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POPULAR INFORMATION AT A POPULAR PRICE
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=Dancing without an Instructor= _by Prof. Wilkinson_
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Dancing Without
an Instructor
BY
PROFESSOR WILKINSON
PHILADELPHIA
DAVID McKAY, PUBLISHER
610 SOUTH WASHINGTON SQUARE
Entered according to act of Congress in the year 1904
By STREET & SMITH
In the office of the Librarian of Congress, at Washington, D. C.
Dancing Without an Instructor
CONTENTS
PAGE
Introduction 9
The Etiquette of the Ballroom 11
The Five Positions 14
The Two-Step Slide 20
The Grand March 22
The March in File 22
The March in Column 24
The March by Platoons 25
The Arbor March 27
The Serpentine March 28
Square Dances 30
The Plain Quadrille 31
Additional Quadrille Figures 39
The Basket Figure 39
The Nine-Pin 42
Minuet Figure 43
The Star Figure 45
The Cheat Figure 47
The Jig Figure 48
The Sociable 50
Lancers 52
Saratoga Lancers 58
Waltz Lancers 63
The Caledonians 66
The Glide Caledonians 72
The Waltz Quadrille, No. 1 74
The Waltz Quadrille, No. 2 76
Prince Imperial Quadrille 79
Parisian Varieties 86
National Guard Quadrille 90
Contra Dances 95
The Virginia Reel 95
Pop Goes the Weasel 99
Spanish Dance 101
The Sicilian Circle 103
Round Dancing 104
The Waltz 104
The Glide Waltz 108
The Two-Step 109
The Galop 111
The Polka 113
The Polka Mazourka 115
The Schottische 117
Military Schottische 120
The Highland Schottische 122
The Racquet 125
La Bohemienne 126
The Berlin 127
The Yorke 129
The Caprice 131
The Redowa 132
The Varsoviana 134
Half-Time Dancing 136
The Cotillion 137
The Figures of the Cotillion 141
The Flower Figure 141
The Magic Hat 141
The Scarf 142
Follow My Leader 142
Ping Pong 142
The Toast 143
The Umbrella 143
The Signal of Distress 143
The Chair 144
Forfeits 144
Puss in the Corner 144
Thread-the-Needle Archway 145
The Kneeling Knight 145
The Mask 145
Blind Man’s Buff 146
The Auction 146
The Gay Deceiver 147
The Rope 147
The Fan 147
The Basket, Ring and Flower 148
The Inscriptions 148
The Basket 149
The Inconstants 149
The Columns 150
The Carnival 150
The Handkerchief Chase 151
The Cards 151
Scissors to Grind 152
The Skaters 152
The Spiral 152
The Pyramid 153
The Grand Round 153
The Star and Circle 154
The Double Pastourelle 155
The Labyrinth 155
Letter Carrier Figure 156
The Serpent 156
The Pursuit 157
The Changing Star 158
The Virginia Reel 158
The Double Quadrille 158
The Final Round 159
DANCING WITHOUT AN INSTRUCTOR.
INTRODUCTION.
Time was when to be a dancer meant a thorough acquaintance with
Mazourkas, Galops, Reels, Minuets, Polkas and other dances too numerous
to mention; but nowadays one can get along very well with even a slight
knowledge of but three: the Waltz, the Two-Step and the Lancers.
It is a pity that such should be the case; but the fact remains the
same; and the beginner must not be dismayed by glancing through these
pages, for but few of the dances here described ever appear on a ball
program.
Special attention must, then, be given to these three dances, and no
great difficulty should be found in learning the steps.
Dancing properly so-called, is the active exertion of the body in
sprightly, graceful movement, accompanied with exhilaration of the
mind, and when indulged in by the young is a most beneficial and
healthful recreation.
It is no argument against dancing in itself, that it is so often
connected with many things that are injurious, such as heated room,
late hours and the like, these belong to other considerations; but as
an exercise, congenial both to the minds and the physical requirements
of the young, it is like every exercise in which the mind enters with
pleasure and interest into the exercise of the body, a most efficient
promoter of health, and it is much to be regretted that its abuse and
associations in many instances, both with physical and moral evil,
should cause its abandonment in any place where there are young people.
THE ETIQUETTE OF THE BALLROOM.
Before giving a description of the various dances, a hint or two as to
the etiquette of the ballroom may be found useful.
In the case of a private dance, the guests, on entering the ballroom,
must seek out the hostess and pay their respects to her and those who
may be assisting her in receiving.
If it is a public ball, the gentleman conducts his partner to the
ladies’ dressing room, and then proceeds to the gentlemen’s dressing
room. When ready to descend to the ballroom, he seeks his partner
at the door of the apartment where he previously left her; or, if a
sitting room be provided in addition to the dressing room, the lady
will meet her partner there. They then enter the ballroom, and the
necessary introductions are made.
An introduction given for the mere purpose of enabling a lady and
gentleman to go through a dance together does not constitute an
acquaintanceship. The lady is at liberty to pass the gentleman in the
street the next day without recognition.
No lady should accept refreshments from a stranger at a public ball,
for she would thereby lay herself under a pecuniary obligation.
Good taste forbids that a lady should dance too frequently with the
same partner at either a public or private ball.
Engagements for one dance should not be made while another dance is in
progress.
