DANCE.

The Elements of Dance

Elements: Time, Space and Force
The Language of Dance Elements: Time, Space and Force Choreographic Forms: Theme and Variations, Rondo and Narrative Styles: (characteristics of) Ballet, Tap, Jazz and Modern

TIME: The relationship of one movement or part of a movement to another. Includes pulse, speed (or tempo), duration, rhythm, and phrases. Pulse: the ongoing underlying beat Tempo: The speed with which a movement is performed Duration: the length of time a movement lasts: a long time, short time or something in between Rhythm: a flow of sound or movement having regular accented beats; a movement or activity in which some action repeats regularly; patterns made by arranging long and short sounds or strong and light sounds Syncopation: a temporary accenting of a normally weak beat in music to vary the rhythm Phrasing: a grouping and articulation of a group of notes Accent: a movement or shape performed in such a way as to give emphasis.

SPACE: the area of space occupied by the dancer’s body; includes direction, size, pathways, levels and shapes. Direction: which way a dancer faces or moves; e.g., forward, backward, sideways, up and down Size: magnitude of a body shape or movement; from small to large movements Pathways: patterns made as a dancer moves through the air or on the floor (straight, vertical, horizontal, zig-zag); can be made with locomotor or non-locomotor movements, separately or in combination. Levels: the vertical distance from the floor. Movements take place on three levels: high, middle or low and deep. Shapes: the form created by the body’s position in space. Aspects of shape are open/closed, symmetrical/asymmetrical, angular and curved.

FORCE: (energy) degree of muscular tension and use of energy while moving.
Dynamics: how a movement is done Flow: continuity of movement (bound/free flowing) Weight: strength (force) lightness of movement (heavy/light)

Choreography is the art of arranging dances
Choreographic Forms Choreography is the art of arranging dances Theme: the basic idea of the play, which the author dramatizes through the conflict of characters. Rondo: a dance structure with three or more themes where one theme is repeated. ABACAD Narrative: choreographic structure that follows a specific story line to convey specific information through a dance Variations: contrasts in the use of the dance elements, repetitions.

History of Dance

Ballet Ballet serves as a backbone for many other styles of dance, as many other dance genres are based on ballet. Ballet is based on techniques that have been developed over centuries. Ballet uses music and dance to tell stories. Ballet dancers have the ability to transport an audience to another world. Ballet is a formalized form of dance with its origins in the Italian Renaissance courts of the 15th and 16th centuries. Ballet spread from Italy to France with the help of Catherine de' Medici, where ballet developed even further under her aristocratic influence In the late 1700’s, Jean-George Noverre composed 150 ballets which emphasized acting over dance technique.

Isadora Duncan Early Modern Dance
Modern dance in the US started about the turn of the 20th c. as a revolt against ballet and “show” dance, or vaudeville. It is uniquely American, although a similar, parallel movement evolved in Germany. Modern dance is based on the idea of free artistic expression for the individual Isadora Duncan

Forerunners of Modern Dance
In the early 1900’s, modern dance was spearheaded by Isadora Duncan, Loie Fuller, Maude Allan, Ruth St. Denis, and Ted Shawn. These artists all began performing in the popular theatres of the day, but were drawn to making more serious work. They emphasized creative use of lights, costumes, and décor.

"Ball" is derived from the Latin word “ballare” which means “to dance
Modern ballroom dancing comprises of the five dance styles, and they are slow Foxtrot, Viennese waltz, modern Waltz, Tango, and Quickstep

CLASSIFICATIONS

The Cha Cha is a lively, flirtatious ballroom dance full of passion and energy. The classic "Cuban motion" gives the Cha Cha its unique style. Partners work together to synchronize each movement in perfect alignment. The Cha-cha-cha is the Latin American dance of Cuban origin. It is danced to the music of the same name introduced by Cuban composer and violinist Enrique Jorrin in 1953

The Foxtrot is a ballroom dance that is lots of fun and simple to learn..
an excellent dance for beginners. The Foxtrot is a smooth dance in which dancers make long, flowing movements across the floor. popularized by actor Harry Fox. Foxtrot was originally performed to big band music. However, after the release of the song “Rock Around the Clock” during the 1950s, foxtrot became synonymous with rock and roll music. In the years that followed, it was split into two forms, namely, the slow foxtrot, which is now referred to as foxtrot, and the fast foxtrot, which is now called quickstep.

Tango is a ballroom dance that originated from Argentina
Tango is a ballroom dance that originated from Argentina. here are two broad styles of modern day ballroom tango, which are the American Style and the International Style. Even though both styles are very popular, the International style is preferred in dance competitions. The American style, on the other hand, gives the dancers more freedom, whereby open moves such as alternate hand holds, underarm turns, and side-by-side choreograph can be executed.

