ECOLOGICAL UNIVERSITY OF BUCHAREST

FACULTY OF PHYSICAL EDUCATION AND SPORT

SYNTHESIS COURSE

SPORT DANCE, body expression and eurhythmics

Deepening

University Lecturer Dr. Grigore Maria

2010
 Theme of the course on sports dance, corporal expression, and eurhythmics

Introduction
1.1. The history of dance
1.2. Characteristics, musicians, and the basic language of dance.

CHAPTER II - PREPARATION AND TRAINING IN DANCE

SPORTIVE
2.1. Selection in sports dance
2.2. Sports training in sports dance
2.3. The technique of sports dancing
2.3.1. Basic Concepts in Standard Dances
2.3.2. General characteristics
2.3.3. Description of the technique in standard dances
2.3.4. Basic Concepts in Latin American Dances
2.3.5. Basic Concepts
Bibliography

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 CHAPTER I
1.1. The history of dance
Dance is an integral part of life. Certain insects, such as
the ants and the beetles participate in parades and other activities that resemble

up close with it. Male birds display bright colors and dance
during the mating season; the peacock displays its tail and walks proudly
the woman's face.
There is no ancient civilization known that did not know dance.
The Egyptians, Syrians, Jews, Hindus, Greeks, and Romans - all danced. In fact, however,
No nation has shown such appreciation for dance and cultivated it for its values.
aesthetic sales more than the ancient Greeks. For them, dance did not govern only
the movement of the legs, but you control their way of expression and discipline
the body in its different postures.
The Romanian dance initially derived from the Greek one, thus being similar to it.
In the last days of the Roman Empire, dance became incredibly vulgar.
licentious and degenerated. However, the merit of the Romanians must be acknowledged in
the development of scenic dance, which they have brought to a high degree of perfection, and of

pantomime - an art that the Greeks did not know.

Ballroom dance
Originally, the term 'salon dance' was applied to dances performed in
an ordinary fashion in a dance hall. The type of dance depended, of course, on
the period in question. For example, the eighteenth century was in the first
the open couple dance period, especially the minuet
majestic lent. In France, the minuet and other court dances were eliminated by
The French Revolution. Even in England, the minuet underwent a progressive decline at
the end of the eighteenth century. The structure of rural England was becoming increasingly
the more industrial; the pace and lifestyle were less suitable for a

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in prelude minuet, which was gradually replaced by the contradance, cotillion and
German.
The nineteenth century recorded rapid changes in styles of
The minuet disappeared in the early years of the century, and around 1850 it disappeared.
and the contradance (with one exception, the Sir Roger de Coverley dances or
Virginia reel). After the decline of these dances, the French quadrille became extremely
of popular. Originally designed for two, four, or any number of pairs,
in England it was usually danced by four pairs. Since the quadrille combined
contradancers and cotillions, it was possible to have a large number of figures, which gave
the variety and interest of the dance.

The waltz was introduced in the elegant dance halls at the beginning of the century.

the nineteenth. This closed couple dance, with its hold

tight, initially stirred great dismay. It was a doomed battle.
of the donkey and around the year 1825, the waltz settled in definitively. In the year 1840, another
the second dance of the closed couple, polka, was introduced in Paris and
It enjoyed an enthusiastic reception, becoming a fashionable ballroom dance.
At the beginning of the twentieth century, dances such as
two-step, one-step, foxtrot, tango. Quadrilles, lanceros, and other dances of
the open pair has disappeared essentially, and consequently the usual program of
The dance halls consisted entirely of partner dances in closed positions.
After the second world war, the interest shown grew rapidly.
unlike other forms of dance, such as modern dance, ballet, and square dance
(square dance). Once with the development of rock and roll, social dance
traditional has declined. To prevent any confusion, the term of
"In the salon" has come to be used to identify social dancing.
traditional, in contrast to other forms of dance.

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 The waltz - Social dance, as we know it today, began with
1
the introduction of the waltz (waltz), a dance born in the suburbs of Vienna and in the region
the Alps of Austria. Beginning in the eighteenth century, waltzes were sung
in the dance halls of the Habsburg Court. Just before this period,
the turning dances, or sauweller, were danced by the peasants from
Austria and Bavaria. Many well-known waltz melodies, including "The Danube"
"Blue Danube" by Johann Strauss can be found in the old simple, folk melodies.
with yodeling.
It is not known precisely when the waltz was introduced in the United States. It...

It is said that the waltz was first danced in Boston in 1834, when
Lorenzo Papanti, a dance master from Boston, gave a demonstration in
the Beacon Hill mansion of Mrs. Otis. The leaders of society were against what
they called it "an indecent demonstration". The waltz has penetrated New York
and Philadelphia probably around the same period, and in the middle of the century
The nineteenth has firmly established itself in the society of the United States.
Towards the end of the nineteenth century, in the United States, the waltz...
known two modified versions. The first was Boston, a slower waltz with
long steps slide; the twists were fewer and slower and there were more
movements forward and backward than in the Viennese waltz. Although Boston disappeared after
the First World War, it stimulated the development of English style
international that continues to this day. The second option was hesitation,
care implicăun pas făcut la trei bătăi ale măsurii. Paşii dehesitationsunt încă
used very much in our faster waltzes.
Another factor that contributed to the change in the Viennese waltz was
the continuation of the trend towards a more natural movement of the body. Throughout the 18th century

nineteenth, the dance masters insisted that all dances be performed with
the legs in an outward turned position. This
positively influenced the rapid rotations of the Viennese waltz and gave them to the dancers

1
From the old word germanwalzen which meant to rotate, to turn, to slide.

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the possibility of demonstrating their excellent footwork. However, at the end
In the nineteenth century, dance in England and the United States became more
a little stylized, with more go/come movements with the positioned feet
comfortable, like for a walk. Newer dances have been introduced, such as those
in two steps, and they brought with them a completely new dance style.
In the second half of the nineteenth century, social gatherings
elegant masquerade balls have become extremely popular in the United States.
In New York, the grand balls were sponsored by groups such as the Catholic Orphan.
Asylum, French Circle, Charity, Fireman's, Knights of Pythias, Ihpatonga of
Brooklyn, Matriarch's Assembly, Palestine Commandery, Tuesday Evening
Dance Class, Yorkville Brewers' Battalion, there were large events
spectacles that involved the presence of two to three thousand people and an orchestra
a group of one hundred people or more.
The tango has its origins in Spain and was brought to the New World by
the Spanish colonists, then returned to the motherland, altered by black influences
and Creole. At the beginning of the nineteenth century, the Andalusian tango (Spanish)
it was a dance solo for ladies and had nothing in common with today's tango,
the exception of certain rhythmic elements. Later, the Andalusian tango was realized by
one or two pairs that were moving together, using castanets. Under this
In form, it gained popularity during the period from 1850 to 1875. Around 1900, the tango
fell into the disgrace of the majority of dance teachers, being considered music
for 'flirting' and an immoral dance.
It has generally been considered that the salon tango originated in the classes
inferiors from Buenos Aires, Argentina, during the nineteenth century.
He was well-known especially in the infamous Barrio de las Ranas, the neighborhood with

the worst reputation in the city. The girls wore long skirts. and the men were
dressed in gaucho costumes, with high boots and spurs; the dance in this
uncomfortable clothing has generated several movements that are currently

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characteristics for tango. The dance was called baile con corté, meaning "the dance with a

stop.
When the worldly people from the town saw this dance, they introduced it into
their own coffee shops, which were also of questionable respectability. To
to create a more artistic effect, they replaced the rhythm of the habanera, in order to
It shows that this was no longer the usual baths with the court, they named it tango.

