Histories and Characteristics
Of Ballroom Dances

Cha Cha

The Cha Cha, originally from Cuba, is a cheeky, lively and flirtatious dance, with a catch-me-if-you-can atmosphere, light and bubbly. It has distinctive Chassez (cha cha cha) and syncopation where 5 steps are danced to four beats to make the counts of 'two, three, cha cha one' description. Since the Cha Cha is derived from the Rumba and Mambo dances, Cuban Motion is an important aspect of this dance as well as maintaining quick compact steps. Cuban Motion contains the hip motion resulting from the alternate bending and straightening of the knees.

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Rumba

Also from Cuba, this is the dance of love and eroticism between a man and a woman. The Rumba relies on the age-old premise of the lady trying to conquer the gentleman by means of her womanly charms. Incorporating all the elements of teasing and withdrawal, it is considered the most sensual of the Latin dances. The Rumba should portray romance and therefore have good interplay between the dancers. In this dance the emphasis is on the body. Hip actions are produced by controlled transfer of weight from foot to foot. Also, there are lots of slow stylish body shapes in the Rumba. When it comes to the footwork, look for a straightening of legs, and swiveling action in the feet. It is a body dance, so the body never stops changing its shape. There are no heel leads - the dancers must not walk on the heels of their feet; they are on the balls of feet only.

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Samba

The Samba is an all-out party dance with origins from Brazil's Rio Carnival. It is made up of many different South American dances incorporated into one. It is very rhythmical with lots of hip action and body gyration and ticking. Walking Samba steps and side steps are the basic components of this dance. The major characteristic of the Samba is the vertical bounce action, combined with body gyration. Steps are taken using the ball of the foot and soft ankle. The accomplished dancer is made to look effortless and carefree with ankle and knee actions, body sway and "pendulum motion." There should be a good balance of moving steps and stationary steps.

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Paso Doble

The Paso Doble, being the most dramatic of the ballroom dances, should create a Spanish bull-fighting atmosphere. This is a dancer’s dance and is the dance for the Man, which allows him to fill the "Space" with strong three-dimensional shapes and movements danced with "Pride and Dignity." The woman's takes the role of the matador's cape. Characteristics of the Paso Doble are the "Marching" flavor given to the steps and the cape movements creating the required tension between both dancers.

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Jive

The Jive is a lively, rhythmical and swinging dance influenced by the Boogie, Rock & Roll, African/American Swing and the Lindyhop. The roots of the Jive came from New York's Harlem. It is the fastest of the Latin dances but not moving around the dance floor, and should show lots of kicks and flicks and twirling of the lady. The feet and legs should be under the body and the knees should always be close together. Look out for the flick, kick, ball change and rock step movements.

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Waltz

Considered the mother of present day dances with the distinctive three counts, the Waltz began in southern Germany in the 17th century. The popularity of the Waltz grew with the music of Johann Strauss and eventually blossomed in the 20th century. It is the basis for many dances and is popular today worldwide. The basic components of Waltz are walking steps and side steps. "Rise and Fall" and "Body Sway" are some of the styling characteristics which make the Waltz steps and patterns elegant and beautiful. A sentimental and romantic dance, it is characterized by soft, round, rotating and turning movements with rise and fall and flowing actions. The Waltz must contain the right level of up-and-down swing in balance with the required spatial movement.

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Foxtrot

During the summer of 1914, actor Harry Fox was appearing in shows in New York with Yansci Dolly, in an act of Hammerstein's. Soon people at the Jardin de Danse on the roof of the New York Theater began copying the act that Harry was putting on downstairs, leading them to refer to the dance as "Fox's Trot." The foxtrot is a very smooth dance with a lazy air, but there should be no hard, jerky and sudden movements. It is a dance with many continuously forward or backward moving patterns, which are relatively straight and well aligned on the competition floor. It is called the Rolls Royce of the standard dancing styles because the smoothness that is required. The dancers should drive off on the slow with a power step and let the quicks take care of themselves, requiring a great deal of control.

