HISTORY OF BALLROOM DANCINGDate: Fri, 27 May 94 14:14:55 PDTFrom: Josiah Way <way@scf.usc.edu>Subject: [Josiah Way <way@scf.usc.edu>: Ballroom Research Paper]

SOURCES INTO THE FUNDAMENTALS OF BALLROOM DANCE-Collected by Josiah Way

Foreword: The purpose of this thesis is not to make any claim to truthsabout the origins and characteristics of the different ballroom dancesand the ballroom dances themselves, but rather to explore what *some*people have written about the origins being. Whether the events areactual or fictional, I hope that the one achievement of this inquiry isto unfold the popular myths behind what is now characterized as the"style" of some said dance. There are a lot of missing pieces, as well,I do not claim to have any original thoughts or ideas; this is completelyof sources examined, and the results posted. Prior to anything, I makethis disclaimer: I understand that there are different and contrastingviews, and may not even necessarily be the views I hold myself, butshould be understood that the views expressed are views held by somepersons at some given time. Now, please enjoy.

There is an appointed time for everything.And there is a time for every event under heaven-...A time to weep, and a time to laugh;A time to mourn, and a time to dance....-Ecclesiastes 3

Part I: History of Ballroom Dance (from _Academic American Encyclopedia_)

A: Historical Cause and Effect

Social Dancing, which is simply group dancing for pleasure orrecreation, has probably existed in some form since the beginning ofhuman society. Most group dances were originally ceremonial ritesgrouped around three basic aspects of human existence: food supply,sexual impulse, and relationships with the spirit world. For primitivepeople, dancing was a formal expression of religion or superstition.When dance abandoned its primitive, pantomimic forms, when it ceased tobe specifically about crops, war, wooing, initiation, or religion, itbecame pure social interaction, with no aim or purpose but theparticipants' employment.As the conditions of human existence change, so do social dances.Although they serve no concrete purpose, propitiate no gods, and

celebrate no military victories, they are related to the fundamentalconcerns of modern life just as intimately as their ritualistic ancestorswere to primitive life. Unlike art, social dance is not consciouslyformed, but its development is far from random of accidental. Unfailing,the dances of an epoch faithfully reflect the spirit and structure ofthat of technology, and its social customs and predominant ideologies.Establishing historical cause and effect is often difficult;similarly, social dance has not only mirrored cultural patterns, therebyto some extent maintaining them, but it has also on occasion altered themradically, revolutionizing the prevailing trends of thought and mannersrather than reinforcing them.Various changes in social dance through the ages clearlydemonstrate its interdependency with the world around it. During the14th century, for example, when social dance and folk dance werevirtually indistinguishable, popular ring dances moved inside Englishupper-class homes as part of the evening entertainment. As long as thehearth occupied the center of the room, the dances retained theircircular, and egalitarian, form. With the introduction of the chimneyabout 1368, however, the hearth could be moved to a side wall, whichcleared the floor of obstacles and allowed processional dances--thenfavored in the royal courts where rank determined the order ofprocession--to replace the ring formations.

Throughout the Renaissance and the 16th century, social dancebecame more firmly ensconced in the courts, whose members systematicallydressed up and formalized the lusty folk dances to suit their elaboratecodes of manners and attire. Styles emanated particularly for France,where the royal court dictated etiquette and moral behavior for allEuropean gentry. The 17th century Minuet was nothing but manners, thefinal flourish of aristocratic elegance before national and thenindustrial revolutions returned social to the masses.

When fine demarcations of rank and title vanished, squareformations like the Cotillion and Quadrille, with partners constantlychanging, filled the ballrooms. The Waltz--whose dizzying speed wasderived as much from the newer, more polished surface of dance floors andthe abandonment of hobnailed shoes as it was from the public'senthusiasm--also became popular. The embracing, closed hold of the Waltzsuccessfully defied the polite convention of the period.

Advancing technology and two world wars so continuallyrestructured life in the 20th century that social dance has been changingalmost constantly, quickly altering with the values and practicessurrounding it. The syncopated rhythms of American Ragtime musicinspired the Foxtrot and Shimmy. After the 19th Amendment gave women thevote in 1920, they became "emancipated": the flapper was born, as well

as the Charleston. The Jitterbug burst from the Swing improvisations ofthe 1930's and 40's. Long playing phonograph records appeared in 1949;thus, in the 1950's, the teenagers born during the postwar "baby boom"could launch the Rock 'n' Roll phenomenon in both music and dance. Bythen, the once-shocking Waltz position and the sexual attitudes itrepresented were passe. Because everyone performed the stepsindividually, men no longer always "led" women, and couples were notessential. The emergence of Disco dance styles in the 1970's and laterpopular dance forms continued this trend, although some of the moreformal dances required a partner.

In a world that prides itself on the speed of itstransformations, new forms are inevitable. Social dance no doubt willcontinue to evolve as society does.

B: Process of History

Coupled Dance, as a dance form, emerged in the Europe of the 15thcentury in a variety of vigorous styles in innovative adoptions andrefinements of folk dance developed by the dancing masters of the time.These new dances, gay and lively in character, developed first as asocial dance diversion among the aristocracy of France and Italy, theexpanded developmentally to every royal court on the continent to become,in the later centuries, part of the social life of the emerging middleclass as well.

