Teen Age Dance Book

113664

Copyright, 1952, 1958, 1963,
by David McKay Company, Inc.

All rights reserved,

including the right to

reproduce this book, or portions

thereof, in any form except

for the inclusion of brief

quotations in a review.

Manufactured in the United States of America

Eleventh Printing

to

A MESSAGE TO PARENTS AND EDUCATORS

This book is the outgrowth of several years of instruc-
tion in social dancing for teen-agers in the public schools
of Westchester County, New York, under the sponsorship
of the various Parent Teacher Association units. It was
felt that a very definite need existed for extracurricular
social dance projects in which the girls and boys could
participate in a social group while acquiring the necessary
skill for social dancing.

That the projects have been eminently successful is
due in no small measure to the efforts of the P.T.A.
officers who had the generosity and spunk to sponsor the
classes, and to the school principals who had the fore-
sight and imagination to recognize the need for them.

As the projects developed, however, it became ap-
parent that an even greater need existed for a self-
instruction teen-age manual on social dancing with the
accompanying social skills. This book, therefore, is the
first of its kind, and is intended for the beginner who
needs to get going!

The author, a trained dancer, has no illusions as to
the limitations of a self-instruction manual, particularly
in the field of social dancing where new dances and
music are constantly evolving. However, if the author is
able, within those limitations, to help the teen-ager take
his first step, she will feel amply repaid.

And finally, this book should at last provide the oppor-
tunity for every boy and girl to participate in a skill that
adds stature to the social life of the individual while
uniting him with the group.

CONTENTS

Chapter Page

1 .
2 .
3 .

. FOREWORD TO THE TEEN ACER
. GETTING STARTED

1
2
3

3
4
5

. PREPARATION

Moving in the Line of Direction
Leading and Following
Some Dance Definitions

Music

6

Dance Records for Practice

7

Practice

8

4 .
5 .
6 .

. POSITIONS IN DANCING ....
FOXTROT

10
20
33

. WALTZ

7 . . CHARLESTON 48

8 . . LINDY (Rock'n'RoU) 60

9 . . COLLEGIATE FOXTROT (One Step) 76

10 . . RUMBA 87

11 . . CHA CHA CHA 105

12 . . TANGO 118

13 . . VIENNESE WALTZ 131

CONTENTS

Chapter Page

14 . . POLKA 136

15 . . PARTY DANCES 150

Virginia Reel 150

La Raspa (Mexican Shuffle) 160

Mexican Waltz 162

Bunny Hop 163

16 . . SQUARE DANCE 165

17 . . AT HOME 178

The Hostess 178

The Guest 181

18 . . PUBLIC DANCE 184

Organization Committees 184

Social Committee 188

School Dance 189

Prom 189

Church Dance 191

Dinner or Supper Dance 192

Dance Hall 192

19 . . DECORATIONS 194

20 . . REFRESHMENTS 197

21 . . IDEAS FOR ADMISSION .... 199

Tickets 199

Donations 200

Personality Tie-ups 200

Guessing 201

Weighing In 201

Class or Grades 201

CONTENTS

Chapter p a g e

22 . . GRAND MARCH 203

Platoons 206

Serpentine 212

Arch 214

Tunneling 217

The Star 218

23 . . PLAY PARTY GAMES 219

Thread the Needle 219

In and Out 223

Wind the Spool 224

Roll the Barrel 225

The Grapevine Twist 229

Ladies* Choice 229

24 . . ELIMINATION DANCES .... 230

Lucky Number Dance 233

Back Talk 234

Spot Dance 234

Flashlight Dance 235

Balloon Dance 235

Corners 236

25 . . MIXERS 237

MIXERS WITHOUT PROPERTIES 238

The Single Circle 238

The Double Circle 239

The Basket 240

Concentric Circles 241

The Charge 241

Back Up 241

Personality Tie-ups 241

Multiplication Dance 242

CONTENTS

Chapter Page

MIXERS WITH PROPERTIES 243

Pictures 244

Cutting 245

The Name Mixer 245

Opposites 246

Playing Cards 247

Trinkets 247

Broom Dance 248

26 . . INVITATIONS 249

27 . . DRESS 251

Boy 251

Girl 252

28 . . INTRODUCTIONS 254

29 . . AT THE DANCE 257

Upon Arriving 257

On the Floor 257

Upon Leaving 259

30 . . TRANSPORTATION 260

31 . . SAYING GOOD-NIGHT 262

32 . . POSTSCRIPT 263

/

TO THE TEEN-AGER

This is your book. Use it! Nothing has been included
which has not proven of interest to you!

If you know how to dance, check up on the second
half of the book. Find out how to be a successful host
or hostess what the guests 9 responsibilities are how to
devise novel and exciting ideas for mixers, play party
games, party dances, decor, and refreshments. In short
everything that makes for a completely successful dance.

Without a knowledge of dancing no fun I

Without a knowledge of the social skills which make
you part of the group no fun!

So get going and good luck!

2. Ctettina Started,
^f

Do you know how to dance? If you don't, let's do
something about it right this minute! If you feel the need
for getting up your courage, go into a huddle with your
teen-age friends. Find out who is a "natural" or someone
who has studied social dancing at an accredited school.
Get him to go over the first step with you. As soon as you
have learned one figure, go to a dance! Practice with your
friends. If you feel the need to brush up on social be-
havior, read through the second half of this book.

Practice whenever you are free. Keep a copy of this
book in your desk or even your locker room. Practice
between classes, out on the field or in a corner of the
"gym" during your lunch period. If you get stuck while
practicing, get the coach or some member of the faculty
to help you. (You'd be surprised how really good some
adults can ~be at social dancing.) But practice!

If the pressure of school activities does not allow
sufficient leeway for "in-between" practice periods, prac-
tice at home. Get your mother or your father or your
sister or your brother or your cousins or your aunts or
the girl or boy next door to help you anyone so you
get going!

And after you get going, don't forget to say "Thank
You" you know to those who have helped you.

3. I reparation

MOVING IN THE LINE OF DIRECTION

Before practicing a specific dance it might be well for
you to become familiar with a few general rules for
social dancing.

In progressing around the floor, couples move counter-
clockwise.

Line of

Direction

around the

Room

And although the customary line of direction is counter-
clockwise, a certain amount of freedom is permitted in
moving about the floor. One may move either forward,
backward, or sideward.

Good posture should be maintained by both the girl
and boy the torso easy but erect, the weight of the body
over the balls of the feet while standing or practicing.
A simple, natural style of dancing should be observed.

At all times a boy should keep aware of his relation-

3

4 Betty White's Teen-Age Dance Book

ship to other couples on the floor, since he assumes the
initiative of leading and steering. If interruptions occur,
apologies should be readily offered and acknowledged.
He, in other words, assumes entire responsibility for his
partner. He should, therefore, know how to dance and,
what is equally important, what is good social custom
while at a dance.

LEADING AND FOLLOWING

A boy should indicate his steps and leads sufficiently
in advance so that a girl can follow with confidence. A
girl, in turn, should keep relaxed so she can respond
immediately to a lead.

The technique for leading and following in the line
of direction will be described in detail under the sec-
tion "Positions in Dancing/* These positions are used in
the so-called progressive dances, for example, the Waltz.
In addition, however, to using forward or backward
steps, most of these dances include side steps. It will be
necessary, therefore, at this point to describe the side
leads.

To move the girl to the left (her right), the boy's
right palm exerts a gentle but firm pressure against the
left side of the girl's torso.

To move the girl to the right (her left), the boy pulls
the girl's torso gently to the right with the upper right
arm and hand.

The signal for changing from a forward to a side
direction must be given in advance so that the boy and
girl "push off* simultaneously. To indicate the lead for
the side steps, the right hand is slipped from under the
shoulder blade to the left side of the girl's torso. And the
weight of the body should be kept well over the balls

Preparation 5

of the feet so that any change in direction can be made
easily.

And finally, to move backward (as the girl moves
forward), the boy pulls the girl toward him with the
right hand which is under her left shoulder blade.

Eventually leads will become so automatic that you
will not have to think of them. But until they do, remem-
ber the right hand acts more or less as a rudder in steer-
ing the girl in or out of any figure. Therefore, a gentle
but firm pressure should be maintained by the right
hand at all times. Most important!

SOME DANCE DEFINITIONS

It will also be necessary for you to become familiar
with a few dance terms.

A step involves a complete transference of the weight
of the body from one foot to the other.

A figure consists of a fixed number of steps done in
succession.

A lead is a pressure of the hand, shoulder, or entire
body to indicate the beginning or end of a figure. A
lead may also indicate a change of direction.

Rhythm "Quick" or "Slow" is purely relative and
refers to beats in music and the steps taken to those
beats.

"Quick" has a time duration of one beat and occupies
approximately the length of time it takes to say the
single word "Quick."

"Slow" has a time duration of two beats and approxi-
mates the length of time required to say the two words
"Quick, Quick" in succession.

Follow through is the principle of the feet remaining
parallel to each other in passing from one step to an-

6 Betty White's Teen-Age Dance Book

other (inside edge of soles almost touching) and the
drawing up of the active foot against the supporting foot
on completing a step or beginning a new one. Dotted
lines on the floor diagram will indicate this movement. It
is the follow through principle which makes for a nar-
row base. Most important.

Floor diagram is a pattern of imaginary lines describ-
ing the tracks made on the floor by the feet in stepping
or following through.

Style is the manner in which a dance is done.

MUSIC

Since TV, radio, and phonograph have already made
you familiar with Foxtrot "vocals" known nationally as
"top tunes/* you will find it easier to start practicing to
Foxtrot music.

Get yourself a good, standard dance album. And until
you get going go easy on the crooners. They may make
you feel good but they won't help you keep time. So
get yourself an album that has a solid beat and which
maintains a comfortable walking pace to dance to not
too slow and not too fast.

Listen carefully for the four beats in each measure in
the Foxtrot. Usually the beats are accented by drums,
"brushes/* or a bass fiddle. Tapping with the feet or
clapping hands will help you keep time. If you find it
easier to move around the room while listening do! But
be sure to step on each beat.

The same procedure will hold for the Lindy, Rumba,
Tango, and Cha Cha Cha, since all of those dances are
done in 4/4 time. And, of course, you know that there
are three beats to a measure in a Waltzl

Preparation 7

DANCE RECORDS FOR PRACTICE

The most practical source for obtaining current dance
records, listings, catalogs, or even information pertain-
ing to records which may be temporarily out of circu-
lation, is through local retail stores and department
stores.

Furthermore, for the teen-age dance enthusiast or
party-goer, there are thirteen record courses in social
dancing, plus instruction manuals based on the Betty
White dance books. The records are available at your
local dealer or they may be obtained by mail order from
Conversa-Phone Institute, Inc., 132 West 32 Street, New
York, N. Y. They are:

D-101 FOX TROT D-109 LINDY

D-102 WALTZ D-110 MERENGUE
D-103 CHA-CHA-CHA and SAMBA

D-104 RUMBA D-lll SQUARE DANCE

D-105 MAMBO D-112 PARTY DANCES

D-106 TANGO (Bunny Hop, Virginia Reel,

D-107 CHARLESTON Conga, Mexican Waltz,

D-108 POLKA La Raspa)
D-114 PACHANGA

8

Betty White's Teen-Age Dance Book

PRACTICE

Before you start practicing a dance, glance over the
descriptive material and floor diagram.

Study the descriptive section carefully. Try to get a
mental picture of what the step is like. If you find it
easier, walk through the description while you read it
or make yourself a diagram on the floor. If it is not
possible to trace the diagram with a piece of chalk, get
yourself a piece of wrapping paper and use a crayon to
describe the diagram. Although you may not find it neces-
sary to make floor diagra/'ns, use any method that enables
you to practice with confidence.

Take one dance at a time.

Practice one figure at a time.

Start practice from a loose, as shown in the diagram:

BASE

Feet parallel: Inside edge of soles touching, weight of
body over the balls of feet, toes pointing straight ahead.

Preparation 9

Feet remain parallel at all times progressing forward,
backward, sideward, and turning. (Remember railroad
tracks remain parallel even on a curve. )

Call out a rhythm while you practice (for example:
the Foxtrot slow, slow quick, quick). Practice a step
until you get a feeling for what the rhythm is like.

If it is easier for you to practice to music do so at once.

As soon as you have learned a step start practicing

with a partner immediately. But do not practice with a
partner until you know your own step.

When you really get going try making up your own
combinations. Watch what the other boys and girls are
doing and change partners occasionally.

And don't forget. As soon as you have learned one
step, go to a dance. Remember "practice makes perfectl"

4- Po6ition& in Jouncing,

There are four positions in dancing:

1. The Closed Position
10

Positions in Dancing

11

. The Promenade Position

12

Betty White's Teen-Age Dance Book

8. The Outside Position

* m . Variation

4. The Skaters Position (The Skater's Position)

Positions in Dancing 13

MOST IMPORTANT: We shall now describe in detail
each of the four positions just illustrated. It is important
for you to study these positions carefully so that you will
be thoroughly familiar with them when they are used in
the instructions for the individual dances. Be sure to
give full attention, in studying each position, to the
paragraphs headed "Leading the Girl" and "Following
the Boy" (and also reread the earlier section on "Leading
and Following" under "Preparation") so that you will
master the principles of leading and following right from
the start.

After taking up the four basic dance positions we will
illustrate and describe the positions of the hands for
the various dances. And then we will proceed to the
dances themselves.

Remember to turn back to these preliminary pages on
positions for reference whenever you need to review
them.

CLOSED POSITION

Boy

Stand in front of your partner, feet together, pointing
straight in the line of direction (counterclockwise),
weight of the body over the ball of the right foot only.
Left foot parallel with right foot. Inside edge of soles
touching.

The right hand is held below the girl's left shoulder
blade, palm facing in. The left hand clasps the girl's
right hand with the arm extended in a curve, slightly
below shoulder level.

Although shoulders remain parallel, the head is turned

14 Betty White's Teen-Age Dance Book

slightly to your left. You do have to see where you are
going, you know. Now, you are ready to lead.

LEADING T.H K GIRL

Moving forward in the closed position calls for a chest
lead. That is, the upper torso pushes forward to back
the girl into the line of direction.

CLOSED POSITION

Girl

Stand in front of your partner, feet together, toes just
clearing tips of boy s shoes, weight of the body over the
ball of the left foot only. Right foot parallel with left
foot. Inside edge of soles touching.

The left hand rests gently but firmly on the boy's right
shoulder. The right hand rests vertically in the boy's left
palm palm facing in the right arm extending in a curve
slightly below shoulder level.

Although the shoulders remain parallel, the head is
turned slightly to your left so that the boy can look
straight ahead in the line of direction. Now, you are
ready to follow.

FOLLOWING THE BOY

As soon as you have "sensed" the pressure of the boy's
lead, to back you into the line of direction, reach back
with the big toe in a straight line from the hip. Transfer
the weight gradually.

Positions in Dancing 15

THE PROMENADE

Boy

With the left side facing the line of direction (coun-
terclockwise) stand sideward with the girl on your right
sidefeet together, weight of the body over the ball of
the right foot only. Left foot parallel with right foot.
Inside edge of soles touching.

The right hand is held at the left side of the girl's torso,
palm facing in. The left hand clasps the girl's right hand
with the arm extended in a curve, slightly below shoulder
level.

The head and shoulders are turned slightly to your
left so that you are looking straight ahead in the line of
direction. Both you and the girl are now in a partially
open position.

LEADING THE GIRL

Moving forward in the promenade position calls for
a side lead. The right hand pushes gently against the left
side of the girl's torso to indicate the forward movement.
And since both you and the girl are facing the line of
direction, the initial lead and step will be taken almost
simultaneously.

THE PROMENADE

Girl

With the right side facing the line of direction (coun-
terclockwise) stand sideward on the boy's right side

16 Betty White's Teen-Age Dance Book

feet together, toes just clearing tips of boys shoes,
weight of the body over the ball of the left foot only.
Right foot parallel with left foot. Inside edge of soles
touching.

The left hand rests gently but firmly on the boy's right
shoulder. The right hand rests vertically in the boy's left
palm palm facing in-the right arm extending in a curve
slightly below shoulder level.

The head and shoulders are turned slightly to your
right so that you are looking straight ahead in the line
of direction. Both you and the boy are now in a partially
open position.

FOLLOWING THE BOY

You will find it quite easy to follow through on the first
step as soon as the side lead is given by the boy a gentle
forward push against the left side of the torso in the
line of direction.

OUTSIDE POSITION

Boy

Stand with your partner on your right side, facing in
the line of direction. (The girl is standing with her back
in the line of direction so the position is right side to
right side.) Feet together, weight of the body over the
ball of the right foot only. Left foot parallel with right
foot. Inside edge of soles touching.

The right hand is held at the left side of the girl's
torso, palm facing in. The left hand clasps the girl's

Positions in Dancing 17

right hand with the arm extended in a curve, slightly
below shoulder level.
Look straight ahead in the line of direction.

LEADING THE G3BL

Moving forward in the line of direction in the outside
position calls for an initial lead from both the chest and
upper right arm. A slight pressure of the left hand
against the girl's right hand will help to maintain the
lead. Note: The outside position may be done left side
to left side by merely moving the girl from the right to
the left side.

OUTSIDE POSITION

Girl

With your back in the line of direction stand at the
right side of the boy. (The boy is facing in the line of
direction so the position is right side to right side.) Feet
together, weight of the body over the ball of the left foot
only. Right foot parallel with left foot. Inside edge of
soles touching.

The left hand rests gently but firmly on the boy's right
shoulder. The right hand rests vertically in the boy's left
palm palm facing in the right arm extending in a curve
slightly below shoulder level.

Look straight ahead.

FOLLOWING THE BOY

You will feel an initial lead from both the chest and
the upper right arm as the boy backs you into the line

18 Betty White's Teen-Age Dance Book

of direction. A slight pressure of the boy's left hand
against your right hand will enable you to continue fol-
lowing.

SKATER'S POSITION

Boy and Girl

Facing in the line of direction, stand side by side
(boys right side against girl's left side), weight over the
balls of the feet; cross arms, joining right hand with right
hand, left hand with left hand.

LEADING THE GIRL

With the hands clasped, gently pull the girl forward
in the line of direction.

VARIATION OF THE SKATER'S POSITION

Boy and Girl

Facing in the line of direction, with the girl's left
shoulder against the boy's right shoulder, stand with the
weight over the balls of the feet. Arms bent at the
elbows, hands held at shoulder level (the girl's hands
held vertically palms facing out), join left hand with
left hand, right hand with right hand, palms facing in.

LEADING 1HE GIRL

Push the girl into the line of direction from the chest.

Positions in Dancing

19

POSITIONS OF THE HANDS
1. The Vertical Hand Position

The boy holds the girl's right hand in his left hand
vertically, the palms facing in. (The vertical hand position
is used in the following dances: fooctrot, waltz, tango, and
collegiate -foxtrot.)

2. Rumba Hand Position

The boy holds the girl's right hand in his left, the
thumb pressing vertically against the inside of her palm,
with the second and third fingers clasping the back of her
hand. (To pull the girl in after a "break" the fourth and
fifth fingers are pressed down against her wrist.)

3. Lindy Hand Position

With the fingers crossed, facing in (the girFs fingers
pointing down), the boy holds the girl's right hand in his
left, the thumb pressing just below the girl's knuckles.

Although there are several varieties of Foxtrots the
medium-slow is still the most popular. And probably the
easiest and most relaxing to do.

The music calls for smooth, gliding movements, so try
to cultivate long, continuous steps. Bands all over the
country provide an opportunity for "dancing out," and
for practice, ample opportunity will be found through
the use of records. There are numerous recordings of all
the old favorites as well as recent releases. Be sure, how-
ever, to keep a smooth, easy style while dancing to
America's favorite the medium-slow Foxtrot.

THE BASIC RHYTHM

The basic rhythm of the medium-slow Foxtrot is 4/4
time with the first and third beats accented ^ J J j .
We have an even more interesting rhythm, however, in
the medium-slow Foxtrot, known as slow, slow, quick,
quick.

20

Foxtrot 21

Two half notes J J followed by two quarter notes
J J give us J J J J our slow, slow, quick,
quick rhythm. In counting the beats, however, we find
an overlapping of the rhythm within a 4/4 measure. Here
is what it looks like:

i J J J J J J J J

4

PRACTICING THE FOXTROT

Two slow steps are taken followed by two quick steps
in dancing to the medium-slow Foxtrot. By merely chang-
ing one's direction or position any number of fascinating
combinations can be devised.

We are starting off with the more basic figures, the
Closed Position, the Promenade, the Dip, and the Turn
Under (Promenade). Each of these figures is described.

In learning the figures, start off with the Closed Posi-
tion and progress to the Promenade. The Dip may follow,
and for something a little tricky, you will find it easy to
progress to the Turn Under.

After you have practiced the individual figures you can
begin to combine them. Progressing from the Closed
Position to the Dip, for example, will be simple since
you are already in Closed Position. And the transition
from the Promenade to the Turn Under can be made
just as easily.

The transitions (moving from one figure into another)
can be done quite readily on the quick, quick steps. The
last quick of the figure you are doing is used for changing
to a new figure.

And be sure, after you get going, to try some combina-
tions of your own.

22

Betty White's Teen-Age Dance Book

LD

START

4. Close right foot against left foot, transferring weight,
quick (1 count).

3. Step to left side with left foot, quick (1 count).

2. Step forward on right foot, slow (2 counts). (Draw
left foot up to right follow dotted line. )

L Step forward on left foot, slow (2 counts).

Boy
MEDIUM-SLOW FOXTROT CLOSED POSITION

Foxtrot

23

START

LD

Girl

1. Step backward on right foot, slow (2 counts).

2. Step backward on left foot, slow (2 counts). (Draw
right foot back to left follow dotted line.)

3. Step to right side with right foot, quick ( 1 count) .

4 Close left foot against right foot, transferring weight,
quick (1 count).

MEDIUM-SLOW FOXTROT CLOSED POSITION

24

Betty White's Teen-Age Dance Book

Soy

1. Step forward on left foot.

2. Step forward on right foot.

3. Step to left side with left foot

4. Close right foot against left foot, transferring weight.

(Girl follows Boy.)
MEDIUM-SLOW FOXTROT CLOSED POSITION

Foxtrot

25

s/ovtr

START

Boy
L Step sideways on left foot, slow (2 counts).

2. Step across in front of the left foot with right foot,
slow (2 counts). (Draw left foot up to right follow
dotted line.)

3. Step sideways on left foot, quick ( 1 count) .

4. Close right foot against left foot, transferring weight,
quick (1 count).

slow

Girl

1. Step sideways on right foot, slow (2 counts).

2. Step across in front of the right foot with left foot,
slow (2 counts). (Draw right foot up to left foot-
follow dotted line. )

3. Step sideways on right foot, quick (1 count).

4. Close left foot against right foot, transferring weight,
quick (1 count).

PROMENADE
MEDIUM-SLOW FOXTROT

26

Betty White's Teen-Age Dance Book

Boy

1. Step sideways on the left foot.

2. Step across with right foot.

3. Step sideways on left foot.

4. Close right foot against left foot, transferring weight.

(Girl follows Boy.)

PROMENADE
MEDIUM-SLOW FOXTROT

Foxtrot

27

START

LD

* rig/if foof

.J. 1 1 s''des feock

/ on dip/ fhen
*

forward

DIP

Boy

1. Step back on the left foot, bending at the knee, right
leg extended, slow (2 counts).

2. Step forward on the right foot, slow (2 counts),
(Draw left foot up to right follow dotted line.)

3. Step to left side with left foot, quick ( 1 count).

4. Close right foot against left foot, transferring weight,
quick (1 count).

DIP
MEDIUM-SLOW FOXTROT

28

Betty White's Teen-Age Dance Book

left foot T/'\

slides

forward

on dip,

then back

START

Girl

1. Step forward on the right foot, bending at the knee,
left leg extended, slow (2 counts).

2. Step bade on the left foot, slow (2 counts). (Draw
right foot back to left follow dotted line. )

3. Step to the right side with right foot, quick ( 1 count) .

4 Close left foot against right foot, transferring weight,
quick (1 count).

DIP
MEDIUM-SLOW FOXTROT

Foxtrot

29

Bog

1. Step back on the left foot

2. Step forward on the right foot

3. Step to left side with left foot

4. Close right foot against left foot, transferring weight.

DIP
MEDIUM-SLOW FOXTROT

30

Betty White's Teen-Age Dance Book

Boy

1. Step sideways on left foot, slow (2 counts).

2. Step across in front of the left foot with right foot,
slow (2 counts), with hands clasped, raise the girl's
right arm to prepare for the right turn.

3. Step sideways on left foot, quick (1 count), turning
the girl under her right arm and releasing your right
hand.

4. Close right foot against left foot, transferring weight,
quick (1 count), while bringing the right hand back
to the left side of the girl's torso as she completes the
turn; lower arms to shoulder level.

