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TEACHER OF DANCING AND DEPORTMENT, Private Academy, 80 Wilton Avenue, Toronto, Ont„ Canada, CONTAINING Descriptions of all the Latest Fashionable and Popular Dances VIZ :-" 2 Step Kockaway," - 3 Step RoSk- ^^?X' ^ ^,SfceP Rockaway," "Ghde" Waltz, and "Tnune' Ghde ; also, Grand Square in the Lancers. TORONTO : HAWKINS * CO., CHROMATIC 8TKAM PRINTBRS. 1878. Entered acoordingr to Act of the Parliament of Canada, in the year 1878, by Prof. J. F. Davis, in the office of the Minister of Agriculture. h\ THIS BOOK I the RESPECTFULLY DEDICATED TO TBS SIX THOUSAND And odd Pupils, who have recehed Instruction from mo during the past eighteen /ears, PROF. J. F. DAVI9. ToaoherofDanolnff I N D E X. l»Hy« s U Preface Introduction Personal Introductions A Orand Ball Deportment in the Ball Room Hints to Dancers and Society generally IS Evening Parties i2 The Five Positions in Society Practice -Jo Explanation of the Five Positions ... S) The Bow jt) The Courtsey -JT Quadrille Steps ji) Technical Terms used in Quadrille Figures ;;!) Explanation of G rand Square ;;i The Position in Quaiirilles ::l' QUADRILLES- * The Lancers — M The Quadrille (Double) .:7 The Quadrille (Single V ;I0 The Oaledoiiians 41 The Eureka \n lOUND DANCES T) HE POLKA -U) Revolving Step M) Backward Step ."••) olkaRedowa •'•) o.iottisohe o«» LIDE WALTZ M Time ol Accentuation *»I it •I i* «» ii. INDEX. w M t« •* «» t* GLIDE WALTZ, Continued. Page. ** Balance stop and the mode of beating time, and accentuation 52 To Move Forward f 3 Te Move Backward f 3 The Seven— Eight-Nine Part o4 The One— Two— Three Part 55 The Four-Five-Six Part 56 How to Connect the Parts 56 Le Changement de Tour 58 The Boston 60 The Two Step Rockaway 61 The Three Step Rockaway 62 The Four Step Rockaway 63 TriuneGlide 63 The Galop 64 The Valse a Deux Temps 14 MISCELLANEOUS- Advice to Waltzers 65 lagram or Scale showing the difr<^^ent k'nds of dances suitable to the various kinds o' dance music 66 Concluding Remarks on theVal^e. aid itr Accentuation— Individualities of Style— Faults A' N: lure and Faults of Habit 67 Special Practices 70 j ILLUSTRATIONS- GrandSquare 31i Position in. Quadrilles 33 Strain of Music divided into Spaces, termed Measures. ... 48 1 Mode of learning to beat time 521 Walts diagram for learners 57[ Page- time, 52 f3 f3 64 65 66 66 58 60 61 62 63 63 64 14 65 ' dances 66 lation— I Faults 6T 70 31 33 iires • • • • 48 62 67 PREFACE. Bbab Public: Making no preteusions to the rank of Author, I have simply aimed to be olear and precise. All books from which any information could be obtained, bearing on the subject under consideration, have been freely con- sulted, especially in the matter of etiquette and deport- ment ; and will be found to be correct, as the selections have been made from the publications of the most reliable authors. The mode, however, of conveying the infoimation to the public, viz. : catechetical, is my own, and I believe it to be the only work of the kind, ever placed before the public, in the form of a catechism ; at all events, I am certain that, at the present time, it is the only pubUcation on dancing that will be found to contain descriptions of the '♦Rockaways" and "Triune" Glide, which are the latest fashionable dances ; also the latest changes in the ** Lancers " and " Quadrilles." Particular instructions are given for performing these different dances, so that those who have never previously engaged in them, may be able to dance without the assistance of a master. It is not meant, however, that one may learn, unaided by a teacher, the rudiments of he art, but that such as have a fair knowledge of dancing may speedily acquire the latest and most enjoyable of all the round dances. PROF. DAVIS. t ir INTRODUCTION. f ,t THE dance of society, as at present practiced, is essentially different from the theatre, and it is proper that it should be so. Most fathers and mothers, including clergymen, send their daughters to dancing schools. Brothers dance with sisters, fathers with daugh- ters, mothers with sons, and all permit friends to dance with those they love best. Those who really think it improper certainly ought not to dance. I would not advise those who receive no benefit or innocent enjoy- menu from dancing to indulge in it. I do not intend to be so enthusiastic in its laudation as to say, or even be- lieve that dancing is the paramount virtue of life, but it is certainly a commendable part. Exercise may be con- sidered as one of the necessaries of life, and there is no exercise at once so innocent, pleasurable, healthful, uni- versally popular, and appropriately adapted to the joyou intermingling of ladies, gentlemen and children, as dancing. Not only at large balls and parties do the fashionable wor' dance, but even if, upon making an evening call, a fow friends should accidentally meet, a dance is at once proposed as a relief to the gossip of the day. " How long will it take to learn to dance ?" is a ques. tion often asked. That depends on the aptitude, the pa- tience, the perseverance and attention of the pupil, as VI. INTROI>UCTIOK. well A<^ t he ability of the teacher. As a rule, the best dauoers are those who have attended dancing schoo several terms. Many go but one term and are satisfied with their knowledge of the art, although, were they to attend longer, their movements would be much more graceful. The most inapt are the most impatient. They become discouraged in two or three lessons, because they cannot accomplish, without practice, what has cost more apt, more persevering, more attentive and n^pre patient per >ns a considerably longer time. Should a gentleman aay, 'I am desirous of learning to dance; I can keep time ; I can tell the difference between a waltz and a galop ; if I do not become perfect in two or three lessons I shall not be too impatient to try longer." I would say ten private lessons or twenty-four class lessons may suffice, and he ought not to forego the pleasures of the dance when it is so easily acquired. An awkward and diffident person should attend dancing school until he rids himself of awkwardness and diffidence. Lest some persons might infer that they cannot learn to dance, I would say, all can learn, except the badly crippled and infirm, provided they be patient, persevering and atten- tive. With these qualities, aptitude and an ear for music can be cultivated. In my evening classes may be found pupils from the age of fifteen to fifty, composed of phytlcians, dentists, bankers, brokers, lawyers, merchants, clerks, musicians, teachers, university, medical and law students. " Why do men over fifty years of age attend dancing school ?" I am asked. Sometimes for exercise^ sometimes for practice, sometimes to learn ; and frequent- ly for all three reasons. I say sometimes to learn, be. cause men who still feel young — and they ought not to INTRODUCTION. VU. feel old at fifty — do not ignore society, on the contrary are fond of it, and although they have neglected dancing so long, something tells them it is never too late to learn and they govern themselves accordingly. In every period of life, the art of dancing facilitates the acquisition of ease and elegance in personal deportment, hut especially when acquired in early life. They who have learned to dance in childhood are ever distinguishahle in manner from those who have not learned. They enter a room and re- tire therefrom, or pace an apartment with ease and dignity of carriage. Graceful movement has heoome a second nature by early training and continual practice. Books alone are not sufficient to teach our art. Personal instruc- tion and discipline are indispensable. A few lessons some, times suffice for those who are gifted with a delicate sen • sibility and quickness of apprehension. But a living model, a severe and friendly criticism are necessary to render books of etiquette and dancing available