8S&86.L0N^ 



p 

Dedicated to the Imperial Society of Dance Teachers. 



DANCING, ^w- 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



Compiled by CHARLES d'ALBERT, London, 

CO ice- President, Imperial Society of T)ance Teachers), 

London, 1913. 



technical Glossarp 



AND 



Pronouncing Dictionarp 



OF 



Che Art of Dancing. 



INTRODUCTION. 

\jO work in the English Language has yet been given 
to the Teacher of Dancing, which would serve as a 
serious basis for the study of the Technique of the Art he 
professes to teach. This book is launched in the con- 
fident hope that it will act as Mentor, Guide and 
Instructor to my many Professional sisters and brethren. 
Should it be the means of elevating our Art, its object 
will have been attained. In any case, the reader cannot 
fail to find much useful information and valuable instruc- 
tion in the perusal of its pages. 

Charles d'Albert. 
London, 1913. 






TECHNICAL Terms 



a cote 


means 


a gauche ... 


M 


a droit 


II 


dessus 


II 


dessous 


II 


avant 


11 


arriere 


II 


dedans 


II 


dehors 


1' 


point 


V 


supporting- leg 


>l 



free leg 

pas 

temps 

tempo 

vis-a-vis 

reverence or salute 



frequently employed in Dancing. 

... to the side. 

... to the left. 

... to the right. 

... over, or in front. 

... under, or rear. 

forward. 

... backward. 

inwardly. 

... outwardly, or backward. 

foot pointed with the weight of the 
body on the other foot. 

the one on which the body is sup- 
ported. 

... the one which is moving while the 
other supports the body. 

... a complete step 

... a syllable or portion of a step. 

... the time or the rhythm of the music. 

... facing each other. 

.. lady curtsey and gentleman bow 
simultaneously. 



ABBREVIATIONS employed in the ' Glossary." 

R— right. L.— left. F.— Foot. 

H. — Hand. Pos. — Position. 



Note. — The Editor is not responsible for the description of any 
step or movement given by the creators of the yiumerous dances in 
the Encyclopedia. 



GLOSSARY. 



A. B.C. — Alphabet. — Positions. — The premier place in all study 
of the Art of Dancing must be given to the A. B.C. of the Art- the 
Positions, which form the fundamental principle of all dance movements. 

There are five principal positions in six classes . (i) toe, (2) point, 
(3) ball, (4) sole, (5) heel, and (6) elevated positions. 

The principal sole positions are : — 

First Position. — Place heels together and the toes well turned 
out, weight equally distributed on both feet and knees together. 

Second Position. — Place the feet straight to the side in a line, 
with a space the length of the dancer's foot between them, the weight of 
the body on both feet. Should the feet be a greater distance from each 
other, they would then be said to be in a '" double second " position. 

Third Position. — Place the heel of one foot in the hollow of the 
other. If the heel of right foot is placed in the hollow of the left it will 
be 'right foot to third front position"; if, however, the hollow of the 
right foot is placed against the heel of the left it will be " right foot to 
third position rear." In both cases it is the right foot moving ; should 
the left foot be making the movement, it would be " left foot to third 
front or rear." The weight is placed on both feet in the third position. 
Fourth Position. — Legs straight and one step forward is " fourth 
front position." The foot one step to the rear, at a distance of one foot, 
is fourth rear position. 

Fifth Position.— The legs and feet crossed so that the heel of one 
foot is directly opposite and touching the toe of the other. The feet 
would be exactly in front of each other and parallel. To practise this 
position it is as well to grasp a bar or chair. Owing to the formation 
of the foot, the right heel in the fifth position will touch the side of the 
left big toe, but the right small toe will touch the instep of the left foot. 

The first, third, and fifth positions are called " close positions," the 
feet being together close and the weight on both. 

The second and fourth positions are " open positions" the feet being 
open and apart. 

Toe Position. In the positions already described if the extreme 
points of the toes are used it is the " toe position." 

Point Position.— If the toe only touches the ground with the 
weight on the other foot it is a " point position ." 

Ball Position. — If the ball or forward portion of the sole touches 
the ground it is a " ball position." 

Sole Position. — If the whole sole touches the ground it is a " sole 
position.'' 

Heel Position. — If the heel only touches the floor it is a " heel 
position." 

Elevations or Flowing Positions. - If a foot is raised entirely 
from the floor it will be an " elevation or fiowing position." It may be 
a " low elevation," that is near the floor. " Half-high elevation," foot 
raised on a level with the calf of the other leg. " High elevation" foot 
raised as high as possible. 

Direction.- -If the whole foot is on the ground it is in the "hori- 
zontal direction " ; if the foot rests on the ball the direction is 
" inclined " or " diagonal " ; if it is in the point position it is " perpen- 
dicular " or " vertical " ; and if on the heel it is " upward " or " rebrous- 
sale" direction (Rebroussale is derived from Fr. rebrousser, to turn up) 
from the pointing upward of the toes. 



THE ART OF DANCING. AB 

Elevations.— If the foot does not touch the floor, it is elevated. If 
raised a little from the floor to the side it is a " second low elevation." 
If raised forward it will be a "fourth low front elevation." If raised 
backward it will be a " fourth low rear elevation." If the foot is raised 
to the side, level with the other calf, it will be the *' second half- high 
elevation " ; if level with the hip it will be " second high elevation " ; if 
the leg is raised forward or backward, it will be in the " fourth front or 
rear elevation." 

While the body is being supported on one leg the other can balance 
in either "stretched" that is quite straight; "half-stretched " knee 
slightly bent ; " rounded" bent slightly more and the leg from the knee 
to the toe in line with the other knee; " half bended" knees almost 
touching and leg high up rear; "entirely bended" the whole leg pushed 
backward and upward. 

Intermediate Position. — Should the foot be placed in such a 
position that it is neither second nor fourth, but between the two, it is 
said to be in the " intermediate position." The foot can also be 
between the first and third, third and fifth, or second and fourth, &c. ; 
these are all in the " intermediate position." A " prolonged position " 
is one in which the step is longer than the length of the foot, and is 
therefore exaggerated. 

Abaisser (pronounced ah-bay-say). — See Abaissements. 

Abaissements (ah-baiss-mahn). — Lowerings. Two terms are em- 
ployed for lowering — " abaisser" which signifies a lowering; and 
" baisser" putting down. To lift the right foot is '' lever le pied 
droit," to put it down is "baisser." To raise oneself is s'elever — 
i.e., to raise the heels from the floor ; to assume the normal posi- 
tion, that is, to let the heels again touch the floor is abaisser or 
s' abaisser. Hence — 

Lever... ... To lift (the right or the left leg). 

Baisser ... To put down (right or left leg). 
s'Elever ... To raise oneself. 

s' Abaisser ... To lower oneself. This must not be con- 
fused with plier. 

Academy of Dancing. — Founded by Louis XIV. in Paris The 
Academicians were Florent du Desert, Prevot, Jean Renaud, Guil- 
laume Renaud, Reynal, Gueru, d'Olivet, de Manthe, Jean Raynal, 
de Lorges, Picquet, Galant du Desert, and Jean de Grygny. 

Accrochirisme (1\) — Date 1503. Rhythm 3—4. A merry wrestle in 
which the dancers touch each other, then hook their arms round 
each other's body, revolving by eleves forward, backward and turn- 
ing completely round. The overthrow of one or the other decided 
the victor. 

Adage (!'.) (Ah-dahjh). — When the sublimity of the subject chosen 
is represented by postures, attitudes, play of the arms or coun- 
tenance, in any position or in pirouetting. 

A coin (ah-kwahn). — To the corner. 

A cote (ah-ko-tay).— Sideways. 

Adelienne (1\) (Ah-del-yen). — 1897. Created by Mdlle. Adelia da 
Silva Feixeira, Teacher of Dancing, Oporto. Composed to the 
music "' Linger Longer Loo." During four bars introduction the 
dancers take their places. This dance then occupies 104 bars, 
followed by four bars finale to lead partners to seats. 



AD PRONOUNCING DICTIONARY OF 



Position. Gentleman stands at lady's side with her left hand 
in his right (which will hereafter be termed the " Pas de Quatre 
position") 

The Step. Gentleman. Bar I. — (i) Point l.f. in front of r.f. 
(2) Repeat to the rear. (3) Repeat forward. (4) Raise the l.f. 
forward (en l'air), strongly bending r. knee. 

Bar 2. — (1) Glide l.f. forward. (2) Glide r.f. forward. (3) 
Glide l.f. forward. (4) Pause. 

Bars 3, 4, — Repeat 1, 2, commencing other foot, then release 
hands. Lady makes the same steps, but with the opposite foot. 

Bars 5, 6. — Gentleman. . (1) Glide l.f. to left slightly backward. 
(2) Pass point of r.f. close to l.f. outside and well crossed. (3) Pivot 
on the soles a three-quarter turn to left. (4) Pause. (5. 6) Glide 
l.f. to rear. (7, 8) Draw r.f. to l.f. facing each other and at a dis- 
tance. Lady the same with opposite foot, pivoting to the right. 

Bars 7, 8.— Both commencing r.f., approach each other with 
steps of Bars 1 and 2. 

Bars 9 to 16.— Both join r. hands. Both commence l.f., and 
repeat bars 1 and 2 three times. The lady does a pirouette to 1., 
and takes up the first position, and the whole is repeated five times, 
making q6 bars, then repeat bars 9 to 16 and 4 bars to lead lady to 
seat — 108 bars. The lady holds her train with either or both hands 
when free. The gentleman places the free hand on the hip ; when 
both hands are free, one rests on the hip and the other should be 
elevated. 

A droit (ah-droo-ah). — To the right. 

A gauche (ah-gohsh). — To the left. 

Ailes de Pigeon (les) (i-der-pizhyon), or pistolet. — Some technical 
terms and names of dances are derived from the supposed resem- 
blance of the step to some article or familiar movement ; as Cachuca, 
which in Spain refers to anything pretty ; Pavane, the graceful 
strut of a peacock. So, " aiies de pigeon " means literally " pigeon 
wings," and is so called from its supposed similarity to the beat of 
the wings of a dove or pigeon. 

The simple or in turning : — Bend 1. leg and stretch the r. leg to 
2nd position in the air {2nd elevation). In rising on the 1. leg beat 
the r. calf against the 1. (beneath the calf). Then beat the 1. calf at 
the back of the right and fall on the r.f. with the 1. leg outstretched 
in 2nd elevation. These two beats are performed with both feet off 
the floor and falling back on the r.f. This constitutes a " flap of the 
pigeons " to the right (or half wings) ; to complete the " ailes de 
pigeons" repeat commencing with other leg. These "ailes" are 
often executed 8 and 16 times according to the necessities of the 
dance. They are done in turning to the right or left ; one turn for 
four half beats of the wings. 

Ailes de Pigeon en terre. — On the ground. The same as the simple, 
but the feet must remain close to the ground and not elevated. 

Ailes de Pigeon coupes. — L. leg to 2nd elevation. Rise on r. leg and 
beat 1. calf against it, then beat r. calf against 1. calf. Alight on l.f. 
and gliding r.f. to the right, glide l.f. to 3rd front {assemble). 

This step can also be done en avant (forward) and en arriere 
(backward). 

Ailes de Pigeon berceau. (ber-so). Cradle step. — Execute the simple 
wings once or three times, followed by a cradle step. 

A la fin. (ah-la-fanh).— At the finish. 



THE ART OF DANCING. AL 



Alberts.— A corruption of " The D'Alberts." A square dance. 
Figure i. ... First figure of Quadrilles. 

,, 2. ... Second ,. of Caledonians. 
,, 3. ••• Third ,, of Lancers. 
„ 4. ... Waltz Cotillon half through. 
„ 5- ••• Fifth figure of Quadrilles (flirtation). 

Alle. (pas) (pah-zah-lay). Walking step.— This step is generally 
called pas marche, but between walking and marching there is a 
great difference. Walking is to move easily, marching is a regulated 
step. In walking, the arms swing naturally, in marching they are 
carried in some prescribed manner. In walking, the stepping foot 
is put down to receive the weight of the body easily ; in marching, 
the toe of the stepping foot is first placed on the ground. See 
Marche. 

AHemande. (ahl-mahnd).— A dance in Switzerland and Germany 
about 1580. The music in 2-4 tempo was lively and gay. It was 
performed by the gentleman turning the lady under his arm and 
vice versa. In modern dances the allemande is done in the same 
manner, usually, however, it is the lady who pirouettes under the 
gentleman's upraised arm. 

It has been asserted that the modern waltz owes its origin to 
the Allemande, but the fallacy of the argument will be apparent 
from the description of the allemande as danced in the reign of 
Henry IV. of France in 1590, and of Louis XV. in 17 15. All the 
couples join hands in a circle and galop {chassez) round the room, 
first to the right, then to the left. Then, releasing hands, the 
gentlemen remain in their places while the ladies make a tour de 
bras {or turn) beneath the gentleman's arms, passing from one 
gentleman to the next as in the grande chaine of the modern 
Lancers ; repeat the circle galop, each gentleman passing under 
the lady's arms; repeat the whole ad lib. In Switzerland the 
dance was varied by the gentleman turning the lady under one arm 
and then the other. There is not the remotest resemblance between 
this and the modern waltz. In 1565 (Charles IX) it was danced by 
a gentleman and two ladies. They went backwards and forwards, 
then the gentleman turned one lady under his arm, he, repeating 
the turn under her arm ; the dance recommenced, and he repeated 
the turns (allemande) with the other lady. 

Allemande. (ahl-mahnd). — Dance composed by Theo. Lytle, 1897. 
Eight bars ; tempo 2-4. I 

Position. Lady and gentleman, vis-a-vis (facing each other), 
left hands joined. 

Gentleman, a polka step with left foot to the left. Lady 
simultaneously, polka step r.f. to the right. 

Gentleman with r.f., Lady with l.f. a pas marche, diagonally 
forward. 

Gentleman pivot a half-turn to left on the right sole and 
assemble l.f. to 3rd rear. Lady, same step with opposite foot. Now 
change hands and repeat these two bars commencing with the other 
foot ; then waltz four bars and repeat the whole ad lib. 

Alliance. (ahl-le-ahns). — Franco- Russian dance from Toulouse 
(1897). 16 bars, 2-4 and 16 bars 3-4 time. 

Position as for Pas de Quatre. The gentleman's steps and 
lady's steps are similar, but the gentleman commences with the l.f. 
the lady with r.f. 



AL PRONOUNCING DICTIONARY OF 

Theory for the Gentleman. ist bar. — (i) Glide l.f. 
forward, obliquely to the left (2) pass r.f. in front of l.f., tapping the 
point of the foot on the ground, the body bent to the right. 

2nd bar. — Repeat first bar commencing r.f. and turning the 
back a little. 

3rd bar. — Repeat first bar exactly. 

4th bar.— Glide r.f., bring l.f. up to it facing the lady, and, 
releasing hands, salute. 

Bars 5-8. — Repeat bars 1 to 4 ; finish bar 8 facing each other 
(vis-a-vis) gentleman with hands on hips, lady with both hands 
raising the dress. 

Bar 9.— (1) Both glide r.f. to the right, (2) draw l.f. to r.f. 

Bar 10. — (1) Both glide r.f. to the right, (2) Cross If. in front 
of r.f., tapping the toe on the floor, looking at each other. 

Bars 11-12. - Repeat bars 9-10 with l.f., then join right hands 
and perform a turn with the following step. 

Bar 13. — (1) Glide r.f. in front of l.f. (2) Draw l.f. up to r.f. 

Bar 14. — Repeat last bar with l.f. 

Bars 15-16. — Repeat bars 13-14. The music then changes 
to 3-4 tempo. 

Bars 17-32. — Waltz 16 bars to Waltz music. 

Repeat the whole ad. lib. 

Alliance. — (Cronstadt, Toulon, 1890). 2-4 tempo. 

For 2, 4, 6, or 8 couples placed in two parallel lines. Ladies in 
French and gentlemen in Russian costume. 

Theory. First Part. 8 bars. — The: two lines walk backward 
and forward, tapping the sole on the floor, the gentlemen with 
hands on hips, the ladies raising their dresses, answer by a 
curtsey the salutations of the gentlemen. 

Second Part. Four bars. — Both turn separately in their places, 
the left hand on the hip, the right elevated above the head. 

Third Part. Eight bars. — Promenade, and a tour de main 
with partners. 

Fourth Part. Four bars. — Two pas de basques, separately, 
finishing with two pirouettes in place. 

Fifth Part. Four bars. — Pas de basques holding hands, 
finishing with a pirouette. 

Sixth Part. Eight bars. — Promenade with pas de basques. 

Seventh Part. 20 bars.— Repeat parts 1, 2, 3. 

Eighth Part. Eight bars. — Jete with r.f. then with l.f., followed 
by three changements de talon (changes on the heels) moving 
forward (2 bars). Repeat forward (2 bars). Repeat the whole 
backward (4 bars). 

Ninth Part. Eight bars. — Fouette with r.f. forward, stretch 
the right leg backward, three changements de jambe (changes of 
the leg) and a Russian salute for the gentleman. The lady walks 
round her partner with seven pointed dainty steps, then assemble. 
Repeat four times in all. 

Tenth Part. Eight bars. — Promenade with chasses ouverts 
(open chasses). 

Eleventh Part. 20 bars. — Repeat parts 1, 2, 3. 

Twelfth Part. Two bars. — Degage, fouette, pointe, ballonne 
with each foot. 

Thirteenth Part. Two bars. — Pas de basque forward, brise, 
glisse backward twice. 



Part II. June, 1913. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing 



THE ART OF DANCING. AL 



Fourteenth Part. Eight bars.— Two pas marches forward and 
one backward, and a Russian and Parisian salute (4 bars). Repeat 
(4 bars). 

Fifteenth Part.— Place left arm round each other, the other 
elevated, turn in this position and finish with the hands of the 
gentlemen in those of the ladies. 

Allonger (ah-lawn-jhay) .— Stretching. Also s' Allonger, to stretch 
oneself. Article 1 19 of Zorn's " Grammar " states that " Stretching 
is a movement the reverse of bending, without which a new bend 
cannot be executed." Redresser is to make straight a bended leg. 
Allonger is to stretch out (see tendre). Flier is to bend the knees. 
Compare with " Abaisser." 

Alphabet (ahl-fa-bet).— See A. B.C., also article " Theatre." 

Anapolies. — Ancient Greek dances in which wrestling was combined. 

Anglaise (ahn-glayz). — Theatrical. 2-4 time. 1, 2, 3, 4, or more 
dancers. In one figure there are four steps ; one to the right, one 
to the left, one forward, and one backward. 

Debut {entry). Promenade to the right during 8 bars : Sauter 
(hop) twice on l.f., making two petit s battements with ri. in front of 
l.f., jete with r.f. forward ; repeat with other foot. 

First Figure. Point to right and assemble : point to left and 
assemble : berceau (cradle-step, see berceau) forward eight times 
and assemble : berceau eight times and assemble. 

Second Figure. Battement with the sole to the right and 
assemble: petit battements (double ones) backward; berceau four 
times backward and assemble. 

Third Figure. Degage with r.f. to the right ; three changes 
of the heels, point the heels and assemble — three times with r.f. 
Repeat with l.f. Rond de jambe with r.f., point toe and heel r.f. six 
times forward : foutte ; stretch out rounding the leg and assemble : 
rond de jambe the 1. to rear ; toe and heel six times to rear with l.f., 
fouette before the r. leg; round forward the straight leg and assemble. 

Fourth Figure. Point five times with a change of heels ; point 
r. heel to 2nd position, then with the point in front of l.f., then 
to the side, then to rear four times with r.f. and assemble. Repeat 
with l.f. 

Ciseaux (se-so). Forward. Explanation of scissor-step. Place 
the toes together, heels open ; shut the heels and open the toes ; 
repeat eight times forward and assemble. 

Backward. Open the heels, close points : close heels and open 
the points — eight times backward and assemble. 

Fifth Figure, Ciseaux turning to right. Analysis. Open the 
heel of r.f. closing the toe of l.f., open the point of r.f. closing heel of 
l.f. and so on while turning, then assemble ; repeat to left while 
turning. Point in 2-4 time with the r.f., then l.f., followed by a 
change of heels ; repeat four times forward and assemble — repeat 
backward. Repeat from the " point," with l.f. 

Sixth Figure. Ciseaux and grand ecart (splits), rise, point 
forward and assemble, four times forward : point backward and 
assemble four times. 

Seventh Figure. Point right 2nd position, repeat l.f., assemble, 
three trots de cheval (pas cheval — horse steps) forward : berceau : 
frappe (tap) l.f., chasse r.f., frappe three times with double sole and 
berceau : three pas cheval, berceau and assemble 1 (the pas cheval 
must be repeated backward as well as forward). 

9 



AN PRONOUNCING DICTIONARY OF 

Eighth Figure. Point r.f. to 2nd position with toe and heel ; 
fouette forward and backward : three changes of the heels : repeat 
three times more to right and assemble. Repeat the whole to the 
left. Ciseaux forward : six berceau : twice more forward, and 
assemble. Repeat backward. 

Ninth Figure. Sissonnes Anglaise to the right : berceau and 
assemble : ailes de pigeon and berceau forward : (repeat five times 
forward) and assemble: ailes de pigeon and berceau backward six 
times and assemble. 

Tenth Figure. Berceau turning to right and assemble : repeat 
to left : point forward, ailes de pigeon and assemble. Repeat 
backward. 

Eleventh Figure. With r.f. battement with the sole in turning 
to the right and assemble : repeat with l.f., battement the right sole 
forward, three chasses, frappe with the foot. Chasse with I., then 
with r., tapping with the feet three times forward and assemble. 
Repeat backward. 

Twelfth Figure. Open (echappe) to 2nd position and three 
changes of heels: repeat twice to right and assemble terre a terre : 
berceau forward three times and assemble. Repeat backward. 

Thirteenth Figure. Three times ailes de pigeon and three 
changes of heels : ailes de pigeon coupe backward and forward ; 
ailes de pigeon in place turning and assemble. 

Fourteenth Figure. Two ecarts, three changes of heels : repeat 
this four times and assemble : ecart, double entrechat, ecart, tour en 
l'air (turn in the air), repeat twice and assemble for the finale. 
Promenade to the right as for the debut ; ecart, entrechat, ecart, 
entrechat, and final attitude. 

Anglaise Militaire. — Either Solo or a number. 2-4 time. Debut. 
Promenade to right and left. 

First Figure. Tap right sole forward, fouette r.f. in front of l.f., 
and a scissor-step with l.f. Repeat with l.f. Tap sole to rear to 
finish. 

Second Figure. Double beat right sole forward, beat r.f. to 
right, three fouettes, tap with foot and fouette. Repeat with l.f. 
Double beat the sole to rear to finish the figure. 

Third Figure. Pas cheval forward, degage with r.f,, entrechat 
and three points. Repeat with l.f. and finish with pas cheval to rear. 

Fourth Figure. Ciseaux forward, demi-ciseaux, three changes 
of the feet to the right ; semi-diseaux and three changes of the feet 
to left ; finish with ciseaux to rear. 

Fifth Figure. Beat three times with the sole in walking 
forward : ciseaux in turning to the right ; ciseaux turning to left. 
Beat three times with the sole going backward. 

Sixth Figure. Chasse-croise, two fouettes, demi-ailes de pigeon 
forward, two points, assemble and three changes of the feet to the 
right. Repeat to the left. Finish with chasse-croise, two fouettes 
and demi-ailes de pigeon to the rear. 

Seventh Figure Bourree forward, three changes, three points, 
assemble on the points, jumping twice on r.f. Repeat l.f. Finish 
with Bourree, to rear and three changement de jambes. 

Eighth Figure. Triolet forward, ballonne to right and left. 
Triolet to rear. 

Ninth Figure. Degage forward, half terre-a- terre, ciseaux, 
beat with sole, triolet turning to right. Repeat with l.f Finish with 
echappe, demi-terre-a-terre, ciseaux and tap the sole. 

10 



THE ART OF DANCING. AN 



Ten£h Figure. Two points, demi-rond-de-jambe, demi-ailes de 
pigeon forward and fouette, turning to right. Repeat with l.f. 
Finish with two points, demi-rond-de-jambe and demi-ailes de pigeon 
to rear. 

Eleventh Figure. Points, demi-ciseaux forward, ballonne, 
triolet to the right. Repeat to left. Finish with points and demi- 
ciseaux to rear. 

Twelfth Figure. Terre-a-terre forward, degage, half terre-a- 
terre, demi-ciseaux, assemble forward, ciseaux, three changement 
de jambe (changes of the legs) to the right. Repeat left. Terre-a- 
terre to the rear. 

Thirteenth Figure. Demi-rond-de-jambe, run forward, point, 
coupe to the right, ciseaux, changement de pied (foot) to the left, 
ailes de pigeon coupe to rear. Finale. Promenade as at debut to 
right and left (start on the points and lower yourself) ecart and 
entrechat. 

Anglicane (!') (lahn-glee-kane).— Date 1530, Henry VIII. of 
England. 2-4 time. Eight steps to four bars. Gentleman's step. 
Glide l.f. to left. Coupe r.f. dessous (below). Describe a demi- 
rond (half-cirele) en l'air (in the air) with l.f. ; jete with l.f. and 
assemble (2 bars). Repeat with r.f. (2 bars.) Tombe in 3-time 
twice to each side. The Gentleman and lady commence with joined 
hands and opposite feet. They release hands for the tombes (falls). 

Angrismene (1') or the Fdchee (fah-shay). — Greek Pantomime 
Dance for a couple, 182 1. 3-4 time. Placed next his partner, in 
step and gesture the man developes all th$ passion of love. He 
simulates strangulation with a handkerchief because he disbelieves in 
her love. She runs to him, cuts away the handkerchief and restores 
him, deploring and upbraiding him for his severity. He recovers 
and they vow eternal fidelity. They dance face to face, expressing 
their mutual sentiments by facial expression, gesture and move- 
ments of the body and legs. They pirouette and dance a duet, the 
man finishing on his knees at his partner's feet. 

Aplomb (ah-plon).— With assurance. To alight neatly and with 
assurance on the feet after any step. 

Apotheosis,— Final Tableau. The artistic combination of the scene- 
painter, the decoration of the architecture, the costumier, the 
harmony of colours, and the sparkling grouping of the dancers. 
The dancers study their attitudes, electricity plays its part by throw- 
ing fires of all colours on the human throng. The subjects vary 
infinitely and depend mainly on the idea intended to be conveyed : 
a person recovered, be it king or queen, surrounded by their suite, 
the attitudes varying according to taste ; a representation of an 
engagement in war; a king with his staff officers or his seraglio ; a 
queen with her ladies-in-waiting, etc., etc. Facts and historical 
subjects can be represented, personages arrayed in costumes and 
accessories, arms, flowers, etc ; everything, indeed, which can give 
an impression, realistic or ideal, of the author's thought. The 
attitudes of the dancers are innumerable. The subjects are 
pourtrayed in the painting of the sky, in the trees, the flowers, the 
fields, the clouds, even space suspended by a thread, in the sun, in 
jewels, in arms, in the field of battle, etc. It is the finale of the 
ballet or play: it is a god which should impress on the audience the 
general idea of the play. 

II 



AR PRONOUNCING DICTIONARY OF 

Arabesque (ah-ra-besk). — The position of the body in attitudes. 
Groups of dancers, male or female, or both, entwined by various 
properties such as scarves, flowers, rings, ribbons, hoops, garlands, 
etc. Sometimes the dancers, from their groupings and attitudes, 
represent antique bas-reliefs, or the painting on a great scale of the 
ideal or passion of some myth, god or person. The best arabesques 
and attitudes can be studied from the antique Grecian and Roman 
marbles. 

Arcadian. — By R. M. Crompton (1897). Music by Morley. Eight 
measures in 3-4 Mazurka tempo. The dance, for couples, is 
composed of a series of eight bars repeated. 

Archimime (arsh-e-meem). — Tempo 2-4. A dance in imitation of the 
life of a person being taken to the cemetery, the funeral pyre or the 
gallows. The Romans danced it in the presence of the criminal or 
sufferer, performing such steps, gestures and attitudes as would 
convey to him the good and bad actions of his lifetime. 

Argentine Tango.— See Tango. 

Arlequine (arl-kan). — Theatrical. For couples vis-a-vis. Tempo 
2-4. 1st step, dance with rond de jambe turning. 2nd step, tombe 
to the side, bending twice to the right and twice to the left. 3rd step, 
Pirouette to left, ecart and entrechat three times ; this is done in a 
square. 4th step, casse-cou in place, one bar. 5th step, contretemps 
to left and three tires (drawing steps) and entrechat ; this is done in 
a square. 6th step, bourree in place and four tires ; this is done to 
right and left. 7th step, chasse ouvert (open) on all four sides. 8th 
step, cross to one side with jetes, spreading out the arms to form a 
cross to the left : twice. 9th movement, wag the head keeping arms 
still. 10th step, glissade to right, jete, bourree: repeat the glissade, 
jete, bourree to face each other : twice, nth step, jete-en tournant 
(in turning), ecart and entreehat on four sides. 12th step, jete-en- 
tournant to right, three tires, entrechat and pirouette-en-1'air — on 
four sides. 13th step, bourree forward, chasse, jete, entrechat, 
stretch out the leg and dip from the hips ; jete backward, entrechat 
and pirouette. Repeat to return to place. 

Arlequine de Concert. — Tempo 2-4. Solo or duet. 1st, wave the 
wand, tap with it three times and entrechat. 2nd, three piques (toe 
and heel) one change of the feet and entrechat. 3rd, contretemps, 
brise and entrechat. 4th, demi-ciseaux (half scissor step), glissade 
and brise. 5th, echappe, emboite, entrechat to rear, ballonne and 
entrechat. 6th, terr^-a-terre, deboite to rear and ailes de pigeon- 
coupes. 7th, two piques with each leg, tombe on each leg, bouree 
and seven brises. 8th, Seven chasses backward, pirouette : four 
times. 9th, echappe, two fouettes, tombe, bouree, brise, entrechat. 
10th, wave the wand gracefully. 1 ith, ecart, entrechat, changement, 
entrechat. 12th, three degages, changement, entrechat and 
promenade. * 

Arlesienne. — (1898). Danced by the children of Symphorien near 
Tours. 2-4 tempo. The children, in couples, facing each other, 
shod in sabots. (1) they take arms and advance, two taps of the 
sabot to the vis-a-vis (2 bars). Repeat backward, tap sabot to the 
lady and release arms (2 bars). Promenade smiling at vis-a-yis in 
passing (8 bars). Boy clasps girl and the other hand on the hip. 
Polka piquee (toe and heel polka) round in place (8 bars). (4) 

12 



THE ART OF DANCING. AR 



repeat I. (5) promenade, tapping the sabots to accompany the 
music (8 bars). (6) ballonne. turning- singly in place (4 bars). (7) 
repeat 1. (8) boy, polka-sautes round his 'partner ; girl repeat (8 
bars), (9) boys and girls, polka forward, boys smile mockingly 
at yis-a-vis. (10) girls, with a menacing air, make boys escape to 
their partners (4 bars). All retire with polka and taps of the sabots 
(8 bars). Boys kneel on r. knee in attitude with their partners. 

Arnaoute (ahr-noot).— Martial dance of the Greeks, 1700. Tempo 
2-4. Gentlemen armed with sticks, ladies with whips. One couple 
agitates these, at the same time moving forward running, jumping 
and galloping. The other couples follow with hands interlaced, 
imitating the movements and gestures of the first couple. In ancient 
times the Greeks went to war led by this dance ; the success of the 
battle was supposed to depend on the couples who executed the 
dance, and conducting the army to glory or to death. 

Arondi (ah-ron-dee). — A rounded arm. The third degree of the 
bended arm. See Bras. 

Arret, commonly known as "pas d'arret" (pah-dahr-ray). — A checked 
or half-finished step — a pause with one leg suspended or raised, as 
in the Tango and Maxixe. 

Arriere en (ah-ree-air). — To retire, as in square dances. Arriere 
rear. See Avant. 

Assemble (ah-sahm blay).— To bring together. Bringing the feet 
from an open to a close position in one tempo, or from one close 
position to another. The foot can be placed in front in the 1st, 3rd, 
or 5th position ; termed assemble dessits ; if to the rear it is termed 
assemble dessous. Continuous pas assembles must be made with 
alternate feet. 

Astronomique. — Egyptian dance. 600 B.C. Said to have been invented 
by Pythagoras The dancers were arranged in series of eight 
couples, from which one became detatched. All moved about with 
pas glisses and represented the course of the stars and the harmony 
of their^movements, by well-regulated figures, arranged in advance. 

Attitude. — Harmonic position of the whole body in dancing or in 
repose. The feet and arms must assume the most graceful position, 
and harmonize with the subject the dance represents. The dancer 
maintains this position on one or both feet and facing- in any 
direction. Only the most beautiful ideals, and not burlesques, 
should be represented. Strenuous and unceasing practice is 
necessary to attain the movements for the opposition of the arms, 
the body, the head and the legs to maintain easy and graceful 
attitudes. See Arabesque. 

Auvergnate (o-vern-yaht). - Tempo 3-4. Date 15 19, under Catherine 
de Medicis, who danced it. As many couples as desire may join ; 
they are placed in two parallel lines, each couple having its vis-a-vis, 
with whom they danced. The step is a kind of Pas de Valse in 2-4 
tempo, tapping the feet in time to the music. All the couples 
advance and retire agitating the arms, tapping the feet and changing 
places. Gentlemen only, repeat this, then ladies. Back to places. 
Turn round each other with tour-de main. Repeat all. Finale — 
clasp each other and dance round the room. 

*3 



AV PRONOUNCING DICTIONARY OF 



Avant (ah-vahn). — Forward, or in front. En avant, to advance (as in 
Square dances). 

Avant-w«, deux, trois, quatre, six, huii. — One, two, three, four, six, or 
eight advance. Employed in the various Quadrilles. The step 
usually consists of three pas inarches and an assemble. 

Avant-Utl, is an advance solo, ss in 2nd figure of Caledonians. 

Avant-deux, two advance. This may be performed by a gentleman 
and his partner or a gentleman and his vis-a-vis. 

Avant-trois, three advance ; as in 4th figure of Quadrilles. 

Avant-quatre, four advance. Two couples vis-a-vis advance. 

Avant-six, six advance. Example : — First and second couples advance 
to side couples (avant-quatre), and, leaving the lady there, the 
gentlemen retire alone. The two sides will now each consist of 
three dancers, if they advance they will perform avant-six. 

Avant-huit, eight advance, either in two lines or circle ; as in 5th figure 
of Lancers, or Grand Circle. 

A vos Places (ah-vo-plahs.) " Regain your places." w 



Baisse (bais-say).— A lowering time. See Abaissements. 
Baisser (bais-say). — " Letting down " the raised limb. 

Balance (bah-lahn-say). With this expression is always implied the 
conception of remaining in place. (1) glide r.f. to 2nd or 4th position, 
degage ; (2) glide l.f. to 3rd position, front or rear, and lightly raise 
the heels and let them down again. This movement is sometimes 
called " setting." It may be done a cote, en avant, en arriere, or en 
tournant. 

Balancez.— Balance is the noun or name of the movement. Balancez 
is the verb or action ; in this sense, " balancez " means " perform a 
balance." Se-balancer is to rock oneself. When this movement 
was introduced into the first figure of the Quadrille, the dancers 
rocked from one foot to the other. The modern name for it is 
" Balance a votre dame," better known as " setting to partners." and 
many teachers adhere to " balance." To dance it. Preparation : — 
Face partners (1,2,3), commencing with r.f., walk three ordinary 
steps sideways to the right, away from partner. (4) assemble l.f to 
3rd front. (5, 6, 7) commencing with l.f. return to places with three 
ordinary steps sideways to the left. (8) assemble r.f. to 3rd rear. 
The whole occupies four bars of music. 

Balance-de-Menuet — See Menuet. 

Balance-en-ligne (bah-lahn-say ahn-leen).— Balance step, or 
"setting-in-line," as in 3rd figure of Quadrille. 

Balayage (pas de) (bah-lah-yahjh).— From belayer, to sweep. Imitate 
with one foot the sweep of a broom (coup de balai), rubbing the 
floor with the point of the foot, right to left or left to right, giving the 
movement of va-et-vient (come and go). 



THE ART OF DANCING. BA 



Ballerine (Mah-ler-reen) .— Dance. 3-4 tempo. Position as for Pas 
de Quatre. Left hands joined, gentleman's right arm round lady's 
waist. Gentleman commences with l.f., lady with r.f. The step is a 
pas marche on the sole, followed immediately by lowering the heel. 
The Dance. (1, 2,3,4) f? ur pas marches as described. (5) glide 
l.f. forward and draw point of If. to point of r.f., r. knee open, and 
slighty incline the head, and torso to the right. (6) temps d'arret, 
(pause) (2 bars). Repeat reversed (2 bars). Repeat first 2 bars. 
Pas-de-ballerine sideways, lady to left, gentleman to right, with r. 
hand on hips, still retaining 1. hands. At the third beat the lady 
should incline head and bust to the left. The gentleman is now 
facing forward and the lady backward (2 bars). Gentlemen alone 
make a half turn to the left and place r. arm round partner. Both 
are now facing the other way ; repeat the whole in the opposite 
direction, followed by eight bars waltz or polka-lente in 3-4 time. 
The dance can be executed a droit, a gauche, en avant, en arriere, 
or en tournant. 

Ballet (bah-lay). — A chorus of dancers, who, by action, pourtray 
human sentiments and passions. Supposed to have been invented 
by the ancient Egyptians The dancing in ballets should be part of 
the story. The principal is called " premiere ballerino " or 
"premiere danseuse." 

Ballet d' Action (bah-lay dahk-tze-on). Sometimes termed " Danse 
d'Action."- Ordinary ballet or play where gesture and dancing 
replaces dialogue. A " divertissement " is a scene in a ballet. 

Ballet Chinois (bah-lay sheen-wah. — Tempo 2-4. From two to 
fifty dancers. 1st step, pas-russe-en-tournant (Russian step turning). 
2nd step, Ballonne, to front and to rear. 3rd step, fouette-en-tour- 
nant. 4th step, two piques, three changement-de-pieds. 5th step, 
demi-rond de jambe, two emboites. ecart. 6th step, three times 
ecart, demi-tour with ailes-de-pigeon. 7th step, jete to right and 
left, three changement-de-pieds backward and three fouettes with 
each foot. 

Ballet Cosaque (bah-lay kos-sahk). — Tempo 2-4. For as many as 
can be placed in two parallel lines. Introduction : — Promenade with 
pas russe. Each of the following steps should be concluded with a 
pas finale, which, however, maybe omitted. Theory of pas finale. 
Stretch r. leg to right side ; jump on the two feet to the left side , 
slide r.f. to right side ; assemble l.f. to rear ; two taps of the sole 
and point of the r.f. to the side and assemble ; repeat taps with l.f. 

1st step, sissonnes forward with r.f., then l.f. and pas finale ; 
repeat to rear. 2nd step, sissonnes with l.f., same with r.f., spring 
open and close twice ; three changements-de-pieds. Repeat with 
r.f. 3rd step, chasses ouvert (open) to the right ; three grands 
battements with l.f., and assemble to rear. Repeat the other way. 
4th step, three pas russe forward, brises doubles, ecart, entrechat, 
two pirouettes volantes (flying) and two beats of ailes de pigeon- 
coupe. Repeat. 5th step, two battements forward with r.f., assem- 
ble and grand battement with l.f. ; three sissonnes to rear and 
assemble. Repeat. 6th step, pas cheval to the right, grands 
battements with l.f., assemble and five ailes de pigeon. Repeat to 
left, then to right and to the rear. 7th step, four Emboites forward, 
ecart, entrechat, two ailes de pigeon -coupes to the rear. Repeat 
forward. 8th step, three ecarts, three changements de pieds, three 

15 



BA PRONOUNCING DICTIONARY OF 

grand battements with r. leg and three changements ; repeat 
battements with 1. leg and three changements. 9th step, ecart 
chinois (Chinese), assemble, three changements, ; repeat ; grand 
ecart, one tire to right, heels together, grand ecart, entrechat. 10th 
step, promenade round the stage ; then to finish, grand battement 
with r. leg to side and assemble; repeat with 1,; contretemps and 
assemble ; grand battement with 1. then r., contretemps and 
assemble ; two ailes de pigeon to rear, same in place, same forward, 
ecart, entrechat, two ailes de pigeon forward, ecart and entrechat. 

Ballet for 10 Young Ladies.— Tempo 3-4. All dressed in white; 
the four tallest with soft clinging scarves four yards long, tightly 
wrapped round the waist. 1 hese are numbered 1 ,2,3, 4 ; the others 
without scarves 5, 6, 7, 8 ; and two little girls (to in all). 

Figure 1. Entry by Promenade in couples in following 
manner — Pas de Valse forward (1 bar); repeat, turning the back 
to the line of direction (1 bar). Changement de mains (change 
hands) and pas de valse backward (1 bar), pas de Valse turning to 
face line of direction (1 bar), and repeat to take positions for the 
next figure. 

Figure 2. Dance the Valse Menuet by Crompton. 

Figure 3. Nos. 5, 6, 7, 8 take the ends of the scarves of 1,2, 3, 
4 ; and I, 2, 3, 4 solo valse to unroll them (8 bars). Simultaneously 
5, 6, 7, 8 follow, rolling themselves in the scarves. 1, 2, 3, 4 return 
rolling up scarves, 5, 6, 7, 8, meanwhile unrolling (8 bars). Unroll 
again, allowing the scarves to fall so that the first just touches the 
ground, the second a little higher, and the others in the same 
proportion (8 bars). The two little girls who were in the background 
now run on beside each other. 

Figure 4. The children solo waltz separately between and 
round the elder girls. Meeting in the centre they link right arms 
and make one and a half turns. 

Figure 5. The eight ladies arrange the scarves on the floor in 
a star, throwing them high in the air four times, the children alone 
dancing solo beneath and outside each time the scarves go up or 
down. 

Figure 6. The eight ladies do a complete turn with pas de 
valse, the children taking places, one at the back, the other in front. 

Figure 7. The ladies arrange the scarves in four lines, throwing 
them in the air, the children meanwhile dance beneath them and 
pirouetting as the scarves fall. Repeat until the children arrive in 
the centre a second time. 

Figure 8. The eight ladies arrange the scarves in a square 
with the children in the centre. 

Figure 9. The children dance a duet — a Gavotte, Menuet, 
Bolero or any other dance. 

Figure 10. 1, 2, 3, 4 pas de valse to opposite line, rolling up 
scarves: they fall into couples and mutually (in dancing) roll them- 
selves up in the scarves. 

Finale. Each couple waltz round rolled up in a scarf, and 
make an effective tableau. 

Ballet Pantomime.— Same as ballet d'action, but more often applied 
to the ballets seen in Christmas pantomime as distinct from " grand 
ballets." 

Ballet Zingari. — For three boys and three girls. During eight bars 
introduction the three couples dance on, holding hands and in one 
line. They release hands, boys salute, girls curtsey. Approach 

16 



Part III. JuLY) , 9 , 3> 



\ 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. BA 

partners, bay taking - girl's hand. Centre couple (No. i) retire two 
steps ; the two other couples face each other ; the couple on the 
right (No. 2) the other on the left (No. 3) forming a triangle. All 
this in eight bars introduction. 

Figure i. Number 1 approach centre with three small pas 
marches, release hands and turn backs to each other. All salute. 
Couples 2 and 3 raise arms (2 bars), girl 1 pass beneath arm of 
couple 2, boy I beneath arms of couple 3, and both return to 
places with four pas marches (2 bars). All boys take girls' r. hands 
in theirs and turn them beneath right arms (allemande), bow and 
curtsey (2 bars), change to left hands, allemande and salute as 
before (2 bars). 

Figure 2. Couples 2 and 3 advance and retire, while they are 
retiring couple 1 advance. Boys advance to centre, turn backs to 
centre, face partners and bow and curtsey (4 bars). Boys kneel on 
one knee and give hands to partners. Girls pass to the right, round 
partners with tour de mains. They release hands and curtsey, 
inviting partners to rise (4 bars). 

Figure 3. Boys join left hands in the centre and make a com- 
plete tour de moulinet with two polka and four pas marches (4 bars). 
Release hands and perform the same steps, moving round their 
partners (4 bars). 

Finale. Girls' left hands in boys' right. All, two polka steps 
and four pas marches, following each other in couples round the 
circle (4 bars). Repeat the steps, going round in place (4 bars), 
Repeat, going round the circle (4 bars). Form a circle and repeat 
(4 bars). Boys kneel on r. knee, hands uplifted ; girls remain in 
attitude. Boys rise, all salute and retire in couples. 

Ballonne, pas, or Ballon (bah-lonnay) Ball-step. — The step is so 
called from the circular appearance of the free leg, which moves like 
stepping over a ball. It can be made in any direction, but the most 
usual is sideways. If the circular movement is made without 
degage it is called temps ballonne. Stand in r. 5th position forward. 

(1) During a hop on l.f. the r. leg is carried in a circular line to 2nd 
position and degage. (2) Glide l.f. to 5th rear. If the next step is 
in the same direction, there is a degage on l.f., so that the r.f. may 
become free, but if the steps are to be made alternately, the degage 
is omitted and the movements can be repeated to the left. 

Ballonne en sautant (so-tahn).— Sautant is jumping. In lightly 
jumping twice on l.f. (imitating the elastic fall and rebound of an 
air-ball) make two petits battements with r.f. in front of l.f., then 
degage on r.f. forward and draw l.f. to 5th rear (1 bar). 

Ballonne retrograde. — A combination of steps of four measures. 
1st Measure, pas ballonne to the right. 2nd Measure (1), l.f. to 2nd 
position; (2) glide r. toe to 5th forward, and the heel is then audibly 
put down while the l.f. is raised ; (3) l.f. to 2nd position. 3rd 
Measure (1), r.f. to 2nd with degage; (2, 3) make a whole turn on 
r. toe or heel, by which l.f. is first raised to 2nd elevation, then to 5th 
rear with degage. 4th Measure (1), r.f. frappe into 5th rear, degage ; 

(2) pause ; (3) ballonne is begun as a preparation for the next step. 

Ballon (bahl-lon). — When a dancer's movements are graceful and 
elastic like a bounding ball, 

17 



BA PRONOUNCING DICTIONARY OF 

Ballote or Ballottes (bah-lottay). — To toss about. When the feet 
are crossed alternately one before or behind the other. Two coupes 
following- each other is a good example of "pas ballotte." The 
"English Sailor Step" (Pas de Matelot Anglais) is a familiar 
example of the triple pas ballotte with a whip time (temps fouette) 
into the forward elevation. " Ballotte is a step produced by 
swinging and alternate outward and inward throwing of the leg — 
strictly speaking, consisting of a coupe dessus and dessous — in two 
beats uniformly accented, and can be executed in place or en 
tournant." — Ki.emm. 

Ballottee. — (Danse). Common time. Couples place themselves as for 
pas de quatre. Lady's step ; gentleman's the same, but with other 
foot. Glissade r.f. to 4th ; chasse l.f. ; glissade r.f. to 4th ; l.f. to 4th 
forward elevation — facing each other (1 bar). Repeat with other 
foot, turning the back (1 bar). Back-to-back, make four balances, 
imitating waves, and executing pas ballottes (2 bars)- In waltz 
position they do eight very quick pivots on alternate feet (4 bars). 
Return to first part and repeat ad lib. 

Bal Masques. — The invention of the masques dates back to the ancient 
Greeks, who employed them for theatrical performances. The idea 
of performers rendering themselves unrecognisable, for the sake of 
diversion, certainly dates from antiquity. In country villages, some 
of the villagers possess costumes which have been handed down 
during many past generations, and at certain seasons of the year, 
they are donned to perplex their neighbours in a house to house 
visitation. During carnivals, bals masques and travesties have 
formed part of the festivities. In history, they are mentioned as 
having been the fashion at Court in the 14th century. After an 
accident at a Bal Masque, the madness of Charles VI. of France 
increased. The Edict of November 26th, 1535, forbidding the 
manufacture and wearing of masks, had the effect of making them 
more popular, definitely and permanently establishing them as part 
of the pastimes of the people. The attraction of such forbidden 
fruit served but to whet the appetite of the pleasure-seeker, and, up 
to the time of the Revolution, the mask was used in times of rejoicing 
to hide the identity of the wearer. In modern times, the dress at a 
bal masque is made to differ as much as possible from the costume 
of the period and the country. Their variety is infinite; classical, 
ancient, historical, mythical, comic, serious, and imaginative. 
Dominoes (the long loose Italian silk mantles with removable 
hoods) are also used as a general disguise. The security of a 
rigorous incognito adds much to the pleasure and piquancy of the 
ball. The liberty is greater, but within the limits of good taste. 
Sometimes the costume is restricted to that of certain countries ; 
the characters depicted by chosen authors, such as Shakespere, 
Dickens, Dumas, etc. ; periods of time or history ; subjects of 
artists ; the use of special material such as calico, etc. Originality 
is the first consideration, beauty even being sacrificed for the sake 
of novelty. 

Barbette (la). — 1730. Tempo 2-4. Danced in couples by pas glisses, 
chasses and tournes in all directions ; then the men kneel while the 
women pretend to pass a blade or a razor over them. 

Barn Dance.— Imported from America; was originally danced in 
England to the music of Meyer Lutz's " Pas de Quatre," by which 

18 



THE ART OF DANCING. BA 

name the dance was for some time known. It is now almost obso- 
lete. The gentleman takes his partner's left hand in his right and 
he beginning- with l.f., she with r.f. execute a polka step forward 
(count 3), he raises r.f. forward, she l.f. forward (count 4) ; repeat 
with the other foot (count 4) ; repeat the whole (count 8), and four 
waltz movements. The whole is repeated ad lib. Another way : 
in common time. Three pas marches and a pas saute, four times, 
instead of the polka step. 

Basque, Pas de (pah-der-bahsk). — Sometimes called Pas Russe, 
and often mispronounced " Pas de pah " and " Pas ba." 

The Basque people, who supply the origin of the name of this 
step, are those_ who dwell on the Bay of Biscay, that is N.W. of 
Spain and S.W. of France, close to the Pyrenees. The step plays 
an important role in Spanish dances, such as Cachucha, Bolero, 
Gitana, &c. The Pas de Basque consists of a suite of three steps 
in either 2-4 or 3-4 tempo; a half, a whole, and a half step. The 
accent can be made on either the first or second temps. When 
danced in common time there is either a pause or a hop for the 
fourth beat. Forward, from r.f. in 5th front position, bend slightly 
and round r.f. to second degage (count 1) ; glide l.f. through ist, 
3rd, and 5th positions into 4th forward degage, which in practice is 
an inward demi-rond de jambe en terre (count 2) ; assemble r.f. to 
3rd or 5th rear (count 3). Another pas de basque can now follow 
commencing with l.f. Backward, stand as in commencing the for- 
ward step. Jete with l.f. to 2nd position (1) ; glide r.f. to 4th rear 
degage (2) ; l.f. to 5th front (3). In place, the 2nd step must go to 
2nd position ; the other steps the same as before. En tournant ; as 
a rule the line of turning is backward ; jete r.f. sideways and back- 
ward to 4th rear with a simultaneous pivot of a half-circle on l.f. (1) ; 
l.f. is thrown over r.f., turning another half-circle (2) ; assemble r.f. 
to 5th rear (3). Another description. With an outward circular 
movement of r. leg, glide forward or sideways on r.f., immediately 
raising l.f. to 4th forward elevation (1). Glide If. to 4th forward 
degage (2). Close r.f. to 3rd or 5th degage (3). 

Battements (baht-mahn). — Literally, beatings ; derived from the 
word battre, to beat. If a foot is strongly pushed, beaten or 
knocked against the other it is a battement. There are two classes : 
Grand Battements, or high beatings, and Petits Baitements, 
or low beatings ; they may be made in all directions. Grands 
Battements en avant : Stand in 3rd position. Throw the right 
leg out forward as high as possible, and let it fall back to the same 
close position from which it started. In grands battements the toes 
leave the floor last in lifting the leg and touch the floor first in 
lowering, the body must be held firmly on the supporting leg with- 
out swaying. Grands Battements de cote : In the same manner 
the leg can be elevated sideways instead of forwards, and let it fall 
back beating the other foot as before. Grands Battements en 
arriere : The leg is elevated to the rear and let fall. Petits 
Battements (small beatings) : These should be done only de cote 
(sideward). Stretch one leg in second point position and quickly 
back to 5th position, either dessus or dessous. The active foot 
constantly moves from 2nd to 5th position. Battements croises 
changes (changed crossed beatings) : when the free foot beats the 
supporting foot alternately front and rear. Grands and petits 
battements are excellent practice for producing brilliancy in dancing. 



BA PRONOUNCING DICTIONARY OF 

Battements vole ; (i) coupe; (2) echappe ; (3) battement in the 
air falling- in 5th forward position. Battement retombe : The 
l.f. being- in 2nd elevation, lower it to 5th forward, and, in making- a 
jump to the right, the 1. strikes the r. and returns to 2nd elevation ; 
this can be repeated ad lib. Battement de Semelle, battement 
of the sole : Simple and forward on the floor. For Jigs, etc. From 
3rd position raise r. knee and tap r. toe on the ground, stretch the 
leg out quickly forward in such a manner that in letting the foot 
return to the 3rd position, the sole again strikes the floor. 

Battre (bahtr). — To beat; the origin of the word "battement" (a 
beat). To distinctly beat or touch the supporting foot or leg with 
the other. The free leg goes from an open to a closed position, 
striking against the sole, heel, toe, calf or whole leg, either once, 
twice or more times, either dessus or dessous or alternately. (See 
Battu). 

Battu (bahtu).— Beaten. (See Battre). If the foot beats in front once 
against the other it is termed " battu simple dessus." One beat to 
the rear " battu simple dessou*." Two beats, one in front and one 
to the rear ''battu alternatif." They can be executed in all 
positions, and in all choreographic steps. 

Battu, Pas (pah bah-tu). — The full title should be " pas battu lateral." 
It is also known by the names Pas Polonaise and Coup de Talon 
(knocking with the heels). If when knocking the heels together the 
legs are held well outward, the knock is liable to come against the 
ankle of the other foot, which is painful. The feet therefore are held 
almost parallel, and the step can be called "pas battu parallel." 
The word lateral indicates that the step should be made sideways. 
For shortness the term "pas battu" is used. Example: The l.f. 
being raised in 2nd elevation, (temps 1), knock 1. heel against the 
r. during a light hop on the r.f. (temps 2), step on l.f. to 2nd position, 
(temps 3), assemble r.f. in 1st position and immediately raise l.f. 
ready for the next step. Another example: Bend r. knee, raise 
yourself, tapping 1. calf against the r. tibia (shin-bone), with the 
calves nearly together, either to the side, forward, to the rear, or in 
turning in the air, according to the necessities of the dance. The 
battus can be doubled or tripled (in passing and en battant), forward, 
rear, falling on one foot, or tombe assemble (falling-assemble). 

Bebe Biarritz (bay-bay be-ah-rits).— Baby Polka. Tempo 2-4. 
The boys and girls are arranged in the centre of the room in two 
lines, boys facing the girls, hands on the hips. Boys retire and girls 
advance with eight polka steps (8 bars.) Turn partners with r. hands, 
repeat with 1. (8 bars). Tap three times with r.f., then three with 
l.f. (2 bars). Tap r. hands three times, then 1. hands three times 
(2 bars). Lift r. hands and point with first finger, teasing partner, 
and do a turn in place with l.f. and come back to position again (4 
bars). Repeat the whole twice and finish with Polka or Galop. 

Berceau (Pas) (pah berso). — (Cradle Step). Also Berceuse, a" 
lullaby or rocker. So-called from its resemblance to the rocking of 
a cradle. It is executed with alternate foot, forward, backward, in 
place or turning ; the arms folded in front level with the shoulder or 
hands resting on hips. It is the " rocking step" in hornpipes, reels, 
jigs, &c. Example : Prom 3rd position stretch l.f. to 2nd elevation, 
then pass it in front of the right, the left calf touching the right 

20 



THE ART OF DANCING. BE 



tibia, and the point of the I.f. $ centimetres ( 1*9685 inches or nearlv 
two inches) from the point of the r.f. In this position move or rock 
the two legs together to the right side, then to left, then to right, then 
stretch the right to second elevation. Repeat these berceau move- 
ments with right foot. The body must not move, only the legs 
sway right and left, with open knees slightly bent, with elasticity 
and quickly. During the three swaying movements the feet do not 
change places. Berceau en avant (advancing-) : Three move- 
ments must be made on the points and advancing with each move- 
ment ; this needs power which can be acquired with practice. 
Demi-Berceau is done with one foot without change, that is, 
another rocking movement is substituted for the elevation in the 
fourth beat. Berceau en arriere (backward) is made by passing 
the foot to the rear instead of in front on the first beat and moving 
backward during the rocking motion. Berceau en tournant (in 
turning) to right or left can be performed by rocking round in a 
circle to right or left. Berceau sur les pointes are executed on 
the toes in all directions as already explained and are done like the 
sweep of a broom — va-et-vient, i.e., going and coming — imitating 
the motion of a cradle ; they are the most beautiful of the berceau 
steps, and when the dancer excels in them the feet seem not to touch 
the ground. Another example: Stand l.f. in 2nd pos. elevation. 
(1) Throw l.f over r.f. with degage, simultaneously raise right heel ; 
the toes of the two feet would be close together, left calf touching 
the right shinbone (tibia), knees well bent outward. (2) Without 
shifting the toes, degage on r.f. and raise left heel, thus rocking 
from l.f. to r.f. (3) Rock to the other foot. (4) Hop on If. and 
throw right leg to 2nd pos. elevation. The whole can now be 
reversed. 

