BW 1MWEIB II »Wt ■■■—■ ■ ■!■■ » D^^H i HHSAa MamtmammKHBBaammmamaaamxmmtL Sarold b. lee library brigham young university ^ROVO.UIAH DANCING MADE EASY fB^e )£a0\> Series DANCING MADE EASY BY CHARLES J. COLL NEW YORK EDWARD J. CLODE COPYRIGHT, 1919, BY EDWARD J. CLODE Entered at Stationers 1 Hall PRINTED IN THE UNITED STATES 07 AMERICA BRIGHAM Y0U1\ PROVO. I FOREWORD FOREWORD It is not the purpose of this book to pro- ject any novel system of teaching dancing or to advocate any unique dances. Rather it is a painstaking effort to reduce to the simplest possible terms an authoritative method and to treat merely with those dances which have become established and standardized. Many dance publications were examined, and while interesting in themselves appeared to present a discouraging if not formidable aspect when they moved to the avowed intention to instruct. Replete with the usual dance formulas, a headachy rotation DANCING MADE EASY of steps, such tanglefoot would seem to daunt\ the most venturesome of beginners. Through an experience of thirty years and more in teaching dancing, I have steadily held that to learn easily one must begin to enjoy at once. So that the novice will not be asked to plunge headlong — or feet fore- most — into material that might easily be depressive. The diagrams herewith have been devised with great care to throw a more kindly light on the sometime — but not always — intri- cate measures of the dance; to make, at a glance, the mechanics as comprehensive as possible. Briefly, I propose to raise your foot and place it in the correct rotation of the dance and to the beat of the music. Moreover, I will presuppose you innocent DANCING MADE EASY of the veriest rudiments of dancing, and of music too, and at the risk of being redundant will be overprecise in explanations. Do you know what " tempo* ' means, or to "glide"? Of course I know you may; but I will explain them carefully and make sure! [13] CONTENTS PAGE Introductory 19 The Story of Dancing 31 The Waltz 55 Novelties, Marches, etc . 65 The Fox Trot 73 The One Step 87 Ramble 90 The Waltz 97 The Paul Jones in Marching 113 Novelties 139 INTRODUCTORY T>anctng Made Easy CHAPTER I INTRODUCTORY You must play. It has been said, and truly, that the play of childhood is the most serious thing in the world. It is just as serious a matter for your own concern and well being. Clean and wholesome play, temperate, healthful relaxation is the infallible way of dissolving the mental and physical toxins generated by our intense American way of living and working. Dancing is the perfectly natural and soundly reasonable way open to your play. [19] DANCING MADE EASY Primarily we moderns dance to enjoy, but we are offered meanwhile further ma- terial aids. No better exercise, nor one that has such direct appeal to the feminine temperament and physique, and one that brings the physi- cal machinery into such perfect coordina- tion could be advised. And eminent physi- cians, authoritative guardians of our health, have so advised. They have recognized its service in unmistakable terms and have told us many significant things about its bene- fits; of its assistance by a synthesis of music and rhythmic movement in the treatment of neuro-muscular diseases; and of many other things of equal importance, the limits of space alone precluding their further exposi- tion. But the physician insists that there are peculiar and profound reasons for pre- scribing music with exercise. In short, dancing when enjoyed in modera- te] DANCING MADE EASY tion is a peerless tonic, a promotion of health, a router of Melancholia and its attendant ills. The physician further recommends it as a beauty treatment, since to his keen eyes beauty means health. Modern educators, too, now deem it a fundamental part of our education. Court- liness, poise, grace of carriage, are but surface indications of a blossoming grace of mind. Proficiency in the dance develops these virtues and stimulates the mental poise; unconsciously we are taught how to walk gracefully; how to stand; how to take our own part in self-conscious moments. Dancing is a social and cultural necessity. It promotes social morality and when properly administered the community is so- cialized, humanized and made to express it- self spontaneously. It is not a prediction but an actual fact that our public schools are including dancing on the regular school roster. [21] DANCING MADE EASY A belief is unfortunately too prevalent that gracefulness is wholly due to nature, but the idea is as far from the truth as that expres- sion in music is wholly natural. In the absence of great gifts, ordinary ability may be much improved by training. With chil- dren the effort to move gracefully produces a desire to be gracious in manner, and this is one of the best influences of the dancing school. The frequently recurring circum- stances of their social intercourse impress their mind practically with the value and beauty of politeness. When good motions are established, children should be allowed to take lessons for a time every year so that physical growth may not create angularity. The dancing lesson will serve as a whole- some relief to the activities of the brain when the child is studying with the intensity neces- sary to acquire a modern education. The manifold advantages derived from C22] DANCING MADE EASY dancing as an exercise, the great delight it affords as a recreation, its refining influence on manners, are becoming each year more fully recognized. Parents should be anxious to give young people an opportunity to be- come accomplished in the graceful art. It may not be in the province of the present volume to pass at much length on the adverse criticism of dancing. The puritan, the self-styled purist, hath ever railed at our least departure from his rigid laws. "Dancing appeals to the senses only" — he exhorts us. But then so does every art and it is eminently proper that they should. To be aesthetic, to love what is beautiful, is to perceive through the senses, and it is a matter for our moral consciences to select or reject that which goes to make up our philosophy of taste, our science of things that are beautiful. And we are sen- tient beings and should not deny ourselves C23] DANCING MADE EASY a full portion of happiness whenever it offers as moderate and as natural an impulse as dancing. Dancing is a form of expression, and an exquisite one, and is quite apart from our morals. "As a man in his heart thinketh, so is he" — and if there be a latent grace the dance visualizes it; if there be a latent vulgarity the dance exposes it. One may sing a hymn or fly a kite in an uncouth manner. Manifestly, in striving for proficiency in the dance we are moving toward higher and finer ideals; a new life opens to us and a keen sense of this truth should be in every dancer's heart. While it is true that the dances of a short while ago were heaped with abuse, such abuse was deserved and those who held sacred the canons of propriety in the dance were most lavish in that abuse. It were [24] DANCING MADE EASY well; dancing had fallen upon decadent days, and the moderate saw what had been their recreation swept away and a dissipa- tion take its place. Followed an orgy of perversion, designedly so by instructor and dancer alike. Flagrant excesses made a wan- ton of the dance and the night was made hideous indeed. AH barriers were beaten down and the zoological packs were upon us: Turkey Trot, Bunny Hug, Grizzly Bear. Undisciplined and in some measure even vicious, many of the dances, or wriggles or contortions as they should be called, that followed in the van of these, well deserved the censure of all good people. A hysterical time in which the vogue seemed to change over night; and inciden- tally a golden harvest time for the un- scrupulous instructor. But presently saner days came to us and DANCING MADE EASY through this acrobatic bedlam came the Tango, the Hesitation, and other good in- fluences to chasten and redeem. And this process of reform formulated and established what we accept as the Modern Dances. 