bent on the jette, or third movement, turning half round, the opposite
foot being slightly raised behind in fifth position; this occupies
1 bar. At 4 (the commencement of the second bar), the bent knee is
gradually straightened (without any jerk), and the other foot at the
same time being gracefully slid into the second position, the toe
being extensively pointed, and the head and body inclining towards it,
passing in that position till the remainder of the bar is finished.
The same step is again performed with the right foot, and continued
alternately for 16 bars, each step requiring 2 bars of music for its
completion.
The first movement is repeated eight times. The second step consists of
the first part of the polka-mazourka (where the beat behind occurs).
This is done twice, occupying 2 bars of music, and is followed by one
step of the first movement, requiring 2 more bars.
This step, as well as the third, requiring 4 bars for its completion,
is only performed four times. The first movement being repeated after
each of them.
The third part, sometimes called Redowa, is in reality nothing but
the first step danced three times, before pointing the foot in second
position, pausing; or, in other words, it is the polka movement danced
with a bent knee three times successively before pointing the opposite
foot.
HALF-TIME DANCING.
A recent fad which has become popular in certain dancing circles is the
Half Time. This is merely a curtailment of the number of steps in the
dance, with a pause to fill out the measure.
The positions are similar to those in the ordinary waltz and two-step
except that the lady is placed a little more to the gentleman’s right.
In half-time waltzing only two steps are taken instead of three; the
couples pausing for the third beat in the measure. The gentleman leads
backward with the right foot, count one; simultaneously the lady
advances with the right at the side of the gentleman’s right. The
gentleman slides the left foot alongside his right, the lady executing
the same movement, count two; pause in this position, count three. The
same movements are repeated.
THE COTILLION.
The Cotillion, or German, is one of the most social of dances, and
is deservedly popular. It may be composed of any number of couples;
but in a large party of twenty-four couples or more, it is better for
the leader to seat himself in the center, and to select the dancers
from each end of the circle alternately; this shortens the dance, and
prevents it from becoming tedious.
Should the ladies be in the minority, the gentlemen who are without
partners are always permitted to engage any of the ladies for a single
figure without any formal introduction. Where ladies are without
escorts, they are generally under the special care of the leader,
who either dances with them himself, or presents them to some of the
gentlemen.
While it is absolutely necessary that all authority in regard to the
cotillion should be placed in a single individual, it is also necessary
that the ladies and gentlemen who compose the set should render to the
leader all possible assistance in carrying out his orders, or rather
suggestions.
To be a successful leader requires a combination of tact, patience,
courtesy, vivacity and common sense. He must know exactly what program
is to be carried out, and arrange all the details beforehand, so that
there may be no delay or confusion.
It is his place to call the different dancers to the floor, and to see
to it that no one is neglected, but that, so far as possible, all have
an equal chance to enjoy themselves.
He signals to the musicians when the music is to begin, to stop, or to
change to a different rhythm, and to the dancers when they are to stop
dancing and to return to their seats.
These signals are given by clapping the hands, or by blowing a whistle,
the latter being the favorite method.
Castanets are sometimes used for the same purpose. The figures to be
danced should be selected with reference to the space available for
dancing and the number of guests participating.
When it is time for the dance to begin, the leader’s first duty is
to seat the dancers. This is generally done by lot. The chairs are
numbered in pairs. Each couple draws a card, also numbered, and seat
themselves in the chairs whose number corresponds to the number on
the card. There should be an equal number of ladies and gentlemen
participating. But, in case there are any of either sex who have no
partners, they are seated at the end of the line, and the leader will
see that they receive a due share of attention from the others. Favors
are used in many of the figures. These generally consist of little
trifles made of bright-colored ribbons, tissue paper, tinsel, etc.
They may be as inexpensive or as elegant as the taste and means of
the hostess permit. Cut flowers may also be used. Those favors are
most popular which can be pinned to the coat or dress and worn as
decorations throughout the evening. Two tables are provided, one for
the gentlemen’s favors and one for those designed for the ladies. The
leader may distribute the favors himself, but it is more customary to
invite some lady to preside over each table. Favors may be used in any
figure, and _should_ be used in at least every other one.
