davidanugraha/M4-RAG huggingface dataset:
Getbol, Korean Tidal Flats

Getbol (Korean: 갯벌) are mudflats, or tidal flats, coastal sedimentary systems. They are important habitats for different types of organisms, including migrating birds and marine fauna such as clams, crabs, octopuses, and snails. In 2021, four getbol sites in South Korea were listed as a UNESCO World Heritage Site due to their outstanding natural properties. Each of these sites represent a different type of getbol (estuarine type, open embayed type, archipelago type, and semi-enclosed type).
The four getbol sites that are listed are the Seocheon Getbol, Gochang Getbol, Shinan Getbol and Boseong-Suncheon Getbol. Three sites are located on Korea's western coast while the Boseong-Suncheon Getbol is located on the southern coast. They were listed under criterion (x), which covers sites that "contain the most important and significant natural habitats for in-situ conservation of biological diversity, including those containing threatened species of outstanding universal value from the point of view of science or conservation." Some of the species present in getbols include the mud octopus, Japanese mud crabs, fiddler crab, bristle worms, Stimpson's ghost crab, and Yellow Sea sand snail. There are also several species of suspension feeders, such as clams. Getbols support endangered species of migratory birds on their route across the Yellow Sea, as stopover sites on the East Asian–Australasian Flyway. There were 22 IUCN Red List species recorded as visitors, including the critically endangered spoon-billed sandpiper. Furthermore, 375 species of benthic diatoms, 118 waterbirds, 857 macrobenthos, 152 marine macroalgae, 47 endemic and 5 endangered marine invertebrate species have been recorded in the protected areas.
The tidal flats developed after the Last glacial maximum, in an interplay of rivers depositing the sediments and their dispersal by tidal currents, wave action, and wind-induced currents. They formed especially in the estuaries of large rivers and in the island coasts. As a result of monsoon climate, erosion and chemical weathering in the coast is taking place in winter while the deposition of sediment is taking place in summer.
All four sites are strictly managed as Wetland Protected Area (WPA) under the Wetlands Conservation Act. Still, there are some risks that are posed to the environment by activities such as dredging of port and sea lanes, construction of land-to-island and island-to-island bridges, development of offshore wind-power generation, mining of marine aggregates, introduction of harmful or marine ecosystem disturbing species, and fishing activities of locals. The most detrimental activity is land reclamation, but such actions are strictly banned in the World Heritage Sites. Possible environmental pressures include marine and coastal pollution, climate change, coastal erosion, and oil spills.
Ruditapes philippinarum

Ruditapes philippinarum, the Manila clam, is an edible species of saltwater clam in the family Veneridae, the Venus clams. Common names include Manila clam, Japanese littleneck clam, Japanese cockle, and Japanese carpet shell. In Japan, it is known as asari. In Korea, it is known as bajirak.
The clam is commercially harvested, and is the second most important bivalve grown in aquaculture worldwide.
The shell of Ruditapes philippinarum is elongate, oval, and sculptured with radiating ribs. It is generally 40 to 57 millimeters wide, with a maximum width of 79 millimeters.
This clam is native to the coasts of the Indian, Philippines and Pacific Oceans from Pakistan and India north to China, Japan, Korea and the Kuril Islands. It has an extensive nonnative distribution, having been introduced accidentally and purposely as a commercially harvested edible clam. It is now permanently established in coastal ecosystems in many parts of the world.
This burrowing clam is most abundant in subtropical and cooler temperate areas. It can be found in shallow waters in substrates of coarse sand, mud, and gravel. It lives in the littoral and sublittoral zones. It burrows no more than about 10 centimetres into the substrate. It sometimes lives in eelgrass beds.
This species lives in many types of habitat, being found in the intertidal zone, brackish waters, estuaries, and under ice. It survives in a range of salinities and temperatures, with narrower ranges required for breeding.
This clam may become sexually mature in its first year of life, when it reaches about 15 millimeters in width, especially in warmer areas such as Hawaii. In cooler areas it begins breeding at older ages and larger sizes. In warmer regions it spawns year-round, but only in the summer in cooler areas. The fecundity of the species increases with size, a 40-millimeter female producing up to 2.4 million eggs.
Manila clam represents 25% of commercially produced mollusks in the world. The species is considered to be a sustainable aquaculture product. It is sold live or frozen.
The clam is frequently eaten in Asia, especially in the Philippines, Korea, and Japan, where they are often used in soups and noodle dishes.
Spaghetti alle vongole

Spaghetti alle vongole (Italian: [spaˈɡetti alle ˈvoŋɡole]; lit. 'spaghetti with clams') is a pasta dish consisting of spaghetti cooked with fresh clams, originating in the coastal regions of southern Italy, particularly the city of Naples, Campania. The preparation typically involves garlic, parsley, olive oil, and occasionally white wine. Palourde, or carpet-shell clams (Italian: vongole veraci; pl.), are commonly used, along with the small Mediterranean wedge shell (Donax trunculus, also known as the Tellina or "bean clam"). There are numerous regional variations of the dish.
Palourde, or carpet-shell clams (Italian: vongole veraci; pl.), are used, or the small, Mediterranean wedge shell (Donax trunculus, also known as the Tellina or "bean clam"). Both types are also called arselle in Liguria and Tuscany.
Italians prepare this dish two ways: in bianco, i.e., with oil, garlic, parsley, and sometimes a splash of white wine; and in rosso, like the former but with tomatoes and fresh basil, the addition of tomatoes being more frequent in the south. Traditionally, the bivalves are cooked quickly in hot olive oil to which plenty of garlic has been added. The live clams open during cooking, releasing a liquid that serves as the primary flavoring agent.
Italian-American recipes sometimes use cream in this dish, but in its area of origin this would be considered most unorthodox. Gillian Riley considers cream alien to the spirit of Italian cooking, remarking that "the way cream dumbs down flavor and texture is not appropriate to the subtle flavor and consistency of pasta".
In the United States, cheese is sometimes added to the dish, although Italians state that it overpowers the simple flavors of the clams and of good quality olive oil.
Media related to Spaghetti with clams at Wikimedia Commons Spaghetti with Clams at the Wikibooks Cookbook subproject
ClamWin Free Antivirus