even to those who are naturally elegant. " PEKSONAL INTRODUCTIONS. Q— III making personal introductions bj' what rule should you be governed ? A — The one who occupies the lowest station must be in- troduced to the one of the higher rank. Q — But should there be no difference in the position of the parties, how would you then proceed ? A — Seniority must be taken as the guide ; that is, the youngest must be introduced to the eldest. Q— To whom do che above rules apply, exclusively ? A — To gentlemen, Q — ^What is the rule when a lady is in the case? A — She of course always takes precedence, or in other words, the gentleman must be introduced to the lady. Q— Isit a breach of etiquette to introduce a gentleman to a lady, without having previously ascertained that it will be quite agreeable to her? A —It is. Q— Does the same rule apply to the introduction of gen- tlemen to each other? A — Not absolutely ; but then it is well to observe it, fo^' where there has been no previous intercourse between the parties, or where there is any discrepancy in their stations or circumstances, it would certainly be a breach of etiquette not to observe it. Q— Should morning viyitors be introduced to each other ? Ji SOCIETY .)ANCIN«. 9 4 -' A — Not on any account. Q— If you phould find an agreeable person in private society yvho seems desirous of making your acquaintance, . can there be any objection to your meeting his advances half way, although tlie ceremony of an introduction has not taken place? A — There cannot ; his presence in my friend's house be- ing a sufficient guarantee for his respectability. Q —On introducing a gentleman to a lady, whom should you address first ? A —The lady ; as, for exariiple. Miss Williams, permit me to present (or introduce) Mr. King to you; or Mrs. Lee? I have the pleasure of presenting Mr. Davis to you. Q —On introducing two ladies, one ol whom is married, and the other single, how would you proceed ? A — Present the single lady to the married. Q — "What should be specially particularized when intro- ducing a foreigner ? A— The place from whence he came, as " Mr. Camotte, from Italy," or " Mr. La Rue, from France." Q — When presenting one who has recently returned from travelling in distant lands, how should he be pre- sented ? A— Make him known as "Mr. Thompson, lately from Chima,' etc. Q — Why should these particular specifications be made ? A — Because they at once afford an opening for conversa- tion between the two strangers, relative to the voyage of the recently arrived. Q — How should the name be mentioned when introduc- ing any of the members of your own family? 10 MODERN DANCE TUTOB ; A — In an audible tone. Q — Would it be considered sufficient to say ♦' My father," '' my mother," '• my sister," or " my brother." A — No ; the better way would be to say *' My father, Mr. Stanly," " my mother, Mrs. hJtanly," or " my sister, Miss or Mrs. Timms." Q — Which one of your sisters is entitled to the surname only? A— The eldest ; as *' Miss Stanly." Q — In what manner should the others be introduced ? A— As "MihS Maud Stdnly," or " Miss Ida Stanly." Q— What must you be careful not to neglect when intro- ducing a clergyman ? A — I must not neglect to put Reverend before his name. Q— Presuming him to be a D.D., what term should be used? A— Beverend Doctor* Q —If he be ^k bishop ? A— Then the word Bishop is sufficient. Q— On receiving an introduction is it proper to shake hands ? A— As a ,^eneral rule hand-shaking is not indulged in ; a bow being sufficient. A married lady generally offers her hand, a young lady does not. Q — Suppose the introduction to be given in a ball-room where it is intended for dancing only, would it then be proper to shake hands ? A — No ; never shake hands under these circumstances. Q — On a gentleman being presented to a lady in a ball- room should the lady rise from her seat for the pur- pose of bowing an acknowledgement? ORy SOCIETY DANCIMO. It u A — No ; She should remain sitting, a Blight bow of the head being snfficient. Q — ^What rule might be laid down for your guidance re- garding hand shaking on receiving an introduction? A — That the more public the place of introduction, the less hand-shaking takes place. Q — Under what circumstances should the hand be tendered? A — ^If the introduction be accompanied by personal recommendation, such as — " I want you to know my friend Jones, " then the hand is given and waimly too. Q — At a private ball or party, how often should a gentle- man be presented? A — One presentation at a private ball is sufficient. Q — At a private party, should a gentleman presume to invite a lady (an entire stranger) to dance without an introduction ? A — He should not. Q — Is it an act of impropriety for one gentleman to in- troduce another gentleman to a lady whose temporary accquaintance he himself had formed in the ball-room ? A — ^It is ; a gentleman will not take the hberty, nor be guilty of so doing. Q — When an introduction to a lady is solicited by a gentleman, should the consent of the lady to make his accquaintance, be asked? A — It should, in order that she may have an opportunity of declining — (Note): This rule applies to an assembly room or otherwise. Q — At a public ball- if a gentleman without a proper introduction ask a lady to dance, should she refuse ? 12 MODERN DANCE TUTOR ; A — She should, positively so. Q— Does an introduction in the ball-room for the purpose of dancing entitle a gentleman to afterward claim acquaintance with a partner? A— It does not ; all intimacy should end with the dance. Q— In case h ^(entleman has two ladies in charge, may he in the absence of friends address a stranger, and offer him a partner? A— He may, at tire same time asking him his name previous to an introduction, and mentioning that of the lady to him, or not, as he may think proper. OH, SOCIETY DANCING 13 >urpoBe claim dance, naay he d offer 1 name ,t of the A GMNl) BALL. Q — If a gentleman meets a lady friend at a grand ball would he be justified in soliciting her hand for a dance witliout being presented ? , A-^No; he should be presented by her escort, before taking upon himself the right of dancing with said lady. 0M. , private jmselves Leman to sither by acing ex- LiiesB. rly agree- geexns to ety refnae ted thai of )e showing )inmodate, linment to to dance iscertained lat aU ib« A — The master of the house. ^ Q — Of whom should the master take particular notice ? A — Of those who seem to be neglected^ Q — ^What is the duty of gentlemen whom the master re- quests to danoe with these ladies? A — They should cheei fully accede to his wishes, and ap- pear to be pleased while dancing with persons thus recommended. Q— When there are no programmes, when should en gagements be made ? A — After the dance is announced. Q — When the dance is over, what is the duty of a gentle- man towards his partner ? A — To conduct her to a seat ; and unless he chooses to sit beside her, bow and withdraw. n. r force ' so do- r. •ticular 3in the side or d good s. . one in izzing, |igaged a flir- Ln. It is the gentleman's part to lead the lady, and hers to follow his directions. »/ On no aucoant should a lady be seen parading a ball- room alone, nor should she enter it unaccompanied. Avoid changing from one set to another ; it may servo your purpose for the time being, but will not add to your character for politeness. Contending for a position in quadrilles indicates an irritable and quarrelsome disposition. When passing through a quadrille, let your arms hang easily, and avoid any display of agility or knowledge of steps. Loud conversation, profanity, sfcarapiug the feet, writ- ing on the wall, smoking tobacco, spitting or throwing anything on the floor, are glaring vulgarities. Sets should be formed with as little confusion as pos- sible — running to obtain a position should be carefully avoided. The ladies' dressing-room is a sacred precinct, into which