After 1912, when ballroom tango became the rage of the dancing world, even elegant hotels invited their clientele to their “tango teas.” In fashionable restaurants professional dance couples demonstrated the new styles. In 1892 New York City saw one of the first cakewalk competitions, and in 1907 Nice advertised the first tango contest. After the first world dance competition in 1909, in Paris, this became an annual event, which in 1913 lasted for two weeks. But it was England that acted as arbiter of taste for the new movements in social dance. There the first dance clubs, like the Keen Dancers’ Society (later the Boston Club), were founded in 1903. In 1904 the Imperial Society of Teachers of Dancing was established, and in 1910 the periodical Dancing Times made its bow. After World War I the English version of the fox-trot was acknowledged as the essence of the internationally acclaimed “English style.” Victor Silvester’s Modern Ballroom Dancing (1928) became the handbook of the dancing world until it was succeeded by Alex Moore’s Ballroom Dancing (1936). The English style involved strict definitions for the five standard dances—quickstep, waltz, fox-trot, tango, and blues—to which were added after 1945 the Latin-American rumba, samba, calypso, and cha-cha-cha. What was left of the social barriers existing in 1900 between the exclusive and the popular dancing establishments was swept away.

Many observers were indignant about the changes taking place. Even so liberal a historian as Curt Sachs could not refrain from stating:

Since the Brazilian maxixe of 1890 and the cakewalk of 1903 broke up the pattern of turns and glides that dominated the European round dances, our generation has adopted with disquieting rapidity a succession of Central American dances, in an effort to replace what has been lost to modern Europe: multiplicity, power, and expressiveness of movement to the point of grotesque distortion of the entire body. . . . All [of these dances are] compressed into even movement, all emphasizing strongly the erotic element, and all in that glittering rhythm of syncopated four-four measures classified as ragtime. (From Curt Sachs, op. cit., pp. 444–445.)

Sachs went on to note the rapid rise and fall in popularity of individual dances and suggested an impermanence to the entire movement.

Effect on folk dancing

As social dancing spread with the advent of the radio and the phonograph, the regions where genuine folk dancing was practiced became fewer. It continued least corrupted by the new forms in those countries outside the mainstream of Western urbanization and industrialization. Spain maintained its vigorous tradition of flamenco dancing, and in Hungary the composers Béla Bartók (1881–1945) and Zoltán Kodály (1882–1967) collected the remnants of a wealth of folk song and dance folklore. Minority groups such as the Basques in Spain did likewise to maintain their identity against the overpowering influences of their neighbours.

Folk dancing remained a vital reality in the Soviet Union, especially in those European and Asiatic provinces that had distinctive ethnic populations and were far removed from Moscow, Leningrad, and other centres with Western contacts. In the industrial nations of Europe and the Americas, special nationwide councils and societies were founded to preserve the traditional folk dance that was under threat of extinction.

Experiments

Technological progress itself became the subject of dance and dancing. In the Soviet Union, there were experiments during the 1920s with dances created to express urban traffic, the accuracy of machine work, and the grandeur of skyscrapers. In Germany, the painter Oskar Schlemmer (1888–1943) realized his vision of a dance of pure, geometric form in the Triadisches Ballet performed in Stuttgart in 1922. In 1926 a sound vision of the technological ages, Ballet mécanique (Mechanical Ballet), by the American composer George Antheil (1900–59), was scored for mechanical pianos, automobile horns, electric bells, and airplane propellers. It was written not for the live dancer but for an animated film.

Social dance

Postwar social dancing was marked by continuing exuberance and enthusiasm. Dances such as the jitterbug, popular throughout the 1930s and ’40s, included lively turns and lifts with rapid footwork. Motion pictures and television helped to spread such rock and roll dances as the twist more rapidly and widely than dances had travelled before. A characteristic of this new generation of jazz-based dances was the lack of bodily contact between the participants, who vibrated their legs, gesticulated with their hands, swung their shoulders, and twitched their heads.

Many observers attempted to draw social implications of all kinds from these dances, which began to spread also among the youth of the Communist countries of Eastern Europe and Asia. Among the more interesting interpretations was that of Frances Rust:

. . . this type of dancing can be thought of as “progression” rather than “regression.” Historically speaking, country-dancing of a communal or group nature gives way, with the break up of communities, to partnered-up ballroom dancing with a concentration on couples rather than groups. This, in turn, is now replaced amongst young people by partner-less dancing, which, although individualistic, seems none-the-less, to be rooted in a striving for community feeling and group solidarity (from Dance in Society; Routledge and Kegon Paul, 1969).

In the mid-1970s, disco dancing brought a return to dancing with a partner in choreographed steps in dances such as the hustle and the bump. Disco was influenced by modern jazz dancing and became rather athletic, incorporating kicks, turns, and even backflips. Athletic dance moves continued to develop, especially in the 1980s in break dancing, an acrobatic style that featured intricate contortions, mime-like walking moves, and rapid spins on the neck and shoulders. Less complicated dance styles also were found, such as slam dancing, in which the dancers hurled their bodies against each other’s, and dances such as the pogo, in which dancers jumped in place to the music’s rhythm. Partner dancing never disappeared completely, however, and was especially prominent in the “western-swing” dancing of American country and western music.