Ottoman archival material indicates that Ottoman Empire's cultural life acquainted various dance genres from the European and American continents, primarily with diplomats who organized official balls in the 19th century. At the beginning of the 20th century, a part of the Ottoman press focused on this field, resulting from a cultural transition due to closer contact with European societies. This interaction with modernized social life established a new lifestyle after the Second Constitutional Revolution (1908), which found its proper political framework with the Turkish Republic, coinciding with the changing role of Turkish women in society. Having the readers meet new dance styles, magazines portrayed this new way of life. Instructions for dancing fans, advice on manners to be a decent female dancer, life and work of famous dancers, news on organizations, and charity meetings took place in papers like Resimli Ay or Servet-i Fünun. Examining those articles, integrated with sketches, caricatures, and photos picturing women and men hand in hand performing various dances, dance malaria (as one paper depicts) can be considered a significant element of cultural and social construction in this transition era (Until the late 1920s). Papers opposing this social innovation, such as Sebilürreşad described dancing as a bad influence on Muslim youth. The criticism towards the expanding popularity of waltz and tango in official balls is based upon unrest that the intense meeting of men and women caused on various platforms. In general, literature refers to ballroom dance as a culture after the foundation of the Turkish Republic. Aside from the press, documents from the post-Tanzimat era indicate that the culture of ballroom dancing goes back to the 19th century. Ahmed Mithat Efendi's fiction "Karnaval"(1881) describes ballrooms and parties, while official documents indicate that imperial family members were invited to embassies' organizations. Officials danced the waltz, which was very popular in Europe in the 19th century. When tango became a phenomenon in Europe, the Ottoman was not entirely unfamiliar, contrariwise to a built-in perception assuming tango became a part of the social life after the foundation of the Turkish Republic. In this study, we will indicate the significance of dance becoming an element in the modernization of daily life and how it contributed to the changing social role of Ottoman women. The study relies upon the documents in Ottoman state archives and cultural magazines such as Resimli Ay, Servet-i Fünun, Sebilürreşad, and Aylık Mecmua.