WEEK 7 the terrace dikes and skip through breaks in the path.

This dance portrays the walk of

A contemporary performance of the kalinga of the Mountain Province in the Philippines. Subli
This dance illustrates the languid grace of a tribe otherwise known as fierce warriors. This The term “subli” is from two tagalog words “subsub” meaning “falling on one’s head”
dance shows the skill and strength of the women as they carry heavy laden clay pots, or and “bali”, which means “Broken”. This version is originally a ritual dance of the
banga, full of water. Their grace and agility while balancing the heavy pots is a testament natives of Bauan, Batangas, which is performed during fiestas as a ceremonial worship
of how the Filipino strength and dance to the town’s icoon, the Holy Cross.
determination to survive hardship. Young Igorot girls start only one pot. But, of course, as
they become older and more experienced, they are expected to provide more water for their Asik
family. Pots could be as high as five or six stacks. Women would all gather and march to
the river each day, singing a native song This dance is performed by a solo maiden, adorned with fine beads make-up, and a
accompanied by the flute and banging of bamboo on iron pots in the dance. long head scarf. The maiden would dance to win the favor of her Sultan master. She
would give her whole heart and soul into this performance to soften the heart of her
Idaw master and accept her.
This dance has many names and different versions. It depicts the hunting ritual performed Kini kini
before a tribal war. The tribesmen would go out and look up and watch out for the scared
Idaw bird which is said to lead the tribe to victory. Considering the Philippines as a very Kini means the Royal Walk. Maranao women perform this dance with scarves. The
humid country, the traditional clothing was made to cover not much of the body. As one of beauty of the scarves and the talent and grace in which it is displayed shows their elite
the cordillera dances, this Bondoc dance depicts a war ceremony performed by warriors of social upbringing.
rival Pangalay
tribes. Idaw, meaning “bird” is celebrated because it was the omen bearer of war.
The pangalay is native to the badjao, who are also known as “Sea Gypsies”. It is a
Idudu dance that emphasizes the agility of the upper body. The pangalay is commonly
The family is the basic structure of family life among the Tinge or Tinggian people. Caring performed at weddings and other social gatherings. One will also see some parts of the
for the children is shared by both the mother and father. While the men are clearing the Singkil in this dance. This dance is sometimes called the Muslim Dance of Four
fields, breaking the soil with bamboo and their feet, the women watch the children. Soon Bamboos.
as the men are done, they take care of the children while the women do back breaking Singkil
work. You can see in the dance how the women will take the bamboo baskets
and shaking them in the manner of drying rice,while the men are going in circles in the The Singkil Dance takes its name from the bells worn on the ankles of the Muslim
background like they are tilling the land. Then, the women put down the baskets, fold cloth Princess. The singkil recounts the epic legend of the “Darangan” of the Maranao
into a baby while the husbands stand aside. Afterward, the women will turn over the baby people of Mindanao. This epic, written sometime in the 14th century, tells the fateful
to their hundbands, pick up the bamboo, and start tilling the land while the men hold and story of Princess Gandingan who was caught in the middle of a forest during an
cradle the babies. earthquake caused by the diwatas or fairies or nymphs of the forest. The faces of the
dancers are formal and they maintain a dignified pose. Dancing begins at a slow pace
Ragragsakan which soon progresses to a faster tempo in which dancers skillfully manipulate fans
The Kalingga borrowed the beautiful word “ragragsakan” from the Ilocano, which means that represent the winds that prove to be auspicious.
“merriment”. The Sakuting
two biggest occasions for a ragragsakan in a kalinga village are for the homecoming of
successful head takers and the culmination of peace pact between warring tribes. Kalinga The Sakuting dance was only performed by males from Abra province and is a dance
maidens balance “labba” or woven baskets on their heads, wave colorful tribal blankets, of the Ilokano Christians and non-Christians. It represents an imitation fight using
and sing short salidumay songs as they snake through sticks to train for battle. Performed at the town plaza or house-to-house during
Christmas, on-lookers give the performer gifts, or 'aguinaldos', such as refreshments or third of the way, then proceed to the opposite place. Upon reaching the opposite
money. place, partner’s turnabout, girls stand at partners’ right side.
Sublian •  Cut – To displace quickly one foot with the other, thus completely taking off the
weight of the body from the displaced foot.