1*1 DANCING MADE EASY [27] THE STORY OF DANCING CHAPTER II THE STORY OF DANCING When that promised and happy mo- ment comes, when you put your best foot forward to the measures of the dance, you will be doing so in a stately company. Down through the mist of ages the art of dancing comes weaving its graceful way to us, its cadence burdened with race-old emo- tions, now pagan, now religious, romantic, tribal, martial. For it is an art that has touched life at many points. In song, in story, in Holy Writ you will find it; you may find it between the lines of a doctor's prescription. The story of dancing really begins for us in the gold and ivory days of Ancient Greece — the golden age of dancing. [3*3 DANCING MADE EASY It is not a far cry to say that the Greeks have dictated, with almost supreme author- ity, the elements of logic and a large measure of the thought-matter of every subsequent age and great race of men. To the end of time Ancient Greece will ever be a force in our intellectual life; her culture, with magical fingers, has woven her ineffaceable appeals into the very fiber of our mind and being. Since it is universal, her art is the greatest of arts; it is understood and accepted without the shadow of controversy by all people. The Greek is the genius of the beautiful. He conceives and qualifies the ideality of man and nature with a marvelous vividness, and his inspiration begins and ends in the enthusiasm and love of movement in the living form. A thought of Greece is a thought of the epics of life, motion, and rhythm. It is this movement that he lived, he knew, [32] DANCING MADE EASY he felt, that he has idealized and made sacred to himself and to us. It is his religion, whose inner concept flashes forth with un- surpassed form in everything he has left to posterity. In all his arts he makes us con- scious of this love of movement and rhythm. We feel it in the graceful lines of a vase, it is the motif of the designed figures thereon; we see it in the poise of his sculpture; we hear it in the paeans to the Gods and heroes — al- ways life and motion; the instinctive ex- clamation of feeling made graphic; a gesture that becomes prose. To his philosophy it seemed imperative that he strive to attain perfection in his own body, as well as in his arts; for the young man to be proficient in his sports was not enough, he must strive to attain the ideal that his mind beholds, and throughout his labors and diversions this idea is in the ascendant. [33] DANCING MADE EASY The Greek gymnasia, of which there were many, advocated the scientific exertions of the body, and these exertions were rarely, if ever, artificial. The dance was in great favor with them, as it offered so much to their temperament and purpose, and it became one of the essential courses of training. In prehistoric days dancing had been merely emotional, but now it embodied a purpose; it was made to represent an idea — an idea to incite love or hatred, to arouse warlike in- stincts and give actual training for war; to express homage, worship, religion. It began in play and ended in discipline. Later on pantomime was invented, but it was never so much an advanced art with the Greeks as with the Romans. The Greeks ranked the dance with music and poetry; as a Greek expression has it, music and dancing were "the married pair" — a happily married pair evidently — for the Greeks [34] DANCING MADE EASY were a cheerful people, whose sense of dignity was not disturbed with their dancing, as it was, for example, in the case of the Romans and Orientals, who bade their hired slaves do their dancing for them — and as long as their morality remained unshaken their dances retained their purity. From Greek sculpture we get most of the history of the Greek dances. The Bracelet, The Bacchanalia, The Hymenxa, The Labyrinth, The Pyrrhic, these are but a few of the many. The Pyrrhic dance shows, in an excellent way, the twofold purpose of the Greeks. It was a warlike dance, which consisted chiefly in such adroit and supple turning of the body as represented an attempt to avoid the strokes of a foe in battle, and the motions gone through were considered a form of training for war. It is an amazing thing to find how little the Greeks achieved in the musical arts. They seemed content with a paucity of musical C35] DANCING MADE EASY notes, — some four in number, — a rather feeble vehicle it seems for those who applied the principle of voluntary rhythmic motion. As far as we may go into antiquity, every dance, whether belonging to civilized or savage nations, was accompanied by some music or rhythm of a sort, even though it was but the beating of a drum, the clacking of shells, or the clapping of hands. At the very earliest times, people seemed to have chanted and danced at the one time; afterward the custom was for some to dance while others sang, until eventually the inven- tion of musical instruments took the place of the voice and musical accompaniment became an established thing. It is only possible to list the dances of savage people in a general way. As in all folk dancing the social, warlike, and religious order obtains, and whatever differences appear seem to arise from a mere local significance E36] DANCING MADE EASY — each locality insisting on interpreting it- self. But they all have a patent characteristic, that is the exacting nature of the performance and the absolute seriousness with which they go about their dancing. They make it a mighty serious business; the order of their dance is inviolable and it is usually a grave matter to make a mistake. Indeed among many tribes such offense would be punishable by death. In all eastern countries, where the tempera- ment appears phlegmatic, the dance is really a pantomime, a series of racial gestures, ex- aggerated postures, and weird mimicries. However, not infrequently we see some danseuse, having heard and heeded the call of the East, reviving the spirit of the exotic dances, with sometimes a reminiscence of the Bayaderes of India, or the HuIIas of the Sandwich Isles, or the Geishas of Japan. [37] DANCING MADE EASY The Renaissance saw the revival of danc- ing as an art, as it beheld the awakening of so many other arts. Catherine de' Medici, bring- ing the dance from Italy, introduced it in France sometime in the fifteenth century. And it is interesting to note that since that time France has been preeminent in the refinements of the dance and the quality of their performers. She has adopted many alien dances and each and all show her benign influence; each has been immeasurably in- creased in value. Of all nations the modern dance owes most to France. History tells us of the gorgeous court spectacles and ballets given by the resplen- dent