Hesitate, Hesitate, Hesitate!

• Era: 1910s
• Dance: One-Step

In his 1914 manual, Dances of To-day, Philadelphia dancing master Albert W. Newman describes three different hesitations suitable for the one-step or Castle walk.  In one description he notes that a hesitation is

...most practical, especially when one finds himself in a decidedly congested position, surrounded on all sides by merry dancers...it is the same as marking the time of the music, as the dancers execute the movement sur la place (on the spot).

Because of this practicality, hesitations are one of the first things I teach new dancers of the one-step.  Here are Newman's three hesitations for your dancing pleasure!

Directions for each step are for the gentleman; the lady dances opposite.  All hesitations are described for normal one-step position (closed hold, gentleman going forward while lady goes backward).

 

The Single Hesitation (two beats)

1. Step forward on the left foot
2. Rock back onto the right foot

Newman notes that turning the body slightly (bringing the left side forward when stepping on the left foot) makes this hesitation more graceful.  I heartily agree; without it, the step feels like a slightly annoying stutter for the follower. 

The Single Hesitation also works nicely in tango position and Yale position.

 

The Double Hesitation With One Foot (four beats)

1. Step forward on the left foot
2. Rock back onto the right foot
3. Step backward onto the left foot
4. Rock forward onto the right foot

This is the hesitation I usually start beginners with.   It needs less body shading than the Single Hesitation yet feels more graceful overall.  It also works well in tango position and Yale position.

 

The Double Hesitation With Both Feet (six beats)

1. Step forward on the left foot
2. Rock back onto the right foot
3. Bring left foot back beside the right foot (with weight)
4. Step forward on the right foot
5. Rock back onto the left foot
6. Bring right foot back beside the left foot (with weight)

Newman describes the position of the feet on counts three and six as "semi Second Position", which I gather means side by side but not either as close as first position or as far apart as second position.

This hesitation is a little bit trickier, as it involves three rapid changes of direction and is a six-beat move taking three measures of music.  Newman recommends repeating the entire sequence so as to take twelve beats (six measures of music) total, a typical strategy for most three- or six-beat moves in dances counted in two.  The shading of the body is also important to make this one work - when stepping forward on the left, shade the left side forward; when stepping forward right, the right side.   When bringing the trailing foot back to "semi Second" (counts three and six), straighten out, being sure not to overshoot, as by stepping or angling the body at all backward one will inadvertently lead the lady into the Double Hesitation With One Foot as given above.

This hesitation does not work gracefully in either tango or Yale position.

Newman describes an interesting variation for the Double Hesitation With Both Feet which, as he says, "gives a very smart effect" by converting it from a hesitation into a very slow traveling sequence.  This is done by not bring the leading foot back fully to the trailing foot on counts three and six.  Instead, place it a bit forward of the trailing foot, so that you actually travel a little bit forward with every three counts.

Comments

[Marilee J. Layman]

So what about the Wedding hesitation?

[Susan de Guardiola]

Wedding hesitation?

[Marilee J. Layman]

The traditional walk down the aisle. I always thought that was some kind of dance step. One foot front, the other even. Other front, first even. Or maybe just tapping instead of stepping down on the evens.

[Susan de Guardiola]

Oh, yes, that is a sort of dance step. It's just a different sort. It's more like a 16th century pavane. A pavane pattern usually goes step-close (single), step-close (single), step-step-step-close (double); the wedding march is just the singles, I think. It's very Renaissance in feel. A one-step is much faster. Compare the pavane "Belle Qui Tiens Ma Vie" here with the one-step "Too Much Mustard" here. You don't have to buy the latter; you can just listen to an excerpt.

(Note to self: write about pavanes sometime!)

[Marilee J. Layman]

I doubt brides could manage the pavane pattern, they're usually nervous enough! But you do see little girls practicing the step-close.