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:
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.
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:
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 newvis-a-viseach time the dance is performed.
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:
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 personalcontact 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.
Take the third position, right foot in front. Glide the left foot directly backward about twelve inches (fourth position).
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.
Complete the turn by bringing the right foot front in the third position; count three.
Glide the right foot directly forward about twelve inches (fourth position); count four.
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.
Complete the turn by bringing the right foot in front in the third position; count six.
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 following are the six steps in the Glide Waltz:
Step straight backward with the left foot to fourth position; count one.
Draw right foot to the left, to first position; count two.
Step slightly backward to nearly third position; count three, making quarter turn.
Step straight forward with the right foot to fourth position; count four.
Draw left foot to right in first position; count five.
Step slightly forward with right foot toward third position, making quarter turn; count six.
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:
Slide the left foot sideways to the left, bringing the right foot behind, close up to the left, in the third position; count one.
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 maydance 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.
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.
Slide the left foot straight to the side with a gentle spring on the right, allowing the weight to rest on the left foot.
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 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:
Spring on the right foot, and at the same time slide the left foot forward.
Bring the right foot up close behind the left and transfer weight to left foot.
Slide the left foot forward, as in the first 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 sameas 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 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:
Slide the left foot forward to the left; count one.
Bring the right foot up to the left; at the same time raise the left foot, extending it, pointing the foot down; count two.
Bring the left foot back close to the right, the toe pointing downwards and raised from the floor, at the sametime springing on the right foot, without touching the left on the floor; count three.
Slide the left foot forward; count four.
Bring the right foot up to where the left was, raising the left foot in front; count five.
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.
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.
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:
Slide the left foot sideways.
Draw the right foot up close to the left.
Slide the left foot sideways again.
Spring on the left foot, and at the same time bring theright behind, raised from the floor, and close to the ankle of the left foot.
Repeat the same with the right foot, thus:
Slide the right foot sideways.
Bring the left foot up close to the right.
Slide the right foot sideways again.
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.
The second part is a rotary movement, performed by hopping on alternate feet, or waltzing twice round. The steps are as follows:
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.
Hop on the left foot, at the same time turning half around.
Spring from the left to the right foot.
Hop on the right foot.
Repeat the same with the other foot, counting five, six, seven, eight.
(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.
The following are the steps for the first part:
Slide the left foot to fourth position.
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.
Spring forward on the left foot, raising the right behind.
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.
Holding, as in an ordinary round dance, the couple waltz four bars as explained in the 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 commencingwith the right foot, the left arms raised above the head and the right arms akimbo.
Following are the steps for the first part:
Spring upwards from both feet and alight on the left foot (toes) with the right foot pointed in the second position.
Hop on the left and simultaneously bring the right behind the left.
Repeat the first step exactly as first performed.
Repeat the second step, but instead of bringing the right foot behind, let it pass in front.
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.
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 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.
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.
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:
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.
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 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.
The following steps are for gentlemen. Ladies substitute “right” for “left.”
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.
Throw the left foot forward, carrying the weight of the body with it, raising the right foot, with toe pointing downward.
Hop forward on the left foot.
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).
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 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 backwardas 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.
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.
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.
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.
Transfer the weight of the body to the right foot.
Draw up left foot into fifth position behind, and rest the weight onto it, raising the right foot slightly in front.
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.
Transfer the whole weight of the body to the left.
Draw up your right foot into the fifth position in front, and rest the weight thereon.
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.
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, 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 possibleassistance 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 acard, 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, andshouldbe 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 oncearound 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 achair 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.
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.
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.
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.
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.
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.”
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.
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.
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.
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.
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.
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.
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 doesthe same, until, finally, all have regained their own partners. Then all dance.
The conductor leads off with atour 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 hervis-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.
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 partnerat 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.
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.
First couple leads off. Leader presents four ladies the four queens of a deck of cards; the leader’s lady presentsfour gentlemen with four kings of the same deck. The gentlemen seek the ladies of their suit and dance with them.
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.”
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.
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, passingoutside 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.
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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.
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 thecircle 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.
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 amoulinet, 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 themoulinet, forming astarof 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 partnersand waltz to places. This figure may be varied, the gentlemen forming the star and the ladies the circle.
The first four couples lead off with atour 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.
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 acolimaçon, 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 outwaltzing, 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 waltzà 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.
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.
First couple leads off. The gentleman leaves his ladyin a corner of room facing the wall; then he brings forward four or five more ladies and places them in a line behind his partner singly, leaving about two feet space between each one. He then selects as many gentlemen (including himself) as there are ladies, with whom he forms a loose chain and conducts them rapidly in a course between the ladies (commencing with the last lady) until he reaches his partner; he then claps his hands and each gentleman dances with the lady nearest him.
Three or four couples waltz, and the leader, who is not dancing, calls other gentlemen to the floor, to act as rovers and rob the dancing gentlemen of their partners. A rover gets in front of a dancing couple and claps his hands, when the gentleman must relinquish his partner. He immediately seeks to indemnify himself, however, by securing one of the other ladies in a similar manner. This figure continues until each gentleman has again got possession of his lady to conduct her to her place. To execute this figure with all the animation required, it is necessary that as fast as each gentleman possesses himself of a lady another should replace him. The Pursuit is one of the final figures of the cotillion.
Each lady selects a gentleman and each gentleman selects a lady. The second, fourth and sixth gentlemen, holding their partner’s left hands in their right, form amoulinetby joining left hands, and all six revolve slowly to the left. At the same time the first, third and fifth gentlemen, with their partners, waltz around to the right in the space between each of the gentlemen in themoulinetand his partner and under their raised arms. At a signal, those who have been waltzing form themoulinet, and the others waltz.
Four couples proceed to place themselves in the middle of the room, as for a Virginia Reel. The first couple lead off by waltzing around the couple on their right, and in the same manner make a turn around the other couples. The other three couples repeat the same figure. When all the four have done so, they return to their places, waltzing.
Four couples waltz, and then form a quadrille. Four other couples take up positions so that a new couple stand exactly behind each one of the couples that form the quadrille. The figure commences by the four inside ladiescrossing right hands; they move entirely round, giving left hands to partners and swinging round to places. While the inner couples are thus engaged, the four outer couples waltz half round, outside the quadrille, to opposite places. Then the inner couples waltz entirely round, resuming their places, but facing outwards. All chassez at places; turn at corners with right hands, and turn partners with left hands to places. All the gentlemen then waltz to seats with the ladies standing opposite them.
All form a large circle by joining hands. The leader and his lady separate from the circle, which must be at once reconnected, and waltz around inside the circle. He stops at a signal, and the lady passes through the circle and takes her seat. He then selects another lady, with whom he dances. At a signal, he retires from the circle, and the lady with whom he has just danced selects a new partner from the circle, and so on for the others.
THE END.