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The article lists the dance sequence for the "Lola Gavotte."

The article offers information on Tower Ballroom English chief organist Phil Kelsall. Topics covered include the popularity of his music in the ballroom since 1975 as well as the changes in the instruments used in the ballroom as well as the schedule of Kelsall's appearances at the Tower. Also mentioned is his interest in playing dance music.

The author explains the human timing and rhythm needed for ballroom and Latin dance. Topics discussed include the natural tendency of humans to be attracted to regular repetitive sounds which inspire and comfort them, external forces that make it difficult for humans to find the correct beat in dance music and the author's theory that people's confidence is linked to their ability to blot out the external forces and distractions and focus on dancing on time.

The article explores the history of the samba. The samba is considered as the hardest of the Latin dances, which captures the atmosphere of the carnival in Rio de Janeiro, Brazil. It traces the origins and development of the samba. It mentions some films which made this dance popular, such as "Flying Down to Rio" and "That Night in Rio." The nature of the bounce action is explained by former World Professional Latin dance champion Alan Fletcher.

The article discusses the history of the cha cha cha dance, which is best for the slow build of attraction between dancers. It states that Cuba in the 19th century is its major musical origin, where the Spanish authorities allowed African slaves to preserve their music and dance and accept European influence. The cha cha rhythm is reportedly built on a syncopated beat where dancers in close contact can improvise on hip and other body movements, and these become more flamboyant in competitions.

The article reports on forró, a partner dance from Brazil, that is becoming popular in London night spots as of June 2011. The elements of forró, the different types, and the instruments that are played with it, such as the accordion, triangle, and the drum, are presented. A history of the rhythm and dance is discussed wherein the lyrics speak of the situational problems of the migrants making it a music for the poor people. The author describes the Festa Junina or the June Festival when forró is danced the most.

The article describes how young people of Medellín, Colombia are rediscovering the dance craze, porro, by creating a new style called porro moderno. Topics include how the porro dance was inspired by Colombian musician Lucho Bermúdez and his interpretation of the traditional folkloric cumbia, how it became a craze during the 1950s among Medellín's elite, and how young Colombians are bringing the dance which they learned from their elders to London, England.

The article discusses the use of too much elements of styling and sound effects in ballroom dancing. Examples of elements being used by an increasing number of dancers are finger snapping, clicking of heels, crackling of fringe, hissing and facial contortions. Ballroom dancing champion and judge David Sycamore advises dancers to be wary of adding anything that is not a natural part of the performance.

The article discusses the history of the music and dance, Salsa. The dance started with the emergence of the Danzón and Son music. According to the article, the music was accompanied by couple dances from South American countries. The word salsa was formed to group various music such as Son, Mambo and Rumba into one. The dance became popular in the 1960s and 1970s with its accompanying dance, a combination of all different styles.

The article presents an interview with Irene Miguel, dancer and teacher of the MamboLifestyle dance in Great Britain. She states that MamboLifestyle is a developmental and systematic approach that enables individuals to realise their dancing ability. According to Miguel, they started teaching salsa without a count. The dance teacher reveals that she encountered difficulties in hearing the congas in salsa music.

The article features sequence dance leaders Bob and Wendy Whelerton. The importance of sequence dance leaders to the survival and promotion of sequence dancing is discussed. The arrangement by the couple of dances for the groups Firefly Tango and the Tango Rioch is mentioned. The article also offers information on the reputation of the couple as sequence dance leaders.

The article discusses the major influence of the U.S. on British ballroom dancing. Topics include how the quickstep was originally based on the one-step from the U.S., how it became popular because of the big bands that traveled all over the U.S., and the influence of American 1930s films on British ballroom dancing especially scenes showing men and women in formal attire dancing to orchestral music.

Photographs of sequence finalists of the 56th Blackpool Dance Festival for Juveniles and Juniors held at Empress Ballroom in Winter Gardens in Blackpool, Lancashire, England in 2013 are presented.

The article presents views of several dance experts on dancing forms tango and tandas. Richard Slade defines a tanda as a strong song that can bring people on the floor and in the dance mood. Melina Sedo explores rhythmical, lyrical and dramatic tandas. Lynn Collins says that a right tanda at the right time can create ultimate dancing joy.

The article offers updates in ballroom dancing. The winners of Tony Gilbert's CD "The Swinging Sixties" include R. Allan, L. Davidson and M. Docherty. The DVD "Fairy Tales" features rare early films by the Pathe brothers including music hall and exhibition dancers. Dance My Way's next course in samba performance and choreography will begin on February 3, 2013 at Pineapple Studios, London, England.

