i:cn .-KUUM JilJOU, AND CONTAININ*. s of the Polka.. .... THER POPULAR NEW DANCES ISHER & BROTHEK. rk ; f^f'r'fci^^' THE GRACES THE BALL-ROOM BIJOU, AND CONTAINING The Figures of the Polkas, Mazurkas, AND OTHER POPULAR NEW DANCES: WiTfi RULES FOR POLITE BEHAVIOUR. FISHER & BROTHER, No. 8 South Sixtb Street, Philadelphia j No. 64 Baltimore Street, Baltimore ; No. 74 Chatham Street, New York j No. 71 Court Street, Boston. \h PREFACE. The works hitherto published on the art of dancing, especially the more elevated princi- ples to which its delightful attributes have aspired, (in this country at least,) like angel visits, have been '* few and far between." Nor can so trifling an epitome as ours affect to fill the niche. Ball room expounders and guides, embracing the figures of dances, dress and address to its votaries, have been given. Figures of Quadrilles and new dances, from the rage of novelty and the admiration with which the fascinating new music of the day is received, are powerful incentives in effecting innovations so rapidly successive, that, serial delineations of figures with scientific descrip- tion of new dances might profitably be issued to keep timehj informed the amateur, not only of private dancing, but of the ballet. Taste — polished fashion — sanatary suggestions — tho patron of the liberal arts and the lover of old customs ; all, receiving their impulse from the irresistible instincts of nature, have combined to sanction, encourage and practice dancing as a preservative to health and innocent amusement; to be enjoyed in hours of relaxa- tion under the guidance of prudence and tem- perance. 6 PEEFACB. If thero be any merit in our small volume ; or, should it meet the meed of approval by the patrons of the art, wo shall feel amply repaid iu tho compliment, and grateful for their pa- tronage. It is a compilation from the most able writers on the subject, in combination with original matter which our professional oxperieaoehas acquired, and digested by years of study. At your feet, generous votaries of Terpsichore, we throw our petit bouquet of variegated colors; many buds of which, we havo gathered from the picturesque parterre of C. BlasLf, the celebrated ballet composer : if we have ungracefully, or unartistically blended the tints, your good nature and par- don wo entreat. The various Encyclopedists, in writing on the subject, regret the absence of a well written history on dancing, and that it would prove interesting. We think, that Blasts has amply responded to that desire, in tlie production of his splendid, classical and recherche work on *' The Art of Dancing^^^--' wherein by infinite learned inquiry, he inge- niously, but most instructively depicts in great beauty of diction and poetical illustration, from the entire literature of Europe, ancient and modern; the legitimate claims of tho dancing Goddess to a coeval and co-ordinate pedestal with her enchanting sisters. It is a classic fountain, at which the sculptor, painter, poet, actor, dramatist, dancer, musical com- PREFACE. 7 poser and Mime, may slake their thirst, and have their most enthusiastic aspirations satis- fied. It is a text book of acute criticism and profound dissertation on universal art. It may be deemed by the fastidious, perhaps, as irrelevant to society dancing, in having interwove our Vade-mecum of the ball room with a few elementary remarks and principles of theatrical dancing ; but, the first principles of the private dancing lesson are so closely connected with the inceptive instructions of that of the stage ; one being connatural to the OTHER ; so far as the first positions, and par- ticularly the disposition of the arms (techni- cally called opposition) are concerned, that, it was thought indispensable in the arrangement. Besides a gusto for the opera style of the art, is growing here. The stars of the opera and the ballet at London, Paris, and all the Euro- pean capitals are now in the ascendant ; their triumphant gorgeous folds, like the serpents of old, are encircling the moral drama, (in- stituted for *^ useful mirth and salutary woe!" but which we regret to see too sober and di- dactic for the age) till it seems writhing in all the agonizing throes of a Laocoon. A kin- dred taste, or rather, a furore is ascending above our theatrical horizon, which will hail ere long as brilliant a career for those facina- ting performances with us. 8 PBEFACS. We have herein given an accurate descrip- tion of all the Polka Quadrilles that are now danced. These charming new ball room dances were the admiration of every body last season ; and, when they become more taught and generally known, they will entirely eclipse the old cotillion. The chal*acter of the music •is unique and exhilarating. There is an ani- mation about them, that captivates all those who participate in them. We have had graphic pictorial illustrations made of the various Polka figures, with direc- tions, and also for the Quadrilles. Cuts repre- senting the elementary positions and attitudes, with the Mazourkas and other miscellaneous fancy dances, as practised in our city assem- blies. Dancing deserves the attention of the en- lightened, as a necessari/ accomplishment; it is a natural exercise, tending to promote the exhilaration of the mind, and the disseminatioL of good feeling and rational enjoyment among all classes of our society. C. DURANG. Dancing Academy, ) 289 Market Street, Phila. J RISE AND PROGRESS dP^DANCINd. Dancing, as at present practised, may "bo defined, " an agreeable motion of the body, ad- justed by art to the measures of instruments ;" but, according to what some reckon more agreeable, to the true genius of the art, dancing is "the art of expressing the sentiments of the mind, on the passions, by measured steps, or bounds that are made in cadence, by regulated motions of the body and by graceful gestures ; all performed to the sound of musical instru- ments, or the voice." These definitions apply, properly, to two very different practices ; the first, the ordinary dance ; the second, the ballet dance ; the one an exercise, the other a perform- ance, as an exercise, or amusement ; artificial dancing is nothing more than a methodized act instinctive in the human frame. To teach dancing, is to teach the activity of the body to display itself in a manner regulated by princi- ples of grace, or in imitation of steps and ges- tures which others have used with approbation. Dancing is a most salutary exercise; by ita mechanical effects on the body, it inspires the 10 KISE AJS'D PROGRESS OF DAKCINQ. mind "v^itb ^he(»^f¥iln«8S. The music which ac- , .compairjes ^t, hqs effects on the body as well as ^ upon the mind; it is. addressed through the ^yoijut; qf» the «ar«.to the brain, the common • <)entr3 of life and mokou, whence its oscillations are communicated to every part of the system, imparting to each that equable and uniform vigor and action upon which the healthy state of all the functions depend. By the power of music, many remarkable cures, particularly of those disorders which are much connected with the nervous system, are known to have been performed. Dancing should not be used too often, nor continued till weariness comes on, nor should the dancer too soon encounter the cold air. Dancing is usually an effect and indication of gayety ; but Pallypat assures us that there are nations in South America who dance to express sorrow. It has been in use among every people, civil and savage, with more or less of enthusiasm, as circumstances of habit or climate shaped the temperament of the people. Many examples may be adduced, ancient and modern, of its use in religious ceremonies. The former appears to have been created for climates that are under the influence of a torrid sun. It is a pleasure everywhere. — There it is a passion ; warmed by an incessant heat, the glowing constitution of the native south contains the seed of every pleasure; EISK AND PROGRESS OF DANCING. 11 each moment of his rapid existence seems to him made only for enjoyment. The inhabi- tant of the north, forced by nature to maintain a constant combat with the rigors of the sea- sons, seldom aspires to delight: his whole care is engrossed in securing himself from snows and frosts. The roughness of his man- ners almost extinguishes his sensibility ; and the delicate sentiments that voluptuousness imparts are to him wholly unknown. How could dancing, that amiable offspring of pleasure, display her gracefulness and at- traction amid perpetual ice and never-mel^inj snow? Music and dancing are nearly coeval with the world. The Egyptians, the Persians, the Indians, the Jews, and the Arcadians, the most ancient of nations; Amphion, Orpheus, Chiron, Tha- myris, the prophetess Miriam, David, and others, together with the dances that the Israelites performed in honor of the golden calf, proclaim its antiquity. These two arts were, in the sequel, reduced to certain rules and limits by ingenious and inventive artists. We are informed by Moses that the inventor of music was Jubal, who was of the family of Cain ; and that his brother, Tubalcain, was a worker in brass and iron. It is therefore to be supposed, that he conceived the idea from tho reiterated blows of his brother's hammers on 12 BISB AND PB0GBES8 OF DA5CIN0. the anyil, the soands of which induced him to compose musical tones, and regulate their time and cadence. But Macrobius and Boetius give the honor of the discovery to Pythagoras, which he made in a similar manner. They say, that as the philosopher passed by a forge, lie remarked the sounds that issued from the •luvil as the hammers struck on its rotation ; and the variety of notes thus produced, gave him the first hint towards laying down rules for the art of melody. With respect to the origin of dancing, Burette has gathered the following information from ancient writers : — Opinions do not agree as to the names and country of those from whom the Greeks received the first lessons of such an exercise (dancing.) Some pretend, and amongst the number Theophrastus, that a certain flute player named Andron, a native of Catania, in Sicily, was the first who ac- companied the notes of his flute with various movements of the body, which fell in harmony with his music. Lucian attributes its invention to Rhea, who taught it to her priests in Phrygia and the Island of Crete. Others suppose that it is owing to the Tournns, or, at least, that it was they who brought it to perfection. These last seemed, more than any other people, des- tined by nature to practise it. They excelled in voluptuous dances. BISE AND PBOQEESS OF DANCING. 