Capering & Kickery

The New York Lancers, Figure 1

I recently had the opportunity to reconstruct and teach a Lancers (Quadrille) variant created by New York dancing master Allen Dodworth and published in his lengthy Dancing and its relations to education and social life in 1885 as "Dodworth's New York Lancers."

The figures are easy ones which make a pleasant change of pace for those accustomed to dancing the popular standard Lancers figures or their Saratoga Lancers variant.  They are also the same length as those of the standard Lancers, though sometimes fewer repeats are needed, so they can be used with many existing Lancers recordings.  I thought it would thus be interesting to take a look at the New York Lancers figure by figure and side by side with the usual figures to see exactly how Dodworth went about creating his version. 

"A very old established Figure" -- Reconstructing "Lead outsides"

In the comment thread on an earlier Kickery post, How Do You Cast Off?, Ukrainian reader Oleksiy asked whether I reconstructed the country dance figure, "lead outsides."  I haven't used this figure in my own teaching because I've been hesitant to establish a definitive reconstruction in the absence of definitive source material.  But I've since revisited the figure and more thoroughly reviewed my sources and am now ready to offer a reconstruction which I consider to be fairly solid.

Wrestling with Belle Brandon

Recently my English friend and fellow dance teacher/reconstructor Colin Hume asked on the English Country Dance mailing list for help on some American dances he plans to teach later this month at a festival.  He posted his notes (the final version is now up here) and asked for advice, since he's not a specialist on historical American dance.  I do a lot with quadrilles (French, American, English, Spanish, etc.) so I pounced on the challenge of the 1858 set he proposed to use, the Belle Brandon Set.  This five-figure quadrille is drawn from Howe's Ball-Room Handbook, attributed to Elias Howe (Boston, 1858). 

The first four figures were fairly straightforward, with the first three being pretty much the usual figures of the "First Set" of quadrilles that had been popular for nearly half a century when the manual was published.  Interestingly, they were a more old-fashioned version than those which were popular in the mid-century and which Howe prints elsewhere in the same manual.  Tell-tales include the use of "balance and turn partners" instead of a long balance figure and, in Figure 3, two people crossing back and forth and forming a line rather than four crossing back and forth and going into a basket formation.  It had been common practice from the 1810s onward to use three of the standard figures and then vary the last two, so this set is well within the quadrille tradition.  But the fifth figure proved a real challenge to reconstruct.

Will you, won’t you, will you, won’t you, will you join the dance?

One of the difficulties in reconstructing 19th century quadrilles lies in the frequent inadequacy of the instructions for the figures.  This might include the lack of information on the amount of music occupied by a particular figure, unspoken assumptions about what is included in a figure, completely omitting a necessary figure or instruction, and the use of unconventional figures or timing.  One might simply ignore such dances, as there is hardly a shortage of quadrilles which lend themselves to straightforward reconstructions.  But for the dance historian it is an intriguing mental challenge to wrestle with these quadrilles and come up with workable reconstructions, even if at times this involves some creativity in the interpretation of the instructions.

Among these reconstruction challenges is the quadrille described in the notable mid-19th century source, Alice's Adventures in Wonderland (Charles Dodgson, a.k.a. Lewis Carroll, 1865).  Popularly known as the Lobster-Quadrille, it is notable both for its specific geographic requirements (it is impossible to perform the figures anywhere other than the seashore), its unusual partnering (every couple must include a lobster), and its unique figures, such as the swimming somersault.

Bits of Bijou: The Missing Middle of Durang's 1848 Manual

Research on social dance history does not always involve direct work on specific dances, and occasionally I get diverted to detective work on related historical mysteries in different fields - music, language, biography, etiquette, publishing history, and more.  Over the last few weeks, I have pursued a successful quest for some pages missing from an 1840s work by Charles Durang.  The process of locating these pages illustrates some of the frustrations of working with 19th century sources and the care needed in studying them.

In her delightful overview of 19th-century dance and etiquette, From the Ballroom to Hell, Elizabeth Aldrich states that Durang (1796-1870) was a dancer at the Bowery Theatre who later taught dance in Philadelphia with his daughter Caroline and published at least four dance manuals.  I started looking for a copy of Durang’s The Ball-Room Bijou and Art of Dancing as part of the research for a particular set of quadrilles and rapidly found myself in the midst of a publication puzzle.

It was not particularly difficult to track down a copy of Bijou – the University of California has a copy in its collection, which has conveniently been digitized by Google. But, to my dismay, that copy appeared to be missing its middle: the page numbering jumped abruptly from page 50 to page 113 and then skipped from page 155 over to the final page, 158.  While the complete description of the set of quadrilles I was researching was included in the available pages, I was both hopeful of more details on some of the steps in the missing pages and just plain annoyed at not having the complete work.  I assumed the California copy was damaged and over time the pages had simply been lost, so I took advantage of a planned trip to the New York Public Library to look over their collection of Durang, including three separate copies of Bijou, in quest of the missing pages.

One Year Later (In Memoriam)

One year ago today, I hugged my dear friend, teacher, and mentor, Patri Pugliese, good-bye and walked out the door to run a Regency-era tea dance.  The dance was remarkably successful, but when I came back to tell him about it, he was gone.

Yesterday, I ran the same dance.  It was even more successful this year.  I will never again have the joy of sharing my dance accomplishments with Patri, but today, in his memory, I'm going to talk about three lessons I learned from him about dance reconstruction.

Star Light, Star Bright: Reconstructing the "Star" Quadrille Figure

In his manual on quadrilles, early 19th-century (“Regency”) London dancing master Thomas Wilson wrote hopefully that his diagrams,

... together with the printed Directions appended, will enable any person, by marking the Figures on a floor, to perform them correctly without the aid of a Master.
    Thomas Wilson, The quadrille and cotillion panorama, 2nd ed., London, 1822

Quadrilles, the ancestors of the modern square dance, were popular in England from the 1810s onward, displacing the longways country dance from its former preeminence in the ballroom.  Wilson’s diagrams and directions are in fact quite helpful in deciphering many of the figures needed for the Regency-era quadrille, but he does have occasional failures, as in the figure “L’Etoile” or “The Star”.