Social Music in 19th Century Kalamazoo - Kalamazoo Public Library Social Music in 19th Century Kalamazoo “Tripping the Light Fantastic” Before the days of the big bands; before jazz and ragtime ; while military bands ruled street parades and open air concerts, Kalamazoo’s many dance orchestras filled nineteenth century assembly halls and ballrooms with the sweet strains of the latest popular numbers. From weddings and private gatherings to public dance parties and elaborate benefit balls, dancers “tripped it on the light fantastic toe” with the cotillion, the quadrille, the polka, the scottische, lancers, mazurkas, minuettes and waltzes. White and Sherwood's Band (White’s Quadrille Band), ca. 1880. (W. S White: far right) History Room Photograph File P-572 “Is dancing sinful? I am not able to say: but one thing is certain—people dance now-a-days.” —Kalamazoo Gazette, 23 November 1849 The Great Dance Debate But dancing in public was not without its opponents.

Religious conservatives in America were harshly critical of amusements such as dancing during the early nineteenth century. Many viewed such activities as acts of sinful indulgence; indeed the very downfall of society itself. Of all, the waltz was seen as especially scandalous. Dancing could be (albeit reluctantly) viewed as “proper” if the partners only touched hands (perhaps even gloved), as with the minuet. But the waltz required close bodily contact with a member of the opposite sex in public, and that was simply unacceptable. “Modern square dances must be condemned not only for the pleasure which comes from this close contact, but also because they are misnamed so that they may deceive some by covering the filth of round dancing.” —Beryl “It is deplorable that dancing, and amusements of nearly all kinds, should have fallen under the ban of the clergy, and should be preached against as sinful.

It is a most elegant and exhilarating exercise.” —Kalamazoo Gazette, 11 April 1851 “...no amusement with which we are acquainted, brings into exercise, at the same moment, so many of our best faculties as that of dancing.” —Kalamazoo Gazette, 16 March 1849 A Working Nation And it wasn’t only the faith-based who sometimes found fault with dancing. The American frontier during the early nineteenth century was a working world, and such activities as music and dance were viewed as a senseless diversion away from what were perhaps “more worthy” pursuits. Proponents attempted to counteract the dissent by promoting dance as a healthful form of exercise. “A New Era is Dawning” Despite—or perhaps because of—the objections of some, dancing continued to grow in popularity. As public perception changed over time, dancing eventually became an acceptable and enjoyable form of amusement and social interaction. “The ball-room and theatre are now denounced as sinks of inequity and sin. But a new era is dawning...

Who would object to the delightful and elegant amusement of dancing, when practiced under the influence of pious sentiments, and regulated with a pious regard to health and morals?” —Kalamazoo Gazette, 9 March 1849 “The Simple Amusements of Other Times” Kalamazoo Gazette, 25 December 1840 During the 1830s and 1840s, “when pastime went hand and hand with usefulness,” Kalamazoo’s early villagers celebrated planting time in the spring and held quilting bees and corn husking parties in the fall—seemingly useful and fun activities. From the assembly room at Johnson Patrick’s Hotel to the ballrooms at Wilder’s River House and John Green’s Silver Creek House, Kalamazoo buzzed with excitement as dancers and onlookers enjoyed occasional evenings of music and merriment. Contra Dance and Cotillion Parties Kalamazoo Gazette, 2 December 1842 Contra dance, a style of partnered folk dance, was especially popular in the United States until the mid-nineteenth century.

Couples faced off in parallel lines opposite—or contra to—their partners and danced according to instructions given by a “caller.” Contra dance eventually gave way to other forms like the cotillion, the quadrille, and eventually, the square dance. A Gazette article from 1880 describes a typical dance party during the 1830s and 1840s: “The guests at these parties used to assemble at about 8 o’clock, and, after taking off their wraps in an upper room, they descended to the parlor, where the host and hostess received them. The older men then went to the punch bowl to criticise the ‘brew’ which it contained, while the young people found their way to the dining room, almost invariably devoted to dancing. The music was a piano and two violins, and one of the musicians called the figures for the cotillions and contra dances.” —Kalamazoo Gazette, 10 June 1880 The cotillion, a form of country dance (that later evolved into the quadrille), was popular among pioneers in America during the eighteenth and early nineteenth century.

From the late 1830s, cotillion parties were held in Kalamazoo for those who wanted to “trip it on the light fantastic toe.” “Our village this winter presents a scene of gaiety and mirth. Sleigh-rides and cotillion parties are all the go. Joy seems sparkling in every eye. In short, we believe we are the happiest people in the whole western world.” —Kalamazoo Gazette, 9 February 1839 Dancing Schools and Fashionable Attire Instruction manual, 1878 Library of Congress For those who desired formal dance instruction, Mrs. Clark was offering a “Dancing School for Ladies and young Gentlemen on Wednesday and Saturday afternoons” from her residence at the corner of Water Street in the village of Kalamazoo. Cost for two lessons per week in 1838 was $4 each quarter. W. G. & F.

