May-pole possibilities : with dances and drills for modern pastime

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PUBLIC LIBRARY THE BRANCH LIBRARIES

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THE CENTRAL CHILDREN'S R0«
DQNKELL LIBRARY CENTER
20 V. 53 STREET
HSWYOSS, N.Y. 10019

OLD ENGLISH MAY -POLE DANCE
(From an old print)

MAY-POLE
POSSIBILITIES

WITH

DANCES AND DRILLS

FOR

MODERN PASTIME

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ARRANGED AND ADAPTED BY
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JENNETTE E. CARPENTER LINCOLN

Director of Woman's Gymnasium

inois

AMERICAN GYMNASIA COMPANY
BOSTON, MASS., U. S. A.

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/A* young women who have helped
to work out the possibilities of the May-
pole this little book is affectionately
dedicated.

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Henry Bold, 1657.

THE CONTENTS.

Preface 9

Introduction 1 1

The May-Pole at the University of Illinois 17

The Procession 20

May-Pole Waltz 21

Introduction to the Milkmaids' Dance ... 23

The Milkmaids' Dance 25

Peasants' Dance, 1671 27

Old Virginia Reel 31

"Grande" May-Pole and Pennant March 33

Aesthetic Waltz 38

Military May-Pole 40

Japanese Lantern Figure March 41

The Peasants' Floral Arch Dance, by Eliza-
beth E. Atkinson 50

May-Pole Pageant, 1906 54

Bibliography 59

Diagrams accompaning the dances and marches
are in the text.

ILLUSTRATIONS.

Old English May-pole Dance (From an old print)

Frontispiece

The Milkmaids at Practice opp. 23

A Group of Milkmaids opp. 25

A Group from the Flower Dance opp. 49

Pageant Procession opp. 53

PREFACE

'T^HE aim of physical training for the woman
••• receiving a university education should be
more than the body training alone. It should
educate and train the body to express the inner
self: a woman should be not only strong, but
graceful, and that grace should come from
an inner prompting. It should be the lasting
grace ; the grace which is seen not only in the
gymnasium exercise, but that which grows
with her and becomes a part of her being, a
second nature, evident in the carriage and
bearing.

To accomplish this result, the student must
realize that power comes through repose no less
than through exertion. Relaxation, therefore,
should be a part of every day's order of exercise
and the value of harmonic poise should be ap-
preciated and practiced.

When the student learns to balance the
agents of the body by the law of opposition,
and the importance of this balance is so im-
pressed upon the mind that she will keep the
idea and value of the exercise with her outside
of the gymnasium, in daily practice, until un-
consciously she has acquired the active chest
and correct carriage of the body — head, chest
and limbs in opposition — toes at proper angle ;
her step elastic and the proper length for her

io MAY -POLE POSSIBILITIES

height ; the waist muscles free and pliable ; all
movements of the body in harmony ; voice, ex-
pression and body equally cultivated, — then
will there be the permanent benefit; the phy-
sical being will be able to withstand the men-
tal strain, and body, mind, and soul will be-
come a harmonious whole — "one in conscious-
ness and three in manifestation."

It is the desire of most instructors in physical
education for women to introduce into their
work toward the close of the college year, in
order to interest the majority of students, some-
thing of a lighter, more artistic nature, and at
the end provide a suitable entertainment
which shall include not merely the young
women, always too few, who are naturally
strong, graceful, and attractive in features,
but the entire class without selection or dis-
crimination.

The May-pole, which we are able to trace
back to old English and even Roman sources
has taken on new life and possibilities. It
now serves much more than a picturesque
purpose. It provides for us an interesting
part of the year's work, and shows in the
grace, precision and harmony of movement
which it evokes, the immeasurable benefits of
corrective, hygienic and educative exercise.

J. E. C. L.

INTRODUCTION

1504-1687.

