Country/western dance

A group of line dancers.

Country/western dance or Country-western dance, also called Country and Western dance, encompasses many dance forms or styles, which are typically danced to country-western music, and which are stylistically associated with American country and/or western traditions. Like many other types of dances it has specific rules and etiquette for the dancers to follow.

Like America itself, country/western dancing is a melting pot of many different types of dance, with origins in the many kinds of dances that immigrants brought with them upon their arrival to the New World. It grew especially popular as Americans moved West, having been refined and maintained into modern times. Showcasing human creativity and expression in a uniquely American way, these dances provide opportunities for joyful social events to people of all ages.

Overview

Country-western dancing in Texas

Country–western dance encompasses any of the dance forms or styles which are typically danced to country or country-western music, and which are stylistically associated with American country and/or western traditions. Many are descended from dances brought to the United States by immigrants from the United Kingdom and Europe as early as the 1700s, which became integrated into American popular culture.

Country and western dancing is informal, relaxed, simple, casual, without affection, although not so casual as to be sloppy. Country dancing emphasizes smoothness on the dance floor, and keeping time with the music with none of the flourishes that could be interpreted as exhibitionism, narcissism, and lack of manliness or womanliness. Style is much more important than how many exotic acrobatics he or she can perform. Because of cowboy boots, country western dance is more likely to feature a flat-footed glide with some heel and toe touches rather than a lot of "toe type" dancing.

There are many versions of each dance, which may go by different names depending on the area of the U.S., and even in the particular dance hall. There may be no one "correct" way to a particular dance.

Types

Country western dances can be placed into two basic categories:

• Partner dances include those that are mostly lead and follow, and pattern partner dances. Lead and follow dances include: Two Step, Waltz, and Polka. Partner pattern dances include: Horseshoe Shuffle, Traveling Cha Cha, Sweetheart Stroll, Schottische, and Cotton-Eyed Joe.

• Group dances

Line dancing

Western couple dancing is a form of social dance. Many different dances are done to country-western music. These dances include: Two Step, Waltz, Cowboy or Traveling Cha Cha, Polka, Western promenade dances, East Coast Swing, West Coast Swing, and Nightclub Two Step. The Two Step and various Western promenade or pattern couples dances are unique to country western dancing.

Western group dances include the following:

• Line dance
• Square dance
  • Traditional square dance
  • Modern Western square dance

History

The roots of modern country-western dance run far and wide. Influences range from the ballrooms or Europe to the Czarist palaces or Russia, to the taverns of Ireland, and even to the tribal rituals of Africa.

Early history

Country–western dance originated in the dances and music brought to the United States by the people of the British Isles and continental Europe. In particular, there was a fad for French culture in the United States during the French Revolution of 1789–1799, and many French dances were absorbed into American popular culture. The American version of the Virginia Reel, for example, is based on the French dance called "Sir Roger de Coverly." French dancing teachers also brought quadrilles, dances which featured four couples dancing in a square. The cotillion appears to have originated from a quadrillion. These dances were particularly influential in the development of the square dance.

These dances soon developed into less formal dances, particularly the jig. One 1774 account states that:

Betwixt the country dances they have what I call everlasting Jigs. A couple gets up and begins to cut a jig (to some Negro tune). Others come and cut them out, and these dances always last as long as the fiddler can play.

It was also reported that:

The whites themselves, and especially the younger ones, were apt to move into reels and jigs at their own dances after a few perfunctory bows in the direction of "society sets" such as minuets and cotillions.

Popular reels, danced with a partner, included Lady Walpole's Reel, aka Boston Fancy, Lady Washington's Reel, and Speed the Plow. In the 1880s the "Devil's Dream," which bore a decided resemblance to the "Old Zip Coon," was a popular dance. By the late nineteenth century a type of country dance known as "swinging" appeared, which involved couples twirling around the dance floor together at high speed, much to the disapproval of many "etiquette experts."

Early solo dancing was composed mostly of extemporaneous jigging done by men. The term "jig" has been used to describe various forms of solo dance steps, as well as music, and has not been well defined. Jigs, clogs, shuffles, leaps, heel clicking, hornpipes, and other step dances may have come from various ethnic traditions, or nothing more than an individual improvisation. Other early terms used to describe either solo dancing or steps done as part of a circle or square dance were buck-and-wing, flat-footing, double shuffle, hoedown, and breakdown. Jigging was sometimes referred to as "making the splinters fly," and jig contests were sometimes held as side entertainment at dance parties.

A Texan "stag dance" held in 1829 included jigs and hornpipes accompanied by "patting juba." The juba dance, or hambone, is an African-American dance that involves stomping as well as slapping and patting the arms, legs, chest, and cheeks (clapping), and can be used to keep time. Music was often provided by fiddlers, many of whom were black, or with improvised "instruments": clevis and pin, scraping on a cotton hoe with a knife, patting of the foot, blowing on a comb through a thin piece of paper, tapping against drinking glasses, or even blowing on a peach leaf. Military bands and string bands were used in larger towns and/or on special occasions.

"Frolics" were community events often associated with communal work such as corn shucking or house raising. When the work was complete, the participants celebrated with a feast and dancing. A fiddler was the main source of music for dances at these events. The banjo, derived from earlier African instruments, was also important. Reels, square dances, waltzes, polkas, and other couple dances were performed with a spirit of freedom and improvisation, which music historian Bill C. Malone describes as "all so mingled that it is a dance without a name."

In the early nineteenth century, Richmond, Virginia closed out yearly horse racing with a ball featuring reels, contradances, congos, hornpipes, and jigs. Large farmhouses were sometimes built with rooms intended for dancing. In smaller houses, the kitchen was used for this purpose. Town halls were also used for gatherings. House dances were called "junkets" or "heel-burners," and they were casual affairs. These dances would last from mid-afternoon through the next morning.

In West Texas, large dance events were a major community function. Those held at ranches were sometimes called "ranch dances." Dances for local people in smaller areas lasted for the evening, and the participants would go home after. Larger dances drew participants from a wider area, some of whom traveled by horseback or car to attend. Because it would be tiring to return the same day, these events could go on all night. While children slept, adults danced and socialized until morning. Unusually, the cooking at these events was handled by cowboys rather than women. They would serve a large midnight meal of barbecue and other country foods. When crowds were large, dancers would take turns dancing, paying a fee each time they danced so that the musicians could be paid.

Twentieth century

Commercialization of country music ramped up in the 1920s. Despite that trend, dance parties in private homes were still popular in the American South, featuring popular music played by fiddlers. Although many of the songs they played, such as "The Sailor's Hornpipe" or "The Virginia Reel," were once associated with specific dances, these associations faded over the years until the songs were completely separated from their original dances.

Western swing began in the dance halls of small towns throughout the lower Great Plains in the late 1920s and early 1930s, growing from house parties and ranch dances where fiddlers and guitarists played for dancers. Popular steps for this dance-focused style included foxtrots, waltzes of the "Mexican" and "cowboy" varieties, and even simple one-step and two-steps.

The extensive movements of workers and troops within the United States and overseas as a result of World War II indirectly caused the spread of country music, as enthusiasts brought their favored music and dances to their new homes. During World War II, the Venice neighborhood of Los Angeles teemed with National Guardsmen keeping watch for enemy ships. As a result, Venice developed a bustling nightlife scene of dance halls and lounges that featured country western and swing music.

During the 1970s and 1980s, the country and western dance club Gilley's Club in Pasadena, Texas was certified by the Guinness Book of World Records as the world's largest nightclub, with a capacity of 6,000 people and a floor space of 48,000 square feet (4,500 m²).

In 1994, Skippy Blair noted that, "At this writing, Country has become the dance of the decade." Blair lists Two Step, Waltz, East Coast Swing and West Coast Swing as the most popular couple country dances.

Today

Country western dance continues to be a popular form of entertainment, practiced in country western dance bars, social clubs, dance clubs, and ballrooms worldwide. Dance competitions, festivals, and circuits have been organized in order to help broaden and promote the dance form.

The United Country Western Dance Council (UCWDC) is an organization that advocates for and organizes competitive country/western dancesport events, and establishes standards for this form of dancing. UCWDC regionally-sanctioned events are hosted in more than two dozen U.S. cities and also in several other nations.

Etiquette

Although it may be seen as more casual than something like ballroom dancing, country/western dancing is complete with its own set of rules and etiquette. For example, line dancers should always be aware of those around them and keep to the center of the floor. Dancers move counter clockwise around the floor. Faster songs require smaller steps, so dancers are not kicking or stepping on others' feet.

