Fancy footwork on the dance floor was a form of foreplay, complete with perspiration, panting, and pre-coital contortion. Friction caused internal combustion in such a pressure-cooker environment, often leading to consensual mutual masturbation called “dancing.”
Where else could such somatic satisfaction be bought for a $.35 admission price? A price that could include outright orgasm? Cover and excuse for ecstatic behavior was provided by rhythmic overtones. Expect dancers abandoned concentration on agile footwork in order to create, instead, intentional sexual excitement. They played the women like slide guitars -- finding her center of gravity located in the small of her back. By raising his supporting hand, or by lowering it up and down her spine, the couple achieved better focal contact. Raising his hand allowed him to brush her nipples as she rotated in front of him.
Lowering his hand down her spine brought the lower part of his partner’s body to him. This enabled her to press hard, rubbing against his leg like a pole dancer. This vise-like conjunction could skillfully remain in place even while dancing. Remaining in one corner meant better communication, concealment, and concentration. Unnecessary conversation, especially in the dim light, was like phone sex whispered in her ear. Her name, added to the lyrics, her head on his chest, induced romance. Sexual signals were ocular, sensed, mouthed, physical, or very obvious.
Loving intimacy, shared confidence added to gallantry, grace, speed, surprise and strength defined expert foreplay, as well as great dancing proper. A parting kiss, not on the cheek, but on the neck or hand, together with playful laughter at the end pardoned the risqué behavior of their shared secret.
Post-script: Calle Ocho, Miami, 1999: El Baile del Gato. Four couples down on all fours dancing doggy-style never caught on – in public at any rate.
