sean = cnierarmateen >) Wer
a
Ss <
x SS
0,
SR BRS ASS
Se
FON
SS ees
¥ WIGS
Peer roy EDICT ME LC. 4 =
mn eRe ne ne we LE i tl wa
7
oe ari % in
ENA A ee
Te ee tea
E
eee
%
“7 tas
NS
x
Sra WS SS SRS
RS SN SS
SSS SY Xe
OA
AEE a SN
ASEAN
WN . Sk
WS
SERRA
Ss :
PVN
NX
=
WARN SSIs
S SS ON A
Si
a
\ ae
RS an
: AY ys AC
\ : yO AN
. AC
S SSSR
x ~ :
.
REAR ARRAY .
eS =
SESS
~
The person charging this material is re-
sponsible for its return on or before the
Latest Date stamped below.
Theft, mutilation, and underlining of books
are reasons for disciplinary action and may
result in dismissal from the University.
University of Illinois Library
MAY —J 1949
| OCT 7 (975
«OCT 13 107
“JAN 02 1551
C2 @ 1890
Nivea? #492
APR 08 1987
JUL 2°41 | 1997
L161—O-1096
ia
DANCING
AND
ITS RELATIONS TO EDUCATION
AND SOCIAL LIFE
WITH A NEW METHOD OF INSTRUCTION
INCLUDING A COMPLETE GUIDE TO
THE COTILLION (GERMAN)
WITH 250 FIGURES
BY
ALLEN DODWORTH
ILLUSTRATED
NEW YORK
HARPER & BROTHERS, FRANKLIN SQUARE
7
*) See eS
eae
TiS +
x y ¥ ‘ape >
: FP?
- ‘ "Oh vel al
' a™ aA
i? 7 Me tem
Be
* , P
4x
z - i r ? ,
>e
ahh
-
-
‘
‘
a
Li
‘
94
8
Copyright, 1885, by Harper & BROTHERS,
All rights reserved.
3 r
4 =
- ‘s w n
| ° t ;
we
> wl
r
i F
“i ‘ ., /
f 4
al
me -- - ++ ~@
- é . - ta
‘ i »
‘ ‘ : , gS 2
b m ‘i ah, >, Slide Change Side Fs,
oo 2 po eee See: Were cet eee eS aD .
Left foot. Right foot.
The gentleman begins as if facing the bottom of
this page.
After making two slides along the first line with
left foot, as shown in the diagram, and while pois-
ing upon that foot, the body is thrown or twisted
half round to the right, keeping the heel from the
46 DANCING.
floor, so that the foot may turn with the body; dur-
ing this turn, the right will follow the dotted line
until ready to fall upon the succeeding straight line,
upon which two slides are made with right foot, fol-
lowed by a half.turn upon right foot, similar to the
one described for the left, during which the left will
follow the dotted line, until it is ready to fall upon
the next straight line. This is one complete revolu-
tion. All being alike, other examples are unneces-
sary.
The lady would begin as though facing the top of
the page, making the first two slides with the right
foot, and the half turn upon the same; the second
two slides upon the left foot, with half turn upon the
same.
Left or Reverse Turn.
Slide Change Slide Slide Change Slide
Left foot. Sah ees Right foot.
ena
After the first two slides with left, the half turn
upon left must be to the left, causing the right to fol-
low the dotted line as above; and after the two slides
with right, the half turn must be to the left, left foot
following the dotted line. Motions for the lady are
precisely the same, but she begins with right foot as
if facing the top of the page.
In practice, there will be found a tendency to dis-
tribute the turn upon all three motions, caused by the
momentum of the whole person; this ought not to
be resisted, unless there should be liability to turn
more than is required. Evenness of motion is part
of gracefulness. Brusque or sudden motions must
GALOP. 47
be avoided at all times. Written description of mo-
tion in any case can give only an approximate idea of
the best.
It will be found that the movements of the galop
will generally assume the curved or loop form men-
tioned in “General Directions.” From this point,
therefore, it will be treated as in that form.
To Change from Right to Left Turi.
Backward Change-——While turning to the right, af-
ter the half turn upon the left foot, the two slides
which follow with the right are made directly back-
ward; then immediately upon the following two
slides with the left foot, the left turn or reverse be-
gins. When necessary to resume the right turn, after
the two slides of the right, the two slides of the left
are directly backward; then the right turn begins
again upon the right foot slides.
Forward Change.—In turning to the right, after the
two slides with the right foot, the next two slides of
the left are directly forward; then the reverse begins
with the right. To change back again to right turn,
two slides are made with the right foot directly for-
ward, then the right turn begins upon the left foot.
Deux Temps* (Two Time)—Ignoramus Waltz.
_ The latter name is the more descriptive of the two,-
for various reasons. [F*irst, the dance being in three
* All directions given for the galop are applicable to this
dance.
43 DANCING.
time, it is a curious mistake to name it ‘‘ Two time.”
Second, the motions are so easy to learn that many
men attempt the dance without preparation. These
are the motions used by those whom we see “tear-
ing” about with great athletic vigor, more frequently
observed among certain of our English cousins than
among us. These are they who “just get their sis-
ters to show them what it is,” and away they go in
full quarter-stretch time. The only difficulty of the
dance is in the accent. When in two-four time, the
motions are those first taught to children, who learn
it with great facility; but the same motions to three-
four time are at first beyond their understanding, and
so it is with children of larger growth; consequently,
out of twenty couples attempting the dance, it is rare-
ly that more than one or two will be in true accent.
When the motions are well executed in appropriate
accent, by those who know what it is they are doing,
it is certainly not an ungraceful dance, and is at times
very pleasurable, from this peculiarity of accent.
ACCENT.
MM. J== 72
So So So So
BS 3) G04 iG, OB Gee
f
30. See
—_ ae =
| To left. |__ To right.
Same for opposite foot.
Polka* and its Derivatives.
In this class of dances two other motions are intro-
duced, viz., the Leap and Hop. We have, therefore,
slide—change—leap—hop—sideways either to right
or left.
ACCENTED TO THE MUSIC.
MM. J} = 104.
ye ess [Right Left | Right
SD % So | 80
cory aes Pealg it
je SSH eps s SN Y1[G0 4
=
The same method is applicable to this as to the
* Introduced to my pupils in 1845.
RACKET AND POLKA. 53
galop, that is to say, the revolutions should be
learned, following a straight line.
Starting with the left foot, as for gentleman, at
the slide no turn is made; at the change begin to
turn to the right; at the leap turn still farther; at
the hop, or rather between the leap and hop, finish
the half turn, so as to commence with the right foot,
and by following the same method the turn will be
completed, the pupil advancing along the line.
The explanation given in ‘General Directions,”
in regard to making one half the pivot of the other
half, must never be forgotten.
To Reverse or Turn to Left.
The same motions are made, but the pupil is re-
volving or turning to left while executing them.
Pursutt.
One dancer follows the other; one going back-
ward, the other forward.
The same four motions are used, not sideways, but
forward or backward, as may be required.
It may be remarked that a better and more grace-
ful effect is produced when the hop is reduced to
the smallest possible amount; a rising and falling on
the foot without leaving the floor is preferable to a
more distinct hop.
In changing from the right to the reverse, or left
turn, one bar must be made as in the pursuit.
54 DANCING.
3 Polka Redowa.*
POLKA TO REDOWA MUSIC.
Same directions as for Polka.
Polka Mazurka.+
Combination of Polka and Mazurka.
The polka as already described, omitting the hop.
Mazurk—slide—change—hop.
For example, sideways with left foot. After the
slide and change, the left foot is held from the floor
while the hop is being made upon the right. It will
be observed that there is no return in the opposite
direction; the three motions, therefore, can be repeat-
ed only in the same direction, either to right or left.
When followed by the polka the change of direction
is available.
ACCENT.
MM. |= 56.
SS % S %S
% = %S ~ AQ, %S RY NS x q
BS eS BN AS LES we EN 2, 8) fo Cees
TS S. s- S 8 RS SS. TEs @ ae &
Ae) Capea eos, Oe pes 3S ceo
During the first bar no turn occurs, in the second
* Introduced in 1852. + Introduced in 1850,
i Oe
RACKET AND POLKA. 55
the turn is the same as the polka. All the changes
may also be introduced as in that dance, viz., right
and left turns, and pursuit, with the addition of the
“Oscillations,” which consist of the lady passing to
and fro in front of the gentleman (without changing
the position of holding), that is, half round to left,
and half round to right, each half round occupying
two bars.
Esmeralda (or Three-Slhide Polka).
As the second name denotes, this is simply the
polka with two additional slides.
ACCENT.
TM | Change
The first two slides at the first bar are made with-
out turning; at the second bar turn half round as in
the polka; at the third bar two slides are made with
the opposite foot without turning, and one revolu-
tion is completed by turning half round at the fourth
bar.
All the various changes of direction (reverse and
pursuit) occur in this dance as in the polka, the suc-
cession of the motions being always maintained.
A pleasant way of varying this dance is to make
the three-slide polka two bars, then one-slide polka
two bars, turning once and a half before sliding three
times on the opposite foot.
56 DANCING.
Bohemian®* (or Heel-and-Toe Polka).
This is one of the eccentricities of dancing, not
graceful unless exceedingly well executed.
Place the right foot in the second position, but
with the toe turned upward, heel upon the floor; at
the moment of placing the heel down hop upon the
left foot, so that the two motions are simultaneous.
Next place the right foot in the fifth position be-
hind the left, but with the heel raised (by bending —
the right knee). Just as the toe is placed upon the
floor make a second hop upon the left foot.
The two motions, occupying one bar, are followed
by one bar of the polka, turning half round, when the
Bohemian occurs with the opposite foot, again fol-
lowed by the polka half round. The most agreeable
way of using these motions, which in a measure re-
moves the monotonous effect of the recurring heel-
and-toe, is to repeat the Bohemian four bars, then
the one-slide polka four bars.
ACCENT.
MM. J = 104.
* First introduced as one of the movements of the original
polka.
RACKET AND POLKA. 57
Combination Polka,
Combining Bohemian, Esmeralda, and Polka.
ACCENT,
MM. = 104 %, %,
i ee a ae ae SR a oe
S S eS x) % 8 Bee 1S % = SS
~ OR ie, See eye) Nhs 2 gt ys a C}
etc.
Recommence with the opposite foot.
Varsovianna* (old).
This dance is composed of polka and mazurka mo-
tions, the peculiarity of the dance consisting in the
stop after each half turn, when the foot is extended
to the second position. In another way, say, starting
with left foot,
‘Poika Redowa half round, . = 2. bar
Stop and point right foot, . ee be
Repeated Polka Redowa half round, right foot, 1 “
Stop and point left foot, : a She
Mazurka with left foot, .
Polka Redowa half round, left,
Stop and point right,
Mazurka with right,
Polka Redowa half round,
Stop, pointing left,
— = Nm me N
~
~
* First seen in Paris, and introduced to my pupils in 1853.
a
58 DANCING,
Continuing, with the same succession, throughout
the dance.
Varsovianna (new).
Slide and slide, change, leap, left, . . a, Bay
; h Stop and point right, . ‘ ° Pa Ga
First phrase J sjide and slide, change, leap, right, Nee ie
repeated.
Stop and point left, : : : : ee
Repeat same . : 4%
Slide, change, hop, slide, chaees hoot left, 2. a
Slide and slide, change, leap, . : . TY
Stop and point right, . : 15
Slide, change, hop, slide, change, hoes right ae
Slide, change, leap, right, : “ - eee
Stop, pointing left, . . : : ams Wh
ACCENT,
MM. J, = 54. First Phrase.
e2 8 % ® = & %
Om S S$ 2° § 8 8 8s ee
Agi i) Ve 9 GN A 9G 8 am
Change
Leap
ae
i
? i
At
t
if
S
345 aoa
Same Jor other jt ot.
para aer a ceeeand neers ee ee ge Be oa a
F Ay eee = RES SOE a eee ae -_———
Same for other foot.
RACKET AND POLKA. 59
Five Step.*
This is a peculiar dance in five-four time, for which
we have but few musical compositions. It consists
of the mazurka with leap and hop.
ACCENT.
MM. J= 144.
Same successton continu.d.
The turn is made at the leap; hop (fourth and fifth
motions), two bars being required for one revolution.
At the moment of making the last hop (fifth motion
of each bar), the disengaged foot should be brought
to the first position, so that the heels will touch si-
multaneously with the hop.
New Five-Step.
A very agreeable change is made by making two
slides at the first and second motions, and at the
third a change instead of the hop.
The accent will be seen under the music.
* Introduced in 1849.
65 DANCING.
This dance is a curious illustration of the effect of
education or habit. If the music is placed before a
musician, who may be a very thorough one, he will
very likely exclaim, at first seeing it, “that the time
is wnnatural,’ and will probably have some difficulty
in playing it; yet children, even of four or five years
of age, learn the dance and its rhythm as easily as the
galop or polka.
Surely, the unnaturalness cannot be in the children.
Schottische.*
The schottische consists of two phrases with the
motions used in the polka, viz., slide—change—leap
—hop.
first Phrase-—Slide, change, leap, hop; repeated
twice during two bars.
Second Phrase-—Leap, hop; repeated four times
during two bars.
ACCENT.
%
MM. |= 76. 8
. % So
ye &
§ 8 $s 22.83) 3 ae
3 5 G N Sa, S gy 8
* Introduced to my pupils in 1849.
RACKET AND POLKA. 61
Manner of Dancing.
The first phrase, to and fro sideways, without turn-
ing, during two bars.
The second phrase, turn half round with each leap
and hop, making two complete revolutions during
two bars.
As a variation, turn half round upon each of the
first two bars, as well as turn during the leap and
hops.
The same changes are made as in the other dances.
Turn to right, turn to left (or reverse), and pursuit.
CHAPTER VIII.
WALTZ AND KNICKERBOCKER.
Survival of the Fittest—A Picture of Good Waltzing.—An-
other Picture.—Malaria—Motions, Time, and Accent.—
Turning and Pursuit.—Six Examples of Accent.—Length
of Motions. — Starting. — Knickerbocker.—Its Origin. —
Knickerbocker to the Waltz and Galop.— Redowa.— Its
Origin.—Hop Waltz.—Boston.
THE WALTZ.
WE have nowarrived at the culmination of modern
society dancing, the dance which has for fifty years
resisted every kind of attack, and is to-day the most
popular known. From palace to hovel its fascination
is supreme, and it is truly worthy of this universal
love, for no other dance so fully gratifies the sense of
rhythmical motion as the modern waltz with its poetic
time and phrasing.
What is so charming as to see a couple of our
young people, just blooming into manhood and
womanhood, gliding about here and there in perfect
accord of motion, rhythm, and sentiment with the
strains of one of those exquisite compositions of
Strauss or some other master, the ever-varying mel-
ody and harmony of the music suggesting to the
dancers ever-changing expressions of motion. At
WALTZ AND KNICKERBOCKER. 63
first a legato movement, smooth, flowing, and gentle;
a beautiful bud, as it were, promising a glorious
flower. The dancers glide over the floor in subdued
joy, scarcely yet awake to the full meaning of their
pleasure. A burst of harmony, changing the key,
and introducing a more vigorous thought in the
music, the dancers, in delighted sympathy, spring
about with more and more action.
“See how like lightest waves at play, the airy dancers fleet,
And scarcely feels the floor the wings of those harmonious feet.
* * * * * *
So sport the docile footsteps to the heave of that sweet
measure,
As music wafts the form aloft, at melodious pleasure.” *
In another strain, the tone poem may express that
gentle sadness which so frequently flows in upon us
when very great happiness is experienced. Our
poem of motion quickly yields to the sentiment, ex-
pressing it in subdued action, for who can bound
about in such a mood ?
Suddenly the major supplants the minor — forte-
crescendo-poco-a-poco-crescendo-fortissimo. The mu-
sic is full of electricity; this reaches the dancers; they
spring about, as if the previous gentleness had renewed
all their vigor for the rapture of this strain, where
both music and dancers seem to be overflowing with
vitality and joy. Let us draw another picture:
A man approaches a woman, tucks his arm under
her shoulder, she seizes that arm above the elbow,
with fingers well under, as if to tickle him. She will
* Schiller.
64 DANCING.
then perhaps lay her anointed locks upon his snowy
shirt-front, mingling her crisp frizzes with his flowing
whiskers. He extends his left hand, palm upward,
as though catching rain, she seems to plaster hers
on top of it, both arms extended in imitation of a
pump-handle. Or perhaps he may take her hand, and
place it behind, in close proximity to the two buttons
at the top of his swallow-tails. They are now ready,
and commence with a simultaneous kick sideways;
then there is a slide, and a tremendous sway in the
opposite direction; then the kick is delivered on that
side; another slide and sway sends them back again;
and so they continue to kick and sway.
The music may express every possible accent, or
shade of sentiment, yet these dancers will continue
their kicking and swaying, unconsciously proving, in
their case at least, that, ‘A little knowledge is a dan-
gerous thing.” When asked what they are doing,
they tell us they are dancing the ‘“ Society,” a substi-
tute for the waltz, forsooth: but this has the same
relation to true waltzing that “ Hey, diddle, diddle, the
cat and the fiddle,” has to true poetry. Such sorrow-
ful pictures may be seen, unfortunately, not always
confined to the ignorant or vicious.
Another curious phase of manner may also be oc-
casionally seen, arising, as it is said, from the preva-
lence of that fashionable disease, Malaria; this causes
the arms of many of our young people to shake ter-
ribly while waltzing. If the cause given is a true one,
then we can only pity them for their misfortune, as
it can scarcely be believed that any one would do as
they do intentionally.
WALTZ AND KNICKERBOCKER. 65
The Waltz Motions.
The following is the simplest form of the waltz
motions, and the best way for a beginner to learn is
to adopt this form:
Ist Motion. Raise right, in fourth position, and leap
forward, say eight inches.
2d 3 Place left in second position, and slide to
side twelve inches, not forgetting to
transfer the body to left foot, leaving
right in second position.
3d Change from left to right (slight spring),
at the same time raise left in fourth
position behind.
aa Leap backward upon left, say, eight
inches.
Pee “f Extend right to second position, and
slide, say, twelve inches, not forgetting
to transfer the body to right.
oh Change to left, at the same time raise
right in front, ready to begin the same
series of motions again.
These six motions require two bars of music.
Reverse.
Ist Motion. Leap forward on left.
2d $s Slide to right.
3d "3 Change to left.
4 Tl Leap backward on right.
eit Slide to left.
maior. Change to right.
66 DANCING.
Pursuit (Forward).
Ist Motion. Leap forward on right.
2d ,; Slide forward with left.
3d i Change forward to right.
