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SWEDISH FOLK DANCES
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SWEDISH FOLK
DANCES
BY
NILS W. BERGQUIST
INSTRUCTOR OF PHYSICAL CULTURE
NEW YORK PUBLIC SCHOOLS
INTRODUCTION BY
C. WARD CRAMPTON
DIRECTOR OF PHYSICAL TRAINING
NEW Y'ORK PUBLIC SCHOOLS
NEW YORK
THE A. S. BARNES COMPANY
1910
Copyright. 1910,
BY
THE A. S. BARNES COMPANY
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INTRODUCTION
It is significant that the folk dance has come to fill a large place in the life of
the people of the city. Country men and women coming to the town have left behind
them the dances that have formed part of their lives and much of their pleasure, be-
cause city conditions were different and country traits unbecoming. Our own coun-
try dances "The Lady of the Lake," "Hi! Jim Along, "and even the " Virginia Keel "
have not survived a separation from their birthplaces.
Foreign people coming t© our cities form .closer groups, and during times of
festivity the emotions arising frp^pi old asspciations^eek expression in the old dances.
The old rhythms of folk dances are 'comnion to all human life. Many genera-
tions of city-dwelling cannot do more than cover thinly the innate tendencies to
dance the old forefather dances of the sod, mountain, or steppe. It needs but the
music and festal occasion to fling off newly acquired restrictions which overlie the pure
rustic hiunanity of man.
Thus the folk dance has come to signify the revival of the expression of old
fundamental rural impulses, pure and lovely as the sunshine of the fields.
The general European revival and our own use of the folk dance is an expres-
sion of this deep-rooted longing. In New York City dancing has taken its legitimate
place in the education and recreation of the children in the schools. There the dances
have lightened the formal gymnastics with a natural interest, and have returned large
values in a normal joyous expression of fundamental impulses.
So few city recreations are not manufactured that the genuine is rare and is to
be valued accordingly. This volume of folk dances taken from Swedish sources and
sympathetically translated for American use by Mr. Bergquist is genuine and cannot
fail to receive the large appreciation it deserves, for he has danced them as his fore-
fathers did in Sweden itself.
C. Ward Crampton,
Director of Physical Training
Neio York Public Schools
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PREFACE TO FIRST EDITION
This book is in the main a translation of a publication by the society ' ' The
Friends of Swedish Folk Dances " in Stockholm, and in presenting it we hope that a
long-felt want may be filled.
The dances are arranged in a progressive order from the simple and easy to
the more complicated.
^' Because of the fact that certain steps and dances are perfectly familiar to the
Swedish people, no special description of these steps and dances is made in the Swedish
edition, while in the translation they are fully explained.
The description of the Fjallnas Polska has never, to my knowledge, appeared
in print and is, therefore, as given in this book, original.
As near as possible the Swedish text has been closely followed, and only such
deviations therefrom are made as were found absolutely necessary in order to make
the text intelligible to English readers.
To Mr. J. Blake Hillyer, who has carefully read and criticised the translation, 1
am greatly indebted for many valuable suggestions which have been embodied in this
translation with a view to making the descriptions easily understood without the aid
of an instructor.
Nils W. Bergquist.
Tompkinsville, New York.
PREFACE TO SECOND EDITION
In preparing the second edition of this book for print, especial care has been
taken to describe more explicitly the various steps in the dances.
The descriptions of the steps are arranged in alphabetical order.
The order of the dances has been re-arranged, as it was found that certain dances
were more easily taught than at first assumed.
The illustrations are of pupils in public schools of Richmond borough, New
York City.
Nils W. Bergquist.
Tompkinsville, New York.
CONTENTS
Foreword viH
Explanation of Terms ix
Steps x
The Skaning or the Stop 1
Bleking 2
Ladita — Lott' 1st Todt 3
Tantoli 4.
The Rill 5
Snurrbock ' C
GusTAvus' Toast 7
Clap Dance 8
The Skobo Dance 9
•^Varsovienne 11
Three JNIen Polska ' 13
The Oxen Dance 15
OsTGOTA Polska 17
SCHOTTISCHE . f . v 29
Fryki).vl Polska i/. 23
The Skanska Quadrille 26
.Weaving Dance 29
Fjallnas Polska 32
GoTTLAND Quadrille 34
Dal Dance 39
The Halling 43
ViNGAKER Dance 46
The Skrai,at 50
FOREWORD
The dances in which the peasant people in almost all countries in Europe find
the most enjoyable means of exercise and of giving expression to old folk lore are
known under the name of ' ' folk dances. "
With the advance of modern civilization, much of that which formerly served to
characterize certain occupations, people, or localities is fast disappearing. For instance,
machinery has supplanted the old-fashioned way of weaving by hand. In the Swedish
"weaving dance " the figures represent the old style of weaving, and by the preserva-
tion of dances of this sort the present is still connected with the past.
The present generation is always interested in the past, since the past forms the
foundation upon which the present one is building.
That there exists such a rich supply of Swedish folk dances is probably due to
the fact that a revival of these dances took place about thirty years ago.
In the period 1870-1880 a great deal of criticism was made in Sweden about the
so-called "modern dances." They were considered unesthetical. Particularly were
the waltz and polka criticised, because they were danced with little consideration for
grace or rhythm.
Then the students of the university in Upsala organized a society named
" Philocoras, " the object of which was to study the art of dancing as far back as the
Greek and Koman era. The society engaged a dancing teacher to give free instruction
to those who wished to learn dances according to the simplicity, grace, and rhythm of
the ancient method. The public, however, gave very little encouragement to the work,
and after a few years of "struggle for life " the organization ceased to exist.
Some members of the former society then attempted to revive the old folk dances.
A few students were sent to different parts of Sweden in an endeavor to obtain the
material for these dances. Their work was difiicult, as some of the dances had pretty
nearly passed into oblivion. In some places was found only an old "fiddler," who
still remembered the dance, music, and original costume of the locality. However, the
students collected considerable material, and when the first presentation of these dances
was given at a charity bazaar in the Royal Opera House in Stockholm, it was a pro-
nounced success.
Since then numerous societies have been organized all over the country to fur-
ther advance the interest in folk dances.
These dances now form one of the most attractive features of the exhibitions at
the unique out-door museum, "Skansen, " in Stockholm, where they will remain safe-
guarded and treasured as one of the most interesting parts of Sweden's cultural history.
Nils W. Beroquist.
EXPLANATION OF THE TERMS USED IN
THE DESCRIPTION OF THE DANCES
1. The reprise of the music and division of measures are, when necessary, de-
scribed at the beginning of each dance.
2. Numbers within parentheses correspond with the numbers of the measures
in the music and indicate in what measures various steps and figures are danced.
3. Formation is the position in which a couple is placed at the beginning of
a dance (not at the beginning of any certain figure).
4. Front means the front of the stage as seen by an audience.
5. In place means in the position where the dancer is standing,
6. String is a term given when several couples take hands forming a continuous
line without forming a ring.
7. Chain is the formation in which the dancers when passing each other take
hands, as in the "grand chain."
8. Arch is formed by a couple holding each other's hands and raising their arms
BO that others may pass under them.
9. Road is a continuous row of arches.
10. Dancing around is done by two persons only, taking hands or taking hold
of each other as may be indicated and making one or more complete turns.
In dancing around, when gentleman and lady are directly facing each other,
beginning with left and right foot respectively, each turn is, unless otherwise specified,
about three eighths of a circle and is done ' ' clockwise, " i. e. , in the direction the hands
of a clock turn.
11. Ring dance, on the contrary, is done by several persons, who then gener-
ally hold each other's hands and dance with short running steps. Ring dance is done
"clockwise."
12. Thumb-grasp. A couple standing side by side, facing in opposite direc-
tions, grasp the nearest hand by the thumb, with arm bent, elbow downward, and thumb
pointing upward.
13. Pancake turning is described in the second figure of the Dal dance.
14. Appel is a stamp of the foot.
(This sign /\ in the music indicates the appel.)
STEPS
1. Bleking steps are danced in place, thus: With a jump both feet are placed
on the floor at the aame time, left foot ahead of the right; with another jump the feet
change place, etc. Unless otherwise specified, the lady also begins with left foot.
2. Chassez steps. Gliding- steps in any direction.
3. Dal steps are danced in ? measure, thus: (l) Right foot is i^laced on the floor,
(2) left foot with the toes pointing downward is swung diagonally forward to right
side, (3) and is then moved toward its starting-place (l), where at the beginning of the
second measure it is placed on the floor (2) and the right foot in the same manner as
described for the left is swung diagonally forward to the left side (3) and again re-
placed, etc. As the swinging foot reaches its highest point, the dancer raises himself
somewhat on the toe of the other foot with a light hop forward. This raising on the
toe is, however, quite slight in the Dal dance, while in the Shralat and Vingahei'S
dances it is more marked, so as to give a livelier appearance to these dances.
4. Fall-out steps are described in the second figure of the Fryhdal \sqV&k.
5. Frykdal steps are similar to Polka -mazurha steps, and the knee upward bend-
ing is always done with the left knee first.
6. Gottland steps are used only in dancing around in | measure, thus: (l)
With a jump both feet are placed at the same time on the fioor, left foot ahead of the
right; (2) the dancer remains in this position one ciuarter of a measure, (3) then the
right foot is placed ahead of the left; (4) the dancer remains in this j)osition one quar-
ter of a measure; (1) with another jump both feet are placed on the floor at the same
time, left ahead of the right, etc. When couples are facing, gentleman and lady stand
a little to the left of each other, in order that both may begin with left foot ahead.
7. Hambo-polska steps are danced in f measure, thus: (l) Bending right
knee, the left foot is placed forward with an appel; (2) hop and pivot on left foot about
seven eighths of a cii'cle; (3) right foot is placed about one step straight sideways from
left foot. Again left foot is placed forward, etc.
Lady bends left knee and steps backward with right foot (l), then hops and
pivots on right foot (2), and places left foot about one step sideways from right foot (3).
Again steps backward with right foot, etc. Gentleman's hands at lady's waist and
lady's hands on gentleman's shoulders.
8. Hop steps are used only in dancing around in f measure, thus: (l) With a
jump both feet are placed on the floor at the same time with an appel, the heels
together; (2) then the right foot is placed on the floor slightly forward, while the left
leg, with slightly bent knee, is swung to the right backward; (3) then the left foot is
placed on the floor and the right leg swung to the left backward; (l) with another
jump both feet are placed at the same time on the floor, etc. Lady and gentleman
stand a little to the left of each other.
9. Jig steps or sailor steps are similar to the step-hop-waltz but are danced in
4 measure, on toes and with a swaying of the body toward the side where the foot is
placed on the floor, thus: (l) Step forward left foot, (2) hop on left foot; (3) step
backward right foot, (4) hop on right foot, etc. At each hop turn to the right. When
danced by couples, the lady steps in following order: 3, 4, 1, 2, etc.
