By Alex Moore, Philip J. S. Richardson

Now in its 10th variation, this vintage and complete guide has been revised to convey it brand new in accordance with alterations at the dance ground and within the ideas of dance competitions. The Quickstep, Waltz, Foxtrot, and Tango are all illustrated and defined in nice aspect.

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I 27 28 J Ballroom Dancing LEADING AND FOLLOWING There being no set sequence of steps in modern dancing, the responsibility of leading from one figure to another rests entirely with the man. The lady's part is to follow, whether the man is dancing a figure correctly or not. Most of the leading for the turns is done by the turning action of the man's body combined with a very slight pressure with his Right hand. The Right hand must not be used to pull or push the partner, but rather to keep an even pressure, thus ensuring that the lady feels from the man's body action the amount of turn that is being made.

2 T. 3 T. 4 T H. 5 T. 47 48 J Ballroom Dancing General Notes. The lady should have no difficulty in knowing which ending to the Quarter Turn is being used. When using the Progressive Chasse, the man's body will not turn so much to the L on the first step as when a Heel Pivot is employed. NATURAL TURN Man The most useful figure to use at corners. It is sometimes more difficult to master than the Natural Pivot Turn (described later), but is excellent groundwork for similar figures in other dances.

This is most marked in the Waltz, and even the beginner may find that a slight inclination of the body against the direction he is moving will prove helpful and assist in preserving balance. The greatest value of swaying, however, is purely decorative, and the keen dancer will find that a careful study of the correct Sways in the descriptions of the various figures will make the resultant dance much more attractive. To oversway, however, is a much worse fault than not swaying at all. I 27 28 J Ballroom Dancing LEADING AND FOLLOWING There being no set sequence of steps in modern dancing, the responsibility of leading from one figure to another rests entirely with the man.

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