July 31 was the last day of the DHDS course in Chichester, and what a bittersweet end it was. On the one hand, I'm excited to go home and show everyone what I have learned, but on the other hand, it was the most amazing week of dancing and I am sad it is over. The memories created over the past week will definitely stay with me. In the morning and afternoon we polished our presentation dances and prepared for the evening gala.
The final event was fantastic, full of fun and laughter! Anne Daye's class arrived as the British, while our class represented the French. To settle the dispute between the two countries, we had a dance off. Although we danced splendidly, the French did lose the Battle of Waterloo and consequently we admitted defeat. After that, we had some social dancing and tried to do the largest Lancer's Quadrille. It was so much fun and a great way to end the week. I am so sad to leave. I feel that I have grown as a dancer and that I have so much more to learn and explore! DHDS summer school was an incredible experience!
A Parisian Quadrille
Saturday, 1 August 2015
Thursday, 30 July 2015
DHDS Day 7 - The Twelve Quadrille
Just a short post for today... My feet are in need of some TLC.
Today we finished learning the 3rd part of the Twelve Quadrille! The final figure features the 12 dancers joining hands in a single line and dancing forwards together with an echappe to 2nd, jete extending the left leg in front, then 2 more jetes. This is repeated 2 more times, extending the right leg, then the left. It's really beautiful! Tomorrow we will work on polishing our quadrilles to present them at the gala in the evening.
Tomorrow is the final day and I shall be so sad to say goodbye to the amazing people I met here and the incredible instructors. I have learned so much and it has been a fantastic experience. I seem to have been reliving two historical experiences: that of the country dancing master going to London to learn the latest and most fashionable steps to teach in his own town, and that of the pupil at a dancing master's school or finishing school. I have followed in similar footsteps 200 years later, and that's really nice. I will never forget this!
Today we finished learning the 3rd part of the Twelve Quadrille! The final figure features the 12 dancers joining hands in a single line and dancing forwards together with an echappe to 2nd, jete extending the left leg in front, then 2 more jetes. This is repeated 2 more times, extending the right leg, then the left. It's really beautiful! Tomorrow we will work on polishing our quadrilles to present them at the gala in the evening.
Tomorrow is the final day and I shall be so sad to say goodbye to the amazing people I met here and the incredible instructors. I have learned so much and it has been a fantastic experience. I seem to have been reliving two historical experiences: that of the country dancing master going to London to learn the latest and most fashionable steps to teach in his own town, and that of the pupil at a dancing master's school or finishing school. I have followed in similar footsteps 200 years later, and that's really nice. I will never forget this!
DHDS Day 6 - the day of the ball!
Today was another day of learning quadrille footwork. We worked on our ballotes and pas de zephyr.
I'll post pictures and a video when I get home.
The Ballote
Hop and sink on your right foot, extending your left leg behind you, hop again (this time on your left leg) and extend your right leg in front of you. You can do the same with the other leg.
The Pas de Zephyr
Hop and sink on your right leg and extend your left leg behind. Hop again on your RIGHT leg (you don't alternate like the ballote) and extend your left leg out front.
So, we worked those 2 steps into the 2nd solo for the men (sinking on the left foot) and women (sinking on the right foot) in the 1826 Gavottini Quadrille.
In the afternoon we worked on the Twelve Quadrille again. The second figure of the quadrille was lovely and we got to use some steps from the William Tell ballet!
After class, one of the other ladies offered to so my hair and she did such a beautiful job creating and arranging multiple plaits. It was so lovely and intricate.
Then we went to the ball at the Chichester assembly rooms (c. 1782). That evening we danced a cotillion, Paine's 1st set of quadrilles, a reel for 4, several country dances and La Boulanger. It was a lovely evening.
I'll post pictures and a video when I get home.
The Ballote
Hop and sink on your right foot, extending your left leg behind you, hop again (this time on your left leg) and extend your right leg in front of you. You can do the same with the other leg.
The Pas de Zephyr
Hop and sink on your right leg and extend your left leg behind. Hop again on your RIGHT leg (you don't alternate like the ballote) and extend your left leg out front.
So, we worked those 2 steps into the 2nd solo for the men (sinking on the left foot) and women (sinking on the right foot) in the 1826 Gavottini Quadrille.
In the afternoon we worked on the Twelve Quadrille again. The second figure of the quadrille was lovely and we got to use some steps from the William Tell ballet!
After class, one of the other ladies offered to so my hair and she did such a beautiful job creating and arranging multiple plaits. It was so lovely and intricate.
Then we went to the ball at the Chichester assembly rooms (c. 1782). That evening we danced a cotillion, Paine's 1st set of quadrilles, a reel for 4, several country dances and La Boulanger. It was a lovely evening.
Tuesday, 28 July 2015
DHDS Day 5 - Triolet
Today we worked on quadrilles! There was the Gavottini Quadrille, after Auguste Vestris' famous Gavotte. This dance dates from T. B.'s 1826 dance book. Both the men and women do a solo comprised of the following steps:
2 pas de basques
2 pas de bourees
2 pas de basque brises
2 pas de basque pirouettes
We also worked on the first 2 parts of Barclay Dun's Third Quadrille from 1818, La Floride and La Valse Cotillion. La Floride, like the Gavottini Quadrille, also features solos for the men and women (so I need to work out what steps I want to do). A tip on composing solos (from Stuart) is to work with the rule of three. So, you choose to do 3 of one step, and 1 of another (ie. 3 pas de chat + 1 changement, and repeat).
La Valse Cotillion, according to Ellis Rogers, may be the earliest waltz quadrille. So, the waltz steps we've worked on for the past 2 days have been really helpful.
I did a lot of dancing in the afternoon as well (what a surprise), but everything I am learning is incredible! What an amazing opportunity. In the main afternoon course, we started work on the Twelve Quadrille from 1826, which is performed in triolet (3 on each side - 1 man between 2 ladies). The footwork that we are using in this dance is so invigorating. There is a sequence when each set of 3 is on the opposite side of the square, and to get back, the heads and sides do this sequence moving towards and past each other:
Skip change + assemble (turning clockwise) + jete (continue turning to face the opposite line) + balance forward and back to pass by the right shoulder, then repeat moving forwards into your proper place.
For the optional course, I opted for Isabel Suri's class on German dances. We worked on another quadrille (cotillion) in triolet from 1834. The German dances have some really unusual figures (coming from the English dance repertoire), so it was really neat to use create different patterns on the floor.
Well, that's all for now... Tomorrow is the ball at the Chichester assembly rooms! Happy dancing!
2 pas de basques
2 pas de bourees
2 pas de basque brises
2 pas de basque pirouettes
We also worked on the first 2 parts of Barclay Dun's Third Quadrille from 1818, La Floride and La Valse Cotillion. La Floride, like the Gavottini Quadrille, also features solos for the men and women (so I need to work out what steps I want to do). A tip on composing solos (from Stuart) is to work with the rule of three. So, you choose to do 3 of one step, and 1 of another (ie. 3 pas de chat + 1 changement, and repeat).
La Valse Cotillion, according to Ellis Rogers, may be the earliest waltz quadrille. So, the waltz steps we've worked on for the past 2 days have been really helpful.