THE TURN UNDER

(PROMENADE)
MEDIUM-SLOW FOXTROT

Foxtrot

31

LD

START

Girl

1. Step sideways on right foot, slow (2 counts).

2. Step across in front of the right foot with left foot,
pivoting slightly to the right, slow (2 counts), raising
the right arm to prepare for the right turn.

3. Step sideways, pivoting (turning) on ball of right
foot (left foot follows through), making a complete
right turn, quick (1 count), right fingers turning in
boy's left hand, while releasing left hand from boy's
right shoulder (keeping hands vertical while turn-
ing).

4. Close left foot against right foot, transferring weight,
quick (1 count), drop left hand to boy's right shoul-
der; lower arms to shoulder level.

THE TURN UNDER

(PROMENADE)
MEDIUM-SLOW FOXTROT

32

Betty White's Teen-Age Dance Book

Boy

1. Step sideways on the left foot.

2. Step across with right foot.

3. Step sideways on left foot, tarn girl under.

4. Close right foot against left foot, transferring weight.

THE TURN UNDER

(PROMENADE)
MEDIVM-SLOW FOXTROT

6. Walk

The American Waltz with its sentimental, romantic
melodies is in a class by itself. It is outstanding on two
counts it is the oldest social dance done today and the
only one in triple meter 3/4 J J *l time.

Because the American Waltz is done slowly it is not
difficult for a beginner to practice to. And the simple
3/4 time will be found restful and easy. Listen for the
three beats in each measure as you practice the accent
on the first beat and cultivate a light, conservative style.

33

34 Betty White's Teen-Age Dance Book

After a while you will find the American Waltz carrying
you along with its easy rhythm and graceful, romantic
melodies.

THE BASIC WALTZ FIGURE

Whether you are Waltzing forward or backward or
turning, you will be using part of or an entire figure
called a square. (Starting and returning to the same
place, a square includes four directions forward, side-
ward, backward, and sideward. ) See Pages 44 through 47.

WALTZING FORWARD OR BACKWARD

Although the Waltz consists basically of turns (squares
done either to the left or right), we are going to learn the
forward and backward half -squares first.

Begin practicing a half-square in the line of direction
(forward for the boy backward for the girl). The figure
requires one measure of music 3/4 J 01 4! time.
Continuing in the line of direction, repeat the figure. Two
half-squares require two measures of music (six beats).

THE SQUARE

As soon as you have learned to Waltz forward or back-
ward you may progress to the square. A square requires
two measures of music (six beats). The square must be
memorized before you progress to the turns. And under
no circumstances should you proceed to learn either the
left or right turn until you have mastered the square.

Waltz 35

TURNING

The square can be turned either to the left or to the
right (the boy and girl both turning left or right simul-
taneously). Four measures of music are required to com-
plete the figure (12 beats).

The feet, head, and arms follow in the direction of a
turn, the chest, as usual initiating the lead. For example,
if you are doing a left turn, the feet, head, and arms point
in the left direction. Similarly, the feet, head, and arms
point in a right direction if you are doing a right turn.

CHANGING DIRECTION

As soon as you have learned to turn either left or right;
you may wish to change from one direction to another.
The transition can be made quite easily by doing a half-
square.

If you have just completed a left turn and wish to
progress to a right turn, do a half -square (forward for the
boy backward for the girl) in the line of direction so
that your right foot (girl's left foot) will be released to
begin a right turn.

To change from a right turn to a left turn do one half-
square in the line of direction and your left foot (girl's
right foot) will be released to begin a left turn.

While you are practicing, keep on the balls of die feet
for good styling. And for the "follow through" principle
in the Waltz, watch for the dotted lines. Most important.

36 Betty White's Teen-Age Dance Book

LO

6. Close right foot against left foot, transferring weight
(1 count).

5. Follow through with the left foot and step to left side
(1 count).

4. Step forward on right foot ( 1 count ) .

3. Close left foot against right foot, transferring weight
(1 count).

2. Follow through with the right foot and step to right
side (1 count).

1. Step forward on left foot (1 count).

(Follow dotted line for the follow through.)

Boy

FORWARD HALF-SQUARES
WALTZ CLOSED POSITION

Waltz

37

GzrZ
(Follow dotted line for the follow through.)

1. Step backward on right foot (1 count).

2. Follow through with the left foot and step to the left
side (1 count).

3. Close right foot against left foot, transferring weight
(1 count).

4. Step backward on left foot ( 1 count).

5. Follow through with the right foot and step to right
side (1 count).

6. Close left foot against right foot, transferring weight
(1 count).

BACKWARD HALF-SQUARES
WALTZ CLOSED POSITION

38

Betty White's Teen-Age Dance Book

LD

6. Close right foot against left foot, transferring weight
(1 count).

5. Follow through with the left foot and step to left side
(1 count).

4. Step backward on right foot (1 count).

3. Close left foot against right foot, transferring weight
(1 count).

2. Follow through with the right foot and step to right
side (1 count).

1. Step forward on left foot (1 count).

(Follow dotted line for the follow through.)

Boy

THE SQUARE
WALTZ CLOSED POSITION

Waltz

START

and
FINISH

39

LD

Girl

(Follow dotted line for the follow through.)

1. Step backward on right foot (1 count).

2. Follow through with the left foot and step to the left
side (1 count).

3. Close right foot against left foot, transferring weight
(1 count).

4. Step forward on left foot ( 1 count).

5. Follow through with the right foot and step to right
side (1 count).

6. Close left foot against right foot, transferring weight
(1 count).

THE SQUARE
WALTZ CLOSED POSITION

40

Betty White's Teen-Age Dance Book

START

and

FINISH

TURN THE BOOK IN YOUR HAND TO CORRESPOND WITH THE
DIRECTION IN WHICH YOU ARE TURNING.

Waltz 41

(You have now done a half -turn. To complete the
turn repeat 1 through 6.)

6. Close right foot against left foot, transferring weight
(1 count).

5. Follow through with the left foot and step to left side
(1 count).

4. Continuing to turn left, pulling the girl toward you,
step backward on right foot (heel leading), toe
turned in (1 count).

3. Close left foot against right foot, transferring weight
(1 count).

2. Follow through with the right foot and step to right
side (1 count).

1. Chest lead, holding girl firmly with right hand while
turning left, Step forward on left foot, toe pointing
out (1 count).

(Follow dotted line for the follow through.)

Boy

LEFT TURN
WALTZ CLOSED POSITION

42

Betty White's Teen-Age Dance Book

START

and
FINISH

TURN THE BOOK IN YOUR HAND TO CORRESPOND WITH THE
DIRECTION IN WHICH YOU ARE TURNING.

Waltz 43

Girl
(Follow dotted line for the follow through.)

L Step backward on right foot (heel leading), toe in,
chest turning left (1 count).

2. Follow through with the left foot and step to left side
(1 count).

3. Close right foot against left foot, transferring weight
(1 count).

4. Continuing to turn left, step forward on left foot, toe
out (1 count).

5. Follow through with the right foot and step to right
side (1 count).

6. Close left foot against right foot, transferring weight
(1 count).

(You have now done a half -turn. To complete the
turn repeat 1 through 6. )

LEFT TURN
WALTZ CLOSED POSITION

44

Betty White's Teen-Age Dance Book

START

and
FINISH

TURN THE BOOK IN YOUR HAND TO CORRESPOND WITH THE
DIRECTION IN WHICH YOU ARE TURNING.

Waltz 45

(You have now done a half-turn. To complete the
turn repeat 1 through 6.)

6. Close left foot against right foot, transferring weight
(1 count).

5. Follow through with the right foot and step to the
right side (1 count).

4. Continuing to turn right, pull the girl toward you,
step backward on left foot (heel leading), toe turned
in (1 count).

3. Close right foot against left foot, transferring weight
(1 count).

2. Follow through with the left foot and step to the left
side (1 count).

1. Chest lead, holding girl firmly with right hand while
turning right, step forward on right foot, toe pointing
out (1 count).

(Follow dotted line for the follow through.)

Boy

RIGHT TURN
WALTZ CLOSED POSITION

46

Betty White's Teen-Age Dance Book

START

and

FINISH

TURN THE BOOK IN YOUR HAND TO CORRESPOND WITH THE
DIRECTION IN WHICH YOU ARE TURNING.

Waltz 47

Girl

(Follow dotted line for the follow through.)

1. Step backward on left foot (heel leading), toe in,
chest turning right (1 count).

2. Follow through with the right foot and step to right
side (1 count).

3. Close left foot against right foot, transferring weight
(1 count).

4. Continuing to turn right, step forward on right foot,
toe out (1 count).

5. Follow through with the left foot and step to left side
(1 count).

6. Close right foot against left foot, transferring weight
(1 count).

(You have now done a half-turn. To complete the
turn repeat 1 through 6.)

RIGHT TURN
WALTZ CLOSED POSITION

71

Occasionally there is a request for the Charleston, and
although the dance was at the height of its popularity
several seasons ago, there may be times when the
Charleston is done and you will want to kick up your
heels to a Dixieland band. Anyway, here is your oppor-
tunity.

Start right off to learn the Charleston "kicks." The
"twist step/' which is so characteristic of the Charleston
rhythm, will come gradually. And don't underestimate
the time required for practice. The Charleston isn't as
easy as you think. After you get going try some combi-
nations of your own. You'll probably stir up quite a
breeze!

BASIC RHYTHM

THE MUSIC

The Charleston is done in 4/4 J J J J time.
And the most characteristic thing about the rhythm is its
jerky, staccato quality. Here is what the Charleston
rhythm looks like:

JJ.

48

Charleston 49

As you can see the rhythm is highly syncopated. The
shifting of the accent from the first beat to the eighth
note, tied to the third beat, is what gives punch to the
rhythm.

In practicing the steps to the music, however, you
will find it easier to listen to the 4/4 4 j j
time, which forms the background for the Charleston
rhythm. And to make it even simpler, listen for an "and"
before each beat. Here is what it looks like:

; n n n

AND 1 AND 2 AND 3 AND

The "and" corresponds to the bending movement of the
knee which is taken before each movement or step. And
if s the "and" rhythm that gives the Charleston its charac-
teristic bounce!

THE DANCE

The Charleston is such a flexible dance it can be done
as a solo (alone), with a partner, or in a group (either
in a straight line or in a circle), in which everybody has
a chance to "get in the act/' Therefore, the boy and girl
may use the same foot simultaneously since both will be
facing forward. And while dancing the arms should be
swung in opposition to the feet. For example, in stepping
on the left foot, the arms swing across right. In stepping
on the right foot, the arms swing across left.

50 Betty White's Teen-Age Dance Book

We are going to start by learning the following steps:
the Point Step and the Kicks and progress to the Twist
Step. Each figure will be fully described, the boy and girl
using the same directions.

PRACTICE

TEDS STEPS

You will find it easier to learn the Point Step first,
progressing to the Kicks- After you have mastered these
steps, try the Charleston Twist

THE FIGURES

Start right off by learning all the figures in place, in
open position. Later you can progress to the promenade
(moving forward or backward in the line of direction).
After you have mastered the different steps you will find
it fun to do them in closed position, the girl, as usual,
stepping back on the opposite foot from the boy.

The Charleston is done so informally that at any mo-
ment partners may break away, continuing to dance as
they face each other. Whatever you do, have fun!

Charleston

51

PRACTICING THE CHARLESTON

Boy or Girl

I. Point Step: In place (alternating right toe forward-
left toe back)

Stand with feet together, the weight over the ball of
the right foot.

Bend right knee (count and).

1. Step forward on left foot (count 1).
Bend left knee (count and).

2. Point right toe forward, straighten knees ( count 2) .
Bend left knee ( count and) .

3. Step back on right foot (count 3).
Bend right knee (count and).

4. Point left toe back, straighten knees (count 4).

Repeat, continuing to point the right toe forward, the
left toe back.

52

Betty White's Teen-Age Dance Book

II. Single Kicks: In place (Alternating right and left
leg).

Stand with feet together, the weight over the ball of
the right foot.

Bend right knee (count and}.
L Step forward on left foot (count 1).
Bend left knee ( count and ) .

2. Kick right leg forward, straighten knees (count 2).
Bend left knee (count and}.

3. Step back on right foot (count 3).
Bend right knee (count and).

4. Kick left leg back, straighten knees (count 4).

Repeat, continuing to alternate right kick forward, left
kick back.

Charleston 53

III. Double Right Kick: In place.

Stand with feet together, the weight over the ball of
the right foot

Bend right knee (count and).

1. Step forward on left foot ( count 1) .
Bend left knee (count and).

2. Kick right leg forward, straighten knees (count 2).
Bend left knee (count and).

3. Kick right leg back, straighten knees ( count 3 ) .
Bend left knee (count and).

4. Step on right foot, bringing it to place, straighten
knees (count 4).

Bend right knee (count and).

Double Left Kick: In place.

1. Kick left leg forward, straighten knees (count 1).
Bend right knee (count and).

2. Kick left leg back, straighten knees (count 2).
Bend right knee (count and).

3. Step on left foot, bringing it to place, straighten
knees (count 3).

The figure (the Double Right Kick and Double
Left Kick) is now complete. To continue, repeat

(and 4 and) of the Double Left Kick, and continu-
ing, by returning to the third count of the Double
Right Kick. The figure may now be repeated in-
definitely.

Bend left knee ( count and) .

4. Kick right leg forward (count 4).
Bend left knee ( count and ) .

54 Betty White's Teen-Age Dance Book

Promenade Variation: (Double Kicks).

To progress in the line of direction, step forward on the
fourth count of the first half of figure number III (the
Right Double Kick) and on the third count of the second
half of the figure (die Left Double Kick). In other words,
a forward step is taken after each Double Kick instead
of bringing the foot back to place.

IV. Single Diagonal Kicks: In place (Alternating right
and left leg).

Stand with feet together, the weight over the ball of
the right foot.

Bend right knee ( count and ) .
1. Step sideward on left foot (count 1).
Bend left knee ( count and ) .

Charleston

2. Kick right leg diagonally forward across left leg,
straighten knees (count 2).

Bend left knee (count and).

3. Step sideward on right foot, straighten knees
(countS).

Bend right knee (count and).

4. Kick left leg diagonally across right leg, straighten
knees (count 4).

Repeat, continuing to alternate the right and left leg.

V. Double Diagonal Kicks: In place.
RIGHT LEG:

Stand with feet together, the weight over the ball of
the right foot.

Bend right knee (count and).

1. Step sideward on left foot (count 1).
Bend left knee ( count and) .

2. Kick right leg diagonally forward across left leg,
straighten knees (count 2).

Bend left knee (count and).

3. Kick right leg back diagonally, straighten knees
(counts).

Bend left knee (count and).

4 Step on right foot, bringing it to place, straighten
knees (count 4).

56 Betty White's Teen-Age Dance Book

LEFT LEG:

Bend right knee (count and).

1. Kick left leg diagonally forward across right leg,
straighten knees (count 1).

Bend right knee (count and).

2. Kick left leg back diagonally, straighten knees
(count 2).

Bend right knee (count and).

3. Step on left foot, bringing it to place, straighten
knees (count 3).

The figure (the Double Diagonal Right Kick and
Double Diagonal Left Kick) is now complete. To
continue, repeat (and 4 and) of the Double Diago-
nal Left Kick, and continuing, by returning to the
3rd count of the Double Diagonal Right Kick. The
figure may now be repeated indefinitely.
Bend the left knee ( count and ) .

4. Kick right leg diagonally forward across left leg,
straighten knees (count 4).

Bend the left knee ( count and).

Promenade Variation: (Double Diagonal Kicks).

To progress in the line of direction, step forward on
right foot on the fourth count of the first half of figure
number V (the Right Double Diagonal Kicks) and on
the third count of the second half of the figure (the
Left Double Diagonal Kicks). In other words, a forward
step is taken after each Diagonal Double Kick instead
of bringing the foot back to place.

Charleston

57

THE CHARLESTON TWIST

The Twist consists of pivoting in and out on the balls
of the feet. Before undertaking to learn a figure, practice
the Twist in place. Read and practice the following sec-
tion carefully:

Stand with the weight on both feet, heels touching,
toes pointing out. Bending the knees, pivot in on the balk

of the feet (count and), pivot out on the balls of the feet,
straightening the knees, lower the heels (count 1). Re-
peat this exercise until the movement becomes automatic,
remembering to bend, pivot pivot, straighten.
Now you are ready to learn the Twist figures.

58 Betty White's Teen-Age Dance Book

I. The Twist: In place (alternating left and right leg).

Standing in open position, heels together, toes pointing
out, the weight on the right foot.

1. Bending the right knee, pivot In on the batt of the
right foot, bringing the left leg up, knee turned in
( count and) , pivot out on the batt of the right foot,
straightening knees, bring the left foot back to the
heel of the right foot (toe pointed out), transferring
the weight to the left foot (count 1).

2. Bending the left knee, pivot in on the batt of the
left foot, bringing the right leg up, knee turned in
(count and), pivot out on the ball of the left foot,
straightening knees, bring the right foot back to the
heel of the left foot (toe pointed out), transferring
the weight to the right foot (count 2).

Repeat entire figure.

As a general rule, the foot is in the air when the toes
point in, and a step is taken as the toes point out.

II. The Twist: In place (stepping forward and back).

(This figure is really a variation of the point step in
Figure I, except that one points forward and back with
the batt of the foot.)

Charleston 59

Standing in open position, heels together, toes pointing
out, the weight on the right foot

L Bending the right knee, pivot in on the ball of the
right foot, bringing the left leg up, knee turned in
(count and), pivot out on the ball of the right foot,
straightening knees, bring the left leg down, step
forward on the left foot, transferring the weight
(count 1).

2. Bending the left knee, pivot in on the ball of the
left foot, bringing the right leg up, knee turned in
(count and), pivot out on the ball of the left foot,
straightening knees, bring the right leg down, the
ball of the right foot touching the floor no weight
(count 2).

3. Bending the left knee, pivot in on the ball of the
left foot, bringing the right leg up, knee turned in
(count and), pivot out on the ball of the left foot,
straightening knees, stepping back on the right foot,
transferring the weight (count 3).

4. Bending the right knee, pivot in on the ball of the
right foot, bringing the left leg up, knee turned in
(count and), pivot out on the ball of the right foot,
straightening knees, bring the left leg down, the
ball of the left foot touching the floorno weight
(count 4).

You have now stepped forward on the left foot, point-
ing with the ball of the right foot, followed by stepping
back on the right foot and pointing with the ball of the
left foot To continue, repeat the entire figure, pointing
forward and back.

& JLindu

(ROCK >N> ROLL)

The rock V roll Lindy the most popular dance in
America among teen-agers is still the most (^diversified
dance done today. Every school or region las. sits own
version, and that's fine.

Furthermore, the Lindy continues to lold its ; own as a
standard attraction for the teen-age cros^d docspite the
enthusiasm for such novelties as the Stroll 3 BristJtol Stomp,
Madison, Hully Gully, Mashed Potato, etc. WTiile these
fads appear only to disappear the Lindjr lexmjKus an all-
time favorite inasmuch as new rhythms a_nd "bioreaks" are
constantly heing evolved which add interest arod variety
to the dance.

In dancing the Lindy, a smooth, consrvative s style may
he used or the rock V roll version dipping in _ the knees
and rocking in the torso to the heavy, solid boeat of the
rhythm-and-blues music.

60

Lindy (Rock >N> RoU) 61

And don't get discouraged while learning the Lindy if
you find the going rough. Although it is an exciting dance,
it is the most difficult to coordinate. So take it easy.

THE BASIC RHYTHM

The Lindy is in 4/4 J J J J time. The basic

rhythm is slow, slow, quick, quick. Two half notes

^ J followed by two quarter notes J J give us

J J J J (six counts). As you will see this rhythm

results in an overlapping within a 4/4 measure. Here is

what it looks like:

-L j _ U !

SLOW SLOW QUICK QUICK SLOW SLOW QUICK QUICK

In dancing the Lindy, a Dig-step (pushing the ball of
the foot into the floor, followed by bringing the heel
down, transferring the weight from the supporting foot)
is done to a slow, *.nd repeated, followed by two quick
steps (six counts). Here is the rhythm:

DIG- STEP DIGSTEPSTEP STEP DIG-STEP DIG- STEP STEP STEP

The breaks are also done to the slow, slow, quick, quick
rhythm. (A break is a figure done close to or away from
one's partner. ) And although the steps and breaks are an
integral part of each other, we are going to start with the
footwork and progress to the breaks.

Betty White's Teen-Age Dance Book
THE BASIC STEP

Before taking up the basic step (slow, slow, quick,
quick), we are going to practice the rhythm that underlies
the Dig-steps. The following paragraphs should be read
and practiced carefully.

Boy or girl stand with the feet together, the weight
over the ball of the right foot. Dig with the ball of the
left foot, bending the knee (count 1), bring the left heel
down, transferring the weight from the right foot to the
left foot, straightening the left knee (count 2). You have
now done one slow.

Dig with the ball of the right foot, bending the knee
(count 3), bring the right heel down, transferring the
weight from the left foot to the right foot, straightening
the right knee (count 4). You have now done two slows
to the count of 1-2, 3-4.

Practice the Dig-steps in place to the 1-2, 3-4 count.
As soon as you have become familiar with this rhythm,
practice the Dig-steps to slows, omitting the 1-2, 3-4
count. Practice until the rhythm becomes automatic and
keep a light, bouncy knee motion, which is one of the
more characteristic things about the Lindy. We are now
ready to proceed to the quick, quick rhythm.

The quick steps are taken by bringing the ball of the
foot in contact with the floor first, allowing the weight to
roll onto the whole foot. Two steps are taken in succession
(quick, quick). The knees should be relaxed so that the
change of weight in stepping can be done quickly.

Now, practice the entire basic step in place, Dig-step,
Dig-step, step, step (slow, slow, quick, quick).

You are now ready to tackle the Breaks.

Lindy (Rock W RoU) 63

BREAKS

There are various ways of doing the Lindy breaks. They
may be done in place, forward, sideward, backward, and
while turning.

Perhaps the most characteristic use made of the breaks
is in traveling. This consists of moving from one place to
another and is done quite freely the boy or girl exchang-
ing places, backing away or around each other. Since one
can do as one pleases in the Lindy, there are no transitions
to worry about! Once the lead and follow through are in-
dicated, one can really let go.

The following breaks, with the accompanying footwork,
will be described in detail: the wann-up break, the turn
under, the elbow break and the hand-change break.
Later, we will describe other breaks and additional Lindy
footwork

LEADING OR FOLLOWING

After Vanning up" (doing the Dig-step in place), the
boy begins to throw the girl out on the first break. After
she is thrown out, the boy pulls the girl in. (This throw-
ing out and pulling in is the most characteristic thing
about the Lindy.) Both the boy's and girl's knees should
be bent on the "pull in," the girl leaning out, keeping her
arm firm but not rigid.

The elbows should be kept dose to the body in a free,
swinging movement. And since the right or left hand is
used freely in starling breaks, the leads should be given
PROMPTLY and QUICKLY. (Remember, the Lindy really
moves! )

And finally, while holding the girl's right hand in the
usual Lindy clasp, the boy's left hand should be suffi-

64

Betty WMte's Teen-Age Dance Book

ciently relaxed so that the girl's fingers can pivot while
making the transitions on the breaks.

PRACTICING THE BREAKS

The warm-up break will be described simultaneously
for the boy and girl since both are doing the same figure.
The steps, however, may be practiced alone, the boy, as
usual, beginning on the left foot, the girl beginning on the
right foot All other breaks will be described separately
for the boy and girl.

In learning the breaks start off with the warm-up,
progressing to the turn under and on to the elbow break
And be sure to master one break at a time.

Lindy (Rock 'N' RoU)

65

WABMJDP BREAK

Boy and Girl

The warm-up break consists of the boy pushing the girl
out to the right, both stepping back diagonally on the
outside foot.

Standing in promenade position, weight on the inside
foot, hands joined in Lindy clasp.

1. Dig-step with the outside foot, slow (2 counts).

2. Dig-step with the inside foot, slow (2 counts).

3. Pushing the girl away with the Lindy hand clasp,
both step back diagonally on the outside foot, quick
(1 count).

4. Pulling the girl in, both step in place on the inside
foot, quick (1 count).

You are now in the original promenade position.

66 Betty White's Teen-Age Dance Book

THE TURN UNDER

Boy

This figure consists of turning the girl right under her
right arm and turning her left while exchanging places
with her.

Standing in promenade position, weight on right foot,
hands joined in Lindy clasp.

RIGHT TURN:

1. Dig-step with left foot while raising the girl's right
arm to prepare for the turn under, slow (2 counts).

2. With hands still raised in the Lindy clasp, turn the
girl with your right hand under her right arm, dig-
ging with the right foot, slow ( 2 counts ) .

