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MR. AND MRS. VERNON CASTLE The most noted exponents of modern dancing.
THE TANGO
AND
OTHER UP-TO-DATE
DANCES
A PRACTICAL GUIDE TO ALL THE LATEST DANCES
TANGO, ONE STEP, INNOVATION, HESITATION, ETC.
DESCRIBED STEP BY STEP
BY
J. S. HOPKINS
Illustrated with Photographs
Posed by
Mr. and Mrs. Vernon Castle, Joseph C. Smith,
Carlos Sebastian, Joan Sawyer, J. J. and Adelaide
Hughes, Jack Jarrott, Beatrice Allen,
Louise Alexander, M. Leroy and Mlle.
Mone, The Millers, Lydia Lopoukowa,
Maurice, Florence Walton,
and many other
famous dancers.
THE
SAALFIELD PUBLISHING COMPANY
CHICAGO AKRON, OHIO NEW YORK
Copyright, 1914
By
The Saalfield Publishing Company
MAY -9 1914
©CI.A374105
Introduction
The One Step
The Grapevine Dip
The One Step
The Serpentine or Grapevine One Step
The Skip One Step
The Castle Walk
The Lame Duck Step
The Tango
The Maurice Tango
The Santley Tango
The Argentine Tango
The Argentine Tango, No. 2
The Innovation
The Brazilian Maxixe
The Shuffle
The Twinkle
The Hesitation Waltz
The Long Boston
The Hesitation Waltz, No. 2
The Castle Hesitation
Hesitation Waltz, No. 3
The Dow Hesitation
Hesitation
The Dip Hesitation
Hesitation, No. 2
The Maori Hesitation
The Sebastian Hesitation
Hesitation, No. 3
The Dream Hesitation
Hesitation, No. 4
The Swallow Hesitation
Hesitation, No. 5
The Ocean Roll Hesitation
The Parisienne Kick Hesitation
The Pivot Hesitation
The Stately Hesitation
The Open Hesitation
Mr. and Mrs. Vernon CastleFrontispiece
Frances Demarest and Joseph C. Smith
Maurice and Florence Walton
Lydia Lopoukowa, Russian toe dancer
Carlos Sebastian and Joan Sawyer in the One Step
Joseph C. Smith, originator of the Tango
The lady lifts her right foot and the gentleman his left
Both lady and gentleman go forward
Four steps are taken, turning as shown
Forward with lady's left foot and gentleman's right
The famous Jardin de Danse, atop the New York Theatre
In no position of the entire dance is the lady held tightly
At the start of the turn in the Tango
Turning and crossing, the lady's right foot and the gentleman's left foot are held solid on the floor
Showing a movement that may be introduced in the Tango
Adelaide and J. J. Hughes
M. LeRoy and Mlle. Moné
The Castles have created a furor in New York City by their brilliant dancing
Jack Jarrott and Louise Alexander
Carlos Sebastian and Beatrice Allen
Carlos Sebastian and Joan Sawyer in the Maxixe
M. LeRoy and Mlle. Moné showing a variation in the Tango
Mr. and Mrs. Vernon Castle, who are largely responsible for the wide popularity of the new dances
The Marvelous Millers
Joan Sawyer and Jack Jarrott dancing the Maxixe
Carlos Sebastian
No doubt we have all seen or at least heard about the new dances which have become the craze all over the United States, England, France, and Germany within such a short period of time.
To one who is not versed in the art of dancing, it would seem that there are innumerable intricate steps and movements, when in reality they can be placed in four different classes. This may seem to be a rather bold statement, but nevertheless it is a true one.
These dances originated either in the Argentine Republic, Brazil, Paris or in a
From the Argentine Republic we get several of the native dances called the Tango; from Brazil, the Maxixe; from Paris the more refined and stately Tangos; and from the Barbary Coast the lively and strenuous dances under the caption of the Texas Tommy and other like names.
To describe each and every dance would be impossible, for the reason that every dancer and every teacher has originated steps of their own in combination with steps which they have learned from different sources, so one can readily see the reason for saying it would be impossible to fully describe all of the different steps.
Some people maintain that these new dances are improper and immoral. To prove their contention they point to the
The reason for their debarment is the position taken by the dancers; so it can readily be seen that it is not the fault of the dance, but of the dancer.
To those dancing these dances, and dancing them properly, they will find they receive something more than just pleasure, as these dances are considered by some of the most learned physicians to be better than a course in physical culture. They bring into play muscles that in ordinary dances and physical exercises are dormant, so at the same time one is enjoying himself,
To become proficient, one needs practice, as in everything else, but if the rules and positions are carefully watched, very little trouble will be experienced in becoming an adept, as the object is to make the dances as simple and comprehensive as possible.
