Lesson Proper for Week 13

Let’s Begin!
Module 13: OTHER TYPES OF BALLROOM DANCE ARGENTINE TANGO
The Tango originated in Buenos Aires during the late 19th Century and began as one of many
different forms of tango dances. Modern Argentine Tango styles are danced both in open
(Tango Nuevo) and closed embraces (traditional) that focus on the leader and the follower
moving in harmony with the passionately charged music. The dance relies on improvisation
by the leader since Argentine Tango doesn’t have a formal basic structure like other dances.
Fortunately for learning purposes, teachers have fashioned a basic form in order to teach
beginners.
The tango is essentially walking with a partner to music keeping your feet close to the floor as
you move with your ankles and knees brushing as one leg passes the other. Argentine Tango
is different from ballroom tangos in its posture, embrace, improvisational techniques,
movement, balance, steps and music. If your background is in American or International
tango, your introduction to Argentine tango will be like learning a completely new dance.
FAXTANTINO
Foxtantino is a new fusion dance that connects the American and International styles of
Foxtrot to Argentine Tango. This dance was designed specifically for the Ballroom
community. It uses the teaching methods, technique and language of the ballroom dances so
Foxtantino is easy for Ballroom dancers to learn and dance with each other. Ballroom dancers
are intrigued and fascinated with Argentine Tango, but, many do not want to give up their
dance frame, their Ballroom culture and/or acquire new music appreciation skills and fully
enter into the Argentine Tango community. Foxtantino provides Ballroom dancers the fun and
excitement of Argentine Tango while keeping to the style of dancing with which they are
familiar.
FOXTROT
The Foxtrot is truly an American dance, credited to Harry Fox and dating back to 1914 when
he was reportedly doing rapid trotting steps with his partner to Ragtime music (the original
form of Jazz), and it was originally referred to as “Fox’s Trot”. Since those early vaudeville
days both the music and the dance have changed into the more smooth and sauntering dance
that we see today. Foxtrot is the classic social Ballroom dance- In most old movies when you
see a large crowd dancing close with their partners to a big band, they are doing Foxtrot.
Foxtrot is danced to jazz or Big Band music, the same style of music that you would dance
swing to. Speed is usually the deciding factor that makes a song better for Foxtrot (danced
with a 4/4 rhythm and 110- 150 beats/minute tempo) or for Swing (danced to 120-250 beats
per minute), but you can usually dance a slow swing to any Foxtrot tune. In fact it is fun and
not too difficult to go back and forth between Swing and Foxtrot in the same dance.
Foxtrot is danced in a closed position (facing your partner and holding them close). The
walking steps are taken as “slows” (2 beats per step) or “quicks”(1 beat per step), with the
most common Foxtrot rhythms being SQQ, SQQ or SSQQ, but ultimately the dancers may
use whatever rhythm that they choose, which allows them to change their dance to fit the
music.
Many people mistakenly think that Foxtrot is a difficult dance to learn , but this is usually
because
they are thinking of more complicated styles of Foxtrot such as International Style and
American Silver and Gold Styles, that are used mainly in performances and competitions.
Basic social Foxtrot (sometimes referred to as American Bronze Style) is fun and simple to
learn, an excellent dance for beginners.
HIP HOP
Funk Hop is a combination of Hip Hop and Funk which blends quick moves with smooth foot
work. Funk is fast, powerful and passionate. People like James Brown, Hammer and Michael
Jackson have this style. It is what you would see if you were to attend a house party in
Oakland. Funk is what you do at parties. Hip Hop is slower with a lot of posing. It mixes
modern dance and jazz moves. This makes it more assessable and commercial. This is what
you see in today’s music videos. Many dances, such as Funk, Hip Hop, Boogaloo and Krunk
originated in the Black Urban World. Many of the best dancers are not on television and
would not be selected for a music video, but their moves are used all the time. For a
comprehensive description of Hip Hop.
