Dancing made easy

Transcription

Dancing made easy

DANCING
MADE EASY
MnMWHMHHMMM
CHARLES
J,
COLl
DANCING MADE EASY
\
fDat)c Ea0i? Seriea
DANCING
MADE EASY
BY
CHARLES
J.
COLL
AND
GABRIELLE ROSIERE
New
and Revised Edition
NEW YORK*
EDWARD J. CLODE
COPYHIGHT
EDWARD
I919, 1922
J.
BY
CLODE
Entered at Stationers' Hall
PSINTEO IN TH£ UNITED STATES OF AUEXICA
Music
LiLirary
\ns\
FOREWORD
1459755
FOREWORD
It
ject
not the purpose of this book to pro-
is
any novel system of teaching dancing
or to advocate any unique dances.
it
is
Rather
a painstaking effort to reduce to the
simplest
possible
and
method
to
an
terms
treat
authoritative
merely with
those
dances which have become established and
standardized.
Many
dance publications were examined,
and while
interesting in themselves appeared
to present a discouraging
aspect
when they moved
intention
to
instruct.
if
not formidable
to
the
Replete
avowed
with
the
usual dance formulas, a headachy rotation
[II]
DANCING MADE EASY
of
such
steps,
would seem to
tanglefoot
daunt the most venturesome of beginners.
Through an experience of
and more
in teaching dancing,
I
years
thirty
have steadily
held that to learn easily one must begin to
enjoy at once.
So that the novice
be asked to plunge headlong
most
—
into material that
— or
might
will
not
feet fore-
easily
be
depressive.
The diagrams herewith have been
devised
with great care to throw a more kindly light
on the sometime
— but
not always
cate measures of the dance;
glance,
—
intri-
to make, at a
the mechanics as comprehensive as
possible.
Briefly,
place
it
I
propose to raise your foot and
in the correct rotation of the
dance
and to the beat of the music.
Moreover,
I will
presupp>ose
you innocent
DANCING MADE EASY
of the veriest rudiments of dancing, and of
music too, and at the
win be overprecise
in explanations.
Do you know what "tempo"
"glide"?
I
win
Of course
explain
redundant
risk of being
I
them
means, or to
know you may; but
carefully
sure!
C133
and make
CONTENTS
PAGE
Intrchjuctory
19
The Story of Dancing
The Waltz
31
55
Novelties, Marches, etc
6§
The Fox Trot
The One Step
73
87
Ramble
90
The Waltz
The Paul Jones
97
11
Marching
113
Novelties
139
The Canter
The Schottish Espagnole
Variations of the Fox Ttot
The Pivot
The Virginia Reel
The Octillion
163
167
173
179
185
195
Figures:
1.
Favor Figure
2.
The Cheat
The Parasol
The Fan
The Mirror
3.
4.
5.
any number dancing.
i
couple leading, 5 dancing.
i
couple.
i
couple.
i
couple.
CONTENTS
6.
7.
8.
9.
10.
1 1
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
2$.
26.
27.
28.
The Baby-doII
The Candle
Rounds of Three
.
.
.
i
i couple leading.
i
The Four-in-Hand
i couple leading, 5 dancing.
The Serpentine. i couple leading, others dancing.
The Flying Scarfs ... 2 couples leading, 4 dancing.
The Mouse Trap 2 coup>Ies leading, 4 dancing.
The Windmill
2 couples leading, 4 dancing.
The Butterflies. 3 couples leading, others dancing.
The Arbor
The Pyramids
The Zigzags
The Star and Circle,
.
.
.
.
.
The
The
The
The
The
The
The
The
The
The
.
4 couples leading, others dancing.
4 couples dancing.
Ninepins ... 6 couples leading, 3 extra men.
Pursuit
6 couples leading, 4 extra men.
Trap
Grab Bag.
.
.
.6 couples leading, 12 dancing.
Scissors
6 couples dancing.
Forfeits
all
dancing.
Basket
all
dancing.
.all
dancing.
Cat and Mouse
Promenade
Finale
all
dancing.
all
dancing.
An Entertaining Evening
231
Correct Position and Balance
249
Figures
257
The Toddle
The Camel Walk
The Variation Waltz
261
267
273
INTRODUCTORY
T)ancing
Made Easy
CHAPTER
I
INTRODUCTORY
You must
It
play.
has been said, and truly, that the play
of childhood
world.
It
is
is
the most serious thing in the
just
as serious
a matter for
your own concern and well being.
Clean
and
wholesome
healthful relaxation
dissolving
the
is
play,
temperate,
the infallible
of
mental and physical toxins
generated by our intense American
living
way
way
of
and working.
Dancing
is
the
soundly reasonable
perfectly
way open
C19]
natural
and
to your play.
DANCING MADE EASY
Primarily
we
dance
mcxierns
tx>
enjoy,
but we are offered meanwhile further material aids.
No
better exercise, nor one that has such
temperament
direct appeal to the feminine
and physique, and one that brings the physimachinery into such perfect coordina-
cal
tion could be advised.
And eminent
physi-
cians, authoritative guardians of our health,
They have recognized
have so advised.
service in unmistakable terms
us
many
fits;
of
its
significant things
assistance
by a
and rhythmic movement
and have told
about
of equal
its
bene-
synthesis of music
in the
treatment of
neuro-muscular diseases; and of
things
its
importance,
many
other
the limits
of
space alone precluding their further exposition.
But the physician
are peculiar
insists
that there
and profound reasons
for pre-
scribing music with exercise.
In short, dancing
when enjoyed
[20]
in
modera-
DANCING MADE EASY
tion
is
a peerless tonic, a promotion of health,
a router of Melancholia and
The
ills.
its
attendant
physician further recommends
it
as a beauty treatment, since to his keen eyes
beauty means health.
Modern
educators,
too,
now deem
fundamental part of our education.
it
a
Court-
grace of carriage, are but surface
liness, poise,
indications of a blossoming grace of mind.
virtues
these
and stimulates the mental
poise;
in
unconsciously
gracefully;
own
we
how
are taught
to stand;
how
how
to walk
to take our
part in self-conscious moments.
Dancing
It
dance
the
develops
Proficiency
is
promotes
a social and cultural necessity.
social
morality
and
properly administered the community
cialized,
self
when
is
humanized and made to express
spontaneously.
an actual
It is
fact that
soit-
not a prediction but
our public schools arc
including dancing on the regular school roster.
[21]
DANCING MADE EASY
A belief is
gracefulness
idea
is
unfortunately too prevalent that
is
wholly due to nature, but the
as far from the truth as that expres-
sion in
music
is
absence of great
wholly natural.
gifts,
In the
ordinary ability
may
much improved by training. With children the effort to move gracefully produces
be
a desire to be gracious
is
in
manner, and this
one of the best influences of the dancing
school.
stances
their
The
recurring
circum-
of their social intercourse
impress
mind
frequently
practically with
beauty of politeness.
the value and
When good
motions
are established, children should be allowed
to take lessons for a time every year so that
physical growth
The dancing
some
relief
the child
is
may
not create angularity.
lesson will serve as a whole-
to the activities of the brain
when
studying with the intensity neces-
sary to acquire a
modern education.
The manifold advantages
[22]
derived
from
DANCING MADE EASY
dancing as an exercise, the great delight
affords as
a recreation,
its refining
it
influence
on manners, are becoming each year more
fully recognized.
to give
Parents should be anxious
young people an opportunity to be-
come accomplished
may
It
in the graceful art.
not be in the province of the
present volume to pass at
much
length on
the adverse criticism of dancing.
The
puritan, the self-styled purist,
hath
ever railed at our least departure from his
"Dancing appeals to the senses
rigid laws.
only"
— he
exhorts us.
every art and
beautiful,
and
it is
is
To be
they should.
is
it
is
But then so does
eminently proper that
aesthetic, to love
to perceive through the senses,
a matter
for
our moral consciences
to select or reject that which goes to
up our philosophy of
taste,
things that are beautiful.
tient beings
what
make
our science of
And we
are sen-
and should not deny ourselves
[23]
DANCING MADE EASY
a
full
portion of happiness whenever
and
as moderate
Dancing
dancing.
and an
as natural
it offers
an impulse as
a form of expression,
is
and
exquisite one,
is
quite apart from
our morals.
"As a man
he"
— and
if
in his
hymn
sing a
there
if
it;
dance exposes
the
is
there be a latent grace the
dance visualizes
vulgarity
heart thinketh, so
be
it.
a
latent
One may
or fly a kite in an uncouth
manner.
Manifestly,
striving for proficiency in
in
the
dance we
and
finer ideals;
are
moving toward higher
a new
life
opens to us and
a keen sense of this truth should be in every
dancer's heart.
While
it is
true that the dances of a short
were heaped with abuse,
such
while
ago
abuse
was deserved and those who held
sacred the canons of propriety in the dance
were most lavish
in
that abuse.
[24]
It
were
DANCING MADE EASY
had
dancing
well;
tion
take
swept away and a dissipaFollowed an orgy of
place.
its
perversion, designedly so
dancer
by
instructor
Flagrant excesses
alike.
decadent
saw what had been
days, and the moderate
their recreation
upon
fallen
and
made a wan-
ton of the dance and the night was made
hideous indeed.
All
barriers
were beaten down and the
zoological packs were
Bunny Hug,
in
upon
Grizzly Bear.
some measure even
us:
Turkey Trot,
Undisciplined and
vicious,
many
of the
dances, or wriggles or contortions as they
should be called, that followed in the van of
these, well deserved the censure of all
good
p)eopIe.
A
hysterical
time
in
which the vogue
seemed to change over night; and incidentally
a golden harvest time
for
the
un-
scrupulous instructor.
But presently saner days came to us and
Z232
DANCING MADE EASY
through
this
acrobatic
bedlam
came the
Tango, the Hesitation, and other good
fluences to chasten
and redeem.
And
in-
this
process of reform formulated and established
what we accept as the Modern Dances,
[263
DANCING MADE EASY
L27I
THE STORY OF DANCING
CHAPTER
II
THE STORY OF DANCING
When
that
and
promised
happy mo-
ment comes, when you put your
best foot
forward to the measures of the dance, you
will
be doing so in a stately company.
Down
through the mist of ages the art of
dancing comes weaving
us,
its
tribal,
martial.
touched
in
story,
may
way
to
cadence burdened with race-old emo-
now pagan, now
tions,
graceful
its
find
life
at
For
religious,
is
it
many
it
an art that has
points.
Holy Writ you
between the
romantic,
will
In song, in
find
lines of
it;
you
a doctor's
prescription.
The
story of dancing really begins for us in
the gold and ivory days of Ancient Greece
— the golden age of dancing.
[31]
DANCING MADE EASY
It is
not a far cry to say that the Greeks
have dictated, with ahnost supreme authority,
the elements of logic and a large measure
of the thought-matter of every subsequent
To
age and great race of men.
time Ancient Greece
our intellectual
life;
her culture, with magical
into the very fiber of our
of
be a force in
will ever
has woven her ineffaceable appeals
fingers,
Since
the end of
mind and
universal, her art
it is
arts;
it
is
is
the greatest
and
understood
being.
accepted
without the shadow of controversy by
all
people.
The Greek
is
the genius of the beautiful.
He conceives and qualifies the ideality of
man and nature with a marvelous vividness,
and
his inspiration begins
and ends
in the
enthusiasm and love of movement in the living
form.
A
thought of Greece
the epics of
It is this
life,
is
a thought of
motion, and rhythm.
movement that he
[32]
lived,
he knew,
DANCING MADE EASY
he
that
felt,
he has idealized and made
sacred to himself and to us.
whose inner concept
It is his religion,
with un-
flashes forth
surpassed form in everything he has
posterity.
In
all his arts
scious of this love of
We
feel it in
left
to
he makes us con-
movement and rhythm.
the graceful lines of a vase,
it is
the motif of the designed figures thereon;
we see it
it
in the poise of his sculpture;
in the paeans to the
ways
life
Gods and heroes
and motion;
clamation of feeling
we hear
—
al-
the instinctive ex-
made
graphic; a gesture
that becomes prose.
To
philosophy
his
it
seemed imperative
that he strive to attain perfection in his
own
body, as well as in his arts; for the young
man
to be proficient in his sports was not
enough, he must strive to attain the ideal
that his
labors
mind
and throughout
beholds,
and diversions
this
ascendant.
Znl
idea
is
in
his
the
DANCING MADE EASY
The Greek gymnasia,
many, advocated the
of which there were
exertions
scientific
of
the body, and these exertions were rarely,
if
The dance was
ever, artificial.
favor with them, as
it
offered so
in great
much to
temperament and purpose, and
their
became
it
one of the essential courses of training.
In prehistoric days dancing had been merely
emotional, but
it
now
it
embodied a purpose;
was made to represent an idea
incite love or
stincts
— an idea to
hatred, to arouse warlike in-
and give actual training
for
express homage, worship, religion.
in play
and ended
war; to
It
began
in discipline.
Later on pantomime was invented, but
was never
so
much an advanced
it
art with the
Greeks as with the Romans.
The Greeks ranked
the dance with music
and poetry as a Greek expression has it, music
;
and dancing were "the married
—
happily married pair evidently
[34]
pair*'
for the
—a
Greeks
DANCING MADE EASY
were a cheerful people, whose sense of dignity
was not disturbed with
their dancing, as
was, for example, in the case of the
and
do
Orientals,
who bade
their dancing for
them
their morality remained
it
Romans
their hired slaves
— and
as long as
unshaken their dances
retained their purity.
From Greek
history of the
sculpture
we
get most of the
The
Greek dances.
Bracelet,
The Bacchanalia, The Hymenaea, The Labyrinth,
The Pyrrhic, these are but a few of the many.
The Pyrrhic dance shows,
an excellent
in
way, the twofold purp>ose of the Greeks.
was a warlike dance, which consisted
in such adroit
It
chiefly
and supple turning of the body
as represented an attempt to avoid the strokes
of a foe in battle, and the motions gone through
were considered a form of training for war.
It is
an amazing thing to
find
how
Greeks achieved in the musical
little
arts.
the
They
seemed content with a paucity of musical
[35]
DANCING MADE EASY
— some
notes,
feeble vehicle
four
in
—a
number,
rather
seems for those who applied
it
the principle of voluntary rhythmic motion.
As
far as
dance,
we may go
whether
into antiquity, every
belonging
to
civilized
or
savage nations, was accompanied by some
music or rhythm of a
even though
sort,
it
was but the beating of a drum, the clacking
of
shells,
or the clapping of hands.
At the very
seemed
earliest times, people
to have chanted
and danced
at the one time;
afterward the custom was for some to dance
while others sang, until eventually the invention of musical instruments took the place of
the voice and musical accompaniment became
an established thing.
It is
only possible to
list
the dances of
savage people in a general way.
folk dancing the social, warlike,
As
and
in all
religious
order obtains, and whatever differences appear
seem to
arise
from a mere
C36]
local significance
DANCING MADE EASY
— each
locality insisting
on interpreting
it-
self.
But they
that
is
all
have a patent
characteristic,
the exacting nature of the performance
and the absolute
seriousness with which they
go about their dancing.
They make
it
a
mighty serious business; the order of their
dance
and
it is
usually a grave
matter to make a mistake.
Indeed among
many
inviolable
is
tribes such offense
would be punishable
by death.
In
ment
all
eastern countries, where the temp)era-
app>ears phlegmatic, the dance
a pantomime, a
is
really
series of racial gestures, ex-
aggerated
postures,
However,
not
and weird
infrequently
we
mimicries.
see
some
danseuse, having heard and heeded the call
of the East, reviving the spirit of the exotic
dances,
with sometimes a reminiscence of
the Bayaderes of India, or the HuIIas of the
Sandwich
Isles,
or the Geishas of Japan.
[37]
DANCING MADE EASY
The Renaissance saw
•
ing as an art, as
it
many other arts.
the revival of danc-
beheld the awakening of so
Catherine de' Medici, bring-
ing the dance from Italy, introduced
in
it
France sometime in the fifteenth century.
