DANCES OF TO-DAY 

BY ALBERT W. NEWMAN Member of the Imperial Society Masters of Dancing, London 

AN EXPERT'S FULL DIRECTIONS, WITH ILLUSTRATIONS AND DIAGRAMS, FOR LEARNING OR TEACHING THE
TANGO, HESITATION, ONE-STEP, BOSTON, MAXIXE AND ALL OTHER MODERN DANCES 

PHILADELPHIA THE PENN PUBLISHING COMPANY 

1914 

COPYRIGHT 1914 BY THE PENN PUBLISHING COMPANY 

Preface 

This book may be depended upon as an absolute authority on Modern Dancing. 

My purpose has been to present in clear and concise form not only a guide for the hundreds of teachers
and the thousands of pupils whom I have instructed in my studios but also a text-book for those
who may desire to qualify themselves for participation in any of the new dances. 

With the beginners especially in mind, I have omitted technicalities and have made the description
of each dance brief and to the point. The dances are such only as have found favor with Society
in New York and Philadelphia, the two greatest centers of Social Dancing in America, as suitable
for the ballroom. 

Unfortunately so many variations are being introduced that the dances often lose their identity;
moreover it is impossible for a lady to know what her partner is going to do next unless the steps
have been practiced. In order to remedy this and to make the steps better understood, each step
has been placed under a separate heading. After each step has been mastered it devolves upon
the gentleman to make his movements understood by his partner. 

It is my sincere hope that my efforts will be of benefit to all who seek to master what is best in
the most pleasant of modern social accomplishments. 

Albert W. Newman . 

Philadelphia, Pa . Contents 

I. The Modern Dance 15 

II. Advice to the Beginner 25 29 29 31 

III. Positions in Dancing 35 35 35 36 38 38 40 40 44 45 46 

IV. The Castle Walk, Castle Glide, One-Steps, Horse Trot 49 49 52 53 54 56 57 57 

8 

Double Hesitation with Both Feet 58 

Modified Grizzly Bear 59 

Pomander Walk 61 

The Snake 63 

The Snake Dip 64 

Fish Walk 66 

Castle Glide ( Newman ) 66 

The Original One-Step 69 

American One-Step, or Modified Turkey Trot 70 

The Picket Fence 71 

Original Grape Vine Step 73 

Dip Grape Vine Step 74 

Hesitation Grape Vine Step ( Newman ) 75 

American Crab Step 76 

Half Fade-Away 77 

English One-Step 78 

Jig-Saw Step or Syncopated Grape Vine Step 79 

The Horse Trot 79 

The Canter in the Horse Trot 79 

Kangaroo Dip 80 

Chicken Scratch 80 

V. Bostons, Hesitation Waltz, Standard Waltz 83 

Philadelphia Boston, One-Step Waltz, or Long Boston 83 

The Boston Spanish 86 

Herring Bone Boston ( Newman ) 88 

Original Boston, New York Boston, or Boston Point 90 

English Boston, or Three-Step Boston 92 

Four-Step Boston 93 94 96 98 100 101 Newman ) 103 104 107 107 110 110 113 113 114 115 115 116 117 117
118 118 

VI. The Tango and Maxixe 123 Newman ) 123 123 124 124 125 128 128 10 

Double Overlapping Step 129 

Newman Tango Two-Step 131 

Newman Tango "Walking" 133 

Fan Tango ( Newman ) 134 

Parisienne Tango 136 

The Argentine Tango 141 

The Maxixe or Brazilian Mattchichi 143 

Maxixe ( Sutor ) 145 

VII. Miscellaneous Dances 157 

The Lame Duck 157 

Pivot Turn or Turn at Place 158 

Progressive Turns 159 

Newport Canter 159 

Aeroplane Waltz ( Newman ) 160 

Texas Tommy ( Newman ) 163 

Gaby Glide ( Newman ) 164 

The Newman Tango 169 Illustrations 

PAGE 

Albert W. Newman Frontispiece 

The Closed Position 27 

The Open Position 37 

The Yale Position 39 

The Castle Walk 50 

The Dip in the Castle Walk 55 

The Snake Dip 62 

The Tango Position 67 

The Hesitation 111 

The Square in the Minuet Tango 126 

Picture Pose ( Cross Dip Step in the Tango ) 130 

Fan Tango ( The Opening of the Fan ) 135 

Manner of Changing Position in the Maxixe 139 

Heel Position in the Maxixe ( Sutor ) 147 

Open Position in the Maxixe ( Sutor ) 150 

The Sutor Maxixe ( Dip in Step 6 ) 152 

The Texas Tommy 161 

First Step in the Gaby Glide 165 Dances of To-day The Modern Dance Dances of To-Day CHAPTER I
THE MODERN DANCE 

With the innate human demand for "something new" it is strange that social dancing was permitted
for so many years to stick in the rut of Waltz and Two-Step. Probably it was because the craving
for new dances took no active form. 

"On with the dance; let joy be unconfined." The line was a hollow mockery as applied to many a
ballroom. Their feet confined within the limits of Waltz and Two-Step, the young people danced;
their elders merely looked on. 

And when it is remembered that the boundary line betwixt youth and age was forty, and that any
one who was evidently on the far side of the boundary brought ridicule upon his or her head by
appearing upon the floor, it is not difficult to picture the proportion of "wall-flowers"
at these formal gatherings. 

Naturally the matrons played the role with better grace, bored though they were by continual
waltz and two-step music. But the old men-of forty and beyond-well, many claimed they were
literally driven to drink. And sometimes after they saw the buffet the ballroom saw them no
more. 

Ancient history, you say? Not at all; 'tis a picture of social dancing only a few seasons ago.

The craving to put Monsieur Waltz and Madame Two-Step into back seats-or, let us say, to make
them "wall-flowers"-took active form. 

The change came, a rejuvenation, the dance was reborn. And youth was reborn in the hearts and
bodies and minds of men and women of all ages, and the transformation wrought is marvelous-in
nothing so much as in the near elimination of non-dancers. 

The dance seemed like some strange creature which had been shut in the dark for so long, and had
thrown itself about in curious contortions to make certain of its freedom. 

Grotesque, abnormal, inartistic, it must be admitted that they were in original shape, many
of these dances. The new freedom as applied to dancing-the breaking away from the ties of the
Waltz and Two-Step-with the medley of tunes introduced as accompaniment, was responsible
for a superabundance of contortion. With "Everybody Doing It" to prejudiced observers (especially
those who never saw what they criticized) it seemed that everybody was overdoing it. 

With the best teachers and their patrons as safety-valves, as it were, sanity and decency have
prevailed along with the innovations; and it is evident that a strong tide has set in toward
the artistic and graceful as against the freakish and bizarre. 

Attacks upon some of the new dances have been facilitated by the rapid means of collecting and
distributing the news of the day. In view of that difference the turmoil is no greater than that
while the easy-going world of more than a century ago was engaged in debate upon the Waltz as
successor to the Minuet. 

That eternal desire for something new has been given expression by Thomas Haynes Bayly, an
Englishman, in words that seem as if they might have been written three years ago instead of
early in the last century: 

"O give me new figures! I can't go on dancing The same that were taught me ten seasons ago; The
schoolmaster over the land is advancing, Then why is the master of dancing so slow? It is such
a bore to be always caught tripping In dull uniformity year after year; Invent something new
and you'll set me a-skipping; I want a new figure to dance with my Dear!" 

The introduction of the Waltz brought forth general criticism, a storm of protests, first
in Great Britain, then in the United States. Even Lord Byron-for a censor of morals he might
be regarded as a man in a glass house-professed to be shocked. In the Minuet the dancers are at
arms' length; in the Waltz in closer proximity. That was the chief objection. 

But, as the present more wide-spread protests-which may flash by cable where the others went
by slow packet-it became evident that the foundation for objection was not with the dance as
properly performed but with those dancers who made it the basis for vulgarity. 

Gradually the frowning upon the Waltz grew less, until its opponents were only those who protested
against any kind of dancing. One of the most ardent lookers-on was Lord Byron, who could not
dance because of his lameness. 

Narrow views ignore the fact that dancing is an elemental art, as old as human nature itself;
a physical expression of joy that has been an inspiring factor in the mental and spiritual life
of nations since primitive times. 

"She danced for joy" is a phrase that, on the contrary, ingenuously conveys recognition of
just what the stern moralists would deny. Doubtless such a dancer never has had a lesson-a little
girl, for instance, delighted at receiving a big doll. Stern indeed must be the morality that
would argue her steps were prompted by evil. 

Or maybe a group of youngsters join in in-promptu steps to the discord of an old hurdy-gurdy,
dancing instinctively. How would it be possible to avoid such public demonstrations of the
innate fascination of the dance save by having the grinder dispense only discord that would
scare the little ones away? 

Presumably a quest as to the beginning of this love for dancing would lead to the Garden of Eden;
and may it not be that Eve danced because she saw so many of the things of Nature dancing, each
in its own fashion? The water dances over the rocks; the tall grass dances in the meadow; the
leaves dance in the trees, and, over all, the moonbeams, or the sunlight, dance. 

To mention the fact that dumb animals instinctively dance may be treading upon dangerous ground.
First, it suggests the Darwinian theory as applicable to the origin of dancing; second, it
calls attention to the rather odd assortment of dance names redolent of the barn-yard and elsewhere.

Imitation is a human quality as elemental as dancing, and it is by no means unnatural that the
quest for something new led in the direction indicated; but it does seem a bit unfortunate that
such ludicrous names were given to what are, in amended form at any rate, harmless dances. 

Latter day emulation in the dance of the movements of dumb animals may be said to have a firm foothold
in history. The ancient Greeks, for instance, had the "Khorovod" in imitation of the flying
of the crane; the French several centuries ago danced "La Branle," based on nothing more artistic
than the kick of the cow; an old Scotch dance had movements depicting the leaping salmon. 

How efficient in beauty the latter may have been there is nothing left to show, but the "Khorovod,"
like all of the Greek dances, had its basis in art. "Sculpture in motion," the Germans aptly
call the dance, suggested undoubtedly by those three hundred beautiful Greek movements that
have come down to us through the ages recorded on vases and other bits of ancient handiwork.

Every pose in a Greek dance expressed an emotion, and the Greek artistic sense limited itself
to beautiful emotions. Dancing was the physical expression of music. Thus it is interpreted
by the aesthetic dancers of to-day; and the tendency is becoming more apparent in social dancing.
Advice to the Beginner CHAPTER II ADVICE TO THE BEGINNER 

In taking up the study of dancing, it should be considered your duty to try to appear graceful
upon the floor. Do not think that the mere moving around the room in any sort of a way will bring
forth favorable criticism. 

As the old saying goes, "What is worth doing is worth doing well." This applies particularly
to dancing, especially in these days when every one is trying to excel in the accomplishment,
to the astonishment of his friends. 

Back of all this display is a certain amount of practice. 

You will find that the best dancers have only acquired their dexterity through diligent practice.
History tells us that the greatest Premieres Danseuses were the most ungraceful and awkward
at the start, but their perseverance wrought wonderful results in a comparatively short time.
Practice will bring the confidence and confidence will bring the experience. So then the practice
is the main thing to be considered first. After one becomes familiar with the exact manner of
placing the feet upon the floor then it is a question of patience absolutely. 

The diagrams in this book will give you the proper placing of the feet and the direction in which
they should travel. Follow the arrow directions hundreds and hundreds of times until you can
do the step unconsciously. Make the joining of one step with the other smooth. Do not try to be
conspicuous upon the floor by trying to dance a step that is more appropriate for an exhibition;
appear modest always. 

