Bush Dance Instructions
Dancing, singing and music have been essential to the party spirit as long as we can remember and the European settlers of Australia were no exception. Dancing, singing, reciting and music for the white settlers became an integral part of the lives, whether it was in a grand Colonial Ball in the city, a celebratory end of sheep shearing season Woolshed Dance or simply a gathering of friends and family for an evening's entertainment in a kitchen or round a campfire.
Here are a few dance instructions suitable for the tune sets compiled in Wongawilli's Australian Dance Tunes Volumes 1 and 2, available on CD and sheet music. Click here to purchase.
They have been danced at ‘bush dances’ and are from traditional and collected sources and some are composed in the traditional style.
Thanks to Peter Ellis, Shirley Andrews and Gwen Burke from Wongawilli Colonial Dance Club, Ashley Oates and the contributants to the Monaro Folk Music Society website for the text.
Publications available with more bush dance instructions.
Glossary and Abbreviations
Sicilian Circle = One couple facing another couple in a circle around the room.
Double Sicilian = Two couples in a line, facing two couples in a line, arranged in a circle around room.
Abbreviations used:
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R = right
L = left
F = foot
H = hand
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M = man
W = woman
L.O.D. = line of dance (anticlockwise)
ACW = anticlockwise
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CW = clockwise
Fwd = forward
Sh = shoulder
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Dance Instructions
A sample of dances that are presented at Australian Bush Dances follows:
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Blackwattle Reel
Blaydon Races
Boston Two-Step
Bullockies Ball
Circassian Circle No. 5
Circassian Circle No. 2 (The Big Circle)
Circle Waltz (Spanish Waltz)
Colonials Quadrille (NSW version)
Country Bumpkin
Evening Three Step
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Flying Pieman
Frangipani Waltz
Four Sisters Barn Dance
Gypsy Tap
Heel and Toe Polka (Brown Jug Polka)
Highland Reel
Jubilee Jig
Kings Waltz
La Galopade
Love ‘Em and Leave ‘Em
Maxina (Canberra version) |
Merry Widow Waltz
Polka Quadrille (1882 Maitland Version)
Pride Of Erin (South Australian/Victorian Version)
Prince of Wales Schottische
Soldiers Joy
Swing Waltz
Tempest
Varsoviana |
Blackwattle Reel
Formation: Large single circle
Bars Description
4 Advance & retire — (4 steps each way).
4 Advance & retire
2 Right hand turn — (Turn partner by the right hand).
2 Left hand turn — (Turn corner by the left hand).
4 Advance & retire.
4 Do-si-do right — (Do-si-do with partner).
4 Do-si-do left — (Do-si-do left shoulders with partner).
2 Step & Honour — (Face partner, each person steps to their right and bows or curtsies to partner).
2 Walk on — (Each person walks 4 small steps to meet their new partner).
4 Swing — ( Swing new partner using a longarm hold and finish ready to start again).
32 Bars
Music: Use 6/8 or Polka or Reel + 4 Bars Introduction.
Variations:
1. In the second 8 bars take 4 bars each for the turns and have no advance & retire.
2. Instead of the third advance & retire, repeat the RH & LH turns.
Source: Six New Dances, published by Bush Music Club 1979.
Notes : This dance was written by Amnon and Sheryn Doernberg for the Bush Music Clubs Silver Jubilee in 1979. It has been commonly danced in Canberra during the 1980s with the variation 1. given above, not the original instructions.
Blaydon Races
Formation: Large single circle.
Bars Description
4 Advance & retire — (4 steps each way). 4 Advance & retire.
4 Chassez — (2 Chassez steps to the centre, in a ballroom hold then 2 steps back).
4 Chassez.
8 Promenade — (All promenade anticlockwise for 16 steps. Then release the promenade hold and women stop).
2 Men on — (Men move forward to a new partner).
6 Swing new partner — ( Swing new partner using a longarm hold and finish in circle, with woman on the right of her new partner ready to start again).
32 Bars
Music: 6/8 or Polka or Reel + 4 Bars Introduction.
Variation: Promenade for 6 bars, Men promenade onto new partner in 2 bars, Set once to new partner and then swing.
