The above ticket for
a Bal Masque in Worcester, Massachusetts admitted one lady to the event;
there she could expect to engage in any number of different dances. The
intimacy and action of the scene suggests a certain amount of freedom to
their movement but the couple had to no doubt work tirelessly to perfect
their dance. FOR A DETAIL OF
THE DANCERS CLICK HERE, OR
CLICK ON IMAGE TO ENLARGE
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Subject to society's politics and whimsy, the popularity of
certain dances waxed and waned over the decades, so that certain dances
were either discarded altogether or merely altered to fit shifting social
tastes.
A ball or impromptu party might feature any combination of
different dances, depending on what was most popular at the time. Though
the dance trends varied through the years and among class lines, one thing
was certain: where there was dancing, joyfulness followed.
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Dancing took shape in many different ways; some dances
required meticulous and controlled movements, while others employed
exhaustive spinning and turning. The goal of all dancers was to give the
impression of effortlessness, a feat that required strength, agility, and
skill.
BASIC TECHNIQUE
Technique was crucial to all dances; a good dancer was expected to be
familiar with the basic figures of a dance before starting in. Whether it
was a Quadrille or Cotillion, Jig or a Reel, all dances had their own sets
of rules and movements fundamental for its successful execution. If one
was not well acquainted with a particular dance, he risked making mistakes
-- an error that carried with it the burden of not only embarrassing one's
self but also of making one's partner look bad.
At the very least, one had to master the fundamentals of dance technique
-- the carriage of the arms, the positioning of the feet, the necessary
methods and procedures, where to cast one's gaze, among other essentials.
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The Evening amusement :
containing fifty air's, song's, duett's, dances, hornpipe's, reel's,
marches, minuett's, &c, &c, for 1, and 2 German flutes or violins
includes the piece of sheet music above "Minuet de la
Cour" demonstrating the practice of this form of dance in the late
eighteenth century.
CLICK
ON IMAGE TO ENLARGE
The above lithographed sheet music cover from c1830 Tri-Colored
Quadrilles illustrates a scene where the figures are participating in a dance.
Onlookers watching the quadrille highlight the social aspect involved with
balls and dances.
CLICK
ON IMAGE TO ENLARGE
OR
HERE FOR THE ENTIRE SHEET MUSIC
COVER |
In period dress of the 1860s, a young couple participate in a special dance -- the
"Ruck-Ruck-Galop". Often times sheet music covers would illustrate new and unique dances of the nineteenth century.
CLICK ON IMAGE TO ENLARGE
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MINUET
A product of the seventeenth-century French court, the minuet -- taken from the French menuet -- became the ultimate
representation of ceremony and distinction. Once imported to America in the eighteenth century, this meticulous dance signaled the opening of many a
political gathering, where the most prestigious man and the most eminent lady took the first steps, reminding the rest of the company of their
position.
In performing the minuet, two dancers snaked around a room on a symmetrical track, occupying all of the
available space. While smooth execution was the goal for all dances, the minuet was particularly difficult to perform so that it looked as if it was
danced with ease. |
The above
Twenty four fashionable country dances for the year
1799, : with their proper figures as performed at Court, & Bath. and
all the public assemblys contains unparalleled examples of country
music from 1799; the Songster is also engraved throughout.
CLICK
ON IMAGE TO ENLARGE
This chart from Elias
Howe's American dancing master and ballroom Prompter lays out the
form to be observed in country dances, where varying numbers of couples
assemble in two long lines.
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ON IMAGE TO ENLARGE
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COUNTRY DANCE
Country dances were more egalitarian in nature; all
who were willing were encouraged to participate. Partners faced each other
and progressed down a line performing repetitions of the figures, so that
the first couple moved to the second place after the first repetition.
This sequence would continue until the first
couple had returned to the front of the line, and each couple taken a turn
in leading the dance. Though country dances were among the most
democratic, dancers were still expected to be elegant and formal in their
carriage, and not uncivilized and reckless.
