Rumba Columbia, one of the Afro-Cuban rumbas

Rumba is a dance term with two quite different meanings.

In some contexts, "rumba" is used as shorthand for Afro-Cuban rumba, a group of dances related to the rumba genre of Afro-Cuban music. The most common Afro-Cuban rumba is the guaguancó^[1]. The other Afro-Cuban rumbas are Yambu and Columbia.

In other contexts, "rumba" refers to ballroom-rumba, one of the ballroom dances which occurs in social dance and in international competitions. In this sense, rumba is the slowest of the five competitive International Latin dances: the paso doble, the samba, the cha-cha-cha and the jive being the others. This ballroom rumba was derived from a Cuban rhythm and dance called the bolero-son; the international style was derived from studies of dance in Cuba in the pre-revolutionary period.^[2]

Cuban rumba[link]

The Afro-Cuban rumba is entirely different from the ballroom rumba, both in rhythm and dance. See guaguanco.

Rumba outside Cuba[link]

The ballroom rumba derives its movements and music from the son, just as do the salsa and mambo. The Peanut Vendor was the first recording of Cuban music to become an international hit:^[4] it was incorrectly described on the label as a rumba, perhaps because the word son would not be understood in English. The label stuck, and a rumba craze developed through the 1930s. This kind of rumba was introduced into dance salons in America and Europe in the 1930s, and was characterized by variable tempo, sometimes nearly twice as fast as the modern ballroom rumba.

Ballroom rumba[link]

The modern international style of dancing the rumba derives from studies made by dance teacher Monsieur Pierre (Pierre Zurcher-Margolle), who partnered Doris Lavelle.^[5][6] Pierre, then from London, visited Cuba in 1947, 1951 and 1953 to find out how and what Cubans were dancing at the time.^[7]

The international ballroom rumba is a slower dance of about 120 beats per minute which corresponds, both in music and in dance to what the Cubans of an older generation called the bolero-son. It is easy to see why, for ease of reference and for marketing, rumba is a better name, however inaccurate; it is the same kind of reason that led later on to the use of salsa as an overall term for popular music of Cuban origin.

All social dances in Cuba involve a hip-sway over the standing leg and, though this is scarcely noticeable in fast salsa, it is more pronounced in the slow ballroom rumba.^[8] In general, steps are kept compact and the dance is danced generally without any rise and fall. This style is authentic, as is the use of free arms in various figures. The basic figures^[9] derive from dance moves observed in Havana in the pre-revolutionary period, and have developed their own life since then. Competition figures are often complex, and this is where competition dance separates from social dance. Details can be obtained from the syllabi of dance teaching organizations and from standard texts.^[10][11][12]

Box figure[link]

Rumba box figure

There is also a variant, sometimes danced in the U.S.A., with box-like basic figures. This version has been generally supplanted by the international style in competitions, but may still be danced socially.

References[link]

External links[link]

• The Black Roots of Salsa (Trailer) - a trailer of a documentary about the African roots of salsa music and dance, especially Afro-Cuban rumba.

Rumba
Stylistic origins	Afro-Cuban music
Cultural origins	Cuba
Typical instruments	congas
Mainstream popularity	1940
Derivative forms	Columbia - yambu[disambiguation needed ]
Fusion genres
son montuno – guaracha – mambo – Afro-Cuban jazz – chachachá – guajira
Regional scenes
Cuba and rest of the world

Rumba is a family of percussive rhythms, song and dance that originated in Cuba as a combination of the musical traditions of Africans brought to Cuba as slaves and Spanish colonizers. The name derives from the Cuban Spanish word rumbo which means "party" or "spree". It is secular, with no religious connections.^[2] Rhythmically, Afro-Cuban folkloric rumba is based on the five-stroke pattern called clave and the inherent structure it conveys.^[3] Carlos Vidal Bolado (better known simply as Carlos Vidal) was the first to commercially record authentic folkloric rumba (Ritmo Afro-Cubano SMC 2519-A and 2520-B, circa 1948).^[4]

The term spread in the 1930s and 1940s to the faster popular music of Cuba (the Peanut Vendor was a classic), where it was used as a catch-all term, rather like salsa today. Also, the term is used in the international Latin-American dance syllabus, where it is a misnomer: the music used for this slower dance is the bolero-son. Ballroom rumba, or rhumba, is basically son and not based on the authentic folkloric rumba. Similarly, the African style of pop music called African Rumba or soukous is also son-based.

The term is also used today for various styles of popular music from Spain, as part of the so-called Cantes de ida y vuelta, or music that developed between both sides of the atlantic. Flamenco rumba is a genre that is entirely different from Cuban rumba.

