115:, as people from widely disparate African cultures were thrown together during enslavement. As a result of this, their specific cultural traditions, including dances, were often lost or blended into a creolized African-American dance style. This dance style was also influenced by elements of British-European dances brought to the United States by European immigrants. Dance moves were passed down through generations of African Americans, revised and reworked, ultimately resulting in a specific African-American dance vocabulary. Over time, African-American dance became more formal than its African predecessors, but more energetic and dynamic than European dances.
130:, dance steps began to lose their association with religion and spirituality and became thought of as purely secular. The dances of working-class and lower-class black people relinquished some of their Euro-American characteristics. Dances in this era became associated with the expression of pleasure and sexuality with one's partner, and the importance of community was de-emphasized. The African style of dancing while bent over moved towards a more upright stance.
165:, around 1905. A local band consisting of three Black men with battered string instruments played a "haunting" song: "The dancers went wild." Later, Handy described a crowd's enthusiastic response to his own band playing blues music in 1909: "In the office buildings about, white folks pricked up their ears. Stenographers danced with their bosses. Everybody shouted for more." Later, he incorporated elements of
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185:. According to Albert Murray, blues idiom-dance movement has nothing to do with sensual abandonment. "Being always a matter of elegance is necessarily a matter of getting oneself together. Practitioners of this style do not throw their bodies around; they do not cut completely loose. A loss of coolness and control places one squarely outside the tradition."
199:
In fact, the very nature of a vernacular dance culture ensures the survival of socially and culturally useful or valuable dances. Many of the steps specific to dances associated with popular blues songs of the 1920s were adapted for new musical structures in jazz, and new dance forms such as the
299:, the movement of the buttocks forms a variety of figure eights, an element that originated in African dance. African dance generally discourages close bodily contact, so the use of this move in partner dances in the United States was considered obscene when it was first introduced. The
252:
An asymmetry and polyphonic look/feel to the body, characterized by an equality of body parts. No limb or part has precedence, but they all work together both in a simultaneous and serialized fashion. The focus and weight shifting moves through various parts of the body;
204:. Early African-American blues dances were very simple in their core movement and allowed for a wide variety of musical interpretation, embodying a black aesthetic approach to rhythm, movement and melody which permeated black music. They were often a simple one-step or
192:", a term that was used by Black dancers in Chicago through the 1940s. By the 1960s, the term "belly-rubbing" had gained acceptance. In the 1970s, both Black and white people began to refer to very close slow dancing between couples simply as "
208:
and though some movements may have been adapted and integrated into some mainstream popular dances, blues dancing as a distinct dance genre and social practice never became a specific focus for white
America in the way that dances such as the
256:
Rhythmic movement. Not just a single rhythm being used in/with the body, multiple meters or rhythms are used. Articulated movement in the torso (chest, rib cage, pelvis, butt) identifying and emphasizing different
177:
was fashionable, so he used a tango-style introduction before transitioning suddenly into a blues style. As Handy recalled, after a moment's hesitation, the audience threw themselves into the dance with abandon.
263:
A drawing of the beats, dancing in the space between the beats, pushing and pulling creating a sense of tension both in the body and the body moving through space, while remaining loose and relaxed.
196:". The degree of affection the partners had for each other generally determined how closely the partners danced, and there were widely varying levels of proficiency and styles of footwork.
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An athletic and grounded body posture and movement, characterized by the weight being held on the balls of the feet, the knees bent, the hips pushed back, and the chest forward.
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into his blues music, because he had observed that Black people danced even more enthusiastically when these elements were present. In 1914, he played the song "
119:
181:
At this point, blues began to come into its own as a genre. A tune called "Slow Drag Blues", composed by
Snowden, was recorded c. 1915–19 by
330:
is a movement in which the knees are moved forward and back one by one, while keeping the feet together, resulting in movement of the hips. As in
884:
Hubbard, Karen; Monaghan, Terry (2009). "Negotiating
Compromise on a Burnished Wood Floor: Social Dancing at the Savoy". In Malnig, Julie (ed.).