Before going into the description of any dance in particular, I wish to say that these new dances are called Grotesque Dances. This means, in other words, a play or odd dance. One thing should be kept uppermost in the mind at all times: “These dances may be called Grotesque, but they are not to be taken grotesquely with the body, but the feet.” Try while dancing them—until you become proficient—to think you have a glass of water upon FRANCES DEMAREST AND JOSEPH C. SMITH Dancing the favored Waltz, showing the bodies even closer together than in any step of the Tango.
When I say a walking step or step, this is what is meant: instead of being an ordinary walking step, the step in these dances should be divided into three distinct parts, viz.: Toe, ball of foot, then heel, which will give an entirely different bearing to the body than if taken as we ordinarily walk.
The first dance to be taken up will be a One Step. This dance is very simple and easy, and will do much towards giving one the proper swing for the more difficult dances to come.
The music used is
Too Much Mustard
or any of the popular song hits, played slightly faster than a good quick Two Step.
Each step to complete has eight counts or four measures—two steps to the measure. The position is the regular dancing position as in the Two Step.
Gentleman stepping back and lady forward, gentleman with left, lady with right foot.
MAURICE, AND FLORENCE WALTON Two of the best known exponents of modern dancing. They danced their way to fame at the Cafe de Paris, Cafe Martin and on the stage. (Showing the Dip Hesitation.)
Step One: Four steps—back—a quarter turn—four steps forward.
Step Two: A complete turn to the right on four counts. (Note that this step is not completed at this point.) The object of the turn, the hardest part of the dance to master, is keeping the feet as close together as is possible and on the floor.
Step Three: The drag step—so called because the right foot is brought to the left in a close position.
This step counted 1, 2, 3, 4, 5, 6, 7, 8, the 2, 4, 6, 8 being closed positions.
Step Four: The Grapevine, sometimes called the Serpentine Step. Counted 1, 2, 3, 4, 5, 6, 7, 8. Positions: Gentleman's left foot to side—1; right back—2; left side—3; right forward—4; left side
This step can be made very effective by putting a slight dip on 2, 4, 6, 8, and is then called the Grapevine Dip.
After Step No. Four we complete Step No. Two, a complete turn on four counts, which completes the dance.
A slightly different formation of the same dance first described.
Step One: Eight steps back, a quarter turn after the eighth count.
Step Two: Two glides, or drag step, and complete turn of four counts.
Step Three: Eight forward steps with quarter turn on eighth count.
Step Four: Two drag steps or glides, and complete turn on four counts.
You will notice that this One Step does not use the Grapevine Step at all, and takes practically all the same steps as the first dance explained, only in different order.
The same rules in regard to positions are
This One Step derives its name from the fact that it makes use of the Serpentine or Grapevine Step. Also from the fact that instead of taking the drag step on a straight line, it is in a circle. The Steps are very similar to the first One Step explained.
Step One: Four steps back (on fourth count a slight dip). Four steps forward, with dip on fourth count.
Step Two: Complete turn on four counts (one-half of step).
Step Three: Drag step. Taken on a half circle (1, 2, 3, 4, 5, 6, 7, 8)—eight counts.
Step Four: Grapevine or Serpentine
By taking this step with a glide rather than a step will make it more effective.
Step Five: This step is taken in open position, lady with right, gentleman left, starting in line of direction around hall.
Regular position is [???]. Position for this step is [???], G. standing for gentleman and L. for lady.
Three steps in line of direction. on third count the lady and gentleman turn, changing sides on fourth count. Gentleman points with right, lady with left. Starting with foot that is pointed—lady with left, gentleman with right—continue LYDIA LOPOUKOWA Famous Russian dancer and one of the first notable dancers to appear in the modern dances.
From this point the regular dancing position is again assumed to be in readiness for the next step.
Step Six: Complete turn on two counts, then two steps back for gentleman. Complete turn, two counts, two steps back, which completes the dance.
These last two steps can be made very effective by taking them with just a little body movement. For example, when taking point (be sure that it is a point, not using heel, but just lightly touching toe to floor) incline the body in a slight bend towards pointed foot.
This One Step derives its name from one of the steps—the Skip Step, which is nothing more or less than the step we used as children when skipping or running on our way to school.
Step One: Eight steps back, gentleman with left foot, on eighth count turning one-fourth round.
Step Two: Eight steps forward, gentleman with left foot starting. On eighth count disengaging partner and joining right hands.
Step Three: The skipping step. Lady turns under gentleman's right arm while skipping down floor. On fourth count your regular position, taking complete turn on four counts.
Step Four: This step the gentleman turns under lady's arm while skipping, then complete turn on four counts.
Step Five: Four steps taken diagonally back. Quarter turn. Four steps diagonally forward.
Step Six: Complete turn on two counts. Two steps back. Complete turn. Two counts. Two steps back.
This step completes the dance.
Care should be taken to get Steps Three and Four as graceful as possible, as the beauty of this One Step lies in the ability to execute these two steps easily and gracefully.
