In reality, rock was the son of blues and brother of rhythm n' blues until the mid-1950s. The term "rock'n'roll" (swinging and rolling) was used for the first time in the DJ's show Alan Freed, called Moondog's Rock And Roll Party. Used before this date in certain songs, the word is unambiguous and designates what will always be about: "making love". In 1955, radio and jukeboxes made the success of: Rock around the clock by Bill Haley. Elvis Presley triumphed in 1956 on the airwaves and on television, then in the cinema with (le rock du penal, 1957). From 1960, rock was supplanted by twist and solo dances (jerk or disco). It regained the favor of dance meetings after 1970. For dance: It remains based on the comings and goings of the dancer impelled and guided by the dancer, as well as on the dynamic and aesthetic combinations resulting from the counterweights between partners. For those looking for a way to escape stress, let yourself be swept away by rock and roll fever! The different rock techniques: The chase = 1.2 3 and 4 5 and 6 out of 8 steps (Jive or WCS) The pointed, paused = 1.2 3.4 5.6 out of 6 steps (Disco) The simplified step = 1.2 3 (and 4) 5 (and 6) (adaptation to other dancers) The walk = 4 steps in 4 beats

Lindy Hop is a dance that can be practiced to “New Orleans” or “swing” jazz music. The history of Lindy Hop begins in the 1850s and 60s, with the Cake-Walk which was danced by black slaves to distract their white masters who gave a cake as a reward. The Cake-Walk was very popular around 1880 both on stage and in ballrooms. Cake-walk music also gave birth to Ragtime, one of the first written and structured black American musics, just like the blues. But at the beginning of the last century, all these dances were not viewed favorably by the white population of the United States, until the advent of Lindy Hop. In the 1910s and 1920s, professionals performed their talents through tap dancing and other dances of this period. In the 1920s and 1930s, dance competitions were organized and sponsored by American ballrooms, during which dancers improvised and invented new steps. Swing music and Lindy Hop then evolved in parallel in these ballrooms. Between 1910 and 1950, Harlem was a place where people of all backgrounds, colors, and classes came together for the purpose of entertainment. The “Cotton Club” presented black artists and welcomed the wealthy and glamorous white clientele while the “Savoy” ballroom, one of the rare rooms where whites and blacks mixed, welcomed the more modest clientele, with a high proportion of blacks. . Opened in 1926, the Savoy was the mecca of dance in Harlem and welcomed elite dancers, including Whitey's Lindy Hoppers troupe. The most prestigious swing Big Bands followed one another there with Lionel Hampton, Duke Ellington, Erskine Hawkins, Jimmie Lunceford, Artie ShawCount Basie, Fletcher Henderson, Chick Webb, Savoy Sultans, Benny Goodmann, Lucky Millinder, Glenn Miller... The establishment measured 66 meters long by 17 meters wide representing a surface area of 1122 m2. It could accommodate up to 70,000 spectators per year dancing to the “Home of happy feet”. The floor had to be replaced every 3 years and eventually it was called "The Track" because of its oval shape. The stages at each end of the track could accommodate two groups of musicians who played at night, every day of the week. The atmosphere in the ballroom was electric and the best dancers gathered in the "Cats Corner", where they took turns demonstrating and improvising with the music. American ballrooms then began to hold weekly competitions, fostering friendly rivalry between dance troupes and dancers, always pushing them to further improvise and create new moves to make the crowd cheer. Dance Marathons were also popular. The name "Lindy hop" was invented in a rather curious way...On May 21, 1927, Charles Lindbergh, aged 25, made the daring first solo flight from New York to Paris. He crossed the Atlantic in 33 hours 30 aboard his plane (a single engine) the “Spirit of Saint Louis” and landed at Le Bourget safe and sound. People became passionate about the intrepid aviator's hop and the American newspapers published a headline: "The lucky Lindy hop's the Atlantic!" » (Lucky Lindy crossed the Atlantic!). At the same time, a dance marathon was taking place in Harlem, at the Savoy Ballroom in New York. A journalist, present at the event, was amazed by the dancers' performance. Wishing to write an article about the event, he interviewed the best dancer of the time (Georges Snowden known as “Shorty Georges”), to find out what he was dancing. However, this dance had no particular name, and undoubtedly short of inspiration, Georges Snowden said to him, remembering the newspaper headlines of the moment: “The hop, The Lindy hop…, we're flying just like Lindy did “. The name was used in the newspapers the next day. Lindy Hop was born and with it the popularization of Swing and its evolutions (like Jitterburg, Jerry-Bug, Shag, etc.) throughout white and black America. Swing music provided great variety to the dance allowing the riders much freedom and fun. For black people of the time, practicing this type of dance allowed them to assert or find their identity. Although Lindy Hop was officially born at the end of the 1920s, it did not really spread throughout the United States of America until 10 years later, in 1937, following Benny Goodman's famous concert at the Paramount Theater in New York. During this evening, three thousand swing fans were enchanted by the performance and it was the trigger for the golden age of jazz/swing music. Dance was obviously associated with this musical movement. Little by little, Lindy Hop spread across the United States and around the world, thanks to numbers performed by famous troupes in cabarets and theaters. One of the most famous professional dance troupes was Whitey's Lindy Hoppers, whose best-known members include Frankie Manning, Al Minns and Leon James. They have also performed dance numbers for films like Hellzapoppin, A Day At The Races. Lindy Hop in Europe The spread of Lindy Hop reached Europe during the Second World War. Lindy Hop (or rather Jitterbug) crossed the Atlantic and arrived in Europe with the American GI's, who had brought their music and their way of dancing. The ballrooms of London, the cellars of Paris and all the places where Jazz was played welcomed American soldiers and their way of dancing. Lindy Hop appeared for the first time in Paris in June-July 1937 in "the Cotton Club Revue" with Teddy Hill's orchestra. In certain places, Lindy Hop then evolved to give birth to Be Bop, more suited to the small dance floors of Parisian cellars. A similar development in Germany gave birth to Boogie-woogie.

