The Maxixe (Max-ish, Mah-SHEESH, Mah-SHEESH-A, and many other pronunciations) was also known as the Brazilian Tango or Mattchiche (similar and/or same dance) and came from Rio de Janeiro in Brazil in the late 1860's or early 1870's. The dance was considered very lowly in stature among the public perceptions and was named after the prickly part of a cactus. In attempts to raise it's staure, many composer's would title it "Brazilian Tango" as the Tango was gaining popularity at the same time.

    The Maxixe has it's roots in the Polca, Lundu and Habanera. The original Maxixe was a mixture of the Two Step and certain Tango steps and patterns of the day (enchainements or sequences). Mmes. Derminy & Paule Morley danced the Maxixe in 1905. DelRio and Luis danced a Maxixe named after them entitled "Rio Brazilian Maxixe" (see photo) in the U.S. in 1910 and was introduced to Paris in 1912. Maurice Mouvet introduced the Brazilian Maxixe to New York in the spring of 1913. The Castles did what they called a Brazilian Maxixe that was similar to the Samba, (some say the precursor to the Samba) while some of the dancers danced the Maxixe more like a tango.

   In doing the Maxixe, the head and arms must be smooth and be paid strict attention too so as not to bounce!. At the time, instead of the Tango's touch-and-turn-in of the foot, it employed a characteristic of resting the heel on the floor, the foot pointed upward (ala... flying two step), while the body assumed a bent-over posture, reportedly, not particularly attractive at the time. The Maxixe was mainly an exhibition dance that later somewhat became popular for a brief time among Cafe' Society in the early 1910's, due to the exhibitionists introduction of it during the time, such as the Castle's introductions to certain dances replacing the animal dances of the day, as well as Mouvet, Sawyer, Duque, etc. in the U.S.

Maurice Mouvet Writes;
   "The "kick" in the Maxixe has been disliked by some spectators. The kick is very hard to do. The girl must lift herself from the floor to a certain extent. It is rather dangerous to depend on the frequently awkward drawing-room partner. But the kick is not actually necessary to the Maxixe. While it is the kick that makes the Maxixe it is a variation from the motif of this dance. It is the peculiarly Brazilian characteristic, yet the Maxixe has numerous figures and the kick can be left out. As I have stipulated ever since I first gave a lesson in this dance there is the Maxixe with the kick and without it. In my demonstration I give it. That is because I wish to show the dance in its entirety. In my lessons I teach it. That is because I engage to teach the Maxixe. But that kick is a great deal like cream and sugar in tea -- you may dispense with it, or dispense it, just as you desire." He also states that the Maxixe should not be confused with the Matichichi which is a different dance. ("Maurice's art of dancing: an autobiographical sketch...," circa 1915.)

   The Maxixe that was to become popular in it's brief life span in the U.S. and the UK was heavily modified over time and the music slowed from it's beginning roots, by the exhibitionist desire or race to sell a new dance to the dancing public. Like the Twist of a later decade, they finally hit on a version that was only to become a fad of the day, having been quickly replaced by another.

Film

Television

Ballets / Stage

1914 - Whirl of Life (Castles)

Publications

6/1960 - Esquire Mag (Barrie Chase)

Other Related and Dances of the time...

Aeroplane Waltz

Dallas Dip (1913)

Innovation

Rio Maxixe

Apache Dance

Chorro

Lu-Lu Fado

Samba

Boogie-Woogie Maxixe

Cinq-a-sept

Lundu

Brazilian Tango (a.k.a. Maxixe)

Dengozo Maxixe

Bre'silian Maxixe

Florence Maxixe

Maxixe Argentine

Tango

Buena Vista Tango

Grizzly Bear

Melange

Texas Tommy

Bunny Hug

Habanera

Military Glide

Two Step

Cakewalk

Half and Half

Papaltatsa Maxixe

Waltzes

Carioca

Hesitation

Parisian Maxixe

Polca

Dancers, Choreographers etc.

