Witches and devils dancing in a circle (1720)
Although some trendy vicars and heretical hymn writers may pretend that Jesus is the Lord of the Dance [1], we all know that, historically, dance has long been problematic within Christianity.
Indeed, numerous records exist of prohibitions issued by Church leaders, usually on the grounds that dance, as a physical (non-spiritual) activity, is associated with paganism and/or promiscuity; the sort of sensual and sinful practice that witches engage in accompanied by devils (see the woodcut image above).
Unsurprisingly therefore, 17th-century Puritans in England and New England who believed it was their duty to enforce moral standards and who opposed drunkenness, gambling, blood sports, and extra-marital sexual relations, also vehemently opposed dancing - particularly around a Maypole or a Christmas tree.
At best they thought dancing to be a frivolous distraction from the serious business of worshipping God and at worst a dangerous form of immoralism in and of itself [2] - which, arguably, it is; or, let us say rather, it's an activity that has always been controversial at some level and often invited misunderstanding and disapproval (even harsh penalties and punishments).
For the fact is, the way that men and women move and shake their bodies to music has always had the potential to challenge the conventions of the day, thereby concerning the authorities and scandalising the more conservative members of what we used to term polite society.
Thus, when Miley Cyrus (and Robin Thicke) sparked media outrage with a routine in 2013 which showcased twerking (see below), this was merely the latest dance to set tongues (and fingers) wagging. Earlier dances which were seen to threaten social conventions of gender, race, and/or class include:
La Volta [click here]
La volta is a dance for couples that was popular during the later Renaissance period. Associated with the galliard, it was performed to the same kind of music. La volta was considered to be risqué in the royal courts of England and France, as it required close bodily contact between the sexes and was very much in contrast to the slow, stately routines usually performed at court:
"In the dance, the man pushes the woman forwards with his thigh, one hand
grasping her waist and the other below her corseted bodice as she leaps
into the air. Opponents thought this quick, energetic dance to be
immodest and even dangerous for women, fearing it could cause
miscarriages." [3]
The Waltz [click here]
In the early 19th-century a new dance craze took off in Britain - the waltz.
Performed face to face, with the man holding his female partner tight in his arms as they whirled rapidly and shamelessly around the floor, it caused quite a stir and even though Queen Victoria danced the waltz it was in the minds of many critics associated with lewd behaviour, including Lord Byron who wrote a satirical poem about the dance, in 1812, which is suprisingly censorious considering the mad, bad, and dangerous reputation of the author [4].
The Cancan [click here]
In the late 1820s working class Parisians began dancing an improvised quadrille by kicking their legs in the air ... Et voilà! the cancan
was born - much to the outrage of middle-class citizens who thought it lacked both decency and dignity (as did members of the English press, when it was introduced to London audiences in 1868).
An energetic, physically demanding dance that became popular in the music-halls of the 1840s, it is now almost exclusively associated with a chorus line of showgirls lifting their skirts and petticoats and performing high kicks, splits, and cartwheels.
The Tango [click here]
Even though in the Edwardian era social conventions were gradually beginning to relax, a new dance - the tango - was to test boundaries of what was and was not acceptable behaviour to their limit.
The tango arrived in Britain (via France) around 1913, although its roots lie in the ports of Buenos Aires. Lurid descriptions soon apeared in the press, where it was condemened as a dance only fit for prostitutes and their pimps to perform. Unfortunately, this only excited the attention of young dancers keen to scandalise their elders.
Its reliance on sexy Latin rhythyms and the fact that the tango also allowed for individual interpretation only added to its popularity.
The Charleston [click here]
The Charleston emerged in the so-called Jazz Age (aka the Roaring Twenties) in the USA, allowing young women - known as flappers - to express themselves on the dance floor for the first time without having to follow the lead of a male partner.
It had evolved from the music and dances of African-Americans living in South Carolina and marked the beginning of what would become a crucial feature of popular culture in the 20th-century; i.e., black influence on white arts and entertainments.
