Title: The Fascinating Boston - How to Dance and How to Teach the Popular New Social Favorite
Author: Sheafe, Alfonso Josephs
Language: English
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  [Illustration]



  THE FASCINATING
  BOSTON

  How to Dance and How to Teach the
  Popular New Social Favorite

  _By_
  ALFONSO JOSEPHS SHEAFE
  Master of Dancing

  _Translator and Editor of
  Zorn's Grammar of the Art of Dancing_


  Boston, Mass.
  THE BOSTON MUSIC COMPANY
  New York: G. Schirmer, Incorporated

  Copyright, 1913, by
  THE BOSTON MUSIC CO.
  For all countries


  B. M. Co. 3366



Table of Contents


                                 Page

FOREWORD                            1

THE BOSTON
  THE FUNDAMENTAL POSITIONS         5
  THE POSITION OF THE PARTNERS      8
  THE STEP OF THE BOSTON           12
  THE LONG BOSTON                  22
  THE SHORT BOSTON                 23
  THE OPEN BOSTON                  24
  THE BOSTON DIP                   25

THE TURKEY TROT                    27

THE AEROPLANE GLIDE                28

THE TANGO                          29



THE FASCINATING BOSTON



FOREWORD


Since the introduction of the waltz, more than a hundred years ago, it
has held the first place in the esteem of dancers throughout the
civilized world. There has appeared, however, a new claimant for the
place--one that possesses all the qualities that go to make a social
favorite, and has the additional advantages of greater ease of
execution, and wider possibilities of adaptation.

This is the BOSTON--not, as many persons suppose, a new creation nor
indeed is it a novelty even to the American public, for it was
introduced here more than a generation ago; but the great popularity of
the Two-Step, which had just then come into vogue, and was fast gaining
favor under the influence of such brilliant compositions as the
quick-step marches by Sousa, operated against its immediate acceptance.

One of the reasons why the Boston should prove today a more attractive
dance than any other, is the fact that now there are more captivating
airs written for this particular form of dance than for any other, and
as the Two-Step, in its time, found its most powerful ally in the music
to which it was adapted, the Boston has today the persuasive
intercession of such languorous and haunting melodies as "Love's
Awakening" and "On the Wings of Dream," by Danglas; Sinibaldi's
"Thrill," and others.

General taste has gradually found out the superior charm of the Boston;
the pendulum of public favor has again swung in the direction of skilful
dancing.

The recent revival of the Waltz in its proper form, has brought with it
a larger appreciation of the more worthy and graceful social dances,
and the entire world now recognizes the wonderful beauty of the Boston,
and has welcomed it as a real competitor.

The Boston is not a Waltz, yet it is the perfection of it. It is one of
those paradoxical things which, while it is impossible to be classified,
contains all that is to be found in almost any other dance. Even the
persons who have so long and so loyally clung to other forms of dancing,
and have abated none in their zeal for their favorites, have been
unconsciously, and perhaps unwillingly, charmed by the seductiveness of
the Boston, until they now freely declare the new dance to be the
superior of the Waltz. Therefore it is safe to say that the Boston will,
eventually, supersede the Waltz altogether.

We demand a dance which combines ease of execution with attractive
movement. That is just what the Boston does, and perhaps more. It is so
simple in construction that, when acquired, it becomes natural, and its
perfect adaptability assures it lasting popularity.

Owing to the urgent request of many of his pupils and colleagues, the
author has undertaken this little book in the hope that it will meet the
requirements of both teachers and students, and help to assure the
proper appreciation of what is in reality the most delightful and
artistic social dance since the Minuet.


THE FIVE FUNDAMENTAL POSITIONS

In order that the reader may the more readily understand the
descriptions given in this book, we will explain the five fundamental
positions upon which the art of dancing rests.

In the 1st position, the feet are together, heel against heel.

  [Illustration]

In the 2nd position, the heels are separated sidewise, and on the same
line.

  [Illustration]

In the 3rd position, the heel of one foot touches the middle of the
other.

  [Illustration]

In the 4th position, the feet are separated as in walking, either
directly forward or directly backward.

  [Illustration]

In the 5th position, the heel of one foot touches the point of the
other.

  [Illustration]

In all these positions the feet must be turned outward to form not less
than a right angle.


THE POSITIONS OF THE PARTNERS

Much, if not all, of the adverse criticism of the Boston which has been
offered by educators, parents and other responsible objectors, has been
directed at the relative positions of the partners. This is, in fact, no
more than the general rule as regards the Social Round Dance, with the
possible exception that the positions have been sometimes distorted by
attempts to copy the freer forms of dancing that have been presented
upon the stage.

The Round Dance demands that a certain fixed grouping of the partners be
maintained in order that the rotation around a common moving centre may
be accomplished, and it is here that the most serious problem is to be
found.

The dancing profession long ago undertook to settle upon arbitrary
groupings satisfactory to the needs of the dancers, and conforming to
all the requirements of propriety and hygienic exercise.

  [Illustration]

Acting upon this basis, the reputable teachers of dancing throughout the
world have adopted and promulgated three fundamental groupings for the
Round Dance which are so constructed as to provide the greatest ease of
execution and freedom of action. They are known as the Waltz Position,
the Open Position, and the Side Position of the Waltz. All round dances
are executed in one or another of these groupings, which are not only
accepted by all good teachers, but, with the exception of certain minor
and unimportant variations, rigidly adhered to in all their work.

In the Waltz Position the partners stand facing one another, with
shoulders parallel, and looking over one another's right shoulder.
Special attention must be paid to the parallel position of the
shoulders, in order to fit the individual movements of the partners
along the line of direction.

The gentleman places his right hand lightly upon the lady's back, at a
point about half-way across, between the waist-line and the
shoulder-blades. The fingers are so rounded as to permit the free
circulation of air between the palm of the hand and the lady's back, and
should not be spread.

The lady places her left hand lightly upon the gentleman's arm, allowing
her fore-arm to rest gently upon his arm. The partners stand at an easy
distance from one another, inclining toward the common centre very
slightly. The free hands are lightly joined at the side. This is merely
to provide occupation for the disengaged arms, and the gentleman holds
the tip of the lady's hand lightly in the bended fingers of his own.
Guiding is accomplished by the gentleman through a slight lifting of his
right elbow.

  [Illustration]


THE OPEN POSITION

The Open Position needs no explanation, and can be readily understood
from the illustration facing page 8.


THE SIDE POSITION OF THE WALTZ

The side position of the Waltz differs from the Waltz Position only in
the fact that the partners stand side by side and with the engaged arms
more widely extended. The free arms are held as in the frontispiece. In
the actual rotation this position naturally resolves itself into the
regular Waltz Position.


THE STEP OF THE BOSTON

The preparatory step of the Boston differs materially from that of any
other Social Dance. There is _only one position_ of the feet in the
Boston--the 4th. That is to say, the feet are separated one from the
other as in walking.

On the first count of the measure the whole leg swings freely, and as a
unit, from the hip, and the foot is put down practically flat upon the
floor, where it immediately receives the entire weight of the body
_perpendicularly_. The weight is held entirely upon this foot during the
remainder of the measure, whether it be in 3/4 or 2/4 time.

The following preparatory exercises must be practiced forward and
backward until the movements become natural, before proceeding.

In going backward, the foot must be carried to the rear as far as
possible, and the weight must always be perpendicular to the supporting
foot.

These movements are identical with walking, and except the particular
care which must be bestowed upon the placing of the foot on the first
count of the measure, they require no special degree of attention.

On the second count the free leg swings forward until the knee has
become entirely straightened, and is held, suspended, during the third
count of the measure. This should be practiced, first with the weight
resting upon the entire sole of the supporting foot, and then, when this
has been perfectly accomplished, the same exercise may be supplemented
by raising the heel (of the supporting foot) on the second count and
lowering it on the third count. _Great care must be taken not to divide
the weight._

For the purpose of instruction, it is well to practice these steps to
Mazurka music, because of the clearness of the count.

  [Illustration]

When the foregoing exercises have been so fully mastered as to become,
in a sense, muscular habits, we may, with safety, add the next feature.
This consists in touching the floor with the point of the free foot, at
a point as far forward or backward as can be done without dividing the
weight, on the second count of the measure. Thus, we have accomplished,
as it were, an interrupted, or, at least, an arrested step, and this is
the true essence of the Boston.

Too great care cannot be expended upon this phase of the step, and it
must be practiced over and over again, both forward and backward, until
the movement has become second nature. All this must precede any attempt
to turn.

The turning of the Boston is simplicity itself, but it is, nevertheless,
the one point in the instruction which is most bothersome to
learners. The turn is executed upon the ball of _the supporting foot_,
and consists in twisting half round without lifting either foot from the
ground. In this, the weight is held altogether upon the supporting foot,
and there is no crossing.

In carrying the foot forward for the second movement, the knees must
pass close to one another, and care must be taken that _the entire half
turn comes upon the last count of the measure_.

To sum up:--

Starting with the weight upon the left foot, step forward, placing the
entire weight upon the right foot, as in the illustration facing page 14
(count 1); swing left leg quickly forward, straightening the left knee
and raising the right heel, and touch the floor with the extended left
foot as in the illustration facing page 16, but without placing any
weight upon that foot (count 2); execute a half-turn to the left,
backward, upon the ball of the supporting (right) foot, at the same time
lowering the right heel, and finish as in the illustration opposite page
18 (count 3).      One measure.

  [Illustration]

Starting again, this time with the weight wholly upon the right foot,
and with the left leg extended backward, and the point of the left foot
lightly touching the floor, step backward, throwing the weight entirely
upon the left foot which sinks to a position flat upon the floor, as
shown in the illustration facing page 21, (count 4); carry the right
foot quickly backward, and touch with the point as far back as possible
upon the line of direction without dividing the weight, at the same time
raising the left heel as in the illustration facing page 22, (count 5);
and complete the rotation by executing a half-turn to the right,
forward, upon the ball of the left foot, simultaneously lowering the
left heel, and finishing as in the illustration facing page 24, (count
6).


THE REVERSE

The reverse of the step should be acquired at the same time as the
rotation to the right, and it is, therefore, of great importance to
alternate from the right to the left rotation from the beginning of the
turning exercise. The reverse itself, that is to say, the act of
alternating is effected in a single measure without turning (see
preparatory exercise, page 13) which may be taken backward by the
gentleman and forward by the lady, whenever they have completed a whole
turn.

The mechanism of the reverse turn is exactly the same as that of the
turn to the right, except that it is accomplished with the other foot,
and in the opposite direction.

There is no better or more efficacious exercise to perfect the Boston,
than that which is made up of one complete turn to the right, a measure
to reverse, and a complete turn to the left. This should be practised
until one has entirely mastered the motion and rhythm of the dance. The
writer has used this exercise in all his work, and finds it not only
helpful and interesting to the pupil, but of special advantage in
obviating the possibility of dizziness, and the consequent
unpleasantness and loss of time.

  [Illustration]

After acquiring a degree of ease in the execution of these movements to
Mazurka music, it is advisable to vary the rhythm by the introduction of
Spanish or other clearly accented Waltz music, before using the more
liquid compositions of Strauss or such modern song waltzes as those of
Danglas, Sinibaldi, etc.

It is one of the remarkable features of the Boston that the weight is
always opposite the line of direction--that is to say, in going forward,
the weight is retained upon the rear foot, and in going backward, the
weight is always upon the front foot (direction always radiates from the
dancer). Thus, in proceeding around the room, the weight must always be
held back, instead of inclining slightly forward as in the other round
dances. This seeming contradiction of forces lends to the Boston a
unique charm which is to be found in no other dance.

As the dancer becomes more familiar with the Boston, the movement
becomes so natural that little or no thought need be paid to technique,
in order to develop the peculiar grace of it.

The fact of its being a dance altogether in one position calls for
greater skill in the execution of the Boston, than would be the case if
there were other changes and contrasts possible, just as it is more
difficult to play a melody upon a violin of only one string.

The Boston, in its completed form, resolves itself into a sort of
walking movement, so natural and easy that it may be enjoyed for a
whole evening without more fatigue than would be the result of a single
hour of the Waltz and Two-Step.

Aside from the attractiveness of the Boston as a social dance, its
physical benefits are more positive than those of any other Round Dance
that we have ever had. The action is so adjusted as to provide the
maximum of muscular exercise and the minimum of physical effort. This
tends towards the conservation of energy, and produces and maintains, at
the same time an evenness of blood pressure and circulation. The
movements also necessitate a constant exercise of the ankles and insteps
which is very strengthening to those parts, and cannot fail to raise and
support the arch of the foot.

Taken from any standpoint, the Boston is one of the most worthy forms of
the social dance ever devised, and the distortions of position which
are now occasionally practiced must soon give way to the genuinely
refining influence of the action.

  [Illustration]

Of the various forms of the Boston, there is little to be said beyond
the description of the manner of their execution, which will be treated
in the following pages.

It is hoped that this book will help toward a more complete
understanding of the beauties and attractions of the Boston, and further
the proper appreciation of it.


_All descriptions of dances given in this book relate to the lady's
part. The gentleman's is exactly the same, but in the countermotion._


THE LONG BOSTON

The ordinary form of the Boston as described in the foregoing pages is
commonly known as the "Long" Boston to distinguish it from other forms
and variations. It is danced in 3/4 time, either Waltz or Mazurka, and
at any tempo desired. As this is the fundamental form of the Boston, it
should be thoroughly acquired before undertaking any other.

  [Illustration]


THE SHORT BOSTON

The "Short" Boston differs from the "Long" Boston only in measure. It is
danced in either 2/4 or 6/8 time, and the first movement (in 2/4 time)
occupies the duration of a quarter-note. The second and third movements
each occupy the duration of an eighth-note. Thus, there exists between
the "Long" and the "Short" Boston the same difference as between the
Waltz and the Galop. In the more rapid forms of the "Short" Boston, the
rising and sinking upon the second and third movements naturally take
the form of a hop or skip. The dance is more enjoyable and less
fatiguing in moderate tempo.


THE OPEN BOSTON

The "Open" Boston contains two parts of eight measures each. The first
part is danced in the positions shown in the illustrations facing pages
8 and 10, and the second part consists of 8 measures of the "Long"
Boston.

In the first part, the dancers execute three Boston steps forward,
without turning, and one Boston step turning (towards the partner) to
face directly backward (1/2 turn).      4 measures.

This is followed by three Boston steps backward (without turning) in the
position shown in the illustration facing page 10, followed by one
Boston step turning (toward the partner) and finishing in regular Waltz
Position for the execution of the second part.

  [Illustration]


THE BOSTON DIP

The "Dip" is a combination dance in 3/4 or 3/8 time, and contains 4
measures of the "Long" Boston, preceded by 4 measures, as follows:

Standing upon the left foot, step directly to the side, and transfer the
weight to the right foot (count 1); swing the left leg to the right in
front of the right, at the same time raising the right heel (count 2);
lower the right heel (count 3); return the left foot to its original
place where it receives the weight (count 4); swing the right leg across
in front of the left, raising the left heel (count 5); and lower the
left heel (count 6).      2 measures.

Swing the right foot to the right, and put it down directly at the side
of the left (count 1); hop on the right foot and swing the left across
in front (count 2); fall back upon the right foot (count 3); put down
the left foot, crossing in front of the right, and transfer weight to it
(count 4); with right foot step a whole step to the right (count 5); and
finish by bringing the left foot against the right, where it receives
the weight (count 6).      2 measures.

In executing the hop upon counts 2 and 3 of the third measure, the
movement must be so far delayed that the falling back will exactly
coincide with the third count of the music.

  [Illustration]



THE TURKEY TROT

_Preparation:--Side Position of the Waltz._


During the first four measures take four Boston steps without turning
(lady forward, gentleman backward), and bending the supporting knee,
stretch the free foot backward, (lady's left, gentleman's right) as
shown in the illustration opposite.      4 meas.

Repeat in opposite direction.      4 meas.

Execute four drawing steps to the side (lady's right, gentleman's left)
swaying the shoulders and body in the direction of the drawn foot, and
pointing with the free foot upon the fourth, as shown in figure.
4 meas.

Repeat in opposite direction.      4 meas.

Eight whole turns, Short Boston or Two-Step.      16 meas.

Repeat at will.

      *       *       *       *       *

  A splendid specimen for this dance will be found in "The Gobbler" by
  J. Monroe.



THE AEROPLANE GLIDE


The "Aeroplane Glide" is very similar to the Boston Dip. It is supposed
to represent the start of the flight of an aeroplane, and derives its
name from that fact.

The sole difference between the "Dip" and "Aeroplane" consists in the
six running steps which make up the first two measures. Of these running
steps, which are executed sidewise and with alternate crossings, before
and behind, only the fourth, at the beginning of the second measure
requires special description. Upon this step, the supporting knee is
noticeably bended to coincide with the accent of the music.

The rest of the dance is identical with the "Dip". (See page 25.)

  [Illustration]



THE TANGO


The Tango is a Spanish American dance which contains much of the
peculiar charm of the other Spanish dances, and its execution depends
largely upon the ability of the dancers so to grasp the rhythm of the
music as to interpret it by their movements. The steps are all simple,
and the dancers are permitted to vary or improvise the figures at will.

Of these figures the two which follow are most common, and lend
themselves most readily to verbal description.


TANGO No. 1

The partners face one another as in Waltz Position. The gentleman takes
the lady's right hand in his left, and, stretching the arms to the full
extent, holding them at the shoulder height, he places her right hand
upon his left shoulder, and holds it there, as in the illustration
opposite page 30.

In starting, the gentleman throws his right shoulder slightly back and
steps directly backward with his left foot, while the lady follows
forward with her right. In this manner both continue two steps, crossing
one foot over the other and then execute a half-turn in the same
direction. This is followed by four measures of the Two-Step and the
whole is repeated at will.      8 measures.

  [Illustration]


TANGO No. 2

This variant starts from the same position as Tango No. 1. The gentleman
takes two steps backward with the lady following forward, and then two
steps to the side (the lady's right and the gentleman's left) and two
steps in the opposite direction to the original position.
8 measures.

These steps to the side should be marked by the swaying of the bodies as
the feet are drawn together on the second count of the measure, and the
whole is followed by 8 measures of the Two-Step. Repeat all as desired.



IDEAL MUSIC FOR THE "BOSTON"


PIANO SOLO

(_Also to be had for Full or Small Orchestra_)

LOVE'S AWAKENING           _J. Danglas_        .60
ON THE WINGS OF DREAM      _J. Danglas_        .60
FRISSON (Thrill!)          _S. Sinibaldi_      .50
LOVE'S TRIUMPH             _A. Daniele_        .60
DOUCEMENT                  _G. Robert_         .60
VIENNOISE                  _A. Duval_          .60

These selected numbers have attained success, not alone for their
attractions of melody and rich harmony, but for their rhythmical
flexibility and perfect adaptedness to the "Boston."


FOR THE TURKEY TROT

Especially recommended

THE GOBBLER                _J. Monroe_         .50


Any of the foregoing compositions will be supplied on receipt of
one-half the list price. Postage two cents extra for each copy.


PUBLISHED BY

THE BOSTON MUSIC COMPANY 26 & 28 WEST ST., BOSTON, MASS.



TRANSCRIBER'S NOTES:


  Text in italics is surrounded with underscores: _italics_.

  Punctuation has been corrected without note.

  Obvious typographical errors have been corrected as follows:
    Page  8: duplicate word "the" removed
    Page 23: duplicate word "and" removed





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