When all are seated, the leader, as briefly and clearly as possible,
explains the figure to be danced, and calls the requisite number of
dancers to the floor, beginning at the head of the line. The couples
thus designated dance once around the room and then perform the figure
as directed, which is repeated until all have danced. The leader
should be constantly on the floor, directing and assisting where it is
necessary to do so.
At the conclusion of the dance, the leader generally stands with the
hostess to receive the adieux of the guests, an honor certainly due to
the one upon whom the success of the evening chiefly depends.
It is the duty of the guests to cordially second the efforts of the
leader. The closest attention should be given when he is explaining
a figure, and all should be ready to enter into it with heartiness
and animation. It is in bad taste for any couple to get up and
dance on their own account, regardless of the figure which is being
executed. It would seem as if this caution should be unnecessary, but,
unfortunately, observation proves that even among well-bred people
there are occasionally some who are thoughtless enough to offend in
this way. In such cases the leader is fully justified in stopping the
music and kindly but decidedly requesting the intruders to return to
their seats.
THE FIGURES OF THE COTILLION.
1.--THE FLOWER FIGURE.
Seat a lady in center of room with flowers placed loosely on a tray.
One couple waltz at signal, each take a flower and favor some one with
whom they dance. Repeat this until by changes the thirty-two persons
are up. Signal, form circle, grand right and left, waltz. Another lady
will then be left. She takes her seat in the vacated chair, and the
dancers in waltzing around, throw the flowers in her lap, with which
she makes a bouquet. The leader then appoints a gentleman to waltz with
the lady or waltzes with her himself.
2.--THE MAGIC HAT.
The gentleman leaves his partner in the middle of the room, and gives
her a hat. All the gentlemen form a circle round the lady, turning
their backs to her, circle rapidly to the left. The lady places the hat
on the head of one of the gentlemen, with whom she dances. The other
gentlemen return to seats.
3.--THE SCARF.
First couple leads off. The leader stands in center of room holding
scarf; his partner, with all of the other ladies, form a circle around
him and turn rapidly to the left; the leader tries to throw scarf over
the shoulder of one of the ladies, and dances with her. Other ladies
retire to seats.
4.--FOLLOW MY LEADER.
All the couples form in column behind the first. The head couple waltz
in a zigzag course in and out between the other couples, and stop at
the end of the line about three feet behind the last couple. As soon as
the first couple have danced past two of the other couples, the second
couple also starts, and this is continued until all have danced the
zigzag waltz, at which point the first couple will again be at the head
of the column. All then waltz to seats.
5.--PING PONG.
The leader selects five ladies, and his partner selects six gentlemen.
Leader and his partner hold sheet for net. Ladies on one side,
gentlemen on the other. Ladies bat ball over the sheet in rotation; the
gentleman catching the ball will step around the net and waltz with the
lady who served the ball.
6.--THE TOAST.
Three chairs are set on a line, the center one being placed in a
direction opposite to the other two. The leader places his lady upon
the center chair, gives her a glass of wine, and brings forward two
gentlemen, whom he seats on the two other chairs. The lady hands the
glass of wine to one of the gentlemen to “toast” her health, and dances
with the other gentleman.
7.--THE UMBRELLA.
The leader’s partner takes an umbrella, opens it, and hands it to any
gentleman in the circle. The gentleman with the umbrella will hold it
up and walk around the circle until some lady takes him out of the
rain by arising and waltzing once around with him. The lady then hands
umbrella to another gentleman in the circle, who in turn walks around
until relieved.
8.--THE SIGNAL OF DISTRESS.
A tin horn is placed in center of circle. The leader selects one
gentleman and requests him to take the horn and walk around blowing it
until one of the ladies relieves him. She dances with him, then hands
the tin horn to a gentleman she may select from the circle.
9.--THE CHAIR.
The leader places a chair in the center of the room, and upon it seats
his partner, to whom he next presents two gentlemen. The lady dances
with one of the gentlemen, and the other gentleman seats himself in
the chair just vacated by the lady. The leader then presents to the
gentleman two ladies; he dances with one of them, and the other takes
the chair.