ClamWin Free Antivirus was a free and open-source antivirus tool for Windows. It provides a graphical user interface to the Clam AntiVirus engine. The software has not been updated since 2021.
There are Firefox extensions that allow the users to process downloaded files with ClamWin.
ClamWin Free Antivirus scans on demand; it does not automatically scan files as they are read and written.
The non-affiliated projects Clam Sentinel and Winpooch are add-ons that provide a real-time scanning capability to ClamWin.
Historically, ClamWin Free Antivirus has been criticized for its poor detection rates and slow scans compared to other antivirus programs. In past evaluations, it struggled significantly in detecting various types of malware. For example, in 2009, ClamWin Free Antivirus failed to detect almost half of the trojan horses, password stealers, and other malware in AV-TEST's "zoo" of malware samples.
In the 1–21 June 2008 test performed by Virus.gr, ClamWin Free Antivirus version 0.93 detected 54.68% of all threats and ranked 37th out of 49 products tested, with the highest-ranking product detecting over 99% of threats. Similarly, in the 10 August-5 September 2009 test, ClamWin Free Antivirus version 0.95.2 detected 52.48% of all threats and ranked 43 out of 55 products tested, where the best performer scored 98.89%.
These evaluations are over a decade old. In recent years, ClamWin has seen several updates, though comprehensive independent test results from major antivirus testing organizations are scarce. Users should consider that ClamWin remains primarily a free, open-source antivirus solution, which might not offer the same level of comprehensive protection as some commercial products.
Despite the absence of new effectiveness information from major testing organizations, ClamWin continues to be a popular choice for users seeking a free and open-source antivirus solution. Users looking for more robust protection may need to consider additional security measures or alternative antivirus solutions.
In 2011, cNet gave ClamWin Free Antivirus a rating of 4 out of 5 stars, acknowledging its user-friendly interface and regular updates but also noting its relatively slower scanning speeds and lower detection rates compared to other antivirus software.
Sinonovacula constricta

Sinonovacula constricta, the constricted tagelus, Chinese razor clam or Agemaki clam, is a commercially important species of bivalve native to the estuaries and mudflats of China and Japan. It is extensively aquafarmed in China and other countries, with 742,084 tons worth US$667,876,000 harvested in 2008.
Clams from Duotou village in Putian city, Fujian are particularly famous, and are a key ingredient in Putian cuisine.
Deep Cove, North Vancouver

Deep Cove refers to the community in the easternmost part of the District of North Vancouver, in British Columbia, Canada, and is also the geographic name of the small bay beside the town. It is affectionately referred to as "The Cove" by local residents. Located at the foot of Mount Seymour, Deep Cove faces due east, fronting onto Indian Arm, a branch of the Burrard Inlet. The area is the traditional territory of the Tsleil-Waututh and Squamish Nations. Deep Cove is 13 kilometres (8.1 mi) from downtown Vancouver.
Deep Cove, or Deepwater as it was first known, is a traditional clamming and fishing area of the Tsleil-Waututh nation who lived in the area. British and Spanish naval explorers scouted Indian Arm in the late eighteenth century, and by the mid-nineteenth century, whales were being caught and flensed on the Cove's shores.
Deep Cove became a popular summer resort for Vancouver residents in the 1910s, with cabins, logging, and granite quarrying featured in the local history. For many years, the focal point of the community included a yacht club, dance hall, and general store.
The population slowly grew in the 1960s and 1970s, when access to the area improved following the completion of the Second Narrows Bridge to Vancouver in 1960. However, Deep Cove held on to its rural feel, and a large, open horse paddock sat adjacent to Gallant Avenue in this period. Today, the Cove remains a popular attraction in the district, drawing visitors from neighbouring Cove Cliff, Dollarton, Parkgate, Indian Arm, and Woodlands areas.
With its proximity to forests, mountains, skiing, hiking, parks, and the water, Deep Cove is well known among outdoor recreation enthusiasts. The Deep Cove Bike Shop, a local institution, brought the first mountain bikes to Vancouver in the early 1980s.
Deep Cove is a popular small boat centre, with a Rowing Club, kayak rentals and lessons, and a marina. The bay in front of the community is one of the few in Indian Arm which has both a sheltering shape and the shallow bottom required for overnight anchorage of pleasure vessels.
The Baden-Powell Trail leading up to the lookout point, Quarry Rock, is a popular spot for visitors, especially in the summer.
The Cultural Centre houses the First Impressions Theatre Company and Deep Cove Stage Society in the 130-seat air-conditioned Shaw Theatre, the Seymour Art Gallery, and the Deep Cove Heritage Society.
Deep Cove is served by three community schools, Cove Cliff Elementary, Seycove Secondary and Sherwood Park Elementary School, as well as two other schools in the surrounding area. Students participating in the French immersion program attend Argyle Secondary School, Windsor Secondary School, Sherwood Park Elementary School, or Dorothy Lynas Elementary School. A number of childhood learning and care facilities serve the residents as well. As the teaching philosophies and practices differ, the common banner term of "Preschool" or "Pre-K" is appropriate.
Cove Community Association Cove Stage Society
49°19′37″N 122°56′55″W﻿ / ﻿49.32691°N 122.94868°W﻿ / 49.32691; -122.94868
Post hole digger

