9781280135699

Revised Edition: 2016
ISBN 978-1-280-13569-9
© All rights reserved.
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Table of Contents
Introduction
Chapter 1 - Ballroom Dance
Chapter 2 - Dancesport
Chapter 3 - Types of Partner Dance
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Chapter 4 - Salsa
Chapter 5 - Tango
Glossary
________________________WORLD TECHNOLOGIES________________________
Introduction
Partner dances are dances whose basic choreography involves coordinated dancing of
two partners, as opposed to individuals dancing alone or individually in a non-
coordinated manner, and as opposed to groups of people dancing simultaneously in a
coordinated manner.
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In the year 1023 the German poet Ruodlieb referred to a couple dance with a basic motif
of a boy wooing a girl, and the girl repulsing his advances. Men and women dancing as
couples, both holding one hand of their partner, and "embracing" each other, can be seen
in illustrations from 15th century Germany.
At the end of the 13th century, and during the 14th century, nobles and wealthy patricians
danced as couple in procession in a slow dignified manner in a circle. Farmers and lower
classes of society danced turning in a lively, springing fashion. The relatively new
burgher middle class combined the dances with the processional as a "fore dance", and
the turning as an "after dance".
Danse de Paysans' (Peasant's Dance) by Théodore de Bry (1528-1598) shows a couple

with a man lifting his partner off the ground, and the man pulling the woman towards him
while holding her closely with both arms. His Danse de Seigneurs et Dames (Dance of
the Lords and Ladies) features one Lord with his arms around the waist of his Lady.
Syncopated and "dotted" rhythms gained widespread popularity for dancing in the last
two centuries, although usually less complex and more regular than previous music.
An old couple dance which can be found all over Northern Europe is known as "Manc-
hester" or "Lott is Dead". In Bavaria words to the music include "One, two, three and one
is four, Dianderl lifts up her skirt And shows me her knees", and in Bavaria one verse
invites the girl to leave her bedroom window open to allow a visit from her partner.
Dance partners stay together for the duration of the dance and, most often, dance inde-
pendently of other couples dancing at the same time, if any.
Although this kind of dancing can be seen, for instance, in ballet, this term is usually
applied to various forms of social dance, ballroom dance, folk dance, and similar forms.
Partner dance may be a basis of a formation dance, a round dance, a square dance or a
sequence dance. These are kinds of group dance where the dancers form couples and
dance either the same pre-choreographed or called routines or routines within a common
choreography— routines that control both how each couple dances together and how
each couple moves in accord with other couples. In square dance one will often change
partners during the course of a dance, in which case one distinguishes between the
"original partner" and a "situational partner".
In many partner dances, one, typically a man, is the leader; the other, typically a woman,
is the follower. As a rule, they maintain connection with each other. In some dances the
connection is loose and called dance handhold. In other dances the connection involves
body contact. In the latter case the connection imposes significant restrictions on relative
body positions during the dance and hence it is often called dance frame. It is also said
that each partner has his own dance frame. Although the handhold connection poses
almost no restriction on body positions, it is quite helpful that the partners are aware of
their dance frames, since this is instrumental in leading and following.
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In promenade-style partner dancing there is no leader or follower, and the couple dance
side-by-side maintaining a connection with each other through a promenade handhold.
The man dances traditionally to the left of the woman.
Some peoples have folk partner dances, where partners do not have any body contact at
all, but there is still a kind of "call-response" interaction.
A popular form of partner dancing is slow dance.
Gaskell Ball
Partner dances with partners of the same sex

In most western society, same-sex social partner dancing is generally uncommon in most
social dance circumstances. It is more commonly acceptable for two women to dance
together than it is for two men to do so (although not in a romantic or overly friendly
manner).
However dances between two men are not uncommon on some wilder parties, whereby
the dance is often used for measuring physical abilities especially the resistance of feeling
of giddiness in a funny way.
There are some partner dances where same sex dancing couples are generally accepted,
especially when there are not sufficient partners of the opposite sex available. Many
dancers may still be uncomfortable dancing with a partner of the same sex. The sexual
orientation of the partners is irrelevant. For example at Modern Jive and West Coast
Swing events, ladies will regularly partner each other. Men dancing with each other is
also common, though less frequent, but is not just done for the "comedy value" as men
may equally enjoy the role of follower.
Typically, in ballroom competitions, same-sex partnerships are allowed up to the silver

level (the third level in competition, after newcomer and bronze). However, these are
comparatively rare.
Double partner dance
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This kind of dance involves dancing of three persons together: one man with two women
or one woman with two men. In social dancing, double partnering is of choice when a
significant demographic disproportion happens between the two sexes. For example, this
happens during wars: in the army there is lack of women, while among civilians able
dancers are mostly women, especially during enormous wars such as WWII.
Since 1980s, double partner dance is often performed in Ceroc, Hustle, Salsa and Swing
dance communities, experienced leaders leading two followers.
There are a number of folk dances that feature this setup. Among these are the Russian
Troika and the Polish Trojak folk dances, where a man dances with two or more women.
A Cajun dance with the name Troika is also known.
Chapter 1
Ballroom Dance
WT Ballroom dance
Ballroom dance refers to a set of partner dances, which are enjoyed both socially and
competitively around the world. Because of its performance and entertainment aspects,
ballroom dance is also widely enjoyed on stage, film, and television.
Ballroom dance may refer, at its widest, to almost any type of social dancing as recrea-
tion. However, with the emergence of dancesport in modern times, the term has become
narrower in scope. It usually refers to the International Standard and International Latin
style dances. These styles were developed in England, and are now regulated by the
World Dance Council (WDC). In the United States, two additional variations are popular:
American Smooth and American Rhythm.
There are also a number of historical dances, and local or national dances, which may be
danced in ballrooms or salons. Sequence dancing, in pairs or other formations, is still a
popular style of ballroom dance.
Definitions and history

The term "ballroom dancing" is derived from the word ball, which in turn originates from
the Latin word ballare which means "to dance". In times past, ballroom dancing was
social dancing for the privileged, leaving folk dancing for the lower classes. These
boundaries have since become blurred, and it should be noted even in times long gone,
many ballroom dances were really elevated folk dances. The definition of ballroom dance
also depends on the era: Balls have featured Minuet, Quadrille, Polonaise, Pas de Gras,
Mazurka, and other popular dances of the day, which are now considered to be historical
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dances.
Victorian Era
An RKO publicity still of Astaire and Rogers dancing to "Smoke Gets in Your Eyes" in
Roberta (1935)
The waltz with its modern hold took root in England in about 1812; in 1819 Carl Maria
von Weber wrote Invitation to the Dance, which marked the adoption of the waltz form
into the sphere of absolute music. The dance was initially met with tremendous oppose-
tion due to the semblance of impropriety associated with the closed hold, though the
stance gradually softened. In the 1840s several new dances made their appearance in the
ballroom, including the Polka, Mazurka, and the Schottische. In the meantime a strong
tendency emerged to drop all 'decorative' steps such as entrechats and ronds de jambes
that had found a place in the Quadrilles and other dances.
Early 20th century
Modern ballroom dances has its roots early in the 20th century, when several different
things happened more or less at the same time. The first was a movement away from the
sequence dances towards dances where the couples moved independently. This had been
pre-figured by the waltz, which had already made this transition. The second was a wave
of popular music, such as jazz, much of which was based on the ideas of black musicians
in the USA. Since dance is to a large extent tied to music, this led to a burst of newly
invented dances. There were many dances crazes in the period 1910–1930.
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Vernon and Irene Castle, early ballroom dance pioneers, c. 1910-1918.
The third event was a concerted effort to transform some of the dance crazes into dances
which could be taught to a wider dance public in the USA and Europe. Here Vernon and
Irene Castle were important, and so was a generation of English dancers in the 1920s,
including Josephine Bradley and Victor Silvester. These professionals analysed, codified,
published and taught a number of standard dances. It was essential, if popular dance was
to flourish, for dancers to have some basic movements they could confidently perform
with any partner they might meet. Here the huge Arthur Murray organisation in America,
and the dance societies in England, such as the Imperial Society of Teachers of Dancing,
were highly influential. Finally, much of this happened during and after a period of
World War, and the effect of such a conflict in dissolving older social customs was
considerable.
Later, in the 1930s, the on-screen dance pairing of Fred Astaire and Ginger Rogers
influenced all forms of dance in the USA and elsewhere. Although both actors had
separate careers, their filmed dance sequences together, which included portrayals of the
Castles, have reached iconic status. Much of Astaire and Rogers' work portrayed social
dancing, although the performances were highly choreographed (often by Astaire or
Hermes Pan), and meticulously staged and rehearsed.
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Elements of competition
Intermediate level international style Latin dancing at the 2006 MIT ballroom dance
competition. A judge stands in the foreground.
In competition ballroom, dancers are judged by diverse criteria such as poise, the hold or
frame, posture, musicality and expression, timing, body alignment and shape, floor craft,
foot and leg action, and presentation. Judging in a performance-oriented sport is
inevitably subjective in nature, and controversy and complaints by competitors over
judging placements are not uncommon. The scorekeepers—called scrutineers—will tally
the total number recalls accumulated by each couple through each round until the finals,
when the Skating system is used to place each couple by ordinals, typically 1-6, though
the number of couples in the final may vary.
Medal tests
Medal examinations for amateurs enable dancers' individual abilities to be recognized

according to conventional standards. In medal exams, which are run by bodies such as the
Imperial Society of Teachers of Dancing (ISTD), each dancer performs two or more
dances in a certain genre in front of a judge. Genres such as Modern Ballroom or Latin
are the most popular. Societies such as the ISTD also offer medal tests on other dance
styles (such as Country & Western, Rock 'n Roll or Tap). In some North American
examinations, levels include Newcomer, Bronze, Silver, Gold and Championship; each
level may be further subdivided into either two or four separate sections.
Dances
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Victor Fung and Anna Mikhed dancing a tango in 2006. The couple, dancing for the
USA, came third in the Professional World Championship 2009.
"Ballroom dance" refers most often to the ten dances of International Standard and
International Latin, though the term is also often used interchangeably with the five
International Standard dances. Sequence dancing, which is danced predominantly in the
United Kingdom, is also sometimes included as a type of Ballroom dancing.
In the United States and Canada, the American Style (American Smooth and American
Rhythm) also exists. The dance technique used for both International and American
styles is similar, but International Standard allows only closed dance positions, whereas
American Smooth allows closed, open and separated dance movements. In addition,
different sets of dance patterns are usually taught for the two styles. International Latin
and American Rhythm have different styling, and have different dance patterns in their
respective syllabi.
Others dances sometimes placed under the umbrella "ballroom dance" include Nightclub
Dances such as Lindy Hop, West Coast Swing, Nightclub Two Step, Hustle, Salsa, and
Merengue. The categorization of dances as "ballroom dances" has always been fluid, with
new dances or folk dances being added to/removed from to the ballroom repertoire from
time to time, so no list of subcategories or dances is any more than a description of
current practices. There are other dances historically accepted as ballroom dances, and
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are revived via the Vintage dance movement.
In Europe, Latin Swing dances include Argentine Tango, Mambo, Lindy Hop, Swing
Boogie (sometimes also known as Nostalgic Boogie), and Disco Fox. One example of
this is the subcategory of Cajun dances that originated in New Orleans, with branches
reaching both coasts of the United States.
Standard/Smooth dances are normally danced to Western music (often from the mid-
twentieth century), and couples dance counter-clockwise around a rectangular floor
following the line of dance. In competitions, competitors are costumed as would be
appropriate for a white tie affair, with full gowns for the ladies and bow tie and tail coats
for the men; though in American Smooth it is now conventional for the men to abandon
the tailsuit in favor of shorter tuxedos, vests, and other creative outfits.
Latin/Rhythm dances are commonly danced to contemporary Latin American music, and,
with the exception of a few traveling dances (e.g., Samba and Paso Doble), couples do
not follow the line of dance but perform their routines more or less in one spot. In
competitions, the women are often dressed in short-skirted latin outfits while the men are
outfitted in tight-fitting shirts and pants, the goal being to emphasize the dancers' leg
action and body movements.
Chapter 2
Dancesport
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Dancesport
An amateur dancesport competition at MIT
Dancesport denotes competitive ballroom dancing, as contrasted to social or exhibition

dancing. The name was invented to help competitive ballroom dancing gain Olympic
recognition. Dancesport events are sanctioned and regulated by dancesport organizations.
National events are supervised by the ruling body of the country concerned, and com-
petitions for continental and world championships are regulated by the World Dance
Council. The physical demands of dancesport has been the subject of scientific research.
History
The first unofficial world championship took place in 1909, and the first formation team
was presented in 1932 by Olive Ripman at the Astoria Ballroom, London. Dancesport
was first broadcast on TV in 1960.
Styles
The term dancesport applies only to the International Style of competitive ballroom
(often referred to as Standard or Modern) dancing and Latin dancing. Today, it includes
the following style categories:
• Standard
• Latin American
• Ten Dance
• Rock ‘n’ Roll
These categories apply to both individual couples and formation dance.
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Competitions
Junior cha-cha-cha competition in Czech Republic
There are a wide variety of dance competitions. They range from the well known Black-
pool Dance Festival, an event open to all, to competitions conducted exclusively for
university students, such as those hosted by the Inter Varsity Dance Association in the
UK.
Amateur competitions commonly include events that group dancers by age, experience,
or both. For example, events might group young dancers by age, such as: juvenile
(<12yrs), junior (12-16yrs), and youth (16-19yrs). Events may sometimes cover a wide
range of ages, with groupings such as: under 21yrs, adult, senior I (Over 35yrs), senior II
(Over 45yrs), and senior III (Over 50yrs). Adult competitions are often further divided
into categories such as beginner, novice, intermediate, pre-amateur, and amateur.
Rules
The WDC rules for international competitions are lengthy and detailed. The music for
competitions is kept confidential until the event. The music always follows a strict tempo
and, for a couples competition, it will have a duration of no less than 90 seconds, and no
more than two minutes. Some elementary competitions are restricted to "basic" steps, but
international competitions are open as to choreography, within the limits of the traditional
style of the individual dances. Only the Viennese waltz has defined choreography: it is
limited to nine well-specified figures. Lifts are not permitted, except for Show Dance
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titles. The tempo for each dance is defined. In the finals, couples are marked under the
skating system and judged by timing, footwork, rise and fall, alignment, direction and
floor craft. Competitors must meet World Anti-Doping Agency rules.
Dancesport as an Olympic event
After a long campaign, the International DanceSport Federation (IDSF) was recognized
by the International Olympic Committee as the sole representative body for dancesport,
on September 5, 1997. At that point, many dance organisations changed their titles to
incorporate the word sport. This recognition gives the IDSF, potentially, a unique status.
The IDSF website shows letters and certificates from the IOC that recognise dancesport
as an eligible sport for inclusion pursuant to rule 29 of the Olympic Charter.
On its website, the IDSF gives an upbeat appraisal of the chances of dancesport being
included in a future summer Olympic Games. However, dancesport has not been included
as an official event at the Olympics since its recognition, and there are many who doubt
that it ever will. The 2008 Beijing Olympics did not include ballroom dancing and neither
will the 2012 London Olympics.
Chapter 3
Types of Partner Dance
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1. Formation dance
Formation dance is a style of ballroom dancing. It is pattern or shadow team dancing by
couples in a formation team. The choreography may be based on a particular dance or a
medley of dances. Formation dancing may be done for exhibition or for competition
between teams.
International Style Ballroom: Dancesport
Latin Formation Team TSC Blau-Silber Aachen
History
Formation dancing originated in 1932 in London's Astoria Ballroom. It was Olive

Ripman who introduced it under the name "pattern dancing". Soon it became a compe-
titive dance form.
Formation team contests began in the 1930s in England, and spread to many other
countries. International matches have taken place. Formation dances were an important
part of the BBC TV program Come Dancing when Frank and Peggy Spencer's formation
teams competed against Constance Millington's team. The peak of popularity was in the
1960s, and the form has dwindled since.
Choreography
The choreography of a formation team includes both choreography of a dancesport rou-

tine of an individual couple and the overall pattern of movements of the couples on the
floor. All couples are expected to follow the beat of the music and movements should be
executed simultaneously. Teams are marked on their synchronicity
Latin Dancesport formation is a medley of dances that include the 5 International Latin
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dances: Cha Cha, Rumba, Jive, Paso Doble and Samba.
Standard or Ballroom formation is a medley of the 5 international ballroom dances Waltz,

Quickstep, Tango, Viennese Waltz and Foxtrot.
The routines generally feature at least some free-form choreography in the walk on and
walk off, which may include movements from jazz dance, ballet, or any other type of
dance. This is clearly marked by a gong. A complete routine usually lasts a total of 6
minutes.
Formation routines allow dancers to show off their own technique in addition to their
ability to move as a team. Unlike individual competitions tricks such as "round abouts",
"chain reactions" form a large section of the choreography.
Shapes (also known as patterns or images) that are an accepted part of choreography are
diamonds, squares, diagonals, circles and lines. The routine is judged by the distribution
of competitors across the floor, how "readable" the patterns are and the transitions
between these patterns.
Specialist formation choreographers include Ona Skaistutė Idzelevičienė, Roberto Alba-

nese, Horst Beer, David Mallabone and Rachael Holland.
Competitions
The international governing body is the International DanceSport Federation (IDSF)

(which has Olympic recognition). Competing teams must be a member of one of its
member organisations such as the English amateur dancesport association ltd (EADA)
The following is a summary of the IDSF rules for European and World Formation com-
petitions.
• Each member country may send 2 formation teams to compete in each of the 2
international styles (Latin and Standard).
• These are selected by national competitions, such as the British National Cham-
pionships at the Blackpool Dance Festival.
• International competitions have a minimum of 4 countries
• The usual sporting anti-doping rules apply.
• All competitors must be amateurs.
• Each team must contain between 6 and 8 couples.
• In the standard section Men's dress must be black or midnight blue.
• In Latin men may wear coloured shirts but all men must dress the same.
• In standard formation, solo work is restricted to 8 bars. This does not apply in
Latin where solo work usually plays a part.
• Lifts are not allowed in the main "judged" part of the routine, but are usually
allowed in the walk on and walk off, which is clearly marked by a gong.
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• A routine is a maximum of 6 minutes long including entry to and from the floor (a
walk on and walk off). Only 4 and a half minutes of this is judged so a gong is
used to clearly signify which sections are to be judged.
• Competing teams are judged by those experienced in formation.
In early rounds, judges mark if they believe teams should go through to the next round. In
final rounds teams are ranked and the skating system applies.
Other competitions of note are the Blackpool Dance Festival and the Donaupokal
Invitational Competition Vienna. Germany is notable in having several leagues of
formation teams, and holds several competitions each year.
Current Formation Teams
This is a list of Adult Formation Teams currently competing in the IDSF World Ranking
Competition. There are currently 22 Latin Teams and 18 Standard teams that compete
annually in the World Cup
Country Latin Formation Team Standard Formation Team

Austria HSV Zwölfaxing, TSC Blau-Grün Wien
Belarus DC Mara, Minsk DC Mara, Minsk
Bulgaria Ogosta Dance
Czeck
TK 1976 Most, TKG Hlinsko TK CHVALETICE
Republic
XS Latin, Encore Formation Team,Fever
England
Dance Company
TC LUDWIGSBURG,
Germany Grün-Gold-Club Bremen, TSZ Velbert
BRAUNSCHWEIGER TSC
Hungary Valcer Dance Studio, Botafogo Dance SZILVER TSE, KODMON
Ensemble TSE
Klaipeda University DSC "Žuvėdra" (A
Lithuania
and B)
Moldova DSC CODREANCA
Dance East Oldenzaal, Double V Latin MOVING ACTION, Step in
Netherlands
Formation Team Time Formation Team
KS Kamion Dance Warsaw, Dance
Poland Formation A-z Przemysl, Dance LOTOS-JANTAR, KADRY
Formation SPIN Wodzislaw Slaski
Romania Floris Dance Team FLORIS DANCE TEAM
Russia Vera Tjumen, DSC Tsveta Radugi IMPULSE
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Serbia Dance Club Aurora
KTS INTERKLUB MADIT,
Slovakia
TC KOSICE
Results
Below are the First and Second Place results for the IDSF World Championships
Year Venue Standard Result Venue Latin Result

