Ballroom dance must be performed in pairs. Such dances today are usually called standardized sports dances performed at dance competitions and special events. Today in the world of dance there are two main classifications, together consisting of ten dance styles: European and Latin American programs. Read more about dancing below.
The origin of the concept of “ballroom dance” comes from the Latin word “ballare”, meaning “to dance”. In past times, such dances were secular and intended only for high-ranking people, while folk dances remained for the poor. Since then, such a class division in dance, of course, no longer exists, and many ballroom dances are actually ennobled folk dances. In particular, modern ballroom dancing has been greatly influenced by the culture of African and Latin American peoples.
What is called ballroom dance depends on the era. At balls at different times, various dances were presented, such as polonaise, mazurka, minuet, polka, quadrille and others, which are now considered historical.
In the 1920s, the Ballroom Dancing Council was founded in Great Britain. Thanks to his activities, ballroom dance then acquired a competition format and began to be divided into two groups - sports and so-called social dances. The program included: waltz, tango, as well as slow and fast types of foxtrot.
During the period of the 30s - 50s, the number of dances increased: the program included such paired Latin American dances as rumba, samba, cha-cha-cha, paso doble and jive. However, in the 60s, ballroom dancing ceased to be an ordinary entertainment, since it required certain technical training from the dancers, and was supplanted by a new dance called the twist, which did not need to be danced in pairs.
The program of European dances, or Standard, includes: slow waltz, tango, foxtrot, quickstep and Viennese waltz.
In the 17th century, the waltz was a folk dance in Austrian and Bavarian villages, and only at the beginning of the 19th century was it introduced at balls in England. It was considered vulgar back then because it was the first ballroom dance where a dancer could hold his partner so close to him. Since then, the waltz has taken many different forms, but each of them is united by a unique elegance and romantic mood.
The peculiarity of the waltz is the musical size in three quarters and a slow tempo (up to thirty beats per minute). You can master its basic figures at home on your own.
Tango is a ballroom dance that originated in Argentina at the end of the 19th century. At first, tango was part of the Latin American dance program, but then it was transferred to the standard European program.
Perhaps, having seen tango at least once, subsequently everyone will be able to recognize this dance - this assertive, passionate manner cannot be confused with anything. A feature of tango is a sweeping step over the entire foot, which distinguishes it from the classic “flow” from heel to toe.
Foxtrot is a relatively simple ballroom dance that gives beginners an excellent foundation to build upon. Foxtrot can be danced at a slow, medium or fast tempo, which allows even beginners without special skills to move gracefully across the floor. The dance is quite easy to learn from scratch.
The main feature of the foxtrot is the alternation of fast and slow rhythms, but always the smoothness and lightness of the steps, which should give the impression that the dancers are fluttering over the hall.
Quickstep appeared in the 20s of the XX century as a combination of foxtrot and Charleston. Musical groups of that time played music that was too fast for the foxtrot movements, so they were modified into the quickstep. Since then, as it has evolved, this ballroom dance has become even more dynamic, allowing dancers to show off their technique and athleticism.
The quickstep combines many different elements such as chassis, progressive turns and steps, to name a few.
The Viennese Waltz is one of the oldest ballroom dances, which is performed at a fast tempo that characterizes the first waltzes. The golden age of the Viennese waltz in Europe occurred at the beginning of the 19th century, when the famous composer Johann Strauss still lived and worked. The popularity of this waltz rose and fell, but it never went out of fashion.
The size of the Viennese waltz is the same as that of the slow one, it is three quarters, and the number of beats per second is twice as large - sixty.
The Latin American dance program is usually represented by the following sports ballroom dances: cha-cha-cha, samba, rumba, jive and paso doble.
This ballroom dance is considered the national dance of Brazil. The world began to discover samba in 1905, but this ballroom dance became a sensation in the United States only in the 40s thanks to the singer and movie star Carmen Miranda. Samba has many varieties, for example, the samba danced at Brazilian carnivals and the ballroom dance of the same name are not the same thing.
Samba combines many of the movements that distinguish other Latin American ballroom dances: there are circular movements of the hips, “springy” legs, and measured rotations. However, it is not very popular for learning: the fast pace of performance and the need for physical preparation often deprive beginning dancers of enthusiasm.
The name of this dance is a reference to the sounds that dancers make with their feet while dancing to the maracas rhythm. The dance evolved from rumba and mambo dance. Mambo was widespread in the United States, but its fast music was very difficult to dance to, so Cuban composer Enrique Jorin made the music slower - and the cha-cha-cha dance was born.
A special feature of the cha-cha-cha is the so-called triple step on two counts. This feature made the cha-cha-cha a separate dance, distinguishing it from mambo, although other movements are quite similar to this style. The cha-cha-cha is also characterized by minimal movement around the hall; basically, this ballroom dance is performed almost in one place.
