1. Savanah Jones Computer Technology 11-4-12
History of Dances
Savanah Jones
Computer Technology

2. How long has dancing been around?
Dancing has been here since the time of 3000 BC.

3. Acro
Acrobatic dance emerged in the United States and Canada in the early 1900s as one of the types of acts performed in vaudeville.
Acrobatic dance did not suddenly appear in vaudeville; rather, it appeared gradually over time in a variety of forms.
The most significant aspect of this evolution is the integration of ballet technique as the foundation for dance movements bringing into acro dance and movement that was absent in vaudeville acrobatic dance.

4. Ballet
The history of ballet began in the Italian Renaissance courts of the fifteenth and sixteenth centuries.
It quickly spread to the French court of Catherine de' Medici where it was further developed.
The creation of classical ballet as it is known today occurred under Louis XIV performed in ballets by Pierre Beauchamp and Jean-Baptiste Lully.
In 1661 Louis founded the Académie Royale de Danse (Royal Dance Academy) which was charged with establishing standards for the art of dance and the certification of dance instructors.
In the 20th century, ballet had a strong influence on broader concert dance.

5. Chicken Dance
The name of the original Swiss song was "Der Ententanz" (The Duck Dance). Sometime in the late 1970s, the song acquired the name "Vogeltanz" (The Bird Dance) or "Vogerltanz" although these names never caught on seriously in Germany.
Since 1963 Werner Thomas had played it in restaurants and hotels. During one of Thomas' performances, Belgian producer Louis van Rijmenant heard the song. Van Rijmenant had some lyrics created and in 1970 released it to the public through his publishing company Intervox Music without much success.
In 1980, Dutch local band "De Electronica's" released an instrumental version called "De Vogeltjesdans" ("The dance of the little birds") as the B-side of a single. The A-side wasn't a hit, but local radio stations in the south and east of the Netherlands decided to flip the disc and started playing "De Vogeltjesdans". The record entered the Dutch charts and stayed there for over seven months, and started the international success of the song. On some recorded releases of the music Werner Thomas is listed as the sole composer, while on others other authors are listed, e.g., as "Thomas/Rendall/Hoes", the last name referring to Dutch singer/producer Johnny Hoes, who re-arranged the song for the Electronicas recording (which was released on Hoes' own record label, Telstar Records). He also wrote new Dutch lyrics for the song, although the Electronicas version is an instrumental one (Hoes himself recorded the vocal version, but that did not become a hit)
Ozseeker the Clown doing the "Chicken Dance" at a Municipal Band concert in Eau Claire, Wisconsin
Since then the song has become known under numerous other "birdie" names, including "Vogerltanz" (Bird Dance), "Danse des Canards", "Baile de los Pajaritos," "Chicken Dance," and "Dance Little Bird". Over 140 versions of it are recorded worldwide, including Walt Disney Records, together making over 40,000,000 records.
The dance was introduced in the United States in 1981 during the Tulsa, Oklahoma, Oktoberfest by the Heilbronn Band from Germany. They wanted to demonstrate the dance in costume, but there were no duck costumes available anywhere near Tulsa. At a local television station, however, a chicken costume was available which was donated for use at the festival, giving the "Chicken Dance" its name.[1]
In 1982, polka-loving cover band "The Emeralds", from Edmonton Alberta Canada, recorded a polka-inspired version of the song, released by K-Tel records. The album "Bird Dance" went double-platinum in Canada, and gold in Australia.[2] The song also contributed to the success of multiple gold albums for the Emeralds in 1983 and The song went on to further fame when it was used in two movies: Sam Raimi's cult classic Crime Wave, and Jimmy Neutron: Boy Genius.[3]
In the Hispanic realm around this time, "Pajaritos a bailar," a localized version of the song, was popularized by acordeonista Maria Jesús in several television appearances. The dance and song was originally brought from Germany to the US by Eddie Duling and Larry Karhoff of Glandorf Ohio in They gave a copy of the song to the local radio station and history was made.
Despite other claims as to the name "Chicken Dance", the name had come about because an Austrian tour guide translated "Bird Dance / Dance Little Bird" and other similar names, from German to English by calling it "The Chicken Dance" when Norm Edlebeck's Band appeared in Austria in the fall of 1981.[citation needed] Edlebeck recorded it on the "End of The Trail" record label and used his nickname "Whoopee" as the artist. It was introduced to the United States In April 1982 on the Nationwide Television Show "P M Magazine" produced by "Group W Productions" of San Francisco as "The Chicken Dance" and featured Wisconsin Orchestra Leader Norm Edlebeck playing it on a $25K Electronic Organ and presented in a "Blue Grass" rendition. "Group W Productions" repeated the segment again nationwide on August 9, 1983 and included Edlebeck's picture in their weekly ad slick sent to every station in their network for publication in TV Guide. Group W titled the segment the "World's Stupidest Dance".[citation needed]
The LP "Bird Dance" sold millions of copies in the first year. It has become a standard request at weddings and family gatherings. Contrary to some misconceptions, it is not an Austrian folk dance, although it was presented as one in the Austrian film Das Fest des Huhnes. In the United States, the publishing rights for the song were acquired by a New York publisher Stanley Mills.[citation needed] In Denmark, a version of this song is used by the brewery Tuborg in their commercials for their "Easter Brew" ("Påskebryg" in Danish).[citation needed]

