Online Etymology Dictionary

minuet (n.): "slow dance in triple measure," 1670s, from French menuet, from Old French menuet (adj.) "small, fine, delicate, narrow," from menu "small," from Latin minutus "small, minute" (see minute (adj.)). So called from the short steps taken in the dance. Spelling influenced in English by Italian minuetto.
polonaise (n.): 1773, "woman's overdress" (from fancied resemblance to Polish costume); 1797, "stately dance," from French (danse) polonaise "a Polish (dance)," fem. of polonais (adj.) "Polish," from Pologne "Poland," from Medieval Latin Polonia "Poland" (see Poland). In the culinary sense, applied to dishes supposed to be cooked in Polish style, attested from 1889.
break dancing (n.): 1982, but the style itself evolved late 1970s in South Bronx. The reference is to the rhythmic break in a pop-dance song (see break (n.)), which the DJs isolated and the dancers performed to. Breakdown "a riotous dance, in the style of the negroes" is recorded from 1864.
truck (v.2): "to convey on a truck," 1809, from truck (n.). Verbal meaning "dance, move in a cool way," first attested 1935, from popular dance of that name in U.S., supposedly introduced at Cotton Club, 1933. Related: Trucked; trucking.
gavotte (n.): lively dance, 1690s, from French gavotte (17c.), from Old Provençal gavoto "mountaineer's dance," from gavot, a local name for an Alpine resident, said to mean literally "boor, glutton," from gaver "to stuff, force-feed poultry," from Old Provençal gava "crop." From the same source is French gavache "coward, dastard." The Italianized form is gavotta.
prom (n.): "student formal dance in celebration of graduation," 1894, American English shortened form of promenade (n.). Prom dress attested from 1975.
zydeco (n.): 1949, perhaps from Creole French pronunciation of French les haricots "the beans," part of the title of a popular dance tune ("les haricots sont pas salés").
allemande (n.): a German dance, 1775, from French Allemande, fem. of allemand "German" (see Alemanni). As a move in country or square dancing, from 1808.
choreography (n.): 1789, from French choréographie, coined from Latinized form of Greek khoreia "dance" (see chorus) + graphein "to write" (see -graphy). Related: Choreographic.
conga (n.): 1935, American Spanish, fem. of (danza) Congo "Congo (dance);" so called because it was assumed to be of African origin.
mosh (v.): "to dance (with a certain amount of violence) to metal music in a tightly packed arena," 1987, perhaps a variant of mash. Related: Mosh pit.
carol (v.): c. 1300, "to dance in a ring," from Old French caroler, from carole (see carol (n.)). As "to sing" from late 14c. Related: Caroled; caroling.
limbo (n.2): dance in which the dancer bends backward and passes under a bar, 1956, of West Indian origin, probably an alteration of limber (adj.).
Charleston: dance style characterized by side-kicks from the knee, 1923 (as title of a song), 1925 as a dance, from the U.S. city of Charleston, South Carolina, which was named for King Charles II of England.
Whether the Charleston (dance) has come to stay or not, it behooves every open-minded hostess and musician to "try it out" anyhow. [Ethel P. Peyser, "The Rotarian," July 1926]
merengue (n.): popular dance, 1936, from Dominican Creole méringue, from French méringue (see meringue).
The Spanish word for this style of dance and music, merengue, literally means "meringue (the sweet dessert)" -- although it is unclear exactly how the dance might have come to be called "The Meringue." ["Spanish Word Histories and Mysteries," American Heritage Dictionaries, 2007]
cotillion (n.): type of dance, 1766, from French cotillion (15c.), originally "petticoat," a double diminutive of Old French cote "skirt" (see coat (n.)); its application to a kind of dance arose in France and is considered obscure by some linguists, but there are lively turns in the dance that flash the petticoats.

Meaning "formal ball" is 1898, American English, short for cotillion ball. French uses -on (from Latin -onem) to reinforce Latin nouns felt to need more emphatic power (as in poisson from Latin piscis). It also uses -on to form diminutives, often strengthened by the insertion of -ill-, as in the case of this word.
ballerina (n.): 1792, from Italian ballerina, literally "dancing girl," fem. of ballerino "dancer," from ballo "a dance" (see ball (n.2)). The Italian plural form ballerine formerly sometimes was used in English.
macabre (adj.): early 15c., originally in reference to a kind of morality show or allegorical representation of death and his victims, from Old French (danse) Macabré "(dance) of Death" (1376), of uncertain origin, probably a translation of Medieval Latin (Chorea) Machabæorum, literally "dance of the Maccabees" (leaders of the Jewish revolt against Syro-Hellenes; see Maccabees). The association with the dance of death seems to be from vivid descriptions of the martyrdom of the Maccabees in the Apocryphal books. The abstracted sense of "gruesome" is first attested 1842 in French, 1889 in English.
