Modern social dancing is not just a beautiful action, but also a hobby, a useful physical activity and a great way to get to know each other. In this collection, we want to tell you about the nine most popular social dances, which anyone can learn.
1. Swing
Swing originated in the southern United States in the 1920s during the popularity of jazz - it was often danced to the compositions of Louis Armstrong. At that time in America there were no original musical and dance directions, and jazz with a swing that grew out of it became the first manifestations of native American culture. For the first time, they started dancing in Harlem, the first swing dance was called Charleston and performed without a partner - the dancers just abruptly threw their feet out with their heels, which resembled the traditional dances of African peoples. Little by little, Charleston transformed directly into a swing: the figures became smoother, danced in pairs - the partner held the partner's hands.
Dynamic and beautiful swing danced in clubs across the country, and almost every city had its own style. The figures and dance technique changed over time, new directions gradually appeared: lindy hop, bilboa, and much later - boogie-woogie and rock and roll.
Modern swing is characterized by very fast and smooth kicking with legs, high plasticity and emotionality. The partner plays a “leading” role, he directs the movements of the partner, which requires sensitivity and the ability to adapt to the partner. The dance is built mainly on improvisation - freedom of movement is not limited by almost anything but a jazz musical rhythm. Swing is rehearsed mainly just before the competition.
There is a swing school in almost every major city in the world. There are international competitions where the so-called “ball swing” is most often performed. It is characterized by clear, smooth, interconnected movements and a bright dance composition, as in the video below.
2. Argentine tango
Argentine tango first appeared in Argentina and Uruguay at the end of the 19th century. Oddly enough, he danced in brothels and gambling establishments, where men spent time searching for affordable entertainment, women and dubious romance.
The customs of that time were quite strict, so decent women could not allow their partner to even put a hand on their back - this was already considered reprehensible. Therefore, the first tango began to dance prostitutes. Tangos were characterized by close hugs, interweaving of legs, grips, stroking and flirting glances, and all this contained a frank allusion to obscenity. Of course, women did not dance for free, and soon men began to get together and practice on their own.
Tango gained wide popularity almost half a century after its inception. Young men taught dance, albeit less frankly, to their friends and relatives. From Latin America, tango came to Europe, where it acquired a modern look.
Now for the dance, passion, close contact of partners, fast movements are typical. The main role is given to the woman - all complicated figures like throwing legs, turns and steps fall on her share, the partner for the most part only supports. Argentine tango is popular all over the world. There are a huge number of styles, the most common of them are milonga, salon and fox. Improvisation plays a very important role in this dance. However, at international competitions held in all parts of the world, it is believed that truly beautiful and professional dance should be rehearsed.
3. Vienna Waltz
Contrary to the name, the Viennese waltz did not appear at all in Vienna, but in Germany, and a very long time ago - the first mention of it dates back to the 12th century. It is believed that it was then that the Bavarian peasants began to dance a similar dance. Later, fashion moved to France - the appearance of a waltz is described in the Paris newspaper La Patrie in 1559. Beautiful dance very soon gained popularity among the aristocracy - there are engravings and paintings depicting couples dancing the Viennese waltz, on the most famous of which the young Queen of England Elizabeth I takes off above the floor in the arms of Count Lancaster.
The main difference between the Viennese waltz and the classical one is that it is somewhat more dynamic, performed to faster, albeit smoother, music. Like all waltzes, this dance is performed in three quarters, that is, one step has three steps. A man plays a leading role - he serves as a support and support for his partner, whose back during the dance is slightly tilted back in the shape. The Viennese Waltz - a smooth dance, without sharp turns and bends - it seems that the dancing couple seems to soar above the ground.
The dance is not so easy to perform, at least to learn how to dance it beautifully, it will take a lot of training and good plastic. The Viennese waltz is one of the five dances of the European program, which says a lot.
4. Zook
Zuk originated in the Caribbean in the 1980s. The word "Zook" from the language of French Creoles translates as "party" - initially, Zuk danced at parties and discos. As the dance developed, numerous schools opened, new directions appeared. In the music, to which the zook is dancing, one can distinguish African, Brazilian motifs, elements of flamenco and other musical trends. The most popular zook acquired in French-speaking countries.
Unlike most Latin American dances, there is no frank eroticism and sharp dynamic movements in the zooka, it is performed to slow "dramatic" music, the dancers move smoothly and very plasticly. For zook is characterized by tenderness, humility, slight sadness and sensuality. In principle, dancing it is quite simple, special preparation is not required, and anyone can participate in the competition, simply by submitting an application. Of course, a couple of “masters” who are engaged in zoing professionally will win, but this direction is also available for beginners.
5. Merengue
Merengue, both music and dance, come from the Dominican Republic. The ancestor of merengue is considered to be a tumba dance, which is not so common - it is very complicated and is not suitable for the main purpose of social dances - entertainment and communication. A relatively simple merengue, which does not require memorization and reproduction of complex figures, quickly fell in love with young people and soon entered most Dominican parties. Now merengue is most popular in Latin America and the USA. Most of the performers live there.
Meringue is performed to fiery dynamic music, where the main accompaniment instrument is the accordion. The contact of partners in the dance is minimal - both men and women dance his “solo”, rarely touching, mainly with their hands. Close bodily contact is not characteristic of merengue - both partners make a large number of movements: rotation by the body, movement of the shoulders at a stunningly fast pace, circular movements of the hips.
Meringue is quite easy to learn on your own - improvisation is typical for dance, and you only need to be able to withstand a frantic rhythm. As with all other dances from our list, meringue competitions are held for everyone. Of course, it will be difficult to get into international competitions as a participant, but in amateur competitions it is quite possible to enjoy and learn something from other dancing couples.
6. Reggeton
Reggeton first appeared in Puerto Rico. Based on the name, the basics of music and dance originate from reggae music. Over time, there is very little left of classical reggae in reggaeton, but you can hear echoes of techno music, rap, bombs, captives and hip-hop.
This dance is relatively young - it was first started to dance in the 1990s at discos and parties. The main thing in reggaeton is a strong rhythmic beat, it is extremely easy to move to this dynamic incendiary music. In this dance there are also no obligatory figures, but a very fast rotation of the hips and stomach and shoulder movements at an unrealistically fast pace are characteristic, and both partners perform these movements. Another feature of reggaeton - its provocation - in the movements of the partners there is a clear sexual subtext, challenge, passion.
Reggaeton is especially popular in Argentina, where friendly competitions are even held and broadcast on it.
7. Hustle
Hustle is another disco dance style. He first appeared in Europe and America in the 1960s and immediately gained popularity among young people, because he did not require special training, was simple to perform, and at the same time beautiful and romantic. Music for the hustle is suitable for almost any - just a little bit to feel the rhythm, and you can spin with a partner. In the USSR, dance appeared in the late 1980s. By the way, it was he who was shown in the film “Beloved Woman of the Mechanic Gavrilov”.
