Hubbry Logo
List of dancesList of dancesMain
Open search
List of dances
Community hub
List of dances
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Contribute something
List of dances
List of dances
List of dances
View on Wikipedia
from Wikipedia

This is the main list of dances. It is a non-categorized, index list of specific dances. It may also include dances which could either be considered specific dances or a family of related dances. For example, ballet, ballroom dance and folk dance can be single dance styles or families of related dances.

See following for categorized lists:

Categories listed on these specialized (categorized) lists should also be included in this general index.


A

[edit]

B

[edit]

C

[edit]

D

[edit]

E

[edit]

F

[edit]

G

[edit]

H

[edit]

I

[edit]

J

[edit]

K

[edit]

L

[edit]

M

[edit]

N

[edit]

O

[edit]

P

[edit]

Q

[edit]

R

[edit]

S

[edit]

T

[edit]

U

[edit]

V

[edit]

W

[edit]

X

[edit]

Y

[edit]

Z

[edit]

See also

[edit]
Wikibooks has more on the topic of: List of dances
Revisions and contributorsEdit on WikipediaRead on Wikipedia

List of dances

View on Grokipedia
from Grokipedia
A list of dances compiles the myriad forms of human movement and expression practiced globally, ranging from ancient ritualistic and ceremonial traditions to modern theatrical and social styles, often categorized by cultural origin, purpose, or technique such as folk, , and theatrical dances. These lists highlight the diversity of dance as an integral part of human , with folk dances tied to national or ethnic identities and preserved as by organizations like . For instance, 259 elements on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity explicitly involve traditional dances, including the Kolo of and the of , underscoring dance's role in community bonding and cultural transmission. Social and ballroom dances, such as the and , emerged in the as partner-oriented forms emphasizing elegance and rhythm, classified under social dancing in standard library systems. Theatrical dances, including and , represent staged performances with codified techniques, evolving from European courts to global stages and influencing contemporary genres like and hip-hop. Contemporary lists also encompass urban and fusion styles, reflecting dance's adaptability and ongoing evolution in response to social changes, , and innovation in performance arts.

Overview

Definition and Scope

is broadly defined as the rhythmic movement of the body in time and space, typically synchronized with or an internal beat, serving as a universal art form for personal, educational, and expressive purposes. This encompasses rooted in heritage, social interactions that foster bonding, and performative displays in theatrical or competitive settings. The International Dance Council (CID), affiliated with , recognizes dance as an that spans all global traditions without favoring any specific style. The scope of dances included here covers a wide array of forms, such as traditional dances preserving ancestral practices, folk dances reflecting regional customs, dances emphasizing partnered elegance, contemporary dances exploring abstract emotions, and modern or viral dances emerging from popular media with widespread adoption. These are distinguished from non-rhythmic bodily activities, such as certain sports (e.g., ) or rituals lacking structured movement to music, which do not qualify as under standard artistic definitions. Inclusion in this list follows criteria centered on dances that possess established names, demonstrate historical significance through documented evolution, or exhibit cultural impact via global recognition or preservation efforts, such as those highlighted by UNESCO's listings. Key terms include "," derived from the Greek khoreia () and graphein (to write), originally referring to the notation or arrangement of dance sequences since the late . A "dance form" denotes a codified style or genre with repeatable patterns of steps, gestures, and rhythms that define its identity. Dances are categorized by participation structure: partner dances involve two or more synchronized movers, often in close physical coordination to convey harmony or ; solo dances feature a single performer expressing individual artistry through fluid or precise motions; and group dances unite multiple participants in formations or improvisations to amplify collective energy or .

Historical Development

The origins of dance trace back to prehistoric societies, where ritualistic movements likely served spiritual, social, and communal purposes. Archaeological evidence, such as 9,000-year-old rock paintings in India's Bhimbetka shelters depicting human figures in dynamic poses suggestive of , indicates early performative expressions tied to rituals or ceremonies. Similarly, engravings in Sicily's Addaura from circa 10,000 BCE portray masked figures in what appear to be ceremonial dances, highlighting dance's role in prehistoric . In early civilizations, these practices evolved into structured forms; ancient Egyptian tomb reliefs from circa 5300 years ago show dancers performing acrobatic and rhythmic sequences in religious contexts, while Greek cave sanctuaries from the classical period feature footprints evidencing ritual dances dedicated to deities like Pan. Indian classical traditions, rooted in texts like the (composed between 200 BCE and 200 CE but drawing on Vedic oral traditions possibly dating to 2000 BCE), laid foundations for forms like , emphasizing expression through mudras and . During the medieval and Renaissance periods in (14th to 16th centuries), dance shifted toward formalized courtly expressions, with basse danse and emerging as measured processional forms performed by to display grace and . Detailed choreographies first appeared in Italian treatises around 1451, marking the transition from communal folk dances to elite spectacles that influenced broader European social norms. Concurrently, African traditions featured vibrant pre-colonial dances like the energetic Agahu among the , serving as communal rites for harvest, initiation, and ancestral veneration across diverse ethnic groups. In the , Indigenous groups maintained oral and performative traditions, such as rhythmic circle dances among Plains tribes that predated European contact and embodied storytelling and spiritual connection to the land. The 19th and early 20th centuries saw dance's institutionalization and hybridization amid industrialization and migration. Ballet formalized as a professional art in 1661 when King Louis XIV founded the Académie Royale de Danse in , integrating it into the Opéra and codifying techniques like the five positions. dances standardized around the 1810s with the , a rotational couple's form that revolutionized social dancing by emphasizing close embrace and rhythmic flow in European salons. In America, the 1920s propelled and tap dances, blending African polyrhythms with Irish step traditions into percussive solos that captured urban vitality, as seen in performers like . Colonial encounters facilitated global fusions, exemplified by tango's emergence in late 19th-century , where African rhythms merged with European habanera steps among immigrant and enslaved communities. Post-1950 developments marked dance's democratization through contemporary and street forms, alongside digital globalization. Postmodern dance arose in the 1960s New York scene, with choreographers like challenging classical hierarchies by incorporating everyday movements and chance elements to explore abstraction and impermanence. Street dances, including breaking from the 1970s Bronx hip-hop culture, evolved as youth expressions of resistance and identity, dividing into "old school" styles that emphasized freestyle battles and community. Breaking gained international recognition in 2024 as it debuted at the Paris Olympics, marking the first time a street dance form was included in the Games. By the 2020s, platforms like accelerated viral dissemination, with the Renegade dance—choreographed by Jalaiah Harmon in 2019 and exploding in 2020—exemplifying how hybridizes global influences into accessible, algorithm-driven trends. These shifts underscore dance's adaptation to technological and cultural interconnectivity, bridging ancient rituals with modern expressions.

A

Adavu is a foundational element of Bharatanatyam, the classical Indian dance form originating from Tamil Nadu, where it represents basic rhythmic units combining precise footwork, leg movements, and hand gestures known as mudras. These steps evolved from ancient dance units called karanas mentioned in Sanskrit texts, with the term "adavu" appearing in poetic works from the 10th to 17th centuries, aligning with developments in the 16th century during the region's cultural flourishing under Vijayanagara influences. Adavus emphasize geometric patterns and synchronized body control, serving as building blocks for more complex sequences in performances that blend nritta (pure dance) with narrative expression. Aerobic dance emerged as a popular fitness trend in the 1980s, popularized by actress through her workout videos that incorporated choreographed routines to upbeat music for cardiovascular exercise. These sessions featured high-energy movements like jumping jacks, marches, and arm swings, designed to improve endurance while making exercise engaging and accessible in group classes or home settings. Over time, aerobic evolved into modern formats such as , introduced in the early 2000s, which fuses Latin-inspired rhythms with cardio-intensive group routines for sustained popularity in fitness communities. Afro dance encompasses a diverse array of styles rooted in West African traditions, emphasizing polyrhythmic body isolations and communal expression, with variants adapting to diaspora contexts. A prominent example is Azonto, a Ghanaian street dance that gained prominence around 2011, characterized by fluid shoulder shakes, hip isolations, and gestural movements mimicking everyday activities like driving or praying, often performed to hip-hop and highlife music. Cuban Afro-Cuban variants, such as rumba and yuka, trace origins to enslaved Africans from the Congo Basin and Yoruba regions in the 19th century, featuring explosive percussion-driven steps, pelvic undulations, and call-and-response elements that preserve spiritual and social functions in religious ceremonies like Santería. Allemande, a stately processional couple dance fashionable in 16th-century French Renaissance courts, involved partners holding hands while executing smooth, flowing steps in a line formation to duple meter music typically in 4/4 time. Originating from German folk influences but refined in aristocratic circles around 1550–1600, it featured moderate tempo glides and turns, symbolizing elegance and social hierarchy. By the Baroque era, the allemande transitioned from a social dance to an instrumental form, serving as the opening movement in suites by composers like Bach, retaining its processional character in stylized notation. Argentine tango variants, particularly those prefixed under "A" styles like apilado (close embrace), developed in early 1900s from milonga influences, where immigrant communities blended European waltzes, African rhythms, and local habanera steps into intimate, improvisational partner dances in portside academias and salons. These early forms emphasized chest-to-chest connection and subtle leg adornos, evolving from milonga's faster, rural precursors into the sensual urban by the 1910s, before spreading globally. Tango's evolution into theatrical and variants is detailed under its primary entry.

B

Ballet is a classical dance form that emerged during the in the 15th century as court entertainment and was formalized in 17th-century under King Louis XIV, who established the Académie Royale de Danse in 1661 to standardize techniques. This tradition emphasizes precise movements, graceful lines, and elevation, incorporating pointe work—dancing on the tips of the toes—which was pioneered by in her 1832 performance of . Tutus, the iconic short skirts made of layered , originated in the Romantic era around the 1830s to reveal legwork and enhance the ethereal quality of ballerinas. Ballet often conveys narrative storytelling through mime and choreography, as seen in , composed by and premiered at Moscow's in 1877. Ballroom dance encompasses standardized partner dances that gained codification in the 1920s through the , developed by the Imperial Society of Teachers of Dancing (ISTD) to promote uniform techniques across competitions. Key examples include the , with its flowing 3/4 time rotations, and the , a smooth 4/4 trot originating in the early . The style features closed-hold positions and elegant partnering, with European emphasizing frame and rise-fall actions, while the American Smooth variant allows more open positions and incorporates influences for greater freedom. Bhangra is a high-energy from , with roots in 19th-century rural harvest celebrations performed by farmers to express joy and community. Accompanied by the , a large double-headed drum providing rhythmic beats, it features dynamic shoulder shrugs (jhumkas), vigorous arm circles, and tebhi jumps that mimic agricultural motions like sowing and reaping. In the 1980s, Punjabi diaspora communities in the UK and fused traditional elements with Western pop, popularizing bhangra globally through music groups and fusion performances that blend folk vitality with modern beats. Breakdance, also known as b-boying, emerged as a core element of hip-hop culture in the 1970s Bronx, New York, where African American and Latino youth developed it as an improvisational street dance during block parties. It includes power moves such as headspins, where dancers rotate on their heads, and freezes, dramatic poses holding balances on hands or elbows, often transitioning into footwork and toprock. Breakdance debuted as an Olympic sport at the Paris 2024 Games, highlighting its evolution from urban origins to international acclaim. Bolero originated in during the 1880s as a romantic derived from Spanish traditions but adapted to local , emphasizing slow, sensual movements in 4/4 time. Characterized by dramatic rises and falls similar to phrasing, it involves close body contact, swaying hips, and gliding steps that build emotional intensity, often performed to melodic songs by composers like José "Pepe" Sánchez. In modern contexts, the American version integrates Cuban hip action with European partnering, creating a fusion that prioritizes intimacy and musical phrasing over speed.