Types[link]

• Cuban Rumba, percussion, song and dance styles that owe their origin to African slaves in Cuba.
• Rumba (dance), international dance styles that correspond to slower Cuban music, such as the bolero-son.
• Catalan Rumba (rumba catalana), is a genre of music that developed in Barcelona's Romani community.
• Flamenco Rumba, a style of flamenco music from Spain also known as Gypsy Rumba or Rumba Gitana.
• African Rumba, Inspired by the Cuban son, a style of music that originated in Congo, and evolved into soukous music.

History[link]

Cuban music is diverse in styles and background that comes from several cultures. In this area of Cuban music, Rumba is a generic term covering a variety of musical rhythms and associated dances. In this style, that includes a combination of both music and dance, vocal and rhythmic improvisation is both involved ^[5] This includes a smooth combination of music, dance and poetry to produce a unique sound and dance ^[6]

Rumba has also been described by some as a folkloric music and dance complex combination. This may because of the influences rumba has from the music and culture presented by Africans who were brought by the Spanish colonizers to Cuba to be slaves. The mixing of these two cultures, among others that later came into the culture, created a deeply rooted people.

While the syncopated rhythms are clearly of African origin, the musical framework is largely based in the music traditions of Spain. The various styles of rumba derive their melodies, patterns and instrumentation from seguidillas, copla, peteneras, jotas, soleares, malagueñas, isas, folías and their related dances.

The Africans brought over to be slaves had a history and culture that later merged with the other cultures they had been pushed into. The African origins of Rumba can be traced to two secular dances of the Bantu origin. The two influences and roots for rumba in particular being from the “Yulea” and “Makuta” styles of dancing ^[6] There are numerous other African influences in the rumba that helped shape it into what it is today but those are the main influences that are noticeable today in the styles of dance.

People of African descent in Havana and Matanzas originally used the word rumba as a synonym for party.^[7] “[Over time] rumba ceased to be simply another word for party and took on the meaning both of a defined Cuban musical genre and also of a very specific form of dance . . .”.^[8] The old use of the word is still alive in Colombia, where ir de rumba means to go out at night.

In rumba there is a dance move where the couple dancing move together and almost meet at the navel and then separate. This is similar to a dance move that the Sara people of Nigeria do while dancing. In this move done, that is similar to steps in the rumba, while dancing the Sara people has a row of boys and a row of girls. The row of boys and row of girls stand across from one another and then they move together to touch than separate from one another, then the two rows repeat this move again. This move brought by the slaves made its way into rumba and has become a part of the Cuban culture since it was more openly accepted as a dance and art form ^[9]

Emerging in the mid 19th century from the marginal neighborhoods of Havana and Matanzas, this percussion based music and dance was not widely accepted. As an energetic Afro-Cuban dance, Rumba was often suppressed and restricted because it was viewed as dangerous and lewd. Because of this, when it first emerged it was done in private.

"Initially the musical instruments of rumba consisted of regular household items: the side of a cabinet functioned in the role of the present-day tumba or salidor (primary supportive drum), while an overturned drawer served as the quinto (lead drum) and a pair of spoons played the cáscara part on whatever was available"—Peñalosa (2010: xiii).^[10]

In the 1920s and 1930s the intellectual movement known as Afrocubanismo gave roots to traditional rumba ^[11] When this afrocubanismo movement came along it helped open the doors to African rooted dancing and ways of expression. Rumba became more accepted among Cubans and was a recognized cultural expression that identified as a part of the Cuban people. It also provided the means at that point of public expression for those without representation in the media, the Afro-Cubans. Before that time the whites had most, if not all, of the control over any means expression, culture, and so on ^[12] Rumba forming and for once being able to be expressed openly gave some of the control back to the Afro-Cubans. For the rumba, an expression place for the free and enslaved blacks to congregate was also established. The enslaved blacks’ still being able to attend only after their work was done; the free blacks having fewer restrictions ^[9]

Afro-Cuban rumba, developed in rural Cuba, is still danced in Havana, Matanzas and other Cuban cities as well as rural areas, especially those with a significant or predominant African community, although now it is infused with influences from Jazz and Hip hop.

Cuban Rumba can be broken down into three basic types: Yambú, Columbia, and Guaguancó. Yambú is the oldest and slowest style that exists. Then there is the most popular style; Guaguancó. This style can be heard in songs such as "Quimbara" by Celia Cruz. Guaguancó is also a couple’s dance that is a symbolic game of flirtation that is sexually initiated.