In this form, the dance was introduced in Spain in the second half of the century.
nineteenth, and in France almost at the beginning of the next century. In 1912,
Tango was introduced in England, where it immediately became extremely widespread.
In 1911, Maurice and his partner returned to New York, where they did
tango demonstrations and Apache dance at Louis Martin's Restaurant,
dances that quickly enjoyed great success among fashionable New Yorkers.
Maurice opened a dance studio where he taught lessons for $25/hour.
and obtained a role in the musical comedy Over the River. While dancing in this
musical, Maurice found a new partner, Florence Walton, with whom he has
married later. They danced together for several years, going on tours
throughout Europe and in the United States.
Meanwhile, the United States has been swept by a true dance fever,
care reached its peak in 1913 and 1914. In 1914, there were almost in New York alone.
seven hundred dance salons, studios, academies, gardens and places
where one could dance from midnight until dawn the next day. There were
tearooms with dance, tango tearooms dancing teas (dancing teas), social.
Even the concessionaire of a two by four space on the promenade from
boards from Coney Island, it was necessary to reduce the size of the counter for
soft drinks and set up a dance floor.
Around 1914, the fashion of dance began to emerge – and with it
the popularity of the ballroom dancer. The dance halls had gained fame
foolish, especially those from the 'tango district' in New York.
The wives had visited these places while their husbands were at work. Always in

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a crowd of good-for-nothing males was spinning around, while the women who passed by
there in search of fun they always found what they desired. Although the venues
they were called tea rooms-tango, the neophytes quickly observed that sometimes they were used

the tea cups. When asked about this by a visitor, a waiter said
response: "Oh, sir, we rarely serve tea. They sway much better after
they drank whisky!” In fact, most women preferred cocktails, many
of these bearing the names of the favorite dancers.
The ballroom tango from 1914 was totally different from the dance of today.
Fox-trot - In the first months of the year 1914, the New York Times reported
about three congresses of dance teachers, and in none of them the foxtrot
was not even mentioned. But at the end of summer, practically all the teachers from New
York announced they were giving fox-trot lessons. On September 3, 1914, the Society

The American Dance Teachers Association has proposed the standardization of dance steps.
success of the day – including that of the fox-trot!
The first published reference to the fox-trot was an advertisement from New York.

Times of July 26, 1914, announcing lessons in the new dance, taught by G. Hepburn
M.B. Wilson was the owner of three small dance studios in New York.
and he was the first dance teacher who advertised his lessons everywhere and who
I prefer individual lessons rather than group lessons. For a short
During that period, Arthur Murray was one of his teachers. It is assumed that the initials
M.B. from the name Wilson came from the phrase Master of Ballet,
but his employees secretly called him "The Rude Master".
The foxtrot thus has its origins in the Jardin de Danse on its rooftop.
New York Theatre. In his performance on the ground floor, Harry Fox was tap dancing to music.

ragtime, and the world referred to his dance as 'Fox's Trot'.

Wishing to take advantage of this, the management introduced the dance in the garden on
roof. Harry Fox spent, without a doubt, a lot of time in the Jardin de Danse,
given that Yansci and Dolly were "making common plans for the future"; in fact, they
They got married in Long Beach, Long Island, in August of that year.

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 The fox-trot has experienced the most significant development in all halls of
The combination of quick and slow steps allows for greater flexibility.
and offer a greater joy during the dance than the monotonous one-step and two-
the step took its place. The fox-trot brings more variety than any other
in some respects, it is the dance that is the hardest to learn.
The variants of the fox-trot include Peabody, quickstep and Roseland fox-trot;
even the dances such as Lindy and hustle being derived, to a certain extent, from
fox-trot.
Rumba - Music of rumba, more or less in its present form,
It has existed in Cuba for over a hundred years. The word rumba is a term
Generic referring to a type of dance or music from the Antilles. The exact meaning varies.

from one island to another. For example, in Jamaica and Haiti, ‘ rumba box ’ is a
primitive musical instrument used by local musicians. In Cuba, rumba
describe a non-religious dance, for the 'fun' of the peasants. The true rumba is of
of African origin and was generally limited to the lower strata of society,
due to the licentious nature of the dance. Indigenous folk dance rumbles,
essentially, a pantomime with sexual undertones, danced in a fast tempo, with movements
exaggerate the seduction and with a sensually aggressive attitude from the man and a
atitudine defensivădin partea femeii. Multe dintre figurile sale descriu ocupaţii
simple things in farm life, such as shoeing a mare, climbing on a rope or
the cuddling with a woman near the barn. The music is played staccato, to hold on
the rhythm with the vigorous and expressive movements of the dancers. The instruments

primitive accompaniment includes maracas, rattles that contain dried seeds

and pebbles; claves, two sticks that are struck against each other; marimbola,
the tambourine and the drums.
In World War II, the dance was very widespread in
the Cuban middle class. It is a modified, slower version and more
refined indigenous rumba, essentially having the same 2/4 rhythm. The spirit of the dance
these are key data that establish the tempo of the music. And slower is the dance,

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the dance of the wealthy Cuban society. The music of the danzón is sung in two
parts - verse and refrain. The world danced only to the refrain, and stopped to make
wind with the fan while the verse was sung. Very few steps were taken, with
women gently swaying their hips through a bending of the knees, followed by
the correction of these.
American rumba is a modified version of the son. The first attempt
The serious introduction of rumba in the United States belongs to Lew Quinn and Joan.
Sawyer, in 1913. Ten years later, the orchestra conductor Emil Coleman...
bring to New York some rumba musicians and a pair of rumba dancers,
at that time the dance did not arouse any interest. In 1925, Benito Collada
opened Club El Chico in Greenwich Village and discovered that New Yorkers do not
They knew what rumba means. The clients tried the dance and suggested it to Collada.
to hire an Irish tenor! It is said that a black dresser is the one who
he saved Collada from bankruptcy in 1927, dancing with great success in
every evening Charleston.
American rumba is performed on a rectangular template (box
pattern), just like the waltz, but with much smaller steps. Its characteristic
the main is the "Cuban movement", a discreet yet expressive movement of youth,
achieved through a carefully measured transfer of body weight. Rumba
The English dance is executed with steps forward and backward, like in the Cuban style. Although it
it seems that Latin Americans did not agree with the version from the United States - about which

they said that the American rumba seems destined to resist and continue
remains one of the best-known ballroom dances.
Samba - Two dances have appeared in American dance halls.
Brazilian folklore, particularly maxixe and samba. Starting from the year 1910, maxixe,

the Brazilian button mushroom was spread in the country for about ten years. It
was preferred by the ballroom dance teachers, such as the Castle family, who have
Inclusivity was among the few dances that had received their approval. And yet,
acesta nu era un dans care săse poatăînvăţa uşorşi el nu a fost niciodatăpe

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widely accepted by the general public, lovers of dance. It is still danced.
to a certain extent, in northern Brazil.
Samba de salon is a saucarioca sambaderivădin 'rocking samba' rural and
It has been known for many years. (Carioca is a small river that flows through Rio de Janeiro)

The term 'carioca' refers to the people from Rio). Samba, in its form
primitive, was brought to the city by the blacks who came here for holidays or in
the time of the carnival. The salon version appeared around 1917. A large part of
samba music originates from everyday life in Rio, the first famous example being
"On the Telephone," composed by Donga. The samba of our days is still very much alive.

widespread in Rio. During the carnival, 'samba schools', numbering in the thousands
dancers in refined costumes present a thematic subject based on typical music
from Brazil, specifically from Rio.
In 1923, an international meeting of dance teachers took note of
the growing popularity of samba, especially in France. A French dance book,
published by Paul Boucher in 1928, included recommendations regarding samba.
The dance was presented to moviegoers in the United States in 1933,
when Fred Astaire and Dolores del Rio danced carioca in Flying Down to
Rio (The turn towards Rio) and, a few years later, Carmen Miranda danced samba.
in the movie That Night in Rio. A samba demonstration took place.
at the meeting in November 1938 of the Dance Teachers' Society of
New York. The general interest in samba was stimulated during the Exhibition.
World Exhibition of 1939, in New York, where - at the Brazilian Pavilion - was
sang samba music. A few years later, the Brazilian composer Ary
Barroso composed the classic samba "Brasil," which quickly became a hit, and in
In 1944, he went to Hollywood to write the score for the musical Brazil.
Now samba is a ballroom dance with moderate spread, limited more
many advanced dancers, given the execution speed and its difficulty.
The main characteristics of samba are those quick 'cuts' or steps taken on