And
it is
interesting to note that since that
time France has been preeminent
in
the
refinements of the dance and the quality of
their
She has adopted many
performers.
alien dances
influence;
and each and
all
show her benign
each has been immeasurably
creased in value.
Of
all
nations the
in-
modern
dance owes most to France.
History
spectacles
us
tells
and
of the
ballets given
gorgeous
by the
dent Richelieu to Louis XIII
kingly enthusiast
who founded
court
resplen-
— himself
the
a
Academy
of the Dance.
These court dances gave to the world some
of
its
tions.
most magnificent
musical
composi-
In fact the assemblies were often held
C38]
DANCING MADE EASY
— were
for the
music alone
cales.
And to this custom we owe the musical
suites of
essentially musi-
Bach, Handel, and Corelli.
Our extremely
elaborate Cotillion
is
merely
a development of the antique French
loriy
in
vogue during the reign of Charles X.
Then
and
is
Cotil-
there
refined
was the German Galop, modified
by the French, but the
Quadrille
probably the oldest of our modern and
There seems to have been
popular dances.
an analogy of
it
in
England as early as Wil-
liam the Conqueror.
At that time
it
was
supposed to have some significance in connection
with
a
game
of
cards
then
in
vogue.
We
hear of the waltz as early as 1795 and
the landers and polka and scbottische following
in a half century.
The
waltz
France as the
was danced by Henry HI of
volte
but
it
failed of popularity
until the nineteenth century.
C39]
DANCING MADE EASY
It is difficult
its origin;
to determine the accuracy of
variously claimed as of French,
it is
and Bavarian source; but
Italian,
since
it is
unquestionably a development of the French
volte its origin
The
tion
seems self-evident.
two-step
was an all-American produc-
and was introduced
lection, say,
No
in the writer's recol-
about 1890.
history of
modern dancing would be
complete without an honorable mention, at
least,
of those peerless artists of our day
earnestly
strove so
revive
the
almost
classic dancing,
and so
successfully to
forgotten
and memory
traditions
Genee, Ruth
St.
of
will long cherish
such names as Isadore Duncan,
Adeline
who
Maud
Denis
Alan,
— and
the
wonderful Pavlowa, of the Russian Imperial
School of Dancing, whose organization did
so
much
to revolutionize
and
uplift the his-
trionic stage.
Among
the
first
manifestations of ragtime
[40]
DANCING MADE EASY
music and ragtime dancing, sometimes called
the "negroid dances,'* was the Turkey Trot.
The Mrs. Grundies opened
their
eyes
in
wonder, but since the wonder was only of the
nine day variety, the Mrs. Grundies tarried
and joined
in.
ent" that
hits the pulse of popularity;
It
was the "something
—
differit
was the something the people had wanted and
it
gave them an outlet to that abandon that
had been pent up so
But even with
long.
new promise
this
of allure-
ments the people had a peculiar appetite and
one that was
difficult
to satisfy.
Dancing
connoisseurs busied themselves to cater to
it,
and as a consequence the whole world
seemed to be combed
in
way
the
startle,"
for
what
of diversions.
it
had to
offer
"Something to
seemed to be the way the order was
interpreted
— "and
different.
With the Turkey Trot opening a
way
it
different";
behooved these
it
must be
arbiters to follow such
[41]
DANCING MADE EASY
a successful lead, and they did according to
their lights, but like the Foolish Virgins, they
waited not to trim their lamps.
The Argentine was
portation
pirated,
for
satisfied
a
Apache dance, a primitive
and the im-
Then the
time.
affair, lifted
bodily
from the elemental people of the Paris un-
Then on
derworld.
to
Brazil,
where the
product proved to be a distinct improvement,
The
marking about the best of these days.
Brazilian
Maxixe was appropriated and
was considered a
quite a while,
it
able virtue to
know
but
it
may
it.
fashion-
has gone now,
be that sometime again we
have a reminiscence of
Dances are
It
like this,
it,
for
may
a revival of a past.
they seem to
again, or at least part of them,
live
over
and many
things about the Brazilian Maxixe deserve
salvage.
It
was about
Mother began
this period that
Father and
to take notice, for dancing
[42]
had
DANCING MADE EASY
now become a diversion
for all ages, the
young,
the not-so-young, the old.
The
many amusing
writer recalls
instances
of these days and they seem to be of the one
character, arising in
sion in teaching.
most cases from confu-
Instructors,
infection of abandon,
charming freedom
Man
no doubt, exhibited a
in compiling the figures of
For instance: The Tired Busi-
the dances.
ness
catching the
"to put something over" on his
wife would put himself under the direction of
some recommended teacher and
so
get
in
step with the times and incidentally learn the
And
new fandangoes.
the wife, in turn, not
being overly communicative with the hus-
band would meanwhile drop
teacher, with the
enjoyment of
anticipating
same idea
this
one
in
on her favorite
in mind.
Their
seemed to be entirely
another.
When
they
in
es-
sayed to dance together at the The Dansant,
or dinner dance to their mutual
[43]
amazement
DANCING MADE EASY
they found they had been instructed
ently.
differ-
Their chagrin and other feelings
may
be appreciated.
Another case that was a contributing cause
after several attempts to
to the confusion:
dance with
his
partner, a
young man was
observed to lead the young lady over to the
corner of the studio and endeavor with great
earnestness to teach her the figure he knew.
[
The young lady attended
most desirable thing to
he achieved
this
satisfaction,
and then
as instructor,
patiently while
felt it
his
should be her turn
and she forthwith started to
teach a figure that she saw Mrs. Vernon Castle
do.
The
dancers themselves realized this con-
they knew they were at a
dition of affairs;
veritable
Tower
of Babel; where to the con-
fusion of tongues
was added the mixing of
feet.
The dancing
teachers
[44]
tried
to
legislate
DANCING MADE EASY
among
their various organizations to alleviate
this condition
by standardizing the dances,
but without avail; the dawn of understanding
and concord had not come, and,
like
every
fad and fancy, these dances were destined to
run their courses and so remained in favor
for,
comparatively, a long time.
But no
history of these dances
would be
complete without a hearty acknowledgment
of the
stimulating
influence
they had on
dancing in general.
They brought dancing
back to
an indubitable accom-
its
place as
plishment and to an extreme in which the
world seemed dancing mad. The whist clubs,
the
sewing
circles,
were vacant but
the
gentlemen's
for their stewards,
clubs,
and even
these wore the well-known preoccupied
The dancing germ had
it
air.
infected generally;
had become epidemic.
The Tango and Maxixe and
other dances
have succumbed to the antidote of the more
[45]
DANCING MADE EASY
and
sensible
easier taught
dance, the Fox
Trot.
While
origin,
have heard many versions of
I
have listened to many of
its
story has
it
its self-styled
have credited Captain Vernon
originators, I
Castle as
its
originator
The
and preceptor.
that on one of his quests for in-
novations his attention was called to a certain exclusive colored club.
At the time he
members were dancing the Fox
attended, the
Trot, even at that time so-called, and he be-
came
enthusiastic over
bring
it
out for a
realizing that the
little
it
and determined to
fun for a few, hardly
dance was to win
for itself
a high place in the favor of the many.
But
this
fox
that
Mr. Castle cornered
was a mighty wild one indeed.
confesses to
early demise.
being
It
one who
The
writer
predicted
its
was one continuous romp
from beginning to end and he
felt
that
it
would hardly survive a hard summer and be
[46]
DANCING MADE EASY
with us when he returned to his classes in
the
One never can
fall.
tell;
it
did,
it
was,
it
will be!
To
lieve,
the Philadelphia dancing teachers,
I
be-
should go the credit of taming reynard
and breaking him to the ways of
When
polite people.
the fox was running at large, the
musician did not have music for him, so they
played some of the old numbers Hke "Dancing in the
there
is
to serve
Barn" and
more fox
its
such,
and now, to-day,
trot music,
insatiable
than any other
demands.
Watching the turn of current events, dancing does not change with the seasons, as, for
instance, the fashion in clothes.
studios open in the
fall
When
the
the devotees of the
dance rather expect to see some change in
the established order.
There was never anything to refute
more
decisively
It
came
and at a time when
least
than the Fox Trot.
in the off-season
this idea
[47]
DANCING MADE EASY
expected; in fact before any music had been
prepared for
alert
it.
But the music
writers were
and soon got busy, with the
result that
the best of music was provided and the Fox
trot took everything before
it.
In fact the
dancers were disf)osed to dance
it
all
the
while.
began to move quickly.
Things
came another change
in the
way
Along
of music,
"the jazz," and from our orchestras issued a
pandemonium
But
sounds.
of noises;
it
a complete din of
appeared to be agreeable
to the vein the people were in; the dancers
adopted
their steps
they wanted to "jazz"
at once;
it
which immediately gave the danc-
ing a change in character, of course, so that
the dance
insisted
is
as distorted as the music.
on the "jazzy" music because
the "pep."
Throughout the
jazz music flow the
stantly caught the
They
it
strains of the
"blue" notes that
whim
C48]
had
of popularity.
in-
DANCING MADE EASY
The people who
like
dancing will have quite
a time to repair the ravages on their traditions
made by
the raids of the Turkey Trot,
Bunny
Hug, Texas Tonmiy, Gaby Glide, and
all
those other fearsome things.
You may
Regarding the one-step.
rest as-
sured that the one-step will long be a favorite
is
because
practical.
it is
practical,
just as the waltz
In the waltz you take one, two,
three steps each
way;
you
in the two-step
take two and in the one-step, one, just as
their
names imply.
That
is
the time
or
tempo, and the thing that makes dancing
is
tempo.
There are many theories as from whence
the one-step came;
some contend
it
hails
from the Barbary Coast, but others believe
it
by the Turkey
to have been mothered
Trot and argue that claim.
aside,
it
so,
it is
a great dance,
if
derivation
you care to make
and we should be truly
C49]
Its
grateful to
it,
DANCING MADE EASY
for
it
has,
more than any other one thing, done
more to break down the
of that
barrier
mother-at-home-and-father-at-the-club condition.
It
opened a new world to them and
they entered
once how easy
how worth
this
while
its
and wife became
and
life
realized at
dance was to learn and
Husband
benefits were.
better acquainted at last
seems real and
The man, and
They
together.
it
the
of charm.
full
woman
too, of too gener-
ous girth frequented the Turkish bath and
masseur no more; the ideal reducer was at
hand.
In one particular case
I
wife of a prominent lawyer,
from me.
in
who took
be.
resort
where
lessons
in the evening.
I
hap-
She took a half-hour lesson
each day, and, because she liked
fall,
mind the
She weighed 220 pounds at the time
and began at a summer
pened to
have
On
it,
danced
her return home, in the
she turned her card party into a dancing
[50]
DANCING MADE EASY
class,
and
in
a short while she had reduced
to one hundred and sixty-five, and better yet,
she was in the very best health imaginable.
Think of
that!
I
vouch
for this
case;
I
could vouch for a countless number of other
cases of similar import, but since this
a patent medicine
series I will
testimonials.
t3i3
is
not
withhold the
THE WALTZ
THE WALTZ
Why give up all of the steps that our parents
and grandparents practiced; why not bring
them along with us and make them
date?
Since
we
up-to-
are usually delving into the
past for other things, as for fashions, for instance,
us
why
again?
not have the waltz back with
Well,
the old waltz has
back to us again, but
is
somewhat
come
different.
In the old-school waltz you were turning
all
the time and had a hopping, springy step.
Not
so with the waltz of to-day, for
danced with a glide and the glide
it is
is
now
used in
the fullest meaning of that term; a smooth,
easy, sHding step.
If
you have ever danced the polka
three-
step you will readily see the difference be-
tween the old school waltz and the waltz of
L55l
DANaNG MADE EASY
though the dances of a few
present vogue;
years ago are
much
the same to-day.
Should you attend an assembly, you would
see,
as
you saw some time
and
rotating,
for
exclaim,
"Why,
that
analyze
elements there,
something
and you
true,
it's
else that
is
not
but you
makes
it;
so restful,
the
is
it
than when you knew
pace that
had
been
to
some time you would surely
a dance
— but wait,
you
if
ago, everybody
it
old waltz!"
find the old
will find, too,
more
it is
fascinating
that change of
compared with the old
dance.
For example:
a lady having a thought
that she would like to try the old waltz suggested, as a waltz
time, that
was being played
we dance
it
at the
in the old-school
way.
She had insisted that there would never be
anything quite so good
take
were,
its
I
— nothing would ever
place in her favor.
But her reasons
think, mostly sentimental ones;
we
DANCING MADE EASY
had danced but a few
me
to stop
again.
strains
when she begged
and take her back to the new way
way
**The old
tires
me
too much,"
The waltz has undergone many
she said.
changes in the
last
mother danced,
it
turning one
way
decade.
When
was one continual
for several strains,
grandpivot,
how
long
depending on the endurance of the dancers.
They would pivot around
to the right until
they became abnost dizzy and then reverse
to the left;
—
sort of
reheve the dizziness.
unwind themselves to
Now
the dancers in
those days were measured by the steadiness
of their movements.
a glass of water on
sion that
"He
could dance with
his head,"
was an expres-
was used as a term of
The waltz with
praise.
the hop was the vogue for
a considerable time, until along in the early
seventies the glide waltz took its place
and
held the pahn until the advent of the Hesitation Waltz.
L57I
DANCING MADE EASY
Once again our parents and grandparents
youth returning.
felt their
The dance was
no longer exclusively the
younger
At
people.
any
dance
for
assembly
large
one might see the three generations
with the change in fashions,
times
difficult
— and,
was some-
it
mother and
distinguish
to
the
daughter.
It is to
be regretted that the Hesitation
did not have a longer reign, but
of
life
may
manner
in
and turned
in
shortness
its
readily be accounted for
which
it
was corrupted,
so that one
order to dance
by the
twisted,
had to be an acrobat,
it.
With
its
butterfly,
grapevine, scissors, back-breaking and almost
leg-breaking
contortions,
came impossible
unless
to
eventually
it
dance
it
with anyone
you and your partner had been
viously trained together; so
it
be-
pre-
was impossible
to mix the dancers with different partners.
But the people had an ardent
[58]
love for the
DANCING MADE EASY
and wanted a change every day, and
figures
consequently things got out of hand and
very bad indeed, until at last one had to be
constantly under instruction;
was tiresome and
sible
the condition
and became impos-
costly
and the Hesitation was thrown
discard.
And
lost interest
to stagnate.
seemed that as the dancers
it
and
in the
drifted
But
away dancing seemed
was only
it
for
a time; the
dancers were really resting after a surfeit
of leaps and bounds;
again
when the dances had been modified
a point
we
they would respond
are
for
common
And
sense indulgence.
happy to know that
it
has
to
now reached
that happy point.
The waltz to-day
is
in the
same condition
as the old school dances were before the
dance came out.
A
person
may now
any dance anywhere, and enjoy
it
new
go to
with any
partner.
The
lessons contained in this
L$9l
volume cov-
DANCING MADE EASY
ering the
Fox
show, as
I
deem
it,
the easiest as well as the
most practical method
three dances, and that
sary
dances, as the
begun and
is
life
for
means
acquiring
the
for
and Canter Waltz
Trot, One-step
dancing
these
that
neces-
all
is
of the present-day
of these dances has just
going to be long Hved.
After a
true analysis you will find these dances are
composed of but walking and
and
as
gliding steps,
you become familiar with them, and
with them; in other words,
may take liberties
you may use your
own
you
your self-reliance grows, you
variations whenever
often as you like
may
— there
is
no
like
and as
set rule;
you
change them at times to please yourself;
for after all
gliding.
you have been but walking and
So while dancing around you
eventually give
way
to the exact
may
number of
walking steps, and perhaps, having a tete-atete with
your partner, you
that certain number;
may
overstep
but in doing this do
[60]
DANCING MADE EASY
not worry
— you
are not breaking any laws
either national, local, or social.
But never
forget your poise;
the master of that
because therein
— and
lies
always be
keep perfect time
the very real charm of
dancing.
