St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1891-01-18
SOME new DANCES.
Masters Get Together and De-
wise Novelties for the
Season.
Western Men Come to the
Front With Very Pleas
ing Inventions.
The Day Of the Rafting, Gal
Looping Waltz Has Gone
By.
The "Mettlesome," the "Vi-
enna'' and the ''Melange
Quadrille."

This is the age of conventions. and
one closed in Brooklyn the other day
the issue of whose deliberations ought
to be interesting to hundreds of thou
sands in this country, says the
Pittsburg Dispatch. 1t was a conven-
ton of dancing masters, and the pro-
fessors of the art terpsichorean had
gathered there from almost every state
n the Union.
Knowing that the fashion of mad
galops of Waiting, which reminded one
of the charge of collegiate foot ball
pl ayers, had temporarily If not perma-
nently been retired to oblivion, these
composers calculated wisely on the
growing tendency of modern dancing,
which is in the direction of quiet grace.
The majority Of the productions sub
mitted at this convention were from
Western professors. which shows
plainly that the prevailing idea that the
wild and woolly West is far behind in
he formulating of new ideas is entirely
erroneous. Here is complete eXplana
ton of the new dances which will be
| taught during the coming seas0n:
The assembly gayotte is entirely a
new production, and will no doubt sOOn
| cake the place of the timewOrn march Oh
promenade which is now invariably
used to open all festive gatherings. Il
| is the product of the fertile brain OF
William Pitt Rivers, of Brooklyn. The
| dance, which can be performed t.
! galop, scottische or gavotte music, is
Introduced after the preliminary rounds
Of the promenade. The dancers form
| two circles, one within the other. Those
in the outer circle begin by marching OIL
gliding toward the right, still keeping
the circle intact. while those Of the
inner circle perform similar move
ment, but in the opposite direction.
After several of these revolutions the
dancers composing the outer circle
| gradually blend into the inner one,
| there being an opening left in each cir
Gle opposite the same point.
| The members Of the inner circle, by
following the end dancers of the outer
ring, gradually assume the position Of
/ those who changed to the inner circle
| This is repeated several times, the con
| slant changing producing dazzling
| effect upon the observer, which is
| greatly intensified when the dancers
| change from circles to spiralS, squares
octagons, ETC., at the command of the
conductor.
Any number may participate in this
| exhibition, the limit being regulated
only by the accommodation of the floor
In the dance itself, which Immediately
| follows the promenadiag, the gentleman
| presents his right hand, his partner Civ
| ing her left. The first movement l.
made by the dancers taking four shor
slides. the gentleman with the left foot
the lady with her right foot. Reversing
their Positions. an equal number o.
slides are made i'll the opposite
ton the gentleman takes hi,
partner in the regular waltzing position
and performs one complete revolution
Changing from the waltz both partner
face the front ard move forward In ;
walking movement. 1t is here that thu
adaptability of the innovation is readil.
seen when the dancers take their posi-
ton for galop, SchOttiSche, or gavOtte
according to the wish of the partners.
Although the dance was not brough
before the convention, the unanlmou
Endorsement which it received when ex
planned to the professors class and per
formed by them, moved the latter t
bring it to the members notice, in cor
sequence of which it has metswith IN
versal favor.
Of the round dances the Oxford mil
net will stand pre-eminent, for in grac
and beauty 1t bids fair to rival the mir
net of the early part of the centur!
}tIhe movement in the Oxford is not Ill
like that of the military schOttische, a
though it partakes in places both of til
now obsolete minuet and our later da
galop.
Both partners advance four steI
slowly, changing hands and returnin