Dewing and Frederick Booher both advertised all of the latest and most fashionable “necessities” in 1838, including “hats of the latest fashion” and “gents dancing pumps.” In 1847, Soloman Richardson was operating a dancing school at the assembly room of Moses Austin’s Hotel, offering instruction at reasonable terms in “all the new styles of dancing.” The Gazette proclaimed, “No one can do up the ‘fixins’ better than Moses.” During the 1850s, Professor Howard’s Dancing Assembly “introduced the latest and most fashionable Mazurkas, Redowas, Schottisches, etc.” (Kalamazoo Telegraph) at Firemen’s Hall on Friday afternoons and evenings, while Richardson & Benns of New York advertised their new dancing school for gentlemen, which offered a series of 12 lessons for $5. By 1876, Professor N. J. Kellogg and B. E. Fanning were giving lessons in the “science of dancing.” W. H. Peake took Fanning’s place two years later. Prof. and Mrs.

Mackay held dance classes in Kalamazoo and Battle Creek in 1882, teaching “all the latest fashionable dances, both square and round.” Professor James Bayne opened a similar academy in 1884. Kalamazoo Gazette, 30 October 1892 Professor H. H. Mittenthal, one of the famous Mittenthal Brothers , began a dancing academy in 1885, and was joined for a time by his brother, Sam. Herman Mittenthal continued to teach dance in Kalamazoo until the 1920s. Dozens of other schools opened during the 1890s to offer instruction in the popular new “two-step,” including William McLachlan’s Dancing School and Hande & Clement’s Dancing School. “Dancing school furnished entertainment,” said Miss Mary V. Gibbs in a 1906 interview, “and I attended regularly. The school was conducted by a man by the name of Shaw, and the music was furnished on the piano and violin or fiddle as the latter instrument was called. Square dances were most favored and included the lancers.

The waltz quadrille was also popular” (Gazette). “...a banjo, guitar, harmonica, bones and two violins, which with the organ made fine dance music.” —Kalamazoo Gazette, 21 March 1890 “Fine Dance Music” Much of the specifics of contra dance music in Kalamazoo and elsewhere during the early 1800s is not known, simply because it wasn’t written down. Repertoire would have consisted of traditional 64 beat “square” jigs and reels, or contemporary variations in the vernacular. It was functional and fun, and therefore the details of what was performed seldom made the papers. Musicians gathered and played whatever numbers they knew on whatever instruments they could find. If they didn’t know it, they made it up. Kalamazoo Gazette, 12 December 1856 Kalamazoo’s Early Dance Bands In her series, “Reflections of Kalamazoo since 1834,” Mrs. Jacob Hudson ( Titus Bronson ’s niece, born 1828) describes the 1834 wedding of William O.

Austin and Maria West at the Kalamazoo House, and speaks of the band and the jubilant dancing. 1834 Wedding Dance “They marched into the feast and Col. Luke Whitcomb and General Lawrence VanDewalker said they should dance at Maria’s wedding. Mr. A. and Maria were Methodists. At eight p.m. a band of music played and dancing began. Col. Whitcomb led the lovely Miss Mary Hubbard forth to dance. General Van Dewalker took the lovely Mary Edwards. Col. W. and Gen. V. being tall, danced in earnest and touched the plastering. Jim sent me up to see if the floor boards were not lifted by the effort.” —Kalamazoo Gazette, 14 September 1880 Round Dances and Waltzes Kalamazoo Gazette, 4 May 1876 When a simple dancing party in the nineteenth century became a “fashionable ball” or a “gay masquerade,” there were plenty of dance bands and orchestras available in and around Kalamazoo to fill the bill.

The growing popularity of round (couple) dances, including the waltz, polka, and later, the two-step, created great demand for local and regional musicians. L. L. Harris & Co. was providing music “for balls, cotillion parties and other assemblages of social amusement” in the 1850s, as was Pierce’s Band. The Hull & Arnold Band from Constantine was immensely popular from the 1840s. “Over $20 was netted to the library fund as proceeds from the dancing party at Mrs. DeYoe’s, Thursday evening.” —Kalamazoo Gazette, 1 November 1879 In most cases, little is known about each of the bands other than the names themselves, but the following list does give us some indication of their immense popularity. Membership and type of instrumentation (where known) are noted. Certain spellings may vary (i.e. Everard vs. Everhard, Crossette vs. Crossett, Lounsbury vs. Lonsbury, etc.).

Dance Orchestras In and Around Kalamazoo (1850-1899) Kalamazoo Gazette, Symphony Orchestra ( Fischer’s Orchestra ), ca. 1897 Warner’s Full Orchestra (8 pieces), ca. 1899 White & Marchant’s Orchestra (6 pieces), ca. 1888 Wills’ Full Band (Hickory Corners), ca. 1877 “Launsbury & Baker’s orchestra band has made rapid improvements this winter. The music furnished for the Occasional Club party Thursday was certainly first class, and gave the best of satisfaction. At the Academy Monday evening the audience gave the boys a hearty applause. Such a band is a great benefit and pleasure to a place.” —Kalamazoo Gazette, 22 December 1882 Dance Music, 1877 at Chapel Hill . Music Library. The Sound of a Dance Party These vintage recordings, made near the turn of the twentieth century, give some idea of what a 19th century dance party might have sounded like.