The Paso Doble is one of the liveliest ballroom dances, originating in southern France. It is modeled after the sound, drama, and movement of the Spanish bullfight.

The Rumba is considered by many to be the most romantic and sensual of all Latin ballroom dances. It is often referred to as the "Grandfather of the Latin dances.“. A new ballroom dance, the Rumba, emerged during the 1940's. It had both African and Latin (mostly Cuban) influences, and was considered the "provocative" dance of the decade's youth. The steps involved rolling of the hips and movements in small, confined spaces. 6.Rumba

Samba: Possibly the most popular of all Brazilian ballroom dances, the Samba is popular with young people as well as older generations. The Samba can be performed solo or with a partner.

The Waltz is one of the smoothest ballroom dances
The Waltz is one of the smoothest ballroom dances. It is a progressive dance marked by long, flowing movements, continuous turns, and "rise and fall." The dance is so graceful and elegant, Waltz dancers appear to glide around the floor with almost no effort.

Viennese Waltz, or the Wiener Walzer in German, is another version of ballroom waltz. It incorporates various types of rotary dance moves which include turning in clockwise and anti-clockwise directions. When performing these moves, dancers execute non-rotating change steps.

Jive is a ballroom dance style that originated in the United States from
African-Americans. It is a lively form of Swing dance, and a variation of the Jitterbug. In attempt to lighten the spirits of war-stricken citizens, the "Jive" dance swept the nation. With African-American influences, the dance had characteristics of both Swing and the Lindy-hop. It consisted of small jumpy-quick movements, and was considered the fastest dance of the time. The major difference between the Jive and other dances of the time period was the fact that the dance did not travel over a large amount of space.

The Mambo is one of the most sensual and emotional Latin American ballroom dances. Swaying hip movements, facial expressions, arm movements and holds all add to the sensuality of the dance. The Mambo dance originated in Cuba where there were substantial settlements of Haitians. In the back country of Haiti, the "Mambo" is a voodoo priestess, who serves the villagers as counselor, healer, exorcist, soothsayer, spiritual advisor, and organizer of public entertainment. However, there is not a folk dance in Haiti called the "Mambo."

1920’s Dances

The 1920s was an era of war and hard times, so something had to be done to keep their minds off of what was happening in the real world. Dancing was the perfect solution. All across the country jazz flourished. This was often called the Golden Age of Jazz. Couples would dance the fox trot, one step, two step, grizzly bear, and the bunny hug. The longest dance record ever recorded was a record of 3 weeks of dancing.

The Roaring Twenties was alternatively known as The Jazz Age
The Roaring Twenties was alternatively known as The Jazz Age. This "movement" in which jazz music grew in popularity by immense standards in the U.S., also influenced other parts of the world.

In 1913 the first swing dance was composed
In 1913 the first swing dance was composed. It was called the Texas Tommy. Swing dances would become increasingly popular over the years and eventually the very popular Charleston would be composed.

Types of Swing Dance Lindy Hop Balboa Charleston Shag East Coast Swing
Shim-Shim Big Apple

Swing Dancing Swing dancing was especially popular in the 1920s, 30s, and 40s and was associated with jazz music of the times. Just as jazz had African and African-American roots, so did much of Swing dancing, although some dances, notably the Balboa, originated in the Anglo-American community. Left: A popular dance from the post war era known as The Astaire, named after the famed Hollywood actor and dancer, Fred Astaire.

In the Jazz Age there were a few individuals who captured the quintessential essence of the era. One such person was Bee Palmer, musician, songstress, Ziegfeld Follies performer, dancer, and song writer who had an all-around beauty and naughtiness that made her a very popular act in the Roarin' Twenties Known as the Shimmy Queen early in her career.

The name "Charleston" originated in Charleston, South Carolina
The name "Charleston" originated in Charleston, South Carolina. In the beginning, this dance was considered scandalous and irreverent. The 1920's were the prohibition period and to enter the speakeasies you needed to know the secret password. This is where you could see the flapper girls performing the Charleston. However, the Charleston was short lived due to its controversy, and so it evolved with kicks and hops and more and more people began to pair up doing side by side movements.

Originally, the Charleston was a black folk dance known throughout the American South and is especially associated with Charleston, South Carolina. Its’ movements have strong parallels in dances of Trinidad, Nigeria, and Ghana. In its’ early form, the dance was performed to complex rhythms beaten out by foot stamps and hand claps. In 1920 professional dancers adopted the dance, and it became a national craze after appearing in the black musical Runnin’ Wild (1923). As a fashionable ballroom dance it lost some of the exuberance of the earlier version.