TSG Bremerhaven, Germany,
Braunschweiger TSC,
1995 Stuttgart Berlin TSC Schwarz-Gelb Aachen,
TC Ludwigsburg
Germany
TC Ludwigsburg, TSC Schwarz-Gelb Aachen,
1996 Berlin Germany, Vilnius Germany, Klaipėda University
Braunschweiger TSC Žuvėdra team, Lithuania
TSC Schwarz-Gelb Aachen,
DSC Kodryanka
Germany TSG Bremerhaven,
1997 Kishinev Kishinev, Moldova, Munich
Germany Deutschland
Ludwigsburg, Germany
Germany
Allround Berlin,
TSC Schwarz-Gelb Aachen,
Germany, DSC
1998 Berlin TC Gothenburg Germany,TD TSC Düsseldorf
Kodryanka Kishinev,
Rot-Weiß, Germany
Moldova
Jantar Elblag Jantar
Klaipėda University Žuvėdra
Elblag Poland, TC
1999 Elbląg Vilnius team, Lithuania, TSG
Allround Berlin
Bremerhaven, Germany
Germany
Braunschweiger TSC, TSG Bremerhaven, Germany,
2000 Brunswick Germany, DSC Wels (Stadt) Klaipėda University Žuvėdra
Kodryanka Kishinev, team, Lithuania
Moldova
DSC Kodryanka
Kishinev, Moldova,
2001 Berlin Bremerhaven Klaipėda University Žuvėdra
Braunschweiger TSC,
team, Lithuania
Germany
DSC Kodryanka
team, Lithuania, TD TSC
2002 Kishinev Kishinev, Moldova, Vilnius
Düsseldorf Rot-Weiß,
Vera Tyumen, Russia
Germany
DSC Kodryanka
Kishinev, Moldova,
2003 Stuttgart Essen team, Lithuania, TSZ Aachen,
Braunschweiger TSC,
Germany
Germany
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Klaipėda University Team
Braunschweiger TSC,
Žuvėdra Lithuania,
Germany, DSC
2004 Brunswick Minsk
Kodryanka Kishinev,
Grün-Gold-Club Bremen
Moldova
Germany
Braunschweiger TSC,
team Lithuania,
Germany, DSC
2005 Elblag Munich
Kodryanka Kishinev,
Grün-Gold-Club Bremen
Moldova
Germany
Vera Tyumen, Russia, Grün-Gold-Club Bremen
2006 Moscow DSC Kodryanka Bremen Germany, Klaipėda University
Kishinev, Moldova Žuvėdra team, Lithuania
TC Ludwigsburg,
Grün-Gold-Club
2007 Stuttgart Germany, Vera Bremerhaven
Bremen,Germany (joined
Tyumen, Russia
first), Klaipėda University
Žuvėdra team, Lithuania
Žuvėdra Klaipėda University,
DSC Kodryanka
Wiener Lithuania, Green-Gold-Club
2008 Kishinev Kishinev, Moldova, TC
Neustadt Bremen Germany Deutschland
Ludwigsburg, Germany
Germany
2. Ice dancing
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2008 World champion ice dancers Isabelle Delobel & Olivier Schoenfelder perform a
dance lift. Dance lifts differ in many ways from pairs lifts.
Ice dancing is a form 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 can also compete.
Competition components
There are three components in an ice dance competition: the compulsory dances ("CD"),
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original dance ("OD"), and the free dance ("FD"). The free dance is the most heavily
weighted in the scoring and is used as a tiebreaker. Some competitions, such as the Grand
Prix of Figure Skating Final, do not have a compulsory dance.
Compulsory dances
Compulsory dances are a part of ice dancing in which all the couples perform the same
standard steps and holds to music of a specified tempo. One or more compulsory dances
are usually skated as the first phase of competitions in ice dancing, but they are also
popular as a form of recreational or social dance among skaters.
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Oksana Domnina & Maxim Shabalin perform the Golden Waltz compulsory dance.
The patterns for most dances either cover one-half or one full circuit of the rink. The
International Skating Union publishes the step diagrams and descriptions of the dances
that are competed internationally, and also provides a set of standard music recordings for
each dance with uniform tempo and introductory phrasing for use in competition.
Original dance
The original dance is a part of an ice dancing competition. It is usually the second of
three programs, sandwiched between the compulsory dances and the free dance.
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Tanith Belbin & Benjamin Agosto perform a folk dance original dance.
For the original dance, the International Skating Union designates a rhythm or set of
rhythms each year that all dancers must perform to, but unlike the compulsory dances, the
competitors choose their own music (within a specified tempo range) and choreography.
The original dance could be compared to the short program in singles and pairs. The
length of the program is shorter than the free dance, and the skaters must adhere to more
rules. The dance must be choreographed so that the steps do not cross the midline of the
rink. There are certain exceptions for this rule that take into account required step
sequences such as the diagonal footwork sequence. Closed partnering positions and close
skating is also important for the original dance.
Short dance
Free dance
The free dance is a part of an ice dancing competition. It is usually the third and final part
of the competition to be contested, after the compulsory dances and the original dance.
In the free dance, teams are free to choose their own rhythms, program themes, and
therefore music. Creativity is also strongly encouraged. Since 1998, dancers have been
required to include certain elements in their free dances, including step sequences, lifts,
dance spins, and multi-rotation turns called twizzles. Senior level free dances are four
minutes long (plus or minus 10 seconds) and usually include multiple music cuts and
tempos that help bring variety to the routine. The hand holds and positions are much
more open and free than in the compulsory and original dance categories. Often teams
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strive to skate in difficult or unusual positions to gain difficulty points. There are more
lifts in the free dance than in the original dance.
Competition elements
Lifts
Lifts in ice dancing differ from those in pair skating in prohibiting the man from exten-
ding his hands above his head, but allowing a wider variety of holds. The more change of
direction, flexibility, and height in the lift, the greater number of points a team can earn
from the judges under the Code of Points scale.
Jumps and spins
Multi-revolution jumps are not permitted. "Half" jumps are now allowed. Spins must be
performed by both skaters revolving around the same axis, the same as in pair spins.
Ice dance history

Ice dance has a strong tradition in the United Kingdom. Many of the compulsory dances
which are still competed today were developed by British dancers in the 1930s, and 12 of
the first 16 World Championships in ice dance were won by British couples. The British
team of Jayne Torvill and Christopher Dean famously won the Olympic gold medal in
Sarajevo in 1984 with a dramatic free skate to Ravel's Bolero which earned unanimous
6.0s for presentation.
The British style of ice dance originally emphasized upright carriage and strong edges
achieved by deep knee bend. Beginning in the 1960s, Eastern European skaters started a
trend to dance in more open positions, which allowed for greater speed over the ice, more
upper-body involvement, and greater projection towards the audience. In the 1970s, top
Soviet dancers began to develop a more theatrical style of ice dancing incorporating
elements of ballet and often based on narrative program themes. The Russian style of
dance emphasized extended line and speed, rather than difficult rhythmic footwork. In
some cases, elaborate choreography for the upper body was used to camouflage
fundamental deficiencies of skating technique. By the early 1990s, however, all the top
dance teams were performing routines in the theatrical, rather than ballroom, style.
At this point, the International Skating Union began to try to restrain the excessive
theatricality in ice dancing, first by attempting to return it to its ballroom roots by adding
more restrictions on music and dance holds. Later, amid complaints that ice dance had
become too boring, these restrictions were removed and replaced with requirements that
dancers include specified technical elements in the original dance and free dance. The
effect is that there is now more emphasis on technique and athleticism in the judging, and
less on dramatics. While the requirement that dancers skate to music with a definite beat
remains, ice dancing is currently the only discipline of figure skating which allows vocal
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music with lyrics in competition.
3. Waltz
Waltz
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Pierre-Auguste Renoir, Bal à Bougival, 1883
Genre Ballroom dance, folk dance
Time signature 3/4
Country Austria and Southern Germany
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Detail from frontispiece to Thomas Wilson's Correct Method of German and French
Waltzing (1816), showing nine positions of the Waltz, clockwise from the left (the
musicians are at far left). At that time, the Walz was a relatively new dance in England,
and the fact that it was a couples dance (as opposed to the traditional group dances), and
that the gentleman actually clasped his arm around the lady's waist, gave it a dubious
moral status in the eyes of some.
The waltz is a ballroom and folk dance in 3/4 time, performed primarily in closed
position.
Waltz rhythm.
History
Jazz waltz rhythm.
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 Mon-
taigne 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, whatever they call it." "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". 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).
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
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around the room with gliding steps as in an engraving of the Wirtschaft (Inn Festival)
given for Peter the Great.
The peasants of Bavaria, Tyrol, and Styria began dancing a dance called Walzer, a dance
for couples, around 1750. 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.
In the 1771 German novel Geshichte 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."
Describing life in Vienna (dated at either 1776 or 1786), 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 1786. 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.
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.
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.
Shocking many when it was first introduced, 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, though the entry in the Oxford English
Dictionary shows that it was considered "riotous and indecent" as late as 1825. 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.
Styles
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In the 19th and early 20th century, numerous different waltz forms existed, including
versions performed in 2/4 or 6/8 (sauteuse), and 5/4 time (5/4 waltz, half and half)
In the 1910s, a form called the "Hesitation Waltz" was introduced by Vernon and Irene
Castle. It incorporated Hesitations and was danced to fast music. A Hesitation is basically
a halt on the standing foot during the full waltz measure, with the moving foot suspended
in the air or slowly dragged. Similar figures (Hesitation Change, Drag Hesitation, and
Cross Hesitation) are incorporated in the International Standard Waltz Syllabus
The Country Western Waltz is 99% progressive, moving counter clock wise around the
dance floor. Both the posture and frame are relaxed, with posture bordering on a slouch.
The exaggerated hand and arm gestures of some ballroom styles are not part of this style.
Couples may frequently dance in the Promenade position, depending on local
preferences. Within country western waltz there are the Spanish Waltz and the more
modern (for the late 1930s- early 1950s) Pursuit Waltz. At one time it was considered ill
treatment for a man to make the woman walk backwards in some locations.
In California the waltz was banned by Mission fathers until after 1834 because of the
"closed" dance position. Thereafter a Spanish Waltz was danced. This Spanish Waltz was
a combination of dancing around the room in closed position, and a "formation" dance of
two couples facing each other and performing a sequence of steps. "Valse a Trois Temps"
was the "earliest" waltz step, and the Rye Waltz was favored as a couple dance.
• In contemporary ballroom dance, the fast versions of the waltz are called Vien-
nese Waltz.
• International Standard Waltz has only closed figures; that is, the couple never
breaks the embrace.
• The American Style Waltz, in contrast to the International Standard Waltz, invo-
lves breaking contact almost entirely in some figures. For example, the Syn-
copated Side-by-Side with Spin includes a free spin for both partners. Open rolls
are another good example of an open dance figure, in which the follower alter-
nates between the lead's left and right sides, with the lead's left or right arm
(alone) providing the lead. Waltzes were the staple of many American musicals
and films, including "Waltz in Swing Time" sung by Fred Astaire.
• The Cross Step Waltz is a newer style of waltz where the first step is a cross-step
into the line of direction. This was popularized in classes at Stanford University
and allows for a much richer assortment of variations.
• The Scandinavian Waltz. Performed as a part of Scandinavian folk dance, this can
be fast or slow, but the dancers are always rotating.
• The Peruvian Waltz (Called and recognized in Peru as vals criollo).
• The Curaçaon waltz. The first composer to write Curaçaon waltzes was Jan
Gerard Palm (1831–1906). Like the Strauss family in Austria, the Palm family
composed numerous of popular Curaçaon waltzes. Well known composers of
Curaçaon waltzes of the Palm family are Jan Gerard Palm (1831–1906), Jacobo
Palm (1887–1982), Rudolph Palm (1880–1950), John Palm (1885–1925), Albert
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Palm (1903–1957), Edgar Palm (1905–1998) and Robert Rojer (1939). Besides
the Palm family, Curaçao born composers such as Joseph Sickman Corsen, Chris
Ulder, Jacobo Conrad and Wim Statius Muller are well known for their typical
Curaçao waltzes.
• The Mexican Waltz (vals mexicano) follows the same basic rhythmic pattern as
the standard waltz, but the melodies reflect a strong Spanish influence. Mexico's
Juventino Rosas wrote "Sobre las Olas" or "Over the Waves", commonly known
in the U.S. as a circus song played during a trapeze show.
• The Cajun Waltz is danced progressively around the floor, and is characterized by
the subtle swaying of the hips and step very close to ordinary walking. It is
danced entirely in the closed position.
• Tango vals allows the dancers to dance one, two, three, or no steps to any three
beats of waltz music, and to vary the number of steps per bar throughout the song.
• The Venezuelan waltz
• The Contra Waltz (Freeform Waltz), included in most contra dance evenings, uses
both open and closed positions, and incorporates moves from other dances such as
swing, modern jive and salsa. Basically the dancers progress around the dance
floor with a waltz step, but with no constraints on what moves they can use.
4. Viennese Waltz
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Ball gown and tailcoat are often worn when dancing Viennese waltz competitively.
Viennese Waltz (German: Wiener Walzer) is the genre of a ballroom dance. At least
three different meanings are recognized. In the historically first sense, the name may refer
to several versions of the waltz, including the earliest waltzes done in ballroom dancing,
danced to the music of Viennese Waltz.
What is now called the Viennese waltz is the original form of the waltz. It was the first
ballroom dance performed in the closed hold or "waltz" position. The dance that is
popularly known as the waltz is actually the English or slow waltz, danced at appro-
ximately 90 beats per minute with 3 beats to the bar (the international standard of 30
measures per minute), while the Viennese Waltz is danced at about 180 beats (58-60
measures) a minute. To this day however, in Germany, Austria, Scandinavia, and France,
the words Walzer (German for "waltz"), vals (Danish, Norwegian, and Swedish for
"waltz"), and valse (French for "waltz") still implicitly refer to the original dance and not
the slow waltz.
The Viennese Waltz is a rotary dance where the dancers are constantly turning either
toward their right (natural) or toward their left (reverse), interspersed with non-rotating
change steps to switch between the direction of rotation. A true Viennese waltz consists
only of turns and change steps. Other moves such as the fleckerls, American-style figures
and side sway or underarm turns are modern inventions and are not normally danced at
the annual balls in Vienna. Furthermore, in a properly danced Viennese Waltz, couples
do not pass, but turn continuously left and right while travelling counterclockwise around
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the floor following each other.
As the Waltz evolved, some of the versions that were done at about the original fast
tempo came to be called specifically "Viennese Waltz" to distinguish them from the
slower waltzes. In the modern ballroom dance, two versions of Viennese Waltz are
recognized: International Style and American Style.
Today the Viennese Waltz is a ballroom and partner dance that is part of the International
Standard division of contemporary ballroom dance.
Most people associate Viennese Waltz with "The Blue Danube".
History
Early history
The Viennese Waltz, so called to distinguish it from the Waltz and the French Waltz, is
the oldest of the current ballroom dances. It emerged in the second half of the 18th
century from the German dance and the Ländler in Austria and was both popular and
subject to criticism. The Waltzen, as written in a magazine from 1799, is performed by
dancers who held on to their long gowns to prevent them from dragging or being stepped
on. The dancers would lift their dresses and hold them high like cloaks and this would
bring both their bodies under one cover. This action also required the dancers' bodies to
be very close together and this closeness also attracted moral disparagement. Wolf
published a pamphlet against the dance entitled "Proof that Waltzing is the Main Source
of Weakness of the Body and Mind of our Generation" in 1797. But even when faced
with all this negativity, it became very popular in Vienna. Large dance halls like the Zum
Sperl in 1807 and the Apollo in 1808 were opened to provide space for thousands of
dancers. The dance reached and spread to England sometime before 1812. It was
introduced as the German Waltz and became a huge hit. It gained ground due to the
Congress of Vienna at the beginning of the 19th century and the famous compositions by
Josef Lanner, Johann Strauss I and his son, Johann Strauss II.
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Early waltz steps, 1816 from Thomas Wilson Treatise on waltzing
Initially, the waltz was significantly different from its form today. In the first place, the
couples did not dance in the closed position as today. The illustrations and descriptions
make it clear that the couples danced with arm positions similar to that of the precursor
dances, the Landler and the Allemande. The hold was at times semi-closed, and at times
side by side. Arms are intertwined and circling movements were made under raised arms.
No couple in Wilson's plate are shown in close embrace, but some are in closed hold
facing each other. There was another significant difference from our present technique.
The feet were turned out and the rise of foot during the dance was much more prono-
unced than it is today. This can be seen quite clearly in the figure, and such a style
imposes its limitations on how the dance can be performed.
To understand why Quirey says "The advent of the Waltz in polite society was quite
simply the greatest change in dance form and dancing manners that has happened in our
history" we need to realize that all European social dances before the waltz were
communal sequence dances. Communal, because all the dancers on the floor took part in
a pre-set pattern (often chosen by a Master of Ceremony). Dancers separately, and as
couples, faced outwards to the spectators as much as they faced inwards. Thus all present
took part as dancers or as onlookers. This was the way with the country dance and all
previous popular dances. With the waltz, couples were independent of each other, and
were turned towards each other (though not in close contact). Lord Byron wrote a furious
letter, which precedes his poem The Waltz, in which he decries the anti-social nature of
the dance, with the couple "like two cockchafers spitted on the same bodkin."
Later history
In the 1920s, in Germany, the Viennese Waltz became outdated as more modern and
dynamic dances emerged. In England the Viennese Waltz acclimatized, there Boston and
later Waltz were preferred.
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At the beginning of the 1930s the Viennese Waltz had its comeback as a folk dance in
Germany and Austria. The former military officer Karl von Mirkowitsch made it accep-
table both for society and ballroom, and since 1932 the Viennese Waltz has been present
on ballroom dance floors. About the same time, the Viennese Waltz had its comeback as
a folk dance in The Greater Cleveland Ohio U.S.A. Area, due to the population of
Slovenians (60,000 - 80,000) settled in the area. Slovenia, situated south of Austria, was
influenced in its folk dance by the Viennese Waltz. Frankie Yankovic, a Slovenian from
Cleveland Ohio traveled the world playing his version ("Cleveland Style" as per Polka
Hall of Fame, Euclid Ohio) of the Viennese Waltzes. His Blue Skirt Waltz went Platinum
1949. Even today, there are many opportunities to waltz every week in The Greater
Cleveland Area. In 1951 Paul Krebs, a dance teacher from Nürnberg, combined the
traditional Austrian Waltz with the English style of waltzing and had great success at the
dance festival in Blackpool in the same year. Since then the Viennese Waltz is one of the
five International Standard ballroom dances; in 1963 it was added to the Welttanz-
programm which is the fundament of European dancing schools.
The Viennese Waltz has always been a symbol of political and public sentiments. It was
called the Marseillaise of the heart (Eduard Hanslick, a critic from Vienna in the past
century) and was supposed to have saved Vienna the revolution (sentence of a biographer
of the composer Johann Strauss I), while Strauss I himself was called the Napoleon
Autrichien (Heinrich Laube, poet from the north of Germany).
Technique and styles
The Viennese Waltz is a rotary dance where the dancers are constantly turning either in a
clockwise (natural) or anti-clockwise (reverse) direction interspersed with non-rotating
change steps to switch between the direction of rotation. A true Viennese waltz consists
only of turns and change steps. Other moves such as the fleckerls, American-style figures
and side sway or underarm turns are modern inventions and are not normally danced at
the annual balls in Vienna. Furthermore, in a properly danced Viennese Waltz, couples
do not pass, but turn continuously left and right while travelling counterclockwise around
the floor following each other.
The competitive style Viennese Walts has reduced amount of steps: Change Steps,
Passing Changes, Hesitations, Hovers, the Contra Check, Natural и Reverse Turns.
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International Style Viennese Waltz
International Style Viennese Waltz is danced in closed position. The syllabus is limited to
natural and reverse turns, Changes, Fleckerls, Contra Check, Left Whisk, and canter time
Pivots (Canter Pivots).
American Style Viennese Waltz
American Style Viennese Waltz has much more freedom, both in dance positions and
syllabus.
5. Collegiate shag
The Collegiate Shag (or "Shag") is a partner dance done primarily to upper tempo jazz
music (usually 200+ beats per minute). It belongs to the swing family of American
vernacular dances that arose in the 1920s, 30s, and 40s.
Name
"Shag" itself (when used in reference to American social dances) is a very broad term
used to denote a number of swing dances that originated during the early part of the 20th
century. Arthur Murray mentioned Shag in his 1937 book "Let's Dance". This article
states that shag was known throughout the entire country under various names, like "Flea
Hop". A New York writer sent to Tulsa, Oklahoma in late 1940/early 1941 noted an
"...Oklahoma version of shag done to the Western Swing music of Bob Wills and his
Texas Playboys at the Cain's Dancing Academy in Tulsa."
Today the term "Collegiate Shag" is most often used in reference to a kind of double shag
that is believed to have originated in New York during the 1930s. To call the dance
"collegiate shag" was not as common during the swing era as it is today, but when it was
used (as it was with other vernacular dances of the time) it was meant to indicate the style
of the dance that was popular amongst the college crowd. This name later became
somewhat standard in the latter part of the 20th century, presumably because it helped to
distinguish the dance from other contemporary dances that share the "shag" designation
(e.g., Carolina Shag).
History
Shag has no clear historical record but is often assumed, as with many other swing
dances, to have evolved from Foxtrot. In the late 19th century the term "shagger" was
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supposedly a nickname for vaudeville performers, who were known to dance the Flea
Hop. Later "shag" became a blanket term that signified a broad range of jitterbugging
(swing dancing). In the 1930s there were arguably a hundred or more variations of the
dance, which differed depending upon geographic region. These variations were later
generalized into three categories: single, double, and triple shag. The different names are
intended to denote the number of 'slow' (e.g., step, hop) steps performed during each
basic. The slow steps were then followed by two 'quick' steps (e.g., step, step).
The dance is still performed today (primarily double shag) by swing dance enthusiasts
worldwide.
Moves
Described below is double shag, which uses a 'slow, slow, quick, quick' rhythm. The
basic step has six counts.
Shag Position: the man's left hand is held straight up with his left elbow touching the
woman's right elbow. Her arm should be fully extended overhead as well. This was not
always practiced, but it is understood to be one of the features that make collegiate shag
unique. Some dancers prefer to hold the arms much lower, similar to conventional
ballroom positioning. The woman usually mirrors the man's footwork in closed position.
The basic step of the shag is danced in a 'squared-up,' closed position (i.e., the man and
woman's shoulders/toes line up so the partners face one another directly).
Note: Hop is defined as: a transfer/change of weight to the other foot while hopping
(very minimal; almost more of a scoot than a literal hop). Step is defined as: a lift-and-
plant motion on the same foot. Planted foot is the foot with the dancer's weight on it
• Basic: (from the lead's point-of-view) Beat 1: hop onto left foot, beat 2: step on
left, beat 3: hop onto right foot, beat 4: step on right, beat 5: step onto left foot,
and beat 6: step onto right foot.
As mentioned above, this is often broken down verbally as "slow, slow; quick, quick"
where the 'slows' cover two beats (or counts) each and the 'quicks' mark a single beat (or
count) each. Hence, for the lead this would be two counts with the weight on the left leg
while the right leg moves, two counts with weight on the right leg while the left leg
moves, followed by a quick step onto the left and then a quick step onto the right
• Circle kicks: (like basic, but where the non-planted foot moves in a circle)
• Camel kicks: (done with the partners positioned side-by-side) the same movement
as the basic but where the non-planted foot kicks on each slow, and where the
quick-quicks are done with one foot behind the other (in tandem).
• Breaks: A step and hold action where the non-planted leg is extended fully and
the planted leg is bent underneath the dancer for support (hop onto left, leaving
out the step; hop onto right, leave out the step; step left and step right)
• Turns: the follow can be turned with an overhead, a free, or an Apache turn on the
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slows or the quicks-quicks (to do so on the quick-quick is considered more
traditional)
6. Samba (ballroom dance)
Carnival in Rio de Janeiro
Samba is a lively, rhythmical dance of Brazilian origin in 2/4 time. However, there are
three steps to every bar (slow, quick-quick), making the samba feel something like a 3/4
timed dance.
There are two major streams of samba that differ considerably: the modern ballroom
samba, described in this article, and the traditional samba of Brazil. Traditional Brazilian
samba includes the partner dance, Samba de Gafieira, as well as Samba no pé, which is
danced solo at carnival.
Origins
The ballroom samba has its origins in Brazil at the beginning of the 20th century. Many
steps can be traced back to the Maxixe danced in 1910s. A book published in France in
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1928 already described how to perform the samba.
Style
As a ballroom dance, the samba is a partner dance. Ballroom samba, like other ballroom
dances, is somewhat disconnected from the origins and evolution of the music and dance
that gives it its name. It is a form adapted for its suitability as a partner dance. The dance
movements, which do not change depending on the style of samba music being played,
borrows some movements from Afro-Brazilian traditional dances such those used in
candomblé rituals and the chamadas of capoeira angola.
The ballroom samba is danced to music in 2/4 or 4/4 time. The basic movements are
counted either 1-2 or 1-a-2, and are danced with a slight downward bouncing or dropping
action. This action is created through the bending and straightening of the knees, with
bending occurring on the beats of 1 and 2, and the straightening occurring on the "a".
Samba is notable for its constantly changing rhythms however, with cross-rhythms being
a common feature. Thus, common step values (in beats are):
3/4 1/4 1
3/4 1/4 3/4 1/4
1 1/2 1/2
3/4 1/2 3/4
Music
The ballroom samba is danced under several different rhythms, including the original
Samba (music). It is also possible to dance ballroom samba with flamenco, fast Cha-Cha-
Cha, and other South American rhythms.
7. Argentine tango
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The embrace of two Argentine tango dancers
Argentine tango is a social dance and musical genre, written in 2/4 measure and with
binary musical form. Its lyrics and music are marked by nostalgia, expressed through
melodic instruments like the bandoneon. Originated at the ending of the 19th century in
the suburbs of Buenos Aires, it quickly grew in popularity and was internationally spread.
Among its leading figures are the singer and songwriter Carlos Gardel, composers like
Mariano Mores and musician like Osvaldo Pugliese and Ástor Piazzola.
The Music
Argentine tango music is much more varied than ballroom tango music. A large amount
of tango music has been composed by a variety of different orchestras over the last
century. Not only is there a large volume of music, there is a breadth of stylistic differ-
rences between these orchestras as well, which makes it easier for Argentine tango
dancers to spend the whole night dancing only Argentine tango. The four representative
schools of the Argentine tango music are Di Sarli, D’Arienzo, Troilo and Pugliese. They
are dance orchestras, playing music for dancing. When the spirit of the music is charac-
terized by counterpoint marking, clarity in the articulation is needed. It has a clear, repe-
titive pulse or beat, a strong tango-rhythm which is based on the 2x4, 2 strong beats on 4
(dos por cuatro). Astor Piazzolla stretched the classical harmony and counterpoint and
moved the tango from the dance floor to the concert stage. His compositions tell us
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something of our contemporary life and dancing it relates much to modern dance.
The Dance
Argentine tango dancing consists of a variety of styles that developed in different regions
and eras, and in response to the crowding of the venue and even the fashions in clothing.
Even though the present forms developed in Argentina and Uruguay, they were also
exposed to influences re-imported from Europe and North America. There are records of
18th and early 19th century tango styles in Cuba and Spain, while there is a flamenco
tangos dance that may share a common ancestor in a minuet-style European dance.
Consequently there is a good deal of confusion and overlap between the styles as they are
now danced - and fusions continue to evolve.
Argentine tango is danced in an embrace that can vary from very open, in which leader
and follower connect at arms length, to very closed, in which the connection is chest-to-
chest, or anywhere in between.
Tango dance is essentially walking with a partner and the music. Dancing appropriately
to the emotion and speed of a tango is extremely important to dancing tango. A good
dancer is one who transmits a feeling of the music to the partner. Also, dancers generally
keep their feet close to the floor as they walk, the ankles and knees brushing as one leg
passes the other.
Argentine tango dancing relies heavily on improvisation; although certain patterns of