10. Kicking steps are danced in place and are similar to the 'running steps ex-
cept that the feet are swung forward with straight knees, instead of the ordinary lift-
ing of the feet behind in running.
11. Old Swedish waltz steps are danced thus: A. (1) Left foot is placed
forward; (2) touch toe of right foot, heel high, behind left heel, at the same time bend-
ing knees; (3) lift left foot and replace it, turning to the right. B. (l) Right foot is
placed backward; (2) touch toe of left foot behind right heel, bending knees; (3) lift
right foot and replace it, turning to the right, etc. When danced by couples facing
each other, lady's first step is as described in "B. "
12. Ostgota steps are danced in f measure, thus: A. Ordinary change step,
beginning with left foot, on the first and second beats of each measure. B. One step
forward with the right foot on the third beat in each measure. When danced by coup-
les facing, lady and gentleman stand a little to the left of each other.
13. Pas-de-basque steps are danced in i measure, thus: (l) Step obliquely
forward with right foot; (2) step in the same direction with left foot, lifting right foot
and slightly bending left knee; (3) replace right foot. Repeat, beginning left, etc.
14. Polka-mazurka steps are danced in f measure, thus: (1) Left (right) foot
is lifted with a knee upward bending and placed forward on the floor with an appel;
(2) the right (left) foot is quickly placed behind the left (right) foot; (3) then, while
the left (right) knee is bent upward for another step, one hop is made on the right
(left) foot, etc.
15. Running steps. Ordinaiy running steps.
16. Schottische steps are danced in 4 measure, thus: A. (l) Ordinary change
step forward, beginning with left foot (l, 2, 3) turning to the right; (2) hold. B. (1)
Change step backward, beginning with right foot (l, 2, 3) turning to the right; (2)
hold, etc. When danced by couples facing each other, lady's first step is as in B.
17. Skralat steps are danced in | measure. Ordinary change steps in slow
time, both lady and gentleman beginning with left foot.
18. Step-hop-waltz steps are danced in I measure, thus: A. First beat step
forward left foot, second beat lift right foot and left heel, third beat hoiJ on left foot,
turning right. B. Next first beat step backward right foot, second beat lift left foot
and right heel, third beat hop on right foot turning right, etc. When danced by
couples facing each other, lady's first step is as described in B. These steps may be
danced to | measure. Then step, heel raising and hop are made on each beat. As
these three movements thus must follow each other in rapid succession, it is easier to
substitute ordinary ' ' step hop, " omitting heel raising as a separate part of the step.
19. Stride knee bend steps (jumping jack) are danced in place, thus: With
a jump both feet are jjlaced on the floor at the same time in stride position (with feet
wide apart), toes turned out and knees bent; at the same time the arms are swung
sideways with hands closed and knuckles turned backward. When several stride
knee bend steps are danced in succession, the dancer takes a jump to starting posi-
tion on third beat of each measure and at the same time brings the closed hands to chest.
20. Swedish polka steps are danced in 4 measure and are similar to schot-
tische steps except that instead of homing the step, a hop is made on the foot.
21. Vingaker steps are danced in i measure, thus: (l) Following a quick knee-
bending, the dancer jumps, \sa\(\\\\^ in place, knees straight, feet in stride position, (2-3)
then turns completely around to the left, on toes of the right foot, and jumps forward,
(1) landing on both feet on the floor at the same time, feet wide apart, and knees
straight, (2) remains in this position, (3) then brings the feet together with a knee-
bending: then the above is repeated, etc.
22. Walking steps. Need no description.
\]
DANCES
THE SKANING OR THE STOP
Music || 1-8 || 9-16 ||
This dance is danced with Swedish polka steps. The couple stops with an appel
at the tenth and twelfth measures, and then continues the dance with the next meas-
ure; this is also indicated by the music.
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BLEKING
Music || 1-S || 9-16 ||
Gentleman and lady take each other's hands, and dance in place in time with the
music two long Bleking steps, first step with left foot ahead (l), then two smaller,
quicker steps, followed by a long step (2). Arm forward with foot, opposite arm back-
ward, elbow bent, this is repeated three times (3-8); then the couple waltzes with Jig
steps, the gentleman placing right arm around the waist of his partner and holding her
right hand out in his left (y-16). Repeated at will.
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LADITA— LOTT' 1ST TODT
Music 1 1 1-8 1 1 9-16
The geutleman places his right arm around the waist of the lady and takes her
right hand in his left. The arms held horizontally. The couple takes four long, slow,
chassez steps forward, the gentleman with left, the lady with right foot (1-2) and re-
turns with eight cpiick steps to the starting place (3-4). Repeated (5-8) after which
the couple waltzes step-hop tvaltz (9-16). When several couples take part it is usual to
form a ring which during the dance is preserved and the steps forward are then taken
toward the centre of the ring.
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TANTOLI
Music | | 1-8 | | 9-16 1 1
The gentleman places his right arm around the waist of his partner and she
places her left hand on his shoulder, their free hands on their hips. The gentleman
steps forward with his left foot and the lady with her right foot with toes raised, then
they step backward with heel raised (1), then forward again, beginning with same feet
in front, two steps and halt (2). The gentleman then steps forward with right and
the lady with left foot one step with toes raised, same feet backward with heel raised
(3), take two steps forward and halt (-t). The same is repeated (5-8). Then the
couple waltzes, step-hop vmltz, the gentleman with both hands at the waist of his part-
ner, and she with both hands on his shoulder (9-15). Then the gentleman lifts her
over to his right side (16), and the dance is repeated.
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THE RILL
There is only one figure in this dance. The first part of it is the same as the
second figure in the schottische, that is, the gentleman, with right arm around the lady's
waist and her right hand in his left (the lady's left arm on gentleman's right shoulder),
turns while advancing, passing the lady in front of himself, first with three schottische
steps quarter of a turn to left (l), then three more schottische steps quarter of a turn to
the right (2). In the latter part of the figure the gentleman releases his partner's
right hand, while he, with two ivalling steps, turns a complete circle to the right, and
with the right arm still remaining around the lady's waist, lifts her over back to her
place at the same time that he turns (3). After which both, with free hands on hips,
take two walking steps forward (4) and repeat the whole figure (5-8).
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THE SNURRBOCK
Music || 1-8 || 9-16 || 17-19 ||
Gentleman places both hands at his partner's waist, lady places both hands on
gentleman's shoulders, arms nearly straight. Couple dances polska resembling the
Hamho polska, but differing from this in that the dancer without previous bending of
right knee places left foot on the floor on the first quarter-note of the measure and then
turns on the toes of this foot without support of right foot (1-8). Gentleman and lady
then face forward, gentleman i^lacing his right arm around the lady's waist, lady plac-
ing her left hand on gentleman's right shoulder, free hands on hips, both run, common
running steps forward in time to music (9-16). They then face slowly toward each
other and with both hands on hips make a deep bow (17); then both slowly face about
to the left, make another bow as they are turned back to back (18), again face about,
bow (19), after which the dance is repeated in the original livelier time.
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Music || :1-8: || :9-16: ||
Formation. Four couples form a square, tlie premiere to left and right, and tlie
seconde front and rear, all as seen from the front. The gentlemen hold the left hands
of their partners in their right hands, free hands on hips.
(A) The preiaiere couples walk four steps toward each other, bow (1-2), and re-
turn backward with four steps to their places (3—4). The seconde couples dance in the
same way (5-8). Repeat (1-8).
(B) The seconde couples form an arch. The gentlemen of the premiere walk to-
ward the arch on their left and their partners toward the arch on their right ; the gen-
tlemen take the left hands of the ladies they meet in their own right hands and walk
through the arch; then all turn and walk to their own places (9-12). The gentle-
men clap their hands once and the couples dance around in place with Sivedish polha
steps, partners holding each other's hands (13-16). The premiere couples form arches
and the seconde couples dance as Vhq premiere couples danced before (9-16).
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CLAP DANCE
Music | | : 1-S : | | : 9-16 : 1 1
Formation. The couples place themselves behind each other, forming a ring,
gentlemen holding the left hands of their partners in their right hands, free hands
on hips. (A) The coui^les dance forward with nchottlsclie steps, the gentlemen begin-
ning with left, the ladies with right feet, alternately turning to and from each other
(1-8), then dance Swedish polka, after which the couples stop, facing each other, the
gentlemen inside of the ring (1-8).
(B) The gentlemen, with their hands on their hips, bow to the ladies, who at the
same time, with hands on hips, make a courtesy to their partners (9), then both clap
their hands three times (10). This is repeated (11-12), after which partners clap each
others' right hands once, then their own hands once (13), then the palms of their left
hands, followed by clapping of their own hands (14), turn completely around to left
(15) and stamp on the floor three times (16). (B) is repeated with the difi'erence that
instead of partners clapping each others' hands, they shake the index finger of the
right hands three timys warningly at each other, then the index finger of the left
hands, after which, when they turn around, they slap each others' right hands (9-16).
While shaking the finger the elbow rests on the closed hand of the opposite arm,
which is bent across the chest. The dance is repeated, when each gentleman first
steps backward instead of forward and continues the dance with the lady of the couple
next behind.
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THE SKOBO DANCE
(danced by men only)
Music || 1-16 || 17-32 || Very slow legato.
Figure 1. A and B take each other's hands and dance around to the right, three
common ivalking steps, beginning with left foot (1), after which, at the beginning of
the second measure, they stop with an appel of the right foot and remain in the posi-
tion they assumed at the appel, as if they were doubtful about continuing the dance
(2). This is repeated three times (3-8), after which the couple in the same way dances
around to the left, this time beg'inning with the right foot and making an appel on the
left (9-16). During the whole of the first figure the dancers appear to be hesitating
and doubtful; during the second figure they are more decided.
Figure 2. The gentlemen let go of hands and turn, beginning with left foot,
three steps completely around to the right (17), then A quickly kneels on the right
knee, while B, placing his right foot on the floor, swings his left foot to the right over
A's head (18). Then turning as before (19), B kneels and A swings his left foot to
the right over B's head (20). They again turn to the right (21), and then bend for-
ward so that their foreheads touch (22). Finally, they turn with three steps, one
half-turn to the right, so that their backs touch (23), after which with a forcible push
they step apart (21). Repeated (25-32).
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VARSOVIENNE
Music | | 1-8 | | 9-16 1 1 17-24 1 1
Formation. The gentleman places his right arm around the waist of his part-
ner, the lady her left hand on his right shoulder, both facing in the same direction,
free hands on hips.
(A) Dancing schottiscke steps, gentleman left, lady right foot, the gentleman
swings his partner over to his left side and places his left arm around her waist, free
hand on hip (l), after which he places the heel of his right and the lady the heel of
her left foot on the floor with toes raised (2). Dancing schottische steps, gentleman
right, lady left foot, the gentleman swings his partner over to her starting position (3),
after which he places the heel of his left and she the heel of her right foot on the floor
with toes raised (4).
Repeat (5-8).