This is a form of the One Step originated by Mr. and Mrs. Vernon Castle, in which the gentleman continually goes forward, and the lady backward.
To guide his partner properly, the gentleman's arm encircles her just under the arm, her left hand resting on his right arm. The other hands are clasped and held high.
Gentleman walks forward, starting with left foot, the lady backward with right, keeping on the toes, taking one step to each count of music. Continued until the end of the hall is reached, where a large circle is begun which is gradually made smaller and smaller, being ended by whirling completely around three times. End with a dip.
The whirls must be made rapidly, only one count of music being allowed for each revolution.
About the only difference to be found in this step—which can be used in connection with most of the One Steps described—is in the forward and back steps. Instead of taking the usual four walking steps or eight, as the case may be, use a dip on second count. As an example, taking the four steps back, it would be 1, 2 dip, 3, 4 dip. This dip is just a slight bending of the knees. Some people exaggerate this step to extremes—as in everything else—but it will be found advisable to take just a slight dip, or otherwise it will become very tiresome.
The foregoing descriptions about cover the popular One Step, although, as I have CARLOS SEBASTIAN AND JOAN SAWYER In the One Step, one of the most popular of all modern dances.
Try above all things to remember when dancing these dances that you are to use the body—that part from the waist up—as little as possible.
Do not use the shoulders
. Keep them still. Do not rag these dances. That is the fault that is found with them, and has been the means of their being unfavorably received.
You will find a great many people call the One Step a Tango. There is as much difference between a One Step and a Tango as there is between a Two Step and a Waltz. One is quick and full of life and action, while the other is slower, more sedate
In practising these One Steps, take them gracefully, learning the formation of each step and each dance thoroughly before going to the next, and then as you feel that you know them, increase the tempo of your music until it becomes the desired tempo.
The Tango, as I have explained before, originated in the South American republics, with different steps originated by some of the more famous dancers such as the Castles, M. Maurice and M. Sebastian.
To dance the Tango one must have special Tango music, not the same music as is used for the One Step, as it is an entirely different dance. Some of the most popular pieces used for the Tango are The Argentine, Y Como le Va, Maori Tango, Maurice Tango, La Rumba, El Choclo, and Tango Crillo. These pieces are best suited to the peculiar swing of the Tango, having the desired tempo.
In the Tango more body movement and
The first Tango to be taken up is called the Maurice Tango, being named after the famous teacher of dancing, M. Maurice. This Tango, combining as it does the simpler with one or two rather difficult steps, makes an ideal dance for one just learning the Tango, as it fits one for the more difficult Tangos to come.
JOSEPH C. SMITH Originator of the Tango, showing the first step in the dance.
Step One: The position, your regular dancing position, straight in front of partner.
Gentleman starting forward with left foot, lady back with right. Four steps counting 1, 2, 3, 4. A point. Gentleman forward, counting 1, 2. Lady back. Then gentleman points left foot back and lady right foot forward for two counts.
Step Two: Three steps and a point. This step is taken in the form of a half circle. The fourth count, the point is with right foot for gentleman and left foot for lady. Starting back (reversing the turn) with the foot pointed, 1, 2, 3, pointing, right foot for lady, left for gentleman.
As you take this point, incline head and shoulders towards foot pointed.
Remember this, that it is a point, not being flat looted, but a
toe point
. This will hold good as an explanation for other pointed positions unless otherwise described.
Step Three: Back, 1, 2 (quarter turn), 3, 4 straight back. 5, 6 quarter turn, 7, 8 straight forward. Gentleman starting with left, lady with right foot. In executing this step, make the turn on 1, 2 and 5, 6; 3, 4 two steps straight back and 7, 8 straight forward.
Step Four: Called the Catch Step. Counted 1, 2 and 3, 4, 1, 2 and 3, 4. Left. Right. Step forward on left, bringing right to heel of left, at same time kicking left forward, then bring left to instep of right for fourth count.
The lady lifts her right foot and the gentleman his left.
This step is taken in a semi-open position, both lady and gentleman going forward, and both with outside foot, viz., lady, right; gentleman, left.
Step Five: The Bend Step. The position in this step is the same as in Step Four. Step forward left (lady right) cross right over left with weight on right, bending knee of right. Back on left, bringing right back of left, at the same time drawing left to instep of right. Repeat this, counting 1, 2, 3, 4; 1, 2, 3,4.
Step Six: The Minuet Step. This step is taken in open position. Gentleman gives right hand to partner's right. Three steps round in half circle. On fourth count change hands, left to left and point, gentleman right, lady left. Use foot that is pointed, walk back in half
This step is one of the most effective and graceful steps in the dance and particular attention should be paid to the position of the arms. They should be elbow to elbow in taking the three steps around. Eight measures.
