Part Two: The Grizzly Bear (Dancing in the 1910s)

This is part two of a series of articles charting highlights of partner dancing in the twentieth century. It was originally commissioned and published by Vintage Life Magazine, November 2015* with a new article following each month for each subsequent decade.

As the Twentieth Century continued, so did the proliferation of more improvised partner dancing. Perhaps the most bizarre of all the dances of this era was “The Grizzly Bear”. Botsford and Berlin’s 1910 instructional song of the same name sparked a dance craze. Hugely popular in it’s day it did not survive the test of time, and is only mimicked in nostalgic or whimsical performance settings these days. Dances established in this decade that are still celebrated today include the less well known Peabody, Ballroom stalwart the Foxtrot and the ever über-cool Tango.

As we discovered last month, in certain ‘Society’ circles there was a desire to throw off the constraints of the Waltz, and embrace more improvised elements as found in Ragtime music. As Morgan Howland states on his blog covering Twentieth Century dance crazes: “The new American dancing fads brought popular culture away from the Victorian age ideals of perpetual toil, work and duty”.

Modern Dancing manual, 1914.

Notable happenings during this decade were: Irving Berlin scoring his first major hit with 'Alexander's Ragtime Band' in 1911, The "Unsinkable" Queen of the Ocean, Titanic sailing on its ill-fated voyage (Liverpool - New York) in 1912, and, for dancers, the best-selling book ‘Modern Dancing’ appearing in 1914. Still in print, written by dancing couple Vernon and Irene Castle, this provided a comprehensive and approachable guide to the partner dancing of the day.

Also, unforgettably, The Great War (1914-1918), which brought with it massive social change. As communities coped with the departure of so many men, women were required to step into many varied roles to keep the country moving. Taking up manufacturing and driving roles, becoming bus conductors - previously unthinkable for ladies! The War Effort necessitated thrift, industry, collective responsibility - a “Home Front”. The Women’s Institute was founded in Britain in 1915.

In Victor Sylvester’s book 'Modern Ballroom Dancing' (published in 1927) he explains: "When war came, the most popular form of relaxation for the men on leave was a dance”. Hardly surprising, given that it provided welcome human contact and distraction from their experiences in war. The Foxtrot was also supremely accessible. The men were required to begin with a slow walk - more or less marching, one step every other beat; and then progress, once ready, into a ‘trot’ or run, one step each beat.

‘Animal-inspired’ dances such as the Bunny Hop, Bunny Hug and Camel Walk were taken up by Ragtime dancers in the USA during this era. The Camel Walk has remained on the fringes of solo dancing ever since, finding a place within Disco many decades later, and it has been enduringly popular with Blues and Jazz dancers.

Dance Superstars Vernon & Irene Castle

The Tango grew in popularity in Paris from 1911 and soon became a sensation in American and British dance halls. Some social commentators predicted that The Great War would put pay to the Tango. How wrong they were, Tango is perhaps the most recognisable of all partner dances to this day, both to the initiated and the uneducated eye.

Though the origins of the name ‘Foxtrot’ are disputed - the dance is said to have made its breakthrough in 1914, propagated most notably by the aforementioned Castles. The 1914 musical “Watch Your Step” starred the couple, showcased the Foxtrot and was also Irving Berlin’s debut musical score. It is undoubtedly one of the key dance legacies of this decade.

The delightfully quaint events we now know as ‘tea dances’ also began to take shape during this decade. Imagine a time when dancers were required to remain nine inches apart, and if found dancing too close, could be ‘ejected’ from the dancehall. It is no understatement to say that much of partner dancing - done for purely hedonistic reasons - was frowned upon by those upholding traditional values. As with each generation, there are those that challenge the status quo with free spirited expression. Here were young, un-chaperoned single women, in mixed company, 'acting out' songs like “snug up close to your lady” with different male dance partners during one evening. Quite a departure from traditional, restrained conduct!

The National War Savings Committee issued the following warning in 1915:

“To dress extravagantly in wartime is worse than bad form, it is unpatriotic”.

World War One Centenary event, 2014.

Stepping back 100 years

Fabric shortages met propriety and a compromise was sought. However, the precedent had been set and fashions allowed for ankles to be shown even once fabric was not so restricted. Men would still be seen in tail coats - as they are to this day for performance and competition Ballroom dancing. To the right you'll see myself and my good friend, Mersey Swing dancer and noted First World War historian Dr Paul Knight at a commemorative event in 2014. On the left, Martin Smith, also from Mersey Swing with myself and dancers from Manchester University Ballroom Dance Society. We took people through their ballroom basics - and of course The Grizzly Bear - during the World War One Centenary event, August 2014.