HE English observance of May-day, as a
floral festival, doubtless dates back to the
conquest of Britain by the Romans. It was at its
height during the fifteenth and sixteenth cen-
turies, when, according to writers of that period,
the upper, as well as the middle and lower
classes, went to the fields on May morning to
gather hawthorn boughs and blossoms. Hav-
ing obtained them, they marched home to the
sound of music, and this ceremony was called
"Bringing Home of May." A May-pole gar-
landed with flowers and gay ribbons was then
erected. The fairest or most popular maiden
was chosen "Queen" and crowned with flow-
ers and her subjects, with joined hands,
danced around the May-pole, as the youths
and maidens of old Rome danced and sung on
the "Calends of May," in honor of Flora.

In the time of Queen Elizabeth, May-poles
were to be found in all parts of the country, and
of all the May games, dancing round the May-
pole was the most popular. The pole, we learn,
"is covered with flowers and hearbes, and bounde
with strings of different colours, and often two
or three hundred men, women, and children
follow it with great devotion, and when it is
raised, they begin to leape and daunce about
it, as the Heathen did at the dedication of their

MAY -POLE POSSIBILITIES 13

Idolles." Ribbons seem to have been the
usual decoration of the pole, from which we
have the pretty and graceful custom of "plait-
ing the May-pole." These May-poles were
of such size that they were often drawn to
the place of erection by twenty or thirty
yoke of oxen, "every oxe havyng a sweete
nosegaie of flowers tyed on the tippe of his
homes." "The Lord and Lady of May" were
iedntified with Robin Hood and his beloved
Maid Marian, Friar Tuck, and Little John.

"The customs of the village festival gave rise
by natural development to two types of dance.
There was the processional dance of the band of
worshippers in progress round their boundaries
from field to field, from house to house, from
well to well of the village. It is probable that
this is at the bottom of the interesting game,
'Thread the Needle.' It is obvious that the
'figure' of the game, the 'arch,' is practically
identical with one familiar in Sir Roger de Cov-
erly and other old English country dances of the
same type."

The other type of folk dance, the ronde or
"round," is danced around a sacred object, a tree,
or a fire. So the custom of dancing round the
May-pole has been preserved.

The May-pole is identified in the beginning
with the Drama and May games.

1898-1906.

In recent years there has been a revival of
many ancient customs, and most prominent
among them in colleges and schools is the May-
day outdoor festivities.

The May-pole was first celebrated at the Uni-
versity of IlMnois in May, 1898, by twenty-four
young women in the waltz and two-step figures.
The next year "May-pole Day" was happily an-
ticipated by all, and instead of twenty-four young
women, there were two circles, — twenty-four in
the inner circle and twenty-eight in the outer
circle. The May-pole dance then became an an-
nual event. The third year another circle was
added, and each succeeding year the number of
participants increased. The great gatherings of
thousands of spectators demanded more and
more. The "Grande" May-pole then grew to the
dimension of four circles, one hundred and
twenty young women moving in concerted fig-
ures and steps. This was preceded and closed
by the Pennant March. The Milkmaid and
Peasant dances, figure marching, and classic
dancing were added, and by study and inge-
nuity, it has been found that the May-pole
possibilities are almost without limit.

Letters of inquiry from schools and colleges

MAY -POLE POSSIBILITIES 15

and a more general demand for this type of work
has led'the author to publish a description of the
May-pole celebration given at the University,
hoping that it may prove as enjoyable and help-
ful to lovers of health, grace, and beauty, as it
has to the May-pole devotees of Illinois.

THE MAY-POLE

AT THE

UNIVERSITY OF ILLINOIS

--

•

Scene. — Athletic Field.

The bleachers formed a semi-circle. The cir-
cle was completed by two rows Oi chairs a dis-
tance of eighty feet or m&re irom the center,
serving to keep the spectators from crowding
too near to the pole.

Time. — 6.30 p. m.

Music. — Military Band.

Ushers. — Cadets.

Participants. — Two hundred young women
from the gymnasium.

Dress. — White shirt-waist suits, or other suit-
able white dresses, walking length.

