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FOLK DANCES AND
GAMES/
BY
CAROLINE CRAWFORD
TEACHERS COLLEGE, NEW YORK CITY
V /
NEW YORK
A. S. BARNES & COMPANY
1908
COPYHIGHT, 1908,
BY
A. 8. BARNES & COMPANY
Stanbopc iPtesB
F. M. GILSON COMPAMr
BOSTON, U.S.A.
PUBLISHERS' NOTE.
Professor Frederick Peterson of Columbia University, well known as a nerve specialist
writes: "The dance seems to fulfill every requisite of an ideal exercise — the practical
use of all the muscles, the acme of pleasurable emotion, and the satisfaction of the
esthetic sense."
This is true of the folk dances. They are the ideal natural form of exercise. More-
over, they are simple, pretty and enjoyable and give body control as nothing else does.
The need of the many good things derived from this form of physical exercise has
existed for many years. With the recognition of the need, there has come a demand for
an authoritative hand-book prepared with particular reference to the schools. There
has been no such book in existence in the English language. The present book was
prepared to supply that need.
Miss Crawford, the author, has made a special study of folk dancing for many years.
She taught the subject to teachers at Chicago University and now has charge of the
same work at Teachers College in Columbia University. Her students have gone out
to summer schools to spread the good work. All this has intensified the call for such
a book as this, which the publishers issue in the hope that it will serve to enrich the lives
of the children whose welfare and happiness were kept in mind in the preparation of it.
Ill
CONTENTS.
Finnish Dances.
PAGE
1. Alands Flicka — The Girl of Alands 2
2. Skvaller-Ulla — Gossiping Ella . . 4
3. Sjalaskuttan — Bounding Heart . . 6
4. Sappo 8
5. Stigare 12
6. Harvest Dance 13
7. SiGURDSVAKET — SiGURD's SoNG ... 18
Swedish Dances.
1. Bleking 20
2. Tantoli 22
3. Lott' 1st Tod — Lottie Is Dead . . 24
4. Klappdans — Clap Dance 26
5. Old Polka 28
6. Thief, and Thief Now Shall be
Your Name 31
7. Hopp MoRR Annika — Hop Mother
Annika 32
8. Gustaf's Skol — Gustaf's Health . . 34
9. Domare Dansen — The Judgment.
Dance 36
10. Fox and Geese 38
11. NiGAREPOLSKAN — SALUTATION DaNCE . 39
Scotch Dances.
1. Highland Schottische — Money Musk 42
2. Petronella 44
Scotch Dances. — Continued.
page
3. The Flowers of Edinburgh 46
4. The Triumph 48
5. The Reel 50
English Dances.
1. The Goddesses 54
2. Trenchmore 56
3. The Cobbler's Jig 58
4. My Lady Carey's Dump 59
5. Sir Roger de Coverley 60
German Dances.
1. HopsASA, Tra La La 62
2., Ring Dance 63
3. Dornroschen — Sleeping Beauty . . 64
4. The Black Cook 66
French Dances.
1. Vintage Dance 68
Bohemian Dances.
1. rovenacka 72
2. MiNET 74
3. KuzELKA — The Dumpy One 75
4. Zahradnicek — The Gardener ... 78
5. Kacer — The Drake 80
6. Satecek — The Little Cloth .... 82
MEANING OF THE DANCE.
Only a few years ago the dance was used in the gymnasium simply as a means of
exercise. Beyond this it was not seen to have any place in the school. But as soon
as the dance was studied in primitive life, and its function and relation to the other factors
of life were discovered, it was seen to have a significance far beyond its first use in the
school.
To appreciate the meaning of the dance, it is necessary to understand the part that
gesture, as a language, has played in the development of the race. Until very recent
times we thought of the alphabet as the starting point for language, and did not look for
an earlier mode of expression. Now we realize that there is another language, made up
of imitative movements, which precedes verbal speech. Man communicated with his
fellow beings long before he chose certain arbitrary words as signs of his actions. These
more elemental signs are what interest us when we attempt to understand the dance,
for the dance is but the expression of a mood; or a story told through the medium
of pantomimic action.
This expression in pantomime is as varied as man's interests and actions. Many
dances are dramas representing common occurrences of daily life. The love plays, the
stories and characterizations of animals, the occupations, games, and even the gay joyful
moods which are engendered by a happy gathering on the village green, are subjects found
again and again in the dances of the folk.
We find in the war dance the excited telling of the advance toward the enemy, the
struggle with, and the conquest over him. Whether this be the pyrrhic dance of the
ancient Greeks, or the sword dance seen in recent times in Scandinavia, matters little.
The form may vary, but the plot remains the same. Among the Indians such a dance
is a part of the religious ceremony which is performed before the battle, to insure the
success of the enterprise. The English Morris is a descendant of this type of dance.
The triumphant battle march is closely associated with the earlier war dance. There
is a story in Brittany of two armies that were marching toward each other prepared for
battle. As they approached, both armies were singing King Arthur's battle march.
The two peoples had been separated for seven hundred years, but they were yet brothers.
The forms of the love dances are as varied as the love songs of our times. Some
tell the story of successful pursuit and capture, others are pathetic pantomimes repre-
senting the misfortune of imrequited love. In southern Europe not a few of the most
beautiful dances represent the whole gamut of emotional expression in the love story.
"The Little Cloth" is very closely allied to the more highly developed love pantomime.
The waltz, in its several forms, is the dance expression of this type.
The religious dance was often the dramatization of the life or work of the god. The
procession to the sacrificial altar is most solemn and reverent. The stately old pavan
has the same melody as one of our most impressive church processionals of to-day.
Undoubtedly many of the old dances which to us express simply a joyous or a solemn
mood were originally a part of the ritual of these earlier religions.
vii
Vlll
One seeing the great Echternach procession for the first time, some spring morning,
would probably think many folk out for a happy, gay time on a fair day. The dance,
which consists of jumping forward, sideward and backward, is symbolic of the triumph
of summer over winter. Afterward the Christian church applied the nature symbolism
to the triumph of Christianity over pagan darkness, the two jumps forward with the
jump backward typifying the final triumph of the powers of light.
The " Minet " is an old form of giving the right hand of fellowship. The people in
unity of thought and act pray for the blessings of heaven as they, join hands and move
together.
The common events of the daily life are subjects for many dances. "Gossiping Ella"
is a pungent little drama. "Boimding Heart" suggests in its title the glad, wild form
of the dance. "The Drake" is a story which all country people would know. "The
Gardener" is a very humorous bit, for the slipping of one line under the other is
the telling part of the dance. "The Dumpy One" explains itself even among sophis-
ticated people. "Gustaf's Skol" is a dance which would be found among people who
are subject to a monarch.
There is a beautiful myth connected with the "Vintage Dance." The Spirit of
Vegetation which has watched over and cared for the fruit during all the time of its
growth, fled before the eager harvesters as they picked the grapes. It was finally caught
in the last of the fruit plucked from the vines. When the harvest was nearly over, all
the people might be seen running about searching for yet another bunch of grapes.
Finally, with great rejoicing and shouting, they carried down from the hillside the Fruit
Spirit embodied in the last of the harvest. Placing this favored bvmch in their midst,
they danced out the story of the first awakening of the Spirit in the spring with the
turning and tilling of the soil, and the recovery of the life of the summer amid the fruit
of the vines. With the greatest joy they dance, now that the harvest is over. The wine
from this fruit is sacredly cherished until the following spring, when it is poured on the
ground to renew the life of the land.
The occupation dances which we find among all peoples are instances of the citing
of the familiar experiences of life. When all the people gather on the village green in
the evening, — the shoemaker, the butcher, the wheelwright, — each, as he dances,
expresses in pantomime some action or incident of his day's history. During the four-
teenth and fifteenth centuries, the various guilds had public processionals and dances
which were given on stated occasions. Bohme says of one of these celebrations, "The
knife-makers had a sword dance, the coopers had their hoop dance, and the cloth-makers
a flag dance." Remnants of these dances still exist among the folk.