COTILLION
The cotillion was born from the country dance when the
French pieced together elements to create the contradanse. The steps,
however, were complex and could not be easily illustrated in a manual. In
the 1760s French dance master LaCuisse publicized the dance steps in a
manual, from which the English drew inspiration for their "cotillion."
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The cotillion was usually
performed in a square of four couples. Cotillion steps were similar to
those seen in country dances but usually employed more intricate
combinations.
Common to all cotillions
were verses known as "changes," that would come before a chorus that was
particular to the dance being performed. Changes signaled movements such
as circles and various types of turns, and occurred up to nine or ten
times during a cotillion.
Arriving in America in the
1770s, the cotillion rose to the height of its popularity between 1780 and
1810. Later, pioneers carried the dance westward, where it became the
foundation for the square dance.
HORNPIPES AND
JIGS
Step dancing, which combined rhythmic
taps and shuffles to create a lively and dynamic dance, came to America
from the British Isles.
Also referred to as hornpipes, step dances were divided
into two types: one type involved improvised movements performed in time
with the music, while the other was characterized by choreographed series
of dance steps.
A truly versatile dance, hornpipes were seen both on opera stages and in
more commonplace spots, such as taverns.
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The image "Fancy
German Cotillion" from Howe's American dancing master
depicts dancers executing a cotillion; dancers are holding hands.
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ON IMAGE TO ENLARGE
This image is an example
of a Horn-Pipe. The Hornpipe is remembered as a dance which was
non-exclusive as it was danced by people from all classes.
CLICK
ON IMAGE TO ENLARGE |
In addition to the music,
"Miss Jarvis's Reel" from Twenty-four
fashionable country
dances also contains instructions on
performing the dance.
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ON IMAGE TO ENLARGE
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REELS
Hailing from Scotland, reels were executed by three or four people in a
line who moved along a weaving track.
Performing a reel required
little instruction, although some footwork skill was needed. Popular
during the second half of the eighteenth-century, reels were often the
dance of choice among the lower classes.
SHAKER
DANCING
An interesting departure from the typical social dancing, the Shakers used
dancing as part of their religious ritual. |
They did not follow set figures as did dancers of more
mainstream dances but rather freely engaged in several distinctive moves,
such as whirling and marching.
Supposedly led by inspiration, the Shakers would whirl
rapidly, propelling themselves in circles by having one foot continually
stepping around the other. Much of the time the whirling would continue
for ten or fifteen minutes, though it was known in some instances to have
lasted for up to forty-minutes.
The Shakers believed that in order to obtain religious revelation
one had to labor; part of this endeavor involved writhing and twirling of
the body. Though seemingly eccentric, this ritual was a key part of Shaker
religious culture.
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This D.W.Kellogg lithograph entitled "Shakers, their
mode of worship" highlights the untraditional movements. A detail of
the faces and body positions of the Shaker dancers is available here.
CLICK
ON IMAGE TO ENLARGE
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This detail from Frank Leslie's Illustrated Newspaper is captioned, "Contraband
Children Dancing the Breakdown". The representation is one example of a series of images which appeared in Frank Leslie's and
Harper's Weekly on the subject of slave dancing. The illustration appeared January 31, 1863.
CLICK ON IMAGE TO
ENLARGE
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SLAVE-BASED DANCES OF AFRICAN ORIGIN
While on the Middle Passage many slaves were forced to
"dance" or exercise for captains, the crew and guests. Though frequently
forbidden on the plantations, African slaves nonetheless practiced elements of their social and cultural heritage, and this included dance.
Many dances formed on the American continent were a mixture of dances learned from masters and other slaves and consisted of steps
which were easily disguised in their everyday work -- but had distinct elements which were African in origin. Slave dances of the nineteenth-century
include the pigeon walk, the buzzard lope, the breakdown, and the Charleston. While slave dancing was originally discouraged or ignored, after
Emancipation there existed a strong interest and curiosity in contraband dance.
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