"The male periodically attempts to “catch” his partner with a single thrust of his pelvis. This erotic movement is called the vacunao (‘vaccination’ or more specifically ‘injection’), a gesture derived from yuka and makuta, symbolizing sexual penetration. The vacunao can also be expressed with a sudden gesture made by the hand or foot. The quinto often accents the vacunao, usually as the resolution to a phrase spanning more than one cycle of clave. The vacunao is not used in yambú. The classic phrase “En el yambú no se vacuna.” (‘In yambú there is no vaccination.’) is commonly heard during yambú performances. Holding onto the ends of her skirt while seductively moving her upper and lower body in contrary motion, the female “opens” and “closes” her skirt in rhythmic cadence with the music. The male attempts to distract the female with fancy (often counter-metric) steps, accented by the quinto, until he is in position to “inject” her. The female reacts by quickly turning away, bringing the ends of her skirts together, or covering her groin area with her hand (botao), symbolically blocking the “injection.” Most of the time the male dancer does not succeed in “catching” his partner. The dance is performed with good-natured humor—Peñalosa (2010: xiii, xvi).^[13]

“I was born in the neighborhood called Simpson. You had rumba for lunch and rumba for dinner . . . so, you had to learn rumba . . . Young and old, with great respect, and consideration. It was a whole way of life. [In other words, we’re born with the rumba] and we will die with the rumba”—Chachá Vega.^[14]

Yambu is a couple’s dance as well, however it is much slower paced. Columbia is a fast and highly acrobatic solo dancing that is performed by a male dancer. The main thing that separates these three types of rumba is choreographical differences and the pace of the music ^[6]

A Cuban Rumba song often begins with the soloist singing meaningless syllables, which are called 'diana(s)'. The male dancer and singer then may proceed to improvise lyrics stating the reason for holding the present Rumba ('decimar'; span.: to make ten-line stanzas), or instead tunes into a more or less fixed song such as: "Ave Maria Morena" (Yambú, Anónimo), "Llora Como Lloré" (Guaguancó, S. Ramirez), "Cuba Linda, Cuba Hermosa" (Guaguancó, R.Deza), "China de Oro (Laye Laye)" (Columbia), "Malanga (Murió)" (Columbia)".

Rumba is now most commonly performed at informal fiestas or just in the street when the mood arises. Percussions and vocal sections make up rumba’s musical ensemble ^[6] This African derived rumba dance and music also inspires poets and in turn they also inspire the dance and chants. Some poets, including Carmen Cordero and Maya Santos Febres, have said that a “poetic portrayal of dance maintains its meaning as a vehicle of resistance.” This could be taken as pushing for change and acceptance ^[15] These ideas go well with the expression associated with the rumba when it first emerged and when it became more widely accepted by all Cubans.

See also[link]

• Conga line

References[link]

External links[link]

• Basic Steps of Rumba Dance

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2011)

Dance
Modern dance
Originating culture	various
Originating era	Antiquity

Dance is a type of art that generally refers to movement of the body, usually rhythmic and to music,^[1] performed in many different cultures and used as a form of expression, social interaction or presented in a spiritual or performance setting.

Dance may also be regarded as a form of nonverbal communication between humans, and is also performed by other animals (bee dance, patterns of behaviour such as a mating dance). Gymnastics, figure skating and synchronized swimming are sports that incorporate dance, while martial arts kata are often compared to dances. Motion in ordinarily inanimate objects may also be described as dances (the leaves danced in the wind).

Definitions of what constitutes dance are dependent on social, cultural, aesthetic, artistic and moral constraints and range from functional movement (such as folk dance) to virtuoso techniques such as ballet. Dance can be participatory, social or performed for an audience. It can also be ceremonial, competitive or erotic. Dance movements may be without significance in themselves, such as in ballet or European folk dance, or have a gestural vocabulary/symbolic system as in many Asian dances. Dance can embody or express ideas, emotions or tell a story.

Dancing has evolved many styles. Breakdancing and Krumping are related to the hip hop culture. African dance is interpretative. Ballet, Ballroom, Waltz, and Tango are classical styles of dance while Square Dance and the Electric Slide are forms of step dances.

Every dance, no matter what style, has something in common. It not only involves flexibility and body movement, but also physics. If the proper physics are not taken into consideration, injuries may occur.

Choreography is the art of creating dances. The person who creates (i.e., choreographs) a dance is known as the choreographer.

Origins and history[link]

Ancient Greek bronze statuette of a veiled and masked dancer, 3rd - 2nd century BC, found in Alexandria, Egypt.

Dance does not leave behind clearly identifiable physical artifacts such as stone tools, hunting implements or cave paintings. It is not possible to say when dance became part of human culture.

