SOCIAL DANCING OF TO-DAY
The present vogue of dancing is sometimes characterised as a fad. As a
matter of fact, it is no more than the resumption of a normal exercise.
It is not extraordinary that people should wish to dance every day. It
was extraordinary that there should have been a period of sixty years in
which people did not wish to dance every day. Occidental history recalls
few periods when the dance, natural as speech and exalting as music,
underwent such neglect as it suffered during the latter half of the
nineteenth century. Self-expression was in bad taste. A phantasm of
misinterpreted respectability standardised conduct. The resulting
caution of movement sterilised the dance, and sterility all but killed
it.
As that which might conveniently be called the Renaissance of
Individuality began to be felt, within the past few years, the endless
iteration of one step in each dance became inadequate to interpret
feelings. People learned that their own ideas were worth at least a
trial; forms fell automatically. But, no one being at hand to show how
dancing might be made an expression, people turned to other recreations.
Then came the Russian ballet. It showed that dancing, more completely
perhaps than any other action within mortal scope, is a means of
expression of every emotion humanity may feel. It showed, too, how
inconceivably beautiful may be the human body when it is made to
conform to the laws of beauty--which are identical with the laws of
choreography. And so perfect was the artistry of these demigods from out
of the North that “difficulty” became a forgotten word. Every man
thought that he felt within himself at least a portion of the essence
that animated Volinine, Mordkin, Nijinski; every woman knew she had
latent some of the magic of Pavlowa, Lopoukowa, or Karsavina. And they
were right. Every normal human is in greater or less degree an artist.
Sudden reactions are usually attended by more violence than
discrimination. The appetite for sheer quantity is satisfied before the
need of restraint is felt. So with the new dancing that gratified
hundreds of thousands of feet suddenly freed from conventional weights
on their movements. The _Turkey Trot_ (name to delight posterity) raced
eastward from San Francisco in a form to which the word “dancing” could
be applied only by exercise of courtesy. Literally, caricaturists could
not caricature it; it made caricatures of its devotees. But they were
not concerned with that. They were in the exaltation of rediscovery;
they were happily, beneficially mad with varied rhythm, marked by free
movements of their own bodies. The “trot” was easily learned; the
problem became one of finding space in which to dance it, so quickly did
its performers fill every floor within hearing-distance of a piano.
The cynical inference that morals or their lack bore any relation to the
phenomenon of this dance’s rapid spread, is beside the point. Of the
original “trot” nothing remains but the basic step. The elements that
drew denunciation upon it have gone from the abiding-places of
politeness; yet its gains in popularity continue unchecked. As though to
emphasise its superiority to former mannerisms, it is just now urbanely
changing its name: it prefers to be known as the _One-Step_. And in the
desire for a new appellation it is justified, since no history ever so
vividly recalled the fable of the ugly duckling. The hypothetical turkey
whose trot it once portrayed proves, as it matures, to be a creature
closely resembling a peacock. The peacock it was whose designation
(Spanish _pavo_) furnished the name of the old _Pavane_; and the
_One-Step_, moved by some force more potent than coincidence, is now
tending strongly toward the form of that favourite of seventeenth-century
courts.
With the _Turkey Trot_ came out of the West the _Bunny Hug_, the
_Grizzly Bear_, and perchance the bearers of other names reminiscent of
the zoo. They treated Europe to a mixture of amusement and irritation,
but were not destined to long life on either side of the Atlantic.
While North America turkey-trotted, the _Argentine Tango_ was delighting
and scandalising Paris. A dance of curious history, the _Tango_. Certain
details of its execution justify the assignment of its remote origin to
the Gipsies of Spain. Argentina is an attractive market for Spanish
dancing; undoubtedly the original _Tango_, composed of Gipsy steps and
movements, was shown in Argentina soon after its first exploitation in
Spain, some forty years ago. To change it from a solo for a woman into a
dance for couples needed only rearrangement, plus modification of
movements that might not be considered respectable. The latter being a
purely relative term, disagreements followed the dance’s appearance in
Paris--Argentinian synonym for Paradise. It is to Paris that the
prosperous _Argentinos_ go for refreshment; and there they introduced
their form of the _Tango_. Robert, a popular Parisian teacher of social
dancing, arranged a version of it to conform to conservative standards,
and its spread followed.
The _Boston Waltz_ (the latter word is generally omitted), born in the
period when Sousa’s marches and two-steps were omnipresent, existed as
little more than a theory until, with the advent of the new dances, it
was found to be in tune with the times. With the _Tango_ and _One-Step_
it has come into a family relationship, now borrowing from them for its
own embellishment, again lending them a step for the good of their
variety. Add to these the _Brazilian Maxixe_ and the _Hesitation Waltz_,
and we complete the list of dances which, at the moment of writing,
animate social gatherings on both sides of the Atlantic; inspire
restaurant-keepers to provide dancing floors, hotel managers to give
_thés dansants_, with periodical competitions, and instruction if
desired; the dances that are successfully demanding for themselves a new
and unobjectionable species of dance-hall, and causing grave scientists
to debate over them as symptoms--with profound allusions to the
so-called “dancing mania” of an earlier century. The extent of the vogue
needs neither record nor comment in this place. That which has not been
duly noted in the periodical press is the fact that a fashion of
rhythmic exercise is proving to be a well-spring of good spirits and a
fountain of youth for millions of men and women. Every one benefits by
it. None discontinue it. The only people not seeking new steps for their
repertoire are those who have not yet found time to make a beginning, or
who have been dismayed by the forbidding number of
[Illustration: THE “WALTZ MINUET”
Mr. John Murray Anderson, Miss Genevieve Lyon
Characteristic style (1)--Variation, position of hands (2)--Preparation
for a turn (3)--The mirror figure
To face page 272]
[Illustration: THE “GAVOTTE,” SHOWING PRESENT TENDENCIES
Characteristic style (1, 2)--A curtsy (3)--_Arabesque_ to finish a
phrase (4)
To face page 273]
new names, both of steps and of dances. For their benefit, it is in
order to make a digression at this point.