Historic Recording: “Cotillion March” Historic Recording: “Wiener Blut” (Waltz) Recorded by the Edison Symphony Orchestra, ca. 1902(?) Cylinder Preservation and Digitization Project , University of California, Santa Barbara (MP3 audio file) Quadrille Parties and Square Dances “It is high time some change took place for the better in the style of dancing. ...in less than two years the quadrille will be the fashion entirely...” —Kalamazoo Gazette, 9 September 1853 Originating with 17th century military parades in France and England, the quadrille became fashionable in the 1800s among the upper classes as a lively form of dance. Four couples, arranged in the shape of a square (hence the term “square dance”), took turns performing the dance, one couple at a time. “Callers” shouted out instructions to the dancers who performed the simple walking steps, while the band played the traditional five-part pieces. The quadrille, like the cotillion, eventually evolved onto other forms of dance, including the waltz and traditional square dance.

Quadrille in Kalamazoo By 1870, the quadrille had gained tremendous popularity in Kalamazoo. Social restrictions had eased and public dancing, though still a very formal affair, had became a more acceptable form of entertainment. The dancing parties and social balls given at the likes of Allen’s Hall, Arbeiter Hall or the Armory enjoyed great success until the 1890s. By that time, however, the quadrille had clearly become a dance for the “old timers.” “...the party returned to the assembly hall, where the quadrille and waltz ruled the passing hours until the ‘wee hours of the night’...” —Kalamazoo Gazette, 5 February 1875 Quadrille Call Book, c1883 23 November 1884 Quadrille Bands in and around Kalamazoo (1872-1895) Again, little is known about each of the bands other than the names. Some were undoubtedly the same as their “orchestra” counterparts (i.e.

“Bronson & Lounsbury’s Quadrille Band” and “Bronson & Lounsbury’s Full Orchestra” were most likely one and the same, although the repertoire probably varied). Baker’s Quadrille Band, ca. 1880 Battle Creek Quadrille Band, ca. 1879 Bennett’s Full Quadrille Band (Schoolcraft), ca. 1877 Bennett’s Quadrille Band (Portage), ca. 1886 Bronson, Lounsbury and Baker’s Full Quadrille Band, ca. 1878 Bloit Quadrille Band, ca. 1886 w/ O. G. Clement Boos Quadrille Band (Jackson), ca. 1882 Bronson & Lounsbury’s Quadrille Band, ca. 1876 Bronson’s Famous Quadrille Band, ca. 1885 Clement’s Orchestra Quadrille Band, ca. 1895 Constantine Quadrille Band, ca. 1881 (Hull & Arnold) Crossett & Baker Quadrille Band, ca. 1877 Crossett’s Quadrille Band, ca. 1884 Ellers & Baker’s Full Quadrille Band, ca.

1876 Ellers & Crossett’s Quadrille Band, ca. 1869 (first and second violin, Crossett & Glenn; clarinet, Ellers; basso, Everard) Fritz Ellers & Sons’ Quadrille Band, ca. 1879 Fritz Ellis’ (Ellers) Full Quadrille Band, ca. 1884 Everard & Olmstead’s Full Quadrille Band, ca. 1872 Everard’s Full Quadrille Band, ca. 1876 Hull & Arnold Quadrille Band, ca. 1843 Kalamazoo Quadrille Band, ca. 1869, 1879 (first and second violin, Baker & Olmstead; clarinet, Ellers; basso, Everard) Newell & Eaves Quadrille Band, ca. 1879 Niles Quadrille Band, ca. 1881 Potter’s Quadrille Band, ca. 1876 White’s Full Quadrille Band, ca. 1878 York’s Full Quadrille Band, ca.

1872 “An Enjoyable Affair in which Kalamazoo’s Fair Ladies and Gallant Gentlemen Take Part” “According to announcement the St. Augustine Benevolent Society’s dance came off last evening, at Allen’s Hall. Everhard’s full quadrille band was in attendance. Long before the hour for the festivities to commence, the hall had become well filled and the managers were greatly pleased at the success which the numbers seemed to indicate. At precisely 9 o’clock the music commenced and dancing was kept up till half-past 11, when supper was announced, and the party sat down to tables loaded with the choicest delicacies of the season. After supper dancing soon began and was kept up till a late hour.” —Kalamazoo Daily Gazette, 27 April 1876 Hull & Arnold Quadrille Band, ca. 1875 Kalamazoo Valley Museum photo Hull & Arnold’s Quadrille Band (ca. 1838-1888) Perhaps the most famous of the quadrille bands in Southwest Michigan was Hull & Arnold’s Quadrille Band.