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to Blues music and ballads. It is a slower, fluid, but highly rhythmic dance, involving lots of spins, lifts, and dips. Famous Lindy Hopper
94:
57:
658:
Transcript: Interview with Sugar
Sullivan, 2001, pp. 18–20. Available in the archives of the New York Public Library at Lincoln Center.
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1038:
1019:
978:
922:
855:
Heckscher, Juretta Jordan (2009). "Our
National Poetry: the Afro-Chesapeake Inventions of American Dance". In Malnig, Julie (ed.).
2000:
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72:, Part 1, as the sub-section title of Chapter II, referencing different dance styles. African-American essayist and novelist
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1937:
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1965:
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695:
770:
Friedland, LeeEllen (1995). "Social
Commentary in African American Movement Performance". In Farnell, Brenda (ed.).
1942:
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2005:
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is extremely similar to dances seen in South Africa, Ghana, and
Nigeria. Strutting was often associated with
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Improvisation between dancers and on their own movements. Based on the rhythm section of the band.
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334:, a similar move in which the knees are held together, this results in a rotation of the hips.
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were also performed with hip movements. Similar dances were popular in New York City by 1913.
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Blues dancing originated in the dances brought to
America by enslaved Africans, who followed
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songs, documented an early experience he had with blues music at a dance that took place in
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Human Action Signs in
Cultural Context: The Visible and the Invisible in Movement and Dance
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music, or the contemporary dances that are danced in that aesthetic. It has its roots in
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Jackson, Jonathan David (2001). "Improvisation in
African-American Vernacular Dancing".
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509:"Time Period: Post-Reconstruction through the Gilded Age (1875–1900) –
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Family of historical dances that developed alongside and were danced to blues music
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in its various forms was first documented during, and danced to the music of, the
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used the term "blues-idiom dance" and "blues-idiom dance movement" in his book
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and the historical dances brought to the United States by European immigrants.
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Step it Down: Games, Plays, Songs, and Stories From the Afro-American Heritage
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1109:"The Afro-American Transformation of European Set Dances and Dance Suites"
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Jookin': The Rise of Social Dance Formations in African-American Culture
611:"Ragtime to Jazz 1: 1912 - 1919 - Various - Teilen Sie Ihre Erfahrungen"
229:
Cover of the song "Bon Bon Buddy" that closed Act 2 of the 1908 musical
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Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader
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Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader
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was a similar move that involved "grinding" the rear end around. The
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Blues dances as a genre have been said to share a certain aesthetic:
97:. There is no documented evidence across the history of pre-colonial
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Escaping the Delta: Robert Johnson and the Invention of the Blues
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Steppin' on the Blues: The Visible Rhythms of Black Dance
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Dancing Many Drums: Excavations in African American Dance
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Digging the Africanist Presence in American Performance
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34:Young African Americans dancing in a juke joint in
1073:Jazz Dance: The Story of American Vernacular Dance
511:The Encyclopedia of Arkansas History and Culture
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345:, another historical African-American dance.
188:Dancing to blues music was sometimes called "
66:used the term "The Blues" in her documentary
8:
101:dance for sustained one-on-one mixed-gender
48:that developed alongside and were danced to
940:(2). Congress on Research in Dance: 40–53.
917:(1.17 ed.). Pontiac Swing Dance Club.
913:Hutchinson, Craig R. (1998). "Supplement".
774:. London: Scarecrow Press. pp. 136–57.
765:. Wisconsin: University of Wisconsin Press.
1207:
1193:
1185:
1001:: CS1 maint: location missing publisher (
719:
1052:. Chicago: University of Illinois Press.
1014:. Chicago: University of Illinois Press.
969:Jones, Bessie; Hawes, Bess Lomax (1972).
436:
890:. Urbana: University of Illinois Press.
861:. Urbana: University of Illinois Press.
157:, who wrote some of the first published
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173:" for the first time. At the time, the
1107:Szwed, John F.; Marks, Morton (1988).