Properties. — Pole, twelve or fifteen feet high,
the top decorated with an abundance of flowers
and foliage. Twenty-four streamers of bunting,
three yards longer than the pole, the University
colors, orange and navy blue, twelve of each
color. Pennants of orange and blue paper-mus-
lin attached to sticks three feet long, sharp
pointed at one end to facilitate planting them in
the ground, where they are left in a circle
around the dancers during the "Grande" May-
pole dance.

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MAY-POLE WALTZ.

Colors. — Orange and blue.

Music. — Waltz time.

Participants. — Twenty-four young women, all
graceful dancers.

Costume. — White shirt-waist suit or other
white gown, walking length.

I. All trip gracefully to the pole and catch up
the streamers, twelve orange and twelve blue.
All face outward toward the spectators. Cour-
tesy.

The Courtesy: (Slow time.)

Right foot back 3 counts

Bend back knee 3 counts

Straighten back knee 3 counts

To position 3 counts

Same with left foot 12 counts

II. Face opposites ; backs to partners. Cour-
tesy, 12 counts, turning on the loth, nth, and
I2th counts to face partners. Courtesy to part-
ners, 12 counts. On the loth, nth, and I2th
counts, step to side. Those holding orange
streamers step inside, with left arm toward pole.
Those with blue streamers step outside, with
right arm toward the pole. All sway; place
right foot to side (i), cross left in front, touch

22 MAY -POLE POSSIBILITIES

toe (2), place left foot to side (3), cross right
foot in front, touch toe (4), and repeat, 12
counts. Pass partners. Go in and out as in
"grand right and left" until the streamers are
plaited down the pole. When wound sufficiently,
hold through four counts. Courtesy, 12 counts,
to partners. On loth, nth, and I2th counts, face
opposites. Courtesy, 12 counts, (or if prefer-
able, waltz with partner round and round and
reverse a few measures). Sway as before, 12
counts, crossing the feet. Unweave the
streamers. When back to place, courtesy,
drop the streamers, and run gracefully from
the scene.

INTRODUCTION TO THE MILKMAIDS'

DANCE.

" For this is a holiday !
Then every man did put his hat off to

his lass,
And every girl dis curchie, curchie,

curchie on the grass."

— Westminster Drollery, ibji.

In the old English festivals a pleasing part was
taken by the milkmaids, and a day was set
apart for a milking feast. On the morning of
this day the youth of both sexes betook them-
selves to the outskirts of the villages for flowers
and foliage, with which they decorated them-
selves and afterwards the May-pole. Then they
danced about it to the strains of the bagpipe and
other musical instruments, strange to us,
played at old blindman's-buff, danced the Sail-
ors' Hornpipe, and played their part right mer-
rily.

It is written of the Princess Elizabeth that
when, once upon a time, while closely
guarded, she heard from her window the
light-hearted singing of a milkmaid, she
wished herself a milkmaid, so that she, too,
might be free and merry.

THE MILKMAIDS' DANCE.

Music. — A lively two-step.

Participants. — Twenty-four young women all
in white dresses, tissue-paper hats tied under the
chin, small aprons of the chosen colors (twelve
of each), and small pails on the arms.

All skip merrily, with peals of laughter to the
pole, and twelve take up the orange streamers
and twelve the blue streamers. Partners face
toward each other. The inside twelve, right
face, and the outside twelve, left face. (See dia-
gram No. i.)

Drop maid's courtesy to the right and left.
(See description of maid's courtesy on follow-
ing page.) Then dance skipping step around
once in lively time, the orange and blue going
in opposite directions.

Second time around, all take hands and side-
step. The outside circle crowd the inner circle
to the pole and side-step around them, the inner
girls bobbing their heads and all laughing. The
inner girls then dip under the arms of the out-
side circle. All side-step to right and back to
places. The outside girls then dip under the arms
of the inner circle and all side-step to the left
and back to places. Then in two circles, basket
fashion, all sway from side to side. The two

26 MAY -POLE POSSIBILITIES

circles theu run in opposite directions. Running,
skipping and hopping, then unwind, and at the
end leave the pole, hand in hand, skipping
away from the scene with laughter.

This may be prolonged by the introduction of
fancy steps of any sort, the Sailors' Hornpipe, or
more ceremony.

