A History of Country Dancing
with an emphasis on the steps
Anne Daye, HDS Director of Education and Research
‘Traditional’ Country Dances
The shifting relationship between dance figures and tunes in the nineteenth century followed fashion and the whim of the dancer. However, a constant association between some dances and a tune became popular in certain localities, so that across time the dances were considered so longstanding as to form a traditional practice.
A good example of this is The Triumph, first published in 1790 and still popular today. Walker 2001 traces the various forms of a dance that is considered ‘traditional’. The figures are those of the late eighteenth century ballroom, and the characteristic figure of bringing the lady up ‘in triumph’ between two men is an allemande hold for the figure of ‘Les Graces’ (like the three graces) borrowed from the cotillon.
An insight into the nature of local traditional country dances can be found in Papworth 1984 who discusses the Cambridgeshire Feast Dances enjoyed in pubs up to WW2. The figures come from the Regency and Victorian ballroom, including a progression made by the first and second couples ‘dancing around one and a half times’, in other words the turning poussette of the cotillon and country dance of the early nineteenth century. The Cambridgeshire polka was the main step.
The traditional repertoire also includes dances in square formation from the quadrilles and some couple round dances such as the schottische. This mix of out-of-date nineteenth century fashionable repertoire is also found in the Barn Dance scene and Ceilidh practice.
The country dance continues to be enjoyed in the 21st century in clubs, dances and at folk festivals, led by a caller who guides the company in the figures. Those callers who are knowledgeable of suitable steps have no time or opportunity to introduce them. Organisations work to encourage a younger generation by enlivening the experience. This might be through dances designed to be fast-paced with lively music, now called ‘ceilidhs’, and through ‘zesty Playford’ in sessions with fast and bright playing of the music, sometimes suggesting simple stepping. Some dance metres have retained simple stepping, as researched by Middleton-Metcalf. Meanwhile historical practices in stepping are being promoted by organisations such as HDS.
Near-extinction and revival in the early twentieth century
In England, dancers were avid for the latest foreign fashion, so that ball programmes were shaped by French and Continental dances up to 1900 and then by American dances afterwards. Country dancing slipped down the agenda, becoming an old-fashioned romp at the end of the evening, and eventually disappearing off the programme.
Around 1900, dancers became tired of the strictures of dancing masters in turn-out, pointed toes and regulated footwork: a revolution brought in natural foot placement, simple stepping and more abandoned energy, as in Ragtime dancing (see Buckland 2011). Outside fashionable circles, country dancing continued with some dances becoming local favourites and a notion of ‘traditional’ dances developed. This was the time when country dancing seemed to belong more to unsophisticated communities than smart fashionable groups.
In Scotland, meanwhile, dancers were happy to enjoy ball programmes with a mix of fashionable and Scottish country dancing. Yet, to some it seemed that the ‘traditional’ dances of Scotland were under pressure.
The preservation of national folk dances, including the country dance, became the pursuit of individuals troubled by the degeneration of modern life, so that Cecil Sharp and others for England, Jean Milligan and others for Scotland and the Gaelic League for Ireland investigated, described and promoted their versions of ‘folk’ and country dancing.
Their investigations and realisations triggered new waves of country dance practice and soon, for England and Scotland, the devising of new dances with inspiration from America and other countries. Meanwhile in Ireland, a fixed group of dances were established, labelled ‘ceilidh dances’, and linked closely to training young people in Irish step-dancing.
Along the way, the publications of Playford were rediscovered and the rich repertoire of eighteenth century Scotland was explored. As understanding of historical practice was not available before c.1950, these sources were not fully understood. Hence, ‘Playford dancing’ in the EFDSS tradition neglects the steps of the day for walking through the figures. Scottish country dancing in the RSCDS tradition uses nineteenth century steps for eighteenth century dances, and consequently ignores those in 3/2 hornpipe or 9/8 slip-jig metres.
After WW2, EFDSS promoted country dancing as easy and accessible, a community dance, with no need for mastering special steps. The notion that the English country dance was identified by its figuring alone, and lacked steps became a truism; sadly, on the back of this has come the notion that the casual and easy style of walking the dance reflects the English national character. A very false stereotype! Once upon a time, we were known as ‘the dancing English’.
Bibliography
Buckland, T. J. (2011) Society Dancing: Fashionable Bodies in England, 1870 – 1920. Basingstoke: Palgrave Macmillan
Middleton-Metcalf, C E. ‘Hornpipe Stepping at barn dances and ceilidhs in England’ in Bennet, T. (ed.) Stepping On: Proceedings of the 2019 Conference on Stepping in Dance. London: English folk Dance & Song Society 2023, pp. 145 – 154.
Papworth, C. (1984) Polka Round: The Cambridgeshire Feast Dances and The Comberton Broom Dance. Cambridge: Papworth, Crouch & Palmer
Walker, C. (2001) ‘The Triumph’ in England, Scotland and the United States in Heaney, M. (ed.) Folk Music Journal, Vol. 8, 1