13 Dancing and music were more particularly cultivated by the Greeks than by the rest of the ancients. The Athenians were fond of the former in th© extreme. Plato and Socrates approved of it ; the Thessalians and Lacedemonians deemed it equal in rank with any other of the fine arts. Cliophantes, of Thebes, andEschylus, greatly advanced the progress of dancing. The latter introduced it in his pieces, and, by uniting together all the imitative arts, gave the first models of theatrical representations. Painting had a great share in adding to their charms, and the pencil of Agatharcus, under the direc- tions of that celebrated dramatist, traced the first ornaments of the stage. This Agathar- cus wrote a work upon scenic architecture, which must have then been very valuable and useful. A few centuries afterwards, when the Ro- mans exhibited magnificent and ravishing spectacles in the same style as the Greeks, dancing obtained the praises of Lucian, Apu- leius, Martial, Seneca, &c., and was especially practised in pantomimes, a sort of perform- ance wholly unknown to the Greeks. These pieces were composed of comip or heroic sub- jects, expressed by gesture and dances. The names of Pyladus and Bathyllus, the original authors of the pantomimic art, remain cele- brated on the pages of history, as famous 14 EISE AND PROGRESS OF DANCINa. performers of these kind of ballets, then called Italic dances : — ** La Pantomime est due a I'antique Italie, onmeme elle eclipsa Melpomene et Thalie." Chenikr. The Romans were all enraptured with these pantomimes, and blessed the tyrant (Augustus) whose policy well knew how advantageous it was to him to afford them amusement. The primitive Romans called dancing SaU tatioy and the Greeks Orchems. Salius, an Arcadian, was the first who taught the former the Ars Saltations. With them, therefore, the original dance was the Salian, which consisted in the imita- tion of all the gestures and motions that man can possibly make. In this class of gymnas- tics, the mimics and buffoons usually exercised themselves. According to the information we derive from such authors as have treated of the dances of their times, confirms the opinion that this Saltation, properly so called, must have been something very similar to the grotesque kind of performances so prevalent in Italy, a few years ago, but which seems at present al- most banished from the theatres of that coun- try. The Italian grotesque is nothing but leaps, tumbling, feats of strength, &c., and cannot be endured except in ballets of the burlesque and extravagant kind. Marino RISE AND PROGRESS OF DANCING. 16 describes a grotesque actor in the following manner : — " One who Tentures on prodigious exer- tions, so extraordinary and so dangerous, that they inspire at once both horror and admi- ration." The corruption that had crept into the theatrical exhibitions of ancient Rome, in- duced Trajan to forbid them entirely. Some time after that emperor's death they again made their appearance, but still accompanied with the same obscenities to which they owed their decline ; the Christian Pontiffs, there- fore, followed the example of Trajan, by pro- hibiting them again. At length, after a lapse of some ages, mo- dern Italy brought forth Bergonzo di BottOy the reviver of dancing, music, and histrionio diversions. He signalized himself in the fete which he prepared for Galeazzo, Duke of Milan, on the marriage of that prince with Isabella of Arragon. The taste and magnifi- cence displayed in his superb festival at For- tona, was imitated by all the principal towns of Italy, who seemed eager to concur in the regeneration of those agreeable arts. Italy lias at different times been the garden of every art and science. It was there that Dante, Columbus, Galileo and Machiavel were born ; and there also was the enchanting Terpsichore honored, under a more pleasing 16 RISE AND PROGRESS OF DANCING. and elegant form than antiquity had bestowed upon her. '* D' ogni bell arte non sei madre, o Italia ?'* Silvio Pellico. We may therefore say, that the Italians were the first to subject the arms, legs and body to certain rules, which occurred about the sixteenth century. Taste and experience having at length esta^ blished precepts whereby the steps, attitudes, and motions, were systematically arranged, all was done afterwards according to method, and in strict harmony with the time and cadence of the accompanying music. The works of the best sculptors and painters must have served as models towards the attainment of grace and elegance, in the various postures adopted in dancing, as they did to the Greeks and Komans in their dumb shows, &c. The artists of an- tiquity pointed out the goal to us, and we have obtained it. The pleasures of dancing are universally known, at least to those who prac- tice it ; such as do not, cannot be deemed competent judges. Let us, therefore, now examine its utility. This is not the slightest of its advantages, nor that which must excite the smallest interest. Dancing was upheld, no less than music, as an object of much importance by the ancients. Religion claimed it as one of her chief orna- ments on all solemn occasions, and no festivals BISB AND PB0QEB8S OP DAKCINO. 17 were given without uniting it to the other cere- monies or diversions. The holy writings mention it in many places. It was not only reckoned in a high degree honorable, but, as Pariset and Villenuve observe, it was the ob- ject of a number of laws made by various ancient legislators, who introduced it into education, as a means of strengthening the muscles and sinews, of preserving the agility and develop- ing the gracefulness of the human frame. Plato, the greatest philosopher of antiquity, did not consider music and dancing as mere amusements, but as essential parts of religious ceremonies and military exercises. In his book of laws he prudently prescribed such limits to music and dancing as were most likely to keep them within the bounds of utility and decency. The Greeks frequently amused themselves with dancing, and carefully practiced it, on ac- count of its immediate tendency to the improve- ment of gesticulation, from whence it derived the name of * Chironomia. Theseus, Achilles, Pyrrhus, an (i even Socrates, as also many othei* illustrious men, often diverted themselves by means of this art. In short, from the remotest ages a multiplicity of high authorities have 8uccessi"vely proved that dancing tends equally to our amusement, and to our instruction. The whole body moves with more freedom, and ao- *Chironomia, a word signifying the art of making. gesticubtions. 2 18 MSB AND PROGRESS OF DANCIXa. quires an easy and agreeable appearance, the shoulders and arms are thrown back, the infe- rior limbs attain greater strength and elasticity, the muscular masses of the hips, thighs and legs, are systematically displayed, the feet are con- stantly turned outwards, and in the gait there is something peculiar, by which we immediately discover a person that has cultivated dancing. Dancing is of signal service to young people at that time of life when motion is almost a natu- ral want, and the exertions of their strength is the surest means of increasing it. Dancing ought to form a part of the physi- cal education of children, not only for the bet- ter health, but also to counteract the many vicious attitudes and habits which they too often contract. The art of dancing is not only necessary, but almost indispensable to those who are fond of society. The manner of presenting one's self, and of receiving others, in company, with a graceful propriety, and the easy and polite demeanor which is so becoming in society, is acquired most effectually by those who have studied the art of dancing. All persons, whatever may be their condition in society, wish for strength and activity ; all, I may next venture to say, are, or would be glad to possess physical beauty. It is a natu- ral desire. And among those whose rank or fortune enables them to frequent good com- RISE AND PEOaUESS OF DANCING. 