oe ] ee ris id pa ast te i mp riek gh ip weet we ah ot peo peter eee oes si a = ee : : . ay : e. ~ = S — +3 - + * eer Se aerate eeu reer ss : : = 7 ee pais : ae “e : : fiom ae oS Bee . gt, aes “ -: xy ze wk ee, — ere ea at Sep see ree Serena Sacre | | Daturn thie haal- an ar hefare the CENTRAL CIRCULATION AND BOOKSTACKS The person borrowing this material is re- sponsible for its renewal or return before the Latest Date stamped below. You may be charged a minimum fee of $75.00 for each non-returned or lost item. Theft, mutilation, or defacement of library materials can be causes for student disciplinary action. All materials owned by the University of Illinois Library are the property of the State of Illinois and are protected by Article 16B of Illinois Criminal Law and Procedure. TO RENEW, CALL (217) 333-8400. University of Illinois Library at Urbana-Champaign rEB 04 2001 When renewing by phone, write new due date below previous due date. L162 ae | pe Pb EIN > VR ro ‘ wn p aol lable. SOG DANCE BOOK BY HELEN FROST, B.S. INSTRUCTOR IN PHYSICAL EDUCATION, TEACHERS COLLEGE COLUMBIA UNIVERSITY With Introduction By JESSE FEIRING WILLIAMS, M.D. ASSOCIATE PROFESSOR OF PHYSICAL EDUCATION, TEACHERS COLLEGE COLUMBIA UNIVERSITY New York A. §. BARNES AND COMPANY | 1921 Copyright, 1921, by A. S. BARNES AND COMPANY The music arranged by Ruth Garland, and the clog dances within this volume are copyright material and are not to be taken for the purpose of publication without permission of the publisher. INTRODUCTION In the search for a cure of one of the worst scourges of the human race, scientific medicine has come back for its therapeutic procedure, to the program which has been unknown to the patient, or perhaps forgotten. Before this discovery of the true needs of the tubercular patient, various ‘‘scientific” treatments were proposed, varying all the way from a primitive type of organo-therapy which used the lungs of a fox, to the serum pre- pared from turtles. In a similar fashion, the educational and scientific world has been engaged in the problem of preservation and improvement of biologic fitness and vigor in man. At one time, after a false dissection of the body, various systems were proposed that were directed at different times at different goals. All sought, ultimately, to achieve a type of man and quality of development that would be strong, disciplined and healthy. In recent years, we in Physical Education have been coming back to fundamentals. Instead of evolving a system of gymnastics based on every possible movement in the body, or upon an ideal of anthropometic uniformity, or upon a militaristic ideal in which servility and docility of mind were the prominent goals, we have become interested in proposing and seeking those immemorial racial forms of activity that were not only the means of physical education for primitive man but indeed were important physical forces determining the physique and development of man himself. It is significant indeed, that we are seeking in these days for nature’s way, for the use and development of activities that are primary, fundamental and racial. In the working out and classification of activities that could be called natural, the author has made a real contribution to the science of physical education, and in this book on clogging she has made available for teachers a type of work which has many admirable natural features. This seems to me to be of paramount significance—that material is being presented which logically can be taken into the program of activities in physical education. It is important to point out that none of the values so commonly held for gymnastic systems (and so rarely attained), are lost in this natural type of work. Thus, for example, in clogging, the hygienic values are adequately preserved because, in this, not only is there real physiologic work to be done, but moreover there is joy in the doing of it. There is no suggestion that dancing in any of its forms represents a complete plan for the physical educa- tion of boys and girls or men and women, but there is every indication that clogging as presented by the author is an acceptable part of that ideal program of physical education that will afford to all an opportunity to act in situations that are physically wholesome, mentally stimulating and satisfying, and socially sound. JESSE FEIRING WILLIAMS. COLUMBIA UNIVERSITY, Teachers College, March 4, 1921. 1144246 © RONG = 8 SOT AOA WER : ms ud, 1 7 * vhf yy ? wi , z Vee , rot Ba eivy 1 J : . .Y t | ; t 4 ' ee pot f fi ; x 4 - . { Pa 4 i ‘ ' i n q » y Pe ‘ FOREWORD Although the form of the clog dances described herein is original and the analysis modern, the activity is primitive and their spirit universal. All peasant peoples clogged, the clog step is a forerunner of the folk dance, the rhythmic tap of the foot in response to the beat of music. It is erroneous for us to associate clogging with the American negro alone or to credit him with the origin of it, although he has unconsciously done much to preserve and develop this primitive form of the dance because he has indulged in it almost to the exclusion of other dancing. The Irish have contributed delightful variations of the clog step, many of which one finds developed in their folk dances, jigs and hornpipes. And further, in studying the history of dancing, we find in reading “The Dance” by Troy and Margaret West Kinney ,—‘ All the Latin countries, no less than Scotland and Ireland, have their Jig. In Italy, as elsewhere, it is a