hands with second lady, and swings her half around; at the same time
the first lady joins left hands with second gentleman and swings half
around; the first gentleman and his partner meet, facing each other.
The first couple repeat these movements with each other, and each
succeeding couple until they reach the bottom. Then the first couple
join hands and dance up the middle to their former places at the top.
The gentlemen march to the left and the ladies to the right in line,
and come up the middle to places. The top couple dance down the middle
to the bottom and become bottom couple. Top and bottom couples begin
the figure over again, and continue until the first couple have reached
their places again at the top. Sometimes, in the march, when the first
couple, having marched down the outside, meet at the bottom of the set,
they stop, join hands and raise their arms, allowing all the other
couples to pass under. This leaves them at the bottom of the lines.
The calls for the Virginia Reel are as follows:
First gentleman and last lady forward and back.
First lady and last gentleman the same.
First gentleman and last lady swing right hands.
First lady and last gentleman the same.
First gentleman and last lady swing left hands.
First lady and last gentleman the same.
First gentleman and last lady swing both hands.
First lady and last gentleman the same.
First gentleman and last lady dos a dos.
First lady and last gentleman the same.
First couple turn right hands.
Separate and turn second couple, left hands.
Turn right hands.
Separate and turn third couple, left hands.
And so on to the bottom.
Join hands and back to places at top.
All gentlemen to left, ladies to right, march down outside and up the
middle.
Head couple down the middle to bottom.
POP GOES THE WEASEL.
The dancers take their positions as in the Virginia Reel, face to face.
Commence with the music, and end each movement in exact time with it.
The calls for Pop Goes the Weasel are:
Measures.
Head couple down the middle and back 8
Down outside and back 8
Right hands across with second lady 8
Three left hands across, second lady under 8
Head couples right hands across with second gentleman 8
Three left hands across, second gentleman under 8
The head couple repeat the figure, with each side couple in succession.
The head couple begin by taking exactly eight steps down and eight
steps back.
DOWN THE OUTSIDE.--The gentleman turns to the left, and the
lady to the right, outside their respective lines back again to places.
RIGHT HANDS ACROSS WITH SECOND LADY.--Head couple and second
lady cross right hands, and swing to the left.
THREE LEFT HANDS ACROSS.--The three drop right hands, turn,
cross left hands and swing to the right. The second lady passes quickly
under the raised hands of the first couple, all singing, “Pop Goes the
Weasel,” to her place. The head couple repeat the same movement with
the second gentleman, and so on down the set.
As soon as a couple have been “popped” they move up a step on their
respective lines, so as to leave a little space between themselves
and the next couple. The first couple then repeat the whole figure,
turning and “popping” the next couple, and so continue throughout the
set. In passing outside they do not go to the ends of the lines, but
pass between the couples whom they have “popped” and the rest of the
line. As soon as the first couple have turned and “popped” two or three
couples, the second couple also starts, and as many couples are kept in
lively motion as can dance without confusion.
SPANISH DANCE.
The dance can be performed by any number of couples arranged in a
complete circle, each alternate couple facing the opposite way to the
rest. This produces a series of squares or sets, each consisting of two
couples facing one another.
The same movements are executed in all the sets at once. The couples in
each set have their backs towards the couples in the adjoining sets.
Each set may be regarded as a little square, the ends of which are
occupied by the two couples, while the sides are vacant.
One set consists of two couples, standing facing one another, the
first gentleman and first lady constituting the first couple; the
second gentleman and second lady the second couple. The square has four
sides--two opposite two--the two opposite sides now occupied by the
couples will be designated the ends; the two other opposite sides will
be called the sides.
The music is in waltz time, with three beats in a measure. The calls
for the Spanish dance are:
Measures.
Two couples forward four 2
Change partners 2
Forward four 2
Change partners 2
Repeat 8
Cross right hands 4
Cross left hands to places 4
All waltz 8
The movements have all been described before. After all have returned
to places, each couple waltz around in their own square once, and then
take another half turn into he adjoining set, where they stop. Thus the
couples have new _vis-a-vis_ each time the dance is performed.
THE SICILIAN CIRCLE.
In this dance the sets are arranged exactly as in the Spanish dance.
The movements are adapted from the Plain Quadrille, and the music is in
2-4 time.
The dance calls are as follows:
Measures.