(B) The couples dance polha-mazurl:<i, gentleman left, lady right foot (9-10),
after which the gentleman in the same manner as described above swings his partner
over to his left side (11) and the gentleman places the heel of his right, the lady the
heel of her left foot on the floor with the toes raised (12). Again they dance />o^^a-
mazurha, gentleman right, lady left foot (13-14), after which the gentleman swings his
partner over to her starting position (15) and he places the heel of his left, she the
heel of her right foot on the floor with toes raised (16).
(C) Old Sivedish waltz, during which the gentleman places his right arm
around the waist of his partner, and with her right hand in his left holds his arm out
horizontally (17-24).
12
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THREE MEN POLSKA ^
Music || :1-8: || :9-16: 1| - - ^
Formation. Three parallel lines 'forming right angles with the front of the
stage, the t^vo outer facing each other and the middle line facing the right line as seen
from the front, a gentlefnan with two partners in each line, about four steps' distance
between the lines. The gentlemen hold the hands of their partners, arms half raised.
Steps. Common running steps, beginning with left foot ; when dancing around,
Ostgota steps. ... ' .. ^ '
Hand. Free hand on hip. 'WherT^^ncing (i^oimd.'i'h.Q^geYi.iTkmajA. places both
hands at his partiierVwai^it ^ad she places ^th hands on his shoulders. The^'dancers
place themselves in pasition during the_;first eight measures of tlj^music (l-8).
(A) The middle liijft and the line on the right advance toward each other with
three steps (l) and halt wifh appel (2), then return backward with three steps to their
places (3). The gentleman in the middle line releases Irfs ladies' hands and all three
face about (4). Those in the middle li;ie again take hands, and with the line on the
left advance 'toward each other with ftiree steps (5), halt with aj^pel (6), and. return
backward with three steps to their places (7), when the middle line faces aboiff in the
same way as described above (8). ; ' ^ . .. *
(B) The gentleman of/lhe noddle "lin§ runs three steps toirai'd-the lady of the
right line, who stands on the left si#fe of her partner (9), makes three c^ypels wim both
feet at the sa%ie timerthe first '-time^it^ right, the ^secdlid Mme with left, and the
third time jrith rightlSoot in l^ont (10-I2)v. Th(?n he dances awigul two turns with her
(13-16]. AGer this he runs, begimyng with left foot, three steps to the lady of the left
line, who inmnds on the left si^ of her partner (9) ; makes three appels (10-12), dances
around with her two turns, observing that at the end of the dancing around he moves
some-^at tos^:Wrd his place (13-16). Still holding the lady's right hand in his left, he
takes jrith rig|9i; hand the left^lady of the riglit line and ..dances in a ring with 'both a
coupl» of turns^n his own place, at the same'tiftf^tTiat the two other gentlemen aance
in a ring with the ladies on their right and the one to the ri^t d^t_he«#in the rfiddle
line. After this all return to their places (1-8). (A) is repeated (1-8). *• -jq.
The gentleman in the. middle line dances in the sain^ manner as described in
(B), first with the right lady of the right line, then ^itn the right lady of the left line
(9-16; 9-16), and then danc*^ in ring withr-both,** the same time that the other two
gentlemen dance iii^fcteing wi^Li the ladies on their left and the one to the left of them
in the middle line, ^ifter this all return to their places (1-8). (A) is repeated (1-8).
* The gentlemanr in the middle line dances in the same manner as described in
(B), first with the pi'artner on his right and then with the one on his left (9-16; 9-16),
and then dances in ring with them. At the same time the other two gentlemen dance
in ring with their partners. After this all return to their places (1-8). (A) is re-
peated (1-8).
The gentleman dances as described in (B), first with the gentleman of the right
line, and then with the gentleman of the left line (9-16; 9-16); after which the three
dance in a ring, each gentleman placing his right arm over the left arm and behind
the back of the gentleman on his right, taking with his right hand the left hand of
the gentleman on his left. At the same time all the ladies, holding each others' hands,
dance in ring twice around the gentlemen (1-8).
14
THREE MEN POLSKA
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15
THE OXEN DANCE
This dance, most suited for men, had its origin in the beginning of the last century, when at the college
in Karlstad, Sweden, the freshmen, nicknamed '-Oxen," were made to perform the dance before the
sophomores. Hence the name Oxen Dance.
Music ||l-sn 9-16 || 17-24 [|
Formation. The daucers (A and B) stand facing each other about two steps
apart, hands on hips.
Figure 1. (A) At the beginning of the second measure A bows to B while B
makes a deep courtesy to A (1-2). At the beginning of the fourth measure, B bows
to A while A makes a deep courtesy to B (3-4). Repeat (5-8). These movements
are done slowly. During the measures (9-16) the bows and courtesies are continued
in quicker time, one for each measure.
(B) A places his closed hands on chest, elbows at shoulder level, then forcibly
extends the arms sideward, turns head to the right with a jerk. At the same time
the right leg is forcibly swung sideward with straight knee while he rises on the toes
of his left foot. Then he takes a long step to the right and places left foot beside the
right (17). (The right foot is not placed on the floor until the third beat in the 17th
measure). Then he takes another short step to the right, then stamps with left foot
twice beside the right one, at the same time he turns his head forward and gradually
places hands on chest, elbows at shoulder level (18). A again extends his arms, turns
head to left, swinging left leg sideward, as described for the right, then takes a large
step to the left and places right foot beside the left (19) (the left foot is not placed on
the floor until the third beat in the 19th measure). Then he takes a short step to the
left and places right foot beside the left, turns head forward and places hands on hips
(20). Repeat (21-24). B dances in the same way at the same time but begins to the
left side.
Figure 2. (A) At the beginning of the second measure both slide left foot
forward (1-2). At the beginning of the fourth measure both replace left foot and at
the same time place right foot forward (3-4). Repeat (5-8). During the measures
(9-16) the same movement is continued but in quicker time, the feet changing jjlace
twice in each measure. (B) Same as (B) in first figure.
Figure 3. (A) The dancers place right hands on top of each other's heads,
far back. At the beginning of the second measure A pulls B's head forward (1-2).
Then B raises his head and jmlls A's head forward at the beginning of the fourth
measure (3-4). Repeat (5-8). Same movement is continued in ciuicker time, pulling
and raising head twice during each measure (9-16). (B) Same as (B) in first figure.
Figure 4. (A) At the beginning of the second measure, both turn with a
jump to the left — quarter circle — so that their right elbows touch (1-2). At the be-
ginning of the fourth measure, both turn with a jump to the right — half circle — and
touch left elbows (3-4). Repeat (5-8). Same movement is continued in quicker
time, jumping twice during each measure (9-16). At the last jump the dancers turn
a quarter circle, facing each other again. (B) Same as (B) in first figure.
Figure 5. This figure may be omitted but is placed here for the sake of his-
torical accuracy. (A) At the beginning of the second measure A sticks his fingers
to his nose to B, while B grasps both ears and stretches out his tongue to A (1-2). At
the beginning of the fourth measure, B sticks fingers to his nose to A, while A grasps
both ears and stretches out his tongue to B (3-4). Repeat (5-8). The same is con-
tinued in quicker time as in previous figures (9-16). (B) Same as (B) in first figure.
Figure 6. (A) At the beginuiug of tiie second measure, A puts his right
hand close to B's cheek as if to give him a box on the ears, while B at the same time
claps his hands once down in front, then replaces his hands on hips (1-2). At the be-
ginning of the fourth measure, B puts his right hand close to A's cheek, while A
claps his hands once (3-4). Repeat (5-8). Same movement is continued in quicker
time as described in previous figures (9-16).
(B) Same as (B) in first figure.
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17
OSTGOTA POLSKA
Music || :1-1U: || : 11-20: II
Formation. Eiglit couples form a square, two couples on each side. The sides
of the square are named as seen from the front ; the premiere sides right and left, the
seconde sides front and rear.
Steps. Common running steps ; chassez steps when specially indicated ; Ostgota
steps when dancing around, beginning with left foot.
Hands. Free hands on hips; when dancing around, the gentlemen and ladies
hold each others' hands.
Figure 1. The premieres. (A) The gentlemen of the right premiere place them-
selves immediately behind, and with their hands on the shoulders of their partners,
at the same time that the ladies of the left ■premiere place themselves behind, and with
their hands on the shoulders of their partners. All those standing behind swing their
heads in time with the music and look forward alternately left and right over the
shoulders of the ones standing in front of them (1-2). The gentlemen of the xx^i pre-
miere clap their hands once and run forward, passing their partners on their left to the
ladies of the opposite side, who also run forward to the left of their partners and take
each others' hands when they meet their opposites (3—1); dance around a, turn and a
half (5-6); run back to their respective partners, whose hands they take (7-8), and
dance around with them in place (9-10).
(B) The gentlemen of the left and the ladies of the right premiere dance in
the same manner, and all return to starting position (l-lO).
The secondes dance in the same way as the premieres, the seconde in the front cor-
responding to the right premiere (11-20; 11-20).
Figure 2. The premieres. The gentlemen of the right premiere and the ladies
of the left premiere place themselves behind their partners and dance six chassez steps
to the left (1-2), and return with six chassez steps to their places (3-4). The gentle-
men of the right premiere clap their hands once and run forward as in figure 1 (A) to
the opposite ladies (5-6), dance around half a turn (7), run back to their respective
partners, whose hands they take (8-9), and dance aronml witli them in place (lO).
(B) The gentlemen of the left premiere and the ladies of the right pjrerniere
dance in the same manner (l-lO).
The secondes dance in the same way as the premieres (11-20; 11-20).
Figure 3. The premieres. (A) All the gentlemen place left feet forward one
step with appel and kneel on right knee with the hand higher than the head, holding
the left hands of their ladies. Each lady runs to the right of her partner one turn
around him (1-4); then runs over to the opposite side, making a chain with the lady
she meets and with her left hand takes the raised right hand of the gentleman on the
opposite side (5-6), runs one turn around him, starting to his left, then the gentle-
men resume standing positions (7-8) and dance around with the ladies one turn in place
(9-10).
(B) The gentlemen kneel again and the dance is repeated as described in part
(A) (1-10).
The secondes dance in the same way as the prermeres (11-20; 11-20).
18
Figure 4. (A) Gentlemen and ladies of each couple take left hands, after
which they dance an ordinary grand chain, one turn, free hand on hip (1-8). After
this they remain in their places during the rest of tlie reprise, the gentleman and lady
of each couple facing each other, all with their hands on their hips (9-10).
(B) The couples of the premieres dance, after an appel, with six chassez steps
over to the opposite side. The couples from the left separate to allow the couples from
the right to pass between them (1-2); the couj^les of the secondes change places in the
same way, the rear couples separating (3-4). The couples of the premiere change
places again, when the couples belonging to the right side separate to allow the
couples belonging to the left side to pass between them (5-6). The couples of the
secondes change in the same manner, the couples belonging to the front separating
(7-8); each couple dances one turn in its place, so that they stop with the ladies inside
of the square, forming an inner circle facing oiitward and the gentlemen an outer
circle facing inward, gentleman and lady of each couple facing each other, all with
hands on their hips (9-10).
