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steps back onto their left foot, while the follower steps back onto their right. In "tandem
Charleston" one partner stands in front of the other (usually the follower, though the arrangement may vary), and both step back onto their left feet to begin. The partner behind holds the front partner's hands at their hip height, and their joined arms swing backwards and forwards as in the basic step.
200:, while the Charleston had some characteristics of traditional Black American dance, it "was a synthetic creation, a newly devised conglomerate tailored for widespread popular appeal." Although the step known as "Jay-Bird" and other specific movement sequences are of Afro-American origin, no record of the Charleston dance being performed as such on the plantation has been discovered.
544:. The leader's right hand is placed on the follower's back between their shoulder blades. The follower's left hand rests on the leader's shoulder or biceps. The leader's left hand and the follower's right hand are clasped palm to palm, held either at shoulder height or higher. Partners may maintain space between their bodies or dance with their torsos touching.
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and then moving back as the left arm and right leg begin their forward movement. Toes are not pointed, but feet usually form a right angle with the leg at the ankle. Arms are usually extended from the shoulder, either with straight lines, or more frequently with bent elbows and hands at right angles from the wrist (characteristics of many
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position, but shift their weight onto the foot they have just moved. On counts 5 and 6, the leader touches their right foot in front of themselves while the follower touches their left foot back. On 7 and 8, both feet are brought back to the standing position where the necessary weight shift occurs to allow the basic step to repeat.
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Today
Charleston is an important dance in Lindy Hop dance culture, danced in many permutations: alone (solo), with a partner, or in groups of couples or solo dancers. The basic step allows for a vast range of variations and improvisation. Both the 20s and Swinging Charleston styles are popular today,
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Despite the emphasis on solo dancing in these sorts of competitions, there is often much interaction between competitors and between the audience and competitors, frequently in the employment of comic devices (such as "silly walks" or impersonations) or showy and physically impressive "stunt" moves.
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Whichever style of
Charleston one chooses, whether dancing alone, with a partner, or in groups, the basic step resembles the natural movement of walking, though it is usually performed in place. The arms swing forward and backwards, with the right arm coming forward as the left leg 'steps' forwards,
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which involved "kicking up your heels" were very popular in the latter 1920s. The trend subsided after 1930, probably in part because the new fashion for floor-level sheath evening dresses, which constricted the legs, did not suit them. In a
British Pathé Instructional Short of 1933, a new variation
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Solo 20s
Charleston is often danced in groups on the social dance floor or in formal choreography. Latterly, a derivative of the Charleston, known as the 'Chevin', has been witnessed in European dance halls. The origins of the Chevin are not known; however, some proponents suggest it is named after
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As it is danced today, solo 20s
Charleston often combines steps from several dances associated with the 1920s. The most valued form of solo 20s Charleston combines choreography with improvisation and creative variations on familiar dance steps. Above all, the most popular and most "successful" solo
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The basic step is for the leader to touch their left foot behind them, but not to shift their weight, on counts 1 and 2, while the follower mirrors the motion by touching their right foot in front of them without shifting weight. On counts 3 and 4, both partners bring their feet back to a standing
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are at their touching hips, and where the lead's right hand and arm touch the follower's back, and the follower's left hand and arm touch the leader's shoulder and arm. Both partners then swing their free arms as they would in solo
Charleston. In both jockey and side-by-side Charleston the leader
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were probably newly devised for popular appeal. "At first, the step started off with a simple twisting of the feet, to rhythm in a lazy sort of way. When the dance hit Harlem, a new version was added. It became a fast kicking step, kicking the feet, both forward and backward and later done with a
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The picture ... will be memorable for one thing—the fact that Bessie Love gives a perfect exhibition of the
Charleston, proving that it can be danced with extreme grace and agility and yet without a single hint of wriggling vulgarity. We hereby award Miss Love the palm as the greatest Charleston
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and again for the following 2 measures. If the caller doesn't call another step immediately, the dancers return to the (default) basic step. Switching sides is sometimes called, upon which the dancers hop on the left foot across to the other side on counts 5–8, turning 180 degrees to the left.
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Partner
Charleston uses the basic step described above, though stylistic changes over the 1920s, 1930s and 1940s affected the styling, as well as ways of holding a partner. Traditionally partner Charleston was danced by a man and a woman, but now both men and women may dance with same gender.
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This sort of competition structure is increasingly popular in Lindy Hop communities around the world, providing added challenges for dancers, new types of pleasure for audiences and emphasizing social dancing skills such as improvisation and musicality. This structure also echoes the
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and so on). Names for each vary in different local Lindy Hop scenes, though most have historic names associated with their creators or people in the community of the day. Aria Zapata and Teresa were the most famous dancers at the time.