Organized in 1838 shortly after the Hull family settled near Constantine, the band became known throughout Michigan and Indiana as one of the premiere orchestras of its kind. Led by violinist and caller John Hull, the band included Daniel Arnold, clarinet; Oliver P. Arnold, cornet; and Morris I. Arnold, trombone. By 1880, Charles H. Arnold was playing trombone, and Charles E. Rogers was playing cornet. Rogers was famous throughout Michigan, Indiana and New York for his leadership of the Constantine (Michigan) Cornet Band, and later the Rogers Cornet Band of Goshen, Indiana. Following John Hull’s death in December 1884, H. P. Smith of Schoolcraft took over as leader and continued with the band until about 1888. “The young women of the earlier days gave up dances and the like amusements after they married and devoted their time to domestic duties and the rearing of families.

Previous to their marriage they participated in the social life of the time, a special feature of which would be a ball now and then at the Kalamazoo house or in a big ball room at Austin’s lake. The ladies would be conducted by their escorts to the scene of the festivities in omnibuses or lumber wagons having two or three seats which would be covered with blankets. The gentlemen would call for the ladies at about four o’clock in the afternoon and the party would not conclude until the wee small hours of the next morning. The music for the cotillion would be furnished by a band from Constantine.” —Miss Mary V. Gibbs, Kalamazoo Gazette, 11 March 1906 The Sound of a Quadrille Party Although this recording was made well after the popularity of the quadrille had passed, listening to this vintage recording gives us some idea what a 19th century quadrille party might have sounded like.

Historic Recording: “Petunia Quadrille” Cylinder Preservation and Digitization Project , University of California, Santa Barbara (MP3 audio file) Kalamazoo’s Popular Dance Orchestras The 1880s and 1890s were exciting times to be a musician in Kalamazoo. While there were literally dozens of local bands and orchestras playing music for social occasions at the time, three key orchestra leaders emerged during the 1880s and remained among the most popular into the 1900s; George A. Pfeiffer, Gilmore L. Phillips and Oscar G. Clement. Oscar G. Clement, ca. 1902 Oscar G. Clement’s Orchestra “[O. G. Clement] is today the most popular musical director ever known in Kalamazoo. He and his little band of musical vibrators are sought after by most all the social gatherings in this section and it would be hard to find a person who has not at some time or other whirled away a dizzy waltz to the strain of their seductive music.” —Kalamazoo Gazette, 2 May 1890 Oscar G.

“Oak” Clement Violinist Oscar G. Clement led one of the most successful local dance orchestras in Kalamazoo during the 1890s. A native of St. Joe County, Clement began playing professionally in 1857 and spent six years in Wisconsin with the Beloit Quadrille Band. After a year in Texas, Oscar and his brother, Joe, found themselves back in Michigan, where they established Clement & Clement, a cart, buckboard and cutter manufacturing firm in Kalamazoo. “At 10 o’clock the guests ascended to the ballroom where excellent music by Clement’s orchestra kept the dancers in the mazy whirl until late this morning.” —Kalamazoo Gazette, 25 November 1892 Oscar Clement organized Clement’s String Band in Kalamazoo about 1886, gaining immediate popularity. The original four-piece group, led by Oscar G. Clement, was soon expanded to a full six and later eight piece orchestra, and was providing music for social hops, dancing parties, soirees and weddings throughout Southwest Michigan. Clement’s Orchestra was praised by the Gazette as one of the “best in the state.” Clement’s Orchestra (ca.

1886-1897) Oscar G. Clement, leader, first violin John Lounsbury, second violin Charles Skinkle, second violin (George H. Skinkle in 1888) Chet Bronson , clarinet (replaced by James Zanders, flute, in 1887 and again by George Balcom, clarinet, in 1890) August Strehle, double bass (replaced by Nicholas W. Hodgeboom in 1888) Joe D. Clement “The dance music artists and instructors in the art are introducing several new dances which are creating considerable interest. In the waltz quadrille Mr. Clement calls several new and very pretty changes and the 16-step lancers is a new style which makes that sleepy number one of much interest.” —Kalamazoo Gazette, 13 January 1889 First Class Home Talent Clement’s popular orchestra provided music for several of Kalamazoo’s many schools of dance, including the Mittenthal Brothers’ and Prof. R. Hande.

Oscar Clement himself often took part in many of the local charity minstrel and variety performances, where his whistle solos drew great cheers from the audiences. In addition to his own orchestra, Oscar Clement was a member of the Kalamazoo City Band , Kalamazoo’s short-lived Philharmonic Orchestra , the Academy of Music Orchestra , and White’s Military Band . Clement remained in Kalamazoo until 1897, and then moved to Grand Rapids where he remained a popular orchestra leader into the 1920s. Phillips Brothers’ Orchestra Gilmore L. Phillips, ca. 1915 The Phillips Brothers’ Orchestra emerged in the mid-1880s and soon earned a solid reputation for providing both concert and dance music. By December 1886, the quartet was performing for community programs and church socials in Oshtemo (their hometown), Paw Paw and Kalamazoo. Eventually expanded to as many as ten pieces, the Phillips Brothers’ Orchestra performed for an almost endless string of dances, social parties and weddings during the 1890s. Phillips Brothers’ Orchestra (ca. 1886) Gilmore L.

Phillips, violin, leader Sylvester C. Phillips, violin and vocals Joseph F. Phillips, violin, viola and vocals Joshua W. Phillips, bass violin and vocals “Phillips Bros. orchestra rendered a fine musical program” The Phillips brothers were individually and collectively involved in several leading local musical organizations throughout their careers. Joe Phillips and his brother Sylvester were part of Madam Jannasch-Shortt’s Orchestra during the 1880s. Joe was a member of the original Kalamazoo College Orchestra and later a member of George Pfeiffer’s popular orchestra. Gilmore Phillips was one of the founding members of the Symphony Orchestra in 1894, a forerunner of today’s Kalamazoo Symphony Orchestra , and three of the brothers later formed the core of Kalamazoo’s Philharmonic Orchestra between 1894 and 1896. The Phillips brothers continued to perform concert and social music well into the nineteen teens. “Fully 60 couples were present and at 9 o’clock the strains of Phillips Bros’. orchestra brought all upon the ball room floor.

The light fantastic was enjoyed until an early hour this morning.” —Kalamazoo Gazette, 28 December 1892 George A. Pfeiffer’s Orchestra Violinist George A. Pfeiffer formed his four piece orchestra about 1886, and began playing music for weddings, dance recitals and other social occasions. Within a year, the lineup had expanded to a full twelve pieces, including several well known local musicians. George A. Pfeiffer, ca. 1921 Pfeiffer’s Orchestra (ca. 1886) George Pfeiffer, violin John Henson “Heinz” Everard, trombone ( KSO ) John Vleiken, snare drum ( KSO ) “The ‘Tube Rose’ dancing party given by Prof. Mittenthal at Turn Verein Hall New Year’s night was largely attended and a flattering success in every particular. Pfeiffer’s Orchestra won unstinted praise from all present for the delightful music they furnished.” —Kalamazoo Gazette, 3 January 1886 George A.

Pfeiffer In addition to his own orchestra, George Pfeiffer himself was involved with Newell and Bronson ’s immensely popular orchestra in 1890 and the Academy of Music Orchestra a year later. Like Oscar Clement, Pfeiffer provided music for many of the local dance instructors. When not playing music, Pfeiffer served as a postal worker in Kalamazoo for more than 33 years until his retirement in 1921. Open-sided dancing pavilion at Long Lake near Kalamazoo, ca. 1907. Author’s collection Fashionable Summer Dancing Parties “The dance hall was enjoyed by many and all who went to Lake View had a good time.” —Kalamazoo Gazette, 12 July 1895 Summertime dancing parties were all the rage in and around Kalamazoo during the “the Gay Nineties.” Local restaurateurs John Culver and Neal Nicholson built an open-sided dancing pavilion at Lake View Park on the southwest side of Woods Lake and hosted a series of popular dancing parties there. One of their first featured the Symphony Orchestra , led by Chester Z. Bronson .

More than 16,000 visited the park and the dance hall during the 1894 Fourth of July celebration, while “merry dancers ‘tripped the fantastic toe’ to the music furnished by a first class orchestra” (Gazette). Later in August, Battle Creek’s popular Germania Orchestra performed for a Lake View Park dancing party that was “attended by thousands.” C. Z. Bronson returned to Lake View with the Symphony Orchestra in October for a series of well-attended fall dances. “A private party of about 40 couples had a very pleasant dancing party at the west pavilion at Lake View last night. The floor was canvassed and the pavilion was beautifully decorated with Chinese lanterns. The music was furnished by the Symphony Orchestra. They showed that they are not only capable of playing concert music but dance music of a high order.” —Kalamazoo Gazette, 15 June 1894 Germania Orchestra of Battle Creek, ca. 1894 The Quadrille The Quadrille [This is taken from Routledge's Manual of Etiquette.] The Quadrille is the most universal, as it is certainly the most sociable, of all fashionable dances.

It admits of pleasant conversation, frequent interchange of partners, and is adapted to every age. The young or old, the ponderous paterfamilias or his sylph-like daughter, may with equal propriety take part in its easy and elegant figures. Even an occasional blunder is of less consequence in this dance than in many others; for each personage is in some degree free as to his own movements, not being compelled by the continual embrace of his partner to dance either better or worse than he may find convenient. People now generally walk through a quadrille. Nothing more than a perfect knowledge of the figure, a graceful demeanor, and a correct ear for the time of the music are requisite to enable any one to take a creditable part in this dance. Steps are quite gone out of fashion: even the chasse has been given up for some time past. A quadrille must always consist of five parts. If a variation be made in the fourth figure, by the substitution of Pastorale for Trenise, the latter must then be omitted; or vice-versa.