19 pany, there are very few who do not wish to unite to those three good qualities, elegance of carriage and deportment. Now nothing can render the frame more robust and grace- ful than dancing. Every other kind of gym- nastics strengthen or beautify particular parts, whilst they weaken others, and make them in a manner difform. Fencing invigorates the arms and legs, but renders the frame some^ what unshapely. Horsemanship increases the thickness of the loins, but debilitates the thighs. In short, all other exercises leave something disagreeable about those who practice them ; neither singly nor conjointly can they bestow that becoming aspect and those agreeable man- ners which dancing, when well taught, never fails to impart. By it the head, arms, the hands, legs, feet, in short all parts of the body are rendered symmetrical, pliant and graceful. Dancing is extremely useful to women, whose delicate constitutions require to be - strengthened by frequent exercise, and must be very serviceable in relieving them from that unhealthy inaction, to which so many of them are usually condemned. Captain Cook wisely thought that dancing was of special use to sailors. This famous navigator, wishing to counteract disease on board his vessels as much as possible, took particular care, in calm weather, to make his Bailors and marines dance to the sound of the 20 BISB AND PE00RE8S OF DANCING. violin, ftnd it was to this practice that he mainly ascribed the sound health which his crew en- joyed during voyages of several years' continu- ance. The dance they generally indulged in is called the Hornpipe ; is of a most exhilara- ting character, perhaps more vivid than the Tarantella dance. Bodily exercise, says an English writer, is conducive to health, vigor, liveliness, a good appetite, and sound sleep ; but a sedentary oc- cupation occasions many derangements in the nervous system, which saddens and often shortens existence, disturbs repose, produces a certain disrelish for every thing, and brings on a continued languor and listlessness, of which it is sometimes difficult to discover the cause. The most celebrated disciples of Hippocrates concur in recommending dancing as an ex- cellent remedy for a number of diseases. Tissot absolutely orders it to be practiced in all the schools ; for the minds of young persons, burthened with continual study, require some amusement above the trivial kind, on which it may fix with pleasure. A laborious and painful life are a capital regimen for melancholy and sadness. Mr. Owen, the philanthropist, establishes dancing as the most rational and innocent of amuse- ments, for the little commonwealth of his operatives at the cotton factories at Lanark, Scotland — which had the obvious effect of elo- EISE AND PROGRESS OF DANCING. 21 vating their minds and habits above demoraliz- ing pastimes, and by softening their manners, increased in a ratio their social affections. The Prussian government has made music and dancing a part of the education of all — knowing well its refining influences ; and the educational system of that country has been held up here, as the envied model of perfection. If we look at France, the soil of universal gayety, innate politeness and smiling faces, we cannot fail to trace such results, but to the in- nocent exhilarating effects of music and danc- ing. As the evening shades cast their mellow and cooling mantle over the verdant lawn, the peasantry assemble in their best attire, and with a band of two or three violins and a bass, ^^ trip it on the light fantastic toe'^ — ^^ until tired nature invites to sweet repose" Those who have witnessed these rural sports in that beautiful country, may well exclaim with Sterne, a cheerful and contented mind is the best adoration to pay its Creator. Since the period of Beauchamp, who may be said to have founded the opera dancing in the reign of Louis the Fourteenth of France, it has undergone many changes and novel improvements. No one will deny that it is not conducive to pure pleasure, and this de- sirable result has been effected through tho medium of classic taste arranging all the accompU«hments of the fascinating Goddess^ 22 RISE AND PROGRESS OF DANCING. and which has had the tendency to ameliorate one of the most elegant and rational of amuse- ments. In conclusion ; dancing, besides the amuse- ment it affords, serves to improve our physi- cal, and even to animate our moral powers ; gives relief in certain diseases, affords a cure in others, promotes the harmony of society, and is a most requisite accomplishment for all who have the happiness to possess a good education. « Quacunquo potei dote placere place. ^' — Ovtd. PRIVATE DANCING. ** They move easiest who have learned to dance." POPK. Several persons have employed themselves in writing systems for teaching private danc- ing, but their works contain the universal fault of every performance that has appeared upon the subject of dancing in general, namely, •a want of principles, positively and clearly stated: such works are read, but almost no- thing can be learned from them. In giving theoretical laws for the formation of any art, and presenting means to bring that art to perfection, not only ought the laws to be clear, but the means should be practiced. Never can we demonstrate so plainly to others, as when we ourselves have seen and expe- rienced that upon which we discourse. In the meantime, we dare flatter ourselves that our treatise will not be found to deserve those criticisms which we, from a regard to the in- terests of the rising generation, have been obliged to pass upon other performances of the same nature. We have, therefore, been par- ticularly careful in the lessons to pupils, upon the grace of their position, and the elegance 23 24 PRIVATE DANCI5Q. of contour in their attitudes while dancing; attainments in the art which are both delight- ful and essential ; but, at the same time, ex- tremely difficult to acquire. To arriye at this desirable object, we shall more clearly explain ourselves by the aid of engraved figures, rep- resenting every position of which this species of dancing is capable. In designing these figures, we have been careful to adhere to the dictates of taste and art. Any dancer may be capable of executing a chasse, b. pas de hourrie^ a contre-temsj &c. ; but that genteel air, those graceful manners, and picturesque action, which are expected from those who have learned the art of dancing, are not to be. ac- quired from all dancing-masters, many of whom are usually unwilling, or unable, so profoundly to study their art, as to produce on their pupils this important effect. Although the system of private dancing does not require, af those who practice it, either extraordinary abilities or an intense ap- plication, in order to arrive at perfection; there must, however, be inherent in them cer- tain physical qualifications, and' some capacity to insure success. Without these, a person would appear awkward and ridiculous in danc- ing ; and it is far preferable to be a passive spectator than a clumsy performer. It may be observed also, that while a knowledge of dancing adds to the attractions of a figure, PRIVATE DANCING. 25 naturally symmetrical and agile, it serves but to reilder still more conspicuous those who are incurably ill-shaped, unconquerably heavy, or insensible to any graceful motion. Private dancing derives its origin from the theatrical dancing, and, therefore, may be made serviceable to the amateur, as well as the professors of the art; such is, for instance, the common mode of carrying ont^s-self — the gait — some of the practical movements — some of the postures — a certain number of the steps and footings — and, in short, the gracefulness, the lightness, the liveliness, the elegance, which are qualifications almost indispensable to every genteel person. The manifest utility and ad- vantages to be derived from it, even by those who do not practice this attractive art, ex- cepting simply for their amusement, or as a kind of finish to an accomplished education ; we shall now, more particularly, treat of the mechanical part, the theory of that species of dancing which is practiced in polite society, and studied by well bre^ and fashionable per- sons. As soon as the dancing-master shall have ascertained the natural qualifications and abili- ties of the learner, it will be his business to begin by showing him the five positions, in each of which he must make him bend, and then raise himself upon the point of th4 toe. He will then teach him to make petits batte- 26 PRIVATE DANCING. mens tendus upon the insteps ; and, also, even petits rond-de-jambes a terre, inwards afid out- wards. The learner must, at first, practice with holding, and then afterwards without, in order to acquire the proper balance. The master ought to place the body and arms of the learner in a right position, so &3 to render all the attitudes commanding and graceful. The art of stepping with grace, of making a bow, of introducing one's-self, and of carrying one's-self in company, are essential points, and such as ought to be rendered as natural as possible to the learner. To execute the bow properly, the following rules must be observed: — When walking, stop in such a manner that the*weight of the body may rest upon that leg which is advanced ; then, moving the one behind, cause it to as- sume the fourth hinder position, the third, and the second. Having arrived at the latter, shift the stress of the body upon the leg forming it, and bring the other leg round into the first position, the heels being placed against each other, and the toes turned outwardly. (See cut 1.) After having bent the knees properly, incline the body according as it is represented in the figure. Let your arms fall easily and naturally, and let your head assume an unaffected incli- nation ; for every movement must be executed with an easy air. Having made the salute, PRIVATE DANCING. 