Chapter II: Part 2

Measures.
Head couples right and left 8
All waltz (keeping within limits of original
set; each couple maintaining same relative
distance between other couples) 16
Head couples, ladies’ chain 8
All waltz 16

Side couples: the same.

SECOND FIGURE.

Measures.
Head couples forward two (same movements
as in second figure of Plain Quadrille) 16
All waltz 16

Repeat.

Side couples: the same, twice.

THIRD FIGURE.

Measures.
Head couples forward four 4
Forward again, ladies cross and change partners 4
All waltz 16

Repeat.

Side couples: the same, twice.

FOURTH FIGURE.

Measures.
All join hands and forward and back 4
Turn partners to places 4
All waltz 16

Danced four times.

FIFTH FIGURE.

Measures.
All right hand to partners, right and left half around 8
All waltz back to places 16
Head couples forward two 16
All waltz; places 16

Side couples the same.

All, at the close, address 8

THE WALTZ QUADRILLE, No. 2.

FIRST FIGURE.

Measures.
Head couples right and left 8
Balance 8
Ladies’ chain 8
All waltz 16

Repeat.

Side couples: the same, twice.

SECOND FIGURE.

Measures.
Head couples forward two 16
All waltz 16

THIRD FIGURE.

Measures.
Head couples right hands across (to opposite couples) 4
Left hands back to center 4
Balance in center 4
Half promenade to opposite places 4
All waltz 16

Repeat.

Side couples: the same twice.

FOURTH FIGURE.

Measures.
Head couples balance to the right 4
Exchange partners (gentlemen lead new partners to places) 4
Ladies’ grand chain 8
All forward and back 4
Turn new partners to places 4
All waltz 16

Head couples repeat (bringing original partners together again).

Side couples: the same twice.

LADIES’ GRAND CHAIN.--This is executed by the four ladies simultaneously. They cross right arms, each lady taking the hand of the opposite lady. With hands joined, ladies walk round, halting with opposite partners. Turn opposite gentleman with left hand, and return to place, crossing right arms in center as before and turning partner with left hand.

A variation of this figure is sometimes introduced as follows: When the exchange of partners has been effected, instead of resuming positions in quadrille, the head couples remain facing their respective side couples, and a “ladies’ chain” is made on each side of the quadrille by each two facing couples. There is no objection to this if there be plenty of room, but where limited, it is better to execute a “ladies’ grand chain” with the couples at their places.

FIFTH FIGURE.

Measures.
All right hand to partner, right and left half around 8
Reverse to places 8
Head couples forward and back 4
Forward and address 4
All ladies balance to the right (exchange partners) 8
All waltz (with new partners) 16

Head couples repeat.

Side couples: the same twice.

All right and left hand around 8
Reverse to places and address 8

PRINCE IMPERIAL QUADRILLE.

As usual in all quadrilles, during the first eight bars of music, each gentleman addresses first his own partner, then the lady on his left.

FIRST FIGURE.

Measures.
Head couples to the right and address 4
Take side ladies, and go opposite 4
Ladies’ grand chain (without gentlemen) 8
All chassez to right and left 4
Turn partners, head couples at opposite places. 4

Head couples repeat as they stand.

Side couples: the entire figure, twice.

HEAD COUPLES TO THE RIGHT AND ADDRESS.--The first couple moves to the right and stops, facing the third couple, and the second couple stops facing the fourth couple. All address.

TAKE SIDE LADIES AND GO OPPOSITE.--Retaining his partner’s right hand in his right hand, the first gentleman takes the third lady’s right hand in his left and conducts the two ladies to the second couple’s place. In the same way the second gentleman leads his partner and the fourth lady to the first couple’s place.

LADIES’ GRAND CHAIN (WITHOUT GENTLEMEN).--The four ladies cross over, touching right hands in passing. They then cross from side to side of the set, touching left hands. These two movements are repeated, ending with each lady standing in front of and facing her own partner.

ALL CHASSEZ.--All take four steps to the right and four to the left, and then turn partners. This leaves the first couple in the second couple’s place, and the second couple in the first couple’s place; the side couples remaining in their proper places. The repetition of the figure restores the head couples to original positions. The figure is then danced twice with side couples leading.

