What is Ballroom Dance?

The term “ballroom dance” refers to the

traditional partnered dance forms that are done by a couple, often in the
embrace of closed position (ballroom dance position). This is the overall
umbrella term covering three forms which will be discussed below.
Ballroom dance is exclusively a couple dance. They’re mostly done with
body contact, especially with the man’s arms supporting the waist of his
partner. However, they can be danced without body contact since the
man’s hands and arms should provide a frame rigidly fixed to his body
that moves precisely as his body moves. In ballroom dancing, a skillful
and technically correct execution of the dance is regarded as more
satisfying and enjoyable because it apparently feels more comfortable
and coordinated. Forms of ballroom dance There are three forms of
ballroom dancing: the social ballroom, competitive ballroom and
exhibition ballroom. For this module, we will discuss its differences and
its examples. The most essential difference between the three forms is
its audience. Each form of dance is performed before different types of
audience for their enjoyment. Social ballroom is performed mainly for
the partner, competitive ballroom is mainly for judges, exhibition
ballroom is for a public audience. The following are the audience’s
expectations for each form of ballroom dancing: 1. In social ballroom,
the partners would like to interact with the other spontaneously, for fun,
doing steps that are also enjoyable for them. 2. In competitive ballroom,
judges expect to see the accurate, precise and correct steps and styles
from the dancers done with great flair. 3. In exhibition ballroom, the
audiences expect to be entertained by beautiful and impressive moves
by the dancers. Furthermore, the attitude of social ballroom dancers is
commonly sociable, friendly or kind, and flexibly adaptive to
accommodate the styles that are different from your own. In competitive
ballroom dancing, the attitude of dancers must be correct and expansive,
recognizing the importance of sticking to the official syllabus of each
style. In exhibition ballroom, the performance attitude varies widely,
depending on the dance form. In social ballroom dancing, mistakes are
accepted as inevitable. When the move that follows the lead is different
 from what is intended, it is understood as a valid alternative
interpretation of the lead. Most dancers of social ballroom obtain
enjoyment from performing if things work out 80% of the time. The
remaining 20% is when most learning happens. On the other hand, in
competitive ballroom dancing, mistakes of the dancers count as
deductions from their points as it is aligned against making mistakes. If
the follow is different from what the lead has intended, it is called a
mistake and may possibly lead to elimination. Unlike in social ballroom
dancing, competitive ballroom dancing always aims for the 100%. For
exhibition ballroom dancing, there are two types of common
performances: one is the professional performance while the other is for
amateur performances. For professional performances, the audiences
expect perfection so dance companies rehearse extensively to avoid
mistakes while performing onstage. For amateur performances,
audiences mostly watch for the enjoyment of the dancers so mistakes
are generally accepted and tolerated. The reward for social ballroom
dancing is the enjoyment of dancing, attainment of self-confidence and
the satisfaction of becoming more proficient in a dance form. In
competitive ballroom dancing, the reward is always winning the
competition and impressing the audience. For exhibition dancing, the
reward is in the enthusiastic applause of the entertained audience.
There is no standardization in social ballroom dancing because the
partner differs in each performance and with a different partner comes a
different set of steps. In competitive ballroom dancing, however, there is
a rigorous standardization of steps and techniques because the
competitors need to know what technical details the judges expect to see
from their performances. For exhibition performances, there are times
when it is standardized but sometimes it is not. It wholly depends on the
audience’s preference. Social ballroom dancing doesn’t have a standard
style. In this form of dancing, the pair is required to develop a personal
style that differs from others. In competitive ballroom, dancers are
trained to imitate the style of the previous champions as the
standardized style. While individuality is welcome in this form of
ballroom dancing, it is important that it still stays within parameters.
 Performing ballroom dancing for exhibitions use styles that are mostly
unique to the choreographer. Social ballroom dancing doesn’t have a
fixed choreography. It is often spontaneous and depends on how the
Lead and Follow explores the possibilities. In competitions and
exhibitions, ballroom dancers rehearse and master choreographed
routines. In making decisions, social ballroom dancing gives the chance
for both people in a pair to engage in split second decision making.
However, for competitions, most decisions come from the organizers
who provide syllabus of acceptable steps. One thing that the dancers
must focus on is the style and execution. Exhibition does not often allow
the dancer to make his/her own decision regarding their dance. Most of
the dance is made by choreographers, and like in competitive dancing,
there is always the focus on improving the style. Social Ballroom Dancing
Social ballroom dancing originated in the first century of closed-couple
dancing. It is said that it was in the 19th century when ballroom dance
meant dancing in a “ballroom,” its literal meaning. Course Module One of
the most prominent mindsets in ballroom dancing during this century,
both in Europe and America, is selfless generosity wherein the focus of
the dance is the pleasure of dancing with a partner and assembled
company. Some of the famous quotes from this era are the following: "In
general manners, both ladies and gentlemen should act as though the
other person's happiness was of as much importance as their own." —
Prof. Maas, American dance master, 1871 "True, genuine politeness has
its foundation deeper than in the mere conformation to certain rules, for
it is the spontaneous and natural effect of an intelligent mind and kindly
heart which overlooks annoyances in consideration for the happiness of
others." — Edward Ferrero, American dance master, 1859 Another
prominent ballroom attitude was the flexible mindset that allows the
dancer to adapt to his/her partner. The American dance master William
DeGarmo wrote in 1875, "Gentlemen who acquire a diversified style
easily accommodate themselves to different partners. No two persons
dance alike. When their movements harmonize, this individuality is not
only natural and necessary, but it pleasingly diversifies the whole."