movement have been codified by instructors over the years as a device to instruct
dancers, there is no "basic step." One of the few constants across all Argentine tango
dance styles is that the follower will usually be led to alternate feet. Another is that the
follower rarely has her weight on both feet at the same time.
Argentine tango is danced counterclockwise around the outside of the dance floor (the
"line of dance") and dance "traffic" often segregates into a number of "lanes"; cutting
across the middle of the floor is frowned upon. In general, the middle of the floor is
where one finds either beginners who lack floor navigation skills or people who are
performing "showy" figures or patterns that take up more dance floor space. It is
acceptable to stop briefly in the line of dance to perform stationary figures, as long as the
other dancers are not unduly impeded. The school of thought about this is, if there is open
space in front, there are likely people waiting behind. Dancers are expected to respect the
other couples on the floor; colliding or even crowding another couple, or stepping on
others' feet is to be avoided strenuously. It is considered rude; in addition to possible
physical harm rendered, it can be disruptive to a couple's musicality.
Competitive vs. social dance

Ballroom tango steps were standardized by dance studios. The steps have been relatively
fixed in style for decades.
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However, Argentine tango has been an evolving dance and musical form, with continual
changes occurring every day on the social dance floor in Argentina and in major tango
centers elsewhere in the world.
Argentine tango dance is still based heavily on improvisation. While there are patterns or
sequences of steps that are used by instructors to teach the dance, even in a sequence
every movement is led not only in direction but also speed and quality (a step can be
smooth, pulsing, sharp, ... etc.). Although Argentine tango evolves mostly on the dance
floor, the government of Argentina does host an annual competition of Argentine tango
dance in Buenos Aires, attracting competitors from around the world.
Embrace (abrazo)
A striking difference between Argentine tango and ballroom tango is in the shape and
feel of the embrace. Ballroom technique dictates that partners arch their upper bodies
away from each other, while maintaining contact at the hip, in an offset frame.
In Argentine tango, it is nearly the opposite: the dancers' chests are closer to each other
than are their hips, and often there is contact at about the level of the chest (the contact
point differing, depending on the height of the leader and the closeness of the embrace).
In close embrace, the leader and the follower's chests are in complete contact and they are
dancing with their heads touching or very near each other. In open embrace, there can be
as much space as desired between the partners, but there should always be complete
contact along the embracing arms to give optimum communication. Since Argentine
tango is almost entirely improvisational, there needs to be clear communication between
partners. Even when dancing in a very open embrace, Argentine tango dancers do not
hold their upper bodies arched away from each other; each partner is over their own axis.
Whether open or closed, a tango embrace is not rigid, but relaxed, like a hug.
Walking (caminata)
One very important characteristic of Argentine tango is the walk outside of the legs of the
lady. The inside walk belongs originally to the American Tango. It is seen in Argentine
Tango, but it does not belong to it originally. Another difference is that the leader may
freely step with his left foot when the follower steps with her left foot. In English, this is
sometimes referred to as a "crossed" (e.g. "walking in the crossed system") or "uneven"
walk in contrast to the normal walk which is called "parallel" or "even." In ballroom
tango, "crossed system" is considered incorrect unless the leader and follower are facing
the same direction. Furthermore, the flexibility of the embrace allows the leader to
change his weight from one foot to another while the follower's weight remains
unchanged. This is another major difference with ballroom tango, where a weight change
by one partner leads to an automatic weight change by the other.
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The nomenclature originated with the Naveira/Salas "Investigation Group." Early on,
they used 'even/uneven' to describe the arrangement of legs in the walk (or turn). By the
mid-1990s, they began using 'parallel/crossed' and later 'normal/crossed'. In dance the
changing of feet is named contrapaso, or "contra-step". This change can be made off or
on the normal beat.
Steps
Unlike the majority of social dance, Argentine tango is not a set step, but a completely
improvised dance combining various elements in a spontaneous manner, as determined
by the lead. To be able to improvise, the dancer needs to learn the lead and imple-
mentation of the different single elements of Tango, so they can be produced later by
leading appropriately in space and music. The elements are just a few as caminar (walk),
cruce (cross), ochos (figure-eight), ganchos (leg hooks), giros (turns), contragiros (turns
in the other direction), sacadas (displacements), boleos (this expression comes from
boleadoras, balls linked with cords, thrown to hunt animals), llevadas de pie (moving foot
by foot), cortes (cuts), and quebradas (breaks). Well-known and simple combinations are
called figura básica (basic figures), especially when they contain just one element. Some
of the elements are named as a figure.
Most Argentine tango teachers teach complex figures, but then break them down into
simpler parts. They then teach students how to improvise their own figures. Beginner
classes may include:
• Caminada - combination of caminar, "walk" in Spanish

• Baldosa - ("tile") a six-step figure similar to the ballroom box step, except the
man starts with his right foot, then steps back, side, FORWARD, forward, side,
together. The baldosa is the basic step of Milonga.
The beginning part of a figure, its starting-point, is called Salida - ("exit", also
"beginning" - as of a journey) any of several patterns that begin a figure. The first half of
the baldosa is one such pattern. The end part to finish a combination is called Resolución
- any of several patterns that end a figure. The second half of the baldosa is one such
pattern. The combination of the Salida, a walk, the cross of the lady and the Resolución is
the so-called "Basic Step" (Paso Basico, La Base, Salida Simple).
An Argentine tango figure, then, is the pattern salida + combination of elents +

resolución. (In the baldosa, the number of elements or figures further the walk is zero.)
This makes for flexible, ever-changing patterns unlike those of conventional partner
dances. This gives leaders exceptional opportunity to improvise, and is part of why the
Argentine tango is unique in the dance world.
• Paso Básico - "basic step" and its variations. The basic step is not a beginner's
step, but the basic of all Tango dance, as its name clearly shows. It is build of
caminar (walk) and the cross of the lady, having the salida and the resolution as
beginning and ending part. The common basic step starts back, then side, then the
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leader steps outside his partner. After he then leads his partner into the two steps
of the cruzada. The three steps of the resolución makes eight steps in all. This
eight-step pattern is abbreviated "8CB", or in Spanish, "PB". This basic step can
also start to the side, then it fits seven movements; or immediately in front,
outside, it fits six movements.
There are other basic figures
• Cadencias - "cadence" as when soldiers "count cadence" by stepping in place.

(The word is sometimes mistakenly applied to the following.)
• Cunitas - rock steps, to side, forward, or back. Comes from rocking a cuna
"cradle"
• Cazas - "chases" when one foot steps forward and the other chases it to step
beside it. Can be used as a resolución.
• Stepping outside is the proper walk of Tango. Walking outside - the man moves
further to his left (or less often right) so that both his feet are outside his partner's.
The inside walk originally belongs to the American Tango.
• Cruzada - (from cruzar - to cross) the follower steps back right then back left,
crossing her left foot over her right before finishing the step. A "chase" with a
"cross". One way to go from the outside position back to the inside position.
• Ocho - a figure-8 traced by the follower's feet when moving forward or backward.
• Giro - a turn
• Contragiro - a turn (in the other direction)
• Media Luna - a half moon, the shape of a half giro
• Molinete - (windmill, wheel) another term for "giro" or the pattern of the woman's
footwork in the turn (front-side-back-side)
Intermediate steps further spice up the caminatas, including the following "dueling feet"
actions. These are ways for leaders to challenge and tease their partners.
• Sacada - the leader displaces his partner's unweighted leg outward as they walk.
• Parada - the leader halts the motion of the other dancer with her legs apart and
weight on both feet
• Barrida - one partner sweeps the others foot, displacing it along the floor
• Arrastre - (drag) synonym for "barrida"
• Sandwich - the leader places both feet on either side of the other dancer's forward
foot.
• Gancho - one dancer hooks their leg around their partner's leg.
Women also can contribute to the in-the-moment improvisations of tango dancing with
adornos ("adornments"). These include the following.
• Golpecitos - "little toe taps" done between steps.