The ballads that have come down to us, the legends of Dietrich and of Siegfried,
were all originally choral dances, sung either by the circling chorus, or by solo and chorus.
The refrain of the ballad still shows the choral structure. " Sigurdsvaket " illustrates
the manner in which the legend of Siegfried is told in the Faroe Islands.
Fragments of many of the old dramas have been handed down in the games of
children. Some of these are portions of the ritual of the summer and winter ceremonies,
others were originally dramatic representations of the myths and legends. "Sleeping
Beauty" is a primitive drama of the spring myth. The old German bridge game and
"Tx)ndon Bridge" have a very ancient mythological foundation. There are many
gaAies which are remnants of courting and marriage customs. Several, like "Three
Dukes A-Riding," suggest marriage by capture. The ritual of tree worship, belief in
witches, the dread power of the were- wolf, funeral rites and village customs, which were
IX
a part of the sacrificial ceremonies to the various spirits and powers, are some of the
suggested origins of the games which have been preserved.
"Fox and Geese" is an interesting type of the early dramatic form where musical
expression, action and spoken dialogue are all found together.
Three forms stand out prominently in the earlj^ dance-dramas — the processional,
the ronde and the line dance. Types of the first still linger in the solemn church proces-
sional to the sacrificial altar, in funeral and wedding processionals, in the battle marches
and in the stately Polonaise.
The ronde was the common form for the expression of ceremonial moods and stories.
When any event produced either a sad or a joyous mood, we find that the people danced
together; the particular significance of the ronde was the sympathetic unity of the players.
The mood or story which they represented was one of communal interest and origin.
The leader of this chorus became the bard of a later time.
The line dance was used to express some degree of contest. It might be a love dance
representing the pursuit and capture of the maiden; or the Morris dances telling the
struggle between summer and winter ; or the form might be a ballad, chanted and danced
by two advancing and retreating choruses. Here the contest was represented by means
of question and answer. In many of the old folk dramas we find these three forms
— the processional becomes a ronde or love dance according to the ideas expressed
by the dancing throng.
We have thought walking, running, skipping, hopping, leaping and whirling such
common every day occurrences in the child's happy life, that we have failed to observe how
the child- like mind constantly expresses various states. and degrees of feeling and thought
through these movements. They are as much a part of gesture language as the move-
ments of the hands and arms, and in the early dances were much more prominent.
"Hopp Morr Annika" is a good illustration of the evolution of a gay happy mood for
walking and skipping, through emphatic clapping and stamping to the whirling climax.
The expression of grief in the young is often overcome by the reaction from the indi-
vidual's opportunity for self-expression, as in "Lott' 1st Tod." When the act and the
mood are so intense that they become inseparably connected in the mind then we find
the more definite imitative pantomime in the drama. The dance passes on into other
forms of expression when, in the mind of the actor, it becomes inadequate as a means of
interpretation and expression.
FINNISH DANCES
FINNISH DANCES.
ALANDS FLICKA.
(THE GIRL OF ALANDS.)
The dance is similar to the Swedish " Bleking." The music is particularly
interesting, as an illustration of the evolution of melodic form.
PART I.
The formation and movements are the same as in the Bleking, except in the
fourth measure. The dancers spring and change feet only once during that
measure.
PART II.
The players polka during this part of the dance, springing very high on the
first beat of the measure. They dance around the circle in the same manner as
in the " Bleking," and at the eighth measure swing into place for the first part.
ALANDS FLICKA.
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Finnish Dances.
SKVALLER-ULLA.
(GOSSIPING ELLA.)
This reel is full of life and vitality. The movements are executed with great
abandon. It represents the little child's boisterous spirit, combined with the
weight of the adult. Such a dance as this one might follow any exciting event
which has happened to come into the lives of a group of people who normally ex-
press themselves through such elemental movements.
The dancers form in two lines facing toward each other, with arms akimbo.
111111
2 2 2 2 2 2
PART I.
All begin at once. Hop on the right foot and at the same time strike the toe
of the left to the floor, turning the toe inward by a very free rotation from the
hip-joint (first beat); hop again on the right foot and strike the heel of the left
foot to the floor. The toe raised and turned outward ( second beat, measure one.)
Spring from the right to the left foot, and strike the toe of the right foot to the
floor, turning the toe inward, as above (first beat); hop again on the left foot
and strike the heel of the right to the floor with the toe lifted, and turned out-
ward (second beat, measure two).
Spring to the right foot and continue as in the first measure (measure three).
Spring to the left foot and continue as in the second measure (measure four).
Eepeat as above (measures five to eight).
PART n.
All step forward with the left foot (first beat), stamp with the right foot (sec-
ond beat, measure one).
Step backward with the right foot (first beat), stamp with the left foot (second
beat, measure two).
Start with the left foot and cross over to the opposite side with four walking
steps. In changing places the dancers pass back to back with the one standing
opposite. The first two steps are forward (measure three), the second two turn-
ing half way around (measure four).
Repeat the above (measures five to eight). This brings the dancers back to
the starting-point in the line. The dance repeated at pleasure.
Finnish Dances.
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Finnish Dances.
6
SJALASKUTTAN.
(BOUNDING HEART.)
The dance is very youthful in its mode of expression. Except in some men's
dances, we rarely find such excited movement without any attempt at expression
through finer muscles in some part of the dance.
The players form in a double circle facing toward each other. All place arms
akimbo.
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Both slide forward, Number One with the left, Number Two with the right
foot, ( first beat ) ; bring the other foot up to the rear of the forward foot, change
weight, flinging the forward foot in air ( second beat ). Hop on the rear foot,
swinging the forward foot behind the rear (third beat, measure one ). Repeat the
step ( measures two and three ).
Step forward with the forward foot, ( first beat ) ; jump and turn back to back,
both facing outward ( second aod third beats, measure four ).
Repeat the above, starting with the forward foot. Number One with the right,
Number Two with the left foot, and turning face to face at the jump on the
eighth measure ( measures four to eight ).
One movement like the first measure (measure nine), step forward and jump,
turning back to back ( measure ten ).
One movement forward (measure eleven), step forward and jump, turning face
to face ( measure twelve ).
Repeat the movement of the first four measures, but at the fourth measure, in-
stead of turning half way around make a complete revolution, finishing in the
starting position. Repeat the dance.
Finnish Dances.
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Finnish Dances.
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SAPPO.
(NAMED FOR A PARISH IN FINLAND.)
The dancers form in three small squares, with four dancers in each square :
I 1 1
2 2 2 2 2 2
II 1
The arms are placed akimbo for the first movement.
PART I.
All stand facing diagonally toward their left, with the right foot toward the
center. Place the right heel, with the toe lifted, on the floor toward the center,
(first beat); place the right toe behind the other foot (second beat, measure one).
Repeat the above, ( measures two, three, four ), but at the last beat of the fourth
measure, all turn right facing diagonally toward the right.
Repeat the above movement with the left foot ( measures one to four repeated ).
PART II.
Numbers Two clap hands and cross over, passing to the left and back to back
( measures one and two ).
Numbers One repeat the movement (measures three and four).
Numbers Two clap hands and cross over, returning to the first position ( mea-
sures one and two repeated ).
Numbers One clap hands, but instead of returning to their first position, they
step behind Numbers Two ( measures three and four repeated ). The position is
this:
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2 2 12 2 1
1 left right
PART in.
Number One on the left and Number Two on the right place the right hand
over the eyes and look across toward each other, both looking to the right of the
one standing between them ( measure one ).
Place the left hand over the eyes and look toward each, both looking to the
left of the one standing between them ( measure two ).
Repeat the first movement ( measure three ).
Repeat the second movement ( measure four ).
They both clap hands, skip forward to the center, join hands and skip around
to the left (measures one, two and three repeated).
Return to their places ( measure four repeated ).
*■* The whole movement is repeated by Number Two on the left and Number
One on the right ( measures one, two, three and four repeated ).
Finnish Dances.
