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El COLLEGIATE-SHAG es una manera de bailar la música: RAGTIME, Boogie-Woogie- Jazz de New Orleans - Swing. Sobretodo los que son muy rapidos.

Como resumen de lo leído y visto en Internet puedo decir:

Baile que evoluciono a partir del Charleston.

Se cree que surgió en el Sur de EE.UU., en los años 20 y 30, y fue bailado en sus orígenes por los estudiantes, de hay el nombre.

Se usa en los temas muy rápidos de cualquiera de las músicas negras de EE.UU..

Se baila con patrón básico de seis tiempos.

Datos sacados de: WIKIPEDIA  

Collegiate shag

From Wikipedia, the free encyclopedia

  (Redirected from Collegiate Shag)

The Collegiate Shag (or "Shag") is a partner dance done primarily to upper tempo jazz music (usually 200+ beats per minute). It belongs to the swing family of American vernacular dances that arose in the 1920s, 30s, and 40s.




"Shag" itself (when used in reference to American social dances) is a very broad term used to denote a number of swing dances that originated during the early part of the 20th century.Arthur Murray mentioned Shag in his 1937 book "Let's Dance"[1]. This article states that shag was known throughout the entire country under various names, like "Flea Hop". A New York writer sent to Tulsa, Oklahoma in late 1940/early 1941 noted an "...Oklahoma version of shag done to the Western Swing music of Bob Wills and his Texas Playboys at the Cain's Dancing Academy in Tulsa."[2]

Today the term "Collegiate Shag" is most often used in reference to a kind of double shag (see explanation below) that is believed to have originated in New York during the 1930s. To call the dance "collegiate shag" would not have been common during the swing era. The addition of the word "collegiate" was supposedly a marketing ploy to attract 'college age' dancers to certain studios. And this name later became somewhat standard in the latter part of the 20th century (see swing revival), presumably because it helped to distinguish the dance from other contemporary dances that share the "shag" designation (e.g., Carolina Shag).


Shag has no clear historical record but is often assumed, as with many other swing dances, to have evolved from Foxtrot. In the late 19th century the term "shagger" was supposedly a nick-name for vaudeville performers [1], who were known to dance the Flea Hop. Later "shag" became a blanket term that signified a broad range of jitterbugging (swing dancing). In the 1930s there were arguably a hundred or more variations of the dance, which differed depending upon geographic region. These variations were later generalized into three categories: single, double, and triple shag. The different names are intended to denote the number of 'slow' (e.g., step, hop) steps performed during each basic. The slow steps were then followed by two 'quick' steps (e.g., step, step).

The dance is still performed today (primarily double shag) by swing dance enthusiasts worldwide.


Described below is double shag, which uses a 'slow, slow, quick, quick' rhythm. The basic is six-count.

Shag Position: the lead's left hand is held straight up overhead with his left elbow touching the follow's right elbow (her arm being fulling extended overhead as well). This was not always practiced, but it is understood to be one of the features that make collegiate shag unique. Some dancers prefer to hold the arms much lower, similar to conventional ballroom positioning. Follows usually mirror the lead's footwork in closed position. The shag basic is danced in a 'squared-up,' closed position (i.e., the lead and follow's shoulders/toes line up so the partners face one another directly).

Note:Hop is defined as: a transfer/change of weight to the other foot while hopping (very minimal; almost more of a scoot than a literal hop). Step is defined as: a lift-and-plant motion on the same foot. Planted foot is the foot with the dancer's weight on it

  • Basic: (from the lead's point-of-view) Beat 1: hop onto left foot, beat 2: step on left, beat 3: hop onto right foot, beat 4: step on right, beat 5: step onto left foot, and beat 6: step onto right foot.

As mentioned above, this is often broken down verbally as "slow, slow; quick, quick" where the 'slows' cover two beats (or counts) each and the 'quicks' mark a single beat (or count) each. Hence, for the lead this would be two counts with the weight on the left leg while the right leg moves, two counts with weight on the right leg while the left leg moves, followed by a quick step onto the left and then a quick step onto the right

  • Circle kicks: (like basic, but where the non-planted foot moves in a circle)
  • Camel kicks: (done with the partners positioned side-by-side) the same movement as the basic but where the non-planted foot kicks on each slow, and where the quick-quicks are done with one foot behind the other (in tandem).
  • Breaks: A step and hold action where the non-planted leg is extended fully and the planted leg is bent underneath the dancer for support (hop onto left, leaving out the step; hop onto right, leave out the step; step left and step right)
  • Turns: the follow can be turned with an overhead, a free, or an Apache turn on the slows or the quicks-quicks (to do so on the quick-quick is considered more traditional)

[edit]See also




COMPÁS MUSICAL: Tanto el dixieland, como el ragtime y el swing, tienen un compás de 4X4.

COMPÁS DE BAILE: El Collegiate Shag, usa 6 tiempos osease compás y medi0 de música

Nº COMPÁS 1 2 3
Nº TIEMPO 1 2 3 4 1 2 3 4 1 2 3 4
PIE CHICO i i d d i d i i d d i d
PIES CHICA d d i i d i d d i i d i

¿COMO SE BAILA? En los videos lo veras mejor, pero podemos resumir así: pie izquierdo, salto con el izquierdo, pie derecho, salto con el pie derecho, pie izquierdo, pie derecho, y vuelta a empezar. La chica igual pero con el pie contrario.





Si quieres ver los videos, silencia primero el FOX-TROT que suena.

Si quieres bajarte el midi que esta sonando en este momento ratonea en el grafico de abajo.


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Se puede usar cualquier dixieland, swing, ragtime rápido.

Si te quieres bajar el mp3 de alguno de estos FOX pues ya sabes donde tienes que ir.

No puedo ser mas explicito porque Ramoncín es como el Gran Hermano del PSOE, lo vigila todo. De hecho vive, de eso, de vigilar.