Newspaper Page Text
SUNDAY. JULY 31. 1921
THE SOUTH BEND NEYS-T1MES
. win mi
' ' ' ' : ' !
This Position Reveals the Secret of Successful Pivoting. Always Keep Your Riht
Foot in Front and the Left Foot Far Behind and You Can Do with
Ease the Most Difficult Step of the Ballroom.
"Deligfktfully Easy r n 1 Restful' Declares
Arthur Murray in Explaining
the New Steps Which Are
Supplanting Jazz and the
immie as a Diversion
5f?ALf, rr "tnrfdU" rr rot? A social club of yoitvg people v'ho iranied to be fashir.nnble but
who ucrr nhr anxiovs to remain vithin the cor.fine3 of good taste, tent a committee to ask
Atthir Mitrtay, the famous dancing master, this question. "Our members ," the spokesman de
clared, "(,rrm 'o u ant to 'todlU but u e are not quite sure whether or not it is perfectly all right"
"r"rior'allj," spoke up another member of the committer, "I think the 'Toddle is a rure eipn
that u arc getting back to second childhood. 1 dorCt know anything about tht ncio dance or whether
the darcrrs are doing it riyht or not, but from the looks of it, some act as though they have become
quite intim at p. with (he seven-day itch. Others act ait if they thought St. Vitua's dance was really
mtunt for ballroom use. The majority, however, shake themselves up and down a though they did
not have good sense. What 6 the ideal What is
On fiis ra7 ioJaj Mr. Murray has undertaken to answer that question and also to explain
hon- the "Toddle" should be danced. The photographs wire posed by Mr. Murray and Miss Faith
Dorsey of Georgia,
By ARTHUR MURRAY
TO begin with, the "Toddle" was misnamed.
Some dancing teacher in New York orig
inated a dance called the "Toddle" in 1917,
but it died youn?. The name, however, remained
for others to make fun of whenever they wanted
to ridicule the foolish dances we have lived
When people started doing the present new
dsr.ee, h? name "Toddle" somehow came back to
life a?: v.r.. I am sure that the word "toddle" was
r.ot bright back to usage because it aptly de
scribes th-" .7Tr.ce. The dictionary says: "To
toddle t") walk with short and unsteady steps,
like a child."
If Mr. Webster is riht, then we are not
"toddling," because, while the steps are unsteady
enough, they are not short. On the contrary, the
dancers have to bo extremely long-legged to bo
There is a common impression that the
"Toddle" is a jiggling walk and that in order to
be in style you simply walk around the room and
jiiTirie up and down as you exercise your partner.
Fortunately, this is not so!
It Smacks of the Jazz
What is knawn as the "Toddle" today, is sim
ply an outgrowth of the Jazz. It has a sugges
tion of the "shimmie," minus the vicious shaking
of the shoulder?.
Those who can dance the "Toddle know that
it is lots of fun. The new dance ha3 the delight
ful abandon so characteristic of everything Amer
ican, and that is one of th? reasons it is so popu
lar. It has the swing, or rather the rhythm, of
the Ja:2, and this adds the zest to what might
ctherwie bo an extremely foolish way of spend-
tag the evening.
The "Toddle" we will call it that IHcö all
ether innovations, arrived in a very crude state.
Naturally, until the rough edges were knocked
o:T, it was subjected to considerable criticism.
Until it emerged from under the polishing process,
It was condemned by the dancing teachers and by
&11 others who have the bvst interests of dancing
at heart. Personally, I refused to teach it until
a short time ago.
But the ' Toddle,' when properly danced, is
nothing to be ashamed of. Those who can dance
it will tell you that it is more fun than any dance
we have had in a number of years. It requires
rery little exertion and it is so easy to do that it
fives one an opportunity to talk while dancing, a
feat not always possible when doing other dances.
Asido from the many interesting variations
which came with the "Toddle," perhaps the princi
pal reason for the unusual dance craze caused by
this innovation s due to the fact that the "Tod
e'e" is o delightfully easy and restful.
When we stop to consider that our dancing,
weil as our ocial life, is always regulated by
cur business conditions, it is not surprising that
at tbi. t;me the "Toddle" should meet with such
un.trs.l favor. Today our business people must
work harder thas ever to cop with industrial
- V'-'v- 7X
t - . , .
any nay f
problems. The man who makes a success today
is not the one who simply goes to his work and
takes thing's easy. He must work as never be
fore! The worker of today, whether employer,
clerk or farm hind, must throw his entire energy
into his task. The result is a desire for recTea-
tion in which a minimum amount of exercis will
All things being: equal, the dance which re
quires the lca3t effort will be the most popular.
This is probably the reason why the One-Step, a
dance which was most in favor a few years ago,
is hardly ever played today. In the ultra-modern
ballrooms the One-Step is very rarely danced be
cause it is tiresome and very strenuous compared
with the "Toddle.' The waltz, too, has lost favor
for the same reason. Because of a certain kind
of laziness on the part of the dancers, we may
not have many new dances this year.
This also means that the general
tone of the dancing will be much
better and that dancing will reach a
higher plane. If we do not hava
many new dance variations there
will probably be less criticism. For
the hammer does not pound on es
tablished dances, but rather on inno
vations when they come to us In a
crude form. Like wine, a dance Im
proves with agew Time will polish
eve. the endest of dances.
But getting back to the original
question: "Shall we 'toddle' or not?"
That depends upon the individual.
The "Toddle" can be made u re-
V : ' ' V
. - , w
r- ' .-s:;. ... . . -x .- : : rt
Ujl tV? j
: - v - r-7"i ;;A;7Ati-'"
v -i-v?v4vV' -,-7" . ..: '.7.1
' 7 7v . - 70V,V7-7-7 1
Vv-7;. - .-
f7 -; "'äj
fhj Toddle Is Responsible for the Many
C : : , -WTa-Vi Krr.TifrV, A limit Via f
Renewed Interest in Dancing. Fancy Steps
May Be More or Less Conspicuous, but They
Made Us Forget to Cheek. This Position
Illustrates an Extreme Way of Whirling.
fined as the Minuet, or by poor dancers It can be
degraded to rank with the Bunny-hug.
The manner of walking distinguishes the
'Toddle" from the ordinary Fox Trot. The walk
is a resilient movement, very much akin to a
bouncing step. In "toddling," you take the regu
lar Fox Trot step, then rise up and come down
Lt the finish of each step. The bouncing move
ment comes after the step is taken.
Besides the "toddling" walk, there are a num
ber of steps in this new dance. They ere all
done in this "boppy" way. It is the buoyant,
: Ar:;..::.( Thc(
ThcOidRulc of 'Keep
lour Feet on the
Floor" Is Now Passe.
In theToddle the Girl
Is Permitted to Raise
Her Foot High Off the
Floor if SheCanDoIt
Gracefully. This Pose
Shows the Position
of the Feet in the
ft . 1
r ; c- : 4
V ! ft': v y4- '-I'-Hi 'yf
V -: v -7
. - " . .. ... . - . ! 1
V , . v , ..,". "; ;v - V.; v..v7 . .".- ' - v " ' " (,V. , .... . . , J
caro-fre manner, a nonchalant air of abandon,
which makes the "Toddle" popular.
Here is how to do it:
The Rocking Step First part, for man: Be
ginning with the left foot, walk four slow, bounc
ing steps forward, springing slightly on each
step, 1, 2, 3, 4. Two-step diagonally forward, to
left, 1 and 2. Rock backard by throwing weight
back to right foot, then rock forward by shifting
weight forward to left foot
Second part: Begin
with right foot, " walk
forward four slow steps.
Two-step diagonally for
ward to right with right
feet, 1 and 2. Rock
back to left foot, then
7 . A
77 - W.7f
V .. w- -.-.v.'"'.- v-xv '.T',-. -v.' vc.'-;- KT"'
v'v, ,r tj
-... vv vJ , :. - IT'" ' ' -
- 4 . : , fvV:- " i -"-rf - -
f:.- '- -.. v.;-. i w v. A -'t-lx vi-i'V '-
f " - f . vvi 'v.j . ft - r .
The Open-Step Positions Show That Dancing Is Becoming: Better,
Not Worse. This Pose Shows the First Step Before the Dancers
Separate and Cross Their Feet in Front of Ono Another.
thift tha weight forward to tho right foot.
The lady's part is just the opposite. She be
gins with her right foot, walks backward four
steps. Then a two-step diagonally backwards to
right; rocks forward to her left foot, then rocks
back to her right foot. For the second part, sha
begins with left foot and walks backward four
fcteps, takes a two-step to left, rocks forward to
right, then rocks backward to left foot.
On the floor, draw a circle about five feet hi
diameter, place the right foot la the centre and
let the left foot remain oa the outside of the
drei. The right foot acta as the hub of the
whel while the left fot acta as tha outer rim.
The right foot never leaves the centre and the
left foot remains far behind the right foot. With
your feet in this position, the turn is made. The
lady's part is exactly the same as the man's.
The man begins with h s left foot and after tak
ing three slow . walking steps, places his right
foot forward and turns on that foot to his right,
caking & quarter tart:, i- He then 6h.ift3.the
Tliis Is the Position
of the Feet on tho
First Step of the Turn.
Take the Feet Only
Slishtlv 0f the Floor.
- .v7;r5v--7Z7;-V :7'::'pv
weight back to his left foot, 5. Swim? again U
the right on the right foot, fi. Shift the weight
back to the left, 7, swinff (tum) to tho right oa
the right foot, 8.
Note that the right foot remains tn the centre
while the left foot in swung around. The pivot
ing is done on tho right foot, which h forward,
and remains in tho same spot daring the turning.
Keep the left foot far behind the right foot.
To make tha left "Toddle" turn, keep the left
foot in the centre and pivot to the left on the
left foot. The right foot then remains behind
and is swung around like the rim of the wheel.
The Shutfle Step This step consists of three
eliding steps forward, and ono alow walking step
forward, but the manneT in which it ts done, th
bouncing movement and the heel -to-toe step,
makes it appear diilercnt from tb ordinary Fox
The man takes thrw long slidei directly for
ward, starting with his left fooL When taking
the slide with the left foot, the man! left hal
first touches the floor and tha weight is thea
quickly shifted to the toes of the- left foot.
The Dancing Master: Instructions
The count ia: Slide left foot forward, 1; draw
right foot up to left, count "and"; slide left foot
forward, 2; draw right foot to left, count "and"j
slide left foot forward, 3. After completing the
three slides with left foot, take one slow walklnsr-
rtep forward with right foot, count 4.
The complete covin t is: Slide, 1 and 2 and S,
Note again that the "Toddhf is characterised
by a bouncing movement. Yon take a step, then
rise up and down on the an foot before the
next step ia taken. The action, ia rising", must
be in the ball of tho foot and not ta the uppr
part of the body.
The lady should also learn the above step as
this will be her part in the following step. It ia
advisable for the lady to learn the man's steps la
all the dances. It gives her a better appreciation
of what is expected of htx when fol
lowing: in these steps.
lie Backward ShufHo In this
etep the man goes backward and ad
vances in tho line of direction.
(Whether you go forward or back
ward, always advance around tha
room in the same direction.)
Begin with the left foot and take
one slow walking step backward, L.
With right foot, take three long,
slow, sliding ateps directly back
ward. The completo count is: Walk back
with left foot, 1, then three slide
Eteps backward counting, 2 and 3
and 4 (1 and 2 and 3 and 4).
Note The dances of today a
not done in any definite sequence.
The steps described above ir.ay ba
done at any place in the Fox Trot.
Tho ,4Todd!eM Pivot This varit.
ticn is one of the most popular turuj
and is most effective if repeated
two or three times in succession. It
consists of a two-step and one slow
Begin with the left foot and take
a two-step directy to the left (count
1 and 2). The two-step, &a you
know; consists of two slides. On the
iecond slide (on left foot) turn a
quarter to the right. Then place
the right foot down (close to left
foot) end with weight (on right foot)
v' - ts
" "U TV
' J '
turn to right, making a half turn.
The count is: One-and-tum-turn. Or, you
may fay, ftcp-draw-pivot-pivot (to right).
Remember that, when doing the above step,
ycu must turn to right on the second slide of th
two-step, then finish up by turning to the right
cn the right foot-
This variation may be dcr.e two or thrte times
in succession before changing to another step.
To change- to another movement, simply stars
walking with the left foot. This rule arpÜes ta
all other steps in the One-Step and Fox Trot.
If the above directions are carefully followed
and each step mastered, the result will be a f erics
of movements that, while- free and eary, so to
ipeak, will in no way shock those keepers of the
public morals who raise their hands aloft at al
most every innovation in the terpsichorean art.
The "Toddle" is quite innocent and particularly
picturesqur, and it has proved popular in many
t-ecticns of the country where the devotees of tha
executed the steps properly. It is
typically American, responsive to the demand of
'overs cf the smooth floor and ecstatic music, and
it3 universal approval wiU be enly a matter of
time. I believe that it has come to stay long after
ether dance3 have gene the way of those crazes
which hold the public fjr a tims and then fad a.