A post hole clam-shell digger, also called post hole pincer or simply post hole digger, is a tool consisting of two articulated shovel-like blades, forming an incomplete hollow cylinder about a foot long and a few inches wide, with two long handles that can put the blades in an "open" (parallel) position or a "closed" (convergent) position.
The tool is used to dig holes in the ground, typically from a few inches to a about a foot in diameter, for general purposes such as setting fence and sign posts or planting saplings. In operation, the tool is jabbed into the ground with the blades in the open position. The handles are then operated to close the blades, thus grabbing the portion of soil between them. The tool is then pulled out and the soil is deposited by the side. The process is repeated until the hole is deep enough. Sometimes dry or sandier soils will not stay secured in the clams.
An earth auger is another tool that is used to dig holes in the ground, consisting of a rotating shaft with one or more blades attached at the lower end. A hand-powered auger is generally easier to use than a clam-shell digger, and can in principle dig deeper and remove more dry, sandy soils. It naturally creates a round and straight hole, but only of a fixed diameter. The shovel like shape of a clam-shell-type digger allows it to be used to dig holes of any shape and any diameter greater than that of the open blades.
Clam-shell-type pole diggers seem to be a relatively recent invention, newer than earth augers. A patent was filed by J. Lawry of Lenior City, Tennessee in 1908. The patent has the traditional clam-shell design with an extra spike in the center.
Media related to Post hole diggers at Wikimedia Commons
Clams oreganata

Clams oreganata is an Italian-American seafood dish served most commonly as an appetizer. The dish consists of a number of clams (usually six or twelve) that are topped with bread crumbs (usually moistened with olive oil or butter), oregano, garlic, and sometimes other ingredients, and baked. Lemons are often included so that lemon juice can be squeezed onto the clams immediately before eating. The name "oreganata" comes from the addition of oregano to the bread crumbs.
Clams oreganata is commonly eaten on Christmas Eve during the Feast of the Seven Fishes, a traditional Italian-American meal centered around various seafood dishes.
Béar donn

Béar atá forleathan sa leathsféar thuaidh is ea an béar donn. Mamach atá ann, agus is ball d'fhine na Ursidae é. An fionnadh tiubh donn, cruit shuntasach ar a ghuaillí. I Meiriceá Thuaidh áitríonn sé gnáthóga oscailte, ach coillte sa Seandomhan. Cuimsíonn sé an béar donn mór is an béar liath ó na Sléibhte Creagacha, agus béar Kenai is béar Kodiak (an feoiliteach is mó atá beo ar Domhan, suas le 2.7 m ar airde is 780 kg meáchain) i ndeisceart Alasca.
Séabú

Is éard is séabú ann ná eallach clóis i ndeisceart na hÁise agus codanna den Afraic. De ghnáth le dath buídhonn, liath, dubh nó donnrua. A adharca bun os cionn is a chluasa crochta. Cruit gheireach ar na guaillí, craiceann trom ar crochadh anuas ón scornach. De réir traidisiúin, beannaithe san India. Níos frithsheasmhaí do ghalair thropaiceacha ná póir Eorpacha. Tugtar eallach Bráman orthu freisin. Crosphóraithe le heallach i dtíortha thart ar Mhurascaill na Peirse.
Types of suspension bridges

A suspension bridge supports its structural load with cables, ropes, or chains anchored at each end. Cables on the earliest suspension bridges were anchored in the ground; some modern suspension bridges anchor the cables to the ends of the bridge itself. Earliest suspension bridges had no towers or piers but the majority of larger modern suspension bridges have them. All of the 14 longest bridges in the world are suspension bridges.
Types of suspension bridge include:
A pure suspension bridge is one without additional stay cables and in which the main cables are anchored in the ground. This includes most simple suspension bridges and suspended-deck suspension bridges, and excludes self-anchored suspension bridges.
Some suspension bridges are of unusual hybrid types. Among these are suspension bridges that have an "intermediate deck". These bridges have a portion of deck that resembles an underspanned suspension bridge. Some of the earliest suspended-deck suspension bridges were of this type, and they continue to be constructed. Examples constructed in the 20th century include a viaduct over the river Oberargen near Wangen, Germany. A 258-metre (846 ft) span of the viaduct has a cable support below the deck, with one end of the cable anchored at a pier and the other end tied into a conventional cable stay. The underspanned portion of the span is 172-metre (564 ft) long and has three vertical members.
The Akashi Kaikyō Bridge, one of the longest suspension bridges in the world, is a suspended-deck suspension bridge with a stiff truss girder deck. Its main span is 1,991 m (6,532 ft) long.
Unlike other types of bridge, suspension bridges can usually be built without use of falsework or even any access from below the bridge. In many cases, the main cables are constructed first, often with a pilot cable. Construction then proceeds by hanging components and equipment from the main cables. The articles about each type of bridge have further specific construction details.
Suspension bridges are suitable for the longest spans, provided the cables and their anchorage are of sufficient strength. Their construction cost is high, so usually they are less economical than other bridges for spans less than 1,000 ft (300 m). However, shorter spans have been constructed for aesthetic reasons.
All types of suspension bridges have less rigidity than other bridges. Because of their greater flexibility, these bridges are more suitable as road bridges than railroad bridges.
List of bridges in London