Rumba has quite a rich history - it emerged both as a musical genre and as a dance style, the roots of which go back to Africa. Rumba is a very rhythmic and complex dance that has given rise to many other dance styles, including salsa.
Previously, this Latin American dance was considered too vulgar due to its relaxed movements. It is still called the dance of love. The mood of the dance can change during its performance - from measured to aggressive. The performance style is reminiscent of mambo and cha-cha-cha styles. The basic measures of rumba are QQS or SQQ (from English S - “slow” - “slow” and Q - “quick” - “fast”).
"Paso doble" means "two steps" in Spanish, which defines its marching nature. It is a powerful and rhythmic dance characterized by a straight back, eyebrow gaze and dramatic poses. Among many other Latin American dances, Paso Doble is notable for the fact that you will not find African roots in its origin.
This Spanish folk dance was inspired by bullfighting, with the man invariably portraying the matador tamer and the woman playing the role of his cape or bull. However, when performing a paso doble at dance competitions, the partner never portrays a bull - only a cape. Due to its stylization and large number of rules, this ballroom dance is practically not performed outside of dance competitions.
Jive originated in African American clubs in the early 40s. The word "jive" itself means "misleading chatter" - a popular slang word among African Americans of the time. US military personnel brought the dance to England during World War II. There, jive was adapted to British pop music and took the form it has today.
A characteristic feature of jive is the fast pace of the dance, thanks to which the movements come out springy. Another feature of jive is straight legs. This sporty ballroom dance can be danced on either a six-beat count or an eight-beat count.
Greetings, O Champions! Today I intend to clarify some concepts and our heads! By the way, my head is no exception! It's been a while since I've been meaning to talk about what I've been saying! Pun intended, but now everything will fall into place. Actually, it all comes down to the fact that in sports ballroom dancing the participants are dancers who are classified into two main categories, one of which I want to tell you about today. We are interested in "classification and categories of dancers in ballroom dancing".
So, classification No. 1 is the level of training of the dancers, and classification No. 2 is the age group of the dancers. I think there is no point in explaining the need for the existence of such classifications, because if you imagine that a dancer who is not even seven years old will take to the floor, and a dancer of international class will act as a counterweight, then 100% will win... - friendship?!
As for me, the main thing, of course, is the classification by age group. After all, if there are dancers on the floor who are equally trained, but with an age difference of 20 years, it is clear that in this situation experience will bring victory. Although I won’t firmly insist on this opinion either, because there are always exceptions. And yet, there are certain rules in the class system that cannot be circumvented. One of these rules is the dancer’s age itself, which is a limiting factor in increasing the level of training, but I will talk about this in subsequent articles, and today I invite you to consider the concept of “ Classification and categories of dancers in ballroom dancing».
Based on what we just talked about, it follows a completely logical conclusion that the classification of dancers allows you to create equal competition, thanks to which you can more accurately determine the dancer’s level of training.
So, the classification of dancers by level of training. This classification contains such categories:
"E" class. This is a sports class that is the starting one. The “E” class itself is the first class for dancers in which competitions are held. This class closely borders on the “N” class, which should be understood as “beginner” or “zero class”. The fact is that in the “N” class there are no competitions, and the “N” class itself is divided into “N-3”, “N-4”, “N-5” and “N-6”. The number in this case means a limited number of dances. For “N-3” this is: waltz, cha-cha-cha and polka. For “N-4” these are: cha-cha-cha, samba, waltz and jive. For “N-5” these are: quickstep, samba, cha-cha-cha, jive and waltz. And the last “N-6” is the class that gives rise to the “E” class.
Also, the main difference between the “E” and “H” classes is that it is divided into European and Latin American programs. The first includes quickstep, slow waltz and Viennese waltz, and the second includes jive, samba and cha-cha.
"D" class. This class is the second step on the path to the championship! In order to get into the “D” class, dancers need to score points in previous competitions. “D” class no longer includes six (like “E” class), but eight dances, including: slow waltz, tango, Viennese waltz and quickstep in the European program, and samba, cha-cha-cha, rumba, jive in the Latin American program. Also, the difference between the “D” class and the “E” is the expanded number of executable elements.
"C" class. This class differs from the previous ones in that it allows the performance of choreography not from the basic list of figures. Thus, dancers who compete in the “C” class have the opportunity to embellish their performance with figures that give the dance a rather distinctive and colorful touch. In other words, starting from class “C”, the physical education of ballroom dancing turns into art!
This class usually begins a serious career for dancers, and the European and Latin American programs contain five dances each. European program: slow waltz, tango, Viennese waltz, slow foxtrot and quickstep. Latin American program: samba, cha-cha-cha, rumba, jive and paso doble. Starting from “C” class, dance becomes more than a hobby for a dancer.
After the above classes come B, A, S and M classes.