9
PART IV.
Each group of four dancers forms a circle, thus :
111
2 2 2 2 2 2
111
All join hands and run to the left ( measures one to eight ), turn, and run about
to the right ( measures one to eight repeated ).
During the last measure of the movement the dancers form in the following
manner.
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(a) -(b) -(c)
PART V.
All dance on place with arms akimbo. Lift the right foot diagonally forward
and swing it in front of, and close to, the left, placing the weight on it, lifting the
left foot diagonally backward (first beat). With quick movement, swing the
left foot in, diagonally behind the right, placing the weight on it, lifting the right
a very short distance from the floor ; quickly replace the right foot and lift the
left ( second beat, measure one ).
Swing the left foot around diagonally forward and repeat the above movement,
beginning with the left foot ( measure two ).
Continue movement ( measures three to eight ).
During the next eight measures all the dancers walk forward changing places.
The line marked (b ) move to the position of (c), the line (a) to the position
of line (b ), while the line ( c ) covers the double distance, and takes the position
of ( a). When the lines meet they salute by bowing while walking. The sixteen
measures are repeated. During the first eight the dancers repeat the movement
on place. During the second eight they all walk to their former lines.
The sixteen measures are repeated a third time. All form one large circle by
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All join hands and skip about to the left (measures one to eight), turn and
skip about to the right ( measures nine to sixteen ).
Finnish Dances.
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Finnish Dances,
12
STIGARE.
In character and meaning the dance is similar to the Swedish dances " Blek-
ing" and "Tantoli."
The players form in a double circle facing left ; the inner hands are joined ; the
outer arms are akimbo.
PART I.
The dancers face toward each other, slide the outer foot sideward ; bring the
inner foot up to the outer, changing weight ( first beat ) ; step sideward with the
outer foot ( second beat, first measures ).
Place the inner foot behind the outer, and courtesy by bending both knees
( second measure ).
Repeat the above, starting with the other foot and making the step and cour-
tesy in the opposite direction ( measures three and four).
PART n.
The players face each other and join both hands. Slide sideward, Number One
with the left, Number Two with the right foot ; bring the other foot up and change
weight ( first beat ) ; step sideward with stamp ( second beat, first measure ).
Slide sideward in opposite direction to the above (Number One with the
right, Number Two with the left foot). Bring the other foot up, and change
weight (first beat); step sideward and stamp (second beat, second measure).
Repeat the step, omitting the stamp. Number One starts with the left. Num-
ber Two with the right foot forward. They turn half way around so that the
dancers change places, Number One taking the place of Number Two, ( measures
three and four ).
Repeat the four measures. At the end the dancers are again in position to
begin the first part of the dance.
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Finnish Dances.
13
HARVEST DANCE.
The dance is one of the most charming of all the northern folk dances. Be-
cause of its developed pantomimic expression, it occupies a very high place
among the early types of folk drama. The story of the summer's life is told with
the naivete of childhood. The bit of a love story at the end of the dance is an
integral part of the whole, and forms the climax of the summer's life. The rhythm
most prominent in the dance comes from the movement of the reapers.
The dancers form in a double line for a procession. The inner hands are
joined ; in the outer they carry rakes, or rakes and sickles. The implements are
carried over the shoulder.
1 2
1 2
1 2
etc.
PART I.
The players turn face to face and step forward (first beat), bring the rear foot
up and place it just behind the forward foot (second beat), spring to the for-
ward foot with a very slight leap in the air ( third beat ), hold the position with the
body balanced slightly foward ( fourth beat, measure one ). The arms are swung
backward, upward during this measure.
Swing the rear foot around to the front, dancers facing away from each other
and repeat the steps of the first measure (measure two). The arms are swung
forward, upward during this measure.
Continue the steps while the procession passes down the center of the floor.
Then the dancers repeat and form in two lines at either side of the room, each
line following its own leader. The free arm is placed akimbo.
PART II.
Both lines left face (one line then faces outward and the other inward ), all
start with the right foot, step sideward right ( first beat ), swing the body around
toward the right describing a half circle, swing the left foot with the body and
step on the left (second beat), bring the right foot up to the left and change
weight ( third beat, measure one ).
Finnish Dances.
14
Step sideward left (first beat), swing the body half way around toward the left
describing a half circle, swing the right foot with the body and step on the right
(second beat), bring the left foot up to the right and change weight ( third beat,
measure two ).
Repeat the movement ( measures three to eight ).
Repeat as many times as necessary for the movement.
The dancers in each line follow the leaders. They all pass one by one at the
forward end of the room. At the beginning of the movement the two lines
should stand far enough apart so that the leaders may pass each other on the
third measure. On the fourth measure the second dancers in the linejjass each
other, and so on until both lines have woven past each other. All in the one
line face outward, while all in the other line face inward. Repeat the move-
ment down the sides and pass again at the other end of the room ; they then
continue the movement up the sides to the starting places. This figure leaves
the lines in the starting position, with the exception that they all face toward the
center during the last measure of music.
fco 1
bs 1
^ 1
etc.
PART III.
Numbers One stand in place with the rakes over their^shoulders. Numbers
Two all left face at the introductory chord, step sideward with the right foot (first
beat ), swing the body in a half circle toward the right, swing the left foot with
the body and step sideward left, at the same time swing the rake down in front
of the body ( second beat ), bring the right foot up to the left and change the
weight to it ( third beat, measure one ).
Step sideward with the left foot (first beat), swing the body in a half circle
toward the left, swing the right foot with the body, and step sideward with the
right foot, at the same time raking the grain ( second beat ), bring the left foot
up to the right and change the weight to it, (third beat, measure two).
Repeat the above movement ( measures three to six ).
This brings the line ( Numbers Two ) up in front of Numbers One. They
then swing the rakes over the shoulder and walk six steps backward to place
( laeasures seven and eight ).
Finnish Dances.
15
The whole movement is repeated by Numbers One while Numbers Two stand
in place. This swinging movement is very simple if the movement of reaping
grain is recalled.
PART IV.
During this movement the rakes remain on the shoulder. On the first beat
Numbers One right about face, while Numbers Two walk six steps forward and
stop immediately behind Numbers One ( measures one and two ).
Every Number Two looks over the left shoulder of the one standing in front,
while the one in front looks toward the right (measure three).
Number Two then looks over the right shoulder and Number One looks toward
the left (measure four).
Eepeat ( measures five and six ).
Numbers Two then walk six steps backward to place, while Numbers One, on
the first beat of the seventh measure left about face in the line ( measures seven
and eight ).
The whole movement is repeated, but when Number Two looks over the left
shoulder Number One also looks toward the left. In this movement the players
look toward instead of away from each other (measures one to eight).
The whole movement is again repeated, Numbers One walking forward and
Numbers Two turning on place. But when the seventh and eighth measures are
played the last time, Numbers One take Numbers Two by the hand and all take
two sliding steps sideward to the middle of the floor.
PART V.
The players are now all in a line for the next part of the dance. The music
and step of this movement are the same as in the first part of the dance. The
12 line forms, however, in three groups of three couples in each group.
Instead of going immediately off the floor, each group forms a
small circle toward the left side. Numbers One kneel, while Num-
bers Two pass around the kneeling players. Each one passes be-
hind her own partner, then passes in front of and around the next
one, and in front of and around the third, and to her own .-"""n ,^r\,
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partner again. Numbers Two should all start together ,4(1 j ( -[J
and return to their places on the same beat. As soon as /' \
Numbers Two have returned to their places in the circle, T i {2
Numbers One all stand, and they all dance off the floor '♦^''
in one long line, as they entered in the beginning of the
dance.
Finnish Dances.
16
HARVEST DANCE.
PART I.
PART V.
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Finnish Dances.
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Finnish Dances.
18
SIGURDSVAKET.
From Faroe Islands.
(SIGURD'S SONG.)
This choral is given to illustrate the manner of dancing and singing the bal-
lads.
