PHYSICAL EDUCATION AND HEALTH 3 5.
A Basic Figure is a standardized step pattern, which
HANDOUTS FOR FINALS
SOCIAL DANCES
HISTORY
According to Nimor (2006), Social dances are
usually done to introduce people with one another
during a formal social gathering or to welcome guests to
a social gathering. Many of the social dances like polka
and mazurka started as folk dances while some were
deliberately designed for its social purpose, such as the
waltz, regoudon and ploneise.
Social dancing is believed to have existed since
the beginning of human society in some forms. Its
original forms may have been simply a group dance for
pleasure or recreation. Most group dances were
originally ceremonial rites grouped around three basic
aspects of human existence: food supply sexual
impulse, and relationship with the spirit world.
14th Century
 Social dance and folk dance were virtually
indistinguishable.
 Popular ring dances were performed in English
upper-class homes as part of the evening
entertainment.
15th century in Europe
 Couples dancing a dance form emerged.
 Varied vigorous styles in innovative adaptations and
refinement of folk dances were developed by the
dancing masters.
 These new dances, gay and lively in character.
 Developed first as a social diversion among the
aristocracy of France and Italy.
 Expanded developmentally to every royal court in
other continents to become, in the later centuries
as activity even of the emerging middle class.
16th Century
 Social dance became more firmly ensconced in the
courts with partners constantly changing, filling the
ballroom with emerged square formulations like the
cotillion and quadrille.
 Enthusiasm for social dances also grew during the
period.
20th Century
 The syncopated rhythms of American ragtime music
inspired the foxtrot and shimmy. The flapper as well
as the Charleston was born. The jitterbug bursted
from the swing improvisations in the 1930s.
COMMON DANCE TERMS
1. To Address Partner is to bow to partner. Facing
partner, boys bow by bending slightly from the
waist as girls do curtsy.
2. Curtsy is to bend knees and body slightly with a
bow on the head; the weight of the body is on one
foot. One foot crosses the other in rear.
3. An Amalgamation is a combination of two or more
patterns or movements.
4. A Ball change is a transfer of weight from the ball of
one foot to the other foot.
together with other patterns constitute the basics
of a dance.
6. A Chasse is composed of three changes of weight
with a close on the second and may be performed
sideward or forward.
7. Choreography is a creation or compilation of steps,
patterns and movements, which make up the dance
or a dance routine.
8. A Cuban motion is a discreet but expressive hip
movement achieved by bending and straightening
the knees with carefully timed weight transfer.
9. Dance Sports is the official name given to
competitive Ballroom Dancing.
10. A Figure is a standardized step pattern that,
together with the other patterns, constitutes the
dance.
11. A Hip Motion is a very general term to mean any
type of hip movement used in Latin Dancing.
12. A Leading is effective communication of intended
actions by the leader through the use of leader’s
own body movements and through one or more
physical or visual connections to the follower.
13. A Line of Dancing is a type of non-partner dancing
where everyone starts in the line and learns a set of
patterns that repeats over and over again through
the music.
14. A Lift is a theatrical type of movement in which the
follower’s body weight is completely supported by
the leader held aloft.
15. A Shuffle is a quick step followed by two or more
steps by placing the weight of the body on one foot,
then shifting the weight to the other.
16. Step is frequently used to mean the same as figure
or pattern.
THE HOLDS AND POSITIONS IN BALLROOM DANCING
A. Challenge Position – Partners face each other about
a step apart without touching.
B. Close Ballroom position – Partners facing each
other, R arm of the gentleman placed on the lady’s
waist, L arm of the lady on shoulder of the
gentleman while R hand of the Lady Holds the
gentleman’s L hand about shoulder level.
C. Escort Position – Partners stand side by side, L hand
of the Lady hooked to the R of the gentleman.
D. Facing/Challenge Position – Partners facing each
other, R and L hands joined, comfortably about
waist level.
E. Open Ballroom position – Like ballroom position
but partners are facing the audience, hands towards
the audience, held together.
F. Promenade position – R hand of gentleman holds
the R hand of the lady while L hand of the
gentleman holds the L hand of the lady.
G. Wrap/wrap post – Partners are in close position,
standing side-by-side, lady in cross arm position,
gentleman holds lady’s R hand with his L hand,
while his right holds the lady’s L hand.
H. Swing out post – Inside arm in 2nd position and join
hands (fingertips up and grip thumbs) at shoulder
level.
I. Star post – Partners are in opposite directions, their
right hand holding each other; lady facing away
 from the audience; while gentleman faces the
audience.