The name “Salsa” was born in the United States but its roots are in Cuba populated by descendants of African slaves, Spanish settlers, Chinese and Irish workers, Haitians and French, Jamaicans, Indians and many peoples still... The sound: It was born in the rural areas of Orientes at the end of the 18th century and beginning of the 19th century around Guatanamo, Santiago de Cuba, and Manzanillo. He entered Havana in 1909, thanks to the soldiers of the standing army of the government of José Miguel. At the beginning of the 1920s, jazz entered Cuba, the Banjo, the Saxophone, the drums and the trumpet arrived: several show-business type groups were born. Duke Ellington's visit to Cuba in 1933 increased interest in jazz on the island. In 1940, the Piano and the Conga appeared in the “Son” orchestras considered until then as a simple carnival instrument. The sound constitutes the main musical event of the 1950s. It can be compared in importance and parallel to Samba for Brazil, or to Blues for North Americans or even to Ranchera for Mexicans.

Fred Astaire and Gene Kelly, who developed classical tap and all kinds of ingenious innovations, achieved worldwide popularity with also R.Keeler, G.Rogers, E.Powell, A.Miller. A renewed interest in tap dancing began around the 1980s thanks to films such as Night Sun (1985), Tap (Gregory Hines - 1989), Black and Blue (1989), Tap Dogs (1995). Australian show" demonstrates that tap dancing is no longer just American. In 1996, Bring in 'da Noise, Bring in 'da Funk revolutionized the genre with the hip hop funk of Savion Glover. Some American tap dance steps: stamp, stomp, step, ballchange, toe, shuffle, touch, heel, dig, scuff, brush, leap, jump, hop, slap, flap, chug, kick, slide, ball, flam, drag, pull change, pull back, wing... History of American tap dance step ensembles History of American tap dance American tap dance styles

Salon Tango (Anne & Patrick). It moves on a basic step: slow, fast, fast, slow or slow, slow fast, fast, slow. it brings together figures structured in advance. Competition tango (Anne & Hervé) was classified among the 5 standard dances (tango, Viennese waltz, English or slow waltz, quick-step, slow-fox) despite the origins that we mentioned above .