Never attempt to take a place in a dance which has been previously
engaged.
Withdraw from a private ballroom as quietly as possible.
It is not customary for married persons to dance together in society.
At the beginning and end of a lancers, the gentleman bows to his
partner, and bows again on conducting her to a seat. He may stay and
chat with her for a few moments.
Should a lady decline your hand for a dance, and afterward dance with
another partner, you will do well to attribute her error to either
forgetfulness or ignorance of the laws of etiquette.
A gentleman conducts his last partner to supper; waits upon her there,
and then re-conducts her to the ballroom.
A gentleman escorting a lady to a party or ball, should invariably
dance the first number with her, or offer to do so, and afterwards see
that she is provided with a partner whenever she wishes to dance.
A gentleman may, with propriety, ask another gentleman, whether known
to him or not, if he wishes a partner, then introduce him to his lady
acquaintances.
The master of ceremonies is privileged to ask any lady or gentleman
whether they wish to dance, make himself known, and procure partners
for them if they so desire.
THE FIVE POSITIONS.
It is a mistake to suppose that the beginner, by learning the two or
three steps necessary for the waltz or two-step, can dance correctly.
There is a beginning in dancing, as in everything else, and the first
thing to learn is how to stand properly.
This seems absurdly simple at first thought, but, as a matter of fact,
comparatively few persons possess the secret. Either the arms get in
the way, or the legs are awkwardly bent, or the body is too rigid.
The correct standing position is as follows:
Stand with the heels close together, toes pointing outward. Now sway
the entire body forward a little, so as to bring the weight on the
balls of the feet. The heels should just touch the floor, but the
weight should all be forward. Allow the arms to swing freely from the
shoulder; in fact, forget that you have arms for the time being. This
position is the key to the various steps that are to follow.
Having learned how to stand correctly, we are now ready to study what
are known as “the five positions.” These positions embrace the various
steps used in all dances, and must be mastered.
THE FIRST POSITION.
“The first position,” so called, is in reality the standing position
just described, and when practicing the subsequent positions, it is
essential that the student always begin with this. Remember that
all-important detail: weight forward, heels just touching the floor.
(See Fig. 1.)
[Illustration: FIGURE 1.]
THE SECOND POSITION.
In the second position we change the V-shape of the feet by sliding the
right foot to the side, in a line with the body, bending the left knee
slightly. The weight will, of course, be transferred to the left foot.
(See Fig. 2.)
[Illustration: FIGURE 2.]
Repeat this movement by sliding the left foot sideways, transferring
the weight to the right foot.
THE THIRD POSITION.
[Illustration: FIGURE 3.]
Again taking the standing position, with toes pointing outward, the
right foot is swung in a small circle to the right and brought behind
the left foot, the hollow of the right foot pressing close against the
heel of the left foot. At the beginning of this movement the weight is
thrown on the ball of the left foot.
Repeat by transferring the weight to the right foot, and swinging the
left foot to the rear. (See Fig. 3.)
THE FOURTH POSITION.
[Illustration: FIGURE 4.]
In the fourth position, throw the weight on the left foot and slide the
right foot forward and a little to the side. At the end of the slide,
the right foot should be in a direct line with the hollow of the left
foot, so that if brought back it should fit into the hollow, as in the
third position. This, however, is only to test the accuracy of the
step. After the slide, the foot should be returned to standing position
and the movement repeated with the other foot. (See Fig. 4.)
Instead of sliding, the foot can be raised from the floor and placed
in the position indicated. In this case, remember to keep the toe well
pointed downward, and do not raise the foot farther from the floor than
is necessary.
There is a variation of this position which will be found useful in
two-step and half-time dancing. This is to slide the right foot to the
rear and slightly outward after completing the forward movement.
THE FIFTH POSITION.
[Illustration: FIGURE 5.]
Standing with the heels together, allow the weight to fall on the ball
of the left foot, and move the right foot forward until the heel of
that foot is at the side of the toe of the other foot. The feet should
form a right angle. (See Fig. 5.)
Repeat with the left foot, transferring the weight to the right foot.
These positions are very important and should be practiced until they
can be performed with perfect ease. They can be alternated at will. For
instance, the fifth position may follow the first, and so on.
THE TWO-STEP SLIDE.
Of recent years the two-step has become one of the most popular dances,
and it is one of the simplest.
The method of practicing the step is as follows:
Standing in the first position, slide the right foot to the side. Bring
the left foot alongside, and instantly repeat the sliding movement with
the right foot, only do not make the slide quite so long as in the
first instance.
Now slide to the left with the left foot, bring the right foot
alongside, and continue the slide with the left foot.
At the beginning of the movement the weight is borne by the left foot,
while the right foot slides to the side. Then the weight is taken by
the right foot, while the left foot is brought into position. At this
point the weight must be transferred instantly to the left foot, and
the right foot shot out quickly to the other side.
It may help the beginner to call out the words: “Slide and slide,” when
practicing this step. Thus:
SLIDE: Right foot to the side.
AND: Bring up left foot. Both feet together. Transfer weight
to left foot.
SLIDE: Right foot to the side. Half the length of the first
slide.
And continue the movement with the other foot, thus:
SLIDE: Left foot to the side.
AND: Bring up right foot. Both feet together. Transfer weight
to right foot.