Two couples right and left 8
Balance and turn partners 8
Forward and back 4
Forward and through to next set 4
ROUND DANCING.
THE WALTZ.
In the waltz the partners stand facing each other, the gentleman a
little to the right, encircling the lady’s waist with his right arm,
supporting her firmly, yet gently, and holding her right hand with his
left, extending it nearly to the height of his waist, the left arm
being only slightly bent at the elbow.
The lady’s left hand should rest lightly upon her partner’s right
shoulder, while the right arm should be extended nearly straight,
with the palm of her hand turned downward. The gentleman then places
the inner side of the fingers of his left hand against the inner
side of the fingers of the lady’s right hand. It is the duty of the
gentleman to guide his partner in the dance, and he should hold her
with sufficient firmness to make this guidance unmistakable, but by no
means so closely as to interfere with absolute freedom of movement. The
lady should yield entirely to her partner’s guidance. Unnecessarily
close personal contact should be, strictly avoided, both because it is
unrefined and because it leads, inevitably, to awkwardness in posture
and movement. The lady should not lean upon her partner. He is not
supposed to sustain any portion of her weight. The gentleman should
adapt his step to that of the lady, and especially guard against taking
too long steps.
In all the round dances, the lady commences with the right foot and the
gentleman with the left. Both dancers should look to the front, over
one another’s shoulders.
In the modern style of waltzing, four bars or twelve beats may be
occupied in completing one entire turn. This renders it equally easy to
turn forward or reverse, or, in fact, in any direction that the fancy
may suggest or circumstances--a crowded room, for instance--may demand.
The main distinction between the old and new style may be concisely
summed up as follows: In the old style, the slide of the left foot in
beat one, and the right in beat four, is sideways and partially turning
at the same time; in the new style, the glide of the left foot in beat
one is exactly backward, and that of the right in beat four is exactly
forward in a straight line, without a “shadow of turning,” the turn
being confined solely to beats two, three, and five, six.
Waltz music contains three beats in a measure, the first of the three
being accented. The waltz step consists of six movements, one to each
beat of the music, thus occupying two measures. The rhythm of the step
corresponds to the rhythm of the music. Thus the first and fourth
movements are accented.
The following are the various steps for the gentlemen, but the ladies
have the same steps, though they begin with the fourth step and right
foot, and continue with the fifth and sixth, and go on to the first
without changing; thus the gentleman is executing one, two, three,
while the lady executes four, five, six; this continues without
variation throughout the waltz.
FIRST STEP.
Take the third position, right foot in front. Glide the left foot
directly backward about twelve inches (fourth position).
SECOND STEP.
Pass the right foot two or three inches behind the left heel, at the
same time turning on the ball of each foot count two.
THIRD STEP.
Complete the turn by bringing the right foot front in the third
position; count three.
FOURTH STEP.
Glide the right foot directly forward about twelve inches (fourth
position); count four.
FIFTH STEP.
Advance the left foot about six inches in front of the right, at the
same time turning on the ball of each foot; count five.
SIXTH STEP.
Complete the turn by bringing the right foot in front in the third
position; count six.
THE REVERSE.
The movement in the reverse direction is effected by substituting the
left foot for the right foot in the foregoing explanation. The left
foot is glided directly forward at the fourth step, instead of the
right; and the right foot glides directly backward at the first step,
instead of the left.
THE GLIDE WALTZ.
The following are the six steps in the Glide Waltz:
FIRST STEP.
Step straight backward with the left foot to fourth position; count one.
SECOND STEP.
Draw right foot to the left, to first position; count two.
THIRD STEP.
Step slightly backward to nearly third position; count three, making
quarter turn.
FOURTH STEP.
Step straight forward with the right foot to fourth position; count
four.
FIFTH STEP.
Draw left foot to right in first position; count five.
SIXTH STEP.
Step slightly forward with right foot toward third position, making
quarter turn; count six.
THE TWO-STEP.
Of recent years the Two-step has become very popular. It is similar to
the Galop, its characteristic feature consisting in a difference of
accentuation. The movements of the Two-step occur and are counted on
the first and third beats of the bar, a pause being made on the second
beat, thus--one and two.
The steps for the gentlemen are as follows:
FIRST STEP.
Slide the left foot sideways to the left, bringing the right foot
behind, close up to the left, in the third position; count one.
