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Dimitri Petrides
Dimitri Petrides  (Cyprus, August 1912 – Blackpool, 1985) was a ballroom dancer who help to develop Latin American dancing in England. He moved to England when he was eighteen with his mother after the death of his father, a doctor. He was one of the founding members of the Latin-American Faculty of the Imperial Society of Teachers of Dancing, and wrote one of the first text-books on the subject. He was a Fellow and Examiner of the ISTD.

Dimitri was also an adept linguist speaking Greek, English, French and Italian, so much so that, during World War II he worked as a translator on an prisoner of War Camp for Italian Prisoners of War. After the war, in a Jewellery shop buying awards for a competition he met Nina Hunt who convinced him to teach her to dance. Nina and he were later married and they had a son, Ian.

Latin dance in England
The Latin rhythms that make Latin American dance popular today were first brought to this country in the early 1930s. It was a Frenchman who had come to Britain as a young man, known professionally as Monsieur Pierre, (Pierre Jean Phillipe Zurcher-Margolle, Toulon, France, circa 1895 – London, 1963), who introduced this style to the English dance scene. Pierre was already an accomplished dancer and teacher in the English ballroom style when the Peanut Vendor started the rumba craze in Europe and America in 1931. The rumba and the beguine were demonstrated in London in 1932 by the French champion couple M. & Mme Chapoul at an event organised by The Dancing Times. Pierre was present and went to the Cabine Cubaine club in Paris to take a look at the dancers.

The Latin and American section of the ISTD Ballroom Branch was formed in 1947 by Monsieur Pierre, Chairman, his partner Doris Lavelle, and colleague, Doris Nichols. They were the first examiners, later joined by Gwenethe Walshe and Dimitri Petrides. This small band of dedicated specialists worked vigorously to establish an examination system of set syllabus for both amateur and professional dancers. Sidney Francis and Walter Laird were other important members.

Dimitri moved to England when he was eighteen, and there he met Josephine Bradley, one of the greats of Ballroom dancing. Miss Bradley suggested to Gwenethe Walshe that she might partner up with a young assistant of hers: Dimitri Petrides. She did, and together they were successful in the first Latin competitions. It is hard to imagine today that there was no Latin at Blackpool, the International had not started and The Star featured a competition in Rumba only. Building on this success Gwenethe and Dimitri became very popular as demonstrators and as coaches in the ‘new’ dances. They later joined the Latin American Branch of the ISTD.

Dimitri began to take on pupils and wrote an early technique book (1949) for the new style entitled The Latin-American dances (later editions The Latin American technique). Of this book the General Secretary of the ISTD, H. Vivian Davies said:
 * "... Dimitri Petrides is today recognised as one of the foremost authorities in this county on Latin and American dancing... the author has justly earned a reputation for authenticity and style."

Dimitri not only taught and developed the dances but he also set up new dance competitions and was co-founder of the "All England Championship" with Sidney Francis and judging at prestigious competions for many years.

Dimitri never fully retired from judging and died whilst he was in Blackpool judging the famous dance competion in 1985 aged 72.

Related information and sources: http://www.istd.org/news/2006/april2006/gwenethewalshe.html http://www.istd.org/dancestyles/latinamerican/intro.html http://www.fatd.com.au/ballroom.php Conversations with Dimitri's family and friends, Newspaper artiles on him, photographs and books.

Doris Lavelle
ISTD LA Faculty Profile of Doris Lavelle

Doris Lavelle was born in 1907 in London. Her father was a music hall artist and she had two brothers. When she left school she attended a secretarial course at Pitmans and every weekend she went to the West End of London to enjoy the popular 1920s pastime of ballroom dancing.

Much of this time was spent at Monsieur Pierre's Studio in Regent Street. This was a famous venue for Ballroom Dancing in the 20s, 30s and 40s. Pierre was a well-known teacher and demonstrator who had come to London in the mid 20s to teach the 'new' Latin dances; Argentine Tango, Paso Doble, Samba and Rumba. Of course this was the Square Rumba. He quickly realised the dance potential of Doris Lavelle and after some years of training, she became his dance partner and they were much acclaimed demonstrators, appearing as often as three nights a week at different London night clubs of which there were many at that time. The Studio stayed open all through the war and was a popular meeting place for the Free French fighters on leave in London.

After the war, the Studio had a short spell in Oxford Street and then moved to Greek Street in Soho. A small studio on the top floor with a very good maple floor, a wonderful sound system installed by Jimmy Arnell, music brought back from Cuba and when the fire escape door was opened, the great sound of this Latin music drifted out across the rooftops of Soho. It was the number one place to go for dancers of all types from Social to Champions, all changing partners and dancing purely for the love of it.

By now Pierre, Doris and Jimmy had visited Cuba many times and discovered that the Square Rumba was not the Cuban Rumba, so in 1948 Pierre introduced to the UK the system of Ballroom Rumba. It was not well received at first and took 8 years to be accepted.