6. Dougie
The dance first originated in Dallas, Texas,[2][3] where it took its name from similar moves performed by 1980s rapper Doug E. Fresh.[1][4][2] In 2007, Dallas rapper Lil' Wil triggered the movement with his hit "My Dougie".[3] Then, an individual[who?] who attended Texas Southern University returned home to Southern California and taught[why?] the future members of Cali Swag District the dance.[2][5] Cali Swag District recorded the song "Teach Me How to Dougie" and filmed the music video in Inglewood, California during the summer of 2009.[2][4] Subsequently, the video along with the dance went viral on YouTube.[2]
External videos
Kate Upton's 6 million view Dougie posted on April 3, 2011
Montae Ray Talbert, known as "M-Bone" of Cali Swag District, was killed in his car by an unidentified gunman.[4] According to the Cali Swag District spokesman, Greg Miller, "He was the best at doing the dance, and on tour he was always the one in the forefront … He helped bring it to the masses."[4] At the funeral, mourners did the dance for a tribute video, and Talbert's grandmother did it as part of her eulogy.[4]
According to Cali Swag District: "We are not looking forward to making another dance move. The 'Dougie' just picked up organically, we had no idea it would become so popular."[6]
In late 2010 and throughout 2011, the Dougie was performed by a number of athletes and celebrities, including Chris Brown, Henri Lansbury, Reggie Bush,[2] Dez Bryant,[2] DeMarcus Cousins and Hassan Whiteside,[2] Glen "Big Baby" Davis,[1] Nate Robinson,[2] John Wall,[1][7] Braylon Edwards, Gaël Monfils[8][1] Wolf Blitzer,[4][9] Kate Upton,[10][11][12] and Michelle Obama.[13] In 2012, gymnast Gabby Douglas performed the Dougie upon winning the U.S. Olympic trials [14] and 2012 Summer Olympics U.S. gymnastics team gold and vault silver-medalist McKayla Maroney taught Jenna Hager, daughter of former President of the United States George W. Bush, how to do the Dougie while the gymnastics team was touring London on top of a doubledecker bus.[15]

7. English Country Dance
ublished instructions for English Country Dance first appear in John Playford's The English Dancing Master of This collection was reprinted, revised, and enlarged many times, with a final edition published sometime around 1728.[1] Playford was not the author or choreographer of these dances; he was a music publisher, for whom dance manuals were a profitable sideline. By the early 18th century, other publishers began to issue collections of dances as well; a conservative estimate of the number of dances in the English style published between 1651 and 1810 would run to around 20,000[citation needed]. Most of the dances we have from the 17th and 18th centuries are anonymous, notable exceptions being Nathaniel Kynaston and Thomas Bray. Most of these dance collections, unfortunately, offer little or nothing by way of description of steps; at best, they suggest 'floor tracks.'
English Country Dance was also popular in France. André Lorin visited the English court in the late 17th century and after returning to France he presented a manuscript of dances in the English manner to Louis XIV. In 1706 Raoul Auger Feuillet published his Recüeil de Contredances, a collection of "contredanse anglais" presented in a simplified form of Beauchamp-Feuillet notation and including some dances invented by the author as well as authentic English dances. This was subsequently translated into English by John Essex and published in England as For the Further Improvement of Dancing. Copies of these books may be found online.[2]
In the early 20th century, ECD was revived in England by Cecil Sharp, who also was known for collecting folksongs. ECD continues today as a social dancing form, in Britain, the United States, and around the world. There are several related dance forms, such as Scottish country dance, Irish dance, American Contra dance, and square dance. There is also English Ceilidh style; a very energetic form that uses simple country dances, newly composed dances and traditional dances that were collected in the twentieth century.