Do not try a step that your partner is not familiar with; you are taking her at a great disadvantage,
and although you pride yourself on knowing a little more than she in that direction your effort
to teach her may not always be accepted favorably. 

Ladies should cultivate a pleasing manner, as that will oft bring more partners than an expert
execution with a "grouchy" personality. 

Another important thing in dancing is the control of the knees and the manipulation of the ankles;
it will be noticed that a good dancer invariably dances with the knees bent, but never to the
extreme. The Correct Style 

The style of dancing to-day is a smooth gliding step, using the ankles and the knees moderately-a
great improvement over the hop-skip-and-jump style of yesterday. Any oscillation of the
body is considered vulgar; the toes are invariably pointed to the floor with the heels raised.

Remember that although one may use the feet accurately, unless the general bearing is graceful
he or she cannot be considered an accomplished dancer . 

It is most important that the upper part of the body be perfectly relaxed. Then it will be comparatively
easy to adjust the body, for in Modern Dancing a good balance is most essential. 

In executing the turns in most of the dances the feet should be kept apart, with one directly
in front of the other. The foot which is in front will designate the direction of the turn-right
foot in front for the right turn, and the left foot in front for the left turn. 

If the directions in this book are carried out to the letter there will be no possible chance
of a failure. The Duty of the Gentleman 

The guiding of the various dances depends entirely upon the gentleman. It is he who suggests
the steps to be used and the number of times each step should be repeated. 

He must have his steps so clearly arranged in his mind's eye that he can give his entire attention
to the comfort of his partner. 

He is better able to judge distances, and he should be careful in selecting the steps best suited
for available spaces, so as to guide his lady through the various evolutions without coming
in contact with other couples. 

As there can be no set rule regarding the number of times a step shall be repeated it is he who must
know when to change in order to make the dance most interesting. 

He must be positive in changing from one step to another, for the slightest hesitancy on his
part is instantly communicated to his partner. Thus the steps are anticipated, and the transition
be comes easy. 

Signs given by the gentleman's left hand are most valuable in indicating to the lady the step
about to be taken and the direction in which it should be made. Such a sign should always precede,
and not accompany, the step . The Duty of the Lady 

"Still unaccomplished may the maid be thought, Who gracefully to dance was never taught."

It may seem to the aspiring debutante that in the subservience to her partner's steps she becomes,
metaphorically speaking, a clinging vine. But she should remember that unless she does become
proficient along the lines indicated she is very likely to become a wall-flower-which, of
course, is the last thing for a debutante to be. 

Her clinging, however, must be more metaphorical than real-she must not expect her partner
to bear the burden of the dance physically as well as mentally. Although he is to literally set
the pace she must be quick to follow, relaxing the upper part of the body and not bearing upon
the gentleman's right arm. 

Her effort to lead will only confuse the gentleman , although he may be too polite to say so. 

The lady may aid greatly by leading meanwhile in conversation-in which, presumably, she is
the more proficient. Positions in Dancing CHAPTER III POSITIONS IN DANCING The Correct Position
for Holding Partners ( Closed or Waltz Position ) 

Notwithstanding the fact that there is virtually only one position which might be said has
been universally adopted, there are many people who, desiring to become conspicuous, try
to set the fashion by using such positions as the Bunny Hug, the Grizzly Bear and other awkward
positions, which are the subject of much criticism. 

However, the most fortunate thing is that these positions, which are neither practical nor
beautiful to behold, are only short lived. Even the Associations of Dancing in America and
various dance teachers have oft discussed the subject and tried to originate and introduce
a new position which would take the place of the one and only correct position which has been
in use for over one hundred years. 

This position is both practical and graceful. 

The dancers take the half face-to-face position (standing a little to the right of each other)
the gentleman's right arm partly encircling the lady's waist; this arm (in case of emergency)
should act as a support. He takes with his left hand the right hand of the lady; these hands are
held to the side about twelve inches from the body and a little above the waist line. The arm should
be bent and so relaxed that he can move it at will in any direction. This left hand of the gentleman
should act as a guide, as all signaling is done with this hand. The left hand of the lady should
rest gracefully on the gentleman's right arm. 

The upper part of the body should be held gracefully erect and perfectly relaxed and the dancers
should look over each other's right shoulder. (See illustration page 27.) 

This position is assumed by all the professional dancers of to-day . Tango Position 

This position is virtually a new position which has come to life with the Modern Dances; it is
often used, being very pretty and most practical. 

It is similar to the Closed Position with the exception that the dancers stand side by side,
shoulder to shoulder (instead of face to face), both the lady and the gentleman facing the line
of direction, with hands clasped in front. 

Note .-The line of direction is the direction in which the dancers move around the room, which
is left from the center of the room. (See page 27.) Open Position 

Same as the Tango Position, with the hands released and held down at the side. 

This position is the same one used in the old Barn Dance. 

Dancers standing side by side, right arm of gentleman encircles lady's waist and outside hands
hanging at side. (See page 37.) Yale or American Position 

The dancers take the regular Closed Position and place themselves decidedly to the right of
each other, so that the gentleman's right foot can pass the lady's right foot when he takes the
step forward. (See page 39.) 

This position is recognized throughout the world as the American Position. Position of the
Feet 

It would seem rather strange and not at all scientific to write a book on Dancing without giving
the Fundamental Five Positions of the feet. Yet seemingly there are many at present teaching
the new dances who have not the remotest idea of the positions or could even analyze the correct
Waltz. 

The principal positions that are used in the Modern Dance are the Second Position, Third Position,
Fourth Position, and Fourth Rear Position. Occasionally in the Tangos we have a Crossed and
a Rear Crossed Position. Five Positions 

constitute the rudiments of dancing, and they bear the same relation to the dance as the notes
to music or the alphabet to a language, and a thorough knowledge of this is indispensable . 

The positions are divided into two classes: closed positions (feet together) and open positions
(feet apart). The closed positions are the odd numbers, first, third, and fifth, and the open
positions are the even numbers, second and fourth. 

While executing the positions with the one foot the other foot retains the first position with
weight of body resting on it. 

First Position-Stand with the heels together and the toes turned outward, to form a right angle.

Second Position-Move the right foot direct to the side, the heel being raised and the toes touching
floor. 

Third Position-Bring the right heel to the hollow or middle of the left foot. (See frontispiece).

Fourth Position-Advance the right foot (as in walking), the heel raised and the toes touching
the floor. 

Fifth Position-Bring the heel of the right foot to the left foot, so that it touches in front
of the toes of the left foot. 

Rear Positions-These are the positions where the foot in question is placed in the rear or back
of the other foot. 

Crossed Position-One foot crossing the other, in front or in back. 

These positions should be performed with the left foot as well. In order to execute the positions
with the left foot, transfer the weight of the body on to the right foot and move the left foot
into the various positions. Descriptions and Diagrams 

In the description of the dances here given instead of using the words right foot and the left
foot these feet will sometimes be referred to as the executing foot (free foot), and the supporting
foot. The executing foot is the foot that is about to move, and the supporting foot is the one
that supports the weight of the body . 

In order to make the description of the various dances more comprehensive and to remove doubt
as to the exact and correct positions and movements of the feet, the descriptions are given
according to the Newman System of Dance Writing , which consists of diagrams of the feet and
the direction in which they should move. 

These diagrams should be enlarged and drawn upon the floor with chalk. The student is next asked
to place himself directly on the starting position and follow accurately every move indicated
by the arrows. 

It is most essential to note that in the description of the dances, only the part of the gentleman
is described. The lady will take the same steps starting with the other foot-in other words,
the counterpart. The Starting Position 

This position is indicated in the diagrams by the feet drawn thus and the dotted foot is the terminus
of the step. The arrow indicates the direction in which the step must be taken. R. F. and L. F.
mean the right foot and the left foot and the numbers (1) (2) (3) (4), etc., are the counts. 

This drawing shows a pivot, moving the heel of the foot in the direction of the arrow, pivoting
on the toe. Abbreviations 

R. F., right foot; L. F., left foot. 

(1) (2) (3) (4), etc., are the counts, and (x) is between counts, or in other words it is counted
and. 

2-4-count two to the measure. 

3-4-count three to the measure. The Castle Walk, Castle Glide, One-Steps, Horse Trot CHAPTER
IV THE CASTLE WALK, CASTLE GLIDE, ONE-STEPS, HORSE TROT The Castle Walk 

Music 2-4 (Ragtime), tempo-spirited. 

Count two to each measure. 

The One-Step and the Castle Walk are now practically the same dance with the exception, probably,
that in the One-Step the music is played a trifle slower, so as to enable one to dance the many
variations which make the dance interesting, while the Castle Walk is really almost an actual
walk, very often extending the full length of the hall, the lady moving continually backward.

Backing the lady was considered exceedingly bad form only a few years ago, but now, with the
introduction of the new dances, everything has changed and it is "quite the thing." Yet a step
taken backward is much more difficult than forward, and it has always been customary for the
man to take the most difficult part of the dance. 

The only excuse the man can offer now for not doing so is that it is much more convenient for him
to go forward, as he is better able to see where he is going. This excuse we must accept so long
as the lady accustoms herself to the prevailing conditions, and it will be the means of avoiding
collisions with the other couples and making the dance easier for both partners. 

This walk, which is not a trot , is practically on the ball of the foot, with a slight drop of the
heel as the step has been taken. 

It must be performed in military precision, taking two steps (one with each foot) to one measure,
never raising the foot from the floor, and using a smooth gliding step. The dancers often walk
around in various designs, such as a large figure eight, square or circle, or in the winding
fashion of a snake. The principal figures in the Castle Walk are the walk forward, walk backward,
turning several times to the right and to the left, incidentally varying this with Dips and
Hesitation Steps, etc., all of which are described elsewhere. 

Whenever there is a congestion of the dancers upon the floor it will be most advantageous to
use the same step in turning. In this case, always have the feet apart and one foot in front of
the other. 

The right foot should be in front for the right turn, and the left foot in front for the left turn.
The Turns in the Castle Walk 

The most practical way for a beginner to practice the turns is to draw a small circle on the floor
with a much larger one surrounding it. 

The small circle should represent the hub of a wheel, while the outer circle represents the
rim. 

The gentleman of course starts with his left foot, which moves around on the outer circle from
left to right, or toward the right, while the right foot acts as a pivot and moves around on the
small circle or hub. 

Step from one foot on to the other, etc., and move around to the right. Left foot (1), right foot
(2). 

When one desires to change the turn or wishes to reverse, step back with right foot, which will
leave the left foot in front. In this position one may readily turn toward the left, by placing
the left foot on the hub of the circle and moving the right foot around on the outer rim or large
circle. 

In this turn there will not be much progression. Should one, however, desire to move around
the room with considerable rapidity, then it is advised to use the Traveling Turns. The Traveling
Turns 

In order to execute these turns properly it is necessary that the dancers should be most proficient
and move perfectly together. 

Each foot virtually describes a semicircle (cycloid movement) upon the floor, the dancers
really stepping around each other. 

This is quite effective, but requires considerable practice together. 

The principal variations used in the Castle Walk are the Dips and the Hesitation Steps, which
are often called by the debutantes the periods and commas in the dance. 

Since the introduction of this dance many very pretty steps have been introduced, and others
are daily springing forth from all parts of the country. 

