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The One Step

(The Grizzly Bear, The Turkey Trot,
The Castle Walk, The Horse Trot
Pas du Poisson, Pas du Serpent)

{1912 - Present}



Introduction

"In the Waltz, the Mazurka, and the Tango, the steps demand a certain science; in the One Step, on the contrary, they are natural, because this last dance is nothing other than ordinary walking; the only difficulty for the beginner is to walk in time with the music. It is indeed the rhythm of the music which characterizes a dance, and that is why the One Step, which is the most elementary dance, offers so many varieties which differ from each other only by the form" [EA14]. For this reason, several sources note that while the One Step can be a creative dance, it is always important to stay on beat, or else the dance will lose its character [PL13a].


The Styles

In the 1910s, many different styles of One Step were described. Below, you'll find some notes and quotes about the style of each version. In most cases, each of these styles can be applied to all of the steps we'll explore later.

The Steps

There are many variations of the One Step, seventy-five of which are described below. As one source notes, "Dancers must not think that it is necessary to use each and every step in the dance. You can alternate your steps ... using three at one time and three at another, or, if you have properly learnt them, you can, if you so desire, use the whole lot" [GS14]. Another source notes that while it's not necessary to change what you're doing every four counts (as its description suggests), in order to maintain the varied character of the dance, you should change what you're doing at least once every eight counts [BB12].

In reading the brief descriptions below, it will be useful to keep these general guidelines in mind:

Traveling Steps

With those guidelines in mind, here are some basic traveling steps:

Turning Steps

  • The Castle Walk: As a specific figure, this name means: back the Follow in a large circle, gradually reducing it's circumference until you're whirling around on the spot [EJ13a, RB14, VC14a, CW14c], perhaps ending with a dip [RB14, CW14c]. "To turn a corner you do not turn your partner round, but keep walking her backward in the same direction, leaning over slightly—just enough to make a graceful turn and keep the balance well—a little like a bicycle rounding a corner" [VC14a].
         
  • Pomander Turn: After backing the Follow in right Yale position, both partners walk forward around each other, turning clockwise around a stationary axis between them [BB12, AN14]. Then, if desired, both partners can turn 180° clockwise on the spot to get into left Yale position, and walk forward around each other, turning counterclockwise around a stationary axis between them [AN14].
  • Pivots: Traveling 180° pivot steps, alternatingly backing the Lead and Follow [CF13, AN14, GS14]. Starts with the Follow backing around on the even count if backing the Follow, or the Lead backing around on the odd count from backing the Lead or promenading.
  • The Eight Step / Cross Eight Swing: Promenade three steps along LOD, turning 90° to the right on the third step (1, 2, 3). Repeat over the elbows to the center of the room (4, 5, 6). Repeat over the hands against LOD (7, 8, 9) and over the elbows to outside wall (10, 11, 12), completing a square in twelve counts [VC14a, VC14b].
  • Reverse Dip Step: Back the Follow four steps, dipping on the fourth, then back the Lead four steps, dipping on the fourth [VC14b, VC14c].
  • About Face: The Lead steps forward left diagonally in along LOD, pivoting halfway around to the left (1) to fall back on the right along LOD (2), then two steps forward against LOD (3, 4). Repeat to regain original LOD [DP14].
  • Right Waltz Step: Lead steps forward left (1), then backs the Follow into a half-turning box step waltz, i.e., he steps forward right (2), side (3), close (4), back left (5), side (6), close (7), then walk forward out of it with right foot (8) [RH23].
  • Left Waltz Step: A left-turning box step waltz, i.e., he steps forward left (1), side (2), close (3), back right (4), side (5), close (6) [RH23].
  • Curve Step: Half of a 90° left-turning box in QQS timing (forward, side, close along LOD), then half of a 90° right-turning box in QQS timing (forward, side, close along LOD) [AC19].
  • Glide Turn: Lead glides side left along LOD (1), closes right along LOD (2), and backs across LOD with left foot (3). Repeat opposite to complete the turn (4, 5, 6) [CC19, CC22].
  • Turning Two-Step: Turning two-step (1-and-2, 3-and-4) [AS12].
  • Rocking Steps

    Crossing Steps

    These steps are based on the Two-Step or Polka:
    Here are some steps in promenade position (both facing LOD, Follow at the Lead's right):
    Here are some rocking steps: Here are some steps that use other positions:



    The Music

    "The music is rag-time. People can say what they like about rag-time. The Waltz is beautiful, the Tango is graceful, the Brazilian Maxixe is unique. One can sit quietly and listen with pleasure to them all; but when a good orchestra plays a 'rag' one has simply got to move. The One Step is the dance for rag-time music" [VC14a].

    One source cites a tempo of around 120 bpm [AM22a, AM22b].


    Sources

    Click "See Original Description" under any citation below to see the original source. If you don't see anything appear immediately, the page images may still need more time to load.


    © 2018 Nick Enge


    For more dance descriptions, see our three books on dancing:
    The Book of Mixers: 100 Easy-Teach Dances for Getting Acquainted (2022) by Richard Powers and Nick & Melissa Enge,
    Cross-Step Waltz: A Dancer's Guide (2019) by Richard Powers and Nick & Melissa Enge, and
    Waltzing: A Manual for Dancing and Living (2013) by Richard Powers and Nick Enge.

    For full-length teaching videos, visit: University of Dance.

    For help crafting a life you love, visit: Project Quartz.


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