SAUS fecum^ LIBRARY OF CONGRESS. Shelf ^^! 87"^ UNITED STATES OF AMERICA. THE EMBRACING A FULL DESCRIPTION OF THE VARIOUS DANCES OF THE PRESENT DAY, TOGETHER WITH CHAPTERS ON I^tiquette, tl\e ©er\efit^, cii\(i. fe^- tofy of f)cii\dii:\^, BY M. JUDSON SAUSE. NEW YORK : sa.tjsh;»s r)A]N^ciNG}- ACAi^EMrsr, 114 and 116 East 13th Street. 1880. n^m w /r7^ Entered according to Act of Congress, in the year 1879, by M. JUDSON Sause, in the Office of the Librarian of Congress, at Washington, D. C. PREFACE: In preparing this little work for publication, the aim was not to ofifer anything new on the subject of which it treats, but rather to supply a conven- ient hand-book and prompter for those learning to dance. The explanations of the various movements and figures have been simplified as far as possible, and much that is calculated to mislead the begin- ner is intentionally omitted. The various dances are described as they are at present danced in fashionable society, while the rules of etiquette laid down are recognized as standard by the best authorities. The work goes forth in response to demands from a large number of former and present pupils, and not from any desire on the part of the author to appear in print. It has been written hurriedly, in odd moments snatched from the duties of a Iv. PREFACE. busy life, and is therefore not free from many im- perfections. That it may prove a useful practical guide to those uninitiated in the " art of dancing '* is the only expectation of THE AUTHOR. New York Oity, Oct. 14, 1879, CONTENTS: CHAPTER I. Paob. Etiquette . .', 7 Of the Parlor 8 Of the Bali-Room 9 Of the Street.. 11 CHAPTER II. General Instructions 13 The Five Positions „ 13 The Salutation 16 CHAPTER III. The Quadrili.es 18 Standard 20 Sociable 23 Basket 23 Coquette 24 Jig = 25 Star 26 March 27 Waltz 28 Lanciers , 29 Saratoga Lanciers 33 Caledonians , 35 Prince Imperial 87 Parisian Varieties 41 vL CONTENTS. CHAPTER IV. Contra Dances 44 Spanish Dance 44 Sicilian Circle 46 Virginia Reel 46 CHAPTER V. Round Dances 48 Waltz— Modern 50 Waltz— Hop 52 Waltz— Five-Step 52 Waltz — Knickerbocker 53 Polka 54 Polka Mazourka 55 The Redowa 56 The Polka Redowa 57 Schottische 57 Galop , 58 Deux Temps 59 Danish Dance 60 Esmeralda 60 Varsovienne 61 CHAPTER VL The German .\ 62 CHAPTER VII. The Benefits of Dancing 78 CHAPTER VIII. History of Dancing 85 CHAPTER I, ETIQUETTE, Etiquette has been described as " the machinery of society." It might more properly be spoken ot as the oil that lubricates and keeps that intricate machinery running smoothly and evenly. It teaches civility, kindness and a natural freedom of action. It extends a maternal care over the young and inexperienced, while it interposes like a wall against the intrusions of the ill-bred, who have nc desire to be civil. In all civilized nations certain forms and rules have been slowly and carefully established for the government of society. These rules have of necessity varied according to the sentiments and requirements of the people adopting them ; and there is at times considerable variation of usage in the different circles of what is known as " the best society " in the same country. This difference is necessary for advancement, as a fixed rule of eti- quette precludes the possibility of any improve- ment in customs or manners. 8 THE ART OF DANCING. A gentleman is known by his manners, not by the coat he wears ; while a woman in a calico dress may be as much ** a lady " as though she was dressed with silks and diamonds. In either case the polish and refinement must come from a know- ledge of the usages of good society, which is made up of the rules of etiquette. While it is not the province of these pages to give a minute description of all the rules of eti- quette, I deem it important to lay down the prin- cipal ones to be observed in the parlor, in the ball- room, and on the street. ETIQUETTE OF THE PARLOR. 1. When the sexes are the same, always present the younger to the elder. 2. A gentleman should always be presented to a lady. 3. A gentleman should never be presented to a lady without first obtaining her permission. 4. Introductions should not be made without knowing that they are mutually agreeable. 5. The gentleman should precede the lady in going up stairs, and follow her in coming down. 6. Always look at the person speaking to you, and listen attentively. 7. Never speak without thinking what you are going to say. 8. " Slang " should never be used. THE ART OP DANCING. 9 9. In general company long arguments should be avoided, and conversation should run from one topic to another. 10. It is extremely ill bred to interrupt others while speaking. ETIQUETTE OF THE BALL-ROOM. 1. Invitations for private balls should be sent out a month or six weeks beforehand, and should be accepted or declined at once. 2. No one should accept such an invitation who cannot dance. 3. Gentlemen should dance the first set with the ladies under their escort. 4. An introduction given in the ball-room does not constitute acquaintanceship, and the parties thus introduced must remain strangers unless the lady choose to recognize the gentleman. 5. A gentleman cannot ask a lady to dance without first being introduced to her. 6. Never forget a ball-room engagement. 7. Engagements for one dance should not be made while another dance is in progress. 8. A lady should not engage herself for a dance without the consent of her partner. 9. A gentleman will not presume on a ball-room introduction to present another gentleman to the lady. 10 THE ART OF DANCING. 