27 1 gm^ 2 THE BOW. Blowly raise your body to its usual perpendi- cular attitude, regain your customary deport- ment, disengage the leg which had been placed in the first position behind, changing it into the fourth behind, and shift the weight of the body upon that leg. Whether you intend to renew the salute, or to continue your walk, always finish upon the advanced leg. Usually, and in society where it is not absolutely neces- sary to observe a strict etiquette, the salute is generally executed in the third position, but the feet must be always turned outwardly. (See cut 2.) Ladies, when performing their courtesy, 28 PRIVATE DAKCINa fUS COCHTKST PRIVATE DANCING. 29 must proceed in the same manner as gentle- men, excepting that they should incline, after the foot has assumed the first position, in order to stop on the fourth position behind, when the knees must bend, and the head and body in- cline, to complete the courtesy. The remaining positions and attitudes of ladies and gentlemen in Quadrilles, will ap- pear plainly from the cuts appended to the Cotillions. After these introductory studies and exer- cises, which constitute the ground work of dancing, and which lead the way to the per- fection of every thing that is connected with it, the master ought next to give his pupil an insight into the knowledge of steps, the ob- servance of time. Quadrilles or country dances, Waltzing, Folka Quadrilles, and every other description of dancing which is in request in good society. The pupil must be cautious how he progresses in the above named dances, until after he has \ racticed for some time upon the inceptive principles ; for his good or bad success entirely depends upon the first lessons, and upon his assid\, ity in the rudimental task. Care must be continually taken to draw a line of distinction between private dancing and theatrical dancing. It would be improper to introduce certain scientific steps and elevated movements into a ball room, where every cir- cumstance shows that movements of this oa PRIVATE BANCINa. description would be out of place, and conse- quently would produce an improper effect. Private dancing requires steps terri-a-terre^ and the most simply natural postures possible. The ladies, in particular, ought to dance with a sort of amiable circumspection and a becom- ing grace, which, indeed, add to their charms, and heighten their attractions. Gentlemen ought always to be attentive to their partners, and they should all of them move in unison in every step and attitude. They ought also to be careful in paying attention to the air of the music, and in showing that they feel all the harmony and expression of it. The learner must preserve his arms placed in the position which is termed demi-hras. With respect to the collocation of the joints, and the inflections of the body, it will be ne- cessary for the learner to subject himself to the same practice as the theatrical dancer, in order that his dancing may produce a pleasing effect. We may here observe, that even amateurs, both in the preparation, during the perform- ance, and at the conclusion of their steps and cnchainemens^ ought always to stand in the fifth position, and not in the third; for the more the feet are crossed, the more precipitate the footing is, and the more showy the dancing : it is a natural consequence, and it cannot be obtained, except by accustoming the learners PRIVATE DANCING. 81 not to cross their feet but in the third position. Besides, this method assists the dancers in turning, and enables them to acquire the pleas- ing quality, turning with facility. He who has not his feet well turned out, loses all the beauty of his steps. As to the movements of the body, they are nearly the same as those practiced by stage dancers, with this difference only, that they should not be carried to that grandeur and elevation, should have less im- pulse, and be modified, and adapted to the circle of private dancing. The legs ought to be raised from the ground but very little above the method of the second position ; however, gentlemen may raise them something higher; the peculiar style of their dancing being more powerful and unrestrained, will admit of more elevated steps. It is not necessary that the arms and bust should be kept in violent motion, they may rather remain in graceful repose. Let the head be held erect, and the chin in a very slight degree elevated ; gracefully^ncline the head to the motion of the body and arms. Let your countenance be expressive of cheer- fulness and gayety, and let an agreeable smile ever play about your mouth. Keep your shoulders down, bring your chest forward, let your waist be compressed, and sustain yourself firmly on your loins. Let your bosom project ft little, for this confers gracefulness on the dancer's attitude. Let your shoulders move Si PEIVATE DANCING. With elegance, and naturally — let your elbows be curved, never squared, your fingers so grouped together as to correspond with the contour of the arms. Ladies must hold their dresses with the tips of their fingers ; their arms must be placed similar to the gentlemen's. The arms serve for an ornament to the body, and they ought to follow its movements with easy elegance. Let your body recline, as it were, upon the hips, and let the latter expand themselves, in order to facilitate the motions of the legs. Turn out your knees, and strive to give them pliancy, and to curve them well. By this means they will aid all the movements of the time and the steps. Let your feet be always turned out, and let your insteps acquire a de- gree of suppleness, and at the same time of strength, a circumstance which will give you a facility in curving the feet, in rising upon the toes, and in shifting the legs. The toes ought to be kept firm to the ground, and they should assist in giving effect to the steps, and in making the time. In short, let each suc- ceeding step be well connected with the other, and let all bo executed with an easy elegancej * and steady grace. FIRST EXERCISES AND POSITIONS. The following cuts illustrate the five posi- tions as taught in private dancing. FIRST POSITIONS. lu the first positions the legs are much extended, the two heels close to each other, the feet turned com- pletely outwards in a straight line ; the body, without stiffness, should h3 kept perfectly erect ; the shoulders are thrown unrestrainedly back — the arms gently rounded, the fore-finger and thumb holding the drapery or part of the dress, the back of the hand arched, the fingers gracefully grouped. 3 88 34 FIEST EXERCISES AND rOSITIOKS. In the second, the legs are more apart, but only by the length of the foot. It is formed by moving the right foot from the first position sideways, the toe resting on the floor, the heel raised — the instep arched — the toes on a paral- lel with the shoulders. (See fig. 2.) 2 In the third, the feet half cross each other, and are close together. This position is exe- cuted by drawing the right foot from the second position to the middle of the left foot, the heel of the right resting in the hollow of the left — both feet flat, the toes well out; (See fig. 3.) The side view of the fourth position, the feet flat on the ground. (See fig. 4.) The fourth is very similar to the third, with this difference, that the feet half cross each other without riRST EXEECISES AND POSITIONS. 36 touching. This position is formed by moving the front foot its own length forward from the third position, turning the heel out in its pro- gress, which will bring the right knee and toe out. 4 i The fifth position, the pupil draws the right foot in the fourth position back to the left foot, that the right heel may touch the toes of the left, the feet crossing each other entirely. The right heel, in this position, is gradually brought to the ground as it approaches the left foot, as in drawing the left foot from the second to the third. (See fig. 5.) In all these positions the knees must be beut without raising the heels in the least from the ground; but to give flexibility and strength to the instep they should be often practiced on th e toes. 86 fIBST aXfiROlSKS AND POSITIONS. The following moda of practice in Batte- ments en atant (before) and Battements en ar- riere (behind), may be found of great utility in prirate dancing. Cut 6 — Battements en avant (before). Cut 7 — Battements en arriere (behind), are executed by cast- ing the right foot up behind in the fourth position. FIRST EXBBCI8ES AND POSITIONS. 37 8 Cut 8 — Battements on the second position may be made in the same manner as cut 7. Cut 9 — Representing the pupil rising on the points of the toes. After, the pupil is easy in her bendings, she will, by degrees, endeavor to rise on the toes. In this exercise the pupil will be careful not to change the position from which the rise shall have been made. It is effectual in strengthen- 9 ing the instep — muscles of the ancle and toes, imparting to the whole nether limb elasticity, firmness, and certainty of execution. 88 riRST EXKB.0I8ES AND POSITIONS. Cut 10— Petits Battements aur le coude-pied, or on the instep. These more properly belong to theatrical dancing. They are practiced to impart ease and elevation in what is technically termed the aplomb, or a steady perpen- dicular. Position of the courtesy, (cut 11) is the bending -with the right foot in the fourth position, behind. Cut 12 — standing in the fourth posi- tion in repose, after having arisen from the bend ; or may be assumed as the position before or after the courtesy. PIBST EXERCISES AND POSITIONS. 