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April 13 Jack & Jill O'Rama.
Here’s the Jack & Jill O’Rama page
http://www.centralcoastswingdance.com/jacknjill/index.html
http://www.centralcoastswingdance.com/jacknjill/flyer.html
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Phil Adams ~ Skippy Blair ~ Kelly Casanova ~ Arjay Centeno ~ Luis Crespo ~ Gary Jobst
August 05 lindy exchange 09The 2009 Lindyexchange calendar is now up to serve your 2009 lindyexchange calendar needs. <-----------------------News-----------------------> Virginia BeachNorfolk Exchange (DirtCheapBlues) banner is up! 9/11/2008 - 9/14/2008 www.dirtcheapblues.com Albany, NY Exchange (Albany Chill 2008) banner is up! 9/5/2008 - 9/7/2008 www.albanychill.com/chill Knoxville, TN Exchange (Knoxville Lindy Exchange 2008) banner is up! 11/14/2008 - 11/16/2008 klx.swingknoxville.org Memphis, TN Exchange (Red Hot Lindy Exchange (Memphis)) banner is up! 10/17/2008 - 10/19/2008 www.rhlxmemphis.com Germany, Munich Exchange (Munich LindyExchange 2008) banner is up! 9/18/2008 - 9/21/2008 www.lindyexchange.de Gothenburg, Sweden Exchange (Gothenburg Lindy Exchange 2008) banner is up! 8/1/2008 - 8/3/2008 gbglx.com Edinburgh, Scotland Exchange (Edinburgh Lindy Hop Exchange 2008) banner is up! 9/26/2008 - 9/28/2008 www.edinburghlindyexchange.co.uk August 04 Lindy Exchange EventsThe 2009 Lindyexchange calendar is now up to serve your 2009 lindyexchange calendar needs. <-----------------------News-----------------------> Virginia BeachNorfolk Exchange (DirtCheapBlues) banner is up! 9/11/2008 - 9/14/2008 www.dirtcheapblues.com Albany, NY Exchange (Albany Chill 2008) banner is up! 9/5/2008 - 9/7/2008 www.albanychill.com/chill Knoxville, TN Exchange (Knoxville Lindy Exchange 2008) banner is up! 11/14/2008 - 11/16/2008 klx.swingknoxville.org Memphis, TN Exchange (Red Hot Lindy Exchange (Memphis)) banner is up! 10/17/2008 - 10/19/2008 www.rhlxmemphis.com Germany, Munich Exchange (Munich LindyExchange 2008) banner is up! 9/18/2008 - 9/21/2008 www.lindyexchange.de Gothenburg, Sweden Exchange (Gothenburg Lindy Exchange 2008) banner is up! 8/1/2008 - 8/3/2008 gbglx.com Edinburgh, Scotland Exchange (Edinburgh Lindy Hop Exchange 2008) banner is up! 9/26/2008 - 9/28/2008 www.edinburghlindyexchange.co.uk March 04 Swung eight musicIn music, a swung note or shuffle note is the rhythmic device in which the duration of the initial note in a pair is augmented and that of the second is diminished. A swing or shuffle rhythm is the rhythm produced by playing repeated pairs of notes in this way. Lilting can refer to swinging, but might also indicate syncopation or other subtle ways of interpreting and shaping musical time.
In some jazz music, especially of the big band era, there is a convention that pairs of written eighth notes are not played equally--as the notation would otherwise be understood--but with the first longer than the second. The first note of each of these pairs is often understood to be twice as long as the second, implying a quarter note-eighth note triplet feel, but in practice the difference is rarely that pronounced (see "amount of swing," below). This is an assumed convention of notation in many styles of jazz, but usually does not apply to jazz before the early 1930s, latin jazz, bebop, or to the work of composers writing in the 1950s or later, unless "swing" is specified in the score. Notes that are not swung are known as straight notes. In dance, swing or shuffle time or rhythm is music whose meter is that of common time played with a swing. It may be written as simple time and played with a swing, or as compound time and played as written. See transcribing swing rhythms below. See also swing (genre) for musical style, and swing (dance) for styles of dance. Amount of swingPeople sometimes mistakenly indicate swing rhythms by marking their scores with an indication that pairs of eighth notes should be treated as a quarter and an eighth in a triplet bracket. In actuality, swing rhythms range anywhere from slightly asymmetrical pairs to imbalances of a more pronounced sort. The subtler end of the range involves treating written pairs of eighth notes as slightly asymmetrical pairs of similar values. On the other end of the spectrum, the "dotted eighth - one thousandth" rhythm, consists of a long note three times as long as the short. Prevalent "dotted rhythms" such as these in the rhythm section of dance bands in the mid 20th century are more accurately described as a "shuffle"; they are also an important feature of baroque dance and many other styles. Rhythms identified as swung notes most commonly fall somewhere between straight eighths and a quarter-eighth triplet pattern.
