(Fifth in a series of seven posts on the 1856 dance L'Alliance. An introduction and explanation of the steps may be found in the first post in the series. Other figures: Figure 1, Figure 2, Figure 3, Figure 5, Figure 6)
The name of Figure 4 refers to The Congress of Paris, the peace talks that ended the Crimean War. Raab has his commemorations a bit out of sequence here; the war may have ended with the Congress, but L'Alliance goes on for two more figures!
Figure 4: Le Congrès
8b Introduction
8b First couple takes closed position and dances across to the second couple then back to their places, exactly as in Figure 1, opening out at the end to stand side by side
8b Second couple takes closed position and dances across to the first couple then back to their places, exactly as the first couple did but keeping closed position at the end.
4b First couple again takes closed position and both couples travel toward each other with very small steps, opening up at the end to take hands in a circle of four (SCHop, SCHop, SCHop, SCLeap*) *Both ladies must end with SCHop
4b All four circle to the right completely around, all starting with the right foot (SCHop, SCHop, SCHop, SCLeap*) *Both gentlemen must end with SCHop
4b Both couples take closed position and return to their places with very small steps, moving forward "over elbows", making a half-turn clockwise (lady crossing in front of the gentleman), moving forward again, and making a half-turn counter-clockwise (lady crossing in front again), keeping closed hold at the end (SCHop, SCLeap, SCHop, SCLeap)
4b Both couples Balancé out of the set and back in twice as in Figure 2 (SCLeap, SCLeap, SCLeap, SCLeap)
Reconstruction & Performance Notes
One of the things that make L'Alliance easier than it looks at first is the amount of repetition of figures. Figure 4 incorporates the back-and-forth by each couple from Figure 1 and the standard Raab out-in-out-in Balancé sequence. The approach sequence and return-to-place sequence are the same as those used in Figure 3, but covering half the distance.
When both couples are approaching the center for four measures, the sliding steps must be quite tiny so that the couples end in a graceful circle rather than by crashing into each other. This is quite obvious in practice. In contrast, the circling to the right needs to travel aggressively to get all the way around. The return to place must again be performed with tiny steps.
Original language
Vierte Figur. Le Congrès.
Der erste Herr und feine Dame stellen sich vis-à-vis, sich wie beim Walzer haltend, machen gegen das zweite Paar einen Polka-Mazur-pas, sodann eine halbe Wendung rechts und noch zwei pas zum zweiten Paare. (Fig. 1) 4 Takte; dann dasselbe bis wieder auf ihren Platz. (Fig. 2) 4 Takte. Der zweite Herr und seine Dame stellen sich vis-à-vis, sich wie beim Walzer haltend, machen gegen das erste Paar einen Polka-Mazur-pas, sodann eine halbe Wendung rechte und noch zwei pas zum ersten Paare. (Fig. 3) 4 Takte; dann dasselbe bis wieder auf ihren Platz. (Fig. 4) 4 Takte. Beide Paare, sich wie beim Walzer haltend, vier pas bis in die Mitte. (Fig. 5) 4 Takte; dann beide Paare Ronde rechte mit vier pas. (Fig. 6) 4 Takte. Nun kommt jedes Paar mit zwei halben Wendungen auf seinen Platz. (Fig. 7) 4 Takte; dann jeder Herr mit seiner Dame Balancé. (Fig. 8) 4 Takte.
English Translation
Fourth Figure. Le Congrès.
The first man and his lady place themselves vis-à-vis, holding themselves as in the waltz, make a Polka-Mazur pas towards the second pair, then a half turn right and two more pas to the second pair. (Figure 1) 4 measures. Then the same again to their place. (Figure 2) 4 measures. The second man and hhis lady place themselves vis-à-vis, holding themselves as in the waltz, make a Polka-Mazur pas towards the first pair, then a half turn right and two more pas to the first pair. (Figure 3) 4 measures. The the same again to their place. (Figure 4) 4 measures. Both pairs, holding themselves as in the waltz, four pas until in the middle (Figure 5) 4 measures. then both pair ronde right with four pas. (Figure 6) 4 measures. Now each pair comes with two half turns to their places. (Figure 7) 4 measures. then each man with his lady Balancé. (Figure 8) 4 measures.
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