FASHIONABLE DANCING.
The return to quadrilles at some of the latest balls at
Delmonico's in the winter of 1884 was an important epoch in the
history of dancing, reiterating the well-known proverb of the
dressmakers that everything comes round in fifty years. Fashion
seems to be perennial in this way, for it is almost fifty
years--certainly forty--since the quadrille was at the height of
fashion. In Germany, where they dance for dancing's sake, the
quadrille was long ago voted _rococo_ and stiff. In England and at
court balls it served always as a way, a dignified manner, for
sovereigns and people of inconveniently high rank to begin a ball,
to open a festivity, and it had a sporadic existence in the
country and at Washington even during the years when the Lancers,
a much livelier dance, had chased it away from the New York balls
for a long period of time.
The quadrille is a stately and a conversational dance. The figures
are accurate, and every one should know them well enough to
respond to the voice of the leader. But inasmuch as the figures
are always calling one away from his partner, the first law is to
have a large supply of small-talk, so that, on rejoining, a remark
and a smile may make up for lost time. A calm, graceful carriage,
the power to make an elegant courtesy, are necessary to a lady. No
one in these days takes steps; a sort of galop is, however,
allowed in the rapid figures of the quadrille. A defiant manner,
sometimes assumed by a bashful man, is out of place, although
there are certain figures which make a man feel rather defiant.
One of these is where he is obliged, as _cavalier seul_, to
advance to three ladies, who frequently laugh at him. Then a man
should equally avoid a boisterous demeanor in a quadrille; not
swinging the lady round too gayly. It is never a romping dance,
like the Virginia reel, for instance.
All people are apt to walk through a quadrille slowly, to music,
until they come to the "ladies' chain" or the "promenade." It is,
however, permissible to add a little swinging-step and a graceful
dancing-movement to this stately promenade. A quadrille cannot go
on evenly if any confusion arises from the ignorance, obstinacy,
or inattention of one of the dancers. It is proper, therefore, if
ignorant of the figures, to consult a dancing-master and to learn
them. It is a most valuable dance, as all ages, sizes, and
conditions of men and women can join in it. The young, old, stout,
thin, lazy, active, maimed, or single, _without loss of caste_,
can dance a quadrille. No one looks ridiculous dancing a
quadrille. It is decidedly easier than the German, makes a break
in a _tte-
-tte_ conversation, and enables a gentleman to be
polite to a lady who may not be a good dancer for waltz or polka.
The morality of round dances seems now to be little questioned. At
any rate, young girls in the presence of their mothers are not
supposed to come to harm from their enjoyment. Dancing is one of
the oldest, the most historical, forms of amusement. Even Socrates
learned to dance. There is no longer an excommunication on the
waltz, that dance which Byron abused.
In England the _valse
deux temps_ is still the most fashionable,
as it always will be the most beautiful, of dances. Some of the
critics of all countries have said that only Germans, Russians,
and Americans can dance it. The Germans dance it very quickly,
with a great deal of motion, but render it elegant by slacking the
pace every now and then. The Russians waltz so quietly, on the
contrary, that they can go round the room holding a brimming glass
of champagne without spilling a drop. This evenness in waltzing is
very graceful, and can only be reached by long practice, a good
ear for music, and a natural gracefulness. Young Americans, who,
as a rule, are the best dancers in the world, achieve this step to
admiration. It is the gentleman's duty in any round dance to guide
his fair companion gracefully; he must not risk a collision or the
chance of a fall. A lady should never waltz if she feels dizzy. It
is a sign of disease of the heart, and has brought on death.
Neither should she step flat-footed, and make her partner carry
her round; but must do her part of the work, and dance lightly and
well, or not at all. Then, again, neither should her partner waltz
on the tip of his toes, nor lift his partner too much off the
floor; all should be smooth, graceful, delicate.
