Omaha daily bee. (Omaha [Neb.]) 187?-1922, October 18, 1914, EDITORIAL SOCIETY, Image 22

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The Omaha Sunday - Bee 'Magazine Pag
How D
jH! Tfis SavGrHaxHP By JoanSavyor
77iird of a Series in Which the
Most Famous Dancers Teach
the Latest Steps
ON thie page to-day Is printed tht third of a aeries of article! describ
ing in text and pictures the steps and figures of the newest dances
for the stage and ballroom. Each of these new dances it described
by Ite foremost exemplar, who Illustrates the essential positions with
photographs taken during the actual performance of the dance.
By carefully following these expert directions, anybody who dancee at
II should be able to execute the newest dances without further Instruction,
THERE IS a big difference between the tango and maxlxe., although
these two popular dances nre very often confused in the minds
- of Jhe nninlUatfd. There Is a common Idea -that the maxixe Is
merely an elaboration of the tango.
As a matter of fact, the only thing In common between the two
dances Is th fart that they are both '
South American In origin, the tango
coming from' Argentina nnd tho
maxixe from Brazil. -
Certainly the charges of Impro
priety which were made against the
tango could never ba urged against
the maxlxe. for Its attitudes are aU
graceful snd possess a delicacy
which tew modern dances ran boast.
The accompanying photographs
will enable almost any dancer to ac
quire the maxlxe. If studied In con
nection ,Uh the following explana
tions: . .
First Figure.
The partners assume the regular
dancing position, then take several
siow walking steps, .the girl back
ward, the man walking . forward.
They then assume tango position
and glide' slowly Into the,, old
fashioned two-step, swaying toward
the foot that la leading. The girl
etarts two-stepping with right foot,
snaring toward right foot, then re
verses tan ft o position (looking over
elbows), then two-steps with left
foot, swaying toward left foot,
Second Figure. i
Thia la the heel and , too 'eliJo.
Couple assume position facing each
other with arms In repnlar tango po
sition, sliding sldewise to Indv's
Tight with the heel-toe slide. This is
lme by the lady start In 7 ml i-r
;lgb.t heel, , catching her , weif : ,
No. a
- tt'.':''
No. 1
No. 4 The Two-Step Start.'
fcer left foot and sliding her
left foot up to her right, then
starting ou ber right toe and
sliding her left foot up to her
right In the same manner as
before. Partner does same, only
tie starts with his left heel and
slides cp his right" foot, going'
.through same steps as lady but
,wlth oppowlte feet ,
Third Figure.
The partners face each other, rales
left bands to meet over brad, making
oval about fare, the right hands meet'
st back on level with lady's waist
line. In this position the coupie
slide sideways, the man marling with
the left, the lady with th right foot.'
snd two-step for eight counts, allow
ing one step to fill each count. Then
they hold one full count whllo tbs
lady's weight rests on her right foot
snd tbs man's on his i'-ft foot. They
bow step In opponlte direction, attain
moving sideways, the man leading
with right and lady ulth .left foot.
Fourth Figure.
Left hands meet In front at left
t man, right bands are joined and
No. ' 6 Position for
, Plain Maxlxe Step.
No. 2
Toe .
position. Dancers do not travel, but
roturn always to the place they start
from. Man starts with right foot for
ward, stepa forward with his left
foot on , second count, and Im
mediately back: on his right, finishing
count with his weight resting on bis
right foot.. On the third count he
' steps back on left foot holding his
weight on that foot during third and
fourth counts of the music. At the
end of the fourth count he kicks his
right foot forward snd upward st the
back.. Lady begins by coming back
on left foot, swings the right foot
to the left describing the semi-circle
and allowing right foot to coins to
rest just' back of left foot. During
this step the roan Is facing the lady's
left shoulder and s position Is de
veloped naturally that is . held
throughout the count Now bringing
the right foot back to tho left foot,
the lady throws her weight from
right to left foot, finishing count with
resting on left foot On the third
count she swings her right leg In a
semi-circle to a position causing her
to face her partner again. At the
finish her weight rests on her right
foot. On the fourth count she makes
a slight spring and throws her left
foot up snd out 1
Next Wsek The French Tango by
x Margaret Hawkesworth.
No. 6
and 7
No. 9 The Cortex.
rest on or near lady's
rlgh hip. In tbU po
sition, both starting
with left foot the
couple do the two
step, moving forward,
but side by side
keeping up the sway
ing movement of the
body left and right as
In the first step or
plain maxlxe.
Fifth Figure.
Man slides directly
beblnd lady. En
circles her waist, with
hands clasped with
hers In position on
level with her waist line.
maxlxe (first step).
Sixth and
Seventh Figures.
The man raises lady's arms so that
they describe s clrcls above head,
continuing the two-step for several
steps. Lady revolves several times
while In this position, ths man con
tinues two-fltepplng holding ths
necessary counts; she stops when In
s fsclng position required for the
side by Jle. as described In fljure 3.
Eighth Figure.
