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NZ Truth, Issue 1233, 18 July 1929, Page 20

(By Miss Phyllis Bates — Member of Imperial Society of Teaching of Dancing, Ballroom Branch, London.)

In this article I am continuing the description of the modern waltz. Eeaders should refer to last week's article which gave a complete description, and photographs of the natural turn.

THE natural turn and the steps described m this article are sufficient . to make a complete dance. Dance a complete natural turn. The first half, Figs. 1, 2, 3, and the second half, Figs. 4, 5, 6. (Figs. 1 to 6— see last week's issue of "N.Z. Truth.") Repeat the first half of the natural turn — Figs. 1, 2, 3. The man now has his back to the line of dance. CURVING THREE- STEP From this position dance a curving three-step. (See as illustrated m Figure 7.) MAN: Long step backward on ball of left foot, bringing left hip and shoulder well forward; Do not drop to the heel until the right foot is moving ■backward for the next step. GIRL: Long step forward on heel of right foot, rising to the sole, and bringing left hip and shoulder well forward. Count "1." (See as illustrated m Figure 8.) MAN: Long step backward on ball of the right foot, left hip and shoulder still forward. ■ GIRL: Long step forward on the sole of right foot, raising to the ball. Left hip and shoulder still forward. Count "2." (See as illustrated m Figure 9.) MAN: Draw the left foot back a little past the right, rising to the toes. GIRL: Draw — right foot up a little past the left, rising to the toes. Count "3." By keeping the left hip and shoulder forward you describe a curve away from the centre of the room. The step finishes with the man still backward m the" line of dance, but diagonally facing the centre of the room. Follow with a half reverse turn. HALF REVERSE TURN (See as illustrated m Figure 10.) MAN: Long step backward on ball of right foot, bringing right hip and shoulder well forward. Drop to the heel and commence turning to the left, rising on to the sole again as you turn. GIRL: .Long step forward on the heel of left foot, bringlng'right hip and shoulder well forward. Rise to the sole and commence turning to the left. Count "1." (See as illusti-ated m. Figure 11.) MAN: Long step, to the side on the sole of left foot, rising to the ball and continuing the turn. . , . , GIRL: Long step to the" ; side 1 on the sole of right foot, rising to the ball and continuing the turn. Count "2." (See as illustrated m Figure' 12.) MAN: Close the right foot to the

left, rising to the toes and completing the half -turn. GIRL: Close the left to the right, rising to the toes and completing the half turn. Count "3." Practice these and last week's steps to the tune of "Carolina Moon." Play the music on the record slowly. Keep this and last week's description of the steps until next week, when the forward three- step and outside variation will be described. LONDON DANCE FROCKS THERE were many charming- dance frocks worn at the Star dancing championships, which is the foremost English dancing competition. Josephine Bradley, England's fore- . — most teacher, was chairman of t^he judges." She wore a fine black lace and tulle with hints of gold, a decollete U back and coquettish shoulder bows of tulle. Pat Sykes, whd, with Maxwell Stewart, won the new dance competition, looked charming m black tulle appliqued with black patent leather flowers, over pink tulle. The skirt was very long and flowing, with a bow of tulle with floating ends. In a primrose and tangerine frock of chiffon with a shoulder knot of orange wisteria, Mac "Wai msl c y won <^ th c professional championship for the second time. Frank Forcrs partner, Molly Spain, wore <a "dinky" frock of soft white satin embroidered m diagonal lines with rhinestones. This was perfectly cut and m exquisite taste for ballroom wear, though perhaps not floating enoug n h for demonstration dancing. Celia Bristowe's dancing frock was one of the prettiest m th? gathering. It was of white tulle, with short, tightfitting bodice and billowy circular skirt, lightly embroidered with huge pastel -tin ted flowers. Haylor, who danced with' Alex Warren, the Scottish champion, wore a very smart tan lace with a long waist and cleverly flared skirt. 'Valeric Trevor, who danced the TanTrot m the new dance competition, wore a .white tulle with a circular frilled skirt with trailing scarlet ostrich feathers at one side. A pair of soarlet shoes repeated the note of color. A poetic frock of misty white chiffon was worn by Cecil Taylor's sylph -like partner. The bodice was cut on Grecian lines and the skirt was full and uneven. , Another beautiful frock was a blue and orchid chiffon affair, with full floating panels of both colors.