[61]
V
NOVELTIES
/
NOVELTIES, MARCHES,
ETC
In selecting the dances, marches, and novelties
used in this books
I
have chosen those
most
combinations that are the
and
if
practical
followed with the descriptions, figures,
and diagrams
will
mean, as we know from
a commercial standpoint, the saving of time
and much money.
The
lessons in marching, etc., are
hensive and best of
all
compre-
they are in vogue
to-day.
In conclusion the author does not profess
to
know
everything.
Even
after thirty-two
years* experience as a teacher
and having
in
that time taught thousands upon thousands
of people, from the age of three to three-score,
feels
that there never has been, never will be
C65]
DANCING MADE EASY
a time when he could not learn something
about dancing.
I
and
I
my
have endeavored to make
lessons as clear as possible.
diagrams
How
far
—
will
have succeeded remains with you
be determined both by the quality and quantity of
Yet
and
knowledge
I
have imparted to you.
realize that a description
I
easily
decipherable to
I
me may
difficult of solution to another.
instance,
ing
have written
prove
If you, for
would devote a short while describ-
some simple movement, you may be
prised to find
how
difficult it is
sur-
and how many
people find the description, so intelligible to
you, complex and involved to them.
In this book
I
have considered the novice
and have en-
in the A. B. C.*s of dancing
deavored to take him to post-graduate honors
and
I
do
feel
that
if
conscientious treatment
and patience be accorded the
lessons,
achieved the purpose of writing
[66]
he has
— given him-
DANCING MADE EASY
self
the gratifying feeling of having
made a
even without personal con-
new
friend, and,
tact,
has taught him to enjoy the dance.
While
days of old the dance was
in the
modern dance
for the few, the
no longer
is
the concern of the individual alone but the
concern of every one and the old as well as
the young.
It is
our popular ritual for
self-
— the
one
expressing our joy and exultation
great form of pleasure that keeps us attuned
with
life
And
as
sensed about us.
it is
the modern dances are the most easily
achieved
— some
not
in
so
absurdly simple.
Mother's
she watched were
time
—
many and
for
It
the
varied.
was
steps
With
her usual quiet fortitude she prevailed over
and
a most
difficult
— and
with an application that might, in
intricate order of things
these days, be considered a mental strain.
She
danced
a
"square
C67]
dance"
and
a
DANCING MADE EASY
"round dance" and each was composed of
a bewildering number of movements and
combinations.
A
glance at her programme.
ornamental pencil has checked
The
ofif:
Waltz.
Plain Quadrille.
Polka.
Lanciers.
Schottische.
Polka Quadrille.
Redowa.
Schottische.
Mazurka.
Waltz.
Medley
Quadrille.
Varsovienne.
Parisian Varieties Quadrille.
Racket.
Lincoln Heel and Toe Polka.
Tally
Ho
Quadrille.
Waltz, Finale.
[68]
highly
DANCING MADE EASY
And on
the alluring strains of Strauss she
would win through
this
fantasy of mathe-
matics with a triumph radiant and assured.
To
be Belle of the Ball was to be sovereign;
and she judged and was judged by her knowledge of the dance.
Of course her sedate day met changes
First
came the
at a loss for
play
it
and
very
its
first
tempo, or time, decided to
It
fast.
was
lively,
Musicians, at
two-step.
too.
was new and
accepted,
and
different
with
the
waltz was in popular favor for thirty years.
Then, as dances
down
at the heel.
will,
they started to run
To
the younger genera-
tion they seemed out of step with the times
and to have no
special
intention.
Indeed
dancing had become mechanical, stagnated.
Ragtime music brought the
Apache, the Texas
the
Maxixe,
the bad
is
Tommy,
the Tango,
reaction.
The
the Argentine,
— the
good with
the story of these days, for the
C69]
DANCING MADE EASY
Maxixe was a beautiful dance and asserted
its
stateliness
through the tumult of the
others.
The Tango and
the Maxixe, while they
brought a yes, an epidemic, have in turn
succumbed to the antidote of dances that
are more sensible and easily learned.
—
Supreme of these is the Fox Trot
a
stately and fascinating dance and one that
will
endure
for a long time.
[70]
THE FOX TROT
J
THE FOX TROT
Fox Trot
is
hardly a descriptive
title,
as
indeed this dance, which seems to hold the
fundamental principles of modern dances,
most unlike a
Indeed
trot.
it
is
is
a smooth,
easy dance and the most dignified of modern
dances.
At
you may regret the lack of
first
ticity in
practice,
feeling of ease
easier
and
and with
it,
too, that
which makes accomplishment
assured.
Remember
walking;
But patience must
the muscles.
come with
elas-
that dancing after
walking, that
is,
all is
merely
with the knees
bent at a slightly more acute angle than
usual.
In taking the walking steps between variations, as described, let it
be a long and slightly
[73]
DANCING MADE EASY
"springy"
foot,
step, of, say, the length of
the
to
You
with a reaching sort of movement.
will find that this gives
step
once.
at
ball of the foot
first,
your
a dancing character
Step,
touching
resting naturally
the
on the
heel.
The beginner should
feel perfectly at ease,
and
in practicing the dances, herein simpli-
fied,
the
as
shown
If
the study of time,
first essential is
in the following steps.
you have a
ment play a
self-playing musical instru-
fox trot; but
first
study and learn
the few simple movements which directly
apply to what
At
and
first
we
set the
beyond what
Stand
for
we
are trying to accomplish.
will tax the
muscles of the leg
knee of the same into action
it
has been accustomed
first
toes pointed out;
position,
heels
to.
together,
slide left foot to side
and
count one; close up right foot to close position,
count two;
slide left foot to left,
[74]
count
DANCING MADE EASY
is
count four
close right to left,
three;
just four
movements
by
close left to right,
count
left
movement
of the feet that
to right
movement
several
you are studying the
times from
in
count three;
four.
After you have tried this
at the
sliding right foot
slide right foot to side,
close left foot,
— the right
left foot
to right side, count one;
count two;
this
to the left side ending
with the weight on the
foot being free; repeat
—
is
necessary and
same time studying tempo, or time,
a simplified way.
After this
is
acquired,
put on a fox trot record and try these steps
to music.
Beginning with the
the strain step to
right,
count two;
close
up
right,
count one;
step to
left,
count four;
right,
count one; close
left,
left foot,
is
part of
close
up
count three;
step
to right,
count two; step to
count three; close up
The Fox Trot
first
left,
count four.
danced to ^ time
—
in
four measures of music there are eight beats.
[75]
DANCING MADE EASY
The space marked by
the
staff,
the upright lines across
or the parallel lines of music, are
called measures.
The beat
of the music
is
caught in the bass, the accent that you must
note
and keep time with your
step.
In
stepping to music count one and two and
three and four and
(.)
First try a few simple steps without part-
ner;
you
lying principle of
Walk
understand the under-
will readily
four
Count
left.
count two,
count three, which
rotating.
forward.
steps
glide step to the
right foot;
two people
Take a
one, close the
slide left foot to side;
will give
you a
half turn.
Glide right foot to side, count one;
left foot,
count two;
count three;
— and
full
close
slide right foot to side,
your weight
will
be on
the right foot.
Having practiced
this a while it
is
time to
try with a partner, and the diagrams concern
us from
now
on.
[76]
DANCING MADE EASY
Progressing
toward
you have made four
right,
gliding steps.
you
find
For the
the gentleman turns around the lady,
first
in
the
the
second gliding step the lady turns
around the gentleman, and in the fourth
gliding step
youhave made two
complete
turns.
Starting with the left foot, the gentleman
takes four
step;
and
steps
forward,
a
full
reaching
count one and two and three and four
— (diagram
The lady
3).
steps
back on the right
[77]
foot,
DANCING MADE EASY
four
full steps,
and four and
On
count one and two and three
— (diagram
the fourth step the gentleman has the
weight on the right
to
3).
side
and
Glide the
foot.
incline
draw
to
(4),
count two
(5), slide left foot
— that
foot
turn to the right;
count one
three (6)
left
right foot to left side;
to side; count
gives the gentleman a half
turn to the right.
In
this
measure
the
gentleman
turns
around the lady at the same time the lady
glides the right foot to right side, inclines to
C78:
DANCING MADE EASY
turn to right;
right;
count one, draw
count two,
to
foot to side,
right
slide
left foot
count three; at this point you have made a
half turn as
shown
diagram
in
The gentleman having
(6).
started to turn to
the right, keeps into the swing of the turn.
the
Glide right to
towards the right;
left
side
still
(7),
count one
foot to right, count
two
inclining
Draw
(7).
(8)
right foot to side, count three (9).
and
slide
The lady
glides the left foot to side, inclining to the
right,
count one, draw right foot to
count
two
count three
turns
and
around
left
foot
to
side,
this
part
the
lady
slide
— and
the
at
left,
and
com-
shown
in the
gentleman
pletes the turn to the right (as
diagram).
Having started the turn and with
mentum, repeat the
tion, still
glide in the
same
it
direc-
counting 1-2-3 ^^^ 1-2-3 ^^^
You win now
find that
[793
mo-
(•)
you have made two
DANCING MADE EASY
turns around to the right
9);
then repeat
(as
in
diagram
full figure.
Second Figure (Turkey Trot) Turning
Steps
Take
Then a
figure (10).
the
walking
four
full glide,
Turn
left foot leading.
same as
steps
first
turning with
to the right (11-
12-13), count 1-2-3; ^^^y glide the right foot
1-2-3.
That
will bring
posite direction.
Take
you facing the op-
three steps (14) back
on the beat of the music, 1-2-3, ^^^ Yû
will
that this will accent these three
find
steps.
Gentleman
around to
left (15).
The Third
Walk two
(right).
left
draws right to
left,
weight on right
turn to
glides
foot,
count
Now
Figure.
steps,
3,
foot
left
to
and takes
— making half
repeat figure in
— The
count
Starting with the
[80]
side
full.
Forward Glide
(left)
and 2
left foot,
leaving
i
DANCING MADE EASY
ricio
<>
the
left
left
foot free to take the glide
foot,
count
1-2-3
(.^9)'
Lady
on the
starts
with right foot back one and two and 1-2-3
(29).
Then the gentleman's
right
is
free at
the end of the gliding steps, as he has the
weight on the
starting
left
foot.
with right
foot.
and 1-2-3
Walk two
Count
i
steps,
and 2
(30)-
This figure can be used four times as
shown
in the diagram.
In dancing these three figures
it
is
not
necessary to follow out this enchainment to
[81]
DANCING MADE EASY
any
There
strict degree.
rigid rule
— that
is
why
is
no accepted or
each dancer seems
They
to be indulging in different steps.
dancing the Fox Trot but are varying
own
adding their
expression.
it
and
As you
be-
come expert you may endeavor
too;
as
you go on you
are
to do this
will find that
your
personality will enter greatly into your dancing,
and
it is
To sum
proper that
up:
First
it
— the
should.
gliding turn
is
used four times, making two revolutions to
the
right;
Second
— the
[82]
half
turn,
three
DANCING MADE EASY
quick steps back and half turn
two
steps
and forward
Remember
there
are
steps used prior to
;
Third
—
glide used four times.
always
first
four
walking
and second
figure.
In the third figure use two steps between
each
glide.
C83:
THE ONE STEP
THE ONE STEP
One Step the gentleman
In the
the
left
and
8.
foot forward
The lady
the right foot.
6-7-8.
On the
1-2-3-4-5-6-7
goes back starting with
Right,
eighth
(8)
1-2-3-4-5-
left,
step
the
draws the right foot close to the
in
diagram (1-2).
with
starts
The
gentleman
left
as
shown
left foot is free
to
begin the next figure.
The lady on the
left
out,
eighth
step draws the
foot in front of the right toe, pointed
and that leaves the weight on the
foot.
Now
find that
if
you examine the
you have your
position; the left foot will
right.
It
(8)
See diagram
may
feet
feet
you
in the
left
will
same
be in front of the
2.
be advisable
for the
[87]
gentleman to
DANCING MADE EASY
step
this
just as if
off
you would
this
cross
and
—
your right foot
Also the lady starting back on
in the back.
the right.
1-2-3-4-5-6-7
After a few times you will find
movement easy
to accomplish; you have
merely been taking walking steps, the gentle-
man
going forv/ard, the lady backward.
Second Figure
Having ended the
One
variations of the
The gentleman
lady on the
first figure
we
enter the
Step.
begins on the right foot,
left.
Gentleman takes four steps forward, lady
steps
four
left,
now on
is
and on the Iady*s
Gentleman
and
right,
inclining
right,
left,
right; lady, right, left, right, left
The weight
foot
Gentleman,
back.
—
(3).
gentleman's right
left.
glides the left foot to the side
to
count one
progress
(4);
around
followed
[88]
by
to
the
right foot,
DANCING MADE EASY
count two
three
(6),
made a
slide
(5);
and with the
half turn
you
glide
— diagram
count
out,
foot
left
will
have
6.
Gentleman having started to turn to the
keeping into the swing of the turn,
right,
glide right foot to side,
the right;
count one
right,
count two
side:
count three
left foot
(8),
still
(7).
and
Draw
left
foot to
slide right foot to
The lady
(9).
glides the
to side, inclining to the right, count
draw
one
(7),
and
slide left foot to side,
and at
inclining towards
right foot to left, count
two
count three
this part the lady turns
(9)
(8)
—
around the
gentleman and completes the turn to the
right.
Repeat
the same
figure
in
full.
This step
is
accented glide as you take the
turn in your second figure.
But the best
way
is
to get the step
shaped
glide straight forward.
C89]
to take the
DANCING MADE EASY
nc
J6
t
RAMBLE
Glide Figure (One Step)
Take
figure
four walking steps,
— diagram
same as second
3.
Gentleman's Individual Steps.
man
glides
count one
two
(18),
one
the
left
— The gentle-
foot straight forward,
by the
(16), followed
right,
(17), glide left foot forward,
and
(19),
glide
right
followed
by
foot
left
(20), glide right (21).
[90]
count three
forward,
foot,
count
count
count two
DANCING MADE EASY
Lady's Complement Steps.
— The
first
half
turn the gentleman turns around the lady;
the lady glides the right foot, count one, (i6);
followed
right;
by the
left;
count two
(17), glide
count three (18) and in taking the
glide step see that
you progress around to
the right same as diagram.
Gentleman.
count one
two
— Gentleman
(19), followed
(20), glide right,
by
glides right foot;
left foot;
count three and
[91]
(.)
count
(21).
DANCING MADE EASY
P»0 25
^
Lady.
one
two
— The
by
followed
(19),
glide
position
23, 24.
is
foot;
left
right
same
count
count
foot;
count three
(20), glide left;
Repeat
and
lady glides
(21).
as diagrams 16,
17,
18
attained as in diagrams 22,
Then make
left
turn as in diagram
25, 26, 27, 28.
Third Figure (One Step)
Starting with the left foot, the gentleman
walks
four
steps
(27);
the
with the right foot walks back
[92]
lady
starting
— diagram
27.
DANCING MADE EASY
Again, as in the Fox Trot, you
away from the
may mix
the figures,
social laws
break
routine of these figures;
make your
wherever and whenever you wish.
no
may
you
variations
You break
by pleasing yourself with the
enchainment of the dances.
[93]
THE WALTZ
THE WALTZ
It
is
but the name that
the waltz of to-day
and to the
is
danced
fullest
reminiscent; for
is
danced with a glide
is
meaning of that term.
—
It
in J time.
Starting with the left foot, gentleman takes
forward,
steps
four
same
as
in
Fox Trot
exactly, a full reaching step, count one
two and three and four and
The lady
full steps,
four and
On
steps back
—
on the
and
(3).
right foot, four
count one and two and three and
—
(3).
the fourth step the gentleman has the
weight on the right
foot.
Glide the
left foot
to side and incline to turn to the right; count
one
(4),
draw
two
(5),
slide left foot to side;
(6)
— that
right foot to left side;
count
count three
gives the gentleman a half turn
to the right.
[97]
DANCING MADE EASY
FIG.
Fiaa
I
FTft.