I did a lot of dancing in the afternoon as well (what a surprise), but everything I am learning is incredible! What an amazing opportunity. In the main afternoon course, we started work on the Twelve Quadrille from 1826, which is performed in triolet (3 on each side - 1 man between 2 ladies). The footwork that we are using in this dance is so invigorating. There is a sequence when each set of 3 is on the opposite side of the square, and to get back, the heads and sides do this sequence moving towards and past each other:
Skip change + assemble (turning clockwise) + jete (continue turning to face the opposite line) + balance forward and back to pass by the right shoulder, then repeat moving forwards into your proper place.
For the optional course, I opted for Isabel Suri's class on German dances. We worked on another quadrille (cotillion) in triolet from 1834. The German dances have some really unusual figures (coming from the English dance repertoire), so it was really neat to use create different patterns on the floor.
Well, that's all for now... Tomorrow is the ball at the Chichester assembly rooms! Happy dancing!
Monday, 27 July 2015
DHDS Day 4 - Pirouetting around the room!
To day was another vigorous day of dance and I learned many new style tips!
When instructions say "swing corners", there were a couple of different interpretations in Regency England. Thomas Wilson insisted on beginning a right hand turn with your PARTNER, then left with your CORNER etc. However, G. M. S. Chivers instructed his pupils to start a right hand turn with your CORNER first, then left with your PARTNER. So, the figure is reversed! I can only imagine that there must have been a couple of awkward moments in the ballroom, when students of Wilson and Chivers approached that figure and reached out to turn different people at once! However, if the first lady calls the dance she would specify how to perform the figure. I wonder which was the most common way? How did other dancing masters teach "swing corners"?
We also worked on pirouettes this morning. In the Regency era, all pirouettes started from 2nd position. You can do a pirouette as such: tendu right (or left), plié in 2nd and turn in coupe. One can also do a pas de basque pirouette, which has the setting step rhythm. I haven't quite gotten it yet, but I will work on it. The important thing to remember to to keep your weight and your upper body over your toes, and not to lean back.
This afternoon, we worked on a quadrille, which has solos for both the man and the woman, so we will have to work on different steps to choreograph that!
For the optional course, I did part 2 of Stuart's waltzing class, where we learned part of the waltz for a couple from T. B.'s 1826 dance book. As the instructions do not indicate male or female, this dance may have been meant to be performed by young ladies at their finishing school. Ever since I saw the version performed by a couple from Carnet de Bals at the National Historical Dance competition of France, I have wanted to learn that dance. So, I was very excited to learn Stuart's interpretation of the diagrams. It was very rewarding and a highlight of the course.
That's all for now! Until next time... Happy dancing!
When instructions say "swing corners", there were a couple of different interpretations in Regency England. Thomas Wilson insisted on beginning a right hand turn with your PARTNER, then left with your CORNER etc. However, G. M. S. Chivers instructed his pupils to start a right hand turn with your CORNER first, then left with your PARTNER. So, the figure is reversed! I can only imagine that there must have been a couple of awkward moments in the ballroom, when students of Wilson and Chivers approached that figure and reached out to turn different people at once! However, if the first lady calls the dance she would specify how to perform the figure. I wonder which was the most common way? How did other dancing masters teach "swing corners"?
We also worked on pirouettes this morning. In the Regency era, all pirouettes started from 2nd position. You can do a pirouette as such: tendu right (or left), plié in 2nd and turn in coupe. One can also do a pas de basque pirouette, which has the setting step rhythm. I haven't quite gotten it yet, but I will work on it. The important thing to remember to to keep your weight and your upper body over your toes, and not to lean back.
This afternoon, we worked on a quadrille, which has solos for both the man and the woman, so we will have to work on different steps to choreograph that!
For the optional course, I did part 2 of Stuart's waltzing class, where we learned part of the waltz for a couple from T. B.'s 1826 dance book. As the instructions do not indicate male or female, this dance may have been meant to be performed by young ladies at their finishing school. Ever since I saw the version performed by a couple from Carnet de Bals at the National Historical Dance competition of France, I have wanted to learn that dance. So, I was very excited to learn Stuart's interpretation of the diagrams. It was very rewarding and a highlight of the course.
That's all for now! Until next time... Happy dancing!
Sunday, 26 July 2015
DHDS Day 3 - Quadrilling and Waltzing
Well, it's another rainy day here, but the dancing definitely kept me warm! This morning we worked on a lovely quadrille called Le Wellington from an 1821 dance fan! We worked on a few different ways to do the balance - with chasses, glisses (for ladies to glide along the floor) and a third, more challenging version with sissone for men to show off fancy footwork. Today we discussed "masculine" and "feminine" figures in the different dances. Figures that were serpentine in nature (ie. heys and turns) were seen as feminine and the curves should be emphasized. Similarly, with figures that use straight lines (ie. changes of rights and lefts), the lines should be perfectly straight and the corners should be sharp.
We then rehearsed our performance dances for this evening.
In the afternoon, we did another quadrille called the La Charmante Anglaise from a collection of Waterloo-themed dances.
In the optional workshop, we learned waltzing with Stuart. We went through the slow waltz, sauteuse, jete, and German waltz, so now I need to work on polishing the steps. Once I do that I might post some videos or hold a workshop!
Finally, in the evening, we got to perform our dances - the reel, waltz country dance and the cotillion, which went rather well. The dances performed by Anne's class were also really pretty and had some interesting figures. It was good fun!
Well, that's all for now. I shall see what tomorrow brings. Happy dancing!
We then rehearsed our performance dances for this evening.
In the afternoon, we did another quadrille called the La Charmante Anglaise from a collection of Waterloo-themed dances.
In the optional workshop, we learned waltzing with Stuart. We went through the slow waltz, sauteuse, jete, and German waltz, so now I need to work on polishing the steps. Once I do that I might post some videos or hold a workshop!
Finally, in the evening, we got to perform our dances - the reel, waltz country dance and the cotillion, which went rather well. The dances performed by Anne's class were also really pretty and had some interesting figures. It was good fun!
Well, that's all for now. I shall see what tomorrow brings. Happy dancing!
Saturday, 25 July 2015
DHDS day 2 - Classes begin
Today I had my first classes with Stuart Marsden, where our class started learning a cotillion called La Comtesse du Nore from c. 1797. The Comtesse du Nord was a pseudonym for the Grand Duchess Maria Feodorovna when she travelled inconspicuously.
As a cotillion, the dance features changes and a chorus. The changes (with a balance and pas de rigadon) include:
1. Grand rond
2. Right and left hand turn partner
3. Ladies right and left moulinet (star)
4. Men do the same
5. Ladies circle left and right
6. Men do the same
7. Grand chain
8. Grand rond
It was quite a lot of dancing with the pas de rigadon and Demi-contretemps. Our group will be performing that tomorrow for the other dancers! Fingers crossed. I will post videos of the footwork when I get home.
We had a bit of a breather with Lady Charlotte Campbell's Waltz, which featured a lovely turn under the arm for the lady before casting into 2nd.
In the afternoon, we did a lively reel called Miss Vickor's Delight and then another waltz called Madame Saqui's Waltz which included slow waltz and sauteuse steps, so we are beginning to work on that! We will be presenting a few dances from Stuart's class tomorrow evening.
Then, for the optional course, I did Irish steps with Anne Daye and I learned to do a back step, single footing, double footing and forwards/sideways travelling steps in 9/8 time. Maybe one could work some steps into Physical Snob? It was really fun to do and I will make some videos for these different steps. We then incorporated them into Lord Grantham's Whim from 1810. It was both invigorating and exhausting!
In the evening after dinner, we had a Regency At Home led by Stuart, where we had silhouette cutting, cards, embroider, dancing, letters (like Emma and the infamous "blunder"), and several people "took a turn" by performing songs, Highland dances and exhibited on the piano. At the end of the evening, we played Snapdragon, which is a game that features a burning bowl of brandy-soaked raisins... You have to quickly snatch them out with your fingers and eat them! I was observing off to the side, when Stuart insisted that I try... And I did it! It was a lot of fun! I am so glad I did it.
Then we played Bullet Pudding, which consists of a pile of flour with jellies (the bullets) hidden inside. Each person took a turn cutting away the flour. If a jelly showed, you had to get the jelly out of the flour with your mouth - no hands! There were quite a few flour-covered faces by the end of the evening.
Well, that's all for now. More to come tomorrow! Happy dancing!
As a cotillion, the dance features changes and a chorus. The changes (with a balance and pas de rigadon) include:
1. Grand rond
2. Right and left hand turn partner
3. Ladies right and left moulinet (star)
4. Men do the same
5. Ladies circle left and right
6. Men do the same
7. Grand chain
8. Grand rond
It was quite a lot of dancing with the pas de rigadon and Demi-contretemps. Our group will be performing that tomorrow for the other dancers! Fingers crossed. I will post videos of the footwork when I get home.
We had a bit of a breather with Lady Charlotte Campbell's Waltz, which featured a lovely turn under the arm for the lady before casting into 2nd.
In the afternoon, we did a lively reel called Miss Vickor's Delight and then another waltz called Madame Saqui's Waltz which included slow waltz and sauteuse steps, so we are beginning to work on that! We will be presenting a few dances from Stuart's class tomorrow evening.
Then, for the optional course, I did Irish steps with Anne Daye and I learned to do a back step, single footing, double footing and forwards/sideways travelling steps in 9/8 time. Maybe one could work some steps into Physical Snob? It was really fun to do and I will make some videos for these different steps. We then incorporated them into Lord Grantham's Whim from 1810. It was both invigorating and exhausting!
In the evening after dinner, we had a Regency At Home led by Stuart, where we had silhouette cutting, cards, embroider, dancing, letters (like Emma and the infamous "blunder"), and several people "took a turn" by performing songs, Highland dances and exhibited on the piano. At the end of the evening, we played Snapdragon, which is a game that features a burning bowl of brandy-soaked raisins... You have to quickly snatch them out with your fingers and eat them! I was observing off to the side, when Stuart insisted that I try... And I did it! It was a lot of fun! I am so glad I did it.
That's me, after having eaten the flaming raisins!
Then we played Bullet Pudding, which consists of a pile of flour with jellies (the bullets) hidden inside. Each person took a turn cutting away the flour. If a jelly showed, you had to get the jelly out of the flour with your mouth - no hands! There were quite a few flour-covered faces by the end of the evening.
Well, that's all for now. More to come tomorrow! Happy dancing!
Friday, 24 July 2015
DHDS Day 1
Dolmetsch Historical Dance Society - Day 1
The summer school has officially begun! Today I got registered and met many friendly people in the course, as well as my instructor for the week. It looks like it will be a very full and rewarding week of dance! Some of the optional sessions include waltzing, Scotch and Irish footwork, dances from German sources and Waterloo-themed dances. There are so many wonderful options - I wish I could attend them all! This evening, after dinner, we got to do some fun introductory dances like The Family Party, Haste to the Wedding and Pavilion Waltz, to name a few. So it was a very rewarding evening and I am excited to learn more throughout the week.
That's all for now - happy dancing!
The summer school has officially begun! Today I got registered and met many friendly people in the course, as well as my instructor for the week. It looks like it will be a very full and rewarding week of dance! Some of the optional sessions include waltzing, Scotch and Irish footwork, dances from German sources and Waterloo-themed dances. There are so many wonderful options - I wish I could attend them all! This evening, after dinner, we got to do some fun introductory dances like The Family Party, Haste to the Wedding and Pavilion Waltz, to name a few. So it was a very rewarding evening and I am excited to learn more throughout the week.
That's all for now - happy dancing!
Monday, 20 July 2015
All quiet on the Western front... but not for long!
Hi everyone,
It's been a bit quiet on this site for a while - getting back from Waterloo and preparing for a new adventure!
A few months ago, I was given a bursary from the Dolmetsch Historical Dance Society to attend their 2015 summer school called "Dancing Around 1815" in Chichester! It will be one fantastic (and probably exhausting) week of historical dance in honour of the bicentennial of the battle of Waterloo. There will be dance sessions in the morning and afternoon, as well as some lovely evening entertainments, like a Regency At Home and a ball at the Chichester Assembly Rooms (c. 1782), talks and other evenings of casual social dance. It will be a very full week!
I am very excited to meet the course instructors for the week, including Anne Daye, who appeared on Dr. Lucy Worsley's 2014 documentary called "Dancing Cheek to Cheek" (episode 1 - The Devil's Work). Anne Daye will be teaching country dances, cotillions and Scottish reels from 1780 to 1815.
Stuart Marsden will also be teaching the course for the week. He was the dancing master in Dr. Amanda Vickery's fascinating 2013 social experiment "Pride and Prejudice: Having a Ball", in which the famous Netherfield Ball was recreated! Stuart Marsden is also involved in the new BBC production of Poldark! He will be teaching country dances, quadrilles and waltzes from 1805 to 1836.
It's been a bit quiet on this site for a while - getting back from Waterloo and preparing for a new adventure!
A few months ago, I was given a bursary from the Dolmetsch Historical Dance Society to attend their 2015 summer school called "Dancing Around 1815" in Chichester! It will be one fantastic (and probably exhausting) week of historical dance in honour of the bicentennial of the battle of Waterloo. There will be dance sessions in the morning and afternoon, as well as some lovely evening entertainments, like a Regency At Home and a ball at the Chichester Assembly Rooms (c. 1782), talks and other evenings of casual social dance. It will be a very full week!
I am very excited to meet the course instructors for the week, including Anne Daye, who appeared on Dr. Lucy Worsley's 2014 documentary called "Dancing Cheek to Cheek" (episode 1 - The Devil's Work). Anne Daye will be teaching country dances, cotillions and Scottish reels from 1780 to 1815.
Stuart Marsden will also be teaching the course for the week. He was the dancing master in Dr. Amanda Vickery's fascinating 2013 social experiment "Pride and Prejudice: Having a Ball", in which the famous Netherfield Ball was recreated! Stuart Marsden is also involved in the new BBC production of Poldark! He will be teaching country dances, quadrilles and waltzes from 1805 to 1836.
So, I've very excited to have the opportunity to learn from these two experts in the field of historical dance! My goal is to post on what I am learning each day, or if I am too exhausted in the evening, to write about my experiences when I get back. Fingers crossed!
Tuesday, 9 June 2015
Dance Cards for the Duchess of Richmond's Ball!
Alright, this will probably be my final post before the ball since I will be leaving for Europe shortly! I'm so excited!
However, I've created a couple of documents to create dance cards for anyone who is interested. As the ball will be very international, with people all around the world attending, I don't know what language(s) the ball will be called in (hopefully English!), so now you will have a set of English instructions to refresh your memories in the ballroom.