The Charleston, a lively dance with origins in South Carolina and African American styles, became immensely popular. The dance, which can be done solo, with two, or in a group, received attention after being shown in Runnin' Wild, a 1923 musical. One man, John Giola, from New York managed to do the Charleston for 22 hours and 30 minutes! This particular dance was introduced to Europeans in Other dances of the era included the Cake-Walk, the Turkey Trot, the Black Bottom, and the Bunny Hug. With the increased popularity of dances, events such as dance marathons were also created.

Dance marathons were something everyone went to every weekend
Dance marathons were something everyone went to every weekend. Extremely popular during the great depression compete for money prizes, as well as stars seeking fame, basically anyone could enter. A marathon consisted of a emcee, band and or Phonograph, Nurses, Doctor, Cots, Dance floor and Contestants, Manicurists, Barbers, Podiatrists etc. The dance marathon did not display humanity at its best. After the 6th or 7th day of straight dancing the women would grow to hate their partners, and would scratch, and scream at the men, while the men resorted to more physical violence. Sleeping was permitted, but it had to be done on the dance floor, and only one partner at a time. Some contestants were professional dancer/actors longest running marathon lasted for 22 weeks, 3 1/2 days. A Dance Marathon is not crazy, but to dance for two weeks is. There was a dance contest in Mary Promitis was on the news because she "Pickled" her feet in vinegar and salt water to help her dance for two weeks nonstop. A quote from New York World stated "Of all the crazy competitions ever invented, the dancing marathon wins by a considerable margin of lunacy."

In the late 1920's in Harlem, Lindy Hop was breaking out wherever people were partying. But it wasn't until the opening of the Savoy Ballroom that Lindy Hop got its name and a home. At the Savoy, the Lindy Hop got hotter and hotter, as people (including the late Malcolm X and friends) danced to the top Big Bands. The dancers created new steps for the dance. Popular Saturday night competitions at the Savoy and Apollo pushed good dancers to greatness. As it is often said, a young dancer named Frankie "Musclehead" Manning created the first airsteps (aerials), and the Lindy Hop "soared."

Jitterbugs One of the most popular dances to come out of the African-American community in Harlem, the Lindy, served as the basis for numerous variations that evolved into other swing dances. The term jitterbug, which is popularly associated with a particular dance, actually referred to swing dancers themselves. It was supposedly coined by band leader, Cab Calloway, who said the dancers on the floor looked like a bunch of jitterbugs.

The Baltimore Buzz The Baltimore Buzz was a new style of music, that also created a new style of ragtime dancing. Florence Mills, a popular entertainer, first brought attention to the dance in her performances. It consisted of partner dancing with simple footwork.

The Camel Walk The Camel Walk brought about a new genre of "animal ragtime dancing" due to it's movement. It was popular among many college student's during the 20's, but looked down upon by many traditional elders. The movements include weirdly jerking one's legs while moving slowly forward. There was a "Camel Walk" revival during the 1960's when it was popularly used by James Brown.

The Shimmy The shimmy was the landmark dance for many flappers during the roaring 20's. Now that young women wore short and fringe-accented dresses, they created a dance to show-off their new style. The dance was mostly involved in the twisting of the torso, and unheard of body movement before time. Considered one of the most "vulgar" dances of the time, it was banned by many elders in many areas.

WW II was the major reason that Swing dancing became an American Dance
The radio had already made Swing music enormously popular but the spread of the dancing lagged far behind. Back in the 30's there was no television to spread images of the dancing around the country quickly. However by the start of the war, all of the large cities had become Jitterbug hotbeds. When GIs, sailors, and flyers enlisted to fight for our country, they were sent to major ports for a temporary stay before departure. These service men & women headed straight for the USO dance halls since dancing was by far the major form of recreation. As the 40s began, many GIs from all parts of the country now saw the Lindy/Jitterbug for the first time. Once they saw it however, they didn’t waste any time learning how since dancing was the quickest way to break the ice in an age when time was very precious. Swing dancing had arrived! The Lindy also acquired yet another name, "Jive", the British slang word for "Jazz". Although its impact on England was the strongest, as one country after another was liberated, the Lindy appeared in France, Italy, the Philippines, Japan, and yes, Germany. American culture had found a very peculiar way to make its Swing Dance international!

Shag Dance

History of the Shag The term Shag originally referred to a nationally popular dance of the 1930’s (not the 70’s). Similar to the Jitterbug, which is a swing dance. In the 40’s and early 50’s dancers personalized their steps and had their own signature marks. In the 50’s the Shag became more and more standardized. People were counting steps, turns and paying attention to every detail. In the late 50’s the teenage-rebel’s and beach party goers were shagging on every boardwalk and pavilion dance floor they could find! Harry Driver was the “Father of the Shag”-- One of the most popular shag dancers from the 50’s.Won about every dance contest he entered

The Balboa This dance, famous for its smooth tight footwork and "chest-to-chest" close dancing, originated in a large ballroom in Balboa Island, California. It was created due to the crowded ballrooms, and limited room for couples to dance and swing their partners. The Balboa has also earned its fame as the dance performed by the cartoon character Popeye.