3. Step back on the left foot, quick (1 count).

4. Step forward on the right foot, quick (1 count).

(With hands still raised in the Lindy clasp, you
are now facing your partner.)

LJEFT TURN:

1. Dig-step with left foot, pivoting a half turn to the
right while turning the girl to the left with your
left hand, slow (2 counts).

2. Continuing to turn the girl left, Dig-step back-
ward on the right foot, slow (2 counts).

(You have now exchanged places with the girl.)

3. Step forward on the left foot, quick (1 count).

4. Step forward on the right foot, quick ( I count) .

You are now back in the original promenade position
with the right hand under the girl's left shoulder blade,
the left band lowered in the Lindy clasp.

Lindy (Rock W RoU) 67

THE TntY VXDER

Girl

This figure consists of a right turn under your right arm
and then a left turn while exchanging places with the
boy.

Standing in promenade position, weight on left foot,
hands joined in Lindy clasp.

EIGHT TURN:

1. Dig-step with right foot, pivoting slightly to the
right, slow (2 counts).

2. Continuing to pivot to right, dig-step backward
with left foot (right foot follows through J, slow
(2 counts).

3. Step back on the right foot, quick (1 count).

4. Step forward on the left foot, quick (1 count).

(With hands still raised in the Lindy clasp, you
are now facing your partner.)

LEFT TUBN:

1. Dig-step with right foot, pivoting a half turn to
the left, slow (2 counts).

2. Dig-step backward on the left foot, slow ( 2 counts ) .
(You have now exchanged places with the boy.)

3. Step forward on the right foot, quick (1 count).

4. Step forward on the left foot, quick ( 1 count).

You are now back in your original promenade position
with the left hand placed on the boy's right shoulder
blade, the right hand lowered in the Lindy clasp.

68

Betty White's Teen-Age Dance Book

THE ELBOW BREAK

Boy

The elbow break is done by snapping the girl in
quickly toward your left side with the left hand, turning
her quickly to the right with the right hand, and catch-
ing her right hand on the recovery of her turn, snapping
her about with a left turn. In other words, the girl pivots
quickly to the right, followed by a quick pivot turn to
the left

Standing in promenade position, hands joined in Lindy
clasp.

1. Dig-step with left foot, pulling the girl toward
you, slow (2 counts).

2. Turning the girl quickly into a right pivot turn,
dig-step with the right foot, slow (2 counts).

3. Catching the girl at finish of her right turn, swing
her around into a left turn, stepping on left foot,
quick (1 count).

4 Step on the right foot, quick (1 count).

You are now in your original promenade position, the
right hand under the girl's left shoulder blade, the left
hand joined in a Londy clasp.

Lindy (Rock W Roll) 69

THE ELBOW BREAK

Girl

The elbow break consists of pivoting quickly to the
right followed by a complete turn to the left.

Standing in promenade position, hands joined in Lindy
clasp.

1. Dig-step forward with right foot, turning slightly
to the left, slow (2 counts).

2. Turning to right, dig-step with the left foot, pivot-
ing on the left foot, slow (2 counts).

3. Step across in front of the left foot, with right
foot, pivoting quickly to left on ball of right foot,
quick (1 count).

4. Continuing to turn left, step on left foot, quick
(1 count).

You are now back in your original promenade posi-
tion, the left hand on the boy's right shoulder, your right
hand joined in the Lindy clasp.

70 Betty White's Teen-Age Dance Book

THE HAND-CHANGE BREAK

The hand-change break is one of the more character-
istic figures in the Lindy in which partners move about
quite freely turning and exchanging places ad lib.

Boy

Standing opposite your partner, holding the girl's right
hand in your left hand.

1. Dig-step forward with the left foot, slow (2
counts).

2. Dig-step forward with right foot, pivoting a half
turn to left while taking the girl's right hand in
your right hand and transferring it to your left
hand behind your back, slow (2 counts).

3. Step back on the left foot, having exchanged
places with your partner, quick (1 count).
(You are now facing your partner.)

4. Step forward on the right foot, quick (1 count).

Girl

Standing opposite your partner with your right hand
in the boy's left hand.

1. Dig-step forward with the right foot, slow (2
counts).

2. Dig-step forward with left foot, pivoting a half
turn to right as the boy changes hands, slow (2
counts).

8. Step back on right foot, having exchanged places
with your partner, quick (1 count).
(You are now facing your partner.)

4. Step forward on the left foot, quick (1 count).

ADDITIONAL BREAKS

So far the footwork in the preceding breaks consisted
of the slow, slow, quick, quick rhythm. In practicing the
following breaks, the slow or quick counts can be done
quite freely and need not follow a set pattern.

The footwork for the four-hand push-away figure may
be done in two different rhythms: two quick steps to go
backward and two quick steps to go forward, or, one
triple step to go backward and one triple step to go for-
ward. On the other hand, the push-away variation is
done only to quicks. As for the snap figure the dig-step
is the most suitable because of the in-and-out accented
movement of the arms.

Now, in the wrap-around position, the slow count is
used in a pivot step as the boy swings the girl in place
from side to side; or partners may do instead a triple
step, forward and back.

One thing more how about trying your own version
of these breaks? Whatever you do, you'll find them quite
a challenge*

FOUR-HAND PUSH-AWAY

The four-hand push-away figure consists of partners
facing each other holding both hands, pushing away
from each other, and pulling each other in with a back-
ward and forward motion. The figure can also be done
in a backward and forward motion turning to the right

In addition to the four-hand clasp, the figure can be
done in right-hand, right-hand clasp in a backward and
forward motion, and circling to the right.

72

Betty White's Teen-Age Dance Book

PUSH-AWAY: VARIATION

Starting in semi-open position, the girl's right hand
in the boy's left hand (Lindy clasp), the girl's left palm
against the boy's right palm (elbows bent), partners push
each other apart with the palms, the boy taking two
steps backward in a circle to the right while the girl
steps backward and in place, followed by partners pull-
ing each other in with the opposite hands, the boy step-
ping sideward and across the supporting foot to continue
in a circle to the right while the girl steps across the
supporting foot and to the side.

Lindy (Rock '1ST RoU)

73

THE SXAP

With partners facing each
other, arms at the side (bent
at the elbows), both hands
clasped slightly below shoul-
der level, the Snap consists
of partners snapping the
arms inward (down and up
in a half circle), the hands
meeting in front of the chest;
followed by partners snap-
ping the arms outward
(down and up in a half
circle), resuming the origi-
nal position.

WRAP AROUND

With partners facing each
other, both hands clasped,
the boy turns the girl to her
left under his left arm into
the curve of his right arm
into wrap-around position
( arms clasped at the waist ) .
To finish the figure, the boy
releases the girl's left hand,
turning her to her left into
open break position.

74 Betty White's Teen-Age Dance Book

ADDITIONAL FOOTWORK

The teen-ager who is really good may want to dress
up the Lindy by learning one or more of the following
steps: the Triple, the Sugar Foot and the Brush Step.

These figures will add variety to your Lindy, and are
especially useful for traveling in open breaks. At least
they are worth a try!

THE TRIPLE LINDY STEP

Having mastered the footwork in the preceding breaks,
you may now substitute the Triple Step for the Dig-step.
This is done by taking three quick steps in time to the
usual slow (dig step).

Here is what the Triple Lindy looks like:

SLOW SLOW

r

STEP STEP STEP STEP STEP STEP

THE SUGAR FOOT

The Sugar Foot consists of stepping diagonally and
pivoting in on the ball of the foot. Here it is:

Step diagonally forward on the left foot and pivot in
on the ball of the left foot. Step diagonally forward on
the right foot and pivot in on the ball of the right foot.
Now, in dancing the Sugar Foot the step becomes a
continuous motion, forward in the line of direction or in
a circle.

Lindy (Kock 'JV KoU) 75

THE BRUSH STEP

The Brush Step, as the name would indicate, consists
of brushing the foot against the floor, extending the leg
forward, and stepping back and closing. The step can
be done in place or progressing.

THE TWIST

Strictly speaking, the Twist is in a class by itself but
since it is still popular, we are going to include it as an
extra dividend.

The Twist consists of pivoting on the balls of the feet
while twisting the hips from side to side in a circular
motion. The Twist Step is done in place with the feet
apart either left foot in front of right or the left foot
to the side of the right foot. Although the Twist Step is
usually done with the weight on one foot (the other
foot following through with a twisting motion), you
will find it easier to start practicing the Twist by keeping
the weight over both feet.

There are various ways of doing the Twist. For ex-
ample, it can be done facing your partner while bend-
ing forward and backward, and side to side while bending
away and toward your partner. Occasionally, knee lifts
and even deep knee bends are done in the Twist And
for those who really get wound up there is the Whip!
Partners face each other, swinging the arms wildly over-
head in a circling, whipping motion.

From here you are on you* own.

ONE-STEP

Since so many teen-agers today prefer to dance to the
sentimental, "vocal" Foxtrots, which are too slow to
dance to comfortably, here is an easy out the Collegiate
Foxtrot.

The Collegiate Foxtrot is a slower version of the
original Foxtrot the one-step in which every beat in
a 4/4 measure is accented. In dancing the Collegiate
Foxtrot a step is taken to every beat in the music. We
are going to describe the closed position, the pivot turn,
the turn under, and the throw over.

PRACTICING THE COLLEGIATE FOXTROT

Start off by learning the closed position and progress
to the pivot turn in the closed position. For variety, you
might insert a dip at the end of either of these figures.
Remember, there is nothing set about the progression of
one figure to another so have fun making up your own
combinations.

After you have mastered the preceding figures try the
throw over. To get into the open position from which
you begin the throw over figure, start from a closed
position and throw the girl to your right side. You are
now both facing in the line of direction. The transition

76

Collegiate Foxtrot (One-Step) 77

from a throw over to a closed position is made by the
boy stepping in front of the girl. He is now backing in the
line of direction. To progress forward again in the line
of direction, a pivot turn may be inserted. Incidentally,
it is not necessary to keep repeating the throw over from
side to side as shown in the diagram. Occasionally, a
half throw over figure may be done, for example, tossing
the girl from the starting position to the opposite side
and continuing in the line of direction. After practicing
these figures you will find yourself moving from one
position to another with the greatest of ease the Col-
legiate Foxtrot being the simplest of all dances.

78

Betty White's Teen-Age Dance Book

LO

START

4. Step forward on the right foot (1 count).

3. Step forward on the left foot ( 1 count) .

2. Step forward on the right foot ( 1 count).

1. Step forward on the left foot (1 count).

Boy
COLLEGIATE FOXTROT CLOSED POSITION

Collegiate Foxtrot (One-Step)

79

START

1. Step back on the right foot (1 count).

2. Step back on the left foot (1 count).

3. Step back on the right foot ( 1 count).

4. Step back on the left foot (1 count).

COLLEGIATE FOXTROT CLOSED POSITION

80

8. Step back on the right
foot in the line of direc-
tion (1 count).

7. Step on the left foot,
continuing to the right,
pivoting slightly ( 1
count). You are now
facing in the line of
direction.

6. Step on the right foot,
continuing to the right,
pivoting slightly ( 1
count ) .

5. Step on the left foot
to the right, pivoting
(1 count).

1-4. Walk forward left,
right, left, right (4
counts ) . ( The three
pivot steps describe a
complete turn to the
right, the dotted feet
indicating the direction
of the pivot turn. )

TURN THE BOOK IN YOUR
HAND TO CORRESPOND WITH
THE DIRECTION IN WHICH
YOU ARE TURNING.

Boy

RIGHT PIVOT TURN
COLLEGIATE FOXTROT CLOSED POSITION

Collegiate Foxtrot (One-Step)

81

Girl

(The three pivot steps
describe a complete
turn to the right, the
dotted feet indicating
the direction of the
pivot turn. )

1-4. Walk backward right,
left, right, left (4
counts ) .

5. Step back on the right
foot, turning to the
right, pivoting slightly
(1 count).

6. Step back on the left
foot, turning to the
right, pivoting slightly
(1 count).

7. Step back on the right
foot, continuing to the
right, pivoting slightly
( 1 count ) . You are now
backing in the line of
direction.

8. Step forward on the left
foot (1 count).

TURN THE BOOK IN YOUR
HAND TO CORRESPOND WITH
THE DIRECTION IN WHICH
YOU ARE TURNING.

RIGHT PIVOT TURN
COLLEGIATE FOXTROT CLOSED POSITION

82

Betty White's Teen-Age Dance Book

slow

Boy

1. Step sideways on left foot (1 count).

2. Step across in front of the left foot with right foot
(1 count), with hands clasped, raise the girl's right
arm to prepare for the right turn.

3. Step sideways on left foot (1 count), turning the girl
under her right arm and releasing your right hand.

4. Close right foot against left foot, transferring weight
(1 count), while bringing the right hand back to the
left side of the girTs torso as she completes the turn;
lower arms to shoulder level.

THE TURN UNDER

(PROMENADE)
COLLEGIATE FOXTROT

Collegiate Foxtrot (One-Step)

83

LD

START

Gii*

1. Step sideways on right foot ( 1 count ) .

2. Step across in front of the right foot with left foot,
pivoting slightly to the right (1 count), raising the
right arm to prepare for the right turn.

3. Step sideways, pivoting (turning) on ball of right
foot (left foot follows through), making a complete
right turn (1 count), right fingers turning in boy's
left hand, while releasing left hand from boy's right
shoulder (keeping hands vertical while turning).

4. Close left foot against right foot, transferring weight
(1 count), drop left hand to boy's right shoulder;
lower arms to shoulder level.

THE TURN UNDER

(PROMENADE)
COLLEGIATE FOXTROT

84

Betty White's Teen-Age Dance Book

COLLEGIATE FOXTROT OPEN POSITION
THROW OVER SIDE TO SIDE

The throw over figure is almost a continuous motion
in which the initial lead for throwing the girl to the oppo-
site side occurs on the second beat, the follow through of
the arm swinging over the girl on the third beat.

8. Step forward on the
right foot closing right
foot against the left foot
(1 count).

7. Step forward on left
foot, catching the girl
with your right hand
(1 count).

6. Step forward on the
right foot, throwing the
girl over to your right
side (1 count).

5. Step forward on left foot
(1 count).

4. Step forward on the
right foot, closing right
foot against left foot (1
count).

3. Step for-
ward on
left foot,

catching the girl with
your left hand (1 count).
The left hand is now
under the girl's right
shoulder blade.

2. Step forward on the
right foot, throwing the
girl over to your
left side (1 count).

1. Standing in open
position, with the
girl on your right side,
the right hand under her
left shoulder blade, the
left arm at your side,
step forward on the left

foot (1 count).

Boij

85

10

THROW OVER
SIDE TO SIDE

COLLEGIATE
FOXTROT

OPEX POSITION

86

LD

START

THROW OVER
SIDE TO SIDE

COLLEGIATE FOXTROT
OPEN POSITION

Girl

8. Close left foot against
the right foot, transfer-
ring weight (1 count).

7. Step sideways on right
foot, pivoting (turning)
on ball of right foot (left
foot follows through),
making a complete right
turn (1 count), dropping
your left hand on boy's
right shoulder,

6. Step forward on left foot,
pivoting slightly to right
to prepare for throw over
to right side (1 count).

5. Step forward on right
foot (1 count).

4. Close left foot against
right foot, transferring
weight (1 count).

3. Step across in front of
left foot to left side,
pivoting (turning) on
ball of right foot (left
foot follows through ) ,
making a complete left
turn (1 count), dropping
your right hand on the
boy's left shoulder.

2. Step forward on left foot,
pivoting slightly to left to
prepare for throw over to
leftside (1 count).

1. Standing in open posi-
tion, on boy's right side,
left hand on his right
shoulder, right arm at
your side, step forward
on right foot (1 count).

Here is a dance which is still a favorite with the all-
around dancer.

The Rumba, like the Cha Cha Cha, is essentially a
"place" dance a dance which is done pretty much in one
spot. And each requires loose, relaxed knee work. The
Rumba, however, has its own characteristic rhythms and
style. The delayed transference of weight in stepping, for
instance, gives the Rumba its unique appeal.

The music, however, will offer a greater challenge than
the actual dance. But don't let the percussion instru-
ments, with their syncopations and offbeats, throw you
off. Listen for the insistent, steady beat of the claves,
bongo drums, and maracas. And keep relaxed at all times
while practicing this charming dance the Cuban Rumba.

87

88 Betty White's Teen-Age Dance Book

BASIC RHYTHM

THE MUSIC

Like all the Latin-American dances, the Cuban Rumba
shows the influence of the Negroid and Spanish rhythms.
And it is the blending of these rhythms that gives rich-
ness to the Rumba music.

The music is in 4/4 [ J J J time, the accents
occurring on the first and third beats. Here is what a
basic Rumba beat is like:

J J

Because of the variety of percussion instruments, the
drums for example, it is easier to think of the standard
Latin- American rhythm of eight beats in a measure. Here
it is:

And just as "four beats J J J J in a bar" (meas-
ure) is typical of American jazz, the eight beats in a
measure are typical of the Rumba rhythm. The maracas
(gourds shaken in the hands) will give you this rhythm.
In dancing to the music, listen also for the claves and
the bongo drums, which accent the rhythm. Both the
claves (little sticks which are struck together) and the

Rumba

89

bongo drums beat out a typical Charleston beat. Here
it is:

J-T J

The Cuban Rumba music is so relaxing, and the per-
cussion instruments make the accents of the different
rhythms so easy to listen to, that you should have no
difficulty in keeping time.

TH K

The basic step of the Rumba is done to music in 4/4
J J J J time. The step consists of a quick, quick, slow.
Here is what the rhythm looks like:

QUICK QUICK SLOW

Two quick steps are taken to the side, followed by a
slow step. By repeating two quick steps to the side, fol-
lowed by a slow step we have completed a figure. Two
measures of music in 4/4 time are required to complete
the basic figure. Here is what we have just described:

QUICK QUICK SLOW QUICK QUICK SLOW

90 Betty White's Teen-Age Dance Book

We are going to learn the following figures: the square
in closed position, the square turned to the left in closed
position, and three breaks: the right turn under, the open
break, and the back crossover. Each figure will be fully
described.

THE RUMBA MOVEMENT

Before taking up the basic step (quick, quick, slow)
we are going to discuss the rhythm that underlies the
steps.

In the progressive dances, for example the Waltz, the
weight of the body is transferred as the step is taken. In
the Rumba the opposite is done the weight follows the
step. Actually, in the Rumba two movements are made
on each step. The foot is placed (no weight) on the floor,
the weight -following as the step is taken. It is really quite
simple. But make no mistake, the step requires plenty of
practice. Therefore, the following section should be read
and practiced carefully. Boy or Girl stand with the feet
together, the weight over the ball of the right foot.

Place (no weight) the left foot flat against the floor,
slightly to the side, bending the left knee (count 1).
Transfer the weight to the left foot, straightening the
knee (count and}. (The right knee is now bent forward,
no weight on the right foot. )

Place (no weight) the right foot flat against the floor
slightly to the side, bending the right knee (count 2).
Transfer the weight to the right foot, straightening the
knee (count and}. (The left knee is now bent forward,
no weight on the left foot.) You have just taken two
Rumba steps to the count of 1 and 2 and. Practice this
rhythm, calling out "1 and" as you step left, "2 and" as
you step right Practice until the steps become auto-

Rumba 91

matic, remembering always to place the foot before you
step. That's all there is to the Rumba movement!

Now that you have mastered the Rumba movement in
place, begin stepping sidewards, moving to the left, first
placing and stepping on the left foot, followed by placing
and stepping on the right foot. Do several steps in suc-
cession. Now practice moving sideward to the right, plac-
ing and stepping on the right foot, and so forth. After you
have become familiar with the steps moving sideward,
practice moving forward and backward, remembering to
place the foot before stepping. You are now ready to pro-
gress to the basic step,

THE BASIC STEP

The basic step consists of two quick steps and a slow
step. It may be done in a square, a turn, and a break.
When partners are in an open break the so-called Cuban
Walk is done to the same quick, quick, slow rhythm.

THE RUMBA SQUARE

Starting and returning to the same place, a square in-
cludes four directions sideward, forward, sideward, and
backward. See pages ' 94- 95 .

Begin practicing a half -square in the line of direction
(forward for the boy backward for the girl). The figure
requires one measure of music in 4/4 J J J J time.
Continuing with the second half of the square (back-
ward for the boy forward for the girl), repeat the fig-
ure. (Two half -squares require two measures of music,
8 beats. ) You have now done two basic steps in the quick,
quick, slow rhythm. The square must be memorized be-
fore you progress to the left turn.

92 Betty White's Teen-Age Dance Book

THE LEFT TURN SQUARE

The square can be turned to the left (the boy and girl
both turning to the left simultaneously). Four measures of
music are required to complete the figure.

The f eet, head, and arms follow in the direction of a
turn, the chest as usual initiating the lead. For example,
in doing the left turn, the feet, head, and arms point in
the left direction.

THE BREAKS

The Rumba, like the Lindy, has many delightful
breaks. We are going to start by learning the simplest
breaks first.

The turn under is based on the Rumba square so it
will be easy to learn this break. The boy, however, should
keep his left hand sufficiently relaxed so that the girl's
fingers may pivot in his easily, as she does the right turn
under with her right arm.

From here you may progress to the open break. Since
the lead for this break results in an open position, the
boy will have to draw the girl in to resume the closed
position. The girl should lean away as she is drawn in.

Rumba 93

bending the elbow, while keeping the right arm firm but
not rigid. After you have mastered the square, the left
turn, and the open break, try the back crossover. It will
add so much, style to your Rumba. The right and the left
hand are used freely in moving the girl from side to side,
so the leads will have to be given promptly and quickly.
At all times, the elbows should be kept rather close to the
body. And on all open breaks, the girl's arms should be
bent at the elbows, the hands vertical, the fingers curving
over naturally.

Now, you are ready to do these fascinating figures and
breaks.

94 Betty White's Teen-Age Dance Book

START

Boy

1. Place the left foot to the left side, knee bent, no
weight, quick (1 count).

2. Transferring the weight to the left foot, close the
right foot to the left foot, right knee bent, no weight,
quick (1 count).

3. Transferring the weight to the right foot, place the
left foot forward, knee bent, no weight, sZoit? (2
counts).

4. Transferring the weight to the left foot, place the
right foot to the right side, knee bent, no weight,
quick (1 count).

5. Transferring the weight to the right foot, close the
left foot to the right foot, left knee bent, no weight,
quick (1 count).

6. Transferring the weight to the left foot, place the
right foot back, knee bent, no weight, $Zoto (2
counts).

(To repeat the figure, transfer the weight to the right
foot.)

THE SQUARE
RUMBA CLOSED POSITION

Rumba

95

START

LO

Girl

1. Place the right foot to the right side, knee bent, no
weight, quick (1 count).

2. Transferring the weight to the right foot, close the
left foot to the right foot, left knee bent, no weight,
quick (1 count).

3. Transferring the weight to the left foot, place the
right foot back, knee bent, no weight, slow (2
counts).

4. Transferring the weight to the right foot, place the
left foot to the left side, knee bent, no weight, quick
(1 count).

5. Transferring the weight to the left foot, close the
right foot to the left foot, right knee bent, no weight,
quick (1 count).

6. Transferring the weight to the right foot, place the
left foot forward, knee bent, no weight, slow (2
counts).

(To repeat the figure, transfer the weight to the left
foot.)

THE SQUARE
RUMBA CLOSED POSITION

96 Betty White's Teen-Age Dance Book

TURN THE BOOK IX YOUR
HAXD TO CORRESPOND WITH
THE DIRECTION IX WHICH
YOU ARE TURNING.

Boy

1. Place the left foot to the left side, knee bent, no
weight, quick (1 count).

2. Transferring the weight to the left foot, close the
right foot to the left foot, right knee bent, no weight,
quick (1 count).

3. Transferring the weight to the right foot while turn-
ing to the left, place the left foot forward, knee bent,
no weight, slow (2 counts).

4. Continuing to turn, transfer the weight to the left
foot, placing the right foot to the right side, knee
bent, no weight, quick (1 count).

5. Transferring the weight to the right foot, dose the
left foot to the right foot, left knee bent, no weight,
quick (1 count).

6. Transferring the weight to the left foot while turning
to the left, place the right foot back, knee bent, no
weight, slow (2 counts).

(You have now done a half turn. To complete the
turn, transfer the weight to the right foot, repeating
1 through 6.)

LEFT TURN
RUMBA CLOSED POSITION

Rumba 97

TlJRX THE BOOK IX YOUR
HAND TO CORRESPOXD WITH
THE DIRECTIOX IX WHICH
YOU ARE TURXIXG.

Girl

1. Place the right foot to the right side, knee bent, no
weight, quick (1 count).

2. Transferring the weight to the right foot, close the
left foot to the right foot, left knee bent, no weight,
quick (1 count).

