Please Charleston Quietly


by Joy Burgess - Date: 2007-04-14 - Word Count: 853 Share This!

"Please Charleston Quietly." This was the sign found in many American ballrooms during the early 1920's, at least in those that allowed the dance at all. Started in the Cape Verde Islands, then carried on by Negro workers in the Port of Charleston, the dancing style became popular in society after its' inclusion in the sate show, "Running Wild," by the Ziegfeld Follies. The Charleston's signature wild swinging arms, quick sidekicks, and breakneck tempo became a hit with America's youth, while outraging much of society, which prompted many ballrooms to ban it. In an attempt to compromise, some ballrooms incorporated signs asking dances to "Charleston Quietly." While one might wonder if it is actually possible to "Charleston Quietly," the greater and more important question arises: Can dance survive quietly and devoid of the passion that comprises its' very soul?

Throughout the history of dance there have been times when society's propriety attempted to steal the passion from dance. Many dances at one time or another have been banned, some by monarchs and others by religious bodies. The 1800's found the sweeping steps of the Waltz banned by the Church in parts of Germany, and by the Church and State in England. During that time period the Waltz stood for freedom of expression and movement. Its' steps set its own boundaries. These mindsets, along with the tight, intertwined closed holds, which were labeled lewd and indecent, brought about the temporary ban of the Waltz.

Highland Dancing, which originated in Scotland, is recognized as one of the most cultivated and intricate forms of national dancing. Of military origin its' dances performed solely on the balls of the feet are athletic, powerful, and strong. Some of these dances were joyful dances of victory, while others spoke of upcoming war. These national dances too found themselves part of cultural and social suppression. In 1746 the Act of Proscription was passed by the English, banning the wearing of the kilt, the playing of bagpipes, and even social gatherings of the people, including the Highland Games, where the dances were often performed. These bans took away the dress, the music, and the places for their dances, and although 40 years went by when these dances were not to take place, the hearts of the Scottish people danced on. At the end of the bans they danced the Seann Tribhas, which means "old trousers," in celebration and defiance. They again could wear their kilts, play their pipes, and dance their dances.

Full of eroticism and heat, sensual and feverish, is the Tango. A dance of the working calls, originating in Argentina, it was quickly banned. However, the bans could not keep the style from spreading. The dance style trickled through until it became popular among the upper class in Argentina, spreading on to Europe, where again it met with disapproval and bans due to its' supposed blatant promiscuity. Dance halls and dance schools in America banned it, and others attempted to tone down the sexuality of the dances to make it socially acceptable.

The ban of all four styles of dance, the Charleston, the Waltz, Highland Dance, and the Tango, were attempts by society to steal the soul of dance, and corral it into a box of strict performance. The passion, intensity, and ideology behind the dances were the parts that they were attempting to quell. However, society could not contain the power of passion found deep within the dances. The artistic, bodily expressions of emotion could not be relegated to mere robotic, bland performance.

Performance and passion, two unique yet inseparable components of dancing, are essential whether performing Swan Lake, the Waltz, the Tango, the Cha Cha, Highland Dances, or Hip Hop. Countless times dancers participating in competitions have heard judges comment on the flawless performance and technique, yet the passion, expression, and feeling is found wanting. Sylvie Guillem said, "Technical perfection is insufficient. It is an orphan without the true soul of the dancer." The passion is the very breath of the dance. Churches could attempt to ban the performance of the dance, but could never succeed in sequestering the passion behind the dance. Governments brought about social and cultural suppression, attacking the dances of the people, but could never legislate away the spirit of the dance that lay in the heart of the people. On the outside, their feet may have been stilled, but on the inside they were still dancing.

Despite attempts to harness the passion of dancing, there have always been those that refused to compromise the passion. Some, instead of obeying the signs "please Charleston Quietly," have perhaps danced a little harder, and a little louder. Instead of the cooling the heat, they have stoked the fire a bit higher, until all found to be extraneous was consumed. Even today many dances will come to a point where they are asked to appease society, to trade their passion for approval, in essence, asked to "Please Charleston Quietly." For the sake of all humankind I hope they dance a little harder, a little louder, with more abandon, and deeper feeling, their movements shouting a resounding "NO! We will not 'Charleston Quietly.'"


Related Tags: tango, dance, waltz, highland dancing, the charleston, dance performance, dance history

Joy is a successful freelance writer, writing in various genres. You can check out her website at http://www.mysteriousmusings.com

Joy runs her own business, MysteriousMusings, which offers web content, SEO articles, magazine articles, poetry, fiction, press releases, copywriting, and writing for special occasions.

Feel free to email for more information or with any questions: joy@mysteriousmusings.com

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