Dance is an art form in which artistic images are created by means of plastic movements and rhythmically clear and continuous changes in the expressive positions of the human body. Ballroom dancing is divided into 2 programs: European (standard) and Latin American (Latin).
program European dances or Standard consist of 5 main dances, such as: Slow Waltz (Slow or English Waltz), Slow Foxtrot, Tango (Tango), Quickstep or Fast Foxtrot (Quickstep) and Viennese Waltz.
Viennese Waltz. Musical size: 3/4. Tempo: 58-60 bpm.
The first Viennese Waltz dates back to the 12th - 13th centuries and was used in a dance called "Nachtanz". The Viennese Waltz came to us from Bavaria and was then called “German”. Around the beginning of 1830, composers Franz Lanner and Johann Strauss wrote several now very famous Waltzes of our era, thereby contributing to the development and popularity of this dance. These Waltzes were very fast, but having made the rhythm of the dance more convenient, we now call them Viennese Waltz and always dance with joy.
Slow waltz. Musical size: 3/4. Tempo: 28-30 bpm.
The waltz was brought to the United States in the mid-1800s. The tempo of the Viennese Waltz was quite fast, and soon composers began writing music that was much slower. From this music a new style of Waltz developed, called the Boston, with slower turns, and a longer, gliding movement. Around 1874, in England, the influential "Boston Club" was formed and a new style of dance, English, later called the Slow Waltz, began to appear. However, only after 1922 this dance will become as fashionable as Tango. It’s strange, but the fact that couples used to dance in the Boston Waltz is very different from what we perform now. Immediately after the 1st World War, the Waltz changed rapidly. In 1921 it was decided that the basic movement should be: step, step, extension. When Victor Sylvester won the championship in 1922, the English waltz program consisted of just a Right Turn, a Left Turn and a Change of Direction. In 1926/1927 the Waltz was significantly improved. The basic movement has been changed to: step, side step, extension. As a result, there are more opportunities for developing figures.
Tango. Musical size: 2/4. Tempo: 31-33 bpm.
Tango was first performed in Europe before the 1st World War, at a tempo of 36 beats per minute. It came from Buenos Aires (Argentina), where it was performed for the first time in the "Barria Las Ranas", the ghetto of Buenos Aires. It was then known as "Baile con corte" (dance with rest). The "dandies" of Buenos Aires changed the dance in two ways. First they changed the so-called "Polka Rhythm" into "Habanera Rhythm" and secondly, they called this dance Tango.
Slow Foxtrot. Musical time signature: 4/4. Tempo: 28-30 bpm.
Foxtrot is a dance that was born in the twentieth century and was named after the American performer Harry Fox. It was originally performed at a tempo of 48 beats per minute. The problem that led Foxtrot into two directions was the tempo of the music. To the music that was performed at a tempo of approximately 50 - 52 bars per minute, the Quickstep or Fast Foxtrot was danced, and to the music that was performed at a tempo of 32 bars per minute (slower), the Slow Foxtrot was danced. The charming Foxtrot, which has many interpretations, is both a simple and complex dance.
Quickstep. Musical time signature: 4/4. Tempo: 50-52 bpm.
Appeared during the 1st World War in the suburbs of New York, originally performed by African dancers. He made his debut at the American Music Hall and became very popular in dance halls. Foxtrot and Quickstep have a common origin. In the twenties, many orchestras played the slow foxtrot too fast, which caused many complaints among the dancers. Ultimately, two different dances developed, the slow foxtrot, which was slowed to 29-30 beats per minute, and the Quickstep, which became a fast version of the Foxtrot, performed at a tempo of 48-52 beats per minute. One of the dances that influenced the development of Quickstep was the popular Charleston.
program Latin American dance program or Latin (Latin) There are 5 main dances, such as: Samba, Cha-Cha-Cha, Rumba, Paso Doble and Jive.
Rumba. Musical time signature: 4/4. Tempo: 25-27 bpm.