3. Transferring the weight to the left foot while turning
to the left, place the right foot back, knee bent, no
weight, slow (2 counts).

4. Continuing to turn, transfer the weight to the right
foot, placing the left foot to the left side, knee bent,
no weight, quick (1 count).

5. Transferring the weight to the left foot, close the
right foot to the left foot, right knee bent, no weight,
quick (1 count).

6. Transferring the weight to the right foot while turn-
ing to the left, place the left foot forward, knee bent,
no weight, slow (2 counts).

(You have now done a half turn. To complete the
turn, transfer the weight to the left foot, repeating
1 through 6.)

LEFT THEN
RUMBA CLOSED POSITION

98

Betty White's Teen-Age Dance Book
THE RIGHT TURN UNDER

Boy

(The right turn under break consists of the boy turning
the girl under her right arm, the girl walking in a circle
close to the boy and resuming the closed position. )

Standing in closed position, the weight on the right
foot.

1. Do a complete Rumba square in the quick, quick,
slow rhythm, raising the girl's right arm to prepare
for the turn under as you step back on the slow.

2. Continuing to do another Rumba square, push the
left side of the girl's torso firmly with your right
hand, turning her under her right arm; assuming
the closed position as you step back on the slow.

The right hand is released after the lead for the turn
under. The arms are lowered and the right hand placed
under the girl's left shoulder blade as you resume the
closed position.

Rumba

99

THE RIGHT TURN UNDER

Girl

(The right turn under break consists of the girl turning
under her right arm, walking in a circle close to the boy
and resuming the closed position.)

Standing in closed position, the weight on the left foot

1. Do a complete Rumba square in the quick, quick,
slow rhythm, raising the right aim to prepare for
the turn under as you step forward on the slow.

You are now going to describe a circle to the right as
you turn under your arm.

2. Beginning with the right foot, take three steps for-
ward in the quick, quick, slow rhythm, turning in
front of the boy, and continuing forward in a half-
square into closed position.

The left hand is released after the lead for the turn
under. The arms are lowered and the left hand placed
on the boy's right shoulder as you resume the closed
position.

100

Betty White's Teen-Age Dance Book

THE OPEN BREAK (CUBAN WALK)

Boy

(The figure consists of the boy pushing the girl into
an open break, followed by the boy walking backward
as he pulls the girl into closed position.)

Standing in closed position, the weight on the right
foot

L Step to the left side on the left foot, quick (1

count).

2. Close the right foot to the left foot, quick (1
count).

3. Pushing the girl away with your right hand (palm
at waist), step forward on the left foot, opening
out to the right, slow (2 counts).

(You are now standing in an open break, left arm ex-
tended in the Rumba hand clasp, the right arm bent
at the elbow.)

You are now going to back in a circle to the right as
you pull the girl toward you. (Keep shoulders parallel.)

Rumba 101

4. Beginning with the right foot, take several steps
backward in the quick, quick, slow rhytihm (the
Cuban Walk) until you have brought the girl into
closed position.

(The figure may be finished off by doing a square in
place.)

THE OPEN BREAK (CUBAN WALK)

Girl

(The figure consists of the boy pushing the girl into
an open break, followed by the girl walking forward as
the boy backs up, pulling the girl into closed position.)

Standing in closed position, the weight on the left foot.

1. Step to the right side on the right foot, quick (1
count)*

2. Close the left foot to the right foot, quick (1
count).

3. Backing away from the boy, step back on the right
foot, opening out to the left, slow (2 counts).

(You are now standing in an open break, your right
hand in the boy's left hand, your left arm bent at the
elbow.)

You are now going to describe a circle to the right as
the boy pulls you toward him. (Keep shoulders parallel.)

4. Beginning with the left foot take several steps for-
ward in the quick, quick, slow rhythm (the Cuban
Walk) until you are back in closed position. (The
figure may be finished off by doing a square in
place.)

102

Betty White's Teen-Age Dance Book

BACK CROSSOVER

The Back Crossover consists of the boy and girl open-
ing out, stepping back and across from side to side.

Boy

Starting position, facing your partner, weight on right
foot, holding your right hand under the girl's left shoul-
der blade.

Rumba J03

Left crossover:

1. Step back and across with the left foot while turn-
ing the girl out to the right, quick (1 count.)

2. Step forward with the right foot, quick (1 count).

3. Swinging the girl with your right hand over to the
left hand, step to the side with the left foot, slew
(2 counts).

Right crossover:

1. Step back and across with the right foot while turn-
ing the girl out to the left, quick (1 count).

2. Step forward with the left foot, quick (1 count).

3. Swinging the girl with your left hand over to the
right hand, step to the side with the right foot, slow
(2 counts).

Note: Since the right and left hand are used consecu-
tively in swinging the girl from side to side, the leads will
have to be given promptly and quickly.

104 Betty White's Teen-Age Dance Book

BACK CROSSOVER

Girl

Starting position, facing your partner, weight on left
foot, arms bent at the elbows.

Right crossover:

1. Opening out to the right, step back and across with
the right foot, quick (1 count).

2. Step forward with the left foot, quick (1 count).

3. Step to the right side with the right foot, slow (2
counts).

Left crossover:

1. Opening out to the left, step back and across with
the left foot, quick (1 count).

2. Step forward with the right foot, quick (1 count).

3. Step to the side with the left foot, slow (2 counts).

Note: It is important for the girl to keep her elbows
bent in order to dear the boy as he swings her from side
to side.

<^r

//.

The Cha Cha Cha has a light, bouncy rhythm which
appeals to everyone. And while the dance is done to
Mambo music, it is easier to execute than the Mambo.

THE BASIC RHYTHM

The music is in 4/4 J J j J time, the accent oc-
curring on the first beat and the secondary accent on
the third beat. Here it is:

n j

>

105

106 Betty White's Teen-Age Dance Book

THE BASIC STEP

In dancing the Cha Cha Cha a step is taken forward or
backward on the first beat, followed by a step in place on
the second beat, followed by three steps (a ball change)
forward, backward, or sideward on the third and fourth
beats. Here it is:

t J J

J

STEP STEP STEP STEP STEP

We are going to learn the basic step forward and back-
ward and sideward, and the front crossover. Each of these
figures will be described in detail. In addition, we will
describe the chase in half turns and later, in whole turns.
Incidentally, the forward and backward and sideward
steps can be done in closed position or away from your
partner in opposite position.

Having mastered the preceding figures, you can begin
to vary them. For example, occasionally a back crossover
(partners stepping back and across) may be substituted
for the front crossover. And the sideward basic step may
be made more interesting by partners moving from closed
position sideways to the left-left hand-left hand-and
sideways to the right right hand-right hand. Also, whole
turns may be done quite freely following any figure in
opposite position.

And now that you have learned these delightful van*
ations, try some combinations of your own.

Cha Cha Cha 107

THE BASIC STEP

Boy

Starting position, facing your partner, weight on right
foot.

Forward basic step:

1. Step forward with left foot, slow.

2. Step back in place on right foot, slow.

3. Beginning with left foot, talce 3 steps backward
(left, right, left), quick, quick, slow.

Backward basic step:

4. Step back with right foot, slow.

5. Step forward in place on left foot, slow.

6. Beginning with right foot, take 3 steps forward
(right, left, right), quick, quick, slow.

108 Betty White's Teen-Age Dance

THE BASIC STEP

Girl

Starting position, facing your partner, weight on left
foot.

Backward basic step:

1. Step back with right foot, slow.

2. Step forward in place on left foot, slow.

3. Beginning with right foot, take 3 steps forward
(right, left, right), quick, quick, slow.

Forward basic step:

4. Step forward with left foot, slow.

5. Step back in place on right foot, slow.

6. Beginning with left foot, take 3 steps backward
(left, right, left), quick, quick, slow.

109

SIDEWARD BASIC STEP

Boy
Stand with feet slightly apart, weight on right foot.

Left side:

1. Close left foot to right foot, slow.

2. Step in place on right foot, slow.

3. Beginning with left foot, take 3 steps sideward
(left, right, left), quick, quick, slow.

Right side:

4. Close right foot to left foot, slow.

5. Step in place on left foot, slow.

6. Beginning with right foot, take 3 steps sideward
(right, left, right), quick, quick, slow.

Betty White's Teen-Age Dance Book

SIDEWARD BASIC STEP

Girl
Stand with feet slightly apart, weight on left foot

Right side:

1. Close right foot to left foot, slow.

2. Step in place on left foot, slow.

3. Beginning with right foot, take 3 steps sideward
(right, left, right), quick, quick, slow.

Left side:

4. Close left foot to right foot, slow.

5. Step in place on right foot, slow.

6. Beginning with left foot, take 3 steps sideward
(left, right, left), quick, quick, slow.

Clia Cha

111

FRONT CROSSOVER

Boy

Starting position, facing your partner, weight on right
foot, holding girl's right hand in your left hand.

Left crossover:

1. Pivoting on right foot to right, step with left foot
across right foot, slow.

2. Step in place with right foot, slow.

3. Beginning with left foot, take 3 steps sideward
(left, right, left), quick, quick, slow.

Right crossover:

1. Taking girl's left hand in your right hand, pivot on
left foot to left, stepping with right foot across left
foot, slow.

2. Step in place with left foot, slow.

3. Beginning with right foot, take 3 steps sideward
(right, left, right), quick, quick, slow.

112

Betty White's Teen-Age Dance Book

FRONT CROSSOVER

Girl

Starting position, facing your partner, weight on left
foot, right hand held by boy's left hand.

Right crossover:

1. Pivoting on left foot to left, step with right foot
across left foot, slow.

2. Step in place with left foot, slow.

3. Beginning with right foot, take 3 steps sideward
(right, left, right), quick, quick, slow.

Left crossover:

1. Placing your left hand in boy's right hand, pivot on
right foot to right, stepping with left foot across
right foot, slow.

2. Step in place with right foot, slow.

3. Beginning with left foot, take 3 steps sideward
(left, right, left), quick, quick, slow.

Cha

113

THE CHASE

In the Chase the boy turns away from the girl, and she
follows him. As the girl turns away from the boy, he fol-
lows her. Partners continue chasing each other by taking
half right turns and half left turns alternately.

114 Betty White's Teen-Age Dance Book

HALF TURNS

Boy
Stand opposite your partner, weight on right foot.

Right turn:

1. Step forward on left foot, pivoting to right, slow.

2. Continuing to pivot to right, step in place on right
foot, slow.

3. Beginning with left foot, take 3 steps forward (left,
right, left), quick, quick, slow.

(You have now done a half turn.)

Left turn:

4. Step forward on right foot, pivoting to left, slow.

5. Continuing to pivot to left, step in place on left
foot, slow.

6. Beginning with right foot, take 3 steps forward
(right, left, right), quick, quick, slow.

(You have now done a half turn.)

The turns may be repeated several times. To resume
the original position (facing your partner) it will be
necessary for the boy to do a basic step in place while
the girl completes her last turn.

Cha Cha Cha 115

HALF TVRXS

Girl

It will be necessary for the girl to do a backward basic
step in place while the boy executes the right turn.

Stand opposite your partner, weight on left foot.
Backward basic step:

1. Step back with right foot, slow.

2. Step forward in place on left foot, slow.

3. Beginning with right foot, take 3 steps forward
(right, left, right), quick, quick, slow.

Right turn:

1. Step forward on left foot, pivoting to right, slow.

2. Continuing to pivot to right, step in place on right
foot, slow.

3. Beginning with left foot, take 3 steps forward (left,
right, left), quick, quick, slow.

(You have now done a half turn.)

116 Betty White's Teen-Age Dance Book

Left turn:

4. Step forward on right foot, pivoting to left, slow.

5. Continuing to pivot to left, step in place on left
foot, slow.

6. Beginning with right foot, take 3 steps forward
(right, left, right), quick, quick, slow.

(You have now done a half turn.)

The turns may be repeated several times. To resume
the original position (facing your partner) it will be
necessary for the boy to do a basic step in place while
the girl completes her last turn.

WHOLE TURKS

Occasionally, whole turns are used in the chase figure
instead of half turns. The figure consists of the boy doing
the whole turn while the girl does a basic step and vice
versa. Since the footwork is the same for the boy and girl,
although performed alternately, we will describe only the
boy's part. (The girl as usual uses the opposite foot)

Boy
Stand opposite your partner, weight on right foot.

Whole turn:

1. Step forward on left foot, pivoting to right, slow.

2. Continuing to pivot to right, step in place on right
foot, slow.

3. Continuing to pivot to right, step on left foot, com-
pleting turn, quick.

4-5. Step back on right and left foot, quick, slow.

Backward basic step:

L Step back with right foot, slow.

2. Step forward in place on left foot, slow.

3. Beginning with right foot, take 3 steps forward
(right, left, right), quick, quick, slow.

12. Janao

For something different try a Tango! Its smooth, sleek
style will add much to your social dancing particularly
the American Foxtrot. The music is less complex than
the Rumba; and since the Argentine Tango is done mod-
erately slow, you will not find practice too difficult.

The lovely, plaintive melodies of the Tango are most
appealing and the strongly accented bass in the music
will help you keep time.

Long, smooth steps should be taken to maintain that
sleek look so characteristic of the Argentine Tango.

BASIC RHYTHM

The basic rhythm of die Tango is slow, slow, quick-
quick, slow. Two measures of music in 4/4 J *J J jl
time are required to complete the rhythm. Here is what
it looks like:

J J J J

SLOW SLOW QUICK QUICK SLOW

118

Tango 119

Two slow steps are taken followed by two quick steps
and a slow step, at the end of which figure the feet are
brought together to form an arch, (Arching consists of
drawing the foot slowly to the arch of the supporting
foot, the weight remaining on the supporting foot). By
merely changing one's direction or position any number
of fascinating combinations can be devised.

We are starting off with the more basic figures, the
closed position, the dip, the outside position, and the
promenade. Each of these figures is described.

PRACTICE

In learning the figures, start off with the closed posi-
tion and progress to the dip. And for something a little
tricky, try the outside figure. From there you may progress
to the promenade.

After you have practiced the individual figures you
can begin to combine them. Progressing from the closed
position, to the dip, and on to tie outside will be quite
simple since you are already in closed position at the
end of each figure. Be sure to keep the shoulders parallel
while stepping into outside position. The transition to

the promenade can be made by pivoting in the line of
direction on the last slow of the preceding figure. You
will then be in semi-open position to begin the prome-
nade. And for variety, you might try the turn under
(promenade) figure in which the girl pivots in place to the
right, the boy continuing in the line of direction. And
remember to try some new figures of your own,

120

Betty White's Teen-Age Dance Book

START

5. Draw the left foot slowly to the arch of the right
foot, weight remaining on the right foot, slow (2
counts).

4. Follow through with the right foot and step to the
right side, quick (1 count).

3. Step forward on the left foot, quick ( 1 count).

2. Step forward on the right foot, the left toe remain-
ing in place, slow (2 counts).

1. Step forward in the line of direction on the left
foot, the right toe remaining in place, slow (2
counts).

Boy
TANGO CLOSED POSITION

Tango

LO

START

I
t

121

ARCH

Girl

1. Step backward in the line of direction on the right
foot, the left toe remaining in place, slow (2
counts).

2. Step backward on the left foot, the right toe re-
maining in place, slow (2 counts).

3. Step backward on the right foot, quick (1 count).

4. Follow through with the left foot and step to the
left side, quick (1 count).

5. Draw the right foot slowly to the arch of the left
foot, weight remaining on the left foot, slow (2
counts).

TANGO CLOSED POSITION

122 Betty White's Teen-Age Dance Book

START \ |f V. | righlfoo*
slides bode
on dip, fh*n
forward

LD

5. Draw the left foot slowly to the arch of the right
foot, weight remaining on the right foot, slow (2
counts).

4 Follow through with the right foot and step to the
right side, quick (1 count).

3. Step forward on the left foot, quick (1 count).

2. Step forward on the right foot, the left toe remain-
ing in place, slow (2 counts).

1. Step back on the left foot, bending at the knee, right
leg extended, slow (2 counts).

Boy

DIP
TANGO CLOSED POSITION

Tango 123

START

Girl

1. Step forward on the right foot, bending at the knee,
left leg extended, toe remaining in place, slow (2
counts).

2. Step back on the left foot, slow (2 counts).

3. Step backward on the right foot, quick (1 count).

4 Follow through with the left foot and step to the
left side, quick (1 count).

5. Draw the right foot slowly to the arch of the left
foot, weight remaining on the left foot, slow (2
counts).

DIP
TANGO CLOSED POSITION

124

Betty White's Teen-Age Dance Book

START

5. Draw the left foot slowly to the arch of the right
foot, weight remaining on the right foot, slow (2
counts).

4. Follow through with the right foot and step to the
right side, quick (1 count).

3. Following through, step forward and across with
the left foot into closed position, quick (1 count).

2. Step forward and across with the right foot, slow
(2 counts). You are now in outside position.

1. Facing in the line of direction, in closed position,
step diagonally forward on the left foot, the right
toe remaining in place, slow (2 counts).

Boy
TANGO OUTSIDE POSITION

Tango 125

Girl

1. Backing in the line of direction, in closed position,
step diagonally backward on the right foot, the left
toe remaining in place, slow (2 counts).

2. Step in back of and across with the left foot, slow
(2 counts). You are now in outside position.

3. Following through, step back and across with the
right foot, quick (1 count). You are now in closed
position.

4. Follow through with the left foot and step to the
left side, quick (1 count).

5. Draw the right foot slowly to the arch of the left
foot, weight remaining on the left foot, slow (2
counts).

TANGO OUTSIDE POSITION

126

Betty White's Teen-Age Dance Book

5.

3.
2.

1.

LD

START

Draw the left foot slowly to the arch of the right
foot, weight remaining on the right foot, slow
(2 counts).

Follow through with the right foot and step to the
right side, quick (1 count).

Step forward on the left foot, quick (1 count).

Step across in front of the left foot with right foot,
swinging the girl into closed position in the line of
direction, slow (2 counts).

Facing in the line of direction, in promenade posi-
tion, step sideways on left foot, the right toe re-
maining in place, slow (2 counts).

Boy
TANGO PROMENADE

Tango

LD

START

Girl

1. Facing in the line of direction, in promenade posi-
tion, step sideways on right foot, the left toe re-
maining in place, slow (2 counts).

2. Step across in front of the right foot with left foot,
pivoting into closed position, slow (2 counts).

3. Backing in the line of direction, step back on the
right foot, quick (1 count).

4. Follow through with the left foot and step to the
left side, quick (1 count).

5. Draw the right foot slowly to the arch of the left
foot, weight remaining on the left foot, slow (2
counts).

TANGO PROMENADE

128 Betty White's Teen-Age Dance Book

THE ROCK STEP (HABANERA)

However interesting the slow, slow, quick, quick, slow
rhythm is in the Tango, the dance would be incomplete
without the so-called Rock Step (rocking the weight
forward and back on the balls of the feet). The Rock
Step rhythm is quick, quick, slow and requires one
measure of music in 4/4 J J J J time. Here is what
it looks like:

QUICK QUICK SLOW

The Rock Step is based on the traditional Habanera
rhythm in 4/4 time. Here it is:

t

This rhythm shows the influence of the Spanish, Negroid,
and South American flavor that is so characteristic of the
Latin-American dances.

PRACTICING THE ROCK STEP

The Rock Step may be done forward and backward
and in a turn. It may be done in closed or outside posi-
tion. But before undertaking to practice these positions
with a partner, it might be wise for you to learn the Rock
Step alone. Here is a description of the step.

Tango 129

Boy

1. Facing in the line of direction, step forward on
the left foot, qfiick (1 count).

2. Stepping back on the ball of the right foot, rode
back, quick (1 count).

3. Step forward on the left foot (the right foot follows
through), slow (2 counts).

Repeat figure, starting forward on the right foot.

(Lead for the Rock: Pull the girl slightly toward you
on the second count, releasing the pressure of your right
hand on the third count.)

Girl

1. Backing in the line of direction, step back on the
ball of the right foot, quick (1 count).

2. Stepping forward on the left foot, rock forward,
quick (1 count).

3. Step back on the ball of the rigjht foot, allowing
the weight to roll back on the whole foot (the left
foot follows through), slow (2 counts).

Repeat figure, starting back on the ball of the left foot.

As a beginner you will find it easier to practice the
Rock Step -first in outside position. After you have be-
come familiar with the lead for the Rock Step in this
position you will find it quite easy to progress to the
closed position. The transition of moving from one figure
into the other can be done on the slow of the preceding
figure.

130 Betty White's Teen-Age Dance Book

TURNING

By using the basic step quick, quick, slow, a quarter
turn in closed position may be done to the left or right.

For a more continuous turn, try stepping and rock-
ing, using all quicks. For example, if the boy is turning
left he steps forward on the left foot, quick, he steps
back on the ball of the right foot, quick, three times in
succession (6 counts), followed by a slow step, forward
on the left foot (2 counts). The right foot is now released
to begin the right turn. The figure may be repeated by
stepping forward on the right foot and back on the ball
of the left foot, three times in succession; followed by a
slow step forward on the right foot as a transition to the
left turn. Be sure to pivot as you turn either left or right

In following the boy for the left turn, the girl steps
back on the ball of the right foot and forward on the
left foot. To follow the boy in turning right, the girl steps
Back on the ball of the left foot and steps forward on
the right foot. (To become familiar with the entire figure,
read the preceding description for the boy.)

13. Viennese \AJcLlh

Now that you have learned the American Waltz, try
something a little more giddy. The Viennese Waltz with
its lilt and speed is fun to do, and the melodies are de-
lightful.

For a grand occasion like a prom, for instance there
is nothing like a Viennese Waltz. It adds sparkle and
gaiety and is worth that extra effort required to learn
the pivot turn.

PRACTICING THE VIENNESE WALTZ

The most characteristic thing about a Viennese Waltz
is its speed and the so-called pivot turn. (A pivot, as you
know, consists of turning on the ball of the foot. )

It will be wise, therefore, for you to practice the for-
ward and backward turns slowly. After you have mastered
your own part, begin to practice with a partner.

Be sure to lean away slightly from your partner as you
turn. It will help both of you to maintain your balance.
The boy should hold his right hand under the girl's
left shoulder blade firmly while turning, and the girl
should maintain a firm hold on the back of the boy's
right shoulder blade.

The basic figure of the Viennese Waltz is really quite
simple so you should have no difficulty in mastering this
dance.

131

132

Betty White's Teen-Age Dance Book

START

You are now backing in the line of direction.

3. Pivot on the balls of both feet, making another
quarter turn to the left, transferring the weight to
the left foot as the left heel touches the toe of the
right foot (1 count).

2. Follow through with the right foot and take a short
step to the right side (1 count).

1. Chest leading, step forward on left foot, making a
quarter turn to the left (1 count).

Facing in the line of direction, feet together, the
weight over the ball of the right foot.

Boy

FORWARD HALF TURN
VIENNESE WALTZ

Viennese Waltz

133

START

Boy

Starting position, weight on left foot, toe pointing
out, the right toe behind the left heel.

1. Chest leading, step backward with the right foot,
making a quarter turn to the left (1 count).

2. Step with the left foot in back of and across the
right foot (1 count).

3. Pivot on the balls of both feet, making another quar-
ter turn to the left, transferring the weight to the
right foot; bringing the left foot against the right
foot (1 count).

You are now facing in the line of direction.

BACKWARD HALF TURN
WALTZ

134

Betty White's Teen-Age Dance Book

START

Backing in the line of direction, feet together, the
weight over the ball of the left foot.

1. Chest leading, step backward with the right foot,
making a quarter turn to the left ( 1 count) .

2. Step with the left foot in back of and across the
right foot (1 count).

3. Pivot on the balls of both feet, making another
quarter turn to the left, transferring the weight to
the right foot; bringing the left foot against the
right foot (1 count).

You are now facing in the line of direction.

BACKWARD HALF TURN
VIENNESE WALTZ

Viennese Waltz 135

START

(To continue turning, the starting position begins
with the weight on left foot, toe pointing out, the
right toe behind the left heel)
You are now backing in the line of direction.

3. Pivot on the balls of both feet, making another
quarter turn to the left, transferring the weight to
the left foot as the left heel touches the toe of the
right foot (1 count).

2. Follow through with the right foot and take a short
step to the right side (1 count).

1. Chest leading, step forward on left foot, making a
quarter turn to the left (1 count).
Facing in the line of direction, feet together, the
weight over the ball of the right foot

Girl

FORWARD HALF TURN
VIENNESE WALTZ

14.

Sooner or later the Polka turns up. And it certainly
c\ves its perennial appeal to its simple, gay rhythm
usually in 2 4 time.

Although there are numerous versions of the Polka
the fcc hee! and toe and away we go" is by far the most
popular as well as the easiest to execute. The more ener-
getic will want to hop and slide. But whichever version
is preferred, the lighthearted Polka will continue to be
popular.

