'Hooliganism in Dancing' before World War One

The Daily Express has been a fount of right wing bile for many years. Here's a classic example of its historic racism, a leading article from just before the First World War bemoaning the popularity of US/African-American dance crazes:

Hooliganism in dancing has established itself in the ballrooms of today, and the whole charm and delight of dancing are threatened. The modern regrettable tendency to introduce any and every kind of eccentric dance into a programme where once the waltz held sway has now reached a point when it calls for protest from all those who do not desire to see any longer the antics of negro minstrels in the ballroom.

These new dances are now seriously taught in London. Certain people of New York indulge in the freak caperings that are known by strange names, and an attempt is being made by certain English hostesses to foist these dances on young people here.

The most outrageous of the latest dances to be imported from New York is the 'Turkey Trot'. It is both ungraceful and disgraceful in the ballroom. There is not one redeeming feature about it.
Its technical description may not sound very dreadful, but the real manner of its dancing can only be judged at sight. The couple wriggle a few steps together, and then take steps sideways, hopping first on one leg and then on the other, after the manner of a lame bird.

The next contortion is a bending of the body downwards with widespread legs so as to look as nearly like a turkey as possible. After that the couples go prowling about in circles round each other. They may make gobbling noises if they like.

Then there is the 'Huggie Bear' dance. The 'Huggie Bear' is capable - as indeed all these dances are - of degenerating into some­thing more than vulgarity. The gestures and the body movements are indecent in them­selves, and this is not surprising when the British public under­stand that these dances are taken direct from the negro dancing rooms and the night clubs of Vienna, Berlin and Budapest.

The 'Huggie Bear' consists of the two dancers hugging each other and performing a slow, irregular dance with the clumsy movements of bears. It is considered good form to growl during the 'Huggie Bear', and in America they make uncouth noises and sing at intervals:

Babe! Come along!
O kid! O kid!
Hug ‘em Hug ‘em
Put your arms around me Babe.

In the passion to model its ballrooms after the pattern of the 'coloured gentlemen's' places of amusement, society is learning the 'Huggie Bear', the 'Argentine tango', and the 'Dandy Dance'. The 'Dandy Dance' begins with the woman dancing along until she is caught up by the man, who draws her along with the familiar cake-walk steps, side by side. Occasionally the woman falls sideways or backwards, as in the 'Apache' dance. Then they gyrate face to face, and presently they change to a species of a waltz, kicking their legs backwards like hens scratching for grain. So it goes on.

Source: The Way we Were, 1900-1914 , based on the files of the Daily Express – James McMillan (William Kimber, London, 1978). The date of the article is not given but it must presumably have been after 1910, as this was the peak pre-war period of novelty dances.

Northern Soul dancing

'I was in a shit environment that I hated doing stuff I didn't want to do. I loved dancing, it was the first time [for] northern males it was OK to dance'. Great short video on Northern Soul dancing, reflections of impact of jazz dancing and martial arts on the dance styles of the '100 mph dancers'.

Zarabanda

‘Some claim this dance received its name from a devil in woman's shape who appeared in Seville in the twelfth century, and who labeled it the zarabanda. In the sixteenth century, certainly, the dance and the song that accompanied it were considered by a Jesuit historian to be indecent in its words and disgusting in its movements. Even Cervantes described it as having "a diabolical sound." So seriously did the Spanish authorities take the threat of the zarabanda (which the rest of Europe, less concerned by its devilish origins, altered to saraband) that in 1583 anyone caught singing or reciting its words was to be punished with two hundred lashes, in addition to being exiled (if female) or sentenced to six years in the galleys.

For better or worse we know almost nothing of the actual dance in its original form. Apparently it was once a sexual pantomime, for in Barcelona couples twisted their bodies to the rhythm of castanets, and by the time it came to Italy the breasts of the dancers were allowed to collide and the lips to kiss. But from being erotic it became a gliding, processional dance, and it ended up as part of an instrumental suite. It was introduced to the French court around 1588, and was a favorite of Louis XIII, not to mention his minister Cardinal Richelieu. It remained popular well into the seventeenth century, since Charles II of England often called for it to be played. Perhaps it is an example of what happened to the dances of the people once they got to the court: their rude energy was canalized into something fit for the most delicate disposition—even if they became somewhat anemic on the way’.

Source; Peter Buckman, Let’s Dance: Social, Ballroon and Folk Dancing, p.88 (Paddington Press, London, 1978). The picture is of a Spanish actor dancing the zarabanda at the Paris Opera, published in 1636.

Moonlight dances not allowed

Regulations posted in the dance halls of Lansing, Michigan, c. 1920:

Rules and Regulations for Public Dance Halls

1. No shadow or spotlight dances allowed.
2. Moonlight dances not allowed where a single light is used to illuminate the Hall. Lights may be shaded to give Hall dimmed illuminated effect.
3. All unnecessary shoulder or body movement or grotesque dances positively prohibited.
4. Pivot reverse and running on the floor prohibited.
5. All unnecessary hesitation, rocking from one foot to the other and see-sawing back and forth of the dancers will be prohibited.
6. No loud talking, undue familiarity or suggestive remarks unbecoming any lady or gentleman will be tolerated.

POSITION OF DANCERS

1. Right hand of gentleman must not be placed below the waist nor over the shoulder nor around the lady's neck, nor lady's left arm around gentleman's neck. Lady's right hand and gentleman's left hand clasped and extended at least six inches from the body, and must not be folded and lay across the chest of dancers.
2. Heads of dancers must not touch.

MUSIC

No beating of drum to produce Jazz effect will be allowed.

Any and all persons violating any of these rules will be subject to expulsion from the hall, also arrest for disorderly conduct.

By Order of CHIEF OF POLICE

Source: Vice: an anthology – ed. Rupert Davenport-Hines (Hamish Hamilton, London)