History of Modern Ballroom Dancing

The five ballroom dances: Modern Waltz, Tango, Viennese Waltz, Slow Foxtrot, and Quickstep, are danced the world over both socially and in Dance Sport competitions.

The word 'ballroom' means a room where balls may be held, that is, formal social dances. Balls were important social events in the days before radio and television. The word 'ball' derives from the Latin 'balare' meaning 'to dance'. This is also the origin of the related words : ballet, ballerina, ballad, etc.

The figures in the modern ballroom dances have now been standardised and categorised into various levels, with internationally agreed terminology, techniques, rhythms and tempos. These "Standard Ballroom" dances have diverse origins. rhythms, tempos, and aesthetics, but have one thing in common: they are all danced by a couple (usually a man and a lady) in "Closed Hold".

Standard Ballroom Dances are characterised by a natural, dynamic movement in a light and easy style that fit to the rhythm, which in the beginning has been influenced by jazz music. Former round dance steps were replaced by walking movements allowing different fast and wide motions. The dancing posture has been defined later – couples danced without body contact or in close touch, which often was felt offensive in these times.

Since nineteenth century Viennese Waltz as the first Standard Dance rules the ballroom dancing, but it has been established as a Standard Dance after 1951. In 1907 Tango was imported from America to Europe. Because of its South-American origin Tango has been a part of the Latin-American Dances for a very long time. In 1961 Tango has been integrated in the Standard Dances as fifth competition dance. Ragtime evolved into the Foxtrot (Quickstep), which has replaced many other dances with its differing fast and slow steps.

The social expectation of male initiative is of course also the reason that normally in ballroom dancing, the man "leads", and the lady "follows", i.e. the man is basically responsible for the choregraphy and directions of travel. (www.sofcom.com.au)

Viennese Waltz

This dance originally comes from the South German Alps Area. Its name is traced back to the German term "waltzen" and relates to the rotating movements of feet dragging across the floor. This was a dance in 3/4 rhythm. The first waltz melodies date from 1770. The Viennese waltz was introduced in Pairs in 1775, but it took some time before it was danced everywhere.

In 1813 Lord Byron condemned the waltz as being dirty. In 1816 the waltz was also accepted in England. But the struggle against it was not yet over, and in 1833 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 ladies to perform".

Through the 19th century, the dance stabilised, and was further popularised by the music of Josef and Johann Strauss.

Germany has been the centre of Waltz up to the twenties, then for more than a decade waltz was replaced by modern dynamic dance styles. In Great Britain Viennese Waltz has never been popular. As a folk dance, Viennese Waltz was rediscovered in the thirties in Germany and Austria. In 1951 the connection of Austrian Waltz tradition and English style was made, and Viennese Waltz was accepted as Standard Dance having equal rights.

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.

Slow Waltz

Slow Waltz came into being in the twenties, in Boston, as an advancement of Viennese Waltz, which besides the known "round" movements already contained the new elements of "straight ahead" movement. Because of its origin it is also called "English Waltz". This name was used first at competitions in 1929, though Slow Waltz was already danced at the world championship in 1922.

In the beginning, Slow Waltz mainly had been a dance with a "moving forward" character, like Slowfox. Later on the feet were closed at the end of the beat because of the increased rotation angle. As full rotations became problematic, Slow Waltz got a diagonal structure by dancing only a 3/4-rotation at clockwise and counter-clockwise rotation. This new mode choreographed by English dance instructors, has been accepted by the Imperial Society of Teachers of Dancing (ISTD) since 1927. As a result of this, many different variations were now possible to dance, which were standardised by the Imperial Society. Many of these variations are still danced.

Only from 1922 onwards this dance became as fashionable as the Tango.

Because of its rhythmically swinging movements in combination with a soft, often sentimental music, Slow Waltz is considered to be the most harmonic of the standard dances. It is often danced at the beginning of dance events

Modern Tango

Originally the Tango was Flamenco dance from Spain. With the Spanish conquest of much of South America, this Tango together with other Spanish folk dances naturally emigrated with settlers from Spain.

The origin of Tango is inseparably associated with the Argentine nation and its capital Buenos Aires. As a dance as well as a tune, Tango was mainly influenced by the Cuban Habanera and by the Argentine Milonga. Modern Tango (Argentino) grew in the harbour quarters of Buenos Aires at the Westbanks of La Plata. The dances were accompanied by violin, flute and guitar or piano. After 1870 the accordion was imported from Germany.