Richelieu to Louis XIII — himself a kingly enthusiast who founded the Academy of the Dance. These court dances gave to the world some of its most magnificent musical composi- tions. In fact the assemblies were often held [38] DANCING MADE EASY for the music alone — were essentially musi- cales. And to this custom we owe the musical suites of Bach, Handel, and Corelli. Our extremely elaborate Cotillion is merely a development of the antique French Cotil- lon, in vogue during the reign of Charles X. Then there was the German Galop, modified and refined by the French, but the Quadrille is probably the oldest of our modern and popular dances. There seems to have been an analogy of it in England as early as Wil- liam the Conqueror. At that time it was supposed to have some significance in con- nection with a game of cards then in vogue. We hear of the waltz as early as 1795 and the landers and polka and scbottische following in a half century. The waltz was danced by Henry III of France as the volte but it failed of popularity until the nineteenth century. C393 DANCING MADE EASY It is difficult to determine the accuracy of its origin; it is variously claimed as of French, Italian, and Bavarian source; but since it is unquestionably a development of the French volte its origin seems self-evident. The two-step was an all-American produc- tion and was introduced in the writer's recol- lection, say, about 1890. No history of modern dancing would be complete without an honorable mention, at least, of those peerless artists of our day who strove so earnestly and so successfully to revive the almost forgotten traditions of classic dancing, and memory will long cherish such names as Isadore Duncan, Maud Alan, Adeline Genee, Ruth St. Denis — and the wonderful Pavlowa, of the Russian Imperial School of Dancing, whose organization did so much to revolutionize and uplift the his- trionic stage. Among the first manifestations of ragtime [40] DANCING MADE EASY music and ragtime dancing, sometimes called the "negroid dances," was the Turkey Trot. The Mrs. Grundies opened their eyes in wonder, but since the wonder was only of the nine day variety, the Mrs. Grundies tarried — and joined in. It was the "something differ- ent " that hits the pulse of popularity; it was the something the people had wanted and it gave them an outlet to that abandon that had been pent up so long. But even with this new promise of allure- ments the people had a peculiar appetite and one that was difficult to satisfy. Dancing connoisseurs busied themselves to cater to it, and as a consequence the whole world seemed to be combed for what it had to offer in the way of diversions. "Something to startle," seemed to be the way the order was interpreted — "and different"; it must be different. With the Turkey Trot opening a way it behooved these arbiters to follow such [41] DANCING MADE EASY a successful lead, and they did according to their lights, but like the Foolish Virgins, they waited not to trim their lamps. The Argentine was pirated, and the im- portation satisfied for a time. Then the Apache dance, a primitive affair, lifted bodily from the elemental people of the Paris un- derworld. Then on to Brazil, where the product proved to be a distinct improvement, marking about the best of these days. The Brazilian Maxixe was appropriated and for quite a while, it was considered a fashion- able virtue to know it. It has gone now, but it may be that sometime again we may have a reminiscence of it, a revival of a past. Dances are like this, they seem to live over again, or at least part of them, and many things about the Brazilian Maxixe deserve salvage. It was about this period that Father and Mother began to take notice, for dancing had [42] DANCING MADE EASY now become a diversion for all ages, the young, the not-so-young, the old. The writer recalls many amusing instances of these days and they seem to be of the one character, arising in most cases from confu- sion in teaching. Instructors, catching the infection of abandon, no doubt, exhibited a charming freedom in compiling the figures of the dances. For instance: The Tired Busi- ness Man "to put something over" on his wife would put himself under the direction of some recommended teacher and so get in step with the times and incidentally learn the new fandangoes. And the wife, in turn, not being overly communicative with the hus- band would meanwhile drop in on her favorite teacher, with the same idea in mind. Their enjoyment of this seemed to be entirely in anticipating one another. When they es- sayed to dance together at the The Dansant, or dinner dance to their mutual amazement [43] DANCING MADE EASY they found they had been instructed differ- ently. Their chagrin and other feelings may be appreciated. Another case that was a contributing cause to the confusion: after several attempts to dance with his partner, a young man was observed to lead the young lady over to the corner of the studio and endeavor with great earnestness to teach her the figure he knew. The young lady attended patiently while he achieved this most desirable thing to his satisfaction, and then felt it should be her turn as instructor, and she forthwith started to teach a figure that she saw Mrs. Vernon Castle do. The dancers themselves realized this con- dition of affairs; they knew they were at a veritable Tower of Babel; where to the con- fusion of tongues was added the mixing of feet. The dancing teachers tried to legislate [44] DANCING MADE EASY among their various organizations to alleviate this condition by standardizing the dances, but without avail ; the dawn of understanding and concord had not come, and, like every fad and fancy, these dances were destined to run their courses and so remained in favor for, comparatively, a long time. But no history of these dances would be complete without a hearty acknowledgment of the stimulating influence they had on dancing in general. They brought dancing back to its place as an indubitable accom- plishment and to an extreme in which the world seemed dancing mad. The whist clubs, the sewing circles, the gentlemen's clubs, were vacant but for their stewards, and even these wore the well-known preoccupied air. The dancing germ had infected generally; it had become epidemic. The Tango and Maxixe and other dances have succumbed to the antidote of the more [45] DANCING MADE EASY sensible and easier taught dance, the Fox Trot. While I have heard many versions of its origin, have listened to many of its self-styled originators, I have credited Captain Vernon Castle as its originator and preceptor. The story has it that on one of his quests for in- novations his attention was called to a cer- tain exclusive colored club. At the time he attended, the members were dancing the Fox Trot, even at that time so-called, and he be- came enthusiastic over it and determined to bring it out for a little fun for a few, hardly realizing that the dance was to win for itself a high place in the favor of the many. But this fox that Mr. Castle cornered was a mighty wild one indeed. The writer confesses to being one who predicted its early demise. It was one continuous romp from beginning to end and he felt that it would hardly survive a hard summer and be [463 DANCING MADE EASY with us when he returned to his classes in the fall. One never can tell; it did, it was, it will be! To the Philadelphia