"B" class. In order to move to the “B” class, dancers must necessarily complete a program of ten dances in the “C” class, and after that they can determine their future career in the Latin American or European programs that suit them. It can also be a “ten” dance. A distinctive feature of this class is that here dancers get the opportunity to use posing and a variety of supports in their dances.
"A" class. This is an intermediate class between everything that was before the “A” class and the international “S” and “M” classes.
"S" class. Assigned by decision of the Presidium of the national federation based on the results of the national Championship or Championship. Also, “S” class is an international class.
"M" class. This is an international class that is the highest in dance sport. This is the class that all dancers for whom ballroom dance has become their life strive for.
Very often you can come across such a term as "Hobby" class. This class is for beginner adult dancers who wish to dance more dances and with a wider variety of moves than child beginners. As a rule, the organizers of competitions in this class do not impose restrictions on costumes and elements performed, and in general, such a “Hobby” class has a semi-official status. This is the very first, starting class, in which only four dances are allowed: quickstep, jive, slow waltz and cha-cha-cha. At the same time, dancers do not have access to all the variety of movements of these dances, and only the most basic movements are allowed.
I would like to draw your attention to such a concept as "couple dance class» This term is applied to a newly created dance couple and, what is most important and interesting, is determined by the class of the partner! Perhaps today some of you will begin to remember such abstruse words as gender or gender politics (!), but nevertheless, for today this is a strict rule. Although not everything is as bad as it seems at first glance. If the partner’s class is two or more higher than the partner’s class, then the couple can be admitted to the competition held between couples whose class is one class higher than the class of such a partner. And if a couple scores half or more of the points to advance to the next class, any partner whose class is lower is assigned the higher class of the second partner. Moreover, this is a mandatory rule and is not subject to discussion!
Dancers who have scored the required number of points are assigned a new, next class. Up to the “B” class, points in Latin and standard are scored together and then summed up into one, but starting from the “B” class - separately. S and M classes are assigned not only by points scored, but also by successful performance, by decision of the Presidium of the national federation based on the results of the national Championship or Championship.
That's all, if we briefly go over the main points classifications level dancer training!
International class dancer, winner of the II All-Union Ballroom Dancing Competition (1975), repeated champion of socialist countries in ballroom dancing (1979-80), finalist of the World Cup in 10 dances (1985-86), Honored Artist of the Russian Federation, President of the Russian Dance Union, organizer national and international professional tournaments, commentator on TV programs on sports dances, dance master of the Vienna Ball.
In every field of creative activity there are masters whose names most closely correspond to it. When it comes to ballroom dancing in Russia, Stanislav Popov is certainly one of them.
As fate would have it, he was born at a time when ballroom dancing, which became his life’s work, was regarded in our country as a “bourgeois activity” that undermined the foundations of the existing system. But he managed to honorably go through the difficult path of first a dancer and then an organizer, turning Russian professional dance into a strong and independent component of world dance.
Today, among many types of choreography, ballroom dancing is the phenomenon that combines sport and art. And “reconciling” in one whole two seemingly mutually exclusive sides is an urgent problem on the solution of which the future of the genre depends. Speaking about his motives for dancing, Stanislav Popov repeatedly emphasized his desire for competition, since he was always attracted to competitions. But at the same time, his whole life as a performer, teacher and organizer confirms that in his understanding, dancing is, first of all, an art. So, it is probably no coincidence that at the head of the professional organization of dancers, the Russian Dance Union, there is a person who has been awarded the title - Honored Artist of Russia.
Dancer
Dance is without a doubt the love of Stanislav Popov's life. But one cannot subject the object of love to dry analysis, trying to determine what actually evokes these bright feelings in a person’s soul? Stanislav always liked to dance. Even as a child, he was worried that others could do it, but he couldn’t. Once, when he was eight years old, he attended the birthday party of a girl from his yard. For the holiday, the guys even bought a drink; in those days it was called cider. And at that moment, when they were taught the same dance: step in one direction, step in the other, Stanislav was suddenly overcome by a feeling of great joy. He thought he had learned to dance! But in the end, he did not come to ballroom dancing right away. At first there were sports - swimming and pentathlon, and very seriously - a master of sports. Later, when he came to the dance school in Sokolniki Park, he again had that amazing feeling. Probably simply because a dancing person is happy. The hormones of happiness that penetrate the consciousness and the entire body during dancing encouraged Stanislav to continue to practice them. I liked the feeling of music and movement. True, at first there were no competitions, and for him, who has a sporting streak, it was not so interesting.
In 1965, Stanislav entered the Moscow Power Engineering Institute at the Faculty of Electronic Engineering, and in 1967, his older brother Victor, who by that time was already involved in ballroom dancing, brought him to the Khimik House of Culture to introduce him to a good partner. So Anya Kushnareva became Stanislav’s first partner, and Bruno Belousov, the head of the dance studio, became his first teacher. Having successfully performed in the “D” class at competitions in Moscow, Gorky, Tartu, Tallinn, Stanislav and Anna danced together for only a short time, about a year and a half. The emergence of tournaments and dance sports meant the emergence of the profession of a dancer-athlete. She became the work of life. True, all this was still ahead.