It is easy to predict that the Castle Walk will be more popular than the Two-Step. The Dip 

Whenever the gentleman's right foot has the next step to take (whether at the end of a turn or
during a walk forward), he steps back on right foot and dips by bending both knees, the right
one more than the left. Keeping the feet apart, and immediately transferring the weight of
the body on R. F. (like a lady's courtesy) he rises by coming forward on the left foot, following
this with a step forward on the right foot. The Dip should always be performed with great delicacy.
In reality it is a graceful courtesy performed by the man and a semi-kneeling position for the
lady, with her left foot front. 

But remember that a dip that is exaggerated is most awkward . The Dip at End of Turn 

The dip taken at the end of a turn should be practiced as follows: 

Turn to the right, making five steps L. F. (1),R. F (2), L. F. (3), R. F. (4), L. F. (5), step back
with right foot on the sixth count and dip, come forward on left foot, count seven, and right
foot forward on the eighth count. The dip can also be done while walking in a straight line. After
the dip the gentleman continues to walk forward (this is very important to note). Single Hesitation

Walk forward on left foot (1), right foot (2), then left foot forward (3), weight slightly on
same with right heel raised. Then transfer weight to right foot and drop the right heel (4).
During this hesitation the weight is shifted from left to right foot. In order to give more grace
to this movement a slight turn of the body toward the right is most effective. After the Hesitation
the man continues to walk forward, starting with his left foot. 

Note .-After the Hesitation has been thoroughly mastered in this form you will find it is not
necessary to count the number of steps taken. Simply hesitate whenever the left foot comes
forward . Double Hesitation With One Foot 

Left foot forward, weight on same with right heel raised (1); drop right heel (2); bring left
foot to Fourth Rear Position, shift weight on left foot with right heel raised (1); drop the
right heel. This may be repeated as many times as desired. 

This Hesitation is quite effective when done after having turned several times. 

It is most practical, especially when one finds himself in a decidedly congested position,
surrounded on all sides by merry dancers. In this particular case it is the same as marking the
time of the music, as the dancers execute the movement sur la place (on the spot). 

This Hesitation Step is continued until an opportunity comes for the dancers to move onward.
Double Hesitation With Both Feet 

This is an extremely pretty movement when well performed. 

The step is quite intricate, on account of the peculiar rhythm to which it must be executed,
seemingly out of time. It is really ragtime or syncopated dancing. 

It requires considerable practice, after which it becomes quite fascinating. 

On account of the step being composed of three movements, each to the value of a quarter note
on the music, which consists of two quarters to the measure, it is necessary to carry the third
step over to the next measure, but after repeating the step four times to twelve counts, the
next step will bring one again in perfect rhythm on the seventh measure of the music. 

Practice the step as follows: Left foot forward, Fourth Position, weight slightly on the same
with right heel raised (1); transfer the weight to right foot and drop right heel (2); bring
left foot back close to side of right foot, that is to semi Second Position (3); step forward
on right foot, raise left heel same time (4); transfer the weight to right foot and drop heel
(5); and bring right foot close to side of left foot (6). 

Repeat these six steps, making twelve steps in all to six measures of the music. 

During the execution of these steps 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. 

The step should also be practiced moving forward slightly. This is done by not bringing the
foot back to Closed Position; in other words, advance slightly on each step. This gives a very
smart effect and is well worthy the practice it requires. Modified Grizzly Bear 

This step is often used in the Castle Walk, although it properly belongs to the One-Step or Modified
Turkey Trot. 

Yet if there is space upon the floor, at the side, it is often used to a great advantage. 

With a slight bend of the right knee, slide the left foot to the left side, Second Position, count
(1). Draw the right foot up close to the left foot, First Position, count (2). This step can be
executed as many times as desired by the gentleman. 

This step is not done to the right by the gentleman. 

The genuine Grizzly Bear step was in correct imitation of the movements of a dancing bear, moving
or dancing to the side. 

A very heavy step to the side with a decided bending of the upper part of the body from one side
to the other, a decidedly ungraceful and undignified movement when performed as a dance. 

However, all the objectionable features have been eliminated. It is quite acceptable and
has become one of the popular steps. Pomander Walk 

This is another variation of the Castle Walk. The dancers take the Yale Position (lady on the
right side of the gentleman and walk any number of steps, lady moving backward and the gentleman
forward, after which they walk around each other in a circle to the right-both walking forward
one after the other. 

When desired by the gentleman, he turns about-face, which shifts the lady to his left side,
hands still retained, with virtually no change in the position of holding the lady except that
she is now on his left side, instead of his right side. She is then again obliged to walk backward
in this position, then the walk around follows, but this time to the left, then another change
of position or shift which brings the lady to her original position. 

In these movements here described the man always walks forward, and in making the shift it must
be done smoothly and joined nicely with the walk around in a circle. The Snake 

A very amusing figure. 

The lady as usual walks backward, perhaps the entire length of the room. During this walk the
man shifts his position from the right of his partner to her left, this shifting from one side
to the other giving a remarkably serpentine effect. 

When done by the entire assembly it is so realistic that one may almost imagine the building
is rocking. The Snake Dip 

The same idea is expressed as in The Snake, with the exception that only three steps are taken
obliquely. Start with left foot to left oblique forward (1); bring the right foot across in
front of left foot and dip in this position (2); again step forward obliquely with left foot
(3). Then the same step is repeated to the right oblique, starting with the right foot (4), then
crossing the left foot forward (5), with the dip, again step right forward (6). 

This movement is repeated many times, during which the lady always crosses the foot in back
and dips. 

The shifting from one side to the other is a most important matter. When the gentleman walks
to the left oblique he faces in that direction and the lady just the opposite, virtually in Yale
Position. 

When well done it resembles the movement of the snake. Fish Walk 

One of the steps occasionally used in the Castle Walk or the One-Step. It is not particularly
graceful, but it is performed by many who have the reputation of being quite expert dancers.

One objection to it is that it is most fatiguing when long continued. 

In construction it is nothing but a skip on the one foot, then on the other, the lady moving backward,
and the gentleman coming forward. 

Left foot forward (1); slight hop on same without raising the foot from the floor (x); then bring
the right foot forward (2); and hop on it (x). The hop is much condensed and the movement continued
with much rapidity. 

This little skip step can also be performed while turning to the right. CASTLE GLIDE ( Newman
) 

Music 2-4 (Ragtime). A trifle slower than the Castle Walk. 

This is quite a jolly dance and very easy to execute. Dancers in Closed Position. 

The gentleman walks four steps forward, left foot (1), right foot (2), left foot (3), right
foot (4). Then Chassez (a chasing of one foot by the other) or a glide to the left four times performed
as follows-left foot-to side, Second Position (1); right foot close up to it, First Position
(x). Repeat this movement three more times, counting (2) (x) (3) (x) (4); this takes two measures.
On the last step there is a half turn of the body to the right. The Chassez movement is then repeated
to the right two measures, after which turn to the right with five steps of the Castle Walk left
foot back (1); right foot forward (2); left foot back (3); right foot forward (4); left foot
back (5); dip on the right foot back count (6); rise and transfer the weight forward on the left
foot (7), and step forward on right foot on the eighth count. 

Repeat the entire dance. THE ORIGINAL ONE-STEP 

Music 2-4, tempo march "Militaire." 

Originally this dance came from England in 1911; at that time it consisted of merely a march
forward, backward, and a right turn, decidedly in military precision. 

My first impression of this form of a dance was that the dancers were more like automatons than
human beings, as there was no grace exhibited, and it was nothing short of a walk. 

When it was brought to America and danced to Ragtime (which was much more rapid than the March
Tempo) it was necessary to run or trot the steps; the result was it became a Modified Turkey Trot,
as many insisted on calling it, with of course all the objectionable features of the Genuine
Turkey Trot eliminated. 

The title of the One-Step was often used by myself and many others who had a dislike for the abominable
Turkey Trot, and this Modified Trot was readily accepted by polite society under the name of
the One-Step. 

Innumerable variations have been invented that are used in the One-Step. AMERICAN ONE-STEP,
OR MODIFIED TURKEY TROT 

Music 2-4 (Ragtime), spirited. Count two to the measure. 

Danced in Closed Position. 

The step used throughout the dance is a short trot, a regular "dog trot," keeping the ball of
the foot continually on the floor. 

The upper part of the body to be kept perfectly quiet; no bending or rocking from side to side
or any hip action whatsoever is permitted. 

The principal variations used in the dance are the forward and backward trot, the turn to the
right and to the left, Modified Grizzly Bear (to the side), the Picket Fence (diagonally forward
and backward) and the various forms of Grape Vine Steps. 

Begin the dance by turning to the right. Be careful to keep the right foot forward, the feet always
apart, stepping from one foot to the other with a step on each beat of the music, the left foot
virtually around the right foot, as in the Castle Walk. Turn as many times as desired. 

Next use the Modified Grizzly Step, to the side (left), after which turn either to the right
or to the left just as you prefer. Then next execute the Picket Fence. The Picket Fence 

This consists of four trots directly to the left rear oblique, then the same number of steps
forward left oblique; in this forward movement have the lady to the right side in Yale Position.

This backward and forward movement is in a V formation, or zigzag, which is repeated several
times and which is to represent, in design, the top of a picket fence, hence its name. 

Then the turns may be inserted again, followed by the original Grape Vine Step. Original Grape
Vine Step 

This step is known in England as the Crab Step. 

In order to get into the Grape Vine Step, take two walking steps or trots backward, left foot
(1), right foot (2). Then the actual Grape Vine begins, which is left foot to side, Second Position
(1); right foot directly forward, Fourth Position (2); left foot side, Second Position (3);
right foot back, Fourth Rear Position (4). This takes two measures. The movement is repeated
several times, omitting the two backward steps, the left foot always to the side, while the
right foot is the most active, moving forward and backward. 

The Original American One-Step consists of a turn to right and to the left, Modified Grizzly
to the side, the Picket Fence, and the Grape Vine Steps. But other steps have found favor as follows:
Dip Grape Vine Step 

This step is an elaboration on the original Grape Vine Step and is practically the same step
with the exception that on taking the second step there is a bend of the knees or a dip, gentleman
making a courtesy with right foot back, while the lady takes a semi-kneeling position with
her left foot front. 

The steps are as follows, moving continually to the left side: Left foot to side, Second Position
(1); right foot back, Fourth Rear Position, and dip (2); left foot to side (3); right foot forward,
Fourth Position (4). This takes two measures of the music. Repeat indefinitely, space permitting.
Hesitation Grape Vine Step ( Newman ) 

One of the most fascinating steps of the Modern Dance. When well performed it is decidedly smart.

The left foot is brought forward, Fourth Position, with a slight turn of the body toward the
right (1); the right foot is then brought to Crossed Rear Position (2); left foot is pointed
to the side, Second Position, with leg perfectly straight. At the same time raise the right
heel (3), drop the right heel (4). This takes two measures. Repeat this movement several times,
the dancers always moving to the side. 

Turning the body to the right, then coming back to the regular position, is an important factor
in this step. American Crab Step 

This step is in imitation of the walk of a crab. This step originated in England, at least it was
there christened by that name. 

Although in England many variations of this step are all known under the name of The Crab Step,
here in America there is only one step that is generally so styled. 

It is practically the same as the Dip Grape Vine, with the dip on the last step instead of the second,
and in taking the dip, which is forward for the man with right foot, the Yale Position is taken
and his right foot passes the lady's right foot. 

Start with left foot back, Fourth Position (1); right foot back (2); left foot to side, Second
Position (3); right foot crossed in front, passing the lady's right foot and dip forward on
the right foot (4). 

