10. A woman’s turn, varying the preceding, with which it is identical up to the end of the second bar.
Having completed the turn occupying the first and second bars, the woman lets go her partner’s hand and walks around behind him, completing the circuit in four steps. These must be measured so that the fourth step brings her into readiness to go into closed position of the couple; and timed so that, after going into closed position, the couple has neither to wait nor to hurry in order to move with the next beat.
During the walk around, the woman lightly glides her left hand around the man’s neck. The man remains stationary, his left arm extended horizontally before him. The woman’s right hand takes the man’s left hand as she comes into closed position.
The foregoing movements of the One-step must be executed not only with fine regard to rhythm, but also to continuity. If they are not made to flow one into another, the effect is jerky and uncertain-looking.
THE BOSTON
The distinguishing step-combination of this very attractive dance is complete in one measure. Its essence is in a certain effect of syncopation, secured by keeping the weight on the same foot through two successive beats—contrary to the practice of transferring the weight with each beat, as in the old Waltz. Another peculiarity of the Boston is the carriage of the weight counter to the line of direction of travel, giving an effect of holding back. The dance is performed with deliberation; its execution aims at a rather grand style.
The dip characteristic of and named for the Boston is, in execution, the same as the dip described in connection with the One-Step (see photographs). The management of a sequence of dips as they occur in the Boston is, however, a matter for special attention, which will be given it in its place.
1. The essential step:
