Dancing Without An Instructor - free ebook by Professor Wilkinson

Dancing Without an Instructor BY PROFESSOR WILKINSON PHILADELPHIA DAVID McKAY, PUBLISHER 610 South Washington Square

Entered according to act of Congress in the year 1904 By Street &amp; Smith In the office of the Librarian of Congress, at Washington, D. C. —— Dancing Without an Instructor...

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INTRODUCTION.

Time was when to be a dancer meant a thorough acquaintance with Mazourkas, Galops, Reels, Minuets, Polkas and other dances too numerous to mention; but nowadays one can get along very well with even a slight knowledge of but three: the Waltz, the Two-Step and the Lancers. It is a pity that such should be the case; but the fact remains the same; and the beginner must not be dismayed by glancing through these pages, for but few of the dances here described ever appear on a ball program. Special at

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THE ETIQUETTE OF THE BALLROOM.

Before giving a description of the various dances, a hint or two as to the etiquette of the ballroom may be found useful. In the case of a private dance, the guests, on entering the ballroom, must seek out the hostess and pay their respects to her and those who may be assisting her in receiving. If it is a public ball, the gentleman conducts his partner to the ladies’ dressing room, and then proceeds to the gentlemen’s dressing room. When ready to descend to the ballroom, he seeks his partner at

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The First Position.

“The first position,” so called, is in reality the standing position just described, and when practicing the subsequent positions, it is essential that the student always begin with this. Remember that all-important detail: weight forward, heels just touching the floor. ( See Fig. 1 .) FIGURE 1....

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The Second Position.

In the second position we change the V-shape of the feet by sliding the right foot to the side, in a line with the body, bending the left knee slightly. The weight will, of course, be transferred to the left foot. ( See Fig. 2 .) FIGURE 2. Repeat this movement by sliding the left foot sideways, transferring the weight to the right foot....

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The Third Position.

FIGURE 3. Again taking the standing position, with toes pointing outward, the right foot is swung in a small circle to the right and brought behind the left foot, the hollow of the right foot pressing close against the heel of the left foot. At the beginning of this movement the weight is thrown on the ball of the left foot. Repeat by transferring the weight to the right foot, and swinging the left foot to the rear. ( See Fig. 3 .)...

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The Fourth Position.

FIGURE 4. In the fourth position, throw the weight on the left foot and slide the right foot forward and a little to the side. At the end of the slide, the right foot should be in a direct line with the hollow of the left foot, so that if brought back it should fit into the hollow, as in the third position. This, however, is only to test the accuracy of the step. After the slide, the foot should be returned to standing position and the movement repeated with the other foot. ( See Fig. 4 .) Inste

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The Fifth Position.

FIGURE 5. Standing with the heels together, allow the weight to fall on the ball of the left foot, and move the right foot forward until the heel of that foot is at the side of the toe of the other foot. The feet should form a right angle. ( See Fig. 5 .) Repeat with the left foot, transferring the weight to the right foot. These positions are very important and should be practiced until they can be performed with perfect ease. They can be alternated at will. For instance, the fifth position may

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THE TWO-STEP SLIDE.

Of recent years the two-step has become one of the most popular dances, and it is one of the simplest. The method of practicing the step is as follows: Standing in the first position, slide the right foot to the side. Bring the left foot alongside, and instantly repeat the sliding movement with the right foot, only do not make the slide quite so long as in the first instance. Now slide to the left with the left foot, bring the right foot alongside, and continue the slide with the left foot. At t

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THE MARCH IN FILE.

As soon as all are in order the leader should head the line of march up the middle of the room; when he has reached the top, he turns to the left, and his partner to the right; the gentlemen all follow him in single file, the ladies following the leading lady in the same manner; when the leaders of the two lines arrive at the bottom, they pass to the left of each other, the gentlemen marching round the room on the outside, and the ladies inside them, and in the opposite direction. When the first

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THE MARCH IN COLUMN.

The first couple lead round the room until the leader reaches the bottom left-hand corner. There, instead of turning upwards at right angles up the side of the room, the first couple should file to the right and march in a line parallel with the advancing couples, but in an opposite direction across the room; as each couple successively arrives at the same corner, they file to the right and follow their leader. When the leader has got across the room, the first couple should file to the left, an

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THE MARCH BY PLATOONS.

The first couple lead the march up the center of the room. As they reach the top, the first couple passes round to the right; the second couple to the left; the remaining odd couples in their order to the right, and the even couples following to the left. All thus march down their side of the room, until they meet in the middle at the bottom. There they turn up the center again four abreast. Arriving at the top, the first four wheel round by the right; the second four wheel round by the left, an

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THE ARBOR MARCH.

All the couples march round the room in order. The first couple join right hands, stop, and raise their hands, forming an arch. The second couple pass underneath the arch, the gentleman first, and form another arch; the third couple pass under both, and also form an arch, and so on, each couple passing through the arches ahead of them in turn, until one continuous arch has been formed. The first couple (now in the rear) then passes through and out at the front end of the arbor, followed by each

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THE SERPENTINE MARCH.

The serpentine figure is executed in single file. The leader steps in front of his lady and leads the way up the center of the room; as each couple turns to go up the center, each gentleman steps into single line ahead of his lady, forming by degrees the whole couples into single file. When the first gentleman reaches the top of the room, he leads the way to the right entirely round and round the room, each successive round passing inside the former, describing a spiral track towards the center

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SQUARE DANCES.

Very little knowledge of dancing is needed in order to take part in square dances. The various figures, however, must be learned thoroughly, or the attempt to go through a quadrille will end in disaster. ♢ Lady X Gentleman The dancers arrange themselves in “sets,” four couples forming a “set,” all facing the center. The positions are taken as in the diagram, gentlemen to the left of the ladies, and forming a square. The couple facing the stage is called the first couple, and the couple opposite,

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THE PLAIN QUADRILLE.

The Plain Quadrille is usually danced with four couples, that is, eight dancers; but sometimes a double formation is used, and four dancers face each other at each side of the square. In the Plain Quadrille there are five figures, and eight bars of music are given to each. Repeat with sides. The dance is begun by the couples first addressing each other, and then addressing the lady or gentleman in the nearest couple. Thus the gentleman will first bow to his partner, then to the lady on his left,

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The Basket Figure.

The calls for the Basket Figure are as follows: Repeat. Danced twice by side couples, with gentlemen in the center. The first five movements of the basket figure are the same as those described for the second figure of the plain quadrille. Ladies Forward and Back. —Here all the ladies take four steps forward and retire four steps, then advance again four steps and join hands in the center, standing close together. Gentlemen Forward. —All the gentlemen advance and form a circle around the ladies

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THE NINE-PIN.

This figure is not generally introduced into a regular quadrille, but is danced separately. It requires an extra gentleman, who takes his place in the center. The movements are performed at the will of the leader; forward four, ladies’ chain, ladies to the center, right and left all around, or any other movements being called in succession. It is preferable to introduce those movements which require all the dancers, or at least one partner out of each couple. At an unexpected moment, generally i

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MINUET FIGURE.

The calls for Minuet Figure are as follows: Danced twice with head couples leading, and twice with sides leading. Dos a Dos. —Head couples forward and pass each other; then each gentleman and opposite lady pass round each other back to back, without turning round, and go backward to places. Sides Four, Forward and Back. —The first couple joins the third and the second couple joins the fourth, thus forming two diagonal lines facing each other. Both lines forward and back; forward and turn opposit

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THE STAR FIGURE.

The calls for the Star Figure are: Four Ladies Forward and Back. —The four ladies advance four steps and return four steps. Four Gentlemen Forward and Back. —Repeat; perform same movement. Ladies Cross Right Hands. —In this movement all the ladies step to the center, cross right hands and walk halfway round to the left in the form of a cross. Ladies Cross Left Hands. —Ladies turn halfway round, drop right hand and join left hands in the center; then circle moves back again till each lady is oppo

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THE CHEAT FIGURE.

The calls for the Cheat Figure are: This is repeated in turn by the second, third and fourth couples in succession, each balancing to the couple on the right. At the beginning of this figure the first couple turn toward the right and take four steps forward, balance to the third couple, and retiring four steps. Simultaneously the third couple moves forward to the first couple, and retires. Then the two couples advance again, and each dancer turns opposite partner with both hands. At the moment w

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THE JIG FIGURE.

The calls for the Jig Figure are: All Hands Around. —The four couples join hands in a circle and swing once round to place. Ladies to the Right. —The gentlemen remain in place, and each lady balances to the gentleman on her right, and turns him with both hands. She repeats the same with the next gentleman, and so continues round the set, ending by balancing and turning with her own partner. Then she resumes her place. Gentlemen to the Right. —The ladies remain in place, and the gentlemen execute

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THE SOCIABLE.

The calls for the Sociable are: The first two movements in the sociable are the same as before described. All Ladies to the Right. —Four ladies balance to the right, turn and change partners, each lady taking the place of the next lady on the right. This movement keeps all the couples in constant motion and calls for a continual change of partners. This is why, in a private dance, the sociable is always popular. All Promenade. —Give both hands to partners and glide in a circle to the right, all

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LANCERS.

The calls for the Lancers are: Danced twice by head couples, except in “cross over,” when the second couple first pass between. The same for side couples. Head Couples Forward and Back. —First and second couples simultaneously move forward four steps, and retire four steps. Forward and Turn. —Repeat first movement, but instead of retiring, each gentleman first turns the opposite lady once with both hands, then all retire to places. Cross Over. —First couple join hands and cross set. Second coupl

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SARATOGA LANCERS.

This figure is repeated. Head Couples to the Right. —The head couples lead to the right, the side couples advancing to meet them. Thus, first couple and third couple move toward each other, and simultaneously second and fourth couples execute same movement. All Forward and Turn. —First couple and third couple again advance and turn opposite partners. Second couple and fourth couple the same. Cross Over. —Forward again, the head couples passing through the side couples. On returning, the side cou

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FINALE.

All waltz around the room; or each set right and left all around....

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THE CALEDONIANS.

Side couples: the same. Head Couples Cross Right Hands. —Advance and cross right hands, the two gentlemen joining right hands above the ladies’ hands. All take eight steps to the left, half around, thus arriving at opposite sides of the set. Drop right hands, turn, cross left hands and take eight steps back to place. Balance to Partners. —Partners face each other, advance four steps and retire four steps; turn partners with both hands. Ladies’ Chain. —Opposite ladies advance, take right hands in

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THE GLIDE CALEDONIANS.

The Glide Caledonians is similar to the Plain Caledonians, except that waltzing is introduced. All the movements have been described before. The calls are as follows: Repeat. Side couples: the same, twice. Side couples: the same, twice....

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THE WALTZ QUADRILLE, No. 1.

The two Waltz Quadrilles are founded upon the Plain Quadrilles already described. Side couples: the same. Side couples: the same, twice. Danced four times....

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THE WALTZ QUADRILLE, No. 2.

Side couples: the same twice. 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 fig

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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. 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 gentle

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THE PARISIAN VARIETIES.

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

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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. 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 join

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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

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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: 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.

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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.

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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:...

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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 gentlema

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FIRST STEP.

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

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SECOND STEP.

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

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THIRD STEP.

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

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FOURTH STEP.

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

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FIFTH STEP.

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

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SIXTH STEP.

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:...

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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....

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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 ar

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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....

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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 is in 2-4 time, and consists of thr

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FIRST STEP.

Spring on the right foot, and at the same time slide the left foot forward....

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SECOND STEP.

Bring the right foot up close behind the left and transfer weight to left foot....

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THIRD STEP.

Slide the left foot forward, as in the first step....

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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, th

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FIRST STEP.

Slide the left foot forward to the left; count one....

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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....

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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....

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FOURTH STEP.

Slide the left foot forward; count four....

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FIFTH STEP.

Bring the right foot up to where the left was, raising the left foot in front; count five....

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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. 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....

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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:...

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FIRST STEP.

Slide the left foot sideways....

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SECOND STEP.

Draw the right foot up close to the left....

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THIRD STEP.

Slide the left foot sideways again....

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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:...

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FIFTH STEP.

Slide the right foot sideways....

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SIXTH STEP.

Bring the left foot up close to the right....

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SEVENTH STEP.

Slide the right foot sideways again....

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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....

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SECOND PART.

The second part is a rotary movement, performed by hopping on alternate feet, or waltzing twice round. The steps are as follows:...

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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....

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SECOND STEP.

Hop on the left foot, at the same time turning half around....

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THIRD STEP.

Spring from the left to the right foot....

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FOURTH STEP.

Hop on the right foot....

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CONCLUDING STEPS.

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....

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FIRST PART (4 BARS).

The following are the steps for the first part:...

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FIRST STEP.

Slide the left foot to fourth position....

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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....

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THIRD STEP.

Spring forward on the left foot, raising the right behind....

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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....

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SECOND PART (4 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 F

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FIRST PART.

Following are the steps for the first part:...

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FIRST STEP.

Spring upwards from both feet and alight on the left foot (toes) with the right foot pointed in the second position....

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SECOND STEP.

Hop on the left and simultaneously bring the right behind the left....

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THIRD STEP.

Repeat the first step exactly as first performed....

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FOURTH STEP.

Repeat the second step, but instead of bringing the right foot behind, let it pass in front....

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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....

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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 movemen

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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, releas

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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. 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:...

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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....

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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 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 beginn

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FIRST PART.

The following steps are for gentlemen. Ladies substitute “right” for “left.”...

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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....

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SECOND STEP.

Throw the left foot forward, carrying the weight of the body with it, raising the right foot, with toe pointing downward....

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THIRD STEP.

Hop forward on the left foot....

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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)....

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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....

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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

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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. This is a very graceful, attractive dance, and performed in the same time as the P

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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....

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SECOND STEP.

Transfer the weight of the body to the right foot....

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THIRD STEP.

Draw up left foot into fifth position behind, and rest the weight onto it, raising the right foot slightly in front....

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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....

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FIFTH STEP.

Transfer the whole weight of the body to the left....

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SIXTH STEP.

Draw up your right foot into the fifth position in front, and rest the weight thereon....

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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 kn

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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, co

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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 lad

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1.—THE FLOWER FIGURE.

Seat a lady in center of room with flowers placed loosely on a tray. One couple waltz at signal, each take a flower and favor some one with whom they dance. Repeat this until by changes the thirty-two persons are up. Signal, form circle, grand right and left, waltz. Another lady will then be left. She takes her seat in the vacated chair, and the dancers in waltzing around, throw the flowers in her lap, with which she makes a bouquet. The leader then appoints a gentleman to waltz with the lady or

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2.—THE MAGIC HAT.

The gentleman leaves his partner in the middle of the room, and gives her a hat. All the gentlemen form a circle round the lady, turning their backs to her, circle rapidly to the left. The lady places the hat on the head of one of the gentlemen, with whom she dances. The other gentlemen return to seats....

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3.—THE SCARF.

First couple leads off. The leader stands in center of room holding scarf; his partner, with all of the other ladies, form a circle around him and turn rapidly to the left; the leader tries to throw scarf over the shoulder of one of the ladies, and dances with her. Other ladies retire to seats....

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4.—FOLLOW MY LEADER.

All the couples form in column behind the first. The head couple waltz in a zigzag course in and out between the other couples, and stop at the end of the line about three feet behind the last couple. As soon as the first couple have danced past two of the other couples, the second couple also starts, and this is continued until all have danced the zigzag waltz, at which point the first couple will again be at the head of the column. All then waltz to seats....

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5.—PING PONG.

The leader selects five ladies, and his partner selects six gentlemen. Leader and his partner hold sheet for net. Ladies on one side, gentlemen on the other. Ladies bat ball over the sheet in rotation; the gentleman catching the ball will step around the net and waltz with the lady who served the ball....

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6.—THE TOAST.

Three chairs are set on a line, the center one being placed in a direction opposite to the other two. The leader places his lady upon the center chair, gives her a glass of wine, and brings forward two gentlemen, whom he seats on the two other chairs. The lady hands the glass of wine to one of the gentlemen to “toast” her health, and dances with the other gentleman....

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7.—THE UMBRELLA.

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....

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8.—THE SIGNAL OF DISTRESS.

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....

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9.—THE CHAIR.

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....

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10.—FORFEITS.

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....

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11.—PUSS IN THE CORNER.

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 a chair left vacant by the movement of the ladies, he dances with the lady who is deposed. The next gentlema

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12.—THREAD-THE-NEEDLE ARCHWAY.

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....

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13.—THE KNEELING KNIGHT.

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....

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14.—THE MASK.

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....

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15.—BLIND MAN’S BUFF.

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 wit

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16.—THE AUCTION.

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.”...

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17.—THE GAY DECEIVER.

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....

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18.—THE ROPE.

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....

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19.—THE FAN.

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....

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20.—THE BASKET, RING AND FLOWER.

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

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21.—THE INSCRIPTIONS.

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; t

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22.—THE BASKET.

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 gent

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23.—THE INCONSTANTS.

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 does the same, until, finally, all have regained their own pa

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24.—THE COLUMNS.

The conductor leads off with a tour 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 her vis-à-vis . Two or three

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25.—THE CARNIVAL.

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 partner at the same time hands a gentleman’s “favor” to one of the gentlemen, and leads him int

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26.—THE HANDKERCHIEF CHASE.

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 t

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27.—THE CARDS.

First couple leads off. Leader presents four ladies the four queens of a deck of cards; the leader’s lady presents four gentlemen with four kings of the same deck. The gentlemen seek the ladies of their suit and dance with them....

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28.—SCISSORS TO GRIND.

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.”...

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29.—THE SKATERS.

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....

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30.—THE SPIRAL.

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, passing outside 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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31.—THE PYRAMID.

o o o o o o o o o o 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....

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32.—THE GRAND ROUND.

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 the circle and pass under the raised arms of the opposite lady and gentleman. When outside the circle, the leading co

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33.—THE STAR AND CIRCLE.

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 a moulinet , 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, givin

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34.—THE DOUBLE PASTOURELLE.

The first four couples lead off with a tour 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 h

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35.—THE LABYRINTH.

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 a colimaçon , 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 out waltzing, and follow the passes of the labyrint

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36.—LETTER CARRIER FIGURE.

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....

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37.—THE SERPENT.

First couple leads off. The gentleman leaves his lady in 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 g

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38.—THE PURSUIT.

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 e

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39.—THE CHANGING STAR.

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 a moulinet by 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 the moulinet and his partner and under their raised arms. At a signal, those who have been waltzing form the moulinet

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40.—THE VIRGINIA REEL.

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....

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41.—THE DOUBLE QUADRILLE.

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 ladies crossing 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,

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42.—THE FINAL ROUND.

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....

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