The following points of reference are reliable only as approximations of musical practice:
Since a swung note is actually not a note of the named length (a swung eighth note is not an eighth note), some musicians consider this term a misnomer.
Swing rhythmIn jazz, this interpretive device is assumed in most written music other than dixieland, latin jazz, jazz-funk (soul-jazz) and jazz-fusion and bebop, but may also be indicated. For example, "Satin Doll", a swing era jazz standard is normally interpreted with a pronounced swing rhythm. It was published written in 4/4 time, but at least some versions also note medium swing.
In dance music, swing rhythm generally refers to the meter of the music, rather than to this convention of notation, so any music played with the "near-triplet" timing (see above) and swing accent will be referred to as swing rhythm however they are written. Styles
Swing is commonly used in blues, country, jazz, swing, and often in many other styles. Except for very fast jazz, slow ballads and latin jazz, much written music in jazz is assumed to be performed with a swing rhythm, although publishers sometimes specify "with a swing". In jazz and big band music, a shuffle is almost always accompanied by a distinctive cooking rhythm played on the ride cymbal or hi hat. Styles that always use traditional (triplet) rhythms, resembling "hard swing," include:
Styles that sometimes use swing rhythms include:
Transcribing swing rhythmsIn the swing era, swing meant accented triplets (shuffle rhythm), suitable for dancing. With the development of bebop and later jazz styles independent of dancing, the term was used for far more general timings. There is much debate over use of other ratios than 2:1 in swing rhythms.
Some publishers of jazz music, especially those whose intended audience is people unfamiliar with jazz styles, transcribe the swing either:
In general, where music with a swing meter is required, musicians in the jazz tradition will prefer to read music written in common time and played with a swing, while musicians in the classical tradition will prefer to read music written in compound time and played as written.
See also
Further reading
External linksJust Jazz Guitar Magazine Article (PDF) Aug 2003 Article is a look at swing timing, what we mean by swing and working on swing feel.
What is Swung Eight?Swung note
In music, a swung note or shuffle note is the rhythmic device in which the duration of the initial note in a pair is augmented and that of the second is diminished. This term for what is known as "notes inégales" has been in use in jazz music and its descendants.
A swing or shuffle rhythm is the rhythm produced by playing repeated pairs of notes in this way. Lilting can refer to swinging, but might also indicate syncopation or other subtle ways of interpreting and shaping musical time.
In some jazz music, especially of the big band era, there is a convention that pairs of written eighth notes are not played equally--as the notation would otherwise be understood--but with the first longer than the second. The first note of each of these pairs is often understood to be twice as long as the second, implying a quarter note-eighth note triplet feel, but in practice the difference is rarely that pronounced (see "amount of swing," below). This is an assumed convention of notation in many styles of jazz, but usually does not apply to jazz before the early 1930s, latin jazz, bebop, or to the work of composers writing in the 1950s or later, unless "swing" is specified in the score. Notes that are not swung are called straight notes.
Another important aspect of swung eighth notes is to slightly accent the "+" or second eighth note of each pair. In modern jazz where nearly even eighths has become common they still slightly accent every second eighth note of each pair to achieve a hint of swing. Latin musicians play straight eighths and will say they are "swinging" when they slightly accent the second eighth note of every even pair.
In dance, swing or shuffle time or rhythm is music whose meter is that of common time played with a swing. It may be written as simple time and played with a swing, or as compound time and played as written. See transcribing swing rhythms below.
See also swing (genre) for musical style, and swing (dance) for styles of dance.
[edit] Types
People sometimes indicate swing rhythms by marking their scores with an indication that pairs of eighth notes should be treated as a quarter and an eighth in a triplet bracket. However, swing rhythms range anywhere from slightly asymmetrical pairs to imbalances of a more pronounced sort (due to the mathematical nature of dividing one beat into 3 equal beats).
The subtler end of the range involves treating written pairs of eighth notes as slightly asymmetrical pairs of similar values. On the other end of the spectrum, the "dotted eighth - one sixteenth" rhythm, consists of a long note three times as long as the short. Prevalent "dotted rhythms" such as these in the rhythm section of dance bands in the mid 20th century are more accurately described as a "shuffle"; they are also an important feature of baroque dance and many other styles. Rhythms identified as swung notes most commonly fall somewhere between straight eighths and a quarter-eighth triplet pattern.
The following points of reference are reliable only as approximations of musical practice:
Swing ratios tend to get get wider at slower tempos and narrower at faster tempos. Miles Davis varied his swing ratios, frequently delayed the first note of each pair of eighth notes by some milliseconds and then synchronized the second eighth note with the drummer's swing eighths being played on the cymbal. It is a common device to lay back or play behind the beat jazz melodies by some milliseconds.
Quarter notes can sound swung when they are played slightly behind the beat, detached, and accented on the two and four. Or late on one and three, but closer to the beat on two and four. Phrases swing when they begin between the beats. similar to how straight eighths can swing when they are behind the beat which creates an asymmetrical cross rhythm.
[edit] Rhythm
In jazz, this interpretive device is assumed in most written music other than dixieland, latin jazz, jazz-funk (soul-jazz) and jazz-fusion and bebop, but may also be indicated. For example, "Satin Doll", a swing era jazz standard is normally interpreted with a pronounced swing rhythm. It was published written in 4/4 time, but at least some versions also note medium swing.
In dance music, swing rhythm generally refers to the meter of the music, rather than to this convention of notation, so any music played with the "near-triplet" timing (see above) and swing accent will be referred to as swing rhythm however they are written.
[edit] Styles
Swing is commonly used in blues, country, jazz, swing, and often in many other styles. Except for very fast jazz, slow ballads and latin jazz, much written music in jazz is assumed to be performed with a swing rhythm, although publishers sometimes specify "with a swing". In jazz and big band music, a shuffle is almost always accompanied by a distinctive cooking rhythm played on the ride cymbal or hi hat.
Styles that always use traditional (triplet) rhythms, resembling "hard swing," include:
Styles that sometimes use swing rhythms include:
[edit] Transcription
In the swing era, swing meant accented triplets (shuffle rhythm), suitable for dancing. With the development of bebop and later jazz styles independent of dancing, the term was used for far more general timings. There is much debate over use of other ratios than 2:1 in swing rhythms.
Some publishers of jazz music, especially those whose intended audience is people unfamiliar with jazz styles, transcribe the swing either:
In general, where music with a swing meter is required, musicians in the jazz tradition will prefer to read music written in common time and played with a swing, while musicians in the classical tradition will prefer to read music written in compound time and played as written.
[edit] See also
[edit] Further reading
[edit] External links
Just Jazz Guitar Magazine Article (PDF) Aug 2003 Article is a look at swing timing, what we mean by swing and working on swing feel.
Retrieved from "http://en.wikipedia.org/wiki/Swung_note"
Hidden categories: Cleanup from March 2007 | All pages needing cleanup | Articles lacking in-text citations February 18 Balboa PeninsulaThe "Balboa" got its name from the Balboa Peninsula at Newport Beach, situated on the coast about 40 miles south of Los Angeles in California. The dance was first done at the beach Pavilion and then latterly at the famous Rendezvous Ballroom.
The dance developed in the 1920's. By the early 1930's it had become sufficiently well known to be given its name. People from the LA area who'd seen it started referring to it as 'The Balboa' or the dance being done in Balboa. The dance spread up the coast through the beach resorts of Huntington, Long Beach, San Pedro, Redondo Beach, Venice Beach, and finally into the greater LA basin area.
