The One Step
(The Grizzly Bear, The Turkey Trot,
The Castle Walk, The Horse Trot
Pas du Poisson, Pas du Serpent)
{1912 - Present}
Introduction
"In the Waltz, the Mazurka, and the Tango, the steps demand a certain science; in the One Step, on the contrary, they are natural, because this last dance is nothing other than ordinary walking; the only difficulty for the beginner is to walk in time with the music. It is indeed the rhythm of the music which characterizes a dance, and that is why the One Step, which is the most elementary dance, offers so many varieties which differ from each other only by the form" [EA14]. For this reason, several sources note that while the One Step can be a creative dance, it is always important to stay on beat, or else the dance will lose its character [PL13a].
The Styles
In the 1910s, many different styles of One Step were described. Below, you'll find some notes and quotes about the style of each version. In most cases, each of these styles can be applied to all of the steps we'll explore later.
- The Grizzly Bear: According to a source at the time, the Grizzly Bear became popular in "the dives of San Francisco and the underworld of the Western city enjoyed it to the utmost." From there, it was taken to Paris, then made its way to New York City. Here is how it was described in early 1912:
There are several positions in which the Grizzly Bear is danced. In the correct position of the dance the girl places her hands on her partner's shoulders. The man clasps the girl as far below the waist as his arms will reach [i.e., her derriere!]. In another position the man clasps the girl around the neck and shoulders and the girl grips the man around his neck with one arm and uses the other to keep from being choked to death. [Another source notes that "the upper bodies must be tightly pressed" "chest upon chest" [PL13a].]
The motion is much like that of an automaton. The upper part of the body is held stiffly and the action is only from the waist. There are no regular steps. The only thing necessary is to keep time with the music. Any two-step with marked rhythm is good for dancing the Grizzly Bear. All the dancers have to do is to hug and whirl and joggle and clinch and keep time, imagining that they are imitating the poor grizzly whose life is spent with a circus or who is forced to travel the streets and earn a living for some wandering lout who is too lazy to earn it for himself. But many think that the poor dumb beast has much more sense than its imitators [IO12].
Another source describes the basic step of the Grizzly Bear as "a very heavy step to the side with a decided bending of the upper part of the body from one side to the other" [AN14]. Other sources describe it is being danced with a double bounce [GP12, CF13, PL13a] and waddling head [GP12], but that's more characteristic of the Turkey Trot (see below) .
- The Turkey Trot: According to a source at the time, the Turkey Trot evolved from a growing interest in imitating animals onstage, culminating in Edmond Rostand's play Chantecler (1910), in which the protagonist was a rooster. "Soon everything in the barnyard was exploited in the theatrical world, and patriotism was so strong that the great American bird [the turkey] was soon woven into the ballet," and eventually made its way into the ballroom. Here is how it was described in early 1912:
There are several positions in which the Turkey Trot is danced. The simplest is the regular two-step position. Another position is is deemed especially suitable to the Turkey Trot ... is this: The dancers both crook their elbows out at the side, holding them at stiff right angles to the body. Their hands meet in the middle and the elbows of one partner rest lightly on the elbows of the other. When the two dancers are standing very close together this position is extremely ungraceful, but the effect of the extended elbows is really very much that of the wings of a fowl. ... There is another favorite position which causes the uninitiated to gape in astonishment upon witnessing their first Turkey Trot. In this the couple square off like prize-fighters after the referee has told them to punch each other. The dancers' hands dart beneath partner's arms and the fingers clasp the shoulder. The two resemble Siamese twins. In sports vernacular, they are 'clinching'. [Other sources have the dancers holding each other's elbows [LR12, CF13].]