List of bridges in London lists the major bridges within Greater London or within the influence of London. Most of these are river crossings, and the best-known are those across the River Thames. Several bridges on other rivers have given their names to areas of London, particularly where the whole river has become subterranean. Other bridges are high level road or rail crossings across other streets.
Bridges over the River Thames, listed in order travelling from East to West. Multiple values in "Dates opened" pertain to earlier bridges at the site of the current structure.
In 2016 an international competition was launched to design a public artwork in Central London across 15 bridges on the River Thames, from Tower Bridge to Albert Bridge, with a minimum lifespan of 10 years. A design by American artist Leo Villareal in collaboration with British architects Lifschutz Davidson Sandilands was selected from 105 entries by an independent competition jury in November 2016. This will be one of the UK's largest ever public art commissions.
The first phase - Southwark Bridge, Millennium Bridge, London Bridge and Cannon Street Bridge - was switched on in July 2019. The Illuminated River artwork was completed in April 2021 with the illumination of Blackfriars Bridge, Waterloo Bridge, Golden Jubilee Footbridges, Westminster Bridge and Lambeth Bridge. The artwork employs LED light fittings, replacing less efficient forms of lighting in places.
The installation’s colour scheme is in part influenced by famous paintings of the Thames, as noted by The Times: “The colours and tones used in the paintings of those inveterate Thames-watchers Monet, Whistler and Turner provide some of the inspiration, while at Westminster [bridge] a shade of green was chosen to complement the colour of the leather upholstery in the House of Commons”. An article in The Guardian stated: "The project... has been much trickier and taken longer to realise than anticipated." A three-part Channel 4 documentary, which started in July 2019, covered the project up to the end of the first phase.
Natalie Harp

Natalie J. Harp (born 1991) is an American former television personality who works as an aide for President Donald Trump. She is frequently known as a "human typewriter" for accompanying Trump throughout the day to provide him with flattering articles she finds on the internet. She has also sent social media and text messages in Trump's name.
Harp is from a conservative Christian family in California. Her father is an estate agent who founded a marketing and branding consultancy for travel companies and was the head of an "office of innovation" at a private Christian university.
From 2009 to 2012, Harp studied at Point Loma Nazarene University, a Christian liberal arts college in San Diego. In 2015, she graduated with an MBA from Liberty University, an evangelical college in Virginia.
In 2019, Harp said in an interview with Fox News that a 2018 "Right to Try" law enacted by then-President Donald Trump had saved her from dying of a rare subtype of bone cancer. Harp later joined Trump's 2020 presidential campaign. She delivered a speech at that year's Republican National Convention, where she compared Trump to George Bailey from It's a Wonderful Life, saying that "Without you, I'd have died waiting for [experimental drugs] to be approved". Harp's claims were called into question by experts, including former Food and Drug Administration (FDA) official Peter Lurie and Simon Fraser University professor of health sciences Jeremy Snyder. Snyder noted that Harp had been given "an FDA-approved immunotherapy drug for an unapproved use", which had been allowed prior to Right to Try.
After 2020, Harp became an anchor for One America News Network, a far-right, pro-Trump cable channel known for its promotion of falsehoods and conspiracy theories. At the network, she promoted Trump's false claim that the 2020 presidential election was stolen from him. She left the network in March 2022 to join Trump's communications team. The Washington Post reported that Harp "often accompanies Trump on his daily golf outings, riding the course in a golf cart equipped with a laptop and sometimes a printer to show him uplifting news articles, online posts or other materials."
In 2023, Harp joined Trump's 2024 presidential campaign. In 2024, The Bulwark reported, citing anonymous sources, that Harp was the staffer who had posted a video that included references to a "unified Reich" on Trump's Truth Social account. The post was deleted 15 hours later. She also posted some messages on Trump's behalf on his Truth Social account, and in July 2024 sent a series of angry text messages in his name to Miriam Adelson, a major Trump campaign donor, to complain about people running her super PAC; at the time, the super PAC was spending about $18 million per week on Trump campaign ads in three states.
Balado

Balado merupakan teknik memasak khas Minangkabau dengan cara menumis cabe giling dengan berbagai rempah, biasanya bawang merah, bawang putih, dan jeruk nipis. Cabe yang lazim digunakan adalah cabe keriting merah, walaupun kenyataannya masakan balado dengan cabe hijau juga populer.
Sebenarnya penggunaan kata Balado sendiri digunakan setelah kata benda, Misalnya Ikan Balado (Ikan+Cabe), Gulai Balado, Sayur Bayam Balado, Dendeng Balado. Bukan Balado dendeng maupun Balado Ikan. Penggunaan kata Balado sebelum kata benda merupakan penyalahgunaan bahasa sehingga menghilangkan arti sebenarnya dalam bahasa aslinya bahasa Minangkabau
Prasmanan