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a quarter of a measure and the pronounced movement of shaking and balancing of the pair of

dancers.
Cha-Cha - In the Antilles, there are certain plants that produce pods with
seeds, called cha-chasau (depending on the island) tcha-tchasaukwa-kwa. They
are used to prepare a small rattle, also known as
cha-cha. This cha-cha is used by the leader as a guiding tool.
a "metronome" to set the rhythm in secular dances and in music
religious songs.
Burned during the peak popularity of alemambo, many dancers
they did not like him because, they claimed, he seemed to be a dance that goes against

the rhythm of the music. In particular, many ballroom dancers criticized the fast mambos
because they had more of the acrobatic character of a jitterbug dance than
Linear movements usually associated with Latin dances. In 1953, the Cuban orchestra
America has begun to sing the venerable danza with a new syncopated rhythm. Everything

it sounds like a very slow mambo, and the Cuban dancers used a slight wave
the triple threshold at a slow pace. Gradually, this was
changed into a triple step slow count, and thus cha-cha was born. The dance
cha-cha was introduced in the United States in 1954, and by 1959 Americans were
crazy about cha-cha, with dance studios that
they assert that this is the most popular dance for them.
Many dancers feel much more at ease with the cha-cha rhythm than with
ritmul mambo, the cha-cha dance better adapting to multiple variations of
basic steps. Nowadays, twenty-five years after its creation,
The cha-cha is the most widespread Latin dance in the United States.

1.2. The characteristics, musicians, and the basic language of dance

Before describing the individual dances, we will carefully address a few

among the basic techniques used in ballroom dancing. The beginner will notice that
The meticulous attention given to a few elementary principles will greatly ease

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his progress in learning to dance. Every dance teacher has seen students who
he spent thousands of dollars on lessons (with another teacher, of course) and which shows everything

left-handed and embarrassed on the dance floor. There are also students who have spent relatively

a little on lessons and who have achieved very good on the ring while performing figures
simple in a relaxed and confident style - looking like a million dollars!
Good posture and a correct and firm grip are the two most important.
Characteristics of a high-quality ballroom dance. A poor posture does not...
only the appearance of a wrong style, but it also seriously affects the balance and
the direction of the dancers. A couple must move literally like a a
a lone man, striving to achieve a relaxed and steady movement along
dance ring. Until this is achieved, knowledge of some figures more
It will never be difficult for that couple to be good dancers.
CLOSED POSITION - The most common one
The position in ballroom dance is the Closed Position, in which the couple
stand face to face, at a distance of about 15 cm from each other. Both
stand straight, head held high, waist tense and shoulders relaxed. The right hand
the man's hand is firmly placed on the woman's back, just under her left shoulder blade, with
all five fingers glued together (not spread) and the forearm inclined
down, forming a straight line from the elbow to the tip of the fingers. The woman holds
she places her left arm on the man's right arm, with her fingers on his shoulder and
the wrist of her hand on the top of the man's arm. The left arm of
The woman must follow the line of the man's right arm, and it is important.
to lead as a man to keep the right number high enough for
ca tot antebraţul femeii săfie în contact cu braţul bărbatului.
LEADING - It is essential for the man to signal a
driving before moving foot. Driving forward is a driving
by "diaphragm" transmitted through contact between partners. The man stands upright, with
the weight left on the pads of the feet, and they tilt the upper part of the body
gently forward, to indicate the leadership. Then he steps towards his partner,

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keeping your hips and the upper part of your body directly over the supporting leg.
Beginner men are often afraid to step on their partner's foot, so
he holds his weight on his back and tries to walk alongside the woman (something like that
"duck walking"). It is not correct to drive with your knees, and the feet
they must be glued together so that the man can move directly towards
your partner.
FOLLOWING - From a certain perspective, the ballroom dance
it is easier for a woman. The man must know not only what he should
to make his own legs, but he is obliged to also lead his partner in the figures
specifics of the respective dance. If a woman knows the rhythm and a few figures
basic dance, she can relax and perform many other moves if
benefits from a safe and well-synchronized driving. In fact, there are many
women who are excellent dancers - and yet follow in such a way
mechanically that they are incapable of explaining to anyone how they proceed exactly.

POSITIONS
Although the closed position is most often used in ballroom dancing, there is
many other positions, and it is important that these be well learned before
try to follow the instructions for individual dances. The most often
The following are used nowadays:
RIGHT OUTSIDE POSITION
The right external position is similar to the closed position, with the exception of
the fact that the woman is effectively placed to the right of the man, so that the shoulder
the right of both partners to be face to face. Just like in the closed position, the shoulders are

the parallel, while the woman walks backward in the direction in which the man is moving
the face. The man takes steps forward to the outside of the woman's right side.
To move to the right outer position from the closed position, both partners
perform an optimal left turn while maintaining their usual grip
The man gently caresses the woman's back with his hand.

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right, at the moment when it starts to twist its body. It is not necessary
the twisting or "forced steering".
OUTSIDE POSITION STINGA (Left Outside Position - LOP).
The left external position is similar to the right external position, except for
the fact that the woman is seated on the left side of the man, so that the shoulder
the left of the two partners is one in front of the other. The shoulders are parallel, and
the woman walks backwards in the direction where the man is moving forward.
The man takes steps forward outside the left side of the woman. It is possible
thirteen in the left exterior position from the closed position by simply making a
right turn optimization. Usually, the pair first enters the outer position.
then move to the left outer position executing a quarter turn to
the right, while the man steps forward with his right foot on the outside
I would partner.
PROMENADE POSITION (Promenade Position). The position of
A walk is often adopted for preparing to execute a side step.
the walking position, the man's right hip and the woman's left hip touch
they almost touch, and the opposite sides of the body open up and form a
"V". In some dances, such as Lindy, the "V" is opened wider, and there is no...
the position of the hips. This position is sometimes referred to as semi-open.
OPEN PROMENADE POSITION
In the open walking position, partners are about a distance of approximately
one step in front of the other, the man holding the woman's left hand in his hand
straight, with the palms facing down. The partners are turned outward, thus
so that their bodies form a wide "V" opening to the left of the man.
The free arms are held approximately at shoulder level, with the palms facing down.
COUNTER PROMENADE
The counterwalking position is the opposite of the walking position. Hips
the left side of the man's body and the right hip of the woman touch or almost touch, and

the sides of the body are opened in a compact "V". Given that the position is

14
quite restrictive, the man's right arm can be easily stretched, to
allows greater freedom of movement.
OPEN POSITION OF THE COUNTER PROMENADE
Promenade Position). This is the opposite of the open walk position. Hip
the man's left side and the woman's right hip touch or almost touch, and
the sides of the body are open in a compact "V". Given that the position is
rather restrictive, the man's right arm can be easily stretched, in order to
allows greater freedom of movement.
OPEN BREAK POSITION.
The partners stand about a step apart from each other, face to face, with the man.
holding the woman's right hand in his left hand, palms down. The free arms
held approximately at shoulder height, with palms facing down.
THE CHALLENGE POSITION. Partners face each other.
In front, about a step away, there is no contact. The arms are held.
approximately at shoulder height, with palms facing down.
THE EMBRACED POSITION (Cuddle Position). In the Embraced Position,
the woman is to the right or to the left of the man, both having their faces turned
in the same direction. The man has an arm placed over the back of his partner.
while the position of the other arm depends on the method by which one reaches the Position

hugged. This position is sometimes called the Skating Position or

Warsawian.
STEPS - All dance figures are composed of a series of steps,
each step representing a change in weight. All directions are given in
support foot report, so the capstones can be in front, behind, to the side, in
diagonal forward or diagonal backward. If a dancer is facing
to the north, a step forward will be a step to the north, a step backward will be to the south, a

a lateral step on the right foot will be to the east, a lateral step on the left foot will be
to the west, diagonally forward on the right foot will be a step towards the northeast, in
diagonal forward on the left foot will be a step towards the northwest, diagonally

15
back on the right foot will be southeast, diagonally back on the left foot
it will be to the southwest.