Then the dance begins. Two legs rise simultaneously and hit the waxed planks as lightly as possible. Then comes a skip and the opposite set of limbs is elevated and the action is repeated. Between the rise and fall of the dual set of feet the dancers give a peculiar swaying motion of their bodies. This does not last long, but the dancers sway the same as the pendulum of a clock every time they bounce like a ship caught in the trough of a heavy sea. The faster a dancer is able to sway the better trotter he is. When one has conquered this part of the technique there is some effective head work to be done—not brain work—head work. To put on the finishing touch the head should fly back in a 'don't care' style, but always in perfect rhythm. One person who witnessed a complete performance of the Turkey Trot said he was under the impression the dancers had water in their ears and were trying to shake it out. ... There is no stipulated number of steps. You merely trot, lifting the feet simultaneously, with a twist of the body and head. Then the opposite set of feet is lifted and again the motions of the body and head are repeated. Generally as the dancers hop or trot they touch the floor twice and then bounce back to the other foot. Some of the couples make numerous turns, while others trot and skip for fifteen or twenty feet before making a turn. It is only while turning that the Turkey Trot assumes any resemblance to old-time dances. There seem to be no rules to govern the dance. The temperament and the ability of the dancer to keep time with the music are the actual requirements. The couples follow the route of the ballroom floor as in other dancers, and as a result there is a procession of twisting, writhing, leaping, skipping, jumping, trotting forms [IO12].
- The One Step: As time went on, sanitized versions of the Grizzly Bear and Turkey Trot were being danced in polite company under a different name, the One Step. Here are some representative descriptions of the new style: the One Step is danced as a "soft and elastic walk" with "knees bent," "lifting the feet as little as possible" [GP12, EA14]. "When I say walk, that is all it is. Do not shuffle, do not bob up and down or trot. Simply walk as softly and smoothly as possible, taking a step to every count of the music" [VC14a]. "Don't wave your shoulders from side to side. It is not being done in 'our set.' Don't wave your hips. It can't be done with any degree of decency. Don't bend your knees. It's old fashioned and they they might stay bent. Don't grab the girl as if you thought you were going to lose her—you could not if you would. And don't tuck your head over your partner's shoulder" [EJ13b]. "Whereas you walk on the street using your heel; when you walk in the One-step you dance almost entirely on the ball of the foot, the heel slightly touching" and "the steps taken are about eighteen to twenty inches." The dancers must remember to "dance easy," with "as graceful a carriage as possible" [RD14]. "For the One Step to be graceful, all movements must be done with great flexibility and elegance" [BB12], "without making the moves too sharp [CF13].
- The Castle Walk: A particularly elegant variety of the One Step, as danced by Vernon and Irene Castle, is the Castle Walk. Here is how the Castles describe it: "Raise yourself up slightly on your toes at each step, with the legs a trifle stiff, and breeze along happily and easily," [VC14a] "swaying shoulders slightly" [VC14b, VC14c]. One source describes the Castle Walk as slightly faster than the One Step, dancing "practically on the ball of the foot," "never raising the foot from the floor, and using a smooth gliding step" [AN14]. Another notes that "as soon as the [sole of the] foot has touched the floor the dancers lift themselves on tiptoe with a start." It also offers that "the Castle Walk, being a merry dance, should be done with a light expression of face and gay movements; a sour face would scarcely agree with the character of the dance" [NG13]. One source amusingly (and incorrectly) attributes the name to a party at a castle in which the dancers deserted the salon to dance around the castle [GP12].
- Pony Step: This is described by the Castles as being the same as the Castle Walk, but "making a slight hop on each step" [VC14b].
- The Walk: This is probably meant to be the same as the Castle Walk, but it's described a bit differently: "The Walk has absolutely no shoulder movement, and is more of a springy or elastic movement, couple shuffling along, and is done by going forward on the heel and finishing from the ball of the foot on the toe" [DP14].
- The Horse Trot: One source describes this as a leap from one foot to the other. Raise the feet "about five inches from floor," but "do not hop" [UD12]. Another source says that it closely resembles the Castle Walk, but "raising the foot quite high with a rather jumpier style" [AN14].