Description of Maid's Courtesy. — Place right
foot back of left (i) and bend both knees in
the drop courtesy. (2) The same with the
left foot back. This is the lowly drop court-
sey customary before superiors in England.

PEASANTS' DANCE.
Rural, 1671.

" Come lasses and lads, take leave of your dads,
And away to the May-pole hie."

"The fiddler then began to play the time again,
And every girl did trip it, trip it, trip it to the men."

— Westminster Drollery.

These country dances were simple, and the
steps were taken mainly in circles, with the
hands joined, constituting a roundel or rounde-
lay, though many of the dances terminated with
a reel. Of these roundels "Thread the Needle"
was a favorite.

Participants. — Fifty— six young women.

Costume. — Ordinary white dress, made an-
tique by a few simple accessories.

An elaborate costume is unnecessary for out-
of-door effect, since this latter is readily obtained
by the addition of a long-pointed, laced bodice
of any black material. Any two harmonious col-
ors (one-half of the peasants in each color) may
be used for the tissue-paper hats, which should
tie under the chin, and for the small aprons or
panniers. Ribbons of the same color and ma-
terial as the aprons or panniers may be worn on
the full sleeve from shoulder to elbow, and thus
giving an effective touch to the costume.

This figure (see diagram No. II.) consists of
five groups of dancers arranged as follows:

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Diagram II

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MAY -POLE POSSIBILITIES 29

Eight each, in quadrilles, form on the four
corners of the green.

Twenty-four in the central figure about the
pole.

The twenty-four form about the pole, sixteen
as in the double quadrille, and eight standing
outside — one at each of the four sides and one at
each corner. All hold streamers.

All courtesy to partners and to corners. The
sides and corners courtesy to the audience, right
and left. Head couples cross right, then side
couples cross right. Head couples return to
places, left. Side couples return to places,
left (always careful to observe the changes
in the same line). Repeat. Heads and
sides cross and re-cross until the streamers are
plaited sufficiently on the pole. Those holding
the streamers on outside corners and sides
may add to the picture by holding the stream-
ers in a canopy over the dancers, or they may
make a revolution about them between every
alternate crossing of sides and heads.

To unplait the streamers, the last couples who
cross, must cross back again, and all be sure
to travel in the same path at the same side as
when weaving the pattern, in order to prevent
confusion.

When the streamers are all free, repeat cour-
tesies to partners, corners, and to audience. All

30 MAY -POLE POSSIBILITIES

take hands and joined by the four corner groups,
with fancy steps or running leave the scene.

At the same time the eight on the four corners
dance a quadrille as follows:

Positions as in Diagram II., C, D, E, F.

i. — Courtesy to partners, 4 couts.

2. — Courtesy to opposites, 4 counts.

3. — Form a circle and side-step to right, once
around, and back again to places.

4. — Grand right and left.

5. — Promenade all.

6. — Head couple form an archway, and all
pass under; "Thread the Needle."

7. — Ladies' chain.

8. — Back to places.

9. — All join hands, crossing in front, and the
four corner eights join hands, leave corners,
circle about the center figure at the pole and, in
conclusion, run gracefully from the scene.

If preferred, Sir Roger de Coverly (Old Vir-
ginia Reel) may be danced on the corners. Po-
sitions as in Diagram II B.

OLD VIRGINIA REEL.
A Modification of the Sir Roger de Coverley.

Eight couples on the corners of the green, the
May-pole group of twenty-four plaiting the
streamers in the center of the green (as seen in
diagram II. and II B.)

The girl at the head of line I and the one at
the foot of line 2 forward, meet in the center, and
back — 4 measures.

Partners, same — 4 measures.

Girls at head, same, and turn with right hand
— 4 measures.

Partners, same — 4 measures.

Same two who commenced, turn with left
hands — 4 measures.

Partners, same — 4 measures.

Same two who commenced turn with both
hands — 4 measures.

Partners, same — 4 measures.

Same two who commenced, dos-a-dos — 4
measures.

Partners, same — 4 measures.

