The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1844-06-17

La Polka, like Its predecessors, the waltz and
galop is danse a deHx, couples following each
sure and adopting, of the following figures, that
which pleasesthem most at the moment. All those
anxious TO shine in La Polka, will dance the whole
of them, returning, from time to time, by way oil
rest to the first figure
The measure, or time, is "a; but TO facilitate
our definition we subdivide each measure or bar
into Observation-Disclosures; the accent on the
two, to be played not 30 fast as the galop.
The steps are two and the following description
may, in some measure, convey them 10 our rea-
ders !: we commence with the first and most
general. At the one, hop on the night leg, lining
or doubling up your lett lee at the same moment
ground at the three, bring your rght toe up 10
your left heel at the four advance your lett foot
short step forward; now at the one IN the next
measure or bar OF the tune, hop on the lett leg,
doubling or lifting up your right leg, and so on
proceeding in this step with your arm circling your
partners waist round the room.
As the change of figures and duration of each In
this dance is lett entirely to the cavaliers, as also
the most careful guidance OF their ladies' round the
room, we must be su posed to be addressing our
selves TO them In these remarks, though at inc
same time, our definitions will be equally under
stood by their fair partners.
Go on still adopting the same step, with your
right arm round your partners waist, and her right
hand in your lett, you place your lady exactly be-
fore you, and back all round the room, your lady
pursuing you; you then reverse thus Inquire, and lei
|
her, and at the same time carefully guide hel
round the room.
In backing, the leg which in figure one, you pu
boldly forward on the ground, you now fling boldly
back ward, and thus enabled 10 effect your pro
gress round the room.
Go on with the same step you waltz round the
room-in other words, you per orm the last gallop
waltz, substituting the Polka step just described
This is also waltz with the second step, which
we will now describe as the Heel and Toe step. "
AT the one, make little hop on the right leg, drop
ping your left heel close TO the right foot; at the
two another little hop the right leg pointing
your left toe (not forward, but as close 20 the right
foot as POSSIBILITY; at the three another little hop on
the right leg, advancing ono step forward with the
left foot at the four, bring up the right foot, turn
ing at the same instant, and passing your partner
over TO your left from your right arm !; In the
next measure return your lady to the lett arm, and
so on.
This is termed the back waltz. The step adopted
in i BY yourself and rtner Is the back step de-
rary way to that IN which you turn In all other
waltzes-hencc Its name.
In LA Polka, before commencing the figures we
have lust described, there is a short introduction,
consisting of tour measures, danced thus leading
your partner from her seat aud giving her her place
in the circle, and placing yourselves viz.a-vlz, you
take her left hand IN your right, ana make The hrsi
step four tlmes---iirst forward, then backward,
taking care TO gain ground in the forward steps
you then start with the first figure.
I'm conclusion we would observe that La Polka
is nolseless dance; there is no stamping OF heel
or toes, or kicking of legs in sharp angles forward.
This may do very well at the threshold OF Bohe-
man auberge but II is nadmlssI5le into the salons
of London or Paris. La Polka, as danced in Paris,
and now adopted by us, is elegant, graceful, and
fascinating in the extreme 1t is repete with oppor-
untles OF showing care and attention TO your part
ner in assisting her through Its performance. To
our fair readers, however, we would say one word,
for careful as their cavaliers may be, the front OF
many dresses, particularly IN executing figure 2
A NJ hein dds.n md
torn, unless the usual length IS considerably short
ened This we have seen done with much grace
on one or two occasions by the transplanting OF
bunch of artificial violets, with long pin attached
thereto, from the waist to the lower part of tho
shoriness, and which contributes greatly to the elc
gance Of this dance, as the feet are thus shown
which 10 Indispensable,