Slow Bal and Blues: differences, similarities, and where they meet

March 7, 2025
11:36 am

Slow Bal and Blues

In recent years, more and more Blues dancers have found their way to my Slow Bal classes, and I’m sure the other way around it’s also happening. This crossover raises an important question: What is the difference between Slow Bal and Blues? And beyond that, where do these two dance styles meet? To explore this topic, I spoke with Gas and Alba, internationally renowned Blues dancers, to uncover the distinctions and overlaps between these two beautiful dance forms.

Prefer watching over reading?

Here is the full interview:

"Swing and Blues are the same idiom, just different slangs"

What is Blues?

Blues is one of the earliest secular African American musical genres, originating in the 19th century. Unlike swing, which had a relatively short peak period (from the 1930s to the mid-1950s before evolving into bebop), Blues has continued to evolve while maintaining its core essence.

Blues music encompasses a vast range of styles, including Classic Blues (big band blues), Piedmont Blues, Texas Blues, West Coast Blues, Latin Blues, and Jump Blues. The diversity within Blues is so extensive that even musicians debate its definition. As Alba explains, Blues is a broad umbrella term, much like Swing music. Within the dance world, “Blues dance” refers to a collection of regional idioms, each rooted in a specific style of blues music. For example, Strutting Blues originated in Memphis, danced to country Blues music in the 1940s and 1950s.

Also feel like diving into the roots of Slow Bal? Click here for the interview with Mickey Fortenasce about the history of Slow Bal:

The essence of Blues Dance

While Blues dance has many different idioms, they share common aesthetic characteristics:

Close embrace: Partner connection is a key feature in most Blues styles. The close embrace is also characteristic in Slow Bal.
Posture: Unlike the upright stance of some Swing dances, like Slow Bal, Blues dancers often adopt a relaxed posture with angled body positions.
Musicality: Blues music relies heavily on call-and-response structures, repetition, and syncopation. Blues dancers reflect these elements in their movement. Slow Bal dancers tend to express their musicality in their footwork.
Expression: At its core, Blues is about storytelling and emotional expression. As Gas puts it, “Blues is called the Blues because they sing the blues to not feel blue.” Slow Bal is more of a romantic dance.

The connection between Swing and Blues

For Gas and Alba, the relationship between Blues and Swing is undeniable. Swing dancing, like Blues, is an umbrella term covering multiple styles, including Lindy Hop, Balboa, Collegiate Shag, and Charleston. Similarly, Blues dance encompasses a variety of idioms.

Gas even goes so far as to say, “For me, Swing and Blues are the same idiom, just different slangs.” While some may debate this, it is clear that these dance forms share deep roots, particularly in African American culture and music. For example, Count Basie with a blues shouter can sound just as bluesy as B.B. King with a big band.

Where do Slow Bal and Blues meet?

One of the most common questions is: Which styles of Blues are most similar to Slow Bal? The answer lies in Classic Blues or Ballroom Blues, which features slow ballads played by big bands. These songs create the perfect crossover space where both Slow Bal and Blues dancers feel at home.

Gas explains that when Blues is played by a big band, it naturally lends itself to Slow Bal. However, he also notes that different interpretations are possible. Some songs might feel more bluesy, while others lean toward Slow Bal. The distinction often comes down to how the music swings and how dancers interpret rhythm.

Differences in musical interpretation

Blues and Slow Bal differ in how dancers interpret rhythm:

Slow Bal dancers in general focus more on their feet. The musicality is expressed through precise footwork, and the upper body often maintains a swaying motion.
Blues dancers engage the whole body. Their movements often involve polyrhythms that extend beyond the feet into the torso and arms.
Strutting Blues is particularly close to Balboa. In both, the rhythm is driven primarily by footwork rather than full-body movement.

Alba elaborates, explaining that blues dancers use groove, interpreting the rhythm with their whole body, whereas Slow Bal dancers often maintain a more structured approach, with emphasis on footwork variations.

Photo by: Tommaso Giuntini

The role of history and oldtimers

One of the key differences between Slow Bal and Blues is the historical record.

Slow Bal has very few documented old-timers, with only two known figures—Ray Cunningham and Dean Raftery—credited with passing on the dance.
Blues, on the other hand, has a deeper but less formalized lineage. While there are many blues oldtimers, much of the dance knowledge was passed down informally within African American communities. As Alba explains, Blues was never a “craze” dance like Lindy Hop, so it didn’t receive as much mainstream attention or documentation.

What can these dance communities learn from each other?

Gas and Alba believe both Slow Bal and Blues dancers can benefit from exchanging techniques and ideas:

Blues dancers can learn from Slow Bal dancers’ rhythmic precision. Slow Bal dancers have developed an impressive ability to create clear, intricate foot rhythms that could enrich blues dancing.
Slow Bal dancers can learn from Blues dancers’ connection and fluidity. Blues dancers excel in leader-follower conversation, breathing within the movement, and embracing a relaxed posture that adds depth to the dance.

Bringing Blues and Slow Bal together: The Slow Flow event

So far in the Swing scene, Blues and Slow Bal events have remained separate. However, the idea of a ‘Sweet Stuff’ event, where dancers of both styles mix on the dance floor, is gaining traction.

Gas and Alba, together with Olga and Andreas, are organizing one such event in Madrid, Slow flow, from June 13-15, 2025, at Big Mama Ballroom. The event will feature both Slow Bal and Blues classes, with the goal of blending the communities and encouraging dancers to learn from one another.

As the interview concluded, it became clear that the best way to understand the connection between Blues and Slow Bal is not just to talk about it, but to experience it on the dance floor. So whether you’re a Blues dancer, a Slow Bal enthusiast, or simply curious, the invitation is open: step onto the floor, explore the music, and discover where these two worlds meet

Photo by: David Poul