Social Dance
HISTORY OF SOCIAL DANCE
Social dancing (dancing for pleasure) really starts with the Cotillion and Quadrille. These are set dances for four couples, and their descendants are still around today in the form of English and Scottish country dancing and, of course American square dancing
Dancing in couples came along in the form of the Galliard, Minuet and Gavotte (each developing from the other), but each danced essentially at arms length, and in repetitive sequences. Imagine trying to get close to your partner if she was wearing a crinoline. Or, possibly worse, under the eagle eye of a chaperone.
Then along came the Waltz. For the first time the man takes his partner into his arms. It was, of course, denounced as the instrument of the devil, the start of the corruption of human morals. All the phrases that we were later to hear (or use) when the Tango, the Charleston, Jitterbug and Rock and roll came along; and all of which helped to ensure the success and longevity of each.
Having passed this major barrier, of taking the girl in his arms, social dancing progressed rapidly. Around 1910, the Tango arrived in Britain, via France, from Argentina. Its origins, heaven forbid, were with the sailors, gauchos and ladies of “negotiable virtue” in Argentina. The Tango then became schizophrenic, developing in Europe along the lines that are recognized today for Ballroom, and continuing to develop in the South American countries into what is now known as the Argentine Tango.
The presence of American soldiers throughout Europe following the first world war, aided and abetted by the recording process, and of course radio, popularised American music in Europe, and, because dance styles are influenced by music styles along came the One step, Foxtrot and a much slower Waltz.
During this period, many attitudes and styles became polarized. The THEATRE BRANCHES covering Tap, Ballet, and later Modern dance and Jazz were formed, whilst BALLROOM Dancers were trying to bring some
Social dancing (dancing for pleasure) really starts with the Cotillion and Quadrille. These are set dances for four couples, and their descendants are still around today in the form of English and Scottish country dancing and, of course American square dancing
Dancing in couples came along in the form of the Galliard, Minuet and Gavotte (each developing from the other), but each danced essentially at arms length, and in repetitive sequences. Imagine trying to get close to your partner if she was wearing a crinoline. Or, possibly worse, under the eagle eye of a chaperone.
Then along came the Waltz. For the first time the man takes his partner into his arms. It was, of course, denounced as the instrument of the devil, the start of the corruption of human morals. All the phrases that we were later to hear (or use) when the Tango, the Charleston, Jitterbug and Rock and roll came along; and all of which helped to ensure the success and longevity of each.
Having passed this major barrier, of taking the girl in his arms, social dancing progressed rapidly. Around 1910, the Tango arrived in Britain, via France, from Argentina. Its origins, heaven forbid, were with the sailors, gauchos and ladies of “negotiable virtue” in Argentina. The Tango then became schizophrenic, developing in Europe along the lines that are recognized today for Ballroom, and continuing to develop in the South American countries into what is now known as the Argentine Tango.
The presence of American soldiers throughout Europe following the first world war, aided and abetted by the recording process, and of course radio, popularised American music in Europe, and, because dance styles are influenced by music styles along came the One step, Foxtrot and a much slower Waltz.
During this period, many attitudes and styles became polarized. The THEATRE BRANCHES covering Tap, Ballet, and later Modern dance and Jazz were formed, whilst BALLROOM Dancers were trying to bring some