In the late 60's Doris was involved in a horrendous car accident, on the way to a competition and was left with many broken bones in feet, arms and legs including a badly broken ankle and a shattered kneecap. It took nearly 2 years before she was able to dance again, but with enormous willpower and persistence so characteristic of her personality she started again to lecture and demonstrate and was often partnered, very beautifully, by the much missed Geoffrey Clapham.

In 1970, Doris published 'Discotheque Dancing', one of the first books to 'chart' Disco dancing. I remember her well trying out all the steps at her classes in Greek Street. She was a very good 'Class Teacher'. In this book Doris refers to this style as Soul Dancing. In the introduction she wrote, 'It is not my intention to be dogmatic, but rather to give instructions as guidance only, since this type of dancing is essentially a matter of individual taste and improvisation. The most successful performers of Soul Dancing as of all other forms of dancing are those who possess the greatest sense of rhythm’.

These words, to me, typify the essence of Doris's own teaching and dancing. Doris judged at all the major Championships and was on the Latin American Committee for many years. She always enjoyed training professionals for their qualifications. Her approach to the coaching of competitors was not in choreography, but in bringing out the rhythm in every movement.

Doris was very strong-minded and believed totally that the main spring of Latin Dance was authentic dancing to authentic music. She had a long and happy personal partnership with Jimmy Arnell, himself a Latin Champion and shared with him a love of dogs. When you visited the Greek Street Studio, the most comfortable settee was always reserved for the dogs, generally an alsatian and two poodles.

Thank you Doris for your dancing, your determination and inspiration.

Marion Brown

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A Concise History of Latin American Dancing in the UK

Latin American dancing was introduced to the UK via Paris in the 1920s but it should be borne in mind that, like Ballroom dancing, its roots go back to Folk dances and such which took centuries to refine into the present form. Illustrating this process we can look at The Volta, a quick and continuous turning dance popular in France for over a hundred years beforehand which gave rise to the Slow and Quick Waltz around 1775, its memory being retained in the Volta Movements used in present day Latin.

For the main foundation of Latin American dancing in the UK we have to look to a Frenchman, Pierre Jean Phillip Zurcher Margolie, known professionally and affectionately as Pierre. Born in Toulon near Marseille, his engineering studies at Zurich University were cut short due to losing the sight of one eye after being struck therein by a tennis ball, after which he went to live in Paris where all his spare time was spent in the Dance Halls and Clubs also frequented by Cuban, Argentinean, Brazilian and Spanish immigrants who danced their national dances to bands of their contemporaries who were there as artistes and entertainers. A heavy man, he only appeared to be slow moving but his natural aptitude soon brought him to the forefront of the Parisian dance scene.

He capitalised on both his dancing and musical talent by coming to London in the mid 1920's to demonstrate and then teach the then 'new craze' of Latin American dancing. His repertoire consisted of the Argentine Tango, the Paso Doble and later a form of Samba followed by the Rumba, although nowadays the Tango, rightly or wrongly, belongs to the Ballroom Faculty. By way of an aside it must be said that by this time Paris had begun to lag behind New York as the centre of Latin American dancing, probably due to the closer proximity of the United States to South American, particularly Cuba, plus the advent of its own 'Jazz Age Dancing'.

Pierre's studio was in Piccadilly - imagine the rent of it today and where would you get the clientele able to afford the economic admission charge, but in that era most of the great dancing Masters, such as Josephine Bradley and Victor Silvester, lived and taught in or around the West End of London. In his footsteps came Monsieur and Madame Chapouls, well known French demonstrators who gave an exhibition of Rumba at the Café de Paris followed by Don Azpiazu and his Dance Band who introduced 'true' Rumba music to London.

In the early 30's he engaged a young pupil as his partner, none other than the now famous Doris Lavelle. It took several years but eventually she was acknowledged as the 'Queen of Latin' alongside Josephine Bradley as the 'Queen of Ballroom' and on the subject of honorary tiles, Pierre was known as 'The Emperor'. The studio later moved to Greek Street in Soho, a cosmopolitan area of shops, pubs, restaurants and living accommodation, where it was then safe to walk around at any hour of the day or night.

Irene Evans

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A Concise History of Latin American Dancing in the UK- Part II

Notes from years 1931-1955

Pre World War Two

1931 As previously stated, Pierre's dances consisted of the Argentine Tango, early forms of the Paso Doble and Samba but in the late 20s a Cuban bandleader, one Alcedes Castellanos, was playing and teaching a new dance in Paris called the Rumba. Pierre immediately went there to acquire the dance in order to extend his repertoire. He made many visits with Miss Lavelle in the early 30's and they taught and demonstrated it with much success. However, the dance appeared to be somewhat limited but they had to wait until after the war to discover on visits to Cuba, the home of the dance, that the reason for the limitation was that they were dancing the Square Rumba.