It is as fresh today as it was a hundred years ago and
will probably continue to hold its own as an old-time
favorite.

BASIC RHYTHM

The basic rhythm of the Polka is 2/4 time /""""3
4 . In counting the steps to the music, however,
we are going to use a 4/4 rhythm J J J J .

BASIC STEP

The basic polka step consists of a hop, step-close,
step, and requires one measure of music in 4/4 time
J j J J . The hop is taken in place on a sixteenth note
(a note added before the first beat). Think of the six-
teenth note as an upbeat, calling it and. The hop is

136

Polka 137

followed by stepping and closing (drawing: the foot to
the supporting foot and transferring the wdsht : a step
is repeated with a follow-through on the fourth beat.
Here it is:

J J J /.

(AND) 1234
HOP STEP CLOSE STEP F.T.

This is the true Polka and we are going to learn it after
we have studied the heel and toe Polka with slides.
Because of the speed of the Polka, the hop-step rhythm
is a little more difficult to execute. And as a matter of
fact, teen-agers, as beginners, really prefer the heel and
toe combination as a start. Every region has its own ver-
sion of the Polka so that one needn't take the numerous
variations too seriously!

We are going to learn first the heel and toe Polka
combination with slides in skater s position, a variation
known as the crossover in skater's position, and the heel
and toe combination in closed position. We are also go-
ing to include the so-called two-step Polka (done with-
out the hop), progressing in closed position; to be fol-
lowed by the hop-step version, progressing and turning
in closed position. Each figure will be described.

Since the boy and girl both start on the same foot in
skater's position, the steps will be described simultane-
ously. In assuming the closed position, however, the girl
will use the right foot, backing in the customary line of
direction. The heel and toe in closed position and the
various steps that follow will be described separately.

138 Betty White's Teen-Age Dance Book

POLKA SKATER'S POSITION
(HEEL AND TOE)

Boy and Girl

Facing in the line of direction, stand side by side (boy's
right side against girl's left side), weight over the ball
of the right foot; cross arms, joining right hand with right
hand, left hand with left hand.

Heel and Toe:

L With toes pointed up, place the left foot diagonally
forward, heels touching floor (count 1).

2. Bring the left foot diagonally back, toes touching
the floor (count 2).

Polka 139

3. With toes pointed up, place the left foot diagonally
forward, heels touching the floor (count 3).

4. Bring the left foot diagonally back, toes touching
the floor (count 4).

(The figure requires one measure of music in 4/4
time.)

The Slides:

1. Slide diagonally forward on the left foot (count 1).
Close the right foot to the left foot, transferring
the weight (count and).

2. Slide diagonally forward on the left foot (count 2).
Close the right foot to the left foot, transferring
the weight (count and).

3. Slide diagonally forward on the left foot (count 3 ).
Close the right foot to the left foot, transferring
the weight (count and).

4. Slide diagonally forward on the left foot (count 4).
The right foot follows through (count and).

(The figure requires one measure of music in 4/4
time.)

The entire figure (the heel and toe and slides) may
now be repeated to the right, beginning with the right
foot

140 Betty White's Teen-Age Dance Book

*/

POLKA SKATER'S POSITION
THE CROSSOVER (VARIATION)

The crossover consists of the boy switching the girl
from his right side over to his left side.

Facing in the line of direction, the girl's left shoulder
against the boy's right shoulder, the hands clasped verti-
cally at shoulder level, the weight over the ball of the
right foot.

L Starting with the left foot, do the heel and toe
combination twice in place (count 4).

2. Slide diagonally forward on the left foot three
times, closing with the right foot (count 3).

3. Step diagonally forward on the left foot (count 1),
while transferring the girl quickly from the right
shoulder to the left shoulder, the girl stepping
across and in front of the boy.

(Two measures of music in 4/4 time are required for
the entire figure.)

The girl now has her right shoulder against the boy's
left shoulder.

The entire -figure (the heel and toe and slides) may
now be repeated to the right, beginning with the right
foot

Polka 141

POLKA CLOSED POSITION
(HEEL AXD TOE}

Boy

In the heel and toe and slide combination in closed
position the boy clasps the girl at the waist.

Facing in the line of direction, feet together, the weight
over the ball of the right foot.

Heel and toe:

1. With toe pointed up, place the left foot to the side,
the heel touching the floor (count 1).

2. Bring the left foot back, the toe touching the floor
(count 2).

3. With toe pointed up, place the left foot to the side,
the heel touching the floor (count 3).

4. Bring the left foot back, the toe touching the floor
(count 4).

(The figure requires one measure of music in 4/4
time.)

The Slides:

1. Slide diagonally forward on the left foot ( count 1 ) .
Close the right foot to the left foot, transferring the
weight (count and).

2. Slide diagonally forward on the left foot (count 2).
Close the right foot to the left foot, transferring the
weight (count and).

3. Slide diagonally forward on the left foot (count 3).
Close the right foot to the left foot, transferring the
weight ( count and ) .

4. Slide diagonally forward on the left foot (count 4).
The right foot follows through (count and).

(The figure requires one measure of music in 4/4
time.)

The entire figure (the heel and toe and slides) may
now be repeated to the right, beginning with the right
foot

Betty White's Teen-Age Dance Book

POLKA CLOSED POSITION
(HEEL AXD TOE)

Girl

In the heel and toe and slide combination in closed
position the girl places her hands on the boy's shoulders.

Backing in the line of direction, feet together, the
weight over the ball of the left foot.
Hcd and Toe:

1. With toe pointed up, place the right foot to the
side, the heel touching the floor ( count 1. )

2. Bring the right foot back, the toe touching the floor
( count 2 ) .

S. With toe pointed up, place the right foot to the

side, the heel touching the floor (count 3).
4. Bring the right foot back, the toe touching the floor

^ count 4).

; The figure requires one measure of music in 4/4
time. )
The Slides:

1. Slide back diagonally on the right foot (count 1).
Close the left foot to the right foot, transferring the
weight ( count and ) .

2. Slide back diagonally on the right foot (count 2).
Close the left foot to the right foot, transferring the
weight ' v count and ) .

3. Slide back diagonally on the right foot (count 3).
Close the left foot to the right foot, transferring the
weight v count and ) .

4* Slide back diagonally on the right foot (count 4).
The left foot follows through ( count and ) .

(The figure requires one measure of music in 4/4
tinie.)

The entire figure (the heel and toe and slides) may
now be repeated to the left, beginning with the left foot.

Polka 143

POLKA CLOSED POSITION
(WITHOUT HOP}

Boy

Facing in the line of direction, feet together, the weight
over the ball of the right foot, ~

1. Step diagonally forward on the left foot '"count 1\
Close the right foot to the left foot, transferring the
weight (count and).

2. Step diagonally forward on the left foot f count 2).
The right foot follows through , count and).

3. Step diagonally forward on the right foot 'count
3). Close the left foot to the right foot, transferring
the weight (count and).

4. Step diagonally forward on the right foot (count
4). The left foot follows through ^ count and}.

(You have just completed a Polka step to the left and
to the right. The figure requires one measure of music
in 4/4 time. )

The entire -figure may now be repeated to the left, be-
ginning with the left foot.

Girl

Backing in the line of direction, feet together, the
Weight over the ball of the left foot.

1. Step back diagonally on the right foot (count 1).
Close the left foot to the right foot, transferring the
weight ( count and ) .

2. Step back diagonally on the right foot (count 2).
The left foot follows through (count and).

3. Step back diagonally on the left foot (count 3).
Close the right foot to the left foot, transferring the
weight (count and).

4. Step back diagonally on the left foot (count 4).
The right foot follows through (count and).

(You have just completed a Polka step to the right and
to the left. The figure requires one measure of music in
4/4 time.)

The entire figure may now be repeated to the right,
beginning with the right foot.

144 Betty TOute's Teen-Age Dance Book

POLKA CLOSED POSITION
(WITH HOP)

Boy

Facing in the line of direction, feet together, the weight
over the ball of the right foot.

Hopping on the right foot and lifting the left knee
(count and):

1. Step diagonally forward on the left foot (count 1).

2. Close the right foot to the left foot, transferring the
weight (count 2).

3. Step diagonally forward on the left foot (count 3).

4. The right foot follows through (count 4).

Hopping on the left foot and lifting the right knee
(count and):

1. Step diagonally forward on the right foot (count
1).

2. Close the left foot to the right foot, transferring the
weight (count 2).

3. Step diagonally forward on the right foot (count
3).

4. The left foot follows through (count 4).

(You have just completed a Polka step to the left and
to the right The figure requires two measures of music in
4 4 time.)

The entire figure may now be repeated to the left.

Polka 145

POLKA CLOSED POSITION
(WITH HOP)

Girl

Backing in the line of direction, feet together, the
weight over the ball of the left foot.

Hopping on the left foot and lifting the right knee
(count and):

1. Step back diagonally on the right foot (count 1).

2. Close the left foot to the right foot, transferring the
weight (count 2).

3. Step back diagonally on the right foot (count 3).

4. The left foot follows through (count 4).

Hopping on the right foot and lifting the left knee
(count and):

L Step back diagonally on the left foot (count 1).

2. Close the right foot to the left foot, transferring the
weight (count 2).

3. Step back diagonally on the left foot (count 3).

4. The right foot follows through (count 4).

(You have just completed a Polka step to the right and
to the left. The figure requires two measures of music in
4/4 time.)

The entire -figure may now be repeated to the right

146 Betty White's Teen-Age Dance Book

POLKA CLOSED POSITION

Tl'RX
(WITH HOP)

Boy

The Polka turn consists of doing a half right turn in the
2:ne of direction and continuing to the right with another
half right turn.

Facing in the line of direction, stand with feet together,
the weight over the ball of the right foot.

Hopping on the right foot while turning to the right,
and lifting the left knee (count and):

1. Step to the side on the left foot (count 1).

2. Close the right foot to the left foot, transferring the
weight (count 2),

3. Continuing to turn right, step back on the left foot
(count 3).

4. The right foot follows through (count 4).

Hopping on left foot while turning to right and lifting
right knee (count and):

1. Step to the side on the right foot (count 1).

2. Close the left foot to the right foot, transferring the
weight (count 2).

3. Continuing to turn right, step forward on the right
foot (count 3).

4. The left foot follows through (count 4).

(The figure requires two measures of music in 4/4
time.)

Polka 147

POLKA CLOSED POSITION

TVRX
(WITH HOP)

Girl

The Polka turn consists of doing a half right turn, back-
ing in the line of direction and continuing to the right
with another half right turn.

Backing in the line of direction, stand with feet to-
gether, the weight over the bail of the left foot.

Hopping on the left foot while turning right, ana lifting
the right knee (count and}:

L Step to the side on the right foot (count 1).

2* Close the left foot to the right foot, transferring the
weight (count 2).

3. Continuing to turn right, step forward on the right
foot (count 3).

4. The left foot follows through (count 4).

Hopping on right foot while turning right, and lifting
left knee (count and):

1. Step to the side on the left foot ( count 1 ) .

2. Close the right foot to the left foot, transferring the
weight ( count 2 ) .

3. Continuing to turn right, step back on the left foot
(count 3).

4 The right foot follows through (count 4).

(The figure requires two measures of music in 4/4
time.)

148

Betty White's Teen-Age Dance Book

PRACTICE

Although the Polka, in closed position, may be done
with the customary clasp, the Waltz, for example, it is a
little safer while doing the Polka, for the boy to clasp the
girl's waist, the girl clasping the boy's shoulders. And in
order to get good leverage, while turning, partners should
lean awav from each other.

In changing direction, partners should look in the new
direction before beginning the following figure. (You do
have to see where you are going, you know. ) And because
of the speed with which one moves while dancing the
Polka, one will have to watch out for other couples on the
fioor to avoid collisions.

Polka 149

VARIATIONS

Now that you have learned the heel and tee, the slide
and the basic Polka steps in the skater's and the closed
position, try some other variations. For instance, in addi-
tion to doing the skater's position with the crossover,

which has been described, von miaht trv the throw over

* * ^-. *

(tossing the girl from the right side to the left side}. See
Page 98.

The Polka step (without the hop^ may also be varied
by turning in closed position. And at intervals the girl
may turn under her right arm. And for something even
more giddy, the boy may Polka in place while swinging
the girl around him with his right arm overhead, the girTs
left hand clasped in his right hand.

For those who really get wound up doing the Polka,
there is a four hand variation. Two couples in open posi-
tion join inside hands, the head couple (the couple in
front) joining outside hands with the couple behind while
progressing in the line of direction. At any moment the
head couple may back up under the inside arms of the
couple behind, the two couples continuing to progress in
the line of direction. From here on you may try your otcn
variations. But remember, while having fun ? to keep
things under control.

15. Party JbanceA

VIRGINIA REEL

Want to really dress up a party? Then try a modern
version of the Virginia Reel. There is nothing like it to
pull a dance out of the doldrums. If the guests are not
already familiar with the figures, someone can call them
out to get things under way. And if the more traditional
Virginia Reel music is not available, a Polka or snappy
March can be used in a pinch.

By all means try a Virginia Reel at least once. If you
haven't done so, you've really missed out! So get going.

THE MUSIC

As the name of the dance would indicate, reel music
usually accompanies the Virginia Reel in 6/8 j j j

time. But as has already been pointed out, music in 2/4
* 4 time may be found equally satisfac-
tory.

THE DANCE

We are going to do a modern version of the Virginia
Reel in which everybody is active. And in order to keep
the dance moving along it will be wise to confine the
dance to six couples. When more than six couples join
the dance, couples remain inactive for too long a period,
for example, as the head couple reels while progressing
down the set.

150

Party Dances 151

The figures we are going to describe for the modem
version of the dance may also be used fcr the traditional
Virginia Reel the "Sir Roger de Coverley" in which
the head lady and foot gent begin the dance, alternating
with the foot lady and head gent. In our modem version
all the couples begin the dance. And it is ranch more
lively that way.

A light, marching step is used throughout most of the
figures and a sliding step the Chcsse , meaning cne foot
chasing the other) is occasionally used. The following
description of these steps and figures should enable you
to get going.

FORMATION

The Virginia Reel is a longways formation consisting of
six couples, the boys in one line, the girls in an opposite
line, partners facing each other.

152

Betty Wliite's Teen-Age Dance Book

Forward and Back

Partners walk four steps forward, bow to each other,
walk four steps back, returning to place (8 counts).

Right Hand Around

Partners walk forward, join right hands, turn once
around and return to place (8 counts).

Party Dances

153

Left Hand Around

Partners walk orward, join left hands, tarn once around
and return to place (S counts ).

Both Hands Around

Partners walk forward, join both hands, walk once
around (clockwise) and return to place (S counts).

154

Betty White's Teen-Age Dance Book

Do-si-do (Back to Back)

Party Dances

155

Down the Center and Back

The head couple (couple number one) join hands and
slide eight steps down center to the bottom of the set and
slide eight steps up to the head of the set (16 counts).

The slide step, chasse, consists of sliding sideward in
the direction in which you are moving and dosing (trans-
ferring the weight) with the opposite foot

156

Betty White's Teen- Age Dance Book

Reel

1. The head couple (couple number one) link right
elbows in the center and swing once and a half around.

2. The head lady links left elbows with gent number
two and swings once around while the head gent links
left elbows with lady number two and swings once
around.

3. The head couple (couple number one) link right
elbows and swing once around.

4. The head couple now travel to couple number
three, the head lady swinging the number three gent with
the left elbow swing, once around, the head gent swinging
the number three lady with the left elbow swing, once
around.

The reel is continued, the head couple swinging in the
center with right elbows, once around and alternating
with each partner in the set with the left elbow swing,
once around. The head couple swing each other half
around as they reach the bottom of the set so that the
lady finishes on the ladies' side and the gent on the gents'
side ^48 counts approximately).

Party Dances

157

Up the Center

The head couple join hands and slide eight steps up to
the head of the set, and release hands (S counts).

158

Betty White's Teen-Age Dance Book

Cast off

The head couple separate and march (cast off) down
the outside, the head lady turning right, the ladies fol-
lowing, the head gent turning left, the gents following,
until the head couple meet at the bottom, followed by all
the other couples (8 counts).

Party Dances

159

no. 1

: i f

^y V X/
couple no. 6 <i^ "*

couple no. 5

couple no. 4

Arch

The head couple join hands, and raising arms, form an
arch through which the couples pass toward the head of
the set (8 counts).

With couple number one now at the bottom, couple
number two become the head couple, the dance is re-
peated, each couple progressing to the head until the
dance is finished.

160 Betty White's Teen-Age Dance Book

LA RASPA
(MEXICAN SHUFFLE)

Here is a dance which is guaranteed to liven up any
party. La Raspa also known as the Mexican Shuffleis a
traditional folk dance which can be done quite freely.
Anyway it's worth a try!

The Shuffle step, which is an integral part of the dance,
consists of a leap on one foot as the other foot slides for-
ward. The step should be mastered before you attempt to
use it with other figures. Therefore, the following Shuffle
steps, which are described below, should be practiced
carefully.

Boy or Girl

1. Standing with weight on right foot, leap on to the
left foot sliding the right foot forward, toe pointing
(quick).

2. Leap back on to the right foot sliding the left foot
forward, toe pointing (quick).

3. Leap back on to the left foot sliding the right foot
forward, toe pointing (slow).

4. Leap back on to the right foot sliding the left foot
forward, toe pointing (quick).

5. Leap back on to the left foot sliding the right foot
forward, toe pointing (quick).

6. Leap back on to the right foot sliding the left foot
forward, toe pointing (slow).

We have now completed one shuffle figure.

Party Dances 161

LA RASPA
(MEXICAN SHLFFLE)

Here is the dance as performed with couples in a circle.

Partners standing opposite, holding hands, the boy faces
the line of direction and the girl's back is toward the line
of direction.

Own partner:

1. Boy and girl perform the shuffle figure as described
4 times while jerking the arms back and forth, the
arm following the sliding foot

2. Hooking right elbow to right elbow, turning right,
take 8 quick steps.

3. Hooking left elbow to left elbow, turning left, take
8 quick steps,

XeiD partner:

4. Moving on to the next partner, in circle, boy in the
line of direction, girl against the line of direction,
hook right elbows with new partner, turning right,
taking 8 quick steps; hooking left elbow to left
elbow, turning left, take S quick steps.

1. Perform the shuffle figure with your new partner
4 times.

2. Hook elbows with the new partner turning to the
right and hook elbows turning to the left

The dance may be continued by moving on to the next
partner, turning to the right and left, shuffling and turning
to the right and left, ad lib.

162 Betty White's Teen-Age Dance Book

MEXICAN WALTZ

For a change of pace from the other party dances try
the Mexican Waltz. It is a charming little dance and you
will find it easy to do and so relaxing as you dap out the
rhythms.

We are going to describe the footwork for the boy and
girl simultaneously since both use the same foot

Here is how it is done:

Partners stand apart, holding hands, weight over right
foot

String across:

1. Step to the left on the left foot and swing right leg
across (3 counts).

2. Step to the right on the right foot and swing left leg
across (3 counts).

3. Step in place on left foot (1 count), dap, clap (2
counts).

4. Holding hands, step to the right on the right foot
and swing the left leg across (3 counts).

5. Step to the left on the left foot and swing right leg
across (3 counts).

6. Step in place on right foot (1 count), dap, dap
(2 counts).

Party Dances 163

The Sway:

1. Holding hands, sway back on left foot (3 counts).

2. Sway forward on right foot (3 counts).

3. Sway back on left foot (1 count), clap, clap (2
counts).

4 Holding hands, sway forward on right foot (3
counts). ""

5. Sway back on left foot (3 counts).

6. Sway forward on right foot (1 count}, clap, clap
(2 counts).

(The boy claps his hands behind the girl's waist while
the girl claps her hands behind the boy's head.)

The Waltz:

Turning to the left, the boy begins to Waltz on his left
foot, the girl changing to the left foot in order to follow
him, starting with right foot; partners take 16 Waltz
step (48 counts).

The dance may now be repeated several times the
clap, clap figures alternating with 16 Waltz steps.

BUNNY HOP

The Bunny Hop is a fun dance, and for those feeling
particularly hilarious it is a sure-fire thing.

The dance consists of heel and toe steps and Bunny
Hops, done in single file around the room, led by one of
the dancers. During the heel and toe steps the dancers
have their hands clasped around the waist of the person
in front of them in line. On the Bunny Hops they release
hands from the waist and put the hands in front of them
like bunny paws (hands hanging from wrists).

164 Betty White's Teen-Age Dance Book

Boy or Girl

Heel and toe:

1. With toes pointed up, place the left foot diagonally
forward, heels touching floor (slow).

2. Bring the left foot diagonally back, toes touching
the floor (slow).

3. With toes pointed up, place the left foot diagonally
forward, heels touching the floor (slow).

4. Bring the left foot diagonally back, placing the
weight on it (slow).

The entire figure may now be repeated to the right,
beginning with the right foot, and ending with weight on
right foot

The hops:

1. Hop forward on both feet releasing hands (slow).

2. Hop forward on both feet (slow).

3. Hop forward on both feet in bunny position
(quick).

4. Hop forward on both feet (quick).

5. Hop forward on both feet (slow).

16.

'cuice

For downright fun and sociability nothing can eqi:al
a Square Dance. It is the one occasion which gives every-
body a chance to "get in the act/' And it is as typically
American as our free way of life.

Like any social skill, however, which involves partici-
pation with other people, some preliminary knowledge is
necessary. And for the beginner in Square Dancing a
knowledge and practice of the basic figures is an absolute
must. Remember, Square Dancing really moves along, so
it is important for you to know your otcn part in order to
keep up with the "set" (four couples . It isn't enough
to know the figures. One must be able to execute them as
rapidly as the caller reels them off. The following figures
will enable you to get going.

165

166

Betty WWte's Teen-Age Dance Book

head couple

side
couple

THE BAND

THE BASIC FIGURES

A SET

A set consists of four couples who face the center of the
square. Each boy stands with the girl at his right side. The
head couple at home base stand with their backs to the
caller.

Square Dance

CORXERS

For the boy the lady on your left is your corner.
For the girl the boy on your right is your corner.

covpUs
no*. 1 &4

coup!*
no. 2

TO PROGRESS IX A SET

The word progress in a set means to go visiting. Couples
travel in a counterclockwise direction.

168 Betty White's Teen-Age Dance Book

Couple number one begin the figure. They move to the
right to visit couple number two. After dancing with cou-
ple number two, couple number one move on to couple
number three. (Couple number two remain in place.) The
same procedure is followed with couples number three
and four. After dancing with couple number four couple
number one return to the home base.

Each couple in turn go visiting, progressing around the
set until the dance has been completed.

HONOB YOUR PARTNER

Honor your partner means to bow to your partner.

The boy turns toward his right, bending slightly from
the waist as he bows to his partner.

The girl turns toward her left and curtsies to her
partner. A curtsy consists of stepping on the left foot,
bending the left knee while the right toe is tucked behind
the left heel.

Square Dance 169

EIGHT HANDS AROUND

Eight hands around is the call for circling to the
The four couples join hands and walk around clockwise.

BACK THE OTHER WAY

Back the other way means to circle right. The four
couples reverse the direction, walking counterclockwise.

SWING YOUR PARTNER

Swing your partner, as the call implies, means to turn
with your partner in one spot in a clockwise direction.

Position of the Boy and Girl

Facing in opposite directions right side to right side,
and with the feet slightly apart, stand with the weight
forward on the right foot, outside edge of soles almost

170 Betty White's Teen-Age Dance Book

touching. The right arm circles the girl's waist. The left
hand clasps the girl's right hand with the arms extended
in a curve slightly below shoulder level. The girl's left
hand rests on the boy's right shoulder.

How to Swing Your Partner Boy and Girl

Stand with the weight forward on the right foot. Step
slightly forward on the ball of the left foot, raise the right
heel and pivot (turn) on the ball of the right foot; lower
the right heel.

Repeat continuing to push with the left foot while
pivoting firmly on the ball of the right foot, and you will
have no difficulty in turning on one spot. Lean away
slightly from each other as you turn and you will find it
easier to maintain your balance.

Square Dance

171

ALLEMAXDE LEFT

Allemande left is a. left hand turn with corners.

Boy and Girl

Face your "comer." Clasp left hands, walk around
counterclockwise making a complete turn, return to place.

172

Betty White's Teen-Age Dance Book

BIGHT AND LEFT

Grand Right and Left

The boys walk in a circle, counterclockwise, the girls
walk clockwise, each clasping hands as they meet.

How to Do It

Partners face each other, clasp right hands, and walk-
ing past each other, each gives the left hand to the next
person; the right hand to the next, the left hand to the
next until each returns to his original place.

Square Dance

173

PROMENADE

Promenade means to walk around the set.
Boy and Girl

Facing in a counterclockwise direction, standing side
by side, cross arms, joining right hand with rightf hand,
left hand with left hand (skater's position) and march
once around the set until you reach your original place.