SLIDE: Left foot to the side. Half the length of first slide.
When dancing the two-step, never hop. Always slide the feet. Keep the
weight on the balls of the feet; this makes the sliding much easier and
destroys the tendency to hop.
THE GRAND MARCH.
The Grand March is a feature of all formal balls. It generally marks
the beginning of the evening’s festivities, but may, for special
reasons, be deferred to a later point in the programme. In order to
make the march an agreeable feature of the evening’s pleasures, it
should be led off by a gentleman and lady who understand the details
of the necessary evolutions, assisted, in case of necessity, by one
or more of the floor committee, whose services may be called upon to
preserve uniformity of action through the march. All marching should
be done in straight lines, following the direction of the walls of the
rooms, the change of direction being made precisely at each corner.
The leader and his partner should lead the march; moving slowly once
or twice round the room, to give all the couples time to fall in and
follow.
THE MARCH IN FILE.
As soon as all are in order the leader should head the line of march
up the middle of the room; when he has reached the top, he turns to
the left, and his partner to the right; the gentlemen all follow him in
single file, the ladies following the leading lady in the same manner;
when the leaders of the two lines arrive at the bottom, they pass to
the left of each other, the gentlemen marching round the room on the
outside, and the ladies inside them, and in the opposite direction.
When the first gentleman meets his partner again at the top of the
room, they both march together again round the room to the right,
followed by the other couples in their order. The leader should be
careful to introduce sufficient plain marching between each figure to
get all the couples following him in column before commencing a new
evolution.
THE MARCH IN COLUMN.
The first couple lead round the room until the leader reaches the
bottom left-hand corner. There, instead of turning upwards at right
angles up the side of the room, the first couple should file to the
right and march in a line parallel with the advancing couples, but in
an opposite direction across the room; as each couple successively
arrives at the same corner, they file to the right and follow their
leader. When the leader has got across the room, the first couple
should file to the left, and march straight across back again, and so
on, forming a serpentine line of march backwards and forwards across
the room until the top of the room is reached. To make this effective,
it requires a considerable number of couples, so that there will be at
least four lines, constantly passing each other in opposite directions,
and forming a very pleasing appearance. When the first couple reach the
top of the room, they lead the march round the room again, until all
the couples are following them in regular column.
THE MARCH BY PLATOONS.
The first couple lead the march up the center of the room. As they
reach the top, the first couple passes round to the right; the second
couple to the left; the remaining _odd_ couples in their order to the
right, and the _even_ couples following to the left. All thus march
down their side of the room, until they meet in the middle at the
bottom. There they turn up the center again four abreast. Arriving at
the top, the first four wheel round by the right; the second four wheel
round by the left, and so on alternately, each division marching down
its side of the room. When they meet at the bottom, they advance up
the center again, eight abreast. At the top of the room the first and
third eight wheel to the right, and the second and fourth wheel to the
left, each succeeding eight wheeling right and left alternately, down
the sides of the room, meeting at bottom, and marching up the center
sixteen abreast, thus forming full lines. At the top of the room all
halt, the first, third, etc. (_odd_) lines face all to the right; the
second, fourth, etc. (_even_) lines all to the left, the gentlemen step
up by the side of their lady partners, and the front line marches off
in couples to the right, the other lines following in their track, in
the same manner as in the March in Columns, and finishing in the same
way laid down in that march.
THE ARBOR MARCH.
All the couples march round the room in order. The first couple join
right hands, stop, and raise their hands, forming an arch. The second
couple pass underneath the arch, the gentleman first, and form another
arch; the third couple pass under both, and also form an arch, and so
on, each couple passing through the arches ahead of them in turn, until
one continuous arch has been formed. The first couple (now in the rear)
then passes through and out at the front end of the arbor, followed by
each rear couple in succession, until the arches have all disappeared.
If the number of couples is large, the first couple can follow the last
couple at once under the arches, if preferred, and repeat the arbor
continuously as long as may be desired. The plain march in couples is
then resumed, until the line of march is in regular order again.
THE SERPENTINE MARCH.
The serpentine figure is executed in single file. The leader steps in
front of his lady and leads the way up the center of the room; as each
couple turns to go up the center, each gentleman steps into single line
ahead of his lady, forming by degrees the whole couples into single
file. When the first gentleman reaches the top of the room, he leads
the way to the right entirely round and round the room, each successive
round passing inside the former, describing a spiral track towards
the center of the room. As soon as the inner coil becomes small, the
leader turns sharp round to the left and retraces his step between
the coils, until he marches between the coils entirely out of them.
He continues his march until all the coils are unwound, and then each
gentleman retires a step to the left of his lady partner, and the march
is continued in column until all the couples have fallen into regular
order again.
At the conclusion of the march, the leader stops, gives a signal for
the music to be changed into a waltz, and leads off with his partner,
followed by the other couples in succession.
In order to insure success in a Grand March, no gentleman can be
allowed to act as cavalier to two ladies, as the movements require
all to march in couples. The leader should regulate his pace to suit
circumstances, endeavoring always to keep the line of march unbroken,
and the couples at uniform distances from each other. The couples,
also, must follow exactly in the track of those before them and of the
leader, keeping correct time with the music.
SQUARE DANCES.
Very little knowledge of dancing is needed in order to take part
in square dances. The various figures, however, must be learned
thoroughly, or the attempt to go through a quadrille will end in
disaster.