C

The cha-cha-cha is a lively Latin dance that originated in during the late , evolving from the mambo as musicians like Enrique Jorrín adapted slower s to encourage footwork mimicking the "cha-cha" sound of scrapes on the dance floor. It features a quick-quick-slow in 4/4 time, with distinctive hip action driven by motion— a swivel and sway emphasizing the dancer's lower body— and triple-step footwork that alternates between forward and backward chassés. Popularized in the through international competitions, it became a standard in curricula, blending syncopated steps with flirtatious partner interaction. Clogging, an energetic American , traces its roots to the in the , where European immigrants from , , and fused their percussive step dances with African rhythmic influences brought by enslaved people. Performed in wooden-soled shoes to amplify sound, it emphasizes rapid, precise footwork such as shuffles, draws, and heels-and-toes, creating a rhythmic accompaniment to or . Evolving from and dances in Britain, the style gained prominence in the through festivals like North Carolina's Mountain Dance and Folk Festival in 1928, establishing it as a communal expression of regional heritage. Contemporary dance emerged in the mid-20th century, particularly from the onward, as a versatile fusion of techniques that prioritizes personal expression, emotional depth, and over rigid classical forms. Central to its development is the technique, introduced in the 1930s and refined through the , which relies on principles of contraction—drawing the inward to evoke tension— and , allowing gravity to guide fluid extensions, often integrated with breath cycles for dynamic phrasing. Additional elements include techniques, which promote minimal tension and natural flow, and extensive floorwork involving rolls, slides, and spirals to explore grounded, asymmetrical movements. In the 2020s, has influenced global pop culture, notably through , where its emphasis on fluid transitions and emotional storytelling blends with hip-hop and street styles to create synchronized group routines for artists like and . , a traditional dating to the , draws from English traditions adapted by American colonists, featuring longways formations where lines of couples face each other across a set. Dancers progress down the line by switching partners through figures like do-si-dos, swings, and allemandes, typically to live music in 6/8 or 2/4 time that supports a lilting, jig-like pulse. Revitalized in the late 20th century through community events, it fosters social interaction in inclusive, non-partnered roles, with a caller guiding the sequence to ensure accessibility for all participants. Capoeira, an Afro-Brazilian martial art disguised as , originated in the among enslaved Africans in , who developed it as a covert form of resistance against colonial oppression by blending combat with rhythmic play. Performed in a roda—a circle of participants—the fundamental ginga step involves a swaying, low stance with lateral swings of the legs to evade attacks, serving as the base for fluid, circular movements that simulate evasion and strikes. It incorporates like au (cartwheels), macaco (back somersaults), and esquivas (dodges), all synchronized to berimbau music and call-and-response songs that dictate the energy, distinguishing regional styles like the traditional Angola (close to the ground, ritualistic) from the more athletic Regional variant.

D

Disco dance emerged in the 1970s as a vibrant style centered in New York City's underground club scene, particularly in and , where it blended influences from Latin, African-American, and European dance traditions. Characterized by energetic, improvisational movements performed to upbeat funk and , featured both partner and solo freestyle elements, often in dimly lit discotheques with mirrored balls and flashing lights. Line dances like the Hustle gained widespread popularity, originating around 1973 among Puerto Rican youth in the as a six-count routine involving point-and-touch steps, hip sways, and quick footwork in a "step-step-together" pattern. The Hustle's mainstream breakthrough came in 1975 with Van McCoy's instrumental hit "The Hustle," which propelled the dance into global consciousness and inspired variations like the New York Hustle, performed in lines or couples with dynamic turns and freestyle flourishes. Dabke is a traditional originating from the region, encompassing modern-day , , , , and parts of and , with roots tracing back to ancient communal practices possibly linked to Canaanite fertility rituals around 2000 BCE. Performed in a shoulder-to-shoulder formation led by a raqqas (leader) who initiates steps, dabke involves rhythmic stomping, grapevine patterns, and jumps that mimic the sound of hammering nails during historical roof-raising gatherings, symbolizing community unity and joy. The dance typically moves rightward in a line or circle to lively music featuring the (), (), and derbakeh, with variations like al-shamaliyya emphasizing fast footwork and al-far'aniyya incorporating influences. Widely danced at weddings, festivals, and celebrations, dabke fosters social bonds through synchronized movements that express exuberance and cultural pride. The Dances of Universal Peace, created in the late by American Sufi teacher Samuel L. Lewis (1896–1971), draw inspiration from his encounters in the 1920s with Sufi mystic , blending circular walking patterns with sacred chants from diverse spiritual traditions. These meditative group dances form circles where participants hold hands, walk clockwise or counterclockwise, and vocalize phrases from , , , , , and Indigenous paths, promoting interfaith harmony and through simple, repetitive movements. Emerging as a response to global tensions, the practice emphasizes non-competitive, inclusive participation, often accompanied by live music like frame drums or harmonium, and has spread worldwide via workshops since Lewis's first public presentations in . The is a ceremonial performance integral to celebrations, with origins in the (206 BCE–220 CE), where it served as a to invoke rain, honor ancestors, and ward off evil spirits. In this serpentine group routine, a team of 10 to 50 performers manipulates a long, colorful dragon puppet—up to 100 meters in length—using poles to create undulating waves that symbolize imperial power, fertility, and good fortune. Accompanied by thunderous drumming, cymbals, and gongs from a percussion ensemble, the dance features acrobatic lifts, spirals, and pursuits of a pearl ball, culminating in the dragon "eating" the pearl for prosperity. Performed during festivals and parades, it embodies communal auspiciousness and has evolved to include LED-lit modern versions while retaining its core significance. Duniya dance refers to the high-energy fusion performances by the Duniya Dance & Drum Company, founded in 2007 in , which integrate Bollywood styles with Bhangra from and West African rhythms, gaining prominence in the through global tours and workshops. These group routines feature synchronized hip isolations, arm waves, and footwork drawn from Indian cinema choreography, blended with hip-hop-inspired pops, locks, and dynamic jumps to contemporary electronic and fusion beats. Emphasizing cultural exchange and , Duniya's dances often incorporate vibrant costumes and live drumming, performed at events to celebrate immigrant narratives and empower participants through accessible, cardio-intensive movements.

E–H

E

Egyptian , commonly referred to as , is a solo improvisational dance form originating from Middle Eastern traditions, particularly , with roots traceable to ancient rituals and social practices depicted in temple carvings dating back over 2,000 years. This dance evolved into its modern theatrical style in the cabarets, where it blended folk elements with Western influences to entertain urban audiences, featuring expressive undulations and isolations of the torso. Characteristic movements include precise hip isolations, rapid shimmies of the shoulders and hips, and occasional veil work to enhance dramatic flair, often performed to live orchestral music emphasizing rhythmic cycles. English country dance emerged as a popular social form in 17th-century , documented in John Playford's seminal 1651 publication The English Dancing Master, which compiled over 100 tunes and instructions for communal participation. Dancers arrange in longways progressive sets, where couples advance, interact, and progress through the line, typically to lively reels in 2/4 or 6/8 time and jigs in 6/8 meter, fostering egalitarian mingling across social classes. This folk tradition emphasized simple, repeatable figures like heys and circles, reflecting rural customs while gaining courtly refinement. Eskista, a traditional Ethiopian shoulder dance from the Amhara region, highlights rapid, rhythmic isolations of the upper body, creating an illusion of shoulders "dancing" or conversing through subtle vibrations and rolls. Performed in groups during weddings, holidays, and cultural celebrations, it involves synchronized shaking of the head, neck, chest, and shoulders to upbeat traditional music featuring kebero drums and masenqo strings, symbolizing communal joy and ethnic identity. As an Indigenous practice, Eskista preserves Habesha heritage, with performers maintaining upright postures and minimal lower-body movement to accentuate the intricate upper isolations. Eurhythmics, developed by Swiss composer Émile Jaques-Dalcroze in the early at the Conservatory, is an educational method integrating with bodily movement to cultivate rhythmic awareness and auditory skills. Participants experience musical elements through spatial exploration, such as arm waves to convey dynamics and , and full-body gestures that map sound to physical space, enhancing coordination without instruments. Originating from Dalcroze's observations of students' rhythmic deficiencies, this approach prioritizes and sensory integration, influencing modern worldwide. Escuela Bolera represents a classical strand of Spanish from the , drawing on court influences like French menuet and contredanse while incorporating native seguidillas rhythms in 3/4 time. Emerging around 1780 as a formalized school, it features intricate footwork, castanet accompaniment, and partnered figures such as promenades and turns, performed in elegant costumes that evoke aristocratic salons. Distinct from the improvisational, Andalusian-rooted , Escuela Bolera maintains a structured, neoclassical aesthetic, blending folk vitality with European theatrical precision.

F

Flamenco originated in late 18th-century , , with strong influences from Gitano (Roma) communities and deeper roots in Moorish musical traditions. This passionate art form combines , , and dance, often performed as intense solo expressions that convey deep emotion through rhythmic footwork known as zapateado, where dancers produce percussive stomps using heel and toe strikes on the floor. Accompaniment typically features the for melodic and rhythmic support, alongside , a profound vocal style expressing themes of sorrow, love, and hardship. Foxtrot, an American , emerged in 1914, popularized by vaudeville performer during his performances in the . Characterized by smooth, gliding movements across the floor in 4/4 time, it employs a basic of slow-slow-quick-quick steps, enabling fluid social dancing for couples. This style emphasizes elegance and continuity, distinguishing it from more forms. Folk dances beginning with "F" encompass diverse communal traditions, such as the , a lively open-chain dance from , , with medieval origins tracing back to at least the , where participants link hands in a serpentine line or circle and skip to spirited music. Another example is the , a guitar-driven couple dance blending Spanish and Mexican influences, particularly in , , where it evolved over the last 300–400 years as part of son jarocho ensembles featuring , jarana, and guitars for rhythmic accompaniment during festive gatherings. Freestyle dance, a competitive solo form from the in the early 1980s, developed from influences under pioneers like Anna Jones, incorporating acrobatic flips, lyrical extensions, and high-energy jumps to tracks. Competitions highlight personal expression through improvisational routines, often judged on creativity, technical skill, and synchronization with upbeat rhythms, fostering individual flair in social and stage settings.

G

Garba is a traditional Gujarati performed during the Navratri festival, which honors the Hindu goddess over nine nights, originating in the villages of , , around the 10th century as a ritualistic expression of devotion. The dance involves participants forming circles and performing synchronized clapping, rotation, and intricate footwork to the rhythmic beats of the drum, symbolizing the cycle of life through its name derived from the word "garbha," meaning womb. Traditionally led by women in vibrant chaniya choli attire, Garba fosters communal bonding and has evolved to include men, maintaining its circular formation as a metaphor for unity and fertility in Gujarati culture. Ghawazi refers to a style of energetic Egyptian performed by traveling troupes of women from the Dom or Nawar communities since the , often at weddings, festivals, and public gatherings in . Characterized by improvisational movements including hip isolations, shimmies, and veil manipulations, the dance incorporates the saidi variant with stick-balancing acrobatics to simulate , accompanied by traditional instruments like the mizmar and . These performances, rooted in nomadic traditions possibly tracing back to Indian influences via migration, emphasize through expressive gestures and have historically faced due to their public nature. Gigue is a lively Baroque-era dance that emerged in as a in the and was adapted in during the mid-17th century, commonly concluding instrumental suites by composers like Bach and Handel in 6/8 or 12/8 meter. The dance features quick, bounding steps including hops, leaps, and heèlements (small jumps with bent knees), performed in with a strutting that evokes and , often by couples in courtly settings. Its importation to continental transformed the rustic English into a refined , influencing musical structures across the Baroque period. Grass dance, also known as the Omaha dance, is a Northern Plains Native American men's style originating in the among warrior societies of tribes like the Omaha and Lakota, where dancers mimic the swaying and bending of prairie grass with fluid, weaving footwork. Performers wear fringed resembling grass blades, including yarn ties, ribbons, and feather bustles, executing low, circular steps and body undulations to honor natural elements and prepare ceremonial grounds by flattening grass in legends. This group-oriented , accompanied by fast beats, symbolizes healing, agility, and cultural continuity in intertribal gatherings. Gwoka is an Afro-Caribbean cultural practice from , encompassing drum-led music, song, and dance that developed in the 18th century among enslaved Africans, serving as a form of resistance and identity preservation despite colonial bans on drumming. Dancers form circles around ka drums, performing energetic hip sways, shoulder rolls, and improvisational steps to seven rhythmic modes like toumblak and pakét, with lyrics in Guadeloupean Creole conveying storytelling, proverbs, and social commentary. Recognized by as intangible heritage, gwoka emphasizes communal participation, blending African polyrhythms with Caribbean elements in lewoz night vigils.