8. Foxtrot
Two sources credit African American dancers as the source of the Fox Trot: Vernon Castle himself, and then dance teacher Betty Lee. Castle saw the dance, which "had been danced by negroes, to his personal knowledge, for fifteen years, (at) a certain exclusive colored club".[1]
The dance was premiered in 1914, quickly catching the eye of the husband and wife duo Vernon and Irene Castle, who lent the dance its signature grace and style.
W.C. Handy ("Father of the Blues") notes in his autobiography that Noble Sissle told a story that Handy's "The Memphis Blues" was the inspiration for the Foxtrot. James Reese Europe, the Castles' music director, would play slowly the Memphis Blues during breaks from the fast paced Castle Walk and One-step. The Castles were intrigued by the rhythm and Jim asked why they didn't create a slow dance to go with it. The Castles introduced the "Bunny Hug" in a magazine article. They went abroad and in mid-ocean sent a wireless to the magazine to change the "Bunny Hug" to the "Foxtrot."[2] It was later standardized by Arthur Murray, in whose version it began to imitate the positions of Tango.
At its inception, the foxtrot was originally danced to ragtime. Today, the dance is customarily accompanied by the same big band music to which swing is also danced.
From the late teens through the 1940s, the foxtrot was certainly the most popular fast dance and the vast majority of records issued during these years were foxtrots. The waltz and tango, while popular, never overtook the foxtrot. Even the popularity of the lindy hop in the 1940s did not affect the foxtrot's popularity, since it could be danced to the same records used to accompany the lindy hop.
When rock and roll first emerged in the early 1950s, record companies were uncertain as to what style of dance would be most applicable to the music. Notably, Decca Records initially labeled its rock and roll releases as "foxtrots", most notably "Rock Around the Clock" by Bill Haley and His Comets. Since that recording, by some estimates, went on to sell more than 25 million copies, "Rock Around the Clock" could be considered the biggest-selling "foxtrot" of all time.[3]
Over time, the foxtrot split into slow and quick versions, referred to as "foxtrot" and "quickstep" respectively. In the slow category, further distinctions exist between the International or English style of the foxtrot and the continuity American style, both built around a slow-quick-quick rhythm at the slowest tempo, and the social American style using a slow-slow-quick-quick rhythm at a somewhat faster pace. In the context of International Standard category of ballroom dances, for some time the foxtrot was called "Slow Foxtrot", or "Slowfox". These names are still in use, to distinguish from other types of foxtrots.

9. Galop
In dance, the galop, named after the fastest running gait of a horse (see gallop), a shortened version of the original term galoppade, is a lively country dance, introduced in the late 1820s to Parisian society by the Duchesse de Berry and popular in Vienna, Berlin and London. In the same closed position familiar in the waltz,[citation needed] the step combined a glissade with a chassé on alternate feet, ordinarily in a fast 2/4 time. The galop was a forerunner of the polka, which was introduced in Prague ballrooms in the 1830s and made fashionable in Paris when Raab, a dancing teacher of Prague, danced the polka at the Odéon Theatre, In Australian bush dance, the dance is often called galopede.
The galop was particularly popular as the final dance of the evening. The "Post horn Galop" written by the cornet virtuoso Herman Koenig was first performed in London, 1844; it remains a signal that the dancing at a hunt ball or wedding reception is ended.
Numerous galops were written by the "Waltz King" Johann Strauss II. Dmitri Shostakovich employed a "posthorn galop" as the second, Allegro scherzo of his Eighth Symphony, Franz Schubert also composed the fourth movement of his Symphony No. 2 on the galop. Particularly famous is the "Devil's Galop" by Charles Williams.
Some Galops were also written by Nino Rota. George Gershwin composed the galop "French Ballet Class (for two pianos)" for his score to the film Shall We Dance.