People derive enjoyment and satisfaction from social ballroom dancing.
This encourage s people to socialize with others especially during social
events. Social ballroom dancing must also match the mood of the
occasion. It is considered more fun to do social ballroom dances but they
are “less showy and spectacular than some other dances.” As this is not a
performing art, people tend to enjoy doing it more. Social ballroom
dancing can also help the participants to overcome their shyness.
However, for the dance to work, it is better to know at least the basics of
ballroom dancing to participate. Examples of Social Ballroom Dances
Foxtrot The foxtrot started in America in 1914 in an ill-defined form. Do
not confuse this with the competition foxtrot, or the slow foxtrot,
because slow foxtrot is not really suitable for social dancing. This is a
dance that can be performed with an almost any piece of music with 4
beats. The most basic steps are as follows: LEADERS'/MEN’S FOOTWORK
Before you begin, face your nearest wall. Then turn to your left slightly
so that you are on a diagonal. As all the ballroom dances move anti-
clockwise in a big circle around the room, you should get used to moving
in this direction. This circle is called the Line of Dance. Start with your
Left foot and take two Slow steps forward (on the diagonal). Left foot
then Right foot. On the “Quick, Quick” you take a side step onto your Left
foot first, changing your angle 90° so that you are now facing the corner
to your right. And close your Right foot to your Left on the second Quick.
Step back on your Left foot for the next set of two walks (Slow, Slow) and
side together Left, Right – changing the angle back to your original line
(Quick, Quick). Repeat moving forward with your left foot again to
continue. FOLLOWER’S/LADIES’ FOOTWORK For this basic movement,
the lady exactly mirrors the man’s steps. You start with your back to the
closest wall and then turn slightly so that your Right shoulder is closer to
the centre of the circle. Course Module Start with your Right foot and
take two steps backwards on two “Slow” counts.(Right then Left on
“Slow, Slow”.) Step side onto your Right foot and close your Left foot to
your Right on the “Quick Quick”. As you take these two steps you should
change the angle of your body 90° to be facing a new diagonal. Step
forward with your Right foot and then your left on the next two “Slow”
counts and then do another 90° turn back to where you started on the
 “Quick, Quick” stepping side on your right foot and bringing your feet
together with your left. Continue by stepping back again with your Right
foot. Notes for both the leader and follower: - All forward and backwards
steps should be “in line” – which means on the same track as your
partner’s feet. Do not attempt to step around or outside your partner,
merely place your foot into the space vacated by theirs. - To turn
corners, slightly change the degree of your turn on the side together to
facilitate moving around the corner. Make sure that the gent is always
moving generally towards his left side and the lady to her right around
the room. - When stepping forward, step onto your heel – as you would
when walking normally. - When stepping backwards, step onto your toe
and roll through the foot – as you would should you need to walk
backwards generally. - As this is a dance which ALWAYS changes feet –
and is very much like walking in that way – I would count the rhythm
when practicing instead of the feet. It is always “Slow, Slow, Quick, Quick-
Slow, Slow, Quick, Quick-" etc instead of "Left, Right, Left, Right, Left,
Right..." etc. Waltz Waltz is known for its rise and fall action, mostly
including a step, slide and step in ¾ time. According to Bedinghaus,
“Dancers should move their shoulders smoothly, parallel with the floor
instead of up and down, and they must strive to lengthen each step. On
the first beat of the music, a step is taken forward on the heel, then onto
the ball of the foot with a gradual rise to the toes, continuing on to the
second and third beats of the music. At the end of the third beat, the heel
is lowered to the floor to the starting position.” The rise and fall
description of waltz came from the act of elevating and lowering of the
dancer as he or she moves using the toes then relaxes through the knee
and ankle, ending on a flat foot, giving the outward appearance of the
dancer moving up and down around the dance floor. WALTZ
DISTINCTIVE STEPS The basic movement of the Waltz is a three-step
sequence consisting of a step forward or backward, a step to the side,
and a step closing the feet together. The timing of the steps is known as
"Quick, Quick, Quick" or "1,2,3." The following steps are distinctive to the
Waltz: Hover Corte Whisk Natural Spin Turn Hover Telemark
Open Telemark Group Hairpin Oversway Swing Tango Tango is
 danced to a repetitive style of music. The count of the music is either 16
or 32 beats. While dancing the tango, the lady is held in the crook of the
man’s arm. She holds her head back and rests her right hand on the
man's Course Module lower hip. The man must allow the lady to rest in
this position while leading her around the floor in a curving pattern.
Tango dancers must strive to make a strong connection with the music
as well as their audience. Slow Dancing Slow dancing may either mean
the slow end of the normal spectrum of tempos (like 30 bars per minute)
or it could mean distinctly slower than the normal spectrum of tempos.
But for social dance, it is mostly the latter. The steps could be taken from
onestep, twostep or waltz, depending on the rhythm or the preferences
of the dancers. The technique is different from the normal spectrum of
tempos. In the normal range of tempos onestep is the only dance with
heels kept off the floor. But in slow dancing it is best to keep heels
slightly off the floor in all three dances. The heels might barely touch the
floor, but no weight would be put on them. This is the easiest way to
achieve a floating feeling in the dance. When the tempo is slow, but fast
enough that large steps can be taken, then normal toe/heel footwork
should be used in twostep/foxtrot and in waltz so that smooth motion
can be achieved with large steps.