Step Seven: Grapevine Step. 1, 2, 3, 4, 5, 6, 7, 8. Gentleman: Left side, right back, left side, right forward, left side, right back, left side, right forward. Counterpart for lady. (Eight measures.)
Step Eight: Complete turn on two counts. Two steps forward, counted 1, 2, 3, 4. (Eight measures.)
Repeat, which finishes the dance.
The music used is the Maurice Tango.
The most difficult steps—steps four and five—may take some practice, but after Both lady and gentleman go forward.
In taking Step Five, do
not
let the body go forward, but keep an erect carriage. By doing this you will make the step far more showy and graceful.
This Tango
cannot
be danced and danced gracefully to anything but
real
Tango music, perferably the Maurice Tango, but practically any one of the other pieces mentioned will answer the purpose. Do not use the introduction when dancing these dances.
This Tango, named after Joseph Santley, the star of the musical play
When Dreams Come True
, is a very catchy Tango—one which can be danced to ordinary Two Step time, so it in reality comes under the head of the One Step. One or two of the steps are quite difficult to execute, but by careful adherence to the descriptions, I feel that you will have but little trouble in mastering the dance.
Step One: This is called a Tango or Tango Interlude Step. Gentleman stepping on right foot, making a swinging half turn, then on right foot, completing turn on four counts, counted 1, 2, 3, 4. Then four steps back, counted 1, 2, 3, 4. This Four steps are taken, turning as shown, and walking backward four steps.
Step Two: This step is taken in a semi-open position, both lady and gentleman going forward in line of direction around hall. Counted 1, 2, 3, 4. On fourth count it is a point and at same time lady changes sides with partner by a step on third count around partner without disengaging hands as per diagram.
First position.
Second position.
Third position.
Fourth position.
On second gentleman changes, on third lady changes, on fourth gentleman
Step Three: Called the Slow Step. The position being the semi-open, both lady and gentleman starting down hall in line of direction with outside foot, viz., lady right, gentleman left. It is counted 1, 2, 1, 2, 3, 4.
One is with left foot forward, then right for two. (On two take a slight bend, without bending body.) 1, 2, 3, 4, four walking steps forward. On fourth count change positions or sides with partner, at Forward with lady's left foot and gentleman's right.
Step Four: Two Tango Interludes. The same as Step One only taking two instead of four Tango steps. Eight measures.
Step Five: The Step and Step Bend. Step on left, 1. Cross right, bending on 2, back on left (turning, going in opposite direction from which you started step) 3, 4, 5, 6, 7, 8. On count 8 gentleman points right foot forward. Repeat the above, gentleman starting with pointed four, viz., right, and left for lady. At finish gentleman is pointing left, lady the right, ready to take next step.
Step Six: Two Grapevine Steps, 1, 2,
The only parts which are liable to cause trouble are the turning around partner and the Step and Step Bend. By taking each step slowly, watching the counts, you will have but little trouble in mastering this—one of our prettiest Tangos.
We now come to one of the original Argentine Tangos. The one which I will endeavor to describe for you is quite universally used by many of the expert dancers demonstrating the Tango on the stage. Real Tango music is necessary to properly dance this Tango.
All of the turns in this Tango are taken to the left, as when a couple reverse in our ordinary Two Step or Waltz.
Several variations to this dance as described can be used, and a few of them will be explained.
The position of the dancers is squarely in front of one another, taking the usual position of the gentleman's right arm
Step One: Gentleman forward, lady back. Left forward, 1. Right forward ahead of left, 2. Right left forward, then right forward. These steps more of a sliding or gliding step, taking a dip (only a slight one) on 2 and 4. After count 4, a turn to
left
. Every turn, whether complete or full, is made to the left.
Step Two: Gentleman back, lady forward. This step is exactly the same as the first step, the difference being that the positions are reversed. Gentleman back left, sweeping step back with right, directly back of left, then left back, then right. Counterpart for lady.
Step Three: Gentleman places right foot over left, lady at same time placing THE FAMOUS JARDIN DE DANSE, ATOP THE NEW YORK THEATRE
Step Four: Gentleman forward with right foot, lady, left. (Semi-open position, knees touching.) Then gentleman brings left forward with sweeping step (toe touching floor). Lady brings right foot forward in sweeping step. Then lean forward and bend, gentleman on left, lady on right.
Then turning to the left, repeat same movement, changing positions of arms, they being in back instead of forward. Repeat this movement.
Step Five: A complete turn to left, 1, 2, 3, 4. Then three steps forward and on fourth count bend. Turning once and a
Step Six: Criss-cross Step. Gentleman, left, right, left, right. Lady, right, left, right, left. This step is called sometimes a Grapevine. Arms straight out to side, just touching tips of fingers. Then complete turn to left. Repeat, which finishes dance.
The real Tango Step, the brushing or sweeping of the toe to the floor, occurs in all figures, and one should practise this movement to make it long and in a circle from back to forward or forward to back, according to the way you are going.