SECOND STEP.
Slide the left foot diagonally forward, turning half round on the left
foot, and bringing the right foot, toe pointing to the floor, behind
and close up to the ankle of the left foot; count two.
The same is now repeated with the right foot, using each foot
alternately to commence the step. The couples may dance forward or
backward, turning either to the right or left, as inclination may
direct; or they may make the movement in a straight line. In the latter
case, the gentleman straightens his arm, placing the lady a little
more to his right. He then slides backward, making the steps in the
same manner as described, without turning, the lady, of course, moving
forward simultaneously.
THE GALOP.
This step is very simple, and consists of but two movements. The music
is in 2-4 time, and as a rule, played quickly. There are two kinds of
steps used--one for going forward and the other for turning round.
The forward movement is a perfectly natural one, and will be easily
understood. The turning movement is accomplished by using the ordinary
waltz step, counting one and two, one and two, letting the second and
fifth steps come in at the word “and.”
Position.--Right foot in front.
FIRST STEP.
Slide the left foot straight to the side with a gentle spring on the
right, allowing the weight to rest on the left foot.
SECOND STEP.
Bring right foot up to the left, with a light spring on left.
Repeat three times, making in all four slides to the right. Accent the
slides, and give as little time as possible to the change. The fourth
time, instead of transferring the weight to the left foot, pivot on the
right foot, making a half turn to the right. Then take four slides,
with the left foot leading. Pivot to the right on the left foot, and
repeat, with the right foot again leading.
THE POLKA.
The Polka is in 2-4 time, and consists of three steps and one rest. At
the beginning, the gentleman slides right foot forward to the right,
and brings the left foot to the side of the right ankle.
Continue thus:
FIRST STEP.
Spring on the right foot, and at the same time slide the left foot
forward.
SECOND STEP.
Bring the right foot up close behind the left and transfer weight to
left foot.
THIRD STEP.
Slide the left foot forward, as in the first step.
FOURTH STEP.
Spring on the left foot, and at the same time turn half around,
bringing the right foot up behind, slightly pointed downwards, and
close to the ankle of the left. The three steps to complete the circle
are the same as described, but made by commencing with the right foot,
which is the foot the lady commences with. These steps may be taken
forward or backward, and to right or left, by a slight alteration of
the first step.
All the steps should be made entirely on the toes, and with elasticity,
the knees being slightly bent.
THE POLKA MAZOURKA.
The music for this dance is in 3-4 time, and consists of one Mazourka
step and one Polka step, counting three to each step, six in all. Some
years ago the Polka Mazourka obtained a marked degree of popularity.
It is a pleasing dance for those who enjoy subdued motion, but it was
supplanted in popular favor by a prevailing taste for something fast.
The following are the steps:
FIRST STEP.
Slide the left foot forward to the left; count one.
SECOND STEP.
Bring the right foot up to the left; at the same time raise the left
foot, extending it, pointing the foot down; count two.
THIRD STEP.
Bring the left foot back close to the right, the toe pointing downwards
and raised from the floor, at the same time springing on the right
foot, without touching the left on the floor; count three.
FOURTH STEP.
Slide the left foot forward; count four.
FIFTH STEP.
Bring the right foot up to where the left was, raising the left foot in
front; count five.
SIXTH STEP.
Face on the left foot, raising the right foot, resting at the same
time, turning halfway round; count six.
Then commence with the right foot as at “first,” and continue.
The first three steps should be taken sideways, partners facing each
other.
THE SCHOTTISCHE.
In this dance partners stand side by side and facing the same way. The
gentleman’s right hand rests lightly on the lady’s waist, and her left
hand rests on his right shoulder.
The lady starts with the right foot, the gentleman with the left.
FIRST PART.
This part should be danced by each couple in a direction towards and
from the center of the room.
Following are the steps for the gentlemen:
FIRST STEP.
Slide the left foot sideways.
SECOND STEP.
Draw the right foot up close to the left.
THIRD STEP.
Slide the left foot sideways again.
FOURTH STEP.
Spring on the left foot, and at the same time bring the right behind,
raised from the floor, and close to the ankle of the left foot.
Repeat the same with the right foot, thus:
FIFTH STEP.
Slide the right foot sideways.
SIXTH STEP.