The Rumba dance originated in Cuba. As a typical dance of a “hot climate,” it has become a classic of all Latin American dances. Rumba is a slow dance that is characterized by sensual, loving movements and gestures, has a Latin American style of hip movement, and is an interpretation of the relationship between a man and a woman.
Cha-cha-cha. Musical time signature: 4/4. Tempo: 30-32 bpm.
An exciting, syncopated Latin dance that originated in the 1950s as the slow-motion Mambo. This dance was first seen in the dance halls of America. Playing Cha-Cha-Cha music should produce a happy, carefree, slightly relaxed atmosphere. The Cha-Cha-Cha gets its name and character from the special repeating basic rhythm and specific instrument of the maracas. Recently it was decided to shorten the name of this dance to Cha-Cha.
Samba. Musical size: 2/4. Tempo: 50-52 bpm.
Until 1914 this dance was known under the Brazilian name "Maxixe". The first attempts to introduce Samba to European dance halls date back to 1923-24, but it was only after World War II that Samba became a popular dance in Europe. Samba has a very characteristic rhythm, which is brought to the fore to better suit the national Brazilian musical instruments. It was originally called tamborim, chocalho, reco-reco and cabaca. The rhythmic national Brazilian dance Samba has now confidently entered the program of modern Ballroom Dancing. Samba involves characteristic Latin hip movements, which are expressed by the "Samba Bounce" springing motion.
Paso Doble. Musical size: 2/4. Tempo: 60-62 bpm.
Spanish gypsy dance. A dramatic French-Spanish Flamenco style march, where the man portrays a matador (brave man) fighting a bull, the lady depicts his cape or bull, depending on the circumstances. Paso Doble. This dance focuses on creating the matador's body shape with the addition of Flamenco dance movements in the arms, elbows, wrists and fingers. The feet, or more accurately the heels, are used to create the correct rhythmic interpretation.
Jive. Musical time signature: 4/4. Tempo: 42-44 bpm.
Jive - The international version of the Swing dance, currently the Jive dance is performed in two styles - International and Swing and very often combines both in various figures. Jive is very strongly influenced by dances such as Rock and Roll and Juterbug. Jive is sometimes called Six-Step Rock and Roll. Jive is a very fast dance that consumes a lot of energy. This is the last dance danced in competition and the dancers must show that they are not tired and are ready to perform it with more effort.
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Choreography and music have deep family roots. The main tool of both is the created images. The only difference is that music is based on the expressiveness of the intonations of human speech, and choreography is based on the expressiveness of human plasticity.
When creating a dance performance, it is important to maintain an optimal match between music and choreography. After all, dance does not reproduce music thoroughly; it exists on its basis, and, accordingly, expresses it. This lies in the correspondence between the figurative nature of the dance and the figurative nature of the music. The coincidence of dance and music in the nature of their movement, pattern, and plasticity lies in the correspondence of the tempo, meter, and rhythm of the dance. The dance must correspond to the music in content and form.
Of great importance for dance pace music - the speed of its execution. It sets the general tempo of the dance, its changes (changes, acceleration, deceleration). The tempo is indicated at the beginning of a piece of music and is written in words above the musical line.
The following types of tempo are distinguished:
Slow tempos: adagio (adageo) – slowly, calmly;
Lento (lento) - slowly, drawn out;
Largo (largo) – wide, drawn-out.
Moderate tempos: andante – slowly;
Moderato - moderate.
Fast tempo: allegro (allegro) - soon;
Allegreto - lively;
Vivo - fast.
Change of tempo: ritenuto (ritenuto) – delaying;
And tempo (atempo) is a return to the previous tempo.
Equally important in choreography is changing the volume of a musical piece - dynamic shades of music . They are important for conveying the expressiveness of music and dance. So, for example, a solemn polonaise and a perky polka are performed loudly, but a slow waltz or round dance can be performed quietly.
At the same time, the dynamic shades of music are associated with a melodic pattern: the ascending movement of the melody will be accompanied by an intensification of the sound, and the descending movement will be accompanied by a weakening.