In the meantime, among many interesting candidates for the place of a new partner, the main one turned out to be the soloist of the School Years ensemble, Lyudmila Borodina. After 7 years they became spouses, and after that they lived together for another 20 years. For many, their union was the ideal of both a dance and a married duet. Popov himself evaluates these years as a wonderful life with a huge number of tournaments. The Popovs, indeed, were the couple thanks to whom the Soviet Union showed for a long time that we were “ahead of the rest” in the field of ballroom dancing.
The amateur career of Stanislav and Lyudmila includes more than a hundred tournaments. Among the most successful performances are “Amber Couple” (Kaunas), “Riga Autumn”, “Tallinn Regatta” and “Tallinn Spring”, “Vilnius”, “Baltic Sea Week” (GDR), “Savaria” (Hungary) , competitions in Finland, Austria, Bulgaria and other countries. In 1975, Stanislav and Lyudmila became winners of the II All-Union Ballroom Dance Competition, and, starting from 1975, a series of first prize-winning and then victorious performances began at the championships of socialist countries, including in Moscow in 1979. The year 1981 was marked by a new stage in their dancing career - Stanislav and Lyudmila became professionals. And their first participation in the Dresden Dance Festival brought success, which they consolidated at subsequent European and World Championships in the Latin American, European programs, as well as the 10 dance program.
One episode testifies to how difficult the life of a dancer practicing ballroom dancing in our country was. One day, after Stanislav and Lyudmila performed at the European Championships in Great Britain, they were invited to the World Championships in London. At that time, there was an unspoken order in the USSR that one should not travel to a Western country more often than once every six months. So the international department of the CPSU Central Committee made a special decision regarding their dance duet. However, after a performance in London, they were invited again, but this time to the Blackpool Festival, the largest event in the dance world. Today, this most prestigious and oldest tournament is more than eighty years old. All participants arrive at their own expense, and for the Soviet couple, the British were ready to fully pay the expenses: travel, accommodation, stay a week before the tournament. Now this may not seem significant, but in Soviet times, with its travel expenses, such a proposal looked serious. The British themselves talked to our embassy, where they and the dancers were reassured, but as a result, at the right moment, Stanislav and Lyudmila were unable to “get through” to anyone. And after that they were banned from traveling abroad for three years.
Stanislav and Lyudmila Popov The last performance of Stanislav and Lyudmila took place in 1988 at the largest ballroom dancing tournament in the history of All World Stars Champions in Tokyo, in the huge hall of the Tokyo House, accommodating 50 thousand spectators. The prize fund of this tournament was about 300 thousand dollars, and the winners also received new Mazda models. Japanese television captured the exciting moment: dancers and teachers from different countries gave Muscovites a farewell ceremony to the competitive dance. And Stanislav and Lyudmila said goodbye to their fans in Russia with a slow waltz a few months later that year at the First International Ballroom Dance Competition, which they held in Moscow.
The time of participation in competitions turned out to be interesting not only from the point of view of fighting with rivals. Intense competition stimulated the dancers' creativity. New professional knowledge was needed. And in 1980, Stanislav and Lyudmila became students of GITIS in the department of choreography (graduated in 1985). They had the honor of studying in the last year of Rostislav Zakharov, one of the founders of the Soviet ballet school. Together with Lyudmila Stanislav, many interesting dance numbers were created. Undoubtedly, the best of them is “Carmen” to the music of Bizet, arranged by Shchedrin, who rightfully went down in the history of Russian ballroom dance as the first and very successful attempt to combine classical music and ballroom choreography.
Later, at the World Cup in 1999, this number was resumed by Igor Kondrashev and Irina Ostroumova. At the anniversary, 15th World Cup (2009), a couple from the USA, at that time world champions in the 10 dance program, German Mushtuk and Iveta Lukosyte, performed at the gala show with the number “Carmen”. Herman was happy to share an interesting story related to this show. Just at the time when he began to dance as a little boy, in Chisinau and Moscow he saw several times the demonstration performances of Stanislav and Lyudmila Popov with the number “Carmen”. Then everyone was talking about this wonderful number. Fate decreed that Herman ended up in the USA, just like one of Stanislav’s best students, Talat Tarsinov. Today Talyat, the USSR champion in Latin American show, is one of the leading ballroom choreographers in the world. And he suggested that German and Iveta make their own “Carmen” to the same music. So Herman was transported to his wonderful childhood memories, and at the anniversary World Cup they presented this number to Stanislav.