Berlin Polka. — Now obsolete. Position same as Pas de quatre. 
Consists of two parts. Bar 1 : Gentleman l.f., lady r.f. polka for- 
ward. Bar 2: Counts 1, 2. Point inside foot to 4th position; 
count 3, release hands, hop on other foot, turning half circle to face 
opposite direction. Bars 3, 4 : Repeat with opposite foot and moving 
in opposite direction and on the hop finish facing partner. Bars 
5-8 : Polka. Repeat the whole ad lib. 

Bocane (bo-kahn). — This sedate dance for two persons in 2-4 tempo 
was first performed in 1646, and owes its name to Bocan, teacher of 
dancing to Anne of Austria, Charles I. of England, and most of 
the European Princesses Louis XI V. excelled in it as well as in 
the ballet " Cassandra," in which he made his debut at the age of 
13. This young monarch excelled also in the ballet " de Flore," in 
the " Sissonne," " Bourree," the gay " Rigodon d'Auvergne," the 
" Courante," the "Saraband" and Menuet. Ihe Dance: For 
two people (1) both commence same foot. At first note of the 
music, glide r.f. forward, bending I. knee and inclining the body, 
raise yourself with the weight of the body on r.f.; this will give a 
salute forward. (2) glide l.f. forward as already explained, but in 
passing near the r. heel, the lady inclines her 1. shoulder slightly 
"towards the gentleman, the gentleman inclines his shoulder towards 
the lady; this is the salute en passant (in passing) ; both draw 
upright, closing r.f. in front of 1. Gentleman's r. hand takes 
partner's 1. and she raises her skirt with the r. (3) commencing r.f. 
make three pas marches forward, and pause with l.f. in rear for the 
4th beat. (4) glide l.f. sideways and assemble the heels. (5) glide 

21 



BO PRONOUNCING DICTIONARY OF 



l.f. forward, bending- r. knee ; on the 3rd beat the r.f. closes up rear 
of 1. heel. (6) take a step to rear with l.f. on beat 3, assemble the 
heels. (7) glide r.f. forward, bending- 1. knee slightly; on the 3rd 
beat the l.f. closes up rear of r. heel. (8) repeat with r f . (9, 10, II, 
12) repeat 3,4,5,6. (13) with r.f. repeat 7; release hands and 
lady raises skirt with both hands. (14) glide If. forward, slightly 
raising r.f. in rear ; on 3rd beat carry r.f. forward. (15) repeat the 
last. (16) assemble, pause, and on 3rd beat, l.f. makes a step to 
rear, leaving r. toe on ground forward. (17) assemble heels ; on 3rd 
beat glide l.f. forward. (18) four pas marches, lady gives 1. hand 
to gentleman. (10,20.21) repeat last three bars. (22) assemble. 
(23 to 32) repeat twice from 13 to 17, the gentleman passes in front 
of the lady and both salute. 

Boiteux (bwah-to). — Lame or limping; this is therefore a hobbling 
step. From 1st position. (1) after a light hop on the l.f. extend 
r.f. forward. (2) put r.f. in 4th position forward. (3) degage, and 
cany l.f. forward a whole step. (4) put l.f. to 4th forward and 
degage. (5) hop on l.f. and prepare r.f. for next step. The step is 
always executed with the same foot- If done during a turn it is a 
tour-boiteux. 

Another description : 1st position, after a very short temps leve, 
(1) glide r.f. to 4th position forward, degage. (2) l.f. to 1st position, 
first on the toes, but immediately by a sharp audible beat of the 
heel — coup de talon — in consequence of which the r.f. is liberated, 
leaves the ground, and, with a temps leve on the left, (3) and (4) 
follows with a pas glisse. 

Bolero. — Derived from Volero owing to its grace and lightness. A 
noble Spanish dance for couDles, vis-a-vis. Tempo 3-4. (Fig. 1) 
promenade. ( Fisr. 2) traverse ; lady and gentleman change places. 
(Fig. 3) avant deux, forward and return to places. (Fig. 4) la 
Finale, describe a circle. (Fig. 5) attitude. 

Having executed some steps in place for 32 bars, they finish by 
assuming a noble attitude and agitating tambourines with both 
hands above the head, then strike the tambourines with the hands, 
the elbows, the knees, followed by port-de-bras, coupes, battements, 
lengthened glissades, terre-a-terre, glisse, frappes. 

Bolero (another) — 120 bars in 3-4 tempo. By a couple vis-a-vis, hold- 
ing tambourines in the r. hand raised above the head, left hand on 
the hips ; in this way they walk in a circle, agitating the tambourines 
(8 bars). Both glide r.f. to right, draw 1 f. up to it, leaning head and 
body to left, shaking the tambourines (8 bars). Repeat with l.f, 
changing tambourines to other hands (8 bars). Change tambour- 
ines to r. hands. They join 1. hands. Gentleman turns lady beneath 
1. arm (allemande), then release hands and the gentleman takes 
running steps round his partner, who still stands in attitude. He 
stops in front of her, and, giving the tambourine a tap with 1. hand, 
assumes an attitude similar to hers (16 bars). Reverse the last 
movement, the lady dancing the gentleman's part and vice versa 
(16 bars). In this attitude they tap the tambourine for 32 bars, 
thus: they take it in 1., and both tap with the r., the elbow, the hand, 
the head on 1. side, the hand, the elbow, the hand, behind the back, 
one in front, on 1. knee, on r. knee, then raising 1. leg, passing both 
hands underneath, tap the tambourine, repeat with r. leg, lift the 
feet to the rear alternately and tap it with the heel, repeat with the 

22 



THE ART OF DANCING. BO 

toes forward, etc. They join r. hands, glide If. forward and stretch 
r.f. forward in the air, pass tambourine to other hand, joining 1. 
hands ; repeat with other hands ; repeat three times with each 
foot — eight times altogether — and release hands. They run 
round each other, then retire to their original places and pivot there 
on one foot, while the other glides on the floor to the rear, making a 
circle. They move towards and face each other, execute a pas de 
valse from their places without turning, and starting with l.f. to left 
side, and transfering the weight of the body and arms to the left, 
and, shaking the tambourines, tap it with the left hand. Repeat 
with r.f. ; with l.f. ; the r. again. The lady now kneels on r. knee 
in attitude ; the gentleman moves round her, tapping tambourine 
on various parts of his body. At the last note of the music he stands 
at rear of partner, in attitude, holding tambourine over head with 
both hands. They look at each other for the final salute on last note. 
The Pas de Bolero employed for running or walking is the same 
as the backward or forward step of the Waltz and of the Boston. 
The tambourine must be shaken throughout the dance. The dance 
can be done by i, 2, 4, 6 or 8 couples. 

Bond (bon). — A springing movement. (See Bondir.) 

Bondir (bon-deer).— To bound, rebound or bounce. A great dis- 
tinction must be drawn between springing {bondir) and jumping 
(sauter). In jumping, one remains in place; in springing, one 
leaves the spot from which the spring is made. Un pas bondir is 
therefore a springing step, causing the transfer of the weight of the 
body (degage). The spring refers to that foot which gives the 
impetus and is last on the floor. The free leg, which finally receives 
the weight of the body after the spring, either forward, backward or 
sideward, performs a jete. After the jete, the other foot is free for 
the next step. ''A child may be said to jump for joy, upon either 
or both feet, but in so doing remains on or near the place; while a 
man does not jump, but springs across a ditch ; a sparrow jumps 
over a straw, a tiger springs at his prey." {See Jete, Sauter.) 

Boston. — The step of the Boston can best be defined as "two pas 
marches and an assemble." This is done forward, backward and 
in turning, at the dancer's will. The step backward : First bar (1) 
glide l.f. to 4th rear. (2) glide r.f. to 4th rear. (3) l.f. to 3rd forward. 
Second bar (1) glide r.f. to 4th rear. (2) glide l.f. to 4th rear. (3) 
r.f. to 3rd forward. The step forward : First bar (1) glide r.f. to 
4th forward. (2) Glide l.f. to 4th forward. (3) r.f. to 3rd rear. 
Second bar, repeat, commencing left foot. To execute the step in 
turning, pivot a half-circle on the first beat of each bar. The music 
is the ordinary waltz, but the dance is done as though the music 
were written in 6-8 time. The ear must be closed to the rhythm of 
the waltz music, and the dance is executed to the rhythm of the 
dancer's personal taste and individuality. Having performed these 
steps a number of times the dancer introduces the following variation 
known as The Run. This is an ordinary walking step, thus: the 
gentleman Bostons backward (the lady forward) towards the centre- 
then a half-turn of Reverse Boston ; the gentleman takes position 
at right side of lady, walk five steps forward (lady backward) and 
assemble for the sixth beat and recommence the Boston step. 
Another variation which may be agreeably introduced is a sideward 
chasse. The variations are numerous, but the most important is 
the " Double Boston," as follows : Gentleman's step (1) strongly 

23 



BO PRONOUNCING DICTIONARY OF 



glide r.f. to rear. (2, 3) pivot a half-turn to left on the r.f. ; during 
this turn the l.f. remains outstretched forward, toe down, and des- 
cribes a half-circle at the same time as the body. (4) Glide l.f. 
strongly forward. (5) glide r.f. to the side. (6) Assemble l.f. to r.f., 
again turning a half-circle to the left. The Lady's step is different. 
(1) glide l.f. forward. (2) glide r.f. to the right. (3) Assemble l.f. 
to r.f., turning a half-circle. (4) glide r.f. backward. (5) glide l.f. 
(6) Assemble r.f. to l.f., turning another half-circle. The Triple 
Boston — another variation — occupies four bars of music. Gentle- 
man s step, first bar (1) glide l.f. forward (the gentleman being on 
the right of his partner, right shoulders almost touching). (2) glide 
r.f. forward. (3) glide l.f. forward. (The gentleman commences to 
alter his position to do the remaining steps on the left side of the 
lady). Second bar (1) glide r.f. forward (on the left side of the lady, 
1. shoulders almost touching). (2) glide r.f. forward. (3) Draw r.f. 
up to l.f.. Third bar, still on the 1. side ; (i) glide l.f. forward. (2, 
3) pivot half-turn to left on the sole of l.f. Fourth bar (1) r.f. back- 
ward. (2,3) pivot a half-circle to left on the same foot ; during this 
the gentleman places himself again on the r. side of the lady, to 
recommence the steps. The lady's step can be easily inferred from 
the gentleman's step ; that is, she will make the steps (pas marches) 
backward instead of forward, and then pivot twice like her partner. 

Bouffons (danse des) (boo-fon). — Tempus, Numa Papilius, second 
King of Rome, 714 to 671 B.C. Twelve men and women united to 
celebrate the sacred fete days of March. The Bouffons (jesters) 
danced to the sound of the bones. 

Boulangere, Baker (boo-lahn-jhere). — Ancient. All couples join 
hands in a circle, and move round, circling first to the right, then to 
the left. One couple then place themselves in centre. The gentle- 
man turns his partner, who remains in the centre, and to whom he 
gives his r. hand. He turns the second lady with 1. hand, returns 
to partner and turns with r.h. ; then turns third lady with 1. hand ; 
and so on with all the ladies. When finished he returns with his 
partner to place. The circling round is repeated and another couple 
taking their places in the centre repeat the turns as before. This is 
repeated until all the couples have been in the centre. 

Bourgeoise. (boor-jwahz). — XII Century. Tempo 3-4. Family 
dance in couples of the Bourgeoise (middle) class. They turned 
holding both hands, then clasping each other, glisses and chasses 
with each foot in turning. 

Bourree. (booray). — A dance hailing from Auvergne and introduced 
to the French Court by Catherine de Medeci about 1565. Of a gay, 
rustic character. 

Bourree, pas de. — This means literally, a stuffing or crammed step 
and consists of three movements which adapt themselves in manifold 
forms to various dance-rhythms of ancient and modern times. 
Feuillet's " Choregraphie " mentions no less than ninety-three 
different Bourrees ; this may be compared to a musical attempt to 
multiply the harmonies of three notes, upwards and downwards. 
It adapted itself to the gay rhythm of former fashionable dances, 
such as Anglaise, Allemande and Ecossaise, and as a rule with a 
preliminary temps leve was called in its time Pas Fleuret (proba- 
bly because it resembled the steps employed in fencing). It was 

24 



Part IV. August, 1913. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. BO 

also called Pas Coule. The three steps of the Polka have been 
borrowed from this original pas, and even the chasse may be called 
a syncopated pas de bourree. But, while there is a similarity between 
chasse and bourree, there is in reality a marked difference. That 
which is " stuffed " or " crammed " (bourree) is usually stationary, 
while that which is chased (chasse) is forced from its place : these 
characteristics apply to the two steps so named. In the forward 
bourree, the free foot is brought against the supporting one which 
is held for a moment in position before it glides forward ; in the 
forward chasse, the rear foot drives or chases the supporting foot 
from its place before receiving the weight. Bourree en avant: — 
Preparation — r.f. is put in 4th rear elevated position. With a light 
bend of the knee. (1) the r.f. is put into 4th forward position (a 
whole step). (2) l.f. to 3rd rear (a half step). (3) r.f. to 4th forward 
(a half step). Bourree en arriere. Preparation — l.f. in 4th 
forward elevated position. The same three steps in a contrary 
movement, i.e. (1) l.f. to 4th rear. (2) r.f. to 3rd forward. (3) l.f. to 
4th rear. When several pas> de bourrees follow each other forward 
and backward, the change of foot to the first of the three movements 
is absolutely necessary. Bourree a cote (sideward). Preparation — 
l.f. in 2nd point position. (1) l.f. to 3rd rear. (2) r.f. to 2nd. (3) l.f. 
to 3rd rear whilst r.f. is brought to 2nd point, ready to commence the 
following steps in the contrary direction. The movements should be 
executed on the floor and to one music tempo, by performing the 1st 
and 2nd steps in the first half beat, and the 3rd step in the full beat 
of the music ; the accent is, therefore, on the 3rd step. The step may 
be done in turning, four pas bourrees en tournant should be sufficient 
for a complete tour (circle). Bourree dessous et dessus (to rear 
and front). (1) the pointed l.f. falls to the rear (dessous) of the r.f. 
in 3rd position. (2) r.f. is placed in a very reduced position. (3) l.f. 
to 3rd front (dessus), r.f. assuming 2nd point position. It must be 
observed that all bourrees commence and end in open positions. 
Bourree en triole is the step executed in triole time; that is 
three triplets in a bar in 3-4 time, and the bourree would then be 
made three times to a bar of music. 

Bow. — The form of salutation by the gentleman equivalent to the lady's 
curtsey — technically, reverence. The custom of making a reverence 
each time a couple advances in square dances is superfluous. The 
salutation to partners and to centre at the beginning and end of a 
dance are sufficient. Repeated salutes during the figures are as 
superfluous as they would be in a social visit. Unfortunately, the 
ordinary bow, in the square dances, has degenerated into a vulgar 
nod or a tipping of the forefinger against the eye or some other 
part of the face. The bow properly executed should be — prepare by 
facing partner, and, while she curtseys to the left {see Curtsey), he 
bows to the left. (1) glide r.f. to 2nd, degage. (2) glide l.f. to 3rd 
rear, simultaneously lowering the eyes, head and shoulders, body 
inclined forward and arms hanging loosely. (3, 4) slowly assume 
erect position. Bow to the right — (1) glide l.f. to 2nd, degage. (2) 
glide r.f. to 3rd forward, and finish as before. (For explanation of 
bow to right and left see " Curtsey ")• 

Bow-Legs and Knock-Knees (Argue et Jdrrete). — Absolutely straight 
legs are very exceptional, few therefore can hold them straight with 
ease. Those whose knees nearly or quite touch, calves close together, 
while the heels are wide apart, are said to have narrow legs (jdrrete) 
or knock-knees. Such persons have large thick knees, and find 
great difficulty in standing with the heels together. Bow-legged 

25 



BR PRONOUNCING DICTIONARY OF 



(arque) persons have a space between the knees, and the heels 
touch, these are called distant legs. Such people are peculiarly 
fitted for entrechats and similar steps in which the knees ate often 
a hindrance in straight legs. 

Brandons, Danse des.— XVI Century. This is still danced in various 
countries on the first Sunday in Lent. The peasants, with illumina- 
ted torches, dance round the bushes. 

Branles (brahnl).— Period Q96. Tempo 2-4. The Branles were very, 
numerous, each having its distinguishing figure. It was danced 
singly and doublv. The most audacious of the Branles was 
" 1' Antiquaille," which surpassed in boldness and immodesty the most 
daring Bourree. The dancers in a circle, moved round singing. 
Then, releasing hands, they imitated, both in voice, movement and 
gesture, some animal or thing. One would pretend to be a galloping 
horse, another duelling, a drunken man or woman, etc. 

Branle, pas de (double).— Glide l.f. to 2nd, draw r.f. to 3rd. Repeat. 
Repeat twice with the other foot. Repeat all. Raise and drop the 
r.f., then l.f., then r.f., followed by an attitude. 

Branle de Poitou. — Under Charles IX, 1562. Common time. Three 
pas marches and assemble forward. Repeat to rear. Then each 
dancer imitates somebody or the capers of an animal according to 
choice. 

Bras (brah). — The Arms. A gentleman should present his hand 
supine to the lady, that is. palm upward with the fingers slightly 
separated, the arm haif extended and a slight inclination of the head. 
The lady presents her hand prone, that is, palm downward. The 
first four fingers of the lady are placed lightly on the gentleman's 
fingers, the thumbs lightly touching between the second and third 
fingers, gentleman's thumb on top and lady's underneath. He 
offers his r. arm half bent, raised level with the chest, which she 
accepts with the 1., her arm being near his wrist. 

Bras, Port de (port-der-brah).— Carriage of the arms. Many 
systems have been employed in this branch of the Art, but that of 
the so-called French school has been most universally adopted. 
Certain alterations and additions to the French system are, however, 
necessary, and these changes are complimental and not corrective. 
Such distinguished writers as Sulzer and Klemm have expressed 
themselves to that effect. The latter says, " Their systems might 
be employed, corrected and amplified by artistic masters, to assist 
in the advancement and development of the Art." Zorn says, "Our 
predecessors have achieved great results, and it is our duty to 
advance along the road which leads to the perfection of our art by 
means of the assistance they have left us ; but it is a false admira- 
tion for that which has gone before which would prevent corrections 
or improvements; indeed, had all former writers clung to that line 
of action, we should still be dancing in the same manner as did 
Adam and Eve." The position, opposition and carriage of the arms 
are, perhaps, the three most difficult things in dancing, and, there- 
fore, demand particular study and attention. Noverre, writing of 
opposition, says, " Of all the movements executed in dancing, the 
opposition or contrast of the arms to the feet is the most natural, 

26 



THE ART OF DANCING. BR 

and, at the same time, least attended to." The principle underlying 
'opposition " is a law of equilibrium. In walking-, when the r.f. is 
forward the 1. arm is also forward, when the l.f. is forward the r. arm 
is forward. 

The old French System of Arm positions. — ist position, arms 
hanging- normally perpendicularly at the side. 2nd position, arms 
held out horizontally at the side. 3rd position, arms held out in front, 
fingers almost touching. 4th position, arms held out straight 
horizontally in front. 5th position, arms perpendicularly over the 
head, tips of fingers touching. 

The system advocated by Zorn has much to recommend it. He 
describes a circle, having the neck as the centre and the finger tips 
the circumference. Raising the arms from the perpendicular 
hanging to the perpendicular overhead, one would describe this 
circle, which he divides as follows : — Arms hanging are in 1st 
position ; level with shoulders are in yd position ; straight over- 
head are in $th position ; midway between ist and 3rd will be 2nd ; 
midway between 3rd and 5th will be 4th. Mathematically, this is 
correct and is a commonsense view. The arms then could be in 
these positions: side, front or rear; example — Arms yd position 
side would be, the arms held out horizontally to the side, level with 
the shoulders ; arms yd, position front, the arms held out horizon- 
tally in front ; intermediate yd, between side and front ; arms 4th 
position side, they would be held up aloft obliquely sideways 
between the horizontal and perpendicular ; 4th position front 
would bring them obliquely forward, etc. One arm could then be 
in one position, while the other arm is in another position. Thus, 
1. arm could be 4th side and r. arm 3rd front. It must, however, be 
remembered that the fully stretched arm is seldom employed in 
dancing. There are, therefore, five degrees of bending the arm — (a) 
tendu, fully stretched ; (b) demi-tendu, half-stretched, i.e. arm 
slightly bent ; (c) arrondi, rounded (the most generally used) ; (d) 
demi-courbe, half-bent ; (e) courbe, quite bent. The fingers should 
always hang loosely. The arm placed with hand hanging over the 
head (as in Scotch dances) would be side 4th arrondi; the other 
hand on the hip would be side 2nd demi-courbe. Example — 
assuming the position desired is r. arm in front of the body, level 
with chest, and hand hanging, this would be yd front position 
courbe. Resume — ist arm position, arms at the side, hanging 
naturally. 2nd arm position, arms, though hanging, form an oval 
with elbows well-turned out. yd arm position, arms raised to 
height of shoulder held out in an open circle. 4th arm position, 
arms held rounded with hands hanging so that the tips of the fingers 
will be above the ears. $th arm position, arms are raised, rounded, 
over the head, the tips of the middle fingers nearly touching. 
Positions may be found in which the arm is bent and the hand 
resting on the hip, this is called demi-bras. 

Brise (breezay). — Literally, broken. A temps and a pas. Somewhat 
similar to entrechat, but in the latter, both feet are in action ; in 
brise, one foot is in action, the other merely helps. During a hop on 
one foot, the other foot beats dessus and dessous or dessous and 
dessus then receiving the weight of the body. If there is no transfer 
of weight (degage) it is a temps brise. If, after the transfer, the 
movement is repeated with the other foot, it is brise alternatif. A 
brise can be concluded on either or both feet. The movement is a 
rapid zig-zag cut as distinct from a coupe, which is a straight cut. 

27 



BR PRONOUNCING DICTIONARY OF 

Brise mouchete (MoosHERTAY).-Z?/«wrW. With r.f. in 4th forward* 
make an echappe, and, with a slight hop on r.f., raise If. in a 
battement plie backward, then with another slight hop on r.f., the l.f. 
makes another battement plie forward, then a jete in the rear 
raising the r.. and finish with assemble. This step can also be done 
turning. Brise battu. - With l.f. in 5th rear, bend slightly, raise 
the heel, and making a hop, beats stretched above r.f. and falls to 
the ground with the weight, and the r.f. is in 5th forward. From 
this position the pas can be repeated, gaining ground. The feet 
must fall to the ground one after the other; should they fall 
simultaneously it will not be a brise. Brise vole.— {Flying). The 
same as the foregoing, but in this, the second foot in not placed on 
the ground. With r.f. raised in rear, hop and beat the foot in front 
of l.f. and fall with weight on r.f., raising l.f. crosswise forward in the 
air — this is brise vole forward. To execute it to the rear, throw l.f. 
rapidly to the rear, the remainder of the step as before. Brise 
signe. — Raising l.f. from 5th rear, stretch it suddenly, and, during 
a hop on r.f., throw it to 2nd position, the r.f. falling immediately 
in 5th forward. (This will make the sign of the brise instead of 
beating it). The movement can be repeated. Brise vole marque. 
— {Marked). The body turns in the direction in which the pas is 
taken; with l.f. raised in rear, make a jete to 2nd position, raising 
r.f. to 4th forward. Throw r.f. with a jete to rear, raise l.f. to 4th 
rear, throw it again forward and r.f. in rear, thus making them voles 
instead of battus. 

Brydalica. — Ancient Greek dance by men masked as grotesque women. 
It was wanton and indecent. 

Buffalo. — A dance of the Red Indians. Represents a grand hunt. 
One of the braves fixes the skull and horns of a buffalo on his head 
and skips about as the others try to catch him, dancing the while. 

Byllichal. — Ancient Greek dance quoted, without any comment, by 
Pollox. 



Cabaratiere. — A dance of the Middle Ages. It sometimes substituted 
the first steps of the Menuet as danced at the Middle-class balls. 
None of the theory is in existence, only the name remains. 

Cabriole (kah-bree-ole) or Capriole. — A term borrowed by the 
French, from the Italian " capriola." The crossing of both feet, 
which was adopted about 1730 by the renowned dancer Camargo, 
was called capriola intrecciata, interwoven caprioles, and from this 
originate the terms " cabriole "' and " entrechat," In the old Italian 
School (which the French adopted) the springing of both legs in the 
air, combined with battements in the air, was called " capriola," and 
the French in adopting it employ the technical term "/riser la 
cabriole," "curl the cabriole." It was also called "quinte." Costa's 
" Treatise on the Art of Dancing" (Turin, 1831) says, "It will be 
well to give a rule as to the manner of counting the cuts in the inter- 
woven caprioles, called by the French entrechat. In whichever 
manner these Entrechatb are executed, the closed and open cuts are 
counted together and one must pass through the second position to 
make a battement in the fifth. Standing with l.f. in forward 5th 
position. (Cut 1) leap with both feet ; (cut 2) the 1. strikes the r. 
below, the r. simultaneously strikes the 1. above ; (cut 3) reopen the 
feet in 2nd position ; (cut 4) fall with l.f. in 5th forward position : all 

28 



THE ART OF DANCING. 



CA 



this during one spring. Thus, during a single spring in the air, 
strike or twirl the legs and feet together, crossing and recrossing 
them as often as possible, making as many entrechats as can be 
made in one jump. The crossings of the legs are termed " trioles," 
and are performed during the jump, finishing in either an open or 
closed position. Sometimes, springing from the floor, striking the 
two heels together and alighting on one foot is called a cabriole. 
(See Entrechat.) 

Cachucha or Catchucha (ka-chew-ka). — A Spanish (Andalusian) 
national solo dance for a lady, with castagnets. Cachucha means 
anything pretty or an attractive bauble. The dance is one of grace, 
gaiety and passion. The music, in 3-8 tempo, consists of two parts 
of eight bars each, which are played four times and coda. The 
play of the castagnets, the movements of the body and arms in 
opposition, the pleasant facial expression, the whole producing a 
vivid picture of grace and elegance, are essential features of the 
dance. 

The Dance. — Prelude, chords, First Couplet, four figures 
of 16 bars each. 

Figure 1. Zig-zag forward (ballonne progressif, 16 bars). 
Enter from rear diagonally forward to right with three ballonnes 
dessous, one pirouette and one frappe dessus into 5th position (4 
bars). Repeat to left (4 bars). Repeat to right (4 bars). Repeat 
left to centre (4 bars). 

Figure 2. Pivoter, 16 bars. Turn slowly backward to left in 
place with six pas de ciseaux dessous in 2nd and 5th positions, with 
1. arm raised (6 bars). Pas de basque pirouette to left (2 bars). 
Repeat to right (8 bars). 

Figure 3. Zig-zag backward with ballonne retrograde (16 
bars). One ballonne to right followed raising into 5th point and 
audible lowering of r. heel, and carry l.f. into 2nd elevation (1 bar). 
Put down l.f. in 2nd position. Glide r. into 5th front, pointing toe 
strongly down, audibly lowering the heel, immediately carrying l.f. 
into rear elevation. Carry l.f. to 2nd, degage (1 bar). During this 
bar the r. arm executes a large arm-circle (grand rond de bras), 
accompanied by such a bend of the body that the r. hand nearly 
touches the floor, and then a corresponding movement of the 1. arm. 
Carry r.f. to 2nd degage. Execute a complete turn {tour entier) on 
r. ball, carrying l.f. first into 2nd elevation and then into 5th front 
position and degage (1 bar). Round sole of r.f. into front 5th 
degage. Pause (1 bar). Begin ballonne as preparation for the 
repetition (1 bar). Repeat this ballonne retrograde (4 bars) to left. 
Repeat the whole enchainement (8 bars). 

Figure 4. Frappe tortille in the background, 16 bars. 
Traverse to right sideways with one frappe and one tortille, repeated 
three times, followed by one coupe and one pas de basque lateral. 
•(1) frappe with r.f. into 2nd degage. (2) turn l.f. on the heel until 
the toe comes to a point a little in advance of the r. heel. (3) turn 
l.f. into front 5th position. (2 and 3 constitute a pas tortille) 
(1 bar). Repeat twice (2 bars). (1) coupe dessous with r.f. into 5th 
rear. (2) l.f. to 2nd degage. (3) r.f. to front crossed 4th position, 
degage (1 bar) (this constitutes a pas de basque espagnol) Repeat 
the preceding 4 bars to left (4 bars). Repeat them to right (4 bars). 
Two frappes tortilles (2 bars). Coupe pas de basque (1 bar). (1) 

29 



CA PRONOUNCING DICTIONARY OF 



frappe on r.f. into front 4th cleg-age. (2) pause. (3) prepare for 
next movement (1 bar). 

Second Couplet. Four figures of 16 bars each. 

Figure 1. Le rhombe en descendant, (16 bars) Obliquely 
forward to right to the middle line by one and a halt ballonnes, two 
pas Sieves forward into 4th position, one demi-pas-de-basq ie to the 
left, one tappe du taion gauche (stamp with 1. heel) and owe frappe 
with r.f. into 2nd position (4 bars). It would be to the advantage of 
the pupil to divide the counting of the next four bars, from 1 to 12. 
(1 j After a light hop on l.f. put down r.f. in 2nd degage, r. hand over 
the head, eyes raised to upstretched hand. (2) l.f. to 3rd rear. 
(1,2 constitute a pas ballonne). (3,4) repeat 1,2. (5. 6) two pas 
eleves on line of direction. (7) l.f. to 2nd. (8) swing r f. into crossed 
front 4th position. (7, 8 constitute a demi-, or half -pas-de-basque. 
and many Spanish dancers cali it poi nte de pied). (9) Raise 1. heel 
and audibly lower it, this is known as stamping, or taper. (10) 
stamp with r.f. into 2nd degage. (11, 12) pause (4 bars). Repeat 
1 to 12 with opposite feet, obliquely forward. Repeat with r.f. 
obliquely backward ; in doing this the dancer turns her back to the 
audience (4 bars). Repeat once more (4 bars), finish facing audience. 

Figure 2. Sixteen demi-pas-de-hasques with tapes de talon, 
bringing the dancer to front ot stage (16 bars). 

Figure 3. Le rhombe en montant. The same as Figure I of 
this couplet, except that it is backward (16 bars). 

Figure 4. In the foreground. Demi-traverse a droit, consisting 
of coupe-tortille, coupe-pas-de-basque, frappe-ramasse and frappe- 
pirouette. (1) coupe: put l.f. aown forcibly in rear 5th degage. 
(2) tortille- turn rf. inward on the ball. (3) turn r.f. outward into 
front 5th degage (4) coupe : put down l.f. forcibly into 5th rear 
and degage, thus releasing r.f. (5) pas de basque : carry r.f. to 2nd 
position and degage. (6j carry l.f. by a circular movement into 4th 
front position, degage. (7) frappe : stamp with r.f. into 2nd position, 
degage. (8) ramasse : bend supporting r. leg and glide 1 f. into 
front 5th point with corresponding bend of 1. leg, simultaneously 
bend body, dipping 1. arm, so that it would be possible for the 1. 
hand to lift a small object from the floor; " ramasser" means to 
pick up. The r. arm during this movement is raised to a corres- 
ponding position in the opposite direction ; the eyes follow the 
movement of the 1. hand, (g) put down the 1. and raise r. heel, 
straighten the body, commencing a degage, which is completed on 
(10) by a stamp with r.f. in 2nd position. (11) raise r. heel and 
execute a complete turn to the r. upon the sole, with 1. leg in 2nd 
elevation. (12) put down l.f. in 2nd position, degage (4 bars in all). 
Retraverse: repeat the same enchamement but in counter-motion 
(4 bars). Repeat to right (4 bars). Repeat to left to centre but 
without ramasse (4 bars). 

Third Couplet. Four figures of 16 bars each. 

Figure 1. Ballonne retrograde zig-zag backward; same as 
3rd figure of 1st couplet. (16 bars). 

Figure 2. In the background in place. Three temps de 
ciseaux, without hop or turn, one coupe and one pas de basque to the 
right (4 bars). Repeat (4 bars). Fivoter to left, with 1. arm raised 
and pirouette basque to left, as in 2nd figure of 1st couplet (8 bars). 

30 



THE ART OF DANCING. CA 



Figure 3. Zig-zag - forward with two successive pirouettes 
After a light hop (1-4) move obliquely forward to the right, halfway 
to centre, by one-and-a-half pas ballonnes. (5) complete turn on r. 
ball, with l.f. in 5th rear elevation with perpendicular sole. (6) put 
down l.f. in front 5th. (7) stamp r. in 2nd position, degage. (8, 9, 10) 
repeat 5, 6, 7. (11, 12) pause. (The whole, 4 bars). Repeat this 
enchainement to left (4 bars). Repeat the whole (8 bars). 

Figure 4. Ramasse (16 bars). Short zig-zag to rear with eight 
raising and picking-up movements, in six beats. Preparation : 
temps leve (this consists of a fouette and a hop preparatory to the 
pas ballonne). (1) put down r.f. in 2nd position. (2) ramasse 
(already explained). (3) put down l.f. and raise r. heel. (4) stamp 
with r.f. into 2nd position. (5) temps fouette dessous, whipping 
leg in rear-. (6) temps leve, as used to prepare for a pas bal- 
lonne. This enchamement of six temps is repeated alternately 
eight times (16 bars in all), and brings the dancer to the centre 
of the background. 

Fourth Couplet. 

Figure 1. Grand degage, z\g-zag forward. (1-4) move 
obliquely forward to right, halfway to centre, with one-and-a-half 
pas ballonnes. (5-6) on^-and-a-quarter turns on r. sole with l.f. in 
high 2nd elevation. (7) l.f. down to 4th front position, raising 1. arm 
and following its movement with the eyes. (8) degage slowly and 
with dignity to l.f., same time bend upper body, lowering 1. arm and 
raising r. arm and bending the knees. (9) repeat with r.l. (10) 
repeat 7. (11, 12) pause. (The whole four bars). Music from 5 to 
12 should be rallentando. All the movements should be executed 
in an easy, airy manner, with corresponding arm movements. 
Repeat to left forward (4 bars). Repeat to left forward (4 bars). 
Repeat to right forward (4 bars). Repeat to left forward, kneeling 
slowly on 1. knee during the 16th bar, with r. arm lowered and 1. arm 
raised, head slightly inclined forward, eyes downcast. 

Figure 2, Degage a genoux. (Transfer upon the knees, 16 
bars). During first four bars, carry r. arm inside the r. leg by a 
grand rond de bras, which then moves upward, and through a raised 
position returning again lowered outside the r. leg, accompanied by 
a similar but opposite movement with 1. arm. The eyes follow r. 
hand, head and body inevitably cooperate (4 bars). During the 5th 
bar, carry 1. arm to crossed horizontal position, turn upper body 
slightly to left, eves following 1. hand, rise slowly on r.f. during bar 6, 
continuing: the movements of the arms. During 7th bar carrv r.f. 
to 2nd degag-e, and with l.f. make a jete en tournant, sinking, 
during the 8th bar, on the r. knee. Repeat the whole, opposite 
way (7 bars), rising on 8th bar. 

Figure 3. In the foreground. One-and-a-half pas ballonnes 
and two pas eleves to the ri^ht (2 bars). Deep curtsey to audience 
on right 1 2 bars). Repetition to left (4 bars). Backward to centre 
with two-and-a-half pas ballonnes in circular direction to right, and 
a complete turn to right on right sole, and low curtsey to centre of 
audience. (8 bars). 

Coda. The dancer concludes with one-and-a-half pas ballonnes 
and several pas eleves to left and exit on last note of music. 

Cadence. — From cadere, to fall. The observance of the minutest rhythm 
of the pas with the rhythm of the music. It denotes the harmony 

31 



CA PRONOUNCING DICTIONARY OF 



of the dancer with the accompanying- music. Commonly known as 
" keeping- time.'' 

Cagneux (kahn-yo).— Knock-kneed. A dancer whose knees turn 
inward, that is, they nearly touch each other. This fault is fatal 
to the training- of a good dancer, because there appears to the 
onlooker, a disagreeable contraction of the thighs and hips, and, 
instead of the legs being straight, they form a triangle, with the knees 
as the apex and the feet for the base. The remedy, which must be 
steadily persevered with, is an extended course of grands ronds de 
jambe (rounding the leg in the air). The practice of these ronds 
produces equality of the rotary movement of the femir bone in the 
cup-shaped cotyloid cavity. The patella (knee-pan) will then 
move to the side, and will, little by little, become perpendicular with 
the toes. 

Caledonians. — Once a popular Square Dance, now almost obsolete. 
Arrangement of dancers as for Quadrilles. 

Figure I. First and second couples advance to the centre and 
demi-moulinet (half-mill) to left (join r. hands across and walk 
round to left). Change hands and demi-moulinet to right, and back 
to places. Balance z (set to) and turn partners : ladies chain. Half 
promenade. Demi- (half) chaine Anglaise (half right and left). 
Sides repeat. 

Figure 2. First gentleman advance and retire twice, All 
balancez and turn corners, gentleman keeping corner lady. All 
promenade once round. Repeat — second gentleman commencing. 
Repeat for third gentleman, and again for the fourth. 

Figure 3. Same as 1st Figure of Lancers, and add Grand 
Circle and turn partners. 

Figure 4. First lady and vis-a-vis (opposite gentleman) 
advance to centre and stop. Partners repeat. Turn partners to 
places. All ladies walk round four steps into the places of the ladies 
on the right. All salute. Gentlemen walk round four steps into 
places of gentlemen on the lefc. All salute. Repeat the last two 
movements. Promenade to place. Repeat the whole, the second 
lady and her vis-a-vis commencing. Repeat, third lady commen- 
cing, and again for fourth lady. 

Figure 5. First couple promenade 16 steps round the set. All 
ladies advance and retire (en avant et en arriere) bowing. All 
gentlemen advance to the centre and face partners, salute. Balancez 
to (set) partners and turn. Half grand chain. Promenade to 
places. Chassez croisez with corners. Repeat the whole three times 
for the second, third and fourth couples to commence in turn. 

Calife, le (Kah-leef). — An ancient contredanse composed by Bias™ 
for four couples. (1) a gentleman advances and retires alone. (2) 
the vis-a-vis ladv repeats. (3) the same for the other three ladies 
together, who make a chasse croise, finishing vis-a-vis to the gentle- 
man. (4) the gentleman advances with the three ladies, makes a 
tour de main (circle round holding hands) and all return to places. 
(5) the gentleman makes a balance and tour de main with his 
partner and chasse sideward. Repeat. 

Callichore. — The name of a well, and of a dance. The ancient Greek 
womens' dance round the well of that name. Singing accompanied 
the dance. 

32 



[J u 



Part V. September, 1913. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. CA 

Cambre, pas (kahm-bray).— With military salute. Open the heels and 
pivot on the toes ; the points are inward, the feet in the form of an 
arch, toes nearly touching in front, heels open in the rear. Raise 
the shoulders while making a military salute. Then pivot on the 
heels, opening the toes (the feet thus assuming the 2nd position) 
and assemble, letting the hands fall. 

Canaica. — Russian. The couples surrender themselves to gracefu 
balances ; it is a kind of valse with change of hands, intermingled 
with forward and backward promenades. 

Canaries.— XVI Century. Tempo 6-8. A species of Jig for two 

people, danced in the Canary Islands {authority, Compan). It was 
drawn from a ballet or masquerade, in which the dancers were 
dressed as Kings of Mauritius or savages with feathers of all colours. 
It was lively and animated. Thoinot-Arbeau, in his '* Orcheso- 
graphie" (1588), gives this explanation of the dance. " A young 
man takes a girl, and they dance to the rhythm of any tune they 
like. He conducts her to the end of the ballroom and either 
withdraws or recommences. They dance again and he again 
withdraws, then she dances alone before him and retires to her 
place. They continue in this way as long as the music suggests 
anything, some of the passages being strange, eccentric, and almost 
savage." 

Another description. — The dancers place themselves opposite to 
each other, imitating savages. The man places his arm round the 
woman and they dance together a pas de gigue burlesque. They 
separate and execute a pas de navette (going and returning), imita- 
ting a person wiping his shoes on the floor. Then they recommence, 
the woman halts at a corner of the room, and her partner, with a 
savage mien, executes a solo while pretending to search for her. 
Then he repeats the tapping etc., commencing with the other foot. 
Then commence from the beginning, and this time the woman does 
the solo, etc. 

Canaries, pas de. — Tap with l.f., lifting the r., tap with r. heel, then 
stamp with whole foot. Repeat. 

Cancan or Chahut. — A kind of frenzied, epileptic or mad dance. The 
movements are about as related to dancing as slang is to refined 
language. The Cancan does not form a part of any musical law, 
but is the result of the temperament of the dancers, in their frantic 
efforts to give exhibitions of agility and suppleness. It is doubtful 
whether the Cancan of 1505 has any connection with the modern 
Cancan, which dates from 1830, when dancing in France was 
indulged in only by the lower classes. The process of transforma- 
tion by the lower orders continued until 1840. At first, the dance 
was far from coarse or licentious; it was graceful, even spiritual. 
By 1844, it was danced only by the young students at their evening 
frivolities at places like Mabille, Prado and Chaumiere. Few of 
the better class indulged in the coarseness of this famous quadrille. 
The monstrous contortions of the votaries of the dance at Moulin 
Rouge are indescribable, they are anything but the joyful expres- 
sions of youth. The most horrible contortions and daring gestures 
were seen, and it is not surprising that the young students soon 
became satiated and wearied of this dance. Various unsuccessful 
attempts have been made to revive the Chahut or Cancan, but the 
condemnation of its monstrosities by the Press, and the articles and 

33 



CA PRONOUNCING DICTIONARY OF 



drawings by Louis Legrand in "Gil Bias" during May, 1891, 
finally effected the suppression of this horrible dance. It never had 
a strong footing in England, and, in its day, was seen here only on 
the music hall stage, never in the ballroom. 

Candiote. — Greek dance (1623), based on a tender and languorous air. 
A young girl conducts various figures by circuits, voltes, ronds, etc., 
the dancers following the detours of a labyrinth, in a word, to repre- 
sent the episode of Thesee and Ariadne. Homer wrote this 
description:—" Young men and girls, joining hands, dance together. 
The girls are clothed in light materials, on their heads are golden 
crowns. The young men are arrayed in brilliant colours. A troupe 
of these dance round in a circle of perfect precision, a perfect wheel. 
The circle opens, and the leading girl conducts the young people, 
who are still holding hands, through an infinite variety of turns." 
The dance was used by the Greeks at their rustic fetes (fetes 
champetres). Compare with the later " Farandole," and note the 
similarity. 

Cantique. — Dance, with song, used by the Ancient Hebrews. The 
Israelites, during the passage of the Red Sea, danced clasping one 
another, jumping and singing. It was the dance in the history of 
Palestine, 2,300 years B.C. 

Caprice (kah-prees).--i82I. Dance in imitation of the capricious goat, 
dancing and leaping. Eight bars, common time. The gentleman 
clasping the lady, they make four glides with each foot (4 bars), 
then four turns of a kind of hop waltz, jumping (4 bars), then they 
unclasp and do the movements separately, then together again, etc. 

Carmagnole (la) (Karmahnyol).— Dates from August, 1789, in France. 
Carmagnole is an Italian town which was occupied by the French 
in 1581, 1671 and 1796. The French caused the inhabitants of 
Carmagnole to dance, and, chasing them out, occupied their town. 
Hence the name Carmagnole, which has been given to the steps of 
this dance, inspired the conqueror with joy and the vanquished with 
sorrow, despair and the desire for vengeance. Hence the saying 
when a man wants to fight another, " Je vais te faire danser la 
Carmagnole," (" I am going to make you dance the Carmagnole.") 
It was danced in the public places after the taking of the Bastille, 
July 14th, 1789, when it was made into a round dance, all singing 
the song, " La Carmagnole." 

The Dance. One turn with the r. arms locked, hopping on l.f., 
and crossing r.f. in front of it; repeat three times. One turn 
with 1. arms locked. One turn, holding both hands. The man 
with woman's 1. hand in his r., taps one foot on the ground, and, 
raises the other ; repeat three times. Then, facing each other, they 
give both hands and repeat the steps with the opposite feet. Then 
all joined hands in a huge circle, and performed a mad galop about 
the streets in a kind of Farandole. The circles were formed round 
the dwellings of the aristocrats to give expression of their horror at 
the inmates. The Jacobins excelled at it in the taking of the Bastille. 
Woe betide the aristocrat whose residence was so surrounded, he 
and his family were doomed ! 

Carre (kar-ray).— A square. The form in which square dances are 
arranged. 

34 



THE ART OF DANCING. CA 

Carriage. — Correct carriage of the body is of the utmost importance to 
the dancer. The head must be held erect, eyes directed straight 
forward, neck perpendicular, chest expanded and forward, shoulders 
held back and down, arms hanging- at the side with fingers rounded, 
abdomen drawn in, knees turned outward and stretched, legs and 
feet turned outwards. 

Caryates. — Dance of ancient Greece. Combines great nobility and 
virginal innocence. It was reserved for the virgins of Lacome, who 
were proud in having acquired it from Pollux himself. The young 
maidens danced the caryates with the Spartans round the altar of 
Diana. Helene was the principal ornament of the fete, and it is 
said that it was at a caryates that the son of Priam became enam- 
oured of her. 

Cascaron. — " Le Figaro," of March, 1 891, ascribes this dance to Mexico, 
where it was invented in honour of the Spanish- American Colony 
The ladv chose a partner by drawing, from a satin satchel, a gilded 
and perfumed paper, which she threw over his head. There is a 
modern figure (" the snow-ball ") in the Cotillon, which is identical 
with it. The lady, placed in the centre of the ballroom, surrounded 
by a group of gentlemen, breaks a ball containing confetti over him 
vhom she desires as a partner. 



wl 



Casse=Cou (pas du) (kahs-koo). — Break neck or dare-devil. Lower 
the head forward, raising the feet one after the other to the rear ; 
then lifting the feet forward one after the other and hopping. 

Cat's=Tail. — See Chat, queue de. 

Centre of Gravity. — The proper balance of the body is the sine qua 
non of the dancer both on the stage and in the ballroom. The 
•dancer must have absolute control of the movements of his own body 
before he is capable of properly guiding or sustaining a partner. 
The centre of gravity is at the base of the vertebral column. What- 
ever the position of the body, whatever movement the body may 
make, whether on one leg or both, the centre of gravity must never 
be altered. The weight of a dancer on one leg is divided in two 
equal parts to the weight which supports the whole. In this position, 
the line of the centre of gravity parses the axis of the leg which 
supports the body. Theatrical dancers must take into account the 
slope of the stage which descends in an inclined plane towards the 
spectators, which causes the body to incline forward. To counteract 
this, the head must be held high, and the body well back, so that 
the crown of the head is perpendicular with the slope of the loins. 

Chacone (shah-kon).— Tempo 2-4. Has been danced since 1750. It 
was a dance indefinitely prolonged. Its name, originally Ciaccono, 
was derived from Ciecos, a blind man. It was first danced at the 
beginning of XVII. century. It originated in Italy at the time of 
the marriage of Marie de Medecis with Henry IV. in 1600, but 
according to Cervantes, Menage, and others, the Chacone is 
really Spanish. According to Cervantes the Chacone was 
primitively danced by the negroes and mulattos, and imported by 
them to the Court of Philip II, but Castilian gravity singularly 
modified its character. It is admittedly a noble dance, and such 
musicians as Lulli, Berton, Rameau and Floquet did not disdain to 
write exquisite music for it. Analysis: — L.f. forward 5th, with 
weight 01 body on it. L.f. assemble after r.f. has been raised to 2nd 

35 



CH PRONOUNCING DICTIONARY OF 

elevation, then bend {plier), draw upright with a hop on l.f. {saute). 
The r. leg, which was en Vair (in the air), is carried to one side in 
2nd position, and l.f. is placed either front or rear, according to the 
direction to be taken. This is the step in the Chaconne employed 
for the dancer to move either to the right or left. 

Chaconne (temps de). — The name given to the whole of the above 
movements. The Chaconne easily adapts itself to either 2-4 or 3-4 
tempo. Summary : — Saute and two pas marches on the points, 
which can be rallentando (slower), or accellerando (quicker) 
according to the music tempo. 

Chaine (shayn). — A figure in which the hands are alternately given in 
meeting another dancer. Of these figures there are several: chaine 
anglaise (commonly known as " right and left") ; chaine des dames 
(ladies chain) ; chaine en trois, en quatre, en six, en huit (chain for 
three, four, six or eight) ; grande chaine (grand chain) ; chaine en 
ligne (chain in line). When a number of couples walk round in an 
inverse sense, as in 55th figure of Lancers (gentleman moving round 
the circle to the right and ladies to the left) and presenting alter- 
nately the 1. hand and r. hand to each dancer, in passing round 
either to left or right of the other dancer, it is called grande chaine. 
Two ladies meet in the centre of the set, taking r. hands and pass 
on with 1. hand to opposite gentleman and return to places in the 
same way will be chaine des dames (ladies' chain). It is a double 
when done by four people, when it is also called moulinet (moolinay) 
a mill. A complete chaine occupies eight bars of mu^ic, and finds 
the dancers in their places ; a demi-chaine, or half chain, takes four 
bars, and leaves the dancer into the opposite place. 

Chaine Anglaise (shayn ahnglayz). — English chain. The familiar 
right and left in figures of square dances. (See Quadrilles). 

Chaine Brise (shayn breezay). In the grand chain, when gentleman 
meets his partner on the opposite side, he often executes a turn 
holding r. hands. 

Chaine Continue. — By two couples. The two ladies join r. hands and 
place 1. hands in partner's hands, releasing the r. The gentlemen 
join r. hands and take the 1. hands of opposite lady. Repeat the 
whole to return to place. 

Chaine des dames (shayn day dahm).— Ladies chain. (See 
Quadrilles). 

Champetre (sharmpaytr).— Rural or country dances. Annually per- 
formed in the country. These dances are of great antiquity, but 
have now completely altered their character, in fact, have lost their 
originality. In former times the youth, and often the adults, feted 
the village saint by dancing and rejoicing in the open air. The 
coming of spring, harvesting and other operations, gave opportunity 
for such rejoicing by the populace, in the open, under the light of 
the moon and stars, free to everybody. Now, one pays for admis- 
sion into some theatre to see a few children gamboling in a supposed 
revival of dances, which were never intended to bs danced on 
boards, but in the fields. They were instituted by the god Pan, who 
desired them to be danced in the woods. The dancers were 
garlanded with flowers, and wore sashes of blossoms. 

36 



THE ART OF DANCING. 



CH 



Changement (shahnj-mahn).— Change. In marching or walking, 
when one is "out of step," and a change of step is necessary (i) step 
forward on r. or 1. ''and) close other foot up to it in 3rd position. 
(2) step forward again with first foot. 

Changement de Jambe (shahnj-mahn der jhahmb).— Change of 
lee. The crossed changing of both feet in the air in one temps. 
With r.f. in 5th front, after a slight bend of the knees, give a 
moderate spring in the air and change the feet to I.f. in 5th front. 
It can also be done in turning. 

Changement de Pieds (pee-ay).— Change of feet. Same as the 
foregoing. 

Changement de Talons (tah-t.orn). — Change of heels. In right 
front 3rd position ; rise on the points and pass 1. heel in front of r.f. 
and r. heel behind l.f. (ensemble). This may be repeated. 

Changement le Main.- Change from one hand to the other. 

Chao (kah-o). — Very popular Chinese dance, done by a man playing 
an instrument resembling the figure 2, hence the origin of the name 

Charisia (kah-ris-yer). — A fete, instituted, as its name indicates, in 
honour of the graces. Young men and maidens danced, offering 
each other cakes and fruits. It was always danced after sunset. 

Charmeuse (la) — (A New Ballroom dance by Bernard Leefson of 
Amsterdam). This dance consists of three parts of 16 bars each in 
Mazurka time. The lady and gentleman stand side by side in the 
3rd position, the l.f. in front. The lady's 1. hand in the gentleman's 
r. Both hands are raised to the height of the shoulder, the arm is 
gracefully bent. The gentleman places the 1. hand akimbo, the 
lady holds her skirt with her r. hand, and before beginning the 
dance, both curtsey. 

No. I. Four Pas de Basque forward, beginning with the l.f. 
(4 bars). The gentleman makes his lady perform a Tour de Valse 
inward and outward, without unclasping his hand (4 bars). The 
gentleman is now standing in the 2nd position the weight of the 
body on the 1. leg, the lady passes under the gentleman's arm. 
Both Waltz round, the gentleman beginning with l.f., the lady 
with the r.f. (8 bars). 

No. 2. Placed as in No. 1. The gentleman begins with the 
l.f., the lady with the r., both make Two Balances sideward (2 bars). 
In executing the first Balance, they turn a little away from each 
other ; in making the 2nd, they incline a little towards each other, 
and describe an elegant curve with the arm. Make a Touv de Valse 
turning round each outside and release the hands (2 bars). Waltz 
as No. 1 (4 bars). Repetition of the same part (8 bars). 

No. 3. The lady places herself opposite the gentleman, who 
stands with the back turned to the middle of the room. The gentle- 
man offers his right hand to the ladv who places hers in his Perform 
Balance forward and backward, both beginning with the r.f. 
Position as in menuet (2 bars). Half tour demtin (Waltz) (2 bars). 
Repetition of the Balance, the 1. hands being clasped together (2 
bars). Halt tour de main (Waltz) to the left (2 bars). The gentle- 
man beginning with the l.f. Waltz as in No. 1. 

37 



CH PRONOUNCING DICTIONARY OF 



The numbers follow in this order . 

No. i. Once. # No. I. Once. 

No. 2. Twice. No. 3. Twice. 

♦Before the repetition of No. t, the lady and gentleman make 
two steps. (Marche a la Menuet) 2 bars, the gentleman beginning 
with the l.f., the lady with the r. one, and curtsey to each other. 

Chasse, pas (shahs-say).— The chafing of one foot from its place by 
the other foot in two steps— one complete step and two half-cut 
steps — in two temps. It can be executed in all directions, forward, 
backward, to right, to left, and turning. Analysis :— En avant 
(forward); feet in forth position, weight on l.f. (1) r.f. to 4th 
forward, degage, and after a light bending and rising, is chased 
from its position by the l.f., which assumes the 3rd position rear of 
the r.f., while (2) the r.f. glides lightly forward to 4th position. This 
can be continued or chasse alrernatif, by alternatively chasing the 
r.f. and l.f. En arriere; chase the foot backward. It can be done 
in either :~4 or 3-4. Old-time contre-danses were executed with 
chasses combined with glissades, jetes, and assembles. 

Chasse Battu (shahs-say bahttu).- Beaten chasse. With r.f. in 5th 
forward, make an echappe on l.f. while r.f. makes a battement plie 
forward; while making a jete forward with r.f. the l.f. makes a 
battement plie to rear, returning to 4th rear. 

Chasse et Dechasse. — Chasse to right and left, or vice versa. 

Chasse Croise.— In making the chasse to the right, the gentleman 
passes behind the lady, who simultaneously chassez to the left, 
passing in front of the gentleman, and, in returning to places, the 
gentleman chassez to left behind the lady, who does it to right, in 
front of the gentleman. It usually occupies eight bars of music. 

Chasse b'chappe (ay-shahp-ay) — With r.f. in 5th forward (1) make 
an echappe. (2) l.f. goes to 5th rear. (3) r.f. goes to 2nd. (4) 
quickly place l.f. in 5th forward. 

Chasse Ouvert (oo-vair). — Two bars in 3-4 or 6-8 time. To the 
right. Glide r.f. forward, chasser r.f. with the 1 f., crossing it to the 
rear to glide 1 f to 2nd position. Chasser l.f. with r.f. in crossing r.f. 
behind l.f. and assemble l.f. behind r.f. For Chasse-ouvert-battu 
make an assemble, preceded bv an entrechat or brise. This step is 
repeated, commencing l.f. (2 bars). 

Chat, pas (pah shah).— Cat step. Temps 2-4. A dancer, dressed in 
the head of a cat. bounds and jumps o*er obstacles purposely 
placed. Then he bounds upon a piece of furniture or a table, 
and does the following steps. Spring in the air and alight on the l.f., 
bending r. leg (the r. leg should be near 1 ankle, the foot on r. side, 
and tne sole of this foot on the r. side), the two hands held in position 
as a frightened cat. Repeat with the other foot Another descrip- 
tion. — Stand in 5th right front. Bend both knees {plie) and smartly 
round Ithe r. leg and throw it to 2nd position, immediately placing 
l.f. in 5th rear ; repeat as often as needed. 

Chat, demi queue du (ker der shah).— Cat's tail. Known also as 
demi-promenade. In square dances. Each person of two opposite 

38 



THE ART OF DANCING. CH 

couples presents 1. hands to partner and goes off obliquely to the 
right to the opposite side to change places (4 bars). Regain places 
with demi chaine anglaise (4 bars). 