This image from c. 1820 shows men and women dancing a quadrille. The figure with 1st woman and 3rd couple advancing and retiring is part of Paine's 4th Set of Quadrilles (part 4 La Pastourelle)!
Note the woman on the left is holding a little dance card, probably refreshing the figures in her head during the dance!
I've created a Facebook page (called Duchess of Richmond's Ball dance cards) and uploaded a couple of documents to that page so you can make your own dance card! The first version is in a smaller print and has fewer pages. The second version is a has larger print for those who would find it useful.
Here are some instructions:
SMALL PRINT VERSION
LARGE PRINT VERSION
I hope that you will find this useful! I know I will be reviewing the figures on the flight over... I'm looking forward to meeting many of you at the ball next week! Happy dancing!
However, I've created a couple of documents to create dance cards for anyone who is interested. As the ball will be very international, with people all around the world attending, I don't know what language(s) the ball will be called in (hopefully English!), so now you will have a set of English instructions to refresh your memories in the ballroom.
This image from c. 1820 shows men and women dancing a quadrille. The figure with 1st woman and 3rd couple advancing and retiring is part of Paine's 4th Set of Quadrilles (part 4 La Pastourelle)!
Note the woman on the left is holding a little dance card, probably refreshing the figures in her head during the dance!
I've created a Facebook page (called Duchess of Richmond's Ball dance cards) and uploaded a couple of documents to that page so you can make your own dance card! The first version is in a smaller print and has fewer pages. The second version is a has larger print for those who would find it useful.
Here are some instructions:
SMALL PRINT VERSION
- Print page 1 and you will have your front and back covers! You can use a stiffer piece of paper if you like.
- Print page 2, then page 3 on the reverse for double-sided printing.
- Assemble your pages in order (see below), then staple the middles together.
- Punch a small hole in your booklet through the top left corner.
- Run a decorative string like embroidery floss through the hole and tie off to create a loop. Make sure it is big enough for your hand to go through! You can choose a colour that goes with you ensemble for the ball!
The order of pages should be as follows:
- Front cover
- Blank side on the reverse
- Leamington Dance
- Paine's 4th Set #1 Le Pantalon
- Paine's 4th Set #4 La Pastourelle
- German Quadrille
- German Quadrille Cont'd
- Ecossaise
- Northdown Waltz
- Lord Castlereagh's Waltz
- Blank page
- Back cover
LARGE PRINT VERSION
- Print page 1, then print page 2 on the reverse for double-sided printing.
- Print page 3, then page 4 on the reverse.
- Print page 5, then page 6 on the reverse.
- Assemble your pages in order (see below), then staple the middles together.
- Punch a small hole in your booklet through the top left corner.
- Run a decorative string like embroidery floss through the hole and tie off to create a loop. Make sure it is big enough for your hand to go through! You can choose a colour that goes with you ensemble for the ball!
The order of pages should be as follows:
- Front cover
- Blank page
- Duke of Wellington's Waltz
- Paine's 4th Set # 1 Le Pantalon
- Paine's 4th Set # 3 La Poule
- Paine's 4th Set # 5 La Finale
- German Quadrille
- German Quadrille Cont'd
- German Quadrille Cont'd
- Ecossaise
- Ecossaise Cont'd
- Lord Castlereagh's Waltz
- Northdown Waltz
- Triumph
- Prince Wm of Glos'ter's Waltz
- Back cover
Wednesday, 3 June 2015
Mosquitoes at Dusk - Paine's Quadrille
Yesterday evening we had a little dance practise of Paine's 4th Set of Quadrilles so that we could do some more filming for those who are interested in learning this dance. It is exactly 2 weeks before the Duchess of Richmond's ball! Since we didn't have the music for Paine's 4th Set, we were using the music from his 1st Set for the videos.
You'll notice that the light levels in each video gets slightly darker, but hopefully the motions will still be pretty clear...
Paine's 4th Set:
Le Pantalon
L'Ete
La Poule
La Pastourelle
You'll notice that the light levels in each video gets slightly darker, but hopefully the motions will still be pretty clear...
Paine's 4th Set:
Le Pantalon
L'Ete
La Poule
La Pastourelle
It got pretty dark outside, so pay close attention to the figures in this video... It was chaos on the dance floor - we couldn't see a thing!
Just joking! I'll post videos of the last 2 segments hopefully tomorrow!
June 4 UPDATE: The last 2 videos of the quadrille!
La Pastourelle
La Finale
That's all for now - until next time... Happy dancing!
Monday, 1 June 2015
"Making It Work Takes a Little Longer"
Alrighty...
So, yesterday we had another practise for the Duchess of Richmond's Ball to work on that German Quadrille. Today I will share a couple of promised videos of our group working out the figures and performing them to music. I've included some tips on the German quadrille page itself!
Our practise time was spent only really working out this German quadrille (but it was worth it) so I will have to film some videos for Paine's 4th set some time this week...
Here's a video of us explaining and working out the figures! I figured this might be useful as a tutorial video:
Here's our first time all the way through with music (we used The Family Party from the DHDS Dances for Jane Austen CD)! For our first time with music, I think we did really well!
So, yesterday we had another practise for the Duchess of Richmond's Ball to work on that German Quadrille. Today I will share a couple of promised videos of our group working out the figures and performing them to music. I've included some tips on the German quadrille page itself!
Our practise time was spent only really working out this German quadrille (but it was worth it) so I will have to film some videos for Paine's 4th set some time this week...
Here's a video of us explaining and working out the figures! I figured this might be useful as a tutorial video:
Here's our first time all the way through with music (we used The Family Party from the DHDS Dances for Jane Austen CD)! For our first time with music, I think we did really well!
So, that's all for now! I'll update the Ecossaise page tomorrow with a new video from yesterday's practice. Until next time... Happy dancing!
Friday, 29 May 2015
A Recap
Hi everyone,
Today I'll be recapping some basics of English Country Dance and preparation for the Duchess of Richmond's Ball!
English Country Dance
This dance form can be danced in duple minor sets (2 couples performing the figures), triple minor (3 couples performing figures, or triple sets (only 3 couples do the entire dance). See my post on progression for more details!
In ECD, the 1s always progress DOWN the set, while 2s and 3s (in a triple minor dance), work their way UP the set to eventually become 1s.
To get familiarized with some of the figures used in English Country Dance, I would recommend Thomas Wilson's "An analysis of country dancing, wherein all the figures used in that polite amusement are rendered familiar by engraved lines. Containing also, directions for composing almost any number of figures to one tune, with some entire new reels; together with the complete etiquette of the ball-room." This book is really good because it provides bird's-eye view diagrams of the individual figures and traces the path performed by each dancer!
Some basic figures we covered for the Duchess of Richmond's Ball include:
Cotillion
This style of dance includes a "chorus" figure that repeats throughout the dance, and a series of "changes" (ie. circle for 8, ladies' star...).
The German "quadrille" for the Duchess of Richmond's Ball is more similar to the cotillion, with its repeating grand chain, than the quadrille itself! You can use a basic skip change for this dance.
Quadrille
This dance evolved from the cotillion, keeping "chorus" figures and removing all of the extra changes. This made the dance shorter and more concise.
The 5 parts of Paine's 4th Set of Quadrilles are a great example!
Quadrille Figures:
Polonaise
This dance was used to open balls in Europe, less so in England.
