The New Year has opened on definite Charleston note according. to Mayfair. "Two Charlestons in four dances" is the order of the night in the smart haunts. Foxtorts are Charlestoned—distinctive Char-Jeston music is a thing of the past. There are Charleston balls. At! private dances in Mayfair pretty girls oblige with a solo Charleston for the amusement of the party—some bearing well-known names! perform better than professional specialists. They are Chan ing at hunt and county ball crusted conservatism; musical shows. The mussial comedy Javenile lead must work in a Char-lesson now, or lose favour with his female following.
The significance of the Charleston is simply that it has given a new Teate of life to jazz dancing generally. 'The music of the foxtrot Sti enraptures the vast dance publi; but the mere walk to. that music, which the foxtrot had become,' was beginning to discontent the younger generation of dancers, Dances clubs noticed it, and so did cabarets and dance-restaurants. The dance-caterers and maitre anxiously sought for a new dance, The tango was pushed, but was only moderate success." The waltz encouraged by additions to the dance programme, and by alluring nev! waltz numbers. The paso dobie was revived, and the schottische, None was a hit, Then came the Charleston. "At first it was deride ed; then it aroused some interest; then, on the Riviera last season, one found girls and young men amusing themselves trying its peculiar twisting steps, holding on the backs of chairs; and this winter it achieved the importance of a craze. It has also been called
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