Willie Desatof said; "Pure Balboa was done strictly in Orange County" (includes Newport Beach) whereas Bal Swing was done mainly in Los Angeles County. Very few people travelled and therefore did both dances". The Balboa Pavilion The Balboa Pavilion was built on the bay side of the sandy Balboa Peninsula as a Victorian bath house in 1905. It was the first significant building on the Peninsula and has survived to this day. It paved the way for the subsequent development of Balboa as a fashionable beach resort for day trippers from the Greater Los Angeles area. In 1923 the Pavilion underwent remodelling making it more suitable for dancing. The popularity of dancing at the Pavilion lead to the building of the much larger Rendezvous Ballroom a few blocks away. The Rendezvous Ballroom The Rendezvous Ballroom was built in 1928 on a grand scale. It was a two story dance hall covering half a block with a capacity probably in excess of 4000 at its peak. Its hard to imagine so many people at a dance but the fact that it had a parking lot with 1000 spaces helps to give an idea of the sheer size of the place! The dance floor was 12,000 square feet and could easily accommodate over 1,500 couples. There was a 64 foot soda fountain on the ground floor along with dozens of couches. The upper mezzanine and balcony surrounding the dance floor had 50 more couches and another smaller soda fountain. A fire destroyed the building in 1935 but incredibly they managed to re-build the Ballroom in less than 3 months. Most of the famous big bands of the time played there including Bob Crosby, Harry James, Gene Krupa, Tommy Dorsey, Jimmy Dorsey, Woody Herman, Lionel Hampton, Benny Goodman, Charlie Barnet, Les Brown, Guy Lombardo, Ted Lewis, Artie Shaw, Nat King Cole, Bing Crosby, the Andrews Sisters and many others. By 1938 the ballroom was dubbed the "Queen of Swing" by Look Magazine. Later in the 40s more progressive jazz took over and Stan Kenton even owned the Ballroom for a short time. The venue then faded from glory a little before a brief 'Surf Sound' inspired resurgence in the late 50's and early 60's. Sadly the Rendezvous was completely destroyed by fire in 1966.
The Balboa Peninsula was a popular destination for party goers during the early 30's. The area became such a Mecca for thousands of teenagers during their Easter vacation that the holiday period became known as 'Bal Week'. The local holiday homes and rental apartments were full to the brim with holiday makers spending their days at the beach and evenings dancing at the Rendezvous Ballroom.
The Ray Rand Swingers Ray Rand was the manager of the Dianna Ballroom in Culver City (close to Los Angeles). He was a keen dancer himself and his ballroom was one of the favourite haunts for the better dancers of the time. He got to know many of the best dancers and in 1935 decided to put together a dance troupe. The troupe was named 'The Ray Rand Swingers' although Ray's real name was actually Ray Randazzle. Special dance events, competitions, marathons, and such like were very popular at the time and he hired out his troupe for these events. The troupe became well known throughout the Greater LA area and were nicknamed 'The Big Four' by their local admirers. The four couples were:
These were the most flamboyant dancers of the time and made an impact with their high energy performances. They had a busy schedule of performances all over southern California and were the west coast's undisputed premiere dance troupe. Many high profile gigs followed including the 1936 California State Fair in Pomona and the 1939 Worlds Fair in New York. These trips around the country brought them into contact with other great dancers such as Whitey's Lindy Hoppers. They danced in the dedicated 'Dance Pavilion' at the Worlds Fair, which also featured daily performances from Whitey's Lindy Hoppers. This particular Worlds Fair is still acclaimed as one of the best ever so they were definitely getting some top notch gigs. Unfortunately, the war brought an end to Ray's enterprises. Presumably, the work began to dry up and Ray stopped taking bookings around late 1939 or early 1940. Some of the dancers continued to work though, making occasional film appearances throughout the war years. Maxie Dorf joined the US Navy and served in the war. However, it doesn't appear that many of the other big names were directly involved in the war effort. orgins of BalboaOrigins of Balboa
It's hard to get a consensus view concerning the origins of Balboa. Many dance historians state that the dance was a derivation of Foxtrot, others believe it evolved from the Charleston or Collegiate Shag. Willie Desatof, an original Balboa dancer of great distinction, believed it evolved from the Rhumba. There were many different pre-existing dances around at the time and several of the old Balboa masters also knew many of these other dances. Balboa is an 8 count dance so a connection with other 8 count dances would be consistent. However, this should not rule out a connection to the 6 count dances, as evolution is a powerful thing! Although we can't be sure as to the precise origins, it does seem likely that early Balboa dancers were probably influenced by their knowledge of other dances around at that time. What is Balboa? There are 2 different forms of Balboa: Balboa (It's original pure form) Danced completely in closed position, pure Balboa evolved in conservative dance halls where space was limited. Some of these dance halls had strict rules or codes of conduct that prohibited the wild kicks of the Charleston and other exuberant dances. Pure Balboa is characterised by a fairly upright posture with both partners standing 'chest to chest' in close intimate contact. You never break away from your partner, there are no spins or turns, and you remain completely in contact through the chest at all times. This does not leave much scope for variations so pure Balboa is an intrinsically very simple dance. The only variations possible were changes in direction and a few step variations. These step variations generally play with the rhythm or change the look and feel (style) from below the knee downwards. If you part at the chest then you're not doing pure Balboa!