Head couple join right hands and turn once
and a half around. (Reel.) They separate, each
giving the disengaged left hands to the couple

32 MAY -POLE POSSIBILITIES

next to them, then to partner, then to next cou-
ple, and continue down the center between the
lines. When the head couple reach the bottom
of the lines, they join both hands crossed, and
chasse up the center to their places. Then the
lines march down the outside, and join partners
at the foot of the line. All join right hands,
raising them so as to form an arch, and the head
couple join hands and run down the center, tak-
ing their places at the foot of the line. The sec-
ond couple, now head couple, repeat the figure.
After each couple has gone through the figure,
all forward and back, forward again and turn
partners, and the dance is at an end.

"GRANDE" MAY-POLE AND PENNANT

MARCH.

The "Grande" May-pole is a dance of circles
and combined concerted figures, arranged so as
to enable large numbers in the gymnasium
classes to take part without selection or with
reference as to special fitness for display. The
following description applies to a four circle
dance. In diagram No. III. five circles are
shown. The outside or fifth circle of thirty-two
move in pairs the same as the second circle.

Music. — 4-4 time or two-step.

The one hundred and twenty young women
march into the circle of seats in pairs. They
separate, the orange pennants passing to the
right, and blue to the left. Meeting at the
opposite side, they form a complete circle. (See
Diagram III. Direction of arrows.) All face
outward, take four steps forward, and plant the
pennants in the ground. Leaders face each
other. The right leader starts forward, followed
by her partner, and all fall in, single file, leading
in a spiral or labyrinthine march around the

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MAY-POLE POSSIBILITIES 35

pole. They march around and around till all are
in place and four complete circles are formed
around the pole in preparation for the "Grande
May-Pole Dance," as indicated in Diagram III.,
the arrows showing the directions.

Twenty-four in the first circle nearest the pole.

Twenty-eight in the second circle.

Thirty-two in the third circle.

Thirty-six in the fourth circle.

Thirty-two in the fifth circle (if added).

Circle No. i takes up the streamers, and
stands nearly the full distance of the stream-
ers from the pole.

The four circles dance in the following order:

1. The four circles taking hands, face the
spectators. Courtesy (16 counts).

The Courtesy. (Slow time music.)

Right foot back 4 counts

Bend back knee 4 counts

Straighten back knee 4 counts

To position 4 counts

Same with left foot 16 counts

2. Sway:

Place right foot to side (i), cross left (2).
Repeat left and right (8 counts in all).
Circle No. i right face, circle No. 2, left face,
circle No. 3 right face, circle No. 4 left face.
Rest in preparation for the revolution.

36 MAY -POLE POSSIBILITIES

All spring-step around the pole, hands held
easily at belt, one revolution. (By "spring-
step" is meant a running, light, elastic step in
march time, springing from one foot to the
other.)

3. First circle with streamers, rest, holding
streamers in a canopy.

Second circle form in twos, holding hands.

Third and fourth circles form in fours, hold-
ing hands. (See diagram III.)

The twos and fours then either side-step or
two-step around to the right, 8 counts; rest 4
counts ; then around to the left 8 counts.

4. All face as in 2. Rest 4 counts. Follow
step (place right, bring up left, etc.), right hand
over head, left hand at belt, changing position of
arms with the change of step, looking from the
raised arm, when moving to the right. Go
around once.

5. Twos and fours as in 2. Fours change to
the windmill or star, partners clasping right
hands across opposites' hands, left hands at the
waist.

Around to the right, 8 counts.
Change hands, 4 counts.
Around to the left, 8 counts.

6. Face as in i. Hold 4 counts. Around the
pole with fancy step, either in the four large cir-
cles, or the three large outside circles may fall

MAY-POLE POSSIBILITIES 37

into procession of pairs, taking hands, holding
heads back, catching the drapery with the out-
side hands, and give a gentle suggestion of a
springy cake-walk step. This must be given
airily. The streamers are held in the canopy by
the first circle, who sway gently. Any steps or
concerted movements may be introduced to suit
the director in charge. When the streamers are
wound about the pole sufficiently for a good
effect, the courtesy as in I may be given, the
cross step swaying, 8 or 16 counts; and the
whole exercise repeated in the opposite direction
to unwind the streamers.