Teacher
Throughout their active dance career from 1971 to 1988, Stanislav and Lyudmila carried out no less active teaching work in their dance studio in the Palace of Culture. Gorky in Moscow. This team, unusually creative in its atmosphere, trained more than twenty international-class couples. Such as Peter and Alla Chebotarev, Vladimir and Olga Andryukin, Alexey and Svetlana Dmitriev, Arthur and Maria Lobov, Talyat and Marina Tarsinov, Igor and Ivetta Kondrashev, Vladimir and Elena Kolobov, Leonid Pletnev and Tatyana Pavlova. Today, all of them are excellent teachers, passing on to their students both in our country and abroad that exceptional devotion to dance that has always distinguished Popov himself.
One of his students, now People's Artist of Ukraine, founder and director of the world's only Dance Theater (Sevastopol), Vadim Elizarov, recalls that Stanislav Popov had a huge influence on him. He was his idol. A most competent specialist and a person with phenomenal taste, Stanislav was a master of all-Union dance. And how many couples Stanislav and Lyudmila raised! All professionals passed through their hands. Elizarov recalls the famous training camps in Poltava and Crimea, Sevastopol, and Stas - democratic and at the same time highly professional. For Elizarov, he was not just a teacher, but, above all, a person who set an example of a professional attitude to his work.
From 1991 to 1995, Stanislav lived and worked in the USA, where he taught at the Washington dance club in Seattle. By decision of the American government, he was issued a special “green card” as a person “with outstanding abilities and international recognition.” At this time, Stanislav taught in Holland, Germany, and Hong Kong.
Russian Dance Union
The history of the formation of the first Russian professional dance organization began in 1987, when the Creative Commission for Ballroom Choreography was created under the All-Union Musical Society, headed by Chairman Stanislav Popov. The very next year (1988), the Association of Professional Performers and Ballroom Dance Teachers (APIUBT) arose on its basis. It was this organization that was transformed into the Russian Dance Union in 1994, and Stanislav Popov became its permanent president. Now Russia, represented by RTS, has received the right to participate in the work of an international professional organization - the World Dance Council (WD&DSC). Having expanded its powers, RTS was transformed into the Russian Dance Union in 2007.
The first professional tournament organized by Stanislav Popov was the First All-Union Ballroom Dancing Competition, held in 1988 at the Druzhba Sports Center (Moscow). Due to historical reasons, it did not yet bear the official name of the championship, but in essence it was such. For the first time in our country, a dance competition was held only according to the international competition program, excluding Soviet dances. Its winners can rightfully be defined as the first champions of the country. They were: in the standard Stanislav and Lyudmila Popov, in the Latin - Juris and Birute Baumanis (Riga), in the European show - again Stanislav and Lyudmila Popov, and in the Latin American - Talyat and Marina Tarsinov.
Since 1990, Russian championships have now been held annually for all competitive dance programs: standard, Latin, European and Latin American show and 10 dance program.
Over the years, ballroom dancing has developed in our country in isolation from the rest of the world. This is all the more important to imagine, since these dances were born there, in the “other” world. That is why at first, albeit insignificant, and then increasingly expanding connections with the world dance community were so important. And, perhaps, the task of organizing and holding international tournaments at home was no less significant than making foreign tournaments accessible to our dancers.
The first international professional competition with the participation of the world's leading couples was the 1st Moscow International Competition held in 1988 by Stanislav Popov. Within its framework, another historical event for the dance world took place - the show of world champions Espen and Kirsten Salberg and Alan and Hazel Fletcher “Latin Fantasy II”. The first competition was followed at intervals of two years by three more - in 1990, 1992 and 1994. The experience gained made it possible, starting in 1995, to approach the World Cup, which opened our country to the dance world.
As President of the Russian Dance Union, Stanislav Popov has always taken an active part in the work of the World Dance Council (WDC). For a number of years he was Vice-President with special powers of the WD&DSC Sports Committee, and from 2003 to 2012 - Vice-President of the World Dance Council (WDC). In 2013, noting Stanislav Popov’s services to the development of world ballroom dance, at the WDC Annual Meeting he was awarded the title “Honorary Vice President of the WDC.”
Since 2001, Stanislav Popov began to regularly hold official WDC championships in our country: European Championships according to the European program, Moscow - 2001, 2009, 2012; European Championships in the Latin American program, St. Petersburg - 2002, Moscow - 2005, 2008; World Championships in Latin American Show, Moscow - 2003, 2006, Omsk - 2009; European championship in the 10 dance program, Omsk - 2008. And finally, the main tournament, in terms of status, is the World Latin Championship. It was held in 2007 in the Kremlin and became a farewell for the outstanding couple of our time, Brian Watson and Carmen (Germany), who won their last, ninth title there. In 2011, the Kremlin parquet was again provided to the best Latin dance duets on the planet. This time the championship title was won by Riccardo Cocchi and Yulia Zagoruichenko (USA). And in 2013, again in the Kremlin, for the first time in the history of ballroom dancing, the strongest couples in the world in the European program gathered in our country. Arunuas Bijokas and Katyusha Demidova (USA) rose to the highest step of the podium.
