104:, 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.
119:, 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.
215:
128:
20:
154:, 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
174:. 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."
188:
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
288:, 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
241:
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;
193:. 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
181:", 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 "
197:
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
245:
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
166:
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.
252:
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.
185:". 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.
497:
238:
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.
158:
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 "
1633:
278:
170:
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
319:
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
873:
Hubbard, Karen; Monaghan, Terry (2009). "Negotiating
Compromise on a Burnished Wood Floor: Social Dancing at the Savoy". In Malnig, Julie (ed.).
599:
991:
277:
to Blues music and ballads. It is a slower, fluid, but highly rhythmic dance, involving lots of spins, lifts, and dips. Famous Lindy Hopper
108:
647:
Transcript: Interview with Sugar
Sullivan, 2001, pp. 18–20. Available in the archives of the New York Public Library at Lincoln Center.
844:
Heckscher, Juretta Jordan (2009). "Our
National Poetry: the Afro-Chesapeake Inventions of American Dance". In Malnig, Julie (ed.).
884:
855:
61:, Part 1, as the sub-section title of Chapter II, referencing different dance styles. African-American essayist and novelist
83:
46:
684:
1078:
1046:
1027:
1008:
967:
911:
759:
Friedland, LeeEllen (1995). "Social
Commentary in African American Movement Performance". In Farnell, Brenda (ed.).
1989:
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1155:
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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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323:, 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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82:
Blues dancing originated in the dances brought to
America by enslaved Africans, who followed
150:
songs, documented an early experience he had with blues music at a dance that took place in
1964:
1824:
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Human Action Signs in
Cultural Context: The Visible and the Invisible in Movement and Dance
8:
1999:
1916:
1744:
1679:
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41:
music, or the contemporary dances that are danced in that aesthetic. It has its roots in
921:
Jackson, Jonathan David (2001). "Improvisation in
African-American Vernacular Dancing".
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94:; African cultures apparently considered this type of dancing to be inappropriate.
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498:"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
49:
and the historical dances brought to the United States by European immigrants.
960:
Step it Down: Games, Plays, Songs, and Stories From the Afro-American Heritage
2049:
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2009:
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1098:"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
600:"Ragtime to Jazz 1: 1912 - 1919 - Various - Teilen Sie Ihre Erfahrungen"
218:
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
847:
Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader
343:
182:
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1528:
1408:
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was a similar move that involved "grinding" the rear end around. The
270:
266:
234:
Blues dances as a genre have been said to share a certain aesthetic:
199:
190:
86:. There is no documented evidence across the history of pre-colonial
52:
1113:
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19:
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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
752:
Dancing Many Drums: Excavations in African American Dance
419:
1173:
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Digging the Africanist Presence in American Performance
556:
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23:Young African Americans dancing in a juke joint in
1062:Jazz Dance: The Story of American Vernacular Dance
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500:The Encyclopedia of Arkansas History and Culture
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334:, another historical African-American dance.
177:Dancing to blues music was sometimes called "
122:
55:used the term "The Blues" in her documentary
90:dance for sustained one-on-one mixed-gender
37:that developed alongside and were danced to
929:(2). Congress on Research in Dance: 40–53.
906:(1.17 ed.). Pontiac Swing Dance Club.
902:Hutchinson, Craig R. (1998). "Supplement".
763:. London: Scarecrow Press. pp. 136–57.
754:. Wisconsin: University of Wisconsin Press.
256:
72:
1196:
1182:
1095:
990:: CS1 maint: location missing publisher (
957:
901:
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708:
1041:. Chicago: University of Illinois Press.
1003:. Chicago: University of Illinois Press.
958:Jones, Bessie; Hawes, Bess Lomax (1972).
843:
758:
425:
879:. Urbana: University of Illinois Press.
850:. Urbana: University of Illinois Press.
749:
213:
146:, who wrote some of the first published
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18:
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162:" for the first time. At the time, the
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1096:Szwed, John F.; Marks, Morton (1988).
