Dance and its music in America, 1528-1789 9781576471272

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| Dance and Its Music in America, 1528-1789

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(5); and two-hand turn an closing (7). The figures are danced in this order, but the number of times the Z figure is danced, and the number of steps used for each figure, is optional. Factors determining the number repetitions and steps include the size of the dancing space, the importance of the dancers performing, the length of the phrases of the music, Jand good taste — it is vital not to bore the e

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his English d f dancing fr d 1770 h

Fig. 8. This English drawing of country dancing from aroun catches an inf ]company id-d.in mid-dance. he b le is 1couple LVis inactive d just foot ormal The bottom and just footing to each other while the others dance four-hands round. e

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account after account of frightened dancers, trembling knees, and laughadie erformances Itis no wonder that everyone re axed when the minuets were over and the country dances could begin. Cashing in on the popularity of the minuet, in the 1770s, urban dance

es

ters b to teach mi ts f than two d li 7

mg masters egan O teach minuets ror more an. O Gancers, Ca ng

“d bl ” “ d ] ue ” d t “D f ” “b

them oubpdie, ofr qua rup e, reverse, ana mimue y Our, OF Y icht.”~ Th have€involved perh t ele . ese wou aveId iInvoive munuet stepsthe andami pertst apsdmimnue

. fl tt individually ch hed d f ital or entertainments. | hey did not take the place of the ordinary minuet for two dancers that opened most balls and assemblies. °

The best d tedgroup d f dance th iod isperiod the eighteenth e best documented of the is the eighteenth-century

versi try dOre aSd Man forcoup “ yes] aS ersion Of ethe ng snEnglish coun ance, afrange will” standing in lines, partner facin artner. The figures of over 25,000

d blished with thei ic in English books betw 1700

an. an. Many more in ireland, cotlan , £101land an pain. e

fi1gures f ver 2,800 d inIn American A llecti handmad Or Over z, ances appear collections nhanamadae °

or published between 1730 and 1810. Most of these dances appear to be

.° °ee °e e s

tid f“150 Yf the ‘Mi t iS de | my ted at the Ameri “See PACAN indance. der “D ” Anoth h is “M€t ia de Lour, la Cour,” ee index under omer sucn 1s tnethe enue asmaIl alietictoby music re Gre et Procris least At twelve ball André Gréepnale Céphal Procris,. At 1773). 1 Ivpublishe blished f

choreographies of this title appeared between 1780 to 1920 (Tilden Russell, “150 Years o

e enue € la cour, paper an. perrormance presente at the merican

Musicological Society conference, Toronto 2000). A version of the dance was introduced to Philadelphia students by Stephen Sicard in the fall of 1786 (PP, September 23, 1786).

INTRODUCTION 21 of English origin or inspiration; several of the collections are direct copies of English books.”

Democratic rather than hierarchical, each country dance is constructed so that after one repetition of the figures, the leading couple is in second place and repeats the figures with the next one or two couples. This progression continues down through the entire line and back up, until the leading couple is again at the top and each couple in the set has had a turn leading the dance. Before 1680, Americans probably danced earlier forms of the En-

glish country dance using familiar renaissance steps: the single, the double, and perhaps some steps from the galliard for the more energetic. Once the new French technique was introduced, the basic step became a smooth pas de bourrée, with a demi-coupé for setting and honors. Op-

tional steps included pas de rigaudon (rigadoon), assemblé, balance, chassé, contretemps, and pas de gavotte.” For most occasions, deportment

and performance style was still formal and presentational. Despite the informal-sounding name, country dances were not undisciplined romps. At a ball or dancing party, the top couple in the set selected the dance. They not only had to know how the dance figures fit the music, but were responsible for selecting steps appropriate for the abilities of the dancers present, and, by their performance of the first round, the phrasing of steps and figures to the music, a daunting responsibility. Calling the figures as the dance progressed was not an American invention as is often claimed. In his 1752 London publication Nicholas Dukes suggests that the couple selecting the dance might recite the names of the figures when they announced the dance of their choice.” Public prompting was used in the late 1770s at Almacks in London by Francis Werner who played on the harp and directed the figures at the same time.” It did not become a wide-spread practice until the nineteenth century when dance events drew less homogeneous companies that needed help to get through unfamiliar dances.

COTILLION Several other types of dance appeared in early American ballrooms, promoted by dancing masters to hold their pupils’ interest and by fashionable dancers who wished to stay one step ahead of the crowd. In *Robert M. Keller, Dance Figures Index: American Country Dances, 1730-1810 (Sandy Hook:

Hendrickson Group,1989). *Kate Van Winkle Keller, “If the Company Can Do It!” Technique in Eighteenth-Century American Social Dance (Sandy Hook: Hendrickson Group, 1991), 18-20; Kate Van Winkle Keller and Charles Cyril Hendrickson, George Washington, A Biography in Social Dance Sandy Hook: Hendrickson Group, 1998), 112-31 **Nicholas Dukes, A Concise & Easy Method, iv. 27Francis Werner, For the Year 1778. Three New Minuets with Seven Favorite Cotillions . . . dedicated to the Nobility and Gentry Subscribers to Almacks &c. By Francis Werner. Where he plays

the Cottilons on the Harp and directs the Figures (London: Jold [=John] Rutherford, 1778).

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