SECOND FIGURE.

Measures.
First gentleman and second lady forward 2
Turn with both hands, and both face first lady 2
Cross over and turn with left hand 4
Head couples forward and back 4
Half ladies’ chain 4
All chassez and turn corners, right hands 4
Turn partners, left hands, to places 4

This figure is danced four times, each gentleman and opposite lady commencing in turn.

FIRST GENTLEMAN AND SECOND LADY FORWARD.--Turn with both hands, the gentleman half around, and the lady entirely around, and stop in center, both facing the first lady.

CROSS OVER AND TURN WITH LEFT HANDS.--The first lady passes between the couple in front of her, crosses over and turns second gentleman with left hand in second couple’s place; at the same time the first gentleman and second lady turn one another in first couple’s place.

HEAD COUPLES FORWARD AND BACK.--Head couples advance four steps and retire four steps to places.

HALF LADIES’ CHAIN.--The first and second ladies cross over, touching right hands in passing, and turn partners to place with left hands.

ALL CHASSEZ AND TURN CORNERS.--All take four steps to right and turn corner partners with right hand.

TURN PARTNERS TO PLACES.--All take four steps back to place and turn partners with left hand.

THIRD FIGURE.

Measures.
First couple forward 2
Gentlemen back to place, leaving lady in center,
facing him 2
Second couple the same 4
Third couple the same 4
Fourth couple the same 4
Ladies join hands, back to back; circle 4
Gentlemen forward and all address 4
All balance 4
Turn partners to places 4

The entire figure is performed four times, the first, second, third and fourth couples leading in rotation.

FIRST COUPLE FORWARD.--The first couple walk four steps forward. The lady then turns facing her partner, who retires, with a bow, to place. The same movement is performed by each of the other couples in succession. This leaves the four ladies standing in the center, back to back.

LADIES JOIN HANDS, CIRCLE.--The ladies join hands and swing around in a circle to the left, ending face to face with partners, as before. Ladies then release hands.

GENTLEMEN FORWARD AND ALL ADDRESS.--The four gentlemen step forward, each giving his right hand to his partner and his left to the lady at the left and address.

BALANCE AND TURN PARTNERS TO PLACES.--Balance in position and turn partners to places.

FOURTH FIGURE.

Measures.
Head couples forward and back 4
First lady and second gentleman to sides 4
Six forward and back, twice 8
Two forward and back 4
Two forward, address, and face partners 4
Four hands half around 4
Half right and left 4

Danced twice by head couples and twice by sides.

HEAD COUPLES FORWARD AND BACK.--The head couples walk four steps forward and retire four steps.

FIRST LADY AND SECOND GENTLEMAN TO SIDES.--The head couples forward again; the first lady places herself on the left of the third gentleman; the second gentleman takes his position on the right of the fourth lady; the first gentleman and second lady return to their respective places.

SIX FORWARD AND BACK, TWICE.--The three on each side forward and back; repeat this movement.

TWO FORWARD AND BACK.--The first gentleman and second lady (at top and bottom) forward and retire.

TWO FORWARD, ADDRESS AND FACE PARTNERS.--The same two forward and address, and each turns to the right, facing original partner.

FOUR HANDS HALF AROUND.--The four on each side join hands and swing half around in circle. Gentlemen release the hands of ladies on their left, and head couples retire to opposite places; the side couples remaining in original position.

HALF RIGHT AND LEFT TO PLACES.--Head couples cross over to their original places, joining right hands with opposite partners in passing, and each couple turns with left hands to places. Head couples repeat the figure, the first gentleman and the second lady joining the side couples at their left. The third time the figure is danced, the third lady and fourth gentleman join the head couples at their right. The fourth time, the third gentleman and fourth lady join the head couples at their left.

FIFTH FIGURE.

Measures.
Four ladies to the right, four times 16
First gentleman and opposite lady forward and back 4
Forward, and swing to face partners 4
Head couples chassez to right and left 4
Turn partners to places 4

Head couples repeat the whole figure, with second gentleman and opposite lady.