10. After dancing, the gentleman should con- duct the lady to a seat, unless she desires other- wise. 11. The gentleman should conduct to the sup- per room the lady with whom he danced last, un- less he has a previous engagement, when he should provide her with an escort, at the same time mak- ing a handsome apology. 12. While dancing never hold a lady's hand behind you, on your hip, or high in the air. Such customs are offensive to well-bred people. 13. It is the greatest breach of etiquette to leave one set to join another. 14. If there is a dispute about a place in a set, it is better to quietly withdraw than to contend for place. 15. Persons unacquainted with a figure or dance should not attempt it, as they expose their own awkwardness and annoy all who may be danc- ing with or near them. 16. Gentlemen should be agreeable to ever)^ one in a ballroom, and never show their prefer- ences for dancing with a few to the exclusion of those they may think less favored. 17. If a lady refuses to dance, or forgets an engagement and stands up with another partner, the gentleman thus slighted should never allow his pride to master his good temper. 18. Withdraw from a ball-room as quietly as THE ART OP DANCma. IJ possible, so that your departure may not be ob- served and so cause the party to break up. ETIQUETTE OF THE STREET. 1. The lady should be the first to recognize an acquaintance on the street, unless the friendship is quite intimate, when it does not matter. 2. The gentleman should raise his hat entirely from his head and incline the body slightly for- ward in saluting a lady. The hand on the oppo- site side from the lady should be used to lift the hat. 3. One salutation is all that civility requires when you pass a person more than once on a pub- lic promenade or drive. 4. Gentlemen raise their hats when begging a lady's pardon for an inadvertence, whether she is known to him or not. 5. Never stare at any one, is a rule with no ex- ceptions. 6. Gentlemen do not smoke when driving or walking with ladies or on promenades much fre- quented. 7. If the lady with whom you are walking is saluted by another gentleman, acknowledge the same by removing your hat. 8. Should you desire to converse with a lady you may meet in the street, do not stop her, but turn and walk in her direction. 13 THE ART OF DANCING. 9. \yhen walking with a lady in a crowded thoroughfare, and obliged to proceed singly, the gentleman should precede her to clear the way. 10. When walking with a lady the gentlemen shouM walk on the side next the street. 11. Loud conversation should be avoided at all times. THE ART OF DANCING. 17 ment is made with the left foot, and the second with the right. The BoW. — In bowing to his partner, the gen- tleman carries the left foot about nine inches side- way, placing it parallel to the right, and turning partly toward his partner ; the right foot is then brought to first position, while he faces his part, ner. The body is then bent slightly forward, with the knees unbent, which completes the bow. The movements are reversed to regain position. In bowing to lady on the left, the first movement is made with the right foot, and the second with the left. When commencing a dance the first position is usually taken, and the arms should hang grace- fully by the sides, with the fingers loosely clustered together. This position of the arms should also be observed while executing any figure where the hands are not engaged. It is customary at the present day to walk grace- fully through the figures of the square dances rather than attempt any fancy steps, as was form- erly the practice. In turning partners in the several qudrilles, the movement should be executed by joining hands, instead of the gentleman placing his arm around the waist of the lady. CHAPTER III. THE QUADRILLES. The quadrilles are the most social of modern dances. The various figures are so simple that a knowledge of them is easily acquired ; and danc- ing in alternation, while it guards against fatigue, gives frequent opportunity for pleasant conver- sation. Old and young can alike participate in its pleas- ures, and for that reason they constitute, in their various forms, a considerable part of the pro- gramme of every entertainment of which dancing forms a part. The different quadrilles are arranged and named' to correspond to the music to which they are danced, while the various figures are designed to give opportunity for a variety of graceful move- ments in each set. Before commencing to dance the quadrilles, it is necessary to ascertain which is the head of the room. As a rule this is the end furthest from the THE ART OF DANCING. 19 entrance. At private houses, or v/hen the entrance is upon the side of the room, the ''head" is desig- nated by tha master of ceremonies, before the dancing begins. In quadrilles four couples are required to com- plete a set. The first couple is nearest the head of the room, the second directly opposite, and facing the first ; the third is to the right of the first, and the fourth to the left of the first, facing the third. The first and second are designated the head couples, and the third and fourth the side couples. When ready to begin the dance, the couples stand in the centre of the four sides of a square,* with the ladies to the right of their partners, thus : OX > had a polit- ical aim ; as, for example, " The Prospenty of the Arms of France," danced before Fichelieu in 1641, and " Religion Uniting Great Britain to the Rest of the World," danced at London o the marriage of the Princess Elizabeth to the Electo Frederick. About this time the ceremonial ball was culti- vated, The fathers of the Church, assembled at Trent, gave a btill, in which they took part. THB ART OP DANCING. 