Long, long, ago I published a reconstruction of the mid-19th century American contra (country) dance published as “Harvest Home” in some of Elias Howe’s dance compilations. I have nothing new to add to that reconstruction, but as I’ve collated more and more contra dances of that era, I’ve found the same figures under a couple of other names in other source, including one predating Howe’s publication of it, with a suggestive pattern of differences.
(more…)Category: Civil War (American)
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No “Secesh”, 1862
On January 25, 1862, a dramatic little story appeared in a column in The Philadelphia Inquirer, “The New York Letter”, which covered news from New York City. The United States was eight months into the Civil War against the Confederacy (formally, the Confederate States of America, or C. S. A.), and New Yorkers were on the alert for Confederate spies, or “Secesh” (secessionists). So it was quite alarming for a gentleman to notice, in a paint shop,
several suspicious looking bundles, boxes, etc., marked “C. S. A. Sutler’s Department,” “C. S. A. Medical Department,” etc.
He reported the items to the police, and detectives were duly assigned to watch the shop, where, on the evening of January 23rd (going by the date of the column), they noticed someone leaving the premises,
enwrapped in a long cloak and scarf, carrying the suspicious bundles under his arm
Suspicious indeed! The detectives followed him to a house, which he and dozens of other cloaked men entered. Was it a secret meeting of spies? Smugglers? Terrorists? Police surrounded the house, but after sending one policeman inside to reconnoiter, they abruptly retired from the scene.
Why did they leave? And what does this have to do with dance, anyway?
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Displeased by dancing, 1852
"Pleasing the Parish; or, The Minister's Wife", and its sequel, "Intervention", appeared in the January and July, 1852, issues of Godey's Lady's Book, probably the most prominent women's magazine of mid-19th century America. The author remained anonymous, offering only a list of their previously published stories.
The first story is the sad tale of the overwhelming demands made upon Mrs. Stone, the wife of a theologian who accepts a position as rector of a large parish in New York City. Her inability to fulfill all the demands on a rector's wife and her refusal to yield in all areas to the leading female parishioners makes her increasingly unpopular and, as a result, miserable. In the second story, she has the temerity to attend a gathering of friends rather than the organizational meeting. Both the gathering and its consequences offer brief insights into the practice and perception of dance in mid-nineteenth-century America.
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The Way it Ended, 1855
I came across this story in a California newspaper, The Weekly Placer Herald, and didn't find it particularly believable. But it was not original to the Herald; the attribution at the end is to the Albany Dutchman, which seems to have been more of a weekly humor publication than a newspaper. Per the Library of Congress's Chronicling America website, it described itself in 1849 as "A weekly newspaper-devoted to fun, literature, good advice, women and other luxuries." I don't have any way to check the attribution at the moment, as the Albany Dutchman doesn't seem to be online, but that fits with my impression that this is a tall tale, not an actual incident. It nonetheless makes a light-hearted ending to my month of masquerades!
In the story, two friends, Bob and Frank, lie to Bob's wife about his having to help a sick uncle. In reality, they are sneaking off to a masquerade ball. While Bob is a married man, Frank is "a roue, and as a matter of course is a great favorite with the ladies—roues always are."
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A Fancy Dress Party (from A Few Friends), 1864
A Few Friends, by Korman Lynn, was serialized in nine parts in Godey's Lady's Book during the year 1864. The serial doesn't have a lot of plot; it describes eight evenings of a group of friends gathering together to, for the most part, play parlor games. It's great for anyone who wants to research mid-nineteenth century parlor games, which are described in elaborate detail, but the only section of any real interest to me is the final one, in which the friends gather for a fancy dress party.
To pick up the story at this point, it is only necessary to know that the kind and generous Ben Stykes has been quietly pursuing the lively Mary Gliddon from the beginning of the story, though a certain Mr. Hedges, a young man from Liverpool, is also interested in her.
Even a single part of the story is too long for me to transcribe here, but I'll quote the costume descriptions, some of which are detailed and unusual, and the resolution of the romance.
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Against the odds
I recently made note of a mailing list post that referred to dances done at American Civil War reenactments, such as the Virginia Reel, and couple-facing-couple dances like the Spanish Dance/Waltz, as "historically-flavored". I don't think the poster meant to imply that these dances were actually ahistorical; this is someone whom I'm certain knows better. But there's an interesting underlying point I wanted to expand on in this, which is that it's possible to have an entire ball full of historically-appropriate, accurately-reconstructed dances, and still have the ball as a whole not be convincing as a historical event. Because having all the dances accurate to the time period is not enough. There are at least two other external factors to consider: the geographic setting and the specific type of ball and ball attendees. A ball held by a member of high society in New York City is not going to have the same dance repertoire as a ball set in a frontier town in Oregon, even if they are both set in 1898, and a middle-class French ball would be even more different.
