Dancing Time

Otago Witness, Issue 3832, 23 August 1927, Page 76

Dancing Time

“BOSTONISING” THE WALTZ.

FORM A “ SAVE-THE-WALTZ LEAGUE" TO COUNTER THIS MOVE.

By Maxwell Stewart, World's Champion Ballroom Dancer, 1924-25-26.

(Copyright.—For the Otago Witness.)

XXII. Many good'dancers just now are enthusiastically exploiting the so-called new “Three-step Waltz.” They say that the “old-fashioned’’ waltz has been doomed for some time; and they seem to think they are doing good service to dancing by transforming it, or “ gingering it up.” It is time someone formed a “ save-the-waltz league” to counter this move. I do not feel fearful that the waltz is threatened with annihilation, for it has survived for nearly a hundred years—longer than any other ballroom dance —- and still has enough faithful devotees to carry on its tradition. But waltzing is peculiarly subject to an epidemic which one well-known exponent of the dance refers to as “ Bostonising.” This has recurred in a more or less persistent fashion quite once in every decade for the last 40 veal's. Each time it has nourished a while, and has then been forgotten in favour of-the genuine article. No doubt ’.f statistics were available these waves of “Bostonising” would be found to recur at intervals as regular as those of influenza epidemics. Be that as it may, the present attack is an obstinate one. Waltzing is as subject to fashions and little idiosyncrasies as anv other dance, but there is an aspect, of it which cannot be changed without the waltz ceasing to exist. Its basis is a peculiar kind of movement which is not shared by any other dance. As long as the variations fashionable at the moment conform to this type of motion, the waltz remains intact; but the trouble is that people who destroy the basis of the dance still use the word “ waltz ” and apply it to their productions. Dances as widely different as the twirling Viennese version with the swerving second step, and the modern hesitation waltz can each be quite legitimately classed as waltzes. Each rn’ain-

tains the swinging-f iom-the-shoulders rhythm and the change of balance once for each bar. I suppose, theoretically, the present “ three-step waltz,” in which the feet pass on the third step, could be done with a proper waltz rhythm, for it is not the mere passing which is the fault, but the fact that the passing makes it difficult for the true rhythm to be maintained.* The dynamics of the waltz eeem to demand the close on the third which proves such a source of worry to the waltz “ gingerers.” Beginners in couise of acquiring the dance nearly always pass on the third, but as soon as they get a hint of the real movement they automatically close.

The waltz is easy enough to recognise when danced properly, though it may be a little difficult to learn. Good waltzers of any period, and from any part of the world, would do the essential steps in exactly the same way, and, strangely enough, even the inexpert would recognise their good waltzing. I heard a hardened wait z-f oxtrotter say, only the other day, of a somewhat old-fashioned dancer : “ Of course he learnt his style in the Ark, but, my word, he can waltz

Some time ago the “ Deux temps ” waltz was all the rage. In this the second step was entirely suppressed, and, though good waltzers may have been able to negotiate it successfully, many who began to dance at that period cannot have caught the true rhythm. The “Deux temps” was followed by the Hop Waltz, where the second step was a quick, springy ehassee. There have been many varieties ot

Bostonising,” but there have been few more destructive influences in waltzing than the present “ Three step.” For this craze is lifted straight out of the foxtrot, on which the balance is changed for each step. It strikes at the heart of waltzing.