Source: Dances in Sydney 1982-1984 and Canberra in 1985-1986. English origin
Boston Two-Step
Position: Partners stand side by side facing L.O.D., lady on right of man, and holding inside hands.
Bars Description
2 Man starting with left, lady with right foot, both pas-de-basque outwards, then inwards.
2 Both take 3 steps forward, turning on the 4th count to face in the opposite direction, changing hands at the same time.
4 Repeat pas-de-basque outwards and inwards and 3 steps against L.O.D. On the 4th count, turn a quarter turn to face partner, closing feet to a parallel position and joining both hands.
2 Man starting with left, lady with right, both dance one pas-de-basque step each way.
2 Step along L.O.D., man with left, lady with right and close the other foot up.
Repeat in same direction.
4 Take ballroom hold and dance waltz or rotary chasse turns, opening out to the commencing position on last bar.
16 Bars
Music: 6/8 tunes
Notes: This is one of the most popular of the Old Time dances from the Edwardian era set to march tunes. The American composer John Philip Sousa started this trend to march music with his ‘Washington Post March’ which quickly became popular in 1891, and in 1894 a dance, the Washington Post, to this music was all the rage. It was the fore-runner of the Two-step and many other dances in march tempo. Composed in 1902, the Boston Two-Step was still popular in Australia in the 1930s.
Source: Take Your Partners, Shirley Andrews, p.163
Bullockies Ball
Formation: Longways set, 4 couples
Bars Description
4 Face partner; (side) lines advance and retire
4 Right arm turn partner
4 Left Shoulder do si do partner
4 Two hand open turn partner
8 End couples two hand swing, while middles RH star for 4 bars, LH star back to place
8 Top couple swing to bottom of set; all swing as tops pass by.
Repeat 3 times
32 Bars
Music: 2/4 or 4/4 tunes
Circassian Circle No. 5
Formation: Progressive Sicilian (couple facing couple)
Bars Description
8 Right hand star, left hand star.
8 Set and turn (quadrille setting).
8 With ballroom hold couples galop past opposite couple and back to place, men back to back each way.
4 Half ladies chain, remain with this new partner.
4 Pass through to face new couple.
32 Bars
Music: 2/4 or reel tunes.
Source: from Ithaca School of Arts Dance Manual.
Circassian Circle No. 2 (The Big Circle)
Formation: Big circle - all hands joined in a large circle, facing into centre, ladies on right of partner.
Bars Description
4 All take 4 steps in and out.
4 Repeat in and out.
4 Ladies take 4 steps in - clap hands once above head whilst in centre, take 4 steps out.
4 Men 4 steps in and out
8 Swing lady on left.
8 Promenade with her.
Reform circle with this lady on your right. In this way you swing a new lady each time.
32 Bars
Music: 6/8 tunes
Notes: Part 1 of this dance was popular in Australia last century. There were several versions using different steps and figures from quadrilles such as right and left stars, circling round and back, etc.
Source: Two Hundred Dancing Years, Shirley Andrews and Peter Ellis, p.46
Circle Waltz (Spanish Waltz)
Formation: Big circle – all hands joined in a large circle, facing into centre. Ladies on right of partners.
Bars Description
2 Everyone balance forward and back.
2 Men pass the ladies across from left to right. (Do not twirl them under raised arms).
Taking both hands, men bow slightly, supporting the ladies as they curtsey.
12 Repeat 3 more times (finishing with 5th partner).
4 Sway in, towards centre with joined hands and, with outside foot swinging over.
Sway out swinging inside foot over. Drop hands and turn in (solo)
4 Sway out, and in, and turn out.
2 Chassez in (2 sideways steps), ballroom hold.
2 Chassez out.
4 Waltz on a little way round the circle and join hands in a circle to begin again.
32 Bars
Notes: If this dance is being done by a very large group, it will be better to divide the dancers up into several medium sized circles.