HUSTLE
The Hustle (Disco) was born in the Latin Clubs and Discos of the 1970’s. It has lots of open
traveling movements, spins and syncopations and is danced to, disco and house music with a
pulsing beat. The Hustle is often peppered with showy moves that competitive dancers
weaved into their repertoire throughout the late 1970’s and
1980’s; as it continued to evolve, Hustle began to borrow from other dance styles. These
included Smooth
Ballroom, from which it took traveling movements and pivots, as well as other partner dance
forms such as Swing, the Latin Rhythm dances, Martial arts, Gymnastics, Ballet training, and
good old fashioned attitude making for crowd pleasing performance. Hustle combined dance
patterns and movements that influenced the way that most partner dances are performed
today.
Even today the dance continues to evolve, yet it has never lost its basic count since the mid-
1970’s of “&1-2-3”. The Hustle is the last authentic American partner dance born and
cultivated here in the United States.
JIVE
Jive is a dance style that originated among African Americans in the early 1940s. It is a lively
and uninhibited variation of the Jitterbug that belongs to the Swing dance group. Modern
Jive, sometimes called French Jive is a dance style that originated in the 1980s. It derives
from Swing, Lindy Hop and may include Rock 'n' Roll and others, the main innovation being
simplification of footwork. Moves from many forms of ballroom dance including Salsa and
Tango may also be included.
Modern Jive is generally danced to music with 4 beats to the bar from latest chart hits to Big
Band music. Some styles may concentrate on particular musical styles, such as swing.
Modern Jive is a male led dance but women are encouraged to ask men to dance.
MERENGUE
Merengue is mainly a club dance set to fast Latin music. It is characterized by dramatically
swinging hips and a closed hold position. The couple steps side to side in sets of 8 to 2/4
music, turning clockwise or counterclockwise and features a characteristic hip swing and
graceful arm flourishes. It is the national dance of the Dominican Republic and there are a
number of popular versions as to the origin of this dance. One story claims the dance
originated with slaves who were chained together, and, of necessity, were forced to drag one
leg as they cut sugar cane to the beat of a drum.
The second story maintains that a great hero was wounded in the leg during one of the many
insurrections in the Dominican Republic. A party of villagers welcomed him home with a
victory celebration and out of sympathy everyone dancing felt obliged to limp and drag one
foot. The Dominicans themselves
maintain Merengue is a combination of two dances, one African and the other the French
Minuet, from the late
1700's - to early 1800s.The Black slaves saw the ballroom dancing in the Big Houses and
when they had their own festivities started mimicking the "masters’ dances". But the
European dances were uninteresting so the slaves added a special upbeat (provided by the
drums), which was a slight skip or a hop.
The original Merengue was not danced by individual couples, but was a circle dance, men
and women faced each other, holding hands at arms' length. They did not hold each other
closely and the original movements of this dance were only the shaking of the shoulders and
swift movements of the feet. There was no blatant movement as there is today as ethnic
African dances do not move the hips. In fact, African dances consisted of
complicated steps and arm movements. Ethnic dance does not have sexual shaking of the hips
this is only done in Hollywood movies. Not only is it performed on every dancing occasion in
the Republic, but it is very popular throughout the Caribbean and South America. A lot of
variety exists in Merengue music. Ideally suited to small, crowded dance floors, it is a dance
that is easy to learn and very enjoyable to perform.
NIGHTCLUB TWO-STEP
The Night Club Two Step is an easy dance with a characteristic rock step followed by a side
step, which is actually a 5th position break. The dance has 8 beats and rarely changes from
the 1 & 2 count. The tempo is 30-34 bars per minute and is often done to medium tempo
music.
Not to be confused with country two step, this club-style Two Step dance style features a
swaying lilt. It was created and popularized by California dance teacher Buddy Schwimmer
more than 30 years ago when he was only 15.
PASO DOBLE
Paso Doble originated in France, but is reminiscent of the sound, dramas and movement of
the Spanish bullfight. Paso Doble means "two step" in Spanish. It is a dance for the Man,
which allows him to fill the "stage" with strong three-dimensional shapes and movements
danced with "Pride and Dignity".
The woman's role varies depending on the interpretation of the dance. The woman can take
the role of the matador's cape, the bull or even the matador at different times within the dance.
Characteristics of the Paso Doble are the "marching" flavor given to the steps and the cape
movements creating tension between both dancers.
