Looking Back at the s. Search this site. The Madison was probably the most popular line dance of the decade. The iconic movie Hairspray made the Madison a huge hit and its popularity eventually inspired dance teams and competitions. Many famous dances from this era were actually short-lived fads. Yet they remain in our consciousness today thanks to nostalgia. Lift your right arm and leg Lift your left arm and leg. It sounds simple, but at high speeds, it can result in a crazy dance. Stand with your feet together and bend your knees slightly.
Move your hips to the right, and then move them to the left. The movement should come from the hips rather than your knees.
The frug is danced at a fast pace, and a right-left pair of hip movements should take a single count. While doing the hip motions of the frug, hold you right hand in a fist with thumb extended, as if you are hitch-hiking. Move your thumb to the right for three counts. Clap your hands to the right on the fourth count. Switch hands and move your thumb to the left for three counts. Clap your hands, this time to the left, on the fourth count.
This dance is unique among famous dances in the sixties in being a line dance. Dancers take instruction from the song, performing hip swings and jumps, among other steps. Contemporary dance was also starting to come on the scene, which would be the beginning of non-swing styles as we know them today. From that point, the Mambo and Rumba were combined to create the Cuban Cha Cha, which is a simple dance anyone can learn. The Cha Cha generally features triple steps called Chasse and rock steps.
Going through the decades, you can see how people become more creative and willing to try new things as dancing gained popularity. Oh, and the jolty, rigid Robot Dance also became commonplace. Popping, different from Locking and Breaking, is one of the earliest forms of funk. Locking is similar but very different if you know your hip hop moves. Talk about a freely moving 10 years! Raise heels off the floor, spreading knees outwards.
Close knees together, lower heels to the floor. Repeat these two movements, slowly first, then gradually pick up the pace, and counting:. Count 1 hold count 2. Begin by clapping hands together and stepping to the side with the right foot. Count 1 and hold count 2. Count 5 hold count 6. On count 5, step sidewards with the left foot and hold the count of 6. Count 'and'. On count 'and', cross the left foot behind the right foot. On count 'and', cross the right foot behind the left foot.
Count 3. On count 3, step to the right side with the right foot again. Count 7. On count 7, step sidewards with the left foot. Count 4. On count 4, brush the left foot against the floor and kick forward, clapping hands at the same time. Count 8. On count 8, brush the right foot against the floor and kick forward, clapping hands at the same time. Repeat 1 through 8. Watusi Step Variation: Do the steps forward and back instead of sideways.
Woman: 1. Right foot forward 2. Left foot forward and left 3. Right foot forward and right 4. You end up with your feet apart - and clap your hands Man: 1. Left foot forward 2.
Right foot forward and right 3. Left foot forward and left 4. You end up with your feet apart - and clap your hands Repeat the same pattern, always starting with the same foot. You can just keep going in one direction until you run out of space, or change direction whenever you wish. Watusi Hand Variations: 1. Popeye or Sightseer: Looking right, with your right hand over your eyes and your left on your hip; then looking left with your left hand over your eyes and your right on your hip, and repeat 2.
Rowing the Boat: Hands reach forward and pull back the oars 3. Dean Martin: Figure this one out for yourselves Dracula: Anyone, or anything, you can think of to pantomime. The Ginza Created for, and named after, a New York discotheque with Japanese decor, this was originally performed by girls in hanging cages but soon adopted by the patrons.
The dance is basically a 'Monkey' variation: Hands: Extended, 'holding chopsticks' - use your imagination! Facing your partner, you maintain a 'Monkey' beat, but go down, bending at the knees. As you are going back up, your partner is going down, and vice versa.
What makes it The Mouse'? Put your thumbs to your ears, wiggle your fingers, put your upper teeth over your lower lip and keep the beat with your knees. That's it! The Bird Feet: A few inches apart - they don't move. Body: Bent forward, facing your partner, almost nose-to-nose. Hands: Keep them on your thighs. Basic Movement: Your head does it all. Move it forward and to the right, and back.
Then forward to the left, and back. Keep repeating and hope that your partner is in time with you or it gets painful! Your hands can go on your hips or over your head, while doing the 'hat dance' steps. You can hold one, or both, of your partner's hands, or neither, but it may be wise to 'anchor' yourself for the ending, which is the whole point - you all fall down! Black or dark clothing recommended The Slop Count: Step, tap - step, tap - walk, walk.
Step to the right with right foot 2. Bring left foot to right foot in a hard tap on the floor with the ball of the foot. Step to the left with left foot 4. Bring right foot to left foot in a hard tap on the floor with the ball of the foot. Step back with right foot 6. Step back with left foot lean forward from the waist on the walk steps. You can also turn, as in The Cha Cha Cha The basic pattern involves the lead usually the man taking a checked forward step with the left foot, retaining some weight on the right foot.
The knee of the right leg must stay bent and close to the back of the left knee, the left leg having straightened just prior to receiving part weight. This step is taken on the second beat of the bar.
Full weight is returned to the right leg on the second step beat three. The fourth beat is split in two so the count of the next three steps is 4-and These three steps constitute the cha-cha chasse. A step to the side is taken with the left foot, the right foot is half closed towards the left foot typically leaving both feet under the hips or perhaps closed together , and finally there is a last step to the left with the left foot.
The length of the steps in the chasse depends very much on the effect the dancer is attempting to make. The partner takes a step back on the right foot, the knee being straightened as full weight is taken.