Music: Waltz tunes
Source: Two Hundred Dancing Years, Shirley Andrews and Peter Ellis, p.46
Colonials Quadrille (NSW version)
Formation: Quadrille, numbering anti-clockwise 1,3,2,4
Bars Description
4 All circle left — (holding hands, slip steps)
4 All circle right — (back to place)
8 1st couple visit — (walk anti-clockwise inside square honouring each couple as you pass)
4 Tops cross over
4 Sides cross over
4 Tops cross back
4 Sides cross back
16 Grand chain — (give right and left hands alternately, starting with partner and continuing back to place)
8 Ladies grand star — (man turns partner under his arm and puts right arm around her waist while she puts right arm into centre, ladies star around moving clockwise)
8 Men grand star — (ladies let go, while men turn left, left arms central and all star left, moving anti-clockwise)
64 Bars
Repeat 3 times with 2nd, 3rd & 4th couples visiting respectively
Music: 64 bar reels or 2/4 set tunes
Notes: This dance was used as a training set for young people - it introduces many of the figures and moves used in the “Sets”.
Country Bumpkin
Formation: Longways set of 4 couples
Bars Description
4 Top lady sets twice to second man
4 Top lady swings 3rd man once around & returns to place
4 Top man sets twice to second lady
4 Top man swings 3rd lady once around & returns to place
4 Lead down: top couple skip-change-of-step to bottom of set, holding inside hands
4 Top couple return to place, casting up behind their own line
4 Top 2 couples & bottom 2 couples circle left to place, in 2 small circles of 4
4 Top couple cast off on own side, rejoin set as bottom couple.
32 Bars
Repeat three times.
Music: 32 bar 6/8 tunes
Notes: This version was published in 1809. The original tune was a common Scottish tune used for many dances in the 18th century. The Sydney Gazette of 1803 mentions this dance having been done at a wedding. This particular version of the dance suits the comment “the fair bride led down the Country Bumpkin”. A dance with the same name is done in Britain today, but bears little resemblance to this one. See Thomas Green’s Barn Dance website.
Evening Three Step
Formation: Couples in circle facing L.O.D. holding inside hands.
Bars Description
1 Start outside foot, take 3 steps fwd, touch toe of inside foot by arch of outside foot
1 Man pulls lady across in front of him (3 steps) and they each do a solo turn to change sides; he takes her RH in his LH and both lean outwards with arms extended between and touching inside foot beside arch
1 Man moves left, pulling lady across in front (as above but in opp direction)
1 3 steps backwards (start inside foot) in L.O.D. and close feet together
1 2 lively pas de basque steps fwd (towards partner, then away)
1 Face partner in 2-hand hold, 2 chassé steps in L.O.D.
2 Rotary chassé for 2 full turns in ballroom hold.
8 Bars
Music: 8 Bars of 4/4 March or 6/8
Notes: A “New Vogue” Dance - which is a ballroom style developed in Australia during the 1930s. Other New Vogue dances popular at bush dances and balls include Gypsy Tap, Parma (or Palma) Waltz and Swing Waltz.
Flying Pieman
Author: Noreen Grunseit
Formation: Longways set of 4 couples
Bars
8 Ladies weave — (top 3 ladies weave behind 1st man, in front of 2nd man, behind 3rd man and back to place)
8 Men weave — (top 3 men weave around top 3 ladies & back to place)
4 Slip step to bottom — (top couple take 8 slip-steps to bottom of set using open two-hand hold)
4 Tops Back to 2nd place — (top couple slip step back up into 2nd place)
4 Lines down — (top 3 women join hands as do top 3 men, and take 8 slip steps to bottom of set. Lines go between the bottom couple. At the bottom drop hands and the original top couple step backwards to become new bottom couple)
4 And back — (original 2nd and 3rd couple join hands and slip back to the top, to become new couples 1 & 2)
32 bars
Music: 32 bar 6/8 tunes
Frangipani Waltz
Formation: Sicilian Circle
Bars Description
2 Balance — forward & back with opposite using two-hand hold & waltz step
2 Change places — lady turns under opposite gent’s right arm to his place
2 Balance — forward & back with opposite, using two-hand hold
2 Change back — lady turns under opposite man’s left arm
2 2 chassé steps R with partner — standing side by side, holding inside hands
2 2 chassé steps L with partner — back to place
4 Right hand turn opposite — full turn, once around
2 2 chassé steps left with partner — standing side by side, holding inside hands
2 2 chassé steps right with partner — back to place
4 Left hand turn opposite — full turn, once around
4 Advance & retire — holding partner by inside hand (2 waltz steps fwd, 2 back)
4 Waltz in ballroom hold — past opposite couple, gents by L Sh and meet new couple
32 bars
Music: 32 bar waltz
Notes: A composed dance.