CHASSEZ CAPE
The CHASSEZ CAPE is when the man uses the woman as the cape in order to turn her
around. APEL is when the man stamps his foot as if trying to attract the bulls' attention.
During the dance the use of castanets is simulated. The ARPEL is a commencement of a
movement with the stamping of the feet where the man and woman walk in different
directions.
Because of its inherently choreographed tradition, ballroom Paso Doble for the most part is
usually only danced competitively, almost never socially – unless there is a previously
learned routine.
SALSA
Salsa is not easily defined. Who invented salsa? The Cubans, Puerto Ricans? Salsa is a
distillation of many Latin and Afro-Caribbean dances. Each played a large part in its
evolution.
Salsa is similar to Mambo in that both have a pattern of six steps danced over eight counts of
music. The dances share many of the same moves. In Salsa, turns have become an important
feature, so the overall look and feels are quite different from those of Mambo. Mambo moves
generally forward and backward, whereas, Salsa has more of a side to side feel.
Lesson Proper for Week 14
Let’s Begin!
Module 14: Basic Dance Terminology and Definitions Amalgamation A combination of
two or more patterns or movements.
American style A type of ballroom dancing which evolved from social dancing and is now a
fully recognized competitive style of dancing. The 9 main American dances are divided into
two groups: American Smooth: Waltz,
Tango, Foxtrot, Viennese Waltz, and American Rhythm: Cha Cha, Rumba, East Coast Swing,
Bolero, and Mambo
Arm styling Positioning and movement of the arms, reflecting the character of a dance or
style of dancing.
Ball change A change of weight from the ball of one foot to the flat of the other foot.
Break A stop in the music.
Break step A step that changes the direction of movement. The Latin break step is a twostep
sequence where the first and second steps are taken in opposition. Most Latin dances use
break steps.
Body rise The body rises by bracing the leg muscles and stretching the spine then relaxes to a
natural stance.
Balance step A step in any direction, followed by a close (no weight) and a hold.
Center Balance point of the body mass located near the diaphragm.
Change step (or closed change) A three step sequence used to change weight from one foot
to the other. Usually these steps are the first three steps of the box step.
Chase A figure where one partner pursues the other. Popular in cha cha. A visual “what you
see is what you do” lead
Chassé A step sequence. The working leg slides out. Place weight on it and draw other leg
along floor to it.
Close To bring feet together without a change of weight
Choreography A creation or compilation of steps, patterns and movements which make up a
dance or a dance routine.
Contra body movement A movement of the body which turns the opposite hip and shoulder
toward the direction of the moving leg. Often used to begin turning movements. Abbreviated
CBM
Cuban motion Hip motion resulting from the alternate bending and straightening of the
knees. Cucarachas Alternating side breaks to the left and to the right. These are also called
side breaks. In the breaking action, the feet move from first position to second position.
Dance Sport The official name given to the sport of competitive ballroom dancing. Relates to
the more athletic form of ballroom dancing as recognized by the Olympic Committee.
Dancer’s compass A diagram that shows floor movement directions, such as “forward line if
dance,” “diagonal wall,” “diagonal center,” etc.
Dance position closed position: The normal hold where partners stand facing each other. In
the smooth ballroom dances, partners stand very close together in body contact, slightly offset
to the left. In the Latin dances, partners stand a few inches apart, either directly in front of
each other or very slightly offset.
Open position: Any dance position where man and lady stand apart or slightly apart, without
taking a closed position dance hold.
Open facing position: A variation of Open Position where man and lady stand apart, facing
each other, usually with a one- or two-hand connection.
Outside partner position: A variation of the Closed Position where the tracking of the man
and lady's feet are slightly offset. When in Outside Partner Position, the person moving
forward will step in CBMP, to the partner's right or left.
Promenade position: A V-shaped dance position where both man and lady move forward and
in the same direction, toward the open end of the "V”
Developpé A movement in which the working leg is drawn up to the knee of the supporting
leg and from there smoothly out to a position in the air, usually at 90 degrees (i.e., parallel to
the floor).
Fan Circular motion of the free foot.