Dynamic shades in music include: smoothness or intermittency of the sound of music, gradual slowdown and acceleration, changes in sound strength.
The following dynamic shades of music are distinguished:
Forte (forte) – loud;
Piano – quiet.
Changing dynamic shades: crescendo – intensifying;diminuendo - weakening.
And, accordingly, depending on the music and dance movements, they can be strong and energetic or soft and gentle; sharply expressed, with accents or soft and smooth; loose and wide or small and graceful.
Hence, music is a necessary and organic component of dance. She gives it emotional and figurative content, influences its dramaturgy, structure and rhythm of the dance action. And as a result of this, the opportunity is created to combine music and choreography into a single work of art, which can penetrate into the depths of the soul, revealing something beautiful and eternal.
The European dance program or Standard consists of 5 main dances, such as: Slow Waltz (Slow or English Waltz), Slow Foxtrot, Tango (Tango), Quickstep or Quick Foxtrot (Quickstep) and Viennese Waltz ). The order of dance performance at the competition:
At the famous Blackpool Dance Festival in Great Britain, dance couples compete in only 4 dances of the European program. The exception is the Viennese Waltz. Nevertheless, all dance duets perform it before the start of the competition, “getting acquainted” with the floor.
Viennese Waltz
Musical size: 3/4. Tempo: 58-60 bpm.
The first Viennese Waltz dates back to the 12th - 13th centuries and was used in a dance called "Nachtanz". The Viennese Waltz came to us from Bavaria and was then called “German”. Around the beginning of 1830, composers Franz Lanner and Johann Strauss wrote several now very famous Waltzes of our era, thereby contributing to the development and popularity of this dance. These Waltzes were very fast, but having made the rhythm of the dance more convenient, we now call them Viennese Waltz and always dance with joy.
Slow waltz
Musical size: 3/4. Tempo: 28-30 bpm.
The waltz was brought to the United States in the mid-1800s. The tempo of the Viennese Waltz was quite fast, and soon composers began writing music that was much slower. From this music a new style of Waltz developed, called the Boston, with slower turns, and a longer, gliding movement. Around 1874, in England, the influential "Boston Club" was formed and a new style of dance, English, later called the Slow Waltz, began to appear. However, only after 1922 this dance will become as fashionable as Tango. It’s strange, but the fact that couples used to dance in the Boston Waltz is very different from what we perform now. Immediately after the 1st World War, the Waltz changed rapidly. In 1921 it was decided that the basic movement should be: step, step, extension. When Victor Sylvester won the championship in 1922, the English waltz program consisted of just a Right Turn, a Left Turn and a Change of Direction. In 1926/1927 the Waltz was significantly improved. The basic movement has been changed to: step, side step, extension. As a result, there are more opportunities for developing figures. They were standardized by the Imperial Society of Teachers of Dance (ISTD). We still dance many of them.
Tango
Musical size: 2/4. Tempo: 31-33 bpm.
Tango was first performed in Europe before the 1st World War, at a tempo of 36 beats per minute. It came from Buenos Aires (Argentina), where it was performed for the first time in the "Barria Las Ranas", the ghetto of Buenos Aires. It was then known as "Baile con corte" (dance with rest). The "dandies" of Buenos Aires changed the dance in two ways. First they changed the so-called "Polka Rhythm" into "Habanera Rhythm" and secondly, they called this dance Tango.
Slow Foxtrot
Musical time signature: 4/4. Tempo: 28-30 bpm.
Foxtrot is a dance that was born in the twentieth century and was named after the American performer Harry Fox. It was originally performed at a tempo of 48 beats per minute. The problem that led Foxtrot into two directions was the tempo of the music. To the music that was performed at a tempo of approximately 50 - 52 bars per minute, the Quickstep or Fast Foxtrot was danced, and to the music that was performed at a tempo of 32 bars per minute (slower), the Slow Foxtrot was danced. The charming Foxtrot, which has many interpretations, is both a simple and complex dance.
