A street dance is a dance style that evolved outside dance studios in any available open space such as streets, dance parties, block parties, school yards and nightclubs. A street dance is a vernacular dance in an urban context. Vernacular dances are improvisational and social in nature, encouraging interaction and contact with spectators and other dancers; these dances are a part of the vernacular culture of the geographical area. Examples of street dance include b-boying. Clogging is a early form of street dance, since it evolved in the streets and factories of Northern England in the mid-19th century. Various street dances have lent themselves to the style of urban dance, which arose from the collegiate dance scene. Urban dance is choreography-oriented but is inspired by different street dance styles and fundamental moves, such as house and popping. Urban dance should not be mistaken with hip hop, the culture and art movement that began in the Bronx in New York City during the late 1970s. List of street and vernacular dances List of ethnic and folk dances sorted by origin Media related to Street dance at Wikimedia Commons
Ecstatic dance is a form of dance in which the dancers, sometimes without the need to follow specific steps, abandon themselves to the rhythm and move as the music takes them, leading to trance and a feeling of ecstasy. Ecstatic dance has been practised throughout human history, including in classical times by the maenads, followers of the wine-god Dionysus. In the ancient and widespread practice of shamanism, ecstatic dance and rhythmic drumming are used to alter consciousness in spiritual practices as different as the Kut ritual of Korea and among the San of Southern Africa. Ecstatic dances are known from religious traditions around the world, including Sufi dervishes. Modern ecstatic dance was revived by Gabrielle Roth in the 1970s and formalised in her 5Rhythms practice; the effects of ecstatic dance begin with ecstasy itself, which may be experienced in differing degrees. Dancers are described as feeling connected to others, to their own emotions; the dance serves as a form of meditation, helping people to attain serenity.
Ecstasy (from Ancient Greek ἔκστασις ékstasis, in turn from ἐκ and ἵστημι is a subjective experience of total involvement of the subject, with an object of his or her awareness. In classical Greek literature it meant the removal of the mind or body "from its normal place of function." In their 2003 DVD Dances of Ecstasy, the filmmakers Michelle Mahrer and Nicole Ma documented ecstatic dances from around the world, with traditional dances by the San of the Kalahari desert of Namibia, by the Yoruba of Nigeria. To this list can be added Balinese trance dances; the writer and musician Karen Berggren relates ecstatic dance to the ancient practice of shamanism, which has for millennia made use of drumming and ecstatic dance to alter consciousness in spiritual practices. For example, the San bushmen of the Kalahari have a shamanic healing dance. Paul and Josephine Zmolek note that mass expressions of sacred ecstatic dance in Europe ended in the Middle Ages, but that these were little regarded in official chronicles.
They state that the dances were described both as "disease and satanic hysteria" and "paradoxically and saintly grace." They assert that these "choreomanias were shamanic pilgrimages. The Christian church "instituted Christ as the ultimate shaman", leading to the prohibition of shamanistic dance. In Greek mythology, the Maenads were intoxicated female worshippers of the Greek god of wine, known for their "ecstatic revelations and frenzied dancing"; the female followers of Dionysus, including bacchants and thyai as well as maenads, seek the "wild delirium" of possession by the god, "get out of themselves". Among Dionysos's entourage were wild and drunk satyrs, sileni and bacchants, a confusing mixture of supernatural and human; the oreibasia was a midwinter Dionysian rite practised by women, said to be an "unrestrained, ecstatic dance where the'human' personality was temporarily replaced by another", though it became structured into a definite ritual. The male counterparts of the Maenads were the Korybantes and crested ecstatic dancers who worshipped the Phrygian goddess Cybele with drumming and dancing.
They were the offspring of the god Apollo. The Greeks confused them with other ecstatic male confraternities, such as the Idaean Dactyls or the Cretan Kouretes, spirit-youths with magical powers who acted as guardians of the infant Zeus. In Hindu mythology, the Rig Veda tells of the Maruts, the furiously wild but innocently playful companions of the god Rudra-Shiva, they are depicted "as a troupe of freakish, adventurous and wild young people, who prowl in the night, shouting in the storm, singing and ceaselessly playing outrageous tricks on sages and gods." The god's human followers may identify with and imitate the god's companions, just as happened in ancient Greece with the followers of Dionysos and the Korybantes. A variety of religions and other traditions around the world make use of ecstatic dance. For example, some modern Witchcraft traditions such as the Reclaiming Tradition and the Feri Tradition define themselves as "ecstatic traditions", focus on reaching ecstatic states in their rituals.