In hustle, unlike many of the above dances, there is nothing provocative. His movements are just a six-step step, internal and external single turns and not too close contact between partners. Despite the fact that the hustle was originally a social dance and was invented as a way to have fun and get to know each other, it is currently hosting sports competitions. In hustle there are many different directionsbut the most interesting is the hustle jack n jill: a couple in the competition goes to the floor and dances an impromptu dance to an unknown music. The dancer's level is determined by one of five classes - to get the next one, you need to participate in competitions and take prizes.
8. Irish Set Dances
Irish set dances appeared in the 18th century. The merry Irish liked the classic French quadrille, perfectly matching their folk tunes. The quadrille was mixed with Irish dances like rila, hornpipe and jig, and the result was something unimaginable. In the next two centuries, he danced everywhere: at village festivals, weddings, in pubs. Gradually, set dances replaced even the traditional Irish caylis.
16–18 centuries, as its name implies, of German origin. Like a pawan, an allemand is a dance at a moderate pace and dicotyledonous size. This calm dance was usually followed by a lively three-part chime. In the clavier suite of the 18th century. the allemanda comes first; it is followed by a chime, saraband and gig. At the end of the 18th century. the allemand was called "German dance" 3/4 or 3/8 in size - the predecessor of the waltz.
Bass dance(fr. basse danse - "low dance"). The generalized name of the sliding "hop-free dances" of the 16th century .; they first appeared at the Burgundy court. “Low dance” - contrasted with “high dance” (danse haute), for which high jumps and bouncing are typical. Bass dance was a ceremonial dance, similar to a polonaise, that is, associated more with pacing than with the dance itself. Bass dance is considered the forerunner of prints. The dance could be performed both in a bipartite (usually), and in a three-part size. The bass-dance consisted of three parts: the actual bass-dance, its repetition (retour de la basse danse) and the tordion - a dancing dance. Bass dance disappeared in the 16th century, replaced by pavana.
Bergamask. Dance 16-17 centuries in the amount of 2/4 or 4/4, came from the Italian city of Bergamo. Shakespeare mentions bergamask in comedy A dream in a summer night, so this dance was known in England as early as the 16th century. In the manuscripts of that time, bergamask has a certain melody, which is often a basso ostinato (i.e., a constantly repeating bass) with variations. Bergamaski melody recalls later German folk song Kraut und rben, which was used by D. Buxtehude and then introduced by I.S.Bach in his clavier Goldberg Variations. Alfredo Piatti used the modern, unrelated to the old bergamask, performed at a lively pace, at a rate of 6/8 and resembling a tarantella, Bergamaska for cello.
Bolero. Spanish national dance, allegedly invented by approx. 1780 by Sebastian Cereso of Cadiz. In the folklore version, the bolero is a dance for a solo couple, in public performance several pairs can participate. Mandatory accompaniment of castanets or guitars if a dance melody is sung. Bolero is inherent in a bipartite, occasionally a three-part meter; the dance consists of five parts: paseo, traverse, diperencia, traverse and final. Piano piano can serve as excellent examples of bolero in professional music. Bolero (op. 19) F. Chopin and the orchestra Bolero M. Ravel. Beethoven has Bolero a solo, and K. M. von Weber included the bolero in his play music Preciosa. Bolero motifs can be found in operas Blind of Toledo Etienne Megul Black domino, Mute from Portici D. Ober, and also in the opera of G. Berlioz Benvenuto Cellini. A faster version of the bolero is segidilla (it is possible that it served as the basis for the bolero). The Cuban bolero and a Dominican bolero similar to it are characterized by a dicotyledon rhythm with syncops and form the Spanish-American version of the dance.
BranleA generic name for dances of the 16-17th centuries. Their variants of branly existed in different provinces of France - Burgundy, Poitou, Champagne, Picardy, Lorraine, Obaruoy, Brittany. In the 15th century branle completed bass dance, in the 16-17th centuries. became an independent dance, the varieties of which were combined into suites. The order of the parts in the branle suite is as follows: double branle, simple branle, cheerful branle, montirande and gavotte; the order may vary, but gavotte is always at the end. Brannel was often included in baroque ballets, even when the dance itself had already gone out of use.
Burre.French dance of the 17–18 centuries, going back to the pantomimic folk dance of the province of Auvergne and in the 17th century became a court dance. Typical of a dance is a dactyl meter, a fast pace, a bipartite size with a dact of two-eighths. Bourrée appears in the ballets of Lully and Schmelzer and in instrumental suites, for example, JS Bach. Burr is found in the works of G.F. Handel, Philippe Detouch, Andre Campra, C. Saint-Saens ( Auvergne Rhapsody), E. Chabrier ( Fantastic burre) and etc.
Waltz.It began in the old folk dances of Austria and Southern Germany. The name comes from the German word walzen - “spin”, “spin”. The closest predecessors to the waltz can be considered the fast “German dance” and the slow waltzes - the landlords, which went into fashion approx. 1800. German dances found by J. Haydn, V. A. Mozart and L. van Beethoven. The first mention of the waltz proper dates back to about 1770. At first, this dance provoked strong resistance from both guardians of morality and dance masters. For some time, the waltz existed within the framework of the English country dance (counter-dance), but soon gained independence and took first place among ballroom dancingpopular in Vienna, Paris, New York. The waltz classics were Joseph Lanner (1801–1843), who introduced the cyclic form of the waltz, consisting of introductions, several sections and codes, as well as I. Strauss-father and I. Strauss-son. In the work of the latter, the waltz reached the heights of its development ( Beautiful blue danube, Southern roses, Tales of the Vienna Woods and etc.). Other waltz artists include Emil Waldteufel, F. Lehar, Oscar Strauss and Robert Stolz. There is a significant difference between a waltz as dance music and a waltz as a concert piece - in the second case, the waltz can be freer in tempo and more complex in form. G. Berlioz and P. I. Tchaikovsky introduced a waltz into their symphonic cycles; F. Schubert, F. Chopin, J. Brahms and other composers created excellent cycles of instrumental waltzes. At the beginning of the waltz era appeared Dance invitation K.M. von Weber (1819); at the end of the era - R. Strauss-riddled waltz Cavalier roses (1911) and a symphonic poem Waltz M. Ravel (1920). For a real Viennese waltz, not only a typical waltz rhythmic pattern is typical (bass for the first beat of each measure, and then two lighter as echoes, beats), but also a rhythmic shift difficult to describe, resulting from the second quarter playing in the accompaniment a little earlier than follows. Slow waltzes such as Boston or hesitation waltzes (that is, with a delay, pause), which is distinguished by a less clear rhythmic pattern and more complex accompaniment, are widespread in America approx. 1915, and after World War I also in Germany; here they are often used in professional works of pseudo-jazz style.