10. Hip-Hop Dancing
Hip-hop dance is a broad category that includes a variety of urban styles. The older dance styles that were created in the 1970s include uprock, breaking, and the funk styles.[1] Breaking was created in The Bronx, New York, incorporating dances that were popular in the 1960s and early 1970s in African-American and Latino communities. In its earliest form, it began as elaborations on James Brown's "Good Foot" dance[1][2] which came out in Breaking at this period was not primarily floor oriented as seen today; it started out as toprock which dancers perform while standing up. An influence on toprock was uprock[3] which was created in Brooklyn, New York.[4][5] It looks similar to toprock, but it is more aggressive and looks like a fight. Uprock is done with partners, but in toprock, and in breaking in general, each person takes turns dancing.[6] In 1973 DJ Kool Herc invented the break beat.[7][8] A break beat is a rhythmic, musical interlude of a song that has been looped over and over again to extend that instrumental solo. Kool Herc did this to provide a means for dancers who attended his parties to demonstrate their skills.[8] B-boy and b-girl stands for "break-boy" and "break-girl"; b-boys and b-girls dance to the break of a record.[8] Further influenced by martial arts[9] and gymnastics, breaking went from being a purely upright dance style—toprock only—to becoming more floor oriented.
At the same time breaking was developing in New York, other styles were being created in California. The funk styles refers to several street dance styles created in California in the 1970s that were danced to funk music.[10] These styles include roboting, bopping, hitting, locking, bustin', popping, electric boogaloo, strutting, sac-ing, dime-stopping, etc.[11] The most popular and widely practiced of the funk styles are locking and popping which were created by African-Americans Don Campbell and Sam Solomon respectively. Locking is older than popping and it was created in the late 1960s whereas popping was created in the 1970s.[12] The television show, Soul Train, helped to spread locking and popping's popularity. Both The Lockers and the Electric Boogaloos—dance crews responsible for the spread of these urban styles—performed on this show.[10]
It would be historically inaccurate to say that the funk styles have always been considered hip-hop. The funk styles were adopted into hip-hop in large part due to the media. Once hip-hop activist and DJ, Afrika Bambaataa, used the word "hip-hop" in a magazine interview in 1982, "hip-hop dance" became an umbrella term encompassing all of these styles.[13] Due to the amount of attention locking and popping were receiving, the media brought these styles under the "breakdance" label causing confusion about their origin.[14][15] They were created on the west coast independent from breaking and came out of the funk cultural movement rather than from the hip-hop cultural movement.[10]
As breaking, locking, and popping were gaining popularity in the 1980s, hip-hop social dancing (party dancing) was growing as well. Novelty and fad dances such as the Roger Rabbit, the Cabbage Patch, and the Worm appeared in the 1980s followed by the Humpty dance and the Running Man in the 1990s.[16]:48 The music of the day was the driving force in the development of these dances. For example, 1980s rap group Gucci Crew II had a song called "The Cabbage Patch" that the dance of the same name was based off of.[16]:33 Another rap group, Digital Underground, had a song called the "The Humpty Dance" which made its respective dance popular. More recent social dances include the Cha Cha Slide, the Cat Daddy, and the Dougie. The previously mentioned dances are a sample of the many that have appeared since hip-hop developed into a distinct dance style. Like hip-hop music, hip-hop social dancing has continued to change as new songs are released and new dances are created to accompany them.

11. Ice dancing
Ice dancing is a discipline of figure skating which draws from the world of ballroom dancing. It was first competed at the World Figure Skating Championships in 1952, but did not become a Winter Olympic Games medal sport until 1976.
As in pair skating, dancers compete as a couple consisting of a man and a woman. Ice dance differs from pair skating by having different requirements for lifts, requiring spins to be performed as a team in a dance hold, and by disallowing throws and jumps. Typically, partners are not supposed to separate by more than two arm lengths; originally, partners were supposed to be in a dance hold the entire program, though this restriction has been lifted somewhat in modern ice dancing.
Another distinction between ice dance and other disciplines of skating is the usage of music in the performances; in ice dancing, dancers must always skate to music that has a definite beat or rhythm. Singles and pair skaters more often skate to the melody and phrasing of their music, rather than its beat; this is severely penalized in ice dance.
In some non-ISU competitions, solo dancers may also compete.

12. Jazz
The term "Jazz" was first applied to a style of music and dance during WWI.[1] Jazz in a dance form, however, originates from the vernacular dances of Africans when they were brought to the Americas on slave ships.[2] This dance form developed alongside jazz music in New Orleans in the early 1900s.[3] Beginning in the 1930s and continuing through the 1960s, Jazz dance transformed from this vernacular form into a theatre-based performance form of dance that required a highly trained dancer.[4][5] During this time, choreographers from the modern and ballet dance worlds experimented with the jazz dance style.[4] This includes choreographers like George Balanchine, Agnes de Mille, Jack Cole, Hanya Holm, Helen Tamiris, Michael Kidd, Jerome Robbins, and Bob Fosse.[4] All of these choreographers influenced jazz by requiring highly trained dancers to perform a specific set of movements, which differed greatly from the colloquial form of New Orleans in the 1900s.[3][4] Also during this time period (circa. 1950) jazz dance was profoundly influenced by Caribbean and other Latin American dance styles which were introduced by anthropologist and dancer Katherine Dunham.[6]