Feet, positions of There are five basic positions of the feet:
First position: feet together (feet in line with heels together, toes forward and slightly turned
out.); Second position: feet apart (feet in line, heels apart, separated by about the length of
one's foot; Third position: heel to instep (feet touching, one foot in front of the other with
heel to instep);
Fourth position: normal walking step (feet apart, separated about the length of a foot, one
foot in front of the other);
Fifth position: feet touching, one foot in front, heel to toe and toe to heel. Often used in a
rock-step.
Figure A standardized step pattern.
Flex To bend slightly or relax a portion of the body. Example: the flex of the knee.
Flick Sharp, quick kick backwards with a pointed toe and a flexed knee.
Floor craft The ability of the leader to maneuver around the dance floor in a skilled and
controlled manner as to avoid colliding with other dancers.
Following The ability of the follower to react correctly to the signals given by the leader
through physical and visual connections. The act of moving a fraction of a second later than
the leader, and yet still be on time.
Foot rise Elevation of the body through the use of the ankles, by pushing up onto the balls of
the feet.
Footwork The use of the five positions of the feet in dancing.
Frame Posture, body position, and arm position for the purpose of maintaining connection.
Free turn or free spin To turn independently without any body contact.
Freeze A stop no movement.
Heel lead A heel lead places the forward half of the heel onto the floor and then transfers the
weight onto the rest of the foot. Used in forward steps in progressive dances.
Inside turn The follower turns to the left under the leader's left hand, or turns to the right
under the leader's right hand.
International Style The Internationally recognized style of ballroom dancing. For the five
"standard” dances," the couples must remain in closed dance position throughout the dances.
The 10 International Style dances are divided into two categories: Standard: Waltz, Tango,
Viennese waltz, Slow Foxtrot, and Quickstep; and Latin: Cha Cha, Samba, Rumba, Paso
Doble, and Jive.
Isolation Movement of one part of the body independently of the rest.
Latin dances The partner dances originating from the Caribbean: mambo, rumba, merengue,
etc.
Leading. Effective communication of intended actions by the leader through the use of
leader's own body movements and through one or more physical or visual connections to the
follower
Line of dance The counterclockwise flow of traffic around the dance floor. The Line of
Dance represents the general direction of movement overall, and is only pertinent to dances
that travel continuously around the floor, such as Foxtrot, Waltz, Tango, and Samba.
Lock A tight cross of the feet in 1st or 2nd position. The lock step is usually danced to triple
step timing. During the step, the lower part of the legs cross such that the back leg becomes
locked behind the leading leg until the leading leg moves forward. The lock step is often used
in the triple step of the cha cha cha.
Lunge A weight transfer to a bent leg with the other leg extended.
Modern Style Ballroom The term used to describe the ballroom dances of the International
Style: waltz, foxtrot, Viennese waltz, tango, and quickstep. This term has been replaced by
the term standard.
Natural opposite A term used in teaching to say that one partner will be dancing the same
foot positions in a particular dance pattern except in the opposite direction and on opposite
feet.
Natural turn A turn to the right.
Open break A break step taken in open facing position, usually with the partners dancing in
opposition. In other words, they both break back simultaneously.
Outside turn The follower turns to the right under the leader's left hand or to the left under
the leader’s right hand. See also inside turn.
Picture line A dance figure (e.g. Over sway, Contra Check) characterized by changing shapes
in stationary position. Also known as line.
Quick A step or weight change that takes one beat of music.
Reverse turn A turn to the left.
Rise and fall Coming up on the toes by bracing the ankles and stretching the spine then
lowering to the heels.
Rock Two weight changes with the feet apart, taken in any direction.
Rhythm Category A category of dancing that include the following American Style dances
danced at competitions: rumba, cha cha, bolero, mambo and swing.
Slide To bring the free foot slowly together to the weighted foot.
Slow A step or weight change that takes two beats of music.
Smooth Style Ballroom The term used in Dance Sport events and in general to mean
American Style waltz, foxtrot, tango and Viennese waltz.
Split The feet move apart with the weight evenly distributed over both feet.
Spotting A technique for keeping oriented and avoiding dizziness during turns. Select a spot;
keep looking at it as you turn until you can't any longer; then quickly turn your head so you
are looking at it again.
Step The transfer of weight from one foot to another. Frequently used to mean the same thing
as figure or pattern of steps.