Ae Leap forward on left.
ils ee a Slide forward with right.
‘Savas Oi Change forward to left.
Pursuit (Backward).
Ist Motion. Leap backward on left.
2d rs Slide with right.
3d a3 Chances. to left,
Belay on Leap . on right.
ita eee Ok Slide 4 with left.
Clie as Change )= to right.
Before going further, a learner should make himself
complete master of these four movements, so that he
can execute them at any speed, making them in
reality a memory of the muscles, not of the mind.
Waltz.—Turning to Right.
Two bars of music are required for each revolution.
One bar may be termed the progressive, the other
the pivot.
1st Movement. Leap forward upon right.
2d i Sle mote
In making this slide, turn to the
right, so that the slide will follow
the same direct line forward as the
leap.
WALTZ AND KNICKERBOCKER. 67
3d Movement. Change to right.
At this change, complete the half
turn with left foot raised behind.
4th % Leap backward upon left.
5th " Slide backward with right.
At this slide continue the turning
to the right, keeping upon the same
line.
6th r Change to left.
Complete the second half turn,
resting upon left with right in
front, ready to recommence the
same series of motions.
Turning to Left, or Reverse.
Ist Motion. Leap forward upon left.
2d e Slide right, at the same time turning to
left.
3d a Change to left, completing the half turn.
meen“ Leap backward upon right.
Rene“ Slide left, turning farther to left.
od ae Change to right, completing the second
half turn.
Backward Change from Right Turn to Reverse.
After as many revolutions to the right as may be
pleasurable, one bar is made as in the pursuit, with-
out turning; this brings the right foot behind, raised
for the leap, which is made directly backward, but at
the slide which follows a turn is made to the left,
the other half turn being completed at the change,
when the reverse is continued as described above at
mpsnc, then I, 2, 3, 4, 5, 6
68 DANCING.
Forward change from right to reverse.—When it is
necessary to change one bar is executed straight for-
ward, as in the pursuit, which leaves the left foot in
front, raised for a leap, which is made straight forward ;
the following slide with right foot should turn the
body to the left,and at the change the half turn is
completed, and is followed by the other half turn, as
described above at 1, 2, 3, 4, 5, 6, following.
Various Accents that are Given to the Waltz in
Dancing.
% X YX S
8 % ~ Sy s RY AQ & ~ ase
MM: Jae. (A oo ee eee < Ss he eee
Bo 0) (pees cade) aa s S yas
z= =
rou! = SS = ——-
eap
lide
Change
yeah
lide
Change
Leap
S38 5
Liner aeee eee ie Sasso
WALTZ AND KNICKERBOCKER. 69
To GALop.
X% S YS %S
~ i S0 Xo
2 cae es kee a pie od sl i
ES a ey somes
“ fe
The first four examples (to the waltz) show the
difficulty encountered by two persons dancing to-
gether who have not the same accent. The first is
recommended as giving more smoothness to the
motions.
The length or distance covered by the various mo-
tions should not be the same at all times; freedom of
motion is one of the great beauties in waltzing, and
that cannot be produced by exact measurement.
When a couple is seen darting about from- one
place to another, and then fluttering, as it were, with
short motions upon a small space, as if extracting the
very essence of pleasure from the flowers of music,
bringing to memory the fascinating movements of
the humming-bird, we feel within ourselves the
pleasurable effect of this freedom; but the unchange-
able revolutions of others present to the imagina-
tion a picture too closely resembling the revolving
figures upon a hand-organ to be agreeable.
70 DANCING.
Starting the Walts.
To begin the waltz with the leap is somewhat awk-
ward, and for that reason many dancers adopt the fol-
lowing excellent expedient:
Immediately upon taking position for waltzing, the
gentleman slides the left foot, occupying two of the
three notes of the measure; at the third, a change is
made from the left to the right foot, leaving the left
elevated for the leap which follows; with these two
movements the gentleman places himself in front of
the lady, so that his first leap may be backward. At
the same time the lady makes a very short slide with
the right, then a change to the left foot, raising the
right preparatory to the first forward leap, which oc-
curs simultaneously with the gentleman’s backward
leap. |
It must not be forgotten that a waltz is written in |
phrases of two bars each, the lady beginning each
phrase with the right, the gentleman with the left
foot; as the foregoing method of starting requires
but one bar, it is necessary to wait for the second bar
of a phrase before beginning.
KNICKERBOCKER.
Although this dance was introduced and named by
me, I cannot say it is of my invention; it is rather a
copy from my own pupils. Observing a couple of
the best amusing themselves by trying to invent a
variety of motions while waltzing, I recognized the
beauty of this combination. After giving those mo-
tions form and regularity, | induced my pupils to
WALTZ AND KNICKERBOCKER. 71
learn the dance. So universal were the expressions
of pleasure that I was encouraged to compose music
for it with vocal accompaniment; those zot dancing
joining the others in the recurring vocal strain.
Among children, whose innocent tones of voice are
at all times so touching to us older ones, the effect
is at once novel and charming. To give still more
zest to the dance, I also introduced an octave of
small bells, which, joined to the voices, produced a
pleasing effect.
The dance having begun its career among our
young New-Yorkers, the name Knickerbocker was
deemed appropriate.
These motions, when accompanying the delightful
rhythm of a suitable waltz, are certainly more in ac-
cord with our ideas of poetic motion, and more fasci-
nating to the dancers, than any other combination.
KNICKERBOCKER.
72 DANCING.
2 : :
q, ANY iS a, % 2 A, S % % Ay
| SS ASS ae as ees aS oe:
N Q re) N io) oh & H Q 1.)
= ee
—__@ ——-& __-"—j -@ 2 Fg tf - ——-} ete.
REDOWA.
When first introduced this dance had the time of
a polka mazourka, the melody usually being smoother
and more gracful in style. It consists of the three
motions, leap, slide, change, the same as in the waltz.
The accented motion falling upon the unaccented
part of the music, at this slow speed many persons
failed in accenting it correctly, gradually falling into
the simpler succession of slide, change, leap, as in the
polka; after a time this was called polka redowa, and
completely displaced the redowa. The name was,
however, retained in the redowa waltz, and a distinc-
tion was made between that and the ordinary waltz
by springing with great energy upon the leap—the
“‘too-too’s”’ (or excessives) of those days not failing
to make their disposition known by exaggerating the
leap. Our beautiful waltz of to-day is a subdued red-
owa. Those who failed in those days, finding this
redowa beyond their powers of accomplishment,
modified it to the hop waltz, as those who fail now
modify the waltz to what is called the Boston; both
of the modifications are childish forms of waltzing,
scarcely worthy of adults.
HOP WALTZ AND BOSTON. vk
Hop WALTz. ?
ACCENT.
+ x x + i x
8 pe ok AES a Se Ce
ee te wyene ent ye te eS
gern ee
One revolution in two bars.
$3
GB
eee eee were eee ees igre ra
fie Se eee EEE Ey
The motion step is the same as described in the
account of radical motions. When stepping with
the right foot, the left knee is slightly bent, produc-
ing the dip, from which the name Boston Dip was
derived.
In stepping with the left foot, bend the right knee.
The motion rise is simply raising the heel of the
foot upon which the step is made, marking the third
beat by the descent. The turn is made by changing
the angles of the steps, and twisting upon the foot
at the rise, while the heel is up.
Right turn, right forward, left backward.
Left turn (reverse), left forward, right backward.
4A
CHAPTER IX.
WALKING.—SALUTATIONS.
Use of the Arms.— Walking.—Salutations.
GRACEFUL walking depends greatly upon the man-
ner of swinging the leg forward; the knee should be
bent as little as possible, yet it must not be rigid, as
flexibility is a large part of gracefulness. When the
foot is placed down, the heel should touch barely an
instant before the forward part, and the weight of
the body should be carried forward as the foot is
put down, the knee behind being allowed so bend
very slightly. Of course the body should be erect,
as described in standing.
To walk well, means a graceful carriage of the en-
tire person. A favorite theme with writers is the
beautiful walk of the Spanish ladies.
Let us remember that this is not learned without
study and practice, which is also shown in their use
of the fan.
Climate has much effect upon these motions, as it
has upon the greatly praised Spanish waltz, causing
them to be slow and curved, with an expression of
languid gentleness natural to the warmer latitudes.
Angularity is a characteristic of colder climates.
WALKING.—SALUTATIONS., VAS
Arms.
As a general rule, the arms should be raised from
the shoulder, the entire arm rising ina curved line.
If there is any deviation from the straight line up-
ward, it should be from the inside towards the out-
side, seldom in the opposite direction—the curve
being the line of beauty. All the motions should co-
incide with that idea. Angularity should be avoided
as a serious mistake. When one hand is given, the
face should always be turned in the same direction.
SALUTATIONS.
The manner of making these motions are sure in-
dications of the standing and associations of both
lady or gentleman, but more especially of the latter.
The various circumstances of social intercourse re-
quiring their use in almost unlimited variety, unmis-
takably show the difference between good habitual
motions and an occasional attempt.
The Bow,
The test of good-breeding.
Stand in first position.
I. Slide right to second.
2. Close the left.
3. Bend the head forward, looking downward ; this
-may be described as a curling over forward.
4. Bend shoulders.
5. Commence to rise.
6. Finish the rising.
The arms should be allowed to hang in the normal
76 DANCING.
position, loosely, so that they may swing slightly for-
ward as the body is bent. The slide (No. 1) changes
the direction of the bow, to right or left, straight for-
ward, or, if to turn to the left, the right slides forward,
while the body turns to the left; if to the right, the
left slides forward while turning in that direction.
Never bow while the feet are apart.
The Courtesy.
This is a combination of motions, of no little diffi-
culty, requiring repeated practice for its accomplish-
ment with the necessary ease. It is singularly artifi-
cial and unnatural, and yet is of great beauty when
executed by a well-trained lady. The best form and
method of practice is as follows: At first, the lady
should practice the bow, with all its variations, as
described for the gentleman; when entirely familiar
with those movements she should proceed to add
what follows:
At the preliminary slide mentioned for the bow,
the lady should not bring the heels together, but pass
the foot behind. For example, if the slide is made.
with the left foot, the right is passed behind; if the
right makes the slide, the left is passed behind into the
fourth position, the feet being thus separated about
twelve or fifteen inches. While thus standing upon
both feet the lady commences to bow, but at the
same time both knees are bent outward sideways, so
that the bow and sinking down may be simultaneous.
Upon rising, the front foot should be carried back
to the one behind, so that the courtesy is finished in
the first position.
SALUTATIONS., 77
If the walk is begun directly from the courtesy,
the front foot must make the first step. There are
occasions when it may be necessary to walk backward
a few steps, as at very ceremonious receptions or
presentations. In this case, the backward steps
should be commenced while the body is still bent
for the bow, and it should be retained in that attitude
until the final step is made. The heel of the foot
extended backward should not touch the floor, while
the leg should be pushed backward as straight as
possible. In this way, if the lady is “en traine,” the
skirt is pushed backward out of the way at each
step, obviating the exceedingly unpleasant “ faux
pas” of stepping upon the skirt.
The preliminary slide is used in changing the direc-
tion of the courtesy. If to the right, the left foot is
extended in front, while the body is turned to the
right, so that when fully turned to the right the right
foot will be to the side in second position, that foot
is then passed behind as described above. The same
when turning to the left; while turning, the right is
extended and the left passed behind.
Every degree of respect may be indicated by the
courtesy and bow in their several forms, from the
supercilious nod, which says, ‘‘ How are you, Billy,”
with an upper inflection of voice and sneering ex-
pression, to the movement which plainly means, “I
present myself before you with profound respect.”
Passing Salute.
The passing salute is the same for lady and gentle-
man. It is,in fact,a slight bow or curved inclination
78 DANCING.
forward, from the hips upward. The important point
to be observed is, to make that inclination forward
just as the left foot is placed down in walking when |
the person saluted passes on the right. If to a per-
son passing on the left, the inclination is made just
as the right foot descends; the face, in both cases, is
turned towards the person saluted. No check, how-
ever, should be made in the natural walk.
When the hat is removed in saluting it should be
with the hand on the side opposite the person pass-
ing, other circumstances allowing.
8 5 Ge “ad a OR a
QUADRILLE
AND OTHER FIGURE DANCES (SO-CALLED SQUARE DANCES).
Manners in this Dance.—Want of Good-breeding. — Conse-
quence of Attention to these Dances.—A Hint on Eti-
quette.—Motions, Time, and Accent.—Formation.—Head
of Room.—The Figures as Danced at Present.—The Origi-
nal Form.— Modifications Introduced.— Extra Figures. —
Polo.—Caledonians.
AT no time are the habits of good-breeding so evi-
dent as when moving through the figures of this
class of dances. This will be readily appreciated by
those who have enjoyed the good-fortune of joining
a set composed of cultivated persons. Each one
appears to vie with the others in efforts to increase
the general pleasure, at one time advancing in a pleas-
ant manner to meet the opposite couple, then courte-
ously presenting hands; at all times a conscientious
readiness and visible pleasure in doing the part re-
quired render the entire dance a mutual interchange
of kindly consideration and a consequent satisfaction
to all.
We may easily conceive that when one is used to
such movements in dancing, they are not forgotten
at other times. How different the same dance is
80 DANCING.
without this element of good-breeding many can tes-
tify from experience.
You have been induced perhaps to obtain a part-
ner in order to complete a set lacking one couple;
you take the place, feeling under an obligation to
be fully prepared to aid the others in the execution
of the various movements, naturally supposing that
those you assist are actuated by the same sense of
duty. Your first experience may be, when, after the
salutation to your partner, you turn to the lady at the
side, with the expectation that she will be ready to
receive your compliment, and thus prepare the way
for a series of movements equally agreeable to both.
A keen sense of disappointment occurs when you
find your polite motions ignored—the young person
being too much engaged in entertaining her part-
ner to remember her duty to others. You advance
to take hands, and find the person opposite suddenly
drops her previous animation, and presents her hands
to you in a way that unmistakably says, “ This is en-
tirely compulsory, and I don’t like it ;” turning with
you in evident anxiety to fulfil the disagreeable duty
as quickly as possible. This manner is repeated in all
the many movements which occur in such a dance,
making the duty you and your partner have assumed
anything but pleasurable; you feel a sense of injus-
tice in the fact that at every moment these others
are taking from you that which as truly belongs to
you as your own property, viz., the right to an agree-
able period of pleasure. A kind of resentful indif-
ference soon makes itself felt, and the dance, which
should have been a gentle contest of kind attentions,
QUADRILLE. a
degenerates into a competition of supercilious indif-
ference not creditable to those engaged. It is not
surprising, therefore, that persons of sensitive nat-
ure should shrink from such encounters, and, when
not among intimate friends, content themselves with
those dances that require but one partner for their
execution.
There is, perhaps, stronger individuality shown in
the manner of making the simple motions required
in these “square’”’ dances than at any other time,
and they reveal the habits, education, and surround-
ings of those dancing, as is shown in the stately
movements of a court ball, and in other forms of fig-
ure dancing, through every descending phase down
to the notorious can-can, which is only a quadrille
danced by gross people, who make motions outrag-
ing decency. Unfortunately, so little attention has
been given to these dances of late years that when
a quadrille is required to open one of our great balls,
scarcely eight persons can be found capable of ren-
dering the dance worthy of the occasion or of them-
selves.
When once a place is taken, and the other dancers
see that it is accepted, a change to another set should
not be made except under very exceptional circum-
stances, and then not without proper apologies, nor
until another couple is found to assume the place
vacated. Etiquette, justice, and self-respect require
this.
Motions.
All figures may be executed by the aid of three
motions:
4%
85 DANCING.
1. Walk (Pas Marché)—No explanation is neces-
sary, except that it is better to push the feet about,
not raising them from the floor.
2. Slide (Chassé),as explained in “ Radical Mo-
tions” for two-slide galop or side slides.
3. Balancé.—The English word balancing might
be used, as somewhat descriptive of the motion.
Balancé, Forward.
1. Step forward on the right, balancing on that
foot.
2. Extend the left, to second position.
Balancé, Backward.
1. Step backward on the left, balancing on that
foot.
2. Extend the right to second position.
This is also executed twice forward, with alternate
feet, and the same backward.
Movements.
FORWARD AND BACK.
3 S S0 A Ss ee
—— 7 u 3 may oe aa
ee saad
=a = = ao etc.
~ Forward. Backward. |
+ ee
2 ean
sian e-3-e-2— etc
Turning.
Return the same.
QUADRILLE. 83
BALANCE.
« e
N a
s. =
Ry Ss Ry s
3 7)
my
—_——— ~-—e ieee
[Se eee = Same repeated.
iad ;! Forward eZ “Backward. | |
Movements.
The original quadrille probably contains two thirds
at least of all the movements used in any of the fig-
ure dances. It is upon this that all subsequent com-
positions of the kind are based. A minute descrip-
tion of them will, therefore, enable a learner teadily
to comprehend other combinations.
Formation in Square.
2d Couple.
7 L. G.
é
2:
far .
ane
See
é oO.
a $ w
ps Side : Couples. BG
De ttt t teen teeter tees ease seceeeeesaes a2
a— : ee
< : 2
jw.
de
Oe
a
G. L.
ist Couple.
(G. for Gentleman. L. for Lady.)
84 ‘DANCING. °
The head of a room, by which the position of the
couples is determined, is rarely designated. The po-
sition of the music is sometimes adopted as the head,
but that appears somewhat awkward, when the or-
chestra is at-the side. If the entrance is at one end;
then it seems natural to adopt the opposite as the
head. In private houses the end of the drawing-room
towards the street is usually taken. This being deter-
mined, the first couple would face the opposite end,
the second face the first, third on the right of the
first, and fourth facing third.
The figures are first described as danced at the
present time; then according to the original form,
followed by the various modifications that have been
introduced in successive years.
Furst Figure.
Introductory salutation to first strain. 8 bars.
(Alike in all square dances.)
Ist Movement. Right and left (Chazue Anglatse).8 bars.
2d A Balance. 8 bars.
3d Ze Ladies’ chain. 8 bars.
This to the “da
4th : Balance capo” to the 8 bars.
first strain.
Describing them in the order as above:
L[utroductory Salutations.
For Lady.—Slide the right foot towards the cen-
tre of the set, at the same time turn to face
your partner; courtesy with the left behind;
then slide back to place with the left, at the
QUADRILLE. 8s
same time turn back to your partner; slide the
right outward, and again courtesy with the left
behind; then slide back to place and side to
partner.
For Gentleman.—Slide the left forward, at the
same time face your partner, bring the right to
left and bow; slide the right back to place,
and turn back to your partner; slide the right
outward, bow and return to place by sliding
the right foot.