no gentleman should presume to look ; to enter iu would be an outrage not to be overlooked or forgiven. Any provocation to anger should not be resented in th« presence of ladies Do not form an engagement during a dance, o^ while a lady is engaged to another. I I 22 MODERN DANCE TUTOR; While dancing the performers should endeavour to wear pheasant faces, and in presenting hands a slight inclina- tion of the head is appropriate and becoming. ' If one lady refuses you do not ask another who is seat- ed near her to dance the same dancr*. « '♦' ■t EVENING PARTIES. Q. — How should the invitation for an evening party be given ? A. — They should be written as follows : Mr. and Mrj. A present their compliments to Mr, and Mrs. B , and request the honor (or hope to have the pleasure) of their company, on Thursday evening, the 3rd of October next, at 8 o'clock. Object, dancing. An answer will oblige. No. 18 A Street, Sept. 8th, 18—. Q. — How should the reply be written ? A. — The reply is concluded as follows : Afr. and Mrs. B present their compliments to Mr. and 31rs. A , and will do themselves the honor (or will have much pleasure) in accepting their kind invitation on the 3rd of October next. No. 16 C Street, Sept. 11th, 18—. Q. — How should the invitation be declined ? A. — As follows : ). OK, SOCIETY DANCING. o wear aclina- is Heat- )/ aarty be *s to Mr. to have the 3rd answer is to Mr. (or will tat ion on Mr. avA Mrs. B present their compliments to Mr, and Mrs. A , and regret that a previous engagement pre- vents them accepting their kind invitation on the 3rd of Oc- tober next. No. 16 C Street, Sept. 11, 18— Q. — When should the invitations be sent out ? A. — At least three weeks before {the day fixed for the event. Q. — When should they be answered ? A. — Within a week of their receipt. .• Q. — To whom should the answer be addressed ? A.— To the lady. Q. — What benefit would be derived by attendifig to these courtesies? A. — The guests will have time to consider their engage- ments and prepare their dresses, and the hostess will also know what will be the number of her party. Q. — May a lady, invited to an evening party, request a gentleman to accompany her ? A. — She may, though he may not have received an invi- tation from the hoste Q. — What is the established hour for a lady to be in her parlor, ready to receive her guests ? A. — In families of distinction nine o'clock is the hour and by ten all guests should arrive. Q. — After completing her toilet, where should the lady wait? A. — At the door of the dressing-room till the gentleman joins her, and V 3y make their entret together. Q. — As the guests enter the room, is it necessary for the lady of the house to advance each time toward the door? u A.- MODERN DANCE TUTOR -No ; she merely rises from her seat to receive their courtesies and congratulatious. Q. — Wliat arrangements slioiild be made for refresh- ments ? A. — Provide a separate room, or convenient buffet, to which the dancers may retire, and cakes and biscuits, with lemonade, handed around. Q. — At what time during tlie evening should the supper take place ? A. — It usually takes place between the first and second parts of the programme of dances. Q —Would it be well for the hostess to participate in tht dancing to any great extent ? A — It would not, lest her lady guests should have occa- sion to complain of her monopoly of the gentlemen, and other causes of neglect. Q — How should the host and hostess deport themselves, during the progress of a party. A — They will courteously accost and chat with their friends, and take care that the ladies are provided with seats, and that those who wish to dance are provided with partners. Q — What does it denote for any of the members of the family, at whose house the party is given, to dance fre- quently or constantly ? A — It denotes ill-breeding. Q — At a private party, can a lady, with propriety, refuse the invitation of a gentleman to dance ? A — Not unless she be previously engaged. Q — Should a gentleman dance with his wife at a dancing party. ! I OR, SOCIETY DANCING. blieir resli- \ st, to cuitB, upper second in tht e occa- en, and aselves, h their ed with )rovided s oi the i,nce ire- y, refuse , dancing A — He should be careful not to dance with her, except perhaps the first quadrille. Q — Would it be impolite to sing at the request of any person, other than the lady of the house? A — Yes; do not sing at the request of another person, hut if you can sing, and are requested to do so by the lady of the house, do so at once. THE FIVE POSITIONS IN SOCIETY PRACTICE. In all these positions the body must be kept quite erect the chest advanced, the shoulders thrown back, the limbs straight, and the arms in their natural position. The natural position of the arms is rather in front of tho body, with the palms of the hands turned towards the legs. Ladies have the forefinger and thumb occupied in h elding out the dress. Explanation of tlie Five Pi^^itions. First Position. — Place the heels together and| turn the toes back so as to form a right angle. Second Position. — Move the foot sideways from the first position, to t jout the distance of its own length from the heel of the other foot. 26 MODKKN 1>ANCE TUTOR ; 1 3 Thiki> Position.— Draw the foot (say the left,) from the second position to about the middle of the right, the heel placed in the hollow of the other; in this position the feet are half crossed. FouuTH Position. — Move the foot forward to about its own length. FiriH Position. — Bring the foot back from the fourth . . ' position, and place the heel of one to the toes of the other, the feet being together, forming a right angle. "^ ' In social dancing the feet may be turned at right angles, or a little less in all the five positions. When the positions are practiced with the right foot the left is m- actire, and when the left is active, the right is inactive. When rising upon both feet, both of course are active. The inactive foot rests flatly upon the floor ; the toes of the active foot may be pointed (the heel raised) in the 2nd and 4th positions. The 1st position in dancing is about the same as the position of a soldier at *' attention." Young misses should very slightly bend their elbows, turning them outward from the body, curve the wrists and hold their dresses as already described. The Bow. When standing the bow may be made in the 1st or 4th position, both foet should be flat upon the floor, the most of the weight on the backward foot. The legs should be straight, the hands should hang naturally being on a per- pendicular line from the shoulders. The movement of the body in bowing consists of a gentle and uninterrupted bending directly forward from the hips, with the slight- est possible inclination of the head, and the immediate non-spasmodic resumption of the erect position. The OK, SOCIETY DANCING a the lie of LoUovr e feet )Ut itH fourtli 3 to the gether, .t right hen the 3ft is in- inactive. :e active, I toes of ) in the .ncing i» bention." elbows, le wrists Ist or 4th the most ihould he on a per- vement of iterrupted jhe slight- ininiediate on. The bow at the commencement of a quadrille is made as. follows : — The gentleman is supposed to be standing with his right side toward his pai*tner's left. In order to face his partner he will step forward with his left foot and place most of his weight upon it, turning a quarter round to the right, at the same time pivoting upon the ball of the right foot to turn the toes outward, thus placing himself in 2nd position, counting one ; then draw the right foot to 1st position, at the same time bowing and casting the eyes downward, counting two ; then bring the body erect, with the eyes naturally directed, counting three ; then pirot upon the ball of the right foot, at the same time commencing to turn to the left, counting four, ' Then in order to bow to the lady on the left, he will step with left