The dance's simplicity and economy of movement make it very well suited to fast tempo music. This fact has meant that Balboa is often mistakenly thought of as just a fast dance. Indeed many of the original dancers could dance at amazing speeds. However, they also liked to dance to slower music and the dance has always been done to music of all tempos including some improbably slow tunes. It's been said that pure Balboa was done by older dancers who just wanted to meet and dance with women! Bal Swing After a while some of the original Balboa dancers tired of doing just pure Balboa and started to introduce fancier variations which forced the 'chest to chest' connection to be broken. In this form anything goes; spins, turns, dips, tricks, and even air steps! All these things are allowed provided the overall style, feeling, and framework remain true in spirit to the original dance. In explicit terms it might be said that these open patterns should be combined with recognisable Balboa footwork. There's some dispute over exactly when this form got its 'Bal Swing' name. It is clear though that for some time many people referred to it as just 'Swing' dancing. Other forms of swing dancing also existed around that time in different areas, these were clearly not derived from Balboa. So only really swing dancers in the immediate LA region might have been doing what we now know as Bal Swing. February 15 floorplay dance cruiseHello Dancers
It’s Set! Due to the early GREAT response for our Cruise reservations, Carnival Cruise Line Inspiration has extended the initial reservation time for the best pricing until March 11th. ALSO, my math seems to be suffering along with my memory… I initially said it was a four night cruise…well, it’s 5 nights! YES, 5 full nights on this great cruise for only $500!...Everything included...and ALL are Oceanview cabins! This is impressive! I hope you can join us and I’m very much looking forward to conducting the WC Intensive. It’s a perfect setting for it. There are people looking for roommates so if you too need one let myself or Jean know and we’ll help set you up.
This is going to be FUN!!!
Sincerely, Mark T
COME SAIL AND DANCE WITH TheFloorplayDanceClub™
5 DAYS ABOARD CARNIVAL CRUISE LINE INSPIRATION
Departing from Tampa, FL To Grand Cayman Island and Cozumel
Saturday, Oct 11, 2008 – Thursday, Oct 16, 2008 Great Low Season Price includes all port charges, fees, taxes, fuel charges
All Oceanview Cabins - $500 pp (Double Occupancy) (Roommates must book at same time) (Book early for this rate) $25 Deposit due by March 11, 2008 $200 Deposit due by Jun 11, 2008 Balance due by Aug 05, 2008
Daily West Coast Swing Workshops Included…7 hrs.mimimum total! ***The Complete West Coast Swing***Details at www.floorplayswing.com Contact: Mark Traynor, Instructor, at floorplaydance@earthlink.net
Early Dining at 6:15 pm
8:30 pm dancing till midnight on outside deck
To book online go to www.Tropical-Isles-Travel.com, click on Groups at top, Scroll down to Mark Traynor Dance Cruise, Oct 11, 2008
Contact: Jean Bell—Group Cruise Specialist 386-767-6755
Jean Bell, Cruise Specialist Tropical Isles Travel (www.ytb.com/sunshine2020) 386-767-6755
If you never have a dream, you'll never have a dream come true. Make Money In Travel - Ask Us How
Hello Sea-legged Dancers
While it is still sometime off, we need to begin reserving our cabins now! We will have nightly WCS dancing on the deck designed for our group EVERY NIGHT from 8:30 till midnight! Even so, to be sure of ‘comfortable’ dance space and a more ‘intimate’ atmosphere, this cruise will be limited to the first 100 dancers to reserve.