As with the other dances we have mentioned above, thanks to its fancy footwork the Charleston was considered by all the usual suspects - parents, teachers, church leaders, etc. - as immoral and provocative.
The Jitterbug [click here]
First popular in the US in the 1930s, American soldiers exported the jitterbug to Britain during World War Two.
Like the Charleston, it was based on an earlier African-American dance (the lindy hop). Again, concerns were voiced for both the physical and moral well-being of those who jitterbugged to the new sound of swing music (and, later, in the '50s, rock 'n' roll).
With its underwear exposing lifts, twists, and other improvided moves, the jitterbug left the English ballroom dancer Alex Moore spluttering in his tea, calling it disgusting and degrading (although he eventually allowed a sanitised version - known as the jive - into the ballroom repertoire).
The Twist [click here]
Before the 1960s really began to swing, they twisted thanks to Chubby Checker and other rock 'n' rollers. Whilst dancers barely move their feet (and hardly touch one another), they sway their upper bodies back and forward whilst twisting their hips and shoulders and making odd mechanical movements with their arms.
Despite the usual controversies and medical concerns, the twist was a worldwide dance craze which inspired many other dances (including the jerk, the mashed potato, and the funky chicken).
The Lambada [click here]
Originally banned by the Brazillian president when it emerged in the 1930s, because he was shocked by its immorality, the lambada didn't really take off in a big way outside of South America until the late 1980s (largely due to the huge hit single released by the French group Kaoma in the summer of 1989) [5].
Just as once the tango had scandalised by bringing couples closer than the waltz, the lambada also shocked some by insisting that hips were pressed together as dancers performed a series of spinning steps.
Twerking [click here]
Finally, let us return to twerking - another dance which is to a large extent all about hip action (and booty shaking). It is summarised thus on a BBC website:
"Originating in West African dance moves, twerking is believed to have arrived in the USA via Jamaican dancehalls. The dance was mostly performed in the African-American community but former child star Miley Cyrus's performance at the MTV Video Music Awards (2013) pushed it into the mainstream. She caused a social media meltdown. Her performance divided opinion, raising many questions on sexual exploitation, cultural appropriation by white artists, as well as artistic freedom and feminism." [6]
I have to admit, this is a dance that seems almost designed to bring out the inner Puritan; one that might make even the Devil himself look away ... Make up your own mind by clicking on the link above.
Notes
[1] See the recent post on Sydney Carter: click here.
[2] To be fair, the Puritans only banned mixed dancing (i.e., dancing which involved close physical contact between both sexes) - something described by Cotton Mather as promiscuous dancing - because it was thought this would lead to fornication. Folk dance that did not involve such intimate contact between men and women was considered acceptable.
It is also worth noting that conservative Islamic and orthodox Jewish traditions still prohibit contact between the sexes in public and thus in these societies men and women either dance separately or not at all.
[3] See 'Dirty dances: A timeline of the moves that shocked' (BBC Teach): click here.
Readers should note that a lot of the following information in this post concerning dances that have scandalised was adapted from this site.
[4] It has been suggested that Byron disliked most forms of dancing due to a physical malformation affecting his right foot that made such activity almost impossible; he could walk, ride, swim, and even run with difficulty, but he couldn't dance. On the other hand, Byron was a strange mix of conservative and radical - said to be prudish even in his libertinism - so his dislike of the waltz may have had nothing to do with his disability. Readers who are interested can read Byron's poem here.
[5] 'Lambada', by Kaoma, was released as a single from the album World Beat, (CBS Records, 1989). It featured guest vocals by Brazilian vocalist Loalwa Braz and sold more than 5 million copies worldwide in the year of its release. The accompanying music video featured the Brazilian child dance duo Chico & Roberta. Just don't mention the lawsuits ...
[6] 'Dirty dances: A timeline of the moves that shocked' (BBC Teach): click here.