Cheiroskatiskos. — An ancient Greek dance, so called because it was 
danced with a basket of flowers in the hand. It was mentioned by 
Athenee and Pollux. 

Chica, la (she-ka). — Dumb-show, quick 3-4 dance from Cuba, 1495. 
The dance is a kind of struggle, in which all the strategies of love 
and the means of triumph are brought into play. Fear, hope, 
disdain, tenderness, caprice, pleasure, refusal, excitement, passion, 
ruin, flight, in fact there is a complete love history in this dance, 
which pourtrays all the dancer has been able to get into his life. 
The various steps expressing these emotions are infinite, and are 
executed in jumping, gliding, agitating the loins; the lady holds a 
handkerchief on her skirt. The gentleman, with pas sautes, advan- 
ces and retires, imploring her to give him her love. 

Chireotl Apokope. — Greek dance, done during the carving of meat at 
feasts. It is known that among the Greeks, the meat was carved 
while the guests were entertained by singing and dancing. 

Chironomie. — Ancient Greek war dance, often mistaken for the 
Pyrrhic, although it differs in many respects. It had as much 
success with the Romans as with the Greeks. Xenophon and 
Hippocrates wrote long eulogies on it. Apulee, Julius Pollux, and 
Athenee exalted the dancers of this dance. It consisted of a series 
of gestures with the arms and hands, representing movements which 
would happen in the thick of battle. Ultimately, its original char- 
acter became modified, and, science assisting, graceful and slower 
gestures effected the style. It was staged in the Roman theatres, 
and Juvenal, in his Sixth Satire, vaunts the success of Bathylle 
dancing the Chironomie before the Roman ladies. The Greek word 
" Chironomie" is translated as %< danse des mains'' 

Cholegraphy (koregrafi). — As its Greek name indicates, this means 
to write out or describe a dance, that is to say, to put down by 
writings and drawings the different steps of a dance. Musicians 
write their notes with signs marked on four lines, -choregraphy 
indicates the steps by a line showing the direction of the dancers, 
and secondly, whether they move to the right or left. Signs in 
music are called notes, in dancing they are called steps. The first 
essays on choregraphy were written by Jean Tabourot, under the 
nom de plume ol " Thoinot-Arbeau," and published in 1588. These 
essays have not, properly speaking, a choregraphic character, 
because they contain no signs. These are supplemented by written 
descriptions. We must pass on from 1588 to 1707 and 1713 to find 
the choregraphic language and writing, in the works of Feuillet 
and Desaix. These dance-masters published the first choregraphi- 
cal treatise, in which they inserted the dance theories. Some years 
later the best and most complete work was that of Margny, which 
is a real dictionary of dance terms, giving all the signs employed 
and their definitions. This book is a correct dictionary of all the 
choregraphical art. It is most interesting from the point of view of 
ancient menuets and dances which can easily be translated, even the 
most complicated steps. If one is not initiated in the signs which 
describe dancing, it is only necessary to refer to the sign in Margny's 
Dictionary to find the description. Thus the feet are described as 

39 



CH PRONOUNCING DICTIONARY OF 

o — r.f., — o l.f. ; the feet together being- — oo — . In more modern 
times, Sultzer, Roller, Carlo Blasis, Arthur de St. Leon, Bernard 
Klemm, and Friedrich Albert Zorn invented systems of dance 
writing (choregraphy). 

Choreion (korayon). — Meursius, in his index of ancient dances 
simply mentions this aance without indicating the class to which it 
belongs, the word, however, implies a dance composed of steps 
united to words. 

Choreios (korayos). — Choir of dancers. Name given to an ancient 
troupe of dancers, accompanied by singers. The remotest mention 
of the name dates from the time of iMoses, after the passage across 
the Red Sea. Two large choirs were assembled by him, one com- 
posed of men, presided over by him, the other of women, led by his 
sister, Miriam. The two choirs, with tambourines, danced and sang 
the canticle "Cantsemus Domino." In the early churches a space 
was reserved at the end of the building which was called the 
"chceur." The choir itself was represented by the dancers or the 
ballet, examples of which were the celebrated choirs established by 
Fylades in Rome. It is principally to the early Roman theatres 
that we owe the choirs ot dancers ; in the Greek choirs, dancing 
alone was not included. Fylades, who was an artist and dancer, as 
ingenious as he was clever, introduced these choirs of singers and 
dancers to add to the brilliancy and effect at the theatre. He 
harmonized the steps with words and gestures, and was the creator 
of great scenic representations. He was the first who discovered 
the importance and the art of costuming. In modern days, 
" coryphee " is employed as the term for the dancer, " choir " being 
understood as a body of singers or choristers. 

Chute (shoot).— A fall. After a jump (sa uter), one naturally falls to 
the ground on the feet, either on the sole, heel, ball or point. The 
fall step is tombe. If it is intentionally made audible, it is a chute 

Cinq Pas — Five Pas. In olden times it was said that five movements 
could be originated with the help of the knees, ankles, and feet. 
Modern dance-teachers have, however, increased the number to eight. 
They demonstrate on a simple basis every action the legs can per- 
form in dancing. The terms are the fundamental technical terms 
employed in dancing : — 

i. DROIT ; in a straight line forward or backward. 

2. OUVERT ; open sideways -right or left. 

3. ROND ; in a circle (analogous with pas de basque). 

4. TORTILLE; winding or twisting. 

5. GLISSE; gliding the foot on the ground. 

6. SAUTE et RETOMBE ; jumping or springing and the 

naturally accompanying alighting on the feet. 

7. TOURNE ; turning. 

8. BA TTU ; beating one foot against the other. 

Circassian Circle. — An unlimited number of persons can join in this 
dance, which consists of any figure adapted from a square dance. 
Usually it is the first figure of the Caledonians. The couples are 
arranged in a large circle round the room, each two couples facing 

40 



I ! 



Part VI. October, 19K3. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing 



THE ART OF DANCING. Cl 

each other. All commence simultaneously and dance first figure of 
Caledonians till the end of the ladies' chain. Then turn partner in 
place (4 bars) and chassez to next facing- couple (4 bars). Repeat 
the whole ad lib. 

Ciseaux or Sissonne (see-so, sissonn) temps and pas. — R. Voss in 
his " Dictionary of Dances," mentions the Sissonne as the name of 
a Provencal dance performed in 1565, at a festival of the French 
Court, but no description is given. This scissor step consists of two 
temps or syllables. If during the first temps, the weight rests on 
both feet, but on the second temps is supported on only one, it is a 
step or pas {pas de sissonne). But, if the weight remains on the 
same support during both syllables, it is a temps de sissonne. The 
step is thus described by Zorn : — " Prepare by standing with l.f. in 
2nd elevation. (1) during a light jump on r.f., the l.f. is put down 
into 5th rear, ball position, both knees bent. (2) jump and fall back 
on one foot only, while the other foot is quickly raised to 2nd elevation, 
preparatory for the next step. If the stepping foot is put down in 
front, it is pas de ciseaux dessus ; if to the rear or under crossed, it is 
pas de ciseaux dessous," It can also be made alternatif. Pas de 
ciseaux double, is thus described by Bernard Klemm in his 
"Catechism of the Art of Dancing." "In place. Preparation, 
5th r.f. forward. (1) bend knees and jump on both feet, alighting in 
5th point position. (2) jump again, falling on l.f., while r.f. is 
stretched to 2nd elevation until (3) it falls back again into the 5th, 
either dessus or dessous. This step occurs in the English Sailor's 
Hornpipe." Ciseaux for jigs, etc., (turning to the right). Stand 
in 1st position (1) turn on sole of r.f. so that the foot is turned in, 
at the same time, turn on 1. heel inward. The heels will now be 
open, and the toes touching. (2) turn on r. heel and 1. sole, opening 
the r. point and shutting 1. heel, finishing in 1st position. Repeat. 
Ciseaux forward and to rear. The heels united, and the points 
open. (1) close the points and open the heels in advancing. 
(2) shut the heels and open the points. Continue the whole, ad 
libitum. 

Cliquetis. — A dance peculiar to the Romans, composed by Romulus 
who taught it to his warriors. They, in full armour, sprang roughly 
and ran in imitation of savages. 

Closed Positions.— The 1st, 3rd and 5th positions. 

Coin (kwahn) or A coin. — Corner or angle. Commonly known in 
square dances as the " corner " lady or gentleman, that is, the lady 
standing at the gentleman's 1. side, and the gentleman standing 
at the lady's r. Example, tour a. coin = turn corners (in 1st figure 
of Lancers). 

Comus. — The composer of the festal dances of the Greeks and Romans. 

Contredanse (corntr-dahns). — Originally an English country dance ; 
since 17 10, introduced in France, it consists of various figures, 
generally performed by four couples, six couples (double sides) or 
eight couples (a double set). Now known as the Quadrilles {see 
Quadrilles). Succeeding the Menuets, the contredanses were full of 
gaiety, and heralded a style of dancing which was quicker and 
more sprightly. Chaines, grands ronds and balances were the 

41 



CO PRONOUNCING DICTIONARY OF 

principal features, but they were regulated by the leader of the 
dance, and were not fixed or "set" as in the modern quadrilles, 
which are always the same. There was an infinite number of steps, 
but the principal were: — Chasses, la Jalousie, les Cotillon and la 
Mariee. Trenitz was a fervent performer of the dance, and one 
figure bears his name. Since 1830, the Contredanse has gone 
through many changes in its general character. Primitively gay, 
bright and frivolous, it has become so sad and apathetic that it can 
scarcely be reconciled with the old gaiety. The origin of the word 
Contredanse is contra saltare or danser contre, dancing facing each 
other. . In 1748, Rameau introduced the first into his ballets. 
Diderot's "Encyclopaedia" commits an error by including contre- 
danses among dances executed by one couple only. We find no 
trace of any dance bearing this name, executed by one couple, in 
any other work, not even in the antique Dictionary by Trevoux. 

Contredanse. — Some primitive figures: — 

l'Aurore. — (1) One couple chasse to side couple and two 
balances with side couple. (2) Turn with both hands to place. 
Repeat for the other three couples. (3) lady dance solo during 
eight bars. (4) same lady cross to vis-a-vis gentleman, turn, recross, 
and balance first with r. hand then I. hand, then a turn with both 
hands. (5) grand circie. 

La Folatre. — (1) demi chaine Anglaise. (2) balance. (3) 
demi chaine Anglaise. (4) balance. (5) four gentlemen en avant 
(advance). (6) four ladies en avant. (7) chasse-croisez with partner 
and places. (8) ladies chain. (9) advance with chasses to the sides, 
balance, rond and return to places. (10) chasse avant-quatre. (11) 
all balance and turn with both hands. Repeat. 

Le Calife. — (1) one gentleman en avant et en arriere. (2) vis- 
a-vis lady repeat. (3) Repeat for all the others. (4) same gentle- 
man and the three ladies advance. Turn by the hands to places. 
(5) gentleman balance with partner, turn by hands. (6) gentleman 
chasse sideward, balance turn with hands with side lady, and return 
to place; repeat this with the other three ladies. (7) same gentle- 
man, balance with partner, turn with both hands, then grand circle. 
Repeat for the other dancers. 

Les Bacchantes. — (1) all chasse, balance, and return to places. 
(2) all, the same in a cross and grand circle. (3) avant-quatre. (4) 
chaine Anglaise. (5) balance. (6) turn with both hands. (7) 
four ladies, solo each one in turn for four bars. (8) same for the 
gentleman. (9) all chasse forward and backward. (16) all chasse 
croise. 

La Triomphante. — (1) chaine Anglaise two couples. (2) other 
two couples repeat. (3) the gentlemen, each in turn, in an avant- 
deux, balance and turn by the hands ; the iady turns for two bars 
only, then, abandoning the gentleman, she advances to centre, 
executes four bars solo, and returns to place. (4) the last gentleman 
and partner turn with both hands. (5) the lady advance to centre 
and solo eight bars. (6) all the gentlemen advance, join hands, and 
make a circle round the lady ; the lady disengages herself, and all 
return to places. Repeat for the other couples. 

Other figures are Le Petit Maitre, La Jalouse, La 
Virginie, etc. 

42 



THE ART OF DANCING. CO 

Contrepas (Corntr-pah). — A Catalan dance. Very much danced 
in Spain at Fetes Champetres. The dancers are placed in a circle, 
hands joined — except the leader who shows the dance. The grave 
music and the varied movements sideways, forward, backward, 
parting and drawing together, gives the dancers a melancholy 
aspect. Women are excluded from this dance. 

Contrepoids (contr-pwoi). — Equilibrium or equipoise. All dancers 
must observe this as attentively as centre of gravity. In round 
dances, gentlemen specially must observe it to guide his partner 
properly ; he is responsible for her in all round dances. Some 
women are not only heavier than others, but they are more difficult 
to lead. Instead of following the men's movements, they stiffen 
themselves from the waist and even push away his r. arm. If he is 
not in complete possession of his balance or equipoise he will be 
unable to lead or "steer " his partner. He must keep his balance 
solidly to maintain the equilibrium of both. It is evident that for 
the lady it is less important, yet, she should possess lightness and 
adaptability to give her partner assurance and confidence. 

Contretemps (korntr-tahm). — Means "an accident." In music it 
means " out of time " or " syncopation.'* A pas composed of 
several movements and much employed in the dances of the 17th 
and 18th centuries. In the "Encyclopaedia" of d'Alembert this 
step is called the " cloche-pied." Afterwards contretemps were 
invented for the Gavotte and Chaconne, and danced en avant 
thus : — With 1 f. in front 4th position, bend 1. knee. Hop and 
simultaneously pass r.f. to 4th front. The contretemps of the 
Chaconne were open, that is to the side thus : — L.f. is forward 
supporting the weight. Hop on l.f. and degage r.f. to 2nd position, 
and l.f. immediately crosses to 5th rear. Contretemps dessus. — 
The leg is crossed first to rear then in front in time to the music. 
Contretemps dessus et dessous. — The movements of the feet 
are the same, crossing the feet but doubling the time, performing 
two contretemps in the same time. Contretemps Battus. — In 
executing the contretemps beat one leg against the other. This 
battement can also be executed in turning and produces a brilliant 
effect in stage dancing. Demi-Contretemps. — Stand in 2nd 
elevation. The free leg is carried to a closed position, then an open 
one and touches the supporting leg either rear and before, or before 
and rear, but does not receive the weight. 

Coquette, pas de (koket). — Two bars 2-4 time. (1) glissade l.f (2) 
draw r f. up to l.f. (3-4) repeat. (5 to 8) pas de polka with l.f. 
Repeat with r.f. (2 bars). 

Coranto or Courante. {See Courante). 

Corbeille (kor-by-e). — A basket. Name given to various figures in 
Square dances and Cotillons. In the Cotillon it is formed thus: — 
Three gentlemen are placed in a line with their partners in the 
centre of the ballroom ; they advance and retire ; the two gentlemen 
placed at the left and right of the centre one pass beneath the arms 
of the ladies to the right and left of the line of ladies. The two 
gentlemen join hands behind the centre lady, the two ladies join 
hands behind the centre gentlemen. This " basket " is converted 

43 



CO PRONOUNCING DICTIONARY OF 



into a circle without releasing hands and the circle moves round to 
the left. The dancers raise their arms and break the circle by 
releasing - hands. 

Cordace or Cordax. — Greek theatrical eccentric dance. Vivacity, 
eccentricity and fury characterise it. 

Corde, pas de la (de la matelotte). — The dancer imitating (with 
hands and feet) a sailor climbing up a rope. Jump on l.f. lifting 
r. knee high, then pass r. toe in front of 1., legs crossed and the toes 
pointed to the ground and together. Repeat, jumping on r.f. 

Corkscrew. (See Tire-bouchon). 

Coronatia.— Dance by R. M. Crompton. 

Corps (kore). — The body. Tour de corps. The turn or movements of 
the body. (See tour de corps). 

Cosaques (ko-sahk). — Theatrical dance by Zorn. Tempo 2-4. When 
this dance is executed by a gentleman and a lady, as a dance, as is 
often the case in Russia, the spectators place themselves round the 
dancers. The changes, the movements and the figures are very 
arbitrary according to the ability of the dancers and the amount of 
space they have at their disposition. If the dance is done in a 
drawing-room, space permitting, each part of 8 bars of music can be 
repeated. Danced in the theatre, there are 4 bars for the introduc- 
tion and entry of the dancers ; danced in the ballroom, these are 
used for the salute. During the final coda the dancers leave the 
ballroom. 

Prelude. — 4 bars, gentleman and lady enter at the same time, 
lady from the right, gentleman from the left, by four coupes russes 
steps (these are glisses and frappes), lady with the l.f., gentleman 
with r.f. 

First part. — 1st bar, gentleman's step. During the first half of 
the 1st bar he does a pas de basque to the right, in doing a half of a 
turn to the right thus he has nearly turned his back to the audience. 
During the second half of the 1st bar he jumps on the l.f. and raises 
himself, the r.f. backwards at the height of the calf. He lifts the 
r. arm and places his 1. hand on his hip. 2nd bar, three pas 
frappes in place, commence after a little spring on the l.f. from the 
r.f. in the 3rd position on the ground. After three steps the l.f. 
beats in the 3rd position in front of the r.f., and the r.f beats in the 
3rd position behind the l.f. Weight of the body on the r.f. and the 
l.f. prepares to do the same steps during the 3rd and 4th bars. 
3rd and 4th bars, this time half-circle to the left, r. arm lifted, 
1. hand on the hip. 5th— 8th bars, repetition of the four preceding 
bars ; during these 8 bars make a half-turn. 8th — 16th bar, repeti- 
tion of the steps of preceding 8 bars ; the lady makes the same 
steps with the other foot. 

Second Part. — Solo by the gentleman. 1st position, arms 
crossed in front of the chest. The steps are made en avant during 
the 8 first bars, and en arriere during the 8 last bars. 1st bar, (1) 
bend both knees, turned outwards ; (2) straighten knees, spring and 
tomber (fall) in 2nd position on the heels, the length of afoot en avant, 

44 



THE ART OF DANCING. CO 



2nd — 6th bars, repetition of 1st bar five times. 7th bar. (1) bend 
the knees; (2) jump and ecarte (throw the legs wide), tomber on the 
heels. 8th bar, three pas frappes in place in the 3rd position starting 
with l.f. behind the r., backs of the hands on the hips. 9th bar, (1) 
bend 1. knee and beat at same time, with the r.f. in the 2nd position 
stretched out ; (2) then the weipht of the body on the r.f., and lift 
the l.f. en arriere (at the height of the calf). 10th bar, repeat the 
movements of the 9th bar commencing with the other foot, nth 
and 1 2th bars, repeat the movements of 9th and 10th bars. 13th, 
14th and 15th bars, repeat steps of loth, nth and 12th bars. 16th 
bar, three pas frappes, commence with l.f. behind in the 3rd position. 

Third Part. — Solo bv the lady. Position, l.f. in 3rd position on 
the toe, r. hand on the hip. The movements executed during the 
2 first bars, to the left, en avant, during 3rd and 4th bars, to the 
right, en avant (zig-zag forward). 1st bar, spring on r.f., at same 
time fouette with l.f. in the 2nd and 3rd elevations dessus (beneath) 
(fouette, jump from the 2nd to 3rd elevations) ; (2) the same but 
fouette with r.f. in the 2nd and 3rd elevation dessous (above). 2nd 
bar, same movement as the 1st bar, the spring during 1st and 2nd 
eighths of the bar. During 2nd beat jete on the l.f. crossing r.f. in 
front of 1 f. en l'air, between the 2nd and 4th positions. 3rd— 8th 
bars, repeat these movements alternate feet. 9th bar, repeat en 
arriere. 10th, nth and 12th bars, these movements are repeated 
changing the foot for each bar. 13th 16th bars, complete a half- 
turn to the right, executing the same steps as from 9th to 12th bars 

Fourth Part. — Solo by the gentleman. 1st— 6th bars, six 
steps as follows: bend both legs, stretch out r leg in the 2nd 
position, widened (to more than a foot's distance) on the toe, heel 
outwards. Second time on the heel, then the contrary and so on, 
moving en avant during each bar the length of one foot. 7th bar, 
bend as far as the thigh, and one spring from this 1st position. 
8th bar, three pas frappes in 3rd position, l.f., r.f., l.f. qth bar, (1) 
a little spring on the l.f. and a frappe on the flat with r.f. in 5th 
position above, changing the weight of the body on to this foot 
(degage), and making a little spring on the r.f., lifting- the 1. en l'air 
at the height of the knee en arriere; (2) frappe with If. in 5th 
position above and degage, a little spring at once on the l.f., and 
lift the r.f. en Fair three-fourths above the ground en arriere. 10th 
bar, the last spring on l.f., prepare the start of the step of this bar. 
nth bar, one strong frappe with the r.f., and degage to perform a 
big spring during the 2nd beat. 12th bar, frappe the soles of the 
feet en l'air (tire right). 13th, 14th and 15th bars, repeat the move- 
ments of 1st bar ; during the 15th bar accomplish a turn of the body 
to the right. 16th bar, three pas frappes. 

Remark. — If the dancer is not tired he should repeat the frappes 
of the soles during the last 2 bars. 

Part Five.— S.econd solo by the lady. During the 2 first bars 
zig-zag to the left. 1st bar, jete with l.f. to the 1., and pas bourre, 
2nd bar, repeat. 3rd bar, pas de basque making a complete turn 
(pirouette basque) to the left ; during this movement the arms 
describe a grand circle. 4th bar, three pas frappes. 5th — 8th bars, 
repeat the 4 bars to the right. 9th bar, preparation, 5th position 
r.f. beneath ; direction en arriere. (1) spring with half-circle to the 

45 



CO PRONOUNCING DICTIONARY OF 



right and changement de pieds (changement de pieds making half 
turn to the right). (2) the l.f., which is forward, turn the point 
inwards and outward (tortille). 10th bar, repeat with the other foot, 
completing half turn to the left. nth--i6th bars, repeat same three 
times. 

Part Six. — Solo by the gentleman. 1st bar, en avant ; plier 
the thigh, spring and fall in the 2nd position, the heels apart. 2nd 
bar, the same, tomber on the toes, tourne inwards. 3rd bar, as the 
1st bar. 4th bar, like the 2nd and the 1st, execute both rapidly 
during one bar. 5th — 7th bars, equal to the 2nd— 4th bars. 8th 
bar, plier to the ground, spring and fall in 5th position, l.f. forward. 
9th bar (1) spring, ecarte, making half turn in the air to the left, 
falling in the 5th position. (2) turn the r.f. rapidly inwards and 
outwards and assemble in 5th position. 10th — 16th bars, repetition 
of steps of the 9th bar. 

Part Seven. — Solo by the lady. 1st bar, zig-zag, en avant, to 
the left. (1) spring on r.f., meanwhile place the tip of the l.f. in the 
2nd position en dehors; lift the r. hand, during this movement 
describing a circle en dedans. (2) spring on l.f., the heel of the l.f. 
in the 2nd position, stretching the knee in the 2nd position. 2nd 
and 3rd bars, repeat. 4th bar, one jete to the left and two frappes 
changes (with r. and 1.) 5th — 8th bars, repeat 4th bar four times. 
Qth and 10th bars, zig zag, en arriere, to the left; four pas chasses 
executed feet parallel, beating the heels, backs of the hands on the 
hips, nth and 12th bars, frapper the heels five times, describing 
grand circles, finishing, the backs of the hands on the hips, 13th — 
16th bars, repeat movements of nth and 12th bars twice. 

Part Eight. — Solo by the gentleman. 1st — 8th bars, for each 
bar bend nearly to the ground, spring and fall on one of the feet in 
4th position en avant, on the heel the other on the toe. Commence 
with r.f. and change the foot for each bar. 9th bar, zig-zag en 
arriere, to the right, during 9th and 10th bars; one chasse step to 
the right. 10th bar, bend to the ground, and fall in the 2nd position 
on the heels, making a grand circle to the right, nth and 12th bars, 
pas de coq en arriere and frapper the soles of the feet {see 4th. 9th, 
and nth bars). 13th to 16th bars, same as 9th and 12th bars, com- 
mencing with l.f., zig-zag to the left and en arriere. 

Part Nine. — Opposite way — 16 bars. 

Part Ten. — Gentleman and lady together, at the end of the 
scene or of the ballroom. Gentleman and lady join r. hands, also 1. 
hands, crossed in front, the couple side by side. 1st to 8th bars (1) 
pas de basque to the right, making half turn and raising the arms. 
(2) jump on the l.f., lifting the r.f. en arriere, like the movements of 
1 and 9, but zig-zag, to the right and left, en avant. One of these 
steps is done during each of the 8 bars. 9th and 10th bars, two 
coupes, r.f. en avant during each of these 2 bars, nth and 12th 
bars, salute (reverence) to the public. 13th, 14th, 15th, and 16th 
bars, turn towards each other with reciprocal reverence. 

Cosaque Russe. — Time 2-4, danced by two people (or four). 1st step, 
echappe by four attitudes, turning each time you take it up, each 
time with a step forward. 2nd step, bourree en avant and en 
arriere. yd step, three jetes, turning to the side, and with each foot, 

46 



fHE ART OP DANCING. CO 

\th step, ecart Chinois, three changement de pieds, brise, entrechat. 
$th step, grand ecart, three changement de pieds, brise, entrechat. 
6th step, entrechat, attitude, ailes de pigeon, brise, entrechat, one 
turn to the right, one turn to left, brise, entrechat, jth step, demi- 
pas Russe en avant, glissade en arriere, brise, ailes de pigeon, brise, 
entrechat. $th step, brise with each foot, two entrechat (twice), 
sissonne Anglaise to the left, gth step, ballonne to the side, jete en 
arriere, brise, entrechat to the right, and to the left. 10th step, pas 
Russe en avant, deboite en arriere. nth step, ailes de pigeon 
coupes three times, brise, entrechat ; do this step a second time. 
12th step, d'ete twice. Then do the half only, sink on the knees, 
raise yourself with an entrechat. 13th step, chasse ouvert en 
avant, one turn to the right, chasse ouvert, two turns, and jete en 
tournant. 

Cotillon (cot-e-yon), often mis-spelled Cottillion. — In the 18th century 
the Cotillon was only a simple figure of the contredanse, imitating a 
popular dance, when the dancers sang a chorus as they danced. There 
were two kinds of Cotillons. Le Grand and Le Petit. Both were com- 
posed of menuet figures, with which were intermingled, contretemps, 
chasses, entrechats, and even cabrioles. Le Grand was danced by 
any number, Le Petit by two. In 1830, round dances, which were the 
rage, were introduced into it. The art of conducting a Cotillon is 
quite a science, and requires experience. The conductor must be gay, 
active, good tempered, and possessed of enough moral authority to 
make himself obeyed by the other dancers. He must be equally inter- 
ested in all, and show no favour. The choice of figures is of two kinds, 
the first distinctly classical, as le miroir (mirror), l'eventail (fan), le 
berceau (the cradle), les drapeaux (the flags), la clef des cceurs (key 
of hearts), la mer agitee (the agitated sea). The second is for those 
who like innovations, such as historical entries, a village wedding, a 
pavane, even a circus attended by its tumblers, clowns and animals. 
The success of the Cotillon depends on its accessories and their 
originality. Beautiful and valuable presents, such as jewels, cigarette 
cases and holders, pins, watches, etc., are often given. The French 
Cotillons are more modest, the prizes being charming but of no value, 
save for the honour of winning them, and as souvenirs. The num- 
bers of accessories cannot be exactly estimated, but three at least 
must be reckoned for each dancer. The Cotillon is a dance which 
obeys no fixed rules. It should last from one to three hours, and 
end with a procession before the host and hostess. 

Guide to the Cotillon. — The Cotillon should be conducted 
by a Master of the Ceremonies and a young girl, or by a couple 
who are good dancers and intelligent leaders, and know how to 
choose figures which will interest and amuse the society in which 
they find themselves. These are called the "leaders," and they are 
responsible for all favours and accessories. The lady distributes 
favours, presents, and accessories to the gentlemen, and she invites 
them to join in the figures. The gentleman does the same 
for the ladies. He presents the lady with the favour as he 
solicits his dance, the ladies do vice versa. The leaders request all 
the couples to sit round the ballroom, while they remain in the 
centre. They number each couple No. 1, 2, etc., and command the 
band to play a waltz, during which they promenade round the ball- 
room, followed by all the other couples to the right. Then the 

47 



CO PRONOUNCING DICTIONARY OF 



leaders commence to waltz, all the couples following once round the 
ballroom. He then either taps a tambourine or claps his hands, and 
each couple returns to place. This signal is always the same to 
commence or terminate the figures. When the ice is broken after 
the promenade and waltz, the ladies place themselves back to back 
in the centre of the ballroom, the gentlemen forming a huge circle 
around them. At a signal from the leader the gentlemen stop, clasp 
the lady opposite them, and resume the waltz. At another sign 
from the leader, ihe ladies form a circle around the gentlemen, who 
are back to back, and they proceed the same way as before. 
Another figure which is a useful start to the Cotillon is the Flirt- 
dance or Introductory Figure. Each couple executes a promenade, 
followed by a waltz. At a signal from leader, all change partners 
for a new promenade and waltz. At another signal, say after sixty- 
four bars, the couples rejoin as at first. 1 his can be repeated ad lib, 
but always returning to original partner after each change of ladies. 
Then the leading couple place themselves in the middle of the ball- 
room. 'Ihe gentleman explains clearly and concisely, though gaily, 
each figure as it starts. Some figures are simple, others complicated, 
so they must be cleverly alternated. It is on the gaiety of the 
leaders and the attention of the dancers, that the success of the 
Cotillon depends. There are, speaking roughly, three kinds of 
Cotillons. The first, danced in very strict society, consisting of a 
few classical figures, without accessories, practised months in 
advance by some twenty couples, each retaining their own partners. 
The second is the more general. Gaiety rejuvenates the classical 
figures, and everybody is at his or her ease. This Cotillon includes 
several accessories and souvenirs. It is conducted by a leader, who 
takes a turn with each of the dancers. The third is a medley, and 
often too mixed to be pleasant, being merely a parody of the Society 
Cotillon. The leader — often a novice— contents himself with repeat- 
ing the figures, showing partiality, and annexing the best accessories. 
I he guests, victims of boredom, are in the company of strangers, 
who have purchased tickets. It is to be hoped the last kind will be 
discouraged, as they are a travesty on good society and good form. 
Thousands of figures can be invented by the leaders, but we give a 
few as examples: — 

Aiguilles, les—A pincushion with several .tapestry needles 
and ends of wool is presented to a lady. Two gentlemen try to 
thread the needles, he who is quickest, waltzes with the lady. The 
pincushion is passed to another lady and the same thing continues. 

Aii.es, les— Wings. Two wings of gauze are pinned to the 
shoulders of the leading lady. While she dances with her partner, 
two gentlemen armed with huge cardboard scissors, follow her, 
seeking to clip her wings. The one who succeeds, dances with her. 

Aller et le Retour— Go and return. The leaders form a 
file of alternating ladies and gentlemen. Followed by his partner 
and the rest of the file, he winds in and out in various fantasies 
about the room. 

Allumettes.— Matches. A lady distributes matches to all the 
gentlemen. 1 he one who retains his longest alight, dances with the 
lady. 

48 



Part VII. November, 1913. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing 



THE ART OF DANCING. CO 

Avani-trois, /'. — Three advance. — The gentleman leader 
places himself between two ladies. The lady leader between two 
gentlemen. The six dancers advance and retire once. Gentlemen 
accompanying the leading lady raise their arms, and the two ladies 
who accompany leading gentlemen pass under them without releas- 
ing hands. The dancers so placed, turn, then replace themselves in 
two lines, facing each other. They move forward and backward, 
terminating with a waltz. 

Balai, le. — Broom. Two gentlemen are presented to a lady, 
who holds a broom. She gives the broom to one of the two gentle- 
men who dances with it, while she dances herself with the other 
gentleman. 

Balle en l'air. — Ball in the air. Balls are distributed to the 
ladies, who throw them among the gentlemen. He who brings back 
the ball to its possessor, dances with her. 

Bandeau le Band. — The lady leader points out a gentleman, 
who is blindfolded, and conducts him in front of a seated couple. 
" With whom do you desire to dance," demands the lady. The 
blindfolded man points. If he points to the gentleman, the 
couple dance together. He then points in another direction, and if 
he points to the lady, she dances with him, and her partner is 
blindfolded. 

Chaises, les. — Chairs Several chairs are placed in the centre 
of the ballroom, on which gentlemen are seated. All the couples 
waltz in and out the chairs. If a couple touches a chair, the two 
gentlemen change places. 

Charivari Instrumental, le. — Discordant Instruments. 
Musical instruments in cardboard are distributed to all the dancers, 
who form a large circle, the leading lady in the centre. At a signal 
from her, everybody begins to play, She dances in the centre with 
the gentleman who makes most hubbub, whilst the others continue 
the uproar. General waltz. 

Chat et la Souris, le. — Cat and mouse. Ladies form a 
grand circle, hands joined, arms uplifted. One lady, chosen by the 
conductor, passes running beneath the arms of all the ladies, pup- 
sued by a gentleman following the same route. When he has 
caught her, they waltz in centre of circle, whilst the same thing is 
repeated about ten times. General waltz. 

Cloche-pied. — Hopping. All gentlemen, with one leg 
elevated, hop on the other foot. Like this they pursue the ladies. 
Directly they catch one, the pair waltz. 

Coiffeurs, les. — Head-dresses. Paper bags are distributed 
among the dancers. These bags contain head-dresses in paper. 
Everyone dons the coiffeur contained in his or her bag. At a sign 
from the leader, each gentleman seeks the lady wearing the same 
kind of coiffeur as his, and dances with her. 

Couples croises. — Two couples move to meet each other. 
The gentleman executes a tour de main with his vis-a-vis partner 
and waltzes with her. The figure is repeated and return to partners. 

Course en sac, la— Three gentlemen place themselves in 
sacks attached to their waists. Jumping, they pursue two ladies, who 

49 



CO PRONOUNCING DICTIONARY OF 

only allow themselves to be caught by the gentleman with whom 
she wishes to dance. 

Decorations, les. — These are distributed to the ladies, who 
decorate the gentlemen with whom they wish to dance, and thus 
the couples rapidly form up. 

Defile, le. — The gentlemen, lined up on one side, are num- 
bered from i upwards. The ladies, on the other side, are numbered 
in the same way. At a signal from the leader, the lady and gentle- 
man bearing the number I, dance together down the line. Arrived 
at the end, they separate, placing themselves at the ends of the lines. 
Couples 2, 3, 4, etc., repeat the same movement. At a second signal 
from the leader, all the couples dance at the same time and regain 
their places. 

Drap, le. — This figure should be executed by twenty ladies 
and twenty-one gentlemen. The leading couple stretch a sheet 
vertically. Behind this sheet all the ladies hide. They hold up one 
arm each, so that the fingers appear above the sheet. At a signal 
from the leader, each gentleman takes a lady's hand. She is his 
partner. The gentleman remaining partnerless wraps himself in 
the sheet and dances alone. 

Duel, le. — Foils are given by a lady to two gentleman. The 
duellists salute and place themselves on guard. The lady balances 
a ring on a string at the end of a wand between them. The one who 
manages to catch it on his foil, dances with the lady. The figure 
continues till all the ladies have found a partner. 

Ecran, /'. — Screen. A lady is seated in the middle of the ball- 
room. The leading lady presents two gentlemen to her bearing a 
screen. She dances with one of them, whilst the other, following 
them hopping, hides them with a screen. 

Etymologie, /'. — Two gentlemen are presented to a lady, who, 
armed with a dictionary, gives them words to explain, little used 
in the language. The one who gives the best analysis of the words 
becomes the lady's partner. 

Eventail, /'.—Three chairs are placed in the middle of the ball- 
room, two facing one way and one the other way. A lady, invited 
by the leading gentleman, sits in the centre chair, and two gentlemen, 
invited by the leading lady, sit on the two others. The lady chooses 
one to dance with, giving her fan to the other, who should follow the 
couple, bostonning, and fanning them during the dance. 

Fandango, le. — Four gentlemen place themselves with one 
knee on the ground. Four ladies execute the double ladies' chain in 
the centre, turning round the gentleman nearest to ihem. A general 
waltz terminates it. The double chain which characterises it, and is 
also known by the name Moulinet, is executed several times. At a 
signal from the leader, the gentleman dances with the lady who 
turns round him. 

Farandole, la. — About ten chairs are placed about the ball- 
room, on which ten people seat themselves. All the other dancers 
form a chain, which the conductor directs. This chain winds among 
the chairs, and at a signal from the conductor, it disperses, and each 
gentleman dances with the lady he holds by the r. hand. 

50 



THE ART OF DANCING. CO 

Fil, le. — A lady lets a thread trail, several yards in length. The 
gentleman who catches the end of the thread, dances with the lady. 

Finale, la. — All the dancers who have taken part in the cotillon, 
line up, and salute the mistress of the house in turn. The leading 
couple, marching at the head, place themselves to the front and a 
little to one side, after having saluted and joining arms, form an 
arch, continued by all the couples who pass beneath, executing the 
same movements. 

Grand Moulinet. — Four couples place themselves en moulinet, 
under the direction of the leader ; the lady at each extremity invites 
a gentleman ; he invites a lady, and so on until the moulinet comprises 
all the dancers. At a signal from the leader the moulinet stops, and 
each gentleman dances with the lady on his left. 

Grand Rond. — The leading lady forms all the gentlemen into 
a grand circle. The conductor forms another circle around the 
gentlemen, comprising all the ladies. At a signal they turn, facing 
each other, and circle round. At a second signal the circles halt, 
and the gentleman dances with the lady vis-a-vis. 

Grimaces. — Ten of the gentlemen are placed in a line in the 
middle of the ballroom. Two ladies face them and choose as their 
partners the two making the most horrible grimaces. The figure is 
re-commenced and the most comical attitude is chosen. For a third 
time the ladies can choose the ones making the most grotesque 
gestures. 

Houlette.— Shepherd's crook. The conductor holds a crook 
in the centre of the ballroom with six ribbons of different colours, and 
each about eight yards long, attached. Six gentlemen place them- 
selves in all directions, facing the crook and holding the ribbons. 
During this time the leading lady distributes flags of the same 
colours as the ribbons to six ladies. The ladies approach the 
gentlemen holding the ribbons corresponding to their flags, and 
dance with them. The couples turn in dancing round and round 
the crook, twisting and untwisting the ribbons. 

Huit, le. — Two chairs are placed in the centre of the ballroom. 
The leaders describe, whilst waltzing, a figure 8 around the two 
chairs. The other couples imitate them. If any move a chair, the 
gentleman is out of it, and his place taken by another. 

Miroir. — A lady is seated in the centre of the ballroom holding 
a mirror in one hand, in the other a handkerchief. The gentlemen 
file past her at the back of the chair and she regards them in the 
mirror. If the lady wipes the mirror with her handkerchief, the 
gentleman moves away. If she allows him to look at her, he 
becomes her partner. 

Moulin. — Four gentlemen place themselves in the position of 
the wings of a windmill, joining 1. hands and giving the r. hand to 
their partners. The four ladies invite four gentlemen to take their r. 
hands. These seize them with their 1. hands, and offer in their turn 
the r. hand to four ladies, and so on. The figure is terminated by a 
general waltz, each gentleman dancing with the lady to the right. 

MusiauE, la lecon de. — The leader gives an instrument to a 
lady, to whom various gentlemen are presented. The lady strikes 

5i 



CO PRONOUNCING DICTIONARY OF 

a note and makes them give it a name. The one who answers best 
dances with her. 

Myops. — Short-sighted person. A lady is presented to a 
gentjeman, who must find her, in spite of a pair of black spectacles 
and his being made to turn round several times. 

Names. — The leading lady distributes plain cards to the gentle- 
men, who write their names on them. The conductor collects the 
cards in a hat, mixes them up, and distributes them to the ladies. 
These seek out the gentleman bearing the name written on the card 
to dance with them. 

Notary. — The leader asks a lady, in a whisper, which is the 
lucky number to place with her name. A number is written, and 
the gentlemen are invited to guess it. The one guessing aright 
dances with the lady. 

Numbers. — A series of numbers from I to 20 are distributed 
to the ladies by the leader. A duplicate series is distributed to the 
gentlemen by the leading gentleman. The gentleman seeks his 
partner by the number corresponding to his. 

Ombre Chinoise. — Six big umbrellas, decorated with ribbons, 
are given to the ladies, and six little ones of corresponding colours 
to the ladies as favours. At a first signal, ladies and gentlemen 
follow each other, their umbrellas in evidence. At a second signal 
they exchange umbrellas, the ladies pin the little favours to their 
dresses, the gentlemen open the large umbrellas, the couples form 
up, partners finding each other by the colours, and they dance, each 
couple benSlth an open umbrella. 

Papillon. — The ladies are armed with butterflies. These 
they throw at the gentlemen, and dance with those they hook on to. 

Paralleles. — The gentlemen and ladies line themselves up in 
two parallel lines. The gentleman and lady at the head waltz 
between the two lines and place themselves at the other end. The 
other couples do the same in their turn, then the lines execute an 
avant quatre, do a promenade, and the figure terminates by a 
general waltz. 

Passe, la (pas). — The leading gentleman forms the ladies into 
one line, the gentlemen into another. He places himself at the head 
of the gentlemen, the leading lady places herself at the head of the 
ladies. The leading lady leads the ladies beneath the arms of the 
gentlemen, after which they form a line, and the gentlemen pass in 
their turn beneath the ladies arms, and so on. A waltz terminates 
the figure. 

Pont. — A doorway is decorated with flowers and foliage. A 
bell and a basket of flowers are hung up. A lady is placed beneath, 
and the gentlemen file in front of her. When she wishes to accept 
a gentleman as partner, she rings the bell, when she refuses one, she 
shakes the basket, and he finds himself covered with flowers. 

Prison, la (Prizon). — All the ladies form a grand circle, 
galoping round a gentleman, who tries to find an exit. When ha 
escapes, he dances in the centre of the circle with one of the ladies 
who have allowed him to escape. Another gentleman takes his place, 

52 



THE ART OF DANCING. CO 



Promenade avec changement de danseuse.- -The couples 
are placed one behind the other. They waltz, following one another 
round. At a signal from the leader all the gentlemen leave their 
partners and dance with the lady behind them. The gentleman 
belonging to the last couple dances with the lady belonging to the first . 

Cotillon Waltz.— See Waltz Cotillon. 

Cou-de-pied (koo-de-pee-ay). — Literally, the neck of the foot : 
the instep. 

Coup de Talon (koo-de-tahlon). — Known also as pas polonaise; 
the striking of the heels as in the Polish Mazurka. See Battu. 

Coupe (koo-pay). — The cutting step. This step is made from an open 
position, through a closed position, into another position ; the one 
foot virtually cuts the other from its place. Thus: — From the 4th 
rear, the r.f. is placed 3rd rear, with degage, and l.f. is put in 4th 
forward, all in one beat of music; this is Coupe dessous. If the 
foot commences from 4th forward, assuming 3rd forward while the 
other foot goes to 4th rear, it is Coupe dessus. If the cutting is 
done from the second position, it is Pas Coupe Lateral. If, as in 
the second step of the Mazurka, there is a strong knock of the foot, 
it is a Coupe pousse. If the foot is put down with a strongly- 
accented audible beat, it is a Coupe Frapp£. Another explana- 
tion : — Standing with r.f. in 5th front position, raise l.f. to 4th position 
en l'air rear; with a light throw (1) allow l.f. to descend to 5th rear, 
(2) simultaneously raising r.f. forward. Demi-coupe. — When the 
first half of the step is executed. Thus:— Bend the knees and 
strongly push out the leg with degage. 

Couple. - In square dances will imply a gentleman and his partner, as 
distinguishable from "a pair" (a gentleman and his visa-vis). 

Courante, temps de (koo-rahnt) — A slow dance step, borrowed from 
the Courante, a long-forgotten dance. It is executed forward and 
backward. Preparation forward: stand in r.f. 4th front. (1) l.f. is 
drawn to 5th rear. (2) then to 2nd elevation. (3) from there it 
describes 1st position, then 3rd position in front of r.f. (4) and, with 
a slight bend of both knees and gently stretching again, the l.f. is 
brought into 4th position, and degage on it. The backward move- 
ment is the same, but in opposite direction. 

Courante was an old dance vaguely mentioned by Thoinot-Arbeau 
(1588). It was slow, with glisses terre a terre. It was executed by 
one couple only, to slow time, usually people of high degree, who 
walked with slow side glissades. They were often more particular 
about their bearing than their grace, and tried to prove their ancient 
nobility by an exaggerated lofty carriage of the head and bust. 
The Courante of Louis XIV. was soon forgotten, and more animated 
dances displaced it. The imperfect theory only remains. 

Courante, la. — Period 1600. 3-4 tempo. The Courante— Italian, 
Corrente — (courant de l'eau) was a very popular dance. It was a 
kind of branle, very graceful in execution. It was performed by 
three couples with pas glisses, executing passes to the right and left 
en cnurant and in changing partners. A gentleman conducts his 
partner to the extremity of the ballroom, and then withdraws to the 
other extremity. The other couples do likewise. Then the gentle- 

53 



CO PRONOUNCING DICTIONARY OF 

men advance in turn, each inviting one of the three ladies to dance, 
thev either accept, or refuse by turning - their backs, when he invites 
another. When the lady accepted, he knelt, thanking- her for the 
favour bestowed. Thev then danced side by side, making- the 
different passes of the dance with pas courantes and pas courus. 
Pas count is a quick walk, gliding on the soles without leaving the 
ground, and moving the head and arms uniformly with the foot. 

Courante, pas. — Tn 2-4 tempo, slowly. Glide I f. to 2nd, obliquelv 
forward (the intermediate 2-4 position). Glide r.f. to 4th forward. 
Draw 1 f. up to r.f. ; all in two beats. Repeat with other foot en 
arriere. 

Courante, temps dp-, in two movements. Stand sth, r.f. front. Bend 
both knees (plie). (1) Glide r f. to 2nd position, on the sole, then 
lower the heel. Plie again, then rise. Then glide r.f. to 4th forward, 
and draw l.f. to 1st. 

Courbe (koor-bay).— See Bras, port de. 

Course, pas de. — Running step. In walking, both feet must touch the 
floor once in every step. In running-, one foot must always be in the 
air. Running steps on the balls of the feet are the most graceful. 
Those on the heels are sometimes seen in national dances. 

Cracovienne, or Krakoviak. — A popular Polish dance, originated in 
Cracow, as its name implies, under Sig-ismund, king- of Poland, i^io. 
Tempo 2-4. It is danced bv several couples, who follow each other, 
turning round in circles, and accompanying themselves with a song. 
The gentlemen strike their spurred boots tog-ether. The art of the 
dance consists in the execution of the most eccentric movements with 
the greatest bravado, and without damaging- the ladies' dresses. 
The original part of the dance is its accompaniment by an impro- 
vised song. When the dancer has made a series of sounds, which 
could, with an effort of imagination, be called a tune, the branle 
recommences, and the dancers repeat in chorus the last improvised 
refrain. While singing and dancing, the gentleman often interrupts 
himself to encourage his partner with " Danse ma belle, danse," 
words which are taken up in chorus by the other dancers. 

Cracovienne, la — Austrian, 1896. Tempo 2-4. Both commence same 
foot. He clasps lady with his r. arm, and places I. hand behind his 
back— the lady places r. hand behind the back. 

Gentleman 's step. — (1) glide l.f. to side, raise r.f., making a 
chasse and jete with l.f. (1 bar). Repeat with same foot thrice (3 
bars). Raise l.f. to side, and beat the heels together en l'air (1 bar). 
Same to right (1 bar). To the left and right again (2 bars). 
(2) repeat the eight bars commencing r.f. (3) they separate, 
dancing round each other, and beating the feet alternately en terre 
and en l'air (16 bars). (4) recommence. 

Cracovienne. — From Berlin 1897. By Zorn and Radermacher. 
Tempo 2-4. Stand as in Waltz position. The gentleman clasps 
the lady with his r. arm, and 1. hand on the hip. Lady places 1. 
hand on his shoulder, and holds the dress with the r. hand. Both 
commence r.f. Preparation : — Rise on l.f., and raise r.f. into 4th 
forward elevation. 

FIRST PART— First bar (1) glide r.f. forward, lift l.f. 4th rear 
elevation, bending the knees. (2) jump on r.f., placing l.f. in 4th 

54 



THE ART OF DANCING. CR 

front elevation, rising on r.f. as preparation for the next step. 
Second bar, repeat first bar, commencing- l.f. ThWd W, repeat 
with r.f. (These three movements will be three pas boiteaux). 
Fourth bar (i) both jump on the soles with the heels outward. 
(2) knock the heels smartly tog-ether. (This will be echappe talons 
en dehors, and assemble avec coup des talons). 

SECOND PART- Gentleman. Fourth bar, bend both knees, 
l.f. slightly raised (the feet move from 1st to 5th position). Fifth 
bar, spring, rising on r.f., and carrying l.f. to the side. This is done 
three times round the lady during the 5th, 6th, and 7th bars. 
Eighth bar, tap gently on the floor three times, l.f., r.f., l.f. During 
bars 5, 6, 7, the lady executes three pas boiteaux, thus: — (1) spring 
on r.f., carrying l.f. between 4th and 5th position forward. (2) step 
on r.f., raising l.f. On the eighth bar she executes the same three 
taps as the gentleman. Polka steps may be substituted for the last 
four bars, or used as a variation. 

Croise-Traverse. — Ladies exchanging places in square dances. 

Croix, pas (kroo-ah). — Jete to the right and left, with arms extended in 
the form of a cross, rise by the flexion of both knees, with feet 
together, come down with feet apart, then assemble. Spring as high 
as possible, throwing the legs apart sideways, and touch the toes 
with the hands. 

Csardas or Czardas. — Eight bars 2-4 time. Lady and gentleman 
stand vis-a-vis ; gentleman, arms crossed over the chest ; lady, hands 
on the hips. First bar, pas de polka, gentleman to left, lady to 
right ; during this step the gentleman turns the r. shoulder forward, 
the lady turns 1. shoulder, looking at each other. Second bar (1) 
gentleman places r. heel in 4th forward position ; lady 1. heel. (2) 
place same foot on the point, heel outward. (3) pause in this 
position. Third and Fourth bars, repeat bars 1 and 2, commencing 
with other foot. Fifth and Sixth bars, take partner, and two pas de 
mazurka. Seventh and Eighth bars, pas de polka, making a demi- 
tour (half turn), and take up position to repeat the whole. 

Cubistik. — The Greeks designated, by this general term, one class of 
dancing. The ancient composers divided their dances into three 
classes: — (1) Cubistik, (2) Spheristik, (?) Orchestrik. 

Cuisse, pas and temps (koo-iss). — The word means, the thigh. The 
step is so called because of the particular action of the thigh. 
Preparation: — L.f. in 2nd elevation. Bend r. leg, and 1. leg - beats 
audibly with the tip in 2nd position, after which, hop to the right, 
and the 1. is put down again in the 2nd, and drawn audibly to 5th 
position, either dessus or dessous. When several such are made in 
the same direction, no degage (or transfer) is made, and it is there- 
fore a temps de cuisse, but when with alternate foot, a degage must 
be made, and it is a pas de cuisse. 

Curetes. — The dance of the Corybantes, of the period of the early 
Titans. It was executed to the sound of fifes, tambourines and 
bells. Presumably, it was danced in armour, as we see the actors 
with bucklers, lances, swords and javelins. 

Curtsey. — The lady's form of salutation. See Bow. A man never 
curtseys, but bows in response to the lady. If the gentleman and 
lady, facing each other, glide r.f. to 2nd position with weight (which 

55 



CU PRONOUNCING DICTIONARY OF 

is the first step of the bow and curtesy), it will be seen that each has 
the other on the left, and they therefore salute each other to the left, 
the movements, however, being- made to the right. Preparation : — 
Face partner, feet in 3rd position. 

(1) Glide r.f. to second position, and immediately carry I. back 
to 4th position, the toes only touching the floor, about fifteen inches 
separating the feet, with 1. knee well bent. The l.f. will really be in 
the intermediate 1-4 point position— that is, between the 1st and 
4th positions. Keep weight on r.f. 

(2) Commence to bow, at same time bend both knees outward 
and sideways, slowly sinking' until the 1. knee nearly touches the 
floor. This should be simultaneous with the bending forward of 
the gentleman. 

(3; Degage on to l.f., and slowly rise into an upright position 

(4) Bring r.f. to 3rd front position. Be careful not to look at 
the floor during the curtsey. 

Cushion Dance. — Corruption from "Kissing Dance"; from "The 
Dancing Master," seventh edition, 1686, p. 208. — "Joan Sanderson, 
or The Cushion Dance, a Round Dance. Directions for dancing: — 
This dance is begun by a single person (either man or woman) who, 
taking - a cushion in his hand, dances about the room, and at the end 
of the tune he stops and sings, 'This dance it will no farther go.' 
The musician answers, 'I pray you good Sir, why say you so?' 
(Man.) 'Because Joan Sanderson will not come to.' (Musician.) 
' She must come to, and she shall come to, and she must come 
whether she will or no.' Then he lays down the cushion before a 
woman, on which she kneels, and he kisses her, singing, ' Welcom, 
Joan Sanderson, welcom, welcom, welcom.' Then she rises, takes 
up the cushion, and both dance singing, ' Prinkum, Prankum, is a 
fine dance, and shall we go dance it once again, once again, and 
once again, and shall we go dance it once again.' Then making a 
stop, the woman sings as before, ' This dance, etc' (Musician.) ' I 
pray you, Madam, etc' (Woman.) ' Because John Sanderson, 
etc' (Musician.) 'He must, etc' And so she lays down the 
cushion before a man, who, kneeling upon it, salutes her, she singing 
1 Welcom, John Sanderson, etc' Then he taking up the cushion, 
they take hands and dance round, singing as before. And thus 
they do till the whole company are taken into the ring. And then 
the cushion is laid before the first man, the woman singing ' This 
dance, etc' (as before), only instead of ' come to,' they sing 'go fro'; 
and instead of 'Welcome, John Sanderson,' they sing ' Farewel, 
John Sanderson, farewel, farewel '; and so they go out one by one 
as they came in. Note that the woman is kiss'd by all the men in 
the ring, at her coming in and going out, and the like of the man by 
the woman." 

Czarine (zar-een). — Composed as a Waltz in 1856, by the Academy of 
Dance Teachers in Paris. In spite of the originality of its title, it 
met with little success in the ballroom. The theory, as published by 
the Society, is: — "The Czarine is danced to 3-4 time, with a 
Mazurka movement, and as in waltzing, is done turning to right, 
reversing, advancing and retiring. It is composed of four steps, one 
step to a bar, with alternate foot. Gentleman commences l.f.. lady 
r.f. The Step. — First bar, pas polonais or temps de talon. 
(1) assemble l.f. in front, beating lightly with the heels. (2) glide 

56 



Part VIII. December, 1913. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



The Art of dancing. DA 

same foot to side. (3) coupe with r.f., l.f. remaining- in the air. 
Second bar, pas russe or de basque. (1) jete on l.f., r.f. slightly 
raised. (2) place r.f. on floor, apart, following the direction of the 
step. (3) draw l.f. up, and push the r.f. by a light beat of the heel, 
the r.f. remaining raised. Third and Fourth bars, holubieck or tour 
sur place. (1) r.f. to 4th rear. (2) pivot a half-turn on the points, 
and change the foot. (3) raise r.f. This step should be made with 
a half-turn. For the next bar repeat the holubieck with the other 
foot. Repeat the whole. Lady does same with opposite foot. A 
complete turn will have been made. . For the promenade, the 
holubieck is replaced by two pas russe or pas de basque.'' 



Danai.--An ancient Greek dance, representing the fable. The dance, 
whilst simulating the carrying off of the Ganymede, left in the soul 
the most beautiful and tender impression. 

Dance. — Movement of the body in harmony with the rhythm of the 
music, producing expressive motion. Dancing, originally, had not 
the same meaning as the modern idea. Primitively, it was a rough 
means of expressing different emotions by gestures, jumps, and 
turns. All the ancient Greek dances, excepting the Cubistick and 
Cordace, were executed terre-a-terre. The history of dancing, which 
is as old as the world itself, offers an unlimited field of research to 
those who have patience and the courage to work, determined to 
triumph over the difficulties of the enterprise. 

The Ancients divided dancing into three parts: (1) Sacred and 
Religious, (2) Military, (3) Private and Social. 

Zorn says, " (1) Dancing is the expression of pleasure or other 
sentiment by means of prescribed movement, regulated by music, 
either imagined or expressed. (2) Its factors are: Position, Move- 
ment, Figure, and Measure. (3) Transition from one position to 
another is accomplished by means of Movements, which are either 
simple or compound. (4) The line described on the floor by the 
dancers is the Figure. (5) The division of the movements into 
periods of a certain duration, to correspond with the music, is called 
Measure. Simple figures correspond to verses, compound figures to 
stanzas, and the connection of compound figures or strophes, as in a 
Quadrille, to an entire poem." 

Dancing. (Arguments in favour of). — "The love of motion, and of 
rhythm in that motion, is innate in the human breast, and no 
amount of condemnation by well-meaning but short-sighted people 
can deprive us of that part of our natures. That the influence of 
rhythm is irresistible is proved by the. readiness of hand or foot to 
spring involuntarily into motion to keep time with a well played piece 
of music, and also by the unmistakable access of confidence which 
comes to the most timid ' raw recruit ' in a regiment when the drum 
beat sends the men along with a perfect consonance of movement. 