• Golpes - "toe taps" which rebound high behind the woman - not recommended on
a tight floor!
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• Amagues - "threats, feints" a kick by one foot across in front of the other. May be
very small kicks, or very high (though usually only in choreographed show
routines).
• Boleos - come from boleadoras, balls to "throw" like a lasso, when the man in the
leading of the ocho backwards adds a further leading to lift the ladies free leg and
leads it way and back, starting to the front or to the back, turning the lady on her
standing leg way and back. The woman's foot is lifting from the floor and flying
to the side and wraps around her standing leg at the knee.(Comes from the way
the weighted balls at the ends of gauchos' bolas wrap around an animal the South
American cowboys want to capture.)
• Caricias - "caresses" a modern term, usually by the woman, who rubs her thigh,
calf, or foot down her partner's body.
Advanced tango steps are often borrowed from tango shows, but modified for the tight
spaces and flow of other dancers around the floor.
• Saltitos - "little leaps"

• Elevaditos - "little lifts"
• Colgadas - spins around a common center while leaning outward
• Volcadas - extreme leans, usually followed by an adorno. These include amagues
or front boleos, a drag of the woman across the floor, and calesitas (carousels, or
merry-go-rounds).
Related dances
Argentine tango dancers usually enjoy two other related dances: Vals (waltz) and
Milonga.
Music for the Vals is in 3/4 time but otherwise very similar to tango music. Tango
dancers dance the Vals much like they do tango only with a waltz rhythm that has one
beat per measure (at a beginner-level). This produces a rather relaxed, smooth flowing
dancing style in contrast to Viennese Waltz where the dancers often take 3 steps per
measure and turn almost constantly. Experienced dancers alternate the smooth one-beat-
per-measure walk with some double time steps (often incorrectly called syncopated
walks), stepping on one- two- or (rarely) all three beats in a measure. Vals is charac-
terized by its lack of pauses; continual turns (giros) in both directions are not done as in
ballroom quick waltz, although turns are sometimes introduced for variety.
Some say that Milonga is essentially tango; the differences lie in the music, which has a
strongly accented beat, and an underlying "habanera" rhythm. Dancers avoid pausing,
and often introduce double time steps (incorrectly called syncopation and more appro-
priately called traspies) into their walks and turns. Milonga uses the same basic elements
as tango, with a strong emphasis on the rhythm, and figures that tend to be less complex
than some danced in other varieties of tango. Syncopation is a hotly debated topic among
musicians and dancers, since syncopation has a special meaning in music and a different
meaning among most dance teachers. Some tango instructors say that tango steps should
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not be used in milonga and that milonga has its own special rhythm and steps, which are
quite different from tango.
Milonga is also the name given to tango dance parties. This double meaning of the word
milonga can be confusing unless one knows the context in which the word "milonga" is
used. People who dance at milongas are known as milongueros.
Resurgence of Argentine tango in North America
In 1983, the dance show Tango Argentino, staged by Claudio Segovia and Hector
Orezzolli, opened in Paris, France, starring dancers Juan Carlos Copes and Maria Nieves,
Nélida y Nelson, Eduardo y Gloria, María y Carlos Rivarola, Norma y Luis Pereyra,
Mayoral y Elsa Maria, Carlos y Inés Borges, Pablo Veron, Miguel Zotto and Milena
Plebs, and Virulazo and Elvira. In 1985, the show opened on Broadway in New York
City. Cast members gave classes to a number of students, including Robert Duvall. Paul
Pellicoro provided a dance center for the performers to teach new students. At the same
time, Danel and Maria Bastone were teaching tango in New York, and Orlando Paiva was
offering tango classes in Los Angeles, California. For further lessons, Duvall sought out
Nestor Ray, a dancer who Duvall had seen perform in the documentary film Tango mio.
In 1986, Nora and Raul Dinzelbacher visited San Francisco, California, coming from La
Paz, Entre Ríos and Buenos Aires aboard a cruise ship where they were dancing tango
and chacarera professionally. Al and Barbara Garvey took tango classes from them as
well as from Jorge and Rosa Ledesma from Quilmes, Buenos Aires; all in the style of
choreographed show tango. In 1987, the Garveys traveled to Buenos Aires to discover the
traditional improvisational social dance style at a large milonga (Centro Akarense) filled
with older dancers in Villa Urquiza. Upon returning home to Fairfax, California, the
Garveys continued tango lessons and began organizing milongas around the San
Francisco Bay Area. They co-founded the Bay Area Argentine Tango Association
(BAATA) and published a journal.
In 1986, Brigitta Winkler appeared in her first stage performance, Tangoshow in
Montreal. Though based in Berlin, Winkler traveled often to teach at tango festivals in
North America throughout the following two decades. Winkler was a seminal influence
of Daniel Trenner. Montreal's first tango teachers, French-born Lily Palmer and her
Argentine friend, Antonio Perea, offered classes in 1987.
The Dinzelbachers settled in San Francisco in 1988, in response to the demand for tango
teachers following a visit to San Francisco by the touring production of Tango Argentino.
Nora and Raul Dinzelbacher taught a core group of students who would later become
teachers themselves, including the Garveys, Polo Talnir and Jorge Allende.
In 1989, the Dinzelbachers were invited to Cincinnati, Ohio by Richard Powers, to

introduce and teach Argentine tango at a weeklong dance festival. The following year,
Powers moved his festival to Stanford University and asked the Dinzelbachers back.
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Unfortunately, Raul Dinzelbacher, 40 years old, collapsed and died at the end of the third
day of the festival. Nora Dinzelbacher was devastated but threw herself into her work,
forming a dance performance troupe and teaching. She asked a student, George Guim, to
become her assistant. They taught at a week-long dance festival in Port Townsend,
Washington.
Throughout 1990, Luis Bravo's Forever Tango played in eight West Coast cities,
increasing viewer's interest in learning the tango. Carlos Gavito and his partner Marcela
Duran invented a dramatically different tango embrace in which both dancers leaned
forward against each other more than was traditionally accepted. Gavito's ultimate rise to
fame came from this starring appearance in Forever Tango.
In 1991, Richard Powers asked Nora Dinzelbacher to help him transform "Stanford
Dance Week" into "Stanford Tango Week". The two produced the popular annual festival
until the University abruptly cancelled it after its 1997 run. In 1998, with Bob Moretti, a
former student, Nora began a new festival in the same vein: "Nora's Tango Week", held
in Emeryville, California. Moretti would continue to co-produce the festival until his
death on June 22, 2005, just days before that year's Tango Week.
In the first half of 1994, Barbara Garvey's BAATA mailing list grew from 400 to 1,400
dancers. Garvey places the critical mass of the San Francisco Bay Area's tango
resurgence at this point. The number of regional milongas went from three per month to
30.
Forever Tango returned to the United States late in 1994, landing in Beverly Hills, then
San Francisco, where it ran for 92 weeks. From there the show went to New York where
it became the longest-running tango production in Broadway history.
In June 1995, Janis Kenyon held a tango festival at Northwestern University. Kenyon had
attended Stanford Tango Week in 1993, where she met Juan Carlos Copes and Maria
Nieves. The pair were invited to teach at Kenyon's 1995 Chicago event. The next year,
Kenyon moved her festival to Columbus, Ohio, where she featured Osvaldo Zotto. In
February 1997, Clay Nelson (a two-time attendee at Stanford Tango Week) organized his
first ValenTango festival in Portland, Oregon; "Tango Fantasy on Miami Beach" was
formed by Jorge Nel, Martha Mandel, Lydia Henson and Randy Pittman as Florida's first
tango festival; and the Portland October Tangofest was launched, again by Clay Nelson.
1999 saw a split in Miami: Nel and Mandel scheduled their "United States Tango
Congress" to open a month prior to the Tango Fantasy event.
Daniel Trenner has been credited with bringing improvisational social Argentine tango to
the United States. Like the Garveys, he first went to Buenos Aires in 1987, where he
went to a milonga in Palermo and saw the traditional improvisational style being danced.
Trenner was introduced to Miguel and Nelly Balmacera, a couple who would become his
first tango teachers. Being fluent in both Spanish and English he was able to study with
many Argentine tango masters, including Gustavo Naveira and Mingo Pugliese. He made
video tapes of the lessons he took and translated the Spanish instruction into English. In
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the late 1980s, Trenner brought his newfound appreciation of traditional tango back to
New York and conducted classes. In 1991, Trenner began working with Rebecca
Shulman in performing and teaching tango. (Shulman would go on to be a co-founder
and director of TangoMujer in New York and Berlin.) In 1995, Trenner taught for ten
weeks in Colorado, followed by some 15 of those students accompanying him to Buenos
Aires. Out of this experience, "Tango Colorado" was formed by Tom Stermitz and other
tango aficionados from Denver, Boulder and Fort Collins, and a twice-yearly tango
festival was organized in Denver. Trenner had planted the seed and moved on. In this
way, Trenner has been called the Johnny Appleseed of tango.
In February 2009, the popular ABC series Dancing with the Stars announced that the
Argentine tango would be added to the list of dances for its eighth season. The
"Argentine tango" danced on the show is not authentic Argentine tango according to
authorities such as Daniel Trenner, who has said, "It too bad there is no good tango
dancing on this show."
Styles of Argentine tango dance
Tango canyengue
Tango canyengue is a rhythmic style of tango that originated in the early 1900s and is
still popular today. It is one of the original roots styles of tango and contains all
fundamental elements of traditional Argentine tango. In tango canyengue the dancers
share one axis, dance in a closed embrace, and with the legs relaxed and slightly bent.
Tango canyengue uses body dissociation for the leading, walking with firm ground
contact, and a permanent combination of on- and off-beat rhythm. Its main characteristics
are its musicality and playfulness. Its rhythm is described as "incisive, exciting,
provocative".
The word canyengue is of African origin. It came into use to describe the tango rhythm at
the time of the first so-called 'orquestas típicas' (including bandoneón, violin and piano).
Leading exponents of tango canyengue:
• Romolo Garcia (deceased)

• El Negro Celso (deceased)
• Rodolfo Cieri (deceased) and Maria Cieri
• Luis Grondona
• Marta Anton and 'El Gallego' Manolo Salvador
• Roxina Villegas and Adrian Griffero
Tango orillero
Tango orillero refers to the style of dance that developed away from the town centers, in
the outskirts and suburbs where there was more freedom due to more available space on
the dance floor. The style is danced in an upright position and uses various embellish-
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ments including rapid foot moves, kicks, and even some acrobatics, though this is a more
recent development.
Salon tango
Tango Salon does not refer to a single specific way of dancing tango. Rather, it is literally
tango as it is danced socially in the salons (dance halls) of Buenos Aires. Salon tango was
danced up through the Golden Era of the dance (1950s) when milongas (tango parties)
were held in large dance venues and full tango orchestras performed. Salon tango is often
characterized by slow, measured, and smoothly executed moves, never moving against
the line-of-dance, and respecting the space of other dancers on the floor around them. The
emphasis is on precision, smoothness, musicality, good navigation, and following the
códigos (tango etiquette) of the salons. The couple embraces closely, with some variants
having a flexible embrace, opening slightly to make room for various figures and closing
again for support and poise. The walk is the most important element, and dancers usually
walk 60%-70% of the time during a tango song.
When tango became popular again after the end of the Argentine military dictatorships in
1983, this style was resurrected by dancers from the Golden Era:
• El Turco Jose Brahemcha

• Gerardo Portalea (deceased)
• Luis "Milonguita" Lemos (deceased)
• "Finito" Ramón Rivera (deceased)
• "Lampazo" Jose Vazquez (deceased)
• Virulazo (deceased)
• Miguel Balmaceda (deceased)
• In the milongas at Club Sin Rumbo, Sunderland, El Pial and Canning
One of the most famous variants of Tango Salon is the Villa Urquiza style, named after
the northern barrio of Buenos Aires where the clubs Sin Rumbo and Sunderland are
located. Dancers who are current practitioners of the Villa Urquiza style of tango are:
• Carlos Perez and Rosa
• Jorge Dispari and Marita 'La Turca'
• Miguel Angel Zotto and Milena Plebs (Miguel now dances with Daiana Guspero)
• Osvaldo Zotto and Lorena Ermocida (no longer dance partners when Osvaldo
Zotto deceased on 8 January 2010)
• El Chino Perico
• Javier Rodriguez and Andrea Misse
• Andres Laza Moreno
• Samantha Dispari (daughter of Jorge and Marita)
• Fabian Peralta and Virginia Pandolfi
• Natacha Poberaj
• The Misse family (Andrea, Sebastian, Gabriel, and Stella)
• Ezequiel Paludi and Geraldine Rojas
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"Estilo milonguero" (tango apilado/confiteria style)
This style originated as the petitero or caquero style in the 1940s and 50s in closely
packed dance halls and confiterías. It is danced in close-embrace, chest-to-chest, with the
partners leaning - or appearing to lean - slightly toward each other to allow space for the
feet to move. The center line of the leader's and follower's spines are directly in front of
each other, requiring that each dancer turn their head to their left slightly to find space
over their partner's right shoulder. The follower's left arm reaches directly up over the
leader's shoulder without resting any body weight on the leader's shoulder. The leader's
left hand and the follower's right hand clasp in the same manner as other styles of
Argentine Tango, with elbows pointed down (contrasting with elbows up and pointed
back as in ballroom tango), with little or no pressure applied by the arms or hands. The
leader's right arm is held high across the follower's shoulder blades to help facilitate the
upper chest connection, to avoid pulling the follower's lower torso and hips in toward the
leader, thus allowing more flexibility of movement in the mid and lower spine, and better
extension of the follower's legs by not interfering with the origin of psoas muscle on the
follower's spine. In the case of followers that are not tall enough to place their head over
the leader's shoulder, it is recommended that the follower's head be turned to the right and
touch the left side of the head to the leader's chest, and the follower's left arm may wrap
around the outside right arm (although this is generally not preferred as it limits the
leader's flexibility of movement). It is generally not recommended for a leader to dance
milonguero style with a follower that is too tall for the leader to see over the follower's
shoulder since it would be very difficult to navigate around the dance floor.
The emphasis of this style is to take a minimum amount of space on a crowded social
dance floor. A common mis-perception of milonguero style is that many embellishments
and complicated figures of open-embrace and flexible embrace styles can not be done.
The main limitation of milonguero style in executing complicated figures is the emphasis
on maintaining the chest-to-chest connection, however almost all figures of other styles
can be adapted to milonguero style by an experienced dancer.
Although the close-embrace style of dancing has existed since the beginnings of
Argentine Tango, the term "Milonguero Style" only surfaced in the mid-1990s when the
name was created by Susana Miller, who had been the assistant to Pedro 'Tete' Rusconi.
Many of the older dancers who are exponents of this style (including 'Tete') prefer not to
use the label. These milongueros of Buenos Aires refer to social tango danced in close-
embrace as Tango Salon regardless of the exact technique used. Along with the
resurgence of interest in tango outside Argentina in the 1980s due to the dance show
Tango Argentino, the term Salon Tango had become associated with a style that more
closely resembles Show Tango. Susana Miller created the term "Milonguero Style"
mainly to help distinguish it from North Americans' perception of Salon Tango. This had
the unfortunate side-effect of offending milongueros who would state that they consider
themselves milongueros but they don't dance with the technique of 'Tete' or with the
methods in which Susana Miller teaches tango.
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Tango nuevo
Prior to the 1990s, Argentine Tango was taught with a didactic method; teaching tango
by have students copy examples shown by the instructor. Emphasis was not given to how
or why movement was done a certain way. Starting in the 1990s in Buenos Aires, the
Tango Investigation Group (later transformed into the Cosmotango organization)
founded by Gustavo Naveira and Fabian Salas applied the principles of dance kinesiology
from modern dance to analyze the physics of movement in Argentine tango. Taking what
they learned from this analysis they then began to explore all the possibilities of
movement within the framework of Argentine Tango. From the work of these founders of
the Tango Nuevo movement, there was shift in all styles of tango away from teaching
what to dance toward teaching how to dance.
Though widely referred to as a tango style outside of Argentina, Tango Nuevo is not
considered a style of dancing tango by the founders of the movement. It refers only to the
method of analysis and teaching developed through the application of the principles of
dance kinesiology to Argentine Tango. In 2009, Gustavo Naveira published an essay New
Tango in which he states, "There is great confusion on the question of the way of dancing
the tango: call it technique, form, or style. The term tango nuevo, is used to refer to a
style of dancing, which is an error. In reality, tango nuevo is everything that has
happened with the tango since the 1980s. It is not a question of a style... The words tango
nuevo express what is happening with tango dancing in general; namely that it is
evolving." Therefore, as the Gustavo Naveira and other founders of the Tango Nuevo
movement have said, all styles of tango, which have now been influenced by the analysis
of the dance, are all Tango Nuevo.
Despite the insistence by the founders of the Tango Nuevo movement that it is not a
single style, it has become an accepted term by many that it is a separate and distinct style
of tango. Considered by many as the most famous practitioners of tango nuevo are
Gustavo Naveira, Norberto "El Pulpo" Esbrés, Fabián Salas, Esteban Moreno, Claudia
Codega, Sebastian Arce, Mariana Montes, Mariano 'Chicho' Frumboli, and Pablo Verón.
All of these dancers have highly individual styles that cannot be confused with each
other, yet are all referred to by many as the tango nuevo style.
Critics of what some call the tango nuevo style claim that with all the emphasis being on
the physics of the dance, that the connection to the music, the feeling, and the traditions
of Argentine Tango have been lost to the newer generations of tango dancers. Referring
to the newer generations of Tango Nuevo dancers, one of the founders of the Tango
Nuevo movement, Mariano 'Chicho' Frumboli stated in an interview, "They are
completely lost! I learned with the last great milongueros, I took the information directly
from them... The problem is that we missed something in the teaching, I take total
responsibility, and other colleagues should do so as well. I can’t pass on what I have
learned. I was crazy about creating, because I saw a new vein in the evolution of the
movement. I threw myself into that, and I lost the way to be able to pass on the tango
essence that I have very much inside. Because of this I feel that lately there are a lot of
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people who don’t understand or know what the real essence of this dance is."
Critics of Tango Nuevo also say there is little difference in the way it is practiced than
Show Tango. In an interview, Mariano 'Chicho' Frumboli said, "Today you do a volcada
and a colgada and it is the same because they are there, commercially speaking, in the
same package. Then, between doing a sandwichito or a volcada… people do a volcada!
Because it’s more eye-catching... They are not going to make a sandwichito to enjoy that
moment, but whatever shows them more and better."
Tango tradicional
A very pure and early form of tango, on base as walking rhythmically, not on the beat but
with rhythm.
Tango con corte y quebrada

Tango which adds cortes and quebradas, cuts and breaks. The quebradas later on has been
put in a more esthetic style (estilizar) and are today known as poses de tango, Tango
Positions.
Tango de fantasía
This style is settled in the years 40 to 50. It refers on music, dance and dresses. The term
tries to describe all tangoform, which is different of the traditional one: In dance couples
added little sits and fast footwork, doing fantasies as popular people named it. The men's
suit with a white border is named traje de fantasía. In music Osmar Héctor Maderna got
named tango de fantasía due of his arrangements which conceiveed fancy solos. In
Argentine folklore at the same time, people fix a similar expression to describe non-
traditional folklore with the name folklore de projección.
Tango acróbatico
Here acrobatic movements are performed to Tango music. A way of dancing with
influences further than Ballett as Modern Dance, Gymnastic, Dance on Ice, Jazz, Circus,
Acrobatics and Contact Improvisation with lifts, and figuers of effect. First this form is
created by Eduardo Arquimbau in Forever Tango to interpret Tango music by non
Tangodancers Miriam and Sandor in the Show Forever Tango. Sandor was a member of a
circus family and knew how to do circus and acrobatic acts. This Eduardo Arquimbau
uses to get a new performance. The music they danced then was Tus ojos del cielo
(Volumen 2 of the CD Forever Tango, on the cover the foto of Miriam). This dance form
has been copied later on by many young dancers on stage.
Show or tango de escenario
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Show tango, and Tango de Escenario (stage tango) is a more theatrical form of Argentine
tango developed to suit the stage. Movement has to fit on stage forms as diagonals,
centre, fronts, light settings, etc. Not necessary but sometimes it includes embellishments,
acrobatics, and solo moves. Indeed all styles can be performed on stage, only than has to
fit with stage necessities. Stage tango can be improvised in parts but in due to fit general
choreographic movements a whole choreography or parts of it have to be fixed. Tango
has to be led even on stage, as all forms of Argentine Tango. Otherwise the couple is
missing the main principle of this dance and the tango tipic intime connection is missing.
This only appears, when he is filling his role (leading) and she hers. Having a
Choreography does not mean that he is free of his leading role, he has to lead in order to
produce the elements and place them in space and music. This is as important on stage as
in a social dance place, but often not taken seriously. Tango on stage has not been
confounded with Tango de Fantasia or tango acrobatico.
Queer Tango
Queer Tango is a new way to dance Argentine Tango free from traditional hetero-
normative codes. Its proposal is to dance tango without pre-established roles according to
the gender of the dancers and to perform the exchange of leader and follower. Therefore,
it is also called open role or same-sex tango. The queer tango movement permits not only
an access to tango for the LGBT-community, but also opens new possibilities for
heterosexual dancers: women learn the Lead, men learn the Follow. Studying both roles,
women and men enhance their sensivity and communicativity.
Advent of alternatives to tango music