The players form a circle and join hands, literally, join forearms. They move
around to the left in this manner, step left (tirst beat), bring right foot up to
left and change (second beat), step left (third beat), swing right foot across in
front of left ( fourth beat), swing right foot back to the right side and step (fifth
beat), bring the left up to the right and step (sixth beat).
While the leader sings the stanza the step is quiet, but during the chorus the
step is accented on the first and sixth beats in each measure, and the arms are
swung upward in the direction of moving feet.
As the ballad is told, the singers swing their bodies as well as their arms dur-
ing the chorus.
Solo. Heard have I from olden time,
Eagle flew round world.
Now shall I chant of Sigurd gay
And his first great work.
Chorus. Grani bore gold from the heather,
Grani bore gold from the heather,
Sigurd swung his sword with joy,
Sigurd felled the dragon bold.
Grani bore gold from the heather.
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Finnish Dances.
SWEDISH DANCES
20
SWEDISH DANCES,
BLEKING.
(NAMED FROM A PROVINCE.)
The dance is gay and energetic. The movements are forceful and all empha-
sized parts are vigorous and somewhat heavy.
The pantomimic expression of the first part is playful resistance ; of the sec-
ond, joyful success.
i J
The players form in a circle facing the left. Beginning with the leader, every
other one turns around and faces the one behind. The two players facing each
other join hands.
PART I.
Both hop, placing the right heels forward and the right arms forward each in
front of the partner's shoulder. Hop and change to the left feet, with the left
arms forward (measure one).
Three quick changes with the feet and arms (measure two).
Repeat the above, beginning with the left foot (measures three and four).
Repeat the entire movement (measures five to eight).
PART n.
The leader and all the dancers facing in his direction start backward with the
left foot, the others start forward with the right. Hop twice on either foot.
Take two of these steps backward and two turning round (measures nine and ten).
All dance around circle during the second eight measures. On the eighth measure
the dancers stop and take the position for the first part of the dance.
Repeat from the beginning.
BLEKING.
21
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Swedish Dances.
22
TANTOLI.
(NAMED FROM A PROVINCE.)
The dance is similar to the Bleking in character, the movements of the first
part differing somewhat.
The players form in a double circle facing left. They join inner hands. The
outer arms are placed akimbo.
PART I.
Both place the outer heel forward. Swing the arms backward, upward, and
face toward each other ( first beat ) ; place the outer toe backward ( second beat,
measure one ).
Begin with the outer foot, three short running steps forward (measure two).
Kepeat the movement, beginning with the inner foot, swinging the arms for-
ward, upward, and face away from each other (measure three). Three short
running steps forward (measure four).
Eepeat as above (measures five to eight).
PART n.
See the Bleking, Part II.
Swedish Dances.
23
TANTOLI.
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Swedish Dances.
24
LOTT' 1ST TOD.
(LOTTIE IS DEAD.)
The dance is slow and mournful in the first movement, rapid and excited in
the second. The overcoming of grief by action is illustrated in this primitive and
childlike play. The formation is the same as in the Bleking, that is, Number
One stands in front of, and faces Number Two, with the hands joined.
PART I.
The movement represents rocking the body with grief. Both step sideward
toward the center, raising the arms sideward ; then bend the body toward the
center, letting the arms fall slowly to the side ( first beat). Raise the arms and
body and repeat ( measure one ). Repeat ( measure two ).
The mood changes, the body is raised, the arms lifted sideward. Begin with
the outer foot and slide eight short quick steps outward ( measures three and
four ). Repeat the movement ( measures five to eight ).
PART II.
See the Bleking. Part II.
4
Swedish Dances.
25
LOTT' 1ST TOD.
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Swedish Dances.
26
KLAPPDANS.
(CLAP DANCE.)
The Klappdans is a good illustration of the working up to a climax in panto-
mimic representation. The first movements show a mood of considerable excite-
ment and gaiety. Then the action becomes more emphatic and forceful ; and
finally the dance breaks into clapping of hands and stamping of feet, reaching its
climax with the spirited challenge of the partners.
The players form a double circle, facing left. The inner hands are joined, the
outer arms akimbo.
PART I.
Both begin with the outer foot. Eun three short steps forward, hopping on
the first step. The inner arms are swung backward and upward and the dancers
face each other ( measure one ).
Same step with the inner foot, aims swung forward and upward and the dan-
cers face away from each other (measure two).
Repeat above through first eight measures.
The eight measures of music are repeated with the following step : Both begin
with outer foot, place outer heel forward (first and second beat), outer toe behind
(third and fourth beat, measure one), moving step forward, as above (measure
two ). The position of arms and body are the same as above.
Repeat with inner foot ( measures three and four ).
Continue ( measures five to eight ).
PART n.
The dancers stop and the two dancing together turn towards each other.
Those on the inner side of the circle make a bow with the arms akimbo, those on
the outer side make a courtsey ( measure nine ). The courtsey is made by plac-
ing one foot behind the other and bending knees.
All clap hands three times ( measure ten ).
j^ Repeat movements ( measures eleven and twelve ).
Strike right hands together, and clap hands once ( measure thirteen ).
Swedish Dances.
27
Strike left hands together and clap hands once (measure fourteen).
Both turn round toward the left and stamp three times ( measures fifteen and
sixteen ).
The eight measures of music are repeated, with the following change : In place
of clapping the hands three times (measures ten and twelve), the players shake
first the forefinger of the right hand ( tenth measure ) then the forefinger of the
left hand ( twelfth measure ) towards each other, as if challenging.
At the seventh measure they join hands and swung around, the one on the out-
side passing to first partner toward the rear (eighth measure).
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Swedish Dances.
28
OLD POLKA.
The slow dances like the one given here are usually, in their earliest forms, a
part of some religious ceremony. After the ceremony has lost its meaning, the
dance is often adapted for the most dignified social gatherings and gradually be-
comes gracious rather than solemn in character.
Eight dancers form on the corners of a square. Each couple faces so that all
will move around the square toward the left. The ladies stand on the left side
of the gentlemen. The inner arms are joined, the outer arms akimko.
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PART I.
Both slide forward with the outer foot (first beat); draw -the inner foot
toward the outer, changing the weight ( second beat ) ; slide forward with the outer
foot ( third beat ) ; draw the inner foot behind the outer without changing the
weight ( fourth beat, measure one ). During this measure swing the arms back-
ward, upward, and face toward partner.
Slide forward with the inner foot ( first beat ) ; draw the outer foot behind the
inner, changing weight (second beat); slide forward with the inner foot (third
beat) ; draw the outer foot behind the inner without changing the weight, (fourth
beat, measure two ).
Repeat the first movement, beginning with the outer foot ( measure three ).
During these three measures, the dancers pass to the next corner of the square.
The lady begins with the inner foot and with the same step in front of the gentle-
man. Both take a quarter turn to the left during this measure ( measure four ).
PART 11.
The lady places her arms akimbo. The gentleman places his hands on the
lady's shoulders. Movement for lady, slide sideward with the right foot ( first
beat ) ; draw the left to right and change weight ( second beat ) ; place right heel
on the floor at the right side (third beat); hold position (fourth beat). The
gentleman moves to the right in a similar manner. The lady looks over her right
shoulder away from him, while he looks toward her over her left shoulder ( mea-
sure five ).
The lady draws the right foot to the left and changes the weight ( first beat ) ;
slMeS the left foot sideward ( second beat ) ; draws the right foot to the left and
Swedish Dances.
29
changes the weight ( third beat ) ; places the left heel on the floor at the left side
( fourth beat ); she looks to the rear over her left shoulder. The gentleman moves
toward the left in a similar manner and looks toward her over her right shoul-
der ( measure six ).
Repeat the first movement ( measure seven ).
During the fourth measure she moves behind him and he moves in front of
her. They repeat the four measures in this position, but on the fourth measure
she moves to her first position at his left. He, meanwhile, moves backward to
her right side ( measures one to four ).
PART m.
The gentleman dances forward during the four measures as in the first part of
the dance. The lady begins with the outer foot and dances diagonally forward,
crossing over in front of the gentleman during the first two measures (measures
five and six).