The Afro-American religious tradition Candomblé, practiced in Brazil, makes use of music and ecstatic dance in which worshippers become possessed by their own tutelary deities, Orishas. In northern Greece and southern Bulgaria, in the annual celebrations for Saint Constantine and Saint Helen, dancers perform the Anastenaria, a fire-walking ritual, as the climax of three days of processions, music and animal sacrifice. In the trad
Dance is a performing art form consisting of purposefully selected sequences of human movement. This movement has aesthetic and symbolic value, is acknowledged as dance by performers and observers within a particular culture. Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin. An important distinction is to be drawn between the contexts of theatrical and participatory dance, although these two categories are not always separate. Other forms of human movement are sometimes said to have a dance-like quality, including martial arts, cheerleading, figure skating, synchronized swimming, marching bands, many other forms of athletics. Theatrical dance called performance or concert dance, is intended as a spectacle a performance upon a stage by virtuoso dancers, it tells a story using mime and scenery, or else it may interpret the musical accompaniment, specially composed. Examples are western ballet and modern dance, Classical Indian dance and Chinese and Japanese song and dance dramas.
Most classical forms are centred upon dance alone, but performance dance may appear in opera and other forms of musical theatre. Participatory dance, on the other hand, whether it be a folk dance, a social dance, a group dance such as a line, chain or square dance, or a partner dance such as is common in western Western ballroom dancing, is undertaken for a common purpose, such as social interaction or exercise, of participants rather than onlookers; such dance has any narrative. A group dance and a corps de ballet, a social partner dance and a pas de deux, differ profoundly. A solo dance may be undertaken for the satisfaction of the dancer. Participatory dancers all employ the same movements and steps but, for example, in the rave culture of electronic dance music, vast crowds may engage in free dance, uncoordinated with those around them. On the other hand, some cultures lay down strict rules as to the particular dances in which, for example, men and children may or must participate. Archeological evidence for early dance includes 9,000-year-old paintings in India at the Rock Shelters of Bhimbetka, Egyptian tomb paintings depicting dancing figures, dated c. 3300 BC.
It has been proposed that before the invention of written languages, dance was an important part of the oral and performance methods of passing stories down from one generation to the next. The use of dance in ecstatic trance states and healing rituals is thought to have been another early factor in the social development of dance. References to dance can be found in early recorded history; the Bible and Talmud refer to many events related to dance, contain over 30 different dance terms. In Chinese pottery as early as the Neolithic period, groups of people are depicted dancing in a line holding hands, the earliest Chinese word for "dance" is found written in the oracle bones. Dance is further described in the Lüshi Chunqiu. Primitive dance in ancient China was associated with shamanic rituals. During the first millennium BCE in India, many texts were composed which attempted to codify aspects of daily life. Bharata Muni's Natyashastra is one of the earlier texts, it deals with drama, in which dance plays an important part in Indian culture.
It categorizes dance into four types – secular, abstract, interpretive – and into four regional varieties. The text elaborates various hand-gestures and classifies movements of the various limbs, steps and so on. A strong continuous tradition of dance has since continued in India, through to modern times, where it continues to play a role in culture, and, the Bollywood entertainment industry. Many other contemporary dance forms can be traced back to historical, traditional and ethnic dance. Dance is though not performed with the accompaniment of music and may or may not be performed in time to such music; some dance may provide its own audible accompaniment in place of music. Many early forms of music and dance were created for each other and are performed together. Notable examples of traditional dance/music couplings include the jig, tango and salsa; some musical genres have a parallel dance form such as baroque dance. Rhythm and dance are linked in history and practice; the American dancer Ted Shawn wrote.
