Untitled Document

DANCE DESCRIPTIONS
PE140 WED SECTION - Kurt Lichtmann & Iska Ziver
FOXTROT WALTZ TANGO CHACHA

The origin of the Foxtrot dates back to 1913 when the popular music of the time was ragtime, a fast, bouncy straightforward predecessor to jazz. The name `foxtrot' is said to come from Harry Fox, a vaudevillian actor and dancer — who apparently made a movie or two in Ithaca! The prevailing social dances at the time were the wild animal dances that were being tamed by Irene and Vernon Castle's new Castlewalk, derived from the two-step. Harry Fox's `trot' or the foxtrot, combined one-steps (quicks) with two-steps (slows, or walks) plus some hops and turns. In its original incarnation, it was actually fairly complicated. However, the concept of combining quick and slow steps paved the way for the Foxtrot to become the foundation of many partner dances. As popular music changed in the following years, so did the dance. By the mid-30s the Foxtrot evolved into the smooth and fluid dance seen on dance floors today.

The typical Foxtrot is danced to music in 4/4 time. The pattern generally takes 6 beats, although there are Foxtrot moves that take 8 beats or more. In class, we learned a Foxtrot variation -- sometimes called the Castle Foxtrot -- that is an 8-count pattern. It is done to slow music, typically around 80-100 beats per minute (BPM). You'll find this foxtrot variation good for most slow wedding reception music.

In this variation, the slows are taken to the side. It is a step, drag closed, step, drag closed. The quicks are either forward or backward or are where in the pattern the moves occur.

2. Couple's left turn: Side, side then rock forward, then back on the quicks, looking slightly to the left and turning to the left as a unit. The follower does the natural opposite, rocking back then forward while turning.

3. Follower's turn: Side, side then follower turns to her right or left, stepping through the turn on the four quicks. The lead occurs just before the quicks, or on or about `4-and.' If turn is to follower's right, then lead should bring follower's hand to the right side of her head. If turn is to follower's left, then lead should bring follower's hand to the left side of her head.

4. Leader's turn: Side, side then leader turns to his left, stepping through the turn on the four quicks.

5. Follower's Promenade: Side, side - then leader turns away from the follower, a bit to the left, drops left hand and opens right hand so follower turns a bit to the right. Then, on the quicks, follower walks around leader as leader turns in place to the left. Come back together on the slows.

Foxtrot can be danced to 4/4 time music at various tempos. The Castle Foxtrot works best with slower music, approximately between 70 and 100 bpm. Basically, any slow romantic song works fine.

Waltz, the oldest of the ballroom dances, began as a folk dance in Europe. In Austria, the peasant dance called the Landler was a spinning dance done to 3/4 time music. After the French Revolution, Austria became the focal point of European musical and literary culture. Interest in her native dances increased, and the landler moved from the rural areas to urban high society. The name was changed to walzen, meaning turning, sliding, gliding, even wallowing, and later the word was shortened to waltz as it became more popular throughout Europe.

The waltz was the first dance to use the closed position for any extended period of time, which incited severe criticism from both civic and religious authorities for its indecency and immorality. This, of course, made it quite attractive and appealing, and soon it was the rage across Europe. The closed face-to-face position became the standard for ballroom dancing.

In the mid 1800s the Viennese Waltz, a fast waltz that demanded great skill and endurance, flourished with the music of Johann Strauss (both father and son) and Franz Lanner. When the dance later migrated to the United States, new melodies replaced the Viennese ones and the tempo decreased. In the early 1900s Irene and Vernon Castle introduced new styling and patterns that made the waltz more accessible to the general public.

A step is taken to each beat of music, with larger steps taken on the 1st and 4th beats.

Leader generally moves forward (follower backward), in the line of dance direction (CCW around the room). The slower waltz is usually danced in a box-step (steps 2 and 5 taken to the side, 3 and 6 coming to closed). In class, we teach the fast waltz step -- it's easier -- where steps 1-2 and 4-5 are straight and 3 and 6 come to closed. Steps 1 and 4 are usually larger than 2 and 5.

2. Hesitation Step: Step to each side on 1 and 4 and drag the other foot to meet it over 2-3 and 5-6. Step first with the lead foot, then back with the anchor foot.

3. Couple's left turn: L steps forward and slightly to left on 1, and generally in place on 2-3 and steps back on 4 and in place on 5-6. Couple turns as a unit to the left throughout the move. F steps back on 1-2-3 and forward on 4-5-6. Both look slightly to left.

4. Follower's outside turn: F makes right turn on 1-2-3 and continues in LOD (line of dance direction - CCW around the room) on 4-5-6. Lead is on `1.'