Both join hands and turn once around, at the same time moving forward to the
next corner ( measures seven and eight ). The lady is now on the gentleman's
right side.
PART IV.
Both begin with the outer foot. The gentleman dances forward to the next
corner, as in the first part ( measures nine to twelve ).
The lady turns under his uplifted arm as she dances forward ( measure nine ).
The same (measure ten ).
She dances forward with him ( measures eleven and twelve ).
Repeat the movement to the next corner, but during the last measure they turn
and face each other standing diagonally across the corner ( measures thirteen to
sixteen ).
PART V.
The arms are placed akimbo. Both slide sideward with the right foot ( first
beat ) ; draw the left foot to the right and change weight ( second beat ) ; slide
sideward with the right foot ( third beat ) ; draw the left foot to the right foot
without changing the weight ( fourth beat, measure nine ).
Place the left heel, with the toe raised, on the floor at the left side ( first and
second beats ) ; place the left toe on the floor at the left side ( third beat ) ; place
the left foot close to the right changing the weight (fourth beat, measure ten ).
Swedish Dances.
30
The partners change places. Begin with the right foot and walk across the
corners with three steps, turning toward the right while crossing over ( first, sec-
ond and third beats ); bring the feet together, placing the weight on the left foot,
( fourth beat, measure eleven ).
Place the right heel on the floor at the right side ( first and second beats ) ;
place the right toe on the floor at the right side ( third beat) ; place the right foot
close to the left, changing the weight ( fourth beat, measure twelve ).
The above movement is repeated, but during the last measure they turn so as
to continue along the right side of the square to the next corner ( measures thir-
teen to sixteen ).
PART VI.
The inner hands are joined. The outer arms are placed akimko. Begin with
the outer foot. Place the heel of the outer foot forward ( first and second beat );
place the toe of the outer foot behind ( third beat ) ; place the outer foot beside
the inner and change the weight (fourth beat, measure one).
Take the same step as in the first part but turn half way around. This places
the lady on the inside, the gentleman on the outside of the square ( measure two ).
Repeat the above ( measures three and four ).
Repeat again ( measures five and six ).
Both slide forward very slowly ( measure seven ).
The gentleman bows and the lady curtesys (measure eight ).
The final movement places the lady on the inside, the gentleman on the out-
side of the square, and the dancers are all one corner beyond their starting point.
The dance is repeated.
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Swedish Dances.
31
THIEF, AND THIEF NOW SHALL BE YOUR NAME.
The players form in a double circle. One on the outside bows to one of the
dancers in the circle ( Number Two ) and these two start dancing around together.
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The one who has lost a partner immediately chooses another in like manner.
Each one as he loses his partner, does likewise until all in the circle have new
partners ( measures one to four ).
They sing while dancing.
Thief, and thief now shall be your name,
For my little friend you took.
But I have this very great hope,
That I may find one if I look.
They all dance around with the new partner singing,
I think, trarla-la,
I think, tra-la^la,
I think, tra-la-la,
I think so.
The one who was left out now starts the dance again.
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Swedish Dances.
32
HOPP MORR ANNIKA.
(HOP MOTHER ANNIKA.)
The players form in a double circle with the inside hands joined ( intro-
duction).
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PART I.
All walk around swinging the hands ( measures one to four ).
All skip around ( measures five to eight ).
PART II.
The partners turn and face each other. Everyone clasps his own hands, then
right hands across, clap own, clap left across, clap own, clap both hands across,
clap own, clap both hands across ( measures nine to twelve ).
Eepeat.
PART III.
The partners join hands and dance around the circle. Begin with the forward
foot, hop and slide, turning at the same time (first beat); bring the rear foot up
to the forward and change weight ( second beat). This movement turns the dan-
cers half way around, and also carries them forward ( measure thirteen ).
As above with the other foot ( measure fourteen ).
Continue around the circle ( measures thirteen to twenty ).
When the introduction is repeated, the players on the inside of the circle move
backward. Those on the outside move forward, to change partners.
The dance continues as before.
Swedish Dances.
HOPP MORR ANNIKA.
Part One.
33
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Swedish Dances.
34
GUSTAF'S SKOL.
(GUSTAF'S HEALTH.)
This small drama is very interesting. The first part represents the vow of al-
legiance to a superior, Avhile the second is a very clever pantomimic imitation of
the yoke of subjection. The close intermingling of joyous with serious moods in
early dramas of the kind is very suggestive to the teacher of little children. Any
expression tends to kindle a more or less joyful outburst on the part of the prim-
itive actor, and the most serious dramas are usually mingled with the players'
joyful self-expression.
The eight players form in a square, facing toward the center. Those on the
north and south are the first players, those on the east and west the second
players.
12
to
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12
PAET I.
The first players walk slowly forward three steps, and lift the right hand high,
with the cup they are supposed to carry ( measures one and two ).
They extend the arms low at the side, bend forward, and move backward to
place ( measures three and four ).
The second players take the same movements ( measures five to eight ).
Repeat from the beginning.
PART II.
The first players join inner hands and run to second players who bend for-
ward as the first players pass around them with the joined hands over their
bowed heads ( measures nine and ten ).
The first players turn around and run back to place ( measures eleven and
twelve).
The partners join hands and whirl around once on place ( measures thirteen
and fourteen ), then stamp the feet three times ( measures fifteen and sixteen ).
The music is rej^eated, and the second players take the j^art of the first play-
er*, repeating the above.
Swedish Dances.
35
GUSTAFS SKOL.
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Swedish Dances.
36
DOMARE DANSEN.
(THE JUDGMENT DANCE.)
A circle is formed with one in the center who wallfs around carrying a lighted
candle. When they sing, " Ho, ho, ho," all shake their heads.
When they sing " So, so, so," all nod their heads.
As they sing the last two lines, the one in the center stands in front of one in
the circle and holds the candle before the face of that one.
If the player in the circle smiles before the end of the song, she must take
the place in the center. Any player in the center must remain there until some
other is caught.
So let us all begin the judging dance
Before the judge who is here —
And all who in the judging dance do go,
Then hearts shall burn as they do so.
They all say thus, ho, ho, ho.
They all say thus, so, so, so.
Did you dream of your sweetheart ?
Smile you will ere I depart.
Swedish Dances.
37
DOMARE DANSEN.
Introduction.
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Swedish Dances.
38
FOX AND GEESE.
One of the players, who represents the fox, is seated on a chair ; the others
walk around singing :
Fox in the garden, you are not eating there,
Fie, fie, you sly fox, you're false everywhere,
False everywhere.
At the last word of the stanza, the players all stand still and the one directly
in front of the fox is the goose. The others all move behind this one in a line,
and all place the hands on the shoulders of the person immediately in front.
The goose and the fox then have this dialog:
Goose : Is the fox at home to-day ?
Fox: Yes.
Goose: What is he doing?
Fox: Sitting on a stone.
Crunching a bone,
Wanting a fresh one.
Goose : What will it be ?
Fox: You and your young ones.
The fox tries to tag the last one in the line. The players keej) him away by
dodging to the right and left, and the line must remain unbroken. When the one
at the end is caught, he becomes fox.
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Swedish Dances.
39
NIGAREPOLSKAN.
(SALUTATION DANCE.)
The players form in a circle and one of them begins the dance. This one
places the arms akimbo, springs and slides one foot forward, spring and change,
again, again ( measures one to four ).
The player claps the hands on the first note and runs around inside the circle.
On the last measure stops in front of some one and stamps twice ( measures five
to eight ).
The dance continues with both the one on the inside and the one before whom
she dances executing the movement.
When the second part begins the one in the circle follows the leader. The
play continues until all but one is in the saluting line. That one now starts the
dance.
Allegretto.
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Swedish Dances.
SCOTCH DANCES
42
SCOTCH DANCES.
HIGHLAND SCHOTTISCHE.
(MONEY MUSK.)