Having emerged as an organization of professional dancers and dance teachers, today RTS successfully develops amateur dance within the framework of AL WDC. Thus, at the last joint RTS championship in 2013, about 1,200 amateur dance duets performed.
In recent years, the RTS has grown not only quantitatively, but, more importantly, qualitatively. The traditions established 25 years ago have been further developed, and the merits of their colleagues at RTS are now recognized with the “Recognition” award at a special ceremony. Stanislav Popov has repeatedly won this award in the “Best Tournament of the Year” category. And in 2013, the nomination “Best Organizer of the Year” was added to this nomination for the World European Dance Championship.
world Cup
An international tournament organized annually by Stanislav Popov. But to say this means to show only one side of his attitude to this dance action. Popov’s role as a presenter is no less important for both the public and the tournament participants. Without this finishing touch, the unique atmosphere of Dance that distinguishes the Cup from all other competitions would not have developed.
Beginning its history in 1995, the World Cup has become a tournament that brings together the world's best couples in the Latin American program. The first two years, its winners were fifteen-time world champions Donnie Burns and Gaynor Faweather (Scotland) (1995, 1996), four times the Cup was won by nine-time world champions Brian Watson and Carmen (Germany) (1999, 2000, 2002, 2004) and multiple winners of Blackpool festival Michal Malitowski and Joana Lenis (Poland) (2007, 2009, 2010, 2012), three-time and four-time winners of the Blackpool Festival Jukka Haapalainen and Sirpa Suutari (Finland) (1997, 1998, 2001), once - vice-world champion Paul Killick and Hanna Kartunen (Great Britain) (2003) and already twice reigning world champions Ricardo Cocchi and Yulia Zagoruichenko (USA) (2008, 2011). And, of course, Russian couples. The World Cup finalists Sergei Ryupin and Elena Khvorova (2005) were the first to win the World Cup, and the next year the world vice-champions Slava Kriklivy and Elena Khvorova (2006) rose to the highest level.
Over the past almost 20 years, the organizer himself remembers most of all the first tournament, the holding of which required a lot of work and sleepless nights. In the mid-90s, it was even difficult to imagine that all those stars who eventually came to Luzhniki would perform in Moscow (the first tournament was held at the Small Sports Arena). Of the six world finalists, four of us danced. The highest level, and of course, a joyful event. This was followed by the second World Cup, which moved to the Kremlin. A completely different venue and conditions, but also a truly exciting event. Popov also remembers the 10th World Cup, where Donnie Burns and Gaynor Fairweather performed again for the first time in many years with an amazingly beautiful rumba.
Over the years, the World Cup has become one of the most, if not the most, prestigious invitational tournament in the world. First of all, this is due to the magnificent hall - the Kremlin, the historical center of Russia, Moscow. And also a stunning parquet floor, beautiful couples, light - all the components that make this tournament possible to be special. The World Cup is not a dance marathon; it has only three rounds. This is more of a social event than a sporting competition, especially considering that on the second day there is a gala show - a theatrical performance made up of the best performances of the participants and guests of the World Cup. And during breaks, spectators come out onto the famous parquet to dance and get a charge of positive energy. And for many years now the musical group “7 Winds”, led by Honored Artist of the Russian Federation Georgy Musheev, has been helping them in this.
Viennese Ball
In 2000, Stanislav Popov performed in a new role for himself - a dance master. At that time we were talking about the historical Millennium Ball, held at the Bolshoi Theater. And a few years later, in 2003, the organizers of the Vienna Ball, held in Moscow for the first time, turned to Popov, choosing him as the ball manager. Over time, the role of dance master of the Vienna Ball was supplemented by the role of dance master of the Russian Balls in Vienna, Baden-Baden, Alma Ata, Palma de Mallorca, Montreux, and Kyiv. Putting on ball gowns and tailcoats, men and women strive to be transported to another dimension at the ball. And the regularity of their holding indicates that many people these days want to immerse themselves in this amazing romantic state, inspired by Natasha Rostova. Before the Vienna Ball, a selection of debutantes is carried out, where out of 800 girls only 100 remain. And every year it takes Popov 2.5 months to prepare them. But not everyone can become a debutante. Of course, age (from 17 to 23), unmarried status and good appearance are also important. But first of all, she must be a spiritual young lady, well-mannered and educated. She goes out into society and must live up to certain ideals.
