Vanity Waltz Dance Steps
The Vanity Waltz is a modern sequence dance. The dance script was composed by Jack Kennedy in 1939. It is a 32 bar dance (see paragraph numbers) in the usual 3/4 waltz time and should be danced to a 1-2-3 rhythm to music at a tempo of 30 beats per minute.
We commence the dance in open facing position about two feet apart with the man facing and the lady backing the line of dance and the lady slightly to the man’s right. Their hands are held at shoulder height with the man’s hands held palm upwards and the lady’s facing downwards. We describe only the man’s steps here, assuming the lady will follow as a counterpart.
The Vanity Waltz is noted for its many Contra Body Movement Positions.
The man lowers (bends his legs) slightly and uses “heel leads” to step forward; backward steps are drawn with his toe (again, lowering himself) and whenever he brings his feet together both man and lady should rise up onto their toes. If you find yourself confused with all the technical terms, you can skip to a video presentation of the dance below.
If You Prefer to Just Watch the Vanity Waltz, Scroll to the Video at the Bottom
How to do the Vanity Waltz
1. The man moves his left foot forward in a diagonal-to-wall direction and using a Contra Body Movement Position outside his partner, who is on his left side (1) then his right foot comes forward, diagonal-to-wall (2) and he closes his left foot to his right foot while commencing to turn his body to the left (3)
2. The man continues turning to the left to face diagonal to centre and brings his right foot forward across the line of dance in a Contra Body Movement Position (CBMP) (1) then his left foot comes forward and across the line of dance in a diagonal-to-centre direction outside his partner, in another CBMP (2). The man closes his right foot to his left and commences to turn to the right (3).
3. The man continues turning to the right and brings his left foot forward in a diagonal-to-wall direction across the line of dance in another CBMP outside his partner (1) then his right foot comes forward towards the wall (2). He closes his left foot to his right foot and commences to turn to the left (3).
4. The man continues to turn to the left, his body facing the line of dance, then brings his right foot forward in a diagonal-to-centre direction across the line of dance, a short step, outside his partner in another CBMP, relaxing his knee (1). He then points his left foot forward with a soft hip throw diagonal-to-centre, rising up on his right toe outside his partner, the toe should be in contact with the floor (2-3)
5. The man then brings his left foot back against the line of dance and slightly across in another CBMP (1) his right foot goes to the side across the line of dance and he is square to his partner (2). The man’s left foot brushes to his right foot, as he commences to turn to the right (3).
6. The man’s left foot now goes forward in a diagonal-to-wall direction, in another CBMP outside his partner, a short step as he relaxes his knee (1). He then points his right foot forward in a diagonal-to-wall direction with another soft hip throw, rising onto his left toe, the toe should be in contact with the floor (2-3)
7. Now the man brings his right foot back, his partner on the outside, against the line of dance. He moves slightly across his partner in another CBMP (1) his left foot then goes to the side across the line of dance, a short step. He is now square to partner (2). The man’s right foot then brushes to his left foot without changing his weight. He commences to step outside his partner along the line of dance (3).
8. Now the man brings his right foot forward along the line of dance in another CBMP outside his partner as he commences to turn to the right and continues doing so (1). He brings his left foot to the side along the line of dance and outside his partner, as he continues to turn to be almost backing the line of dance (2). The man’s right foot closes to his left foot, this time with a weight change (3).
9. Now the man’s left foot moves forward against the line of dance in another CBMP outside his partner and he commences to turn to the left and continues doing so (1). His right foot goes to the side against the line of dance and outside his partner, as he continues to turn to the left, to be almost facing the line of dance (2). The man’s left foot then closes to his right foot and with a weight change (3).
10. The man’s right foot moves forward along the line of dance in another CBMP outside his partner, as he commences to turn to the right (1). His left foot then goes to the side along the line of dance and outside his partner, while he is still turning to the right to be almost backing the line of dance (2). Then his right foot brushes to his left, without changing his weight (3).
11. The man now brings his right foot back along the line of dance in another CBMP outside his partner, as he commences to turn to the left (1). He then brings his left foot to the side along the line of dance, still turning to the left to be almost facing the line of dance (2). The man’s right foot then closes to his left foot, this time with a weight change (3).
12. The man now brings his left foot back against the line of dance in another CBMP and commences turning to the right (1). His right foot goes to the side against the line of dance, while still turning to the right to be almost backing the line of dance (2) then his left foot closes to his right foot (2).
13. Now the man brings his right foot back along the line of dance in another CBMP and commences turning to the left. At this point he prepares to step outside his partner toward the wall and at the same time, to take up Normal Ballroom Hold (1). His left foot then moves forward and across the line of dance and outside his partner, while still turning to the left, to be almost backing the line of dance (2) and his right foot goes to the side along the line of dance. He should now be on the right side of his partner (3).
14. Now the man brings his left foot back along the line of dance in another CBMP, while he commences to turn to the right (1). His right foot goes to the side along the line of dance, while still turning to be almost facing the line of dance (2). Then his left foot closes to his right foot (3).
15. Next, the man brings his right foot back against the line of dance and outside his partner in another CBMP and commences turning to the left (1). His left foot then goes to the side against the line of dance while still turning to the left, to be almost backing the line of dance (2). He then closes his right foot to his left foot with a slight body sway in the direction of the closing foot (3).
16. Now the man’s left foot comes back along the line of dance in another CBMP as he commences turning to the right and prepares to step outside his partner (1). His right foot then moves forward and across the line of dance toward the centre (2). He keeps turning to be almost backing the line of dance. His left foot goes to the side along the line of dance (&) and he brushes his right foot to his left foot without changing his weight. He should now be on the opposite side outside his partner (3).
