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Social dances are intended for participation rather than performance. They are often danced merely to socialise and for entertainment, though they may have ceremonial, competitive and erotic functions. Many social dances of European origin are in recent centuries partner dances (see Ballroom dance) but elsewhere there may instead be circle ...
At Dancing Classrooms, we recognize social dance as deeply collaborative and culturally rich dance forms that exist in all parts of the world. They are practiced in duets or groups for social purposes – celebrations, ceremonies, rituals, sport, exercise, or just fun.
noun. 1. : a group dance or couple dance done for social and usually recreational purposes see ballroom dance. 2. : a gathering held in a ballroom, in a home, or outdoors where people may participate in social dances.
- Overview
- Social dance
When the early European folk dances—particularly the courtship forms—were incorporated into court dances, they lost many of their boisterous and pantomimic elements. The man no longer thrust forward to embrace the woman or lifted her vigorously into the air, but simply knelt and took her hand. The woman’s earlier violent resistance dwindled into a coquettish turn of the head, and energetic strides and runs gave way to simple gliding steps, often forming intricate patterns that were punctuated with small poses, bows, and curtsies.
The social, as opposed to the theatrical, forms that these early court dances inspired gradually became more elaborate and more lively, with small lifts, jumps, and turns being included, as in the galliard and lavolta. Gradually, too, the emphasis began to switch from the tight group formations of many earlier dances to the individual couple. By the end of the 18th century, in dances such as the waltz and, subsequently, the polka, people simply danced in pairs, with group formations reserved for public display. At the same time these dances came to be danced by all classes of people. Steps were simplified, and dancers no longer needed special instruction to perform them.
In the 20th century, ballroom dances became very popular, with new dances, such as the tango and fox-trot, and new variations gradually added to the repertoire. Like the waltz and polka, ballroom dances placed importance on nimble leg- and footwork, with almost no hip movement and the torso only slightly swaying to the rhythm of the dance. The advent of jazz, however, led to other forms of social dance as Western music fell under the influence of the descendants of enslaved persons in America. During the jazz era of the 1920s, dances like the Charleston and the Black Bottom not only showed the syncopated rhythms, bent knees, crouched torsos, and hip and pelvic movements of African dance but also broke through the dominance of the couple form. People might still dance opposite each other in pairs, but they no longer held each other or danced in unison, and it was perfectly permissible for the dancer to dance singly. As a consequence, dancers no longer followed a set pattern of steps but invented their own within the general style.
A dancer without a partner was free to choose the distance and direction in which to travel. Much more vigorous movements of the torso, legs, and arms were possible, as the dancer did not have to worry about getting in a partner’s way. The dancer might jump, kick his or her legs, stretch his or her arms out to the side or above the head or swing them through the air and might crouch, extend his or her body, or twist with complete freedom. The lindy and rock and roll brought back contact between the dancers, but it was of a very acrobatic and individualistic kind. The influence of African dance could still be seen in disco and other popular forms, particularly in the characteristic swaying of the hips and the percussive movements of the torso marking the rhythms of the music.
When the early European folk dances—particularly the courtship forms—were incorporated into court dances, they lost many of their boisterous and pantomimic elements. The man no longer thrust forward to embrace the woman or lifted her vigorously into the air, but simply knelt and took her hand. The woman’s earlier violent resistance dwindled into a coquettish turn of the head, and energetic strides and runs gave way to simple gliding steps, often forming intricate patterns that were punctuated with small poses, bows, and curtsies.
The social, as opposed to the theatrical, forms that these early court dances inspired gradually became more elaborate and more lively, with small lifts, jumps, and turns being included, as in the galliard and lavolta. Gradually, too, the emphasis began to switch from the tight group formations of many earlier dances to the individual couple. By the end of the 18th century, in dances such as the waltz and, subsequently, the polka, people simply danced in pairs, with group formations reserved for public display. At the same time these dances came to be danced by all classes of people. Steps were simplified, and dancers no longer needed special instruction to perform them.
In the 20th century, ballroom dances became very popular, with new dances, such as the tango and fox-trot, and new variations gradually added to the repertoire. Like the waltz and polka, ballroom dances placed importance on nimble leg- and footwork, with almost no hip movement and the torso only slightly swaying to the rhythm of the dance. The advent of jazz, however, led to other forms of social dance as Western music fell under the influence of the descendants of enslaved persons in America. During the jazz era of the 1920s, dances like the Charleston and the Black Bottom not only showed the syncopated rhythms, bent knees, crouched torsos, and hip and pelvic movements of African dance but also broke through the dominance of the couple form. People might still dance opposite each other in pairs, but they no longer held each other or danced in unison, and it was perfectly permissible for the dancer to dance singly. As a consequence, dancers no longer followed a set pattern of steps but invented their own within the general style.
A dancer without a partner was free to choose the distance and direction in which to travel. Much more vigorous movements of the torso, legs, and arms were possible, as the dancer did not have to worry about getting in a partner’s way. The dancer might jump, kick his or her legs, stretch his or her arms out to the side or above the head or swing them through the air and might crouch, extend his or her body, or twist with complete freedom. The lindy and rock and roll brought back contact between the dancers, but it was of a very acrobatic and individualistic kind. The influence of African dance could still be seen in disco and other popular forms, particularly in the characteristic swaying of the hips and the percussive movements of the torso marking the rhythms of the music.
What is Social Dance? All over the world, people dance. Different social dances have different purposes and different values. Sometimes they blend and merge with others to become new dances. But no matter what, we find a connection to others in social dance.
An age-old means of communicating messages that reflect social trends, social dancing is secular partnering between males and females or participation among groups. The secular and sacred combine in some cultures, and a few religions ban dancing.
Circumventing verbal communication, dance (like music) provided a way for Africans from disparate geographic areas to come together, to move together, to bond together in a strange land.