The tone of the Highland Schottische is excited and intense. The body is
fairly pulled off the earth. The arms are lifted high and the dancers move lightly
and quickly, but with great "snap."
The players form a double circle, Numbers One facing right and Numbers Two
facing left.
PART I.
Numbers One begin with the left arm and the right foot. Raise the left arm
high over the shoulder, with the elbow half bent. Hop on the left foot and ex-
tend the right foot sideward, touching the floor lightly with the toe (first beat) ;
hop on the left foot and swing the right foot behind the left ankle ( second beat ) ;
hop on the left foot, swing the right in the position of first beat ( third beat ) ;
hop on the left foot with the right foot as in second beat (fourth beat, measure
one ).
Slide sideward with the right ( first beat ) ; swing the left to the right so forci-
bly that the right is lifted off the floor ( second beat ) ; spring to the right foot
( third beat ) ; hop on the right foot and swing the left behind the right ankle
(fourth beat, measure two).
Eepeat the movement of the first measure with the right foot, the left arm
raised ( measure three ).
Repeat the movement of the second measure ( measure four ).
In the meantime, Numbers Two begin with the left arm and right foot and
take the same movements, in the opposite direction (measures one to four).
Repeat (measures five to eight).
Numbers One dance toward the center of the circle first. Numbers Two away
from the center.
PART II.
Numbers One and Two join right arms, the left one raised high. Both step
forward, outer foot ( first beat ) ; hop, swinging the other foot forward, upward
( second beat ) ; step forward with the inner foot ( third beat ) ; hop, swinging the
outer foot forward ( fourth beat, measure one ).
Scotch Dances.
43
Repeat the movement, but turn about changing arms and face in the opposite
direction during the third and fourth beats of the last measure (measure two).
Repeat the movement, turning at the same place ( measures three and four ).
Repeat (measures five and six).
Repeat, but during the last measure, instead of turning around, the dancers all
turn their partners and dance to the next partner in the circle. Numbers One go-
ing on to the right, Numbers Two to the left (measures seven to eight).
The dance repeats until the original partners meet again.
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Scotch Dances.
44
PETRONELLA.
The players form in two lines facing the center. The lines may have any
number of dancers.
1 2
1 2
1 2
1 2
Every four couples form a set. Every fifth couple dance at the same time as
the first couple. The dance is described for one set.
PART I.
The first couple begin with the following movement :
Leap high from the left, sideward to the right foot (first beat ); swing the left
foot in front of the right, quickly change again to the right foot ( second beat,
measure one). The step is similar to the "setting" step but the leap is high
and quick.
Leap from left to right and continue as above ( measure two ).
Leap from the left to right, but diagonally forward instead of sideward, at
the same time turning toward the right a little more than a quarter turn ( first
beat); bring the left foot behind the right and change weight; quickly change
again to the right foot ( second beat, measure three ).
Leap diagonally backward with the left foot, at the same time turning to face
the center ( first beat ); bring the right foot in front of the left and change weight ;
quickly change again to the left foot (measure four).
After the fifth measure the partners are in the 2
following positions : \
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Kepeat the above movement during the next four measures.
Number One is then in Number Two's starting position and
vice versa. The eight measures are repeated, and the dancers
continue the movements to the right, returning to their original
positions. The figure described by each dancer is as follows :
PART ir.
The first couple join hands and slide sideward down the center as far as the
fourth couple ( measures nine to twelve ).
'^Slide back again and finish between the second and third couple ( measures
thirteen to sixteen ).
Scotch Dances.
45
The first couple repeat the dance and finish between the third and fourth
couples.
They repeat again and finish below the fourth couple.
The second couple then begin the dance. The dance is completed when the
fourth couple have returned to their original position in the set.
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Scotch Dances.
46
FLOWERS OF EDINBURGH.
The formation is similar to the Petronella.
The first and every fifth couple dance at the same time.
PART I.
The first lady turns to her right and moves down the outside of her line, passes
between the third and fourth ladies and crosses over to the first gentleman's
place. He, meanwhile, follows her, but returns to her place. The movement is
like the reel step, a short run with the high leap on the first beat ( see the Reel,
measures one to four ). They then dance the setting step in their places ( mea-
sures five to eight ).
The first gentleman then repeats the movement of the first lady above and re-
turns to his own place ; the lady, meanwhile, follows him and returns to her
place (measures nine to twelve). They repeat the setting step as above
( measures thirteen to sixteen ).
PART II.
The two dancers join hands and slide down the center to the end of the set,
then slide up and finish below the second couple ( measures one to four ).
They repeat the dance, finishing down the set one couple each time, until they
become the fourth couple. The second couple then dance and the dance continues
until the dancers are in their original positions.
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Scotch Dances.
47
FLOWERS OF EDINBURGH.
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Scotch Dances.
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48
THE TRIUMPH.
The formation is the same as for the Petronella.
PART I.
The first lady and the second gentleman slide forward, join hands and slide
down the center as far as the fourth couple ; at the same time the first gentleman
goes round the ladies and the three meet at the end of the set ( measures one to
four ).
The gentleman who has accompanied the lady takes her left hand with his
left, the other gentleman takes her right hand with his right, and with his left
hand takes the right hand of the first gentleman behind the lady. She is thus es-
corted in triumph up the center, all returning to their own places ( measures five
to eight).
The above is repeated with the second lady and first gentleman ( measures nine
to sixteen ).
PART II.
The first lady and the second gentleman cross over to change places, followed
at once by the second lady and the first gentleman (measures seventeen and
eighteen).
They return to their places in the same order ( measures nineteen to twenty ).
The first couple slide down to the end of the set and back to the second
place. The second couple now becomes the first. Repeat as in Part I until
the first couple return to their places again.
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Scotch Dances
49
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Scotch Dances.
50
THE REEL OF THREE.
The following are old forms of the reel. The dance is usually complicated
because of the difficult fling steps that are inserted in place of the " setting.''
The dancers form in the following manner, with either two gentlemen and
one lady, or vice versa :
PART I.
The reel is a short, quick running step, with three steps in a measure, right,
left, right. Then left, right, left. The dancers hop on the first step of the
measure. The diagram shows the manner in which each dancer i^asses around
the others. This movement requires the full eight measures.
PART II.
The setting step : Leap from left to right foot ( first and second beats ) ; place
the left foot in front of the right and change weight, quickly change again to the
right foot (third and fourth beats, measure nine).
Leap from the right to the left foot and continue as above (measure ten).
Continue (measures eleven to sixteen). The one in the center sets to the
outer ones alternately during the eight measures.
The dance repeats at will.
THE REEL OF FOUR.
The steps are the same as in the reel of three. The dancers start as follows :
1
2
2
1
The gentlemen stand in the center back to back, the ladies on the outside fac-
ing the gentlemen. The dance is composed of the reel step, during which time
t^e dancer describes the figure eight, and the setting step which is danced on
place for the eight measures following. The dancers move as follows :
Scotch Dances.
t
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51
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Scotch Dances.
ENGLISH DANCES
54
ENGLISH DANCES.
THE GODDESSES.
The players form in two lines, facing forward up the room. Three couples
form a set.
1 2
1 2
12
etc.
PART I.
Numbers One join hands and take three steps forward, closing their feet at the
fourth beat. Take three steps backward in similar manner. Numbers Two take
the same movement with them (measures one to four). Repeat ( measures four
to eight ).
PART n.
The first gentleman and lady turn outward and pass around outside of the
dancers in their respective lines, with three sliding steps forward. When they
meet below the third couple, they again turn outward and pass in the same man-
ner to their own places ( measures one to four ).
PART III.
Numbers One all follow their leader and pass around Numbers Two on the
outside. Numbers Two meanwhile follow their leader and pass around on the
inside of Numbers One. They move around until in their own places again.
Repeat the above, Numbers Two passing on the outside (measures four to eight).
PART IV.
Numbers One now join hands and go around Numbers Two, returning to their
own places (measures one to four).
Numbers Two repeat the movement ( measures four to eight ).
Klglish Dances.