17. Then the man’s right foot comes back along the line of dance in another CBMP as he commences to turn to the left (1). His left foot then goes to the side along the line of dance (2). He continues turning to be almost facing the line of dance and closes his right foot to his left foot (3).
18. Now the man’s left foot comes back against the line of dance in another CBMP as he commences to turn to the right (1). His right foot goes to the side and against the line of dance (2). He continues turning to be almost backing the line of dance and closes his left foot to his right foot (3).
19. Next, the man brings his right foot back along the line of dance in another CBMP while turning to the left (the Lady’s left foot moves forward along the line of dance as she commences turning to the left) (1). The man’s left foot goes to the side and along the line of dance while he is still turning and he prepares to lead his partner to where they will both be facing diagonal-to-wall (the Lady’s right foot goes to the side into a Heel Pivot and she is slightly to the man’s right side). Both partners release their hold and take up Right Shadow Hold (2). The man closes his right foot to his left foot as the lady completes her Heel Pivot (the Lady’s left foot closes to her right foot and does a Heel Pivot, turning to be facing diagonal-to-wall and in line with the man) (3).
20. Man and lady now on same foot.
Both partners now turn to face the line of dance and both partners’ left feet move forward in another CBMP and diagonal-to-wall while in Right Shadow Hold (1). Then their right feet move forward in another CBMP and diagonal-to-wall (2) and left foot closes to right foot as they turn towards diagonal-to-centre with a slight sway (3).
21. Now they do the same thing, coming back toward the cente. Their right feet go forward in a diagonal-to-centre direction with another CBMP (1) then their left feet move forward towards diagonal-to-centre with another CBMP (2) and they close their right foot to their left foot so that they are now facing the line of dance (3). There is a 1/8 turn between (2) and (3)
Vanity Waltz – Moving Along Line of Dance Toward the Lift
22. The man’s left foot moves forward along the line of dance as he commences to turn to the left (1) then his right foot goes forward and along the line of dance, a short step, so that he is now facing the centre (2). His left foot brushes to his right foot without changing his weight (3). There is a 1/4 turn to the left between (1) and (2).
23. Now the man’s left foot comes back and diagonal-to-wall with another CBMP as he commences turning to the right (1). He continues turning strongly to the right, with his right foot moving forward along the line of dance, a small step (2). He continues turning so that he is almost square to the wall, his left foot going to the side, another small step (&) and he brushes his right foot to his left foot without changing his weight (3).
24. Now the man’s right foot comes back and diagonal-to-centre with another CBMP as he commences turning to the left (1). His left foot then goes forward and along the line of dance, a small step, and he continues turning strongly to the left, so that he is almost square to centre (2). His right foot then goes to the side and along the line of dance, a small step (&) and he brushes his left foot to his right foot without changing his weight (3). There is almost 1/2 turn between (2) and (3).
25. Now the man brings his left foot back and diagonal-to-wall with another Contra Body Movement Position and he commences turning to the right (1). His right foot then goes forward along the line of dance, a small step, and he continues turning strongly to the right so that he is now almost facing square to the wall (2). His left foot then goes to the side and along the line of dance, a small step (&) and he brushes his right foot to his left foot without changing his weight (3).
26. Now the man’s right foot comes back and diagonal-to-centre with another CBMP as he commences turning to the left (1). He left foot goes to the side and across the line of dance, a small step, while still turning to face diagonal-to-centre (2). Then his right foot goes forward, a small step (3).
27. The man’s left foot moves forward and diagonal-to-centre, a small step, and he slightly relaxes his left knee (1). Now both partners raise and point their right foot in a diagonal-to-centre direction with a CBMP, using a soft hip throw and rising up onto the left toe (2-3).
28. The right foot goes to the side and across the line of dance, a small step, a both partners slightly relax their right knee (1). They raise and point their left feet towards diagonal-to-wall with a CBMP, using another soft hip throw and rising up on to their right toe (2-3).
Vanity Waltz – Conclusion
29. The left foot goes forward and across the line of dance and diagonal-to-wall in a CBMP (1) then the right foot moves forward and across the line of dance and diagonal-to-wall in a CBMP (2) and the left foot closes to the right foot as they commence turning towards diagonal-to-centre (3).
30. The right foot goes forward and across the line of dance and diagonal-to-centre in another CBMP (1) then the left foot goes forward and across the line of dance and diagonal-to-centre in another CBMP (2) and the right foot closes to the left foot as they commencing turning towards diagonal-to-wall (3).
31. The man’s left foot now moves forward and across the line of dance and diagonal-to-wall in another CBMP (the Lady’s left foot moves forward and across the line of dance and diagonal-to-wall) (1). His right foot goes to the side and across the line of dance as the man prepares to lead his partner into a swivel step so that they can take up Open Facing Position (the Lady’s right foot moves forward and across the line of dance and diagonal-to-wall) (2). His left foot closes to his right foot (the Lady does a swivel 1/2 turn to the right so that she finishes facing her partner and diagonal-to-centre, brushing her left foot to her right foot) (3).
32. Finally, the man’s right foot comes back against the line of dance and with another CBMP and slightly diagonal-to-centre (the Lady’s left foot moves forward and slightly diagonal-to-centre) (1). His left foot goes to the side and across the line of dance (the Lady’s right foot goes to the side and across the line of dance, toward the centre) (2) and his right foot closes to his left foot (the Lady’s left foot closes to her right foot) (3).
Then begin again . . . . .
Enjoy This Video Presentation of the Vanity Waltz
