J Y PUBL C L BRARY THE BRANCH LIBRARIES 793 25-D D ' EGVILLE 3 3333 0281 '941 20 HOW AND WHAT TO DANCE 2.50 J Dance THE NEW YORK PUBLIC LIBRARY AT LINCOLN CENTER ..-. Ill Amsterdam Avenue New York, N. Y. 10023 Books circulate for four weeks (28 days) unless stamped otherwise. No renewals are allo\\ ed. A fine will be charged for each overdue book at the rate of 10 cents per calendar day for adult books and 5 cents per calendar day for children's books. HOW AND WHAT TO DANCE HOW AND WHAT TO DANCE BY GEOFFREY D'EGVILLE LONDON C. ARTHUR PEARSON, LTD. HENRIETTA STREET, W.C.2 PREFACE NOT until I had completed this volume did I realise how important an appendage was the preface. It serves a double purpose a word of explana- tion to the critic and a greeting to the reader. To the critic : This volume has no pretence of being a standard nor academic work on the Art of Dancing. Neither is it complete. \Vliat descrip- tion of the modern Fox-trot, for instance, may be said to be complete ? For that reason, I have given in this dance some half-dozen basic steps for the beginner, which may well serve as a jumping-off point for the expert. To the reader : To the " man in the street " who looks aghast at the modern ballroom and its vagaries, I dedicate this work. Although dancing cannot be learnt from books, any more than an instrument can be mastered after a series of lec- tures, if this little volume proves of some guidance to those who are learning, it will have served its full purpose. GEOFFREY D'EGVILLE. 1336 9 CONTENTS PART I INTRODUCTORY CHAP. PAGE I THE MEANING HISTORY ART EVOLUTION OF DANCING MODERN DANCING . . 15 II ORGANISING A DANCE ..... 18 III ETIQUETTE OF THE BALL-ROOM ADVICE ON DRESS FANCY COSTUMES ... 22 IV THEORY OF DANCING DEPORTMENT BALANCE HOLDING OF PARTNERS DANCING TERMS EXPLAINED ...... 26 V RUDIMENTARY POSITIONS PRACTICE DISCI- PLINE OF DANCING ..... 33 PART II ROUND DANCES I THE WALTZ. .... 39 II THE HESITATION WALTZ AND BOSTON . 46 III THE POLKA GALLOP- -TWO-STEP ONE-STEP . 51 IV THE FOX-TROT ... 55 V THE JAZZ-STEP TANGO . 62 VI MAXINA VALUTA BARN DANCE CANADIAN THREE-STEP .... 70 VII SCHOTTISCHE HIGHLAND ScHOTTISCHE . 74 11 12 CONTENTS CHAP. PART III SQUARE DANCES 1 INTRODUCTORY REMARKS DESCRIPTIVE TERMS -THE LANCERS .... II THE QUADRILLE . Ill VALSE COTILLON - - CALEDONIANS - - PARISIAN QUADRILLE ALBERTS .... PART IV MISCELLANEOUS DANCES I COUNTRY DANCES SIR ROGER DE COVERLEY MORRIS DANCING .... 95 II THE MAYPOLE DANCE ..... 99 III THE COTILLION ...... 103 IV THE MBNUET GAVOTTE .... 109 V SCOTCH REELS HORNPIPE IRISH JIGS. . 114 PART I Introductory CHAPTER I THE MEANING HISTORY ART EVOLU- TION OF DANCING MODERN DANCING DANCING in ancient times formed part of a religious ceremony, and it still does among Dervishes of the Mohammedan faith and Hindu Nautch girls. Its religious significance, however, has quite died out in Europe. Gradually dancing assumed a stately air and became part of great Court ceremonies, as in the time of Louis XIV of France, who did much to popularise and develop the practice. By a natural process of evolution, the art be- came a pleasure and more frolicsome forms became the rage. As an example of its progress in th.it direction, the Waltz, when it \vas first introduced in the early part of the nineteenth century, was gener- ally tabooed as being indecent ! Very few indeed of the dances commonly seen in England arc of British origin, and these are con- fined to dances of single couples and country dances (from the French oontre-danse). 15 16 HOW AND WHAT TO DANCE The Polka, Mazurka, etc., hail from Poland, the Schottische and Galop and the Waltz from Ger- many, the Boston, Jazz, etc., from America, but Scotland and Ireland give us the Reel and Jig respectively. The Quadrille, however, although generally supposed to be of French origin, is really English, as are the Lancers, Sir Roger de Coverley and other " Country ' Dances. Dancing was undoubtedly employed in the first place as a means of poetic expression, and it is regrettable that the present age is so obviously behind the Greek and Roman in this respect. In the sixteenth century it became a favourite social amusement more for the participants than the spectators. Pastoral dances among the rustics became general, and the Minuet and Gavotte held full sway among the aristocracy. Apart from the historical and artistic aspect, the scientific standpoint is deserving of notice, as it is upon science that so much of the art is based. Walking, running, jumping, hopping, poses, proper balance of the body and freedom of the muscles, all practised with the aid of rhythm and music, form its very foundations. In either of the two classes of dancing, Ball-room and Stage, not a step should be learnt before the importance of proper walking and deportment has been explained. But this is no heavy nor complete treatise on the MODERN DANCING 17 Art and Science of Dancing. In a few thousand words it is intended to give all possible assistance to the beginner on how and what to dance, with hints as to general conduct and deportment in the ball- room, the whole being treated as a pastime. There are rules and certain principles which must not be departed from, as in cricket or hockey, but the rules in this case are based on natural laws the laws of balance and grace. There are modern dances with an unlimited number of steps. In such cases I shall describe only those which I consider of most value to the beginner. Having become proficient in these, others may easily be added to them from time to time. The Fox-trot is an example of this type. I shall treat in turn the " round," ' square " and " country ' dances, with some notes on the older dances, such as the Minuet, Gavotte, etc., also on foreign Folk Dances. In fact, I have endeavoured to cover as much ground as possible without touch- ing too lightly on the many important dances. CHAPTER II ORGANISING A DANCE OW to organise a dance ? This depends upon the kind of dance, but, roughly speaking, the same procedure would appty to a Hunt or County Ball as to a ' sixpenny hop." But to strike a happy medium, I will deal with a dance such as might be organised by a Tennis Club or other similar social organisation, at which the admission fee v/ould be, say, from 55. to los. per head. The very first step to be taken is to appoint a committee, the smaller the better say five. The committee will then appoint one of its members as Secretary, who, taking his instructions from the committee will be responsible for all arrangements, such as the hire of the hall, engagement of the orchestra, etc. Another absolutely essential appointment is that of a Master of Ceremonies, who will be in supreme control on the day of the dance, settling 18 ORGANISING A DAXCE 19 all questions and disputes which may arise ; intro- ducing of partners, forming sets, arranging the music with the bandmaster, etc. It is strongly recommended that some one com- petent to fill the roles of both Secretary and M.C. be selected. It is also essential that the other members of the committee should have some knowledge of dancing, and also, that they should move in different circles of friends, otherwise one member is only duplicating the work of the other. Having engaged a suitable hall, with all neces- sary cloak rooms and toilet requisites for the guests, the question of music must be decided. If only a very small dance, and only one instrument is to be provided, the piano is unquestionably the most suitable. To this may be added a violin and a cornet, with perhaps a 'cello or double-bass, if three or four instrumentalists are to be engaged. If the orchestra is larger, it is a point for the band- master to decide, after consultation with the Master of Ceremonies. There is then the question of ivfn ^hmi-nts. An estimate should be obtained from a reputable linn. and if satisfactory all tin- an MII-. ir.cnts should be placed in their hands. 4-s. 6d. per head for 150 person: , with a n dr.( li.