Blog - Capering & Kickery

Era: 1870s(?)-1890s (America)

The Five Step Schottische, as described by prominent late 19th-century dancing master M.B. Gilbert in his tome of couple dances, Round Dancing (Portland, Maine, 1890) and later by Marguerite Wilson in her oft-reprinted Dancing (Philadelphia, 1899), squeezes five movements, rather than the standard four, into each bar of schottische for an interesting variation which alternates sideways slides and half-turns for a sequence similar to that of waltz variations such as the contemporary Le Metropole (also included in Gilbert’s manual) or the later Five-Step Boston described by Philadelphian Albert Newman in 1914. Putting this combination into schottische rhythm makes for an interesting but not overly complicated dance worth resurrecting by the modern late-19th-century dance reenactor.

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An Easy One-Step Sequence

F. Leslie Clendenen’s 1914 compilation, Dance Mad, is full of sequences of varying levels of difficulty for many of the popular dances of the 1910s. This one caught my eye as being a short (sixteen beats) and simple introductory one-step suitable for getting beginners dancing quickly and for teaching the lead for rhythm changes between one-step and two-step. Clendenen gives it no special name or attribution, just “One Step.”

Directions are given for the gentleman; the lady dances opposite. Starting foot is left for the gentleman and right for the lady. Begin in normal ballroom position, with the gentleman facing along the line of dance.

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The Three-Step Boston or English Boston

Concluding a trio of posts on easy hesitation waltzes, here is the simplest hesitation at all: a normal waltz sequence stretched over two bars of music. Albert Newman succinctly described the dance in his 1914 manual, Dances of To-Day:

In reality it is our Standard Waltz, but instead of taking two measures this Boston takes four measures.

What this works out to in practice is that the first step (forward or backward) of each half-turn is held for an entire bar (three counts) and the step to the side and close are done on the first and third counts of the second bar of music, with the overall rhythm being ONE-two-three-FOUR-five-SIX. The three steps taken over two measures give the variation one of its names; I see nothing especially English about this that would account for the other.

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The Pompadour Waltz

The Pompadour Waltz is a minor but interesting variation on the five-step Boston or five-step waltz described by Albert Newman in 1914 (and by me here). I have found it only in the collection Dance Mad, or the dances of the day, compiled by F. Leslie Clendenen and published in St. Louis in 1914.

To perform the Pompadour, the dancers alternate brief hesitating grapevine sequences with the five-step Boston in an eight-bar sequence as described below. The steps given are for the gentleman; the lady dances opposite.

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The Five-Step Boston or Five-Step Waltz, 1914

In his 1914 manual, Dances of To-day, Philadelphia dancing master Albert W. Newman describes a four-bar waltz variation he calls the Five-Step Boston or Five-Step Waltz. Unlike the five-step waltz of the mid-19th century or the half-and-half of the 1910s, this waltz is done in the usual 3/4 waltz time, spreading five movements out over the six counts of music. This is a hesitation waltz movement, well-suited the fast waltzes of the early 20th century. It is easy to learn and provides a pleasant break from constant fast spinning.

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Side by Side in the Half and Half

The illustration at left is the last of a series of illustrations for the Half and Half taken from a small book of dance music published by Malvin M. Franklin in 1914. For general information on dancing the Half and Half, an unusual 5/4 time waltz stepped on the first, fourth, and fifth beats, please see my previous post on basic traveling steps for the dance.

In the illustration, the dancers have moved from a normal ballroom hold into a variant side-by-side position in which the lady’s left arm is stretched across the gentleman’s shoulders to take his left hand at shoulder height, while their right hands are joined behind her back. In this position they move forward together with a series of “alternating steps then sliding steps” before, presumably, resuming ballroom position to continue the dance.

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California Bus Stop/California Hustle

Still working my way through my collection of 1970s line dances, here's another one from The Complete Book on Disco and Ballroom Dancing (1979). The California Bus Stop, a.k.a. the California Hustle, is an easy thirty-six-beat dance. It's most notable characteristic is that it features claps and stamps on every fourth beat throughout the first two parts of the dance.

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Lamb’s Waltz Two Step

Here’s an easy waltz variation from English dance teacher William Lamb’s Everybody’s Guide to Ball-Room Dancing (London c1898-1900). The Waltz Two Step is a short sequence of two-step done in waltz time which can be used as a variation in a late 19th-century waltz or as a short standalone sequence dance. Because the movements are quite slow-paced, it is best suited to extremely fast music.

This sequence represents the an early form of “hesitation waltz” from before that term came into use in the 1910s. In this case the normal two-step movement (briefly described in a previous post here) rather than being counted “1&2” in 2/4 rhythm, as is more typical in this era, is danced in 3/4 rhythm with each two-step stretched over two full bars of music, so that the slide-close-slide happens on the first, third, and fourth of the six beats.

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Waltz Step, Galop Time

Era: 1880s-1890s (America)

In his sizable manual of couple dance variations, Round Dancing (Portland, Maine, 1890), late 19th-century dancing master M.B. Gilbert describes the Waltz-Galop succinctly as:

Waltz step, Galop time

While no other dancing master that I have found includes the waltz-galop by name, the accenting of a waltz step done in duple rather than triple time is discussed by Allen Dodworth in Dancing and its relations to education and social life (1885, reprinted several times through 1900) and is included in dances such as the turn-of-the-century Pasadena, and the idea that waltz steps can be transposed from triple to duple and vice-versa dates back as far as the sauteuse waltz of the first quarter of the 19th century.

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Lamb’s American Schottische

English dance teacher William Lamb, in his Everybody's Guide to Ball-Room Dancing (London c1898-1900), published quite a few short dance sequences, most of limited interest to the average dancer. His American Schottische has more potential than most of these because it does not involve any reverse-line-of-dance movement and thus can be easily used as a simple variation when dancing a late 19th-century schottische.

Despite the name, there is nothing specifically American about this particular sequence, and it does not seem to have been taken up by other writers/compilers of dance manuals, even those who otherwise plagiarized Lamb quite freely. I suspect it was not a particular hit, perhaps never having any life in period outside the pages of Lamb's book. Nonetheless, I find it quite danceable and an interesting break from more typical schottische patterns.

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