I've written previously about Paul Jones mixers in answer to a question about their origin, so I was quite amused to find the editors of The Dancing Times expressing their bafflement about the dance all the way back in the issue for March, 1919:
Here is the programme of music played by Alfred Delmonte's Jazz Band at the Victory Ball held at the Philharmonic Hall, Liverpool, on Thursday, February 6th. We are curious to know what exactly is a "Paul Jones," which figures twice upon the programme...
The Dancing Times was a British journal which covered both stage (ballet) and ballroom dancing. Its editors may have been in the dark about the Paul Jones, but their subscribers were happy to fill them in.
From the letter column of the April issue:
"[T]his dance is used as a means of introducing people, and is danced as follows: -- Two circles are formed. Gentlemen form outer circle. Ladies forn inner circle. A whistle is blown, ladies turn right, gents turn to left, and march in opposite directions until signal is given for change. Gent then dances (one-step) with lady nearest to him until whistle is again blown. Repeat all several times. Five or six years ago this dance was known as the Australian Waltz, when a grand chain was formed instead of circles, and waltz danced instead of one-step" -- Dorothy M. Glover
The grand chain does figure in the earliest version of this sort of mixer that I have found, the American "Round Two-Step" from 1903. It turns up in an English dance manul from the 1920s, so -- unsurprisingly -- there was some regional variation in the figures. I'm fascinated by the reference to the Australian Waltz, however; that's one I've never heard of.
The Paul Jones is, logically enough, attributed to America, and its transmission to England is associated with the troops stationed there during World War I:
"When I first commenced organizing the dances for the American Troops in London, they introduced this dance, which is, I believe, popular in the States as a means of enabling one to become acquainted with members of the opposite sex. It opens with a foxtrot or one-step. A whistle of a call on the Jazz drum is given, and they all take hands, forming a circle (making an inner one if too large). They move round, a whistle goes, they do the grand chain, the whistle is repeated, and each man dances off with the lady whose hand he happens to be holding. This is repeated as often as required." -- Amy Ellis
Another writer actually sends along documentation:
"As far as I know, the Bootle civic authorities and the Bootle Musical Club are the original importers of this dance, so I felt it my obligation to reply. Herewith I beg to hand you the letter I received from Captain Phelps of the mammoth armed cruiser "Leviathan." This, I think, is the original information in the country re Paul Jones, which is much appreciated here." -- John Hanley, Hon. Sec. Bootle Musical Club
The letter from Captain Phelps explains in detail:
"The one-step 'Paul Jones' consists in the music playing a one-step, and suddenly the band leader, or other person designated, blows a whistle, whereupon all the dancers break apart and form a circle. On the second whistle, the circle revolves. On the third whistle, the two sides of the circle approach each other and then resume the original circle. On the fourth whistle, every man turns to the right and every lady to the left, and as the music plays they trip around, the men weaving in and out, first right and then left hand, with the ladies going in the opposite direction. On the fifth whistle each man takes as partner the nearest lady, and continues the one-step. The one-step 'Paul Jones' is for the purpose of getting the dancers acquainted with each other. Our men understand this dance very well, and it is simple to learn for those who do not." -- J. Phelps, Captain, U.S. Navy, Commanding. 26th November, 1918.
And finally, a word from someone who was actually at the Victory Ball that spurred the question but seems to have forgotten his naval history:
"...having attend the dance in question, I have pleasure in supplying the necessary information. 'Paul Jones' is an American arrangement of the one-step, and Paul Jones is a mythical gentleman under whose genial auspices couples can become acquainted. Partners fall in facing the centre of the room, lady in front. When the whistle goes, ladies walk to the left and men to the right, away from their original partners, whom they may probably not meet again during the dance. Ladies keep to the inner circle, and men to the outer circle. On the whistle being blown again, the man takes the nearest girl and one-steps with her until the whistle ends it, and all resume the walk round the room. This is continued ad lib., and judging from the insistent demands for encores, the dance is highly popular. At any rate, it continued until Delmonte's Orchestra was tired of playing. The walk may be simple an straightforward, or it may be full of strategy, depending on what is coming round the bend. Observation and celerity count when a favourite partner approaches, or when one's bete noir has to be deftly avoided. The whole dance is productive of that atmosphere of camarderie [sic] for which Liverpool dances are so justly renowned." -- J. Britton Fowler, Major.
The presumed namesake, John Paul Jones, was not, of course, a mythical figure, but it's wonderful, from a dance historian's perspective, to have such a detailed description of how a Paul Jones was danced at a particular event. Those wanting to use a Paul Jones on a ball program today clearly have plenty of options as to the details!
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The full programme from the Victory Ball offers a neat glimpse of what was popular in England immediately after World War I. Along with the two Paul Jones mixers, there were waltzes (eight), foxtrots (six), and one-steps (six). I've included the tune names, which are interesting to me for the recurring American references. Breaks are not listed, but the first Paul Jones is right after the opening waltz, and the second is at the halfway point of the event -- possibly the first dance after an intermission?
Valse ("Thrills")
Paul Jones ("Khaki and Blue")
Foxtrot ("The Jazz Band")
One Step ("Alexander's Back from Dixie")
Valse ("April Buds")
Foxtrot ("Rock-a-bye Baby, with a Dixie Melody")
One Step ("You're just a Great Big Cuddly Kid")
Valse ("Missouri")
Foxtrot ("Give me a Cosy Little Corner")
One Step ("Raggedy Doo")
Valse ("Maid of the Mountains")
Foxtrot ("Isn't she the Little Busy Bee")
Paul Jones ("It's a long way, no longer")
Valse ("If you would only care")
Foxtrot ("Tickle Toe")
One Step ("So this is Dixie")
Valse ("Lilac Domino")
Foxtrot ("Down Honolulu Way")
One Step ("Over There")
Valse ("Delilah")
One Step ("That Li'l Old Home")
Valse ("Night of Romance")
The waltz/foxtrot/one-step repertoire is very much like that of a college dance at Yale in 1921, as shown via a surviving dance card. Ironically, that American event did not feature a Paul Jones!
Perhaps you already know, but the Dancing Times is still around, now at http://dancing-times.co.uk/.
Posted by: MsH | January 07, 2015 at 02:57 PM
Yes, I know! Impressive longevity!
Posted by: Susan de Guardiola | January 09, 2015 at 07:38 PM