The Carolina Shag This dance is known as the official dance of the Carolinas, originating in North Myrtle Beach. It was commonly labeled the "man's dance" because the man typically did all the turns and fancy footwork. The shag was danced to beach music. Due to the popularity that this dance still has today, this is the oldest video that was available, but the idea is still given.

Big Apple This dance originated in Columbia, South Carolina among the black community. It eventually was picked up among the whites. The Big Apple consists of individual jazz steps, which are called out by a leader among a group of dancers.

The Bebop Revolution The 1939 recording of "Body and Soul" by Coleman Hawkins is an important antecedent of bebop The early 1940’s were a time of important change in jazz. Just as the Swing Era was in full bloom, a musical revolution was brewing in Harlem.

TAP During the 1940's, tap dancing hit it's peak. Originally performed by mostly African-Americans, the dance gained popularity throughout American culture. The style of dance was featured in many movies, making it even more popular. The most famous tap dancer of the time was Ann Miller, who was listed as the world's fastest tapper: 598 taps per minute.

Fred Astaire Fred Astaire is considered by many to be the first icon of dance in America. Although he was popular throughout the 1930's with his partner Ginger Rogers, he continued to lead the ballroom phenomena in the 1940's. He was featured in many Broadway plays and films, including the renowned "The Barkleys of Broadway" (1949), his only movie in technicolor.

The 50s

The TWIST Though the song "The Twist" wasn't released until the 1960's, the official "twist" dance was very popular throughout the 1950's. A favorite among teenagers, the dance featured twisting movements of the hips while pivoting the feet. Chubby Checker was famous for this

The HAND JIVE The song "Willy and the Hand Jive" by Johnny Otis came out in 1958 and started one of the most unique dance crazes in history; In fact, the dance is performed sitting down and features a series of hand and arm movements. Once you are able to do the moves and repeat them, baby you can jive!

The STROLL This dance was considered the "partnering dance" of the decade. Boys were on one side of the room while girls stood on the other making a pathway between the two. One by one, a girl would pair up with a boy and "stroll" side by side down the pathway the other dancers created.

Alvin Ailey Revelations
Ailey created an all-Black dance company in the late 1950s; it became integrated in 1962. He wanted to create opportunities for African-Am. to perform concert dance. His style blends elements of modern, ballet, jazz, and African, and stresses Black themes. Despite his death in 1989, his company and school are still going strong and his work is known around the world. His signature work, Revelations, is based on spirituals and the African American experience Revelations

Hip-Hop Hip-hop is a dance style, usually danced to hip-hop music, that evolved from the hip-hop culture. Hip-hop includes various moves such as breaking, popping, locking and krumping, and even house dance. Improvisation and personal interpretation are essential to hip-hop dancing.

Tecktonki i sa style of dance combining vogue breaking (top rock), and popping (waving) that started at the Metropolis nightclubs in Paris, France Like hip-hop dance, it is associated with urban youth and tecktonik dancers do engage in battles both on the street and in the clubs but due to its music and club origins, this style is more appropriate under the house dance category. s

DANCE THE ART OF DANCING
It focuses on the discussion about the art of dance with particular objective of creating appreciation for the combined arts of body movement and music.

Modern Modern dance is a dance style that rejects many of the strict rules of classical ballet, focusing instead on the expression of inner feelings. Modern dance was created as a rebellion against classical ballet, emphasizing creativity in choreography and performance.

Belly dancing Belly dance or Bellydance is a Western-coined name for a traditional Middle Eastern dance, especially raqs sharqi . One theory is that belly dance may have roots in the ancient Arab tribal religions as a dance to the goddess of fertility. In the West, the costume most associated with belly dance is the bedlah (Arabic for "suit"). The hip belt is a broad piece of fabric worn low on the hips. It may have straight edge, or may be curved or angled.

Country and Western Country and western dance includes several dance forms, usually danced to country-western music. If you've ever been to a country and western club or tavern, you've probably seen a few cowboy boot-wearing dancers twirling around the dance floor with big smiles on their faces.

Folk Dance Folk dance refers to a variety of dances developed by groups or communities, as opposed to being made up by a choreographer. There are several types of folk dance including clogging, English country dance, international folk dance, Irish dance, Maypole dance, Morris dance, Nordic polka dance, square dance, and many more. Folk dances are often performed at social events.