Let it be emphatically understood that the dances above enumerated are
the only ones that have any present significance in French, English or
American ballrooms. So-called “new” dances, bearing names of summer and
winter resorts, heroines and what-not, are presented in endless
succession; but analysis always shows their almost complete lack of
individuality. Their claim to recognition regularly consists of a minor
variation of a familiar bit of one of the _Waltzes_, the _Tango_, or the
_One-Step_. Around this nucleus are gathered steps taken from the other
dances directly; and the “composition” is supposed to contribute
publicity to some progressive teacher or performer. At the present
moment a “Spanish” something-or-other is claiming attention, on grounds
which, examined closely, consist in a drawing of one foot up to the
other, with a slight accompanying body movement. Spanish dancing does
use this movement, it is true. So does the _One-Step_; the _Turkey Trot_
had it on its birthday. Examples of such efforts might be multiplied,
but one is sufficient to show the needlessness of concern over strange
and unproved titles.
The steps and figures hereinafter described are standard. The list
cannot be complete, since the _Tango_ alone has figures to a number
variously estimated at from about fifty to more than a hundred; nor is
it desirable that it should be. Many of those figures are wholly alien
to the true _Tango_ character, contribute nothing of beauty or interest,
and might well be allowed to perish. Others are of such slight variation
from basic forms that they can be learned in a moment by any one
familiar with the principles. Embellishments are easily added, once the
structure is solidly built.
The instruction that follows was prepared under the careful supervision
of a teacher whose good taste is unquestionable and whose broad
familiarity with dancing in all its aspects qualifies him to foresee and
estimate tendencies with extraordinary precision: Mr. John Murray
Anderson, previously introduced in these pages in connection with the
old court dances. The photographs illustrating the text were made from
the work of Mr. Anderson with his partner, Miss Genevieve Lyon;
collective possessors of a favourable and growing popularity as
performers. These photographs may be studied with full reliance upon
their value as guides to the style of each of the dances described.
To the beginner, the diagrams and text will serve as a grammar, by whose
guidance the steps can be put into practice. Familiarity will accustom
the limbs and body to the mechanism of the steps, and the mirror will go
far in revealing the faults inseparable from any new undertaking that
requires skill. At that point the photographs have their special value.
As soon as the student is reasonably conversant with his grammar, he
should begin to avail himself of opportunities to put his knowledge to
practical use. Also, if he wishes to dance with distinguished grace and
style, he should put himself for a term under the eye of a capable
teacher. Ambitious professional performers, possessed of the knowledge
and skill derived from years of concentrated study of their art,
periodically submit themselves to rigourous coaching. The amateur,
though measured by much less exacting standards, has commensurately
less preliminary training on which he may depend to give him the
qualities that make for graceful execution. No dancer can see his own
work truly. All need at least the occasional oversight of a skilled eye;
and a teacher’s experience in detecting the causes of imperfections
enables him to cure them in a minimum of time.
The figures (_enchainement_) composing the new dances have no set order
of performance; their sequence is at caprice, usually suggested by the
music. Nor is there yet any indication that their increasing number has
reached its limit. Every one is at liberty to test his powers of
invention and composition, to experiment with the adaptation of steps of
one dance into another, and, in general, to give play to his
individuality. But, to hasten the uniform acceptance of a certain set of
figures as a standard basis of each dance, it would be best to postpone
indulgence in fantasies until after the subjoined figures have been
learned. At present the progress of the _Tango_, in particular, is
hampered by the fact that hardly two people in the same ballroom will be
found in agreement as to what steps constitute that dance. And, as noted
before, a preliminary learning of the fundamentals will enable him who
dances to decide intelligently what new steps may be added to a dance
appropriately, and what are out of harmony with that dance’s character.
(The discussion of theme, in the chapter on ballet technique, deals with
composition of steps.)
Explicit verbal description of steps is possible only by use of the
accepted designations of positions of the feet. If they do not impress
themselves on the memory clearly, the reader should by all means copy
the diagram on a separate slip, and keep it before him as he
experiments with the translation of text and diagram into practice of
the steps.
[Illustration]
It will be seen that the designations of positions differ from those of
the ballet in the respect that the feet “toe out” at an angle of 45° to
an imaginary line of advance, instead of the 90° prescribed by the
classic ballet. Modifications of the simple positions, such, for
instance, as anterior or posterior position of either foot, open or
closed position, etc., will explain themselves readily.