10.--FORFEITS.
The leader hands his lady a hat or basket, with which she proceeds
to receive forfeits from the other ladies present, such as rings,
handkerchiefs, fans, etc.; she then takes the hat or basket around to
the gentlemen, who each select, at random, one of the articles, and
dance with the lady owning it.
11.--PUSS IN THE CORNER.
Four chairs are placed in the center of the room, separated so as
to make four corners. The leader places his partner upon one of the
chairs, and brings forward three ladies and places them upon the three
remaining chairs, and takes up a position in the center. The ladies
then endeavor to change seats, using the two-step when passing from one
chair to another; when the gentleman can seize a chair left vacant by
the movement of the ladies, he dances with the lady who is deposed. The
next gentleman places himself in the center and another lady takes the
vacant chair.
12.--THREAD-THE-NEEDLE ARCHWAY.
The first lady selects another lady, and the two stand in the center of
the room with their hands joined and raised as high as possible. The
gentleman then calls up other gentlemen, who pass under in couples,
until two are accepted as partners by the two ladies, who lower their
arms, thus capturing the favored ones. The rejected gentlemen either
seek other partners or return to seats.
13.--THE KNEELING KNIGHT.
The first gentleman presents to his lady a cushion, which she offers to
several gentlemen, inviting them to kneel upon it. She may cheat the
gentlemen or bestow the cushion at will. She withdraws it from those
she desires to cheat, and places it before the gentleman with whom she
desires to dance.
14.--THE MASK.
The gentlemen mask themselves. They then arrange themselves behind a
screen, and raise their heads above it. The ladies then select partners
from the group, and waltz. The gentlemen keep their masks on until the
finish. Repeated by the others.
15.--BLIND MAN’S BUFF.
Three chairs are placed in the center of the room. First couple lead
off. The conductor takes another gentleman, whom he blindfolds and
seats on the center chair. The lady selects another gentleman, whom she
leads (walking on tiptoe) to one of the chairs next to the “blind” man,
while she seats herself on the other chair. The first gentleman then
asks the blindfolded man with whom he will dance, the person on his
right or the one on his left? If fortunate enough to select the lady,
he dances with her. If he indicates the gentleman, he must waltz with
him, while the lady dances with her partner.
16.--THE AUCTION.
The leader selects a gentleman and places him on a chair in the center
of the room, and proceeds either to auction him off himself, or selects
a good humorist from the circle to play “auctioneer.” The ladies must
then enter into a spirited competition, and the one offering the
highest bid dances with him. The auctioneering is continued until all
the gentlemen have been “sold.”
17.--THE GAY DECEIVER.
The first gentleman leads his lady by the hand round the circle,
and approaches several ladies, feigning to solicit them to dance.
The moment the lady rises to accept him, he suddenly turns round
and addresses another, and plays the same game till he has made his
selection. The first lady dances with the partner of the lady on whom
the choice has fallen.
18.--THE ROPE.
Three gentlemen choose partners, and their partners select other
gentlemen. The ladies retire to one end of the room and the gentlemen
to the other, while the leader and his partner stretch a rope across
the room, over which the gentlemen must jump to regain their partners.
As the rope is managed so as to trip the gentlemen as much as possible,
a great deal of amusement is afforded.
19.--THE FAN.
The leader places his lady in the center of the room, and gives her a
fan. He then presents two gentlemen to her. She presents the fan to one
and dances with the other. The gentleman receiving the fan hops around
and fans the couple while they waltz.
20.--THE BASKET, RING AND FLOWER.
The first couple advance. The gentleman gives to his partner a
basket containing a flower and a ring. He then presents to her three
gentlemen. To one she gives the flower, to another the ring, and to
the third the basket. The gentleman who receives the basket must dance
alone, holding the basket in his hand; the one who has the ring may
choose a lady to dance with him, and the one who has the flower dances
with the lady who presented it to him. When they have danced around the
room two or three times they all resume seats, and the next couple do
same until end of circle.
21.--THE INSCRIPTIONS.