[Illustration: ♢ _Lady_ X _Gentleman_]
The dancers arrange themselves in “sets,” four couples forming a “set,”
all facing the center. The positions are taken as in the diagram,
gentlemen to the left of the ladies, and forming a square. The couple
facing the stage is called the first couple, and the couple opposite,
the second couple. These are also called the “head couples.” The other
couples, the third and fourth, are called the “side couples.”
THE PLAIN QUADRILLE.
The Plain Quadrille is usually danced with four couples, that is, eight
dancers; but sometimes a double formation is used, and four dancers
face each other at each side of the square.
In the Plain Quadrille there are five figures, and eight bars of music
are given to each.
FIRST FIGURE.
Measures.
Address partners and corners 8
Head couples right and left 8
Head couples balance 8
Ladies’ chain, head couples 8
Head couples balance 8
Repeat with sides.
The dance is begun by the couples first addressing each other, and
then addressing the lady or gentleman in the nearest couple. Thus the
gentleman will first bow to his partner, then to the lady on his left,
and the lady will courtesy first to her partner, then to the gentleman
on her right. During this, eight measures of introductory music are
played. Every square dance is begun with these salutations.
HEAD COUPLES RIGHT AND LEFT.--The first and second couples
join nearest hand and cross over, between opposite couples. Each
gentleman and opposite lady touch right hands in passing. The gentleman
and his partner join left hands, and the lady moves halfway round. At
the end of this movement each couple will stand in the opposite ends of
the set, occupying the opposite couple’s place.
The same movement is repeated in returning to places.
HEAD COUPLES BALANCE.--Each gentleman crosses hands with his
partner; that is, he extends his left hand and takes his partner’s
left, and takes his partner’s right hand in his right. In taking this
position the right hands should be above the left. With hands crossed
thus, the couple promenade across the set, passing the opposite couple
to the right. Return to places in same manner.
HEAD COUPLES LADIES’ CHAIN.--The ladies of first and second
couples cross to opposite gentlemen, touching right hands as they pass.
They offer left hand to opposite gentlemen, who turn them half round.
Ladies return, again touching right hands in passing, and turning
partner with left hand to places.
HEAD COUPLES BALANCE.--Repeat movement as before.
The entire figure as described above is repeated by the side couples.
SECOND FIGURE.
Head couples, forward two:-- Measures.
Head couples forward and back 4
Cross over 4
Chassez to partners 4
Cross to places 4
Balance 8
This figure is then repeated by head couples, and is danced twice by
the side couples.
HEAD COUPLES FORWARD TWO.--This includes the four movements
following.
HEAD COUPLES FORWARD AND BACK.--Each gentleman extends right
hand to partner and takes lady’s left hand. Starting with right foot,
he takes four steps forward and four steps backward.
CROSS OVER.--The couples drop hands, and walk straight across
set, ladies passing between gentlemen, but without touching hands.
CHASSEZ TO PARTNERS.--The partners face each other and take
four steps forward to the right, and four steps backward to the left,
passing partners on the right.
CROSS TO PLACES.--Walk to places as before, ladies passing
inside.
THIRD FIGURE.
Measures.
Head couples right hands across 4
Left hands back 4
Balance in center 4
Half promenade to opposite places 4
Two ladies forward and back 4
Two gentlemen forward and back 4
Forward four and back 4
Half right and left 4
This figure is then repeated by head couples, and danced twice by side
couples.
HEAD COUPLES RIGHT HANDS ACROSS.--The head couples cross
over and give right hands to opposite dancers in passing. Ladies pass
_between_ opposite couple, and, when doing so, touch the opposite
gentleman’s hand.
LEFT HANDS BACK.--On the return, each gentleman takes the left
hand of the opposite lady in his left. The hands are retained while
passing, then all face the center and the ladies cross right hands to
partners.
BALANCE IN CENTER.--The four dancers perform this movement,
stepping forward and back, thus: Slide the right foot to the right, and
bring the left foot in front of the right in third position; count two;
slide the left foot to the left, and bring the right foot in front of
the left in the third position; count two; repeat the above; count four.
HALF PROMENADE.--All drop left hands, each gentleman retaining
his partner’s right, and promenade to position originally occupied by
opposite couple.
TWO LADIES FORWARD AND BACK.--Two ladies move forward four
steps, and retire four steps.
TWO GENTLEMEN FORWARD AND BACK.--Gentlemen repeat movement.
FORWARD FOUR AND BACK.--Gentlemen join hands with partners and
move forward four steps, and retire four steps.
HALF RIGHT AND LEFT.--Both couples cross over; each person
gives right hand in passing to the opposite person, and left hand to
partner, and turn to places.
FOURTH FIGURE.
Measures.
Head couples forward and back 4
Forward four, first lady cross over 4
Forward three and back 4
Forward, ladies cross over 4
Forward three 4
Forward again 4
Four hands half around 4
Half right and left 4
The head couples repeat the figure, and it is then danced twice by the
side couples, the first, second, third and fourth gentleman taking the
lead alternately.
HEAD COUPLES FORWARD AND BACK.--The gentlemen of the head
couples extend right hand to partners, taking four steps forward, and
retiring four steps.
