The Newburgh is a longer and more complicated foxtrot sequence taken from Edna Stuart Lee's Thirty Fox Trot Steps (New York, 1916). Like her Left Glide, it changes the lead foot against the music, with same opportunities and issues previously discussed for that move.
As is typical, the gentleman starts on the left foot, moving forward, and the lady on the right foot, moving backward. The steps below are the gentleman's steps; reverse everything for the lady. The numbers are beats, not measures.
The Newburgh
12345 five walking steps (left, right, left, right)
6 cross right over left (lady crosses left behind right)
7&8 two-step (left-right-left)
1 cross right over left
(lady crosses left behind right)
2&3 two-step (left-right-left)
4 cross right over left (lady crosses left behind right)
5&6 two-step (left-right-left)
7 step side right
The only reconstruction issue on this step is how the lady crosses: truly opposite (crossing behind) or mirroring the gentleman (crossing in front). Lee never specifies this. While for Lee's Side Swing and Chaplin Trot I came to the conclusion that the lady should mirror the gentleman (both cross in front), for the Newburgh, after experimenting with both options, I feel that the lady should cross behind.
On the Side Swing, the cross is followed by a back step, and a back cross tends to blur that into a close. The Newburgh has the opposite problem: both partners are two-stepping along the line of dance, and must turn their sides almost completely toward the line of dance if the full Newburgh sequence is not to have them end up in the center of the room, especially if repeating it twice in a row. A front cross is entirely possible and easy to lead, so it certainly cannot be ruled out, but it makes the the three iterations of cross/two-step rather dull. Unles the dancers are very careful not to turn their bodies, it blurs into a promenade step forward with the inside foot, losing the "cross" aspect. But if they don't turn their bodies, they are effectively traveling face-to-face along the line of dance for nine counts. The swiveling necessitated by the lady's back cross is more work to lead (a strong turn forward of the gentleman's right side and a slight lift help signal the back cross), but it makes the Newburgh a much more interesting sequence to dance.
The Newburgh's tendency to send the dancers toward the center of the room makes it, like the Left Glide, a dandy sequence for taking corners -- just start the cross/two-step sequence right at the corner. Turning sides toward line of dance won't be needed on the first two-step; the dancers will already be at the proper angle by virtue of the corner.
Lee also gives an alternate ending for the Newburgh, replacing the side step to the right at the end with a three-slide:
7&8&1 slide-close-slide-close-step (right-left-right-left-right)
This will compensate somewhat for the tendency to drift toward the center on the cross/two-step sequence, but it doesn't mean the dancers should avoid compensating for this by turning the dancers' sides toward line of dance -- having the dancers oscillating into and out of the center of the room will cause traffic problems for any dancers following behind them!
The three-slide ending still changes the lead foot against the music, but for a very smooth transition into a new sequence leading off on the right foot, Maurice-style, the final count (1) could be treated as the first step of the next sequence of steps.
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