Quickstep
Musical time signature: 4/4. Tempo: 50-52 bpm.
Appeared during the 1st World War in the suburbs of New York, originally performed by African dancers. He made his debut at the American Music Hall and became very popular in dance halls. Foxtrot and Quickstep have a common origin. In the twenties, many orchestras played the slow foxtrot too fast, which caused many complaints among the dancers. Ultimately, two different dances developed, the slow foxtrot, which was slowed to 29-30 beats per minute, and the Quickstep, which became a fast version of the Foxtrot, performed at a tempo of 48-52 beats per minute. One of the dances that influenced the development of Quickstep was the popular Charleston.
for those who love this creativity and for those who are simply curious...
1. Which dance was called “the king of dances and the dance of kings”?
A. Polonaise. V. Mignon.
B. Minuet. G. Mazurka.
2. What dance is most often performed on the cabaret stage?
A. Cancan. V. Tango.
B. Waltz. G. Rumba.
3. “Polonaise” translated from French means:
A. Polish dance. V. Polovtsian dances.
B. March of polo players. G. Creaking runners.
4. Which of these dances is not Polish?
A. Polonaise. V. Mazurka.
B. Krakowiak. G. Polka.
(This is a Czech folk dance.)
5. Which country's dances are they? polonaise, mazurka, krakowiak?
A. Hungary. V. Poland.
B. Ukraine. G. France.
6. A brilliant example of what dance was created by M.I. Glinka in the so-called “Polish Act” (Act II) of the opera “A Life for the Tsar” (“Ivan Susanin”)?
A. Krakowiak. V. Polka.
B. Polonaise. G. Gopak.
7. Residents of which country dance csardas?
A. Hungary. In Moldavia.
B. Georgia. G. Italy.
8. What does the name of the Csardas dance mean in translation from Hungarian?
A. Restaurant. V. Tavern.
B. Cafe. G. Casino.
(Which speaks of the common origin of this dance, beloved throughout the world. In the 19th century, czardash became a ballroom dance.)
9. What is the name of Imre Kalman's operetta?
A. “Queen of Czardas.”
B. “The Empress of the Polonaise.”
V. “The Queen of the Mazurka.”
G. “Polka Princess.”
10. Which of these dances is not American?
A. Twist. W. Charleston.
B. Sheik. G. Boogie-woogie.
(This is a modern English ballroom dance.)
11. What people invented dances? Levonikha" and "Kryzhachok"?
A. Belorussky. V. Russian.
B. Ukrainian. G. Gruzinsky.
12. What is the name of the ancient Russian dance at a fast pace with fractional stamping?
A. Treplo. V. Trepak.
B. Chatterbox. G. Taratorka.
(Musical size 2/4. The trepak genre was used in their works by A.G. Rubinstein, P.I. Tchaikovsky, M.P. Mussorgsky and others.)
13. With what kind of temperamental exclamations do they dance the fast and cheerful Ukrainian dance hopak?
A. Assa! V. Hurray!
B. Gop! G. Wow!
(Hence the name of the dance.)
14. What was the name of the dance that was popular in the 19th century?
A. Quarry. V. Gallop.
B. Lynx. G. Ambling.
15. Which of these dances is performed at a slow tempo?
A. Lezginka. V. Tarantella.
B. Gallop. G. Polonaise.
16. What is the literal translation of the name of the American ballroom dance, foxtrot?
A. Fox step. B. Snake bend.
B. Dog stance. G. Flight of an eagle.
17. What is the name of the fiery Latin American dance?
A. Lamp. V. Lambada.
B. Lambda. G. Balanda.
18. Which of these words denotes not only dance, but also an item of men's clothing?
A. Farandola. V. Mazurka.
B. Samba. G. Bolero.
19. What is the name of the sailor song and dance?
A. "Sailor". V. "Sailor suit".
B. "Apple". G. "Boat".
20. Famous song by Dmitry Kabalevsky "School years"- what's this?
A. Tango. V. Lambada.
B. Waltz. G. Twist.
21. What is the name of the world-famous Russian academic choreographic ensemble?
A. "Topolek". V. "Rowanushka".
B. "Birch". G. "Ivushka".
22. What does it do? virtuoso dancer?
A. Knees. V. Knee.
B. Knees. G. Crankshaft.
(This is exactly the case from the point of view of Russian grammar.)