Prasmanan atau bufet (bahasa Inggris: buffet) adalah cara penyajian makanan dalam pesta maupun restoran, dengan cara meletakkan makanan pada meja panjang dan pengunjung mengambil sendiri menu yang diinginkan. Prasmanan, populer di Indonesia karena praktis dan mengurangi jumlah pelayan yang diperlukan dalam suatu resepsi. Menurut KBBI (Kamus Besar Bahasa Indonesia), prasmanan diartikan sebagai cara menjamu makan dengan mempersilakan tamu mengambil dan memilih sendiri hidangan yang sudah ditata secara menarik di atas meja.
Modifikasi prasmanan pada masa kini adalah dengan menyajikan makanan pada meja terpisah untuk setiap menu. Meja didekorasi seperti depot warung makan atau dibuat gubuk kecil untuk dijadikan tempat sajian makanan prasmanan. Prasmanan sering digunakan untuk menyajikan makanan dalam acara besar, seperti pernikahan, peresmian gedung, ulang tahun, dan penyambutan tamu. Prasmanan tidak hanya digunakan oleh penyelenggaraan acara tersebut, tetapi juga rumah makan dan restoran. Restoran prasmanan biasanya menawarkan makanan sepuasnya dengan harga tertentu, tetapi ada beberapa yang menentukan harga berdasarkan berat atau jumlah hidangan.
Prasmanan merupakan suatu cara menyajikan makanan dengan menata seluruh hidangan secara rapi dan menarik di atas meja. Para tamu kemudian menyajikan diri mereka sendiri sesuai selera dan pilihan mereka dari meja pajangan.
Terdapat dua jenis prasmanan, yaitu prasmanan panas atau dingin dan prasmanan jari. Prasmanan panas atau dingin melibatkan penggunaan peralatan makan, sedangkan prasmanan jari menyediakan serangkaian makanan yang berukuran kecil dan mudah dikonsumsi hanya dengan menggunakan tangan, seperti kue, irisan pizza, makanan di atas stik, koktail, dll.
Prasmanan berasal dari kata "prasman" ditambah dengan imbuhan "-an." Kata "prasman" sendiri mengacu pada cara makan orang fransman, sebutan orang Belanda terhadap orang-orang Prancis yang kala itu biasa menghidangkan sajian di atas meja. Kata "prasman" muncul dalam buku kumpulan resep Njonja Johanna Boekoe Masakan Baroe yang memuat resep pembuatan berbagai kue dengan "Tjara Blanda, Tjina, Djawa dan Prasman." Dalam bahasa Belanda sendiri, istilah prasmanan dikenal dengan buffet yang hakikatnya sama dengan buffet dalam bahasa Inggris. "Pras" merupakan pengucapan kata "French". Metode makan ala "Fransman" kemudian diikuti oleh orang-orang Belanda. Menurut Fadly Rahman dalam bukunya "Jejak Rasa Nusantara", gaya ini juga diterima oleh masyarakat Nusantara dan masih populer hingga saat ini. Karena sulit bagi orang Nusantara untuk mengucapkannya, istilah "Fransman" kemudian berubah menjadi "makan prasman" dan akhirnya menjadi "makan prasmanan" seiring berjalannya waktu
Campeões mundiais de dança de salão

Os campeões mundiais da dança de salão profissional, os dançarinos profissionais que venceram os campeonatos do Conselho Mundial de Dança (WDC) e seus predecessores históricos. A dança de Salão também é uma dança esportiva, na competição é conhecida como Dance Sport ou Ballroom Dance. que substitui o termo anteriormente usado Modern ou Standard na terminologia WDC (não inclui as danças latinas).
Campeonatos mundiais do tipo dança de salão são realizados desde 1909, quando Camille de Rhynal realizou campeonatos anuais em Paris. Os registros dos anos anteriores à Primeira Guerra Mundial são incompletos, e foi somente a partir de 1922, quando o esporte se dividiu em níveis profissionais e amadores. Os campeonatos de 1922 também foram os primeiros a conceder um único 'campeonato mundial' em oposição aos títulos nas danças individuais. O Campeonato Mundial foi realizado na França (Paris) de 1925 a 1939, exceto por um ano em Nice.
Estas competições anuais só se tornaram oficiais em 1936, e desde 1937 o título foi detido por bailarinos do Reino Unido até ao fim daquele século. Com a eclosão da Segunda Guerra Mundial, os campeonatos foram suspensos por seis anos. Após seu renascimento, o mundo da dança de salão profissional estava se tornando cada vez mais fragmentado à medida que organizações concorrentes competiam pelo domínio. Quando em 1950 finalmente foi fundado, o International Council of Ballroom Dancing (ICBD, em português Conselho Internacional de Dança de Salão) ou World Dance Council, tornando-se a primeira organização internacional de dança profissional. Todas as outras competições que afirmavam ser os 'Campeonatos Mundiais' foram boicotadas pelos países membros.
O campeonato voltou mais uma vez em 1959 sob o controle do ICBD, embora aquele ano tenha sido uma espécie de teste. O primeiro campeonato oficialmente concedido da nova série veio em 1960 e continuou desde então. O ICBD foi renomeado como World Dance & DanceSport Council (WD&DSC) e renomeado novamente como WDC .
A seção Professional Ballroom (ocasionalmente chamada de Professional Modern na tradição britânica) do Dance Sport) abrange as danças valsa, foxtrot, quickstep, tango e valsa vienense.
Zumba

Zumba é um programa de fitness inspirado principalmente pela dança latina criado na Colômbia pelo coreógrafo Beto Pérez, na década de 1990. O programa foi implementado em mais de 150 países.
O zumba mescla movimentos de danças latinas como o samba, salsa, merengue, mambo e reggaeton, ou mesmo outros estilos como hip hop e dança do ventre com exercícios próprios do treino cardiovascular e, por este motivo, é muito utilizado em academias, promovendo o condicionamento físico de um modo geral.
Em 2006, Alberto Pérez (conhecido como Beto Pérez), fundou a empresa Zumba Fitness LLC para licenciar academias e instrutores e produzir vídeos para promover a dança no mercado de physical fitness. Com o tempo, a empresa lançou uma linha própria de moda e afins.
Dança House