Repeat. Half Fade Away 

This step starts with the Grizzly Bear Step to the side. Left foot to the side (1), draw the right
foot close up to it, First Position (2), left foot to side (3); draw the right foot to it (4), left
foot to side (1), then turn (Pivot) on the left foot by raising the right foot and with a big stride
virtually step around the lady, making a half turn to the left, keeping right foot raised (2);
place right foot on the floor to side (3); draw left foot to it, First Position (4). The dancers
have now turned about-face. 

Repeat all, starting with the right foot to the right side, make the Pivot on the right foot,
and turn around to the right. 

It will be noticed that there are four counts mentioned in the description, which is equivalent
to two measures of the music. ENGLISH ONE-STEP 

Music 2-4, tempo military march. 

This one-step is rather a tame sort of a dance compared to the American One-Step with its innumerable
variations; however, it is quite good, and often answers the purpose most satisfactorily.

Dancers in Yale Position. 

Walk forward four steps, left foot (1), right foot (2), left foot (3), right foot (4). These
steps take two measures. 

Take the same steps turning to the right, with four steps, two measures. Jig-Saw Step or Syncopated
Grape Vine Step 

Quick spring on left foot (1), dip on right foot forward, Fourth Position, passing the lady
on her right side, count (1) (2). Spring again on left foot (x), dip right foot back (1) (2). Repeat
the Jig-Saw Step forward and back-two measures. 

In the Jig-Saw Step the dancers move a little to the side. THE HORSE-TROT 

Music 2-4 (Ragtime), lively. 

This dance is passe at the present time, yet a short description of the same for those who still
desire to dance it appears below. 

The step for the Horse Trot resembles closely the step of the Cake Walk, raising the foot quite
high with rather a jumpy style. 

It consists of a forward and backward movement, turning to the right and to the left. Taking
the Yale Position and dancing around after each other. A stationary step, cutting the foot
to the side, a series of dips with the right foot back are often taken, also the Canter in the Horse
Trot. The Canter in the Horse Trot 

Gentleman springs on left foot (1), dips back with the right foot (2), takes two trots back ward,
left foot (3) and right foot (4). This movement when repeated several times closely resembles
a canter. Kangaroo Dip 

This is another step often used in the Horse Trot. It is a succession of dips backward for the
gentleman and forward for the lady, making it resemble the kangaroo. Chicken Scratch 

This, another oddity, is very similar to the Pivot used in Ballet Work (using the one foot as
a pivot and moving the other around it by taking small steps). The only difference is that the
foot that is doing the actual stepping scrapes or scratches the floor, imitating a chicken.

The turns may be complete or just half-way around, then back again. 

The Horse Trot, Kangaroo Dip and the Chicken Scratch are by no means graceful, and really should
have no place in the ballroom. Yet I have given a short description of each, as I think that teachers
especially should know these oddly named steps, even if they do not endorse them . Bostons,
Hesitation Waltz, Standard Waltz CHAPTER V BOSTONS, HESITATION WALTZ, STANDARD WALTZ PHILADELPHIA
BOSTON 

( One-Step Waltz or Long Boston ) 

Music , waltz, played quite fast. 

This dance is also known as the Drop Step, on account of all the steps being dropped or eliminated
except the one. 

In London it is also called the Berceuse or Cradle Boston. 

It is the form of Boston most popular at the present time and to my mind the most difficult dance
for the ballroom on account of the simplicity of its composition. It depends entirely upon
each individual to create a most graceful dance, from actually only one step to the measure,
and to rotate progressively around the room. 

The gentleman glides his left foot backward with knees bent (1). In this open position, feet
apart, rise on the ball of the left foot (2), drop left heel (3), keeping the right foot pointed
in front. Transfer the weight of the body on the right foot, which is forward, and accompany
the same with a bend of the right knee (4). Rise on the ball of the right foot (5), drop the right
heel (6). This backward and forward movement should be a delicate wave or cradle movement,
with a bending of the knee and a rising on the ball of the foot. 

The feet are never brought together, as it is necessary for the feet to be kept apart so as to describe
a circular movement with the free foot, the one that does not sustain the weight of the body,
first with one foot then with the other (see diagram). This circular movement or swing will
give one the proper momentum in order to turn properly. Keeping the feet apart, one foot never
brought up to the other, will avoid coming in contact with partner's foot, a thing that happens
too often, and is very embarrassing and sometimes painful. 

The right foot as it advances passes the partner's right foot on the inside. 

In the turn, the one foot glides around in a circular movement, while the heel of the other foot
is raised with a slight pivoting motion. 

Never take the toes from the floor; always use a smooth gliding movement. 

When a change of turn is desired, glide the right foot back, the lady at the same time coming forward
with her left foot; this will bring both the left foot of the lady and the left foot of the gentleman
in front, which is a change of the relative position of the feet, and in this position the partners
may turn to the left or reverse. 

After a little practice by the beginner it will be noticed that there is not much progression
in this movement, and that it is quite difficult to move as quickly around the room as in the old
dance (the Waltz and the Two-Step); so it is necessary to add a few other movements which will
bring about the desired result. 

The first is the Boston Spanish. The Boston Spanish 

This step will lead the dancers obliquely across 

the room, in the design of steps or stairs (see diagram). The gentleman moves down the stairs
or obliquely to the rear, and the lady going up the stairs or to the right obliquely forward.

After having used the Boston Turn to the right several times the gentleman glides his right
foot back (1), glides left foot back to First Position, at same time rising on toes of both feet
(2), then dropping both heels (3). Glide left foot to the side, Second Position (4), draw the
right foot close to it, First Position (5) (6). This takes two measures, and may be repeated
as many times as desired, after which it may be joined nicely with either the right or the left
turn of the regular Boston Step. 

Should the dancers care to move directly to the side the following step is advised: Herring
Bone Boston ( Newman ) 

This step will take one moving in zigzag design to the side. 

Gentleman glides his left foot to left rear oblique; count (1) (2) (3); then glide right foot
back (4), 

left foot to side (5), draw the right foot up to it (6). This takes two measures. 

During these three last steps, which really make a waltz, the body should turn slightly to the
left. 

Now glide the left foot forward to the left oblique, count (1) (2) (3); then glide the right foot
forward (4), left foot to the side (5), draw right foot up to it (6). This takes two measures.

During the last three steps the body must turn slightly to the right. 

In going forward the dancers assume the Yale Position, and the right foot of the gentleman passes
the right foot of the lady. 

This zigzag movement should be repeated several times. The step is precisely the same going
back as going forward, and it is very important to note a slight turn of the body on the fourth,
fifth, and sixth steps, which produces a beautiful effect. 

It is rather peculiar to note that this Herring Bone Boston, which has been taught for several
years, closely resembles the Hesitation Waltz now so popular. ORIGINAL BOSTON, NEW YORK BOSTON
OR BOSTON POINT 

Music, waltz (fast). 

Glide the left foot back (1); then the right foot describes a circular movement toward the rear
(right), point of the foot resting on the floor (2); in this open position make a pivot (turn
to the right), by moving and raising the left heel as in the diagram, then drop the left heel on
(3). 

The foot pointed to the rear (R. F.) should assist in the turning; technically speaking, it
is an Open Pivot. 

Now glide the right foot forward, Fourth Position, on (4), describe a circular movement with
the left foot toward the front, making the pivot to the right on the right foot (5), and drop the
right heel (6). This takes two measures. 

Remember in the right turn the right foot must always be in front, and the left foot in front during
the left turn. 

Repeat as many turns as desired to the right then glide right foot back, leaving the left foot
front and repeat practically the same idea, turning to the left, keeping the left foot always
in front, and making the pivot first on one foot, then on the other. ENGLISH BOSTON, OR THREE-STEP
BOSTON 

Music, waltz (standard tempo). 

Continually turning to the right. Start with a glide with left foot back (1) (2) (3), or one measure.
This movement should naturally be performed slowly. Bring right foot to rear pivot on left
foot (4), draw left foot to the right foot (5) (6). Now glide the right foot forward (1) (2) (3);
circular movement with left foot; pivot on right foot (4); draw right foot to left foot (5) (6).
This entire movement takes four measures. 

In reality it is our Standard Waltz, but instead of taking two measures this Boston takes four
measures. This step can and should be done in every direction, and also the reverse turn by changing
the relative position of the feet, left foot in front instead of the right foot. When properly
performed it makes quite a dignified dance, not at all tiresome, and should be quite acceptable
when one is obliged to continue dancing until the wee hours of the morning. FOUR-STEP BOSTON

Music, waltz (correct tempo). 

This Four-Step Boston or Four-Step Waltz is precisely the same as the fundamental step of the
Hesitation Waltz, performed turning to the right or to the left. 

Explanation for the right turn. Glide left foot back and hold position (1) (2) (3). Describe
a circular movement with the right foot to the rear, right (4); left foot to side (5); then draw
the right foot close to it (6). The last three steps consist of a waltz movement (4) (5) (6). 

The pause will be always on the left foot, and the three waltz steps will occur with the right
foot, no matter which way the gentleman is going. 

This step may be done in any direction. FIVE-STEP BOSTON, OR THE FIVE-STEP WALTZ 

Music, waltz (moderate tempo). 

Another very pretty dance. Practice these steps exactly according to the diagram until they
have been thoroughly organized in your mind before you attempt to turn. 

Gentleman glides left foot to side (1); draw the right foot up slowly to the left foot, First
Position; count (2) (3); glide left foot back on (4), right foot to the side (5); bring left foot
up to right foot on (6). This takes two measures. 

The last three steps (4) (5) (6) are practically waltz steps. 

Glide the right foot to the side (1); draw left foot to it slowly, First Position (2) (3); right
foot forward (4); left foot to the side (5), and right foot close up to left foot (6). 

When the step has been thoroughly practiced and mastered in this form then, while executing
the steps (4) (5) (6), the dancers should turn toward the right. The step and the draw to the side
are always taken without a turn. 

It will be noticed that there are exactly five steps in the dance; hence its name, The Five-Step
Boston. These five steps may be performed turning to right, to left, moving forward or backward.

A turn to the left or the reverse turn should be freely used. This is by no means an easy task, but
a little patience and practice will bring about the desired result. SEVEN-STEP BOSTON 

Music, waltz. 

This form of Boston is rather peculiar, yet it is quite effective when properly done. Gentleman
should glide left foot back (1), right foot close to it, First Position, and rise on both toes
(2). Drop both heels (3), glide back with right foot (4), point left foot to the side, Second
Position; rise on both toes (5), drop heels (6). 

Then a reverse waltz step follows, which is left foot forward (7), right foot in circular movement
to the side (8), bring left foot close to right foot (9). 

During the last three steps (7) (8) (9) turn about face to the left. This actually makes in all
seven steps, in three measures, to nine counts. 

Now start back with the right foot (1), taking the same number of steps with the other foot, and
during the last three steps turn to the right. (See the diagram.) 

By repeating these steps it will be noticed that the dancers move in a zigzag direction around
the room, always turning about-face or half a turn on the waltz steps or on corner of zigzag.

This Seven-Step Boston has been personally secured from R. M. Crompton of London, England.
DOUBLE BOSTON, COUNT OF LUXEMBOURG STAIRCASE VALSE OR CROSS BOSTON 

Music, waltz. 

