Charleston (d… EN

Introduction
Origins
Contemporary
Charleston
Charleston (dance)
Solo Connected to: Dance Folies Bergère Josephine Baker
Partner Charleston
Groups
From Wikipedia, the free encyclopedia
Depictions in the media
See also This article needs additional citations for veri cation. Pl…

References The Charleston is a dance named for the

External links 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[1] and became one of the
most popular hits of the decade. Runnin' Wild
ran from 29 October 1923, through 28 June
1924.[1] The peak year for the Charleston as a
dance by the public was mid-1926 to 1927.

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 rst, the step started off with a simple twisting of the feet, to rhythm in
a lazy sort of way. [This could well be the Jay-Bird.] 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 Negro dance, it "was a synthetic creation, a newly-devised conglomerate
tailored for wide spread popular appeal." Although the step known as "Jay-Bird", and other
speci c movement sequences are of Afro-American origin, no record of the Charleston being
performed on the plantation has been discovered.[2]

Although it achieved popularity when the song "Charleston", sung by Elisabeth Welch, was
added in the production Runnin' Wild, the dance itself was rst introduced in Irving C.
Miller's Liza in the spring of 1923.[4][5]

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 characteristic Charleston beat, which Johnson

said he rst heard from Charleston dockworkers,
incorporates the clave rhythm and was considered
by composer and critic Gunther Schuller to be Charleston rhythm.[7] Play (help·info)
synonymous with the Habanera, and the Spanish
Tinge.[8] 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,
several 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 later part of the 1920s. They became less popular after 1930,
possibly because after seven years of being fashionable people simply became less interested.
The new fashion for oor level sheath evening dresses was also probably a factor. The new
dresses constricted the leg movements essential for the Charleston. There is a British Pathé
Instructional Short from 1933 in which a new variation – The "Crawl Charleston" – is
demonstrated by Santos Casini and Jean Mence. This shows a very sedate version of dance
similar to a Tango or Waltz. It wasn't until dress hem lines rose toward the end of the thirties
that the Charleston is again seen in lm.

A slightly different form of Charleston became popular in the 1930s and 1940s, and is
associated with Lindy Hop. In this later Charleston form, the hot jazz timing of the 20s
Charleston was adapted to suit the swing jazz music of the 1930s and 1940s. This style of
Charleston has many common names, though the most common are Lindy Charleston, Savoy
Charleston, 30s or 40s Charleston and Swing(ing) Charleston. In both 20s Charleston and
Swinging Charleston, the 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 to be dancing Charleston.[9]

Contemporary Charleston
This article needs additional citations for veri cation. Please help improve this articl…

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, exible 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' forward, and then moving back as the opposite arm/leg begin
their forwards 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.[10]

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 particularly) and workshops in the dance taught by high-pro le 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 not only steps from 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 oor 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 ghter.

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 Aphro-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 sex partners.

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 oor, 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 " avor".

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 5–8), 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 the media

1925 – Actress Bessie Love dances the Charleston in the lm The King on Main Street.[11][12]
1926 – The lm The Song and Dance Man – Bessie Love performed the Charleston.[13][14]
1926 – Santos Casani and Josie Lennard performed in a short lm The Flat Charleston
recorded in the DeForest Phono lm sound-on- lm system, and released in December
1926.[15]
1927 – The 15 March 1927 lm footage of Santos Casani and Josie Lennard dancing the
Charleston on the roof of a London taxi was one of the era's notable publicity stunts. The
lm was shot by Pathé News at Kingsway in London.[16][17]
1927 - Sur un air de Charleston a short lm made by Jean Renoir featuring Johnny Huggins
and Catherine Hessling.[18]

See also

References

External links

Street dance

Categories

This page is based on a Wikipedia article written by contributors (read/edit).

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.
Cover photo is available under Public domain license. Credit: Walery, Polish-British, 1863-1929 (see original le).

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