FORWARD FOUR, FIRST LADY CROSS OVER.--The two gentlemen
advance four steps; first gentleman leaves his partner, who joins left
hand with opposite gentleman. Latter retires with both ladies, the
first gentleman retiring to his place alone.
FORWARD THREE AND BACK.--The second gentleman and two ladies
advance four steps, and retire four steps.
FORWARD AGAIN AND LADIES CROSS OVER.--The second gentleman
advances with ladies. Ladies cross over to first gentleman, who
advances to meet them. Second gentleman retires, the other three
dancers retiring at the same time.
FORWARD THREE.--The first gentleman and two ladies advance
four steps, and retire four steps, second gentleman remaining in place.
FORWARD AGAIN.--The first gentleman and two ladies advance
again and meet second gentleman, all joining hands in a circle.
FOUR HANDS HALF AROUND.--The four dancers turn half around to
the left, and each couple retires to the place occupied by opposite
couple.
HALF RIGHT AND LEFT.--Head couples cross over, each lady
passing between opposite couple and touching opposite gentleman’s right
hand in passing. Ladies then give left hands to partners and turn to
places.
FIFTH FIGURE.
Measures.
Hands all around 8
Head couples forward two 16
Balance 8
Repeat 32
Hands all around 8
Side couples forward two 16
Balance 8
Repeat 32
All chassez.
HANDS ALL AROUND.--All join hands in a circle and slide to the
left, taking eight steps. Then slide back again to the right. This
is sometimes varied by sliding around the complete circle, instead of
halfway.
HEAD COUPLES FORWARD TWO.--Same as in the second figure.
ALL CHASSEZ.--Partners face each other, chassez four steps to
the right and return. Address and retire.
The fifth figure is sometimes danced by substituting the ladies’ chain
for hands all around. For description of ladies’ chain see first
figure.
ADDITIONAL QUADRILLE FIGURES.
Instead of the second or fifth figures in the plain quadrille, the
following figures may be introduced:
The basket figure.
The nine-pin figure.
The minuet figure.
The star figure.
The cheat figure.
The jig figure.
The sociable.
THE BASKET FIGURE.
The calls for the Basket Figure are as follows:
Measures.
Head couples forward and back 4
Cross over 4
Chassez to partners 4
Cross to places 4
Balance 8
Ladies forward and back 4
Forward and join hands 4
Gentlemen, hands around 8
Form basket Pause
All balance 4
Turn partners to places 4
Repeat. Danced twice by side couples, with gentlemen in the center.
The first five movements of the basket figure are the same as those
described for the second figure of the plain quadrille.
LADIES FORWARD AND BACK.--Here all the ladies take four steps
forward and retire four steps, then advance again four steps and join
hands in the center, standing close together.
GENTLEMEN FORWARD.--All the gentlemen advance and form a
circle around the ladies by joining hands.
GENTLEMEN HANDS AROUND.--All the gentlemen slide around the
circle to the left (sixteen steps), and stop when they arrive at the
left side of their partners. Instead of completing the circle, this
movement is sometimes varied by the gentlemen sliding around to the
left only halfway (eight steps), and then sliding back to original
positions (eight steps).
FORM BASKET.--All the gentlemen raise their arms over the
ladies’ heads, with hands still joined, and bring them down in front
of the ladies. All retain hands, and the ladies step back a little, so
that one complete circle is formed, with arms intertwined.
BALANCE.--All balance in place, with hands still joined.
TURN PARTNERS TO PLACES.--All turn partners and resume
original positions in quadrille.
THE NINE-PIN.
This figure is not generally introduced into a regular quadrille, but
is danced separately. It requires an extra gentleman, who takes his
place in the center. The movements are performed at the will of the
leader; forward four, ladies’ chain, ladies to the center, right and
left all around, or any other movements being called in succession.
It is preferable to introduce those movements which require all the
dancers, or at least one partner out of each couple. At an unexpected
moment, generally in the middle of a movement where the gentlemen are
separated from their partners, a signal is given, when each gentleman
secures the nearest lady for a partner, the music stops, and each
lady resumes her place with her new partner; the gentleman who fails
to secure a partner becomes the nine-pin, and takes his place in the
center; the music recommences and dancing proceeds as before, until
another signal is given. This is repeated at will, generally ending
with all chassez.
MINUET FIGURE.
The calls for Minuet Figure are as follows:
Measures.
Head couples forward and back 4
Dos a dos 4
Sides, four forward and back 4
Forward and exchange partners 4
All, ladies’ chain 8
Sides, four forward and back 4
Turn partners to places 4
Danced twice with head couples leading, and twice with sides leading.
DOS A DOS.--Head couples forward and pass each other; then
each gentleman and opposite lady pass round each other back to back,
without turning round, and go backward to places.
SIDES FOUR, FORWARD AND BACK.--The first couple joins the
third and the second couple joins the fourth, thus forming two diagonal
lines facing each other.
Both lines forward and back; forward and turn opposite partners, with
gentlemen exchanging places with each other, the ladies remaining where
they were. This brings each gentleman to the other line, facing his own
partner.
THE STAR FIGURE.
The calls for the Star Figure are:
Measures.
Four ladies forward and back 4
Gentlemen forward and back 4
Ladies cross right hands 4
Ladies cross left hands 4
Right hand to partners --
Balance 4
Turn partners to place 4
FOUR LADIES FORWARD AND BACK.--The four ladies advance four
steps and return four steps.