Glide left foot to the side; hold position for one measure (1) (2) (3). Right foot circular movement
to right; at same time pivot on left foot (4) (5) (6). Then a circular movement to right with the
left foot, bringing it across in front (7) (8) (9). During these steps turn toward the right.
Then glide right foot to the side (10), and draw the left foot to it slowly (11) (12). This takes
in all four measures of the music. Now start with the right foot to the side, and reverse all the
steps, turning this time to the left. 

The dancers will move in the direction of the accompanying diagram. TRIPLE BOSTON 

Music, waltz. 

The Triple Boston is a most beautiful dance. Although little known in this country yet it is
well for dance-loving readers who travel extensively to become acquainted with it, as it is
much danced in Europe. 

Start with three measures of the Waltz, turning to the right with left foot going back (1); right
foot to side (2); left foot close (3); right foot front (4); left to side (5); right foot close
(6); left foot back (1); right foot to side (2); left foot close (3); then pause or "hesitate"
on right foot to the side, with full weight of body on same. Hold this position for three counts,
or one measure. 

Now turn to the left with the following steps: left foot crossed in front, one measure; step
to side with right foot, one measure; bring left foot back, Fourth Rear Position, one measure.
These last three steps may be considered a walk. Turn to the left. 

Next comes the triple step (hence the name of Triple Boston), which is a run directly to the left
oblique forward, starting with the right foot (1), left foot (2), right foot (3), having partner
in Yale Position, and passing her on right side. DOUBLE TRIPLE BOSTON 

Music, waltz. 

The first four measures of the Double Triple Boston are exactly the same as in the Triple Boston.
Then follows a "Pas de Bourree," which is left foot crossed in front of right foot (1), then right
foot to the side, Second Position (2), and left foot close to it (3), moving slightly to the right
side. This constitutes the first triple. Right foot to the side, Second Position (1) (2) (3),
one measure; left foot describes a semicircle to the rear, toward the left, one measure (4)
(5) (6). These two steps are the same as a Long Boston to the left. 

They are followed by three running steps obliquely forward to the left, starting with the right
foot (1), left foot (2), right foot (3). These running steps are taken in Yale Position, and
make the second triplet. Hence the name of Double Triple Boston. 

Repeat all as many times as desired. 

The Double Boston, Triple and Double Triple Bostons have been secured from E. B. M'Ewen of Glasgow,
Scotland. RUSSIAN BOSTON ( Newman ) 

Music, waltz. 

Glide the left foot to the side, Second Position (1); bring the right foot up close to it, and
at the same time raise the left foot to side (coupe) (2); hop on the right foot, and bring the left
foot raised in back of the right foot, with the left knee bent, and close to the right leg (3).
This is a Mazourka Step. Repeat this Mazourka Step again to the left side, one measure. 

This is followed by the side balance movement-Left foot to the side (1), bring the right foot
close to it and bend body to the right (2) (3). Repeat this in the other direction, right side,
one measure; left foot to the side (1), raise the right foot across in front (2), hop on the left
foot (3). Step on the right foot, which is crossed in front (1), left foot to side (2), draw the
right foot close to the left foot (3). 

Continue the dance with four Boston Turns to four measures. Repeat all from the beginning.
THE STANDARD WALTZ 

Music, waltz. 

Without a doubt this dance is the most popular of all Society Dances, as it is danced in every
part of the civilized world, and is used in all the Modern Dances where the waltz step is mentioned.

Left foot glides back (1), the right foot moves to the Second Position, side (2), draw the left
foot close to right foot in Third Rear Position (3), right foot forward, Fourth Position (4),
left foot to Second Position (5), and the right foot to Third Position (6). 

Very often it will be found a great advantage to draw the accompanying design upon the floor,
about two feet square, then simply follow the directions. 

Starting from the upper left hand corner move left foot back to lower left hand corner (1), then
right foot to the lower right hand corner (2), bring left foot close up to the right foot (3).
Now step to upper right hand corner with the right foot (4), then left foot to the upper left hand
corner (5), and draw the right foot up to the left foot (6). 

These six steps are taken to two measures of the music. Practice them diligently many times
until you can execute the steps without thinking and find that one foot moves after the other
properly and instinctively. 

After the student has become thoroughly proficient in these steps then while executing them
turn the body from left to right, right turn, by describing a circular movement with the foot
that has the second and the fifth steps to make, while you pivot on the other foot. Note that in
turning toward the right when the feet are brought together, in Third Position, the right foot
must always be in front; this is very important. While in the reverse turn the left foot is always
in front. This applies to both the lady and the gentleman. 

In order to join the right turn with that of the left turn or the reverse it is necessary to take
the waltz steps in a straight line, the gentleman going backward and the lady going forward.
Three steps only are necessary to change the relative position of the feet, then one is able
to turn or to take the steps turning to the left. These three steps are here described. Waltz
Backward 

Glide left foot back (1), then the right foot back, passing the left foot (2), left foot close
up to the right foot, in Third Position (3). 

It will now be noticed that the left foot is in front, which is a change of the relative position
of the feet compared with the beginning of the dance. 

Now we are ready for the reverse turn, which is typically American, as in Europe they began to
reverse only a few years ago. The Reverse Turn in the Waltz 

Right foot back (1), left foot to the side (2), right foot close to it in back (3), left foot forward
(4), right foot to side (5), left foot close to it (6). After these six steps have been mastered,
then turn toward the left. 

My experience shows that students are always too anxious to turn before they really know the
steps perfectly. 

The drawing of the square below upon the floor will greatly assist the beginner. 

In order to get out of the reverse turn and back into the right turn it is necessary to again take
three steps backward. This time start with the right foot (1), then bring the left foot back,
passing the right foot (2), and draw the right foot up close, and in front of the left foot (3),
and you are again in the same position as at the beginning of the dance. 

If one should not desire to reverse alternately then take six waltz steps, going backward,
which will bring the right foot front, then again turn to the right. NEWMAN HESITATION BOSTON

Music, any spirited waltz. 

The Newman Hesitation Boston is one of the most popular dances at the present time. Its construction
is very easy and it is most restful. 

The dance starts with Boston turning to the right, left foot back one measure; right foot forward
one measure; left foot back one measure, and right foot forward one measure, then take the Hesitation
Step. Hesitation Step 

Left foot to side, place weight firmly on same with the right foot pointed to the right side (1)
(2) (3); then transfer the weight on to the right foot, and bend the right knee very slightly
twice, on the first and third count of the measure. This is just a little balance movement or
a marking the time of the music. 

Repeat this Hesitation Step with the same foot to the left, two measures. This is followed by
the Stroll. Stroll 

Gracefully walk backward four steps, starting with the left foot one measure, right foot one
measure, left foot one measure and right foot one measure. Now walk forward to the left oblique,
having the lady in Yale Position four steps (left foot one measure, right foot one measure,
left foot one measure, right foot one measure). 

Second Part .-Boston Turning to the right four measures. Jig-Saw Step 

Step back on left foot one measure, step back on the right foot (passing the left foot) and dip,
one measure. Step again on left foot (at place), one measure. Bring the right foot front, Fourth
Position, and dip forward one measure. Repeat this movement back and forth again in four measures.
In the Jig-Saw the right foot is the most active, while the left foot virtually remains on the
same spot. This step may also be performed turning the body to the right. 

For the remainder of the dance the dancers assume the Tango Position, and walk directly forward,
taking four steps to four measures of the music. It will be noticed that each step takes one measure,
which gives to the dance a most dignified and majestic atmosphere. 

Note .-After the steps have been mastered in this particular from then it will become more interesting
to vary the construction of the same by placing the steps in such a manner so as to be most practical
for the various spaces upon the floor, thereby avoiding collisions. A Reverse Boston 

This may be easily inserted. Very pretty combinations can be arranged from the material given,
viz.-Boston Turning two measures, and the walk in Tango Position directly forward, starting
with left foot one measure and right foot one measure. Also two measures of Boston, and two measures
of the Hesitation, then Boston Reverse and Hesitation again, two measures. 

Abbreviation of the foregoing steps of the original Newman Hesitation Boston is as follows:

Boston Turn to right 4 measures. 

Two Hesitation Steps 4 measures. 

Four walking steps backward 4 measures. 

Four walking steps forward 4 measures. 

Boston Turn 4 measures. 

Jig-Saw Step 8 measures. 

Four walking steps in Tango Position 4 measures. 

This makes 32 measures in all. ORIGINAL HESITATION WALTZ 

Music, slow waltz. 

The Hesitation Step takes two measures of the music, and may be performed turning to the right,
or to the left, moving forward, backward or to the side. 

It consists of a Hesitation on the one foot for one measure and a waltz for the other measure.

Practice the following until thoroughly organized. Hesitation Step to the Side 

Left foot to the side (1); stand firmly on left with full weight of body on same, the right foot
pointed to the side; hold this position for two more counts (2) (3). Place the right foot back
of left foot (4), left foot to side (5), and right foot close up to it in First Position (6). These
last three steps constitute a waltz, moving to the side. The six steps should be repeated several
times. (See the illustration page 111.) 

It will be noticed that after the Hesitation Step the gentleman steps in back, while the lady
crosses in front. 

It would be well for a beginner to start the Hesitation Waltz with four Long Boston Steps turning
to the right for four measures then two complete Hesitations to the left in four measures. 

After this side Hesitation Step has been mastered then practice the Grape Vine Formation in
the Hesitation Waltz 

The Grape Vine in the Hesitation Waltz is a Hesitation to the left, one measure, and then right
foot back and waltz backward one measure; again the Hesitation to the left, one measure, and
step forward with the right foot and waltz forward one measure. Repeat this Hesitation and
the backward and forward waltz; this takes the formation of a Grape Vine movement. When the
student has become thoroughly familiar with the Hesitation Steps they then should be taken
turning. Turn to the Right 

This turn is done with the same step, which is a step on the left foot, turning to the right (1)
(2) (3); continue the right turn with three waltz steps right foot (4) (5) (6). Repeat many times,
then join this with the other movements. A very effective turn is the Pivot to the Left 

In this turn the same steps are used with the exception that the turn is to the left or reverse
and the dancers make a complete Pivot on the Hesitation foot (gentleman's left and the lady's
right); the gentleman must assist the lady considerably in this turn or they will not execute
a complete turn (Pivot) which is necessary if the movement is to be effective. 

Note that the Hesitation is not always confined to the left foot. It may also be performed on
the right foot. This is called: The Change 

This change is done as follows: Hesitation on the left foot (turning to the left) one measure,
and waltz turning one measure; again waltz one measure, and Hesitation on the other foot (right
foot) one measure. (Remember that this should be a reverse turn.) Now pass the left foot back
and waltz one measure, continue the waltz with the right foot one measure; during the waltz
steps turn to the right, finish with a Hesitation on the left foot again one measure. There will
always be a left turn and a right turn, followed by a Hesitation on the other foot. 

A very pretty step is here described and should be placed in the dance with the others. The Open
Hesitation 

Dancers in Tango Position; then take a Hesitation Step left foot forward one measure; then
waltz right foot one measure; face partner and balance to left one measure and right one measure
(side balance). Repeat. This movement may be used to a great advantage, as it brings the dancers
forward quite rapidly. 

In order to make the dance interesting all the various movements here described should be nicely
joined together. The Tango and Maxixe CHAPTER VI THE TANGO AND MAXIXE MINUET TANGO ( Newman
) ( The Minuet of the Twentieth Century ) 

Music 2-4, Tango Tempo (not Ragtime). Count two to each measure. (For music, see page 169.)

The Minuet Tango has been approved and accepted by polite society throughout the world. 