Ist. Movement.
Right and Left.
Two couples cross over; when crossing, the two
ladies pass between the two gentlemen, each
lady giving her right hand to the opposite
gentleman’s right; immediately upon passing
through, which should be at the fourth step,
the right hand is disengaged and the left given
to partner’s left; at the fifth, sixth, and seventh
steps the partners pass each other across the
line of advance, the lady in front ; and when ar-
riving at the halt, the lady should be upon the
gentleman’s right, both facing the opposite
side (their own places) or point from which
they started.
This requires music, 4 bars.
Going across is half right and left.
Going and returning is known as Right
and left.
2d Movement.
Balance.
This movement must not be confounded with the
8 bars.
86 DANCING.
motion Balancé, though the same word is used
for both. The confusion arose in this man-
ner: Originally the word described the mo-
tions used at this part of the dance, which
were balancé and turn partners. Latterly, va-
rious other movements have been introduced
taking the place of these, but the word da-
lancé has been continued as indicating that
part of the music.
A distinction may be made by using dalance for
the movement, and da/ancé for the motions.
Original Form of Balancé—The two couples who
are executing the other parts of the figure stand face
to face with partners.
They balancé forward and backward. Four bars.
Then turn partners. Four bars.
In turning partners the lady and gentleman take
both hands, holding them downward, but extended
out slightly, and then walk round each other, each
walking upon the same circle, ending in original
places, always going to the left.
Second Form of Balancé.—The gentlemen take
partners’ hands crossed in front right above the left;
standing face to face, both couples slide seven times
in succession across the set, passing to the right and
returning to places with the same slides and upon
the same side.
Third Form.—Same position of hands. Only three
slides are used, to and fro, which must be repeated.
QUADRILLE. 87
Fourth Form.—Take one hand, the dancers stand-
ing sideways (lady’s left, gentleman’s right); walk
across, passing to the right of the opposite couple;
at the seventh step both. turn half round, change
hands and walk back to places.
fifth Form—uHands the same; walk three steps,
and three backward and then turn partners.
3d Movement.
Ladies’ Chain.
Two ladies cross over, giving right hands in pass-
ing, then give left hands to opposite gentle-
men, passing round until the opposite lady’s
place at the right of the gentleman is reached,
at the same time the two gentlemen follow
their partners, each extending the left hand
to receive the opposite lady as she advances
towards him, and so handing her round to his
partner’s place, he stopping in his own.
This is half ladies’ chain, requiring 4 bars.
Repeating the same movements in returning
to places forms the whole ladies’ chain. 8
bars.
4th Movement.
Balancé.
As described at 2d movement. 8 bars.
Originally the 4th movement was half prome-
nade, half right and left.
-In the half promenade two couples take each
one hand of partner, and walk across to the
opposite couple’s place, passing to the right.
88 ~ DANCING.
‘Half right and left as described in Ist movement.
These four movements are repeated once by the
head couples, and once by the sides.
Second Figure.
Wait. 8 bars.
1st Movement.
Forward Two.
Two opposite couples forward and back. 4 bars.
2d Movement.
Cross Over.
Same two couples cross over, ladies pass- }
ing between, not giving hands nor
turning round, except when on the
other side, when each faces partner.
3d Movement.
Fass Partners.
The same couples balancé forward and
back, passing in going forward, also 4 bars.
in going back, ladies inside.
4th Movement.
Recross to Places.
4 bars.
Same as 2d movement. 4 bars.
5th Movement.
Balancé.
Same as described in Ist figure. 8 bars.
Repeated twice by head couples and twice by
sides.
Originally, two persons only executed the Ist, 2d,
3d, and 4th movements, hence the words “ forward
two.”
QUADRILLE. 89
Third Figure.
Wait. 8 bars.
Ist Movement.
Right Hands Across.
Two opposite couples cross over, each
lady giving the right hand to the
opposite gentleman's right, all turn-
ing to face when passing; disengage
hands, then separate backwards; this
brings each couple to the opposite
side, with ladies on the left of their
partners.
2d Movement.
Left Hands Back.
The same couples return, giving their
left hands; when past the other
couple they turn and face without
disengaging hands; each one then
gives the right hand to partner’s right,
forming a circle; in order to do this,
the ladies cross the right arm over
the left.
3d Movement.
Balancé in Circle.
While holding hands in circle, all bal- )
ancé; but the step should be more
to the right than straight forward, > 4 bars.
and more to the left than straight
back. J
4th Movement.
Cross Over.
4 bars.
4 bars.
- 90 . DANCING,
The two couples disengage hands, re- )
taining partners, and slide or walk |
round to right, continuing until each 4 bars.
reaches the other couple’s place.
5th Movement.
Two Opposite Ladies Forward and Back. 4 bars.
With walk or balancé.
6th Movement.
Two Gentlemen Forward and Back. 4 bars. |
7th Movement.
Four Forward and Back. 4 bars.
8th Movement.
Half Right and Left to Places. 4 bars.
Each figure repeated twice by head couples, and
twice by the sides.
Originally, the Ist and 2d movements were exe-
cuted by one lady and the opposite gentleman; at
the left hand back, retaining the left hand, each gave
the right hand to partner’s right, thus forming a line
across the set.
At the 5th and 6th movement also, one lady and
the opposite gentleman executed the forward and
back, forward again, and dos-a-dos—which is to pass
round each other back to back; this was afterwards
modified to going forward and back twice, the second
time making salutations before going back.
Fourth Fugure.
Wait. 8 bars.
1st Movement.
Forward Four and Back. 4 bars.
(Opposite couples.)
QUADRILLE. gl
2d Movement.
Leave Lady on Opposite Side.
The same couples forward a second time,
when the first gentleman hands his
lady to the opposite gentleman, the
lady taking his left hand with her 7 4 bars.
left, then all go backward, the first
gentleman alone, the three together,
a lady on each side of the gentleman. J
3d Movement.
Forward Three and Back.
The two ladies face outward, so ad
while the gentleman walks forward,
: 4 bars.
they are going backward in the same (
direction. J
4th Movement.
Change Ladies.
The three go forward a second time; at
the same moment the single gentle-
man walks forward to meet them,
and while in the centre the second
gentleman transfers the two ladies to
the first gentleman, who goes back-
ward with them, while the other gen-
tleman goes backward alone.
sth Movement.
Forward Three and Back.
In same manner as at 3. 4 bars.
6th Movement.
Forward and Stop.
The same three forward a second time,
and stop while the single gentleman 4 bars.
\ 4 bars.
advances to meet them.
g2 DANCING.
a
_7th Movement.
Hands Round.
The four take hands in a circle, and |
slide or walk round to the left, con- |
Yee : 4 bars.
tinuing until each couple arrives at
. the other’s place. |
Sth Movement.
Flalf Right and Left to Places. 4 bars.
Each figure repeated twice by the heads, twice by
the sides.
First time the 1st lady passes over to the 2d couple.
Second Gye. ied 3 i. S ist Ro
Third 66 3d 66 66 66 Ath 6c
Fourth 66 Ath 6“ 73 66 3d 6
Originally the 5th and 6th movements were a solo
for the single gentleman, who then took occasion to
show all his skill; at times motions of great difficulty
were introduced.
This was first modified by the gentleman going
forward and turning the two ladies, the opposite lady
first, then his partner.
lifth Figure.
Wait. 8 bars.
Ist Movement.
Ladies’ Chain. 8 bars.
2d pee) Forward Two. )
3d A Same as Ist, 2d, 3d, and |
Ath ey | 4th movements of 2d 6
J
5th £ J figure.
QUADRILLE. 93
6th Movement.
Balancé. 8 bars.
After repeating these movements four times,
twice by the heads, and twice by the sides, at
the second eight bars of the first strain.
7th Movement.
All Chassé Across.
All standing side to side with partners,
the lady a little in advance, all slide
sideways three times, lady to left in
front, gentleman to right, thus pass-
ing or crossing each other, then all
balancé once forward and once back-
ward; repeat the three slides going
back to places, lady again in front.
All then turn to partners and make
the concluding salutations. 3 J
| 8 bars.
.
Originally, a// promenade was used in place of ladies’
chain. The movement consists simply in the couples
following each other in walking round the circle of
the set, holding partner’s hand.
QUADRILLE IN LINES.
L. Ge. 3B. [ As OP G...°L. Geos Gakeut die Ge i eis Ge, CLCr.
any number.
Geese G. 1. -..G. L.:)-G. L....G. L....G. LT... Gs dn, etc,
(When in this form, each number is repeated twice only.)
In Europe this is more generally adopted than
with us. As a vis-a-vis only is required, this form
affords an excellent method by which we can avoid
those unpleasant people who intrude themselves
without previous knowledge, either of motion or
94 DANCING.
movement, and who, not expecting to have much
pleasure, are satisfied with the idea of learning; at
the end the egotism of such persons will frequently
prompt them to say, and believe, “that they were as
successful as the others, as they all occasionally ap-
peared to be in great confusion,” their lack of infor-
mation blinding them to the fact that they alone
were the cause. After thus marring the pleasure of
the other unfortunates, they retire to their seats quite
satisfied with their doings. Surely such persons do
not remember the Golden Rule; could they do so,
self-respect would prevent such mistakes.
Would it not be quite as reasonable to take part
in a chorus, without previous knowledge of music?
Fig Figure.
FHlands all Round. 8 bars.
All ladies to the right, balancé to, and turn,
the next gentleman on their right.
In the same manner balancé to, and turn, Shae
8 bars.
the next gentleman.
In the same manner balancé to, and turn,
the next gentleman.
Finally, all balancé to, and turn, partners. 8 bars.
Hands all Round. 8 bars.
All the gentlemen to the right, passing
their partners, balancé to, and turn, the 8 bars.
next lady on their right. |
Same to each lady of the set, and finally |
24 bars.
to partners.
Flands all Round. 8 bars.
All Chassé. 8 bars.
8 bars.
QUADRILLE. 95
Cheat, or Coquette.
first Couple Balancé to Right.
Forward and back; forward again and turn, giving
both hands to opposite persons. Balancé to
the next couple, then to the fourth couple, and,
finally, balancé to and turn partners.
Third Couple Balancé to Right.
And the same as above.
Second Couple Balancé to Right.
And the same as above.
Fourth Couple Balancé to Right.
And the same as above.
This figure derives its name from the privilege al-
lowed after balancing, either to turn the opposite
person, or make a feint to do so, and suddenly turn
some other person, thus cheating the first.
Basket Dance.
Forward Two. 16 bars.
Balancé. 8 bars.
Ladies, hands round in centre to left and
right, remaining in centre; gentlemen
hands round, outside of ladies, to left
and right, stopping on left of partners;
; 16 bars.
gentlemen pass their hands over the
heads of the ladies (ladies stooping),
and form the basket. All balancé to,
and turn, partners.
96 DANCING.
THE POLO QUADRILLE.
Four couples, formed as for the ordinary quadrille
or lancers. -Each number twice. Eight bars are
played before the commencement of each figure.
No. I.
All Promenade Half Round. 4 bars.
Head Couples Forward and Back. 4 bars.
When head couples are going back, the sides for-
ward, and go back as the others forward again
for next movement.
lead Couples Half Right and Left to Places. 4 bars.
Sides Same. 4 bars.
Double Ladies’ Chain, ladies crossing hands
8 bars.
in centre.
Same for Gentlemen. 8 bars.
| | No. 2.
Flands all Round to Left. 8 bars.
Four Ladies tn Centre, back to back, and )
gentlemen promenade all round outside
to left, turning partners with both hands
when in places.
Gentlemen Inside, back to back, and ladies
promenade all round outside, turning part- 8 bars.
ners to place.
Second time, finish with hands all round.
8 bars.
No. 3.
Four Ladies Cross Over to each other's Places,
the first two passing first, and all turning 4 bars.
to face inside.
QUADRILLE. 97
Four Gentlemen same. 4 bars.
The gentlemen do not turn round, but each gives
his left hand to his partner and right to the next
lady on his right, forming a circle, with ladies
facing inward and gentlemen outward.
All Toward the Centre and Back, ee abies
hands.
All Round to Places, still holding hands;
; : 4 bars.
gentlemen to left, ladies to right.
All the Gentlemen Pass in Front of Partners,
and turn, with both hands, the lady on 4 bars.
the right.
And in Succession each Lady; lastly, een aes
partners.
No. 4.
FTead Couples Forward and Back. 4 bars.
While the head couples are going back, the sides
forward, and go back when the heads forward for
the next movement.
The Two Gentlemen of the Head Couples
leave their ladies with the right-hand side 4 bars.
couples.
The Six Forward Again, and hand the la-
dies to the other gentlemen; the right- 4 bars.
hand lady to the right, the left to the left.
Six Forward and Back at the Heads. 4 bars.
Forward Again, and leave ladies with partners. 4 bars.
Hands Round, half way to left and back to tire
right.
No. 5.
FHlands All Round to Left. 8 bars.
Form “ Basket,” and again round to left. 8 bars.
5
98 DANCING.
“ Basket ”’ is formed by all the ladies taking hands
together in front of the gentlemen, and the gen-
tlemen taking hands in front of the ladies, the
arms of the gentlemen above those of the ladies.
Ladies Round Inside to Right, while ee a hae
men round outside to left.
To bring the ladies inside, the gentlemen raise their
arms, still holding, and allow the ladies to pass
under.
All Promenade Round in Star. - 8 bars.
To form the star, the gentlemen, when coming
round to places in the previous movement, give
right hands to partners and change places, bring-
ing the gentlemen inside, when all four gentle-
men take left hands, forming the star, and, at
same time, take their partners about the waist
with their right arms, and in that way prome-
nade round.
After the second time, finish with hands all ret,
ars.
round to left.
CALEDONIAN QUADRILLE.
Furst Figure (Twice).
first and second couples cross hands round }
Cas 4 bars.
with right hands. j
Same couples cross hands back to eae
with left hands. 4 bars.
Same balancé to, and turn, partners. 8 bars.
Ladies’ chain. 8 bars.
Half promenade. 4 bars.
Half right and left. 4 bars.
QUADRILLE. 99
Second Figure (Four Times).
Forward four and back twice, second time
: : 8 bars.
bowing to opposite lady, when forward.
Four ladies balancé to gentlemen ontheright. 4 bars.
All turn the gentlemen on the right, aad
; 4 bars.
take next lady’s place.
All promenade with changed partners. 8 bars.
After the fourth time, all the ladies will have re-
gained their partners.
Third Figure (Four Times).
Opposite couples forward and back. 4 bars.
Forward again, and swing round to pene, hate
with right hands. :
first and second couples cross over, first
; 4 bars.
couple passing through the second.
Return to places, second couple passing
through the first. peste
All balancé at corners. 4 bars.
Turn partners. 4 bars.
All form circle (hands all round), and oa
: 8 bars.
ward and back twice.
Fourth Figure (Four Times).
First lady and opposite gentleman forward
2 bars.
and stop.
Second lady and opposite gentleman for-
2 bars.
ward and stop.
Turn partners to places. 4 bars.
Four ladies pass to the right and stop, each ) :
; ; - 4 bars.
in the next lady’s place. j
100 DANCING.
Four gentlemen pass to the left and si 1 bate
each in the next gentleman’s place.
Four ladies again to the right. 4 bars.
Four gentlemen again to the left (thus meet- J bare
ing partners on the opposite side).
All promenade to places, and turn partners. 8 bars.
Fifth Figure (Four Timies).
One couple promenade or polka round eu 8 hare
side of the set.
Four ladies forward and back. 4 bars.
Four gentlemen forward and back. 4 bars.
All balancé to, and turn, partners. 8 bars.
Grand chain half round the set. 8 bars.
All promenade to places and turn partners. 8 bars.
Finish with all chassé across, saluting at the cor-
ners, and the same to partners upon returning
to places.
CHAPTER XI.
LANCERS.
As Now Danced.—The Original, and the Changes Intro-
duced.—Saratoga Lancers.—New York Lancers.
LANCERS, AS DANCED AT THE PRESENT TIME.
First Figure.
Ist Strain.
Salutations to partners and then tocorners. 8 bars.
Ist Movement.
Forward and Back, two opposite couples. 4 bars.
2d Movement.
Forward and Turn.
Same two couples forward a second )
time, each gentleman presenting both
hands to the opposite lady, walking ¢ 4 bars.
round as in turning partners (to left),
and returning to places.
3d Movement.
Cross Over.
Same two couples cross over and re-
turn, one couple passing through the
other, but returning outside to allow
the other to pass through. J
8 bars.
102 DANCING.
4th Movement.
All Balancé to Corners.
The four ladies turn to the right, the
four gentlemen turn to the left ; those
turning will thus be face to face; all
balancé forward and back, then walk } 8 bars.
forward round to the left, giving both
hands, and back to places (same as
in turning partners).
These movements are repeated four times.
At 3d movement (crossing over).
First time, first couple passes through, and re-
turns outside.
Second time, second couple passes through, and
returns outside.
Third time, third couple passes through, and re-
turns outside.
Fourth time, fourth couple passes through, and
returns outside.
Original Lancers—Same Figure.
Ist Movement.
One Lady and Opposite Gentleman only, Forward
and Back.
2d Movement.
Same Two Forward and Turn.
3d and 4th Movements as before described.
Double or Saratoga Lancers—Same Figure.
Ist Movement.
All Four Couples Forward and Back. 4 bars.
The heads towards the sides—sides towards heads.
LANCERS. 103
First and second times heads to right, sides to
rerter®
Third and fourth times heads to left, sides to
right.
2d Movement.
Forward and Turn with Same Side.: 4 bars.
3d Movement.
Cross Over, passing through, with same
side couple, returning outside.
First time, heads pass through, returning outside.
Second time, sides pass through, returning outside.
4th Movement.
Balancé to Corners, as before described. 8 bars.
8 bars.
Second Figure.
Wait. 8 bars.
Ist Movement.
Forward and Back, two opposite couples. 4 bars.
2d Movement.
Leave Ladies Inside.
The two gentlemen stand and hand
their partners in front, thus facing
each other, each lady walking three
steps, commencing with left, at the + 4 bars.
fourth facing partner, when both
_ make salutations, the lady with the
left foot behind.
3d Movement.
Balancé.
Both couples balancé forward and back,
passing partners each way to the 4 bars.
right.
104 DANCING.
4th Movement.
Turn Partners to Places.
Same couples present both hands to part- 4 bars.
ners,and so hand the lady back to place.
5th Movement.
All Forward in Lines.
The head couples separate from part-
ners, ladies going to the right, gentle-
men to the left sides, joining hands
with side couples, forming a line of
four on each side; in this form all
forward and back.