H

The is a ceremonial dance from , predating European contact in the 1800s, performed collectively with chanted words, forceful foot stomps, and wide-eyed stares accompanied by tongue protrusions to convey challenge, unity, and ancestral pride during rituals of encounter or warfare. Hip-hop dance emerged in the 1970s in New York City's Bronx borough, rooted in African American and Latino communities as an expressive outlet tied to the broader hip-hop culture of DJing, MCing, and graffiti. Key elements include popping, which involves sharp muscle isolations to create an illusion of the body "popping" in and out, and locking, a style featuring sudden pauses or "locks" in fluid movements while striking poses to emphasize rhythm and attitude. Party dances like the running man, popularized in the late 1980s, simulate forward running in place with sliding footwork and arm pumps synchronized to upbeat hip-hop beats. By the 2020s, hip-hop dance evolved to incorporate high-energy "lit" styles, characterized by explosive group routines and viral challenges that blend improvisation with precise synchronization for social media and competitive scenes. The hora is a lively circle dance of Romanian origin, popularized among Jewish communities in the early , where participants join hands or shoulders to form a ring and step in unison to music, often lifting celebrants overhead during weddings to symbolize communal joy and solidarity. Hula, a foundational Hawaiian dance form predating Captain Cook's arrival in 1778, serves as a medium for through graceful hand gestures, hip undulations, and foot patterns like the kaholo—a basic sliding step that propels the dancer forward or sideways—accompanied by chants or songs to recount myths, history, and daily life. It divides into hula kahiko, the ancient style with percussive instruments and narrative chants focused on spiritual and historical themes, and hula auana, a modern variant introduced in the that integrates Western melodies and more fluid, expressive movements. The is a brisk British-Irish sailor's dating to the , featuring quick, flat-footed steps and intricate footwork that mimics nautical tasks like hauling ropes, typically performed solo or in sets to lively tunes in 2/4 or 4/4 time.

I–L

I

Irish stepdance, a percussive form originating from Gaelic traditions in Ireland during the 17th and 18th centuries, features intricate and rapid footwork while maintaining a rigid upper body and arms held close to the sides. This style evolved from the teachings of itinerant dance masters who formalized steps for social and competitive settings, emphasizing precision and rhythm over expressive arm movements. The Gaelic League, founded in 1893, played a pivotal role in standardizing as part of a cultural revival, codifying rules through competitions and festivals that preserved its distinct posture and foot-driven dynamics. In the diaspora, particularly in and , the 1995 stage production popularized the form globally, blending traditional steps with theatrical elements and introducing softer upper body expressions in contemporary adaptations. Isadora Duncan's style, developed in early 20th-century America, rejected ballet's rigidity in favor of natural, expressive movements inspired by ideals of harmony and beauty. Performing to , Duncan emphasized fluid torso initiations and improvisational gestures drawn from nature and sculpture, allowing dancers to embody emotional and spiritual narratives without corsets or pointe shoes. Her costumes, consisting of flowing tunics and scarves reminiscent of Greek chitons, enhanced the ethereal quality, promoting a philosophy of dance as liberated self-expression that influenced pioneers worldwide. Itik-Itik, a lively from the with roots in 20th-century rural traditions, imitates the waddling and flapping movements of through bent-knee steps and arm gestures mimicking wing beats and water splashes. Though sharing linguistic ties to Malay words for "duck" (itik), its documented origin traces to , where it emerged as an improvisational mimetic form during community gatherings, often performed in simple attire to upbeat rhythms. Evolving in Southeast Asian communities, variations incorporate knee bends and hip sways to evoke playful agricultural scenes, highlighting exchanges in the region.

J

Jazz dance emerged in the United States during the 1920s as part of the , blending African American vernacular traditions with European influences to create a vibrant form characterized by syncopated rhythms, energetic kicks, and dynamic turns. This style flourished in venues like the , where performers such as showcased its improvisational flair and rhythmic complexity, drawing from jazz music's off-beat accents. Over time, jazz dance evolved into more fluid, lyrical expressions in musical theater, incorporating elements of and contemporary techniques while retaining its core emphasis on and body isolation. The , a lively with Irish and Scottish roots dating to the , features bouncy steps in 6/8 time, emphasizing quick footwork and upright posture. Performed either as a solo exhibition piece in competitions or in group ceili variants that promote social interaction, the jig highlights precise rhythms and light, springing movements without upper body sway. Its enduring appeal lies in its adaptability across cultural contexts, from competitive stages to communal gatherings. Jitterbug, a high-energy that gained prominence in the 1930s, evolved from the and was popularized through , featuring fast spins, aerial lifts, and playful improvisation. Dancers execute elastic, grounded steps with bent knees, often in a slot formation that allows for creative variations like tuck turns and underarm passes, reflecting the exuberance of the . This style emphasized connection between partners, with the follow's freedom to add personal flair amid the lead's directional cues. Japanese Odori, a communal integral to summer Obon festivals since at least the medieval period, involves participants forming circular processions around a central yagura stage, performing simple, repetitive arm swings and steps to honor ancestral spirits. Accompanied by drums and traditional songs, regional variants showcase diverse gestures—such as waving fans in or stomping in Tohoku—fostering unity and seasonal renewal during mid-August celebrations. The dance's inclusive nature invites all ages to join, blending solemn ritual with joyful expression. Jive, an upbeat Latin originating from African American communities in the United States during the early 1940s, incorporates bouncy knee actions and rock steps to deliver a lively, flirtatious energy. Characterized by quick flicks, kicks, and hip isolations in 4/4 time, it adapted swing influences into a standardized competitive form with sharper, more contained movements than its predecessors. Partners maintain a close hold for intricate footwork patterns, emphasizing speed and playfulness while adhering to International Latin guidelines.

K

Kathak is one of the major classical dance forms of , originating from the northern regions and evolving from the performances of ancient storytellers known as kathakars who narrated epics through dance, music, and mime. It flourished during the Mughal era in the , incorporating Persian influences such as intricate footwork (tatkar) and rapid spins (chakkars), often accompanied by rhythms and expressive gestures to convey narratives from . Today, Kathak is performed in three main gharanas—, , and Benaras—each emphasizing distinct styles of rhythm and storytelling while maintaining its core elements of (facial expressions) and nritta (pure dance). Kizomba emerged in in the late 1970s and early 1980s as an evolution of the traditional music and , blending African rhythms with colonial influences to create a sensual characterized by slow 4/4 time signatures and smooth body isolations like tarraxinha rolls. Performed in close embrace, it emphasizes fluid hip movements, weight shifts, and emotional connection between partners, distinguishing it from faster predecessors like while gaining global popularity through Angolan diaspora communities in and the . Krump, a high-energy street dance style, originated in South Central Los Angeles in the early , created by dancers Ceasare "Tight Eyez" Willis and Jo'Artis "Big Mijo" Ratti as an expressive outlet evolving from the clowning movement to channel aggression and spirituality through aggressive, angular arm swings, chest pops, and freestyle battles. Known for its raw, improvisational nature—where K.R.U.M.P. stands for "Kingdom Radically Uplifted Mighty Praise"—it serves as a non-violent alternative to street conflicts, fostering community sessions called "krump sessions" that prioritize emotional release over competition. K-pop choreography refers to the synchronized, high-precision group dances integral to South Korean idol music performances, tracing its roots to the 1990s with pioneers like who fused hip-hop, , and traditional Korean elements into accessible, visually striking routines. From the second generation onward (early 2000s), groups like exemplified this with viral hits such as "" in 2020, featuring precise formations, point (iconic repeatable moves), and fan-engaging challenges that propelled K-pop's global reach via platforms like and . These routines, often crafted by international choreographers, balance technical difficulty with thematic storytelling, contributing to K-pop's cultural export as a multimedia phenomenon. Kalbelia is a traditional of , , performed by the nomadic Kalbelia tribe—historically snake charmers from the —dating back to at least the and featuring undulating, snake-like body waves, rapid footwork, and angular arm gestures accompanied by the (snake charmer's flute) and caste-specific songs. Recognized by in 2010 as an of Humanity, it reflects the tribe's resilience and adaptation, with women leading performances during festivals like , dressed in black skirts adorned with mirrors and shells to evoke serpentine grace. The dance preserves oral traditions of mythology and daily life, evolving from ritualistic roots to a symbol of Rajasthani identity amid modernization.

L

Dances beginning with the letter "L" include vibrant partner styles rooted in traditions and social formations that emphasize group synchronization, with contemporary evolutions incorporating 2025 rhythms for urban fusion in performances and social events. Lambada originated in the state of , , during the 1980s, blending influences from carimbó, merengue, and to create a sensual that gained international fame through the French-Brazilian band Kaoma's 1989 hit song. Known as the "forbidden dance" due to its provocative close-body contact and circular hip movements, Lambada is performed in 4/4 time with fluid steps, spins, and pelvic isolations that evoke intimacy and rhythm. In 2025, Lambada variants in scenes incorporate heavier bass drops and perreo-style grinding, adapting the original's sensuality to urban club settings across and . Line dance emerged in the United States during the 1970s amid the revival, evolving from earlier folk and formations into a non-partner style where participants align in rows to execute synchronized steps to upbeat tracks. Characterized by side-by-side footwork, grapevines, and pivots without physical contact, it promotes communal participation at social gatherings like weddings and bars. A seminal example is the , choreographed in 1976 by Ric Silver to accompany Bunny Wailer's "," featuring a sequence of slides, claps, and turns that popularized the format beyond country into multicultural events. By 2025, line dances increasingly fuse with influences, incorporating hip-hop isolations and trap beats in hybrid routines at festivals. Lindy Hop, born in Harlem's African American communities during the late , represents the cornerstone of swing dancing with its energetic partner improvisation set to 4/4 rhythms. Drawing from the Charleston and breakaway styles, it features aerial lifts, kicks, and syncopated footwork that allow for playful swings and flips between leaders and followers. The dance's aerials—overhead tosses and catches—highlight athleticism and trust, originating from innovators like George "Shorty" Snowden, who named it after Charles Lindbergh's 1927 transatlantic flight. Lezginka, an ancient from the region among Lezgin and related peoples, dates back to pre-modern tribal rituals and serves as a symbol of through its dynamic solo and couple variations. Men perform eagle-like arm extensions, high jumps, and sharp knee bends to mimic warriors or hunters, often with a prop, while women execute graceful sways, finger snaps, and subtle hip undulations in paired forms to convey courtship. Accompanied by traditional Caucasian instruments like the and in 2/4 or 6/8 time, Lezginka emphasizes agility and gender-specific expressiveness during celebrations. , a contemporary style that gained prominence in the within American studio training, fuses ballet's precision with jazz's expressiveness to interpret emotions through fluid, narrative-driven movement. Performed to or songs with , it prioritizes via extensions, contractions, and partnering lifts that evoke themes like love or loss, often in solos or small groups. Key techniques include leg sweeps, candlestick rolls, and interpretive poses, blending technical control with raw vulnerability to connect dancers emotionally with audiences.

