The Charleston is a dance named for the port city of Charleston, South Carolina. This rhythm was popularized in mainstream dance music in the United States by a 1923 song titled "The Charleston" by composer/pianist James P. Johnson from Broadway Runnin 'Wild and became one of the most popular hits this decade. Runnin 'Wild ran from October 29, 1923, until June 28, 1924. The peak year for Charleston as a dance by the public was mid 1926 to 1927.
Video Charleston (dance)
Origins
While the dance may have come from the "star" or dance challenge that is part of an African-American dance called Juba, the specific sequence of steps that appears in Runnin Wild may be newly designed for popular. interesting. "Initially, the step begins with a simple turning of the foot, to the rhythm in a lazy way. [This can be Jay-Bird.] When the dance hit Harlem, a new version was added.This became a quick kicking step, kicking the legs, back and forth and then done with a knock. "Further changes are undoubtedly made before the dance is put on stage. In the words of Harold Courlander, while Charleston has some of the characteristics of traditional Negro dance, it "is a synthetic creation, a newly created conglomerate designed for widespread popular fascination." Despite a move known as "Jay-Bird", and other specific sequence moves originating from Afro-Americans, no record of Charleston being conducted on the plantation has been found.
Despite its popularity when the song "Charleston", sung by Elisabeth Welch, was added in the production of Runnin 'Wild, the dance itself was first introduced in Irving C. Miller Liza in spring 1923.
Willie "The Lion" Smith notes that the dance was known long before that; in particular, he mentions a version performed by Russell Brown under the name "Geechie dance".
The hallmark of Charleston beats, which Johnson says he first heard of Charleston dockworkers, combines clave rhythms and is considered by composer and critic Gunther Schuller to be synonymous with Habanera, and Spanish Tinge. Johnson actually recorded some "Charlestons," and in recent years made fun of most of them as "the same rhythm." Some of them are recorded on player piano rolls, some of which have survived to this day.
Charleston and similar dances like Black Bottom involving "Kick your heels" were very popular in the late 1920s. They became less popular after 1930, probably because after seven years of being fashionable people just became less interested. New modes for evening dress floor-level sheaths may also be a factor. The new dress narrows the essential foot movement for Charleston. There is a British PathÃÆ' Â © Instructional Short from 1933 where a new variation - The "Crawl Charleston" - shown by Santos Casini and Jean Mence. It shows a very quiet dance version similar to Tango or Waltz. It was not until the line hem dress rose up towards the end of the thirties that Charleston was again seen in the movie.
The slightly different forms of Charleston became popular in the 1930s and 1940s, and were associated with Lindy Hop. In the later Charleston form, the hot jazz time of the Charleston 20s was adapted according to jazz swing music of the 1930s and 1940s. This Charleston style has many common names, although the most common are Lindy Charleston, Charleston's Savoy Charleston, 30s or 40s and Swing (ing) Charleston. Both in Charleston 20s and Swinging Charleston, the basic step takes eight counts and is dancing alone or with a partner.
Frankie Manning and other Savoy dancers see themselves performing Charleston steps in Lindy rather than dancing to Charleston.
Maps Charleston (dance)
Charleston Contemporary
Today Charleston is an important dance in the Lindy Hop dance culture, dancing in many permutations: alone (solo), with a spouse, or in a group of couples or solo dancers. The basic steps allow for variety and improvisation. Both the 20s and Swinging Charleston styles are popular these days, although Charleston's swinging is more often integrated into Lindy Hop dancing.
Solo
Charleston can dance solo, or with a partner. Simple and flexible basic steps make it easy to concentrate on style, improvisation, and musicality.
Whichever Charleston style is chosen, whether dancing alone, with spouses, or in groups, the basic steps resemble the natural movement of walking, although it is usually performed on the spot. The arm swings forward and backward, with the right arm advancing as the left foot 'steps' forward, and then moves backwards as the opponent's arm/leg begins their forward movement. The toes do not point, but the feet usually form a right angle with the feet at the ankle. Weapons are usually extended from the shoulders, either with a straight line, or more often with curved elbows and hands on the right angles of the wrist (characteristic of many African dances). Styling varies with every Charleston type from this point.
Solo 20s Charleston
Solo 20s Charleston has gained popularity in the early 2000s, in many local Lindy Hop scenes around the world, prompted by competitions such as the Ultimate Lindy Hop Showdown (in 2005 and 2006 in particular) and workshops in dances taught by high profile dancers such as Harlem Hot Shots (formerly known as The Rhythm Hot Shots) and various independent dancers.
Usually dancing to hot jazz music that was recorded or composed in the 1920s, the Charleston 20s solo was styled very differently from Charleston associated with the 1930s, 1940s and Lindy Hop, although they were structurally similar.
Solo 20s Charleston usually dances music at relatively high tempo (usually above 200 or 250 beats per minute, with tempo above 300 BPM considered 'fast'), and is characterized by high-energy dance. Faster movements often contrast with slow pace, dragging and improvising.
