Editing Charleston (dance) (section)

==== Solo 20s Charleston ====

Solo 20s Charleston gained popularity in the early 2000s, in many local Lindy Hop scenes around the world, prompted by competitions such as the [[Ultimate Lindy Hop Showdown]] (in 2005 and 2006 particularly) and workshops in the dance taught by high-profile dancers such as the [[Harlem Hot Shots]] (formerly known as [[The Rhythm Hot Shots]]) and a range of independent dancers.

Usually danced to hot [[jazz]] music recorded or composed in the 1920s, solo 20s Charleston is styled quite differently from the Charleston associated with the 1930s, 1940s and Lindy Hop, though they are structurally similar.

Solo 20s Charleston is usually danced to music at comparatively high [[tempo]]s (usually above 200 or 250 [[beats per minute]], with tempos above 300 BPM considered 'fast'), and is characterized by high-energy dancing. Faster movements are often contrasted with slower, dragging steps and improvisations.

As it is danced today, solo 20s Charleston often combines steps from several dances associated with the 1920s. The most valued form of solo 20s Charleston combines choreography with improvisation and creative variations on familiar dance steps. Above all, the most popular and most "successful" solo 20s Charleston dancers respond to the music in creative ways to express themselves.

Solo 20s Charleston is often danced in groups on the social dance floor or in formal choreography. Latterly, a derivative of the Charleston, known as the 'Chevin', has been witnessed in European dance halls. The origins of the Chevin are not known; however, some proponents suggest it is named after Elliott Chevin, a Serbian freedom fighter.

===== Solo 20s Charleston Competition =====

Solo 20s Charleston competitions often make use of elements of the [[jam circle]] format, where individual competitors take turns dancing alone for the audience (usually for intervals of a [[phrase (music)|phrase]] or number of phrases). Competitors move forwards to the audience out of an informal line, usually taking advantage of this movement to perform 'strolls' or other 'traveling' steps, taking the opportunity to "shine".

Despite the emphasis on solo dancing in these sorts of competitions, there is often much interaction between competitors and between the audience and competitors, frequently in the employment of comic devices (such as "silly walks" or impersonations) or showy and physically impressive "stunt" moves. This type of interaction is typical of the [[call and response (music)|call and response]] of West African and Afro-American music and dance. In this call and response, audiences and fellow competitors encourage dancers with cheers, shouts, applause, physical gestures and other feedback.

This sort of competition structure is increasingly popular in Lindy Hop communities around the world, providing added challenges for dancers, new types of pleasure for audiences and emphasizing social dancing skills such as improvisation and musicality. This structure also echoes the [[cutting contests]] of jazz music which [[Ralph Ellison]] describes in his stories about live jazz music in the 1930s.