9» Toward the close of the seventeenth century, masked balls became common; and in France a limited number of persons in character costume carried on a masquerade for diversifying the char- acter of a ball. In 1 7 15 a system of public balls was started in the opera house, in Paris, but they did not succeed. Chorography, or orchesography, the art of danc- ing notation, deserves a place among the antiqui- ties of dancing. It originated in 1598, but about 1700 M. Feiullet published a complicated system. A separate sign was used for each position, and the track of the dance was represented by curved lines. Such diagrams as still exist are interesting simply as visible history of extinct dances, but are of no practical value in -teaching or composing danf ing. A few of these diagrams are still extant, and to be found in some of the older works on dancing. The fascination of stage dancing by degrees ex- tended to the spectators, and after a time dancing became a popular ref^reation at nearly all social gatherings throughout Europe and America. Each nation had dances peculiar to themselves, some of which have long since passed into disuse, while others, with slight changes, have taken their places among the standard modern dances. Of the very old dances, the May Dance until verv recently held its own in the rural districts of 94 THB ART OF DANCING. England, and in many places is still held in great favor. It is of ancient origin, as it dates back to the dancing at the "Feast of Flora." Flora was the goddess of flowers, and festivals in her honor were held the last of April and the first of May. The ancient Britons, before the Roman invasion, erected May-poles and adorned them with flowers in honor of Flora. Other countries of Europe also had their May dances for celebrating the first of May. In Switzerland these festivals were con- ducted with great solemnity in the morning, a dramatic representation was given in the afternoon, while the evening was given up to music and danc- ing. In England the festival is now generally known as Maying. There the youth of both sexes start early in the day to gather flowers, which they throw in front of the houses, and with which they decorate the May-poles. Then a number of rib- bons, also decorated with flowers, are attached to the top of the poles, and the dancers taking hold of the ends dance around till the ribbons are woven round the pole in the form of a braid. The reverse movements are then performed for un- winding them. A pleasing feature of these festiv- ities is that on May morning the fairest or most popular of the girls is chosen May Queen, and crowned with a garland. Her word is law for the day, and all vie with each other in doing her homage. THE ART OF DANCING. 95 Quadrilles were first introduced in France, about the year 1760. They were then performed by two couples, as the figures first used in the French quadrilles only required four persons to perform them. At a later period two couples were added to form the sides, and these simply repeated the figures while the first couples rested. The Cotillon was also a square dance of French origion, and is claimed by some to have been in vogue before the quadrilles. It became popular during the reign of Charles X., of France (1824 to 1830), and was common in England and Scotland at the end of the last and the beginning of the present century. It was danced by eight persons, and nearly all the figures were lively, and required the entire set to take part at once. The word Cotillon means in French "under petticoat," and the dance was so called because the ladies raised their dresses while dancing the lively figures, and thus exposed to view their feet and white petti- coats. In time the cotillon was replaced by quadrilles, which were composed of shorter figures. Then some parts of the Cotillon were added to the Quadrilles, till finally the figures of each were danced in the same set, and the terms came to be syi onymods. Finally the name Cotillon was drop- pea, and Quadrille came to include all those figures dancea by four or eight persons at one time. 96 THE ART OP rANClNQ. The Lanciers, Caledonians, Prince Imperial, Parisian Varieties and Waltz Quadrilles are all of comparatively recent origin, and were introduced to give diversity to the movements of the dance. Sir Roger de Coverly was composed about 170 years ago, and was generally used as a finishing country dance. It is known in America as the Virginia Reel, and is still much in vogue in coun- try places. . The Waltz receives its name from the German word walzen — to revolve. It is undoubtedly of Slavic origin. Though danced for a long time in some parts of Germany, it did not become popular till 1788, when it was introduced on the Viannese stage, in an opera called " The Cosarara," by Vin- cent Martin. From the stage it soon found its way to the ball-rooms, and it spread rapidly all over Germany. Presently it was introduced into England, when several tried to prevent its general introduction by writing against it, and among the number was Lord Byron. In spite of this it be- came very popular, and has remained so till the present day. It has been much changed of late years, and various modifications have been intro- duced to