composition of rapid clog and shuffle steps.” In presenting the following clogs an endeavor should be made to introduce pantomime appropriate to the character and spirit of the dance. A few suggestions for interpretation are given within the descriptions. Disregard of this element reduces the dance to a mere practice of steps, which, in turn, robs clogging of half the value and joy attending it. Clog steps are definite to the point of being gymnastic, and demand a certain amount of accuracy; com- bined as they are with large body movements their practice entails strength, control and balance. Because such qualities are found in the clog dance boys are interested in its practice. There is an age, roughly outlined as ten to fourteen, when folk dancing does not appeal to the boy; he thinks of it as ‘‘pretty” or as ‘ ‘girl’s dancing” and often he is allowed to omit rhythmic work altogether. There are strong, vigorous folk dances in which he would find pleasure and benefit. In addition, clog and gymnastic dances give him an opportunity for joyous expression with a sense of rhythm and a grace of carriage acquired as by-products. There Was An Old Man and Captain Jinks are good dances for the young boy. His interest will be held more definitely at this period if the girls with whom he is studying in school are not doing the same type of work. Many of the dances described in this volume are useful in festival work and have been given in various programs at Teachers College, Columbia University. To Mary Wood Hinman I am indebted for my first interest in clogging. Her splendid presentation, her spirit in and love for the dance make her teaching an inspiration. Grateful acknowledgment is due to Marjorie Hillas for criticism that has been helpful and constructive; to Isadore Sampson for suggestions that made Irish Jig and Rastus possible; to the students of Teachers College and Horace Mann School who posed for the illustrations; and to the Association Press for permission to reprint School Day Antics and Dance of the Hottentots from ‘Gymnastic Dancing” by William Davison. Miss Ruth Garland has codperated generously in the arrangement of music. HELEN FRost. 4 contents >‘ PAGE Ce A. ee 2. ee ee Ne A eT SR Rg gu pee mew ce AN Cie brs MEAs 222 ee Tet) ee ee in ee oe ee 2 3. CAPTAIN JINKS . : - | ATR ett f ; Gee Aa aes am aoe fA ; : : eee Ee Sa ae Corel ee | 4. YANKEE DOODLE : d = ‘ s : : ; : ; ; 4 : : : : ee hate etc Ae | AND Cg ee ne ot eee ar ee en GS Woomera, et TS CEST) isk en hee | SER iw oan PR ee fe we 20 a CORUNA Pome ae UN, eee or 2 AROS Mey ss el ts RE eo ae 22 8. ON THE RAILROAD : s : : : ; : 2 : : : : ; : sg desk re. NEC Eek geen toe Pee weer wee ys Mee Fas he eT 26 PLE ISmVV ALTE CLOG Me eo Deere eh ee Gia ac Ses Ua) bee PLR det ed ee an 28 ee EE ORCIAN. VIALE MOUAR TET Rammer ana War ath. fe AON a Um ne Pe Nag hee Maen a igi eee rk tc el ee ec a eS! Sel wba aes oem PR sg Seon) A RANT [CCR Mm ier OME SM OM Noe Woe icy iam Vig ie me Ve ta ke RE 86 iG um Rue lire LOTTE NTO romana aise ee yh ee Re ee a hae go 8 « THE CLOG DANCES ARRANGED IN ORDER OF DIFFICULTY THERE WAS AN OLD MAN .. ; ; : : ' : 3 , : : : : . 2 ; at ee ie ON K Me Sane eT sf eS ign Ml ee eh eh ote iy Tg YANKEE DOODLE s é : ; : : ; A : , : : ‘ : : : : ; STAG: pict An A 0 ee ee I ET 8 cr oe al Wests FS aL Oe Sy ee 0) Ser8 ad Ey ora ee ec ee, is ee PU MN 1 Ol mee oe he Tg Peto ae pre cE ME cee et a Weck ee ee eh gy Mee cs, Poe ee eh Sw a 0b 2O REUBEN TAPS. : : ‘ : : sees s : Sade. bs 5 tars ee : : = LEP One Ere Ne POAT ee ee ee Ss eo eG let sexes le) wig ee ve) ee) a ee: One DECK. .: ee ee ea Oe GTM Ste cok oc Rey oe! Sf etiea «Sadie» Gre 8 e268 (Maron \eiewt aamaves ee fe a a DY eR eS RAS eT eg ey. THE GEORGIAN MALE QUARTETTE Ce ee Me Giese het. cay R fem Mise Ve’ sg) cr Cee ot ASC er er Oe meet ON MERE NLP. hos) se, ww Mee ama kl eh aj et ha OS FUNDAMENTAL STEPS r=a step or change of weight. The step is usually made with the ball of the foot. If the entire foot takes the weight, the ball of the foot should strike. the floor first. The 1 is taken in place; avoid movement sideward. 2=a brush forward with the ball of the foot and a strike back. The 2 is frequently called a “‘rattle.” Make two distinct and even sounds. Repeat, in practice, using the same foot. Keep the leg relaxed. In the second movement—the brush or strike back—the ankle is extended to make the sound short and sharp. At the end of the second movement the foot is just off the floor, the knee is only slightly flexed. Avoid raising the heel backward. 3=2-1. The 1, change of weight, is held for a full count. 2/4 music is good for practice of plain 3’s; practiced in succession the 3’s alternate. The “rattle” or 2 falls on the.second and fourth counts of the measure, the 1 on the first and third counts. The notes preceding the 1st measure are for the first “rattle.” See ’Liza Jane, page 19, first measure. Practice for controlled, rhythmic 3’s with a pause between; count four and hold the 1 for the fourth count. Keep the feet close together that the change of weight may be done easily and quickly. The leg is relaxed from the hip, the body is in a good position of balance over the standing foot, the arms hang relaxed. Hop 3. After the plain 3 has been perfected, the hop 3 may be practiced. A hop left precedes a 3 with the right foot, a hop right precedes a 3 with the left foot. Heel-rattle 3=a 3 in which the heel strikes the floor between the brush forward and the strike back. It cannot be done unless the leg and foot are well relaxed and the leg is rotated inward as the brush forward is made. 5=1-3-1. The waltz clogs are based upon the 5. The change of weight, 1, is taken on the first count of the measure, the 3 on “and 2 and,” the final 1 on the third count. The 5 sequence is step, brush, strike, step, step. (1-3-1). Count out the waltz measure “one and two and three” making a movement with each word. There is no hop before the 3 ina five. A 5 may also be danced in 2/4 or 4/4. time. : 6=3-3. There is no pause on the fourth count in a 6. 