In
this
I
•
measure
gentleman
the
turns
around the lady at the same time the lady
ghdes the right foot to right
side,
inchning to
draw
turn to right, count one
(4),
to right, count two
slide right foot to
side,
count three
made a
(6);
half turn as
(5),
at this point
shown
in
left foot
you have
diagram
—
(6).
Gentleman having started to turn to the
right,
keeping into the swing of the turn,
glides right to the side,
still
C98]
inchning towards
DANCING MADE EASY
the right; count one
right,
count two
side;
count three
(8),
(7).
and
Draw
left foot
slide right foot to
The lady
(9).
to
glides the
left foot
to side, inclining to the right; count
one
(7),
draw
and
slide left foot to side,
and at
right foot to
left,
count two
count three
this part the lady turns
(8)
(9)
—
around the
gentleman and completes the turn to the
right as
shown
diagram
in the
—
(9).
Having started the turn and with
mentum, repeat the
rection,
and
still
glide in the
1-2-3
counting
it
mo-
same
^^^
di-
1-2-3
(.)
You
will
now
you have made two
find
turns around to the right as in diagram.
Now
back
the reverse.
four
the
(27);
1-2-3-4
glides,
to
steps.
lady
and
The gentleman walks
Count
1-2-3-4
walks
forward.
(27)
and
Count
and the gentleman
the right foot to side inclining to turn
left.
Count one
(25),
C99]
draw
left
foot to
DANCING MADE EASY
right; count
two
Count three
(28);
side, inclining to
draw
right to
(26), slide right foot to side.
the lady glides
turn to
left;
foot to side, count three
and
part the gentleman makes the
The
turn.
right foot
Glide
turn to
foot to
left,
left,
left
- 26 is
slide left
(28);
first
at this
half turn
28.
now
foot
to
count one (25);
count two (26);
left,
as in diagram 25
left foot
free to
complete the
to side, inclining to
count one
(25).
Draw
right
count two (26); slide right foot
[100]
DANCING Made EASY
to side, count three (28);
ing
step
the
and
in this glid-
gentleman turns around the
lady.
The lady
glides right foot to side, inclin-
ing toward the
left foot
left,
count one
two
to right, count
to side, count three (28).
(25).
(26);
At
Draw
slide left
this part the
lady turns around the gentleman.
Having practiced the
you
as
will readily
it is
full
turn to the right
understand the requirements
just the reverse turn, then repeat the
[lOl]
DANCING MADE EASY
,CJ
>
glide
and make the second turn same as the
glide turn to the right.
Having stepped
this off so
far,
try
it
to
some waltz music and count 1-2-3-4;
1-2-3 and 1-2-3 ^^d 1-2-3 2.nd
1-2-3
and
made two
Now
(.)
and you
will find
revolutions.
the gentleman takes four steps back;
lady walks four forward;
(25-26-28).
[102]
1-2-3-4
1-2-3 ^^^
count
1-2-3 and 1-2-3 and
1-2-3 and you have made two
and
left
you have
turns to the
DANCING MADE EASY
Second Figure
— Waltz
Gentleman walks four steps forward,
ing with left
Lady walks
right foot;
man
count
foot;
start-
1-2-3-4
(3),
four steps back, starting with
count
glides left foot
1-2-3-4
Gentle-
(3).
forward in front of
right,
turning to right side with a flowing glide
step; count
one (16); draw right foot to
count two (17);
slide left foot
left,
forward and
to the right, count three (18).
Lady
glides
right
foot
back
in
glide step; turning to right, count
[103]
flowing
one
(16),
DANCING MADE EASY
draw
foot to right, count
left
and
right foot back, count three
The gentleman
and towards the
left
count two and
forward,
and
(.)
still
one
(18).
(.)
forward
with the flowing move(19).
(.)
(.)
(20)
inclined to the
;
Draw
left
to
slide right foot
left,
count three
(21).
The lady
ing
(17), slide
glides right foot
ment; count one and
right,
two
glides left foot
back with flow-
movement and towards the
(19).
Draw
right
[104]
to
left;
left,
count
count
2
DANCING MADE EASY
and
SKde
(20).
left foot
back,
still
inclined
to the left; count three and (21).
Now
Glide
foot.
the
one
the gentleman the same on the right
with
right
(22);
right,
the
count two
The lady
(23).
right,
left
forward toward the
Glide
left
forward
count three (24).
back with
Count one and
to right, count
Slide right foot
Count
step.
glides the right foot
the flowing step.
the
flowing
slide left foot
and toward the
Draw
forward and toward
foot
left
two and
(.)
(22).
(.)
(23).
back with the flowing
step,
[105]
DANCING MADE EASY
<s>
<>
DANCING MADE EASY
,%
X>
"-i'
C'07]
<-i,
<&,
<^^
DANCING MADE EASY
count three
in
These steps
(24).
will
take you
a serpentine course as shown in diagrams
16-24 inclusive.
The turn
is
made on the very same
step as used in
gliding
the turning steps;
all
gentleman glides around the lady to the
1
— 2-3 and
1-2-3
;
and completing the turn by swing-
and brings
The
her in the line of direction (25-26-28).
lady glides the
count two;
three and
foot
foot
left
around to the
left;
For the turn draw the right foot
count one.
left,
left,
the lady with the right foot
ing the left foot around the back
to
the
— and
around
the
left foot,
count
the lady swings the right
in the
and draws the
slide
back and towards the
right foot
completing the turn.
[108]
left
around in the back
THE PAUL JONES
THE PAUL JONES
An
and one that breaks
excellent diversion
the monotony of continuous Fox Trot,
and Canter Waltz may be found
Step,
following suggestion.
lating
seldom
by a
enthusiasm
•oô.
It
complete
in the
stimu-
change
^^^^^
o*"
in dancing partners
fails in
and by
self-conscious a sufficient
One
^««S8«^^
offering to the
way
to overcome
their timidity.
Select
some popular member to act
as
a
Master of Ceremonies, and at a signal from
him
all
partners,
join
hands, ladies on the right of
and form a
circle,
the master in the
center.
Should the number of people be too great
[III]
DANCING MADE EASY
circle
may
be formed inside and concentric to the
first
for the size of the
room, a second
— and even a third
But the
participants
circle
may
be so formed.
must be impressed with
keeping their respective circle inviolate; each
must return to
his or her assigned circle after
the dance figure.
On
starts
right
by taking the
and passing
circle to
left
from the master the gentleman
signal
the
left
hand the
hand of a second gentleman coming from
the right, thus making a grand
left
in his
around
her; the lady going
takes with her
left,
hand
lady's right
movement, forming a chain, the
gentlemen to
and
right
ladies
This
going to the
left,
figure gives a
change of partners and a chance
for
join,
At the fourth
a tete-a-tete.
enmane,
in
signal go
signal
dance of one step
stopped by signal;
and on
right.
—
all
until
then join hands again
hands around.
repeated as the master deems
[112]
it
This
may be
advisable.
MARCHING
The Grand March
While marching
dancing,
still it is
is
somewhat apart from
not wholly
be expedient to treat of
it
so,
and
it
may
here.
Marching has always found much favor
and win continue to do
so.
It
may
be said
to open, to elaborate a function with
pK)mp and circumstance.
March, be
it
for
To
lead the
some
Grand
your Lodge or your Sorority
dance, will ever be a unique and distinguishing accomplishment.
C113]
DANCING MADE EASY
no
If
side
rooms permit the meeting of
partners, form
room
the
as in
left
right.
on the right side of
The gentleman on
Diagram A.
side of
Both
lady,
hall or
her
left
arm
start with left foot.
C"43
in
his
DANCING MADE EASY
[115]
DANCING MADE EASY
Having made a complete tour of the
turn and walk
down the
end.
C"6]
hall,
center to the fore
DANCING MADE EASY
r
X
y.
•o
•o
•o
V
_L1«-
99**
[117]
DANCING MADE EASY
The gentlemen
separate from the ladies at
the lower end.
Cii8]
DANCING MADE EASY
X
Third Fidure
o
ot
o
o
o
o
J8«l
Clip]
•
DANCING MADE EASY
The
ladies
and gentlemen meet at the
top; he walks in front of his partner in single
file.
It is to
cedence
it
is
be remembered that the pre-
not always the established form;
altogether depends on the auspices of the
affair;
under the auspices of a Iady*s caption
a lady takes precedence.
Cl20]>
DANCING MADE EASY
\
OQPOOOO
o
o
o
o
o
^s(
Q
O
Fburib
[121]
/
DANCING MADE EASY
At the lower end the
line divides,
lady following her respective partner.
[122]
each
DANCING MADE EASY
/
V
rm
^
•
o
^
2
g
C'23]
o
•
o
DANCING MADE EASY
Having reached the top of the
hall
the
gentlemen and ladies come together in twos.
ri24 3
DANCING MADE EASY
/
\
f
O • O • 0^0»0 000
I
llllf
o
I
o
Sixlk
^"mmmmimmmmmîttgmmmmmm
[125]
DANCING MADE EASY
At
this part,
two gentlemen and two
ladies
go the same way as they divide; the ladies
follow their partners.
ri26]
DANCING MADE EASY
\
(Seven'th
oo
•#
oo
oo
oo
t
oq.
o
o
o
t
••
oô^
I
CI27]
DANCING MADE EASY
'
The gentlemen, meeting two from each
side,
march down
centre, four abreast;
ladies follow also in fours.
C128]
.
the
DANCING MADE EASY
\
— 0000/
\
0000
[129]
DANCING MADE EASY
In
this
figure
units of eight;
ladies
abreast.
they move as
composite
four gentlemen abreast, four
They
divide at lower
end;
the gentleman on the inside stands as a pivot,
making the turn
in
true military
fashion;
the ladies likewise.
The
this
is
last
turn should be carefully made, as
the crowning point in achieving the
march, the gentleman on the inside acting
as a pivot;
each in
line,
keeping his body
well together so that those
on the outside
have to take longer steps to negotiate the
turn with the right military
C130]
effect.
DANCING MADE EASY
[131]
DANCING MADE EASY
After the lines are
formed
all
in platoons
down
of eight, the line of gentlemen march
to the end of the hall, while the rest of the
participants remain standing.
line of
When
the
gentlemen has reached the lower end,
turn and face the marchers.
As the
ladies'
marches down toward them, the
line
first
rest
remain standing until the ladies reach the
end and are facing
so.
Then the next
down
this
their partners.
line of
Remain
gentlemen march
the same way, face about, and find at
point
the
ladies
and gentlemen are
standing back to back or facing partners.
Then the
ladies
march down the same and
are facing their partners.
And
so
on
until
the entire participants
have come to the
lower end of the
Then the
starting a
One
hall.
Step, the dance proper begins.
The forms achieved
at
the end of the
march are usually symbolic of the
some
orchestra
significant form, as the
C132]
affair
—
Maltese Cross,
DANCING MADE EASY
y
oo'
OOOOOOOO
\
Tenfli
.***-•
C133]
DANCING MADE EASY
oooooooo
OcPoo
o oo oP
OoOo Ro 2o
O O 0_ ^rP Or?
CI34]'
DANCING MADE EASY
7
t;
r
if
;000^0000 #•
iL=J
L
C135]
J
DANCING MADE EASY
triangle,
alphabetical
Diagrams
K
sible
of
arrangements,
etc.
and L are added to show pos-
arrangements and the general principle
movement
In Diagram K, namely the
winding and unwinding spool the couples go
into the centers of the top
and lower
halls in
order to get space for the two spools.
1 136]
NOVELTIES
NOVELTIES
The Barn Dance
The Barn Dance
novelty.
It
carries
along to
it
is
an always pleasing
with a
starts
its
momentum
that
happy conclusion and
remains the most popular and lasting of
There
novelties.
done to add to the
peal and humor.
no end to what
is
infinite variety of its ap-
To
issue invitations printed
on straw paper couched
lect;
in
Josh Billing dia-
to decorate with straw or corn in the
husk, with pumpkins and lanterns;
in overalls,
gingham and white
is
bilities.
merely to touch on
The
to dress
linen dusters;
to serve cider and ginger-cake
these
may be
its
— to
suggest
many
possi-
usual order of dancing obtains.
C139T
DANCING MADE EASY
The Memphis Tapping Novelty
This
is
a
entertaining
highly
novelty,
though of necessity restricted and adaptable
only to gatherings of a purely private or social
intimate character.
While dancing one gentleman taps another
and the one so tapped must surrender
partner.
test
may
Its possibility as
and the amusement
is
a popularity con-
A spirited
be seen at once.
his
novelty
insistent throughout.
Lucky Number Novelty
Used sometimes as a magnet
a large attendance;
something of the
The person
way
for
for inducing
a charity benefit
oi'
sort.
directing offers something in
of prize or souvenir to be awarded the
last couple left
on the dance
the dance those gentleman
who
part are given a card on which
[140]
floor.
is
Before
are to take
inscribed
a
DANCING MADE EASY
number, from number one to the number
actually engaged
on the
floor.
After they
have danced the One Step a short while the
one in charge signals and the Orchestra stops:
the master then calls out say five numbers.
These numbers have been selected
and
ness,
in such
method
in all fair-
as to be apparent
and above board. The master then goes to the
holders of these numbers, collects their cards
and
retires
until
be
them from the dance.
but a few are
left
selected
left.
at the end, then
and
Should
And
so on
five couple
two numbers are
called.
After the gentleman has become fully familiar with the steps his next concern will be
to lead a partner through the dance.
is
essentially the part to lead;
depends and moves on
his
For
his
his partner
initiative.
He
holds the lady gently, but firm enough to
indicate
by pressure or movement of the
hand the
direction he
would have
C141]
left
his partner
DANCING MADE EASY
go.
Otherwise the lady would try to out-
And
guess him.
he
is
on the
alert;
ever
vigilant to avoid contact with obstacles or
other dancers as he leads to the right
always to the
—
right.
If the occasion does not call for gloves,
he
merely rests the tips of the fingers on the
back and thereby shows a
Iady*s
solicitude
and
dainty
her
for
prop>er
perishable
gown.
Her hand too must be held to avoid the
unpleasant contact of perspiring palms.
Take your
position in dancing with con-
Avoid the erroneous fad of
siderable care.
facing your partner directly;
and
it is
not hygenic
lacks something in grace.
In conclusion a few suggestions
p>ertinent.
ing;
you
You
will
will
make mistakes
make them
later
may
be
in learn-
when you
are proficient and dancing has become an
assured
accomplishment
[142]
— even
the
best
DANCING MADE EASY
dancers
make
missteps;
occasion for graciousness
but
it
is
merely an
— nothing
else.
Avoid any tendency toward the angular,
either in carriage or
movement; avoid low
dips and anytfiing and everything acrobatic.
Do
and
this
not look at the feet as
is
an important
you
practice
restriction;
watch-
ing the feet will surely bewilder the taking
of the steps.
At
all
times maintain a steadiness about
and shoulders.
hips
Wriggles,
contortions*
romping are always matters of reproof on the
dance
Do
arms
floor.
not flounce the elbows, nor
— and
all
the
do not hop.
glide;
And ab6ve
pump
things be at ease
natural as possible;
and as
even to the expression
of the face; try to catch the infection of en-
joyment about you; look the part of one who
enjoys.
[143]
DANCING MADE EASY
The Minuet
The beloved and
stately
French derivation but
it
minuet
is
of truly
so inextricably en-
twined with the candle-Iit romance of our
Colonial days that
we think
It is often rehearsed
own.
of
as our very
it
to-day
in fact
seems, find favor with peo-
it will,
forever,
ple of
good taste and refinement
it
—
— with
its
resplendent atmosphere of lavendar and old
sparkling
lace,
When we
and powdered
think of the Minuet,
Mozart, though
may
satin,
be used;
many
it is
wigs.
we think
of
compositions
classical
often rendered now-a-days
to the "glow-worm," for instance.
In the dance formation the couples should
arrange in columns, about four feet apart,
and march to the dancing space
room.
two
in center of
Should four couples take part, the
inside couples step to side, second couple
to right, third couple to
[144]
left
— the
fourth
DANCING MADE EASY
then be facing the
will
first
couple forming a
square.