The relative positions of partners are (1) closed position, (2) side
position, and (3) open position. Closed position is that of the
individuals facing each other, shoulders parallel, each looking over the
other’s left shoulder, the man’s left hand holding the woman’s right
hand, and his right hand on her back. Side position moves the figures
(holding each other practically as before), each to his left or each to
his right, far enough to take each away from in front of the other.
Coming toward the spectator, the couple in side position shows the width
of both bodies. Open position places the man and the woman side by side,
facing in the same direction, joined by his hand on her waist, or by
holding hands.
Necessary preliminaries disposed of, we are ready to proceed with the
actual mechanism of the dances, of which the first to be considered is
THE ONE-STEP
1. THE CASTLE WALK (invented and introduced by Mr. and Mrs. Vernon
Castle). This is a walking step of direct advance and retreat, not used
to move to the side. The couple are in closed position, the woman,
therefore, stepping backward as the man steps forward, and vice versa.
The advancing foot is planted in fourth position, the knee straight, the
toe down so that the ball of the foot strikes the floor first. The walk
presents an appearance of strutting, although the shoulders are held
level, and the body firm; a sharp twist that punctuates each step is
effected by means of pivoting on the supporting foot. The shoulder and
hip movements that originally characterised the “trot” are no longer
practiced.
In all the following floor-plan diagrams, the right foot is indicated by
solid black, the left foot by outline.
2. THE TURN is a walking step, pivoting on one foot to change direction.
[Illustration]
The right foot comes from the preceding step to the place of starting;
while it makes two successive long steps (1, 2) the left foot turns “on
its place.” The turn’s completion brings the right foot into anterior
fourth position. The woman’s steps are the converse of the man’s, her
left foot making the long steps, while her right foot turns on its
place. The turn gains smoothness by means of allowing the right knees to
touch each other lightly.
3. THE DIP. Starting with (say) the right foot in posterior fourth
position: during the first beat, sink (for form see photograph); on the
second beat, rise, transferring the weight to the left (advanced) foot,
gliding the right foot up to third position, on arriving at which it
instantly receives the weight again, if the dip is to be repeated. In
that case the left foot again glides to anterior fourth position, and
the step is effected as before. Frequently several dips are made in
succession. They often succeed a turn, the latter’s finish leaving the
feet in appropriate (fourth) position for the purpose.
The dip is executed in any direction, with the performers in any
position of the couple. It occurs in other dances, but its technique is
always the same.
4. THE GRAPE-VINE is an alternation of second and fourth positions of
the feet; one foot travelling sidewise on a straight line, the other
foot going from anterior to posterior fourth position, and vice versa.
The step travels to the woman’s right (the man’s left), without turning.
[Illustration]
The man’s steps are the converse of the woman’s, he starting with his
left foot. The step is executed in closed position of the couple, and is
usually performed several times in succession.
The arrival of the feet in fourth position (i. e., the steps marked “2”
in the diagram) is usually punctuated with a slight dip.
5. THE ONE-STEP EIGHT, so called from the number of beats it occupies,
is distinct from the _Tango Huit_, described later, which describes a
figure 8 on the floor. The eight of the _One-Step_ is a simple walk,
with turn.
[Illustration]
The man’s steps are the converse of the woman’s; she pivots on her right
foot, he on his left foot. Executed in closed position of the couple.
[Illustration]
6. THE SQUARE, originally a _Tango_ figure, is equally effective in the
_One-Step_. From posterior third position, the right foot steps to (1)
anterior fourth position; left foot glides to (2) second position; right
foot glides into (3) first position; left foot steps back to (4)
posterior fourth position; right foot steps to (5) anterior third
position. It is usually repeated several times. Executed in closed
position of the couple.
Execution of the figure occupies two measures of music; steps done in
half-time are indicated by the word “and,” instead of a number. The
learner will find it useful to chant the count aloud, avoiding stress on
the half-count of “and.”
Let it be understood that the word “and,” used in counting, has the
above significance in descriptions to come.
7. A figure whose execution occupies three measures. The steps of the
first bar are quick, those of the second slower; the difference of speed
should be emphasised.
[Illustration]
First bar: As the left foot crosses over to “3,” it will be noted that
the next placement of the right foot is marked “and”; this is done
because the time occupied by the little movement is only one-half beat.
In practice the steps are counted, _one_, _two_, _three_ and _four_. The
left foot’s step marked “4” is a _coupé_; as the foot is planted, it
displaces the right foot; which takes a position extended to the rear,
raised from the floor.
Second bar: The space between the last place of the right foot in the
first bar and its place in “1” in the second bar, does not represent
proportionate progress across the floor; the steps of the three bars are
diagrammed consecutively, to avoid the confusion of superimposed lines.
On count “1” of the second bar, advance the right foot from its raised
posterior position to anterior fifth position. Fill in the count of “2”
with a slow advance of the left foot to fourth position, which it
reaches on count “3”; upon which it receives the weight, the right foot
simultaneously being raised from the floor in posterior fourth position
on count “4.”