The Boston: Imported to Europe by the American colony from 1867-1920. Slow waltz: Form of waltz that appeared at the same time as the Viennese waltz at the beginning of the 20th century. It was between 1920 and 1930 that a group of British professionals developed, among other things, the English waltz into a sports dance. The Viennese waltz: It gained its reputation in the 1780s in Vienna with the Strauss father and son composers and then spread to the West. Some titles of Viennese waltzes: the Blue Danube, the Emperor's Waltz, Aimer Boire et Chanter, Barcarolle, Nutcracker, Copelia, The Skaters' Waltz... The musette waltz: Ballroom dance that appeared in France at the end of the 20th century. Shortly followed by java which is a mixture of march and waltz and it is the only dance for two that was really born in France! Today's musette orchestras are generally composed of amplified instruments, such as guitar, accordion, electric bass, keyboard, synthesizer, drums and a singer.

Its origin dates back to 1959, with the song The Twist by Hank Ballard and the Midnighters, which was popularized when it was covered in 1960 by Chubby Checker then covered in French by the black socks: the twist. Other hits: - Chubby Checker: Twist again (Sung in almost all languages and covered by Johnny Hallyday: Come dance the twist) - Joey Dee & the Starliters: Peppermint Twist (to the Mexican tune of Cielito Lindo, covered by Les Chaussettes Noires) - The Marcels: Merry Twistmas (in the film Twist Around The Clock with Chubby Checker) - Clay Cole: Twist around the Clock (in the film Twist Around The Clock with Chubby Checker) - The Dovells: Bristol Twist Annie ( creative group of the style of music derived from the twist, the Stomp (also sung by Elvis Presley for the film Viva Las Vegas)) - Elvis Presley: Rock a Hula Baby (Twist Special) - Danny And The Juniors: Twistin' USA (a cover by Chubby Checker also covered by Johnny Hallyday) - Gary US Bonds: Twist, Twist Senorita (covered by several singers around the world) - Terry Corrin: Twistin' and Cryin' All Alone (not very well known but recognized today as one of the best female New York twist interpretations)[ref. necessary] - Top Notes: Twist and Shout (covered among others by the Beatles) - The Wiggles: Can you (point your finger and do the twist) Sam Cooke composed and performed numerous twists including Twistin' the night away and Meet me at the Mary's place in 1962. The latter was successfully taken over by Johnny Hallyday and Sylvie Vartan, under the name Madison Twist. This title should not create confusion between the twist and the madison. The yéyés will seize the twist: - Wild Cats: Twist in Saint-Tropez, Come dance the twist, Let us twist. - Johnny Hallyday: Dance the twist with me - Dalida: The twist lesson - Richard Anthony: I'll go twist the blues - Les Chaussettes Noires, Dalida: The twist lesson - Petula Clark: Ya Ya Twist.