THE RETURN MARCH.

A leader from the outside circle starts off and
all face in her direction, leading off singly or in
twos.

The twos march to the opening of pennants,
passing just inside of them till each stands be-
hind her pennant, facing the spectators. Simul-
taneously the pennants are taken up, waved to
the right (i, 2), to the left (i, 2). Repeat.
Leaders, standing where they began their march
around the pole, separate and march around the
pole in the figure eight, moving to the outside of
the circle of chairs.

(Any other marching order may be used for
closing.)

AESTHETIC WALTZ FIGURE.

An exceedingly graceful and pleasing num-
ber in the program at the University of Illinois
was the aesthetic dancing by thirty-two young
women. The May-pole streamers were not em-
ployed; the pole served only as a center for the
scene. (See diagram IV.)

(Mr. Melvin Ballou Gilbert's Faust Waltz
was danced. The description and music may be
obtained from Mr. Gilbert, Boston.)

Any fancy steps or slow dance with graceful
arm movements may be arranged for this figure.
The Faust Waltz, owing to the forward, back-
ward, and lateral movements, is especially well
adapted for the out-door effect.

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Diagram IV

MILITARY MAY-POLE.
(A Simple Dance.)

Twenty-four young women form a circle
around the pole. Take up the streamers. Face
outward. Salute with right hand. Salute with
left hand.

(The figures given may be either in marching
or in fancy steps.)

1. Single file, once or twice around the pole.

2. In twos, twice around.

3. In fours, twice around.
4.Single file, side step, once around.

5. In fours, form six small circles. All cir-
cles either forward march or side-step to right
and left, with care not to entangle the streamers.

6. Form in fours and face in direction for
unwinding the streamers, twice around.

7. Form twos, twice around.

8. Single file, once or twice around until all
are in starting position as in I. Leave the pole
in any preferable military order.

JAPANESE LANTERN FIGURE MARCH.

Each year the May-pole exercises at the Uni-
versity of Illinois lengthened, until in time the
final march was overtaken by darkness. This
proved unsatisfactory to spectators and par-
ticipants, and it was thought expedient to
introduce some method of illumination so
the Japanese lantern was introduced for that
purpose and the May-pole Dance gained one
of its most attractive features.

The symmetry and precision of execution, the
rows of lanterns hanging evenly as from a single
pole, and the reflection of the many-colored
lights on the white dresses of the participants
made the scene one of exquisite beauty.

Time. — Dusk.

Properties. — Staffs and lanterns.

Participants. — Thirty-two young women.

Costume. — White dress.

Each participant carried a staff five feet long,
at the upper end of which, from a horizontal bar
eight inches long, hung a good sized highly-
colored Japanese lantern. The staff was carried
perpendicularly in the right hand with the arm
down at full length and the lantern hung di-
rectly over the head.

42 MAY -POLE POSSIBILITIES

1. Enter single file; halt, facing the pole and
about 30 feet from it.

In position, 8 counts.

(Before beginning the figures, there may be
executed any order of marching with wheelings,
which is suitable to the circumstances.)

2. Form a square about the pole. (See dia-
gram V.) The center pivots or corners of the
square will come between 12 and 13 in the mid-
dle, and 6 and 7, and 18 and 19 side corners, op-
posite each other, and I and 24 will form the
corner opposite 12 and 13.

3. The four sides of the square rotate. The
center pivots between 3 and 4. Nos. I, 2, 3 march
forward, and 4, 5, 6 march backward, making
one rotation back to the square.

4. Form a star. (See diagram VI.) The
sides of the square make one-fourth of a rota-
tion, No. i next to the pole, No. 6 at the end.
Hold the star 8 counts and all march forward,
making one revolution about the pole.

5. Form a circle. (See diagram VII.) All
face forward, and with No. 6 at the end, leading,
all march forward and form a circle. March
once around the pole, and with No. 6 leading in,
again form the star. Hold, 8 counts.