1932 The Rumba demonstrated in London by Monsieur and Madame Chapouls.

1933 Rumba music introduced to London by Don Azpiazu and his Band.

1934 Pierre made the first definite reference to Rumba rhythm which he counted in 'quicks and slows' as against the later numerical count.

1936 The Imperial Society adopted standard steps for the Rumba although the profession, generally, took little interest for nearly 10 years, unlike the dancing public who were taking every available opportunity to learn the dance.

Wartime (1939-1945)

There were no more visits to Paris, but when the American servicemen came to England they brought a new dance to brighten the wartime gloom. The Jive, purely American dancing to 'Swing' music. At that time (1943) the only teachers were the GIs themselves but it became very popular wherever they were stationed and remained so after they left. They were particularly encouraged to Greek Street where Pierre and Miss Lavelle absorbed the new techniques, with its figures, names and routines.

A wartime blow to the larger London dance venues was the Ministry of Defence restriction in the numbers allowed to attend due to the high casualty risk from night and day Air Raids. The restriction also applied to high density gatherings at cinemas, theatres, football matches etc. Unfortunately, the dance world was to justify the restrictions when the Café de Paris in London's West End suffered a direct hit which cost the life of the band leader, Ken 'Snakehips' Johnson and several of the dancers and band members.

However, to its credit, dancing continued to flourish in the studios generally and in the dance halls of the provinces, enabling a full resumption on the cessation of hostilities.

Post War

1947 This was the year of the 'great discovery' since, due to the dissatisfaction with the Rumba as then danced, Pierre took advantage of the lifting of travel restrictions to visit Cuba. Quoting from Miss Lavelle's diary, on dancing with Suzy of Pepe and Suzy Riviera, the then Cuban champions, the first thing she said was "you are out of time". So he had a lesson every day and danced at the Acadamias every night. He returned after six weeks having lost a stone in weight but a happy man.

The explanation was that Europeans, due to their Ballroom heritage, commenced to dance on beat one whereas the Cubans began on beat two and it is this all-important difference which captures the spirit of true Latin. The new timing was not well received and Pierre said, 'It will take them five years to accept'. He was three years out, it took eight.

For the record, from there on out, the 'count' at Greek Street was 2, 3, 4, the 1 only being spoken, of necessity, when using such figures as The Spiral and The Curl. I (and no doubt most of her pupils) can still remember Miss Lavelle's 'counting voice', and its overriding emphasis on the initial two of each bar with a lower inflection on the 3, 4, sometimes using the word 'cruise' in place of 4 to extend the fourth beat.

1948 Pierre introduced to the UK what he called 'The Cuban System of Ballroom Rumba'.

1951 Pierre, Miss Lavelle and Mr James Arnell, a talented cameraman and Latin American dancer, teamed up to pay the first of their visits to Cuba to enhance their Rumba technique, with a prior stop-over in New York for a closer look at the dance scene in America. The visits ceased when Castro came over and they later learned that their friends and teachers had fled the country, most of them to the USA, mainly in and around Miami.

Their findings were as follows: a) The Americans were dancing the Triple Lindy (their name for the Jive) and the Mambo (their version of the Rumba but to a much faster tempo with exaggerated solo work albeit commencing on the second beat). It seemed to them at that time that we were two years ahead in formulating a syllabus for these two dances.

b) In Cuba, the Mambo was compared to the Rumba and it emerged that both were founded on the Bolero. They were impressed with the neatness of the dancing, no exaggerated hip movements, but very rhythmic. Out of the many Rumba lessons taken in Havana, from (amongst others) Senor Pepe Llorenz and his wife Aida, they gained many new figures and refined the old ones.

They also found that, for effect only, Cuban dance bands were adding extra beats into Rumba music, but since their patrons were instinctive dancers, they marked these beats with their feet and thus the Cha Cha Cha began to form, although it was not until the mid 1950's that the separation was finalised. However, more of that later.

It soon became their joint opinion that Rumba variations originating from Cuba contained more natural rhythm than those made up in other countries.

1953 The trio journeyed to Brazil to polish and extend the Samba, where they found three different styles housed in separate types of dance halls:

Gafierias: These were popular halls, mainly for 'locals'. Dancings: Mainly for tourists. Schools of Samba: Founded by ethnic groups in the hills outside Rio de Janeiro. In view of this diversity it was almost impossible to compose a syllabus consisting entirely of authentic figures, but, with what they already had, plus the new knowledge, after a year or two's usage, they evolved a revised syllabus based on, I quote, the 'most Ballroomlike and teachable steps', which proved acceptable.

1955 The technique used and proposed by Pierre and Miss Lavelle was formally adopted.

As a postscript to this section and for interest I would like to pass on one of Pierre's comments made in the mid 50's to the effect that 'an essential condition for the enjoyment of Latin American dancing is a keen sense of rhythm which can be developed or improved by prolonged listening to correct music', which is still as true today as it was 50 years ago.

Irene Evans

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A Concise History of Latin American Dancing in the UK- Part III

Notes from years 1931-1955 Let us now proceed to add some background to the various dances taken in current syllabus order.