Turns All rotations will be described in terms of direction.

and amplitude of rotation. For each partner, a right turn is in
the clockwise direction, while one to the left is in the counterclockwise direction
a clock. A full rotation is one at 360 degrees; for example, the dancer
you start the rotation with your face in the same direction. Half a rotation is a
rotate 180 degrees, where the dancer ends facing the opposite direction
from which it started. Similarly, a quarter turn is a rotation of 90 degrees.
with a right angle, and an optimal rotation is a rotation of 45 degrees. In other
words, if a dancer is facing north at the beginning, after a turn
it will be facing north again; after half a rotation, it will be
facing south; after a quarter turn to the right, it will be facing east, and after a
The right rotation will be facing northeast.
LINE OF DANCE (LOD) - Dance Line or Line of
the direction is an imaginary line that goes in the opposite direction of the hands of a clock, of
around the dance ring. In progressive dances, they are small, like
valsul, fox-trot, polka, tango and merengue, it is customary to always follow
Dance line. It is a matter of courtesy towards the other dancers on the floor as
each to follow the sequence of steps according to this line, thus existing
a smaller probability of collision between pairs of dancers.
Music - For a dance to exist, music must exist first.
This obvious statement implies that it is essential for the dancer.
the understanding of music. And yet, quite strangely, many dancers and many teachers
they have very little knowledge of music. They keep the rhythm mechanically, but
it would be hard for them to explain how their movements are actually related to the music of a

certain dance.
Music uses a system of symbols and notations to express itself.
basic components, such as harmony, measure, and rhythm. Harmony defines

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the sound of a musical note; it is important to enjoy music, but not
affects directly the rhythm (tempo) of a dance. The major concern of a
The purpose is to know the value of musical notes and how they are.
group together to set the pace.
In musical notation, the basic symbol is the whole note, which has in a way
the normal value of four measures of the melody. Similarly, one eighth
represents two measures, the first represents a measure, while the second is a grade– one
half measure. A point after increases its value by a
half.
The figures 4/4 represent the metric armor or time signature: the upper number
show the number of beats in a measure and the number below gives the value of each
beats. In 4/4 time, there are 4 beats in a measure, with a quarter note each.
it represents a beating. A vertical line, separator, is used to separate
the measures. Small pens or accent signs are often used to mark
the accented beats. For example, in the foxtrot, the primary accent is on the first beat
of the measure, with a secondary accent on the third beat.
The first beat of the measure corresponds to the downward movement of the arm or

the conductor's baton; as such, the term downbeat is often used

yes, accented note) for the first beat of the measure, without referring to
conductor. Similarly, upbeat corresponds to the upward movement of
of the conductor's arm or baton and is often used to designate the last
measure beats. The accented beats are also called bătăitari, and the beats
unaccented are called weak beats.
A characteristic of dance music is syncopation, that is, disturbance.
deliberate normal pulse of the metric, of the accent and rhythm. The most
Common methods of achieving syncopation are: (a) tying an accentuated note
de următoarea notăslabă; (b) pauze pe bătăile puternice; plasarea unui accent pe
weak measure. In some dances, such as merengue and mambo, syncopation
determines the basic character of the dance. In other dances, such as Lindy,

17
syncopation is commonly used to shift the emphasis in the measure
unaccented (offbeat).
Social dance involves associating appropriate dance figures to the rhythm.
and the melody of the music. This is known as phrasing. The schemes
dances are often described in terms of quick steps and slow steps
(slow steps); a fast step takes one hit, while a slow step takes two hits. They appear

However, there are problems in dances like cha-cha, where there are optimists who occupy a...
half of a beat (these notes are sometimes called double-quick). And even harder
this is the samba, where there are sixteenths that occupy a quarter of beats and eighths
punctate care ocupăo treime de bătaie. În aceastăcarte vom folosi, oriunde este
possible, the standard system slow steps and quick steps,
but we will specify the current value of each step where the system does not apply
standard.
Many dances, such as polka, merengue, samba, and rumba were written in
origin in a measure of 2/4. Nowadays, these dances are almost
always written in 'cut time'. Or more precisely alla breve, designated by
the symbol ¢. This time armor means that the dime is the basic unit.
of time, and not the quarter, more commonly encountered. 'Cut' usually refers to time.

echivalent cu măsura de 2/2.

Terminology -- In today's ballroom dancing, knowledge
Language is as important as mastering the basic skills described.
You will discover that there is a trend, manifested by the great dance studios,
to assign its own terms to certain maneuvers or figures; the terminology can,
also, to sweep from one side of the country to the other. The following definitions are
based, in general, on the efforts of dance instructors in America to achieve a
standardization and to avoid both confusion from beginner dancers
the most advanced.

18
 CHAPTER II
TRAINING AND EXERCISE IN SPORTS DANCE
2.1. Selection in Competitive Dance
Sports dancing is one of the most enjoyable activities. Through practicing
In him, you feel how you live the music and express your feelings through movement.
As the child grows, he becomes more disciplined and more aware of
its dynamic body. This awareness greatly helps in improving
movement techniques. Balance, synchronization, and motor coordination are
basic qualities that are formed and perfected through sustained effort and through
well-established training programs.
Dance is an activity that is learned, practiced, and used for a purpose.
educational. In order to have a good performance, it must be practiced at
started under the guidance of a specialized staff, following the principles
sports training in a conscious, gradual way, depending on
the age particularities, follows the practitioner's development on all levels,
so that the results are beneficial both for the practitioner and for the sport
cater.
The selection in sports dance can be considered an organized process and
repeated after certain intervals of time, in order to detect availabilities
innate or acquired of the child, the junior, with the help of a system
complex of criteria (medical, biological, psychological and motor).
Selection can generally be made in two ways: empirically or scientifically.
For this, the existence of criteria, indicators, or even
a model.
The empirical selection is carried out by experienced individuals and refers to
the physical appearance, recommendations from different people etc.

19
 Scientific selection requires an objective analysis of the characteristics and
the possibilities from a physical, psychological, and informational point of view of the person who
it will be selected. This is done through interdisciplinary use
unscientific (medical, biochemical, physiological, mathematical, biomechanical etc.) in
the view of collecting as much data as possible.

The main indicators used in selection from sports dance are:

a) The genetic factor - is highlighted from the history and implies
hereditary background, morphological configuration, sports history in
family.
b) Health factor - it is the most important because everything depends on it.
if the child subject to selection can practice this sport, diseases of the cardiovascular system
vascular, hepatorenal conditions, defects of the visual, auditory analyzers, etc.
c) Factorulmorfologicse referăla biotipul constituţional care trebuie să
in accordance with the requirements of the respective sport. Thus, for sports dance
se selecţioneazăcopii care: au tip constituţional longilin cu segmenteşi fibre
long muscles, healthy bone skeleton without deficiencies, the ratio between segments
normal body and face features pleasant.
d) Functional indicators of psycho-physical effort capacity - it is used
more frequent in high-performance sports, for assessing the degree of
training and sports form (aerobic and anaerobic capacity; indices
functional).
e) The indicators of motor skills and psychomotricity refer to data about:
Motor skills:
- viteza: de execuţie, de reacţie, de repetiţie, de deplasare;
strength: general and specific (of the legs, torso, arms);
coordinative capacity (skill): general and specific;
resistance: general, under strength, speed and skill conditions.
Specific price per unit:

20
 elements of technique in standard dances: slow waltz, tango, Viennese waltz,
foxtrot, quickstep;
elements of technique in Latin American dances: samba, cha-cha-cha,
rumba, paso doble, jive;
the choreographies of standard and Latin American dances.
Stages of the selection process in sports dance
From a didactic point of view, selection in sports dance takes place through
several stages. In the specialist literature, we encounter various opinions regarding
the number of these stages. Taking into account the age categories and the level of
preparation of dancers, in this paper we will try to divide the selection into
next steps:
Stage I (primary selection) corresponds to the child's first contact with
dance and training in this sport. At this stage, the aim is to establish
working groups, ensuring a basic training and acquiring some standards
behavior.
This first stage can take place in two phases, which consists of a
preselection for identifying talented children, to carry out training for
base.
In the first phase, boys and girls aged 5-6 are selected, and a diagnosis is made.

motor qualities for dance, after which the groups of work are formed and then
preparation begins. Training was done for approximately 6 months with 2-3 training sessions per

week. This phase ends after the completion of the established control tests.
for this level.
After the control tests are completed, we move on to phase II, where it is done
forecast of the real possibilities of moving to higher education. Also
ensures the mastery of the basic figures in standard and Latin-American dance,
necessary age and level of preparation.
The duration of this selection stage is 2-3 years, ending with
obtaining the sports classification 'class E' (6-9 years old).

21
 The second stage (secondary selection) is the stage of specialized preparation in which

a forecast is made for the dancers and a level of training is reached

superior.
The duration of this stage is 3-4 years and ends with obtaining the category of
"Class C" (10-14 years) "OPEN BASIC".
The third stage (the final selection) includes the representative teams, taking into

consider the 'champion model'. At this stage, it forecasts results

for great performance, aiming at the development of motor skills at a level
superior, learning and perfecting figures, combinations and choreographies
included in the competition dances.
The duration of this stage starts from the age of Junior 14-15 years
ending with the Seniors category over 35 years old. This stage refers to
the minimum age allowed for participation in the European, World Championships, etc.

2.2. Sports training in competitive dance

Currently, sport dance is a discipline with multilateral values in
the education of practitioners.

Being a sport in continuous development, it takes on different forms of

activity starting with mass activity, as a means of recreation and up to the
competitive, with continental and world championships and cups, being patronized
the International Dance Sport Federation (IDSF) - International Federation of
In Sportive.
Sport dance is characterized by simultaneous performance on the dance floor,
of several pairs, consisting of a boy and a girl, whose schedules are in
in accordance with the level of sports classification, in the rhythms of standard dances and
Latin Americans.
Recognized as an Olympic sport in the last decade, competitive dance is
confronted with the need for scientific treatment, a fact indicated by the lack of studies
of specialty.

22
 The musicality of an individual is innate (genetic, inherited) and educated.
during the individual's formation (formed, acquired, practiced).
In the sport dancer, rhythmic capacity consists in the transposition into
measure of metric units in music.
The factors that influence performance in sports dancing are (V. Năstase,
2002):
a) motor qualities:
- viteza: de execuţie, de reacţie, de repetiţie, de deplasare;
force: general and specific (of the legs, torso, arms);
coordinative capacity (dexterity): general and specific;
resistance: general, in force, speed and skill mode.
b) specific price per unit:
elements of technique in standard dances: slow waltz, tango, Viennese waltz
foxtrot, quickstep;
elements of technique in Latin American dances: samba, cha-cha-cha
rumba, paso doble, jive;
the choreographies of standard and Latin American dances.
c) the psychological characteristics of the dancer;
d) the somatic and physiological particularities of the age;
e) the sharpness of the acoustic - vestibular and kinesthetic analyzer;
f) factori de mediu: suprafaţa de dans, iluminarea, sonorizarea,
the costume, the audience, the opponents, etc;
h) social factors: family, coach, school, friends, partner
couple etc.
The components of training in competitive dance
The content of sports training sums up those structural elements.
care, based on some legislative functional and methodological rules, determines
sports performance.
The components of the preparation process in sports dance are:

23
 physical preparation;
artistic preparation
technical preparation;
psychological preparation;
tactical preparation;
theoretical preparation.
Other authors (Bompa T., 2001) believe that the components of training
they form a pyramid and although they are closely related to each other, there is a possibility
to develop each of them, with physical preparation at the base of the pyramid.
All these factors are in a close interdependence, and addressing them is a
we make a differentiated approach from a theoretical, didactic point of view.

Physical preparation
In sports dance, physical training can be achieved as follows
succession:
general physical preparation (preparatory period basic stage);
specific physical preparation (preparatory period pre-competitive stage);
the development of specific motor qualities and maintaining a high level of them
(competition period).
a) General physical preparation (GPP) ensures harmonious development of
the morofunctional indices, the basic motor qualities, enrich the foundation
general motor skills, the main objective being improvement
effort capacity.
b) Specific physical training (PFS) is based on general physical training.
the main objective being the continuation of the development of the necessary motor skills

correct learning of exercises on machines and increasing specific effort capacity.

2. Artistic preparation
Artistic preparation is a component of sports training that
we find in those sports branches where evaluation in competition is based on
the score awarded by the referees.

24
 The content of artistic training includes: dance preparation, creation
artistic, musical education, plastic education, preparation for expression
communication, gymnastic preparation (specific to dance).
Artistic preparation provides the assurance of execution with a high degree of technicality and
the plasticity of some elements and connections from classical ballet, character dance or
contemporary, included in the competition exercises, bringing these exercises closer to art.
The succession of exercises on the bar must gradually increase the physical effort and

the gradual training of the muscles, joints and major functions of

of the organism.
The main exercises on the wall bar are:
the positions of the feet (taken from classical ballet);
- half bend, bend;
- battement tendu: înainte, lateral, înapoi;
stretched thrown beat
- sustained beat, etc.
The exercises at the center continue the development of the qualities that were the subject of
bar exercises, which especially add balance, steps and variations of steps,
twists, jumps and leaps, combinations with dance steps and different turns
pirouettes jumps.
3. Technical preparation
Technical preparation means all the measures with a methodological character,
organizational, or of another nature within the sports training process, with
the purpose of mastering the technique of dance.

In sports dance, the role of technical preparation is very significant and is closely linked.

interdependence with the other components, thus a poor physical preparation of the children
leads to a wrong, flawed technique and therefore to failure in the competition.

The attainment of sports mastery must be viewed in perspective, achieved on

ensuring a solid technical foundation.
Technical components:

25
 In the technical training, the following components are used:
1. The technical element - is the fundamental motor structure that underlies
the practice of dance (Dragnea A., 1996), being an abstract notion that
achieved through well-defined motor structures that make up the competition layout,
constituting the main object of the learning and improvement process (Nicu A.,
1993);
2. the technical procedure - represents the method of execution of the technical element and

it depends on the creativity of the coach, the athlete, the morpho-availability

functional and psychological aspects of gymnasts, the quality of materials and apparatus.
3. style - represents the individual way of executing a technical procedure.
The style appears in high-performance athletes.
4. the basic mechanism of the technical process - represents the succession of

linked motor actions that engage the locomotor apparatus and the large ones
organic functions (Nicu A., 1993), in a purpose susceptible to perfection,
up to the level of technical virtuosity.
The body technique in sports dance includes:
- technical choreography for the dances in the standard section;
technical choreographies for the dances in the Latin American section.
The content of dance techniques includes:
the positions of the two partners;
specific steps of standard and Latin American dances;
combinations of steps with specific names for standard dances
Latin Americans.
turns and pirouettes;
the imbalances and waves of: arms, trunks, body, etc.
4. Psychological preparation
In order to cope with the stress from training and competitions, the athlete
they must be properly prepared by going through several stages. These are:

26
 basic mental preparation, which includes the set of methods and
the means necessary for the formation of the athlete's personality, its traits
attitudinal.
specific mental preparation consists of development and improvement
of those psychological qualities that directly condition performance (Nicu A.,
1993), motivation, will, determination, attention, perseverance, desire to
victory, concentration ability, memory, imagination, ability to
reprezentare motrică. Acesta se desfăşoarăîn paralel cu pregătirea fizică
and technique.
psychological preparation for the competition includes (Epuran M., 1990):
preparation for the competition from a general perspective;

preparation for a specific competition.