DANCES
In common usage, ballroom dance refers to the
10 dances of international standard and International
Latin, though the term is also often used
interchangeably with the five International Standard
dances.
INTERNATIONAL STANDARD
 Normally performed with western music.
 A couple dances counter clockwise around a
rectangular floor following the line of dance.
 Slow Waltz, Tango, Viennese Waltz, Slow Foxtrot,
Quickstep.
INTERNATIONAL LATIN
 Performed with contemporary Latin American
Music and with the exception of a few traveling
dances.
 Cha-cha, Samba, Rumba, Paso Doble, Jive
RUMBA
 The name rumba was originally applied specifically
to the dancing style with lascivious movement of
the hip, bosom and other flexible parts.
 The native Rumba folkdance is essentially a sex
pantomime danced extremely fast with exaggerated
hip movements and with a sensually aggressive
attitude of men and a defensive attitude on the part
of the women.
 The Spirit and Soul of Latin American music and
dance.
CHA-CHA
 It was described as a Mambo with a guiro rhythm.
 Originally known as the cha-cha-cha, cha-cha is an
offshoot of the Mambo.
 The dance consists of 3 quick steps and 2 slower
steps on the beat.
 It is still the most popular of all the Latin-American
dances.
 Along with Rumba and Mambo, Cha developed in
Haiti and in Cuba and migrated to the United States
in the 1950s. These rhythms are closely related —
we can think of Mambo as a fast Rumba and Cha as
a triple Mambo. These three rhythms have many
figures in common.
 Cha is danced with a loose hold and with sharper,
more staccato movements than in Rumba. The
tempo of Cha is about the same as that of Rumba,
but we are fitting five steps into a measure instead
of only three in Rumba, so Cha feels a good bit
faster, too. Where Rumba is danced quick, quick,
slow; Cha is danced quick, quick, quick/and, quick;
or 1, 2, cha/cha, cha; In Latin music, you can hear
the "cha-cha-cha." That is, you can hear some
instrument being played on the "and" count (in
other rhythms, the "and" can just be silence
between two sounds).
 Most Cha steps are taken ball-flat, although the
quickest steps might be taken ball only. Step with
the left, press into that step without weight,
straighten the left knee and roll your weight onto
the left leg, and bend the right knee. This will move
the left hip to the side and back. More specifically,
step forward with a ball/flat/straighten/hip, and
back ball/flat/straighten/hip to get a rhythmic and
rolling Cuban or Latin hip action. Use the inside
edge of the ball of your foot and big toe, and this
will move the non-supporting knee in front of the
supporting knee and add even more to the Cuban
hip, but don't exaggerate. Don't "wiggle your hips."
The hip movement is not independent but comes
from the feet and knees. The whole body is flowing
with the music.
 Round dancers dance almost all of their Chas
beginning on beat 1 of the measure, the strong
downbeat — 123&4 — but ballroom dancers (and a
few round dances, such as Wheels Cha by Jim &
Bonnie Bahr) begin on beat 2 — 234&1. In round
dancing, we call this 4&1 Cha, to distinguish it from
the more common 3&4 Cha.
 If you'd like to try 4&1, any round-dance Cha can be
danced that way. Just hold the first beat, step on
beat 2, and continue to the cues. Or start with the
trail foot free, step side on beat 1, begin the first
figure on beat 2, and continue to the cues.
 One advantage to dancing the 4&1 timing lies in the
fact that Latin music often emphasizes that part of
the phrase. You end up dancing your "cha-cha-cha"
where the music says "bum-ba-bum." Another
advantage is that 4&1 timing lets you put the last
"hip" — of a Half Basic, for instance — prominently
on the downbeat. You would dance: 234&1/hip.,
This might feel good to the music, really Latin,
sensual. I don't know. Try it. Let "the music tell you
what to do."
JIVE
 The first hints of jive came from African American
slaves.
 It reflects the character of the dance which is sassy
and loud.
 Danced in Triple Rhythm as against the Single
Rhythm of Rock n Roll, which is Q a Q in place of the
slow used in Rock ‘n Roll.
Paso Doble,
 Paso Doble should be a bit theatrical. The man is
the Spanish matador with his proud, upright
carriage, back arched, shoulders back, head up.
Forward steps are heel/flat in a marching tempo or
up on the balls of the feet in a more prancing
attitude.