Figure 5. All the couples circle with chassez steps, ladies to right, gentlemen
to left, being careful to preserve the form of a circle and keeping opposite partners.
In ten measures the couples should have returned to starting places, after which they
place themselves as described in the latter i)art of the fourth figure (A) (11-20).
(B) The same as part (B) of the fourth figure (11-20).
The dance is ended by dancing around by couples.
GSICTAL LIBRARY OF THE reRFWMING AWH
111 AMSTERDAM AVENUE
19
OSTGOTA POLSKA
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SCHOTTISCHE
Music | ] 1-8 | ] etc.
Steps. Schottische steps and step-hop-ivaltz.
The gentleman begins with left and the lady with right foot, unless otherwise
specified.
Figure 1. The gentleman places his right arm around his ijartner's waist and
she places her left hand on his shoulder, free hands on hips. The couple dance for-
ward with step-hop-wcdtz (1-8).
Figure 2. The gentleman, still with his right arm around the lady's waist,
takes her right in his left hand, turns first a quarter turn left with schottische steps
(1), then quarter turn right (2), after which the couple dances step-hop-waltz two
turns to the right (3-4).
Rej)eat (5-8).
Figure 3. The gentleman takes his partner's right hand with his right, free
hands on hips. He dances forward with schottische steps first three steps left (l), then
three steps to the right (2), while his partner dances backward, first three schottische
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steps to the right, turning somewhat to the left (l), then three schottische steps to the
left, turning somewhat to the right (2). After this the gentleman dances forward
step-hop^waltZy while his partner also dances step-hop-^valtz in front of gentleman and
under his right arm, turning twice around to the right (3-4).
Repeat (5-8).
Figure 4. The couple dances as in the third figure, except that the gentleman
during whole figure has his arms folded, his partner's hands on hips (1-8).
Figure 5. The gentleman, dancing schottische steps forward, places his right
arm around his partner's waist, free hand on hip, and passes her over to his left side,
so that she is facing him with her right hand on his left shoulder and left on her hip
(l), then removes his right arm from her waist, placing instead his left arm around
her waist and turns her to the left one half -turn and releases her (2). The lady, who
thus is turned a complete turn around during the schottische steps (1-2), turns around
behind the back of the gentleman another turn to the left with step-hop-waltz, hands
on hips (3), and then dances, still with step-hop-waltz^ forward to the right side of the
gentleman (4). The gentleman, who in the meantime has danced forward with short
step-hop-waltz steps and arms folded (3-4), when the lady arrives at his side places his
right arm around her waist, after which the figure is repeated (5-8).
Figure 6. The gentleman places his left arm behind his own back and takes
his partner's left hand, while with the right hand behind the lady's back he takes
her right hand so that the lady's left arm is above the gentleman's right. The whole
figure is danced with step-hop-vmltz.
(A) The gentleman takes two steps backward and turns a quarter of a circle to
the left (1), then takes one step forward in the direction he then faces, and places the
right foot forward and steps with the heel of that foot on the floor, the weight of the
body still on the left foot (2).
(B) The right foot is then placed one step backward and the gentleman turns
a quarter of a turn to the right, returning with two steps forward to his starting-place,
after which the left heel is placed forward, the weight of the body on the right foot
(3-4). In the meantime, the lady follows her partner with corresponding steps. Re-
peat (5-8).
Figure 7. The gentleman takes his partner's left hand in his right and kneels
on right knee with the right arm raised, left hand on hip. The lady with schottische
steps dances one turn around the gentleman, starting to the right. The gentleman
then resumes standing position (1-2) and the couple dance forward with step-hop-vmltz,
the gentleman with right arm around his partner's waist and the lady with left hand
on his right shoulder, free hands on hijps (3-4). Repeat (5-8).
Figure 8. The gentleman places his right arm arovind his partner's waist, free
hand on hip, and passes her with three schottische ^tki\y^ to the left, over to his left side,
the lady thus turning nearly a complete turn to the left (1). The gentleman then re-
moves his right arm and passes the lady in a similar way over to his right with his
left arm (2). Then he places both hands on his partner's waist and dances around ^'x'Oa.
her two turns with step-hop-waltz to the right, finishing the last turn by lifting her over
into her place (3-4). Repeat (5-8).
When several couples dance, it is customary for the dancers to form themselves
in a ring and begin the dance simultaneously. In the sixth figure it is the custom for
all the couples at the change of front to the left to turn toward the center of the ring.
23
FRYKDAL POLSKA
Music || 1-8 || 9-16 ||
Formation. Two parallel lines forming right angles with the front and facing
each other, two couples in each line; about four steps between the lines. The gentle-
men hold the left hands of their partners in their own right hands. The order of the
couples as seen from the front is, in the line to the left, 1 and 2, and in the line to
the right, 3 and 4 ; the first and third couples thus stand nearest to the front.
Steps. Common running steps, beginning with left foot. FryMal steps in
the ring dances and when dancing arouml. Kicking steps and fall-out steps when so
indicated.
Hand. Free hand on the hip. In dancing aronnd, when gentlemen and ladies
are facing and a little to the left of each other, the right arm is held around the waist
of the partner and the left hand on the partner's shoulder.
Figure 1. The gentleman of the first couple and the lady of the second turn
toward each other, both couples form ring and dance ring-dance one turn, holding
each others' hands (1—4); the gentlemen then take right hands with thumb-grasp. The
ladies take the right hands of the gentlemen with their own right hands, and the four
take with their left hands the right arm near the shoulder of the one standing to the
left and dance in ring one turn (5-8). After which the couples dance around to their
own places (9-16). Third and fourth coui^les dance in the same way at the tame time.
Figure 2. (A) The ladies run with six steps to the gentleman opposite to them,
and after they have made a right-hand chain with the ladies they meet, they take the
left hands of the gentlemen with their own left and run while the gentlemen turn
around once to the left, six steps, one turn, around the gentlemen, the ladies halting
immediately in front of and with their backs toward the gentlemen, both hands on
hips, the gentlemen standing close behind the ladies and with both hands at the ladies'
waists (1-4). After a quick heel-raising, gentlemen take fall-out steps as follows:
heel of left feet on the floor, slightly outward, toes turned to the left, and lean to right
forward, right knee bent; at the same time the ladies take the same fall-out steps with
right foot to the right, left knee bent, and turn backward toward the right, by which
the gentlemen and ladies in couples are half turned toward each other.
The dancers remain in this position during the | of the measure, after which
with another heel-raising they resume starting position (5). Again fall-out step, at
which gentlemen, turning to the right, place right feet on floor, and the ladies, turning
to the left, place left feet on the floor, after which they resume starting position (6).
Again fall-out step, gentlemen placing left and ladies right feet on the floor, resume
position (7); finally, fall-out step, the gentlemen with riglit feet and the ladies with
left feet; position (8). The ladies run six steps back to their partners; after making
a right-hand chain with the ladies they meet, they take their partner's left hands
with their own left, run six steps around them and halt with appel in front of and
facing them (9-12), after which couples dance around in place (13-16).
(B) Repeat (A), but this time the gentlemen and ladies change roles, observing
that the gentlemen during ihe fall-out steps keep arms folded (1-16).
Figure 3. The couples in each line take hands and both lines advance toward
each other with six running steps, join ends of lines (1-2); with six steps form a circle
(3-4); with six steps form lines parallel with front (5-6); six steps again, a circle (7-8);
24
BIX steps again, parallel lines at right angles to the front (9-10); six steps again, circle
(11-12); then couples dance around to their places (13-16).
Figure 4. The ladies run toward each other, holding in their left hands the
right hands of their partners, taking each others' right hands with thumb-grasp so that
the couples form a cross. The cross swings with running steps around each person
running forward (1-8). Then the gentlemen with ap2)el on left foot swing their ladies
one half -turn around to the left and at the same time take each others' left hands in
thumb-grasp. The cross then swings one turn and a half the opposite direction (9-16),
when couples dance around to their places (1-8) and await the end of the reprise (9-16).
Figure 5. The third and fourth couples make an a2Jpel, turning toward the
front, form an arch and dance with kicking steps, while the first and second couples
form a string, which is pulled through the road {a7-ches) by the lady of the first couple.
When the gentleman of the second couple passes under the arch of the thii-d couple,
he joins this couple with the string by taking the lady's right hand in his left, and the
gentleman/of the third couple joins afterward in similar manner with the fourth. The
lady of the first couple leads the string toward the place of the second couple, after she
has passed through the arch of the fourth couple; first and second coui:)les halt in
their own places, turn toward the front and dancing with licling steps form an arch
through which the third and fourth couples pass in string. The lady of the third
couple pulls the string toward the place of the third couple, where the third couple,
swinging toward the left, turn to the front and while dancing with hiching steps
form an arch; fourth couple passes through this arch and then forms an arch, dancing
with hiching steps. In this position the dancers continue with hiching steps until the
end of the first reprise (1-8), after which the couples dance around in place (9-16).
Figure 6. (A) First and second couples form a ring, also third and fourth
couples, and dance in ring with three Fryhdal steps one turn around (1-3). The gen-
tlemen of the second and third couples when they arrive at point A (see figure) turn
one half -turn to the right, quickly swinging their ladies liackward half a turn, and
advance toward the remaining couple of the opposite side (4). The second and third
couples thus changing places.
(B) First and third couples dance in ring one turn, at the same time that the
second and fourth couples dance one turn and a half in ring, all with three Fryhdal
steps (5-7). Gentlemen of the third and fourth couples, when they arrive at i)oint A,
turn as described above (8).
(C) First and fourth couples again dance in ring one turn around, while sec-
ond and third couples dance one turn and a half in ring, all with three Fryhdal steps
(9-11). Gentlemen of the second and fourth couples when they arrive at point A, turn
as described above (12).
(D) First and second couples dance in ring one turn around, also third and
fourth couples, all with four Fryhdal steps (13-16); couples then dance to their own
places (1-16).
FRYKDAL POLSKA
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THE SKANSKA QUADRILLE
MrsiG II : 1-S:|| :9-16:|| :17-24: ||:25-32:i| :33-40:|
Formation. Premieres to left and right. Secondes front and rear, as seen from
the front.
Steps. Walking steps and step-hop-waltz alternating at will.
Figure 1. (A) Large ring. All the couples form the ring, the gentlemen
turned from and the ladies turned to the center, all holding each others' hands. They
dance around in ring in lively time, first to the gentlemen's left (1-8), then to the
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gentlemen's right (1-8), after which, the gentlemen having returned to their positions,
place their hands at their partners' waists and dance around with them in place, turn-
ing to the right (9-16).