Rumba The original dance was a simple rustic portrayal of the pursuit of the hen bird by the cockerel and as he never catches her, in the dance that is, it was virtually a solo dance in which there was no body contact. The lady also used a scarf to emphasise her provocative movements but the solo aspect was phased out when the dance gained respectability by moving into clubs, dance halls and social gatherings where the joining of hands became customary. [confuses genuine rumba with 'rumba']

Its music and rhythm was developed in Cuba over a period of some 150 years mainly from the Bolero, an old Spanish dance enlivened by American Jazz in the 1920's, and due to its simple and definitive technique it became highly popular amongst the Latin dancing fraternity. It should be noted that in all probability it was, like the Tango, first danced in restricted spaces, such as around camp fires or on street corners and so originally it was not a 'moving dance'.

Samba Its origins are a trifle obscure, possibly African, but it seems to have first surfaced circa 1931 as the 'Brazilian Maxixe', imported to Paris at the turn of the century and used in cabaret and demonstrations by Brazilian artistes. It finally emerged as a dance in its own right between 1921 and 1923, complete with a more rhythmical form of Maxixe music, after which it was stylised in America to be used in a number of their 1930 and early 1940's musical films, mainly by Carmen Miranda, which helped its ultimate acceptance.

Unlike the Rumba it is a 'moving dance' and therefore progresses around the room with some of its figures such as the Rolling Movements, and I quote Miss Lavelle, "having to be well danced if they are not to look somewhat silly".

Paso Doble The Spanish 'National Dance', played at nearly all bullfights, it an amalgam of two themes:

a) The original Spanish, based on walking people or marching soldiers, hence the Sur Plas simulates soldiers marking time, reputedly, whilst a herd of cattle crosses the road.

b) The flourishing of the cape used by a Torrero in controlling and avoiding the rushes of the bull. For instance, the Deplacement represents the Torrero quickly stepping aside and lowering his cape. Strictly, 'Torrero' means 'a man dealing with bulls' so it is either the large or small cape of the Terreador or Matador. It is this combination developed in Paris between the wars, say from 1916 to 1925, mainly by a Spaniard known as Salvador, and brought to the UK by Pierre, the basis of which is in current use for professional exams, competitions, teaching and medal tests.

You will note that the name of its figures, due to passage through Europe, are trilingual.Since it is a 'character' dance, wherein most figures are complicated and need space to portray, the dance is not really suitable for a crowded floor, although you may have noticed that the floor is not particularly crowded when the band strikes up Paso Doble music. This may be a good thing because bullfighting is carried out in great style with, of necessity, very precise footwork so these two features are an essential part of the dance.

Jive Jive is our title for it, but in its homeland it is principally called Single or Triple Lindy and sometimes Swing, Jitterbug or Boogie Woogie, but call it what you will - it is the most visible way to interpret Swing music. Essentially American, with most figures having been learned from them or are similar to theirs, although we do have different names for some of the basic steps, for instance, our Change of Places is their Tuck-in Step.

Traceable from 'The Jazz Age of Dancing', which lasted for about 25 years from circa 1900 when the public began dancing to Ragtime music. The first efforts, for example the Black Bottom and the Shimmy, were somewhat wild and to a dance purist crude or even vulgar, but nevertheless they were symptomatic of the era of change and unrest surrounding World War One (1914-1918). The standardising of these dances was begun by the then internationally known American dance teachers and demonstrators Vernon and Irene Castle, and the 1939 romanticised Fred Astaire and Ginger Rogers' version of their lives is well worth watching if only for the Maxixe demonstration. The standardising and simplification was completed in circa 1925 by their even more well known pupil Arthur Murray, who put the result on the market with outstanding success.

Cha Cha Cha The name came about due to the Cubans counting the beat as 'step-step-cha-cha-cha', as against our then Ballroom count of 'step-step-chasse'. Based on the Rumba and akin to the Mambo, which was Americanised and still danced over there, although Mambo music is very much influenced by Swing whereas Cha Cha Cha music is 100% Cuban.

As already stated the dance evolved by reason of extra beats added into Rumba music by Cuban bands, but it was a long time before our bands played or recorded the music which included these extra beats. The committee formulating the syllabus classes it as an entirely separate dance. However, Pierre and Miss Lavelle continued their authentic Latin teaching at Greek Street and they used most of the figures, for example, the Shoulder to Shoulder, Sliding Doors and New York etc. with equal effect in both the Rumba and the Cha Cha Cha.

The naming of a few figures

As part of its history we can now look at the naming of a few of the figures in the various Latin American dances, bearing in mind that they converged upon the UK from such far away places as Brazil, Mexico, Cuba, Spain and the USA, a few directly, others via France and all with no written technique.

Initially, Pierre had to make notes of figures and techniques in order to teach, later he both published those techniques and made them available to committees and individuals from which, by adaptation or addition, the present technique was formulated.