Gavotte.Dance at a calm pace and three-part size, taking (from the Provencal word gavoto - "resident of the Auvergne region"). An elegant and joyful French dance of the 16–18 centuries, performed at a moderate pace. Size 2/2 or 4/4, starts with a push of 2/4 or 2/8. Gavotte consists of two parts of 8 measures. It was originally part of branly. In the 17th century was a round dance, in the 18th century. turned into pair dance with different shapes. The popularity of gavotte was promoted by J. B. Lully. Gavotte is found in the suites of Couperin, Pachelbel and especially I.S. Bach.
Gallop(from French galoper - “to jump.”) A quick circular dance of the 19th century. in dicotyledonous size, consists of rapid jump-like movements back and forth, similar in type to polka. After 1825, the gallop became fashionable in Germany, where it was called ruter or huffer. Gallop is often found in professional music; an example is Great chromatic gallop F. Liszt.
Galliard.A cheerful, lively dance of the 16-17th centuries, at first quite fast, later performed at a more restrained pace, in a three-part size. Originally dicotyledonous, the galliarda then changed its meter and became a “pair” to the pavana or passamezzo (performed after them). Galliarda was one of the favorite European dances of the 17th century, it is repeatedly mentioned by Shakespeare, usually under the name "cinque-pace".
Hopak.Fast Ukrainian dance in dicotyledonous size. A striking example is the hopak in the opera of M.P. Mussorgsky Sorochinskaya fair.
Jitterbug(lindy). An American dance that appeared between 1935 and 1940 and consisted of bouncing, jumping and vibrating - in the form of pure improvisation to swing music, especially boogie-woogie. The usual rhythmic pattern is solid eighths or alternating punctured eights and sixteenths. The development of the jitterbug was lindy-hop, where the dancers count at six with a four-share size of music. A typical feature of this dance is the rotation of the partner around the axis, when the partner holds his hand behind her back. The rhythm is emphasized syncopated with accents on the second and fourth beats.
Gigue.English dance, common in the 16th century. The name comes either from the old French word giguer (“dance”), or from the Old English word giga (folk violin). First, the jig had a size of 4/4, later the jig began to be composed in the amount of 6/8 with punctured eights. In the 17th and 18th centuries the jig (with the name in French - gigue) fell into the instrumental suite and became the finale in the sequence of four basic dances of the so-called french suite. Often such jigs were composed in polyphonic form, and in the second section the theme was developed, which is an appeal of the theme of the first section.
Quadrille.French dance that arose in the late 18th century. and very popular until the end of the 19th century. Performed by two or four pairs arranged in a quadrille, opposite each other. The quadrille developed from rural dance and initially contained five figures with the following French names: Le pantalon (Pants, the name of a popular French song) Et (Summer), La poule (A henprobably the earliest melody in which chicken cackling is imitated), La pastourelle (Pastoral) and Finale (The final): the dance master Trenits added a sixth figure to him, which began to bear his name. The quadrille often uses well-known tunes for 2/4 or 6/8; often they are borrowed from operas or operettas.
Cancan.A frantic and not very decent French dance of the 19th century, at a fast pace and dicotyledonous size (similar in type to the Spanish fandango), arose in Paris in the 1830s. Offenbach introduced the cancan into his operetta Orpheus in Hell; now a suite from this operetta called Paris fun (arrangement by Manuel Rosenthal, 1938).
Conga.A modern Cuban dance, performed by a line of dancers and originating from the so-called “comparsas” - parades. Conga's rhythm is march-like, but in every measure the second beat is preceded by a syncope (1/16 duration). Like rumba, Conga often serves as the basis for songs of a political orientation in Cuba; in the United States, this dance was popularized by the Latin American musician X avier Kugat.
Country dance.Ancient English dance of folklore type. In the counter-dance, the dancers form two lines, facing each other - male and female; A wide variety of movements are used, often from other dances. The word country (village) in France was transformed into the word contre ("opposite"); hence the German name Contretanz, Kontertanz, in which the original meaning was also lost. Around 1685, the counter-dance spread from England to the Netherlands and France and soon became one of the most beloved European dances. At first, the music of the counter-dance was reminiscent of English jigs (as Georg Muffat's collection proves Florilegium secundum, 1698), but in the 18–19 centuries. counterdance became characterized by a dashed rhythm. In folk dance, folk tunes and other popular tunes were often used. The best collection of such tunes - a collection of John Playford English dance teacher (The English Dancing Master, 1651), followed by numerous collections of the same type. Counter-dances from operas are famous Zoroaster Ramo and Don Juan Mozart. Popular song of the French Revolution a ira is based on the melody of the counter-dance.
Cotillion(from the French word cotillon - "lower skirt", found in a song popular in those days). Dance, distributed in the late 18th and early 19th centuries. From France, the cotillon ended up in England and America, where it began to be performed as the final section of the counter-dance or, later, the quadrille. A variety of steps and figures of the cotillon are performed by the first couple to almost any music, and then repeated by all the dancers.
Courant.Dance in dicotyledonous size, originally pantomime, known from the 16th century. Tuan Arbo mentions him in his Orhesography (1588), as well as several times by Shakespeare (in particular, in Henry V) Gradually the chimes acquired a three-share meter and in the 17th century. It began to be performed in tandem with the Alemanda (after it). A characteristic feature of the 17th century chimes. there are frequent meter changes from 3/2 to 6/4 and vice versa, which corresponded to the alternation of two main figures of the dance - pas de courante and pas de coupe. In the musical aspect, two types of chimes are distinguished: the Italian corrente with fast movement of short durations and the calmer French courante with a transparent texture associated with the technique of French lute players of the 17th century. Bach chimes follow the French type. Around 1700 chimes became a solemn, dignified dance that preceded the minuet, but after 1720 the chimes disappeared as a dance, preserved only as a genre model in professional music.
Landler.The generalized name of the slow Austro-Bavarian dances in three-quarter size. The name goes back, possibly, to the name of the place in Upper Austria - Landl. Landler melodies already existed in the 17th century. (eg, Aire viennesi Schmelzer). Landler can be considered the predecessor of Deutsch (“German [dance]”) and waltz, but the Landler was performed slower than the waltz and had a slightly different construction. For a Landler, alternating eight-bar and six-bar phrases is typical. Its options are Stayerishe (Styrian [dance]) and Schupplatler (Tyrolean dance in wooden shoes). Melodies resembling a landler are found by J. Haydn, V. A. Mozart, L. van Beethoven, F. Schubert and I. Strauss-father.