The word Subli is traced to the 2 Tagalog words 'subsub' (hunched over or in a crouching
position) and “bali” (broken). Consequently the male dancers look to be crippled and •  Do-Si-Do(“Dos-a-Dos”) – The vis-à-vis (opposite) both advance forward, pass each
twisted throughout the. These steps in Philippine folk dances are a preferred dance of the other’s right (or left) side, step across to the right (or left), move backward without
people in most of the populated areas of the district of Bauan, Batangas, during the month turning around pass each other’s left (or right) side to proper places. This is of foreign
of May and while the town and barrio fiestas are celebrated. origin and is used in many Philippine dances.
Module 8: Common Dance Terms in Philippine Folk Dance •  Draw – To pull one foot along the floor close to the other which has the weight of
the body. The weight may or may not be transferred.
•  Abracete – Girl at the right side, holds Right arm of partner with her Left hand, free
hands down at the sides. This terms is of Spanish and is used in Rigodon and in other •  Free Foot – The foot no bearing the weight of the body.
dances.
•  Free Hand – The hand not place anywhere or not doing anything.
•  Arms in Lateral Position – both arms are at one side, either sideward right or left. This
may be done at shoulder chest or waist level. •  Hand on Waist – Place hands at the waist line (at the smallest part of the trunk),
knuckles in, fingers pointing in rear.
•  Arms in Reverse “T” position – Arms are side horizontal, elbows bent at right angles,
forearms parallel to head, palms forward or facing inward, fists loosely closed. •  Hapay – To flourish or offer a handkerchief, hat or glass of wine to somebody as a
sign of invitation.
•  Bilao – To turn hands up and sown alternately, hands at waist level in front, elbows
close to waist. •  Hayon –Hayon – To place one forearm in front and the other at the back of the
waist. This is a Visayan term.
•  Brush – Weight on one foot, hit the floor with the ball or heel of the other foot (the free
foot) after which that foot is lifted from the floor to any direction. •  Hop – A spring from one foot landing on the same foot in place or any direction (in
front, in rear, sideward or across).
•  Cabeceras – When dancers are in square formation, the couples occupying the width of
the hall are called “cabeceras” or head couples. This is of Spanish origin. •  Inside Foot - The foot nearest one’s partner, when partners stand side by side.

•  Clockwise – Like the motion of the hands of the clock. Right shoulder is toward the Module 9: History of Ballroom Dancing
center of an imaginary circle. When facing center, the movement is toward the left. “Ballroom dancing” as a term hails from the Latin word “ballare” which,
•  Counterclockwise – The reverse direction of clockwise. Left shoulder is toward the coincidentally, means “to dance.” Thus, a ballroom is a room in which to dance.
center of an imaginary circle. When facing center, the movement is toward the right. Makes sense, right?

•  Costados – When Dancers are in square formation, the couples occupying the length of Centuries ago, ballroom dancing was primarily for the privileged and well-to-do,
the hall are called “costados” or side pairs. This is of Spanish origin. while the commoners had to make do with folk dancing; however, these boundaries
have since disappeared, leaving ballroom dancing a fun hobby for everyone.
•  Crossed arms – Partners are facing each other or standing side by side, girl at the right
of boy. They join their Left hands together and their Right hands together either Right over Today, ballroom dancing applies to numerous dances in which a “leader” and a
Left or Left over Right hands. “follower” dance together in close proximity, usually with some degree of physical
contact. This closeness is to permit the leader to get the follower to, well, follow along.
•  Cross- Over – Two couples (the vis-à-vis) are opposite each other. Each couple
proceeds in a straight line to the opposite place. The girl pass by their Left shoulders Early Ballroom Dancing
between the boy. Boys bow to each other when they meet at the middle or at about one- The first documented authority of early ballroom dancing is Jehan
Thoinot’Arbeau’s Orchesographie (1588) that discussed 16th-century French social
dance. In 1650, Jean-Baptiste Lully introduced the Minuet to Paris—a dance that would Anchor Step - The anchor step is a stationary triple step danced in third foot position
dominate ballroom until the end of the 18th century. to the timing of 1&2. It is popular in the west coast swing.
The Waltz came about in England in the early 1800s despite initial opposition to the closed Grapevine - The grapevine is a continuous traveling step pattern to the side usually
dance hold. By 1840, the Polka, Mazurka, and Schottische emerged. with alternating crosses behind and in front of the supporting foot.