The forms of social dance in Europe developed in three phases,each characterized by different designs in rhythm, space, and floorpatterns. The nature of these dances reflected the related elements ofthe respected time periods-- the elaborate and bulky fashions in clothes,the spacious floor areas of courts and palaces, and the elegance of thesuccessive periods.

Each period can be characterized by its most popular dance: theage of the Galliard (1500-1650), when that dance, bold and dashing inexpanded movement, consisted entirely of leg thrusts and leaps anddemanded the utmost vigor of the dancers; the age of the Minuet(1650-1750), when the energetic, expanded, and leaping movements weretransformed to close movement in formal, measured, small steps; the ageof the Waltz (1700-1900), when that dance with its gliding turns, broughta new joy and intimacy to social dance and an enraptured all of Europe.

There were, of course, other, even opposite, dance styles in eachperiod. The courtly Pavane and stately Saraband were rivals of theGalliard; the Contredanse and Quadrille competed effectively with theMinuet; the Polka and the Mazurka challenged the supremacy of the Waltz.

By the end of the 19th century, however, these social dance stepshad become repetitious and no longer reflected the quickened pace of theemerging contemporary world. In this vacuum a social dance explosionoccured--the American introduction of the Two-step in 1891. Social dancefrom then on, as a product of the 20th century, belongs to the UnitedStates. The Two-step was followed by the Cakewalk of 1893, in turnfollowed by Ragtime music. Vernon and Irene Castle, in the decade from1910 to 1920, enchanted both Europe and America with their famousexhibitions of the Tango (derived from Argentine folk dance), theBrazilian Maxixe, the Cakewalk and the Foxtrot. The black influence inJazz dominated in the 1920's with the Shimmy and the Charleston, a formof the Jitterbug, of which another latter version was the Lindy Hop. The1930's incorporated Latin- American rhythms with the Rumba, Conga, andSamba. World War II interrupted dance evolution in the 1940's, but the1950's brought the Merengue and Cha Cha. The mid-1950's saw the dramaticemergence of Rock 'n' Roll, which utterly changed popular music. The1950's closed with people Jitterbugging to Rock, but with the 1960's camethe Bossa Nova and Discotheque dancing, the latter producing dozens ofindividualized, free-moving dances, such as the Twist. Disco dancing ofthe 1970's returned to couples together executing often complex,choreographed moves. Break Dancing--street dancing that combinedacrobatic and martial arts movements--achieved popularity in the 1980's,and the Lambada became a craze in 1990.

The role of composers of popular dance music in this developmentcannot be overestimated, not can the many other elements the popularizedAmerican social dance throughout the world during the first half of the20th century. Major influences were Vaudville, musical comedy, films andthe popularity of such stars as Fred Astaire and Gene Kelly. Furtherreinforcement came from the accompanying technology, such as the massimpact of dance music on radio, records, and tape, and, more recently,the dance images on television.

Social dance today is international and reflects thedemocratization of dance more clearly than any other contemporary danceform.

Part II: The Ballroom Dances (close chronological order)

Church authorities- "in many areas, the Waltz was banned from publicballrooms for many years-" because it was "the first dance to use closeddance position for any extended period of time." (5:24)

The Waltz, of course, did survive this scrutiny, but was forcedto split into two distinct styles, the Waltz know to the French and

English ballrooms and the Viennese Waltz, 1812, know to the strong-minedGermans who refused to give into the criticism of the church (14). Inthe first style, it was kept slow, with the knowledge that "the gentlemanwait until the dance had begun before encircling the lady's waist" thatit would be immoral to ever have the gentleman "put his hand on thatportion of her anatomy." It was said that "should he lack gloves, theleast he could do was to hold a handkerchief in his hand." The Waltz wasto be performed solely for the demonstration of elegance and notpleasure. The Viennese style Waltz, on the other hand, "made an immoralname for itself" because the youth refused to give up its mobility andfreedom, thus offering the suffer the churches' consequences of dancing adance of "more speed,... gliding and turning around the room whilethrowing head and body from one side to the other" (3:127).

Even though the Waltz caused so much trouble with the church, itdid bring about one change that exuberated the course of concert music,that of the increased need for increased tempo and more joyous moods inthe concert halls. "Perhaps Chopin is the best known composer ofbrilliant Waltz music, although today when we hear his melodies in theballroom as distinct from the concert hall, they are distorted for'contemporary' purposes almost beyond recognition." Other composers forthe new Viennese style also arose; "Brahms and Schumann composed Waltzeswhich are typically German in style and character." But probably themost famous and influential Waltz composer of that era was JohannStrauss. Percy Scholes wrote "...it seems as likely that such a Waltz asthe 'Blue Danube,' by Johann Strauss the younger, the 'Waltz King' willlast for ever as that Beethoven's Fifth Symphony will do." (7:131-2)

B: Polka

The Polka had originated in Bohemia and formalized by the French."There is a romantic story of its origins, whereby a Czech servant girl,a certain Anna Chadimova, was moved on Sunday to a dance in a way notseen before. The steps and the tune were noted down by musical observerswho just happened to be on the scene, and thus a new dance supposedly wasborn." From that point, "its rhythms and steps took a firm hold on theaudience, and Paris ballrooms promptly went Polka-mad, to which feverEngland soon succumbed." (3:142-143)

The name "Polka" came from the Czech word meaning "half," becauseof the number of half steps used in the dance (14:143). The Polka is "abright, lively dance step in uneven rhythm... with the addition of a hopso that it becomes hop, step, close, step. The hop comes on the pick- upbeat" (9:35). Thus the Polka, traditionally in a 2/4 meter possesses ahop, quick, quick, slow pattern with the count of hop, 1 and 2, hop, 1and 2. Though is may seem to be an awkward pattern of motion, in

actuality, it adds to the joyousness and celebratory mood of the dance.