1036:
1017:
998:
635:
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265:, referenced by documentary filmmaker
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904:Swing Dancer: A Swing Dancer's Manual
787:Father of the Blues: An Autobiography
776:
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1136:
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84:sub-Saharan African music traditions
47:sub-Saharan African music traditions
1065:. With a foreword and afterword by
226:is in the photo on the lower left;
13:
14:
2077:
768:Gottschild, Brenda Dixon (1996).
100:had a great deal of influence on
799:Hazzard-Gordon, Katrina (1990).
1990:Dance in mythology and religion
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659:Ballroom, Boogie, Shimmy, Shake
650:
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111:of approximately 1875–1900, as
1:
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98:Slavery in the United States
45:, which itself is rooted in
7:
414:Hubbard & Monaghan 2009
378:Hubbard & Monaghan 2009
337:
269:, was a slow dance done by
10:
2082:
790:. Foreword by Abbe Niles.
772:. London: Greenwood Press.
733:Stearns & Stearns 1994
721:Stearns & Stearns 1994
672:Stearns & Stearns 1994
473:Stearns & Stearns 1994
458:Stearns & Stearns 1994
281:described it as romantic.
123:Development of blues music
109:post-Reconstruction period
1945:
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1059:; Stearns, Jean (1994) .
1057:Stearns, Marshall Winslow
750:DeFrantz, Thomas (2001).
139:, sheet music cover, 1914
257:Specific moves or dances
73:History of blues dancing
1037:Pruter, Robert (1992).
1018:Murray, Albert (2000).
999:Malone, Jacqui (1996).
811:Temple University Press
359:Ken "Snakehips" Johnson
1102:Dance Research Journal
923:Dance Research Journal
709:Jones & Hawes 1972
231:
152:Cleveland, Mississippi
140:
102:African-American dance
43:African-American dance
27:
354:Earl Snakehips Tucker
217:
130:
22:
1955:Dance and disability
794:: Macmillan Company.
2000:Dance on television
527:Hazzard-Gordon 1990
515:Hazzard-Gordon 1990
485:Hazzard-Gordon 1990
441:Hazzard-Gordon 1990
210:Blues dancing style
115:were passed in the
88:sub-Saharan African
1020:Stomping the Blues
685:"James P. Johnson"
232:
230:on the lower right
141:
67:Stomping the Blues
28:
2043:
2042:
1995:Dance occupations
1932:Wallis and Futuna
1022:. Da Capo Press.
886:978-0-252-03363-6
857:978-0-252-03363-6
657:Monaghan, Terry.
565:, pp. 97–98.
349:Slow drag (dance)
160:Saint Louis Blues
133:Saint Louis Blues
92:partnered dancing
35:historical dances
2073:
2030:History of dance
2015:Dance technology
1960:Dance and health
1910:African-American
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58:The Spirit Moves
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1975:Dance etiquette
1941:
1700:Burma (Myanmar)
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1577:Lead and follow
1538:
1474:Country–western
1413:
1394:Novelty and fad
1352:Hoochie coochie
1303:
1262:closed position
1235:
1231:List of dancers
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1114:10.2307/1478814
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426:Heckscher 2009
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279:Sugar Sullivan
275:Savoy Ballroom
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156:habanera music
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117:American South
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2025:Dancing mania
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2010:Dance science
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1080:0-306-80553-7
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1071:Da Capo Press
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673:
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625:
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271:Lindy Hoppers
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242:poly-centric.
240:
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229:
228:George Walker
225:
224:Bert Williams
221:
220:Bandanna Land
216:
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179:slow dragging
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172:Dabney's Band
168:
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63:Albert Murray
60:
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32:
31:Blues dancing
26:
21:
2061:Swing dances
2056:Social dance
2020:Dance troupe
1965:Dance awards
1860:Pontic Greek
1567:Dance theory
1557:Choreography
1469:Contemporary
1142:
1138:Wald, Elijah
1105:
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1039:Chicago Soul
1038:
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962:. New York.
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807:Philadelphia
801:
786:
778:Handy, W. C.
