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The day book. (Chicago, Ill.) 1911-1917, May 27, 1915, NOON EDITION, Image 14

Image and text provided by University of Illinois at Urbana-Champaign Library, Urbana, IL

Persistent link: http://chroniclingamerica.loc.gov/lccn/sn83045487/1915-05-27/ed-1/seq-14/

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ANNA PAVLOWA'S DAILY LESSON IN DANCING
NEW SOCIAL STEPS
BY ANNA PAVLOWA
Article No. 1.
I am taking up, as the first of the
dances to be includedin my "stan
dardization," the one-step, even
though this dance has many undesir
able features. My reason is that the
one-step has qualities eminently
American, and that certain changes
make it in some respects a very de
sirable social dance.
In the plain "one-step'," as it was
evolved from the vulgar turkey-trot,
the dancers swayed the bodies from
side to side as they moved and sagged
at the knees, violating practically
every principal of good dancing. The
one-step I advocate will be different
from the one-step of even last season
save in two respects.
Before beginning it the partners
must remember a few things which
will be of great help, The first is not
to swing the body or shoulders from
side to side. Avoid anything like a
swagger.
Stand erect without stiffness and
assume the "closed" position. The
cavalier will take in his left hand his
lady's right and carry their arms at
shoulder height, in a manner that
keeps their hands near their bodies
and guarding against collisions.
The one-step I advocate is divided
into six divisions. In the first division
I start the dancers with the lady mov
ing forward on the first count of the
music instead of backward, as is cus
tomary. The accompanying photo
graph, for which I posed with my
partner, is the salute which comes on
the fourth beat of the music just be
for the "one" count.
The lady, who must move forward
on her right foot as the cavalier starts
back on his left, stands on the right
foot and points the toe of her left,
just as her partner raises her right
arm with his left. This raising of
arms and poising comes on the final
beat of any musical measure. It I
would be couilted, "one-two-three-salute,
begin," the salute coming on
the fourth count of the music and the
actual start of the one-step commenc
ing on the next, or first, musical beat
in the measure.
Moving forward, first on her left
foot, followed by the right, the lady
may go either four or eight steps,
according to the pleasure of her cav
alier. Her first step will be about
eight or nine inches, and as the ball
of the foot slides along the floor the
dancer should permit both of her
knees to dip slightly, barely enough
fto give a graceful dropping of the
body. If the steps be eight consecu
tive ones in the one direction, the
lady will dip on the fifth count pre
cisely as she has on the first.
Please note that I spoke of the first
step by the lady being eight of nine
inches. The second, third and fourth
steps in each unit of fours (on which
the one-step is based) will be perhaps
two inches less, the reason bemg that
the strong or accented beat comes
on count "one" and each multiple.
So as the dancers progress it is
ONE, two, three our; ONE, two,
three, and so forth. The cavalier,
starting backward on his left foot in
a step upon the ball of his foot of
from eight to nine inches, makes a
slight dip on bath knees, to corres
pond with that of his lady.
The first four backward steps of
the cavalier and the forward steps
of the lady should proceed in the
straight hne of direction. But if the
cavalier decides to continue with the
next four steps in the same direction
he will, during those four steps, turn
himself and his lady to the left. On
the eighth count the couple is then
in a position (a quarter turn having
been made) to progress into the side
glide. On next page Forward and back
walk in the one-step, posed by Anna
Pavlowa and her partner.

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