Couples form 2 lines (as in English Country Dance) and follow the head couple around the room. In playing follow-the-leader, the couples will create patterns on the dance floor (ie. couples lead to the top of the room, women split off and go one way, while the men go the other way... something like that).
If you are interested in learning more footwork, check out my polonaise post to see my video on the polonaise step.
Footwork: Polonaise step.
Ecossaise
In England, this is a duple minor dance in which 1st couple is improper (on opposite sides).
In Europe, and for the Duchess of Richmond's Ball, we will be dancing in triple SETS with 1st couple on their proper sides. The version to be danced at the ball seems less interactive, in terms of dancing with a partner, as each dancer keeps changing sides and positions throughout the dance!
If the music is in 4/4, I would suggest skip change, if in 3/4 a waltz time step.
The waltz was more common in Europe and was slowly adopted in England by the bon ton!
See my video on the Regency waltz to learn how to do this dance!
Today I'll be recapping some basics of English Country Dance and preparation for the Duchess of Richmond's Ball!
English Country Dance
In ECD, the 1s always progress DOWN the set, while 2s and 3s (in a triple minor dance), work their way UP the set to eventually become 1s.
To get familiarized with some of the figures used in English Country Dance, I would recommend Thomas Wilson's "An analysis of country dancing, wherein all the figures used in that polite amusement are rendered familiar by engraved lines. Containing also, directions for composing almost any number of figures to one tune, with some entire new reels; together with the complete etiquette of the ball-room." This book is really good because it provides bird's-eye view diagrams of the individual figures and traces the path performed by each dancer!
Some basic figures we covered for the Duchess of Richmond's Ball include:
- pousette
- 1st couple leads down and back to 2nd place OR casts into 2nd place
- swinging (turn by 1 hand)
- turning (by 2 hands)
- circles (for 4 and 6)
- changes of rights and lefts
- stars
- allemande
- promenade
- Triumph
- circle for 3 with 2nd woman or man going under the arch made by 1st couple
Cotillion
A dance involving 4 couples in a square formation.
This style of dance includes a "chorus" figure that repeats throughout the dance, and a series of "changes" (ie. circle for 8, ladies' star...).
The German "quadrille" for the Duchess of Richmond's Ball is more similar to the cotillion, with its repeating grand chain, than the quadrille itself! You can use a basic skip change for this dance.
Quadrille
Another dance involving 4 couples in a square formation.
This dance evolved from the cotillion, keeping "chorus" figures and removing all of the extra changes. This made the dance shorter and more concise.
The 5 parts of Paine's 4th Set of Quadrilles are a great example!
Quadrille Figures:
- chaine anglaise (changes of rights and lefts)
- balancez (facing partner, chasse right and left)
- tour les mains (turn your partner)
- chaine des dames (ladies' chaine - Pantalon)
- demi-promenade (promenade halfway to the other side of the set)
- en avant et en arriere (advance and retire)
- traversez (cross set)
- chasse (slipping step right and left)
- dos-a-dos (back-to-back - Poule)
- chasse croise (couples chasse - women left and in front, men right and behind, and set to corner, and back - Finale)
- grand promenade (skater's hold around the set - Finale).
Polonaise
This dance is performed in 3/4 time with a strong emphasis on the 1st beat of each bar.
This dance was used to open balls in Europe, less so in England.
Couples form 2 lines (as in English Country Dance) and follow the head couple around the room. In playing follow-the-leader, the couples will create patterns on the dance floor (ie. couples lead to the top of the room, women split off and go one way, while the men go the other way... something like that).
If you are interested in learning more footwork, check out my polonaise post to see my video on the polonaise step.
Footwork: Polonaise step.
Ecossaise
This dance is interesting because its form changes depending on the country.
In England, this is a duple minor dance in which 1st couple is improper (on opposite sides).
In Europe, and for the Duchess of Richmond's Ball, we will be dancing in triple SETS with 1st couple on their proper sides. The version to be danced at the ball seems less interactive, in terms of dancing with a partner, as each dancer keeps changing sides and positions throughout the dance!
If the music is in 4/4, I would suggest skip change, if in 3/4 a waltz time step.
Waltz
The Regency slow waltz is in 3/4 time and features couples rotating in a circle.
The waltz was more common in Europe and was slowly adopted in England by the bon ton!
See my video on the Regency waltz to learn how to do this dance!
That's all for now - now I need to focus on getting some sewing done! After the weekend, I will (hopefully) update the German quadrille and Paine's quadrille pages with videos from our dance practice. Until then... Happy dancing!
Thursday, 28 May 2015
Regency Dance Style Tips
Hi everyone,
Today I'm looking at style tips that you can incorporate into the dances to make the figures even prettier! Hopefully you find some of these useful, as I have, in the dance group I am in. I will work from the feet up!
Feet
Today I'm looking at style tips that you can incorporate into the dances to make the figures even prettier! Hopefully you find some of these useful, as I have, in the dance group I am in. I will work from the feet up!
Feet
- Dance on your toes! You will be able to move more smoothly and your motions will appear and feel much lighter than if dancing on the flats of your feet. You could practise walking around your house walking on the balls of your feet to build the strength in your calf muscles.
- When skipping, or doing a jeté assemblé (any motion, really), it is really important to bend your knees! You do not want to damage your knees by landing hard on a straight leg!
- It's also helpful to be on the beat! If you are doing a skip change, take that 1st step of the skip change on beat 1. If you are doing a waltz step, make sure each step corresponds with a beat of music.
- Use up all the music allotted to each figure - what I do is find a reference or halfway point for each figure so that I know that I am on track and on time as I dance. For example, if I am doing a right-hand star, followed by a left-hand star in 8 bars, I tell myself that I need to reach the halfway point in 4 bars, to turn around and get back to place on time.
- I also try to remain in continuous motion, especially in waltz country dances, because it makes all of the figures flow into each other. In this video of the York Regency Dancers at Queen Charlotte's Birthday Ball, we perform Duke of Kent's Waltz (starting at 2:45), and I make sure I use up all of the music and remain in continuous motion if possible.
Torso
- Try to work on posture, having a straight back, instead of slouching. Dancing is made easier if you have control of the muscles in your core, especially when working with a partner in the Regency waltz!
- Give weight in figures like circles and turns... This means, tighten your biceps to create a firm arm. If you also slightly pull your arms down and out, this will create a nice firm circle or turn. This structure is really helpful to prevent a circle for 4 or 6 from collapsing and can even help you get around faster because nothing is weighing the circle down! I will try to create a little video to illustrate.
- When giving weight in a circle or star (etc.), create a pleasing arch with your arms (my ballet teacher always told me to imagine I was holding a big beach ball!). This serpentine style was very popular in the Regency period!
- However, if the ballroom is crowded, this arm hold is less practical. You and your partner should lower your joined hands between you to use up less space.
- Do not grip your partner/group's hands too hard - you want the grip to be firm so that your hands don't slip from each others, but not crushing...
Head
- Smile! If you are enjoying yourself, let everyone around you know!
- Eye contact - this is really important to making the dance feel social! After all, you are dancing and interacting with other people in the set. I find it's always nice to acknowledge their existence when performing figures together! When I first joined the York Regency Dancers, I was really shy and found the eye contact really strange and intimidating, but over time it becomes more comfortable and enjoyable.