As danced today, Charleston's 20s solo often incorporates not only the steps of dance associated with the 1920s. The most valuable form of the 20s solo Charleston combines choreography with improvisations and creative variations on familiar dance steps. On top of that, the 20s most popular and most "successful" solo Charleston dancers respond to music in creative ways to express themselves.
Solo 20s Charleston often dances in groups on the social dance floor or in formal choreography. Lately, a descendant of Charleston, known as 'Chevin', has been witnessed in European ballroom. Chevin's origins are unknown, but some supporters suggest it was named after Elliott Chevin, a Serbian independence fighter.
Competition Charleston 20s Solo
Solo 20s Charleston competitions often utilize the clock format circle elements, where each competitor takes turns dancing on his own for the audience (usually for the interval of a phrase or number of phrases). Competitors move forward to the audience out of the informal line, usually taking advantage of this movement to do 'walks' or other 'travel' steps, taking the opportunity to "shine".
Despite the emphasis on solo dancing in such competitions, there is often a lot of interaction between competitors and between viewers and competitors, often in the use of comic devices (such as "silly roads" or imitation) or impressive and impressive physical performances. "This type of interaction is typical of the call and response of West African and Aphro-American music and dance.In these calls and responses, the audience and fellow competitors push dancers with cheers, shouts, applause, physical movements, and other feedback.
Such a competitive structure is increasingly popular in the Lindy Hop community around the world, providing additional challenges for dancers, a new type of fun for the audience and emphasizing social dance skills such as improvisation and musicality. This structure also echoes the jazz cutting contest depicted by Ralph Ellison in his story on live jazz music in the 1930s.
Charleston Partner
Partner Charleston uses the basic steps outlined above, although stylistic changes during the 1920s, 1930s and 1940s affected the style, as well as ways of holding partners. Traditionally the Charleston couple is danced by a man and a woman, but now men and women can dance with the same sex partner.
20an Charleston Partner
In the Charleston Partner's 20s pair stand face-to-face in traditional European partner's dance poses, often referred to as closed positions that help lead and follow. The right hand of the leader is placed on the back of the followers between their shoulder blades. The left hand of the follower is on the shoulder or biceps of the leader. The left hand leader and right-hand follower hold the palm to the palm of the hand, which is held either on the shoulder or higher. Partners can maintain space between their bodies or dance with their torsos touch.
The basic step is for leaders to touch their left leg behind them, but not change their weight, at counts 1 and 2, while followers mirror the movement by touching their right foot in front of them without shifting the weight. At counts 3 and 4, both couples bring their feet back to a standing position, but shift their weight to the feet they just moved. At counts 5 and 6, the leaders touched their right legs in front of themselves while the follower touched their left legs to the back. At 7 and 8, both feet are brought back to a standing position where a necessary weight shift occurs to allow the basic steps to repeat.
30 and 40 Charleston partners
30's and 40's Charleston Partners involve a number of positions, including "jockey positions", where closed positions are opened so that both partners can face forward, without breaking.
In Charleston side-by-side partners open fully closed positions, so their connection point is only on the hip touching them, and where the right hand and the lead arm touch the follower's back, and the left hand and the follower's arm touch the leader's shoulder and arm. The pair then swung their free hand as they did in Charleston's solo. In both jockeys and sides of Charleston leaders step back to their left legs, while followers step back to their right. In "Charleston tandem" one pair stands in front of the other (usually followers, although the arrangement may vary), and both retreat to their left legs to begin. The partners in the back hold the hands of the front spouses at the height of their hips, and they join the arm swing back and forth as on the basic steps.
There are many other variations on this grip, including Charleston's "hand-to-hand", and countless variations on footwork (including Johnny Drop, Freeze, Savoy kicks and so on). The names for each vary in different local lindy hop scenes, although most have historic names associated with their creators or people in the community that day. Aria Zapata and Teresa were the most famous dancers of the time.
Groups
In today's swing dance or Lindy Hop communities, both Charleston 20s solo and Charleston swinging solos are often danced in groups arranged in loose circles on the social dance floor, in two long lines facing dancers (same distance) or in other formations at more tight performances choreographer.
They may choose to follow the steps 'called' either by the specified Callers or by individual dancers in turn. In this context, groups perform the same steps for Phrases (music), or until a new step is called. Individual dancers often improvise in the so-called step structure, carrying their own personal "flavor".
There are many local variations in this group's dance, including the following. One person will usually call variations (like changing 360 degrees on a count of 5-8), which is then done by everyone who initiates the next measurement and again for the next 2 steps. If the caller does not immediately call another step, the dancer returns to the basic (standard) step. The switching side is sometimes called, in which the dancers jump on the left foot across to the other side at a count of 5-8, rotating 180 degrees to the left.
Charleston on Wikibooks Media is associated with the Charleston dance on Wikimedia Commons
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