Knees are bent inward, as well as the toes being turned inward as against the toes and knees outward as in ordinary dances.
In no position of the entire dance is the lady held tightly.
One of the most popular variations of this dance is that instead of taking the usual position, the position is this: Gentleman to the left of partner facing line of direction, in same relative position as one would take in marching. Right hand around lady's waist in lady's right. Left hands clasped in front. Then take the dance through as described.
Several other combinations of steps can be used in this open position, such as steps one, three and five in the Maurice Tango and steps three, five and six in the Santley, they being of the real Argentine movement, so it can be seen that with some practise one will be able to devise steps of their own with but little trouble.
This Tango is another one which comes from the Argentine and is very effective. The same swinging or sweeping step is used as in the Tango just described.
Step One: (Gentleman walking backwards, commencing with left foot, lady forward, with right.)
Seven steps counted 1, 2, 3, 4, 5, 6, 7, the eighth step or count being called the Change Weight Step. Step on right foot, count 8, and change weight and step on left foot. Counterpart for lady.
During counts 7 and 8 gentleman turns to right of partner and faces forward, retaining original position, this bringing the arms in rear.
At the start of the turn in the Tango.
Step Two: Both lady and gentleman walk forward, lady with left foot, gentleman with right in the same line of direction. 1, 2, 3, 4, 5, 6, 7. Change step. Gentleman steps on left, count and change weight and step on right. Count 8. Counterpart for lady.
During counts 7, 8, the lady changes to opposite side of partner, turning around in front, bringing outstretched arms in front.
Step Three: Both point outside foot in front, 1. Transfer weight to foot pointed, 2. Step forward with inside foot, 3. Both step forward with outside foot, count and close the inside foot to meet outside, 4. Repeat the preceding four counts, 1, 2, 3 and 4.
Step Four: Both walk forward with outside foot, 1. Forward inside foot, 2
Step Five: Both lady and gentleman turn in opposite direction and step across the inside foot with the outside foot, walk three steps, 1, 2, 3. Both point the inside foot to side, and while doing so pull outside foot toward it, but do not close. At same time turn body to opposite direction, count 4. With outside foot or pointed one walk across outside one three steps, 1, 2, 3, taking same movement as before, on 4, turning to position, count 4.
Step Six: This step is a repetition of Step Five, so it will not be necessary to describe it, only to say that instead of stepping across with outside foot, you step with inside foot across, just reversing the
Step Seven: Both walk forward with outside foot in line of direction, 1, 2. Gentleman steps around in front on opposite side of partner with outside foot, changing from left to right side, count 3. Lady steps forward but does not turn. Both forward, for count 4. Repeat. Counts 1, 2, on 3 lady turns around partner, back to original position.
Step Eight: This step is a repetition of Step Seven, which completes dance.
In taking turns around partner, do not disengage hands. You will find this a most effective step.
This Tango was introduced lately in New York, and can be taken with any of the foregoing Tangos. The object of this dance is that you do not touch your partner, taking the steps with arms akimbo, or, in other words, with hands on hips. You will have to take your steps exactly the same, but without the assistance of your partner, which will mean practice, so that you will not be pulling away from your partner. The object of the Innovation is to get away from the idea some people have that these dances are improper.
Try one of the simpler Tangos—one which has few turns, and then take the more difficult ones.
Turning and crossing, the lady's right foot and the gentleman's left foot are held solid on the floor in the Tango.
The Tangos I have explained are the ones that are most universally used, but of course you will find that there are many more—and many difficult variations. After learning one Tango and understanding the steps, it will be very easy for you to pick up the rest, and as in the One Step, to invent steps and variations of your own. In dancing the Tango, avoid awkward positions as much as possible, striving to take the different steps with a graceful, easy swing, which makes the dance.
The next dance to be taken up is the Brazilian Maxixe. This dance originated in Brazil, and is one of the native dances, and has become quite popular.
This dance is danced to Two Step time.
Step One: Four steps forward of ordinary Two Step, 1, 2, 3, 4, 5, 6, 7, 8. Now stop and place left heel forward, tapping
Step Two: With left foot on floor, raise right about a foot high in rear, this position to be maintained through two beats of music, counted 1, 2. Change position, this time left foot being raised. Then repeat. Counted 1, 2, right raised; 3, 4, left raised; 5, 6, right raised; 7, 8, left raised. Counterpart for lady.
Step Three: Bring both feet to floor. Bend knee slightly, placing right foot behind left, and take a drag step forward until it comes to left foot. Change weight to right, using same movement. This is
Step Four: Gentleman takes two steps back, bending knee, taking same movement as in Step Three, only forward instead of back. Counterpart for lady. Count, 1, 2, 3, 4, 5, 6, 7, 8.
Step Five: Cross right foot in front, then left crossing right.