" Whether her children should or should not be taught dancing 
is a question that confronts every mother, sooner or later. Many 
people, actuated by the purest and most distinguished of motives, 
are ceaseless in their censure of this graceful exercise and recreation, 
because they lose sight of its advantages in their disgust for its 
frequent abuse by the unrefined. The benefits, both mental and 
physical, which the young derive from a mastery of the art of 

57 



DA PRONOUNCING DICTIONARY OF 

dancing are manifold. Children who attend a well conducted 
dancing school, cannot but be impressed with the gracious politeness 
exhibited on every side, so that even boys who have previously been 
rough and careless in their manners are quickly brought to appre- 
ciate the beauty of courtesy, and acquire habits of gentle speech and 
action, that exert a salutary influence as long as they live. Physi- 
ologists have for many years regarded dancing as one of the finest 
of gymnastic exercises, and declare it to be superior to all others in 
its beneficial effect upon the carriage and manner. Graceful motion 
is always easy motion, and, therefore, causes much less wear and 
tear upon the physical machinery than angular and awkward actions. 

" It is a mistake to suppose that personal grace is altogether a 
natural gift, for there have been numerous instances where 
unusually awkward and ungainly children have been made graceful 
men and women by careful training. An eminent surgeon, who has 
devoted the greater part of a long life to the cure and prevention of 
bodily weakness and deformity in the young, regards dancing as a 
most necessary branch of physical training, since the preparatory 
exercises which form part of every dancing lesson stimulate the 
muscular action, and thus lay a firm foundation for a large degree 
of health in after years. Angularity and stooping of the shoulders 
are more frequently the result of habit than of any natural defect or 
weakness ; and if the attempt to correct these evils is deferred until 
a child is fourteen or fifteen years of age, the result is rarely 
successful. Many boys possess a silly notion that it is effeminate to 
be graceful ; and their habits of motion and carriage should therefore 
receive early and effective attention. A child of five is not too young 
to commence dancing lessons, for at that age every faculty has 
awakened, and this early cultivation of the powers of observation 
and concentration are sure to be of mental as well as physical benefit. 

Dancing - never has a pernicious influence until it is abused. 
When people dance in hot, crowded rooms, where the atmosphere is 
unwholesome, where frequent jostlings are unavoidable, and where 
lack of space renders too close personal contact almost a necessity, 
it is then that they degrade the beautiful, graceful art, and bring it 
into ill-repute." 

Dancing (Divisions of). — It is divided into two great classes, Social and 
Theatrical ; the former is done for pleasure, the latter for gain. 
In social dances the most general are those which are done in " the 
waltz position," and are called " Round" dances. There were also 
" Column " dances, such as Sir Roger de Coverley, Tempete, etc.; 
" Square " dances such as Quadrille, Lancers, etc. ; social " Show " 
dances, such as Menuet, Gavotte, Cachuca, Fandango, etc.— any of 
this class, may, however, be raised to the theatrical dances. 

Theatrical danses may be divided into five classes. The lowest 
degree is (i) The Grotesque ; these are of an unsteady, adven- 
turous type, with movements that are often imposing, but they 
demand skill rather than grace. (2) The Comic are less unsteady. 
They generally represent the customs, pastimes, and romances of 
the lower orders. (3) Demi-Caractere exemplify affairs of ordinary 
life by representing on the comic stage a love story or plot, with 
characters from the common people, and is replete with grace and 
elegance. (4) Serious: such are of a tragic character, and require 
the highest degree of skill and elegance. They include solos, pas de 
deux, etc., representing emotions or ideas, and demand the exercise 
of the entire art. (5) Pantomimic are of the highest order, and 

58 



THE ART OF DANCING. DA 

represent entire wordless tragedies divided into acts to convey the 
entire idea. Such dances may be termed Ballets. Most prominent 
among artistes of this class are Carmago (i 710-1770), Mdlle. Salle 
(1734), Madeline Guimard (1743-1816), Taglioni (18^4), (mother 
and daughter), Lucille Grahn (1838), Fanny Ellsler, Fanny Cerito 
(born 1821), Carlotta Grise (1841), Nadeschda Bogdanova, Adeline 
Genee ; Messrs. Beauchamp (1671), Pecourt (1679), Marcel (1704), 
Dupret (17 17), Gaetan Vestris (1751), and his son Auguste Vestris 
(1787), Noverre (1777), Gardel (1779), Blasis (1820), Petitpa (1839), 
A. de St. Leon, etc. 

Danse Macabre. — Sombre English dance, 1420. The dancers had 
skeletons for partners, the music being supplied by instruments 
made of human bones. 

Danseur and Danseuse.— Names applied to male and female dancer 
on the stage. 

Deboites <day-bwah-tay). — Dislocated or disjointed. These steps are 
made by passing the r.f. behind the l.f., then the l.f. behind the r.f., 
moving backward or in place. 

Debut (day-boo). — First appearance, beginning, or entry. Hence, 
Debutante, an actress or dancer appearing for the first time. 

Decouverte. — Dance. In use among savages. They attempt the 
movements of warriors in their warlike excursions in the surprise 
and discovery of an enemy. 

Dedalienne.— Ancient dance. It is depicted on the buckler of Achilles. 
Lucien wrote a eulogy on it. 

Dedans (day-dahn). — Inwardly or forward. It is the opposite of 
Dehors, outwardly or back. 

Pegager (day-gah-zhay). — To transfer the weight of the body from 
one foot to the other. No pas (step) can be made without, this 
transfer. Movements without the transfer are temps or parts 
of a step. 

Degagement (day-gaazh-mahn).— The act of transfer. 

Degage a genoux (day-gah-zhay ah zhen-oo). — A movement in El 
Cachucha, in which the dancer is kneeling on one knee, and, raising 
herself, lowers herself on to the other knee. 

Dehors (day-or). — See Dedans. 

Deinos. — Ancient Greek dance with most solemn movements. 

Delienne — Greek sacred dance, consecrated to the fetes of Delos. 
Danced by young patrician girls to the flute and lyre. The principal 
movement was dancing in circles, with joined hands, or holding 
garlands. The finale was to cover the statue of Venus with the 
garlands, while the hymn of Diana was sung by the assembly. The 
girl who was most admired for her dancing was crowned with olive 
leaves or flowers, and often with precious stones. The Delienne was 
usually terminated by the young men practising archery, and 
exercising their skill in piercing a rose attached to the top of a mast. 

Demarche (day-marsh).— Gait, walk. 

59 



DE PRONOUNCING DICTIONARY OF 

Demi (dkm-me). — Half. Signifies that a movement or figure is only 
half done. In square dances, such a figure leads either to the 
opposite side or from the opposite side back to place. 

Derobe, pas (day-ro-bay). — The feet slip, simultaneously, one to the 
right, the other to the left, or, one forward and the other backward ; 
then they are slipped together again {assemble). 

Deroule or Detourne (day-roo-lay, day-toor-nay).— Deroule, to 
evolute or unroll ; Detourne to turn away. Turning to right or left 
on the sole or points by little steps. Then, deroule or revolve the 
body from the hips, doing the same steps the other way round. The 
revolving, can also be done on one foot, with the other in the air. 

Dervishes. — The most notorious religious fanatics are Whirling or 
Dancing Dervishes, the Mohammedan priests who spin round on 
their feet for hours at a stretch without any injurious effect. Their 
dance is a boring parade, possessed of no merit except the physical 
endurance of the dancer. Much has been written of the Dervish 
priest and his ways. Perhaps the most interesting is Clarke's 
" Voyage in Asia," in which he initiates us into the character and 
habits of these priests. He says, " As we entered a mosque, we saw 
twelve or fourteen Dervishes peacefully promenading in a circle 
round the Superior, in a space surrouuded by a balustrade under 
the dome of the building. Several spectators, divested of their 
shoes, were outside the balustrade. Two or three musicians were 
seated Turkish fashion, with tambourines and flutes. First, the 
dervishes, crossing their arms over their chests and holding their 
shoulders with each hand, make reverences before the Superior. 
They then commenced to twirl slowly, then faster, so that their long 
robes swing round with them and they looked like open umbrellas. 
As the speed increases, the arms are disengaged from the shoulders 
and raised gradually to the height of the head. Their eyes are 
closed as they revolve rapidly. The music, accompanied by voices, 
animates them, and an old dervish in green vestments walks about 
quietly among them. The dervishes turn by moving one of their 
feet, bending the big toes inward at each movement of the body, 
whilst the other foot keeps an ordinary position. The oldest dervishes 
appear to execute this dance with very little trouble and fatigue, in 
spite of the violent agitation of their body, their faces are plunged 
in what appears a kind of quiet slumber. The youngest and oldest 
turn with the same agility, but they turn less mechanically than the 
others. This extraordinary exercise lasts fifteen minutes, and the 
eyes of the spectators become very weary. At a signal from the 
Superior, the dervishes stop instantly, and form a circle. All again 
place their hands on their shoulders, and lower themselves to the 
ground. They raise themselves and again promenade before their 
Superior, then, after more salutations, commence twirling again. 
They persevere until great beads of perspiration run down their 
faces and bodies on to the floor. At a third signal, the dance 
concludes." 

The Dervish dance is looked on by the Turks as miraculous, 
and although dancing in couples is interdicted no one would dare to 
interfere with the priest dancers. These twirling dancers are not 
the only ones in practice among the Arabs, they execute others 
known as the " miraculous " dances and " fire " dances. They spring 
after the manner of our mountebanks, holding bare swords, then, 
seizing red hot irons, they put them in their mouths, licking them 

60 



THE ART OF DANCING. DE 

with their tongues. It is supposed that the dervish Menelaus. 
according to an interpretation of the Alcoran, was the inventor of 
the first dervish dance, whilst Hanse, played the flute, Menelaus, 
according- to the fable, continued pirouetting - for fifteen days and 
nights. 

Descendre (de-sahn-dr).— To descend. Dancing or walking from 
the back of the stage down to the footlights. Commonly termed 
" walking down the stage," which is literally correct ; owing to the 
slope, one must walk down, while going to the back of the stage, 
" one walks up." 

Dessous (des-soo). — Over, or in front. 

Dessu (dessu). — Under, or to the rear. 

Detourne (day-toor-nay).— See Deroule. 

Developpe (day-vel-loppay). — To develope. A temps, signifying the 
slow unfolding of the leg to its full length, whilst placing it in 
the position demanded. One leg alone supports the body, whilst the 
other is developed forward, sideward or rear, well turned-out, and at 
an angle with the supporting leg. Simultaneously with the raising 
of the leg, the arms should be raised equally in front of the chest, 
and, after reaching the height of the shoulders, they should separate 
and form a horizontal line, then lowered to reach the sides at the 
same moment that the legs are again together. 

D'ete, pas (day-tay).— Stand r.f. in 5th rear. (1) echappe in 2nd 
position. (2) with a slight jump on r.f., raise l.f. in rear. (3) l.f. 
makes a coupe dessous. (4) assemble r.f. to rear. 

Deux (der). — Two. Any movement in which two persons are occupied, 
as avant-deux (two advance). 

Deux=temps (der tahm).— " Two-time." A count of two steps to any 
dance or dance-music as the " Waltz deau-temps." If the music is 
in 2-4 temps, and is counted as one beat to the bar, it is commonly 
known as "half-time "; two bars of 3-4 tempo, counted one to the 
bar, is deux-temps, as also is a count of two to a bar in 6-8 tempo. 

Diane. — Dance instituted among the ancients in honour of Diana. 
Compan declares it was a sacred dance. Aristophanes one day 
found all the girls of the town of Carie celebrating, with songs and 
this dance, the fete of the deity. Before the reformation of Lycurgas, 
the dances of Diana occasioned the greatest misfortune. Helen, the 
most beautiful of women, was abducted first by Theseus, then by 
Parias ; both had been enchanted by her dancing the Diane. 

Dionysiac. — This was danced during the festival to Dionysius 
(Bacchus) ; it was customary in Athens. All the Greek authors 
were unanimous in the praise of its magnificence and surroundings. 
Later, the dance degenerated, and gave rise to great scandal owing 
to the intemperance of the dancers ; this was followed by wild orgies 
and free licence. It was consequently forbidden to be danced. 

Diphodismos. — Greek laconic dance. 

Dipodies. — A Spartan dance, in which the feet were used as an 
offensive weapon. 

61 



DI PRONOUNCING DICTIONARY OF 

Dipolioe. — The Spartans practised this dance during- th e solemn 
festivities of the Dipolies. 

Dithyrambic — Lyric dances and songs dedicated to Apollo. 

Divertissement (de-ver-i is-mahn).- See Ballet d'action. 

Doliva. — Contredanse of the middle ages ; similar to the Branles, and 
was danced at village festivals. 

Dos=a=dos (doh-za-doh).— In square dances. Two dancers move 
round each other, r. shoulder to r. shoulder and back to back, they 
go either across to opposite side or return to place. 

Droit (droo-ah). — The right ; a droit, to the right ; le main droit, the 
right hand, etc. 



Ecart or Ecarte, temps (ay-cartay). — Means to spread or disperse; 
the movement is also called spagat, from the Italian spalancare, to 
open wide or extend Stand in 5th position. During a high jump, 
throw the legs widely apart and alight on the feet in the preliminary 
5th position, or with the other foot in front. Ecart par terre is 
the ground ecart, in which the legs are so widenea that the body 
sinks and the legs rest at full length on the floor, one in front the 
other back. It is commonly known as " splits." Grand ecart is a 
combination of both movements. Spring in the air, throw the legs 
wide, and, with the legs widened to their fullest extent, fall to the 
ground with one leg fully stretched forward, the other backward. 
This movement should be performed with extreme caution, and 
requires considerable practice. 

Ecart Chinois, pas (ay-kar she-nwar). -After bending both knees, 
rise lightly from the ground, falling with both feet ecart in the 2nd 
position on the heels, and toes turned upward, knees bent, arms 
forming a square, fingers closed except index or first finger, which 
points to ceiling. 

Ecart trepigne (ay-kar tra-pe-nay). — A stamped ecart. The 
changing place on the heels for sailors' hornpipe. Bend the knees 
and jump on the heels, with the feet ecart in 2nd position, the toes 
pointing to the ceiling, arms crossed in front. From this position 
advance by beats of the feet and movements of the body. Advance 
and retreat, the feet remaining in the same position. 

> 

Echappe or Sailli, temps (ay-shahp-pay). To escape. The step 
consists of a spring with an opening of both feet. From the 5th or 
3rd position spring upward and alight with both feet in the 2nd ball 
position. 

Ekateris. — In Greek dances, the clapping of hands without any move- 
ment of the feet. Athene describes it as dancing with the hands. 

Eklatismos. — Aristophanes mentions this dance as one peculiar to the 
women, who raised their heels above the height of the shoulders. 

Eleusis. — The mysteries of Eleusis were favoured by the Greeks, The 
festivals consecrated to Ceres and her daughter Prosperine, which 
were celebrated in the vale of Eleusis, continued for nine days. The 

62 



THE ART OF DANCING. EL 

first four days were devoted to sacrifices, and on the evening of the 
fourth day a procession took place, in which a basket on a chariot, 
drawn by four oxen, figured prominently. The procession was 
composed of a number of Athenians, carrying baskets covered with 
purple veils, and containing the objects required for the ceremony. 
The statue of the deity, crowned with a wreath of myrtle and a lighted 
torch in the hand, was carried in front of the procession. Following, 
was a huge procession of women, the number often reaching thirty 
thousand. At a blast of trumpets, choirs, singers, and dancers 
expressed the greatest joy. The Eleuses represented a kind of 
grand moving ballet. 

Elevations. — Raisings. The movements by which the body is raised 
from the floor. They can be made with either or both feet. 

Elever and s'Elever.— See Abaissements. 

Eleve, Elever (ail-vay). — Means to raise, and refers to the supporting 
leg, or raising the body. A temps Sieve is rising on one foot while 
the other foot does some other movement. A pas eleve is a rising 
step. 

Emboiter, pas emboite (pah-zahm-bwaht-ay).— To fit in ; to join. 
Step movements from a closed into other closed positions, made, 
through placing the feet alternately side by side. Example: — From 
3rd or 5th position, r.f. in front. The l.f., gliding sideways, passes close 
to the heel of r.f., and takes the 5th front position. In the same way, 
the r.f. moves into front 5th position ; these are en avant or dessus. 
For pas emboite dessous or en arriere, place the foot to 5th rear ; 
these are sometimes termed deboiter. 

En Avant (ahn ah-vahn). —To advance or forward. See Avant. 

En Arriere (ahn ah-re-air). — To retire, or rear. See Avant. 

En avant et en arriere. — To advance and retire. 

Enchainement (ahn-shayn-mahn). — The arrangement or combination 
of steps into a dance or dance figure. 

En dedans. — Inward. 

En dehors.— Outward. 

En haut (ahn-o).— Raised. High up. 

En l'air (ahn-lair). — In the air. All elevations of the feet and 
balancing positions are en l'air. 

Enleve (ahn-levay). — Lifting the heels whilst stretching the instep. 
The term is used instead of eleve. 

En passant (ahn pahssan). — In passing. Usually a step employed in 
which one or more persons pass in front or rear of other persons who 
move in a contrary direction. 

En terre (ahn-tair). — On the ground. The opposite of en l'air. Any 
movement of the foot on the floor is said to be en terre. 

Entrechat (ahnter-shah). — This expression is not, as is sometimes 
assumed, the contraction of entre ckaque temps (to enter each time), 

63 



EN PRONOUNCING DICTIONARY OF 



but has been borrowed by the French from the Italian. In the old 
Italian School of Dancing-, the raising of both feet, combined with 
the trembling- battements (Italian, battnte) of one foot or both with- 
out crossing-, was called Capriola — Cabriole. We may mention 
that this form of battement is still in use in stage-dancing, and that 
the French School of Dancing, in respect of the execution of this 
movement, has adopted the technical term of f riser la cabriole. 

At a later date, the crossing of both feet (which was adopted 
about 1730 by the then renowned dancer Carmago) was called 
Capriola Intrecciata — interwoven cabrioles, and from that 
originates the word entrechat. 

It is a brilliant dance-step, now reserved for theatrical dances, 
and always produces a fine effect. Formerly it was also executed 
in the ballroom, in the contredanses and g-avottes. La Carmag-o 
doubled the effect of the step by executing five and seven entrechats 
terminated with an attitude. Later, in 1750, Mdlle. Lamy did seven 
and eight entrechats without effort. From 1766 to 1800 the step 
became so common that complaints were made to the theatrical 
managers about artistes employing them on any and every occasion. 

Entrechats are divided into two sections — the even numbers 2, 
4, 6, or 8, and the odd numbers 3, 5, 7. The former are terminated 
by alighting on both feet, the latter by allowing one foot to remain 
in the air after the spring. Entrechat in two (or a deux) is a simple 
changement de pieds (change of the feet) ; entrechat in four (or a 
quatre), in six, in eight, (a huit) the feet cut back and front two, three 
or four times during a single spring in the air. In the odd numbered 
entrechat — a trois, a cinq — the feet change three or five times, and 
the dancer alights on one foot, while the other is crossed in front or 
rear, or raised perpendicularly or horizontally to the supporting leg. 
It is indispensable to prepare for entrechats with a strongly accen- 
tuated bend of both knees before gathering sufficient force for the 
upward spring. Both legs co-operate in the movement of the 
entrechats. 

Entree (ahn-tray). — The opening of a dance ; the entry. Also a 
person's first entrance into society. 

Entretaille (ahn-tr-tie). — The jump preceding any step : jump on 
one foot, raising the other to the height of the waist. Old title, 
entre la taille. 

Epaulement (ay-pole-mahn). — The shoulder. The movements of the 
body in opposition to the movements of the legs. 

Epicredios.— Grecian country dance much in use among the Cretes, 
who danced it quickly, fully armed. 

Epilenios. — Danced by the Greeks at country fetes. Athenee and 
Pollux mention the dance. In the Pastorale of Longus the following 
description is given. " Dryas stood up and ordered a bachanalian 
air to be played. He executed the dance of the winepress, success- 
fully imitating the vintagers carrying the back-baskets filled with 
grapes, then crushing the grapes, filling the barrels, and drinking the 
sweet wine. The movements of the dancer expressed all this with 
such reality that the spectators believed they saw the wine-press, the 
barrels, and that he really drank the wine." 

64 



Part IX. January, 1914. 



TECHNICAL ENCYCLOPAEDIA 



OF THE 



Theory and Practice of 

The Art of Dancing 



THE ART OF DANCING. EQ 

Equerre, en avant, en sautant (jumping-).— For Jigs, Hornpipes, etc. 
From the 3rd position, bend both knees (plie), in rising - , spring 
forward on the soles, and open the heels outward, place the heels on 
the ground, turn on them, raising the toes a little, and open the toes 
outward. Repeat this en avant, then en arriere. 

Equilibre (ekwi-libr). — The fundamental principal of perfect poise or 
stability, whether standing on both feet, or only one. It is the 
perfect balance of the whole body accomplished by regular, graceful 
carriage of the upper body, and preserved by its independence from 
the feet, yet working together in harmony. 

Escargot. — See Farandole. 

Espardageta.— Steps used by clever Catalanian dancers. It is a typical 
Spanish step, and consists of a very rapid battement of the heel 
against the instep. Notwithstanding the rapidity of the movement 
the action should be easy and graceful. The pas espardageta 
reminds one of the French little battements on the instep. 

r 

Ete (ay-tay). — The name of the second figure of the Quadrilles, and 
owes its origin to the steps executed. It was once the custom to 
make the figure with a step composed of a chasse, a jete, an 
assemble devant for the avant deux. The union of these three steps 
is known as pas d'ete. The figure was for some considerable period 
known as the avant deux, because the two dancers — lady and 
vis-a-vis gentleman — advanced when commencing it. See Quadrilles. 



Failli, pas. — A step executed as follows : — Make three quick small 
walking steps and finish with both knees bent and remaining 
in that attitude. It represents the movement of a person who 
risks falling to the ground. It is done en avant, en arriere 
and a cote. 

Faler. — Dance 1879. Tempo, 2-4. Position: — Gentleman with r. holds 
lady's 1. hand, both facing forward. The couple make five 
slow pas glisses, then the gentleman makes the lady do an 
allemande (8 bars). Repeat. Then 4 steps forward in pas 
sautes (4 bars), change hands; r. hands joined make a tour 
de main to right (4 bars). Four pas sautes (valse a deux 
temps saute) (4 bars). Change hands, 1. hands joined. Tour 
de main to left and four pas sautes. Release hands, both 
pirouette. Reverence, and recommence. 

Fandango. — This may be considered a true type of Moorish and 
Spanish dance and a relic of the voluptuous dancers of 
antiquity. It produces a magical effect on the dancers and 
spectators in exciting their temperament. At the first accents 
ot the music men and women become fascinated in a manner 
unknown in the West. The dance varies in different 
localities ; the fandango of the ballroom also is different to 
the one danced on the stage where grace is displaced by free 
gestures which often give the dance a shameless character. 
It is usually danced by one couple to music in a quick 3-4 
tempo accompanied by castagnettes. The noise of the cas- 
tagnettes, the agitation of the arms and hips and tapping of 
the feet add to its originality and character of life and action. 

65 



FA PRONOUNCING DICTIONARY OF 

Fandango for the Ballroom, for 4. 8, 12 or 16 couples. 126 bars of 
music in 3-8 time, with 5 bars introduction. Castagnettes in 
each hand are used to accompany the music. [Pas du Fan- 
dango. Glide r.f. forward, draw l.f. up to r.f., glide r.f. 
forward; repeat commencing l.f. (2 bars).] 

Introduction 5 bars. First Figure, 16 bars played four 
times (64 bars). Bars 1 — 16. All, playing with castagnettes 
without interruption, form two grand circles, gentlemen an 
outer and ladies an inner circle. Gentlemen move round to 
the right with pas du fandango and ladies round to left. On 
meeting partners they turn round each other and return to 
places. 

Bars 17-32. — Ladies stand still while gentlemen with 
pas du fandango move backward to the centre of the circle 
finishing facing partners (4 bars). All fandango step to 
right, repeat to left, repeat to right, repeat to left (4 bars)). 
Take partner's right hand and fandango step round each other 
one way then the other (8 bars). 

Bars 33-48 — Ladies make a grand circle, with fandango 
step, outside the gentlemen and round to left (8 bars) and 
return to places. Gentlemen repeat round to right (8 bars). 

Bars 49-64. — Gentlemen kneel on right knee. Ladies in 
centre back to back, then fandango round the gentlemen. 
Gentlemen rise and reverence. 

Second Figure. 32 bars. — Gentlemen take ladies 1. hands 
in their right and one pas de fandango to the left and one 
to the right, then the gentlemen make the ladies pass in front 
of them from the right to left for a change of partners, the 
gentlemen continue with the lady on the right two fandango 
steps and pass to next and so with all the ladies. 

The ladies come back to their partners, who make them do 
one or several pirouettes in place, according to the steps of 
the dance and the number of couples taking part (this figure 
is arranged for eight couples only). If it is danced by 16 
couples, the fandango step must be omitted, and only one is 
done to the right and then the pass. Play of castagnettes with 
one hand and grand salute. 

Third Figure. 30 bars. — Each gentleman gives his r. 
hand to his partner's 1., -and describe a grand circle around 
the ballroom, the two fandango steps (2 bars), they stop and 
leave each other, play of castagnettes with both hands, knock- 
ing them together (with the castagnettes) after each bar (2 
bars). Repeat these four bars to the end, then the gentleman 
makes his partner do a pirouette. Bow and curtsey (finale). 

Fandango, au Theatre. — Tempo, 3-4. This dance is executed by the 
couples being placed opposite each other ; they accompany them- 
selves with castaernettes, making steps and gestures which depict all 
the passions. Thus it is a pantomime, in which the gentleman 
makes a declaration of love to the lady. She repulses him, 
he seeks to win her, she flies. He becomes furious and stamp*' 
ing his feet swears to win her at any price. She turns on him 
and mocks him; he in an extreme rage, renews his declaration. 
This time she accepts him, and after several gestures of love 
and content they execute the following vis-a-vis, 

66 



THE ART OF DANCING. FA 



i . They describe a grand circle then change places by 
pas gliss^s, alternating on each foot. 

2. They turn round each other, and return to their places 
by pas gliss^s chasses with the same foot. 

3. Lift r.f. in 2nd elevation, ditto l.f. Repeat 8 times 
with attitudes and play of castagnettes; turn, with a bend of 
the body to one side, hands describing a circle. Repeat 4 
times to each side. 

4. Lift r.f. en avant in 4th position, assemble, ^lisser l.f. 
3 times en arriere, drawing r.f. up after each glisse. Repeat 
4th part 4 times, taking it up from commencement and doing 
2nd, 3rd and 4th. Gentleman puts one knee on the ground 
and the lady seats herself on the other. — Attitude to finish. 



Farandole or Farandoule, also known as L'escargot. — Originated in 
Provence, France, and flourished till the end of the eight- 
eenth century. It is now rarely seen. The step was a galop 
step (glisse-chasse) and the figure was a chain formed 
by the dancers who were led by a conductor. All the dancers 
were linked in a long line and wound in and out like a snail 
(escargot) and then unwound, going round obstacles and even 
up and down stairs, practically, a " follow-the-leader." 

Festius. — An ancient Greek family festival dance. Originally it 
was danced by the family itself, afterwards professional dancers 
were employed, the family joining in at the end of the repast. 

All sang and danced together. Xenophon gives the 
following description of the Festius: — 

" Directly the meal was carved the libations made, and 
the hymns sung, a Syracusan entered with a flute player 
beautiful and well-made, a dancer who executed perilous 
springs, and a youth who danced whilst playing perfectly on 
the lyre. The dancer advanced into the dining room to the 
sound of the flute. She was given twelve rings, and began to 
dance, and throwing them in the air with so much accuracy 
that as they fell back into her hand they marked the rhythm. 
A large circle was then brought in ornamented with daggers 
pointed inwards, into the middle of which the dancer executed 
a grand spring, which caused great astonishment and fear to 
the spectators who thought to see her perhaps wounded. But 
she executed this with her accustomed address and without 
doing herself any harm. The youth then danced his gestures 
and movements making him even more pleasing to the on- 
lookers. A parasite seated at the feast got up trying to 
imitate the movements of the youth and the dancer, but in 
such a way that all his gestures appeared ridiculous. The 
dancer then made the wheel by turning her head towards her 
feet. The buffoon in imitation bends forwards and does the 
wheel in this position. The youth was covered with applause 
because he gave, in dancing, the whole action of his 'body. 
The buffoon demands a livelier tune from the flutist, and at 
the same time moves his feet, arms and head until thoroughly 
exhausted he fell on a couch." 

67 



FE 



PRONOUNCING DICTIONARY OF 



Fetes. — From the most primitive times we find traces of dancing 
in all the private, public, official and national fetes and 
festivals. In Athens and Rome the number of dances 
were as great as the number of fetes, and each had its special 
name and character. As to our fetes, we know that dancing 
is their particular aim and ornament. Even in religious fetes, 
the history of religion and its customs, we find the first essays 
on dancing, and the more one advances in the history of 
religion the more it is mixed with the dance. At Aix, on the 
occasion of the Fete Dieu, we find dancers mentioned. 
Che>unel in his interesting " Dictionary of the habits and 
customs of the people," divides the fetes in which dancing 
takes an important part under five different heads. i. Fetes 
with a religious or popular character. 2. Knightly and 
warlike fetes. 3. Fetes exclusively for the populace. 4. Court 
fetes. 5. National fetes. We find the dance in all public, 
private, official and national rejoicing. 

Large processions which we still see with banners, bands 
and songs, are only really reproductions of the moving (ambu- 
latory) ballets of the middle ages. The word procession is 
derived from the Latin procedere, which means to march to 
time with rhythym and order in which one sees the idea of 
the dance, that is, order and regularity of movements. We 
still find in village churches reminiscences of these ancient 
ceremonies. We see the choir march past with slow steps in 
time to the music before the prieacher commences the Credo. 
In the antique fete of the fire of Saint Jean dancing appears 
again when we hear of the villagers dancing round lighted 
wood fires, carrying away the burnt wood and preserving it 
till the next year as sacred to the fete of Saint Jean. 

In the provinces of Ninervais and Bourbonnais the weeping 
bands which accompanied the funeral ceremonies are equally 
a tradition of dancing. 

Feu, danse du —The fire dance is very prevalent amongst 
the savages of Oceania, who took such a pleasure in it that 
they continued during entire nights round immense braziers. 
A dancer holds a lighted torch to prove that the fire is still 
alight. Sometimes they dance carrying the brazier in their 
mouths. The Jesuit Pere^de Charlevoix mentions this dance 
in his "Voyage en Amerique Septintrionale " : " A Missilaqui 
regaled us with a singular fete, which had something rather 
pleasing about it ; it was quite night when he entered into 
the hut of a savage with us. We found a lighted fire, near 
which a man beat, whilst singing, a kind of tambourine, 
another shook, without ceasing, a chichikone, singing at the same 
time. It lasted two hours, which bored us extremely, because he 
always repeated the same things, that is to say, he formed half- 
articulated sounds which never varied. We prayed the master of 
the lodge not to continue this prelude further, and he had great 
trouble in telling us he would not. Then six women appeared,^ 
standing in a line side by side very stiffly with arms hanging.""" 
They sang and danced without disturbing the line, making a few 
steps to time, sometimes forward, sometimes backwards. This 
lasted a quarter of an hour, and the fire which alone lighted the 
cabin was put out, and nothing could be seen except a savage 

68 



THE ART OF DANCING. Fl 

dancing with a lighted torch in his mouth. The music of the chi 
chikone was not discontinued, and the women took up from time to 
time their songs and dancing. The savage danced all the time, 
but as he was only distinguishable by the lighted coal in his 
mouth he made a spectre horrible to behold. This mixture of 
dances, songs, instruments and fire which never went out, had 
something bizarre and savage about it which amused us for 
half-an-hour, after which we left, the hut, but the game lasted 
till daylight." 

Figure. — This expresses alike for ballroom and theatrical 
dances the union of several steps and the changes, by one or 
several people. It is also the figure described on the floor. 
Dance figures are composed of several changes forming a 
homogeneous whole, as, ist, 2nd or 3rd figure of the parts 
composing the entire dance. 

Filette, la. — Name of an ancient contredanse used at balls before the 
quadrilles, we find the name, only no details. 

Finale. — The last figure of Quadrilles. 

Flechir (flaysheer). — To bend. 

Fleuret (fler-ay), temps. — A fencing foil. Name of an ancient dance- 
step often used in old contredanses and the old passe-pied. 
Diderot's encyclopaedia gives this description: — " Fleuret is 
not like the bourre because it has only one movement. It is 
easy to execute and consists of a demi-coupe and two pas 
marches on the points of the feet. It is done in the 4th 
position. If l.f. is forward the weight of the body is entirely 
on this foot drawing r.f. in the ist position without its touch- 
ing the ground. Then bend both knees equally (plier). You 
must not pass r.f. in front in 4th position until after the bend, 
and at the same time as it passes lift yourself up on the points. 
Afterwards two pas marches on the points one with l.f. then 
r.f. on the last place heel on ground to finish it so that the 
body is firmer either to take another step or to do the first step 
again according to the requirements of the dance. The fleuret 
is also done en arriere, de cote, a droite or a gauche. It is 
only positions which differ. 

Flexion. — The bending of any of the joints. 

Flic Flac. — Starting with the r.f. in the 5th rear, bend the knees and 
pass it to the second elevated stretched, then with a jump 
throw it against the l.f. which is sent to the 2nd position on 
the ground, the weight of the body falling on the r.f. ; this 
terminates the pas. This pas has but one temps and gliding 
the r.f. in the 5th front, we shall be ready to repeat it with 
the other leg. Bending the knees, the l.f. which is in the rear 
passes to the 2nd elevated poition, and, with a jump, is thrown 
against the right sending it to the 2nd position, the weight of 
the body falling on the l.f. and this terminates the pas. It is 
performed sideways to the left when starting with the r.f. 
and to the right when starting to the left. 

69 



FL PRONOUNCING DICTIONARY OF 

Flore, pas de. — Known as pas ordinaire. From ist position, (and) 
hop on l.f. simultaneously raising r.f. (i) Glide r.f. to 4th 
forward with degage (2) Hop on r.f. immediately carrying 
forward l.f. in preparation for the next step. 

Flore, danse de. — This dance, originally graceful amongst the Greeks, 
fell to a point of the greatest obscenity amongst the Romans. 
Metius had it danced one day in the presence of Cato when the 
Roman courtesans refused to appear before so severe a censor. 
The people witnessed his discontent when Falconius, the 
friend of Cato, predicted it would meet with scant approval 
from spectators. Cato understood and escaped, not wishing 
to be a witness to the excesses of the Danse de Flore. Until 
its death floral games and scenes were established in their 
primitive splendour and grandeur. 

Folatre, La — Name of a square dance, composed by the celebrated 
Blasis, master of the ballet. The authority of this clever 
master resulted in its being adopted in several salons. He 
leaves the following" directions: — (1) Demi-chaine anglaise. 
(2) balance. (3) demi-chaine anglaise. (4) balance. (5) 
four gentlemen en avant. (6) four ladies en avant. (7) 
chasse-croise les huit. (8) ladies chain. (9) chasse a quatre 
sur les cotes. (10) balance. (11) tours de mains. (12) 
two couples return. (13) chasse en avant quatre. (14) 
return to your places repeating the chasse. (15) balance by 
the eight. ( 16) tours des deux mains. ( 17) the same for the 
other six. (18) altogether, repeat. The r-olatie was danced 
by four couples and the music was played four times. 

Folies d'Espagne, les.— Dances in Spain, are executed by one person 
alone as a sarabande. The folies d'espagne were danced to 
the sound of the castagnettes and the flute; the dance, quick 
and light composed of quick steps, show the meaning of its 
name. Feuillet in his " Choreographie '' gives the music and 
the theory of the Folies d'espagne for one woman alone. It is 
written in 3-4 time and contains principally the blacks and 
the crochets to facilitate the movements of the feet rapid and 
staccato. Later on the name Folies d'espagne was given to 
a contredanse in 1830, when it had some success. As we do 
not see it figure in any quadrille of the epoch, it must have 
formed a complete dance^and not a figure introduced into a 
contredanse or quadrille. 

Forez, danse de. — An ancient French proverb, deriving its name from 
the dance. Compan in 13 13 says, Guy, Count de Forez, after 
having met Philip le Bel at the great assembly held by that 
king at the fete at Whitsun, returned home to Forez followed 
by a large number of his suite. On his arrival he gave a 
grand fete, with which dancing was connected. The flooring 
gave way and many of the guests were hurt. Some even did 
not survive their injuries, hence comes the saying " Danse de 
Forez " to express a great joy followed by a great sorrow. 

Forlane. — A dance very much danced in Venice by the Gondoliers. 
It is also called the Foulane; it is very animated and 
danced to a 3-4 time. The forlane draws its name from 

70 



THE ART OF DANCING. FO 



Fione, the land of its birth. It very much resembles the 
tarantella in which there are little close steps and glissades 
coupes. 

Fouette, temps (foo-ett ay).— Whipping time. Name of a very 
brilliant dance-step, especially beautiful when executed by 
dancers whose legs are well turned out. Stand in 5th position 
r.f. in front; bend the knees, jump on l.f. at same time lifting 
right leg de cote horizontally outstretched; bend the left leg 
a second time while the r.f. crosses in front or at the back of 
the left leg, according to whether the fouette is done in front 
or rear. Note that this step is done on the 3rd beat of the 
polka mazurka. 

Fourchette, pas de la 'foorshet). — Fork L.f is raised forward 
with an imitation of a tap of a fork in the r. hand which is 
formed by the index and middle fingers being apart while the 
other three are closed. The body is tilted forward, l.f. raised 
forward and tap with r. hand, then backward. 

Frangesa. — Dance by R. M. Crompton, composed to music of this 
name. 



Frapper, pas frappe (frahp-pay). — To beat ; a beating step. If, 
when taking a step the floor is stamped. It can be done with 
any part of the foot. It is also known as taper a tape. 

Frappe tortille, pas (frahp-pay tor-tee-yay). — Tortille is to wriggle 

or twist. (1) stamp r.f. in 2nd position with degage. (2) 
l.f. turned inward on the heel before the other foot. (3) turn 
the foot outward. These two turns of the foot are tortille; 
combined with the first (beating step) it is the frappe tortille. 
See Tortille. 



Frotter, temps (frottay). — To rub. Rubbing one foot against the 
other or any part of the leg during a step. 

Frou-Frou Mazurka.— The lady, at the right of her partner, leans her 
1. arm on his r. shoulder, he places his r. arm round her waist. 

(1) 8 bars. — The gentleman and lady do two pas de 
mazurka with l.f. en avant (2 bars). Take up the position of 
a couple dancing and execute an entire turn by two pas de 
redowa (2 bars). Repeat these two pas de mazurka and the 
rotation (4 bars). 

(2) 8 bars. — The gentleman taking lady's I. hand in his 
left, and her r. hand in his right do two pas de mazurka to 
the left (2 bars); they release 1. hands and do two pas de 
redowa taking up the position usual in that dance (2 bars). 
Then, the lady turns round the gentleman passing beneath his 
arm '(4 bars). If it is an entire turn with the 1. hand the 
gentleman simulates a pas de boston sur place, while the lady 
turns round him. 

7* 



FU PRONOUNCING DICTIONARY OF 

Funambules. — Name given by the Romans to tight rope walkers 
dancing on the rope, the Greeks often replaced this word by 
that of acrobat. 

Funeral Dances. — These go back to the greatest antiquity. Though 
in modern times we should be very surprised to find such a 
dance forming part of such ceremonies, they formerly played 
an important part. Plato tells us that in the obsequies of the 
kings of Athens, a troup of chosen people arrayed in white 
vestments opened the march. Two rows of young men walked 
in front of the coffin and two rows of virgins. All wore 
crowns and branches of cypress; they executed grave and 
majestic dances to lugubrious tunes. The musicians walked 
between the two groups, and behind walked the priests and 
different divinities. Among the half -savage people of Canada 
funeral dances still play a great part, and commence the 
moment the body is enclosed in the piece of wood which serves 
as a coffin. 



', 



72 



1 1 ) 



Part X. February, 1914. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. GA 

G. 

Gagliarde, pas de (gahl-yakd). — This dance-step commences with 
either foot in the 3rd, 4th or 5th position and terminates in 
the 2nd position. It consists of an assemble in the 1st 
position followed by a step to 2nd position. 

Gaillarde or Galiiard, known also as Romanesca. — A dance that 
came westward to Paris and London in the sixteenth 
century from the Roman Campagna, where it is still in 
favour. It was also known as cinque pace, or five steps, 
and one remembers that Beatrice, in 'Much Ado About 
Nothing, refers to it when she speaks of courtship as 
" hasty, like a Scotch jig, and full as fantastical " ; the 
wedding as " a measure full of state and ancientry " ; 
and subsequent " repentance," who " falls into the cinque 
pace faster and faster till he sink into his grave." The 
dance was lively to music in 3-4 time, the dancers sing- 
ing love ditties. Two couples were placed vis-a-vis as 
in the French quadrilles, the gentleman taking the lady's 
hand. Promenade with pas marche springing, and lifting 
the shoulders gaily; assemble with each foot, then glissade, 
jete and assemble. These steps are done en avant, en 
arriere, to right, to left, in crossing to change places ; 
bow and curtsey after each part and conclude with a 
promenade. As the Romanesque or Romanesca it was 
danced leaping in the air and lowering to the ground, 
crossing gliding or springing. The steps were quick, 
varied and infinite. Each dancer exhibited his talent 
and ardour in springs, cabrioles, wheels, glisses terre-a- 
terre, small sautes, pas marches, tombes and assembles, 
Arbeau (1588) devotes a long chapter to this dance. 
Diderot's " Encyclopaedia " gives this description — " The 
step is done en avant, en arriere and de cote; to do it 
en avant stand with l.f. in forward 4th position with the 
weight of the body on the heel of r.f . ; leve; from this 
bend on 1. leg raised, lift yourself to spring. Then cross 
in front in 3rd position coming down from the spring on 
both feet, knees straight; the foot which was crossed in 
front is carried to 4th rear with the weight on it raising 
yourself at the same time." 

Another description. (1). (Not hand in hand, but 
separated). Spring from one foot to the other, with the 
raised foot in elevated 5th position, four times. Echappe 
to the right in, turning (2 bars). Repeat four times, 
echappe twice to right, then twice to left (16 bars altogether). 

(2). Pas de bourree three times to right, three times 
to left, three times to right and three times to left. 
Dancers cross each other. 

(3). Coupe dessous (pas de bourree). Coupe dessous 
with r.f. (2 bars) r.f. pas bourree (2 bars) pas bourree 
l.f. (2 bars) pas bourree r.f. (2 bars). 

(4). Coupe dessous, pivoter. Coupe four times (2 
bars), pivot to right four times (2 bars). Repeat twice. 

(5). Te?nps leve, tourne. Cross r.f. over l.f. Rise 
on toes and turn slightly to left. Repeat with l.f. over 

73 



GA PRONOUNCING DICTIONARY OF 

r.f. Repeat eight times. Each figure is of 16 bars 
of music. 

(ialop. — Dance more ancient than is generally supposed, dating back 
to the end of XVIII century. It served as a finale to 
the voltas and contredanses, a character which it still 
maintains. After the slow and reposed movements of 
the older dances, the dancers rejoiced in more animated 
movements assisted by faster and agitated music, thus 
accelerating the dance. The word " galop " expresses the 
fastest running of a horse ; the word " galopade " formerly 
expressed the dance, but in later times " galop " has been 
more usual, " galopade " being understood to mean simple 
sideway chasses and " galop " the waltz-like twining with 
chasses alternately. The music is 2-4 tempo. The step 
is of the most simple nature and consists of a glissade 
(glide) with one foot which is chassed with the other so 
as to continue without changing the foot. To turn in the 
galop, alternative chasses must be made, turning a half- 
circle on each second beat thus: — gentleman's step (1) 
glide l.f. to left {and) chasse l.f. with r.f. (2) glide 
l.f . to left pivoting a half-circle on it ( 1 bar) repeat 
with other foot (1 bar); lady's step, the same with the 
other foot. 

Galopade Russe differs from the Galop in never being danced in 
turning. The dancers galop rapidly round the room making 
their partners advance and retire only with either simple 
or alternative chasses to music in 6-8 tempo. 

Gauche (a gauche) (ah-gohsh). — To the left. 

Gavotte (gah-vot). — Originallv a peasant danre from Gap in 
Dauphiny, where the natives are called Gavots. At the 
end of the fifteenth century the French Court commenced 
to dance it in costume. The oldest description extant 
is in the " Orchesography " by Thoinot Arbeau (1588). 
The music is said to have been composed by King Louis 
XIII of France (1601). The "classic" gavotte, however, 
was composed by Gaetano Vestris and is known as " Gavotte 
de Vestris," at the beginning and. end' of which there is 
usually danced the introduction of " Menuet de la Reine " 
arranged by Gardel (1770) to mruic by Rameau. It was 
danced by a single couple, the gefitleman cpmmencing by 
presenting the lady with a bouquet followed by a kiss; 
this custom is, however, ignored by such writers as Noverre 
and Cahusac. In the figures, the dancers exhibited their 
choregraphic talent in the most varied and fashionable 
steps of the period such as, pas de basques, jetes, bourrees. 
pas de zephires, entrechats, brises and glissades, endeavour- 
ing to be particularly brilliant in the solos. 

Gavotte.— To the music " Le Ballet du Roi " by Lulli (163.^-1687). In 
common time commencing on the 3rd beat of the bar. 
For one couple. (1) Four gavotte steps forward, four 
gavotte steps round, four gavotte steps back and four 
round again, the dancers holding the inside hands and 
turning the head and body toward and away from each 

74 



THE ART OF DANCING. GA 



other in accord with the step. (2) Gavotte round the 
room, the lady changing place four times with deep bows 
and curtsies. (3) Facing each other, take both hands and 
alternate toe and heel step; point toe in front, then rear, 
then up the room, pivot, same back and pivot. (4) Repeat 
same step to the right twice, twice to left and lour 
gavottes round. (5). (1) Glide one foot forward (2) 
glide the other foot to rear (3) point the first foot to 
side (4) point the same foot in 5th position. Repeat 
this movement four times and four gavotte steps round 
each other. (6) Gavotte step forward three times, pirouette 
and repeat. The Gavotte step is made by taking (1) a 
gliding step forward (2) close the other foot to 3rd rear 
(3) glide first foot forward again (4) raise second foot 
to 4th front. 

Gavotte de Vestris. — Introduction— the first part of " Menuet de la 

Reine." {First figure — 8 bars). Temps leve to 4th 
forward, assemble dessus l.f. changement de jambe saute 
(2 bars) 3 jetes dessous backward and assemble dessus 
(2 bars). Repeat the 4 bars making 8 bars in all. 

{Second figure — 8 bars). Crossing each other, gentle- 
man to rear of lady, 3 glissades croisses dessous, dessus, 
dessous (2 bars). Backward 4 ailes de pigeon (2 bars). 
Repeat same 4 bars re-crossing. 

(IViird figure — 12 bars). In place, the following step 
is made with a half-turn to the right to the lady. Ballote 
dessus et dessous, pas de zephire ; repeat the step with 
the other foot, repeat again with l.f. and again with r.f. 
(8 bars) 4 jetes dessous (2 bars) assemble, entrechat, 
entrechat (2 bars). 

{Fourth figure'). Repeat last 12 bars commencing with 
the other foot, but making the last four bars to move 
away from each other to the left finishing at the opposite 
left hand diagonal corners of a square. These four 
figures constitute the first part of 40 bars. The second 
part consisting of 40 bars is composed of the Solos for 
the dancers, as follows: — 

{First figure). Solo for the Gentleman, 8 bars. R. 
pas de basque forward, L. pas de basque forward (2 
bars). 3 pas bourree and assemble backward (2 bars). 
2 pas de basque forward (2 bars) 2 pas de basque 
pirouette backward (2 bars). 

{Second figure). Solo for the Lady, 8 bars. Same 
as gentleman's solo. 

{Third figure — 12 bars). Gentleman commence r.f. 
lady l.f. Ballote and zephire thrice (6 bars). Ballote 
and assemble with gentleman making a quarter-turn to 
left to finish opposite to lady (2 bars). 4 glissades 
croises to the left (2 bars). 2 jetes dessous and assemble 
(2 bars). 

« 

{Fourth figure— 12. bars). Repeat third figure. Follow- 
ing this is the third part also of 40 bars. 

75 



GA PRONOUNCING DICTIONARY OF 

{First figure — 8 bars). Temps leve saute forward, 
contretemps dessus, changement de jambe (2 bars) 4 
temps de cuisse alternately (2 bars). Repeat 4 bars. 

{Second figure — 8 bars). Cross, gentleman passing rear 
of lady with chasse, pirouette (2 bars). 4 ailes de pigeon 
(2 bars). Repeat re-crossing (4 bars). 

{Third figure — 12 bars). Ronde croise, gentleman to 
right, lady to left, with pas ballote and two temps fouette, 
repeated three times (6 bars). Ballote and assemble in 
place (2 bars). Backward 4 jetes, assemble and 2 change- 
ments (4 bars). 

{Fourth figure — 12 bars). Gentleman to left with ronde 
croise step of 3rd figure but commencing l.f. (6 bars). 
Ballote and assemble dessous with r.f. in place (2 bars). 
Moving back to original places — 4 ailes de pigeon, assemble, 
3 entrechats. Then repeat the first part of " Menuet de la 
Reine " to finish. 

Gavotte de Stephanie, pas de. — Common time, commencing step 1 on 
the introductory note (fourth beat). 

(1) Glisser r.f. obliquely to right en avant. 

\2) ,, L.X. }) „ ,, 

\3) >> r.i. „ ,, ,, 

(4) Bring point of l.f. to point of r.f. bending the 

knee. Repeat with other foot. This step can be done 

in every direction and turning. 

Gavotte-Quadrille, Gavotte Kaiserin, or Gavotte I'lmperatrice. 

Berlin 1893. Obtained remarkable success in Germany. 
Recalls to the spectator all the graceful moods of the 
menuet. Executed by four couples as in a quadrille to 
music in common time by P. Hertel. Reverences, balances, 
pointes, pirouettes and enchainements of hands are its 
principal features. 

Explanation of the steps. Pas ballote: — From 1st 
position (1) raise r.f., knee outward, point of toe turned 
down and must not touch the floor and close to 1. ankle, 
glisser r.f. to 4th front. (2) degager (free) the l.f. 
and bring it back to ^ist position and raise it. (3) 
glisser l.f. to 4th front. (4) repeat temps (2) of this 
bar. Balance de la Gavotte (i) from 1st position 
glide one foot to 2nd position (2.3) the tip of the other 
foot glides to 4th forward at same time turn forward the 
side of the body corresponding to the foot. (4) Pause. 
Pas DE Bouts. From 1st position. Two of these are 
done to one bar of music. (1) glisser r.f. to 2nd 
position head and eyes directed to the point of the foot. 
(2) close l.f. to r.f. (3-4) Repeat with other foot. 
Pas glisse. — From 1st position. Glisser point of a foot 
to 2nd position. (2) close the other to 1st position. 
(3.4) repeat with other foot. PIROUETTE. — From 1st position. 
(2) place one foot forward to 4th position. (2) cross 
the other foot over in front (3} pivot on the soles in 
the direction of the first foot (4) lower the heels. 

76 



THE ART OF DANCING. GA 



The Dance. Introduction — -reverences (4 bars). The 
couples now place themselves in a square. The gentlemen 
conduct their ladies to the centre face to face by two 
pas ballotes. The 1st step is begun with the r. foot. 
The 2nd step is begun with the 1. foot. (3) Two pas 
ballotes begun with the r. foot. Lady and gentleman 
change places, 1. shoulder to 1. shoulder. (4) two pas 
ballotes. Begin with r. foot to return to place. (5) 
one balance to the right. Join 1. hands. (6) one balance 
to the left by the r. hand.. (7) two pas ballotes begun 
with the r. foot. A half-turn with r. hand is executed. 
(8.9.10) repeat (5.6.7). (11) four pas ballotes begun 
with the r. foot. By these four pas ballotes is executed 
a turn of the two hands. At the end the gentlemen go 
to the centre and give the 1. hand to opposite gentleman. 
The 4 couples thus form a star (or moulinet). (12) two 
pas de bouts with the r. foot and with the left. (13) 
the couples, beginning with the r. foot, make, by 4 pas 
marches, half-turn en avant (in a star). (14 — 19)— Nos. 
(12.13) are repeated three times. (20) two pas ballotes 
with the r. foot and finish in the 1st position. (21) two 
pas ballotes, begun with the r. foot, lady and gentleman 
giving each other r. hand, next to each other, go en 
avant and presenting the opposite couple who are coming 
towards them, the gentleman his 1. hand to the lady 
without letting go of his lady's hand. By this is formed 
the Rosette. (22) pas balance to the right. (23) pas 
balance to the left. During these two steps the opposite 
couples look at each other beneath the raised arms to 
the height of the face. (24) two pas ballotes, begun 
with the r. foot, ladies and gentlemen dance en arriere, 
and the ladies present to the gentlemen vis-a-vis (opposite) 
who are coming towards them, the 1. hand without releasing 
their right. (25) pas balance to the right. (26) 
pas balance to the left. At the 4th temps lady and 
gentleman turn themselves suddenly one towards the other 
{vis-a-vis). During these two steps the couples look at 
each other beneath the raised arms to the height of the 
face. (27) two pas glisses a gauche (to the left). (28) 
pirouette begun on the 1. foot. (29) two pas glisses 
to the right, the smallest possible, so that the lady and 
gentleman find themselves nearly vis-a-vis. (30) pirouette 
begun with the r. foot. (31) the gentleman stretches, 
during the 1st and 2nd temps, his r. hand to his lady, 
who during the 3rd and 4th temps, stretches her r. hand 
to him. (32) the lady executes with the 1. foot a pirouette; 
the gentleman with the heels slightly raised makes his 
partner turn. (33) release hands and execute a reverence 
de gavotte to the right. (34 — 37) Nos. (21 — 24) are 
repeated. (38) the couples in front separate from those 
at the back, and beginning with the r. foot they execute 
two pas ballotes going towards the couples to the side. 
Those at the side in the same way execute two pas ballotes. 
All the dancers turn themselves en avant, and at the end 
they find themselves vis-a-vis (face to face) on two lines 
per couple. (39) 4 pas ballotes. The dancers execute a 
traverse (they change places). (40) retraverser (in the 

77 



GH PRONOUNCING DICTIONARY OF 

same way. (41) 2 pas ballotes. The ladies go the centre 
and form a " moulinet " (by the r. hand): the gentlemen 
going next to them so that lady and gentleman are 1. 
shoulder to 1. shoulder. (42) a quarter-turn of " moulinet," 
the gentlemen moving to the right the ladies to the left 
by 2 pas ballotes. (43) a turn of the 1. hand with the 
lady vis-a-vis by two pas ballotes. (44 — 49) The Nos. 
(42- — 43) are repeated three times. (50) reverence to 
the lady, gentleman conducts by " pas marches " his lady 
to the position of the first figure. Reverence. The gentleman 
takes back his lady and they separate. 

Ghost Dance. — This dance was the main cause of the Indian rising in 
the North West, when the famous Sitting Bull lost his life. 

Gigue. — See Anglaise. 2-4 tempo — 16 bars for each step. For 1, 4, 8, 
or 16. (1) promenade to right (See Matelotte). (2) pointc, 
ciseaux (scissors). (3) berceau, eight times en avant and en 
arriere. (4) pointe en tournant to right and to left. (5) three 
battemcnts with the sole of r.f., berceau; repeat with l.f. 
(6) tombe and three changements de pieds. (7) scissors turn- 
ing to right and left. (8) sissones in turning and glissades to 
right and left. (9) tombe, pique and assemble to right and 
to left. (10) battements of the sole, berceau of r.f. and 
repeat with l.f. (11) jump en avant, scissors, three changes 
of the heels and repeat en arriere. (12) stretching of r.f. 
berceau en avant; repeat with l.f. (13) echappe, entrechat, 
ciseaux with r.f., assemble changment of the heel; repeat with 
l.f. (14) berceau in turning to the right and to left. (15) 
ailes de pigeon in front, berceau; repeat to left. (16) ailes 
de pigeon coupe forward with r.f., ditto l.f.; repeat. (17) 
ailes de pigeon in place. (18) ecart, entrechat, tour en fair, 
entrechat and attitude. 

Glissades, Glisses. These stepe are used both in stage and ballroom 
movements. The foot can glide in any direction. By the 
term pas glisse is understood a step sideways and a gliding of 
the other foot. Temps glisse is made by raising on both feet, 
fall back on one foot and glide the other in any direction. 

Glissade sotltenue. — The foot glisse is raised before the other in 3rd 
position instead of remaining on the ground at the end of the 
glissade. 

Glisse, temps. — This temps is^made by gliding forward or backward 
quickly drawing the other foot to it. Glisser is the verb to 
glide, glisse is a glided step. 