M–P

M

The mambo is a lively Cuban dance that emerged in the 1940s, blending Afro-Cuban rhythms with syncopated patterns derived from the son and danzón musical traditions. It features a characteristic 4/4 time signature driven by the clave rhythm, a foundational Afro-Cuban beat consisting of two clave sticks striking in a syncopated pattern of 3-2 or 2-3. Dancers emphasize hip isolations, sharp turns, and quick footwork, often performed in pairs with the leader guiding intricate spins and breaks on the second beat. The maypole dance is a traditional European folk ritual with roots in medieval pagan customs, particularly associated with spring fertility celebrations around . Participants form a circle around a tall pole adorned with colorful ribbons, weaving in and out while holding the ribbons to create intricate patterns that symbolize renewal and the intertwining of nature's forces. This communal dance, often performed by groups in festive attire, dates back to at least the early medieval period in Germanic and Celtic cultures, where it honored seasonal cycles and communal bonds. Merengue originated in the during the mid-19th century as a rural , evolving from earlier influences like the tambora and guaraché. It is performed in 2/4 time with a march-like , featuring simple side-to-side steps where couples drag one foot while accentuating hip sways and turns. The music prominently includes the , alongside güira scrapers and tambora drums, creating an upbeat, accordion-driven sound that propels the dancers' energetic, linear movements. Modern dance arose in the early 1900s as a rebellion against the rigid structures of classical ballet, pioneered by figures like Isadora Duncan, who emphasized natural, expressive movements inspired by ancient Greek ideals and free-flowing improvisation. Duncan rejected pointe shoes and corsets in favor of barefoot dancing in loose tunics, promoting emotional authenticity over technical precision. Martha Graham further advanced the form in the 1920s and 1930s through her contraction-release technique, which uses spiraling contractions of the torso and sharp releases to convey inner tension and psychological depth, influencing generations of choreographers. Morris dance is an English folk tradition documented from the 15th century, performed by teams of men in seasonal celebrations tied to agricultural cycles and Whitsun festivals. Dancers wear bell-padded costumes for rhythmic accompaniment, wielding short sticks for clashing in precise patterns or waving handkerchiefs in leaping figures that symbolize vitality and community. The dances, often in sets of six, feature high steps, formations, and mock combats, preserving medieval roots while adapting to rural team rivalries.

N

Native American dances, often performed at contemporary intertribal powwows, encompass vibrant traditions that blend historical ceremonial elements with modern competitive styles. The , a men's category originating in the early among Plains tribes in , features athletic, fast-paced footwork including high kicks and spins, accompanied by colorful feather bustles that mimic eagle flight; it evolved from performances in to symbolize energy and pride in powwow arenas. Similarly, the Fancy Shawl Dance for women, developed in the 1930s as powwows opened to public audiences, involves graceful shawl twirls that create a flowing, butterfly-like motion, with dancers on their toes executing light hops and spins to honor female strength and beauty. Noh theater dance, a cornerstone of Japanese classical since the , integrates slow, stylized gestures and minimalistic movements within masked dramatic narratives to evoke supernatural themes from Buddhist and traditions. Performed by actors in elaborate costumes, these dances emphasize poetic rhythm and symbolic poses, such as deliberate hand flourishes representing inner turmoil, distinguishing from more exuberant forms like . Nyau, part of the Gule Wamkulu ritual practiced by the in , , and , traces its roots to the 17th-century Chewa as a secret society involving masked performers imitating animals and spirits to educate on moral and ancestral lore. Members of the Nyau brotherhood don wooden masks carved as wild creatures—like lions or —and execute acrobatic, erratic movements during funerals, , and harvest rites to bridge the human and spirit worlds, a practice recognized by as an . The Nightclub Two-Step, invented in the mid-1960s by dancer as a smooth for slow romantic ballads, employs simple box steps—forward, side, close, and back—in a 4/4 adapted later to country-pop music, allowing couples to sway intimately in social settings like nightclubs or Western dance halls. Nritta, the pure dance component of Indian classical forms like and as outlined in the ancient text (circa 200 BCE–200 CE), focuses on abstract rhythmic patterns through intricate footwork, hand gestures, and torso isolations without narrative or expressive storytelling, serving to demonstrate technical mastery and geometric precision in talas (rhythmic cycles).

O

Odissi is a classical dance form originating from the eastern Indian state of , with roots tracing back to ancient temple rituals performed by devadasis (temple dancers) as early as the 2nd century CE, as evidenced by sculptures in sites like the depicting dance poses. The style emphasizes the pose, a characteristic S-shaped curve of the body bent at the neck, torso, and knees, which conveys grace and devotion, often accompanied by intricate footwork and expressive eye movements known as bhaava to narrate mythological stories from Hindu scriptures. Accompaniment typically includes the pakhawaj, a barrel-shaped drum providing rhythmic cycles called taalas, alongside vocals in Odia and instruments like the flute and violin, creating a lyrical and fluid performance tradition recognized as one of India's eight classical dances by the . Old-time dance refers to a style of Appalachian square dancing that emerged in the rural American South during the , blending British, Irish, and African influences into communal gatherings featuring live music and caller-led figures. Performed by four couples forming a square, it includes core movements like the , where partners pass back-to-back without touching hands, and the promenade, a walking couple's turn around the set, often called out in real-time to guide participants through lively patterns that foster social interaction in isolated mountain communities. This tradition, distinct from modern standardized square dancing, emphasizes improvisation and regional variations, with dances like "Bird in the Cage" highlighting its enduring role in preserving folk heritage since the post-Civil War era. Oriental dance encompasses a diverse array of solo improvisational forms from the , often broadly termed "" in Western contexts, with historical roots in ritual and social performances dating back centuries but gaining prominence in the through touring troupes. A notable example is the dance of the Ouled Nail tribe in , where women from this nomadic Berber group performed energetic routines involving hip isolations, shimmies, and veil manipulations as a means of economic , traveling to urban centers like in the late 1800s to entertain and amass dowries through skilled artistry. These performances, characterized by coin-adorned costumes and acrobatic elements, influenced global perceptions of , though they were often exoticized by colonial-era observers, underscoring the form's blend of cultural expression and professional vocation. Oppa Gangnam Style, popularized by South Korean artist in his 2012 hit single, introduced a viral featuring a playful horse-riding and gestures that became a global phenomenon, amassing over a billion views within months of release. The choreography, created by and his team, involves bouncing knee lifts mimicking horseback riding while swinging one arm in a circular motion, set to an upbeat electronic beat satirizing affluent lifestyles, which encouraged widespread imitation at events worldwide. This routine's simplicity and humor propelled it beyond traditional dance boundaries, marking a milestone in digital cultural export from .

P

Paso doble is a dramatic that originated in the early , blending Spanish and French influences, with its theme inspired by the matador's movements in a bullfight. Performed to a brisk in 2/4 time, it features sharp, steps, cape flourishes by the leader mimicking the bullfighter's cape, and the follower portraying the bull or cloak, emphasizing power and tension between partners. The dance gained popularity in around 1920 through ballroom competitions before spreading internationally as part of repertoires. Polka, a lively in 2/4 time, emerged in (present-day ) around 1837, created by a servant girl named Anna Slezáková in the village of Labská Týnice. Characterized by quick hopping steps, side-to-side movements, and energetic rotations that allow couples to cover the floor rapidly, it quickly spread across via upper-class balls and 19th-century immigration waves, particularly to the where Czech, Polish, and German communities adapted it into folk traditions. Its simple yet joyful form made it accessible, influencing social dancing worldwide. Popping is a street dance style within hip-hop that developed in the 1970s in , among African American and Latino youth, rooted in music culture. Dancers achieve a robotic illusion through rapid muscle contractions and releases, creating "hits" or pops that isolate body parts like arms, chest, and legs in sharp, jerky motions, often combined with waving and gliding for fluid contrasts. Pioneered by groups like , it emphasizes precision and illusion, evolving from techniques into a global hip-hop element. Polynesian dances encompass a rich tradition of cultural expression across Pacific islands, with from pre-contact Hawaii (before 1778) serving as a primary example of ancient through rhythmic hip sways, hand gestures, and chants that convey myths, , and nature. Performed at ceremonies and community gatherings, hula kahiko (ancient hula) uses implements like ipu () for percussion, preserving oral histories in a sacred context. In , aparima highlights hand movements as a tool, where graceful, symbolic gestures depict stories of ancestors, love, or daily life, often accompanied by and slow tempos for emotional depth. Modern Pacific fusion dances blend these with contemporary elements like hip-hop beats or global rhythms, creating hybrid forms such as hula fusion that appeal to younger audiences while honoring roots. Khon, a Thai classical from the Ayutthaya period (14th-18th century), features masked performers enacting warrior routines drawn from epic tales like the , incorporating swordplay in stylized combat sequences to symbolize heroic battles. Rooted in traditions, it combines precise gestures, acrobatic elements, and elaborate costumes to dramatize moral and mythological narratives, maintaining cultural continuity through ensemble performances.

Q–T

Q

The is a lively that originated in during the as a faster variation of the , incorporating elements from the Charleston and other contemporary styles. Performed in 4/4 time at a brisk of approximately 48–50 measures per minute, it features syncopated rhythms, quick skips, chassés, and rising and falling movements that create a buoyant, energetic quality. Standardized by English ballroom organizations in 1927, the quickstep remains a staple of international ballroom competitions, emphasizing smooth progression around the floor with precise footwork and elegant posture. Queensland Aboriginal dances, such as the , are traditional ceremonial performances central to Indigenous Australian culture, enacted to recount ancient Dreamtime stories through rhythmic movements, , and visual elements. These dances often involve participants adorned in body symbolizing ancestral figures and natural phenomena, accompanied by the resonant sounds of the and clapping sticks to evoke spiritual connections to the land. Originating from practices dating back thousands of years, corroborees in Queensland communities serve as communal rituals for cultural transmission, healing, and celebration, fostering intergenerational knowledge of lore and identity. The is dance that emerged in during the late , evolving from earlier contredanses into a structured formation for four couples arranged in . Typically comprising five distinct figures—such as Le Pantalon, L'Été, La Poule, La Pastourelle, and Finale—each performed to music in 2/4 or 3/4 () time, the dance requires coordinated changes of position, including promenades, balances, and turns. Introduced to around 1813 and spreading across and its colonies, the became a hallmark of aristocratic social gatherings by the early , blending elegance with group synchronization. Quinceañera dances are ceremonial routines marking a Mexican-American girl's 15th birthday, blending colonial European influences with Indigenous rites to symbolize her transition to womanhood. The tradition, dating to the 16th century in Spanish colonial Mexico, features a choreographed waltz as the centerpiece, often starting with a father-daughter dance followed by a group routine involving the quinceañera's court of attendants in elegant formations. These performances, typically set to waltz music in 3/4 time, incorporate symbolic gestures like passing a doll or tiara, accompanied by lively group dances to foster community bonds and cultural pride among Mexican-American families.