-n "i 6d. for tin- iK-xt liinidn/d and 3). There is also a forward step, partners holding as 48 HOW AND WHAT TO DANCE before, but with gentleman's left and lady's right arms extended in front. With the weight on the left foot, bend right knee slightly, allowing the right foot to be slightly raised from the floor, behind (count i, 2, 3). Bring right foot in front (count 4). Glide left foot in front (count 5). Bring right close behind left heel (count 6). The Boston There are five distinct steps in the Boston proper, but one sees many variations in the ball-room. It is actually a one-step or running waltz, and con- sists of a zig-zag step, the forward turn, the back- ward turn, the crab-turn and the run, all of which are done to waltz time. THE ZIG-ZAG (Gentleman) Glide left forward, then right forward, and close left up to right (count i, 2, 3). Glide right forward, then left forward, and close right up to left, turning body slightly to right (count 4, 5, 6). Glide left backward, the right backward, and close left up to right (count i, 2, 3). Glide right backward, then left backward and close right up to left, turning the body slightly to the left (count 4, 5, 6). THE HESITATION WALTZ 49 The lady commences with the right and com- mences by retiring six steps, etc. THE TURN (i) To the right (Gentleman). Slide left to the side, and turn half to the right. Slide right to the side (not turning). Close left up to right (not turning), (count i, 2, 3). Slide right to the side, turning half to the right. Slide left to the side (not turning). Close right up to left (not turning), (count 4, 5, 6). (ii) The Reverse is similar to the above, only that the half turns are made to the left. The lady's step is precisely the same as the gentle- man's, excepting that she commences with the right foot. THE CRAB (Gentleman) Slide left to the side (count i). Slide right toe to left heel (count 2). Slide left to the side (count 3). Slide right heel to left toe (count 4). Slide left to the side (count 5). Slide right to left heel (count 6). This movement is frequently made between two turning movements. The lady's step is the same, commencing with right foot. 50 HOW AND WHAT TO DANCE THE RUN (Gentleman). Ordinary waltz step (i, 2, 3). Run forward seven steps, commencing on right (4, 5, 6, 7). Slide left to the side and smartly transfer weight to right in order to free the left to begin again (8, 9). The lady runs back seven steps and begins on left foot. The beauty of the Boston is that the steps are interchangeable and run smoothly one into the other. CHAPTER III THE POLKA GALLOP TWO-STEP ONE-STEP The Polka THE remarkable ease with which this dance may be picked up by those unskilled in marking time or learning steps is its chief asset. Although a prominent feature of our ball-rooms during the last century, it has become more of a children's dance of late. It consists of a series of semi-circular moverrients of three steps each, the dance being done to 2-4 time. INITIAL RISE Rise gently on the sole of the right foot, the left foot being raised behind and pointed down- wards without touching the floor (count "and "). FIRST STEP Sink on right foot, simultaneously gliding the left foot to the Second Position, transferring the 51 52 HOW AND WHAT TO DANCE weight of the body to the left leg, the knee being slightly bent. SECOND STEP With a light spring, bring the right foot into the position of the left, which is thus pushed into a pointed Second Position, the weight being trans- ferred to the right leg. THIRD STEP Spring on left foot, turning half a circle, and simultaneously drawing the right foot up behind, slightly pointed downwards. The three steps are then repeated, commencing on the right foot. The lady's steps are the same, but she commences on the opposite foot to the gentleman. The Gallop At one time a very popular dance, is now only occasionally seen introduced into other dances, usually by those who wish to " show off ' in the ball-room. It consists merely of two steps. (1) Glissade left foot to second position, slightly bending both knees, the weight of the body being on the left leg. (2) Chasse to left, and describe a semi-circle THE ONE-STEP 53 on the ball of the left foot, drawing the right foot up behind. This is then repeated by commencing on the right foot, and then again on the left, ad lib. Throughout these movements the feet should not be allowed to leave the floor. The Two-Step This dance is extremely simple, and is now only seen as part of other dances, such as in the Fox- Trot, in which it is often much in evidence. The tempo is 6-8, but it may be done to 4-4 time quite comfortably. Holding in the usual way, glide left foot to the Second Position, then bring the right foot up to and behind the left, again gliding the left foot to the side. This is repeated by commencing on the right foot, and again with the left, right and so on. The One-Step Perhaps no dance is more open to the introduc- tion of eccentricities than the One-Step. Its extreme simplicity is the main cause of this . However, properly done, there can be nothing objectionable in it, and the kill- joys who would banish this and the Jazz-Step and others from our ball-rooms will be cried down as those of the 54 HOW AND WHAT TO DANCE early nineteenth century who accused the com- paratively stately W T altz of being unseemly even indecent. The following are the steps, performed to 2-4 time. The gentleman forward : Glissade on the ball of the foot, L-R, L-R, L-R, ad lib. In turning at the corners bring the right to the Fifth Position behind, executing a Waltz turn, and continue as before. The turn is varied in many eccentric ways, such as a ' dip," allowing the left knee to bend, and then a spring on to the right and again on to the left foot, turning the while. There is also a forward step, in which a species of Barn Dance is carried out without allowing the feet to leave the floor, as follows : Slide left forward to Fourth Position. Bring right ahead of the left. Again glide left forward. Bring right behind left to the Third Position, allowing the left to glide forward again to recom- mence the step. The lady commences on the opposite foot in each case. The introduction of the simple Jazz-Step (de- scribed in Chapter V) is a great improvement. CHAPTER IV THE FOX-TROT THE Fox-Trot is a dance of many steps, and to the casual observer everybody seems to have different ones. There are, of course, teachers of dancing who add to and enlarge them, and there are some who do not teach more than half. It is my object to make my descriptions as short and concise as possible ; I shall therefore only give some half-dozen of the steps which it is desirable that one should know in the modern ball-room. The order given is not necessarily the order in which the steps should be done. The dance is done to 4-4 time. Gentleman advancing. FIRST STEP \Valk forward Lc/t-righl-lc/l-rig/it (count 1-2-3-4). Run forward lightly L-K-L-K-L-K-L-K (count 8). In other words 4 slow, 8 quick. This may 55 56 HOW AND WHAT TO DANCE be varied by taking two slow and three quick steps, L R L-R-L. R L R-L-R. SECOND STEP Two-step to left (count 2), two-step to right (count 3-4). Then " twirl ' four times, i.e. de- scribe four semi-circles, one on each foot, alter- nately, L-R-L-R (count 5-6-7-8). Be careful to turn on the ball of the foot, keeping the leg on which your weight is not, well extended, the knee unbent. THIRD STEP Called the " Hesitation. ); Walk L-R- L-R-L (count 5). Allow your weight to go back on the right foot (count 6). Forward on left (count 7), bring right close to left heel, at the same time shooting the left forward (count and 8). Make quite sure of the counting. It is 1-2-3-4-5-6-7 and 8. Repeat, commencing on right. FOURTH STEP Two-step left (count 2), two-step right (count 3-4). Three Chasses to left (count 5-6-7) forward with kft, and turn slightly to left (count 8). Then reverse this : Two-step back and to the right (count 2). Two-step back and to the left, turning slightly towards the left (count 3-4), then THE FOX-TROT 57 three Chasses to the right (count 5-6-7). Pause on left (count 8) and repeat. The Fox-Trot Hesitation Step The difficulty here is in turning during the two-step. Always remember in which direc- tion you are going down the room, and at the HOW AND WHAT TO DANCE second two-step turn sufficiently to allow of the Chasse being carried out in a forward direction. FIFTH STEP A 7 L. R. The Fox-Trot The Twinkle. Called the "Twinkle." Walk L-R-L-R-L (count 5). Throw your weight back on the right (count 6), THE FOX-TROT 59 then without moving the left from its position, bring the right ahead of it (count and 7). Left foot forward (count 8). Distinguish carefully from the " Hesitation.' 