BALLROOM DANCE

 One of the most entertaining and elite styles of dancing.

 In the earlier days, ballroom dance was only for the privileged class of people, the socialites if
you must.
 This style of dancing with a partner, originated in Germany, but is now a popular act followed in
varied dance styles.
 Today, the popularity of ballroom dance is evident, given the innumerable shows and
competitions worldwide that revere dance, in all its form.
 Ballroom dancing is derived from the word “ball”, which in turn originates from the Latin word
ballare which means ‘to dance’.

RUMBA

 Considered by many to be the most romantic and sensual of all Latin ballroom dances.
 Referred to as the “Grandfather of the Latin dances”.

SALSA

 The essential elements of modern salsa dance, music and culture can be traced to Cuba.

WHAT IS SOCIAL DANCE?

 A dance which is recreational and usually performed with a partner and in groups or as a
community activity for fund and enjoyment
 Sometimes it doesn’t require a partner but simply a number of people in a group.
 It is a non-competitive form of Ballroom dancing,
 Built on the premise of being able to socialize while dancing with someone, social dancers utilize
al forms of partner dancing for practical use instead of performance.

TWO CLASSIFICATIONS OF DANCE

 Dancing is generally divided into two grand divisions:

o Social and theatrical
o Salon and show dances – devised solely for social pleasure, is of such a nature that
persons who do not make dancing a profession may acquire knowledge of it.

WHY DO PEOPLE DANCE?

 It has been used in worship.

 It plays a role in courtship.
 It serves as a form of acquaintance for man and woman.
 It is an expression of one’s feelings.
 As in old times, it brings magical power to people.
 It brings victory or somehow restores health to life.
 It serves to entertain others.
 It gives beauty and inspiration to others
 It is used as whole-body workout.
CLASSIFICATION OF SOCIAL DANCES

1. Latin American Dances

- The costume worn by performers are somewhat revealing, tight-fitting, sexy yet
sophisticated in nature.
- The nature of the movements are freer and can be performed in ---.
- Examples: Salsa, Mamba Merengue, Swing, Cha-cha-cha, Rumba, Samba, Jive, Boogie, Paso
doble
2. Modern Standard Dances
- They wear formal ankle length gowns for females and coat-and-tie for males.
- Most of the time movements in these are restricted to close ballroom position with partner.
- Example: Slow Waltz, Tango, Viennese Waltz, Foxtrot, Quickstep

THE DO’S AND DON’T’S OF SOCIAL DANCING

 Don’t teach, correct or critique your partner’s dancing.

o It isn’t a time to teach someone how to dance or teach them something new with their
dancing.
 Don’t dance above your partner’s skill level.
o Dancing above your partner can make them feel uncomfortable and lose confidence in
how they dance.
 Smile and look happy.
 Make eye contact, but don’t forget to blink.
 Apologize if you bump into or step on someone.
o The floor can get crowded during social dancing so bumping into or stepping on
someone may happen.
o Just apologize and continue dancing.
 Don’t do crazy moves.
o It is important to keep your partner on the floor and avoid doing dips.
o We want to make sure we are creating a safe environment for yourself, whom you are
dancing with and other couples on the floor.
 Escort your partner on and off the dance floor.
 Thank your partner for the dance.
 Plan to dance the whola dance.
 Do ask if someone if they would like to dance by using the phrases such as “Care to dance?” or
“May I have this dance?”
o It is okay to say no if you’re tired or don’t know the dance currently being danced.
o If you say no to someone you cannot say yes to someone for the same dance.
 Do be considerate of others on the floor.
o Be sure to be aware of your surroundings so that you don’t experience run INS.
 Don’t blame your partner.
o Social dancing is neat to be fun, a chance to practice what you have been working on,
and to meet and dance with new people.

