Set de flo' (Set the floor) was a type of dance competition held among African Americans during the 19th century. [1]
Set de flo' dancing involves drawing a circle on the ground (usually on a dirt floor); dancers are required to not step outside the bounds of the circle, and if they did, they will be disqualified. A caller, usually a fiddler, would call out increasingly complicated dance steps, which the dancers would have to perform without a misstep. Competitors could dance solo, or as couples. The expression "set de flo'" apparently refers not to the drawing of the circle on the ground, but to a particular dance step where the dancer would stomp on the floor when they began dancing, a move that appeared to set the floor in place for the dancer. When couples competed, the man and woman would bow to one another at the start of the dance. The woman would place her hands on her hips, then her male partner would grin and roll his eyes, then they would begin dancing, it was somewhat humorous to the spectators that watch the couples dance. [2]
Couple dances developed some common steps. For example, couple dances often began with the woman placing her foot on the knee of her male partner, and he would tie her shoelace. Strutting was an element always present in set de flo' dancing.
"Water dances" were sometimes present in set de flo'. A water dance is a dance competition during which a dancer keeps a glass or pail of water balanced on his or her head while dancing and tries not to spill the water (see Head-carrying). The Cakewalk and the Buck dance were other dances that could include water dance elements. [3]
The use of a caller to announce the dance steps is a common one in West Africa. Worshippers of Shango, the god of thunder and fire, may dance with a flaming pan balanced on top of their head. The Egbado Yoruba also have a ritual of challenging dancers by having them dance with a cup of water or a terracotta figurine balanced on their head. [4]
The set de flo' dances evolved into other styles, such as the Cakewalk. The common moves included the ritual of a male partner tying his female partner's shoelace at the start of their dance; the award of a cake for the competition winner; and some common dance moves mimicked farm work such as hoeing or swinging a scythe. [5]
Competitions between African-American dancers were at the core of set de flo' dancing. Of the many styles of African-American dancing during the slavery era, most were called simply "jigs" by whites, using the term for Irish dances that had a similarly strong rhythm. Poor Irish immigrants to the Carolinas introduced jig dancing to the region, and other whites saw the slave dance styles as similar. Set de flo' was among these "jig" dances. [6] Slave owners would sometimes arrange dance contests between their slaves and slaves from other plantations. The slave owners would bet on the outcome. [7]
Slaves, and post-slavery African-American dancers, would compete among themselves with set de flo'.
The jig is a form of lively folk dance in compound metre, as well as the accompanying dance tune. It first gained popularity in 16th-century England, Ireland, Scotland, and other parts of the British Isles, and was adopted on mainland Europe where it eventually became the final movement of the mature Baroque dance suite. Today it is most associated with Irish dance music, Scottish country dance and the Métis people in Canada. Jigs were originally in quadruple compound metre,, but have been adapted to a variety of time signatures, by which they are often classified into groups, including double jigs, slip jigs and single jigs.
Irish dance refers to a group of traditional dance forms that originate in Ireland, encompassing dancing both solo and in groups, and dancing for social, competitive, and performance purposes. Irish dance in its current form developed from various influences such as earlier native Irish dance, English country dancing and later possibly French quadrilles, as it became popular in Britain and Ireland during the 19th century. Dance was taught by "travelling dance masters" across Ireland in the 17th and 18th centuries, and separate dance forms developed according to regional practice and differing purposes. Irish dance became a significant part of Irish culture, particularly for Irish nationalist movements. From the early 20th century, a number of organisations promoted and codified the various forms of dance, creating competitive structures and standardised styles. Irish dancers who compete for competitive reasons dance in a dance style that is more modern than traditional Irish dance. It is mainly done solo, but there is some team dancing in groups of 2, 3, 4, 6, 8, 10, 16 and even numbers onwards.
The cakewalk was a dance developed from the "prize walks" held in the mid-19th century, generally at get-togethers on Black slave plantations before and after emancipation in the Southern United States. Alternative names for the original form of the dance were "chalkline-walk", and the "walk-around". It was originally a processional partner dance performed with comical formality, and may have developed as a subtle mockery of the mannered dances of white slaveholders.
Country–western dance encompasses any of the dance forms or styles which are typically danced to country-western music, and which are stylistically associated with American country and/or western traditions. Many are descended from dances brought to the United States by immigrants from the United Kingdom and Europe as early as the 1700s, which became integrated into American popular culture. Country dancing is also known as "kicker dancing" in Texas.
Samba is a lively dance of Afro-Brazilian origin in 2/4(2 by 4) time danced to samba music.
Step dance is a generic term for dance styles in which footwork is considered to be the most important part of the dance and limb movements and styling are either restricted or considered irrelevant.
Master Juba was an African-American dancer active in the 1840s. He was one of the first black performers in the United States to play onstage for white audiences and the only one of the era to tour with a white minstrel group. His real name was believed to be William Henry Lane, and he was also known as "Boz's Juba" following Dickens's graphic description of him in American Notes.
Highland dance or Highland dancing is a style of competitive dancing developed in the Scottish Highlands in the 19th and 20th centuries, in the context of competitions at public events such as the Highland games. It was created from the Gaelic folk dance repertoire, but formalised with the conventions of ballet, and has been subject to influences from outside the Highlands. Highland dancing is often performed with the accompaniment of Highland bagpipe music, and dancers wear specialised shoes called ghillies or pumps. It is now seen at nearly every modern-day Highland games event.