Since the introduction of the Polka in the 19th century, thePolka has entered the ballroom scene as mainly a Folk dance done incelebration rather than in exact and standardized basic "correct" andincorrect" movements. Though the Polka does contain its distinct basicsteps, the mood of the Polka is that which makes it the dance it is."Every ballroom was like a whirlpool; dancing more resembled the drivinghome from Derby than anything else; the collisions rivalled in frequencyand severity, those of the iron railways before the infants had learnedhow to behave themselves" (2:156). Though this is not the kind ofbehavior that was normally tolerated by the social elite, it was saidthat "the masses who now favored the public halls whizzed and twirledabout the floor in outbursts of robustness which matched the vulgar butvital energy" brought out by the Waltz. "The Polka came just at theright moment to harness this energy and to direct it into a lessuncontrolled and unseemly direction." (7:134)

C: Tango

The Tango began as two different dances. The first, with it'shome in Spain, was "an exhibition dance performed by a solo dancer whodirects the sharp accents of heel rhythms, snapping fingers, and flowingarm movements into a blend of both classical and Gypsy Iberian dance."The contrast to this is the well known ballroom style performed today.This style began in Argentina as "El Baile con Corte meaning 'the dancewith a stop'" and later changed to "tango" or the "touch dance." It wasperformed as a taunting dance of the males upon the females. (5:48)

Originally the Tango was danced as a courtship dance of the"gauchos, sailors, and Italian immigrants, all competing for the'favours' of the half-Indian women habituees of the waterfront cafes." Itwas a dominating dance of the working men who had been away for longperiods of time; it "was now a sensuous, flamboyant and highly exoticdance, as yet known only in the lowest haunts of Buenos Aires andcompletely taboo in polite Argentine society." But, like most "unpopulardances" as it gained popularity among the dancers it would slowly "becomeslightly more respectable" though for the Tango, this popularity wasmostly due to the new orchestra sound that was too good to remain insmall bars. (14:191-3)

Though the Argentineans tried so hard to suppress this dance, anumber of recognized dancers discovered it and in time toned it into andacceptable ballroom version. The first moderation came prior to WorldWar I by Vernon and Irene Castle. Though they did not radically changethe domination or style of it, they toned it down to hold what was know

as "Tango tease." This where is was made standard to the slow, slow,quick, quick, slow pattern that exuberated the motion of the quick stopand dramaticism. The most widely known was the new French versiontransformed by Valentino. Valentino returned to emotion to the Tango"where the steps were more 'exotic'" and expressed the original emotionof the gauchos of Argentina. With this, Valentino returned the extremecloseness of the male to the female and the stubbornness to comply of thefemale to the Tango, which were what had been disapproved of from thebeginning. (3:171-175).

D: Foxtrot

The Foxtrot known as the first truly American ballroom dance, wasnamed after the creator, Mr. Harry Fox, after he sformed into grotesqueholds with exaggerated body and arm movements." These "animal dances"contained "such descriptive names as the Turkey Trot, Grizzly Bear,Kangaroo Hop, Bunny Hug, and Harlem Glide." (5:35)

Dance teachers then answered the call for this syncopated danceand want to rid themselves of the "animal dances" and went to work onmodifying the Foxtrot for the ballrooms. The result was "one of the moststandard and popular dances wherever dancing is performed." And eventhough music has changed so much since the 1910's and 20's, "becomingsmother and more flowing," it has always been accepted, though it hasoften taken on the title of "the slow dance" by the youth. (5:35)The original Foxtrot was characterized by English dance teacherVictor Silvester as to "walk four slow steps (2 bars), then take a run ofseven quick steps, bringing the right foot to the back of the left on theeighth beat" (3:168). Because the quick steps would rapidly de-energizethe dancers, the Foxtrot had to be modified down to an even andsystematic dance for the masses.Unfortunately since the Foxtrot had to be modified so many timesit, in the end, was turned into four different styles. The first, andmost standardized and known, brought about by Vernon and Irene Castlebecame four walking steps with one step on each beat. The formation wasthen noted by the popular "Box" of Step, Touch, Side, Together. Thesecond, known as the dance walk is a slower version of the first with twoslow walking steps for each measure of music. The third form that washelped to be standardized by Arthur Murray, along with the fourth form,is the "Magic Step." "The Magic step represents broken rhythm as it takesa measure and a half of music... (and) it is an uneven rhythm pattern,slow, slow, quick, quick." The last, as just as popular, is the"Westchester" style, characterized by a slow, quick, quick walking in cuttime that takes two measures to complete one "Box." (9:359-60) But nomatter how it has been changed or how it is performed, what remains isthat it has been the standard American dance, and thus transformed and

defined the style of all American-style of ballroom dances to follow.