Side couples: the same, twice.

FOUR LADIES TO THE RIGHT.--Each lady takes four steps to the right, and turns the gentleman at her right with the right hand. Continuing all around the set in the same direction, she turns the next gentleman with the left hand, the next with the right hand, and, finally, her partner with the left hand.

FIRST GENTLEMAN AND OPPOSITE LADY FORWARD AND BACK; FORWARD AND SWING TO FACE PARTNERS.--The same two walk forward four steps, then backward four steps, forward again, join right hands and swing half round, so that each faces original partner.

HEAD COUPLES CHASSEZ.--Four steps to the right; four to the left. Ending with turning partners to places.

THE PARISIAN VARIETIES.

FIRST FIGURE.

Measures.
Head couples advance and address right side couples 2
Back to places 2
Head couples advance and address left side couples 2
Back to places 2
Head couples right and left across and back 8
All waltz 16

Danced four times, head couples and side couples alternating in lead.

HEAD COUPLES ADVANCE.--The head couples advance towards the side couples on the right, address, and step backward to places. Advance toward the left, address, and retire to places.

HEAD COUPLES RIGHT AND LEFT ACROSS.--The first and second couples cross over; each gentleman and opposite lady touch right hands in passing, the gentleman then extends his left hand to his partner, turning her half round, occupying opposite couple’s place. This same movement is repeated in returning, which brings the couples to their original positions.

ALL WALTZ.--All four couples waltz around the set once.

SECOND FIGURE.

Measures.
Head couples forward and back 4
All ladies to the right 4
Polka 8

Danced four times, the head couples and side couples alternating in lead.

The head couples walk forward four steps and backward four steps. The ladies then all pass to the gentlemen at their right, and all polka round the set with their new partners. The side couples, still with changed partners, then advance four steps and retire four steps, and the ladies each pass on to the next gentleman at the right. Each lady now occupies a position opposite to her original place in the set. All polka round the set again. Head couples forward and back, and the ladies pass again to the right. All polka round the set. Side couples again forward and back, and the ladies pass on to the right, and are thus restored to their original partners.

THIRD FIGURE.

Measures.
First gentleman to center 2
Ladies form circle 2
Hands around 4
All waltz 16

The first gentleman advances to the center of the set. The four ladies step forward and join hands, forming a circle around him. They then circle around to the left until opposite their own partners, when they turn partners to places. Finish by all waltzing around the set.

FOURTH FIGURE.

Measures.
Head couples to the right and address 4
Hands around 4
All mazourka 16

Danced four times, the head couples and side couples alternating in lead.

The head couples lead to the side couples at their right, address, and join hands with the side couples. The two circles of four each now slide around to the left twice (or once to left and once to right) and stop in original places. All then dance the mazourka once around the set.

FIFTH FIGURE.

Measures.
Head couples forward and back 4
Separate to sides 4
Six forward and salute 4
Ladies cross right hands in center 8
All waltz 16

Danced four times, heads and sides leading alternately.

The head couples forward four steps and back again to place. The first and second gentlemen then lead their partners to the side couples at their right, and, leaving them there, return to place. The three at each side then advance four steps, salute, and return to place. The four ladies cross right hands in the center of the set, and walk around in a circle until they reach their original places in the set. At the same time their partners dance around the set in the opposite direction, meeting their partners in original positions, and turning them to places.

NATIONAL GUARD QUADRILLE.

This quadrille is dedicated to the National Guard and the United States Army. The first figure is dedicated to the National Guard, north; the second to the National Guard, south; the third to the National Guard, east; the fourth to the National Guard, west, and the fifth and last figure to the United States Army.

FIRST FIGURE.

Measures.
Head couples forward and back 4
Lead to the right and address 4
Cross right hands and turn 4
Cross left hands and return 4
Form in two lines, facing partners --
All balance to partners 4
Turn partners to places 4

CROSS RIGHT HANDS.--When side couples have led to the right and addressed couples there, the two ladies in each group join right hands and the two gentlemen do the same. With hands joined, they walk halfway around; then release right hands, turn, join left hands, and return to position. All turn and form two lines. Balance and turn partners to places.