7=3-3-1. The seven is a six plus one. There is no pause between the two 3’s but the 1 is held for the eighth count. The-difficulty lies in getting the brush forward of the second three on the fourth count. In practice count eight, be careful of the brush on the fourth count and the pause on the eighth. Use 2/4 time; the 7 takes a measure, the first rattle falls on the last count of the preceding measure. See Dixie, page 9, for the time division of 3’s and 7’s. Hop 7. The hop 7 should not be practiced until the time division of the plain 7 is satisfactory. A hop precedes the first 3 only; the second 3 may be done slightly in front, the toe is turned out. Toe tap. A tap with the ball of the foot, after which the foot is lifted from the floor about three inches, the ankle flexed. Wherever a toe tap with weight is given, the foot is not lifted and the ball of the foot receives the body weight. Inverted toe tap. A toe tap with the heel turned outward. Fall. A step or 1 with bent knee, body relaxed. Slap or flop. The leg is raised, and swung downward forcibly, ankle and knee extended making an empha- sized step. Keep the leg relaxed as it is raised and in the downward swing let the contact with the floor seem to straighten the ankle and knee. Chug. A chug isa movement of the standing foot (the foot having the weight) keeping it in contact with the floor. It can be but a slight movement and is usually made on the ball of the foot, the heel falling after the movement has been made. All other steps are analyzed within the dance descriptions. In the dances all 3’s and 7’s are hop 3’s and hop 7’s unless the description designates a plain 3, a heel-rattle 3 or a plain 7. DIXIE i? “Dries (a) 3 left-3-7; 4 step hops forward,—right, left, right, left. 3 right —3-7; 4 step hops forward,—left, right, left, right............eessseecceceeees 8 meas. For the step hop,—turn the toe in on the step, swing the opposite heel out to the side, knee fully flexed, as the hop is taken. ‘The step is short, the body is twisted that the sole of the opposite foot may be seen on each hop; the arms swing relaxed. (b) 4 plain step hops backward,—left, right, left, right, bending forward, lifting the knees high and swinging the arms. Hop right—count “‘and,” slide forward on the left heel—count “1,” draw right foot to PEM Mme WUISNUTIon U)=COUNL «Sager lel tigers ol, Weta hyet tee lat, GER ys Se vs oy 4 meas. Repeat the 4 step hops backward (begin right) and the slide (on right heel), step left; 7 right 4 meas. TI. “Carry ME Back.” (a) 3 left -3-7; 3-3-7; hop right and step left sideward (inverted toe) draw right foot to the left (weight right); repeat hop right, step left and draw right; 3 left —3-7 turning left LOU Sere ean te ME SIA ERE NM MEA GAM NOEs habs cob pgs y fiber tecealat o's tn ketone ds 8 meas. Freee tt Meo iiniat male tame sed Ad rare fei 's wt lysed ad cae ooo, wine O Smieela eyainin's yee Ge 8 meas, (b) 3 left -3; hop right, step left sideward, draw right; hop right, step left sideward, draw EE SACS le MtS EN a oO i La RO Rel a eI 8 or re Sen a a aS 4 meas. 3 right —3; hop left, step right sideward, draw left; hop left, step right sideward, draw Fehr ome att Lear emet ee ter meee ie ol a 5, | ateoun- te peel bce ea og Glee carmanie a. dhe own eeualeler wit 4 meas. femewer ied Un aeatirct: POTASe—( d\n wa vat acl. Geena Pea ch, Selatan an nk ga 2 meas Repéat'all, begintiing-rightz.2 ooh) ee hee eae eee ee Oe 4 meas. Chorus. 4 two-steps forward, eo 88 | pack waren ees. ls celia ores, ¢ =e Sp ani eae tee ice a rr 8 meas. III. Plain 3 left, hop left, step right (3—hop-1) (73 6c (<3 cc 6c (a9 ‘cc (a3 6c cc Perey te MI Otay Ae RM ea Oo Go 2 meas Gallop aS In Doo. secs he Agel Nic» Mobtegeet als iia ee Syst ee fee ee 2 meas. Repeat‘all; beginning 3 rights, & 2246 icy; ee utcerees oct ee ete ch oe 4 meas Chorus. 4 polka-steps forward, al backward... 1. «;c)xcs sa Macatee © olen Galperin Be ANON) erie cae ee 8 meas. IV. Brush left forward, 2 taps left (close to the right foot, weight left on the second tap). Plain 6 (plain 3 right.and left with no pause between) -\.2-.45- sae cee eee ee 2 meas. Répéat all, three times beginning right; left-right: (occa eee eee 6 meas. Chorus. 4 polka-steps turning left, 2 aa , ae IS tdi) Serene ee TT rane r ie Nee tle ) aks in Wolo Oo. 8 meas. Exit.) Gallopiotitenn sae pies + Wael nia Ssacleve 'e,te whys Pectee ee te aed mee ce en oh eee Tasaesatist | Datase NotE.