R

The rumba is a genre of Cuban music and that originated in the mid-19th century in the solar (patio) communities of and , where enslaved Africans blended their drumming traditions with Spanish guitar melodies and colonial influences. By the 1910s, rumba had evolved into a more formalized secular expression, gaining traction through urban performances and early recordings, emphasizing romantic and flirtatious partner interactions. The features the distinctive "Cuban motion," a subtle hip sway achieved through the straight-leg action of the supporting leg, creating a figure-eight pelvic rotation that conveys sensuality. In the New York-style adaptation, which emerged in the 1930s among American dancers, the rumba incorporates more dramatic turns and underarm passes while retaining the core hip isolations, often performed to music in 4/4 time structured around the 3-2 or 2-3 rumba clave pattern—a syncopated rhythm derived from Afro-Cuban traditions. The is a lively of Celtic origin, documented in Scottish records as early as the , where it served as a social alternating traveling steps with setting figures in lines or sets of two or more couples. Shared between Scottish and Irish traditions, the spread to by the 18th century, becoming a staple in ceili gatherings—communal events featuring group dances that foster community bonding through precise footwork and formations. Performed in quick 2/4 or 4/4 time, it emphasizes rapid, light steps like the "running step" or "highland fling variations," with dancers maintaining upright posture and intricate patterns that weave partners together, reflecting the dance's roots in rural celebrations and Highland gatherings before Presbyterian restrictions temporarily suppressed it in the 17th century. The Renegade is a high-energy hip-hop that went viral on in late 2019, created by 14-year-old Jalaiah Harmon from , who choreographed it to the beat drop in K-Camp's 2013 track " (Renegade)." The routine features sharp arm waves starting from the elbows, synchronized hip hits or "woah" isolations, and quick foot shuffles, lasting about 15 seconds and designed for to emphasize rhythmic precision and attitude over partner work. Harmon developed the moves during hip-hop classes, drawing from influences like the "woah" gesture popularized in Southern rap culture, and it exploded in popularity in early 2020 through challenges by influencers like , amassing billions of views. By 2025, the Renegade continues to inspire updates and tutorials on social platforms, with Harmon herself releasing advanced variations that incorporate contemporary trends like smoother transitions and group adaptations, maintaining its status as a benchmark for viral challenges. Russian folk dances encompass a rich tradition of communal expressions, with the representing one of the oldest forms—an ancient Slavic dating back over 1,000 years to pagan rituals, where participants hold hands or pinky fingers to form interlocking rounds and move clockwise or counterclockwise in singing, weaving patterns. Originating among East Slavic communities, the evolved from ceremonial rites tied to seasonal festivals and weddings, symbolizing unity and fertility through simple steps that alternate forward and backward motions, often accompanied by vocal harmonies and basic percussion. These folk elements profoundly influenced 20th-century , as seen in Aram Khachaturian's suites like Gayaneh (1942), where choreographers integrated khorovod-inspired circle formations and hand-holding sequences into neoclassical works, blending traditional rhythms with orchestral arrangements to evoke on global stages. The robot dance is a mimetic style that emerged in the late 1960s within American funk and street dance scenes, characterized by stiff, mechanical isolations that simulate robotic movements through precise locks—sudden halts in joint motion—and fluid body waves traveling from head to torso. Pioneered by dancers like Little Tony in nightclub performances around 1963, it gained mainstream exposure in the 1970s when Michael Jackson incorporated robotic locks and waves into the Jackson 5's "Dancing Machine" routine on Soul Train in 1973, transforming it into a pop culture phenomenon with angular arm extensions and halted poses synced to funk beats. The style emphasizes control and illusion, influencing later hip-hop elements like popping while standing apart as a novelty solo form that parodies automation in an era of technological fascination.

S

Salsa is a partner dance that originated in the 1970s among Puerto Rican communities in New York City, evolving from earlier mambo and cha-cha influences into a vibrant social form characterized by its rhythmic syncopation. It employs an "on-2" timing, where the leader's basic step breaks on the second beat of the 8-count clave rhythm—a foundational Afro-Cuban pattern consisting of five accented beats across two measures—creating a forward-backward motion that emphasizes hip movement and connection between partners. Key elements include cross-body leads, where the follower is guided across the leader's body in a linear path, and shines, solo footwork sequences that allow individual improvisation during musical breaks. Samba emerged in Brazil's early urban centers, particularly Rio de Janeiro, as a fusion of African rhythms brought by enslaved people and like the maxixe, becoming the signature style of celebrations by the 1920s. Accompanied by ensembles—percussive groups featuring drums, tamborins, and agogôs that drive a pulsating 2/4 beat—the dance incorporates maxixe-derived steps such as the swaying saia rodado hip isolations and quick footwork patterns. In , samba schools (escolas de samba) perform enredo-themed parades, where synchronized groups of hundreds execute choreographed routines narrating cultural or historical stories through rhythmic marches and improvised solos. Scottish country dance developed in the 18th century as a social pastime among Scotland's and middle classes, blending English formations with native music to create structured group routines for balls and gatherings. Danced in longways progressive sets—lines of couples who interact and advance positions over repeats—common figures include , where dancers weave in crossing patterns to 2/2 or 4/4 tunes, and strathspeys, slower 4/4 movements featuring the distinctive Scotch snap rhythm (a short accented note followed by a longer one) for graceful, skipping steps. Swing dance arose in the United States during the 1930s swing era, rooted in African American communities in Harlem and spreading nationwide through big band jazz, encompassing energetic partner styles that emphasize improvisation and aerial lifts. East Coast Swing, a 6-count variant in 4/4 time, uses a rock step followed by triple steps with a bouncy rise-and-fall action, while West Coast Swing, developed in California nightclubs in the late 1930s, adapts to a slotted linear path with elastic compression and extension for smoother, more lyrical flow in 4/4 or occasional 6/8 feels. Sufi whirling, also known as the sema ceremony, traces its origins to 13th-century Turkey within the Islamic Mevlevi Order founded by followers of the poet Jalaluddin Rumi, serving as a ritual of physical meditation to induce spiritual ecstasy. Performed by dervishes in white skirts symbolizing shrouds, the practice involves continuous counterclockwise spins—arms extended with one palm up to receive divine energy and the other down to impart it—set to ney flute and drum music, aiming to transcend the ego and enter a trance-like union with the divine.

T

Tap dance emerged in the as a fusion of African American and Irish American dance traditions in the United States, blending percussive rhythms from enslaved Africans' dances with the structured steps of Irish jigging brought by immigrants. By the late 1800s, performers began incorporating metal taps on their shoes to amplify sounds, creating distinct styles such as soft-shoe, which uses lighter, gliding movements on non-tapped shoes for smoother rhythms, and hoofing, a harder, more grounded form emphasizing powerful stomps and shuffles. This evolution highlighted tap's role as a rhythmic dialogue between body and floor, influencing Broadway and performances. Tango originated in the 1880s in the working-class neighborhoods of , , evolving from a mix of immigrant influences including African rhythms, European polkas, and local milonga . Characterized by its dramatic close-embrace hold and syncopated steps in 4/4 time, traditional features intricate footwork like ochos—eight-shaped pivots—and ganchos—leg hooks that add tension and release between partners. In recent years, tango has seen fusions blending classic elements with contemporary electronic beats to attract younger global audiences. Tarantella is a traditional dating to the 16th century in southern regions like , often performed in rapid 6/8 time with tambourines providing rhythmic accents through shakes and strikes. Its origins tie to , a hysteria-like condition believed to result from spider bites, where frenzied spinning and jumping were thought to expel the "poison" through ecstatic movement, evolving into celebratory couple dances with flirtatious chases and spins. Thai classical dance, particularly lakhon and , developed during the 14th-century as dramatic forms blending graceful hand gestures (mudras) derived from Indian traditions with stylized combat sequences to narrate epic tales from the . Lakhon performances emphasize fluid, angular arm and finger movements symbolizing emotions and actions, accompanied by ensembles, while features elaborate masks for supernatural characters in ritualistic storytelling. Twerk arose in the 1990s from New Orleans' scene, a hip-hop subgenre characterized by call-and-response lyrics and heavy bass, where dancers isolate and shake the hips and glutes in rapid, rhythmic isolations. Rooted in African diasporic dances but popularized through local artists like , twerk involves low stances and booty pops synced to 90-110 BPM tracks, embodying expressive freedom in club and performance contexts.

U–Z

U

Upbeat line dances, popularized in modern scenes from the onward, build on classics like the by incorporating faster tempos and adaptations to (EDM) influences, fostering group synchronization at social events. Originating from the 1976 Electric Boogie but gaining renewed traction in country contexts through songs like Tim McGraw's "I Like It, I Love It," these evolutions emphasize side steps, grapevines, and pivots in 4/4 time, blending traditional Western motifs with contemporary energy. By the , such dances had crossed into EDM remixes, promoting inclusive, high-spirited participation at weddings and bars. Urban choreography in the 2020s has seen a surge in street dance forms, particularly through Ugandan groups like the Triplets Ghetto Kids, who blend hip-hop, , and local rhythms in viral social media challenges originating from slums. Founded in 2014 by Daouda Kavuma as part of an NGO supporting orphaned and , the group's high-energy routines—featuring flips, pops, and group waves—have gained global attention via platforms like , promoting resilience and cultural expression among youth. These 2020s updates highlight accessible, improvisational styles that evolve from urban hardships into empowering performances for over 30 young dancers.

V

The originated in during the late , evolving from folk dances such as the and gaining popularity around the 1790s in Vienna's social circles. It is performed in 3/4 , emphasizing continuous rotation and a distinctive rise-and-fall action that creates a buoyant, swaying motion for the dancers. Unlike the slower English Waltz, the Viennese variant maintains a faster , typically around 180 beats per minute, which intensifies its whirling, energetic character and demands precise balance to sustain the unbroken turns. Voguing emerged in the late 1980s within the underground ballroom scene of Harlem, New York, as a performative dance form developed by Black and Latino LGBTQ+ communities during competitive "balls." Dancers strike sharp poses inspired by high-fashion models from Vogue magazine, incorporating hand gestures, dips, and dramatic freezes to evoke runway elegance and personal storytelling. The style divides into categories like "Old Way," characterized by rigid, linear angles and precise lines from the 1970s-1980s era, and "New Way," which introduces fluid contortions, spins, and exaggerated flexibility starting in the late 1980s. The Veleta is an English sequence dance choreographed by Arthur Morris and first published in 1900, blending steps into a structured routine for couples. It features a circular formation where partners maintain an open position facing the line of dance, progressing through balances, turns, and promenades that form a rounded path across the floor. This 19th-to-early-20th-century innovation emphasized synchronized group movement in 3/4 time, making it accessible for social gatherings while preserving elegance without constant rotation. Voodoo dance, integral to Haitian Vodou practices, traces its roots to the 18th century, when enslaved Africans from West and blended their spiritual traditions with colonial influences on the island. These rituals involve rhythmic drumming and communal dancing that induce by (deities), where participants embody the through trance-like movements, gestures, and calls to facilitate healing, prophecy, or communal bonding. Veves, intricate symbolic drawings made with or ash on the ground, serve as sacred invitations during these dances, representing specific and channeling their energies into the ritual space. VR dance has gained prominence in the 2020s within platforms, enabling immersive performances through avatar-based movements in virtual environments. Games like exemplify this by combining rhythm-based slashing motions with full-body tracking, where players synchronize to music in a holographic space, fostering a of presence akin to live dance. Advanced setups incorporate haptic feedback via suits or controllers, providing tactile vibrations that simulate impacts and enhance embodiment, as seen in metaverse raves on platforms like where users dance collectively across global networks.

W

Waltz is a partner ballroom dance that originated in the rural regions of Austria during the late 16th century as a simple folk dance among peasants, characterized by its rotating movements derived from the German word walzen, meaning "to revolve." By the early 19th century, particularly around the 1810s, it had evolved into a refined court dance in Vienna and spread across European high society, gaining popularity for its elegance during the Enlightenment era. The dance is performed in 3/4 time, featuring a basic box step pattern where partners maintain a closed hold, incorporating contra-body movement—turning the body opposite to the stepping foot for smooth rotation and poise. Wedding dances vary globally but often emphasize communal joy; for instance, the , a of Romanian and Israeli Jewish origins, is a staple at Jewish weddings worldwide, where guests link arms, lift the bride and groom in chairs, and celebrate to lively music like "" to symbolize unity and elevation. developed in the 1970s in as a smooth evolving from , featuring an elastic connection through extension-compression techniques that create a slotted, linear path for the follower. Danced primarily in 4/4 or 6/8 time to a wide range of music including , R&B, and contemporary pop, it allows for , , and styling influences from and country-western traditions. War dances served to inspire warriors during conflicts, with performers executing powerful foot stomps that mimic battle rhythms while brandishing shields and spears in coordinated group formations. These dances highlight physical prowess through high kicks, mock combats, and drum-accompanied stomps, now featured in ceremonies to foster cultural .