foot a little short of 2nd position so as to face her, counting one; then draw right foot to 1st posi- tion, at the same time bowing, counting tico ; then bring the body erect, counting three^ four. After the bow he resumes his place with his partner. The Courtesy. To courtesy to her partner the lady steps off with the right foot, carrying nearly all her weight upon it, at the same time raising the heel of the left foot, thus placing herself in second position, facing her partner, counting one ; she then glides the left foot backward and across till the toe of the left foot is directly behind the right heel, the feet about one half of the length of the foot apart. This glide commences at the ball of the left and terminates with both feet flat on the floor, and the transfer of the weight to the backward foot. The bend- ing of the knees and casting of the eyes dov.nward begin with the commencement of the glide with the left foot* ^8 MODEKN DANCE TUTOR ; \ ' lii and the genuflection is Rteadily continued until the left foot reaches the position described, counting tiro '. then without changing the weight from the backward foot slie gradually rises, at the same time raising the forward heel, and liiting the eyes until she recovers her full weight, counting thrre ; and finally transfers the weight to the forward foot, counting /'ojo'. To turn and courtesy to the gentleman now behind her, the lady will step with the left foot across and in front of the right, (placing her weight upon it,) turning the toe of the left foot inward, at the same time pivoting upon the ball of the right foot, to turn the feet in 2nd position, and face the other gentleman, counting oni' ; she then glides he right foot behind the left (as explained above,) and bends the knees, counting two; then rises, counting three ; then draws the right foot to 3rd position behind, and places the weight upon both foet, counting /cx/r. The lady should endeavour to cause the movements to flow together smoothly and uninterruptedly. In courtesy- ing the knees bend and the body sinks ; in bowing the knees do not bend, and the upper part of the body is pro- jected forward. In courtesying, as well as in bowing, the •lightest possible inclination of the head forward is ad- missable. I I OK, •UCIKTY DANCINC;. /< left then \> slic ward full eight d her, •ont of toe of ton the )u, and gliden /e,) and ig three ; (1 place* ents to loartesy- ing the Ly is pro- ing, the Ird is ad- (,)( Al»KI[-LE STEPS There are but three quadrille uiovementsiu use, which I shall explain as follows : No. One.— The Pas Mairlw, or walking step, is used to advance and retire, or to " cross over," etc. To advance and retire four counts are required each way, that is, walk forward three steps, commencing with the right foot ; count oiWy two three, tlien draw the left foot nearly to the 3rd position behind, the left heel rais- ed, and the weight resting on the right foot ; count four • commence to retire, with the left foot ; count live, six, aeveii : then draw the right foot to Brd position in front, the weight upon both feet ; count eight. No. Two. — An easy, quiet glisse (gliding) step ; is used in '* Balance to comers," *' Balance to partners," '' Chasse to right and left ;" it is elso used as a substitute for "No. one," or " Walking Step." The step of No. 2 is as follows : Standing in 3rd posi- tion, right foot in front, glide right foot to 4th position {count one) ; bring left foot nearly to third position be- hind, the heel of left foot raised and the weight on right foot {count two) ; glide left foot forward to 4th position {count three) : bring right foot nearly to 3rd position be- hind, the heel of right foot raised and the weight on left foot (count four) ; glide right foot backwai-d to 4th posi- tion (count Jive) ; draw left foot nearly to 3rd position in front, weight on right foot (count idx); glide left foot back- ward to 4th position {count seven) ; draw right foot to 3rd 30 MODERN DANCE TUTOR ; position in front, the weight on both feet {count eight). A Hhght action of the knees accompanies this movement. No. Three is Balance unr place. It consists of a gliding step, moving gently and very slightly forward and back- ward, or from side to side in the spot on which you stand, and is executed as follows : Standing in third position, right foot in front, glide right foot forward about ttco inches, more or less {count one) ; bring left foot to 3rd po- sition behind, the heel of left foot raised {count two) ; ghde left foot back {count three) ; draw right foot to 3rd position in front {count four). If four measures are re- quired repeat the movements. A slight action of the knees accompanies the movement. Technical X^erms u^^ed in l^uadrille Fig^ureis. Forward and Back. — To move toward the centre and back, three steps and four counts each way. Cross Over. — To go to the opposite place without turn- ing around anybody. RionT AND Left. — To change places to the opposite sides. In passing at the centre each lady passes between the opposite couple, her partner dropping behind and crossing diagonally to his place at the left of his partner, returning in the same manner. Ladies' Chain. — Two opposite ladies advance to the centre, give right hands, pass on, give left hand to opposite gentleman and turn, then return to places in the same manner. Balance. — To move toward a designated person, or couple, and then back {counting eight). Grand Chain. — Face partner, give right hand to partner, left hand to next, and so on until you regain your place. ight). I •¥ Bent. I liding 1 bacli- stand, sitiou, xxt Uco U'd po- t uoo) ; : to Srd » ^ are re- fr of tlie 3 e rille Litre anci mt turn- lite sideB. between g behind lie leit of >r. ■e to the |t hand to to places lerson, or [o partner, 3gain your OR, HOCIKTY l)ANt"lN<*. ORAND SQIJARH. 9nft C'oupli*. ¥ 1 • 3 3. ft e 2 3 ■f ,■-■., ■"-:■•■:■ . .^ ./'-.. , i 1 « 4 iMt Couple. Explanation : — 1st and 2nd couples join tlie nearest hand to partners and march forward to the centre (2nd angle in diagram); then change partners, giving same hand to vis-a-vis, and marcli to 8rd angle ; now face each other and retire to 4th angle ; then meet partner in place 1st angle ; simultaneously with 1st and 2nd couples, 8rd and 4th couples face partners and retire to 4th angle ; then turn and march forward to 1st angle ; now give nearest hand to each other and march forward to centre '^r second angle ; then give same hand to partner and .n-i MO^EJl^• DANCK IT' OK; takt^ [)]aceB (Brd angle). Bepeat in LancerB, three Btei)ft and four counts on each Bide of the Bquare, pivot on the angle on fourth count. Turn Paktnkrb. — (with hoth handb). Turn to the left and keep the hands apart, not croBsed. Chashe to the Right. — To move to the right. Half Promenade. — Give both liandB to partner, the hands crossed, right hand uppermost, cross over to opposite sides, or all move half way round in the circle. Vis-A-Vis. — The opposite person, or couple. Xlie Poisilioii ill <^uadrille!ii(. Q — Which end of the room is head ? A — Generally the end opposite or furthest from the entrance. ' i i , i Q — If the entrance be upon the side of the room, which end would be the head? A— Then custom must determine whether it be to the • right or left of it. r Q — Having ascertained the head of the room, where do the first couple stand ? A — Nearest the head of the room. Q —Where do the second couple stand ? A — Opposite the first. Q — Where do the third couple stand ? A — At the right of the first. Q — Where does the fourth couple stand ? A — Opposite the third. Q — When do the dancers begin the figure of the fiiit number ? A — At the commencement of second strain of music. Q — What should the dancers do while tlie first strain of OR, ROCIETY DANCING, 33 itep» I the i left •, tlie ver to in the m tlie , wbich to the lere do Ithe fii**t isic. Istrain of the music is being played ? A — Either stand still, or bow to partners then to corners. Q — Do the dancers bow at the commencement of every number ? A — No ; they stand still during the first eight measures of all numbers except the first. Q — In tbo fifth number of the lancers, when do the dancers begin? A — With the music. Q — How should the hands be held ? A — At the same height as in shaking hands, but not pro- jected so far forward. Q — Whose hand should be uppermost? A — The ladies hand. Q — Whose hand should be uppermost in turning ? - A — The ladies hand. Q — Should the lady be turned by the waist ? A — Never ; except in valse movements, nor by the arms in any of the dances of society. Having given the preliminary details, we will pro- ceed with the figures of the different quadrilles, as now danced. MOftLtr POSITION IN QUADRILLES. r I m:t m ! 