Mazurka.Polish folk dance, as well as a play in the rhythm of the mazurka, usually 3/4 or 3/8, at a pace somewhat slower than the waltz. By origin, a folk dance, a mazurka in the 18th century, during the reign of King Augustus III, became a city and court dance. For the three-lobed rhythm of the mazurka, the emphasis on the second beat is typical. A Mazurka consists of a polonaise-like opening section performed by several pairs, and a series of dances with different figures. Especially typical are heel strikes against the heel and a sharp movement of the feet (the so-called key) at the end of each figure. Although the Mazurka appears already in the 18th century musical literature, only F. Chopin was destined to make it an important genre of professional art. M.I. Glinka, P.I. Tchaikovsky, K. Shimanovsky followed suit. Options for mazurka are Polish dances kuyavyak and oberek.
Mamba.American dance, originating from rumba. The dance begins with hips swaying to the “one” count, the first step is done to the “two” count.
Minuet.Dance 16-17 centuries., At a moderate pace and tripartite size; the name comes from the French word menu (pas menu - “small step”, “small step”) or from amener - old French dance, a variety of branle. The minuet took the place of the chime and was the main court dance from the mid-17th to the mid-18th century. Initially, it was a rural dance, but then the minuet turned into a model of French court ballet. J. B. Lully was the first of the great composers to use the minuet, and it is believed that King Louis XIV was the first to dance the minuet at one of his balls. The characteristic features of the minuet are ceremonial bows, ceremonial passages forward, sideways and backward, graceful steps and easy gliding. From France, the minuet spread throughout Europe. In the 18th century he joined clavier suites (in a three-part form: minuet - trio, actually the second minuet - minuet), occupying a place between the sarabanda and the jig. Composing the contrast to the allemanda and the chime, the minuet in the suite was interpreted as a moving dance in a simple texture. Unlike most dances of the Baroque era, the minuet did not disappear in subsequent eras, but became part of the cyclic form in classical sonatas and symphonies of the 18th and 19th centuries. Authors of the pre-classical period, such as J. Stamitz, Georg Monn and Josef Starzer, as well as the classics J. Haydn, V. A. Mozart, L. van Beethoven and F. Schubert assigned the third position to the minuet in the four-part sonata-symphonic cycle; Beethoven’s minuet turned into a scherzo. The minuet of the classical period was strongly influenced by the Austrian peasant landler, as a result of which characteristic broad melodic moves and jumps appeared in the minuet. IN Don Juan Mozart's minuet, symbolizing an aristocratic society, is written at a slow pace, but the minuet in symphonies and sonatas has always been more mobile.
Meringue.Latin dance of Dominican origin, also accepted in the USA. Moving in a dicotyledon meter, the dancers emphasize the first beat with a walking step, and at the expense of “two”, they move inward with their knees pressed to each other. A cheerful, slightly syncopated dance melody consists of two periods of 16 measures each. A typical meringue consists of intro (jaseo) and interlude (jaleo).
Moreska(morisko). Pantomime dance, apparently of Moorish origin, known since the early Middle Ages. The dancers, in accordance with the highly romanticized ideas about the Moors, wore grotesque costumes with bells at their ankles; the music was dominated by dotted rhythms and exotic tones. Often the faces of one or more dancers were painted black. In Europe, dance spread to those regions where contacts took place between Muslims and Christians. The European sea originates in Spain, where it was already mentioned at 15. In Moreskaya, they often called the music and dance scene and sometimes the final ballet scene - as, for example, in the opera of K. Monteverdi Orpheus (1607). In England, the morris dance was performed during the May games: here six dancers formed two opposing rows. Around 1900 in England there was a revival of the sea, associated with a common interest in ancient art.
Pavana.The dance that opened the balls of the 16-17th centuries, in a dicotyledonous (sometimes tripartite) size, was a slow, stately procession. Pavana comes from Spain, its name is associated with the word pavo ("peacock"); perhaps pawana is a late form of bass dance. In the 17th century pavana was usually followed by a quick, with jumping, galliard. In Italy and Germany, a synonym for pavans was often Padova (from the name of the Italian city of Padua). German composers in the period after 1600 (for example, I. G. Schein) wrote solemn, magnificent compositions, which were called "pavans." Pavans were also composed by the English madrigalists W. Byrd, J. Bull, O. Gibbons and J. Dowland; among modern composers, pawan was revived by M. Ravel and Morton Gould.
Paspier.Live French dance of the 17–18 centuries, originated in North Brittany. Paspieu is characterized by a fast pace, size 3/8 or 6/8; many movements built on the crossing of the legs. Paspier specimens can be found in the works of I.S. Bach, I.K. F. Fischer and in the ballets of Viennese composers of the 17th century, as well as in French opera from the early 18th century
Polonaise(Polish). Polish national dance at a moderate pace, in the amount of 3/4. Unlike other Polish folk dances, the melodies of which are sung, the polonaise has always been an instrumental genre. The origin of the dance is usually attributed to the era when Heinrich Valois (future French king Henry III) was elected to the Polish throne (1573); when introduced to the king, Polish court ladies formed a procession accompanied by majestic music; such a procession became a tradition and began to open all state ceremonies, and the procession itself grew into a dance. As a result of close ties between Poland and Saxony (the Saxon Elector Augustus became king of Poland in 1697), the polonaise became fashionable in Germany and from there spread throughout Europe. G.F. Handel and I.S. Bach included the polonaise in their suites; V.A. Mozart once used this dance in a piano sonata; polonaises can be found in the works of L. van Beethoven, F. Schubert, F. Liszt, K. M. Weber, R. Wagner. But the greatest master of polonaise was, of course, F. Chopin.
Polka.Dance of Czech origin, at a fast pace, dicotyledonous. Appeared approx. 1830. Polka usually begins with a strong beat, and abruptness is especially characteristic of its rhythm. The dance quickly spread from the Czech Republic throughout Europe, with triumphal success was received in the ballrooms of New York. B. Smetana introduced this dance into professional music, composing several famous piano poles. Polka is also widely used in the opera Sour Cream Sold bride and opera Shwanda Piper Jaromir Weinberger. The Polish wrote A. Dvořák, Josef Labitsky, I. Strauss and others.
Redova(ordinary). Czech (and generally Slavic) dance of peasant origin at a moderate pace and tripartite size. In the middle of the 19th century he became fashionable in Parisian dance halls and from there spread throughout Europe. One of the variants of the redov is performed on 2/4, like a polka. Redova used by Rimsky-Korsakov in opera ballet Mlada.