39 THEATRICAL POSITIONS. 40 FIE8T EXEECISE9 AND POSITIONS. Cut 1 — First position. Arms in the second. Cut 2 — Second position. Feet flat on the ground. Position of the arms, demi-hras; or, half arm. Cut 3 — Second position on the toes. Cut 4 — Bend in the second position. Cut 6 — Manner in which a dancer should hold himself in practicing ; leg in the second position. Cut 6 — Legs in the third position, half arni in opposition, demi-bras. Cut 7 — Position of the body, demi-bras, and legs in the fourth position, side view. riBST EXEKCISES AND POSITIONS. 41 Cut 8 — Arms extended in op- position ; legs in the fifth po- sition. Cut 9 — Arms encircling over head, and legs in the fifth po- sition on the toes. Cut 10 — Fourth position forwards and in the air ; arms 42 PIEST EXEECISES AND POSITIOMS. in the second position — eid© view Cut 11 — Same position on tlie toe — arms in oppoT sition. — Front view. Cut 12 — Fourth posi- tion, leg in the air, behind — Side \'iew IlEST EXERCISKS AND POSITIONS. 43 Cut 13 — Position of a pirouette on the instep. N. B. — The position on the toes of the first, third, and fourth positions, and the bendings in the four others, are omitted, not for the sake of decreasing the number of cuts, but that these positions are very easily understood, and exe- cuted without the assist- ance of wood cuts. 44 FIRST EXECISES AND POSITIONS. BATTEMENTS. Battemenis consist of the motions of one leg in the air, whilst the other supports the body. They are of three kinds, viz : Grand battemenis J petits battcmcnts, and battements on the instep. The tirst are done by detaching one leg from the other, and raising it to the height of the hip, extending it to the utmost. (Cut 5.) "Which shows also the manner in which a be- ginner must hold himself. After the perform- ance of the battemenis the leg falls again into, the fifth position. They may be crossed either behind or before. Grand battements enable a dancer to turn his legs completely outwards, and give much facility to the motions of his thighs, for high developments, and the execu- tion of the grand terns. Grand battements are made both forwards and backwards. When they are done forwards, the leg must be in the positions of cuts 10 and 11 — when backwards, its position must be as cut 12. Fetits battements are performed after the same way, but instead of raising the leg into the air, you only detach it a little from the other leg, without letting your toes leave the ground. These battements make the legs lithsome, because the pupil is obliged to re- double his motions. (See cuts 6, 7 and 8, of Private Dancing. 'i FIRST EXERCISES AKD POSITIONS. 45 Pettts baitements on the instep. It is the hip and knee that prepare and form theso movements ; the hi^ guides the thigh in its openings, and the knee by its flexion performs the baitements, making the lower part of the leg cross either before or behind the other leg, which rests on the ground. Suppose that you are standing on your left foot, with your right leg in the second position, and the right foot just touching the ground at the toe, cross be- fore left, by bending your knee and opening again sideways, then bend the knee again, crossing your foot behind, opening also side- ways ; and so continue to do several of these baitements one after the other. Gradually in- crease in quickness, till you can perform them 80 rapidly, that the eye cannot count them. These baitements have a very pretty effect, and give much brilliancy to the motions of the legs. They should also be practiced a great deal with both legs resting on the toes. These last are appropriate to private dancing — (See female positions, Nos. 6, 7, 8, 9, and 10.) ROND-DE-JAMBES. To begin your rond-de-jambes from the out- side, take the same position as that in which vou commence your joei«^5 baitements. Suppose It is the left leg that stands on the ground, whilst the right, in the second position, is pre- pared for the movement^ make it describe a 46 FIRST EXfeRCISES AND POSITIONS. semicircle backwards, which brings your legs to the first position, and then continue on the sweep till it completes the whole circle, ending at the place from whence it first started. This is what we technically term ronch-de-jambes. The ronds-de-jamhes from the inside are begun in the same position ; but the right leg, instead of commencing the circle backwards, must do so forward. After the pupil has prac- ticed the ronds-de-Jambes on the ground, he should exercise himself in performing them in the air, holding the leg that supports his body, on the toes. The pupil must at first practice in resting his hand on something, that he may keep him- self upright, and exercise each leg alternately. When he has acquired some facility in this, let him practice without holding, which gives him uprightness and equilibrium, essential qualities in a good dancer. He will also tliereby gain strength, and means of executing, with ease, every kind of step. He must re- peat his practice daily to establish his execu- tion ; for were he gifted with the rarest talent, he can never become perfect, but by incessant application and study. OF THE TEMS. We call terns a movement of the leg. PIRST EXERCISES AND POSITIONS. 47 OF THE PAS. The pas denotes the various manners of arranging one's steps in walking or in leaping, either as he moves in front or turns round. It generally means a combination of steps arranged to some musical air : thus we say, such a one made a beautiful pas on such a chaccone, such a gigue. Fas are often com- bined for the performance of two or more per- sons ; pas de deux, pas de trois, quatre, cinq, OF THE LESSON. The combination of elementary exercises, and of the principal steps of dancing, is what is usually termed the lesson. The learner first exercises himself in bend- ing his knees in all the positions, in the prac- tice of Grands et petits battements, the Rond- de-jambes on the ground and in the air, the petits battements on the instep, &c. After- wards come the terns de courante simples et composes, the coupes a la premiere a la second, et composes, the attitudes, the grands rond-de- jambes, terns de chaccone, the grands fouettes facing and revolving the quart-de-tour, the pas de Bourree, and the various movements of different kinds of pirouettes. These exercises tend to form a good dancer, and afford him means of obtaining success. The lesson con- cludes by the practice of pirouettes, of tems 48 PIEST EXERCISES AKD POSITIONS. terra-A-terre, and tems-de-vigeur. But after the pupil is enabled to perform all the exer- cises which the lesson comprehends, he does not yet attain that end which he in the begin- ning hoped to reach. To become a finished dancer, he must divest himself of that school- boy appearance which necessarily hangs about him, and by his boldness and ease of execution, at length show that he is master of his art Let his whole attention be then directed to delight his beholders, by the eleganca of his positions, the gracefulness of his movements, the expressive animation of his features, and by a pleasing abandon diffused throughout his whole performance. These qualities constitute a truly finished dancer, and, with them, he is certain of enrapturing all who behold him. GAIT. A graceful manner of walking on the gtage is of much importance to a dancer, although a number of our artists neglect it, both in mo- ments of repose and in presenting themselves to the public for the execution of a pa^, which is a serious defect, as it, in the first place, offends the eye, and secondly, deprives the performance of its pleasing illusion. A good style of walking is very useful, for in that consists one of the first qualities that dancing imparts, which is a graceful carriage. Let your legs be well extended in their move* I FIRST EXERCISES AND POSITIONS. 49 ments or steps, and your thighs turned per- fectly outwards, all the lower parts of your legs will then be turned in the same manner. Your steps should be no longer than the length of one of your feet. Avoid stiffness in their motions, which must be neither too slow nor too quick ; as both extremes are equally unpleasing. Do not separate your legs from each other sideways. Carry your head up- right, and your waist steadily ; by which means your body is kept in an elegant posi- tion. Let your breast project a little, and your arms fall naturally on each side. STUDY OF THE ARMS. The position, opposition, and carriage of the arms, are, perhaps, the three most difi&cult things in dancing, and, therefore, demand par- ticular study and attention. Noverre, speaking of opposition, says, that ** of all the movements executed in dancing, the opposition or contrast of the arms to the feet is the most natural, and, at the same time, tne least attended to." Opposition gives the dancer a very graceful appearance, as he thereby avoids that unifor- mity of lines in his person so unbecoming a true favorite of Terpsichore. Should the pupil be not favored with well made rounding arms, you cannot bestow too much attention on them; and endeavor to supply by art what nature has left you defective in. Diligent 4 60 FIBST EXERCISES AND POSITIONS. Btndy and exercise often render a thin, long, angular arm, tolerably round and elegant. Learn also to hold them as