As soon as a gentleman has engaged his partner for the quadrille, he should endeavor to secure as his vis-à-vis some friend or acquaintance; and should then lead his partner to the top of the quadrille, provided that post of honor be still vacant. He will place the lady always at his right hand. Quadrille music is divided into eight bars for each part of the figure; two steps should be taken in every bar; every movement thus invariably consists of eight or of four steps. It is well not to learn too many new figures; the memory is liable to become confused amongst them; besides which, it is doubtful whether your partner, or your vis-à-vis, is as learned in the matter as yourself. Masters are extremely fond of inventing and teaching new figures; but you will do well to confine your attention to a few simple and universally received sets, which you will find quite sufficient for your purpose. We begin with the oldest and most common, the FIRST SET OF QUADRILLES. The couples at the top and bottom of the quadrille cross to each other’s places in eight steps, occupying four bars of the time; then re-cross immediately to their own places, which completes the movement of eight bars.

This is called the Chaine Anglaise. The gentleman always keeps to the right of vis-à-vis lady in crossing, thus placing her inside. Set to partners, or balances; turn your partners. (This occupies the second eight bars.) Ladies, chain, or chaine des dames. (Eight bars more.) Each couple crosses to opposite couple’s place, gentleman giving his hand to his partner: this is called half-promenade. Couples recross right and left to their places, without giving hands, which completes another eight bars, and ends the figure. The side couples repeat what the top and bottom couples have done. Second Figure.—L’Ete. The ladies in all the top couples, and their vis-à-vis gentlemen, advance four steps, and retire the same, repeating this movement once again, which makes the first eight bars. Top ladies and vis-à-vis gentlemen cross to each other’s places; advance four steps; retreat ditto; cross back towards partners, who set to them as they advance; turn partners; which ends first half of figure. Second ladies and top vis-à-vis gentlemen execute the same movements.

Then side couples begin, the privilege of commencement being conferred on those ladies who stand at the right of the top couples. This figure is sometimes performed in a different manner, known as double L’Ete. Instead of the top lady and vis-à-vis gentleman advancing alone, they advance with partners joining hands; cross and return, as in the single figure. This variation is, however, somewhat out of vogue, except (as will presently be seen) in the last figure of the quadrille, where it is still frequently introduced. Third Figure—La Poule. Top lady and vis-à-vis gentleman cross to each other’s places, giving right hand in passing; cross back again with left hand. (Eight bars.) The two couples form in a line, and join hands, the left hand of one holding the right hand of his or her neighbor, so that each faces different ways; in this position all four balancez, then half promenade with partner to opposite place; top lady and vis-à-vis gentleman advance four steps and retire ditto. (2nd eight bars.) Both top and bottom couples advance together, and retire the same; then re-cross right and left to places.

(3rd eight bars.) Second lady and first opposite gentleman repeat figure. Side couples repeat, observing same rule for commencement as in L’Ete. Fourth Figure.—La Trenise. Top couples join hands, advance four steps and retreat ditto: advance again, gentleman leaving lady at left hand of vis-à-vis gentleman, and retiring alone, (1st eight bars.) Two ladies advance, crossing to opposite side; gentleman advances to meet his partner, vis-à-vis lady returns to hers. (2nd eight bars.) Balancez; turn partners to places. (3rd eight bars.) Second couple performs same figure; side couples repeat as before. If La Pastorale be preferred, it will be performed thus:--Top couple advance and retreat; advance, gentleman leading lady to left hand of vis-à-vis gentleman; he advances with both ladies four steps, retreating ditto; again advancing, he leaves both ladies with first gentleman, retreating alone; top gentleman and both ladies advance and retreat; again advance, joining hands in circle, go half round, half promenade to opposite places, then return right and left to their own. Second couples and side couples repeat as before. Fifth Figure.—La Finale.

Begin with the grand rond or great round; that is, the whole quadrille; first and second couples and sides join hands all round, advance four steps, and retreat ditto. L’Ete is now sometimes introduced, the grand rond being repeated between each division of the figure. But it gives a greater variety and brio to the quadrille if, after the first grand rond, the following figure be performed, the galop step being used throughout. Each gentleman (at top and bottom couples) takes his lady round the waist, as for the galop; advance four steps, retreat ditto, advance again, cross to opposite places; advance, retreat, re-cross to own places. Ladies chain; half promenade across; half right and left to places; grand rond. Side couples repeat figure. Grand rond between each division and at the conclusion. Bow to your partners, and conduct your lady to seat. Dance Facts — Dance UK NEW REPORT: How UK theatre talent nurtures the wider economy - Dance is the art form that communicates through the body. Dance is an integral part of the live and recorded performing arts and cultural industries.

It is often collaborative and provides creative and work opportunities for artists working in a range of other art forms including music, design, film, sculpture, theatre. In addition, dancers and choreographers frequently contribute to other art forms. Dance as an industry It is estimated the dance economy employs around 30,000 people; dancers, teachers, choreographers, technicians and managers. In addition to this, people work in dance as community dance practitioners, promoters, producers, designers, publicists, technicians, physiotherapists, medical and alternative practitioners, therapists, writers and academics. There are an estimated 200 dance companies in the UK. Dance also plays a central or supporting role in commercial and subsidised theatre such as West End musicals, and in opera, film, television, live music and video, corporate events, variety shows, clubs and many other industries. In 1969/70 the Arts Council of England supported seven dance companies and organisations, in 1998/99 this number had grown to 74.