Rigodon.Dance 17-18 centuries., Origin from the French Provence, at a fast pace and dicotyledonous, with one-eighth of the dact. Rigodon as a serious dance appears in the opera of Gluck Iphigenia in Tauris (1779), and then in other operas; as a comic dance, ribodon is present in ballets and suites of the 17th century, including among J. B. Lully, Andre Kampra and J. F. Rameau. Purcell composed his rigodon already in the mid-17th century; among later authors, rigodons were written by E. Grieg and M. Ravel. In Spain, rigodon is often called a quadrille.
Ril(English reel - "coil"). An ancient dance of unknown origin, reminiscent of the Norwegian Halling and other Scandinavian dances. The name is associated with the Gothic word rulla - "tornado." In Scotland, rile is usually played in two pairs, in England - three. A feature of the rile is the circular pattern: the dancers are facing each other and perform a series of figures resembling an eight in shape; for rile is also characterized by a constant repetition of movements and melodies. Music consists of eight-bar phrases, mainly in dicotyledonous size. In America, the most common type of rile called virgin rile.
Rumba.Contemporary Cuban dance of African American descent. The rumba is performed in a four-part size, and the rhythmic pattern changes in almost every measure; in general, the rhythms of rumba are characterized by syncopy and repetitions. In the taverns of Havana, rumba is often performed to the accompaniment of ensembles using improvised materials - for example, bottles, spoons, pots. The main theme of rumba is usually eight-beat, the rhythmic beginning prevails in it, while the text and melody are in the background. Rumba entered pop American music approx. 1930.
Saltarello.Energetic Italian dance at a fast pace, three-parted, sometimes dicotyledonous. The name comes from saltare - "jump." Saltarello was especially common in the 16th – 17th centuries, but it is already found in English and Italian manuscripts in the 14th century. In the 16th century Saltarello was paired with bass and passamezzo (after them). Today, saltarello dance in Italy and Spain just like tarantella.
Samba.Bipartite Brazilian dance; in the expanded sense, the word "samba" is applied to all dances of Brazilian origin. There are two different types of samba: rural samba, for which sharp syncopy is typical, and urban samba in a more smooth rhythm. Samba Carioca (carioca - one of the names of a resident of Rio de Janeiro) is a stylized urban dance. In professional music, samba was introduced by E. Vila-Lobos and Camargo Guarniero.
SarabandaDance 17-18 centuries at a slow pace, tripartite size. The name, possibly, comes from the Persian word “sarband” - “a ribbon fluttering around the head”; songs of a certain genre also bore a similar name. According to the researchers of the 20th century, the saraband, together with the chacon, came to Spain from the American colonies. Initially, it was a mischievous, violent dance, but then, having got to France at the beginning of the 17th century, the saraband turned into a slow and important dance. In operas, the saraband usually acted as a symbol of the greatness of Spain. In the suites of Jacques Champion de Chambonnier, Johann Jacob Froberger, JS Bach and G.F. Handel, a saraband is placed between the chime and the jig, creating a tempo contrast.
Seguidilla.Spanish dance at a fast pace, tripartite, possibly originating from the province of La Mancha, from where it subsequently spread to other areas of Spain. The name means "continued" and is due to the fact that the instrumental section of the segidilla is followed by a section for voice with accompaniment of a guitar and a castanet. Variants of segidilla are manchege, Sevillian and Murcia. Segidilla Manchega - a lively, cheerful dance; Szegedilla Boleras - more measured and restrained; segidilla gita (“gypsy”, sometimes it is written - siguiriya) - a slow and sensitive dance with a variable size (3/4 and 6/8). The joking poetic couplets of segidilla - coplas consist of each of four short lines, followed by three-line refrain - estrebillo. Segidilla from Bizet’s opera is most famous Carmenalthough this music is not segidilla in the exact meaning of the word.
Sicilian.A dance or musical form based on it, originating from southern Italy or from Sicily. In rhythmic terms, Sicilian resembles a gig; size 12/8 or 6/8. The name "Sicilian" is often applied not to dance, but to the Aryas da capo (with a reprise). Among the most famous are the Sicilian from the violin suite in G minor by I. S. Bach, as well as the aria “Erbarme dich” from his Matthew Passion.
Tango.Ballroom dance of a free nature and moderate pace, in a dicotyledon meter, performed by couples. Tango is characterized by a constant rhythmic accompaniment pattern, against which a whimsically syncopated melody unfolds. Argentine tango originated approx. 1900 in port zucchini and other recreational facilities of Buenos Aires and other settlements located at the mouth of La Plata. The population of these places were immigrants from the West Indies and blacks from Central America; it follows that tango had its predecessor earlier and more primitive dances of the West Indies, such as habaner and tangan (from the last tango could borrow its name). Around 1910, tango became the favorite dance of Argentinean high society, a decade later it gained popularity in Europe, and also, to a lesser extent, in North America, despite the objections of church leaders and guardians of morality who considered tango indecent dance. In Europe, melancholy melodies and unhurried elegance of the tango, which came to the Old World already in a refined and stylized form, made this dance a favorite of all dance halls; in North America, however, tango retained its exotic flavor and was performed mainly by professionals. In the 1920s, European composers repeatedly used tango motifs. Spanish (gypsy) tango - a passionate flamenco type solo dance - is performed mainly by Spanish gypsies and, in fact, has little in common with the Argentine tango described above, although it bears the same name.
Tarantella.Very lively dance in the amount of 6/8; its name is associated either with the city of Taranto in southern Italy, or with the tarantula spider found in the area. Legend has it that a bitten tarantula gets sick with a disease (“tarantism”) that can only be healed by rampant dancing. For tarantella music, which in many ways resembles saltarello, the movement with solid trioli is typical. Well-known examples of tarantella in professional music can be found at F. Liszt, F. Chopin, K. M. von Weber, D. Ober; the final Italian symphony F. Mendelssohn also resembles a tarantella in style.
Trepak.Russian solo male dance at a fast pace and dicotyledonous size. A well-known example is a trepak from Nutcracker Tchaikovsky.
Fandango.Spanish dance of the 18th century in the amount of 3/8, under the characteristic rhythmic accompaniment of castanets and guitars, arose in southern Spain. Initially, fandango was a vocal and dance form, with lyrics of love content. Variants of this dance are known in Spain under different names (for example, in Malaga fandango is called malagenea). The earliest example of the use of dance in professional music is the Gluck Ballet Don Juan; this tune cited by V.A. Mozart in Figaro's Wedding. Fandango is found in the works of R. Schumann, N. A. Rimsky-Korsakov, I. Albenis and E. Granados.