At the introduction of the music
all
partners, the gentlemen, using the low
tic
roman-
bow, bows stepping back with the
foot
and drawing the
left foot,
face
left
right heel to hollow of
beginning at breast, making a sweep-
ing gesture outward with the right hand,
a gesture backward with the
The lady
steps forward
draws the right
foot,
left
on the
and
hand.
left foot
and
with a sweeping move-
ment, allowing her body to go down with the
movement
slowly
and
making a genuflection
gracefully,
in
almost touches the ground.
his partner the
lady on the
in
short
which the knee
After saluting
gentleman turns and faces the
left;
at the
same time the
ladies
turn to the right and faces the gentlemen;
they
is
bow and
courtesy and the introduction
complete.
For the dance the
first
[145]
and second couple
DANCING MADE EASY
[146]
DANCING MADE EASY
go
forward
holding
the
the
to
ladies
gentlemen
center,
the
hands
slightly
than the shoulder, the
ladies'
higher
hands held un-
derneath.
They bow
man
to opposite couples; then gentle-
takes opposite ladies' hands and walks,
with a slow, dragging step halfway around,
changes to the
hand and
left
retraces,
then
meeting partner walks to place.
Then
name
the
third
side
couples,
and fourth
whom we
shall
couples, perform the
same.
Second Figure.
All
bow and
courtesy to
partners and sides again for second figure.
The
first
couple goes to
first
side
and bows,
then to the second lead and bows, then to
the second side and bows, then returns to
place and at this point
bow
to partners.
repeated by each of the couples in
This
is
turn,
making four
Third
all
repetitions.
figure: All
bow
to partners
[ 147]
and
sides
DANCING MADE EASY
All four couples go
for third introduction.
forward to center; join hands and bow; the
making a Turnstile;
four ladies join hands
Gentleman
remain
around with slow dragging
reaches partner, to
is
repeated
whom
four
then
standing,
walks
he
stride until
he bows
— and
this
The second and
times.
fourth time the gentlemen go to the center
and form a
Fourth
then to
Turnstile.
figure:
All
bow
to partners and
All join hands
sides.
and go forward
The two
bow, then go back.
to center;
side couples separate
and form a
line,
with
the lead couples forward to the center, four
in each line,
own
ward
places.
and back-turn partners at
Then
to center
and form
lines
hands and go
join
and back the
leads.
for-
Divide
with the ladies forward and
back-turn partners
partners,
their
All
bow
to
partners
The gentleman
gives the
at
place.
the remaining faced
form grand chain.
[148]
to
DANCING MADE EASY
hand to partner, bows, passes partner,
right
meeting with his
left
hand the next
lady,
then meeting the next lady to her with his
right hand, meeting the third lady with his
left,
bringing him to his partner;
March
in
column
would bring the
he bows.
in the order entered.
first
That
couple going through
the center of the set and the second lead
separating until the three couples have passed
through; the hands of the couples are clasped
and held to make an arbor
for the couples
to pass under.
The
steps used throughout the dance
easy to execute.
stride
In taking the step use a
about the length of the
foot.
to compare this to your natural step
find
it
a
trifle
longer.
forward on the
with the
left,
is
draws the
you
The gentleman
left foot
Now,
will
steps
and the lady steps
right,
the toe touch-
ing floor, the right toe touching the left heel
without the weight; then step forward on the
C 149]
DANCING MADE EASY
right foot;
the
toe close
left
draw
lady with right foot;
up to the
right heel.
left
Be
sure you use this step in every step you take
in the dance.
A Trip to Jerusalem
Novelty.
A
trip to
Jerusalem
is
a novelty that will
always entertain and have for
especial savor of fun.
It
reward an
its
has that about
it
that they keep the participants on the anxious bench until the very end;
Jerusalem for the chance to
The
a
chief object of the
chair.
It is
sit
"going to
down."
game
is
to acquire
an old-fashioned game they
sometime play at neighborhood parties and
church sociables.
more or
less,
sixteen or
To
time,
it
seventeen, or
people march to music around
more or
chair less than the
When
play
less
chairs,
number
the music stops,
at
always one
of participants.
a prearranged
every one of the marchers, "on his
[ 150 ]
DANCING MADE EASY
\
f
•
#
odb#
odb#
d
d
d
o
bo
b#
ho
b •
d h
dl
[i«i]
DANCING MADE EASY
own," makes a rush
for
a chair.
borhood parties need not be so
As
neigh-
finely syn-
chronized as an aeroplane propeller and the
gun
release, this rush
may
scramble and every one
every one
treads
on more or
less
of
the inevitable stout party
else;
on the
sits
be described as a
inevitable thin parties' instep
with the usual profuse apologies.
When
the dust of conflict has settled
found that one unfortunate
chair.
He
is,
is
it is
wholly without
of course, hooted and ignomini-
ously retired to the discard.
Then a
chair
is
removed from the
number and the game proceeds
and so
on, until
original
as before;
by repeating the process
eliminating chair and unseated, there
one remaining
may
A
be
in
man
but
— the hero — or heroine as
it
— of the evening.
trip to
thrills;
is
of
Jerusalem has
there
or
is
woman
many
appreciable
always that sporting
spirit
that keeps lively the desire
[152]
DANCING MADE EASY
to win
and
in this case the
excitement grows
more intense as the chair gets
less in
But the fun of the unseated
by
his retirement, for
other wallflower
Have the
is
chairs
back to back.
added to the garden.
arranged in two rows,
no musicians put
on a march record and have
time.
The
it
at
some
participants
chairs in single
file
not abated
on the next turn an-
If there are
some one to stop
is
number.
it
attended
by-
irregular, or set
march around the
and on the stop of the
music the grand rush, the exodus to Jerusalem
begins!
C153]
UP TO THE MINUTE DANCES
AND
SOME OLD FAVORITES
UP TO THE MINUTE DANCES
AND
SOME OLD FAVORITES
ADDITION BY GABRIELLE ROSIERE
Every year now
in grace
sees dances so little lacking
and character that they vanish even
before the end of the season
and only one or
two of actual value remain.
The past
has produced
the
new use
Schottish,
known
for
The Canter, a waltz
of "direction,"
or Schottish
in Paris
where
season
step showing
The Spanish
Espagnole as
it is
it
is
most popular and
which a new record has just been made,
and variations of the fascinating Fox Trot
along the
waltz
is
new
lines.
also being
The most
The pure
hesitation
danced again.
noticeable points
in
the
dances which remain after the froth has
new
dis-
DANCING MADE EASY
appeared
the use of "direction", that
is
is
in
the walking or running steps in a straight
forward and backward and also in the
line
many
waltz turns which break the monotony
of these straight lines and lend a swinging
grace to the simple steps.
Balance
is
to be noticed in the
making of
turns and changing from the waltz step to the
walking step in the
last
count of the second
measure as the waltz step has only three counts
so there
must be a
the measure.
in evidence
steps
The
and
slight
pause to complete
pivot turns are very
all
the
much
new combinations
of
and music are tending away from the
vulgar and deadly "jazz."
To
these
new dances
is
added the favorite
Virginia Reel which finishes off the end of a
gay evening with a swing and a dash.
is
It
danced especially at informal dances and
at the
The
summer
clubs.
Cotillion
is
returning with
C158]
all
its
de-
DANCING MADE EASY
figures,
lightful
which
offer
an opportunity
for coquetry in the selection of partners
the ladies which
ative.
Many
is
by
usually a masculine prerog-
of these figures will be recog-
nized as similar to the ones so often danced
in the
Paul Jones under the direction of a
skilful leader.
The
favors offer a chance to
display most charming taste in their selection
and
in
former days the belle of the ball needed
an extra carriage to take home her trophies
after a brilliant cotillion.
It also
provides the
hostess with an eager eye for novelties,
an
occasion for presenting a very intriguing and
thrilling
evening which will delight the eye
and ear with the
varieties of colors, figures,
dances and music.
A
brief chapter has
been added on how to
plan for an entertaining evening
guest thoroughly enjoys
all its
this also includes suggestions
when each
pleasures
on small
and
f>oints
of dancing etiquette so valuable in giving
DANCING MADE EASY
poise to the debutante or to one
who
long absent from the social world.
Ci6o]
has been
THE CANTER WALTZ
THE CANTER WALTZ
The Canter Waltz has been
presents an opportunity to
"direction"
in
revived and!
show the use of
the straight backward and
forward series of walking steps.
I.
The Canter Waltz
Showing the count of 2 steps as against the 3 count of
waltz time.
This dance
is
walking to waltz time but
walking most quietly and gracefully.
C163]
There
DANCING MADE EASY
are
two
steps to the three counts of music.
Step forward on
i
and make the second step
between the 2 and 3 count.
step
the
accent,
although
almost of the same value.
It
Give the
the
first
steps
See Diagram
are
i.
may, perhaps, help the student fprac-
tising alone
with the aid of the victrola to
count I-&, 2-&, 3-&, making the second step
on the second &,
until able to
smoothly.
fi643
do the step
THE SCHOTTISH ESPAGNOLE
THE SCHOTTISH ESPAGNOLE
This
is
the latest dance and shows a de-
cided variation from the other dances of the
day as the music has a
2.
The
definite
rhythm quite
Schottish Espagnole
Showing the count of 2 walking step>s, followed by 3
running steps against the 4 cxjunt of the music
different
from the other dance music.
record called
made
"Mon Homme"
for this
dance which
C167]
A new
has just been
will quickly
be
DANCING MADE EASY
by
The music
f time is
so much more dashing and animated that
followed
others.
in
there will be less of the swaying
movement
of past seasons.
The
steps through out the dance are as
follows:
2 long walking steps, counting 1-2, 3-4, to
one measure.
3 running steps, counting 1-2-3, ^^^ balance
or
counting
pause,
measure.
complete
to
4
See illustration No.
2 long steps, 1-2
—
^3-4,
2 runnmg steps 1-2-3
—
.
=
the
2.
2 measures.
^4>
Repeat, commencing with the opposite foot
and then
The
pivot.
turns are
made only on the walking
and never on the running
ones.
steps
Except
in the case of a pivot, the turns are about
} or
less.
Four schottish steps may be made
direction so that the
zigzag
,
line.
C1683
efifect
is
in every
that of a
DANCING MADE EASY
Variations
I
3 schottish steps forward, commencing with
the
left foot,
then
right,
then
left,
2 measures.
Right foot forward making | turn to the
right, left foot
back and 3 diagonal steps
2 measures.
back,
making § pivot to
Step forward with right foot and
Step back with
right.
left foot
three steps forward,
2 measures.
Right foot forward and pivot | to the
right.
Left foot back and 3 steps back,
2 measures.
I
schottish step backward,
2 measures.
Right foot back and pivot to the
steps forward,
left
and
3
2 measures.
2
All Right Turns.
I
schottish step forward,
[169]
2 measures.
DANCING MADE EASY
Right foot forward and make J turn to
Left
right.
foot
back and 3
steps back,
diagonal
2 measures.
back and make J turn to right.
4 steps forward, and 3 diagonal steps
Left foot
forward,
2 measures.
Right foot back and
make
| turn to right.
Left foot back and 3 diagonal steps back,
2 measures.
3
Left foot forward and
left.
make
i turn to the
Right foot back 3 diagonal steps
2 measures.
back,
Right foot back and make j turn to
3 diagonal steps forward on
left
and
left,
2 measures.
I
schottish step diagonally forward on
left,
2 measures.
I
schottish step diagonally back with right
2 measures.
foot,
[170]
VARIATIONS OF THE FOX TROT
VARIATIONS OF THE FOX TROT
These descriptions of the steps are given
view and can be
for the masculine point of
reversed for the lady.
easily
When
Trot, '2
a pivot turn
is
is
used in the Fox
counted for each step, making
a complete turn
in
4 steps.
The
pivot steps
are given in a separate section as they play
such an important part in
all
the modern
dances.
I
4 walking
foot
steps,
commencing with the
and counting
1-2,
so that 4 steps
2 measures*
equal,
2 waltz steps,
2 measures.
Step forward on the
ing 1-2.
left
left foot,
count-
Slide right foot to right side,
C173]
DANCING MADE EASY
counting
3.
counting
foot,
Close right
foot
4,
=1 measure.
to
left
Step forward on right foot, coun^
1-2.
ing
Slide
counting
left
Close right foot to
3.
counting
foot,
foot to
left
=1
4,
side,
left
measure.
4 walking steps forward, commencing wit^
2 measures.
left foot,
2 waltz
making complete
stej>s,
turn,
2 measures.
Step forward on
to
the
foot
left,
to
to the
right
left,
making a J turn
left foot,
counting
Slide
right
continuing the turn
side,
counting
1-2.
Close
3.
left foot
to
the right foot, completing J turn, count-
=1
ing 4,
measure.
Step backward on right making J turn to
the
left
left,
counting 1-2.
side,
Slide left foot to
continuing
turn,
Close right foot to the
ing turn
and counting
[174]
counting' 3.
left foot,
complet-
=1
measure.
4,
DANCING MADE EASY
4 walking steps,
2 measures.
Complete pivot,
2 measures.
4 walking steps,
2 measures.
J pivot,
I
measure.
4 walking steps backward on line of direc2 measures.
tion,
J pivot,
I
Again facing forward on
measure.
line of direction.
3
4 walking steps,
2 measures.
2 waltz turnings,
2 measures.
2 waltz steps forward
on
line of direction,
2 measures.
4 walking steps forward,
2 measures.
4
4 walking steps,
2 measures.
2 waltz steps,
2 measures.
4 walking steps,
2 measures.
2 waltz stef>s turning,
2 measures.
C175]
PIVOT TURNS
PIVOT TURNS
The complete
pirot turn used so
the dances of txxiay
made
is
much
in
in four steps
and two measures of music.
Commence with
the feet in
first
position
for practising
and place the weight of the
body on the
right
foot.
Step forward on the
J turn to
and counting
left
The body
now turned
is
the weight on the
is
1-2,
= J
pivot.
Step forward
foot.
left
making a
to the left with
with the right foot turning
step
foot,
left
it
so that the
actually taken backwards
and when
finished the dancer faces the original posi-
tion
of starting and has
counting 3-4,
= J
made a |
turn,
pivot.
Place the weight on the right foot and
step forward on the
left,
C 179
II
making a } turn
DANCING MADE EASY
3.
Showing
the 4 single steps of the
measures of nmsic.
j>osrtion of the feet in
c<MapIete pivot
the
to
The Pivot
left
made
in 2
and counting
1-2,
=f
Place the weight again on tbe
and step forward with the
ing
it
3-4.
This
moment
left
foot
right foot, turn-
so that the actual step
wards continuing turn to
pivot.
left
is
taken back-
and counting
makes a complete turn from
of starting and leaves the
[180]
left
foot
DANCING MADE EASY
free
to
begin walking,
= f pivot
or
com-
plete pivot.
Once the idea
as a
mastered
is
wink and as
easily,
it is
done quick
however, always
with an air of accomplishing the complete
or half turns in the quietest and
manner
possible,
as
an
revolve
Ei«i3
oiled
most even
wheel
may
THE VIRGINIA REEL
THE VIRGINIA REEL
Down
through
this jolly
and
the
inspiring dance in
are expected to join,
finale
young and
it
where
still
it
retains
has
its
always
come
which
all
old, as the
While much more
of the evening.
popular out of town than
set
has
centuries
among
the smart
England
prestige in
been known as Sir
Roger de Coverley, and when danced by
officers
in regimentals their swords are ex-
tended to form an arch over the lovely heads.
This dance
especially
of the older guests
and
of the last century
it
appeals
to
many
in the early part
was the honor and
pride of the galants of those days to execute
fancy and novel steps in the figures which
precede the
^
its
reel.
However, today
in spite
rollicking tunes the figures are
C185]
more
DANCING MADE EASY
sedately
of
out although with plenty
carried
vim and good
cheer.