 The woman is traditionally the matador's cape, and
in figures such as Huit, Sixteen, and Chasse Cape
she will dance more lightly and flowing. However,
she can also find herself playing the role of a
picador, a partner matador, a flamenco dancer, or
even the bull itself. She must be prepared to flutter
passively one moment and stand tall and strong
another.
 Part of this theater involves the use of body sway.
Samba
 a lively, rhythmical dance with elements from
Brazilian samba.
 It differs considerably from the original samba
styles of Brazil, in particular it differs from Ballroom
Samba in Brazil itself. In many other ways it though
been influenced by the Brazilian version of samba,
in particular maxixe, and subsequently developed
independently from samba in Brazil.
 As a ballroom dance, the samba is a partner dance.
Ballroom samba, even more than other ballroom
dances, is very disconnected from the origins and
evolution of the music and dance that gives it its
name.
 Most steps are danced with a slight downward
bouncing or dropping action. This action is created
through the bending and straightening of the knees,
with bending occurring on the beats of 1 and 2, and
the straightening occurring between. However,
unlike the bouncing of, e.g., Polka, there is no
considerable bobbing. Also, Samba has a specific hip
action, different from that in ballroom Latin dances
(Rumba and Cha-Cha-Cha).
 The ballroom samba is danced to music in 2/4 or
4/4 time. It uses several different rhythmic patterns
in its figures, with cross-rhythms being a common
feature.
 The characteristic 2/4 count is 1/a, 2; or "quick/a,
quick;" but in round dancing, we choreograph and
dance as though the music were 4/4. One dancer
described the feel of samba music as "a-pic, a-poc,
a-pic, a-poc." The two common patterns are the
"basic" or "bota fogo" timing, with 1a, 2, 3a, 4; and
the "volta" timing, with 1a, 2a, 3a, 4; In these
figures, the "a" is a quarter beat (remember that
the "&" in cha is longer—a half beat). In samba, the
"a" step is a quick step, and really, only partial
weight is taken. Instead of "cha-cha-cha," it feels
more like "bum-ba-bum." Step with the left, ball-
flat, quickly press with the ball of the right, and step
again with the left, ball-flat. On side steps, lead with
the inside edge of the foot: edge-flat. As in other
Latin rhythms, delaying the taking of weight, ball-
flat or edge-flat, shifts the hips to the side of the
stepping foot, giving a "latin" hip action.
 A second signature feature is the "samba bounce."
The upper torso is kept relatively quiet, but the mid-
torso is supple and the hips and pelvis move
slightly. (At one time, samba was danced with a big
rolling bounce. Now, the samba bounce is much
more understated.) Step on count one with flexed
knee, pelvis forward, hips tucked under; press
behind on the "a" count, straighten the knees, and
lifting the pelvis back and up; then step on beat two
and flex again, and straighten before the first step
of the next measure. This flexing and straightening,
with a little lift at the end of each beat will put that
bounce in the pelvis. Add a forward and back
swaying of the upper bodies, and you get a
controlled rocking motion, a pendulum swinging
forward and back, the two bodies in unison.
 Together, the latin hip and the bounce give a soft
figure-eight motion. Keep your footwork small and
light. There is rise and fall, always turning, sway to
right and left, and the back and forth bounce. It
seems like a lot to fit in, but stay loose. Think gay,
lighthearted, dancing in the streets; think carnival
time in Rio. Now and then, add some tight conflict-
between-the-sexes for spice.
TANGO
 Originated in the lower class of Buenos Aires
 It was first known as baile con corte-the dance with
a stop.
 The music is easy to follow as the beats are very
well marked.
 It is in 2/4 time signature.
HIP-HOP
 a cultural movement that attained widespread
popularity in the 1980s and ’90s;
 the backing music for rap, the musical style
incorporating rhythmic and/or rhyming speech that
became the movement’s most lasting and
influential art form.
 a dance style, usually danced to hip-hop music, that
evolved from the hip-hop culture.
 The first dance associated with hip-hop was
breakdancing. While breakdancing consists
primarily of moves executed close to the ground,
the majority of hip-hop moves are executed
standing up.
 Although widely considered a synonym for rap
music, the term hip-hop refers to a complex culture
comprising four elements:
1. deejaying, or “turntabling”;
2. rapping, also known as “MCing” or “rhyming”;
3. graffiti painting, also known as “graf” or “writing”;
4. B-boying which encompasses hip-hop dance, style,
and attitude, along with the sort of virile body language
that philosopher Cornel West described as “postural
semantics.”