Syncopate To add or subtract steps within a specific number of beats performed by dancers to
vary the normal step and to allow for personal expression and creativity.
Triple step Triple steps are popular in swing dancing. The Triple Step is a three step sequence
taken on two beats of music. If the first step of the triple step is taken on count 1, the second
step is taken on the half beat between counts 1&2, and the third step is taken on count 2. The
step timing is often called out as 1&2. Usually
the triple step is two quick steps and one slow, called out as "quick-quick-slow", or, using
numbers, as "oneand-two.”
Top line A posture and frame concept. The horizontal line that runs from elbow to elbow and
through both shoulder blades.
Theater Arts/Cabaret Division A division at Dance Sport events that involves dramatic lifts
and drops usually performed by strong, highly trained dancers requiring unusual flexibility
and balance.
Variation A non-standard or non-syllabus step pattern. A modified version of a common step
pattern
Lesson Proper for Week 15
Let’s Begin!
Module 15: Modern Dance History
Loïe Fuller (1862-1928). An American actress with no dance training, she became a wizard of
creating magical illusions of natural forms with lighting and drapery. Idolized in France, she
made Paris her permanent home.
Isadora Duncan (1878-1927) was a revolutionary who danced solos to classical music and
whose private life defied political and sexual norms. Fervently believing that dance could
enhance the spiritual health of society, she became a legend through her interpretive artistry
and personal example.
Ruth St. Denis (1880-1968). After an international career performing lyrical interpretations of
Asian myths, she returned to the U.S. and formed the Denishawn Company (1915) with her
pupil and husband, Ted Shawn. The dominant serious dance company of the 1920s,
Denishawn was the training ground for Graham, Humphrey, and Weidman, among others.
Mary Wigman (1886-1973). A peerless solo artist who became the most important figure in
German expressionist dance. Influenced by the movement theories of Rudolf Laban, she drew
on primitive mythical subjects that emphasized a bond with nature while developing a style
that evolved from muscular tension and release.
Ted Shawn (1891-1972) parted artistic company with St. Denis in 1933 – they never were
officially divorced
– to form Ted Shawn and His Men Dancers, the first all-male troupe in the U.S. He disbanded
it in 1940 to start Jacob’s Pillow Dance Festival.
Hanya Holm (1893-1992). A student of Wigman, she established a school here in 1931 and
introduced the German Expressionist use of space as a sculptural entity to U.S. modern dance.
Martha Graham (1894-1991). After a late start at age twenty-two as a Denishawn student, this
intensely passionate artist developed a contraction-and-release technique based on breathing
that became the most widely taught of modern styles in the U.S. Developing a company as
she built a repertory, Graham explored Greek myths, the Bible, the American frontier, and the
human heart while struggling against our Puritan heritage. Among the choreographers she
nurtured were Hawkins, Cunningham, Taylor, and Sokolow, as well as May O’Donnell and
John Butler.
Charles Weidman (1901-75) and Doris Humphrey (1895-1958) in their Humphrey-Weidman
Company (1928-
45) developed a movement vocabulary based on fall and recovery. His wit meshed
comfortably with her idealistic humanism that stretched the body to its physical limits.
Helen Tamiris (1905-66) danced with the Metropolitan Opera Ballet before beginning her
solo career and choreographing for Broadway musicals, the concert stage – she was the first
to use spirituals for concert dance – and the company she formed with her husband, Daniel
Nagrin (b. 1917).
José Limón (1908-72). Born in Mexico and brought up in the U.S., he joined the Humphrey-
Weidman company (1930-40) and organized his own troupe after World War II. A hero
betrayed is a motif in his work.
Erick Hawkins (1909-94) combined nature mysticism and classic folk tales in a style that
substituted smoothly muscled flow for the angular tension he learned as the first male in the
Graham Company.
Anna Sokolow (b. 1910). Urban isolation, set to the cadences of jazz, and the lone individual,
coping with the buffeting of daily life, are at the core of her works, grimly attuned to social
and political reality.
Alwin Nikolais (1910-93). His dances emerge in a wonderland of visual effects and structured
costumes that recall the pioneering days of Fuller. Divorced from the stress and strain of
emotion, a Nikolais dance explores a world of motion in which man is a cog, not the whole
wheel of life.
Katherine Dunham (b. 1912) pursued her artistic vision in popular theater and movies. A
serious student of Afro-Caribbean folk culture, Dunham prepared evening-length productions
of sensuously costumed dance.
Bella Lewitzky (b. 1916) shared the eclectic artistic sensibility of her mentor, Lester Horton
(1906-53). In 1946 she established Dance Theater in Los Angeles, the first U.S. performing
space devoted exclusively to dance.
Merce Cunningham (b. 1919). He explored and conquered an unknown world when he
removed the causeand-effect relationship between music and dance. Cherishing
independence, he gave similar freedom to the artists who were his collaborators; they repaid
him with stunning lighting, settings, and costumes.
Paul Taylor (b. 1930). Determined to explore human experience, he has created an
outstanding repertory of antic wit and hard reality. Taylor scrutinizes the epic and the
everyday with tough innocence and athletic vigor.
Alvin Ailey (1931-89) explored the black experience in America more widely than any other
choreographer. Hope, despair, success, faith, and joy – all have found expression in his work.
He drew inspiration from the deep belief of spirituals and from the elegant sophistication of
Ellington.
Yvonne Rainer (b. 1934) studied composition under Robert Dunn and, with Steve Paxton (b.
1939), turned Judson Memorial Church into a space for a generation of minimalist
choreographers.
Trisha Brown (b. 1936). Her dancers once walked around on walls in harnesses, and her
recent work in more conventional settings remains muscular and distinctive.
Pina Bausch (b. 1940) is the leading force in Tanztheater, contemporary Germany’s successor
to 1920s Expressionism. Sexual alienation is her main subject, and she spurns formal
schooling for dialogue, gymnastics, and gesture amid such settings as pools, hillocks, and
collapsing walls.
Twyla Tharp (b. 1941). Her mathematically musical mind and sympathy for popular culture
have created a quick, bold, slithery, and densely packed style of movement that she applies to
a wide range of classical and pop music.
Mark Morris (b. 1956). A remarkably gifted performer, he has brought his economical sense
of gesture to some 100 dances created over two decades to a wide variety of music. Folk
dance and homages to modern styles are undercurrents in his work.
Bill T. Jones (b. 1952) and Arnie Zane (1948-88) established their company without
undergoing apprenticeship in another troupe to choreograph an eclectic body of work dealing
with such topics as sex and racism, a tradition that Jones has continued after Zane’s death.
John Jasperse (b. 1963) may embody the trend of modern dance in this century: He first
studied at Sarah Lawrence, and attracted attention in Europe before forming his own
company. He combines a sense of social and personal crisis with wit, wisdom, and physical
frankness.
Pilobolus. Four Dartmouth students – Moses Pendleton, Jonathan Walken, Robby Barnett,
and Lee Harris – founded this choreographic collective in 1971. Initially, they created
startling sculptural shapes that unfolded with biological linkage. The addition of Alison Chase
and Martha Clarke in 1973 allowed them to set their gymnastic aplomb to exploring sexual
interaction.
Lesson Proper for Week 16
Let’s Begin!
Module 16: PRINCIPLES OF MODERN DANCE
Modern Dance is a dance that accompanied with a vibrant tunes and danced by young male
and female dancers. Usually, modern dance is preferred by young people as it is oriented
energetic dance moves. Modern dance can be divided into 2 category, Jazz dance and Hip
Hop dance.
JAZZ DANCE
The late 1800s until the mid-1900s, jazz dance referred to dance styles that originated from
African-American language. Jazz dance known as tap-tap dance. Usually, dancers will dance
based on the beat of the Jazz music. Jazz dance is one of the unique dance in modern times. In
the world of Jazz dance, body movement improvisation policy executed by ballet technique
and presented by ballet dancers in a course that is called jazz ballet. Jazz dance is about the
expressions that were born in the form of gesture and expression. Jazz dance also continues to
grow with the growth of jazz, such as Swing Jazz, Blues Jazz and Jazz Rock.
