ponents of modern dancing. In Europe as well as in America it has been universally conceded that as teachers they are unequaled. Refinement is the keynote of their method; under their direction Castle House became the model school of modern dancing, and through its influence the spirit of beauty and of art is allied to the legitimate physical need of healthy exercise and of honest enjoyment.
The One Step as taught at Castle House eliminates all hoppings, all contortions of the body, all flouncing of the elbows, all twisting of the arms, and, above everything else, all fantastic dips. This One Step bears no relation or resemblance to the once popular Turkey Trot, Bunny Hug, or Grizzly Bear. In it is introduced the sliding and poetical Castle Walk. The Hesitation Waltz is a charming and stately glide, measured and modest.
The much-misunderstood Tango becomes an evolution of the eighteenth-century Minuet. There is in it no strenuous clasping of partners, no hideous gyrations of the limbs, no abnormal twistings, no vicious angles. Mr. Castle affirms that when the Tango degenerates into an acrobatic display or into salacious suggestion it is the fault of the dancers and not of the dance. The Castle Tango is courtly and artistic, and this is the only Tango taught by the Castle House instructors.
As for the Maxixe, it is a development of the
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