ORIGINS AND THE OLD SCHOOL
Hip-hop originated in the predominantly African
American economically depressed South Bronx section
of New York City in the late 1970s.
Graffiti and break dancing, the aspects of the
culture that first caught public attention, had the least
lasting effect. Reputedly, the graffiti movement was
started about 1972 by a Greek American teenager who
signed, or “tagged,” Taki 183 (his name and street,
183rd Street) on walls throughout the New York
City subway system.
By 1975 youths in the Bronx, Queens,
and Brooklyn were stealing into train yards under cover
of darkness to spray-paint colourful mural-size
renderings of their names, imagery from underground
comics and television, and even Andy Warhol-like
Campbell’s soup cans onto the sides of subway cars.
Soon, influential art dealers in the United
States, Europe, and Japan were displaying graffiti in
major galleries. New York City’s Metropolitan Transit
Authority responded with dogs, barbed-wire fences,
paint-removing acid baths, and undercover police
squads.
 The beginnings of the dancing, rapping, and
deejaying components of hip-hop were bound together
by the shared environment in which these art forms
evolved. The first major hip-hop deejay was DJ Kool
Herc (Clive Campbell), an 18-year-old immigrant who
introduced the huge sound systems of his
native Jamaica to inner-city parties.
Using two turntables, he melded percussive
fragments from older records with popular dance songs
to create a continuous flow of music. Kool Herc and
other pioneering hip-hop deejays such as Grand Wizard
Theodore, Afrika Bambaataa, and Grandmaster
Flash isolated and extended the break beat (the part of
a dance record where all sounds but the drums drop
out), stimulating improvisational dancing.
HIP-HOP IN THE 21ST CENTURY
As the century turned, the music industry
entered into a crisis, brought on by the advent of digital
downloading. Hip-hop suffered at least as severely as or
worse than other genres, with sales tumbling
throughout the decade.
Simultaneously, though, it solidified its standing
as the dominant influence on global youth culture. Even
the massively popular “boy bands,” such as the
Backstreet Boys and *NSYNC, drew heavily on hip-hop
sounds and styles, and rhythm and blues and
even gospel had adapted so fully to the newer approach
that stars such as Mary J . Blige, R. Kelly, and Kirk
Franklin straddled both worlds.
TYPES OF HIPHOP DANCE STYLES
Source: http://www.hiphopunite.com/index-
styles.html HIP HOP UNITE© 2012
1. Locking 11. Boogaloo
2. Popping 12. Ragga
3. Electric Boogie 13. House Dance
4. Breakdance / B-Boying 14. Lyrical
5. Uprock 15. Stepping
6. Funk 16. Free Running
7. Streetdance 17. Punking
8. Tutting/Tetris 18. Waacking
9. Battle 19. Voguing
10. Liguid Dancing
Locking: (originally Campbellocking)
 This dance can be traced back to the late 1960’s and
was created by Don Campbell. It is a style of funk
and street dance and originally danced to
traditional funk music such as James Brown.
 The name is based on the concept of locking which
means freezing from a fast movement and "locking"
in a certain position, holding that position for a
short while and then continuing in the same speed
as before. It relies on fast and distinct arm and hand
Hip Hop Manual movements combined with more
relaxed hips and legs. The movements are generally
large and exaggerated, and often very rhythmic and
tightly synced with the music.
 Locking includes quite a lot of acrobatics and
physically demanding moves, such as landing on
one's knees and the split.
 These moves often require knee protection of some
sort.
Other important stylistic features are waving of
arms, pointing, walking stationary and grabbing and
rotating the cap or hat.
 Don Campbell created the original freezes,
incorporating his unique rhythm and adding
gestures such as points and handclaps.
 Lockers commonly use a distinctive dress style, such
as colorful clothing with stripes, suspenders, pegged
knee length pants, hats and gloves.
 Locking is quite performance oriented, often
interacting with the audience by smiling or giving
them a high five, and some moves are quite comical
in nature.
Popping
 The best way to describe the movement of popping
would be to imagine a force of energy going
through the body causing it to move like a wave.
 This style is difficult to manage at the technical level
as it requiring command of isolations, a perfect
knowledge of the body, and a good sense of the
rhythm with major use of counter-tempo.
 The style demands continuous contraction of the
muscles to the beat to give a jerky/snapping effect –
a bouncy style.
Electric boogie
 Electric boogie is a style of popping (ticking) but the
major difference is that Popping creates a soft wave
whereas Electric Boogie creates more jerky waves
with micro wave moves, executed with a high
velocity more difficult than classical popping.