Third bar: On “1,” plant the right foot in posterior fourth position and
slowly sink the weight back on it; on “2,” glide the left foot back
slowly (3) to reach third position on count “4.”
The figure is executed in open position of the couple. Its manner is
smooth, without dips. It is usually repeated several times in
succession.
[Illustration]
8. THE MURRAY ANDERSON TURN: a turn _en arabesque_. The man crosses the
right foot in front of the left, and transfers his weight to it (i. e.,
the right foot). Simultaneously the woman, holding his hand in her hand
(open position of couple), begins a walk around a circle of which the
man’s right foot is the centre. As his legs “unwind,” he rises to the
ball of the right foot, extending the left leg easily to the rear (see
_arabesque_, chapter on ballet technique) and raising the left foot from
the floor.
The woman’s walking movement should be smooth rather than accented.
After repeating the turns _ad lib._, it is found that the _One-Step
Eight_ follows harmoniously after the turn.
9. A cross-over with a woman’s turn. This figure looks complicated in
the diagram and in performance. As a matter of fact, it is not
especially difficult.
[Illustration]
The diagram represents the cross-over, which precedes the turn. The turn
is described in words.
In preparation for the cross-over, the couple changes from closed to
side position, the man on the woman’s left. The man’s steps are the
converse of the woman’s; and his travel back and forth counters hers, so
that the two pass and repass--in the side position of the couple, he is
now on the her left side, now on her right, and so on.
Keeping track of the woman’s steps on the diagram, read the man’s steps
one by one, correlating them with the woman’s.
[Illustration: DEVELOPMENT OF AN ARCH “À LA PIROUETTE”
Cross to right (1)--
Cross to left (2)--
Start of turn (3)
To face page 282]
[Illustration: THE “ONE-STEP”
The _Kitchen Sink_; position of couple (1, 2)
THE “BRAZILIAN MAXIXE”
Characteristic position of advanced foot (3)
To face page 283
]
After taking side position on the woman’s left, the man takes two
walking steps forward, _right_, _left_; crossing the right foot in front
of the left, he changes to the woman’s right side. Still walking
forward, _right_, _left_, two steps bring him to the end of the third
measure. Finish in first position of the feet.
Note: In the work of both man and woman, the turn in the first two
measures, and the half-turn in the third, involve only simple walking
steps, plus a pivot to change direction. The interaction of arms
suggests itself in practice.
The fourth bar marks the woman’s turn--or _pirouette_, as it is often
and usually mistakenly called. The man’s left hand holding the woman’s
right hand, the woman executes a turn--a real _pirouette_ (q. v.) is
permissible--under the man’s raised left arm, finishing in closed
position of the couple. (See photographs.) The turn under the arm is
sometimes called the a_rch à la pirouette_.
10. A woman’s turn, varying the preceding, with which it is identical up
to the end of the second bar.
Having completed the turn occupying the first and second bars, the woman
lets go her partner’s hand and walks around behind him, completing the
circuit in four steps. These must be measured so that the fourth step
brings her into readiness to go into closed position of the couple; and
timed so that, after going into closed position, the couple has neither
to wait nor to hurry in order to move with the next beat.
During the walk around, the woman lightly glides her left hand around
the man’s neck. The man remains stationary, his left arm extended
horizontally before him. The woman’s right hand takes the man’s left
hand as she comes into closed position.
The foregoing movements of the _One-step_ must be executed not only with
fine regard to rhythm, but also to continuity. If they are not made to
flow one into another, the effect is jerky and uncertain-looking.
THE BOSTON
The distinguishing step-combination of this very attractive dance is
complete in one measure. Its essence is in a certain effect of
syncopation, secured by keeping the weight on the same foot through two
successive beats--contrary to the practice of transferring the weight
with each beat, as in the old _Waltz_. Another peculiarity of the
_Boston_ is the carriage of the weight counter to the line of direction
of travel, giving an effect of holding back. The dance is performed with
deliberation; its execution aims at a rather grand style.
The dip characteristic of and named for the _Boston_ is, in execution,
the same as the dip described in connection with the _One-Step_ (see
photographs). The management of a sequence of dips as they occur in the
_Boston_ is, however, a matter for special attention, which will be
given it in its place.
1. The essential step:
[Illustration]
On count “1,” the entire weight is thrown upon the right foot; and there
it continues through the remainder of the bar. On count “2,” swing the
left foot forward into anterior fourth position, straightening the left
knee, touching the floor with the point, as far forward as is possible
without taking any of the weight off the
[Illustration: THE WALTZ
A position of the couple in the _Waltz Minuet_ (1)--Correct position of
man’s hand on woman’s back (2)--A position also assumed in the _One-Step
Eight_ (3)--A Dip (4)
To face page 284]
[Illustration: THE WALTZ
Showing correct positions
Of couple (1)--Of feet, in short steps (2)--Of feet, in Dip (3)--Another
view of the Dip (4)
To face page 285
]
right foot; meanwhile the right foot rises to the ball. On count “3,”
lower the heel of the right foot to the floor.
Turn by pivoting on the supporting foot, continuing to touch the point
of the free foot to the floor.
In the bar that follows, the left foot takes the first step, as before.
To accomplish this the weight must be kept on the right foot.