The typical form which the allegory takes is that of a series of pictures, sculptured or painted, in which Death appears, either as a dancing skeleton or as a shrunken corpse wrapped in grave-clothes to persons representing every age and condition of life, and leads them all in a dance to the grave. ["Encyclopaedia Britannica," 11th ed., 1911]
lambada (n.): type of sensual Brazilian dance, 1988, from Portuguese, said in some sources to mean literally "a beating, a lashing." But others [Watkins] connect it ultimately to Latin lumbus "loin" (see lumbago).
mambo (n.): popular dance (like the rhumba but livelier), September 1948, from American Spanish mambo, said by Webster to be from Haitian creole word for "voodoo priestess."
bolero (n.): kind of Spanish dance, 1787, from Spanish, probably from bola "ball" (and perhaps with reference to "whirling motion"), from Latin bulla (see bull (n.2)). In reference to a type of short jacket, it is recorded by 1864.
buffoon (n.): 1540s, "type of pantomime dance;" 1580s, "clown," from Middle French bouffon (16c.), from Italian buffone "jester," from buffa "joke, jest, pleasantry," from buffare "to puff out the cheeks," a comic gesture, of echoic origin. Also see -oon.
shindig (n.): "dance, party, lively gathering," 1871, probably from shindy "a spree, merrymaking" (1821), also "a game like hockey;" perhaps from shinty, name of a Scottish game akin to hockey (1771), earlier shinny (see shinny (n.)).
skank (n.): "unattractive woman," 1965, perhaps from skag in this sense (1920s), which is of unknown origin. Verbal meaning "dance to reggae music" is from 1976, probably not the same word but also of unknown origin. Related: Skanking.
tribal (adj.): 1630s, "pertaining to or characteristic of tribes," from tribe + -al (1). Meaning "characterized by a strong sense of loyalty to one's group" is from 1951 (Arendt). As a style of belly-dance from 1999, American English. Related: Tribally.
jota (n.): Spanish folk dance in three-quarter time, also la Jota Aragonesa (it seems to have originated in Aragon); by 1830 in English, of uncertain etymology.
hoof (v.): "having hoofs (of a specified kind)," c. 1500 in compounds, from hoof (n.). Meaning "to walk" (as in hoof it) is from 1640s; slang meaning "to dance" is 1920, American English (implied in hoofer). Related: Hoofing.
juke (v.): "to duck, dodge, feint," by 1971, variant of jook (q.v.). From 1933 as "dance," especially at a juke-joint or to jukebox music; see jukebox. Related: Juked; juking.
polka dot (n.): 1874, from polka (n.) + dot (n.). Named for the dance, for no reason except its popularity, which led to many contemporary products and fashions taking the name. Related: Polka-dotted (1873).
caper (n.2): by 1590s, "playful leap or jump," from caper (v.); meaning "prank" is from 1840; that of "crime" is from 1926. To cut capers "dance in a frolicsome way" is from c. 1600.
jive (n.): "empty, misleading talk;" also a style of fast, lively jazz and dance music," 1928, American English, from jive (v.1). Used from 1938 for "New York City African-American slang."
pyrrhic (n.): "dance in armor" (1590s), also a type of metrical foot (1620s), from Latin pyrrhicha, from Greek pyrrikhe orkhesis, the war-dance of ancient Greece, traditionally named for its inventor, Pyrrikhos. The name means "reddish," from pyrros "flame-colored," from pyr "fire," from PIE root *paəwr- "fire" (see fire (n.)). As an adjective from 1749.
tumble (v.): c. 1300, "to perform as an acrobat," also "to fall down," perhaps from a frequentative form of Old English tumbian "dance about, tumble, leap." This is of unknown origin but apparently related to Middle Low German tummelen "to turn, dance," Dutch tuimelen "to tumble," Old High German tumon, German taumeln "to turn, reel." Transitive sense from late 14c. Related: Tumbled; tumbling.
shimmy (v.): "do a suggestive dance," 1918, perhaps via phrase shake the shimmy, which is possibly from shimmy (n.), a U.S. dialectal form of chemise (mistaken as a plural; compare shammy) first recorded 1837. Or perhaps the verb is related to shimmer (v.) via a notion of glistening light. Transferred sense of "vibration of a motor vehicle" is from 1925. Related: Shimmied; shimmying. As a noun, the name of a popular, fast, suggestive pre-flapper dance, by 1919.