Several plain cards are prepared; upon one side of each is a number,
and upon the other side a ludicrous inscription; a gentleman and lady
waltz; the lady then takes her place by the table, upon which are the
cards; the gentleman presents a basket containing corresponding numbers
with those on the cards to another gentleman, who after drawing one
presents it to the lady; she then selects the card having that number,
and attaches it to the gentleman’s back, with the inscription exposed
to view; they then waltz together.
22.--THE BASKET.
Three or four couples waltz; the gentlemen then choose another lady,
and the ladies another gentleman. All join hands in a circle, and take
four steps forward and four back, again four steps forward, when the
gentlemen take each other’s hands above and the ladies below, as in the
“Quadrille Basket.” Then all balance in place; the leader then drops
the hand of the gentleman on his left, and his partner drops the hand
of the lady on her right, then all array themselves in a straight line.
The gentlemen then lift their arms and disengage the ladies, who pass
under and waltz forward, followed by the gentlemen. At a signal, the
ladies turn round and dance with the opposite gentlemen.
23.--THE INCONSTANTS.
The first four couples waltz and then range themselves in a column, the
first couple at the head. The first gentleman turns round and gives the
left arm, crossed at the elbow, to the left arm of the gentleman behind
him, with whom he changes place. He continues this movement until he
reaches the front of the column, where he stops. The second gentleman
(now at the head) performs the same figure, and each of the other
gentlemen in turn does the same, until, finally, all have regained
their own partners. Then all dance.
24.--THE COLUMNS.
The conductor leads off with a _tour de valse_, and leaves his lady
in the middle of the room. He takes a gentleman, whom he places back
to back with his partner; he then brings another lady, whom he places
facing the gentleman, and in the same manner with the others, until a
column of five or six couples is formed, which must terminate with a
lady, the leader himself standing back to back with the last lady. At a
signal by leader, all turn about and waltz with his or her _vis-à-vis_.
Two or three lines can be formed by starting two or three couples. The
columns can also be used as a final figure.
25.--THE CARNIVAL.
All the couples are divided, the ladies being arranged in one
circle, and the gentlemen in another, both circles facing outwards.
A sufficient number of paper costumes, packed as “favors,” being in
readiness, the leader takes one of the ladies’ “favors” and presents it
to one of the ladies, whom he leads inside the ladies’ circle, where
costumes are put on, and then leads her to her seat. The leader’s
partner at the same time hands a gentleman’s “favor” to one of the
gentlemen, and leads him into his ring to be robed or decorated, and
then is in turn led by him to her seat. The second couple proceed in
like manner, until all have been accommodated.
The conductor then can organize some short figures for dancing, forming
also groups and tableaux appropriate to the decorations.
26.--THE HANDKERCHIEF CHASE.
The first three or four couples waltz; the gentlemen leave their ladies
in the center of the room; each lady holds a handkerchief in her hand.
The leader then selects one more gentleman, who, with the others, form
a circle about the ladies, presenting their backs, and turn rapidly to
the left. The ladies throw their handkerchiefs in the air, and waltz
with those gentlemen who have been fortunate enough to catch them. The
unfortunate gentleman who does not get a handkerchief selects a lady
from the company. The figure is performed successively by all the other
couples.
27.--THE CARDS.
First couple leads off. Leader presents four ladies the four queens of
a deck of cards; the leader’s lady presents four gentlemen with four
kings of the same deck. The gentlemen seek the ladies of their suit and
dance with them.
28.--SCISSORS TO GRIND.
Leader and partner waltz once around. Leading lady, who has been
provided with a tin horn, hands this horn to one of the gentlemen.
He begins to walk around the circle blowing his horn and calling out
“Scissors to grind,” until some lady has scissors to grind. Then,
taking from him the tin horn, hands it to another gentleman, who in
turn imitates a “Scissors to grind” character. Gentleman waltzes once
around with the lady who has rescued him from his honored position of
“Scissors to grind.”
29.--THE SKATERS.
Two chairs are placed in the room about eight feet apart. First couple
lead off and waltz around the chairs, describing the figure eight as
skaters do. Each couple in succession repeats the same skating movement.