Ballroom Dancing Emerges in the US Lock Step – The lock step is usually danced to triple step timing. During the step, the
lower part of the legs cross such that the back leg becomes locked behind the leading
In the early 20th century, ballroom dancing experienced massive popularity in the US with leg until the leading leg moves forward. The lock step is often used in the triple step of
the extremely successful dancing of Fred Astaire and Ginger Rogers. Even though most of the cha cha cha.
their numbers were meticulously choreographed, staged, and oft-rehearsed, they influenced
greatly ballroom dancing’s acclaim and acceptance. Module 10: BALLROOM DANCE POSITION
Ballroom versus Latin Dances Description
Although commonly classified together as “ballroom” dancing, there are notable Back Cross
differences between ballroom and Latin dance. The “ballroom” dances are generally
“smooth” dances like: Side by side, man to woman's left, right hands joined behind woman's back, and left
hands joined behind man's back.
Definitions of basic ballroom dance steps
Back-to-Back
Triple step - Triple steps are popular in swing dancing. The Triple Step is a three step
sequence taken on two beats of music. If the first step of the triple step is taken on count 1, Partners facing away from each other. Banjo
the second step is taken on the half beat between counts 1&2, and the third step is taken on A closed position with the man’s left side leading. When the man steps forward with
count 2. The step timing is often called out as 1&2. Usually the triple step is two quick his right foot, he steps outside his partner's feet.
steps and one slow, called out as "quick-quick-slow", or, using numbers, as "one-and-two.”
Butterfly
Rock Step - Here we see a sequence of two steps called a rock step. The step timing is
usually slow-slow. A facing position, somewhat apart from each other. Lead hands and trail hands are
joined at shoulder height. The elbows are up and out. A couple can be in "Butterfly
Basic of East Coast Swing - The combination of two triple steps and a rock step form the Banjo" (left side lead) or "Butterfly Sidecar" (right side lead). In each of these two
basic step of triple timing swing or the East Coast Swing. The step timing is usually called cases, the next step would be outside partner.
out as 1&2, 3&4, 5,6.
Closed
Ball-Change - Here we see a sequence of two steps called a ball-change. Weight on the
ball of the foot is changed to the other foot. Standard dance position, facing partner, slightly offset to the left, lower bodies’
together, upper bodies apart, both looking left. The man’s right hand is just below her
Kick Ball Change - A popular swing dance step is the kick-ball-change step, which can be left shoulder blade and her left hand is on his upper right arm. His left hand is out to
used to replace the rock step. The timing is usually 1&2. his left and about at shoulder height and is holding her right hand.
The Basic Step of the Carolina Shag - The combination of two triple steps and a kick Cuddle
ball change can be used in triple timing swing dances such as the Carolina shag.
A closed embrace, man's arms around her waist or lower back and woman's arms on
Coaster Step - The coaster step is usually a back-together-forward triple step danced to his shoulders, neck, or face.
the timing of 1&2 or quick, quick, slow.
Escort
Sailor Step - The sailor step has a side to side look. It is also a triple step danced to the
timing of 1&2. The step is accomplished by leaning in the opposite direction of the An open position in which the woman's left arm is passed through the crook of the
crossing foot. man's right arm. Her forearm rests on his forearm.
Facing his shoulders, and her right hand holds his right, again to the side and above his
shoulder, or if he is too tall for this to be comfortable, at his waist.
Any position in which the man and woman are directly in front of each other, front to
front, e.g., closed, butterfly, open facing positions, or with no contact. Semi-Closed or Promenade
Half Open A position lying between Open and Closed. In Closed Position, if the man turns his
hips to the right and gives a little more right side stretch, the lady will look to her right.
Both facing the same direction, woman on man's right side, bodies turned half toward each This is called opening the lady's head. Her body will open a little, too. It will turn a bit
other; man's right palm on woman's back and woman's left hand at or near men right to the right. Now, your two bodies form a slight "V." Your arm positions have not
shoulder. Free arms may be extended to side. In Left Half Open, she is on his left side. changed, and the man's right and the lady's left hips are still in contact.
Left Open Sidecar
Facing Partners are facing each other but apart, man's left hand and lady's right joined. A closed position with the man’s right side leading. When the man steps forward with
Man's right and lady's left arms may be extended to the side. his left foot, he steps outside his partner's feet. Note that, as with the banjo diagram
Left Open Position above, this sidecar diagram is overdone. Their bodies should not be offset but should
be angled and in closed position.