Dance culture
A huge layer of common culture that we had in our country, but, unfortunately, has now been largely lost. Having returned from the USA to Russia in the mid-90s, it seemed to Popov that exactly those changes were beginning to occur in society that were necessary for the development of ballroom dancing both as a sport and simply as a type of human activity. Time has passed, but in our country, priority is still given only to dance sports, and public, social dance has not advanced much in its development compared to what it was 25-30 years ago. In those days when there were dance schools, and not sports clubs or just dance floors, dancing was much more popular. Today people just don’t go anywhere to dance, and dance breaks arise only within the framework of some events, and even then not always. During school years, no one acquires dancing skills, since there is no dancing as part of the school curriculum, by the way, unlike many European countries. But even when they grow up, people don’t even think about taking dance classes and teaching their body how to move correctly. Meanwhile, dancing gives a person not only the ability to coordinate the body, mobility and elegance. Much in their life and communication becomes easier. According to Popov, the popularization of ballroom dancing and providing people with ample opportunity to dance still remains a pressing problem for our country.
Recently, a gratifying moment has appeared in the cultural life of society - balls are beginning to occupy an increasingly prominent place, including the Vienna Ball held in Moscow. Dance events of this caliber give people of all ages the opportunity to experience the joy of dance.
If you look into the distant past, dance culture occupied a completely different place in Russian society. In this regard, Stanislav Popov recalls Peter's assemblies. Realizing that dancing is an integral part of pan-European culture, Peter I forced everyone to dance. Previously, Popov and his colleagues often cited this example in conversations with representatives of ideological bodies that hindered the development of dance culture. But even in those Soviet times, positive examples could be found. Thus, at one time, the Minister of Defense K. Voroshilov issued an order according to which dancing began to be taught in all military schools. A Soviet officer had to be able to dance, and they danced in Suvorov schools. And today it is difficult to imagine our officers dancing, since society has lowered them to a social level unworthy of officers.
Ballroom dancing is always beautiful. And since in Soviet times beauty was dosed, it was especially valuable. On New Year's Eve, after the “Blue Light” at 4 am, people eagerly awaited not only the “Melodies and Rhythms of Foreign Pop” program, but also “Dances, Dances.” Appearing on TV screens once a year, the program became very memorable. Older viewers remember the dancing couple Popov well not only from this program, but also thanks to their participation in numerous pop concerts. Today the practice of group concerts is gone, Popov notes with regret. But even those that take place have vocalists and dance groups, but dance couples are completely absent from the stage.
As for television, today, according to Popov, manipulation of consciousness is an absolutely obvious and real thing. Television does not want to broadcast demonstration performances from dance tournaments, but dubious reality shows appear. One can only regret the level of the bulk that watches them. Everyone has forgotten that television should have an educational function and in no case shock, not play on vices, offering unaesthetic products. It was this idea that guided Stanislav Popov when, for six years, he headed the jury of the popular show “Dancing with the Stars” on the RTR channel. His professional and intelligent commentary enabled millions of viewers to better understand and love the beauty of ballroom dancing.
And one more touch to the culture of dance, “seen” by Popov in the USA. In this country, not a single five-star hotel is built without a large convention center that can be used as a ballroom. When we say “ballroom,” we mean that it is intended not for a high-status ball, but for the dancing of conference participants at its conclusion. This is a special, ballroom, form of communication. In principle, we do not have such halls, even at the level of hotel projects, since this is not in the mentality of the people on whom the development and acceptance of projects depends. In the best case, there is a large room for a disco, which is also good: when going through a certain stage of their development, young people need to “dance” from the heart, maybe even breaking furniture. But all this must be in combination with other opportunities, when people can realize themselves in a different environment.
Social dance
Why do people dance? In one of her interviews, Hanna Kartunen, a world-class dancer, noted that nowhere other than dancing does she get such an amazing feeling of moving into another dimension that she gets from complete unity with her partner. This is what the champions say, but any person who dances at any level ultimately strives for the same thing. Only this happens not at an international brilliant tournament, but in his private life, the importance of which is of paramount importance to him. "Dance and be happy!" - says Stanislav Popov. And many take this path of happiness, and receive it from achieving not only a higher goal, but also simply from freedom of movement, from the opportunity to merge with music, from increasing their self-esteem, acquiring beautiful posture and, of course, communication. Communication between a man and a woman, their joint musical and dance activities, where the best qualities of a person are manifested.
According to Popov, ballroom dancing is a type of social activity whose significance in our society is not yet fully realized. A striking example is children. If they start dancing at the age of 6-8, then at 11-12 they are already very different from their peers in both their manner of communication and body positioning. There are not many types of activities where boys and girls, boys and girls, men and women are taught to communicate. When many parents bring their children to dances, after some time they themselves begin to dance, and then it happens that grandparents also join in. It turns out that at the level of physical culture, ballroom dancing is the most popular movement. After all, not everyone plays football, but absolutely everyone dances.