Grace. — The ideal of the pure and highest beauty of movement which 
can appear in the human body and the wonderful attraction 
which captivates every eye. Grace is a beauty which is not 
given by nature, but is produced by the subject ; the beauty 
of the human form honours the creator of nature, grace 
its owner. The former is a gift, the latter a personal merit 
founded on the inner harmony of aesthetic conditions and the 
full expression of living movement. Grace makes itself 
apparent through its endeavour to please naturally, lightly 
and without effort. To exceed the free measure of nature 
produces affectation. Dancing provides the means for the 

78 



THE ART OF DANCING. GR 



acquirement of grace, giving the body ease in its waving 
and undulating movements. Slow and long-drawn movements 
are, of course, best for this object. " The dance-teacher 
assists real grace in giving to one's will the power to sub- 
jugate the body, and in removing the obstacles with which 
matter and weight obstruct the play of living forces. He 
can do this only in accordance with rules which keep the body 
in healthy limits and which as long as laziness opposes will 
appear stiff and forced. But when the teacher dismisses the 
pupil the rule must have done service so that it need not 
accompany him into the world, in short, the working of the 
rule should have entered his nature." (Schiller). This 
fascinating human ornament may be a production of art if it 
is not a gift of nature. 

Graces, Us. — A dance in the early part of the nineteenth century, since 
obsolete. A gentleman placed between two ladies gives his 
hands to right and left ; the ladies joining left and right 
hands in front. The three advance and retire several times, 
then salute. The gentleman makes the right lady pass under 
his r. arm; he then makes the same " passe " with the lady 
on the left; the three form a circle and terminate in retiring, 
the gentleman being placed between the two ladies. The 
dance is derived from l'Allemande. 

Grand (grahn).— Large; meaning to fullest extent. The word is 
usually prefixed to a step or movement which it is intended 
should be performed to its utmost limit. Thus " grand rond " 
grand circle, that is all dancers join hands in a circle; 
" grand rond de jambe," the largest circle it is possible to 
make with the leg, etc. 

Grave, pas ; or Pas de Courante.— See Courante. This pas at one 
time was called de Courante on account of its being the 
principal pas of a remarkable dance called by that name and 
which was performed at the magnificent Courtballs, but it 
lost that name and began then to be called pas Grave; later, 
the Minuet having its origin among the peasants of the 
Fiench Province of Aniou, came into great vogue under Louis 
XIV. and superseded the Courante, which fell entirely into 
disuse.. 

The Pas grave may begin, with either one or the other foot 
in all five positions and usually terminates, travelling forward, 
in the fourth, and sideways, on one side or the other, in the 
secondhand returning from the second into the fifth position. 
It consists of three movements ; the first is a plie, the second 
the rising and. the third the sliding gently with the toes on the 
ground. It is the equivalent of one bar of music the accent 
of which falls on the second movement. To execute the pas 
grave forward from the fourth to the same position with the 
r.f ., place the weight of the body on the l.f. holding the right 
behind on the toes, bend the knees raising at the same time 
somewhat the r.f. from the ground meeting the 1. heel with 
the instep in the third position; then raise again the r.f. in 
the air in the second position describing a small circle and 
finally slide forward with the toes into the fourth position. 
If you wish to make this pas forward from the third to the 
fourth position starting with the r.f. in front of the left, it 

79 



GR PRONOUNCING DICTIONARY OF 

would be necessary to bend, rise, and glide in a straight line 
into the fourth position. The same pas can also be made 
sideways, but not backward in ballroom dancing. En tournant, 
do not exceed a quarter of a circle. 

Gromenard. — The name of the Japanese salute, which is much deeper 
than the reverence of the West. It is made by bending the 
upper part of the body so low that the brow nearly touches 
the ground. 

Group. — The placing together of several persons according to their 
height, direction, appearance and colour so that they constitute 
a harmonious whole or unit. 

Grue (gru). — A crane, bird. Jump on l.f., raising r.f. to 4th forward, 
cross it in front of l.f. This can be done with both feet 
and in all directions. 

Grue* danse de la. — An ancient dance of the Greeks, often mistaken 
for " la candiote ; " it was held in the open fields in the first 
days of Spring. Boys and girls danced various figures, 
approaching and reeceding one to another, forming rondos. 
The dance concluded by a kind of farandole conducted by a 
couple holding each other with a ribbon under which every 
dancer passed. Every one then rolled themselves around the 
couple and the lady of this couple raised the ribbon as a sign 
of release; on being unrolled every couple took to flight. 
The dance of the " grue " represented the labyrinth (maze) 
of Crete, and must have been invented by Theseus. It is 
known that Theseus, after having deliverd the Athenians from 
the domination of the Cretans, halted at Delos, and after a 
sacrifice offered to Venus danced with the young Athenians 
this dance of the " grue." Callimaque in his hymn to Delos 
mentions this dance of the " grue " attributing its creation to 
Theseus, and leads us to believe that it was thus called because 
it recalled a flock of cranes flying behind each other, dispers- 
ing" and uniting again before continuing their flight. 

Guarachas. — Dance in Spain, and executed to the sound of a guitar, 
from which its name is derived. From the quickness of its 
steps and the character of its poses it seems to be derived 
from the Moorish dances. 

Guerre, danse <fe.— War dance.^ This war dance is described by Cook 
in his travels, and he states it to be scattered among the less 
civilized tribes of South America. The dancers form a ring 
and the spectators sit round them. The dance being started 
by one man is continued alternately by all the others. This 
dancer seems to spring to the right or to the left, while sing- 
ing some war exploit ; his gestures are military and full of 
energy; with a club he then knocks vigorously a post placed 
in the centre of the ring and is accompanied by musicians 
striking cymbals. This dance is enacted principally before 
war expeditions to inflame the tribes with courage. 

Guimbarde. — Compan's dictionarv gives this name to an ancient 
dance; owing to the lack of information we are only able to 
mention its name. (Guimbarde also means in French an old 
worn out cart or carriage). This is, perhaps, why bad 

80 



Part XL March, 1914. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. HA 



carriages in Paris are named thus, because they jolt and 
bump the passengers, recalling a disorganised dance. 

H. 

Haiva or Heiva. — Dance of the Tahitians, in which gentlemen and 
ladies take part one after the other. The ladies shine with 
their grace and the richness of their costumes; their abund- 
ance of hair in long plaited tresses which are artistically 
arranged on their heads, the arms and the neck being bare; 
the breast is decorated with shells or bunches of feathers and 
their body covered with a white dress trimmed with brilliant 
coloured borders. The movements of the Haiva are slow, 
measured and precise; arms and legs vigorously observe the 
measure of the tom-tom and flutes. These dances more often 
take place in houses addicted to this pleasure; a large roof, 
supported by beams of wood, surrounded by a palisade 
decorated with tapestries elevates itself over a large hall 
covered with matting on which sit the spectators, the centre 
being reserved for the dance. In the centre stands the 
" patan " or master of the ballet, who indicates the different 
figures of the dance which are often continued very late in 
the night. 

Hare.— Dance of Siberia, in which the natives pretend to be hares and 
imitate the frolics of those animals. 

Harrovian Waltz.— By R. M. Crompton. 

Hea. — Oceanic darce, well known among the islanders. Is fairly 
difficult, being composed of numerous gestures and accom- 
panied with original songs. The choir consists of ten or 
twelve chiefs in a circle in the centre of which is another who, 
with a pair of sticks, beats the time on a plank about ten feet 
long. This time-beater makes the dance go fast or slow as 
the whim seizes him but always ending with very rapid beats 
when the dance is simply a mad frolic. The men dance round 
the choir with simple stamping steps, pausing now and again 
to assume some graceful pose. The natives consider it im- 
perative for the chiefs to dance this well as a mark of good 
breeding and which lends an air of dignity to the dancer. 

Heartsease. — A formal, tender, old English dance for two couples in a 
circle. They meet with four steps forward then backward, 
8 bars. Repeat. The men retire from their partners, meet 
again and turn once round, 8 bars. Retire again and advanc- 
ing turn partners with 1. hands, 8 bars. Form line with 
partners and the opposite lady. Repeat .lobars — 8 bars. Take 
arms with partners, turn, then turn the other lady, Repeat, 
8 bars. 

Hedion. — Ancient Greek lascivious dance accompanied by song. 

Hermes — A pantomimic dance, consecrated to Mercury, and repre- 
senting" the actions of that god. 

Hermites.— Branle. Dance of the middle ages, classified among the 
high or jumped dances. The participators formed themselves 
into a single file and followed the movements of the leader. 

8i 



HI PRONOUNCING DICTIONARY OF 

Highland Schottische. — Round dance for one couple ; 2-4 time 

usually the music is based on Scotch airs. The dance is 
divided into two parts of eight bars each. The dancers face 
each other and with the 1. hand over the head and the r. hand 
on the hips the first part is performed thus: (1) spring r.f. 
to 2nd point, (2) r.f. to 5th rear, (3) r.f. to 2nd point, (4) 
r.f. to 5th rear, (these four steps are accompanied by a hop 
on the l.f.) (5) glide r.f. to 2nd degage, (6) l.f. to 5th rear, 
(7) r.f. to 2nd degage, (8) hop on r.f. Repeat the whole 
reversed; 8 bars in all. The second part — lock r. arms and 
with 1. hands over the head do the following going round (1) 
step on r.f. (2) hop on r.f. (3) step on l.f. (4) hop on l.f. 
(5) step on r.f. (6) hop on r.f. (7) step on l.f. (8) hop on 
l.f.; now change arms and hop four the other way. Repeat 
ad lib. 

Hilaria. — Dance festival in honour of the god Pan, which took place in 
calends of April. 

Hilarodes. — Dancers whose costumes consisted of a long white tunic; 
on their heads they bore golden wreaths and on their feet 
a simple sole held on by strings. 

Hiporchromatic dances, so called on account of their rhythm, their 
figures and movements. They included all the Lyric dances 
as well as the accompanying songs which were consecrated 
to Apollo, as well as the so-called Dithyrambic dances. 

Histrions. — Derived from the Tuscan word " hister," signifies the 
dancing actors who came to Rome to inaugurate the scenic 
games. They sang simple verses or recited them accompany- 
ing the words with suitable dance movements or gestures. 
More often two histrions appeared and while one recited the 
other danced. 

Hit or Miss. — Old English dance for eight in two lines. All advance 
and retire, repeat. Then all advance again with a double, 
that is, four steps forward and back closing the feet to the 
left vis-a-vis partners changing hands and then meeting again, 
taking their own partner's hands and into their places, all 
four doing Grand chain. Then the two sides advance and 
retire and repeat. Each take the other's arms and repeat 
as before. 

Holubiec. — See Czarine. Dance-movement employed in the Mazurka 
to signify " the turn on the spot " preceding or terminating 
a figure. After or before each figure the gentleman passes 
his r. arm round the lady's waist and turns with her on the 
spot; he quickly changes his arm by passing the lady in 
front of him. The step is made in three temps (1) raise r.f. 
to 2nd and let it down to 3rd rear (2) pause with knees bent 
(3) again raise r.f. and stretch out both legs. Lady does 
the same with opposite foot. Russians often dance the 
holubiec holding the lady's hands crossed behind her back 
instead of holding at the waist, the direction is also changed 
by releasing hands to change sides and retaking the hands. 

Hongroise (hon-gru-ahs). Hungarian national dance, introduced 

about 1800 as a complement to the Gavotte. The natives 

82 



THE ART Of DANCING. HO 

always dance it in their spurred Hungarian boots, their spurs, 
however, carrying only round molettes (rowels) without spikes 
to avoid injury to the lady's dress. The steps are the same 
for gentleman as for the lady. Two ballones in front or side 
and three small temps currus on the tips slightly jumped. 
Figures of the Hongroise: — 

Promenade: The gentleman leads his partner by the r. 
hand and promenade ad lib round the room. La False: He 
takes the lady by both hands, facing her, and turn together 
with the Hungarian step with alternate feet. Le Balance: 
Releasing hands they make the step facing each other advanc- 
ing and retiring in place. La Pour suite: He advances 
towards the lady while she retires round the room; after a 
few times he retires while she advances always with the same 
step. False Finale: They join hands crossed in front of 
them and turn together as if waltzing. The music is 2-4 
tempo, strongly accented, even a little jerky, and is so appro- 
priate and Hungarian in character that the dance could not 
be danced to any other music. 

Hop. — See Saute. 

Hoplomachie.— Greek pyrrhic dance with shields. 

Horai. — Greek dance, symbolising the seasons. According to Xenophon, 
at the commencement of the autumn, the Grecian youth, 
crowned themselves with purple and ivy, formed processions 
taking abrupt steps and accompanied by the sound of fifes 
and drums, the gestures and chants expressing the greatest 
mirth. At the return of Spring, they adorned themselves with 
crowns of oak and roses, the women being lightly dressed 
and adorned with flowers, danced pastoral dances. They 
simulated the innocence of the early times by simple and 
modest steps. At harvest time, new festivals recalled a happy 
and abundant harvest. When winter came this dance united 
the families in their homes. 

Hormos- — Greek dance, combining the greatest dignity and most rigid 
behaviour. 

Hornpipe. — This is certainly an English national dance, although 
associated with sailors and called the " Sailors Hornpipe." 
But there are many hornpipes and hornpipe tunes both in 
common and triple time with a special stress on the final note. 
It owes its name to the music which was prayed on a pipe 
with horn rims. The steps are as follow: — (1) first round 
(2) double shuffles (3) toe and heel (4) echappes (5) rocks 
(6) dips (7) slide toe and heel (8) scissors (9) hauling boats 
(10) rowing (11) climbing ropes (12) running rocks (13) 
running on the heels (14) last round, etc. 

Houras. — Dance of the natives of Haouai in Oceania, representing 
scenic games with pantomimes. 

Hydrophones. — Greek sacred dances danced to the " festivals of the 
deluge.'' 

Hymen, dance of. — Greek matrimonial feast dance. 

S3 



HY PRONOUNCING DICTIONARY OF 

Hypogees. — Egyptian paintings recording family dances are thus 
called. All ol them together with hieroglyphics are useful 
in the history of ancient dances. In some of them may be 
seen a dancing-master surrounded by equilibrists, dancers 
and gymnasts. 

Hypogepones.— Greek tragic dance, depicting old people, bent with the 
weight of their years, leaning on sticks. 

Hyporcheme — Greek tragic dance, military according to some writers, 
of slow and stately movements. 

I 

Iambic. — The priests of the god Mars danced this in his honour, style 
slow and grave. 

Igdis. — Ancient authors were unanimous in condemning this Greek 
comic dance, in which the dancer indecently agitated the hips. 

Imperial Quadrille. — Enjoyed some popularity for several seasons, but 
on the death of the Prince Imperial of France its popularity 
waned and the dance is now obsolete. It consisted of five 
figures for eight people in the form of a square as in ordinary 
square dances. {Figure i) — La Nouvelle Trenitz. {Figure 
2) — La chaine continue des dames. (Figure 3) — La Corbeille. 
(Figure 4) — La Double Pastourelle. (Figure 5) — Le Tour- 
billon. 

Inconnue, known also as "1'Inconnue a la redoute," was danced 

as a quadrille towards the end of the eighteenth century. 

Innocence, danse de I '. — Grecian religious dance, instituted by Lycurgus 
in honour of Diana and executed by young girls dancing 
round that goddess' altar. 



&' 



Ionian Dance. —A slow, soft, effeminate, and sometimes voluptuous 
dance of the Ionians. It also formed a part of the sacred 
dances of the greeks. Originally the Sicilians practised it 
in honour ol Diana, and Horace mentions it in his verses: — 

Motus doceri gjjoidet ionicos 
Matura virgo. 

Italic. — The principal Pantomime dance of the Romans, and created by 
Bathylle a freed slave who improved on a dance of the 
Tuscans. He associated himself with Pylades, a clever actor 
whom he met in his travels in Asia Minor and at their joint 
expense they built a theatre for the production of Pantomime. 
Borrowing from various dances they invented the " Italic " 
and with the assistance of music represented tragedies, 
comedies and satires. Bathylle excelled in the tragic and 
Pylades in the comic line. They both enjoyed immense popu- 
larity although their rivalries often divided the capital of the 
Roman empire and they were often exiled. 

Ithyphalles. — The ancient Grecian dancers who represented drunken 
men. They were clothed in a white tunic with violet sleeves 

84 



THE ART OF DANCING. 



iv 



and over the tunic a very fine woolen drapery descending as 
far as the heels. They sang drinking songs while jumping 
about. 

Ivrogne, pas de (ivron). — A step forward or sideward on the heel. 



Jaleo de Jarez. — A Spanish dance of the bolero type, with castagnets, 
by a man and woman. In rapid 3-4 or 6-8 tempo. Like all 
Spanish dances indolence and easy grace are its principal 
characteristics. 

Jalouse. — An old French quadrille, danced for some time towards the 
end of the 18th and beginning of the 19th centuries. It was 
composed by Blasis. 

Jamaica — Old English dance from Playford's "The Dancing Master " 
(165 1 ). Standing in two lines lengthwise, the first man takes 
his partner by the r. hand then with 1. hand and so change 
places. He repeats this with the two ladies and the first 
lady does the same with the two gentlemen and falls back 
into line so that the first couple are in the second place. Then 
perform the figure 8 to the end of the line. The first man 
then repeats it all commencing with second lady and so all 
down the line. 

Jarrete. — See Bow-legs. 

Javelote — Military dance of the Greeks, so called because it was 
danced with " javelots " (javelins) and simulated the move- 
ments of attack and defence. It was practised by men alone. 

Jeter, Jete (zhettay). — The outward spring performed by the throw- 
ing of one foot in one of the open positions and alighting 
on the same foot in a single beat. It may be executed in 
all directions as well as in place. Preparation — 5th position 
r.f. in front. The l.f. is raised and thrown sideways to 2nd 
position while r.f. remains suspended in the air in the rear 
of l.f. Made to the side it is called " jete ouvert." Theory 
of three jetes assembles. First jete — raise the r. leg stretched 
en avant, slightly to the right. Throw the r.f. forward on 
the ground, and raise l.f. to the rear parallel with the r. leg. 
Second jete — repeat the same movements with the other leg. 
Third jete — same as the first. Assemble — the l.f. is placed 
in front 3rd position during a light hop on the r.f., both feet 
flat. These jetes can also be made en arriere by throwing 
the foot backward, also to the side and turning. , 

Jete, petits battements. — Jete r.f. en avant, then bring back l.f., touching 
r.f. in rear, then in front of the r. shinbone (tibia) during 
one beat. 

Jete Attitude. — When the jete is accompanied by any pose in which 
the body remains motionless ; the dancer must become im- 
mobile immediately the jete is terminated. 

Jetes Battus. — The opposite leg to the one making the jete beats 
against the other front and back during the jete. On the 
stage this movement produces a most brilliant effect, particu- 

85 



JE 



PRONOUNCING DICTIONARY OF 



larly if the agility and suppleness of the dancer are such, 
that the whole length of the body can be placed horizontally 
during the spring. Example: — Stand in 3rd position, then 
in a single beat, spring as high as possible throw the r. leg 
forward on the ground and during this throw beat the l.f. 
against the r.f. front and rear as often as possible. Ex- 
perienced dancers can beat three times before the tombe 
(fall). The movement somewhat resembles an entrechat, but 
the spring is done on one leg only, whereas in the entrechat 
the spring is on both feet. 

Jete etendu. — Beginning with the r. leg in a well-stretched forward 
4th position, spring throwing the r.f. on the ground simul- 
taneously throwing 1. leg to 4th forward elevation; then throw 
the 1. leg on the ground raising r. leg forward and continue 
progressing forward. 

Jetes, grands. — Are made like small jetes, but the legs are mor e 
stretched, the elevations in the air are higher and the jump 
more distant. 

Jetes, grands developpes. — The raised leg is developed horizontally to 
the height of the hip and then thrown forward or to the side. 
It is often used to prepare an attitude, an arabesque or a 
pirouette. 

Jete en tournant. — Bend 1. knee with r. leg in 2nd elevation : throw 
the r. f. to the floor simultaneously turning half-circle to 
the right and raise l.f. at rear of the right. Do the same 
with the other foot. 

Jete Mouchete. — Make a jete, and before making another, with the 
other leg make a mouchete, front, or rear, or both. 

Jete Passe — From 5th position : bend the 1. leg, and stretch the r. to 
4th elevation forward, and throw it (jete) in the 4th position 
on the floor, while the l.f. passes rapidly to 4th forward 
elevation. It can be made in all directions. 

Jete Tourne. — The leg making the jete is placed, in turning, to the 
right or left, pivoting on one's self; this jete is often taken 
as the first temps of a grande pirouette, giving the necessary 
spring for the force of the movement required for the action 
of rotation, when the body can turn on itself several con- 
secutive times. 

Jete Grand, associated with a Coup£. — The jete forward is prepared 
and preceded by a coupe dessous ; the jele backward by a 
coupe dessus. 

Jeu de la baguette. — Greek step. Each dancer grasps a stick, which 
is placed handy for the occasion. The first dancer advances 
with a long jete of the r.f. and strikes the stick of the dancer 
on the right who strikes the dancer on his right and so on 
for all the others, then all the dancers make a jete en arriere 
to return to places. Then they make some " pas de basques " 
with the sticks held over the head. 

Jig. — The name is commonly derived from giga, or gigue, by which 
early fiddles were known. Early specimens of the dance 

86 



THE ART OF DANCING. JI 



are found in " My Ladye Nevill's Virginal Book," dated 
1 59 1. The typical rhythm was dotted crotchet, quaver, 
crotchet; the form was usually written in 3-8, 6-8, 3-8, or 
12-8, and consisted of two repeated sections of four or eight 
bars each. The dance attained its greatest favour with 
musicians in the Stuart period. It became the closing move- 
ment of sets oi dances, concluded stage performances, and 
was used usually when sailors left their native land. With 
the advent of Handel the English form declined. It would 
appear that the jig went to Scotland and Ireland from 
England. The dance known as " The Port " in Ireland pre- 
ceded the jig in Ireland, but the rhythm of this differed from 
the English jig. '* Whatever the Irish jig was, it was certain- 
ly not called jig until the seventeenth century." The English 
jig was introduced to France by English musicians who 
studied there, and was used fitfully by Lully and much by 
Marais. When the form reached Italy it lost its character- 
istic rhythm and acquired the triplet figure, in which way it 
was much used by Vitali and Corelli. In Germany the jig 
was cultivated from the middle of the seventeenth century 
onward. It was treated with great freedom by Bach, who 
made it an integral part of the suite. The dance is very 
exhilarating, the foot striking six or more times to the bar. 
To clearly describe each step is almost an impossibility. 

Jig, Kemp's. — This jig derives its name from Kemp, who was a 
celebrated actor, describing himself as one who spends " his 
life in mad jigges." It starts in a circle of six. During 
two phrases of music, one man leads forward two ladies and 
back. He bows to each then turns the third. He leads his 
own partner with 1. hand and the lady he had turned; repeat 
with the other two ladies and turn his own partner. This 
is done by the next man, then by the third man. For the 
second part the first man again leads the ladies as before, 
turns half round with both hands and repeats with own 
partner; repeat with each lady; each gentleman repeats the 
whole. For the third part the first man takes lady as before 
crossing hands behind lead lady forward and back, turns 
halt round and throws her a kiss, repeat with next lady, turns 
the third; each gentleman repeats. 

Jig, Solomon's, or Green Goose Fair.— Old country dance for 
eight dancers who stand longways. Advance and retire with 
what was known as " single step " — two steps and close both 
feet. Then, form two sides and turn with a single step. 
Take each other's arms and turn single step. First couple 
cast off, i.e., turn down to right and left, meet at end of 
line and pass up it back to their places, last couple repeat. 
First couple go down between the lines and return on the 
outside, last couple repeat. First couple with the single step 
do the Hey — similar to the modern Grand Chain — on their 
own sides, the others remain in their places. Each couple 
repeats. In Chaucer's time (1340 — 1400) the movement of 
the Hey was known as " the Reye " and was danced in a 
circle, it is possible that it formed a complete dance. 

Julie. — An old obsolete French quadrille. 

87 



KA PRONOUNCING DICTIONARY OF 



K 

Kalabis — Sacred public dance of the Spartans in the temple of Diana 
songs of the same name accompanied the gestures of the 
dancers. 

Kalabrismes. — Greek warlike dance, with javelins and armour. 

Kalenda or Calenda. — Danced by the Spaniards of S. America. The 
postures and gestures are lascivious in the extreme. Father 
Abbot in his travels gives the dance a religious character, 
affirming that the nuns practise the dance in the churches in 
the middle of the processions and during the Christmas 
offices. 

Kaleustes. — War dance of the Greeks. 

Kallikas. — Name of a step or perilous dance of a lascivious character, 
danced by Grecian women at private feasts and family fes- 
tivities. , 

Kallimak. — Grecian dance in honour of Hercules. 

Kalumet. — Dance in vogue among the North American Indian tribes, 
the Othagos and. the Sakis ; it is of a military type as all 
these tribal dances are. Warriors only are admitted, their 
bodies are painted with the most varied colours and heads 
adorned with feathers. 

Kanake. — Grecian theatrical dance. 

Kangaroo Dance of the aboriginal Australian, in which the chase of 
the kangaroo is accurately depicted in dumb show from the 
start to the finish. 

Kapria. — Grecian military dance with shield and javelin. 

Karyatis.— The invention of this dance is attributed to Pollux. 

Kastachok. — Russian national dance in Ukraine. The dancers make 
noisy and precipitate steps sometimes accompanied by folly 
and intoxication. As in mazurkas, the heels are knocked 
together marking the tempo with a sharp noise, the dance 
being a symbol of vigour and energy. 

Kateris. — Lucien mentions this as one of the earliest Grecian dances, 
and consists simply of gestures of the arms and hands. 

Kemp's Jig. — See Jig. 

Kermaphoros. — Grecian dance in which the dancers appeared to be in 
a fury; the name is derived from a kind of vessel carried 
by the performers. 

Kideris. — Dance of the Arcadians at family festivals. 

Kallinic. — A pantomime dance of the Greeks. Represented the descent 
of Hercules to Hades. 

Klopeia.— Greek dance, little known. 



Part XII. April, 1914. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



s 



THE ART OF DANCING. KI 



King Edward's Lancers. — By R. M. Crompton. 

Knismos. — Classed by Athene among the Grecian private dances, 
executed to the sound of the flute. 

Knossia. - Dedalus was, it is said, the inventor of this dance. Young 
people of both sexes join hands and sing hymns in memory 
ot the victory of Theseus over the monster Minotaur. 

Kola. — War dance, deriving its name from the dancers holding naked 

swords in their hands. 

Kolatiskos was a procession of adults carrying baskets, and keeping 
strict time with the rhythm of a chant. 

* 

Kolo. — Austrian dance, a description of which is given in '.' Figaro " of 
February, 1883. This ascribes the dance as a native of 
Bosnia and that it became a craze in Vienna and as popular 
as the czardas. There is much of stamping and knocking 
the heels together. It is danced to the sound of the " guzla." 

Komatik. -Grecian village feast dance. 

Komos. — Grecian pastoral dance. 

Konisalos. — Grecian comic dance. 

Korabanthia. — Dance of the Corybantes. 

Krakoviak, Cracovienne. — See Cracovienne. 

Kreon Apokope.— Grecian dance, in which butchers cutting up meat 
were imitated. 

Krinon. — Grecian dance of the choirs in the tragedies. 

Kronsthiron. — Grecian satirical dance of the theatre. 

Kybele. — Grecian satirical dance, representing Cybele in the arms of a 
shepherd. 

Kybistesis - Cretan dance with the heads bent low. 



Labalette. — Ancient obsolete French Quadrille, consisting of chasse 
made en avant and turning, executed by four couples. 

Laconien. — Grecian dance in vogue among the Laconians from which 
it derives its name. It was composed of three choirs who sang 
and danced a representation of the past, present and future. 

Ladies' Chain or Chaine des Dames. — See Quadrilles. 

Lancers, or Les Lanciers is a Quadrille of English origin. The 
invention is ascribed by some to Joseph Hart and others to 
a publisher named Duval of Dublin. It was introduced about 
eighteen years after the French Quadrille. It consists of five 
figures bearing fanciful French names without any particular 
meaning, as follows: — No. 1, La Rose; No. 2, La Ladoiska\ 

39 



LA PRONOUNCING DICTIONARY OF 

No. 3, La Dorset; No. 4, L Etoiie (more generally called 
" visiting ") ; No. 5, Les Landers. 

The name and forming of lines in the 2nd figure would 
suggest that the inventor intended to give their movement the 
character of a Polish dance ; while the joining of hands, 
curtseying, etc., in the 3rd figure savours of a good old 
English country dance. The culmination of the dance is of 
course in the last figure from which the whole dance takes its 
name : here it is to be urged, that the gentlemen when falling 
in lines, crossing behind the ladies and re-crossing and wheel- 
ing to the left in Indian file should be most precise and 
soldier-like in their movements, instead of shuffling in a bored 
and aimless manner through what can be made a really 
pleasing sight to spectators. 

Lancers (Duval's). — The original descriptions are here given. — 

\st. First lady and opposite gentleman chassez to the 
right and left and swing quite round with r. hand to places — 
les tiroirs — the gentlemen join 1. hands in the centre and r. 
hands to partners and ballotez — change places with partners, 
ladies join r. and 1. hands in the centre, ladies dance round 
to the left, and gentlemen go round outside to right — turn 
partners to places. 

2nd. First couple advance twice, second time leave the 
lady opposite — chassez right and left and turn partner — right 
and left, balancez to sides — advance in two lines and turn 
partners. 

3rd. First lady chassez forward and stop, then opposite 
gentleman, both retire en Pirouette, ladies hands across gentle- 
men's going round with partners. 

d,th. First couple with lady on left advance twice — set 
and pass between the two ladies, hands three round and back 
to places. 

$t/i. Grand chaine — first couple turn half-round with their 
backs to the opposite couple, the side couples follow in turn, 
forming two lines — chassez croise all eight and back — ladies 
lead round to right, gentlemen to the left, meet partners and 
lead up the centre — set in two lines, gentlemen on one side, 
ladies on the other, turn partners to places — the grand square. 

Lancers, Hart's.— 

1 st. Opposite lady and gentleman advance and set — turn 
with both hands, retiring to places — top couple lead between 
the opposite couple — return leading outside — set and turn at 
the corners. 

2nd. First couple advance twice, leaving lady in the 
centre, set to partner in the centre — turn partners to places — 
all advance in two lines — all turn partners to places. 

3rd. First lady advance and stop, then the opposite 
gentleman — both retire turning round — the ladies hands across 
quite round, at the same time the gentlemen lead round outside 
to the right, all resume partners and places. 

4t/i. First couple set to couple at their right — set to couple 
at their left — change places with partners and set back again 
to places — right and left with opposite couple. 

St/z. Chain figure of eight half-round, the same repeated 
to places, the first couple advance and turn facing the top, then 

90 



THE ART OF DANCING. LA 



couple at the right advance behind top couple, then the couple 
at the left and the opposite couple do the same, forming two 
lines, all change places with partners — back again — the ladies 
cast off to their right, while the gentlemen cast off to their? 
left — meet and lead your partners up the centre — set in two 
lines, the ladies in one line and gentlemen in the other — turn 
partners to places — (all promenade at the finish). 

Lapithes. — A dance of monsters, half men, half horses. 

Lascives. — In favour with the Greeks and Romans both in public 
and private life. These dances, which were innumerable, were 
most licentious in their nature. 

Leda. — Classified bv the Greeks among the dramatic and tragic dances 
and represented Jupiter changed into a swan. In spite of its 
severe character, the dancers assumed indolent attitudes. 

L'envers. — Reverse, as valse a Venvers, reverse waltz. Sometimes 
termed a rebours. 

Leve (lev-ay) Raised, as applied to the stepping leg. The leg may 
be raised either en avant, en arriere or a cote. 

Leve, temps. — A raising time. Raising one leg with some movement 
of the other leg. 

Leve Saut£.— A jump, falling on one foot while the other remains 
raised. 

Lever (lev-ay). — The lifting of a leg, the opposite is baisser, lowering- 
(See Abaissements). 

L'ete (lay-tay). — The second figure of the Quadrille. Either single 
ete or double ete, occupying 24 bars of music. 

Lionne. — Terrible and tragic dance of the Greeks. 

Longue, la.— Dance dated 1760. Tempo 2-4. All the dancers in a 
long row, join hands. Then crossing one foot over the other 
they glide eight steps to the right and repeat to left. All the 
men advance to form a front line, then both lines change 
places, then go en avant to form a single line and farandole.. 
and repeat the whole ad lid. 

Louis XV (Danse de), 1725. by Louis XV.— 16 bars of f. The 
gentleman, with his right hand takes the left hand of his lady. 

1st. The gentleman begins with the l.f. and the lady with 
the right, they execute four pas glisses en avant (4 bars). 

2nd. The gentleman releases the lady's arm and offers 
his 1. hand to her 1. hand, and make a turn together with four 
pas glisses (4 bars). 

3rd. The gentleman offers his r. hand to his lady's r. 
hand, and makes her execute an allemande making her pass 
under his r. arm (4 bars). 

Ofth. The gentleman with his r. arm entwines the lady's 
waist, and execute the waltz saute (4 bars). Repeat ad lib. 

91 



LO PRONOUNCING DICTIONARY OF 



Loure. — A kind of ronde with slow movements. The name is derived 
from the instrument used to accompany it, somewhat resembling 
a bag-pipe. 

Ludions. — Greek singing dancers from Etruria. 

Lysiodes. — Greek women dancers dressed in men's clothes. The 
dance was devoted to the worship of Bacchus. 



M 

Macabre, dance. — So named after its inventor Macaber, but it is 
asserted authoratively that the word is derived from " make 
or break." The dance had a certain amount of success and 
was a public representation of persons of both sexes under 
the emblem of death. In its movements the character was 
both philosophical and moral. Its mimicry attempted to prove 
that equality unites all in the grave. In 1422 the " danse 
macabre " was performed before Charles VI. of France and 
Henry IV. of England and their Courts. The dance was 
printed for the first time in i486 entitled " La Grand Danse 
Macabree des homines et des femraes " (the great dance Mac- 
abre of men and women). The painters Durer, Holbein and 
Gorgon have traced on canvas the tragic and allegorical move- 
ments of the dance. 

Mackter and Macktrismos. — Grecian lascivious and licentious dance. 

Maestoso. — Majestic — either dance or music, as Gavotte, Menuet. 

Magnesien.— Grecian rustic dance. 

Magodes.— Grecian dancing men in women's clothes. Their songs 
and dances were passionate and lascivious. 

Mahony, quarre de. — Old XVI II century French Quadrille 
Eight dancers advance together and retire. Four went to sides 
and again retire. The sides then advance to first and second 
couples while the first four chasse-croise to right and left. 
The first four execute some chasses-ouvert to the side, all being 
the same side, while the second four advance, etc., and repeat. 

Maitre de ballet. — Ballet-master. He must combine the choreographer 
(writer of dances) librettist (writer of the plot) musician and 
artist. The famous masters of ballet were Blasis, Noverre, 
Gardel, Dauberval. Two distinguished ballet masters were 
Saint-Leon and Petitpas in whom the science of the ballet was 
inborn and whose work recalled the mise-en-scene (staging) 
of the great Italian Masters. 

Among the Romans the ballet master had need of all the 
treasures of intelligence and soul because he lacked the 
resources of decorations and stage properties to which we are 
accustomed. The enlightened taste of Roman art was very 
difficult to satisfy in stage dancing, and this gave rise to many 
dissensions and discussions. Lucien initiates us into the attri- 

92 



THE ART OF DANCING. MA 



butes of the ballet master, " he should be acquainted with 
poetry, music, geometry and philosophy." 

Manchegas. — Quick, gay, Spanish Dance in demand by the general 
populace, and seldom seen in the ballroom. 

Marche, pas (markhay). — A marching or walking step; known also 
as pas alle. This step can be either half or whole. The half- 
step when the foot goes forward from the ist position to the 
4th, the whole step when it goes from the 4th rear to the 4th 
forward. 

Marriage dances are used by every savage tribe in S. America. 
The newly married couple dance in front of the guests at the 
wedding repast. 

Masquerades. — Dances or other functions in which the participators 
wear masks. The word is derived from " Mascarade," buffoonery. 

Masques. — The ancient spectacular shows from which the modern 
ballet originated. They consisted of dialogues, songs and 
dances. The dresses were not always correct but the speeches 
were very brilliant. The first trace of " the masque " is dated 
Henry II. (1100) for Christmas celebrations. Henry VIII., 
Elizabeth, James I., Charles 1. and* II. patronised the 
masques. 

% 

Masur, Masurek.— See Mazurka. 

Matassins, dance. — Dance practised by jesters in the middle ages 
The movements were very varied but unskilful. 

Matelotte (sailor) Promenade. — From the Gigue and Anglaise. 
8 bars 6-8 tempo. The dancer crosses the arms in front of 
him or places the hands on the hips. Others grasp the end 
of a stick (with both hands) over the head and during the 
dance lower one end under the r. arm, the tip behind the back, 
the 1. hand being then free is placed on the hip. 

The dance. Bend on l.f., stretch r.f. en avant to 4th 
position. Hop on l.f. and place point of r.f. to toe of l.f. 
Hop again on l.f. slightly developing r.f. in the air, then 
quickly bring point of r.f. to toe of l.f. Spring on r.f. by 
throwing it en avant and stretch l.f. to 4th avant. (1 bar). 
All this has been done during one bar, that is the two hops 
and the two small battements in front followed quickly by 
the " jete developpe." Repeat it with l.f. Repeat all three 
times, that is four times with each leg alternately. 

Continue the dance with " Berceau " Trot de Cheval, 
Corde, Ciseaux equerre (square) by jumping en avant and 
en arriere, ecart on the heels (tramping on the heels), berceau 
turning, pirouette and final attitude. 

Matelotte des Mousses of the cabin boy. Cabin Boy's Hornpipe. 
Tempo 6-8. Generally by one person, but any number may 
take part. 

93 



MA 



PRONOUNCING DICTIONARY OF 



f ist Step. Promenade de Matelotte (see last article), then 
jete en avant r.f., jete en arriere l.f., three changements of 
the heels, two chasses ouvert, contretemps to the left, pirouette 
to left, demi-face and pirouette to left, pas de corde, (atti- 
tude). 

2nd Step. Two chasses ouvert, two temps zephyr, pirouette 
to left, pirouette to right, two temps zephyr, tombe three times, 
pirouette to left and ecart trepigne. 

3rd Step. Four temps zephyr, two chasses ouverts, con- 
tretemps to left, pirouette to left, contretemps to right, two 
temps zephyr, contretemps, two temps zephyr and demi-face. 
(Demi-face is made in a quarter-circle making a contretemps 
and a pirouette to the left). 

4t/i Step. Four temps zephyr, four grands battements to 
right and left, two chasses ouverts; two temps zephyr, pirou- 
ette to left and to right; two temps zephyr, pirouette to left, 
two temps zephyr, tombe three times, pirouette to left, pas 
d'ivrogne. 

$t/i Step. Four temps zephyr, two chasses ouverts, con- 
tretemps to left, pirouette to left, contretemps to right, two 
temps zephyr, contretemps to left, two temps zephyr twice 
terre a terre. 



Maxixe Bresilienne. — The Maxixe is composed of five figures which 
are easily joined together in the order indicated. But as in 
the Tango this dance is not phrased, and each dancer may at 
will join together the figures in a different order. 

Position of the Boston. — The gentleman commences '' en 
avant " with the r.f. and the lady " en arriere " with the left. 

The lady executes the same steps with the opposite foot, 
except in certain " enchainements " which will be described. 

Introduction: The gentleman executes pas marches en 
avant at the rate of one step per bar. 

Example: ist temps. — Place the r.f. en avant the r. leg 
stretched out, the body slightly bent towards the right, the 
waist bent. 

2nd temps. — Place the l.f. " en avant " leg stretched out. 
body bent towards the left. 

Four or six " pas marche " are generally executed, and 
without stopping the ist figure is attacked. 

ist Figure: 1st temps. — Place the tip of the r.f. *' en 
avant " a little to the right, cross the l.f. behind the right and 
strongly bend on the 1. leg. (This crossed movement is at 
the same time a " movement tombe "). 

2nd temps. — Place the r.f. " en avant " a little to the 
right and at the same time straighten up slightly. Repeat the 
same movements starting with the l.f., etc. This figure is 
made while turning, that is to say in describing a circle, it 
lasts about 8 or 10 bars. (Be sure to accentuate the bending 
of the body at the movement of the " croise-tombe "). This 
figure can also be danced by placing the heel first instead of 
the tip. 

94 



The art of dancing. MA 

The continuation of the ist Figure: " The chasses de 
cote." Having terminated the first part of the figure to the 
left, place the r. heel on the side, the bust inclined towards 
the same side, and bring back the left behind the right ( i 
temps). Repeat this movement three times with the same 
position of the body, then begin again these 4 temps with the 
l.f. by changing the position of the body, that is to say body 
inclined to the left. As already said, this dance is not regu- 
lated, and each step may be repeated for a more or less length 
of time, providing that the measure is kept. Generally, this 
figure is made once more before attacking the second. 

Enchainement. — In order to pass to the 2nd figure this 
" enchainement " is the simplest and the most used. During 
the 4 chasses with the left the lady re-bends her r. arm and 
gives her r. hand to her partner's r. hand behind her waist, 
and both their 1. hands join together over their heads, the 
arms slightly curved. In this position they still continue 4 
chasses during which the dancer makes his lady turn slowly, 
in order that she will find herself placed, at the 4^h temps, 
in front of him a little to the right. The gentleman will not 
make the 4th chasse, but bending slightly to the right he will 
pass his arm under that of the lady's who will lean on this 
arm and against the gentleman's shoulder. Left hand to 1. 
hand, arms stretched out and to the shoulders height, r. hand 
to r. hand, the gentleman's arm under that of the lady who 
bends hers in order to lean and to give the hand to her partner. 
The body slightly bent en arriere. In this position they begin 
the 2nd figure. Both start off with the l.f. " en avant." 

2nd Figure: ist temps. — Place the 1. heel " en avant," let 
the foot fall down again flat, weight of the body to the left, 
cross the r.f. behind the left far enough and bend strongly on 
the r. leg (the r.f. on the tip). (As in the ist figure, this 
" movement croise " is at the same time a " movement tombe ") 

2nd temps. — Place the left to the left a little " en avant 
in straightening up (the weight of the body to the left). 
Repeat these movements starting off with the r.f., etc. This 
figure may continue as long as the ist. 

In the course of the figure the dancer will pass from left 
to right of his lady and vice-versa in changing the position 
of the arms, but without any change to the steps. 

Enchainement. — In changing sides the gentleman will 
bring back his arm on the lady's shoulder, without releasing 
her hand, and placing himself a little more exactly behind 
her, he will continue the step, but much less accented, that 
is to say, almost without bending and by leaning to the right 
and to the left according to the movements of the feet, the 
eyes fixed on the face of his partner. She making the same 
step as his will turn slightly the head to the right and to the 
left while looking towards him. This part of the figure may- 
be made to last 4, 6 or 8 bars, and on the last one which 
must be on the l.f., the gentleman lifting the arms will make 
his lady execute a half-a-turn who will find herself facing him. 
The lady must take this half-turn without changing her step 
and must find herself ready to start off with the r.f. The 
gentleman does not turn but is in readiness to commence with 

95 



MA PRONOUNCING DICTIONARY OF 



the left, having made the last bar with " pas chasses " with 
the left. 

3rd Figure. — Face to face, the hands united and the arms 
lifted slightly curved, they will make four chasses going 
towards the left (for the gentleman). These " chasses " are 
identical with those of the ist figure, but without bending 
the body. The gentleman will continue to make again four 
chasses, during which the lady will make a complete turn while 
advancing in the same direction as her partner and without 
releasing his hands. To execute this turn she will make a 
" pas de polka " on starting with the l.f. and then will make 
2 '' chasses " with the right to terminate at the same time as 
the gentleman. 

Then they will repeat the first part of the ist figure for 
several bars, then will begin again these chasses and this turn 
in the opposite direction. Begin once again the first part of 
the ist figure, then the " chasses " towards the left in 
describing a circle and slowly lower the arms to the height of 
the shoulders but stretched out lateraly, then again make the 
first part of the ist figure. 

4//z Figure. — This has some similarity to the Medio Corte 
of the Tango Argentin. It contains 2 measures or 4 temps. 
For the gentleman : — 

15/ le?np s. —Place the r.f. " en avant " and flat. 

2nd temps. — " Glisser " the 1. tip " en avant " and very 
slightly towards the right in turning the body a little to the 
right and " chasse " the left with the right. 

3rd temps. — Place the l.f. " en arriere " in bending on 
the 1. leg. 

4t/i temps. — Rise on the tip of the l.f., lifting the r.f. a 
little from the ground. The lady executes the contrary move- 
ments, that is to say by starting with the l.f. " en arriere," 
etc. (She must not jump, unless it is a number for theatre 
or music hall). 

To join this figure with the preceding one, 4 or 8 " pas 
chasses " are generally made. 

To pass to the last figure the first part of the ist figure 
is repeated. 

$ih Figure. — For the gentleman. Being in the starting 
position, after having made the first part of the ist figure he 
places his 1. heel " en avant " and brings nearer his r.f. 
towards the left ( 1 temps), then place the tip of the l.f. " en 
arriere " and bring closer ^he right, always continuing to 
advance towards the left. 

The lady makes the same movements with the r.f., but 
to the contrary, that is to say tip " en arriere " while the 
gentleman places the heel " en avant." Then begin again the 
first part of the ist figure and terminate with the 4th. 

This is in brief the theory with the enchainements. I 
hope my readers will be able to understand this dance which, 
without being difficult, requires a good deal of attention. 
Several teachers have attempted to describe it, but did not 
succeed in making anything tangible or authentic. 

Advice. — Do not exaggerate the movements. Do not 
stretch out the arms too straight and do not lean " en avant 
in the 2nd figure. Keep the arms slightly curved and well 
elevated over the head and do not go too far away from your 
lady to make her turn in the 3rd figure. 

96 



39^ Oxford Street, 

London, W. 

APRIL, 1914. 

Dear Sir or Madam, 

With this number of the " Encyclopaedia " the first 
year's issue terminates . 

I thank you /or the support you have given to the 
production o] the portion of a work which was to serve as 
a handbook and guide to the teacher, the dancer, the student 
and historian. There was no intention to make any profit, 
and I should have been well- content to bring the zvork to 
a conclusion, presenting my labours as an offering to Terp- 
sichore for the love of the Art of which I am a hum)ble 
exponent. But, so far, for want of public support, it has 
resulted in a great loss. There are two alternatives open, 
( i) to discontinue further publication (2) to ask subscribers 
to double the price of the second year's subscription, as 
another twelve numbers would see the completion of the 
book. Much to my regret I am compelled to choose the 
first alternative because I have no desire to ask the friends 
who have supported me to increase the price of their sub- 
scription. Perhaps at some future date I may take up the 
thread and resume the work, or, a better man than I wiil 
be sufficiently courageous to produce a book which is sadly 
needed. 

All my best wishes to my supporters . hi bidding you 
farewell, permit me to subscribe myself , 

Your obedieiit Servant, 

CHARLES d ALBERT, 
{Vice-Pres. Imperial Society Dance Teachers). 



Part XIII. June, 1914. 



TECHNICAL ENCYCLOP/EDIA 

OF THE 

Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. MA 



Maypole Dance. — From "Ancient Dances Revived." The Maypole 
was set up in pretty well every village in the good old times, 
the lads and lasses dancing round it. It took a prominent 
place in the May-day celebrations, and the Morris dances were 
greatly aided thereby. The peasantry went into the woods for 
the flowers wherewith to decorate the huge pole of extreme 
height which took a yoke of many oxen to draw it. They 
danced and they sang and made merry to their hearts content 
in all the country side, and even in Cornhill, where the may- 
pole was higher than the adjacent Church spires, and the dance 
was always hilarious, joyous and full of action, the streamers 
from the high pole floating in the breeze as the dancers in a 
circle, hand-in-hand, twisting in and out plaited and un- 
plaited the ribbons that hung from the top. 

The block to hold the pole must be heavily weighted and 
have a revolving pivot at the top. About a dozen dancers is a 
suitable number, twelve men and women, each holding a ribbon 
suspended from the top which they carry as the maypole is 
brought in with much ceremony and sunk in the block. 

Then the dancers dart away from the pole to the full 
extent of their ribbons, and manipulation of these streamers 
should be well studied beforehand, for if they become wrongly 
inter-twisted the whole effect is spoilt and it would be neces- 
sary to take the pole out of the socket or they would not un- 
plait. 

Form a circle round the maypole, and measure ribbons 
from the pole in a straight line. 

i. — Dance round without plaiting and reverse all round; 
do this twice ; throughout the dance all the movements are 
repeated reversed. 

2. — Dance a chain about the pole, plaiting the ribbons, 
the while round in and out, and reverse to unplait. If not 
rightly done, the Dole must be taken out before proceeding 
which spoils the effect. 

3. — Ladies take their places and dance round the gentle- 
men who run to the centre and kneel on one knee. 

Then the ladies trip to the centre and do the same, the 
gentlemen dancing round. This is followed by a pause of 
a few seconds the music playing the while, then everybody 
return to places with ribbons untwisted. All dance round in 
a plain circle without plaiting and reverse. 

4. — ?Ladies to centre, ribbons outstretched held in both 
hands in front. All revolve round the pole, ladies back to 
back, reverse, and return to places. Gentlemen do the same. 
Then ensues about ten seconds pause, and the dancers measure 
their ribbons before they repeat the plaiting chain and reverse. 
Then half-minute's rest. 

;. — Ladies trip to the centre taking hold of the pole with 
left hand and hold on firmly; gentlemen do same with right 
hand. Then reverse quickly and change hands afterwards. 
Forming a circle they go round without plaiting and reverse. 
Then all stop short, measure the ribbons, and put the ring 

97 



MA PRONOUNCING DICTIONARY OF 

attached to the end of all the streamers in the mouth, and 
holding hands, all go round very steadily and smoothly in a 
circle and reverse. 

This is followed by a slight pause, the music continuing, 
then the men and women form a final tableau, and after half- 
a-minute's pause, trip away carrying the maypole with them. 

Mazourka. — A Polish national dance performed by at least four 
couples or sometimes more in a circle, and is composed of 
numerous figures, the same as the Cotillon. 

Mazurka Polka or Mazur or Mazurek. — So named from the Polish 
tribe of Masures in the former duchy of Masovia. Mazurka, 
translated into English, means Masovian woman. This dance 
is preferred, in the Polish countries, to all other dances. It 
is also danced in other countries in Europe. In England it 
has ceased to be a ballroom dance but still figures prominently 
in stage dancing. (See Holubieck). It is composed of two 
parts of three beats each, occupying two bars 3 — 4 tempo. The 
first three temps are called " pas de mazurka " the second three 
temps are " pas de polka." A half-turn is made with everv 
two bars, that is, six steps, the turn being made on the second 
three steps. Assuming a count of six to complete the step, 
stand in waltz position: — 

For the gentleman 

(1) Glide l.f. to left. 

(2) Close r.f. to l.f. 

(3) Hop on r.f. and bring l.f. up behind r. heel. 

(2 and 3 would constitute a chasse-fonette or coupe dessous. 

(4) Make the first step of the polka with l.f.} . _•_ 

(5) .. second „ „ r.f. > , . } f 

(6) „ third „ „ l.f.) 3 - c,rcle - 

For the lady the same movements with the opposite foot. 
Now continue, the gentleman commencing with r.f., the lady 
with l.f. (4, 5, 6, will constitute the Redowa step). 

Medopismos. — Ancient Greek tragic dance mentioned by Athene as 
being widely spread throughout Laconia. 

Memphitique. — Ancient Grecian martial dance in armour, said to be 
invented by Minerva (mythology). As in the " Pyrrhic," the 
dancer arrayed with sword, javelin and shield executed all 
the movements of attack and defence, thus training himself 
for the military profession. The dance was divided into 
" gymnopedie " for the children and "enoplienne" for adults. 
They resembled the open-air drill of the modern schools, and 
were composed of two camps according to the dancers' ages. 
Martial poetry which accompanied the dance excited the 
dancer in " throwing the javelin " or shielding himself. 
Ancient authors divided the dance into — (1), The Podisme, a 
quick movement of the feet. (2), Xephisme, an imitation of 
a warrior either striking or shielding. (3), Leaps and bounds 
representing jumping over a ditch, hillock or rampart. (4), 
Tetracone, forming a square followed by marches and counter- 
marches. 

98 



THE ART OF DANCING. ME 

Menuet. — (main-way).— Often mis-spelled " minuet.'* A dignified 
dance of French origin of the former Province of Poitou, for 
two persons executed on the figure of the letter Z, originally 
on the letter S. The name is derived from the French word 
menu, Latin ?ninutus which means small or pretty, signifying 
the steps should be small and pretty. The music which, in 
3-4 time, M.M. 54, should be very majestic with the accent 
well marked on the first and third beats. The music of most 
menuets is composed of two parts of 8 bars each, and a so- 
called trio of two parts of 8 bars each, as each part is repeat- 
ed there will be altogether 64 bars, as the whole is played 
twice, the complete dance will be 144 bars. Many celebrated 
musicians wrote Menuets and that by Mozart from the opera 
" Don Juan " is famous. The order of this .dance was first 
introduced by Pecour, a celebrated dancer (1674-1729) at 
the French Court, hence the name " Menuet de la Cour " 
(" Menuet of the Court "). The most beautiful of all the 
Menuets was arranged by Gardel for the wedding festivities of 
Louis XVI. and Marie Antoinette, which was therefore called 
" Menuet de la Reine " (" Menuet of the Queen "), music by 
Rameau. It was generally danced in combination with 
" Gavotte de Vestris." 

Although it is no longer a ballroom dance and is even 
scoffed at- by persons too ignorant to be able to estimate its 
worth, it is, nevertheless, considered an indispensable means 
oi training by all really educated dancers and teachers of 
dancing, and reappears periodically in the drawing rooms of 
good society, which has yet sense and taste for the really 
beautiful. Again and again efforts are made to do honor 
to this queen of dances and wherever seen it is always enthusi- 
astically received. 

There are four composite steps which are peculiar to the 
dance: — 

(a) Pas de Menuet a droite. Menuet step to the right. 

(b) Pas de Menuet a gauche. Menuet step to the left. 

(c) Pas de Menuet en avant. Menuet step forward. 

(d) Balance de Menuet. 

For purposes of instruction it is better to use two bars of 
music for each step, and count six. 

(a). Menuet step to the right. (i)»«— Glide r.f. to 
2nd toe position. (2). — Degage, through which l.f. will be- 
come 2nd point. (3). — Bend (plie) r. leg, while l.f. glides 
to 5th rear. (4). — Degage to l.f. (5). — R. f. to 2nd position 
with degage. (6). — L.f. to 5th rear with degage. Two such 
movements usually follow each other. 

(£). Menuet step to the left. First Pari. (1) — 
Glide forward r.f. to 4th position with degage. (2). — Rise 
slightly on r.f. and simultaneously glide l.f. to 1st toe position. 
(3). — Lower r.f. and glide l.f. to 2nd point position. (4) — 
Degage, through which r.f. will become 2nd point. (5') — 
R.F. glides backward into 5th position with degage. (6). — 
Glide l.f. to 2nd position with degage. Second Part. (1). — 

99 



ME 



PRONOUNCING DICTIONARY OF 



K.f. glides backward to 4th position with degage. This will 
restore the distance between the dancers. (2). — L.f. glides 
backward to 1st position. (3, 4, 5, 6,) same as in the first 
part. 

(c), Menuet step forward or en passant {ahn pas- 
sahng{ Preparation, as at end of last step, i.e., 2nd position. 
First Pari. (1). — Advance r.f. from 2nd position passing 
lightly near the 1st position into the 4th position with degage. 
(2). — Glide l.f. passing lightly to 3rd rear and into 2nd point 
position in the air {en fair). (3). — L.f. glides forward into 
4th position degage. (4). — Pause. (5). — Glide r.f. into 4th 
forward position. (6). — Glide l.f. to 1st position, degage. 
Second Part. The r.t. commences from 1st position and 1, 
2, 3, 4, of the first part are repeated. (5). — R.F. is placed 
before l.f. in a well-crossed 5th position rise and make a half- 
turn to left. (6). — Lower the feet into 5th left forward 
position and withdraw it so that the r.f. is ready to move to 
the right. This half -turn causes the change of front. 

{b). Menuet Balance. Preparation r.f. in 2nd position 
(1). — Pass r.f. into 1st and into rear 4th position degage. 
(2). — L.f. glides into 3rd rear. (3). — The same foot goes 
into 2nd elevation. (4). — Put down and glide l.f. passing 
1st position into 4th rear, degage. (5). — R.f. glides back- 
ward into forward 3rd position. (6). — And glides and is 
raised into 2nd elevation. 

In its complexity the Menuet indicates the three follow- 
ing principal movements. (1). — The Introduction. (2). — 
The dancing of the figure Z. (3). — Finale. 

The Introduction is preceded by two reverences, one 
to the audience and one to partners. The Finale is followed 
by two more reverences. It is a bold undertaking to give an 
exhaustive description of this dance as it would fail owing 
to the impossibility to describe its peculiar subtleties and 
the varied shades of its component blended parts. Notwith- 
standing this we venture on the following outline for one 
couple, assuming that the four principal steps already described 
are thoroughly understood and practised. 