Farandola.6/8 French dance originated in Provence. Dancers hold each other's hands, forming a chain, and, following the leader, move along the streets, performing a variety of movements to the accompaniment of a flute and tambourine. Examples of dance can be found in S. Gounod at the opera Mireille, by J. Bizet in a suite from music to Arlesianke. The Spanish Farandula is also a folk dance, and its name was applied to the divertissements containing the dance, which were performed between the second and third acts of Spanish traditional drama.
Foxtrot.By origin fast dance in dicotyledonous size, performed a little slower than one-step, after which the foxtrot gained popularity in the USA approx. 1912. After the First World War, in connection with the spread of “jazz style” in dance music, the term “foxtrot” began to refer to any bipartite-like jazz dance music (except for Latin American tango and conga). In the 1920s, different types of foxtrot were quickly replaced by one another, among which Charleston and blackbott can be distinguished. In the early 1930s, a more relaxed slow-fox appeared (“slow foxtrot”), but then, since about 1936, the swing style became more and more popular, with its passionate obsession with dancing, when the dancer focused on only a few basic movements and practically had complete freedom for improvisation. A very simple slow foxtrot remained in use throughout the 1960s.
Habanera.Cuban dance (the name comes from the capital of Cuba Havana) in a bipartite size, similar in rhythm to tango. The difference between Habanera and Tango is in pace: Habanera is twice as fast as Tango. Habanera appeared in Cuba thanks to the Spanish composer Sebastian Iradier, whose play El Arreglito, published in 1840 with a subtitle Havana song(Chanson havanaise), is the first known example of Habanera. This tune was used by Georges Bizet for habanera in his opera Carmen. Another famous Habanera Iradiera - Dove (La paloma) The Habaneers also wrote I. Albenis, E. Chabrier and C. Debussy.
Hornpipe.English and Scottish dance, known during the 16-19 centuries. and who took his name from the ancient wind instrument that accompanied this dance. Hornpipe performed in sizes 3/2 or 4/4 and had a characteristic dashed rhythm. Since the dance did not require much space, it was popular with sailors who danced with folded arms and moving their legs quickly, with a straight hull. Examples of hornpipe music, which seemed “strange” to the authors of the 18th century, can be found in the works of G. Purcell and G. F. Handel. The earliest example that has come down to us is Hornpipe for the virginal composed by Hugh Aston (d. c. 1525).
Chaconne.Spanish dance of the 16–18 centuries, close to the Passacaglia. According to the descriptions of the authors of the 16th and 17th centuries, the dance came to Spain from the West Indies. In its original form, sensual and temperamental, chacon in the 17th century. turned into a slow majestic dance, musically - with a variation development based on basso ostinato. In the 17-18 centuries. it often became the final part of the ballet included in the opera performance, and was performed to three-part music. As a purely instrumental form, the chacon represents variations on the basso ostinato. The most famous examples of chaconne: partita finale in D minor for violin solo by I.S. Bach, in the Handel clavier suites and in the finals of the operas of Gluck Orpheus and Iphigenia in Aulis.
Czardas.The Hungarian folk dance in a dicotyledonous size, consisting of two contrasting parts - a slow melancholy introduction (lass) and the dance itself, fast and fiery (frisska). Known examples of Chardash are contained in Hungarian dances Liszt and Gypsy tunes Sarasate.
Charleston(charleston). Dance in the nature of fast foxtrot, which arose in the city of Charleston (pc. South Carolina) and in approx. 1925 conquered dance floors around the world. The dance is distinguished by a sharply accented rhythm, and when performing the dance, special emphasis is placed on syncopation. The dancers make sharp movements, turning on the toe of the foot in and out, and the executed risky side steps are slightly similar to the old galliard. The earliest Charleston authors were North American blacks (Cecil Mack, James P. Johnson, and others). Erwin Schulhof in his Jazz Etudes for piano ( Etudes de jazz, 1927) introduced Charleston into professional musical art.
Cha-cha-cha.The dance using the rhythmic structure of mambo or rumba was first performed by the Cuban Orchestra "America" \u200b\u200bin 1953. The main clock pattern is slow, slow, fast, fast, slow and the last three rhythmic beats corresponding to the syllables "cha-cha-cha". In the first records of the dance on the plates, he was called a mamba. The rhythmic section gradually grew, and the dancers adapted to a new slow rhythm, doubling the size by 4 and 1 and replacing the light movements of the hips with three pa; after four years, the initial rigidity of the model was overcome, and three pa began to be performed with a typically Cuban sway of the hips. As in most Latin American dance, the charm of the cha-cha-cha is not in the intricacies of the movements, but in their grace and naturalness.
Schottish(Scottish dance). 19th century dance reminiscent of a polka. It comes from the Scottish circular dance, which was famous in Germany. Sometimes it is confused with ecoseesis (also Scottish dance); at first the scottish was 3/4 in size, and after 1800 it was 2/4.
Estampi(estampie), or estampida. Medieval instrumental form and dance from Provence. The medieval author Johannes de Groheo mentions the stantip - possibly the Latinized name for the printamp. Each stantipa consisted of a series of “dots” (puncti): each punctum (dot) - a term borrowed from rhetoric) consisted of two parts with the same beginnings (apertum) and different endings (clausum). In addition to the standard, according to Groheo, there was a duct (ductia), also consisting of “points” under which they danced. The most famous printmaking example is Kalenda maya Rambauza de Vakeiras, a charming melody borrowed from an earlier print. Since most of the surviving prints are dance patterns, prints can be considered one of the main dances of the Middle Ages.
Above are some of the dances given on this page. You can listen to them here or download in mid format.
The records are almost all taken on the sitehttp://www.midi.ru. You can see this site, there are a lot of songs and dances you can download in this format.
Middle Ages
Allemanda - means German - is a smooth dance in moderate motion. Known since the 16th century. Gained distribution at court balls.
Branly - translated from French means rocking, round dance. Dance of national origin. In the XV - XVI centuries it became aristocratic, court.
Bourrée is a French round dance of a lively four-part movement. The name speaks of how they trample a bundle of brushwood with their feet. Movable court dance, which was folk.
Renaissance
Pavana - solemn ballroom dance, common in Europe in the XVI century. The musical size is 4/4, 4/2, the pace is slow.
Galliard - a dance in fast motion, which was danced immediately after the slow pavans.
Courante (French courante) - in French, current, running. French courtly smooth dance procession. Spread in Europe. At first, the musical size is 2/4, then - three-part.
Minuet (French. Menuet, from menu - small) - an old folk French dance, from the middle of the XVII century. ballroom. Spread in Europe. Musical size 3/4. Before the appearance of the waltz, he was considered the king of ballroom dancing. Danced with gallant bows and curtsies.
Sarabanda (Spanish: Zarabanda) - An old Spanish folk dance. In the XVII - XVIII centuries. spread in Western Europe like a ballroom dance. Musical size 3/4, 3/2.