House dance é uma social dance dançada inicialmente seguindo as batidas da chamada house music a qual tem suas raízes nos clubes de Chicago e Nova Iorque. Os elementos principais da dança são "Footwork" e "Jacking". House dance é uma dança mais improvisada do que coreografada com ênfase em movimentos de pernas rápidos e complexos combinados com movimentos fluídos do tronco. Nesse estilo, os braços não têm muita importância. Alguns dançarinos de house também se utilizam de um estilo de dança chamado Lofting, uma mistura de Capoeira de Angola com movimentos de solo do Jazz. Todavia, apesar de oferecer mais elementos à dança, o lofting não é obrigatório para se dançar a house dance. O Lofting era dançado antes do house dance nas festas do DJ Mancuso chamada The Lofting no Paradise Garage.
House Dance é um amálgama das danças disco com um movimento de tronco chamado Jacking. Esse movimento surgiu nos clubes de Chicago e era realizado quando muitos dos frequentadores já estavam sob influência de drogas.
A dança House retira seus movimentos de outros estilos, principalmente da Salsa, Tap, Hip hop, Afro e Jazz. Todavia, por ter sido uma dança surgida nos clubes, há também os elementos pessoais de cada dançarino envolvidos. Por existirem dançarinos de diversas origens compartilhando a mesma pista, houve (e há, ao menos em Nova Iorque) muitas trocas de informações na origem desse estilo de dança. A House Dance é uma dança social antes de ser uma dança de competições. Se presta antes à união e à diversão do que ao virtuosismo e demonstração de habilidades. Se um dançarino esquece-se da música para fazer movimentos de dificuldade elevada, não está dançando house. Nesse estilo, há uma ênfase nos ritmos sutis e refrães da música com os movimentos de perna seguindo-os de perto
Entre os pioneiros da House Dance temos Ejoe Wilson, Brian "Footwork" Green, Tony McGregor, Marjory Smarth, Caleaf Sellers, "Brooklyn" Terry Wright, Shannon Mabra, Tony "Sekou" Williams, Shannon Selby (aka Shan S), Voodoo Ray, Chris Sawyer e muitos outros. Alguns antes deles como Bravo, Karate Kris, Archie Burnett, Manny bem como muitos lofters e pessoas comuns que frequentaram festas como Paradise Garage, Studio 54 e The Loft.
Coco (dança)

O coco é uma dança de roda e ritmo da região Nordeste do Brasil. De origem remota, surgiu nos engenhos de açúcar da antiga Capitania de Pernambuco (atuais estados de Pernambuco, Alagoas e Paraíba), com influências dos batuques africanos e dos bailados indígenas. A primeira referência que se tem sobre o coco data da segunda metade do século XVIII.
"Coco" significa cabeça, de onde vêm as músicas, de letras simples. Com influências africana e indígena, é uma dança de roda acompanhada de cantoria e executada em pares, fileiras ou círculos durante festas populares do litoral e do sertão nordestino. Recebe várias nomenclaturas diferentes, como pagode, zambê, coco de usina, coco de roda, coco de embolada, coco de praia, coco do sertão, coco de umbigada, e ainda outros o nominam com o instrumento mais característico da região em que é desenvolvido, como coco de ganzá e coco de zambê. Cada grupo recria a dança e a transforma ao gosto da população local.
O som característico do coco vem de quatro instrumentos (ganzá, surdo, pandeiro e triângulo), mas o que marca mesmo a cadência desse ritmo é o repicar acelerado dos tamancos (que são usados para imitar o barulho do coco sendo quebrado). A sandália de madeira é quase como um quinto instrumento, talvez o mais importante deles. Além disso, a sonoridade é completada com as palmas.
Tufo (dança)

Tufo é uma dança tradicional no norte de Moçambique. É realizada por grupos de mulheres e é encontrada em Maputo, nas províncias de Cabo Delgado e Nampula, bem como na ilha de Moçambique. De origem árabe, o tufo é realizado para celebrar festivais e feriados islâmicos. A dança é tradicionalmente executada por mulheres, que movem apenas as metades superiores de seus corpos e são acompanhadas por músicas e pandeiretas semelhantes a tambores.
As origens do tufo não são claras, embora na ilha de Moçambique uma lenda diga que a dança começou no momento em que o profeta Maomé migrou para Medina. Foi recebido por seus seguidores com canções e danças louvando Alá, sendo acompanhados por pandeiretas. Ai serem aprovadas por Maomé, as danças continuaram a ser realizadas em festivais religiosos. O tufo provavelmente chegou a Moçambique nos anos 1932-1933, trazido por um comerciante de Quíloa chamado Iúçufe. O nome provavelmente deriva de um nome árabe para os pandeiros usados na dança, ad-duff. Em português essa palavra se tornou adufe ou adufo e depois tufo. A dança também foi fortemente influenciada pela cultura matrilinear dos macuas. Apesar das suas origens muçulmanas, o tufo espalhou-se para além das comunidades e do contexto do Islã. Embora ainda se apresentem em festas religiosas, as canções do tufo também podem conter temas sociais ou políticos.
Historicamente, o tufo era executado por dançarinos de ambos os sexos, mas agora homens só dançam em raras ocasiões. Os grupos de dança de tufo compreendem de quinze a vinte mulheres, que são acompanhadas por quatro homens ou mulheres em pandeiretas planas semelhantes a tambores. Todas as dançarinas cantam, embora geralmente haja uma principal. Tradicionalmente, os dançarinos de tufo dançavam enquanto estavam ajoelhados, movendo ritmicamente as metades superiores de seus corpos. Mais recentemente a coreografia evoluiu: os dançarinos agora podem se levantar e movimentar inteiramente os seus corpos.
As músicas de tufo são transmitidas oralmente e podem ser compostas por um dos dançarinos ou pelo poeta do grupo. Geralmente estão na língua macua, mas também podem ser compostas em árabe ou português. Os dançarinos devem usar lenços e capulanas correspondentes, que são um tecido estampado colorido. Cada dança requer uma nova capulana para ser usada.
Baris (dança)