2. The step backward is the converse of the foregoing. The diagram
indicates, as start, the position in which the feet were left by the
preceding step.
[Illustration]
For the sake of simplicity, the diagrams indicate a straight
advance-and-retreat movement. It will be understood that, in practice,
this is varied to effect turns, i. e., by pivoting on the supporting
foot.
The execution above indicated applies to the _Long Boston_. In the
_Short Boston_ each beat is--or was--made the equivalent of two counts
for the feet. The resulting jerkiness and lack of sweep excluded the
_Short Boston_ from any lasting popularity.
3. The BOSTON DIP is, in practice, a series of three successive dips,
executed in reverse turning movement. Each of the three occupies a whole
measure, and a fourth measure is used in returning to the regular
_Boston_ walking step.
In putting the step into practice from the diagram, the student will
greatly simplify the process by chanting the count: _right’_, left,
right; _left’_, right, left; _right’_, left, right, etc., accented as
indicated, on the first beat of each measure. Because the foot
designated by the accented count receives the weight; and the more
nearly the disposal of the weight can be made to take care of itself,
the more attention the student has for other details.
[Illustration]
The dip begins on the first beat, completing the recovery on the third.
It always is made with the right foot in posterior position. In fact,
the right foot does not get out of posterior position. Now, on measures
where the left foot takes the first count, as in the first measure
(above diagram) this is easy. But in alternate measures the right foot
takes the first beat, and just here begins confusion from which few find
any escape except by means of practice. Perhaps owing to a rhythm that
the dip has in common with the old _Waltz_, the right foot has a
tendency to go, in its turn, into the anterior position. But it must be
kept back. It must be kept, broadly speaking, on the outer of two
curving paths, of which the left travels the inner. Note the appearance
of this on the diagram showing turns.
If the learner succeeds, at this point, in performing the dip to the
satisfaction of a candid and intelligent critic, let him by all means
proceed to the next section, praising Allah for the gift of facility. If
not, let him be cheered by the fact that it is as difficult for any one
else as for himself. A semblance of it is easily acquired. To insure
reality, return to the figure on page 286.
Observe that in bars where the right foot takes the first count (the
even-numbered measures, beginning with the second) the right foot does
not step out in advance of the left foot. Instead, it sweeps out to the
_side_; the movement is accompanied by pivoting on the left foot. A
short step of the left foot to place “2” marks the cadence and preserves
its anterior fourth position. On the other hand, in measures where the
left foot takes the first count, it keeps its anterior position almost
automatically.
[Illustration]
As an added expression of the difference of treatment between the
alternate measures, it is here reduced to the form of a straight
advance.
The _Boston Dip_ carries with it the possibility of beauty commensurate
with its difficulty. On the other hand, its good execution is none too
common. The exhilaration that attends its performance appears,
sometimes, to flatter the performer into a belief that his style is as
agreeable as his sensation. It is, therefore, more than others, a step
in which every one should submit his execution to rigourous and
intelligent criticism.
4. An embellishing _enchainement_, complete in six measures, of which
each is filled by one step.
Until the “6” count, the figure represents a straight advance and
retreat. The diagram departs slightly from that form in order to avoid
the confusion of superimposed lines.
[Illustration]
As an aid, count as follows: Step,’ Dip,’ Point’-dip, Step,’ Dip,’
Turn.’ Turn in the regular direction, not in reverse; and accompany the
turn also with a dip.
In the third measure, the left foot recedes quickly from its anterior
position (where it points) to its posterior position. In the third,
fourth and fifth measures, note that the left foot makes three
successive movements.
5. Another embellishment. Without turns, its theory is as follows:
[Illustration]
Each count represents one measure.
With turns included, the figure works out as follows (for instance):
[Illustration]
The couple is in closed position. The above diagrams represent the man’s
steps; the woman’s are the converse.
Repeat at will.
THE HESITATION WALTZ
This new evolution preserves all the charm of the old-fashioned _Waltz_,
and by means of certain embellishments has given it new life and
interest.
1. Its THEME is readily understood by means of a diagram:
[Illustration]
This key step is complete in two measures. It will be noted that the
first measure is devoted to a walking step.
Elevation: the “1” beat in the second bar is accompanied by a slight
dip. Toward the last of the second bar the dancers slowly draw
themselves up until, on “3,” they are raised to the ball of the
supporting foot. The man’s right leg, as it draws the right foot up to
place “3,” is distinctly relaxed.
Note, in the second bar, that the right foot continues to move during
the second beat.
The step is performed in either open or closed position of the couple.
If the former, the woman’s steps are identical with the man’s; if the
latter, the converse. If in open position, the travel is forward.
To turn in the regular direction, the step indicated in the second
measure is in use.
2. THE REVERSE is effected by an alternation of _Boston Dips_ with an
equal number of measures of old-fashioned _Waltz_ (see _Boston Dip_).
Dip in measures where the right foot is in posterior position without
aid of a shortened step or of a left-foot pivot; in other words,
measures in which the right foot is forced into posterior position.
3. A variation of the theme:
[Illustration]
For convenience, count the time: _one_, two, three, _pause_. On the word
“pause,” throw the weight strongly on to the left foot, the right
remaining easily in second position with the edge of the sole resting on
the floor.