13. Krumping
The root word "Krump" came from the lyrics of a song in the 90s.[4] It is sometimes spelled K.R.U.M.P., which is a backronym for Kingdom Radically Uplifted Mighty Praise,[3][4] presenting krump as a faith-based artform.[5] Krumping was created by two dancers: Ceasare "Tight Eyez" Willis and Jo'Artis "Big Mijo" Ratti in South Central, Los Angeles, California during the early 2000s.[2][3][6][7] Clowning is the less aggressive predecessor to krump and was created in 1992 by Thomas "Tommy the Clown" Johnson in Compton, CA.[1][3] In the 1990s, Johnson and his dancers, the Hip Hop Clowns, would paint their faces and perform clowning for children at birthday parties or for the general public at other functions as a form of entertainment.[8] In contrast, krump focuses on highly energetic battles and dramatic movements[3] which Tommy describes as intense, fast-paced, and sharp.[8] CBS news has compared the intensity within krump to what rockers experience in a mosh pit.[9] "If movement were words, krump would be a poetry slam."[1] Krump was not directly created by Tommy the Clown; however, krump did grow out of clowning.[1][7][10] Ceasare Willis and Jo'Artis Ratti were both originally clown dancers for Johnson but their dancing was considered too "rugged" and "raw" for clowning so they eventually broke away and developed their own style.[2] This style is now known as krump. Johnson eventually opened a clown dancing academy and started the Battle Zone competition at the Great Western Forum where krump crews and clown crews could come together and battle each other in front of an audience of their peers.[3][9] David LaChapelle's documentary Rize explores the clowning and krump subculture in Los Angeles. He says of the movement: "What Nirvana was to rock-and-roll in the early '90s is what these kids are to hip-hop. It's the alternative to the bling-bling, tie-in-with-a-designer corporate hip-hop thing."[11] LaChapelle was first introduced to krump when he was directing Christina Aguilera's music video "Dirrty".[2] After deciding to make a documentary about the dance, he started by making a short film titled Krumped.[2] He screened this short at the 2004 Aspen Shortsfest and used the positive reaction from the film to gain more funding for a longer version.[2] This longer version became Rize which was screened at the 2005 Sundance Film Festival and several other film festivals abroad.[12] Aside from Rize, krump has appeared in several music videos including Madonna's "Hung Up", Missy Elliott's "I'm Really Hot", The Black Eyed Peas' "Hey Mama", and Chemical Brothers "Galvanize".[8] The dance has also appeared in the movie Bring It On: All or Nothing, the television series Community, and the reality dance competitions So You Think You Can Dance and America's Best Dance Crew. Russell Ferguson, the winner of the sixth season of So You Think You Can Dance, is a krumper. The original web series The Legion of Extraordinary Dancers also featured krump in season one during the fifth episode, "The Lettermakers".

14. Limbo
The word 'limbo' is used to denote a form of dance that dates back to the 1950s. Limbo is a Trinidadian English derivative of 'limber'. Limber is a sixteenth century word used in the dialectical sense to refer to a cart shaft, alluding to its to and fro motion. "Consistent with certain African beliefs, the dance reflects the whole cycle of life".[4] "The dancers move under a pole that is gradually lowered from chest level, and they emerge on the other side, as their heads clear the pole, as in the triumph of life over death".[4]

15. Mambo
Mambo is a Latin dance of Cuba. Mambo music was invented during the 1930s in Havana by Cachao and made popular by Perez Prado and Benny Moré. In the late 1940s, Perez Prado came up with the dance for the mambo music and became the first person to market his music as "mambo". After Havana, Prado moved his music to Mexico, where his music and the dance was adopted. The original mambo dance was characterized by freedom and complicated foot-steps. Some Mexican entertainers became well known dancers like Tongolele, Adalberto Martínez, Rosa Carmina, Tin Tan and Lilia Prado. Most of these accompanied Prado in live presentations or were seen in Mexican films.
The original form of the dance and music are alive and well in Cuba and in taught in dance studios in Mexico City. An example of authentic Mambo dance can be seen in the film The Motorcycle Diaries.

16. The Nutbush
he Nutbush is a dance categorized as a line dance, performed to Tina Turner's song "Nutbush City Limits" and has gained massive popularity in Australia.
In the 1950s, the dance was known as "The Madison".[1] Inspired by Tina Turner's song, a variation of the dance emerged again as "The Nutbush" in the 1970s disco era. A comparison of the step sheets, however, does not support the conclusion the dances are the same.
The song of the same name by Tina Turner is generally recognised as being 'the song' to which the dance is performed. The dance is generally performed by a group of people both male and female at a social function where dancing is appropriate. Also, the dance is performed with the dancers roughly in a box configuration, like that of a chess board.
The steps are fairly simple, such that one who does not know them can generally pick them up by watching other dancers. A key in the song and dance being a popular combination is that the song has a moderately long introduction before the strong dance beat starts, which allows people who are sitting down to get up and to the dance floor and for all dancers to assemble themselves in a grid. For comparison, see "Bus Stop" (song).