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Reminiscences, 1865
I have what seems like an endless collection of works of nineteenth-century women’s fiction that I plow through for the dance references whenever I have the chance. Most of them are overly sentimental and laden with heavy-handed moral messages. “Reminiscences”, which was serialized in the American women’s periodical Godey’s Lady’s Book from February to June, 1865, was no exception to this, alas, but at least it was relatively short.
The background of the piece is a bit of a mystery. The author is the same “Ethelstone” credited with “Dancing the Schottische” (Godey’s, July 1862), which I discussed a few years ago. I’ve never been able to locate any information about this author. And “Reminiscences” adds a new element of confusion because it is written in first person and purports to be the story of one Ethel Stone. Was “Ethelstone” actually a woman named Ethel Stone? Is this fiction masquerading as memoir? Or part of an actual memoir of a life that oh-so-conveniently included the elements of a mid-nineteenth-century morality tale? That seems unlikely, so I assume that it’s fiction. But I may never know for certain.
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Flower Girl’s Dance
Flower Girl’s Dance is an American Civil War-era contra dance that I remember dancing way back in the early 1990s when I first started doing mid-nineteenth-century dance. But the version we did does not actually match that found in any source I’ve ever seen. And it’s easy to see why: the versions given in the sources don’t actually work very well. And now that I’ve reconstructed the California Reel, I have a little theory about why that is.
The earliest sources I have for Flower Girl’s Dance are Elias Howe’s two 1858 books, the Pocket Ball-Room Prompter and the Complete Ball-Room Handbook. I strongly suspect that all the later sources were copying to some degree from Howe. So let’s look at Howe’s instructions:
FLOWER GIRL’S DANCE.
(Music: Girl I left behind me.)
Form as for Spanish Dance. All chassa to the right, half balance–chassa back, swing four half round–swing four half round and back–half promenade, half right and left–forward and back all, forward and pass to next couple (as in the Haymakers).There are some minor differences of spelling and punctuation, but the wording is essentially the same across almost forty years of Howe publications. Taken at face value with the hash marks setting off eight-bar musical strains, this yields a 40-bar dance:
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California Reel
There’s the famous Virginia Reel. There’s a Kentucky Reel. Why not a California Reel?
Unlike those other two reels, which are full-set dances, the California Reel is a normal progressive contra dance in the “Spanish Dance” format: couple facing couple, either down a longways set or in a circle. For this particular dance, a line of couples will work better.
I have five sources for California Reel, though two of them are simply later editions of other sources:
- The ball-room manual, containing a complete description of contra dances, with remarks on cotillions, quadrilles, and Spanish dance, revised edition, presumed to be by William Henry Quimby (Belfast, Maine, 1856; introduction signed W. H. Q)
- The ball room guide : a description of the most popular contra dances of the day, (Laconia, New Hampshire, 1858)
- The ball-room manual of contra dances and social cotillons, with remarks on quadrilles and Spanish dance, vest pocket edition, presumed to be by William Henry Quimby (Belfast, Maine, and Boston, 1863) (later edition of first source above, again signed W. H. Q.)
- Howe’s New American Dancing Master by Elias Howe (Boston, 1882)
- Howe’s New American Dancing Master by Elias Howe (Boston, 1892)
All of them have the same language in the description, varying only in punctuation and spelling. I am reasonably sure that the text in most of these sources was copied from either the 1856 source or some earlier source.
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Susan’s Sociables
When I first wrote about the quadrille figure called the Sociable almost seven years ago, I noted that some sources offered slightly different sets of figures, and at least two suggested that the choice of figures was up to the caller:
“No positive rule as to what figure shall be called in the Quadrille Sociable. The choice is left entirely to the prompter.” (Brookes, L. De G. Brookes on Modern Dancing. New York, 1867)
“Prompters often call figures in the ‘Sociable’ to suit their fancy, introducing the ‘Star Figure,’ ‘Grand Chain,’ etc.” (De Garmo, William. The Dance of Society. New York, 1875)
I rarely exercise the option to call variant figures; my habit has been to do the most common four-figure sequence twice over, once for the ladies to progress and once for the gentlemen, with an eight-bar “All chassez” and honors coda at the end. Including introductory honors, this calls for a structure of 8b + 32bx8 + 8b. Working with live musicians, I can have music played to fit this pattern exactly. Or, if I am using the Sociable as the final figure of a quadrille, the short version with the progressive figures done only once (ladies progressing) is plenty, and since 8b + 32bx4 + 8b is a common finale structure, if necessary, it is easy to find a recording with that pattern.