 The Robot, and the more smooth and controlled
movements of mime are characteristic. Instead of
throwing the body in and out of control like locking,
or in total hydraulic control like The Robot, energy is
passed through the body popping and snapping
elbows, wrists, necks, hips and just about all the
body joints along the way.
 Electric Boogaloo is more like mime in the sense
that it imitates a live wire of electrical current or
rippling river, but it still needs the control of The
Robot to give it style.
Breakdance / B-Boying
 Breaking or b-boying, commonly called
breakdancing, is a style of dance that evolved as
part of hip-hop culture among Black and Latino
American youths in the South Bronx during the
1970s.
 It is danced to both hip-hop and other genres of
music that are often remixed to prolong the musical
breaks.
Four basic elements form the foundation of breaking
1. Toprock, a term referring to the upright dancing and
shuffles.
2. Downrock which refers to footwork dancing
performed on the floor.
3. Freeze, the poses that breakers throw into their
dance sets to add punctuation to certain beats and end
their routines.
4. Power Moves, These are the most impressive
acrobatic moves normally made up of circular motions
where the dancer will spin on the floor or in the air.
Uprock
 A soulful, competitive street dance using the
rhythms of Soul, and Funk music.
 The dance consists of foot shuffles, spins, turns,
freestyle movements, sudden body movements
called "jerks" and hand gestures called "burns".
 said to be mastered with discipline, patience, heart,
soul, and knowledge.
Funk
 Funk dancing originated on the West coast of the
United States, where it developed in the late 60’s as
a reaction to the fusion of Soul and Disco, as well as
early R’n’B and Hip Hop music.
 It is a highly choreographed dance form, similar to
dances seen on commercial video clips. It features a
mixture of sharp and fluid movements, popping &
locking and animated expression.
Streetdance
 A very physical and incorporates dance moves from
all over the world.
 Various dance styles are mixed with a multi-cultural
influence and funky tunes.
 Generally a Streetdance routine can include locking
and popping, street style and funk
 A FUSION of styles from the Hip Hop genre.
Tutting/Tetris
 A dance style that mimics the angular poses
common to ancient Egyptian art.
 The style is rapidly evolving but there are some
constant rules that define it.
 The most important stylistic convention is that
limbs form 90 degree angles.
 While this constraint is fundamental, and for the
most part is not violated, other aspects of the dance
are in flux.
 Dancers used to utilize a limited set of static hiero-
inspired poses, but they now have begun to create
more complex geometric patterns involving
interaction between multiple limbs.
Battle
 A battle is a freestyle where dancers 'fight' against
each other on the dance floor without contact.
 They form a circle and take turns trying to show
each other up by using either a better style, more
complex combinations, or harder moves.0
Liquid Dancing
 a form of gestural dance that sometimes involves
pantomime;
 Invokes the word liquid to describe the fluid-like
motion of the dancers’ body and limbs;
 Primarily the dancers’ arms and hands which are
the focus, though more advanced dancers work in a
full range of body movements;
 similar to the styles of popping or locking.
Boogalo
 a fluid style, that uses every part of the body and
involves using angles and smooth movements to
make everything flow together;
 It often uses rolling of the hips, knees, and the head
and is often used as a transition.
Ragga
 A dance style originating (in the late 70’s) from
street dance by Afrojamaïcans, Afrocarabians,
which uses music which evolved from classical
Reggae with a hip hop influence;
 The style used is a combination between hip hop
moves, afro moves with latin influences with
sensuality.
 it requires very good physical condition, as many
muscles are involved in the Raggajam, particularly
in the lower part of the body; (correct execution
requires good technique)
House Dance
 House is a group of dance styles primarily danced to
house music that have roots in the clubs of Chicago
in the late 70’s and early 80’s;
 The main styles include Footwork, Jacking and
Lofting. Like hip hop dance it was created by black
and latino Americans and is often improvisational in
nature.
 Other than footwork, jacking, and lofting, house
dance has grown to include other related styles
such as vogue, wacking and hustle
Lyrical
 Lyrical hip-hop is a fluid and more interpretive
version of new style hip-hop most often danced to
downtempo rap music or R&B music.
 Lyrical is "hip-hop with emotion“
 It focuses more on choreography and performance
and less on freestyles and battles.
 The name lyrical comes from the word "lyrics"
because dancers use the lyrics of a song or
instrumental music to inspire them to do certain
movements or show expression.
 The goal of a lyrical dancer is to use gesture, facial
expression, and controlled movements in order to
execute their movements and emotions fully.