17. Odissi
The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of Emperor Kharavela. Flanked by two queens, Emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it got attached with the temple culture of Orissa. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Orissa. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi first originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It has the closest resemblance with sculptures of the Indian temples.[5]
The history of Odissi dance has been traced to an early sculptures found in the Ranigumpha caves at Udaygiri (Orissa), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Orissa.[6]

18. Palo de Mayo Dance
Palo de Mayo, or Maypole, is a celebration welcoming rain, production, new life and [2] including a maypole, which is a tall wooden pole, decorated with several long, colored ribbons suspended from the top. There is no definite answer as to how it got to Nicaragua. Many historians point out that there are many differences in the celebration and that it came from the Nicaraguan Creoles that inhabited Nicaragua's Caribbean coast, other historians believe it came indirectly from Jamaica.[3] Wherever it came from it has long been a part of Nicaragua's Afro-Caribbean culture. In Belize, plaiting of the maypole along with coconut tree climbing and greasy pole competitions. This is because most of the Creole population of the RAAS region in Nicaragua, moved to British Honduras (later to become Belize) after British secession of the region in 1787.

19. Quickstep
The Quickstep evolved in the 1920s from a combination of the Foxtrot, The Chase G Chug, Charleston, Shag, Peabody, and One-Step. The dance is English in origin, and was standardized in While it evolved from the Foxtrot, the Quickstep now is quite separate. Unlike the modern Foxtrot, the man often closes his feet and syncopated steps are regular occurrences (as was the case in early Foxtrot). Three characteristic dance figures of the Quickstep are the chassés, where the feet are brought together, the quarter turns, and the lock step.[2]p126
This dance gradually evolved into a very dynamic one with a lot of movement on the dance floor, with many advanced patterns including hops, runs, quick steps with a lot of momentum, and rotation. The tempo of Quickstep dance is rather brisk as it was developed to ragtime era jazz music which is fast-paced when compared to other dance music.
By the end of the 20th century the complexity of Quickstep as done by advanced dancers had increased, due to the extensive use of syncopated steps with eighth note durations. While in older times quickstep patterns were counted with "quick" (one beat) and "slow" (two beats) steps, many advanced patterns today are cued with split beats, such as "quick-and-quick-and-quick, quick, slow", with there being further steps on the 'and's.

20. Robot Dancing
he robot (or mannequin) is an illusionary street dance style – often confused with popping – that attempts to imitate a dancing robot or mannequin. Roboting gained fame after Michael Jackson used the dance when he performed "Dancing Machine" with his brothers, and later performed the dance during his solo career in songs such as Billie Jean.

21. Salsa
Salsa is a syncretic dance form with origins from the Cuban Son (circa 1920s) and Afro-Cuban dance (specifically Afro-Cuban rumba).[citation needed]. It is generally associated with the salsa music style, although it may be danced under other types of tropical music.[citation needed]
Salsa is normally a partner dance, although there are forms such as a line dance form "Salsa suelta",[1] where the dancers dance individually and a round dance form "Rueda de Casino" where multiple couples exchange partners in a circle. Salsa can be improvised or performed with a set routine.
Salsa is a popular social dance throughout South America as well as in North America, Europe, Australia, and some countries in Asia and the Middle East.

22. Tango
Tango is a dance that has influences from European and African culture.[5] Dances from the candombe ceremonies of former slave peoples helped shape the modern day Tango. The dance originated in lower-class districts of Buenos Aires and Montevideo. The music derived from the fusion of various forms of music from Europe.[6] The word "tango" seems to have first been used in connection with the dance in the 1890s. Initially it was just one of the many dances, but it soon became popular throughout society, as theatres and street barrel organs spread it from the suburbs to the working-class slums, which were packed with hundreds of thousands of European immigrants, primarily Italians, Spanish and French.[7]
In the early years of the 20th century, dancers and orchestras from Buenos Aires travelled to Europe, and the first European tango craze took place in Paris, soon followed by London, Berlin, and other capitals. Towards the end of 1913 it hit New York in the USA, and Finland. In the USA around 1911 the word "tango" was often applied to dances in a 2/4 or 4/4 rhythm such as the one-step. The term was fashionable and did not indicate that tango steps would be used in the dance, although they might be. Tango music was sometimes played, but at a rather fast tempo. Instructors of the period would sometimes refer to this as a "North American tango", versus the so-called "Argentine Tango". By 1914 more authentic tango stylings were soon developed[which?], along with some variations like Albert Newman's "Minuet" tango.
In Argentina, the onset in 1929 of the Great Depression, and restrictions introduced after the overthrow of the Hipólito Yrigoyen government in 1930 caused tango to decline. Its fortunes were reversed as tango became widely fashionable and a matter of national pride under the government of Juan Perón. Tango declined again in the 1950s as a result of economic depression and the banning of public gatherings by the military dictatorships; male-only Tango practice---the custom at the time---was considered "public gathering". That, indirectly, boosted the popularity of rock and roll because, unlike Tango, it did not require such gatherings.[8]
In 2009 the tango was declared as part of the world's "intangible cultural heritage" by UNESCO.[9]