X

The letter X encompasses a sparse array of dances in global traditions, primarily drawing from indigenous African and Central Asian cultures, with emerging experimental forms in contemporary . These dances often emphasize rhythmic communal expression, significance, or innovative multimedia integration, reflecting localized histories of resistance, harvest, and cultural preservation. Unlike more documented styles, X-starting dances highlight ethnic specificity and experimentation, with limited Western until recent decades. Xaxado is a vigorous Brazilian folk dance originating in the region of in the 1920s, closely tied to the cangaceiros—bandit warriors who used it to celebrate victories after battles. Performed in lines or circles by groups, typically men, it features rapid foot stomps, hip sways, and arm gestures mimicking rifle handling, accompanied by accordions and zabumbas drums to evoke the arid backlands' energy. The dance's name derives from the onomatopoeic sound of shuffling feet on dirt floors, and it remains a staple in northeastern Brazilian festivals, symbolizing resilience and communal joy. Xibelani, a dynamic indigenous dance of the from and provinces in , is performed exclusively by women during weddings, initiations, and social gatherings to foster community bonds and celebrate . Dancers wear colorful xibelani skirts made of rolled fabric that swish rhythmically with vigorous hip isolations and fast footwork, creating a hypnotic wave-like motion, while upper bodies remain poised with expressive hand flourishes. Accompanied by Tsonga and drums, the dance's high-energy steps demand stamina and coordination, serving as a cultural marker of Tsonga identity amid historical migrations and colonial disruptions. Xhosa stick-fighting dance, known as Induku or part of broader Nguni traditions influenced by Zulu warfare tactics from the early , blends martial simulation with rhythmic choreography among young men in rural communities. Practitioners wield two hardwood sticks—one for attack and one for defense—in choreographed bouts that incorporate lunges, parries, and circular footwork to the beat of drums and chants, training agility and discipline while resolving disputes non-lethally. Evolving from Zulu's military innovations, it persists in cultural festivals as a , promoting physical prowess and social harmony despite modern safety adaptations.

Y

The Yoruba Bata dance originates from the Yoruba people of southwestern Nigeria, particularly associated with the ancient city of Ile-Ife, where it serves as a vital element in religious and communal rituals. Performed with a set of double-headed hourglass-shaped drums known as bàtá, the dance accompanies masked processions of egungun, the ancestral spirits represented by elaborate masquerades that embody the deceased forebears. These processions, often held during festivals, involve dynamic, acrobatic movements that communicate with the divine, invoking Sango, the Yoruba deity of thunder and lightning, while talking drums like the dùndún provide rhythmic narration to guide the performers and convey spiritual messages. The Yugoslav Kolo represents a traditional circle or line dance from the , prevalent in what was once , encompassing areas now in , , , , and . Emerging in documented forms during the , particularly through urban adaptations in places like around 1840, the Kolo features dancers interlinked in a chain, often holding hands or shoulders, moving in synchronized steps to foster communal bonds at weddings and celebrations. Performed to lively rhythms in 2/4 or asymmetric meters like 7/8, it emphasizes collective harmony over individual flair, with variations reflecting regional folk traditions that blend secular joy and ritual elements. Yosakoi is a vibrant Japanese group dance that debuted at the inaugural Yosakoi Festival in City in 1954, designed as a modern alternative to traditional bon odori to revitalize local summer festivities. Dancers, organized in teams, perform energetic routines while wielding naruko—small wooden clappers originally used as farming tools to ward off birds—creating percussive accents that punctuate the movements. The style fuses classical Japanese elements with contemporary and , allowing for creative expressions in costumes and formations that range from traditional coats to flashy, J-pop-inspired outfits, drawing over 20,000 participants annually to 's streets. The YMCA dance emerged alongside the 1978 disco hit "Y.M.C.A." by the American group , from their album Cruisin', becoming an enduring synonymous with party culture. In the routine, participants form the letters Y, M, C, and A using arm gestures—raising one arm overhead for Y, crossing arms for M, and outlining a circle and inverted V for C and A—mimicking the song's celebratory escape from urban stresses at the YMCA facilities. Written by producer and singer , the track and its choreography, rooted in 1970s gay archetypes portrayed by the band's members, evolved into a universal anthem through audience adaptations during live performances. Youthquake dances capture the explosive 1960s youth culture movement, termed "youthquake" by Vogue editor Diana Vreeland in 1965, where mod subcultures in Britain and beyond propelled partnerless, freestyle dances like twist variants into global fads. Centered in London's mod scene, these included the Watusi and Mashed Potato—energetic solo twists emphasizing hip swings and footwork to soul and rock tracks—as teenagers rebelled against postwar norms through all-night clubbing to bands like The Who. The dances symbolized liberation, blending African American influences with British mod aesthetics in slim suits and miniskirts, influencing pop media and spreading via television to define a generation's rhythmic expression.

Z

Zumba is a high-energy aerobic fitness program that originated in in the mid-1990s, created by dancer and choreographer Alberto "Beto" Pérez when he improvised a class using tapes lacking traditional tracks, blending elements of merengue, salsa, , and other Latin rhythms into accessible, party-like routines. This fusion emphasizes merengue-inspired steps with hip isolations and full-body movements, designed to make exercise feel like a event rather than a workout, and it rapidly globalized in the through certified instructor training and commercial branding. By the , Zumba had incorporated international influences while retaining its Latin core, attracting millions of participants worldwide for its cardiovascular benefits and communal vibe. The Zulu Indlamu, a traditional South African dance performed by Zulu men, traces its origins to pre-colonial traditions, where it served as a ceremonial display of strength, unity, and readiness for battle among amabutho regiments. Characterized by powerful high kicks, stomping footwork, and synchronized group formations, dancers don such as animal skins, beads, and shields to evoke historical Zulu military prowess under leaders like King Shaka in the early . Though rooted in pre-colonial rituals, Indlamu evolved through colonial and apartheid eras as a symbol of cultural resistance and identity, often performed at modern events like weddings and cultural festivals to preserve Zulu heritage. Zapateado, a percussive footwork style central to and , emerged in the from Spanish influences during Mexico's colonial period, where it fused indigenous, African, and European rhythms into rhythmic shoe-stamping on wooden platforms or floors. In contexts, it involves rapid heel and toe strikes (taconeo) synchronized with guitar palos, amplifying emotional intensity in solo or group performances, while Mexican variants like those in incorporate lively skips and turns for festive celebrations. By the late , zapateado had solidified as a hallmark of regional identities, with dancers using nailed boots to produce sharp, improvisational sounds that mimic percussive instruments. Zikr (or ) dance in Sufi Islamic tradition involves communal rituals of repetitive chanting and swaying body movements to invoke divine remembrance, with practices dating to the early development of in the 8th and 9th centuries among mystics in and . Participants form circles, rocking or circling in trance-like states while vocalizing phrases like "La ilaha illallah," fostering spiritual ecstasy and unity, as seen in orders like the that spread across the Islamic world from the medieval period onward. These sessions, often led by a , emphasize inner purification over theatrical display, evolving regionally—such as in Chechen or South Asian variants—while maintaining core elements of rhythmic incantation and subtle physical expression. Zoomer dances, emblematic of Gen Z's 2020s TikTok culture, feature quick, ironic evolutions of earlier moves like the Floss—originally a 2015 arm-whipping routine—with added "zesty" flair involving exaggerated hip sways and playful gestures to viral sounds, reflecting digital-native creativity and . These trends, surging post-2020 amid isolation, prioritize accessibility and humor, as in arm-whip challenges synced to remixed tracks, amassing billions of views and influencing global youth expression through algorithmic sharing. By 2025, such dances underscore Gen Z's blend of and innovation, often critiquing or identity in short-form videos.