In this context I include the anecdote from Miss Lavelle that in the early days when devising a variation in the Jive which involved taking the partner's hands in shadow position, Pierre called out to Doris, "Alice, where are thou?", the title of a then popular ballard. An unadopted variation but it illustrated how a name for a figure can arise. We can proceed with the origin of some names and/or derivations which I hope you will find of interest, but please bear in mind that to the linguist there is often no definitive since some of the literal meanings are lost in the mists of time.

Rumba The Fan. This is self descriptive and a direct translation of El Abanico from Cuban Spanish.

The Hockey Stick. Again, self descriptive in that the lady's turn followed the imaginary straight and curve of a hockey stick, the 5th step then being curved not a forward step as we know it today. Progressive Walks. Obvious, and is from the original El Paseo, meaning 'the walk'. Side Steps. Again, from the original El Paseo Lateral.

Cucarachas (Pressure steps). Since the word is Spanish and Italian for cockroach, it is easy to see the similarity of the foot action in this figure to that used in exterminating one of these pests.

Hip Twists. Another obvious title, although in the Guaracha the Open Hip Twist was known as The Shuttle. Natural and Reverse Top. Originally The Vuelta meaning The Turn, and one wonders if this crossed over in England to the Samba as the Volta Movements since both names belong to the same Spanish word group and there is some resemblance to each other and in the steps. However, since an historian has no access to 50 year old thoughts, reasons and misconceptions, one can only speculate.

Aida. The Christian name of an aforementioned Cuban dance teacher's wife, a figure which she danced superbly well and just for the record, syllabus ending No. 2, making two spot turns, is as danced by Aida. But as it proved rather difficult for the average dancer, ending No. 1 consisting of a rock in place and then a spot turn was devised.

Kiki Walks. Kiki was one of the foremost dancers in pre-Castro Cuba, and gave his name to this figure which he introduced. Sliding Doors, Fencing & Rope Spinning. Cuban based although not authentic Cuban so the names are English, due to them being descriptive of these actions. Three Threes. The original name was Penicilina and they were devised by Pepe and Azveno Rivera, the then famous Cuban professionals.

Amongst others were Cuban Salute, American Break, Las Alamanos and Opera Step (or Caress).

Slightly out of context, I would here like to mention that in Pierre's original technique in such figures as the Alemana, Hockey Stick, Open Hip Twist and the Three Threes etc., the lady had a choice on the first step (count 2) of either closing right foot to left or crossing it rather tightly behind the left foot and 'using one or the other was just a question of style'. Since Pierre and Miss Lavelle interchanged some of the figures, this option also applied to two or three figures of the Cha Cha Cha.

Samba Although Pierre had some command of the language, only a few of the figures collected in Brazil have been graced with Portuguese names so, in the main, they were given part French, part English titles, the few exceptions being:

Bota Fogo. The name of one of the bays along the coastline as it roughly follows the shape thereof. Corta Jaca. Is reputed to mean 'the cutting of the apple', although other fruits and confections are also used. Plait. An authentic figure originally named 'O Trancadinio' (pronounced 'o transadijinio'). Cum Batu. Used originally as a change of feet. The Cruzado. Or more correctly, Quadrado Cruzado, an authentic figure only included as a popular variation but part of it, I am happy to say, is now in the syllabus as The Cruzado Locks, since it presents a very Latin-looking picture.

Here are a few old figures which were not adopted: Convite a Dansa. Or Invitation to the Dance, of which we now see competitors use many forms both in Latin American and Ballroom. Vae-a-Vem. Or Coming and Going, used as an alternative to the Rocks. Amaca. A form of whisk.

It is interesting to note that the early Argentine Crosses were danced from corner to corner to end with man facing Line of Dance thus giving a wider choice of figures to follow and we as teachers described them as a series of crossing steps on alternate feet, which made the figures much easier to teach. We also taught and danced Rolling Off The Arm after the Criss Cross, which made teaching and dancing it much simpler.

Irene Evans

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A Concise History of Latin American Dancing in the UK- Part IV

Paso Doble Enlarging what has already been said, the name means in Spanish 'walk together' and describes the custom of walking up and down the Plaza in the cool of the very late afternoon before adjourning for the evening meal, a custom I think most of us have seen with our own eyes on a Spanish holiday. The dance began in Spain, was enlarged in France and migrated to the UK, so the naming of the figures is tri-lingual and being comparatively modern there is very little mystery apart from the exotic names in our syllabus, viz:

Sur Place French meaning 'on the spot' or in place. Appel French, literally 'call' and since in France after the concierge had locked up for the night one gained entry to an apartment block by calling the nightwatchman with loud handclaps, the noise made by stamping the floor in this step giving a similar sound possibly gave rise to the name. Deplacement In French it has several meanings but for our purposes we can take it as 'abrupt movement', which describes the Torrero quickly stepping aside and lowering his cape to avoid the charge of the bull.