Four Sisters Barn Dance
Position: Couples facing around L.O.D. with the open position upper hold.
Bars Description
1 All step in the first 4 bars move slightly diagonally, but travelling forwards. Both should step on right foot, slide left foot to behind right foot, step again on right foot, hop on that right foot, and swing the left foot over.
1 Repeat, starting on left foot.
2 Repeat to the right and left
2 All move forward along L.O.D. with 4 step hops commencing on the right foot.
2 Ladies do 4 step hops turning under men’s right arms, the men doing 4 step hops while turning ladies.
8 bars
To make the dance progressive, ladies move on to new partner in the last section, ie. bars 7-8.
Music: Schottisches
Source: Two Hundred Dancing Years, Shirley Andrews and Peter Ellis, p.38
Gypsy Tap
Formation: Couples in ballroom hold, lady facing centre of hall
Bars Description
2 Side, close, side, close — (chassé along L.O.D.)
2 Walk — (3 steps in L.O.D., in extended ballroom hold, both starting outside foot, then close on the fourth beat)
4 Repeat last 4 bars
8 Repeat last 8 bars in the opposite direction, chassé to man’s right to start
2 Slow steps — (Open out to both face L.O.D. holding inside hands and take 2 slow steps fwd,
touching other foot by instep without weight)
2 Waltz solo — (both stepping L.O.D. mirror turns away from each other, 4 steps)
4 Repeat last 4 bars
2 Forward, 2, 3, up — (In barn dance hold, 3 quick steps forward, raising inside foot in a low kick on 4th beat)
2 Back, 2, 3, close — (3 steps backward, closing feet together)
4 Circular waltz — (two turns in ballroom hold)
16 bars
Music: 32 bar single jig or Aust. schottische
Notes: This is an Australian “New Vogue” couples dance of the 1930s - devised by a Sydney dancing teacher.
Heel and Toe Polka (Brown Jug Polka)
Formation: Circle of Couples. Start with a ballroom hold with men facing anticlockwise
Bars Description
2 Heel & Toe— (Heel and toe twice, man starting with left foot and woman with the right foot).
2 Sideways — (4 slip steps to the mans left).
2 Heel and toe — (Back the other way. Man starts right foot and lady left but you keep the same hold as in the first heel and toe).
2 Sideways — (4 slip steps to the man’s right).
1 Clap right — (Clap partners right hand 3 times).
1 Clap left — (Clap partners left hand 3 times).
1 Clap both — (Clap partners hands 3 times).
1 Clap knees — (Clap your own knees 3 times).
2 Right arm turn — (Turn by the right arm for 4 steps).
2 Left arm turn (Turn once by the left arm and finish ready to start again).
16 Bars.
Music: 3 hop polkas, original tune in Volume 1 Tunebook
Highland Reel
Formation: Lines of three in Sicilian circle
Bars Description
8 All advance & retire twice
8 Reel of three: Centre person dances with their right hand partner and the left-hand
person of opposite set (corner). Start by giving left shoulder to corner.
8 Circle of three: Centres with same two people from the reel, 8 slip steps left and 8 right, finish in place
8 All advance & retire, then pass through by right shoulders to meet next trio.
32 Bars
Music: 32 bar Scottish style reel
Jubilee Jig
Author: David Johnson 1979 for the BMC’s Silver Jubilee
Formation: Large Single Circle, man’s partner on right, all holding hands
Bars Description
4 Circle left — (8 slip steps to the left)
4 Circle right — (8 slip steps)
2 Men to centre — (starting with the right foot, take 4 steps in joining hands on the way in)
2 Men out, ladies in — (ladies, starting with right foot take 4 steps in under raised arm of men then ladies join hands)
2 Ladies out, men in — (men in under ladies raised arms, clapping on the 4th step in)
2 Men out
8 Grand chain — (for 7 persons, partner is no. 1)
8 Swing — (your new partner using a longarm hold. Finish with lady on man’s right ready to start again)
Alternative: Caller can vary number of persons in the grand chain and use the swing to take up time until the end of the tune. (The maximum number of people in the grand chain is 15 with no swing.)