best accords with your physical construction. If you are short in stature, let them be higher than the general rule prescribes, and if tall, let them be lower. Take care to make your arms so encircling that the points of your elbows may be imper- ceptible. From a want of proper attention in this respect, they are deprived of all softness and elegance ; and exhibit nothing but a series of angles, destitute of taste and gracefulness. Let the arms be level with the palm of your hand, your shoulders low, and always motion- less, your elbows round and well supported, and your fingers gracefully grouped together. The position and carriage of your arms be soft and easy. Let them make no extrava- gant movement, nor permit the least stiffness to c^eep into their motions. Beware lest they be jerked by the action and reaction of your legs: this is a great fault, and suflBcient to de- grade a dancer, what perfection soever he may possess in the exercise of his legs. Oj* As some obvious errors have occurred in the drawing of the professional figures through the inad- vertency of the artist, especially in the disposition of the arras, the taste and judgment of the pupil can cor- rect them in practice, by a reference to the principles of the lesson, which are very lucid, and full in de- scription. POLKA QUADRILLES, AND GRAND POLKAS. These novel dances in this city have been triumphantly successful, and bid fair to banish (for a few seasons at least,) all other styles from the ball saloon. The figures are simple; the step (which has been tacitly adopted with us,) of tne hop waltz kind, in combination with the waltz position, make it a very ani- mated movement and fascinating dance. As there is a mania for waltzing, the Polka as danced, largely partaking of all its characteris- tics, will doubtless eclipse the old cotillion, and reign the ruling star of the La belle Assemhlte, JS^^ A word as to the present Polka step, **New York Step,'^ ^^ Butler Trot," and various other vague appellations by which it is called. The original Polka waltz step, as applied in the Polka Quadrilles, has been materially modified in practice, being the result of what may be termed accidental invention, by our dancers. The Polka composition requires four beats to the bar, one more beat than the waltz. The step now universally used is a very animated movement; unique in style, imparting much spirit to the dancers. Its 8 113 114 POLK.V QUADRILLES. frame work, however, is an old Scotch jig step ; and, as executed with the toes inclined inward, the carriage of the dancer perfectly erect, without any undulation, may thus be deemed inelegant. If taught with the toes turned out, and a gentle inclination of the body, it would be as graceful as vivid in effect. This step, the result in a measure of chance, strange to say, is almost acquired by the pupil instinctively, a proof of its attractive attri- butes. We herewith subjoin a chorographical de- scription of the various Polka Quadrille figures and Polkas, for two or more couples. Note. — When the dancers form into Quad- rilles, while the first eight bars are playing, the couples bow and courtesy to each other, and to corner partners. FIGURES POLKA QUADRILLES. BY STEPHEN GLOVEB. AS TAUGHT BY MR. DURANG AND DAUGHTER. 1. Pantalon. — Lead forward four, (4 bars, i change hands, return to places ; (4 bars, ) Polka waltz figure, once round, (8 bars,) balance en carre, (8 bars,*) promenade for- ward, (4 bars,*) turn without quitting hands, promenade to places (4 bars,) counterpart for side couples. 2. Ete. — The first couple promenade or waltz up to their vis-a-vis, or opposite couples, (8 bars,) turn the vis-a-vis half round with right hand, (4 bars,*) turn back with the left hand, (4 bars,*) first couple waltz to their places, (8 bars.) Counterpart for the others. 3. PouLE. — First couple waltz around the side couple on their right,* finishing in front of them, (8 bars,*) Moulinet (hands across) half round with the right hand, (4 bars,*) ditto back with the left hand, (4 bars,*) first couple waltz to their places, (8 bars,*) half promenade with their vis-a-vis, (4 bars,) waltz back to places, (4 bars.) Counterpart for the others. 116 116 POLKA QUADRILLES. 4. Trenis. — The first couple forward with Polka waltz — Cavalier changing the lady from the right to the left hand four times ; (8 bars;*) four take hands and execute the passes, end- ing with the heel and toe each time of passing and rejoining hands; (8bars;f) first couple waltz back to places, (8 bars.) Counterpart for the others. 5. Finale. — The grande promenade step, all eight, (8 bars,) all balance en carre, (8 bars,) coquette figure; the first lady crosses over, followed by her partner, (4 bars,) the gentle- man waltzes back to his place, followed by the lady; (4 bars;) first couple waltz once round, (8 bars,*) all eight grand promenade round, (8 bars,) all balance en can-e, (8 bars.*) . The coquette figure, &c., executed by the other couples. N. B. The arms are generally placed a kimbo in most of the figures. * Figures marked thus * require the heel and toe as setting step, or as a finish to a part. f This figure was originally executed thus : — Four take hands, round, pass the kidies from the left to the right hand four times, reforming the round after each pass. The passes adopted have been fooad more graceful and convenient. POLKA ILLUSTRATED. FOE glover's quadeilles. FIB8T QUADRILLS FIGUKES. The balance en carre. 117 118 POLEA QUADBILLB8. 8SC0ND QUADRILLE FIOVBZ8 Turning vis-a-vU with right and left hands. POLKA QUADRILLES. 119 THIBS QTTADRILLK 7IOT7BS8. Waltzing round. Moulinetf or hands across 120 POLEA QUADBILLES. rOURTH QUADRILLE FIOURK8. Thf passes— changing four times, ezccnUng hed and toe at each pass. POLKA QUADRILLES. FIFTH QUADRILLK FIOITRXl. 121 Balance en Carre. 122 PQIEA QT7ADSILLE8. Grand pronunade all eight. Waltz all eight POLKA QUADRILLES. 123 MONTEREY POLKA QUADRILLES. Figures arranged to Jive popular Polka airs^ from celebrated Composers BY C. DUEANG. First :— GEN TAYLOR. Polka Dance J by J. Offenback^ 8 bars introduction Top and bottom couples advance (4 bars,) with Polka waltz and retire to places ; (4 bars ; ) demi chaine anglaise^ or half right and left, forming hands four, the ladies facing outward, the gentlemen inward ; allemand balance to partners, then to your opposite partner, (8 bars) waltz with your partners to each other's places, ending with forming four in line ; (8 bars;) the top couple join their left hands, the bottom couples their right hands, and the top gent, and bottom lady their right and left hands in centre — thus the line is formed, the centre dancers facing one way, and the outside gent, and lady the other. In this position the part- ners balance en carr6 around each other, and when in places again renew the line as before, (8 bars,) all eight allemand at corners, (the trio part 8 bars,^) and then with partners, (8 bars,) top and bottom couples waltz to their places, (8 bars.) The sides repeat the same. 124 POLKA QUADRILLES. Second:— GEN. WORTH. RusHon Polka, by J. Labitzky, 8 bars introduction. Top aud bottom ladies execute the ladies' chain half, then the top and bottom gentlemen execute the same, until in each other's places, the two ladies finishing opposite to their part- ners, or the partners vis-a-vis, (16 bars ;) the ladies heel and toe and chasse to the right and back to places; the gents, do the same; (8 bars ;) they then hei/, or straight right and left to their places, (8 bars.) The sides repeat the same. The Hey figure. POLKA QUADRILLES. 125 Third :— GEN. TWIGGS. Theodore Polka, by G. Blessner Top and bottom couples Polka waltz up to each other, (4 bars,) give right hands to their vis-a-vis, swin^ half round, and then give left hands and re-cross, the gents, taking their partners as they return by the right hand, with their left hand, and the ladies in the side couples with their right hands, and forming hands three in their own places; the gents, with the ladies in this position, viz; — iands three ; execute an allemand figure, by passing under the joined hands of the ladies, until all their faces are reversed outward, and then rer turn back by passing backward in the same way ; the gents, then make a Pas d' allemand, by turning the ladies under their right and left arms, and holding one lady by her right hand, and his partner by her left hand, the gent, in centre ; the six then execute a chasse to the right and back again, returning the side ladies to their places. The four ladies then advance to centre and retire ; the four gents, then advance and retire ; all eight waltz half round, until in opposite places ; then all face right, the gents, behind their respective partners ; ladies waltz round to their places followed by thp gents., which is called the grand and petit chase. The sides repeat the same. 126 POLKA QUADBILLBS. FouKTH :— CAPT. BRAGG. La Carlotta Grist Polka, by Julien. Top couple promenade or waltz up to right side couple, hands four and set, (8 bars,) &*3t gent, then waltzes with the third lady to the bottom couple, leaving his own lady in the place of the third lady ; he then hands four with bottom couple as before, taking the second lady, and waltzes with her to the fourth couple, leaving third lady in her place ; he executes the same figure with the fourth cou- ple, setting in hands four, and then waltzes to his own place with the fourth lady ; each lady will have been left in succession in each other's place; (trio part 16 bars ;) the whole Polka Bremen Sup, POLKA QUADRILLES. 