(B) Push. The gentlemen of tiie premieres take their partners' left hands in
their right, after which the couples advance with four steps toward the opposite coup-
les, the gentlemen beginning with the left and the ladies with the right foot (17-18).
Gentlemen and ladies release each others' hands and turn quickly about a half -turn on
the toes of the foot in front, the gentlemen to the right and the ladies to the left, and
place immediately, gentlemen left and ladies right, one foot ahead of the other foot,
after which each couple hand in hand returns to its starting place with three steps
and again faces about (19-20). The secondes repeat the push the same way as the
premieres (21-24).
28
(C) Balance. The gentlemen and the ladies of the premieres dance independ-
ently of each other toward ladies and gentlemen of the opposite side, while they stamp,
turn, and make all sorts of funny motions (25-26); then they return backward to their
places (27-28). They again go forward, passing each other, to the places of opposite
sides, where they face about (29-32). Then they return in a similar manner (each
gentleman now on the right side of his partner) to their own places (25-32).
(D) Push is repeated, this time the secondes beginning (33-36), then the pre-
mieres (37-40).
(E) Balance by the secondes (25-32: 25-32).
(F) Push. The 23remieres beginning (33-40).
Figure 2. (A) The maidens' ring. All the ladies form a ring taking each
others' hands, facing to the center of the ring. They dance around in ring first to left
(1-8) and then to right (1-8), while the gentlemen, remaining in their places, mark the
time by clapping hands and stamping with right feet twice during each measure.
When the ladies have returned to their places, the gentleman dance around with them
to the right in place, as described in Figure 1 (A) (9-16).
(B) Push. The ^J> re /«/e/"e.S' beginning (17-24).
(C) Balance. Danced by the premieres (25-32: 25-32).
(D) Push. The secondes beginning (17-24).
(E) Balance. Danced by the secondes (25-32: 25-32).
(F) Push. The premieres beginning (33-40).
Figure 3. (A) The youths' ring. While the ladies remain in their places, the
gentlemen march with lively antics in a circle to left inside of the ladies, left hand on
hiij. At the same time they indicate the time by beckoning with the right hand,
which is held up with the arm half raised and elbow turned toward the center of the
circle (1-8: 1-8). When they have returned to their places they dance around with
their partners to the right in pdace, as described in Figure 1 (A) (9-16).
(B) Push. The jiremieres beginning (17-24).
(C) Balance. Danced by the 2)remieres (25-32: 25-32).
(D) Push. The secomles beginning (33-40).
(E) Balance. Danced by the secondes (25-32: 25-32).
(F) Push. The premieres beginning (33-40).
Figure 4. (A) ' 'Each for his own. " Each gentleman places himself in front
of and facing his j)artner, after which both dance to and from each other with varying
motions (l-S :l-8). The couples dance around in place, as described in Figure 1 (A) (9-16).
(B) Push. The premieres beginning (17-24).
(C) Balance. Danced by the j^/'emie^-es (25-32:25-32).
(D) Push. The secondes beginning (17-24).
(E) Balance. Danced by the secoH^s (25-32: 25-32).
(F) Push. The premieres beginning (33-40).
Figure 5. Dancing in ring as in figure 1 (A) (1-8: 1-8: 9-16).
29
WEAVING DANCE
(danced by eight couples)
Music | | 1-8 1 1 9-16 1 1
Formation. Two lines facing each otlier four steps apart, gentlemen in one,
ladies in the other. The dancers in the same line hold hands; seen from the front,
gentlemen's line is on the right, ladies' line on the left. Couples number from the
rear. The rear couple is number 1.
Steps. Common iitnning steps, beginning with left foot.
Hand. Free hand on hip.
Figure 1. The lines make an appel, advance with three small steps (l), halt,
(2) return backward with three steps to places (3-4). Repeat (5-8). Gentleman and
lady of couple number 1 run toward each other; gentleman takes lady's left hand in
his right, runs with her between the lines toward the front, where they halt, turning
toward each other, face about (9-12). Gentleman takes lady's right hand in his left
and both return between the lines to the rear and halt, turning toward each other,
face about (13-16), again run toward the front, stop half way in the center between
the lines (1-2), link right arms and dance around one turn (3-4).
(A) Gentleman runs to lady -number 8; they link left arms, dance arotmd one
half -turn while his partner runs to gentleman number 2, and links left arm with him
and dances aroutid half a turn (5-6). Both again run to each other, link right arms and
dance ai'ound half-turn (7-8).
(B) The same couple, Xo. 1, continues the same as (A), but they dance
With lady No. 7, gentleman No. 3 (9-12).
(C)
6
4 (13-16).
(D)
5
5 (1-4).
(E)
4
6 (5-8).
(F)
3
7 (9-12).
(G)
2
8 (13-16).
Ladies
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The gentleman takes his partner's left hand in his right, and runs with her to
original starting-place. Both turn toward right line and ri*n, gtill holding hands,
toward the front, gentleman outside, his partner inside of the line, while the gentle-
men bend down as the couple passes and clap in time to music (1^4). Couple continues
in the same way on ladies' side from front to rear (5-8) ; then after passing lady num-
ber 2, run between the lines to the front, where they separate and take places on
their respective sides as the couple nearest to the front (9-12).
30
Both lines run three steps toward each other and h-alt (13-14). The odd num-
bered couples turn from the front and the gentlemen take the right hands of their
partners with their left, while the gentlemen of the even numbered couples take the
left hands of their partners in their right and turn to the front, the couples standing
so that two and two are facing each other. Couples then await the end of the reprise
(15-16).
Figure 2. The odd numbered coujjles form an arch and with appel take three
short steps forward, while the even numbered couples with three steps pass under the
arch so that the couple change places. Then the even number couples form an arch
for the couple next ahead of them and with an appel run three steps forward while
the odd numbered couples with three steps pass under the arch (1-2). In this way the
dance is continued until all couples, after having alternately formed an arch and
passed under 14 times, have returned to their lolaces (3-16). '""It must be observed that
when a couple during the dance arrive nearest to the front, or farthest to the rear,
they face each other, and wait one measure; then continue the dance as follows: if
they last formed an arch they now begin by passing under; if they last passed under,
then now form an arch.
Figure 3. Gentlemen take both hands of their partners facing each other. The
gentlemen of the odd numbered couples run backward to the right six short steps,
pulling their partners along, at the same time that the gentlemen of the even num-
bered couples, jjushing their ladies backward, run six short steps forward to the left,
so that the odd numbered couples are on the right side, others on the left (1-2). The
gentlemen of the odd numbered couples now run six longer steps forward to the right,
pushing their partners backward while the gentlemen of the even numbered couples
with their partners run six longer steps backward to the left, which places the even
numbered couples on the right, the odd on the left (3-4). ^'The dance is thus continued
during 32 measures, when all couples again have arrived at their starting-places (5-
16: 1-16). It must be observed that when a couple during the dance has arrived
nearest front, or farthest to the rear, they wait in that place during two measures,
then continue the dance returning the same way in which they came.
Figure 4. The gentlemen still hold their partner's left hand in their right,
and take with their left hand the right hand of the lady nearest on their left side
under her left arm. The arms are raised and through the road thus formed the lady
farthest away from the front passes making an appel on the first step and pulling all
the others in the string through the road;/y^\ien she has reached the front, she runs
from the centre behind the right line and i:)ulls out the string in a ring so wide that
all the couples have passed through the i^oad by the time she returns to her starting
place. She halts there, while her partner, still in string, turns around half a turn
backward to left under his right arm, and resumes his place facing her, both holding
arms up to form an arch and leads forward the lady whose right hand he holds in his
left under the arch. This lady still in strinr/, raises both arms higher than her head
and resumes her starting-place turning to the right forward under her left arm. The
dance continues until all return to their places as at the beginning of the figure. The
figure is repeated and all then await the end of the reprise.
Figure 5. The couples again raise their arms forming road through which the
lady farthest from the front passes with the others in string. * When all have passed
through, the last gentleman still in string, runs toward the center of the ring while
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31
the leading lady winds the string around liiin. When the string is all wound up, all
raise their arms and the gentleman in the center comes out at a convenient place, and
pulls out the string into a ring from right to left, and all dance thus in ring until the
end of the reprise.
Figure 6. Gentlemen link right arms with their partners and dance around two
turns during two measures, then link left arms with the next lady, dance around two
measures with her, and continue thus from left to right, until they meet their part-
ners, when they dance with them first with their arms linked two turns, and then a
few turns around, holding hands.
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32
FJALLNAS POLSKA
Music ||:1-8: ||:9-16: II
May be danced by two or more couples.
Formation. Two lines, right and left as seen from the front. The gentlemen
hold the left hand of their partners in their own right hand.
Steps. Dal steps, Bleking steps, Pas-de-basque steps, common running steps,
special steps described in the figures.
Hand. Free hand on hip. When dancing around the gentleman places both
hands at his partner's waist and the lady, both hands on her partner's shoulders.
Figure 1. (A) The couple run three steps forward, beginning with right
foot and jump, landing with both feet on the floor (1-2). Then beginning with placing
right feet on the floor they dance two Dal ateps in place {3-4:) ; run forward three
steps, jump, landing with both feet on the floor (5-6). Then beginning with placing
the left feet on the floor they dance two Dal steps in place (7-8).
(B) Partners face each other and take right hands. They place right feet on
the floor and dance four Dal steps in place (1-4); after which with a quick pull, they
run three steps in the direction they are facing and take a str ide-l nee-bend ate-g (5-6);
face about with a stride-hiee-bend step and repeat the step once more in place (7-8).
(C) They again run forward six steps in the direction they are facing, passing
each other and take a stride-l^nee-bend step (9-10); then face about with a stride-hiee-bend
step and repeat the step once more in place (11-12). Then they run three steps toward
each other, the gentleman taking his partner's right hand in his left. As they meet
they place both feet on the floor with a jump (13-14). Facing their original starting
places, they place right foot on the floor and dance two Dal steps in place (15-16).
They run three steps forward and place both feet on the floor with a jump (9-10),
then placing left feet on the floor, they dance two Dal steps in place (11-12).
(D) They turn cj^uickly half a turn facing each other, take hands and dance
forward beginning with right foot, iv^o p)as-de-basqae steps (13-14) and stamp in place
four times (15-16); again two pas-de-basque steps beginning witli left (1-2), stamping
four times (3-4). Then they turn half a circle on the heel of tlie outer foot gentle-
man left, lady right, taking a touch step to the side with the other foot once in each
measure as they t\irn (5-6). Then they stamp four times in place (7-8). Then they
take i\;o pas-de-basque steps forward right side first (1-2) and stamp four times (3-4);
again t\yo jx/s-de-basque steps left side first (5-6) and stamp four times (7-8).
Figure 2. Partners face each other and take hands. They dance Dal steps in
place placing right foot on the floor first, then left foot but swinging right foot to the
right side; the same to the left (9-12). Repeat (13-16). Then they dance two long
Blehing steps, beginning with left in front, then two shorter quicker steps, followed
by a long step (9-12). Repeat (13-16).