'Si: . MODEIIN DANCE TUTOR; ' ' ' ' ■•■. ■ The L * ■ The Caledonians. Measures. First and Second Couples Cross Right Hands and go half round ; , 4 Left hand Back and return to places 4 Balance to Partner and turn 8 Ladies' Chain 8 Half Promenade 4 Half Right and Left 4 No. 2. First and Second Couples Forward and Back.... 4 Forward again, salute and return to places 4 All Balance to corners 4 I ^ & MODERN DANCE TUTOR ; Measures- LADiEg Change Places to the right, turning with both hands the gentleman to whom they " balance," each lady passing into the next lady's place. — 4 All Promenade — (wi w partners) 4 This number is < done four times — all finish in places. ' No. 3. -■ -. ■ -• -"'^.^ First and Second Couple Forward and Back Twice . . 8 Cross Over — first couple passing between second without turning partners Return, Second couple passing between 4 Balance to Corners, turn, and return to places .... 8 All Join Hands, forward (to the centi-e) and back twice 4 Repeated by head couples — Sanie for sides. No. 4. '•':";'-:■;■■ ' r FiRST AND Second Couples Forward and Stop 4 Turn Partners to Places 4 Four L.U)ies Change Places to the Right 4 Gentlemen Change Places to the Left. . . . , 8 Ladies Again to the Right 4 G entlbmen Again to the Left — meeting partners in opposite places , 4 Half Promenade to places and turn partners 8 Four times ; third and fourth times, side couples for- ward and stop. No. 5. First Couple Promenade (round inside) 8 Four Ladies Forward and 3ack 4 Four Gentlemen ditto 4 ■ / OR, SOCIETY DANCING. \ 4'S Measures. All Balance to partners 4 Turn Pautners 4 Half Grand Chain to meet pai-tners 8 Half Promenade to places and turii pai-tuers 8 All Chasse r 8 Four times, each couple in order commencing the figure. The Eureka. (Arranged by Prof . Davis.) No. 1. First two Ladies Forward and Turn in Centre. First two gentlemen forward and turn in centre Balance four and turn, facing right hand couple. Ladies' chain with right hand couple. ' Half promenade with same. Half right and left to places. Counterpart for sides. No. 2. First Lady and Second Gentlemen Forward and Back. Forward Again, and turn in centre. Balance to CoRNERS,turn with the right hand, and pai-tner with the left. Double L.^dies' Chain — (Four ladies cross right hands, move around and turn opposite gentleman with left, cross right hands again, move around and turn partners with left). All Promenade. Second lady and first gentleman repeat. ' Sides the saim. No. 3. First Four Half Right and Left. I 44 MODERN DANCE TUTOR*, l! : Half Right and Left on Right with side couples Half Right and Left across. " '- Half Right and Left to places. All Balance to partners and turn. [8B?C0" Sides repeat. First and Second Couples Half Ladiks Chain. Half Ladies Chain on the right with side couples. Half Ladies Chain across. Half Ladies Chain to places. • , All Balance to partners and turn. ♦ Sides repeat, - *• . ^/ No. 4. • ' ■;•■'■ r" First Lady and Second .Gentleman Forward to the Centre — Bow and courtesy. The gentleman takes ' . - the lady by the left hand (with his right) and re- tires to face fourth couple. Bow and courtsey. Chassb Across — Gentleman to the right, lady to the left, give right hands and turn half round in the centre, and turn partner with the left hand. FuiST Four Right and Left — Others repeat. Counterpart for sides. No. 5. Chord of music, during which all join hands in a circle. Circle to the Left, Balance All and turn partners. First Couple Face Outward — Third and fourth couples take places behind, as in the fifth No. of Lancers. Ladies March Once Around the Gentlemen (gentlemen , stand). OR, SOCIETY DANCING. 45 i. Gentlemen March Once Around thh Ladies (ladies stand). Leading Couples Turn Inward and march down the t centre, the rest followmg. Separate at the Bottom (turn outward and march up again) Ektike and Form two Lines (gentlemen on one side and ladies opposite their partners). Forward AND Back Forward and Turn Partners to places. ■ Repeat for each couple to face outward in their turn. Finish with " All circle to the left." ROUND DANCES. a lies [rs. len Although an explanation, in ordinary language, of the various kinds of springs, glides and positions, and exactly the time to execute them, as well as the proper poising of the body, will be of advantage to pupils, it does not suffice to make good dancers of those who receive no practical assistance. In order to counteract erroneous impressions and the many peculiar tendencies of pupils, including the impro- per weight of the body, the teacher, when imparting his instructions, is often obliged personally to exaggerate tlie movements ; therefore the reader will profit by his obser- vations of experienced dancers. t MODERN DANCK TUTOll ; The preHent style of round dancing is of a gliding character — different from the old ntyle of solid stepping and high hopping and leaping —retaining, however, the attendant springs — the bendings and risings or actions of the knees —with the feet turned out in the natural posi- tion, a little less than a right angle. The position is of the utmost importance. The gentle- man places his right arm around the lady's waist, sup- porting her firmly, yet gently ; the hand should lie f!at upon the waist, with the fingers together, and the olbow raised to prevent depression of his right shoulder. The lady's left hand rests lightly upon the gentleman's right arm, about the height of her shoulder, or chin, the fingers together and curved, and not grasping or bearing down upon the gentleman's arm. Q_How should the gentleman hold the lady's right hand ? \ With his left hand, the arm slightly bent, the elbow inclined sUghtly backward about seven inches from his body. Q— How does the lady place her hand ? A — Palm downwards. Q What would be the result if the gentleman did not rest his arm firmly upon the lady's waist ? \ His hand would slip away, the lady would have no support, consequently he would not sustain her proper. ly, would fail to step in unison with her, and turn him- self insufficiently. Q — What is the position for the shoulders ? 4. — About equal distance apart. OK, SOCIETY DANCINU 47 . i Q— How Hhould a gentleman regulate the ?ANC1N«J. 51 at t3 sa- ''j t'me t n Lu,!-. round "to) ; spring from left to rigl.'^ '.