32 Bars
Music: 32 bar 6/8 tunes. From BMC “Bush Dance Instructions” by Lance Green
Kings Waltz
Formation: Couples in open waltz hold, facing L.O.D
Bars Description
4 Walk forward four slow steps — on last step lady moves across in front of man to ballroom hold (facing clockwise).
4 Rock forward & back twice — man LF, lady RF.
4 Chassé in & out — two slide steps each way, moving to man’s left.
4 Waltz — two turns.
16 Bars
Music: 16-bar waltz
Source: Maria Zann and Mark Schuster, Toowoomba Qld from A Queensland Selection.
La Galopade
Formation: Sets of 8 couples arranged in 2 lines, facing centre. Ladies stand on right of partners in each line.
Bars Description
4 All couples take a loose ballroom hold, and advance and retire with galop step. (This is best done in the colonial style with feet in 3rd position, ie.front foot placed with heel against instep of other foot and toes turned a little outward.)
4 Galop forward again, ladies galop on to opposite gentlemen (ladies passing one another face to face) who galop them back (to opposite gentlemen’s side).
8 Repeat above, ending with original partners in original places.
8 Ladies chain (with opposite couple)
8 Top couple (ie. on left side, with respect to the top of the set) dances circular galop turns down to the bottom of the set. Couples on same side move up one place.
32 Bars
Repeat until all couples on that left side have gone to bottom of the set. 3x32
Repeat with top couples on right side dancing down. 4x32
Music: Track 1 CD1
Notes: This interesting version combines a country dance formation with the colonial galop step and galop turns. It also allows each couple to dance with each couple on the opposite side.
Source: Two Hundred Dancing Years, Shirley Andrews and Peter Ellis, p.48
Love ‘Em and Leave ‘Em
Author: Noreen Grunseit 1983
Formation: Quadrille Set 4 couples
Step: skip change of step
Bars Description
4 Tops in, Sides around — in skaters hold (lower promenade hold) tops skip in and out of set, sides chase around to their right, finishing in opposite place
4 Sides in, Tops around
4 Tops in, Sides around
4 Sides in, Tops around
2 Tops advance to centre of set (walking); take opposite in ballroom hold
2 Tops slip step to man’s left out through side couple for 4 steps (side couples step apart)
4 Tops polka 1/4 way round set to man’s position (anti clockwise).
2 Sides advance take opposite in ballroom hold
2 Sides slip step to man’s left out through top couple for 4 steps
4 Sides polka 1/4 way round set to man’s position
2 Tops join inside hands, walk in 4 steps, join hands to form circle with opposite couple
3 Circle left (walking) for 6 steps
3 Men swing lady on his left back to his place using two-hand open hold
2 Sides walk in 4 steps, join hands to form circle
3 Circle left for 6 steps
3 Men swing lady on left back to place
4 Top half Ladies Chain across
4 Side half Ladies Chain across
8 Men cast out 1 place forward to right and promenade 3/4 set with next lady
64 Bars
Repeat 3 times till back with own partner.
Music: 64 bar jigs + 4 bar intro
Notes: Written for a ‘Bush Music Club’ competition in 1983. It has become popular with experienced dancers and is very often danced at a cracking pace!
Maxina (Canberra version)
Formation: Couples facing L.O.D. in high promenade hold
Bars Description
2 Rock, rock twice (rock fwd onto left foot, then back onto right foot, & repeat)
1 3 quick steps forward, raise right foot in front (QQS)
1 3 quick steps backward, raise left foot
1 2 slow steps forward and turn on R foot to face clockwise
1 3 quick steps backward, raise right foot
1 2 slow steps forward and turn, to face L.O.D.
1 3 quick steps backwards, raise left foot
4 Grapevine
1 2 slow steps forward
1 Cross & backward (cross L foot in front of R taking weight on L foot. Then 3 small quick steps backwards, starting right-foot and finish with weight on R foot)
1 2 slow steps forward
1 Repeat ‘Cross & backward’ (as above)
1 2 slow steps forward
1 Turn lady out (lady turns out and finish in ballroom hold)
6 Circular waltz
24 bars
Music: 24 bar 4/4 time. See Volume 1 for suitable tunes.