Figure 3. The couples advance toward each other with four Dal steps, right
foot being placed first. The arm opposite the swinging leg is swung half bent, in
half circle forward, upward for each step (1-4). When the couples meet they dance
around with the opposite lady one turn to right, and then push apart running three
steps backward and finishing with a stride-hiee-bend step in their own places (5-8).
Repeat (1-8).
Figure 4. The gentleman places himself behind his partner, placing both
hands at her waist. The gentleman places left heel, toes raised, obliquely forward
turning trunk slightly left, leaning to the right. The lady, with right heel on the
33
floor turns trunk slightly right; the gentleman and lady thus half face each other.
Then the feet are changed and the position reversed (once in each measure). This
is continued for six measures (9-14). During the last two measures the couple dances
around to the right, the gentleman still retaining his hold at the lady's waist and
behind her (15-16). Repeat (9-16).
Figure 5. The couple turns back to back. The gentleman places toes of right
foot sideways on the floor, once in each measure, and the lady in the same way, toes
of left foot. For each step, the lady beckons invitingly to the gentleman of the oppo-
site side who appears indifferent This is continued for six measures (1-6). During
the last two measures all turn around once, ladies to the left, gentlemen to the right
(7-8). The same is repeated, with the difference that the gentleman is now beckon-
ing to the lady of the opposite side, who in her turn appears indifferent (1-6). The,
dance is then finished by the couples dancing a hanibo polka.
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34
GOTTLAND QUADRILLE
" MrsiC 1 1 : 1-S : 1 1 : 9-24 : 1 1 25-32 1 1 33-40 1 1 41-48 1 1 49-56 1 1 57-64 1 1 : 65-84 : 1 1
Formation. Two parallel lines facing each other, forming right angles with
the front ; four steps distance between the lines ; same number of couples in each line ;
gentleman holds lady's left hand in his right.
Any number may take part, but as a rule not more than six couples in each set.
Steps. Walking steps, jig steps, Schottische steps, Gottland steps, and certain
other steps described in sixth figure. At the beginning of each figure the gentlemen
place the left foot first on the floor and the ladies the right foot.
Hand. Free hand half closed, knuckles on hip.
Figure 1. Couples form ring, ladies turned from gentlemen toward the centre
of the ring. The gentlemen hold in their right hand the right hand of their part-
ners, and in the left hand, the left hand of the lady nearest their left side. The
dancers walk, gentlemen beginning with left foot and the ladies with right foot 15
steps in ring, ladies to left and gentlemen to right, at each step swinging the arms
alternately inward and outward (1-8). Return in same manner with 12 steps (1-6),
gentlemen take both hands of jmrtners, with arms extended horizontally, dance around
one turn to starting places where couples form as at first (7-b). Walking step«« all
through the figure.
Figure 2. Gentlemen of the right line place left foot on the floor, ladies of the
opposite line the right foot and advance toward each other with four steps (9-10), four
steps back to places (11-12); again four steps toward, and passing each other turn
half a turn to the right, then back four steps to each other's places and halt (13-16),
four steps toward each other (17-18), four steps back (19-20), four steps toward each
other and passing without turning (21-22). All couples then dance around one turn in
their places, gentlemen placing left and ladies right foot on the floor, each gentleman
placing his right arm around his partner's waist, holding her right hand in his left
extended horizontally (23-24). The ladies of the right line and gentlemen of the left
line dance in the same way (9-24). Jig steps all through the figure.
Figure 3. All couples in each line take hands and walk, the gentlemen plac-
ing left, and ladies right foot on the floor-, three steps toward each other, halt with
slight bow (25-26); walk three steps backward to place and halt (27-28); walk three
steps forward, halt with deep bow (29-30); return with three quicker steps to places
where they halt and resume original formation (31-32). Walking steps all through
the figure.
Figure 4. Ladies place right foot on the floor, walk three steps toward oppo-
site line. At the third step they lean slightly forward over right leg and clap three
times (33-34) ; turn left about, walk to places and clap at third step three times in
front of partners (35-36). The ladies again turn toward the opposite line and the gen-
tlemen placing left foot on the floor, walk forward three steps, clap three times (37-
38), turn right about, placing left foot on the floor, dance around one turn with their
ladies with jig steps, as described in second figure (39-40).
Figure 5. (A) Gentlemen place left, and ladies right foot on the floor, and
the couples advance toward the couples of the opposite line with schottische steps,
partners turning alternately to and from each other. When couples meet, they pass,
ladies inside, and continue to each other's places (41-42), where the couples dance
around half a turn with ^calking steps, as described in the first figure (43-44). Return
in the same manner to their own places and dance around half a turn (45-48).
35
(B) Gentlemen place left, ladies right foot on tlie floor, dance around in place
^iih. jig steps, first one turn with hands on hips (49-52); then one turn as described
in second figure, then resume original formation (53-56).
(C) Repeat (A) (57-64).
Figure 6. The gentlemen take the right hand of their partners in their own
right hand, and the left hand of their partners in their own left hand, turn to the
right, so that standing behind each other they form a ring and walk, gentlemen be-
ginning with left, ladies with right foot on the floor, seven 'walking steps forward in
a ring, making slight bow every second step; halt, face about, without releasing
hands. This i:)laces the ladies on the left side of their partners (65-68). Couples walk,
gentlemen beginning with right, and ladies with left foot on the floor, eight vxilMng
steps forward in ring and halt on last step. Gentlemen and ladies face each other so
that the gentlemen form an inner outward-facing ring, and ladies an outer inward-
facing ring, with hands on hips (69-72). Gentlemen beginning with left, ladies with
right foot on the floor, dance in place facing each other, steps similar X^ojig steps with the
difference that the foot which is raised is swung with straight knee outward, ladies
keeping hands on hips and gentlemen with elbows at shoulder level, hands at chest,
closed and thumbs pointing upward. Hands are raised and lowered in time with
steps (73-76); flnally, couples dance around in place -with Gottland steps, gentlemen
with both hands at lady's waist (77-84). After dancing around, the gentlemen re-
lease their ladies and the figure is repeated from the beginning, observing that the
gentlemen at the beginning of the promenade take the first step backward instead of
forward, so that they are placed beside the lady of the couple nearest behind, with
whom they now dance (65-84).
The dance is intended to continue until in this figure each gentleman has
danced with each lady.
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DAL DANCE
Music ||: 1-8: ||9-16 ,| :17-2-i:|| :25-32:||
Formation. Tlie gentleman folds arms: his partner on his right places her
left hand on his right shoulder and her right hand on hip; both facing front. Any
number of couples can take part in this dance, standing one behind the other in one
or more columns.
Steps. Z>a/ steps, Bleking steps, common r?/?i?iwi^ steps beginning with left foot;
Pas-de-basque steps, beginning with right foot, stride-knee-bend steps, special steps to be
described in the figures.
Hands. The position of the hands will be described in each figure.
Figure 1. Couple places right feet on the floor and dances with Dal steps, turn-
ing to the lady's side away from the front (1-8), again turning toward the lady's side
back to their starting place (1-8).
Figure 2. Gentleman and lady face each other, take hands and dance, placing
right feet on the floor, two Dal steps in place {9-10), after which they execute pan-cake
turning, thus: holding hands they raise their arms and turn, stamping in time to the
music one complete turn, gentleman to his left and lady to her right (11-12).
Repeat (13-16).
Figure 3. Gentleman with arms folded, his partner with hands on hips, run
across to each other's side, turn right about facing each other (17-18), taking three
Bleking steps (19) followed by a stride-knee-bend step (20). Again changing places
(21-22), take three Bleking steps (23) and one stride-knee-bend step (24). Repeat (17-24).
Figure 4. Gentleman with arms folded, partner with hands on hips, place
right feet on the floor and dance eight Dal steps toward each other (25-32). Gentle-
man takes his partner's hands, steps forward with right foot, then places left foot half
a step forward with toes raised, at the same time that his partner places right foot
half a step forward with toes raised, toes of both touching (25).
(A) With a jump, the gentleman replaces left foot in starting place and simul-
taneously raises right foot with knee bent. (B) He places right foot half a step for-
ward with toes raised and touches the raised toes of his partner's left foot, which has
been placed in similar manner.
(C) Couple remains in this position until the end of the measure (26). The
change of feet is repeated as above to the end of the reprise (27-32).
Figure 5. Lady with hands on hips dances with two step-hop- waltz steps one
turn in place turning to the left, while the gentleman, placing right foot on the floor,
dances with Dal steps circling around the lady to her left, clapping his hands once
in each measure (1-8).
Figure 6. Couple executes pan-cake turning (1-2), then lady bends deeply for-
ward, hands on hips, kneels on her right knee (3). The gentleman claps his hands
once and swings right foot _to ward left over lady's head; then turns on left foot, once
around to the left and resumes position, while the lady resumes standing position (4).
Repeated 3 times (5-8: 9-16). It should be observed that the couple while dancing
the flgure gradually moves some steps away from the front.
Figure 7. The gentleman takes a few steps to the left side and stops there,
arms folded, while his partner with hands on hips dances toward the front with two
Pas-de-basque steps (17-18), three Bleking steps (19), one stride- knee-bend step (20), again
two Pas-de-basque steps, beginning left (21-22), three Bleking steps (23), and one strider
40
DAL DANCE
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42
hnee-bend step (24). She then returns with step-hop-ivaltz slowly turning to her right
until she reaches a j^lace in front of, and a few steps distant from her partner (17-24).
Figure 8. The gentleman with his arms folded, and his partner with hands on
hips, take a step forward with left foot, knee slightly bent, the body leaning over on
the left leg and the right leg stretched backward (25). Then they take a step forward
with the right foot, right knee slightly bent, body leaning somewhat forward and to
the right, left leg stretched backward, toes pointing outward, and then take hands (26).
Then they place left feet on the floor, one step backward (27), and after turning around
to left on left foot, with a jump jilace right foot in the place where they started and
resume starting position (28). Repeat three times (29-32: 25-32).
Figure 9. Gentleman and lady run toward each other, link right arms and
dance around one turn, free hands on hips (1-4), then dance around with left arms
linked (5-8).
Figure 10. Gentleman with arms folded, his partner standing on his right, her
left hand on his right shoulder and right hand on her hip, dance in place with two Dal
steps placing left feet on floor first (1-2). Then lady places both hands on shoulders
of her partner, while he, with an appel with left foot, places both hands at the lady's
waist and lifts her over to his left side (3-4). Gentleman with arms folded, his part-
ner with her right hand on his left shoulder and left hand on her hip, dance two Dal
steps, j)lacing right feet first on the floor (5-6), after which the gentleman as described
lifts the lady over to his right side (7-8).
Repeat (9-16).