1 In the " Twinkle ' the right foot is brought ahead of the left on the count " and 7,'" while in the " Hesitation ' the right is brought behind the left, which simultaneously shoots forward on the beat "and 8.' Remember in the " Twinkle ' to count 1-2-3-4-5-6 and 7-8. SIXTH STEP Somewhat unwieldy in the ball-room, and not so often done as those already described. Part- ners holding as before, only slightly apart to allow of free movement. Quick walk to the left, L-R-L-R- L-R-L (count 7), the weight being on the left foot, swing the right over and then back to point in the opposite direction (count 8). Then repeat, com- mencing with right in the opposite direction, the swinging movement on this occasion being done with the left foot, the weight being on the right. As already stated, this is decidedly awk- ward, and takes up far too much room in the ordinary ball-room, as it entails too much going backwards and forwards, which is disconcert- ing to other dancers, who are probably doing quite a different step. HOW AND WHAT TO DANCE The lady s steps are, of ecu:-: the exact op- A _ i general rile for beginners is that each step is clone twice which will always bring the dancers back to their usual starting foot, that is, the --..-.-.Oman's fe# and the lady's rigAf. There is no specified order in which the steps -:ld be done but to the beginner I strongly advise that he practises :hem in the order given.. until he is able to cultivate the habit of passing . . me step to the other in any order and at a enr's ; :: R .h ; :, that is ; do not raise the -. the :: and nd take strides. I have rr used the terrr.- \\'alk ' and 'Run' for le purpose : :::!::'. ^ the beginner as to the time of the various : Of all the :ch are for the most part the 'H .lion' and T \vinkle ' appear to lead to ti : confusion amone beginners on a/ [ apparent similarity. Master the counting and you have the whole thing. It is the same up tc ' 6 JJ and then in the " Hesitation " '7 ;<;:^ 8/ ; and in the ' Tv.inkle ; count It is only by counting correctly that caB r.-.a-.ter the dance. f the Fox-Trot. Of all the dances of it thtat least inclined to vulgarity. Its steps are clean, well-defined, and mix well in THE FOX-TROT 61 any order, provided that,, as a beginner, you do everything twice. It teaches rhythm, and its steps, once mastered, are completely forgotten in the joy of the dance. Not only this, but the principles of the steps may be described as "basic/ that is they are conve- nient steps, which fit in almost anywhere, in an emergency. There is unlimited scope for the introduction of the " Jazz "-step. CHAPTER V AMERICAN IMPORTATIONS : THE JAZZ TANGO THERE is no Jazz-Dance in the ordinary sense of the word, but there has been evolved, rather than invented, a rolling kind of step known as the Jazz-step. This is performed to Jazz-music, which is nothing more nor less than syncopated 4-4 time. On the other hand, the Jazz-step may be introduced into the Waltz, where one can but look upon it as an intruder, and also into the One-Step, where it forms an exceedingly welcome change in a rather monotonous dance. The Jazz, which progresses in zig-zag fashion, is graceful only when well done, the chief rule being that the dancers move to the right with the left foot and left shoulder, and to the left with the right foot and right shoulder. The following are the gentleman's steps, as he advances, the lady retiring :- 62 THE JAZZ-STEP A 7 4 L Steps of " The Jazz." (1) Cross the left in front of the right into a kind of false extended Fifth Position (count 1-2). (2) Bring the right up to an extended position about its own length from the left (count 3). (3) Take a short, gliding step with the left foot nearer to the right, simultaneously describing a half pivot on the ball of the right foot (count 4). The above figures illustrate these first three 64 HOW AND WHAT TO DANCE steps. The second three are the same, only to the left, commencing on the right foot. The lady's steps are similar, only to the rear (see also figures on previous page), but it is essential that both partners should be able to carry them out either way. NOTE. The first step occupies two counts of the music, the second and third one count each. The Tango The Tango, which attained such an extraordinary degree of popularity for a season before the war, is still very popular in Paris, and still danced over here. The thought of its two-hundred odd steps terrifies the beginner, but, be it said, these are only for experts for whom there is no limit, and fresh eccen- tricities are introduced every day. But there are six steps which have been stan- dardised and are not lacking in grace, although so many of the so-called tango-steps, which have been taught and danced, are only fit for performance in a circus. As special manuals have been published on the subject, it is hardly possible to enter into a detailed description in this single chapter, therefore only a short sketch of the standard half-dozen steps is given. The gentleman holds the lady's right hand aloft* THE TANGO 65 in his left, so that the two arms touch down to the elbows. From this " touching " position, the Tango probably derives its name, "Tango' being the Spanish for touch. The lady's left hand should rest on the gentleman's right shoulder, and the gentleman's right hand rests on the left side of the lady's waist, which enables him to direct the lady more easily in any desired direction. The following are the Spanish- American " stan- dard ' steps commonly danced in the Argentine and Brazil. FIRST STEP (Gentleman) Walk stealthily. Right-left-right-left (count 4). Right foot to the Fourth Position behind (count 5). Bring left back to an extended Fourth Position behind (count 6). The foot is kept flat in all movements. The lady commences on the left foot, and retires, with this difference : she rests on the toe only on beats 4 and 6, and on beat 5 hops on left foot, keep- ing it in the same position as on beat 3. Repeat whole step. SECOND STEP Gentleman retires R-L-R-L, etc., for twelve beats, but the right toe is raised simultaneously with each B 66 HOW AND WHAT TO DANCE movement of the left foot, which is alwaj^s kept in front in other words, the right foot is never brought quite up to it. Lady advancing, executes a somewhat different step. The left foot, which is kept flat, only moves on beats i, 4, 7 and 10, that is, the right foot executes two movements in between, on 2-3, 5-6, 8-9, and 11-12. On each of these movements the right toe is turned in, and heel raised. The gentleman should sway his body in accord with the lady's more exaggerated movements. THIRD STEP The twelve steps complete a circle, the gentleman advancing and commencing with the right foot. It is merely a stealthy walk, but on beats 3, 7 and n, the right foot crosses behind the left foot, and the turns are executed on both toes. The lady also advances, only on the exterior of the circle, and freer movement on her part is there- fore necessary, which precludes her from bringing the right behind the left, which merely glides natur- ally, with a slight dip, the left following it but never passing it in the circle. FOURTH STEP A crossing movement, the same for both gentle- man and lady, excepting that the gentleman com- mences on the right and the lady on the left foot. The gentleman's steps are given. THE TANGO 67 Cross right over left. Extend left to side. Cross left over right. Extend right to side. Repeat three times. In this step, therefore, the right foot only moves in beats 1-4-5-8-9-12, while the left moves on beats 2-3-6-7-10-11. FIFTH STEP Another circular movement to the side. Count in threes as the gentleman advances, right-left-right and click the left heel up to the right. This click- ing movement is carried out after beats 3-6-9 and Tango Sixth Stop, l _ First Half. 68 HOW AND WHAT TO DANCE 12. Count i-2-3-click, 4-5-6-click, etc. The lady's step is the same, and she also advances side- ways. SIXTH STEP A square movement, a half turn being made on beats 3, 6, 9 and 12, the lady dancing on the outside u \ Tango Sixth Step, Second Half. THE TANGO 69 of the square, which makes her movements more circular than the gentleman's. Gentleman. Right foot forward, left foot for- ward, right behind left and cross left in front of right (see diagram, p. 67). The remaining steps are similar, crossing and re- crossing, but are more readily described in diagram on opposite page. In all Tango movements, the gentleman should guide the lady through her more elaborate move- ments, and sway his body in unison with her move- ments. Great care should be taken that abandon is not introduced to such an extent as to sacrifice grace. It is chiefly owing to the introduction of vulgar exaggerations of the steps that the Tango was, and is still, banned in certain circles. CHAPTER VI THE MAXINA VALETA BARN DANCE CANADIAN THREE -STEP The Maxina A LTHOUGH not " fashionable " in the ordin- -/"V. ary sense of the word, the Maxina is danced a good deal at small dances outside London. It is performed to common tempo, but often slower, and consists of five parts, as follows : FIRST PART Partners facing same direction, lady's left hand in gentleman's left, her right hand in the gentle- man's right, which passes behind her. Commencing on left. Glide left forward, then right, then left, then right. Two-step to left and two-step to right. Glide left forward, then right forward. Swing to right in semi-circle on ball of right foot, bringing left to the fore, with bent knee. Point right forward. Repeat, commencing on right foot. 70 THE MAXINA 71 During the swing, the lady's hands still remain in the gentleman's as before, only the position natur- ally becomes reversed, the gentleman's left being behind the lady, in lieu of his right. SECOND PART Holding as before. Left heel to the floor. Hop to ball of right foot, at the same time, turning slightly. This is performed eight times in all, during which a complete circle should have been described. THIRD PART Holding as before. Glide left to front. Dip forward on right, bending knee. Left foot forward, heel to the floor. Left foot to rear, toe to the floor. Repeat. FOURTH PART Two-step to left. Two-step to right. Glide left forward ; then right. Point left forward and pause, during which lady turns and faces gentleman. FIFTH PART Holding as in \Yaltz. Waltz four bars or two- step four times, as preferred. 