Joseph Jordania recently suggested, that dance, together with rhythmic music and body painting, was designed by the forces of natural selection at the early stage of hominid evolution as a potent tool to put groups of human ancestors in a battle trance, a specific altered state of consciousness. In this state hominids were losing their individual identity and were acquiring collective identity.^[2] Jonathan Pieslak's research shows, that some contemporary military units use loud group singing and dancing in order to prepare themselves for the dangerous combat missions.^[3] According to Jordania, this trance-inducing ability of dance comes from human evolutionary past and includes as well a phenomenon of military drill^[4] which is also based on shared rhythmic and monotonous group activity.

Dance has certainly been an important part of ceremony, rituals, celebrations and entertainment since before the birth of the earliest human civilizations. Archeology delivers traces of dance from prehistoric times such as the 9,000 year old Rock Shelters of Bhimbetka paintings in India and Egyptian tomb paintings depicting dancing figures from c. 3300 BC.

One of the earliest structured uses of dances may have been in the performance and in the telling of myths. It was also sometimes used to show feelings for one of the opposite gender. It is also linked to the origin of "love making." Before the production of written languages, dance was one of the methods of passing these stories down from generation to generation.^[5]

Another early use of dance may have been as a precursor to ecstatic trance states in healing rituals. Dance is still used for this purpose by many cultures from the Brazilian rainforest to the Kalahari Desert.^[6]

Sri Lankan dances goes back to the mythological times of aboriginal yingyang twins and "yakkas" (devils). According to a Sinhalese legend, Kandyan dances originated 250 years ago, from a magic ritual that broke the spell on a bewitched king. Many contemporary dance forms can be traced back to historical, traditional, ceremonial, and ethnic dance.

Partner Dancing in Art

Dance at Bougival by Pierre-Auguste Renoir (1882–83)

Eadweard Muybridge's phenakistoscope "A Couple Waltzing" (c.1893)

Classification and genres[link]

Dance categories by number of interacting dancers are mainly solo dance, partner dance and group dance. Dance is performed for various purposes like ceremonial dance, erotic dance, performance dance, social dance etc.

Dancing and music[link]

Many early forms of music and dance were created and performed together. This paired development has continued through the ages with dance/music forms such as: jig, waltz, tango, disco, salsa, electronica and hip-hop. Some musical genres have a parallel dance form such as baroque music and baroque dance; others, such as classical music and classical ballet, developed separately.

Although dance is often accompanied by music, it can also be presented independently or provide its own accompaniment (tap dance). Dance presented with music may or may not be performed in time to the music depending on the style of dance. Dance performed without music is said to be danced to its own rhythm^{[citation needed]}.

Ballroom dancing is a dance art form which combines athletic fitness with artistically skillful dance steps.

Saman Dance from Gayo people of Sumatra, Indonesia

Morris dancing in the grounds of Wells Cathedral, Wells, England

An amateur dancesport competition at MIT

Professional dancers at the Tropicana Club, Havana, Cuba, in 2008

Dance studies and techniques[link]

In the early 1920s, dance studies (dance practice, critical theory, Musical analysis and history) began to be considered an academic discipline. Today these studies are an integral part of many universities' arts and humanities programs. By the late 20th century the recognition of practical knowledge as equal to academic knowledge led to the emergence of practice research and practice as research. A large range of dance courses are available including:

• Professional practice: performance and technical skills
• Practice research: choreography and performance
• Ethnochoreology, encompassing the dance-related aspects of: anthropology, cultural studies, gender studies, area studies, postcolonial theory, ethnography, etc.
• Dance therapy, or dance-movement therapy
• Dance and technology: new media and performance technologies
• Laban Movement Analysis and somatic studies

Academic degrees are available from BA (Hons) to PhD and other postdoctoral fellowships, with some dance scholars taking up their studies as mature students after a professional dance career.

Dance competitions[link]

A dance competition is an organized event in which contestants perform dances before a judge or judges for awards, and in some cases, monetary prizes. There are several major types of dance competitions, distinguished primarily by the style or styles of dances performed. Major types of dance competitions include:

• Competitive dance, in which a variety of theater dance styles such as: acro, ballet, jazz, hip-hop, lyrical, and tap, are permitted.
• Open competitions, that permit a wide variety of dance styles. A popular example of this is the TV program So You Think You Can Dance.
• Dancesport, which is focused exclusively on ballroom and latin dance. Popular examples of this are TV programs Dancing with the Stars and Strictly Come Dancing.
• Single-style competitions, such as; highland dance, dance team, and Irish dance, that only permit a single dance style.

