Charleston (dance)

Last updated

Josephine Baker dancing the Charleston at the Folies Bergere, Paris, in 1926 Baker Charleston.jpg
Josephine Baker dancing the Charleston at the Folies Bergère, Paris, in 1926

The Charleston is a dance named after the harbor city of Charleston, South Carolina. The rhythm was popularized in mainstream dance music in the United States by a 1923 tune called "The Charleston" by composer/pianist James P. Johnson, which originated in the Broadway show Runnin' Wild and became one of the most popular hits of the decade. Runnin' Wild ran from 28 October 1923 through 28 June 1924. [1] The Charleston dance's peak popularity occurred from mid-1926 to 1927.

Contents

Origins

While the dance probably came from the "star" or challenge dances that were all part of the African-American dance called Juba, the particular sequence of steps which appeared in Runnin' Wild were probably newly devised for popular appeal. [2] "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 tap." Further changes were undoubtedly made before the dance was put on stage. [3] In the words of Harold Courlander, 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. [2]

Although it achieved popularity when the song "Charleston", sung by Elisabeth Welch, was added to the production Runnin' Wild, the dance itself had first been introduced in Irving C. Miller's Liza in the spring of 1923. [4] [5] Although the name was new, Willie "The Lion" Smith noted that the dance was known well before that; in particular, he mentions the version done by Russell Brown under the name "Geechie dance." [6] The Charleston composer James P. Johnson said that he had seen it danced as early as 1913 in New York City in the San Juan Hill neighborhood, at the Jungles Casino. [7] [8]

Charleston rhythm. Play Charleston rhythm (with notes).png
Charleston rhythm. Play

The characteristic Charleston beat, which Johnson said he first heard from Charleston dockworkers, incorporates the clave rhythm and was considered by composer and critic Gunther Schuller to be synonymous with the Habanera and the Spanish Tinge. [10] 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 player piano rolls, some of which have survived to this day.[ citation needed ]

The Charleston and similar dances such as the Black Bottom 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 – 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.

A slightly different form of Charleston became popular in the 1930s and 1940s, and is associated with Lindy Hop. In this later form, the hot jazz timing of the '20s Charleston was adapted to suit swing jazz 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. Frankie Manning and other Savoy dancers saw themselves as doing Charleston steps within the Lindy rather than dancing the Charleston itself. [11]

Contemporary Charleston

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, though swinging Charleston is more commonly integrated into Lindy Hop dancing.

Solo

Charleston can be danced solo, or with a partner. Its simple, flexible basic step makes it easy to concentrate on styling, improvisation and musicality.

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, 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 African dances). Styling varies with each Charleston type from this point. [12]

Solo 20s Charleston

Solo 20s Charleston 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 particularly) and workshops in the dance taught by high-profile dancers such as the Harlem Hot Shots (formerly known as The Rhythm Hot Shots) and a range of independent dancers.

Usually danced to hot jazz 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.

Solo 20s Charleston is usually danced to music at comparatively high tempos (usually above 200 or 250 beats per minute, 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.

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 20s Charleston dancers respond to the music in creative ways to express themselves.

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 Elliott Chevin, a Serbian freedom fighter.

Solo 20s Charleston Competition

Solo 20s Charleston competitions often make use of elements of the jam circle format, where individual competitors take turns dancing alone for the audience (usually for intervals of a phrase 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".

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. This type of interaction is typical of the call and response 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.

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 cutting contests of jazz music which Ralph Ellison describes in his stories about live jazz music in the 1930s.

Partner Charleston

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.

20s Partner Charleston

In the 20s Partner Charleston couples stand facing each other in a traditional European partner dancing pose, often referred to as closed position which aids leading and following. 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.

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 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.

30s and 40s Partner Charleston

30s and 40s Partner Charleston involves a number of positions, including "jockey position", where closed position is opened out so that both partners may face forward, without breaking apart.

In "side-by-side" Charleston partners open out the closed position entirely, so that their only points of connection 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 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.

There are numerous other variations on these holds, including "hand-to-hand" Charleston, and countless variations on the footwork (including Johnny's Drop, freezes, Savoy kicks 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.

Groups

In swing dance or Lindy Hop communities today, both solo 20s Charleston and solo swinging Charleston are often danced in groups arranged in a loose circle on the social dance floor, in two long lines of facing dancers (evenly spaced) or in other formations in more strictly choreographed performances.

They may choose to follow steps 'called' either by a designated Caller or by each dancer in turn. In this called context, the group perform the same step for a phrase, or until the new step is "called". Individual dancers often improvise within the structure of the called step, bringing their own personal "flavor".