The Huit French for eight, the figure having eight steps which portray the Torrero waving his cape whilst he, mainly, marks time. It follows that The Sixteeen also got its name for its sixteen steps. La Passe Portrays the bullfighter leading the bull to charge the cape, which he then flicks against his side so that the bull passes very close. Banderillas Hooked sticks used to goad the bull, the figure represents the action of the Torrero placing them into the skin of its neck. Consequently, as in most Paso Doble figures, the man's stance and arm action is important. Coup de Pique The word 'pique' in French has several meanings, one of them being the injection of fat into cooking meat by way of a long hollow needle, a similar action to the final thrust of the sword on Step 1 and its rapid withdrawal on Step 3.

As most of the arm movements in this dance are based on a particular action of the Torrero, here are three from the current syllabus in which, to be danced properly, arm movements are all important.

Ecart Properly Ecart et Veronique, and translated as 'a separation'. Fregolina The cape being whipped quickly behind the Torrero. Farol Now incorporated in the last named figure.

Finally, for the record, here are three original but unadopted figures:

Marche The march of the Torrero into the ring. Pas Battu A jubilant little 'showing off' step by the Torrero after he has made the bull pass him (a side to side action being used). Bravade (bravado) A poised position with feet crossed, adopted by a Torrero to precipitate a charge.

Jive There are no language or pronunciation difficulties here and the names are generally descriptive of the action. I have already quoted an example, although it didn't take on, which illustrated how a name can arise.

To add force to the importance of a study of history and how it can be used to current advantage, I draw attention to Pierre originally advocating commencing this dance with two small chasses, known to him as 'The Rock Basic Movements', which, since becoming a teacher in my own right, I have successfully used, as pupils seem to find it easier than the abruptness of the now usual Fallaway Rock. Before leaving the Jive, here are some unadopted figures which may pass into oblivion:

• Kicking Through • The Throwing Whip • The Pull and Push • The Suzy Q • Change of Hand (giving rise to our Change of Hands behind the back) • Throwaway from Fallaway (now know as The Fallaway Throwaway) • Traffic Lights (now more or less our Stop and Go) • The Apache (a double spin) • To and Fro • The Rodeo • The Bunny Hug

Finally, there are those figures, such as The Big Apple, familiar to Hollywood films, not suitable for Ballroom use and in any case best left to young and fit semi-gymnasts.

Cha Cha Cha The full title of this dance is Cha Cha Cha and we, as professionals, should avoid the sloppy reference to it as the Cha Cha. Since the syllabus, although broadly based on authentic figures brought back from Cuba by Pierre and Miss Lavelle, was formulated in London, most of the names are in English so there are few language difficulties. Again, for the record, here are some of the Cuban figures which did not make it into the syllabus or the popular variations:

• The Cha Cha Cha Sliding Doors • The Cooks Tour Variation • The Cha Cha Cha Trick Rhythm steps • The Fall Over step

In Conclusion Miss Lavelle and Mr Arnell were among my close friends and when visiting either of them in London the talk centred around dancing, not only of the olden golden days, but also speculation about what the future may hold for Latin dancing. Sadly, although fittingly, Pierre, whose like we can never see again, collapsed and died whilst officiating at a dance promotion being held at The Empire Rooms, Tottenham Court Road, London in 1963 and, as a tribute I reproduce one of my favourite pages from his technique to let you share the clarity of his descriptions:

Crush Dancing Owing to the fact that Latin American dance music is played in all smart dance clubs and restaurants, 'crush' variations of all the dances are almost indispensable. In the Rumba the Basic Movement should be used extensively, danced with small steps. The Side Step, Cucarachas and lady's last three steps of Alemana, the Natural Top and Opening from Natural Top into Basic Movement are also suitable steps.

Although the Rumba in its usual Ballroom form does not progress around the room one is sometimes forced to progress along LOD when many couples, as so often happens, do not understand the Rumba and dance ordinary Foxtrot Crush dancing to Rumba music. In this case the Side Step can be used as a progression movement and also Progressive Walks forwards or backwards. The Basic Movement danced with a gradual turn to left is very useful to steer in a small or crowded room.

Hip Movement The Full Rumba Hip Swing is only used for a few bars of music at a time (about four bars), and should only be attempted by fully experienced dancers. It is initiated by a leg action and can be described as follows: Stand with feet together, right leg braced, weight on R. Place L down with left knee bent. Gradually transfer weight on L, gradually bracing left leg and bending right leg. Repeat movements placing R down etc. The hips will swing to the same side as the leg when it is fully braced but not immediately, the weight is transferred as the bracing is done gradually.

The body from the waist upwards should be kept quite motionless but relaxed. The Hip Swing can be danced at the end of the Side Step when both the partners' feet are closed, transferring the weight rhythmically from one foot to the other ending with a Basic step.

Irene Evans FISTD Author of this informative insight into the history of Latin American Dancing

Monsieur Pierre's description of the Rumba hip movement is just a little 'off the mark' for today's Rumba but hasn't it been fascinating to read how and from where the syllabus dances evolved. Thank you, Irene.

