A mural in the Anderson House s in Washington, DC, showing Washington and Lafayette and the founding of the Society of the Cincinnati.

The History of the Masked Ball

The idea of a Masquerade Ball or Masked party goes back to late medieval court life, originally designed to celebrate a marriage or mark a point in a royal dynasty. The guests would wear both a costume and their masquerade mask, and, as you can imagine, the anonymity this provided to a class that were governed by the strictest etiquette and con-stricting rules of behavior was irresistible. Masquerade balls grew into semi-public events by the time of the Renaissance, enabling ( in theory..) the nobleman and the serv-ant to interact, under the cloak of disguise - their popularity was very much about the freedom wearing a mask gave you.. The intricate exquisite masquerade masks were set against the backdrop of the time, with all its stunning Renaissance architecture and art, just an incredibly creative time when Beauty was paramount in everything, and creativity and innovation was everywhere. From the 17th Century they were popular throughout mainland Europe and reached London by the early 18th century, courtesy of the Swiss count John Heidegger, who brought the first one to the Haymarket Opera House. For the rest of the 18th century these remained popular, spreading from England across to Coloni-al America, they also became more lighthearted, as guests tried to guess the identity of the person behind the masks. And so through to today, where they remain a hugely popular choice with event organizers of corporate and charity events, and countless private parties around the world .. We thank you for being a part of ours! Source: http://www.samanthapeach.co.uk/masquerade-ball-history.ht

The North River Historical Dancers http://www.northriverhistoricaldancers.com

Founded in 2008, the North River Historical Dancers is a historic dance troupe that per-forms and instructs English Country dances from the late 17th through 19th century at various venues and historic sites. And, the group con-ducts an adult education Eng-lish Country dance class in Ridgewood, NJ on Friday nights. Visit our website to learn more about the troupe and to sign up for the class!

Robin Russell, Piano. Robin has made 3 CDs, has toured Japan, England, Canada & California, plays at regular dance series, at special events, weekends & dance camps. Robin propels people to the dance floor with her rhythmic & imaginative playing, mentors dance musicians, and is a longtime member of The Flying Romanos. (Ridgewood, NJ)

Bonnie Insull, flute and percussion. A performer and teacher of improvisational and classical mu-sic, flutist Bonnie Insull was Executive Director of the improv-isation network Music for People for 10 years, as well as edi-tor of their journal Connections. Formerly the director of Dart-mouth's Collegium Musicum, Insull was also a founding member of the Apple Hill Chamber Players, touring with the ensemble during their first decade. She has performed in clas-sical contexts as featured soloist with orchestras throughout

New England as well as in concert with Julius Baker and Jean-Pierre Rampal, and in improvisational concerts with colleague David Darling. Reflecting her combined interest in the language of music and the music of language, Insull completed an M.A. in Musicology at the University of Pennsylvania in 1996 and an M.A.T. in Teaching English as a Second Language at the School of International Training, Brat-tleboro, VT, in 1997. In 1997, Insull was a guest faculty member with the Universidad de Veracruz in Orizaba, Mexico, and was a guest faculty member with the Chinese Academy of Science in Changchun, China in 1998.

The Muscians

Ridley and Anne Enslow http://enslowmusic.com/ Ridley began playing colonial American music more than 30 years ago while working at Morristown National Histori-cal Park in New Jersey. He has made five al-bums with the noted balladeer Linda Russell and four with his wife, Anne. In addition, Ridley plays bluegrass with a group called “String Fe-ver. In his “other” life, he is president of Enslow Publishers, Inc., which publish-es educational books for children and teenagers. Two of the duo’s recordings—Music of the American Colonies and Music for Abraham Lincoln—were named Nota-

ble Recordings by the American Library Association. The Lincoln CD also re-ceived the endorsement of the Abraham Lincoln Bicentennial Commission. Anne began playing colonial music when she met Ridley. She played as a regular sub-stitute on Broadway in the orchestra of The Secret Garden in 1992-1993. In her

“other” life, she is executive editor of Harvard Health Publications’ special health reports, and she worked for many years as a correspondent at Newsweek. She

does most of the duo’s research, which has included hours spent in the Library of Congress, Colonial Williamsburg, the Library for the Performing Arts at Lincoln Center, historical societies and various archives. With rare exceptions, all of their music is drawn from original manuscripts, sheet music and songsters and is per-formed on instruments accurate to the period.

The Hermitage http://www.thehermitage.org/

The Hermitage, a National Historic Landmark and house museum, incorporates a stone house that was visited during the Revolutionary War by General George Washington. It was also the site of the marriage of Aaron Burr and Theodo-sia Prevost. Its picturesque Gothic Revival de-

sign dates to the 1847–48 renovation by the architect William H. Ranlett.

Julia Hartman http://www.musicgalas.com/ Violin, Baritone Violin; Julia plays for non-profits, private par-ties, special events and several English Country Dance & Con-tra Dance series. Julia studied classical violin performance with a former Assistant Concertmaster of the Boston Symphony. She holds a Music BA and from Columbia Business School, an MBA . (NYC)

PROGRAM (Dances to be chosen from below.

Program subject to change)

7:00 – 7:15 Introduction by D. Brahs / Demo by the North River

Historical Dancers

7:15 – 8:15 Set #1 Yankee Doodle Successful Campaign Auretti’s Dutch Skipper

The Fantocini Sweet Richard Lafayette

Washington and Liberty Drapers Gardens

Zephyrs and Flora Independence Cotillion

8:15 - 8:30 BREAK

8:30 – 8:45 Performance by Ridley and Anne Enslow 8:45 – 9:45 Set #2

Lovely Nancy The Comical Fellow Soldier’s Joy

The Young Widow The Gun Fleet British Sorrow The Dressed Ship

M. Lafayette Sally in Our Alley

Room for Ramblers 9:45-10:00 BREAK

10:00 – 11:00 Set #3 Over the Hills and Far Away

Stony Point

Monmouth or The Victory The Brandywine Spirit of France Mutual Love Away to the Camp Barbarini’s Tambourine Well Hall Virginia Reel

Your Caller Tonight will be Janice Wolk

Washington and Lafayette—Longtime Friends George Washington met the nineteen-year-old Marquis de Lafayette on August 5, 1777, less than a week after the Continen-tal Congress appointed the young French-man to be a volunteer Major General in the Continental Army. Lafayette was assigned to serve on Washington's staff. Lafayette, one of the richest young men in France, left his home country on March 25, 1777, filled with desire to fight against the British in the American Revolution.