FOUR GENTLEMEN FORWARD AND BACK.--Repeat; perform same
movement.
LADIES CROSS RIGHT HANDS.--In this movement all the ladies
step to the center, cross right hands and walk halfway round to the
left in the form of a cross.
LADIES CROSS LEFT HANDS.--Ladies turn halfway round, drop
right hand and join left hands in the center; then circle moves back
again till each lady is opposite her own partner.
RIGHT HAND TO PARTNER.--Each lady gives disengaged hand (the
right one) to her partner. They retain the opposite lady’s left at the
same time, and thus a star is formed.
BALANCE.--All drop left hands, but still keeping in the form
of a star, balance two steps to the right, then return to the left and
repeat.
TURN PARTNERS TO PLACE.--Here the star is broken by the ladies
relinquishing left hands. Gentlemen then turn partners to place with
right hands.
Repeat three times. On the first repetition, the figure is danced the
same as before; but on the subsequent repetitions the gentlemen go to
the center and cross right hands, the ladies forming the outer points
of the star.
THE CHEAT FIGURE.
The calls for the Cheat Figure are:
Measures.
First couple balance to the right 8
Balance to second couple 8
Balance to fourth couple 8
Balance to partners 8
This is repeated in turn by the second, third and fourth couples in
succession, each balancing to the couple on the right.
At the beginning of this figure the first couple turn toward the right
and take four steps forward, balance to the third couple, and retiring
four steps. Simultaneously the third couple moves forward to the first
couple, and retires. Then the two couples advance again, and each
dancer turns opposite partner with both hands.
At the moment when the dancers are about to turn the opposite lady or
gentleman it is allowable for either to suddenly withdraw and either
dance alone or turn any other dancer in the set. This is how the dance
derives its name.
THE JIG FIGURE.
The calls for the Jig Figure are:
Measures.
All hands around 8
Ladies to the right 32
All hands around 8
Gentlemen to the right 32
All hands around 8
All chassez 8
ALL HANDS AROUND.--The four couples join hands in a circle and
swing once round to place.
LADIES TO THE RIGHT.--The gentlemen remain in place, and each
lady balances to the gentleman on her right, and turns him with both
hands. She repeats the same with the next gentleman, and so continues
round the set, ending by balancing and turning with her own partner.
Then she resumes her place.
GENTLEMEN TO THE RIGHT.--The ladies remain in place, and the
gentlemen execute the figure in the same manner as the ladies, turning
each of the ladies in succession.
ALL HANDS AROUND.--All join hands and swing around in a circle
to places.
Each gentleman has a chance to introduce his jig-steps, for he balances
with each lady in succession.
THE SOCIABLE.
The calls for the Sociable are:
Measures.
Head couples, right and left 8
Side couples, right and left 8
All ladies to the right, turn and change partners 8
All promenade 8
Head couples, ladies’ chain 8
Side couples, ladies’ chain 8
All ladies to the right 8
All promenade 8
Head couples, four hands around to left and reverse 8
Side couples, the same 8
Ladies to the right 8
All promenade 8
Head couples, right hands across, half around and reverse 8
Side couples, the same 8
Ladies to the right 8
All promenade 8
Chassez to places --
Repeat.
The first two movements in the sociable are the same as before
described.
ALL LADIES TO THE RIGHT.--Four ladies balance to the right,
turn and change partners, each lady taking the place of the next lady
on the right.
This movement keeps all the couples in constant motion and calls for
a continual change of partners. This is why, in a private dance, the
sociable is always popular.
ALL PROMENADE.--Give both hands to partners and glide in a
circle to the right, all around the set, till original position is
reached.
LANCERS.
The calls for the Lancers are:
FIRST FIGURE.
Measures.
Head couples forward and back 4
Head couples forward and turn opposite partners 4
Cross over 4
Return to places 4
Balance to corners 8
Danced twice by head couples, except in “cross over,” when the second
couple first pass between. The same for side couples.
HEAD COUPLES FORWARD AND BACK.--First and second couples
simultaneously move forward four steps, and retire four steps.
FORWARD AND TURN.--Repeat first movement, but instead of
retiring, each gentleman first turns the opposite lady once with both
hands, then all retire to places.
CROSS OVER.--First couple join hands and cross set. Second
couple advances and separates to allow first couple to pass between.
On returning, the second couple join hands and the first couple
separate, to allow second couple to pass between.
BALANCE TO CORNERS.--All the ladies turn to the right and
balance to gentlemen; all the gentlemen turn to the left and balance
to ladies. Thus the lady of the head couple will balance with the
gentleman of the third couple; the lady of the third couple will
balance with the gentleman of the second couple, and so on. The
“balance” is performed by taking four steps forward and retiring four
steps, then again advancing and turning corner partner once with both
hands and retiring to place.
SECOND FIGURE.
Measures.
Head couples, forward and back 4
Forward and leave ladies in center 4
Chassez to right and left 4
Turn partners to places 4
Side couples, divide, all forward in two lines 4
Forward again and turn partners to places 4
Repeated by head couples and danced twice by side couples.
HEAD COUPLES FORWARD AND BACK.--First and second couples
advance four steps and retire four steps.