Today, there are various dances and dance show competitions on television and the Internet.

Occupations[link]

There are several careers connected with dancing: Dancer, dance teacher, dance sport coach, dance therapist and choreographer.

Dancer

Dance training differs depending on the dance form. There are university programs and schools associated with professional dance companies for specialised training in classical dance (e.g. Ballet) and modern dance. There are also smaller, privately owned dance studios where students may train in a variety of dance forms including competitive dance forms (e.g. Latin dance, ballroom dance, etc.) as well as ethnic/traditional dance forms.

Professional dancers are usually employed on contract or for particular performances/productions. The professional life of a dancer is generally one of constantly changing work situations, strong competition pressure and low pay. Professional dancers often need to supplement their income, either in dance related roles (e.g., dance teaching, dance sport coaches, yoga) or Pilates instruction to achieve financial stability.

In the U.S. many professional dancers are members of unions such as the American Guild of Musical Artists, the Screen Actors Guild and Actors' Equity Association. The unions help determine working conditions and minimum salaries for their members.

Dance teachers

Dance teacher and operators of dance schools rely on reputation and marketing. For dance forms without an association structure such as Salsa or Tango Argentino they may not have formal training. Most dance teachers are self employed.

Dancesport coaches

Dancesport coaches are tournament dancers or former dancesports people, and may be recognised by a dance sport federation.

Choreographer

Choreographers are generally university trained and are typically employed for particular projects or, more rarely may work on contract as the resident choreographer for a specific dance company. A choreographic work is protected intellectual property. Dancers may undertake their own choreography.

By ethnicity or region[link]

India[link]

South indian folk dance like a horse known as Poi Kal Kudirai

During the first millennium BCE in India, many texts were composed which attempted to codify aspects of daily life. In the matter of dance, Bharata Muni's Natyashastra (literally "the text of dramaturgy") is one of the earlier texts. Though the main theme of Natyashastra deals with drama, dance is also widely featured, and indeed the two concepts have ever since been linked in Indian culture. The text elaborates various hand-gestures or mudras and classifies movements of the various limbs of the body, gait, and so on. The Natyashastra categorised dance into four groups and into four regional varieties, naming the groups: secular, ritual, abstract, and, interpretive. However, concepts of regional geography has altered and so have regional varieties of Indian dances. Dances like "Odra Magadhi", which after decades long debate, has been traced to present day Mithila, Orissa region's dance form of Odissi (Orissi), indicate influence of dances in cultural interactions between different regions.^[7]

From these beginnings rose the various classical styles which are recognised today. Therefore, all Indian classical dances are to varying degrees rooted in the Natyashastra and therefore share common features: for example, the mudras, some body positions, and the inclusion of dramatic or expressive acting or abhinaya. The Indian classical music tradition provides the accompaniment for the dance, and as percussion is such an integral part of the tradition, the dancers of nearly all the styles wear bells around their ankles to counterpoint and complement the percussion.

Bhangra in the Punjab[link]

The Punjab area overlapping India and Pakistan is the place of origin of Bhangra. It is widely known both as a style of music and a dance. It is mostly related to ancient harvest celebrations, love, patriotism or social issues. Its music is coordinated by a musical instrument called the 'Dhol'. Bhangra is not just music but a dance, a celebration of the harvest where people beat the dhol (drum), sing Boliyaan (lyrics) and dance.It developed further with the Vaisakhi festival of the Sikhs.

Dances of Sri Lanka[link]

The devil dances of Sri Lanka or "yakun natima" are a carefully crafted ritual with a history reaching far back into Sri Lanka's pre-Buddhist past. It combines ancient "Ayurvedic" concepts of disease causation with psychological manipulation. The dance combines many aspects including Sinhalese cosmology, the dances also has an impact on the classical dances of Sri Lanka.^[8]

Harlequin and Columbine from the mime theater at Tivoli Gardens, Copenhagen, Denmark

In Europe and North America[link]

Concert (or performance) dance[link]

Ballet[link]

Ballet developed first in Italy and then in France from lavish court spectacles that combined music, drama, poetry, song, costumes and dance. Members of the court nobility took part as performers. During the reign of Louis XIV, himself a dancer, dance became more codified. Professional dancers began to take the place of court amateurs, and ballet masters were licensed by the French government. The first ballet dance academy was the Académie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Shortly thereafter, the first institutionalized ballet troupe, associated with the Academy, was formed; this troupe began as an all-male ensemble but by 1681 opened to include women as well.^[5]

A small dance company rehearses for an outdoor performance in Stuyvesant Cove Park in Manhattan, New York City

