“Humming Bird Dance” is a hesitation waltz sequence which appeared in the first and second editions of F. Leslie Clendenen’s compilation Dance Mad (St. Louis; both editions 1914).  It is attributed to “Mr. Menancon”, who appears in the list of credits at the end of the second edition as “Elmond Menancon, 909 Elm Street, Manchester, N[ew] H[ampshire]”.  I believe the first name ought to be “Edmond”, since a dancing master of that name is listed in Manchester city directories from 1906 and 1918.  In the 1906 Manchester Directory, Edmond Menancon is listed separately as an artist, dancing master, and, interestingly, the sexton of a church.  Here’s Menancon’s advertisement from page 819 of the 1906 directory:

The sexton position seems a somewhat odd fit for an artist-photographer-dance teacher; the triple career doesn’t seem to leave much time for a day job.  Perhaps it was his father?

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The generically named One Step Hesitation is a short hesitation waltz sequence that appeared in the second edition of the collection Dance Mad, or the dances of the day, compiled by F. Leslie Clendenen and published in St. Louis in late 1914.  It is subtitled “As Recommended by St. Louis Association Dancing Masters”, and with no author listed, may have come from the hand of Clendenen himself.

Since the One Step Hesitation is almost entirely in the slowest possible type of hesitation (one step per bar of music), it calls for very fast waltz music or it will drag badly.  I prefer 180 beats per minute and up for this type of hesitation waltz.

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This hesitation waltz sequence by Seattle dance teacher George G. Faurot (c1879-1954) was published in both editions of F. Leslie Clendenen’s compilation Dance Mad (St. Louis, 1914).  Faurot himself was a native of Lima, Ohio, where his uncle Ben discovered oil and his brother Lee eventually became mayor.  Faurot Park in Lima was donated by Ben and is named for him.

According to George’s obituary, he fought in the Spanish-American War and then had a career in the oil industry before moving to Seattle, where he ran the Faurot Studio of Dancing with his wife, Nellie, for thirty years.  The Faurots’ residence in the late 1930s is now a historical site in Seattle.  The building that housed their dance studio, the Oddfellows Building, still stands and is still home to a dance studio, Century Ballroom, though the Faurot Ballroom itself seems to have been in the first-floor space which is now the Oddfellows Cafe.

Interestingly, Lee, before becoming mayor, also seems to have dabbled in dance teaching before ending up in the insurance business and politics.  A family passion?

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Like the similarly-named Twinkle Hesitation and the Mistletoe Hesitation, the Twinkle Hesitation Waltz is a sixteen-bar hesitation waltz sequence found in F. Leslie Clendenen’s compilation Dance Mad (St. Louis, 1914) that uses the quick step-change-step known as a “twinkle”.  Clendenen attributes it to T. MacDougall.  It can be used as a sequence dance to any fast 1910s waltz music, or the two parts can be used together or separately as variations in a regular hesitation waltz.

The dancers start in a normal ballroom hold, opened out to side by side facing line of dance.  Steps below are given for the gentleman; the lady dances opposite.

The waltz step used would be the box-shaped “new waltz” of the era rather than the fast-spinning rotary waltz of the nineteenth century.

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The hesitation undercut is so short that it seems more a variation for the hesitation waltz than a distinct dance.  F. Leslie Clendenen, in his 1914 collection Dance Mad, attributes it to S. Wallace Cortissoz, who was also credited in Dance Mad with a sixteen-bar sequence called the Twinkle Hesitation.

The eight-bar sequence is begun with the dancers in normal waltz position, the gentleman facing the wall and the lady the center of the room.  Steps are given below for the gentleman; the lady dances opposite. 

The waltz step used would have been the "new" waltz step, with a pattern of step-side-close, much like today's box step, rather than the older rotary-style waltz of the nineteenth century.

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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 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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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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