E: Swing

"The 1930's were years of financial depression and hardship, yetthey were also years which ballroom dance reached one of its highestpeaks of popularity and finesse in the United States." From this periodof World War I and the Great Depression also came the New Orleans andChicago- style Jazz of Benny Goodman, who "is the band leader creditedwith developing the rhythm eventually known as Swing." (5:67) And alongwith this new, vibrant style of music, came a dance to compliment theupbeat feel of it: Swing.Named after Charles Lindbergh's solo flight across the AtlanticOcean in 1927, the "Lindbergh Hop," later the "Lindy Hop," "Lindy,""Shag," "Jitterbug," and others, the Swing is noted for its acrobaticmovements that complement the "exuberant" and "bounding" new rhythmicmusic. This brought about its wide popularity among the GIs of the WorldWar II era. (5:68)Though there are three different types of Swing, Single Lindy,Double Lindy, and Triple Lindy, the basic steps for them all is justthat, basic. The Single Lindy is a Slow Side Step, Slow Side Step, QuickRock Step; the Double Lindy is six Quick Steps with a Side Together, SideTogether, Rock Step; the Triple Lindy is a Side Together Side for twobeats, Side Together Side, for two beats, and Rock Step.The acrobatics come as variations to these basic movements. Themost notable variations in the Swing are Collegiate (hands joined),Semiopen Basic, Turn, Swing Out Break, Continuous Underarm Turns, BrushOff (flirtation pass), Tuck Spin, Wrap, Dish Rag, Overhead Swing, SwivelStep, Out and Close, Wrap-Unwrap Spin, and other variations andcombinations to these added steps. These can all be done to the musicbut since "the rhythm pattern is generally the same over and over but thechanges of position and direction and the constant subtle smooth roll tooffbeat rhythm generates a fabulous excitement for both dancer andobserver." (9:335-8)For classifying swing to the other ballroom dances, Arthur Murraywrote that "swing is the general, all- inclusive term that is applied tosyncopated Foxtrot dancing. Formally called, Jitterbug, Lindy Hop, andvarious other names in different sections of the country, Swing is thenewer title" (204).

F: Rumba

"In the thirties, an entirely new rhythm and dance from Cuba wasbecoming known- the so-called Rumba. The true Rumba is of Afro-Cubanorigin, deriving from the days of Negro slavery... and is an exotic dancewith violent and sinuous movements of hip, shoulder and torso." This

form of the Rumba was of course not accepted by the social elite of theUnited States ballroom instructors, and had to be reformed for the dancescene of the 30's and 40's. Thus, the Rumba split into "the 'son' whichis a slower and more refined version of the Rumba... that lacks the wildfreedom of the true Rumba and may be accompanied by a romantic andsentimental melody." It was said that "the Rumba flaunts, the soninsinuates." In 1946, this style of the son, played at a faster tempowas that which was finally accepted by the ballroom dancing profession.(14:99,102)The "subtle, continuous, rolling motion" of the Rumba containsthree main characteristics that distinguish it from other dances: [1]the action is in the feet and the knees; [2] there is a delay shift ofweight; and [3] the upper body is upright and quiet, with a focus onone's partner (9:387). These work together in a spot dance form to"tease" your partner into exotic and rhythmic taunting and flirting,creating the excitement of a relatively slow and simple dance step. Thistaunting is formulated by and "side to side" motion of the hips and an"opposition hip shift- the hips are shifting in the direction opposite tothe step-" causing an exaggeration in the normal movement of the hips ina sensual and seductive manner (16:41).The basic step of the Rumba is placed into two distinct forms,the Bolero and the Rumba Box. Either form is standardized by a Forwardstep- Back step on the 2nd and 3rd counts, and a hold on the 1st (thoughsome American styles have begun on the 1 rather than the 2). The 4 countis, typically, the only one which distinguishes the two styles. TheBolero is performed on in a side to side motion causing a more stationarydance with some traveling, while the Rumba Box is performed in a Foxtrot-like box step, but can be traveled somewhat about the floor.(5:59-63)

G: Quickstep

The Quickstep, or "joy" (12:41) dance of ballroom dancing, isnoted as a quick Foxtrot. As the Imperial Society of Teachers ofDancing, 1924, continued to standardize the ballroom style dance, it wasthought that the "proper" Foxtrot had been made slower and slower, andsome dance had to fill "the need for a dance that could be performed at afair speed but with smooth 'walking' movements" (3:193-4). This dancewas the Quickstep.Because the "red-hot baby" dances of the twenties were beingtamed and placed out of fashion in order to accommodate dances of "sweetmusic," the sedateness of ballroom dancing had to be "rescued" by somedance (14:97- 8). The standard four dances of the time, Waltz, Foxtrot,Tango, and Quickstep, became more and more unpopular as the "excitement"had been taken from them. Studies showed that the approval rate of theFoxtrot, Waltz, and Tango had fallen drastically due to this lack of

ability of free movement that was prominent in the Swing. (14:149-50)The Quickstep, then, became the free-flowing dance that the youthhad been looking for. It was said to be so elated due to its quickertempo that dance halls had to resort to using "No Jive" signs thatdisallowed Swing and Quickstep dances at the same time. Thus, theQuickstep found its way to the large ballrooms, and an equivalent widepopularity and to be considered a "recognized" dance of the elite ISTD.(14:102)The Quickstep is characterized by a Slow-Slow-Quick- Quick-Slowrhythm performed to relatively fast 48-52 bars/min. music that brings outall of the "frills" it has. It's main aspect is the quick, short stepswith a distinct rise and fall motion in the walk. Alex Moore tells that"the dancer who masters the fundamentals of the Quickstep will havecommand of a dance that can never grow stale, a dance that isunquestionably the most attractive expression of rhythm the world hasever known." (12:41-42)