Notes: The original Maxina was written by Madame Low-Hurndall in 1917. It won first prize for a new dance in a competition organised by the British Association of Teachers of Dancing. There are many regional versions, most quite unlike the original. The Maxina appears to only be danced in Australia and New Zealand today, having died out elsewhere.
Merry Widow Waltz
Source: Daryl Powell (from Liverpool Plains, NSW area)
Formation: Couples in upper promenade hold, both start on left foot.
Bars Description
2 Two slow steps forward
2 Two forward diagonal steps to the left (with right foot stepping behind the left).
4 Point right foot : in front; then to the right; then close and; then bend knees in a dip. (One count per move)
4 Both step back on left foot slowly, then right, then 1-2-3 (L,R,L = QQQ).
2 Rock forward by stepping on right foot, back on left
2 Rock forward on right, bring feet together swivelling right and ending facing out of circle towards the wall. (Maintain upper promenade hold.)
2 Two chassé steps to the left.
2 Two chassé steps to the right.
4 Ladies step out and away from partner, stepping around for 3 steps and back to face partner on the 4th.
8 Waltz four turns.
32 bars
Music: 32 bar waltzes
Polka Quadrille (1882 Maitland Version)
Formation: Quadrille, numbering tops and sides
Bars Description
8 Circle left - polkade, circle with polka step to left)
8 Tops cross through – lead couples cross over, turn on the spot, and back to finish in original place
8 Top ladies chain - leading couples ladies chain across and back
8 Polka the set - anticlockwise around the set back to places.
32 Bars
Repeat - this is repeated with side couples crossing and ladies chain.
Finish - polka the room.
Music: 32 bar polkas
Source: A Manual of Dancing and Etiquette (Prof. Christisson)
Pride Of Erin (South Australian/Victorian Version)
Formation: Couples in ballroom hold, man facing wall
Bars Description
2 2 slow steps in LOD forward — man starts LF, lady RF.
2 1,2,3 (quick steps fwd) - raise inside foot forwards
2 2 slow steps backwards
2 still moving backwards - 1,2,3, close feet together
4 Turn to face partner - take open two-hand hold - man crosses left leg over right; while lady crosses right leg over left
- man crosses R over L; lady L over R
- man crosses L over R; lady R over L
- man crosses R over L; lady L over R
4 Turn single twice
4 Balance in towards each other; then out in two hand open hold, turn lady under & swapping places
4 Balance in towards each other; then out in two hand open hold, turn lady under into ballroom hold
8 Four waltz turns
32 Bars
Music: 32 bar waltzes
Notes: Despite the name, originally created early 1900s by G. S. Woods of Edinburgh, Scotland.
Prince of Wales Schottische
Formation: Couples in ballroom hold, side on to LOD
Bars Description
2 Galop 7 (slip steps) and close feet, along LOD
2 Galop 7 (slip steps) back to place and close feet
1 2 Chassé steps (step/close) along LOD
1 2 Chassé steps back to place.
2 Waltz for two turns
1 2 Chassé steps (step/close) along LOD
1 2 Chassé steps back to place.
2 Waltz for two turns
12 bars
Music: Signature tune of 12 bars in Volume 1 tunebook.
Notes: Collected from Mt Pleasant, South Australia by Rob Willis. Various other versions have been collected from around the country including North Coast of NSW and SE Queensland.
Soldiers Joy
Formation: Sicilian Circle, progressive circle of couples facing couples
Bars Description
4 Advance & retire — (4 steps each way using inside hand hold, all start right foot)
4 Swing opposite (ballroom hold, one & three quarters round, end with men back to back in middle)
4 Reverse swing partner — (men pass round each other by left shoulder, back to own partner who they swing backwards (ACW), in ballroom hold)
4 Swing other way to place — (natural swing partner, in ballroom hold)
8 Ladies chain — (across and back to their original places)
4 Advance & retire
4 Pass through — (on to a new couple)
32 bars
Music: 32 bar reel
Notes: Circa 1800. The Soldier’s Joy was a popular dance throughout Great Britain and Ireland in this period, and seems to have followed Scottish regiments wherever they went throughout the 17th and 18th century; there are several English, Irish, European and American versions of the dance. It is presumed it may have come to the Colony with Governor Macquarie’s Royal Highlanders in 1810, but the reference to the dance in the words of the “Drover’s Dream” is late in the 19th century. It is likely the Scottish Country Dance longways version is that which was known in Caledonian circles out here at the time.
