Dear Readers,

My article in the April, 2000 issue of Premier Dance & Entertainment magazine discussed the differences between Salsa, Mambo and International Rumba.  The article reached all the way to Hawaii and also attracted an eMail comment from a person who danced at the Palladium in New York.  The editor of a dance publication in Hawaii, called “Dancing in the Dark,” contacted me by a letter that read :

“ Hope this finds everyone over there in the best of health.  I have just read your article in the April issue of Premier Dance and Entertainment, on the Mambo, Salsa and International Rumba.  The best clarifying explanation I have seen yet.  And I have seen quite a few of your remarks that I would like to quote now and then.

“I would like to reprint the article in my publication.”

Signed, Jose’ Martel A. 

Needless to say I was flattered, and a little surprised that the magazine reaches that far.  Of course, I quickly wrote back with my permission to use the article and quote me whenever he saw fit.

I received an eMail from another person which read :

“I read your article in this month’s Premier magazine and was pleased to see that you acknowledge Mambo and ‘Salsa’ to be the same.  I’m one of those purists who refuse to dance with partners breaking on ‘one,’ which means I don’t get to dance at all anymore.  I started in 1949 in San Francisco, later moving to New York, where I was a regular at the Palladium for more than 10 years.  You say Mambo purists break on ‘two,’ and apparently Palladium dancers started doing that in the later years (before it closed around 1962).  But I am 100% certain that in the early 50’s, everyone broke on ‘four,’ which I still consider the only proper way (although ‘two’ is a lesser evil).  I remember the Palladium dance floor bouncing on the four beat, because everyone was hitting there…not on ‘two’ and certainly not on ‘one.’

“I’ve heard of you and passed ‘Satin & Latin’ many times, but we’ve never met.  What’s your background?”

I sent him back my resume and credentials and invited him to the studio because now I was curious.  I tried to dance Salsa breaking on the “four” and it was next to impossible, plus the music is not written backwards….4-3-2-1.  At any rate I want to see him dance breaking on the “four” beat.  Maybe we can start something new.  We joke all of the time about things that are so old they are now new.

Okay, back to business.  Last month I told readers we would discuss the difference between American and International Foxtrot.  So here goes :

The biggest difference between International and American Foxtrot is that International is danced in a closed position and American goes from a closed to an open position.  The footwork is identical, although there is always an exception to the rule.  International is danced in a strict tempo while American can be danced to strict tempo or to music that is more interpretive.  Interpretive meaning that the dancers dance more to the sound changes in the music rather than a strict tempo.  This allows for more creative movements and styling and adds variety to the dance, although my personal favorite is International Foxtrot. 

International Foxtrot requires a tremendous amount of discipline, to be able to dance to the beat value of each note rather than just dancing on time.  American Style allows theater arts moves and other embellishments that are not allowed in International Foxtrot.  Here is an example of identical steps that have different names, which of course adds to the confusion for dancers :

…and the list goes on and on.

The important thing in either International or American Style Foxtrot is that there is rise, no foot rise.  Otherwise you’re doing Waltz to Foxtrot music.  Many times I watch dancers dancing Foxtrot more for speed rather than the slow, flowing elegance that is required of true Foxtrot styling.  The reason it is called slow Foxtrot is because it is supposed to be danced with slow and fluid movements.  Very rarely do I see Foxtrot danced the way it was meant to be danced.  Yes, it is more difficult to dance slow, fluid movements, but judges in competition look for just that styling.  The dancers that can accomplish the discipline and control of their feet and body so that they move as if they are floating on air gracefully using the full beat value of each note, will place first every time. 

Now, for those of you who have no intention of dancing Ballroom competition, remember, Ballroom technique and styling has evolved over countless years of mastery of the greatest of dancers.  Those techniques are not only for competition dancing.  Social dancers that develop these skills will look better on the floor, dance more comfortably, develop lead and follow skills that will make them a joy to dance with. 

Fred and Ginger and most of Gene Kelly’s dance routines are excellent examples of American or Theater Arts Style Foxtrot.  I learned International Foxtrot from two of the best Ballroom dancers in the world, Bill & Bobby Irvin.  They taught me for many years and were reigning world champions at the time.  They retired undefeated after winning the world championships for 13 consecutive years.  Bill said Foxtrot was my best dance followed closely by Tango.  When I was competing, those two dances were also my highest scoring dances.  I always placed first in Foxtrot and Tango…maybe it is because I love those two dances most.