Figure 11. The lady takes a few steps to the right side and stops there with
hands on hips, while gentleman, placing right foot first on floor, dances forward toward
the front with eight Dal steps, at each step swinging the arms in front of the chest
on the same side as the foot that is on the floor, and the other arm behind the back
(17-24). Then he dances backward, still facing front, with eight stride-knee-bend steps to
his partner (17-24).
Figure 12. The gentleman takes his partner's right hand in his right, her left
hand in his left, after which the lady, as the gentleman makes an appel with his left
foot, jumps to his left side, facing the front (25). The gentleman then jumps in the same
way over to his partner's left side (26). The lady again jumps to the gentleman's left
side (27), and both await the end of the next measure (28). Then the lady jumps to
the gentleman's right side (29); he jumps to her right side (30), and she once more to
his right side (31). After which the gentleman places himself behind his partner with
both hands at her waist, the lady with both hands on hips (32). Both dance, gentle-
man placing right and lady placing left foot on the floor, eight Dal steps in place.
In these steps the swinging leg is not moved inward, only raised with toes pointing
outward. At each step the gentleman leans alternately to right and left, and the
lady twists alternately to right and left, both thus being turned toward each other
(25-32).
Figure 13. Hamho polska. The gentleman with both hands at the lady's
waist making appel with right foot at each measure (1-8).
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43
THE HALLING
Music || 1-8 || 9-16 ||
This is danced by two gentlemen -who at the beginning of the dance stand side
by side, facing front. A, the left gentleman, holds in his right hand the left hand of
B, the gentleman to the right, free hands on hips. As seen from the front A is on the
right and B on the left.
Figure 1. (A) A places left and B right foot forward, toes turned slightly in-
ward, the body leaning over on the placed foot and the forward knee slightly bent.
The other leg, also with knee slightly bent, is raised backward with foot at right an-
gle to the one placed forward. At the same time the hands that are held are raised
backward, the arms nearly straight. In this position tlie dancers are a little farther
apart. At the beginning of the second half of the measure the dancers make a light
jump forward, without changing position relative to each other (l), then they place
the rear foot forward in the same manner as tlie other foot, swinging the arms down-
ward and forward, thus coming nearer to each other, back to back. During the last
half of the measure they make a light jump forward, without changing positions rela-
tive to each other (2). The couijle then repeat these steps five times toward the front
(3-7), then both, half facing each other, place A the right and B the left foot on the
floor, slowly moving the other leg sideward and both arms upward, hands released,
and stop in this position when the "cadence" note is struck (cadence position). At
the end of the ' ' cadence " the raised foot is placed beside the other one, the dancers
turning to the front and placing the tliumbs in the arm-holes of the vest (8).
(B) A raises simultaneously the left heel and the toes of the right foot and
turns left heel outward, right toes inward, so that the toes of both feet point toward
each other; at the same time he raises his elbows to shoulder level. After this the
toes of the left foot are raised and the heel of the right, and he turns, right heel in-
ward, left toes outward, so the heels come together, while at the same time he lowers
his elbows to his sides (9). A continues, all the time facing front, to move left with
two turnings on the feet in each measure. After which, at the end of the reprise, he
halts and faces toward B (10-16). B has in the meantime in a similar manner moved
toward the right, both thus having moved apart on the same line.
Figure 2. (A) The dancers glide on the right foot slowly forward to the right,
left leg straight and hands supported on the knees. At the same time they bend the
trunk deeply over the right knee half turned to the left (l). Then the left foot glides
slowly a step ahead of the right, hands still on knees and the trunk turning slowly to
the right, bending over the left knee (2). Both continue in this way five more steps
in a wide circle to the right to each other's places (3-7), then they face each other and
place, A the left and B the right, foot on the floor and take "cadence" position as
described in the first figure (A) (8).
(B) The dancers advance toward each other with short hopping steps, two in
each measure, straight knees, feet parallel and closed; the hands are held half closed
in front of the chest, nearly on a level with the shoulders, elbows at sides, and index
fingers pointing forward. The dancers mark the time at each hop by moving the
hands alternately forward and backward (9-16).
Figure 3. (A) The dancers take hands and take "A^re" steps, that is, they
sink quickly down on the heel of the left foot, at the same time placing the right
44
leg forward, knocking the heel on the floor (knee straight); then without raising,
they quickly change position of feet (1), and continue in this way with two steps in
each measure while they dance around half a turn to the right so that A returns to his
place on the left of B (2-7). Then both stand in " cadence " position facing each
other (8).
(B) The dancers move slowly backward apart from each other, and leaning
backward kick forward first with left foot and then with right foot twice in each
measure and swing their arms forward, upward, backward, downward in each measure
(9-16).
Figure 4. (A) Both place hands on hips and place the right foot forward with
an appel (l), after which, turning a cart-wheel, they change places (2), and then fac-
ing each other, remaining in their places, kick forward four times with swinging of
the arms, as described in Figure 3 (B) (3-4). Then they again make an appel with
right foot (5), and with a ' ' cart-wheel " returning to starting places (6), repeat the
kicking and arm-swinging (7-8). At the "cart-wheel" the left hand is placed first on
the floor, and the wheeling is done back to back.
(B) With slow steps, as described in Figure 2 (A), they circle around each
other to the right so that they are in front of and near each other, both leaning over
the left leg and remaining in this position while a ' ' cadence " is struck in the last
measure of tlie music (9-16).
Figure 5. (A) The dancers jump up and take hands, then sink down on the
heel of the right foot, left leg is placed sideward with the inner side of the foot and
knee touching the floor; then make another jump l)y forcibly stretching the right leg
(l); then sink down on the left heel with the right leg placed outward. Again with
another jump change position (2), and continue thus with one stejj in each measure
altogether seven measures (3-7), after which they take "cadence" jiosition facing
each other (8). These last steps are called "'sitting'' steps and differ from the "'hare''''
steps in that the latter are taken forward and are danced twice as fast as the " sitting'''
steps.
(B) The dancers take hands and dance around to the right in such a way that
at each measure the right foot is placed on the floor with an appel and the left foot
is swung in a circle backward and outward to, and ahead of, the right one.
45
THE HALLING
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VINGAKER DANCE
Music J | : 1-16 : 1 1 : 17-32 : ! i
Formation. Danced by one gentleman and two ladies. The gentleman in cen-
tre holding a hand of each lady. At the beginning the dancers place themselves
facing the left, as seen from the front (1-16).
8teps. Dal steps; when dancing around 8tep-liop-waltz, or when specially indi-
cated old Sivedish vxdtz; Vlngaher steps.
Hands. Free hands on hips.
Figure 1. All dance forward with four Dal steps (1-4), then gentleman dances
four Dal steps in place, turns quarter of a circle to the left at the same time the ladies
take the index fingers of the gentleman, turn, dancing step-hop-umltz, one complete
turn around, the lady on the gentleman's right turning to the left, and the other lady
to I'ight (5-S). The above is repeated three times. The last time the gentleman
swings toward the left, so that all, having danced a sc^uare during the figure, at the
end will be in the centre of the sciuare, facing the front (9-16: 17-32).
Figure 2. The gentleman still dancing Dal ^tepa in place takes with his left
hand the left hand of the lady on his right and passes her before him to the lady on
his left. The ladies make a chain with right hands and change places with Dal steps,
after which the gentleman and the left lady face each other (17-20) and dance around
in place with step-hop-ivaltz at the same time the right lady, facing to the front, dances
Dal steps in place (21-24). The gentleman dancing Dal steps in place takes with his
left hand the left lady's left hand and passes her before him to the right lady. The
ladies again make a chain with right hands and change places, dancing Dal steps (25-
28). The gentleman and the right lady dance around one turn in place with step-hop-
waltz, then resume starting position (29-32). When dancinr/ around the gentleman
places both hands at the lady's waist, and the lady both hands on gentleman's shoulders.
Figure 3. Left lady and gentleman dance Dal steps in place and form an arch
under which the right lady passes, dancing Dal steps, followed by the gentleman,
after which all face to the front (1-8). The right lady and gentleman, while dancing
Dal steps in place, form an arch under which the left lady passes with Dal steps, then
the gentleman j)asses the right lady over to his left side, so that the ladies change
places, facing to the rear, all dancing Dal steps (9-16), with which they continue, first
dancing from the front four steps (1-8) and then toward the front (9-12). After this
the gentleman dancing Dal steps in. place passes first the right lady, then the left
lady back to their respective places (13-16).
Figure 4. The gentleman dances with step-hop-toaltz, left arm raised and right
hand on hip, one turn around to the left, while the left lady takes the gentleman's
left index finger and dances step-hop-vxtltz around under the gentleman's arm, turning
to the right, at the same time circling around the gentleman, starting to the right.
The right lady, turning to the right, dances old S^redish waltz one turn, circling around
the gentleman, starting to the right (17-24). The gentleman then facing lady to
right dances one turn around in place with step-hop-waltz to the right, right arm raised,
left hand on hip, while lady to right takes his right index finger and dances step-hop-
waltz around under the gentleman's arm, turning to the left, at the same time circling
around the gentleman, starting to the left. The left lady, turning around to the
left, dances old Sivedish ivaltz one turn, circling around the gentleman, starting to the
left (25-32).
«^^''* \t1 AIHSTERDMI AVaUfc
47
Figure 5. The three form ring, placing right hand on right tihoulder of the
one to the right and the left hand on left shoulder of the one to the left of them,
and dance thus old Sivedish waltz three times around in place to left (17-32).
Figure 6. The gentleman kneels on right knee, the left lady sits on his knee
and claj)s her hands once in each measure, while the right lady, turning to the right,
dances old Swedish waltz one turn, circling around the gentleman, starting to the
right (1-8). The right lady then takes the place of the left lady on the gentleman's
knee and claps her hands, while the left lady, turning to the left, dances old Swedish
ivaltz one half turn around the gentleman, starting to the left (9-14). Then the gen-
tleman resumes standing position, hands on hips, facing front. The right lady steps
behind the gentleman and places her hands on his shoulders. The left lady steps be-
hind the right one, placing her hands on the right lady's shoulders. The right lady
bends head to right, left ladv her head to left, so that the heads of all are visible (15-
16).
Figure 7. All place the left foot on the floor and kick forward with the right
foot, dancing in place steps resembling .s^e/>-/^o/)-?/wiJfe, with the difl:erence that when the
feet are raised they are swung with straight knee right foot forward, left foot slightly
backward, the body swaying forward and backward. The dancers move first a few
steps backward (1-8), then forward, when the gentleman faces about toward the right
lady (9-16).
Figure 8. The gentleman and the right lady dance old Swedish waltz in a cir-
cle away from the front, closely followed by the left lady, who also dances old Sicedish
waltz, holding the left index finger at her mouth, her face expressing sadness (17-24).
Gentleman and left lady dance old Sivedish waltz toward the front, followed by the
right lady, who dances in the same manner as described for the left lady (25-32).
The figure is repeated, after which the right lady steps a little to the left and behind
the left lady, placing her hands at waist of left lady, both turned to the left, as seen
from the front, gentleman in front of and facing them (17-32).
