Social Ballroom Dances - Compress

SOCIA L
DA NCES
Objectives
•Discuss t h e n a t u r e of t h e d i ff e r e n t
types of b a l l r o o m dances.
•P e r f o r m t h e basic steps of
B a l l r o o m dances.
•R e c o g n i z e t h e d i ff e r e n t e t i q u e t t e
p r o t o c o l a n d safety i n t h e use of facilities.
BALLROOM DANCING
Ballroom Dancing is a formal
social dancing for couples , where
one person leads and the others
follow the steps. It is a popular
both as recreational and a
comparative activity.
•Theword “ ball ” is from the Latin
word ballare , which means
dance .
•There are two types of ballroom

dances : Standard Dances and
Latin Dances .
STANDARD
DANCES
•S m o o t h , f l o w i n g b a l l r o o m
d a n ce s t h a t m o v e a r o u n d t h e
e n t i r e d a n c e floor i n a c o u n t e r
clockwise m o ve m ent.
STANDARD DANCES
1.Foxt rot
2.Waltz
3.Tango
4.Viennese Waltz
5.Quick Step
Foxtrot
•It is a n e l e g a n t d a n c e
w h o s e o b j e c t i v e is t o
travel s m o o t h l y a r o u n d
t h e d a n c e floor.
•Slow, Slow, Quick, Q u i c k

W al t z
•It is a s m o o t h progressive
d a n c e t h a t travels a r o u n d
t h e line of dance,
c h a r a c t e r i z e d b y its “rise
a n d fall” action. It i n c l u d e s a
step, a slide a n d a step i n ¾
t i m e . “ m o t h e r of present -
day dances” a n d t h e
“ b a c k b o n e dance” of t h e
ballroom.
Tan g o
•It is a sensual b a l l r o o m
dance that originated in
South America during the
early 2 0 t h century.
•“Tango” m a y b e a n African
t e r m for “close space” or
“reserved ground”, or i t m a y b e
f r o m t h e Latin verb t a n g u e r e
w h i c h m e a n s “to touch.”
Viennese W a l t z
•It is t h e first b a l l r o o m
dance to be performed in
t h e closed h o l d position. It
is d a n c e d t w i c e as first as
t h e w a l t z a n d is a rotary
d a n c e w h e r e dancers are
continually turning either in
a c l o c k w i s e or c o u n t e r
c l o c k w i s e direction.
Q u i c k Step
•It is a n u p - a n d - d o w n , rise-and-
fall s w i n g i n g m o t i o n p e r f o r m e d
a t a fast pace. Distinctiv e
quicksteps include the following:
1.Rise a n d Fall
2.Lockstep
3.Natural H a i r p i n
4 . R u n n i n g Finish
5.Outside C h a n g e
6.Chasse a n d Hover Corte
Q u i c k Step
•Music us ed for q u i c k s t e p is
usually jazz or s w i n g w i t h a brisk
t e m p o . It is a l i t t l e faster t h a n
brisk w a l k i n g , a l t h o u g h i t seems
m u c h faster for beginners.
LATIN
DANCES
•These d a n c e s stay i n o n e
p l a c e o n t h e d a n c e floor.
They are e n e r g e t i c d a n ce s
a n d r e fl e ct t h e shift i n
r h y t h m of t h e m u s i c b e i n g
d a n c e d to.
LATIN DANCES
1.Ch a-c h a-ch a
2. Jive
3.Samba
4. Paso Do b le
5.Rumba
C ha - c h a - cha
•It is a derivative of t h e
m a m b o a n d also a s t e p c h i l d
of t h e swing. It is d a n c e d w i t h
a triple step a n d break a n d
check. Cha-Cha-Cha is
passionate, energetic, lively
a n d flirtatious.
C ha - c h a - cha
•The t i m i n g is 2, 3, 4 a n d 1(full
b e a t o n 2, full b e a t o n 3, h a lf
b e a t o n 4, a n d h a lf b e a t a n d
full b e a t o n 1).
J i ve
•O r i g i n a t i n g i n t h e US,
this d a n c e was
influenced by the
boogie, r o c k “n” roll,
African/ A m e r i c a n s w i n g
a n d Lindy Hop.
•It is a very happy, h o p p y,
energetic dance w i t h plenty
of k n e e lifting, b e n d i n g ,
rocking, a n d r o c k i n g of hips.
Sam b a
•It is o n e of t h e five
i n t e r n a t i o n a l Latin d a n c e s
d e v e l o p e d i n Brazil d u r i n g
t h e 19th century.
•It is c o n s i d e r e d t h e d a n c e
of c e l e b r a t i o n a n d joy. In
Brazil, a s a m b a d a n c e r is
c a l l e d sambista.
Paso Doble
It o r i g i n a t e d i n S o u t h e r n
France. The d a n c e is lively
a n d d r a m a t i c w i t h l o n g full
steps a n d forceful
m o v e m e n t s . It is like a
p r e p a r a t i o n for b a t t l e a n d
success i n c o m b a t , just like
t h e b u l l fights t h a t i n s p i r e d
it.
Paso Doble
The m a l e d a n c e r represents
t h e m a t a d o r w h o is
confidently and proudly
e n t e r i n g t h e ring. The
f e m a l e d a n c e r represents
t h e m a t a d o r ’s c a p e w h i c h is
whipped around with
graceful elegance.
Rum ba
•C o n s i d e r e d t h e sexiest of
t h e b a l l r o o m dances, t h e
r u m b a tells t h e story of
love a n d passion b e t w e e n
a strong m a n and a
te a sing w o m a n .
BALLROOM
DANCE
ETIQUETTE
ASKING FOR A DANCE
•Traditional e t i q u e t t e requires
t h a t m a n ask t h e w o m a n for a
dance. This is easy for t h e m a n
w h e r e h e is w i t h friends; h e can
establish eye c o n t a c t f o l l o w e d
by a smile a n d an e x t e n d e d
hand.
ASKING FOR A DANCE
However it m a y n o t b e t h a t easy
for h i m w h e n h e is in a n e w
environment. In this case h e can
ask t h e f o l l o w i n g question;
•May I have this dance?
•Care t o dance?
•Wo u l d you like t o dance?
ASKING FOR A DANCE
•Today w o m a n should
feel equally c o m f o r t a b l e
asking for t h e dance.
DECLINING A DANCE REQUEST
•A man’s requests m a y b e declined;

