Part 5
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.
The first step was, in fact, nothing but the polka with the knee well 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.