While Argentine tango dancing has historically been dancing to tango music, such as that
produced by such orchestra leaders as Osvaldo Pugliese, Carlos Di Sarli, Juan D'Arienzo,
in the '90s a younger generation of tango dancers began dancing tango steps to
alternatives to tango music; music from other genres like, "world music", "electro-tango",
"experimental rock", "trip hop", and "blues", to name a few. Artists like Kevin Johansen,
Gotan Project, The Tango Saloon, Otros Aires, Tom Waits, Portishead, and Louis Arm-
strong are among those favored in alternative tango music playlists.
Tango nuevo is often associated with "alternative tango music", see nuevo tango, but any
of the other tango styles can be danced to it.
Tango films
Argentine tango is the main subject in these films:
• Tango (1913) with Lucyna Messal, Józef Redo. Short film featuring Tango
dancers made in Poland.
• El tango de la muerte (1917)
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• El Tango en Broadway (1934) starring Carlos Gardel
• Adiós Buenos Aires (1938)
• La historia del tango (1949) Tango documentary produced in Argentina
• Tango Argentino (1969) Tango documentary produced in Argentina
• Tango Bar (1988), starring Raúl Juliá, Rubén Juarez, Valeria Linch, María y
Carlos Rivarola
"Naked Tango" (1990) Starring Vincent D´Onofrio, Mathilda May, Fernando Rey.
Choreography by Carlos Rivarola, Directed by Leonard Schrader
• The Tango Lesson (1997), starring Sally Potter and Pablo Verón, directed by Sally
Potter
• Tango (1998), starring Miguel Angel Solá, Juan Carlos Copes, Cecilia Narova,
Mía Maestro, Julio Bocca, Carlos Rivarola directed by Carlos Saura
• Assassination Tango (2002), starring Robert Duvall, Luciana Pedraza, Rubén
Blades and Kathy Baker, directed by Robert Duvall
• Orquesta Tipica (2005), documentary film about typical orchestra Fernandez
Fierro, directed by Nicolas Entel
• 12 Tangos - Adios Buenos Aires (2005), directed by Arne Birkenstock
• El Ultimo Bandoneon (2006), directed by Alejandro Saderman
• Café de Los Maestros (2008) - Interviews with the musicians and singers from the
golden era of Tango.
• El último aplauso (2009) - Documentary produced in Argentina
Argentine tango is featured or referred to in these films/TV shows:
• The Four Horsemen of the Apocalypse (1921) - Rudolph Valentino dances an

Argentine tango in this silent film.
• Tango Bar (1935), starring Carlos Gardel, Rosita Moreno, Enrique de Rosas, Tito
Lusiardo. Despite the title, tango is not a central theme of the movie. However,
there is one scene featuring Carlos Gardel dancing tango.
• Scent of a Woman (1992) - Al Pacino's character, who is blind, dances the tango
with a beautiful woman and is captivated by the scent of her perfume during the
tango's close embrace.
• Moulin Rouge! (2001) - Two minor characters perform a tango while Ewan
McGregor's character sings "Le Tango de Roxanne".
• The Tuxedo (2002) - Jackie Chan used a dance-double for the tango scene.
• Shall We Dance? (2004) - Richard Gere and Jennifer Lopez dance an Argentine
tango by a rain-streaked window in a darkened dance studio.
• Nip/Tuck (2005) - In the 3rd season episode titled "Tommy Bolton", Bruno Cam-
pos and Joely Richardson dance a tango while out to dinner at an upscale
restaurant.
• Take the Lead (2006) - Antonio Banderas dances the tango with Katya Virshilas.
• Another Cinderella Story (2008) - Selena Gomez and Drew Seeley dance at a
costume ball.
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A culture developed for tango films in the Cinema of Argentina beginning in the early
1930s.
Literature, Books
• Nicole Nau-Klapwijk: Tango Dimensionen, Kastell Verlag GmbH 1999, ISBN
978-3-924592-65-3.
• Nicole Nau-Klapwijk: Tango, un baile bien porteño, Editorial Corregidor 2000,
ISBN 950-05-1311-0
Opera
• María de Buenos Aires, Opera ("Tango Operita") in 16 acts;
Music: Astor Piazzolla, Libretto: Horacio Ferrer; Premier: 8 May 1968 in Buenos Aires
with Amelita Baltar (María) and Horacio Ferrer (Duende);
• Orestes último Tango, Opera, Music: Diego Vila, Libretto: Betty Gambartes,
Choreography: Osacar Araiz. Based on El Reñidero by Sergio de Cecco and
Electra. Premiere 22. march 2002 in Rotterdam by the Wereld Muziek Theater
Festival of Holland. Originalcast: Julia Zenko (Elena), Carlos Vittori (Orestes),
Susana Moncayo (Nélida), Rodolfo Valss (Soriano), Luis Pereyra (Morales),
Jorge Nolasco (Vicente) and Nicole Nau (La mujer de la milonga).
8. West Coast Swing
West Coast Swing (WCS) is a partner dance derived from Lindy Hop. It is characterised
by a distinctive elastic look that results from its basic extension-compression technique of
partner connection, and is danced primarily in a slotted area on the dance floor. The
dance allows for both partners to improvise steps while dancing together.
Typically the follower walks into new patterns traveling forward on counts "1" and "2" of
each basic pattern, rather than rocking back. The Anchor Step is a common ending
pattern of many West Coast Swing figures.
History
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It is believed that the origins of the WCS are in Lindy Hop. In a 1947 book, Arthur
Murray recognized that, "There are hundreds of regional dances of the Jitterbug type.
Each section of the country seems to have a variation of its own."
Dean Collins, who arrived in the Los Angeles area around 1937 after learning to dance at
the Savoy Ballroom in Harlem, was influential in developing the style of swing danced
on the West Coast of the United States, as both a performer and teacher. When his wife,
Mary Collins, was asked if Dean was responsible for the emergence of the dance,
however, she said that Dean insisted there were "only two kinds of swing dance - good
and bad".
Lauré Haile, Arthur Murray National Dance Director, and an instructor of teachers
documented swing dancing as done in the Los Angeles area and used the name "Western
Swing". Murray had used the same name, "Western Swing", in the late 1930s for a
different dance. Haile included Western Swing in Dance Notebooks she authored for
Arthur Murray during the 1950s. Western Swing was also called "Sophisticated Swing"
in the 1950s.
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Dancing to musicians wearing cowboy hats and string ties playing fiddle, steel guitar, etc.
Pumpkin Center, Bakersfield, CA 1950s
Western swing, country boogie, and, with a smaller audience, jump blues were popular
on the West Coast throughout the 1940s and into the 1950s when they were renamed and
marketed as rock 'n' roll in 1954. Dancers danced "a 'swingier' - more smooth and
subdued" form of Jitterbug to Western Swing music.
West Coast Swing (still known as Western Swing at that time) is the basis for the dancing
in the rehearsal scene in “Hot Rod Gang” (1958). Music is supplied by rockabilly
musician Gene Vincent’s “Dance to the Bop”. The song alternates between very slow
sections and those with the rapid pace and high energy of rockabilly. Choreographer Dick
DiAugustine includes recognizable patterns such as the chicken walk, swing out from
closed position, etc., along with the classic woman’s walk walk triple step triple step at
the end of the slot. On the final step of the second triple the women are weighted left with
the right heel on the floor and the toes pointed up. Dancers also do classic Lindy flips at
the end of the slot, as well as non partner, non West Coast Swing movements.
Murray's taught Western Swing beginning from a closed position and the possibility of
dancing single, double, or triple rhythm. After a "Throwout" patterns began with the
woman "walking in" and the man doing a "rock step", or step together for counts one and
two. Although the dance remained basically the same, the Golden State Dance Teachers
Association (GSTDA) began teaching from the walk steps, counts 1 and 2. It replaced
Lauré Haile's Coaster Step with an "Anchor Step" around 1961.
The name "West Coast Swing" was used in a little known hand book for Arthur Murray
dance studio teachers in the 1950s, but the Murray studios used the term "Western
Swing" on charts. "West Coast swing" as a synomym for "Western swing" appears in a
1961 dance book, and was used in an advertisement by Skippy Blair in 1962. in 1962, but
wasn't incorporated into mainstream swing circles until the late 1960s.
Blair credits Jim Bannister, editor of the Herald American newspaper in Downey, for
suggesting the name West Coast Swing. The name change came about because she had
found that "nothing Western was really welcome in the city of Downey in 1958".
Beginning with the 1967 opening of the Golden West Ballroom in Norwalk, CA, and
through 1980, West Coast Swing was on the marquee as the dance taught every
Wednesday and Friday night.
Western Swing was documented in the 1971 edition of the "Encyclopedia of Social
Dance", listing the "Coaster Step" (with a forward step as the last step of the 2nd triple)
rather than the Anchor Step. The one song that was listed for this dance was "Comin' On"
by Bill Black's Combo (1964 Hi #2072). As late as 1978, the term "Western Swing" was
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common usage among Chain and Independent Studios to describe "slotted swing".
Circa 1978 "California Swing" was yet another name for West Coast Swing, albeit with
styling that was "considered more UP, with a more Contemporary flavor." By 1978
GSTDA had "some 200 or more patterns and variations" for West Coast Swing."
In 1988, West Coast Swing was pronounced the Official State Dance of California.
Slot
West Coast Swing is a slotted dance. The slot is an imaginary area, long and thin, eight or
nine feet long if danced at a very slow Tempo, but shorter if the music is at a faster
tempo. The follower travels back and forth in the slot dancing straight through the man.
The leader consistently moves a minimum amount (at mid-way point) to her sides, barely
out of her way. She lightly brushes against him each time she passes him. Brushing
seems rare these days though (2009).
Socially, it is considered good etiquette (particularly on a crowded floor) to use a fixed

slot, in order to allow dancing without incident. Having danced the slot repeatedly, the
couple "has a claim" on the area, and other couples usually cooperate and establish their
own slot parallel with the dancers.
There are urban myths regarding the origin of the slotted style. According to one version,
it was an invention of Hollywood film makers who wanted “dancers to stay in the same
plane, to avoid going in and out of focus”. Wide angle lenses with adequate depth of field
for cinematography had in fact been available since the 1920s. A variation on the
"Hollywood film maker" theme is that film makers wanted "to avoid filming the backs"
of dancers. A viewing of films featuring the work of Dean Collins in the 1940s and rock
'n' roll films made in the mid 1950s reveals the fact that dancers turn frequently and
inevitably turn their backs to the camera. Although another unslotted swing dance,
Balboa, became popular in the same area and under the same conditions, much has been
made of "jitterbugging in the aisles" as a source of the slotted style.
Slotted moves were a common part of the step vocabulary of Lindy and/or Jitterbug
dancers during the 1940s and 1950s. Rather than the walk, walk of West Coast Swing,
however, two sets of triple steps were used when the woman moved down the slot,
followed by a rock step rather than the current triple and anchor step.
Music
The origins of the dance that became known as West Coast Swing can be traced to the
swing era. During this period many jazz, blues, and western musicians incorporated, or
emphasized, the “swing” in their music. Writing in the "Arthur Murray Silver Dance
Notebook", Lauré Haile, who first described "Western Swing", listed the following
songs/records as "Good Swing or Fox Trot Records":
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"A String of Pearls" by Glenn Miller ((1942))
"Let's Dance" by Ray Anthony ((Columbia L-258)(1951))
"Be-Bop's Spoken Here" by Les Brown Columbia 38499 (4/14/49)
"Also Good Swing - but unusual Chorus "AABA":"
"One Mint Julep", Buddy Morrow, Victor 20-4869 (June/July 1952)

"Dry Bones", Tommy Dorsey, Victor 20-3523 (1949?)
Big Bands continued to flourish in the 1950s, touring, selling records, and appearing on
radio and the new medium of television. As the decade wore on, however, many mostly
younger listeners preferred to hear the simpler and (some say) noisier music given the
name Rock 'n' Roll, and this music became known as the most popular music for dancing.
West Coast Swing like moves can be seen in rock 'n' roll films made in that era. The film
"Hot Rod Gang" shows West Coast Swing being done to the song "Dance to the Bop" by
rockabilly musician Gene Vincent.
While teenagers preferred to freestyle dance through a constantly changing succession of

discothèque social dance fads during the Sixties, adults kept Swing alive.
Western Swing was documented in the 1971 edition of the "Encyclopedia of Social
Dance", listing the "Coaster Step" (with a forward step as the last step of the 2nd triple)
rather than the Anchor Step. The one song was listed for this dance was "Comin' On" by
Bill Black's Combo (1964 Hi #2072).
In the mid 1970s, disco music and dancing repopularized "touch" partner dancing, and, in
California, West Coast Swing was one of the dances of the era. By the 1990s country
western dancers were dancing West Coast Swing to contemporary country western songs.
West Coast Swing is now one of many dances done at country western venues.
In practice, West Coast Swing may be danced to almost any music in 4/4 time, and music
of many different styles may be found in an evening of West Coast Swing dancing.
Styles
West Coast Swing can be danced to almost any music written in 4/4 time at speeds
ranging from very slow to very fast; 15 to 45 Measures per Minute, ideally at 32
Measures per Minute (15x4=60 bpm, 32x4 = 128 bpm, 45x4=180 bpm). The character of
the dance changes over that range. At the slowest speeds the dance tends to exhibit a
highly elastic connection with the possibility of very sexy, "slinky" walks for the lady,
and a slight backward leaning poise at the full extent of the connection. At faster speeds
the partners become more upright and the connection shortens with more of a "push and
pull" feel and look.
The "ideal" speed for WCS has been cited as 32 Measures per Minute (32x4 = 128 bpm),
compared to advice to choose "records that are around 28 mpm" (28x4= 112 bpm) for
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"Western Swing".
In writing about West Coast Swing, Skippy Blair advises that, "The only problem that
exists in SWING is when someone decides there is only ONE WAY to dance it. There is
never only ONE WAY to do anything ..." "'Try on' different styles that you admire in
other people...until you find the comfortable one that FITS YOU."
Dancing to different types of music gives a different feel and look.
A 1998 summary of "trends" in West Coast Swing listed the following: Traditional/-
Classic with very little extension of the uncoupled arm, the man moving off and on the
center of the track for most moves, and a heavy "couple weight"; Modern with more free
arm extensions, and emphasis on how many spins, etc., the man can lead. Fast Music The
man's "couple hand" is fixed in space on beat 3 in a pass or push.
In 1994 Blair noted that the posture for men was more upright than in previous years.
Basic "rules"
Although there are many exceptions and variations, West Coast Swing Basics are as
follows:
• She will always start with the Right foot.

• She starts on a down beat, counts one or three of a measure.
• She has a rhythm pattern of six beats (to start): double (walk walk) a right triple
and a left triple
• She will walk forward forward on the first two beats of every pattern.
• She will step 3 times at the end of each pattern, the Anchor Step.
• He will always start with the left foot.

• He will vary his first movement according to the location of his partner.
• He will vary step two depending on the direction of the pattern.
• At basic and intermediate levels, most dancers start the dance with a 4-Beat
Starter Step.
(Note that the woman's step is different than the man's; partners do not mirror each
other.)
A few basic moves that any WCS dancer should know are listed below. They are per-
formed with the same "step step tri-ple-step tri-ple-step" pattern equalling eight steps in
six beats of music. The term "count" is used as a synonym for a "beat", usually a quarter
note, of music.
Open position
Underarm pass or Right-side pass: A six-count basic where the follower is led
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•
to the other end of the slot, passing the leader underarm on the right.
• Left-side pass: A six-count basic where the follower is led to the other end of the
slot, passing the leader on the left.
• Left-side Tuck turn: This is like a left side pass in six counts, but the leader
raises the left arm signaling the follower to turn under the leader's arm, an outside
turn.
• Sugar push or Push Break: A six-count "move" where the follower, facing the
leader, is led from the end of the slot to a one or two hand hold, then led back to
the same end of the slot. The seemingly very simple Push Break requires "com-
pression" or "resistance", to make the pattern. While the arms remain firm but
flexible, there should be no excessive pushing or pulling in the arms but in the
body. In some instances this sequence is taught as "The Six-Count Basic".
• Whip: An eight-count basic with many variations. In a basic whip, the follower is
led past the leader and then redirected (or "whipped") back towards the end of slot
from which he or she started. The basic footwork for a whip extends the six-count
pattern by inserting a pair of walking steps between the triple steps. The footwork
is therefore "step step tri-ple-step step step tri-ple-step."
9. East Coast Swing

East Coast Swing (ECS) is a form of social partner dance. It belongs to the group of
swing dances. It is danced under fast swing music, including rock and roll and boogie-
woogie.
History
The dance evolved from the Lindy Hop with the work of the Arthur Murray dance
studios in the 1940s. East Coast Swing can be referred to by many different names in
different regions of the United States and the World. It has alternatively been called
Eastern Swing, Jitterbug, American Swing, East Coast Lindy, Lindy (not to be confused
with Lindy Hop), and Triple Swing. Other variants of East Coast Swing that use altered
footwork forms are known as Single Swing or "Single-step Swing" (where the triple step
is replaced by a single step forming a slow, slow, quick, quick rhythm common to
Foxtrot), and Double Swing (using a tap-step footwork pattern).
This form of swing dance is strictly based in six-count patterns that are simplified forms
of the original patterns copied from Lindy Hop. The name East Coast Swing was coined
initially to distinguish the dance from the street form and the new variant used in the
competitive ballroom arena (as well as separating the dance from West Coast Swing,
which was developed in California). While based on Lindy Hop, it does have clear
distinctions. East Coast Swing is a standardized form of dance developed first for
instructional purposes in the Arthur Murray studios, and then later codified to allow for a
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medium of comparison for competitive ballroom dancers. It can be said that there is no
right or wrong way to dance it; however, certain styles of the dance are considered
correct "form" within the technical elements documented and governed by the National
Dance Council of America. The N.D.C.A. oversees all the standards of American Style
Ballroom and Latin dances. Lindy Hop was never standardized and later became the
inspiration for several other dance forms such as: (European) Boogie Woogie, Jive, East
Coast Swing, West Coast Swing and Rock and Roll.
In practice on the social dance floor, the six count steps of the East Coast Swing are often
mixed with the eight count steps of Lindy Hop, Charleston, and less frequently, Balboa.
Basic technique
Single-step Swing
East Coast Swing has a 6 count basic step. This is in contrast to the meter of most swing
music, which has a 4 count basic rhythm. In practice, however, the 6-count moves of the
east coast swing are often combined with 8-count moves from the Lindy hop, Charleston,
and Balboa.
Depending on the region and instructor, the basic step of single-step East Coast Swing is
either "rock step, step, step" or "step, step, rock step". In both cases, the rock step always
starts on the downbeat.
For "rock step, step, step" the beats, or counts, are the following:
Steps for the "lead" (traditionally, the man's part)
Rock Beat 1 - STEP back with your LEFT foot

Step Beat 2 - STEP forward with your RIGHT foot (to where you first
started)
Step Beat 3 - STEP with your LEFT foot
Beat 4 - Begin to shift your weight back to your right foot
Step Beat 5 - STEP with your RIGHT foot
Beat 6 - Begin to shift your weight to the left and back
Steps for the "follow" (traditionally, the woman's part which mirrors the lead's part)
Rock Beat 1 - STEP back with your RIGHT foot

Step Beat 2 - STEP forward with your LEFT foot (to where you first
started)
Step Beat 3 - STEP with your RIGHT foot