FORWARD AND LEAVE LADIES IN CENTER.--Advance again, leaving
ladies in center. Ladies turn and address partners, remaining back to
back. Gentlemen retire to places.
CHASSEZ.--Glide four steps to the right and return.
TURN PARTNERS.--Gentlemen advance and turn partners to place
with both hands.
SIDE COUPLES DIVIDE.--The side couples separate, the gentleman
of the third couple and the lady of the fourth joining the first
couple, and the lady of the third couple and the gentleman of the
fourth joining the second couple, thus forming two lines of four
dancers each, facing each other.
FORWARD AGAIN AND TURN PARTNERS TO PLACES.--The two lines
advance and each gentleman turns own partner to place.
The third and fourth times the figure is danced the head couples
separate and join the side couples.
THIRD FIGURE.
Measures.
Head couples forward and back 4
Forward and address 4
Ladies’ chain 4
Repeated by head couples; danced twice by side couples.
HEAD COUPLES FORWARD AND BACK.--Advance four steps, retire
four steps.
FORWARD AND ADDRESS.--Advance four steps, address opposite
partners and retire.
LADIES’ CHAIN.--As described in first figure of plain
quadrille.
FOURTH FIGURE.
Measures.
Head couples to the right and address 4
To the left and address 4
To place and address partners 4
Right and left across 8
Danced twice by head couples and twice by side couples.
HEAD COUPLES TO THE RIGHT.--First and second couples lead to
the right and address third and fourth couples respectively. Then lead
to the side couple on their left and address. Return to places and
address partners.
RIGHT AND LEFT ACROSS.--Same as in the first figure of the
plain quadrille. The second time the head couples execute the figure,
they lead to the couples on their left, instead of on their right,
address and visit the couple on the right. When the side couples dance
the figure they lead first to the right, then to the left.
FIFTH FIGURE.
Measures.
All right and left all around 16
First couple face out 8
All chassez across 8
First couple down the center and back 8
All forward and back 4
Forward again. Turn partners to places 4
Danced four times, each couple leading in rotation, the figure ending
with right and left all around.
ALL RIGHT AND LEFT ALL AROUND.--All face partners, address,
and join right hands. Pass partner, and give left hand to next person,
right hand to next, left hand to next, and meet partner in opposite
couple’s place and address. Pass partner again, and continue in the
same manner, going around the entire circle, until original places are
reached.
FIRST COUPLE FACE OUT.--The first couple join hands and
promenade or two-step in the center of the set, and return to their
place, facing outward. Then the third couple take position behind the
first, next follow the fourth couple, and the second couple remain in
their place.
ALL CHASSEZ ACROSS.--The four gentlemen and ladies take four
steps across--the gentlemen passing to the right behind their partners,
then return with four steps to the left. The four gentlemen retire,
and step back to the left, and the four ladies repeat the movement to
the right, forming in two single files, and facing partners.
FIRST COUPLE DOWN THE CENTER AND BACK.--The first couple join
hands and promenade or glide down between the lines, and return to head
of line and separate.
FORWARD AND BACK.--All move forward in two lines, advancing
four steps and retiring four steps.
FORWARD AND TURN PARTNERS.--Advance again and turn partners to
places. Give right hand to partner and stand in readiness for the right
and left all around, with which the figure concludes.
SARATOGA LANCERS.
FIRST FIGURE.
Measures
Head couples to the right 4
All forward and turn 4
Cross over 4
Places 4
Balance to corners 8
Head couples to the left 4
All forward and turn 4
Cross over 4
Places 4
This figure is repeated.
HEAD COUPLES TO THE RIGHT.--The head couples lead to the
right, the side couples advancing to meet them. Thus, first couple and
third couple move toward each other, and simultaneously second and
fourth couples execute same movement.
ALL FORWARD AND TURN.--First couple and third couple again
advance and turn opposite partners. Second couple and fourth couple the
same.
CROSS OVER.--Forward again, the head couples passing through
the side couples. On returning, the side couples pass through the head
couples.
PLACES.--Return to places.
BALANCE TO CORNERS.--Ladies balance to right, gentlemen to the
left.
The head couples then lead to the left, the fourth couple advancing
to meet them, and the second and third couples execute same movement.
First and fourth couples and second and third couples continue to dance
the remainder of the figure.
SECOND FIGURE.
Measures.
All forward and back 4
Ladies in the center 4
Gentlemen hands around 8
Form basket; all around to places 8
Forward and back 4
Gentlemen in the center 4
Ladies hands around 8
Form basket; all around to places 8
Danced twice.
The couples join hands, advance four steps and retire. Advance again,
and leave ladies in center. Gentlemen join hands and chassez around
ladies. Form basket, as before described, and all chassez in circle.
Retire to places. All advance four steps and retire. Advance again,
and leave gentlemen in center. Ladies join hands and chassez around
gentlemen. Form basket. All chassez and retire to places.
THIRD FIGURE.
Measures.
All forward and back 4
Forward and address 4
Ladies’ grand chain 8
All forward and back 4
Forward and address 4
Gentlemen: grand chain 8
Danced twice.
The four couples advance four steps and retire. Advance again and
address. Four ladies cross right hands, walk halfway round set, turn
opposite gentlemen with left hands, cross right hands again and walk
halfway round to place. Repeat movement, with gentlemen crossing left
hands in center.
