Five Step Schottische

• Era: 1870s(?)-1890s (America)

The Five Step Schottische, as described by prominent late 19th-century dancing master M.B. Gilbert in his tome of couple dances, Round Dancing (Portland, Maine, 1890) and later by Marguerite Wilson in her oft-reprinted Dancing (Philadelphia, 1899),  squeezes five movements, rather than the standard four, into each bar of schottische for an interesting variation which alternates sideways slides and half-turns for a sequence similar to that of waltz variations such as the contemporary Le Metropole (also included in Gilbert's manual) or the later Five-Step Boston described by Philadelphian Albert Newman in 1914.  Putting this combination into schottische rhythm makes for an interesting but not overly complicated dance worth resurrecting by the modern late-19th-century dance reenactor.

Of the dance's name, Gilbert complains that:

Some more appropriate name might have been given to this dance, but I think it best to adhere to the phrase, rather than take upon myself a lingual reform.

This does not stop him for long.  A few pages later, he lists "Redowa Schottische" and "New Schottische" as alternate titles for the variation.  He attributes the former name to E.W. Masters, whom he claims originated it in 1871 (pushing the date of the dance back significantly), and feels that

Although this dance is better known as the Five Step Schottische, the name given above [Redowa Schottische] is far more appropriate.

The name Five Step Schottische, however, is more straightforwardly descriptive and thus more useful.

The dancers begin in a standard late 19th-century ballroom hold with their joined hands pointing along line of dance (gentleman facing toward the wall).

Five Step Schottische (Gilbert & Wilson)
1      Slide left foot to side
2      Close right foot to left
(quarter turn clockwise)
3      Leap backward along line of dance onto left foot
(quarter turn clockwise)
4      Slide right foot to side

&1   Chassé: close left to right (&), slide right to side (1)
2      Close left foot to right
(quarter turn clockwise)
3      Leap forward along line of dance onto right foot
(quarter turn clockwise)
4      Slide left foot to side

&    Close right to left
(repeat from beginning)

The final close (on the "&" at the end, which is the upbeat of the next measure of music) is a weight change which enables the dancers to begin the sequence again from the beginning or switch to a different schottische; without it, the dancers are left inconveniently with weight on their first feet (gentleman's left/lady's right).  This change, which is specified by both Wilson and Gilbert, makes the transition between the end of the sequence and the beginning into a chassé (close-slide, counted "&1").  The final leap and slide (3, 4) of one measure and the initiating close (&) of the next measure are effectively a waltz-galop counted "34& "instead of the usual "3&4."

The five steps thus consist of: close-slide, close, leap, slide, with the initial "close" being unnecessary when first initiating the sequence.  Wilson's description uses "step" rather than "leap" for the third step but is otherwise identical.

Both Gilbert and Wilson note that the five-step schottische can be reversed, using counter-clockwise quarter-turns rather than clockwise ones.  The easiest time to begin reversing is on count three of the second measure, with the gentleman moving slightly ahead of the lady on the slide-close (1,2) and leaping backward along the line of dance with the right foot rather than forward.  This enables him to draw the lady along with him easily.  On the next measure he would then leap forward left while she leaps backward right.  Alternatively, the gentleman can initiate the reverse on the first measure by guiding the lady to leap backward with her right foot on the third count, but this is a more difficult lead.  Alternating clockwise and counter-clockwise quarter-turns measure by measure would allow the gentleman to courteously take all of the backward steps or (less courteously) force the lady to constantly leap backward and is an interesting way to break up a series of natural or reverse turns.

Since dance cards of the era listed only a schottische without specifying any details, it is difficult to judge how many of the numerous variations Gilbert lists were actually done anywhere other than the studio (or the imagination) of a particular dancing master.  In this case, Gilbert insists that:

The Five Step Schottische is very popular throughout New England, and is still growing in favor.  I consider it the most fascinating dance adapted to the Schottische at the present time, and would urgently advise its adoption by every member of the profession.

Despite Gilbert's urgings, I have found the dance in only one other source of the era, where it is given as part of a longer sequence known as the Tuxedo and attributed to R.G. Huntinghouse.  The source is The American Prompter and Guide to Etiquette (Cincinnati, 1896), a compilation assembled by E.H. Kopp.  This version has a more conventional (and, to me, less interesting) rhythm and (like Wilson) does not specify leaping on the third count of each bar:

Alternate Five Step Schottische (Kopp)
1      Slide left foot to side
2      Close right foot to left
(quarter turn clockwise)
3      Step backward along line of dance onto left foot
(quarter turn clockwise)
&     Slide right foot to side
4      Close left to right

1      Slide right foot to side
2      Close left foot to right
(quarter turn clockwise)
3      Step forward along line of dance onto right foot
(quarter turn clockwise)
&     Slide left foot to side
4      Close right to left

The 3&4 in each measure are now a conventional waltz-galop and the sequence an exact parallel of Le Metropole and the Five-Step Boston.  This version of the Five Step Schottische is quite easy to reverse: simply rotate counter-clockwise on each quarter-turn, the gentleman stepping forward left along the line of dance (and the lady back right) on the first bar and backward right (lady forward left) on the second bar.  As with the Gilbert/Wilson version, it will be easier to initiate the reverse on the second measure of the sequence rather than the first.

It is impossible to know whether Kopp intended to describe a different sequence from Gilbert and Wilson, whether one description or another is in error, or whether the dance rhythm mutated or was deliberately altered over time or in different locations.  Either rhythm (1234&1234& or 123&4123&4) may be considered legitimate for the dance so long as the lady and gentleman are in agreement as to which they are performing.  Should the gentleman have no opportunity to consult the lady, the difference in rhythm is leadable if both dancers are skilled.

Comments

[Chris Yoder]

I'm a volunteer with the Saugatuck Historical Society. R.G. Huntinghouse was a local celebrity and is buried here. Can you suggest where I may be able to track down a photo of him? Dance archives or historical society or museum?

[Susan de Guardiola]

Sorry, Chris, I do not. I know little about him except that he was a dancing master with a school and involved with the National Society of Masters of Dancing to the extent of at least being vice-president. Kopp cites him in several places as the source for dances, giving Chicago as his location. Perhaps a Chicago newspaper might have something in their archives?

[Marilee J. Layman]

I googled and found a mention of him in the Chicago Examiner 7/10/17, so maybe they have an image as well.