Stsndlng one behind ths other,
right hand In right left hand In left
the couple two-step together forwsrd
Orst with the right foot, then with
tbs left, but with this distinction,
tbst on the second beat they bend
the right' knee as they turn quickly
to face each other. . They then bring
hands to form clrcls above beads snd
two-step from slds to side, swaying
body to ths right, then to ths left
Ninth Figure.
TUU Is ths Cortei. Assume tangs
Wi -
Do plain N
No. 8
ikf Holt k mi
By Lady Duff -Gordon
LADY DUFF-GORDON, the famous "Lucile" of
London, and foremost creator of fashions in the
world, writes each week the fashion article for
this newspaper, presenting all that is newsct and best in
styles for well-dressed women.
Lady Duff-Gordon's Paris establishment brings her into
dose .touch t'.t centre .of,.V,liion.
By LWdy Duff-Gordon ("Lucile").
IN our talk, our literature, our every-day life and our un-every-day
life we recognize color as an enormous factor. We can
not tblnk of life without coupling the thought with ideas of
vibrant color; nor of death without associating with It the
thought of absence of color. Youth Is colorful, old age colorless.
Ths world of Spring ia a bridal world because it is full of the
loveliest, youngest budding tints. The world of Summer is the
gracious world of blossoming tints; the world of Autumn tbs
world of tints of fulfilment The cold white world of Winter is
the world of death.
Color is vibration snd vibration is harmony, health, happiness.
Harmony, health and happiness are success, helpfulness and
the finest kind of morals.
Therefore to me the color in a woman's dress ia the most im
portant of things to her. The wrong color can kill a charm, can
deaden a personality, reduce & woman to s state of repression
that may face her through any door of unhapplness or failure.
The right color can so accentuate a charm, intensify her per
sonality, that any door of happiness and success may be open
to her. i
We know that certain houses spell cheerfulness, serenity and
light the moment we enter them. . And others oppress ua with
foreboding and gloom. In one we are happy, no matter how
distressing for tho moment may be the outer world. In the
other we are ditrtlnctly unhappy, no matter how high our spirits
when we entered. It is easy to kuow that colors and their ar
rangements have done this.-
If, thencolor has so great an effect on nature, has so great
an effect In our dwellings, how great must be Its effects when
applied to our bodies, which, after all. are only the houses of
ourselves. '
1 taks it that "no one really detelres to make others anything
' than happy and -that no one desires to be other than happy. If,
by the rlKht use Of colors, we can make others glad to see us,
glad to be with us and leave ua with a distinct mental and
spiritual uplift, wiiy then it would seem, our earnest study of 4
ourselves in relation to colors would be a good thing. And then
there are ourselves to consider.
I have seen women with perfectly wonderful akin and hair snd
eyes who have muddied that skin, neutralized the hair and
dullfld the eyes by Just a little part of a dress whose color waa
inharmonious to them. Not only did they destroy themselves in
the eyes of those with them, but they hurt themselves. If we
give a person confidence we stimulate that In them which de
serves confidence; If we give them love, wisely, we stimulate the
capsd'" n font inn love, and if w give them, admiration ws
m :i:v:
77 .1 ! i
f- irnv:
' Ha. A
-i - f: XAf
k i r t bl x it . t jar- - a .i
7 j i f 'I ; S Yonnj:
I I . A ..Jo..
: , A? Model
I f ; 1; Chiffon
" . ' "ft
5 " -:i Silk
U- V vL in the
V 4 New
y "- bow
y, y , -1 r Colon
vV'W I i That
'A i "Harmon.
7 ioui
) with
V ' Youth."
New "Lucile" Walkingr Dress of Blue DimetTn.
"Harmoniously Colored" Gown for
Increase In them the desire to make themselves even more ad
mirable. But if these things are denied, the springs that should
call them forth vanish la time.
All we know of the world we know In terms of color. It is
part of our very being. Therefore let n study it and ubo it for
Its full power. It is a charm, an amulo against bad fortune.
I know a woman of France's aristocracy who has dresses she
calla her doctors." So much of unhealth is, after all, of the
mind. She only wears them when out of sorts. For the dull
and morbid mood a there is a gown that is sclntlllant aa a dia
mond, lacy, sparkling, for the dejected mood there is one that
blends colors so that It fairly sings of Joy. And for the nervous,
irritable mood there is one of calmest strongest colors that haa
the aame effect as the nave of aome great Gothlo church. J
Almost any woman can be attractive if ahe will study her
colors and the colors that w ill help her. Many an ugly duckling
can be made into a raving beauty by the same study. And the
most beautiful woman in the world can utterly kill herself with
the wrong colors.
To my mind, to be entrely harmonious with the great forcea
of nature ia to be healthy and happy and to see and think true.!
In this sense colors have both health and morals.
I writs this little essay, which is somewhat outalde of mere
fashion descrljtlon. because it is one of the baslo truths of
which fashion itself ia but the foam on the wave. It la oas of
tbs few things worth real study and thought
CvDrrlsal 1914, by the Star Company. Qraat Britain Ttlfhta RsstrTtd1