5. Tactical Preparation
Tactical preparation involves complex, adequate, and efficient utilization.
the technical and physical preparation of the athlete in pairs or teams and formations, in
the conduct of the competition.
The content of tactical training in competitive dance can be approached from two
points of view:
Tactical preparation before the competition requires knowledge of the objective
proposed for the competition, knowledge of the conditions related to the place of

conducting the competition, knowledge of the competition rules, etc.

tactical preparation during the competition quick measures that arise during
of the competition both from the athlete and from the coach
(well-prepared elements and combinations, etc.)
6. Theoretical preparation
The theoretical preparation is present in each lesson, and the coach has
the duty to share with the dancers his knowledge in the following
directions
methodology of developing biomotor qualities;

27
 the theoretical bases of the technique of exercises in competitive dance (biomechanics
exercises);
physiological adaptation in training;
knowledge of the competition regulations (organizers, technical staff
costumes);
the requirements for prioritizing and planning training;
the causes, prevention and treatment of accidents etc.
The coach must constantly stimulate theoretical thinking.
athletes, to discuss with them before and after training, during travels,
in camps, to listen carefully to their opinions and to find the most
indicate future action solutions to develop correct moral behavior.

2.3. The technique of sports dance

2.3.1. Basic Concepts in Standard Dances
The evolution of ballroom dancing, now called 'standard' (slow waltz, tango, waltz
Viennese, foxtrot, and quickstep) are recognized in chronological order at
the border between the 18th and 19th centuries, while others in the 20th century (slow flow,
foxtrot quickstep.
They are an urban replica of court dances and those of folklore.
the first (Viennese waltz and tango) being expressly prohibited upon their emergence, due to

the immorality they demonstrated, the closeness of the princess to her partners during
to him.
2.3.2. General characteristics
The position is what precedes the first step of movement in any figure.
(the starting position), or the one that, during the evolution of the couple in dance is
used to facilitate the correct execution of the step in the figure.
Generalities: partners face the weight distributed on both
legs, the body, from the waist up rises from the spine, without lifting
on your shoulders.

28
 The vertical of the body (the imaginary line of balance) falls exactly between the soles.

of the legs. During the dance, this vertical and its projection of movement is displaced.
depending on the steps and movements of the dancers' bodies.
a) Closed Position.
b) Promenade Position.
c) Outside Position
d) Fallaway Position
Leading
The lead dancer is performed by the partner from the body, and especially
"the contact point of bodies". To understand the leadership, the partner
the upper part of the body should be in a relaxed position. It is forbidden.
the control from the left hand.
Analyzing the positions of the dancers' bodies during the execution of the dance,
we will observe that the couple has its own balance, determined by the movements of both
partners, in the leadership of the boy.
Displacement:
Movement in dance is done as in walking or running, through
the displacement of an individual's center of gravity from one leg to another in directions
before stability.
When moving, one must take into account: body attitude, balance and direction
the soles of the feet.
The lifts and descents are done with the legs and body, naturally, without
renounces the initial support of the position (especially when descending), smoothly, through
using the leg muscles. The bending of the knees is performed differently at
waltz is the highest, foxtrot is lower, and the smallest is quickstep.
Turns (rotations) are characteristic elements of dances. They can be
simple,pe arc de cerc, care au grad mic de rotare.
The pivots execute simultaneously with the steps and have a higher degree of rotation.

29
 Swivel (delayed pivots) is executed after the weight of the body has passed, with
a little break.
The sway is a body movement of leaning in the direction of
inversion of displacement. It occurs naturally from the desire for balance, compensating
displacement, almost at any turn, except for rotations, serpentine displacements
or in waves, and consists of a slight bending of the shoulders due to a curvature
spine line at chest level, with support in motion of
curvature concavity.
The inclinations can be formal, like the ones mentioned above, or broken, to which
the spine bends sharply in the middle.
Countermovement.
It's a movement from the body that occurs when moving with a leg.
leading sideways (shoulder-hip) from the opposite leg. In forward movements
the counter-movement is performed simultaneously but with a shoulder start, while in
The movements backwards start from the heel. And when it is executed on the spot,
the counter-movement is followed by pivoting.
The body's counterposition is when the body does not participate in any way in
the movement forward or backward of any leg. The steps taken then in a position
contramovement. This is the case of the steps in external position, when for the partners
they should not stray away from each other, the steps are made in a crosswise manner, in PCM.
The held position (hesitant) is a figure in which it temporarily stops.
the displacement, and the weight of the body remains on one of the feet for more than a
musical time.
The step led from one side is made when the shoulder of a step
precede the step taken by the foot on the same side and the direction of movement.
The sense of dance represents the predetermined direction of evolution of the partners in

in. This unique direction has arisen from the need for movement and from the desire
but not to disturb the couples during the movements. The sense of dance in the dance
sportive is that given by the reverse movement of the hands of the clock. It is considered

30
to be on the outside of the ring, 1 meter away from the edges of the dance ring. Orientation
In competitive dancing, it has become conventional. If we adapt points from ballet.
scene, on stage, I have discovered:
- point 1 corresponds to the meaning of dance;

point 3 of the wall;

point 5 - against the direction of dance;
- point 7 - the center of the hall.

The other points are diagonal and adapt as follows:

- point 2 - diagonal wall;
point 4 - diagonal wall against the direction of dance;
- point 6 - diagonal center against the direction of dance;
- point 8 - center diagonal.
The most important thing is rhythm, being the basic condition for the evolution of a

performer. The musicality of an individual is innate and educated during the course of development.

individual.
In sports dance, rhythmic capacity consists of translating into movement
metric measures in music. It is formed together with the endowment of the elements
the technique is more developed in high performance dancers.
In sports dance, we use the musical measure, the musical time, the value.
musical. When referring to dances in general, the rhythm is standardized according to how
follow:
Standard:
- hair speed – 30 measures (3/4)/min;
- tango - 33 measures (4/4)/min;
- vlals viennese – 60 measures (3/4)/min;
- foxtrot – 30 measures (4/4)/min;
- quickstep – 50 measures (4/4)/min;
Latin American:
- samba - 50 measures (2/4)/min;

31
 - cha-cha - 30 measures (4/4)/min;
rumba - 27 measures (4/4)/min;
- paso doble - 62 measures (4/4)/min;
- jive - 44 measures (4/4)/min.
The figures differ in the same dance, having different rhythms and being linked by
coach or dancers in sequences of phrases that include 4 or 8 musical measures.
Although many figures are borrowed from one dance to another, they are considered in relation to the rhythm.
and the character of the new dance. The rhythm is also a criterion for differentiation.
pairs in competition.
2.3.3. Description of the technique in standard dances
VALS LENT - has its origins in the Boston waltz. Between 1910-1914, it
it was very much appreciated by many people, who would go dancing especially at
Savoi Hotel in London. The Boston was brought from America, but in the year 1914 it-
he/she lost, the basic steps being modified in the direction of the slow waltz.

After World War I, the slow waltz developed, getting closer to the
Starting today. A special contribution to the development of the slow waltz was made by Josephine

Bradly, Victor Silvester, Maxwell Steward and Pat Sykes, the first champions of
England. The standardization of figures was essential due to the 'Imperial
Society of Teachers of Dancing” (ISTD). În concursurile de astăzi, în valsul lent
the figures from other dances are also danced, just as it borrows in turn
the figures of other dances.

Musical measure - ¾ (three quarters in a musical measure);

Tempo of 29-30 measures / minute.
The position is the same in the general description of standard dances. In
the execution time of the slow waltz uses combinations of both the Closed Position (CP),
how much is the Promenade Position (PP), the right exterior position (PEd) and the position

external left (PEs), specific to dance.