The Spanish-Argentine melancholy had a strong influence on Tango with its contradiction between masculine and feminine, tender and tough, aggressive and sentimental. In the beginning of the 20th century, Tango became socially acceptable in Argentina.

In 1907, Tango was imported to Europe and was a great sensation in Paris. First shown in Spanish-Argentine bars it changed to an accepted ballroom dance. The Paris teacher Robert made great efforts to make the Tango popular. The first Tango competition was held in Nizza. From 1912 "Tango fever" spread through the whole of Europe: Tango parties, Tango teas, Tango competitions, Tango fashion. The first Tango dancing competition took place in Berlin.

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 sensual nature of the Tango, and those who danced it were said to be sinners.

Slow Foxtrot

Slowfox is based on Jazz music of black coloured people and Rag respectively. It was danced in New York City by black people before it was adopted by the white population. Slowfox was a typical "go-where-ever-you-want dance", but as early as 1915 in Great Britain it was replaced by soft and calm motions: one slow step and two fast ones. Even today the typical rhythm is "slow-quick-quick" and it always remains a British domain.

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 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.

The Slow Foxtrot came into being long before 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 close 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 with Mr G.K. Anderson, a dancer with many natural talents, to whom we owe many Slow Foxtrot figures. It is impossible to imagine our present Slow-foxtrot without them.

Charleston

As Ragtime music evolved into Swing through the 1920's, new dances such as the Quickstep, Charleston and the Shimmy became very popular.

Charleston was born in the port of Charleston and brought northwards by black dock workers at the beginning of the 20th century. The first Negro musical ever played on a white stage "Shuffle along" had a great success, which caused a chain reaction in 1921. Looking for an attraction for the "New York Colonial Theatre", in 1923 the impressario found three boys (two coloured people and one Italian) in Harlem, dancing Charleston for money at a street corner. The next day the trio was on stage and initiated with its performance of "Running Wild" the black period of Broadway and the wildest dance world of the twenties.

In its beginnings, Charleston as well as Shimmy was a difficult dance with intensive body motions.

Charleston as well as Shimmy were known in the South of the United States before 1900. The white public could first see this dance in 1922 in the Negro musical "Liza". In 1925, the famous critic Gilbert Seldes described Charleston in his magazine "New Republic" as follows: "Original Charleston is danced with the whole body, not only with the legs as Foxtrot or Onestep. It uses movements introduced by Shimmy. Added are alternate X- and O-leg motions." A decription from 1925 says: "The torso trembles, in addition hips, thigh and bottom are in motion. Even the hands are active, they touch all parts of the body in ecstasy. In addition the dancer can bend his back or even squat down."

Puritan Dance Masters of America disapproved of Charleston. From 1928 the dance was refined, and soon became a white ballroom dance. From the beginning of the world economic crisis in 1929, Charleston lost its significance, as most of the working-class population weren't able to afford this pleasure any longer.

Quickstep

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 fast foxtrot. They 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. 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.

From 1930 influences of swing music made Quickstep rhythmically free and easy to dance. Quickstep is the most thrilling standard dance: quick in its progressive movements, vivid in its bouncing steps, so that it is nowadays the most favourite ballroom dance. In contrast to Slow Waltz, with its lateral movements, Quickstep is danced in lines and circles.

Quickstep is cheerful and sportive. People called it quick-time-foxtrot. The Chalreston also had a lot of influence on this dance, and the quick version continued to exist under the name we all know now: Quickstep.

Rock'n Roll

Three music styles had a main influence in the evolution of Rock'n Roll: Jazz, Country & Western, Rhythm & Blues. The term Rock'n Roll appeared when in 1954 the American disc jockey Alan Freed sang the refrain "Rock, rock, rock everybody – roll, roll, roll everybody". The breakthrough was achieved by Bill Haley and the Comets with the song "Rock around the clock", recorded on April, 12th 1954.

With Rock'n Roll not only a new music style was born, Rock'n Roll had a great influence on an entire generation: a new life feeling evolved, causing conflicts between young people and the generation of their parents. Sometimes Rock'n Roll was called 'ape dance' and the followers of this music were named mad. In Germany the fans of Rock'n Roll were called "Halbstarke", in England they were named "Teddy Boys".

