The Ketchum keystone. [volume] (Ketchum, Idaho) 1885-1899, 1894-07-14
NIMBLE NEGROES.
Some Of the Queer Dances Of the
Southern Darky.
Intrieacies o( tha Buck" and " Wing y
Dances - Performed by the Nat
urAl Terpaichoreans of the
Plantations.

Intrieaeiss e( tina Buck" and sWing"
Dances - Performed by the Nat
ural Terpaichoreans of the
Plantations.
Before the war. plantation negro
who could not dance few steps OF
that particularly characteristic Ethio-
plan dance known as the "buck
dance was very hard to find. 1t was
the pastime of old and young darkies
alike, not only on the plantations and
on the levees, but on the decks OF the
steamers that piled the various rivers
of the south, and at that time formed
almost the only mode of travel and
TRANSPORTATION. The chuck dance,"
however, attained its greatest perfec-
ton and enjoyed its greatest popularity
on the plantation, because there was
more leisure time granted slaves on
plantations than to those who were
employed on the rivers and steamboats,.
1t was, says the Chicago Herald, mat
ter of great surprise to the stranger
travelling through the south to see
with what precision and versatility
very young darkies executed the many
difficult steps that characterize ''buck"
and swing" dancing.
While the dance is one difficult of
execution, it has been acquired by the
jig and step dancers of the American
stage as far as the simple steps them
selves are concerned, but it is impos-
sible for anyone but negro to put
that distinctive personality into the
dance which makes it so fascinating to
the beholder. 1t is impossible to tell
how old the ''buck dance is, or where
Or when it originated. 1t is errone-
ously stated that it was called the
'sbuck dance" because only men or
buck negroes indulged in it, but this
is not the case. It derives the name of
ssbuck dancing" from the fact that on
the plantations it was customary for
one dancer to ''buck" or pit himself
against another. The contest was not
only one of endurance, but also in the
variety of steps and contortions that
the dancer indulged in.
The war and consequent freedom OF
the negro in no wise interfered with
the "buck dancing" In fact, it is
more common to-day in those districts
in the south in which the negro popu-
lation dominates than ever before, a
fact that possibly may be accounted
for by reason of the very freedom of
the negro and his disposition to do as
he p]eases. 1t has ever been the
pleasure of the darky to dance, and as
a race he INDUCES in it now more than
ever. On the occasion of festive gath
erings where the darkies from various
plantations had gathered for dancing,
singing and feasting, it was not an un-
usual sight to see several ''buck dane
ing" contests going on at one time.
Usually two robust young darky boys
would begin the contest. Upon signs of
fatigue on the part of either of these
restlessness would be observed among
q half-dozen or more young darkies of
both sexes, standing nearest to the
dancers, and urging them on to
greater efforts by shouts, laughter,
calls for change of steps and different
steps. AS soon as one of the dancers
gave evidence of distress one of the
restless group that surrounded him
would jump into his place, force him
away, and commence dancing with
might and main, keeping up or varying
the steps until the second of the
original couple tired out, when his
place would be Immediately taken by
either boy or girl, and SO on the
contest would continue for hours.
ewing" dancing was mostly in
dulged in by barefooted darlzies, the
steps being of a bounding nature and
not wearing on the sole of the foot.
Another very popular dance in the
south among the darkies was "Jump-
ing Jim Crow" dance that could be
i1dulged in by the barefooted darky
without much danger to the soles Of
his feet. "Buck dancing" is totally
different.
The shoes used are ordinary fat
bottomed shoes without heels, and the
entire foot must be kept on the floor.
In all the bewildering movements and
steps the pat-pat-pat of the dancers
feet must keep perfect time with the
music of the banjo. The names of the
various steps are curious. He begins
with the rabbit hop" which brings
into play every muscle of his body as
he bends and hops without lifting his
feet from the ground. Then comes the
Johnny Bull" which is series of
slides and heavy step to each bar of
music. That changes to rushing
step, with slip from the heel and
perfect balance of the body. Then
the ''Pass Malard," where he waves his
hands from the forearm and the left
foot drags, while the right seems to be
doing . lot of hard work.
He swings from that into Broken
Foot Charley" crazy sort of dance,
where he gets his legs all tangled mp
and one foot twists around the other
without landing him on his back, as it
certainly would a beginner. "Break
de chickens neck is the next change.
This is a twist of ankle and of knee, as
a man twists q chickens neck. In ''Go
way sugar, yo' done los yo' TASTE, the
represents sugar and Grant
pushes It and bursts away and by feet,
arms and face indicates dislike.
Scratch ground" means walking and
reversing in time to the rapid music.
In this he is looss-jointed from the
head down. "Wake mp, black man" is
. wild dance. He swings around and
turns and twists like q contortionist,
but never once loses his time; his
are swift and remarkable
for strength and grace. Only young
and powerful physique could stand the
strain.
AuotFalanms EmlgrotanG.