Where one wishes
to have a quaint dance
without the elaboration of the minuet which
requires
will
grace and
skill
the Virginia Reel
prove a charming means of showing
off the colonial or
costumes and
its
middle of the
last
century
cheery music serves to en-
liven the audience.
The gentlemen
select partners
and
escort
the ladies to the right side of the room,
usually at the
left
facing the ladies.
hand of the musicians
Thus when the couples
turn to face the head of the room, where
the music
is
usually placed, the ladies are
at the right of the gentlemen.
When
guests
of honor are present and placed at the opposite
end of the room from the music,
comes by
their
it
be-
presence the head of the
room during the dance.
Six couples
may dance
[186]
the reel but eight
DANCING MADE EASY
a prettier number and while the number
is
may
of couples participating
more than twelve,
tf
them
into
two
a
wiser to divide
is
sections,
both dancing at
With too many couples
the same time.
in
it
be unlimited,
set the dancers
between the ends remain
too long inactive and the dance becomes
wearisome and looses
its
charming gaiety.
Sometimes when the number of couples
eight
is
or
and hardly
ten
to divide into
two
large
form of the
sections, the
contra dance before the reel
is
enough
changed and
instead of only the couples at the end dancing,
all
dance the figure at the same time with
partners.
their
This
is
success at children's parties
sters
may become
restless
often
used
with
where the youngif
not constantly
taking part.
[•
The
couple at the head of the room lead
the dancing until the various movements
of the reel place
them
at the opposite end
C187]
DANCING MADE EASY
and the second couple becomes the
The gentleman
leaders.
of the leading couple always
opens each figure with the lady of the couple
at the opposite end of the line,
and the leading
lady repeats the figure with the gentleman
from the opposite end of the
This
line.
continues through the 6 figures to the second
part called
The
Reel.
I
Fig.
Leader advances until he meets the
I.
lady from the opposite end of the
line,
both bow and walk backward to their
places.
His partner and hers repeat this
figure.
Fig. 2.
Forward and turn with right hands
and return to
Fig. 3.
Forward and turn with
and return to
Fig. 4.
places, other pair repeating.
left
hands
places, other pair repeating.
Forward and turn with both hands,
returning to places, other pair repeating.
C188]
DANCING MADE EASY
This time the leader and opposite
Fig. 5.
lady advance sufficiently beyond the turning point so that they pass each other back
to back, approaching from the right side,
returning to places and other pair repeating.
Again the leader and lady advance
Fig, 6.
as
side, passing
turn
to
Music
from
approach
but
before
the
left
back of each other and
other
places,
for this part
is
pair
repeating.
1-2 count to a
in
measure and usually 4 measures are
However
suffi-
and 8 measures
cient for the four first figures
for the last two.
re-
if
many
couples
more measures
are
standing
will
be required or the dancers must move
in
the
very quickly which
lines
may
cause this charming
dance to become a romping
2.
The
afi'air.
The Reel
leading couple advances to the center
and the gentleman bends
C189]
his right
arm
to
DANCING MADE EASY
form an angle through which the lady places
her
arm bent
They make a turn and a
"link arms."
half
which
around
facing
the line of ladies
linking
the
brings
facing the gentlemen.
and
and thus
at a similar angle
and
gentleman
Then they
arms with dancer
partner
his
in
separate
front of
them, turn around and meet in the center.
Again linking arms and turning half around,
they link arms with the next dancer in
and
so continue until all the dancers
side lines
have been turned.
line
on the
This results
in the leading couple being at the foot, so
holding both hands they slide or "chasse"
to their place at the head.
In turning partners use the right arms,
and the
left
If preferred
but
only
for
the
succeeding
couples.
the arms need not be linked
the
hand given when turning,
but the form of "linking the arms" belongs
more
truly to the quaint old dance.
[1903
DANCING MADE EASY
3
The
of the line and
The
now
leaders are
again at the head
turn to face forward.
all
leaders turning, lead
of their
other
respective
dancers
and
lines
down
the outside
followed
hands as
clapping
all
by the
they march.
When
the place
is
reached where the end
couple stood, the leaders join hands and form
an arch through which the other couples
pass,
separating and
falling
into
after the other until the former
are
now
become
at the head of the
room and
between the end couples and
once been
A
end couple
so
The dance recommences
leaders.
through the
one
line
reel until
all
is
repeated
the couples have
leaders.
very pretty English form varies a
in that after the leaders
of the set they
all
little
meet at the end
chasse to original places.
[191]
DANCING MADE EASY
Then
all
the other couples separating with
raised hands form
an archway through which
the leaders pass to the end
rating return to the sides
recommences.
C1923
when
all
sepa-
and the dance
THE COTILLION
THE COTILLION
The
with
danced by
cotillion
its
variety of music
whirl of color
revival of so
is
all
and
the guests
brilliant
its
returning to us with the
many charming
things of other
This form of dancing was once so
days.
popular that the earlier dances of the evening
were only a preliminary pleasure.
More planning
an opportunity to
interesting
offer
hostess
enjoys
something intensely
and enjoyable to her guests which
also bring the
The
that
required than for the
dance but the true
usual
may
is
added charm of a
surprise.
invitations are issued with the idea
an equal number of gentlemen and
ladies will
be present since the
cotillion is
danced by couples, so the wise hostess
vites
a few extra
in-
men who dance "Stag"
1^932
DANCING MADE EASY
if
there are sufficient to complete the
of couples.
She
also invites a
number
young man of
personality and tact to act as leader;
the young lady
among
those invited,
he asks to lead with him,
is
and
whom
also considered
honored by the request.
The
time before the date of the
cotillion
rârding
the figures to be selected so that
and
some
leader consults with his hostess
accessories required
may
favors
be provided.
makes m very enjoyable evening when
It
the plan
is
for
many
favor figures with
some
simple ones with accessories danced by one
or two couples, and a goodly
six or
The
more couples take
favors
may
number where
part.
be very inexjjensive, and
ribbon and crepe paper novelties will form
many
of the most attractive ones.
sets should
figure,
the
Two
always be provided for each favor
one for the gentlemen and one for
ladies.
These are usually passed in
C196]
DANCING MADE EASY
baskets or trays by the leader to the ladies
and by
may
which
hats
his partner to the gentlemen.
like
Favors
be worn, such as pretty paper
paper
flowers,
butterflies,
wands
with streamers, floating ribbons and scarfs
present the prettiest
efi'ects.
It is
however
a charming thought to have at least one favor
to treasure as a souvenir such as small trays
for ashes or pins,
a
little
box or dainty bag,
or a small bronze paper weight.
articles
should not be selected as the broken
particles
floor,
Breakable
ruin the dancing slippers
and the
not only for dancing but for future
use.
The same may be
said of accessories as
of favors, that colored scarfs and waving
ribbons,
gay parasols and handkerchiefs add
to the interest and eff'ectiveness of the figures.
A
list
of the accessories
and checked to
in
should be
see that all
a place provided
for
is
in readiness
them and the
[197]
made
favors,
DANCING MADE EASY
which
is
easily accessible to the leader
when
the dance commences.
The gentlemen may ask the
the
cotillion,
or partners
ladies to
may
be selected
by drawing numbers, or matching
The numbers
bows of ribbon.
plicated
and a
dance
colored
are
du-
single series placed in each
basket which are passed to the ladies and
Those drawing duplicate
to the gentlemen.
numbers dance together and as the chairs
are often
numbered
in pairs, the
same num-
ber shows the seats of the partners.
using
bows of colored
ribbon,
When
there
are
twin bows of every color and shade, and
tint
but no more than two alike and guests
matching bows dance together.
The
guests
are seated around the sides
of the room, forming a circle or oval, with
the lady at the right of her partner and the
figures are
danced
in the center
direction of the leader.
C198]
The
under the
dancers
may
DANCING MADE EASY
aid the leader very
much by
small courte-
such as listening attentively when he
sies,
gives directions, watching carefully the first
set
danced of any figure and returning quickly
to their seats
much
when he
confusion and
ness to dance
signals.
It creates
the height of rude-
is
when not requested even
if
the figure seems prolonged and one wearies
of inactivity.
The music
plays
an important part in
may
the cotillion and the director
aid the leader
by
his
greatly
quick observation of
changes in time, in the variation of music
required,
will
and attention to the
facilitate
things
if
certain short
of music are played each time
cers
cotillion
bars
These bars
and the leader and
partner dance about the room
plaining
the figure.
This
should be very simple until
[199]
It
when the dan-
are to return to places.
open the
signals.i
before
opening
all
his
ex-
figure
have entered
DANCING MADE EASY
into the spirit of the
favor
1^
figure
The
is
and usually a
afifair
selected
the
for
opening.
leader signals to the music to cease
while he explains the figure and then signals
for
it
number
figure
He
to continue.
then designates a
of couples, six or
who
select
new
more
partners
by presenting
may
These favors
the favor to them.
given out by an older person
are
a favor
for
dancing or by a patroness
by the
children
if
a sub-
if
scription
affair,
or
partner.
When
the leader signals
be
leader
and
his
all
the
dancers return to their places, the gentlemen
and
escorting the ladies to their seats
turning to their partner.
The
re-
leader con-
tinues to select other couples from the circle
until
all
when he
the figure.
have participated
for
signals
The
circle
from
who open
first
and then the other and
(]2oo3
the
figure,
and explains
silence
couples
figures are selected
in
the
new
one end of the
if
many
couples
DANCING MADE EASY
are present, sometimes those in the center
are asked to
commence the
With a small
m
circle
one
set.
selects
more
figures
which two or three play a part than when
a large number of guests are present, and
it is
a clever idea at the end of these single
figures to
have
few rounds.
If
all
dance with partners for a
one wishes to use figures of
one or two couples, such as the Parasol or
the
Mirror,
when many are present the
may
ask his partner to commence
leader
another set from the other end of the
The
success of a cotillion depends
on the planning of
figures
circle.
much
with rârd to
space for dancing and the number of expected
guests.
fCaoi'l
COTILLION nCURES
COTILLION FIGURES
Favor Figure
I.
For an op>ening figure
cessful
when danced
known
this
most suc-
is
to the one step, since
The
and
this
dance
his
partner each take a favor and dance
is
to
all.
around the room together.
leader
Then
they seek each new partners to
separating
whom
they
give the favor and dance once around again.
Then the new
partners seek other partners
with the same favor and so this continues
quickly until
all
have enjoyed a whirl around
within, the circle.
2.
I
The Cheat
couple dancing.
The lady
other ladies
Accessory.
of couple leading selects
who form a
[205]
line,
four
standing side
DANCING MADE EASY
by
side.
and
Her partner
selects five other
men
joining hands, first pass in front of the
and then around back of them, form-
ladies
ing a second line but facing
away from the
so that the two lines are standing
ladies
back to back.
At a
signal
from the leader
they turn quickly to face each other and
dance with the opposite.
man someone
extra
will
As
there
is
an
be disappointed in
securing a partner.
3.
I
The
The Parasol
Accessory
couple dancing.
couple
room and the lady
and given a
is
parasol, preferably
one of the
This she opens and
around gracefully over her head as
she awaits her partner
men
the
seated in the center
gay Chinese paper ones.
twirls
around
dance
selected
to her.
who
brings
If she refuses the
[206]
two
two
gentle-
selected,
DANCING MADE EASY
her partner seeks another pair and when,
one meets with her approval, she
rises
to
dance with him and gives the parasol to
the
man who
other
follows
dancing
the
couple, endeavoring to hold the parasol over
At a
their heads.
and a new couple
4.
This figure
is
signal all return to seats
is
selected.
The Fan
danced the same as The
Parasol except that the discarded
man
fans
the couple as he dances after them.
5.
I
The
couple dancing.
up
Accessories
lady seated in the center of the room
by her partner
a large
The Mirror
silk
several
is
given a hand mirror and
handkerchief.
Her partner
men who, one by
brings
one, stand so
their faces are reflected in the mirror.
[2073
She
DANCING MADE EASY
passes the handkerchief over the mirror and
the rejected
man
takes his place back of her
chair until she finds one
rising,
who
when
pleases,
she lays the mirror on the chair for
the next lady and dances with her selection.
The
rejected
men
find partners
and
all
dance
until signaled.
6.
I
The Baby Doll
The gentleman
is
Accessories
given a large doll and
leading his partner to the center of the
circle,
presents the doll to her.
He selects
who stand
The lady and men
advance,
facing her.
retreat,
three
men
and advance, whereupon
man and chooses
The third man and
the lady gives the doll to one
another for the dance.
her partners seek other ladies and
all
The one
must
receiving the baby-doll
dance with the
doll in his arms.
[208]
dance.
also
DANCING MADE EASY
7.
The Candle or Will
I
The
o*
the Wisp
Accessory
couple dancing.
and the
leader designates a couple
gentleman leads the lady to the center of
the room and gives her a lighted candle in
a candlestick which
leader.
He
aJI
from
the
then brings up three or more
men who attempt
The lady
he receives
to blow
out the
light.
holds the candle out of reach of
except the one she wishes to dance with.
Her partner and the discarded dancers return
to their seats.
8.
I
Rounds of Threes
couple leading, 3 dancing
The designated couple dance around the
room and the man
selects
two
ladies
and the
lady two men, and form two circles of three
each.
At a
signal the
raised" arms of his
two
man
passes under the
ladies
and advances to
[209]
DANCING MADE EASY
his partner
other two
who
men and
9.
I
couple
The
goes to meet him, leaving the
The Four
leading,
5
leader selects
harness to each.
dance together.
ladies to
in
Hand
dancing.
Accessories
one couple, giving a
These harnesses are made
of ribbon with extra bands separating into
may be
four sections so that four dancers
driven abreast.
by the
Much amusement
is
caused
tinkling of the tiny bells sewed across
the front of the harness.
four ladies
The
and her partner four men
they drive about the room with
of whips.
lady selects
When the teams
much
whom
cracking
reach the opposite
ends of the room they break away and rush
toward each other and
10.
I
The
all
dance.
The Serpentine
couple leading, others dancing
lady selects four or more ladies while
her partner selects one
man more
[210]
than the
DANCING MADE EASY
number
The
ladies
facing the head of the
room
of ladies to be chosen.
stand in
line,
and about three
feet apart.
hands with the leading
who
guides
them
in
The men
man
at the head
a serpentine
and out between the
ladies.
join
line
At a
in
signal
man strives to obtain a partner but the
extra man failing to do so returns to his place.
each
II.
The Flying Scarfs
Two
m
couples
select
Accessories
and gather
partners
the center of the room, where the leader
gives
them two colored
in the center.
scarfs tied together
Each of the four gentlemen
take an end of the scarfs in his
holding
it
high above his head.
left
The
hand
couples
then waltz being careful to preserve an equal
distance
between
them.
At a
signal
all
stop and the leader taking the scarfs they
all
dance to places.
[211]
DANCING MADE EASY
<
/^
'^\
!
t
>
_^>^
fe^
^3
'
4.
The Mouse Trap
Sliowifag the position of the ladies holding scarfs
the
men
in
a
line holding
aad
hands, striviHg to pass be-
neath the scarfs without being trap^jed.
12.
The Mouse Tsup
Four
colored
scarfs
about
Accessories
three
yards
long are provided and two couples selected
who
in
turn choose new partners.
Each
lady takes the end of a scarf in each hand
and stands opposite each other 90
as
to
form the corners of a square, crossing the
[212]
DANCING MADE EASY
There
scurfs in the center.
tween the four
forms the trap.
a space be-
is
in the center
scarfs
The gentlemen
join
which
hands
to form a line and endeavor to pass under
the scarfs without being caught, while the
ladies try to trap therp
When
one gentleman
ends and
all
dance.
13.
between the
is
scarfs.
caught the figure
See diagram No. 4.
The Windmill
2 couples leading, 4 dancing
Two
couples seek other partners and form
a windmill in the center of the room.
men
cross
After
give right hands to
new
hands with each other
all
pass
The
partners and
in the center.
around once to the
right,
each lady advances to the gentleman in
front
who
offers her his right
promenade around
hand and
all
again. This continues until
the lady reaches the point of starting
she dances with the
new partner
when
to her seat.
DANCING MADE EASY
14.
