Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1890-12-28
THE LATEST DANCES.
New Figures and Combinations for
Lovers of the Mad Whirl.
A SUBSTITUTE FOB TEE MARCH.
Galops and Waltzes That Are to be Fash
ionable on the Floors.
SYMPHONY OF MUSIC AND MOVEMENT
WRITTEN FOR THE DIsPATcH.I

WRITTEN FOR THE DIsPATCH.1
This is the age of conventions. and one
closed in Brooklyn the other day the issue
of whose deliberations ought to be interest
ing to hundreds OF thousands in this country.
1t was a convention Of dancing masters, and
the professors of the art terpsichorean had
gathered there from almost every State in
the Union.
Knowing that the fashion of mad galops
and waltzing, which reminded one of the
charge of collegiate football players, had
temporarily, if not permanently, been
retired to oblivion, these composers
calculated wisely on the growing
tendency of modern dancing. which
is in the direction of quiet grace.
The majority of the productions submitted
at this convention were from Western pro-
fessors, which shows plainly that the pre-
vailing idea that the wild and woody West
is far behind in the formulating of new
ideas is entirely erroneous. Here is COM
plete explanation of the new dances which
will be taught during the coming season:
TO oREPLACE THE MARCH.
The assembly gavotte is enterely new
production, and will no doubt soon take the
place of the tlmeworn march or promenade
which is now invariably used to open all
festive gatherings. 1t is the product of the
fertile brain of William Pitt Rivers, of
Brooklyn. The dance, which can be
performed to galop, schottische or
gayotte music, is introduced after the
preliminary rounds of the promenade. The
dancers form in two circles, one within the
9th - h. ~. hry
marching or gliding toward the right, still
keeping the circle intact, while those of the
inner circle perform similar movement,
but in the opposite direction. After several
of these revolutions the dancers composing
the outer circle gradually blend into the in
ner one, there being an opening left in each
circle opposite the same point.
The members of the inner circle by fol-
lowing the end dancers of the outer ring,
gradually assume the positions of those who
changed to the inner circle. This is repeat
ed several times, the constant changing pro-
ducing dazzling effect upon the observer,
which is greatly intensified when the
dancers change from circles to spirals,
squares, octagons, ETC., at the command Of
the conductor.
THE MOVEMENT PROPER.
Any number may participate in this ex-
hlbition, the limit being regulated only by
the accommodation of the floor. In the
dance itself which Immediately follows the
promenading' the gentleman presents his
right hand, his partner giving her LETT. The
first movement is made by the dancers tax
ing four short slides, the gentleman with the
left foot the lady with her right foot. Re-
versing their positions an equal number of
slides are made in the opposite direction. In
the second position the gentleman takes his
partner in the regular waltzing position and
| performs one complete revolution. Chang
| ing from the waltz both partners face the
front and move forward in a walking move
ment. 1t is here that the adaptabilit of
this innovation is readily seen when the
dancers take their position for galop,
schottische or gavotte, according to the wish
of the partners. -.a
Although this dance was not brought be-
fore the convention, the unanimous indorse-
ment which it received when explained to
| the professors classes and performed by
them, moved the latter to bring it to the
| members notice, in consequence of which it
has met with universal favor.
THE OXFORD WILL STAY.
Of the round dances the Oxford minuet
will stand pre-eminent, for in grace and
beauty it bids fair to rival the minuet of the
early part Of the century. The movement
in the Oxford is not unlike that of the mill
| tary schottische, although it partakes in
| places both of the now obsolete minuet and
of our latter day galop.
Both partners advance four steps slowly,
changing hands and returning slowly to the
original position. The gentleman then
takes his partner in the waltz position and
dances to galop time, changing to balance
movement, accompanied by quick music.
NEW MOVEMENT FOB aALoP TIME.
LEclaire, pretty dance to be done to
| galop time, is expected to become quite pop
! ular. The gentleman begins with the left
foot, the lady with the right. and makes a
short slide sIdewise. The right foot is then
| drawn closely to the left, and transfer of
the weight of the body made to it. Leaping
backwards on the left foot he then slides
from the right to the side. The left foot is
again drawn to the right, and another slide
made from the right to side. Drawing the
| left foot for the third time to the right, he
glides again to the side. Another drawing
| of the left and q transfer of the weight of
the body to the same, is followed by spring
| forward from the left to the right member
| and slide from lett to side. Drawing the
right foot to the left. and sliding from the
left to the side, completes the dance.
The Portland, round dance somewhat
similar to the polka, begins with the lady
and gentleman facing to the front, the gem
tleman's right hand holding his partners
left. -Four steps forward to polka time
composes the first part. In the second part
the dancers take the waltz position. A
| glide sidewise, two glissades and turn half
round to polka steps complete the dance.
Recommence with opposite foot.
ONE OF THE LATEST.
The "mettlesome" is another round dance.
| It is performed partly to polka time al
| though special music has been prepared for
| it. The couple stand close togethes-with
| hands crossed and facing the same direction.
Commencing on the foot farthest from the
partner, the lady's being the right and the
gentleman's the left, they glide forward one
step. Drawing the other foot forward, still
retaining the weight of the body on the
advanced foot, they hop forward, the other
pedal being pointed toe downward and the
knee bent. Another hop is made on the
same foot, followed by passing OF the other
toe still pointing down and outward. The
performers then slide the back foot forward
and the advanced one backward.
Counting one, they again change their
positions, and spring on the advanced foot
with the other pointing in the same manner
as described above. Another spring and
the raised foot drops, and carries the weight
of the body. Crossing partners hands the
couple slide forward on the foot farthest
| from the partner, hop on the same and ex-
tend the other foot to the side, keeping it
meanwhile appraised. Turning around they
recover their original position, and begin
again on the same movement
| GOES TO THREE MUsICs