The origin of this once celebrated dance is difficult to ascertain. It
is believed by some to be of great antiquity, and to have been brought
into Germany from the East. Others affirm that its origin is of more
recent date, and its birthplace considerably nearer home. An authority
on these matters remarks; "In spite of what those professors say who
proclaim themselves to have learnt the Polka in Germany, or as being
indebted for it to a Hungarian nobleman, we are far from placing
confidence in their assertions. In our opinion Paris is its
birthplace, and its true author, undoubtedly, the now far-famed
Monsieur Cellarius, for whom this offspring of his genius has gained a
European celebrity."
Whatever we may be inclined to believe with regard to this disputed
question, there can be no doubt of the wide-spread popularity which
for many years was enjoyed by the Polka. When first introduced, in
1843, it was received with enthusiasm by every capital in Europe; and
it effected a complete revolution in the style of dancing which had
prevailed up to that period. A brisk, lively character was imparted
even to the steady-going quadrille; the old _Valse à Trois Temps_ was
pronounced insufferably "slow;" and its brilliant rival, the _Valse à
Deux Temps_, which had been recently introduced, at once established
the supremacy which it has ever since maintained. The _galop_, which
had been until this period only an occasional dance, now assumed
a prominent post in every ball-room, dividing the honours with the
_valse_.
But all these dances, though modified in character by the introduction
of the Polka, were for a time thrown into the shade by this new
claimant upon public favour. Its popularity was unrivalled in the
annals of dancing. Rich and poor, young and old, grave and gay, all
were alike smitten by the universal Polka mania. All flocked to take
lessons in this new and fascinating dance; and the professors of its
mysteries fairly divided public attention with the members of the
Anti-Corn-Law League, then holding their meetings at Drury Lane
Theatre. We will even go so far as to say that Messrs. Bright and
Cobden were scarcely more anxious to destroy the vexatious Corn Laws
than were these worthy Polka-maniacs to create _corn_ laws of their
own, which, if more innocent, were equally undesirable.
For many years the Polka maintained its position as the universal
favourite; but, during the last five or six seasons, its popularity
has slowly but surely declined. It is never danced now in the
ball-rooms of the aristocracy, but the middle classes have not yet
quite discarded their old friend, though even amongst their programmes
its name rarely occurs.
Perhaps no dance affords greater facilities for the display of
ignorance or skill, elegance or vulgarity, than the Polka. The step
is simple and easily acquired, but the method of dancing it varies _ad
infinitum_. Some persons race and romp through the dance in a manner
fatiguing to themselves and dangerous to their fellow-dancers. Others
(though this is more rare) drag their partner listlessly along, with
a sovereign contempt alike for the requirements of the time and the
spirit of the music. Some gentlemen hold their partner so tight
that she is half suffocated; others hold her so loosely that she
continually slips away from them. All these extremes are equally
objectionable, and defeat the graceful intention of the dance. It
should be performed quietly, but with spirit, and _always in strict
time_. The head and shoulders should be kept still, not jerked and
turned at every step, as is the manner of some. The feet should glide
swiftly along the floor--not hopping or jumping as if the boards were
red-hot.
You should clasp your partner lightly but firmly round the waist with
your right arm.
Your left hand takes her right hand; but beware of elevating your arm
and hers in the air, or holding them out straight, which suggests the
idea of windmills.
Above all, never place your left hand on your hip or behind you. In
the first place, you thus drag your partner too much forward, which
makes her look ungraceful; in the next, this attitude is _never used_
except in casinos, and it is almost an insult to introduce it in a
respectable ball-room.
Let the hand which clasps your partner's fall easily by your side in a
natural position, and keep it there. Your partner's left hand rests on
your right shoulder; her right arm is thrown a little forward towards
your left.
The Polka is danced in 2/4 time. There are three steps in each bar;
the fourth beat is always a rest. The rhythm of the dance may be thus
indicated:--
[Illustration]
the three steps being performed on the three first beats of every bar.
It is next to impossible to describe in words the step of the Polka,
or of any circular dance: nothing but example can correctly teach
it; and, although we shall do our best to be as clear as possible, we
would earnestly recommend those of our readers who desire to excel,
whether in this or the following dances, to take a few lessons from
some competent instructor.
The gentleman starts with his left foot, the lady with her right.
We shall describe the step as danced by the gentleman: the same
directions, reversing the order of the feet, will apply to the lady.
_1st beat_.--Spring slightly on right foot, at the same time slide
left foot forward.
_2nd beat_.--Bring right foot forward by _glissade_, at the same time
rising left foot.
_3rd beat_.--Bring left foot slightly forward and _fall_ upon it,
leaving right foot raised, and the knee slightly bent, ready to begin
the step at the first beat of the next bar.
_4th beat_.--Remain on left foot. Begin next bar with the right foot,
and repeat the step to end of third beat. Begin the following bar
with left foot; and so on; commencing each bar with right or left foot
alternately.
The Polka is danced with a circular movement, like the Valse; in each
bar you half turn, so that, by the end of the second bar, you have
brought your partner completely round.
It was at first customary to promenade your partner round the room,
doing a kind of _balancez_ to each other in the Polka step before
commencing the valse figure. But this fashion soon became antiquated,
and has fallen into complete disuse.
The circular movement of the Polka admits of two directions--from
right or left or from left to right. The ordinary direction is from
right to left. The opposite one is known as the _reverse_ step. It
is more difficult to execute, but is a pleasant change for skilled
dancers, if they have become giddy from turning too long in one
direction.
In dancing the Polka, or any circular dance where a large number of
couples are performing at the same time, the gentleman must be careful
to steer his fair burden safely through the mazes of the crowded
ball-room. A little watchfulness can almost always avoid collisions,
and a good dancer would consider himself disgraced if any mishap
occurred to a lady under his care. Keep a sharp look out, and avoid
crowded corners. Should so many couples be dancing as to render such
caution impossible, stop at once, and do not go on until the room has
become somewhat cleared. In a few minutes others will have paused to
rest, and you can then continue. Your partner will be grateful that
your consideration has preserved her from the dismal plight in which
we have seen some ladies emerge from this dance--their _coiffeurs_
disordered, their dresses torn, and their cheeks crimson with fatigue
and mortification, while their indignant glances plainly showed the
anger they did not care to express in words, and which their reckless
partner had fully deserved. A torn dress is sometimes not the heaviest
penalty incurred: we have known more than one instance where ladies
have been lamed for weeks through the culpable carelessness of their
partners, their tender feet having been half crushed beneath some
heavy boot in one of these awkward collisions. This is a severe price
to pay for an evening's amusement, and gentlemen are bound to be
cautious how they inflict it, or anything approaching to it, upon
their fair companions. Ladies, on the other hand, will do well to
remember that by leaning heavily upon their partner's shoulder,
dragging back from his encircling arm or otherwise impeding the
freedom of his movements, they materially add to his labour and take
from his pleasure in the dance. They should endeavour to lean as
lightly, and give as little trouble, as possible; for, however
flattering to the vanity of the nobler sex may be the idea of feminine
dependence, we question whether the reality, in the shape of a dead
weight upon their aching arms throughout a Polka or Valse of twenty
minutes' duration, would be acceptable to even the most chivalrous
amongst them.
We have been thus minute in our instructions, because they not only
apply to the Polka, but equally to all circular dances where a great
number stand up to dance at the same time.