- Le Pas du Poisson (The Fish Walk): "Le Pas du Poisson is a One Step that is a little livelier, with jerkier movements, the legs stiffer, and the shoulders 'marching,' the latter resembling fins" [EA14]. One source suggests a shrugging of the shoulders, resembling marionettes [GP12]. Another source describes the Fish Walk as similar to the Pony Step (i.e., hopping on each half-beat) [AN14]
- Le Pas du Serpent (The Snake Walk): Le Pas du Serpent is differentiated by "more undulating movements and very limp legs; couples will avoid going straight ahead; their winding walk must imitate the folds of the serpent, and all movements must be very supple" [EA14, GS14].
- The Lame Duck: One long step, followed by one short step [RB14, RD14, CW14c], perhaps dipping slightly on the short step [RB14, CW14c].
The Steps
There are many variations of the One Step, seventy-five of which are described below. As one source notes, "Dancers must not think that it is necessary to use each and every step in the dance. You can alternate your steps ... using three at one time and three at another, or, if you have properly learnt them, you can, if you so desire, use the whole lot" [GS14]. Another source notes that while it's not necessary to change what you're doing every four counts (as its description suggests), in order to maintain the varied character of the dance, you should change what you're doing at least once every eight counts [BB12].
In reading the brief descriptions below, it will be useful to keep these general guidelines in mind:
- The One Step generally travels along LOD (but not always).
- The dancers generally take one step per beat (but not always).
- Between variations, you'll generally return to the basic step of backing the Follow (but not always).
- Most sources start with Lead's left and Follow's right. In a few rare cases, where necessary, variations from sources starting Lead's right have been translated to start on Lead's left.
Traveling Steps
With those guidelines in mind, here are some basic traveling steps:
- Back the Follow: Back the Follow along LOD, taking one step per beat [BB12, AS12, CF13, NG13, LG13, EJ13b, PL13a, PL13b, DP14, RD14, FT14b, FN14, JS14, GS14, ES14, CW14c, GW14a, GW14b, GW14c, GW17, CC19, AC19, GD19, AC20, CC22, AM22a, AM22b].
- Half Step: In the basic step, the feet pass one another. Alternatively, when so desired, you can take only half a step, closing one foot beside the other with weight [AC19, MP19, RH23]. "Take this step anytime to stop advance to avoid collision" [RH23]. If necessary, you can continue to step in place [GW14a, GW14b, GW14c].
- Cut Step: Instead of closing the feet beside each other, you can also close one behind the other, i.e., Lead's right heel is behind the left heel, and the Follow's left heel is in front of the right. In this case, the free foot may be lifted slightly [AM22a, AM22b].
- Lock Step: As a third option, you can lock one foot in front or behind the other, i.e., the Lead locks the right foot behind the left as the Follow locks the left foot in front of the right [CC19, CC22, CF22].
- Back the Lead: Though backing the Follow is more common, many sources also describe backing the Lead as a variation [UD12, AS12, CF13, PL13a, NG13, LG13, EJ13b, JS14, ES14, CW14c, GW14b, AC20].
- Forward and Back: Back one partner four steps, then back the other partner four steps back to place [AS12]. Perhaps with a slight dip on the fourth step of each half [AS12].
- The Step Out / Yale Position: While backing the Follow, the Lead can step out to his left, continuing to back the Follow in right side Yale position (with right hip to right hip) [VC14a, FN14].
- The Snake / Zig Zag: While backing the Follow, the Lead shifts himself side to side from right side Yale position to left side Yale position [AN14].
- Flipping Zig Zag: Dance the Zig Zag, but when in right side Yale position backing the Follow, both turn 180° clockwise to flip to left side Yale position backing the Lead. Repeat the Zig Zag with Lead backing, repeating the flip when in right hip to right hip position to return to backing the Follow [RD14, ES20].
- Another Step Out: While backing the Lead in closed position, both turn 180° to the right, ending up backing the Follow in left side Yale position (left hip to left hip) [VC14a].
- One Step Cortez: The Lead steps out in two steps, and steps back in line on the next two steps [VC14a].
- The Outer Edge: The Lead steps out to the left with left (1), crosses right in front of left as the Follow crosses left behind right (2), then both step side and close along LOD (3, 4) [VC14a].
