The Washington herald. [volume], June 21, 1914, Page 7, Image 7

About The Washington herald. [volume] (Washington, D.C.) 1906-1939

Image provided by: Library of Congress, Washington, DC

                
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How to Dance
the Modern Dances
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-38:
HUGO WORCH
WORCH .BUILDING
1110 G Street Northwest
How to Dance The
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Hesitation
Complete instructions written and illustrated for the SUNDAY
HERALD by G. Hepburn Wilson, M. B., of the Salon de Danse,
New York City the foremost authority on modern dancing and
one of the most brilliant and successful teachers of dancing in the
United States.
The "Hesitation"
The "Hesitation" is a ariatton of
the Modern Waltz, based on the old
waltz. Space does not permit my giv
ing instruction in the old waltz. Ac
cordingly this lesson is for those who
dance the old waltz and wish to learn
the "Hesitation."
Jfo. 1.
Contrary to the old wait, nearly all
modern waltzing is done on the entire
foot with the heel touching the floor
most of the time. Though it cannot be
said that the weight of the body is al
ways on the heel, all action and bodily
grace arc controlled by free .action of
the knee joints and upper body. In the
old waltz, an up and down action was
accomplished by raising on the ball of
the foot and then coming down again.
In contrast, the Hesitation figure is
danced by keeping the heel on the floor
most of the time and bending the knee
a little.
A bar of waltz music has three
counts, but it takes two bars of waltz
music to complete the Hesitation figure.
If will therefore be found more con-
venient and understandable to explain
the figure or action to SIX COUNTS
or two bars of waltz music
The Easiest Way to Gain the
Hesitation Rhythmic Swing
Start your "Grafonola" with either
of the two popular Columbia "Hesita
tion" Waltz Records, A-5494, 'Nights
of Gladness," or A-5525, ".Dreaming,"
counting One, Two, Three, Tour, Five,
Six, to(each two bars of music, walking
the- "Boston" step, taking SINGLE
STEPS on ,counts O'NE and FOUR,
posing on counts' two and three, orV the
left foot and on five and six on! the
alternate foot.
The steps in this lesson illustrate the
original elemental figure, the basis of all
the many variations of the Hesitation
The following directions are for the
gentleman. (For the lady each right
means left, each left means right.)
The Second Step Is Taken with
the Lerf Foot
It is made b stepping sideways to
the left with the left foot, about ten or
twehe inches (see illustration No. 3)
with weight on left foot to SECOND
GOL'NT of music.
The Third Step Is Taken with
the Right Foot
This is made by stepping with the
right foot from last position which is an
open position of the feet, going to a
closed position (see illustration No. 4)
with w eight now on right foot. This is
DONE TO THE THIRD COUNT of
the music.
Ihe Fourth Step Is Taken with
the Left Foot
This is made by taking a long step
proper start on the NEW FIRST
COUNT AND REPETITION OF
THE MOVEMENT.
All Leads and Body Motion Are
to Your Left
The Elemental Hesitation '
Figure
I
ftLKtf sis sw
Xo. 2.
to the left, with the left foot, about 15
inches from the right foot, having the
full WEIGHT ON THE LEFT FOOT,
leaving the dancer in position (see figure
No. 4). This is DONE TO THE
JTOURTH COUNT of the music.
On counts. (5) and (6) you REST
OR POSE in this position. This com
prises the actual "Hesitation" of the
figure. NOTE During the pose or
"Hesitalion,"' on counts (5)vand (6),
great care must be' taken to fill out this
time by a perfect and graceful poise Of
the entire body, slowly leaning body
towar'd the vleft, ready to regain
From correct standing position (see
illustration No. 1) swa the body to the
left, swinging right foot back of and
beyond left foot ON COUNT ONE,
quicklj step to the left with left foot
ON COUNT ONE, quickly step to the
left with left foot ON COUNT TWO,
drag right foot over Ctose to the left
foot ON COUNT THREE and sliding
left foot out to the left about fifteen
inches ON COUNT FOUR, pose or
Hesitate in this position on counts FIVE
and SIX, body, weight on the left foot.
NOTE This pose or HESITA
TION position is exactly like the start
ing position.
The Steps Illustrate the Starting
Position
THE POSITION of the gentleman's
right foot BEFORE COMMENCING
the Hesitation figure is made by extend
ing the right foot to the right about
fifteen inches, with the right toe barely
touching the floor, entire weight of the
body on the left foot, left heel down.
(Sec figure No. 1.)
4
The First Step'Is Taken with
the Right Foot
This is accomplished by leaning to
the left side until it "becomes necessary
to regain jour proper balance by placing
the. ball of the right footquick!y BACK
of and beyond the left foot (see illus
tration No. 2), with the full weight on !
the right foot to FIRST COUNT of.
music t
As mentioned THIS DESCRIP
TION IS TOR THE GENTLEMAN
'The WyorherrJnstructiofr need only?
' change every right to LEFT, and every
left to RIGHT; al-o changing the word
BACK to FRONT m the Ie-cription of
the FIRST STEP, illustrated in Figure
No. 2. In other words, in Figure No. 2,
the lady place the ball of the left foot
IN FRONT of and across the right foot
in the first step on first count of the
music, etc.
After this entire fundamental figure
is accomplished as described, try it a
NEW way With the gentleman swing
ing the right foot across and bejond
the toe of the left foot. (Lady swinging
her left foot back of and bejond the
heel of her right foot ) The gentle
man alwajs moing to hi left, ami the
ladj- alwas to her right. The other
steps follow cxactlj- like step- Two,
Three and Four described in thevele-zl
mental Hesitation figure.
There are many delightful ariations
to this fascinating Modern Dance, that
are iioth graceful and picturesque, but
space does not allow f-r a description
o. 4.
as it is the purpose of this article to
simplj- prove a guide to the simple ele
mentals.
You can learn to dance "The
Hesitation" in your own home
by taking advantage of the
wonderful offer made by The
Sunday Herald.
Next Sunday's Herald will teach
hew to dance THE MAXIXL
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