Straight from the United States, West Coast Swing is a swing-style dance for two, derived from Lindy Hop. Geographically, West Coast Swing has been the official dance of the state of California since 1988. San Diego, San Francisco and Los Angeles have long disputed its authorship, although it is now accepted that Los Angeles is the place of origin of West Coast Swing. Long ignored in France, in particular because of the strong presence of Rock'n'Roll (which Americans do not know as a dance!), this style of dance is gaining more and more importance, with the big advantage to interest all generations because it can be danced to many musical styles ranging from original Blues to variety, including Pop or R'N'B, Funk, Jazz or even Disco... It is commonly recognized that today's West Coast Swing is an “evolved” form of the Lindy Hop style that was danced at the Savoy Ballroom in Harlem in the 1930s. On March 26, 1926, the Savoy opened its doors in New York. It was an immediate success. All the best dancers come to “swing” to the music of the great Jazz orchestras. Among all these dancers, Dean Collins is the one who strongly influenced the development of the swing style of the west coast of the United States. Collins left New York for Los Angeles in 1937, and took with him “HIS” version of the Savoy style. After some time, and having toured many night clubs, Dean Collins began to be really recognized as a very good dancer. Local dancers are interested in his style, and will say "they've never seen this type of swing before, but they like it." And when Dean Collins started winning competitions, other dancers wanted learn your style. So Collins began teaching “his version” in Los Angeles and spreading it to the West Coast. At the end of 1939, he choreographed the dance sequences for the film “Let's Make Music” for Hollywood. His recognition grew and he made numerous films in the early 1940s, hiring many local dancers who had been his students, thus allowing an even greater development of this new style, both in America and in Europe. For the record, the Hollywood industry hastened to title this dance Jitterbug, and it is this form of swing which was broadcast throughout the world by films and by soldiers during the Second World War, giving birth to Be-Bop in our country, then to Rock'n'Roll later! Alongside his films, Collins continued to teach what he calls “just swing” to his students, the best known of whom were, among others, Shirley Temple, Ronald Coleman, the famous acting duo Abot and Costello, and Arthur Murray himself! It's a bit complicated to know where and when the term West Coast Swing appeared, but the role played by the major dance studios in the USA is essential. Arthur Murray, the creator of the largest American dance studio, hired Dean Collins in the late 1940s to teach his style of swing in his California studios, but the problem was that each franchise then had its own style of swing, depending on hired teachers… Murray also recognizes in a book written in 1947 that: “There are hundreds of regional dances of the Jitterbug type. Each region of the country seems to have its own style. At that time, the Jitterbug was increasingly criticized in serious dance halls, because of the injuries that could cause kicks, jumps and other acrobatics. At the beginning of the 1950s, in a conversation with Myra Myron of the Myron dance hall in Los Angeles, Arthur Murray described a variation of this dance, softer and less exuberant, clearly more elegant with a much smoother side... and called it by Sophisticated swing. He would later codify the 8 basic figures that you all know... At the same time, Murray commissioned one of his dance teachers, Laurie Haile, to document swing dancing in the Los Angeles area, as well as the different dances of the Murray program. She did fantastic work, made contact with Dean Collins and other important dancers, and documented exactly what was happening in California at the time. In 1951, she codified and unified the different styles of swings that were taught in the Murray studios, and named this dance "Western Swing", a term which will cause a lot of confusion, particularly with the musical genre Country Western Swing of Bob Wills, mix of Blues, Hillbilly and Jazz. To add further confusion, since the mid-1940s, the American Ballroom dancing community had been searching for a much simpler form of swing. She invented a simplified form of swing: the “East Coast Swing”. This is a simpler variation, in 6 beats where the rider has a central role. In Los Angeles during the 1950s, most teachers danced Western Swing, but when prospective students asked what it was, they invariably introduced it as East Coast Swing, as was highly recommended by the very powerful association of American Dance Masters. With the thunderous arrival of Rock'n'Roll music, Arthur Murray attempted a marketing stunt in the early 1950s: he tried to change the name Western Swing to "Rock and Roll Dancing", a dance where it is a question of Under arm pass, Whip and Sugar-push! The dancers must take 2 steps forward on counts 1 and 2, and it specifically describes the Coaster step and Anchor step. Paradoxically, this is a big failure, as the target audience does not adhere to the rules imposed at all. In 1958, an event will trigger everything: the creation of a new dance school in Downey, California, by a returnee in the swing world: Skippy Blair, a former swing dancer (at the time she had not 30 years old!) who had given up on dance a bit after being a teacher at Murray Studios. She opened her first school and began teaching, training dancers, competitors, and eventually teachers. She would later become very influential in the teaching, codification and development of dance. In 1968, she also created the GSDTA, the Golden State Dance Teachers Association. The best Americans still working with her today! So much so that she has an evocative nickname: Master Yoda. She teaches Western Swing, but the term causes confusion in the minds of students with "Country Western Swing". Logically seeking to distinguish this dance from East Coast Swing, she uses the term "West Coast Swing", which she officially resumed in 1961 in her advertisements, then in 1962 for a dance competition. Is she the first to use it? Probably not, but she is undoubtedly the one who will popularize the name. The WCS was born, even if it is already quite old. Until the beginning of the 1990s, West Coast Swing was danced to swing, often more or less fast blues performed between ballroom dancing, Lindy hop and Boogie-woogie. But in 1996, a new trend emerged, beginning to integrate funky rhythms into dance. This development will become a revolution in 1999 with the performances of Jordan Frisbee and Tatiana Mollman. West Coast Swing “New Style” was born….

