POP-CORN DANCE.For Sixteen Little Girls.Dresses white, short and fluffy; white stockings and slippers. Capes and caps of yellow cambric. The capes reach the bottom of the dresses and have openings for the arms to pass through, and the caps are round skull caps fitting the top of the head closely. The “dance” is a series of simple steps and movements which are easily learned.Music: A march or two-step.
For Sixteen Little Girls.
Dresses white, short and fluffy; white stockings and slippers. Capes and caps of yellow cambric. The capes reach the bottom of the dresses and have openings for the arms to pass through, and the caps are round skull caps fitting the top of the head closely. The “dance” is a series of simple steps and movements which are easily learned.
Music: A march or two-step.
1. Enter at left rear in couples to a slow march, and for each step make a turning motion of the body to right or left as the right or left foot advances. March across the rear to right corner and turn diagonally and sharply. March to left front and again turn and march across the front of the stage. When the double line is in the center, halt, front face, and, beginning with the leader nearest the audience, let one at a time, first in the front, then in the rear line, giveonehop on the right foot, then rest until this hop has been made by all.
2. (Music slightly quickened.) Lines step back with left foot a little to the left, curtsey, rise, as the beats of the music indicate. Repeat, with right foot toward the right, curtsey, rise and repeat these backward movements until the rear of the stage is reached, both lines moving in unison.
3. Advance to front of the stage with same motion, front line stepping to right, and rear line to left simultaneously, thus giving a zig-zag motion.
4. Still holding hands the ends of the two lines move back until an angle is formed, the joined hands of the lines as they are held forward, forming the apex. The step for this motion is a hop, first with right, then with left foot, bending the body almost at right angles to right or left in the direction the step is taken.
5. Reverse the motion with steps forward until a straight line is again formed.
6. Front line kneels on right knee, raises joined hands high on first measure, lower them on second measure, repeat for four measures. Rear line advances one step in such manner that the girls of rear line alternate with those of front line, but behind them. Unclasp hands and each make four hops, first on right, then on left foot, turning as she does so. This completes a revolution. Then take one step to the right on the first beat of the music, bend right knee (thus dipping or curtseying) on the second beat, one step to the left on third beat, bend left knee on fourth beat. This completes four measures.
7. Rear line kneels on right knee, but does not join hands until the front line rises, unclasp hands and steps quickly backward between those kneeling. This takes one measure. Then the kneeling line clasp hands as at No. 6a, and those standing repeat No. 6b. Repeat this until each line has knelt twice. This should bring them to the position they had before Nos. 6 and 7, viz., in parallel rows facing the audience, only at the rear of the stage instead of the front.
8. Both lines clasp hands. Rear line steps close to the front line and puts the clasped hands over the heads, and in front of the front line. This brings the girls alternating. The solid line thus formed runs forward four steps (starting on left foot) in double time, viz., two steps to each count. At the fifth step (whichbrings them on the left foot) hop on the left foot, then on the right foot. Repeat these two movements—the running forward and the hopping—until the front of the stage is reached. It should take three, perhaps four, repetitions.
9. Both lines unclasp hands. Rear row steps back to its place behind the front row as it was before No. 8, and each girl puts her hands over the shoulders of the girl directly in front of her, who raises her hands to clasp them. The four couples on the right now turn to the right (away from the center) and those on the left face left. The two sets now move away from each other with short steps and double time four steps forward (always left foot first). The rear girl steps to the right of her partner and they run four steps diagonally to the right. The rear girl then steps behind her partner and they run four steps forward. The rear girl then steps to the left of her partner and they run four steps diagonally to the left. This figure is a little like that in the skate or barn dance.
10. The two sets now right-about-face and dance to the center as they danced away from it, the front girl now being the rear one and dancing at either side of her partner, etc.
11. When they meet at the center they face front, and all in unison dance to the front as in No. 3, except that the forward movement is in the same direction, and not zig-zag.
12. Repeat Nos. 2, 3, 4, 5, 6 and 7.
13. Dance to the front of the stage with the couples holding hands as in No. 10, but the figure is different. Let the couples run four short steps diagonally to the left on the first two beats of a measure, then hop first on the left foot, then on the right; then run diagonally to the right four steps, hop twice, etc., repeating these movements until the front of the stage is reached.
14. Retreat to rear with the same steps as in No. 13, only running backward. Here throw off the cloaks.As they are buttoned only at the neck, this can be done suddenly and all together. By throwing the capes quite to the back of the stage as they stand they will be out of the way of further movements. All the time they are doing this (which should occupy not more than two measures, and one if possible) the hopping is kept up. This is the popping of the corn, which thus comes out in its fluffy white.
15. Dance to front again by the following steps: Four steps to left and forward, hopping alternately on either foot, then four steps to right in the same way; four steps to left, etc., and then, without losing step—
16. Retreat to rear, going backward with the same step. At the rear form a line in front of the capes on the floor. During the last four numbers the music has quickened until it is as fast as can possibly be kept time with.
17. The instant this line is reached let the children step side by side to form one continuous line, all holding hands. The two at the ends of the line now put their free hand on their hips, and raise the hands clasping their neighbors as high as they can. The next ones hold the hands of the third numbers level with their shoulders, and tip their heads toward the third ones. These third ones kneel on the right knee, and have one hand up to hold the hands of the second ones, and the other hand lower to hold the hands of the fourth in line, who kneel on both knees as flat as possible.
The two in the middle of the line stand holding their joined hands as high as possible, the others take positions as the second, third and fourth in the lines have done. The result is a pop-corn chain in two festoons.
If this is done instantly the effect is very pretty. The change from the “popping” of the corn to the stillness of the festoons being unexpected and striking.At the same time the music, which continues to the end, is played softer and slower.
18. This pose is held for several measures. The music then gives the signal by resuming a marching tempo, and playing louder; those kneeling rise, and the whole line forms a circle, holding hands. The circle dances around twice one way, then twice the other way, by running two steps, hopping at the third step, and repeating.
19. The circle parts and swings back to a single line, where the festoon is again formed, and held several measures.
CURTAIN.