The article offers step-by-step instructions for executing the Jaymar Gavotte dance technique.

The article explores the timba, a Cuban dance. Timba is described as a fusion of Cuban rhythms such as rumba, songo, mambo, cha cha cha, soul, and jazz. The Los Van Van is a Latin dance band that brings the contemporary sound of timba to dancefloors across the world. Timba started as a street dance called reparto performed by solo dancers or reparteros.

The article presents a dance sequence of the Kelham Quickstep. It notes that the sequence is straightforward and can be performed in any room size. The time for the sequence is 4/4 while the tempo is 48/50 beats per minute (bpm). A step-by-step guide on how to execute the dance sequence is provided which includes a tipple chassé, quick open reverse and hover corté.

The article presents a dance sequence of Shamar Saunter. It notes that the dance sequence features a number of handhold changes. The time for the sequence is 4/4 while the tempo is 28 beats per minute (bpm). A step-by-step guide on how to execute the dance sequence is provided which includes a slow natural promenade turn.

The article highlights the views of Ashley Frohlick, musical director of Empress Orchestra, on producing the right sound for the Empress Ballroom in Blackpool, England. Frohlick has been leading the orchestra for six years and he is responsible in keeping its sound traditional despite some evolution. He cited the modifications that he made on the sound of the orchestra. He also described the kind of music that the Empress Orchestra produces.

The article focuses on performance loyalties in dance music. According to the article, musicians are concerned about illegal copying of their work. Tommy Sanderson, owner of Maestro Records explains that performance loyalties are the lifeblood of the industry. He explains that the Performing Rights Society and Phonographic Performance Limited are organizations that collect and distribute public performance loyalties in Great Britain.

The article presents a dance script for a rumba performance.

The article presents a dance script for a variation in Tango.

The article presents the dance script for the arrangement "Kookaburra Quickstep."

The article presents the dance script for the arrangement "Tango Dorada."

The article offers the steps in dancing Mahonia Foxtrot.

The article offers the steps in dancing Bagdale Blues.

Presents step-by-step instructions for performing the dance sequence Stardust Gavotte, arranged by John and Maureen Dack.

The article presents a variation of the paso doble dance style. It describes the basic concept and elements of the paso doble. The steps and techniques for performing the paso doble are provided. The positions of the female and male dancers in the paso doble are illustrated.

The article presents information on the tango dance classes being offered by The Crypt in Clerkenwell, London, England. It describes the basic elements and steps of tango. The structure of the tango lessons being offered by the dance school is illustrated. It describes the experiences gained in taking the school's tango classes.

Presents several samba steps.

Presents several tango steps.

Presents a variation to the tango ballroom dance style. Position of the male and female dancing partners in the tango dance style; Description of the dance steps for tango.

Presents a variation to the cha cha ballroom dance style. Position of the male and female dancing partners in the cha cha dance style; Description of the dance steps for cha cha.

Presents the steps for performing the Buttermere Waltz ballroom dance style. Position of the male and female dancing partners in the Buttermere Waltz ballroom dance style; Description of the Buttermere Waltz dance steps.

Presents the steps for performing the Saunter Cerutti ballroom dance style. Position of the male and female dancing partners in the Saunter Cerutti ballroom dance style; Description of the Saunter Cerutti dance steps.

Provides variations of dance steps for Quickstep. Position of the dancers at the start of the dance; Timing.

Presents a variation of dance steps for Cha Cha. Use of the variation as a party dance; Position of the dancers at the start of the dance.

Focuses on the Big Band performance of the Syd Lawrence Orchestra at the Atlantis Arena in Great Yarmouth, England. Dance music played in the event; Advantage of the arena's dance floor; Songs performed by the Orchestra's vocalists Matthew Ford and Eleanor Keenan.

Presents instructions in performing a variation of the Foxtrot dance consisting of an eight bar group that moves well and should be easily within the scope of dancers who have a good knowledge of syllabus figures. Initial position; Timing; Group composition; Steps 1 through 19.

Presents instructions in performing the Arcadia Foxtrot dance for couples. Description of the man's step; Count; Initial position.

The article reviews the dance music release "San Agustin" by Venezuelan master percussionist and bandleader Edwin Sanz and the instructional dance DVD "Kizomba-The Technique Book" by Claudia de Vries.