References

  1. https://fredonia.libguides.com/c.php?g=1202734&p=8795352
  2. https://ich.unesco.org/en/lists
  3. https://ich.unesco.org/en/RL/kolo-traditional-folk-dance-01270
  4. https://www.nationalgeographic.com/culture/article/how-ballroom-dancing-went-from-elite-pastime-to-dance-hall-craze
  5. https://guides.loc.gov/dance/general-collections/class-g
  6. https://www.prazzlearts.com/editorial/from-ballet-to-hip-hop-a-journey-through-dance-styles-and-their-influence
  7. https://www.ndeo.org/About/Dance-Education
  8. https://cid-world.org/
  9. https://pmc.ncbi.nlm.nih.gov/articles/PMC11539728/
  10. https://www.etymonline.com/word/choreography
  11. https://socialsci.libretexts.org/Bookshelves/Anthropology/Cultural_Anthropology/Cultural_Anthropology_%28Evans%29/13%253A_Art/13.10%253A_Dance
  12. https://www.academia.edu/41998601/The_Addaura_Cave_Dance_and_Rite_in_Mesolithic_Sicily
  13. https://danceheritage.org/dance-styles-and-history/
  14. https://www.academia.edu/3253947/Cave_dancing_in_ancient_Greece
  15. https://www.loc.gov/collections/dance-instruction-manuals-from-1490-to-1920/articles-and-essays/western-social-dance-an-overview-of-the-collection/renaissance-dance/
  16. https://jnr2.hcommons.org/2025/9041/
  17. https://rsisinternational.org/journals/ijriss/articles/african-traditional-dances-repertoire-of-african-migration-histories-common-identities-and-resistance-against-colonial-artificial-borders/
  18. https://you.stonybrook.edu/undergraduatehistoryjournal/2022/09/28/we-dont-want-your-rations-we-want-this-dance-native-american-dance-and-the-battleground-for-native-identity/
  19. https://pbt.org/community/resources-audience-members/ballet-101/brief-history-ballet/
  20. https://londonhuawiki.wpi.edu/index.php/Waltz
  21. https://doi.org/10.1093/acprof:oso/9780195390827.003.0004
  22. http://www.diaspora.illinois.edu/news0323/news0323-2.pdf
  23. https://human.libretexts.org/Sandboxes/admin/Exploring_the_Arts_%28Hall_et_al%29/01%253A_Chapters/1.19%253A__Dance_History_and_Styles
  24. https://olympics.com/en/olympic-games/paris-2024/results/breaking
  25. https://pmc.ncbi.nlm.nih.gov/articles/PMC12325215/
  26. https://newsroom.tiktok.com/en-gb/original-renegade-tiktok-dance-challenge-nominated-for-beazley-designs-of-the-year-award
  27. https://www.academia.edu/64266994/Tracing_the_Origin_of_Adavus_through_the_Kannada_Kavyas_Poetic_Works_
  28. https://www.vedadhara.com/adavu
  29. https://humankinetics.me/2019/09/19/the-popularity-of-fitness-classes-trends-and-demographics/
  30. https://www.acefitness.org/about-ace/our-efforts/blog/7765/the-evolution-of-fitness-trends/
  31. https://formula.ffc.com/fitness/info/the-evolution-of-group-fitness-classes/
  32. https://minds.wisconsin.edu/bitstream/handle/1793/92668/Mascari_uwm_0263D_13032.pdf?sequence=1&isAllowed=y
  33. https://www.britannica.com/art/Afro-Cuban-dance
  34. https://www.britannica.com/art/allemande
  35. https://www.histoiredebal.com/en/2025/01/13/the-allemande-through-centuries/
  36. https://www.jstor.org/stable/736887
  37. https://www.butterfield.com/get-inspired/brief-history-tango
  38. https://www.ultimatetango.com/blog/milonga-a-dance-that-parents-the-tango
  39. https://balletaz.org/ballet-101-a-brief-history/
  40. https://pointemagazine.com/history-of-pointe-shoes/
  41. https://pointemagazine.com/tutus/
  42. https://www.pnb.org/blog/5-reasons-why-swan-lake-is-a-ballet-classic/
  43. https://www.istd.org/discover/istd-120/istd-120-timeline/
  44. https://www.worlddancesport.org/WDSF/History/How-It-All-Started
  45. https://www.eijkhout.net/rad/dance_specific/am-intl-ballroom.html
  46. https://www.academia.edu/109107907/Situating_bhangra_dance_a_critical_introduction
  47. https://pmc.ncbi.nlm.nih.gov/articles/PMC8547397/
  48. https://www.redbull.com/us-en/history-of-breakdancing
  49. https://www.teamusa.com/news/2023/november/04/the-history-of-breaking
  50. https://www.worlddancesport.org/News/Chengdu-to-Host-Rescheduled-2024-World-Breaking-Championship-3486
  51. https://www.masterclass.com/articles/bolero-dance-guide
  52. https://www.latinballet.com/dance-history-1
  53. https://dance-pizazz.com/bolero/
  54. https://blog.dancevision.com/the-history-of-the-cha-cha
  55. https://www.imperial.dance/international-cha-cha
  56. https://www.danceinsanity.com/cha-cha/dance/
  57. https://northcarolinahistory.org/encyclopedia/clogging-north-carolinas-official-folk-dance/
  58. https://augustaartsandculture.org/how-did-clogging-come-to-the-mountains/
  59. https://www.canecreekcloggers.com/history-of-clogging.html
  60. https://marquee.tv/article/a-brief-history-of-contemporary-dance
  61. https://ailey.org/classes/techniques/graham
  62. https://www.contemporary-dance.org/graham-floor-work.html
  63. https://www.myriadmusic.net/how-does-k-pop-dance-compare-to-other-styles-of-dance/
  64. https://ononestudios.com/evolution-kpop-dance/
  65. https://www.cdss.org/elibrary/dart/introduction.htm
  66. https://contralab.org/ContraHistory.html
  67. https://www.masterclass.com/articles/contra-dancing
  68. https://sites.duke.edu/capoeiraworkshop/capoeira-history-and-culture/
  69. https://www.ebsco.com/research-starters/sports-and-leisure/capoeira
  70. https://www.abada.org/capoeira-history/
  71. https://bigappleballroom.com/blog/do-the-hustle
  72. https://www.fredastaire.com/carmel/blog/dance-history/history-of-the-hustle/
  73. https://www.smithsonianmag.com/smithsonian-institution/fifty-years-ago-this-irresistible-disco-song-and-dance-craze-swept-the-nation-and-changed-the-music-landscape-180986460/
  74. https://folkdancefootnotes.org/dance/a-real-folk-dance-what-is-it/about/dabke-debke-lebanon-palestine-syria-jordan/
  75. https://nuhaira.com/en/arab-folk-dance-exploring-vibrant-traditional-dances/
  76. https://www.baytalfann.com/post/the-art-of-dabke
  77. https://sacredartscamp.org/what-to-discover/about-the-dances-of-universal-peace
  78. https://dupna.org/
  79. https://www.dancesofuniversalpeaceaustralia.org/history-of-the-dances-of-universal
  80. https://asia-archive.si.edu/learn/for-educators/teaching-china-with-the-smithsonian/videos/dragon-dance/
  81. https://www.chinahighlights.com/travelguide/special-report/chinese-new-year/new-year-dragon-dance.htm
  82. https://www.duniyadance.com/
  83. https://www.rhythmix.org/pal-2021-22-overview/duniya-dance-drum-company/
  84. https://worlddanceheritage.org/birth-raqs-sharqi/
  85. https://blogs.scu.edu/inspire/2025/10/19/preserving-an-ancient-art-form-in-a-modern-world-the-history-and-cultural-significance-of-raqs-sharqi/
  86. https://www.earlydancecircle.co.uk/resources/dance-through-history/english-country-dance/
  87. https://www.histoiredebal.com/en/2024/12/31/longways-mode-demploi/
  88. https://colinhume.com/dehistory.htm
  89. https://www.yamralafrica.com/eskista-ethiopian-dance/
  90. http://yene-ethiopia.blogspot.com/2015/09/eskista.html
  91. https://lakewood-center.org/ohbd-behind-the-art/
  92. https://openresearch.surrey.ac.uk/view/pdfCoverPage?instCode=44SUR_INST&filePid=13140347530002346&download=true
  93. https://dalcroze.com/dalcroze-eurhythmics/
  94. https://digitalcommons.lib.uconn.edu/cgi/viewcontent.cgi?article=1925&context=vrme
  95. https://www.spanish-art.org/spanish-dance-bolero.html
  96. https://danceinhistory.com/tag/escuela-bolera/
  97. https://callehabana.es/en/10-essential-spanish-dances-to-learn/
  98. https://www.artsflamenco.org/flamenco.html
  99. https://www.flamenco-show-tickets.com/flamenco-guide/instruments-in-flamenco/
  100. https://amigoenergy.com/blog/flamenco-shows-history-music/
  101. https://www.masterclass.com/articles/foxtrot-dance-guide
  102. http://medeltiden.kalmarlansmuseum.se/en/country-life/workdays-and-holidays/music-and-dancing/farandole/
  103. https://www.humanities.org/spark/community-movement-how-the-fandango-transcends-dance/
  104. https://blogs.loc.gov/folklife/2014/09/fandango-convivial-sharing/
  105. https://www.theguardian.com/stage/2011/jul/11/freestyle-dance-moves-outfits
  106. https://ich.unesco.org/en/RL/garba-of-gujarat-01962
  107. https://www.danceus.org/style/garba-dance-in-gujarat-india/
  108. https://egyptianstreets.com/2019/08/20/from-ghawazi-to-safiyya-of-esna-and-kuchuk-hanem-the-history-of-belly-dancing-in-egypt/
  109. https://www.folkculturebh.org/en/index.php?issue=35&page=article&id=1044
  110. https://babayagamusic.com/Encyclopedic-Dictionary-Ethnic-Arts/ghawazee.htm
  111. https://interlude.hk/dance-dance-dance-the-baroque-dance-suite/
  112. https://www.earlymusicamerica.org/emag-feature/baroque-dance-for-musicians/
  113. https://www.helenhooker.co.uk/blog/2024/3/26/baroque-dance
  114. https://ictnews.org/archive/origins-of-the-grass-dance/
  115. https://www.crazycrow.com/site/native-american-grass-dancing-styles-article/
  116. https://www.southdakotamagazine.com/grass-dance-story
  117. https://ich.unesco.org/en/RL/gwoka-music-song-dance-and-cultural-practice-representative-of-guadeloupean-identity-00991
  118. https://www.lesilesdeguadeloupe.com/en/explore/culture-and-heritage/music-dance-of-guadeloupe/gwo/
  119. https://www.open.edu/openlearn/health-sports-psychology/health/sport-and-fitness/sport/what-the-haka-and-why-it-performed-rugby-matches
  120. https://scholarspace.manoa.hawaii.edu/bitstreams/075d2960-dc35-4c4d-83de-9b51586860ce/download
  121. https://www.steezy.co/posts/what-is-hip-hop-dance
  122. https://www.morethandancers.com/posts/hip-hop-101-exploring-the-origins-and-language-of-this-dynamic-dance-style
  123. https://www.rockstaracademy.com/blog/understanding-hip-hop-dance-learn-its-history-and-moves
  124. https://dancewithceech.com/hip-hop-dance-move-running-man/
  125. https://www.performingdancearts.ca/everything-know-hip-hop-dance/
  126. https://www.iemj.org/en/la-hora/
  127. https://scalar.usc.edu/works/music-in-global-america/klezmer
  128. https://www.history.com/articles/hula-hawaii-tradition
  129. https://kaimi.org/education/history-of-hula/
  130. https://www.olaproperties.com/blog/lets-talk-story/the-history-of-hula-how-hula-was-saved/
  131. https://www.outrigger.com/stories/2020/november/hula
  132. https://celticlinks.com/the-sailors-hornpipe-no2-2/
  133. https://www.efdss.org/learning/resources/beginners-guides/51-english-folk-music/2483-efdss-tune-example-hornpipes
  134. http://chrisbrady.itgo.com/dance/stepdance/hornpipe_conference.htm
  135. https://www.irishamericanmom.com/the-history-and-origins-of-irish-dance/
  136. https://digitalcommons.wku.edu/cgi/viewcontent.cgi?article=1241&context=stu_hon_theses
  137. https://www.claddaghdesign.com/blogs/irish-interest/riverdance-irish-success-story
  138. https://www.biography.com/artists/isadora-duncan
  139. https://www.thoughtco.com/isadora-duncan-biography-3528733
  140. https://www.isadoraduncan.org/about-1
  141. https://www.danceus.org/style/itik-itik-dance-in-philippines/
  142. https://www.rockstaracademy.com/blog/jazz-dance-definition-history-and-more
  143. https://dx.doi.org/10.5744/florida/9780813049298.003.0021
  144. https://human.libretexts.org/Bookshelves/Dance/So_You_Think_You_Know_Dance_-_Fundamentals_of_Dance_%28Whipp_Spears_Perlis_and_Kanamoto%29/01%253A_Sections/1.05%253A_Tap_Jazz_Musical_Theater_and_Television_and_Film
  145. https://www.ibiblio.org/fiddlers/JIG_JM.htm
  146. https://musc102.blogs.wesleyan.edu/files/2022/03/Ireland_Grove-Music-Online.pdf
  147. https://www.dynamics.org/MAUI_SWING/REVIEWS/FROM_WEB/history_b.htm
  148. https://www.libraryofdance.org/dances/swing/
  149. https://www.masterclass.com/articles/jive-dance-explained
  150. https://www.rounddancing.net/dance/figures/jive.html
  151. http://www.sahapedia.org/kathak-aesthetics-history-and-influences-0