PRACTICE

There's bound to be a Square Dance enthusiast among
your teen-age friends who can go over the basic "calls"
with you. Better still, get a group together and form a
set and walk through the figures. It's more fun that way
and may even provide an opportunity for some teen-ager
to do a little "calling" on his own. And be sure to wear
light, porous clothing and comfortable shoes while you
practice.

174 Betty White's Teen-Age Dance Book

THE MUSIC

The customary music for Square Dancing is jigs
and reels-usually in 2/4 /"""3 ^"""3 or 6 /8
j j j j j ) time. The music accompanies the
"calls." Frequently about eight measures of music are
played as the "caller 9 announces the dance. And that will
be your signal to join a set.

Your cue for starting on time will be given by the caller
about two measures in advance. By listening to the caller
as you dance, you will automatically get through on time
without having to count the beats in the music. Keep alert
to the calls and you will be dancing in perfect rhythm to
the music.

USIXG ADDITIONAL FIGURES

Having learned the basic figures that have just been
described, you are now ready to go out on the floor and
participate in any of the figures which go to make up a
Square Dance. The following are among the most popu-
lar with the average teen-ager:

"BIRDIE IN THE CAGE"
^CKASE THE RABBIT**

"BUFFALO BOYS"

AROUND THAT COUPLE AND TAKE A PEEK*

"DIVE FOR THE OYSTER"

"THE BASKET"

"THE STAR"

The easiest way to learn these figures is to get right in
and do them. Some familiarity, however, with a Square

Square Dance 175

Dance book or record album before the dance can help
considerably to get you through. Whatever you do to "get
in the act" practice.

And finally, for the teen-ager who is really zocd, here
are a few pointers which should enable even him to be-
come an expert Square Dancer.

Wait for the caller.

If you get behind on a call, slap that figure and
catch up with the others.

( The main thing is to stay with the caller. }
If you get ahead, wait in place for the next figure.
If you are a beginner, stick to side couples.
(You can observe the head couple perform first.)

Stay in a set until the caller is through.

And, of course, you will remember to say "thank
you" as you leave the set

ORGANIZING A SQUARE DANCE

You should decide right from the startwhether you
are going to aim for a big jamboree or a small gathering.
The number of sets will determine the size of the hall
and the setup in the choice of caller and music,

TH K CALXJER

The caller is of first importance, for in addition to call-
ing he may have to teach the figures and act as master of
ceremonies. It is his job to hold the groups together and
direct the band. However, if you can't budget for a

176 Betty White's Teen-Age Dance Book

professional caller and band, the next best thing is to
settle for a person in the community who can handle the
calls. And make no mistake experienced amateur callers
can do a first-rate job. The caller will need, as a basic,
minimum requirement a pianist to accompany the calls.
If you are planning for more than thirty-two people
(four sets) it will be necessary to have a microphone so
that the caller can be heard.

TEDS MUSIC

The ideal setup for any Square Dance is to have
calling and music but if that is not practicable records
can be used. Beginners, however, will have some diffi-
culty in following records on account of the speed of the
calls and a certain amount of acoustical distortion. If you
are planning for a large gathering amplifiers will have to
be used. The great advantage of hiring a caller and
musician is that the responsibility for running the pro-
gram is in their hands. But if you are planning the
program and records are to be used, some care will have
to be exercised in the choice of calls.

RECORDS

You will need an all-around collection of slow, fast,
easy and difficult calls to keep everyone happy. And it
will be wise to have one set (four couples) familiarize
themselves with the calls on the records for demonstra-
tion purposes before the dance. Much time and effort
can be saved at the dance if one set can walk through
the different figures. And the process of helping beginners
on the floor can be speeded up if the more experienced
couples can join the less experienced sets.

Square Dance 177

THE DANCES

Start off with slow, easy dances for warmins up. After
the groups have gone into action they can progress to the
faster, more difficult calls. And for variety an occasional
"circle" or "longways" dance can be inserted; for example,
the Virginia Reel.

Occasionally a request is made for "round" dancing, so
it might be wise to have a collection of Waltzes, Foxtrots,
and Polkas on hand. Round dances, however, should be
used sparingly. The purpose of a Square Dance, after all,
is to give everyone a chance to dance with his friends and
neighbors. And if round dances are introduced too fre-
quently the dancers tend to pair cfi in couples.

After you have organized your first Square Dance yon
will find the going easy. And you will be amply rewarded
by the results good fellowship and a sense of belonging
through sharing. This is the spirit of the American Square
Dance!

17. -AtMome

There is no better way of learning the responsibilities
of a good host or hostess than giving dances in your own
home. At all times, even when you are the host or hostess,
you are still the guest of your father and mother.

Try, therefore, to keep in mind the limitations of space
and furniture in planning for decorations and refresh-
ments. However enthusiastic the family may be regarding
your plans, a dance at home means a certain amount of
wear and tear for all concerned. So do be considerate in
your demands.

And since a dance is, after all, a reciprocal affair
between the hostess and the guestit might be helpful for
you to check the following.

THE HOSTESS

INVITATIONS

Before making any final decision as to time and date,
consult the family to be sure your plan will not conflict

178

At Home 179

with family routine. The invitations may be extended by-
word of mouth, telephone, or written note.

DECORATIONS

Since entertaining at home is a strictly private affair, it
is your one chance to be as individual as you wish. But
use some care in attaching decorations. Use a transparent
tape or thumb tacks sparingly to avoid defacing the walls
or furniture.

BEFRESHMEXIS

Try to keep refreshments simple and within the family
budget. If you are not going to plan for homemade punch
and cookies, refreshments will have to be ordered suffi-
ciently ahead to allow time to store and prepare them for
serving. And if you are going to request the use of the
family icebox be sure to request a shelf in advance. It
might be wise to use paper cups and accessories instead
of using the family china. But you know best!

MUSIC

The phonograph should have a last-minute checkup
and an adequate supply of records. If you do not have
an all-around dance collection get a teen-age friend who
is a disc jockey to lend you his. If the TV or radio is to
be used, make a list of the programs broadcast for the
periods during which you will be dancing. And keep a
supply on hand of the more sentimental, croony numbers
as "conversation pieces." After all, your friends will want
to sit down once in a while.

180 Betty White's Teen-Age Dance Book

PLACE FOR WRAPS

If you are one of those lucky teen-agers who has a
rumpus room in the basement with a closet adjacent, your
problem of where to hang wraps will be relatively easy.
Failing that possibility, permission should be asked of the
family for the use of a closet. And if even that space is at
a premium the girls can leave their wraps in a bedroom.
Whatever slight inconveniences may arise, the family will
cheerfully accept. But traffic through the house should be
kept to a minimum.

SPOTS FOR GUESTS* CARS

It is good planning to have a friend close at hand who
can direct guests where to leave their cars as they arrive.
Driveways both yours and the neighbors' should be left
clear. And parking regulations for the roadway should be
observed.

INTRODUCTIONS TO OWN FAMILY

Whenever a member of the family appears, friends
should be presented. And that goes for small fry too!

RESPONSIBILITY TOWARD NEIGHBORS

It shouldn't cramp your style too much to remember
the neighbors. So, keep noise down to a reasonable mini-
mum. The radio or phonograph should not be played too
loudlv.

At Home 181

PUTTING HOUSE IX OEDEH

Since "many hands make light work" it will be easier
and pleasanter to clean up and restore order with some
of your friends than to try to do that chore after even-one
has gone home. Naturally., the furniture will be put back
exactly where it was and the rooms left spick and span.

SEEING GUESTS OFF

Since there is a deadline for even the best of parties, it
will be wise for you to indicate that a little before closing
time. A tactful reminder will round up even the "hangers-
on/* After you have helped friends with their wraps and
said "good nights'* it will still be your responsibility to see
that they get off.

THAXKIXG PARENTS FOR USE OF HOME

Next to their knowing you had a wonderful time, noth-
ing would give the family greater pleasure than to have
you say "thank you" for the privilege and fun of giving a
dance in your own home. Try it! It really works!

THE GlEST

RESPONSE TO ES^TTAITOX

All invitations should be accepted or declined prompt-
ly. And under no circumstances should a guest fail to
attend a dance at the last minute without notifying the
hostess. If an emergency arises that prevents you from
calling personally, ask a member of your family to do so.

182 Betty White's Teen-Age Dance Book

PROPER DRESS

Since a dance at home is usually informal, semif ormal
dress is indicated. But if you are in doubt as to what to
wear, call your hostess.

LEAVE CAR IN CONVENIENT SPOT

If you are in a dilemma as to where to park the car, ask
your hostess. And if she is engaged, ask some responsible
person who can indicate a convenient spot.

ARRIVE OX TIME AND ACKNOWLEDGE HOSTESS

As soon as you arrive and have disposed of wraps find
your hostess at once and greet her. But do not detain her
beyond expressing your pleasure for having been invited,
since other guests will be waiting to greet her.

PARnOPATEON IN GROUP

Make yourself a part of the group as soon as you can.
Since there is usually some visiting and small talk going
on before the dance gets under away, use the opportunity
to get acquainted. Keep conversation at a maximum! Try
to co-operate with the hostess when "Mixers'* and play
party games are on. And in general, keep a bird's-eye
view" of everything that's going on.

HELPING TO CLEAN UP

One of the best ways to "end a party with a bang" is
cleaning up. Not only do you have the pleasure of help-

At Home 183

ing your hostess but there's always the fun or comparing
notes as to who did what!

THANKING HOSTESS

Of course, you wouldn't think of leaving a dance with-
out saying "thank you" to your hostess.

USAVE ON TIME

Next to one who arrives on time, no guest is appreciated
as much as one who leaves on time!

COXSIDERA.TION FOR NEIGHBORS OX LEAVING

Whether you are about to walk or drive home, remem-
ber the neighbors. They will be grateful the following
morning!

MEETING THE FAMILY DEADLINE FOR GETTING HOME

You do have a responsibility toward the family for get-
ting back at the time agreed upon. But if you are detained
or an emergency arises, phone the family at once. Let
them decide the next move.

18.

A public dance is a much more complicated affair
than a dance at home, so it will be necessary to go into
some detail. A dance doesn't run itself, and unless it is
well organized it will fall apart. You can be sure that
any dance you attended that was really successful meant
plenty of boning on the part of the committees as well as
zip and imagination.

There are two aspects to consider in setting up any
good dance. First, the business or organizational end
which forms the backbone for the "behind the scenes"
work. Second, the social aspect choosing a social direc-
tor, hostesses, ushers, etc. And both of these objectives
must dovetail for a dance to run smoothly.

As soon as you have decided on the kind of dance
you will want, begin at once to appoint your committees.

ORGANIZATION COMMITTEES

TICKETS

There is no more important aspect in organizing a
dance than the handling of tickets. It is an exacting job,
so some care will have to be exercised in choosing the

184

Public Dance

185

members for such a committee. Tickets will have to be
printed, distributed, and collected upon admission, And
a record should be kept of the entire sale of tickets.

Before tickets are printed, a committee member should
contact the local collector of internal revenue to obtain
information about the federal admissions tax and to
check the requirements for daiming a tax exemption. If
all the proceeds of a dance are to go exclusively toward
a benefit for the school or church an exemption may be
claimed. Otherwise, an admissions tax will have to be
paid in order to comply with the regulations c the
federal tax law.

MUSIC

Hiring a Band

If you are going to hire a band it will be necessary for
the committee to shop around and get estimates. And

186 Betty White's Teen-Age Dance Book

keep in mind the style of the music the band plays since
music is such an integral part of the dance.

Juke Box

It is good planning to have at least one or two disc
jockeys to take care of the record situation. One mem-
ber of the committee should be appointed to run the
machine and possibly another to list the choice of records
to be used. Finally, the machine and record collection
should be checked before the dance gets under way.

DECORATION

Don't forget it takes more than a flair for decorating
to function as a committee. Materials will have to be
budgeted for and measurements taken of both the room
and table before purchases are made. And if refreshments
are to be served utensils and accessories should be pro-
vided by the decoration committee.

TTie committee members should decide what refresh-
ments are suitable. If homemade snacks and punch are
not to be provided it will be necessary to budget for out-
side refreshments and to order well in advance. A few
members should be appointed to serve refreshments and
to keep supplies replenished.

CHECKING WEAPS

The committee should know in advance what equip-
ment is available for disposing of wraps. If a checking

Public Dance 187

system is to be used, details such as check stubs*
gratuities, etc., should also be arranged for. It Is go 3d
planning to have the same members "check out" guests*
wraps as well as "in."

CLEAN UP

Xo committee performs a more vital function than the
cleanup squad. So appoint stable, responsible members
with a flair for housekeeping. And try to recruit a mem-
ber of the decoration committee to help take down
decorations before cleaning up.

PUBLICITY

Every effort should be made to co-ordinate the various
activities of the members of the committee. In addition
to handling a mailing list the members may have to
handle distribution of posters, printed or mimeographed
announcements. And a follow-up group should see that
announcements are posted. Every means should be used
to publicize the dance including the school magazines,
local papers, and word of mouth. Talk about it* In
addition, each member of the committee should be re-
sponsible for disposing of a certain amount of tickets.
And if an advertising bill has to be met one person
should be appointed to handle it

Sounds like a "tall order," doesn't it, but it's the pub-
licity and public relations job that sells a dance. Extra
effort may mean the difference between a mediocre or a
completely successful affair!

188 Betty White's Teen-Age Dance Book

SOCIAL COMMITTEE

Although the size of a dance determines how special-
ized the functions are of the various members of a social
committee, the members should be chosen for their social
assetstact, a sense of humor, and a talent for getting
along with other people. Chaperones, hostesses, and
ushers will be required to keep the dance running
smoothly, and a good social director is a must!

A social director should know at a glance what is going
on every minute. The most important asset is a sense of
timing. Lightning decisions will have to be made at any
moment to keep things moving. And "Mixers" and play
party games will have to be run during the slack periods
at a good, snappy pace in order to hold the group to-
gether. Prizes and "Props" such as tickets for lucky
number dances should be organized in advance. The
director will also have to show when refreshments
should be served. Altogether, it is an exacting job, so con-
siderable thought should be given to the choosing of a
social director.

A few wisely chosen chaperones in the background
will add prestige to a dance and be of assistance in
meeting emergencies illness, for example. Invitations to
chaperones should be extended in advance of the event,
and for those who are not participating on the dance
floor, suitable facilities should be provided in the way of
self-entertainmentcards, tables, and chairs, etc.

The chief function of hostesses and ushers is to receive
guests, effect introductions, and smooth over difficult
situations. By being in circulation on the floor at all times,
they become an integral part of the dance. They should

Public Dance 189

also be ready to be on call at any tlrae the social director
may need them. Ushers acting as ^stags" should keep
girls without partners in circulation. However, relief of
assisting "stags" should be provided for,

SCHOOL DA3CE

The school dance should be the easiest one of all to
plan for since it is usually held on 'tome territory/* A
committee will have to be organized, a date set. and
permission requested for the use of the school building.
Preparations for the dance, and, what is equally impor-
tant, cleaning up afterward, should be planned for so as
not to conflict with other school activities. Care will have
to be exercised in using school equipment including the
putting up of decorations. The custodian should be ad-
vised of your plans and consulted if any problems arise.
And some sort of acknowledgment should be made for
his services. And, of course, you will remember to say
"thank you" to the staff either during or after the dance!

PROJ1

The junior or senior prom is the high spot of school
life. And while everyone looks f orward to it as the gayest,
most glamorous occasion, it can also cause considerable
anxiety if not properly organized or planned from a social
standpoint.

Whether the prom is to be held at school, a hotel ball-
room, or a banquet hall will be pretty much determined
by the pocketbook. The budget does have a sobering
effect! But whatever degree of grandeur you decide on*

190 Betty White's Teen-Age Dance Book

stick by it! Make up your mind once and for all what
you are going to wear and whom you are going to invite
as escort.

If the prom is to be held at school the affair can be
relatively simple. There is the usual committee work,
hiring of band, decorations, refreshments, etc., and
corsages! Since dress is formal you can be as elaborate
as you choose! However, if a big affair is in the offing,
the following information will be found helpful.

First of all an estimate should be made by a financial
committee to determine a budget. The faculty can be
helpful in this respect because of their past experience.
By all means include them in the discussion!

A committee member should get in touch with a
reservation clerk to inquire about the cost of hiring a
hall, orchestra, and banquet facilities. As soon as the
committee has decided where the prom is to be held a
date and hour should be set and a reservation made
through the banquet manager's secretary. Such details
as type of music, kinds of beverages and refreshments,
decorations, photographer (if any), checking facilities
should be discussed at that interview. If you are going
to bring in your own decorations, the hotel should be
notified, for if a hotel assumes responsibility for decor a
fee will be involved.

Gratuities are usually included in the bill when it is
rendered. But if a hotel does not assume responsibility
for gratuities for checkroom employees, each guest
should be responsible for his own tipping. If a reception
is to be arranged in the foyer that should be planned
too. As usual, the social committee will provide chaper-
ones, hostesses, and ushers to function during the entire
evening.

Public Dance \g\

Now if all these details connected with, a prom seern
a little staggering, don't get discouraged. Remember that
once the business of running a prom is out of yc'jr
hands and that is why you have hired experienced hotel
personnel you can afford to relax, look starry-eyed, and
just dream about it all. A prom is the social climax of
your school life, so for once you can aim high!

CHIRCH DA3CE

One of the nicest things about a church dance is the
opportunity it provides for meeting friends and neigh-
bors from other churches and schools. The church dance
need not be confined to friends of immediate contact as
is so often the case at school, but can be an excuse for
rounding out one's social life.

After a committee has been formed a member should
contact the pastor or his secretary for permission to use
the church. In setting a date the church calendar should
be checked so as to avoid overlapping with other activi-
ties including preparations for the dance. The sexton
should be consulted as to use of church equipment. And
if heavy demands are to be made on his time, some form
of gratuity should be provided. Saturday nights should
be avoided so as not to conflict with preparations for
Sunday services. A certain amount of decorum should be
exercised both on entering and leaving the premises and,
naturally, while the dance is in progress. Finally, some
member of the committee should be appointed to express
appreciation for the privilege of using the church either
verbally or through a written note.

192 Betty White's Teen-Age Dance Book

DINNER OR SUPPER DANCE

Since both the dinner and supper dance fall under the
classification of "dining out/' the procedure for either
will vary little.

The dinner dance is usually scheduled from 6 to 10:30
P.M.

The supper dance from 10:30 P.M.

Inquiry should be made as to the type of orchestra,
entertainment, time of show, cover charge (if any), and
menu, when a reservation is made. The date and hour of
arrival should be given to the reservation clerk as well as
the number of guests to be provided for. Dress is optional.

Upon arrival, wraps will be checked. The guests will
then proceed to the dining room and be escorted to their
tables by the headwaiter. If a large group is present it
will be simpler for one person to handle the tipping
situation as well as settling for the bill. The customary
fee for tipping is 15 per cent.

Upon leaving give check stubs to attendant or claim
your own wraps.

DANCE HALL

A dance hall offers an excellent opportunity for the
teen-age dance enthusiast to "go dancing" without the
usual interruptions of "dining out." Since music and danc-
ing are continuous, the opportunities for practice are
unlimited. Tickets are purchased upon admission, but
check the age requirements before setting out. Many
dance halls will not admit anyone under eighteen years!
And be sure the hall has a good reputation. (In certain
regions dance halls are a part of the social life of the

Public Dance 193

community, and in other areas dance halls are not ac-
cepted. Your parents, therefore, should be consulted for
their approval)

Since a dance hall is strictly a public affair, social con-
tacts should be limited to one's own group. Seats are
provided, however, for those who wish to sit it out. And
most of the halls provide some simple refreshments in the
way of beverages.

Decoration can be a lot of fun or a nightmare. Every-
thing depends on how carefully you have planned from
a practical as well as decorative standpoint.

The most important fact to consider in decorating is
the size and shape of the hall in which the dance is to be
held. Is the room long and narrow, square, large or small?
And does the room include a stage, balcony, or overhead
equipment? What about windows and lighting fixtures?
Each of these areas should be checked so that accurate
measurements may be taken. And if you are dealing with
an unwieldy room a small scale model should be made;
it will help visually and prevent wastage of material.

Since the average school dance is held in a gymnasium,
church auditorium, or hotel ballroom certain problems
are bound to arise from a decorating standpoint. The
gymnasium, however, will present the greatest challenge.
There is frequently the problem of a too-high ceiling and
overhead equipment ropes, ladders, and basketball
stands.

Crepe paper provides an easy way out in dealing with
these trouble spots. A ceiling, for instance, can be low-
ered and overhead equipment hidden by extending crepe
paper horizontally from wall to wall. In addition, crepe

194

Decorations 195

paper creates a soft, luminous lighting effect and disposes
of the problem of what to do about overhead lighting
fixtures. Streamers and balloons may also be hung ver-
tically to give an even more intimate atmosphere. And
some imagination can be shown in dealing with walls,
oversize windows and the usual basketball nets. Seasonal
flowers can be used as well as paper streamers and
balloons to camouflage these areas. Be s-jre. however, to
hang decorations sufficiently high to clear the dancers'
heads. Balloons in particular become a hazard when
hung within reach!

Bunting may be used in the same manner to decorate a
hall. It is especially suitable for draping a stage, balcony,
or pillars. If bunting is used for overhead decorations,
wire should be extended from wall to wall to help sup-
port the weight of the material.

For the more gala occasions a prcm or the usual round
of holiday dances other materials may be substituted:
cellophane, plastics, and paper with luminous coatings.
These materials, however, should not be attached to any-
thing which may prove to be a are hazard-lighting fix-
tures, for example.

When you are ready to decorate arm yourself with all
the necessary implements: scissors, scotch tape, ham-
mer, tacks, ladder, wire, string, etc. And be sure to al-
low yourself plenty of time before the dance for deco-
rating. There's nothing more narrowing than trying to
beat the deadline for the opening of the dance, while
still having to allow time for getting home for supper and
sprucing up.

196 Betty White's Teen-Age Dance Book

BE ORIGINAL

Even though you may be working with "leftovers" try
experimenting with different kinds of materials. (Don't
keep relying on the usual strips of crepe paper dangling
from the ceiling.) Try to "tie in" accessories with the
general decorating scheme: for example, tickets, tags,
party favors, etc. The decoration of a refreshment table
provides a grand opportunity for carrying out the general
motif.

DO SOMETHING DASHING

For instance, you might consider a "dancing in the
dark" motif using luminous paper for decorations, ac-
cessories; flashlights or luminous flowers for "cutting in."
You could achieve an equally dramatic effect by choosing
a winter carnival as a theme, using all white decora-
tions. Artificial snow or confetti could be used as back-
ground material and a few well-placed spotlights add
sparkle and glamour. Crepe paper snowballs could be
used for accents and as props for "cutting in."

Whatever the occasion, and however simple or elabo-
rate your decorating scheme may be do use your
imagination!

Finally, be sure of your measurements before buying.
Too little material is bad.
Too much is wasteful

Consult your local merchant for available stock. And
whenever possible, buy fi reproof decorations.

The type of refreshments to be served \vi!l be deter-
mined by the formality of the dance. Refreshments on
range from bottled soda taken on the ran ta sand-
wiches, punch beverages, or ice crearn. Everything de-
pends on the occasion and the budget!

For an informal dance snacks or beverages, requiring
no further preparation or handling after deliver}-, are
ideal. Bottled soda and cookies will be found quite satis-
fyingas a minimum and equally nutritious/'Hot dogs" 9
and hamburgers can be fun if they are prepared on the
outside. But stay away from hot snacks unless they are
prepared outside. At best, they are a hazard.

Sandwiches, punch, cake, and ice cream can be planned
for the more formal dance. And allow plenty of time
for preparations. Preparing mixtures or fillers for sand-
wiches always takes more time than anticipated. And the
ingredients that go into a good punch require some
thought Refrigerators should be provided for all foods
and beverages. But if it is not practicable to provide
"cold storage/* last minute preparations will have to be
made for icing the punch and getting the ice cream ready
to serve. Better appoint a committee member to check
last-minute deliveries ice cream or soda, for example.

197

198 Betty White's Teen-Age Dance Book

Some member of the committee should check table
decorations. The decorating committee has furnished, or
should have, cups, plates, napkins-taep plenty on hand
and spoons and forks, if required.

Next to providing food that is appetizing and easy to
handle, nothing is of greater importance than the manner
in which it is served. There are two ways to serve refresh-
ments:

AT TABLES

where the guests are seated and wall either be served or
wait on themselves;

BUEFET

the guests visiting the buffet table at any suitable time
to serve their partners or help themselves.

The time at which refreshments are to be served
should be indicated by the social director or head
hostess.

And don't forget to see that chaperones and faculty
members are served first.