- Side Steps: A repeated side (1), close (2) to the Lead's left along LOD [UD12, LR12, AS12, CF13, PL13a, NG13, FT14b, AN14, FN14, GS14, CW14c, GW14a, GW14b, GW14c, AC19]. Perhaps with a slight bend of the upper body toward the trailing foot as you close, as illustrated below [CW14c, AS12].
- One Step Chassé: Promenade two steps (1, 2), then side (3), close (4) [GS14, GD19].
- Side to Side: Side, close, side in one direction (1, 2, 3), pointing the free foot on the fourth count (4), then side, close, side, point back the other way (5, 6, 7, 8) [AS12].
- The Picket Fence: Back the Lead four steps diagonally into center along LOD, then back the Follow four steps diagonally toward outside wall along LOD [AN14]. Can also start by backing the Follow [CW14c].
- Kick Step: Back the Follow four steps (1, 2, 3, 4), then two slow kicks forward (5, 7), as illustrated below [AC19].
Turning Steps
- Turn in Place: Step in place, turning to the right or left [UD12, LR12, LG13, FN14, JS14, CW14c]. A half turn in place can be used to transition between Follow backing and Lead backing [LG13].
- The Spin: Spin quickly on the spot by keeping the right feet in place and alternatingly paddling around with the left feet [CF13, PL13a, VC14a, AN14, FT14a, FT14b, GS14, ES14, GW14a, GW14b, GW14c, AC19, MP19]. Can also be done turning to the left by keeping the left feet in place and paddling around with the left [CF13, PL13a, AN14, GS14].
- Chicken Scratch: Same as the Spin, but the paddling foot "scrapes or scratches the floor, imitating a chicken" [AN14].
- Rollaway: The partners separate, rolling away from each other with solo spin turns, the Lead turning left and the Follow turning right [PL13a]. If done as part of the Grizzly Bear, the hands can imitate menacing bear paws [PL13a]
.
The Castle Walk: As a specific figure, this name means: back the Follow in a large circle, gradually reducing it's circumference until you're whirling around on the spot [EJ13a, RB14, VC14a, CW14c], perhaps ending with a dip [RB14, CW14c]. "To turn a corner you do not turn your partner round, but keep walking her backward in the same direction, leaning over slightly—just enough to make a graceful turn and keep the balance well—a little like a bicycle rounding a corner" [VC14a].
- Forward and Reverse: Back the Follow straight along LOD for six steps (1, 2, 3, 4, 5, 6), then quickly curve left (7, 8) until backing the Follow straight against LOD (1, 2, 3, 4, 5, 6), then quickly curve left (7, 8) until backing the along LOD again [RH23].
Pomander Turn: After backing the Follow in right Yale position, both partners walk forward around each other, turning clockwise around a stationary axis between them [BB12, AN14]. Then, if desired, both partners can turn 180° clockwise on the spot to get into left Yale position, and walk forward around each other, turning counterclockwise around a stationary axis between them [AN14].
Pivots: Traveling 180° pivot steps, alternatingly backing the Lead and Follow [CF13, AN14, GS14]. Starts with the Follow backing around on the even count if backing the Follow, or the Lead backing around on the odd count from backing the Lead or promenading.
- Half Pivot: Use a single pivot to switch between backing the Follow and backing the Lead. For example, back the Follow four steps (1, 2, 3, 4), pivoting halfway around on the fourth step to back the Lead on count 5 [AC20, AM22a, AM22b].
- Three Count Pivot: Back the Lead three steps (1, 2, 3), pivoting halfway to the right on count 3, then back the Follow three steps (4, 5, 6), pivoting halfway to the right on count 6 [CF22]. In practice, it's usually started with a Follow-backing pivot (count 0 being the count 6 pivot), but it's easier to understand when parsed this way.
- Left Pivot: Lead steps forward left, pivoting halfway to the left (1), then back right (2), and side, close along LOD (3, 4) to finish the turn [CF22].
The Eight Step / Cross Eight Swing: Promenade three steps along LOD, turning 90° to the right on the third step (1, 2, 3). Repeat over the elbows to the center of the room (4, 5, 6). Repeat over the hands against LOD (7, 8, 9) and over the elbows to outside wall (10, 11, 12), completing a square in twelve counts [VC14a, VC14b].