Bring the left foot up close to the right.
SEVENTH STEP.
Slide the right foot sideways again.
EIGHTH STEP.
Spring on the right foot, and at the same time bring the left behind,
raised from the floor, and close to the ankle of the right foot.
SECOND PART.
The second part is a rotary movement, performed by hopping on alternate
feet, or waltzing twice round. The steps are as follows:
FIRST STEP.
Spring forward from the right foot to the left, bringing the right
foot, toe pointing to the floor, behind, and close to the ankle of the
left foot.
SECOND STEP.
Hop on the left foot, at the same time turning half around.
THIRD STEP.
Spring from the left to the right foot.
FOURTH STEP.
Hop on the right foot.
CONCLUDING STEPS.
Repeat the same with the other foot, counting five, six, seven, eight.
MILITARY SCHOTTISCHE.
(Or “Barn Dance.”)
The position of partners for the first part (4 bars) is standing side
by side, the lady’s left hand resting lightly in the right hand of her
partner.
In the second part (4 bars) partners dance together as in an ordinary
round dance.
FIRST PART (4 BARS).
The following are the steps for the first part:
FIRST STEP.
Slide the left foot to fourth position.
SECOND STEP.
With a light spring on the left bring the right foot to the place of
the left, and in so doing point the latter (slightly raised in front)
in the fourth position.
THIRD STEP.
Spring forward on the left foot, raising the right behind.
FOURTH STEP.
Make a slight hop on the sole of the left foot, and extend the right in
front with toe pointed downwards.
Repeat the movement, commencing with the right foot (the foot the lady
commences with). The two movements are again repeated to complete the
first four bars.
SECOND PART (4 BARS).
Holding, as in an ordinary round dance, the couple waltz four bars as
explained in the Schottische.
THE HIGHLAND SCHOTTISCHE.
This dance differs from the original Schottische in the introduction of
motions (steps) taken from the Highland Fling; also in the length of
the two phrases, which are extended to four bars each, instead of two.
During the first phrase of four bars, while dancing the Highland Fling
steps, the dancers do not take hands, but remain face to face. Those
who are familiar with all the movements of the Fling raise one hand
above the head, while resting the other upon the hip, as it is done
when dancing that active dance.
Great latitude is taken at this part of the dance, as any steps
(motions) belonging to the Fling may be introduced.
Like the Barn Dance, it occupies 8 bars of music, and is divided into
two parts of 4 bars each.
In order to perform the first part, the couples should face each other
at a very short distance, both commencing with the right foot, the
left arms raised above the head and the right arms akimbo.
FIRST PART.
Following are the steps for the first part:
FIRST STEP.
Spring upwards from both feet and alight on the left foot (toes) with
the right foot pointed in the second position.
SECOND STEP.
Hop on the left and simultaneously bring the right behind the left.
THIRD STEP.
Repeat the first step exactly as first performed.
FOURTH STEP.
Repeat the second step, but instead of bringing the right foot behind,
let it pass in front.
CONCLUDING STEPS.
Schottische step to right.
In the last four steps the dancers pass away from each other.
Repeat the eight steps, beginning with the left foot.
The last four steps should bring the dancers opposite each other again.
SECOND PART.
Link right arms, each raising the left, place the right foot down and
hop, counting one, two, then place left foot down and hop, counting
three, four; repeat, counting one, two, three, four; while doing this,
begin to move forward and round each other. During the last hop release
the partner’s right arm and link left, now raise the right and make a
corresponding tour in the reverse direction with the same steps.
In finishing the last hop, separate from your partner and commence the
first movement by pointing the right foot, with a slight hop on the
left.
THE RACQUET.
FIRST PART.
The music for the Racquet is in 3-4 time. No full turn is made;
the dance consists of but two long slides, taken in every possible
direction. On the first accented beat take two long Galop slides with
the left foot, and as the right foot is brought alongside, pause a
moment and raise left foot slightly from the floor. Then continue by
sliding forward twice with right foot, the first slide always being
taken on the first, or accented beat in the measure.
Hop forward again on the left foot, release lady’s hand, turn around,
gentleman takes lady’s right hand in his left. The movements are then
repeated, facing in the opposite direction.
SECOND PART.
The couples then take positions as in the waltz and dance the polka
or two-step for four measures, after which they again join hands and
advance as before.