Done very rapidly, coming down on ball of foot in front as you cross. This is done eight times, and is the step for which this dance is noted. Your position is facing your partner. Let your body be as flexible as possible, by that
Just a suggestion in regard to your dancing pumps. Use a flat shoe—what is called a ground gripper, very pliable leather or rubber inserted in the sole of the pump.
This will give you a better purchase on the floor, and you will feel more secure in making some of the rapid turns, which are necessary to many of the Tangos and One Steps. You may think that it Showing a movement that may be introduced in the Tango, the twisting and bending of the knees being made in time to the music.
Both lady and gentleman face forward for this Tango, the lady's left arm to the back of her partner, her right arm extended and free. The gentleman's arm is about the lady, and his left arm is extended and free.
Six running steps are taken forward, then both lady and gentleman make a complete revolution, which brings the lady on the gentleman's left arm.
Six steps in the opposite direction, which completes the movement.
ADELAIDE AND J. J. HUGHES Who rank with the finest among the exponents of modern dancers, taking one of the slow steps in the Tango.
This Tango receives its name because one step must be done very quickly,—in the twinkling of an eye.
Step One: Both lady and gentleman balance forward on the left foot, 1, 2, 3. Balance backward on 1, 2, and change feet on 3. One step forward with right foot, 1, 2, 3. One step forward with left foot, 1, 2, 3. Balance backward, the count being 1, 2, and on 3 change feet as before. Repeat indefinitely.
Step Two: Lady in front of gentleman, and slightly to his right, both facing one way. Lady's right hand clasped in the gentleman's right, her left in his left.
Both start with left foot and take the Hesitation step to the side, then the Waltz
Step Three: Lady takes position by the side of the gentleman, her right arm akimbo, right hand clasping gentleman's right, and her left arm extended to clasp gentleman's left.
Both start with left foot and balance forward and back three times. On the third balance backward, twinkle as described before, which brings the right foot forward. One step forward on the right foot, a second on the left, and a third on the right foot. Then swing half way around on right toe, which brings the gentleman with the right foot forward and the lady on the left side of the gentleman.
Balance forward and backward three times, twinkle and repeat as before.
We next come to the Hesitation Waltz. I will endeavor to explain several—perhaps fifteen or twenty different steps and combination of steps used in the Hesitation.
The first thing to learn is what is called “The Boston.” This is nothing more than the old German Round Waltz taken in an exaggerated form. There is very little difference between the Waltz that is danced ordinarily and the Boston.
To explain the difference. Our regular Waltz is counted 1, 2, 3. So is the Boston, the difference being in the closing position. In our Waltz the closing position is on 2, while in the Boston it is on
stepping to one side for 1, the right is drawn to left in closing position for 2, weight changed to right, left (a step straight back, 3). Of course this is only one step of the Waltz to demonstrate position in closing continuing with right, then closing left to right, you have a complete turn in our Waltz.
In the Boston the closing position is on the third count, as explained before. The diagram:
M. LEROY AND MLLE. MONE This couple have won admiration for their execution of their own conception, the Dashaway, without doubt the fastest of all modern dances, requiring fine skill and great speed. (Showing one of the more difficult steps that can be introduced in the Tango.)
To explain: Stepping to side with left, 1. Then step back right, 2. On 3, right drawn to left in closed position. To continue: Right forward left side, closing right to left, left side. Right back, closing left to right. Then straight back. Right, straight back. Left, drawing right to closed position on 3, which completes the right turn. To take the left or reverse turn: Left side, right forward and drawing left to right, and continue as before, finishing with right closed to left forward. To complete both right and left turns takes eight measures of music.
Practically every step in the Hesitation Waltz or Waltzes requires eight or sixteen measures of music to complete.
In practising the Boston, keep this in mind: that the first count of each step
seems
to be extremely long, as this is what is called the long Boston.
Take the first count with a dip, then the second and third (the closing step) a trifle shorter.
Many people all over the country are now dancing what is called the Walk Boston. To explain this, it is only one step to the measure instead of three steps. In other words, a walk instead of a dancing step.
After you have mastered the Boston you will be ready to take up the Hesitation, although the Hesitation Waltz can be danced to our ordinary Waltz instead of the Boston.
Some of the Hesitation Waltzes have a special name, and others are just simply The Castles have created a furor in New York City by their brilliant dancing, not only on the stage, but in society circles.
The first part is just simply a Walk Boston around in circle, making a complete turn on balancing step, pointing toe to side. Second part is divided in two distinct parts, a balance step and a glide step. The balance step: Step to side with left foot, drawing right to left. Counted 1, 2, 3, 1, 2, 3. Two measures, and then left to right. The glide step, stepping left foot to side. Count 1, 2 and close right to left on 3. Count 2 is the draw or glide. Repeat this, counting 1, 2, 3. Two measures. Then taking the Boston for eight measures, which completes the dance. Counterpart for lady.
