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The Mt. Sterling advocate. (Mt. Sterling, Ky.) 1890-current, August 19, 1914, Image 8

Image and text provided by University of Kentucky, Lexington, KY

Persistent link: https://chroniclingamerica.loc.gov/lccn/sn86069675/1914-08-19/ed-1/seq-8/

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Tango Step From & fftrec In Qn" flQW TO DANCE THE TA(,Jt 4
Illustrated W4th Specially Posed Photographs
Illustrated With Specially Pod Photogwpm M
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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
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
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.
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The Innovation Tango
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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
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.
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Posed by Miss Joan Sawyer and Mr. Jack Jarrott
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
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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
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
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
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.... 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
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ami now "" -- z a -wait
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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. . .
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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,,
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.

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