This adaptation of the Tango is most practical for ballroom use, as it enables the dancers to
move around the room in a progressive manner just as in the Waltz and Two-Step. It does not obstruct
the way of the other dancers. After one has acquired the steps of the Minuet Tango it is very easy
to avoid collisions. The Tango Step 

The Tango Step often referred to in the dance is a long, gliding, stealthy, smooth, near-walking
step, making one step to each beat of the measure. 

Important .-The ball of the foot must remain on the floor all the time, keeping the upper part
of the body perfectly relaxed throughout the dance, so as to be able to adjust and balance the
body properly. Don't bounce, wriggle or sway and do not shrug the shoulders; just glide along
with a becoming buoyancy. The Position 

The position is practically the same as in the Waltz,-viz., partners standing about a foot
apart, which will allow for freedom of motion and individual expression. To be graceful one
must have sufficient room to move about easily. Do not clasp the partner closely . 

In the first movement of the Minuet Tango the Tango Position is used. If the Newman Tangos are
danced according to the direction they will be graceful, modest and pretty. 

Theory of the Minuet Tango 

Two Tango Steps forward left foot (1), right foot (2), step forward on left foot and point it
forward; at the same time turn and face partner and rise on right foot (3); then drop right heel
and face line of direction again (4). This movement is repeated in four counts (two measures).
(See diagram on opposite page.) 

Take Closed Position and turn to the right with eight Tango Steps in four measures, keeping
the feet apart and stepping from one foot to the other with the right foot in front as in the right
turn. This can be varied by turning four steps to the right and four steps to the left, or reversing.
The Square 

Face outside of an imaginary square, or better still draw the diagram (page 127) on the floor
and start from the upper left hand corner of the square. Step left foot to side (1), right foot
crossed in front (2), left foot to side (3), turn a 

quarter to the right (face inside of square) and lead off with right foot to side (4), left crossed
in front (5), right foot to side (6). Repeat the first three steps to left, count (7) (8) (9),
then the next three with right foot (10) (11) (12), which will bring you completely around the
square in twelve counts or six measures. In this square the lady also crosses in front. 

Note that it is not always practical or even possible to execute these steps in a square formation
when the ballroom is crowded. The gentleman must then guide his partner around without coming
in contact with the other couples on the floor by turning a little more on every third step and
changing the design of the figure. The steps can be done in a straight line if necessary. Walk
Out 

It will be found in order to make up sixteen measures of the music that we have two measures still
remaining. For these just walk, or use four Tango Steps backward, two measures. The dance will
then take sixteen measures. 

Other Tango Steps may of course be added to this Tango, or its construction changed for convenience
sake, but it is better to teach it in this regular form. NEWMAN TANGO "ARGENTINE" 

Tango music (slow). 

Dancers take the Tango Position. 

Three Tango Steps forward left foot (1), right foot (2), left foot (3), turn right about face
and point the right foot forward (4); take the three steps in the opposite direction, starting
with the right foot (1), left foot (2), right foot (3), turn left about face in line of direction
again and point the left foot (4). 

Turn to the right with eight Tango Steps, four measures. 1 Double Overlapping Step 

( Scissors Step ) 

Cross left foot over in front of right foot (1), step right foot to side (2), again cross the left
foot (3), point the right foot to side (4). Now cross right foot in front (1), left foot to side
(2), right foot front cross again (3), point left foot to side (4). Step back with left foot (1);
turn to the right and step on right foot forward (2). This is a turn to 

the right composed of two steps, with the partners in Closed Position; quickly change to the
Tango Position, facing the line of direction, and step forward with left foot (1), right foot
(2). Repeat the last two measures-the turn and the forward movement. 

This last part is very effective, and makes a good step for the opening movement of an exhibition
Tango. The turn should be quite rapid, with the appearance of a whirl, and the forward steps
should be long and stealthy. NEWMAN TANGO TWO-STEP 

Music, Tango (slow). 

Dancers in Tango Position. 

Take two Tango Steps forward, left foot (1), right foot (2), then the old fashioned Two-Step,
starting with the left foot (1) (x) (2), then two more Tango Steps, right foot (1), left foot
(2), and then the Two-Step again, starting this time with the right foot (1) (x) (2). 

Closed Position, and turn to the right, with eight steps (four measures). Join both hands with
the lady and extend them to the side, then step left foot to the side (1), cross right foot in front
and dip (2), having the weight on the right foot. The left hand, which is holding the lady's right,
is held high over the head. Transfer the weight to left foot (3), right foot to the side (4), left
foot crossed in front and dip (5), weight on the left foot, holding the lady's left hand in the
gentleman's right, high over head. Transfer weight to the right foot (6). Repeat this cross
dip step to left and right again counting (7) (8) (9) (10) (11) (12)-in all, six measures. Walk
forward four steps, starting left foot-two measures. 

It is quite effective to raise the hands in the direction the dancers are moving in the cross
dip step, holding the other hands low, changing the position when going the other way. It can
also be done retaining the Closed Position. NEWMAN TANGO "WALKING" 

Music, Tango (slow). 

Dancers in Waltz Position. 

Walk four steps forward left foot (1), right foot (2), left foot (3), right foot (4)-two measures.

Walk four steps backward left foot (1), right foot (2), left foot (3), right foot (4). Step left
foot to side (1), right foot close up to left foot (x), left foot side (2). This is an old fashioned
Two-Step. 

Right foot crossed in back and bend, dip (3), rise and point right foot to the side (4). (See cut
page 133.) 

Repeat the Two-Step to the right and bend again-two measures. 

Bring the left foot around in front of right foot crossed (1), point right foot to side (2), then
bring right foot across in front (3), and point the left foot to side (4). Repeat the last two
measures. This is a Scissors Step or a single overlapping step. 

Turn to the right, with eight steps in four measures. 

Repeat all from beginning or join this with the other Tangos. FAN TANGO ( Newman ) 

Music, Tango. 

Dancers in Tango Position. 

Tango Step (walk) forward, left foot (1), right foot (2), left foot front, and dip and sway forward
(3), sway back in this position (4). Keep the knees bent. 

Repeat all, two measures. 

Point the left foot forward (1), then point the left foot to the side (2), then point to rear and
cross it and bend (3), then again point to side (4). This movement when done by the two partners

together will represent the opening and closing of a fan. 

Face each other and turn to the right with four Tango Steps in two measures. 

Repeat all ad libitum or add The Newman Minuet Tango . PARISIENNE TANGO 1 

Music, Tango. 

Dancers take the Closed Position; the gentleman starts with the right and the lady with the
left foot. 

The principal step is El Corte or Pas d'arret (stop step), which is repeated after every step.

The description is for the gentleman (counterpart for the lady). 

Right foot back (move backward) (1), L. F. to side (2), Chassez L. F., R. F. to it and quickly raise
L. F. to Side (x), place L. F. back, weight on it (1). Pause in This position, pointing R. F. front
(2). 

Repeat two measures. 

Take the same steps, turning to left two measures. Then take El Marcha or walk forward R. F. (1),
L. F. (2), R. F. (1), weight on same, and rest (2). 

Repeat El Corte, going forward, starting with L. F. twice, then turn to the right, and then El
Marcha backward. 

Repeat the first part with R. F. so that the L. F. is free. 

Part 2. Tango Position (face line of direction). 

El Marcha forward L. F. (1), R. F. (2), then L. F., deep dip (1); transfer weight on to R. F. (2).
Walk again L. F. (1), R. F. (2), then a regular Two-Step L. F. (1) (x) (2). Repeat all in the other
direction, starting with R. F. Repeat again with L. F. so that the R. F. is free, after which repeat
El Corte again. 

These two steps are quite sufficient for general use in the ballroom, yet the Parisienne Tango
consists of ten standard steps in all. THE ARGENTINE TANGO 

This is perhaps the most difficult Tango, and consists of the thirteen steps described here,
the Spanish and French names being given. These steps are executed in the order that pleases
the gentleman, repeating each as often as he wishes. 

(1) El Paseo (la promenade), (2) El Marcha (la marche), (3) El Media Corte (le demi coupe), (4)
El Corte (le coupe), (5) La Media Luna (la demi lune), (6) El Chasse (la chasse), (7) El Cruzado
(les croises), (8) El Ocho Argentino (le huit argentin), (9) El Rueda (la roue), (10) El Frottado
(le frotte), (11) El Abanico (leventail), (12) El Molinette (le moulinet), (13) El Vigne.

El Paseo is a slow walk, consisting of one step to each measure. 

El Marcha is a walk taking two steps to one measure or a step to each beat. El Paseo and El Marcha
are often performed together. 

El Media Corte and El Corte are stop steps and closely related. El Corte is described in the Parisienne
Tango. 

La Media Luna is a combination of the first two beats of Media Corte for the man and the last two
beats for the lady. 

El Chas is a step forward on inside foot (1), and a Two-Step (2) (x) and a step forward on outside
foot (3). The rhythm is rather puzzling, but should not confuse the pupil. This step is repeated.

El Cruzado is the Scissors Step; it is similar to a Pas de Bourree. There is a one-step Cruzado
and a three-step. 

El Ocho Argentino (the argentine eight) is also called a Cross Step. 

El Rueda (the wheel). 

El Frottado, literally rubbing or polishing, is so named from the similarity of the step to
the action of polishing the floor. 

El Abanico (the fan) is very similar to the Ocho Argentino. 

El Molinette (the mill). 

La Vigne (the grape vine) crossing one foot over the other. 

As this Tango is more intended for professional use and can hardly be found practical for the
ballroom, a minute description is obtainable, making every step clear with numerous pretty
combinations, which will prove very valuable for exhibition use. THE MAXIXE OR BRAZILIAN
MATTCHICHI 

This is danced to charmingly capricious music, and is exceptionally graceful and rhythmic,
so that it might be called an ornamental dance. This alone may interfere with its becoming generally
a popular dance, as many people decline to make themselves conspicuous in the ballroom by a
dance more appropriate for an exhibition. 

That the graceful bending of the body is extremely beneficial goes without saying. 

Quite an easy form of the Maxixe, with all the characteristics of the dance, is here described.

Music, 2-4 Polka, tempo. 

First Step.-Dancers in Closed Position. 

Man dances forward with a Two-Step, starting with L. F. Bend the upper part of the body to the
left (1) (x) (2). Repeat with R. F. (1) (x) (2), bend body to right. 

This is repeated for eight measures, going straight forward. 

Second Step.-L. F. to side (1), R. F. up to it (x), L. F. to side (2). This is similar to a Polka or
Two-Step. Repeat this step with R. F., always turning to the right, and bending the upper part
of the body in the direction of the foot that is leading. Repeat for eight measures. During the
last two measures the man takes the lady's right hand in his right hand which is done by slipping
her right hand in back of her; he then turns her alongside of him and takes her left hand with his
left hand. The position now is as follows: Right hands joined in back of lady, and resting on
her right hip, and the left hands joined in front. Both facing line of direction standing shoulder
to shoulder. (See illustration at page 139.) 

Third Step.-Place right heel forward (1), slip L. F. up toward the right heel (x). Repeat (2)
(x). Then again right heel (1), and stamp twice L. F. (x), R. F. (2). Repeat all in other direction
with L. F., two measures. 

Repeat all, and finish in Closed Position. Eight measures. 

Fourth Step.-Place left heel to side (1), R. F. close up to it (x), L. F. to side (2). This is a Heel-Polka
Step. Repeat with R. F., always turning to the right, and bend the body from one side to the other.
Eight measures. 