Four steps around, one step to the measure, and point after each count as 1, point, 2, 3; 1, point, 2, 3, etc. This turn and point is finished with right foot carrying the weight. Step back on left and dip. Then carry right back and repeat. On second dip, left foot is brought up in front in pointed position. Counted 1, 2, 3; 1, 2, 3. Then starting with left foot, take five steps forward—this is a running step—on sixth count. Bight is pointed to side. This takes two measures of music. The first and second parts take four measures each of music. Then taking eight measures-of Boston, or Boston Walk, which completes the dance. Counterpart for lady.
Three running steps back. Point right, 4, 5, 6. Then forward with foot which was pointed (left for lady—back) right for gentleman. Three steps 1, 2, 3. Pointing. Left (right for lady) 4, 5, 6. Four measures of music. During this movement make a V. Back on an angle, then forward.
Gentleman back on left, 1. Point right to side, 2, 3. Step on right, 1. Point left to side, 2, 3.
Repeat this, which takes four measures of music, then take Boston for eight measures, which completes the dance.
JACK JARROTT AND LOUISE ALEXANDER Showing the last part of the dip and turn of a Hesitation step. Upon the next movement, the lady will have the position now shown by the gentleman.
Walk four steps forward, one step to measure. Stop. Turn body in opposite direction, weight back on left, a point forward with right. Counted 1, 2, 3. Then make two turns, 1, 2, 3; 1, 2, 3. Then a draw step back, 1, 2, 3. Then eight measures of Boston, which completes the dance. On part which says
Stop
, turn body with weight back on left in what is called a back dip, both lady and gentleman taking dip back—the lady with right foot. This is taken in a semi-open position.
Back with left one step, turning half way round to right, 1, 2. On third count draw left foot to right—closed position. Step forward on right, 1. Turn to left, 2. Close position on 3. Then taking balancing step—1, 2, 3; 1, 2, 3. Stepping left to side, pointing right, then right side pointing left.
Repeat the above, then take eight measures of Boston, which completes the movement.
CARLOS SEBASTIAN AND BEATRICE ALLEN In one of the poses of their original conceptions. (Showing the regular dancing position in the Tango and Hesitation Waltz.)
Step with left foot, dip, step, dip, turn and point. Then back, stepping with right foot first. Right, 1, 2, 3. Dip, 1, 2, 3. Left step, forward, 1, 2, 3. Dip, 1, 2, 3. Turn, 1, 2. Point, 3. Then two balance steps, 1, 2, 3; 1, 2, 3. Then take eight measures of Boston. This Hesitation is taken in semi-open position, both lady and gentleman going forward at same time, lady with right foot, gentleman with left.
The first part of this Hesitation is exactly the same as the one preceding, viz., Step, 1,2,3. Dip, 1,2,3. Step, 1,2,3. Dip, 1, 2, 3. Then turn, 1, 2, 3. Point, 1, 2, 3. Then lady turns under gentleman's arm, 1, 2, 3, and gentleman turns under lady's arm, 1, 2, 3. Then take eight measures of Boston. The same semi-open position is taken.
CARLOS SEBASTIAN AND JOAN SAWYER Dancing the Maxixe, which M. Sebastian originally created in New York. (Notice position of the heel.)
One swinging step forward, swinging right. Count, 1, 2, 3. Then forward, right, swinging left. Count, 1, 2, 3. Then forward left and dip. Count, 1, 2, 3.
Forward, right, 1, 2, 3. Swinging step, left, 1, 2, 3. Then dip on right, 1, 2, 3. Two side Hesitations or points. Boston eight measures, which completes the movement.
Step on left, raising right foot and bringing back of left. 1, 2, 3. Then step forward on right, commencing Waltz movement for three steps forward. Count, 1, 2, 3; 1, 2, 3; 1, 2, 3. Then bring right back to pointed side position, 1, 2, 3. Point left to side, 1, 2, 3. Then two dips, 1, 2, 3; 1, 2, 3. As you take these dips be sure that they are towards the floor, and as you take them turn in circle.
Then Boston for eight measures. This may be taken in either open, semi-open or regular position.
A sweeping dip with right foot back. Lady with left foot, 1, 2, 3. (This is taken in semi-open position.) Then take two sliding steps to side, 1, 2, 3; 1, 2, 3. Then hesitate, pointing right to side. Repeat the foregoing, commencing with left for lady, right for gentleman.
Then take eight measures of Boston.
Two Balance Steps, stepping on left, 1, 2, 3; right, 1, 2, 3. Two glides to left, closing position on third count, 1, 2, 3; 1, 2, 3. Then taking a semi-open position, step on left forward (right for lady). 1—a skip step, bringing right from rear in a scuff or skip step—to forward position, with weight on right. The step is 1, scuff, 2, stepping on right, 3. Then count 1, 2, 3, at same time bending right knee. Repeat this last. Step, scuff, right, and bend 1, 2, 3. Boston for eight measures or Boston Walk, which completes the movement.