Official American folk Dance June 1, 1982
Square Dancing Official American folk Dance June 1, 1982

History of Square Dancing
Appalachian big set Involves square dancing in circles of four Came before the square of eight we know today French Quadrille Circle of eight Danced with visiting couples Appalachian big set and French quadrille Combined to form western square dancing Because the dance was performed farther west as our country was settled. Early settlers of the eastern seaboard Wanted no association with their mother countries Therefore, two types of square dancing French quadrille Appalachian big set

Square Dance Calling Singing Call Patter calling
usually has seven choruses, all of which are sung They have an opening figure, a main figure done by two head couples for two verses, a break, a main figure done by two side couples for two verses, and an ending. Patter calling In the patter call, the caller directs the dancers through many formations that eventually bring them back to their home positions. Patter calling presents an element of surprise to the dancers. They don’t know what sequence the caller is following and this challenges their skills. When making up calls, think about eight moves at eight counts a piece for a total of 64 counts. This is the usual length of a chorus in your music

Dance on a Lighter Note…

INDIAN CLASSICAL DANCES
Dance and music are an integral part of Indian life. The Natya Shastra, written by Baratha between 2 B.C. and 2 A.D., is the source for all forms of Indian classical dance. It is regarded as the fifth Veda. THE VARIOUS DIFFERENT TYPES ARE BHARATNATYAM KATHAKALI KUCHIPUDI MOHINIYATTAM YAKSHAGANA ODDISI KATHAK MANIPURI

LATIN AMERICAN DANCES:
These are essentially divided into two categories: The authentic, traditional dances that fall lately into the domain of the folkloric, many of these dances vary from region-to-region, and generally involve a rhythmic character as opposed to a set of choreographic distinctions. The standardized expression of popular Latin dances embraced by cultures other than Hispanic, such as the Cha Cha, Samba, Rumba, Bolero, Mambo and Paso Doble. These dances are danced both on a social and competitive level. The choreography of Latin America dances varies greatly according to region and time. However, it is possible to indicate the principal types of choreographic figures described in such terms as: amorous dances, in which the partners hold each other closely,handkerchief dances, in which the partners dancing apart from each other wave handkerchiefs, and so on.

Flamenco

BAMBUCA: The national dance of Colombia, South America
BAMBUCA: The national dance of Colombia, South America. It is characterized by cross accents in the music. It was formerly danced only by the Natives but became a ballroom dance to be added to the gentle Pasillo, a favorite with Colombian society. BEGUINE: A type of Rumba in which the accent is on the second eighth note of the first beat. Origins spring from Martinique and Cuba. BOLERO: Originally a Spanish dance, the pace was changed in Cuba initially and later again. It is now present as a very slow type of Rumba rhythm. The music is frequently arranged with Spanish vocals and a subtle percussion effect, usually implemented with Conga or Bongos. BOLERO SON: Just what the name implies. It starts as a Bolero and finished as a Son. The Son is faster, with sharper percussion and is less subtle than the Bolero. BOTECITA: The "Little Boat." It is Cuban dancing with a very exaggerated swaying of the shoulders. BULERIAS: A Spanish Gypsy dance. Livelier and more spirited than most of the repertoire. It's usually danced by a whole group and could be called a Flamenco jam-session.

CARIOCA: A native of Rio de Janeiro
CARIOCA: A native of Rio de Janeiro. Also the abbreviation of the Brazilian dance, the Samba Carioca. At the Carioca Carnival, from the moment the music starts until it dies off, people get together in cordoes (chains or cues). Holding hands in this fashion they sing and sway their bodies to the Samba-Carioca and the Marchas. CHA CHA: From the less inhibited night clubs and dance halls the Mambo underwent subtle changes. It was triple mambo, and then peculiar scraping and shuffling sounds during the "tripling" produced the imitative sound of Cha Cha Cha. This then became a dance in itself. Mambo or triple Mambo or Cha Cha as it is now called, is but an advanced stage in interpretive social dancing born of the fusion of progressive American and Latin music. CHAPANECAS: A Mexican Folk dance from the province of Chiapas. Its popularity is due to the charming air plus the audience participation during the time the dancers request the audience to clap hands with them. It is based on Spanish patterns. COMPARSA: Afro-Cuban dance play. CONGA: An African-Cuban dance characterized by the extreme violence of accents on the strong beats. The Conga beat thus used has a rhythmic anticipation of the second beat in every other measure. The Conga was very popular in the late thirties. It was performed in a formation known as the Conga chain. The steps are simple, one, two, three, kick at which time the partners move away from each other.