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Tango

The Tango, originated from Argentina, was the dance between the gauchos (cowboys) of Argentina and ladies of the night. The lady would dance in the crook of the man's right arm, holding her head back. There are no rise and fall in the steps. This should be a very level, flat dance. The legs are therefore always slightly flexed (i.e. the knees should be slightly bent at all times). The Tango is a very emotional dance and this should be conveyed. The action must always be staccato with lots of clipped movements. Look out for sharp head turning and stops. Also, look out for the Links - these are the sharp movements in-between the walks. The hold is different in the tango. The man's left arm is more towards head level. The general hold is more compact and the couple is tighter together. Tango Walks should be done with the heels leading

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Viennese Waltz

This dance was developed in Central Europe from the Austrian dance known as the Landler. The fast whirling of partners held as if in an embrace shocked polite society. The music of Johann Strauss and the famous ballrooms of Vienna popularized the faster version known as the Viennese Waltz. Sweeping turns that gracefully move around the floor characterize this dance. The Viennese Waltz is known for its rotational movement, which is simple, quick and elegant. There should be no foot rise on the inner turns. Look out for rotating and swinging spatial movements.

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Quickstep

During the 1920s, many bands played the Quickstep too fast and some couples couldn't keep up. Over time, a faster version was born, absorbing extra elements of ragtime such as the Charleston. This led to the creation of what we today call the Quickstep. This is a light, bright, twinkling, bubbly and happy dance with tricky and fast footwork, quite sporty in its delivery as it is very springy and fast paced. The basic feel is a combination of slow and quick timing. The majority of the slow should be taken on the heel; the majority of the quick should be taken on the toe. To achieve the right musical interpretation, the timing of the "Slows" should be slightly extended to force a sharp action in the ankles in the "Quicks." The characteristic motion of a quickstep is an up-and-down swing motion, with the rise-and-fall motion done at a fast pace. The dancers should move powerfully and positively across the floor while remaining light on the feet. Two bodies moving in the speed of the quickstep require first of all a high level of synchronization and understanding about leg tension and use of the ankles. During execution of the "tricksteps," both dancers need the same tension of feet and legs. There needs to be lots of work on the balls of the feet and lots of spring from the feet. Also watch out for Runs - quick little repetitive movements/steps.

 

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East Coast Swing

East Coast Swing, most commonly known in its simplified 6-count triple step form, is not a street dance - it is a ballroom studio adaptation, derived from various street swing dancing patterns and styles (especially LINDY HOP) at the height of the Swing Era.  The American Society of Dance Teachers, a group of independent instructors (many of whom were former Arthur Murray teachers) debuted the Jitterbug aka Lindy aka American Swing syllabus in 1942.  East Coast Swing is its most modern name, appearing on the scene decades later than the dance itself, as it was being taught to movie dancers quite a bit before 1942.  Since its inception, this ballroom-style dance been variously called, by ballroom studios: Eastern Swing, American Swing, Lindy, Jitterbug, and Western Swing.  And in various quarters, ALL those names are still used today to refer to the same. (The modern related ballroom style, INTERNATIONAL JIVE, is a British Ballroom Studio creation.).

 

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Mambo

The history of modern mambo begins in 1938, when a danzón called "Mambo" was written by Orestes and Cachao López.  The song was a danzón, descended from European social dances like the English country dance, French contredanse and Spanish contradanza, but it used rhythms derived from African folk music.  The contradanza had arrived in Cuba in the 18th century, where it became known as danza and grew very popular.  The arrival of black Haitians later that century changed the face of contradanza, adding a syncopation called cinquillo (which is also found in another contradanza-derivative, Argentine tango).

By the end of the 19th century, contradanza had grown lively and energetic, unlike its European counterpart, and was then known as danzón. The 1877 song "Las alturas de Simpson" was one of many tunes that created a wave of popularity for danzón. One part of the danzón was a coda which became improvised overtime. The bands then were brass (orquestra tipica), but was followed by smaller groups called charangas.

The most influential charanga was that of Antonio Arcano, who flourished in the late 1930s.  It was Arcano's cellist, Orestes Lopez, whose "Mambo" was the first modern song of the genre. His brother, bassist and composer Cachao López, is often described as "the inventor of the mambo".

In the late 1940s, a musician named Perez Prado came up with the dance for the mambo and became the first person to market his music as "mambo".  After Havana, Prado moved his music to Mexico, and then New York City.  Along the way, his style became increasingly homogenized in order to appeal to mainstream American listeners.

Following in the footsteps of Prado came a wave of mambo musicians, such as Enrique Jorrín.  Some experimented with new techniques, such as faster beats and the use of side steps in the dance; this latter innovation formed the foundation of chachachá, and was the result of Jorrin's experimentation.  Chachachá was very pop-oriented, especially after Arthur Murray further simplified the dance.  Mambo remained popular throughout the United States and Cuba until the 1960s, when a combination of boogaloo and pachanga (both modified forms of mambo) were created.