Figure 9. Ladies dance old Swedish waltz backward, while the gentleman first
takes the right hand of the left lady in his own right hand, and with a step resembling
the Pas-de-basque step, swings his feet to the right over the lady's hand, then takes
three short steps, beginning with left foot (1-2). takes lady's left hand with his left,
and with another Pas-de-basque step swings his feet to the left over her hand, then
takes three short steps, beginning with the right foot (3-4). Left lady steps to the
right behind the right lady, placing hands at the right lady's waist, and the gentle-
man takes in the same way as described above the right lady's hands and swings his
feet over them (5-8). The right lady steps in her turn to the right behind the left
lady, and the figure is continued until all, having completed a circle to the right,
have again returned to the front, where the right lady takes the left lady's right hand
in her left, both facing left, as seen from the front, the gentleman in front of and
facing them (9-16).
Figure 10. The ladies dance backward with step-hop-tvaltz away from the front
and then toward the front, followed by the gentleman, who dances Fj/ir/f/^e?- steps ;
at the end of the figure they all stop, ladies facing the rear, gentleman in front of and
facing them (1-16).
Figure 11. The gentleman dances, swinging his coat-tail, 8 steps backward
with Dal steps, while ladies dance old Swedish iraltz away from the front, right lady
48
turning around to the right and left lady turning to the left. They pass each other
behind the gentleman and resume tlieir places on either side of him, all taking starting
position (17-24). Then dance Dal steps toward the front (25-28), where the o-entle-
nian, dancing Dal steps in place, raises his arms and the ladies turn once around un-
der his arms in the same way as described in the first figure. The dance is finished
in such a way that all, facing to the front, place left foot on the floor with appel and
swing right foot forward (29-32).
THE AUTHOR DANCING THE VINOAKER DANCE
VINGAKER DANCE
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THE SKRALAT
Music j| 1-8 || 9-lC ||
Formation. Two parallel lines face each other and forming right angles with
the front. The line.-^ stand about four feet apart, four couples in each line, the gen-
tlemen holding the left hands of their partners in their right hands. The couples are
numbered, as seen from the front, 1-4 in the line to the left and 5-8 in the line to the
right. The first and fifth couples thus stand nearest to the front.
Steps. Skralat steps, unless otherwise specified; Dal steps; Ao/? steps when
dancing around; stride-knee-bend steps ; certain steps especially described.
Hand. Free hand on hip. When dancing around' the gentleman places both
hands at his partner's waist, and the lady places both hands on her partner's shoulders.
Figure 1. The gentlemen and ladies of the first and second couples take each
others' right hands with thuinh-grasp and dance around one iuvw in i^lace [l—i), then
all place their left hands behind their backs and take their partners' right hands
and dance around in [dace, the first couple one turn and a half, the second couple
one turn, so that the ladies will be placed in front of each other (5-8). The gentle-
men exchange partners and again dance around one turn, holding hands as last de-
scribed (9-12), and change again when the ladies have arrived in front of each other.
Then they dance around with their own partners as described above, the first couple
one turn and a half, the second couple one turn, then resume starting position
(13-16). The couples 3 and 4, 8 and 7, 6 and 5, dance simultaneously in the same
way.
Figure 2. During the first 24 measures of the figure (which contains in all 32
measures) all couples dance Dal steps in place, unless otherwise specified below. All
the dancers in the same line holding each other's hands.
The left line: The lady of the first couple places her right foot on the floor and
runs behind her partner (l). With her right hand she takes the right hand of the lady
of the second couple (2). While the second lady runs with 9 steps, turns to left, around
and in front of the gentleman of the first couple, and returning to i^lace continues
with Dal steps, the first lady runs in front of the gentlemen of the second couple
toward the lady of the third couple. She takes this lady's left hand with her own
left (3-4). While the lady of the third couple with 9 steps runs one turn to the right
behind and around the gentleman of the second couple, and returning to place,
continues with Dal steps, the first lady passes behind the gentleman of the third
couple to the lady of the fourth couple and takes her right hand with her own right
(5-6). While the lady of the fourth couple runs one turn in front of and around
the gentleman of the third couple and resumes her place, dancing Dal steps, the
first lady runs in front of the gentleman of the fourth couple and places herself in
the line at his left side, dancing Dal steps in place (7-8).
The gentleman of the first couple now places right foot on the floor and runs
in front of the lady of the second couple and with his left hand takes the left hand of
the gentleman of the second couple. The dance continues in the same way for the
gentleman as described above for the ladies, until he comes to his own partner, when
he places himself on her left side, dancing Dal steps (9-16).
The first couple forms an arch under which the fourth couple passes. Then
the first couple passes under an arch formed by the third couple, and then form an
51
arch again under which the second couple passes. They resume their original
place in the line, dancing Dal steps in place (1-8). The couples dance around in place,
after which gentlemen and ladies halt, facing each other, the gentlemen inside of the
line (9-16).
The right line : The lady of the eighth couple places her right foot on the floor
and runs behind her partner, and the dance proceeds in the same manner and at the
same time as for the left line.
Figure 3. Gentlemen and partners, holding each others' right hands, dance
eight Dal steps in place, at each step alternately raising their right arms as high as
the head and again lowering them (1-8). Then they dance around in place and resume
their starting position (9-16).
Figure 4. The dancers in the same line take hands. The lines advance with
eight Dal steps toward each other (1-8), after which the gentlemen dance around^\\h
the ladies of the opposite line, the gentlemen of the left line to their own places, and
the others in the place where they meet (9-10). While the couples in the right line,
facing the same way as before, take hands and dance 16 Dal steps in place, the other
couples form column facing to the rear and dance with sixteen Z>aZstej)s past the eighth
couple behind the right line, then past the fifth couple, passing over the first couple's
place back to their starting places (1-16). Then the left line take hands and dance,
facing the right line, sixteen Dal steps in place, while the couples of the right line
form a column facing to the front and dance with sixteen Dal steps, the fifth couple
leading, in a circle to their left, then again to their left and return to their places,
where they face the opposite line and take each others' hands (1-16). The lines then
advance again toward each other with eight Dal steps (1-8), the gentlemen change
partners and dance around with them to their own places and halt, the gentlemen in-
side of the line and facing the ladies (9-16).
Figm-e 5. Partners simultaneously raise the heel of the left and toes of the
right feet and turn both feet to the left a quarter of a circle, so that the toes touch;
then they lift the toes of the left feet and turn them a quarter of a circle outward.
At last they place the right foot beside the left one (1). This is repeated three
times, the gentleman and lady thus moving to their own left apart from each other
(2-4), after which, with four similar steps, they again return to their right and halt
in front of each other. When the gentlemen place toes touching, they also place the
hands closed in front of the chest, arms on a level with the shoulders. When the
toes are turned out, the arms half l)ent are moved in a circle outwai'd, hands still
closed (5-8). The couj^les now dance around in place, after which they halt, the gen-
tlemen inside of the lines and facing the ladies (9-16).
Figure 6. Gentlemen and ladies run to the left of each other, and when the
gentlemen have taken the left hands of the ladies, they meet with their own left hands
and with six steps run past them (1-2). They dance around with the next lady one
turn in place (3-4). The gentleman and lady who have just danced around run to the
left of each other and the dance is thus continued, the gentlemen running to the right
and the ladies to the left, until they have danced once around the ring and danced
around in place eight times. They have then returned to their starting places (5-16:
1-16).
Figure 7. The gentlemen of the right line with arms folded and the ladies of
the left line dance with two Dal steps toward each other (1-2), take right hands with
52
ihumb grasp and dance around with three Dal steps one turn (3-5). The ladies kneel on
right knee, with hands on hips, and bend their heads forward very low (6). The gentle,
men with a jump swing first the right, and then the left, leg to the right over the heads
of the ladies, and all resume standing position (7). Gentlemen and ladies face right
about with a jump and take one stride-hnee-bend step (8). The couples then dance
around in their starting places (9-16). The ladies of the right line and the gentle-
men of the left line dance in the same way (1-16).
Figure 8. (This figure is difficult to dance and is therefore often omitted.)
The gentlemen place themselves in front of and facing their partners, holding
their hands. Both turn in place half a turn, the gentlemen to the left and the ladies
to the right, so that they stand with backs touching and arms stretched uj^ward (l), in
which position they remain during one measure (2). The lady bends forward and the
gentleman backward over her, after which the gentleman, supported on the back of
the lady, turns a back somersault over the lady (3) and lands on the floor in front of,
and facing her, still holding her hands in his (4). They again turn half a turn; the
gentleman repeats the last movement over the lady and lands in front of and facing
her, after which both take stride-hnee-bend steps (5-8), and dance around in their places
(9-16).
Figure 9. The dancers in the same line take hands. The gentleman of the
fourth and the lady of tlie eighth couples join hands, the dancers thus forming a
string which, led by the lady of the first couple, is pulled in half -circles over the places
of the fifth, second, sixth, third, seventh, fourth, and eighth couples (1-16), and then
in a wide circle over the place of the left line forward to the front, where in the mean-
time the last couple of the string lias halted, facing left as seen from the front, and
formed an arch (1-8). The string is now pulled under the arch?a\<\ in a ring from left
to right forward to the front, where the first couple forms an arch (9-16). The gen-
tleman of the fifth couple now i^ulls the string through the arch and then in a ring to
left again forward to the front, where all form a ring dancing around from right to
left (1-16).
Figure 10. (A) The ladies take hands and dance in a ring from right to left,
while the gentlemen, forming an outer ring, facing outward, dance to their left (1-8).
When partners meet the second time, they change places with an apj^el to the left of
each other, so that the gentlemen holding each other arm in arm form an inner ring
facing to the center and dance from right to left, while the ladies form an outer ring
facing outward and dance to their left (9-16). Gentlemen and ladies again change
places, the ladies thus forming'an inner, and the gentlemen an outer ring, both rings
facing to the center, and dance around from right to left, the gentlemen observing that
they place themselves behind and to the left of their ladies (1-8).
(B) The gentlemen, still holding each others' hands, with arms raised, after an
appel take six steps toward the center of the ring, then lower the arms in an arch for-
ward, bending the trunk forward. Then they release each others' hands and, still with
the trunk bent forward, take six steps backward to their place, where they again take
bauds. In the meantime, the ladies befid the trunk forward, after an ap2:>el take six
short steps backward under the arms of the gentlemen. Then they again take hands
and, witli arms stretched upward, after an ajyj^el take six sliort steps forward toward
the center of the ring, where they, bending forward, lower their arms forward and let
go of hands (9-12). Repeat three times (13-16; 1-8).
53
(C) The gentlemen with left hand grasp the right wrist of the gentleman
standing on their left: the ladies sit on the gentlemen's arms holding each others'
hands behind the gentlemen's heads, while the gentlemen dance in ring from right to
left, in which way the dance is finished (9-16).
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GEMEftAL LIMARV Of THE PEnPORMING POOH
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