There are several main characteristic of Jazz dance that young people should know;
1) Have a sharp and steady motion
2) Each movement must has a color and the strength
3) Control center of the body
Jazz dance will form and improve your posture. Strength, flexibility, body healthy, and
beautiful posture is a bonus from the passion and discipline to those that love to dance. Style
and function of each movement is important in jazz dance so that can leans to "Art of
Movement", the art of movement.
An important aspect of jazz dance based curriculum;
1) Anatomy & Alignment of the body
2) Correct Posture
3) Weight Placement
4) Preparation & Finishes
5) Position of the feet
6) Position of the arms
7) Expression & Uses of Head
8) Musicality
9) Choreography
10)Corner & Walls
Different Styles of Jazz Dance
One of the most popular and long-lasting styles of dance in the performing industry is jazz. It
arose when African ethnic dances and the dance techniques of the European nations were
combined in the 1800s. Over the years, jazz has evolved into a global phenomenon,
continuing to be one of the most creative and experimental forms of dance. Shows like So
You Think You Can Dance bring the beauty, fun, and versatility of dance to light, showcasing
all the different moves that are incorporated into the style. Here are some of the most
common styles of jazz dance!
Afro-Jazz
The Afro-Jazz style combines the modern form of dance with its original African ethnic roots.
The dance focuses more on rhythm and improvisation, making it simpler but very cultural.
Black Bottom
The black bottom style of the early 1900s earned its name from the slapping of the bottom
during the dance.
Soloists or couples hopped forward and backward, stamped their feet and gyrated their
pelvises, all while slapping their own bottoms.
Broadway Jazz
This type of jazz is one of the most popular kinds for live audiences. The dances are often
seen in Broadway musicals in New York theatres, and productions like Mamma Mia! Cabaret,
and Cats.
Cakewalk
This particular style of dance is very significant compared to other forms of jazz dance. While
all jazz goes back to the times of slavery, the Cakewalk stands out. It was a socially
acceptable way for slaves to make fun of their masters. The dances were usually held at the
owner or master’s house and took the form of a competition. The winning dancers would
receive cake as their prize. The dancers would line up and high step in a straight line as if to
mock the wealthy aristocrats and masters they served under.
Charleston
Rising in popularity during the 1920s, the Charleston remains to be a popular dance today. It
involves pivoting the feet in and out, while straightening and bending the knees. The dancer
will shift their weight from foot to foot, and as each foot is underweighted, it kicks out at an
oblique angle.
Jazz-Pop
Also known as Pop-Jazz, this style evolved from modern jazz dance culture and has grown to
include elements of vogue, street-dance, disco, and waacking.
Latino-Jazz
Combined with elements of samba and salsa, Latino-Jazz is usually performed under Latin
American rhythms.
Swing and Lindy hop
Swing dance and the Lindy hop were terms used interchangeably for the same dance style up
until 1945, when other forms of swing dancing were invented, making the Lindy hop just one
of many styles of swing dance.
Boogie Woogie
The boogie-woogie is a swing style where dancers move to a blend of big-band swing and
blues music beats. The boogie-woogie is generally a fast style involving flying feet, hops,
stomps and jumps
HIP HOP DANCE
Hip-Hop dance is a type of dance that filled with emotional and this dance is performed with
highly energetic. Besides that, Michael Jackson was the one who lead to Hip Hop dance
example liked "The Kick, Moonwalk and The Spin". Michael Jackson began to introduce the
robot dance or movement that simulates the robot in 1974. Basically, these type of dance have
been born earlier before Michael Jackson era.
The Most Iconic Hip Hop Dance Styles
B-boying (Breakdancing)
Thought to be one of the very first styles of Hip Hop, B-boying is characterized by acrobatic
Power Moves, upright moves, and footwork. Dancers also punctuate their routines with a
move known as the Freeze.
Locking and Popping
While technically two styles, Locking and Popping often go hand in hand. Locking involves
fast movements, sharp pauses, and exaggerated gestures. Popping, on the other hand, is a
bouncy style that requires major use of counter-tempo.
Funk
Funk, which is a fusion of Disco and Soul, uses a mixture of fluid and sharp movements and
is often highly choreographed. Locking and Popping are also often incorporated into this
dance style.
