Part 1
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POPULAR INFORMATION AT A POPULAR PRICE
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=Dancing without an Instructor= _by Prof. Wilkinson_
=Dream Book=
The National Dream Book, _by Mme. Claire Rougemont_.
=Etiquette=
The Twentieth Century Guide to Etiquette, _by L. W. Sheldon_.
=Fortune Teller=
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“Blessed are those who laugh for they shall grow fat.”
=Hoffmann, Prof.=
Tricks with Cards Tricks with Dice, Dominoes, Etc. Tricks with Coins, Watches, Rings, Etc. Miscellaneous Tricks.
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The Twentieth Century Lovers Guide to Love, Courtship and Marriage, _by Grace Shirley_.
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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.)
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.)
Repeat this movement by sliding the left foot sideways, transferring the weight to the right foot.
THE THIRD POSITION.
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.
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.
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.