SECOND FIGURE.

Measures.
Head couples forward and back 4
Turn partners 4
Side couples forward and back 4
Turn partners 4
Ladies to the center, back to back 4
Ladies hands round, to the right 4
All balance to partners, and turn 8

Danced four times, twice by head couples and twice by sides.

First and second times, head couples forward, back and turn; then side couples the same. Third and fourth times, side couples forward, back and turn; then head couples the same. First and third time, ladies to the center; second and fourth times, gentlemen to the center.

LADIES TO THE CENTER.--The ladies advance four steps and turn back to back.

HANDS AROUND.--The ladies join hands and slide around to the right until they reach again the place from which they started, facing their partners.

THIRD FIGURE.

Measures.
First and second ladies forward and back 4
First and second ladies cross over 4
Side ladies forward and back 4
Side ladies cross over 4
All address corners 2
Address new partners 2
Turn new partners with right hand 4
Promenade 8

Danced four times. First time, the first and second ladies forward and back and cross over; then side ladies the same. Second time, the first and second gentlemen forward and back and cross over; then side gentlemen the same. Third time, the third and fourth ladies forward and back and cross over; then head ladies the same. Fourth time, the third and fourth gentlemen forward and cross over; then side gentlemen the same.

The first and second ladies advance four steps and retire four steps, and then cross over, thus exchanging partners. The third and fourth ladies do the same. All address corners, then address new partners and turn new partners once with right hand.

FOURTH FIGURE.

Measures.
Head couples forward and back 4
Lead to the right and address 2
Form two lines 2
All forward and back 4
All forward again 4
Head couples forward and back 4
Turn partners to place 4

Danced four times.

FORM TWO LINES.--Head couples separate from partners and join the sides; the first lady now goes to the left of third gentleman, and the first gentleman goes to the right of third lady; the second lady goes to the left of fourth gentleman, and the second gentleman goes to the right of fourth lady.

ALL FORWARD AND BACK.--The two lines advance and retire four steps, advance again and side couples retire to places. Head couples give hands to partners, advance two steps and retire two steps, then turn to places.

FIFTH FIGURE.

Measures
Salute to the United States Army 4
Ladies to the right, four times 32
Tirior; head couples cross over and back 8
Tirior on the sides: side couples cross over and back 8
All turn corners with right hands 4
Turn partners 4

After the entire figure has been performed four times, address opposite.

CODA.

All forward and address opposite 4
Address partners 4

The four ladies leave their partners, advance four steps to gentlemen at their right, address, and turn with right hand. They then pass on to the next gentleman, and so on around the set, turning original partners last. The first couple then join hands, their arms crossed. The first and second couples then cross over, the second couple separating to let the first couple pass between them. They then return to place, the second couple joining hands and the first couple separating. This is repeated by the third and fourth couples. All advance four steps to corner partners and turn with right hands; then take four steps back to original places and turn partners with left hands.

CONTRA DANCES.

The Contra Dances take their names from the positions of the dancers, the word _contra_ meaning “against” or “opposite to.” Instead of the partners standing side by side, they face each other, being arranged in two parallel lines, ladies on one side and gentlemen on the other.

THE VIRGINIA REEL.

This is one of the most lively of all the Contra Dances, and is a universal favorite. Form in sets of six couples, the six ladies ranging in line, and their partners ranging in another line, facing each other; the gentleman and lady of the head couple standing at the end of their respective lines at the top of the room. The space between the lines should be about four feet. The couples, for the sake of description, may be numerically designated first, second, third, and so on (in their order as they stand) to the last couple; the top and bottom couple being that couple which happens during the dance to occupy the position at top or bottom of the lines. Each couple in turn becomes top couple and bottom couple at least once during the progress of the dance.

FIRST GENTLEMAN AND LAST LADY FORWARD AND BACK.--The two take four steps directly towards each other and four steps backward to place, without turning.