H: Paso Doble

The Paso Doble finds its roots in the Spanish style music of the1930's that "had inspired such dances as the Maxixe and... the Tango." Itcame from the Spanish Bolero as a One-step. (3:196-7) Most popularlyknown is that the Paso Doble is the "man's" dance, portraying the storyof the matador with (the female being) his cape, where the matador is to"wield" his cape according to the "anger and intensity" of of the roaringboar. And thus for the accompanying music, "as strong as the matador'sconcentration."Though originally known as dance of the common people- as withmost dances- it later split into two distinct styles which brought aboutits worldwide popularity. The first, the original, remained inLatin-America and gave way to the rise of the Rumba; while the second,found its way to France prior to the war, where it "gained greatpopularity in England for demonstrations, competitions, professionalexaminations, and amateur medal tests." (10:77) The first distinctionhas been questioned by many sources, however.The main features of the Paso Doble include the "precision offootwork and elegant deportment as seen in all Spanish dancing,... thehold... higher than the normal ballroom hold,... a light hip contact,...(and) the Torero, (the male portrayal of) fighting the bull and handlinghis cloak." (10:77)

I: Samba

"The Samba comes from Brazil. It differs from otherLatin-American dances in that it is lively and vigorous and the feet areconstantly leaving the floor. It is literally a bouncing step" (16:43).

The Black Brazilians were often know for their "imaginative" songs anddances, and "as the paraders moved along the streets with jaunty,body-swinging, rhythmic movements, a leader would occasionally shout'Semba' (Americans later changed to "Samba")." At this point, theparticipants were to "perform a series of freely improvised dances." Theballroomers then toned these wild dances down to a closed position, butkept the bounciness and exuberance to form the style known and acceptedtoday. (5:77)It was expected that the Samba had begun by the drunken barhoppers imitating an equally drunken friend, who was "gyrating" to thefolk music. This soon after was cleaned up to become a standard forsocial functions, and even today remains just as popular. BeverlyYerrington claimed the story as such: "some people claim that at the bigcarnival in Rio de Janeiro there happened to be a group of street dancerswho had been unduly influenced by the spirits of alcohol, and wereperforming a bouncy and gay version of the batuque. Those watching likeit so much that within hours it spread to many street dancers at thecarnival.""The basic step pattern is similar to the Waltz balance, but thefeeling and the quality of the movement are quite different. Themovement of (the) Samba uses the whole body,... the upper body tiltsforward as the feet go backward" (16:43). It is characterized by threedistinct step motions: [1] step forward on the left, body swaysbackward; [2] step right foot besides left; and [3] step left foot inplace (8:213).

J: Mambo

The Mambo is credited to a Cuban bandleader named Perez Pradowho, in 1943, mixed the strong American Jazz influence with thepredominant Cuban rhythm, creating a "particular" dance with a "jaggedrhythm: there was a beat in every bar on which the dancer took no step,but rested" (3:199-200). The word "Mambo," though, has a discrepancy asto its actual meaning; one source says it is of "Nanigo dialect spoken inCuba, and has no 'real' meaning" (3:199) while another source says it was"freely borrowed from African voodoo religion, in which the cultpriestesses are honored with this name" (5:86).But whatever the Mambo's meaning or who gets credit for it, onething remains important: the Mambo was caused by the clash of the"American jazz beat with the Cuban Rumba rhythm" (5:86). Even though theMambo did not gain widespread approval until the 50's, this "new-style'jazzed- up' Cuban Mambo music" (14:107) revived ballroom style dancingto the youth that were leaning toward the new Jive sounds of the day.The Mambo allowed for syncopated movements to an upbeat Jazz sound and athen warn-out Rumba sound (14:108).Beyond this new found excitement for the Cuban rhythm, the Mambo

had gained just as "jazzed-up" movements to follow it. "As in theRumba,... the movement is initiated in the hips,... but it is not quiteso subtle as Rumba" (16:38). It also uses the same rhythm as the Rumba,however there is a hold on the first beat of each bar. This hold wastaught to be dressed up with kicks and body movements, thus creating avery "sinuous" and popular dance.The basic steps for the Mambo are similar to that of the Rumbaand Cha Cha. It follows a Quick, Quick, Slow rhythmic pattern with theslow covering the beats 4 and carrying over to 1. The steps are ForwardLeft, Back Right, Close Left to Right, then Back Right, Forward Left,Close Right to Left for the next four counts.