Prelude of Music. ^-8 bars. Each gentleman leads his 
lady by the left hand to the selected place for commencing, 
stands at her left side and releases her hand. 

1 bar. Both put r.f. in 2nd position revolving on it, and 
prepare for a reverence by lady drawing l.f. to 3rd front, 
gentleman to 3rd rear. At the first step of this, gentleman's 
r. hand takes lady's 1. hand. 

1 bar. Bow. (1). — Gentleman inclines the body with- 
out bend of knee, the lady the same, bending the knee raising 
the r. heel slightly. (2). — Lady glides r.f. backward to 
4th position, revolves on it and rise again. (3). — Both draw 
the front* foot to front 3rd position. 

1 bar. Gentleman goes back with l.f., lady with r.f. to 
4th position, degage and 

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THE ART OF DANCING. ME 

i bar. Repeat same step forward with stretched leg en 
l'air and make a quarter-turn facing each other and finish in 
ist position. 

'2 bars. Both; gentleman to left, lady to right, step side- 
ways, the other foot following for a further reverence; the 
hands are dropped. 

2 bars. Both turn — gentleman to right, lady to left with 
one step sideways, returning to the starting point. Hands 
are again joined. 

(i). Introduction. Leading out the Lady. 

2 bars. Both with r.f. make the Forward pas. 

2 bars. Lady repeat. Gentleman simultaneously make 
the Pas to the right: with these two pas they turn round one 
another, changing places, gentleman back to the audience, 
lady facing audience. 

4 bars. Dropping the hands, they separate with two Pas 
to the right, then gradually retiring towards the place required 
tor the principal figure Z and completing the same whilst 
they 

4 bars. Execute the Pas to the left (twice). 

The Figure Z. 

i 2 bars. This figure is completed by two forward pas 
en passant. A better term for this would have been tra- 
verse oblique. 

12 bars. Pas to the right (double) and Pas to the left 
repeated in the same, sequence three times. 

2 bars. Balance and raise r. arms and hands, 

6 bars. Which they join {tour des mains) executing three 
forward pas, then 

4 bars. With a Pas to the right (double) gradually 
return to the principal figure, the right hand gradually falls 
back to the original place. 

2 bars. Balance and raise 1. arms and hands, 

6 bars. Which they join {tour des main) executing three 
forward pas, then 

4 bars. With a Pas to the right (double) retiring grad- 
ually to the principal figure the 1. hand returns to its original 
place. 

4 bars. Pas to the left. 

12 bars. The Principal Figure with two forward pas 
{traverse) making 

12 bars. T ( he Pas to the rigid (double) and the 

1 2 bars. Pas to the left is repeated three times 

The Finale. 

2 bars. Balance and preparatory raising of both arms 
and hands, 

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PRONOUNCING DICTIONARY OF 



4 bars. Which they join while doing two Forward pas 
with which they arrive at their original places facing each 
other and then (the gentleman on the right, lady on the left), 

2 bars. Make a pas sideways (this time the lady to the 
left, gentleman to right, returning to the point where the 
Menuet began. 

8 bars. Two reverences, the second one ending the Men- 
uet. Conducting the lady to her seat follows as a matter of 
courtesey. 

Avoid the constant bowing which is seen when the Menuet 
is danced by amateurs or taught by novices. There should 
be only the bows at the beginning and end of the dance. 
Ignorance has inserted bows where the teacher's invention 
or knowledge failed. 

Magny, in his " Choreography " mentions " Menuet Dau- 
phin," " Minuet de la Reine," and " Menuet d'Exaudet," the 
steps of these are more complex than those of the " Menuet 
de la Cour." 

Menuet de la Cour. — By Perin. Eighty-eight bars, 3-4 tempo. 
Introduction 10 bars. For the first bar the gentleman takes 
off his hat; coupe to prepare; pass-pied to face each other; 
coupe sideways inclining to each other; coupe en arriere in 
turning, give the hand ; passe-pied ; coupe en arriere to place ; 
gentleman assemble l.f. to 3rd rear, lady remaining with her 
r.f. en avant. 

First Part. Figure 1. Pas grave (2 bars);_ assemble 
facing each other, coupe, raise r. heel without displacing toe 
(1 bar); balance en arriere; coupe a droite; pas de bourree 
devant and derriere ; coupe en arriere ; assemble pose derriere 
(3 bars) in all 6 bars. 

Figure 2. Pas grave; pas de menuet turning (4 bars); 
two pas de menuet to the right (4 bars); coupe, pirouette, 
coupe en arriere (the gentleman puts his hat on) ; rond de 
jambe, three pas marche noble, assemble devant (4 bars) in 
all 12 bars. 

Figure 3. 1 bar passes. Coupe en arriere r.f. ; battement 
dessus et dessous with l.f; repeat this four times with different 
foot and epaulement in going backward (4 bars) pas Marcel; 
coupe to side; balance en arriere (3 bars) in all 8 bars. 

Figure 4. Pas grave and prepare to present r. hand; 
three pas marches; assemble devant; coupe r.f., present r. 
hands (4 bars) passe-pied en avant; passe-pied en arriere; 
passe-pied en arriere; coupe en arriere; assemble pose en 
arriere (4 bars) in all 8 bars. 

Figure 5. Pas grave, prepare left hand; three pas marches 
assemble devant, coupe r.f. and, giving 1. hand (4 bars) 
passe-pied en avant, passe-pied en arriere, passe-pied en avant, 
coupe en arriere, assemble pose (4 bars) in all 8 bars. The 
dancers are now vis-a-vis about four paces distant. 

Second Part. Figure 6. Balance royal (2 bars) three 
pas marches, assemble en avant, plie (2 bars) ; pas de menuet 

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THE ART OF DANCING. ME 

to the rig|ht, plie, half step of menuet en avant, half step of 
menuet to the left (4 bars) pas de bourree derriere et devant ; 
face the corner, coupe en arriere, return to partner with two 
pas marches ; coupe en arriere, pirouette, pirouette, changing 
the feet and temps leve (4 bars) in all 12 bars. 

Figure 7. Let 1 bar pass. Glissade derriere to the left 
with epaulement ; temps leve; repeat three times with different 
foot, temps leve, chasse a trois pas facing the corner (4 bars) 
attitude detournee (marking the time with right heel and pivot- 
ing on 1. sole) demi-balance royal; coupe en arriere; assem- 
ble pose derriere (3 bars) in all 8 bars. 

Figure 8. Pas grave, prepare to present both hands, three 
pas marches approaching partners and returning to original 
places ; assemble en avant facing each other ; coupe de cote 
(to the side) (4 bars); coupe withdrawing r.f., coupe side- 
ward, present the hands crossed, balance ; pas de bourree 
derriere et devant holding hands ; coupe en arriere releasing 
hand to raise the hat; assemble pose derriere for the gentle- 
man while the lady slowly places r.f. en avant (4 bars) in all 
8 bars. 

Coda; — Repeat introduction. 

Theory of the Steps by Perin. ( 1) Coupe, make an ordin- 
ary coupe to face the lady for the salute. (2). — Passe-pied, 
make some petits battements devant and derriere {devant 
means in front, derriere means to the rear) facing the lady. 
(3). — Coupe de cote, make a glisse chasse to the side and 
salute. (4). — Pas grave, glisser r.f. en avant, same with l.f. 
to the left and assemble r.f. front. Repeat en arriere (2 bars). 
(5, 6, 7,) Balance, glisse l.f. en arriere balancing the body to 
the right, bring r.f. close to l.f., glise l.f., then raise r.f. 
devant and derriere, chasse l.f. with r.f. and assemble r.f. 
rear of l.f. (3 bars). (8). — Pas de Menuet en tournant, glisse 
r.f. to 4th rear position, cross l.f. in front of r.f. and pivot on 
the soles. Repeat the whole (2 bars). (9). — Pas de Menuet 
de cote a droite et a gauche (4 (bars), glisse r.f. to 2nd position 
bending the knees, glisse point of l.f. to 4th front, s'enlever 
(raise oneself) slightly on the point of r.f . without moving l.f. 
(1 bar). Repeat this, commencing l.f. and repeat the whole. 
(10). — Pas noble, pass r.f. to 4th front, then 4th rear, bring 
l.f. near the r.f. (assemble), s'enlever on the soles. (11). — 
Epaulements, when a battement is made with l.f. the right 
shoulder must be " efface " (turned sideward) and vice-versa. 
(12). — Balance royal, glisser l.f. en avant oblique, pass r.f. 
crossed in front, balance the body en arriere turning the head 
and shoulders to the right with the bust inclined backward and 
elevating the right hand forward (1 bar). Repeat to rear (1 
bar). (13). — Demi pas de Menuet, the legs must be crossed 
then glide l.f. en avant and assemble r.f. in front of l.f. 
(14). — Temps leve, s'enlever on the two feet leaving the floor 
and pass the rear foot to the front. (15). — Glissade derriere 
a gauche du pied droit, these old glissades of the Menuet are 
made by gliding r.f. behind the left croise (crossed) the r. 
heel must be on the left side, r. leg plie (bent) and 1. leg stret- 

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ME PRONOUNCING DICTIONARY OF 



ched, then bring back l.f. gliding it assemble behind the r.f. 
(16). — Chasse a trois pas, raise r.f. to 2nd en lair, chasse l.f. 
with the r.f., the foot is then raised obliquely forward. Re- 
peat with l.f., then with r.f. (17). — Attitude detournee, the 
r. arm curved upward, glisse l.f. 4th rear without moving r.f., 
then raise r. heel and pivot on sole of r.f., only the r. heel de- 
scribes a half -circle while the r. heel marks three beats on the 
floor, glisser again l.f. to 4th rear without moving r.f. and 
mark the time with r. heel as before and assemble l.f. to rear 
of r.f. 

Menuet de la Reine. — Danced by four couples. (1) Salute to the 

"vis-a-vis." Same to your lady (4 bars). (2).- — Make vour 
lady turn under your right arm (2 bars). Salute to your lady 
(2 bars). (3). — A turn of the hands, right, left, salute (8 
bars). (4). — Four " pas de Menuet vis-a-vis " the lady to the 
left, same the ladies to the gentlemen on the right and 
assemble (4 bars). Make that lady turn under your right arm 
and salute (4 bars). (5).— Repeat these eight last bars with 
your lady (8 bars). (6). — Repeat these 16 bars. (7). — The 
four ladies give each other the right hand and make a turn of 
the left hand with the 1st gentleman, they again give each 
other the right hand and repeat the turn of the hand with all 
the gentlemen (32 bars). (8). — Repeat the 4th (8 bars). 
(9). — Repeat the 5th (8 bars). (10). — The gentlemen turn 
round their ladies, stop in front of them and salute. Same 
with all the ladies (16 bars). (11). — The gentlemen salute 
the ladies on the left, then their own lady, then the vis-a-vis, 
then their own ladies (8 bars). Finale. — (8 bars) to reconduct 
their ladies to seats. 

Menuet d'Exaudet.— The Menuet d'Exaudet, sung and danced in 
1769, was reconstructed in 1893 by Desrat, with the text of 
the words and the author's choreography. The words are ex- 
tracted from Favart's comedy, " La Rosiere de Solenes " and 
the choreography from the clever dancing master Exaudet, 
to whom the music is assigned. Exaudet, born in Rouen 
about 1710, was in the opera, violin private teacher of the 
dance in 1749; ne composed and made the Menuet on the 
25th October, 1769, to which he gave his. name. This Menuet 
obtained such success that it was danced at the court, after 
having been danced at the theatre and from there, leapt into 
the " salons " of that time, for a long time it rivalled the 
Menuet de la Cour, composed by Vestris. 

Theory: For a gentleman and a lady: — 

1st Part. (16 bars). Traverse. Gentleman and lady ad- 
vance holding each other by the hand, they separate to right 
and to left, recede in order to face the place where they have 
started. Then they turn, the gentleman marching behind his 
lady and stopping in order to salute each other. 

2nd Part. (16 bars). The same movements are repeat- 
ed to return to their original places. 

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Part XIV. July, 1914. 



TECHNICAL ENCYCLOPEDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANClNd. ME 

3rd Part. ( 12 bars). Solo. Alone, the gentleman directs 
himself to his right and stops; then he directs himself to his 
left and stops. The lady, after him, directs herself to her 
left, stops; she begins again to her right and stops. Both 
draw closer and give each other the two hands. 

4th Part. (16 bars). Balance. Giving both hands to 
each other, they elevate to the right, to the left, to the right 
and stop on the tips. Releasing the hands, they make " chasse 
croise " to the right moving farther apart from each other; 
they slowly draw closer and make a turn of the hand to 
return to their places and salute each other. 

5th Part. (12 bars). Balance. Placing themselves in 
front of each other, they separate, and draw closer to give 
each other the hand and return to their places. 

6th Part. (16 bars). Traverse. Same movements as 
in the first part. 

7th Part. (16 bars). Retour. Same movements as in 
the second part. 

Menuet Imperial. — Crompton. 

Menuet Valse.— 1892. Crompton, 

Metoecies. — Grecian yearly festival given in honour of the union of 
the twelve villages of Attica. 

Mignon (min-yon). — 1895. Crompton. 

Mimes (meem). — The name given in antiquity to the dancers who 
represented an action, either theatrically, privately, by gestures 
or in following a deetermined measure accompanied by chants 
or singing. The first " mimes " are far from offering a very 
attractive image; not only were they deprived from any in- 
struction and good manners, but the more often rudeness, 
foolishness and indecency were the only object of their parts. 
They presented themselves to the public with heads shaven, 
bare feet, the faces smeared with soot, the body being covered 
with an animal's skin roughly adjusted. The Romans had two 
kinds of " mimes," the " mimi-urbani " or public mimes, and 
the " mimi domestici " or private mimes. The first some- 
times held 1 the name of " planipedes," because they danced 
with nakedi feet. In his second satire, Horace gives us to 
understand that women mixed with the mimes, but very rarely. 
In France, ithe /mimes were suppressed by the order of a Coun- 
cil in the middle ages. 

Moelleux. — This adjective is very often employed in the dancing 
lesson and serves to express the greatest suppleness in every 
part of the body. A " moelleux " (mellow) dancer does not 
' betray any strain in his step, however be their vigour or their 
difficulty. Vestris in his time, Genee in our time, are in this 
respect models to follow. 

Moemacteries.— Name of dancers and festivities of Greeks conse- 
crated to Jupiter'; they were annual and very much observed by 
the people. 

105 



MO PRONOUNCING DICTIONARY OF 

Mollosika. — Ancient Greek dance of simple easy execution. 

Motlter (*vlorn-tay). — To walk upward to back of stage. See Descendre. 

Montferine (la). — Italian dance formerly in favour with the Milanese a 
Simple and elegant, it somewhat resembled the " bourrees " 
of the Poitou. A gentleman and a lady, sometimes a second 
gentleman, took part in the dance consisting in " promenades," 
ronds " and " tours des mains." When a second gentleman 
came to join the second, he deprived him of his lady and 
began again with her the " promenades," " ronds and turn of 
the hand"; the first gentleman returned to his seat. 

Montferine (la). — Italian dance, 1850. 3-4 tempo Style of bourree 
danced by the " Milanese," ladies who, for its execution, have 
two gentlemen. At times she makes a " promenade " with one 
of them and makes some " tours de mains " with the other, 
right hand, left hand, and with the two hands, then, she gives 
the hand to both gentlemen making them pass under her arms 
one! after the other, then turns on herself without releasing 
the hands of the gentlemen, then, she takes with her one of the 
dancers, for the promenade, while the other dances alone 
imitating the actions of the dancing couples. 

Montferine. — Another, 1802. The Montferine is a " bourree," to which 
the Milanese ladies, with their sparkling looks, their graceful 
necks, supple waists, light steps and waving arms, endow with 
an exquisite charm. 

The dance is executed with " promenade " round the salon. 
All the dancers give each other the hands in a circle, and 
galop round, then " a tour de mains " gentleman and lady, 
and it is started again. 

Montgolfier (la). — Name of an ancient " contredanse " (quadrille) 
towards the end of the XVIIIth century, its name was given 
as being an actuality and was rather general at public balls. 

Morisco. — See Morris. 

Morisque (la) or Moresque. — By the Moors of Spain, 1502. 2-4 
tempo. To the sound of trumpets and flutes, the dancers 
attached small bells to the feet and hands; they were armed 
and executed some movements of going too and fro, knocking 
with a foot after each measure to accompany the musicians, 
then tramping the feet in place and agitating the arms. 
It made its introduction in Paris, in 1 5 1 7 ; but was only danced 
by burlesque and masked people. 

Morphosmos — Grecian dance mentioned by Athene, as imitating the 
gestures of animals; it was danced and sung at the same time. 

Morris Dance. — The Fools' Dance paved the way for the Morris 
Dance, which had its origin with the Moors in the Morisco — 
Morris is a corruption of Moorish. There has been a revival 
of Morris Dancing in England for some years and the full 
description of the dances may be found in Mr. Cecil J. 
Sharpe's books (published by Novello). The dancers were — 

106 



THE ART OF DANCING. MO 



the hobby horse (performed by a man) the dragon, Maid 
Marian, Robin Hood, Friar Tuck, Little John, and the tools 
Scarlet and Stokesley; they were dressed in the fashions of 
Edward III. (1216). 

Moscovite (la) — Ancient French contredanse. It was a pot-pourri, 
composed of figures from various dances and executed by any 
number of couples ad lib. 

Moucheter or Mouchete (moosh-tay).— See " Petits battements," 
which is the modern technical term. 

Moulin (moo- lan). — See Moulinet. 

Moulinet (moo-lin-nay). — Technical term expressing a figure in 
which several persons, crossing the same hand over each 
other's, join with the one opposite and move round in the same 
direction. The word means " a mill," hence " Moulin " or 
" Moulinet " means the joining of hands to form a mill; ladies 
moulinet is a ladies' mill; gentlemen's moulinet, gentlemen's 
mill ; grand moulin gentlemen's or ladies' hands joined in cen- 
tre and holding partner with the other hand. Compare second 
part of third figure of Lancers. The moulinet figure is pretty 
general in square dances. Other names for the figure are 
Chevaux de bois, Double-Chaine, La Croix, The Cross, Tour- 
niquet, etc. The most general are moulinet for four persons. 
Demi-moulinet is when the four opposite dancers with r. hands 
joined, move round a half-circle. 

Movement. — A combination of steps. Action. The teacher often 
expresses " give more movement to the dance," implying that 
the pupil should display more life, fire and passion to the 
dance. In music, the word applies to measure as a " move- 
ment in 2-4, or 3-4, " and accompanied by a qualifying term 
as " quick or slow." 

Munychiennes.- Greek dance consecrated to Diana celebrated with 
great pomp in public places. 



N 

Nage, pas de (nahjh). Swimming step. From the Greek. While 
bending both knees glide r.f . to 2nd, hop on r.f . while raising 
l.f. to 2nd position en Fair, hop on r.f. crossing l.f. rear of 
r.f., hop on l.f. and assemble r.f. rear of l.f. While making 
the first plie (bend of knees) the two arms should be stretched 
out to the right side to imitate swimming on the side, the arms 
to the other side for the left movement. 

107 



NA PRONOUNCING DICTIONARY OF 

Napolitaine, la. — Neapolitan dance of the tarantelle order. It is 
astonishing to find such a rapid dance among a nation pro- 
veibially so indolent. The dance consists of rapid small 
pas series (better known as pas bourrees) to 6-8 time. 

Nationale, la, (nah see-oh-nahl). A valse carree or waltz square 
dance invented by Edward Leblanc of London. Is composed 
of five figures, the dancers standing in a square. Was first 
presented at St. James's Hall. Is now obsolete. 

Natural {pas), (nah-too-rahl). Another name for pas marche. 

Navette {pas de la) (nah-vet). Literally to wobble. Any motion of 
swaying the body to and fro. 

Nemesis. — Ancient Grecian dance in honour of the victory of Mara- 
thon. 

Neurobates. — Ancient " rope dancers " who often executed most 
difficult steps on the tight-rope. 

Nibadismos. — Ancient Grecian comic dance imitating the leaping of 
goats. 

Niobe. — Ancient Grecian dance, also called Daphne, representing the 
metamorphosis of Daphne. 

Noces. — Ancient Greek dances held during nuptial festivities and 
giving a pretext for excessive libations and debauch. The 
dancing, which was done by hired dancers, became so licen- 
tious that professional dancers were exiled by order of the 
senate. 

Nonime. — This word is employed in ancient French quadrilles to 
explain the operation of exchanging places with the vis-a-vis 
and turning backs to each other in doing so. It has long 
since disappeared from technical dancing terms. The move- 
ment was made with glisses-chasses and passing round the 
vis-a-vis back to back, thus changing places. The figure is 
an oval and known as alter et retou'r (go on one side and 
return on the other). 

Nymphai. — Ancient Grecian pastoral dance. 

Nyssia. — Grecian sacred dance in honour of Bacchus. 

Oklasma. — Ancient Greek pri\ate dance done with strongly bended 
knees. 4 



Olivettes. — French village dance, somewhat resembling "farandole." 
The dancers are covered from head to foot with flowers and 
foliage. Winding in and out among trees and singing they 
run on until they stop from sheer exhaustion. 

108 



THE ART OF DANCING. ON 

One*Step. — A popular modern dance in 2-4 tempo. Tt is done by 
walking an ordinary step — two steps to one bar of music. 
These steps are done in every conceivable direction, forward, 
backward, sideward or turning. A variation is the " crab- 
step " which is done by taking (1) one step l.f. sideward, 
(2) one step r.f. backward, (3) one step l.f. sideward, (4) 
one step r.f. obliquely forward — lady does the counterpart 
with the other foot. Dancers insert many of their own vari- 
ations into the dance, such as, an occasional chasse, a pas 
marche one step to the bar, the corte of the tango, etc. The 
appropriate music is " ragtime." 

Opposees Rondes (oppozay raund) or rondes opposees. Opposed 
circles. The four ladies (in a square dance) advance to 
the centre, face partners and join hands. They will now be 
back to back in circle. Gentleman advance two steps and 
join hands in an outer circle. All now move round to the 
left. As they are turned toward each other this will make 
an opposite movement which is very pleasing. 

Opposition.— The contrast in the carriage of the members of the body 
which should be in perfect harmony as in opposition between 
the foot and arm. This is based on the natural walk in which 
the movements of the feet and arms are by nature opposed 
to each other. Opposition requires also the assistance of the 
head, shoulders and hips. In every sideward movement 
the raising of the arm and turn of the head is always contrary 
to the side where the movement is made. In bending move- 
ments, the arms should be raised; in rising, the arms must 
be lowered. In moving to the right the arms should go to 
the left and vice versa. In moving forward the arms should 
go back and vice versa. Left hand and right foot go forward 
simultaneously and vice versa. (See Bras, port de). 

Oranges and Lemons.— Old English Country Dance in Quadrille 
form. (Figure 1). All advance to centre and retire twice,, 
gentlemen bowing to partners and to vis-a-vis. Gentlemen 
advance to centre (moulinet), join hands and go half-round 
into opposite places. Ladies bow to left and right, join hands 
in centre, go half-round and join partners opposite. Gentle- 
men repeat and ladies repeat, this will take all back to 
places. (Figure 2). All form two lines, advance and retire. 
Take partner's r. hand go round each other four steps; change 
hand and repeat. Lady go to next gentleman, gentleman to 
next lady and repeat until places are regained. (Figure 3). 
Partners link arms and go round each other twice; first 
and second couples take hands and walk half-round while 
the third and fourth bow elaborately to each other; first and 
second couple go half-round, third and fourth go half-round. 
Then first and last couples bow to each other while second 
and third couple go half-round simultaneously and in so doing 
regain original places. 

Orchesography. — The Art of writing steps and gestures. This science 
preceded our choreography and the first treatise on the subject 

109 



OR PRONOUNCING DICTIONARY OF 

was published by a Canon of Langres named Thoinot Arbeau 
in 1588 under the pseudonym Jean Tabourot. Several 
masters wrote books on this Art, among them Feuillet, Beau- 
champs, Magny, Saint-Leon. An incomparable work on the 
subject is that by Frederick Zorn of Odessa, whose precious 
book has been translated into many languages. (See Cho- 
reography). 

Ordinaire {pas), Ordinary field step, 112 to 116 steps a minute: a 
quicker step is pas accellere or quick step, 144; slower, is 
parade step. 70 a minute. 

Origin of the word " Dance." It is derived from the Arabic " Tanza " 
which means the favourite exercise of ladies. In German it 
is "Tanz"; Spanish, "Danoa"; Italian, "Danza"; French, 
"Danse"; Greek, " Sikelizeo." It is also termed "Saltat- 
ion," from the Latin " Saltare," adjective " Saltatory " which 
means leaping, or used in leaping. The Muse or Goddess of 
the Dance is " Terpsichore," derived from " Terpo," I charm, 
and " Choros," dance. 

Orobates. — The rope-dancers of Greece who, according to ancient 
authors, possessed surprising ability and audacity in their 
dancing. 

Orsites. — Crete dance mentioned by Athene. 

Ortense. — The ortet se is the flowering hvdrangea from a single stem 
of which many thousands of small flowrets are sent forth. 
This name is therefore used for a multiplicity of caprioles. 

Ostrich Dance of the natives of Africa imitating the movements of 
Ostriches. 

Oula. — The dance of some of the Oceania Islands. 

Ouvert (oo-vair). — Any movement in which the legs are open side- 
ways to right or left. (See Ouverture). 

Ouverture (oo-ver-toor). — Keeping the legs apart in dancing. The 
teacher frequently employs the expression " ouverture des jam- 
bes " (opening the legs) meaning to ask the pupil to turn the 
knees outward or technically " en dehors," the sine qua non 
of the good dancer. 



Paeoniennes.— Grecian feasts danced in honour of Apollo, they were 
also sacred 

Palestrique.— The " polestrique" with the Greeks was more a "gym- 
nastic " than a dance; it comprised the exercises of wrestling, 
boxing, racing, jumping, throwing of the " disc and the hoop", 

no 



THE ART OF DANCING. PA 

however there existed between it and Saltation a great simi- 
larity, applying all the exercises of suppleness, force and 
vigour. 

Pamperke. — This dance also called " pampenuque," was used in 
Bayonne; it was composed of circles and of passes. The 
men were decorated with ribbon of all colours and conducted 
by one of them whom they nominated " king of the feast." 
Gentleman and lady dancers of equal number accompanied 
by the sound of the flute hold each other by a long ribbon, 
and encircle the king who directs them with a stick raised 
above his head. From time to time a couple come out and 
turn in front of the joyful " monarch," then resume their 
place in the ring; another succeeds them, and so on. At the 
end of the dance the king chooses a lady, and lifts the ribbon, 
of which they each hold an extremity. All the dancers pass 
alternately under this ribbon, marching four by four. 

Panathenees.— Great feasts and religious dances instituted by Lycur- 
gus in honour of Apollo ; they have been found on Ancient 
Grecian monuments ; and were celebrated sometimes in the 
temples, sometimes on the public highways. 

Pantalon. — This word signified in the middle ages a jester dancer exe- 
cuting the " danses Sautes." In 1830, the first figure of our 
quadrille was called thus, which was primitively called "chaine 
Anglaise." The author of a new music seized for a title 
an actuality which created a great sensation at the court balls. 
For the first time, trousers were seen to be substituted for the 
short breeches, and the author stigmatized this fact by giving 
this name of " pantalon " to the first figure. For fuller details 
see " Quadrille." 

Pantomime and Pantomimes. — These two words find their explana- 
tion in their Grecian etymology: representing everything by 
gestures, that is to say: to mimic instead of speaking; to 
pourtray by the movements of the members of the body alone 
all actions, facts, ideas, sentiments, and passion. The " pan- 
tomimes " then, were the representatives of this art which 
attained such a high esteem with the ancients. These dancers, 
also often authors, enjoyed such favour in Rome that they 
more than once created some embarrassment to the governors 
in the days of political convulsions. Their part and impor- 
tance permitted them rather large licence. The science of 
these pantomimes had to be very deep, since Cassiodore says 
that it consisted in representing to nature, the pourtrayal by 
gesture, steps, and attitudes, all the actions of men, without 
the help of words, they should have been as eloquent as the 
greatest orators; Cassiodore ironically adds: "and more in- 
telligible than they were." 

The pantomime dances were called after the names of heroes 
or of the gods whose lives were represented. Primitively the 
dancers were accompanied by comical or tragical authors who 
sang and danced; later, they figured alone. In the reign of 
Augustus, we find the first great pantomimes really worthy of 
that title; we owe to them the creation of the danced theatri- 

iii 



PA PRONOUNCING DICTIONARY OF 

cal action, which produced our most celebrated masters of 
ballet. Pylades and Bathylle have left in the history of 
dances the germ of the art of Gardel and Dauberval. Outside 
of their service at the theatre, these pantomimes were often 
called in at the feasts, weddings and family parties. Juvenal 
speaks of one of these dancers, as a carver at table, and 
makes us believe that in his time, the functions of mimes were 
multiplied, for not only did the dancer carve the dishes with 
art, but at each course he executed a dance. 

The debauch of the Roman women brought damage to 
the prestige of the pantomimes and drew upon them the attent- 
ion of the public. Already scenes of rivalry between the two 
great masters had given cause for troubles at the theatre and 
in the town, and it is then that the Emperor Trojan was 
forced to expel them from Rome. All these mimes had 
positions sufficiently lucrative to acquire considerable fortunes, 
despite the luxurious lives which they led. 

A part of the word " pantomime," we find synonymous 
words in several authors, " artifices," " chironomie," " chiron- 
autes," " chresophi," " petaminarii," " apolausti,'' " orchisae," 
" hypocritae," " gesticulatores," " ethopoces." These names 
are evidently derived either from their own character, or 
from their general attribute. It is certain that there were 
women mimes making profession of this art. 

The lady mime dancers of Cadiz were celebrated in an- 
tiquity by the infinite and irresistible art which they displayed 
in captivating the spectators. Their dance was divided in 
three parts, ist the " chironomie," actions of the hands; 2nd, ■ 
" l'halma," actions of the feet; 3rd, " l'altissima," action of 
the elevated jumps. Many poets were unable to find express- 
ions strong enough to paint the voluptuousness which these 
pantomimists inspired in dancing ! According to Lucien, in 
his " Diologue de la danse," the mimes changed clothes when 
changing parts and took care to wear costumes appro- 
priate to the personages whom they represented. They wore 
the tunic and the " palla," the stole, 'the "talaris," a sort of 
short tunic, and the " syrma," a long drapery usually worn by 
the courtezans. Several of them adopted for effective parts 
the coquus," large lined garment, the mytre, the tiara and the 
ridisniculum with head ornament for women. The " toge " 
was prohibited but the mask was imperative. 

Parisian Quadrille. — Danced the same as Quadrille but in two lines 
instead of a square. 

Parisienne, by Giuseppe Galimberti ; Milan 1898. 8 bars of 2/4. 

A round dance for one couple. Gentleman and lady 
place themselves one in front of the other vis-a-vis. They 
give each other the right hand to the right hand and left 
hand to left hand, placing their hands in form of a cross. 
In this position they start off both with the right foot in 
making 4 pas marches in the style of a " tour de main gauche " 
(turn of left hand) alternating the foot for two measures. 
Repeat these 2 measures starting with the left foot and in 
turning to the right. 

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TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. 



PA 



Then they release hands and the gentleman's right takes 
the left hand of the lady, and place himself on a same line 
(position of the pas-de-quatre). 

They make 2 " pas marches " en avant for i measure, 

they change hands facing " en arriere " and make 2 other 

" pas marches " for 1 measure, then they clasp round each 

other in order to execute quickly, two " tours de valse sautee 

rapide " (or boston). Repeat, ad lib. 

Pas. Theoretically one calls " pas " (step) the union of several 
" temps " or movements of the feet. At the theatre, this 
word takes another meaning and signifies the harmony of 
a dance executed by several dancers. One says " pas de 
quatre " or " pas de deux '' or " pas de six." 

Anciently, the theory of pas was quite different, and im- 
plied the idea of a single movement of the foot, conse- 
quently, was confused with the word " temps," which must 
be used, for a step or pas is a composition of " temps." On 
"this subject, the Diderot " Encyclopaedia " gives the following 
theory of the steps taken in its ancient meaning. The five 
steps are different: — 1st, the "pas droit,'' which is made in 
a straight line; 2nd : , the 'pas grave/' or open, which is 
made " en ecartant " (opening the legs) while walking, a foot 
of the other and in describing a semi-circle; 3rd, the " pas 
battu," so called when one of the legs is passed over or passed 
under the other, before placing the foot to the ground, or 
again when the thighs are knocked against each other ; 4th 
the " pas tourne," when by a " tour des jambes,'' a full circle 
is described with the foot " en avant " or " en arriere ''; it is 
also called "tour de jambes"; 5th, the "pas tortille, when 
a foot is made to move on a line parallel to the one which is 
placed on the ground, and that when placing it to the ground, 
it is replaced at right angles ; the step, in one word, is " tor- 
tille " when, in starting the tip of the foot is turned inward 
and, in placing it, it is turned again outward, the hip then 
takes part in the movements and facilitates its execution by 
the " dehors " (outside) which it possesses. (See Ouverture). 

Moreover, the pas of the middle ages, of which Diderot 
speaks, contained several others used in what were then called 
" contredanses," which had no connection whatever with our 
modern pas: the "pas neuf '' or "pas releve," which was 
made by raising one's-self after having " plie '" (bent) in 
the middle of a step; the "pas balance" or the " balance- 
ment '' (balancing), when one " se jette " to the right or to 
the left on the tip of the foot to make then a " coupe "; the 
" pas coupe," which means when, after having made a pas 
alerte or only " movemente,'' another slower one is made; 
the " pas derobe," when the two feet are moved at the same 
time in opposite direction; the " pas glisse," when a step is 
made longer than it should be naturally, as its length is 
determinated by the length of the shoulders; the " pas chasse" 
or simply " chasse/' when a " plie " is made before moving 
the feet in order to " chassler " one " ,'en avant" or "en, 
arriere"; the " pas tombe,'' when a "plie" is made only 
after having placed the foot which has been put in motion, 
then the " pas mignardes," which are so called when the move- 
ments of the feet follow the time given to the notes of music, 



113 



PA PRONOUNCING DICTIONARY OF 

as when one converts the five white minims into ten black 
minims (old expression to convert the " whites " into 
"blacks."). I have borrowed this long theory from "Alem- 
bert's Encyclopaedia" to establish the difference of the word 
" pas ' anciently with the sense given to it to-day. This quo- 
tation also demonstrates which were the first steps used in 
ballroom dances. 

Pas Bohemian. Step employed in the first polkas, but is since aban- 
doned in the salons ; it is found again in the balls 
frequented by the military under the name of " pas pique." 
This step consisted in tapping the heel on the ground after 
having stretched the leg, and to lift up again this leg in order 
to make it execute the " pas de polka.'' In Poland, Hungary, 
and in Bohemia, this step is very much used, but the " coup 
de talon '' (knock of the heel) is tw^ice given at the first 
temps of the measure. 

Pas de Danse (un). " Pas de danse" is the name given to the temps 
which comprise the steps for the dance ; for example: — 
A ?' pas de polka" with the right foot ; ist measure, 
two crochets or four quavers for the four movements of 
this " pas de polka.'' A " pas de valse " of two measures, 
six crochets, six " temps '' for a complete turn, etc. 

The steps of all the dances of the world, either of the 
salon or of the theatre, may be made td all the measures 
of music, or moderating or quickening the time. Good ear 
is necessary for the harmony of the music and the steps. 

Pas d'Avant Deux (pah dahvahn der). See also "Theatre." 
These movements and d?.nces are usually executed by two or 
more dancers doing the same steps. 

Forty movements known as Pas d'Avant Deux Civil. In 
bars of 2-4 rhythm. These are danced by series of four per- 
sons p'faced as in Quadrille {vis-a-vis). The four dancers 
commence with a Pas Francais en avant then Pas Francais en 
arriere, then two more en avant to change places with vis-a-vis 
and repeat the whole to return to places. 

Balance. Face Partners. Make a pas francais to the 
right, |one to the left, one to change places with partner, and 
one to return to place. These twelve pas francais will take 
24 measures of music. As will be seen these steps are made en 
avant, en arriere a droit, a gauche, obliquely and en tournant 
and it is the same with all the steps described. 

(1). Pas Francais en avant and en arriere En avant. (i). 
Glide r.f. forward. (2). Chasse forward. (3). Jete l.f. 
forward. (4). Assemble r.f. in front of l.f. En Arriere 
(1). Glide l.f . to rear. (2). Chasse backward. (3). Jete 
r. leg to rear. (4). Assemble l.f. to rear of r.f. 

(2). Jete. En Avant (2 measures). (1). Jete r.f. for- 
ward. (2). Saute (hop) on r.f. (3). Jete on l.f. for- 
ward. (4). Assemble r.f. in front. En arriere (2 meas- 
ures). (1). Jete l.f. backward. (2). Hop on l.f. (3). 
Jete on r.f. (4). Assemble, 

114 






THE ART OF DANCING, PA 

(3). Pas Francais a droit and a gauche (to right and to 
left) 4 measures. (1). Glide r.f. to side. (2). Chasse. 
(3). Coupe. (4). Assemble r.f. rear of l.f. Reverse for 
the left. 

(4). SlSSONNES in three temps to left and to right. PIROU- 
ETTES to left (4 measures). (1). Saute (hop) on r.f. 
keeping l.f. in rear. (2). Saute on r.f. stretching l.f. to 
the side. (3). Assemble l.f. in front of r.f. Reverse to 
make sissonnes to left. The Pirouettes. — (1). Make a 
quarter turn to left in gliding l.f. to the rear. (2). Hop 
on l.f. j in making a quarter-turn pass r.f. in front of l.f. 
(3). Repeat (and) jete r.f. en arriere. (4). Assemble 
l.f. rear of r.f. 

(5). Sissonnes in five temps to the right and to the left 
(4 measures). (1). Saute on l.f. keeping r.f. up in rear. 
(2). Saute on l.f. stretching r. leg up at the side. (3). 
Saute on l.f. passing r.f. up in front (and) jete r.f. for- 
ward. (4). Assemble l.f. in front. Reverse for other 
foot. 

(6). Fouette l.f. rear of r.f. Assemble l.f. front of r.f., 
pass r.f. rear of l.f., assemble r.f. in front of l.f., three 
deboitks en arriere; jete and assemble (4 measures). 
Analysis. (1). Hop on r.f. passing l.f. rear of r.f. (this 
is known as coup de mollet (coo-der-mollay), literally, 
stroke of the calf). (2). Assemble l.f. in front of r.f. 
(3). Hop on l.f. and pass r.f. to rear. (4). Assemble 
r.f. in front of l.f. (5). Three quick desboites [see this 
word) backward. (6). Jete r.f. backward. (7). Jete l.f. 
backward (and) jete r.f. backward. (8). Assemble l.f. 
rear of r.f. 

(7). Degage right foot to the side to pass it devant {before) 
and derriere {rear) of the left, jete and assemble (2 
measures). (1). Saute on l.f. gliding r.f. to the side. 
(2). Saute twice on l.f. while passing r.f. back and front 
of l.f. (3). Jete r.f. forward. (4). Assemble l.f. in 
front. Reverse for the other foot. 

(8). Pas Cheval a droite (2 measures). (1). Stretch r. 
leg horizontally to side. (2). Saute on l.f. and glisse 
r.f. to right side. (3). Chasse (and) jete r.f. forward. 
(4). Assemble l.f. in front. Reverse for the other leg. 

(9). Sissonnes in front in five temps (2 measures). (1). 
Make three sautes on l.f. while passing r.f. in front ot IA. 
(2). Stretch out r. leg to side and pass it to rear. (3). 
Jete r. leg forward. (4). Assemble l.f. in front. Re- 
verse for the other leg. 

(10). Echappe en avant, pass l.f. back and before, jete, 
assemble and pirouette. (2 measures). (1). From the 
3rd position jump and fall on l.f. with r. leg stretched 
forward. (2). Degage on r.f. and pass l.f. back and front 
of r.f. (3). Jete l.f. forward. (4). Assemble r.f. in 
front of left turning (see No. 4). 

(11). Pas de Zephyr in 8 temps (4 measures). (1). Saute 
on r.f. while passing l.f. to rear. (2). Stretch 1. leg out 
in front, hop on r.f. bringing l.f. over r.f. (3). Stretch out 

1*5 



PA PRONOUNCING DICTIONARY OF 

left leg forward and chasse backward. (4). While hop- 
ping on l.f., place r.f. over l.f. (5). Stretch r. leg for- 
ward and chasse backward. (6). Hop on r.f. with l.f. 
over it and stretch 1. leg forward. (7). Jete 1. ]eg for- 
ward. (8). Assemble" r.f. in front. 

(12). Croisade (Krooah-sahd) to right. (2 measures). (1). 
Rond de jambe (that is, round the leg) the r. leg to r. side 
(2). Cross l.f. in front of r.f. (and) glissade r.f. to r. 
side. (3). Cross-chasse l.f. over r.f. — this is chassez cro- 
isse. (4). Assemble r.f. in front of l.f. Repeat to the 
left. (2 measures). 

(13). Two petits BATTEMENTS front and back, jete and 
assemble (2 measures). (1). Make two sautes on l.f. 
while passing r.f. twice in front of l.f . (2). Saute on l.f. 
passing r.f. to rear. (3). Jete r.f. forward. (4). As- 
semble l.f. in front. Repeat for the other foot (2 ?nea- 
sures). 

(14). Grand battement to the right (2 measures). (1). 
Stretch up r. leg to r. side. (2). Saute on l.f. bringing 
r. foot over l.f. (3). Saute on l.f. stretching r. leg up 
again. (4). Assemble* r.f, rear of l.f. Repeat for the 
other leg (2 measures). 

(15). Four Grands Battements. Same as the preceding, 
four times (4 measures). 

(16). Tombe (tombay; fall) in 5 temps (2 measures). (1). 
Saute on r.f. while stretching 1. leg to 1. side. (2). Cross 
l.f. behind r.f., chasse r.f. to r. side. (3). Fall back 
on l.f. and stretch r. leg to r. side and bring it to rear 
(and) jete r.f. en avant. (4). Assemble l.f. in front. 

(17). Tombe in 3 temps, Pointe de talon (to mark with 
the heel) de la pointe and assemble (4 measures). (1). 
Stretch l.f. to left side and put it down close to r.f., rais- 
ing r.f. (2). Tombe (fall) on r.f. (3). Cross l.f. behind 
r.f. and chasse, raising r. leg to side. (4). Assemble 
r.f. to rear. (5). Saute on l.f. and point the heel of r.f. 
to the side. (6). Saute on l.f. and point the toe of r.f. 
to r. side. (7). Saute on l.f. (8). Assemble r.f. in 
front. 

(18). Jete en avant, three CHANGEMENTS DES TALONS (chan- 
ges of heels), Jete en arriere and three CNANGEMENTS 
DES TALONS (4 measures). (1). Jete r.f. en avant. (2). 
Jete l.f. en avant (and) Saute on l.f. stretching r. leg to 
the side (3-4). Three changes of the feet — the first is 
assemble^ then jump and change the feet twice. Repeat 
this making the jet^s backward. 

(19). Pointe SISSONNE, pointer du talon, de la pointe a 
c6t6, assemble en avant, sissonne en avant (4 measures). 
(1). Saute on l.f. pointing heel of r.f. at the side with 
well-stretched leg. (2). Saute on l.f. pointing toe of 
r.f. at side. (3). Saute on l.f. and assemble* r.f. to 3rd 
front. (4). Saute on l.f., bringing r.f. over and in front 
of l.f. (5). Saute on l.f. stretching r. leg to r. side. 
(6). Saute on l.f. and assemble r.f. in 3rd rear (7-S) 
Pause. 

116 



THE ART OF DANCING. 



PA 



(20). Grands battements tombe, a grand battement to 
the right, assemble, tombe in three temps to the right ( 2 
measures). (1). Saute on l.f. stretching r. leg up to r. 
side. (2). Saute on l.f. and pass r.f. in front of l.f., 
the tip of r.f. touching tip of l.f. (3). Saute on l.f. and 
assemble r.f. to 3rd rear and tombe in three temps to the 
right (see step 17). 

(21). Jete en AVANT and ENTRECHAT, same en arriere (4 
measures). (1). Jete r.f. en avant keeping l.f. in rear. 
(2). Jete l.f. en avant (and) saute on l.f. and stretch r. 
leg up to right side. (3). Assemble r.f. in front of l.f. 
(4). Entrechat. Analysis of Entrechat. Bend both knees, 
spring upwards as high as possible with both legs quite 
straight and the toes pointed downward, make the calves 
touch each other, and in the spring, change the feet twice, 
i.e., cross and re-cross, finishing with r.f. in front. Com- 
ing down with feet together is tombe assemble. For this 
step en arriere, make the jete backward. 

(22). Zephyr of left leg, jete, assemble and pirouette to left 
(4 measures). (1). Saute on r.f. raising l.f. in rear and 
then stretch out l.f. en avant. (2). Jete l.f. en avant 
(and) saute on l.f. stretching r. leg to the side. (3). 
Assemble r.f. in front of l.f. (4). Pirouette to the left 
(see step 4). 

(23). Chasse, pas de bourree, jete and assemble, to the right 
and left (4 measures). (1). Stretch out the r. leg for- 
ward and chasse backward. (2). Three pas de bourree 
en avant. {Analysis of pas de bourree). After the chasse 
the 1. leg will be stretched up in the rear; glisser l.f. 
under r.f. three times {coupe dessous) rising on the sole 
of r.f. which makes three small sautes glisses en avant, 
the l.f. making three small chasses under r.f.) (3). Jete 
r.f. en avant and assemble r.f. in front. 

(24). Pas RUSSE (same as pas de basque) en avant, two 
PIROUETTES VOLANTES to right. The pirouette volante 
{flying pirouette) is known also as pirouette anglaise. ( 1). 
Rond de jambe the right leg (round the right leg) to the 
side (and) glide l.f. forward. (2). R.F. to 3rd rear 
(3-4). Repeat commencing with l.f. (5 to 8) two pirou- 
ettes volanles in which two complete turns are made. [Ana% 
lysis of pirouette volante, or anglaise). The r.f. is placed 
4th rear, tip of l.f. is crossed in front of r.f. and, rising 
on both toes, make a complete turn; or, rond de jambe 
r. leg to 4th rear, place tip of l.f. close to rear and well 
crossed, rise on the tips and make a complete turn. 

(25). Degage entrechat, open the equerre (square) with- 
out marking the time, assemble, £cart and entrechat 

(4 measures). (1) Petit degage r.f. to r. side; (2) En- 
trechat r.f. in front of l.f.; (3) and in falling back (re- 
tombe) assemble r.f. to rear (4, 5, 6). Repeat thi$ 
beginning l.f. {and) equerre without marking time (that 
is, rise and pivot on the soles while turning and opening 
out the heels, then put the heels down, pivot on them and 
open tout the toes (7) assemble r.f. in front {and) ecart 

117 



PA PRONOUNCING DICTIONARY OF 

en J 'air (throw the legs wide in the air, that is with a 
spring) and entrechat finishing l.f. in front. 

(26) Petjt degage or r.f. to right side, changements 
DES TALONS (heels), same with the other loot, EQUERRE 
and three CHANGEMENTS DES TALONS (pronounced tah- 
law) (4 measures). (1). Saute on l.f. while making de- 
gage ot r.f. to r. side. (2). Changements des talons 
commencing with r.f. in front (3, 4). Repeat with other 
loot. (5). Equerre. (6). Equerre. (7 and 8) three 
changements des talons. 

(27). Pointer de la pointe of the heel, petit battements 
in front, jete and assemble; repeat with other foot (4 
measures). Each of these movements has already been 
described, this enchainement should therefore be easily 
followed. 

(28). Two petits battements devant and pirouette to left, 
repeat other foot (4 measures). See note to No. 27. 

(29). Pas Russe (see No. 24) Pas de bourree(4 measures). 
Make (1-4) two pas russes forward (5-7) three pas bour- 
rees to rear. (8). Assemble. 

(30). Pointer in seven temps to right and left (4 measures) 
(1-7) Saute on l.f. pointing the other foot heel and toe 
(and) fouette' (8) assemble. 

(31). Chasse ouvert en avant, pirouette to left (4 meas- 
ures). (1). Glisser (glide) r.f. forward to right. (2). 
Chasse r.f. from its place by l.f. (3). Glisser l.f. to 1. 
side. (4). Chasser l.f. by the r.f. crossing behind. (5). 
Assemble l.f. rear of r.f. (6-8) pirouette to the left 
with grand battement. 

(32). Two PETITS BATTEMENTS in front of each foot, assem- 
ble and pirouette to left (4 measures) (1-2). Saute twice 
on l.f. passing r.f. twice in front of l.f. (3-4) repeat other 
foot. (5). Assemble l.f. rear of r.f. (6-7-8-) pirouette 
to left with entrechat and assemble. 

{33). Contretemps simple to right and to left (4 meas- 
ures). (1). Glisser r.f. to r. side. (2). Pass l.f. which 
is raised at rear of r.f. and cross it in front of r.f. (3). 
Stretch r. leg to right side and make a grand battements 
of r.f. in front of l.f. (4). Assemble r.f. to rear. Re- 
peat other foot J 

(34). Contretemps battu to right and to left. It is made 
en brise and entrechat instead of the simple crossing. 

(35). Two Pas Russe en avant, two ailes de pigeon cou- 
PEES to rear and assemble (4 measures). 

(36). Ailes de pigeon coupes to the side (4 measures). 

{37). Ailes de pigeon simple (4 measures). 

{38). Ailes de pigeon en tournant (4 measures). 

(39). Ecart, entrechat and tour en l'air (2 measures). Tour 
en Pair (pronounced toorahn lair) is a turn in the air, i.e., 
with both feet off the floor. 

(40). Ailes de pigeon terre a terre and attitude (4 meas- 
ures). 

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THE ART OF DANCING. 



PA 



Pas des Patineurs(PAH-TEE-NER) Skating- dance. Arranged by 
Willemot of Paris, 1894. Position: - Stand side by side facing 
forward, gentleman's r. arm round lady's waist, or join both 
right hands and both left hands (crossed). Step 1. i 1). 
Glisse r.f. to the right. (2). Glisse l.f. well crossed rear 
of right. (3). Glisse r.f. to the right. (4). Hop on r.f. 
passing 1. leg in front of right leg well stretched (2 bars). 
Repeat other foot (2 bars). Step 2. Going quickly forward 
and retaining the lady by the waist. (1). Place r. foot en 
avant. (2). Hop on it passing 1. leg forward (3-4). repeat 
with ,1. toot (5.6.7.8.). Repeat with right and left foot (4 
bars). Repeat step 1 and so on. Variation — without losing 
the measure, during the second part the gentleman moves to 
the front of his partner, both make the first step to the right 
which will separate them., then to the left which will bring 
them together again. They can also take each other's r. hands 
and make the second step going round each other. Bend the 
body to right when going to the left and vice versa. 

Pas Plonge. — Imitate a man plunging into the water. Both hands 
joined, arms stretched forward, lower head and hands, and 
while raising" 1. hand very high to the rear, assemble, imitat- 
ing a swimmer. Repeat with other hand and foot. 

Pas de Quatre. — Dance performed by four persons. A famous pas 
de quatre was danced by Lucille Grahn, Cerito, Carlotta Grisi 
and Taglioni. 

Pas de Quatre.— By R. M. Crompton, 1890. A round dance. 

Pas de Quatre.— See Barn Dance. 

Passacaille (pas-cah yehI A dance of XVIII. century favoured at 
the Court of Louis XIV., and was very solemn and majestic. 
Cheruel in his " Dictionary " of the habits and customs of 
France speaks of it only from the musical point of view and 
compares it to a " chaconne " but with the singing in a more 
tender strain. Trevoux's " Dictionary '' defines it as a dance 
in 3-4 tempo with gestures and slow movements. In Bros- 
sard's " Dictionary of Music '' it says: " this dance is a Cha- 
conne, the steps of which are temps of long glisses and stretch- 
ing the arms to the side, the knees bent slowly on the first 
temps simultaneously to the arms opening to right and left, 
on the last two temps one rose again after making a degage 
to the right or left, the arms assuming their natural position.'' 
This step was the origin of the " pas de menuet.'' 

Holding partner's hand, the step was " glisser r.f. to 2nd 
position, assemble, pirouette, reverence (4 measures). Same 
for lady but with the other foot. 

Passepied (pahs-pee-ay). XVII. century, Classed among the 
Branles (brawls) of Brittany. The Step. — Tempo 3-4. (1). Glisse 
l.f. en avant. (2). Glisse r.f. en avant. (3). Glisse l.f. en 
avant. (4). Tip of r. toe to 1. toe. (5). Tip of r. toe to 1. 
heel. (6). Plie (bend) 1. knee and raise r. leg forward (4th 



PA Pronouncing dictionary of 



elevation) 2 measures for the gentleman, lady same with oppo- 
site foot. Repeat, commencing other foot, 2 measure. Ano- 
ther description. Join hands facing each other. (1). Both 
pas de basque to right turning 1. shoulder forward, then pas 
de basque to left turning r. shoulder forward, walk round 
three steps to change places. (2). Coupe and pas bourree 
three times. (3). Jete r.f. over l.f. and vice versa. (4). 
Pas de basque diagonally four bars forward and four bars 
backward. (5). Cross hands and pas de basque backward. 
(6). Arms round each other's necks and go round with eight 
pas cheval (pawing the ground like a horse). (7). Make 
a turn backward with pas de basque and heel shuffle to the 
right. (8). Repeat same to left. For music, the passepied 
from Destouches's first opera " Isse •' is a good example. 

Passepied de la Cour (pas du). Tempo 3-4. (1). r.f. to 4th eleva- 
tion. (2). Tip of r.f. to tip of l.f. (3). Tip of r.f. to heel 
of l.f. (4). Degage on r.f. rear of l.f. (5). Glisse l.f. en 
avant. (6). Assemble r.f. to l.f. (2 measures). 

Pastorale.— Ancient and Modern pastoral dances. The pastorale was 
the termination of all Greek dances. 

Pastourelle. - The fourth figure of Quadrille (see Quadrille). Before 
1830 this figure was danced with the couple on the left of 
the leading couple and not with the couple vis-a-vis. It was 
sometimes called Villanelle. 

Patau.— Dance of the savage races of Oceania. 

Pavaae, Pavan, Pavanne (pah-vahn). — The spellings are various — is 
one of the oldest foreign dances we have, and was the dance 
of kings, queens, lords, and dames of high degree in the Courts 
of Italy, Spain, France, and England as far back, it is said, 
as the thirteenth century. Certainly it was already old when 
Thoinot Arbeau, the monkish historian of the dance, gave its 
description, with words and music, in his history of dancing 
published in 1588; and the one he gives " Belle qui tiens ma 
vie/' is the most in use to-day. Some have traced its deriva- 
tion to Padua, and make it out a Padovan dance. But the 
derivation from Pavo, Pavono, peacock, is the more accept- 
able, for the dance itself has all the leisured grace, the noble 
stateliness of the peacock, the spreading of whose tail the 
dancers emulate in displaying the trains of their costumes 
when they tread the measure. Its invention is ascribed to Fer- 
dinand Cortez, the Spaniard. The music in stately 2-4 tempo 
consisted of two themes of 8 bars each, repeated, making 
32 bars in all. Singing accompanied the dance. 

', 1. Begin, side by side, hand in hand, with a curtsey and 

a bow. Start with a pas marche down the floor, making- 
four steps, the gentleman taking the lady's left hand. They 
commence with opposite feet. The gentleman holds the lady's 
right hand en tour — that is, they turn with four steps. He 
then takes her left hand and goes up the floor backwards, with 
four steps. He again takes her right hand and turns with 
four steps. This accomplishes the first movement. 

120 



Part XVI. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. PA 

2. The gentleman passes the lady from his right to his 
left in three steps, then they both pose, facing the audience, 
with the toe pointed. The gentleman passes the lady from the 
left to his right with three steps, both change hands, and 
pose in a line facing the audience. The gentleman passes 
the lady to his left in three steps, when both pose, with their 
backs to the audience. 

All is very slowly performed in stately measure. 

3. The lady passes under the left arm of the gentleman, 
holding hands as they do so, but they loose them when the 
movement is over. Standing vis-a-vis they take one step to 
the right and salute, and one step to the left and salute, and 
then again one step to the right and salute, which means that 
the man makes a sweeping bow and the lady a very low 
curtsey. 

4. The gentleman passes the lady under his right arm, 
makes a step to the left, and bows. They then make a step to 
the right, placing that foot over the left, then carry out the 
half turn, point left toe to toe, and shoulder to shoulder, in a 
very graceful pose. This is repeated four times, forming a 
sort of cross with the feet ; the last time, instead of a pose, 
they salute each other. 

An unsuccessful attempt was made in 1844 to revive the 
dance, but the polka and waltz had then the grip of public 
favour. The dance in now used only on the stage or for the 
purposes of pageantry. 