waltz (n.): round dance performed to music in triple time, extraordinarily popular as a fashionable dance from late 18c. to late 19c., the dance itself probably of Bohemian origin, 1781, from German Waltzer, from walzen "to roll, dance," from Old High German walzan "to turn, roll," from Proto-Germanic *walt- (cognate with Old Norse velta), from PIE root *wel- (3) "to turn, revolve" (see volvox). Described in 1825 as "a riotous and indecent German dance" [Walter Hamilton, "A Hand-Book or Concise Dictionary of Terms Used in the Arts and Sciences"].
The music struck up a beautiful air, and the dancers advanced a few steps, when suddenly, to my no small horror and amazement, the gentlemen seized the ladies round the waist, and all, as if intoxicated by this novel juxtaposition, began to whirl about the room, like a company of Bacchanalians dancing round a statue of the jolly god. "A waltz!" exclaimed I, inexpressibly shocked, "have I lived to see Scotch women waltz?" ["The Edinburgh Magazine," April, 1820]
hoedown (n.): "noisy dance," 1841, Southern U.S., apparently originally the name of a specific dance, perhaps from perceived similarity of dance motions to those of farm chores, hence from hoe (n.).
The step of every negro dance that was ever known, was called into requisition and admirably executed. They performed the "double shuffle," the "Virginny break-down," the "Kentucky heeltap," the "pigeon wing," the "back balance lick," the "Arkansas hoe down," with unbounded applause and irresistible effect. ["Scouting Expeditions of McCulloch's Texas Rangers," 1848]
"Hoe corn, hill tobacco" is noted as a line in the chorus of a slave song in 1838, and Washington Irving writes of a dance called "hoe corn and dig potatoes" in 1807.
The same precedence is repeated until all the merchandise is disposed of, the table is then banished the room, and the whole party hoe it down in straight fours and set dances, till the hour when "ghosts wandering here and there, troop home to church-yards." This is what we kintra folk call a strauss. ["Der Teufelskerl. A Tale of German Pennsylvania," in "Burton's Gentleman's Magazine," January 1840]
hokey-pokey (n.): 1847, "false cheap material," perhaps an alteration of hocus-pocus, or from the nonsense chorus and title of a comic song (Hokey Pokey Whankey Fong) that was popular c. 1830. Applied especially to cheap ice cream sold by street vendors (1884). In Philadelphia, and perhaps other places, it meant shaved ice with artificial flavoring. The words also were the title of a Weber-Fields musical revue from 1912. The modern dance song of that name hit the U.S. in 1950 ("Life" described it Nov. 27, 1950, as "a tuneless stomp that is now sweeping the U.C.L.A. campus"). But a dance of that name, to a similar refrain, is mentioned in a 1943 magazine article (wherein the "correct" title is said to be Cokey Cokey), and the dance is sometimes said to have originated in Britain in World War II, perhaps from a Canadian source.
jig (n.): "lively, irregular dance," 1560s, of uncertain origin. Perhaps from Middle English gigge "fiddle" (mid-15c.), from Old French gigue "fiddle," also the name of a kind of dance. This is the source of Modern French gigue, Spanish giga, Italian giga, which preserve the "dance" sense, and German Geige, which preserves the "violin" sense. As a verb, "to sing or play a jig," from 1580s.

From 1580s as the music for such a dance. The extended sense "piece of sport, trick" (1590s), survives mainly in the phrase the jig is up (first attested 1777 as the jig is over). As a generic word for handy devices or contrivances from 1875, earlier jigger (1726). Other senses seem to be influenced by jog, and the syllable forms the basis of colloquial words such as jiggalorum "a trifle" (1610s), jigamoree "something unknown" (1844), also jiggobob (1620s), jiggumbob (1610s); and compare jigger (n.). "As with other familiar words of homely aspect, the senses are more or less involved and inconstant" [Century Dictionary].
tarantella (n.): 1782, "peasant dance popular in Italy," originally "hysterical malady characterized by extreme impulse to dance" (1630s), epidemic in Apulia and adjacent parts of southern Italy 15c.-17c., popularly attributed to (or believed to be a cure for) the bite of the tarantula. This is likely folk-etymology, however, and the names of the dance and the spider more probably share an origin in Taranto, the name of a city in southern Italy (see tarantula). Used from 1833 to mean the style of music that accompanies this dance, usually in 6/8 time, with whirling triplets and abrupt major-minor modulations. Related: Tarantism.