55
PART V.
Numbers One all join hands and go around in a circle, turn and go back
again to starting place ( measures one to four ),
Number Two repeat (measures four to eight).
PART VI.
All six dancers join hands and go half around, turn and go back to places.
The movement is an alternate sliding step ( measures one to four ).
PART VII.
Numbers One take the movement of the reel on their own side.
One starts to the right, the other Ones to the left, and pass around each dan-
cer, each forming the figure eight as he moves ( measures five to eight ).
Numbers Two repeat the above ( measures one to eight ).
PART vin.
Numbers One and Two take the reel movement at the same time ( measures
one to eight ).
Fast.
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English Dances.
66
TRENCHMORE.
The players form in two lines facing toward the front of the room. In this
dance, as often in the old English Country Dances, three couples form a set.
PART I.
All Numbers One join hands and walk forward three steps, closing feet. Three
steps backward to place, closing feet. Numbers Two do the same at the same
time (measures one to four). Eepeat (measures four to eight ).
PART II.
The first lady and gentleman turn outward and pass around the outside of the
dancers in their respective lines, three sliding steps forward, then meet below
the third couple. Dance seven short side steps up the center together to their
own places ( measures nine to twelve ). Repeat ( measures thirteen to sixteen ).
PART III.
The second couple join hands and raise arms. The first couple pass under
the lifted arms, they then lift their own arms and the third couple pass under
them. This reverses the position of the dancers in the set. The movement is
taken with a quick, sliding step forward (measures seventeen to twenty). Re-
peat the movement, the first couple returning.
PART IV.
The first man sets to the second lady ( see the reel for the setting step ), then
to his own partner, then to the third lady, then to his own partner again. Each
man turns his own partner with the right hand after the setting step is finished
( measures eight to twenty ). The first lady now repeats the movement, setting
to all the gentlemen in the line, the other ladies turn their own partners with
the right hand as above.
PART V.
The movement is the same as in Part I ( measures one to eight ).
PART VI.
The first gentleman turns the first lady with the right hand, the second with
the left hand, and passing down the line the third with the right hand. The first
lady meanwhile turns the gentleman in the same manner. The partners meet at
the bottom of the line, join hands and slide up to second place (measures eight to
i^enty). The dance repeats with the second couple in first place and continues
as long as desired.
English Dances.
57
TRENCHMORE.
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English Dances.
58
COUNTRY DANCES
It is probable that the Country Dances are the degenerate forms of the real
Folk Dance among the English. Judging from the names and from the descrijv
tions of them in the oldest records, they show traces of the freshness and spontane-
ity that characterize the dances of the folk in the other countries. The "Cobbler's
Jig " is described in one of the old forms, partly made over by the fastidious danc-
ing master of the Eighteenth Century. The remarks of a ballet master of the
early Nineteenth Century regarding the dance are most interesting. " What was
meant by acting the cobbler, the author leaves to the ingenuity of the reader to
discover. It admits of so many nonsensical constructions, he begs to decline put-
ting any on it." The quotation is most illuminating, when one wonders why
the English Folk dance has passed away among meaningless figures.
The same author, in discussing the old dances, speaks of their absurd figures,
like the following, " Clap hands, strike hands across, beckon your partner, give
three jumps, hold up finger, wind your hands, advance four steps, nod and retire,
etc." Apparently the pantomimic construction of the dance was not at all per-
ceived by the English ballet master of the Eighteenth Century. After the dance
lost all meaning, the teachers were forced to call the figures they wished ex-
ecuted. The dances then changed form rapidly and the music was shuflled with
the figures. Soon the music became as monotonous as the dances.
Two of the old forms are given with the music, "The Dumps" and "The Cob-
bler's Jig." These are valuable because they show mood and action, although
they have, even in the forms given here, suffered under the hands of the masters.
" Trenchmore " and " The Goddesses" are good specimens of the developed Coun-
try Dance.
THE COBBLER'S JIG.
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English Dances.
60
SIR ROGER DE COVERLEY.
The players form in two lines facing the center.
111111
2 2 2 2 2 2
PART I.
The first lady and the last gentleman advance and meet at the center, then
retreat to their places. The first gentleman and the last lady repeat. This order
follows the other movements in this part of the dance also. The first lady and
the last gentleman advance and turn with the right hands, retreat as above.
The first gentleman and the last lady repeat the movement.
The first lady and the last gentleman advance and turn with the left hands as
above.
The first lady and the last gentleman advance and turn with both hands as
above.
The first lady and the last gentleman advance and pass round each other back
to back. As above.
PART II.
The first couple pass each other in the center and so on until they meet at the
end of the line. See diagram :
.» V
PART in.
The first couple join hands when they meet at the end of the line and prome-
nade up the center, all the couples following them, beginning with the last one.
When they reach the top of the line the lady turns outward to her right ; the
gentleman turns outward to his left and they both follow the leaders and slide
forward to the end of the line. This leaves the first couple at the end of the line,
the second couple at the top.
'^'he dance is repeated until all have passed up the line.
English Dances.
GERMAN DANCES
62
GERMAN DANCES.
HOPSASA, TRA LA LA.
The players form a circle and walk around one in the center. This one hops,
stands still, dances in one way and another, or gives some pantomimic action
which all .must follow.
They sing,
Now will I, now will I, hop-sa-sa-sa,
Happy be, joyful be, tra-la-la-la.
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63
RING DANCE.
The children form in a ring with one child in the center. They all walk
around and sing,
In summer, in summer,
That is the time to play,
The children are merry.
And they dance all the day ;
And who is standing in this ring
Must do as I do now.
The child in the center then sings :
Just laughing, just laughing,
I do that all the time.
Then will I, then will I.
Turn around, and around.
All the children turn around with him during the last lines and all repeat
the action of the child in the center as they sing again the last four lines.
Another child steps into the center and the dance repeats. They act differ-
ent things each time.
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German Dances.
64
DORNROSCHEN.
(SLEEPING BEAUTY.)
The children form in a large circle in the middle of which stands Sleeping
Beauty, while in a small circle about her are the courtiers.
The King's son and the fairy are outside of the large circle.
1. Both circles move around in opposite directions.
" The princess was so beautiful, beautiful, beautiful,
The princess was so beautiful, beautiful."
2. The children stand still and lift the forefinger warningly at the princess.
" 0, little princess, have a care, have a care, have a care,
0, little princess, have a care of a wicked fay."
3. The fairy breaks through the circle and proclaims the curse.
" Then came a wicked fairy there, fairy there, fairy there.
Then came a wicked fairy there, and she said,"
4. The princess kneels down and covers her eyes, the courtiers all do the
same.
" Princess ! sleep for a hundred years, hundred years, hundred years.
Princess ! sleep for a hundred years, and all of you."
5. The children in the outer circle take hold of hands and raise them high
to form a hedge.
" A great hedge stood up giant high, giant high, giant high,
A great hedge stood up giant high to guard them all."
6. The King's son breaks through the circle.
" There came a Prince unto this place, to this place, to this place.
There came a Prince unto this place, and said to her,"
7. The Prince sings alone.
■* "0 little Princess, lovely maid I lovely maid ! lovely maid !
0 little Princess, lovely maid, awake! arise! "
German Dances.
65
8. The prince lifts up Sleeping Beauty, the courtiers form in couples, and
those in the outer circle drop the arms and step backward.
*' The little princess then awoke, then awoke, then awoke,
The little princess then awoke to be his Queen."
9. The kingly pair walk around the circle followed by the attendants.
" They held a splendid marriage feast, marriage feast, marriage feast,
They held a splendid marriage feast, marriage feast."
10. The prince and princess with the attendants dance in the center, while
those in the circle gallop first to the right, then to the left around them.
" The people all made merry then, merry then, merry then,
The people all made merry then, through all that land."
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German Dances.
66
THE BLACK COOK.
The children form in a circle. One goes around outside singing, "Is the little
black cook there ? " The children reply, " No, no, no." The one outside contin-
ues singing :
" Three times I must march all around,
The fourth time I will lose my hat,
Find one for me."