—Make a contrast between the step and the chorus; prance through the step, lifting the knees high, dance the chorus lightly and with the grace Captain Jinks attributes to the Jadies. Sing the verseeand chorus through once. In learning Captain Jinks boys will be doing fundamental dancing steps in each chorus,— steps which they should know yet which often times they dislike to practice as such. Other chorus steps can be substituted, for example, the two-step and polka danced in couples. Ready to brush backward, “pawing.” Brush forward left (foot is raised). Step II. Step IV 15 CAPTAIN JINKS Arranged by Ruth Garland Step Tap Tap Gallop -@- I'm Cap -tain Jinks of the Horse Ma-rines, I feed my horse on corn and beans, their’teens for that’s the style in the re I teach the la - dies how to dance, I teach the la - dies how to dance for that’s the style in the ar - my. Il Ga op off a NOTE:—The words above the music outline the rhythm of the first step. 16 YANKEE DOODLE Couple dance, partners side by side, the girl on the right. I. 3 left; two taps right (weight right on the second tap); 7 left. Repeat three:timesy beginning right, lett, mehtters, .... ameter ac cet eat ene eee ere 8 meas. TI. 3 left.—3—7 "3-3-7; 13-37 Rbreak te dete eles cog coe an eo ee 8 meas. Break= Step obliquely forward right, step left heel across taking the weight, step right toe in back, step left toe in back taking the weight, step right, 5 left. Slap hands to thighs in the first five steps of the break. Count the break: step right—‘‘and”’ ' Meas. 15. left heel front—‘‘1” step right back—“‘and” left toe back—‘ 2” step right—“‘and”’ Meas. 16. 5 left. ‘(1 leit, 3 right, 1 left) III. (a) Face right; the girl,—hands on hips; the boy,—hands on partner’s shoulders. Plain 3 right, two steps (left, right) lifting knees high; 3 left, two steps (right, left); 7 right. (b) After the seven the boy places hands under the girl’s elbows; he lifts her, turns left about and places:her.in front’ of thimisy cys Bpisnc 2.0 eae Hele oleae Melee Cl aie ie ae ee 4 meas. Repeat (a) facing left, starting the first three left. Omit (6) andthe boy “leap frogs: over-lus partner..02 «a0. «1 «ie Saeed ee ee 4 meas. IV. Repeat II. Finish of the seven, ready to turn. Boy pulling the girl. Step III (0). Step VI. YANKEE DOODLE | 17 Vien back withriehtand step backright;-q left. o/rigntre. . ctu. bose sets cneaaee sca 2 meas. eepuenerTenstinies, Deciniingierc. Tint lett. 1) kr Grae. dee meen SL oS oP cas 6 meas. VI. Inside hands are joined. 3 right —3-3, hop twice on right foot, left leg raised sideward bending Ppoavesitewarcs reht, the girl pulling) (hero you... adhe o)triy /aieia uw eaeeies aii cate ba he oh 2 meas, PERMIAN TELL ADOV" DULUIS yether Smell oe MEO ERE css cia eet eee CE REC tae le 6 2 meas. Ree MeTICUC SIC Ulin meets sts eee mee es is ys ROME gayi ale ig a EN a GU a ucle ts fs 2 meas. 3 left as boy turns left and places girl’s left hand on his left shoulder. She places her right hand on his right shoulder and they prance off the floor beginning right foot, taking six SECUSPLAG MELINA UH CLK TICES) HIG Lice eager aney ene APC) dere el Bear Cog mN.O ee Reemn IE eres tay b 4% 2 meas. Note.—Move sideward in the 3’s of the last step; the second 3 may be taken in front, feet crossed. Arranged by Ruth Garland 18 IZA JANE Ea left —3=35 tat. a os alba sah ks oe Oe Bee ete te LIne aan eee on ne re oe 2 meas. The third three is made in front, feet crossed. 1-1=two changes of weight. The weight is changed to the right foot as the left is cut forward, weight is changed again to left foot as right is cut backward. Repeat three times) beginning right; deft; miehteia... vets. cee ee ee 6 meas. Nortre.—For beginners the step may be taught with no crossing of feet, and no cuts on 1-1, simply two changes of weight. II. Brush left foot diagonally forward right, toe in; brush left foot backward, flex the knee, heel out; step back left. 3 right; step left (3-1). uk. esc nes 2 sy eee le Socks 0s cl ee Aon eres ee 2 meas. Repeat; brush tight)... 25. 0h ps Che: te Water ekaprendtens eae es tne i ee 2 meas. Repeat'all oi. sos 4s C5 h ewes pole alse he am cei ete ys bets I Ge he 4 meas. III. Slap left, step left in back, step right sideward, step left in front; eriguty 3 16lts 3 accu Sem eee ee ea ee Od Pein ai nT ae, i en A ERE 2 meas. Repeat, slap right, ce eee Werte tdgss 2 bats Oy gia MACE oe ech Oe ee pee ee 2 meas. Repeat all. ..35.5 Gece ete © « dic skls One ae watt oe ne ce ee 4 meas. IV. Repeat IT. V. “Single pigeon toe.” 3 left; turn left heel out (pivot on toe), turn left toe out (pivot on heel)— continue through 2 measures dragging right foot. yn, a.) ie eee 2 meas. B Tight =3F3 Fin cele es Alo was a ge eee MER Re, save 6s i Gee eared re ne ne 2 meas. Repeat 3 right and single pigeon toe right; : 3 left aH 3-3 ies dio Be te Pcs bias Geen Be = SUES oa © Sse aes ot agree 2 ae 4 meas. VI. Hop right and place left heel forward, touch left toe to the side (heel out), step left in back; right viel th ecm eee te eee oe SIP iy ey veel eee ee ea b Sega Tear gunn 2 meas. Repeat, hop left and place right:heel (7) 0022 se ok. Ose Seve 2 meas. Repeat all ccein bap wee eee owes, ec ph wane Cedon liste ai ntole a9" okanagan 4 meas. Note.—A roly-poly pickaninny best describes ’Liza Jane. She is impish, mischievous and finds happiness in dancing some of the simple steps she has seen Rastus do. 3 Finish of the second brush. Turn left heel out, “single pigeon toe.” Step II. Step V. LIZA VANE 19 VII. (a) Fall forward on left foot (lunge position), change weight to the right foot (backward lunge position), heels together and knees deep bend, forward roll..............0.0. 000000 2 meas CUI, OAS REE Ri 3 5 ee a Us 8 6 a oe a i 2 meas (5) Fall sideward left, change weight to right, cartwheel left.............0.ccccccuccuseuee 2 meas 2 meas. 2 Wee ty sie: er My Se Ses Oe Awe) bail eh Sete ais walne larry: se!) o, te) coi ows aaaleaie ust se” es fel es le Biotuia’s atte NUCL Are) 6) Te). 0: 0, 6 THES TRA PINRUUST Uist wine: idee airignty 3-3-2 Notr.