This is also necessary for class space since I intend to introduce all participants to what is widely known as the ‘WCS Intensive’. The Intensive is a series of classroom style workshops that introduces the ‘seasoned’ WCS dancer to ALL of the various theories, elements, techniques, intricate lead/follow connection possibilities and perhaps most important, really understanding your other partner on the floor…the music you’re dancing with, not to. The ‘musicality’ of WCS and its implementation into your dancing is essential for complete enjoyment and partner communication. Musicality is essentially the ‘language’ of WCS. Without it, you are dancing on an elementary, instead of college level understanding. We have found thru our original yearly ‘Dance Forum’ held at the annual Floorplay Swing Vacation that many of the most important yet least understood information comes to light during this question & answer demonstration forum. Intensives are generally taught across the country by a few long time well versed Instructors at a cost of $300 to $450. They involve many hours to complete and cover as much of the intricate aspects of WC as possible over the time allotted. I felt the Cruise was a perfect place and atmosphere to cover the material too difficult to ‘split up’ over a period of several weekly workshops and be able to retain. Dozens of notes will be provided and your additional ‘personalized’ notes are encouraged and expected, as well as any and all questions you have. There will be at least 8 hours of instruction dedicated toward this special WCS Series. This complete WCS Intensive will be videoed for future reference and distribution. There will also be a few hours of Basics for those who may be fairly new to the dance, yet even the newcomers will find the ‘Complete Series’ extremely informative even without much WC experience. *** ALL classes are also included in the $500., 5 Day Seaplay Cruise price!
NO ONE knows it all, especially since the dance continues to evolve. But the general principles tend to stay ‘true’ and are constantly updated, and refined by the many long time, professionally well trained dance instructors as well as the new talents constantly finding and joining the WCS national dance community. I can promise you this Complete WC Series will make you not just a better WCS dancer, but better dancer overall as you learn to adapt many of the principles to your other favorite dances. I am looking forward to explaining, discussing, demonstrating and having all participate in learning the many Basic as well as Advanced techniques involved to provide you with ALL of the information possible at this point in time.
Cruise info will be constantly updated on our newly renovated website at www.floorplayswing.com or thru www.usaswingnet.com *** Also refer to the attached flyer for reservation info Reserve NOW…we only have till March 11th for the initial 5 day & night Oceanview Cabin pricing of $500.
Hope you can join us….you’ll be very glad you did!
Sincerely Mark Traynor Floorplay Dance Clubs™
( A Floorplay Event that once again gives you more value for your dancing dollar February 05 Got a question?If you have a question about swing music, swing dances or any local events, this is the category to ask it in. We will answer you here a.s.a.p. January 15 Whip/Push historyHow the Whip got startedThe most popular story told by those who have danced the Whip since the late '40s and early '50s is that after World War II ended and the GIs came back home, they wanted to try out a new dance they had learned on the West Coast of the United States. That dance was called Western Swing (later to be known as West Coast Swing). The problem was that in South Texas, the most popular music was Rhythm and Blues, a music that was slow, at about 60 to 80 beats per minutes. So naturally the dance had to be modified to fit the music. Since the slower music left extra time when doing the West Coast patterns, Texas dancers began doing more body movements and sways to fill the music. Thus Whip began to use the body more to develop a more sustained quality of working the music more. Characteristics of the danceThe dance tempo is 4/4 timing, and the action occurs in a regimented slot as narrow as possible and as long as practical. The steps are danced with single, double, triple rhythms and their variations. The basic patterns are done in 6 or 8 beats. The more advanced movements consist of syncopating footwork and spins along with body projection, accentuating the crescendos and the lows of the rhythm, hesitating to create a sensuous smooth, sophisticated and sometimes provocative sway. Although similar to West Coast Swing, Whip is danced more sensitively to work with the music more by using body movements. The steps are done by both partners, usually together, but sometimes one partner keeps the timing and moves to one part of the music while the other executes footwork and/or body movements. StylingBoth Whip and Push are frequently done to medium tempo Rhythm and Blues music, much the same as Carolina Shag. The Whip often works closely with the music with improvised footwork and body movements and on the last rhythm unit of a pattern with the woman doing a circular body undulation at the end of the slot, a hip bump, double resistance, or an anchor step. All of these elements develop a characteristic leverage allowing for a very well defined connection. Advanced patterns can be of any length so long as the first and last two counts are on the correct beats in time with the music and so long as the patterns are phrased properly to the music. Advanced Whip dancing can include working the music with a lot of freezes, syncopations, wraps, multiple spins, body rolls and waves with an emphasis on connection to the partner and music. EvolutionIn recent developments, West Coast Swing dancers in California have been adopting many of the traditional Whip movements and patterns and Whip dancers have been adopting some of the West Coast Swing movements and patterns. Some dancers contrast the dances by saying that the Whip uses the body and arms to work more with the music while West Coast Swing uses the feet more. The dance called Push, popular in North Texas, also has body roll steps although it is performed with slightly different footwork and body movement. history of Shag
January 13 Tampa Bay Beach BoppersTBBB DANCE LOCATIONS
WE HAVE A NEW LOCATION FOR DANCING!!