Partners side by side, lady to his left, man's left hand and lady's right joined, both looking
in the same direction. Left Varsouvienne Partners face the same direction, the man behind Star
the lady and to her right -- lady to man's left. He holds her right hand in his right slightly in A facing position but offset, right hip to right hip, woman a little in front of man, right
front and above her shoulder. His left arm passes behind her shoulders, and his left hand hands joined at shoulder level or above, right elbows may be touching. In a Left-Hand
holds her left, again to the side and above her shoulder.See Varsouvienne below. Star, each would turn 1/2 and join left hands.
Low Butterfly Varsouvienne
Butterfly position, but the hands are closer together and about waist high. Man's Left The partners face the same direction, the man behind the lady and to her left. He holds
Varsouvienne Partners facing the same direction, man a little in front and to the left of the her left hand in his left slightly in front and above her shoulder. His right arm passes
lady. She holds his right hand in her right a little above and in front of his right shoulder. behind her shoulders, and his right hand holds her right, again to the side and above
Her left arm passes behind his back and she holds his left hand in her left to the side and a her shoulder. In Man's Varsouvienne the man and woman occupy each other's spot.
little above his left shoulder The partners face the same direction, the woman behind the man and to his left. She
Open holds his left hand in her left slightly in front of her left shoulder. Her right arm passes
behind his shoulders, and her right hand holds his right, again to the side and above his
Side by side, lady to his right, man's right hand and lady's left joined, both looking in the shoulder, or if he is too tall for this to be comfortable, at his waist
same direction. Free arms may be extended to the side. Left Open Position is side by side,
lady to his left, man's left hand and lady's right joined, both looking in the same direction. Wrapped

Reverse Semi-Closed or Counter Promenade Man stands behind and slightly to the left of the woman. She crosses her right arm
over her left in front of her body. He holds her right hand in his left. His right arm
From Closed Position, the man turns 1/8 right face, and the woman turns 1/8 left face so passes behind her, and he holds her left in his right at her right hip. A kind of Shadow.
that his left hip is in contact with her right hip. Compare to Semi-Closed Position (see
below), where his right hip and her left are together. Module 11: Ballroom Dance Introduction to Dance Styles AMERICAN TANGO

Reverse Varsouvienne The American tango is a descendent of the original tango from Argentina and
continues to evolve. Among those influences, the technical International (English)
This is a Varsouvienne (see below) in which the man and woman occupy each other's spot. style Tango, the dramatic Paso Doble, and even the original Argentine style continue
The partners face the same direction, the woman behind the man and to his left. She holds to contribute to its evolution. But American is still best known as both the simplest and
his left hand in her left slightly in front of her left shoulder. Her right arm passes behind the showiest of all Tangos.
Footwork: In Tango the feet pick up and place onto the floor, rather than gliding along in hip rolls and swiveling action of the feet. Strong and direct walks lead by the ball of
constant contact with the floor. The foot action is highly articulated, often being compared the foot are also characteristic of the Rumba.
to the sneaking or stalking action of a cat. Forward walks are placed with the heel first,
then flat. Backward walks are taken with a toe first, with the heel lowering as the body  SAMBA
moves over it. At the same time, the toe of the forward foot should release from the floor Samba is a lively, rhythmical dance of Brazilian origin in 2/4 time danced under the
as the body moves away. Side steps and chasses normally use a whole foot or ball- flat Samba music. However, there are three steps to every bar, making the Samba feel like
action. a 3/4 timed dance. There are two major streams of Samba dance that differ
CHA-CHA significantly: the modern Ballroom Samba, and the traditional Brazilian Samba. Rio de
Janeiro is the type of Samba seen in Brazilian Carnival parades.
Originally called the Cha-cha-cha, this dance evolved from the Mambo and the Rumba on
Cuban dance floors in the 1950’s. It is danced to Latin music with strong African and The ballroom Samba is danced to music in 2/4 or 4/4 time. The basic movements are
Cuban rhythms. The Cha-cha has a 4/4 syncopation where 5 steps are danced in 4 beats of counted either 1-2 or 1-a-2, and are danced with a slight downward bouncing or
music. Its unmistakable counting “one, two, cha-cha-cha” requires that the dancers use dropping action. This action is created through the bending and straightening of the
small steps. The Cha-cha is a very flirtatious dance filled with a catch-me-if-you-can knees, with bending occurring on the beats of 1 and 2, and the straightening occurring
attitude between partners. Hip movements and bending and straightening of the knees give on the "a".
the Cha-cha the classic Cuban motion. Partners work together to synchronize their As a ballroom dance, the samba is a partner dance. Ballroom samba, like other
movements in perfect parallel alignment. ballroom dances, is very disconnected from the origins and evolution of the music and
 BOLERO dance that gives it its name. It is a form created for its suitability as a partner dance.