 

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Merengue

Since its begining, Merengue was interpreted with the instruments common people owned and where easy to obtain, Dominican bandurrias, Tres and Cuatro.  At the end of the 19th century the German accordion displaced the bandurria in the Cibao region.  Due to its melodic limitations it limited the music interpreted with it. Merengue had been somehow altered.

With this variant Merengue made its way into Dominican society, being accepted in certain social sectors and displacing other dances that required a great mental and physical effort to be executed, i.e. Tumba.  The Tumba has eleven different positions. It's obvious why the simple choreography of Merengue became so popular so quickly.

Merengue choreography is as follows: Men and woman hold each other in a vals-like position and step to their side in what is know as "paso de la empalizada" or "stick-fence step". They can then turn clockwise or counterclockwise. This is called Ballroom Merengue (merengue de salón), in which couples never separated. There is also what is called Figure Merengue (Merengue de Figura) in which dancers also make turns individualy, but never letting go the hand of the partner.

Nowadays, genuine Merengue only survives in the rural areas.  Traditional form of Merengue has changed.  The walk disappeared.  The body has been extended and instead of 8 to 12 beats sometimes 32 or 48 are used.  The jaleo has suffered the insertion of exotic rythms that have alienated it.

 

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Bolero

Along with Cha Cha, Rumba, East Coast Swing, and Mambo, Bolero is one of the five rhythm competition dances in American style ballroom dance competition.  The Bolero is a close cousin of the Rumba, sharing the same footwork timing and many similar figures.  Bolero is the slowest rhythm dance.  The music tempo is only 96 beats per minute.  As with Rumba, the basic footwork timing is slow-quick-quick.  As with Rumba, three steps are taken to four beats of music and the music is written in 4/4 time.  For spectators, it is often difficult to distinguish Bolero from Rumba.  It is also difficult to class music as either Rumba or Bolero.  In competitions, the “standard tempo” of Rumba music is 104 beats per minute, which is slightly faster than the “standard tempo” of Bolero music, which is 96 beats per minute.

Rumba is often called the dance of love but so is the bolero.  The music and the feeling of Bolero enhances a sense of love and romance.  Slow, graceful, romantic, movements and actions characterize the Bolero.

The basic step of bolero is a long, sweeping step to the side on the slow beat, followed by a rock step forward or backward, on the quick-quick beats. In this way, the basic step of bolero is somewhat similar to the basic step of nightclub two-step.

Unlike the Rumba, the Bolero traditionally includes rise and fall and stretching actions.  During the slow step, there is an extension and lift of the body.  As with the Rumba, the Bolero uses figures such as cross body leads, open breaks, underarm turns, fifth position breaks and crossover breaks, etc.

The history of Bolero is a bit of a mystery.  Bolero has the same Afro-Cuban roots as the Rumba and is thought to have originated from Cuban or Spanish folk dances such as the Danzon and Beguine.  It was introduced in the United States in the 1930’s.

West Coast Swing

West Coast Swing is the state dance of California. Its origins are definitely in Lindy Hop, but, "you've come a long way, baby!" It's distinctive "dancing in a slot" approach derives from San Diego dancehalls as far back as 1938.  The kicking jitterbugs would frolic in the center of the floor, with the smooth dancers grooving on the periphery.  Many US Navy personnel seemed to be exploring the smooth style, or were just too drunk to do anything but let the woman go back and forth.

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Night Club Two Step

The "Two Step" was developed in 1965 by a 15 year old teen from Whitaker, Illinois named Buddy Schwimmer.  Buddy was doing a line dance called "Surfer Stomp".  It was based on two steps and a stomp.  This worked well with fast music, but the footwork was too slow for medium and slow tempo songs.  The timing was changed and it went from a line dance to a partnership dance.  This then became the dance called "Two Step".  Eventually in 1978, Buddy opened a dance studio in Costa Mesa, California and started teaching "Night Club Two Step.

The "Two Step", like all dances has gone through changes over time. It has evolved into two different feeling dances. The original footwork was "Rock, Inplace, Side" (Quick, Quick, Slow), which exists in the dance called "Night Club Two Step". The Country Western dancers have adopted it and have included it in their competitions. However, it has been "ballroomized" into a dance called "Ballroom Two Step". Ballroom Two Step's basic foot work is "Side, Cross Behind, Inplace (Slow, Quick, Quick).