• t {thr^e); hop upon right; ioot,at theaame time turn liaif j ound completing turn {four). Repeat — Jive, jfix, seven, eight — two measures. Then fir.st part again, and so on ad libitum. The Glide U^altz/ ' (Erroneously termed "Boston.") I will now proceed to explain the various steps motions and glides of tlie different waltzes, now tt hi mode ; pre- suming, that before the pupil has arrived this far he will have made himself familiar with the five positions of society dancing. If not I advise him to turn back and study them well ; after which the explanations about to be given will be much better understood. Two things are of the utmost importance in dancing, viz : —Time and ac- centuation, and in no dance is a deficiency of these two requisites, more visible to the onlooker, nor of more im- portance to the dancer, than in tli j waltz ; hence the necessity of studying them well at the coinmencement. Time. The time of a waltz is 8-4 ; or three beats to a measure of music, (ifce diagram of a strain of music), with an oqual division, or interval of time between each beat. They must, therefore, be counted regular, the three beats exactly fitting a measure ; thus: one — two — three; (one measure.) Aecenfuation* Accentuation is the mode of making accents ; it must be understood in two ways : First, the marking distinctly and perceptably, of the {firnt ) beat in each measure of music; second the relation of the remaining steps to the MODEllN DANCE TUTOR ; ■ remaining beats of the measure. These remaining steps. may be regular or irregular, as for instance, the waltz is regular, while the same step applied to the Rockaway is irregular. The Balance Step and the Iflode of Beat- in;; Time and Aec«^ntnation. The following movement should be practiced until the knees acquire their natuial action — the hcndbujA oocuring upon (one), the ;-/.s/;ir/s upon (three). (The word bend or bendings, frequently used in the description of the dances, refer to the knees only, and does not imply bow- ing). To commence the movement, the pupil will place his whole weight upon his right foot, the toe of the left slightly touching the floor, then commence accenting and beating time thus: Rise left foot from tlie floor, glide it sidewise to 2nd position, throw the weight upon it, rather heavily and distinct, count [one] ; place right foot to 1st position, the heel of right foot raised, the toe touching the floor very lightly, weight remaining upon the Ijft foot {t\vo)\ 'rise upon the ball of left foct and fall again, the weight still upon the left foot (three) — one measure. The same to the right four, fire, s/.r, — two measures. Illustration. * L X —^n. / Taka a piece of chalk and diaw a line on the floor as above, about 18 inclijs in length, then stand in first posi- tion upo.i the right end of the Hue (marked 11. in illustra- tion), the toe of the right foot will then be on R., with all, or neiivly all the weight upon it, and the toe of the left will be upon the X., with little or no weight upon it. Now glide the left foot sidewise to left end, at the same time throwing the weight upon it (ccyinit one)\ draw right foot 1/ • « OR, SOCIETY DANCING. m to let position with toe placed on X., no weight upon it (tiro); rise upon the ball of left foot and immediately fall again, (three); repeat to the ri^^ht, and continue r/(////>/n/m. Be sure to place HO ire i fi /i t \i\)on. the X. After you have become familiar with this movement, you may then make your lirst attempt. To move Forward. Thus: stand on rit^ht foot as in previv)nH exercise, then plase the left foot to the front, sidewis,- from the right about six inches ; heel of left raised from the floor, with the heel as far forward as the toes of right ; knees bent ; toes slightly touching the floor. You are now in a posi; tion to start forward Make the accented beat by step- ping or gliding the left foot forward to 4th position, the body and foot both mo\'ing at the same time, bending the knee (count one) ; then with the weight resting upon the left foot, glide the right foot forward to the front (same position in which the left was before starting) the weight still upon the left {ttco)\ rise upon the ball of the left foot andjfall again, the weight still upon the left foot (tJtree) ; now commence the same movement with the right foot, not forgetting to step fonrard for the accented beat, and continue the practice until you are perfectly familiar with it. The Baek%vsir' -A' 2ud angle, 4th angle. 1st side everse rurn. 5 n B-ie' four, Jive, nix part ; then step back- ward with the right foot and do a seven, c'ujht, vine part, and 80 on continuously, cqmmencing each part with the right and left foot alternately. In order to make a complete turn to the right or left on six steps — twice as much as on a square — the body will require a greater impetus in revolving. This increas- ed impetus will produce the piouretting requisite to an easy, smooth, uninterrupted, non-spasmodic, continuous action. Care must be taken to avoid the natural tendency to glide sidewise on the o)ies and fours. The o)ies must be directly backward, and the fours directly forward, in exact accordance with the facings. Another natural tendency of beginners in this dance is to throw the weight upon the backward foot on the com- pletion of the sixth step, time or count. This precludes the possibility of gliding tlie foot backward until he pro- perly adjusts the weight upon the other foot — the weight should, therefore, be upon the forward foot on the com- pletion of the sixth step, the right when turning to the right, and the left when turning to the left. With the instruction now given, we will take leave of the Glide Waltz, advising the pupil to practise steadily and perse veringly, for by practice only, can he ever hop« to attain to perfection. He must also use taste, genius and judgment — taste to introduce elegance, genius to create variety, and judgment to direct the whole. 60 MOItEIlN DANCK TUTOR *, The Boston, The " Boston " consifltB Hiiiiply of rovolviiif^ with the balancing Htep of the Waltz, not sidevviHo, but directly backward and forward ; when turning to the ri^ht, the right foot constantly in front ; when reversing, the left constantly in front, pivoting upon the heel of the back- ward foot and the ball of the forward foot alternately, as follows : Glide backward with left foot, at the same time bend both knees {one) ; draw right foot nearly to 3rd posi- tion in front, the weight still on left foot (two) ; rise and pivot upon the heel ot the backward foot, the toe of the other skimming the floor {thriw) ; glide forward with the right foot, bending {/our) ; draw left foot nearly to 3rd position behind, the weight on forward foot (jive) ; rise and pivot upon the ball of the forward foot {nix), and so on continuously, turning to the right with the right foot constantly in front of the left. This may be practised upon the square at first, tlie same as the preliminary practice of the waltz. To reverse, glide forward with left foot, bending {one) ; draw right foot nearly to 3rd position behind, the weight upon left foot {tiro) ; pivot upon the ball of tlie left foot (three) ; glide backward with right foot, bending (four); draw left foot nearly to third position in front, the weight still on right foot {,tive) ; rise and pivot upon the heel of the backward foot, the toe of the other foot skimming the floor (six) ; and so on continuously, turning to the left with the left foot constantly in front of the right. OR, BOCIKTY DANCING. 61 rtUCKAAVAYS. T^wo Step Rocfcaway (3-4 Time). These new and elegant combinations are now danced rof^ularly at all the principal bRlls with the greatest suc- cess, they having, in a very short time, become very pop- ular with the citizens of Toronto. I will endeavour to give directions for the achievement of these highly popu- lar dances in the plainest and most concise terms, mo as to render them easy of comprehension, and at the same time be sufficiently explicit to do away with any difficulty in the attainment of them. First, then, with regard to position. The lady and gentleman place themselves ris-a-vix as in th>9 waltz. The gentleman encircles the lady's waist with his right arm, and holds her right hand in his left. To dance the two step Rockaway: Place the right foot in 3rd position in front, weight thrown upon it. Commence the dance by stepping backward with the left foot to 4th position count (one) ; draw right foot again to Hrd position {tico)^ one measure, the steps occurring on the fii'st and third beats of the measure, a pause occuring on the second beat, the pause being a prolongation of the second beat. Second part. — The second part is executed exactly the same as the Waltz previously