How to dance the standard dances?

The primary factor is the character of the dances, their progressive movement. Standard dances are called progressive or travelling dances, in contrast with Latin dances which are performed more often in one spot. The essence of standard dances is their progress in space and their direction, together with rotations. Standard dances are characterized by a calm and stable position of the upper body. The partners are „connected” in a closed hold, or a closed dance position. This means that the equilibrium axis is located between the two partners. Before a dancing couple assumes a dancing position, they need to find their own, straight equilibrium axis. Then we need to mention the shift in the body position, which means that pairs, when remaining in contact, do not literally face each other, but the dancers try to focus on the partner’s right side, so that their feet are free to give way to each other. Music and rhythm are the basic concepts for a dancer. During a dance, music is converted into motion. Every single ballroom dance has its own characteristic basic rhythm, music character and specific pace. The English Waltz is relaxed and slower-paced, while dynamic rhythms and melodies of the Viennese waltz create a cheerful, energetic atmosphere during balls. The Tango emphasizes our dramatic nature; the character of the dance is determined by a sudden alternation of slower and faster tempo, with fast and slow steps, and striking head movements. The Slowfox is danced to a dynamic, continuous music. The features of the Quick step are quick hops and runs performed to a brisk tempo and rhythm. The judges at a dance competition consider music and its proper recognition as the most important aspect of scoring. It may happen that the dancers do not dance according to the music if they step on the wrong beat. If the dancers’ steps coincide with the beat of music, then the typical basic rhythm of a respective dance can be recognized. The next important moment is the dance posture. Various dance postures exist, which may be closer or more distant. Today, there are several styles with respect to dance posture. According to one approach, the dancing pairs 'use' each other to form a common axis, so that their bodies are alloyed, from the hips to the floating ribs. This way they can help each other to achieve a stronger posture and a greater distance between the heads. According to another approach, a close body contact is not important. It is believed that everyone should carry on their own work, relying on their own strength, and that the ’push’, which was so fundamental in the previous approach, does not need to be big. There are those who claim that it is a woman who should keep her dancing position straighter, and increase it during dance poses and lifts. According to others, the woman’s head should be away from the head of her partner, thereby forming a large ellipse due to that dancing position. The literature suggests that two important positions can be distinguished: one is a ’closed dance hold’, the other is the promenade, also known as an open dance position. The closed dance position is taken when the dancers face each other, while the open position is used when they dance in the promenade position. Both types of dance position appear in the English Waltz, the Tango, the slow fox and the Quick Step, while in the Viennese Waltz the closed position is more typical. Thus, in summary, a dancing position means the following: the individual posture, the position of two bodies relative to one another, the leg and feet position, the contact points, as well as the arm and head support. The following point that needs to be mentioned concerns leading and following. In standard dances it is mostly the male who leads, as he dances most of the progressive actions and thus can better assess the situation on the dance floor. With distinctive movements of his body, the stable body contact, and pushing with his right hand, he communicates movements to his partner. Changing the direction of their movement or the ready-made choreography in unexpected situations requires a lot of practice from a male dancer. In advanced dance competitions collisions are almost inevitable so it is important that the pair should move forward with built-in evasive steps in such a way that it remains unnoticed that a change in the choreographed movement took place. Naturally, to some extent, the woman should lead too, when she is actively dancing forward, as meanwhile the body contact cannot be disconnected. Of course, during turns, the partner on the outer arc is always active, moves quicker, carrying more weight with his legs, while the partner who moves on the inner arc or backwards, is rather passive, giving initiative to the more active partner.  Obviously, this can vary even within one figure. The woman, while it is very important that she should follow the male lead (as long as the man knows how to lead) needs to perform her own movement independently, and be actively engaged in performing dance steps. The harmonious, shared movement can come into being when the partners are able to adapt to the pace, the rhythm and the series of steps. For a dance to be perfect dance technique needs to be mentioned. In standard dances the technique of floor action corresponds more or less to the natural human movement. It is important that at almost every step the feet are in slight contact with the ground. So, while we are in the lead, we should not lift our feet, unless the figure requires it, for example: right lunch, with a high leg extension. Thus, if we can, let us always push our feet to the ground. Stepping forward usually starts with the heel, and then continues with rolling the whole foot forward. When stepping backward the body weight rests on the toes, and then rolls to the whole foot and heel. In terms of body movements, we can distinguish rotation and sway. In rotation, or the contrary movement, the opposite side of the body simultaneously moves forward or/and backward relative to the work performed by the leg. This is largely needed to start the turns, also known as generating body momentum. Swaying means that the body's vertical axis sways, right or left, in the opposite direction relative to the momentum, we perform sways rather at the end of the movements, to complete a gesture, a pose, a figure. The sway takes place when the pelvis is in an oblique position, to the side, while we stretch out the outside part of the body. Meanwhile the waist does not bend. Swing dances are characterized by ascents and descent. Assent takes place when the body's gravity center moves above the basic position, fully onto the toes. During the descent, the center of gravity is moved below the baseline, and the knees are bent even more. The ascent and descent always take place at the beginning or end of a movement. As an exception, we should mention the tango, because in this dance we dance on the same level, all the figures are performed at the same height, with slightly bent knees.