769:
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743:Bibliography
728:
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693:. Retrieved
689:the original
679:
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608:. Retrieved
604:the original
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187:
183:slow dancing
176:
169:
142:
106:
96:
81:
66:
56:
51:
30:
29:
1850:Philippines
1835:Netherlands
1825:Middle East
1377:Table dance
1342:Go go dance
1322:Competitive
636:Pruter 1992
624:Malone 1996
402:Malone 1996
390:Murray 2000
332:cakewalking
144:W. C. Handy
137:W. C. Handy
107:During the
25:Mississippi
2050:Categories
1917:Uzbekistan
1685:Azerbaijan
1594:Musicality
1562:Connection
1519:Postmodern
1489:Historical
1372:Striptease
1367:Pole dance
1317:Ceremonial
1272:slow dance
1157:0060524235
820:087722613X
695:2008-07-16
610:2009-01-31
575:Handy 1941
563:Handy 1941
551:Handy 1941
539:Handy 1941
365:References
344:Juke joint
317:Snake Hips
290:Funky Butt
204:Charleston
78:Background
1922:Venezuela
1885:Sri Lanka
1880:Singapore
1840:Nicaragua
1770:Indonesia
1675:Australia
1544:Technique
1442:formation
1357:Lap dance
1122:0149-7677
1108:(1): 29.
986:cite book
951:190724670
895:212908856
866:212908856
587:Wald 2004
306:Slow Drag
286:Fish Tail
267:Mura Dehn
200:Lindy Hop
191:lindy hop
53:Mura Dehn
1937:Zimbabwe
1890:Thailand
1815:Malaysia
1800:Kiribati
1710:Cameroon
1705:Cambodia
1695:Bulgaria
1670:Assyrian
1639:national
1634:Regional
1614:Spotting
1609:Sequence
1587:glossary
1534:Two-step
1479:Flamenco
1464:Breaking
1459:Boogaloo
1437:Ballroom
1382:Twerking
1347:Grinding
1332:Ecstatic
1166:7277785M
1140:(2004).
1089:93040957
837:2209566M
829:89032004
792:New York
780:(1941).
338:See also
263:Ballroom
246:rhythms.
195:two-step
1947:Related
1927:Vietnam
1900:Ukraine
1810:Kurdish
1780:Ireland
1760:Hungary
1750:Georgia
1735:Denmark
1725:Croatia
1690:Belarus
1680:Austria
1665:Armenia
1655:Albania
1619:Turnout
1504:Lyrical
1484:Hip-hop
1327:Concert
1252:Partner
1221:Outline
1148:Amistad
1130:1478814
943:1477803
784:(ed.).
311:ragtime
284:In the
273:at the
1895:Turkey
1875:Serbia
1870:Russia
1865:Romani
1855:Poland
1820:Mexico
1785:Israel
1755:Greece
1740:Europe
1715:Canada
1650:Africa
1641:dances
1599:Pointe
1572:Graham
1552:Ballet
1509:Modern
1432:Ballet
1419:Styles
1404:Street
1399:Sacred
1337:Erotic
1309:Social
1297:square
1282:contra
1277:circle
1164:
1154:
1128:
1120:
1087:
1077:
1045:
1026:
1007:
978:340336
976:
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893:
883:
864:
854:
835:
827:
817:
298:Mooche
206:have.
2066:Blues
1830:Nepal
1805:Korea
1795:Japan
1790:Italy
1765:India
1720:China
1624:Turns
1582:Moves
1524:Swing
1514:Polka
1499:Latin
1454:Belly
1447:waltz
1292:round
1216:Index
1205:Dance
1126:JSTOR
947:S2CID
939:JSTOR
328:Strut
313:era.
294:Squat
164:tango
148:blues
135:" by
39:blues
1845:Peru
1775:Iran
1730:Cuba
1660:Arab
1604:Pole
1494:Jazz
1427:Acro
1389:Folk
1287:line
1247:Solo
1152:ISBN
1118:ISSN
1085:LCCN
1075:ISBN
1043:ISBN
1024:ISBN
1005:ISBN
992:link
974:OCLC
964:ISBN
908:ISBN
891:OCLC
881:ISBN
862:OCLC
852:ISBN
825:LCCN
815:ISBN
326:The
303:The
296:and
261:The
202:and
1529:Tap
1409:War
1110:doi
931:doi
2052::
1162:OL
1160:.
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1146:.
1124:.
1116:.
1106:20
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988:}}
984:{{
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833:OL
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502:"
131:"
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