20th-century concert dance[link]

At the beginning of the 20th century, there was an explosion of innovation in dance style characterized by an exploration of freer technique. Early pioneers of what became known as modern dance include Loie Fuller, Isadora Duncan, Mary Wigman and Ruth St. Denis. The relationship of music to dance serves as the basis for Eurhythmics, devised by Emile Jaques-Dalcroze, which was influential to the development of Modern dance and modern ballet through artists such as Marie Rambert. Eurythmy, developed by Rudolf Steiner and Marie Steiner-von Sivers, combines formal elements reminiscent of traditional dance with the new freer style, and introduced a complex new vocabulary to dance. In the 1920s, important founders of the new style such as Martha Graham and Doris Humphrey began their work. Since this time, a wide variety of dance styles have been developed; see Modern dance.

The influence of African American dance[link]

African American dances are those dances which have developed within African American communities in everyday spaces, rather than in dance studios, schools or companies and its derivatives, tap dance, disco, jazz dance, swing dance, hip hop dance and breakdance. Other dances, such as the lindy hop with its relationship to rock and roll music and rock and roll dance have also had a global influence.

See also[link]

Dance portal

References[link]

Notes

Further reading

• Adshead-Lansdale, J. (Ed.) (1994) Dance History: An Introduction. Routledge. ISBN 0-415-09030-X.
• Carter, A. (1998) The Routledge Dance Studies Reader. Routledge. ISBN 0-415-16447-8.
• Charman, S. Kraus, R, G. Chapman, S. and Dixon-Stowall, B. (1990) History of the Dance in Art and Education. Pearson Education. ISBN 0-13-389362-6.
• Cohen, S, J. (1992) Dance As a Theatre Art: Source Readings in Dance History from 1581 to the Present. Princeton Book Co. ISBN 0-87127-173-7.
• Daly, A. (2002) Critical Gestures: Writings on Dance and Culture. Wesleyan University Press. ISBN 0-8195-6566-0.
• Dils, A. (2001) Moving History/Dancing Cultures: A Dance History Reader. Wesleyan University Press. ISBN 0-8195-6413-3.
• Miller, James, L. (1986) Measures of Wisdom: The Cosmic Dance in Classical and Christian Antiquity, University of Toronto Press. ISBN 0-8020-2553-6.

External links[link]

Find more about Dance on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
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	Learning resources from Wikiversity
	News stories from Wikinews
	Quotations from Wikiquote
	Source texts from Wikisource
	Textbooks from Wikibooks

•  Chisholm, Hugh, ed. (1911). "Dance". Encyclopædia Britannica (11th ed.). Cambridge University Press. 
• Historic illustrations of dancing from 3300 B.C. to 1911 A.D. from Project Gutenberg
• United States National Museum of Dance and Hall of Fame

Slavik Kryklyvyy (Vyacheslav Kryklyvyy, Ukrainian: Славік Крикливий, Вячеслав Крикливий) (born Kiev, Ukrainian SSR, Soviet Union^[1]) is a professional ballroom dancer specializing in International Latin. Born and raised in Ukraine, he is currently residing in New York, USA.^[1]

He and Joanna Leunis were amateur world champions in International Latin. In 2000 the couple took first place in the IDSF World Amateur Championship, the British Open (Blackpool), the ARD Masters Gala (Germany), and the IDSF European Latin Championship.^[2]

After becoming a professional dancer, he won a number of competitions with various partners.His longest and therefore most successful partnership was with Karina Smirnoff, who he split with in 2005 to dance with Elena Khvorova. ^[3]

He was credited in the 2004 film Shall We Dance? as the current Blackpool partner of Paulina (Jennifer Lopez) and as dance instructor.^[4]

He won second place in the 2006 and 2007 World Championships with Elena Khvorova.

In 2009, Slavik Kryklyvyy partnered with Anna Melnikova (dancer), representing Russia in the international arena. Slavik and Anna were guest competitors as Show Performers ^[5]

Slavik and Anna were the subject of a feature documentary "Ballroom Dancer". Directed by Christian Holten Bonke & Andreas Koefoed. It premiered all over the world, most recently in Tribaca Film Festival in NY. The plot of the film has been described by the directors as follows:

"The former world champion Slavik Kryklyvyy is making his comeback with his younger partner and girlfriend Anna Melnikova - a comeback that turns out to be much more painful than he expected. Slavik (34) is making his final comeback as a professional dancer. When he came on the scene, he was the fastest rising star in the history of ballroom dancing making it to world champion in a little over a year. Unfortunately, Slavik has been unable to maintain long-term partnerships, which has kept him away from the competition floor for a long time. Now, with his new dance partner and girlfriend, Anna, he has his mind set to regain lost ground and once again become the best dancer in the world. However, they are up against Michael & Joanna, the renowned world champions who seem stronger than ever. Slavik also suffers from severe hip pain and soon it becomes a question if Slavik and Anna’s relationship will survive the fight to the top as the pressure grows and former personal conflicts start to reappear.''" ^[6]

The pair split up in October 2010.