this is a n o r m a l a n d h e m u s t n o t
take it against t h e lady. S o m e
w o m e n feel c o m f o r t a b l e d a n c i n g
only w i t h friends a n d they m i g h t
have t o take their t i m e before
w a r n i n g u p t o strangers a n d b e i n g
confident enough to dance w ith
them.
DECLINING A DANCE REQUEST
•Declining a d a n c e request can

b e seen as rejection a n d it
m i g h t b e harsh for s o m e m e n .
•However, if it is necessary, a
lady can d o it politely by saying
t h a t she needs t o rest or she is
n o t familiar w i t h t h e dance.
ENTERING THE DANCE FLOOR
•The m a n should escort t h e

lady t o a spot or t h e d a n c e
floor w h e n it is safe t o d a n c e
a n d they are n o t interfering
w i t h o th e r d a n c i n g couple.
ENTERING THE DANCE FLOOR
•The lady should allow t h e m a n

t o lead her t o t h e d a n c e floor.
She m u s t c o m m u n i c a t e if any
request or suggestions prior t o
dancing. Also if she finds a
b e t t e r spot t o dance, she can
take t h e man’s h a n d a n d direct
h i m there.
SHARING THE DANCEFLOOR
•The man must take care of the
lady and make sure she does
bump into other dancers. He
should keep his moves simple
and should adapt to his partner’s
dancing skills. He should always
be prepared to change the
direction of his dancing patterns
to avoid congested areas.
SHARING THE DANCEFLOOR
•The lady should minimize

styling on crowded floor. She
should serve as the eye on the
back of her partner’s head
when needed , and take small
steps. She should also adapt to
her partner’s dancing skills.
ATTITUDE WHILE DANCING
•Both the man and the lady

should be respectful and warm
to each other while dancing .
This means smiling , making eye
contact , and avoiding
correcting their partner’s
mistakes.
ENDING THE DANCE
•The man must thank

his partner and escort
her to dance .
•The lady must also thank his

partner after the dance . If she
still wants to dance with him ,
she can ask him with a smile.
Reference:
h ttp s:/ / www . slid esh are. net /
CiaraTubid / ballroom - and -
social - dances

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SOCIA L

•There are two types of ballroom

•Slow, Slow, Quick, Q u i c k

•A man’s requests m a y b e declined;

•Declining a d a n c e request can

•The m a n should escort t h e

•The lady should allow t h e m a n

•The lady should minimize

•Both the man and the lady

•The man must thank

•The lady must also thank his

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