9. NOVELTIES

The Barn Dance

The Barn Dance is an always pleasing novelty. It starts with a momentum that carries it along to its happy conclusion and remains the most popular and lasting of novelties. There is no end to what may be done to add to the infinite variety of its appeal and humor. To issue invitations printed on straw paper couched in Josh Billing dialect; to decorate with straw or corn in the husk, with pumpkins and lanterns; to dress in overalls, gingham and white linen dusters; to serve cider and ginger-cake — to suggest these is merely to touch on its many possibilities. The usual order of dancing obtains.

The Memphis Tapping Novelty

This is a highly entertaining novelty, though of necessity restricted and adaptable only to gatherings of a purely private or social intimate character. While dancing one gentleman taps another and the one so tapped must surrender his partner. Its possibility as a popularity contest may be seen at once. A spirited novelty and the amusement is insistent throughout.

Lucky Number Novelty

Used sometimes as a magnet for inducing a large attendance; for a charity benefit or something of the sort. The person directing offers something in way of prize or souvenir to be awarded the last couple left on the dance floor. Before the dance those gentleman who are to take part are given a card on which is inscribed a number, from number one to the number actually engaged on the floor. After they have danced the One Step a short while the one in charge signals and the Orchestra stops: the master then calls out say five numbers.

These numbers have been selected in all fairness, and in such method as to be apparent and above board. The master then goes to the holders of these numbers, collects their cards and retires them from the dance. And so on until but a few are left. Should five couple be left at the end, then two numbers are selected and called.

After the gentleman has become fully familiar with the steps his next concern will be to lead a partner through the dance. For his is essentially the part to lead; his partner depends and moves on his initiative. He holds the lady gently, but firm enough to indicate by pressure or movement of the left hand the direction he would have his partner go. Otherwise the lady would try to outguess him. And he is on the alert; ever vigilant to avoid contact with obstacles or other dancers as he leads to the right — always to the right.

If the occasion does not call for gloves, he merely rests the tips of the fingers on the lady's back and thereby shows a proper solicitude for her dainty and perishable gown.

Her hand too must be held to avoid the unpleasant contact of perspiring palms. Take your position in dancing with considerable care. Avoid the erroneous fad of facing your partner directly; it is not hygienic and lacks something in grace. In conclusion a few suggestions may be pertinent. You will make mistakes in learning; you will make them later when you are proficient and dancing has become an assured accomplishment — even the best dancers make missteps; but it is merely an occasion for graciousness — nothing else.

Avoid any tendency toward the angular, either in carriage or movement; avoid low dips and anything and everything acrobatic.

Do not look at the jeet as you practice and this is an important restriction; watching the feet will surely bewilder the taking of the steps.At all times maintain a steadiness about hips and shoulders. Wriggles, contortions' romping are always matters of reproof on the dance floor. Do not flounce the elbows, nor pump the arms — and glide; do not hop.

And above all things be at ease and as natural as possible; even to the expression of the face; try to catch the infection of enjoyment about you; look the part of one who enjoys.
 
The Minuet

The beloved and stately minuet is of truly French derivation but it so inextricably entwined with the candle-lit romance of our Colonial days that we think of it as our very own. It is often rehearsed to-day — in fact it will, forever, it seems, find favor with people of good taste and refinement — with its resplendent atmosphere of Iavendar and old lace, sparkling satin, and powdered wigs. When we think of the Minuet, we think of Mozart, though many classical compositions may be used; it is often rendered now-a-days to the "glow-worm," for instance.

In the dance formation the couples should arrange in columns, about four feet apart, and march to the dancing space in center of room. Should four couples take part, the two inside couples step to side, second couple to right, third couple to left — the fourth will then be facing the first couple forming a square.

At the introduction of the music all face partners, the gentlemen, using the low romantic bow, bows stepping back with the left foot and drawing the right heel to hollow of left foot, beginning at breast, making a sweeping gesture outward with the right hand, and a gesture backward with the left hand. The lady steps forward on the left foot and draws the right foot, with a sweeping movement, allowing her body to go down with the movement slowly and gracefully, in short making a genuflection in which the knee almost touches the ground. After saluting his partner the gentleman turns and faces the lady on the left; at the same time the ladies turn to the right and faces the gentlemen; they bow and courtesy and the introduction is complete. For the dance the first and second couple go forward to the center, the gentlemen holding the ladies hands slightly higher than the shoulder, the ladies' hands held nderneath.

They bow to opposite couples; then gentleman takes opposite ladies' hands and walks, with a slow, dragging step halfway around, changes to the left hand and retraces, then meeting partner walks to place. Then the side couples, whom we shall name third and fourth couples, perform the same.

Second Figure. All bow and courtesy to partners and sides again for second figure. The first couple goes to first side and bows, then to the second lead and bows, then to the second side and bows, then returns to place and at this point all bow to partners. This is repeated by each of the couples in turn, making four repetitions.