Political

1905 - Mmes. Derminy & Paule Morley

1910 - Delrio & Luis

1935 - Virginia Goletz

1913 - Arlette Dorgère (w/ Duque)

Mr. & Mrs. John Murray Anderson

1913 - Mouvet & Walton

1960's - Barrie Chase

Books, Magazine Articles on the dance...

Title

Author

Date Published

Publisher

Modern Dancing

Castles, Vernon

1914

Harper Brothers

Social Dancing of Today

Kinney, Troy

1914

Frederick A.S tokes & Co.

The Tango & New Ballroom Dances

Mouvet, Maurice

1914

Laird & Lee

Let's Dance

Thomas, Bob

1954

Grosett & Dunlap

Dancing Till Dawn

Malnig, Julie

1992

N.Y. University Press

Musicians,. Composers Etc.

Singers

Poets / Writers

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

Links

Cafe Society

Modern Dancing (1900's)

n/a

Arte Manhas

Other...

Basic Steps:
(Leader left foot, follower right foot, leader faces follower, leader starts forward).
basically a double quick march or two step with a polka like skip in each step, done as rapidly as possible,
while moving forward, backward and turning. It's character step is the heel-and-toe figure.

Below is an excerpt from Maurice Mouvet's 1914 Book:
"For the first figure, the gentleman places his right hand around his partner's waist just as
far as he possibly can, she facing him. His left hand and her right are outstretched--in the
manner in which many dancers improperly outstretch them for the tango. The gentleman's
left foot is far advanced, resting on the heel with the tip of the foot raised. The left knee is
bent. His body is bent forward in a veritable crouch. The position of the gentleman.

This diagram shows the gentleman's footsteps in the opening figure of the Moseys (?). The
left foot in the original position rests on the heel, the left knee being bent and the gentleman's
body bent forward from the waist line in a crouching position. His partner faces him. The
steps are the ordinary Two Steps , only somewhat longer. For this step might be described
as a lunge. It is important to remember that his right arm should encircle his. The gentleman's
footsteps in the second figure of the Maxixe. Each step is characterized by a slight hop and
the couple sway from side to side from the hip as they execute this figure. The first step brings
the right foot up to the left and the second advances the left foot again. The figure consists of
eight two-steps, the gentleman advancing all the time.

The second figure comprises another eight two-steps, only the steps are somewhat longer
than those used in the ordinary two-step, and with each step the gentleman sways his body
from the waistline alternately right and left. The figure is danced in a circle. The lady also sways
her body, but not quite as much as her partner. This swaying of the body is one of the
characteristic features of the Maxixe." end.

Excerpted from Troy Kinney's Social Dancing of Today (1914):
1. Execute the first measure with the body somewhat supple, and a good deal of rise and sink in the steps. The effect may be varied by inclining the body rather sinuously from side to side.

2. A Flying Two-Step: a two-step in which the advanced foot points upward, touching the heel to the floor in alternate steps, the intervening steps pointing the toe downward--except on turns; eight are not too many.

3. Man's steps: Starting in first position, advance right foot to fourth position
(1); glide left foot to second position
(2); glide right foot to posterior third position
(3); carry left foot to posterior fourth position, pause en attitude, and, plant it, transferring weight to it and raising right (advanced) foot, point down

Woman's steps: Advance left foot to posterior fourth position
(1); glide right foot to second position
(2); glide left foot to posterior third position
(3); plant right foot in anterior fourth position and raise the left foot from the floor
(4). During the pause on "4," the woman leans slightly forward. Until the third beat, her steps are the converse of the man's. Then, it will be noted, her position becomes the same as the man's: each, through a half-beat, is supported on the right foot, the left extended back en attitude. The count of "4" again finds the couple in converse positions, the man's right foot being pointed forward while the woman's is extended back.

An Arch a La Pirouette. Holding his partner's right hand in his left hand, the man executes four Polka Steps forward; while the woman, by means of four Polka Steps, makes a complete turn toward her left. The engaged hands are raised to allow her to pass under the arms. end