Foxtrot

The foxtrot is a smooth, progressive partner dance defined by long, flowing movements across the floor. It is performed to big band music, often with vocals, and resembles the waltz in appearance but follows a 4/4 time signature. First introduced in the 1910s, the dance peaked in popularity during the 1930s and is still danced today.

The dance premiered in 1914 and was soon refined by the famous duo Vernon and Irene Castle, who gave it its characteristic elegance. The name’s origin is uncertain, though one theory links it to vaudeville performer Harry Fox. Both Vernon Castle and dance teacher Betty Lee credited African American dancers as the source; Castle noted he had seen the dance performed by Black dancers for fifteen years at a private club. Composer W. C. Handy claimed his “The Memphis Blues” inspired the foxtrot. During breaks from faster dances, the Castles’ music director James Reese Europe would play that tune slowly, intriguing the Castles, who then created a slow dance to match. They first called it the “Bunny Hug” in a magazine article, but while traveling abroad, they sent a wireless message to rename it “Foxtrot.” Later, Arthur Murray standardized the dance, incorporating tango-like positions.

Originally danced to ragtime, the foxtrot became the most popular fast dance from the late 1910s through the 1940s, with most records from that era being foxtrots. Neither the waltz nor the tango surpassed it, and even the Lindy Hop’s rise in the 1940s did not diminish its appeal, as both dances could use the same music. When rock and roll emerged in the early 1950s, record companies were unsure which dance style fit. Decca Records initially labeled its rock releases as foxtrots, including Bill Haley’s “Rock Around the Clock,” which sold over 25 million copies—making it arguably the best-selling foxtrot ever. Today, the foxtrot is still danced to the big band music used for swing.

Over time, the foxtrot split into slow and quick versions, called “foxtrot” and “quickstep.” The slow category includes the International (or English) style and the American continuity style, both using a slow-quick-quick rhythm at a slow tempo, as well as the social American style, which uses a slow-slow-quick-quick rhythm at a faster pace. In ballroom competitions, the slow version is sometimes called “Slow Foxtrot” or “Slowfox” to distinguish it from other foxtrot types.

Three main styles of slow foxtrot are common today: American Social, American Continuity, and International. All are partner dances where couples move counter-clockwise around the floor to similar music, but they differ in technique, positions, and figures.

The American Social style is widely used in the U.S. for social dancing, especially in crowded spaces or among partners with little formal training. Its key feature is that dancers close their feet at the end of most figures, rather than passing them, which slows progress and allows some figures to be danced in place. Figures usually start with partners facing each other in closed position, with the man leading on his left foot. This consistency makes it easy to string figures together. Body contact is not required; all leads come through arm frames, avoiding awkwardness. This style is the only one allowed at the bronze (beginner) level of American Style competition, so it is also called “American Bronze Foxtrot.”

The American Social style uses both six-count and eight-count figures, alternating between them—one of the few challenges in the dance. Syncopation is generally avoided. Six-count figures span one and a half measures of music, using a slow-slow-quick-quick rhythm (two counts each for the slows, one each for the quicks). Examples include the basic forward and back movement, alternating quarter turns (zig-zag), rock turns, promenade, promenade twist (12 counts), promenade pivot (12 counts), and sway step. Social dancers typically use alternating quarter turns to zig-zag around the room, mixing in promenades for variety. Rock turns help change direction at corners or avoid collisions.