The Look of the Dance

By Gene Murrow

Several recent postings on the ECD [English Country Dance] Internet list about the beauty of the patterns created by the "dance around" figure in Astoria Lass, the opening of The Mavis Sweetly Sings and other dances are bringing new attention to an important quality of our beloved ECD that has been ignored or minimized of late: the look of the dance to an observer.

It seems hardly necessary to state that one aspect of Dance is how it looks, else why would we go to ballet and other dance performances, or talk about a dancer's grace or line? Country dancing shared that "performing" role in earlier times; many folks came simply to observe the dance and enjoy the beauty of the patterns and music as non-participants. The audience included those too "old" to dance (Jane Austen so described herself at the age of thirty-four!), as well as visiting and host gentry. The all important "presence" in Playford's and Sharp's notations is precisely these notable observers. One of the reasons I became a dance caller (aside from unfettered egomania) was to have the pleasure of watching the dancing. Indeed, I program an evening of dance mindful of the musical and visual pleasures it will bring me as I stand at the front of the hall. If you haven't taken an opportunity to stand on a stage, balcony or gallery overlooking a room full of country dancers, do so! You'll see what I mean.

Increased awareness of the look of the dance brings two benefits I can think of. First, by being conscious of this integral, important and historically informed component of our chosen genre, we can become better dancers, which will bring greater enjoyment to us as participants as well as to the observer. There are discrete techniques one can learn to do this and we should be teaching them more. It isn't magic, though it is magical.

Second, by making our dancing more beautiful and enjoyable to watch, we create an opportunity for more people to enjoy it. As our dance community ages and that includes you and me -- and folks find that they are no longer able to dance all or most, or even any, dances of an evening, why not offer them special seating on the stage (as our "presence") or in a balcony? This had been an annual tradition at Berea's Christmas Country Dance School where the band/caller share the stage with as many as a dozen elderly former dancers, VIPs and friends -- a formidable group, let me tell you. As you stepped up to the microphone you passed in front of generations of history. It's also an avenue to introduce interested non-dancers to our activity -- they may not feel comfortable as participants right off, or as "wallflowers" at the sidelines, but as members of a clearly honored group of observers.

Having said all that, let me add that having a group of even first-rate dancers run through a few country dances does not constitute a "performance" or "demonstration." To the casual observer (not the kind described above), there are only two English country dances -- the one done in those long lines and the other one. A lot more goes into making a show that can hold the interest of a general audience -- just ask anyone who worked with Ron Smedley or Bob Parker on the Albert Hall Festivals in England, or Helen Davenport who directs Connecticut's Reel Nutmeg demonstration group.