K: Cha Cha

The Cha Cha is defined as the "Cuban dance that evolved from theMambo... (rising) to great popularity in the mid 1950's." The majordifference was that "the pause found in the Mambo was changed to a rapidtriple step." (1) This triple step, when performed, sounds off a "chacha cha" sound from the stepping on the 3-and-4 beats. This motion wassaid to have been enjoyable because "(to the elders) it could beperformed with the Rumba figures substituted for the sexy wiggles favoredby the young,... (while the youth) enjoyed it because it was another ofthose dances that allowed for individual display" (3:200-1).This triple-Mambo, "involving five movements to one bar of music,became the basis of the 'cha-cha'." It had originally reached Englandand taught "to a count of 'one, two, cha cha cha' and indeed many of thecommercial recordings stress this beat." This style though, was notablydifferent from the "essential beat" and rhythm of the Cuban bands and waschanged to contain "the count of 'one, two, three, cha cha.'" Thoughthis became widely accepted and "being correct,... the other version...is still taught and is a competition style." (14:107-8)"The rhythm is an uneven beat pattern of the slow, slow, quick,quick, slow and will be counted 2, 3, 4, and, 1, with the 4-and-1 beingthe familiar Cha Cha Cha triple" (9:379). "You will see few peoplebeginning to step on count two- habit dictates beginning on count one(16:36). Even though the rhythm has remained constant, the Americanballrooms have moved the Cha Cha Cha beats to the 3-and-4 counts to matchthe music emphasis and to make it easier and more standard for theballroom regulars (3:201).

L: Jive

The Jive came about by taking over and taming the Jitterbugdancing of the 40's as the change from live bands to jukebox dancing hitthe dance halls and soda parlors in the 1950's. This milder form ofSwing/ Jitterbug/ Lindy dancing, with its loss of acrobatics that had

been acquired through the years gave the youth of the "Rock and Roll50's" their own version of the ballroom dances (14:102), since the"traditional" dances were being performed by the then elders of societywho had started the dances (3:201-203).The Jive has three basic forms, the single, double, and triple,however it is the triple which has stuck and given the Jive theexuberance of the 50's as defined by performers like Bill Haley and hismost famous "Rock Around the Clock." Though the "passive" televisioninfluence insured that ballroom dancing had to be tamed for the life-reducing "twelve-inch space," the basic steps remained relatively thesame. (3:203-4)Though the Jive has undergone many name and style changes, and as"the new dances come and go,... the Jive stays,... because it hasdefinite basic steps." The basic steps of the Jive are defined by (formale) Step Right, Step Left, Step Right (moving 2-3"), Step Left (moving2-3"), and a Small Right Side Step. The count for this Fallaway style,is 1, 2, 3, and, 4. As an alternative, the last three steps (known asthe "Jive chasses'") can be done on the left foot also, thus giving acount of 1,2,3 and 4, 3 and 4. (10:108- 109)

Part III: Timeline of Dance (from Let's Dance, by Peter Buckman)

Prehistoric:Carol Ferandole Fertility DancesLine Dances Medicine Dances Round DancesWar Dances

Classical Antiquity:Bacchic Dances Dionysia HoraKalamatianos Morris Dance Sousta

Middle Ages:Basse Danse Branle EstampieDanse Macabre European Folk FurlanaMay Dances Saint Vitus's Sword Dances

15th Century:Canaries Hey HornpipeMoresque Sellenger's

16th Century:Allemande Bergamasca BourreeChaconne Cinq Pas Counrty DanceCourante Galliard MeasurePavane Saraband Sir RogerTrescone La Volta

17th Century:Contredanse Flamenco GavotteJig Passacaglia Rigaudon

18th Century:Appalachian Mtn.Contras CarmagnoleCotillion Minuet Passepied

1800-1850:Bolero Ecossaise GalopLancers Langaus MazurkaPolka Polonaise QuadrilleSchottische Tsamikos Waltz

1850-1900:Barn Dance Batuque CakewalkCancan Habanera MilongaRedowa Round Dance Square DanceTwo-step Varsovienne

1900-1910:Boston Bunny Hug Buzzard LopeCamel Walk Crab Eagle RockFanny Bump Fish Tail Funky ButtGrind Grizzly Bear Horse TrotItch Kangaroo Dip MaxinaMaxixe Mooche One-stepSlow Drag Squat TangoTurkey Trot Veleta

1910-1920:Foxtrot Lindy Hop

1920-1930:Black Bottom Charleston QuickstepRumba Shimmy Varsity Drag

1930-1940:Beguine Big Apple Boomps-a-DaisyConga Danzon GuajiraHokey-Pokey Jitterbug Knees UpLambeth Walk Palais GlidePaso Doble Samba

1940-1950:

Jitterbug

1950-1960:Blue Beat Bop Cha ChaChicken Clam FishFly Jive MadisonMambo Mashed Potato MerengueStroll Twist

1960-1970:Boogaloo Bossa Nova BugBug Filly Dog FrugFunky Broadway Hitchhike Hully-GullyJerk Monkey PachangaPony Shake SkateSlop Swim Watusi

1970-1980:Hustle Ride-a-Bike

Part IV: Time Signature Table (from _Let's Dance_, by Peter Buckman)

2/2:Charleston Pavane

2/4:Basse Danse Bergamasca Black BottomBranle Cha Cha GalopHabanera Hornpipe Los MatlanchinesMaxixe Merengue MoresqueMorris Dance Paso Doble PolkaReel Rigaudon RumbaSamba Schottische ShimmyTango Trescone

3/2:Tordion

3/4:Allemande Basse Danse BoleroBourree Chaconne CouranteFandango Galliard JigJota Mazurka MinuetPassepied Polka-Mazurka PolonaiseRedowa Saltarello SarabandSeguidillas La Volta Waltz

4/4:Barn Dance Cha Cha FoxtrotGavotte Hornpipe MamboMorris Dance Piva QuadernariaRigaudon Rock Dances RumbaRunning Set Strathspey Tango

6/4:Slow Courante

6/8:Fandango Farandole FurlanaJig Tarantella Two-step

9/9:Jig

19/9:Jig

Part V: Atlas of Dance (from _Let's Dance_, Peter Buckman)

Africa:Lundu

Argentina:Milonga Tango

Austria:Landler Lagaus

Brazil:Batuque Samba Maxixe

Caribbean:Berguine Blue Beat Cha ChaConga Guajira HabaneraMerengue Mambo PachangaRumba Tango

Czechoslovakia/ Bohemia:Polka Redowa

England:

Blue Beat Country Dance Furry DanceJig Hornpipe Novelty DancesLancers Sequence Dances MeasureMorris Dance Quickstep Veleta

France:Basse Danse Bolero BourreeBranle Cancan CamagnoleCotillion Courante EcossaiseEstampie Galliard GalopGavotte Hey MinuetNizzarda Passepied QuadrilleRigaudon

Germany:Allemande Frohntanz ReigenSchottische Schuhplattler SchwalmerSchwarzwalder Siebensprung WaltzWeller

Greece:Dionysia Kalamatianos SoustaTsamikos

Ireland:Fading

Israel:Hora Hava Nagila

Italy:Bassa Danza Bergamasca FurlanaMonferrina Pavane PivaQuadernaria Saltarello TarantellaTrescone La Volta

Mexico:Los Huapango El Farabe Los MatlanchinesLos Moros Los Negritos Los ApachesLos Sembradoras Los Inditos

North America:"Animal" Dances Appalachian Mtn.Barn DanceBig Apple Black Bottom BopBossa Nova Boston CakewalkCharleston Contra Foxtrot

Hustle Jitterbug JiveJazz Dance Madison Square DanceRock Dance One-step Two-stepTwist

Poland:Mazurka Polonaise Varsovienne

Scotland:Highland Fling Reels Strathspeys

Spain:Canaries Chaconne FandangoFlamenco Jota MoresquePassacaglia Paso Doble SarabandLos Seises

Part VI: Glossary of Terms*Terms are a collection of the general glossary inserts fromall of the sources on the bibliography.

2/4- Time Signature with two beats per measure and a quarter note havingone beat.3/4- Time Signature with three beats per measure and a quarter notehaving one beat.4/4- Time Signature with four beats per measure and a quarter notehaving one beat.Accented Beat- The beat in music which has more emphasis than theothers, usually to 1st beat of the measure.Active Couple- The couple that is dancing with another.Allemande- Couple join with arms bent and turn around each other usingthe centrifugal force as balance.American Smooth- See Smooth Dances.Animal Dances- American and African-American Dances of the 20's thatmimic the actions of different animals.Back Cross Position- Couple stand side by side with arms interlockedbehind them.Back-Track- Moving opposite to the Line of Dance.Back Step- Travelling Backwards by Walking, usually in Smooth Dances.Balance Step- Shifting of weight from one foot to another.Ballet- Modern Dance done to the "feel" of the music.Band- Musicians performing the Music to be danced to.Banjo Position- Closed dance position where the right sides of bothpartners are touching.Basic Figure- The "Basic" principal steps to a particular dance.Beat- Part of the music that which the dance is based upon, as

distinguished from the melody. The steps are then performed tothe related number of beats in the measure, thus setting therhythm of the dance and distinguishing it from other dances.Big Band Music- Music of the teens and 20's of the Jazz influence inwhich Foxtrot and Swing dances are performed.Box Step- Dance figure characterized by the stepping in a square likepattern. The Foxtrot and Waltz use this shape for their BasicFigures.Break- Couple releases hands.Butterfly Position- Couple facing with arms out and to the side graspingeach other by the hand.Cakewalk- Prancing dance of the Blacks originally done for a cake.Challenge Position (The Chase)- Partners stand face to face withouttouching each other. They can then either dance in syncopation oron their own. Most frequently used in Rock and Roll dances andLatin Dances.Change of Weight- Transfer of the standing foot (one with weight on it)to the free foot.Chasse- Sliding steps used to maneuver around dance floor.Clockwise- Direction on the dance floor (opposite direction of Line ofDance). Used to describe the direction of a turn.Clog- Rhythm that is set by the sound of the dancers' feet. Forexample, a Cha Cha is characterized by the "Cha Cha Cha" sound ofthe dancers stepping to three quick beats simultaneously.Closed Position- Partners facing with the man's right hand on the lady'sback, man's left and lady's right interlocked, and lady's left onthe man's shoulder.Conversation Position- See Open Position.Corner- Lady on the man's left side.Costume- The Dress for Dancing, whether Formal for Social Dancing or thedress of people in "Ritual" Dances.Cotillion- Formal dance of the English that resembled the Quadrille.Counterclockwise- Motion on the dance floor opposing the direction ofdance.Counterstep- Opposite step to balance the previous.Couple Dances- Dances that are usually performed in Closed Position inwhich only the couple interacts with each other.Cross-Back Hold- Partners side by side joined by same hands behind themovements of the same kind, usually to one beat.Dovetail- Position of the feet for Social Dancing forming a 45-90 degreeangle between the feet.Downbeat- The accented beat of the music. Also characterized by thedownward motion of the orchestra leader's baton on the first beatof a measure.Draw Step- Free foot brought together with the standing foot withusually a change of weight.