Fifth Step.-Tango Position. 

Polka forward L. F. (1) (x) (2), glide R. F. forward, and dip (1), cut the R. F. out of place by the
L. F. (x), and heel the R. F. forward (2). Repeat all with other foot (R. F.), etc., alternating.
Eight measures. 

Sixth Step.-Turn to the right with a regular Two-Step. Eight measures. 

Seventh Step.-Forward in Closed Position. 

L. F. to side (1), R. F. close up (x), L. F. to side (2), right heel to Second Position (side) (x).
Bend the body to left. Repeat with R. F., etc., for four measures. Then take the same step, turning
to the right, four measures. 

This is quite long enough for social use, but other very pretty combinations will be found in
the following description. MAXIXE ( Sutor ) 

This dance has been arranged by Mr. Fred. W. Sutor, Instructor at the Newman Studio, Philadelphia,
Pa. 

Music, Maxixe original Parisienne (Dongoza). 

Dancers in Tango Position. 

Step 1.-Left heel forward with right knee slightly bent (1), draw the right foot up to left foot
(x), slide the left heel forward (2), and draw the right foot up (x). Repeat this in all seven
times in three and a half measures; then stamp left foot and place the weight on it to make up the
fourth measure. (See illustration, page 147.) 

Dancers in Closed Position. 

Step 2.-This is a Two-Step, starting with the right foot turning to the right for four measures.
In this particular step the upper part of the body should bend toward the foot that leads, first
to the right then to the left foot. 

Step 3.-Repeat Step 1, starting with the right foot in opposite direction, making seven heel
movements and stamp,-four measures. Repeat Step 2, beginning with the left foot, four measures.
If you wish to make Step 1 a little more elaborate take the following: Heel (1), draw right foot
up on (x), then instead of the heel again on (2) place the toe of the foot on the floor (2). Then
draw right foot up on (x). This makes an alternating heel and toe movement. 

Dancers in Tango Position. 

Step 4.-Three heel movements with the left foot, and a stamp on L. F. two measures. Then face
about (gentleman looks over his right shoulder and the lady over her left shoulder; each bends
upper part of the body to the right and left respectively and move to the right, holding the left
hand high over the head, with four Chassez Steps. A chassez step is right foot to side (1), draw
up left foot (x). Repeat (2) (x) (1) (x) (2). Now the left foot is free and a Heel Two-Step is executed
turning to the left (partners in Closed Position) thus: left heel to side (1), right foot draw
up (x), step on left foot (2), same with right heel (1) (x) (2). Repeat for two measures, making
four measures in all. 

Repeat the entire Step 4 in eight measures. 

Change position. 

During the third repetition of the Heel Two-Step there is a change in the position of the dancers,
which is accomplished thus: gentleman takes with his left hand the left hand of the lady, and
the lady's right hand is placed in the gentleman's right hand, back of the lady. (See illustration,
page 139.) 

On the last measure (1) (x) (2), take three 

stamping steps, R. F. (1), L. F. (x), R. F. (2). During these the lady is turned to face the line
of direction, taking two steps (7), on left foot, and (8) on right foot; that is, the lady loses
a step. 

Step 5.-Both start forward with left foot (1), draw right foot up and slightly in back of left
(x), left foot forward (2), same right foot (1) (x) (2). Repeat with left foot (1) (x) (2). A bending
of the knees should accompany the count (x). Then step out with right foot (1), cross the left
foot in front of right foot, at same time raise right foot in back (x), step back on the right foot,
and draw left foot to it (2). Repeat the entire Step 5. Eight measures in all. 

Step 6.-Dancers in Open Position, holding arms shoulder high at side. Both Chassez left oblique
forward, with left foot, five counts. On the fifth count, the weight is on the left foot. Transfer
the weight to the right foot; at the same time raise the left foot front (6), cut the right foot
out of place with the left foot and at the same time dip (7); spring up on right foot, and heel left
foot front (8). This takes in all four measures. Repeat the entire movement. 

Step 7.-Same position, with the lady on right side. 

Take three heel steps and stamp two measures; turn slightly to the right, so that the lady is
on the left side of the gentleman, and then take the same number of heel steps to the right, with
the right foot. Then shift position again, and left heel twice-two counts. The right arm here
is held over the head, so as to form a frame for the heads, the dancers looking at each other. Same
step to the right with the right foot, two counts. Same step to the left with left foot two counts.
For the next two counts turn the lady to the right by bringing the left hands over her head (Allemande).
Retain the hands, which will now be crossed in front, dancers facing each other 

Step 8.-Lady and gentleman raise their crossed hands high over head. Turn with the following
step. Two-Step with left foot (1) (x) (2); then heel right foot to side (x). Repeat the same step,
starting with the right foot (1) (x) (2), and heel the left foot (x). Repeat, in all eight measures.
Miscellaneous Dances CHAPTER VII MISCELLANEOUS DANCES THE LAME DUCK ( Hobble Skirt Step or
the Canter ) 

Music , waltz. 

Count three to each measure. 

One of the dance oddities of to-day. It is, correctly speaking, a syncopated waltz, which in
a way resembles the old forward Chassez movement, and to the inexperienced eye a lame man's
step, hence the name of Lame Duck. This step is supposed to have originated in Newport in the
summer of 1913. One of the popular debutantes had danced herself tired and simply limped through
the waltz. She was of course immediately criticized as being "as graceful as a Lame Duck." 

The step created considerable amusement and was at once taken up by the majority of dancers
present. It is needless to say that the new dance was much talked of and became quite popular.

When it came to my notice I immediately discovered that we had used the same step in the Ballet
in Paris, years ago, and it was known to us as the Lame Man's Step. I saw the possibilities of making
a rather pleasing dance of it. 

The great fault I found with many who were trying to dance the Lame Duck was that it appeared rather
too painful to look at, too much of a limp, which I have tried to rectify. 

The Lame Duck should be danced in a decidedly smooth style. It consists of a forward movement
and a right and left turn. The turns are rather difficult if the dancer wishes to progress. 

One thing to remember is that the right foot of the man (the left foot of the lady) is seemingly
lame and receives only one count of the music, while the other foot receives two counts. 

Gentleman starts by going forward on L. F.; count (1) (2), drag the right foot (lame foot) to
the front, slightly passing the L. F. on the third count (3). This syncopated step takes one
measure and is repeated as many times as desired. Pivot Turn or Turn at Place 

This is the most popular turn and the easiest to execute. 

Keep the right foot front for the right turn and step with left foot around it; count (1) (2) for
the left foot and (3) for the right foot. 

In the reverse turn bring the left foot in front and step around it with the right foot. 

It is almost the same turn as in the Castle Walk, with the exception that it is syncopated, giving
two counts to one foot, and one to the other. Progressive Turns 

This step will be found quite difficult. 

Turn continually to the right by stepping on left foot (1) (2), glide or drag the right foot back
(3), left foot to side (1) (2), glide right foot forward (3). This is really a turning Grape Vine
Step. 

In the reverse turn the left foot comes forward (1) (2), right foot to the side (3), left foot
back (1) (2), right foot to the side (3), turning to the left continually. 

The turn will require a little practice to execute it properly and to make it rotary and progressive.

The lady during the dance has the counterpart, viz.-as the man goes back with his right foot
the lady advances with her left foot, etc. NEWPORT CANTER 

Music, waltz. 

Count three to each measure. 

Dip L. F. back (1) (2), close up R. F. (3). Repeat in all three times (three measures). Then three
steps of the waltz, with L. F. starting, L. F. back (1), R. F. to side (2), L. F. close (3); turn
same time to right. 

Repeat the entire movement forward with R. F. for three measures and waltz three steps, starting
with R. F. forward (1), L. F. to side (2), R. F. close (3), turning to right. 

The dancers move around the room in a zigzag design. AEROPLANE WALTZ ( Newman ) 

Respectfully dedicated to Mr. Wm. P. Baltz, Philadelphia, Pa. 

Music, "Come Josephine in my Flying Machine," or any Waltz. 3-4 tempo. 

Dancers in Tango Position. 

Glide L. F. forward (1), raise R. F. front (2), hop on L. F. in this position (3). Repeat same with
R. F. starting, one measure. 

Dancers take Closed Position by simply facing each other. 

Glide L. F. to side (1), draw R. F. to it (2) (3). Then take a more exaggerated step to the left with
L. F. (1), draw R. F. to it (2) (3). This should be more of a dip. 

This glide and dip represents the aeroplane going over the mountain top and down into the valley.

Turn to the right or to the left with a Long Boston, four measures. A waltz may also be here substituted.

The Aeroplane Waltz is one of the most popular dances at present and is often used in connection
with the Hesitation Waltz. 

It makes a very pretty dance also for children. TEXAS TOMMY ( Newman ) 

Music, "Ephraim's Brass Band Jones," or the song "Texas Tommy Swing," or any schottische with
a good swing. 4-4 tempo. 

Dancers in Closed Position. 

Glide L. F. to side (1), raise R. F. a little to rear, and hop three times on the L. F.; in this position
count (2) (3) (4), turning to the right. 

Repeat same with the R. F., continuing the turn, one measure. (See the illustration at page
161.) 

This is virtually a skating movement and should be made with a slight bend on the first step.
The hops should be made softly and the raised foot held not too high. 

Glide L. F. to side (1), hop on it with R. F. raised slightly (2); same with R. F. to right (3) (4).
This is a Barn Dance Step. 

Four short running steps forward L. F. (1), R. F. (2), L. F. (3), R. F. (4). 

Repeat the entire dance, turning to the left also. 

Great care should be taken not to exaggerate the hops, and to turn quite around in the skating
movement. 

There are a number of arrangements of the Texas Tommy, but none more suitable for ballroom purpose
than this. GABY GLIDE ( Newman ) 

Music, "Gaby Glide," or any schottische. 4-4 tempo. 

Dancers in Closed Position. 

Glide L. F. to side (1), raise R. F. to side, and hop on L. F. (2); pass the R. F. back of the L. F. (3),
L. F. to side (x), and again R. F. crossed in back of L. F. (4). This is a Pas de Bourree. Repeat all,
one measure. 

Step on L. F. (1), raise R. F. slightly and hop on L. F. (2), then step on R. F. (3); raise L. F. and
hop on R. F. (4)., Repeat this measure. 

Repeat all from beginning. 

There are various other versions of the Gaby Glide, but they become more difficult and are not
so practical. The Newman Tango 

Copyright 1914 by The Penn Publishing Company, Philadelphia 

POPULAR HAND-BOOKS 

SOME books are designed for entertainment, others for information. This series combines
both features. The information is not only complete and reliable, it is compact and readable.
In this busy, bustling age it is required that the information which books contain shall be
ready to hand and be presented in the clearest and briefest manner possible. These volumes
are replete with valuable information, compact in form and unequalled in point of meant and
cheapness. They are the latest as well as the best books on the subjects of which they treat.
No one who wishes to have a fund of general information or who has the desire for self-improvement
can afford to be without them. They are 6x41/2 inches in size, well printed on good paper, handsomely
bound in green cloth, with a heavy paper wrapper to match. 

Cloth, each 50 cents 

THE PENN PUBLISHING COMPANY 

226. S. 11th St., Philadelphia 

ETIQUETTE By Agnes H. Morton 

There is no passport to good society like good manners. Even though one possess wealth and intelligence,
his success in life may be marred by ignorance of social customs. A perusal of this book will
prevent such blunders. It is a book for everybody, for the social leaders as well as for those
less ambitious. The subject is presented in a bright and interesting manner, and represents
the latest vogue. 