First and second times, side couples
join the heads to form lines.
Third and fourth times, head couples
join the sides to form lines.
6th Movement.
All Turn Partners to Places. 4 bars.
Figure repeated four times.
4 bars.
Original Lancers—Second Figure.
Wait. 8 bars.
1st Movement. Oxe Couple only, Forward
and Back.
2d i: Leave Lady in Front. 16 bars.
3d 4 Same Balancé.
4th . Turn Partner to Place.
5th : As before described. 4 bars.
6th 5 As before described. 4 bars.
Double or Saratoga Lancers—Second Figure.
All the couples execute the Ist, 2d, 3d, and 4th
movements alike.
LANCERS. 105
5th Movement. Same as before described, or
6th 5
sth & All Hands Round, half way, a bare
to left,
6th ue And Return to Right. 4 bars.
Third Figure.
Wait. 8 bars.
Ist Movement.
Forward and Back, two opposite couples. 4 bars.
2d Movement.
Forward, make salutations, and back, same WES
two couples.
3d Movement.
Ladies’ Chain.
Same as previously described in quadrille. 8 bars.
Original.
One lady and opposite gentleman execute the Ist
and 2d movements.
3d Movement.
(In place of Ladies’ Chain.)
Four ladies cross hands half round with right
hands, and return to places, giving left hands.
3d Movement, again.
(In place of that given above.)
Four ladies cross hands half round with right
hands, when at opposite side give left to op-
posite gentleman’s left, going round the gen-
tleman, to cross right hands in centre again,
and round to partners, in going round giving
left hand to partner.
ti
106 DANCING.
Double or Saratoga—Third Figure.
Ist and 2d Movements by all four couples. 8 bars.
3d Movement.
Double Ladies’ Chain. 8 bars.
Same movement as described in “ 3d Move-
ment, again’ of Original Lancers.
Fourth Figure.
Wait. 8 bars.
Ist Movement.
Flead Couples to Right. }
Two head couples to side couples on
} ; 4 bars.
the right. All make salutations.
2d Movement.
The same two couples then pass across,
going round to the left to ono 4 bars.
side couples. All make salutations.
3d Movement. |
Flead Couples to Places.
Same couples return to their own places and
make salutations to partners.
4th Movement.
Right and Left.
Same two couples right and left, as “— Sh
; ars.
scribed in quadrille.
Original Lancers—Fourth Figure.
Precisely as now danced, as described above.
Double or Saratoga Lancers—Fourth Figure.
The only changes made are at the second and fourth
LANCERS. 107
movements, where the two gentlemen in passing
round from one couple to the other (after saluta-
tions), take each the lady of the other couple with
him to the opposite side, leaving that lady in the
other lady’s place; at the repetition of the figure,
the ladies are returned to their own places.
At the fourth movement, the right and left is made
with side couples.
First and second times, heads to right, sides to left.
Third and fourth times, sides to right, heads to
left.
fifth Figure.
No wait.
At the introductory chord of the music, all turn
and face partners, giving right hands. (This in-
dicates in which direction each is going.)
Ist Movement.
Grand Chain, or right and left all round.
All pass partners, continuing half
round the circle of the set, i
one way, gentlemen the other, giv-
ing alternate hands to those com-
ing in the opposite direction (thus
a chain is made, named in French |
chain platte); when partners are
met, on opposite sides, all stop face 16 bars.
to face, without giving hands, and
make salutations, after which the
right hand is given, and the chain
continued until all meet partners
again in places, when the saluta-
tions are repeated.
108 DANCING.
2d Movement.
One Couple Round.
One couple promenade round inside, 4 bate
stopping in place, facing outward.
Right side couple behind. 2 bars.
Left side couple behind. 2 bars.
Opposite couple remaining in place.
Thus all the couples are in a line, one behind the
other.
3d Movement.
All Chassé Across.
Four ladies to left, three slides and
halt.
Four gentlemen to right, three slides
and halt.
All balancé once forward and_back-
ward.
All slide back again.
All balancé again. J
4th Movement.
March Round.
Head couple separate, lady to right,
gentleman to left, and march down
outside to the place of the bottom
couple, where hands are taken, and
march up inside to the head again. 8 bars.
J
8 bars.
The other couples follow, and as
each arrives at the head they sep-
arate, still following, until the last
couple arrives at the bottom again.
5th Movement.
All Forward in Lines.
LANCERS. 109
Two lines are formed, ladies on one side,
gentlemen opposite, facing inwardand
joining hands. All forward and back.
Forward a second time, when all take
partners, giving both hands, and turn
to places.
The figure recommences with grand chain, and
ends with repeating that movement a fifth time.
8 bars.
Original Lancers—fifth Figure.
Precisely as described above.
Double or Saratoga Lancers—Fifth Figure.
Ist Movement.
Grand Chain.
Same as described above, except that
upon meeting partners at the op-
posite side the right hand is given,
and both go half round so as to
change places and face the other
way; then the grand chain is re-
peated half round back to places
in opposite direction; arriving in
places, the right hands are given,
and the change of places must oc-
cur in order to bring each person
to the proper side of partner.
2d Movement. As described before.
3d Movement. (In place of Chassé.)
All Balancé Forward and Backward. 8 bars.
4th Movement.
March.
16 bars.
110 DANCING.
Commence as before described at 4th
Movement, but in place of marching
up inside, the two lines march past
at the bottom, and continue until the ( 8 bars.
ladies arrive on the gentlemen's side,
and gentlemen on the ladies’ side, |
ladies passing inside.
sth Movement.
Same as before.
DODWORTH’S NEW YORK LANCERS.
Furst Figure.
Head Couples Cross Hands Half Round, “
: ; 4 bars.
side couples on the right.
This leaves the heads at the sides, and sides at
the heads.
All Forward and Back. 4 bars. .
Heads (now at the sides) again Cross Hands Ae
Half Round, with couples on their right.
This leaves all the couples opposite to places.
All Forward and Back. 4 bars.
All Balancé to Corners. 8 bars.
These movements are repeated in the
same manner, bringing all the couples 24 bars.
back to places.
Second Figure.
Head Couples Forward and Salute. 4 bars.
First gentleman takes second lady’s hand,
both turn to fourth couple and salute, and
then take places one on each side of fourth } 4 bars.
couple, lady next to side gentleman, gen-
tleman next to side lady, forming a line.
LANCERS. IIL
Second gentleman and first lady in the same manner
and at the same time, after saluting side, take places
in line.
All Forward and Back in Two Lines. A bars.
All Turn Partners to Places. 4 bars.
All Hands Half Round to Left. 4 bars.
Back to Right. 4 bars.
Third Figure.
All the Couples Pass Partners and Back ;
chassé across.
All Pass Again, salute at corners, then fal 4 bats,
turn to places.
Form Star,and promenade round. 8 bars.
Star is formed by the four gentlemen crossing left
hands in centre, and giving right hands to part-
ners’ left.
4 bars.
Fourth Figure.
Flead Couples turn to Right Side Couples, and
4 bars.
Salute.
Flalf Right and Left with same couples, and
4 bars.
bow to partners.
This brings head eudeies to sides.
Head Couples (now at the sides) Half Right
and Left, with next couple on the right, 4 bars.
and bow to partners.
This brings all opposite to places.
All Foin Hands, and Forward and Back. 4 bars.
All Turn Fartners. 4 bars.
The repetition of the movement brings pote.
all back to places.
All Foin Hands, Forward and Back, and turn
partners.
! 8 bars.
112 DANCING.
First and second times, heads turn to right.
Third and fourth times, to the left.
Fifth Figure.
At the usual chord of introduction, all salute.
All Chassé Across. 2 bars.
Half Turn, giving both hands at corners. 2 bars.
All Chassé Across Agatn, ladies going still |
farther to the left, while gentlemen go to 2 bars.
the right.
Half Turn at Corners. 2 bars.
All Chassé Again. 2 bars.
Half Turn at Corners. 2 bars.
All Chassé. 2 bars.
Flalf Turn at Corners. 2 bars.
This brings all back to places.
All Promenade Round—first couple stopping
in place, with fourth couple directly be- ae
hind; second couple stopping in place,
with third couple directly behind.
All Balancé, twice forward and back. 8 bars.
All March, ladies passing between; when
the couples have passed, ladies turn to
right, gentlemen to left ; counter-march-
ing in opposite directions, the two ladies } 8 bars.
pass in front of the two gentlemen, and,
when passed, join hands and form lines,
all opposite to partners.
All Forward and Back in Two Lines. 4 bars.
All Turn Partners to Places. 4 bars.
Finish at the end of first strain, the same as the
lancers.
CHAPTER XII.
COURT QUADRILLE (HUNGARIAN “KORTANZ”).
IN the summer of 1857, while in Vienna, I had the
pleasure of seeing this beautiful dance in its native
atmosphere, with all the peculiar vigor characteristic
of the Magyar race shown both in music and mo-
tion; the officers of the Hungarian Guard, in their
gorgeous uniforms, and ladies dressed with equal rich-
ness, forming a picture not readily forgotten. Ad-
miring the beauty of the peculiar music and move-
ments, I modified those parts not suited to our uses,
and introduced the dance to my pupils during the
following season, 1857-58, and have never failed since
that time to teach it; not only on account of the
novelty and charm of both dance and music, but also
for the educational value of the dance.
This dance is only for the initiated ; let no one im-
agine it can be walked through as is sometimes done
with the Lancers. The ludicrous appearance of those
who make the attempt has been so frequently ob-
served that it is truly a kindness to ask the egotistic
to put aside their self-confidence for once and save
themselves from shame and this one dance from deg-
radation. The rule should be, “ Do not try it, if you
do not know it.”
The dance cannot be executed before learning the
114
DANCING.
peculiar motions (or so-called steps), which are six in
number:
Ist.
2d.
3d.
Ath.
5th.
6th.
Greeting.
Mazurka.
Double step.
Single step.
Dash slide.
Promenade.
First Motion—Greeting (“ Gruss’’).
I. Step to right.
2. Bring left to halt.
3. Rise on the toes, throw the heels out-
ward, and then strike them together
quite vigorously—the stroke of the
heels marking the time.
Same to the left.
I bar.
ACCENT.
n
=
)
Same to right, left, or forward.
Second Motion—Mazurka (Always Sideways).
Stand on left, with right in second position.
Hop on left, and instantly,
I. Slide right to side.
2. Change to left.
3. Hop and slide again.
4. Change to left.
To right or left.
{pan
COURT QUADRILLE. IIs
This is never used except in connection with other
motions, most frequently with the Greeting.
X &
9 yy %
BS sw 8 8 SE Pa
Ss nN S S BN Be we s
% ots GS ‘6 QB Ry B
ee ae a ae ee roe een
et aee= es = f—- —s: FES ft eerie es sae |
To Le
’
With these two motions, all the “turn partners’
are made (“ Holupzas’’), position being taken as for
waltzing, a little farther apart. Both lady and gen-
tleman use the left foot in the slides, thus going
round to the left once in two bars, as shown above.
There is but one exception to the left turn, which
cccurs in the third figure, where the right turn fol- —
lows the left.
Third Motion—Double Step.
This is very like the Schottische, to the side.
re oten,
2. Change:
3. Step.
4. Hop.
I bar.
Same motions to right or left.
116 DANCING.
ACCENT.
: : 2
& 8-3 ae Ss BR 8S SS See
a we SS ee
66 68 BO .4 hm 6:5 4 Ga
@o
Paes earl ees ee) a
| ToRight. | TolLeft. | To Right ght. | Gre Greeting to -eting to Left. |
:
Same succession, commencing to the left.
Fourth Motion—FPromenade.
The motions of this are exactly the same as the
Double Step, except that they are made in a forward
direction, not sideways, and never backward.
Fifth Motton—Single Step.
Right foot. 1 Z an
3. Step.
4. Hop.
T-Dat.
Left foot. |
Sixth Motion—Dash Slide (Only Forward).
1. Hop on left, slide on right.
2. Hop on right.
3. Hop on right, slide on left.
4. Hop on left.
l-nar
This is used only by the gentleman, and is a pe-
culiar and active motion, always connected with the
Greeting.
COURT QUADRILLE. LI7
ACCENT.
B o .
LN ww be
SS a A eS s & 2 'g 2
meee oh a Bk Gg y
@.-
3 3 ‘
S s re
ee S83 Saves tee
QS © § 8 Cj & C3
ee avy Soe ess
—_l—__—~ o_o oO =
Formation.
Eight couples, formed as a Double Quadrille.
2d Couple. 2d Couple.
B A
2 ‘a.
od a Qo
v Ss
3 >
Lal
‘ .
2 ey < 2
S) S
5 A B
+ — xst Couple. . 1st Couple.
First Figure.
Salutations, as in Lancers or Quadrille. 8 bars.
Ist Movement.
All the couples take hands, except at corners,
forming lines.
All repeat double step to right, 1 bar.
66 66 “é 66 left, I
6“ 66 6 66 right, tae f8
All the Greeting to a Nie i a
4 bars.
118 DANCING.
2d Movement.
All repeat double step to left, 1 bar. )
66 66 66 Ts right, i
66 6c (<9 (a3 left, I (9
All the Greeting, Lies
These movements are made in the form of a
square, not in that of a circle.
3d Movement.
Four head couples forward with single 4 bate
step.
(These steps must be made very short, so that
the 4 bars may be filled out.)
4th Movement.
The lines being close together, each gentleman
takes another lady, when the four newly as-
sorted couples separate in four directions.
4 bars.
This brings
The 1st gentleman A with 2d lady B between the two 3d couples.
The 2d 6< A 66 Ist 66 B 6e 6é 6c 4th 66
The rst + B “ st “ 4 bars.
ners) to left, and then again to right.
This is the only instance of turning to right.
3d Movement.
The same four ladies return to Sabi nee
in the same manner as in the crossing. 2
4th Movement.
The four couples turn partners to a
4 bars.
and right.
5th Movement.
Four gentlemen with three ae
slides, each to one of the right-hand
: nae 2 bars.
side couples, stopping in front with (
Greeting. J
This brings the 1st gentleman A to 4th couple B
Ist ss B to 4th” 3"
2d “4 A to 30% 39a
2d f Bo 3d 4. * GA
6th Movement.
The three then execute hands-round to A
2 bars.
left with two Mazurkas and Greeting. }
COURT QUADRILLE. 123
7th Movement.
Same gentlemen dash directly across
the set, stopping in front of opposite 2 bars.
side couple.
8th Movement.
Three hands round, with that couple. 2 bars.
oth Movement.
Back again to other side couple. 2 bars.
10th Movement.
Three hands round. 2 bars.
11th Movement.
The gentlemen return to partners. 2 bars.
12th Movement.
Same turn partners. 2 bars.
Same repeated by sides.
Repetition of music: Ist strain three times; 2d
strain twice; Ist strain twice; 2d strain twice.
fifth Figure.
No Wait.
Ist Movement.
Grand round.
All join hands in circle.
All to left with Mazurka and Greet-
i 2 bars.
g.
Again to left with Mazurka and Greet- b
pa ¢ 2 bars.
All to right with four Mazurkas. 2 bars.
All turn partners. 2: bats.
At the end of this turn the eight ladies place
themselves inside in front of and facing part-
ners, thus forming a circle of ladies facing
124
DANCING.
outward, and a circle of gentlemen facing
inward.
Hands are not taken.
2d Movement.
All with two Mazurkas and Greeting
to right, ladies one way, gentlemen
the other.
After leaving partner, each passes one, 2a
and stops with Greeting in front of
the next. 7
All make left turn with the Pee
in front of whom they stop, bring-
ing each back to same place again; 2, Dass
lady facing out, gentleman inward.
All pass again to right. 2 bars.
Each turns with another person. 2 bars.
All pass again to right. 2 bars.
Turn to left. 2 bars.
Again to right. 2 bars.
Left turn. 2 bars.
This is continued until each person goes entire-
ly round the circle, the last turn being made
upon meeting partners in places.
3d Movement.
Grand round. 8 bars.
This ends the dance, all making salutations.
Music: Ist strain once; 2d strain twice; Ist strain
twice; 2d~* strain once.
* The coda is played in place of this strain at the last Grand
found.
CHAPTER XIII.
MINUET.
Tradition.—Secondary, not Primary, Fact Recognized.—Elimi-
nation of Slow Movements.—Motions.—Figures.
THIs dance has a traditional reputation for grace,
which it is supposed to possess in an inexplicable de-
gree. Its beneficial influence upon manner and mo-
tion is often mentioned, with accompanying lamenta-
tions for the loss of this to the present generation.
These lamentations are, however, wasted upon a sec-
ondary fact, the primary truth not being recognized,
that this dance in the time of its glory was confined
exclusively to the cultivated classes, with whom the
dancing-lesson was an important part of education.
The dance was only the medium through which their
culture was made manifest. It may easily be con-
ceived that our musical taste would be far below its
present elevation had the slower movements been
eliminated as has been done in dancing, for assured-
ly, as the adagio or andante in music is the medium
through which an artist expresses his highest con-
ceptions, so is it in motion.
The practice of the slower movements refines and
elevates the taste. It may be that the exaggeration
of motion which was formerly common would be con-
126 DANCING.
demned at the present day, and justly so; yet the
same movements, when not so exaggerated, are iden-
tical with those required in all social intercourse.
If the custom prevailed now as formerly, of se-
lecting one or more couples to open a ball or par-
ty with this ceremonious dance, our young people,
who are usually so ambitious and persevering in
other ways, would show these traits of character in
learning this dance, bringing it no doubt to its great-
est perfection; but to arrive at this requires an at-
mosphere of appreciation which at present exists only
ina limited degree. That it does still exist is shown
by the applause which follows when attempts of our
actresses and actors occasionally show a little of the
grace of this dance; and again, when a teacher is
called upon for instruction in families of culture, for
special occasions, such as minuet parties or perform-
ances for charitable purposes, the readiness and apti-
tude shown by our young people in acquiring the
rudimentary movements of the dance makes it more
regrettable that they cannot be induced to advance
to a higher plane in their general motions.
In the minuet there are a number of simple and
combined motions (called steps), each having a special
name.
1. Pas Marché. 5. Pas Bouré.
2, ““< ~Balancé. 6. “* Sissoné.
BR. fetastaye, 7. “ de Basque -Pirone
4. * Menuet. ette;
1. Pas Marché is simply to walk, always three steps
to a bar.
MINUET. 127
2. Lalancé is the same as described for quadrille, one
to a bar.
3. Pas Grave.
Stand in fifth position, right in front.
1. Bend both knees.
2. Rise on toes.
3. Descend on left heel, at the same time
bend right knee by elevating the
heel, but allowing the toe to remain
on the floor.