Sometimes, when the gentlemen join left hands in center, they give
disengaged arm to ladies, and either promenade around the circle, or
promenade halfway, drop hands, ladies turn in, join right hands in
center, and return thus to places.
FOURTH FIGURE.
Measures.
Head couples to the right and address 4
To the left and address, change couples 4
Turn partners to places 4
Right and left 8
To the left and address 4
To the right and address, change couples 4
Turn partners to places 4
Right and left 8
Repeated by side couples, beginning by leading to the left, then to the
right.
The first and second couples lead to and address couple on the right;
then lead to the left, address, and ladies change partners, the lady on
the right becoming the partner of the gentleman on the left, and _vice
versa_. Turn partners to place. Then give right hand to partner and
execute right and left movement as before described. Head couples then
lead to the left.
NOTE.--In changing partners, gentlemen extend right hand,
ladies left.
FIFTH FIGURE.
Measures.
Address partners --
Right hand to partners --
Grand right and left, half way 8
Reverse, grand right and left 8
First couple face out and promenade 8
All chassez across 8
Ladies to the right, gentlemen to the left, march 8
All forward and back 4
Forward and turn partners to places 4
Danced four times, alternately by first four and sides.
After giving right hand to partner and passing halfway round set, stop
at opposite partner, walk halfway round that partner and return, giving
right and left hands in passing.
FIRST COUPLE FACE OUT AND PROMENADE.--The first couple
promenade around inside of set, facing outward. Third and fourth couple
fall in line, second couple bringing up the rear. All chassez across
and return. All march, ladies moving to the right, gentlemen to the
left, describing a semicircle, and halt in two lines facing each other.
Both lines move forward and back. Forward again and turn partners to
places.
WALTZ LANCERS.
The Glide, or Waltz, Lancers consist of figures similar to those of
the plain lancers, but they are somewhat curtailed to allow the waltz
movement to be introduced at intervals.
FIRST FIGURE.
Measures.
Head couples forward and back 4
Forward and turn opposite partners 4
Cross over, first couple inside 4
Return to places, second couple inside 4
Waltz 16
All balance to corners 8
Repeat movement.
Danced twice by side couples.
SECOND FIGURE.
Measures.
Head couples forward and back 4
Forward again, ladies in the center 4
Chassez and turn partners to places 8
All ladies to the right 8
All waltz 16
Repeat movement.
Danced twice by side couples.
When all the ladies balance to the right they turn and remain with new
partners, then waltz.
THIRD FIGURE.
Measures.
Head couples forward and back 4
Forward and address 4
Waltz 16
Ladies’ chain 8
Repeat.
Danced twice by side couples.
FOURTH FIGURE.
Measures.
Head couples to the right and address 4
To the left and address 4
Waltz 16
Right and left across 8
Repeat.
Danced twice by side couples.
FIFTH FIGURE.
Measures.
All right and left all around 16
First couple waltz (inside set, facing out) 8
Couples form in column, march 8
Face partners, forward and back 4
Forward and turn partners to places 4
Third, second and fourth couples waltz inside set in rotation. The
figure ends with right and left all around.
Danced four times.
FINALE.
All waltz around the room; or each set right and left all around.
THE CALEDONIANS.
FIRST FIGURE.
Measures.
Head couples cross right hands half around 4
Left hands back 4
Balance to partners, and turn 8
Ladies’ chain 8
Half promenade 4
Half right and left 4
Repeat.
Side couples: the same.
HEAD COUPLES CROSS RIGHT HANDS.--Advance and cross right
hands, the two gentlemen joining right hands above the ladies’ hands.
All take eight steps to the left, half around, thus arriving at
opposite sides of the set. Drop right hands, turn, cross left hands and
take eight steps back to place.
BALANCE TO PARTNERS.--Partners face each other, advance four
steps and retire four steps; turn partners with both hands.
LADIES’ CHAIN.--Opposite ladies advance, take right hands in
passing, then join hands with opposite gentleman and turn half around,
returning to places.
HALF PROMENADE.--Partners join hands and cross to opposite
side of set, turning to right in passing the opposite couple.
SECOND FIGURE.
Measures.
Head couples forward and back 4
Forward and address 4
All ladies balance to the right 8
All promenade 8
Repeat.
Side couples: the same, twice.
HEAD COUPLES FORWARD.--Advance four steps and retire; forward
again and address, and retire.
LADIES BALANCE TO THE RIGHT.--Each lady moves forward four
steps to the gentleman on her right, and turns him with both hands, and
remains at his side. In this manner each gentleman gets an exchange of
partners.
ALL PROMENADE.--The four couples then promenade with their new
partners.
This movement is repeated by the head gentlemen with their new
partners; then the sides execute the same twice, which brings each lady
to her own partner.
THIRD FIGURE.
Measures.
Head couples forward and back 4
Forward and dos a dos 4
Cross over, first couple inside 4
Back to place, second couple inside 4
Balance to corners 8
All join hands, forward to center 4
Forward and turn partners 4
Repeat.
Side couples: the same, twice.
HEAD COUPLES FORWARD AND BACK.--Advance four steps and retire.
FORWARD AND DOS A DOS.--Forward again, each gentleman going
to the left of opposite lady, passing around behind her, back to back,
from left to right, and retire to place.