A musical rhythm requires two main elements. The basic pulse is equal in duration to a simple step or gesture. Dances have a characteristic tempo and rhythmic pattern; the tango, for example, is danced in 24 time at 66 beats per minute. The basic slow step, called a "slow", lasts for one beat, so that a full "right–left" step is equal to one 24 measure; the basic forward and backward walk of the dance is so coun
The foxtrot is a smooth, progressive dance characterized by long, continuous flowing movements across the dance floor. It is danced to big band music; the dance is similar in its look to waltz, although the rhythm is in a 44 time signature instead of 34. Developed in the 1910s, the foxtrot reached its height of popularity in the 1930s and remains practiced today; the dance was premiered in 1914 catching the eye of the husband and wife duo Vernon and Irene Castle, who lent the dance its signature grace and style. The origin of the name of the dance is unclear, although one theory is that it took its name from its popularizer, the vaudeville actor Harry Fox. Two sources, Vernon Castle and dance teacher Betty Lee, credit African American dancers as the source of the foxtrot. Castle saw the dance, which "had been danced by negroes, to his personal knowledge, for fifteen years, a certain exclusive colored club". W. C. Handy notes in his autobiography. During breaks from the fast-paced Castle Walk and One-step and Irene Castle's music director, James Reese Europe, would play the Memphis Blues.
The Castles were intrigued by the rhythm, Jim asked why they didn't create a slow dance to go with it. The Castles introduced what they called the "Bunny Hug" in a magazine article. Shortly after, they went abroad and, in mid-ocean, sent a wireless to the magazine to change the name of the dance from "Bunny Hug" to the "Foxtrot." It was subsequently standardized by Arthur Murray, in whose version it began to imitate the positions of Tango. At its inception, the foxtrot was danced to ragtime. From the late 1910s through the 1940s, the foxtrot was the most popular fast dance, the vast majority of records issued during these years were foxtrots; the waltz and tango, while popular, never overtook the foxtrot. The popularity of the Lindy hop in the 1940s did not affect the foxtrot's popularity, since it could be danced to the same records used to accompany the Lindy hop; when rock and roll first emerged in the early 1950s, record companies were uncertain as to what style of dance would be most applicable to the music.
Notably, Decca Records labeled its rock and roll releases as "foxtrots", most notably "Rock Around the Clock" by Bill Haley and His Comets. Since that recording, by some estimates, went on to sell more than 25 million copies, "Rock Around the Clock" could be considered the biggest-selling "foxtrot" of all time. Today, the dance is customarily accompanied by the same big band music to which swing is danced. Over time, the foxtrot split into slow and quick versions, referred to as "foxtrot" and "quickstep" respectively. In the slow category, further distinctions exist between the International or English style of the foxtrot and the continuity American style, both built around a slow-quick-quick rhythm at the slowest tempo, the social American style using a slow-slow-quick-quick rhythm at a somewhat faster pace. In the context of International Standard category of ballroom dances, for some time the foxtrot was called "Slow Foxtrot", or "Slowfox"; these names are still in use. Three distinct styles of slow foxtrot are in common use among ballroom dancers today: the American Social Style, the American Continuity Style, the International Style.
All three are partner dances in which the dancers progress around the dance floor in a counter-clockwise direction and are danced to much the same music. However, they differ in technique and figures; the American Social Style was, to some extent still is employed in the United States as a social and party dance. It is well suited to dancing in a crowded room, by partners who may or may not know each other well, who may or may not have had much formal training in dance, its defining feature is that the dancers close their feet at the end of every figure, as opposed to passing their feet as in the other two styles. As a result, the dancers progress slowly around the room, some figures can be danced in place. Furthermore every figure begins in much the same position, with the two partners facing each other squarely in the closed position and the man starting on his left foot. Since each figure leads so and in the next, it is easy for the leader to string multiple figures together on the fly in an ever-changing sequence.
Body contact is unnecessary and not expected. Hence, the potential social awkwardness of body contact between partners who do not know each other well is avoided; as American Social Style is the only style allowed in bronze level American Style dance competition, this style is sometimes known as "American Bronze Foxtrot". The American Social style uses eight-count figures; the rhythmic alteration between the two is one of the few potential difficulties in the dance. Syncopation is avoided; the six-count figures extend across one and a half measures of music, utilize the rhythm slow, quick, quick. Examples include: the basic movement forward and back, the alternating quarter turns, the rock turns right and left, the promenade, the promenade twist, the promenade pivot, the sway step. Social dancers use the alternating quarter turns to progress in a zig-zag pattern around the room, alternating for variety with the promenade. Rock turns are used for changes of direction in corners. Both the rock turns and balance step can be danced in place, if n
The jitterbug is a kind of dance popularized in the United States in the early 20th century, is associated with various types of swing dances such as the Lindy Hop and East Coast Swing. According to the Oxford English Dictionary the word "jitterbug" is a combination of the words "jitter" and "bug"; the first use of the word "jitters" quoted by the OED is from 1929, Act II of the play Strictly Dishonorable by Preston Sturges where the character Isabelle says: "Willie's got the jitters" is answered by a judge "Jitters?" to which Isabelle answers "You know, he makes faces all the time." The second quote in the OED is from the N. Y. Press from 2 April 1930: "The game is played only after the mugs and wenches have taken on too much gin and they arrive at the state of jitters, a disease known among the common herd as heebie jeebies."According to H. W. Fry in his review of Dictionary of Word Origins by Joseph Twadell Shipley in 1945 the word "jitters" "is from a spoonerism...and referred to one under the influence of gin and bitters".