Same with left in front.
This is always combined with the balancé, which
follows on the succeeding bar.
4. Pas Menuet.
Stand in fifth of right.
1. Bend both knees.
2. Rise, and at the same time, extend
right to second position. I bar.
3. Transfer body from left to right, leav-
ing left in second. .
This is continued in the same direction, by pass-
ing left behind right, at the moment of bend-
ing again for No.1. Same motions to right
orieit:
5. fas Bouré.
Stand in second of right, on toes.
1. Pass right behind left to fifth. }
motep.to left.
. Pass right behind again.
meocen to left.
. Pass right behind.
etep.to left.
I bar.
I bar.
Ow BR Ww Wb
128 DANCING.
The same motions repeated, either to right or left.
The same motions are repeated slowly, only three
to a bar, or quickly, twelve to a bar.
6. Pas Sissoné.
Stand in second of right.
I. Pass right behind to the fifth.
2. Step to left, with left.
3. Pass right in front to fifth, immedi- eo
ately extending left to second.
Return to right in the same manner.
7. Pas de Basque Pirouette.
Stand in fifth of right.
I. Step to right in second.
2. Place left in front at fourth position.
3. Rise on the toes, and twist half round,
without allowing the feet to leave
their places, except for the neces-
sary moving of the heels. This will
bring the right in front in fourth
position, facing opposite way.
Same to the left. i
I bar.
Minuet de la Cour.
This square represents the space and lines upon
MINUET. 129
which the couple move; in learning, it is well to
copy the diagram upon the floor, making each side
about twelve feet in length. The place of beginning
is at the lower side, where the lady, 0, and gentle-
man, xX, stand facing the upper end.
The honors, or salutations, begin all minuets; first
to the company; secondly, to partner.
The numerals in the left column below are intended
to indicate each one count in a bar, three to a bar.
Flonors
Starting from Furst Position.
GENTLEMAN. LADY.
Extend right foot to sec-
iy ond position, at the
2s same time take part- 1.)
ner’s hand. 2 | Same as gentleman.
3. Transfer weight of bodyto 3.
right foot, not moving
the feet.
of right in fourth
position, transferring
"l weight of body to left.
4 | Slowly pass left in front
5
in first position.
7
Sap bring left to right
: Very low bow.
>|
8. | Low courtesy.
9.
Pass left foot behind to
fourth position and rise
10. ;
re slowly; at the termina- Io. Ri Se Ine ‘
as frevee the bow. stand oe sf eft in front in
: on right with left in 12 ee
front in fourth position.
13. Step forward six inches 13. Step forward upon left.
upon right.
6%
130
GENTLEMAN.
( Pass left beyond twelve
14. 1 inches; atthe same time
turn to face partner.
15. ( Slowly bring right to left
t in first position.
16.
id | Low bow to partner.
Place right behind left
19. | in fourth position, ris-
ing from bow with left
| in front in fourth posi-
tion.
Move left eight inches,
2 | turning towards origi-
nal place of standing,
Pass right beyond twelve
= inches, turning to face
partner.
( Bring left to right in first
position, thus return-
ing to original place of
standing.
DANCING.
LADY.
Pass right beyond; the
14 same time turn to face
partner.
15. ey pass left behind
to fourth position.
7. } Courtesy to partner.
18.
19.) Rise from courtesy with
20. i right in front in fourth
21.
position.
( Move right eight inches,
22.1 towards original place
of standing.
ae left beyond twelve
23 inches, turning to face
partner.
Bring right to left in first
24 position, thus returning
to original place.
Furst Strain Repeated.
GENTLEMAN.
ee Marché left.
right.
J left.
OW ON AMNPYW N
Pas Grave with oe in
front.
LADY.
Same.
Same.
MINUET.
GENTLEMAN.
LO.
iv, Assemblé right in front.
2
At this Assemblé turn and
face partner.
¥3.
14.
15.| Pas Menuet to right on
16. line towards letter A.
v.|
18.
131
LADY.
Same.
Same.
Same to right, but on line
towards letter D.
Sai Pas Menuet continued
20. Same.
on same line.
21,
Balancé backward upon
22. left foot, bringing right 22. | Same.
23. to fifth position, stand- 23.4 Standing upon letter D,
24. ing at letter A, facing 24. facing partner at letter
partner at letter D. AG
Second Strain.
Starting from letter A.
Pas Grave towards part-
ner.
An pw NY xm
7+) Pas Marché left.
ii fee) tight,
9. meee . left, .
Io.) Assemblé with right in
I a front, thus facing part-
12. ner in centre of square.
From letter D.
Same.
Same.
Same.
132
GENTLEMAN.
Pas Menuet to right.
then left, thus passing
partner.
19.
20.
: | Balancé first with right,
Pas Bouré to and fro,
38. ae to back with part-
31. ( Pas Bouré quick to left
towards letter C.
32. } Place right in fourth po-
| sition.
| Pirouette so as to face
l partner at B.
Balancé backward upon
left foot, finishing in
fifth position, right in
front.
Starting from letter C.
37"! Balancé forward upon
)
right.
4O.
AT, | Balancé on left.
42.
DANCING.
_ LADY.
Same.
Same.
Same.
31. ( Pas Bouré quick to left
towards letter B.
Place right in fourth po-
sition.
33. | Pirouette so as to face
partner at C.
Same.
From letter B.
MINUET. 133
GENTLEMAN.
Three Pas Marchés, com-
mencing with right, at
the same time giving
right hand to partner,
walking past and turn-
ing round so as to face
in Opposite direction.
Place right behind, Pi-
rouette so as to turn
back to partner.
i Three Pas Marchés tow-
se es
46.
47.
48.
ards letter B, at third
turn so as to face part-
50
3 ner at letter C.
ze
Balancé backward upon
left foot.
Da Capo to
Starting from letter B.
Pas Marché.
a0 ON An PWN
Assemblé, right in front.
: Pas ar towards part-
LADY.
Same.
Same.
Three Pas Marchés towards
letter C, at third turn so as
to face partner at letter B.
Same.
First Stratn.
Starting from letter C.
Same.
Same.
Same.
134 DANCING.
GENTLEMAN. LADY.
Six Pas Marchés, at the
same time giving left
hand to partner, and
walking round so as to
face original place of
beginning.
J
ht.
I ve Marché rig ( Pas Marché left foot.
I
Same.
=
3:
4.
5.
6.
7:
8.
—
" left. ;
‘s none ro. | BW Os right foot.
I
20.
21.
At the same time turn 20.
right side to partner, 21.
and thus face centre
of the square.
Balancé backward upon
right foot, terminating
in first position, thus Same.
regaining original place
of beginning.
Turn left side to part-
ner, and face centre of
square.
PAA
23.
24.
First strain repeated.
Honors as at the beginning.
MINUET AS A QUADRILLE.
(Form same as for quadrille or lancers.)
Furst Strain.
Head couples, honors. 8 bars.
Side * ‘ 8 bars.
Second Strain.
(Head couples only.)
Forward with Pas Grave twice. 4 bars.
Pas Menuet to right. 2 bars.
Two Balancés forward, going just past 5 ae
other couple.
MINUET. 135
Pas Menuet to left, back to back with
other couple.
Gentleman of each couple takes part- )
ner’s left hand with his left, and with
Pas Marché the two pass across each
other, lady in front (same as in right $ 2 bars.
and left of ordinary quadrille); this
brings each in opposite couple’s place;
there make salutations to opposite. |
Both couples again forward from oppo- 5 hare
site sides, with Balancé.
Right and left to places with Pas Marché. 2 bars.
When in places all four make the salute. 1 bar.
To Furst Strain Once.
All Balancé at corners. 2 bars.
All with Pas Marché give right hands at
2 bars.
2 bars:
corners, change places (A//emande),
and salute after the change is made.
All return to places with the same
movements, but giving left hand, and 4 bars.
left foot Balancé.
Second Strain once.
Sides repeat as described for head couples at Second
Strain.
First Strain again.
All repeat Balancé at corners as before described.
First Strain a second time.
All make the honors.
It must be noticed that both of these minuets are
adapted to the music of the “ Minuet de la Cour,”
which is peculiar in having seventeen bars in the sec-
ond strain,
CHAPTER XIV.
VIRGINIA REEL.—POLONAISE.
Remarks.—Motions.—Figures.
VIRGINIA REEL
(Original name, “ Sir Roger de Coverley”).
IT has been said, and is a truth, that at no time is
the difference between those who are, and those who
are not accustomed to refining influences so strongly
marked as when they are in their merriest moods.
If that should be during the enjoyment of a lively
dance, the wide separation between the motions and
manners of the two classes is curiously obvious.
As an illustration of how forcibly this impresses it-
self upon children, and how long that impression may
last, the writer gives his own experience.
Considerably more than fifty years ago he attend-
ed the governor’s inauguration ball at Hartford, Con-
necticut, at which was assembled nearly all the dig-
nitaries of the state; many more of them participat-
ing in the amusements than would do so at the
present time. The popular dances were such as
the Virginia Reel, Money Musk, and other country
or contra dances, all quick, spirited, and full of ac-
tion. The impression made was that this was a com-
VIRGINIA REEL. 137.
pany of happy humanity, as merry as they could well
be, yet their merriment was a beautiful expression of
refined jollity, indicating the presence of cultivated
people in their merriest moments, when least. occu-
pied with thoughts of motion or manner.
In seeing our young people run, push, scramble,
and scream through one of these same dances, allow-
ing their habits of motion and manner to become
prominent, can it be surprising that a comparison is
drawn not favorable to the latter ?
We may not believe that in the first case those
engaged were higher in general culture than families
in the same position of life are to-day. The differ-
ence must be assigned to two causes. First, the good
effect of the elder ones mingling with the young giv-
ing steadiness to such meetings. Secondly, the im-
portance attached to manner and motion in early
training, which then, and at all times, asserted it-
self, as early training never fails to do, be it good
or bad.
The Virginia Reel is danced with eight couples, in
' two lines, the ladies on one side and the gentlemen
on the other, facing inward.
The lady at the top and the gentleman at the
bottom execute each figure, and are immediately fol-
lowed by the lady at the bottom and the gentleman
at the top, in the following order, each movement
requiring 4 bars of music:
Forward and back; forward and turn with the
right hand; turn with the left hand; turn with both
hands; forward and dos-a-dos ; forward and bow.
138 DANCING.
First lady then turns with the left hand every gen-
tleman down the line, while her partner turns every
lady; each turn is followed by a turn of partner with
the right hand; when arrived at the bottom, the two
return to the head; they separate, the lady passing
down the outside of ladies’ line, and the gentleman
passing down the outside of the gentlemen; all fol-
low, meeting partners at the bottom, and then chassé
up the centre. When the first couple arrives at the
top again, the other seven couples separate with
raised hands, forming an archway, under which the
first couple passes down to the bottom and remains
there, all disengaging hands, and separating into the
two original lines;the dance then begins again with
second couple at the head, and first couple at the
bottom.
Repeating all these movements eight times will
bring the first couple to the top again, when the
dance ends.
POLONAISE.
This dance is a ceremonious procession most fre-
quently used in opening the state balls of European
courts.
The motions are as follows:
‘
|
"Right foot." =) |. Ler iol
The master of ceremonies takes command and con-
POLONAISE. 139
ducts the dancers through various evolutions. For
example, after marching round the room, and then
up the centre, at the head the gentlemen turn to the
left, ladies to the right, marching round so as to meet
again at the bottom of the room, when partners are
resumed ; or while marching round the room, at a sig-
nal (clapping hands) each gentleman disengages his
partner’s hand, pauses a moment, allowing the next
lady behind to overtake him, when they proceed to-
gether. The same is repeated, when ladies pause, al-
lowing gentlemen to return to partners, with many
other movements easily suggested by the master of
ceremonies.
CHAPTER XV.
DANCE MUSIC.
Music and Musicians.
MODERN dancing is injuriously affected by the in-
competency of many who make the playing of dance
music an occupation. Some of these are persons who
cannot occupy situations where a considerable meas-
ure of talent is required. Others have recourse to
this branch of their art, influenced by the same rea-
sons that govern an artist in painting when he pro-
duces what are known as “ Pot-boilers.” Neither of
these two classes will care to give themselves much
trouble to learn the necessary details of their work;
to them playing the notes begins, and receiving their
pay ends, all their anxieties.
Accustomed as many of these persons may be to
the playing of dance music in public gardens and
dance-houses, they are unable or unwilling to aban-
don the habits of playing formed in such places when
in the better atmosphere of the drawing-room.
We have those who make dance music a specialty,
using all their knowledge and technical skill with the
enthusiastic feeling which ever governs a true vota-
ry of art; when at the piano, or with other instru-
ment in hand, their notes are never tinged with the
DANCE MUSIC, 141
color of a bank-note; they play to give pleasure, and
are true artists, not mechanics in music. These are
engaged and respected; the others, hired and—
In good playing of dance music there are six ele-
ments: 1. Speed (technically, zesmpo); 2. Regularity
(no ritardandos or accelerandos,; the same rate of
speed sustained throughout the dance); 3. Distinct
phrasing; 4. Exact accent (appropriate to each
dance); 5. Musical expression; 6. Vim (enthusiasm,
energy, excitability, something of the kind, almost
inexpressible in language, but vividly felt when pres-
ent in a pianist).
He only is a thorough dance player who possesses
all these in full. Such a one deserves to rank as the
equal of a good soloist, for the one is as scarce in the
profession as the other, and both require a like de-
gree of talent.
To give artistic expression to a waltz, while main-
taining perfect regularity in time, is what few soloists
can do.
The dance player of the present suffers from past
prejudices. The dance music of to-day is so far in
advance of the old, that when we look at the com-
positions of only a hundred years ago they seem
childish in the extreme, requiring very little execu-
tive ability. A dance player of those times was what
is expressed in the word “ fiddler.” But to-day mu-
sicians have compositions to deal with of high order,
containing all that science and genius can produce,
and requiring for their proper interpretation perform-
ers of decided ability.
It is as essential a part of a dance player’s educa-
142 DANCING.
tion to know enough of dancing’to appreciate all the
varying shades of accent in motion, as it is indispen-
sable in a teacher of dancing to be acquainted with
all there is in music related to those accents. With-
out this knowledge neither will fully understand the
intimate relations of the two arts, nor be fully com-
petent to fulfil the requirements of his occupation.
Lack of knowledge in accent and phrasing has led
to serious mistakes by some of our prominent com-
posers; but if an executant understands the subject,
these mistakes are easily corrected, and should be,
notwithstanding the great respect due to the com-
poser. Those who play for dancing must not be in-
fluenced by the mistakes of our concert-rooms.
Conductors not infrequently treat a waltz as if
speed were the only excellence. A scherzo, in a sym-
phony, which may be a movement extremely trivial
in character, will be given with all the perfection that
careful training can produce, but a waltz, with its
beautiful melody, rich harmonies, instrumentation
full of science and genius, and with unbounded pos-
sibilities for light and shade, is, as it is said, “ left to
play itself.” Is there not a little musical pedantry
in this? Light and shade seem to be thought of as
unnecessary in this music, yet nowhere can these ef-
fects be used to greater advantage.
Pianists complain of being compelled to repeat
compositions so many times, feeling themselves musi-
cal martyrs in so doing, but this is an unfortunate
admission; for if interested in their art and occupa-
tion, true artists find constant sources of amusement
in the ever-varying expression which may be given
to the same work.
DANCE MUSIC. 143
Soloists repeat their specialties thousands of times.
Lecturers repeat their ideas for years, giving new in-
terest to the same courses of thought by different
modes of expression. So should it be with one who
plays dance music—monotony of expression makes a
parched desert of sound.
It is said that an artistic dance player is not appre-
ciated, but this is a mistake. Aside and above all
craving for appreciation in others, an artist first of
all endeavors to please himself, a task generally full
of difficulties. He feels such an infinite demand for
expression beyond his greatest powers, that the sen-
sation at times is almost overwhelming. His art, like
a gentle child, leads him forward to pleasures which
seem to be of the sweetest; then imagination sug-
gests tones of such delicious beauty that he becomes
almost bewildered in efforts to possess them. At an-
other time he is driven as if by a whirlwind into pas-
sages of tremendous force. Imagination again opens
the dark clouds, showing how great is the beyond.
Again and again he strives with nervous effort, each
step upward dispelling clouds and extending his line
of vision, and in thus reaching out towards the high-
est he realizes the greatness of his art and how little
is known to the uninitiated. Such artists never wait
for appreciation.
Our great soloists would require very small con-
cert rooms if only those attended who fully appre-
ciated their talent. The mass is governed by the
opinions of the few, but in the assertion of those
opinions the borrowers are usually much more posi-
tive than the originators. So is it in dance music.
144 DANCING.
The appreciative few soon recognize an artist, and
the mass is not slow to follow. May there not bea
fear that those who complain of this want of appre-
ciation are lacking in something? It might be the
want of effort to deserve the title of artist.
Artistic players of dance music should remember
that the art of music affords no exception to the
prevalence of pedantry and snobbery, most notice- °
able in the great dead level of mediocrity. While
men of genuine talent gladly welcome the like wher-
ever found, these others try to measure themselves
by what they do, not by how they do it, consequently
they lift up their little borrowed candle-light against
the electric spark of genius because the latter is not
shown in their candlestick. This, however, has little
influence upon those who are truly in earnest.
CHAPTER XVI.
COTILLION OR GERMAN.
Origin of the Name German.—When Introduced.—Is an Epit-
eme of Modern Dancing.—Its Advantages.— Duties and
Etiquette.-—Arrangements.—Who May Join in the Dance.—
The Conductor or Leader, and his Duties and Hardships.—
The Music.—Index of Figures.
THIS dance was introduced in New York about
the year 1844. At that time the quadrille was the
fashionable dance, but was known as the cotillion.
To make a distinction between that and this dance,
which was known in Europe by the same name, this
was called the “German Cotillion ;” gradually the
word cotillion was dropped, the dance becoming sim-
ply “ The German.”
This cotillion may be said to be an epitome of all
there is in private dancing. It is peculiarly social,
requiring a constant interchange of partners; all
must, therefore, be upon terms of familiarity. As
any of the round dances are available, every variety
of time and accent may be enjoyed. Innumerable
figures give all the pleasure derivable from move-
_ ments in concert with others. Infinite variety in the
character of these figures, serious, merry, and comi-
cal, maintains interest to the last. The necessity of
being seated in a circle leaves space sufficient for the
full execution of all the dances and figures.
7
146 DANCING.
The limited periods allowed for dancing, and fre-
quent moments of rest, prevent exhaustion in those
who at other times are liable to protract exertion be-
yond their strength. Full liberty being allowed in
the choice of partners, without danger of personal of-
fence, those only are selected who are equal to the
requirements of the dance.