23. What do you call a dance partner?
A. Order bearer. B. Laureate.
Bergamasca Bergamasca - dance of the 16th–17th centuries. in 2/4 or 4/4 time, came from the Italian city of Bergamo. Shakespeare mentions the Bergamasca in the comedy A Midsummer Night's Dream, so this dance was known in England already in the 16th century. In manuscripts of the time, the bergamasca has a specific melody, which is often a basso ostinato Bolero The Bolero is a Spanish national dance believed to have been invented c. 1780 by Sebastian Cerezo from Cadiz. In the folklore version, the bolero is a dance for a solo couple; several couples can participate in public performance. The accompaniment of castanets or guitar is required if the dance melody is sung. The bolero is characterized by a bipartite, sometimes tripartite meter; The dance consists of five parts: paseo, traversion, diference, traversion and finale. Branle Branle is a general name for dances of the 16th–17th centuries. Different provinces of France had their own versions of branle - Burgundy, Poitou, Champagne, Picardy, Lorraine, Aubrois, Brittany. Bourré Bourré is a French dance of the 17th–18th centuries, dating back to the pantomimic folk dance of the Auvergne province and in the 17th century. which became a court dance. The dance is characterized by dactylic meter, fast tempo, bipartite meter with a beat of two eighths. Bourré appears in the ballets of Lully and Schmelzer and in the instrumental suites, Gavotte Gavotte is a dance in a calm tempo and three-beat size, taking (from the Provençal word gavoto - “resident of the Auvergne region”). A graceful and joyful French dance from the 16th to 18th centuries, performed at a moderate tempo. Time signature 2/2 or 4/4, starts with a beat of 2/4 or 2/8. The gavotte consists of two parts of 8 bars. Gallop Gallop - from French. galoper – “to gallop.” Fast circular dance of the 19th century. in a bipartite size, consists of rapid, spasmodic movements back and forth, similar in type to the polka. Galliard Galliard is a cheerful, lively dance of the 16th–17th centuries, at first quite fast, later performed at a more restrained tempo, in three-beat time. Jitterbug The Jitterbug (Lindy) is an American dance that appeared between 1935 and 1940 and consisted of bouncing, skipping and vibrating - in the form of pure improvisation to swing music, especially boogie-woogie. The usual rhythmic pattern is solid eighth notes or alternating punctuated eighths and sixteenths. Giga Giga is an English dance common in the 16th century. The name comes from either the Old French word giguer ("to dance") or the Old English word giga (folk fiddle). At first, the jig was in 4/4 time; later, jigs began to be composed in 6/8 time with punctuated eighth notes. In the 17th and 18th centuries. Giga Quadrille Quadrille is a French dance that originated at the end of the 18th century. and very popular until the end of the 19th century. Performed by two or four pairs, arranged in a quadrangle (quadrille), opposite each other. The quadrille developed from a rural dance and initially contained five figures with the following French names: Le Pantalon Irish dances. Interest in Irish dance is associated primarily with the unusual pose of the dancer. The dance is performed on half-toes, the upper body is motionless, and the arms are always lowered. The main emphasis is on fast footwork. Learning this type of dance is no less exciting than contemplating it... Break dancing. Breakdancing is a street dance style that developed from the hip-hop movement in the South Bronx (New York) in the early 70s. This is the oldest and most famous of all hip-hop dance styles... Parisian Waltz Performing the balance (first and second measures), the gentleman first gives the lady his left hand, the lady puts hers on top, then the gentleman gives his right hand... Large figured waltz. Starting position: the gentleman has his back to the center of the circle, the lady is facing. The gentleman offers the lady his right hand, the lady his left, moving his hands to the side... Waltz gavotte. Additions and comments: Olga Fialko Starting position: dancers stand in a circle in pairs (the gentleman is to the left of the lady) facing along the line of dance. The gentleman holds the lady by the waist with his right hand, and with his left hand he takes the lady’s