dancing teachers, I be- lieve, should go the credit of taming reynard and breaking him to the ways of polite people. When the fox was running at large, the musician did not have music for him, so they played some of the old numbers like " Danc- ing in the Barn" and such, and now, to-day, there is more fox trot music, than any other to serve its insatiable demands. Watching the turn of current events, danc- ing does not change with the seasons, as, for instance, the fashion in clothes. When the studios open in the fall the devotees of the dance rather expect to see some change in the established order. There was never anything to refute this idea more decisively than the Fox Trot. It came in the off-season and at a time when least [473 DANCING MADE EASY expected; in fact before any music had been prepared for it. But the music writers were alert and soon got busy, with the result that the best of music was provided and the Fox trot took everything before it. In fact the dancers were disposed to dance it all the while. Things began to move quickly. Along came another change in the way of music, "the jazz," and from our orchestras issued a pandemonium of noises; a complete din of sounds. But it appeared to be agreeable to the vein the people were in; the dancers adopted it at once; they wanted to "jazz" their steps which immediately gave the danc- ing a change in character, of course, so that the dance is as distorted as the music. They insisted on the "jazzy" music because it had the "pep." Throughout the strains of the jazz music flow the "blue" notes that in- stantly caught the whim of popularity. [48] DANCING MADE EASY The people who like dancing will have quite a time to repair the ravages on their traditions made by the raids of the Turkey Trot, Bunny Hug, Texas Tommy, Gaby Glide, and all those other fearsome things. Regarding the one-step. You may rest as- sured that the one-step will long be a favor- ite because it is practical, just as the waltz is practical. In the waltz you take one, two, three steps each way; in the two-step you take two and in the one-step, one, just as their names imply. That is the time or tempo, and the thing that makes dancing is tempo. There are many theories as from whence the one-step came; some contend it hails from the Barbary Coast, but others believe it to have been mothered by the Turkey Trot and argue that claim. Its derivation aside, it is a great dance, if you care to make it so, and we should be truly grateful to it, [49] DANCING MADE EASY for it has, more than any other one thing, done more to break down the barrier of that mother-at-home-and-father-at-the-club condi- tion. It opened a new world to them and they entered it together. They realized at once how easy this dance was to learn and how worth while its benefits were. Husband and wife became better acquainted at last and life seems real and full of charm. The man, and the woman too, of too gener- ous girth frequented the Turkish bath and masseur no more; the ideal reducer was at hand. In one particular case I have in mind the wife of a prominent lawyer, who took lessons from me. She weighed 220 pounds at the time and began at a summer resort where I hap- pened to be. She took a half-hour lesson each day, and, because she liked it, danced in the evening. On her return home, in the fall, she turned her card party into a dancing C50] DANCING MADE EASY class, and in a short while she had reduced to one hundred and sixty-five, and better yet, she was in the very best health imaginable. Think of that! I vouch for this case; I could vouch for a countless number of other cases of similar import, but since this is not a patent medicine series I will withhold the testimonials. [51] THE WALTZ THE WALTZ Why give up all of the steps that our parents and grandparents practiced; why not bring them along with us and make them up-to- date? Since we are usually delving into the past for other things, as for fashions, for in- stance, why not have the waltz back with us again? Well, the old waltz has come back to us again, but is somewhat different. In the old-school waltz you were turning all the time and had a hopping, springy step. Not so with the waltz of to-day, for it is now danced with a glide and the glide is used in the fullest meaning of that term; a smooth, easy, sliding step. If you have ever danced the polka three- step you will readily see the difference be- tween the old school waltz and the waltz of [55] DANCING MADE EASY present vogue; though the dances of a few years ago are much the same to-day. Should you attend an assembly, you would see, as you saw some time ago, everybody rotating, and if you had not been to a dance for some time you would surely exclaim, "Why, that is the old waltz !" — but wait, analyze it and you find the old elements there, it's true, but you will find, too, something else that makes it more fascinating than when you knew it; it is that change of pace that is so restful, compared with the old dance. For example: a lady having a thought that she would like to try the old waltz sug- gested, as a waltz was being played at the time, that we dance it in the old-school way. She had insisted that there would never be anything quite so good — nothing would ever take its place in her favor. But her reasons were, I think, mostly sentimental ones; we [56] DANCING MADE EASY had danced but a few strains when she begged me to stop and take her back to the new way again. "-The old way tires me too much," she said. The waltz has undergone many changes in the last decade. When grand- mother danced, it was one continual pivot, turning one way for several strains, how long depending on the endurance of the dancers. They would pivot around to the right until they became almost dizzy and then reverse to the left; — sort of unwind themselves to relieve the dizziness. Now the dancers in those days were measured by the steadiness of their movements. "He could dance with a glass of water on his head," was an expres- sion that was used as a term of praise. The waltz with the hop was the vogue for a considerable time, until along in the early seventies the glide waltz took its place and held the palm until the advent of the Hesita- tion Waltz. [57] DANCING MADE EASY Once again our parents and grandparents felt their youth returning. The dance was no longer exclusively the dance for the younger people. At any large assembly one might see the three generations — and, with the change in fashions, it was some- times difficult to distinguish mother and daughter. It is to be regretted that the Hesitation did not have a longer reign, but its shortness of life may readily be accounted for by the manner in which it was corrupted, twisted, and turned so that one had to be an acrobat, in order to dance it. With its butterfly, grapevine, scissors, back-breaking and almost leg-breaking contortions, it eventually be- came impossible to dance it with anyone unless you and your partner had been pre- viously trained together; so it was impossible to mix the dancers with different partners. But the people had an ardent love for the [58] DANCING MADE EASY figures and wanted a change every day, and consequently things got out of hand and very bad indeed, until at last one had to be constantly under instruction; the condition was tiresome and costly and became impos- sible and the Hesitation was thrown in the discard. And it