🚀 go-pugleaf

Victor Eijkhout <eijkhout@jacobi.math.ucla.edu> wrote:

>I'm wondering if someone who knows both ballroom and the "nightclub
>dances" could comment on this: part of what I like about swing
>and hustle is the enormous asymmetry in roles between leader
>and follower. Ballroom dances, especially the smooth ones
>look much more symmetric to me. At the very least the steps
>taken much more alike than in swing, where leader and follower
>can even step in drastically different rhythms.
>
>Is my perception here mistaken?

I like to say that the European model of dancing is a couple moving
as one unit to the music while hugging, whereas the African model is
individuals, as individuals or as a group (but typically not couples
in embrace) really being moved by the music.  (Oversimplification, yes.)

Lindy Hop (and its derivatives) combines those two models.

The traditional European turning couple dances typically are in closed
hold, and totally symmetric, with man's and woman's footwork being
shifted 1/2 phase (or sometimes 1/3 phase, as in the Hambo).

Breakaway hold (or total separation) gives much more scope for individual
motion, of course.

IMHO, 

In the traditional European dance forms, there is close partner
connection, loose connection to other couples, couple autonomy,
and strong symmetry -- *turning* couple dances; -or-
loose partner connection, strong interaction with other's partners,
strong symmetry, strong choreography -- set dances.
There is always a sense of community, with elements ranging from intimacy
and flirtation to social.

Then there are the "20th century ballroom" forms, with strong leader /
follower differentiation.  This started with Ragtime era dances, where
*common* *city* folks started dancing, and the basic dance model became
a man pushing a woman backwards in front of him, as he walked around
the hall.  This gives us strides, especially sideways strides, and
boxes, and straight lines, rather than circles.  (Commercial, franchise,
mail-order dance-schools had something to do with that, too;-)
The theme here involves an emphasis on steps, with a high degree of
standardisation, institutionalisation, and competition.
(Even more grossly sweeping -- perhaps someone can say it better without
making it longer?)

A dance like Lindy Hop has a lead/follow model that permits much individual
freedom, interpretation, and feedback, so that good dancers follow each
other, and both follow the music.  Such dance models tend to include a
high regard for the music, and a strong rapport between dancers and
musicians.  The music itself tends to be rich with as much room for
improvisation for the musicians as the dance gives the dancers ...
Argentine Tango is another example of this model.

(I've probably offended all sorts of folks by not choosing my words more
carefully.  If you are tempted to attack me for my biases, perhaps you
might post something on the topic from your own point of view instead?
(No, not *you* Victor, *you* the reader :-))

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