In 1999 there were an estimated 1,472 dance performances given in theatres around the UK, in addition to drama, opera, musical and other productions which incorporated dance. Estimated ticket sales for these dance performances reached £20,682,000, while the Arts Councils of England, Scotland, Wales and Northern Ireland gave out a total of £54,900,000 in subsidy for dance. The scope of the UK dance industry is vast. There are at least 450 dancers in West End musicals. Cruise ships (not a widely researched area) have more than 209 dancers from the UK performing onboard. Contemporary dancers in the UK are at least 539 strong (this figure was found through researching all UK dance companies known to Dance UK). Professional ballet dancers within England and Scotland total 262. Equity is the UK Trade Union representing professional performers and other creative workers from across the spectrum of the entertainment, creative and cultural industries.

Equity's dancers make up 3,000 of their membership (this figure could potentially be higher as some dancers are listed as 'performers') NDTA (National Dance Teachers Association) the leading subject association for dance in schools. Their individual members total 477 and organisational members total 278. The NDTA themselves recognise that their individual membership total does not equate to the amount of dance teachers within the UK. The diversity of dance There are many types of dance practiced and performed in the UK including: African, ballroom, bellydancing, Bharatha Natyam, bodypopping, breakdancing, classical ballet, contact improvisation, contemporary, Flamenco, historical / period, Irish, Kalari, Kathak, jazz, jive, Latin American, line dancing, national and folk, Raqs Sharqi, salsa, square dancing, street dance, tango and tap. Beyond the traditional theatre context, dance artists create work for particular locations. Dance performances have been created for castles, disused factories, sports centres, shopping centres and other unusual locations across the country. Increasingly dance is being created for the screen and digital dissemination.

Dance organisations The UK has a well-developed network of strategic support and development organisations for dance. They include: Dance UK Theatrical Management Association English Folk Dance and Song Society The network of national dance agencies and smaller regional dance agencies in England, plus agencies in Scotland, Wales and Northern Ireland Together, these organisations and agencies provide an infrastructure of support for innovation and experimentation that is the envy of much of the world, and of other art forms in the UK. Further information on and links to many of these organisations can be found on the Links and Resources section of this website. Dance and audiences Audiences for dance are growing. The Target Group Index (TGI) found that audiences for dance had grown by 13.7% over the last six years, and had increased by 18% between 1997/98 and 1998/99. Comparing TGI figures for contemporary dance for the five-year period of 1990/01 to 1994/95 with those for the period 1995/95 and 1999/2000 shows an increase of 28.8%.

In addition to this, when dance is broadcast on terrestrial television its audiences reach hundreds of thousands, often surpassing those for televised opera. Dance is the fastest growing art form, with over 13% of the population now attending dance performances. (Arts Council England). Dance is also popular at home. The BBC’s Strictly Come Dancing is regularly watched by 10.5 million viewers. The ability for musicals to appeal to a wide audience was proved in 2008. Box office figures show the musical Mamma Mia became the highest grossing film ever released in the UK, surpassing Titanic's record. ( ) It is continuing to reach audiences in homes, 1,669,084 DVDs were sold on its release date, breaking the previous record held by Titanic.( ) West End musicals are continuing to prove popular ticket sales are up despite a recession: Box office receipts for 2008 reached £480.6 million, up three per cent on 2007 - which was itself a record year - according to the Society of London Theatre. Dirty Dancing the Musical was the fasted selling show ever in the West End, taking over £12 million advanced ticket sales.

Over 200 theatres are participating in ‘A Night Less Ordinary’ offering free theatre tickets for people aged under 26 introduced by the arts council in response to the McMaster’s Report. The Arts Council England’s regularly funded organisations (RFOs) reach millions through touring. The English National Ballet is just one example of these. 9,588 people went to see their production of Swan Lake performed at the Grand Theatre Leeds. 88,900 people bought tickets for the Christmas at the Coliseum season which included The Snow Queen, Swan Lake and The Nutcracker. (English National Ballet ) Learning dance Dance is part of the National Curriculum, and can be studied at further education and degree level, including MA and PhD levels. The numbers of those taking GCSE Dance has increased from 2,752 in 1990 to 6,469 in 2000 (an increase of 235%). In June 2008, 17,855 candidates were entered into GCSE Performing Arts: Dance (source: AQA).

On the other hand, those studying dance at AS and A level has increased from 352 in 1990 to 808 in 2000 (an increase of 229%). There are around 22 dance colleges offering professional dance training courses accredited by the Council for Dance Education and Training and over 292 university courses with dance as a subject area. An estimated 1,000 dancers graduate each year from the vocational training schools and university dance courses. Research by the 'PE and School Sport Club links scheme' shows dance is second only to football as the most popular activity of school children (Source: PE and School Sport Club Links Scheme (PESSCL) According to the 2007/08 HESA (Higher Education Statistics Agency) Student Returns, 1220 pupils graduated with a degree in dance. ( ) The number of students taking GCSE dance has increased from 7,003 in 2001, 15,730 in 2005 to 18,866 in 2007.