The band will be glad to be remembered, too,

21. JrdeaA f

or

Wouldn't you like to try some new ideas for admission
to a dance instead of the usual "Tickets please at the
door"? And since everyone attending a dance expects
to pay his own way, how about making the price of
admission a password or a slogan, etc.?

We are going to offer some original suggestions for
admission to help you plan an exciting program. The
following suggestions will be fully described: tickets,
donations, personality tie-ups, guessing, weighing in,
and class or grades.

We are sure your teen-age friends will be surprised
and amused at what goes on upon admission. And after
you have tried out our ideas, be sure to devise some
stunts of your own.

TICKETS

Although printed tickets are customary for admission
to a dance, why not try something new? How about
varying the color and the shape of a ticket?

The decorating scheme, a school dance following a
ball game, for instance, or a holiday, offer a grand oppor-
tunity for creating something novel For example, a heart-

199

200 Betty White's Teen-Age Dance Book

shaped ticket could be used at a Valentine Dance. A
ticket in the shape of a football could be used at a dance
after a game.

The possibilities for new ideas are endless, and carry-
ing out these ideas will be found quite inexpensive. So
set your imagination at work!

DONATIONS

Donations may take a variety of forms other than
money. For example, refreshments may be offered as a
donation and will help defray the expenses incurred for
the dance. Each guest may bring a bottle of soda or a
box of cookies. And the juke box collection can be en-
larged by an occasional donation of a record.

Prizes may also be donated to help make the lucky
number dance more exciting. Lollipops, lemons, apples,
or balloons could be donated to take care of the mixers.

The preceding suggestions are offered to help stimulate
some thought along these lines. So try thinking up some
ideas of your own.

PERSONALITY TIE-UPS

For something really different in the way of a stunt
we suggest personality tie-ups as a means of free ad-
mission. And if the stunt is kept a secret until admission,
the guests will be delightfully surprised.

Guests may be chosen for admission on the basis of
color of eyes or hair. And personal clothing offers an
excellent opportunity for diversity in color. Ties, socks,
and shoes, for instance, offer quite a wide latitude.

The Committee, for example, could admit .blondes
while penalizing brunettes for the price of admission (or

Ideas for Admission 201

the other way round). Boys wearing a certain color of
tie or socks could also be admitted on this basis. Even
jewelry, for example, a class pin or ring, could serve as a
means of admission.

Now that we have offered you these suggestions, what
are your ideas on the subject?

GUESSING

Everyone likes to play a game of guessing. So you
might try guessing the age or weight of your guests as
a means of admission. By not guessing the right age or
weight, the committee would be penalized by having
to admit the guest without charge.

Passwords or slogans could also be used, the Com-
mittee agreeing in advance on what the words will be.
The guest who flunked on guessing the password or
slogan would be charged the price of admission.

And, now, how about doing some guessing stunt on
your own?

WEIGHING IN

If you can borrow the school scale, you can have fun
weighing your guests upon their arrival at the dance.
Those weighing above a specified number of pounds
agreed upon by the committee could be charged for the
price of admission. Guests whose weigjbt falls below that
number could be admitted free. Or just the opposite.

CLASS OR GRADES

If the attendance for the school dance has begun to
slump, you might try admitting a whole class or grade
without charging admission. Naturally, the class or

202 Betty White's Teen-Age Dance Book

grade agreed upon by the committee will have to be
kept a dark secret. And since everyone likes to "take a
chance" you will probably end up by having a big turn-
out. At least, it's worth a tiyl

22.

We now arrive at the Grand March the high spot of
any dance. We are going to discuss the leader's role in
organizing a Grand March and describe fully the various
formations in the following order: platoons, the ser-
pentine, the arch, and tunneling. Some mention will
be made about the star formation.

It is not necessary for a leader to use the Grand March
formations in the order in which they will be described
in the following section. A leader should feel perfectly
free at any moment to make changes in the progression
of the formations. And to add zest to a dance, some new
formations should be tried.

PRACTICING THE GRAND MARCH

What's a dance without a Grand March! It's like a cake
without icing. And the first thing a Grand March calls for
is a good leader. Just as a band needs a drum major to
keep time, a Grand March requires a leader who can
call out and direct the various figures. The Grand March
is after all the climax of any social affair so everyone will
want to be in it. And what could be more fun than lode-
ing arms with one's friends and just marching down the
floor to a good, snappy tune?

203

204

Betty WMte's Teen-Age Dance Book

back of room

front of room

The time at which the March should be called will
depend on the enthusiasm of the group. As soon as the
guests request a Grand March the leader should follow
through. If the leader is sufficiently lucky to have a
group that is familiar with the Grand March figures, he
can start with a bang. There's always some eager beaver
who wants to head up the March. But failing a volunteer,
the leader can appoint someone. If the guests, however,
are not familiar with the various platoons or figures, it
will be wise to coach about four couples in advance who
can later help lead up the March. (There's always a
nucleus of cheer leaders or band members to choose
from who are familiar with March formations.)

Before the leader announces the Grand March to the

Grand March 2Q5

guests a couple should be ready to head up the March.
The band is informed in advance so that it is ready to
start. As soon as the leader has announced the Grand
March the band starts wanning up, the head couple
rise and march in a circle, counterclockwise, and the
guests follow behind. The leader at this point is in the
center of the floor to hold the group together and to
direct the head couple for the next figure.

Since under even ideal conditions some guests will
have missed the cue for the March, it will be necessary to
keep marching in the circle until all the guests have
caught up. Stragglers should wait until the line passes
and drop in from behind.

From now on the leader takes over, and his ability
to anticipate the various calls and call them out clearly
will determine the success of the March.

Since the platoon formation marching abreast is the
most spontaneous and natural way to continue the
March, the leader will probably start off in the tradi-
tional way with platoons. All such formations will
shape up or begin at the back of the room although the
call will have been given by the leader to the head
couple at the front, where the lines usually divide to
prepare for the following figure. Whether the leader
prefers to remain at the front in one spot and call out
the figure or march backward each time in front of the
head couple is of little importance. Hie main thing is for
the head couple to hear the next figure and keep alert
to the various changes in calls. Any hesitancy on the part
of the head couple will throw off the couples behind
and result in confusion. And a Grand March that doesn't
have a crisp, snappy look isn't worth the effort So here
we gol

206

Betty White's Teen-Age Dance Book

PLATOONS

FIGURE I

The leader calls to the head couple, "Down the Cen-
ter and Divide/' As the head couple, the line following,
reach the center of the back of the room they make a
sharp left turn, march forward and divide at the front
of the room, the girls turning right, the boys turning
left; the lines proceeding toward the back walL

back of room

front of room

Grand March

207

FIGURE

Continuing in single file up the room, the head ccuple
meet in the center, clasp arms, and inarch cbv.n the
floor, couples following two abreast. Or. reaching ike
front of the room, the head couple turn right the sec-
ond couple in line turn left, each couple alternating
right and left; the lines proceeding toward the back
wall

back of room

front of room

208

Betty White's Teen-Age Dance Book

FIGURE III

Continuing in two columns up the room, the head
couples meet in the center, clasp arms, and march down
the floor, four abreast, couples following, and divide at
the bottom, the head couple on the right turning right,
the head couples on the left turning left, the line fol-
lowing, couple in turn alternating right and left; the
lines proceeding toward the back wall.

FIGURE IV

Continuing in two columns up the room, the head
couples meet in the center, clasp arms, and march down
the floor, four abreast, couples following. On reaching
the front of the room, the head couples turn right, the
couples in the second line turn left, the line following,
couples alternating right and left; the lines proceed-
ing toward the back walL

Grand March

209

FIGUBE V

Continuing in two columns np the room, the head
couples meet in the center, clasp arms, and inarch dcv.n
the floor, eight abreast, the line following, and divide
at the bottom, the two head couples on the right turz>
ing right, the two head couples on the left turning
left, the line following, dividing right and left; the
lines proceeding toward the back wall

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Betty White's Teen-Age Dance Book

FIGURE VI

Continuing in two columns up the room, the head
couples meet in the center, clasp arms, and march down
the floor, eight abreast, the line following. On reaching
the front of the room, the four head couples turn right
and the couples in the second line turn left, each line fol-
lowing, alternating right and left; the lines proceed-
ing toward the back walL

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Grand March 211

Now that you have become familiar with the platoon
formations, you may continue to build up even longer
lines. For example, continuing from the end of figure
VI, in which two columns, eight abreast, are marching
up the room, the head couples may meet in the center,
clasp arms, and march down the floor, sixteen abreast,
the lines following, to divide at the bottom, the eight
head couples turning right, the couples in the second
line turning left, each line following, alternating right
and left; the lines proceeding toward the bade wall

Thirty-two people may march abreast down the floor
by repeating the procedure of meeting at the back wall,
clasping arms and marching forward.

As a matter of f act, any number of persons may march
abreast, in couples, but the lines will become unwieldy
in dividing and turning if more than thirty-two are at-
tempted. At all times, the couples initiating the turns
will have to mark time while turning to allow time for
the outer couples in line to make the turn. The couples
toward the center of the turn will have to take small
steps, the next couples graduating the length of their
stride, the outermost couples taking the longest stride.
(Remember the principle of spokes radiating from tihe
hub of a wheel.)

And finally, in turning, the elbows should be kept dose
to the body in a firm dasp, to help keep the lines dosefy
knit

212 Betty White's Teen-Age Dance Book

GRAND MARCH FORMATIONS

SERPENTINE

The Serpentine consists of a leader with the line fol-
lowing him walking back and forth between the lines of
a platoon formation, picking up a new line each time
that line is passed.

The Serpentine is an excellent figure to have up your
sleeve for breaking up the platoon formation. However
enthusiastic couples may feel while marching, even a
Grand March must end sometime! And the Serpentine
figure is the solution.

Starting with a platoon formation, hands joined, the
leader makes a sharp turn to his left, and drawing the
line with him, walks across in front of the second line
until he reaches the end person, makes a sharp turn to
his right, and continuing, walks across in front of the

Grand March 213

third line. The leader, the line following, now makes a
sharp turn to his left as he passes the end boy of the
third line, and continues forward across in front of the
fourth line (Figure A). As the end girl of line number
one passes the end boy of line number two she joins her
right hand in his left hand, thus joining the two lines
(Figure B).

The leader, continuing to draw the line with him,
now makes a sharp turn to the right while passing the
end girl of line number four, and continues across in
front of line number five. In the meantime the end girl
of line number two, in passing, has picked up the end
boy of line number three (Figure C).

The leader continues to draw the line through the
remaining formations, the end girl each time, in passing,
picking up the end boy of the line which has just been
passed.

Eventually all the lines will be picked up as the
leader, the line following, moves back and forth, the en-
tire group following in single file in a counterclockwise
direction (Figure D).

214 Betty White's Teen-Age Dance Book

ARCH

Arching (sometimes called the "Arbor") consists of
couples facing in opposite lines, raising the arms, and
joining hands; thus forming an arch.

There are two methods of arching one, in which all
the couples form an arch simultaneously, and two, in
which each couple arch separately. We are going to
describe the latter figure number two.

Partners stand in opposite lines, facing each other.
Couple number one (the head couple) form an arch
(Figure A) and couple number two duck under to the
opposite side of couple number one.

Couples number one and two form an arch, and couple
number three duck under the arch (Figure B), passing
through to the opposite side of couple number two.

Couples number one, two, and three form an arch
and couple number four duck under, passing through
to the opposite side of couple number three. Each couple
in turn duck under the arch of the preceding couple,
pass through the lines and arch at the head. The figure
is repeated until all couples have passed through and
formed in arch. Couple number one (the head couple)
are now at the bottom of the line (Figure C).

Grand March

215

THE ARCH

216

Betty White's Teen-Age Dance Book

TUNNELING

Grand March 217

TUNNELING

Tunneling consists of couples passing under and
through a tunnelsometimes called the arch.

Tunneling is an excellent figure for breaking down
the arch formation. The figure may begin at the head
or at the foot of the line. We are going to describe the
figure, beginning at the foot.

Partners stand in opposite lines, hands clasped in an
arch formation, couple number one at the foot of the
line.

Couple number one release hands, join inside hands,
and ducking under couple number two, continue for-
ward through the tunnel. As couple number one pass
under the arch of couple number two, couple number
two release hands, join inside hands, duck under the
arch of couple number three, continuing forward behind
couple number one (Figure D).

Each couple in turn break the arch, join inside hands,
duck under, pass through the arch of the couple ahead,
continuing forward.

Eventually couple number one become the head
couple by passing through the entire line, and continue
forward, the other couples following ^Figure E).

218 Betty White's Teen-Age Dance Book

THE STAR

This formation consists of lines converging toward a
center, the inside persons joining hands, thus forming
the star. When the inside persons clasp wrists with those
opposite (in the center), the formation is known as the
wagon wheel.

The trick of managing a good star formation consists
of the inside persons marking time, while turning, the
outer persons graduating the length of their stride.

A leader, however, should not attempt to call a star
formation until the dancers have become experienced
with the platoon formations.

23.

The play party games are one of the most delightful
customs carried over from the past. For generations
couples have danced Threat the Needle, In and Out,
Wind the Spool, Roll the Barrel, and The Grapevine
Twist. And today these play party games are just as
popular.

We are going to describe all of these figures. In addi-
tion to using these figures in social dancing, you will
find them equally fitting for the Square Dances. In fact,
the play party figures are early American folk dances
and are exhilarating for whatever occasion they are used.

Aside from a Grand March or Virginia Reel, there is
nothing like a play party game to pull a dance out of
the doldrums. So get going!

THREAD THE NEEDLE

Thread the Needle consists of a leader, the group fol-
lowing, walking clockwise and through the end of a
line, continuing forward in a circle so that each person
is pulled into a right turn.

Starting with partners facing in an open circle, arms
raised, the hands joined, the girl standing on the right

219

220

Betty White's Teen-Age Dance Book

B

Play Party Games 221

side of the boy, the leader walks forward in a clock-
wise direction (figure A), the line following, and ducks
under the arms of the end couple (figure B). The
leader continues forward in a clockwise direction, the
line following pulling the boy of the end couple Into
a right turn. Having snapped his right arm across his
chest in turning, tihe end boy now holds his partner's
left hand in Ms right hand over Bis shoulder (figure C).
(The end girl remains in place in this position until she
is joined by the leader toward the finish of the dance.)

The leader, the line following, repeats the figure con-
tinuing forward in a clockwise direction, ducking under
the left arm of the end boy and the right arm of the
girl on his left (the girl in front)* The line continues
forward, pulling the girl into a right turn, and snap-
ping her right arm across her chest, her right hand now
clasping, at shoulder level, the left hand of the boy
behind.

The leader, the line following, continues to thread
the needle (ducking under the arms of each couple)
until each person has snapped about into a right turn,
the right arm over the chest. To finish the figure the
leader ducks under his own right arm, marches up to
the end girl (the line following) and she places hat right
arm across her chest, dasping her right hand in the
leader's left hand at shoulder level. The circle is now
closed and the group may march forward or backward*

To resume a Circle in which att are f aeing in, partners
bring arms overhead while turning to the right, and
lower anus* Everyone is now in original position.

222

Betty White's Teen-Age Dance Book

Play Party Games 223

IK AXD OUT

The in and out figure consists of a line weaving in
and out between partners, each person fcmfng inside
out as the line passes through, and continuing forward
in a counterclockwise direction.

Standing with partners in an open circle, arms slightly
raised, hands joined, the girl on the right side c the
boy, the leader, moving in a counterclockwise direction
(figure A), ducks under the right arm of his partner,
and continuing to move forward, pulls his partner inside
out, the girl turning right under her right ami (figure B ).
Continuing to draw his partner forward, the leader turns
sharply to his left, ducks under the right arm of the
next boy (figure C), pulling the boy inside out the bey
turning left under his right arm (^figure D/. The line
now continues, ducking under the right arm of the next
girl, turning her inside out, the right arm of the next
boy, turning him inside out.

Ducking to the right and to the left continues until
all partners have turned inside out. Eventually, every-
one will be moving forward, the line facing out

224

Betty White's Teen-Age Dance Book

WIND THE SPOOL

(In winding the spool the leader should be careful
not to bring the lines forming the concentric circles too
close together by winding too tightly. In order to be able
to unwind., he will have to allow sufficient leeway be-
tween the circles to allow him and the group following
to pass between the lines.)

Starting with partners facing in an open circle, with
hands joined, the girl on the right side of the boy, the
leader marches forward in a clockwise direction, the
line following, and continues moving forward, making
concentric circles until he reaches the center. The leader
and the group have wound the spool and are now
ready to unwind.

Play Party Games

225

UNWIND THE SPOOL

To unwind the spool, the leader turns sharply to his
left, the inside group following, and passes between the
lines in a counterclockwise direction until he resumes
the single circle, all facing out.

By doing a sharp turn to the right, the group follow-
ing, the leader may march forward until att are facing in.

ROLL THE BARREL

Roll the Barrel consists of turning a circle inside out
and reversing the figure by turning outside in, so that
partners are facing in the original fonnation.

Although any couple may Roll the Barrel, it will be
simpler for someone to appoint a couple, naming an
opposite couple who may Roll the Barrel in reverse. We
will call the first couple "A" and the opposite couple "B,**

226

Betty White's Teen-Age Dance Book

BOLL THE BARREL

Standing with partners in a closed circle, hands joined,
the girl on the right side of the boy, couple "A" walk
forward, drawing the group along in front of couple "B"
who raise their arms to form an arch. Couple "A" pass
through the arch, drawing the group forward, forcing
couple "B* to turn inside out under their arms. Every-
one is now facing out

Play Party Games

227

BOLL THE BARREL IN REVERSE

To Roll the Barrel in reverse couple "IT back up,
drawing the group through the arch that has been formed
by couple "A." The group continues to back up, forcing
couple "A" to turn outside in under their arms. Everyone
is now facing in, in the original formation.

Now that you have learned to Roll the Barrel, try mov-
ing in a circle while doing the figure.

As tibe circle is turned inside out, keep moving in a
circle to the right

As the circle is turned outside in, keep moving in a
circle to the left

228

Betty White's Teen-Age Dance Book

couple no. 3
picked up by
couples nos. I S 2

couple no. 4
picked up fay

couple no. 2
picked up fay
couple no. I

THE GRAPEVINE TWIST

Play Party Games 229

THE GRAPEVINE TWIST

The Grapevine Twist consists of a couple passing
through a couple, circling around eadb partner, picking
up the partners, by joining hands and moving on to the
next couple. The leading couple continue (the others
following) to weave in and out in the grapevine twist
until all couples have been picked up.

Couples stand in a cirde, slightly apart from each
other, the girl on the right side of the boy.

The leading couple, the boy holding the girl's left
hand in his right and drawing her after him, move to
the couple on his right, pass between the couple, tuna
left around the lady, continuing left, pass between
the couple, turn right around the gent, and continue to
the right (both couples joining hands), to visit the next
couple.

The figure is repeated between and around each cou-
ple, the "pick up" occurring at the end of each Grape-
vine Twist. Eventually att couples will be drawn, with
hands joined, into a circle.

LADIES 9 CHOICE

Although strictly speaking a Ladies' Choice is not a
play party game, we are going to include it anyway
because it's such fun*

A Ladies* Choice consists of the girls asking the boys
to be their partners at a dance. (After all, there is no
reason why the boys should always do the choosing.)
Once in a while the girls should have an opirtumty to
show their preferences, too. So try a Ladies* Choice at
your next dance*

C^li

tion,

mna

The elimination dance assumes an important role in
any well-run dance. And everyone looks forward eagerly
to the occasion.

The elimination dance differs from the mixers or
play party games in that couples are ruled out as the
dance progresses. The process of elimination always
creates an air of expectancy and suspense the guests
wondering "who's next?" Awarding a prize to the last
couple on the floor adds further excitement. So you can
see the elimination dance is a dramatic event on any
program.

We are going to describe the following dances: the
Lucky Number, Back Talk, the "Spot" (Prohibited
Areas), the Flashlight, and the Balloon Dance and Cor-
ners. Before proceeding to the dances, we are going to
discuss the role of the leader, the organization of "props"
that may be used (tickets, prizes, etc.), and the guest's
responsibilities while participating in an elimination
dance.

LEADER

Since there is always the element of the unpredictable
even in an elimination dance, the leader will have to be

230

Elimination Dances 231

ready for any emergency. The first problem he will have
to face is the number of guests participating. With luck,
he may start off with an equal number of couples, but
as frequently happens, he may be faced with extra boys
or girls. The only fair solution, in order to give every-
one a chance to participate, is for the leader to give
each extra boy or girl a number, in addition to the
couples on the floor. As the first numbers are called, those
couples surrender their number, and the extra boy or
girl becomes the partner of the person just eliminated
both using the new number. This means, of course, that
persons already eliminated will participate twice. But
under the circumstances, it is unavoidable, and at least
the extra boy or girl is given an opportunity to compete
for a prize.

The running of an elimination dance requires expert
timing on the part of the leader and a good, dear voice.
A sense of humor helps, too! Hie leader can keep the
dancers entertained while calling out the numbers. The
most important thing, however, is the speed with which
the dance is run. Naturally, the guests who have already
been eliminated, will lose interest if the dance is run too
slowly, Even the fun of watching other couples being
eliminated wears off if one remains a spectator for keg*
So the dance should be kept moving.

If properties are to be used, as for example, prizes and
tickets in the Lucky Number Dance, the leader should
have them well organized in advance. There isn't a mo-
ment in which the leader can fumble about once the
dancers have been called out on tihe floor. Therefore* two
sets of numbers should be made in advance; me set to
be distributed to the dancers one number to a couple
and the second set to be retained by tlie leader, which

232 Betty White's Teen-Age Dance Book

he will use in reading off the numbers for the elimination
dance.

If tickets (on which the numbers are written) are to
be used the leader would do well to appoint an assistant
to collect the numbers as the dancers are eliminated.
An assistant can also see that the dancers do leave the
floor after their number has been called.

If a band is accompanying the dancers, a leader will
find it quite simple to stop the music as a number is
called, or turn down the volume, by a mere signal of the
hand. Since records are so frequently used at school
dances, however, the leader will be wise to appoint an
assistant to handle the record machine.

Although it is optional with the leader whether or
not a prize is given at the end of an elimination dance,
a prize is an absolute must for the Lucky Number Dance.
It is the star occasion, calling for that extra touch. Two
prizes will have to be given one to the girl and one to
the boy.

Records are usually the most rewarding of prizes. And
the leader can check the preferences of teen-agers be-
fore the dance. "Top Tunes," arranged for dancing, make
the best choice and help to round out the teen-ager's
dance collection for practicing at home or at school.

GUESTS

So far we have discussed the leader's role in the
elimination dance. The guests, however, have an equal
share of responsibility in helping make the dance a
success.

Noise should be kept to a minimum while the num-
bers are called. And if a guest has any doubt as to whether

Elimination Dances 233

or not his number has been called, a check should be
made at once with the leader. Much confusion can be
avoided if this procedure is adopted. Likewise, a guest
should hold on to his number. (If a number is lost the
leader will have to stop to issue a new number and the
dance will be slowed up.)

Guests may also co-operate with the leader by leamng
the floor as soon as they are eliminated There is always
so much excitement, as the numbers are called, that
spectators (those who have already been eliminated tend
to crowd the dancers off the floor. Guests who have been
ruled out should stand along the walls to keep the dance
floor clear.

Everyone will have fun, without hampering anyone
else's freedom, if the preceding suggestions are followed*
And we are sure you will find them helpf uL

LUCKY NUMBER DANCE

The Lucky Number is the most popular of all the
elimination dances* And it certainly provides the most
suspense, combined with plenty of action.

The leader gives each couple a number, Everjrone
dances and as the music stops (or is turned down in
volume) the leader calls out the first number to be
eliminated. As the first couple drop out, the dance is re-
sumed. The leader may now stop the dance and call
several numbers in succession. (If a large group is par-
ticipating several numbers should be called in succes-
sion. ) Couples continue to be eliminated until one couple
remain on the floor. The last number is announced* the
remaining couple becoming the winners. The Ledky

234 Betty White's Teen-Age Dance Book

Number couple dance briefly for the spectators, and after
the applause, are awarded the prize.

BACK TALK

This dance is really a variation of the personality tie-
up figure. A leader stands with his back to the dancers,
calls out and eliminates couples on the basis of color of
eyes or hair. The leader may call, for example, "All
partners with blue eyes drop out." Clothes ties, socks,
shoes, etc. may also be used as a tie-in, the couples
dropping out as a call applies to them.

Back talk is the easiest elimination dance of all to run
and can be executed quickly.

SPOT DANCE (PROHIBITED AREAS)

Circles or squares are drawn on the floor as the dance
gets under way. The leader, however, will have to draw
a new circle or square as the dance progresses and cou-
ples are eliminated. Naturally, couples will avoid pro-
hibited areas if they can. Therefore, the leader will have
to move fast to keep ahead of the dancers. Anyone found
on a prohibited spot as the music stops is automatically
eliminated.