CORRIDOS: The musical ballads called the Corridos play a very important part in
Latin American musical life. The words are often topical and relate to political events. It has been suggested that the word Corrido is derived from the word correr, to run, because the singer has to run for his life when caught in the process of reciting a subversive ditty. Corridos are particularly popular in Mexico. CUMBIA: slave dance, lively, origin black dance music from coast of Colombia, now mestizo (blood mixture), irresistible, compulsive backbeat. In this, Cumbia resembles rocksteady forms from Jamaica much more strongly than it does the fluid subtleties of salsa and Afro-Cuban music. As a dance the cumbia is characterized by the dancers' feet remaining directly one in front of the other practically all the time. But mostly in clubs nowadays (as opposed to "folkloric" settings) people perform salsa dance steps to the music. DANZON: A Cuban dance which starts slowly and gradually accelerates at certain melodic intervals between chorus and verse: the dancers stop to talk but remain on the floor until a certain beat tells them to resume their dances. This dance, which might be called a Rumba variation faster. Its stately music is popular in the tropics because it is not strenuous. It is know as the aristocrat of all Cuban Dancing because of its dignified and stately appearance. (A variation of the Spanish Danza which is a much slower ballroom dance.)

Cumbia

DOMINICAN MERENGUE: The dance of the Dominican Republic is interpreted by the
dancers as a slight limp. It became popular in It was popular throughout the Caribbean and South America in the 1940s and 1950s. Also known in Haiti, Puerto Rico, Colombia and Venezuela. It has its origins in Afro-Cuban rhythms and dances. There is a belief that the tumbao, two steps of the merengue was caused by trying to dance like the man who lost his leg in a battle and danced with a stick leg. ESCONDIDO: An Argentine dance called Escondido (literally hidden for in it the female partner hides from the male) belongs to the Gato type rhythmically and choreographically. FADO: Originally a Portuguese song and dance absorbed by Latin America and especially by Brazil as a pattern for the Samba. The steps of the Fado are based on a hop, a skip and a kick. It makes a charming exhibition folk dance. FANDANGO: Most important of the modern Spanish dances, for couples. The dance begins slowly and tenderly, the rhythm marked by the clack of castanets, snapping of fingers, and stomping of feet. The speed gradually increases to a whirl of exhilaration. There is a sudden pause in the music toward the end of each figure when the dancers stand rigid in the attitude caught by the music. They move again only when the music is resumed. This is also characteristic of Seguidillas, similar to Jota. FARUCA: The dance of Spain most suited to a man. It is a pure Gypsy dance consisting of heel work, fast double turns and falls. It is considered one of the most exciting of all the same Flamenco dances.

GATO: Argentine dance performed by two couples
GATO: Argentine dance performed by two couples. In rhythm it resembles a very fast Waltz in steady quarter notes. A very popular form is the Gato con Pelaciones - that is Gato with stories. The stories are the diversified content; amorous, philosophical or political. GUAJIRA: This dance was originally a Andalusian dance derived from Sevillanos. This dance which was played fast was a Cuban Country dance as well, performed in Conga rhythm to the music marked Son Guajira. In ballroom terminology a Rumba is slow to medium tempo, or danced as a very slow Cha Cha, with subtle body movements. GUARACHA: This lively Cuban song and dance of Spanish origin is performed and danced by the more expert and agile dancers only, as its speed is rather imposing. a) An old Spanish dance in two sections. One is lively triple and the other in double. b) A modern Rumba usually played very fast. HAITIAN MERENGUE: Haitian music stems directly from African rhythms. Divested of mysticisms, its traditions and beliefs from the folkloric basis from which the Haitian Merengue derived. It is simple and smooth in its slow version and can be colorful and exciting in its faster forms.

Merengue

HAUPANGO: The Mexican Haupango is ultimately traced to the Spanish Son, but its
rhythm is definitely of the New World. The Haupango creates cross rhythms of great complexity. It makes a most interestinglively dance. IBO: The Ibo rhythm belongs to the faster Haitian Merengue group of dancers. It is colorful, native in style and can be classified as "Caribbean dancing." A pronounced movement of hips and turning of the head is typical. JARABE: The Jarabes are typical Mexican Folk dances. Usually done by a couple, it depicts a flirtation and conquest. It is well known in America by its other name, "The Mexican Hat Dance." The Mexican Jarabe is a descendant of the Spanish Zapateado, and its rhythm resembles that of a Mazurka. JARANA: Folk dance of Yucatan, Mexico. It is possibly closer to the melo-rhythmic foundation of the ancient Mexican songs than any other native air. The verses of the Jarana are often in the Mayan language. The word Jarana means merry chatter. As an exhibition ballroom dance it can be placed alongside La Raspa and La Bamba, its cousins.