DUTIES AND ETIQUETTE.
The first thought that usually occurs to one tak-
ing part in a cotillion is, “I am about to enjoy an
hour or more of unmingled pleasure.” With this
should come another, which is that “ All my pleasure
depends entirely upon the kindly co-operation of
others; I am, therefore, under an obligation to them
that my part shall be strictly fulfilled; if I fail in
this, I have not the right to demand like fulfilment
of them; and moreover, in neglecting my part, I
commit an act of injustice in taking away from these
others pleasure anticipated by them, as by myself;
which is equivalent to saying that my own conduct
makes or mars my own happiness, and has at the
same time a good or bad effect upon my surround-
ings.” It will, therefore, be understood that each one
participating in this mutual-pleasure-giving dance
should enter upon the duties with honesty of pur-
pose and kindness of heart. When all unite in such
a disposition, the pleasure is augmented in propor-
tion to the number engaged.
Attention to the following five suggestions will give
to the cotillion its true character and position, as the
representative dance of modern civilization, combin-
ing fine music, fine motions, and fine manners.
COTILLION OR GERMAN. 147
Ist. Alertness, each dancer being at all times awake
to the duties required of him or her.
2d. Promptness in taking places for the execution
of a figure. 3
3d. Sz/ence and attention during the explanation
of any novelty. |
4th. Obedience at all times to the conductor during
the management of the dance.
sth. Willingness to sacrifice momentary personal
pleasure, so that others may gain.
Eight or sixteen bars of a waltz are played as a
signal to take seats. In Paris the excellent plan is
adopted of playing a simple melody which is uni-
versally understood as meaning “take seats.” Pre-
vious to this all are supposed to have secured part-
ners; if any should remain unpaired, the lady of the
house will either remedy the difficulty herself, or
delegate that duty to the conductor. The conductor
and his partner taking seats, all the others arrange
themselves to the left of their position, ladies invaria-
bly seated upon the right of partners. This formation
may reach round a room, forming a circle, or in a
larger room may extendas a line of seated couples.
In a properly arranged cotillion the ladies and
gentlemen are equal in number, this being most con-
ducive to success in every way. Consideration for
those without partners has allowed, in many cases,
that they may be seated among the others, each
being called upon in turn as a couple; but this is
liable to cause confusion when a figure requires a
positive number of couples.
148 DANCING.
Knowing the waltz, galop, and polka, and having
some familiarity with the figures of the Lancers, no
one need hesitate to take part in this dance; but at
first it is well to take seats towards the left of the
line, opportunities will then be gained of seeing the
figures before attempting them. When selecting
partners, the lady should present the /ef¢ hand, the
gentleman always the right, except, of~course, in
cases where two ladies are required.
When new partners are obtained, places must be
immediately taken for the figure about to be exe-
cuted. After the completion of this figure a general
waltz takes place, in which any of those not engaged
in the figure may join. The same at every repetition
of a figure. At this point there will be necessarily
a number of ladies and gentlemen seated alone; any
one of these gentlemen may with propriety offer
himself as a partner to a lady thus seated alone, but
never to a lady seated with her partner, unless in the
regular selection of partners for a figure.
When the signal is given to cease dancing, it is
not expected that a couple shall immediately stop,
perhaps on the opposite side of the room, and walk
to seats, but they may continue to dance until the
lady’s seat is reached, when after seeing the lady safe-
ly seated, the gentleman returns to his own place.
The conductor always allows sufficient time for this
before calling the next party.
As nearly all figures depend upon a fixed number
of couples for their completion, the half of that num-
ber is called up at first, and by each choosing another
partner the whole number required is obtained.
—
COTILLION OR GERMAN. 149
The mistake sometimes occurs of one of the first
half selecting another of the first, thus defeating the
object of the selection of other partners. It should
therefore, be understood as a rule, that each one of the
first half called upon mst select from those seated.
Thoughtless young people will sometimes form a
clique, making mutual agreements to call each other,
and in this manner secure to themselves more of the
dancing than would properly fall to their share, oth-
ers losing what they gain in this way; but it is an
unfortunate arrangement for those concerned, for it
exposes them to the just charge of selfishness and
want of consideration for others.
Among the many figures described will be found
those suitable for various occasions and circum-
stances; figures requiring a large number of dancers,
appropriate to capacious rooms and a numerous co-
tillion; others, for lesser numbers; down to those of
the smallest, which would be only suitable for small
parties. When it is desirable to introduce one of
these small figures in a large party, the expedient is
adopted of calling up two, three, or more groups to
execute the figure simultaneously.
It is advisable in such cases for the conductor to
appoint as many assistants as there are groups, each
controlling one division, under the conductor's gen-
eral superintendence.
It is generally more satisfactory when the figures
are in proportion to the number of dancers present.
Four or five repetitions of the same figure are
usually as many as should be used, and it is well
to avoid monotony.
160 | DANCING.
The character of the figures should be suitable to
the time and those forming the cotillion. Many are
of so merry a nature they cannot be introduced ex-
cept among intimates, who will make allowance for
an occasional slight exaggeration of conduct; but
such figures are dangerous, if there should be those
present who cannot be merry without rudeness.
When indulged in by those who can be decently
funny, although bordering on the childish, yet in
their proper place and time they may be sources of
real, innocent pleasure.
The conductor and his partner, with the required
number of couples indicated by him, taken from
those next in succession to the left, will, after waltz-
ing a short time, or until the signal is given, all se-
lect other partners and execute a figure for the first
time. After all are again seated, but not until then,
he designates the number of couples required, taking
them from those seated next in succession to the
left of the first party. When they are all seated a
third party is called, and so on in succession until all
have been called upon. After a short pause in the
music a second figure is introduced, and in the same
manner repeated by as many groups of couples as
the figure requires, and the number engaged in the
cotillion allows.
LEADER OR CONDUCTOR.
The success ofa cotillion is largely dependent upon
the management and tact of the person occupying
this position. He selects and introduces all the fig-
ures, and instructs the others in the execution of any
COTILLION OR GERMAN. ISI
novelties he may introduce. Upon his judgment,
therefore, rests that happy succession and contrast
of figures which maintains the interest of the dance
to the last moment. A precaution worthy of imita-
tion, taken by conductors of experience, is to select
four or five couples, upon whom it is safe to rely for
attention and readiness to assist in the introduction
of a new figure, and to seat them next to the con-
ductor’s place. On such occasions it is advisable to
instruct the music to play “sotto voce ;” more atten-
tion is gained, and those seated are less inclined to
talk loudly.
The cry is universal and constant for something
new; but those who are most persistent in this fre-
quently offer the greatest obstacle to the introduc-
tion of novelties, by their inattention, and readiness
to sneer at the efforts of their best conductors, who,
as a rule, are confined to figures of the simplest kind ;
otherwise the obtuse ones would be exposed, and
would at once retaliate by complaining of the “stu-
pid idea.”
The conductor should exercise constant watchful-
ness, and be ever on the alert to urge the tardy,
prompt the slow, awake the inattentive, signal those
occupying the floor too long, superintend the pre-
paratory formation of the figure, see that each dancer
is on the proper side of his partner, and, if simulta-
neous movement is required, give the signal for that
- movement to commence, etc. He is thus compelled
to fulfil the duties of a “ whipper-in,” as well as those
of conductor, instructor, and superintendent.
To clap hands once should be the signal for all
152 DANCING.
to cease dancing; twice for the commencement of
a simultaneous movement; three times to stop the
music; and this is the last recourse, when a conduc-
tor has to deal with inconsiderate or obstinate couples,
who persistently occupy the floor after the signal to
cease is given, or at a time not permissible by the
regulations of the dance.
In addition, there are many other little duties be-
longing to this position, which require constant at-
tention, tact, and decision. In order that the in-
terest may not flag, and to keep up the life of the
dance, the conductor should throughout maintain a
sprightly, cheerful manner. Sharp, short directions
are necessary, which are liable to wound the self-
esteem of the young people engaged; but with con-
tinued equanimity of temper, and marked courtesy,
a conductor will succeed even with the obtuse, tardy,
and inattentive ones.
It will be seen that the conductor’s place in a co-
tillion is one beset with annoyances, requiring great
forbearance on his part. He must necessarily de-
vote time to the previous selection, and perhaps
composition, of novel figures, and while others may
enjoy the pleasurable chat with their partners dur-
ing the unoccupied moments of the dance, he must
be constantly on duty, thus sacrificing much of his
own pleasure in ministering to the enjoyment of oth-
ers. Aside from kindly forbearance, patience, and
thankfulness, which ought to be shown towards those
willing to assume the position, a selfish policy would
suggest that when so much depends upon the efforts
of this one person, each would do most to promote
COTILLION OR GERMAN. 153
his own pleasure by aiding the leader in every way
possible.
A cotillion composed of willing and attentive mem-
bers, under the guidance of an expert conductor, real-
izes all that is possible from dancing, and its accom-
panying social pleasures. If the German could be
enjoyed in well-ventilated rooms, allowing abundance
of space, without the accessories of costly suppers and
wines, and not during hours which ought to be de-
voted to sleep, all the objections ever made against
dancing would be removed, and this pleasure would
be counted among those most truly innocent. It
may be observed here, that the pleasure of motion
to music is most condemned by those who are led
to believe that pleasure of any kind is objectionable
to a kind Father in heaven, a notion which, happily
for the human race, is disappearing in proportion to
the growth of modern intelligence; yet there are
many kind, moral people, whose objections are di-
rected against the manner of conducting the dance,
and the circumstances which so generally surround
gatherings for the enjoyment of this universal and
natural pleasure. It should, however, be remembered
that dancing is most frequently the excuse, not the
object, of many large meetings, and if evil is present,
the efforts of all good people should be like those
of a physician, to cure the disease, not to destroy
the patient.
THE MUSIC.
Formerly it was customary for the music to play
continuously throughout the whole duration of the
cotillion. In later years, a desire, no doubt, to give
“154 DANCING.
‘rest to the ear for a short time, has established the
custom of having the music cease at the end of each
figure; that is to say, when a figure has completed
its circle, and before the introduction of a second.
This is no doubt, to many, a very acceptable change,
as a short cessation of sound isa great relief at times,
more especially when the same rhythm is maintained.
Even the waltz becomes monotonous when too long
continued, and so presses upon those hearing it as to
become almost disagreeable. An occasional change
of time has an excellent effect in promoting cheer-
fulness... This, however, rests with the conductor.
One waltz should not be repeated many times in
succession. Twice without a change is sufficient.
Playing each number twice is, perhaps, better than
repeating the entire waltz, and then passing to an-
other; and if the first is very popular, a return to
that will be acceptable.
A succession of waltzes by the same author is not
as agreeable as when styles are diversified; say, after
‘a Strauss, a Waldteufel, after that another author,
selecting those that afford the greatest contrast in
style and key.
Waldteufel’s compositions, many of them very beau-
tiful, might well be named hymn waltzes, so solemn
in character are most of them; dancers sometimes
make two or three revolutions to a single note in
the melody—which is not always unpleasant, though
it is wearisome when continued too long. Unfortu-
nately, these waltzes give so much rest to the hands
of pianists, that it is not surprising that some cling
to them with loving laziness.
COTILLION OR GERMAN. 155
In orchestral arrangements, the instrumentation of
one author is so different from that of another as to
afford a measure of relief; yet the mannerism in the
use of the cornets or trumpets is often singularly
wearisome. An occasional bit of melody from a
popular song, or out of an opera just then in favor,
adds much to the “life of the dance,” but such things
should be used sparingly and with discretion. Other
little bits of jolly melodies can be introduced with
good effect. A good plan would be to prepare a
number of slips having such reliefs ready, in various
keys, and at hand for immediate use, selecting ac-
cording to the feeling or temper of the moment.
A mistake of great frequency is that of playing
too fast, in a certain out-of-breath way, as if hurry-
ing the music would shorten the work, giving to the
Lancers and quadrilles the effect of a succession of
jigs and reels.
All this should suggest that variety is the spice of
the dance, and that monotony acts as a damp atmos-
phere upon the spirits of those within its influence.
The conductor being responsible for the success of
a cotillion, the pianist or leader of the band should
in all things be ready to aid him, especially in atten-
tion, and compliance with directions given. Musi-
cians in such cases should not count success by the
number of dollars gained, but by the number of
_ happy moments given to those who are for a time
dependent upon them for their pleasure. Ifa sim-
ple melody could be adopted and universally known
as the signal to ‘‘ Take seats for the cotillion,” some
annoyance would be prevented to those who com-
156 DANCING.
mence to waltz at such a time, and are brought sud-
denly to a consciousness of their mistake by the ab-
rupt ending of the strain.
This is the signal used in Paris:
CALL FOR THE COTILLION.
Among the figures herein described are the origi-
nal eighty-three, as published by Cellarius of Paris, in
1840, in his book ‘ Fashionable Dancing ;” these fig-
ures may be found in nearly every work upon the
subject issued since that date. As classification is
necessary in dealing with so large a number as are
given in this work, each of the figures referred to will
be found among those of its own class.
I am indebted to my son, Mr. Frank Dodworth, for
the invention of a number of figures, and great as-
sistance in the compilation of the others.
—
OD ON ANPWDND
COTILLION OR GERMAN.
LIST OF FIGURES.
. Excursion or Presentation.
. Rounds of Three .
. Columns .
. Basket, No.1.
Wolf
Serpent :
Broken Round.
Pane Trap. ‘
. The Rejected hae :
. False Invitation :
. Presentation of eantenicn
. Presentation of Ladies .
. Ladies Deceived
. Round of Three
. Bridge.
. Come and Go .
. Forsaken Gentleman.
. Presentation of Couples
. Serpentine
. Carousal . reo:
. Reunion of Couples .
. TheX.
. Graces . ,
. Hungarian gat:
. The Rhymes
. Double Right and Left .
. Change of Ladies.
28. Quadrille, No. 1.
" No. 2.
7 No. 3.
morne Deceiver: .
. Deceitful Round .
. Changing Moulinet .
. Gentlemen Together.
. 1 Couple.
.2 or 3 Couples.
.2 Couples.
“6
66
. Page
ie = are
157
164
. 164
. 164
. 165
“185
. 166
. 166
‘10G
. 167
. 167
- 168
. 168
. 168
. 168
. 169
. 169
. 169
y 170
. 170
. FFG
Peas
Pee A
“lee
an dge
- 173
- 173
- 173
- 174
- 174
- 174
- 175
Ty
- 175
158 DANCING.
35:
36.
37-
38.
39-
40.
AT.
42.
43:
4A.
45:
AO.
47-
43.
49.
50.
5T.
52.
53:
. The Four Corners Turmed)
. Square of Mahone’s .
. Rounds of Four
. Round Arch.
. Windmill, No.1.
Ladies’ Windmill .
Double Windmill .
English Right and Left.
X of Gentlemen
Four Hands Round .
Right and Left Varied .
a tipiesPass it, hues scala x
The Basket, No. 2.
EV CATACH Ss Sheds “as a ae pe
Pele SUEE be cs. Ne ced pate Mant veer ee
Windmill. e 8
Changing Windmill .
Contrary Rounds.
Inconstants .
Changing Triangle
Two Lines
Double Chain .
Different Rounds .
The Graces .
Bs No. 2.
5s No. 3.
a No. 4.
. Augmented Windmill
. Grand Round .
. Twin Circles.
. Country Dance.
. Bower, No. I.
. Undulations.
. Right and Left .
. Double Pastourelle
. Uninterrupted Chain.
. Ladies Back to Back.
.2 Couples.
iis | 176
. 176
- 177
- 177
. 178
. 178
- 179
- 179
. 180
. 180
. 181
2 OE
He
s 182
. 183 .
> Fos
. Tea
. 184
. 184
. 184
. 135
- 185
. 186
. 186
. 186
. 186
« FS
. 187
« TOF
. 188
. 188
. 189
. 189
. 189
. 190
. 190
: 15%
ered.
105.
106.
107.
108.
COTILLION OR GERMAN.
. Chains in Line
. Double Quadrille.
. The Flowers .
sotar and Circle
. Extended Circle .
.-Double-Grand Chain .
. The Zigzag.
. Triple Quadrille .
.. The Bower, No. 2
a No. 3
«, Lhe Surprise .
. The Half Turn
~84.
. The Scissors . :
. Presentations in Lines.
. The Continued Bridge
. The Gentlemen Back to Back. . us
. The Opposite Rounds.
. Changing Places.
. The Round Turns .
. Circle Divided
. Le Bandeau :
. The Eccentric Column
. The-Circular Road .
. The Knot
. Little Rounds.
. The Final Round
. The Endless Round.
. The Two Lines
IOI.
102.
103.
The Rencontres .
The Crooked Lane .
Reunion of Couples.
Simple Grand Chain
The Merging of Columns.
The Column Reversed. .
Mne Archway. . .« <
Double Column, No. 1.
i ¢ No. 2.
159
.4 Couples. . Page 191
sé
“é
“6
.6 Couples.
. 6 Couples or more .
se “e
“OZ
«i192
» 193
» 193
» 194
» 194
» 104
» 195
» 195
. 196
. 196
» 197
- 197
lo
- 198
. 198
. 198
» 199
» 199
- 199
. 200
» 200
. 201
ee)
POY
18202
« 203
«203
» 204
» 204
» 204
» 205
» 205
. 206
. 206
+207
160 DANCING.
109. Double Column, No.3. . . . Unlimited .Page 208
110. A Succession of Moulinets . . . - . 2 6 Nene
ity. Military MiguresNowds fw) ef . x . 8 Oe
112. The Quadruple Quadrille .. . f Si ceee ae
sa ne Wouble- Rounds... 2)... 2... = . <2 See eee
ira. ee Aey (WAY seus ees) se sien ss / +
115. The Covered Alley Way. .. . + . + 2 ee
116. The Discarded Gentleman . . . 4 . os idle rn
ry. Military. Figure, No.2. . ., . .8 Couples;s0 (ieee
fré.sthe Triple Column... . °°. Unlimited ogee
119. Double Column of Threes . . . : . in
120. Double Column, No. 4.. «2... 4 . = 2 ome
Pete RE ALtICTS WNC aIMeC 1. een eee . ., See
fic. cnet broken Colunmin » .,.en tan ‘ ice 2 ee
F293. 94 Ne Developed'Circle 32> eee i ern ey
eo4. si hread the Needle... eee 4 . oe hee
b25. 0c. WO WiTCleS Linked ven taste eee F + 0G oe
0. he Grand Basket yin). os Ge ete ve . » oe oe
[ay MEG DOUDIG Merpentersaanv ssl “eben si . [ye ee
128. Le Carillon de Dunkirque . . . 4 . «oe
Pee ole) al eb IasSOuriS) “so !G tc i . se rn
BR LAN ICE aoe = tees you) Seay taste taped ae Sake + oy Ue
far.1Les Dames;Ensemble... ... Sa4: . es ey
eto, 1 NE POUL LINES 2055 seach ne hee ‘ se le a
tat. Les Passes enchonds 94 Gos a P «ts Tia ee
£90, G1 1 ROT) MeTnente ca.) s) am) os ake sa) ie pee
155 oP HEY Die TeOUNG (anil se ena is ee
Tava Choice al tWraltzers oi. 3. nae if ole Dil
R09 gh rh UST NS ira os ies wag) ne - »” is
Toa eT o OUTIETS i ae oo aus ¥ - os tee be
39.. The Mysterious Hands... . «i id sis eee
140. The Grand Chain Double .. . is erg
Lay eacies mecturned... <.. ith iikans eo i Ge Sak Seo
142. Dos-a-dos Squares... . . 2% 1 Sy Se ae
M3. Reversed Wounds... 4. 65 ve fete ope * a ee
P44. ChalpyrPanagne ss). 8 yk A ae a te
fas... he aenree asses. | 5 9. ee “ 4
146. Little Rounds tothe Side .. . a . 2
147.