The dance movements, which do not change depending on the style of samba music
Bolero is a 3/4 dance smooth, sophisticated, sentimental ballroom dance that originated in being played, borrows some movements from Afro-Brazilian traditional dances.
Spain in the late 18th century. The emphasis is on smoothness, grace and communication
between partners. Bolero has the same Afro-Cuban roots as the Rumba and is thought to  EAST COAST SWING
have originated in Cuba. The music is frequently Spanish vocals with a subtle percussion Swing music has an infectious accent on the upbeat and makes even non-dancers tap
effect. The dance is itself a slow salsa, with a taste of Tango and has easy patterns. The their feet, and snap their fingers. The most elemental definition of Swing dancing is
Bolero is a modification of the Fandango. The original dance was invented in about 1780 any style of dancing to Swing music, and there are hundreds of styles. Swing dancing
by Sebastian Cerezo a celebrated dancer from Cadiz, Spain. It was danced singly or in is usually characterized by its bounce and energy as well as lots of spins or under arm
couples, the dancers exhibiting complex and intricate movements while maintaining the turns.
rattle of their castanets. The dance should tell the story of a couple falling in love. The
partners change from a very close hold to solo dancing, and then come together as one. The original style of Swing dancing is the Lindy Hop which was named by Shorty
George Snowden in 1927 after Charles Lindberg’s famed nonstop flight across the
The American Style Bolero is a unique dance style combining the patterns of Rumba with Atlantic.
the rise and fall technique and character of Waltz and Foxtrot. The music is 4/4 time, and is
danced to the slowest rhythms of the Latin ballroom dances (the spectrum runs Bolero, Known by many for its acrobatic moves called arials, Lindy Hop is also danced
Rumba, Cha Cha, Mambo). The basic rhythm of steps in patterns, like Rumba, is Slow- socially featuring 8 count and 6 count patterns, often with kicking or Charleston steps.
Quick-Quick. Examples of Lindy Hop can be seen in recent movies such as Malcolm X or Swing
Kids, or older movies like A Day at the Races or Hellzapoppin. There are many
RUMBA different definitions and styles, but when most people refer to basic swing dancing,
The Rumba, widely considered the most romantic and sensual of the Latin dances, has a they are referring to a simplified version of the original Lindy Hop, favoring 6 count
magnetic interplay between its partners. Sometimes called the Grandfather of the Latin moves and also referred to as 6- count swing, east coast swing, jitterbug, and Lindy.
dances, the Rumba made its way from Cuba to the United States in the early 1920’s. Six-count swing can be danced to jazz or big band music from speeds of 110 beats per
Rumba music is in 4/4 time and there are four beats in each measure. Two measures of minute to 300 beats per minute, but most people enjoy dancing to the 120-180 beat per
music are required for a full basic step. In four beats of music, three steps are taken. minute range. The 6 count basic can be modified in many ways, but is most common
Essential to Rumba is the Cuban motion achieved through knee-straightening, figure-eight as rock-step, triple-step, triple-step (often referred to as triple time or triple step swing)
or rock-step, step, step (often referred to as single step or single time swing). 6 count
swing is easy to learn, especially when done with the single step rhythm. The triple step and beauty of the Waltz were noticed, and English society, so quick to denounce the
rhythm is better suited for slower songs, and can be substituted for the single step once you dance, eventually "embraced" it. In fact, Queen Victoria was an exquisite ballroom
are comfortable with the steps. Swing music and dancing are two of the most important dancer who developed a passion for the Waltz. Johann Strauss can be credited with the
cultural imports of America, learning how to dance can be a great way to connect with a persistence of the Waltz in mainstream ballroom dancing with his fast paced Waltz
part of our history. compositions that paved the way for the quicker Viennese style. In America the Waltz
tempo slowed to form a more smooth and graceful gliding dance with a gentle "rise
QUICKSTEP and fall" motion. Today the Waltz persists as the oldest of ballroom dances and
The Quick step is a descendent of the Boston and the One Step which appeared on the perhaps the best loved. The Waltz is unique in that it is the only ballroom dance
scene with the arrival of Ragtime and Jazz music in America towards the end of the written in 3/4 time. There are three beats to each measure, counted as "1-2-3" or
nineteenth century. These two were the first dances based on the forward step. They used a "quick-quick-quick." Typically, there are three steps of equal duration per measure,
heel lead followed by two or more steps on the balls of the feet. with the Hesitation being the exception. The lead foot alternates with each measure
(i.e., Left-2-3-Right-2-3). Because of this, Waltz combinations are usually written in a
It was first performed on stage in New York in 1922 in a black revue by George White, series of six steps.