In repeating, move at right angles to the direction followed in the
preceding measure. The man’s direction turns toward his left, the
woman’s toward her right.
4. The LYON CHASSE: an effective figure in open position of the couple.
Complete in one measure; advantageously repeated several times.
[Illustration: THE “TANGO”
Mr. Anderson and Miss Lyon
Characteristic style (1, 2, 4)--Woman circles man (3)]
[Illustration: THE “TANGO”
Characteristic style
To face page 291
]
[Illustration]
Count _one_, _two_ and _three_.
Description of the man’s steps: Advance right foot to fourth position,
where it receives the weight (1); cross left foot over in front of right
foot, pivoting on the latter with the swing of the left foot, so that
the left foot when planted is in anterior fourth position (2); cross
right foot behind left (and) step out with left foot in the direction of
starting. The travel effected is a straight advance.
The woman’s steps are the converse of the man’s, bringing the couple
face to face on “2.”
THE ARGENTINE TANGO
To some people the _Tango_ seems to be an object of suspicion. In a
previous incarnation, three or four years ago, it did, in all
likelihood, fall short of the requirements for acceptance in Anglo-Saxon
ballrooms. Yet, notwithstanding the correction of its shortcomings, or
the transformation of them into virtues, there lingers a semifashion of
nagging at it. Of those volunteers for its reformation who make specific
complaints, no two factions have a point of belief in common; the
factions are numerous, and their observations not very logical. Indeed,
it would be illuminating as well as entertaining if dictagraphic reports
could be collected, of all the discussions the _Tango_ has inspired
since its introduction in Paris. Such reports should be given to one of
the serious-minded critics of the dance for compilation, with his own
comments. “The movements employed in the _Tango_, soberly viewed as a
measure of respectability”--some such title as that the treatise should
have, to be representative of a species of misgiving of which expression
has not wholly subsided.
It is time that the ghost should be laid, since the _Tango_ is now, and
has been for a year or more, a beautiful and irreproachable
dance--assuming, of course, its performance in the clean spirit usually
found in good society. Any dance can be made suggestive or offensive. So
can walking. But that is no reflection on the intrinsic quality of
either dance or walk. The measure of the beauty or character of a dance
is to be found in the movements which, by common acceptance, that dance
prescribes; a rendering that departs from those movements fails to
measure those attributes, in so far as it violates the accepted form.
Now, a couple of specimens of the movements that bring criticism upon
the _Tango_.
Of its characteristics, one is a manner of touching the point to the
floor, the foot pointing straight forward; followed by a quick raise of
the foot, the raise accompanied by a turn outward of the heel. The
effect is, undoubtedly, exotic; that is part of its charm. It is
criticised, however, on grounds of respectability!
One more movement carries this offending step to the attention of a
wholly different set of censors. These latter have found no fault with
the touch of the foot to the floor in (say) second position, and its
raise in the indicated manner. But now, the same foot moves back to
fourth position. Just that. The same old fourth position, without
innovation or adornment. And thereupon, with all seeming earnestness,
the second informal committee of censors protests on grounds of
respectability! Why? Is it because, in coming to that fourth position,
two steps were taken in succession by the same foot? No, that is not it;
it seems that fourth position is at fault, per se.
The character of the objections suggests the existence of an
apprehension that an unqualified acceptance of the _Tango_ would be
risqué. There is no other explanation for the hostility, under present
conditions of the dance. Yet, idle as are the objections, they cannot be
quite overlooked. A certain number of vacillators are listening now to
one voice, to another to-morrow: however great or small their influence,
in ratio to its strength it will tend to denature a product that now has
a flavour to interest discerning taste, yet hardly to imperil the
weak-headed.
Dropping the above issue, the _Tango’s_ trick of the foot continues to
be interesting; this time in relation to the interest of character. The
sharp in-twist of the foot is one of the points of individuality both of
the _Tango_ and the dance of the Arab. Now, probable family relationship
puts the _Tango_ under no obligation to family traits, for the sake of
family dignity; that is beside the point. But, in its own interest, the
_Tango_ would do well to take a careful look at the work of the Arab, to
see that it is deriving equal profit from the same resources. Which it
is not. By current usage (in the United States at least) the _Tango_
makes a practice of toeing forward, or even in, to an extent that is not
only monotonous, but which robs the quick in-turn device of the value of
surprise. The Arab woman, on the other hand, places her feet at a
natural angle; moreover, she precedes the sharp turn-in with an outward
turn sufficiently marked to give the former a telling contrast. The same
is true of the _Flamenco_ dances in Spain. Their superior use of the
trick justifies attention on the part of those under whose influence the
new dance is determining its final form.
In point of merit, the _Tango_ measures up to a standard which, though
by no means a true measure of quality, has a certain practical value: it
is sufficiently picturesque to cover the faults of a half-good dancer.
Conversely, as a vehicle for the equilibrium and style that unite in a
very good dancer, it is not excelled by any social dance of modern
times.
It should be noted that the most suitable music is among the
compositions of the Argentinos themselves.