127 eight with partners exchanged, execute a pro- menade round, using the Polka Bremen step. The third, second, and fourth gentleman exe- cute the same figure, going off always to the right first, until the four ladies have regained their own places. fi^^The grand promenade always ends each figure, or after the dancing gent, has made his three changes and in his own place. The trio part is always played for the promenade. Fifth.— FiifALlE.— COL. MAY. The celebrated Fashion Polka Quad.-^ bars prelude. First. Le grand Quarri. — Top and bottom couples promenade up to each other at centre, (4 bars,) simultaneously the side couples sepa- rate from each other to the right and left (each moving out to their respective corners) ; the leading couples draw out to the vacated sides, while the sides occupy their places ; the sides then move to the centre, on meeting their part- ners, take hands and draw to their places ; the top and bottom couples having regained their places by a movement precisely the same as the first one of the side couples (16 bars.) Second. — Four couples heel and toe, and chasse across four times, the gent, holding the lady's right hand with his right hand (8 bars). This last figure will bring the dancers to the end of the second part, each part in dancing bein"^ repeated twice. The third part of the air begins with Le M.ou' linet. 328 POLKA QUADRILLES. Le grand quarre or square figure. (See Glossary ) Heel and toe and chassi across. POLKA QUAPRILLES. 129 TniRT). — The four ladies hands across -with Hglit hands, the gents, take their partner's disengaged hand with their left hands, thus forming a cross ; tfjie ladies balance to each other, and then to their partners, four times, (4 bars,) chasse to the next gentlemen, (who remain stationary in places,) and balance to him, and so round to each gentleman, until they arrive at places, or regain the hands of their partners ; the cross being kept perfect while g'Mng round. This fif^ure ends the third part of the air, played twice* Grand cross. FoTTBTH. — The ladies disengaging hands in centre, still retaining the left hands of their partners, takes the next gentleman's right hand, thus forming a ring, the gents, facing inward and the ladies outward; all balance (en chaine) to each other, (4 bars,) turn part- ners to places, (4 bars,^ in waltz position, heol 9 130 POLKA QUADKI1LI8. Balanc'e en rond en chatne, and toe and chasse round in your plac€ (8 bars). This ends the fourth part of the air. All eight right and left round, doing heel and toe, at each time of taking hands in going round with right and left foot alternately un- til in places (16 bars). This ends the fifth part of the air. Fifth. — All eight waltz round (8 bars), the firyt part of the air being played for it. The sides begin the figure again. Note. — The foregoing Polka airs being yery popular with our citizens, the idea of adapting figures to them suggested itself; they were accordingly introduced into the ball room ; the flattering reception with which they were received, gained an additional zest from the patriotic motive of imparting to them a name commemorative of one of our most brilliant tri- umphs in arms. rOLKA QUADRILLES. 131 BUEXA VLSTA POLKA QUADRILLES. MUSIC COMPOSED BY I. HAZZARD, PHILA. Tke foil owing luio figtires from London^ have been ar- ranged for them. Glover'' s Polka Quoflrilles^ or any of the Cotillion figures may be danced to them. NEW FIGURES. 8 bars introduction to each Quadrille. 1. Pantalon. — Swing corner partners half round with right hand, (4 bars,) back to places with left hands, (4 bars,) top and bot- tom couples waltz around each other to places ; then lead up to each other, (4 bars,) return to places; (4 bars;) the side couples repeat tho same ; commence with swinging corner part- ners. 2. Ete. — Top couple waltz around inside of Quadrille, ending at third couple on their right, (8 bars,) with whom they execute an .allemand right and left; (8 bars;) the same couple perform a double waltz around each other to places. (8 bars.) Each couple in suc- cession do the same. 3. PouLB.^First couple waltz around the side couple on their right, finishing in front of til em, (8 bars,) hands across, half round with right hand, (4 bars,) back again, (4 bars,) double waltz by same couple to places, (8 bars,) back waltzing by all four couples until iu places. (8 bars. ) The other couples repeat the » same in rotation. 132 POLKA QUADEILLE8. 4. Trenis. — Top couple forward ia vaXtz position, the lady and gentleman passing each other four times in advancing to their vis-a- vis; (8 bars;*) form four hands; they then execute a round by the gents., passing their partners from right to left four times, until in places, joining bands at each pass ; (8 bars ;f ) these couples waltz around each other until in places. The others do the same. 5. Finale. — Grand promenade rt'imd all eight; (8 bars,) balance en carre all eight with corner partners; (8 bars;) the double love chase, the top lady and bottom lady go off right respectively, around the inside of Quadrille, followed by their partners, until in places (8 bars,) then waltz around each other, (8 bars,) waltz all eight, (8 bars,) balance en carre with corner partners, all eight ; (8 bars ;) side couples perform the love chase, &c. (8 bars.) The' love chase figure is repeated by the gentlemen leading off followed by their partners, all the figures following in the same order. * This figure is nearly the same as in Glover^s. f The step used in this figure, is the heel and too and chasse. Gentlemen always commencing with the right foot> the lady with the left. POLKA QUADRILLES. 133 NEW YORK POLKA. AS DANCED. AT PARKER's BALLS. DANCED IN COUPLES OF TWO. 1. Promenade round with waltz step, hand in hand. 2. Waltz round, lady's hand on gentleman's shoulder. 3. Four Polka steps forward, waltz round, back step. This figure is executed four times. 4. Plain waltz round. 5. Bremen step, heel and toe. 6. Waltz round, hands on waist. 7. Grand chasse, two steps forward, two steps back. 8. Polka figure with hands up, elbows down three steps and coupee back. 9. Turning waltz, heel and toe. 10. Gallopade step, quick. A POLKA FLNALE QUADRILLE. To the popular Evergreen air, or any other Polka. Figure. — Top couple waltz to the couple on their right, gents, take each other's partners and back waltz around until in the places they left; take partners and waltz around each other, the top couple execute the same with the bottom couple, and the fourth Couple : all four coliples waltz round; the other couples perform the same severally, until complete ; the last waltz continued for an unlimited period. 184 POLKA QUADRILLES. GRAND POLKAS. DUKANG'S GRAND BADEN POLKA. FOR TWO OR MORE COUPLES. AS TAUGHT BT C. DXTRANO AND DAUOUTBB. Bars. 1. Grand promenade round, 16 2. Polka chase step round, gent, follow- ing lady, 16 3. Polka waltz round, ending with heel and toe, 8 4. Allemandpassesandposes,heelandtoe, 8 6 Pas d'allemand, gent, turning ladj back and forward, 16 6. Oblique elbow allemand figure, finishing with heel and toe, 8 7. Polka sissone, lady receding — gent, following with the Mazurka step, and vice versa, 16 8. Coquette chase around, lady deceiving four times, 16 9. Allemand passes (tour sur place,) heel and toe, . 16 10. Coquette chase resumed, gent, leading, 16 11. Polka waltz round, 16 12. Waltz (a la Polka) (4 bars,) grand chasse four times going round, the waltz and chasse intervening, 32 13. Waltz or promenade, (4 bars,) allemand passes, forming Poses with lady right hand and left hand, ending each ara- besque or attitude with heel and toe, 16 POLKA QUADBILLES. 185 *4. En carre Polka step, or square balance, 16 16. Bremen step round, 16 16. Grand waltz, — fini. The Polka is ended sometimes with a change to the New York Polka air, played very quick, the dancers performing in Valse position, a Polka reel step. This is discre- tionary with the dancers. A Oallopade may be substituted. Allemand attitude in the Baden Polka. Note. — This Polka has been modified and embellished with the Allemand passes and groupings, to relieve the monotony otherwise pertaining to its plain waltz character ; and, which may be deemed suitable for the modern Ball Room, into which has recently been intro- duced the light Ballet movement of the Opera. 136 POLKA QUADRILLES. MISCELLANEOUS POLKAS. THE RAVEL POLKA QUADRILLE. Composed by M. Keller. Which is (lanced as a Quadrille, at C. Du- rang's Soirees, at the Museum Ball Saloon, Philadelphia. EVERGREExN POLKA. DANCED IN COUPLES OF TWO, LIKE THE WALTZ. MU8IC BY COKKER. A very popular danuy to which there is no particular It may be performed in couples, like the New York Polka, or the waltz. A figure has been formed to it. The dancers arrange themselves as in the Spanish dance. The couples opposite each Other waltz around to places, then execute a back waltz with opposite partner, then with their own partner, (8 bars each,) then pous- sette two couples, which leads to next couple, as in Spanish dance. Thus continue until every couple have met and executed the same. JINNY CRACK CORN POLKA. A VERY POPULAR AIR. To which the new figure of the Jealousy may be danced. POLKA QUADRILLES. 187 MONSIEUR HAZARD'S POLKA. FOR TWO OR MORE C0UPLE8. INTRODUCTION. 