The Pavane went through many alterations, and in my 
collection are descriptions of thirty-three different Pavanes of 
various periods, but in contradiction to some contemporaries 
who wrote them in 3-4 time, the originals are written in 2-4 
time. Arbeau (1588) writes in his theory of the Pavane, 
" The movement is " binaire " (2) consisting of a white minim 
and two black ones." In spite of the embryonic state of Ar- 
beau's choreography it has been possible to faithfully recon- 
struct the dance and the music. The original dance and music 
were reconstructed by Signoret and published by Borneman, 
(Paris 1886) from the text of Arbeau and may be obtained 
from Borneman, 2, Rue de l'Abbaye, Paris. Before com- 
mencing the dance, the couples promenade round the hall and 
gravely salute the host ; it was sometimes followed by a " Gail- 
larde" to amuse the spectators. The reconstruction of Pavane: 
The dance is done to a measure lento in two temps with the 
following step made sometimes en avant, en arriere, a cote" 
and en tournant. Pas de Pavane: — (1) Bend the knees and 
glisse forward r.f. (2) Stretch 1. leg forward, the point of 
l.f. touching the floor. For the l.f . make the movements with 
the other foot. For turning, rise on the sole. Part 1. Two 
couples facing each other, describe a large semi-circle to the 
right and change places, this is pas de pavane to the right, 
keeping the hands up very high. The two couples salute 
each other. Repeat to return to places. Part 2. Both couples 
make four pas de pavane advancing to the right and stop, fac- 
ing each other and salute partners. Two pas de pavane 
advancing to opposite couple and taking opposite lady's r. 

121 



PA 



PRONOUNCING DICTIONARY OF 



hand, make a tour de main finishing facing own partner. 
Gentleman's 1. hand takes lady's right held high up and 
return with four pas de pavane to place and salute each other. 
Part 3. One Gentleman alone make a /large semi-circle to the 
left with four pas de pavane and arrived in front of the oppo- 
site lady, both salute ; he makes another semi-circle to place 
and salute with partner. The other gentleman repeats. Coda. 
Both couples (without holding hands) go to the right with 
four pas de pavane and salute vis-a-vis; face partners and 
salute again, from this point lead partners to seats, or make 
a promenade round the room as at the beginning. 

Pavane {pas de). Another description. (1) Glisse l.f. forward. (2) 
glisse r.f. forward, (3) glisse l.f. forward, (4) raise r.f. to 
4th forward elevation. Another. Repeat (1) (2) (3) and for 
(4), touch point of l.f. with point of r.f. and immediately 
raise r. leg forward. In 1589 the step was made thus: — 
" one pas en avant and three en arriere and repeat." In 1604, 
the Chancellor sent a messenger to the Monsieur Nicholas 
(Secretary to Henri IV) who was dying, to ask after his 
health. He replied " Tell Monsieur the Chancellor, that I 
am as well as the Pavane, one step en avant and three en 
arriere." In 1 5 1 5, it was " (1) pas marche en avant, (2-3) 
two small ones en arriere,, (4) elevate a foot forward." In 

1547, (1) " Glisser r.f. forward, (2) same l.f., (3) point of 
r.f. to toe of l.f., (4) raise r.f. forward. Repeat with same 
foot, three times and at the fourth time assemble for the 

fourth beat, and then repeat the whole commencing l.f." The 
steps of later Pavanes were practically the same. 

Pecoree Calabrian dance: derived from pecora, a sheep; from pecore, 
a stupid creature; the rapid agitated movements recall the 
ancient rigaudons. The dancers move their bodies as much 
as the legs. 

Perigourdine. From Perigord. The dancers do some rapid chasses 
with change of hands to form a chain. 

Perin. French Quadrille named after its author Mons Perin of Paris, 
1859. At that time the Waltz feverishly absorbed the dancers 
and this quadrille came as a welcome relief. Each of the 
five figures was played twice. 

Persike. Sacred dance of the Greeks, later found in Persia. 

Petit (pet-ee), Petite (pet-eet), Petits (pi. pet-ee). Small. Move- 
ments of the feet when the toe rests on the floor, as petit rond 
de jambe ; when raised from the floor they become " grand." 
Petit rond in square dances is the small circle of four persons 
as in fourth figure of Quadrilles. Grand rond is the grand 
circle made by all the dancers. 

Pied de dedans (pee-ay der day dahn). Inside foot. Pied de dehors 

(pee-ay der dayor). Outside foot; In square dances a gen- 
tleman advancing to his vis-a-vis and joining r. hands both 

122 



THE ART OF DANCING, PI 



will have r. foot inside {dedans) and' il.f. will b.e outside 
{dehors). If the gentleman faces his own partner and join 
r. hands the same will result, but with 1. hands joined, both 
left feet will be dedans and r. feet, dehors. Standing side 
by side, gentleman's r. and lady's 1. will be dedans, the others 
are dehors. . > 

Pied Ferme (fee-ay fer-may). Firm foot or shut foot. When the 
feet are apart then one is brought tightly to the other. 
Example: — Glisser l.f. forward, " fermer " the r.f. that is 
close, r.f. to l.f. in 1st, 3rd, or 5th positions. 

Pieds ouverts (pee- ay zoo-vair). Feet opened. The opposite of pied 
ferme. 

Pigeon, ailes de. {See Ailes de pigeon). 

Pique (pas), (pee-kay) de la pointe et du talon, Toe and heel points. 
{See Pointe). 

Pirouette (pe-roo-kt). From low Latin gyruetta, a turn. The per- 
formance of one or more complete turns on the toe or ball 
of one foot. Some authors assert that at least three such turns 
must be made for a pirouette which is exclusively a movement 
in theatrical dancing. According to Despreaux this step was 
brought from Stuttgart in 1766 by two dancers, Mdlle. Heinel 
and Mons. Ferville, who made their debut in the Paris Opera 
and astonished the spectators with their pirouettes which were 
then unknown. Gardel and Vestris improved on them. Great 
suppleness is required for their easy execution. They may be 
made a plat (on the flat), or pointe (on the tips), with or with- 
out movements of the arms. Many tneories have been given for 
the execution of this step, but that of Blasis is the best. He 
says: " A pirouette of three or four turns in the second posi- 
tion, and /stopped in the same, or in an attitude offers the 
greatest proof of a (dancer's uprightness. Nothing is more 
difficult in dancing than the performance of this pirouette. 
He whom nature hath favoured with pliancy and agility is 
always able to perform them gracefully. Let your body be 
steadily fixed on your legs before you begin your pirouettes, 
cind place your arms in such a position as to give additional 
force to the impulse that sends you round, as also to act as a 
balance to counterpoise every part of your body as it revolves 
on your toes." The different pirouettes are: pirouettes a petits 
battemens on the instep; a rond de jambe; avec fouette; en 
attitude; en arabesque; sur le cou-de-pied; en dedans a la 
seconde ; pirouette renversee ; pirouette composees, etc." 

With regard to the theory given, it is based upon principles 
which are geometrically demonstrated; their variety is great, 
but all requre the greatest attention in correctly possessing 
and keeping the centre of gravity. This centre, being the 
resultant of all the forces of the body, assures the dancer his 
solidity, so long as he is able to practice the elementary prin- 
ciples which have been given to him. 

123 



PI PRONOUNCING DICTIONARY OF 

Pirouette simple. On the "demi pointe": " plier" (bend) the knees 
" degager " a foot to the second position (these two movements 
are called " preparation to the pirouette ") bring back this 
foot by crossing it in front of the other leg, and turn " en 
avant " or " en arriere " on the foot which; is on the ground. 
One must " epauler " (lean the shoulder) strongly towards 
the side one wishes to turn, that is to say in advancing or in 
receding the shoulder in the direction taken by the turning 
foot. To terminate, assemble " devant " or " derriere " the 
foot which is lifted. 

The pirouette is called " ouverte " (opened) when the body 
turns " en avant," and " ferme^e '• (closed) when the body turns 
" en arriere." 

Pirouette a la seconded position, or grande pirouette. Plier the 
knees and lift up a leg rapidly to the height of the hip, and 
turn " en avant " or " en arriere " on the tip of the other foot 
in maintaining stretched out the lifted leg. The part of the 
shoulder is still more important in this pirouette than in the 
preceding, and must remain perpendicular with the hip. 

Pirouette with attitude, or arabesque. The pirouette is thus called 
when, after the grande pirouette, the dancer lets his lifted 
leg fall back in order to place himself " en attitude " or 
" en arabesque." This pirouette is similar to the " point 
d'orgue " in music. 

Pirouettes with ronds de jambe, or petits battements sur le cou= 
de=pied. The lifted leg describes some precipitated ronds de 
jambe en l'air, or some petits battements while the body turns 
on the other ; this last pirouette always produces much effect 
in theatrical dance. Vestris executed them with such per- 
fection that he represented the rays of the sun in producing 
them in his " grands ballets." 

Pirouettes-execution. When en dehors (outward) commence in 3rd 
position, and is done in three temps but continuously connected 
without interruption. Assuming the pirouette to be on l.f., 
the r.f. must be in forward 3rd position, then ( 1) Eleve (rise) 
on 1. ball simultaneously raising r.f. in 2nd elevation and both 
arms to height of shoulders. (2) Lower the body on both feet 
in the 2nd plie (bended position), by which the right side 
is carried obliauely forward by an outward turning of the l.f. 
on the point, simultaneously carry r. arm round to front some- 
what lower. (3) Quickly raise r.f. from floor and rising on 
the 1. point, turn quickly assisted by the swing of the arms. 

Pirouettes en l'air are turns of the entire body with both feet off the 
floor. These turns are sometimes called " volta " or " rivolta" 

Pistolets. (See Ailes de Pigeon). 

Pivoter (piv-ot-ay). To pivot on one or both feet. 

124 



THE ART OF DANCING. PL 



Plier, Plie (plee-ay). Flexion or bending of one or both knees in pre- 
paration for any step. 

Point. Any movement made with the toe pointing to the ground; 
when made with the heel it is known as pique {see next article), 

Pointe du talon or Pique (pee-kay). Movements made with the point 
of the heel, toe pointing upwards, as in toe-and-heel of the hornpipe. 

Polka. Originally a war dance. " Polk " or " pulk " is the name of 
a regiment of Cossacks, and is an old Scythian word originally 
applied to a tribe. It therefore included both the male and 
female members of a nomadic horde. This derivation 
accounts, therefore, for those remarkable features which dis- 
tinguish it from every other dance. The spurs, the tapping of 
the ground with the heel, flourishing a battle-axe in the air 
and other gestures of a warlike nature, are all the accompani- 
ments of the polka when danced by the Servians, among whom 
it was first observed. Another account gives the inventor of 
the dance as Anna Stezak, a farm servant at Elbsteinitz, near 
Prague, about 1830. The room in which she was accustomed 
to dance being of small dimensions, the movements of her feet 
were short, and so the dance was called the " Pulka " dance, 
that is, the " half " dance. The music according to this 
account was written down by a local musician named Neruda. 
Yet another account claims that the dance was invented in 
1834 by a native of Moksic, in Bohemia. 

It is a round dance for two persons. Position as for the 
waltz. Gentleman's step — count {and) a preliminary hop on 
r.f. (i) Glissade l.f. to 2nd position. (2) Coupe en avant 
r.f. against l.f. turning a quarter-circle. (3) Coupe en arriere 
l.f. against r.f., turning another quarter-circle, thus the three 
temps will complete half-circle; repeat with other foot (count 
and, 1, 2, 3.) Ladies do the counterpart. 

Polka Mazurka. (See Mazurka). 

Polonaise. A promenade with which public and private dances were 
opened. It consisted of various figures. 

Port des Bras, (port day brah). {See Bras). 

Porter (paw-ta^). To earn the foot, that is when it is not glided. 

Positions. (See A.B.C.) 

Poule, la. {See Quadrilles). 

Poursuite, la (poor-sweet). The pursuit. A couple dancing straight- 
forward as a variation in a round dance, instead of turning. 
As a rule, the gentleman should go backward. 

Pousse (poo-say). Sometimes as in the Mazurka, there is a strongly 
felt knock of the feet, this is a coupe pousse. 

125 



PR PRONOUNCING DICTIONARY OF 

Prelude. The opening- eight bars of music preceding the 2nd, 3rd, 4th 
and 5th figures of square dances. The opening eight bars of the 
1st figure is called " introduction.'' 

Promenade (pkom-fnahd). An ordinary walking step in strict musical 
tempo. Grande Promenade, the couples walk completely 
• round the circle; Demi-Promenade, half-round. 

Pyrrhic (pir-rik). Grecian warlike dances. So called either through 
Phrrhus, son of Achilles, who, it is reported, performed them" 
first at his father's funeral, or, through Pyrrhicus the Spartan, 
who is said to have invented them. The dancers were fully 
armed. ■; 



Quadrille. Originally it was called Contredanse, an English country 
dance. Since 17 10 introduced in France it consists of several 
figures generally performed by four couples placed in the form 
of a square. In all such squares dances, the couples standing 
with their backs to the music are the first couples, the second 
couples face the first couples; the third couples are on the 
right of the first; the fourth couples face the third. Origi- 
nally, there were six figures. At Almack's Rooms, the 
Quadrille known as Hart's " First Set " consisted of Pantalon, 
l'Ete, La Poule, Trenise, Pastorale, Finale. There were many 
"sets" arranged by Hart (I have 35 such sets). Weippert 
also arranged 31 " sets." The music is written partly in 6-8 
tempo (M.M. 88 -f), partly 2-4 (MM. 84= f). Usually the 
first figure commences in 6-8 tempo, the second figure in 2-4 
tempo. It is as well to mention that the first eight bars are 
played only as an introduction to which the dancers have but 
to listen in order to commence the dancing of the figure in 
punctual time. 

{The opinion that the introduction is only to give lime to 
the couples to bow to each other as well to the corner is an 
erroneous one. The object of the introduction. is to inform the c) 
dancers of the change of tempo and give them the opportunity 
to commence in that le?npo. To make a bow or curtsey tzvelve 
times in one quadrille is as useless as it is in bad taste. One 
curtsey at the commencement of the first figure and two curt- 
seys at the end, meet all the requirements). 

This explains the reason why the first eight bars of the 
music of each figure is also its closing part. Further, it is 
well to mention that the music of the first figure, Pantalon, 
must be played twice, all the others four times. 

In recent times artistic steps are seldom seen in Quad- 
rilles, on the other hand inartistic and single steps are 
frequently used. The correctness of this observation is undeni- 
able. The neglect of artistic steps may be attributed to 

126 4 



THE ART OF DANCING. QU 



indolence and love of ease, especially with ladies who desire 
to preserve their toilettes. Society has voluntarily relin- 
quished shining through the ability of the feet ; but they have 
in no way banished grace from the various movements ol the 
body on the contrary, they have known how to preserve it 
in employing the simple dancing steps in a gracefully gliding 
manner. This natural gliding of the foot, accompanied by an 
expression of ease which seems to indicate artistic steps, only 
in the slightest form, in no way excludes a previous knowledge 
of them, and is not easily imitated by those who have not the 
advantage of previous thorough tuition. To oppose the pre- 
valent fashion would be a doubtful and very rash undertaking. 

Explanation of the Quadrille Figures most in use. 

i. LE PANTALON. 8 bars Chaine Anglaise 

Entiere. — Two couples standing opposite each other have 
for their object the change of places. They advance and 
present the right hand to the vis-a-vis, then in the second 
movement the left hand to partners, thus by a de??ii-chaine 
anglaise they reach the opposite side. This' repeated (a second 
half of the chaine anglaise) they regain their former places. 
In modern times the same movement is made but the giving 
of hands is omitted and is called " Right and Left." 

4 bars .... Balance. — Now called " Setting to part- 
ners." Each couple facing partners and 

4 bars .... Un tour de {deux) mains — they give both 
hands to execute one tour to the right in place. 

// only one hand, say the right, is given, the tour must 
be made in the contrary direction,, also if no hand is given. 

8 bars .... Chaine des Dames.— Both opposite ladies 
in changing places give the right hand when they meet and 
then the left hand to the opposite gentleman. The gentlemen, 
when their partners leave their places, advance sideways to the 
right to meet the opposite lady with the left hand. Both 
couples repeat these movements. 

4 bars .... Demi-Promenade. — (The expression Demi 
queue du chat is out of date). At the end of the last figure 
each gentleman held partner's left hand. They now cross the 
right hands over the left and both couples change places, the 
gentleman passing left shoulder to left shoulder and the 
ladies describe the outer circle to the opposite side. 

4 bars .... Demi-chaine Anglaise. — With this the 
couples return to their places. 

The other two couples repeat these movements. 

2. L'ETE. 4 bars .... En avant deux (et en arriere). 
One gentleman and opposite lady advance and retire. 

4 bars .... A droite et a gauche.— They move side- 
ways to the right and to the left. 

4 bars .... Traverse. — They change places right 
shoulder to right shoulder. 

127 



QU PRONOUNCING DICTIONARY OF 

4 bars .... A droite et A gauche. — They move again 
sideways to the right and to the left. 

4 birs .... Retraverse et Balance — They return 
in the same way to their places and a-re received by their 
partners (who simultaneously with the retraverse did the 
balance) and 

4 bars . . . . Un tour de {deux) mains, each couple 
is reunited. (This is repeated three times for the other 
couples). 

This figure as described, is the " Single Ete" l^he modern 
figure is the "Double Ete" and is done thus: — 1st and 2nd 
couples advance and retire, cross over, advance and retire, 
recross, set to partners and turn. 

3. LA POULE. (Sometimes the sequence of figures is 
altered and the Pastourelle is the third, Poule the fourth and 
Trenis the fifth figures. Strictly, the Pastourelle and Trenis 
should never be danced in a Quadrille but only one 
of them. If, however, both figures are required in one 
Quadrille it would be advisable to place Poule between them 
because Pastourelle and Trenis resemble each other some- 
what). 

4 bars .... Traverse. — A gentleman and opposite lady 
change places passing right shoulder to right shoulder. 

4 bars .... Re-traverse par la main gauche. — Both 
return presenting left hands joined and the right hands to 
their partners to perform, 

4 bars .... Balance QUATRE EN LIGNE. — Balance four 
in a line. 

4 bars .... Demi-Promenade. — Both couples change 
their places, the gentlemen leading passing left shoulder to 
left shoulder. 

4 bars .... En avant deux t £t en arriere. — The 
gentleman and lady dancing the figure advance and retire. 

4 bars .... Dos a DOS. — (Recently a tour de mains 
came into use). Moving round each other right shoulder to 
right shoulder and back to back, they return to the places 
from which they started. 

Nowadays, the pair advance and retire, advance again with 
reverence and retire. 

4 bars .... En avant quatre et en arriere. — Both 
couples advance and retire. 

4 bars .... Demi-chaine anglaise. — Regain original 
positions with this. 

Repeated three times for the other dancers. 

4. LA PASTOURELLE. 8 bars . . . . Un cavalier 
et sa dame en avant et en arriere deux fois. — One couple 
advance and retire, advance once more, the gentleman retires 
alone while the lady crosses to the left of the opposite gen- 
tleman who has meanwhile taken his partner's left hand thus 
preparing to receive the opposite lady with his left hand; 

128 



Part XVII. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. QU 

8 bars .... En avant trois deux fois. — The three 
advance and retire, twice. 

8 bars . . . . Le Cavalier seul. — The single gentleman 
dances a solo on a self-chosen line gradually approaching his 
partner. 

This is now altered to : — the set of three advance again, 
the gentleman leaving the ladies with opposite gentleman and 
retire alone. Set of three advance and retire, all advance 
and for?n a circle. 

4 bars .... Demi tour de rond A gauche — Both gen- 
tlemen take their partners' left hands with their right and 
move sideways in a circle to the left (for the purpose of 
changing places, to accomplish which they part in the rond) 
and take the places of the opposite couple and 

4 bars .... Demi-chaine anglaise by which they re- 
gain their original places. 

Three repetitions for the three other couples. 

5. LA TRENIS {Named after its inventor, Trenitz, zvho 
in his time — 1800 — was a famous dancer}. 

8 bars . . . . Un cavalier et sa dame en avant et 
en arriere deux fois. — Exactly like the first figure of the 
Pastourelle. 

8 bars . . . . Le cavalier traverse au milieu de deux 

dames. — The single gentleman advances to the opposite one, 
the movement ending in a demi-tour (half-turn) whilst both 
ladies move in a circle twice round him and facing him. This 
circling ends by the ladies returning to places. 

4 bars .... Balance. — As in Pantalon. 

4 bars .... Tour de (deux) mains. — As in Pantalon. 

Repeated three times for the other couples. 

Modern: — Grand circle. All advance and retire. Turn 
partners. Repeat second figure. Repeat three times. 

Another variation known as " Flirtation " Figure. Grand 
circle advance and retire. All set to and turn corners. Pro- 
menade round sixteen steps. Repeat three times. 

6. LA FINALE. 4 bars .... Chasse croise huit* 
All the ladies move sideways to the left and, simultaneously, 
the gentlemen move in a line crossing sideways behind their 
partners to the right adding a demi-balance which is to be 
executed facing each other and must be looked upon as a 
leave-taking. 

4 bars .... De-chass6 huit. — In the same manner re- 
turn to places. 

4 bars .... Moulinet des dames. — All ladies join 
hands to form a moving star which formation after one tour 
(circle round) must be maintained until 

4 bars .... Demi-balance en moulinet et demi 
TOUR DE MAINS, the gentlemen with the left hand take the 

129 



QU 



PRONOUNCING DICTIONARY OF 



ladies' left hands thus joining the ladies' star. All perform 
the demi- balance and the ladies (releasing the right hands and 
disjointing the star) withdraw from the centre by half a tour 
de main wilh the left hand, whilst the gentlemen reach the 
centre by the same lour de main. 

8 bars .... Grande Promenade. — Gentlemen with 
right hand take their partners' right, and the couples following 
each other, move forward describing a large circle until they 
reach their original places. 

En avant deux et en arrierei 

a droitr et a gauche / 

traverse I As in the second 

A droits et a gauche j figure L'Ete. 

RETRAVERSE" ET BALANCE" \ 

UN TOUR DE (DEUX) MAINS J 

After the Finale has been danced four times and Vete 
has also been danced four times, then follows the Coda 24 
bars ; Chasse croise huit, moulinet dss dames, dkmi-balance 
et demi-tour de mains, and conclude with Grande Promenade. 



24 bars 



Quatre (kahtr). See Entrechat. 

Queue de Chat (ker-der-shah). See Demi- Promenade, Quadrille 
figure 1. 



Ramasse (rah-mah-say). — To pick up. In many dances, such as 
Spanish, a strong bend of the body occurs combined with a 
lowering of the arms as if to pick something up from the 
floor. 

Rebours (re-boor, or a l'envers.) — Reverse, as valse a. rebours (waltz 
reverse) 

Rebroussale Cre-broo-sal.)— The heel position of the foot. {See 
A. B.C. direction). 

Redowa. — Round dance in 3-4 tempo. Obsolete. Position as for 
waltz. Gentleman's step. — (1) Glide l.f. to 2nd, (2) glide 
r.f. to rear of l.f., slightly raising the l.f. (3) drop on l.f. 
with r.f. up rear. During this the dancers make one-half 
circle; repeat with r.f. to complete the circle. 

RedowacZka. — The Redowa in 2-4 tempo. 

Redresser (re-dressay.) — See Allonger. 

Reels (Scotch and Irish). — Native dances of these countries. Many 
descriptive works exist. 

Releve (rel-avay). — Relifting or straightening of the knee, 

130 



THE ART OF DANCING. RE 

Retombe (re-tombay). — After a jump (saute) one must perforce come 
down again on the feet, this is retombe. Hence the term used 
is always saute et retombe (jump and fall again). 

Retreverse (ret-ree.vair-say). — To retraverse, that is to go over the 
same road. In square dances traverse is to cross from one 
side to the other, retraverse is to re-cross, back to places. 
(See Quadrille fig. 2.) 

Reverence, (ray-vay-rahns). — The lady's curtsey and gentleman's 
bow. 

Reye. — Supposed to be the "Hay'' of Chaucer's time, about 1340 
(See Solomon's Jig). 

Rhythm. — The time or beat of the music with which the dance must 
be in strict accord. 

Rigaudon (rig-o-daw.) — Derives its name from Regaudon, a dancing- 
master of Marseilles, who brought it from Provence (1485.) 
The French Revolution killed it. The music in common time 
consists of two parts of eight bars each. Singing accompan- 
ied the music, the words beginning " Ah, Chloe, when I prove 
my passion," (date 1709) is a good one. Each figure takes 
eight bars. Both dancers stand side by side but do not hold 
hands. (1) Glide and make four running isteps, turn and 
pose; repeat opposite foot. (2) Turn to left and right alter- 
nately four times going backward. (3) To the right diagonally 
with running steps, turn and pose; repeat to left. (4) Two 
hops and turn, repeat, run diagonally to right and turn, same 
to left, arms straight out. (5) Half turn to left, same to 
right, whole turn to left, repeat. (6) Arms above head, 
three steps to 1., turn to 1., repeat to r., hop round and pose 
r. hand down 1. hand overhead. (7) Balancez four times 
on l.f., same on r. f. and pose. The head jand arm move- 
ments are important. 

Regaudon, pas. — Jete followed by fouette. 

Ritournelle (ritoor-nel).— A flourish. Before arranging a square 
dance it is customary for the orchestra to play eight or 
sixteen bars of the first figure, this is ritournelle, or signal 
to the dancers to enter the ballroom and arrange themselves 
in their sets for the dance. 

Rivolta or Volta. — A pirouette en l'air (See Pirouette). 

Rond. Any movement in a circle. — Grand Ronde, a grand circle. 

Rond de Bras (rawn-der-brah). — Rounding the arms. 

Rond de Jambe (rawn-der-jhahm).— Rounding the leg in a circle 
either en dedans or en dehors (inward or outward) en terre 
or en Pair (on the floor or raised.) 

Ruement, Ruer, (ru-mahn, ru-ay). — A kick, to kick. Forcibly 
throwing the leg into an open position, as though kicking. 

Russe pas. — (See Basque). 

131 



SA PRONOUNCING DICTIONARY OF 



Saraband. — The word, derived from the Arabic, means " noise." The 
dance came from Spain about the twelfth century and in olden 
times was danced in groups to the sound of bells and castag- 
nets. Rather wild in its character in those days it was danced 
only by women, but passing into France it naturally became 
beautified and greatly influenced France when it led European 
dancing. When seventy years of age Arbeau gives a descrip- 
tion in " L'Orchesographie." Under Louis the Melancholy 
(Louis XIII) the dance became fashionable as a solo for man 
or woitlan. Music is in f tempo, is in two parts of eight bars 
each. Each figure occupies eight bars, (i) Raise r.f. and 
step forward, turn to right and pose, repeat with l.f., again 
with r.f. (2) Pas bourree r.f., same l.f., again r.f., turn to 
the right then to the left. (3) Change the foot going to the 
left with the 'Spanish hip movement (pas glisse) twice; coupe 
and pose with movements of the head going to right and left 
with the music; repeat all to right. (4) Spring on l.f., 
stretch r. leg to rear and bow. Repeat with r.f. turning to 
right and posing. Repeat the whole, then raise r.f. and step 
forward, same l.f., same r.f., point l.f. and pose. Repeat 
the whole and end with curtsey. 

Saute, Sauter (so-tay). — Jump or hop, the same term applies to both. 

Scalp Dance. — Of the Sioux, Apaches and Cheyennes. Its title 
describes the dance. 

Schottische or Schottisch. — In Bavaria, in 1844, there was danced 
a round dance called " Rhinelander." The music was in 2-4 
but played so slowly as to resemble common time. In France, 
England and Russia it was called " Scottish." The applica- 
tion of this name to the dance is impossible to explain, but 
it was afterwards called " Scottish Waltz." It is now played 
in common time, the complete movement occupying four bars 
or 16 counts. Gentleman's step — waltz position. — (1) Glide 
L.f. to 2nd pos. (2) close r.f. to 3rd rear (3) l.f. to 2nd pos. 
(4) hop on l.f. with r.f. raised rear of l.f. (1 bar.) Reverse, 
moving to the right (1 bar)> 1(1) glide l.f. to 2nd, (2) hop, 
(3, 4) repeat with r.f. (1 bar), repeat last bar ( 1 bar); during 
the last two bars a complete circle or two fcircle should be 
made. Often the last two bars are waltzed, making a com- 
plete waltz movement to each bar. 

Scissor-Step. — {See Sissonne). 

Scopia. — Ancient Greek dance in which the dancers held their hands, 
funnel shaped, to the eyes as though the better to see distant 
objects. 

Seguidillas. — Dancing plays an important part in Spanish national 
life. The Bolero is an important dance and Seguidillas means 
a continuation ; the musi\c for both dances is the same con- 
tinued by the voice. When the Boleros are sung to a guitar 

132 



THE ART OF DANCING. SI 

and castagnette accompaniment they are called Seguidillas 
Boleras. Then there is the Seguidillas Mane he gas for four, 
six or eight persons; this is sprightly in its movements and 
a igreat favourite with the lower orders. The Seguidillas 
Taleadas is a mixture of Cachucha and Bolero. Music 3-4 
tempo. The dancers, are placed in two lines facing each other, 
then they pass across to opposite side, recross, parade and 
promenade. All the Boleros originally consisted of five parts, 

(1) the paseo or promenade which served as an introduction, 

(2) traversias or crossing which is done before and after the 
differencias (3) when a change of steps takes place followed 
by (4) finales and (5) bien parado, a graceful attitude or 
grouping. 

Siciliano. — A graceful pastoral dance of Sicily. Music by flageolet 
and tambourine in 6-4, 6-8 time. It figures at many weddings 
and festivities. In Sicily, the man chooses his partner and 
they dance together holding a hankerchief then he retires. 
A.fter dancing a short solo, she chooses another partner and 
so the dance continues. Suitable music, Purcell's Suite No. 
11. The dance — (1) Step forward; r.f., then l.f. and turn. 
Step to left, step to right and turn. Repeat the whole with 
tambourine accompaniment. (2) Pirouette to L, point r.f.; 
repeat and chasse forward (this occupies 7 bars) point l.f. 
and pose arms raised playing the tambourine for eighth bars. 

(3) Four pas de basques forward and four back, then pirouette 
to right, four pas de basques forward, pirouette to left and 
four back. (4) Point 1. toe four times, then back with r.f. 
and pirouette to right; repeat v other foot. (5) Eight pas de 
basques forward, turning on the fifth, sixth, seventh and 
eighth. 

Sir Roger de Coverley. — Old English country dance. This was 
usually the final dance of the evening and' is still in vogue at 
Christmas in the good old English country houses and causes 
great hilaritv. The dancers are arranged in two lines, gentle- 
men on one side, ladies on the other side. (Fig. 1) The top 
lady and bottom gentleman advance to the centre of the lines 
give right hands, swing round and retire to places. Bottom 
, lady and top gentleman repeat. (Fig. 2) repeat with 1. hand. 
(Fig. 3) repeat with both , hands. (Fig. 4) top lady and bottom 
gentleman advance to centre and pass round each other dos- 
a-dos (back to back) and retire to places. Bottom lady and 
top gentleman repeat. (Fig. 5) This figure is seldom done 
although it is very effective, The top lady crosses round 
second gentleman then between second and third ladies, then 
6etween third and fourth gentlemen, then between fourth and 
fifth ladies and continue the serpentine movement to the end 
of the line. The top gentleman does the same simultaneously 
commencing to pass round the second lady then between 
second and third gentleman and so on until they meet at the 
same moment at the bottom of the lines. (Fig. 6) the couple 
joining inside hands run down the centre of the line to their 
places. C^ig. 7) the same couple again run down the centre 
co the bottom and rajse both hands high, simultaneously all 
the other dancers make a quarter-turn facing the top. The 

133 



SI PRONOUNCING DICTIONARY OF 



couple who will now be top turn outward and, all the others 
following, ru'n to the bottom ot the room, take partner's 
hand and passing under the upraised arms run to the top, all 
the others following. Couple No. 2 will now be No. 1 and 
so on, tile previous top couple beingj now at the bottom. 
Repeat from fig. 1., ad lib. 1 

Sissonne (sis-sonn). — (See Ciseaux). 

Soubresaut (soo-br-so). A sudden leap or start. Glide one foot 
forward to the rear or to the side, raise the other in any direc-. 
tion and jump on the foot which is on the ground. It is a 
jump executed on one foot or hopping. 

Soutenu (soo-ter-noo). — Supported or sustained. The stepping foot 
which receives the weight of the body is followed by the other 
stretched foot in a dragging manner and remains in the first, 
or moving sideways to the second position in the air, to 
procede then to the second step wfaen the other foot goes 
through the same dragging process. 

Space. — In a ballroom, each couple should have 4 feet of the length 
and 4 feet of the breadth. In a hall 36 by 24, accommoda- 
tion is provided for seating 9 couples on each long side and 
6 couples on each broad side or 30 couples in all. More than 
these will crowd the hall. Twenty couples would require a 
hall of 384 square feet, say 24 by 16 or its equivalent, etc. 

Stage=Dancing. - (See Theatre). 

Sun=dance. — On the occasion of a young Sioux Indian being admitted 
into the ranks of the braves, this dance is executed, during 
which the newcomer undergoes the most frightful tortures, in 
order to test his efficiency as a warrior. 

Sword-dances. — Of Scotland and Northern England. Dances per- 
formed on crossed swords. For full descriptions see " Sword 
Dances " published by Novello & Co., London. 



Tacquete or Taquete (tahk-eta). To stamp on the points of the 
foot. The arms for this should be in 1st position. 

Talonne (tahl-lonay). — Tap one heel against the other without dis- 
placing the soles which should serve as pivots for turning the feet 
in and out. 

Tambourin. — Many dances of Southern Europe and Central America 
are accompanied by the dancer's beat of this instrument. 

Tango or El Tango (tahn-go) — This dance was originally Cuban, 

whence it passed to Spain then to the Argentine Republic, 

where it became the popular dance of the Gauchos (cow boys), 

who danced it in couples with a virility and realism which 

134 






THE ART OF DANCING. TA 



are the real features of the steps. Imported a short while ago 
into Paris by a few young Argentines its licentious character 
pleased the tastes of the habitues of the cafes of Montmatre. 
The French dancing" Masters modified it so that it should con- 
form more with our ideas, and With fixed rules and a regulated 
type of music, the Tango became popular with a world-wide 
reputation. The Spanish and Argentine Tango have nothing 
in common with the Parisian Tango, only the music presents 
certain analogies which is natural, as the dances have a com- 
mon origin. The dance and music combined are very alluring 
and merit the closest attention. At the first accents of the 
orchestra, all lassitude disappears, new life seems to circulate 
within the dancers, new ardour seems to give them the zest of 
new youth. It is an exquisite movement which pleases the eye 
and enchants ffhe spirit and senses, and the dancers for the 
time dwell in the domain of dreams. 

The Tango Argentine is composed of twelve steps: (i) 
El paseo [la promenade); (2) El marcha {la marche); 
(3) El medio corte (le demi coupe); (4) El corte {le 
coupe); (5) La media luna {la demi lune); (6) El chase 
{les chasses); (7) El cruzado {les croises); (8) El ocho 
argentino {le huit argentin) ; (9) El Rueda {la roue) ; (10) 
El frottado {le frotte) ; (11) El abanico {Veventail) ; (12) 
El molinette {le moulinet). These steps require precise 
explanations for the pupil to dance, the Tango cannot, there- 
fore, t>e learnt from any printed description, but must be 
studied under a properly qualified teacher. 

Taper (tah-pay). — To put down the foot with energy. Stamping. 

Tarentelle.- National Neapolitan dance; (he name is attributed to 
the spider tarantula, the only cure for whose poisonous bite 
was to dance and dance until the poison was eliminated. 

Ta=Tao (tah-tah-o).— (See separate sheet). 

Tempete la. An obsolete country dance. Was danced in lines of 
tour facing each other. 

Tempo (tahm-po). The musical time occupied by each step. Also, 

the counting of the beats in each bar of music, as 2-4 tempo 

(two in the bar), 3-4 tempo (three in the bar), 6-8 tempo 

(six in the bar), common or 4-4 tempo (four to the bar). Also 

che length of time occupied by each beat, this is usually 

Written as so many beats of crochets, quavers or minims as 

played per minute and timed by a pendulum attached to 

clockwork, known as Maeltzel's Metronome, and written M.M. 

50, M.M. 60, M.M, 70, as the case may be, meaning 50, 60 or 

70 beats per minute. The following tempo table should be 

studied:— Waltz d M.M. 72 ; Galop d M.M. 76 ; Polka d M.M. 

104 ; Redowa d M.M. 60 ; Schottische d M.M. 76 ; Mazurka M.M. 

^6; Quadrille J M.M. 104; Lancers J M.M. 104; Varsovienne d 

M.M. 54 ; Court Quadrille J M M. 76. 

Temps itahm).-A syllable or part of a step. Example— a pas de 
basque consists ot three temps. 

u »35 



TE 



PRONOUNCING DICTIONARY OF 



Tendre (tahndr). — To stretch. The opposite of plie. 

Tendu pas (pah tahndoo) or Zephyr). — A stretched step. Example- 
stand r.f. raised to 4th forward elevation. (1) r.f. coupe 
dessus, making l.f. come to 4th rear. (2) hop on r.f. during 
which the stretched l.f. goes to the iorward 4th elevation 
lightly touching the floor when passing r.f. 

Terre-a-terre (tehrah-tehr). — A gliding style of dancing, with 
small steps connected with each other lightly gliding on the 
floor, in contrast to the lifting of the foot (en l'air). In ball- 
room dancing steps terre-a-terre are decidedly in greater use. 

Tetara. — Greek tragic dance by four persons with legs and arms en- 
twining in cadence. 

Theatre. — The basis of modern threatrical dancing undoubtedly owes 
its origin to the labours of l'Academie Nationale de Danse de 
Paris, founded by Louis XIV in 1661. (For the names of the 
Academicians see " Academy "). A good teacher of theatrical 
dancing should have an intimate knowledge of the preparation 
for and construction of ballets and of the plastic art; he 
should be prepared to illustrate every step employed in the 
dance; he should be a master of music; he should have con- 
trol of language; he should be acquainted with the history, 
costume and lives of all peoples; he should possess imagina- 
tion, inspiration, judgment, a good memory, inexhaustible 
patience and perfect taste. All these qualities, and a lew 
others, are indispensable for a teacher of ballet. 

Theatrical dancing is a very difficult art acquired only 
after long and arduous study and practice under the direction 
of a capable teacher. Those pirouetts and other movements 
which charm us have cost the dancer many weary years of 
incessant labour. Unless the pupil is prepared to persevere 
and surmount all obstacles little or no progress can be made. 
The teacher must constantly give words of encouragement. 
Seven or eight years of age is not too young to commence 
instruction, the limbs are then pliable and may be moulded 
for dancing purposes. 



Terms most in use during the lesson: 



ABAISSER 

AILES DE PIGEON 

ASSEMBLE 

ATTITUDE 

BAISSER 

BALANCE 

BALLONNE 

BALLOTTES 

BASQUE (pas de) 

BATTEMENTS (grands and 

petits) 
BATTRE 
BATTU 
BOURREE 
BOURREE (pasde) 



GLISSE 

HOLUBIEC 

)ETE ASSEMBLE 

1ETE EN TOURNANT 

JETE (pas) 

JETE KELEVE 

LEVE (pas or temps) 

MARC HE (ordinaire or mili- 
taire) 

OPPOSITION 

PAS COURUS 

PAS SUR LES POINTES 

PI EDS (ferme, ouvert, en de- 
dans or en dehors) 

PIROUETTE 



136 



Part XVIII. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. 



TH 



BERCEAU 

BRISE dessus, dessous 

BRAS (5 positions) 

BRISE, DESSUS, DESSOUS 

CABRIOLE 

CHANGEMENT DE TAMBE 

CHANGEMENT DE PIED 

CHANGEMENT DE TALON 

CHASSIS 

CISEAUX 

CONTRETEMPS 

COUPE, dessus, dessous, demi- 

coupe* 
DEBOITE 
DEGAGfi 

DETOURNE OR DEROULE 
DEVELLOPPE 
ECART EN LAIR OR A 

TERRE 
ECARTE (temps) 
HXHAPPE (temps) 
ELEVE, MARCHE 
ELEVER on i or 2 feet 
ELEVfcS (pas) 
ELEVATIONS 
EMBOLICS 
EN HAUT 
EN L'AIR 
EN TERRE 
EN TOURNANT 
ENTRECHAT 
EPAULEMENT 
FLEURET 
FOUETTfi 
FRAPPE 
FROTTE 

GARGOUILLADE 
GLISSADE 



( ist, 2nd, 3rd, 4th, 



PLIE 

PORT DES BRAS 

PORTER 

POSITION 

5 th) 
RAMASSfi 
RELEVE 
REPEAT 
RHYTHM 
RIGODON or SISSONNE 

DOUBLE 
ROND DE JAMBE (dessus, 

dessous, etc). 
SAUT DE CHAT, BOND 
SISSONNE DETOURNE 
SISSONNE RELEVE (pas) 
SISSONNE (temps) 
SOUBRESAUT 
SOULEVE 
TACQUETE 
TAPER 

TEMPS DE CUISSE 
TEMPS DE L'ANGE or 

PLANER 
TENDRE 
TENDU (pas) 
TKRRE-A-TERRE 
TETE (the head, 5 positions, i.e., 
right, left, forward, backward 
and fixed) 
TIRE 
TOM BE 
TORTILLER 
TOUR EN L'AIR 
TOURNER 
TRIOLET 

TROT DE CHEVAL 
ZEPHVR (pas de) 



The daily practice at first should not exceed one-and a- 
half hours. 

rst. Twenty minutes' bar practice. The opening and 
bending of the feet and legs in all positions on the ground 
and in the air. 

2nd. Thirty minutes to exercises in adage, aplomb, and 
pirouettes of every description. 

3rd. Twenty minutes to changements de pieds, practice 
on the points and the various battement steps. 

4th. Twenty minutes to enchainements. 

In all dancing schools there should be on the walls 
pictures or blackboards on which are represented positions 
of the body, of the legs and arms in opposition, of certain 
geometrical lines, of perpendiculars, horizontals, obliques, 
right angles, obtuse angles and acute angles. 



137 



TH PRONOUNCING DICTIONARY OF 



The teacher must demonstrate each step for the imitation 
ol the pupil, who must endeavour to make a faithful repro- 
duction of the teacher's movements. Care must be taken not 
to over-fatigue the pupil who occasionally needs rest as well 
as the teacher. 

In the class room, there should be what is called a " bar.' 
This is a round pole (which can be easily grasped) placed 
horizontally round the room, at a height of from 36 to 40 
inches from the floor (on supports) and standing about nine 
to twelve inches from the wall and parallel to it. In all 
practices, the pupil stands sideways grasping the bar with 
the right hand for all movements with the left leg and with 
the left hand for movements with the right leg. Any number 
of pupils may practice simultaneously by facing in the same 
direction. The exercises of the legs, arms and body should 
never be interrupted; the dancer who misses the exercises 
for a day cannot recover what has been lost, and he will lose 
some 01 the force and agility acquired after so much labour. 
In the exercises, the pupil must work with both legs alike 
that they may get equal force, taking care of the carriage of 
the body and the arms in the attitudes and arabesques making 
them with perfect aplomb, equilibrium and grace. He must 
become vigourous without angularity, rigidity or stiffness, that 
the cuts and crossings of the entrechat may be clean and 
sharply defined. He must acquire a light, easy aerial eleva- 
tion, lightly skimming the ground as though the feet are 
tenderly kissing it. 

The student must first be well grounded in the five 
positions of the feet and arms (w;ith their variations) after 
which the exercises may be proceeded with. Repeat all the 
exercises several times, then the same with the other foot. 

POSITIONS DES BRAS (positions of the arms) as taught 
at the " Paris Opera School." 

1st Position. — The two hands forward with arms rounded 
at the height of the waist. (Fig. 5, but slightly higher). 

2nd Position, — The arms outstretched horizontally at the 
side at the height of the shoulder, parallel to the feet which 
should also be in the 2nd position (Fig. 1.) 

yd Position. — The r. arm half -rounded {demi-arondi) at 
the height of the waist (1st pos,); the 1. arm in an attitude 
forming a half-circle over the head (Fig. 7) ( d emi-coiironne) . 
The arms change their positions when l.f. is placed before r.f. 

4t/t Position. — En demi-bras. — The two arms rounded in 
front of the body, the elbows elevated, the fingers almost 
touching at the height of the pit of the stomach. This position 
is generally employed for the commencing and finishing a 
variation. 

^th Position. — The two arms are aloft, the elbows rounded 
elevated, the palms down and fingers grouped — the palm 
should be turned inward, that is, the back of the hand is 
towards the ceiling, the arms forming a couronne (cro7on) 
(.fig. 7). This pose assumes the form of a lyre and is known 
as the " lyre pose." 

138 



THE ART OF DANCING. TH 



DERIVATIVE POSITIONS OF THE ARMS. 

ist Position. — En opposition. — One arm is put forward out- 
stretched the other the same to the rear. In this position 
equally one arm may be held aloft while the other is directed 
to the ground. 

2nd Position. — Double bras.— One arm across the chest, 
the hand carried at the height ot the shoulder — the left 
shoulder for the right arm and vice-versa, the other arm a little 
higher than the 2nd elementary position, the palms of both 
hands directed to the same side. 

3rd Position. — Bras convexes. — One arm in the 4th ele- 
mentary position and the other in demi-couronne (Fig. 7)- 

4th Position.— One arm in 4th. the other in 2nd elementary 
positions. 

The Hand should always be held classically, the fingers 
grouped so that the thumb touches the points of the two 
middle fingers very lightly, the little finger hanging loosely, 
the forefinger pointing slightly forward: all naturally, without 
force. 

POSITIONS OF THE BODY AND HEAD. 

1 st Position. — The body or head is normal. 

2nd Position.— -The body or head inclined to one side or 
of one to the other. 

3rd Position— The body or head turned to^the right or 
left: this position is called " epaule ou de profit" 

4th Position. —The body or head leaning forward. 

$th Position.— The body or head backward. 

It is indispensable for the pupil to go from any one 
position to any other without hesitation. Once they are known 
separately, they can be combined. Example :— Feet and arms, 
both in 1st pos. ; arms and feet in 2nd pos.; 5th of feet, 
3rd derivative of arms; 5th of the body and feet and 3rd 
elementary of arms. Thousands of such combinations can be 
made and the study of them is very interesting. 

Exercise I. Degage on the 5th to the 2nd position. 
Feet in 5th pos., arms extended sideways level with the 
shoulder in 2nd pos. Glide the point of r.f. to 2nd pos. the 
toe down and heel raised without moving the left toot nor 
moving the arms. Draw r.f. to 5th front, then 2nd, then 5th 
rear. 

Exercise 2. DeMI-ROND DE JAMBE k TKRRK FROM 1ST POS. 

Heels touching in 1st pos., the r. arm in 2nd pos. (tig. I), l. 
arm in 4th pos. Glide the point of r.f. to 4th forward, then 
to the 2nd at the side and continue to 4th rear and finish with- 
out pause in 1st pos. Do not forget to change all arm positions 
when changing the exercises with the other foot. 

Exercise 3. Degage a la demi-hauteur.- Feet in 1st pos., 

-arm in 2nd pos., other hand grasping bar Rise on the r. 

points, the toes only on the floor, heels well raised with the 

139 



TH PRONOUNCING DICTIONARY OF 

weight on r. toes. Stretch out the raised 1. leg to the 2nd pos. 
at the side, the toe forced pointing downward. On returning 
the loot, bend the 1. knee and pass the heel (toe pointed well- 
do wrt) close to the r. instep, the 1. knee also slightly bent — as 
in a pirouette — and continue (Fig. IX). 

Exercise 4. Rond de jambe en l'air.— Feet 1st pos., 1. arm 
2nd pos., grasp bar with r. hand. Rise on r. points, raise 1. 
heel and stretch out the leg well-raised to 4th forward, slowly 
move it round, still outstretched, to 2nd pos., then, without 
interruption to 4th rear, thus, the leg at the same height 
describes a half-circle commencing forward and finishing rear 
as in exercise 2, and regain 1st pos. 

Exercise 5. Plie in all 5 positions. — Feet 2nd pos. (fig. 2) 
arms 2nd pos. (fig. 1). Bend the knees (fig. 8) outward, the 
6ody upright. To complete the plie, bend more, so that the 
thigh will come to the height of the knees. Practice in all 
positions, with the bar and without. 

Exercise 6. Les pointes. — Rise on the points in all positions. 

Exercise 7. Grands battements. — The feet in 5th, arms in 
2nd positions. Raise the left heel, bending the ankle-bone 
and raise the leg to the height of the other knee, to 2nd 
elevation (count 1). Bring sharply to 3rd or 5th rear (count 
2). Raise leg again (1), bring to 3rd or 5th front (2). Repeat 
from 4th front elevation and from 4th rear elevation. Petits 
battements . — These are made in exactly the same way but the 
point ol the foot remains on the floor for count 1 . 

Exercise 8. Developpes en attitudes differentes 
(Adage). — Feet in 5th, arms in 2nd positions. Slowly raise 1. heel 
and unfold the leg until it is fully stretched out to 2nd 
elevation level with the knee, or higher; the 1. arm goes over 
the head in a demi-couronne, r. arm remaining in 2nd. Then 
return the leg to 5th pos. 

Exercise 9. Develloppe to 4TH position. — The arms rounded 
over the head (en couronne) the left leg is developed to fourth 
forward elevation and returned to 5th pos. 

Exercise 10. Develloppe to 4th crossed. — L. arm demi- 
couronne, r. arm in 2nd. Develop the r. leg to crossed 4th 
forward elevation; also 4th rear. 

Exercise 11. First open attitude in 4TH rear of r. leg, 
R. arm en couronne, 1. arm in 2nd pos. and the body to the 
right. 

Exercise 12. Second attitude crossed to 4TH rear of 
r. leg. — The body is a little forward, r. arm en couronne, 1. arm in 
2nd pos. 

Exercise 13. Arabesque ouverte. — L. leg 4th rear ; bust 
inclined forward; r. arm stretched out forward; 1. arm to 
rear; r. arm and 1. leg forming a straight line; the body rests 
on r. foot. 

Exercise 14. Arabesque croisee. — The same as last, the bust 
must not, however, incline forward so much. 

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THE ART OF DANCING. TH 

Exercise 15 Pirouette on the cou-de-pied. — Position, 2nd 
plie, I. arm in 2nd, r. arm in 1st. Make a turn on the point of 
l.f., placing the point of the r, foot over the 1. instep, the arms 
in repose. 

Exercise 16. Pirouette a la seconde en l'air.— Position, 
same as the last, arms in 2nd. Turn on l.f . in making a batte- 
ment in the 2nd with r.f . 

Exercise 17. Pirouette on the point. In 5th foot position 
(fig. vi). In this place, rise on the points in 2nd (fig. 3), 
recover to 5th position in a single spring; then rising on the 
point of r.f., placing the point of l.f. over the instep and the 
arms en couronne, pirouette on the point of r.f. 

Exercise 18. Preparation for the pirouette in 4m posi- 
tion, feet in 4th position ; knees slightly bent ; right arm 1st 
position, 1. arm 2nd position. In this position make a pirouette 
to the right, either on the instep or in the seconde or en arabes- 
que or reversing; throw 1. arm forward touching the right, the 
two hands in 1st position, and make a turn to the right. 

Exercise 19. Pirouette renversee (Pirouette backward). — 
Position same as the last, only the bust inclined backward. In 
commencing the arms are en couronne and at the finish are in 
the 2nd position. 

Exercise 20. The ^th on the points. (Fig. VII). To 
arrive at this position, the feet must be flat in 5th position, and 
the arms in repose. Bend the knees lightly, then raise the heel 
with a little upward spring to rise on the points, the legs very 
straight, the arms en couronne ; then return to 5th ground posi- 
tion and repeat several times with either the right or left foot 
in front. 

After having spent a considerable time in acquiring these 
preliminary positions and movements until they can be done 
with ease and aplomb, they may be practised rhythmically, 
that is, to music. 

The principal study for the legs is to acquire a complete 
outward turn of the hips, knees and feet; without this, grace 
is hopeless (See all the figures). 

Plies (bends, fig. viii.Q may now be made in every position, 
great care being taken to keep the heeh on the floor. Arms in 
2nd position. Knees should be forced backward. 

Study of the body. With the exception of certain attitudes 
and arabesques, the body should always be perpendicular 
(aplomb) and straight (droit) so as to throw the chest forward. 
The head should not remain fixed and immobile but should 
slowly incline to one side according to which side the eyes 
are directed ; it must be kept high, countenance pleasant and 
expressive, shoulders down. The whole body must be farm 
and rest well but lightly on the hips which must never be 
agitated. 

Centre of gravity. The dancer must always maintain the 
centre of gravity on the line of support, that is on the axis ot 
the legs resting on the ground in the attitudes. In the arabes- 

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TH PRONOUNCING DICTIONARY OF 



ques, the centre of gravity is not so placed because the body 
bends forward, backward or to the side. 

Simple position of the body (fig. i.) 

Epaulement and opposition of the body (fig. iv. vi.) 

Study of the Arms. The dancer must attach special im- 
portance to this branch of the art. It is the most difficult of 
all, and upon it chiefly depends the grace of the dance. The 
study may be divided into three parts, (i) positions, (2) op- 
position, (3) port de bras. Opposition is the contrast between 
the arms and feet. 

The elbow and 7vrist must never be bent to form an angle, 
which is extremely ungraceful. They must be well-rounded 
with the arm {arrondi) so that the elbow and wrist become 
almost imperceptible in the general curve. Few dancers dis- 
tinguish themselves in their arm movements, they imagine 
themselves perfect with a few brilliant movements of the legs — 
what a mistake! how much more brilliant would their dance 
appear with the appropriate graceful arm movements. 

Arms in 2nd position (fig. i.) 

Arms in opposition (fig. vi.) 

Arms arrondi over the head en couronne (fig. vii.) 

Demi-bras (fig. ii.) 

Opposition of demi-bras (fig. iv.) 

The student may now pass to the following practise: — 

(1) Grands Battements. Standing in 5th position, stretch 
out one leg horizontally (fig. ix.) and let it fall back again to 
the 5th position. These should be practised forward, back- 
ward and sideward. 

(2) Petits battements. — The same as the last but the toe 
oi the active foot does not leave the floor in passing from the 
2nd to 5th position. 

(3) Petits battements sur le cou-de-pied (on the instep). — 
The feet in 2nd position. The l.f. remains entirely on the 
ground and the point of r.f. only skims the ground in bring- 
ing either front or rear of the left with the heel raised and 
toes down. 

Rond,s de Jambe. — (i) Rond de Ja?nbes en dehors (out- 
ward). The feet being in the 2nd position, the point of r.f. 
must, in gliding on the ground, describe a quarter-circle out- 
ward to the 4th rear, then bring to 1st position, carry it for- 
ward to 4th and make an outward half-circle to 4th rear; the 
l.f. must be steady. 

(2) Ronds de Jambe en dedans. — The foot describes an 
inward circle; the inverse of the last exercise. 

(3) Rond de Jambe en Pair. — The same as before, but 
while standing on one leg the other makes the circles in the 
air. 

Entrechats. — These are the most beautiful steps in danc- 
ing, if they are executed with grace and agility. They consist 

142 



THE ART OF DANCING. TH 

of one or more rapid crossings of the feet while the dancer 
is in the air, then coming down in 5th position or some other 
attitude. The prettiest are the Entrechats a six and a six 
ouvert. 

PIROUETTES require much and long hard practice. They 
consist of a turn in place on the point of the foot with perfect 
equilibrium. The dancer must have perfect aplomb before 
commencing a pirouette; he must place the arms in such a 
way as to acquire a force of propulsion in turning (as fig. 
viii. but with the r. arm brought across the chest) and at the 
end must step with aplomb and assurance. 

Danseur serieux, danseur demi-caractere, danseur 
COMiauE. Those who are destined for serious dancing must 
possess a good figure and pleasing form. The demi-caractere 
dancer must have an average figure, slim and elegant. The 
comic dancer must be vigourous and thick-set and have a 
moderate figure. 

Among dancers there exist three classes: — 

(1) The elegant and straight, with perfect limbs (fig. i.) 

(2J The bow-legged, the inside of the legs forming a 
circle (see "bow-legs.") 

(3) The knock-knee 'd whose knees touch and the feet are 
open. 

Thermestries.— Ancient Greek. With arms bare to the shoulder 
and handling long swords, the dancers run, attack one another, 
flee and return to the attack simulating victory and defeat. 

Tire-Bouchon (pas) (teer-boo-shaw), a corkscrew. Stretch the r. 
leg to 2nd elevation, the body turned to the left in such a man- 
ner that the r. heel points up and the toe down. Hop on l.f. 
at the same time, the r. leg pivots on the knee and hip de- 
scribing a circle in the air while the body turns to the right, 
the r.f . will finish with toe pointing downward in the air. Put 
r-.f. down, raise l.f. and repeat with other foot. 

Tombe (pas) (tombay) or ketombe. A fall. {See Saute). After a 
spring, hop or jump {saute), there is naturally the alighting on 
one or both feet— this is tombe. The pas tombe is made by 
(1 j l)end both knees, (2) hop on r.f. and stretch l.f. to 2nd 
elevation, (3) cross 1. leg rear of r. leg, drop on it and raise 
r. leg. 

Tonibe-Pointe — Alter executing the preceding, finish by pointing the 
r. toe up with the heel on the ground, then assemble. These 
movements with appropriate play of the arms make good comic 
steps. 