148.
149.
150.
151.
152.
153.
154.
Le5.
156.
157.
158.
159.
160.
161.
162.
163.
164.
165.
166.
167.
168.
169.
170.
rai.
baa
173.
174.
275.
_ 176.
LFF,
178,
179.
180.
COTILLION OR GERMAN.
FIGURES WITH ACCESSORIES.
Jeu Geographique
The Oracle.
La Corbeille Mobile.
Les Chasseurs.
L’Amorce
The Struggle .
The Barber
The Scarecrow
The Candle
The Canopy
The Fan
The Umbrella .
The Passage of the oun “
The Clown .
The Bells, No.2 .
The Covered Pieces
The Mirror.
Glass of Water and Biscuit é
Rice Powder .
The Call-bell .
The Pledges .
Knotted Pedic rch ict
The Turning Hat
The Bride .
L’Escrime .
The Frogs .
The Mottoes .
The Two Magicians
The Terminations .
The Bat.
The Roller. i
The Order of the Gages
The Needles .
mreGards f°...
. I Couple or more .
-1.Couple. . Pare
161
227
227
Be ey
. 228
226
+ 229
7 1,Couples
aed
220
230)
. 230
. 230
23%
s 239i
Be Ws
aa
Bee he
242
- 233
+ 233
- 233
» 234
- 234
» 234
» 235
» 235
- 235
230
eae
s236
- 237
- 237
» 237
Be 2h:
eae
DANCING.
. The Grotesque Masks.
2. The Chairs. :
. The Figure Eight
. The Magic Hat .
. The Moving Cushion .
. The Glass of Champagne
. The Hat
Hel des Caria.
. The Ribbons .
. The Soloists
. The Frou Frou
2. L’Adresse
. The Pleasure Box
. The Garland .
. The Bell Figure .
. The Cups :
~ Lhe Ball and Raton
. The Four Corners .
. The Mouse-trap .
. The Handkerchief .
. La Course Assise.
. The Ladies Seated .
. Blindman’s-buff .
. Flowery Hedge .
. The Mute Orchestra
. The Gentlemen Kneeling
. Hopping Race
. Four Balloons
. The Scarfs Crossed .
. The Four-in-Hand .
. Good-night, Neighbor.
. The Four Chairs
. The Flying Scarfs .
. The Stormy Sea.
. The Enchanted Circle
. The Volunteers .
. The Flags, No. 1.
.1 Couple. . Page 238
-3 Couples.
. 3 Couples or more .
-4 Couples.
66
. 4 Couples or more .
.4 Couples.
.6 Couples.
Unlimited
46
- 239
- 239
- 239
« 240
. 240
. 240
«as
. Cat
. 241
. 242
. 242
‘Bas
- 243
- 243
- 243
AE
. 244
» 244
» 245
» 245
. 246
. 246
» 247
- 247
» 247
. 248
. 248
. 248
» 249
» 249
- 249
. 250
. 250
oes
4255
. “Sar
218.
219.
220;
m2,
222,
223.
224.
. Black and White
The Mysterious Curtain .
97
am
226.
227.
20.
229.
230.
231:
232.
33.
234.
B35.
236.
vi
238.
239.
240.
241.
242.
243.
244.
245.
246.
247.
248.
249.
- 250.
COTILLION ORK GERMAN.
The Flags, No. 2.
*f O. 3.
ss No. 4.
The Undulations
The Handkerchief eines & .-
The Initials
The May-pole.
The Golden Apple .
mee Veils: .
The Repose
The Bibs
Cup and Ball .
Exchange of Decorations
The Butterflies .
The False Noses
The Umbrellas .
The Christmas-trees
Les Quatre Saisons.
The Annunciator
The Tombola .
The Teetotums .
The Inscriptions.
The Dominoes
The Screen
The Dice ;
The Rounds of ape 3
The Vacant Chairs .
The Aprons :
wne Bouquets: ._.:'.
The Two Chairs.
The Sphinx
Unlimited
163
. Page 252
«252
» 253
253
. 254
. 254
. 254
. 255
« 255
» 255
5 250
256
. 256
» 257
- 257
» 257
» 257
. 258
ase
. 259
ano
ay 250
. 260
. 260
200
208
« 20
208
Pe is
. 262
si 202
202
«: 263
164 DANCING.
FIGURES BEGINNING WITH ONE, Two, THREE, OR
FOUR. COUPLES.
No. I.
The Excursion or Presentation.
One couple.—Lady selects two gentlemen; gentle-
man two ladies; the two threes place themselves
opposite each other at a certain distance, advance
and waltz with those opposite.
Nowe:
Y Rounds of Three.
One couple.—Gentleman selects two ladies; lady
two gentlemen; form two rounds of threes; turn
rapidly; at signal the gentleman, passing under the
arms of the two ladies, advances rapidly to his part-
ner, leaving the other two ladies to advance with the
two gentlemen.
. No. 3.
The Columns.
One couple.—The gentleman places his lady in the
middle of the room; he then takes a gentleman and
places him behind his partner (back to back); then a |
lady facing the gentleman; and so on alternating,
until four or five couples are formed, the column
ending with a lady; at a signal all turn round and
each dances with the person opposite.
No. 4.
The Basket, No. l.
One couple.—Lady selects two gentlemen; gentle-
man two ladies; the two threes stand facing; for-
COTILLION OR GERMAN. 165
ward four bars, back four bars; then forward the
two gentlemen, passing under the arms of the oppo-
site three, joining hands behind the gentleman; the
two ladies joining hands behind the lady; they all
then form a circle with hands crossed, forming a bas-
ket, which is accomplished by the one gentleman
and one lady passing backward under the arms of
the others. After going round in this form the circle
is broken, ladies going to one side, gentlemen to the
other; all advance and dance with those opposite.
No. 5.
The Wolf.
One couple.—The lady selects two or three ladies,
placing one in front of the other, herself last, all
holding together by placing hands upon the wrists;
the gentleman then places another gentleman facing
the first lady, informing him that he must catch the
lady at the end of the line, and dance with her; the
ladies who are in front must prevent this, if possi-
ble, by coming between; and if, after a short trial,
the gentleman fails, he must yield his place to an-
other. When successful, he dances with the lady;
the partners of the remaining ladies go to them, and
join in the general dance.
No. 6.
The Serpent.
One couple.—The gentleman leaves his lady in one
corner of the room, her face turned towards the wall;
he then takes three or four ladies, placing them be-
hind his own lady at equal distances; he then selects
166 DANCING.
as many gentlemen, himself included, as there are
ladies; he forms a chain with the gentlemen, prome-
nading rapidly; he then leads the gentlemen behind
the first lady, continuing down the column until he
reaches his own partner, when he gives the signal,
each gentleman dancing with the opposite lady.
No, :7,
The Broken Round.
One couple.—The gentleman leaves his partner in
the middle of the room, and selects two other gentle-
“ men, forming a circle round the lady; the gentlemen
turn quickly to the left; at a signal the lady chooses
one of the gentlemen for the waltz, the others re-
turning to their places; or the discarded gentlemen
may dance together.
No. 8.
The Trap.
One couple.—The lady selects four ladies; the gen-
tleman four gentlemen; they form two lines back to
back; at the signal the gentlemen turn to dance with
the ladies'‘who are behind them; but the gentleman
of the starting couple endeavors to gain one of the
ladies, thus cheating one of the gentlemen, who re-
turns to his seat, unless a lady is kind enough to vol-
unteer to be his partner.
No. 9.
The Rejected Couples.
One couple.—The gentleman kneels in the middle
of the room; his partner chooses several couples, pre-
-
COTILLION OR GERMAN. 167
senting them to him, but he refuses them successive-
ly; the rejected couples form in a row, behind the
gentleman on his knee, who ends by choosing a lady,
with whom he waltzes; he then brings her back to
her partner, who remains in front of the row, and he
conducts her to her place; the first gentleman dances
with each lady in turn; when all the couples have
disappeared, the gentleman finds his own lady, who
has sought refuge behind the column, and conducts
her to her seat.
No. Io.
The False Invitation.
One couple.—After promenading they stop in front
of one of the seated couples, the lady inviting the
gentleman to dance with her; she suddenly turns in
another direction, however, so deceiving him; this is
repeated several times, when she finally accepts the
one invited; on some occasions all then join in the
dance; all the deceived gentlemen follow behind the
couple until one is accepted.
NOL TT.
Presentation of Gentlemen.
One couple.—The lady is seated in the middle of
the room; her partner presents a number of gentle-
men whom she refuses in succession; each gentle-
man who is refused places himself behind the lady’s
chair (at least six ought to be refused); when one is
accepted, he and the lady waltz, while the rejected
gentlemen follow them, each placing his left hand on
_ the shoulder of the one in front, and all hopping on
one foot.
168 DANCING.
No. 12.
Presentation of Ladies.
One couple.—Gentleman kneels in the middle of
the room; his partner presents several ladies to him,
whom he rejects, the rejected ones placing themselves
in a row behind his chair until one is chosen, with
whom he dances. This figure is analogous to No.9
(“Rejected Couples’), and is better adapted to
small rooms.
No. 13.
The Ladies Deceived.
One couple.—Taking his partner’s hand, the gentle-
man promenades about the circle, and approaches
several ladies in succession, pretending to invite each
to dance; the moment a lady rises, he turns quick-
ly to another; after deceiving a number, he at last
makes a choice. The lady of the conductor dances
with the partner of the lady chosen.
No. 14.
The Round of Three.
One couple——The lady stands alone; the gentle-
man selects two other gentlemen; the three circle
round the lady, who selects one of them. The other
two return to their seats.
No. 15.
The Bridge.
One couple.—The lady selects another lady; the
two stand in the middle of the room with hands
joined and raised as high as possible; the gentleman
fe
COTILLION OR GERMAN. 169
calls up other gentlemen, who pass under this bridge
in couples until the two ladies accept two gentlemen
by lowering their arms. The rejected gentlemen
take seats, or choose other partners.
No. 16.
The Come and Go.
One couple.—Lady selects two gentlemen; gentle-
man two ladies; the two threes place themselves a
short distance apart, facing, then advance until quite
close, when all turn round suddenly and separate ;
but at the signal they turn again, advancing quickly,
when each takes the one opposite as partner.
No. 17.
The Forsaken Gentleman.
One couple.—The lady stands alone; her partner
selects one lady and two gentlemen, joining hands
round the lady, who selects one gentleman, the other
lady another, leaving one forsaken gentleman stand-
ing.
No. 18.
Presentation of Couples.
One couple.—The. gentleman kneels; his partner
then presents a number of couples in succession in
order that he may choose a lady, each rejected couple
standing behind him; when he at last takes the lady
of a couple presented, the others waltz; the gentle-
man who is left alone dances with the lady of the gen-
tleman kneeling.
8
170 DANCING.
No. Ig.
The Serpentine.
One couple.—Lady selects six or more ladies; all
stand in line one behind the other, about three feet
apart; the gentleman selects seven or more gentle-
men, they forming in a line with hands joined; the
one on the right of the line leads the others in a ser-
pentine course between each lady, and, finally, back
to the head; at the signal each gentleman tries to
secure a partner, those failing returning to their seats.
There should be an even number of ladies, and an
odd number of gentlemen.
No. 20.
The Carousal.
One couple.—The lady pinning a bow of ribbons
on her partner’s left shoulder waltzes with him, a
second couple following; the gentleman of the sec-
ond couple endeavors to snatch the bow from the
shoulder of the first gentleman; if he succeeds he
pins the bow on his shoulder, the third couple fol-
lowing; if the pursuing couple becomes tired the
gentleman stamps his foot, when another couple may
pursue.
No. 21.
The Reunion of Couples.
One couple.—The first couple makes a promenade,
after which it takes the second couple, forming a
round of four; after going round to the left half-way,
the third couple is called, making a round of six half-
way to the left; and so on until all the couples are
COTILLION OR GERMAN. 171
called, thus forming a grand round; after which
grand chain half-way round, terminating with a gen-
eral waltz.
No. 22.
The X of the Gentleman and his Lady.
One couple.—The gentleman chooses two ladies,
whom he takes with either hand, and his partner
chooses two gentlemen; the conductor and his part-
ner face each other at a certain distance with the
ladies and gentlemen they have chosen; they ad-
vance and retire during four bars; then the conduc-
tor and his lady advance towards each other, leaving
the two other ladies and gentlemen in the places
where they are. In advancing the second time they
give the right arm to each other, crossed at the elbow;
they make a’complete round, after which the gentle-
man gives his left arm, crossed in the same way, to
the lady whom he held with his right; the first gen-
tleman and his lady return to the middle to make
together a tour with left arms crossed, and then a tour
with the other lady and gentleman, crossing right arms;
in finishing they should find themselves in the same
position they had at the beginning; all six advance
and retire during four bars; they advance for the last
time, each gentleman taking the lady facing him, for
a general waltz.
No. 23.
The Graces.
One couple.—Gentleman passes his lady to the left,
changing hands; he takes another lady with the right
hand, and continues promenading between the two;
172 DANCING.
‘when he finds himself at the place of the lady he has
chosen he makes the two ladies pirouette opposite
each other, and takes them by their waists to make
them execute a four sur place to the left; he returns
the lady he has chosen to her partner, making her
pass under his arm and that of his lady, and con-
tinues the promenade to his place; the gentleman, in
order to make the four sur place, should have his own
lady by the left hand and the other by the right.
When this figure is made in polka, instead of the
tour sursplace you make the four du salon a trots;
abandon the lady chosen when you pass before her
place, and continue to promenade with your own.
FIGURES BEGINNING WITH Two COUPLES.
No. 24.
Flungarian Chain.
Two couples.— Each lady and gentleman selects
another partner and all form as for the Lancers; the
two gentlemen at the head advance rapidly, lock
right arms, swing once and a half round, when they
disengage, giving left arm to the opposite lady’s left
arm, and remaining on that side of the set; the side
gentlemen do the same; the two ladies at the head
cross over in the same manner; side ladies do the
same; all waltz.
No. 25.
The Rhymes.
Two couples.—The gentlemen select two gentle-
men, presenting them to their partners; each lady
COTILLION OR GERMAN, 173
addresses the two gentlemen before her; the one
first answering so as to make a rhyme dances with
the lady ; the one failing takes his seat.
No. 26.
Double Chain Anglaise—Right and Left.
Two couples.—Select other partners, as in No. 24;
form as for Lancers; head couples half right and left,
with side couples on their right; all turn partners;
then half right and left with next couple, and turn
partners; heads continuing to right, half right and
left, and turn partners; repeat until all regain origi-
nal places, when all waltz. |
No. 27.
The Change of Ladies.
Two couples.—After dancing awhile they approach,
the gentlemen exchanging ladies without losing step
or time; after dancing with each other’s ladies they
regain partners in the same manner, conducting them
to their seats.
No. 28.
Quadrille, No. I.
Two couples.—Select other partners; the four la-
dies cross right hands, promenade half round, giving
left hand to the opposite gentleman remaining on
that side; gentlemen exchange places in the same
manner; head couples half right and left; sides the
same; all waltz. |
174 DANCING.
No. 29.
Quadrille, No. 2.
Two couples.—Select other partners; form as for
lancers; the four ladies go to the right, each taking
the next lady’s place; all waltz entirely round the
set; then the gentlemen go to the left, each taking
the next gentleman’s place; all waltz as before; re-
peat until partners are regained, when head couples
right and left to place; sides the same.
%
No. 30.
Quadrille, No. 3.
Iwo couples.—Select other partners; form as for
lancers; head couples cross right hands with couple
on their right, walking round, changing places with
them; all forward and back; head couples again to
the right, changing places with the next couple; all
forward and back. This is repeated until all have re-
gained their places.
No. 31.
The Deceiver.
Two or three couples.—Lady chooses a lady; gen-
tleman a gentleman; conductor chooses two gentle-
men; ladies and gentlemen form lines back to back,
the conductor remaining outside, in front of the line
of ladies; he claps his hands and chooses a lady, at
which signal all the gentlemen turn, and dance each
with the lady behind him. The gentleman without a
partner returns to his seat, unless a lady takes com-
passion upon him, and consents to waltz with him.
COTILLION OR GERMAN. 175
No. 32.
The Deceitful Round.
Two couples.—Ladies select another lady ; the first
gentleman chooses two gentlemen, the other, one;
they, with the conductor, form a circle in the middle
of the room. The ladies, in the meantime, having
placed themselves in the four corners of the room,
the gentlemen circle round rapidly, and upon signal
break, and endeavor to secure partners. The one
failing to do so returns to his seat.
This figure is sometimes called, “ Puss in the Cor-
”
ner.
No. 33.
Charging Moulinet.
Two couples.— The lady selects a gentleman;
the gentleman selects a lady; form oulinet (cross
hands); the four gentlemen in the middle all joining
left hands, each giving his right hand to his partner’s
left; all then promenade round; after about eight
steps the four ladies pass forward, and each takes
the next gentleman’s hand, continuing the prome-
nade with him about eight steps; they again pass
forward, and promenade with the next, and so con-
tinue until partners are again reached; then general
waltz. |
No. 34.
Gentlemen Together.
Two couples.—Gentlemen choose another gentle-
man; ladies another lady; gentlemen waltz together;
-ladies together; at a signal the gentlemen form a
176 DANCING.
round, while the ladies form another; two ladies in
advancing to the gentlemen’s circle, pass under the
arms of the other two ladies, and enter it, forming a
round @ /’envers, when each gentleman waltzes with
the lady before whom he finds himself.