Jarabe Mexican Hat Dance Song

JOTA: Native folk dance Aragon, Spain
JOTA: Native folk dance Aragon, Spain. Performed usually by one or more couples and consisting of hoppy steps. KANKUKUS: Afro-Brazilian dances of the Mestiso Indians. LA CUECA: La Cueca is a Chilian dance. Originally it was danced with handkerchiefs only, but during recent year sit has enjoyed popularity on the ballroom floor. LA RASPA: A Mexican dance from Vera Cruz, which reminds us of our own square dancing except that it has a peculiar hopping step of its own. It has enjoyed a well merited popularity for a number of years as a fun dance. LAMBADA: This latest dance crazy has its roots from the Northeast Coast of Brazil. The exciting look of this dance on European television took the Continent by storm in the late 80's. Introduced to the U.S. by Arthur Murray personnel, its lighthearted Brazilian/Caribbean beat combines the flavor of the Samba with the sultry passion of the Rumba. MACUMBO: An African Brazilian ritual and like dances belonging to it.

MAMBO: The fusion of Swing and Cuban music produced this fascinating rhythm and in
turn created a new sensational dance. The Mambo could not have been conceived earlier since up until that time Cuba and the American Jazz were still not wedded. The Victor records of Anselmo Sacaras entitled "Mambo" in 1944 were probably the beginning and since then other Latin American bandleaders such as Tito Rodriguez, Pupi Campo, Tito Puente, Perez Prado, Machito and Xavier Cugat have achieved styling of their own and furthered the Mambo craze. The Mambo was originally played as any Rumba with a riff ending. It may be described as a riff or a Rumba . MAXIXE: A Brazilian dance first introduced in Paris in In this dance strict attention must be paid to the carriage of the head and the posturing of the arms. MILONGA: The Milonga is a Spanish dance first originated in Andalusia. As the fascinating music traveled the world it assumed various aspects. In Buenos Aires the Gauchos danced it in what is called a closed position, in the lower class cafes. Here their interpretation of it emerged into what today is our Tango. The Milonga enjoyed a popular resurgence some years ago through the Juan Carlos Copes group who performed it the world over.

http://www. imambo. tv/mambo/index. php
Mambo

MODINHA: Among the Brazilian dances there is the Modinha which is the diminutive
of Moda (Mode or Style) and is directly derived from the Portuguese songs and dances of that name. The early Modinhas were greatly influenced by Italian music. The present day Modinhas are sentimental in mood and similar to the Cuban Boleros. PACHANGA: In 1955 Eduardo Davidson, a Cuban Colombian introduced the Marencumbae, a Colombian dance in Cuba. The Original music was called La Pachanga with Marencumbae underneath it. He made up patterns for this dance by watching musicians keeping time on the band stand. It was then introduced into the United States to play for the Cuban Embassy's annual affair at the Waldorf. He was simultaneously booked at the Palladium. He had with him two terrific boy dancers. These boys came out as part of the show and did Cha Cha's with swiveling and trucking movements. People had never seen this type of Cha Cha before and asked what it was. Since Fajardo had a Charanga band and spoke no English, his reply was Charanga. After a big conference of dancers in 1956 the Pachanga was introduced, but they found out that the Charanga and the Pachanga were interchangeable. So instead of some calling it Charanga and others Pachanga, they decided that the music would be called Charanga and the dance Pachanga. A Charanga band is the typical Spanish Danzon type band that only played in salons, and the others that played far out and wild were called "orchestra typical."

PASILLO COLOMBIANO: A Colombian dance very similar to the Cuban Bolero.
PASO DOBLE: The Spanish March or One Step. It makes an especially good exhibition routine when the man styles his body movements to look like a bullfighter's and leads his partner in and out of the patterns as if she were a cape. PASO DOBLE FLAMENCO: The same as the Paso Doble but it is not the ballroom version. It is purely exhibition dancing and sometimes castanets are used or flamenco arm movements. PLENA: Several distinctive airs have originated in Puerto Rico. Among them the Plena, which is a topical ballad similar to the Mexican Corrido. When danced it resembles a Bolero. PORRO: A Colombian dance. It is similar to the Cuban Rumbas in that it Expresses various activities or tells stories.