The Marquis was recruited to serve in the American cause by Silas Deane, who headed an American effort in Paris to enlist French Army officers in the cause. Lafayette was not recruited for his military acumen—the young man had yet to see combat. Instead, Deane believed that Lafayette would be valua-ble to the American cause because of his connections to the Court of Louis XVI. Lafayette—going against the wishes of the king and of his father-in-law, the Duc D'Ayen—purchased his own ship for the voyage, which he named the Victoire. The ship landed off the coast of Georgetown, South Carolina, on June 13, 1777, after fifty-six days at sea. Lafayette and the other French officers on board then rode to Philadelphia to volunteer for the Continental Army. The nineteen-year-old received his Major Gen-eral's sash on July 31. Five days later, he met George Washington who travelled to Philadelphia to brief members of Congress on the precarious state of military affairs at a dinner; the British were on the move toward the city. The two men bonded almost immediately. The forty-five-year-old Washington, who had no natural children of his own, was taken by the young man's ebullience and profound dedication to the American cause, as well as by the fact that he was a fellow Mason. Lafayette simply stood in awe of the American commander-in-chief. Writing in his memoir about the pair's first encounter, Lafayette explained, "Although he was surrounded by officers and citizens, it was impossible to mistake for a moment his majestic figure and deportment; nor was he less distinguished by the noble affability of his manner."1 After dinner Washington, to Lafayette's delight, asked the young Frenchman to accompany him on an inspection of the city's defenses, and welcomed him to the cause. Lafayette later wrote in his memoir about that moment in the third person: "The majesty of his figure and his height were unmistakable. His affable and noble welcome to M. de Lafayette was no less distinguished, and M. de Lafayette ac-companied him on his inspections. The General invited him to establish himself in his house [on his staff, that is], and from that moment he looked upon it as his own. It was with such simplicity that two friends were united whose attachment and confidence were cemented by the greatest of causes."2 Lafayette served the cause without pay and actually paid the equivalent of more than $200,000 of his own money for the salaries and uniforms and other expenses for his staff, aides, and junior officers. He first saw action on September 11, 1777, at the Battle of Brandywine. Although Washington did not wish the young Frenchman to be exposed to harm, Lafayette pushed hard to be involved in the fight, and when things were not going well on the right flank, Washington sent him into battle. Lafayette, fought fearlessly under the command of Major General John Sullivan. He was wounded in the leg but continued to fight and did not seek treatment until after the Continental Army’s orderly retreat. Washington was impressed; he cited Lafayette for his courage under fire and recommended him for divisional command. After his recovery, Lafayette took over Major General Adam Stephen's division and fought in New Jersey under Major General Nathanael Greene. The more Washington observed of the young Frenchman the more impressed he was and the closer the

across the set, usually in 4 steps. Give L hand to neighbor and change, moving up or down the set. Partners give R hands and change. Neighbors give L hands and change. Dancers end the figure where the started. Sometimes just 2 or 3 changes are spec-ified. Right-hand star, left-hand star: diagonally opposite dancers join R hands in a shake-hands hold. They dance around clock-wise. Similarly, a counter-clockwise move for a LH star. Also known as “right or left hands across.” Two-Hand Turn: Partners take 2 hands (2H) and turn clockwise the specified amount, which can be halfway, once around or once and a half around. Same applies to right-hand and left-hand turn with partner. Up a Double and Back Facing `up' you go forwards for four beats of music, and then backwards for four, which gets you back where you started. Since you are usually doing it with your partner beside you it makes sense to hold your partner's hand as you do it; indeed the figure is often called Lead up a Double.

Steps There are many steps that were used to execute figures in early American country dances. Here are just a few: Balance: Step forward and back. Chassee: Sideways skip-step, facing your partner. Set: either a step and close to the right and left, or a polka step to the right and left. Waltz step: a forward walking step in triple time, utilizing one long step and two shorter ones.

shoulders and move down the outside one place. They are pro-gressed and improper. Cross over two couples: Active dancers cross the set passing R shoulders and move down the outside one place. They cross again and move down the outside once place more. Diagonals: The right diagonal for the women is the person standing in line just above her partner. The left diagonal is the person standing in line just below her partner. Conversely for the men, the right diagonal is the person standing just below his partner, and the left diagonal is the person standing just above his partner. Down outside: 1st couple cast off and travel down the outside of the set. Come back home on the same path. Lead down the middle: Active dancers face down the center taking inside hands. They dance down the center of the set, turn to face up changing hands, and dance back to their start-ing places and cast off Lead out: Pirouette to face out and neighbors take hands to lead out. Pirouette to face back and lead back to places. (16 beats) Poussette Partners take 2 hands. 1st man dances backwards, drawing his partner with him, traveling counterclockwise all the way around the standing 2s and back to place. At the same time 3rd woman dances backward drawing her partner with her around the standing 2s and back to place. Proper, improper: When you are on your own side of the dance, you are proper. When you are on your partner’s side, you are improper. Right and left, 4 changes: Partners give R hands and change

two became. Washington's "trust in me is deeper than I dare say," Lafayette wrote to his wife on Janu-ary 6, 1778, from Valley Forge. "In the place he occupies, he is surrounded by flatterers and secret ene-mies. He finds in me a trustworthy friend in whom he can confide and who will always tell him the truth. Not a day goes by without his talking to me at length or writing long letters to me. And he is willing to consult me on most interesting points."3 In May 1778, Washington sent Lafayette with 2,200 men toward Philadelphia. He led his men faced off against 5,000 British troops at the Battle of Barren Hill where Lafayette made a tactical retreat. The French aristocrat later saw action at the Battle of Monmouth Courthouse, and then petitioned Washington to allow him to return to France to try to smooth out recently strained relations between the two nations. Lafayette accomplished that mission,while wearing his Continental Army uniform in Paris.He helped convince the King in 1779 to send the French fleet north from the Caribbean to fight the British, as well as send additional troops. Washington reported on these efforts to Congress, ex-plaining, "During the time he has been in France he has uniformly manifested the same zeal in our affairs which animated his conduct while he was among us, and has been, upon all occasions, an essential friend to America."4 Sent to Virginia in 1781 by Washington, Lafayette brilliantly conducted hit-and-run guerrilla opera-tions against forces led by the then British-aligned Benedict Arnold, and then shadowed the army of Cornwallis. The young French general played a crucial role in the Siege of Yorktown and was present at the British surrender that effectively ended the war and brought independence to the rebellious colonies. Lafayette and Washington remained close friends after the war. Lafayette named his only son George Washington Lafayette. When the Marquis came back to the United States in 1794, he visited Wash-ington in retirement at Mount Vernon in August, where the two men had an emotional reunion. Lafayette stayed with the Washington family at Mount Vernon for ten days. In July 1789, shortly after the start of the French Revolution, Lafayette was named Commander of the French National Guard. One of his first acts was to raze the Bastille, a symbol of the French monarchy's excesses. After doing so, he sent the key to the Bastille's west portal to George Washington; that key today still is hung in the hallway at the Mount Vernon mansion. Washington and Lafayette corresponded regularly until Washington's death in 1799. When word of Lafayette's death reached America in 1834, President Andrew Jackson ordered that the French Mar-quis receive the same funeral honors that President John Adams had ordered for George Washington in 1799. As explained by John Quincy Adams during a three-hour eulogy in Congress, "The name of Lafayette shall stand enrolled upon the annals of our race high on the list of the pure and disinterest-ed benefactors of mankind."5 Marc Leepson Author, Lafayette: Lessons in Leadership from the Idealist General Notes 1. Marquis de Lafayette, Memoirs, Correspondence and Manuscripts of General Lafayette Published by His Family, Vol. 1 (New York: Saunders and Otley, 1837), 18. 2. Lafayette and the Age of the American Revolution: Selected Letters and Papers, 1776-1790, Vol. I, eds. Stanley J. Idzerda, et al (Ithaca, New York: Cornell University Press, 1977), 91. 3. "Marquis de Lafayette to Adrienne Lafayette, 6 January 1778," The Marquis de Lafayette Collection, Cleveland State University Library Special Collections, Reel 23, Folder 202, Christine Valadon, trans-lator. 4. The Writings of George Washington, Vol. VII, ed. Jared Sparks (Boston: Ferdinand Andrews, 1838), 31. 5. John Quincy Adams, Oration on the Life and Character of Gilbert Motier de Lafayette (Boston: S. Colman, and Russell, Odiorne & Co., 1835), 88.