23. Universal Peace Dancing
The Dances of Universal Peace were first formulated in the late 1960s by Samuel L. Lewis (SAM = Sufi Ahmed Murad Chisti, 1896–1971) and were then conducted in California.[7] The original dances were strongly influenced by Samuel Lewis' spiritual relationships with Ruth St. Denis, a modern dance pioneer, and Hazrat Inayat Khan, a Sufi master. The influence on the dances of Sufi practices such as Sema and The Whirling Dervishes are apparent, although Samuel Lewis was also a Rinzai Zen master and drew on the teachings of the major religious and spiritual traditions, including native.[3]
Dances were originally performed at camps and meetings with a distinctly new age and alternative feel but have increasingly come to be offered in diverse places of worship, schools, colleges, prisons, hospices, residential homes for those with special needs, and holistic health centers.[8] The Dances have since developed into a global movement.[4] The Network for the Dances of Universal Peace has members in 28 countries.[9]

24. Vogue
Inspired by Vogue magazine, voguing is characterized by model-like poses integrated with angular, linear, and rigid arm, leg, and body movements. This style of dance arose from Harlem ballrooms by African Americans and Latino Americans in the early 1960s. It was originally called "presentation" and later "performance".[2] Over the years, the dance evolved into the more intricate and illusory form that is now called "vogue". Voguing is continually developed further as an established dance form that is practiced in the gay ballroom scene and clubs in major cities throughout the United States—mainly New York City, Los Angeles, Atlanta, Philadelphia, Washington D.C., Miami, Detroit, and Chicago.
Formal competitions occur in the form of balls held by "houses"—family-like collectives of LGBT dancers and performers.[2][5] Some legendary houses include the House of Garcon, the House of Icon, the House of Khanh, the House of Evisu, the House of Karan, the House of Mizrahi, the House of Xtravaganza, the House of Ebony, the House of Revlon, the House of Prodigy, the House of Escada, the House of Omni, the House of Aviance, the House of Legacy, the House of Milan, the House of Infiniti, the House of Pend'avis, the House of LaBeija, the House of McQueen, the House of Ninja, and the House of Andromeda among others. ("Legendary" in ballroom terms refers to a house that has been "serving", that is, walking or competing on the runway, for twenty years or more.) The House of Ninja was founded by Willi Ninja, who is considered the godfather of voguing.[5][6] Members of a house are called "children". Sometimes children legally change their last name to show their affiliation with the house to which they belong.[2][5]