Like each new lifestyle, Rock'n Roll had a lot of influence on fashion as well. Tube jeans, pointed shoes, large sports jackets and velvet ties were popular with boys. The hair was combed backwards with hair cream. The girls wore broad belts, wore petticoats under their wide skirts and wore their hair pony tail fashion, merrily rocking in time.

In dancing schools, Rock'n Roll was disapproved of for a long time. Rock'n Roll was danced with devotion in discotheques and bars. With this dance numerous dancing contests were established, where the winners were judged by a panel of celebrity judges or by the intensity of the spectators applause. In 1961 the first world championships tool place in Switzerland, but the end of the Rock'n Roll wave was near. With Twist and Beat new Modern Dances came to be and in the audience's favour, the Beatles and the Rolling Stones took Elvis Presley's and Jerry Lee Lewis' place.

In the beginning of the seventies, Rock'n Roll had a comeback – in 1975 the German Rock'n Roll federation was founded, turning the dance in a well-ordered way. The jump step, which is compulsory at dancing competitions since then, changed Rock'n Roll from a life style into a type of sport. But the fascination of the music remained, even when new songs in 4/4-time replaced the songs of Bill Haley or Chuck Berry.

Twist

Twist brought the last dancing wave to Europe, enjoyed by all generations. From 1961, it continued the Hulahoop wave of the previous year as Hulahoop without a hoop. The Twist motions in 4/4-time with a strong accentuation, are described very well in the hit "Hello Mister Twist" from 1962: "Who swings their hips to and fro? / Who puts his knees straight and across? / Who shows all he can dance / and doesn't even touch his babe? / You know exactly who it is, / only Mister Twist!".

Even in the twenties some kind of Twist existed, related to Shimmy and Charleston. The "wringing out" of the body with a zigzag step of the feet and the towards one another from above. The non-existing body touch of the couples later on were replaced by Swing. First in 1955 in the USA, Twist had a short rebirth with the dance "the Twister" as the successor of Charleston.

Mambo-Rock, an Afro-Cuban variation of Rock'n'Roll became popular only a short time later and required similar movements. When dancing the Twist you turn the pelvis bent somewhat back in a semicircle to and fro. Thighs and knee follow this movement. You "twist" the lower part of the body against the upper torso, which remains unmoved.

In 1958, the black American Hank Ballard had great success with his song "Let's Twist Again" in the black charts.

Lambada

The term "Lambada" is a Portuguese word used in Brazil and means "wavelike motion". This flowing wave motion is copied by the dancers bodies.

Being a summer season phenomenon, the Lambada did not disappear like a lot of other dances, because the French group "Kaoma" made "Lambada" the number one hit worldwide – 5 million singles were bought. Many other bands tried to copy the success of Kaoma – Hollywood produced several films one after another. In the summer of 1990 the movie "Dirty Dancing" with Patrick Swayze and Jennifer Grey aroused a whole generations enthusiasm, with excellent dancing scenes and a thrilling music and caused an international dancing boom. Many dancing schools followed the trend and offered dancing lessons. Today the focus is concentrated on the artistic potential of Lambada and it always is present in the dancing halls of Europe, Argentina and Australia.

Rumba

A passionate story of love and tension between man and woman. This dance is also a position dance, so not many movements on the floor. 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 the opposite sex. On a slow beat the woman tries to impress and challenge the man, to finally reject him. All 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 woman does 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. 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 manner 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 of the dance he never succeeds.

Cha-cha-cha

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

No serious thoughts during the Cha-cha-cha, only fun and pleasure. 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.

Samba

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 at 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 Brazil and developed there, it is a dance that excites and brings people in a trance.

Many different versions of the Samba, ranging from Baion to Marcha, are being danced there at Carnival in Rio or at local fiestas.

In order to understand the real character of the Samba, the dancer has to try for a flirting, 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.

Pasodoble

The Paso Doble is the only Latin Dance which 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.

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

This dance reminds you of a bullfight. It is clear that the gentleman represents the "torero", the bullfighter, and one sometimes sees the lady as "el toro", the bull. But it is a mistake. She in reality portrays the "cappa", the bullfighter's red cloth. This dance was already popular in 1920.

(www.anidance.de/en/he3.htm)

(www.danceuniverse.co.kr/style.htm)