Reverse Dip Step: Back the Follow four steps, dipping on the fourth, then back the Lead four steps, dipping on the fourth [VC14b, VC14c].
About Face: The Lead steps forward left diagonally in along LOD, pivoting halfway around to the left (1) to fall back on the right along LOD (2), then two steps forward against LOD (3, 4). Repeat to regain original LOD [DP14].
Right Waltz Step: Lead steps forward left (1), then backs the Follow into a half-turning box step waltz, i.e., he steps forward right (2), side (3), close (4), back left (5), side (6), close (7), then walk forward out of it with right foot (8) [RH23].
- Half Waltz: Just the first half of the Waltz Step to get Lead backing, allowing Follow to dance forward [RH23, AC19], "as a courtesy to your partner" [RH23].
Left Waltz Step: A left-turning box step waltz, i.e., he steps forward left (1), side (2), close (3), back right (4), side (5), close (6) [RH23].
Curve Step: Half of a 90° left-turning box in QQS timing (forward, side, close along LOD), then half of a 90° right-turning box in QQS timing (forward, side, close along LOD) [AC19].
- The Shift Step: Three steps of a non-turning box step waltz on the Lead's left, i.e., he steps forward left (1), side (2), close (3), before walking forward out of it with his right foot. This will shift you toward the outside wall (hence the name) [AC19, AM22a, AM22b].
- Box and Hesitate: Four steps of a non-turning box step waltz on the Lead's left, i.e., he steps forward left (1), side (2), close (3), back right (4) before walking forward out of it. This is "an excellent means of avoiding collision and congestion" [RH23].
Glide Turn: Lead glides side left along LOD (1), closes right along LOD (2), and backs across LOD with left foot (3). Repeat opposite to complete the turn (4, 5, 6) [CC19, CC22].
Turning Two-Step: Turning two-step (1-and-2, 3-and-4) [AS12].
Rocking Steps
- Single Hesitation: While backing the Follow, Lead steps forward left (1), then back right (2), before continuing to walk forward with left [FT14a, AN14].
- The Dip: When the right foot is free, the Lead steps back on it, bending the right knee, dipping slightly, leaving the left foot pointed to the floor in front, then steps forward left out of it [IO12, FT14b, AN14, JS14]. This can also be done after a Spin [FT14b, AN14].
The Lead can also dip forwards (Follow backwards), as shown below [AC19].
- Single Hesitation and Close: While backing the Follow, the Lead steps forward left (1), back right (2), forward left (3), and closes right to left (4) [AM22a].
- The Canter: The Lead springs forward left (1), dips back right (2), and takes two steps backward against LOD (3, 4) [AN14].
- Double Hesitation: While backing the Follow, Lead steps forward left (1), back right (2), back left (3), and forward right (4). Repeat, or continue walking forward with left [UD12, LR12, CF13, PL13b, AN14]. "It is most practical, especially when one finds himself in a decidedly congested position, surrounded on all sides by merry dancers" because it can be repeated on the spot "until an opportunity comes for the dancers to move onward" [AN14].
- Hesitation and a Half: While backing the Follow, Lead steps forward left (1), back right (2), and close left part of the way back toward right (3), then forward right (4), back left (5), and close right part of the way back toward left (6). Repeat, for a total of 12 counts, moving slightly forward throughout [AN14]. "It will be found particularly artistic to turn the body slightly to the right when the left foot is brought forward, and then turn the body to the left when the right foot is brought forward" [AN14].
Crossing Steps
- The Snake Dip: The Lead takes three steps diagonally forward to the left, dipping on the second step and ending up nearly in right Yale position. Then he takes three steps diagonally forward to the right, dipping on the second step, and ending up nearly in left Yale position [AN14]. Can also be done without the dip [FT14a]
- Half Fade-Away: Side, close, side, close, along LOD (1, 2, 3, 4). Then a slow pivot halfway to the left on Lead's left (5), step side right along LOD (7), and close left foot to right (8). Repeat opposite, still traveling along LOD (1, 2, 3, 4, 5, 7, 8) [AN14].
