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Tvn IfMlMipMMMWI - r ,. a v? J- T " ivmn rra V f. ( , Tango Step From & fftrec In Qn" flQW TO DANCE THE TA(,Jt 4 HOW TO DANCE THE TAN60, No. 1 By ODGERS T. GURNEE Illustrated W4th Specially Posed Photographs By ODCER5 T. CURNEB ' . Illustrated With Specially Pod Photogwpm M : t , fc l ,, If ,( WHH tango is erroneously suppos I ed to consist of an Intricate I maze of steps and figures to the number of a hundred or nor. To tell the truth, tbcro is Just on basic step, upon which the whole fabric of the danco Is founded. This Is the cordo or, as It Is atso called, th ce-rtez. Until ono has mastered this step per fectly It is useless to attempt tho tan' go. Although It Is simple to describe tad looks very easy, it takes qulto awhile to get the proper swing. Tho principle of the step Is as follows: The man steps forward on his right foot, then forward on his left, bringing COBKLCT POSITION KOIl HTAIiT OP THU TANOO. the right foot over till it touches the left heel, Raise the left foot at mo-J ment of contact and step back on It. Take nuother step back on right foot and bring left over till feet touch. From this position raise the right foot and continue with original step. This is the full corde. After learning the rotation of the foot positions try and get a little snap Into the last step. That is when you bring the feet to gether at the end of the forward and backward steps. The two long steps should be dono slowly, and the drag should take the form of a slight stamp such as the Spaniards do in their folk dances. The girl is going In the op posite direction ail of the time. f w: LiiiiiiiiiiiiifliF "iHFiiiiW The Innovation Tango w'BKflHMBENRSiKSBlHBBBBBBS tBBHHHbflBMnSHBKBBBBBBBT mbbe9b!w?BBiDINEjbDbbbbbb7 KUJSrasyHp- wHUff IwBbibbbb BBBBBBBBBHrSHfe V?W lffiiKrrBBBBM HHF&i&"'7 hbibbHI HBbbbbhn3e&kbi BbbI ABBBHSsHmlHHlB SHRCM flBBn Posed by Miss LouUe Alexander and Mr. Cllve Lorta. TlIE innovation whan applied to the tango, although much more diffi cult than the waits, is very pretty to watch. The slow, gliding move ments of the dance lend themselves perfectly to the Innovation prin ciple. Id this case It is also Imperative that the partner do not dancn too far apart and stand erect throughout The tango requires a free move ment! from the hips, but -there is mo excuse fw throwing the bead and shoul ders abeafc The half corde, which is used a great deal, consists of the forward step, tho stamp and a short, slow step back with tho left foot Follow this with a slight dip and go forward on the left The side corde Is danced In open po sitionthat is, facing in the same di rection, with hands clasped In front Tho step is the same as In the full corde, except that both are going In tho some direction. Another striking step is tho "scissors." Stand facing one another. The man crosses his right foot In front of his left Turn slightly on tho ball of the foot so that both are facing In tho same direction. Step forward on the left turn toward each other and half way around. Itnlso the left foot and cross it In front of right, tako step for ward on the right foot, turn nnd re peat original measure. The girl's step Is the same as the man's except that it Is on different feet In this, as In the corde, make tho forward steps slow, and on the turn raise the foot iulckly so that the' motion is a con trusting one. In the so called Argentine tango, as It wns first danced here, thero were a number of dips nnd bends, but the Impossibility of doing these steps on a crowded floor has caused tho majority of people to give them up. The newer Parisian tnngo has no dips at all In It depending entirely upon the corde, nnd for that reason being a groat deal near er the original. The following rules for beginners, as compiled by Mr. and Mrs. Rowley Downs, should prove a great aid to any one who Is anxious to learn: Do not stand unnaturally when danc ing. Do not lead weakly. Hold the lady In a normal position, not too close or too loose. Do not hold the arm straight out It should he bent at the elbow, with hands clasped above the head. Do not dance on the heels. Conform the length of your step to your partner's. Adjust your arm to the lady's height Never accenuute movements of the shoulders or hips. Keep elbows still. Keep these in your mind's eye and remember them when you are dancing and you will And it much easier to get along. The continual call for something new must be answered. Why not try and devise a new step yourself. When do ing this, however, bear In mind that the grotesque step or posture is not the one that finds popular favor. Mnko them simple, effective and In keeping with the dance to which they are done. PKt-dflR tL-CSMF &mMM BBj t FftMBN-"" BPv HHr& 'tT'BLBBw ' ' .bbTbbmL v'c ' bbbbbbbbb &m?