Slavik has been dating Daria Chesnakova who used to dance with Valentine Chmerkovski (dancer) , who has retired to dance on the show Dancing with the Stars (show). Slavik is rumored to have partnered with Daria. Their very first appearance was at Sunshine State Dance Competition where they have performed together.

References[link]

Karina Smirnoff
Karina Smirnoff in 2008
Born	Karina Smirnova (1978-01-02) January 2, 1978 (age 34) Kharkiv, Ukrainian SSR, Soviet Union
Occupation	Dancer

Karina Smirnoff (Ukrainian: Карiна Смiрнова; Russian: Кapинa Cмиpнoвa; born Karina Smirnova; January 2, 1978) is a Ukrainian^[1] professional ballroom dancer. She is best known for her appearances on Dancing with the Stars, where she held a runner-up title, a semi-final title, and several quarter final titles. Smirnoff finally became the champion professional partner in the thirteenth season, when she was partnered with army veteran and soap opera star J.R. Martinez.

She is also a five-time U.S. National Champion, World Trophy Champion, and Asian Open Champion. Smirnoff has won the title at the UK Open, is a three-time champion at the US Open, two-time champion at the Asian Open, five-time champion at the Dutch Open, and five-time US National Professional Champion. She has taken second at the British Open Blackpool Dance Festival^[2] and she is the first woman to also ever make the "British Professional Final" with three different partners.^[3]

Biography[link]

Smirnoff was born Karina Smirnova in Kharkiv, Ukrainian SSR, Soviet Union on January 2, 1978. When she was five years old, she began taking ballet lessons, followed by gymnastics, aerobics, figure skating, ballroom dancing and piano.^[4] She chose to pursue ballroom dancing. In 1992, Smirnoff immigrated to the United States.^[5][1]

Education[link]

Smirnoff attended Nerinx Hall High School in St. Louis, MO and Christopher Columbus High School in New York and the Bronx High School of Science^{[citation needed]} before going to Fordham University, during which time she picked up her interest in dancing again. Smirnoff graduated from Fordham University with a double major in economics and information system programming.^[2] During her academic studies, Smirnoff's goal was to go to law school and become an attorney. However she later came across a dance school in Brooklyn, New York, and after some time there dancing became her profession.^{[citation needed]}

Career[link]

Early in Smirnoff's dancing career, she and Roman Nabatov competed as an amateur couple for USA. They ended their dance partnership in January 1997.^[6] Smirnoff soon after started dancing with Paul Killick in October 1998 as a professional couple for England; this partnership ended in July 1999. Immediately, Louis van Amstel and Karina Smirnoff, in July 1999, entered a professional dance partnership, representing the U.S.A; the partnership ended in December 2000.^[7] From January 2001 to September 2005, Smirnoff was in a dance partnership with Slavik Kryklyvyy and they represented the U.S.A; this partnership thus far is her most successful one. Kryklyvyy and Smirnoff earned numerous top titles and high ratings together.^[8]

Her last professional partner recorded in competitions was Dmitri Timokhin representing Russia in October 2005. They won first place at the 2006 Grand-Prix Dynamo in Moscow.^[9] They finished dancing together in June 2006.^[10] Smirnoff was the project manager/director of a dancing event entitled "Day & Night", held on November 18, 2006 at the Hollywood & Highlands Grand Ballroom.^[11] She is featured in a nude pictorial in the May 2011 American issue of Playboy magazine.^[12]

[edit] Dancing with the Stars

Smirnoff was a performer on the third season of the ABC series Dancing with the Stars with celebrity partner Mario López. They finished in second place, losing to the team of Emmitt Smith and Cheryl Burke. Smirnoff returned to the show on March 19, 2007 for Season 4, this time partnered with Billy Ray Cyrus, country singer and Hannah Montana star.^[13] The pair was the seventh to be eliminated from the competition on May 8, 2007. Her partner for Season 5 of the show was current five-division world champion boxer, Floyd Mayweather Jr. On October 16, 2007, Karina and Floyd were the fourth couple eliminated from competition and came in 9th place. She returned for Season 6, partnered with singer Mario and finished in 5th place. In Season 7, she was partnered with chef Rocco DiSpirito and they were the fourth pair to be eliminated with a finish of 9th place for the second time.