Beat 4 - Begin to shift your weight back to your left foot
Step Beat 5 - STEP with your LEFT foot
Beat 6 - Begin to shift your weight to the right and back
For "step, step, rock step", the rock step occurs on beats 5 and 6, but the overall
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progression remains the same.
The normal steps can be substituted with a triple step or double step "step-tap" or "kick-
step" instead of a single step. This is commonly used during songs when a slower tempo
makes the single step difficult (an example progression would be "rock step, triple step,
triple step").
Chapter 4
Salsa
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Salsa dancers Kevin and Sarahi dancing Cali style
Salsa is a syncretic dance form with origins from Cuba, as the original meeting point of
European and African cultures. Its movements originate in Cuban Son, with strong
influences from Mambo, Guaguanco, and other Afro-Cuban music.
Salsa is normally a partner dance, although there are recognized solo forms, line dancing
(suelta), and Rueda de Casino where groups of couples exchange partners in a circle.
Salsa can be improvised or performed with a set routine.
Salsa is popular throughout Latin America, and also in the United States, Spain, Japan,
Portugal, France, Italy, Germany, Israel and Eastern Europe.
Salsa dancing origins
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Salsa movements originate from the Cuban Son dancing of the 1970s, more specifically
through the beat of Son Montuno with strong influences from the dance of Danzon,
Mambo, Guaguanco, and other Afro-Cuban folkloric dancing. Today's salsa dancing is a
rich blend of Latin-American and Western influences, namely from Puerto Rico, Cuba,
and Colombia. Some dance styles that have influenced salsa are Western and Ballroom
dancing. Salsa traces a 90 year history in which there are a multiple evolutionary paths,
sometimes split due to political and social influences. As result, today, there are three
major salsa styles, namely Cuban Salsa (Casino), New York Style ("Mambo on 2"), and
Los Angeles Style ("On 1"). Other Salsa branches include Colombian Salsa ("Cali-
Style") and Miami-Style Salsa.
Salsa is normally a partner dance, although there are recognized solo forms, pole dancing
(suelta), and Rueda de Casino where groups of couples exchange partners in a circle.
Salsa can be improvised or performed with a set routine, choreography, and freestyle.
Basic movements
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Salsa steps.
There are a few basic steps of salsa; the most common is the three weight changes (or
steps) in each four-beat measure. The beat on which one does not step might contain a tap
or kick, or weight transfer may simply continue with the actual step not occurring until
the next beat, some individuals may insert an actual pause1. The option chosen depends
upon individual choice and upon the specific style being danced. One of the steps is a
"break step": which involves a change in direction. Different styles of Salsa are often
differentiated by the timing of the break step ("on 1" or "on 2" for example). After 6
weight changes in 8 beats, the basic step cycle is complete. While dancing, the basic step
can be modified significantly as part of the improvisation and stylings of the people
dancing.
As a salsa dancer changes weight the upper body remains level and nearly unaffected by
the weight changes. Caught in the middle are the hips which end up moving quite a bit—
the famous "Cuban hip movement."
The arms are used to communicate the lead in either open or closed position. In open
position the two dancers hold one or both hands, especially for moves that involve turns,
or putting arms behind the back, or moving around each other. In closed position, the
leader puts the right hand on the follower's back, while the follower puts the left hand on
the leader's shoulder.
In some styles, the dancers remain in a slot (switching places), while in others the dancers
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circle around each other sometimes in 3 points.
In the original Latin America form, the forward/backward motions of Salsa is done in
diagonal or sideways with the 3-steps weight change intact.
Rhythm
Dancing Salsa in Mexico
Music suitable for dancing ranges from about 150 bpm (beats per minute) to around 250
bpm, although most dancing is done to music somewhere between 160–220 bpm. Every
Salsa composition involves complex African percussion based around the Clave Rhythm
(which has four types), though there can be moments when the clave is hidden for a
while, often when quoting Charanga, Changüí, and Bomba. The key instrument that
provides the core groove of a salsa song is the clave. It is often played with two wooden
sticks that are hit together. Every instrument in a Salsa band is either playing with the
clave (generally: congas, timbales, piano, tres guitar, bongos, claves (instrument), strings)
or playing independent of the clave rhythm (generally: bass, maracas, güiro, cowbell).
Melodic components of the music and dancers can choose to be in clave or out of clave at
any point. However it is taboo to play or dance to the wrong type of clave rhythm. While
dancers can mark the clave rhythm directly, it is more common to do so indirectly (with,
for example, a shoulder movement). This allows the dancing itself to look very fluent as
if the rest of the body is just moving untouched with the legs.
There are basically two types of Clave Rhythm, the 2-3 and the 3-2 clave. The 2-3 clave
is played on the counts of 2, 3, 5, and 8. Within the 8 beats that compose a basic salsa
step, where the, "and" count is the count that is between any two counts, e.g. the count
between 5 and 6. Most salsa music is played with the 2-3 clave.
There are other aspects, outside of the Clave, that help define Salsa rhythm: The cowbell,
the Montuno rhythm, and the Tumbao rhythm.
The cowbell is played on the core beats of Salsa, 1, 3, 5, and 7. The basic Salsa rhythm is
quick, quick, slow, quick, quick, slow, in other words, 1, 2, 3, 5, 6, and 7, which are very
similar to the beats of the cowbell. Recognizing the rhythm of the cowbell helps one stay
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on Salsa rhythm.
The Montuno rhythm is a rhythm that is often played with a piano. The Montuno rhythm
loops over the 8 counts, and is useful for finding the direction of the music. By listening
to the same rhythm, that loops back to the beginning after eight counts, one can recognize
which count is the first beat of the music.
Tumbao is a rhythm in salsa that is played with the conga drums. It sounds like: "cu,
cum.. pa... cu, cum... pa". It is played with the counts of 8 and 2, & 4 and 6. Tumbao
rhythm is helpful for learning On2. The beats 2 and 6 are emphasizes when dancing On2,
and the Tumbao rhythm heavily emphasizes those beats, as well.
Salsa styles
Salsa's roots are based on the Son dancing (circa 1920s), and is open to improvisation and
thus it is continuously evolving. New modern salsa styles are associated and named to the
original geographic areas that developed them. There are often devotees of each of these
styles outside of their home territory. Characteristics that may identify a style include:
timing, basic steps, foot patterns, body rolls and movements, turns and figures, attitude,
dance influences, and the way that partners hold each other. The point in a musical bar
music where a slightly larger step is taken (the break step) and the direction the step
moves can often be used to identify a style.
Incorporating other dance styling techniques into salsa dancing has become very
common, for both men and women: shimmies, leg work, arm work, body movement,
spins, body isolations, shoulder shimmies, rolls, even hand styling, acrobatics, and lifts.
The basic Salsa styles are:
1. Latin American Styles, originating from Cuba and surrounding Caribbean islands
and then expanding to Venezuela, Colombia, Nicaragua, Puerto Rico and the rest
of the Latin states; also heavily influence "Miami" style which is a fusion of
Cuban style and North American version. The styles include "Casino", Miami-
Style, Cali-style, and Venezuelino Style.
2. North American Salsa, two major types of Salsa with distinct tempo differences;
Los Angeles Style which breaks on the first beat "On 1" and New York Style
which breaks on the second beat "On 2". Both have different origins and
evolutionary path, as the New York Salsa is heavily influenced by Mambo and
Jazz instruments in its early growth stage.
Cuban Salsa "Casino"
The appropriate name for Cuban Salsa is Casino as it is known throughout Latin
America. Dancing Casino is an expression of popular social culture; Latin Americans
consider casino as part of social and cultural activities centering around their popular
music. The origins of the name Casino is derived from the Spanish term for "hall".
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Historically, Casino traces its origin as a partner dance from the Cuban Son dancing and
its rhythmic body motions from Afro-Cuban Rumba heritage. Son is considered an older
version and ancestor to Salsa. Son is danced on delay measure upbeat (contra-tiempo)
following the 2-3 clave (Son Clave) whereas Casino is usually danced on downbeat break
on 1 or 3 (a-tiempo). Beats 1, 3, 5 and 7 are considered downbeats and 2, 4, 6 and 8 are
considered upbeats. Casino is popularized in the late 1950s as the Cuban Son received
upbeat and quicker arrangements by musicians. Casino has a very independent
development, free from external influences such as Puerto Rican and North American
dances partly due to the effect of the Cuban Embargo.
Culturally, Casino is danced as an interplay between male and female gender, and feeling
the music ("Sabor") as its main ingredients. Almost all casino dance routines are named
in latin cultural context with emphasis on sexual interplay, teasing, and everyday
experience.
Geographically, in Latin America, Casino and its variants are danced in Cuba,
Dominican Republic, Venezuela and Nicaragua. It is also highly popular in Europe and
parts of Asia.
This style of salsa is relatively easy to learn, and thus popular among beginners.
However, to master Casino requires dancing and mastering from influences such as
Rumba, Son, and Mambo. This takes a long time, and is further compounded by lack of
teaching materials in other languages other than Spanish.
Casino can be seen at the Cuban Salsa Congress, which bring dance instructors and
authentic Latin musicians to many parts of the world. Today, there is a global re-
emergence of Cuban Salsa due to:
1. The explosion of Timba, a modern evolution of Cuban salsa music which is now
considered the forefront of Latin big band music and orchestra arrangements with
complex changes and innovations such as Cruzado Clave (Cross Clave) and rapid
tempo differentials and dramatic innovations at every level of hierarchy from the
tumbaos.
2. Original YouTube videos of authentic dancing from Cuban sources such as
dancing in Havana and Santiago which was not accessible before the internet age
due to the effect of the Cuban Embargo by the United States.
Cuban-Style Salsa Partnership Dance (Parejas)
Casino is danced in three points which makes up the circular motion as couple face each
other in intricate patterns of arms and body movement. This is distinctive from the North
American Salsa styles which is danced in a slot (two points) and linear positions as taught
by the North American and European dance studios.
Casino has an strong basic step known as "Guapea" (lit. "Chill Out" by Afro-Cuban
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Community), in which the male lead put his left foot behind on the break, as opposite of
left foot forward on the basic step.
Casino styling includes men being "machochissmo" and women being femininely sexy,
with major body and muscle isolations, through the influence of Rumba dancing. During
the dance, dancers break from each other during percussion solos and perform the
"despolete", and advanced form of styling in which the male and female partner get
physically close and tease each other without touching through the gyrating of hips and
shoulders while performing muscle isolations.
The major distinction of Cuban Salsa Styling is that male partners have tendencies to
show off (following Afro-Cuban Guaguanco influence) under the guise of cultural
behavior of males having to attract attention and tease females. This is the major point of
differences between Casino and the rest of the Northern American Salsa as the North
American Salsa ascribed to the ballroom adage of "men are the picture frame while
women are the picture."
Cuban Solo Dancing (Suelta)
Cuban-Salsa Solo Dancing (Suelta) is dancing salsa without having a partner. It

originates from stage singers and dancers who setup routines during orchestra and live
performance. Dance singularly or in a group (usually male facing females on the dance
floor) the movements are based on a-tiempo or contra-tiempo with intricate footwork and
lively body movements.
Other forms of partner dancing
Other partner dancing styles include "Trios" or "Quattros" in which a male lead will
dance with two or more female partners in each arm in in intricate patterns. There are
also a "Trios" version in which two male leaders share a female partner.
Miami-style Casino
Developed by Cuban migrants to Florida, and centered around Miami, this form of Cuban
Salsa fused with American culture and LA Style. Major differences of Miami-style
Casino is that it is exclusive dance to downbeat (On1), and has elements of shines and
showstyle added to it following repertoires of North American Styles.
Miami-style has many adherents, particularly Cuban-Americans, and other Latinos based
in South Florida.
Rueda de Casino
In the 1950s Salsa Rueda or more accurately Rueda de Casino was developed in Havana,
Cuba. Pairs of dancers form a circle (Rueda in Spanish means "Wheel"), with dance
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moves called out by one person. Many of the moves involve rapidly swapping partners.
There two main types of Rueda de Casino:
1. Cuban-style - "Rueda de Cuba" (Original type of Rueda, not so formal consisting

of about 30 calls). Codified in the 1970s.
2. Miami-style - "Rueda de Miami" (Formal style, many rules, based on a mix,
hybridization of Rueda de Cuba and Salsa Los Angeles-style). 1980s and onwards
to today.
The difference of Miami-style Rueda is the hybridization of Cuban and L.A. Style, and
dance routines that reflect American culture (e.g. Coca-cola, Dedo, Adios) which is not
found in the traditional Cuban-style Rueda.
Major Rueda de Casino groups known throughout the world are:
Rueda de
Location Description and Information
Casino Team
Florida, Principal Choregrapher Henry Herrera, codified the Miami-
Salsa Racing
USA Style Rueda. Dance on1 / A-Tiempo
Principal world-renowned champion and choreographer
Santiago de Yanek Revilla. Two times in a row champion of Bailar
Casino.com
Cuba, Cuba Casino National Television program by state-owned
television station, Cubavision. Dance On1 / A-Tiempo
Luceros Del Pinar Del Famous Hat Rueda team, innovations in cross switching.
Son Rio, Cuba Dance On3 / A-Tiempo
Corvallis, Famous Rueda team, achieving prominence in major
Rumbanana Oregon, championships in USA and Europe. Choreographer Mike
USA Eskeldson and Simona Boucek. Dance On1 / A-Tiempo.
Salseros Jakarta, Winner of 2010 Asian Rueda Championships. Principal
Indonesia Indonesia choreographer Albert James Loing. Dance On1 / A-Tiempo
Colombian Salsa / Cali Salsa style
Cali Salsa Style, or Colombian Salsa, is based on geographical location of the Colombian
City of Cali. Cali is also known as the "Capital de la Salsa" (World's Salsa Capital); due
to salsa music being the main genre in parties, nightclubs, and festivals in the 21st
century.
The elements of Cali Salsa Style is the strong infusion of Colombian rhythms particularly
Cumbia and Boogaloo.
The basic step of Colombian Salsa is the "Atras" or "Diagonal"; breaking backwards
diagonally instead of moving forwards and backwards as seen in the New York and L.A.
Style. Dancers do not shift their body weight greatly as seen in other styles. Instead,
dancers keep their upper body still, poised and relaxed while the feet execute endless
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intricacies. The dancer break mostly On1 (sometimes On3), with short measures of "4"
instead of full "8" counts.
A major difference of Cali Style and the other styles is the footwork which have quick
rapid steps and skipping motions. They not execute Cross-body Lead, or the "Dile Que
No" as seen in the other salsa genres. Their footwork is intricate and precise, thus, several
major world championships were attributed to Colombian Style dancers. Cali hosts many
annual salsa events such as the World Salsa Cali Festival and Encuentro de Melomanos y
Coleccionistas.
New York style
There are two distinct developments of New York Salsa as a music and dance genre:
1. Primary original evolution from Mambo era when Cuban music was introduced to
New York due to influx of migrating Cuban dissidents and Latin migrants during
Pre/Post Castro-revolution in th 1950s and 1960s. This is era is known as the
"Palladium Era". At this time, the music and dance was called "Mambo" or
"Rumba" -- connotating the general term without being specific. The most famous
dancer during this era was Puerto-Rican descendant Pedro "Cuban Pete" Aguilar,
also known "The King of Latin Beat".
2. Secondary evolution during the late 1970s, Latin migrants, particularly Puerto
Ricans, contributed to the New York Salsa development during the "NuYorican"
era of Héctor Lavoe which greatly popularized salsa as a term and modern latin
music throughout the world. Salsa superstars were "discovered" during the era,
such as Ray Baretto "The Godfather", and Celia Cruz "The Queen of Salsa".
There are also salsa artists that transcend both period, notably the legendary
Puerto Rican Tito Puente "The King".
These two developments create a fusion of a new salsa music and dance genre, different
than its Latin American and L.A. Style counterparts.
Musically, the old Mambo (Mambo Tipico) is fused with New York Jazz and Swing to
create a new salsa genre but retaining much of its original percussions. The addition of
new musical instruments such as xylophones, jazz saxophones, and steel drums added
new melody to the evolving genre.
In New York Style, the tempo and timing of the dance is strictly On-2 (based on delay
tempo, on the first slap on the tumbao / conga).
Dancers around the world often integrate elements and repertoire from New York into
their Salsa routines due to New York Style's advanced motions and routines.
Many also refer to this style as "Mambo" since it breaks on 2nd beat of the measure.
However, there are other dance forms with more legitimate claim to that name; (Mambo)
The accompanying dance to the original Mambo, popularized by Perez Prado which
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greatly influenced New York big band development was actually not a pure partnership
dance. Due to its immense popularity, some of the original mambo steps were
incorporated into the ballroom and New York Style curriculum, resulting in the 3rd
Mambo Tipico steps (Spanish: Pati-Pami) became the first basic foundation step of New
York Style. Subsequently, the L.A. Style of dancing also followed suit by incorporating
the same foundation as its basic step.
The etiquette of New York Style is strict about remaining in the "slot" and avoiding
traveling dancing in a sandbox area with a lot of spins, turns, and styling. There are
greater emphasis on performing "shines" in which dancers separate themselves and dance
solo with intricate footwork and styling for a time—suspected origins from Swing and
New York Tap.
New York Style dancers are typically very serious about the musicality and timing of
their dancing. To satisfy their tastes, "socials" are often held that cater to almost
exclusively playing Salsa Dura (lit. "Hard Salsa") and Descarga (lit. "Jam Session"). This
is mid-to-up-tempo salsa with an emphasis on percussion and band orchestration rather
than the vocals.
The longest-running social in New York is the Jimmy Anton social, which is held every
first, third and fifth (if there is a fifth) Sunday of the month.
New York Style is danced by dedicated communities around the world, and also found in
New York Salsa Congress and many dance congresses around the world.
One of the most famous schools of New York Style is Eddie Torres Latin Dance
Company, founded by New York Salsa legend Puerto Rican migrant Eddie Torres who is
responsible for codification of the New York Style curriculum, and subsequent off-
springs, such as the Santo Rico Dance School and ABAKUÁ Afro-Latin Dance Com-
pany.
Los Angeles style
Los Angeles Salsa Style (L.A. Style) is born from recent developments in North
American dancing following Latin-American musical hits of the late 1980s and 90s. L.A.
style is danced on 1, in a slot, with a measure of easiness and adaptability to it.
It is strongly influenced by the Mambo, Swing, Argentine Tango and Latin Ballroom
dancing styles. L.A. style places strong emphasis on sensuousness, theatricality, aerobics,
and musicality. The lifts, stunts, and aerial works of today's salsa shows are derived
mostly from L.A. Style forms with origins in Latin Ballroom and Ballet lifts.
The two essential elements of this dance are the forward–backward basic as described
above, and the cross-body lead. In this pattern, the leader steps forward on 1, steps to the
right on 2-3 while turning 90 degrees counter-clockwise (facing to the left). The follower
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then steps forward on 5-6, and turns on 7-8, while the leader makes another 90 degrees
counter-clockwise. After these 8 counts, the leader and follower have exchanged their
positions.
It is widely known that LA Style dancers focused their tempo to break again On 1, with
less emphasis on the beat measures thus bypassing traditional rhythm 1-2-3 in Latin
American or the NY Style dancing.
Although popular in the western nations, particularly English-speaking countries, L.A.