Successful Campaign (1764)

A longways Country Dance in duple minor. This was reliably reported to have been danced in 1780 at a ball given in Newport, Rhode Island, for George Washington and his staff. Arthur Tucker-man reports in his book When Rochambeau Stepped Ashore; A Reconstruction of Life in Newport in 1780 (Newport, Rhode Island, 1955, pp. 20-21) that “…asked to call the tune, [Gen.] Washington de-ferred to his beautiful partner [Ms. Margaret Champlain]. ‘A Successful Campaign’ she cried and Rochambeau and his aides took the instruments from the musicians and played that popular, and, in this instance, prophetic dance measure.” It proved so popular a dance melody that nearly every manu-script collection after 1769 included it, well into the next century. It is no exaggeration to say the “The Successful Campaign” was one of the ‘top hits’ of the country dance era. 1s chassee down the outside below the 2s, meet in the center, lead

up to the top and cast off 2s do the same 1st corners two hand turn halfway (cross), 2nd corners same Circle hands four to the left halfway, 1s cast off one place Active couples four changes of rights and lefts Source: The tune first appeared in many manuscripts; in London in John Walsh’s Twenty-Four Country Dances (1764), the publication Twenty-Four Country Dances for the Year 1769, and was reprinted in Thompson's 200 Country Dances, volume III (1773). it appears in the Ameri-can manuscripts of John Greenwood 1785 (pg. 48), Aaron Beck, Joseph Cabot (Cambridge, Mass., 1784), Elizabeth Van Rensselaer’s 1782 copybook, and in Captain George Bush’s manu-script from the Revolutionary War, among many others.

Yankee Doodle (1775)

A Longways Country Dance in duple minor. Nearly every paper after the victory at Yorktown reported that “the army played “Yankey Dodole,” when the British army marched to lay down their arms. Yankee Doodle was the musical theme of the Revolutionary War. The now familiar chorus was written in America sometime in the 1740s/50s, the song was also known in England as anti-American satire. Both used the song to taunt each other up until 1775. After the defeat of Burgoyne’s army in 1777, British officer Thomas Anburey was in prison in Cambridge and wrote, “…. After our rapid successes we held the Yan-kees in great contempt, but it was not a little mortifying to hear them lay this tune when their army marched down to our surrender.”

1s and 2s right- hand star and back

1s down the middle, lead back and cast off, 2s move up

4 changes of rights and left

Circle 4 halfway and back. Source: Dance from Ives, Twenty-four Figures (New Haven, CT: 1799), 9. Music from White MS (Boston, MA: 1775), 6

Throughout the 18th century and into the early 800s, longways dances were generally danced in triple minor formation (groups of 3 pairs). To make the dances more interesting for modern rec-reational dancers, most dances will be performed as duple mi-nors (groups of 2 pairs). Historically correct footwork for coun-try dances can be very elaborate. For modern recreational danc-ers the footwork has been simplified.

Glossary of Figures Active Couples: The couples who are dancing. Allemande Right: Partners stand R shoulder to R shoulder, place own L hands behind their backs, palm out, ready to re-ceive partner’s right hand. Entwine arms, as if doing a right-elbow turn, take hands and turn once around (8 counts). Allemande Left: as above but hands and arms are reversed. Cast off: Face up. Separate from partner and go down the out-side one place. Usually the neighboring dancers move up into the vacated spot. A cast can be long (8 steps) or quick (4 steps). Change Sides (Partners): Exchange places by passing R shoul-der. Partners can change across. Corners can change on the diag-onal. Circle: Join hands in a ring of three or four as specified, move to the left once around. Move back to the right if specified. Corners: First corners are the 1st man with the woman standing below his partner; 1st woman with the man above her partner. The second corners are the 1st man with the woman above and the first woman with the man below. Cross over one couple: active dancers cross the set passing R

Notes on Dance Instruction

Longways set: two lines of dancers, who face across to their partners. At the start of each walk-through, modern dancers take hands in groups of four people to identify their working groups. With each round of the dance, the 1st couples progress one place down the set, and the 2nd couples progress one place up the set to move on and dance with a new couple. Nearly all our longways dances will be in groups of four, or duple mi-nors.

Washington and Lafayette at Mount Vernon, 1784

The Evolution of English Dance English Country Dance was one of the most popular forms of recreation in colonial America, as it was accessible to everyone from the governor and gentry (like George Washington) to slaves. In the winter, many houses with larger rooms danced almost every evening, because the heat of dancers warms a house better than any fireplace. Virginians in particular were de-scribed by outsiders as being “immoderately fond of dancing.” A scornful Pres-byterian tutor on a Virginia plantation noted that the passage of a hurricane just before a scheduled ball failed to halt the event; “Blow high, blow low,” he wrote, “Virginians are of genuine blood: they will dance or die!” By the eighteenth century, most dances in English America were either longways for three couples or “for as many as will.” This was reflected in the longways pro-portions of the rooms set aside for dancing. However, when the French picked up English dances late in the seventeenth century, they particularly liked the square dances, which they called cotillons -- just at the time that the square form was dying out in English-speaking lands. When French troops came to America during the War of Independence, they taught their cotillons to enthusi-astic American dancers, and this is reflected in the square architecture of dance rooms included in many post-Revolutionary mansions.