Tom=Tit— Bv Crompton, 1898. For one couple. 

Tonadillas.— Very lively passionate Spanish dance of the Bolero type. 

Tordion.— Old dance by Coquillart of Rheims, date 1450. i n 3*4 tempo. 
It had some resemblance to a slow gaillarde and is mentioned 
as such in Feuillet's " Choregraphie." 

H3 



TO PRONOUNCING DICTIONARY OF 

Tortille* (taw-tee-yay). — Twisted, wreathed. A turning step to and 
iro in which it differs from tourne. It consists of two turns 
and is therefore a double or compound movement. Stand in 
ist position, (i) Twist heel of r. foot outward, (2) put r. 
heel down and turn toe out, (3) turn toe in, down, (4) pivot 
r. sole and bring heel back to ist position. It can also be. 
made simultaneously with both feet. 

Tour (toor). — A round movement whether executed in place or moving 
away from it. It is correct, therefore, to speak of a whole, 
half or quarter tour. 

Tour de corps. — Turn of the body. 

Tour en I'air (toor-ahn-laik). — Turn in the air. As the title sug- 
gests this is a complete turn, or several turns, during an 
upward spring off both feet, in the air. After bending both 
knees from 2nd position, spring upward vertically, turning 
while in the air, and alight on both feet assemble or in atti- 
tude. To obtain this result, the student should first practice 
a quarter, then half, then three-quarter, finally a complete turn 
or more. The arms, before commencing, should be at the side 
opposite to that on which the turn is made. Example, to turn 
to the left; bend both knees and bring both arms outstretched 
to right side ready to swing them for the necessary momentum 
for the turn. 

Tour des mains (toor day meh). — Turn of the hands. Holding 
partner's hands while walking round in a circle. Thus also, 
tour de main droite, holding right hands; tour de main gauche 
holding left hands; tour des deux mains, holding the two 
hands. These movements are made facing each other. 



l & 



Tourne (toor-nay). Turning, A movement by which the whole leg 
is turned inward or outward. It is impossible to turn the foot 
without moving the rest of the leg. Se tourner is a turn of the 
body which can be done without any movement of the leg. 

Tournure.— When presentiug a hand to partner, one naturally turns 
the body to look at the person, this is called tournure. 

Tourniquet. — (See Moulinet). 

Traktros. — Ancient Greek military dance. 

Tragic Dances. — Greek dances were of three kinds -.—Tragic, Comic 
and Satirical. The Tragic dances were noble, grave and majestic. 

Traverse (trah-ver-say). — See Quadrille, fig. 2. To re-cross. 

Trenchmore. — A popular dance in 6-4 tempo, in the sixteenth and 
seventeenth centuries. The earliest mention I find of it occurs 
in a Morality play by William Bulleyn in 1564, and the lastest 
in 1728. The figures and musical notes may be seen in the 
early editions of Playford's "Dancing Master" London, 1652. 
The directions there given for the dance are as follows: — 

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Part XIX. 



TECHNICAL ENCYCLOPEDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. TR 

" Trenchmore ; Longwayes for as many as will : Lead 
up all a D. (double) forwards and back three times, cast 
off, meet below, and come up, do so three times. First Cu. 
(couple) go down under the second Cu. (second couple's) 
arms, the three come up under the first ; do this forward 
and back twice or thrice .... First man set to 
second W. (woman) then to his own, then to third W. then 
to his own, then to 4th W. then to his own, and so to all 
the W. (women) and men; then your W. do the same; 
then arm them as you set to them, arming your W. then 
your W. as much. 

Lead up again, then turn your W. with your right hand 
and the 2nd with your left, your W. following as you turn 
till you come to your place, then your W. do the same, you 
following her, the rest doing these changes. 

The music is a lively sixteen bars in six-eight time. 

"Trenchmore " (the meaning of which we have to seek) 
was, however, more particularly the name of the dance than 
the tune. The dance, in fact, was performed to various 
tunes like our modern dances,. In proof of this I quote 
from Taylor's "Navy of Land Ships," 1627. " Nimble- 
heel'd mariners (like so many dancers) capering in the 
pompes and vanities of this sinful world, sometimes a 
Morisco, or Trenchmore of forty miles long, to tune of 
"Dusty, my deare," "Dirty come thou to me,'' "Dun out 
of the mire," or " I waile in woe and plunge in paine; '' all 
these dances have no other musicke." 

In the Morality play by Bulleyn in 1564 is the follow- 
ing description of an old Minstrel. "Sir, there is lately 
come into this Hall, in a grene Kendale coat, with yellow 
hose, a bearde of the same colour onely upon the upper 
lippe: a russette hatte, with a great plume of straunge 
feathers and a brave scarfe about his necke in cut buskins. 
He is playing at. the trea trippe with our host sonne; Ije 
plaieth tricke upon the gitterne (ancient musical instru- 
ments), and daunce Trenchmore and Hele de Gie and 
telleth news of Tera Florida." 

Trenchmore is also mentioned in Stephen Gosson's 
" School of Abuse " ( 1 579), and in Heywood's " A Woman 
killed with kindness" (1600). In "The Island Princess," 
6y Beaumont and Fletcher, act v., one of the townsmen 
says "All the widows in the town dance a new Trench- 
more," and in the comedy of "The Rehearsal,'' the earth 
sun and moon are made to dance the Hey to the tune of 
Trenchmore. In part II. of Delaney's "History of the 
Gentle Craft " £1598.) he says, "And in this case like one 
dancing Trenchmore, he stamped up and down the yard, 
holding his hips in his handes." Burton in his "Anatomy 
ot Melancholy" (1621) says of Dancing, "Who can with- 
stand it; be we young or old, though our teeth shake in our 
heads like Virginal Tacks, or stand parallel asunder like 
the arches of a bridge-there is no remedy; we must dance 
Trenchmore over tables chairs and stools. 

H5 



TR PRONOUNCING DICTIONARY OF 

The character of the dance as performed at that period 
may be gathered from this amusing quotation from 
Seldon's "Table Talk" (1689). " Th e Court of England 
is much altered. At a solemn dancing first you had the 
grave Measures, then the Corrantoes and Galliards, and 
this is kept up with Ceremony; at length the Trenchmore 
and the Cushion Dance, and then all the Company dance, 
Lord and Groom, Lady and Kitchen-maid, no distinction. 
So in our Court in Queen Elizabeth's time, Gravity and 
State were kept up. In King James's time things were 
pretty well, but in King Charles's time, there has been 
nothing but Trenchmore and Cushion Dance, omnium 
gatherum, tolly polly, hoite cum toite." 

Trenis (see quadrille, fig. v.) 

Trepignes (temps). The dancer stands on the two heels, feet apart. 
In this way he advances, retires, or turns at his choice. The 
arms should be crossed in front or the hands on the hips. 

Trevisane. — Italian dance, date 1752, 3—4 temoo quick. The couple 
hop twice on each, foot, then giving right hands make a tour 
des mains and repeat with left hands, the step being the hop. 

Trihori. — Ancient French dance, date 1589, mentioned by Arbeau. 
In 2—4 tempo. Three pas marches sideways or forward, then 
hop and assemble. Rise (eleve) on l.f. then on r.f . and again 
on l.f . ; repeat the pas marches, hop and assemble, and for the 
second time instead of eleves make a berceau. It was danced 
in groups of three dancers. 

Triomphante. — Old French contredanse composed by Blasis. In the 
form of a quadrille the dancers performed some of the now 
well known figures of that dance. 

Trot de Cheval, pas (tro der sher-vahl). — Horse trot. For Jigs, 

Hornpipes, Russian dances, etc. Hop on l.f. raising the r. 
knee forward bent, then pass r.f. rear of l.f. Repeat with 

other foot. To obtain the sound of the trotting horse is the 
object of the step. Thus, the foot resting on the ground, is, 

during the hop, beaten by the other foot. The step can be 

made forward, backward or in place. 

Two-Step. — A modern dance but now almost obsolete. It was done 
to 2 — 4 tempo, by chasse forward, backward or turning. 

Tyrolienne. — To music in 3—4 tempo. Partners stand side by side. 
Gentleman's r. hand holds lady's I. hand. Commence inside 
foot. Description of gentleman's step, lady does the counter- 
part. 

Bar 1. (1) R.f. forward pas marche, (2) Repeat l.f., 
(3) Pause. r 

The weight of the body will be on rear foot. The arms 
should be carried forward and with the backs half-turned, 
look at each other. 

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THE ART OF DANCING. VA 

Bar 2. (i) R.f. to 4th rear and degage, (2) L.f. to inter- 
mediate 3—4 position forward and arms to rear, (3) Pause. 

Bars 3, 4, 5, 6. Polka, Polka Mazurka or Mazurka. 

There are many Tyrolean dances usually accompanied by 
the "yodling" ot the dancers but all are more or less alike. 



Valaque.— Ancient Roumanian dance, date 1392. The couples formed 
in two parallel lines, men one line, women the other line. The 
dance was:— One step forward, one step back, turn to the right 
on the sole of one foot, repeat to left, then beat or lightly 
stamp while clapping hands in time, turning; they change 
places still beating hands and feet. Repeat ad lib. 

Valse pas db.-(i) Glide r.f. forward, (2) glide l.f. forward, (3) r.f. to 
3rd rear, (4) glide l.f. forward, (5) glide r.f. forward, (6) 
l.f. to 3rd rear. These take two bars and constitute Pas de 
valse en avant, or forward. For pas de valse en arriere or 
backward (1) l.f. to 4th rear, (2) r.f. to 4th rear, (3) l.f. to 
3rd forward, (4) r.f. to 4th rear, (5) l.f. to 4th rear, (6) r.f. 
to 3rd forward (two bars). These movements are always 
done in a straight line forward or back. When the lady goes 
backward gentleman goes forward and vice versa, but the 
step is always the same, i.e., commence r.f. to go forward and 
l.f. to go 'backward. This step is also known as Pas du Boston 
and is the common Boston step forward or backward. 

Valse (vahltz) soelled also Waltz. It is claimed that Germany is 
the country of the origin of the Valse and the Germans call it 
their "genuine national dance." There is no doubt that the 
original Valse was " La Volte " which was sometimes called 
"Wolte." The German claim is refuted, and with good 
reason, by the French. Articles by Bouillet, Larousse and 
several Academicians appeared in " La Patrie ' Paris on Janu- 
ary 17th, 1882, and onwards, proving conclusively that the 
vaise or volte was first danced in Paris, in 1 178 or about 600 
vears before the Germans adopted it. That journal says 
" Scholars ruin the legend attributing to Germany the inven- 
tion of the valse. The origin of the dance, which Murger calls 
" le pas de charge de V amour;' is French. The valse did not 
take its birth in Germanv, because from a description in a. 
manuscript of the Xllth century, it was danced for the first 
time in Paris on the ninth of November, 1178. It was then 
already known in Provence as " la volte " and the chant which 
accompanied it was designated .by the title "pallada." It 
came from Provence to Paris, became the mode during the 
Xllth century and was the delight of the Court of Valods.^ 
The Germans afterwards adopted it, and Provencal " volte " 
became the German "walzer." The music and dance are 
described as " en danse, un movement lent sur les deux 

147 



VA PRONOUNCING DICTIONARY OF 



premiers temps de la mesure, et en bref sur la troisieme; en 
musique, deux notes, une blanche et une noire, font une mesure 
en trois temps." {"For the dance, a slow movement on the 
first two beats of the measure, and a brief one for the third; 
for the music, two notes, one white and one black, making one 
measure in three time. ,y ) 

There are many forms of the valse, the most familiar are: — 
valse a deux temps, and valse a trois temps. Mention must also 
be made of "Hesitation Waltz" and "Boston'' (which is varia- 
tion of the pas die valse. The simplest form of the valse 
movement is " PA'S DE VALSE, already mentioned. When 
dancing this with partners, gentleman should invariably go 
backward and lady forward. It can, however, be done turn- 
ing:— Pivot a. hall -circle on counts I and 4 and make steps 2 
and 5 sideways and assemble to 3rd position on counts 3 and 
6 this is the Boston step or pas du boston. 

Valse a deux pas. — (1) Glide l.f. to the side bending. (2) Glide r.f. 
to l.f. and chasse l.f. to side at the same time. 

Valse a deux temps. — This is simply two hops on each foot in turning 
for every bar of 3-4 music. 

Position. In all Valses, the gentleman commences with his 
back to the centre and the lady faces the centre. The lady; 
places her right hand fingers in the upturned palm of the 
gentleman's left hand, her left hand rests lightly on his upper 
right arm, while his lower right arm passes under her left arm 
and " enlaces " her with' the hand at her back at the waist line. 
The gentleman's left elbow should be drawn in against his 
side. 

Valse a I'envers (vahls ah lahnvay). — Valse Reverse. This is 
done by reversing the movements of the feet in the ordinary 
valse. It is, however, important that the movements are made 
in the same line of direction as the ordinary valse, and not the 
wrong way round the room. The gentleman begins with his 
back to tr^e wall, then ( 1) r.f. to the right, (2) l.f. rear of r.f., 
(3) pivot on both soles now facing the wall, (4) l.f. forward 
between partner's two feet, (5) r.f. round, (6) l.f. between 
partner's two feet. This will complete a circle in two bars of 
music. The lady commences on the 4th. step. 

Valse a trois temps. — The stei> is composed of six temps occupying 
two bars of 3-4 music. Lady's step:— Position, facing centre of 
room. (1) Glide r.f. forward to 4th pos., between partner's 
feet, (2) pivot i-6th of a circle on r. side and glide l.f. round 
to 2nd pos., (3') glide r.f. forward between partner's feet. 
These three steps during one bar of music will have completed 
one-half of the valse and formed a half-circle, finishing with 
the back to the centre of the room, (4) glide l.f. to the left, 
(5 1 ) keep weight on l.f. and glide r.f. to rear of l.f., (6) keep- 
ing the weight on l.f., pivot on both soles, finishing facing 
centre; this will take the second bar of music. The body of 
the dancer is turning the whole time, like a joint in front of the 
fire; it follows, therefore, /that for a circle in six steps, the 
body must turn one-sixth circle for each step. Step 5 requires 

148 



THE ART OF DANCING. 



VA 



special care the weight of the body must be on l.f ., and the 
sole of r.f. is placed in rear of l.f. as far back as possible 
without disturbing the weight from l.f- or leaning backward 
(it will be found that the space between the feet wiil be the 
length of one foot); the r.f. must not be too close to l.f. or 
the feet will catch in attempting to pivot for 6 and no pivot 
can be made. The gentleman commences with his back to the 
centre of the room and the steps are the same but in this order, 
4, 5, 6, i, 2, 3. Hence the combined lady's and gentleman's 
steps are: — 1 and 4; 2 and 5; 3 and 6. The majority of 
dancers do not pivot on 6, but simply draw the l.f. to the r.f. 
Each dancer considers the partner as the centre round which 
he or she rotates, hence the r.f. which is nearest the centre 
must describe shorter steps whilst the l.f. which is farther must 
describe long steps. The movements must be done with 
elasticity ease and elegance. For Reverse Valse. The lady 
having simultaneously completed step 3 and gentleman step 6 
of the valse, she will be with her back to the centre and he 
faces the centre; from this point the reverse is commenced 
thus : — 

(1). Lady l.f. forward between partner's feet. 
Gentleman r.f. to side in 2nd position. 

(2). Lady pivot i-6th circle on 1. sole and carry r.f. 
round to 2nd position. 

Gentleman carry l.f. to rear of r.f. 

(3). Lady l.f. forward between partner's feet. 
Gentleman pivot on both soles. 

The partners will now have changed their positions, and for 
' counts 4, 5, 6, they exchange steps, that is, for count 4 the 
gentleman does lady's step 1, while she does gentleman's step 
r, etc. The gentleman guiding, valses as many bars as he 
pleases to the right, reverse, forward or backward, the lady 
must easily follow his lead and she must carefully avoid 
throwing any undue weight on his supporting arm. What is 
known as a " heavy " dancer is due to two causes, first, taking 
short steps with l.f. and second, leaning heavily forward. 

Valse Cotillon (cot-tee-yon).— A square dance for 8 persons 
Stand as for ordinary square dances. The music is a slow 
valse. It is composed of six figures. When properly danced, 
this is perhaps the most beautiful of the square dances in 
vogue. 

Figure 1. 1st couple waltz round the square once, occupy- 
ing 16 bars. 

Figure 2. Change of places. The 1st and 2nd lady 
facing each other-(i, 2, 3,), balance to right (4, 5, 6,), 
balance to left (7 to 12), one valse movement to couple on 
the right with back turned to that couple: repeat this and 
finish in opposite places. This has taken 8 bars. 

Side ladies repeat 8 bars. 
Top gentlemen repeat 8 bars. 

149 



VA PRONOUNCING DICTIONARY OF 

Side gentlemen repeat 8 bars; 32 bars. All will now be in 
opposite places. 

Figure 3. 1st and 2nd couples valse to places (8 bars), 
side couples repeat (8 bars). 

Figure 4. All Valse Chain. — This is a simultaneous move- 
ment lor all the dancers. Face partners and take right hands 
(1, 2, 3,), balance forward r.f. (4, 5, 6,), balance backward 
1.1. (7 to 12), one valse movement forward both commencing 
r.f. (4 bars in all). The gentlemen will now find themselves 
facing the lady on the right, and the ladies facing the gentle- 
man on the left. (Unfortunately, this figure is seldom danced 
publicly in this way; the most common method is for the 
gentleman to seize the lady by both hands, and after a pre- 
liminary shake or two he twists her under his arms; if he 
isn't tall enough some ludicrous scene follows, sometimes 
disastrously to the lady's hair,). Care must be taken in the 
valse movement forward not to maize an all em and or passing 
under the arm; it is a simple forward valse. Repeat with 
next lady and again six times— eight times in all, giving right 
hand each lime. After the eighth time, all will be in places. 
This figure occupies 32 bars. 

Figure 5 Valse Promenade All. — Join r. hands and 1. 
hands crossed over the right. All with a gliding pas ?narche 
(walking step), one step to the bar, i.e., (counting 1, 2, 3, for 
each step ( ), promenade round the square once to the right 16 
steps. (16 bars'). 

Figure 6. Grand Valse All. — All valse round the square 

once to the right making eight valse movements during 16 
bars. 

Valse en cinque temps (vahls ahn sank tahm). — (Under the 
title " Half and Half," this dance was recently claimed by a 
New York teacher as his invention). In 1850 a Parisian 
dancing master published a dance composed of one measure 
ot valse followed by a measure a deux temps. The dance is 
identical with the Halt and Half and both movements are 
incorporated in one bar of 5-4 music. The step is composed 
of (counts i, 2, 3,,) a slow glide forward of l.f., (4) step 
forward r.f., (5) step forward l.f. For the next bar, reverse. 
The movement can be done forward, backward, turning, 
reverse, side by side and many variations. Note that the first 
step is commenced with alternate feet. 

Valie Hesitation.— The principle of this dance is the pause on counts 
2, 3, of the first bar in every valse movement. Thus: — 

( Gentleman pivot on l.f., describing half circle. 
Orie'ba ; Lady glide r.f. forward pivot, describing half 

(. circle. 

r Gentleman do second half of his valse move- 
4, 5> 6, \ ment completing the circle. 
One bar 1 Lady do second half of her valse movement 

( completing the circle, 

150 



THE ART Of DANCING. VA 

The steps can be made going forward or backward in a 
straight line. 

Whether valsing forward or reversing, lady always takes 
step i with r.f., gentleman with l.f. Many variations may be 
introduced, the most common are ' The Butterfly," the 
couples going alternately forward and backward, first the 
lady advances while he retires during a count of 6, then turn- 
ing half-round she retires while he advances. 

The step may be analysed as (i, 2, 3,) pas marche, 
glissade r.f., (4, 5, 6,) pas de valse, which can be done in 
any direction and varied at the taste of the dancer. 

Valse Hesitation. — The Americans claim this dance as having ema- 
nated from New York in 19 12, but an official description was 
published by l'Academie des Maitres de Danse de Paris many 
years before that. The Parisian description is as follows: — 

It is composed of "pas de valse Boston" and " glisses.'' 
Position same as for "Boston." Tempo 3-4. Gentleman com- 
mences forward with right foot, lady backward with left foot. 

(1), One "Pas de Valse Boston " turning a half -turn to the 
right (1 bar). 

Glisse" left foot en arriere for gentleman and the right foot 
en avant for the lady ( 1 bar). 

During the glisse the free foot must be " pointe basse ' 
{pointed low), and must be slowly drawn closer to the other 
foot during counts 2.3.). 

" Pas de Valse Boston " en arriere with right foot for 
gentleman turning a half -turn to the left. Lady the same en 
avant (1 bar). 

Glisse left foot en avant for gentleman, and right foot en 
arriere for lady ( 1 bar). These four bars are repeated ad libi- 
tum, but always the pas de Boston is made with the same 
foot-right foot for gentleman, left foot for lady. 

(2). The steps just described are then made, keeping the 
lady at the side and making a half-turn on the " pas de Valse 
Boston,' so as to follow always the same forward direction. 

Description of change of position. At the commencement, 
the position is that of the Boston, and, during a Boston step, 
the gentleman makes the lady turn to the right a half -turn and 
takes her to his left side; his left arm will then be in front of 
her while the right is still about her waist (1 bar). 

Glisse en arriere for gentleman and en avant for the lady, 
in this same position (1 bar), one pas de Valse Boston with 
half-turn to the left, which then places the lady " face en 
arriere " to the line of direction and the gentleman '* face en 
avant,'' and the right arm of the lady finds itself in front of 
the gentleman. As before, these steps are repeated ad lib. 

(3). Les Pivots. These pivots are made, one to each 
bar. The dancers may pivot twice, three or four times con- 
secutively. To resume the dance it is necessary to make a 
"grand glisse (1 bar). 

151 



VE PRONOUNCING DICTIONARY OF 

(4). " The Back-Bend" or " Renversement en arriere." 

This is perhaps the most graceful movement in the " Valse- 
Hesitation " and we specially draw attention to its close study. 
Having made one movement of number 1 ( 1 bar) the 
gentleman glisse left foot en arriere ( 1 bar), and instead of 
withdrawing en arriere and turning to the left, he sets out en 
avant with a pas de Valse Boston, making her " pivot " towards 
the right. They then resume en avant or en arriere with 
number 1 or 2. The pivot of the lady in the " renversement " 
ls simply the pas de Valse Boston, keeping the left foot almost 
in place. 

Many " fantasies " and variations may be introduced into 
the Valse-Hesitation, but we advise dancers to preserve the 
character and " chic " of the origin of the dance, and not abuse 
them. 

ft will be observed that the Parisian description differs 
from the American version in two important points; first, the 
Parisian version makes the man always commence with r.f ., in 
the American version he begins with l.f.; second, the former 
version makes the hesitation on bar 2. Nevertheless it will 
be noticed that in both versions the Hesitation and Boston steps 
are with the same feet, that is, gentleman always hesitates on 
l.f., the lady on r.f., and gentleman commences pas de valse 
with r.f., lady with l.f. 

Varsovienne. (vah-so-ve-en). — Round dance. Four bars of 3 — 4 
music for 10 movements of the feet. Gentleman's step. 

Part 1. ( r) Glide l.f., (2) draw r.f. to l.f. and raise l.f. 
to the side, (y) hop on r.f. and bring l.f. rear of r,f. (4, 5, 6,) 
repeat 1, 2, 3, with same foot (2 bars). 

Part 2. Pas de Polka Varsovienne. (7) Glide l.f., (8) 
draw r.f. to l.f., (9) glide l.f. to the side (1 bar), (10) raise 
and point r.f. to side and pose on that side, (11, 12,,) retain 
the pose ( 1 bar), repeat the four bars commencing with the 
other foot. In the music there is a clear indication of the 
pause and is sometimes written so that part 2 must first be 
danced either four or eight times, followed by part 1 three 
times, then part 2 once, but the music is an easy guide to the 
parts which must be danced. 

Veleta. — Modern round dance. 16 bars in 3—4 tempo. Partners 
stand side by side, gentleman's r. hand holding lady's 1. hand. 
Description for gentlemen, ladies do counterpart. 

Bar 1. (1, 2, 3,) Pas de valse forward l.f. 

Bar 1. (4, 5, 6,) Repeat r.f. (finish facing partners and 
take both hands). 

Bar 3. (7, 8,. 9,). Pas glisse to left, (7,) glide l.f. to left, 
(8, 9,) draw r.f. to, 3rd. position with degage. 

Bar 4. (10, 11, 12/) Pas glisse to left, finish facing in 
opposite direction and release x. ,hand. 

4 bars (1— 12-)/ ' Repeat whole, commencing r.f. and in 
retrograde direction, i'e., go forward, covering the previous 

*52 



Part XX. 



TECHNICAL ENCYCLOP/EDIA 



OF THE 



Theory and Practice of 

The Art of Dancing. 



THE ART OF DANCING. Vl 



ground and finishing in the starting place. Then take partner 
as ior an ordinary valse. 

2 bars (1-6). One valse movement. 

2 bars (7-12). Pas glisse' to left, twice. 

4 bars (1-12). Two valse movements. Repeat the whole 
ad lib. 

Villanelle. By Oesportes, 1580. — The word means "pastoral poetry " 
or "a dance tune." This dance was to music in 3-4 rhythm. 
It was rustic and gay in character and danced by the peasants 
(the word is derived from the Spanish " vilano," a peasant). 

First part. A couple standing side by side (the lady at 
the right of the gentleman) without holding: they part, she 
with r.f. to the right, he with l.f. to the left. Lady's step:-- 
Plier {bend) 1. leg, sauter {hop) on l.f. while raising the r. 
leg forward, pose r.f. on ground, chasse r.f. by the l.f., 
hop on r.f. crossing l.f. before r.f. the point touching the 
ground. Raise r.f. to rear, chasse l.f. by r.f. and assemble. 
Repeat the whole. 

Second Part. Glide l.f. forward, hop on l.f. while raising 
r.f. to rear, r.f. pas marche, l.f. pas marche, r.f. pas marche" ; 
glide l.f. forward, hop on it, raise r. foot to rear, point r.f. 
to side and bring back point of r.f. close to the point of l.f. 

Virginia Reel — (See Sir Roger de Coverley). It may sui prise some 
to learn that no such gentleman as Roger de Coverley ever 
existed. The dance "Old Roger of Coverley for evermore; A 
Lancashire Hornpipe " is contained in Playford's " Dancing 
Master" (edition 1685). From this, Addison borrowed the 
name " Sir Roger de Coverley " for the articles in the 
" Spectator." The name Coverley is derived from Calverley 
a knight of Yorkshire whose family dates back to Richard I. 
The recent representative of the family, Sir Walter Calverley 
Trevelyan, communicated a note to this effect, and sent extracts 
from Ralph Thoresby's MS. account (1658), of the family of 
Calverley, of Calverley, Yorks. In the United States, the 
dance is known as " Virginia Reel," but in the State of Virginia 
it is danced and known as " My Aunt Margery "; in Scotland 
as "The Mantman comes on Monday." 

Vis«a»Vis (ve-zah-ve). Opposite neighbour; in square dances, the 
persons facing each other. Example: — First lady or gentle- 
man and either second lady or gentleman ; also when partners 
are facing each other, they are standing vis-a-vis as distin- 
guished from dos-ddos which is back to back. (See dos-d- 
dos). 

Vito, el. Andalusia speaks the final word in contrasts of the dance ; 
for pure decorative beauty, variety of expression, intensive 
force, happy contrast of treatment, in short, in the art of the 
dance, who wishes more natural pantomime than is to be found 
in the dances of the Andalusian gipsies. El Vito and Toreo 
Espanol are extremely delicate in mimicry both narrating the 

155 



VO PRONOUNCING DICTIONARY OF 

bull-fight, the placing of banderillas, defence with the cape 
and final despatch of the bull. They combine strong move- 
ment with speed and grace, 

Volta, Volte or Rivolta. (See Valse). The peasantry of Provence 
danced the Volte vigourously during the sixteenth century, 
but mention is made of it being danced in Paris in 1 178. In 
the sixteenth century, it found great favour in France, required 
much dexterity and superseded the Basse dances. Arbeau's 
description shows its similarity to the waltz, but the original 
volte is hardly likely to be revived, for the gentleman made 
leaps and entrechats, lifting the lady high in the air as he 
turned round, so that she came down on the other side. The 
couple first made five steps to left, then five to the rig*ht. Then 
springing on l.f., r.f. raised, made a step forward, a wide 
spring, the feet uniting. Repeat with either foot, the couple 
turning all the time. In " Henry V." Shakespeare says " And 
teach La Voltas high, and swift Corantoes." 



w 

Waltz. (See Valse). 

Waltz Cotillon. (See Valse Cotillon). 

Waltz Menuet. A simple dance. The gentleman stands beside his 

Eartner with right arm round her waist, left hand on the hip; 
er left hand on his shoulder and the right hand hold 
the dress out. Both face forward. Gentleman commence l.f., 
lady r.f. Take four pas marches, counting 3 for each step 
or one step to the bar (4 bars), followed by two ordinary 
waltz movements, holding partners in the usual manner (4 
bars). Repeat ad lib. 

Washington Post. A modern round dance, now obsolete. 



Yatagan. Dance of Turks and Arabs who perform it with naked 
sabres. 



THE ART OF DANCING. ZA 



Zapateado. Spanish Dance, 1820. Music 6-8 tempo. A noisy thea- 
trical dance to castagnette accompaniment. The dancers face 
each other, then turning in place, they knock their heels to- 
gether; they run across to change places going back to back 
(dos-d-dos), they stam f p their feet turning, return to places 
beating their feet against each other. 

Zephir or Zephyr (pas de) also known as Pas Tendu. (See Tendu). 

Zorongo. Spanish, 1841. Music 6-8 tempo. A couple, facing each 
other, clap their hands to the accompaniment of the music. 
First the couple beat each other's hands, then the man slaps 
the woman's hands, followed by the woman slapping the man's 
hands,. Then " enlacing," they make pas marches, to the 
right, to the left, forward, backward and turning. 

Zulma. 1855, Oriental. Music 3-4 tempo. 



THE END. 



ERRATA. 

p 6], — ♦< Dessous " should be under or to the rear. 
" Dessu " ,, over or in front. 



157 



BOOKS ON DANCING- Ancient and Modern. 



The oldest book on dancing is undoubtedly " L'acteur." (The 
Actor'). This is a description of the work which now lies before 
me : — 

P. MICHAULT. Begins [folio i, a] " L'ACTEUR.— Cy com- 
mence la danse des aveugles," (" Here commences the dance of the 
blind.") Ends [fol. 42 a]. Cy finist la danse des aveugles imprimee a 
a genesue." (" Here finishes the dance of the blind, printed in 
Geneva.") Printed in Geneva, 1480, 4-to. Black letter type. 
Four engravings in wood inclusive of that on the title-page repre- 
sentative of " L'acteur " and immediately following that word. 
43 printed leaves: no signatures, catchwords or pagination. 
Printed in long lines in prose and verse, 24 lines to the full page. 

P. MICHAULT. " La danse des aveugles moralisee. 
Nouellment imprimee a Paris." (" The moralised dance of the 
blind. Recently printed in Paris.") Paris, 4-to, 1501. Printed 
in long lines on 24 folios, 38 lines to a page. 

"DANSE MACABRE," or Dance of Death. There are 114 
editions in various European languages, dating from 1484 to 
1892. 

COPLAND, Robert. " Maner of Dauncing of base daunces 
after the use of France and other places." Translated out of 
French into English by Robert Copland. London 1521. This is 
apparently the earliest English work on the subject. 

CORSO, da Rinaldo. " Dialogo del Ballo." Venetia 1558. 
8-vo. 

D'ESTREES, Jean. " Quatre livres de danseries." Paris 
1564. 4-to. 

NORTHBROOK, John. " A Treatise wherein, Dicing, Daunc- 
ing, Vain Plaies, or Enterludes, with other pastimes, etc., com- 
monly used on Sabbath Daies are by the Word of God reproved.' 
London 1579. 

"THE DOLEFUL DANCE and Song of Death; intituled 
Dance after my pipe." 1577. 

FETHERSTONE, Christopher. " A dialogue against light, 
lewde, and lasciuious Dauncing wherein are refuted all those 
reasons which the common people bring in defence thereof.'', 
London 1582. 8-vo. 

158 



BOOKS ON DANCING. 



BEAUJOYEULX. " Ballet comique de la rogue." Paris 
1582. 4-to. , 

(Same Author) "Ballets representez a Tours." Paris 1593. 
4-to. 

(Same Author) " Recueil de plusieurs excellents ballets de ce 
temps.'' Paris 161 2. 

(Same Author) " Discours au vray du ballet danse par le roy." 
Paris 1617. 4-to. 

(Same Author) " Relation du grand ballet du roy de France, 
en le salle du Louvre en 1619. Paris. 8-vo. 

CAROSO (da Sermoneta) " II Ballarino," with numerous 
plates by Giacomo Francho, of figures dancing in elegant Vene- 
tian costumes. Venice 1581. 

ARBEAU, Thoinet. A monk who assumed the non de plume 
of " Tarburot." " Orchesographie: traite 'pour apprendre et prati- 
quer l'honnete exercise des danses." Langresi588. 4-to. (This 
book is undoubtedly the first work pourtraying dances by dance 
alphabet figures.) 

LOVELL, Thomas. " A dialogue between Custome and Veri- 
tie, concerning the use and abuse of Dauncing and Minstrelsie," 
(in verse) London, no date but probably about 1590. 8-vo. 

DAVIES, Sir John (Attorney-Gen. of Ireland). "Hymns 
ot Astrea, whereunto is added Orchestra, or a poem of Dauncing 
in a Dialogue between Penelope and one of her wooers " (not 
finished) 1596. 

NEGRI, Cesare. "La Gratie d'Amore, detto il Trombone." 
Milan 1602, small folio. 

(Same Author). " Nuove inventioni di Balli, opera vaghis- 
sima di Cesare Negri Milanese detto il Trombone famoso et 
excellente Prolessore di Ballare." Milan 1604. (Small folio 
with portrait within an ornamental border and 58 engraved plates 
of Dancers by Leon Palavacino and with the music of the dances. 

SARAZIN. "Recueil des masquerades et jeux de prix a la 
course du Sarazin fait ce keresme-prenant en le presence de sa 
majeste." Paris 1607. 12-mo. 

(Same Author) " Recueil des plus excellentes ballets de ce 
temps. Paris 161 2. 8-vo. 

ROSCIO, J. L. " Brief conclusion of Dancing and Dancers." 
London 1609. 4-to. 

EYORDIUS, James, of Helmstadt. A Treatise " de Salta- 
tionibus Neterum." Leyden 161 1. 

BORDIER. "Le Ballet du Hazard." Paris 1622. 8-vo. 

BROWN (or Browne) Richard. " Medica Musica, or a 
Mechanical Essay on the effects of singing Music or Dancing on 
Human Bodies." London 1624. 8-vo. 

159 



BOOKS ON DANCING. 



SICQGiN/ES. " Le Ballet danse a Fontaine-Blue par des 
dames d'amour." Paris 1625. 8-vo. 

(Same Author) *' Le Ballet des Quolibets." Paris 1627 
8-vo. 

(Same Author) " Le Ballet des Andovilles, porte en guise de 
Momen." London 1628. 8-vo. 

PLAYFORD, John. " DANCING MASTER," or plaine and 
easy rules for the dancing of Country Dancing, with the tune to 
each Dance." London 1652. Oblong 12-mo. 17 editions, last 
edition published 1721. 

"DANCING MASTER." Vol. 2, published 1728. 

The Same. Vol. 3, published 1729. 

BENTHAM, Joseph. ' Treatise on the nature and accidents 
ol mixed Dancing." London 1657. 

WYCHERLEY, Wm. "The Gentleman Dancing Master." 
A Comedy. London 1673. 

ANONYMOUS. " Les Plaisirs de Lisle Enchantee." Paris 
1673, i n folio. 

MENESTRIER, P. " Des ballets anciens et modernes." Paris 
1682. 4-to. 

TUCCARO. " Trois dialogue de l'exercise de sauter et volti- 
ger." Paris 1599. 4-to. 

FEUTLLET. " Recueil de Contredanses mises en Chore- 
graphie " par Mons. Feuillet, Maitre et Compositeur de Danse. 
Paris 1706. 12-mo. 109 leaves entirely engraved, containing 
title, dedication, preface, Elements de Choregraphie, instructions 
tor the figures, etc., in 16 unnumbered leaves, followed by the 
music of" each dance and the delineation of the figures in 186 num- 
bered pages. Old calf. An extremely rare work and of great 
importance in its class, yet unknown and undescribed by the 
bibliographers. The Author admits in his preface the English 
were the inventors of the Contredanse and many of the airs con- 
tained in the book are English. 

(Same Author) " Orchesography, or the Art of Dancing by 
Characters and Demonstrative Figures." Translated by John 
Weaver, Dancing Master. " To this edition is added the Riga- 
doon, the Louver and the Brittaigne in Characters . . . The 
whole engraven and printed for John Walsh in London 1700." 
(The music of the additional dances is given). See Weaver, John. 

(Same Author) " La Choregraphie, ou l'art de decrue la 
danse." Paris 17 13. 4-to. (The Author was assisted in this 
work by Desais). 

WEAVER, John. " Art of Dancing by Characters and De- 
monstrative Figures." London 1706. 4-to. 

160 



BOOKS ON DANCING. 



(Same Author) "Essay towards an History on Dancing, in 
which the whole Art and its various Excellencies are in some 
manner explained." London 1712. 8-vo. 

(Same Author) " Anatomical and Mechanical Lectures on 
Dancing.'* London 1712. 

ESSEX, John. " A Treatise on Dancing Country Dances." 
London 17 10. 8-vo. 

PEMBERTON, E. " An Essay for the further improvement 
of Dancing, being a collection of Figure Dances, of several num- 
bers, composed by the most eminent masters: described in 
characters after the newest manner of Monsieur Feuillet." (Very 
scarce). London 171 1. 4-to. It contains title, dedication, to 
Mr. Caverley, another to " The Duchess of Buckingham and Nor- 
mandy," preface, list of subscribers (5 leaves) and 54 engraved 
leaves giving the notation of the dances and music. 

MELETAON. " On the Excellencies of Dancing." (In Ger- 
man). Leipzig 17 13. 

LAMBRANZI. " Nuova e Curiosa Scuola de Balli Theatrali, 
continente cinpuanta Balli, di diverse nationi, e figure Theatrali, 
con i loro Vestimenti, etc. Inuentati e dati alia luce da Gregorio 
Lambranzi, Maestro de Balli Francesi . . .disegrati e intagliati 
da G. G. Cuschner." 2 parts or vols, in one small folio, consisting 
of 10 1 copper plate engravings of Dances with Music; fine copy, 
red morocco extra, profusely gilt by De Coverley. Nuremberg 
1 7 16. A copy of this work was recently on sale by Tauschnitz 
(price £75). It is very rare, and consists of Frontispiece on which 
is engraved portrait of the Author and the words " Deliceae Thea- 
trales,'' prefatory note by the author in Italian and German, and 
description of the plates in Italian, 2 leaves, title as above 
engraved — " Sarte prima " 50 plates: " Zweiter Theil," title (en- 
graved) and 51 plates. The plates represent burlesque figures 
and dances and have the music at the top, and the descriptions 
(in German) at the foot, all engraved. The second part is exces- 
sively rare. 

TAUBERT, GOTTFRIED. "The History, Ethics, Theory, 
Practice and Composition of Dances." (German). Leipzig 17 17. 

LANDRIN. " Recueil de Musique, Contre-danses, Ies plaisirs 
de Mendon, etc." 70 feuilles of Dances with music. Paris 1720. 

BONNET. " Histoire de la Danse. 4 Paris 1724. 12-mo 



calf. 

JENYNS, Soame. An elegant and ingenious writer (born in 
London H703, died 1787). " Art of Dancing," A Poem. London 
1730. 

BURETTE, Peter John. A very celebrated musician, bom 
Paris 1665, idied 1747. He had a very considerable share in 
publishing the "Journal des Scravans " in 1706, at which he 
laboured more than 30 years. He also supplied the Memoirs of 
the Academie des Inscrip. et Belles Lettres with " Dissertations 

161 



BOOKS ON DANCING 



on the Dancing of the Ancients," and enriched these with music 
notes and remarks. 

TOMLINSON, K. " Art of Dancing explained by reading 
and figures." London 1735. 4-to. 

ANONYMOUS. "XII. Englische Taentzin mit Touren fur 
2 Violin, 2 Flauten, 2 Waldhorn und Bass." Printed Neuwied 
1740. 32-mo. 12 cards each with figures of a dance and engrav- 
ing above, and 1 2 other cards with the tunes engraved, in the 
original paper case; probably unique. 

FERRIOL OF BOXERAUS. D.de. " Reglas Utiles para 
los aficionados a Danzar provechose divertimiento de los que 
gustan instrumentos." Contains very curious woodcuts with fold- 
ing leaves of music, some defective. Printed on vellum Capua 
1745. 12-mo. 

RAMEAU. ' Le Maitre a Danser." Frontispiece and numer- 
ous engravings and plates. Paris 1748. Calf 8-vo. 

OWE3M. "Characters in Dancing drawn from real life.'' 
London 1749. 

LANG, Karl. 'The foundation of Dancing." (German). 
Palm 1 75 1. 

(Same Author) " Choreographic signs of the English and 
French Contre-danses." Palm 1763. 

FONTAINEBLEAU. "La Danse, Acte de Ballet.' (In 
verse). "Spectacles donnes a Fontainebleau." Vol. 1, 1753. 
4-to. 

CAHUSAC. " La danse ancienne et moderne, 011 traite de 
la danse." 3 vols. Printed at the Hague 175.4. 12-mo. See 
note to Gallini 1762. 

" The Dancers Damm'd; or the devil to pay at the old house." 
London 1755. 8-vo. 

MJEREAU. " Reflexions sur le Maintien et sur les Moyen 
d'en corriger les Defauts." Gotha 1760. 

CUISSE, de la. " Le repertoire des bals ou theorie practique 
des contre-danses descrites d'une maniere aisee, avec des figures 
demonstratives pour les pouvoir danser facilement, auxquelles on 
a ajoute les aires notes par le Signor de la Cuisse, Maitre de 
clause.' Paris 1762-65. 4-to. 

GALL MI, Sir John, (or as he styles himself in his Treatise 
Giovanni Andrea Gailini) a native of Italy and celebrated stage 
dancer and teacher of Dancing; died in London, where he long 
resided, 1805, aged about 71. "A Treatise on the Art on Danc- 
ing." London 1762, 1765, 1772. 2 vols. This Treatise was 
very popular for some time, even as a literary performance, until, 
unluckily for Sir John, all the historical part of his publication 
was discovered in the work of M . Cahusac. See Cahusac. 

162 



BOOKS ON DANCING. 



(Same Author) " Critical observations on the Art of Dancing 
with Music of 50 French Dances. London 1762. 

(Same Author) "Treatise on the Art of Dancing." London 
1762. {Both books were published in 1 vol. 8-vo. calf at js. 6d .) 

THOMPSON. " Compleat collection of 200 Favourite Country 
Dances, performed at Court, Bath, Tunbridge, and all Publick 
Assemblies, with proper figures or directions to each Tune. {Very 
scarce). 3 vols, oblong 8-vo. (the third vol. deficient in leaves 
52, 53, 54,) withms. notes by Mr. Chappell. London 1 765- 1775. 

SCHROEDER. "Dance-craft; to dance Choreographically 
and to write dances. (Ger?naw). Brunswick 1767. 

SCHULTZ, Barth. "Twelve new English Dances." {Ger- 
man). Hamburg 1783. 

MARTINET. "Theory of Dancing." {German). Liepsig 
1798. 

ANONYMOUS. " Dancing Maskiana: or Biographic Sketches 
for an Inquisitive Public; being the true style of a Dancing Mas- 
ter, exhibiting his pupils at an Elegant Ball." London 1799- 
8-vo. (pub. at 4/-). 

MAGRI, G. " Trattato teorico-practico di ballo." Illus- 
trated. Naples 1799. 2 vols. 4-to. 

G;RETRI. (A.E.M.) Melee de Chants et de Danses. Paris 
1 77 1. 8-vo. 

POCKET COMPANION for the Guitar containing XI. of the 
newest ,and most favourite Minuets, Country Dances, etc. London, 
no date, but 18th Century. 

CORELLI (Archangelo). Preludii Allemande, correnti, gighe, 
sarabande, gavotte e follia. London 1700. Oblong 4-to. 

COMPLEAT COUNTRY DANCING MASTER, containing a 
great variety of Dances both old and new; particularly those per- 
formed at the several Masquerades with their proper tunes and 
figures to each dance. 2 vols. London 1718. 8-vo. 

MAGNY. Princepes de Choregraphie. Paris 1765. 

FISHAR, ( James'). 16 Cotillons, 16 Minuets, 12 Allemands 
and 12 Hortipipes. London 1775. 4-to. 

PRESTON. Country Dances. London 1797- 

ORCHESTIKOS, G. " Convivialia et Saltatona; or a few 
thoughts on Dancing and Feasting ; a poem in two parts : to which 
is annexed a poetical epistle in praise of Tobacco." London 1800. 

NOVERRE. " Lettres sur la Danse, sur les Ballets et Ies 
Arts "I Par M. Noverre ancien maitre des ballets en chef de la 
Cour de Vienne et de l'Opera de Paris. With portrait. St. 
Petersburg, 1803. 4~ to - 

163 



BOOKS ON DANCING. 



The third volume is entitled " Observations sur la construc- 
tion d'une salle d'opera et programmes des Ballets. 

WARES, (G. Junr.) Sketches and Observations on the neces- 
sity of early tuition in the Art of Dancing. London 1805. 8-vo. 

PEACOCK, (Francis). " Sketches relative to the History and 
Theory, but more especially the Practice of Dancing." Aberdeen 

1808. 8-vo. 

WILSON, (Th). " Analysis of Country Dancing." London 

1809. 8-vo. 

(Same). 'The Treasures of Terpsichore," or a Companion 
for the Ballroom. London 1809. 8-vo. 

(Same). "Correct method of Waltzing the truly fashionable 
species of Dancing French and German Waltzing." Contains 
frontispiece, plates and music. London 18 16. 12-mo. 

(Same). " Companion to the Ballroom, a collection of Country 
Dances, Reels, Hornpipes, Waltzes, etc." London 1820. 12-mo. 
with music. 

(Same). " Complete system of English Country Dancing." 
Engraved diagrams and examples' of music. London 1828. 
12-mo. r ; 

ANONYMOUS. " The Dance of Life." A Poem. London 
18 17. 8-vo. 

DANCE. " Le maitre a danser, or the Art of Dancing Quad- 
rilles." London 18 18. 12-mo. 

BARON. " Lettres et entreatiensj sur la danse ancienne, 
moderne, religieuse, civile et theatrale." Paris 1824. 8-vo. 

IZTUETA (J. E. Ignatio). " Guipuzcoaco Dantza." San 
Sebastian 1824. 8-vo. 

ANONYMOUS. "Quadrille de Marie Stuart." Paris 1829. 
Small folio. 

BLASIS (Carlo). "Art of Dancing, its theory, practice, rise 
and progress." Containing frontispiece and 17 engraved plates 
of numerous figures, and 22 pages of Quadrille music. London 
1830. 8-vo. 

(Same). " Notes upon Dancing, historical and practical." 
London 1847. 8-vo. 

KELLY (Earl of). " Minuets." Edited with introduction by 
C. K. Sharpe, portrait and engraved title. Edinburgh 1836. 
4-to. Only 60 copies were printed. 

ANONYMOUS. "An Essay on the Art of Dancing viewed 
in connection with physical education." London 1838. 8-vo. 

COKE-SMYTH. " Souvenir of the Ball costume given by 
Queen Victoria at Buckingham Palace with description by 
Planche." London 1842. In folio. 

LAFAGE, (A. de). " Histoire Generale de la Musique et de 
la Danse." Contains music and 28 facsimiles and plates of in- 
struments and dance figures. Two volumes. Paris 1844. 4-to. 

164 



BOOKS ON DANCING. 



From 1837 to 1855. 

CELLARIUS. " Drawing Room Dances." 

(Same Author). " Fashionable Dancing." 

COULON. " Handbook of Dancing." 

READ. " National Dances." 

HENDERSON. "New and fashionable Guide of Dances." 

WEBSTER. " Dancing a means of Physical Education." 

HART. "Dancing Art, its defence." 

MASON. " Dancing considered." 

DUNS. " Manual of Dancing." 

KNOX (A. E.) " Spirit of the Polka." 

ANONYMOUS. " Polka and Ballromm Guide." How to dance 
the Polka. Polka Lesson Book. 

SAINT-LEON. " Stenochorographie." Moyen de fixer par 
des signes positifs tous les mouvements et tous les enchainements 
d'un opera. Paris 1852. In folio. 

Modern Period. 
FORFAR (W. B.) " Hilston Furry Day." Its origin, cele- 
bration and Music of the Furry Dance. London 1861. 
THELEAUX (E. A.) " Letters on Dancing." 
COOTE. " Dancing without a master." 

HILL GROVE, (New York). "Complete guide to the Art 
ot Dancing.'' 

ANONYMOUS. " Danse du Monde and Quadrille precep- 
tor.'' 

DODWORTH. "Dancing, its relation to education." 
ANONYMOUS. " Dancing in a Right Spirit a Delightful 
and Scriptural Pleasure." 1865. 3 2 -mo. 

ANONYMOUS. " Les Danses et les Bals d'aujourdhui, la 
lecture des romans, et les spectacles au point dc vue moral et 
Chretien." Le Mans 1863. 12-mo. 

ANONYMOUS. "Tjhe Dance, may I not join it ? or the 
Christian professor in the Ballroom." Ipswich 1864. 16-mo. 

ANONYMOUS. " The Dance at the Feast and what came of 
it." London 1868. 

ANONYMOUS. " Etiquette, How to Dance." London 1876. 
32-mo. 

HENDERSON (Mrs. N.) "Etiquette ot the Ballroom." 
London 1879. 3 2 ~ mo - 

SAUSE (M. J.) "The Art of Dancing." New York 1880. 
16-mo. 

COOTE (R.) "Guide to Ballroom Dancing, etc." London 
1876. 32-mo. 

GROSS (J. B.) "The Parson on Dancing." Philadelphia 
1879. 8-vo. 

165 



BOOKS ON DANCING. 



WALLACE (J. F.) "Excelsior Manual of Dancing." Glas- 
gow 1 88 1. 12-mo. 

LEBLANC (Edw.) " Companion to the Ballroom." London 
1883. 16-mo. 

BOEHME (F. M.) " Geschichte des Tanzes in Deutchland.' 
Liepzig 1886. 8-vo. 

STEELE (L.) "Drawing Room Dancing." Ealing 1883. 
16-mo. 

FLACH (H. L. M.) " Der Tanz bei den Griechen." Vir- 
chovv 1880. 

DONALDSON (H.) " Dancing, is it a sin? " Oil City, Pa., 

1 88 1. 8-vo. 

QUELLIEN (N.) "Chansons et Danses des Bretons." pp. 
300. Paris 1889. 8-vo. 

HUMPHREY (E.) "London Ballroom Guide." pp. 89. 
London 1889. 32-mo. 

MARRIOT (A.) "Dancing as an Art." pp. 67. Notting- 
ham 1888. 16-mo. 

MIGNON (P.) " Les Quadrille des varietes frangaises." Paris 
1883 Obi. 4-to. 

PENTECOST (G. F.) "The Christian and the modern 
dance.' pp.62. London 1884. 16-mo. 

SCOTT (Edw.) "Dancing as it should be." London 1887. 
16-mo. 

ZORN (F. A.) " Grammatik der Tanzkunst." pp. 275. 
Leipzig 1887. 8-vo. 

VESTRIS (D.) "Les danses d'autrefois." 120 pp. Paris 

1889. 8-vo. 

BERNAY (B.) "La danse au Theatre." 194 pp. Paris 

1890. 8-vo. 

ROWE (W. W.) " Dancing as it is." 22 pp. London 

1890. 12-mo. 

DUNALDOR (J.) "La Danse." pp.118. St. Amand 1894 
8-vo. 1 

GIRAUDET (E.) " Traite de la Danse." pp. 287. Paris 

1 89 1 . 8-vo. 

GROVE (L.) "Dancing." (Badminton Library), pp. 496. 
London 1895. 4-to. 

HEADLAM (S. D.) "The Ballet." pp. 16. London 1894. 
8-vo. 

HOGAN (J. P.) "Method of Dancing." New York 1892. 
4-to. 

HOW. " How to Dance." pp. 49. London 1893. 4-to. 

IMAGE (S.) " The Art of Dancing." pp. 20. London 

1 89 1. 8-vo. 

d'ALBERT (Charles). "Encyclopaedia and Technical Glos- 
sary of the Art of Dancing." London 19 14- 19 15. 8-vo. 



:66 



I 



3mpcrial 5 aun * er ' 



A slow, stately dance, combining the movements of the 
One-Step, Tango, and Fox Trot, in a marked measure dis- 
tinctly its own, in 2/4 tempo. It may be danced either in 
sequence, as here described, or when the intricacies of the 
figures are mastered, they may be performed in any order. 
The six figures are divided into 8-bar phrases — 48 bars in all. 
Music : " Underneath the Stars," " Con Amore," or " Imperial 
Saunter " (original) ; others may be adapted. 

Preparation. — Stand as for One-Step, i.e. gentleman facing 
and lady back to line of direction, and hold lady as in the 
One-Step. The lady's right wrist is lightly held in the gentle- 
man's left hand — not lady's hand in gentleman's hand. The 
arms (gentleman's left and lady's right) will move easily and 
gracefully with the body movement, and punctuate the music 
and its interpretation. The body must sway in strict conson- 
ance with the general rules of epaulements or opposition. Any 
appearance of rigidity must be abandoned and overcome by 
practice. 

The Steps for Gentleman — Counterpart for Lady. 

ist Figure. 

Count (i, 2, 3) 3 Pas marches (walking steps\ left, right 
left 
(4) Point right foot forward 2 bars 

(1, 2) 2 Pas marches backward, right, left 

(3) 1 Pas marche forward, right 

(4) Point left foot forward 2 bars 

Repeat the whole 4 bars 



2nd Figure. 



ist Figure 8 bars 



The gentleman takes the lady on his right side without 
releasing hands. This will give what is know as " The Yale 
Position," that is, both looking forward, although the body is 
turned only a quarter forward as in the form of the letter V, 
the points of the letter representing the faces of the two dan- 
cers looking forward. 

Count (1,2) 2 Pas marches forward, left, right 

(3) Cross left over the right, pivot inward, 

facing opposite direction 

(4) Raise right foot and point it to 4th forward 2 bars 
Repeat commencing right foot (this will be 

in the direction from which you came) 2 bars 
Repeat the whole 4 bars 

2nd Figure 8 bars 
3RD Figure. — Position as Fig. 1 

Count (1,2) Chassez forward left (diagonally) } 

(3) Point forward right foot to 4th position > 2 bars 

(4) Point backward right foot to 4th rear J 
Repeat commencing right foot 2 bars 

Repeat the whole 4 bars 

3rd Figure 8 bars 



DANCING 

TECHNICAL 

ENCY- 
CLOPAEDIA 

OF THE 

THEORY 
AND 

PRACTICE 
OF THE 
ART OF 

DANCING 



o 



4TH Figure.— In line of dance. 

Count (i, 2, 3) 3 Pas marches % 

(4) Cross right foot over in front (lady in I 2 bars 

rear, with plie (bend) ^ 

(5, 6) Moving: sideway to left (lady to right) 2 
walking- steps, i.e., (5) step to side 
(6) cross over or under for lady 

(7) Step to side ag-ain f 2 bars 

(8) Pivot half round and point rig-ht foot to 4th 

front 

Repeat the whole , b ars 

4th Fig-ure 8 bars 
51H Figure.— Yale position as in Fig-. 2. 

Count (1 & 2) 2 Chassez commencing left foot ) 

(3) Point inside foot, arms raised ( 2 bars 

(4) Pause \ 
Repeat commencing right foot 2 bars 

Finish with arms lowered 

Repeat the whole 4 bars 

5th Figure 8 bars 
6th Figure.— La Demi-Huit. 

Count (1—3) 3 Pas marches thus: (1) Pas marche for- 
ward left foot, (2) step right foot across 
left with dalf turn, (3) step to side with 
left foot— this will bring you facing the 
opposite way 
(4) Point right foot to 4th forward point 2 bars 

The gentleman will be in the lady's place 
and vice-versa. 
(1—4) Repeat with right foot, figuring the same 
half circle back to own side. Note it is 
always the same half circle, the circle is 
never completed 2 bars 

(1—8) Repeat the whole 4 bars 

6th Figure 8 bars 
Another description of 6th Figure : — 

6th Figure.— La Demi-Huit. 

Count (1) Pas marche with left foot diagonally to right 

(2) Step across with right foot to 4th crossed 

position and pivot half round 

(3) Pas marche left foot 

(4) Pivot and bring right foot to 4th point 2 bars 
{You are now on the opposite side facing line of direction). 

(5—8) Repeat commencing with right foot 2 bars 

(Finishing on your proper side) 
(1 — 8) Repeat the whole 4 bars 

6th Figure 8 bars 



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