72 HOW AND WHAT TO DANCE The Valeta The Valeta is quite a fascinating little dance, per- formed to Waltz time. Partners hold as in the Barn Dance, the lady on the gentleman's right. Glide left forward. Glide right forward. Close left up to right. (Ordinary Waltz forward step.) Repeat, commencing on right foot. (Lady commences on opposite foot.) Glide left forward, bring right up to it, heel raised and toe pointed to the floor. Repeat once. Complete Waltz (two bars). Glide left forward, bring right up to it, heel raised and toe pointed to the floor. Repeat once. Finish with four bars of Waltz. (Pas dc Quatre.) The Barn Dance This is an extremely simple dance which hails from America, and consists of two parts, in the first of which partners dance side by side. FIRST PART Glide left foot forward to Fourth Position and balance on left leg. Spring lightly from the left foot, bringing the right into the place of the left, which goes forward into the Fourth Position in front. CANADIAN THREE-STEP 73 Spring forward on to the left foot, raising the right in the rear. Hop on the sole of the left foot, bringing the right in front, toe pointed to the floor. Repeat the movement, commencing on the right foot. Repeat the whole movement from the beginning, the lady in each case beginning on the opposite foot to the gentleman. SECOND PART Holding as in ordinary Waltz, do four bars of the "hopping Waltz/ J as in the Schottische. Canadian Three-Step Performed to common-time. The gentleman commences on right foot. Two-step to right. Two-step to left (almost a half turn). Three part turns on the ball of the right, then left, then right, alternately. The whole of these movements should entail a full turn and a half. Bring left foot behind right in the Fifth Position and bend the knees slightly. Two-step back to left. Two-step back to right. Three turns as before, commencing on left ; and at the end, bring the right behind the left in the Fifth Position, and bend as before. CHAPTER VII THE SCHOTTISCHE AND HIGHLAND SGHOTTISCHE WHEN the Schottische was first introduced in the middle of the last century it was welcomed chiefly as a change from the giddy wind- ings of the Waltz and Polka. It consists of two parts, the second only being circular. The first part consists merely of four steps to the right and four to the left, as follows : 1. Glide left foot to Second Position. 2. With a light spring, bring the right foot up to the left in the Third Position, simultaneously gliding the left into the Second Position once more. 3. Raise the right foot behind, a few inches from the floor, transferring the weight of the body on to the left foot. 4. Hop gently on left foot, keeping the right still suspended, bending knee on alighting. Repeat these four steps in the opposite direction, commencing with the right foot. The second part is merely the Waltz, although 74 THE HIGHLAND SCHOTTISCHE 75 the following hopping movement is frequently done, although not so effective. Rest back on left foot, leaving right pointed in front. Hop in a semi-circle on the left foot. Repeat these movements on the right foot, then on the left, and again on the right foot. The Highland Schottische Originally known as "The Balmoral/' and an extremely vigorous form of the ordinary Schottische, and also consists of two parts. In the first part, partners face each other at a short distance, and dance independently. FIRST PART Spring up from both feet, descending on the left, with the right pointing in the Second Position. Hop on left foot, simultaneously raising the right behind. Hop on left foot, pointing the right in the Second Position. Hop on left foot, simultaneously raising right behind. Then do the latter half of the first part of the Schottische. The whole is then repeated, commencing on the opposite foot, which brings the dancers facing one another once more. 76 HOW AND WHAT TO DANCE SECOND PART Linking right arms, with left raised, partners hop twice on left, twice on right, twice on left, twice on right, the opposite foot being raised, and circling round each other the while. They then repeat in the opposite direction, link- ing left arms and raising right. Scotch airs are by far the most suitable for this vigorous dance, and it is the only dance in which hopping is not considered bad form, and there is tremendous scope for introducing steps of one's own for an expert dancer, that is. PART III Square Dances CHAPTER I INTRODUCTORY REMARKS DESCRIP- TIVE TERMS THE LANCERS SET or ' Square ' Dances are usually com- posed of four couples placed in the shape of a four-yard square, each couple facing inward. The couple at the top of the square (i.e nearest the band) are called the first couple, the coupie opposite to them are known as the second couple, and those to right and left of the first couple are the third and fourth respectively. A considerable amount of romping is occasion- ally introduced into the square dances, which is strictly against the rules. The steps should be carried out at ordinary walking pace, and strictly in time with the music. The Lancers, which are dealt with first on account of their superior popularity, are in reality only an adaptation of the Quadrilles, and are of purely Eng- lish origin. 79 So HOW AND WHAT TO DANCE Before entering into a description of the figures, however, it would be advisable to give an explana- tory list of the terms frequently used in the Square Dances. Those which have already been dealt with in Part I are not repeated. Tiroire. Occupies eight bars. A couple with hands joined pass in between and change places with opposite couple, all using the same steps as in the Traverse, then both couples returning to their original places, the first couple this time passing outside. Set to Partners (or corners). Occupies four bars, and consists of the lady and gentleman facing each other, glissade three times to the right in Second and Third Positions alternately, turning towards each other on the fourth step, which is brought to the Third Position point in front. This is repeated with the left foot with a glissade in lieu of a point on the eighth step to leave the left foot disengaged. Ladies' Chain. Occupies eight bars. Two ladies cross to opposite places, joining right hands 'in centre as they pass ; they then give the left to the opposite gentleman, with whom they execute a Tour de Mains. The gentlemen should advance slightly to meet the ladies. They then return to their places in the same manner. Glissade en passant. Occupies four bars, and is a similar movement to the Chasse-croise. THE LANCERS 81 ' Face off." Gentleman, with lady on his right, face outwards from the set. Grand Chain. Occupies sixteen bars. Set of four ladies and four gentlemen turn in opposite directions, i.e. facing each other, and taking altern- ately right and left hands, pass in a circle between each other. Each time partners come together, they bow and curtsey, and continue the chain until they have all reached their original positions. Now, to the figures. FIRST FIGURE First lady and second gentleman advance and retire. Advance, Tour de Mains, and retire to places. First couple lead through centre (Tiroire). Set to corners and turn (Tour de Mains). Second lady and first gentleman repeat. Third lady and fourth gentleman repeat. Fourth lady and third gentleman repeat. SECOND FIGURE First couple advance and retire. Re-advance, gentleman placing his partner to face him with her back to opposite couple. Set to