man's. Then, it will be noted, her position becomes the same as the man's: each, through a half-beat, is supported on the right foot, the left extended back en attitude. The count of "4" again finds the couple in converse positions, the man's right foot being pointed forward while the woman's is extended back.
4. An Arch a la Pirouette. Holding his partner's right hand in his left hand, the man executes four polka-steps forward; while the woman, by means of four polka-steps, makes a complete turn toward her left. The engaged hands are raised to allow her to pass under the arms.
Whatever be the verdict in regard to the Maxixe, it is unlikely to be remembered as of the group whose spread over the Occident have represented a striking social phenomenon. Of the One-Step, the two Waltzes and the Tango, the leap into popularity has been so incredibly sudden, and the popularity so far-reaching, that it suggests a great, curious story; a story with dances and nations as characters; a story whose capacity for surprises is so well proven that all the world keeps asking itself, "What next?"
That the tendency is not in the direction of the grotesque is evidenced in the history of the Turkey Trot.
So far the layman may read for himself. For more definite opinion, we turn to those who, by intimate association with the art in the capacity of teachers and performers, are situated to observe the attitude of the public toward the art; and who also, by virtue of a broad knowledge of dancing, are capable of relating their observations to choreographic geography and history. Madame Pavlowa, of the world; Mr. Anderson, now of America; and Miss Nellie Chaplin of London, have