(source: The Assessment and Qualifications Alliance ) Six new Centres of Advanced Training (CATS) are to be opened between 2008 and 2011. They provide children with local access to the best available teaching and facilities alongside strong links with dance profession. Enabling the support of 1,500 talented young people: The current CATS are based in Newcastle (Dance City Academy), Leeds (Yorkshire Young Dancers), Ipswich (DanceEast Academy), London (Laban & The Place), Swindon (Youth Dance Academy), Birmingham (Momentum) and Nottingham (CAT East Midland). The number of pupils choosing dance has risen 83% in four years, according to research by the Arts Council. A third of those are boys ( / 14th March 2009) Contemporary dance reaches millions of pupils through education programmes and visits. An example of this is Welsh contemporary dance company Earthfall who last year delivered 168 workshops in education to almost 4000 participants. ( ) Participation Dance is important in education, health, social cohesion and regeneration. People dance for fun, recreation, social reasons and for health.

Research undertaken by People Dancing identified over 73,000 participatory projects, engaging over 4.78 million people in 2002. According to the Central Council for Physical Recreation, dance is a popular activity for 5 million participants, or 10 percent of the UK population. • Over 4.8 million people participate in community dance each year (Foundation for Community Dance). ACW (Arts Council Wales) show that dance is the most popular participatory art form in Wales with around 200,00 people getting involved with ACW funded activity each year (Arts Council Wales ) Over 2005-2008 234,817 young people aged between 5 and 14 participated in Scottish Youth Dances’ Dance in Schools Initiative Program ( ) Youth Dance England’s new initiative U.Dance: the national dance performance scheme that gives every child and young person the chance to take part in a dance performance each year, was launched on April 2 as part of Youth Dance England’s Conference.

U.Dance currently has approximately 27,257 children and young people from over 1,170 schools, taking part in over 140 dance performances across the country. (Youth Dance England ) 19,000 over 3 days (up from 12,000 in 2006) travelled to Move it! Dance London 2009 Britain’s only dedicated dance exhibition. ( ) Research commissioned by Barclays shows that 76% of men now think dancing is a great way to keep fit and one in ten have actually taken up dance as a direct result of the 'Darren Gough effect'. The number of participants taking part in an English National Ballet Learning activity during 2007/2008 totalled 12,700. (English National Ballet ) Dance 4s (Nottingham) platform ‘Episodes’ is an opportunity for educational and community groups between the ages of 11-19 years to present their dance work to the public. Staged over two nights: it involved 298 performers and 1021 audience members.

( ) Dance events and festivals • Hip-Hop goes from strength to strength: Breakin' Convention is an International Festival of Hip Hop Dance Theatre. Originating in 2004 held at Sadlers Wells for two days, 3,600 tickets sold, 250 dancers performed. 2008 saw 300 dancers performing to 4,800 people over three days at Sadlers Wells, as well as a National Tour. ( ) • Dance Umbrella: dedicated to young British dancers and informing potential audiences about contemporary dance. 5,000 people attended the first Dance Umbrella festival in 1978. 33,000 people attended the 30th festival in 2008. With 13,000 tuning in on Youtube.com.( ) • English Folk Dance and Song Society had around 120 festivals scheduled for 2009. • Although it may appear as a tenuous link people are dancing every Saturday night in clubs across the UK. Luminar Group Holdings Plc: owners of 90 venues in the UK.

Showed an increase in dancing revenue to £91.0m (2007: £90.7m). • Chaz Royal’s 3rd Annual International London Burlesque Festival 2009 was an sold out event, drawing an estimated 3000 patrons for 8 showcases over the course of 5 days ( ) Facts about Dance UK • Dance UK was founded in 1982 and was originally called the National Organisation for Dance and Mime (NODM). It changed its name to Dance UK in 1991. • Dance UK's Founder Chair Bob Lockyer was succeeded by Christopher Bannerman in 1993, Jane Mooney in 1999, Alistair Spalding in 2003 and Farooq Chaudry in 2010. • Dance UK currently has approximately 1,000 individual members and 240 corporate members including dance companies and training institutions, and others who are reciprocal members such as national dance agencies, regional arts boards and VIPs. For information on membership see the Members and Joining Information page .

For a list of Dance UK's staff and their contact details see the Contact Us page. ________________________________________ • Cultural Industries Mapping Document 2001, published by The Department of Culture Media and Sport. • Siddall, J, 21st Century Dance, published by the Arts Council of England, 2001. • Inquiry into dance published by the Culture Media and Sport Committee (2004). We welcome your input into these pages. If you know of any interesting facts or figures about dance, please email them to caroline@danceuk.org

Question: How many people take part in the dance of a quadrille?
Answer: 8