FIRST GENTLEMAN AND LAST LADY FORWARD AND SWING RIGHT HANDS.--The two dance forward to the center, join right hands, swing once around, and step backward to place.

FIRST GENTLEMAN AND LAST LADY FORWARD AND SWING WITH LEFT HANDS.--Exactly like preceding movement, only joining left hands instead of right.

FIRST GENTLEMEN AND LAST LADY DOS A DOS.--They advance to middle, pass each other on right hands, move around each other to the right, back to back, without turning, and back, passing to left of each other, to places.

FIRST COUPLE TURN WITH RIGHT HANDS.--The first gentleman and his partner join hands across the head of lines, turn fully once around, and drop right hands.

SEPARATE AND TURN SECOND COUPLE.--The gentleman joins left hands with second lady, and swings her half around; at the same time the first lady joins left hands with second gentleman and swings half around; the first gentleman and his partner meet, facing each other. The first couple repeat these movements with each other, and each succeeding couple until they reach the bottom. Then the first couple join hands and dance up the middle to their former places at the top. The gentlemen march to the left and the ladies to the right in line, and come up the middle to places. The top couple dance down the middle to the bottom and become bottom couple. Top and bottom couples begin the figure over again, and continue until the first couple have reached their places again at the top. Sometimes, in the march, when the first couple, having marched down the outside, meet at the bottom of the set, they stop, join hands and raise their arms, allowing all the other couples to pass under. This leaves them at the bottom of the lines.

The calls for the Virginia Reel are as follows:

First gentleman and last lady forward and back.

First lady and last gentleman the same.

First gentleman and last lady swing right hands.

First lady and last gentleman the same.

First gentleman and last lady swing left hands.

First lady and last gentleman the same.

First gentleman and last lady swing both hands.

First lady and last gentleman the same.

First gentleman and last lady dos a dos.

First lady and last gentleman the same.

First couple turn right hands.

Separate and turn second couple, left hands.

Turn right hands.

Separate and turn third couple, left hands.

And so on to the bottom.

Join hands and back to places at top.

All gentlemen to left, ladies to right, march down outside and up the middle.

Head couple down the middle to bottom.

POP GOES THE WEASEL.

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:

Measures.
Head couple down the middle and back 8
Down outside and back 8
Right hands across with second lady 8
Three left hands across, second lady under 8
Head couples right hands across with second gentleman 8
Three left hands across, second gentleman under 8

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.

SPANISH DANCE.

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:

Measures.
Two couples forward four 2
Change partners 2
Forward four 2
Change partners 2
Repeat 8
Cross right hands 4
Cross left hands to places 4
All waltz 8

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 new _vis-a-vis_ each time the dance is performed.

THE SICILIAN CIRCLE.

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:

Measures.
Two couples right and left 8
Balance and turn partners 8
Forward and back 4
Forward and through to next set 4

ROUND DANCING.

THE WALTZ.

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 personal contact 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.

FIRST STEP.

Take the third position, right foot in front. Glide the left foot directly backward about twelve inches (fourth position).

SECOND STEP.

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.

THIRD STEP.

Complete the turn by bringing the right foot front in the third position; count three.

FOURTH STEP.

Glide the right foot directly forward about twelve inches (fourth position); count four.

FIFTH STEP.

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.

SIXTH STEP.

Complete the turn by bringing the right foot in front in the third position; count six.

THE REVERSE.

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 GLIDE WALTZ.

The following are the six steps in the Glide Waltz:

FIRST STEP.

Step straight backward with the left foot to fourth position; count one.

SECOND STEP.

Draw right foot to the left, to first position; count two.

THIRD STEP.

Step slightly backward to nearly third position; count three, making quarter turn.

FOURTH STEP.

Step straight forward with the right foot to fourth position; count four.

FIFTH STEP.

Draw left foot to right in first position; count five.

SIXTH STEP.

Step slightly forward with right foot toward third position, making quarter turn; count six.

THE TWO-STEP.

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:

FIRST STEP.

Slide the left foot sideways to the left, bringing the right foot behind, close up to the left, in the third position; count one.

SECOND STEP.

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 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.