Baris é uma família de dança tradicional de guerra em Bali, acompanhada por gamelan, na qual dançarinos retratam os sentimentos de um jovem guerreiro antes da batalha, glorificam a masculinidade do triunfante guerreiro balinês, e mostrar a sublimidade de sua presença dominante. Baris deriva seu nome da palavra bebarisan, que literalmente significa "linha" ou "formação", referindo-se aos soldados que serviram aos antigos rajás de Bali.
Existem dois tipos principais de dança de baris que podem ser encontrados em toda a ilha de Bali. A dança não ritual é executada por um dançarino solo e é frequentemente a primeira dança que um dançarino iniciante aprende.A dança não ritual é executada por um dançarino solo e é frequentemente a primeira dança que um dançarino iniciante aprende. No entanto, existem mais de trinta tipos diferentes de danças rituais de baris, cada uma das quais realizada por um grupo de pessoas, imitando ainda os movimentos do guerreiro.
Um dançarino de baris tunggal é um dançarino de baris que se apresenta sozinho, se veste com perneiras brancas conhecidas como celana. Ao redor dos tornozelos, há coberturas, conhecidas como setewel, que chegam até a metade das panturrilhas. O dançarino usa um cinto (setagen), alcançando seu corpo; dentro deste cinto, uma faixa ou keris é dobrada perto do ombro. Ao redor do tronco do dançarino, há uma coleção de paineis de tecido, conhecidos como awiran, que ficam pendurados em seu corpo. Outro painel, maior, é preso ao peito. Em volta do pescoço, o dançarino usa uma coleira circular conhecida como badong; este colar pode ou não ser decorado com miçangas. O traje é completado por um toucado triangular feito de conchas afixadas em molas que tremem durante a apresentação.
Há uma variedade de formatos para a dança quando feita em grupo e são acompanhadas por diferentes tipos de música e envolvem diferentes movimentos. Os dançarinos podem portar uma variedade de armas, incluindo o keris, uma lança, um arco ou outras armas; muitas vezes as danças são chamadas de acordo com as armas carregadas e as apresentações podem ou não tentar transmitir uma história.
Dança em grupo

A dança em grupo é um tipo de dança executada por múltiplas pessoas simultaneamente (coletiva), diferente de danças individuais e de danças de casais / em pares dançando independente. As danças são geralmente coordenadas ou padronizadas de forma que todos os indivíduos do grupo estejam fazendo os mesmos passos ao mesmo tempo. Alternativamente, vários grupos dentro de um grupo maior podem dançar partes diferentes, mas conplementares, de uma dança maior.
São danças geralmente intencionadas para participação em vez de apresentação e que pode ser conduzida e seguida com facilidade relativa. Elas são dançadas geralmente para socialização ou entretenimento, mas podem ter funções cerimoniais ou de apresentação.
Alguns tipos de danças coletivas:
Exemplos de danças em grupo:
Alex Da Silva (dancer)

Alex Da Silva is a Brazilian dancer and choreographer, specializing in Salsa dancing. Da Silva is also known for being a recurring guest choreographer on the Fox TV show So You Think You Can Dance.
Da Silva was born March 27, 1968, in Rio de Janeiro, Brazil. He discovered Salsa dancing at the age of 20. He is credited with contributing to the LA-style of salsa dancing. Da Silva started his career as a salsa dancer and instructor in the San Francisco Bay Area.
In 2009, Da Silva was charged with "four counts of forcible rape, two counts of assault with intent to commit rape and two counts of sexual penetration by a foreign object." Da Silva stated he was innocent and pleaded not guilty to all charges. He had stated in interviews that the sex was consensual and that the women were trying to extort money from him and they may have known each other as they came from the same small town.
Da Silva was arrested in August 2009, and unable to pay bail set at two million dollars, he remained in jail for two years as mistrials and delays prevented his case from reaching a conclusion.
On September 16, 2011, a downtown Los Angeles jury found Alex Da Silva, 43, guilty of raping a 22-year-old woman in August 2002 and assault with intent to commit rape involving another woman in March 2009.
On January 27, 2012, L.A. Superior Court Judge Kathleen Kennedy, defense attorney Carlos Valdez. Valdez and associates Santa Ana CA handed down a 10-year prison sentence in reference to the 2009 arrest.
Da Silva was released from prison on February 15, 2018. He was deported back to Brazil soon after.
Lundu (dance)

Lundu (also spelled landu or landum) is a style of Afro-Brazilian music and dance with its origins in the African Bantu and Portuguese people.
The interconnectedness of Lusophone countries dates back to the Atlantic Slave Trade, between Portugal, Brazil and regions of Africa. In the 15th century, the Portuguese were the primary exporters of African slaves to the Americas, and with slaves came their musical traditions. Throughout the 17th and 18th centuries, there was a massive Brazilian presence in Angola, enabling a cultural exchange between the two Portuguese colonies. This exchange enabled subtle amalgamations of musical styles between Angola, Brazil and other African slave trade countries. The establishment of a creole population in Brazil led to further cultural developments in language, religion and art. In 1859, French journalist Charles Ribeyrolles described Afro-Brazilian free practices on a fazenda in Rio de Janeiro province:
Records from the inquisition of the 18th century reveal that the Europeans initially considered gandus and lundus to be witchcraft. Many slave-owning Europeans in Brazil tolerated the dance in an attempt to avoid slave rebellion. Eventually, the style became attractive to Europeans in Brazil for its sexualized quality and its believed effectiveness in reversing witchcraft. de Mattos was disgruntled by the blurring by dance and drums of strict racial and cultural boundaries in Brazil.
Gradually, the lundu style grew in popularity among the elite population in Brazil. In 1749, Brazilian musician Manuel de Almeida Botelho immigrated to Lisbon, bringing with him the modinha and lundu musical styles. By the 19th century, lundu had become the music of choice for the Luso-Brazilian bourgeoisie. Historians have even called the style the “…most characteristic late 18th century [genre] of dance and song in Portugal and Brazil”.
Lundus are characterized by varying structure, the interplay of tonic and dominant harmony, and strummed chords layered atop a syncopated rhythm reminiscent of traditional West African music. Limited recordings are available of traditional lundus style. Usually a flirtatious ritual of a couple dance, accompanied by a guitar, or sometimes a thumb piano or drums, Lundu is related to the Spanish fandango and other new-world dances like the Argentine Zamba, the Peruvian Zamacueca and the Cuban Bolero - they all involve, to some degree, handkerchiefs, castanets, and holding one's arms above one's head. In the 19th century, the lundu was one of the sources of the Choro, the Maxixe and the Samba.
Dance Hall Days