exphaned, commencing with a oiie, tiro, three part, continuing with B,four,Jive,>iix C'2 MODERN DANCE TUTOR; i I part, and concluding with a seven, eifjht, nine part. Then for the reverse turn, commence by stepping backward with the right foot and so on, first commencing with the left foot and then with the right foot alternately. The manner of counting is thus . One tico — one — two — three — four — five — six — seven — eifflit — nine, regular counts. Then one to step backward again. Xhree Step RoclcaiJiray. This Rockaway is commenced by gliding backward two plain walking steps, the weight being thrown upon each foot alternately. Begin with left foot, count 07ie — two, regular counting — one measure of music. Then proceed as in the two step Rockaway, that is to say, step backward with the left foot and execute a one, two, three part, con- tinuing with a four, five, six part, and concluding with a seven, eiffltt, nine part. Then for the reverse turn com- mence to walk backward with the right foot, and so on — first commencing with the left foot and then with the right foot alternately. The second part is counted irregular thus one — t wo — three fo ur — /ive — s ix seven — e ight — nine* Steps of tlie Three Step Rockaiiiray. 1st. To begin : Walk backward two steps, stepping first with the left foot and again with the right foot, (count one, two). 2nd. To begm the turn to the right : Step backward with the left foot and execute a one, two, three part, ir- regular counting, that is, make a slight pause, indicated by a long dash in the explanations ; then step forward with the right foot and execute a, four, rive, six -psivt ; end- ing with a seven, ei<)ht, nine part, and continue ad libitum, making a right turn and a reverse turn alternately. OR, SOCIETY DANCING. 63 X Four Step Rockai^^ay. The " four step" is commenced the same as the " three step," that is to say, with the two hackward steps. The second part begins with a seven — eifjJit — nine — part, and ends with a four— Jive — six part. Thus : count one — two seven — eight — nine. (Commencing with a reverse turn) one — two — three four— Jive — s/a:, irregular counting,then one — two again, and so on. Triuii<> Olide. {Arranged and introduced by Prof. Davis.) The triune gUde is, as the name irapHes, three in one, it being composed of certain movements of the "Boston" *'Three Step Rockaway" and "Ghde Waltz" so combined as to form a truly easy, elegant, and graceful dance. The steps can be adjusted to any kind of mi»sic, but is better adapted to walta music, which should be played in moderately slow time ; the graceful motions can then be executed with greater ease, and consequently with greater pleasure to the dancers. To commence, first part, — stand with right foot in third position as in " two step rockaway." — Glide back- ward with left foot at the same time bend both knees (one); draw right foot again to 3rd position in front weight still on left foot, at the same time, rising heel of left foot slightly off the floor (two); fall on heel of left foot (three); at the same time glide forward with right foot, bending {four); draw left foot to 3rd position behind, the weight on forward foot {five); rise upon the ball of forward foot (six) two measures — a gentle, undulating motion must be continued from the commencement of the backward glide to the completion of the forward glide. 64 MODEKN DANCE TUTOR; Second part— Glide backward with left foot, two i)laiii backward steps, as in three step Eockaway, (they ninst however he accentuated as in the Two Step Eock- way if danced to Waltz Music (count one — two). Third part— This part is danced the same in every parti- cular, as the "glide waltz," making two revolutions before commencing again, thus count a one, two, three part, then »> four, five, six part, and repeat; then the seven, fight, nine pait, to change tbe turn from right to reverse. Repeat the movements commencing with the right foot, To sum up, the counts are made as]follows: one, two, three, (direct- ly backward), four. Jive, six, (directly forward. Boston Movement.) Then one, txco (Rockaway Movement) then one, two, three, four, Jive, six, one, two, three, tovr Jive, six, seven, eight, nine, to change to reverse or rice versa the whole combined movement occupying one strain of music (8 measures). " . N.B. The Lady commences with a forward step, Li all the Glides, or Rockaways. The Oalop. The combinaticn steps are now almost exclusirely danced to galop music by the best dancers. The galop is out of fashion — at least with these who dance the waltz perfectly. Valse a Deux Xenips. The Yalse a Deux Temps contains three times, like the other waltzes, only they are otherwise divided. The first time consists of a gliding sirep; th*^ second is marked by a chassez, which always includes two times in one. The gentleman begins by sliding to the left with the left foot, then performing a c/i/i.s.s/'^ towards his left with f/ OR, SOCIETY DANCING. 65 •his right foot, without turning at all during these two first times, one measure ; then glide backward with his right foot, turning half round, after which he puts his left foot behind, to perform a little chasaez forward, tum- them half round for the second time — finish with the right foot a little forward. Re -commence with left foot and so on. To dance the Deux Temps well, it must be danced with short steps, the feet sliding so smoothly over the surface of the floor that they scarcely seem to be raised above it. Adirice to l¥altflsers« The first requirements is that pupils, while dancing be as careful to observe a strict deportment as to preserve a graceful carriage7 which cannot with impunity be neg- lected. On a dancer's first entering a crowded assembly the management of a partner is not an easy task, requiring, as it does, so much tact and delicacy. If a gentleman cannot avoid contact with other dancers, or cannot keep clear from the most iuexeperienced, or if he do not keep in time to the music, he cannot be considered a good waltzer. Those points can be gained only by constant practice — practice in the dancing school, where the dancer should serve his apprenticeship. Though a pupil has attained perfect skill in his steps, and can go t }irough ^he most difficult evolutions of the waltz ; if his head be rigid on his shoulders, his arms contorted, his back bent, or his legs be stiff and ungraceful, he cannot justly lay claim to be a good waltzer. vrnoever in a waltz loses his natural air, and assumes an attitude, or even look, which is foreign to him, may be sure that he waltzes m M(DBiN »\NrB tutor: badly. This is adclrosseci not to gentlemen only] but also ' to laiies. Lalies who imaf;ine tliat a few attempts made in private and under the supervision of parents and friends, will enable them to appear with success in society, great- ly deceive themselves ; and we are not prompted solely b> professional interest in saying that the instruction and advice of a master, are not only useful but absolutely necessary. It is the master's duty to point out to the lady, the steps and attitudes she should acquire, to remark such steps as may be imperfect, when her hand is mis- placed, when she weighs unduly upon her partner's arm, throws herself back too much, or has any other defect* which, if not amended at the outset, may subsequently become irremediable. DIAGRAM, OR SCALE SHOWING THE DIFFERENf KINDS OF DANCES SUITABLE TO THE VARIOUS KINDS OF DANCE MUSIC. Jflutiic. Waltz Mazourka or Redowa Galop Polka. Rockaway Valse a Deux Temps. Glide Waltz. Dance i Triune Glide. Two Step Rockaway. Boston ^obsolete.) Triune Glide. , Two Step Rockaway. Dance] Glide Waltz, Polka Redowa. . Boston. Glide Waltz. Triune Glide. Dance ■{ Three and 4 Step Rockaway I Valse a Deux Temps. [Boston. f Triune Glide. •n««««j Glide Wal z. uance i rj,^^^^ ^^^ 4 g^^p Rockaway I Polka. ( Triune Glide. Dance < Three and 4 Step Rockaway ( Glide