Walter's Random Musings
In my zeal to document the social dances of the Jazz Age, I have built a rather large and intimidating collection of web pages and videos, which while they may be of interest to the aficionado, might be a bit much for a busy person in a hurry. So, I have briefly summarized my key points.
These observations relate primarily to Fox Trot, which was the fundamental foundation of almost all the dancing of the time and a promiscuously applied catch-all name for any dance in 4-4 time. Most of this also applies to the two other common Ballroom dances of the time: the Waltz and the Tango. For discussion of how the youth dances (Charleston, Swing etc.) Latin dances and the like fit into all of this, click on the links on both sides of this page.
It's Different: The Foxtrot of today IS NOT the Fox Trot of the Jazz Age. Dances evolve over time, and what you see today called the Foxtrot is not what you see in the old movies.
I have extracted the two Argentine Tango scenes from this Carlos Gardel film
The Jazz Age ballroom style, a style I like to refer to as "Cocktail Dancing", is unique in its simplicity, intimacy and freedom. It is the dance of an age when everyone danced, when people were participants rather than just spectators in their own entertainment.
What follows are some helpful hints for dancing in this style.
In this style of dancing, very little of the lead comes from your hands and arms, and most of it from your body - your "core". Since you are in body to body contact, the two of you should move effortlessly as a unit.
The desired effect is smoothness and musicality. The Lead should adapt to the music, dancing smooth and romantic when the music is smooth and romantic, and exuberantly when the dance is exuberant. He should sway and move his body to the music and convey that movement to his partner. The movement starts with the shoulders and works its way down as the body follows the shoulders.
However, being in such close contact imposes some constraints. Your movements can't be too violent or broad, your feet can't do anything that would cause stepped on feet or colliding knees and since you are so close together (perhaps even cheek-to-cheek) unless your partner is so short that her head is below your sight line, you can't really see that well, so Polka-style hurtling across a crowded dance floor could be a very bad idea.
As anyone who has seen my social media posts for the last couple of years will know, I have been focused on recreating the social dances of the 1920s, 30s and â40s â not the youth dances like Charleston and Swing (they donât need my help) but the, at the time, far more widely danced Foxtrots, Waltzes and Tangos.
These dances, in their original forms, were far less structured, far more intimate and far easier than their current âDancing With the Starsâ forms. It is a style of dance that I think has a lot to offer our modern world, and I would love to see it revived and spread beyond a narrow, historical dress-up sort of audience.
At the time, these dances were called âThe Modern Dancesâ, but âModern Danceâ is a term that has become inextricably associated in our own time with styles of artistic performance dance â successors to ballet, so âModern Danceâ is pretty much taken, and another name is required to describe this unique style. Besides, âmodernâ is an adjective that has something of a set âsell byâ date, and becomes just a bit ironic when applied to a dance style thatâs about a century old.
I have been referring to them as âJazz Age Social Dancesâ, which sets them in their proper historical context, but also locks them into the past. It defines them as a museum artifact. Itâs as if you called Swing Dancing âGreat Depression Dancingâ or âWorld War Two Dancingâ.
I suspect a hard-wired link to the past could be impediment to a broader acceptance of this sort of dancing.
So, what can we call this style, with its focus on social connection, simple enjoyment and sophistication, that conveys its unique spirit and essence?
This scene, in which dancing figures prominently in the background, gives a sense of the sorts of dancing a movie audience would expect to see in a sleazy dive in New York in 1928. It's from "The Docks of New York"
The dance scenes from the 1921 French film Fievre, showing low-down Jazz Age dancing in a low down venue full of drunk, unhappy people. I pasted "The Montmartre Rag" and "Around the Bois de Boulogne" onto the silent footage.
I happened on this fragment of an obscure British film set in a dance hall that contains a lot of nice detail. I also love it when they put up a sign saying "Fox Trot" or "Waltz" to remove any doubt. I am a bit disappointed they flashed a One Step sign, but didn't show it. I am curious what a British One Step would look like given how One-Steppy their Fox Trots are. You would seldom see a dance called a One Step in the States by this time.
This video, made up of Fox Movietone News rough footage from 1930, shows in great detail, ordinary folks dancing the Fox Trot in 1930.
In this brief posting, I will muse on what went wrong with dancing that made men desert the dance floor, and end with a few ideas I try to put into practice to make them a little more willing to get out of their chairs and dance. Much of what I say applies equally to women, but for this particular post, I'm singling out the guys.
There was once a time, not so long ago, when everyone, men and women, danced. Every public space had a dance floor and regular live music, most restaurants had dancing, every hotel hosted regular dances, and you couldnât have a celebration or large social gathering without dancing. When men felt lonely and isolated, they would go to a taxi dance hall and pay women to dance with them. Dancing was central and essential to society and to the way men and women interacted.
Through the '40s and '50s, general public dancing was in a slow decline, but was still pretty widespread. Then, around the 1960s, something fundamentally changed and men, who had always had a tendency to be less enthusiastic about dancing than women, started to withdraw from the dance floor. When they were kids, they would reluctantly join the girls for some freestyle gyration, but as soon as possible, most of them found an excuse to sit down.
Today, social dancing is almost dead. Outside of certain very specific contexts like âthe club sceneâ, formal ballroom dancing, swing dancers, weddings etc., most social occasions, even when they include music (often REALLY loud music), do not include any sort of dancing and when they do, itâs almost exclusively the women who dance. (an aside: I think that the deafening volume of most public music today is an attempt to try to fill the void left by dancing. I have no evidence to support this, I simply think it so)
So, what happened? Why are men so reluctant to dance anymore?
This video is from a collection of raw footage and out takes from Fox Movietone News. I cut it down to the dance related bits from the footage I found on the University of South Carolina website.
From 1930, at the Poinciana Breakers Casino in Palm Beach Florida, ordinary folks dancing the Fox Trot in the sort of general public dancing that used to be found everywhere.