Source: http://www.colonialdance.org/history.html

Auretti’s Dutch Skipper (1756)

A longways Country Dance in duple minor. “Aurettie’s Dutch Skipper” is by far the most frequent name for the jig and commemorates Anne Auretti, a stage dancer in the mid-18th century London with whom the melody is strongly associated. A ‘dutch skipper’ was a type of country dance, in imitation of dances from Holland, and known to the London stage since at least the season of 1709-10. 1s lead down through 2s and cast up to place 1s two hand turn 2s lead up through 1s and cast down to place 2s two hand turn 1st corners two hand turn 2nd corners two hand turn Set twice in place to partner Three quick changes circular hey (right-and-left,

no hands), beginning with partner Source: The tune was first published by David Rutherford in (Daniel) Wright’s Compleat Collection of celebrated country Dances, vol. 2 (London, 1742, pg. 100), Walsh’s Fourth Book of the Compleat Country Dancing Master (London, 1747), Simpson’s Delightful Pocket Companion, vol. 2 (London, c. 1750), and in c. 1756 in Rutherford’s Compleat Collection of the Most Celebrated Country Dances.

The Fantocini (1773) A longways Country Dance in duple minor. Fantocini was the plural of the Italian “fantoccio"and refers to pup-pets moving on wires, or a puppet show with such objects.

Active couples set once and change sides by the right shoulder.

Repeat back to place 1s down the center, lead up and cast off. 1s and 2s right hand star and left back 1s allemande right and left Source: The melody was first published by Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773). Country dance instructions for “The Fan-tocini” were printed in John Griffith’s Collection of the Newest and Most Fashionable Country Dances and Cotil-lions (Providence, R.I., 1788).

Anne Auretti

Sweet Richard (1742) A longways Country Dance in duple minor. Dancing masters have given this tune’s provenance as Welsh. The earliest version of the tune appears in Wright's Collection, published in London by Johnson c. 1742. It also appears in the music manuscript copy-book of Captain George Bush, of the Continental Ar-my. Kate Van Winkler Keller (“Fiddle, Dance and Sing with George Bush”) notes the similarity between Bush and Thompson’s music and dance figures, and believes it is possible the both collected dances that may have been performed in the winter encampments at Morristown, New Jersey (1778-1780).

1s and 2s set twice, change sides, the ladies passing between the men Repeat, but now the men pass between the ladies 1s lead down the center, turn towards partner to face up, lead up and

move out to place 1s cross over passing right shoulders, go down the outside 1 place 1s two hand turn one and a half times, to end progressed and proper 1s and 2s four changes of right and lefts Source: See Above.

The Young Widow (1788)

A longways Country dance in triple minor. Before Queen Victoria made her dear Albert’s death the occasion for a lifetime of sour seclusion, the widow was a provoca-tive figure. In the seventeenth and eighteenth centuries, the widow often enjoyed a better legal status than a mere daughter or wife. She might well have control over her late husband’s money; she could be a woman of enterprise, taking over her husband’s business. Still more dangerous-ly, to the prurient (and misogynist) imagination of the time, she had been offered a taste of carnal satisfaction but been denied its daily bread (—hence the procession of lusty and merry widows down almost to our own day). 1s and 2s right hand star and left hand back 1s lead down the center, turn lady to oppo-

site side and lead back up and cast, 2s move up.

Hands along the sides, set twice in place. Circle six halfway End couples face, set forward and then in

place (facing up & down) Active couples (on ends) two changes of rights and lefts to progress.

Source: 1788’s Collection of The Newest and Most Fashionable Country Dances and Cotillions

The Winter Encampment at Morristown, 1779-80)

Martha Washington

THE CHANGES for COTILLIONS

Grand Round Join hands with opposite couple, set twice ( 8 beats) then circle to the right halfway (8 beats). Repeat back to the left (total 16 beats) Right Hand Turn Face partner, set twice (8 beats), turn right hand (8 beats). Repeat with left hand turn (16 beats) Two Hand Turn Face partner, set twice (8 beats), turn two hands to the right. (8 beats). Repeat turning two hands to the left. (16 beats) Women’s Right Hand Star Women set forward (4 beats) toward each other, right hand star halfway ( 8 beats) and fall back (4 beats). Repeat with left hand star (16 beats). Men’s Right Hand Star Same as women’s. Women’s Circle Women set forward (4 beats) toward each other, circle 4 to the right ( 8 beats) and fall back (4 beats). Repeat and circle 4 to the left (16 beats). Men’s Circle Same as women’s. Allemande Allemande right, then left with partner (16 beats) Grand chain: Face partner and pass by right hand, pass contrary corner by left, pass next dancer by right, meet partner and set. (16 beats). Pass partner by right hand and continue passes, meeting partner in original place and set (16 beats). Promenade Partners set, rigadoon and promenade to the right halfway (16 beats). Repeat ending in original places (16 beats). Grand Round Repeat #1

George Washington’s Favorite Cotillion (1793)

A Cotillion in two lines, with couples face each other with woman on the right of her part-ner. Honor partner and opposite CHANGE (SEE BELOW) CHORUS:

Couples chasse a la Marquise, left couples in front, then set once Right hands-across halfway with opposite couple, then fall back to opposite

side Repeat B1 with left hands-across, falling back to original place

Source: “G. Washingtons Favourite Cotillion,” from Willcox MS (New Hartford, CT: 1793), 12r Music: Washington's Favorite” from Hulbert, A Variety (Northampton, MA: 1803), 5

The cotillion is a type of patterned social dance that originated in France

in the 18th century and brought to America around the time of the

American Revolution. Its name, from French cotillon, "petticoat", reflect-

ed the flash of petticoats as the changing partners turned. The cotillion

evolved into the 19thc quadrille, and the modern square dance.

Independence Cotillion ( 1785)

Cotillion for 4 couples in a square

Honor partner and opposite

CHANGE (SEE BELOW)

CHORUS:

Head couples forward, take 2 hands with opposite and poussette around each other clockwise, the men pushing to start. Finish moving backwards into place.

WHILE side couples take hands with partners and chasse to the right, rigadoon, chasse back to the left and rigadoon.

Repeat B1 1-8, side couples forward, heads chasse.

All set to partners and rigadoon. With corners, allemande R&L, set and rigadoon.

All set to corner and rigadoon. With partner allemande R&L, set and rigadoon.