The American dance of the season is, however, the polka--not the
old-fashioned "heel and toe," but the step, quick and gay, of the
Sclavonic nationalities. It may be danced slowly or quickly. It is
always, however, a spirited step, and the music is undoubtedly
pretty. The dancing-masters describe the step of a polka as being
a "hop, three glides, and a rest," and the music is two-four time.
In order to apply the step to the music one must make it in
four-eight time, counting four to each measure of the music, each
measure taking about a second of time by the watch. The polka
redowa and the polka mazourka are modifications of this step to
different times.
The galop is another fashionable dance this winter. It is very
easy, and is danced to very quick music; it is inspiriting at the
end of a ball.
The _minuet de la cour_ was first danced in the ancient province
of Poitou, France. In Paris, in 1653, Louis XIV., who was
passionately fond of it, danced it to perfection. In 1710, Marcel,
the renowned dancing-master, introduced it into England. Then it
went out for many years, until Queen Victoria revived it at a _bal
costum_ at Buckingham Palace in 1845. In New York it was revived
and ardently practised for Mrs. W. K. Vanderbilt's splendid fancy
ball in 1883, and it was much admired. There seems no reason why
the grace, the dignity, the continuous movement; the courtesy, the
_pas grace_, the skilfully-managed train, the play with the fan,
should not commend this elegant dance to even our republican
dancers; but it has not been danced this winter. It is possibly
too much trouble. A dancing-master worked all winter to teach it
to the performers of the last season.
To make a courtesy (or, as we are fond of saying, a _curtsy_)
properly is a very difficult art, yet all who dance the quadrille
must learn it. To courtesy to her partner the lady steps off with
the right foot, carrying nearly all her weight upon it, at the
same time raising the heel of the left foot, thus placing herself
in the second position, facing her partner, counting _one_. She
then glides the left foot backward and across till the toe of the
left foot is directly behind the right heel, the feet about one
half of the length of the foot apart. This glide commences on the
ball of the left foot, and terminates with both feet flat upon the
floor, and the transfer of the weight to the backward foot. The
bending of the knees and the casting down of the eyes begin with
the commencement of the glide with the left foot, and the
genuflection is steadily continued until the left foot reaches the
position required, counting _two_; then, without changing the
weight from the backward foot, she gradually rises, at the same
time raising the forward heel and lifting the eyes, until she
recovers her full height, counting _three_; and finally transfers
the weight to the forward foot, counting _four_. Such is the
elaborate and the graceful courtesy. It should be studied with a
master.
The "German" (the "Cotillon," as the French call it) is, however,
and probably long will be, the most fashionable dance in society.
It ends every ball in New York, Washington, Boston, Philadelphia,
and Newport; it is a part of the business of life, and demands
consummate skill in its leadership. Any number may join in it; it
often reaches twice around a large ballroom. All the couples in it
are regarded as introduced to each other. No lady can refuse to
dance with any gentleman who is brought to her in the German. So
long as she remains in the charmed circle she must dance with any
one in it. Therefore the German must only be introduced at select
assemblies, not at a public ball. The leader opens the German by
motioning to certain couples to make a _tour de valse_ round the
room.
Many of our correspondents write to ask us what are the latest and
the favorite figures in the German. This is a difficult question
to answer, as the leader always has his own favorite figures. The
German generally begins with _l'avant trois double_, which may be
generally described thus: the leader, having performed the _tour
de valse_ with his partner, leaves her, and brings forward two
other ladies; his lady brings forward two other gentlemen; the two
_trios_ place themselves opposite each other, then forward and
back, and each gentleman with the lady in front of him performs a
_tour de valse_. Should the company be large, two or more couples
may start together, each couple choosing other ladies and
gentlemen in the same manner as the first couple. Then comes _La
Chaise_ after the _tour de valse_. The leader places his partner
in a chair in the centre of the room; he then brings forward two
gentlemen and presents them to the lady, who chooses one of them,
after which he seats the gentleman who is rejected, and brings to
him two ladies; he also selects a partner, and the leader dances
with the refused lady to her place. This figure may be danced by
any number of couples.