Next month: The 1920s.

Part four: The 1930's & Big Apple

Fred  & Ginger in Swingtime (1936)

The newly constructed and delightfully Art Deco Empire State and Chrysler Buildings lit up the New York City skyline just as The Great Depression was about to take hold. It was the 1930s and many were beginning to ask ‘brother, can you spare a dime?’ 

Thanks to AllPosters.com

As before, when hard times arrived, people hit the dancefloor to forget their troubles. Silver screen dance icons Fred Astaire & Ginger Rogers popularised Tap dancing and Ballroom amongst cinema goers worldwide, their enduring finesse delighting audiences. Their last film of the decade celebrated ballroom superstars of the Edwardian era: Vernon & Irene Castle.

courtesy of  memorylane.org.uk

In the UK, Ballroom dancers were being treated to sumptuous live music. Numerous London hotels held regular dance band nights. Notable bandleaders to search out and listen for include Bert Ambrose, Jack Hylton and Ray Noble. Al Bowlly’s recordings of songs such as Love is the Sweetest Thing and The Very Thought Of You also epitomised the British sound. Al Bowlly delivered the lines in a new approach; rather than vocal gymnastics sometimes employed by jazz vocalists, he was known for singing in a soft, low voice. This style of soothing, sentimental singing would heighten in popularity during wartime. We know this is as ‘crooning’.

Hear the words ‘The Big Apple’ and you’ll probably soon think of New York City. But did you know The Big Apple was also the name of a dance craze that swept the USA in the 1930s? The Big Apple was the name of an African American nightclub in Columbia, South Carolina. The story goes that three young white teenagers attended the club and saw group of dancers, in the centre of the dancefloor, doing jazz steps in sync.

Picture a barn dance but people dancing solo, in a circle, ‘hokey cokey’ style, and cross it with fast, live big band swing music. What have you got? The Big Apple! These teenagers told their friends, who told their friends, and soon, the dance now known as The Big Apple had crossed over into popular white culture. African Americans had known how cool this was for years but it was in 1937 that the dance was featured in Life Magazine and President Roosevelt himself saw it being danced by his family. It would also feature in many Hollywood movies. 

The routine immortalised in the 1939 film Keep Punchin (footage above) is the one reprised by swing dancers today. Back then the steps would continually change, improvisation being an inherent feature of dances of the jazz age and swing era. Another essential group activity in swing scenes globally is the ‘jam circle’. The dancers form a circle and clap (on the 2 and the 4) and those brave enough go into the middle and strut their stuff. Best practice when starting at this is: spend 1 or 2 bars of music to establish your place in the centre, 2 to 4 bars to showcase your killer move(s) and then begin your awesome exit!When the big bands slowed things down, the dancers reacted accordingly, and used their Ballroom dance skills to create a style called ‘Ballroomin’. According to livinghistorydance.com, Ballroomin’ Blues was ‘characterised by traveling (across the dancefloor)...(doing) large moves and fancy turns’. Imagine dancing a fast Charleston to a slow piece of music… Doesn’t quite work, does it? Ballroomin’ suited slow jazz, and is still alive and well at Swing and Traditional Blues events when the bands play slower numbers.

These days the term ‘Swing Dancing’ tends to be an umbrella term for dances done to swing music. However, back in the 1930s, Swing was actually a form of dance that teenagers on the west coast did. They did the Charleston steps they knew but added syncopation and flexibility to match the more ‘swung’ rhythms as increasingly played by the dance bands. It developed at the same time in history to practically the same soundtrack, but was distinct from Lindy Hop that we featured last month. 

The adult Bal dancers tended to keep together in a closer, chest to chest connection - not least because the crowded ballrooms effectively restricted dancers to on the spot shuffle steps. The Balboa Rendezvous Ballroom packed in 5000 dancers! 

Courtesy of balboarendezvous.com

Dancers would get dressed in their finest suits and dresses - the ladies showing off shapely calves with fancy frocks and high heels. Dance-off style cash prize competitions sprang up across the entire LA & Orange County areas. In addition to the dances mentioned so far, Collegiate Shag would also make appearances during this decade. 

As the 1930s drew to a close, economic woes were being compounded by the impending world war. The sumptuous outfits and excesses of the Jazz Age would go out of favour and it would soon be time to ‘make do and mend’.

Next month: The 1940s


Velody uses her extensive knowledge about dance to help you maximise your comfort and fun on the dancefloor. Find out more and listen to her swingin’ album at www.velody.co.uk