African dance refers to the various dance styles of sub-Saharan Africa. These dances are closely connected with the traditional rhythms and music traditions of the region. Music and dancing is an integral part of many traditional African societies. Songs and dances facilitate teaching and promoting social values, celebrating special events and major life milestones, performing oral history and other recitations, and spiritual experiences. African dance uses the concepts of polyrhythm and total body articulation. African dances are a collective activity performed in large groups, with significant interaction between dancers and onlookers in the majority of styles.
A walkaround was a dance from the blackface minstrel shows of the 19th century. The walkaround began in the 1840s as a dance for one performer, but by the 1850s, many dancers or the entire troupe participated. The walkaround often served as the finale to the first half of the minstrel show, the opening semicircle. Minstrels also wrote songs called "walkarounds", which were specifically intended for this dance; "Dixie" is probably the most famous example.
Clog dancing is a form of step dance characterised by the wearing of inflexible, wooden soled clogs. Clog dancing developed into differing intricate forms both in Wales and also in the North of England. Welsh clog dancing mainly originates from various slate mines where workers would compete against each other during work breaks. Northern English traditional clog dancing originates from Lancashire, Yorkshire, County Durham, Northumberland and the Lake District.
The Juba dance or hambone, originally known as Pattin' Juba, is an African-American style of dance that involves stomping as well as slapping and patting the arms, legs, chest, and cheeks (clapping). "Pattin' Juba" would be used to keep time for other dances during a walkaround. A Juba dance performance could include steps such as the "Jubal Jew", "Yaller Cat", "Pigeon Wing" and "Blow That Candle Out".
African-American dance is a form of dance that was created by Africans in the Diaspora, specifically the United States. It has developed within various spaces throughout African-American communities in the United States, rather than studios, schools, or companies. These dances are usually centered on folk and social dance practice, though performance dance often supplies complementary aspects to this. Placing great value on improvisation, these dances are characterized by ongoing change and development. There are a number of notable African-American modern dance companies using African-American cultural dance as an inspiration, among these are the Whitey's Lindy Hoppers, Alvin Ailey American Dance Theater, Dance Theatre of Harlem, and Katherine Dunham Company. Hollywood and Broadway have also provided opportunities for African-American artists to share their work and for the public to support them.
Irish stepdance is a style of performance dance with its roots in traditional Irish dance. It is generally characterized by a stiff upper body and fast and precise movements of the feet. It can be performed solo or in groups. Aside from public dance performances, there are also stepdance competitions all over the world. These competitions are often called Feiseanna. In Irish dance culture, a Feis is a traditional Gaelic arts and culture festival. Costumes are considered important for stage presence in competition and performance Irish stepdance. In many cases, costumes are sold at high prices and can even be custom made. Each costume is different, with varying colors and patterns, designed to attract the judge's eye in competitions and the audience's eye in performance. General appearance beside the costume is also equally important. Female dancers would typically curl their hair before each competition or wear curled wigs, while male dancers would neatly style their hair to a shape to their liking. Poodle Socks are worn by female dancers while males wear plain black socks. Poodle socks are white socks that stretch to typically 1-4 inches above the ankle, depending on the dancers preference. They also have distinctive ribbing, and can be embroidered with gems.
John Diamond, aka Jack or Johnny, was an Irish-American dancer and blackface minstrel performer. Diamond entered show business at age 17 and soon came to the attention of circus promoter P. T. Barnum. In less than a year, Diamond and Barnum had a falling-out, and Diamond left to perform with other blackface performers. Diamond's dance style merged elements of English, Irish, and African dance. For the most part, he performed in blackface and sang popular minstrel tunes or accompanied a singer or instrumentalist. Diamond's movements emphasized lower-body movements and rapid footwork with little movement above the waist.
An egg dance is a traditional Easter game in which eggs are laid on the ground or floor and the goal is to dance among them, damaging as few as possible. The egg was a symbol of the rebirth of the earth in Pagan celebrations of spring, and was adopted by early Christians as a symbol of the rebirth of man at Easter.
Sanding, also known as sand jigging or sand dancing, is a type of dance performed as a series of slides and shuffles on a sand-strewn floor. In some instances, the sand is spread across an entire stage. In other cases, it is kept in a box that the dancer stays in throughout the dance. Originally a soft-shoe technique, scratching in sand can also add a different texture to the percussion of tap. There is no one type of shoe used to sand dance; traditional tap shoes are used alongside soft shoes and leather boots, all creating a distinctive sound. Willie "The Lion" Smith said of sanding, "You could really hear and feel the rhythm when the dancers shuffled around in a nice pair of patent-leather shoes".
Carrying on the head is a common practice in many parts of the world as an alternative to carrying a burden on the back, shoulders and so on. People have carried burdens balanced on top of the head since ancient times, usually to do daily work, but sometimes in religious ceremonies or as a feat of skill, such as in certain dances.
Stick dance was a dance style that African–Americans developed on American plantations during the slavery era, where dancing was used to practice "military drills" among the slaves, where the stick used in the dance was in fact a disguised weapon.
"La Pas Ma La" is a composition published by minstrel performer Ernest Hogan in 1895 and recognized as the first published ragtime work. With his troupe, the Georgia Graduates, Hogan created a comedy dance called the "Pasmala" consisting of a walk forward with three steps back, and in 1895 composed and published a song based on this dance. The song's chorus was:
