Ballroom Dances _________________________________________________________________________

HISTORY OF BALLROOM DANCE

“Ballroom dancing” as a term hails from the Latin word “ballare” which, coincidentally, means “to
dance.” Centuries ago, ballroom dancing was primarily for the privileged and well-to-do, while the commoners
had to make do with folk dancing; however, these boundaries have since disappeared, leaving ballroom dancing
a fun hobby for everyone.
Today, ballroom dancing applies to numerous dances where a “leader” and a “follower” dance together
in close proximity, usually with some degree of physical contact.
Early Ballroom Dancing
The first documented authority of early ballroom dancing is Jehan
Thoinot’Arbeau’s Orchesographie (1588) which discussed 16th-century French social dance. In 1650, Jean-
Baptiste Lully introduced the Minuet to Paris—a dance that would dominate the ballroom until the end of the
18th century.
The Waltz came about in England in the early 1800s despite initial opposition to the closed dance hold.
By 1840, the Polka, Mazurka, and Schottische emerged.
Ballroom Dancing Emerges in the US
In the early 20th century, ballroom dancing experienced massive popularity in the US with the
extremely successful dancing of Fred Astaire and Ginger Rogers. Even though most of their numbers were
meticulously choreographed, staged, and oft-rehearsed, they influenced greatly ballroom dancing’s acclaim and
acceptance.
Ballroom vs Latin Dances
Although commonly classified as “ballroom” dancing, there are notable differences between ballroom and
Latin dance. The “ballroom” dances are generally “smooth” dances like:
 Waltz
 Foxtrot
 Tango
 Quickstep
 Viennese Waltz
“Latin” dances are more rhythmic and include:
 Rumba
 Swing/Jive
 Samba
 Cha Cha
 Mambo
 Merengue
 Bolero
 Salsa
Regardless of their "proper" classification, they are all extremely fun and fairly easy to learn.

Competitive Ballroom Dancing

 In addition to its wide appeal as a hobby, competitive ballroom dancing has also emerged. Competition
enables less advanced dancers of different levels to compete against their peers with a professional
partner/instructor. The fame of television shows like Dancing with the Stars and So You Think You Can
Dance highlights the growing trend of competitive ballroom dancing.
History of ballroom costumes
Fashion is a vital element to social dancing, so it is not too surprising that ballroom costumes and gowns
have been around since the beginning of ballroom dance. Elaborate ballroom gowns were a part of social
dancing since as early as the 1700s, a time when a woman’s ballroom fashion was indicative of her standing in
society. These gowns were confining and cumbersome, with ornate designs and multiple layers in addition to
hoop skirts. High-class hairstyles completed the look, often bejeweled and sporting many ribbons.
As the 18th century began to end, so did the hoop skirt days for ballroom costumes. Luckily for these
ladies, who were highly confined in their gowns, could wear fashionable dresses that weren’t so large or
difficult to wear.

THE PHYSICAL, MENTAL, AND SOCIAL BENEFITS OF BALLROOM DANCING

Physical Benefits:
 Improved cardiovascular fitness
 Increased muscle strength and tone
 Enhanced flexibility and balance
 Weight management
 Improved posture and body awareness
Mental Benefits:
 Stress relief
 Cognitive function
 Boosts self-confidence and self-esteem
 Emotional expression
 Mindfulness
Social Benefits:
 Improved social skills
 Expanding social circle
 Sense of community
 Opportunities for connection
 Enhances teamwork

TYPES OF BALLROOM DANCES

1. Standard Dances
Standard (ballroom) dances are elegant and have a strong emphasis on posture. Standard dancing has a
slow and graceful pace, where the two partners glide across the room effortlessly with the music. The modern
standard dances include Waltz, Foxtrot, Tango, Quickstep, and Viennese Waltz.
Standard dancing uses what is called a closed frame, where the partners face each other with the lady
resting her left arm on the man’s right shoulder. The man places his right hand on the lady’s left shoulder blade,
and the man's left hand holds the lady’s right. This position is always maintained in standard dances.
For standard dances, your body must move in contra body movement (CBM) and foot gliding. Contra-
body movement is the turning of the body (hips and shoulders) against the movement of the legs: either moving
forward with the right foot and the left hip and shoulder or vice versa.
A. Waltz Dance (from German walzen, “to revolve”)
● Ballroom dance
● Distinctive ¾ time signature
● Classical dance style
● Partners dance in a closed position, moving in a circular or oval pattern around the dance floor.
Types of waltz
● American waltz
● Viennese waltz
● International waltz
● Country waltz
Examples of waltz step
● Box step waltz
● Change step
● Underarm turn
● Cross body lead
● Hesitation step