seemed that as the dancers lost interest and drifted away dancing seemed to stagnate. But it was only for a time; the dancers were really resting after a surfeit of leaps and bounds; they would respond again when the dances had been modified to a point for common sense indulgence. And we are happy to know that it has now reached that happy point. The waltz to-day is in the same condition as the old school dances were before the new dance came out. A person may now go to any dance anywhere, and enjoy it with any partner. The lessons contained in this volume cov- [59] DANCING MADE EASY ering the Fox Trot, One-step and Canter Waltz show, as I deem it, the easiest as well as the most practical method for dancing these three dances, and that means all that is neces- sary for the acquiring of the present-day dances, as the life of these dances has just begun and is going to be long lived. After a true analysis you will find these dances are composed of but walking and gliding steps, and as you become familiar with them, and your self-reliance grows, you may take liberties with them; in other words, you may use your own variations whenever you like and as often as you like — there is no set rule; you may change them at times to please yourself; for after all you have been but walking and gliding. So while dancing around you may eventually give way to the exact number of walking steps, and perhaps, having a tete-a- tete with your partner, you may overstep that certain number; but in doing this do [60] DANCING MADE EASY not worry — you are not breaking any laws either national, local, or social. But never forget your poise; always be the master of that — and keep perfect time because therein lies the very real charm of dancing. [61] NOVELTIES NOVELTIES, MARCHES, ETC. In selecting the dances, marches, and novel- ties used in this books I have chosen those combinations that are the most practical and if followed with the descriptions, figures, and diagrams will mean, as we know from a commercial standpoint, the saving of time and much money. The lessons in marching, etc., are compre- hensive and best of all they are in vogue to-day. In conclusion the author does not profess to know everything. Even after thirty-two years' experience as a teacher and having in that time taught thousands upon thousands of people, from the age of three to three-score, feels that there never has been, never will be [65] DANCING MADE EASY a time when he could not learn something about dancing. I have endeavored to make my diagrams and lessons as clear as possible. How far I have succeeded remains with you — will be determined both by the quality and quan- tity of knowledge I have imparted to you. Yet I realize that a description I have written and easily decipherable to me may prove difficult of solution to another. If you, for instance, would devote a short while describ- ing some simple movement, you may be sur- prised to find how difficult it is and how many people find the description, so intelligible to you, complex and involved to them. In this book I have considered the novice in the A. B. C/s of dancing and have en- deavored to take him to post-graduate honors and I do feel that if conscientious treatment and patience be accorded the lessons, he has achieved the purpose of writing — given him- [66] DANCING MADE EASY self the gratifying feeling of having made a new friend, and, even without personal con- tact, has taught him to enjoy the dance- While in the days of old the dance was for the few, the modern dance is no longer the concern of the individual alone but the concern of every one and the old as well as the young. It is our popular ritual for self- expressing our joy and exultation — the one great form of pleasure that keeps us attuned with life as it is sensed about us. And the modern dances are the most easily achieved — some absurdly simple. It was not so in Mother's time — for the steps she watched were many and varied. With her usual quiet fortitude she prevailed over a most difficult and intricate order of things — and with an application that might, in these days, be considered a mental strain. She danced a "square dance" and a [67] DANCING MADE EASY "round dance" and each was composed of a bewildering number of movements and combinations. A glance at her programme. The highly ornamental pencil has checked off: Waltz. Plain Quadrille. Polka. Lanciers. Schottische. Polka Quadrille. Redowa. Schottische. Mazurka. Waltz. Medley Quadrille. Varsovienne. Parisian Varieties Quadrille. Racket. Lincoln Heel and Toe Polka. Tally Ho Quadrille. Waltz, Finale. [68] DANCING MADE EASY And on the alluring strains of Strauss she would win through this fantasy of mathe- matics with a triumph radiant and assured. To be Belle of the Ball was to be sovereign; and she judged and was judged by her knowl- edge of the dance. Of course her sedate day met changes too. First came the two-step. Musicians, at first at a loss for its tempo, or time, decided to play it very fast. It was new and different and lively, was accepted, and with the waltz was in popular favor for thirty years. Then, as dances will, they started to run down at the heel. To the younger genera- tion they seemed out of step with the times and to have no special intention. Indeed dancing had become mechanical, stagnated. Ragtime music brought the reaction. The Apache, the Texas Tommy, the Argentine, the Maxixe, the Tango, — the good with the bad is the story of these days, for the [69] DANCING MADE EASY Maxixe was a beautiful dance and asserted its stateliness through the tumult of the others. The Tango and the Maxixe, while they brought a yes, an epidemic, have in turn succumbed to the antidote of dances that are more sensible and easily learned. Supreme of these is the Fox Trot — a stately and fascinating dance and one that will endure for a long time. c?o] THE FOX TROT THE FOX TROT Fox Trot is hardly a descriptive title, as indeed this dance, which seems to hold the fundamental principles of modern dances, is most unlike a trot. Indeed it is a smooth, easy dance and the most dignified of modern dances. At first you may regret the lack of elas- ticity in the muscles. But patience must come with practice, and with it, too, that feeling of ease which makes accomplishment easier and assured. Remember that dancing after all is merely walking; walking, that is, with the knees bent at a slightly more acute angle than usual. In taking the walking steps between varia- tions, as described, let it be a long and slightly [73] DANCING MADE EASY "springy" step, of, say, the length of your foot, with a reaching sort of movement. You will find that this gives a dancing character to the step at once. Step, touching the ball of the foot first, resting naturally on the heel. The beginner should feel perfectly at ease, and in practicing the dances, herein simpli- fied, the first essential is the study of time, as shown in the following steps. If you have a self-playing musical instru- ment play a fox trot; but first study and learn the few simple movements which directly apply to what we are trying to accomplish. At first we will tax the muscles of the leg and set the knee of the same into action beyond what it has been accustomed to. Stand for first position, heels together, toes pointed out; slide left foot to side and count one; close up right foot to close posi- tion, count two; slide