Wentworth and Flexner explains "jitterbug" as "ne who, though not a musician, enthusiastically likes or understands swing music. To dance, esp to jazz or swing music and usu in an vigorous and athletic manner"; the first quote containing the word "jitterbug" recorded by the OED is from 1934 is the Cab Calloway song titled "Jitter Bug" and they quote the 1934 song printed in Song Hits magazine on 19 November 1939 as: "They're four little jitter bugs. He has the jitters ev'ry morn, That's why jitter sauce was born." Cab Calloway's 1934 recording of "Call of the Jitter Bug" and the film "Cab Calloway's Jitterbug Party" popularized use of the word "jitterbug" and created a strong association between Calloway and jitterbug. Lyrics to "Call of the Jitter Bug" demonstrate the association between the word jitterbug and the consumption of alcohol: In the 1947 film Hi De Ho, Calloway includes the following lines in his song "Minnie the Moocher": "Woe there ain't no more Smokey Joe/ She's fluffed off his hi-de-ho/ She's a solid jitterbug/ And she starts to cut a rug/ Oh Minnie's a hep cat now."Regarding the Savoy Ballroom, dance critic John Martin of The New York Times wrote the following: The white jitterbug is oftener than not uncouth to look at... but his Negro original is quite another matter.
His movements are never so exaggerated that they lack control, there is an unmistakable dignity about his most violent figures...there is a remarkable amount of improvisation... mixed in... with Lindy Hop figures. Of all the ballroom dances these prying eyes have seen, this is unquestionably the finest. Norma Miller wrote, that when "tourists" came to the Savoy, they saw a rehearsed and choreographed dance, which they mistakenly thought was a regular group of dancers enjoying social dancing. One text states that "the shag and single lindy represented the earlier popular basics" of jitterbug, which gave way to the double lindy when rock and roll became popular. A young, white middle-class man from suburban Pittsburgh, Pennsylvania learned to dance jitterbug in 1939 by going to the "Hill City" section of that city to watch black dancers, they danced smoothly, without bouncing around the dance floor. The hardest thing to learn is the pelvic motion. I suppose. You have to sway and backwards, with a controlled hip movement, while your shoulders stay level and your feet glide along the floor.
Your right hand is held low on the girl's back, your left hand down at your side, enclosing her hand. When he ventured out into "nearby mill towns, picking up partners on location", he found that there were white girls who were "mill-town...lower class" and could dance and move "in the authentic, flowing style". "They were poor and less educated than my high-school friends, but they could dance. In fact, at that time it seemed that the lower class a girl was, the better dancer she was, too."A number called "The Jitterbug" was written for the 1939 film The Wizard of Oz. The "jitterbug" was a bug sent by the Wicked Witch of the West to waylay the heroes by forcing them to do a jitterbug-style dance. Although the sequence was not included in the final version of the film, the Witch is heard to tell the flying monkey leader, "I've sent a little insect on ahead to take the fight out of them." The song as sung by Judy Garland as Dorothy and some of the establishing dialogue survived from the soundtrack as the B-side of the disc release of "Over the Rainbow".