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 measure 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.

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.

Depictions in film

Related Research Articles

<span class="mw-page-title-main">East Coast Swing</span> Type of dance

East Coast Swing (ECS) is a form of social partner dance. It belongs to the group of swing dances. It is danced under fast swing music, including lindy hop, rock and roll and boogie-woogie.

Jazz dance is a performance dance and style that arose in the United States in the mid 20th century. Jazz dance may allude to vernacular jazz, Broadway or dramatic jazz. The two types expand on African American vernacular styles of dance that arose with jazz music. Vernacular jazz dance incorporates ragtime moves, Charleston, Lindy hop and mambo. Popular vernacular jazz dance performers include The Whitman Sisters, Florence Mills, Ethel Waters, Al Minns and Leon James, Frankie Manning, Norma Miller, Dawn Hampton, and Katherine Dunham. Dramatic jazz dance performed on the show stage was promoted by Jack Cole, Bob Fosse, Eugene Louis Faccuito, and Gus Giordano.

In some types of partner dance, lead and follow are designations for the two dancers' roles in a dance pairing. The leader is responsible for guiding the couple and initiating transitions to different dance steps and, in improvised dances, for choosing the dance steps to perform. The leader communicates choices to the follower, and directs the follower by means of subtle physical and visual signals, thereby allowing the pair to be smoothly coordinated.

<span class="mw-page-title-main">Tap dance</span> Type of dance involving percussive shoes

Tap dance is a form of dance which uses the sounds of tap shoes striking the floor as a form of percussion; it is often accompanied by music. Tap dancing can also be a cappella, with no musical accompaniment; the sound of the taps is its own music.

<span class="mw-page-title-main">West Coast Swing</span> Dance style

West Coast Swing is a partner dance with roots in Lindy Hop. It is characterized by an elastic look that results from its extension-compression technique of partner connection and is danced primarily in a slotted area on the dance floor. The dance allows for both partners to improvise steps while dancing together, putting West Coast Swing in a short list of dances that emphasize improvisation.

<span class="mw-page-title-main">Swing (dance)</span> Group of dances tied to jazz

Swing dance is a group of social dances that developed with the swing style of jazz music in the 1920s–1940s, with the origins of each dance predating the popular "swing era". Hundreds of styles of swing dancing were developed; those that have survived beyond that era include Charleston, Balboa, Lindy Hop, and Collegiate Shag. Today, the best-known of these dances is the Lindy Hop, which originated in Harlem in the early 1930s. While the majority of swing dances began in African-American communities as vernacular African-American dances, some influenced swing-era dances, like Balboa, developed outside of these communities.

Swing Rueda is a swing dance in the round (wheel) that features someone calling Lindy Hop moves and the dancers moving in unison. It was adapted from Salsa Rueda by Elaine Hewlett and Jeff Miller at The Rhythm Room Dance Studio, Dallas, Texas in 2000.

<span class="mw-page-title-main">Partner dance</span> Coordinated dancing of two partners

Partner dances are dances whose basic choreography involves coordinated dancing of two partners, as opposed to individuals dancing alone or individually in a non-coordinated manner, and as opposed to groups of people dancing simultaneously in a coordinated manner.

The Big Apple is both a partner dance and a circle dance that originated in the Afro-American community of the United States in the beginning of the 20th century.

A Coaster Step is a term used in swing dancing which originated in Lindy swing. During the last two beats of a rhythm pattern, the follower rotated 90° to be perpendicular to the leader, then stepped back, together, and forward in triple-rhythm, then rotated back to face the leader and to be ready to step forward as the leader led the follower in to begin the next pattern.

<span class="mw-page-title-main">Rock and Roll (dance)</span>

Acrobatic rock and roll is a fast, athletic, physically demanding form of partner dance that originated from Lindy Hop but has evolved to a choreographed sport, often done in formal competition. It is danced by both couples and groups, either all-female or four to eight couples together.

The country/western two-step, often called the Texas two-step or simply the two-step, is a country/western dance usually danced to country music in common time. "Traditional [Texas] two-step developed, my theory goes, because it is suited to fiddle and guitar music played two-four time with a firm beat [found in country music]. One-two, one-two, slide-shuffle. The two-step is related to the polka, the Texas waltz, and the jitterbug.

The Texas two-step is the same step known to ballroom dancers as the international fox-trot. Except for the one-step, which is just that, most Texas dances are variations of a two-step, also called a half-step, which is simply a step-close-step. The Texas two-step is generally done with two long steps and a step-close-step to two-four time. Speeded up, it's a shuffle or double shuffle, but still a two-step.