left foot to left, count [74] DANCING MADE EASY three; close right to left, count four — this is just four movements to the left side ending with the weight on the left foot — the right foot being free; repeat by sliding right foot to right side, count one; close left to right, count two; slide right foot to side, count three; close left foot, count four. After you have tried this movement several times from left to right you are studying the movement of the feet that is necessary and at the same time studying tempo, or time, in a simplified way. After this is acquired, put on a fox trot record and try these steps to music. Beginning with the first part of the strain step to left, count one; close up right, count two; step to left, count three; close up right, count four; step to right, count one; close left foot, count two; step to right, count three; close up left, count four. The Fox Trot is danced to f time — in four measures of music there are eight beats. [75] DANCING MADE EASY The space marked by the upright lines across the staff, or the parallel lines of music, are called measures. The beat of the music is caught in the bass, the accent that you must note and keep time with your step. In stepping to music count one and two and three and four and (.) First try a few simple steps without part- ner; you will readily understand the under- lying principle of two people rotating. Walk four steps forward. Take a full glide step to the left. Count one, close the right foot; count two, slide left foot to side; count three, which will give you a half turn. Glide right foot to side, count one; close left foot, count two; slide right foot to side, count three; — and your weight will be on the right foot. Having practiced this a while it is time to try with a partner, and the diagrams concern us from now on. C?6] DANCING MADE EASY FIG3 FIG. 4- ^ FIG 5 ^J£ Progressing toward the right, you find you have made four gliding steps. For the first the gentleman turns around the lady, in the second gliding step the lady turns around the gentleman, and in the fourth gliding step you have made two complete turns. Starting with the left foot, the gentleman takes four steps forward, a full reaching step; count one and two and three and four and — (diagram 3). The lady steps back on the right foot, [77] DANCING MADE EASY «&*> four full steps, count one and two and three and four and — (diagram 3) . On the fourth step the gentleman has the weight on the right foot. Glide the left foot to side and incline to turn to the right; count one (4), draw right foot to left side; count two (5), slide left foot to side; count three (6) — that gives the gentleman a half turn to the right. In this measure the gentleman turns around the lady at the same time the lady glides the right foot to right side, inclines to [78] DANCING MADE EASY turn to right; count one, draw left foot to right; count two, slide right foot to side, count three; at this point you have made a half turn as shown in diagram (6). The gentleman having started to turn to the right, keeps into the swing of the turn. Glide right to the side (7), still inclining towards the right; count one (7). Draw left foot to right, count two (8) and slide right foot to side, count three (9). The lady glides the left foot to side, inclining to the right, count one, draw right foot to left, count two and slide left foot to side, count three — and at this part the lady turns around the gentleman and com- pletes the turn to the right (as shown in the diagram). Having started the turn and with it mo- mentum, repeat the glide in the same direc- tion, still counting 1-2-3 anc ^ 1-2-3 anc * (•) You will now find that you have made two C 79 ] DANCING MADE EASY turns around to the right (as in diagram 9); then repeat full figure. Second Figure (Turkey Trot) Turning Steps Take four walking steps same as first figure (10). Then a full glide, turning with the left foot leading. Turn to the right (11- 12-13), count 1-2-3; kufy glide the right foot 1-2-3. That will bring you facing the op- posite direction. Take three steps (14) back on the beat of the music, 1-2-3, an d you will find that this will accent these three steps. Gentleman glides left foot to side around to left, draws right to left and takes weight on right foot, count 3, — jnaking half turn to left (15). Now repeat figure in full. The Third Figure. — The Forward Glide Walk two steps, count 1 (left) and 2 (right). Starting with the left foot, leaving [80] DANCING MADE EASY FIC.IO FIG. 1 1 FIG 12 <> the left foot free to take the glide on the left foot, count 1-2-3 ( 2 9)- Lady starts with right foot back one and two and 1-2-3 (29). Then the gentleman's right is free at the end of the gliding steps, as he has the weight on the left foot. Walk two steps, starting with right foot. Count 1 and 2 and 1-2-3 (30). This figure can be used four times as shown in the diagram. In dancing these three figures it is not necessary to follow out this enchainment to [81] DANCING MADE EASY FIG 13 FIG. 14 FIG 10 any strict degree. There is no accepted or rigid rule — that is why each dancer seems to be indulging in different steps. They are dancing the Fox Trot but are varying it and adding their own expression. As you be- come expert you may endeavor to do this too; as you go on you will find that your personality will enter greatly into your danc- ing, and it is proper that it should. To sum up: First — the gliding turn is used four times, making two revolutions to the right; Second — the half turn, three C82] DANCING MADE EASY quick steps back and half turn; Third — two steps and forward glide used four times. Remember there are always four walking steps used prior to first and second figure. In the third figure use two steps between each glide. [83] THE ONE STEP THE ONE STEP In the One Step the gentleman starts with the left foot forward 1-2-3-4-5-6-7 and 8. The lady goes back starting with the right foot. Right, left, 1-2-3-4-5- 6-7-8. On the eighth (8) step the gentleman draws the right foot close to the left as shown in diagram (1-2). The left foot is free to begin the next figure. The lady on the eighth (8) step draws the left foot in front of the right toe, pointed out, and that leaves the weight on the left foot. Now if you examine the feet you will find that you have your feet in the same position; the left foot will be in front of the right. See diagram 2. It may be advisable for the gentleman to [87] DANCING MADE EASY step this off 1-2-3-4-5-6-7 and — just as if you would cross your right foot in the back. Also the lady starting back on the right. After a few times you will find this movement easy to accomplish; you have merely been taking walking steps, the gentle- man going forward, the lady backward. Second Figure Having ended the first figure we enter the variations of the One Step. The gentleman begins on the right foot, lady on the left. Gentleman takes four steps forward, lady four steps back. Gentleman, left, right, left, right; lady, right, left, right, left — (3). The weight is now on gentleman's right foot and on the lady's left. Gentleman glides the left foot to the side and inclining to progress around to the right, count one (4); followed by right foot, [88] DANCING MADE EASY count two (5); slide left foot out, count three (6), and with the glide you will have made a half turn — diagram 6. Gentleman having started to turn to the right, keeping into the swing of the turn, glide right foot to side, still inclining towards the right; count one (7). Draw left foot to right, count two (8), and slide right foot to side: count three (9). The lady glides the left foot to side, inclining to the right, count one (7), draw right foot to left, count two (8) and slide left foot to side, count three (9) — and at this part the lady turns around the gentleman and completes the turn to the right. Repeat figure in full. This step is the same accented glide as you take the turn in your second figure. But the best way to get the step shaped is to take the glide straight forward. [89] DANCING MADE EASY f IG. 10 FIG. 1 7 p «u& ♦•».....,-- FIG.I0 FIG. 19 -*1 >4W .