The other leg is allowed to remain straight. It is possible it will shoot slightly but no deliberate flexing of the free leg is attempted. This is quite different from technique associated with salsa, for instance. On the next beat beat three weight is returned to the left leg. Then a chasse is danced RLR. Each partner is now in a position to dance the bar their partner just danced.
Hence the fundamental construction of Cha-cha extends over two bars. The checked first step is a later development in the "international cha-cha" style. Because of the action used during the forward step the one taking only part weight the basic pattern turns left, whereas in earlier times Cha-cha was danced without rotation of the alignment.
Hip actions are allowed to occur at the end of every step. For steps taking a single beat the first half of the beat constitutes the foot movement and the second half is taken up by the hip movement.
The hip sway eliminates any increase in height as the feet are brought towards each other. In general, steps in all directions should be taken first with the ball of the foot in contact with the floor, and then with the heel lowering when the weight is fully transferred; however, some steps require that the heel remain lifted from the floor. When weight is released from a foot, the heel should release from the floor first, allowing the toe to maintain contact with the floor.
The Hitch-Hiker. The Freddie A slightly manic dance, as you'd expect, 'invented' by Freddie and The Dreamers, who did it as they sang. On the dance floor, you do it facing your partner you don't need to sing! Raise your right arm straight out to the right. At the same time, raise your right leg straight out to the right, leaning your body to the left so all your weight is on your left leg 2. Return to your original position 3.
Do the same thing with your left arm and leg, putting your weight on your right leg 4. Return to your original position 5. Repeat from '1' Man: You and your partner can do this in the same direction, i. You can also do this back-to-back. The Limbo Dancers move to a Caribbean rhythm, then lean backwards and 'dance' under a horizontal stick without touching it. Upon touching it, or falling backwards, the dancer is "out". When several dancers compete, they travel in single file and the stick is gradually lowered until only one dancer, who has not touched either the stick or the floor, remains.
The Shimmy The Shimmy is a dance in which the body is held still, except for the shoulders, which are alternated back and forth. When the right shoulder goes back, the left one comes forward. It may help to hold the arms out slightly bent at the elbow and, when the shoulders are moved, keep the hands in the same position.
The Locomotion Slide, touch, slide, touch, slide, touch, slide, touch. Lock steps for eight counts. Walk forward with a kick, walk back with a stomp.
Hop forward, hop back, hop forward, hop back, hop forward, hop back with a one-quarter right turn. Got it? Begin again. The Peyton Place After Midnight Extend your left arm in front of your body as if you're holding reins. Wave your right arm in a circular motion above your head while galloping in place for two counts. Bend slightly at the waist and stick out your rear. Make the circular arm motion by your knees while continuing to gallop in place for two counts.
The Jerk This is basically the Monkey, but with your arms and hands moving as if you're leading a band - crossing your wrists in front of your chest, then sweeping out-in time, or at half time, with your body movement, to the count of four.
Your hands are up at face level. On count 1, the outward sweep, "push" your hands out into the outward sweep, giving a jerky motion. For a little more style, snap your fingers on the two outward movements - the first and third counts of your hand motion. Hold your hands so that they are out on either side of your body, with your hands about level with your face.
As you do so, cross your hands before you at the wrists. The hands should still be held up at the same level. Remember to bob your head forward as you bend your body.
Bow your head as you bend. The Righteous Brothers - 'The Jerk'. The Bossa Nova This Brazilian dance is not one of the real discotheque dances, but is played a lot with them as a sort of interlude or break. The music you dance to is a cross between Samba and Rumba with the styling of both: the vertical motion of the Samba and the Cuban 'hip' motion of the Rumba.
The tempo here is a little slower than that in the discotheque dances. The Bossa Nova is done smoothly and, unlike the other 'tap' steps in other dances, the tap here is a light one.
It is also different from most of the discotheque dances in that you follow your partner in regular dance position. Remember that? Feet: Together Movement: Basically, a shift of weight from one foot to the other, in a little back-and-forth and side-to-side pattern. Man: 1. Step forward with your left foot. Tap with your right toe. Step back with your right foot.
Tap with your left toe. Step to the side with your left foot. Step to the side with your right foot. Tap with your left. Step forward with your right foot. Tap with your right. Variation: A walk-around - The man keeps the 1 - 2 step - tap beat, side - to - side only.
On the count of six she should be back in position, facing partner. Then, back into the basic Bossa Nova. To achieve this, simply place the left hand palm to right hand palm, fingers pointing to ceiling - tips of fingers almost at chin level, elbows held upwards, but towards the front of the body. This hand-hold should be maintained throughout, although hands together can raise or lower in any direction, up, down, left, right, circular or even zigzag-wise. The basic rocking movement can be danced continuously or, for the more advanced, the Loddy Skip or Shuffle can be included.
The Loddy Lo can be danced with or without a partner. As in The Twist, individuals develop their own styling. Girls' and boys' steps are identical and can be danced side-by-side or facing each other. Loddy Lo Basic: 1. Using a 'rocking' movement, step forward on to left foot, then rock continuously backwards and forwards, transferring weight on to the right foot and left foot throughout.
A turn to the left can be made. If a turn to the right is desired, step back on to the left foot and continue rocking as above.
Loddy Skip: 1. Step on to the left foot, then take a small hop, raising the right knee upwards.
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