partners and turn to places. Side couples divide, and joining hands with first F 82 HOW AND WHAT TO DANCE and second couples, form two lines, top and bottom. Advance and retire in lines. All turn partners into places (Tour de Mains). Repeat with second couple advancing and retiring. j> LllIILi ,, ,, , , ,, fourth ,, The top and bottom couples then separate to form lines with the sides. THIRD FIGURE First lady advance. Second gentleman advance. Gentleman bows and lady curtseys. Both retire to places. Ladies' chain (twice). Repeat, second lady advance, etc. third fourth > ) FOURTH FIGURE Top couple advance and salute couples on right, and then cross over to the opposite side and bow in like manner and return to places. First and fourth couples glissade en passant. Same couples balance forward and backward. Fourth couple chasse-croise and first couple turn to places. First and third couples right and left. Tour de Mains to places. THE LANCERS 83 The above is repeated by each couple in turn taking the lead. FIFTH FIGURE (Is not preceded by eight bars of music as in the other figures but commences after the first chord.) The Grand Chain. First couple promenade round and face off. Third, fourth and second follow suit, falling in behind each other and the first couple. The column of couples all execute the chasse- croise and side balance. Repeat movement in opposite direction. File off ladies to right, gentlemen to left. Gentlemen take ladies' left hands in their rights. Fall back to form two lines. Advance and retire in lines. Tour de Mains to places. The figure is then repeated by the second, third and fourth couples commencing the promenade. Grand chain for finale. CHAPTER II THE QUADRILLE POSSIBLY the Quadrille is the most popular of the Square Dances. True, the Lancers are still to be seen almost everywhere where Square Dances are in favour, but if there is room for only one Square Dance in the programme, the Quadrille is usually chosen. The " set " is usually composed of eight persons, i.e. four couples, although at large balls one often sees eight or even sixteen couples in a set. However, four couples is the easiest number for explanatory purposes. They should be arranged in the form of a square, thus : , o3 Bottom. H 'DH tr Second Couple. % * c3 a ^ ^ o g: C/) r-S O <*> > The following list of the figures will prove a use- 84 THE QUADRILLE 85 ful reminder to those who wish to practise in privacy before trying them in public. FIRST FIGURE Firstly.- -Top and bottom couples cross over and recross (right and left). Secondly. Set and turn partners. Thirdly. Ladies' chain. Fourthly. Half promenade. Fifthly. Halt right and left. SECOND FIGURE Firstly.- -Top lady and opposite gentleman ad- vance and retire twice. Secondly. Cross over (moving to left) exchanging places with one another. Thirdly. Advance and retire once. Fourthly. Recross to own places during which time partners set. Fifthly. All turn. A modern way of doing this figure is to advance and retire only on each side, before and after crossing, and then partners set to one another on their return to places. THIRD FIGURE Firstly. --Top lady and opposite gentleman cross over (moving to left) exchanging places. Secondly. Recross (moving to right) giving left 86 HOW AND WHAT TO DANCE hand and stopping in the centre and giving right hand to partner. Thirdly. Set four in a line. Fourthly. Cross over with partner to opposite side. Fifthly. First lady and gentleman advance and retire twice. Sixthly. All advance and retire once, taking partner's hand. Seventhly. Half right and left to places. FOURTH FIGURE Firstly. First couple advance and retire and advance again, lady crossing to left of opposite gentleman (first gentleman retires). Secondly. Advance and retire three together and advance again, both ladies crossing to the right and left of opposite gentleman. Thirdly. Three advance and retire and advance again (single gentleman retires). Fourthly. Join in a circle and move to left, finishing with partners on opposite side. Fifthly. Half right and left to places. ANOTHER WAY. After the first three have ad- vanced and retired and advanced again, then do the circle to opposite places (leaving out the advancing and retiring of the second three), then give partner the hand and advance and retire half right and left to places and turn partners. THE QUADRILLE 87 AN OLDER WAY CALLED La Trenisc.- -Top and bottom couples do ladies' chain. Secondly. Top couple advance and retire and advance again, lady crossing to left of opposite gentleman (single gentleman retiring). Thirdly. Then both ladies go round, one to right, other to left in a circle, crossing one another on opposite side, during which time the first gentleman advances to other side between them and returns passing between them, then his partner follows him to her place, all set and turn partners. FIFTH FIGURE All join hands in a circle, advance and retire twice, then repeat the second figure and recommence figure with circle. :HAPTER in VALSE COTILLON CALEDONIAN PARISIAN QUADRILLE. ETC. THI V^ST ~_-~L.r. is -Jie ses :-- -r -.-: : :: : insists r_v_:;-.y :: :ne nr-iir '^LLZ:. is repeated until each couple has led in turn, ie. : : M : First coup! _ dee round inside the - t 7:rs: i~lsr:;r.i lilies '.:,'^r.^- ~.^. ;S 5 ill T -V-^:z . 'L-.Z). ^ r.eir iLr^^er: Firs* S.H1 \~'.'. -- i >,z C :. -~ : i: r 1 : ^ right har. 1 3 *. o partners :"i .:-: ~~.i. ~i,'-\- Ml tc : a, ^^t^^\\r\o a ".-.npltt-:: "Vi>.z :im speat until all arrive at i r.' -- ' '-^.' T:. ~ ". Y e m ____ p - ; -.hirty-two ba: of zi - -ic. THE CALEDONIANS 89 Couples then form lines, top and bottom and advance and retire in lines, to \Yaltz Step. \Yaltz independently to opposite sides. Repeat advancing and retiring movement, and finish at own places. This is repeated by the second, third and fourth couples leading in turn, and then final waltz round the room. The figure is occasionally varied by the following : After the waltz chain, couples march once round the set, and then waltz round to places ; this, how- ever, is not nearly so effective. XoTE.--In forming lines, when the first and second couples lead, they are formed ' top ' and ' bottom "; when the third and fourth couples lead, they are formed at the sides. The Caledonians A delightful dance consisting of five figures, the first of which is danced twice, the remainder four times. FIRST FIGURE First and second (top and bottom) couples join right hands across, pass half round, join left hands, turn half round and return to places. Set to partners and turn. I > i dies' chain. Promenade round to place. (Repeat. >ide couples leading.) go HOW AND WHAT TO DANCE SECOND FIGURE First gentleman and second lady advance and retire twice. All set to corners and turn, ladies changing places to the right. All promenade once round. (Repeat with other gentlemen and opposite ladies leading in turn.) THIRD FIGURE First lady and opposite gentleman advance and retire. Re-advance, turn in centre, and retire to places. First and second couples liroire figure, the latter passing outside. Repeat, with the first couple passing outside. All set to partners and turn. All join hands, close in on centre and retire to places (called the Grand Circle). Turn partners. (Repeat with other ladies and opposite gentlemen leading.) FOURTH FIGURE First lady and second gentleman advance to the centre and stop. Their partners do the same. Turn partners and retire to places. Four ladies pass inside figure to next place on their right. THE PARISIAN QUADRILLE 91 These movements are repeated, partners thus meet in opposite places. Promenade to own places and Tours dcs mains in places. (Repeat with other ladies and opposite gentlemen leading the figure.) FIFTH FIGURE First couple promenade round the set. All ladies advance to centre, curtsey and retire. All gentlemen advance, turn towards partners and bow. All set to partners and turn. Half through Grand Chain. Promenade to own places and turn partners. All join left hands with partners, gentlemen pass their ladies before them to the gentlemen on their left by whom they are turned with right hands, all returning to places with left hands to own partners. Each couple in turn leads the figure, and then all promenade round set for finale. The Parisian Quadrille This is a shorter version of the Quadrille, being danced without side couples, the dancing couples being thus placed opposite each other in two lines. The figures are the same as the ordinary Quadrille 92 HOW AND WHAT TO DANCE with the exception of the last (fifth) which is as follows : Ladies' Chain. Advance and retire in couples. Cross over to opposite sides. Re-advance