•* •»•»••&*' RAMBLE Glide Figure (One Step) Take four walking steps, same as second figure — diagram 3, Gentleman's Individual Steps. — The gentle- man glides the left foot straight forward, count one (16), followed by the right, count two (17), glide left foot forward, count three (18), and glide right foot forward, count one (19), followed by left foot, count two (20), glide right (21). [90] DANCING MADE EASY • • • •••»• » » •>» * Lady's Complement Steps. — The first half turn the gentleman turns around the lady; the lady glides the right foot, count one, (16); followed by the left; count two (17), glide right; count three (18) and in taking the glide step see that you progress around to the right same as diagram. Gentleman. — Gentleman glides right foot; count one (19), followed by left foot; count two (20), glide right, count three and (.) (21), [91] DANCING MADE EASY Lady. — The lady glides left foot; count one (19), followed by right foot; count two (20), glide left; count three (21). Repeat glide same as diagrams 16, 17, 18 and position is attained as in diagrams 22, 23, 24. Then make left turn as in diagram 25, 26, 27, 28. Third Figure (One Step) Starting with the left foot, the gentleman walks four steps (27); the lady starting with the right foot walks back — diagram 27. [92] DANCING MADE EASY FIG.29 FI&30 Again, as in the Fox Trot, you may break away from the routine of these figures; you may mix the figures, make your variations wherever and whenever you wish. You break no social laws by pleasing yourself with the enchainment of the dances. [93] THE WALTZ THE WALTZ It is but the name that is reminiscent; for the waltz of to-day is danced with a glide — and to the fullest meaning of that term. It is danced in f time. Starting with the left foot, gentleman takes four steps forward, same as in Fox Trot exactly, a full reaching step, count one and two and three and four and — (3), The lady steps back on the right foot, four full steps, count one and two and three and four and — (3). On the fourth step the gentleman has the weight on the right foot. Glide the left foot to side and incline to turn to the right; count one (4), draw right foot to left side; count two (5), slide left foot to side; count three (6) — that gives the gentleman a half turn to the right. [97] DANCING MADE EASY FIG I FIG. a Tie* i - In this measure the gentleman turns around the lady at the same time the lady glides the right foot to right side, inclining to turn to right, count one (4), draw left foot to right, count two (5), slide right foot to side, count three (6); at this point you have made a half turn as shown in diagram — (6). Gentleman having started to turn to the right, keeping into the swing of the turn, glides right to the side, still inclining towards [98] DANCING MADE EASY the right; count one (7). Draw left foot to right, count two (8), and slide right foot to side; count three (9). The lady glides the left foot to side, inclining to the right; count one (7), draw right foot to left, count two (8) and slide left foot to side, count three (9) — and at this part the lady turns around the gentleman and completes the turn to the right as shown in the diagram — (9). Having started the turn and with it mo- mentum, repeat the glide in the same di- rection, still counting 1-2-3 an d 1-2-3 and (.) You will now find you have made two turns around to the right as in diagram. Now the reverse. The gentleman walks back four steps. Count 1-2-3-4 and (27); the lady walks forward. Count 1-2-3-4 and (27) and the gentleman glides, the right foot to side inclining to turn to left. Count one (25), draw left foot to [99] DANCING MADE EASY FIG3I right; count two (26), slide right foot to side. Count three (28) ; the lady glides left foot to side, inclining to turn to left; count one (25); draw right to left, count two (26); slide left foot to side, count three and (28); at this part the gentleman makes the first half turn as in diagram 25 - 26 - 28. The right foot is now free to complete the turn. Glide left foot to side, inclining to turn to left, count one (25). Draw right foot to left, count two (26); slide right foot [100] DANCING MADE EASY HG34 FIG 35 to side, count three (28); and in this glid- ing step the gentleman turns around the lady. The lady glides right foot to side, inclin- ing toward the left, count one (25), Draw left foot to right, count two (26); slide left to side, count three (28)* At this part the lady turns around the gentleman. Having practiced the full turn to the right you will readily understand the requirements as it is just the reverse turn, then repeat the [ioi]I DANCING MADE EASY i oT >0 glide and make the second turn same as the glide turn to the right. Having stepped this off so far, try it to some waltz music and count i - 2 - 3 - 4; 1-2-3 and 1-2-3 an d 1-2-3 an d 1-2-3 and (.) and you will find you have made two revolutions. Now the gentleman takes four steps back; lady walks four forward; count 1-2-3-4 and 1-2-3 anc * 1-2-3 an d 1-2-3 an d 1-2-3 an d y° u have made two turns to the left (25-26-28). [102] DANCING MADE EASY Second Figure — Waltz Gentleman walks four steps forward, start- ing with left foot; count 1-2-3-4 (3). Lady walks four steps back, starting with right foot; count 1-2-3-4 (3). Gentle- man glides left foot forward in front of right, turning to right side with a flowing glide step; count one (16); draw right foot to left, count two (17); slide left foot forward and to the right, count three (18). Lady glides right foot back in flowing glide step; turning to right, count one (16), [103] DANCING MADE EASY draw left foot to right, count two (17), slide right foot back, count three and (.) (18). The gentleman glides right foot forward and towards the left with the flowing move- ment; count one and (.) (19). Draw left to right, count two and (.) (20) ; slide right foot forward, still inclined to the left, count three and (.) (21). The lady glides left foot back with flow- ing movement and towards the left; count one (19). Draw right to left, count 2 [104] DANCING MADE EASY and (20). Slide left foot back, still inclined to the left; count three and (21). Now the gentleman the same on the right foot. Glide left foot forward and toward the right with the flowing step. Count one (22); slide left foot forward toward the right, count two (23). Glide left forward and toward the right, count three (24). The lady glides the right foot back with the flowing step. Count one and (.) (22). Draw the left to right, count two and (.) (23). Slide right foot back with the flowing step, [105] DANCING MADE EASY ^» v-v^r <> [106] DANCING MADE EASY » o •■<.7....m.d [107] DANCING MADE EASY