B. Tango waltz
● a passionate, emotional form of dance in which the dancing couple hold each other closely and make
abrupt yet graceful movements.
● emphasizes the vibrant and playful style of movement, rich expressions and improvisation, and requires
close connection and passion between dancers.
Types of tango
● Argentine tango
● Ballroom tango
● Salon tango
● Tango apilado
● Show tango

Examples of tango steps

● Open Step
● Forward Cross
● Back Cross
● Cross Step

C. Viennese Waltz is the oldest of the ballroom dances still practiced today. Originally a folk dance in rural
Austria and Germany, it's a fast, vibrant, and sometimes dizzying dance that requires quick but smooth and
elegant turns.
 Fast waltzes in the romantic era of Vienna
  One of the fastest dances in the world
 Time signature: 3/4
 Tempo: 120-180 beats per minute
 Timing: 123, 123 rhythms
 Beat value: 1-1-1
Attire:
 Women wear long flowy dress
 Men wear tuxedo
Basic Viennese Waltz movements consist of three moves:
 Reverse cross/turn
 Natural waltz/turn
 Closed changes

D. Slow foxtrot is a smooth dance where the dancers travel across the dance floor. The long walking
movements contribute to the iconic rise and fall motion.
 footwork is a combination of slow and quick steps. The slow steps take up two beats of the music, and
the quick steps take up one beat.
 Pattern: Slow-Quick-Quick or Slow-Slow-Quick-Quick.
 Time signature: 4/4
 Tempo: between 112 and 136 beats per minute
 Rhythm timing: slow, slow, quick, quick (count 1-2, 3-4, 5, 6)
Basic steps: Men
Basic forward
1. Step forward with your left foot (slow step)
2. Step forward with your right foot (slow step)
3. Sidestep to the left with your left foot (quick step)
4. Move your right foot to your left foot (quick step)
Basic backward
5. Step backward with your left foot (slow step)
6. Step backward with your right foot (slow step)
7. Sidestep to the left with your left foot (quick step)
8. Move your right foot to your left foot (quick step)
Basic step: Woman
Basic forward
1. Step backward with your right foot (slow step)
2. Step backward with your left foot (slow step)
3. Sidestep to the right with your right foot (quick step)
4. Move your left foot to your right foot (quick step)
Basic backward
5. Step forward with your right foot (slow step)
6. Step forward with your left foot (slow step)
7. Sidestep to the right with your right foot (quick step)
8. Move your left foot to your right foot (quick step)

E. Quickstep is a light-hearted dance of the standard ballroom dances. The movement of the dance is fast and
powerfully flowing and sprinkled with syncopations. The upbeat melodies that quickstep is danced to make it
suitable for both formal and informal events.
 Combination of Foxtrot, Charleston, Shag, One-Step, and Peabody dance crazes.
 Quickstep is usually danced at a faster tempo than Foxtrot, steps are not as long, and rise is not so
prolonged.
 Characterized by fast movement, often including a variety of hops, kicks, skips, lock steps and chasses
 Time signature: 4/4
 Tempo: 192-208 BPM
 Rhythm time: slow, slow, quick, quick (count 1-2, 3-4, 5, 6)
Basic Moves
 Chasse
 Lock step
 Quarter turn

2. Latin Dances
Latin Ballroom dance is a perfect mix of various dance styles from cultures around the world, creating a
dance style encompassing this new age of Latin culture which spread and became very popular throughout
Europe in the 19th century.
Influences deriving from West African, African American, and European dance styles were all
comprised in the making of many of these Latin dances such as Samba, Rumba, Cha Cha Cha, Jive, and Paso
Doble. They all have their distinguishing traits but coincide in expressiveness, intensity, and energy.
Music became the engine for Latin dancing because it guided the dance steps with its measure, speed,
and the feeling it evoked, from energetic to sensual.
Latin ballroom dance is a captivating and energetic form of partnered dance that originated in the Latin
American countries. It has gained widespread popularity around the world, captivating audiences and dancers
alike with its vibrant music, passionate movements, and intricate choreography. Latin ballroom dance is not just
a physical activity; it is a celebration of culture, rhythm, and connection between dance partners.

