Charleston (dance)
[3] In the words of Harold Courlander, while the Charleston had some characteristics of traditional Black American dance, it "was a synthetic creation, a newly devised conglomerate tailored for widespread popular appeal."
Although the step known as "Jay-Bird" and other specific movement sequences are of Afro-American origin, no record of the Charleston dance being performed as such on the plantation has been discovered.
[2] Although it achieved popularity when the song "Charleston", sung by Elisabeth Welch, was added to the production Runnin' Wild, the dance itself had first been introduced in Irving C. Miller's Liza in the spring of 1923.
[6] The Charleston composer James P. Johnson said that he had seen it danced as early as 1913 in New York City in the San Juan Hill neighborhood, at the Jungles Casino.
[citation needed] The Charleston and similar dances such as the Black Bottom which involved "kicking up your heels" were very popular in the latter 1920s.
The trend subsided after 1930, probably in part because the new fashion for floor-level sheath evening dresses, which constricted the legs, did not suit them.
In a British Pathé Instructional Short of 1933, a new variation – the "Crawl Charleston" – is demonstrated by Santos Casini and Jean Mence, a very sedate dance similar to a tango or waltz.
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.
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).
[12] 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.
The most valued form of solo 20s Charleston combines choreography with improvisation and creative variations on familiar dance steps.
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.
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 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.
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.