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276:, referenced by documentary filmmaker
915:Swing Dancer: A Swing Dancer's Manual
798:Father of the Blues: An Autobiography
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7:
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95:sub-Saharan African music traditions
58:sub-Saharan African music traditions
1076:. With a foreword and afterword by
237:is in the photo on the lower left;
25:
779:Gottschild, Brenda Dixon (1996).
111:had a great deal of influence on
810:Hazzard-Gordon, Katrina (1990).
2001:Dance in mythology and religion
670:Ballroom, Boogie, Shimmy, Shake
122:of approximately 1875–1900, as
1:
109:Slavery in the United States
56:, which itself is rooted in
425:Hubbard & Monaghan 2009
389:Hubbard & Monaghan 2009
280:, was a slow dance done by
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801:. Foreword by Abbe Niles.
783:. London: Greenwood Press.
744:Stearns & Stearns 1994
732:Stearns & Stearns 1994
683:Stearns & Stearns 1994
484:Stearns & Stearns 1994
469:Stearns & Stearns 1994
292:described it as romantic.
134:Development of blues music
120:post-Reconstruction period
1222:
1070:; Stearns, Jean (1994) .
1068:Stearns, Marshall Winslow
761:DeFrantz, Thomas (2001).
150:, sheet music cover, 1914
268:Specific moves or dances
84:History of blues dancing
1048:Pruter, Robert (1992).
1029:Murray, Albert (2000).
1010:Malone, Jacqui (1996).
822:Temple University Press
370:Ken "Snakehips" Johnson
1113:Dance Research Journal
934:Dance Research Journal
720:Jones & Hawes 1972
242:
163:Cleveland, Mississippi
151:
113:African-American dance
54:African-American dance
38:
365:Earl Snakehips Tucker
228:
141:
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1966:Dance and disability
805:: Macmillan Company.
2011:Dance on television
538:Hazzard-Gordon 1990
526:Hazzard-Gordon 1990
496:Hazzard-Gordon 1990
452:Hazzard-Gordon 1990
221:Blues dancing style
126:were passed in the
99:sub-Saharan African
1031:Stomping the Blues
696:"James P. Johnson"
243:
241:on the lower right
152:
78:Stomping the Blues
39:
18:Snake hips (dance)
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2006:Dance occupations
1943:Wallis and Futuna
1033:. Da Capo Press.
897:978-0-252-03363-6
868:978-0-252-03363-6
668:Monaghan, Terry.
576:, pp. 97–98.
360:Slow drag (dance)
171:Saint Louis Blues
144:Saint Louis Blues
103:partnered dancing
46:historical dances
16:(Redirected from
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2041:History of dance
2026:Dance technology
1971:Dance and health
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69:The Spirit Moves
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1405:Novelty and fad
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1273:closed position
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1242:List of dancers
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1237:List of dances
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437:Heckscher 2009
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290:Sugar Sullivan
286:Savoy Ballroom
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167:habanera music
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128:American South
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2036:Dancing mania
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2021:Dance science
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1996:Dance in film
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1082:Da Capo Press
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282:Lindy Hoppers
279:
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253:poly-centric.
251:
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239:George Walker
236:
235:Bert Williams
232:
231:Bandanna Land
227:
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190:slow dragging
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183:Dabney's Band
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71:
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42:Blues dancing
37:
32:
19:
2072:Swing dances
2067:Social dance
2031:Dance troupe
1976:Dance awards
1871:Pontic Greek
1578:Dance theory
1568:Choreography
1480:Contemporary
1153:
1149:Wald, Elijah
1116:
1112:
1072:
1050:Chicago Soul
1049:
1030:
1011:
973:. New York.
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818:Philadelphia
812:
797:
789:Handy, W. C.
