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 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.
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.