count three (24). These steps will take you in a serpentine course as shown in diagrams 16-24 inclusive. The turn is made on the very same gliding step as used in all the turning steps; the gentleman glides around the lady to the left, 1-2-3 and; the lady with the right foot 1-2-3 an( 3 completing the turn by swing- ing the left foot around the back and brings her in the line of direction (25-26-28). The lady glides the left foot around to the left; count one. For the turn draw the right foot to left, count two; slide the left foot, count three and — and the lady swings the right foot around in the back and towards the left and draws the right foot around in the back completing the turn. [108 ] THE PAUL JONES THE PAUL JONES An excellent diversion and one that breaks the monotony of continuous Fox Trot, One Step, and Canter Waltz may be found in the following suggestion. It seldom fails in stimu- lating enthusiasm by a complete change /SS J***\ <&"% X.O.C* **&** *8M*& in dancing partners and by offering to the self-conscious a sufficient way to overcome their timidity. Select some popular member to act as a Master of Ceremonies, and at a signal from him all join hands, ladies on the right of partners, and form a circle, the master in the center. Should the number of people be too great [hi] DANCING MADE EASY for the size of the room, a second circle may- be formed inside and concentric to the first — and even a third circle may be so formed. But the participants must be impressed with keeping their respective circle inviolate; each must return to his or her assigned circle after the dance figure. On signal from the master the gentleman starts by taking the lady's right hand in his right and passing her; the lady going around circle to the left, takes with her left hand the left hand of a second gentleman coming from the right, thus making a grand right and left movement, forming a chain, the ladies going to the left, gentlemen to right. This figure gives a change of partners and a chance for a tete-a-tete. At the fourth signal all join, enmane, in dance of one step — until stopped by signal; then join hands again and on signal go hands around. This may be repeated as the master deems it advisable. [112] MARCHING The Grand March While marching is somewhat apart from dancing, still it is not wholly so, and it may be expedient to treat of it here. Marching has always found much favor and will continue to do so. It may be said to open, to elaborate a function with some pomp and circumstance. To lead the Grand March, be it for your Lodge or your Sorority dance, will ever be a unique and distinguish- ing accomplishment. [113] DANCING MADE EASY If no side rooms permit the meeting of partners, form on the right side of hall or room as in Diagram A. The gentleman on the left side of lady, her left arm in his right. Both start with left foot. [114] DANCING MADE EASY Orcties'fcrcX TiaA Fid lire mo mo mo mo #0 #0 #0 #0 •o #0 [115] DANCING MADE EASY Having made a complete tour of the hall, turn and walk down the center to the fore end. [116] DANCING MADE EASY C"7] DANCING MADE EASY The gentlemen separate from the ladies at the lower end. C"8] DANCING MADE EASY Third figure A c ["<>] DANCING MADE EASY The ladies and gentlemen meet at the top; he walks in front of his partner in single file. It is to be remembered that the pre- cedence is not always the established form; it altogether depends on the auspices of the affair; under the auspices of a lady's caption a lady takes precedence. [120] DANCING MADE EASY [121] DANCING MADE EASY At the lower end the line divides, each lady following her respective partner. [122] DANCING MADE EASY X T fib &z o ® #o#o# ' ■III ■ C«3] DANCING MADE EASY Having reached the top of the hall the gentlemen and ladies come together in twos. [124] DANCING MADE EASY 0#0€*0 AA 0®0«0# w oo mm Sixlk i O o lujwiniwmmi unuusj mnni-im n hi >i««npeRM««i.i ■ [151] DANCING MADE EASY own," makes a rush for a chair. As neigh- borhood parties need not be so finely syn- chronized as an aeroplane propeller and the gun release, this rush may be described as a scramble and every one sits on more or less of every one else; the inevitable stout party treads on the inevitable thin parties' instep with the usual profuse apologies. When the dust of conflict has settled it is found that one unfortunate is wholly without chair. He is, of course, hooted and ignomini- ously retired to the discard. Then a chair is removed from the original number and the game proceeds as before; and so on, until by repeating the process of eliminating chair and unseated, there is but one remaining — the hero — or heroine as it may be — of the evening. A trip to Jerusalem has many appreciable thrills; there is always that sporting spirit in man or woman that keeps lively the desire [152] DANCING MADE EASY to win and in this case the excitement grows more intense as the chair gets less in number. But the fun of the unseated is not abated by his retirement, for on the next turn an- other wallflower is added to the garden. Have the chairs arranged in two rows, back to back. If there are no musicians put on a march record and have it attended by some one to stop it at some irregular, or set time. The participants march around the chairs in single file and on the stop of the music the grand rush, the exodus to Jerusalem begins! [153] HPHERE is no royal road to learning. IT is an old saying, and a true one, in a sense: for prince and peasant must alike travel the path. "VTET, there are many paths, and great differ- JL ences among them, as they lead to the temple of knowledge. In some, the going is easy : in some, hard. In some, the journeying is pleasant and profitable: in some, toilsome — a weary scramble over many stumbling blocks. THE builder of the road is the teacher. It is his task to smooth the way, and to make it straight: or to leave it all cluttered, a twisted, haphazard course, that runs roughly and reaches nowhere. IN the "Made Easy" Series, it has been the publisher's purpose to provide for the student the best possible road to learning — a road truly royal in its simplicity, its worth: a road wide and direct, and free from foolish, needless litter. THE various writers of the books in the series have been chosen for their special fitness. Such fitness includes, in the first place, mastery of the particular subject: in the second place, ability to interpret knowl- edge to others. RIGHT teaching makes easy learning. Few subjects are really hard to learn, when properly set before the pupil. These volumes are the product of a painstaking care to simplify every detail of instruction, yet to make it com- plete. The result for the student is, indeed, a learning made easy, yet none the less exact, thorough, wholly adequate for his needs* The volumes now ready, or in the course of preparation — are: Arithmetic Made Easy Drawing Made Easy Spelling Made Easy Dressmaking Made Easy Penmanship Made Easy Dancing Made Easy Grammar Made Easy Etiquette Made Easy Keeping Young Made Easy Love Letters Made Easy Shorthand Made Easy Bookkeeping Made Easy Entertaining Made Easy Tricks and Magic Made Easy Mental Healing Made Easy Further titles wiU be added as opportunity presents itself to secure the proper type of manuscript. BRIGHAM YOUNG UNIVERSITY 3 1 1 97 22468 6961 Date Due All library items are subject to recall at any time Brigham Young University