The Butterflies
3 couples leading, others dancing. Accessories
Three couples selected seek new partners.
Each of the
ladies receives
of paper or gauze
a large butterfly
mounted on a long
of wire, about three feet in length.
piece
The
gentlemen receive short hand nets such as
are used to catch insects
and endeavor to
catch one of the butterflies for a partner.
When
successful they dance together until
signaled for the end of the figure.
men have not caught
signal
flies
is
butterflies
If all the
when the
given they dance with the butter-
remaining uncaught.
15.
The Arbor
The
three couples selected, sepaxaXe and
seek
new
two
circles
partners and join hands to form
of three couples each.
[214]
The
inner
DANCING MADE EASY
$,
The Arbor
Showing position of gentlemen holding hands and
ladies dancing in a circle around them under their
raised arms.
The gentlemen in the circle face outward while the others face inward.
circle faces
outward and both
in opposite directions
circles
revolve
and stop when signaled
with a lady and gentleman opposite.
men now
join hands, holding
The
them high while
the ladies joining hands hold them lower
and pass under the arms of the men.
ladies circle
through the space between the
men
lower
arms and then dance with the
ladies
rows of men.
their
The
just secured.
At a
signal the
See diagram No.
1:215]
5.
DANCING MADE EASY
o
(
O O
"]
o o o
(
6.
The Pyramids
Showing p>osition of the ladies forming the pyramid
with dotted lines indicating the line of gentlemen
dancing around them until stopping in front of the
ladies
with
whom
1
they dance.
The Pyramids
6.
Three couples
six ladies
one lady
feet
select
new
The
take places to form a pyramid with
for the point,
two
back of her and three
same number of
The men
partners.
join
feet
ladies stand three
ladies stand the
back of the two
hands forming a
[216]
line
ladies.
which
DANCING MADE EASY
first circles
around the
mence to
file
ladies
and then com-
them, beginning with
past
the last three ladies, and continuing until
the leader of the fine
lady
when
is
in front of the single
dance with those opposite.
all
See diagram No.
6.
The
17.
Zigzags
The
ners
three selected couples seek other part-
and the
of the
first
room,
the
couple waltz to the head
other
couples
but stopping three feet apart.
following
The head
couple waltz in a zigzag course in and out
between the other couples and stop three
feet
below the
leaders
last couple.
As soon
as the
have danced past two couples, the
second couple commences to waltz in and
out and as they pass the second couple
the
third
couple
to follow after.
in
This
the
is
[217]
line
commences
continued until the
DANCING MADE EASY
when
leaders are the head of the line
The
waltz to their seats.
space
size of the
all
dancing
somewhat the number of
controls
couples selected.
1 8.
The Star and the Circle
leading, others dancing
4 couples
Then each
Four couples waltz around.
couple selects a
new partner and form two
lines of four couples
The
four ladies of the
middle of each
a windmill
a
which face each other.
circle to
line cross hands,
four
join
left.
hands forming a
The
and each
thus forming
the right and then, changing hands,
ladies
hands.
in the
and swing around completing
swing around to the
now
two couples
who
The
circle
eight
men
around the
continue to hold crossed
other four ladies
gives her left
now advance
hand to the
right one
of the ladies forming the windmill or star.
This forms a star with a
[218]
circle of
gentlemen
DANCING MADE EASY
The Star and Circle
7.
Showing position of ladies forming a four-comered
star with a circle of men dancing around them.
who swing around
to the right beneath
an
arch of the uplifted hands of the ladies.
At the
signal they stop
lady opposite.
and dance with the
See diagram No.
19.
7.
The Trap
4 couples dancing
The
ladies.
At the
leader
selects
four
They form two
lines
men and
four
back to back.
signal they turn to find partners in
C219]
DANCING MADE EASY
them but the
ttose back of
this opportunity to obtain
of the
men
is
set
may
a partner, so one
apt to be without a lady and
returns to his seat.
first
leader seizes
The
leader after the
select another
man
to carry
out the same figure for him.
20.
6 couples
The
The Ninepins
leading, 3 extra
leader selects
extra men.
The
ladies
to the line formed
ten
feet
space
six
men.
AccesBorks
couples and four
form
in a line opposite
by the men, with about
between.
The
ladies
are
provided with large rubber balls which they
bowl at the gentlemen ninepins, directing the
ball
toward the dancer they
there are more
men than
prefer.
As
ladies they seek
to catch the ball and dance with the thrower.
The men without
and
partners invite
also three extra ladies
as before but this time the
[220]
more couples
who form
men
roll
in lines
the balk.
DANCING MADE EASY
Since there
an even number
is
this
time
the figure ends and the leader commences
a
new one
if
desired.
However
if
one wishes
to continue the figure the three remaining
men
select six extra ladies besides the couples
chosen instead of only three, and after the
figure
ladies
is
finished there remain three extra
without
couples
p>artners,
new
so they select
and extra men
a new
for
The Pursuit
and 4 extra men
set.
21.
6 couples
Six couples are selected
and four extra men
and music with a quick and
be played.
dancing
lively air
It is the privilege of
man to
dancing, who
nerless
should
any part-
man
tap on the arm any
once
at
releases
his
part-
ner to the newcomer and seeks another in
the same manner.
This
is
similar to
the
on page
140
Memphis Tapping
described
and continues
stopped by the leader's
until
C2213
DANCING MADE EASY
signal or until each
man
has secured his
original partner.
The Grab Bag
22.
6 couples
A fancy bag
is
provided with cards bearing
the names of the ladies dancing.
calls
Accessory
leading, others dancing.
six or
The
leader
more couples to the center of
the room, where they separate, the ladies
to find
new partners and the men to draw
when they seek the
cards from the bag,
owner of the name as a partner.
name
is
drawn and she
the gentleman
figure
continues
is
all
any
lady's
already dancing
returns to his
until
If
the
seat.
This
men have
drawn names from the bag.
23.
The
Scissors
6 couples dancing
Six couples are selected and after dancing
once around the room, the ladies form in a
C 222 3
DANCING MADE EASY
line
with three facing one
the other and join hands.
a similar
line
and
cross
way and
three
The men form
hands
in the center
so that three gentlemen face three ladies on
either side of the center
two
lines
also
and gentlemen facing
of ladies
All forward
each other.
and there are
and back and
ward and dance with the one
opposite.
for-
Care
should be taken to keep the lines straight
that the effect of opening and closing a pair
of scissors
may be
24.
marked.
The
Forfeits
Danced by numerous couples
The
leader passes around a tray or basket,
receiving from each lady
some small
article
such as a ring, a brooch, a dainty handkerchief or fan.
The
receptacle
is
then held by
the leader's partner in the center of the room
while the gentlemen seek for a forfeit and
hunt
for the lady
who
contributed
C223]
it,
dancing
DANCING MADE EASY
with her when the signal
may be
dance
called to
is
given to stop.
All
this.
The Basket
25.
All dance
Any number of couples
may take part in this
until signaled,
when the
in the center of the
facing inward
men form a
and
or
ladies
and the men
still
the
The
left.
holding hands pass under
arms, making a basket.
and then again to the
26.
circle
At the signal they pause
have passed through, the
man
form a
waltz
around them but
the raised arms of the ladies.
each
All
room, joining hands and
similar circle
right.
the dancers
figure.
circling to
moving to the
all
When
the
men
ladies lower their
All circle to the right
left
and at the
signal
dances with the lady on his right.
The Cat and the Mouse
All dancing
All dance until the leader signals
[224]
and
all
DANCING MADE EASY
the ladies except one
circles at either
form in two semi-
end of the room, closing
in
to about five feet back of the circle of men.
The men
are asked to form a circle around
the lady with the exception of one
asked to wait outside.
It
is
his
who
is
pleasant
duty to catch the pretty mouse inside by
passing under the arms of the
men who do
everything they can to prevent his success
but allow the lady to escape at
lady, however, cannot go
circles.
If
his partner
If
he
is
and
unsuccessful
will.
The
beyond the semi-
successful the lady
becomes
a general dance.
all join in
the leader signals and
he
takes his place with the semi-circle of ladies
and another pursuing cat
27.
is
appointed.
The Promenade
All dancing
One
and
couple makes a promenade, the leader
his partner
may
act as the leading couple.
DANCING MADE EASY
another
way around
couple who
another
half
and
half
round
the circle they select
them.
follow
they
choose
After
a third
couple and suddenly turning around go in
the opposite direction to seek a fourth couple.
They continue
this selection of couples until
are promenading.
all
add much to the
A
clever leader
figure
by sudden
or march directly across the
all
may
turns,
room so that
are on the alert for the next choice.
huge
A
formed and the grand chain
circle is
is
commenced.
Half way round the signal
is
given and
dance with those opposite.
all
28.
The Finale
All dancing
All form a circle of couples with the leader
and
his partner in the center.
They waltz
around once to the right while the
dances around to the
left.
At a
circle
signal all
pause and the lady leaves the ring while
[226]
DANCING MADE EASY
the leader selects a
new
waltzing to the
and the
to the right.
all
Once around the
circle
The lady
another partner, thus continuing un-
only three or four couples are
then join in the dancing.
figure to use at the
the circle
is
This
is
left
who
an excellent
end of the evening.
If
very large and the selection
prolonged, the leader
to join
moving
leader signals,
pause and he leaves the ring.
selects
til
left
partner, this time
may
ask another couple
them so that when he and the other
man
leave there are
seek
new
two
partners.
C"7 3
ladies remaining to
AN ENTERTAINING EVENING
AN ENTERTAINING EVENING
Two
charm to a
things lend most
ful evening,
and one
is
delight-
the thoughtful prep-
arations of the hostess for the enjoyment of
her guests, and the other
and
appreciative
is
their courteous
participation
these
in
pleasures.
In planning a joyous evening
should be provided for
all
and
amusement
it is
customary
to have several tables arranged in one of
the smaller
may
A
rooms where cards or games
be played by those not dancing.
variety of dances
much
hostess
and music
to the gaiety of the
may
affair,
will
and the
consult with the director of the
orchestra, as the generation of to-day
so devoted to the
favorites.
add
seem
monotony of one or two
The music should commence
[231]
play-
DANCING MADE EASY
ing at the hour mentioned in the invitation
so that the
as the
An
first
way
excellent
the Paul Jones.
which
be welcomed,
arrival always feels a trifle forlorn.
to break the ice of con-
ventional conversation
in
may
guest
first
to
is
commence with
The changes
of this dance,
take part, establishes a friendly
all
atmosphere at once and whenever the
affair
may again be
many figures which
appears dull the Paul Jones
danced, for
it
brings in
break up into the round dances or dances
for
The
couples,
who
Basket,
reunite for other figures.
the Arbor,
the
Scissors
and
other Cotillion figures are introduced with
great success
leader
is
the
into
Paul Jones, but a
required to direct the figures.
Grand Chain alone may be used
The
to open
the evening's pleasure and the Paul Jones
reserved until later.
Before supper the Grand
used, the host
and
hostess,
[232]
March may be
and the sons and
DANCING MADE EASY
daughters of the house making
a point that
the guests have partners for the march
all
and
is
it
More
for the supper.
often the supper
announced informally and the guests
out in couples so that two or three ladies
go together, yet even with
it
is
this
stroll
may
arranged
the duty of those entertaining to in-
troduce partners and do
all
they can to render
If there are
the guest at ease.
any guests
of distinction present the host escorts the
lady and his wife
is
escorted
by the man
of importance.
The
is
usually given after supp>er
for
supper advanced so that
Cotillion
and the hour
there are only a few dances before the event
of the evening.
as
it
It will
be new to
many and
serves to keep everyone dancing
prevents
the
forming
of
little
circles,
and
as
distressing to the hostess as to the isolated
guests
it will
many.
It
be welcomed as a novelty by
also
offers
C233]
a
most
delightful
DANCING MADE EASY
who do
spectacle to the elderly guests
not
dance.
At the end of the evenmg
is
if
the Cotillion
not danced the old favorite Virginia Reel
tempt
will
all
to the floor and
make a
jolly
happy ending to an enjoyable evening.
Where the dance
music
supplied
is
Jerusalem"
to
may
so
by the
Victrola,
"Going
and other dancing games
cutting in on dances
in the large cities
girl
most informal and the
be introduced.
The
for
is
many men
much
many
offers
to
one
of her time,
of the
very universal
an opportunity
to dance with a very popular
preference
in
and
is
man
especially
is
on page
since
so
dances are encored and so
there are fewer in the evening.
ting in
absorbing
described under
This cut-
Memphis Tapping
140.
At any dance
other than a public affair
the hostess or patronesses, even
[234]
if it is
a sub-
DANCING MADE EASY
scription dance, should be near the entrance
door of the ball room and should be addressed on entering.
a large
If
afifair
it
is
not necessary to seek the hostess at the end
of the evening to express
appreciation of
the pleasure extended but at a small dance
one should say a few words about the pleasure
received,
if
possible adding a
word of
praise
for the music, floral decorations or delicious
supper.
In the great
mothers
of
cities it is
debutante
customary for the
daughters
to
dinners before a dance so that the
girls
may
give
young
be provided with a partner for the
evening, including supper,
and
all
the guests
go together from the dinner to the dance.
When
a young
man
escorts
to a dance, he sees that she
a young lady
is
directed to
the room reserved for the ladies and arranges
to meet her at the place of parting or
other place designated.
C235]
some
DANCING MADE EASY
She enters the
room
ball
her escort and speaks
unless the
lady
who
young man
is
unknown
first
is
in
advance of
to the hostess,
bringing the young
to the hostess, in which
case he enters after her but speaks
the
hostess
This
is
the
young
lady.
dances or where the young lady
from out of town, when the young
will
man
have already written, asking permis-
sion to bring the
young
lady.
The gentleman always dances
the
one with the lady he escorted or with
He
he dined.
men
to
only apt to occur in the case of sub-
scription
is
introducing
first
first
whom
should present other young
to her as partners
and should take her
to present
He always asks permission
any men friends to the lady and,
when that
is
out to supper.
saying
"May
received, he introduces
I
present Mr.
him by
Thomas Hood?"
In asking a lady to dance a gentleman says
"May
I
have the pleasure of
[236]
this
dance?"
DANCING MADE EASY
but does not make the mistake of asking
she
if
**is
engaged for
it."
If already en-
may
gaged for the dance the lady
reply
am sorry but I am engaged for this dance";
and may convey still more regret by her
manner and voice, but she may not suggest
"I
any other dance
until
he asks
if
she has
any dances which are not already taken.
she
refuses,
not
because
she
is
I£
engaged
but because she does not wish to dance,
she r^rets that she
is
some other excuse and
dance
she
this
is
not at liberty to
one with any other man, although
may walk
someone
too fatigued or gives
or
sit
out the dance with
else.
At the conclusion
of a dance
if
a lady
is
not claimed by a partner for the next dance,
her present partner
may
escort
her to a
chair or a group of ladies she knows,
and
thanking her for the pleasure of the dance,
bow and
leave.
If
he knows that she
C237]
is
DANCING MADE EASY
not engaged for the following dance he
may
ask to present some friends and introduce
These small courtesies
a partner to her.
add to the pleasure of the evening and many
a young man's popularity has been established with
a prominent hostess because of
his ability to
make things run smoothly, which
of course
a direct aid to
If the
is
young lady
escort
to have a chaperone
is
member
other than a
should
call
and then together
her.
of her
the
for
first
for the
young
at the end of the evening the
first
escorted
to
her
family,
chaperone
lady,
chaperone
is
escorted home.
chaperone
is
invited to dine with the
one
call for
man
and
young lady
home and then
lady and thus the young
the
is
the
Sometimes the
young
need only make
them, but the same procedure
as mentioned before
turning home.
their daughters
Many
is
carried out in
re-
parents prefer to have
go to and from dances in
C2383
DANCING MADE EASY
their
own
car,
which they
may
send for the
chaperone, and which conveys the chaperone
and the young man to
their respective
at the end of the evening.