6. Firefly Figure. (See diagram VIII.)
Form a star. Nos. I, 3, 5 about face. This

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44 MAY-POLE POSSIBILITIES

brings alternates facing the opposite direction.
All march forward once around the pole, then
back to original positions in the star. Nos. I, 3,
5 about face. Hold, 8 counts.

7. Form circle. (See diagram VII.) Nos. I
lead out and form the large circle, make one
revolution as in No. 5, and return to place in
the star, Nos. i leading in to the pole. Hold, 8
counts.

8. Two small stars. (See diagram IX.) To
form two small stars, one on opposite sides of
the pole, east and west, the north and south lines
march 4 steps forward, and the east and west
lines open I step between Nos. 3 and 4. The
north and south lines side-step through until the
lines intersect at Nos. 3 and 4, forming the small
stars on the east and west sides of the pole. Nos.
I and 2 of the north line and Nos. 3 and 4 of the
south line about face. All revolve. Hold, 8
counts. The two stars revolve once.

9. Two small circles. (See diagram X.) Same
as in No. 7. Hold, 8 counts.

10. Two small stars. (See diagram IX.)
Same as No. 8.

11. Form a star. (See diagram VI.) North
and east lines side-step and return to original
position in the large star. One revolution.
Hold, 8 counts.

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46 MAY-POLE POSSIBILITIES

12. Form a square as in the beginning. (See
diagram XL) Hold, 8 counts.

13. A II face — one-half right, and one-half
left, and march away in twos, I and 24 leading.
If single file is desired, No. I leads. (See dia-
gram XI-D.)

In the final march, by twos, wheelings are
made by twos and fours, eight forward steps
being taken between each wheel. (See dia-
gram XI-E F.)

The wheelings may be made in different
ways, in half (180°) or entire (360°) revolu-
tions to right and left.

To make the attraction much more elaborate,
two companies may be formed with 24 in the
smaller figures, as here described, and 32 in
larger circles, squares, and stars, revolving and
moving about the smaller figures.

This execution was carried out at the Univer-
sity of Illinois, May program for 1906.

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PEASANTS' FLORAL DANCE

BY

ELIZABETH E. ATKINSON

Properties. — Double twisted steel wire arches,
with wooden handles, covered with pink and
white tissue-paper chrysanthemums. Wreaths
of flowers. Girls with white arches in wreaths
of white spirea. Girls with pink arches and
wreaths of pink honeysuckle.

Directions for making Flowers. — Material:
Tissue paper (ic. per sheet) and spool wire for
stems. Fold the tissue paper lengthwise of the
sheet in three equal parts, then fold over once in
a square. Take the two opposite corners of the
square and fold over together, then fold twice
more. Round off the outer edge. To cut petals
take scissors and cut down center of paper from
outer edge to within one inch of center. Cut
once on each side of that, making three slashes
in all, then cut down the sides where the paper
is folded. To curl flowers open up the paper,
take one leaf at a time, place it on the knee and
roll with a small, round-headed hatpin, begin-
ning at the outer edge of each petal, and roll in,
pressing rather hard. Take four of the curled
leaves to make a flower. Place one on top of
the other, and run a piece of the wire through
center to fasten together and form a stem.

MAY -POLE POSSIBILITIES 51

PEASANTS' FLORAL ARCH DANCE.

The Peasants' Floral Arch Dance by 32 young
women dressed in white, wreaths of flowers in
their hair, each carrying an arch; 16 white
arches and 16 pink, the colors alternating.

The girls form in order at one side of the
grounds and then march in and form a circle
around the May-pole, being numbered in four
sections, I, 2, 3, 4, 5, 6, 7, 8, Nos. I standing op-
posite each other. After forming the circle,
partners (pink and white arch) face.

Figure I. — Serpentine Movement: — This
movement is simply the Grand Right and Left
done without joining hands ; once around.