30.--THE SPIRAL.
Form in line, one couple behind another, all facing the same way.
The first couple turns and passes beneath the joined hands of the
second couple; then separate, passing outside of the third couple;
then separate, passing under the hands of the fourth couple, and so
continue to the end of the line. Each couple repeats the figure in
turn. Partners then face each other, stepping back so as to form two
lines, one of gentlemen and one of ladies. The two lines forward, and
all dance with partners.
31.--THE PYRAMID.
o
o o
o o o
o o o o
Ladies form pyramid, equal number of gentlemen join hands in line and
wind around first lady, next two, etc.; then reverse the movement until
conductor arrives in front of first lady, with whom he waltzes; other
gentlemen waltz with nearest ladies.
32.--THE GRAND ROUND.
Any number (four or more) lead off, then each lady selects another
lady and each gentleman selects another gentleman. The dancers form a
circle, the gentlemen forming one half of it and the ladies the other
half, the leading gentleman being next to his partner. All join hands
and circle around to the left. Still retaining hold of hands, the first
lady and gentleman advance across the circle and pass under the raised
arms of the opposite lady and gentleman. When outside the circle, the
leading couple unclasp hands and the gentleman, drawing the other
gentlemen after him, turns to the left and passes around outside the
circle, the lady at the same time turning to the right and drawing the
other ladies after her. When the leading couple again meet, they dance
together to place, and each successive couple does the same.
33.--THE STAR AND CIRCLE.
Four couples waltz around, then each lady selects another gentleman,
and each gentleman another lady. The eight couples are arranged in
two lines, the four couples in one line facing the four in the other
line. The four ladies belonging to the middle couples cross right hands
forming a _moulinet_, and swing entirely round to the left, returning
with left hands across to the right. The gentlemen all join hands and
form a circle around these four ladies. The remaining four ladies now
advance, giving their left hands to the right hands of the ladies
composing the _moulinet_, forming a _star_ of ladies, and a circle of
gentlemen. The gentlemen swing round to the right under the uplifted
arms of the ladies, who move around to the left. At a signal, the
gentlemen regain their partners and waltz to places. This figure may
be varied, the gentlemen forming the star and the ladies the circle.
34.--THE DOUBLE PASTOURELLE.
The first four couples lead off with a _tour de valse_, and place
themselves as for a quadrille. The first and second gentlemen retaining
their partners’ hands, take with their left hands the side ladies on
their left, who leave their partners, thus forming two threes at the
head; they forward and back four bars; the gentlemen pass the ladies
to the side gentlemen, the lady on the left passing under their right
arms; the three forward and back four bars, the ladies going to the
gentlemen at the head. This figure is repeated four times, when all
dance.
35.--THE LABYRINTH.
In this figure all form a general round, going to the left. At a given
signal the conductor releases the hand of his lady, who is on his left,
and while continuing to turn in the same direction, enters the circle,
making a _colimaçon_, while his lady turns to the right to wind about
the other circles, that go on narrowing. A circular space should be
contrived to be able to extend themselves in waltzing. In this position
the conducting couple set out waltzing, and follow the passes of the
labyrinth formed by the general chain rolling on itself till they have
arrived at the last couple, to which the first lady gives her hand to
renew the circle. As each new couple arrives it places itself behind
the one previous. When all have arrived they conclude by a general
waltz or mazourka. When this figure is executed in polka, you dance
through the passes of the labyrinth with the waltz _à deux pas_, which
requires less space; when the figure is executed in mazourka, you have
recourse to the mazourka waltz. The Labyrinth is one of the final
figures of the cotillion.
36.--LETTER CARRIER FIGURE.
Boy or girl in uniform of letter carrier with bag and whistle. Ladies
inclose their cards in envelopes (each separately); they are then
collected by the carrier. Gents form in line, carrier then hands
letters, one by one, to leader, who calls the names as they are handed
to him. First lady called dances with first gentleman and so on until
five couples have waltzed around, when, from a signal from carrier’s
whistle, they find seats and so on with each succeeding five couples.
37.--THE SERPENT.