—(a) may be repeated in place of (b) or a cartwheel right substituted by beginning (b) with “ Fall sideward right.” VIII. Repeat VI, beginning right heel forward. Omit the 3’s, two high skips backward instead. Arranged by Ruth Garland I, Il, V. Rattle Step Rattle Step Rattle Step Cut Cut Rattle Il, IV, VI, * VII. Brush Brush Step & Step Ey Jee bu 2 erg 8 —8—8 —s- Fall Back Knees Bend Roll NorTe:—The words above the music outline steps I, II, [Vand VII. ‘ IRISH JIG Couple dance, partners side by side, the girl on the right. I. Step left, rattle right; step right, rattle left; step left, rattle right, Hop left,-rattle nightie... 37) I meas. Sree rteecOuD Ie ta ttlecgna dall rip htieee am qel ts dt Me PM, 2 an cde ci eee are ose I meas. Break-—otepeicnt, Tattlesient step rightarattle: lel t14 digsee Fon. Sa data eee 8 uals s 2 meas. VI. Step rattle, 8 backward and 4 forward. Step back left, rattle right; step back right, rattle left. Ke Ded ts (ULCER ecn mee pe mnt erm E te ie wa, MONE cs co Ie TemRL Se, Cie y alciacs iglesia alte: tre ot ale 4 meas. Step forward left, rattle right; step forward right, rattle left. Repeat ands wathoheelstopet ter on COUniapr 20. vite... coup Me cd uaa e le t's w clos er eras 2 meas. Finish—four digs (right, left, right, left). Hop left, brush right forward, hop left and place right foot forward................ 2 meas. Bend backward on the last count, fling the arms sideward; raise the right knee before the final placing. Note.—The step rattle=1-2. The step or 1 is made with the ball of the foot, the heel raised high. sree Cee eg techn) ce ee 2 meas. Plain 3 left, hop left and step right backward, step left foot to the right, 3 right, 1 left.......... 2 meas. 2 right, chug left; plain 3 right, ‘ 2 left, chug-right; plain=3 leitise. Gh datos eee to een en. Rm eter nee 2 meas. Plain 3 right, hop right and step left backward, step right foot to the left, 3 left, rright.......... 2 meas. Repeat alle. crisis s cue hie ett cicie ok tee Serene Rae er ge oo see SCE ae tee ee 8 meas. VI. 4 Railroad Shuffles to the right, finish with the weight on the left foot......................... 2 meas. Face right, 3 step hops forward,—tright, left, right; face forward and step left. The knees are raised high in a circling motion and the arms are alternately thrust forward in imitation of the enginé wheels and (piston. 0). iste ite cteks WmeiMl spage oaeay ee ee nee oe eaten eee eet eee 2 meas. 4 Railroad Shuffles to the left, finish with the weight on the right foot..................00000- 2 meas. Face left, 3 step hops forward,—left, right, left; face forward and step right................... 2 meas. THE RAILROAD SHUFFLE. Preparation or Pull, count, “and.” Push, count “1.” Shift and Swing, count “2.” ON THE RAILROAD 25 VII. Repeat first four measures of II. Railroad Shuffles to the left through the phrase............. 4 meas. Note.—The only hop 3’s are those of the first step. In II and III each flop may be preceded by a brush forward. A “chug” is a movement of the standing foot (the foot having the weight) keeping it in contact with the floor. Throughout this dance the “chug” is a slight forward movement, accompanied by a bending of the knee and relaxation of the entire leg. The fall of the heel gives the sound of a chug. The Railroad Shuffle. (Right—advance is made right.) Stand with weight on right foot, left toe raised and swung outward, heel on the floor. For practice start with the feet about 10 inches apart. “Pull.” Change to left toe down, heel up, and draw back toward right heel,—count “and.” “Push.” Slide the left foot parallel to the right foot, weight left, bend the knees, count “1.” “Shift and Swing.”’ Slide the right foot slightly forward and to the right, weight right, knees straight and at the same time swing the left toe out, keeping the heel down ready for the pull, count “2.” The “push” has the accent and gives the sound and movement of the piston, the “shift” suggests the steam. The movements once understood and made rhythmic can be done very rapidly. Arranged by Ruth Garland Gi — Rattle Chug Rattle Chug Brush Flop 2 1 attle Chug Rattle Chug Rattle Step Step Step vow I've been working onthe rail - road Aik the live Jong ~ day: | igi era nia Ea =? — #99 ——— ee gee : i #--__—@ ae ay oe Bae [ vad | die [ge Cres a sores ee ao ee eS ee

AB Pics) oie «ob er eet os we 4 meas. Tee at eee aeRO ML cr EN oak 2, n\n eel. lar 8 meas. 2 left, count 5-6, step left in back of right and hop, count ‘“1-2-3,”— step backward right, SW OTRHEUO EY yoke WI LO RICR ps oti GUE SREREMSNE kl Sa ea 60 a i I meas. Pat EE alae ee TOMS 5 9S LIS Ass Sigel si es Hey APRA PR ad ad on ulh pod MeeM a en ies « I meas 2 left, step left in back of right and hop, step forward right; fall on left, knee bent............. 2 meas. Repeat all twice, beginning right and left; finish facing left... ... fh EE ROR ES 2608 oy (oe 8 meas. Finish.—3 right, hop right and step left forward, hop left and step right forward, 3 left......... 2 meas. Slip with right foot forward, left back, pull together and slip with left forward, right DACKWerepedts(fOUDESU atic eae ieee. tenis ode eae Ss A) eee et 2 meas. The finish is obliquely forward left, advance is made and it may be used as an exit. © Arranged by Ruth Garland | IRISH WALTZ CLOG Arranged by Ruth Garland IRISH WALTZ CLOG 29 _ as 4 i at % : —— 2 2 —— = ell Couple dance, partners side by side, the girl on the right. if, II. Inside hands are joined. Step left, swing right leg forward; 5 right. USS CTSN RA Beh cod 6 a+ iC SM, hb Woe HRI eIEe OS RS RSICING Too poner Sinica 2 aires Eos mea Reo a a pr 4 meas Waltz turn left with 5 left, 5 right. Step left, swing right leg forward; step right sideward and draw left (weight left)............ 