Other examples include:

• Food and beverages should not be brought onto the dance floor
• Do not stand on the dance floor to socialize
• Apologize if you bump into someone

Lead and follow

In traditional country–western dance, the man leads the dance by establishing the pace and length of stride, as well as deciding when to change the step. He leads his partner, usually a woman, by assertively yet gently directing her movements. The partner is expected to synchronize with the man, performing her part of the dance at his pace. In cases where the woman knew the routine and the man did not, it was acceptable for her to subtly direct the man, although she would still be the following partner.

Civil War Harper's Weekly, February 6, 1864.
"THE STAG DANCE. OUR soldiers believe in the literal interpretation of the dictum of the Wise Man that "there is a time to dance." But to put their faith into works is not the easiest thing in the world, owing to the lack of partners of the feminine persuasion. However, by imagining a bearded and pantalooned fellow to be of "t'other kind," they succeed in getting up what they call a "Stag Dance," which is better than none, as is shown by the intense interest evinced by the spectators."

In frontier days men danced with each other when women were not available. According to an early settler in Texas, "The gentle sex were few in number at the dance... Two men had to dance together to make a set." Another account states that "due to the scarcity of young women, a number of young bachelors who were either smooth shaven or wore polished shoes were designated as ladies." There were also "stag" dances with no women. "Heifer branded" men, those dancing the woman's role, wore handkerchiefs tied around one arm. A photograph from one early "stag" dance shows a "closed" dance position, with the "man's" right arm around the back of the "woman". At other times men dancing the role of the woman wore aprons. A photograph from one early "stag" dance shows a "closed" dance position, with the "man's" right arm around the back of the "woman."

Dance floor

The dance floor of a country/western get together has a certain layout, designed to keep all dancers safe and maximize enjoyment of all. This layout takes into consideration all of dancers, from beginners to experts.

The floor is divided into three concentric lanes, the outermost reserved as the "fast" lane (typically for experts), the middle lane reserved for more seasoned dancers, and the middle section for beginners, swing dancers, and line dancers.

Dancers typically move around the dance-floor in a counter-clockwise fashion. Those in the center should never line up all the way out to the edge of the floor, and should give room to move to more experienced, progressive dancers.

References

ISBN links support NWE through referral fees

• Blair, Skippy. Dance Terminology Notebook. Altera Publishing, 1994. ISBN 978-0932980113
• Casey, Betty. Dance Across Texas. University of Texas Press, 1985. ISBN 978-0292715400
• Giordano, Ralph G. Country & Western Dance. Greenwood, 2010. ISBN 978-0313365546
• Harris, Jane A., Anne M. Pittman, Marlys S. Waller, and Cathy L. Dark, Social Dance: From Dance a While. Benjamin Cummings, 2002. ISBN 978-0805353662
• Haslam, Gerald. Workin' Man Blues: Country Music in California. University of California Press, 1999. ISBN 0520218000
• Keller, Kate Van Winkle, and Ralph Sweet. A Choice Collection of American Country Dances of the Revolutionary Era 1775-1795. Country Dance & Song Society, 1976. ISBN 978-0917024030
• Kienzle, Rich. Southwest Shuffle: Pioneers of Honky-Tonk, Western Swing, and Country Jazz. Routledge, 2003. ISBN 978-0415941037
• Leisner, Tony. Official Guide to Country Dance Steps. Horizon Book Promotions, 1980. ISBN 0890093350
• Malone, Bill C. Don't Get Above Your Raisin': Country Music and the Southern Working Class. University of Illinois Press, 2001. ISBN 0252026780
• Nelson, Barry. Country Western Dancing. Fargo: Prairie House, 1993. ISBN 9780911007299
• Osborne, Hilton Freeman. Hilton Osborne's Run to the Floor for Country Western Line Dancing. Glendale, CA: Griffin Pub., 1995. ISBN 9781882180370
• Southern, Eileen. The Music of Black Americans: A History. W. W. Norton & Company, 1997. ISBN 978-0393971415
• Tolman, Beth, and Ralph Page. The Country Dance Book: The Best of the Square and Contra Dances and all about them. The Stephen Greene Press, 1976. ISBN 978-0828902731
• Townsend, Charles R. San Antonio Rose: The Life and Music of Bob Wills. University of Illinois Press, 1986. ISBN 978-0252013621

External links

All links retrieved April 23, 2024.

• United Country Western Dance Council (UCWDC)
• Country Western Dancing Pattie Wells' DanceTime
• What Are the 8 Competitive Country Dances? Country Dance Pros

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