 Besides emotional connection to music, lyrical
dance typically encourages use of articulation, line,
weight, and movement qualities.
Stepping
 Stepping or step-dancing is a form of percussive
dance in which the participant's entire body is used
as an instrument to produce complex rhythms and
sounds through a mixture of footsteps, spoken
word, and hand claps;
 Though stepping may be performed by an
individual, it is generally performed by groups of
three or more, often in arrangements that resemble
military formations.
 Some forms of stepping include the use of props,
such as canes, rhythm sticks and/or fire and
blindfolds.
Free running
 Free running or freerunning is a form of urban
acrobatics in which participants, known as free
runners, use the city and rural landscape to perform
movements through its structures;
 It incorporates efficient movements from parkour,
adds aesthetic vaults and other acrobatics, such as
tricking and street stunts, creating an athletic and
aesthetically pleasing way of moving.
 It is commonly practiced at gymnasiums and in
urban areas (such as cities or towns) that are
cluttered with obstacles.
 The term free running was coined during the filming
of Jump London, as a way to present parkour to the
English-speaking world.
Punking
 This style came in 1970s from the West coast,
directly Los Angeles, where it was developed in
clubs and underground scene.
 Punking was first spotted in gay clubs in Hollywood.
 Dancers began to represent it on television and it
became well-known thanks to Soul Train.
 Punking then became a part of many shows from
Hollywood to Las Vegas.
Waacking
 Waacking is a name that some of the Soul Train
dancers began to use instead of the initial term
punking.
 Some say that punking was the correct name for the
underground style, while waacking or whacking
came later, when the dance became popular.
 However, this dance style reacted to changes of
music:
a. Punking-1970-1974 - at this time the
music is moving in more funk direction. Clothing
was very colorful, funky. Dancers had a funky
feeling. This is why this style mixed with lockin. In
fact, these two styles were very close to each other
thanks to a funky feeling.
b. Waacking-1974 - about this time broke
out "Disco Madness". Music began to take a
different direction. Dancers started to wear
completely different clothes. Women danced in a
dress and heels, men exchanged a funky T-shirts for
shirts and jackets. The style began to change more
in the direction of jazz. The dance included a lot of
lines, poses (which was mostly inspired by movie
stars of 1930s’) and other technical design
movements of hands that you wouldn’t definitely
find in the punking. In particular, the overall
attitude of the body has changed thanks to the
footwear and clothing. Dancers began to dance
everything more in upright stand unlike in punking,
which was far more in the knees.
 this style was "forgotten" for a while and survived in
a small group of dancers who are so devoted.
 today waacking and punking is experiencing a
"rebirth" in different forms.
 For example, in NY you will see primarily jazzy form,
but more funky in Japan.
Voguing
 Vogue is a form of modern dance, as well as
waacking and was created by the gay community.
 The style is inspired by photos of models in poses in
various positions such as posturing hands, feet,
body movements in linear, angular and precise,
fixed position.
 Inspirational material for the dancers were fashion
magazines like Vogue, Elle ... which often drew
inspiration from photos of extravagant models.
 This style of dance arose from Harlem ballrooms by
African Americans and Latino Americans in the early
1960s.
 It was originally called "presentation" and later
"performance”.
Currently there are 3 different styles, or we can say
"schools" in Voguing:
1. Old Way (pre- 1980)
- Characterized by the formation of symmetrical and
precise lines, creating a wonderful variable action with
proper attitude
- Egyptian hieroglyphs and fashion poses serve as the
original inspirations for old way voguing
2. New Way (1990)
- Characterized by a more precise geometric patterns
associated movements called "Click" (arm twisting in
the joint) and "arms control" (agility hands and wrist
illusions, which usually make "tut" or "tutting" and
locking or stopping movement.
- Can also be described as a modified form of mime -
where imaginary geometric shapes such as boxes, are
presented during the move, that move progressively
around the body of dancer and showing dancers
dexterity.
3. Vogue Fem (started around 1985)
- Largest extreme flexibility and fluidity, exaggerated
feminine movements, influenced by ballet, modern
dance and in the case of "dramatic" Vogue Fem,
emphasize jumps and tricks.
- Includes other forms of dance moves such as: Modern
jazz, ballet, gymnastics, martial arts, break dancing,
yoga.
- Some dance historians even point out that breakdance
and vogue evolved together in a bilateral loan of
movement, with artists from both parties interacting
one another in Central Park, Christopher Street pier,
Harlem and Washington Square Park.