Source: Dance and music, “Independence Cotilion,” from Fishar, Thirty Two New Minu-etts (London 1785), 12

Draper’s Gardens, or The Margravine’s Waltz (1721) A longways Country Dance in duple minor. Draper’s Garden is the park adjacent to Draper’s Hall, London. It also appears to be the name of the dance associated with the tune “The Margravine’s Waltz.” A margravine is the wife or widow of a margrave, a title associ-ated with the lord or military governor of a German border province, especially in Medieval times. The title had some longevity as a heredi-tary title for some princes in the Holy Roman Empire. 1st corners set forward, turn single

to place 1st corners two hand turn 2nd corners set forward, turn sin-

gle to place 2nd corners two hand turn Women two hand turn halfway Men two hand turn halfway Circle left halfway, fall back Two changes of rights and lefts 1s lead up through 2s and cast

down. Source: Barnes dates the tune to 1721, however, Bruce Olson finds that it first appears in the 13th edition of Playford’s English Dancing Master (1706), and subse-quently in Walsh’s Compleat Dancing Master, vol. 1 (1718), reprinted by Walsh in his third edition (1731).

Portrait of the dancer Anne Aurettic.1745/55 Etching. The British Museum.

Washington and Liberty (1807)

A longways Country Dance in triple minor. Impressed by Thomas Paine’s “Common Sense,” which was printed in Philadelphia in January, 1776, George Wash-ington acknowledged in writing the possibil-ity of independence for the first time on Feb-ruary 10. He wrote to Joseph Reed that ‘if nothing else Would satisfie a Tyrant… we are determined to shake off all connexions with a State so unjust & unnatural..”

1s and 2s circle hands four halfway around and back

1s set twice and right-hand turn once around

1s lead down middle, lead back and cast off, 2s moving up

1s and 2s four changes of rights and lefts.

Source: Dance from Saltator A Treatise on Dancing, 2nd Ed (Boston, MA 1807), 12. Music, “Jefferson and Liberty” from Clark M5 (Simsbury, CT, 1790) 35.

Zephyrs and Flora (1728) A longways Country Dance in duple minor. Zephyr was the gentle wind of the west and the interceder between the World of the living and the Underworld. Zephyr was the fresh wind who brought the spring rains that were so valuable for awakening the nature. In Roman mythology, Flora was a Sabine-derived god-dess of flowers[1] and of the season of spring - a symbol for nature and flowers (especially the may-flower). While she was otherwise a relatively minor figure in Roman mythology, being one among several fertility goddesses, her association with the spring gave her particular importance at the coming of springtime, as did her role as goddess of youth. 1st corners back to back 1st corners join R hands, then L hands, and

with crossed hands turn halfway 2nd corners repeat (all are improper) 1s cast up, 2s lead down, 1s half figure 8

down through 2s 2s cast up, 1s lead down, 2s half figure 8 down through 1s

Lovely Nancy (1746)

A longways Country Dance in duple minor. A hugely popular melody, "Lovely Nancy" was printed in numerous mid-18th century collections and tutors.. It was employed by the British military in America as a signal for retreat (Purser, 1992) [Ed.: note that' retreat' meant the ceasing of the days activities in the evening at camp, not a withdraw from combat], and was similarly employed by American fifers in the Revolutionary War (Keller, 1992). It appears in many American musician's copybooks of the period (and nearly all surviving fifers manuscripts from the War for Independence), such as those of Captain George Bush of the Continental Army. 1s set forward to partner, turn single back to place 1st lady cast, followed by partner, finishing in 2nd place improper while

2nd couple moves up (cast and chase) 2s the same, all ending home improper Men lead thru ladies, cast back to place All clap on the 1st beat of the 5th bar, circle left once Ladies lead thru men, cast back to place Clap as before, circle left half way, turn single left

Source: Printed in Longman's Compleat Instructions for the German Flute (1796), Thomp-son's Compleat Tutor for the French Horn (1755), and Calliope, or English Harmony (1746).

After 1775, Washington was expected to open the dancing at nearly every ball and assembly that he attended. While he was President, he traveled through the northern states twice and once through the southern states, all the way to Savannah and Augusta. At every stop he was fêted and the festivities often included a ball at which the ladies of the community could be pre-sented to and dance with their distinguished visitor. Soon after the war, dances named for Wash-ington began to appear as his name had popular appeal and commercial value. In 1788 John Griffiths published “Washington’s Resignation” in the earliest-known printed collection of dances in the United States. He published “Washington Forever” in his 1794 collection. “G: Washington’s Favorite” and similar dances appeared in manuscript and other printed sources of the 1790s and in musicians’ manuscript tune collections.

Zephyr and Flora, by Bouguerueau,

In July 1778, following the important Battle of Monmouth, the Continental Army marched from New Brunswick toward the Hudson Highlands, with plans to rest in camp at Paramus. As the army approached Paramus, Wash-ington and his top aides expected to make their headquarters at the Para-mus home of Lydia Watkins, a sister of Ann De Visme. Watkins’s husband was abroad, and her son was fighting against the British, who had comman-deered her home in Harlem Heights. One of Washington’s aides, Dr. James McHenry, wrote:

After leaving the falls of the Passaic, we passed through fertile country to a place called Paramus. We stopped at a Mrs. Watkins', whose house was marked for headquarters. But the General, receiving a note of invitation from a Mrs. Provost to make her hermitage, as it was called, the seat of his stay while at Paramus, we only dined with Mrs. Wat-kins and her two charming daughters, who sang us several pretty songs in a very agreeable manner.

Washington accepted Theodosia’s invitation, which read:

Mrs. Prevost Presents her best respects to his Excellency Gen'l Wash-ington. Requests the Honour of his Company as she flatters herself the accommodations will more Commodious than those to be procured in the Neighborhood. Mrs. Prevost will be particularly happy to make her House Agreeable to His Excellency.