25. Waltz
There are several references to a sliding or gliding dance,- a waltz, from the 16th century including the representations of the printer H.S. Beheim. The French philosopher Montaigne wrote of a dance he saw in 1580 in Augsburg, where the dancers held each other so closely that their faces touched. Kunz Haas, of approximately the same period wrote that, "Now they are dancing the godless, Weller or Spinner."[1] "The vigorous peasant dancer, following an instinctive knowledge of the weight of fall, utilizes his surplus energy to press all his strength into the proper beat of the measure, thus intensifying his personal enjoyment in dancing".[2] The wide, wild steps of the country people became shorter and more elegant when introduced to higher society. Hans Sachs wrote of the dance in his 1568 Eygentliche Beschreibung aller Stände (1568).[1]
At the Austrian Court in Vienna in the late 17th century (1698) ladies were conducted around the room to the tune of a 2-beat measure, which then became the 3/4 of the Nach Tanz (After Dance), upon which couples got into the position for the Weller and waltzed around the room with gliding steps as in an engraving of the Wirtschaft (Inn Festival) given for Peter the Great.[3]
The peasants of Bavaria, Tyrol, and Styria began dancing a dance called Walzer, a dance for couples, around The Ländler, also known as the Schleifer, a country dance in 3/4 time, was popular in Bohemia, Austria, and Bavaria, and spread from the countryside to the suburbs of the city. While the eighteenth century upper classes continued to dance the minuet, bored noblemen slipped away to the balls of their servants.[4]
In the 1771 German novel Geschichte des Fräuleins von Sternheim by Sophie von La Roche, a high-minded character complains about the newly introduced waltz among aristocrats thus: "But when he put his arm around her, pressed her to his breast, cavorted with her in the shameless, indecent whirling-dance of the Germans and engaged in a familiarity that broke all the bounds of good breeding—then my silent misery turned into burning rage."[5]
Describing life in Vienna (dated at either 1776 or 1786[6]), Don Curzio wrote, " The people were dancing mad [...] The ladies of Vienna are particularly celebrated for their grace and movements of waltzing of which they never tire." There is a waltz in the second act finale of the opera "Una Cosa Rara" written by Martin y Soler in Soler's waltz was marked Andante con moto, or "at a walking pace with motion", but the flow of the dance was sped-up in Vienna leading to the Geschwindwalzer, and the Galloppwalzer.[7][8]
In the transition from country to town, the hopping of the Ländler, a dance known as Langaus, became a sliding step, and gliding rotation replaced stamping rotation.[9]
In the 19th century the word primarily indicated that the dance was a turning one; one would "waltz" in the polka to indicate rotating rather than going straight forward without turning.
The Viennese custom is to slightly anticipate the second beat, which conveys a faster, lighter rhythm, and also breaks of the phrase. The younger Strauss would sometimes break up the one-two-three of the melody with a one-two pattern in the accompaniment along with other rhythms, maintaining the 3/4 time while causing the dancers to dance a two-step waltz. The metronome speed for a full bar varies between 60 and 70, with the waltzes of the first Strauss often played faster than those of his sons.[10]
Shocking many when it was first introduced,[11] the waltz became fashionable in Vienna around the 1780s, spreading to many other countries in the years to follow. It became fashionable in Britain during the Regency period,[12] though the entry in the Oxford English Dictionary shows that it was considered "riotous and indecent" as late as The waltz, and especially its closed position, became the example for the creation of many other ballroom dances. Subsequently, new types of waltz have developed, including many folk and several ballroom dances.

26. Xibelani dance
The xibelani dance or shibelani dance is an indigenous dance of the Shangaan or Tsonga women of the Limpopo province in northern South Africa. The name of the dance comes from the native Xitsonga language.
Africans came up with the dance

27. YMCA
Executive producer Henri Belolo recalls that he saw the YMCA sign while walking down the street with composer Jacques Morali, who seemed to know the institution fairly well: "Henri, let me tell you something. This is a place where a lot of people go when they are in town. And they get good friends and they go out." And Henri got the idea: "Why don't we write a song about it?" However, Willis recalls it was actually Morali who, while in the studio, asked him, "What exactly is the YMCA?" Willis then quickly wrote the famous lyrics and melody and it was the last track created for the album Cruisin'.[citation needed]
Upon its release, the YMCA threatened to sue the band over trademark infringement and concerns about the song's double entendres. The organization ultimately dropped the lawsuit when it noticed that membership significantly increased in the wake of the song's popularity.[5]
The song became a number one hit throughout the world (although not in the United States where it lost to Rod Stewart's "Da Ya Think I'm Sexy?"). It has remained popular at parties, sporting events, weddings and functions ever since.
In 2011, Willis filed a notice of copyright termination to the song as lyricist under the Copyright Act of 1976 which allows recording artists and writers to reclaim their master recordings and publishing rights initially granted to record companies and publishers.
In a landmark ruling in 2012, the United States District Court for the Southern District of California ruled that Victor Willis can terminate his copyrights granted to the publishers Can't Stop Productions and Scorpio Music because "a joint author who separately transfers his copyright interest may unilaterally terminate the grant."[6] YMCA and other hits written by Willis (for Village People and other Can't Stop acts) will revert back to him beginning in At a minimum, Willis will own (recapture) 33% of his songs; this percentage may increase to 50% if the songs are proved to be written solely by Willis and Jacques Morali, with no contribution from Henri Belolo.[7]

28. Zumba
Zumba is a Colombian dance fitness program created by dancer and choreographer Alberto "Beto" Perez during the 1990s.[1]
Zumba involves dance and aerobic elements. Zumba's choreography incorporates hip-hop, soca, samba, salsa, merengue, mambo, martial arts, and some Bollywood and belly dance moves. Squats and lunges are also included.[2] Zumba Fitness, an organization that sells Zumba videos and products, does not charge licensing fees to gyms or fitness centers.[3] Approximately 14 million people take weekly Zumba classes in over 140,000 locations across more than 150 countries.[4]