LETTER WRITING By Agnes H. Morton 

Why do most persons dislike to write letters? Is it not because they cannot say the right thing
in the right place? This admirable book not only shows by numerous examples just what kind of
letters to write, but by directions and suggestions enables the reader to become an accomplished
original letter writer. There are forms for all kinds of business and social letters, including
invitations, acceptances, letters of sympathy, congratulations, and love letters. 

QUOTATIONS By Agnes H. Morton 

A clever compilation of pithy quotations, selected from a great variety of sources, and alphabetically
arranged according to the sentiment. In addition to all the popular quotations in current
use, it contains many rare bits of prose and verse not generally found in similar collections.
One important feature of the book is found in the characteristic lines from well known authors,
in which the familiar sayings are credited to their original sources. 

EPITAPHS By Frederick W. Unger 

Even death has its humoours side. There are said to be "sermons in stones," but when they are
tombstones there is many a smile mixed with the moral. Usually churchyard humor is all the more
delightful because it is unconscious, but there are times when it is intentional and none the
less amusing. Of epitaphs, old and new, this book contains the best. It is full of quaint bits
of obituary fancy, with a touch of the gruesome here and there for a relish. 

PROVERBS By John H. bechtel 

The genius, wit, and spirit of a nation are discovered in its proverbs, and the condensed wisdom
of all ages and all nations is embodied in them. A good proverb that fits the case is often a convincing
argument. This volume contains a representative collection of proverbs, old and new, and
the indexes, topical and alphabetical, enable one to find readily just what he requires. 

THINGS WORTH KNOWING By John H. bechtel 

Can you name the coldest place in the United States or tell what year had 445 days? Do you know
how soon the coal fields of the world are likely to be exhausted, or how the speed of a moving train
may be told? What should you do first if you got a cinder in your eye, or your neighbor's baby swallowed
a pin? This unique, up-to-date book answers thousands of just such interesting and useful
questions. 

A DICTIONARY OF MYTHOLOGY By John H. Bechtel 

Most of us dislike to look up a mythological subject because of the time required. This book
remedies that difficulty because in it can be found at a glance just what is wanted. It is comprehensive,
convenient, condensed, and the information is presented in such an interesting manner that
when once read it will always be remembered. A distinctive feature of the book is the pronunciation
of the proper names, something found in few other works. 

SLIPS OF SPEECH By John H. Bechtel 

Who does not make them. The best of us do. Why not avoid them? Any one inspired with the spirit
of self-improvement may readily do so. No necessity for studying rules of grammar or rhetoric
when this book may be had. It teaches both without the study of wither. It is a counsellor, a critic,
a companion, and a guide, and is written in a most entertaining and chatty style. 

HANDBOOK OF PRONUNCIATION By John H. Bechtel 

What is more disagreeable than a faulty pronunciation? No other defect so clearly shows a lack
of culture. This book contains over 5,000 words on which most of us are apt to trip. They are here
pronounced in the clearest and simplest manner, and according to the best authority it is more
readily consulted than a dictionary, and is just as reliable. 

PRACTICAL SYNONYMS By John M. Bechtel 

A new word is a new tool. This book will not only enlarge your vocabulary, but will show you how
to express the exact shade of meaning you have in mind, and will cultivate a more precise habit
of thought and speech. It will be found invaluable to busy journalists, merchants, lawyers,
or clergymen, and as an aid to teachers no less than to the boys and girls under their care. 

READY MADE SPEECHES By George Hapgood, Esq. 

Pretty much everybody in these latter days, is now and again called upon "to say a few words in
public." Unfortunately, however, but few of us are gifted with the power of ready and graceful
speech. This is a book of carefully planned model speeches to aid those who, without some slight
help, must remain silent. There is a preliminary chapter of general advice to speakers. 

AFTER-DINNER STORIES By John Harrison 

The dinner itself may be ever so good, and yet prove a failure if thee is no mirth to enliven the
company. Nothing adds so much zest to an occasion of this kind as a good story well told. Here
are hundreds of the latest, best, brightest, and most catchy stories, all of them short and
pithy, and so easy to remember that anyone can tell them successfully. There are also a number
of selected toasts suitable to all occasions. 

TOASTS By William Pittenger 

Most men dread being called upon to respond to a toast or to make an address. What would you not
give for the ability to be rid of this embarrassment? No need to give much when you can lcarn the
art from this little book. It will tell you how to do it; not only that, but by example it will show
the way. It is valuable not alone to the novice, but to the experienced speaker, who will gather
from it many suggestions. 

THE DEBATER'S TREASURY By William Pettenger 

There is no greater ability than the power of skillful and forcible debate, and no accomplishment
more readily acquired if the person is properly directed. In this little volume are directions
for organizing and conducting debating societies and practical suggestions for all who desire
to discuss questions in public. There is also a list of over 200 questions for debate, with arguments
both affirmative and negative. 

PUNCTUATION By Paul Allardyce 

Few persons can punctuate properly: to avoid mistakes many do not punctuate at all. A perusal
of this book will remove all difficulties and make all points clear. The rules are plainly stated
and freely illustrated, thus furnishing a most useful volume. The author is everywhere recognized
as the leading authority upon the subject, and what he has to say is practical, concise, and
comprehensive 

ORATORY By Henry Ward Beecher 

Few men ever enjoyed a wide experience or achieved a higher reputation in public speaking than
Mr. Beecher. What he had to say on this subject was born of experience, and his own inimitable
style was at once both statement and illustration of his his theme. This volume is a unique and
masterly treatise on the fundamental principles of true oratory. 

CONVERSATION By. J. P. Mahaffy 

Some people are accused of talking too much. But no one is ever taken to task for talking too well.
Of all the accomplishments of modern society, that of being an agreeable conversationalist
holds first place. Nothing is more delightful or valuable. To suggest what to say, just how
and when to say it, is the general aim of this work, and it succeeds most admirably in its purpose.

READING AS A FINE ART By Ernest Legouve 

The ability to read aloud well, whether at the fireside or on the public platform, is a fine art.
The directions and suggestions contained in this work of standard authority will go far toward
the attainment of this charming accomplishment. The work is especially recommended to teachers
and others interested in the instruction of public school pupils. 

SOCIALISM By Charles H. Olin 

Socialism is "in the air." References to the subject are constantly appearing in newspapers,
magazines, and other publications. But few persons except the socialists themselves have
more than a dim comprehension of what it really means. This book gives in a clear and interesting
manner a complete idea of the economic doctrines taught by the best socialists. 

JOURNALISM By Charles H. Olin 

What is news, how is it obtained, how handled, and how can one become a Journalist? These questions
are all answered in this book, and detailed instructions are given for obtaining a position
and writing up all kinds of "assignments." It shows what to avoid and what to cultivate, and
contains chapters on book reviewing, dramatic criticism and proofreading. 

WENTRILOQUISM By Charles H. Olin 

Although always a delightful form of entertainment, Ventriloquism is to most of us more or
less of a mystery It need be so no longer. This book exposes the secrets of the art completely,
and shows how almost anyone may learn to "throw the voice" both near and far. Directions for
the construction of automatons are given as well as good dialogue for their successful operation.
Fully illustrated. 

CONUNDRUMS By Dean Rivers 

Conundrums sharpen our wills and lead us to think quickly. They are also a source of infinite
amusement and pleasure, whiling away tedious hours and putting everyone in good humor. This
book contains an excellent collection of over a thousand of the latest, brightest, and most
up-to-date conundrums, to which are added many Biblical, poetical, and French conundrums.

MAGIC By Ellis Stanyon 

There is no more delightful form of entertainment than that afforded by the performances of
a magician. Mysterious as these performances appear, they may be very readily learned if carefully
explained. This book embraces full and detailed descriptions of all the well known tricks
with coins, handkerchiefs, hats, flowers, and cards, together with a number of novelties
not previously produced or explained. Fully illustrated. 

HYPNOTISM By Edward H. Eldridge, A. M. 

There is no more popular or interesting form of entertainment than hypnotic exhibitions,
and everyone would like to know how to hypnotize. By following the simple and concise instructions
contained in this complete manual anyone may, with a little practice, readily learn how to
exercise this unique and strange power. 

WHIST By Cavendish Twenty-third Edition 

"According to Cavendish" is now almost as familiar an Expression as "according to Hoyle."
No whist player, whether a novice or an expert, can afford to be without the aid and support of
Cavendish. No household in which the game is played is complete without a copy of this book.
This edition contains all of the matter found in the English publication and at one-fourth
the cost. 

PARLOR GAMES By Helen E. Hollister 

"What shall we do to amuse ourselves and our friends?" is a question frequently propounded
on rainy days and long winter evenings. This volume most happily answers this question, as
it contains a splendid collection of all kinds of games for amusement, entertainment, and
instruction. The games are adapted to both old and young, and all classes will find them both
profitable and interesting. 

ASTRONOMY: The Sun and His Family By Julia MacNair Wright 

Can you tell what causes day and night, seasons and years, tides and eclipses? Why is the sky
blue and Mars red? What are meteors and shooting stars? These and a thousand other questions
are answered in a most fascinating way in this highly interesting volume. Few books contain
as much valuable material so pleasantly packed in so small a space. Illustrated. 

BOTANY: The Story of Plant Life By Julia MacNair Wright 

The scientific study of Botany made as interesting as a fairy tale. It is better reading than
such tales, because of the profit. Each chapter is devoted to the month of the year in which plants
of that month are in evidence. Not only is the subject treated with accuracy, but there is given
much practical information as to the care and treatment of plants and flowers. Illustrated.

FLOWERS: How to Grow Them By Eben E. Rexford 

Every woman loves flowers, but few succeed in growing them. With the help so clearly given in
this book no one need fail. It treats mainly of indoor flowers and plants-those for window gardening;
all about their selection, care, soil, air, light, warmth, etc. The chapter on table decoration
alone is worth the price of the book. While the subject of flowers is quite thoroughly covered,
the style used is plain, simple, and free from all technicalities. 

DANCING By Marguerite Wilson 

A complete instructor, beginning with the first positions and steps and leading up to the square
and round dances. It contains a full list of calls for all of the square dances, and the appropriate
music for each figure, the etiquette of the dances, and 100 figures for the german. It is unusually
well illustrated by a large number of original drawings Without doubt the best book on the subject.

ASTROLOGY By M. M. Macgregor 

If you wish to obtain a horoscope of your entire life, or if you would like to know in what business
or profession you will best succeed, what friends you should make, whom you should many the
kind of a person to choose for a business partner, or the time of the month in which to begin an
enterprise, you will find these and hundreds of other vital questions solved in this book by
the science of Astrology. 

PHYSIOGNOMY By Leila Lomax 

How can we judge whether a man may be trusted to handle money for us? How can a woman analyze a man
who would many her? Partly by words, partly by voice, partly by reputation, but more than all
by looks-the shape of the head, the set of the jaw, the line of the mouth, the glance of the eye.
Physiognomy as explained in this book shows clearly how to read character with every point
explained by illustrations and photographs. 

GRAPHOLOGY: How to Read Character from Handwriting By Clifford Howard 

Do you know that ever time you write five or six lines you furnish a complete record of your character?
Anyone who understands Graphology can tell by simply examining your handwriting just what
sort of a person you are. There is no method of character reading that is more interesting, more
trustworthy, and more valuable than that of Graphology, and it is the aim of this volume to enable
anyone to become a master of this most fascinating art.