The dances we teach at Key Town Swing are part of a living tradition. They grew out of Jazz and Blues music, shaped by communities who danced in clubs, ballrooms and on street corners. Each style has its own rhythm, feel and story, which we find important to share in our community and in our classes.
On this page you can read a short bit of history on all of the dances we teach, all followed by links to some more information.

Lindy Hop started in Harlem, New York, in the late 1920s. The Savoy Ballroom was its main home, with live big bands almost every night. Dancers mixed steps from Charleston, Break Away, and other jazz dances. Soon, Lindy Hop was born.
The most common story of the origins of the name Lindy Hop, is that came from a newspaper headline about Charles Lindbergh’s “hop” across the Atlantic in 1927. Whether the story is fact or legend, it stuck. Lindy Hop began as an improvised social dance. Savoy dancers like Frankie Manning, Norma Miller and Al Minns shaped it into a style that was both playful and precise.
By the 1930s and 40s, Lindy Hop had spread far beyond Harlem. Hollywood films and touring dance troupes carried it across the United States and overseas. On stage, dancers added aerials and flashy steps to impress audiences, while the social form stayed rooted in musical connection. Even in the Swing era’s decline, pockets of Lindy Hoppers kept it alive.
The late 20th century saw a revival, sparked by original dancers teaching again and younger generations hunting down old films and records. Today, Lindy Hop is danced worldwide, mixing respect for its roots with personal style. The heart of the dance remains the same: a shared rhythm between partners, the band, and the floor.

Often seen as a dance mostly done by the white elite, Charleston actually first appeared in African American communities in the early 1920s, spreading fast after it was featured in stage shows like Runnin’ Wild. The music had a driving four-beat rhythm, matched by swinging arms and fast, twisting footwork. It could be danced solo or with a partner, and both versions caught on in nightclubs and ballrooms. Its popularity was boosted by the jazz explosion of the 1920s. Bands were getting louder, faster and more syncopated, and Charleston’s kicks and twists fit right in. Different cities developed their own takes on the steps, from low and grounded to high and flashy. The dance quickly caught on with college kids, flappers and white middle-to-upper-class social circles, gradually obscuring its Black origins.
By the late 1920s, Charleston steps had blended into other dances. In Harlem, Lindy Hop dancers borrowed the rhythm and kicks for fast songs. Tap dancers also played with Charleston timing in their footwork. Today, Charleston is often taught alongside Lindy Hop. Dancers still switch between solo and partnered versions, using it to bring sharp energy and quick footwork to the floor.

Collegiate Shag is a fast, bouncy partner dance that took hold in the United States during the 1930s. It was especially popular on college campuses and in youth dance halls, hence the ‘Collegiate’ name. With clear ties to Charleston and Tap dancing, the basic step has a steady rhythm of slows and quicks, perfect for lively swing tunes played at high tempos.
The exact origins are hard to pin down, as “Shag” described different dances in different regions. By the time Collegiate Shag became common in ballrooms, it had settled into a style of upright posture, small kicks, and a constant bounce. Photographs and film reels from the era show dancers grinning from ear to ear as they raced around the floor to hot Jazz.
A related style, St. Louis Shag, developed in the Midwest. It has a different footwork pattern and a more grounded feel, but shares the love of fast music and quick movement. Both dances are still enjoyed today, often alongside Lindy Hop and Balboa at social events.
Modern Collegiate Shag dancers keep the basic shape but add spins, dips, and variations to suit the music. It’s a style that rewards stamina, musicality, and a good sense of humour.

Balboa emerged in Southern California in the 1930s, especially in crowded coastal ballrooms. The packed floors forced dancers to stay close together. From that, a smooth, compact style developed. Pure Balboa or Pure Bal is danced in close embrace, with subtle weight shifts and quick footwork that keep time without taking up much space. It thrived in venues like the Rendezvous Ballroom on the Balboa Peninsula, where big bands played fast swing songs. The tight hold kept partners connected, while their feet kept the beat. For lovers of fast music who wanted to conserve energy, Balboa was ideal.
Over time, dancers broke away into open position for spins and turns, borrowed from Lindy Hop and other swing dance styles. This looser style became known as Bal-Swing, adding another layer of expression. Social dancers could switch between Pure Bal and Bal-Swing depending on the song and space.
Balboa never disappeared entirely, but like many swing dances, it saw a late 20th-century revival. Today, it’s a favourite for fast tempos, often sharing the floor with Collegiate Shag, Lindy Hop and Charleston. Its elegance and efficiency sets it apart from bigger, flashier styles.

Boogie Woogie developed in Europe after the Second World War, when swing-era partner dancing met the rise of Rock ’n’ Roll and boogie piano. American GIs brought jazz and swing steps, and European dancers adapted them to the new, driving music. The result was Boogie Woogie: fast, showy, and built to match the beat. Its basic footwork is related to Lindy Hop, but the style leans toward big kicks, dramatic drops, and performance flair. In competitions, dancers push the limits of speed and creativity. Social dancers keep it simpler, but strong partner connection and musical timing remain.
In the mid-20th century, Boogie Woogie had become popular in Europe. Local scenes developed their own flavours, from Rockabilly looks to Swing-inspired styling. In every case, the energy stays high, and the music drives the movement. Today, Boogie Woogie is still danced by many, both socially and competitively. It connects 1930s Swing roots with 1950s Rock ‘n’ Roll, and keeps evolving with each new generation.

Blues dancing grew alongside Blues music in African American communities from the late 19th century onward. It was never a single style but a collection of related dances shaped by the local music, the space, and the people dancing it. Some were slow and close, suited to a small juke joint with a singer and guitar. Others were more upright and rhythmic, fitting the drive of a blues shuffle played by a full band.
The common thread is connection: to the music, to the partner, and to the shared groove or pulse. Blues dancing uses a relaxed posture, grounded movement, and plenty of room for improvisation for both partners. Instead of memorizing patterns, dancers work with the feel of the song, adjusting steps and shapes as the music shifts.
During the Swing era, many Lindy Hoppers also danced Blues when the tempo slowed. Some of the same musicians who played fast Swing numbers would follow with slow Blues. The change of pace gave dancers a chance to rest and focus on connection. Modern Blues dancing has both social and performance sides. Socially, it’s a space for musical conversation. In performance, dancers may add bigger shapes and pauses to suit the song. In both, it stays rooted in a very broad variety of music.

Tap dance developed in the United States in the 19th and early 20th centuries, blending African rhythmic footwork with European step dances. It became closely tied to Jazz music, with dancers acting like percussionists, adding beats, syncopations, and accents to match or challenge the band. In Vaudeville, Broadway and Hollywood films, Tap dancers became stars, often performing with live Jazz musicians.
The style both influenced and was influenced by other Swing-era dances. Charleston shared some of its sharp, syncopated steps, while Lindy Hop borrowed Tap footwork for breaks and variations. Skilled dancers could cross between these forms easily, adjusting only their posture or partner connection.
Tap evolved into many forms: Soft-Shoe, Rhythm Tap, Broadway-style, each with its own focus. In Rhythm Tap, the emphasis is on intricate footwork and musical phrasing, sometimes trading solos with the band. Broadway tap often pairs big, clear steps with expressive upper body movement to reach a theatre audience.
Although its stage popularity has fluctuated over the years, Tap thrives in both performance and social dance communities. Today’s Tappers keep the link to Jazz alive, working with live musicians and improvising in the moment. Its percussive energy and close tie to the music remain central.

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