This figure may be danced by three or more couples.
No. 35.
The Ladies Windmill.
Two couples.—Ladies select gentlemen; gentle-
men ladies; form as for quadrille; four ladies cross
right hands in the centre, going round until past part-
ners; they then give left hands to the left hands of
the next gentlemen, each making a turn entirely
round the gentleman; they cross hands again, re-
peating the movement, which brings them succes-
sively to each gentleman, finally to their partners;
then a general waltz follows.
This figure is changed by gentlemen kneeling on
one knee.
No. 36.
The Double Windmill.
Two couples.—Ladies choose gentlemen; gentle-
men ladies; form as for quadrille; four ladies cross
right hands, and go half round; at the same time
the gentlemen pass half round outside; at the half
round all meet partners, to whom left hands are
given, the gentlemen turning the ladies to the out-
side, while they form the zzoulinet (cross hands); the
ladies then pass half round outside, while the gentle-
men go half round inside, when the same change is
repeated as before, when all join in general waltz.
COTILLION OR GERMAN. 177
No. 37.
The English Right and Left.
Two couples.—They place themselves facing each
other, and make the right and left very much length-
ened; the two gentlemen advancing with their la-
dies give each other the left arm, crossed at the el-
bow (lock arm), and make a very rapid demi-tour to
change the ladies; they recommence the figure to
take their partners again.
No. 38.
The X of the Gentlemen.
Two couples.—Each gentleman without quitting
his lady chooses another, whom he should hold with
his left hand; the two gentlemen place themselves
opposite one another, at a certain distance; they ad-
. vance with their ladies during two bars, and in like
manner fall back during two bars; they advance once
again, letting go the hands of their ladies, who re-
main in their places; the two gentlemen give each
other their arms crossed at the elbows and make
together a complete tour; then give their left arms
to their ladies in the same way, and make a tour with
them; they again make a tour together, giving each
other the right arm, and recommence with the left
arm with the next lady on the right, and so on for
the rest; when they have turned with the four la-
dies, they each take two ladies (their own and the
one they have chosen), and make a promenade at
pleasure ; when they find themselves at the places of
the ladies they have chosen, they place them under
*
178 DANCING.
their right arms, and continue the waltz with their
partners.
No. 309.
Four Hands Round.
Two couples.—The gentlemen select a lady; the
ladies a gentleman; gentlemen form four hands round
at one end of the room; every one makes a tour to
the left, after which, the conductor and the lady he
has chosen pass under their arms the two other gen-
tlemen) to recover the two ladies, who do the same,
and form a round with them; they make a complete
tour to the left, after which, the two gentlemen ele-
vate their arms to make a passage for the two ladies;
with them they make another tour, while the two first
execute the same round with the two other gentle-
men, which forms two four-hands round; the gentle-
men raise their arms to let the ladies pass under; the
two first, while advancing, turn round and form a line,
which is soon joined by the two others; the ladies
should form a similar line on their side; when the
four gentlemen and the four ladies have met, they
form the same round as at the commencement—that
is to say, gentlemen with gentlemen, ladies with la-
dies; after a tour they extend themselves in two oppo-
site lines that advance towards each other, and each
gentleman resumes his lady; the whole terminates
with a general waltz.
No. 40.
Right and Left Varied.
Two couples.— Ladies select gentlemen; gentle-
men select ladies ; form as for quadrille ; head couples
COTILLION OR GERMAN. 179
right and left, across and back, with the couples on
their right; half ladies’ chain with same couples, thus
changing partners; all waltz entirely round the set;
head couples right and left with couples on their left ;
half ladies’ chain with same couples; all waltz round
again; head couples right and left with couples on
their right; half ladies’ chain with same; all waltz
round; head couples right and left with couples on
their left; half ladies’ chain, which brings all the la-
dies to partners; then a general waltz.
No. 4I.
Triple Pass.
Two couples.—Who, after their promenade, take
hands four round to the left; at a given signal the
conductor and his lady, letting go each other’s hands,
pass under the arms of the two others, and join hands
again as soon as the tour is finished; the other gen-
tleman and his lady, in their turn, pass behind under
the arms of the first couple, who once more repass
under the arms of the two others, and without let-
ting go each other’s hands, extend themselves to be
again in circle; they make a round to the left; then
general waltz.
No. 42.
The Basket, No. 2.
Two couples.—The gentleman chooses two ladies,
and places himself between them; the lady chooses
two gentlemen, placing herself between them; they
advance four bars, retire four bars, and advance again
four bars; the gentleman retaining the ladies’ hands,
180 DANCING.
raises his arms, and makes two gentlemen pass under
without letting go the hands of the lady who is be-
tween them, joining their disengaged hands behind
the gentlemen who is between the two ladies; the
two ladies joining hands behind the lady who is be-
tween the two gentlemen form the basket; in this
position all circle round, and at a given signal, with-
out letting go hands, the gentleman in the middle
passes out, the middle lady doing the same; the six
have then their arms entwined; at another signal
they disengage their arms, and form an ordinary cir-
cle; they then circle round, and at another signal
each gentleman takes the lady opposite to him.
FIGURES BEGINNING WITH THREE COUPLES.
No. 43.
The Pyramid.
Three couples.— Gentlemen select other gentle-
men; ladies other ladies; the six ladies form three
unequal ranks, beginning with one lady at the head,
then two ladies behind the one, then three behind
the two; the gentlemen join hands, forming a chain;
the first gentleman then leads the others round the
line of three, then the two, stopping in front of the
single lady; next two gentlemen in front of the two,
the next three gentlemen in front of three ladies;
when all waltz, each with the lady in front of him.
No. 44.
The Pursutt.
Three couples.—Every gentleman of the cotillion
COTILLION OR GERMAN. 18I
has the right to go behind each couple, and possess
himself of the lady, to dance with her; he should clap
his hands, to announce his intention of substituting
himself for her partner; this figure continues till each
gentleman has again got possession of his partner,
to conduct her to her place. To execute this figure
with all the animation required, it is necessary that
as fast as each gentleman possesses himself of a lady,
another should replace him by the side of his partner.
No. 45.
The Windmill.
Three couples.—Gentlemen select ladies; ladies se-
lect gentlemen; all the gentlemen place themselves
en moulinet, giving left hands to each other, and right
hands to the ladies, who, themselves, should hold
them by the left; the first, third, and fourth gentle-
men waltz in the intermediate space, while the other
couples walk slowly; at a given signal those waltz-
ing form the soulinet, while the others waltz be-
tween. After two or three changes of this kind, all
join in a general waltz.
No. 46.
Changing Windmill.
Three couples.—Choice of ladies and gentlemen ;
position of the mou/inet as in the preceding figure;
at a given signal each lady advances to a gentleman,
and they waltz without quitting their order in the
moulinet ; at another signal they stop, but always ex
moulinet, to recommence with the next ladies until
each gentleman has recovered his own partner; gen-
-eral waltz for conclusion.
182 DANCING.
No. 47.
The Contrary Rounds.
Three couples.—The gentlemen place their partners
in a line, and take each other by the hand to forma
chain; the conductor passes to the left, with the two
others, in front of the three ladies; the gentlemen,
when they come to the last, form a circle about her,
and turn to the left, after having made a tour; the
conductor relinquishes the hand of the gentleman
on the left, and passes to the middle lady, to form
about her a round @ Z’envers with the other gentle-
men; after a tour in this way, the conductor again
lets go the hand of the gentleman on the left, and
makes a tour in the natural way about the third lady;
he then draws after him the two gentlemen, who have
not ceased to keep up the chain, passes in front of
the ladies, as at the commencement of the figure, and
continues the promenade, passing behind the ladies;
when each gentleman finds himself in front of his
own partner, the general waltz follows.
No. 48.
The Inconstants.
Three couples.—They arrange themselves in pha-
lanx behind the conducting couple; the first gentle-
man turns round, giving his left arm, crossed at the
elbow, to the left arm of the gentleman behind him,
with whom he changes places and partners; he goes
on without interruption to the last lady; when he
reaches the last, the second gentleman, who is then
at the head of the phalanx, executes the same figure,
COTILLION OR GERMAN. 183
and so on for the rest, until every one has regained
his place; general waltz follows.
No. 49.
The Changing Triangle.
Three couples.—The gentlemen, without quitting
their partners, place themselves ex moulinet, giving
each other the left hands, and going round in this
position; at a given signal the first gentleman turns
about quickly, giving the left arm, crossed at the
elbow, to the gentleman behind him, with whom he
changes his place and partner; he does the same
with the next gentleman; when he has arrived at
the third, the second executes the same figure, and
then the third; a gencral waltz follows.
FIGURES BEGINNING WITH FOUR COUPLES.
No. 50.
The Two Lines.
Four couples.— Gentlemen select ladies; ladies
select gentlemen; two lines are formed, gentlemen
facing ladies; all forward and back; all turn with
right hand, but finish on opposite side, back to back;
the lines then forward and back, all turn round and
take partners.
No. 51.
The Double Chain.
Four couples.—Select other partners; one couple
faces another; the two gentlemen perform the “ La-
dies Chain”? movement: ladies the same, when all
waltz.
184 DANCING.
No. 52.
The Different Rounds.
Four couples.—Form as for the lancers; all hands
round to the left; then head couple join hands with
the couple on their right and circle round; then each
gentleman turns his partner with both hands; final-
ly, all join hands, forward and back, when all waltz.
No. 53.
The Graces.
Four couples.—Each lady selects two gentlemen,
who place themselves on either side, clasping hands
behind the lady, and each holding one of the lady’s
hands; the gentlemen of the four couples having ar-
ranged themselves each between two ladies in the
same manner, the dancers then form in threes, one
triplet behind another, being particular to have the
first three consist of a lady and two gentlemen, then
a gentleman and two ladies; so alternating; all
promenade round the room, when, upon signal, the
first and alternate threes turn round, each dancing
with the one opposite.
No. 54.
The Four Corners Turned.
Four couples.—Ladies place themselves in the four
corners of the room; gentlemen, selecting four others,
- execute eight hands round one of the ladies, who
selects one of the gentlemen to dance with; the seven
ceentlemen circle round a second lady, who also chooses
a partner; the szr circle round the third lady, and
COTILLION OR GERMAN, SASBs
upon her selection of a partner the remaining five
circle round the last lady, and when she has taken
a partner the four continue hands round until the
four couples are seated.
No. 55.
The Square of Mahone's.
Four couples.—Form as for the lancers; the two
head couples forward, and each gentleman turns with
both hands the opposite lady, finishing the turn in
the place of the gentleman’s left-hand-side couple;
the side couples at the same time separate from part-
ners, and each gentleman meets the opposite lady in
the place previously occupied by the head couple,
and turns that lady with both hands, stopping with
lady on his right ; thus the sides become head couples,
and the heads, side couples; the four couples must
be careful to move together, and finish each turn with
the lady on the right; repeat the figure four times,
when all regain their original places; all waltz.
No. 56.
The Rounds of Four.
Four couples.—After waltzing, the ladies form a cir-
cle at one end of the room, the gentlemen at the other,
having in the meantime called up another gentle-
man; at a signal each circle forms a line facing the
other; both lines advance, the ladies passing under
the arms of the gentlemen, going to the opposite end
of the room; circles are again formed, and advance
as before; then each gentleman takes the lady who
may be opposite him.
ee
186 - -DANCING.
No. 57.
The Round Arch.
Four couples.—Gentlemen select gentlemen; la-
dies select ladies; gentlemen form a circle, four fac-
ing out, four in; ladies join hands, forming a line;
gentlemen raise their hands as high as possible, when
the ladies pass under, and go round until signal, when.
the gentlemen lower their arms, each one securing a
partner,
No. 58.
Windmill, No. I.
Four couples——Form a windmill or star, the gen-
tlemen crossing left hands, giving right to partners;
after going round, each lady advances to the gentle-
man in front, and continues the round with that gen-
tleman; so on until partners are regained; all dance.
No. 59.
Windmill, No. 2.
_ Four couples.—Form windmill; ladies in the cen-
tre, right hands crossed, left to partners; after a
round, ladies disengage hands, going to the outside,
while the gentlemen go backward, and join left hands
in the centre; after a round in this form, signal is
given, when all dance.
No. 60.
Windmill, No. 3.
Four couples.—Gentlemen stand in the four cor-
ners of the room; the ladies form a windmill, giving
COTILLION OR GERMAN. 187
left hands in the centre; after two rounds each gives
the right hand to her partner and changes place,
when the gentlemen go round rapidly; upon signal
each gentleman endeavors to gain the lady of his
choice; all dance.
No. 61.
Windmill, No. 4.
Four couples.—Form windmill; ladies in the cen-
. tre, crossing right hands; gentlemen kneel; ladies
go round, passing their partners, each giving left hand
to the next gentleman, going round him; recrossing
right hands in the centre, they circle round, each giv-
ing left hand to next gentleman; repeat this until
partners are regained; all dance.
No. 62.
The Augmented Windmill.
Four couples.—Ketaining their partners’ hands, the
ladies cross right hands; all move round very slowly; ,
the gentlemen in turn call up another lady, these la- \
dies call up other gentlemen; then the four ladies in
the centre disengage hands, each arm of the star (four
persons) moving out, forming a large circle, going
round to the left once, after which each gentleman
dances with the lady on his right.
No. 63.
The Grand Round.
Four couples.— Gentlemen select gentlemen; la-
dies select ladies; a grand round is formed, the gen-
tlemen joining hands on one side of the circle, the
ladies on the other; the figure is begun by turn-
188 DANCING.
ing to the left; then the conductor, who holds his
lady by the right hand, advances, leading the other la-
dies and gentlemen, and cuts through the middle of
the round—that is to say, between the last lady and
last gentleman; he turns to the left with all the gen-
tlemen, while his partner turns to the right with all the
ladies, continuing down the sides of the room, thus
forming two lines facing; when the last two have
passed out the two lines advance, each gentleman |
dancing with opposite lady.
No. 64.
The Twin Ctrcles.
Four couples.— Each gentleman selects another
gentleman, and each lady a lady; the first gentleman
places himself in the ladies’ circle, while his partner
places herself in the gentlemen’s circle; the two cir-
cles turn rapidly to the left; at a given signal the
gentleman in the ladies’ circle chooses a lady to dance
with; at the same time his partner chooses one of
the gentlemen from the circle of gentlemen to dance
with; during this time the gentlemen arrange them-
selves in one line, and the ladies in another; the lines
advance, every one dancing with the person opposite.
No. 65.
The Country Dance.
Four couples.— Form as for lancers; the first
couple waltz round the one on the right, then round
the next one to the right; so on in the same direc-
tion, until they reach their place again; the three
other couples repeat the same figure; when all four
have finished they join in a general waltz.
COTILLION OR GERMAN. Bite e's
No. 66.
The Bower, No. \.
Four couples.—Form circle in the middle of the
room; when the circle is formed, the ladies and gen-
tlemen turn round, and find themselves back to back
without letting go each other’s hands; four other
couples then start and make a circle about the first,
but without turning round; in that position, and
when they face each other, the gentlemen join hands
above, the ladies underneath; the former then raise
their arms high enough to form a circular passage,
that the ladies rapidly run through to the left with-
out quitting each other’s hands; at a given signal
the gentlemen lower their arms to stop the ladies,
who dance with the gentlemen before whom they
find themselves.
No. 67.
The Unédalations.
Four couples.—Form a circle with first couple in
the centre; the couple in the centre waltz at pleasure,
endeavoring to deceive the other couples, who follow
all their movements without letting go hands; at sig-
nal the next couple enter the circle, the first taking
their place as members of the circle; the other coup-
Jes successively execute the same figure; then a gen-
eral waltz.
No. 68.
The Right and Left.
Four couples place themselves in two lines, two
couples in each line, facing; in this position, each
190 DANCING.
couple half right and left with the one opposite, then
with the one which was originally on its right; they
repeat the half right and left with the others, when
all find themselves again in their original places; all
dance.
No. 69.
The Double Pastourelle.
Four couples.—Form as for quadrille; the two gen-
tlemen at the head retaining their partners’ hands,
take with their left hands the side ladies on their left,
who leave their partners, thus forming two threes at
the head; they forward and back four bars; the gen-
tlemen pass the ladies to the side gentlemen, the
lady on the left passing under their right arms; the
threes forward and back four bars, the ladies going
to the gentlemen at the head. This figure is re-
peated four times, when all dance.
No. 70.
The Uninterrupted Chain.
Four couples.— Select other partners; form two
lines facing; the first gentleman on the left gives his
right hand to the right hand of his lady, and makes
a complete tour with her; afterwards gives his left
hand to the left hand of the next lady; the conduc-
tor and his partner give each other the right hand in
the middle of the double figure, and separate to find
the next lady and gentleman; and so on for the rest,
up to the last couple; they then make a complete
tour, so that the lady finds herself on the side of the
gentlemen, and her partner on that of the ladies;
when the conductor and his lady have reached the
COTILLION OR GERMAN. IgI
fourth couple, the second gentleman should also set
out, so that there should be an uninterrupted right
and left between the gentlemen and ladies; on the
departure of the first couple, the second should take
their place, and so on for the rest; when all have
executed the figure, each gentleman offers his hand
to his partner fora promenade. This figure may be
executed by as many couples as please, similar to
the Virginia Reel.
No. 71.
The Ladies Back to Back.
Four couples.—Form a general round; the ladies
place themselves back to back in the centre, close to
each other; the gentlemen outside; at signal, and
during four bars, the round is enlarged, the gentle-
men retiring, ladies advancing; four more bars the
round is narrowed, ladies retiring, gentlemen advanc-
ing; the round is developed for the last time, when
the grand chain follows; after regaining partners all
dance.
No. 72.
The Chains in Line.
Four couples.—Gentlemen select gentlemen, and
ladies select ladies; gentlemen place themselves in
couples, one behind the other, facing the ladies, who
arrange themselves in the same way; at signal the
two first gentlemen begin with the right hand a grand
‘chain with the two first ladies, and so on for the rest;
The two last gentlemen find themselves with the
two first ladies. Conclude with the waltz.
4
—
192 DANCING.
No. 73.
Double Quadrille.
Four couples:—Gentlemen select ladies; ladies se-
lect gentlemen; form as for quadrille, but double, in
this manner: ya
30 X*
I
ii ta See iia SK
igre CSS
aT ‘ar fi i
The proper way.
Vey
ees
J
‘
-
¥ F
:
r
r
.
7
¥
j
a
*>
ae ee ee
amy vi _