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The “kangaroo walk” this mode of pedestrianism has already been dubbed by the women who do not admire and adopt it. The sliding and yet plunging manner in which the strides are taken gives to this name a decided character of suitability. But the new walk, however striking and fashionable it may be, will not do for all occasions. |
HAVE YOU SEEN THE KANGAROO WALK?
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It is queer enough upon the boulevards, but how would it be in a ballroom? And how about wedding processions and figures in the cotillion? Besides, while bearable and in some sort of keeping with heavy, man-tailored, short skirts, stiff-necked dressings, and wide-brimmed felt hats, it could not be considered at all in connection with the trailing gowns, beautifully sweetly feminine hats and bonnets to prevail during the coming season. What then? |
The "woman who walks" is very much in evidence in Los Angeles. But she does not walk at all as have done her predecessors of other pedestrian seasons. A new walk has made its appearance, and now up Spring Street it is rampant, it is by no means unknown upon Main Street. The new walk is as startling as it is unique and — peculiar.
The walk and carriage of the fashionable woman has been really a thing of beauty for some years past. The most commendable style of walking of late years has been based upon Delsarte principles — head well up, chest out, abdomen held well back, back quite deeply indented. The Delsarte teachers and devotees were responsible for its introduction into America and the" polite world. Once introduced, the Delsarte carriage — being the proper and hygienic pose of the human body into the bargain—became almost universal.
That it was a healthful and becoming mode of locomotion cannot be doubted. Now comes the new form of pedestrianism. It owes nothing to Delsarte or the physical culture principles. It seems to be based rather upon a desire to see to what lengths the old statement that walking, for human beings is really a series of forward tumbles with accompanying and subsequent recoveries, can be carried without resulting in dire disaster.
The body and limbs are all held stiffly, the head — the chin particularly — is poked forward in a decidedly ungraceful and unbecoming manner, the back is bent stiffly from the waist, and the arms hang loosely and lifeless. With each forward step— and each step is a long, quick, hurrying stride—the arms swing stiffly out and back again, as though hung on pivots at the shoulders. The eyes are usually directed toward the ground or straight ahead, and the whole appearance is that of a Dutch doll unexepctedly endowed with the power of motion and in a great hurry to get back to the dollshop and exhibit
A clever and merry woman says that she believes the new walk is the direct result of the vain and fruitless efforts which women for so long made to correct and coerce the natural and innate wickedness and depravity of the short walking skirts which have become so indispensable to woman. These skirts, as every woman knows, will "sag" at the back and "hike" up in the front, no matter how good the tailor who fashioned them, how careful, graceful and stylish the wearer, and how expensive the materials from which they were constructed.
The witty woman who claims to have invented this reason for the new walk, says that it was undoubtedly evolved by some poor feminine who had been driven to desperation and despair, almost to lunacy, by the altogether abominable conduct of a succession of these skirts. Bankrupt, despairing, at her wit's end, she decided to tip forward as she walked, thus bringing the edge of the skirt she was wearing into something like a right line.
While this explanation of this new walk is not vouched for, it is the only one which has yet appeared, and it certainly bears with it an atmosphere of that "sweet reasonableness" which is conspicuous by its absence from the new walk itself.
The "kangaroo walk" this mode of pedestrianism has already been dubbed by the women who do not admire and adopt it. The sliding and yet plunging manner in which the strides are taken gives to this name a decided character of suitability. But the new walk, however striking and fashionable it may be, will not do for all occasions.
It is queer enough upon the boulevards, but how would it be in a ballroom? And how about wedding processions and figures in the cotillion? Besides, while bearable and in some sort of keeping with heavy, man-tailored, short skirts, stiff-necked dressings, and wide-brimmed felt hats, it could not be considered at all in connection with the trailing gowns, beautifully sweetly feminine hats and bonnets to prevail during the coming season. What then?
Some provision must be made for the girls and women who cannot or will not adopt this style of carriage and locomotion, so still an advantage may be noticed in swelldom at present. The walk, or carriage has been termed, not inaptly the "religious walk." because it goes so well with the gentle, demure and sweetly serious appearance and expression which the fashionable woman cultivates upon certain occasions.
It "looks lovely," to be appropriately feminine, when entering or leaving church, and it is "just too beautiful for anything" in the case of a wedding procession. The girl who can "do" the "religious walk" charmingly is sure of a certain amount of belledom wherever she may be. And for entering a crowded drawing-room or clubroom, for promenading at the opera, or between dances at a ball, there is nothing like it.
The Delsarte devotee usually carried something in her hands when she went a-walking. Whatever it was, umbrella, golf stick, pocketbook, roll of music, it was so held as to accentuate the long, slender, straight, and slightly forward-tipping line of the figure. The girl with the kangaroo method of locomotion generally discards umbrellas and "small traps" of every kind. Her hands are usually clinched in decidedly enough.
The Delsarte girl loved to wear her hat straight on her head, a la the sailor hat so beloved of the dear, impossible Gibson girl. The kangaroo maiden pulls her soft felt almost down to her eyebrows or pushes the round golf cap which replaces it almost back to her crown. The girl with the "religious walk" has taken points from both of them. She has, in fact, seized upon many of their distinguishing chnricteristics and transmuted them to uses of her own—with a difference. The mouth of the Delsarte girl was a delicious thing of sweet curves, modified by a slight degree of determination.- Los Angeles Herald, 1901
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