The Washington times., 1913-11-23
NEW FOOT SHAKE IS
CALLED THE MAX|XE
And You Can't Dance 1t to the
Strains of Aud Lang Syne,
Either, Says Expert.

Three salaams and a kewtaw to the
Maxixe.! We have with US tonight an
importation from Brazil. one of those
rythmic Spanish adaptations which re-
layed by ways of Paris and South
America, smack of the tango and kim
dred steps.
z But it isn't really tango" says Miss
Jessie Herriott, who will introduce the
fascinating measure to Washington So
ciety at the first of informal studio
evenings wednesday, November 26. to
be given this winter by her and her
sister, Mrs. Z. Clyde Shade, soprano
in Studio Hall. 1913 Connecticut avenue.
1T is really a cross between two
step and a polka and very simple of
execution" she said. Z -.s} aaa-.>
1T has just the combination of fast
and slow movements which appeals to
the American. First it takes the con-
ventional waltz position, then it glides
off into the first posture shown in the
pictures. Then somes the dip, and,
finally, the graceful arm movements.
In fact, the arm movements are the
characterizing features of the Maxixe.
''Gayety is its keynote.
+ Dance An Expression.
"A dance is invariably the expression
of the taste of the people among whom
it originates. The Brazilians have a
natural taste for music, and with their
hospitable and generous natures, which
are withal susceptible to fattery, the
dance in some respects echoes these
traits.
Il have no doubt but that more than
a century ago the MaxIxe. under an
in ha'
ces to the strains of a peculiar guitar
shaped instrument. The music OF this
oId-rashiOned guitar accompanies 1ne
'HodInhaS or rOmances.
Tine influence OF ltaIy upon the art,
botn musical and OTHERWISE Is aIsO
arllsts go ABROAD at public expense to
study in that country. M-tu-.~--
Urnef JraIl OF me Brazilian. Hence,
there is no suggestion of the strenuous
trots which have perVaded our ball
rooms so recently.
Miss Herriott thinks the Latin iniu-
ence upon American dancing is bene-
fetal one.
1t lifts the dance from a mere aero
batic stunt, to which II sometimes
seems likely to degenerate she de-
clares to the realm of the artistic
the poetry of motions, just as 1t should
be Acrobatic feats' are splendid, of
course, Dut tnelF pldCe Is III SSInHh-
SUM or on the athletic field, not in a
ballroom.
The Maxixe, which has been the
craze in Paris this fall had just been
accepted in New York. Capital society
has not yet seen the real MaXiXe, but
am convinced that when it does it will
vie with the hesitation waltz and the
more intricate tango for favor.
Has a Good History.
The Maxixe has 10 unsavOry his
tory. u is first and foremost measure
:or those who enjoy dancing for arts
sake. The Argentinos OF high social
position who have adopted the tango
AZ their own national dance execute
the Maxixe with the cOurtly grace and
goyOusnnss il deserves.
The Naxixe is simple enough to be
universally popular. even with the sud
deL chaHges in the time, and the dr.
terence iu the steps which accompany
iHen.
american men. as 4 rule like to learn
dances which they can. they eX-
IT@sg II. catch onto by watching some
ono e!.e do Il And for that reason one
grondcrF whether here in America,
where our main ambition is TO exceed
speed laWs. We Will develop in our
i.Cdies a Requisite amount of lanSuor
and supplcncss 10 express in dancing
the strangely exotic music of South
America.
But the MaNixe provides a happy
solution. II might also be called
dance Of joy.' with its fairy-like callop-
ade, reminding one OF the csre-free frol-
ics Of the fauns and drayds Of the myth
illogical forest"
The MaXixe requires its own charaC-
teTistic music. One cannot sit down
at the piano and pIav She Sleeps by
thu Erie Canal Meath the Sweet Po-
tato Vine in tWo-fOur time. IL takes
palm tree symphony, with all the
tropical trimmings TO properly express
the MaXiXe. EDITH LOBERT.