and retire. Cross over to opposite sides. Set and turn partners. After performing this twice through, a promenade to opposite sides and return to places acts as finale. The Alberts This dance is merely an arrangement of figures selected from the other Square Dances, performed in the following order :- FIRST FIGURE. First figure of the Quadrille. SECOND FIGURE. Second figure of the Cale- donians. THIRD FIGURE. Third figure of the Lancers. FOURTH FIGURE. Waltz Cotillon (first half). FIFTH FIGURE. Fifth figure of the Quadrille PART IV Miscellaneous Dances CHAPTER I COUNTRY DANCES COUNTRY Dances are not so called on account of their rustic origin. The term is a cor- ruption of the French centre, meaning opposite, as in most country dances the partners stand opposite one another in long lines, the ladies in one line the gentlemen in the other. Sir Roger de Coverley Perhaps the most popular of these is the Sir Roger de Coverley, without which hardly any village or country town dance is complete, even now. The following are the figures : Top lady and bottom gentleman advance to the centre, bow and retire. Bottom lady and top gentleman repeat. Top lady and bottom gentleman advance and turn in centre, clasping right hands. Bottom lady and top gentleman repeat. Top lady and bottom gentleman advance and turn in centre, clasping right hands. 95 96 HOW AND WHAT TO DANCE Bottom lady and top gentleman repeat. Top lady and bottom gentleman advance and turn in centre, clasping both hands. Bottom lady and top gentleman repeat. Top lady and bottom gentleman move round each other back to back and retire to places. Bottom lady and top gentleman repeat. The top lady and bottom gentleman then turn to right and left respectively and pass down the out- side of the lines, meeting at the bottom, where they hold hands high, making a kind of archway. The other couples file behind and pass under the arch- way, thus leaving the first couple at the end of the line. This is gone through again, when the first couple will find themselves in their original places. The whole may be repeated ad lib., placing each couple at the head in turn. Morris Dancing The ancient custom of Morris Dancing has been recognised by the Board of Education and forms a part of the curriculum of our Elementary Schools. It is highly recommended as an aid to education and a most pleasing means of teaching children to submit themselves to discipline. The origin of Morris Dancing has been, rightly or wrongly, attributed to the Moors, the fandango of Spain being an old Moorish or Morris Dance. COUNTRY DANCES 97 No one knows when it was first danced, but many believe it was introduced into England in the reign of Henry VIII, others say the reign of Edward III. One of the characters of the dances used to con- sist of a hobby-horse, the head and neck being of pasteboard, which was buckled round a man's waist. Thus equipped he exhibited specimens of burlesque horsemanship. Other dancers were a fool, May or Maid Marian, a friar, a serving man, a piper and a few ' Salvages," wild men of Moriscos. The music was usually provided by a short reed with three holes (shepherd's pipe) accompanied by a small drum. In recent attempts to resusci- tate Morris Dancing, a violin and accordian were employed. In most country towns and villages which hold May-day celebrations, Morris Dancing is much in evidence and extremely popular, and at these festivities the simplest form is usually employed. The dresses vary in different districts, but fairly general arc the following : For men or boys Pad of bells strapped round the legs, tall hats trimmed with ribbon or flowers, rosettes pinned to frilled shirts, and red, white and blue ribbons and rosettes flying from arms and braces. For girls : The simplest country dresses are worn, with ribbons and rosettes and sun-bonnets, blue- G HOW AND WHAT TO DANCE grey stockings, shoes with silver buckles and bells at the ankles. Short staves or handkerchiefs are used in some dancing. This is called ' Bean-setting." The music is to 6-8 time with two beats to the bar, hornpipes or jigs of sixteen bars length being the most suitable. It would be useless to attempt in one chapter to give anything approaching an adequate description of the many movements. Perhaps, however, the most popular one for girls is ' Shepherd's Hay," which hails from Oxfordshire, and which is danced with short sticks with ribbons and handkerchiefs, the girls hitting their partners' sticks while keep- ing time with their feet. When men dance ' Shepherd's Hay ' they clap their hands before the face, under the legs, behind the back and slap their legs. But there are many other movements. There are forms of Morris Dancing which are done in ' sides ' of twelve, divided into little groups of four ; each group does a series of reels, crossing to corners and backwards to their places, and much clustering of sticks in the centre. Attempts to revive this form of sport have been made by the Esperance Club of London, with marked success. It is indeed the most healthful stimulus imaginable to school study, or for grown-ups who have heavy brain work on hand. CHAPTER II THE MAYPOLE DANCE THE Ribbon (or Maypole) Dance is of great historical interest and has been handed down among some of the older country dances. It first became popular during the seventeenth century, when a huge pole was erected in the Strand, and at that time few village greens were without them. It is an excellent means of teaching discipline in a pleasing and healthful manner to boys and girls, and I strongly recommend its adoption in our present-day kindergartens. I cannot do better than to reproduce some notes which have been handed down from generation to generation. "The May Pole should be about 12 feet high, or higher. The longer the pole the more imposing will be the dance. Then it should be painted like a barber's pole, in a spiral line of red and white, 99 ioo HOW AND WHAT TO DANCE and blue and white alternately. Next make a ring of cask-hooping, or a large child's hoop, about the size of a round table, if for a large pole, and smaller if for one of less size, and wreath it with ever- greens and flowers. This must be suspended about 2 or 3 feet from the top of the pole, which it en- circles ; a splendid nosegay should adorn the top of the pole. Now you must add your ribbons, which must be of many various shades with plenty of white, avoiding slates and greys. They should be half as long again as their height from the ground. You must fasten them by one end all round the pole at the top, or level with the corona, and this done, your pole is ready. A nice flat surface must be found for the pole, and the grass cut close. The ribbons must be of even number, say 16. Choose the dancers (eight boys and eight girls of fairly equal height, or 16 girls), and let them select partners and take their ribbons, standing in a circle. They may carry a short rod, with flowers or ribbons, or both, tied to them, if desired. First they must bear in mind the following rules. 1. Always hold the ribbon in the same hand, using the left hand gracefully, waving it above you as the movements will suggest. 2. Always return and stop at the same place from whence you started. Observe this at the end of each figure. THE MAYPOLE DANCE 101 3. The object of the dance is to plait and un- plait the ribbons. An error creates confusion and tangles them. 4. Move in a light tripping step. Do 'not dance, in the modern acceptance of the word, but step in time to the music. 5. All figures start to the right, unless otherwise shown. 