"Dance Hall Days" is a song by the English new wave band Wang Chung. It was originally released as a single in 1982 when the band was called Huang Chung, then it was re-recorded and released a year later in 1983 for the studio album Points on the Curve. It was the band's only single to make the top 40 in the UK. In the US, it peaked at No. 16 on the Billboard Hot 100 and went to number one on the Dance Club Songs chart.
Two different music videos were made to promote the single. The first version of the video, directed by Derek Jarman, is a collection of home movies with the majority of the archive footage consisting of a stage show with swimmers and fountains, and other World War II-era material. Apparently, the footage is courtesy of the director's father, who was one of the first people to use a colour home movie camera. The toddler in the home movie footage is the director himself as a child. The home movies are interspersed amid footage of Jack, Nick, and Darren, lip-synching and playing the violin. The band are also dressed up as characters from The Wizard of Oz (1900) at the end of the video, with Jack Hues as the Tin Man, Nick Feldman as the Scarecrow, and Darren Costin as the Lion.
The second version of the video is a magical fantasy concept video set in the 1940s, the heyday of dance halls. The video begins in black and white, with Jack Hues stopping in front of a closed-down hall, setting down the suitcase he carries, and picking up a flyer. The scene shifts to colour, featuring the band performing in the packed hall with the backing of a big band as couples dance. Later, a disco ball descends to the floor and breaks open, allowing a mirror-covered dancer to emerge. The video ends in black and white, with Hues walking past the hall and down the street; he leaves his suitcase behind, but it sprouts legs and hurries off after him.
This version was nominated for Best New Artist at the 1984 MTV Video Music Awards, losing to "Sweet Dreams (Are Made of This)" by Eurythmics.
Mi último tango

Mi último tango es una película argentina en blanco y negro que se estrenó el 19 de mayo de 1925 en el cine Metropol. Fue dirigida por José Agustín Ferreyra sobre su propio guion, protagonizada por Nora Montalbán, Percival Murray, Elena Guido y Julio Donadille.​
Su exhibición se acompañaba en muchas funciones con la ejecución en vivo del tango Y reías como loca, letra de José Agustín Ferreyra y música de Eduardo Pereyra, alusivo al argumento del filme.
La acción tiene lugar a principios del siglo XX en España y Argentina. Fue el amor de un vistazo: la joven cantante Martha Andreu de la banda de teatro callejera y el elegante caballero Dario Ledesma se encontró accidentalmente en el semibanda y casi inmediatamente se separó. Martha, con una voz encantadora, quiere convertirse en una cantante popular y famosa, pero al trabajar en el musical Hall en segundo lugar, es difícil de lograr de inmediato. La suerte de la ocasión, en una de las actuaciones de marzo reemplaza a la primadona Luis Marival, y la gloria de la noche a la mañana la convierte en una estrella. Los fanáticos buscan encuentros con ella, pero su corazón pertenece a Darío. Después de unos meses de marzo con Su tía navegando en un barco de vapor en buenos Aires en una gira y se encuentra de nuevo con Darío. Como parecían, el resto de su vida estarían juntos, pero su felicidad fue corta, los brutales ataques del destino siguieron uno por uno. En una de las actuaciones en el teatro de vinos de Luis Marival, el fuego está en llamas. Marta, salvando del fuego a Luis, pierde la vista. Creyendo que la compasión nunca reemplazará el amor, Martha se va con su tía sin decirle nada a Darío, pero va a buscar a su amada.
Dice Jorge Miguel Couselo que con Mi último tango, Ferreyra completa el complacido retorno al misterio de la noche y sus compartimentos de evasión y pecado que había iniciado con Mientras Buenos Aires duerme.​
Tango de pista

Tango de pista, también conocido como tango de salón, es una modalidad de baile del argentino-uruguayo tango y una categoría en las competencias de baile de tango. Se caracteriza por ajustarse más estrictamente al estilio propio y popular del tango, en especial mediante la preservación estricta del abrazo y el "tango caminado", sin saltos ni figuras acrobáticas.
Es una de las dos categorías competitivas -la otra es el tango escenario- en el Campeonato Mundial de Baile de Tango. En esta competencia, a partir de 2013 se denomina tango de pista, modificando la denominación anterior de tango de salón.
La categoría tango de pista (antes denominado tango de salón) busca recrear las condiciones y modalidades en las que se baila popularmente el tango en los salones bailables.
En el Campeonato Mundial de Baile de Tango se desarrolla en grupos de 10 parejas que bailan simultáneamente. La música es elegida por los organizadores sin aviso a los participantes. Las parejas deben ubicarse en ronda y girar en sentido contrario al reloj. La competencia consta de cuatro rondas en las que se danzan tres canciones por ronda. A la etapa final del campeonato llegan 40 parejas.​
Esta modalidad busca respetar las características esenciales de la danza de tango y establece reglas coregráficas más estrictas que modalidad tango escenario:
Por reglamento, el jurado está obligado a calificar teniendo principalmente "en cuenta la musicalidad, la conexión entre la pareja y la elegancia en el andar". En esta modalidad es fundamental la improvisación y la utilización de las figuras coreográficas populares (cortes, quebradas, corridas, barridas, sacadas al piso, enrosques, etc.).​
Los campeones mundiales en la categoría tango de pista han sido: