Dance Styles & Histories - Modern Ballroom and Latin American

Modern Ballroom: Waltz I Tango I Slowfox I Quickstep I Viennese Waltz
Latin American: Rumba I Chacha I Jive I Samba I Pasodoble

Syllabus for Modern Ballroom

Syllabus for Latin American 

During 1910-1914 many people went to the Bostonclub in the Savoy Hotel, central London to dance the Bostonwals, the forerunner of our competition Waltz.

The Boston, imported from the USA, died at 1914 the basic steps were changed to the direction of the Waltz.

After the World War I, the Waltz started to develop more into the right direction with figures like, the Natural and Reverse turn and the Closed Change. The development process of the Waltz was tough and slowly. Special contribution to the development was given by: Miss Josephine Bradly, Victor Silvester and Maxwell Steward and Pat Sykes first English Champions.

An imported institute that contributed to the standardisation of the figures was the Imperial Society of Teachers of Dancing (ISTD).

Many of these variations are still danced by today's competitors.

The forerunner of the waltz was the Boston, which had been imported from the USA in 1874. However, only from 1922 onwards did this dance become as fashionable as the Tango.

The strange thing about the Boston was that couples danced next to each other and not like we are used to doing now. Immediately after World War I the Waltz got more shape. In 1921 it was decided that the basic movement should be: step, step, close.

When in 1922 Victor Sylvester won his championship English waltz his programme consisted of not more than a right turn, a left turn and change of direction (Less than what is learnt by a present beginner). In 1926/1927 the waltz was improved considerably. The basic movement was changed into step, side, shut.

As a result of this, many different variations were now possible to dance, which were standardised by the Imperial Society of Teachers of Dancing (ISTD). Many of these variations are still danced.

The Milonga is the forerunner of the Tango. The Milonga had already the characteristic head and shoulder movements that suddenly switched over to stillness.

In the beginning of the 20th Century the Milonga was danced in small theatres for the High Society from Brazil. in that period the name was changed from Milonga to Tango, the Milonga name carried to many memories from the ghetto's of Buenos Aires.

The Tango was introduced in Europe, actually in Paris in the Argentine community. Until 1907 the Tango was not accepted in London, the dance was to erotic and had many opponents. After some stylistic changes the Tango was excepted by Paris and London that was the time (1912) of the tango-parties, tango-teas and tango-soupier with professional tango demonstrators.

In 1920/1921 the Tango was standardised at the Conference in London, during the "thirties" the staccato actions merged in to the Tango choreography.

This dance comes from South America (mainly Argentina), where it was first danced in "Barria de Las Ranas", the ghetto of Buenos Aires.

It was then known under the name of "Baile con corte" (dance with a rest). The "dandies" of Buenos Aires changed the dance in two ways. First they changed the so-called "Polka rhythm" into the "Habanere rhythm" and secondly they called it Tango.

From 1900 onwards several amateurs tried to introduce the dance from Argentina into Paris, but without success. The Paris teacher Robert made great efforts to make the Tango popular. Still, the path of the Tango was not strewn with roses.

There were many supporters but also many opponents. Especially the French bishops were against this dance. They pointed to the tempting and sensual nature of the Tango, and those who danced it were said to endanger the holy sacraments.

In 1924 Dr Boheme from New York even discovered a new disease: the TANGO-foot. The press, too, came with strange news. On 30 may 1915 the New York Times published an article with the following headline: THE TANGO-DANGER, BIGGER THAN GERMAN IMPERIALISM. Nowadays such messages would raise a few eyebrows.

The Foxtrot was introduced in Europe just before World War 1, from its origin the Foxtrot was a passionate dance with slow and quick movements, they say the name comes from a musical dancer Harry Fox.

The European dance teachers were not enthusiastic about the "wild" character of the Foxtrot and started to polish it more.

Between 1922 and 1929 Frank Ford, with whom Josephine Bradley used to give demonstrations, developed the basic movements of the Slow Foxtrot. With his interpretation he won the 1927 "Star Championships" with partner Molly Spain. Many of the figures they danced are still used by today's competitors.

Strict tempo music was not yet invented in those days. The Foxtrot could be played at anything from 40 to 50 Bars/min, and it is easy to guess how styles had to be rapidly altered according to who was conducting the band! But once "Victor Silvestor's band began recording the problem was solved.

The Slow-foxtrot came into being long before the Waltz. The dance has a lot of variations which later, adapted or not, were imported into the Waltz. This dance is one of the most natural dances from which the jury members can see whether a couple can dance or not. the movements are natural and faithful to the normal walk.

At the end of World War I the (slow-)foxtrot mainly consisted of: walks, three-steps, a slow walk an a sort of spinturn. At the end of 1918 the wave arose, then known as the "jazz-roll". The American Morgan introduced a sort of open spinturn, the "Morgan-turn", in 1919.

In 1920 Miss Josephine Bradley danced withe Mr G.K. Anderson, a dancer with with many natural talents, to whom we owe many (slow-)foxtrot figures. In imitation of these wonderful dancers the feather-step and the change of direction were introduced, more or less by chance.

It is impossible to imagine our present Slow-foxtrot without these two figures. The on-end dancing of steps dates from 1922. The making of "heelturns" was not known yet. It was Mr Frank Ford, winner of the "star-championships", to whom we owe most "new" figures which are still danced.

The Quickstep is derived from the Foxtrot. During the twenties many bands played the Slow Foxtrot too fast, 50 Bars/min, the large open steps from the Foxtrot could not be danced on this speed.

The English developed from the original Charleston a progressive dance without kicks and made a mixture with the above mentioned fast foxtrot the called this dance "the Quicktime Foxtrot and Charleston".

The English couple Frank Ford and Molly Spain danced on the 'Star' Championships of 1927 a version of this Quicktime Foxtrot and Charleston without the characteristic Charleston knee actions and made it a dance for two instead of solo. The figures were Quarter Turns, Cross Chassées, Zig-zags, Cortes, Open Revers Turns, and Flat Charleston. In 1928/1929 the Quickstep was definitly born with the characteristic chassées steps.

In the twenties many bands played the (slow-)foxtrot too fast, which gave rise to many complaints. Even several famous newspapers and magazines wrote about it.

People spoke of a quick-time-foxtrot. The Chalreston therefore also had a lot of influence on this dance. Eventually the quick version continued to exist under the name we all know now: QUICKSTEP.

The Viennese waltz originally comes from the South German Alps Area. During the 18th century the dances: Weller, Walzer and Ländler were found, this last dance the Ländler is originally the forerunner of our Viennese Waltz.

Between 1800 and 1820 the steps and figures from the Ländler were reduced due to the speed of music and the 6 step Viennese Walz was born.

During the Sixties a lot of discussion was going on between Germany and the U.K concerning the number of Viennese Waltz variations allowed in Competitions. In 1983 the I.C.B.D. took the final decision: Natural and Reverse Turns, Natural and Reverse Fleckerls, The Contra Check change from reverse fleckerl to natural fleckerl danced over one bar of music

In my opinion the may add more figures to the Viennese Waltz to stimulate the developemnt more in a positive direction figures like: Throwaway Oversway, Natural Hinge line on right side, Natural Off-beat Spins.

We can return to the 12th an 13th centuries to see the beginnings of the Viennese waltz in the "Nachtanz".

The Viennese waltz originally comes from Bavaria and was called the "German". However, other people question this origin of the Viennese waltz. An article which appeared in the Paris magazine "La Patrie"(THe Fatherland) on 17 January 1882, claimed that the waltz was first danced in Paris in 1178, not under the name waltz but as the Volta from the Provence.

Presumably this is a dance in 3/4 rhythm, which the French regard as the forerunner of the Viennese waltz. The first waltz-melodies date from 1770. It was introduced in Pairs in 1775, but it took some time before it was danced everywhere.

In 1813 Mr. Byron condemned the waltz as being unchaste. In 1816 the waltz was also accepted in England. But that the struggle against it was not yet over was shown in 1833, when a book about good behaviour was published by Miss Celbart. According to her it was allowed for married ladies to perform this dance, but she called it "a dance of too loose character for maidens to perform"

A passionate story of love and tension between man and woman. This dance is also a position dance, so not a lot of movement on the floor.  The 4th beat is the most important.

For tournaments the rumba is between 1,5 and 2 minutes. The official amount of beats is 27.

For the woman the attractive hip movement is the most important, while for the man the whole body is used to impress the woman.

The rumba is all about impressing and seducing from the opposite sex. On a slow beat the woman tries to impress and challenge the man, to finally reject him. Al this while the man tries to impress the woman and lets her know he's interested.

The rumba is an erotic passionate dance where the actions of the body are the most important in executing this dance.

This dance requires well timed and dynamic actions. Especially the women steals the show in this dance, while the man is only there to establish more attention on the woman.

Many Africans came to the Americas because of the slave trade. They brought with them their own culture. (read "dance")

The Rumba developed as a Cuban dance. This dance has been standardized, in spite of the fact that there are many Cuban Rumba variations. In its recent form of basic figures, this dance contains the age-old premise of the lady, trying to dominate the gentleman by means of her womanly charms. In a well choreographed dance you will always find elements of teasing and Withdrawal.

The gentleman is being seduced and then rejected. The sensual and erotic movements of the lady are being answered by the gentleman through his movements, his desire for her, and his attempts to prove his manhood by physical domination. Unfortunately, at the end he never succeeds.

A lively dance with quick moves. This dance is a position dance, this means there is not a lot of movement on the floor. During the dance its first beat is the most important.

In tournaments a normal cha cha cha is between 1,5 and 2 minutes. The official amount of beats per minute is set on 30. The timing of the actions is important while executing this dance.

A lovely dance to go wild where everything is about dynamic actions. This dance has a passionate history which you must express during the dance.

No serious thoughts during the cha cha cha, just fun, pleasure and most of all the naughty character of the dance must be visible on the floor. Just follow the music and your heart.

This dance was first seen in the ballrooms of America around 1950. It was a logical follow-up of the Mambo, from which it was developed.

Shortly after the Mambo was introduced, this rhythm gained in popularity. It turned out to be a rhythm that became more known than any other Latin dance.

The interpretation of the Cha-cha-cha music should create a happy, careless and fierce mood. It has been decided recently to shorten the name to simply Cha-cha.

This Swinging dance is a mixture of Rock&Roll, Boogie Woogie, African/American Swing and the Jitterbug.  As you can understand the important point is the speed and expression.

The Jive is also a position dance, this means not a lot movement on the floor but lots of action.  During the dance the intonation is on the 2nd and 4th beat.  In competitions the Jive lasts for 1,5 till 2 minutes.  The official speed is 44 BPM.

The jive is a dance where you dance together but also alone.  The couple doesn't need to stay in contact with each other all the time.

It is an exquisite, swinging dance which conquered the West after 1940 under the name of Jitterbug. Also the Bebop, Rock ‘n Roll and the American Swing influenced this dance.

It is a fast dance. With this dance, contest participants are able to show that, after four dances, they still are not tired (the Jive is the last dance in a series of five) and that they still can go full steam. Sometimes this turns out to be only an illusion.

The roots of the Samba are in Africa, but most of the development is done in Brazil, you will recognise the Samba from the Carnival Parties and Samba Schools in Brazil.

In 1925 the Samba was imported into Europe. Although the samba was already accepted as a competition Dance, the great breakthrough of the Samba happened on the World exhibition in New York in 1939.

Europe was really captured by the Samba in 1948/1949. Walter Laird with partner Lorraine developed he Samba enormously.

It originates in Africa, it is discovered in Bresil and developed there, it is a dance that excites and brings people in a trance.

Many different versions of the Samba, ranging from Baion (pr. bah-yong) to Marcha, are being danced there at Carnaval in Rio or at local fiestas.

In order to achieve the real character of the Samba, the dancer has to try for a flirting, exaggeratedly happy interpretation. Many figures now danced in the Samba are done by means of hip movements.

This action is difficult to achieve, but without it, the dance loses its effect.

The Paso Doble is the only Latin Dance with is not coming from the "Negro" culture, the roots of the Paso Doble are in Spain.

The peak in popularity of this dance was in 1926. After World War II the Paso Doble was accepted as a Competition Dance.

Without a doubt a Spanish dance, but also discovered early in Mexico. Play the music and instantly everybody is transported into a Spanish ambience.

It will quickly conjure up a bullfight. It is obvious that the gentleman represents the "torero", the bullfighter , but erroneously one sometimes sees the lady as "el toro", the bull. She in reality portrays the "cappa", the bullfighter's red cloth. This dance was already popular here in 1920.

Source: http://www.belgiumlatin.com/dansen/

Translation: DanceUniverse

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