C2393
homes
THE LATEST WORD ON DANCING
THE LATEST WORD ON DANCING
The
transition period, through
which we
are passing, affects our lives in every
manners, fashions and mode of
way
living,
new dances
extends to dancing so that
in
and
ap-
pear and disappear with amazing rapidity.
Of the new dances only a
is
retained
usage that
step or motion
and then so modified by
it
may
social
be properly danced with
These new
pleasure in a refined manner.
steps are incorporated into the figures of the
Fox Trot which
larity
still
retains its great popu-
and when viewed
its original
form
will
to appear almost as a
in
comparison with
show such variation as
new dance.
Second only to the Fox Trot
is
the Waltz
which also shows the new style of introducing various figures into the standard form so
[^433
DANCING MADE EASY
that the figures of the Hesitation, the
Lame
Duck, and the Boston appear preceded and
followed by the usual Waltz step.
The time
and
is
so
of the music has greatly changed
much
slower that the
being eliminated as
it
requires
Two
Step
more
is
lively
music.
From
thât
all
points of the compass
now every man dances
differently,
ing figures or steps as he prefers
more than ever a
it is
them
said
add-
so that
correct position which per-
mits one to change easily and quickly, a
knowledge of the individual
steps,
and an un-
derstanding of leading and the readiness to
be easily led are of the utmost importance.
Therefore the keynote of the present day
dancing
is
"form," however much
outraged by some
The
details
who
it
may be
desire to be eccentric.
of the Toddle step are ex-
plained and also those of the
Camel Walk
with a diagram of direction, since this dance
[244]
DANCING MADE EASY
or walk
is
so beloved
the flapper.
The
by the
intelligent
college lad
and
dancer will rec-
ognize the Toddle as only a springy step
with a sideways direction, which
is
the only
change from the Fox Trot step, and that the
Camel Walk
is
only the walking step of the
Trot with a zigzag direction and a dragging
motion.
The
difference
between the manner of
dancing the standard Waltz, the Hesitation,
the
Lame Duck, and
the Boston
is
carefully
explained.
The
correct position of the dancers
scribed in detail
is
de-
and attention attracted to
the balance of the body which
is
most im-
portant in executing easily and gracefully the
changes in the dance.
Practising the quick changes from figure to
figure
and the turn
in the reverse
which
is
again in favor to the music of the phono-
graph at home
will enable
[245]
one to lead or
DANCING MADE EASY
follow with
much
ease, permitting the atten-
tion to be given to the
"form" of dancing
which should be smooth and graceful as the
flight
of a swallow.
This smoothness and
symmetry of motion, where by one seems a
part of the music,
is
an art which can be
at-
tained by practise, so that one motion seems
part of the next and the dancer responds to
the rhythm of the music.
C246]
CORRECT POSITION AND BALANCE
CORRECT POSITION AND BALANCE
Never was the elegance of correct position
in
dancing more important than today when
the smooth walking type of the dances
is
varied with Toddle steps and Waltz dips.
The woman who
with grace or
is
incorrectly held cannot
facility follow
the leading of
her partner and this deficiency in the instruction of the art of dancing
since there
is
is
more pronounced
no striking new dance to
ar-
tract the eye.
Nothing makes dancing more fatiguing and
difficult
than absence of balance and an awk-
No man
ward, vulgar position.
efficiently
if
can lead
bending too far back, as this
throws the body out of
line,
and no woman
can move gracefully and follow the changes
[249I
DANCING MADE EASY
of figures
who has not
unrestricted freedom
of movement.
The
right
hand of the man should never
pass higher than the waist of the lady and
should only rest there lightly, as the guiding
is
done
through the right arm which
slightly raised to support the lady
sent a more graceful appearance.
arm should be
Leading
slightly bent.
hand guides and the
arm.
pre-
His
left
body with the
either hand; in turning to the
right
and
raised to the extent of de-
scribing a right angle from the
elbow
is
is
done with
left,
right supports,
the
and the
hand turns are indicated by the
The man may
left
right
greatly assist his part-
ner by slightly, very slightly, turning the
body and arm
The
in the
lady places her
the back of the
man
new
left
direction desired.
hand
so that he
lightly
on
may have
perfect freedom in his leading, at the
same
time giving the lady the correct position.
[250]
DANCING MADE EASY
Her
hand she places
right
lightly in the
hand
of her partner and she takes her position
slightly to the left so that the center line of
her body
is
opposite the right side of her
This position will permit a straight
partner.
forward walking step with her
left foot
with-
out contact with the right foot of her part-
The lady should never
ner.
the
arm
rest heavily
of her partner nor expect
on
him to
hold up her right hand, but retain her position as
if
dancing alone yet co-operate by
quickly following the slightest hint of leading
from her partner.
Formerly the
p>osition
of the
foot
was
rather of an outward angle from the heel
and the
heels brought together at the
of each step but
foot
is
now
end
the direction of the
ahnost straight and the heels never
meet.
If too
much appears to have been said about
the elegance of position and form, the coming
C2513
DANCING MADE EASY
season will reveal the truth of these remarks
and one who takes up these new
be quite prepared to do the
latest
ideas will
and smart-
est thing in dancing.
which
Balance,
is
means placing the
so
vastly
balance
important,
of weight of
the body on the foot which has just finished
This immediately frees the other
the step.
foot for the coming step, without however
moving
If
it.
you
from dancing
tire easily
which should be a delightful healthy exercise
or cannot
make quick changes
practise at
home, watching carefully to see
of direction,
you always change the weight to the
just finishing the step before
new
step.
but
foot
commencing a
This change of weight does not
indicate hopping, for
ible
if
it is
no motion should be
essential, especially in
any
vis-
glid-
ing step, to retain the smooth, flowing appearance.
The weight should always be on
ball of the
foot,
leaving the heels,
C252]
the
which
DANCING MADE EASY
should not be lifted from the
execute any turn or pivot.
^2531
floor,
free to
HGURES
FIGURES
By
the use of the word "Figure" in con-
nection with the dances of the Fox Trot and
the Waltz
is
meant that each
series of steps in
each dance
figure
is
— such
the
as the
Fox Trot which
three walking steps in the
constitute a figure or the three steps of
which again forms a single
figure.
Waltz
In the
Fox Trot and the standard Waltz each
series
of steps constitutes a figure and each figure
is
danced to a measure of music.
steps as that of the
Toddle
it
the description of that dance
will
why
In such
be seen
in
a figure of
the Toddle, while only of three steps, requires
two measures of music.
Only a few
figures
introduced into each
dance are better than too
many which would
tend to destroy the smoothness of the dance,
[257]
DANCING MADE EASY
SO that the introduction of only seven or
eight at the
most with the simple steps
of
the original dance between the novelty steps
offers
a most attractive arrangement.
C258D
THE TODDLE
THE TODDLE
The
Toddle, so popular,
dling away, but as
is
gradually todare used with
its figures
the Fox Trot today a detailed explanation
is
given.
so
much
Its popularity arose
easier to be springy
smoothly and while
side of
New York
still
it
much
because
it is
than to dance
in
vogue out-
has become part of the
variation dances in the smart set.
The Toddle
is
the Fox Trot with a
each foot on each count of every step
in the figure of the
doubles"
Fig.
— the
I.
right foot,
rise gently
heels.
i,
2,
draw up the
left
toes,
draw up
— except
3 at each side.
step with the
one to the
right,
and come down on
Take the next walking
right foot,
on
"Old Corte" and "the
Take one walking
on the
rise
left
lien
foot,
step with the
rise
on
toes.
DANCING MADE EASY
down on
heels.
with right
foot,
down on
heels.
same
Take
draw up
third walking step
left, rise
on toes and
All walking steps in the
direction.
Take one walking
Fig. 2.
step with the
on
left foot,
draw up
on
Second walking step with
heels.
draw up
heels.
right, rise
right foot, rise
right, rise
on
toes,
Figs. 3-4.
Reverse walk.
Figs. 4-5.
Man
ing
Fox Trot step
ing the
Figs.
same to the
^-6.
foot,
left
down on
leading to left
i, 2, 3,
left foot,
on toes and down on
Third walking step with
draw up
down
toes,
heels.
and danc-
to the side.
Repeat-
right.
Repeat the Toddle walking
steps as given above, counting
two
for
each
step.
In Toddling any step of the Fox Trot may-
be toddled
step
is
doubles
if
the time of two counts to each
allowed, altho' the
are
rarely
"Old Corte" and
toddled.
C262]
The Toddle
DANCING MADE EASY
steps
may
also
be used in turning and pivot-
ing.
For a brief moment the Chicago appeared,
which was somewhat similar to the Toddle
its
counting, but
it
in
was danced with the mo-
tion of the hips instead of the feet, so
it
was
quickly relegated to the limbo of forgotten
things and
tial
is
only mentioned here as
its ini-
appearance was heralded by the press as
something new.
C263]
Vv
THE CAMEL WALK
THE CAMEL WALK
The Camel Walk,
young
per
set at college
who now
Hopper,"
is
so loved
and
in
by the smart
town by the
rejoices in the title of "Finale
simply the walking time of the
Fox Trot done to slow music and
direction,
flajH
and
is
in
a zigzag
a walk from beginning to
end.
Occasionally
steps
by those who
it is
varied with Fox Trot
dislike
anything quite so
extreme.
This step
is
done with a long tension on
a heavy weight was attached
every step, as
if
to each foot,
and the direction
is
diagonally
back and forth and yet advancing at the
same
time.
First
See Diagram
measure of music
forward with
left foot,
Second measure
— The
— One walking step
then the right foot.
left foot
[267]
/
8.
takes a long
,
DANCING MADE EASY
\
8.
^<\ \
f
^^-S?^--''
The Camel Walk
dragging step to the right, the right foot
then makes a half
the
left.
The
circle or
left foot
pivot around to
then makes a sweep-
ing pivot or semi-circle to the right
cling
around to the
left.
The
again makes the sweeping pivot or
tinuing the direction to the
left
and
cir-
right
foot
circle,
con-
and coming
around
in the half pivot or semi-circle to the
right.
Third measure
with the
left foot
— One
walking step
to the right, second walk-
ing step with right foot toward the right, third
walking step with
left
foot toward the right,
fourth walking step toward the right, which
[268]
DANCING MADE EASY
/*
CCD.
8.
The Camel Walk
{continued^
gives a diagonal direction.
Fourth measure
— Four
walking steps forward commencing
with the
left foot.
Then the Fox Trot
steps
may be
intro-
duced and the Camel commence to stalk
again or the Camel figures just given
be continued
combination
in
a reversed direction.
may
be utilized foIk)wing the
sweet will of the leader as long as
and dragging
may
Any
in the
Camel
[269]
steps.
it is
slow
VARIATION WALTZ
VARIATION WALTZ
TTie standard Waltz following the
mode
o!"
the day becomes more old-fashioned each mo-
ment and brings
which
new
is
much
in the return of the reverse
in evidence.
However, the
idea of combining various steps appears
in the
Waltz and a few measures of the stand-
ard type are followed by two figures of the
Boston which changes into a few figures of
the Hesitation and then becomes the
Lame
Duck, which again changes to the standard
step.
fully
It is really
an achievement to grace-
melt these changing steps one into the
other and
quite as
is
really
much
most
interesting to dance,
so as a
series of intricate
steps.
The
following detailed explanation of the
[273]
DANCING MADE EASY
between the four Waltz steps
difference
be valuable
for
home
will
practise in changes of
the figures and the facility gained will enable
one to lead more
cleverly, avoiding passing
couples and also to follow with greater quickness the leader's changes.
No
clever
and
skillful
dancer has ever been
a wall flower or lacked
many
invitations to
dances I
/
The Standard Waltz
3 counts to 3 beats of music
Measure.
1.
left
foot
Gentleman steps back with
— count one.
Steps backward and
— count two.
right foot — count
to the right side with right foot
Left foot brought over
three.
2.
Measure.
— count
one.
Step forward with right foot
Bring
left foot
[274]
forward but to
DANCING MADE EASY
— count two.
foot — count
right side
left
Bring right foot to
three.
The Boston
Gentleman steps backward
Measure.
1.
with
left
foot
— count one.
Brings the right
foot with a circular
movement
back to back of the
left foot
at the side,
— count
two.
One-half pivot turn to the right on the ball
of the
left
which
foot,
will
also bring the
toward the right side
right foot pointing
—
count three.
Measure.
2.
foot
Step forward with the right
— count one.
cular
movement
— count
two.
Bring the
left foot in cir-
to the front of the right foot
One-half pivot on the right
foot to the right, also turning the
Always keep the
making
ward
left
left
foot
hand turns and the
for right turns.
[275]
left.
advanced
in
right one for-
DANCING MADE EASY
The Hesitation
foot
to
Places
2.
the
to
leaving
side,
left
pointed
count
Gentleman steps with
Measure.
1.
— two,
left
right
— count
foot,
foot
one.
continuing to
three.
Step back with right foot
Measure.
count one.
side
right
weight on
the
left
Step backward and to
left
—
with
— count two. Bring right foot ovec
foot — count three.
left foot
to left
These two measures
may be
considered as
one figure of the Hesitation Waltz.
The Lame Duck
This
much
the Camel
resembles some of the steps of
Walk but
in
a modified form.
)
Two counts or steps to three beats of music.
I.
with
Measure.
left
foot
Gentleman steps forward
— count
one.
[2763
Takes a long
DANCING MADE EASY
dragging step with the right foot, bringing
slightly in
advance of the
left
it
— count two,
three.
Measure.
2.
right
Turn on right foot to the
Then long dragging step
— count one.
around right foot by
left
one
— count two,
three.
3.
Measure.
— count one.
with
left
Turn on
left foot
to the left
Then the long dragging
foot around the right one
step
— count
two, three.
As these
variations of the
Waltz step are
only slightly progressive the necessity for introduction of the standard Waltz step and
reverse will soon be apparent.
Ca773
its
Txada lUrk B«ckUi«4
^T^HERB
is
no royal road to leammg.
old saying, and a true one, in a sense:
ITforis an
prince and peasant must alike travel
the
patli.
"VTET, there are many paths, and great differ-iences among them, as they lead to Uie
temple of knowledge. In some, the goiog is easy
In scMne, the journeying is
in some, hard.
pleasant and prc^table: in some, toilsome
a
weary scramble over many stumbling blocks.
—
builder of the road
THE his
task to smooth
the teacher. It
the way, and to
make it straight: or to leave it all cluttered,
a twisted, haphazard course, that nms roughly
and reaches nowhere.
is
is
has been the
the "Made Easy" Series,
IN publisher's
purpose to provide for the
it
—
student the best possible road to learning
a
road truly royal in its simplicity, its worth:
a road wide and direct, and free from foolish,
needless
litter.
•
THE
various writers of the books in the
have been chosen for their special
Such fitness includes, in the first
mastery of the particular subject: in
series
fitness.
place,
the second place, ability to interpret knowledge to others.
RIGHT
teaching makes easy learning. Few
subjects are really hard to learn, when
properly set before the pupil. These volumes
are the product of a painstaking care to simplify
every detail of instruction, yet to make it comThe result for the student is, indeed,
plete.
a learning made easy, yet none the less exact,
thorough, wholly adequate for his needs.
The volumes now ready, or in
preparation
— are
the course of
Drawing Made Easy
Made Easy
Dressmaking Made Eai^
Made Easy
Penmanship Made Easy Dancing Made Easy
Etiquette Made Eas^
Grammar Made Easy
Keeping Young Made Easy
Love Letters Made Easy
Shorthand Made Easy
Bookkeeping Made Easy
Entertaining Made Easy
Tricks and Magic Made Easy
Mental Healing Made Easy
Business Letters Made Easy
Social Letters Made Easy
Arithmetic
Spelling
Further iUles
wUi
be added as opportunity presents UselS to secure
the proper type of manuscript.
University of California
SOUTHERN REGIONAL LIBRARY
FACILITY
Return this material to the library
from which it was borrowed.
GV
UC SOUTHERN REGIONAL LIBRARY FAOLrTY
III
A
000 757 182
1751
C683d
1922
i
vif.

Dancing made easy

Transcription

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