277:– the "Crawl Charleston" – is demonstrated by Santos Casini and Jean Mence, a very sedate dance similar to a tango or waltz. It was not until dress hemlines rose toward the end of the thirties that the Charleston is again seen in film.
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music. This style of
Charleston has many common names, including Lindy Charleston, Savoy Charleston, '30s or '40s Charleston, and Swinging Charleston, and its basic step takes eight counts and is danced either alone or with a partner.
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There are many local variations on this group dancing, including the following. One person will typically call out a variation (such as turning 360 degrees in place on counts 5–10), which is then done by everyone beginning the next
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or number of phrases). Competitors move forwards to the audience out of an informal line, usually taking advantage of this movement to perform 'strolls' or other 'traveling' steps, taking the opportunity to "shine".
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of West African and Afro-American music and dance. In this call and response, audiences and fellow competitors encourage dancers with cheers, shouts, applause, physical gestures and other feedback.
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music recorded or composed in the 1920s, solo 20s Charleston is styled quite differently from the Charleston associated with the 1930s, 1940s and Lindy Hop, though they are structurally similar.
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470:, with tempos above 300 BPM considered 'fast'), and is characterized by high-energy dancing. Faster movements are often contrasted with slower, dragging steps and improvisations.
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265:. Johnson actually recorded several "Charlestons" and in later years derided most of them as being of "that same damn beat." Several of these were recorded on
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In the more casual social group context, individual dancers may choose to dance "alone", improvising in response to the music or copying dancers around them.
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features a Charleston contest that ends with the floor retracting and contestants falling into a swimming pool. The scene was filmed at the "Swim Gym" at
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noted that the dance was known well before that; in particular, he mentions the version done by Russell Brown under the name "Geechie dance." The
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expert on the screen—if not on the stage—which is by way of being a miracle, for ordinarily a film dance looks as silly as the capering of goats.
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Solo 20s Charleston gained popularity in the early 2000s, in many local Lindy Hop scenes around the world, prompted by competitions such as the
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into a musical with "modern" (for 1927) dance numbers. The dance and rhythm are also featured in segments of two of the film's dance numbers,
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There are numerous other variations on these holds, including "hand-to-hand" Charleston, and countless variations on the footwork (including
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floor, in two long lines of facing dancers (evenly spaced) or in other formations in more strictly choreographed performances.
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and other Savoy dancers saw themselves as doing Charleston steps within the Lindy rather than dancing the Charleston itself.
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Charleston can be danced solo, or with a partner. Its simple, flexible basic step makes it easy to concentrate on styling,
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While the dance probably came from the "star" or challenge dances that were all part of the African-American dance called
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ran from 28 October 1923 through 28 June 1924. The Charleston dance's peak popularity occurred from mid-1926 to 1927.
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The characteristic Charleston beat, which Johnson said he first heard from Charleston dockworkers, incorporates the
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1927: The 15 March 1927 film footage of Santos Casani and Josie Lennard dancing the Charleston on the roof of a
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1039:"Crimson Playgoer: The Metropolitan Opens its Doors to an Unlimited Public and a Very Fair Opening Attraction"
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format, where individual competitors take turns dancing alone for the audience (usually for intervals of a
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444:(in 2005 and 2006 particularly) and workshops in the dance taught by high-profile dancers such as the
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A slightly different form of Charleston became popular in the 1930s and 1940s, and is associated with
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composer James P. Johnson said that he had seen it danced as early as 1913 in New York City in the
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30s and 40s Partner Charleston involves a number of positions, including "jockey position", where
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tap." Further changes were undoubtedly made before the dance was put on stage. In the words of
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or by each dancer in turn. In this called context, the group perform the same step for a
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In the 20s Partner Charleston couples stand facing each other in a traditional European
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20s Charleston dancers respond to the music in creative ways to express themselves.
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19:"The Charleston" redirects here. For the song written to accompany this dance, see
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swinging Charleston are often danced in groups arranged in a loose circle on the
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though swinging Charleston is more commonly integrated into Lindy Hop dancing.
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is opened out so that both partners may face forward, without breaking apart.
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Reshown on British Pathé 1955 "This was Yesterday" reel 2, and discussion in
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1926: Santos Casani and Josie Lennard performed the dance in a short film
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Solo 20s Charleston is usually danced to music at comparatively high
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Steppin' on the Blues: The Visible Rhythms of African American Dance
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was one of the era's notable publicity stunts. The film was shot by
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Although it achieved popularity when the song "Charleston", sung by
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Solo 20s Charleston competitions often make use of elements of the
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696:, produced by Ruth and released in December 1927 in theaters in
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They may choose to follow steps 'called' either by a designated
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The Jim Cullum Riverwalk Jazz Collection - Stanford Libraries
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or Lindy Hop communities today, both solo 20s Charleston and
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describes in his stories about live jazz music in the 1930s.
