The American Waltz was originally called the Boston. Reason being that it was first introduced in Boston, MA. in 1834 by dancing master Lorenzo Papatino (partner n/a) when Mrs. Otis Beacon Hill , hired Papatino to give a dance exhibition at her mansion. Papatino danced a much slower and smoother type waltz (three steps per measure) than most were used to for that time period ... he/they called it the Boston. The Boston today when mixed with the Hesitation Waltz is known as the American or Slow Waltz (90 bpm's) with a little Valse L'American thrown in, it is still danced, though somewhat changed, today.

    Originally, the Boston was different and generally danced slower than the other waltzes of the period (1800's). Mainly it was of slower tempo than the

popular Viennese Waltz of the period. This slower version was becoming rapidly popular. The Boston also laid claim to be the first ballroom dance to be done with feet parallel rather than turned out, as in ballet (Sadie, 1980.)

    There were 4 different versions of the Boston, not including the Boston Dip (around 1870) which was just a dipping variation in the Boston, done by a huge step that would make the knees bend or "Dip" the body down and and was danced with the partners holding their hands on each others hips.
1) American Boston (Slower),
2) French Boston (More Rapid)
3) Imitative Boston (? Imitating something or someone obviously).
4) Valse L' Americaine was first composed in 1866 by the Societe' Academique des Profeseurs de danse de Paris. (French version of the Boston).

     Originally, (Kinney's book explains that), the distinguishing step-combination was complete in one measure (1&2-3&4). 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 with the old Waltz. Another peculiarity of the Boston was 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 (later removed) of and named for the Boston was, in its execution, the same as the "dip" when done in the One-step. Many people wanted the Dip removed from the dance as it was hard on the dancers bodies, however it found a new home in the early 1910's with the exhibition dancers of the day.

    The Boston Dip was, in practice, a series of three successive dips, executed in reverse turning movement. Each of the three occupies a whole measure, and a fourth measure is used in returning to the regular Boston walking step... (As an aid), count as follows: Step,' Dip,' Point-dip, Step,' Dip,' Turn. ' Turn in the regular direction, not in reverse; and accompany the turn also with a dip. The step description at the bottom of the page applies to the Long Boston (Philidelphia). In the Short Boston each beat was made to the equivalent of two counts for the feet. The resulting jerkiness and lack of sweep excluded the Short Boston from any lasting popularity.

     The Philadelphia Boston was popular in the early 1900s and the music was waltz done quite fast. It was also known as One-step Waltz , the Long Boston and The Drop Step, (on account of all the steps being dropped or eliminated except the one).

     In London it was also called the Berceuse or Cradle Boston which was the form of Boston most popular at the time and reportedly the most difficult dance for the ballroom on account of the simplicity of its composition. It depended entirely upon each individual to create a most graceful dance, from actually only one step to the measure, and to rotate progressively around the room. After a little practice by the beginner it will be noticed that there was not much progression in this movement, and that it was quite difficult to move as quickly around the room as in the old dance (the Waltz and the Two-step); so it was necessary to add a few other movements which will bring about the desired result, Such as the Spanish Boston and the Herring Bone Boston which was taught for several years, closely resembling the Hesitation Waltz which was so popular at the time. The Canter Waltz was basically two steps per measure.

     An interesting side note speaking of Hesitations, In 1913 Albert Newman created the Hesitation Boston (One Step per Measure) which merged with the Boston, in which used a pattern he called the "The Stroll" he states: Gracefully walk backward four steps, starting with the left foot one measure, right foot one measure, left foot one measure and right foot one measure. Now walk forward to the left oblique, having the lady in Yale Position four steps (left foot one measure, right foot one measure, left foot one measure, right foot one measure). Second Part.-- Boston Turning to the right four measures". This is very similar to the stroll of the 1960s.

     Allen Dodsworth (1840's) states when explaining the Redowa (basically a waltz): "At this slow speed many persons failed in accenting the Redowa correctly, gradually falling into the simpler succession of slide, change, leap, as in the polka; after a time this was called polka Redowa, and completely displaced the Redowa. The name was, however, retained in the Redowa waltz, and a distinction was made between that and the ordinary waltz by springing with great energy upon the leap--the "too-too's" (or excessive's) of those days not failing to make their disposition known by exaggerating the leap. Our beautiful waltz of today (the Boston) is a subdued Redowa. Those who failed in those days, finding this Redowa beyond their powers of accomplishment, modified it to the hop waltz, as those who fail now modify the waltz to what is called the Boston."