Ecosez - translated from French means "Scottish". Appeared at the balls at the end of the XVII century.
XVIII century
Gavotte (French gavotte) - an old French dance, originally folk, round dance, dicotyledonous size.
Gigue means "ham." Once it was a sailor's dance, fast and fast. At the balls appeared in the XVII - XVIII centuries.
Polonaise (from the French. Danse polonaise - Polish dance) - ballroom dance procession. The origins of the Polish folk dance. He was a courtier in France and in other countries. Musical size 3/4. One of the largest centenarians among dances. As a court dance procession is known in the XV century.
Counter-dance. This ball dance was often called English, since it was an English rural dance by origin.
Bolero is a Spanish dance of a proud character. Musical size 3/4.
XIX century
Mazurka (Polish mazurek, from the name of the inhabitants of Mazovia - Mazury) - Polish folk dance. Shone at balls in the 19th century. and even in the XX century. Swift and fiery dance. Musical sizes 3/4 and 3/8.
The quadrille (French quadrille) translates to "four." Dancers are located in a square. Folk and ball mobile couple dance. The musical size is usually 2/4.
Gallop - a cheerful dance skipping. Appeared at the Paris balls.
Waltz (French valse, from German Walzer) is a three-part ballroom dance. It gained popularity in all sectors of European society (especially the so-called Viennese waltz, associated with the names of composers I. Strauss-father and I. Strauss-son). The genre and genre signs of the waltz penetrated many types of instrumental and vocal music of various composer schools.
Cotillon is a ballroom dance similar to counter dance.
Polka (Czech. Polka), folk and ballroom dance of Czech origin. Musical size 2/4.
XIX - beginning of XX century
Krakowiak (krakowiak) - Polish folk, then ballroom dance. Musical size 2/4. A lively, proud dance came from the Polish city of Krakow.
Tustep (English two-step, from two - two and step - step) - American ballroom dance. Distributed in many countries in the 1920s. Musical size 2/4.
Tango (Spanish: tango) - modern ballroom dance. Known
“Gypsy tango”, “Andalusian tango”, “Creole tango” and the popular “Argentine tango”, which spread in the 1910s. all over the world as a salon and pop dance. Size 2/4, the pace is moderate.
XX - XXI century
Agatha Christie
Waltz Boston. The name mentioned the American city of Boston. But the fashion for this dance has established itself in England and therefore it is called the English waltz. Musical size 3/4.
Foxtrot (born foxtrot, literally - fox step) - American ballroom dance. Distributed in many countries. Musical size 4/4. He has nothing to do with the fox, but is named after Harry Fox, who invented it. A quick foxtrot is called quickstep, a slow foxtrot is called slowfox.
Shimmy is a favorite dance of the 20s.
Charleston, an American ballroom dance. Spread in many countries since the beginning of the 20s. XX century. Musical size 4/4.
Bi-pop - dance and jazz music.
Blues - the name comes from the songs of American blacks, slow and melancholy, like this dance.
Boogie Woogie - jazz free sport dance.
Rock and roll - in translation means "roll" and "swing". Popular since the 50s. Dance with elements of acrobatics.
Rumba is a rhythm-sharp dance of Cuban origin. I got to the ballrooms in the 30s.
Samba is an energetic dance native to Brazil.
Lambada is a variant of samba, popular in the 90s of the twentieth century.
Paso doble - the dance came from Latin America. The movements imitate the behavior of a proud bullfighter.
Twist - in translation from English means "twisting." Dance of the 60s Dancers diligently work with their legs, as if they were pressing cigarette butts.
Shake is a fashionable dance of the 60s. Translated from English means "shake." Size 4/4.
Break dance - Fashionable dance of the 80s. with twitching movements. Translated from English means "break".
Meringue - popular in the 21st century, easy to execute latin american dance with a two-quarter rhythm. It conveys the atmosphere of a fun tropical holiday.
Salsa is a four-quarter Latin American dance. It has been dancing since the 60s, and is popular in the 21st century.
Mambo - the name is attributed to voodoo sorcerers who immersed a person in a hypnotic trance. A dance appeared in 1945.
At the request of the workers (!), Today we will briefly consider types of dancing. In this article, of course, everything types of dancing I will not list, but the most sought-after ones, which are publicly and daily in sight, will be definitely discussed. For each type individually, you can devote a whole day and a whole post, list all the pros and cons of each type of dance, but this time we will do without Napoleonic manners! By the way, among the types of dances that I will tell you about now, there will, of course, be ballroom dancing! To my great happiness and pleasure, my blog is dedicated to the topic of ballroom dancing, so every article on this site is dedicated to ballroom dancing.
In this regard, you have a unique opportunity to study the history of each dance (dozens of dances) individually, and in an exhaustive way! To the right of the article at the very top is a list of headings, among which there is a heading “Dances Development Stories”. If you turn to this section, in it you will find very detailed description all dances of Latin American and European ballroom dancing programs.
Well, now I want to pay attention in the form of “several sentences of the text” for the main (in my opinion) varieties that are very popular today.
Types of dancing: dance what you like!
Ballet
Ballet is a hellish labor, the fruit of which is an air dance of amazing beauty. Classical ballet strongly disciplines, accustoms to endurance, work and persistent long work on oneself. Strong legs, back, stretching, synchronized jumping and beautiful support are all classic ballet. A good step for development. But not everyone can stand it.
Ballroom dancing
Ballroom dancing is a favorite direction of those whose soul lies in competitions and contests. You can start practicing not only from childhood, but also much later. For ballroom dancing, you need a partner, respect for each other, a lot of free time and a lot of patience. From bonuses - bright costumes, beautiful dance programs and a lot of emotions on the dance floor. If you decide to go along the wide road of ballroom dancing, you should decide on a set of dances. There are two programs, Latina and Standard. They differ in the set of dances that are included in each of them.
Argentine tango
Tango is considered to be a dance of passion. But do not think that you are definitely waiting for tango lessons if you are the owner of a reputation for seducing young hearts. The tango community has its own deep culture, which is rooted deep in the past. There, where tango was just emerging. In the culture of tango, there are strict rules that are not allowed to be violated. What are these rules, where did tango actually come from, what is the art of inviting people to dance, and why aren’t the students allowed to enter the dance floor for the first three years in Buenos Aires, and who can and should not be called the intriguing word “tangeros” experienced teacher.
Flamenco
Flamenco is called the dance of the oppressed peoples. All the pain and suffering of unfree people resulted in dance movements, singing and music: these are the three directions in art that are implied by the word “flamenco”. Flamenco dance really captivates and takes for the soul. There is a masculine style of dancing, the so-called “farukka”, which used to be performed mostly by women. Flamenco - clear rhythms of heels, frantic outbursts of hands, ringing of palm hits and soft whisper of a guitar, to which this dance is danced.
Zumba
Zumba is a great alternative to standard aerobics. Zumba brought ordinary fitness to a new dance level. Each lesson of Zumba turns into a small holiday, which the students are so happy about. This is facilitated by unusual music, specially selected for such lessons, uniforms and movements that help to work out all muscle groups of the body. The lessons of Zumba are aimed at dumping extra pounds, plastic surgery, the development of the respiratory apparatus and putting the cardiac system in order. And Zumba is just plain fun.
Jazz Modern
Modern jazz is a modern interpretation of classical jazz, which has become very popular in dance circles around the world. Jazz Modern - unusual dance. Students often dance barefoot. Learn to fall to the floor and stand on your head. Examine your body in all sorts of unthinkable poses, jumps and poses. Modern jazz teaches to express the freedom of the student through the body. Through the arms, turning the head and bending the neck. Each part of the body can say something, express it. A solo dance can degenerate into a synchronous dance of the whole group and vice versa. Experiment human body - that is what drives development in this direction.
Jazz funk
Jazz funk is a squeak of fashion among young people. He came to us from the West, where he acquired his first shape in the second half of the last century. Based on the name, its foundation lies in the direction of jazz. Improvisation has been added to jazz funk, daring movements that turn into smooth, and then again into sharp ones. Popular among students, because it allows you to mix several styles at once. The dance is shocking, dynamic, cast and expressive. Just what you need if you want to burn.
Hustle
Hustle is an amazing story told by two dancers. Perhaps two unfamiliar dancers. Hustle is dancing in discos, on the street and in enclosed spaces, in attics and cellars, in large halls, in city gardens and on promenades. Competent interaction between partners is what they primarily learn in hustle lessons. The couples learned in the lesson of movement practice after lessons and at discotheques. And then they go to competitions. Or continue to dance for their own pleasure. Beautiful fast and slow music, an attempt to understand a loved one, listening to him in the dance and a lot of fun. This is all hustle.
Rock'n'roll
Rocknroll - to jump lovers. For rock and roll, you should be prepared for a powerful strain on the respiratory system. This dance is not for wimps. The rhythms characteristic for rock and roll are relatively faster than for all other dances. Rocknroll is not just considered a legendary dance and has its roots deep in history, entangled in its legends and mysteries. Rock and roll is a pair dance, where you can give free rein to support, coup partner over the head. You can not worry about the mistakes of such throwing - the partner will not fall below the floor. Jumping, dancing and jumping again is rock and roll!
Go-go - preparing for a great time at a nightclub. Go-go teachers are often residents of nightclubs themselves. And in their free time, they teach skills that have been mastered and shown to a satisfied audience. Go-go dancing with her hair high in high heels and in a relatively small amount of clothing. The clear rhythm of the club “barrel”, the seductive swaying of the hips and the provocation of the dance - that's what go-go is.
Strip of plastic
Strip plastic is the quiet joy of all the girls. It is on strip plastic under the strict guidance of the teacher that one can gradually prepare what the majority comes to plastic lessons for - sensual erotic dance for your beloved man. Strip plastic is often compared to strip, but this is not true. Strip plastic does not imply stripping. There are feline movements, stretching and emancipation of students. Like a reminder that you should always be a real woman. Soft, inviting, unsolved.
Pole dance
Pole-Dance is perhaps the best physical training for girls for today who want to be strong. Pylon, so-called pole dancers, which serves as the main and necessary tool for classes. Pupils and students pump themselves arms, legs, abs and back, which makes the figure change for the better. Now half-dance acrobatics has reached the world level, and any student of this course who respects her work seeks to try herself at a local competition. Where, by the way, today both girls and boys are equally competing.
Hip-hop
Hip-hop is a huge subculture, including dancing. Crawling out of the poor African-American quarters of New York, hip-hop culture has captured huge crowds of young people and set a new wave of hearts for millions of teenagers. Hip-hop is characterized by certain music, loose clothing and comfortable, unusual shoes. Hip-hop dance is performed on bent legs, in a relaxed state. At the same time, many muscle groups are involved, so hip-hop should be studied seriously and always in the image.
Brakedance
Break dance is one of the branches of the hip-hop direction. In our country, a break is usually divided into upper and lower. Girls are more often engaged in the upper, in this style the hands, head, back, neck, chest are involved - that is, the entire upper body. In the lower break, fly, candle, barrel and gelik are traditional - all these are slang names of various spins performed by dancers on their heads. For easier and more confident spinning, dancers wear a traditional hat on their own heads. B-fights and B-gerls today are stunning dance battles around the world, during which they find out whose team is cooler.
RNB - sensuality and sexuality, which originated from the same "black" quarters. Now more and more often you can see how the stars of world pop culture at concerts and in videos stop precisely on the RNB style. RNB style is dynamic, bold. This dance is distinguished by cheeky movements and heels in most cases, which is considered a hallmark of independence and self-sufficiency. The fact that the name of the style comes from the words "rhythm and blues" does not mean at all that the dance is danced under the BBC or Elvis Presley. Now RNB is performed under the mixed tracks of modern DJs. And the culture itself is increasingly overgrown with glamor and luxurious gloss.
Bachata and salsa
Bachata and salsa are dance styles that relate to the direction of Latin. Salsa is a more agile and dynamic dance, while bachata reserves the right to be called the sexiest lingering in the direction of Latin. For salsa, the characters are quick movements, turns, weaving hands with a partner and a certain kind of partner conduct. At the same time, the legs take clearly memorized steps to a special salsa rhythm, which is simply impossible to confuse with other rhythms. Bachata, on the other hand, is more intimate: partners are in close proximity to each other and do not so much move along the dance floor as they are a single whole. They love bachata for this.
Latina solo
Latina solo - for girls who want to do latina but can't find a partner. So the dancers joke. In fact, solo latina is very popular among girls of different ages. In solo latin classes, girls work on themselves to complement the pair dance with grace and grace, whether it be salsa, bachata, kizomba or something else. Solo Latina teaches to think in Latin. The body learns to make eights - the most beautiful of dance waves, both by the hips and the whole body. Solo or female latina is a good preparation for a show or pair latina.
Choreography
Choreography is the foundation of the basics. Despite the fact that you can't wait to put on heels, wave your skirt and drop your partner into your arms, you first need to learn the basics. On choreography, the first thing is straightened posture, the neck grows. Hands and feet learn to move separately from each other. The press takes on its first shape, the lungs and heart become accustomed to great physical exertion. Choreography is the first step in becoming a dancer.
Easy parquet and see you soon on the pages!
Regards - Denis Punchul