vary the step and the general movements. The Polka, so called from its characteristic half- step, is reputed to have been invented in 1831, by a young peasant girl of Elbeteinetz, Bohemia. It found its way into Prague about 1835, ^^^ ^^^ THE ART OF DANCING. ffj danced in Vienna in 1839. A dancing master of Prague, named Raal, introduced it into Paris in 1840, where he danced it at one of the theatres with great success. It was introduced into the ball-rooms of France and England about 1843. On May I oth, 1844, it was danced at the National Theatre, Chatham street, New York, for the first time in America, by Miss Mary Ann Gannon and L. De G. Brookes, now one of the oldest and best known teachers of dancing in America. The- dance met with great success in New York, and,, as variously modified, was for many years a favor- ite. It is, however, seldom danced in fashionablie' society at the present time. The Redowa is of Bohemian origin, and was^inr- troduced into Paris about 1845. The Mazourka had its origin in Poland, and was, carried from there to Russia by soldiers. It was^ next introduced into England, and from there it. reached France. The various other round dances are modifica- tions and combinations of those already men- tioned, and were introduced from time to time to vary the movements. The German was introduced into Germany about seventy years ago. From there it extended to rRussia, and,, after undergoing improvements, ,it reached Paris. In 1831 a gentleman just returned from Germany introduced it into New York, and dS THE ART OF DANCING. in 1842 it reached London, where it became very fashionable. It is, however, rarely danced at public balls in America, as it is more adapted to private parties than to the ball-room. The progress of dancing thus briefly traced shows that it has developed, as the arts and sciences have, by the younger nations borrowing from the older. But when we examine the histories of the uncivilized nations, who have lived for centuries in ignorance of the existence of any other people, and find that all have their characteristic dances, which closely resemble the earlier dances just de- scribed, we are impressed that dancing, like relig- ion, must spring from a natural impulse of human nature. In the wilds of Asia, Africa and America, and in the far-off islands of the Atlantic and Pacific, where the influence of our so-called civili- zation had never penetrated, wedding, funeral, war and imitative dances were performed to music and singing. These dances in many respects bear a striking resemblance to those of the ancients, and in many instances are not unlike some of the movements of our modern dances. A description of a few of them will give a general idea of their character, and cannot fail to interest the reader. The natives of the southern part of Africa are known as the Kaffir tribes, and many of their cus- toms are highly interesting. The Kaffir wedding dance is performed by the women forming in two THE AKT OF DANCma 99 lines, with the bride in the centre. A lively air is struck up, when the whole body of warriors rush from all parts of the camp, beating on their shields and making terrible noises. Dancing and singing are then continued' for an hour. After refresh- ments are served, the bride, who has remained standing alone in the centre of the dancers, advances to her intended husband and dances before him, amid the shouts of the bystanders. When wearied with dancing, the husband leads her off and the ceremony is ended. The Fiji Islanders are great lovers of dancing, and those skilled in a new dance earn plenty of goods by teaching it. All their dances resemble military movements, and the men are always dressed as if for war when they take part in them. Music and dancing constitute the chief part of marriage celebrations. The movements of the dance are intricate. Wheeling, halting and stamp- ing of feet in exact time to the rhythm of the song and the beat of the drum are executed with the greatest precision. Sometimes several hundred will engage in the dance, while twenty or thirty musicians will be engaged to supply the music. In the Samoa Islands the wedding dance is per- formed after the bride has been led away by the husband. The spectators are seated in a circle around a clear space, and keep up a monotonous chant. The men first enter the circle, led by ^ 100 THE ART OF DANCING. young chief, and wearing only a small leaf apron, so as to show off the tattoo to the best advantage. Their leader goes through a vast number of steps, sometimes leaping high in the air, and sometimes executing movements of a slower and more grace- ful character, while every step is watched and crit- icised as it is danced by the leader, and imitated by his followers. After the men have danced for some time they retire, and a number of girls enter, who go through evolutions of a similar character, and afterward both men and women dance together. It will be seen that there is a striking similarity between this dance and our modern German. The Latookas, a tribe inhabiting the country on the east of the Nile, bury their dead and exhume the bones after several weeks, and place them in earthern jars. They are then removed some dis^ tance from the village, where the funeral dances are performed. Great numbers of both sexes take part in these dances Their heads are decorated with ostrich feathers, and skins of leopards and monkeys are hung from their shoulders. A large iron bell is fastened to the small of the back, which is sounded continuously during the dance. Each dancer wears an antelope horn suspended from the neck, which is blown by each in turn, and, with drums, furnish the music. Crowds of men rush round and round, in a sort of galop infernal., bran- dishing their arms, and keeping m line tive or six THE ART OP DANCING. VU deep, following their leader, who heads them, danc- ing backward. The women keep outside the line, dancing a slow stupid step, while the girls and children, decorated with strings of beads and iron rings, keep in line, beating time with their feet, and jingling their ornaments to keep time to the drums. One woman is recognized as the principal dancer, and she continues to dance to the last, regardless of her appearance. Such dances form a part of every funeral festival. The war dance of Borneo is commenced by the warriors poising themselves on one fooj and de- sciribing a circle with the 'other, at the same time extending their arms and then meeting their hands and clapping them to keep time with the music. The music soon becomes louder, and all present join in a hideous war cry. Then the motions and screams become more violent, and the excitement of the dance is greatly increased; Noises of all kinds are added to work up the dancers to frenzy. Sometimes the dance takes on the form of attack and defence, with the same uniformity of motion as characterizes our military drills. In New Zealand the warriors feel bound to en- gage in the war dance before meeting their enemy. They are first painted and ornamented, and then arrange themselves in lines, mostly three deep. The dance begins with stamping the feet in perfect time with each other. Then with a sudden yell 102 THE ART OF DANCING. the whole body of men leap sideways at the same instant. The war song is begun, and in accord- ance with .its rhythm the men leap from side to side, each time striking the ground with great force. Their faces are frightfully contorted, and as the dance continues their furious excitement increases, till for the time they seem like absolute maniacs. In New Guinea they perform a pleasing dance of a social nature, known as the torch-light dance. A dozen or more persons, with torches in their hands, extend rapidly into line, keeping time with the motion of their arms and feet. Then they form a circle, and all go forward to centre and back ; then they divide into two lines, advance and retreat, cross and recross, and then pass round the circle in a zig-zag manner. This is kept up for about half an hour, when a rest is taken before the dance is renewed. The American Indians, at the time of the dis- covery of Anerica by Columbus, had their dancelfe' which they regularly engaged in on all great occ sions. These were either war dances, practised before a battle, the scalp dance after a successful fight, and dances of simple amusement and of thanksgiving. The war dances, like those of other savage tribes, were intended to increase their courage by developing a kind of frenzy during the dance. The braves were all arrayed in their war paint and THE ART OP DANCING. 103 feathers, and danced around in circles to the noise of drums and the clash of arms. The various motions of the actual battle were also performed with great energy. The scalp dance was one of triumph for the scalps secured in battle. It always took place at night, around huge fires. All those who had obtained scalps would keep up a fiendish kind of dance almost through the night, swinging the scalps on sticks, over their heads, and chanting songs which boasted of their great skill and prowess in battle. Similar dances were practised when prisoners were about to be killed. They were fastened to a tree, and young and old danced around them for hours, causing all kinds of torture to the victims. These dances were often varied by throwing spears and arrows as near to the pri- soners as possible, without striking them, and while this was being done the dance was continued to the sound of horns, drums and sticks. B^The great variety of the social dances of the Indians demonstrate their fondness for amusements. These dances are fanciful and picturesque, though some of them have a religious significance. Among them may be enumerated the ball-play dance, pipe dance, buffalo dance, beggars' dance, bear and dog dance, the snow-shoe dance and the corn dance. The snow-shoe dance is one of thanksgiving to the Great Spirit for sending snow, which enables them to get plenty of game. In this dance several IW THE ART OF DANCING. spears are stuck in the ground, and on one a pair of snow-shoes are tied, and on the others various sacred objects. The dancers, clad in hunting dresses and wearing snow-shoes, go round and round the spears, imitating the movements of the chase and singing songs of thanksgiving. When the corn is ready for use they have an annual festival in which they perform the corn dance. In I other dances they dress themselves with the skins | of various animals, and imitate their motions and | noises. In the histories of uncivilized nations | many other interesting dances are described in full. | The limited space at my disposal prevents a | fuller account of the origin and progress of danc- * ing. Enough has, however, been written to direct ^f attention to this fascinating subject, and I trust at 1 no distant day to be able to present to my readers I a complete "History of Dancing," in which every- thing connected with its origin and progress will be carefully and accurately told. ittk^Jf ■i THE END. I ¥1 ^