Doris Nichols
ISTD LA Faculty

Profile of Doris Nichols

Doris Nichols was a member of Grand Council and recipient of the Imperial Award. She was already Chairman of the Latin American section of the Society when, in 1951, it was transformed into a branch. Doris remained Chairman for many years. When she chose to stand down, to give opportunity to a younger member, her friend and colleague Peggy Spencer MBE was elected to the Chair.

Many members of the Society and past examination candidates, both professional and amateur, will remember Doris Nichols with deepest affection and greatest respect for her active and conscientious work for the Society. She was also an examiner and adjudicator, roles in which she travelled extensively, both here and overseas until her eventual retirement in the late 1980s.

Despite some really gruelling schedules she never displayed a loss of energy or charm. Doris was very much in demand as an examiner because of her ability to communicate with all age groups and to see into, and beyond, what was put in front of her.

The Latin dancing world of today owes Doris a great deal, as it was she, together with her then colleagues, who formed the first Latin American Committee, thus laying the foundation for our Latin technique as published today. Latin dancing then was based on a social style but was beginning to develop its potential into that of a competitive style. This was an exciting time for all involved.

For many years Doris was the highly respected Chairman of the Latin American Faculty (or Branch as it was then known) and all who served on the committee under her leadership would have learned so much from her words of wisdom and ability to listen and consider all viewpoints. Occasionally, and where necessary, she would firmly (but sweetly) bring everyone to order and put her own constructive and logical points of view.

Doris Nichols’ first love of dance was Ballet and her talent was rewarded when she joined a company in London formed by eminent dancers of the day, many of whom were Russian. Anton Dolin was also one of the leading dancers and Doris performed with him many times. She was married to a mathematics teacher, Harold Cook, and her son Michael remembers playing trains in her dressing room in Amsterdam. She appeared frequently at the London Coliseum, and was greatly influenced by Lydia Kyasht, Tamara Karsavina and other great dancers of that era.

In the early 30's she decided to forgo travel but could not face 'teaching' Ballet and not 'performing' so threw herself into Ballroom dancing, opening her well known and successful school in Beckenham, Kent and training and guiding many professionals through their qualifications. She also enjoyed teaching social dancers, beginners and medallists, and was equally at ease with Ballroom and Latin American. Towards the end of her long and distinguished career she studied the then new Disco and Freestyle work, becoming an efficient examiner in this area.

During her active dancing days she taught and demonstrated with Frank Spencer. Doris and Frank were runners-up to Victor Sylvester in the World Professional Championship in Paris in 1937. Couples from most European countries competed in the Championship, which lasted several days and was judged by an international jury. Her career continued with many well-known and worthy partners, notably Wally Green, Louise Haise, Harry Tucker and Jimmy Small.

During her long reign as Chairman of the Latin American Branch she was a loyal and hardworking member of Council, a recipient of the Imperial Award (richly deserved) and eventually a member of Grand Council, another great honour. In her private life Doris loved swimming and was also a great tennis fan, Wimbledon being her yearly highlight.

Words that spring to mind when describing this lovely lady are 'charming', 'unassuming', 'knowledgeable', 'wise', and 'fun!' She was single-minded in her dedication to dance and the Society, and was involved so completely and for so long.

Sadly she passed away just a few weeks before her 100th birthday in 2001, but she lives on in the hearts of those who knew her, not only for her unceasing work on behalf of our Society and its members, but for being 'Doris', always cheerful and ready with helpful advice when needed. She will always be remembered with the greatest respect and affection.

Elizabeth Romain

Technique 2000+
Rumba The Cuban Cross, newly named to the syllabus, is more descriptive of the action taken to precede our turns instead of a 'loose foot' generally seen. This should improve both the Natural and Reverse Tops and in other figures such as the third step for man in the Advanced Hip Twists. All teachers will appreciate the man's Cuban Cross in the Hockey Stick, allowing the lady to control her forward walks much better.

The Hand to Hand figure is more descriptive, encouraging feet and legs to go forward first before the turns are made. A good example is the development of the Fan, walking forwards on steps 4 & 5 for the lady before turning, bringing this figure in line with the Hockey Stick and Hip Twists. The amounts of turn are more standard in all of these figures including the Closed Hip Twists and will be more easily understood.

The Aida is now to be danced with less turn, encouraging forward walks which may reduce the fault of a Ronde action, which we often see at the end of this figure whichever ending is used.

The New York, Shoulder to Shoulder, Three Alemanas, Cuban Rocks and The Curl are now included in the Rumba syllabus and although these figures were taught and danced in the early days of Latin American dancing, it is good to see them officially established again after been in the wilderness for so long. Most teachers are familiar and at ease with them. The Continuous Hip Twists and Circular Hip Twists are new to the syllabus.