Those who were bitten generally fell into a state of melancholy, and appeared to be stupified, and scarcely in possession of their senses. This condition was, in many cases, united with so great a sensibility to music, that at the very first tones of their favourite melodies, they sprang up, shouting for joy, and danced on without intermission, until they sank to the ground exhausted and almost lifeless. [Babington's translation of J.F.C. Hecker, "The Epidemics of the Middle Ages," London, 1859]
masquerade (n.): 1590s, "assembly of people wearing masks and disguises," from French mascarade or Spanish mascarada "masked party or dance," from Italian mascarata "a ball at which masks are worn," variant of mascherata "masquerade," from maschera (see mask (n.)). Figurative sense of "false outward show" is from 1670s.
chorus (n.): 1560s, from Latin chorus "a dance in a circle, the persons singing and dancing, the chorus of a tragedy," from Greek khoros "band of dancers or singers, dance, dancing ground," perhaps from PIE *gher- "to grasp, enclose," if the original sense of the Greek word is "enclosed dancing floor." Extension from dance to voice is because Attic drama arose from tales inserted in the intervals of the dance. In Attic tragedy, the khoros (of 12 or 15 (tragic) or 24 (comedic) persons) gave expression, between the acts, to the moral and religious sentiments evoked by the actions of the play.
When a Poet wished to bring out a piece, he asked a Chorus from the Archon, and the expenses, being great, were defrayed by some rich citizen (the khoregos): it was furnished by the Tribe and trained originally by the Poet himself [Liddell & Scott]
Originally in English used in theatrical sense; meaning of "a choir" first attested 1650s. Meaning "the refrain of a song" (which the audience joins in singing) is 1590s. As a verb, 1703, from the noun. Chorus girl is 1894.
eurythmic (adj.): also eurhythmic, "harmonious," 1831, from Greek eurythmia "rhythmical order," from eurythmos "rhythmical, well-proportioned," from eu "well, good" (see eu-) + rhythmos "measured flow or movement, rhythm; proportion, symmetry" (see rhythm). Related: Eurythmics (1912 in reference to a system of rhythmical bodily movements or dance exercises); eurythmy.
homecoming (n.): mid-13c., "a coming home," from home (n.) + present participle of come. Compare Old English hamcyme "homecoming, a return." Attested from 1935 in U.S. high school dance sense. Used earlier in Britain in reference to the annual return of natives to the Isle of Man.
hop (v.1): Old English hoppian "to spring, leap; to dance; to limp," from Proto-Germanic *hupnojan (source also of Old Norse hoppa "hop, skip," Dutch huppen, German hüpfen "to hop"). Transitive sense from 1791. Related: Hopped; hopping. Hopping-john "stew of bacon with rice and peas" attested from 1838. Hopping mad is from 1670s.
hula (n.): traditional dance of Hawaii, 1825, from Hawaiian. As a verb from 1952. Hula hoop first recorded in fall of 1958, when it was a craze; so called from resemblance of motions of one using it to the dancers' hip circles.
rock and roll (n.): also rock 'n' roll, 1954 in reference to a specific style of popular music, from rock (v.2) + roll (v.). The verbal phrase had been an African-American vernacular euphemism for "sexual intercourse," used in popular dance music lyrics and song titles since at least the 1930s.
Mickey Mouse: cartoon mouse character created 1928 by U.S. animator Walt Disney (1901-1966). As an adjective meaning "small and worthless" it dates from 1936, originally used especially of mediocre dance-band music, a put-down based on the type of tunes played as background in cartoon films.
saute (n.): 1813, from French sauté, literally "jumped, bounced" (in reference to tossing continually while cooking), past participle of sauter "to jump," from Latin saltare "to hop, dance," frequentative of salire "to leap" (see salient (adj.)). As an adjective, "fried quickly," from 1869. As a verb from 1859. Related: Sauteed.
salsa (n.): kind of sauce, 1846; kind of dance music, 1975, from Spanish, literally "sauce," from Vulgar Latin *salsa "condiment" (see sauce (n.)). In American Spanish especially used of a kind of relish with chopped-up ingredients; the music so called from its blend of Latin jazz and rock styles.
caller (n.): c. 1500, "one who proclaims," agent noun from call (v.). Meaning "one who announces step changes at a dance" is recorded from 1882; "one who places a telephone call," 1898. Meaning "a social visitor" is attested from 1786.