Woman’s steps: Advance left foot to posterior fourth position (1); glide right foot to second position (2); glide left foot to posterior third position (3); plant right foot in anterior fourth position and raise the left foot from the floor (4). During the pause on “4,” the woman leans slightly forward.
Until the third beat, her steps are the converse of the man’s. Then, it will be noted, her position becomes the same as the man’s: each, through a half-beat, is supported on the right foot, the left extended back en attitude. The count of “4” again finds the couple in converse positions, the man’s right foot being pointed forward while the woman’s is extended back.
4. An Arch a la Pirouette. Holding his partner’s right hand in his left hand, the man executes four polka-steps forward; while the woman, by means of four polka-steps, makes a complete turn toward her left. The engaged hands are raised to allow her to pass under the arms.
5. Miscellaneous. The foregoing may be varied with slow walking steps, one to each measure; running steps, two to each measure; and polka-steps, with a dip on the first beat.
Owing partly to its facility, the Maxixe is likely to be remembered as of the group whose spread over the Occident has represented a striking social phenomenon. Of the Maxixe, the One-Step, the two Waltzes and the Tango, the leap into popularity has been so incredibly sudden, and the popularity so far-reaching, that it suggests a great, curious story; a story with dances and nations as characters; a story whose capacity for surprises is so well proven that all the world keeps asking itself, “What next?”
That the tendency is not in the direction of the grotesque is evidenced in the history of the Turkey Trot.
So far the layman may read for himself. For more definite opinion, we turn to those who, by intimate association with the art in the capacity of teachers and performers, are situated to observe the attitude of the public toward the art; and who also, by virtue of a broad