- Mirrored Grapevine: Both step side (1), cross behind (2), side (3), cross through (4) [BB12, GP12, LG13, PL13b, EA14, JS14]. Perhaps with a slight dip on each step [LG13], or an accentuated sway of the bodies [LG13, ES20].
- Parallel Grapevine: Both step side (1), then one partner crosses behind as the other crosses in front (2), step side (3), and do the other kind of cross (4) [CF13, EA14, AN14, FN14, ES14, CW14c, ES20]. Can also be done traveling to the Lead's right (Follow's left) [CF13].
- Dipping Grapevine: Lead steps side left (1), cross right behind with a dip (2), side left (3), and cross right in front (4) [AN14, CW14c]. Or dip on both crosses [GS14].
- Syncopated Grapevine: Same as above, dipping on both crosses, but with syncopated timing: "and-1, and-3" [AN14].
- Hesitating Grapevine: Lead steps side left (1), cross right behind (2), points side left, raising right heel (3), and drops right heel (4) [AN14].
- Drunken Grapevine: Back the Lead two steps diagonally along LOD into center (1, 2), then do the second half of a parallel grapevine, Lead crossing right in front, Follow crossing left behind, dipping on the last step (3, 4) [AN14].
- Lead's Back Ochos: Lead steps diagonally forward left along LOD (1), crosses right foot behind diagonally forward along LOD (2), and steps diagonally forward left along LOD (3), then steps diagonally forward right along LOD (1), crosses left foot behind diagonally forward along LOD (2), and steps diagonally forward right along LOD (3). The Follow crosses in front as the Lead crosses behind [GW17].
- Jazz Step: Backing the Follow, Lead crosses left diagonally forward over right as Follow crosses right behind left (1), steps diagonally forward right (3), and closes left partway to right (4). Repeat opposite, continue to back the Follow, Lead crossing in front, Follow behind (5, 7, 8) [GD19]. Note: The illustration below shows step numbers, not counts: the described timing is SQQ. But it could also be danced in even timing, like the step above.
These steps are based on the Two-Step or Polka:
- The Four Slide: Four quick slide-closes (1-and-2-and-3-and-4) [LG13, JS14].
- The Three Slide: Three slide galop into the center on first foot (1-and-2-and-3), then three slide galop out again on second foot (4-and-5-and-6) [EJ13b].
- The Six Slide: Six slide galop into the center on first foot (1-and-2-and-3-and-4-and-5-and-6), then six slide galop out again on second foot (7-and-8-and-9-and-10-and-11-and-12) [EJ13b].
- Polka Skip: While backing the Follow, insert two bars of Polka (1-and-2, 3-and-4), then go back to walking [EJ13a, VC14a, RD14].
Other steps:
- The Wind Up / Castle Swing: Fall away to two hands, then the Lead walks forward into the left-to-right hands while leading the Follow to walk a full circle clockwise around him, wrapping her right arm around his neck, then breaking free and retaking closed position at the end [VC14a]. Another version adds a full turn for the Lead under the held hands at the beginning [EJ13b].
- The Tap Step: Back the Follow three steps along LOD (1, 2, 3), then tap the free toe forward (back for the Follow) (4). Repeat opposite, backing the Lead against LOD [EJ13b].
- The Swing Step: Back the Follow two steps along LOD (1, 2), then tap the free toe forward (3), and back (4), before continuing to back the Follow [CW14c].
- Side Point: Back the Follow three steps along LOD (1, 2, 3), then bend supporting knee and point free foot to the side (4). Repeat with the other foot, still backing the Follow [EJ13b].
- Dos à Dos: Falling back to two hands, pull by partner, passing forward by the right shoulder in four steps (1, 2, 3, 4), and back by the left shoulders with four steps (5, 6, 7, 8) and retake closed position [CW14c].
Here are some steps in promenade position (both facing LOD, Follow at the Lead's right):
- The Step Point: Promenade one step along LOD (1), then point inside foot along LOD (2). Repeat with the opposite foot (3, 4) [RB14].
- The Scissors: Promenade two steps along LOD (1, 2), then cross first foot through against LOD (3), and second foot through along LOD (4) [EJ13b].
- Get Over Step: Promenade two steps along LOD (1, 2), then cross outside foot through against LOD (3), and step side against LOD (4). Then promenade two steps along LOD (5, 6), kick outside foot along LOD (7), step forward along LOD (8), kick inside foot along LOD (9), step forward along LOD (10), then step side, close along LOD (11, 12) [VC14b, VC14c].
- The Three Step: Promenade three steps along LOD in QQS timing, with a long slide on the third step to fill the extra time (1, 2, 3), then repeat with inside feet, still traveling LOD (5, 6, 7) [EJ13b, PL13b].
- A Baffling One: Promenade four steps along LOD (1, 2, 3, 4), kick outside foot forward (5), cross it over in front of inside foot (6), kick inside foot back (7) and step forward on it (8) [EJ13b].
- Five Step Promenade: Promenade five steps over the hands (1, 2, 3, 4, 5), then turn to face the elbows and promenade five steps over the elbows (6, 7, 8, 9, 10) [GW14a, GW14b, GW14c]. Can also be done with a dip on the inside feet (on 2, 4, 7, and 9) [GW14a, GW14b, GW14c]. Can also be done in half-closed position, flipping to the other half closed position for the second half [CW14c].
Four Step Promenade: Another source has a four step promenade, which means that the first step of the second half crosses through the frame against LOD [EJ13a].
Here are some rocking steps:
- Single Hesitation, Traveling to the Side: Side left (1), back right with a slight dip (2), and repeat (3, 4), traveling to the left [RB14].
Here are some steps that use other positions:
- Skaters' Switch: In Skaters' position with the Follow at the right, promenade along LOD, then the Lead crosses behind the Follow to her right, changing to the other Skaters position. Continue promenading along LOD, switching from side to side every four (or so) counts [RB14].
- The Come-Back (Texas Tommy): While backing the Follow, place her right hand in his right hand, low behind her back, then roll her out to right-in-right, and roll her back into closed position [RB14, GS14, CW14c].
- Double Underarm Turn: While promenading, the Follow turns twice under the hands, pivoting forward, back, forward, back along LOD [CW14c]. Can also be done as a double free spin, with no hands [GS14]
- Lunge: While promenading, dip all the way to the floor on inside foot, outside knees to the floor. "To finish a dance nicely, a dip is the proper step" [GS14].
- Coquetting: The partners separate by a few feet, face turned toward partner, bend upper bodies slightly, and "snap the fingers of each hand a la Carmen" [IO12].
- The Racket: The Lead steps forward left (1), then cuts right forward under left (2), left back under right (3), right forward under left (4), etc., while turning [LR12, CF13, CF13].
- Pas Glissé: A repeated sliding hop on the same foot before sliding onto the other foot [CF13].
- Follow the Leader: One couple leads the rest in a single file line of couples around the room [EJ13a].
- Shadow: Both partners walk forward, on the same foot, in the position illustrated below [PL13a].
The Music
"The music is rag-time. People can say what they like about rag-time. The Waltz is beautiful, the Tango is graceful, the Brazilian Maxixe is unique. One can sit quietly and listen with pleasure to them all; but when a good orchestra plays a 'rag' one has simply got to move. The One Step is the dance for rag-time music" [VC14a].
One source cites a tempo of around 120 bpm [AM22a, AM22b].
Sources
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© 2018 Nick Enge
For more dance descriptions, see our three books on dancing:
The Book of Mixers: 100 Easy-Teach Dances for Getting Acquainted (2022) by Richard Powers and Nick & Melissa Enge,
Cross-Step Waltz: A Dancer's Guide (2019) by Richard Powers and Nick & Melissa Enge, and
Waltzing: A Manual for Dancing and Living (2013) by Richard Powers and Nick Enge.
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