Within the Dance
- This may develop over time, but when you are dancing with a partner, you learn to gauge what they need. It's teamwork after all, right? You can actually sense if they need more tension in your arms to get around that circle, or need to go faster or slower to complete the figure. It's a good sense to develop... being aware of your partner and his/her motions as well as your own.
- Also, I find it really helpful, particularly in the longer dances, to think of the next figure in the dance while dancing to be prepared. If you have memorized figures or know the dance well enough, you won't necessarily need to wait for the figure to be called. This helps to keep the motion continuous, as I mentioned before, and can also help your partner or your set should they be unfamiliar with the figures, or forget!
- Similar to the previous point, remember the set you are dancing within, particularly in a triple minor longways, when the positions of the 2s and 3s keep changing. Keep your mind sharp! See my post on progression.
- When leading down the set, let the set breath! What I mean by that is, if the dancers going down the middle or dancing around another couple need room, you can back up to give them space to dance comfortably. The lines along the set don't need to be rigid.
Practising without a group
- What I do at home, when I don't have a group to dance with, is "ghost" the dance. Now, this may seem a bit odd, but I swear it works! If you imagine that there are other people occupying the spaces within the set or formation (ie. quadrille), you can walk through the figures on your own. I did that yesterday with the German quadrille. Even though it may look strange to other people or feel strange to you initially, this kind of motion helps to build muscle memory for each dance!
- I will post a little video later to illustrate. It may look bizarre, but it helps to build confidence and memory, because you know what YOU are supposed to be doing, and not relying on other people.
- UPDATE: Below is a video of me "ghosting" the German quadrille. I will also post this video on the German quadrille page. I know it will seem a bit odd since there are no other people to fill in for some of the confusing figures, but I will post a video of our quadrille practise after the weekend with more people. This is just to get you started on that long dance!
- The music I used was called The Family Party, a country dance from the Dolmetsch Historical Dance Society Dances for Jane Austen CD. Please excuse my dog barking the background - he always tosses me a ball when I dance, so I had to keep him inside!
Well, that's all for now! I hope that helps a bit - until next time... Happy dancing!
Tuesday, 26 May 2015
Prince Wm of Glos'ter's Waltz
Hi everyone!
Like yesterday's post, Prince Wm (William) of Glos'ter's (Gloucester's) Waltz was not on the Facebook list of dances, but was included in the figures sent out by Mr. Baert, so I will break down another waltz country dance for you! Maybe he will use this music for a turning waltz (since he posted a French image of a couple waltzing beneath it), or maybe we will be doing the figures paired with this dance... I don't know. I guess we'll find out!
Prince William of Gloucester was the son of the Duke of Gloucester, who was King George III's younger brother. In 1816, Prince William of Gloucester married his cousin Mary (daughter of George III and Queen Charlotte). He was also known as "Silly Billy" by his contemporaries - however, the music for this country dance is lovely!
Prince Wm of Glos'ter's Waltz
This dance is a duple minor dance... See my post on progression!
A1: 1st lady sets to 2nd man (4 bars) and changes places with him (4 bars).
B: 1st and 2nd couple pousette 1x around back to 2nd place (8 bars).
C: "Right and left quite round" (as found in the original instructions - 8 bars).
NOTE: Now, this dance does pose an interesting problem... getting back to place. 1st and 2nd couples never cross back to proper sides, even in the original instructions! This is what would happen for the next repetition of the music...
A2: 1st man sets to 2nd lady (4 bars) and changes places with her (4 bars).
B: 1st and 2nd couple pousette 1x around back to 2nd place (8 bars).
C: "Right and left quite round" (as found in the original instructions - 8 bars).
I think that the 1st option would be most correct, since everyone would be back to place BEFORE starting another figure.
That's all for now - until next time... Happy dancing!
Like yesterday's post, Prince Wm (William) of Glos'ter's (Gloucester's) Waltz was not on the Facebook list of dances, but was included in the figures sent out by Mr. Baert, so I will break down another waltz country dance for you! Maybe he will use this music for a turning waltz (since he posted a French image of a couple waltzing beneath it), or maybe we will be doing the figures paired with this dance... I don't know. I guess we'll find out!
Prince William of Gloucester was the son of the Duke of Gloucester, who was King George III's younger brother. In 1816, Prince William of Gloucester married his cousin Mary (daughter of George III and Queen Charlotte). He was also known as "Silly Billy" by his contemporaries - however, the music for this country dance is lovely!
Prince Wm of Glos'ter's Waltz
This dance is a duple minor dance... See my post on progression!
A1: 1st lady sets to 2nd man (4 bars) and changes places with him (4 bars).
- I would recommend always crossing by right shoulders so that there is no confusion.
B: 1st and 2nd couple pousette 1x around back to 2nd place (8 bars).
C: "Right and left quite round" (as found in the original instructions - 8 bars).
- Now, one reconstruction has right- and left-hand stars (4 bars each), but I would think they would do circles for 4 (due to the use of the work round), using 4 bars to circle left and 4 bars to circle right.
- Maybe it's 4 changes of rights and lefts (2 bars per change of hands)
NOTE: Now, this dance does pose an interesting problem... getting back to place. 1st and 2nd couples never cross back to proper sides, even in the original instructions! This is what would happen for the next repetition of the music...
So, the women and men would be setting to each other and changing places... I'm pretty positive that this would not happen. All couples HAVE to get back to proper place. Here's what I recommend (hopefully Mr. Baert will have figured out how to fix this problem for the ball!)...
1) Here's a reconstruction to get back to place!
A1: 1st lady sets to 2nd man (2 bars) and changes places with him by right shoulders (2 bars); 1st man sets to 2nd lady (2 bars) and changes places with her by right shoulders (2 bars).
A2: Repeat back to place (8 bars).
B: 1st and 2nd couples pousette 1.5x to progress (8 bars).
C: Star right and left OR circles left and right OR 4 changes of rights and lefts (8 bars).
2) Here's another possibility...
A1: 1st lady sets to 2nd man (4 bars) and changes places with him (4 bars).
B: 1st and 2nd couple pousette 1x around back to 2nd place (8 bars).
- NOTE: at the end of the pousette, both couples will keep hands and do a 2-hand turn halfway to place.
C: "Right and left quite round" (as found in the original instructions - 8 bars).
I think that the 1st option would be most correct, since everyone would be back to place BEFORE starting another figure.
That's all for now - until next time... Happy dancing!
Monday, 25 May 2015
Lord Castlereagh's Waltz
Hi everyone!
This time I will be looking at another waltz country dance: Lord Castlereagh's Waltz in honour of the British diplomat involved in the Congress of Vienna. Now, this dance wasn't listed on the new dance list on Facebook, but when Mr. Baert sent out figures, this one was included as well... Maybe he will use this music for a turning waltz, or maybe we will be doing the figures paired with this dance (I don't know)... I figure it's better to be safe than sorry!
Like so many other waltz country dances illustrated on this blog, this one has 2 sets of figures: Waltz and Country Dance.
Lord Castlereagh's Waltz
WALTZ FIGURE
A: 3 ladies join hands and 3 men join hands along the sets. The 2 lines advance towards each other and retire (8 bars).
C: 3 couples circle for 6 all the way around (8 bars).
COUNTRY DANCE FIGURE
A: 1st couple circles for 3 with 2nd woman (4 bars); 1st couple circles for 3 with 2nd man (4 bars).