4 meas. Reetea allem eter eet TO MANG < Kctty eet e cine pet le W gis nee tien cabo, HLGRY oe the « «eos aye 8 meas. Sicpilelemurucmancsewine ren tdlesisidewarday cardi an ho ieee yaa erie cd nicl eee aegcie Ss I meas. Step Dah eeack Oller tra Lert wing a MVC)A amie scqaits doujin tietihe «6 wens (stop dGfe Q's no o's I meas. ISCDCA Lge em PAM ene Lek nM ae Gta ote Mie as lah icra Mule wis eCP ara Shy Ad oat fe a RA og he. ole 2 meas IEC ACUTIN LeLON RtLek CEC KIGH Top Wee age Ae Oh Res te ete hoe ee guh cuenta ee nein bse cite ees ean ee ne 4 meas. Repeat all. oA ec gisan + ee pleas wenlage 018 Soinls \cntn/ataslceteee tale a) Stee Roe tie eee ere ee 8 meas Girl—opposite. The step brings the partners toward each other and then takes them apart. VI. Face partner. Man,—step right, swing left leg forward; step left and draw right (weight right); step left, swing right leg forward; step right and draw left (weight left)........... 4 meas. 5 right -5—s—5. Step back on the first step of each —5, moving away from partner......... 4 meas. Girl—opposite. Repeat the first four measures. Finish turning partner as in II with 5 right —s-s—5........ 8 meas. Turning partner with four 5’s. Finish of the second brush. Step ITI. Step V. THE GEORGIAN MALE QUARTETTE 31 Four in a flank line, hands on shoulders of the one in front. I. 3 left -3-7 advancing forward; hop left, step right back and draw left to the right weight left, Eee LOL Wald u 7) ert bmermrm yy EL we ee. i Nee CIS nie asters :.. . cubs Sombie Bene 4 meas. PO Cem DOC INI PALIT weer mene a ane wee Le drs satay 4 ASTON ogld coe) RMI « «1.0 adh EBLQ Beads SF oa « 4 meas. Face left, the four are side by side, arms crossed, hands on each others’ shoulders. (Eb PL EL A eat hoe edene = Bal td 2 cs aR eo SR ote Og Se es 8 meas. Break.—The one on the left, number one, hop right, step back left and draw right to the left; 3 left (with the heel rattle), tap right toe twice keeping the right heel down. Repeat the heel- rattle three and two taps twice. Number two follows number one and takes the hop and step draw backward as number one makes the first heel-rattle 3. Number two does the heel-rattle 3 twice. Number three follows number two and takes the hop and step draw backward as number two makes his first heel-rattle 3. Number three does one heel-rattle 3 as number four hops right and takes a step draw backward............ceecueeeees 4 meas, II. Arms crossed, hands on shoulders. (a) Double rattle left, step left, slow hop left, step back right and draw left, step right. me iclt 4-7 a vanCnu MOE ward etme atk ares BY vA ean Gy aie eared 4 emer aia ties 4 meas. PLEDEA LTA enbepiniuine OU plemtartle, MOL pete ere. Sala steatosis Satin ols ote a wale ae ae .. 4 meas. Dime a miepcatitl (a) wenn eee er ore nats haces ks etn ta os 6p ooee cay ee ens eat naples abe a 2 meas. (b) Feet together and parallel. Pivot on heels and turn toes outward left, pivot on toes and turn heels outward left. Repeat three times, advancing to the left................. 2 meas. Repeated Paver imline rou cera cles Tig ita, ae oti Aue sy ities wae ease Aun A ae So elete «a we 4 meas. IV. “Railroad Shuffle.” 3 left -3-3; knees bend, hold 2 counts, swing left toe out in preparation and four railroad SUL Com ULL DCEO L Ummrmn eerie iii ty Cohen ie Beat a aa ode AM tade es Sal se; one) 4a, aha BN ion acer sea 4 meas. 3 right —3-3; knees bend, hold 2 counts, swing right toe out in preparation and four railroad shuffles to the left..... eRe ee OP NG Mla SAUL cee Tee as du Ciaepde COR, 4 meas. te mr TEROAC MSU Cori Oca wee pian sme Paes eis Os Asie cays atin oleate raleaa head Aug eratme aye 4 meas. ERNE ELEC INULLIOSRLCL Emer ietrcahs ge Wingo, Crs ae cathe swede el at So ois} wah Seal we 4 meas. BP eakee Satie | entree teeter aa ets tent tase nities aces Anea f S-doaa dy ites bom wale ay qae My Stent ba 4 meas. Hop right, step back left and draw. Pivot on heels, ‘‘ parallel feet’ to the left. Step I. Step III. 32 THE GEORGIAN MALE QUARTET TE—Continued. V. Arms crossed, hands on shoulders. Repeat IT. (2) 62 Vana c «0 e'Y Sales bnee hee 5 canal vets mga cae tee 2 meas. 3 left -3-7. The quartette wheels a $ turn left during the 3-3-7, numbers one and two mov- ing backward, three and four forward...........-- 1 see eee eee eee e eens 2 meas. Repeat all, beginning double rattle right; the 3 turn left on the 3-3-7 brings the quartette facing front A@aity 1 tirer hows. ots cae en otek Cees ro ee le AT a) iB 4 meas. Repeat IL: (@) . Seok. son oe yeeige Gee een se op oleate aaah ore a a eee 2 meas. Railroad shuffle four times tothe right... 3a.) =e - oe ole isis el cree ee 2 meas. Repeat all, beginning double rattle right... 7)... hes eo es ty ee 4 meas. The last four measures are repeated and the railroad shuffle is continued to the left for the exit, the arms are still crossed... 13... 100 ieee tee ee Se ee 4 meas. Nore.—I and IV are danced to the first phrase; II and III to the second, each eight measures; V and VI like II and III. A triple rattle may be used instead of the double rattle in II, III, V and VI. Railroad Shuffle. See ‘On the Railroad” page 24. The first and second tenors, baritone and bass make up this jovial quartette. As a dance for a minstrel it has possi- bilities. In the break each may sing two notes, “oh-oh,” in his particular range, as he hops and steps backward. Much pantomime can be introduced throughout the steps and the whistle and chug of the engine given as the railroad shuffle takes the quartette to the exit. Atranged by Ruth Garland 33 THE GEORGIAN MALE QUARTET TE—Continued. Break Oh! Oh! Oli =. = Oh! * Play first ending the first time through. Play second ending the second time through. 