Spend the Winter Evening DANCING

Press, Volume LXXI, Issue 21512, 29 June 1935, Page 8

Spend the Winter Evening DANCING

MODERN BALLROOM DANCING Story of its Origin (Specially Written for "The Press") In order to understand what exactly is meant by "Modern Ballroom Dancing" let us first consider what "Old-Time Ballroom Dancing" was. During the time of King Louis XIV. of France, professional dancers were first allowed to take part in the great ballets held by the Court at Versailles and elsewhere. In consequence a cleavage took place between the ballet (which went to the stage) and that which we should call "ballroom" dancing. However, in spite of this cleavage "ballroom" dancing was stilt based upon the technique of the ballet. It should be noted here that some of the vital points of ballet technique were: The feet were always "turned out" and toes pointed down, and a!i steps so taken that the toes came to the floor first, employing the five positions. From this time until quite early in the twentieth century IHe teachers of ballroom dancing based their instruction upon a modified form of ballet technique. At the end of the nineteenth century ballroom dancing was in serious danger of dying out altogether, owing to the lack of new developments. Fortunately, however, a few years later, some "new ideas" were presented, coming m the main from America, and of these the '"Boston" and the "Bag" were examples. The voung people of the day hailed them with delight, for many oi

thorn had become weary oi the- "old-time" dance.-, and dancing took on a new complexion altogether. Although at this time the style was decidedly "free and easy," it should be particularly stated that it was based upon the natural movemens as used in walking—which in the future was to be known as "Modern Dancing." For some time there existed a state of chaos, but fortunately (soon after the Armistice) the Briton's love of order soon asserted itself, and a new band of teachers v/as ushered in, whom the younger dancers of the day were only too pleased to follow. This band of teachers did wonderful work by way of evolving a scientific modern ballroom technique, based upon natural movement with the feet in alignment. Briefly then, we may say that modern ballroom dancing is based upon natural movement—walking—whereas "old time" ballroom dancing was based upon ballet technique. Nevertheless, the walk employed in the ballroom differs considerably in technique from that used in the street and elsewhere. So now we may mentioij a few of the basic rules for modern ballroom dancing, which may be compared with those mentioned above for "old time" ballroom dancing. First, the feet are always straight or parallel (feet in alignment); second, the feet glide on the floor and are never lifted off the floor (except in tango); third, the legs swing from the hips—not from the knees; fourth, many of the steps are so taken that the foot glides forward on the heel only; fifth, the correct use of contra-body movement, rise and fall, and sway. Detailed rules of technique would be out of place in this article, but enough has been said to show a very definite difference between the old and the modern technics. The modern ballroom dances of to-day are: Foxtrot, quickstep, waltz, tango, blues, rumba, blues waltz, each of which ha 3 its own technique, design, and rhythm, its basic steps, including natural and reverse turns, and its variations. All basic steps are standardised and are becoming universal, so are bas;.c varia-

THE MODERN WALTZ 4 Controversial Dance (Specially Written for "The Press") Of all. the modern dances the waltz seems to have been the cause of the greatest controversy, and this is due to the fact that at the time when modern ballroom technique was first established, the waltz had to be "remodelled," so to speak. Modern technique is built upon natural movement. It follows then, that a waltz founded upon ballet technique could not conform to the rules and principles of modern dancing. Then again with regard to the music we have a change, for where the "old time" waltz music was played at a speed of about 50 bars a minute, and where the rhythm was very definitely dactylic, we have for the modern waltz music played at 36 bars a minute and a rhythm which is almost even. In consequence the steps of the old-time waltz were stretched out as it were, the timing modified accordingly, and the design changed from constantly circling to a diagonal course. Now it must not be concluded from the above remarks that the steps o£ the modern waltz are just the same as those of the old, but much longer, because this is not the case. The actual steps of the moderrt .valtz are quite different from those of the old waltz, but we may say that the modern steps have evolved from the old ones. Yet, though the modern waltz is built upon natural movement it is no way similar to the foxtrot, neither in step nor design; for instance, repeated forward walks

are not done in waltz (for that matter they should not be unduly repeated in foxtrot). The essential action of the waltz is rotary, and the design or course taken over the floor, is diagonal, and there is a "rise and fall" for every bar of music. One more point. As mentioned, the action is rotary, but in this modern waltz the turns are not repeated in one direction, as in the old waltz, where one could turn indefinitely in either direction. One, or two turns at most, are made in one direction, followed by a change step to the other turn, and the changes alone offer quite a variety of movements, which coupled with the standard variations make the waltz most fascinating. Now, although the technics of the modern and the old differ so considerably, and although adherents of the modern technique are increasing by thousands every year, yet nearly all of them still love the music of the old waltz. But the modern waltz steps cannot be properly danced to this music, with the result that several new dances have been created on modern principles, employing old time or fast waltz music. The first of these new dances came out some years ago, and was known as the skaters' waltz. Later followed the modern fast waltz and now, later still, we have the blues waltz. These new dances are really adaptations of modern technique to fast waltz music; the chief characteristic being that one or two steps are taken to the bar of music instead of three steps to the bar as in.the case of the standard modern waltz and the old time waltz.

tions. Other variations depend on the locality and the individual instructors therein. Thus it will be seen that although modern ballroom dancing is based upon natural movement, walking, there is a great deal more in it than' merely walking round the room to music. It would be most unfair to judge the genuine ballroom dances of to-day by an impression received while ''looking on" in a crowded ballroom.