6. Wait the first part of the time through before starting. A melody like Weel May the Keel Row ' is the most suitable to dance to ; but whatever tune is selected, it must be in four-time and have four bars and phrases for the following figures :- Figures I. When the music strikes up, all run and take your ribbons, and skip back to the end of the tether for figure i. All, go round the pole several times, trotting in time to the music. At a signal, turn sharp round and go back again until the ribbons are untwisted. Repeat at will. II. Approach the pole in six steps, mark two, retreat in six steps and mark two. Do this three times, then turn face outwards, and do the same again three times. III. Repeat No i, halting on the fourth step and mark one, and reverse again. TV. Chasse to partners three times, then turn 102 HOW AND WHAT TO DANCE to each other's partners and chasse to them. Re- peat at will. V. Girls to centre, close to the pole, faces out- wards, repeat Figure II, while boys skip all round. Reverse at a signal ; that is, boys go to the centre, and girls go round reverse way. VI. Four stand in a square, with the pole centre, the rest go in a serpentine line round them, turn sharp round and return to places. Go inside one and outside the next stander. Each returns to his place when all have passed him. VII. Take partner's hand, and skip all round in pairs and reverse. Hold the hands high. VIII. Four stand as in Figure VI. Three nearest each stander skip round and round him in a circle and reverse. Two groups turn one way, and two the reverse way. IX. Ladies' Chain (not touching hands) till the ribbons are plaited very low, then unwind again by reversing, and when finished, throw the ribbons in the air and skip away with your partners, hold- ing the partner's hand high." CHAPTER III THE COTILLION THE Cotillion is undeniably the most amusing of parlour games one can hardly call it a dance and is remarkable for bringing staid ' grown-ups ' out of themselves. It is chiefly done to Waltz time, but may very well be varied by music in 2-4 and 4-4 time. It is chiefly designed as an amusement for the onlooker rather than those taking part, and its success is dependent almost entirely on the leaders -that is, the leading lady or leading gentleman or leading couple, as the case may be. These should be especially selected for the position as leader by reason of their intelligence, sense of humour or knowledge of the dance. The writer has a list of some hundred and forty figures before him, but it will be sufficient for the purposes of this work if a round dozen be given. Most of them are purely French, as the dance appeals to the inventive genius of our friends over the Channel. 103 104 HOW AND WHAT TO DANCE The Figures THE FLAGS The leading couple sort out a number of flags, of which there should be two of each kind. The lady presents her half to the gentlemen, and the gentleman distributes his half (which are dupli- cates) to the ladies. All hide their flags. The ladies then form a line, the gentlemen do likewise, so that they are back to back. At a sig- nal from the leading couple, both lines turn and face each other, all bringing out their flags and waving them. Each gentleman then goes in search of the lady with the duplicate of his flag and dances with her. THE MASK The leading lady distributes a number of masks to the gentlemen, who proceed to the corner of the room to adjust them. The leading gentleman does likewise with a duplicate set of masks, which the ladies adjust in a different corner of the room. At a signal from the leading couple, the ladies and gentlemen then return to the centre of the room, the gentlemen selecting the ladies who wear the duplicates of their masks, and dance with them, THE COTILLION 105 At a signal from the leading couple, the music and dance stop, and all masks are removed. THE FAN The leading gentleman conducts a lady to a seat in the centre of the room and gives her a fan. The leading lady brings two gentlemen to the lady who is seated. One of these gentlemen the lady with the fan elects to dance with, and to the other she presents her fan, and this unfortunate has to follow the dancing couple round the room as they dance, and fan them. THE SUNSHADE This is similar to the above, only a sunshade is used in lieu of a fan, and the unfortunate man who is not dancing has to keep the others covered with the sunshade as they dance. THE GLASS OF CHAMPAGNE Another variation of the above. The follower must keep drinking, or appearing to drink, as he follows the other round with a champagne glass. THE Two CIRCLES The leading lady forms the gentlemen into a circle. The leading gentleman forms the into another circle round the gentlemen. io6 HOW AND WHAT TO DANCE At the first signal from the leading couple, each individual lady and gentleman commences turning round. At the second signal they cease turning and each gentleman takes the lady nearest to him and dances with her. ROUGE ET NOIRE The leading lady conducts two gentlemen, whom she has previously named " Rouge " and " Noire," to another lady who is seated. The latter is asked to call ' Rouge "or ' Noire. " The lucky one dances with her, while the other retires with a bow. FORBIDDEN FRUIT A basket of a dozen kinds of fruit (or suitable substitutes) is presented by the leading gentleman to the ladies. The leading lady then presents to the gentle- men a basket containing thirteen kinds of fruit. At the first signal the ladies and gentlemen place the fruits, which are all numbered, in their dresses and button-holes respectively. At the second signal, the gentlemen go in search of the lady the number of whose fruit when added to their own makes twelve. The gentleman, therefore, who cannot find a partner, has partaken of forbidden fruit. THE COTILLION 107 THE ORANGE The leading gentleman presents each lady with an orange and arranges them in the centre of the room. Each orange has a number of which each lady makes a mental note. They then simultaneously throw their oranges at the gentleman they wish for a partner, all the gentlemen being congregated in one corner. These rush forward to catch them, and each gentleman as he brings the right orange to the lady who threw it, dances with her. THE BRIDGE OF LOVE The leading gentleman conducts any lad}^ to the centre of the room, and raising her arms in the form of a bridge, all the gentlemen, conducted by the leading lady, pass underneath. The lady in the centre lowers her arms over the one she wishes to dance with, and the figure is repeated for all. LES CLOCHES DE CORNEVILLE The bells with a masculine name are given to the gentlemen, those with a feminine name are given to the ladies. Each hides his or her bell as the ladies and gen- tlemen are drawn up in long lines facing each other. At a signal from the leading couple, all ring their io8 HOW AND WHAT TO DANCE bells, and the gentlemen go in search of the lady whose bell has a name which is the counterpart of- the name on his own bell, and dances with her.. LES ADIEUX The leading couple lead the others in file up to the hostess. The leading couple then bow, and holding hands high, form a kind of archway. The next couple pass underneath and bow and curtsey to the hostess, forming up next to the first couple. All the other couples repeat, until all have bidden the hostess " adieu." CHAPTER IV LE MENUET DE LA COUR AND GAVOTTE The Menuet THIS graceful and dignified dance is said to have originated in Poitou, and was a great favourite in the time of Louis XIV, who danced it in 1653, when about fifteen years of age. The Menuet (or Minuet) was danced in England in George II's reign. George IV also admired and danced it. During the reign of Victoria it was introduced at a Bal Costume given by the Queen in 1845, since which time the Menuet has waned in popu- larity. There are many of the present generation who have never seen the Menuet de la Cour, but many fantastic representations of it have been given on the stage and elsewhere. The dance has been handed down from genera- tion to generation since the earlier times in certain 109 no HOW AND WHAT TO DANCE dancing families, and the steps are here reproduced as they were danced in the time of Louis Quatorze and its first introduction into England. The windings of the Menuet vary, but the follow- ing is a very fair arrangement. Le Menuet de la Cour Lady and gentleman, with hands joined, enter the room with Pas Mar die (6 bars), bow and curtsey to face audience (2 bars). Pas Menuet forward (3 bars), bow and curtsey (i bar). Tour de Mains with the right hands (3 bars), bow and curtsey (i bar). Step to right. Point left foot Second Position (i bar), Fouette Glissade (i bar). Repeat the two bars. (These four bars should take the course of a semi-circle.) Balance left foot (2 bars), Demi-Tour de Main (i bar), bow and curtsey (i bar). Repeat the above eight bars, beginning with the left foot, and forming a semi-circle in the opposite direction. Tour de Mains (2 bars) . Salute together in line, with backs to the audience (i bar). Present hands and Pas Marche three steps. Point outside foot, and Battement (2 bars), Petit Tour sur Place, bow and curtsey (2 bars). LE MENUET DE LA COUR in Balance left foot (2 bars), Demi-Tour do Mains, bow and curtsey (2 bars). Balance right foot (2 bars), Demi-Tour de Mains, bow and curtsey (2 bars). Lady step to right, gentleman to left, Fonette Glissade en passant (2 bars). Repeat the last two bars. Pas Mar die three steps. Point outside foot and Battcuicnt (2 bars), Petit Tour sur Place, bow and curtsey (2 bars). Lady step to right, gentleman to left, Fouctte Glissade en passant (2 bars). Lady again steps to right, gentleman to left, bow and curtsey (2 