Rock step may refer to one of several similar dance moves. The name refers to the rocking action during the move: the weight is transferred from one foot to another and then back. It is used in a number of dances, such as East Coast Swing, Zydeco, Lindy Hop, Tango.

St. Louis shag is a swing dance that evolved from the Lindy Hop, Collegiate Shag and Charleston. It is a fast, closed position dance that is usually done to stomp, jump, and boogie-woogie music.

Chicago-Style Stepping is an urban dance that originated in Chicago and continues to evolve nationwide and overseas, while defining its unique style and culture. within urban community. "Chicago-Style Stepping" makes reference to other urban styles of dance found throughout the United States in urban enclaves such as Detroit, Cleveland, Baltimore and Washington, D.C.

The promenade position is a dance position in ballroom and other dances. It is described differently in various dance categories.

<span class="mw-page-title-main">Lindy Hop</span> American dance

The Lindy Hop is an American dance which was born in the African-American communities of Harlem, New York City, in 1928 and has evolved since then. It was very popular during the swing era of the late 1930s and early 1940s. Lindy is a fusion of many dances that preceded it or were popular during its development but is mainly based on jazz, tap, breakaway, and Charleston. It is frequently described as a jazz dance and is a member of the swing dance family.

The Collegiate Shag is a partner dance done primarily to uptempo swing and pre-swing jazz music. It belongs to the swing family of American vernacular dances that arose in the 1920s and 30s. It is believed that the dance originated within the African American community of the Carolinas in the 1920s, later spreading across the United States during the 1930s. The shag is still danced today by swing dance enthusiasts worldwide.

References

Notes
  1. ↑ Broadway Production: Runnin' Wild
  2. 1 2 Emery 1972 , p. 227
  3. ↑ Emery 1972 , p. 228
  4. ↑ Emery 1972 , p. 225
  5. ↑ Johnson, James Weldon (1991). Black Manhattan. Illustrated by Sondra Kathryn Wilson. Da Capo Press. ISBN   978-0-306-80431-1.
  6. ↑ Jacqui Malone, Steppin' on the Blues: The Visible Rhythms of African American Dance, 1996, ISBN   0-252-06508-5, p. 84
  7. ↑ "Runnin' Wild: A Biography of James P. Johnson". The Jim Cullum Riverwalk Jazz Collection - Stanford Libraries. Archived from the original on 3 October 2022. Retrieved 15 January 2024.
  8. ↑ Williams, Keith (21 December 2017). "How Lincoln Center Was Built (It Wasn't Pretty)". The New York Times . Archived from the original on 4 May 2023.
  9. ↑ Schuller 1968 , p. 375
  10. ↑ Schuller 1968 , pp. 158, 173
  11. ↑ Manning, Frankie; Millman, Cynthia R. (2007). Frankie Manning: Ambassador of Lindy Hop. Temple University Press. p. 49. ISBN   978-1-59213-563-9.
  12. ↑ "Solo Charleston & Jazz". Swing.Wien. 31 July 2017. Retrieved 21 October 2018.
  13. ↑ "Crimson Playgoer: The Metropolitan Opens its Doors to an Unlimited Public and a Very Fair Opening Attraction". The Harvard Crimson . 21 October 1925.
  14. ↑ Vreeland, Frank (January 1926). "Screenland". Theatre Magazine. p. 32. 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 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.
  15. ↑ "Newspaper Opinions". The Film Daily. 35 (30): 8. 5 February 1926.
  16. ↑ "Lincoln Way Theatre". The Gettysburg Times . Gettysburg, Pennsylvania. 31 August 1926. p. 6.
  17. ↑ "Silent Era: Progressive Silent Film List". silentera.com.
  18. ↑ Reshown on British Pathé 1955 "This was Yesterday" reel 2, and discussion in Eve's Film Review #302.
  19. ↑ Aaron1912 (25 February 2007). "1920s The Charleston". Archived from the original on 1 November 2007 – via YouTube.{{cite web}}: CS1 maint: numeric names: authors list (link)
  20. ↑ Bergsteinn Sigurðsson (28 January 2021). "Fyrsta íslenska kvikmyndin eftir konu komin í leitirnar". RÚV (in Icelandic). Retrieved 28 January 2021.
  21. ↑ "Sur un air de charleston". IMDb. Retrieved 30 March 2022.
  22. ↑ Engle, Tim (25 December 2004). "A little trivia on a 'Wonderful' seasonal classic". Chicago Tribune. Retrieved 9 September 2022.
Bibliography
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.