New York, Jan 24 — Because she didn't like the tango, Mrs. Stuyvesant Fish hired its most noted exponents, the Castles, to invent a denaturized form of this dance. She calls it the "Innovation." The dancers take position 12 inches away from each other, look into each other's eyes, but never touch each other during the dance. Her guests on whom it was sprung were NOT madly crazy about it.
I found a picture on wikipedia of Vernon and Irene Castle demonstrating what appears to be this No Touch Tango developed by them at Mrs. Fish's request:
At the age of 17, Mary Tyler Moore aspired to be a dancer. She started her career as "Happy Hotpoint", a tiny elf dancing on Hotpoint appliances in TV commercials during the 1950s series Ozzie and Harriet. She appeared in 39 TV commercials in five days, ultimately earning about $6,000 from her first job. Her time as "Happy Hotpoint" ended when it became difficult to conceal her pregnancy in the dancing elf costume.
At the start of her solo Ms. Mordoj stood at the back of the stage in near darkness. Holding a briefcase under her chin and dressed in a jacket, skirt and heels, she began to vocalize softly and then with increasing strength. Performing on a runwaylike strip of the stage that extended to the audience, Ms. Mordoj, her eyes bulging, stuffed an egg into her mouth — and then another and another, all the while grimacing, but keeping them down. Or so it appeared; she knows a thing or two about illusion.
As if her skin were shedding, crushed eggshells dropped to the floor. Eventually, she removed her jacket and attached two falsies to her bra while contracting and distending her belly, a feat both grotesque and stunning. At a certain point, she stopped trying to be funny — another relief — and slowly lowered herself to the floor. Bits of shells stuck to her face and chest, transforming her clown face into a spooky ritualist mask. The metamorphosis worked its magic: Ms. Mordoj held us captive.
The "peg-leg" was a brief dance craze back in 1953. To do the peg leg, a man simply wore a wooden leg over his right leg as he danced with his partner. The dance was imported from the Dominican Republic where, so the story goes, a sailor with a wooden leg once was so seized by the rhythm of the merengue that "he stood up and took part in the dancing. The people loudly applauded and imitated the clumsy and awkward dancing of the seaman. This way a new dance came into existence." [Montreal Gazette, May 1953]