bars). Tour de Mains, bow and curtsey (4 bars). Pas de Basque Points (4 bars). Tour de Mains and Salute in line, with backs to audience (3 bars). Pas Memict forward (3 bars), bow and curtsey (i bar). Demi-Tour de Mains, Salute and Allemande (4 bars). Retire from room with the Pas Mar die during the eight bars. La Gavotte de Vestris This is a solo dance and vc ry much more lively than the Menuet. Like the jVJemict, the dance is subject to several arrangements, and the- one given is only one of many. :ti2 HOW AND WHAT TO DANCE It must be remembered that eight bars of music are played prior to the commencement of the dance. Jette to right, Jette to left, Jette to right, Fouctte (2 bars). Cabriole on the left foot, Jette with right and Fouette with left (2 bars). Then repeat the four bars, beginning with the left foot. Coupe three times (forwards, backwards and for- wards), beginning with the right foot, and rond-de- jambe (2 bars). Repeat the two bars, beginning with the left foot. Glissade to right, Pas Saute (i bar) ; repeat the bar, and then two bars of the same steps to the left. Pass right foot behind to Fifth Position, Pas Saute on right with left raised at Second Position en air (i bar), and repeat the bar, passing left foot behind. Cabriole on right foot, Jette left, Jette right. Repeat the last twelve bars, beginning with left foot. Assemble to right, rest ; ditto to left, ditto to right ; Pas Saute twice on the right foot, with left extended in front and behind alternately (4 bars). Repeat the four bars, beginning with the left foot. Pas de Basque to right and to left (2 bars). LA GAVOTTE PE VESTRIS 113 Three backward quarter pivots on left foot and Assemble (2 bars). Repeat the four bars commencing the Pas dc Basque to left Jcttc tonrnant from right foot to left. Jctte right, Jctte left, Coupe forwards and back- wards, Pas Saute and Passe la Jambc, and Jcttc fonvards (4 bars). Repeat the four bars commencing to the left. Jctte forward on right foot, Glissade backwards on right and left, Jctte forward on left foot, and Glissade backwards on right and left. Jcttc forward on right, and Glissade backwards on left and right three times, finishing with a Jcttc forward (4 bars). Repeat the last twelve bars, commencing with the Jcttc tournaut from left to right. T CHAPTER V SCOTCH REELS THE SAILOR'S HORNPIPE IRISH JIGS HE Reel is a national dance of Scotland, but resembles closely the Kreol of Denmark. True Scots naturally declare that it was they who introduced the dance into Scandinavia. It usually consists of a number of springing steps and much gesticulation, and the music is always in 4-4 or 6-4 time. There is a slow variet}^ called the Strathspey, and a fast variety only danced in Ireland. The figures vary in different localities, which makes it almost impossible to lay down any cor- rect version, the general characteristic of them all being, however, that they are danced in figures of eight, the partners facing each other. The Reel of Four is one of these. Two ladies and two gentlemen form a line of four, with the gentlemen in the centre, back to back. The reel commences with a " chain," each dancer describing 114 SCOTCH RKKLS i, ;) a figure ' 8," the gentlemen passing the hulk - en the right, but cither two Indies or two gentlemen meeting in the centre, pass each other on the left. The movement is continued over and over ag tin, only finishing when eacli gentleman finds liiniM-lf opposite a different partner. All set to each other (eight bars) the gentle- men displaying all their skill, the ladies d;m< -in- more quietly. Then repeat figure and so on, ad ///>. Lively Scottish airs only are suitable Inr these reels. The Reel of Tulloch is similar to the above only that more frequent changes of partners take pla< and a further step, known as the : Hullachan," is introduced. This consists of each dancer passing his (or her) right arm under that of his (or her) partner to grasp the left hand which is behind their backs, and in this way the joined couples execute a turn to the right (four bars) and a turn to the left (four bars). The Sailor's Hornpipe A mere written description of this vigorous dance would be waste of time. British to the backbone, it is perhaps the most characteristic dainv \\e have, each figure having a clearly defined significant The first, which is a kind of circular movement, n6 HOW AND WHAT TO DANCE signifies the " clearing of decks/' or pushing people back, as it were, to make room for the dance. Another figure, which consists of strenuous arm movements, represents the pulling of sails. Another represents pulling up the anchor, and con- sists of more arm movements in a stooping posi- tion. There is then the ' running up the rigging ' step, and one representing winding up the wind- lass. Perhaps one of the most picturesque is the ' Three cheers for the King," in which the dancer raises his cap as he carries out vigorous steps, and fastens it on his head again on the twelfth beat. Sixteen beats of music are counted throughout for each figure. There is also the " Fisherman's Hornpipe," which is performed to similar time, but different music. Also, it opens with the peculiar circling movement in order to " clear the people away," to make room for the dance. The Irish Jig The jig derives its name from the fiddle, just as the hornpipe does from a little oboe-like pipe. Jig of Geige is quite a common name for a fiddle in Germany, whence most of our dance nomenclature emanated. The dance itself is practically confined to Ire- THE IRISH JIG 117 land, although it was more generally danced and more classically treated in the days of Handd and Bach, both of whom wrote special music for it. The time is either triple or duple. Of course, the steps in this, as in all so-called " national " dances, vary in different parts of tin- country. It is, however, picturesque, whatever steps HIV adopted, and the partners (a jig is always a duet), smile and laugh throughout, especially in a kind of running movement in which the parties stoop and clap their hands, as they pass each other, and look over their shoulders. There is one step, which represents ' going out to the rocks," but apart from this there are very few characteristics, the whole dance being merely a frolic and representing cxhuberance of spirits. INDEX Alberts, The Figures of, 92 Ball Room Etiquette : Choosing partners, 23 Number of dances per- mitted with one part- ner, 23 Personal hints to dancers, 23 Barn Dance, The, How to dance, 72 Boston Waltz, The, Direc- tions for, 48 Bows and Curtseys, 28 Caledonians, The, How to dance, 89 Canadian Three-Step, The, How to dance, 73 Cotillion, The, Numerous tiLMin-s danced in, 103 Country Dances : Maypole Dance, The, << Sir Roger de Coverley, 95 Dances : Invitation forms for, 21 Master of the Ceremonies for, 20 Organizing and catering for, 1 8 Dancing : Ancient religious cere- mony of, 15 Countries which favour different forms of, 16 Five positions in, The, 32-36 Gradual development of the lighter kind of, 15 Holding of partners, 29 Presenting hands, 29 Theoretical'principles of,26 Dress for Dances : Evening dress, 24 Fancy dress, hints on choosing, 24 I 'ox-Trot, Tin', I'lill din-, tions for d.i'K im, r , 55, <>i 119 I2O INDEX French terms in use at dances, 29 Gallop, The, How to dance 52 Gavotte, de Vestris, The steps of, 112 Hesitation Waltz, The, Directions for, 46 Highland Schottische, The steps of, 75 Irish Jig, The, 116 Jazz Steps, The, Directions for, 63 Lancers, The, How to dance, 80 Le Menuet de la Cour, Steps of, no Maxina, The, How to dance, 70 Maypole Dance, The, How it is done, 99 Morris Dances, Origin of, 96 One-Step, The, How to dance, 53 Parisian Quadrille, The, How to dance, 91 Polka, The, Directions for, 5 1 Quadrille, The, How to dance, 84 Round Dances : Barn Dance, The, 72 Canadian Three-Step, The, 73 Fox-Trot, The, 55 Gallop, The, 52 Highland Schottische, The, 75 Jazz, The, 62 Maxina, The, 70 One-Step, The, 53 Polka, The, 51 Schottische, The, 74 Tango, The, 64 Two-Step, The, 53 Valeta, The, 72 Waltz, The, 39 Sailor's Hornpipe, The, How it is danced, 116 Schottische, The, Method of dancing, 74 Scotch Reels, Different steps in, 114 Sir Roger de Coverley, How to dance, 95 Square Dances : Alberts, The, 92 Caledonians, The, 89 Lancers, The, 80 Parisian Quadrille,The, 91 Quadrille, The, 84 Valse Cotillon, The, 88 INDEX 121 Tango, The, How to dance, 64 Two-Step, The, How to dance, 53 Valeta, The, How to dance, 72 Valse Cotillon, The, How to dance, 88 Waltz, The : Gentleman's part in, 41 Lady's part in, 44 Origin of, 39 Walking, The real Art of, 27 Printed in Great Britain htj Bull, r & Tanner, Frome and London I m