Created in the 1900s in the American South by James P. Johnson. It took off in New York, Harlem. He established himself in the United States with the musical Runnin' Wild in 1923. In France with Joséphine Baker dancing the charleston at the Folies Bergères, at Paris-Revue Nègre Dance in 1926. The charleston is danced solo, in pairs or in a group, to the wild rhythms of hot jazz. It is based on shifting the weight of the body from one leg to the other, feet turned inwards and knees bent. The Black bottom is a variation of this dance.

It is one of the many line dances created in the 1960s such as the twist, the hully-gully or the pachanga, which started in Philadelphia in 1960. The author of the original madison is an American former miner, Al Brown, who released the title "The Madison" with the group: Tunetoppers. In France, we started dancing the madison during the summer of 1962. There is also a fairly long madison sequence in the film West Side Story (R. Wise in 1961). At the time, the records presented on the back of the cover a synoptic summarizing the steps of the Madison. Nowadays, the madison is still danced occasionally at weddings and other evenings... In France, the king of the madison, as a singer, was Billy Bridge with his second title "Le Grand M". But the madison is also often associated with more or less well-known names like Olivier Despax, Dany Logan and even Sylvie Vartan, Johnny Hallyday and Richard Anthony. Note a cover of a Madison title in a more lively and modern orchestration: Last Night by Chris Anderson and DJ Robbie in 2002, or the "Madison revival" distributed by Francis Dreyfus music in 2007.

Brazilian carnival dance that appeared in the black neighborhoods of Rio de Janeiro at the beginning of the 20th century. Originally called umbigada (navel shot) in Portuguese! Samba (the word derives from the Bantu semba, navel) is danced in a circle with a soloist in the center. Introduced to Rio de Janeiro by families from Bahia, where it was then part of Candomblé. Having become a symbol of Brazil, it is performed at parties, in the street, after football matches and at public balls. During the carnival in Rio, the samba schools, coming from the favelas (Portela, Mangueira, Beija-Flor, etc.) parade, each dancing on a particular theme which varies from year to year and with sumptuous costumes and perform at the sambodrome in front of a jury responsible for choosing the victorious school. From the 1930s, it reached the salons in a relatively measured form which contrasted with the much more exuberant street samba. The samba, in two beats, with an emphasis on the second beat of each measure, consists of very rapid crossed steps with twists and turns generated by bending of the knees. It has many closed and open couple variations. “Standard” samba, taught in dance schools and practiced during competitions, is very far from the Brazilian model.

Social dance for couples created in Havana (Cuba) in the early 1950s by the violinist “Enrique Jorrin”, who simplifies the very syncopated rhythm of the mambo and slows down the tempo. The square cha cha which enjoyed a certain popularity in Europe around the beginning of the 1960s. It was then dethroned by the “Pachanga” in 1964, created by the Cuban composer “Eduardo Davidson”. Cha cha is still taught in schools as a ballroom dance & for competition. The word cha cha cha comes from the friction noise produced by the dancers' feet. It is one of the 5 Latin dances: cha-cha, samba, rumba, paso-doble & jive (rock).

Society dance originating from the Lesser Antilles (Guadeloupe and Martinique) The musical genre itself was created by the group Kassav'en in 1979, bringing together musicians from Martinique and Guadeloupe, with its hits "Zouk la sé sèl médikaman nou ni" and "Kolé séré” and by Zouk Machine with “Maldon”. In 1984, Zouk Love's first hit was the song "Zouké" performed by Guadeloupean Patrick Saint-Eloi. Zouk, contraction of the Creole word mazouk (from mazurka) designates, in Martinique, rural balls. Like beguine, from which it derives, zouk is danced in entwined couples, willingly “stuck-tight”, a Creole expression. The torso is straight and the hips of both partners move together in the shape of an 8!