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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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 arch 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:
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
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.
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.
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.
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.
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:
Each count represents one measure.
With turns included, the figure works out as follows (for instance):
The couple is in closed position. The above diagrams represent the man’s steps; the woman’s are the converse.
Repeat at will.
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:
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:
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.
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.”
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
inward, the heel remaining placed as a pivot. The same directions apply to man and woman.
2. The Corte.
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.)
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:
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).