Up rock
Up rock uses a combination of many dance moves to create soulful dances. Typically, this
dance style includes:
• Shuffles
• Spins
• Freestyle Movements
• Jerks
• Hand Gestures
Liquid Dance
As its name implies, Liquid Dance is a fluid and graceful dance with a focus on the arms and
hands. It may include some forms of pantomime and advanced dancers will use a range of
body movements.
Lesson Proper for Week 17
Let’s Begin!
Module 17: General Concepts and Terms of Modern Dance
Choreography - the art and craft of composing a dance: the construction and ordering of
movement, phrasing, rhythm, design, space, and dynamics
Improvisation - the process of creating movement spontaneously in response to stimuli
Stage Directions – Upstage, Downstage, Stage Right, Stage Left, Center Stage
Technique Class - The process of training the body to perform a dance form. This process
demands repetition of movement, daily classes, and much concentration and hard work to
make improvements. This is also where concepts are introduced and explored to widen the
dancer’s movement vocabulary.
Transition – the moments between movements when one is moving from one movement to
the next
The Body
Alignment - refers to the placement of body parts in relation to each other Principles of
alignment: lengthen the spine; relax everything else not involved in this lengthening, center
supported, and be aware of the breath (inhale and exhale to help facilitate the movement.
Bones and Muscles of the Body – see textbook
Breathe – the use of inhalation and exhalation to accentuate movement (ex. exhaling as you
swing forward)
Focus – the gaze of the dancer; this can be direct or indirect (ex. direct: looking at a particular
spot, indirect: scanning the room)
Parallel - Position of the legs in which legs extend in identical parallel paths with toes
pointed forward, usually hips’ width apart.
Positions of the Legs: First, Second, Fourth, Fifth (All can be executed parallel or turned-
out.)
Positions of the Spine: erect, curved, spiral, arch, tilt
Symmetry/Asymmetry – Symmetry is a shape or movement that is identical on both sides of
the body; asymmetry is a shape or movement that is not balanced, for example the right arm
is curved and above the head while the left arm in held in a sharp angle to the side
Turnout - comes from the hip; position of the legs in which legs are rotated outward
Locomotor Movements
Locomotor movement is a movement that travels through space and moving from one place to
another.
Five Basic Locomotorrs: Walk, Run, Leap, Jump, Hop Assemble - a jump from one foot to
two feet Sissone – a jump from two feet to one foot
Other Locomotors: Chasse, Triplet, Skip, Prance, Sparkle, Crawl, Slide, Roll, Walk on your
hands, Traveling Turns, etc.
Transfer of Weight - shifting weight from one leg to the other
Axial Movements
Axial movement is stationary movement. The term “axial” refers to the central axis of the
body.
Brushes (Degages) – the working foot disengages from the floor by brushing the ball of the
foot along the floor and then springing off of the floor with the toes
Contraction - position in which the dancer contracts the abdominal muscles and flexes the
spine so that the spine takes on a concave shape. The shoulders are aligned over the hips
Developpe – a movement in which the working leg is drawn up and slowly extended in the
air
Fall – controlled or uncontrolled descent
Fall-Rebound – a basic principle in Limon Technique; the dropping of weight that then
rebounds back up Flat back - Position where the spine is extended from the coccyx through
the cervical spine and head and bending horizontally from the crease in the hip joint until the
body is perpendicular to the legs
Flex – to bend at the joint
Gesture – established movement patterns that serve as a language of non-verbal
communication
Grand Battement – large kick of the leg; the foot brushes the floor to extend into the air with
a straight knee
Isolation – movement of one body part, for example, a shoulder circle
Lunge – body position in which one’s weight is supported by two legs, one bent and one
straight Passe – the withdrawing of the foot from the floor until it touches the side of the
supporting knee Pointe - to stretch the foot entirely so that it curves from ankle to toes in one
line
Plie – to bend
Releve – to rise
Rolling down the spine (or up) – the sequential rolling of the spine; in a roll down the
movement is initiated by the top of the head curving forward; in a roll up, the movement is
initiated by the lower back – stacking one vertebrae on top of the other
Swing – movement that releases the weight of a body part and allows that body part to give
into gravity
Tendu – to extend or stretch the foot along the floor