1. Grand Promenade 8 2. " Waltz, 8. Polka Gallop, 4. " Waltz, 5. Inconstante, (the lady changing four times,) 16 6. Petite chase, (twice,) 16 7. Grand chase, (twice,) * 16 8. Valse croisee, 8 9. Figure composee, 24 10. Carre, 16 11. Love chase, in which the gentleman tries to look at his lady, then turns round her, (twice,) 16 12. Chain, three and half times round, 16 13. Coquette, (twice,) IG 14. Valse croisee, (heel and toe,) 8 15. Polka Waltz, (change sides,) 8 16. Double Waltz, ad libitum. Co 8 8 IG 16 16 16 16 16 8 24 16 IG 16 16 16 IG THE ORIGIN OP THE MAZURKA QUADRILLES. The Mazurka is the national dance of the Poles, and was brought by the Russians into Russia, on the subjection of that ill-fated country. It was first introduced in England by the Duke of Devonshire. It has become very popular in the polished circles of Paris and London, since judi- cious modifications, with great good taste, have engrafted the light and graceful movement of the French ballet on its coarser features, without im- pairing any of its national characteristics. The Russians rather walk than dance it, with a mili- tary and dignified air, but lack the graceful ani- mation of the Poles. There are but three steps strictly pertaining to its entire execution. The first, a terre-a-terre or a groutid step ; one of a sissone kind, which constitutes the chief Mazurka step, consisting of three hops on each foot alter- nately. The original Hohcbiec, or, as it is called in Poland, ^^ Holupoa^^^ a name taken from the metal heels commonly worn in that country ; and which they strike, whilst dancing, to mark the time ; this has recently been modified in England into a light elevated movement, executed by the lady and gentleman in a waltzing position. As thus performed, novelty, grace, and fascination of action in grouping, are pleasingly developed, and more in consonancy with our ideas of the '•'■Divine danc£^'*^ than the peculiar masculine movement of the Russian Holnhiec, which requires brass heels to execute wich effect, and is out of its appropriate sphere in the polite ball room. The time is ^ and 5. bur, slower th;m the Waltz, and, for these rea- fco«.o, ihti icxnodelled Mazurka is here given. 188 FIGURES OF THE MAZURKA QUADRILLES, AS DANCED AT ALMACK'S, LONDON, AND TAUGHT BY MR. DUBANG AND DAUGHTEB. FIGURE 1. Situations as Quadrilles or Cotillions. lat. Eight bars of music are played, then com- mence the Kola or grand rpund; four bars left, and four bars right, to places. 2d. All le tour sur place. {Eight bars.) 3d. All holubiec. (Eight bartt.) 4ch. The leading couple (who commence all the figures) promenade around the inside of Quadrille with Mazurka step. {Eight bars.) 5th. Le tour sur place, with same step. (Eight bars.) Solus. 6th. Holubiec. (Eight bars.) Solus. Counterpart for all the other couples. FIGURE II. 1st. Grand Round as before. 2d. All eight le tour sur place. {Eight bars.) 3d. All eight holubiec. {Eight bars.) ' 4th. Leading couple lead up with the Mazurka TTOUieimde, to the right side couple, {four bars) ; hands four half round and back. {Eight har.f.) 5th. Ditto to ihe other leading couple, and mou- linet half round and back. {Etgtit bars.) 6th. Las ly, they prom'.'nade to the fourth cou- ple, wiih whom they execufe the Chaine Anglaise ISO 140 MAZrnKA QT-\D-rT.LTr8. douhfe, after whicb they promenade to their places, cxeaunng the tour sur p ace, ami holubiec, solus. This figure is successively repeated by the second, third, and fourth couples. PIGURB III. The Graces. 1st. Grand round as before. 2d. All eight execute tour sur place. {Eight bars.) Ditto, the holubiec. {Eight bars.) 3d. Leading couple promenaae to the couple on their right {four bars) ; during which the cavalier passes his lady to the left, without quitting her hand, and takes the hand of the second lady on the right, and passes her behind him to his part- ner — the two ladies join hands behind the gentle- men, they then perform a round {fo7ir bars) to the left; the gentleman then stoops, and paj>ses backward under the ladies' joined hands, making a pass d'allemand, without breaking hands, until the three dancers are faced inwards — thus forming the attitude of the Graces — in this position they perform a round, first to the left {four bars), and ihen to the right {four bars) ; at the end of which the cavalier conducts the second lady to her place, and his partner to her place, with the Ma- zurka promenade. 4th. Tour sur place. {Eight bars.) Solus. 5th. Hohibiec. {Eight bars.) Solus. The other couples execute the same figure suc- cessively.* * The fi form it. \ WALTZES. 153 CELLARIUS WALTZ. DANCED IN COUPLES. First. — Mazurka hop step round, or prome- nade. Second. — The instep step (Bistem) twice going round. Third. — Mazurka hop step, the gentleman passing behind the lady from right to left, making three beats each time of passing, the music directing the beats. Fourth. — Mazurka hop step round. Fifth. — Hop all round with one foot, lady right foot, gentleman with leftfoot, ending with aronge, or arrondir. Mazurka step all round. The fifth figure in this Valse has been changed to a waltz movement, executed with the Bistem step, viz., instep step in going round. This renders it more agreeable and less fa- tiguing — as the hopping all round on one foot made it extremely tiresome. Jl^*" The music of the Cellarius Waltz is the same as that of the Mazurka Quadrille. It is three-quarter time, rather slow, and ac- centuated differently to the waltz, the first and third beats in each bar are most dwelt on, and, it is this which makes its national character. The difficulty in a soiree of meeting eight Sersons capaple of perfectly dancing the fig- bos of the Mazurka Quadrille, suggested to M. Cellarius this waltz, composed from three steps of the Mazurka, which can be danced in couples like the Polka. WALTZ COTILLION. Places the same as a quadrille ; top couple walti around inside. First and second ladies waltz up to each other and cross over, turning twice ; tho gentlemen of the top couples do the same — tho side couples do the same. The first couples waltz to places ; the side couples do the same ; tho gen- tlemen take their partners by the right hand with their right hand ; all waltz {^four bars) and turn their partners under their arms; all the gents, go out right to each lady, executing this figure until in places. Form two lines at the sides, all ad- vance twice and cross over, advance again and re- cross, and to places; all eight waltz round; tho sides execute the same; the whole repeated four limes. A GALLOPADE QUADRILLE, AS A FINALE. All eight promenade a la gallopide; first lady advances alone, and retires {four bars) ; opposite gentlemen idem {four bars) ; top and bottom couples chassez to the couples on their right, and sec {four bars) ; the four gentlemen, wirh con- trary partners, gallopade open to the top and bot- tom, and turn both hands half round, forming two lines {four bars) ; all eight (in the two lines) advance and retire {four bars) ; advance again, and retake partners, turning into places (four bars.) 154 WALTZilS. 155 RULES TO BE OBSERVED IX WALTZING AND GALLOPADING. As waltzing almost approximates to a pas- sion with our dancers, and is universally in- dulged in by all frequenters of the fashionable soiree, we need not comment at length upon the general rules to be observed, or the avoidance of seeming indelicacies, to which prejudice and fastidious decorum may be furnished with a reasonable objection. The propriety of this dance has often been mooted, even by the libe- ral minded. Dancers of good sense and correct taste can never offend delicacy and modesty, but must ever delight in the gracefulness and neatness of their step and mien. The couplet of the poet, although trite, with a slight verbal alteration, may, with some force, be quoted heie for the waltzer's guidance: " Immodest mien (words) admits of no defence, For want of decency is want of sense." But we deem it necessary, as an incentive to harmony, convenience, and good breeding, that those mingling in the '*mazy dance" should observe the following hints : — The above are danced in an unlimited number of couples, following each other in a circle : when the couples become fatigued, or, from any other reason, feel desirous to withdraw, they should be careful to retire within the circle of the dancers, thereby avoiding confusion with those couples following. 158 f TAS DE MATELOT. PAS DE MATELOT. A SAILOR liOKXPIPE — OLD STYLE. 1. Glissade round, [first part of tune.) 2. Double shuffle down, do. 3. Heel and toe back, finish with back shuffle. 4. Cut the buckle down, finish the shuffle. 5. Side shuffle right and left, finishing with beats. 6. Pigeon wing going round. 7. Heel and toe haul in back. 8. Steady toes down. 9. Changes back, finish with back shuffle and beats. 10. Wave step down. 11. Heel and toe shuffle obliquely back. 12. Whirligig, with beats down. 13. Sissone and entrechats back. 14. Running forward on the heels. [plase. 15. Double Scotch step, with a heel Brand in 16. Single Scotch step back. 17. Parried toes round, or feet in and out. 18. The Cooper shuffle right and left back, 19. Grasshopper step down. 20. Terre-d-terre, or beating on toes back. 21. Jockey crotch down. 22. Traverse round, with hornpipe glissade. Bow and finish. Jg^^ Each step takes up one strain of the tune. There are a variety of other shuffles, but the above are the principal, with their original names. FISHEE & BROTH. PJIILADELrillA, NEW YORK, BOSTON k P\' i Publish, and keep a' £ X T E N S I V K \ SON& li u ill a> VAST VAT COM no; Pi WH -; AND RET All ur Mo i\\ Toruis to D*-