Elbow Step- Hook at elbows and turn once around.Escort- Proper way to bring partner on and take partner from the dancefloor, with the lady slipping her left arm through the man'sright.Eye Contact- Proper position in Social Dancing with a partner In-placeDances and as much as possible in Smooth Dances.Fan- Partners release one arm and stand side by side usually to allowthe lady to "show off" to the audience.Feet Together- Drawing of the Free Foot to the Standing Foot with orwithout a change of weight.Figure- Corelation of a number of steps to form a pattern.Folk Dance- Dance of the people that as a "Ritual" Dance.Follow Through- Bring of the free foot past the standing foot, with ofwithout a touch, in order to keep an erect, non-stradling,position.Following- Response to the lead.Forward Step- Walking Step, usually in Smooth Dances.Free Foot- Foot without the weight on it.Full Turn- Turn 360 degrees.Goose Step- Extending of the free leg.Grapevine- Count 1: step to left; Count 2: step right behind the left;Count 3: step left; Count 4: right in front of left.Half Turn- Turn 180 degrees.Heel Lead- Step with the heel of the foot being place before the toe.Hesitation Step- Remaining in the same place for a number of counts.Home Position- Original position of partners, usually in Square Dances.Hop- Jump on one foot and landing on same foot.In Place- Remaining in the same place, but usually with a shift ofweight from one foot to the other.International Dance- Form of Dance used in Competition that has not been"Americanized" as in the American Smooth Dances, and with strictrules for performance.Jazz Music- Musical form of America that placed much influence on theSwing Dances.Jive- Milder version of the Jitterbug from the 50's.Jump- Leaving the floor from both feet and landing on both feet with noweight on just one or change of weight to one.Leading- Term usually referring to the male in reference to themaneuvering of the couple about the dance floor with the use ofincreasing and decreasing of pressure upon the females' hand andback.Leap- Jump from one foot and landing on the other.Line of Dance- Counterclockwise direction in which smooth dances arelead about the dance floor.Magic Step- Basic Walking Step of the Foxtrot.Measure- Beats that make up one hook or number of counts in the music.

Melody- Hook of the music which makes it an original song.Meter- Structure of music according to the rhythm, in reference to thenumber of beats per measure.Open Position- Partners side by side facing the same direction keepingthe same hand position as in Closed Position.Phrase- A sequence of notes (for music) or steps (for dance) that form acommon hook within it.Pivot- A turn made in place.Position- Place in which each partner stands or the series of steps tobe taken.Promenade Position- Partners stand side by side with hands joined infront of them.Push Step- Forcing of the feet to give a "push" away. Also used in asliding manner with the partners pushing on the others hand keepthem in balance.Quarter Turn- Turn of 90 degrees.Ragtime- Music of the late 19th century that brought about the Jazzmovement.Rest- Stop in the music for an undetermined amount of time.Rhythm- "Feel" of the music including the Style and Accented Beats.Rock Step- Quick shift of weight to one foot then a quick shift back.Roll- Turn completely around.Round Dance- Dance performed to specific movements like "The ChickenDance" and Square dances.Separated Position- Partners dance apart from each other. Common inRock and Roll Dances.Shimmy- A shaking of the upper torso.Shoulder-Waist Position- Man's hands on the lady's waist, and the lady'son the man's shoulders.Single- One step per beat.Slide- Sideward step and close.Smooth Dances- Foxtrot, Waltz, Tango. Dances that move about the dancefloor.Social Dance- Folk and Ritual Dances that are formed to be "proper" fordancing.Spin- Turning of usually the female with the man's lead the show off herand her partner.Spot Dance- Dances which are generally stationary to one spot on thedance floor as compared to the Smooth dances which movethroughout the dance floor. Like the Swing and Cha Cha.Square Step- See Box Step and Basic Figure.Standing Foot- See Supporting Foot.Step- Movement and transfer or weight from one foot to another. Alsotermed for the Basic Step.Step-Hop- Step with one foot and hop on that same foot without a changeof weight.

Style- The characteristics that are common to a particular dance. Forexample the 3/4 Box Step is a specific style to the Waltz.Supporting Foot- Foot on which the weight lies on.Syncopation- Moving of the normal accent of the music to another placefor the purpose of exaggerating that particular beat or movement.Tag- Ending on an added phrase at the end of song.Tap- Touch.Tempo- Speed that the music is being played at.Time Signature- Musical notation expressing the number of beats permeasure over the length of the note that gets one beat.Toe Lead- Step with the Toe placed before the heel.Together- Feet Together.Touch- Bringing together of the feet without a transfer of weight fromone to the other.Triple- Three steps or "Side-Close-Side" done to one or two counts.Twinkle Step- Pivot to the side from Closed Position which enters thecouple into Promenade Position. Done in the Foxtrot, Waltz andTango.Two-Step (Triple Step)- Step where three weight changes are done withintwo beats of music (Step-Close-Step). Commonly done in danceslike the Triple Swing.Upbeat- Accented Beat.Variation- Change in the basic configuration of a dance sequence.Varsouvian- Couple stand side by side with man's right arm over lady'sshoulder and right arm in front of him.Walking Step- Step to each beat in a forward manner usually in line ofdance to maneuver around dance floor.Window- Arm position in Open Position forming a "window" which thepartners can view each other through.Wrap Position- Couple stands side by side with the man's arms wrappedaround the lady.