class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">28

THE FASCINATING
BOSTON

FOREWORD

SINCE the introduction of the waltz, more than a hundred years ago, it has held the first place in the esteem of dancers throughout the civilized world. There has appeared, however, a new claimant for the place—one that possesses all the qualities that go to make a social favorite, and has the additional advantages of greater ease of execution, and wider possibilities of adaptation.

This is the BOSTON—not, as many persons suppose, a new creation nor indeed is it a novelty even to the American public, for it was introduced here more than a generation ago; but the great popularity of the Two-Step, which had just then come into vogue, and was fast gaining favor under the influence of such brilliant compositions as the quick-step marches by Sousa, operated against its immediate acceptance.

One of the reasons why the Boston should prove today a more attractive dance than any other, is the fact that now there are more captivating airs written for this particular form of dance than for any other, and as the Two-Step, in its time, found its most powerful ally in the music to which it was adapted, the Boston has today the persuasive intercession of such languorous and haunting melodies as "Love's Awakening" and "On the Wings of Dream," by Danglas; Sinibaldi's "Thrill," and others.

General taste has gradually found out the superior charm of the Boston; the pendulum of public favor has again swung in the direction of skilful dancing.

The recent revival of the Waltz in its proper form, has brought with it a larger appreciation of the more worthy and graceful social dances, and the entire world now recognizes the wonderful beauty of the Boston, and has welcomed it as a real competitor.

The Boston is not a Waltz, yet it is the perfection of it. It is one of those paradoxical things which, while it is impossible to be classified, contains all that is to be found in almost any other dance. Even the persons who have so long and so loyally clung to other forms of dancing, and have abated none in their zeal for their favorites, have been unconsciously, and perhaps unwillingly, charmed by the seductiveness of the Boston, until they now freely declare the new dance to be the superior of the Waltz. Therefore it is safe to say that the Boston will, eventually, supersede the Waltz altogether.

We demand a dance which combines ease of execution with attractive movement. That is just what the Boston does, and perhaps more. It is so simple in construction that, when acquired, it becomes natural, and its perfect adaptability assures it lasting popularity.

Owing to the urgent request of many of his pupils and colleagues, the author has undertaken this little book in the hope that it will meet the requirements of both teachers and students, and help to assure the proper appreciation of what is in reality the most delightful and artistic social dance since the Minuet.

THE FIVE FUNDAMENTAL POSITIONS

In order that the reader may the more readily understand the descriptions given in this book, we will explain the five fundamental positions upon which the art of dancing rests.

In the 1st position, the feet are together, heel against heel.