Third figure: All bow to partners and sides for third introduction. All four couples go forward to center; join hands and bow; the four ladies join hands making a Turnstile; Gentleman remain standing, then walks around with slow dragging stride until he reaches partner, to whom he bows — and this is repeated four times. The second and fourth time the gentlemen go to the center and form a Turnstile. Fourth figure: All bow to partners and then to sides. All join hands and go forward to center; bow, then go back. The two side couples separate and form a line, with the lead couples forward to the center, four in each line, and back-turn partners at their own places. Then join hands and go forward to center and back the leads. Divide and form lines with the ladies forward and back-turn partners at place. All bow to partners, the remaining faced to partners form grand chain. The gentleman gives the right hand to partner, bows, passes partner, meeting with his left hand the next lady, then meeting the next lady to her with his right hand, meeting the third lady with his left, bringing him to his partner; he bows. March in column in the order entered. That would bring the first couple going through the center of the set and the second lead separating until the three couples have passed through; the hands of the couples are clasped and held to make an arbor for the couples to pass under.

The steps used throughout the dance is easy to execute. In taking the step use a stride about the length of the foot. Now, to compare this to your natural step you will find it a trifle longer. The gentleman steps forward on the left foot and the lady steps with the left, draws the right, the toe touch- ing floor, the right toe touching the left heel without the weight; then step forward on the right foot; lady with right foot; draw left the left toe close up to the right heel. Be sure you use this step in every step you take in the dance.

Novelty. A Trip to Jerusalem

A trip to Jerusalem is a novelty that will always entertain and have for its reward an especial savor of fun. It has that about it that they keep the participants on the anxious bench until the very end; "going to Jerusalem for the chance to sit down." The chief object of the game is to acquire a chair. It is an old-fashioned game they sometime play at neighborhood parties and church sociables. To play it seventeen, or more or less, people march to music around sixteen or more or less chairs, always one chair less than the number of participants. When the music stops, at a prearranged time, every one of the marchers, "on his 150 own," makes a rush for a chair. As neighborhood parties need not be so finely synchronized as an aeroplane propeller and the gun release, this rush may be described as a scramble and every one sits on more or less of every one else; the inevitable stout party treads on the inevitable thin parties' instep with the usual profuse apologies.

When the dust of conflict has settled it is found that one unfortunate is wholly without chair. He is, of course, hooted and ignominiously retired to the discard. Then a chair is removed from the original number and the game proceeds as before; and so on, until by repeating the process of eliminating chair and unseated, there is but one remaining — the hero — or heroine as it may be — of the evening. A trip to Jerusalem has many appreciable thrills; there is always that sporting spirit in man or woman that keeps lively the desire to win and in this case the excitement grows more intense as the chair gets less in number.

But the fun of the unseated is not abated by his retirement, for on the next turn another wallflower is added to the garden.

Have the chairs arranged in two rows, back to back. If there are no musicians puton a march record and have it attended by some one to stop it at some irregular, or set time. The participants march around the chairs in single file and on the stop of the music the grand rush, the exodus to Jerusalem begins!

UP TO THE MINUTE DANCES AND SOME OLD FAVORITES UP TO THE MINUTE DANCES ANDSOME OLD FAVORITES ADDITION BY GABRIELLE ROSIERE

Every year now sees dances so little lacking in grace and character that they vanish even before the end of the season and only one or two of actual value remain. The past season has produced The Canter, a waltz step showing the new use of "direction," The Spanish Schottish, or Schottish Espagnole as it is known in Paris where it is most popular and for which a new record has just been made, and variations of the fascinating Fox Trot along the new lines. The pure hesitation waltz is also being danced again.

The most noticeable points in the new dances which remain after the froth has disappeared is the use of "direction", that is in the walking or running steps in a straight line forward and backward and also in the many waltz turns which break the monotony of these straight lines and lend a swinging grace to the simple steps.

Balance is to be noticed in the making of turns and changing from the waltz step to the walking step in the last count of the second measure as the waltz step has only three counts so there must be a slight pause to complete the measure. The pivot turns are very much in evidence and all the new combinations of steps and music are tending away from the vulgar and deadly "jazz."

To these new dances is added the favorite Virginia Reel which finishes off the end of a gay evening with a swing and a dash. It is danced especially at informal dances and at the summer clubs. The Cotillion is returning with all its de lightful figures, which offer an opportunity for coquetry in the selection of partners by the ladies which is usually a masculine prerogative. Many of these figures will be recognized as similar to the ones so often danced in the Paul Jones under the direction of a skilful leader. The favors offer a chance to display most charming taste in their selection and in former days the belle of the ball needed an extra carriage to take home her trophies after a brilliant cotillion. It also provides the hostess with an eager eye for novelties, an occasion for presenting a very intriguing and thrilling evening which will delight the eye and ear with the varieties of colors, figures, dances and music.

A brief chapter has been added on how to plan for an entertaining evening when each guest thoroughly enjoys all its pleasures and this also includes suggestions on small points of dancing etiquette so valuable in giving poise to the debutante or to one who has been long absent from the social world.

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