1942: Dancing, Modern Social

The war year 1942 saw ballroom dancing reach new heights in popularity. The general tenseness of the times acted as a stimulus to freer social activities, and dancing, always the pace-setter of social relations, reflected this 'escapism.'

The trend toward sociability manifested itself in a greater exercise of the so-called participation dances. Social workers have found this type of dance to be most conducive to 'mixing.' Its popularity has been especially noted in places where Service men convene — at canteens, recreation centers, and USO halls. Everybody wants to see a lad in uniform 'mix,' and hostesses are always on the lookout for a good participation dance so that the wallflowers in uniform might be more easily induced to 'give it a whirl.'

One of the most successful participation dances, during 1942, was the polka. This old-fashioned folk dance was helped no little by the great popularity of several excellent polka recordings, which blared from juke boxes all over the land, and sent many rural feet a-flying in all directions. Such tunes as the 'Beer Barrel Polka,' which carried over from 1941 into the beginning of the past year; the novelty 'Strip Polka,' and the now-popular 'Pennsylvania Polka' all enjoyed a wide sale and were in no small way responsible for the continued popularity of the polka. It has been said that war times bring back a nostalgia for old-time dances, such as the polka, but that is a matter for the psychologists to ponder. At any rate, the polka, as well as the other participation dances, was exceedingly popular in civil gatherings as well as the military, and shows signs of continuing through the current year.

The war has also shifted emphasis to South American dances, in line with our national policy of extended Pan-Americanism. The countries in the continent to the south have given us many folk- and ballroom-dances, but 1941's newcomer, the Samba, showed the greatest rise in 1942. A bit more complex than the Rhumba, the Samba comes to us from Brazil. Its introduction in America was preceded by a wave of Brazilian music, played by South American dance orchestras, and introduced in films, on the stage and on the radio by such Brazilian songstresses as Carmen Miranda. American dancers, already masters of the Rhumba, have turned to the Samba as a more lilting step, more challenging, and as 'something new.' Also, the Samba has more 'pep' than the Rhumba, and this, too, might be interpreted as a reflection of the speedier pace of the times.

The Rhumba, which appears to be a constant favorite, continued to rise in popularity, despite the inroads made by the Samba. Those who already danced the Rhumba, continued to exercise their graces in social dancing, and in 1942 many more fans were introduced to the lilting pleasures of this dance. Its charm, its grace and its beautiful rhythm have entranced ballroom dancers all over the world, so there is little wonder that the Rhumba continued to climb in dance-conscious America.

True to prediction, the Conga, recognized as a novelty dance, although an interesting one, when first introduced a few years ago, began to recede in popularity during 1942. The logical reason which presents itself is the fact that the Conga, like all novelty dances soars to unprecedented heights in a comparatively short space of time, but like the skyrocket, burns itself out in an equally short time.

Still in the Latin-American department, we must consider the Tango, which remained dear to dance-lovers in 1942. The reason this graceful and beautiful dance does not enjoy still greater popularity is the fact that it appears too slow for the ordinary ballroom dancer, and because it requires only the highest skill in its execution. Poise, restraint, perfect rhythm — these are dancing attributes not shared by many. In the spots where superior dancers congregate, however, a lilting Tango from the bandstand is still greeted with cheers from the dance floor.

Of our native dances, the fox trot continued to hold the championship. Although the Tin Pan Alley output concerned itself with war songs, most of these were in ballad form and fox trot tempo. Dancers, so proficient in the execution of the fox trot, cannot be expected to put aside a skill born of many hours of patient learning. That other favorite, the waltz, held its popularity in 1942 because there are people who will always dance the waltz, and with good reason, for besides being one of the oldest types of ballroom dancing, the waltz is also one of the most graceful. Its popularity may be termed constant, unlike the novelty dances which come one year and go the next.

The Lindy Hop and other jitterbug dances regained some measure of popularity, and for interesting reasons. These mad-paced dances have always been the Terpsichorean expression of youth, and 1942 saw new freedom for youth. The swing-shifters in our war factories demanded enervating dances, and inasmuch as these war workers were largely 'teen-age boys and girls, the fast-paced dances came back into the lineup. Older folks, learning to dance, also embraced the jitterbug routines, in an effort, perhaps, to hold on to their fleeting youth.

At least two new dances made their appearance in 1942, and both show signs of continuing to gain in popularity. One is the Victory Walk, introduced by Arthur Murray following a request by the Office of War Information for a dance which could be performed to marching tempo. The Walk was introduced in the fall of 1942 and immediately showed signs of nation-wide acceptance upon the official stamp of approval of the OWI. Another new dance, also created by Arthur Murray, is one called 'Praise the Lord and Pass the Ammunition,' a participation dance performed to the popular song of the same name. These dances have a patriotic background, and as long as the nation continues in the throes of intense patriotism, they can be expected to hold their grip on the dancing public.