Walts. IVIode of Coiint'iK R' Kular Regular Irregular Irregular Irregular f CR, SOCIETY DANCI^t. 67 • \ t ■h CONCLUDING REMARKS ON THE i VAL8E, Time and its Accentuation— Individu- alities of Style— Faults of Nature and Faults of Habit. ■i-J^-; Pupils sometimes say, " I have no ear for mnaic ; I understand the step, hut I cannot keep time.'' This statement contradicts itself, for if a person kuows he is out of time, then he has Time. The reason that they cannot keep time is because they never pay any attention to it. If a pupil does not catch the time readily (and I have many such pupils in my classes) I play a waltz, strongly marking the first note in each measure, and di- rect the pupil to march to time— in fact to pay attention to Time ; then I request him to introduce the steps of the waltz. Upon the same principle that a soldier accents time with his left foot so does the gentleman accent the valse with his left, which nccjssitates the lady to accentuate the step at the same time with her right foot. Simply commencing with the left foot does not necessarily accen- tuate the time with that foot, for the gentleman might, and often does, improperly, however, commence with the left when it is time for the right foot to move. The sol- MODERN DANCE TUTOR; dier might step with the right foot in accentuation and keep perfect time, but it is not in accordance with mih- tary usage; so might the gentleman in the waltz accent with the right foot, but it is not in accordance with the rules of dancing. He must not move the left foot when it is time to move the right, nor the right when it is time for the left. In a valse (the term valse as here applied means any round dance) the gentleman must accentuate with his left foot on the first beat of every odd measure of music y and with his right foot on the first heat of every even measure^ invariably. I am often asked, " Is the Galop faster than the Waltz ?" It is not necessarily so — the difference is simply in accentuation. In 2-4 time the step of the Waltz as applied to the music is counted irregular, while the same steps applied to waltz music (3-4 time) is counted regular, thus: Galop, counted, one — two — three — 'pause (irregular) ; Waltz, counted, one — two — three (reg- ular) the pause being omitted. Therefore, the same step executed to different measures or times may or may not vary the speed, but it will vary in accentuation and regu- larity. While I believe it not impossible for any one to learn to dance, it not unfrequently happens that persons who desire to accomplish some peculiarity which they have noticed in others only acquire it in a mechanical way, and it is apparent that it is not the style which best be- fits them. Opposite talents, hke opposite faults and characteristics, do not always exist in the same person. A tenor will not succeed in a basso aria, nor vice versa . A dwarf cannot represent a giant. A giant cannot repre- sent a dwarf. A capital comedian might utterly fail in tragedy, and a tragedian in comedy. A serious dancer 1/ OB, SOCIETY »ANCINO. <9 \t shines best in serious style — a grotesque dancer, in gro- tesque style. Height and conformation also fit or unfit an artist for certain kinds of theatrical dancing. This unfitness which nature imposes for artists in certain roles is manifest in the dance of the theatre in a greater degree than in the dance of society ; yet a style of movement in the valse may be as unbecoming to some persons as a color of dress or kind of hat, and still be in perfect accord with the manner and carriage of others. Some are desir- ous of acquiring a style of extravagant bending, a hi " Boston ;" others wish the waltz reduced to a stiff, spiritless walk, and again, some think it elegant to turn the toes inward, to dance flat-footed or almost constantly on the heels. These are inelegancies. A knock-kneed person cannot be afflicted with bow-leggedness. Some- times a person wJiose legs are straight will dance as if he were really bow-legged. This, of course, is acquired, not natural, and can be corrected. Natural bow-legged- ness may in some instances, by proper practice, be hidden in the dance. Whether it be natural or acquired, it might be well for such person to tie a handkerchief round his kneos so as to keep them as closely together as his conformation will permit and practice dancing in that way. The knock-kneed psrson should practice dancing with a stick fastened between his knees. A tall lady may gracefully place her hand upon the gentleman's shoulder in the valse, but a short lady cannot do this with a tall partner. These differences do not necessarily alter the general principles of the dance, but merely some of its specific details. The most unitiated will be able to dis tinguish the graceful from the ungraceful, although ho may not be able to tell -wherein the ungracefulness con- sists •^^^^ MODKRN DANCE TUTOR, The proper way iH to practice the theory of a preceptor who thoroughly understands the waverings of society and tendencies of individuals, who is a good dancer himself, and who has the faculty of imparting his knowledge, as well as detecting and illustrating faults of carriage. After the teacher's theory, the pupil's individuality and imitativoness will develop themselves. My aim has been to express the view that every person should learn to dance, should cultivate the naost natural becoming movement, and discard that which, however becoming to others, would in him or her appear affected or ludicrous, or, at least, ungraceful. Jl SPECIAL PRACTICES 1 f. ' ' Should the exigencies of indiridual young pupils sug- gest or require the use of a few light exercises, I would suggest sucli movements as bending and rising in the five positions, with the feet flat upon the floor and the toes turned outward greater than a right angle, as well as placing the ends of the fingers upon the shoulders and turning the elbows backward as far as possible, to assist in the counteraction of sunken chests and rounded shoulders. The discernment of teachers and the desire of the parent will regulate this exceptional practice. 'iW" \» «/ Prof. J. F. Davis' pifate Hj^~ iiieiy. 80 WILTON AVENUE, BETWEEN CHURCH AND MUTUAL STREETS, ; ' TOE^onsTTO, The eligible situation of the present establishment* and the reputation of the School, as well as the style of dancing indenti- fied with it, combine to afford superior inducements for a con- tinuance of the patronage of the first citizens of the city and rieinity. For the information of those who 'are not acquainted with his school, Mr. Davis would state that he follows society, t.^d does not attempt to dictate to it, and that the prevailing style of dancing is practiced in all his classes In fact, everything which society requires of a well conducted dancing school is observed here- all the fashionable dances are taught in rapid succession. Not only do the lessons of the young ladies and children'.'? classes embrace the practice of all the fashionable dances, but particular attention is given to deportment, and through a course of simple and easy exercises, an easy and graceful carriage is imported to the i upil. The course of instruction for gentlemen has in view the rapid and correct acquirement of all the fashionable dances, therefore Mr- Davis would earnestly advise all beginners to attend as re- gularly as possible. Instruction in obsolete or other dances may be taken in private lessons at hours to suit convenience. Country clashes, schools and private cla.s.ses, attended within reasonable distance from Toronto. 4 mmm ELEGANT DANCE MUSIC, COMPOSED AND PUBI^ISIIKD BY (Picture Title Page.) •GREAT PACIFIC* Lancers. «!VEW PKEiVIIERM Galop. . '♦EUREKA"— ^Octs. «50cf8, 40ct8. '""'""'' "'••'"•iirkVt«&r''"~^^^^^ e •BEI.I.E OF THE 8EASIBE" Rockaway. (Picture Title Page). dOctfi. receipt of price. "^ forwarded to any address on c. :>, (. ^OcU. «50ct«, 40ct». J of the SOctfi. larked ess on