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 (Philadelphia). 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. |
Ballrooms