Also new to the syllabus is the Closed Basic Movement - a useful exercise for beginners. The Kiki Walks are no more, instead we use the Progressive Walks, which is probably a better description of the movement - but it is sad to lose an 'oldie'.

'Tracking Legs under the Body' has always been danced by our great ladies of the past and present. By clarifying and understanding footwork (for example, more turning out of the foot and using the inside edge), we will see less 'wide legs' and more tracking.

Cha Cha Cha New to the syllabus is The Chase, Hip Twist Spiral and There and Back, which is a delightful figure, very useful for the beginner. The Switch and other solo movements open up a whole new world of foot patterns, some reminiscent of the past.

The rest of the syllabus is as before and follows foot positions and holds as in the Rumba. The Cuban Cross, mentioned above, and other technical points are now observed and footwork is more clarified and concise. Once more, the Cha Cha Cha is coming into its own again, even in social dance classes, always very popular for all ages.

Paso Doble This has been given more freedom of expression with more 'shaping'. In some positions the hold is widened and the joined hands are lowered and raised. Posture is improved by lifting the rib cage to achieve a more upright position and a sideways shape attained by stretching from the waist, either to the left or to the right. Phrasing is to be more precise, achieved by more correct 'following' figures to suit the phrasing. This has the effect of limiting unnecessary over-use of The Sur Place, Basic Movement and Chasses.

The new figures in the syllabus are The Drag, Spanish Line, Flamenco Taps, Promenade Close and finally Caping Walks, first shown by Gwenethe Walshe in 1977. The Caping Walks were always a very good variation for beginners, originally being a social figure, but this may be slightly changed to provide a more interesting ending for both man and lady.

Additionally, a few figures have been altered and changed. The Chasse Cape now has several alternative endings, which is very much in keeping with present day trends. Lady and man may dance Syncopated Chasses and the lady may spin to the right. The Cuban Cross is to be used as in other dances. The Slip Appel comes into its own with more usage and The Promenade Close promises to be useful. Flamenco Taps was always a popular variation, taught for many years with various endings and good to see in the charts. It captures the essential Spanish feel and is a joy to dance, either at a simple or advanced level.

Samba Some figures have not changed at all in the new syllabus and in many cases it is just a matter of clarification. A new rhythm has been added which is 1-2-3. The beat value is 3/4 1/2 3/4 and will be used in such figures as Rolling Off The Arm. The reason for this is to be able to dance the figure without the Bounce, which it is felt will improve the action of both man and lady.

The Cuban Cross is also included in the foot positions and to be found in the Whisks, Voltas and a few other places. The Basic Steps movements have been condensed a little and only the Natural and Reverse Basic Movements are chartered using the 1-a-2 timing, but also saying they can be danced 1-2 including the Side Basic in the same way.

The Outside Basic Movement has been deleted as a separate figure, but it is still in the precedes and follows to the Travelling Boto Fogos, but is called 1-4 of the Natural Basic. Footwork has been changed in other figures such as the Reverse Turn and Closed and Open Rocks. The Argentine Crosses have a different timing and may be turned more.

The new figures are: The Rhythms Bounce, Three Step Turn, Reverse Roll, Promenade and Counter Promenade Runs, Cruzado Walks and Locks. The basic Bounce has more clarification and is more descriptive of the action we dance in the Bounce.

Jive More changes have been made to this dance than any of the others and new figures to the syllabus are Reverse Whip and Basic in Place. Hip Bump (Left Shoulder Shove), Mooch, Miami Special, Shoulder Spin, Chugging and Catapult are variations from the past and have now been introduced into the syllabus. Flicks into Break has been renamed Stalking Walks, Flicks and Break.

Today, the rhythm is interpreted as Q-a-Q rhythm as against the count of 3-a-4. The rhythmic expression has also been written with more detail as never before and is now more easily understood. This can only benefit from the explanation of what really happens when we dance the Jive. The Jive Chasses have been explained in greater detail allowing for freedom and expression, depending on the grade and ability of the dancer. The Cuban Cross is being introduced, as with other dances, and is obviously to our advantage making footwork much neater. Foot positions and Leads are clarified and the Contra Body Movements, Replace Weight and Part Weight are also clearer, which can only add to our interpretation and understanding of the dance.

As to 'tracking', when moving the foot from one Open Position to another, the legs always track under the body. Footwork and Leads are also dealt with in more detail, creating an awareness of what we dance. Alternatives to the Link are interesting and will be useful.

Ladies Chicken Walks will be much improved by the description of dancing forward and turning the hips, and should also benefit from the Merengue action of the man in his backward walks in this figure. The Merengue action may also be used by the man dancing the walks. The lady will again benefit from the smallness of the man's steps and she, too, will be able to dance better walks, making this figure more attractive to both, correcting ugly movements which we often see.

The Latin American Jive technique is the last of the present series published in 2000 and could well be the most interesting, mainly because of the inclusion of so many old figures, which were delightful to dance then and will hopefully be the same today.

Irene Evans