LA BOHEMIENNE.
The music for La Bohemienne, or the Heel-and-Toe Polka, as it is
popularly termed, is in 2-4 time. It is danced as follows:
FIRST STEP.
Place left heel on the floor in second position, resting on right foot,
count one; bring the toe of left foot behind the right, count two; and
take full polka step, count one, two, three.
SECOND STEP.
Place the right heel on the floor, resting on left foot, count one;
bring the toe of right foot behind the left, count two; then take full
polka step, count one, two, three.
The Heel-and-Toe and the Plain Polka are alternated throughout the
dance.
THE BERLIN.
The music for the Berlin is in polka time, two beats in a measure. It
is composed of two parts.
The partners stand side by side, the gentleman taking the lady’s left
hand in his right. Both dance in same direction. Both start together,
gentlemen beginning with left foot, ladies with the right.
FIRST PART.
The following steps are for gentlemen. Ladies substitute “right” for
“left.”
FIRST STEP.
Slide the left forward and bring hollow of right foot to heel of left
foot, transferring the weight to ball of right foot, the heel being
raised slightly from the floor.
SECOND STEP.
Throw the left foot forward, carrying the weight of the body with it,
raising the right foot, with toe pointing downward.
THIRD STEP.
Hop forward on the left foot.
FOURTH STEP.
Hop again on the right foot, turn half round (lady to left, gentleman
to right), change hands and bring the left foot, raised, to third
position behind the right (4).
SECOND PART.
Repeat the above, moving now in the opposite direction from that in
which the start was made.
At the end of the fourth measure (eight counts), take waltz position
and dance the two-step for four measures, alternating thus throughout
the dance.
THE YORKE.
The Yorke is an evolution of the old polka mazourka, and introduces a
mazourka movement at pleasure.
The lady slides right foot about twenty inches to the side in
second position count 1, bring left to right (change) and almost
simultaneously slide right foot to side, count and 2; draw left foot to
first position (change), thereby placing the weight on the left foot
and raise the right foot from the floor, toe pointed 3. The first three
movements are all made to the side without turning--one bar of music.
Hop lightly on the left foot and place the weight on the right foot,
sliding it sideways and forward about 6 inches (hop slide), count 1;
draw left to right foot in first position (change) count 2; leap from
left to right foot, count 3; slide the left foot round to position to
commence the sideways movement with that foot, count 1. Repeat, with
opposite foot, making the leap in the 4th bar a leap backward as in
the waltz. In order to give the mazurka effect, one must strike the
heels together, although it is not necessary, and to be graceful in
this dance, special attention must be paid to the hop slide.
THE CAPRICE.
This is a popular variation of the waltz, and is danced to the same
music. Eight measures are required for a single execution of the
movements. The steps in the first four measures are taken straight to
the side. A half turn is made in the fifth measure, in which the plain
waltz step is used; also in the sixth, and again on the first two
counts of the seventh measure. The last two slides are also made to the
side.
THE REDOWA.
This is a very graceful, attractive dance, and performed in the same
time as the Polka-Mazourka, _i. e._, three-four time.
When first introduced it was customary to begin with a promenade
movement, but is now generally commenced with the circular figure. The
original style of this dance is almost lost, a kind of elongated polka
step being substituted for it. No one who is really acquainted with the
original method would ever commit this error.
Position.--Third, right foot in front.
FIRST STEP.
Spring onto the left foot into the second position, turning half round
and well bending the knee; the right foot meanwhile being drawn up
close in front over the instep of the left, gliding it along the floor
in the second position.
SECOND STEP.
Transfer the weight of the body to the right foot.
THIRD STEP.
Draw up left foot into fifth position behind, and rest the weight onto
it, raising the right foot slightly in front.
FOURTH STEP.
Spring onto the right foot in fourth position with bended knee; then
turn half round, at the same time bringing the left foot close up
behind the right, and slide the left foot into second position.
FIFTH STEP.
Transfer the whole weight of the body to the left.
SIXTH STEP.
Draw up your right foot into the fifth position in front, and rest the
weight thereon.
THE VARSOVIANA.
The Varsoviana was a very simple, easy dance, but such unwarrantable
liberties were taken with it, and so vulgarly was it performed by the
mass, that its existence was very brief, and is now only thought of as
a thing of the past.