The army encamped in Paramus and Hopperstown on July 11–14, 1778. The Paramus Dutch Reformed Church was a resting place for the wounded, as well as the site of the ongoing court-martial of General Charles Lee. [Tell me more about General Lee's court-martial.] Most of the troops stayed north of the church, while Washington's guards camped at "Head Quarters two miles from Primmiss [Paramus] Church," near The Hermitage

Virginia Reel (Sir Roger de Coverley) A Longways REEL FOR 5 to 6 couples

Roger de (or of) Coverley (also Sir Roger de Coverley or ...Coverly) is the name of an Eng-lish country dance and a Scottish country dance (also known as The Haymakers). An early version was published in The Dancing Master, 9th edition (1695)[1]. The Virginia Reel is probably related to it. The name refers to a fox, and the dance's steps are reminiscent of a hunted fox going in and out of cover. It is mentioned in Charles Dickens' A Christmas Carol (1843) when the Ghost of Christmas Past shows Scrooge a party from his ap-prenticeship with Mr. Fezziwig. "...the great effect of the evening came after the Roast and Boiled, when the fiddler ... struck up 'Sir Roger de Coverley'. Then old Fezziwig stood out to dance with Mrs. Fezziwig." The first lady and her opposite man (at the end of the set), followed in succession by the first man and his opposite lady, take turns to do the following: · Meet and retire

· Meet, right hand turn and retire

· Meet, left hand turn and retire

· Meet, two hand turn and retire

· Meet, Dos-a-dos and retire

Then, the 1st couple “lace the

boot:” turn by the right one complete turn then pass each other by the right and extend their left hand to the 2nd couple (man to lady, lady to man) and turn them around until they reach the center, where the 1st couple turns by the right, then the 3s by the left and so on down the line until they get to the bottom

The 1st Couple turns by the right until proper and takes promenade hold

and skips up the middle and casts, causing the whole set on either side to invert and follow them one complete revolution staying on their own proper side.

When the 1st couple reaches the top again and everyone is back in their

original places the 1st couple takes inside hands and chasse down the center to the bottom and the dance starts all over again, with a new couple at the top and the old 1st couple at the bottom.

Source: See above.

Comical Fellow (1776) A longways Country Dance in duple minor. The tune first appears in Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 4 (London, 1780), and soon after was published by Longman and Broderip’s in their Compleat Collection of 200 Favorite Country Dances (London, 1781). American manuscript versions can be found in the collections of Jeremiah Brown (1782, Seabrook, N.H.) and Luther Kingsley (1795, Mansfield, Conn.), and it was published in 1805 in Joshua Cushing’s Fifer’s Companion (Salem, Mass.).

1st man set to 2nd woman, retire with 4 steps, then come forward again and two-hand turn 2nd woman all the way to place

1st woman set forward towards 2nd man , retire then come forward again and two-hand turn 2nd man

1s lead down the middle and turn with 8 steps, back up again & cast off skipping

Clap 4 times, turn partner around halfway so as to be improper

Circle 4-hands to the left and to the right.

Clap 4 times again and turn partner halfway (righting yourselves)

Source: Thompson, 1776

Soldier’s Joy (1782) A longways Country Dance in triple minor.One of, if not the most popular fiddle tune in history, widely disseminated in North America and Europe in nearly every tradition; as Bronner (1987) perhaps understatedly remarks, it has enjoyed a "vigorous" life. There is quite a bit of speculation on just what the name ‘soldier’s joy’ refers to. Proffered thoughts seem to gravitate toward money and drugs. Bayard (1981) dates it to "at least" the latter part of the 18th century, citing a version that has become standard in James Aird's 1778 collection (vol. 1, No. 109) and Skillern's 1780 collection (pg. 21). London publishers Longman and Broderip included it in their Entire New and Compleat Instructions for the Fife in 1785. Kate Van Winkler Keller (1992) says that the hornpipe “Soldier’s Joy” appeared with a song in London in about 1760. John Glen (1891) and Francis Collinson (1966) maintain the first appearance in print of this tune is in Joshua Campbell's 1778 A Collection of the Newest and Best Reels and Minuets with improvements.

1s down the outside and back

1s and 3s pousette, counter clockwise – M1 and W3 pulling, ending in orig-inal place.

All face up. 1s leading, all promenade down the outside on the men’s side and back up middle to place. 1s cast off at the end of the promenade, 2s moving up.

1s and 2s rights and lefts. (16)

Source: Dance from J. Brown MS (MA?) ca. 1782, 3v. Music, “A Hornpipe,” from Williams

The Gun Fleet (1726)

A longways Country Dance in duple minor. The melody appears in the last two editions of Playford's Dancing Master [1] (the 17th of 1721, and the 18th of 1728), at the time pub-lished in London by John Young, heir to the Playford publishing concern. There is also a "Gun Fleet" in an earlier Playford vol-ume, the first part of three, entitled Apollo's Banquet: contain-ing Instructions, and Variety of New Tunes, Ayres, Jiggs, and several New Scotch Tunes for the Treble-Violin. To which is added, The Tunes of the newest French Dances, now used at Court and in Dancing-Schools. The Sixth Edition, with new Additions. In the Savoy: Printed by E. Jones, for Henry Play-ford at his Shop near the Temple Church, and at his House over against the Blue-Ball in Arundel Street in the Strand, 1690 (No. 23). The title may or may not be associated with a ballad called "General Monk sailed through the Gun-Fleet" which would seem to refer to an engagement of George Monk (1608-1679), afterwards Duke of Albemarle, against Holland in June and July 1653.

1st man go a double to men’s wall on diagonal upwards. 2nd couple and 1st woman following in line of 3 directly behind, 1st woman in middle. Turn back and lead a double.

Repeat to women’s wall diagonally down, 2nd woman in front, 2nd man in middle

Repeat to men’s wall diagonally down, 2nd man in front, 2nd woman in middle

Repeat to women’s wall diagonally up, 1st woman in front, 1st man in middle

All back to back

Three changes of rights and lefts, beginning with partner

Source: Neal 1726, A Choice Collection of Country Dances.

Lafayette (1799)

A longways Country Dance in duple minor. French-man Marquis de Lafayette fought in the American Revo-lutionary War and helped shape France's political struc-ture before and after the French Revolution. Lafayette was fiercely loyal to George Washington and the two formed a father/son bond that carried them through two revolutions on two continents until President Washing-ton’s death in 1799. Active couples set twice and change sides,

women passing between men. Repeat, with men passing between the

women 1s lead down middle, lead up and cast off,

2s moving up Active couples four changes of rights and

lefts.

Source: Dance ‘L.Fayette from Ridgely MS (Dover, DE 1799), 17; Music from Woodruff MS (Litchfield, CT 1803), 80 The Marquis de Lafayette

Barbarini’s Tambourine (1747)

A longways Country Dance in duple minor. Some, such as the text writers on Virginia Early Musick's Handel English Country Dances CD, have speculated on stylistic and other circumstantial grounds that this tune is by Handel, and that the dance Barbarini referred to was a London dancing master. However, the teachers were all having their names recorded as subscribers to each other's work and there is never a Barbarini mentioned. The person in question was undoubtedly the Ital-ian ballet dancer Barbara Campanini, who toured to London, became famous there, especially for her Tambourine dance, and whose nickname was 'La Barbarina'. 1st corners cast around neighbors (M1 down, W2

up); pass in the middle by left shoulders and cast around partner into each other's place.