A. Cha-Cha:
The Cha-Cha is a lively and playful dance that originated in Cuba. It is characterized by quick,
syncopated steps and a distinct "cha-cha-cha" rhythm. Partners dance in a close hold and perform sharp
footwork with a hip action, creating a sense of excitement on the dance floor.
B. Samba:
Samba is a Brazilian dance with a lively and infectious rhythm. It features bouncing movements and a
distinctive bounce action known as "Samba bounce." This dance incorporates a blend of solo and partner steps,
allowing for individual expression within the framework of the dance. Samba is known for its festive and
carnival-like atmosphere.
C. Rumba:
Rumba is a slow and sensual dance that originated in Cuba. It focuses on the connection between
partners and emphasizes expressive hip movements. Rumba is often considered a dance of love and passion,
with dancers maintaining a close and romantic connection throughout. The dance combines slow steps with
quick, flirtatious movements, creating a captivating and intimate performance.
D. Paso Doble:
Paso Doble is a dramatic and theatrical dance inspired by the Spanish bullfight. The dance portrays the
interaction between a bullfighter and the cape. Partners take on the roles of matador and cape, with the dancer
portraying the bullfighter displaying strength and control. The dance is characterized by strong, purposeful
movements, sharp turns, and flamenco-inspired footwork, creating a powerful and dynamic performance.
E. JIVE
Jive dance is an upbeat, energetic dance style that originated in the early 1930s in the United States, and
has since become a competitive ballroom dance.
This dance style has origins in the early US jazz music scene of the late 1920s and early 1930s. Modern
jive refers to one of the five ballroom competition dance styles that make up the International Latin dances in
dance sport showcases, along with cha-cha, samba, rumba, and paso doble.
F. REGGAETON
Originating in late 1990s Puerto Rico, reggaeton is a vibrant dance style deeply influenced by Latin
American, Caribbean, and hip hop music. Known for its fun, sexy, and free-spirited vibe, reggaeton has become
immensely popular. Unlike other musical genres, reggaeton does not possess a predefined dance style, granting
us the liberty to explore and incorporate movement from other styles into the choreography, such as Hip Hop,
Salsa, Bachata, House, Dancehall, Zamba, and beyond. It will begin with a warm up, including drills such as
basic grooves, body rolls and isolations, followed by some energy choreography. Sneakers and light
comfortable clothing recommended.
G. MERENGUE
Merengue dance and music, popular in all over the world, is the national dance of Dominican Republic.
There are many versions and interpretations of the historical origin of the Merengue, but many coincide on the
Merengue roots coming from the Tumba, a music/dance form created during the 1800's by the African slaves.
There is a belief that the tumbao, the two steps of the merengue, was caused by party-goers trying to dance like
a man who danced to the music with an amputated leg, having lost it in battle.

BALLROOM HAND POSITIONS

01. One-Hand Hold Position - Begin in the open-facing position (facing your partner
within arm's reach). To enter the one-hand hold position, grasp your partner's hand and
leave the other hand relaxed at your side.

02. Two-Hand Hold - In the two-hand hold position, both hands are held. Partners
should stand apart, facing one another. The male partner holds the female partner's
hands, while the female partner places her hands in the male partner's grasp.
03. Closed Position - The partners face each other in this position. The man's left-hand holds the woman's right
hand. Palms are touching, and fingers and thumbs are loosely clasped around each other's hands. The man's
right-hand rests on the woman's back, cradling her left shoulder blade.

04. Outside Right Position - Man and lady stand in front of each other in body contact,
slightly offset to the left. The feet should be positioned offset so that one partner can
step outside of the other partner's right leg.

05. Outside Left Position - The outside left (or left parallel) position is also similar to
the basic closed position. Again, the only difference is the placement of the feet. In the
outside left position, the female partner places her feet to the left of the male partner's
feet.

06. Promenade Position - a "V" shaped dance position with the man's right hip and the
woman's left hip in contact at the point of the "V", and with the man's left side and the
woman's right side slightly open.

07. Fallaway Position - this is similar to the promenade position, except the dancers
move backward instead of forward.

08. Shadow Position - partners "shadow" each other's moves. Partners should step with
the same foot in the same direction. Their movements should act as a shadow to each
other
09. Skater's Position - partners join hands in front of their bodies. The right hands are joined below and left
hands are joined above.

10. Challenge Position - the male and female partners face one another but stand apart
and without making contact.

Group 4 Members
Ruiz, Ruby Ann
Silva, Liamme Angelique Rio
Tagala, Cristina
Tagulabong, Girlie Ann
Uson, Charlene Yvonne
Vecino, Jherlly Angela
Venida, Sheena
Villafuerte, John Michael
Yaba, Carmela
Zaldo, Christine Mae