34 RASTUS 1.3, left —3—7, 8-3-7 38-3773 break... i 5 fe kak na wil he See Cee Soe teers ee ee 8 meas. II. Inverted toe tap left, heels together; inverted toe tap right, heels together; flop left and right forward; jump feet crossed, right in back. 7 turn right, heels ‘togethers 25... .6). 1: > fee muah, ba ge eee eee ee tee 2 meas. Repeat.all with thesame’s turn’right.. cAiae coer? - 1 -!-ee oy eek ee ee 2 meas. Repeat with a + turn ‘right... ee o.jees. 0s Sep Penne ee Gy oe ee a 2 meas. Repeat the inverted toe taps and two flops; finish with a ‘“‘spread,’’—a slide forward on the toes, with ithe feet apart; knees-bent, arms Hung mipwards Wey ee 2 meas. III. 7 left -7; last half of break (7 movements, 8 counts) twice. Repeat, beginning 7 ‘right. cieets. « 5 Aes cis pre crete ee eee 8 meas. Ve Hensocratch.”. Begin left, hen scratch 23 (hen scratch left, right and brush left foot sideward); last four move- ments of break’ slowly 2.\ afi cons foals on ceeds oe eae ee ee ee eee 2 meas. Repeat :3 times, beginning right, lett sright igre tee et aagrene ee ceere een n 6 meas. V. “Sifting the Sand.” 3-3-7; 3-3-7; fall forward.on left}; pivotsturn letti— 3 ey ieee ee ee 6 meas. Weight is on the left for the turn, the left knee is bent; the right leg is straight and pushes the sand three times as the full turn left is made. Breaks... 6. S58 sented ee Oh Oe HOU et ots hie cA OGM, a ere a 2 meas Finish.—Flop left (2 counts); right, left (2 counts); ‘‘spread” on last note.................. 2 meas. Break—The break begins right; it has 15 movements (16 counts) in 2 measures. First: hali—Brush: forward right: o02). cascci eet ce ste ke roe oe aoe ene I Tap back. cock eek ho AG calc @ cislstere' dis eheta aodlaccea tim = le ae Neng on 2 Hop ‘left; iy. octree .cch Lesa sasiomanet cs otc 3a ete eh oh Sil ate et ane 3 Tap ‘the, ball.of right foot backrofileits caste aucuis due ee ee ee 4 Tap(the ball in back with the weight) uiy..4-) . sec eee ee 5 3 left g eee Pe ee date Picea Gal See ee Ne ease RR RS nee 2 6-7-8 Rastus is a merry old negro who still loves to dance. He has all his old-time spirit and agility; his step is light and free, his body elastic. He likes to show the most difficult steps he knows which he does with apparent ease. Finish of the break. First movement of the “hen scratch.” Step IV. RASTUS ist) Or BiuslLonwartigiig iceman oo dee heel Oe i LN I) vel h, LED LOL Wan UTD Ue hee Lard (amie. ts... neem 0s st Gtele le. 6 ickber acid eS BUD: lett tomar Heel isecieeenns sc 0s tera ee sO Ac eitete sss Soktale ch couie ees ON AN hW NHN He In practicing the break, note that the hop comes on the third count in each part and that the first three movements in each half are the same. The second half of the break alternates if practiced as an exercise, the first half, if repeated, begins right each time. The break must be executed evenly; practice slowly giving each movement its time value. When the break becomes smooth it can be done rapidly. Hen Scratch.—Left. With a brush outward raise left foot, inverted toe, bent knee,—at the same time lift and swing right heel out and down, count “1”; swing heels together, count “2.” Hen Scratch.—Right= opposite movement on count “1”; swing heels together, count ‘‘2.” Arranged by Ruth Garland — = “ane fete stoke 36 SCHOOL DAY ANTICS Music: 4-4 Schottische time. Class to form in a large circle around room in column of twos, partners standing sideways and facing each other. Give each step 32 or 64 counts, traveling sideward 8 counts and returning on next 8 counts. FUNDAMENTAL STEP: Counts 1-2. 6c 2: 4. ce First STEP: Counts 1-4. Count 5. - 6. Counts 7-8. ff g-16. SECOND STEP: Counts 1- 4. Count 5. a3 6. Counts 7- 8. 9-16. THIRD STEP: Counts I- 4. Count 5. (a9 6. Counts. 7-8. = 9-16. FourTH STEP: Counts I- 4. Counth is; x 6. Counts 7- 8. 4 9-16. FIFTH STEP: Counts I- 4. Count 5. (79 6. Counts 7- 8. 2 Q-16. SIxTH STEP: Counts I- 4. ce es 8, 9-10. SEVENTH STEP: Counts 1- 4. Count 5. ce 6. Counts 7- 8. os 9-16. Two gallop steps sideward. Step sideward in same direction. Jump sideward in same direction landing with feet together. Fundamental Step. Arms one-half abducted, partner’s hands clasped. Outside man pull other man’s head forward making him bow. Inside man raise head. Counterlike of counts 5 and 6. Counterlike of Counts 1 to 8. Same as in Step 1. Both men jump to walk stand L. foot forw., push L. hand forw., pull right hand to shoulder. Counterlike. Same as Counts 5 and 6. Counterlike of Counts 1 to 8. “2h Same as in Step 1. es | & Both men squat on R. leg and: touch left heel forward, retain grasp of other man’s hands and balance each other. \ res Reverse position of feet. Same as Counts 5 and 6. Counterlike of Counts 1 to 8. 4 S Same as in Step No. 1. Both men jump to stride stand, and abduct arms. Both men jump, feet together, and abduct arms. Same as Counts 5 and 6. Counterlike of Counts 1 to 6. Fundamental Step. Both men grasp each other man’s shoulder. Outside man grasp inside man’s waist and assist him to jump straight up. Return to stand. Counterlike of Counts 5 and 6. Counterlike of Counts 1 to 8. Same as Counts 1 to 4 in Step No. 5. Cross wrists in front of thighs, arms stiff and resist each other. Counterlike of Counts 1 to 8. Fundamental Step. On fourth count turn back to back and lock elbows. Outside man bend forw., raising inside man’s feet from the floor. Outside man return to stand. Counterlike of Counts 5 and 6. Counterlike of Counts 1 to 8. SCHOOL DAY ANTICS—Continued. 