1. THE TANGO WALK (Spanish, _el Paseo_; French, _la Promenade_) is used
as a variety to figures. The man moves forward, starting with the left
foot, the woman backward. The step brings the advancing foot to position
squarely in front of the supporting foot, both (by the present mode)
pointed straight forward. The full weight is transferred to the advanced
foot as soon as possible, the knee of the leg in posterior position
promptly relaxed, the posterior foot resting, for a moment, lightly on
the point. The step in advance is made with a light gliding movement.
In turning, follow the reverse direction invariably.
Technique of the step backward: Start the foot with a glide, letting it
rise from the floor toward the end of the step, meanwhile toeing inward;
plant the foot squarely to the rear of the supporting foot. At the
moment of placing the retreating foot, the knee of the advanced leg is
relaxed, and the advanced foot is turned
[Illustration: THE “TANGO”
The two upper pictures represent phases of the “Scissors” figure. The
two lower show characteristic style of the “Tango”.
To face page 294]
[Illustration: THE “TANGO”
The Reverse (semi-open position) (1)--The regular Tango walking step
(2)--[1 and 2 apply also to the _One-step Eight_]--Style of movement
(3)--Position of hands sometimes assumed to emphasize the end of a
phrase (4)
To face page 295
]
inward, the heel remaining placed as a pivot. The same directions apply
to man and woman.
2. THE CORTE.
[Illustration]
Starting in first position: Put the weight on the right foot (1); step
forward with the left foot, quickly bringing the right up to third
position, both steps accomplished on (2); bring the left foot back to
fifth position, rise on balls of feet (3), drop heels to floor with
_plié_ of knees (4).
The second measure finds the right foot in anterior fifth position. The
first beat brings it back to posterior fifth position and throws the
weight upon it. Continue same as first measure.
3. THE SCISSORS. (Spanish, _las Tijeras_; French, _les Ciseaux_.)
[Illustration]
The “1” count is marked by a touch-and-turn of the foot; touch the point
to the floor, and instantly raise it, sharply, throwing the heel out;
set foot on place “2.”
With the turn of the foot, allow the hips (but not the shoulders) to
turn also in such manner as to bring the right foot, for the moment,
into posterior fourth position. This applies to beat “I.” “Ia”
represents the pointing of right and left foot respectively.
A variation of the same is effected as follows:
[Illustration]
Turning may be accomplished by (a) the man crossing the right foot over
the left, and (b) the woman “unwinding” him by moving around him
executing scissors steps, turning to her right. Done in closed position
of the couple.
4. THE MEDIA LUNA (French, _la Demi-lune_).
[Illustration]
Start in first position. Right foot to anterior fourth position (1);
left foot to second position (and) right foot glided to first position
(2). Left foot to posterior fourth position (3); right foot to second
position (and) left foot to first position (4).
The place and position of start and finish are identical.
5. THE EIGHT (Spanish, _el Ocho_; French, _le Huit_).
Start in first position. Cross right foot in front of left (1); bring
left foot to first position (and) right
[Illustration: THE “TANGO”
The Corte (1)--Characteristic style (2)--A variation (3)--Start of a
turn (4)
To face page 296]
[Illustration: A “TANGO” STEP
Man’s foot displaces woman’s (1)--Woman’s foot displaces man’s (2)--Each
displaces the other’s foot (3)
To face page 297
]
foot to posterior fourth position (2); cross left foot over in front of
right (3), right foot to first position (and) left foot forward to
fourth position.
[Illustration]
Executed either in open or closed position of the couple. In the latter,
the woman’s steps are the converse of the above. In open position the
same steps are used by both partners; their travel describing a zigzag
figure.
6. A WALTZ TURN. To change from one figure to another, the couple may
make several turns in reverse direction, by means of _Waltz_ step.
[Illustration]
First measure: With the rise on the left foot, the right foot would best
be considered, for simplicity’s sake, as leaving the floor, and
remaining in the air until “1” of the second measure.
Second measure: On “1,” the weight goes back upon the right foot;
consider the left foot in the air, until “1” of the third measure.
Third measure: Same as first measure.
Fourth measure: Cross right foot over left foot and simultaneously rise
(1); hold the position until “2.” Sink with sufficient _plié_ to give
softness of movement. Pick up the right foot smartly at the end of the
last measure in which this step is used.
In character with the _Waltz_, the above movements are made to flow
together in execution. But a thorough grasp of their sequence must be
acquired primarily.
The turn is used to separate _enchainements_, in the manner of the
reverse of the _Hesitation Waltz_, to which it is analogous in
structure.
7. An easy step.
[Illustration]
On “3,” bend the right knee, at the same time slightly raising the left
foot from the floor (posterior fourth position). On “4,” pick up left
foot sharply.
In execution, pivot on supporting foot, to turn in regular direction.
[Illustration: A NORTH AMERICAN FIGURE IN THE “TANGO”
Preparation (1)--After the twist (2)--Finishing with a Dip (3)
To face page 298]
As the right foot does its touch-and-turn, incline the body away from
it; and vice versa. Note same as a _Tango_ principle.
8. The same, to the rear.
[Illustration]
In this and the preceding figure, “2” indicates the _Tango’s_ manner of
touching the point to the floor and quickly raising the foot, at the
same time turning the heel out sharply. This (a) bends the knee and (b)
throws the hip slightly forward. Give reasonable play to both
tendencies.