As she sings " one for me " she seizes the hand of a girl standing in the ring,
who takes hold of her dress, and follows the leader around. The play repeats
until only one child of the original circle remains. This one covers her face
with her hands, while the children in the line form a new circle about her and
sing these words :
" Is the little black cook there?"
Yes, yes, yes,
There she stands.
Yes, there she stands,
Yes, there she stands,
The little black cook.
Ha, ha, ha. "
The child left alone now begins the game.
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German Dances.
FRENCH DANCES
68
FRENCH DANCES.
VINTAGE DANCE.
The plot of this dance, which is similar to the Harvest Dance of Finland, is
composed of the most important incidents of the summer's history. The break-
ing of the earth in the spring, and the gathering of the fruit after the summer's
labor, are climaxes that force themselves to be represented in the joyful celebra-
tion which occurs when the grapes are all harvested. It is danced merrily and
madly after the last bunch has been gathered from the vines. Unfortunately,
this is not the original music for the dance. What has been adopted here is sim-
ilar to the original in its character, but is not so line in its expression.
The dancers form in couples at the side of the room for a procession.
PART I.
All walk forward to the center of the floor to form a circle. The movement is
very free and gay. When the eight measures are completed, Number Two slides
behind Number One. All run around the circle (measures one to eight). The
music is repeated in much quicker time.
PART II.
The players stand in place and represent, in pantomimic action, the digging
of the earth, two movements in the measure (measure one).
Stamp three times ( measure two ).
Kepeat ( measures three to eight ).
69
During the eighth measure the dancers all turn around once while stamping.
The music is repeated. The players all represent, in pantomimic action, the gath-
ering of the grapes ( measure one ).
Stamp three times ( measure two ).
Repeat ( measures three to eight ).
During the eighth measure the dancers form two lines all facing the center.
PART III.
All skip four steps forward to the center ( measures one and two ).
Skip four steps backward to place ( measures three and four ).
Skip forward to the center, join right arms with opposite dancer and skip
once around. Step backward to place ( measures five to eight ).
All walk forward eight steps, crossing over, passing opposite dancer on the
right side; salute while passing (measures nine to twelve). Return (measures
thirteen to sixteen ).
The first eight measures of Part III are repeated, all skip forward to center, skip
backward to place ( measures one to four ).
Skip forward, join hands with the player opposite, and skip off the floor.
The climax is very excited and the music rises in pitch from the beginning.
Part One.
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BOHEMIAN DANCES
72
BOHEMIAN DANCES.
ROVENACKA
The dance is full of spirit and vivacity. The accented movements are exe-
cuted sharply but lightly. The dancers form in a double circle, the partners
facing toward each other : "
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PART I.
The dancers stand on place (measure one). All stamp left, right, left (mea-
sure two ).
Stand in place (measure three).
Clap hands three times ( measure four).
Shake the forefinger of the right, then of the left hand toward each other
(measures five and six)
All turn about left (measure seven).
PART n.
The dancers join hands and polka around in the circle, turning half way around
with each measure. On the sixteenth measure they foim again to repeat the
first movement.
-• As the dance repeats, Numbers One choose another than their first partner for
the second part and much fun ensues.
73
ROVENACKA.
Bohemian Dances.
74
MINET.
This dance, like a few others, is given as an illustration of the significance of
the dance in general, rather than as one which may be taught, unfortunately,
apart from its thought. It is one form of expressing close fellowship, and was
danced, as Waldau says, at church dedications and at weddings.
The dancers hold each other cross-wise by the hands and move solemnly
toward one another, as they sing this greeting:
May the Lord God
Give us His love,
Our sins forgive,
Grant us Heaven,
Also.
May God give us health
As we dwell together,
God give us health.
Give us health.
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Bohemian Dances.
75
KUZELKA.
(THE DUMPY ONE.)
The name is suggestive of the meaning of the dance. The players form in two
lines, any number of couples in either line. The odd one stands at the head of
the line, or goes around by himself until the last movement of the dance. The
movements are executed with light, vivacious spirit. The dancers take their places
during the first four measures.
PART I.
All begin with the right foot, and slide with the right and the left foot alternat-
ingly, across to the opposite side. The dancers join right hands as they pass
each other (measures one to three).
All turn around, joining hands in the lines after they turn (measure four).
Cross over, returning to the first position ( measures five to eight ).
Eepeat (measures nine to sixteen).
PAET II.
The first couple meet in the center, join hands and slide down between the
dancers ( measures one to four ).
Slide up again ( measures five to eight ).
Eepeat ( measures one to eight ).
When the dance repeats the second couple do likewise, then the third, etc.
PART III.
Those standing at the ends of the lines close in and those in the center step
backward to form a circle. The partners in the lines turn and face each other.
All pass right and left around the circle — grand right and left ( measures one to
eight played twice).
When this movement is completed the odd one is prepared to take a partner
from among the dancers for the next movement. This leaves another one out of
the dance. This play continues throughout the dance.
PART IV.
The partners join hands and waltz slowly around on place ( measures one to
four ).
Polka waltz rapidly (measures five to eight ).
Eepeat ( measures nine to sixteen ).
The slow graceful character of this movement is so marked in the music that
no further description is necessary.
Bohemian Dances.
76
Prelttde.
KUZELKA.
(THE DUMPY ONE.)
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Bohemian Dances.
78
ZAHRADNICEK
(THE GARDENER.)
The dancers form in two lines facing each other. Any number of couples
dance on either side, thus : ^ ^
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PART I.
All slide with the right and the left foot alternately across to the opposite
side. The dancers join right hands when they pass (measures one to three).
All turn around, joining hands as they turn ( measure four ).
Cross over, returning to the first position ( measures five to eight ).
Eepeat ( measures one to eight ).
PART II.
The partners from the opposite sides meet in the center and dance a very slow
waltz, turning around on place. Two measures are taken for one complete revo-
lution. Sometimes both hands are joined, sometimes they take the right hands,
and sometimes the left (measures one to eight).
PART III.
This movement is like the first, but the dancers in one line lift the hands high,
while those in the other line stoop down and pass under ( measures one to four ).
Repeat the movement, but the lines, in returning, reverse the action ( measures
five to eight ).
Eepeat ( measures one to eight ).
The following is a free version of the song which once accompanied this dance :
1 Forth into the garden
The gardener went one day;
There he thought to find
The rosemary, rosemary.
2 There was no rosemary,
Only the thorn, only the thorn;
Love, then, our wedding-day
^ Will never, never come.
Bohemian Dances.
79
ZAHRADNICEK.
(THE GARDENER.)
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Bohemian Dances.
80
KACER.
(the drake.)
The dancers form in a long line. Each catches the preceding one on the
shoulders by the clothing. The first one is the drake. He leads the players
all around the room, turning to the right or left at will.
The leader has in his hand a knotted cloth, with which he attempts to strike
one of his followers. If the one struck can snatch it from him, the leader must
keep his place. If, however, he succeeds in striking one of the players, that one
must take the position at the head of the line.
The movement of the dance is a short, light run, three steps to the measure.
The chorus sings a song of which the following free translation suggests the
meaning of the dance.
The drake goes down the valley,
And all the little drakes follow him.
I will overtake and catch you,
And when you are home, slain will you be.
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Bohemian Dances.
82
SATECEK.
(THE LITTLE CLOTH.)
There are many dances to be found in southern Europe that are similar to
this in sentiment and character. As this type of folk music is the nucleus from
which much of our more ambitious love music has sprung, it seems fitting to give
one of these plays in its early form.
PART I.
The dancers form in a circle, and one steps into the center. He chooses one
of the maidens ( measures one to eight ).
PART II.
The two kneel on a handkerchief or little cloth placed in the center of the cir-
cle, and kiss (measures one to eight).
They dance the polka waltz around in the circle while the others rotate about
them. The maiden then chooses a partner and the dance continues.
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Bohemian Dances,
University of Toron
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