For the eighth season, Smirnoff's partner was Apple Inc. co-founder Steve Wozniak. They were eliminated in the fourth round on March 31, 2009, along with Holly Madison and her partner Dmitry Chaplin. For the ninth season, she was partnered with singer Aaron Carter. They were eliminated on November 10, 2009, placing fifth. In the eleventh season, she was partnered with The Situation from MTV's reality TV show Jersey Shore. They were eliminated in the fourth week. In the twelfth season of Dancing with the Stars, she was partnered with movie star, Ralph Macchio. They were eliminated in the semi-finals.

Smirnoff appeared on the thirteenth season of Dancing with the Stars, where she was partnered with All My Children actor J.R. Martinez. Smirnoff and Martinez ended up winning the competition against Cheryl Burke and Rob Kardashian, who was known for his family's television show, Keeping Up with the Kardashians. This was the first time Smirnoff had advanced to the finals since her inaugural season in season 3 with Mario López. For the fourteenth season of Dancing With The Stars, Karina was partnered with singer Gavin Degraw. They were eliminated in week 5.

Performances[link]

[edit] With Mario Lopez (Season 3) 27.6

[edit] With Billy Ray Cyrus (Season 4) 19.0

[edit] With Floyd Mayweather, Jr. (Season 5) 20.8

[edit] With Mario (Season 6) 25.4

[edit] With Rocco DiSpirito (Season 7) 17.8

• Would have been eliminated but wasn't due to Misty May-Treanor's injury and forcing her to withdraw from the competition.

[edit] With Steve Wozniak (Season 8) 13.0

[edit] With Aaron Carter (Season 9) 24.0

• Score was awarded by stand in judge Baz Luhrmann.

[edit] With Mike Sorrentino (Season 11) 16.2

[edit] With Ralph Macchio (Season 12) 23.4

*Donnie Burns was a guest judge

[edit] With J.R. Martinez (Season 13) 26.4

Week #	Dance/Song	Judges' score			Result
		Inaba	Goodman	Tonioli
1	Viennese Waltz/ "Breakaway"	8	7	7	Safe
2	Jive/"Jump, Jive An' Wail!"	7	7	8	Safe
3	Rumba/"If You're Reading This"	9	8	9	Safe
4	Foxtrot/Theme from "The Pink Panther"	8	9	9	Safe
5	Samba/"Conga"	9	9	10	Safe
6	Quickstep/"Hot Honey Rag" from Chicago Group Broadway Dance/"Big Spender" & "Money Money"	10 No	9 Scores	10 Given	Safe
7	Tango/Theme from "Ghostbusters"	9	8	8	Safe
	Team Tango/"Disturbia"	8	7	8
8	Waltz/"What the World Needs Now"	10	10	10	Safe
	Jive/"Tutti Frutti"	10	10	10
9	Paso Doble/"Theme from The Legend of Zorro"	8	7	8	Last to be called safe
	Argentine Tango/"Bust Your Windows"	9	9	9
	Cha-Cha-Cha Relay/ "I Like How It Feels"	Awarded	6	Points
10	Cha-Cha-Cha/"Let's Get Loud [disambiguation needed ]"	8	7	9	WINNERS
	Freestyle/"Whine Up"	10	10	10
	Jive/"Jump, Jive An' Wail!"	Awarded	28	Points
	Samba/"Shake Your Bon-Bon"	10	10	10

[edit] With Gavin DeGraw (Season 14) 21.4

Smirnoff has appeared nude in a PETA advertising campaign -with the tagline "I'd rather dance naked than wear fur".^[14][15]

Smirnoff has appeared nude in the May 2011 issue of Playboy.

Personal life[link]

Smirnoff dated her DWTS partner Mario Lopez from 2006 to June 2008. After Lopez, she began dating fellow Ukrainian and Dancing With the Stars dancer Maksim Chmerkovskiy in the summer of 2008. They announced their engagement on December 31, 2008, but broke up in September 2009 before they got married.^{[16] [17][18]}

In October 2009, Smirnoff began dating MLB pitcher Brad Penny. The couple became engaged on October 4, 2010.^[19] The couple broke their engagement in December 2011. ^[20]

References[link]

External links[link]

• Karina Smirnoff at the Internet Movie Database
• Official website
• Dancing With the Stars profile
• Slavik Kryklyvyy & Karina Smirnoff - Innovation
• Karina Smirnoff starring in CWTS, June 3-10, 2012
• Karina Smirnoff Interview