BALLROOM DANCE HISTORY
(From Wikipedia)
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 recreation. 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 (see dance categories below). These styles were developed in England,[1] 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.[2]
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' (a ballroom being a large room specially designed for such dances). 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 popular dances of the day such as the Minuet, Quadrille,
Polonaise, Polka, Mazurka, and others, which are now considered to be historical dances.
Victorian Era
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 opposition due to the semblance of impropriety associated with the closed hold, though the stance gradually
softened.[3] 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 dance 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 dance crazes in the period 1910–
1930.
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.[1][4]
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.[5] 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.[6]
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