To make the Spot Dance even more exciting the leader
can choose an area on the ceiling or use the overhead
decorations as a focal point, without telling the dancers.
As the music stops dancers found under those areas can
be eliminated. The dance continues until all are ruled
out

Elimination Dances 235

FLASHLIGHT DAXCE

One or more flashlights may be used to eliminate the
dancers from the floor. The room will have to be reason-
ably dark before the Flashlight Dance gets under way.
Any couple "spotted* drop out automatically. The dance
continues until all are eliminated.

The Flashlight Dance is one of the simplest to ma. A
leader, however, will have to use some caution in check-
ing encumbrances around the room before the dance gets
under way since the dancers will be in seioidarkness.

BALLOON DAXCE

The Balloon Dance may be run in one of two ways.
The balloons may be retained by the dancers as they are
eliminated or the balloons may be broken as the numbers
are called out. We are going to discuss the second method.

Each couple are given a number and a balloon. (The
balloon may be attached to the ankle or carried in the
hand, ) While the dance is in progress the leader calls out
a number. Everyone stops dancing to see whose number
has been called. The unlucky couple begin to dodge as
the other couples move in for the kill. As soon as the
balloon is broken, that couple is eliminated. The leader
continues to call one number at a time, each couple in
turn being eliminated as their balloon is broken.

The last couple have the privilege of retaining their
balloon and may be given a prize.
Reminder: In preparing for the Balloon Dance, the leader
should make sure that the balloons are blown up and
tied to strings in advance so that there will be no delay
once the dance gets under way. A few spares (extra bal-

236 Betty White's Teen-Age Dance Book

loons) should be kept on hand in the event of an emer-
gency. Even with the utmost caution, balloons have a
way of blowing up!

COMERS

Here is an elimination dance which can be run at a
fast, snappy pace inasmuch as several couples may be
eliminated at a time. Before getting under way, however,
the leader should explain in advance to the group how
Comers is done. And it is especially important for him to
point out that partners may run to any corner they choose.

Each corner of the room is assigned a number-one
through four-the leader holding the corresponding num-
bers on four separate tickets. Now then, everyone dances
and as the music stops (or is turned down in volume)
partners make a mad dash for the corners. The leader
then calls out the number of the first corner to be elim-
inated whereupon the couples standing in that corner
drop out The dance is resumed, the music stops and
partners again run to the comers. The leader calls out
the number of the next comer to be eliminated and so
forth.

Couples continue to be eliminated from the corners as
the numbers are called, the last corner couple becoming
the winners.

25. m

IxerS

If a committee or social director desires to keep a
dance moving it will be necessary to introduce an occa-
sional mixer. (And as the word indicates, a mixer is a
device for exchanging or meeting new partners.)

Certain couples tend to pair off for an entire dance,
and however much fun they may have, other couples
become bored with the same partners, and the dance
begins to slump. It is at this point that a good social
committee or leader steps in to call a Mixer.

Aside from serving as a means of breaking up and
exchanging partners, a mixer has an equally useful role
to play in pulling a dance together at the slack periods.
At the beginning of a dance, between dances, and after
refreshments couples tend to wander off, so a mixer is an
excellent device for gathering the group together.

Mixers, however, should be used sparingly. Too many
mixers are as bad as too few. Guests, after all, have cer-
tain preferences as to partners, and if they are moved
about indiscriminately and at too frequent intervals, the
dance tends to disintegrate as the guests lose interest

Tliere are two types of mixers those done without
properties and those done toff h properties. We are going
to describe the ones most commonly used. And since the

237

238 Betty "Wliite's Teen-Age Dance Book

mixers without "props" are the simplest to organize, we
are going to describe them first. Here are the figures in
order: circles, the basket (a variation of the double
circle), concentric circles, the charge, back up, person-
ality tie-ups, and the multiplication dance.

The mixers with "props" will follow. They will be dis-
cussed and described in the following order: pictures,
cutting, the name mixer including a variation known as
opposites, playing cards, trinkets, and the broom dance.

MIXERS WITHOUT PROPERTIES

CIRCLES

The simplest and quickest type of mixer is the circle.
Guests may form single, double, or even concentric cir-
cles, if the group is large.

7'HK SINGLE CIRCLE

Partners form a circle, facing in, joining hands, the girl
standing on the right side of her partner. At a signal
the leader may say, "Boys dance with the girl on your
left." After the new partners have danced together the
leader may call, "Everyone back in the circle your new
partner on your right" After the group assembles in the
circle, the leader may add "Everyone grab your opposite."
The dancers rush across the floor and grab a new partner.
After a brief dance the leader may call "Everyone back in
the circle with your original partner at your side now
dance with your own partner."

Any number of variations in the calls may be made by
the leader to mix up the guests.

Mixers 239

THE DOUBLE CIRCLE

Girls form a circle, facing in, and join hands. Hie boys
form an outer circle, facing in, standing behind the girls
with hands joined.

At a signal from the leader the boys move sideward in
a counterclockwise direction, the girls moving sideward
in a clockwise direction. As the circles move in opposition
the leader calls out, "Stop! 9 Girls turn around and face
a partner, both circles coming to a halt. The leader fol-
lows with the call, "Everybody dance.**

As soon as the dancers have become familiar with the
preceding routine, there is an even more iaterestirig way
in which they may do the double circle mixer. It is a
progressive mixer and is by far the most popular with
teen-agers. The leader explains in advance that the
girls will meet three different boys as they move in
opposite directions, each of whom will become their
partner in succession. No one dances with a partner until
the signal "stop* has been called three times,, at the end
of which signal the dancers scramble to find partners.
After dancing briefly with partners number one ? the
dancers proceed, at a signal from the leader, to find
partners number two and dance again. Releasing partners
number two, the dancers, at the signal, progress to part-
ners number three and finish the dance.

This progressive mixer is so well liked that longer
periods of dancing may be done with a given partner
instead of the usual brief episodes. Three dances may be
done in succession without anyone losing interest. For
example, the Foxtrot, Waltz, and Lindy make a good
combination. The dancers themselves, however, are quite
vocal about their preferences so any request for a given

240

Betty WMte's Teen-Age Dance Book

dance should be followed through. In that way the pro-
gram will not become too set or routine. And everyone
will be happy.

THE BASKET

For variety the basket formation may be used while
the dancers are in a double circle.

At the signal Torm a basket" the boys raise their arms
as the girls duck under to stand between and slightly
behind the boys. The leader now calls to the boys, 'The
first partner will be the girl on your right, the second
partner the girl on your left. Now everybody dance!" The
boys dance with partners number one and leave them to
dance with partners number two at a signal from the
leader.

Mixers 241

CONCENTRIC dBCLES

Concentric circles may be formed when the group Is
large. Several circles can be formed, facing in, the boys
standing behind the girls. It is wise for the leader to keep
the figures and signals simple. A large group becomes un-
wieldy when the mixer becomes too involved. Depending
on the size of the room, any number o dancers n:ay
participate.

THE CHARGE

If the guests at a dance are beginning to get into a rut
here is a mixer that will really wake them up. It's dyna-
mite!

The leader sends all the girls to one end of the hall and
the boys to the other end of the hall, even-one facing in.
At the signal, "Charge" the boys rush down the hall and
grab the nearest girl and dance.

BACK UP

This is really a quieter version of the charge. The boys
and girls, with their backs turned, stand at opposite ends
of the hall. At the signal, "Go/* the lines slowly back up,
the dancers bumping into each other. The person who is
bumped first becomes one's partner for the dance.

PERSONALITY TIE-UPS

Teen-agers will have a great deal of fun doing this
mixer in which one exchanges partners on the basis of

242 Betty White's Teen-Age Dance Book

the color of eyes or hair or even clothes. The leader may
call out, for example, "Everyone with blue eyes dance with
partners who have brown eyes/' Or the call may be,
"Brunettes dance with blondes/* (Anyone who doesn't fall
into this category, for example, a redhead, may grab
anyone who has gotten lost in the shuffle. )

The periods of dancing should be kept brief so that the
calls can be changed constantly. Everyone will enjoy
being in a happy state of confusion while looking for the
next partner. And the calls should be so varied that the
dancers will be keyed up for the next stunt. By all means
keep the dancers in a state of expectancyotherwise the
personality mixer will fall flat.

MULTIPLICATION DANCE

The multiplication dance, as the name might suggest,
consists of partners dancing and adding other couples to
the floor, progressively.

It is by far the most dramatic of all the mixers. And
has real audience appeal. Each person enjoys having
spectators look on as he or she is chosen, and it's always
fun to "show off' one's dancing ability after one is chosen.

In running the multiplication dance, the Leader should
make the periods quite brief so that couples who are
seated may join the dance quickly. If the dance is not run
at a good, snappy pace the spectators lose interest.

The multiplication dance begins with one couple danc-
ing. At a signal from the leader the music stops, partners
break away and each finds a new partner. (Only people
who are seated may be asked.) Two couples now dance
on the floor until the music stops when the signal is given

Mixers 243

for the next set of partners. Four couples now join the
dance. Each time that the music stops partners break
away and find new partners. As you can see, each time
the dance is resumed the number of couples is doubled.
The dance is continued until everyone is on the floor.

MIXERS WITH PROPERTIES

Trops" such as pictures, playing cards, names, etc.,
always dress up a dance and provide dramatic interest.
They may be used as a device to pull a dance together,
as a means of rotating and meeting new partners, and may
even be used for "cutting/'

A leader can have a wonderful time varying the mixers
we are about to describe. And for a leader with imagina-
tion, the possibilities for new and creative ideas are end-
less.

However gay and festive props may make a mixer,
there is a practical side to be considered. The leader will
have to organize or execute all props to be used before
the dance. Teen-agers like to share an^ participate in get-
ting the props ready so % wise leader will appoint a com-
mittee from among the group.

None of the property mixers we are about to describe
entail any real expense. But make no mistake plenty of
time is required to make up the ingredients for some of
the mixers. Materials will have to be collected well in
advance of the dance and sufficient leeway allowed for
actually making the props.

The mixers that require time are the picture mixer,
opposites, and especially the name mixer. The leader
or committee should have all the implements necessary

244 Betty White's Teen-Age Dance Book

for carrying out the scheme scissors, paper, crayons, bal-
loons, etc. And everything should be so neatly tucked
away that a leader can pull out props for use at a mo-
ment's notice.

The property mixers which are simple and easy to plan
are playing cards, lemons, apples, flowers, lollipops, etc.,
and, of course, the perennial broom!

If some care is used by the guests in handling the props,
they may be stored away for future use. And by all means,
the leader should see that the broom which has been bor-
rowed is promptly returned. A smallish "thank you ' will
not go amiss when the broom is returned.

In running a property mixer the leader should make a
careful count of the number of partners on the floor. The
number of props to be distributed can then be allocated
in advance.

And now we are ready for these delightful mixers.

PICTURES

The most popular property mixer is the picture mixer.
The leader distributes pictures that have been cut in
half one half of the pictures going to the girls, the other
half of the same pictures going to the boys. The object
of the dance is to match up the pictures to find partners.
As soon as all the pictures have been matched up, the
dance gets under way.

In making up the picture mixer the leader should use
big, bold colored pictures. (Stay away from black and
white prints. ) The pictures, before being cut up, should
be marked across the back with a heavy crayon an "X*
will do so that the dancers will not be confused as to
which side is up on the picture. Try to tie up the subject

Mixers 245

matter in the pictures with the interests of a teen-aeer.
Sports, outdoor scenes, celebrities-especially glamorous
ones always go over with a bang. A generous number of
pictures should be kept on hand so that the pictures can
be rotated when in constant use.

CUTTING (WITH PROPERTIES)

If one has to give up a partner, it's easier to do so grace-
fully if one is presented with a prop as amusing as a
lemon, an apple, a lollipop or a surprise ball (crepe
paper). And for something really fancy, the girls, in
"cutting in" on other girls, could use flowers, and the boys*
if they really want to go over in a big way in "cutting in**
on other boys small corsages for the girls!

All of the preceding props are handed to the extra girls
or boys as a dance gets under way. At the close of any
dance, the props should be returned to the leader in good
condition.

THE NAME MIXER

The name mixer is especially appealing because of the
personal touch of finding the name of a friend or, per-
haps, someone else finding one's own name in an en-
velope, a balloon, a lollipop, or even an apple the object
of the mixer being, as usual, the finding of a partner. ( For
the more formal dances, name cards may be inserted in
envelopes or even tucked into paper flowers.) For ex-
ample, the boys can be presented by the leader with the
girls' names on slips of paper, which may or may not be
tucked into a prop. As soon as the girl's name is discov-
ered, the boy claims her as his partner. After all the names
have been discovered, partners pair off for the dance.

246 Betty White's Teen-Age Dance Book

OPPOSITES

The name mixer need not be confined to personal
names. For variety, the names of celebrities, or slogans
or popular songs could be substituted. "Opposites/* then,
is a variation of the name mixer.

When opposites is used as a mixer, two slips of paper
are made for each couple one slip for the girl and one
slip for the boy. Half of a name or slogan is printed on
one slip, the remaining half on a second slip, for example,
pepper and salt. If a boy receives "pepper" he looks for
his opposite, the girl who has received "salt" She becomes
his partner. Opposites continue to look for each other
until all the couples are matched off. The dance then gets
under way.

Here is a partial list of "opposites 9 that have been
found the most amusing:

date bait

hot dog
beauty and the beast
red riding hood the wolf

coca cola

seven up

base ball

home run

pepper salt

Cinderella glass slipper

yo - yo

rock V roll

hot fudge sundae
etc., etc.

Mixers 247

PLAYING CARDS

Playing cards are always amusing when used as a
mixer. Hie leader deals out the pack to the dancers,
hearts and diamonds to the girls, clubs and spades to
the boys. The object of the dance is to match up cards
to find partners hearts and dubs matching, and similar-
ly, diamonds and spades. For example, if a girl has a
queen of hearts card, she pairs off with the boy who
has a queen of dubs. Cards with corresponding numbers
are also matched. The hunt continues until everyone has
found a partner.

At the condusion of the dance the leader collects the
cards, making sure that all of the cards are returned.
(You know the usual souvenir hunter who has a scrap-
book!) Guests are usually co-operative, however, and
realize that if a card is missing, the pack is useless for
any future mixer.

TRINKETS

Here is a mixer that is so popular it is frequently re-
quested by the teen-ager. The leader collects jewelry
(trinkets) from the girls or the boys. (If a teen-ager
is not wearing jewelry, a tie, bobby pin, or fountain pen
will do in a pinch.) The object, as usual, is to find the
person to whom the trinket bdongs who, in tuna, be-
comes one's dancing partner.

Since there is always a scramble to pick up the trinkets,
it is wise for the leader to spread the objects several
inches apart on a flat surface. This prevents confusion
and rough handling of the trinkets* (Xobody, aftex all,

248 Betty White's Teen-Age Dance Book

likes to see a wrist watch pulled apart.) So, a reasonabk
amount of care should be taken in handling the jewelry,
At a signal from the leader the boys or girls line up,
single file, to choose a trinket and rush about to find the
owner until everyone has found a partner.

BROOM DANCE

The broom dance is still the favorite with all teen-agers.
And it does add spice to any dance. The broom dance has
a practical aspect, however, which is the sure-fire solution
for that extra girl or boy.

A leader gives the broom to the person without a
partner as couples assemble on the floor. (The broom is
carried in front with both hands clasping the handle.)
The music begins and as the dance progresses, the leader
signals to the dancer with the broom to drop it. (A
reasonabk bang will do! ) As the broom falls to the floor
everybody rushes to grab a new partner. The person left
without a partner picks up the broom and dances with it
as the other couples continue to dance.

Once the dance has gotten under way, the person
dancing with the broom may drop it at any moment
However, the broom should not be dropped too fre-
quently or the dance falls apart What is equally impor-
tant, the broom should not be kept by one person for too
long a period. Although the object of the broom dance is
to get a partner, apparently the broom is more popular.
So give everyone a chancel

26.

Invitations to a dance are usually offered through the
medium of the telephone or written word.

At all times, you, the recipient, are under obligation to
accept or reject within a reasonable time. The type of
invitation wQ indicate how to dress. (When in doubt,
always inquire of your hostess. )

Informal written invitations may be handled through
a name card or letter. If your mother is hostess her name
card may be used. If you are hostess your name card,
information indicating time, place, etc., written across the
card.

Informal Letter

Date

Dear_

Yours,

The recipient can respond through:

Telephone
Own name card
Letter

249

250 Betty White's Teen-Age Dance Book

Formal Invitation

The formal invitation is written, printed, or engraved,
and written acknowledgment is customary.

Miss Betty White

requests the pleasure of 's

company at a dance to be held at

at o'clock in the evening,

(Day of month) ,

(Spell out time and date)

Reply

Miss accepts with pleas-
ure Miss Betty White's invitation
to a dance to be held at

at o'clock in the evening,

(Day of month) _

(Spell out time and date)

27.

BOY

Informal

Sport coats and slacks: wool or corduroy. Colors: solid

or mixtures
Shirts: almost any type (Windbreakers, lumber jackets,

heavy flannels are out.)

Shoes: dark, moccasin type or oxfordswing tips
Accessories: tie, handkerchief, socks. Harmonize with

entire ensemble.

Semiformal

Blue Suit (Can substitute dark solid color.)
Light-weight flannel, cheviots, etc.
Shirt: white ( Can substitute pastels.)
Handkerchief: white

Socks: black (can substitute dark solid color.)
Shoes: black (can substitute dark solid color.)
Tie: solid color, small neat figure, or stripe

251

252 Betty White's Teen-Age Dance Book

Formal

Tuxedo: single- or double-breasted (white jacket for

summer only)
Shirt: dress (Can substitute regulation attached soft

collar white broadcloth.)
Tie: black bow
Handkerchief: white
Shoes: black
Socks: black

Foundation for good grooming

Bath (Don't forget the ears.)

Nails Clean and trimmed

Hair-Trim

Teeth-Clean

Shoes-Polished

GIRL

Informal and Semiformal

Dresses: cotton, velvet, taffeta. Colc?* T *;an be pastels or

dark.
Shoes: black patent leather, kid, suede with or without

ankle straps
Socks: white ( can substitute pastels.)

or

Stockings: neutral shade
Gloves: "shorties* (optional)

Dress 253

Formal

Dresses: long or ballerina length

Shoes: slippers, pumps, sandals (medium heels), haZet

"flats"
Accessories: gloves, jewelry (strand of pearls always

safe, no earrings), flowers

Foundation for good grooming

Bath (Dash of cologne if desired)

Nails Clean and trimmed

Hair-Neat

Teeth Clean

Shoes Freshly cleaned or brushed

28.

The word "presentation* seems like a much happier
choice of word than "introduction.'* After all, you are
presenting one person to another in order to make them
acquainted. And some of our nicest friendships have
been formed through this custom.

As to which person's name is mentioned first, remem-
ber that an introduction is a reciprocal affair. The person
acknowledging the newcomer is mentioned -first. The per-
son being presented second.

Informal

"Miss White, this is

"Miss White, I'd like you to meet
(Either fonn is acceptable.)

Formal

"Miss White, may I present _ .*

"Miss White, I should like to present _ *

(Either form is acceptable.)

The "How do you doV should be followed by a con-
versational cue some pleasantry about making the con-

254

Introductions 255

tact or a subject of mutual interest touched upon lightly.

If you become confused don't get flustered. There's
always a teen-ager on the sidelines or even an adult who
can come to the rescue. That's one of the rewards of
being part of a group. There's always someone who can
help in a difficult spot.

Since there's usually a good deal of noise at any dance
it is quite easy not to hear a name while being presented
to a person or group. If you do miss out it is perfectly
correct to say:

*Tm sorry but I did not get your name,"

and much more sensible than being evasive, or what is
worse, feeling an anxiety about renewing the contact.

One thing more. If you become detached from your
own group or become socially isolated in some manner,
it is sensible to introduce yourself:

Tm *

or ask someone to present you to a new acquaintance or
group.

Finally, remember that common sense and a sense or
humor will get you through any social situationeven
introductions!

PRESENTATIONS

In general it is customary at a dance to present
a boy to a girl

a younger person to an older person
a newcomer to a group

256 Betty White's Teen-Age Dance Book

If a group is large it is not necessary to mention each
person's name.
At a home dance
Friends should be presented to the family including

small fry.

Faculty members to parents
At a church dance

Your family or friends should be presented to the
pastor.
If Priest:

"Father , this is ."

If Minister:

"Mr , this is ."

or "Dr. , this is "

At a school dance

Parents or friends who are visiting should be pre-
sented to:

members of the faculty
teen-age friends to faculty and naturally, teen-agers

to teen-agers!

To avoid confusion, always bear in mind that the guest
is presented to the person assuming the role of host or
hostess, who in turn acknowledges the introduction
whether at home, at school, or at churck

29. ~dt tL 2),

} a,t^ce

UPON ARKRING

Dispose of wraps as soon as you are admitted.

If you are with an escort lie should wait for you at a
suitable place until you are ready to enter the hall.
(Girls and boys who arrive separately in groups observe
the same procedure.)

Find your hostess at once and greet her.

ON TEDS FLOOR

If the dance is not already in progress go visiting either
singly or with your partner or your friends.

When you are ready to begin your first dance (and it
should be with your escort) the procedure is:

"May I have this dance?*

or "Will you dance with me?"

(Either form is acceptable.)

After you have finished a dance you should thank your
partner, and she in turn should reciprocate with some

257

258 Betty White's Teen-Age Dance Book

sort of pleasantry. If you are not going to stay with a
girl you should return her to her own group or leave her
comfortably seated with her friends.

If you are going to remain with your own girl you
may want to go visiting again. Remember introductions,
recognition, and consideration of older people. And
keep an eye out for what is going on in general. It will
help considerably when the social director or hostess is
ready to call a mixer or any other gathering of the group.

Be a good sport during a mixer. (Maybe she isn't your
dream girl. The chances are she may feel the same way
about you. ) But you can be nice!

If "cutting in" is permitted be sure to observe the usual
customs: circulating on the outside of the dance floor,
lightly touching the shoulder of the boy you are "cutting
in" on, with the customary "May IP* and not "cutting
back** on the same boy.

As a stag be gracious if you are asked by the usher or
hostess to help out. And don't worry about "getting
stuck/* That is the function of the hostess or usher to see
that you dont.

If you really want to share refreshments with your own
girl be sure to reserve the dance with her just before an
intermission.

As you know, refreshments are taken standing or sit-
ting, but since it is more customary to sit, this is as good
a time as any to discuss sitting. With the torso at ease
but erect, the feet are held together or crossed, with the
hands resting in the lap. Conversation of an easy,
pleasant nature should be maintained, but controversial
issues should be avoided.

At the Dance 259

UPON LEAVING

Since it is customary to have the last dance with one's
own girl you will naturally pair off for "good-nights."
If your hostess is engaged you should single out at least
one chaperone or a member of the social committee to
whom you may express your appreciation for the success
of the dance. Whereupon you will claim your wraps and
leave.

29*

The usual methods for getting to and from a dance are

WAIJKING
BICYCLING

BUS
FAMILY CAR

And since school life has already familiarized you
with the procedure for the first three, we will discuss
the use of the family car.

You know that half the fun of attending a dance is the
anticipation and excitement of getting there and back.
Have a good time but 'keep your head! Don't over-
crowd the car, keep noise down to a minimiim (re-
member the neighbors arent going to that dance), and
watch for traffic regulations.

If you do not have a driver's license and will require
the assistance of the family in transporting your friends
be sure to make your request sufficiently in advance so
your plans will not conflict with family routine. The
friends to be picked up should be ready to leave for
their point of destination. If the family is to call for them

260

Transportation 261

at the end of the dance make that clear too so that no
one will be inconvenienced.

The same consideration would be shown neighbors,
friends, or faculty members who offered to share their
cars.

And, of course, you and your friends will remember
to say "thank you/'

31. <^>ciu,inci Cjoocl-

Make it short and snappy!
That's All!

262

32.

NEVER, NEVER, NEVER

Chew gum at a dance.

Slouch while sitting or sprawl legs.

Remain seated while being presented to an older person.

Cross a dance floor. (Go round the outside.)

Leave a girl standing on the floor.

Create a scene (in emergency request the assistance of a

host > hostess, or chaperone).
Indulge in "horseplay" sliding, or running.
Be inattentive or unco-operative while the hostess runs a

mixer.

Slight one person in order to dance with another.
Serve yourself with refreshments before looking out for

others.

"Court" or indulge in awkward "holds" while on the floor.
Become a dance exhibitionist.
Criticize your partners dancing.
Doodle on the furniture or play with decorations.
Join the dance without acknowledging hostess.

Can you think of anything that was omitted?

263