The Boston waned in popularity in the early 1900's, but stimulated the English or International style of waltz done today.

 Click here to view the Waltz -- Timeline

Birth Place

Creation Date

Creator

Dance Type

Boston, MA.

1834

Lorenzo Papatino

Waltz

Posters, Lobby Cards etc.

Sheet Music Covers

Music Titles

1843 - The Bourd waltz

Dreaming (Victor Military Band)

1850 - La Bostonienne

Valse Boston Band

Boston Racquet Galop

1879 - Boston Wave Waltz

1893 - After The Ball (Harris)

Hesitation - Valse Boston

1911 - Dreaming Valse - Boston

1913 - L 'hesitation

1915 - Old Fashioned Waltz

1918 - Sweetheart let us Dance the Boston

Boston Beguine

Night Clubs

Theaters

Locations

n/a

n/a

n/a

Films / Movies

Television

Ballets / Stage

1934 - Boston Waltzes

n/a

n/a

Dancers

Publications

1834 - Lorenzo Papatino

11/23/1913 - Washington Post (Hesitaion explained)

1900s - Maurice Mouvet

1910s - The Castles

1913 - R.M Crompton

1934 - Marina Semenova

Other Related Dances of Waltz ...

Aereoplane Waltz

Francais

Landler

American Waltz

Fuhrung

Lindbergh Wave Waltz

Balance Waltz

Gavotte

Marimba Waltz

Barn Dance

Half and Half

Mazurka

Branle

Harvard Hesitation Waltz

Minuet

Cantor Waltz

Hesitation Waltz

Nizzarda

Cotillion

Hop Waltz

Pavane

Contra Danses

Innovation Waltz

Polka

Courante

International Waltz

Quadrilles

Czarina Waltz

Jitterbug Waltz

Redowa

Edelweiss Waltz

Ju-Jitsu Waltz

Rye Waltz

Flower Waltz

Kathlyn Waltz

Six Step Waltz

Dances of Court

Lancers

Swing Waltz

Various Boston Dances

Boston Racquet Galop (1881)

English or Three Step Boston

Philadelphia Boston

Boston Point

English Berceuse

Royal Boston Waltz

Boston Quickstep

Five Step Boston

Russian Boston (Newman)

Boston Wave Waltz

Four Step Boston

Seven Step Boston

Count of Luxembourg

Herring Bone Boston

Short Boston

Cradle Boston

Hesitation Boston (Newman)

Spanish Boston (stairs)

Cross Boston

Long Boston

Staircase Boston

Double Boston

New York Boston

Two Step Boston

Double Triple Boston

Nights of Gladness Waltz

Three Step Boston

Drop Step

One Step Waltz (Philidelphia)

Triple Boston

Books, Magazine Articles on the dance...

Title

Writer

date

Publisher

Dick's quadrille call-book, and ballroom prompter

Dick & Fitzgerald

1878

Dick & Fitzgerald

The Dance, Ancient and Modern

Arabella C. Moore

1900

-

Traité de la danse

G. Desrat

1900

-

Dancing at Home and Abroad

Cleveland, C.H. Jr.

-

C.H. Ditson

Dances of Today

Albert W. Newman

1913

-

Social Dancing of Today

Kinney, Troy

1914

Frederick A. Stokes

Dancing Till Dawn

Malnig, Julie

1992

N.Y. University Press

Musicians / Bands

Poets / Writers

$ Art Of Dress 1500-1914

Bach, Johann Sebastian (1685-1750)

Nokhm Azriyel

Harris, Charles K. (1865-1930)

Lanner, Franz (1801-1843)

Mozart, Wolfgang Amadeus (1756-1791)

Strauss, Johann II (1825-1899)

collectors: National Promenade Band (1909) Edison Blue Amberol Record #2267 - 'Nights Of Gladness Waltz Boston' (Charles Ancliffe) For Dancing - Cylinder

Misc. Research Words that may be related ... to help your searches

Ballroom

English

Landler

Volta

Glide

International

Valse

Walzer

(by Dodsworth)
The motion step is the same as described in the account of radical motions. When stepping with the right foot, the left knee is slightly bent, producing the dip, from which the name 'Boston Dip' was derived.

In stepping with the left foot, bend the right knee. The motion rise is simply raising the heel of the foot upon which the step is made, marking the third beat by the descent. The turn is made by changing the angles of the steps, and twisting upon the foot at the rise, while the heel is up.
Right turn, right forward, left backward. -- Left turn (reverse), left forward, right backward.