left hand and moves it to the left diagonally. The lady's left hand is located in front of the left side of the body, and her right hand is on the skirt. (Further: IP - starting position, LT - line of dance, K - gentleman, D - queen) ... Duende cante flamenco Cante jondo (cante jondo) is the most ancient core of flamenco, its fundamental principle. "The essence of the difference between cante jondo and cante flamenco is that cante jondo goes back to the most ancient musical systems of India, the prototypes of singing, and flamenco, its later echo, was defined and finally formed in the eighteenth century. Cante jondo is a mysterious reflection of the first times, cante flamenco - the art is almost modern and much inferior in depth of feeling. Spiritual flavor and local flavor - this is their fundamental difference." ). Pop dance Pop dance, a type of stage dance, a small dance scene (dance miniature), often of an entertaining nature. It is built on laconic means of choreographic expressiveness. Allemande Allemande - French. allemand – “German”. The dance of the 16th–18th centuries, as its name suggests, is of German origin. Like the pavane, the allemande is a dance of moderate tempo and bipartite meter. This calm dance was usually followed by a lively three-beat chime. In the keyboard suite of the 18th century. the allemande comes first; Bass dance Bass dance (French basse danse - “low dance”). Cancan Cancan is a frantic and not very decent French dance of the 19th century, with a fast tempo and bipartite meter (similar in type to the Spanish fandango), which originated in Paris in the 1830s. Conga Conga is a modern Cuban dance performed in a line of dancers and has its origins in the so-called “comparsas” - parades. Counterdance Counterdance is an ancient English dance of folklore type. In country 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 has also been lost. Kuranta Kuranta is a dance in two-part time, originally pantomimic, known since the 16th century. It is mentioned by Thoinot Arbeau in his Orchesography (1588), as well as several times by Shakespeare (in particular, in Henry V). Gradually the chime acquired a three-part meter and in the 17th century. began to be performed in pairs with the allemande (after it). A characteristic feature of the 17th century chimes. are frequent changes of meter from 3/2 to 6/4 and back, which corresponded to the alternation of two main dance figures - pas de courante and pas de coupée. Cotillion Cotillion (from the French word cotillon - “petticoat”, found in a song popular at that time) is a dance common in the late 18th and early 19th centuries. From France, the cotillion came to England and America, where it began to be performed as the final section of country dances or, later, quadrilles. Ländler Ländler is a general name for slow Austro-Bavarian dances in three-quarter time. The name probably goes back to the name of a town in Upper Austria - Landl. Ländler melodies already existed in the 17th century. Mazurka Mazurka is a Polish folk dance, as well as a piece in the rhythm of a mazurka, usually in 3/4 or 3/8, at a tempo slightly slower than a waltz. Originally a folk dance, the mazurka became a city and court dance in the 18th century, during the reign of King Augustus III. The three-beat rhythm of the mazurka is characterized by an emphasis on the second beat. Minuet Minuet is a dance of the 16th–17th centuries, at a moderate tempo and three-beat time; The name comes from the French word menu (pas menu - “step”, “small step”) or from amener (amener) - an old French dance, a type of branle. The minuet took the place of the chimes and was the main court dance from the mid-17th to the mid-18th century. Merengue Merengue is a Latin American dance of Dominican origin, also adopted in the United States. Moving in bipartite meter, the dancers emphasize the first beat with a walking step, and on the count of “two” they make an inward movement with their knees pressed against each other. Moresca Moresca (Morisco) is a pantomimic dance, apparently of Moorish origin, known since the early Middle Ages. The dancers, in keeping with highly romanticized ideas about the Moors, wore grotesque costumes with bells at the ankles; the music was dominated by dotted rhythms and exotic timbres. Often the faces of one or more dancers were painted black.
