The Fascinating Boston Part 1

The Fascinating Boston.

by Alfonso Josephs Sheafe.

FOREWORD

Since the introduction of the waltz, more than a hundred years ago, it has held the first place in the esteem of dancers throughout the civilized world. There has appeared, however, a new claimant for the place--one that possesses all the qualities that go to make a social favorite, and has the additional advantages of greater ease of execution, and wider possibilities of adaptation.

This is the BOSTON--not, as many persons suppose, a new creation nor indeed is it a novelty even to the American public, for it was introduced here more than a generation ago; but the great popularity of the Two-Step, which had just then come into vogue, and was fast gaining favor under the influence of such brilliant compositions as the quick-step marches by Sousa, operated against its immediate acceptance.

One of the reasons why the Boston should prove today a more attractive dance than any other, is the fact that now there are more captivating airs written for this particular form of dance than for any other, and as the Two-Step, in its time, found its most powerful ally in the music to which it was adapted, the Boston has today the persuasive intercession of such languorous and haunting melodies as "Love's Awakening" and "On the Wings of Dream," by Danglas; Sinibaldi's "Thrill," and others.

General taste has gradually found out the superior charm of the Boston; the pendulum of public favor has again swung in the direction of skilful dancing.

The recent revival of the Waltz in its proper form, has brought with it a larger appreciation of the more worthy and graceful social dances, and the entire world now recognizes the wonderful beauty of the Boston, and has welcomed it as a real compet.i.tor.

The Boston is not a Waltz, yet it is the perfection of it. It is one of those paradoxical things which, while it is impossible to be cla.s.sified, contains all that is to be found in almost any other dance. Even the persons who have so long and so loyally clung to other forms of dancing, and have abated none in their zeal for their favorites, have been unconsciously, and perhaps unwillingly, charmed by the seductiveness of the Boston, until they now freely declare the new dance to be the superior of the Waltz. Therefore it is safe to say that the Boston will, eventually, supersede the Waltz altogether.

We demand a dance which combines ease of execution with attractive movement. That is just what the Boston does, and perhaps more. It is so simple in construction that, when acquired, it becomes natural, and its perfect adaptability a.s.sures it lasting popularity.

Owing to the urgent request of many of his pupils and colleagues, the author has undertaken this little book in the hope that it will meet the requirements of both teachers and students, and help to a.s.sure the proper appreciation of what is in reality the most delightful and artistic social dance since the Minuet.

THE FIVE FUNDAMENTAL POSITIONS

In order that the reader may the more readily understand the descriptions given in this book, we will explain the five fundamental positions upon which the art of dancing rests.

In the 1st position, the feet are together, heel against heel.

[Ill.u.s.tration]

In the 2nd position, the heels are separated sidewise, and on the same line.

[Ill.u.s.tration]

In the 3rd position, the heel of one foot touches the middle of the other.

[Ill.u.s.tration]

In the 4th position, the feet are separated as in walking, either directly forward or directly backward.

[Ill.u.s.tration]

In the 5th position, the heel of one foot touches the point of the other.

[Ill.u.s.tration]

In all these positions the feet must be turned outward to form not less than a right angle.

THE POSITIONS OF THE PARTNERS

Much, if not all, of the adverse criticism of the Boston which has been offered by educators, parents and other responsible objectors, has been directed at the relative positions of the partners. This is, in fact, no more than the general rule as regards the Social Round Dance, with the possible exception that the positions have been sometimes distorted by attempts to copy the freer forms of dancing that have been presented upon the stage.

The Round Dance demands that a certain fixed grouping of the partners be maintained in order that the rotation around a common moving centre may be accomplished, and it is here that the most serious problem is to be found.

The dancing profession long ago undertook to settle upon arbitrary groupings satisfactory to the needs of the dancers, and conforming to all the requirements of propriety and hygienic exercise.

[Ill.u.s.tration]

Acting upon this basis, the reputable teachers of dancing throughout the world have adopted and promulgated three fundamental groupings for the Round Dance which are so constructed as to provide the greatest ease of execution and freedom of action. They are known as the Waltz Position, the Open Position, and the Side Position of the Waltz. All round dances are executed in one or another of these groupings, which are not only accepted by all good teachers, but, with the exception of certain minor and unimportant variations, rigidly adhered to in all their work.

In the Waltz Position the partners stand facing one another, with shoulders parallel, and looking over one another's right shoulder.

Special attention must be paid to the parallel position of the shoulders, in order to fit the individual movements of the partners along the line of direction.

The gentleman places his right hand lightly upon the lady's back, at a point about half-way across, between the waist-line and the shoulder-blades. The fingers are so rounded as to permit the free circulation of air between the palm of the hand and the lady's back, and should not be spread.

The lady places her left hand lightly upon the gentleman's arm, allowing her fore-arm to rest gently upon his arm. The partners stand at an easy distance from one another, inclining toward the common centre very slightly. The free hands are lightly joined at the side. This is merely to provide occupation for the disengaged arms, and the gentleman holds the tip of the lady's hand lightly in the bended fingers of his own.

Guiding is accomplished by the gentleman through a slight lifting of his right elbow.

[Ill.u.s.tration]

THE OPEN POSITION

The Open Position needs no explanation, and can be readily understood from the ill.u.s.tration facing page 8.

THE SIDE POSITION OF THE WALTZ

The side position of the Waltz differs from the Waltz Position only in the fact that the partners stand side by side and with the engaged arms more widely extended. The free arms are held as in the frontispiece. In the actual rotation this position naturally resolves itself into the regular Waltz Position.

THE STEP OF THE BOSTON

The preparatory step of the Boston differs materially from that of any other Social Dance. There is _only one position_ of the feet in the Boston--the 4th. That is to say, the feet are separated one from the other as in walking.

On the first count of the measure the whole leg swings freely, and as a unit, from the hip, and the foot is put down practically flat upon the floor, where it immediately receives the entire weight of the body _perpendicularly_. The weight is held entirely upon this foot during the remainder of the measure, whether it be in 3/4 or 2/4 time.

The following preparatory exercises must be practiced forward and backward until the movements become natural, before proceeding.

In going backward, the foot must be carried to the rear as far as possible, and the weight must always be perpendicular to the supporting foot.

These movements are identical with walking, and except the particular care which must be bestowed upon the placing of the foot on the first count of the measure, they require no special degree of attention.

On the second count the free leg swings forward until the knee has become entirely straightened, and is held, suspended, during the third count of the measure. This should be practiced, first with the weight resting upon the entire sole of the supporting foot, and then, when this has been perfectly accomplished, the same exercise may be supplemented by raising the heel (of the supporting foot) on the second count and lowering it on the third count. _Great care must be taken not to divide the weight._