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432:). Styling varies with each Charleston type from this point.
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1186:"Fyrsta Ăslenska kvikmyndin eftir konu komin Ă leitirnar"
863:. Illustrated by Sondra Kathryn Wilson. Da Capo Press.
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and became one of the most popular hits of the decade.
1105:. Gettysburg, Pennsylvania. 31 August 1926. p. 6.
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191:, the particular sequence of steps which appeared in
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sound-on-film system, and released in December 1926.
1237:"A little trivia on a 'Wonderful' seasonal classic"
563:In "side-by-side" Charleston partners open out the
335:. Unsourced material may be challenged and removed.
58:. Unsourced material may be challenged and removed.
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1268:Black Dance in the United States from 1916 to 1970
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288:timing of the '20s Charleston was adapted to suit
215:in the spring of 1923. Although the name was new,
940:"How Lincoln Center Was Built (It Wasn't Pretty)"
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253:rhythm and was considered by composer and critic
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269:rolls, some of which have survived to this day.
909:"Runnin' Wild: A Biography of James P. Johnson"
692:and Rigmor S. Hanson performed in a short film
1290:Early Jazz – Its Roots and Musical Development
1177:
1058:Vreeland, Frank (January 1926). "Screenland".
987:Manning, Frankie; Millman, Cynthia R. (2007).
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272:The Charleston and similar dances such as the
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1169:: CS1 maint: numeric names: authors list (
499:This type of interaction is typical of the
478:Elliott Chevin, a Serbian freedom fighter.
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1184:Bergsteinn SigurĂ°sson (28 January 2021).
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1121:Silent Era - Progressive Silent Film List
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395:Learn how and when to remove this message
118:Learn how and when to remove this message
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989:Frankie Manning: Ambassador of Lindy Hop
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1159:on 1 November 2007 – via YouTube.
991:. Temple University Press. p. 49.
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567:entirely, so that their only points of
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452:) and a range of independent dancers.
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659:Bessie Love performed the Charleston.
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227:neighborhood, at the Jungles Casino.
938:Williams, Keith (21 December 2017).
333:adding citations to reliable sources
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56:adding citations to reliable sources
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1127:from the original on 9 April 2022.
644:dances the Charleston in the film
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807:Broadway Production: Runnin' Wild
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1235:Engle, Tim (25 December 2004).
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153:named after the harbor city of
43:needs additional citations for
1151:Aaron1912 (25 February 2007).
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857:Johnson, James Weldon (1991).
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552:30s and 40s Partner Charleston
284:. In this later form, the hot
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137:dancing the Charleston at the
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1265:Emery, Lynne Fauley (1972).
1013:"Solo Charleston & Jazz"
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1294:. Oxford University Press.
666:recorded with the DeForest
536:pose, often referred to as
442:Ultimate Lindy Hop Showdown
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1286:Schuller, Gunther (1968).
1214:"Sur un air de charleston"
466:(usually above 200 or 250
257:to be synonymous with the
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165:, which originated in the
155:Charleston, South Carolina
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1088:(30): 8. 5 February 1926.
736:Beverly Hills High School
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1503:Lean wit It, Rock wit It
1271:. National Press Books.
757:All I Do Is Dream Of You
710:Sur un air de Charleston
1099:"Lincoln Way Theatre".
713:, a short film made by
647:The King on Main Street
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344:"Charleston" dance
301:Contemporary Charleston
217:Willie "The Lion" Smith
67:"Charleston" dance
1843:Novelty and fad dances
1777:Novelty and fad dances
1153:"1920s The Charleston"
656:The Song and Dance Man
528:20s Partner Charleston
455:Usually danced to hot
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161:" by composer/pianist
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21:Charleston (1923 song)
1117:"The Flat Charleston"
731:It's a Wonderful Life
542:leading and following
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133:
1335:at Wikimedia Commons
1102:The Gettysburg Times
1078:"Newspaper Opinions"
778:2013: The 2013 film
752:The Dueling Cavalier
511:of jazz music which
450:The Rhythm Hot Shots
329:improve this article
52:improve this article
16:American swing dance
1438:Chicken Noodle Soup
1044:The Harvard Crimson
977:, pp. 158, 173
744:Singin' in the Rain
694:The Flat Charleston
664:The Flat Charleston
448:(formerly known as
436:Solo 20s Charleston
234:Charleston rhythm.
1047:. 21 October 1925.
945:The New York Times
769:1974: In the film
741:1952: In the film
723:Catherine Hessling
653:1926: In the film
635:Depictions in film
519:Partner Charleston
247:
143:
1838:Dance terminology
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1639:Melbourne shuffle
1634:Liquid and digits
1468:Electric boogaloo
1331:Media related to
1139:Eve's Film Review
1123:. silentera.com.