and then in the stage show "Running Wild" in 1923 by the Ziegfeld Follies, which toured
U.S.A. It was popularized in Europe by Josephine Baker in Paris in the 1920's. It was One of the most distinguishing features of the Waltz is the 3/4 time signature that it is
danced with wild swinging arms and side kicks to music at 200 to 240 beats per minute. It played in. This means that each measure has 3 beats rather than the more common 2 or
subsequently became very popular worldwide, but the wild character of the dance induced 4. Waltz is counted 1-2-3 with a heavy accent on the 1. You cannot dance other dances
many sedate ballrooms either to ban it altogether, or to put up notices saying simply such as foxtrot, swing, or tango to waltz music because of this three beat grouping.
"PCQ", standing for "Please Charleston Quietly". Graceful turning moves are very characteristic of the Waltz.

The Black Bottom and the Shimmy became very popular in the USA between 1910 to Today, the Waltz is most commonly danced in the Viennese, country or ballroom
1920, and became a national craze after being performed in the Ziegfeld Follies in 1922. style. Viennese originates from England and is danced mostly in competitions by more
These dances became absorbed into a faster version of Foxtrot after a visit by Paul advanced dancers, while American Style is more suitable to beginners and those who
Whiteman's band to the UK in 1923, becoming known as the Quickstep. want to dance Waltz socially. A beginner dancer should start with country or
American style Waltz. Viennese Waltz is danced very fast and is characterized by an
The Quickstep was developed to interpret music with a faster tempo. It is a fast moving almost nonstop turning and is one of the most difficult forms of Waltz to learn.
dance based on walks and Chasses danced to music of four beats per bar at 50 bars per Country and ballroom styles of Waltz are very similar, with the country style danced at
minute, or 200 beats per minute. It retains the walks, runs, chasses and turns, of the a slightly faster pace and incorporating more moves in open and side-by-side
original Foxtrot, with some other fast figures such as locks, hops, and skips added. positions. Ballroom Waltz can be divided into American and International Styles.
International Style as LRL (left-right-left) and the second as RLR (right-left-right), for
 WEST COAST SWING a total of six steps.
West Coast Swing is a smooth and sexy dance style that is danced in a slot (a narrow line),  VIENNESE WALTZ
making it perfect for a crowded dance floor. West Coast Swing is danced to a variety of
music, including rock, blues, funk, country/western, disco and contemporary pop. West The Waltz is a dance performed to music with three beats to the bar, and gives the
Coast Swing also stresses leader-follower connection and dancing in close harmony with dance a delightful romantic lift.
the music.
The first record of a dance to 3/4 rhythm is a peasant dance of the Provence area of
Basically, West Coast Swing consists of 6-beat and 8-beat patterns executed in a slot area France in 1559, as a piece of folk music called the Volta, although the Volta has also
on the dance floor, and can be danced to a variety of styles of music. It has enjoyed a rise been claimed to be an Italian folk dance at this time. The word "Volta" means "the
in popularity in the last few years, due partly to the work of the U.S. Open Swing Dance turn" in Italian. This, even in its earliest days, the dance appears to have involved the
Championships. couple turning as they danced.
 WALTZ During the 16th Century, the Volta became popular in the royal courts of Western
Europe. The Volta required the partners to dance in a closed position but with the lady
The introduction of the Waltz was the scandal of 19th century English society. Never to the left of the man! As in any turning dance, as the couple perform their step around
before had a man and woman danced publicly in a virtual embrace. Fortunately the grace their partner, they have to take a larger than usual step to get from one side of their
partner to the other. In order to do this in the Volta, the partners had to hold each other in
such a close embrace that many declared it immoral. Louis XIII (1610-1613) had it banned
from court on this account.
Thus although the Volta may have originally been in 3 time, it evolved to be in 5 time. In
1754 the first music for the actual "Waltzen" appeared in Germany. Any connection
between the Waltzen and the Volta remains obscure, except that the word "waltzen" in
German also means "to revolve".
The dance became very popular in Vienna, with large dance halls being opened to
accommodate the craze. In 1812 the dance was introduced into England under the name of
the German Waltz and it caused a great sensation. Through the 19th Century, the danced
stabilized, and was further popularized by the music of Josef and Johann Strauss.