Style has many detractors. The Latin-Americans consider L.A. Style to be an abhorrent as
the dance is focused too much on techniques and show-styling and is further compounded
by the lack of "Sabor" within the dancers for not being able to relate to the actual tumbao
or the clave beats. New York Style and Mambo Purists perceive L.A. Style dancers
"rhythmically-challenged" due to the "lack the rhythm and the focus on melody instead of
tempo", and much cynicism is placed on L.A. Style for "pinching" advance N.Y. Style
routines. Nevertheless, L.A. Style has been credited for the popularity of salsa as the
middle-class choice social activities in the western world.
The three Vazquez brothers are claimed to have started L.A. Style in Long Beach,
California. It is said that Francisco the oldest created the L.A. Style, and then taught it to
his younger brothers by combining Mambo, theatrics, and Mexican dancing.
Major L. A. Style instructors include Mexican-born Francisco Vazquez, Luis Vaz-

quez,and Johnny Vasquez "Prince of Salsa", the controversial Brazilian Alex Da Silva,
Ronny Medrano, and Josie Neglia.
Chapter 5
Tango
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Tango
Stylistic origins Habanera, Milonga, Polka
Cultural origins 1850–1890 Argentina and Uruguay
Typical Accordion, Bandoneón, piano, guitar, violin, double

instruments bass, human voice and more
Rioplatense working class urban areas until the

Mainstream
1910s; upper and middle class cosmopolitan urban
popularity
areas thereafter
Derivative forms Canyenge, Maxixe, Tango Waltz
Subgenres
Finnish tango, Ballroom Tango, Tango Fantasia, Tango Nuevo, Tango

Argentino, Tango Oriental, Tango Liso, Tango Salon, Tango Orillero,
Tango Milonguero
Fusion genres
Alternative tango, Tango Electronico
Other topics
Tango music
WT A couple dance the Argentine Tango
Tango dance and tango music originated in the area of the Rio de la Plata, and spread to
the rest of the world soon after.
Early tango was known as tango criollo, or simply tango. Today, there are many tango
dance styles, including Argentine Tango, Uruguayan Tango, Ballroom tango (American
and International styles), Finnish tango, and vintage tangos. What many consider to be
the authentic tango is that closest to that originally danced in Argentina and Uruguay,
though other types of tango have developed into mature dances in their own right.
In 2009, Argentina and Uruguay suggested the Tango to be declared a world heritage of
humanity, in October of the same year UNESCO approved it.
History
Tango is a dance that has influences from Spanish and African culture. 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. 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.
In the early years of the 20th century, dancers and orchestras from Buenos Aires travelled
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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 "Rio de la Plata tango". By 1914
more authentic tango stylings were soon developed, 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 again became widely fashionable and a matter of national
pride under the government of Juan Perón. Tango declined again in the 1950s with
economic depression and as the military dictatorships banned public gatherings, followed
by the popularity of rock and roll.
In 2009 the tango was declared as part of the world's "intangible cultural heritage" by
UNESCO.
Styles
WT Tango postcard, c. 1919
WT Tango Show in Buenos Aires
The Tango consists of a variety of styles that developed in different regions and eras of
Argentina as well as in other locations around the world. The dance developed in
response to many cultural elements, such as the crowding of the venue and even the
fashions in clothing. The styles are mostly danced in either open embrace, where lead and
follow have space between their bodies, or close embrace, where the lead and follow
connect either chest-to-chest (Argentine tango) or in the upper thigh, hip area (American
and International tango).
Different styles of Tango are:
• Tango argentino
• Tango Oriental (uruguayo)
• Tango canyengue
• Tango liso
• Tango salon
• Tango orillero
• Tango camacupense (Angola)
• Tango milonguero (Tango apilado)
• Tango Nuevo (New Tango)
• Show Tango (also known as fantasia)
• Ballroom tango
• Finnish tango
These are danced to several types of music:
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• Tango
• Vals (the tango version of waltz)
• Milonga (a related dance that usually has a faster tempo)
• Tango Electronico
• "Alternative tango", i.e. non-tango music appropriated for use in the dance of
music
The "milonguero" style is characterized by a very close embrace, small steps, and
syncopated rhythmic footwork. It is based on the petitero or caquero style of the crowded
downtown clubs of the '50s.
In contrast, the tango that originated in the family clubs of the suburban neighborhoods
(Villa Urquiza/Devoto/Avellaneda etc.) emphasizes long elegant steps, and complex
figures. In this case the embrace may be allowed to open briefly, to permit execution of
the complicated footwork.
The complex figures of this style became the basis for a theatrical performance style of
Tango seen in the touring stage shows. For stage purposes, the embrace is often very
open, and the complex footwork is augmented with gymnastic lifts, kicks, and drops.
A newer style sometimes called tango nuevo or "new tango", has been popularized in
recent years by a younger generation of dancers. The embrace is often quite open and
very elastic, permitting the leader to lead a large variety of very complex figures. This
style is often associated with those who enjoy dancing to jazz- and techno-tinged
"alternative tango" music, in addition to traditional Tango compositions.
Tango de Salon (Salon Tango)
Tango Canyengue
Tango canyengue is a rhythmic style of tango that originated in the early 1900s and is
still popular today. It is one of the original roots styles of tango and contains all
fundamental elements of traditional Tango from the Rio de la Plata region (Uruguay and
Argentina). In tango canyengue the dancers share one axis, dance in a closed embrace,
and with the legs relaxed and slightly bent. Tango canyengue uses body dissociation for
the leading, walking with firm ground contact, and a permanent combination of on- and
off-beat rhythm. Its main characteristics are its musicality and playfulness. Its rhythm is
described as "incisive, exciting, provocative". The complex figures of this style became
the basis for a theatrical performance style of Tango seen in the touring stage shows. For
stage purposes, the embrace is often very open, and the complex footwork is augmented
with gymnastic lifts, kicks, and drops.
Tango nuevo
A newer style sometimes called tango nuevo or "new tango" has been popularized in
recent years by a younger generation of dancers. The embrace is often quite open and
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very elastic, permitting the leader to initiate a great variety of very complex figures. This
style is often associated with those who enjoy dancing to jazz- and techno-tinged,
electronic and alternative music inspired in old tangos, in addition to traditional Tango
compositions.
Tango nuevo is largely fueled by a fusion between tango music and electronica, though
the style can be adapted to traditional tango and even non-tango songs. Gotan Project
released its first tango fusion album in 2000, quickly following with La Revancha del
Tango in 2001. Bajofondo Tango Club, a Rioplatense music band consisting of seven
musicians from Argentina and Uruguay, released their first album in 2002. Tanghetto's
album Emigrante (electrotango) appeared in 2003 and was nominated for a Latin
Grammy in 2004. These and other electronic tango fusion songs bring an element of
revitalization to the tango dance, serving to attract a younger group of dancers.
Ballroom tango
Ballroom tango illustration, 1914.
Ballroom tango, divided in recent decades into the "International" (English) and
"European" styles, has descended from the tango styles that developed when the tango
first went abroad to Europe and North America. The dance was simplified, adapted to the
preferences of conventional ballroom dancers, and incorporated into the repertoire used
in International Ballroom dance competitions. English tango was first codified in October
1922, when it was proposed that it should only be danced to modern tunes, ideally at 30
bars per minute (i.e. 120 beats per minute – assuming a 4/4 measure).
Subsequently the English tango evolved mainly as a highly competitive dance, while the
American tango evolved as an unjudged social dance with an emphasis on leading and
following skills. This has led to some principal distinctions in basic technique and style.
Nevertheless there are quite a few competitions held in the American style, and of course
mutual borrowing of technique and dance patterns happens all the time.
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Ballroom tangos use different music and styling from the tangos from the Rio de la Plata
region (Uruguay and Argentina), with more staccato movements and the characteristic
"head snaps". The head snaps are totally foreign to Argentine and Uruguayan tango, and
were introduced in 1934 under the influence of a similar movement in the legs and feet of
the tango from the Rio de la Plata, and the theatrical movements of the pasodoble. This
style became very popular in Germany and was soon introduced to England, one of the
first proponents being Mr Camp. The movements were very popular with spectators, but
not with competition judges.
Finnish tango
The tango spread from the dominant urban dance form to become hugely popular across
Finland in the 1950s after World War 1 and World War 2. The melancholy tone of the
music reflects the themes of Finnish folk poetry; Finnish tango is almost always in a
minor key.
The tango is danced in very close full upper body contact in a wide and strong frame, and
features smooth horizontal movements that are very strong and determined. Dancers are
very low, allowing long steps without any up and down movement. Forward steps land
heel first, and in backward steps dancers push from the heel. In basic steps, the passing
leg moves quickly to rest for a moment close to the grounded leg.
Each year Finnish the tango festival, Tangomarkkinat, draws over 100,000 tangophiles to
the central Finnish town of Seinäjoki, which also hosts the Tango Museum.
Queer tango
Queer tango is a new way to dance Argentine tango free from traditional heteronor-
mative codes. Its proposal is to dance tango without pre-established roles according to the
gender of the dancers and to perform the exchange of leader and follower. Therefore it is
also called open role or same-sex tango. The queer tango movement permits not only an
access to tango for the LGBT-community, but also opens new possibilities for hetero-
sexual dancers: women learn the lead, men learn the follow.
Comparison of techniques
Argentine, Uruguayan, and Ballroom Tango use very different techniques. In Argentine
and Uruguayan tango, the body's center moves first, then the feet reach to support it. In
ballroom tango, the body is initially set in motion across the floor through the flexing of
the lower joints (hip, knee, ankle) while the feet are delayed, then the feet move quickly
to catch the body, resulting in snatching or striking action that reflects the staccato nature
of this style's preferred music.
In tango, the steps are typically more gliding, but can vary widely in timing, speed, and
character, and follow no single specific rhythm. Because the dance is led and followed at
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the level of individual steps, these variations can occur from one step to the next. This
allows the dancers to vary the dance from moment to moment to match the music (which
often has both legato and/or staccato elements) and their mood. The very good Argentine
Tango dancer knows to lead and does this in the way that the foot steps of him and of his
partner steps into the music as dancing the sheet of music, like being a further instrument.
One of the very interesting parts of the Argentine Tango is, that man and women does not
dance the same part as in a mirror. He can lead her other elements, then he will dance
himself and combines them to new combinations.
The Tango's frame, called an abrazo or "embrace," is not rigid, but flexibly adjusts to
different steps, and may vary from being quite close, to offset in a "V" frame, to open.
The flexibility is important as all movement to can dance. The American Ballroom
Tango's frame is flexible too, but experienced dancers frequently dance in closed posi-
tion: higher in the elbows, tone in the arms and constant connection through the body.
When dancing socially with a beginners, however, it may be better to use a more open
position because the close position is too intimate for them. In American Tango open
position may result in open breaks, pivots, and turns which are quite foreign in Argentine
tango and International (English) tango.
There is a closed position as in other types of ballroom dance, but it differs significantly
between types of tango. In Tango from the Rio de la Plata region, the "close embrace"
involves continuous contact at the full upper body, but not the legs. In American
Ballroom tango, the "close embrace" involves close contact in the pelvis or upper thighs,
but not the upper body. Followers are instructed to thrust their hips forward, but pull their
upper body away, and shyly look over their left shoulder when they are led into a "corte."
In tango from the Rio de la Plata region, the open position, the legs may be intertwined
and hooked together, in the style of Pulpo (the Octopus). In Pulpo's style, these hooks are
not sharp, but smooth ganchos.
In Tango from the Rio de la Plata, Uruguay and Argentina, the ball or toe of the foot may
be placed first. Alternately, the dancer may take the floor with the entire foot in a cat-like
manner. In the International style of Tango, "heel leads" (stepping first onto the heel, then
the whole foot) are used for forward steps.
Ballroom tango steps stay close to the floor, while the Rio de la Plata Tango (Uruguayan
and Argentine) includes moves such as the boleo (allowing momentum to carry one's leg
into the air) and gancho (hooking one's leg around one's partner's leg or body) in which
the feet travel off the ground. Both Uruguayan and Argentine tango features other
vocabulary foreign to ballroom, such as the parada (in which the leader puts his foot
against the follower's foot), the arrastre (in which the leader appears to drag or be
dragged by the follower's foot), and several kinds of sacada (in which the leader
displaces the follower's leg by stepping into her space).
Finnish tango is closer to the one from the Rio de la Plata than to ballroom in its
technique and vocabulary. Other regional variations are based on the Argentine style as
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well.
Tango influence
Music and dance elements of tango are popular in activities related to gymnastics, figure
skating, synchronized swimming, etc., because of its dramatic feeling and its cultural
associations with romance.
Mural of Carlos Gardel painted by Uruguayan Carlos Páez Vilaró
For 1978 FIFA World Cup in Argentina, Adidas designed a ball and named it Tango
likely a tribute to the host country of the event. This design was also used in 1982 FIFA
World Cup in Spain as Tango Málaga, and in 1984 and 1988 UEFA European Football
Championships in France and West Germany.
Health benefits
Tango from the region of the Rio de la Plata was seen in one study to help heal
neurological disorders such as Parkinson's disease in a manner that was greater than the
same amount of regular exercise. Parkinson's sufferers given tango classes showed
improvements in balance and other measures not seen in another group of patients given
regular exercise classes. The researchers said that while dance in general may be
beneficial, tango uses several forms of movement especially relevant for Parkinson's
disease patients including dynamic balance, turning, initiation of movement, moving at a
variety of speeds and walking backward. The study authors wrote in 2007 that more
research was needed to confirm the benefits observed in the small sample population.
Dancing tango has been linked to increased heart health, better balance, improved
memory, and weight loss.
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Tango in film
Argentine tango is the main subject in these films:
• Adiós Buenos Aires (1938)

• The Tango Bar (1988), starring Raúl Juliá
• The Tango Lesson (1997), starring Sally Potter and Pablo Verón, directed by Sally
Potter
• Tango (1998), starring Cecilia Narova and Mía Maestro, directed by Carlos Saura
• Assassination Tango (2002), starring Robert Duvall, Rubén Blades and Kathy
Baker, directed by Robert Duvall
• Orquesta Tipica (2005), documentary film about typical orchestra Fernandez
Fierro, directed by Nicolas Entel
• 12 Tangos – Adios Buenos Aires (2005), directed by Arne Birkenstock
A number of films show tango in several scenes, such as:
• The Plow That Broke the Plains (1936), directed by Pare Lorentz.
• The Four Horsemen of the Apocalypse (1921), starring Rudolph Valentino and
Alice Terry, directed by Rex Ingram.
• L'amore in citta' (1953), segment "Paradise for three hours" (Paradiso per tre
ore), directed by Dino Risi, starring nonprofessional actors, featuring a long
sequence in a ballroom, where a passionate tango of Mario Nascimbene is played.
• Il Conformista (1970), starring Jean-Louis Trintignant and Dominique Sanda,
directed by Bernardo Bertolucci.
• Last Tango in Paris (1972), starring Marlon Brando and Maria Schneider,
directed by Bernardo Bertolucci.
• The World's Greatest Lover (1977), starring Gene Wilder (who also directed),
Carol Kane and Dom DeLuise.
• Death on the Nile (1978), Peter Ustinov and Olivia Hussey tango whilst David
Niven is the unfortunate partner to Angela Lansbury's rather eccentric version of
the dance.
• Never Say Never Again (1983), starring Sean Connery and Kim Basinger, directed
by Irvin Kershner.
• Naked Tango (1990), starring Vincent D'Onofrio and Mathilda May, directed by
Leonard Schrader.
• Scent of a Woman (1992), Al Pacino as blind Colonel dances Argentine Tango.
• Strictly Ballroom (1992), directed by Baz Luhrmann
• Addams Family Values (1993), Raul Julia and Anjelica Huston dance a tango so
passionate that it literally burns the floor and makes all the champagne bottles in
the nightclub pop their corks.
• Schindler's List (1993), starring Liam Neeson
• True Lies (1994), starring Arnold Schwarzenegger and Jamie Lee Curtis, directed
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by James Cameron
• Evita (1996), Madonna and Antonio Banderas dance a ballroom tango.
• Happy Together (1997), directed by Wong Kar-wai
• Moulin Rouge! (2001), featuring Ewan McGregor and "El Tango de Roxanne"
• Le Tango Des Rashevski (2002)
• Chicago (2002), starring Renée Zellweger, Catherine Zeta-Jones, and Richard
Gere, directed by Rob Marshall includes a song titled "The Cell Block Tango"
and is accompanied with a dance.
• Frida (2002), Salma Hayek and Ashley Judd dance a tango to the Lila Downs
performed song Alcoba Azul.
• Shall We Dance (2004), starring Richard Gere, Jennifer Lopez and Susan
Sarandon, directed by Peter Chelsom.
• Madonna featured choreography inspired by the argentine tango styles for the Die
Another Day section of her 2004 Re-Invention Tour. Segments of the 2005
documentary I'm Going To Tell You A Secret show this choreography in use.
• Rent (2005) had Anthony Rapp and Tracie Thoms perform a semi-elaborate
ballroom tango in the song "Tango:Maureen" to describe their emotional relations
and issues over a promiscuous girl they both dated.
• Mad Hot Ballroom (2005), documentary directed by Marilyn Agrelo
• Love and Other Disasters (2006), Jacks (Brittany Murphy) and Paolo (Santiago
Cabrera) perform a tango together.
• Take the Lead (2006), starring Antonio Banderas, directed by Liz Friedlander
• Another Cinderella Story (2008), starring Selena Gomez and Drew Seeley Per-
formed during the Black and White Ball in the scene where Mary drops her Zune
• Easy Virtue (2008), in which Jessica Biel and Colin Firth dance a tango
Finnish tango is featured to a greater or lesser extent in the following films:
• Onnen maa (1993), starring Pertti Koivula and Katariina Kaitue, directed by
Markku Pölönen.
• Levottomat (2000), starring Mikko Nousiainen and Laura Malmivaara, directed
by Aku Louhimies.
• Tulitikkutehtaan tyttö (1990), starring Kati Outinen, directed by Aki Kaurismäki.
• Mies vailla menneisyyttä (2002), starring Markku Peltola and Kati Outinen,
directed by Aki Kaurismäki.
• Varjoja paratiisissa (1986), starring Matti Pellonpää and Kati Outinen, directed
by Aki Kaurismäki.
• Kuutamolla (2002), starring Minna Haapkylä and Laura Malmivaara, directed by
Aku Louhimies.
• Tango Kabaree (2001), starring Martti Suosalo and Aira Samulin, directed by
Pekka Lehto.
• Minä soitan sinulle illalla (1954), starring Olavi Virta, directed by Armand
Lohikoski.
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Casual, unchoreographed Argentine social style at an outdoor tango party
Glossary of Partner Dance Terms
This glossary lists terms used in various types of partner dances.
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Abbreviations
• 3T - Three Ts
• CBL - Cross-body lead
• CBM - Contra body movement
• CBMP - Contra body movement position
• COG - Center of gravity
• CPB - Center point of balance
• DC - Diagonally to center
• DW - Diagonally to wall
• IDSF - International DanceSport Federation
• IDTA - International Dance Teachers Association
• ISTD - Imperial Society of Teachers of Dancing
• J&J - Jack and Jill
• LOD - Line of dance
• MPM - Measures per minute
• NFR - No foot rise
• OP - outside partner or open position
• PP - promenade position
• Q - quick
• S - slow
A-F
Amalgamation
"A combination of two or more figures". More generally: a sequence of figures which a
couple intends to dance.
American Smooth
A category of dances in American Style ballroom competitions. It includes waltz, tango,

foxtrot and Viennese waltz. Previously Peabody was also included.
This category loosely corresponds to the Standard category of International Style

ballroom. However, Smooth differs from Standard in its inclusion of open and separated
figures, whereas Standard makes exclusive use of closed positions.
American Rhythm
A category of dances in American Style ballroom competitions. It includes Cha-cha-cha,
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Rumba, East Coast Swing, Bolero, Mambo. Sometimes it may include Samba and West
Coast Swing.
This category loosely corresponds to the Latin category of International Style ballroom.
American Style
The term describes a particular style of ballroom dances developed in the USA that
contrasts with the International Style. In a narrower sense, it denotes the group of dances
danced in American Style ballroom competitions. The group consists of two categories:
American Smooth and American Rhythm.
Backleading
In social dancing strongly relying on leading and following, this term means that the
follower executes steps without waiting for or contrary to the lead of the leader. This is
also called anticipation and usually considered bad dancing habit. An exception would
be to avoid a collision with another couple the leader hasn't seen (this is usually just to
stop the leader performing specific steps rather than the follower actively executing
steps).
Sometimes this term is used in the meaning of hijacking, which is not exactly the same.
Body flight
Body flight is a property of many movements in dances such as the waltz and foxtrot. It
refers to steps taken with momentum in excess of that necessary to arrive at a point of
static balance over the new position, which suggests a carry through to another step in the
same direction. Steps in these dances naturally flow one into another, in contrast to the
tango and to the Latin and rhythm dances where many steps arrive to a point of static
balance.
Body contact
Body contact is a style of closed position in partner dancing ("closed position with body
contact"); it is also a type of physical connection.
Body support
Support of the partner's body is largely avoided in ballroom dancing. The exception
would be "lifts" - often featured in some forms of swing dancing, and ballroom show-
dance presentations, but banned in ordinary ballroom competition and rarely seen in
social dancing.
Call
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A call in square dancing is a command by a caller to execute a particular dance figure. In
round dancing, calls are called cues. Voice calls may be complemented by hand signs.
Caller
A caller or a cuer is a person that calls/cues dance figures to be executed in square dances
and round dances.
Center
When indicating a direction of movement during a dance, the term "center" means the
direction perpendicular to the LOD pointing towards the center of the room. If one stands
facing the LOD, then the center direction is to their left.
The term Center may also be used as shorthand for the center point of balance.
Center point of balance
Together with the center of gravity (COG), center point of balance (CPB) helps the
dancer to better understand and control his movements. CPB differs from the two other
centers in two respects. The exact location of the COG is always well-defined, however it
significantly depends on the shape the body assumes. In contrast, the CPB during normal
dancing (heads up, feet down on the floor) is always at the same place of the dancer
body, although defined in a loose way: it is said that the CPB is in the general area of the
solar plexus for the gentlemen, and navel for the women. The reason to distinguish this
point lies in the following simple observation. If you put your feet together, you may
move your head or your hips pretty far away from your area of support without losing
your balance. But if you move your CPB just 2-3 inches away from the equilibrium
position, you will feel a strong urge to step in this direction. Therefore awareness of your
CPB, both consciously and instinctively, gives you a better control of the overall dance
movement and connection with your partner.
Chassé
"A figure of three steps in which the feet are closed on the second step".
Closed dance figure
The term has at least two meanings: regarding dance position and regarding footwork.
• A figure performed in closed position.

