You’ve seen it in every grainy black-and-white movie from the twenties. A girl in a fringed dress, knees knocking together, heels flying out like they’ve got a mind of their own. It looks chaotic. It looks like a recipe for a twisted ankle. But honestly? Once you find the rhythm, it's basically the most addictive way to move your body. If you're wondering how do you do the charleston dance without looking like a flailing wind turbine, you have to stop thinking about the steps and start thinking about the bounce.
The Charleston isn't just a dance. It’s a rebellion. Born in the African American communities of the South—specifically Charleston, South Carolina—and catapulted into the mainstream by the 1923 Broadway show Runnin' Wild, it broke every rule of polite ballroom society. It was fast. It was provocative. It was loud.
The Secret is in the "Pulse"
Before you even move a foot, you need the "pulse." If you try to do the Charleston with stiff legs, you’re going to look like a robot.
Lean your weight slightly forward on the balls of your feet. Keep your knees soft. Now, just bounce. It’s a rhythmic, down-up motion that happens in your knees and ankles. Every single count of the music should feel that pulse. If the music is playing at 200 beats per minute (which was pretty standard for hot jazz back then), your knees are doing a lot of work.
The Charleston is built on an eight-count rhythm. While most people think it's just kicking, it’s actually a series of touches and steps.
The Basic Solo Step (The 20s Style)
Start with your feet together. On count one, you’re going to step back with your right foot. On count two, you just hold that weight there. On count three, you kick your left foot back. On count four, you step forward with that same left foot. On count five, you kick your right foot forward. On count six, you hold. On count seven, you step back to where you started.
Actually, let’s simplify that. It’s basically: Step back, Kick back, Step forward, Kick forward.
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Wait. Did you forget the twist?
The "twist" is what makes it the Charleston. As you step and kick, your heels should be turning in and out. When your weight is on the balls of your feet, your heels pivot outward on the "and" counts and inward on the main beats. It’s this internal and external rotation of the hips that gives it that signature "Knock-Knee" look.
Why Your Arms Are Getting in the Way
Most beginners don't know what to do with their hands, so they end up doing "jazz hands" or swinging them like they're marching in the army. Stop that.
In the 1920s solo Charleston, the arms move in opposition to the legs. When your right leg goes forward, your left arm should be swinging forward. It’s a natural counterbalance. If you swing both arms together, you’ll lose your balance and probably knock over someone’s drink. Keep your elbows bent at roughly a 90-degree angle. Let them swing naturally, but keep them rhythmic.
The 30s Variation: It’s a Different Beast
If you go to a swing dance club today, people aren't usually doing the 1920s "Flapper" style. They’re doing Savoy-style Charleston, which comes from the 1930s Lindy Hop era.
How is it different?
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The 1920s version is very vertical. You stay upright. The 1930s version is "into the ground." You bend your torso forward. Your kicks are more powerful. Instead of the polite little flick of the 20s, the 30s Charleston involves a massive "kick-step" that takes up space.
- Rock Step: Instead of just stepping back, you do a quick "rock-step" (Right foot steps back, weight shifts briefly, then shifts back to the left).
- Kick: Kick the right foot forward.
- Set it down: Bring the right foot back under you.
- Kick-Step: Kick the left foot forward, but instead of just kicking, you "pump" it and step into it.
It's more athletic. It’s why the dancers at the Savoy Ballroom in Harlem were able to dance for five hours straight—they used their whole body as a spring.
Common Mistakes (And How to Fix Them)
Most people kick way too high. Unless you’re trying to join the Rockettes, your kicks should stay relatively low to the ground. High kicks slow you down. The music is fast—sometimes over 240 BPM. If your leg is at eye level, you’ll never get it back down in time for the next beat.
Another huge mistake is being too "flat-footed." The Charleston lives on the balls of the feet. If your heels are glued to the floor, you can't pivot. If you can't pivot, you aren't doing the Charleston; you're just doing a weird jog.
Check your posture:
Are you leaning back? Don't. You'll fall.
Are you looking at your feet? Don't. Your feet know what they're doing; look at the imaginary audience.
Are you holding your breath? This is cardio. Breathe.
Getting the "Swivel" Right
If you're struggling with the swivel, try this exercise. Stand with your feet together. Turn your toes in (pigeon-toed). Now, lift your heels and turn them out. Now, bring them back in. Now, do it while walking.
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It feels unnatural at first because we’re taught to walk with our feet straight. The Charleston asks you to forget that. The swivel comes from the hips, not just the ankles. If you only move your ankles, you’ll strain your joints. Let the movement travel all the way up your leg.
What to Listen For
You can't do the Charleston to modern techno. Well, you can, but it feels weird. You need syncopation.
Look for tracks by Sidney Bechet, Louis Armstrong, or Bessie Smith. The "Charleston Beat" is a specific rhythmic pattern: a dotted quarter note followed by an eighth note. DUM... da. DUM... da. That little "da" is where your bounce happens.
If you want a modern entry point, look up "Electro Swing." Artists like Caravan Palace or Parov Stelar take those old 1920s samples and put a heavy house beat behind them. It’s much easier for a modern ear to find the "one" in that music, making it a great way to practice your how do you do the charleston dance basics before moving on to the complex stuff.
Practical Next Steps for the Aspiring Dancer
Don't try to learn the whole thing in one go. You'll get frustrated.
First, spend ten minutes just bouncing to the beat. Don't move your feet. Just get the pulse in your knees. Once that's muscle memory, add the "Step-back, Kick-forward" rhythm without the swivel. Only when you can do that for the length of a whole song should you try to add the heel swivels.
Watch the masters. Search for "Al & Leon Charleston" on YouTube. These guys were the pinnacle of the art form in the 1930s. Notice how relaxed their upper bodies are while their legs are doing 100 miles per hour. That contrast is the goal.
Grab a pair of shoes with a smooth sole—leather or hard plastic is best. Rubber sneakers will grip the floor and keep you from swiveling, which is a great way to blow out a knee. Find a wood floor, put on some James P. Johnson, and just let your legs go. It’s supposed to be messy. It’s supposed to be fun. If you aren't smiling, you're doing it wrong.