2nd corners cast (W1 down, M2 up); pass in the middle by right shoulders and cast around neighbor into each other's place. All progressed and improper.

Balance back and cross set, passing partner by right shoulder, and face neighbor.

Back to back with neighbors. Back to back with partners. All four changes of rights and lefts. All two hand turn partners. Source: Walsh: The Compleat Country Dancing-Master. Volume the Fourth, 1755

Portrait of the dancer Barbara Campanini aka La Barbarina Antoine Pesne, c.1745

Well Hall (1679)

A longways Country Dance in duple minor. Well Hall, Eltham, was a magnificent mansion dating from Tudor times, then located outside London. It came into the hands of the Roper family in the 16th century, and the stone bridge and Tudor barn of the Roper-era estate are still extent. Well Hall remained a seat of the Ropers until 1733, when it was sold, to be torn down and re-placed by another house by Sir Gregory Page, who re-

tained the name Well House.

1s turn 1 ½ by the right hand; cast down improper, and cross over to proper side, below 2s

2s do the same, ending back below 1s 1st corners cross ( positions) 2nd corners cross Circle hands four left half-way; all turn single 2nd corners cross 1st corners cross Circle hands four left half-way; 1s cast, 2s lead up Source: The tune was published in the supplement to the 6th edition of Henry Playford's English Dancing Master of 1679.

Spirit of France (1799)

A longways country dance in triple minor.

1st woman turns 2nd man two-hands; 1st man same with 2nd woman.

1s and 2s circle hands four halfway and back

1st lead down middle, lead back and cast off, 2s moving up

1s and 2s rights and lefts Source: Dance from Burbank, New Collection of Country Dances (Brookfield, MA: 1799), 6. Music from Carey MS (Mansfield CT: 1797) 107

Mutual Love, or The Flight (1777)

A longways Country Dance in triple minor. The melody appears in several printed collections of the latter 18th cen-tury. During a time when arranged marriages were the accepted norm, mutual love between a couple was highly coveted.

1st man lead 2nd man clockwise around their partners while ladies dance forward and back (3s do nothing)

1s and 2s 2HT partners once around 1st woman leads 2nd woman the same around

the men while men dance forward and back (3s do nothing)

1s and 2s two-hand turn partner once around 1s and 2s right hand star and left back In skaters hold, 1s lead down through the 3s and cast up into the middle,

then lead through the 2s and cast off to finish in the middle. 2s cast up around 1s and lead down the center and back to place.

Source: Thompson’s Twenty Four Country Dances of 1777.

The Marquis de Lafayette, Com-mander of the new National Guard in 1790, combined the colors of the King (white), and

the colors of Paris (blue and red) for his guardsman’s uniforms and from this came the Tricolor, the new flag of France which has remained to this day.

With Britain’s victory in the French and Indian War, France had lost considerable trans-Atlantic trade. Already suffering serious finan-cial problems, France saw that another British victory in North America would make things worse. Once the defeat of Burgoyne gave reas-surance about American military capacity, in February 1778, France declared war on Great Britain, bringing into the open its previously tacit support of the United States. Along with the war treaty, another was made providing for commercial friendship and cooperation between the two countries. Over the next five years, France contributed about 12,000 soldiers as well as support of their fleet to the American cause. Without this aid, the outcome of the American Revolution might have been far dif-ferent. Public recognition of the French action was swift. On april 30, 1778, Washington received the news and on May 6, he led a cele-bration in the Valley Forge encampment. The toast was “Long Live the King of France!” Later that winter, an English observer in Phila-delphia reported that among the ladies “French hair dressers, milliners , and dancers are all the ton. The Virginia Jig has given place to the Cotillon and minuet-de-la-cour.” (Silverman 360; George Washington; A Biography in So-cial Dance)

British Sorrow (1808) A longways Country Dance in triple minor. The title refers to the American perspective on the surren-der at Yorktown. Henry Knox wrote gleefully to his wife that the British would not be permitted to “unfurl their colors or play “Yankee Doodle.” Aeda-nus Burke wrote that “They marched thro’ both Ar-mies in a slow pace, and to the Sound of Music, not Military Marches, but of certain Airs which had in them so peculiar a strain of melancholy.”

1s roll out and go down the outside below two couples Then go up the center and cast off with the 2s

1s, right-hand star with the 3s who are below

1s left-hand star with the 2s who are above –end progressed and proper

Circle 6 to the right once around

Top two couples (1s and 2s) rights and lefts –4 changes Source: A Select Collection (Otsego NY 1808), 6. Music, “British Sorrow,” from Boston Miscellany, vol. 2 (Boston, MA 1815) 200-201

Dressed Ship (1774) A longways Country Dance in duple minor. The tune first appeared in print in Thompson’s Twen-ty Four Country Dances for the Year 1774, where it appears as a longways dance ‘for as many as will.’ A ‘dressed ship’ is one that has been decorated with sig-nal flags and other pennants, usually for a ceremony or celebration. There are two distinctions: a dressed ship display employs smaller ensigns than does a full-dressed ship. A “dressed ship” can also refer to a fine-ly dressed and ornamented lady. 1st corners set forward, fall back & 2-hand

turn. 2nd corners likewise. 1st couple make a wide cast to 2nd place,

2nd moving up. All take R hands w/ partners & set. Men turn partners under right arm coun-

terclockwise. 1st couple casts back up, 2nd moving down. All take R hands w/ partners & set. 2nd couple casts up AS 1st man turns partner counterclockwise under his

R arm as they move down to 2nd place. Source: Thompson 1774

The Surrender at Yorktown, 1781

From the collection of the Kyoto Cos-tume Exhibit, Japan

Monmouth, or The Victory

(1785)

A longways Country Dance in duple minor.

1s and 2s right hand star and left back

1s lead down middle, lead back and cast off, 2s move up

1s and 2s 4 changes of rights and lefts

All set twice, then turn partner with 2 hands once around

Repeat B1—1st and 2s 4 changes of rights and lefts

Repeat B2—All set twice, then turn partner with 2 hands once around Source: Dance and music from Cantelo, Twenty Four American Country Dances (London 1785), 19

M. Lafayette (1788)

A longways Country Dance in triple minor.

1s cross (lady first) going down between the 2s and 3s and go outside and below the 3rd couple

1s set in the center, chasse up to the top ending improper All that again from the improper side, ending at home and proper. 1s and 2s circle 4 to the left halfway and back to the right 1s chasse down the center, chasse back, chasse down the outside 1 place

and set while 2s move up Circle hands 6 around to the left halfway and then to the right.