This version was introduced by Frank Pitt from an American source in the absence of any known Australian description. Although known as Soldier’s Joy, it bears no resemblance to the true dance and more closely matches a Circassian Circle connection with its Sicilian formation.
Swing Waltz
Formation: Couples start with inside hand hold, both facing anticlockwise.
Description: Lawrie Brown
Bars Description
2 Forward — (3 steps forward and raise inside foot. Start outside foot)
2 Backwards — (3 steps back and finish facing partner)
2 Waltz solo — (both do one waltz turn and finish holding partners hands)
2 Chassez — (2 chassez steps to man’s left)
2 Other way — (2 chassez steps to mans right, finish side by side with inside hands joined and facing anticlockwise)
1 Away — (1 waltz step apart, keeping hands joined)
1 Change sides — (lady turns under man’s arm and finish facing clockwise)
2 Away and change — (finish facing anticlockwise)
2 Away and face — (1 waltz step apart then turn and take partners two hands)
2 Step kick — (step then kick to man’s left then step and kick to mans right)
2 Sway — (turn to be back to back. Then sway backwards. Sway forwards. Then turn to face partner again and take two hands)
2 Step kick — (step then kick to man’s left then step and kick to man’s right)
2 Lady turn under — (lady turns under man’s left arm while he takes 3 steps forward. Finish with man right foot raised and lady left foot raised)
2 Lady turn back - (lady turns under mans left arm and man takes 3 steps backwards and crosses to opposite side of his partner)
4 Reverse waltz
32 Bars
Music: 32 bar waltz
Tempest
Formation: Double sicilian circle - 2 couples facing 2 couples around the floor.
Bars Description
8 Circle left. The two lines take hands and circle left, then circle right back to places, with slip steps.
4 Galop across. Couples take ballroom hold and galop across (men passing back to back) to other side with 8 small sideways galop steps.
4 They turn and galop back to places with 8 small sideways galop steps (ladies passing back to back).
4 Star round and swing. The centre 4 people (insides) put their right hands across (ladies’ right hands on top) in a star and walk round clockwise, while the outsides swing with their opposites.
4 Star back. Insides put left hands across and walk back in anticlockwise direction while outsides swing their opposites in the reverse direction as before.
4 Advance and retire. Take hands in lines of 4, and walk 4 steps forward and 4 back.
4 Pass through.
32 Bars
Notes: This dance was very popular here from the 1860s onward, and similar versions can be found in dance books written by several dance teachers here last century.
Music: Track 11 CD1
Source: Two Hundred Dancing Years, Shirley Andrews and Peter Ellis, p.51
Varsoviana
Formation: Ballroom hold, gentlemen facing wall.
Bars Description
“Turn around and point” step.
1 Gentlemen, starting on left, take a small step along L.O.D. (1st beat), just beginning to turn anticlockwise, step on right finishing the half-turn anticlockwise so that back is now to wall (2nd beat), close left foot up beside right (3rd beat).
1 Point right foot along L.O.D. and pause (i.e. one half-reverse turn and point).
Gentlemen take a small step on the right foot, just beginning to turn clockwise (1st beat). (This will mean that although the weight is moved forward on to this right foot, the foot is actually moved back a little from its extended position in the point).
1 Step on the left foot, continuing the half-turn clockwise (2nd beat), closing the right up beside the left (3rd beat), and pointing the left foot along the L.O.D. (1 bar). 2 bars
12 Repeat these turns (first in reverse then natural turns), and point to complete 8 turn and point steps. Ladies dance the same steps on opposite feet.
16 bars
Mazurka step Similar to that used in the polka mazurka.
1 Gentlemen start left, ladies on right. Gentlemen spring with a rocking motion (left shoulder dips down to land on the left foot (1st beat). Immediately bring right foot up with a springy movement to take place of the left foot, left shoulder rising again (2nd beat). Hop on right foot, raising left foot up toward L.O.D., not higher than ankle height (the knee is bent but not raised excessively). (3rd beat)
1 Repeat above, gentlemen starting left foot again.
2 Gentlemen make a reverse (anticlockwise) half turn with 3 springy steps, and poi
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