6. Serpentine or zig-zag (in closed position): From progressive basic, both L and F turn slightly to the left on 2-and - lead is made with L's right hand on F's back. L then steps forward on 4 in diagonal and turns to face other diagonal on 5-6, continuing forward on 1. F steps backward on 4 and turns on 5-6 continuing backward on 1. Keep going back and forth, zig-zagging down LOD. Come out on 4 and 5-6 by L stepping forward and bringing F in front to basic dance position. (leads are on the ands)

7. In and out of Promenade: F is led in an outside turn on `1,' leader changes hands and brings her forward -he steps back- to his right side on `4.' She turns to her left and both end up facing same direction. Getting out is led on `1' with F going forward and turning to her right so that she is facing her partner on `4' and stepping back.

8. Serpentine or zig-zag (in promenade position): From promenade basic, both L and F turn slightly to the left on 2-and - lead is made by L turning slightly to the left and rotating his torso. Both L and F step forward on 4 in diagonal and turn to face other diagonal on 5-6, continuing forward on 1. Keep going back and forth, zig-zagging down LOD. Come out on 4 and 5-6 as in getting out of promenade described above. The only difference is that this is happening on 4-5-6 instead of 1-2-3 of the pattern.

The waltz is danced to music written in 3/4 time, with three equal beats to the measure. The first note of each measure is emphasized. The dance pattern is built upon a 6-count (two measure) musical phrase. The tempo of Viennese, or fast waltz is usually 170-240 bpm. The tempo for slower waltz is between 85 and 140 bpm. In class we used music at the slower tempos

As with many of the ballroom dances, the origins of Tango is the stuff of colorful stories and legends. The most common is that it came out of the brothels of Buenos Aires, Argentina in the late 1800s. At that time, Argentina was a land of opportunity creating a melting pot for numerous European immigrants. Dancing was a way these fellows could compete for the favors provided by certain Argentine ladies.

Around 1910 the dance made its way to France where it began to be popular among the Parisian elite. From there it spread across the world and went through a transformation - one that tamed its overt sexuality and brought it into respectable ballrooms.

There are three types of Tango - Argentine Tango, American Tango and International Style Tango. Argentine Tango - the dance closest to its Buenos Aires origins - is a close dance where there is no predetermined foot pattern. American Tango has a specific pattern that follows the 8-count musical phrasing. It incorporates both open and closed positions and has a dramatic performance-like feel to it. International style, the style performed in Dancesport competitions, is done all in closed position and is quite intricate and complicated. It is mostly choreographed and not as much lead-follow.

Tango uses a natural walking step, but done in a very specific style. The tango walk is often characterized as a “stealth walk” or “stalking.” The characteristics most often looked for are smoothness and stillness. There is no sway or rise and fall as there is in Foxtrot or Waltz. Supporting legs should remain bent and the dancer remains at a constant level throughout the dance.

Forward steps are taken on the heel, with weight then transferring to the ball and toe of the foot as the body moves forward. Backward steps are taken in the opposite manner, with the weight rolling from toe, to ball, to heel, while the toe then releases from the floor to achieve the maximum distance for the step.

The dance pattern is 8 counts, following the 8-count phrasing of the music. The rhythm of the basic pattern is S S Q Q S.

Leader moves forward (follower backward), in the line of dance direction (CCW around the room). Leader leads his step with the heel, changing weight on the `2' and the `4' of the slows. The Follower does the opposite as she's walking backwards. The second half of the pattern is another step forward for leaders (backward for followers), step to the side and then bringing the other foot in without changing weight. From this point on, we'll refer to this as TAN-GO Close (forward, side together or backward side together).

1. Couple's left turn: Couple does the basic pattern, turning as a unit to the left. The first two steps are rocking steps. L steps forward and slightly to left on 1-2 and back on 3-4 finishing with a TAN-GO Close. F steps back on 1-2 and forward on 3-4 finishing with a TAN-GO Close. Keep doing the move until you get all the way around. Both look slightly to left.

2. To Promenade: Couple goes from closed dance position to promenade position where their bodies are aligned in a 90 degree angle to each other, facing the line of dance. L leads F to turn out slightly on beat 7 - the Close of TAN-GO Close. The lead is done primarily with the right hand on the F's back.

3. Back to Closed Dance Position: L brings F back to closed dance position right after the second step (when F is on her left foot). The lead is done with the right hand on the F's back. Timing is as follows: 1 2 - 3 turn 4 - TAN-GO Close

4. Promenade Flick Variation: Couple walk forward two steps, hold, then flick lead feet on beat 7.

5. Habanero or Rocking Step: L leads this by not letting F change weight on 3rd step and L instead initiates two rocking steps and then finishes with a TAN-GO Close. This is a 16-count move.

6. Corte: This is a backward lunge for the L and a forward lunge for the F. From L's perspective: Forward - Back - Back and lunge - hold - up on 1 - hold - TAN-GO Close F's footwork is natural opposite. This was taught as is a 16-count move, however it can be done more quickly once you get the hang of it.

7. Promenade to El Matador - Fan to Close: From promenade position, L leads F to go out to open position. They end up facing forward toward a point between them. They then each step to that point, pivot inward toward each other, step through and come back to closed dance position. This is a 16-count move.

L - forward - backward (while stepping back L leads F forward & out to open position - TAN-GO Close (in place). For a more dramatic effect, one can pop the heel on the `Close.'