These two variations have very different feelings. The "Ballroom Two Step" is very gliding, continuous, strong and powerful with a big sweeping feeling. It is precise and quite technical. "Night Club Two Step" feels more like a choppy Cha Cha and is quite compact. It has a more casual relaxed feeling.

The "Two Step" is a dance you can do in night clubs as well as ballrooms, weddings, cruises, etc. It's an alternative to the "Slow" dance. That's the dance where you stand, put your hands on your partner's waist and your partner puts her arms around your neck and you sway back and forth, back-and-forth etc., etc.

"Two Step" is perfect for medium and slow music. The Two Step is danced to popular music, mostly ballads. Songs such as "Lady In Red", "On the Wings of Love", "Love the World Away. The song Lady In Red is a medium tempo song played at 39 MPM (measures per minute).

 

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Hustle

 In the mid 1970s a dance phenomenon took the country by surprise! The dance went by many names, but in New York City, the dancing enthusiasts ended up simply calling it the Hustle.

While essentially Latin, Hustle incorporates elements from many dance forms, yet its genesis was no doubt more improvisational discovery than premeditation and appeared in much of the country as an overnight sensation. Soon people from all ethnic backgrounds were enjoying a new partner dance style. Its evolution was also influenced by the changing fashions in music. Disco, a blend of black, Latin, and European moods and rhythms, changes over time from slow to medium to high energy fast tempos, culminating in the kind of energetic sound giving rise to the words “shut up and dance!”

At first, Hustle was a relatively simple dance in which a man led his partner in closed position, moving from side to side and included the dance element of spot pivot turns. Then open body positions appeared with the lead keeping himself more or less in a slot-like motion. Turns were introduced and developed by forming into elaborate rope turns in which the follower circled around the partner. Finally, leaders began traveling as well. In the next evolution, both partners rotated around each other in a wide open circle and Street Hustle, as some call it, was born. The addition of free spins for both male and female dancers, with tale spins, gave the hustle dazzle which still retains its mesmerizing look in today’s Hustle dance world.

In the late 70’s and 80’s, the rate of change accelerated sharply. It became hard to keep up with the new styles and some dancers began to drop out, leaving the field clear for the most ambitious dancers to set the standards. From ballet and International Latin they adapted arm and body styling, as well as leg- and footwork. Couples also began to travel in dramatic closed, open and shadow positions. Elements of the Theatre Arts, ballet, Jazz and even gymnastics were blended in and the drama and romance of Adagio became evident. As numerous as the various influences were, they never overwhelmed the Hustle, which always maintained its own unmistakable floor dance look! Hustle has borrowed much from the dances that preceded it. In fact, a great deal of its appeal comes from its success in blending the influences of many dance forms. The fluid movement of hustle that is created by good dancers is as exhilarating to watch as it is to execute.

 

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Salsa

Salsa refers to a fusion of informal dance styles having roots in the Caribbean (especially Cuba and Puerto Rico), Latin and North America. Salsa is danced to Salsa music. There is a strong African influence in the music and the dance.

Salsa is usually a partner dance, although there are recognized solo steps and some forms are danced in groups of couples, with frequent exchanges of partner. Improvisation and social dancing are important elements of Salsa but it appears as a performance dance too.

The name "Salsa" is the Spanish word for sauce, connoting (in American Spanish) a spicy flavor^[1]. The Salsa aesthetic is more flirtatious and sensuous than its ancestor, Cuban Son. Salsa also suggests a "mixture" of ingredients, though this meaning is not found in most stories of the term's origin. (See Salsa music for more information)

Salsa is danced on a core rhythm that lasts for two measures of four beats each. The basic step typically uses three steps each measure. This pattern might be quick-quick-slow, taking two beats to gradually transfer the weight, or quick-quick-quick allowing a tap or other embellishment on the vacant beat. This is not to say that the steps are always on beats 1, 2 and 3 of the measure. (See Styles below.) It is conventional in salsa for the two musical measures to be considered as one, so the count goes from 1 to 8 over two musical bars.

Typically the music involves complex African percussion rhythms based around the Son clave or Rumba clave. Music suitable for dancing ranges from slow at about 120 beats per minute to its fastest at around 180 beats per minute. (See salsa music).

Salsa is a slot or spot dance, i.e. the partners do not need to travel over the dance floor but usually occupy a fixed area of the dance floor, rotating around one another and exchanging places. Traveling is not ruled out, but is more used in a staged salsa performance. In a social setting it is bad etiquette to occupy too much floor by traveling.

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