32
 The movements in the slow waltz are forward, backward, diagonal forward, diagonal.
back, sideways, slightly forward sideways, slightly backward sideways. The slow waltz presents a

specific character due to the rises and falls.

The rising and falling is specific to the slow waltz, thus the body begins
ascending in the second half of musical time 1 and continuing to rise in time 2
and is up in the first half of time 3, then the descent starts in the second
half of this, continuing to descend and in the first half of time 1
musical from the previous measure.
The step in the slow waltz moving forward on the first step and the time 1 is done with

contact with the ground is made by rolling the sole from the heel to the toe. Lifting
the body's forward movement during musical time is achieved with the help of
the soles.
In the backward movement at the same musical time, the lift is done without help.
the soles, only from the knee joint. When the step is taken with the ascent
the body on the second musical time, then it is executed on tiptoe. The step on the third time
musical is usually performed on the tiptoe and on the heel.

In the slow waltz, the first step is executed with a slight counter-movement, due to

descents from the second half of the previous musical time, carrying forward
the leg for walking, as well as the preparatory step for the return that will follow
ulterior.
In the outside positions (PE), we encounter stepping in a counter-move position.
(PCM), a phenomenon encountered in all dances that are performed in PE.
Turns (rotations) - in the slow waltz, the figures have turns that are performed
between steps, but there are cases when a big turn is made in a single step
(the pivots).
The counter-movement helps in movements and especially in the executed turns.
after its use. In external movement, stepping in counter-movement position
(PCM) is mandatory.
RIGHT TURN (Natural turn)

33
BOY
This figure is described as it is used in construction.
normal waltz in diagonal. Beginners should carefully read the notes.
introduction to this dance.
It starts with the face diagonally to the wall. It ends with the face diagonally to the

center.
Foot D in front, turning the body to the right.
2. Long step sideways with leg S across LOD.
3. The rotation on the foot cushion S continues, and D approaches S (now
back to LOD).
4. The S foot back, turning the body to the right.
5. Foot D sideways, on the same LOD.
The S foot is approaching the D one.
Contrary Body Movement: C.B.M. on 1 and 4.
Rise and Fall (Body): the rise starts at the end of 1; it continues
raise on 2 and 3. It descends at the end of 3. The raising begins at the end of
4(N.F.R.); continue on 5 and 6. It descends at the end of 6. Not
Do not forget to relax your knee slightly on steps 1 and 4. This way the movement will be in a...
considerably more harmonious.
Body Sway:Swayla D, pe 2şi [Link] S, pe 5şi 6.
Footwork:: 1.H.T. 2.T 3. T.H. 4 T.H. 5. T 6. T.H.
Amount of Turn: Three eighths of a rotation is performed every three steps.
General observations: it will be noted from the description and from the diagram that...
the second step of the forward rotation is longer than the second step (step number 5) from
back rotation. This is explained by the fact that the person from the outside
the circle has, necessarily, a greater distance to cover. From the same
motive, there is a continuation of the rotation on the foot cushion on the second step of the rotation

forward. At the backward turn, the fifth step is taken with the right turned towards

34
exterior – oriented towards the termination direction. There will only be a slight rotation of

the body at the moment when the leg S approaches on 6.

Most good dancers tend to have less rotation on 4, 5, and 6.
natural turn, thus executing less than three eighths of a rotation.
The next Closed Change is then slightly rotated.
the right.
GIRL
This figure is described as it is used in construction
the normal waltz in diagonal. Beginners should carefully read the notes
introducing this dance.
It starts with the back diagonally against the wall. It ends with the back in

diagonal to the center.

The left foot back, turning the body to the right.
The right leg sideways, across the LOD.
3. The foot S approaches the foot D, the body now facing LOD.
4. The left foot forward, turning the body to the right.
5. Long step sideways with foot S on the same L.O.D.
6. The rotation on the cushion of the left foot continues and approaches D to S.

Contrary Body Movement: C.B.M. on 1 and 4.

Rise and Fall (Body): it begins to rise at the end of 1(N.F.R.); it
continuing the raise on 2 and 3. It descends at the end of 3. The raising begins.
at the end of 4; the ascent continued on 5 and 6. It descends at the end of
6. Don't forget to relax your knee gently on steps 1 and 4. This way the movement will be in

much more harmonious.

Body Sway:Swayla S, pe 2şi [Link] D, pe 5şi 6.
Footwork:: 1 T.H. 2.T 3. T.H. 4 H.T. 5. T 6. T.H.
General observations: it will be noted from the description and from the diagram that
the second step of the advancement of the rotation is longer than the second step of
rotation back. This is explained by the fact that the person from outside

35
The circle necessarily has a greater distance to cover. From the same
the motivation is to continue rotating on the foot cushion during the second step of the rotation

before. When rotating back, the second step is made with the right foot turned towards
exterior - oriented downwards LOD. There will only be a slight rotation of the body in
the moment when leg S approaches 3.
Also, note that the girl should use a swing before.
put on the 4th step to help with the rotation.

2.3.4. Basic Concepts in Latin American Dances

These appeared in Europe along with the musicians and respective rhythms in the middle.

the 20th century, which through its color and exceptional spectacle makes it easy
their transition within the competitive dances, in the category that bears their name.
From the analysis of the specialized documents published in England, I noticed a
different approach to presenting technique in Latin American dances, in various
publications2 .
Walter Laird in 'Technique of Latin Dancing' first published in 1961,
revised in 1964 and amended in 1972, 1977, 1983, 1988, together with a
the supplement in 1997 is accredited by the International Dance Teachers Association
(IDTA).
Sydney Francis, Doris Lavelle, Doris Nichols, Dimitri Petrides, Elizabeth
Romain and Peggy Spencer with editorial appearances since 1971 and 1973, then in
revised and expanded editions in 1974, 1975, 1978, 1981, 1983 are accredited by
Imperial Society of Teachers of Dance
Dancing- ISTC).

2.3.5. Basic concepts necessary for learning a correct technique in

Latin American dances:
Individual position

2
Năstase Viorel Dan,Dans sportiv, Editura Universităţii din Piteşti, 2002.

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 The position of the feet in Latin dances, extrapolating from ballet technique, is
the third position, since the soles are never parallel, except when
they are next to each other. This "foot orientation" is done only with the tip
it can be both of the leg that supports the weight of the body, as well as of the
the one free (when the weight is on one leg), or with both legs (when
the weight is on both feet.
The contact of the sole with the floor - In Latin dances, in most cases,
the contact of the soles with the floor during stepping, whether forward, backward or in place, is

progressive face, with a sole pinging, bearing the name 'progressive contact' (C.P.).
There are cases when the dancer's movement involves another contact technique.
The degree of turn - Due to the position of the soles, the degree of turn
the body may not be equal to the degree of turn of the legs (e.g. The second
no wisk your samba, the controlled movement forward in rumba cha-cha, and all
walks back in rumba-cha-cha-cha).
The forward motion stopped - in Rumba and Cha-cha, when a step forward is
used to change direction with or without a slight turn – the action
it must be different from that of a normal promotion, when the distribution
the weight and position at the end of the step allow the body to advance on
the next step.
Delayed movement - during certain figures, especially in rounds.
cha-cha-cha, to intensify the interpretation of the rhythm, a type is introduced
special, through which changes in the speed of the body and legs are obtained.
The return forward is used when you need to turn back to
continue the movement, or to change direction on the next step, without
interrupt the movement of waste.
The direction change is achieved by having a normal displacement, but with a
turn, made during the step towards the desired direction. Such an example of
turns from advancement to change direction, is the last step of the boy, in
all the figures that end in fan position in rumba.