998:978-1-59213-563-9
919:on 3 October 2022
870:978-0-306-80431-1
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577:Johnny's Drop
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513:Ralph Ellison
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418:improvisation
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385:February 2018
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349:
346: –
345:
341:
340:Find sources:
334:
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318:This article
316:
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263:Spanish Tinge
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108:November 2018
100:
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69: –
68:
64:
63:Find sources:
57:
53:
47:
46:
41:This article
39:
35:
30:
29:
26:
22:
1833:Swing dances
1681:
1478:Harlem shake
1391:Breakdancing
1370:Street dance
1323:at Wikibooks
1289:
1267:
1259:Bibliography
1244:. Retrieved
1240:
1230:
1218:. Retrieved
1208:
1196:. Retrieved
1189:
1179:
1157:the original
1146:
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1120:
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1021:. Retrieved
1016:
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950:the original
943:
933:
921:. Retrieved
917:the original
912:
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828:
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763:Good Morning
761:
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606:social dance
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365:
358:
351:
339:
327:Please help
322:verification
319:
279:
274:Black Bottom
271:
267:player piano
248:
220:
212:
209:Runnin' Wild
208:
202:
193:Runnin' Wild
192:
186:
177:Runnin' Wild
176:
172:Runnin' Wild
170:
146:
144:
114:
105:
95:
88:
81:
74:
62:
50:Please help
45:verification
42:
25:
1757:Headbanging
1568:House dance
1533:Stanky Legg
1523:Running man
1498:Laffy Taffy
1411:Power moves
1246:9 September
715:Jean Renoir
690:Ruth Hanson
675:London taxi
642:Bessie Love
598:swing dance
585:Savoy kicks
540:which aids
1822:Categories
1745:Folk dance
1715:Air guitar
1682:Charleston
1669:Jazz dance
1649:Rebolation
1624:Industrial
1619:Hard dance
1601:Rave dance
1443:Crank That
1321:Charleston
1198:28 January
1023:21 October
1017:Swing.Wien
923:15 January
845:Emery 1972
833:Emery 1972
821:Emery 1972
789:References
717:featuring
685:in London.
679:Pathé News
569:connection
488:jam circle
422:musicality
355:newspapers
290:swing jazz
221:Charleston
147:Charleston
78:newspapers
1697:Tap dance
1687:Lindy Hop
1644:Para Para
1629:Jumpstyle
1483:John Wall
1448:Crip Walk
1433:Cat Daddy
1423:Bird Walk
698:ReykjavĂk
668:Phonofilm
282:Lindy Hop
1807:Waacking
1782:Pantsula
1772:Moonwalk
1762:Grinding
1750:Clogging
1730:Capoeira
1677:Cakewalk
1659:X-Outing
1576:Footwork
1538:Twerking
1493:Krumping
1418:Boogaloo
1401:Downrock
1220:30 March
1165:cite web
1125:Archived
887:, 1996,
683:Kingsway
261:and the
259:Habanera
167:Broadway
1767:Moshing
1740:Flexing
1654:Wu-tang
1586:Jacking
1558:Wu-tang
1543:Turfing
1513:Popping
1508:Locking
1488:Jerkin'
1406:Freezes
1396:Toprock
1378:Hip-hop
702:Iceland
625:measure
581:freezes
369:scholar
183:Origins
92:scholar
1725:Budots
1720:Azonto
1614:Hakken
1581:Hustle
1548:Uprock
1463:Dougie
1386:2 step
1298:
1275:
1216:. IMDb
995:
891:
867:
707:1927:
688:1927:
617:phrase
613:Caller
592:Groups
492:phrase
464:tempos
371:
364:
357:
350:
342:
94:
87:
80:
73:
65:
1802:Tango
1797:Gwoka
1792:Salsa
1707:Other
1692:Swing
1591:Vogue
1518:Robot
1141:#302.
897:p. 84
794:Notes
376:JSTOR
362:books
251:clave
169:show
151:dance
149:is a
99:JSTOR
85:books
1787:Pogo
1296:ISBN
1273:ISBN
1248:2022
1222:2022
1200:2021
1171:link
1025:2018
993:ISBN
925:2024
889:ISBN
865:ISBN
760:and
721:and
602:solo
457:jazz
420:and
412:Solo
348:news
286:jazz
240:Play
213:Liza
189:Juba
145:The
71:news
1553:Wop
1458:Dab
1191:RĂšV
681:at
596:In
331:by
54:by
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1163:{{
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392:(
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383:(
373:·
366:·
359:·
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96:·
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