This time I will be looking at another waltz country dance: Lord Castlereagh's Waltz in honour of the British diplomat involved in the Congress of Vienna. Now, this dance wasn't listed on the new dance list on Facebook, but when Mr. Baert sent out figures, this one was included as well... Maybe he will use this music for a turning waltz, or maybe we will be doing the figures paired with this dance (I don't know)... I figure it's better to be safe than sorry!
Like so many other waltz country dances illustrated on this blog, this one has 2 sets of figures: Waltz and Country Dance.
Lord Castlereagh's Waltz
WALTZ FIGURE
A: 3 ladies join hands and 3 men join hands along the sets. The 2 lines advance towards each other and retire (8 bars).
- 4 bars to advance, 4 bars to retire.
C: 3 couples circle for 6 all the way around (8 bars).
COUNTRY DANCE FIGURE
A: 1st couple circles for 3 with 2nd woman (4 bars); 1st couple circles for 3 with 2nd man (4 bars).
B: 1st couple leads down the middle and up again (4 bars); allemande (4 bars).
- An allemande, according to Wilson, could be a back-to-back. See my Duke of Wellington's Waltz page for other "allemande" options!
C: 1st couple turn corners (8 bars).
- 1st couple crosses set by right shoulders and 2-hand turns right-hand corner. Repeat with the left-hand corner.
That's all for now - until next time... Happy dancing!
Saturday, 23 May 2015
Sir Roger de Coverley
Today I'm looking at one of the popular dances used to finish a ball in the Regency era: Sir Roger de Coverley. This is one of several dances that were used to conclude balls (others include La Boulanger and the Bumpkin); they emphasized sociability as all ball attendees interacted with each other in this final dance! This dance was also the forerunner of the Virginia Reel!
Sir Roger de Coverley
Part 1: top lady and bottom gentleman advance to the middle of the set and bow/curtsey to the other and retire to places. Repeat with top man and bottom lady. This pattern (top lady/bottom man; top man/bottom lady repeats for the next series of figures.
Sir Roger de Coverley
Part 1: top lady and bottom gentleman advance to the middle of the set and bow/curtsey to the other and retire to places. Repeat with top man and bottom lady. This pattern (top lady/bottom man; top man/bottom lady repeats for the next series of figures.
- bow/curtsey
- right-hand turn
- left-hand turn
- 2-hand turn
- back-to-back
Part 2: top couple crosses and casts through every couple in the set until they reach the bottom. Depending on how long the set is, they may have a long way to go!
Part 3: top couple (now at the bottom of the set) take promenade/skater's hold and lead up through the set, followed by the other couples. The ladies cast down their own side, while the men cast down their own side.
The dance then repeats with the new top couple and bottom couple. The previous top couple is now the bottom couple, so they are still active for the next repetition of the dance!
For anyone who is interested, there is a lovely recording of Sir Roger de Coverley on the Regency Ballroom CD by Spare Parts.
That's all for now - until next time... Happy dancing!
Friday, 22 May 2015
A German Quadrille
Alright, so today I'm tackling that confusing German quadrille for the Duchess of Richmond's Ball. Note: I roughly translated the text from German to figure out the gist of the figures. Iut I hope I will reconstruct it more clearly and carefully than the German instructions. Where the descriptions were not as useful, I relied more on the image from the dance manual, so if there is a mistake in the reconstruction, those are the reasons. However, I hope that this is an accurate reconstruction so that we can prepare for the ball!
I also made contact with Ellis Rogers of the Quadrille Club in London, England, who said that this dance looks more like a cotillion, as cotillions were frequently called "quadrilles" in Germany. That makes sense, when one notes the repeating figure of the Grand Chain throughout the dance!
UPDATE (May 31): Yesterday, our group from Canada had another practise for the Duchess of Richmond's Ball to work on the German Quadrille. I'm posting 2 videos from that practise - one with the figures being explained and learned by our group and one where we dance to music! For our first time all the way through the dance, I think we did really well!
I've also updated the figures with a few tips we worked out in this colour...
The Walk-through:
Here is the original diagram for the entire quadrille:
German Quadrille
Figures 1 & 2: All 4 couples do a circle for 8 right and left (16 bars - 8 bars left, 8 bars right).
Figure 3: This one is a bit tricky to explain. 1st and 3rd couples form a line for 4 and raise their arms forming 3 arches (between 1st couple, between 1st and 3rd couple, between 3rd couple). I would probably allocate 2 bars of music for them to get in position. Then, a lot happens simultaneously... (total 8 bars!)
Figure 4: This figure repeats, with 2nd and 4th couples forming a line for 4 with 3 arches (allocate 2 of the 8 bars). Then, a lot happens simultaneously... (total 8 bars!)
Figures 5 & 6: All 4 couples perform a grand chain (changes of rights and lefts for 8 - 16 bars).
Figure 9: 1st and 2nd couples do 4 changes of rights and lefts WHILE the same is performed by 3rd and 4th couples (8 bars).
Figure 10: Taking inside hands, 1st and 3rd couples advance and retire (4 bars).
Figure 10: Taking inside hands, 2nd and 4th couples advance and retire (4 bars).
I also made contact with Ellis Rogers of the Quadrille Club in London, England, who said that this dance looks more like a cotillion, as cotillions were frequently called "quadrilles" in Germany. That makes sense, when one notes the repeating figure of the Grand Chain throughout the dance!
UPDATE (May 31): Yesterday, our group from Canada had another practise for the Duchess of Richmond's Ball to work on the German Quadrille. I'm posting 2 videos from that practise - one with the figures being explained and learned by our group and one where we dance to music! For our first time all the way through the dance, I think we did really well!
I've also updated the figures with a few tips we worked out in this colour...
The Walk-through:
First time with music:
Here is the original diagram for the entire quadrille:
German Quadrille
Figures 1 & 2: All 4 couples do a circle for 8 right and left (16 bars - 8 bars left, 8 bars right).
- Cotillions
start circling to the right!
Figure 3: This one is a bit tricky to explain. 1st and 3rd couples form a line for 4 and raise their arms forming 3 arches (between 1st couple, between 1st and 3rd couple, between 3rd couple). I would probably allocate 2 bars of music for them to get in position. Then, a lot happens simultaneously... (total 8 bars!)
- 2nd couple goes through the middle arch made by 1st and 3rd men, but then the 2nd woman crosses in front of 2nd man to go off to the left to pass under the arch made by the 1st couple (while 2nd man goes off to the right and under the arch made by the 3rd couple, and cross back to place.
- WHILE 4th couple passes through the outside arches (4th woman through the arch made by 1st couple and 4th man through the arch made by 3rd couple). The 4th woman crosses in front of 4th man and both pass through the middle arch formed by 1st and 3rd men, and cross back to place.
- I would allocate 6 bars of music for everyone to be able to complete this figure.
- TIMING: 2 bars (1s and 3s forming arches) + 4 bars (2s and 4s going through arches) + 2 bars (1s and 3s back to place).
Figure 4: This figure repeats, with 2nd and 4th couples forming a line for 4 with 3 arches (allocate 2 of the 8 bars). Then, a lot happens simultaneously... (total 8 bars!)
- 1st couple goes through the middle arch made by 1st and 3rd men, but then the 1st woman crosses in front of 1st man to go off to the left to pass under the arch made by the 4th couple (while 1st man goes off to the right and under the arch made by the 2nd couple, and cross back to place.