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 Crossing the legs in Latin-American dances
When one leg is crossed in front of or behind the other, the position
it is always obtained the same and is called 'Latin cross'.
Let's analyze the case when the right leg is crossed behind the leg.
left to both partners (boy-girl):
Both knees are slightly bent, and the hips are not working (straight);
the big toe on the right foot will be facing outward;
the right knee is stuck behind the left knee.
The grip of the hands (holding the hands) during the driving of the movement, as a

the general rule, the girl's hand is held in that of the boy, or by the thumb of
the palm of this one, or of the other fingers, as required by the figure.
The positions of the arms moving from one basic position to another, the boy will reach.
physically guiding the partner, or "shaping" their movement. Thus the position
The contact of the boy depends on the way the boy drives.
Types of driving:
In Latin dances, the boy uses two types of leading:
1) The strong guy. The boy drives with his arm in contact strained, in the direction of

thanks to her partner, who keeps her arm tense so that she can be led.
Partners simultaneously help each other in movement by using each other's strength.
the time of the girl's forward movements that require this type of driving, the arm
I made this tense and slightly withdrawn (withdrawal-hanging).
2) The modeled type. This type is reached through the position of the arms, grip

the hands and the position of the boy's body. The principle of use is to move the whole
stretch your arms to guide the girl in the required movement. Body movement
It prepares the leadership somewhat for the girl's next move.
During movements that require this type of leading, the girl's arm is
easy to retreat, with minimal tension.

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 Basic positions in a pair
A basic position is defined as the position from which the pair starts.
figure termination. According to Walter Laird, there are 23 basic positions in dances.
latin.
When the grip of the hands is included in the description of the movements, the position of the hand

the boy is always given ahead of the girl's hand position. For example: S in D (hand
the boy's left hand and the girl's right hand)
Closed position (CP) in the closed position of rumba, cha-cha,
Open position (OP)
Fan position (PE) This position is used in cha-cha turns.
Fallway position (PF) This position is used in Jive and Paso doble.
The fallway position resembles the promenade position, with the difference that
the pair moves in the opposite direction of the promenade (backwards,
the boy with the left foot and the girl with the right foot). The return between the two
the body is no larger than ¼ (1/8 to the left for boys and 1/8 to the right for
girl)
The open position fallaway (PDF) is used in rumba and cha-cha.
The promenade position (PP) This position is used in samba, jive and
double step
The counter promenade position (PCP) This position is used in the samba
and paso doble.
The open promenade position (PDP) This position, used in samba,
rumba cha-cha, resembles the open position,
Open position for counter-promenade (PDCP), this position is
used in rumba, samba, and cha-cha, resembling the position
open,
Spanish line (LS) - used in double step.
The shadow position (PU) is used in rumba, cha-cha, and samba.
AfterRevised

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 Opposite position (OP) this position is used in it, and it is similar to
the closed position, except for the fact that both the girl and the boy rest their weight on their leg
both left handed turned 1/8 to the left from the closed position.
Against the opposite position (CPO), this position is used in samba.
it means with the closed position only that both the boy and the girl have the weight on the right leg
and they are turned 1/8 to the right from the closed position.
There is still an Open Opposing Position (OOP) and Against the Opposing Position

Open (CPOD) are similar to PO or CPO, just that they are danced in PD.
with the grip of hands D in D, or S in D or D in S (for POD), and with S in S or S
in D or D in S (for CPOD).
Advanced foreign opening is a show position and it is not
recommended for learning based.
The book used it in explaining the figures, especially at the moment of transition.
partners one next to the other. The right outer position (PEd) and the position
outer left (PEs), which indicates an intermediary position borrowed from
standards and not a specific one of Latin dances.
SAMBA has its origins in Africa, but it was conducted and developed in the same
time in Brazil. And in the year 1925 Samba appeared in Europe. Although the dance was
competitive accepted, he arrived on the occasion of the world demonstration in New
York in 1939. Walter Laird had an exceptionally important contribution.
his partner, Lorraine.
Samba is a dance with vigorous action, through certain elements.
accent different musical times from the measure.
The musical measure is 2/4, with predominant accents on the second beat.
The tempo is 50-52 musical measures/minute. There are also arrangements.
rarer musical pieces with 48 measures/minute or faster up to 56 measures/minute.
The specificity of samba dance is determined by the relationship between musical time, value

musical, musical measure and number of steps. These are:

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 Musical time Value Measure Number of
musical musical steps
1 & 2 (S&S) ¾, ¼ , 1 1 3
1&,2&,3&,4 ¾ ,¼, ¾, ¼, 2 7
(S&S&S&S) ¾ , ¼ , 1
SQQ 1, ½, ½ 1 3
QQS ½, ½, 1 1 3
SQQQQQQ 1, ½, ½, ½, 2 7
½, ½, ½
SS 1,1 1 2
SSQQS 1,1, ½, ½, 1 2 5
1, 2, 3 ¾, ½, ¾ 1 3

The Bounce action (AB) is specific to the samba, it is performed on musical time 1 & 2 and
consists of a bending and stretching of the knee and ankle of the leg that holds most of
the weight of the body.
Each bend is made in ½ of the musical time and the stretch is done in the other ½.
can use the particle "and" to illustrate the beginning of the second half,
starting with bent knees, the musical time will be: and 1 and 2 and 1 and 2 etc. The bounce action does not
it is the same for all figures.

BASIC MOVEMENT TO THE LEFT

(REVERSE BASIC MOVEMENT) (ST,A, L&F)

It starts in Closed Position. The Bounce action is used.

BOY The position Alignment The value The movementConduct Counting

of the feet Alignment rotation picioa- (Lead) (Count)
Foot Position (Amount relief
of Turn) Footwork
1 The left leg Conform Not at all BF The change 1
in front figures rotate or weights
previous up to ¼
the S
2 It is approaching B(press) It is retained a
right foot of on 1-6 the tone in
left cell, without arms
takeover
of gravity
3 It is taken over BF The change 2
the weight weights
minimum
the rights and
place from
now the weight
on the left
BF
4 Right leg -„- 1
back

5 S is approaching B(pressure) It is retained a

D, without weight the tone in
arms

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 6 It is taken over BF The change 2
the weight of weight
minimal
the left ones
place from
now the weight
on the right
It can be repeated.
Note If this is preferred, Reverse Basic Movement can be danced with
the help of four steps, as follows:
1 Left foot forward (BF) 1
2 D approaches S intensely, but without weight (BF) 2
3 Right leg back (BF) 1
4 S approaches D with pressure, but without weight (BF) 2
The bounce action is minimal.
REVERSE BASIC MOVEMENT (continued)

GIRL The position Alignment Degree of rotation The work of the soles The musical
of the feet Alignment (Amount of Footwork (Count)
Foot Position Turn

1 Right foot Conform No rotation or BF 1

back figurine quarter to 5
preceding

2 The foot is approaching. from 1-6

left of the right one, B(press) a
fărăpreluarea
weights

The weight is taken over

3 minimum on the left BF 2
and it is placed from
the weight on
the right

The left leg in

face
BF 1
4
D is approaching
S, without weight

5 The weight is taken over. B(pressure) a

minimum on the right
and places from
6 now the weight on
the left BF 2
It can be repeated.
Note Dacăse preferăacest lucru,Reverse Basic Movement poate fi dansatăcu
help in four steps, as follows:

1 Right leg back (BF) 1

2 S approaches D with pressure, but without weight (BF) 2
3 Left foot forward (BF) 1
4 D approaches S with pressure, but without weight (BF) 2
The actionBounce is minimal.

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 BIBLIOGRAPHY

1. Grigore M., Dance and Eurythmy. Internal use.

2. Năstase Dan Viorel, 2002, Sports Dance. University Press of Pite ș ti.
3. Nastase Viorel Dan, Tehnica in dansurile Standard
4. Nastase Viorel Dan, Technique in Latin American dances.
5. Potop Vladimir, 2008, Introducere în dansul sportiv. Editura BREN.
Bucharest.
6. The Ballroom Technique - The Imperial Society of Teachers of Dancing
(ISTD)
7. Latin American Technique - The Imperial Society of Teachers of Dancing
(ISTD)
8. Technique of Ballroom Dancing - Guy Howard
9. Technique of Latin Dancing - Walter Laird (IDTA)

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