9. A North American figure, used principally by exhibition dancers.
[Illustration]
Start in first position. Advance left foot to fourth position, _stamp_
(1); advance right foot to fourth position, keeping it in the air (2);
a _rond de jambe_ half-turn, very fast, pivoting on left foot, to bring
right foot to anterior fourth position (3); very low dip or kneel (4).
Exhibition dancers frequently adorn the _rond de jambe_ with a little
circle (from the knee as pivot) described by the foot, executed during
and without interrupting the big sweep. The little movement adds dazzle
to the rapidly executed big movement.
Performed in open position of the couple. The half-turn brings them
about-face, facing each other in the course of turning. (See
photographs.)
10. EL VOLTEO (the Whirl) is the name of a figure of which descriptions
come from Paris. The mechanism of the step is identical with that of the
grapevine of the _One-Step_.
THE BRAZILIAN MAXIXE
This is, virtually, a revival of the _Two-Step_, plus certain _Tango_
steps and _enchainements_. Instead of the _Tango’s_ touch-and-turn-in of
the foot, it employs a device of resting the heel on the floor, the foot
pointed upward, while the body assumes a bent-over posture not
particularly attractive.
[Illustration: THE FIRST STEP.]
As in other present-day dances, usage requires no set sequence of
figures.
1. Execute the first measure with the body somewhat supple, and a good
deal of rise and sink in the steps. The effect may be varied by
inclining the body rather sinuously from side to side.
2. A FLYING TWO-STEP: a two-step in which the advanced foot points
upward, touching the heel to the floor--except on turns. Continue as
many measures without turning as is found interesting; eight are not too
many.
[Illustration: ANOTHER STEP.]
3. Man’s steps: Starting in first position, advance right foot to fourth
position (1); glide left foot to second position (2); glide right foot
to posterior third position (3); carry left foot to posterior fourth
position, pause _en attitude_, _and_, plant it, transferring weight to
it and raising right (advanced) foot, point down (4).
Woman’s steps: Advance left foot to posterior fourth position (1); glide
right foot to second position (2); glide left foot to posterior third
position (3); plant right foot in anterior fourth position _and_ raise
the left foot from the floor (4). During the pause on “4,” the woman
leans slightly forward.
Until the third beat, her steps are the converse of the man’s. Then, it
will be noted, her position becomes the same as the man’s: each, through
a half-beat, is supported on the right foot, the left extended back _en
attitude_. The count of “4” again finds the couple in converse
positions, the man’s right foot being pointed forward while the woman’s
is extended back.
4. AN ARCH A LA PIROUETTE. Holding his partner’s right hand in his left
hand, the man executes four polka-steps forward; while the woman, by
means of four polka-steps, makes a complete turn toward her left. The
engaged hands are raised to allow her to pass under the arms.
5. Miscellaneous. The foregoing may be varied with slow walking steps,
one to each measure; running steps, two to each measure; and
polka-steps, with a dip on the first beat.
Owing partly to its facility, the _Maxixe_ is likely to be remembered as
of the group whose spread over the Occident has represented a striking
social phenomenon. Of the _Maxixe_, the _One-Step_, the two _Waltzes_
and the _Tango_, the leap into popularity has been so incredibly sudden,
and the popularity so far-reaching, that it suggests a great, curious
story; a story with dances and nations as characters; a story whose
capacity for surprises is so well proven that all the world keeps asking
itself, “What next?”
That the tendency is not in the direction of the grotesque is evidenced
in the history of the _Turkey Trot_.
So far the layman may read for himself. For more definite opinion, we
turn to those who, by intimate association with the art in the capacity
of teachers and performers, are situated to observe the attitude of the
public toward the art; and who also, by virtue of a broad
[Illustration: THE “BRAZILIAN MAXIXE”
Characteristic style (1)--A Dip (2)--Variations (3, 4)
To face page 302]
[Illustration: THE “BRAZILIAN MAXIXE”
Preparation for a turn (1)--Finish of a turn (2)--Characteristic style
(3)--A Dip (4)
To face page 303
]
knowledge of dancing, are capable of relating their observations to
choreographic geography and history. Madame Pavlowa, of the world; Mr.
Anderson, now of America; and Miss Nellie Chaplin of London, have
committed themselves definitely as to future probabilities; and with
their opinion authorities generally are in full agreement. To the effect
that:
The dances of the seventeenth-century courts are the objective toward
which present-day steps are moving directly. They are a part of the
curriculum of Miss Chaplin’s famous London school. A _Gavotte
Directoire_ presented by Madame Pavlowa, one of her most popular
numbers, seems the very spirit of modernism. She expresses the belief
that the _Russian Gavotte_, in which is preserved the courtly spirit, is
destined to wide acceptance. Mr. Anderson demonstrates points of step
and style that link together most convincingly the old and the new.
Familiarity with the court dances is the dominant influence in his
treatment of the dances of to-day; and the significant part of it is
that the essential modernism of his manner, in steps rapid or slow, lies
in a poise which, until yesterday, was supposed to be old-fashioned.