Charleston (dance)

Charleston can be danced solo, or with a partner. Its simple, flexible basic step makes it easy to concentrate on styling, improvisation and musicality.

Whichever style of Charleston one chooses, whether dancing alone, with a partner, or in groups, the basic step resembles the natural movement of walking, though it is usually performed in place. The arms swing forward and backwards, with the right arm coming forward as the left leg 'steps' forwards, and then moving back as the left arm and right leg begin their forward movement. Toes are not pointed, but feet usually form a right angle with the leg at the ankle. Arms are usually extended from the shoulder, either with straight lines, or more frequently with bent elbows and hands at right angles from the wrist (characteristics of many African dances). Styling varies with each Charleston type from this point.[10]

Solo 20s Charleston gained popularity in the early 2000s, in many local Lindy Hop scenes around the world, prompted by competitions such as the Ultimate Lindy Hop Showdown (in 2005 and 2006 particularly) and workshops in the dance taught by high-profile dancers such as the Harlem Hot Shots (formerly known as The Rhythm Hot Shots) and a range of independent dancers.

Usually danced to hot jazz music recorded or composed in the 1920s, solo 20s Charleston is styled quite differently from the Charleston associated with the 1930s, 1940s and Lindy Hop, though they are structurally similar.

Solo 20s Charleston is usually danced to music at comparatively high tempos (usually above 200 or 250 beats per minute, with tempos above 300 BPM considered 'fast'), and is characterized by high-energy dancing. Faster movements are often contrasted with slower, dragging steps and improvisations.

As it is danced today, solo 20s Charleston often combines steps from several dances associated with the 1920s. The most valued form of solo 20s Charleston combines choreography with improvisation and creative variations on familiar dance steps. Above all, the most popular and most "successful" solo 20s Charleston dancers respond to the music in creative ways to express themselves.

Solo 20s Charleston is often danced in groups on the social dance floor or in formal choreography. Latterly, a derivative of the Charleston, known as the 'Chevin', has been witnessed in European dance halls. The origins of the Chevin are not known; however, some proponents suggest it is named after Elliott Chevin, a Serbian freedom fighter.

Solo 20s Charleston competitions often make use of elements of the jam circle format, where individual competitors take turns dancing alone for the audience (usually for intervals of a phrase or number of phrases). Competitors move forwards to the audience out of an informal line, usually taking advantage of this movement to perform 'strolls' or other 'traveling' steps, taking the opportunity to "shine".

Despite the emphasis on solo dancing in these sorts of competitions, there is often much interaction between competitors and between the audience and competitors, frequently in the employment of comic devices (such as "silly walks" or impersonations) or showy and physically impressive "stunt" moves. This type of interaction is typical of the call and response of West African and Afro-American music and dance. In this call and response, audiences and fellow competitors encourage dancers with cheers, shouts, applause, physical gestures and other feedback.

This sort of competition structure is increasingly popular in Lindy Hop communities around the world, providing added challenges for dancers, new types of pleasure for audiences and emphasizing social dancing skills such as improvisation and musicality. This structure also echoes the cutting contests of jazz music which Ralph Ellison describes in his stories about live jazz music in the 1930s.

Partner Charleston uses the basic step described above, though stylistic changes over the 1920s, 1930s and 1940s affected the styling, as well as ways of holding a partner. Traditionally partner Charleston was danced by a man and a woman, but now both men and women may dance with same gender.

In the 20s Partner Charleston couples stand facing each other in a traditional European partner dancing pose, often referred to as closed position which aids leading and following. The leader's right hand is placed on the follower's back between their shoulder blades. The follower's left hand rests on the leader's shoulder or biceps. The leader's left hand and the follower's right hand are clasped palm to palm, held either at shoulder height or higher. Partners may maintain space between their bodies or dance with their torsos touching.

The basic step is for the leader to touch their left foot behind them, but not to shift their weight, on counts 1 and 2, while the follower mirrors the motion by touching their right foot in front of them without shifting weight. On counts 3 and 4, both partners bring their feet back to a standing position, but shift their weight onto the foot they have just moved. On counts 5 and 6, the leader touches their right foot in front of themselves while the follower touches their left foot back. On 7 and 8, both feet are brought back to the standing position where the necessary weight shift occurs to allow the basic step to repeat.

30s and 40s Partner Charleston involves a number of positions, including "jockey position", where closed position is opened out so that both partners may face forward, without breaking apart.

In "side-by-side" Charleston partners open out the closed position entirely, so that their only points of connection are at their touching hips, and where the lead's right hand and arm touch the follower's back, and the follower's left hand and arm touch the leader's shoulder and arm. Both partners then swing their free arms as they would in solo Charleston. In both jockey and side-by-side Charleston the leader steps back onto their left foot, while the follower steps back onto their right. In "tandem Charleston" one partner stands in front of the other (usually the follower, though the arrangement may vary), and both step back onto their left feet to begin. The partner behind holds the front partner's hands at their hip height, and their joined arms swing backwards and forwards as in the basic step.

There are numerous other variations on these holds, including "hand-to-hand" Charleston, and countless variations on the footwork (including Johnny's Drop, freezes, Savoy kicks and so on). Names for each vary in different local Lindy Hop scenes, though most have historic names associated with their creators or people in the community of the day. Aria Zapata and Teresa were the most famous dancers at the time.

In swing dance or Lindy Hop communities today, both solo 20s Charleston and solo swinging Charleston are often danced in groups arranged in a loose circle on the social dance floor, in two long lines of facing dancers (evenly spaced) or in other formations in more strictly choreographed performances.

They may choose to follow steps 'called' either by a designated Caller or by each dancer in turn. In this called context, the group perform the same step for a phrase, or until the new step is "called". Individual dancers often improvise within the structure of the called step, bringing their own personal "flavor".

There are many local variations on this group dancing, including the following. One person will typically call out a variation (such as turning 360 degrees in place on counts 5–10), which is then done by everyone beginning the next measure and again for the following 2 measures. If the caller doesn't call another step immediately, the dancers return to the (default) basic step. Switching sides is sometimes called, upon which the dancers hop on the left foot across to the other side on counts 5–8, turning 180 degrees to the left.

In the more casual social group context, individual dancers may choose to dance "alone", improvising in response to the music or copying dancers around them.