F - forward - forward (pivot) TAN-GO Close. The step associated with the TAN will be a bit back as F goes out to open position.

L&F - forward (pivot, turning inward about 180 degrees) - forward - TAN-GO Close. Once back together after the first step, it's same as coming to closed from promenade position. Lead is right after second step.

8. Ochos: Same beginning of basic move, with L leading F to turn slightly to her left and go outside L on his right at the TAN-GO Close of the first count of 8. She then pivots on right foot around toward L then back on left foot, again toward L, (making a figure eight, thus the name, ochos) and the couple finishes with a TAN-GO Close. This is a 16-count move.

The Cha Cha, originally known as the Cha-Cha-Cha, originated in Cuba around 1955. The dance is an offshoot of the Mambo. In the slower Mambo tempo, there was a distinct sound in the music that people began dancing to, calling the step the “Triple” Mambo. Eventually it evolved into a separate dance, known today as the Cha Cha. Arthur Murray is credited with eliminating one of the chas in the name basically for marketing reasons.

The cha-cha is danced to music written in 4/4 time. The dance pattern in built on an 8-count musical phrase. The tempo for cha-cha ranges from 100 - 140 bpm.

The basic pattern of cha-cha is S-S-Q-Q-S, where the QQS is the cha-cha-cha. Another way of thinking of it is Rock, Rock, side, together, side. The pattern, as it was taught, begins on the 2 of the 8-count phrase. As an aid to starting out, one can take a step to the side with the lead foot on 1 - leaders will then rock back with their right foot on 2 and followers will rock forward with their left foot. Or, hold for the 1 and leaders step forward on 2 and followers step back on 2.

The pattern can also be danced in a forward and back pattern, with the QQS or cha-cha-cha continuing in the direction of the rock step.

Most Latin dances incorporate a specific type of movement commonly called “Cuban Motion,” or more descriptively, hip action. The result is a fluid sway of the hips, however the source of the movement comes from the alternate bending and straightening of the legs. A brief description - although this takes a lot of practice to get it right - is to take the forward or backward rock step or “break” onto a bent knee and begin transferring your weight to the other foot as you straighten the knee, pushing the foot into the floor. The rock step is taken leading with the front part of the foot (specifically outside edge of the big toe), and as the leg straightens you “roll” the foot from the front to the heel and then transfer your weight to the other leg. Rather than feeling like you are dancing lightly on top of the floor, you should feel like you are dancing into and pushing down on the floor as you change weight.

1. Basic Cha cha cha to the side - generally done when in closed dance position. Remember, you can turn as a unit while doing this basic pattern - much more interesting!

2. Cha cha cha forward and back - generally done in break away, unconnected position

3. Follower's outside turn (Walkaround turn) From closed position, the follower steps forward with left foot, stepping outside leader, pivots 180 degrees to her right, transfers wieght to the right and finishes with the cha cha cha facing her partner. Think of it as walking around the right foot as it stays in place. The lead occurs just before follower takes that step forward with leader bringing hand up - no need to crank, both partners exert fingertip pressure on each other and the follower does her own turn.

4. Leader's Turn Leader brings left hand down, turns to right by stepping forward on left, pivoting 180 degrees, transfer weight to right and finish turn with cha cha chas. Switch hands as you turn and use this as a lead-in to break away.

5. The Chase Begin with a Leader's right turn into break away. Now finish the basic cha cha step with the cha chas going forward (backward for the follower). When leader takes step forward with left foot, pivot 180 degrees to the right, transfer weight to right and finish cha chas in direction away from follower. Now step forward on right, pivot to left, transfer to left and continue cha chas toward follower. Simply stop turning when you want the move to end after you are facing the follower, of course. Follower does natural opposite. When follower sees leader turn, she will begin the “chase” when she takes her forward step. To add a little styling, hook the foot that takes the second `cha' step behind the first foot on the cha cha chas.

6. Back Breaks From closed dance position, when leader would normally take forward step, let go with left hand and turn 1/4 turn to the left, stepping back with the left foot instead of stepping forward. Follower will naturally be stepping back, and both will turn out slightly. On the cha chas, turn to face each other, then turn 1/4 turn the other way (to the right, for leader) and step back on right foot. This can continue until leader rocks with left foot and changes direction from a back rock to a front rock, and does not do a 1/4 turn, but faces partner instead. This is the signal that the move is over.

7. Cross Overs or New Yorkers From closed dance position, when leader takes back rock step, release right hand, moving slightly away from follower. On the cha chas (leader is going to his right) bring follower's hand down and turn 1/4 to the right while making the forward rock. Follower will be turning to the left and take a forward rock step with the right. It's important that both partners maintain a firm frame and firm arms. Cha cha cha facing each other and turn the other way for another forward rock. It's nicer if the leader holds his hand out and follower place her hand on top of his. The move can end with a follower's turn. After leader rocks with left forward, lead follower with left hand to make turn and then go back into closed basic.