Starting January 12th, 2008, we will also be dancing on Saturday nights at:
WILD WINGS CAFE9210 Anderson Rd. (North of Waters behind Green Iguana) 7:00 p.m. - ?? Call 727-669-6330 or more details. 
SUNDAY NIGHTS: JACKSON'S BISTRO & BAR(Sunday night dancing at Jackson's will resume on January 20th) 601 S. Harbour Island Blvd., Tampa 7:00 - 10:00 p.m. No cover charge; free garage parking DJ: Doug Shaw MAP Swing Gang's Dances
January 12 C'est rockCeroc is an abbreviation for the French phrase C'est Rock.
This may be a new dance for many of you. I only became familar with it 4 years ago from a Frenchman I know. He says it very fast and is the lastest craze. I will post a few videos of it later.
Many organisations have been introducing people to the world of partner dancing though Ceroc. The stylish form of Modern Jive which is a fusion of Salsa and Jive that is easy and fun to learn.
Going to a Ceroc evening is a great way to meet people, have fun and keep fit all whilst learning to dance. Modern Jive, is a generic term sometimes called French Jive. It is a dance style that derives from Swing, Lindy Hop and Rock and Roll and others, the main innovation being to simplify the footwork. The style first developed in the 1980's at three London Based Clubs, 'Ceroc', 'Le Roc' and 'Cosmopolitan Jive'. The term Modern Jive was originally coined in 1990 by Christine Keeble on a programme called 'How To Jive', designed to promulgate this new style of jive. At that time the dance was known variously as Ceroc, LeRoc or French Jive, although Ceroc was the original. Since Ceroc had a trademark, Christine Keeble used the term 'modern jive' to encompass all of these names. The term 'modern jive' was adopted by various clubs as the dance spread out from its two earliest centres of London and Bristol and it later became accepted as a generic term for the dance. It is used by a large number of independent teachers across the UK and internationally. It is also used by many teaching organisations, though these companies still prefer to use their own branding. In the UK, Modern Jive tends to be split into a wide number of classes and events, usually operating under independent or small groups of classes, each essentially teaching a similar style including:
While all these forms of dance have Swing and Rock-and-Roll moves in common, moves from many forms of dance including Salsa and Tango may be included, according to the specific style and even the particular dance teacher. Similarly, identical dance moves often have different names in each style, and different signals to indicate the next move. For example the Lindy Hop Jockey is similar to the First Move Triple Steps in Modern Jive. Similarly the Man's Spin taught by Ceroc Enterprises is identical to the Man's Pass taught by TRDC. Despite this there is rarely a problem dancing with people who have been taught other styles, at least with the less advanced moves. Because of its eclectic nature there are hundreds of moves and variations that can be learnt. Modern Jive is generally danced to music with four beats to the bar (4/4 or Common time), from latest chart hits to big band music and everything between, in a wide variety of tempos from slow to very fast. Some styles may concentrate on particular musical styles, such as swing. Modern Jive does not require special clothes, though for both men and women, smooth soled (non-rubberised) shoes that are easy to turn/spin in are highly recommended. Modern Jive is, like many Western partner dances, traditionally a male-led dance. Today, many female dancers also learn the lead role, even though only a few male dancers learn the follow role. The reasons for this are twofold: in most regions where Modern Jive is performed males tend to be less comfortable engaging in a partner dance with a member of the same sex, and female participants tend to outnumber male one | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
1.5:1 = long eighth + short eighth, "swing" or "shuffle"
3:2 = long eighth + short eighth, "swing" or "shuffle" 
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