780:
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754:Bibliography
739:
727:
715:
704:. Retrieved
700:the original
690:
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619:. Retrieved
615:the original
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194:slow dancing
187:
180:
153:
117:
107:
92:
77:
67:
62:
41:
40:
1861:Philippines
1846:Netherlands
1836:Middle East
1388:Table dance
1353:Go go dance
1333:Competitive
647:Pruter 1992
635:Malone 1996
413:Malone 1996
401:Murray 2000
343:cakewalking
155:W. C. Handy
148:W. C. Handy
118:During the
36:Mississippi
2061:Categories
1928:Uzbekistan
1696:Azerbaijan
1605:Musicality
1573:Connection
1530:Postmodern
1500:Historical
1383:Striptease
1378:Pole dance
1328:Ceremonial
1283:slow dance
1168:0060524235
831:087722613X
706:2008-07-16
621:2009-01-31
586:Handy 1941
574:Handy 1941
562:Handy 1941
550:Handy 1941
376:References
355:Juke joint
328:Snake Hips
301:Funky Butt
215:Charleston
89:Background
1933:Venezuela
1896:Sri Lanka
1891:Singapore
1851:Nicaragua
1781:Indonesia
1686:Australia
1555:Technique
1453:formation
1368:Lap dance
1133:0149-7677
1119:(1): 29.
997:cite book
962:190724670
906:212908856
877:212908856
598:Wald 2004
317:Slow Drag
297:Fish Tail
278:Mura Dehn
211:Lindy Hop
202:lindy hop
64:Mura Dehn
1948:Zimbabwe
1901:Thailand
1826:Malaysia
1811:Kiribati
1721:Cameroon
1716:Cambodia
1706:Bulgaria
1681:Assyrian
1650:national
1645:Regional
1625:Spotting
1620:Sequence
1598:glossary
1545:Two-step
1490:Flamenco
1475:Breaking
1470:Boogaloo
1448:Ballroom
1393:Twerking
1358:Grinding
1343:Ecstatic
1177:7277785M
1151:(2004).
1100:93040957
848:2209566M
840:89032004
803:New York
791:(1941).
349:See also
274:Ballroom
257:rhythms.
206:two-step
1958:Related
1938:Vietnam
1911:Ukraine
1821:Kurdish
1791:Ireland
1771:Hungary
1761:Georgia
1746:Denmark
1736:Croatia
1701:Belarus
1691:Austria
1676:Armenia
1666:Albania
1630:Turnout
1515:Lyrical
1495:Hip-hop
1338:Concert
1263:Partner
1232:Outline
1159:Amistad
1141:1478814
954:1477803
795:(ed.).
322:ragtime
295:In the
284:at the
1906:Turkey
1886:Serbia
1881:Russia
1876:Romani
1866:Poland
1831:Mexico
1796:Israel
1766:Greece
1751:Europe
1726:Canada
1661:Africa
1652:dances
1610:Pointe
1583:Graham
1563:Ballet
1520:Modern
1443:Ballet
1430:Styles
1415:Street
1410:Sacred
1348:Erotic
1320:Social
1308:square
1293:contra
1288:circle
1175:
1165:
1139:
1131:
1098:
1088:
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989:340336
987:
977:
960:
952:
921:
904:
894:
875:
865:
846:
838:
828:
309:Mooche
217:have.
2077:Blues
1841:Nepal
1816:Korea
1806:Japan
1801:Italy
1776:India
1731:China
1635:Turns
1593:Moves
1535:Swing
1525:Polka
1510:Latin
1465:Belly
1458:waltz
1303:round
1227:Index
1216:Dance
1137:JSTOR
958:S2CID
950:JSTOR
339:Strut
324:era.
305:Squat
175:tango
159:blues
146:" by
50:blues
1856:Peru
1786:Iran
1741:Cuba
1671:Arab
1615:Pole
1505:Jazz
1438:Acro
1400:Folk
1298:line
1258:Solo
1163:ISBN
1129:ISSN
1096:LCCN
1086:ISBN
1054:ISBN
1035:ISBN
1016:ISBN
1003:link
985:OCLC
975:ISBN
919:ISBN
902:OCLC
892:ISBN
873:OCLC
863:ISBN
836:LCCN
826:ISBN
337:The
314:The
307:and
272:The
213:and
1540:Tap
1420:War
1121:doi
942:doi
2063::
1173:OL
1171:.
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1157:.
1135:.
1127:.
1117:20
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999:}}
995:{{
983:.
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844:OL
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476:^
459:^
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1648:(
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513:"
142:"
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