  152. https://manoa.hawaii.edu/outreach/asiapacificdance/kathak-the-churning-of-tradition-and-creative-resurgence/
  153. https://angola.org/kizomba-roots/
  154. https://krumpinc.com/history
  155. https://chl.anu.edu.au/content-centre/article/series/k-pop-dance-seoul-world
  156. https://www.cambridge.org/core/books/cambridge-companion-to-kpop/dancing-to-kpop/9AB3666937C8369F53ABA7BE79853AC9
  157. https://ich.unesco.org/en/RL/kalbelia-folk-songs-and-dances-of-rajasthan-00340
  158. http://indianculture.gov.in/intangible-cultural-heritage/performing-arts/kalbelia-folk-songs-and-dances
  159. https://www.westonemusic.com/latest-news/2025/01/24/the-rise-of-latin-trap/
  160. https://www.en.salsainfo.org/index.php?view=article&id=52:latin-dance-music-trends-and-developments-for-summer-2025&catid=9
  161. https://www.danceus.org/style/lambada-dance-brazil/
  162. https://americanlambada.org/history-of-lambada
  163. https://www.latimes.com/archives/la-xpm-1989-11-18-ca-1308-story.html
  164. https://grizzlyrose.com/history-of-line-dancing/
  165. https://www.newforestlines.dance/history-of-line-dancing/
  166. https://electroreggae.com/2019/01/bunny-wailer-marcia-griffiths-electric-boogie/
  167. https://theswingera.co.uk/what-is-swing-dancing/
  168. https://www.lindycircle.com/history/lindy_hop/
  169. https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/interactives/drop-me-off-in-harlem/theme-and-variations/the-lindy-hop/
  170. https://www.researchgate.net/publication/336736730_Whose_dance_is_the_Lezginka_The_etymology_of_the_name_the_origin_of_the_dance_and_the_nature_of_its_choreography
  171. https://julianwilliams.com/lezginka-dancers/
  172. https://www.academia.edu/127062475/Historical_Development_of_Caucasian_Dances_in_Turkey_G%25C3%25BCrb%25C3%25BCz_Akta%25C5%259F_M_Tekin_Ko%25C3%25A7kar_2005
  173. https://omahaschoolofmusicanddance.com/our-blog/what-is-lyrical-dance-an-emotion-and-technique-fusion/
  174. https://www.instituteofdanceartistry.com/the-evolution-of-lyrical-dance-from-ballet-to-contemporary-fusion/
  175. https://www.carolinadancecenter.com/jazz-contemporary-lyrical
  176. https://jazzaspensnowmass.org/jas-cafe-corner-the-history-of-mambo/
  177. https://ballroom.union.rpi.edu/dances
  178. https://www.carnegiehall.org/Explore/Articles/2024/10/09/Latin-Music-Genres
  179. https://www.tvhs.org/post/the-celebration-of-may-day
  180. https://libcom.org/features/mayday/history.htm
  181. https://folkways.si.edu/joaquin-diaz/merengue-alegre/world/music/album/smithsonian
  182. https://natddp.org/merengue/
  183. https://arts.princeton.edu/courses/special-topics-in-dance-history-criticism-and-aesthetics-moving-modernisms-copy/
  184. https://webdesign.hope.edu/projects/C/1/dancehistory.html
  185. https://human.libretexts.org/Bookshelves/Dance/So_You_Think_You_Know_Dance_-_Fundamentals_of_Dance_%28Whipp_Spears_Perlis_and_Kanamoto%29/01%253A_Sections/1.04%253A_Modern_Dance
  186. https://open-morris.org/morris-dancing/
  187. https://www.cdss.org/elibrary/dommett/volumes6-10/vol7/DommettMorrisNotesVol7.pdf
  188. https://themorrisring.org/publications/morris-tradition
  189. https://artsci.washington.edu/news/2006-03/pow-wow-primer
  190. https://centerofthewest.org/explore/plains-indians/powwow-dances/
  191. https://www.eou.edu/powwow/etiquette/
  192. https://afe.easia.columbia.edu/special/japan_1000ce_noh.htm
  193. https://www.nationalgeographic.com/travel/article/japanese-theater-noh-kabuki
  194. https://ich.unesco.org/en/RL/gule-wamkulu-00142
  195. https://mysafari.org/field-notes/f/great-dance-of-the-chewa-people
  196. https://www.libraryofdance.org/dances/nightclub/
  197. https://repository.library.northeastern.edu/files/neu:bz60mb49h/fulltext.pdf
  198. https://www.wisdomlib.org/hinduism/essay/gati-in-theory-and-practice/d/doc1150328.html
  199. http://www.sahapedia.org/brief-history-odissi-dance
  200. https://balladofamerica.org/southern-square-dance/
  201. https://cdss.org/wp-content/uploads/resources/Be-Square-Calling-Handbook-a-southern-subset.pdf
  202. https://scholars.unh.edu/cgi/viewcontent.cgi?article=1065&context=american_squares
  203. https://archive.org/download/landofveiledwome00frasuoft/landofveiledwome00frasuoft.pdf
  204. https://www.bbc.com/news/technology-20483087
  205. https://globalyouth.wharton.upenn.edu/articles/business/invisible-horse-dance-the-business-of-gangnam-style/
  206. https://www.masterclass.com/articles/paso-doble-dance-explained
  207. https://delta.dance/2015/01/paso-doble-spanish-dance-france/
  208. https://polishmusic.usc.edu/research/dances/polka/
  209. https://www.masterclass.com/articles/polka-dance-guide
  210. https://danceinnj.com/polka-dance-history-and-legacy/
  211. https://www.steezy.co/posts/what-is-popping-dance
  212. https://www.everydaypopping.com/blog/a-comprehensive-guide-to-popping
  213. https://www.nationalgeographic.com/history/article/the-surprising-history-of-hawaiis-hula-tradition
  214. https://www.gohawaii.com/hawaiian-culture/hula
  215. https://tahitidanceonline.com/aparima/
  216. https://www.decibel-danse.com/en/advice/tahiti-danse/
  217. https://www.thailandfoundation.or.th/culture_heritage/khon-the-crown-jewel-of-thai-performance-arts/
  218. https://ich.unesco.org/en/RL/khon-masked-dance-drama-in-thailand-01385
  219. https://dance-pizazz.com/quick-step/
  220. https://www.aboriginal-art-australia.com/aboriginal-art-library/aboriginal-ceremonial-dancing/
  221. https://squaredancehistory.org/items/show/1663
  222. https://www.familysearch.org/en/blog/quinceanera-traditions
  223. https://www.smithsonianmag.com/travel/rumba-brief-history-slavery-cuba-music-dance-cultural-travel-180960934/
  224. https://www.masterclass.com/articles/rumba-dance-guide
  225. https://rscds.org/learn/music-resources/types-tunes/reels
  226. https://www.nytimes.com/2020/02/13/style/the-original-renegade.html
  227. https://news.itmo.ru/en/features/5_things/news/12719/
  228. https://repository.library.northeastern.edu/files/neu:1462/fulltext.pdf
  229. https://calhum.org/wp-content/uploads/2018/04/FSU_SOF_booklet_low-res.pdf
  230. https://www.smoothradio.com/artists/michael-jackson/michael-jackson-robot-dance-dancing-machine/
  231. https://www.salsagente.com/history-of-salsa-music-dance/
  232. https://www.jjlatindancers.com/salsa-history
  233. https://salsabortropical.com/the-clave-theory
  234. https://sophiainsapphire.com/types-of-salsa-dance/
  235. https://www.drumsforschools.com/resources/blog/the-cultural-history-of-brazilian-samba-music/
  236. https://www.masterclass.com/articles/guide-to-samba-music
  237. https://afropop.org/samba-stories/7-carnaval.html
  238. https://scotsnewengland.org/dance-scottish-with-the-royal-scottish-country-dance-society-2/
  239. https://rscds.org/learn/music-resources/types-tunes/strathspeys
  240. https://ncstate.pressbooks.pub/socialdance/chapter/195/
  241. http://users.erols.com/crhutch/toowcs.html
  242. http://www.shira.net/culture/dervishes-mevlevi.htm
  243. https://whirling-dervishes.istanbul/
  244. https://www.ancient-origins.net/history/whirling-dervish-dance-002943
  245. https://dc.etsu.edu/cgi/viewcontent.cgi?article=1791&context=honors
  246. https://digitalcommons.wku.edu/cgi/viewcontent.cgi?article=1657&context=stu_hon_theses
  247. https://repositories.lib.utexas.edu/bitstreams/8d19594f-e6d8-4f7d-843e-e1bf1cf4bae8/download
  248. https://library.oapen.org/bitstream/handle/20.500.12657/30257/648160.pdf?sequence=1&isAllowed=y
  249. https://pure.qub.ac.uk/files/221840844/The_Movement_of_Argentine_Tango.pdf
  250. https://www.theguardian.com/world/2016/oct/22/melingo-argentina-rediscovers-tango
  251. https://iamla.org/docs/IAMLA_TarantellaLesson.pdf
  252. https://www.cambridge.org/core/services/aop-cambridge-core/content/view/E48236CE504359115D4450E9DF454F20/S0025727300052054a.pdf/tarantism.pdf
  253. https://thailandfoundation.or.th/lakhon-thai-classical-dramatic-theater/
  254. https://scholarship.tricolib.brynmawr.edu/server/api/core/bitstreams/8b1d8d93-3770-42a2-b551-77c2fbd77010/content
  255. https://digitalcommons.lesley.edu/cgi/viewcontent.cgi?article=1511&context=expressive_theses
  256. https://www.billboard.com/lists/line-dance-songs-country-best/
  257. https://www.liveabout.com/line-dancing-basics-1007387
  258. https://theconversation.com/ghetto-kids-whats-behind-the-moves-of-the-ugandan-dance-troupe-that-stormed-the-world-204130
  259. https://www.euronews.com/culture/2022/10/31/meet-the-young-ugandan-dance-group-taking-the-world-by-storm
  260. https://nation.africa/kenya/life-and-style/showbiz/uganda-s-ghetto-kids-a-step-away-from-making-history--4255346
  261. https://www.musictheoryacademy.com/compositions/waltz/
  262. https://www.movewithmedance.com/viennese-waltz
  263. https://www.dance-pizazz.com/viennese-waltz/
  264. https://nmaahc.si.edu/explore/stories/brief-history-voguing
  265. https://www.libraryofdance.org/dances/veleta/
  266. https://www.libraryofdance.org/dances/early-sequence/
  267. https://vfmc.org.au/interesting/OldTimePt1.pdf
  268. https://www.anthroencyclopedia.com/entry/haitian-vodou
  269. https://jashm.press.uillinois.edu/8.3/8-3Symbolism_Martin93-119.pdf
  270. https://www.learnreligions.com/vodou-veves-4123236
  271. https://villa-albertine.org/va/professionals/dancing-metaverse/
  272. https://beatsaber.com/
  273. https://www.pbs.org/video/i-went-clubbing-in-virtual-reality-raves-of-the-metaverse-zryfsq/
  274. https://www.blueheeldance.com/post/a-waltz-through-time
  275. https://ballroomdanceinnyc.com/the-history-of-the-waltz-dance/
  276. https://www.theknot.com/content/hora-dance
  277. https://socialdance.stanford.edu/syllabi/westcoast.htm
  278. https://face2faceafrica.com/article/a-look-at-indlamu-the-famous-zulu-war-dance
  279. https://socalfolkdance.org/articles/xaxado.htm
  280. https://www.danceus.org/style/xibelani-dance-in-south-africa/
  281. https://sahistory.org.za/article/nguni-stick-fighting
  282. https://acjol.org/index.php/aksuja/article/download/6186/5996
  283. https://africa.ufl.edu/ede-yan-the-language-of-yan-in-yoruba-art-and-ritual-of-egungun/
  284. https://ernie.uva.nl/viewer.p/21/56/object/122-160407
  285. https://socalfolkdance.org/articles/inner_joy_of_yugoslav_dancing_oakes.htm
  286. https://deepjapan.org/naruko-yosakoi-kochi-prefecture/
  287. https://japan-forward.com/yosakoi-its-the-universal-dance-from-kochi-prefecture/
  288. https://matcha-jp.com/en/11219
  289. https://www.britannica.com/topic/Y-M-C-A-song
  290. https://blogs.loc.gov/now-see-hear/2021/06/happy-pride-how-y-m-c-a-became-a-gay-anthem/
  291. https://dancetimepublications.com/resources/social-dance-timeline/1960s-twist-mod-psychedelic/
  292. https://www.vogue.com/article/1960s-fashion-history-lesson
  293. https://pmc.ncbi.nlm.nih.gov/articles/PMC3737860/
  294. https://guides.loc.gov/hispanic-americans-in-business/biography/entrepreneurs
  295. https://www.danceus.org/style/indlamu-dance-in-south-africa/
  296. https://www.researchgate.net/publication/369334819_Indlamu_An_Image_of_Zulu_Upper-class_Culture_of_the_Past
  297. https://pmc.ncbi.nlm.nih.gov/articles/PMC7999826/
  298. https://scholarworks.utrgv.edu/cgi/viewcontent.cgi?article=1429&context=leg_etd
  299. https://www.cambridge.org/core/books/cambridge-companion-to-sufism/early-period/7F7FB8ED3B3C6BD3A4598141D02966EC
  300. https://www.siasat.pk/threads/chechen-sufi-hadra.281302/
  301. https://www.wired.com/story/tik-tok-dances/
  302. https://www.nytimes.com/2020/12/31/style/tiktok-trends-2020.html
  303. https://www.bloomberg.com/news/articles/2025-08-11/tiktok-trends-are-driving-random-consumer-spending-spikes
Add your contribution
Related Hubs
Contribute something
User Avatar
No comments yet.