In 1944, with the United States' continuing involvement in World War II, a 30% federal excise tax was levied against "dancing" night clubs. Although the tax was reduced to 20%, "No Dancing Allowed" signs went up all over the country. Jazz drummer Max Roach argued that, "This tax is the real story why dancing... public dancing per se... were just out. Club owners, couldn't afford to pay the city tax, state tax, government tax."World War II facilitated the spread of jitterbug across the Pacific and the Atlantic Oceans. British Samoans were doing a "Seabee version" of the jitterbug by January 1944. Across the Atlantic in preparation for D-Day, there were nearly 2 million American troops stationed throughout Britain in May 1944. Ballrooms, closed because of lack of business opened their doors. Working class girls who had never danced before made up a large part of the attendees, along with American soldiers and sailors. By November 1945 after the departure of the American troops following D-Day
California is a state in the Pacific Region of the United States. With 39.6 million residents, California is the most populous U. S. the third-largest by area. The state capital is Sacramento; the Greater Los Angeles Area and the San Francisco Bay Area are the nation's second and fifth most populous urban regions, with 18.7 million and 9.7 million residents respectively. Los Angeles is California's most populous city, the country's second most populous, after New York City. California has the nation's most populous county, Los Angeles County, its largest county by area, San Bernardino County; the City and County of San Francisco is both the country's second-most densely populated major city after New York City and the fifth-most densely populated county, behind only four of the five New York City boroughs. California's $3.0 trillion economy is larger than that of any other state, larger than those of Texas and Florida combined, the largest sub-national economy in the world. If it were a country, California would be the 5th largest economy in the world, the 36th most populous as of 2017.
The Greater Los Angeles Area and the San Francisco Bay Area are the nation's second- and third-largest urban economies, after the New York metropolitan area. The San Francisco Bay Area PSA had the nation's highest GDP per capita in 2017 among large PSAs, is home to three of the world's ten largest companies by market capitalization and four of the world's ten richest people. California is considered a global trendsetter in popular culture, innovation and politics, it is considered the origin of the American film industry, the hippie counterculture, fast food, the Internet, the personal computer, among others. The San Francisco Bay Area and the Greater Los Angeles Area are seen as global centers of the technology and entertainment industries, respectively. California has a diverse economy: 58% of the state's economy is centered on finance, real estate services and professional, scientific and technical business services. Although it accounts for only 1.5% of the state's economy, California's agriculture industry has the highest output of any U.
S. state. California is bordered by Oregon to the north and Arizona to the east, the Mexican state of Baja California to the south; the state's diverse geography ranges from the Pacific Coast in the west to the Sierra Nevada mountain range in the east, from the redwood–Douglas fir forests in the northwest to the Mojave Desert in the southeast. The Central Valley, a major agricultural area, dominates the state's center. Although California is well-known for its warm Mediterranean climate, the large size of the state results in climates that vary from moist temperate rainforest in the north to arid desert in the interior, as well as snowy alpine in the mountains. Over time and wildfires have become more pervasive features. What is now California was first settled by various Native Californian tribes before being explored by a number of European expeditions during the 16th and 17th centuries; the Spanish Empire claimed it as part of Alta California in their New Spain colony. The area became a part of Mexico in 1821 following its successful war for independence but was ceded to the United States in 1848 after the Mexican–American War.
The western portion of Alta California was organized and admitted as the 31st state on September 9, 1850. The California Gold Rush starting in 1848 led to dramatic social and demographic changes, with large-scale emigration from the east and abroad with an accompanying economic boom; the word California referred to the Baja California Peninsula of Mexico. The name derived from the mythical island California in the fictional story of Queen Calafia, as recorded in a 1510 work The Adventures of Esplandián by Garci Rodríguez de Montalvo; this work was the fifth in a popular Spanish chivalric romance series that began with Amadis de Gaula. Queen Calafia's kingdom was said to be a remote land rich in gold and pearls, inhabited by beautiful black women who wore gold armor and lived like Amazons, as well as griffins and other strange beasts. In the fictional paradise, the ruler Queen Calafia fought alongside Muslims and her name may have been chosen to echo the title of a Muslim leader, the Caliph. It's possible.
Know ye that at the right hand of the Indies there is an island called California close to that part of the Terrestrial Paradise, inhabited by black women without a single man among them, they lived in the manner of Amazons. They were robust of body with great virtue; the island itself is one of the wildest in the world on account of the craggy rocks. Shortened forms of the state's name include CA, Cal. Calif. and US-CA. Settled by successive waves of arrivals during the last 10,000 years, California was one of the most culturally and linguistically diverse areas in pre-Columbian North America. Various estimates of the native population range from 100,000 to 300,000; the Indigenous peoples of California included more than 70 distinct groups of Native Americans, ranging from large, settled populations living on the coast to groups in the interior. California groups were diverse in their political organization with bands, villages, on the resource-rich coasts, large chiefdoms, such as the Chumash and Salinan.