M. LEROY AND MLLE. MONÉ Showing a variation in the Tango.
Balance to left, 1, 2, 3. Right, 1, 2, 3. Three steps forward (these are running steps, 1, 2, 3, taken in semi-open position). Then take a balance turn, 1, 2, 3. Then balance forward, 1, 2, 3. Back, 1, 2, 3. Then two dips, 1, 2, 3; 1, 2, 3.
Take eight measures of Boston, which completes the movement.
Four draws back, starting with left foot, counted 1, 2, 3; 1, 2, 3, closing on third count. Then forward skip and dip, counted 1, 2, 3; 1, 2, 3, dipping on third count. Walk Boston four measures, changing position or side with lady on fourth Boston movement, starting the two draws this time forward, gentleman with right foot and lady with left, then the two skip and bend steps, turning into position and take four Walk Bostons. Then take eight measures of Boston, taking them slow.
MR. AND MRS. VERNON CASTLE Who are largely responsible for the wide popularity of the new dances.
Walk forward four steps, 1, 2, 3; 1, 2, 3; 1,2,3;1,2,3. One step to the measure.
Then take turn in four measures. In taking this turn, you take a dip on third count of each measure, as 1, 2, 3, dip, 1, 2, 3, dip.
Then take eight measures of Boston slow, or Boston Walk to complete movement.
Taking three long slow dips backward, counted 1, 2, 3; 1, 2, 3; 1, 2, 3; then three short, quick dips, 1, 2, 3.
The last three are practically a running step, but try to get a slight dip in each count. Then four measures of Walk Boston. ton. Repeat the foregoing steps, this time taking the dips forward instead of back, finishing with the Walk Boston.
Then eight measures of slow Boston. In taking the dips the body is inclined to the floor, but do not carry it to the extreme.
THE MARVELOUS MILLERS Noted for fast dancing, showing one of the intricate steps that can be introduced in the Tango.
Taken in semi-open position, lady starting with right, gentleman with left.
Three steps forward, 1, 2, 3; 1, 2, 3; 1, 2, 3.
On 1 of next movement left forward for lady, right for gentleman.
Step on right, 1. Swing left to forward and rear, making half circle, 2. Dip on left, 3. Repeat this, using opposite foot, gentleman starting with right, lady with left. This time the swinging or kick step will come in center, instead of outside, as before. Then take eight measures of Boston, which completes the movement.
In taking the swinging step, do not take
JOAN SAWYER AND JACK JARROTT Dancing the Maxixe. Equal in importance to the Castles are they. Miss Sawyer is known as the favorite of New York's “four hundred.” She has met with great success at the Palais de Danse, where she conducts the Persian room.
The Pivot is a variation of the Hesitation.
Make a half turn on the Hesitation Step and omit Waltz Step.
Take a long step at the side. The count is, rise on toes, 1; make half turn on 2, 3. Repeat several times, putting plenty of spring in the turn and pivoting on the toe, swinging the free foot well up off the floor.
In this Hesitation we take what is called the real open position, the hands being crossed overhead, leaving a space of about eighteen inches or two feet between partners.
Take four walking steps forward, one step to the measure, counted 1, 2, 3; 1, 2, 3; 1, 2, 3; 1, 2, 3. Gentleman turns around partner on Boston step, lady taking balance step as partner Bostons around. Four measures of music. Back to position as at first. Gentleman walking back four steps counted as the first step. Four measures. Lady turns around partner with Boston step, as gentleman takes balance step. Four measures. CARLOS SEBASTIAN The Jardin de Danse star, considered the best male dancer of the modern school.
This Hesitation is on the order of the Minuet and is one of the prettiest Hesitations we have. In taking the first part, be sure to keep the crossed hands well above the head.
This Hesitation derives its name from the fact that it is taken in the open position, not the regular closed dancing position. The position is gentleman at left side of partner, right arm around lady's waist, left hands in front. At no time during this dance do you take the regular or dancing position. Both lady and gentleman use the same foot, so that one description answers for both.
One step forward, count, 1, 2, 3. Dip. Count, 1, 2, 3. Right foot, Boston point. Step on left. Point right. Count, 1, 2, 3. Stepping on pointed or right foot, point left. Count, 1, 2, 3.
Left back, 1, 2, 3. Back right. Dip, 1,
Then take eight measures Walk Boston, which completes movement.
We have taken up twenty different Hesitations, which covers almost every form of Hesitation you will be likely to use. From these different ones described you should be able to pick up other Hesitations. It would be almost an impossibility to explain all of the new dances, as it would take a book several times this size to cover the field and then cover it only half, but by constant practice and analyzation one should be able to pick up most of the new dances that are not herein explained.
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