_Les Drapeaux_ is a favorite figure. Five or six duplicate sets of
small flags of national or fancy devices must be in readiness. The
leader takes a flag of each pattern, and his partner takes the
duplicate. They perform a _tour de valse_. The conductor then
presents his flags to five or six ladies, and his partner presents
the corresponding flags to as many gentlemen. The gentlemen then
seek the ladies having the duplicates, and with them perform a
_tour de valse_, waving the flags as they dance. Repeated by all
the couples.
_Les Bouquets_ brings in the favors. A number of small bouquets
and boutonnieres are placed upon a table or in a basket. The first
couple perform a _tour de valse_; they then separate. The
gentleman takes a bouquet, and the lady a boutonniere. They now
select new partners, to whom they present the bouquet and
boutonniere, the lady attaching the boutonniere to the gentleman's
coat. They perform a _tour de valse_ with their new partners.
Repeated by all the couples. Other favors are frequently
substituted for bouquets and boutonnieres, such as rosettes,
miniature flags, artificial butterflies, badges, sashes, bonbons,
little bells (the latter being attached to small pieces of ribbon
and pinned to the coat or dress), scarf-pins, bangles, fans, caps,
imitation antique coins, breastpins, lace pins, lockets; and even
gifts of great value, such as shawls, scarfs, vases,
picture-frames, writing-desks, and chairs (represented, of course,
by tickets) have been this winter introduced in the german. But
the cheap, light, fantastic things are the best, and contribute
more to the amusement of the company.
Some of the figures of the German border on the romp. One of these
is called _La Corde_. A rope is stretched by the leading couple
across the room, and the gentlemen jump over it to reach their
partners. Much amusement is occasioned by the tripping of
gentlemen who are thrown by the intentional raising of the rope.
After all have reached their partners they perform a _tour de
valse_, and regain their seats. This is a figure not to be
commended. Still less is the figure called _Les Masques_. The
gentlemen put on masques resembling "Bully Bottom" and other
grotesque faces and heads of animals. They raise these heads above
a screen, the ladies choosing partners without knowing them; the
gentlemen remain _en masque_ until the termination of the _tour de
valse_. This figure was danced at Delmonico's and at the Brunswick
last winter, and the mammas complained that the fun grew rather
too fast and furious. _Les Rubans_ is a very pretty figure. Six
ribbons, each about a yard in length, and of various colors, are
attached to one end of a stick about twenty-four inches in length,
also a duplicate set of ribbons, attached to another stick, must
be in readiness. The first couple perform a _tour de valse_, then
separate; the gentleman takes one set of ribbons, and stops
successively in front of the ladies whom he desires to select to
take part in the figure; each of these ladies rises and takes hold
of the loose end of the ribbon; the first lady takes the other set
of ribbons, bringing forward the six gentlemen in the same manner.
The first couple conduct the ladies and gentlemen towards each
other, and each gentleman dances with the lady holding the ribbon
duplicate of his own; the first gentleman dances with his partner.
We might go on indefinitely with these figures, but have no more
space. The position of a dancer should be learned with the aid of
a teacher. The upper part of the body should be quiet; the head
held in a natural position, neither turned to one side nor the
other; the eyes neither cast down nor up. The gentleman should put
his arm firmly around a lady's waist, not holding her too close,
but firmly holding her right hand with his left one; the lady
turns the palm of her right hand downward; her right arm should be
nearly straight, but not stiff. The gentleman's left arm should be
slightly bent, his elbow inclined slightly backward. It is very
inelegant, however--indeed, vulgar--to place the joined hands
against the gentleman's side or hip; they should be kept clear of
the body. The step should be in unison; if the gentleman bends his
right elbow too much, he draws the lady's left shoulder against
his right, thereby drawing the lady too close. The gentleman's
right shoulder and the lady's left should be as far apart as the
other shoulders. If a gentleman does not hold his partner
properly, thereby causing her either to struggle to be free or
else to dance wildly for want of proper support, if he permits
himself and partner to collide with other couples, he cannot be
considered a good dancer.