Samba, an old Brazilian style of dance with many variations, is African in origin. It has been performed as a street dance at carnival, the pre-Lenten celebration, for almost 100 years. Many versions of the Samba (from Baion to Marcha) are danced at the local carnival in Rio. The ballroom Samba or Carioca Samba is derived from the rural "Rocking Samba" and has been known for many years. (The Carioca is a small river that runs through Rio de Janiero - hence the name Carioca refers to the people of Rio.) Today Samba is still very popular in Rio. During carnival time there are "schools of Samba" involving thousands of elaborately-costumed dancers presenting a national theme based on music typical of Brazil and Rio in particular. Before 1914 it was known under a Brazilian name "Maxixe". As early as 1923 an international meeting of professors of dancing took note of the rise of the Samba's popularity, particularly in France. A French dance book published by Paul Boucher in 1928 included Samba instructions. The dance was introduced to United States movie audiences in 1933 when Fred Astaire and Dolores Del Rio danced the Carioca in Flying Down to Rio and several years later, Carmen Miranda danced the Sambain That Night in Rio. A Samba exhibition was given at the November 1938 meeting of the New York Society of Teachers of Dancing. General interest in the Samba was stimulated at the 1939 World's Fair in New York, where Samba music was played at the Brazilian Pavilion. A few years later the Brazilian composer Ary Barroso wrote the classic Samba, "Brasil," which quickly became a hit, and in 1944 he went to Hollywood to write the score for the musical Brazil. Samba has a very specific rhythm, highlighted to its best by characteristic Brazilian musical instruments: originally called tamborim, chocalho, reco-reco and cabaca. Much of Samba music came from daily life in Rio, the first famous example being "Pelo Telefone" composed by Donga. To achieve the true character of the Samba a dancer must give it a happy, flirtatious and exuberant interpretation. Many figures, used in the Samba today, require a pelvic tilt (Samba tic) action. This action is difficult to accomplish, but without it the dance loses much of its effect. Principal characteristics of the Samba are the rapid steps taken on a quarter of a beat and the pronounced rocking motion and sway of the dancing couple. The Samba (also known as the Brazilian Waltz) is now a moderately popular ballroom dance, limited pretty much to experienced ballroom dancers because of its speed.

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The history of Rumba

The dance known in the United States as the Rumba is a composite of several dances popular in Cuba, including the guaracha, the Cuban bolero, the Cuban son, and the rural rumba. All have similar rhythms that can be traced to religious and ceremonial dances of Africa. These rhythms were remembered by the earliest black people transported unwillingly to Cuba and subjected to forced labor by the Spanish colonists. The same pulsating dance rhythms may still be found in parts of Africa, but the dances have been altered by contact with other cultures and races. The rural rumba is a pantomimic dance originating in the rural areas. It depicts the movements of various barnyard animals in an amusing manner, and is basically an exhibition, rather than a participation dance. Both the Cuban son and the Cuban bolero are moderate tempo dances in traditional ballroom form. The guaracha is distinguished by its fast, cheerful tempo. As early as the second world war, the Rumba was modified to a slower and more refined version for the Cuban middle class, this was called the "son". The American Rumba is a modified version of this dance which first came to this country in 1913. Ten years later band leader Emil Coleman imported Rumba musicians and dancers to New York but no interest developed. Real interest in Latin music began about 1929 as a result of increased American tourism to Latin America. In 1935 George Raft appeared with Carole Lombard in a movie called "Rumba" in which he played a suave dancer who wins the lady through dancing. Rumba's unique styling and unusual musical rhythms immediately captured the fancy of ballroom dance enthusiasts, and it has retained its popularity to the present time. The Cuban style is characterized by forward and backward steps. The American version is done in a box pattern with "Cuban motion" as it's chief characteristic. "Cuban motion" is a discreet, expressive hip motion achieved by bending and straightening the legs and carefully timed weight changes. American Rumba is one of the mostpopular ballroom dances today.

The history of Tango

The deep roots of Tango lie in African slavery. The Tango is a mixture of dances peculiar to Blacks in Haiti, Cuba and Argentina. Both the music and the dance were intense and erotic. Tango was first danced in Europe before World War I. It originates from Buenos Aires (Argentina) where it was first danced in the ghetto of Buenos Aires. It was then known under the name of "Baile con corte" (dance with a rest). During the Spanish American War, a popular dance called the "Habanera del Cafe" appeared which was the prototype of the Tango. The "dandies" of Buenos Aires changed the dance in two ways. First they changed the so-called "Polka rhythm" to the "Habanere rhythm" and secondly they called it "Tango". In 1907 the dance was introduced in France; by 1912 it crossed the channel to England. The dance was so popular in France and England that Tango teas became the rage. It was danced in the United States first by the Castles who elevated it to a dance accepted in any ballroom, by purifying it of its coarse associations and turning it into a thing of beauty. The Broadway show, Tango Argentino, helped to rekindle enthusiasm for this exciting, sensual dance. The image so often associated with Tango is that of a cat stalking its prey. This is, however, no tame pussycat; imagine the sensual movement of a wild tiger and you begin to approximate the correct movement. Tango is not as flowing as Foxtrot or Waltz; it has an intense staccato quality that makes it unique. It is a dance of stops yet it is also a smooth, fluid dance. There are essentially three types of Tango - Argentine, American and International Style. Argentine Tango: A dance created by the Gauchos in Buenos Aires was actually an attempt on their part to imitate the Spanish dance "Danza" except that they danced it in a closed ballroom position. American Tango: Unlike the Argentine Tango, in which the dancer interprets the music spontaneously without any predetermined slows or quicks, the American Tangofeatures a structure which is correlated to the musical phrasing. The dance is executed both in closed position and in various types of extravagant dance relationships which incorporate a particular freedom of expression that is not present in the International style. International Tango: This is a highly disciplined and distinctively structured form of the Tango which is accepted worldwide as the format for Dancesport events. The dancers remain in traditional closed position throughout and expresses both the legato and staccato aspects of the music. The Tango has continued to enjoy undiminished favor throughout the United States.

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