37 EIGHTH STEP: Counts 1- 4. Same as in Step No. 5. 7m 5- 6. Both men fold arms on chest and stand on L. foot. Outside man make two hops forw. as in Rooster Fight, inside man checking him. a 7— 8. Counterlike of Counts 5 and 6. Hi 9-16. Counterlike of Counts 1 to 8. NINTH STEP ENDING: Count 1. Outside man right face and stoop stand. ¥ 2. Inside man place hands on partner’s hips and jump with one-quarter turn directly behind him. 3. Inside man straddle vault over back of partner—land in stoop stand position. 4. Counterlike of Count 3. Continue around circle alternately vaulting each other. “ “ AutHor’s Note.—For festival purposes School Day Antics make an appropriate Jester Dance, The “Funeral March of a Marionette,”’ by Gounod can be used as music. Alternate leap frog of the last step. 38 DANCE OF THE HOTTENTOTS A. M. Cohen DANCE OF THE HOTTENTOTS 39 Notre.—Repeat each step starting to R. Where no position of arms is given hold arms in the position last taken. First Step (Cross and Hop): Count I. Step L. across in front of R. and slap L. knee with L. hand. - a Hop on L. and flex R. leg. ne Step R. across in front of L. and slap R. knee with R. hand. 4. Hop on R. and flex L. leg. Counts 5-8. Same as 1 to 4. > g-12. Spring from R. to L. to R. to L. to R. keeping the legs crossed, arms one-half abducted. Count 13. Squat on R. touch L. at L. side, hands on hips. Bae: Counterlike. Counts 15-16. Same as 13 and 14. “ “cc Seconp Step (Pigeon Toe): Count 1. Arms folded on chest, raise R. toe and L. heel and turn feet so that toes come together. : 2. Swing arms to side Hor., raise R. heel and L. toe and turn feet so that heels come together. Counts 3-8. Same as 1-2 traveling sidewise to L. Count 9. Step sideward L. with L. me meELO. One-half turn L. and swing R. to stride stand. Il. One-half turn L. and swing L. to stride stand (face front). 5 EE Cut sidewise with R. kick L. sideward, bring hands to hips. 03 Step L. across in back of R. ae aa Step R. to R. roa Step L. across in front of R. un 10; Feet together. Tuirp STEP (Wabble): Count 1 L. arm three-quarters abducted, hop on L. abduct R. 2 Hop on L. and circumduct R. to R. an R. arm three-quarters abducted, L. hand on hip, back cut with R. raise L. forward. 4. Hop on R., circumduct L. to L. Counts 5-8. Same as 1 to 4. - g-12. Arms one-half abducted, thighs abducted, spring from R. to L., to R. to L. to R. (rocking sidewise). «313-16. Step forward L. R. L. R. (the Cake-Walk). Fourtu Step (Cross-Leg Jump): Counts 1; Arms one-half abducted, step R. across in front of L. 2 Jump sidewise to L., landing on L. first, keeping the legs crossed. Counts 3-8. Same as 2. Count 9. Hands on hips, hop on R. and abduct L. thigh. ay akee Hop on R. and circumduct L. leg to L. and kick sideward. aera yt Side cut with L. and abduct R. TO: Hop on L., circumduct R. leg to R. and kick sideward. ee Spring from both. 4: Swing arms sideward L., kick both to R., strike heels together and land on L. Counts 15-16. Same as 13-14, but to opposite side. cc Firta Step (Wooden Leg): Count 1. R. hand on hip, L. holding up L. thigh, one half turn L. and flex L. thigh. Counts 2-7. Hop on R. Count 8. Hop on R., one-half turn R., thigh extended. Counts 9-12. Arms one-half abducted rock backward and forward springing from R. to L. toR. to L. toR. Count 13. Hands on hips, flex L. thigh. cae eA: Spring from R. flex R. thigh land on L. eS. Forward cut with R. land on R. extend L. thigh. eee TO: Spring from R., extend R. thigh, land on L. 40 DANCE OF THE HOTTENTOTS—Continued. SrxtH Step (Cake Walk): Counts 1-8. Arms one-half abducted, forearms one-half flexed, walk forward, starting with the L. eight steps, flexing thigh and leg and striking toe on floor before planting the foot on each step. g-12. Same as 13-16 in the Fifth Step. 13-16. Arms one-half abducted four steps backward, Raa the knees and crossing the legs. “c 6c SEVENTH STEP (Cross Leg Jumps): Count 1. Jump to stride stand arms one-half abducted. a Ds Jump to cross leg stand hands back of neck. Counts 3-8. Same as 1-2 moving backward alternating L. in front and back. : 9-12. Four squat jumps moving forward, arms one-half flexed. 13-16. A forward roll or cart-wheel. ce ErcuTH Step (Ending): Count 1. Jump and turn facing partner. * 2 Jump and turn back to partner. ss ox Lock arms with partner, man on L. bend forward, raising partner’s feet from floor. (a3 4. Man on L. straighten. Counts 5-6. Counterlike of 3-4. th 7-10. Same as 3-6. Count It. Both squat, keeping the arms locked. ues? Both sit on floor with legs straight. ef See Both flex legs and thighs. met Ay Both raise to stand pushing backward against each other. foe Both turn facing each other, keeping only the heads together. “16. Push away from each other and face front. Leave floor with cake-walk. AutHor’s Notre.—In the fourth step the action is more free if counts 3-8 repeat 1 and 2. The last step is done more satis- factorily and smoothly if two counts are given each movement. The dance is long and vigorous; the numerals on the music show an arrangement omitting repetition to the right of steps I, III and VI. rina ena, a Oo il] Ui 3 0112 047375206 | | | I VERSITY OF ILLINOIS-URBA a Lome — ——<— | | state ee, ee ops tpeai a aed es om Maneater te ore rere