RUMBA: The Rumba was originally a marriage dance
RUMBA: The Rumba was originally a marriage dance. Many of its movements and actions which seem to have an erotic meaning are merely depictions of simple farm tasks The shoeing of the mare, the climbing of a rope, the courtship of the rooster and the hen, etc. It was done for amusement on the farms by the black population of Cuba. However, it became a popular ballroom dance and was introduced in the United States about It was the Americanized version for the Cuban Son and Danzon. The characteristic feature is to take each step without initially placing the weight on that step. Steps are made with a slightly bent knee which, when straightened, causes the hips to sway from side to side in what has come to be known as "Cuban Motion." SALSA: This is a favored name for a type of Latin music which, for the most part, has its roots in Cuban culture and is enhanced by jazz textures. The word, Salsa, means sauce denoting a "hot" flavor and is best distinguished from other Latin music styles by defining it as the New York sound developed by Puerto Rican musicians in New York. The dance structure is largely associated with mambo type patterns and has a particular feeling that is associated mainly with the Clave and the Montuno.

Salsa Rumba Salsa clip

SAMBA: This Brazilian dance was first introduced in 1917 but was finally adopted by
Brazilian society in 1930 as a ballroom dance. It is sometimes referred to as a Samba, Carioca, a Baion or a Batucado. The difference is mostly in the tempo played since the steps in all three dance are very similar. The style is to bounce steadily and smoothly. They say that the Samba was introduced in the United States in 1939 by the late Carmen Miranda. SEVILLANAS: A Spanish folk dance consisting of seven "Coplas." Each Copla is a little dance in itself divided into three parts. Each part begins with an "Entrada" and ends with a "Pasada". It is performed by couples and furnished an excellent foundation for all forms of Spanish dance. SPANISH WALTZ: A smoothly danced waltz in open position using the arm movements of the classic Spanish dance.

TANGO: Continental/English - See INTERNATIONAL TANGO
There are essentially three types of Tango - Argentine, American and International Style. Argentine Tango: (arrabalero) A dance created by the Gauchos in Buenos Aires. It was actually an attempt on their part to imitate the Spanish dance except that they danced it in a closed ballroom position. The Tango caused a sensation and was soon to be seen the world over in a more subdued version. American Tango: Unlike the Argentine Tango, in which the dancer interprets the music spontaneously without any predetermined slows or quicks, the American Tango features a structure which is correlated to the musical phrasing. The dance is executed both in closed position and in various types of extravagant dance relationships which incorporate a particular freedom of expression that is not present in the International style. International Tango: This is a highly disciplined and distinctively structured form of the Tango which is accepted worldwide as the format for dancesport events. The dancers remain in traditional closed position throughout and expresses both legato and staccato aspects of the type of music appropriate to this style.

EVOLUTION OF THE TANGO:
The history of the Tango can be traced surprisingly enough to a country dance of 17th Century England. The English country dance became the CONTREDANSE in France, and this in turn was called the CONTRADANZA in Spain or later simply DANZA. When imported by the Spaniards into Cuba, it became the DANZAHABANERA. During the Spanish American War, a popular dance called the Habanera del Cafe appeared which was the prototype of the Tango. The whole genealogy is presented in the following chronological table: Country Dance : England Contredanse : France Contradanza : Spain Danza : Spain Danza Habanera : Cuba Habanero : Habanera del Cafe : Tango : 1910

Tango Tango Dance File

XONGO: (CHAN GO) A dance of the Macumba ritual in Brazil
XONGO: (CHAN GO) A dance of the Macumba ritual in Brazil. It is in honor of the jungle god Xango. XTOLES: (CHI TOL LES) The Mayan Warriors dance of Mexico. YAQUI INDIAN DANCES: Dances of the Indians of Sonora, Mexico, among which El Venado is the most popular. It depicts the fascination of a young deer for a campfire. He finally loses his life by jumping into it. YURUPARI: Ritual dance of the Indians of the Amazon basin said to protect the young male dancers against feminine seduction. The rites of Yurupari are held by the Indians in the jungles of Brazil. The African Brazilians practice their fetishistic ritual of the macumba from which stem many Brazilian dance patterns. The Spanish and Portuguese contribute the rituals of their Christian religion and all three now have enriched the dances we learn and enjoy in the ballroom. ZAMBRA: The Zambra has a definitely Moorish origin. Prizes were given to the youth who could dance the Best Zambra with his Moorish maiden during the Caliphate of Cordoba. Today it is the dance of the Gitano women of Spain.

of intricate stomping. (See photo)
ZANDUNGA: The songs and dances in Waltz time of Southern Mexico. The lyrics tell a story and more often funny situations between persons are rhymed and danced. ZAPATEADO: The Spanish and Flamenco dances of Spain in which rhythmic patterns are made with the heel and ball of Filigrano. Also a man's dance which consists purely of intricate stomping. (See photo) A distinctive type of footwork that originated in Spain. When dancing the zapateado the performers skillfully drive the heels of their shoes or boots into the dance floor, pounding out swift, often syncopated rhythms which complement the different sounds of the musical instruments. The zapateado can reduce even the most sturdy dance floor to splinters because of the vigor with which it is danced.

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