• A figure in which at the last step the moving foot closes to rest at the support foot.
Examples are box step in American Style waltz or natural turn in International
Style Waltz.
Closed position
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The ordinary position of ballroom dancing in which the partners face each other with
their bodies approximately parallel. In Standard and Smooth the bodies are also offset
about a half body width such that each person has their partner on their right side, with
their left side somewhat unobstructed. Contrast promenade position and open position.
Connection
A means of communication between dancers in the couple. Physical and visual types of
connection are distinguished. Sometimes referred to as resistance or tone, it involves
slightly tensing the upper-body muscles, often in the context of a frame, thus enabling
leader to communicate intentions to follower.
Contra body movement
Refers to the action of the body in turning figures; turning the opposite hip and shoulder
towards the direction of the moving foot.
Contra body movement position
Contra body movement position occurs when the moving foot is brought across (behind
or in front) the standing foot without the body turning. Applies to every step taken outside
partner; occurs frequently in tango and in all promenade figures.
Compression
The term has several meanings.
• Compression is a type of physical connection, opposite to leverage, in which a

stress exists at the point(s) of contact directed towards the contact point(s). The
term is frequently used, e.g., in swing dance community.
• Compression is lowering the body by bending the knees in a preparation for a
step. The term is mostly used in describing the Rises and falls technique of
ballroom dances of Standard (International style) of Smooth (American style)
categories: waltzes, tangos, foxtrots.
• Compression is a hip action in Latin dances.
• An action to achieve a graceful sway.
Cue
A signal to execute a dance figure.
Dancesport
An official term to denote dance as competitive, sport activity.
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Dance pattern
Figure
"A completed set of steps" More explicitly: a small sequence of steps comprising a
meaningful gestalt, and given a name, for example 'whisk' or 'spin turn'.
Footwork
In a wider sense the term footwork describes dance technique aspects related to feet: foot
position and foot action.
In a narrow sense, e.g., in descriptions of ballroom dance figures, the term refers to the
behavior of the foot when it is in contact with the floor. In particular, it describes which
part of the foot is in contact with the floor: ball, heel, flat, toe, high toe, inside/outside
edge, etc. In the Smooth and Standard dances, it is common for the body weight to
progress through multiple parts of the foot during the course of a step. Customarily, parts
of the foot reached only after the other foot has passed to begin a new step are implied
but not explicitly mentioned.
Formation
1. Formation or dance formation is a team of dance couples.

2. Formation of a dance team is the specification of
• positions of dancers or dance couples on the floor relative to each other

and
• directions the dancers face or move with respect to others.
Formation dance
Formation dance is a choreographed dance of a team of couples, e.g., ballroom Sequence

Or Ballroom formation dance/team.
Full weight
Full weight or full weight transfer means that at the end of the step the dancer's center of
gravity is directly over the support foot. A simple test for a full weight transfer is that you
can freely lift the second foot off the floor.
Frame
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Dance frames are the upper body positions of the dancers. A strong frame provides
connection with your partner and conveys intended movement. A strong frame is where
your arms and upper body are held firmly in place without relying on your partner to
maintain your frame nor applying force that would move your partner or your partner's
frame.
Major types of dance frames are Latin, smooth, and swing.
G-R
Guapacha
Guapacha timing is an alternative rhythm of various basic cha-cha steps that are
normally counted "<1>, 2, 3, cha-cha-1" whereas "cha-cha-1" is counted musically "4-&-
1". In Guapacha, the step that normally occurs on count "2" is delayed an extra half-beat,
to the "&" of 2, making the new count "<1>, <hold>-&-3, 4-&-1".
Handhold
Handhold is an element of dance connection: it is a way the partners hold each other by
hands.
Heel lead
Landing on the heel of the foot in motion during a step before putting weight on the
remainder of the foot. As in normal walking, much of the swing of the foot is accom-
plished with its midpart closest to the floor, emphasis shifting to the heel only as the final
placement is neared.
Heel turn
A heel turn is an action danced by the partner on the inside of turn in certain figures in
Standard or Smooth. During the course of rotation, the dancer's weight moves from toe to
heel of one foot while the other foot swings to close to it, then forward from heel towards
the toe of the just closed foot. Follower's heel turns feature body rise coincident with the
first step, which leads her foot to close next to the standing one rather than swing past. In
contrast, when the leader is dancing a heel turn the rise is delayed until the conclusion of
the turn, as he can better lead the amount of turn from a more grounded position. The
heel turn is distinguished from other members of the family of heel pull actions which do
not require complete closure of the feet. Follower's heel turns are commonly found in the
double reverse spin and the open or closed telemark, and the natural and reverse turns of
international style foxtrot, while leader's heel turns form the basis of the open or closed
impetus.
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Hijacking
In social dancing strongly relying on leading and following, this term hijacking means
temporary assuming the leading role by the follower. Also known as stealing the lead.
Compare to backleading.
International Standard
A category of dances in International Style ballroom competitions. Sometimes in the

context of competitions it is called Ballroom or International Ballroom, confusing as it
might be. (In England, the term "Modern" is often used, which should not be confused
with "Modern Dance" that derives from Ballet technique) It includes waltz (also called
"slow waltz"), tango, foxtrot, quickstep, and Viennese waltz. This category loosely
corresponds to the Smooth category of American Style ballroom.
International Style
The term describes a particular style of ballroom dances that contrasts with American
Style. In a narrower sense, it denotes the group of dances danced in International Style
ballroom competitions. The group consists of two categories: Standard and Latin.
International Latin
International Latin is category of dances in International Style ballroom competitions. It

includes Samba, Cha-Cha, Rumba, Paso Doble, and Jive.
Jack and Jill
Jack and Jill (J&J) is a format of competition in partner dancing, where the competing
couples are the result of random matching of leaders and followers. Rules of matching
vary. The name comes from the popular English nursery rhyme, Jack and Jill. In venues
with same-sex dance partners, the ambiguous name "Pat and Chris" has been used.
In dance competitions J&J is included as a separate division (or divisions, with additional
gradations). J&J is popular at swing conventions, as well as at ballroom dance com-
petitions in the USA.
Latin (dance)
As applied to dances, Latin dance is any type of social dance of Latin American origin.
Latin hip motion
A characteristic type of hip motion found in the technique of performing a step in Latin
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and Rhythm dances. Although most visible in the hips, much of the effect is created
through the action of the feet and knees. Sometimes it is also called Cuban hip motion,
although because of the divergence in dance technique between American Rhythm and
International Latin some prefer to distinguish the two, with the term "Latin motion"
reserved for International Style, while the "Cuban motion" reserved for American Style
and Club Latin dances. The most notable distinction (in a simplified description) is that in
the International Style "Latin motion" the straightening of the knee happens before the
full weight transfer, while in the "Cuban motion" the straightening of the knee happens
after the full weight transfer. As a result, the Cuban hip motion results in a more fluid leg
movement, while the Latin hip motion results in a more staccato leg movement.
Leverage
The term describes type of physical connection, opposite to compression, in which a

stress exists at the point(s) of contact directed away from the contact point(s). Predo-
minantly used in the swing dance community.
Line of dance
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Line of dance (LOD) is conceptually a path along and generally parallel to the edge of the
dance floor in the counterclockwise direction. To help avoid collisions, it is agreed that in
travelling dances dancers should proceed along the line of dance.
Line of dance is a useful line of reference when describing the directions of steps taken,
e.g., "facing LOD", "backing [or reverse] LOD".
Line of foot
An imaginary straight line passing through the foot in the heel-toe direction.
Measures per minute
Measures per minute, or MPM, refers to the tempo of the music according to the number
of measures or bars occurring in one minute of music. This can vary from as low as 25-27
MPM for international style rumba to as fast as 58-60 MPM for international style
Viennese waltz.
No foot rise
In descriptions of the footwork of step patterns the abbreviation NFR stands for no foot
rise and means that the heel of the support foot remains in contact with the floor until the
weight is transferred onto the other foot.
Open dance figure
The term has at least two meanings: regarding dance position and regarding footwork.
• A figure performed in open position.

• A figure in which during the last step the moving foot passes the support foot.
Examples are feather step in Foxtrot or open left turn, e.g., in Tango.
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Open position
Open position is any dance position in couple dances, in which the partners stand apart in
contrast to closed position. They may face inwards or outwards, and hold one or both
hands or stand independently.
Outside partner position
A step into outside partner position occurs when the moving foot of the forward
travelling partner moves on a track outside of their partner's standing foot when it would
ordinarily move on a track aimed between their partner's feet. Due to the offset of the
hold, this generally applies to a step with the right foot. (The term left side outside is
often used for the rare occurrences when the left foot crosses to pass outside, as in the
Hover cross). Steps into outside partner position are also required to be in contra body
movement position, and are often preceded by a step with a strong side lead. The term
"inline" is occasionally used when it is necessary to clarify that an outside partner
position is not involved.
Physical connection
A dance connection by means of physical contact. Types of physical connection are body
contact, compression, leverage.
Pinched shoulder
Pinched shoulder is the position seen when promenade position is incorrectly danced with
an outward rotation of the upper bodies, rather than a rotational stretch in each body. It is
characterized by one or both partner's having their trailing elbow behind the line of their
shoulders, with a resulting break in the arm line at the trailing shoulder.
Promenade position
The promenade position is described differently in various dance categories.
In ballroom dances their common trait is that the dance couple moves (or intends to
move) essentially sidewise to the leader's left while partners nearly face each other, with
the leader's right side of the body and the follower's left side of the body are closer than
the respective opposite sides. Steps of both partners are basically sidewise or diagonally
forward with respect to their bodies. Normally the dancers look in the direction of the
intended movement.
In square dances it is a close side-by-side position in various handholds with the general
intention to move together forward, "in promenade".
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Replace
In brief descriptions of dance figures, replace means replacing the weight to the previous
support foot while keeping it in place. For example a "rock back" figure may be des-
cribed as "step back, replace". Notice that it doesn't require to "replace" the moving foot
to the place from where it come in the previous step.
S-Z
Shadow position
Both partners face the same general direction, one of them squarely behind or slightly
shifted sideways ("in the shadow"). Handholds vary. Variants: sweetheart position,
cuddle position.
Side lead
A body position or action during a step, sometimes also called Same side lead. Side
leading refers to a movement during which the side of the body corresponding to the
moving foot is consistently in advance as a result of a previous contra body movement or
body turns less action. A step with side lead will often precede or follow a step of the
opposite foot taken into contra body movement position (in which the leading side is that
opposite the moving foot) without requiring intervening rotation of the body.
Due to the offset position of the partners in the hold, a left side lead may be quite pro-
nounced whereas a right side lead will be more subtle if taken in closed position.
Slot
In slotted dances, the dance slot is an imaginary narrow rectangle along which the
follower moves back and forth with respect to the leader, who is more or less stationary.
As a rule, the leader mostly stays in the slot as well, leaving it only to give way for the
follower to pass him.
Slotted dance
A dance style in which the couple's movements are generally confined to a slot. The most
typical slotted dance is west coast swing. Some other dances, e.g., hustle and salsa, may
be danced in slotted style. Compare spot dance, travelling dance.
Spot dance
A dance that is generally danced in a restricted area of the dance floor. Examples are
rumba, salsa, east coast swing. Compare travelling dance, slotted dance.
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Spotting
A technique used during turns. The dancer chooses a reference point (such as his or her
partner or a distant point along the line of travel) and focuses on it as long as possible.
When during the turn it is no longer possible to see it, the head flips as fast as possible to
"spot" the reference point again. This technique guides the body during the turn, makes it
easier to determine when to stop turning, and helps prevent dizziness.
Step
• In a strict sense, a step, or a footstep, is a single move of one foot, usually

involving full or partial weight transfer to the moving foot. However foot actions,
such as tap, kick, etc., are also sometimes called "steps". For example, in a
description: "step forward, replace, together" all three actions are steps.
Sometimes it is important to define the exact limits of one (foot)step, i.e., exactly
when it begins and ends. In describing the detailed technique in Standard and
Smooth dances (Waltz, Tango,...) it is agreed that in figures where the moving
foot doesn't stop at the support foot a step begins (and the previous step ends) at
the moment when the moving foot passes the support foot. Notice that according
to this agreement such steps do not begin/end precisely at the "counts" 1, 2, etc.
which normally match musical beats.
• In a broader sense, step means dance step, i.e., a dance figure, e.g., basic step,
triple step.
Standing foot
Same as Supporting foot.
Supporting foot
It is also called support foot, a foot which bears the full (or nearly full) weight at the
beginning of a step or while the other foot does some action (tap, ronde, etc.). Compare
moving foot.
Sway
The term sway has a specific meaning in the technique of ballroom dancing. Basically, it
describes a body position in which its upper part gracefully deflects from the vertical.
Syncopation
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In dancing, the term has two meanings: The first one is similar to the musical termi-
nology. The second one is making more (and/or different) steps than required by the
standard description of a figure, to address more rhythmical nuances of the music. The
latter usage is considered incorrect by many dance instructors, but it is still in circulation,
a better term lacking.
Tension
Describes a physical connection, opposite to compression, in which a stress exists at the

point(s) of contact directed away from the contact point(s) between partners. People
frequently resort to describing the actions as "push" (compression, towards partner) and
"pull" (tension, away from partner) to get the idea across.
Three Ts
Technique, Timing, Teamwork. The criteria for evaluation of dance mastery in Swing
dancing community.
Timing
The relation of the elements of a dance step or dance figure with respect to musical time:
bars and beats.
Toe lead
Landing on the toe of the foot in motion during a step before putting weight on the
remainder of the foot.
Track of foot
The trajectory of the moving foot visualized as a narrow imaginary track, forward and
backward of the foot rather than a line. For the standing foot, its track is determined by
its current orientation on the floor which may be noted on the inside of turns where the
feet often point in differing directions.
Travelling (progressive) dance
A dance that significantly travels over the dance floor, generally in the direction of the
line of dance. Examples are waltz, foxtrot, polka, samba, Argentine tango. Compare spot
dance, slotted dance.
Visual connection
A dance connection by means of visual awareness of partners in a couple. Visual

connection by no means should replace the physical connection, and some consider it to
be an inferior form of connection. However it does have its proper usages. Most impor-
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tant are the coordination of styles (arms, etc.) and when dancing without physical contact.
An important example of the latter is spotting the partner during turns, especially free
spins.
Voice cue
Voice cues help match rhythmic patterns of steps (or other moves) with the music. There
are different types of voice cues.
• The most common example is the usage of "quick" and "slow" words: "quick-
quick-slow" immediately tells you that the third step takes twice the time of the
first one (and of the second one).
• Some East Coast Swing instructors cue the basic step as "shuf-fle-STEP, shuf-fle-
STEP, rock BACK", to indicate both the rhythmic pattern of the figure (1&2,
3&4, 5, 6) and the syncopated character of swing music: every second syllable is
stressed.
• Still another example: the Box Step of American style Rumba may be cued as
"forward-...-side-together, back-...-side-together", to indicate the directions of
(leader's) steps and their timing.
• Finally, for more advanced dancers voice cues are actually names of dance figures
and standard variations:
o "Two walks, link, closed promenade" (tango).
o "Open telemark, natural fallaway, whisk, quick wing" (waltz).
o "Dile que no!... setenta!... Dame dos con una!..." (salsa rueda)
Cues are an important element of round dances. In square dances they are called calls and
called by a caller.
Wall
When indicating a direction of movement during a dance, the term "wall" means the
direction perpendicular to the LOD pointing towards the wall of the room (possibly
imaginary). If one stands facing the LOD, then the wall direction is to their right.
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Chapter 1 - Ballroom Dance

Chapter 3 - Types of Partner Dance

Danse de Paysans' (Peasant's Dance) by Théodore de Bry (1528-1598) shows a couple

A popular form of partner dancing is slow dance.

Partner dances with partners of the same sex

Typically, in ballroom competitions, same-sex partnerships are allowed up to the silver

Double partner dance

Definitions and history

Medal examinations for amateurs enable dancers' individual abilities to be recognized

An amateur dancesport competition at MIT

Dancesport denotes competitive ballroom dancing, as contrasted to social or exhibition

These categories apply to both individual couples and formation dance.

Junior cha-cha-cha competition in Czech Republic

Dancesport as an Olympic event

Types of Partner Dance

International Style Ballroom: Dancesport

Latin Formation Team TSC Blau-Silber Aachen

Formation dancing originated in 1932 in London's Astoria Ballroom. It was Olive

The choreography of a formation team includes both choreography of a dancesport rou-

Standard or Ballroom formation is a medley of the 5 international ballroom dances Waltz,

Specialist formation choreographers include Ona Skaistutė Idzelevičienė, Roberto Alba-

The international governing body is the International DanceSport Federation (IDSF)

Current Formation Teams

Country Latin Formation Team Standard Formation Team

Year Venue Standard Result Venue Latin Result

In some non-ISU competitions, solo dancers can also compete.

Jumps and spins

Ice dance history

Genre Ballroom dance, folk dance

Time signature 3/4

Country Austria and Southern Germany

Jazz waltz rhythm.

Most people associate Viennese Waltz with "The Blue Danube".

WT Ball in the Hofburg

American Style Viennese Waltz

6. Samba (ballroom dance)

Carnival in Rio de Janeiro

Argentine tango dancing relies heavily on improvisation; although certain patterns of

Competitive vs. social dance

• Caminada - combination of caminar, "walk" in Spanish

An Argentine tango figure, then, is the pattern salida + combination of elents +

There are other basic figures

• Cadencias - "cadence" as when soldiers "count cadence" by stepping in place.

• Golpecitos - "little toe taps" done between steps.

• Saltitos - "little leaps"

Resurgence of Argentine tango in North America

In 1989, the Dinzelbachers were invited to Cincinnati, Ohio by Richard Powers, to

Styles of Argentine tango dance

• Romolo Garcia (deceased)

• El Turco Jose Brahemcha

Tango con corte y quebrada

Show or tango de escenario

Advent of alternatives to tango music

Argentine tango is featured or referred to in these films/TV shows:

• The Four Horsemen of the Apocalypse (1921) - Rudolph Valentino dances an

Socially, it is considered good etiquette (particularly on a crowded floor) to use a fixed

"Also Good Swing - but unusual Chorus "AABA":"

"One Mint Julep", Buddy Morrow, Victor 20-4869 (June/July 1952)

While teenagers preferred to freestyle dance through a constantly changing succession of

Dancing to different types of music gives a different feel and look.

• She will always start with the Right foot.

• He will always start with the left foot.