Source: Luther Kingsley, Manuscript (1(1788), p. 61

"General Washington seemed to arrest fortune with one glance." - Marquis de Lafayette George Washington needs no introduction as the first President of the United States. He was also the commanding general of the Continental Army throughout the Revolutionary War. Many times his presence helped the American cause to persevere in the face of seeming hopelessness. The quote above was made in regards to the Battle of Monmouth. In this battle an initial attack force led by General Charles Lee was routed from the field. It was only the arrival of Washington himself that stabilized the troops. After the Americans held the field and forced a British retreat, fighting effectively ended in New Jersey and moved to Virginia, where the final victory was eventually won at Yorktown.

Washington and Lafayette at the Battle of Monmouth

The Brandywine (1785)

A longways Country Dance in triple minor During the Battle of Brandywine, which took place on September 11, 1777, Lafayette was shot in the leg and, in spite of his wounds, organized an effective retreat. That day he was partly responsible for getting the all the men out safely. Washington commended him on this greatly and sent a letter to the Congress recommending him for a promotion.

1st man set to 2nd woman, then turn 3rd women two-hands, then fall back to place.

1st woman repeat with 2nd and 3rd man

1s lead down the middle, lead back and cast off, 2s moving up

All allemande right, then left with partner. Source: Dance and Music “The Brandewine” from Cantelo, Twenty Four American Country Dances (London: 1785), 22.

Away to the Camp (1782)

A longways Country Dance in triple minor.

Three women take hands and 1st woman lead line across top, down be-hind men and back up to place

Three men repeat A1 around the women

1s lead down middle, lead up and cast off, 2s move up

All allemande right, then left with partner. Source: Dance “Away To Camps” from Jeremiah Brown MS (MA: ca. 1782), 5v. Dance and Music from Twenty Four Country Dances (London, 1782), 76

John Vanderlyn, Washington and Lafayette at the Battle of Brandywine

An 18th Encampment

Stony Point, late (1780s)

A longways Country Dance in duple minor. “Stony Point” appears in early American music manuscripts such as Benjamin Carr’s Evening Amusement (pg. 14), published in Philadelphia, Pa., in 1796. Morrison (1976) and Bayard (1981) date the title of this once‑very-popular dance air to probably the late 1780's. It commemorates a far more embar-rassing event for the British commander Sir Henry Clinton than the "Britons Strike Home" dance inci-dent, namely his 1779 defeat at the fort at Stony Point, New York, at the hands the American forces

commanded by General "Mad" Anthony Wayne. The tune, however, Bayard (1981) traces to earlier times and finds it in James Oswald's Caledonian Pocket Companion, vol. 1, pg. 64 (though he probably did not compose it, he thinks), and in McGibbon's Collection of Scots Tunes, pg. 47, where it is called simply "Gigga" (jig).

1s set twice to the 2nd lady; 1s allemande right 1s set twice to the 2nd man; 1s allemande left 1st couple lead down the center, turn toward partner to face up, lead up and cast off 1st & 2nd couples R&L 4 counts, setting in between (16)

Sally in Our Alley (1719)

A longways Country Dance in duple minor. According to Chappell (1859), this famous song appears in Henry Carey's Musical Century, Walsh's Dancing Master (1719), Gay's Beggar's Opera (1728, where it appears as "Of all the girls that are so smart"), The Devil to Pay, The Fashionable Lady, The Merry Cobbler, Love in a Riddle, The Rival Milliners, and numerous broad-sides. He credits Carey with the original tune, which, about 1760, was superseded by another, somewhat similar but easier to sing, one. 1st corners cast out left (1st man down, 2nd lady up)

around neighbors,

2nd corners cast out R (2nd man up, 1st lady down) around neighbors, pass R shoulder in center

All fall back, return & cross with partner, and turn around yourself

Go directly into 4 changes of circular hey

1st corners (in 2nd corner places) change by L shoul-der;

2nd corners (in 1st corner places) change by R shoulder;

Quick circle left once (all home, improper);

1s long cast off and 2-hand turn while 2s move up and two-hand turn 1-1/2

Source: See above.

Henry Carey was, as it turns out, the Paul McCartney, or Andrew Lloyd Webber, of the 1720s and 30s, the most popular songwriter of the time. "Sally in Our Alley" has enjoyed a long fame, and was known to be one of George Washington's favorite songs.

The Battle of Stony Point

Room for Ramblers (1712)

A longways Country Dance in duple minor.

Lines of 4 face up, all proper w/ 2s in middle, & lead up 4 steps & fall back

1s two hand turn AS 2s cast around them into 2nd place 1s cast AS the 2s move up & change places (cross up) 1s half figure-8 up through 2s (all progressed, improper) 1st corner positions change places 2nd corner positions likewise All lead neighbor out to side, turn & lead back 1s cast AS 2s move up between a new first couple

Source: Walsh, Twenty Four New Country Dances for the Year 1712

Over the Hills and Far Away (1700)

A longways Country Dance in duple minor. The melody has recognizably been in use in the 20th centu-ry for the nursery rhyme "Tom, Tom, the Piper's Son," and was probably written in England around 1700 according to one source. Kidson (1922), however, identifies the tune as Scottish and says one early version is called "The wind has blawn my plaid away." As a song air it was popular enough to have been parodied in air 16 of John Gay's Beg-gar's Opera (1729, where it appears under the title "Were I laid on Greenland's coast", Air XVI), and had been earlier included by D'Urfey in Pills to Purge Melancholy (1709) and in the play The Recruiting Officer (1706). In fact, it was included, sometimes under different titles, in several ballad operas in the 18th century (Pulver, 1923), as it later was in Andrew Barton's ballad opera The Disappointment (New York, 1767) as the melody for air 8. The melody was printed as a country dance in The Dancing Master, volume II, 2nd edition (London: Printed by W..., Church, 1714) and again in Walsh's Country Dancing Mater, book II (1719). It was commonly played by the English during the French Wars of 1793‑1815, "especially as loth‑to‑depart, one of the tunes traditionally used when a regiment left its cantonments" (Winstock, 1970; pg. 38). As with many popular English airs, it was transported to Colonial America where it shows up in several musicians’ copybooks. Clement Weeks' (Greenland, New Hampshire) copied it into his manuscript collection of country dances in 1783, the figures of which reappear in the English publication Twenty-Four Country Dances for the Year 1795

All set twice to partner and change places, passing right shoulders

Repeat to places.

1s cross over 1 couple with one and a half turn

4 changes of rights and lefts. Source: see above

George Washington at Mount Vernon by Alfred Jacob Miller

1.

Portrait of Lafayette by American Artist Frank Schoonover (1877 – 1972) Portrait of Washington by American Artist Frank Schoonover (1877 – 1972)