Before the advent of shake, break and the like, dances were paired. This is largely due to the changes that have occurred in the social structure. Today the institution of family has many problems, people are becoming more and more divided, and dancing is also becoming different. But Stanislav Popov does not lose hope. that when people are “shaken up” separately, they will develop a nostalgia for high human relationships, and they will begin to get closer. Maybe they will reunite again and become happy.
After all, ballroom dancing is the ideal relationship between a man and a woman.
Dance and be happy!
To create more or less equal competition on the dance floor, in sports ballroom dancing a class system has been introduced, reflecting the level of training of dancers, and a system of age categories, distributing dancers into age groups. To enter the first competition, they are assigned one of the lowest classes (Hobby or H), which they can later change to a higher one, having won in competitions in ballroom dancing certain places and earning certain points. Not everyone in the lower classes is allowed to dance. ballroom dancing and not all elements. The highest class of skill among amateurs is M class.
Classification of dancers by level of training.
Hol class, H class (the letter "H" means "beginner" or "zero class")
H-4 - starting class in ballroom dancing. Dancers perform only 4 dances: slow waltz, quickstep, cha-cha-cha and jive. The set of elements is limited to the most basic movements. In H-5 samba is added, in H-6 - the same dances as in E class. IN ballroom dancing There is a term "Hobby class". It applies to beginning adult athletes who would like to dance a larger number of dances and with a larger set of movements than child beginners. Often in this case, the organizers of competitions ballroom dancing There are no restrictions on costumes or elements performed at all. This Hobby class has a semi-official status.
E class
The next class, which can also be a starter. It performs slow waltz, Viennese waltz and quickstep in the European program and samba, cha-cha-cha and jive in the Latin American program.
D class
Includes eight ballroom dancing. Slow waltz, tango, Viennese waltz and quickstep - European program. Samba, cha-cha-cha, rumba, jive - Latin American.
C class
Includes all ten ballroom dancing. Slow waltz, tango, Viennese waltz, slow foxtrot and quickstep - European program. Samba, cha-cha-cha, rumba, paso doble and jive - Latin American. This class usually begins a serious career for dancers.
Higher classes
Next in sports ballroom dancing There are classes B, A, S and M. Up to class B, dance couples, according to the rules of regional dance sports federations, must perform 2 programs (European and Latin American), and from class B, competitions in sports ballroom dancing are carried out both separately according to programs, and according to both programs at once (biathlon).
Classification of dancers by age groups
Children 0 - the oldest turns 6 years old or younger this year
Children 1 - the eldest turns 7-9 years old this year
Children 2 - the eldest turns 10 - 11 years old this year
Juniors 1 - the eldest turns 12 - 13 years old this year
Juniors 2 - the eldest turns 14 - 15 years old this year
Youth - the eldest turns 16 - 18 years old this year
Adults - the eldest turns 19 years old or older this year
Seniors - the youngest turns 35 years old or older this year
The second partner in a couple may be younger than the lower age limit of his age category: in Children 2, Juniors 1, Juniors 2, Youth by a maximum of four years, in the Adult category by a maximum of five years.
Allowed classes |
|
Mastery class is understood as a certain level of physical development, psychological and musical-aesthetic preparedness of an athlete, providing him with the ability to perform figures and dances of a certain degree of complexity in technical and choreographic terms at various stages of the training process related to the age of the athlete.
There are seven classification groups. A skill class is assigned to an athlete only based on the results of a competition conducted by TSSR and its affiliates.
An athlete who does not have a class may be assigned class “E” if he has completed initial training in the six dance program and received a classification book based on the application of the coach.
Assignment of classes D, C, B, A is made by the presidium of the regional member organization of TSR on the proposal of the head of the club based on the points scored at the relevant competitions. “The assignment of S and M classes is carried out by the Presidium of the FTSR upon submission of a petition from the presidium of the regional member organization of the FTSR.”
At competitions in ten dances (combined), in cases where the class of a couple is different in the European and Latin American programs (for example, A - in European, B - in Latin American), the couple is registered and allowed to compete in the lower of these classes.
The calculation of points on the basis of which the transition from one class to another is carried out for all athletes is carried out according to the table
Number of couples participating in the competition |
|||||||||||
187 or more |
|||||||||||
Points are awarded separately for each athlete in a pair, in accordance with his skill class and the place occupied by each of the athletes in the competition.
An athlete who does not receive points according to the table and is included in half of the pairs taken for scoring receives 1 point. Rounding is not performed to the nearest whole number. To move from class B to class A and from class A to class S, an athlete must have at least 2 points scored in one of the following competitions:
Championship of any federal district, Moscow and St. Petersburg;
- Championship of any federal district, Moscow and St. Petersburg;
- Russian Championship;
- Russian Championship;
- Open international tournament “Glory to Russia”, Moscow,
- Open international tournament “Vivat Russia”, Sochi.
Classes A, S and M are assigned separately in the European and Latin American programs.
Number of points required to move from class to class
Total number of points required |
Minimum number of points |
|