- WHILE 3rd couple passes through the outside arches (3rd woman through the arch made by 4th couple and 3rd man through the arch made by 2nd couple). The 3rd woman crosses in front of 3rd man and both pass through the middle arch formed by 2nd and 4th men, and cross back to place.
- I would allocate 6 bars of music for everyone to be able to complete this figure.
- TIMING: 2 bars (2s and 4s forming arches) + 4 bars (1s and 2s going through arches) + 2 bars (1s and 3s back to place).
Figures 5 & 6: All 4 couples perform a grand chain (changes of rights and lefts for 8 - 16 bars).
- 2 bars/skip changes per change of hand.
- start right hand with your partner.
Figure 7: 1st and 2nd couples circle for 4 WHILE the same is performed by 3rd and 4th couples (8 bars).
- Since there are 8 bars, perhaps they circle left and right, or just to the left slowly to use up all the music? We did to the left and right in our practise...
Figure 8: 1st and 2nd couples do a right-hand star WHILE the same is performed by 3rd and 4th couples (8 bars).
- Since there are 8 bars, perhaps they star right and left?
Figure 9: 1st and 2nd couples do 4 changes of rights and lefts WHILE the same is performed by 3rd and 4th couples (8 bars).
- Allocate 2 bars/skip changes per change of hands.
- Start right hands with your partner.
Figure 10: Taking inside hands, 1st and 3rd couples advance and retire (4 bars).
- 1 skip change + jeté assemblé forward, and 1 skip change backward + jeté assemblé.
Figure 10: Taking inside hands, 2nd and 4th couples advance and retire (4 bars).
- 1 skip change + jeté assemblé forward, and 1 skip change backward + jeté assemblé.
Figures 12 & 13: All 4 couples repeat the grand chain (or changes of rights and lefts for 8 - 16 bars).
- 2 bars/skip changes per change of hand.
- start right hand with your partner.
Figure 14: 1st and 3rd couples do a right-hand turn 1 1/4, placing the men on the inside of the set, making a line for 4 (4 bars).
- The 2 men in the middle have to stand really close together - their arms will NOT be raised in an arch, just the arms between the man and his partner will be raised.
Figure 15: 2nd and 4th couples circle for 4 around the men in the middle (4 bars).
- It looks like the line for 4 are also holding hands, so maybe the arms are raised in an arch and the 2nd and 4th couples pass under them as they circle. The arches are only done by the partners, not the men in the middle...
- This circle has to move really fast - only 4 bars! We tried this motion both with and without taking hands, and found that taking hands actually helped everyone to get around faster.
Figure 16: 2nd and 4th couples do a right-hand turn 1 1/4, placing the men on the inside of the set (4 bars).
Figure 17: 1st and 3rd couples circle for 4 around the men in the middle (4 bars).
- Like figure 15, it looks like the line for 4 are also holding hands, so the arms are raised in an arch and the 2nd and 4th couples pass under them as they circle.
Figure 18: The 4 women form a right-hand star in the middle of the set, with their partner on the left. All go around clockwise. When back to place, the women let go of the middle of the star and do 1/2 left-hand turn with their partner, placing the men in the middle (8 bars).
- I would recommend trying to get around in 6 bars, then turning your partner halfway in 2 bars (the men continuing clockwise around into the middle, while the women back up to end up on the outside of the star).
- The original diagram shows the men going first, but the description says otherwise.
Figure 19: The 4 men in the middle do a left-hand star with their partner on their right (8 bars).
Figures 20 & 21: All 4 couples repeat the grand chain (changes of rights and lefts for 8 - 16 bars).
- 2 bars/skip changes per change of hand.
- start right hand with your partner.
Figure 22: The 4 women advance into the middle of the set and make a little loop, so their backs face into the middle (4 bars).
Figure 23: The 4 men do a circle for 4 to the left around the women in the middle (4 bars).
- The ladies will have to make sure they are close together in the middle so that the men can join hands.
Figure 24: The women form a circle for 4 WHILE the men (outside the circle), form a right-hand star ACROSS the ladies' arms. Everyone circles/stars clockwise (8 bars).
- The
men should be to the left of their partner.
- Everyone needs to take really small steps!
Figure 25: The men (outside the circle) turn to face the other direction and join left hands with the joined hands of the women in the circle for 4. Together, they form a larger star and circle anti-clockwise all the way around (8 bars).
Figure 26: This figure is a bit odd - the original instructions called this a "Double Ronde," but provided no explanation! The men release hands from the ladies' circle to form a circle for 4 around them. The men then bring their joined hands OVER the ladies' heads, with men's joined hands in front of the ladies' stomachs, and the ladies' joined hands in front of the men's stomach. Everyone circles clockwise once around (8 bars).
- Picture a wicker basket - the arms are all interwoven.
- Many thanks to Ellis Rogers of the Quadrille Club for help reconstructing this figure - the original image and lack of description had me stumped!
- Bar 1: Men takes hands in a circle, then raise their arms over the women's heads in bar 2, then start circling in bar 3...
- We tried both a slipping step and skip change for this figure and found that the skip change gave us more control over our speed and ending in the right spot.
Figures 27 & 28: All 4 couples repeat the grand chain (changes of rights and lefts for 8 - 16 bars).
- 2 bars/skip changes per change of hand.
- start right hand with your partner.
Figure 29: All 4 couples do a right-hand turn once around into 2 lines (8 bars).
- 4 bars to do the right-hand turn, and 4 bars to get into line.
- You should end up like this:
2W 2M 1W 1M
3M 3W 4M 4W
Figure 30: All 4 couples pousette (8 bars).
- All 4 men push to move the couples around each other.
- 8 bars = 2 skip changes forward (men) or back (women), 1 to the side, 2 back (men) or forward (women), 1 to the side, 1 forward (men) or back (women) + jeté assemblé.
Figure 31: All 4 couples, following the lady in each couple, trace an anti-clockwise path back to place (4 bars).
- The men swing their partner back to place.
Figure 32: Taking inside hands, all 4 couples advance into the middle and retire (4 bars).
- 1 skip change + jeté assemblé forward, and 1 skip change backward + jeté assemblé.
- When retiring + jeté assemblé, keep the set really close because that will help the 1s and 3s get through the arches and back to place (next figure) in 4 bars more easily.
Figure 33: 2nd and 4th couples raise inside arms to form an arch. 1st couple traces an anti-clockwise path under the arch formed by 4th couple and back to place. 3rd couple traces an anti-clockwise path under the arch formed by 2nd couple and back to place (4 bars).
- When 1s and 3s get back to place, once again, keep the set tight so that the other couples can get around more easily.
Figure 34: Repeat, with 1st and 3rd couples raising inside arms to form an arch. 2nd couple traces an anti-clockwise path under the arch formed by 1st couple couple and back to place. 4th couple traces an anti-clockwise path under the arch formed by 3rd couple and back to place (4 bars).
Figures 35 & 36: All 4 couples do a circle for 8 left and right (16 bars - 8 bars left, 8 bars right).
Whew! That's a long one! Hopefully these images and descriptions help a bit... I'll see if I can make videos for some of the figures.
Here's a video I made to demonstrate how to "ghost" a dance when you don't have anyone to practise with - I'll upload a video of a group of us practising the quadrille after the weekend!
That's all for now - until next time... Happy dancing!
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