Trade, intermarriage a
Arthur Murray was an American ballroom dancer and businessman, whose name is most associated with the dance studio chain that bears his name. His pupils included Eleanor Roosevelt, the Duke of Windsor, John D. Rockefeller Jr. Cornelius Vanderbilt Whitney, Barbara Hutton, Elizabeth Arden, Manuel L. Quezon, Johnny Mercer, Jack Dempsey. Television evangelist D. James Kennedy and Little House on the Prairie actress Katherine MacGregor were instructors of Murray's technique. Arthur Murray was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in 2007. Arthur Murray was born in Austria-Hungary, in 1895 as Moses Teichman. In August 1897, he was brought to America by his mother Sarah on the S. S. Friesland, landed at Ellis Island, they settled in Ludlow Street, in the Lower East Side of Manhattan with his father, Abraham Teichmann. Murray was self-conscious about his tall, lanky appearance, he wanted much to be a part of the social activities that most of his friends enjoyed the dances, but was afraid to socialize with girls.
At the age of 14, Joe Feigenbaum, a friend of his whom he admired because of his popularity with girls, taught him his first dance steps. To get practice on the dance floor, Murray attended weddings in his neighborhood, where he found willing dance partners of every size and age. In 1912, at the age of 17, he taught dance at night while working as a draftsman by day, he went to work for them. Murray won his first dance contest at the Grand Central Palace, a public dance hall where he became a part-time dance teacher after graduation from high school; the first prize had been a silver cup. His partner of the evening took it; this loss made an impression on Murray, in years every winner in his dance contests took home a prize. Between jobs as a dance instructor, Murray worked as a draftsman at the Brooklyn Navy Yard and as a reporter at the New Haven Register, he soon began teaching ballroom dancing to patients from the greater Boston, Massachusetts area, at the Devereux Mansion Physical Therapy Clinic in Marblehead, before moving to Asheville, North Carolina.
Murray began teaching dance there. At the outbreak of World War I, under the pressure of the anti-German sentiment prevalent in the U. S. Murray changed his last name of Teichman to a less German-sounding name; the Asheville Citizen reported in 1920 that Murray had spent six summers teaching at the Battery Park. At that time, he had began his chain of dance studios and become a well-paid dance writer, he had signed a deal to produce records for teaching dance for Columbia Gramophone Company. In 1919, Murray began studying business administration at the Georgia School of Technology, taught ballroom dancing in Atlanta at the Georgian Terrace Hotel. In 1920, he organized the world's first "radio dance". Murray was inspired by a casual remark made by William Jennings Bryan one evening at the hotel: "... You know, I have a fine idea on. Just teach'em with the left foot and don't tell'em what to do with the right foot until they pay up!" Murray thought about Bryan's remark, devised the idea of teaching dance steps with footprint diagrams supplied by mail.
Within a couple of years, over 500,000 dance courses had been sold. On April 24, 1925, Murray married his famous dance partner, Kathryn Kohnfelder, whom he had met at a radio station in New Jersey, she had been in the audience. After their marriage, the mail-order business declined and the Murrays opened a dance school offering personal instruction, their business prospered in 1938 and 1939 when Arthur picked two little-known dances, the "Lambeth Walk" and "The Big Apple", turned them into dance crazes. They were taught at hotel chains throughout the country, the name "Arthur Murray" became a household word. There are now hundreds of Arthur Murray studios globally, with specially trained instructors, making Arthur Murray the most successful dance instructor in history. Arthur and Kathryn Murray had twin daughters and Phyllis. On June 4, 1951, Jane married Dr. Henry Heimlich who became famous for the Heimlich maneuver in 1974. Phyllis married educator Edward Irvine "Ted" McDowell, his first business was selling dance lessons by mail.
Though the idea was successful, he had problems with the business. His second business was drawing and selling "footprints" which prospective dancers placed on the floor and followed to learn dancing; this mail-order business remained successful. His third business, launched in 1925, involved selling branded dance lessons through franchising, he trained dance instructors for the Statler Hotel chain, who went to various hotels and gave lessons. This business was expanded more in 1938, when an Arthur Murray dance studio franchise was opened in Minneapolis, Minnesota. Others followed, his slogan was: "If you can walk, we teach you how to dance", the company guaranteed that the pupils learn to dance in ten lessons. After WWII, Murray's business grew with the rise of interest in Latin dance, he taught and