Capering & Kickery

Harvest Home

• Era: American, late 1850s-early 1860s

In commemoration of the American Thanksgiving holiday, here’s a seasonally appropriate dance from the American Civil War era, a country dance for a set of six couples.

While I have not done a comprehensive search, I appear to have instructions for "Harvest Home" only in a pair of dance manuals by Elias Howe: Howe's Complete Ballroom Handbook (Boston, 1858) and American Dancing Master and Ball-Room Prompter (Boston, 1862), which include far more country dances than is typical of other dance manuals of the time period.  New England to this day retains a stronger country dance tradition, in the form of modern contra dance, than most other parts of the United States.

The Swedish Dances, Part Three: Characteristic Setting Figures

(Third in a series of posts discussing and analyzing the Swedish dances.  Links to the full series are at the end.) 

As mentioned in my introductory post in this series, there are distinct sequences of figures involving setting for dances suited only to a majority of one gender or the other and for dances suited to either an equal number of each or a majority.  In this post I'll take a look at the characteristic setting figures for each type of dance.

Right & left: hands or not?

By the mid-nineteenth century, the only American dance manuals that contain large quantities of contradances are those from the New England area.  Others may have a few here and there, but not the pages and pages of them, or entire manuals of nothing but contras.  And, alas for reconstructors looking back 150 years later, the authors simply don't bother to explain how to do specific figures.  Presumably, everyone knew.

For most figures this isn't a particular problem; they're self-evident from the name or unchanged from earlier eras.  But there is one figure that is especially ambiguous to dance historians, and that is "right and left" or "rights and lefts".  The major reason for the ambiguity is good old Thomas Wilson, a dancing master in early nineteenth-century London and a prolific author.  Wilson wrote some of the most useful books on English country dance in all of dance history, with explanations, diagrams, and occasionally even steps for each figure.  But he had a somewhat unusual take on right and left.

The Swedish Dances, Part Two: A Trio of Swedish Dances

(Second in a series of posts discussing and analyzing the Swedish dances.  The first post may be found here.)

To introduce some of the typical Swedish dance figures, here are a three simple thirty-two-bar figure combinations, as given by Chivers in his various manuals, which are a nice mix of standard country dance figures with ones that are particularly characteristic of Swedish dances.  For information about the specific sources of these dances, please see the introductory post in this series.

Gothic Ancestry: A Country Dance Gallopade

• Era: 1830s, England

A year or so ago I published a discussion and reconstruction of the 1862 country dance gallopade known as The Gothic Dance and mentioned that there was a very similar dance in London dancing master J. S. Pollock's c1830 manual, A Companion to La Terpsichore Moderne (Second Edition).  I've taught this dance at the few 1830s events I've had an opportunity to run, but have not previously published a reconstruction.

The original instructions for the dance, one of a pair of country dance gallopades with numbers but no titles, are as follows:

No. 2.     (4 parts) 

    All advance, retire, and cross over, changing places with partners -- advance, retire, and cross over back again -- first and second couples right and left -- first couple gallopade down the middle to the bottom of the dance, and remain at the bottom.

The formation is a long line of couples, gentlemen on one side (with their left side toward the top of the set, or orchestra) and ladies on the other, in two facing lines.  While not specified, I'd have the dancers take hands along those lines.  The reconstruction is fairly straightforward:

4b    All advance and retire in lines
4b    All cross over, passing right shoulders and turning to the right to form facing lines again
8b    Repeat all of the above to original places
8b    First two couples right and left
8b    First couple gallopade down the center to the end, remaining there

(repeat until all couples have gone down the dance)

The similarity to the Gothic Dance as well as to the traditional English Galopede, which this appears to be an early version of, is obvious in the advance/retire/cross over pattern and final gallopade, though the Gothic Dance is far more creative in its figures.  This dance is simple and rather sedate by comparison!

The Swedish Dances, Part One: Introduction

(First in a series of posts discussing and analyzing the Swedish dances.)

I’ve recently spent some time focusing on a trio of early sources for the unusual form of country dance known as “Swedish Dances,” which originated in the very late 1810s or early 1820s and after their early burst of popularity continued to turn up occasionally in dance manuals throughout the nineteenth century.  Their distinguishing feature is that instead of the usual long column of couples, the dancers form a column of trios with either one lady between two gentlemen, one gentleman between two ladies, or a mixture of the two.  The Swedish dances were created in the wake of the quadrille’s introduction into the London ballroom in the mid-1810s, which spurred a great deal of choreographic innovation as dancing masters adopted figures and formations from the quadrille and merged them into the old-fashioned country dances, which had become increasingly formulaic.  Along with the Swedish dances, this burst of creativity resulted in, most notably, the Spanish dances, Mescolanzes, and Circassian circles. 

Victorian, Modern, and Cross-Step Waltz Workshops, NYC (Sunday, November 13, 2011)

I will be teaching a trio of workshops sponsored by Big Apple Waltz in New York City on Sunday, November 13th, covering a trio of waltz forms ranging from the nonstop spinning of the classic Victorian waltz and the lively hops and heel-clicks of the mazurka waltz to new variations for modern rotary waltz and the beautiful, flowing cross-step waltz!

The workshops will be held at the DANY Studios, Studio 10, on West 38th Street between 8th and 9th, from 1:00 to 6:00 pm.  No partner is required, but lead/follow balance is not guaranteed.  Experience level needed varies somewhat by workshop -- see the details below.

The cost is $10 per workshop, or take all three for only $25.  No pre-registration needed -- just show up!