Figure II. — Right face and cross step in cir-
cle around the pole. On reaching places Nos. I
turn in toward the pole, forming a star, making
eight girls on each side of pole. Left face and
march forward around the pole in a star, Nos. I
acting as pivots, finishing in original position.

Figure III. — All left-face out and Nos. 8,
(on the ends), lead off to the left, each eight
girls forming a circle at one of the four corners
of the pole. Each circle faces out, join hands,
connecting arches and circle once around to left.
Hold 8 counts and circle to right. Left face ;
march once around and re-form star, Nos. I
leading.

52 MAY -POLE POSSIBILITIES

Figure IV. — Nos. I lead off to left and march
in large circle around pole to place.

Figure V. — Face partners. Odd numbers sink
on one knee and partners two-step around them.
Repeat for even numbers. Repeat all.

Figure VI. — All face out. Odd numbers step
forward one step, face left. Even numbers hold
one handle of arch in right hand and swing the
other handdle to girl standing next, forming a
circle of arches. Odd numbers step through arch
on left of partner, winding in and out around
circle to place.. Inside circle swing arches back
to place, outside girls step back to place, forming
large circle.

Figure VII. — Partners face and repeat ser-
pentine movement. (Figure I.)

Figure VII. — All face same direction and fol-
low leader from the grounds in a serpentine
march (with fancy steps if desired.)

MAY- POLE PAGEANT
1906

Properties. — Canopy — a Japanese umbrella
covered with white crepe paper with six pink
streamers, wreath of spring flowers decorating
the top.

Each group of girls carried the properties
employed in its particular dance.

The entrance procession was preceded by the
May Queen and attendants.

The May Queen walked under the canopy and
her attendants carried the streamers,, as seen in
the illustration. A short distance back of them
came the group carrying the Japanese lanterns,
followed by the 32 peasants with floral arches.
Then came the milkmaids and last the "Grande"
May-pole girls with the pennants.

They entered at the south side of the circle of
chairs and marched in zig-zag to a distance op-
posite the bleachers, where the spectators were
seated. They then formed in ranks of sixteen,
dividing into eights in order to pass on each
side of the pole, and passing in position be-
tween the spectators and the pole.

Here the lantern bearers marched forward di-
rectly then obliquely backward until they stood
in diagonal lines on each side as in diagram Z-i.

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S6/ MAY -POLE POSSIBILITIES

The floral arches were then raised and the
milkmaids and pennant bearers passed under.
Crossing in front in fours to opposite sides, they
marched to the rear and sides of the pole, form-
ing circles, and paused in positions as in dia-
gram 2-2.

The band ceased playing and a tribute was
paid to the May Queen, — the presentation of a
bouquet of roses. This ceremony was preferred
to the crowning, which is generally the custom.

A group of girls then caught up the streamers
of the May-pole. (Here a pattern may be
plaited upon the pole as described in the Peas-
ants' dance or the May-pole Waltz.) All circles
as in diagram Z-2 danced in various figures and
steps in honor of the May Queen, whose attend-
ants, holding the streamers, danced and courte-
sied about her. (Any arrangement of groups
for dancing may be introduced here instead of
the one described).

At the close of the revel, all ran or skipped
from the pole.

Note. — Diagram Z-i shows nine in each rank,
holding arches. An odd number may be added,
or if there are eight in line, the end arch may be
held as a wreath, or the end arch may overlap
the one next to it while the procession passes
through.

. CENTRAL CIRCULATION

CHILDREN'S IM

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BIBLIOGRAPHY FOR MAY-POLE
REFERENCE.

Brand's Popular Antiquities of Great Britain,
by W. C. Hazlitt, Vol. 2, pages 402-6.

Medieval Stage, by E. K. Chambers. (Consult
index in Vol. 2 under May-day, May-pole,
etc.)

Curiosities of Popular Customs, by Walsh.

May-Day in the Country and May-Day in Town,
by Fraser, May 1842.

Dancing, Badminton Library.

Dictionary of Faiths and Folk-Lore, by Hazzlitt,
Vol. 2.

The Art of Dancing, by Sause.

CENTRAL CIRCULATION

CHILDREN'S ROON»

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