&J' ?, BBBhBBbIBBI fllk& apBBBBP- ..BBBjBBBBJBBBBjBBJBfl tBKIBBBBBK -.." IBBBBBBBBBBBBBBBBBBf dftf VHbSHT 'BhHhBBBBBB t BIBBHflBBaMK BBHh xBAHclflPBBBft BBBHKBBH1S t?P wwbbbbbV IIbbbWJSbBbVbI sIIbbbI i'TM.t"'i bbbbHPjbHbhI wbmF$IHbbWBi BBmK vVMBBBHBBBBHRjRBBBnBBBBk MJJH -r Posed by Miss Joan Sawyer and Mr. Jack Jarrott Ac COMBINATION of the waltz, trot dancers doing a few steps from each dance, changing With the tempo of the music. The picture shows the first position In the tango after chnnclns from the waltz. A full corde Is done, followed by a half corde, four steps and another 'half corde. More tango steps, can be done if desired or a half turn will bring the first one step position. Back Step In the Open Tango i f .JbHbV'-mSSJbI&IbbbbbV V' bIbbbbbbB bbbbbhK!MSpbb i ,VB tUBWiiBBBBBBBHBW SfS' " fc$B T7K iBBBBBBBBHC. Vf C' j VkariBTj l''" W- BbbbbbbbT ' j2'9b bHbLIbbbbbbbHPK 2&$ J At bbbbbbbbbIbbbbI yBL H flBBBBBB PJB mPbbbbH '&tm3vlH& "3mb 'iW WtHPs B&Sffitf't? ty " ffffaBBBBl i mti'A 7 HBBBBBBBBBBBLB JEKM?,yv t JbBbVbHbbbbbV.X'V MB r t jHj JMftMSp - ''' -mKB -BBBBth 'MBSbBv'' 'IbbIbbIbbwbVIbbbbbbbbbbh yV-'"''' nHBj t. FBBHBHB&BBBV9iBBBBBH lr l ",""""-""',"iSL(aWBBBBfcjfcfalBBBBlBBjfctejIi ' j,,j' Vrg j f THIS Is a simple and elfectiye step when done correctly A great many dancers spoil the effect by making low and grotesque dips. The cor reel uiltiou. a shown in the picture, should be au erect one, with a - slight bend from tho wuht This' step may bo led up to either by the scissors or a half corde from the open forward walking step. It affords a haven of refuge when stucK In a corner and tends to break the mouotony of continually going forward. Watch the position of the arms li this step. The man's left and the girl's right ana are always held ou( straight and the-other arms' are etitwlwd whether going backward or forward. ' ' - and tango Is the "three In one," the WITH mitttom of devotees as4 thousands of daicers,the modra dance eraae has been a bOM of contention In almost every corner of the civilised world. There is little doubt that In their original form the dances ef today were Improper, but after passing through the mill of public usage' they have been so renovated as to be absolutely unobjectionable at the present time. Tfifffesent mode of the tango calls for tho Parisian steps In place ef the South American style, which was the rage last year. However, some of tho Argentine steps are very attractive, and a description of them will not be amiss. The deep dip, forward and backward, is one of the essential figures from this dance and should be done as follows: Start from the open tango pos-ltlon, as shown in the accompanying Illustra tion, tako threo steps forward, and on' the fourth step bend forward till tho knee almost touches 'the floor. In all open steps start with the outside foot so that In tho forward dip the outsldo feet aro advanced. Rising from this position, take three moro steps, swing the Inside foot forward, then .back, turn on the outside foot nnd dip back with tho Inside foot. In this manner you have turned halfway around and are facing in the opposite direction. Tho foot which was formerly on the outside Is now Inside and vlco versa. Take three steps forward, repeat step and you arc straightened out again: Another pretty step is as follows: Take three walking steps, swing out side foot in front of Inside foot nnd drag back three times, This sounds very simple, hut Is really quite dlfll cult, as the drags must not be Jerky. These are tho three principal steps of the Argentine ns Introduced in this country, and countless other steps can he devised to accompany them. A hint. for n few semi-original steps may be gleaned from the following: A flirtation step, such as is danced In the maxixe, standing behind the girl and going from one side to another. A step similar to the hesitation, man going forward and girl going backward. The man stands still crossing, one foot In front of the other, while the girl does n series of steps halfway around him nnd then back again to original position. These steps of the girl's can 6e changed at will and offer many op portunities for original thought Rowley Downs, Jr., who has been In the foremost ranks of dancers since the craze started, explains the dance craze as follows; "Many persons are anxious to know why the dances have become so pop ular. Like all other amusements that are taken up by the majority, there Is bound to be constant Improvement. In the dances of the present this im provement has been along the lines of less effort and greater simplicity. For instance, the hesitation Is only one-half the step of the original waltz, and the one step cuts down the effort of two stepping by half, "This explains why so many older men and women have taken up the craze and find it so attractive, A moderate amount of dancing Is excel lent exercise and helps to keep the body fit where many medicines might fall. "By the Introduction o a new tempo occasionally the public Interest Is kept at a high pitch, and some one is al- Dip From the Argentine Tango (( $kk WmBKKLzt BbtbyBbtI K raNBjVw jbkVabVam i ' FwbW ii I n BffiffBBMi-Wfthft ILVHffTamBBBBBBlW . . i 4 h f i & t ''.MBBv'BBfBHBllBBHk. r . 3K -BUBr BBBvBn9BBBBBk v - -AaLVBB BHHBBajBBBBBBX ( m'r'-ytf JbbbV9bb9RbbBKKV9rSPi9bIbbVb BaBmBmBmKBmBBmMBiHBBBm I i1Bmmiii-ith xr, jwf 'I QBIHBBBBHnSlHHiBNUBk.. HBBBj BBj BwBBBBBBBHBBBlBJBBBMBWBBK'HflnifflHIW i, - 't ? -. kvs?BBbbBh 'PJIOUtJII '.tot suitable for ballroom dancing, this step from the Argn .... o iv j cucviiis, ii m UBU11117 precaeu y taree ope waJMax sieps. a point or swKig ana tnen ma Mjjaifl. HTun fin iia iidiui tv The Boreuents suwt be slow and im una; irew r ptnlm BWCf MM .HMK T Hw tbhif at the saiae t4e, UM. HAW fltAtt. ways iem.s - --; v.va .. Mi tanjm arrived J" Binir.v, w - - - . f uva tlie MOM wraj ... JU lli. mM lata t G tfM) Maxixe an i"" " - . ...n., . .i.ba4Iva maw nUPfBBl BBT ami now "" -- z a -wait Bi6tlf is the sevea-qMrtj-r fM of our new dance-th nrodvfltMjiii. Thta Is a perfect combtaattoji C tango and Viennese wait M w&m It self splendidly to naiiroom m"g "So long as a new tempo r " step can be devlsea me i"" dancing will continue.- , . ;Astrenoiaers say that th . i last till 124. wnica. . . i-i o W 1 '"&?' p &C '&V& vfr Bt.'r v '" T5." "559 ''. TvF'tsn vz"Vi, y ? -"s-t?f iX, .'. it s- X ' T4D B-Wilt-V; if bifMj&ffs mf Jfrr-wtfV V wJ BV :UWv tf. V -r-J POSITION FOB THB OPBaf STEP m THK TANGO. that the archbishop of New York, the kaiser of Berlin or the Duchess of Nor folk In Ubndon will not triumph Is their views upon tho subject k The tango of the astronomers te.the' tango type, the poetry of motion," the- Mnxlxe also and nil those dances of, graceful attitudes and syncopated '' measure, chefs d'oeuvre of rhythm" and gesture, the negation of romp 'and tho whirling dervish movement " '.. 4'"" But we may even see folks waltz, for', we are In a dancing period. It Is thft sun's fault Everybody knows that sun spots reg5- ulate dancing, and us it is a criticaf period of solar activity none may hops- and few would desire to keep fjjks from being charmed by rhythmic move,, ment Which leads to the fact that there Is. ' a time to dance and a time to tire or v dancing. The sun's periods of eleven? years, its maximums of thirty-three-years and grand maximum of once century correspond perfectly to the waltz of 1812. the gallop of 1824 (which, also ushered In the scbottlsche), the mazurka of 1830, the polka of 1845, the quadrille of 1852, tho lancers of 1801. the cancan of 1SU9, the pas de quatre of 1882. the Boston of 1803. the-cake-- kwalk of 1902 and the tango of 1013. tM dip. When on a erow4a w inn t urn 111 !. jih . u.i, ' ' tlw4 to WiFiMsirtii (Ms --nti. !