HISTORY OF RUMBA
  The word rumba comes from the Spanish word rumbear which means to party.
 It originated from Cuba and contains both African and Caribbean influences due to the
importation of African slaves to South America and the Caribbean.
 Originating in the late 19th century among the black population of the eastern Cuban province of
Oriente, the son is a vocal, instrumental, and dance genre also derived from African and Spanish
influences.
 In its original form the rumba was very fast, extremely erotic, and totally uninhibited.
o The woman would perform sensuous movements of the hip, chest, and shoulders to
lures the man in and then she backs off when he takes her seriously.
o The Cubans refined this version to be less uninhibited making it slower and less overtly
flirtatious, giving birth to the dance known as the son.
 A few of the other versions of the rumba include: beguine, bolero (very slow & lilting), calypso,
columbia (male solo dance), danzon (slower than son), guagira, guaguancó (male pursuit,
women run), guaracha, jambú, naningo, and yambú (very slow, no much hip movement).
 The rumba reached the United States in the late 1920s and was again toned down.
o There is a rumor that Arthur Murray was the one who watered down the rumba
because he did not believe that we would ever want to move our hips like the Latinos.
 The dance still retains the sexual flavor, with the woman alternating between trying to lure the
man in with her sexual charms and keeping the man at bay, and the man showing his
masculinity and trying to entice the woman to do his bidding.

RHYTHM & TIMING

 It is generally done in 4/4 timing with 28-32 bars per minute.

o TIMING: 1, 2, 3, 4
o RUMBA STEP PATTERN: SLOW-QUICK-QUICK or SLOW (counts 4-1) QUICK (count 2),
QUICK (count 3)
 Rumba is a Latin dance and contains plenty of percussion including a continuous flow of eighth
notes.
o Slower tempos allow the dancer the opportunity to “feel” and react to the music.
 Typically, round dancers begin on beat 1 of the music (1,2, 3-4 QQS), while international style
ballroom dancers wait until beat 2 (2, 3, 4-1 QQS).
 There are also two major schools of American ballroom dancers, the Fred Astaire studios that
teach rumba as SQQ, and the Arthur Murray studios that teach QQS.
o Whatever timing you use should really be determined by the where the music breaks.

LATIN HOLD & FOOTWORK

LATIN HIPS

 The hips in Rumba will move automatically as a result of correct foot and leg action, but you can
direct this action, thereby making it less chaotic and more pleasing to the eye, especially the eye
of your partner.
o Gently guide your hip motion into a figure eight.
 o For each step taken, the same hip does a circular motion as weight it taken onto that
foot, the left hip moves in a counterclockwise direction and the right hip will move in a
clockwise direction.
 As an example, in more detail: Step forward with your left foot while moving the
left hip forward as weight is transferred onto the left foot, the left hip continues
to move in a counterclockwise direction.
 Recover back onto the right foot and the right hip moves forward as weight is
transferred onto the right foot, the right hip continues to move in a clockwise
direction.

FORWARD CHECKERED ACTION (INTERNATIONAL STYLE)

 This allows the couple to move slightly further apart from each other, giving a nice looking
change of pace.

MAN MOVING FORWARD WOMAN MOVING FORWARD

Man: forward, recover, side & slightly back Man: back recover side
Woman: back, recover, side Woman: forwards, recover, side & slightly back

RISE & FALL

 Rumba is a very level dance that employs linear and circular movements but not much upwards
or downward movement.

SWAY

 It does employ some body sway.

 It is generally used by the man to assist the woman in achieving different positions and figures,
such as in the woman’s spiral preceding a rope spin.

LEADS

 there are two types of leads used by the man in Latin dances, physical leads and shaping
leads.
 Physical Leads
o these happen as a result of contact between the man and the woman, generally
through a slight bit of tension in the arm(s).
o Most of the time, in order to get the best results the man should aim this pressure
towards the woman’s center of gravity (her hips), as opposed to other parts of her
body, but there are exceptions.
o For example when in fan position, in order to indicate to the woman to close her
feet at the beginning of the next figure, he exerts a gentle pressure towards the
woman’s center of gravity and slightly to his side with his left hand.
 Shaping Leads
o The man shapes his body and/or arm to indicate to the woman the direction and/or
position required.
 o For example, the man can use his body shaping to indicate to the woman the
direction and timing of a spiral.
TAKE NOTE:

 COUNTS 1, 2, 3, 4 = ONE FIGURE

 Starts with a 4, 1 count (Sideways facing your partner or direction), followed by a 2, 3 counts
and repeat other side.
 BOY – Starts with Right foot **manuevering part
 GIRL – Starts Left foot **follows

THINGS TO CONSIDER WHEN YOU DANCE:

 Correct posture
 Footwork
 Arm position
 Step pattern
 Execution/form
 Timing